The Royal College or Art, London, 27 February 2020

RCA / Liberte / Post film discussion with Alexander Garcia Duttman

For copyright reasons we are unable to screen ‘Liberte’ but please return for the talk at 7.00

Soah Research presents:

Liberté

Deactivating Desire. Albert Serra’s latest film, Liberté with Alexander García Düttmann

This is a dark tale of the Enlightenment, a formal costume drama where excess is the methodology for the exploration of desire, language and representation.

The screening will be followed by a discussion with Olivier Richon.

After growing up in Barcelona, Alexander García Düttmann studied in Frankfurt am Main with Alfred Schmidt and in Paris with Jacques Derrida. Since 1992, he has lived in San Francisco, New York, Melbourne, and London, and he has taught at Stanford University, The University of Essex, Monash University, New York University, Middlesex University, Goldsmiths College, and the Royal College of Art. He is currently Professor of Aesthetics and Art Theory at the University of the Arts, Berlin.

In 2015, García Düttmann published “What Does Art Know? For an Aesthetics of Resistance” (Konstanz University Press). In this book, he claims that art is a form of thinking and that for this reason it does not produce knowledge. Alexander García Düttmann has translated some of Derrida’s works into German, and Benjamin’s essay on Julien Green into French. He has also “Theory and Practice”, an unpublished seminar by Jacques Derrida on Marx (Éditions Galilée 2017). What is Contemporary Art? On Political Ideology (Konstanz University Press) appeared in 2017, Love Machine. The Origin of the Work of Art (Konstanz University Press) in 2018.

Schedule

  • Tue 25 October 2022

    Art Night / performance commission by Tai Shani at Fabric, London

    Art Night and the Museum of London are pleased to announce the presentation of a new performance commission by Tai Shani at Fabric, London this Autumn, at 8pm on 25th October. The performance will take the form of a chamber play and is Shani’s first major performance project since DC: Semiramis for which she was nominated and collectively won the Turner Prize in 2019. It will be one of her most ambitious works to date. The collaboration is a precursor to Art Night’s transition to a national, biennial contemporary art festival, with the first new model festival planned for 2023 and to be announced in the Autumn. This work by Tai Shani will be re-staged for the 2023 festival.

    The play will premiere at London’s iconic nightclub Fabric, adjacent to West Smithfield, the Museum of London’s soon-to-be new home. The special “one-night only” show will be broadcast live on digital channels to enable access for a global audience with the assistance of media partner This is Tomorrow. My bodily remains, your bodily remains, and all the bodily remains that ever were, and ever will be. (Down, skin, pelt, vellum, alert tangled roots, subcutaneous flesh, subterranean blind life) draws upon Smithfield’s history as one of London’s earliest execution sites and oscillates between somatic histories of political evil and love as an emancipatory power.

    The collaboration also celebrates the Museum of London’s impending relocation to West Smithfield and follows the launch of the Museum of London Docklands’ major exhibition Executions, which traces the history of public executions from the 12th to the 19th century.

    My bodily remains, your bodily remains, and all the bodily remains that ever were, and ever will be. (Down, skin, pelt, vellum, alert tangled roots, subcutaneous flesh, subterranean blind life) is inspired by various sources; classic works of literature including Destroy, She Said by Marguerite Duras, the writing of scholars including Jackie Wang and works by filmmakers such as Jacques Rivette. Shani’s commission is a poetic meditation on various historical resistance movements and groups, the spiritual dimensions of anti-supremacism, intersectional queer feminism, communism and revolutionary thinking to recognise the emancipatory power of love and pleasure as a catalyst for radical change.

    Typical of Shani’s practice, My bodily remains, your bodily remains, and all the bodily remains that ever were, and ever will be will deploy a skillful interplay of dialogue and narration. Shani will use recurring moods and motifs to explore eroticism, dark powers, mystical experiences, feminist theory and the theme of Revolution – embodied in this performance as a ghost.

    The play will feature an original live score composed by Shani’s long term collaborator Maxwell Sterling and Richard Fearless (Death in Vegas) alongside digital animations by Adam Sinclair also Shani’s long term collaborator. The play will also feature jewellery and set design by Shani.

    The commission is accompanied by a dedicated creative engagement programme developed in collaboration with All Change led by arts educator and creative producer Dhiyandra Natalegawa. The creative engagement programme will consist of a series of participant-led workshops and creative outcomes, shaped around the key themes and creative approaches in Shani’s work. The project is part of All Change’s B Creative programme: an arts activism programme for young women by young women, working with inspiring artists.