| Open Systems: Rethinking Art c. 1970 Symposium |
|
 |
Hans Haacke
Condensation Cube 1963
Museu d'Art Contemporaini, Barcelona, Spain. Gift
of the National Comittee and Board of Trustees
Whitney Museum of American Art. © DACS 2005
|
Online Event Duration:
Friday 16 September 2005, 14.30-18.30
Friday
16 September 2005, 20.00-23.20
Saturday 17 September 2005, 11.00-18.30
Venue: Tate Modern
This event has now been archived.
This event focuses on ideas and practices
represented in Tate Modern's show Open Systems: Rethinking
Art c.1970. Leading artists, critics, historians and theorists
discuss how experimental art in the 1960s and 70s responded
to the social, political and technological conditions
of the time. Speakers include Donna De Salvo (curator
of Open Systems: Rethinking Art c.1970), Alexander Alberro,
Sabeth Buchmann, Diederich Diederichsen, Braco Dimitrijevic,
Briony Fer, Hans Haacke, Margaret Iversen, Peter Osborne
and Anne Rorimer.
See full programme of speakers below
See also C0dE 0f practice online panel discussion and public forum. Open for public contributions
in response to the Open Systems Symposium from 16 - 23 September.
C0dE 0f practice
online panel discussion and public forum
The C0dE 0f practice forums were intially live from June 13 - July 18. The public forum re-opens for contributions to be added in response to the Open Systems Symposia.
Go directly to the public forum to make a contribution.
The online panel discussion included contributions from Christiane Paul, Charlie Gere, Patrick
Lichty, Trebor Scholz, Sarah Cook and Beryl Graham. The discussion focussed on the application of themes evident in
the Open Systems exhibition in light of contemporary media arts practice. The forum also references the Curating, Immateriality, Systems conference
held at Tate Modern at the start of the exhibition.
This online panel discussion and public forum was part of the C0dE
0f practice umbrella online season,
which aimed to expand upon legacies and themes evident
in the Open
Systems Rethinking Art c 1970 exhibition at Tate Modern
- bridging contemporary practices and modern histories.
 
| Friday 16 September
2005 |
| Session |
|
Introduction
14.30
|
|
| Dominic Willsdon, Curator
of Public Events at Tate Modern and tutor in critical
theory at the Royal College of Art and the London
Consortium |
|
| |
|
| Donna De Salvo
and, Anne Rorimer, Chaired by Alison Green
14.40 |
|
Donna De Salvo is the
curator of Open Systems: Rethinking Art c.1970
and the Associate Director for Programs and Curator,
Permanent Collection at the Whitney Museum of
American Art, New York. As Senior Curator at Tate
Modern (until 2004), she curated exhibitions of
Giorgio Morandi, Andy Warhol and Anish Kapoor.
She is an expert on Pop Art and the work of Andy
Warhol and has curated the exhibitions Hand-Painted
Pop: American Art in Transition 1955-52 (1993)
and Success Is a Job in New York: The Early Art
and Business of Andy Warhol (1989).
Anne Rorimer is based in Chicago and is an independent
scholar and freelance curator. Formerly, she was
a curator at The Art Institute of Chicago where
she worked closely during the 1970s and 80s with
artists from the Conceptual period. In 1995 she
was the co-curator (with Ann Goldstein) of Reconsidering
the Object of Art, 1965-1975, organised at the
Museum of Contemporary Art, Los Angeles. She is
the author of New Art in the 60s and 70s: Redefining
Reality (Thames & Hudson, 2001) and has published
widely in exhibition catalogues and journals.
Alison Green is an art historian, critic and curator.
She is the author of 'When Attitudes Become Form
and the Contest over Conceptual Art's History'
in the recent Cambridge University Press book,
Conceptual Art: Theory, Myth, and Practice (2004).
She currently teaches history and theory at Central
St Martins School of Art and Design in London
and writes regularly for Art Monthly. |
|
| |
|
Braco Dimitrijevic
15.45
|
|
| Braco Dimitrijevic became internationally
known in the early 1970s with his Casual Passer-by works,
in which he exhibited the gigantic photo portraits of
unknown people on the public sites of city facades and
billboards, places usually reserved for pictures of dignitaries
or publicity messages. In the mid-1970s the artist turned
his interest to the art of the past, and started making
installations in museums. He has show at major venues
internationally for more than thirty years; his work is
included in Open Systems: Rethinking Art c.1970. |
|
| |
|
| Peter Osborne and
Alexander Alberro, Chaired by Michael Corris 17.00 |
|
Peter Osborne is Professor
of Modern European Philosophy at Middlesex University,
London and an editor of the journal Radical Philosophy.
He has published widely on philosophical aspects
of conceptual and post-conceptual art. His books
include Conceptual Art (Phaidon Press, 2002),
and forthcoming in 2006, Art Against Aesthetics:
Philosophical Essays on Contemporary Art,Collected
Essays 2001-5. Alexander Alberro is an Associate
Professor of Art History at the University of
Florida, and the author of Conceptual Art and
the Politics of Publicity (MIT Press, 2003). His
essays have appeared in a wide array of journals
and exhibition catalogues. He has also edited
and co-edited a number volumes, including Two-Way
Mirror Power: Dan Graham's Writings on Art (MIT
Press, 1999), Conceptual Art: A Critical Anthology
(MIT Press, 2000) and Recording Conceptual Art
(University of California Press, 2001).
Michael Corris is Professor at the Newport School
of Art, Media and Design, University of Wales.
As a member of the Conceptual art group, Art &
Language, and as an individual artist, his work
has been exhibited and collected by major international
institutions. His art criticism has been published
in Art Monthly, Artforum, Flash Art, Art History,
art+text and Mute. His most recent publications
include Conceptual Art: Theory, Myth and Practice
(Cambridge, 2004). |
|
| |
|
| Alvin
Lucier 17.00 |
|
| Open Sound Systems |
|
| |
|
| Saturday 17 September
2005 |
| Session |
|
Margaret Iversen and Briony
Fer, Chaired by Lucy Soutter 11.00
|
|
Margaret Iversen is Professor
in History and Theory of Art at the University
of Essex. Her books include Alois Riegl: Art History
and Theory (MIT Press, 1993), and a monograph
on the contemporary artist Mary Kelly (Phaidon
Press, 1997). Her forthcoming book Art Beyond
the Pleasure Principle, due to appear in 2005,
is a series of case studies applying psychoanalysis
to the interpretation of twentieth-century and
contemporary art.
Briony Fer is Reader in the History of Art at
University College London. Her publications include
On Abstract Art (Yale, 1997), and The Infinite
Line Re-Making Art After Modernism (Yale, 2004).
The latter offers a radical reinterpretation of
the innovative art of the late 1950s and 1960s,
focusing on the tendency toward repetition and
seriality that occurred at the moment of modernism's
decline and continues to shape contemporary art. |
|
| |
|
| Alvin Lucier with
Seth Kim-Cohen 12.45 |
|
The legendary American
composer Alvin Lucier was an early pioneer of
sound works which use systems as a generative
device. He has since produced innovations in many
areas of musical composition and performance,
including the notation of physical gestures, the
use of brain waves in live performance, and the
evocation of room acoustics for musical purposes.
Seth Kim-Cohen is a conceptual sonician, writer
of creative texts, and the organiser of Friday
night's performance Alvin
Lucier: Open Sound Systems |
|
| |
|
Sabeth Buchmann and Matthias
Michalka, Chaired by Charlie Gere 14.30
|
|
Sabeth Buchmann is a professor
of history of modern and post-modern art at the
Academy of Fine Arts Vienna. She is working on
a research project on film, avant-garde and biopolitics
at the Jan-Van-Eyck-Academy, Maastricht (in cooperation
with Helmut Draxler and Stephan Geene). For her
PhD dissertation she wrote on the notion of production
within Conceptual art in reference to new technologies.
She regularly contributes to publications on art,
art criticism, cultural/visual studies and media
theory.
Matthias Michalka is an art historian and curator
for new media art at the Museum Moderner Kunst
Stiftung Ludwig Vienna. Among the exhibitions
he has curated are Mathias Poledna, Western Recording,
Matthew Buckingham, A Man of the Crowd, X-Screen,
Film Installations und Actions of the 1960s and
1970s, Dorit Margreiter. 10104 Angelo View Drive,
and Katya Sander - The Most Complicated Machines
Are Made of Words. He has been a lecturer at the
Merz Akademie Stuttgart and the Institute for
Art History at the University of Vienna among
others.
Charlie Gere is Reader in New Media Research in
the Institute for Cultural Research, Lancaster
University, Chair of Computers and the History
of Art (CHArt), and the Director of Computer Arts,
Contexts, Histories, etc... (CACHe), an AHRB-funded
research project looking at the history of early
British computer art. He is the author of Digital
Culture (Reaktion, 2002), and is currently writing
a book on art and speed from the early nineteenth
century up to the present day, to be published
as Art, Time and Technology in 2006. |
|
| |
|
| Morgan Fisher with
Stuart Comer 16.45 |
|
California-based filmmaker
Morgan Fisher began his career as an editor in
the commercial film industry before exploring
the avant-garde. The combined experience has led
Fisher to examine and deconstruct the narrative
of film and the industry itself with wry humour,
creating an entirely unique and intimate view
of cinema and its physical presentation.
Stuart Comer is Curator of Film and Events at
Tate Modern, and has programmed for Tate Modern
the retrospective of Fisher's films, Standard
Gauge, curated by Chrissie Iles for the Whitney
Museum of American Art. |
|
| |
|
| Plenary Discussion,
Chaired by Mark Godfrey 17.30 |
|
| Mark Godfrey teaches at
the Slade School of Fine Art, University College,
London. He is a Leverhulme Award holder and is
researching a book on Abstraction and Holocaust
memory for Yale. Recent projects include a catalogue
essay on Open Systems for Tate Modern and on Eva
Hesse for the Jewish Museum, New York. |
|
| |
|
- Next
Online Event
- See full Programme
timetable.
- Help
* [BST] British Summer Time
Please note the date and time, above,
at which the live webcast will be available to online audiences. An
archive of the webcast is generally
made available within two weeks from the live event. If you have any
problems viewing a live webcast refer to our Help
pages for assistance.
|
 |
