Shimmering opens in just under two hours and here is the final schedule. You can follow the day’s events on Twitter on the hashtag #SWConf

Shimmering opens in just under two hours and here is the final schedule. You can follow the day’s events on Twitter on the hashtag #SWConf

Conference Panels

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Vendosculant / Hannah Sawtell 2012 / Image courtesy: the artist and VIlma Gold

We can now confirm the following schedule for Shimmering World:

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10.00 – Introduction from conference organisers Paul Clinton & Luke Healey

First session (10.10-12.00)

Keynote – Dr. Tamara Trodd (University of Edinburgh)

Ian Rothwell (PhD candidate, University of Edinburgh) – ‘Bad as in Bad: Collapsing Production Values in Thomas Ruff’s Jpegs’

Harry Sanderson (artist, Arcadia Missa) – ‘In Detail: High-Definition Amplified and Amputated’

Daniel Rourke (PhD candidate, Goldsmiths College)– ‘“I like the glow that flashes red like our Krypton sun. But not this irritating noise. Make way.”’

12.00 – Break

Second session (12.20-14.10)

Keynote – David Panos (Hollybush Gardens)

Hannah Ellul (PhD candidate, Goldsmiths College) – ‘Picturing Political Agency: Anja Kirschner and David Panos’

Melissa Gronlund (co-editor, Afterall) – ‘Polyphony: The Dialogic and the Digital’

Dr. Cadence Kinsey (postdoctoral fellow, University College London) – ‘Semi-Automatic Images: from HD to materiality’

14.10 –Lunch (not provided)

Third session (15.00-17.10)

Keynote – Ed Atkins (Cabinet/Goldsmiths College)

Linda Stupart (PhD candidate, Goldsmiths College/associate lecturer, London College of Communication) – ‘Old Objects/New Materialisms’

Sheena Culley (PhD candidate, London Graduate School) – ‘The Photography of David LaChapelle: Reflections on Skin’

Shama Khanna (curator, flatness.eu) – ‘The Resistance of the Immaterial Image’

Kathy Noble (curator, Wysing Arts Centre) – ‘A Material World: The Late Late-Capitalist Body’’

5.10 – Break

5.30 – Concluding Roundtable with keynote speakers Ed Atkins, David Panos and Dr. Tamara Trodd

6.00 – End of conference

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 Hannah Sawtell’s contribution TBA

 Event is free but booking is essential: tickets available at Eventbrite

 

Tickets now available

Still from ‘Ultimate Substance’ / Anja Kirschner and David Panos 2012 / 34 mins / 16:90 HD Video / Courtesy: the artists and Hollybush Gardens, London.

Shimmering World is now on Eventbrite. Click here for tickets. 

Confirmed list of conference participants

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Still from ‘Ultimate Substance’ / Anja Kirschner and David Panos 2012 / 34 mins / 16:90 HD Video / Courtesy: the artists and Hollybush Gardens, London.

Shimmering World: gloss, sheen and the politics of production values in contemporary culture

Keynote speakers: 

Ed Atkins (Cabinet/Goldsmiths College), David Panos (Hollybush Gardens), Hannah Sawtell (Vilma Gold/University of Reading) and Dr. Tamara Trodd (University of Edinburgh).

Speakers:

Sheena Culley (PhD candidate, London Graduate School)

Hannah Ellul (PhD candidate, Goldsmiths College)

Melissa Gronlund (co-editor, Afterall)

Shama Khanna (curator, flatness.eu)

Dr Cadence Kinsey (postdoctoral fellow, University College London)

Kathy Noble (curator, Wysing Arts Centre)

Ian Rothwell (PhD candidate, University of Edinburgh)

Daniel Rourke (PhD candidate, Goldsmiths College)

Harry Sanderson (artist, Arcadia Missa)

Linda Stupart (associate lecturer, London College of Communication)

Conference organisers:

Paul Clinton and Luke Healey.

Call for Papers

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Still from ‘Even Pricks’ / Ed Atkins 2013 / 8 minutes / 16:10 HD video with 5.1 surround sound / Courtesy the artist, Cabinet Gallery, London, and Isabella Bortolozzi Galerie, Berlin

Shimmering World: gloss, sheen and the politics of production values in contemporary culture

Confirmed speakers: Ed Atkins (Cabinet/Goldsmiths), David Panos (Hollybush Gardens), Hannah Sawtell (Vilma Gold/University of Reading) and Tamara Trodd (Uni of Edinburgh).

Deadline extended to 21st January 2014

In 2007 the critic Jan Verwoert claimed that ‘the dead elegance of the cibachrome print’ had recently been ‘replaced by the grungy live look of real­time video footage as the signature aesthetic of the new decade’. While lo-fi work still abounds in all fields of artistic production, the half-decade that has elapsed since Verwoert’s remark has also seen the emergence of a distinctive high-­specification, high-­gloss aesthetic across a range of practices which have caught the attention of contemporary art’s commentariat: Panos & Kirchner, Elad Lassry and Ed Atkins are models in this regard.

We welcome this invitation to explore the possibility that highly polished modes of production, including but not limited to the digital, can be and are being used to actively produce critical effects and affects. The critical effects of works of art concerned with ‘production values’ are frequently overlooked: a high degree of resolution or finish has perhaps most frequently been associated with superficiality, seduction and manipulation of the masses, with agency placed firmly in the hands of those makers or readers who seek to rough up such seductive and glossy surfaces, exposing the dialectical formations beneath.

Whilst still out of the reach of many artists for whom use of cheap materials is an economic necessity, the availability of pirated software and affordable digital cameras means that high production values are not solely reserved for those who show in blue chip galleries. We ask whether there is a certain exclusivity and inaccessibility in the embrace of barely legible, lo-fi images and what risks might be involved in turning towards greater legibility. We ask whether glossy surfaces might produce affects whose complexity is often elided: Steven Connor, for instance, explicitly connects the ‘glossy finish of the photograph’ to Roland Barthes’ concept of the photographic punctum. We ask whether artistic approximations of high-spec commercial image production technologies might produce a disjunctive or defamiliarising effect in relation to those very technologies, perhaps pointing the way towards a more nuanced picture of the cultural politics of production values than is usually offered by mass culture’s most vocal advocates and antagonists. Or do such practices simply constitute a form of empty posturing that commodifies political dissent and places it in the service of the market, such as when Jacques Ranciere denounces ‘stereotypes that critique stereotypes, giant stuffed animals that denounce our infantilization, media images that denounce the media, spectacular installations that denounce the spectacle, etc.’?

We are particularly interested in papers which address contemporary cultural interest in high-­specification visual production and the cultural politics of production values more broadly, from both sides of the argument. Approaches may include:

* Papers which write with and from the position of the art object, including papers influenced by the new Object Oriented Ontologies.

* Queer and feminist considerations of the sexualisation and gendering of superficiality.

* Discussions of the relationship between corporeal messiness and its mediation by the clean and smooth digital image.

* Considerations of the tacit dissemination of taste and value judgements in art criticism.

* Papers which track the historical development of Marxist and post­Marxist criticism’s relationship with the ‘seductive image‘.

* Papers which work through the affective complexities of resolution and gloss in the production and reading of images.

Conference organisers: Paul Clinton & Luke Healey

Please send abstracts of no more than 300 words to ShimmeringWorldConference@gmail.com

April 25, 2014

Twitter: @shimmeringconf

University of Manchester, April 25 2014

https://twitter.com/ShimmeringConf

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