Invited speakers and tutors

Informacija

Paskelbta: 2017 kovo 01, Trečiadienis 08:05

INVITED SPEAKERS:

Dr Joanne Morra is a Reader in Art History and Theory at Central Saint Martins (CSM), University of the Arts London. She runs The Doctoral Platform at CSM, and is the Founding Principal Editor of Journal of Visual Culture. She has published widely on modern and contemporary art, in, for instance, New Formations, Art History, Journal of Modern Art, What is Research in the Visual Arts (eds. Holly & Smith). Joanne has edited many collections, including ‘The Limits of Death’ (MUP 2000), ‘The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future’ (MIT 2006), ‘Visual Culture: Critical Concepts in Media and Cultural Studies’ (4 volumes, Routledge 2006), ‘Acts of Translation with Bal’ (Sage 2007). Recent activities include the exhibition ‘Saying It’ (Freud Museum London 2012), ‘Intimacy Unguarded: Autobiography, Biography, Memoir’ (with Talbot, 2013), ‘50 Years of Art and Objecthood’ (with Green, Sage 2017), and ‘Inside the Freud Museums: History, Memory and Site-Responsive Art’ (I.B. Tauris 2017).

Dr Marquard Smith is Programme Leader for the MA Museums & Galleries in Education at UCL Institute of Education. He is an academic, curator, commissioner, programmer, and Founder and Editor-in-Chief of Journal of Visual Culture. Recent exhibitions curated include, ‘The Global Archive’ (London, 2012), ‘Jordan McKenzie: An Englishman Abroad’ (Istanbul, 2014), and most recently ‘How to Construct a Time Machine’ (Milton Keynes, 2015). Marq writes on artistic research, practice-based research, archives, arts education, and most recently on experimentally in 'MaHKUscript: Journal of Fine Art Research'. He is author, editor, and co-editor of over 20 books and themed issues of journals including ‘What is Research in the Visual Arts?’ (Yale UP, 2008), ‘Visual Culture Studies’ (Sage, 2008), ‘The Erotic Doll: A Modern Fetish’ (Yale UP, 2013), ‘The Prosthetic Impulse’ (The MIT Press, 2005). Marq’s previous academic roles include: Head of the School of Art and Design History, Kingston University, London; Research Leader and Head of Doctoral Studies in the School of Humanities at Royal College of Art; and Founding Director of the Institute for Modern and Contemporary Culture at University of Westminster, London.

Prof Dave Beech is the Head of Research at Valand Academy, University of Gothenburg. He is an artist in the collective Freee, as well as a writer, curator and critical thinker. Dave Beech's work had been exhibited at the Istanbul Biennial and the Liverpool Biennial. He was part of the major research project The Former West. Beech has written widely on the politics of art, as well as the legacy of the Avant-Garde and Conceptualism. Contributing articles to various books and magazines and being a founding editor of the journal Art and the Public Sphere he has also contributed to debates on participation and art’s publics.

Prof Adrian Rifkin works with film and cinema, classical and popular music, canonical art and mass imagery, literature and pornography. Until recently he was Professor of Art Writing at Goldsmiths. Rifkin's full biography, many of his essays, as well as his blog can be found on his website, where there are essays on music, queer theory, artists' work and so forth.He completed two exhibitions of the life and works of the composer Cornelius Cardew, together with Grant Watson, at MuHKA, Antwerp and The Drawing Room, and is involved in a range of conferences on art education and radical pedagogy in the UK – a contribution to this can be found on eflux Journal No 14.

Dr Kęstas Kirtiklis is associate professor at the Institute of Philosophy and Faculty of Communication, Vilnius University. He is also a vice-chair of Philosophy of Communication section at the European Communication Research and Education Association (ECREA). His research areas include philosophy of social sciences and humanities, philosophy and theory of communication.

TUTORS:

Dr Sofia Pantouvaki is a scenographer and Professor of Costume Design at Aalto University. Her background includes over 80 designs for theatre, film, opera and dance productions in Europe, as well as numerous curatorial and exhibition design projects. She is a co-author of ‘History of Dress – The Western World and Greece’ (2010), editor, ‘Yannis Metsis – Athens Experimental Ballet’ (2011), and a co-editor of ‘Presence and Absence: The Performing Body’ (2014). She is editor of the academic journal ‘Studies in Costume and Performance’, project leader for ‘Visual Aspects of Performance Practice’ and the Vice-Head of Research for OISTAT Costume Design Group. She was the Costume Curator for World Stage Design (2013), and Associate Curator for ‘Costume in Action’ (WSD2013). At Aalto University, Sofia founded ‘Costume in Focus’, the first research group on performance costume. She is Principal Investigator of the research project ‘Costume Methodologies’ funded by the Academy of Finland (2014-2018). Sofia has taught and lectured internationally. Her recent research focuses on performance costume, fashion and costume curating, the potential of new materials and embodied technologies in costume practice, and clothing in the concentration camps of the Second World War.

Konstantinas Bogdanas studied painting at the State Institute of Art (now Vilnius Academy of Arts). He currently lectures on visual art at the Academy. Since 2012, he has supervised doctoral students’ practice-based research. Bogdanas has been exhibiting since 1986. In his artistic career, he focuses on concept-based artwork, and combines different media (objects, installations, performances, photographs), the most important of which, however, is the medium of language. Formally speaking, Bogdanas is mainly concerned with questions of identity. He questions abstract notions, such as art, nation and perception, as well as the personal understanding of the self. The key words in his work are (non)coincidence, (in)adequacy, (un)necessity, (non)fruition, (un)usefulness, (non)understanding, (in)capability. The most important, though far from obvious key words, are artificiality and vulnerability. An element of humour is present, only it is not so striking; it always succumbs to existential doubt. His ‘poste restante’ posture of silent waiting and non-involvement should also be conceived as a conceptual work of art. 

NAC Academic Board members will also contribute to the course.