Arne de Boever
Claire Fontaine
Peter Friedl
Sharon Hayes
Maria Muhle
Martin Plot
Kristin Ross
Evan Calder Williams
Jan Völker
Emiliano Battista is the translator of Jacques Rancière's Althusser's Lesson (Continuum 2011) and Film Fables (Berg 2005), as well as the editor, with Vanessa Brito, of Becoming Major/ Becoming Minor (Jan van Eyck 2011), collection of essays on the work of Gilles Deleuze. He was a researcher at the Jan van Eyck Academie, where he led a research project on the role of the aesthetic in Rancière's work, particularly in his polemic with Badiou and Lyotard. He a specialist of eighteenth-century aesthetic theory, and is (still!) on the verge of completing his dissertation, The Creation of Aesthetics, at K.U. Leuven (Belgium).
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Arne De Boever did his doctoral studies at Columbia University in New York and teaches American Studies in the School of Critical Studies and the MA Program in Aesthetics and Politics at the California Institute of the Arts. He has published articles on literature, film, and critical theory and is one of the editors of Parrhesia: A Journal of Critical Philosophy. His current research focuses on biopolitics and the novel.
At CalArts, he tested the limits and limitations of aesthetic education by putting together an interdisciplinary course cluster on bioart for the Fall 2010. During the same semester, he gave a lecture titled “The Philosophy of (Aesthetic) Education” at PNCA, in which he dealt in part with Bernard Stiegler and Jacques Rancière’s theories of education. For more info, click here.
Parrhesia: A Journal of Critical Philosophy
Interdisciplinary course cluster On Bioart
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Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today.
After Marx April, After Mao June, Aspen Art Museum, Colorado, Future Tense, El Museo Tamayo Arte Contemporáneo, Mexico D.F., Economies, Museum of Contemporary Art, North Miami, Closed for Prayers, Dvir Gallery, Hangar 2, Jaffa Port, Israel, Etrangers Partout (QDM), Nuit Blanche, Belleville, Paris, Kultur ist ein Palast der aus Hundescheiße gebaut ist., MD72, Berlin, Arando en el mar/Ploughing the sea, Gaga Arte Contemporaneo, Mexico D.F., Fighting Gravity, Regina Gallery London and Moscow.
Claire Fontaine also participated in the May 18, 2006 colloquium, Esthétique et politique, autour de la philosophie de Jacques Rancière, held in Stockholm and which featured Alexandre Costanzo and Jacques Rancière as well.
"The Emancipated Reader"
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Peter Friedl is an artist based in Berlin. His artistic practice emphasizes the friction between aesthetic and political awareness in the framework of their respective narratives. Friedl’s works explore the conditions and genres of representation, employing strategies such as permanent displacement, editing, or over-exposing. Recent solo exhibitions include Sala Rekalde, Bilbao (2010), “Blow Job,” Extra City Kunsthal Antwerpen (2008), “Working,” Kunsthalle Basel (2008), “OUT OF THE SHADOWS,” Witte de With, Center for Contemporary Art, Rotterdam (2004). In 2006, the Museu d’Art Contemporani de Barcelona (MACBA) organized a comprehensive retrospective exhibition “Peter Friedl: Work 1964–2006,” which was subsequently shown at Miami Art Central/Miami Art Museum (2007) and the Musée d’Art Contemporain in Marseille (2007). Friedl’s work has been exhibited worldwide, including at documenta X (1997) and documenta 12, Kassel (2007), the 48th Venice Biennale (1999), the 3rd Berlin Biennale (2004), the 2nd International Biennial of Contemporary Art in Seville (2006), Manifesta 7, Trento (2008), the 7th Gwangju Biennale (2008), the 28th Bienal de São Paulo (2008), and Tirana International Contemporary Art Biennial, Tirana (2009). Since the 1980s, Friedl has published numerous essays and book projects such as Four or Five Roses (2004), Working at Copan (2007), and Playgrounds (2008). Secret Modernity: Selected Writings and Interviews 1981–2009 (Sternberg Press) was published in 2010.
"History in the Making"
"On Pictorial Justice"
"Bilbao Song"
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Over the past ten years, Sharon Hayes has been engaged in an art practice that uses multiple mediums—video, performance, and installation—in ongoing investigation into various intersections between history, politics and speech. Her work is concerned with developing new representational strategies that examine and interrogate the present political moment, not as a moment without historical foundation but as one that is always allegorical, a moment that reaches simultaneously backwards and forwards. To this aim, she employs conceptual and methodological approaches borrowed from artistic and academic practices such as theater, film, anthropology, linguistics, and journalism. Hayes’ work has been shown at the New Museum for Contemporary Art, the Guggenheim Museum, P.S. 1 Contemporary Art Center, Art In General, Artists Space, Parlour Projects, Andrew Kreps Gallery, Dance Theater Workshop, Performance Space 122, the Joseph Papp Public Theater, and the WOW Cafe in New York and at the Room Gallery at UC Irvine, Los Angeles Contemporary Exhibitions, Track 16, Gallery 2102 and The Project in Los Angeles. In addition, she has shown at the Tate Modern in London, Museum Moderner Kunst and the Generali Foundation in Vienna, the Deutsche Guggenheim in Berlin and in galleries, exhibition and performance spaces in California, Florida, Rhode Island, Texas, and Vermont, Bogotá, Berlin, Copenhagen, Malmö, Vienna, Vancouver and Zagreb as well as in 45 lesbian living rooms across the United States. Hayes’ work was shown in the 2010 Whitney Biennial and in Greater New York at P.S. 1 Contemporary Art Center. Additionally, her work was exhibited in the Istanbul Biennial in 2009, the Yokohama Triennial 2008, Guangzhou Triennial 2008 and PERFORMA05. Her collaborative piece, 9 Scripts from a Nation at War, made with Andrea Geyer, Ashley Hunt, Katya Sander and David Thorne was shown in Documenta 12 in Kassel, Germany and subsequently at the Tate Modern in London and REDCAT in Los Angeles. Hayes is an Assistant Professor at the Cooper Union. She is represented by Tanya Leighton Gallery, Berlin.
www.shaze.info
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Maria Muhle has studied philosophy and political sciences in Madrid and Paris. In 2008 she completed her doctoral thesis A genealogy of biopolitics. On the notion of life in the thought of Canguilhem and Foucault in the universities of Paris 8 and Viadrina in Franfkurt/Oder. Since then she is an Academic Assistant at the Chair for History and Theory of Artificial Worlds, Institute for Media Studies, Bauhaus-University Weimar; she is currently (until April 2011) holding the Junior Professorship for Philosophy of media and techniques at the Institute for Media Studies at Ruhr-Universität Bochum. Her research focuses on contemporary political and aesthetical theory, and especially on the notion of “aesthetic realism” in the context of a political aesthetics. She has translated and edited several books and texts of Jacques Rancière in German, such as The Partition of the Sensible (2006), The Future of the Image (2005) and very recently Hatred of Democracy (2011). She is also the co-founder of August Verlag Berlin, a publishing house for theory at the crossroads of philosophy, politics and arts.
Recent publications include: Biopolitische Konstellationen (ed. with Kathrin Thiele), Berlin: August Verlag 2011; “Zweierlei Vitalismus“, in: Friedrich Balke, Marc Rölli (Hg.), Gilles Deleuze: Philosophie und Nicht-Philosophie, Transcript Verlag, Bielefeld (coming soon); “Christ has come up from Tucson. On Dalton Trumbo’s Johnny Got His Gun“, in: Antonia Hirsch: Komma, Vancouver: Filip/Projectile Publishing Society 2010; “Ästhetischer Realismus: Strategien post-repräsentativer Darstellung bei Chris Marker und den Medwedkin Gruppen“, in: D. Robnik, S. Mattl, Th. Hübel: Das Streit-Bild. Film, Geschichte und Politik bei Jacques Rancière, Wien 2010; Eine Genealogie der Biopolitik. Der Lebensbegriff bei Foucault und Canguilhem, Bielefeld: Transcript Verlag 2008; Der Begriff der Gleichheit in Kunst und Politik“, Introduction to Jacques Rancière, Die Aufteilung des Sinnlichen, Berlin: b_books 2006.
"Aethesthic realism and subjectivation. From Chris Marker to the Medvedkin Groups"
"Political Art as Aesthetic Realism or Passion of the Real"
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Martin Plot is Associate Professor and Co-Director of the MA Program in Aesthetics & Politics at the California Institute of the Arts. He works on the fields of political and social theory and conducts research and writes on American and Argentine political culture and democratic politics. He is the author of El Kitsch Político (2003), La Carne de lo Social (2008), and Indivisible (in press). He is currently examining the intersection of political and aesthetic thought in Merleau-Ponty, Arendt, and Rancière as a part of a book-length project, provisionally The Aesthetico-Political.
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Kristin Ross is Professor of Comparative Literature at New York University. Her first book, The Emergence of Social Space: Rimbaud and the Paris Commune (1988; reissued, Verso, 2008) examined left political culture of the late 19th century. Her cultural history of the French 1950s, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture (1995), won the Laurence Wylie award for French cultural studies and a Critic’s Choice award; it has been re-published in France under the title Rouler plus vite, laver plus blanc (Flammarion, 2006). May ’68 and Its Afterlives (Chicago, 2002), a study of French memory of the political upheavals of the 1960s, was published in France as Mai 68 et ses vies antérieures (2005; re-issued, Agones, 2010). A volume of essays she co-edited entitled Antiamericanism was published in 2004 by NYU Press. She is the translator of Jacques Rancière’s Le Maître ignorant (The Ignorant Schoolmaster, Stanford, 1991), and of several essays by Jacques Rancière and Alain Badiou.
"Ranciere and the Practice of Equality"
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Evan Calder Williams is a theorist and writer in California. He is a doctoral candidate in the Literature department at University of California Santa Cruz, where he is writing a dissertation on political film, dialectics, horror, and sabotage in 1970s Italy, France, and Britain. His book on apocalyptic cinema, culture, and politics, Combined and Uneven Apocalypse, will be published by Zero Books in Winter 2011. His work appears in journals such as Film Quarterly and Mute, and he writes the blog Socialism and/or Barbarism.
"Socialism and/or Barbarism"
"Combined and Uneven Apocalypse"
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Jan Völker holds a research position at the Collaborative Research Centre 626 at the Freie Universität Berlin. His research and publications focus on Kantian aesthetics, contemporary political thought and the relation of art and politics. He is co-editor of the series morale provisoire at the Berlin based publisher Merve and co-translated works of Alain Badiou and Jacques Rancière into German. Publications include: Ästhetik der Lebendigkeit. Kants dritte Kritik [Aesthetics of liveliness, Kant’s third critique] (forthcoming with Fink 2011); Beyond Potentialities? Politics between the Possible and the Impossible. (ed. with Mark Potocnik and Frank Ruda, forthcoming with diaphanes 2011). Badiou, Alain: Ist Politik denkbar? morale provisoire #1 [Can Politics be thought?] (ed. and transl. with Frank Ruda), Berlin: Merve 2010; Rancière, Jacques: Ist Kunst widerständig? [Does art resist to anything?] (ed. and transl. with Frank Ruda), Berlin: Merve 2008.
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