Objects and Images in Art Practice (Weekend)
In this course we explore the ways we perceive, interact with and make things and how objects and their images have become separated. To do this we examine the way artists have influenced ‘the way things are’ and the radical impact of modern, post-modern and contemporary artistic movements...
Taught by: Anke Hennig.
In this course we explore the ways we perceive, interact with and make things and how objects and their images have become separated. To do this we examine the way artists have influenced ‘the way things are’ and the radical impact of modern, post-modern and contemporary artistic movements.
Each workshop is divided into three parts. The first takes an object and looks at how a particular moment in 20th-century history has created and shaped it. The toaster, for instance, was the unique coming together in a capitalist society of electricity, consumerism, domesticity and big corporations and in turn generated a demand for a form of bread that worked in toasters. No such object existed in socialist eastern European societies.
The second part is a critical text reflecting on the above; for instance, in the late 1950s there was a debate in the Soviet Union about ‘kitchens’ after an American trade exhibition displayed kitchen equipment that purported to offer a superior American way of life but which in fact reflected the role of women in American society and the ‘stay at home’ housewife.
The third part looks at the way artists have critically examined these objects and the values they embody; for instance, the use of electrical kitchen appliances as objects of torture (Mona Hatoum). In the course of this, objects and their appearance have become separate entities which depend on each other, have lives of their own and where appearance can dominate, alter and even create new objects.
Please note: This course is for students aged 18 and older
London. She is chair of the international research group Retro-Formalism (www.retroformalism.net) and co-founder of the transnational research
platform Speculative Poetics (www.Spekulative-Poetik.de). She holds a PhD from Freie Universität Berlin and has been a Fulbright Fellow at New York University.She is author of 'Soviet Cinematic Dramaturgy’ and, in cooperation with Armen Avanessian, co-author of 'Present Tense. A
Poetics’ and ‘Metanoia. Speculative Ontology of Language’.
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