\nArt and Presence:(video \/part 1)<\/a><\/p>\n
Robert Pfaller<\/a> discussion moderated by The DUM Association of Artists and the Igor Zabel Association for Culture and Theory invite you to a series of lectures and a discussion on the questions of how we can (still) establish and preserve the autonomy and sovereignty of art in contemporary society and what that actually means. Two lecturers, Jonathan Clark and Robert Pfaller, will, each employing his own philosophical and theoretical toolbox, discuss on why and how to think and talk, in theory and in practise, about the possibilities of autonomy and sovereignty and the related emancipatory potential in art today.<\/p>\n Through the intersection of the philosophy of art, phenomenology, critical theory, and psychoanalysis we will direct our attention at the most fundamental ways of how art operates and affects us; from how art relates to our sense of temporal orientation in the world, till questions on relation between art’s matter, meaning, and signification will be discussed with the intention to get a better understanding of the efficiency of art \u2013 and, in the last instance, of its sovereignty.<\/p>\n The event will be held in English; discussion will be moderated by Gregor Moder.<\/p>\n 10.00\u201310.30: welcome coffee<\/p>\n 10.30\u201311.30 11.30-12.30 Dance, like maybe no other kind of art, may seduce us to sharply oppose how art matters to its meaning: art matters where it does not mean anything, we may thus think (to put it into a slightly Lacanian formula); and when it means something it does not matter anymore.<\/p>\n This idea appears to underlie the well-known pun by the German artist Horst Janssen: \u201cK\u00e4the Kollwitz meant well; Goya was good.\u201d Meaning something appears as a detriment to art’s sovereignty; a slavish subjection to some foreign purpose, whereas art may only come into its splendor and dignity when it serves no other purpose than its own. A crucial political point may be at stake here: Since only art that does not serve a foreign purpose is able to remind human beings of the fact that they, as well, do not always have to \u201cfunction\u201d, but can just behave as their own purposes \u2013 in Georges Bataille’s words: that they can enjoy sovereignty.Yet this first theoretical approach can be improved by introducing the notion of form. In a the first step, form appears to be opposed to both, matter, and meaning. Since form is pure appearance. Yet, as can be demonstrated, this is precisely the reason why, in art, form not only matters, but even (against all Aristotelian assumptions) is on the side of matter. And if art’s matter excludes meaning, it still is not without signification. Art signifies, even if nobody means it. By focusing on art’s signification, instead of focusing on its meaning, and instead of just insisting on its materiality, we will get a better understanding of the efficiency of art \u2013 and, in the last instance, of its sovereignty.<\/p>\n 12.30\u201314.00 Dr. Jonathan Owen Clark is an artist and academic with research interests in philosophical aesthetics, cultural and critical theory, the philosophy of history and historiography, performance and dance studies, and musicology. He is currently Head of Research at Trinity Laban Conservatoire of Music and Dance in London (UK), where he leads several research programs in aesthetics and creative practice. Previously he had positions at Brunel University London and at the International Centre for Music Studies, University of Newcastle-upon-Tyne. He publishes in: Critical Horizons, Contemporary Aesthetics, Opera Quarterly, among many others. Within philosophical aesthetics J. O. Clark explores the artwork and its autonomy or uniqueness, combining different approaches involving perception, presence, meaning and historicity. Dr. Robert Pfaller is a professor of philosophy and cultural theory at the University of Art and Industrial Design in Linz, Austria. He is founding member of the Viennese psychoanalytic research group \u201cstuzzicadenti\u201d. Amongst his publications are: The Pleasure Principle in Culture: Illusions without Owners (Verso, 2014), Umazano, sveto in \u010disti um (Analecta, 2009), Wof\u00fcr es sich zu leben lohnt: Elemente materialistischer Philosophie (Fischer, 2011). In 2007 he received The Missing Link award for connecting psychoanalysis with other scientific disciplines, by Psychoanalytisches Seminar Z\u00fcrich (PSZ), and in 2015 Best Book Award by the American Board and Academy of Psychoanalysis (ABAPsa). More: http:\/\/www.robert-pfaller.com\/<\/p>\n Dr. Jonathan Owen Clark: What are Art Schools For?<\/p>\n Friday, 27 May 2016, 17.00, AGRFT (Velika gledali\u0161ka predavalnica), Nazorjeva 3, Ljubljana<\/p>\n This talk will seek to accomplish two things. Firstly it examines how the discipline of critical pedagogy interfaces directly with the \u201cart school\u201d, broadly construed as those small specialist institutions providing training in music, fine art, drama, dance, and design. This first section will explore how neoliberalist policy within higher education has directly and adversely impacted such institutions. Secondly, the talk will seek to show conversely how these same institutions have a unique, perhaps autonomous role in not only shaping discourses within critical pedagogy, but also raising awareness of the ethical and societal imperative for a return to an \u201caesthetic education\u201d. I will argue that it is correct, as others have, to situate this type of aesthetic pedagogy within a framework of aesthetic experience, the expansion of perceptual awareness, and the changes in a person’s worldview that this expansion affords. But it is vital that an aesthetic education also addresses the specifically political dimensions of perception. Art, and art schools in particular, can be the centre of a utopian pedagogy which affords the possibility of the subversion and transformation of what in society comes to be perceivable in the first place, and in doing so, provide perturbations to what one leading proponent of critical pedagogy has termed \u201cdistributions of the sensible\u201d.<\/p>\n Dr. Gregor Moder is a researcher at Department of Philosophy at Univeristy of Lubljana, currently lecturing philosophy of art at the Academy of Theatre, Radio, Film and Television in Ljubljana, recently his book titled :Komi\u010dna ljubezen: Shakespeare, Hegel, Lacan has been published by DTP, 2016, Ljubljana).<\/p>\n The programme is organized by DUM Association of Artists and Igor Zabel Association for Culture and Theory, with the support by MGML \u2013 Museum and Galleries of Ljubljana and AGRFT \u2013 Academy of Theatre, Radio, Film and Television.<\/p>\n","protected":false},"excerpt":{"rendered":" Art and Presence: Jonathan Owen Clark, How Art Matters. 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<\/a><\/p>\n
\nHow Art Matters. And How It Means. (video \/part 2)<\/a>
\n![\"\"](\"https:\/\/dum-club.si\/wp-content\/uploads\/2016\/08\/Robert_Pfaller-512x256.jpg\")
<\/a><\/p>\n
\nGregor Moder\u00a0(video \/part 3)<\/a>\u00a0(video \/ part 4)<\/a>
\n![\"\"](\"https:\/\/dum-club.si\/wp-content\/uploads\/2016\/08\/disussion-512x256.jpg\" "\\"https:\/\/www.dailymotion.com\/video\/x4el58m\\"")
<\/p>\n
\nDr. Jonathan Owen Clark: Art and Presence
\nOver the last two hundred years, many art theorists have proposed various ideas about the uniqueness or autonomy of art, or its separation from other domains of human activity. Many of these ideas have focused on how art does this by undermining stable and habitual systems of meaning. However, somewhat less attention has been given to another difference about art; how it is a communicative system that operates through perception and perceptual media. Using a range of examples drawn from both historical and contemporary art, including the recent recreation of the Roman arch from Palmyra, this talk will examine how art, as well as generating and subverting meaning, also matters to us in more fundamental ways. This will frame a discussion of how art can affect us viscerally and somatically, how it relates to our sense of temporal orientation in the world, and how it involves our intersubjective relation not only to others within this world, but to our historical predecessors as well. The talk will conclude with a discussion of how these perceptual foundations of art and its reception matter more than ever in an increasingly globalized and mediatized world.<\/p>\n
\nRobert Pfaller: How Art Matters. And How It Means.
\n\u201c…coins which have lost their embossing and are now considered as metal and no longer as coins.\u201d (Friedrich Nietzsche)<\/p>\n
\nDiscussion<\/p>\n
\nMore: http:\/\/trinitylaban.academia.edu\/JonathanOwenClark<\/p>\n
\nHe is known for his concept of \u201cinterpassivity\u201d. His work explores and explains the hidden cost of our contemporary approach to belief, illusion, and pleasure (in life, culture, art, sports, etc.) and makes us see why neoliberal ideology in spite of its many clear dysfunctions persist almost undisturbed.<\/p>\n