Lecture Performance: The Perception of the Precarious Beauty of Fighting Back While Facing Blockages and Impasses (engl.)
The Aesthetics of Resistance Reading Group, London
Karen Mirza und Claudia Firth
The lecture performance is based loosely on Framing-out: Dirt, Dissonance and Displacement, a photo essay written for The Embodiment of Resistance, a publication produced by Goldsmiths College, University of London. The piece starts with a series of photographs of the Pergamon Frieze taken in August 2010 at the same time the riots were happening in London. We would like to use ideas of ‘description’ of both the frieze and the riots to play with different modes of language and explore framing as a disciplinary device. Through a tape slide format, images, personal accounts, museum guides, fictional, journalistic and academic registers will be woven together and used with the temporal simultaneity provided by the photographs to explore violence, social unrest and regeneration and the different representational frameworks surrounding them. This would also echo the nonlinear history provided by Peter Weiss’ text and use some of the aesthetic strategies within it.
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Fr, 11. Juli 2014, 20:00 Uhr
Lecture Performance: Framing-out: Dirt, Dissonance and Displacement (engl.)
The Aesthetics of Resistance Reading Group, London
Karen Mirza und Claudia Firth
Die Lecture-Performance basiert auf der gleichnamigen Text-/Fotocollage, in welcher Aufnahmen und Beschreibungen des Pergamonfrieses vom Sommer 2010 mit zeitgleich entstandenen Beschreibungen der damals aufflammenden Londoner Riots verschränkt wurden. Unterschiedliche Textformen wie Augenzeugenberichte, Reportage, etc. werden nebeneinander gestellt. Gewalt, soziale Unruhen und Regeneration werden an diesem (scheinbar) völlig gegensätzlichen Doppelbeispiel reflektiert.
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Biographies:
Karen Mirza has collaborated with Brad Butler since 1998, and in 2004 formed no.w.here (www.no-w-here.org.uk), an artist-run space for the production, discussion and dissemination of practices engaged with the moving image, politics, technology and aesthetics. no.w.here’s role as a cooperative environment is directly related to the centering of Mirza and Butler’s own practice upon collaboration, dialogue and the social. Since 2007 they have pursued a strain of practice entitled The Museum of Non Participation (www.musumofnonparticipation.org) Mirza holds a BA in Fine Art from Camberwell College of Arts (1995) and MA from the Royal College of Art (1997). She has held several residencies including Gasworks International fellowship, The Global Contemporary ZKM, Germany, Townhouse Gallery, Cairo. Winner of several project grants and awards, Arts Council England, Flamin, British Council, Creative Capital (USA), The Museum of Contemporary Cinema Foundation, Madrid. Nominated for the Transmediale award, Jarman award 2012, her work has been shown extensively including Walker Art Center (Minneapolis, US), VIVO, Vancouver, Serpentine Gallery, London, Tate Modern, London, Arnolfini, Bristol, Galeri NON, Istanbul. Upcoming projects include Random Acts commission for Channel 4, Quand dire, c’est faire, Montreal, Meeting Point: Beyond My Body, Paris, The Museum of non Participation: The Guest of Citation, Performa 13, New York.
Claudia Firth (UK) is an artist and essayist. She studied Fine Art at Brighton University (BA Hons 1995) and Chelsea College of Art (MA 1997) and Cultural Studies at Goldsmiths College, London (MA 2009). She is currenlty a PhD student at Birkbeck College, University of London writing a short non-linear history of aesthetics and resistance inspired by Peter Weiss’ novel. She has exhibited widely in the UK and abroad, including installation and performance A War of Nerves Indeed at No.w.here (2012) and is a founding member and regular contributor of Nyx, the journal for the Centre for Cultural Studies at Goldsmiths, University of London. She is currently co-writing The Force of Listening, a new publication looking at the role of listening in contemporary conjunctions between art and activism, which will be published as part of the Doormats series by Errant Bodies Press.