Malevich Society Call for Grant Proposals
Application deadline: Sep 30, 2012
The Malevich Society is pleased to announce its grant competition for the year 2012.
The Malevich Society is a not-for-profit organization based in New York City dedicated to advancing knowledge about the Russian artist Kazimir Malevich and his work.
In the belief that Malevich was a pioneer of modern art, and should be recognized for his key contributions to the history of Modernism, the Society awards grants to encourage research, writing, and other activities relating to his history and memory.
The Society welcomes applications from scholars of any nationality, and at various stages of their career. Graduate students are welcome to apply to the Society’s grants after completing at least one year of dissertation research. Proposed projects should increase the understanding of Malevich and his work, or augment historical, biographical, or artistic information about Malevich and/or his artistic legacy. The Society also supports translations and the publication of relevant texts.
Application forms and instructions may be requested by telephone at 1-718-980-1805, by e-mail at info@malevichsociety.org, or may be downloaded from the web-site: www.malevichsociety.org.
Deadline: September 30, 2012
Showing posts with label Malevich. Show all posts
Showing posts with label Malevich. Show all posts
Tuesday, 1 May 2012
Friday, 16 December 2011
News: Malevich Arts Centre planned for Moscow by Sophia Kishkovsky
An arts centre dedicated to Kazimir Malevich, the pioneering modernist and the founder of suprematism, is being planned following a chance encounter in a field in Nemchinovka, near Moscow, between a Russian avant-garde enthusiast on a search for Malevich’s grave and a German investment banker concerned about Russia’s international image. Malevich made work and developed his theories on art in Nemchinovka, and it was where he wanted to be buried.
Malevich was buried in a field, which is threatened by developers, in Nemchinovka, near Moscow. Right, the proposed design for one of Malevich's Architektons, on which the new arts centre would be based
Aleksandr Matveyev, a physicist who has spent decades researching Malevich’s legacy, and Moscow-based fund manager and Nemchinovka resident Jochen Wermuth, have united to raise funds for the centre and oppose developers building a housing complex on the site.
“I noticed him [Matveyev] one day digging in the field behind my house,” says Wermuth, who moved to Russia in the 1990s and worked with the Russian government during the period of economic reform. Matveyev, who became interested in Malevich’s connection to the village while working with a Soviet youth organisation, was looking for the artist’s grave.
The burial site, under an oak tree on the edge of Nemchinovka and marked with a white cube with a black square designed by his close friend and fellow suprematist Nikolai Suetin, was destroyed during the second world war. In 1988, as the Soviet era was ending, an adjacent site was designated as a memorial and a white cube with a red square was installed. Until recently, the local authorities insisted that it was the actual grave. Malevich devotees try to gather at the second site every year on 23 February to mark the artist’s birthday. But the site is within the gates of an exclusive housing complex and access is tricky.
When Wermuth learned that he lives on “sacred” artistic territory, he donated $30,000 in support of the search for Malevich’s grave (Matveyev had already used up the funds he had raised by selling his home). The artist’s last resting place was finally found in a field on a former farm collective that is now a construction site being developed by property company Rondo. Matveyev and his assistant, Andrei Yanovsky, keep guard at the burial spot to make sure it is not destroyed by excavation equipment.
Wermuth has now launched a scheme to raise millions of dollars to create a Malevich Foundation, or Centre for the Russian Avant-Garde on the spot. He says that, as a Russian artist of Polish descent, Malevich “was an early global citizen”, who returned to Russia, unlike Chagall and Kandinsky, and was “buried in a field he loved and that inspired him, rather than in a proper graveyard because he stood by his beliefs”.
Wermuth envisions a centre with “studios, a theatre, a convention centre and hotel and possibly a school for the local children as well as [facilities] for university students.” Matveyev says the goal is to build a centre based on one of Malevich’s “Architektons”, his seminal abstract skyscraper constructions, including a telescope for viewing Jupiter.
“This place needs to be marked, so that people can gather,” says Vitaly Patsyukov, a curator at the National Centre for Contemporary Arts in Moscow, who is also working on the project. “In Russia today there is a problem with the absence of historical memory.” Russian appreciation of Malevich, who died in Leningrad in 1935, vanished almost completely when the Soviets rejected the radical ideas of the avant-garde and replaced them with a tightly controlled socialist realism aesthetic.
Nemchinovka, where Sofia Rafalovich—Malevich’s second wife—had a family home, was a favourite retreat for Malevich and the pre-revolutionary intelligentsia in general. It still has a grand pre-revolutionary train station. “It was an incredible time,” says Matveyev, referring to Malevich’s meetings there with friends such as film-maker Sergei Eisenstein and artist Ivan Kliun. “This powerful burst [of creativity] right before and after the revolution determined the course of world art,” he says.
John Bowlt, the director of the Institute of Modern Russian Culture at the University of Southern California, suggests that the project might serve as a research centre to combat fakes that plague the Russian avant-garde market. In the meantime, however, Matveyev takes a more mystical view. “It’s as if Malevich is directing this from above,” he says.
“I noticed him [Matveyev] one day digging in the field behind my house,” says Wermuth, who moved to Russia in the 1990s and worked with the Russian government during the period of economic reform. Matveyev, who became interested in Malevich’s connection to the village while working with a Soviet youth organisation, was looking for the artist’s grave.
The burial site, under an oak tree on the edge of Nemchinovka and marked with a white cube with a black square designed by his close friend and fellow suprematist Nikolai Suetin, was destroyed during the second world war. In 1988, as the Soviet era was ending, an adjacent site was designated as a memorial and a white cube with a red square was installed. Until recently, the local authorities insisted that it was the actual grave. Malevich devotees try to gather at the second site every year on 23 February to mark the artist’s birthday. But the site is within the gates of an exclusive housing complex and access is tricky.
When Wermuth learned that he lives on “sacred” artistic territory, he donated $30,000 in support of the search for Malevich’s grave (Matveyev had already used up the funds he had raised by selling his home). The artist’s last resting place was finally found in a field on a former farm collective that is now a construction site being developed by property company Rondo. Matveyev and his assistant, Andrei Yanovsky, keep guard at the burial spot to make sure it is not destroyed by excavation equipment.
Wermuth has now launched a scheme to raise millions of dollars to create a Malevich Foundation, or Centre for the Russian Avant-Garde on the spot. He says that, as a Russian artist of Polish descent, Malevich “was an early global citizen”, who returned to Russia, unlike Chagall and Kandinsky, and was “buried in a field he loved and that inspired him, rather than in a proper graveyard because he stood by his beliefs”.
Wermuth envisions a centre with “studios, a theatre, a convention centre and hotel and possibly a school for the local children as well as [facilities] for university students.” Matveyev says the goal is to build a centre based on one of Malevich’s “Architektons”, his seminal abstract skyscraper constructions, including a telescope for viewing Jupiter.
“This place needs to be marked, so that people can gather,” says Vitaly Patsyukov, a curator at the National Centre for Contemporary Arts in Moscow, who is also working on the project. “In Russia today there is a problem with the absence of historical memory.” Russian appreciation of Malevich, who died in Leningrad in 1935, vanished almost completely when the Soviets rejected the radical ideas of the avant-garde and replaced them with a tightly controlled socialist realism aesthetic.
Nemchinovka, where Sofia Rafalovich—Malevich’s second wife—had a family home, was a favourite retreat for Malevich and the pre-revolutionary intelligentsia in general. It still has a grand pre-revolutionary train station. “It was an incredible time,” says Matveyev, referring to Malevich’s meetings there with friends such as film-maker Sergei Eisenstein and artist Ivan Kliun. “This powerful burst [of creativity] right before and after the revolution determined the course of world art,” he says.
John Bowlt, the director of the Institute of Modern Russian Culture at the University of Southern California, suggests that the project might serve as a research centre to combat fakes that plague the Russian avant-garde market. In the meantime, however, Matveyev takes a more mystical view. “It’s as if Malevich is directing this from above,” he says.
This article was first published in The Art Newspaper by Sophia Kishkovsky on December 15th, 2011.
http://www.theartnewspaper.com/articles/Campaign-to-build-Malevich-centre-by-artist-s-grave/25160
Tuesday, 13 December 2011
EXHIBITION: Malevich at Annely Juda Fine Art
27 October - 22 December 2011
Annely Juda Fine Art is pleased to present this exhibition of works by Francois Morellet and Kasimir Malevich. Francois Morellet's first solo-exhibition at Annely Juda Fine Art was in 1977 and Kasimir Malevich's work has been included in our first Non-Objective World exhibition in 1970 and in many since then.
Kazimir Malevich 'Three Suprematist Compositions' (1913-1915)
The exhibition includes recent works by Morellet, which reflect his interest in Kasimir Malevich's Suprematist works. The three Sous-Prmatisme works in this exhibition use the three Suprematis motifs of circle, square and cross. These works are made of white neon tubes and are essentially white on white. The Negatif series plays on Malevich in a different way. The works all include a black spare and white neon tubes with the neon tubes positioned in different angles and juxtaposed to the black square.
Kazimir Malevich 'Steps' (1931)
We are delighted to include a major painting by Kasimir Malevich Black Square, which has been kindly lent to us by the State Museum of Contemporary Art - Costakis Collection, Thessaloniki in Greece. Also in this exhibition is a selection of 13 drawings by Malevich.Born in 1879 to Polish parents and died in 1935 in Leningrad, Kasimir Malevich is one of the first abstract artists of the twentieth century. Painter, draftsman, sculptor and theorist, he was the creator of an artistic movement which he named "Suprematism." His works are present in the collections of many major museums worldwide.
http://www.annelyjudafineart.co.uk/artists/malevich/malevich.htm
Friday, 2 December 2011
SCRSS Lecture: Russian and Soviet Avant-Garde Art 1900-1935
Illustrated Lecture: Russian and Soviet Avant-Garde Art 1900-1935 by Christine Lindey
Friday 2 December 7pm
Early 20th-century artists such as Goncharova, Kandinsky and Malevich created modernist art that challenged late Tsarism's aesthetic, political and social norms. In the Bolshevik era artists such as Tatlin, Popova and Rodchenko put avant-garde art at the service of the Revolution by applying modernist aesthetics to the production of textile designs, ceramics, posters and illustrations for the benefit of the working class. This illustrated lecture will explore the social, political and aesthetic debates that underlay this vibrant period in Russian and Soviet art and design.
The Society for Co-operation in Russian and Soviet Studies (SCRSS) is a unique educational centre, based in London, which aims to promote knowledge of the culture, language and history of Russia and the former Soviet Union.
The Society caters for students, teachers, researchers, designers and all other individuals interested in Russia. It offers a library, archive and unique photographic collection. It also organises lectures, film shows and exhibitions, and facilitates professional contacts between individuals and organisations in Russia and the United Kingdom. The Society is a registered charity.
http://www.scrss.org.uk/cinemaevents.htm#avantgarde
Friday 2 December 7pm
Early 20th-century artists such as Goncharova, Kandinsky and Malevich created modernist art that challenged late Tsarism's aesthetic, political and social norms. In the Bolshevik era artists such as Tatlin, Popova and Rodchenko put avant-garde art at the service of the Revolution by applying modernist aesthetics to the production of textile designs, ceramics, posters and illustrations for the benefit of the working class. This illustrated lecture will explore the social, political and aesthetic debates that underlay this vibrant period in Russian and Soviet art and design.
The Society for Co-operation in Russian and Soviet Studies (SCRSS) is a unique educational centre, based in London, which aims to promote knowledge of the culture, language and history of Russia and the former Soviet Union.
The Society caters for students, teachers, researchers, designers and all other individuals interested in Russia. It offers a library, archive and unique photographic collection. It also organises lectures, film shows and exhibitions, and facilitates professional contacts between individuals and organisations in Russia and the United Kingdom. The Society is a registered charity.
http://www.scrss.org.uk/cinemaevents.htm#avantgarde
Friday, 25 November 2011
EXHIBITION: Chagall and the Russian Avant-Garde
The Art Gallery of Ontario is bringing the magic, whimsy and wonder of Marc Chagall to Toronto with a major exhibition organized by the Centre Pompidou. Chagall and the Russian Avant-Garde: Masterpieces from the Collection of the Centre Pompidou, Paris, features the lush, colourful, and dreamlike art of Marc Chagall alongside the visionaries of Russian modernism, including Wassily Kandinsky, Kasimir Malevich, Natalia Goncharova, Sonia Delaunay, and Vladimir Tatlin.
Chagall and the Russian Avant-Garde comprises 118 works from a broad array of media, including painting, sculpture, works on paper, photography, and film. The artwork is drawn entirely from the collection of the Centre Pompidou and features 32 works by Chagall and eight works by Kandinsky.
Marc Chagall The Blue Circus (1950)
Marc Chagall à Paris (French language workshop)Durant la période d’entre-deux-guerres, Marc Chagall s’installe à Paris et travaille pour Ambroise Vollard, le grand marchant d’art. Les participants exploreront l’influence du surréalisme et du classicisme français sur l’artiste, mais aussi ses sources d’inspirations : le cirque, la Bible hébraïque et la poésie.
8 and 9 December, 10am - 1pm
Members $100 | Public $165
Additional materials fees may apply. Please note: this workshop will be taught in French.
http://www.ago.net/chagall-and-the-russian-avant-garde
Thursday, 3 November 2011
CONF: Lissitzky Space at Van Abbe Museum, Eindhoven
On November 17th the Van Abbemuseum in Eindhoven is holding a conference entitled "Lissitzky Space: New Materialist Experiments" to coincide with their Lissitzky+ project.
Program:
13:00 - 13:15 Welcome
Annie Fletcher (Curator at Van Abbemuseum)
13:15 - 13:30 Opening: New Materialism
Iris van der Tuin (Utrecht University)
13:30 - 14:00 Planes, Movement, and Space
Linda Boersma (Utrecht University)
Lissitzky’s concept of visual and tangible forms as petrified moments in time is profoundly affected by Malevich’s Suprematism. According to Malevich, all visible (and invisible) entities are defined by a continuous and unpredictable process of movement and change. In fact, it is primarily this idea of transformation and change that separates the work of Russian avant-garde from that of their artistic counterparts: the artists associated to The Style.
14:00 - 14:30 Projects for Affirming the New
Andrej Radman (Delft University of Technology)
Deleuze and Guattari go beyond Worringer's two aesthetic modes from his Abstraction and Empathy (1907), where the former refers to the pure abstraction of flat geometric forms (Egypt) and the latter to the naturalistic and representative empathy. They counter-effectuate both these modes to arrive at their very condition which lies in a more radical potentiality. This is by no means a third way. It is a spatium (smooth space) or the movement from which all bodies or matters unfold. In the words of El Lissitzky: “Every form is the petrified snapshot of a process. Therefore, work is a station in evolution and not its petrified aim.” This is the gist of reciprocal determination of the virtual and actual, where the material cause is tied to the incorporeal effect which, in turn, operates as a quasi-cause.
14:30 - 15:15 break for exhibition Lissitzky +
Willem Jan Renders (project leader Lissitzky+ at Van Abbemuseum)
15:15 - 15:45 Lissitzky's Infinite Interiority: Axonometrics and the Feeling of Space
Rick Dolphijn (Utrecht University)
Introducing pangeometrics or axonometrics into the occidental abstract visual arts, the work of El Lissitzky offers us a Baroque interiority as a radical alternative to the focus on exteriority that dominated the arts for so long. Introducing a mannerism into abstraction he offered us an affective notion of space that proves to be of great importance to architecture today. In the work of Spuybroek for instance, we recognize the "sympathy for things" that refuses hierarchy, the facade and the cold modernism that marked the 20th century.
15:45 - 16:30 Lissitzky: New Materialism and Diagrammatic Living.
Jondi Keane (Deakin University, Melbourne)
Lissitsky's spatial and architectural work anticipates the contemporary fascination with expanded fields of activity that have resulted in transdisciplinary approaches to research and the role of practice-led research. This paper will discuss Lissitzky's suprematist perspective in relation to contemporary practices - under the rubric of the "diagram" - that re-imagine and enact the relationship between the built surround and embodied cognition. Lissitzky's work will serve as the starting point for a discussion of contemporary practitioners and theorists working across philosophy, cognitive science and built environment in order to draw out, through the act of diagramming, life on new terms.
16:30-17:00 Work in progress; Work in process and plenary discussion
Piet van de Kar (independent sculptor) and all other speakers of the day
During the plenary discussion a pictorial essay will be shown consisting of more than 200 sketches on body and space experiments with the processual and oscillatory encounter with any artwork.
Contributors:
Linda Boersma is assistant professor of Modern and Contemporary Art at the University of Utrecht. Her research interests and publications range from Russian avant-garde to contemporary art. As assistant curator she worked at The Stedelijk Museum Amsterdam for the Malevich exhibition in 1988, and in 1990-1991 at Witte de With Center for Contemporary Art in Rotterdam. In 2010, she was a visiting professor at Rutgers University.
Rick Dolphijn is assistant professor of cultural theory at Utrecht University. His research focuses on new materialism. He has published in journals likeDeleuze Studies, Collapse, Fast Capitalism and Inflexions. With Iris van der Tuin he wrote New Materialism which will be published by the Open Humanities Press soon.
Annie Fletcher is curator at the Van Abbemuseum, Eindhoven. Recent exhibitions include solo presentations of Jo Baer, Jutta Koether, Deimantas Narkevicius and the long term project, ‘Be[com]ing Dutch’ with Charles Esche during 2006 – 2009. She is a tutor at De Appel in Amsterdam. From 2005 - 2010 she was the co-founder and a director with Frederique Bergholtz of the rolling platform ‘If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution’ (www.ificantdance.org).
Piet van de Kar graduated from the Hogeschool voor de Kunsten, Utrecht, the Netherlands in 1988, and has since then been working an independent sculptor in Amsterdam. He also works as a lecturer at Foam, photography museum in Amsterdam. In his work, he studies the ‘soul’ of a sculpture. He sees a sculpture as a body, and works with unity/oneness, complexity, and intensity as his yardsticks.
Jondi Keane is an arts practitioner, critical thinker and senior lecturer in the Image at Deakin University who publishes on issues of embodiment, practice-led research and experimental architecture and produces site-specific projects, performative-installations and art-science experiments.
Andrej Radman is assistant professor of Architecture at the Delft School of Design, TU Delft. His forthcoming Gibsonism: Ecologies of Architecture addresses the ecological approach to perception by psychologist James Jerome Gibson and his unwitting affiliation with Deleuze’s radical anti-representationalism. Radman is also a practicing architect, a laureate of the Croatian Architects Association Award for Housing Architecture.
Willem Jan Renders Studied art history at Utrecht University followed up by research periods in Florence and Rome. Respectively, he was head of communication at Museum Boijmans van Beuningen (Rotterdam), Kunsthal (Rotterdam) and now Van Abbemuseum (Eindhoven). He is the project leader of Lissitzky + and and manager Public Programs Van Abbemuseum.
Iris van der Tuin is assistant professor of Gender Studies at Utrecht University. She is working on the project 'The Material Turn in the Humanities' for which she has been awarded a VENI grant by the Netherlands Organisation for Scientific Research (NWO). Van der Tuin has published in journals such as Hypatia: A Journal of Feminist Philosophy.
17 November 2011 13:00 - 17:00
Convened by Rick Dolphijn and Iris van der Tuin (Utrecht University)
Supported by Deakin University (Melbourne), Onderzoeksschool voor Geschiedenis en Cultuur, Departement Media en Cultuurwetenschappen en Graduate Gender Programme (Utrecht University) and the Van Abbemuseum (Eindhoven)
LISSITZKY+
19/09/2009 - 25/03/2012
Location: Van Abbemuseum
http://www.vanabbemuseum.nl/en/browse-all/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=489&cHash=1f67df1b4d
The Van Abbemuseum hosts one of the world’s biggest and most important collections of work by the Russian artist El Lissitzky (1890-1941). His work, his ideas and his artistic objectives correspond closely with the museum’s own engagement with experimentation, radical creativity and public participation. The Lissitzky+ project will shed new light on Lissitzky’s oeuvre. An entire floor of the museum’s new building will be rearranged for the presentations.
Program:
13:00 - 13:15 Welcome
Annie Fletcher (Curator at Van Abbemuseum)
13:15 - 13:30 Opening: New Materialism
Iris van der Tuin (Utrecht University)
13:30 - 14:00 Planes, Movement, and Space
Linda Boersma (Utrecht University)
Lissitzky’s concept of visual and tangible forms as petrified moments in time is profoundly affected by Malevich’s Suprematism. According to Malevich, all visible (and invisible) entities are defined by a continuous and unpredictable process of movement and change. In fact, it is primarily this idea of transformation and change that separates the work of Russian avant-garde from that of their artistic counterparts: the artists associated to The Style.
14:00 - 14:30 Projects for Affirming the New
Andrej Radman (Delft University of Technology)
Deleuze and Guattari go beyond Worringer's two aesthetic modes from his Abstraction and Empathy (1907), where the former refers to the pure abstraction of flat geometric forms (Egypt) and the latter to the naturalistic and representative empathy. They counter-effectuate both these modes to arrive at their very condition which lies in a more radical potentiality. This is by no means a third way. It is a spatium (smooth space) or the movement from which all bodies or matters unfold. In the words of El Lissitzky: “Every form is the petrified snapshot of a process. Therefore, work is a station in evolution and not its petrified aim.” This is the gist of reciprocal determination of the virtual and actual, where the material cause is tied to the incorporeal effect which, in turn, operates as a quasi-cause.
14:30 - 15:15 break for exhibition Lissitzky +
Willem Jan Renders (project leader Lissitzky+ at Van Abbemuseum)
15:15 - 15:45 Lissitzky's Infinite Interiority: Axonometrics and the Feeling of Space
Rick Dolphijn (Utrecht University)
Introducing pangeometrics or axonometrics into the occidental abstract visual arts, the work of El Lissitzky offers us a Baroque interiority as a radical alternative to the focus on exteriority that dominated the arts for so long. Introducing a mannerism into abstraction he offered us an affective notion of space that proves to be of great importance to architecture today. In the work of Spuybroek for instance, we recognize the "sympathy for things" that refuses hierarchy, the facade and the cold modernism that marked the 20th century.
15:45 - 16:30 Lissitzky: New Materialism and Diagrammatic Living.
Jondi Keane (Deakin University, Melbourne)
Lissitsky's spatial and architectural work anticipates the contemporary fascination with expanded fields of activity that have resulted in transdisciplinary approaches to research and the role of practice-led research. This paper will discuss Lissitzky's suprematist perspective in relation to contemporary practices - under the rubric of the "diagram" - that re-imagine and enact the relationship between the built surround and embodied cognition. Lissitzky's work will serve as the starting point for a discussion of contemporary practitioners and theorists working across philosophy, cognitive science and built environment in order to draw out, through the act of diagramming, life on new terms.
16:30-17:00 Work in progress; Work in process and plenary discussion
Piet van de Kar (independent sculptor) and all other speakers of the day
During the plenary discussion a pictorial essay will be shown consisting of more than 200 sketches on body and space experiments with the processual and oscillatory encounter with any artwork.
Contributors:
Linda Boersma is assistant professor of Modern and Contemporary Art at the University of Utrecht. Her research interests and publications range from Russian avant-garde to contemporary art. As assistant curator she worked at The Stedelijk Museum Amsterdam for the Malevich exhibition in 1988, and in 1990-1991 at Witte de With Center for Contemporary Art in Rotterdam. In 2010, she was a visiting professor at Rutgers University.
Rick Dolphijn is assistant professor of cultural theory at Utrecht University. His research focuses on new materialism. He has published in journals likeDeleuze Studies, Collapse, Fast Capitalism and Inflexions. With Iris van der Tuin he wrote New Materialism which will be published by the Open Humanities Press soon.
Annie Fletcher is curator at the Van Abbemuseum, Eindhoven. Recent exhibitions include solo presentations of Jo Baer, Jutta Koether, Deimantas Narkevicius and the long term project, ‘Be[com]ing Dutch’ with Charles Esche during 2006 – 2009. She is a tutor at De Appel in Amsterdam. From 2005 - 2010 she was the co-founder and a director with Frederique Bergholtz of the rolling platform ‘If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution’ (www.ificantdance.org).
Piet van de Kar graduated from the Hogeschool voor de Kunsten, Utrecht, the Netherlands in 1988, and has since then been working an independent sculptor in Amsterdam. He also works as a lecturer at Foam, photography museum in Amsterdam. In his work, he studies the ‘soul’ of a sculpture. He sees a sculpture as a body, and works with unity/oneness, complexity, and intensity as his yardsticks.
Jondi Keane is an arts practitioner, critical thinker and senior lecturer in the Image at Deakin University who publishes on issues of embodiment, practice-led research and experimental architecture and produces site-specific projects, performative-installations and art-science experiments.
Andrej Radman is assistant professor of Architecture at the Delft School of Design, TU Delft. His forthcoming Gibsonism: Ecologies of Architecture addresses the ecological approach to perception by psychologist James Jerome Gibson and his unwitting affiliation with Deleuze’s radical anti-representationalism. Radman is also a practicing architect, a laureate of the Croatian Architects Association Award for Housing Architecture.
Willem Jan Renders Studied art history at Utrecht University followed up by research periods in Florence and Rome. Respectively, he was head of communication at Museum Boijmans van Beuningen (Rotterdam), Kunsthal (Rotterdam) and now Van Abbemuseum (Eindhoven). He is the project leader of Lissitzky + and and manager Public Programs Van Abbemuseum.
Iris van der Tuin is assistant professor of Gender Studies at Utrecht University. She is working on the project 'The Material Turn in the Humanities' for which she has been awarded a VENI grant by the Netherlands Organisation for Scientific Research (NWO). Van der Tuin has published in journals such as Hypatia: A Journal of Feminist Philosophy.
17 November 2011 13:00 - 17:00
Convened by Rick Dolphijn and Iris van der Tuin (Utrecht University)
Supported by Deakin University (Melbourne), Onderzoeksschool voor Geschiedenis en Cultuur, Departement Media en Cultuurwetenschappen en Graduate Gender Programme (Utrecht University) and the Van Abbemuseum (Eindhoven)
19/09/2009 - 25/03/2012
Location: Van Abbemuseum
http://www.vanabbemuseum.nl/en/browse-all/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=489&cHash=1f67df1b4d
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