22nd November, update: Brian Dillon writes.
22nd November, update: Brian Dillon writes.
Wednesdays, 4.00 p.m., Darwin Lecture Theatre 3
20 October – Geoff Dyer, ‘Cameras are Clocks for Seeing: on Camera Lucida’. Geoff Dyer is a novelist and essayist whose books include The Ongoing Moment (2005), Jeff in Venice, Death in Varanasi (2009) and a new collection of essays, Working the Room (2010). He has written the foreword to a new edition of Roland Barthes’s Camera Lucida, and will explore in this talk its legacy after thirty years.
27 October – Nina Power, ‘Stony Ground but not entirely: Beckett and Humanity’. Nina Power is Senior Lecturer in Philosophy at Roehampton University. She is the author of One-Dimensional Woman (Zero Books, 2009) and co-editor of Alain Badiou’s On Beckett (Clinamen, 2003). Her writing appears regularly in such publications as the Guardian, New Statesman and Radical Philosophy. In this paper she will explore Samuel Beckett’s relation to the Humanities, via a reading of his understanding of humanity itself.
3 November – Will Viney, ‘‘Make it Waste’: The Poetic Economies of Eliot and Joyce’. Will Viney is a Ph.D. student at the London Consortium, and is working on a thesis about the cultural and aesthetic significance of waste in twentieth-century literature and visual art. His research engages the history of ruins aesthetics, the temporalities of decay in Modernist fiction and poetry, and the catastrophic imagination in contemporary art.
10 November – Tom McCarthy, ‘Modernism and the anti-humanist novel now’. Tom McCarthy a novelist and artist. He is the author of C (Jonathan Cape, 2010), which was shortlisted for the Man Booker Prize 2010. His previous books include Remainder (Metronome Press, 2005), Men in Space (Alma, 2007) and Tintin and the Secret of Literature (Granta, 2006). For this event, he will be reading from C and discussing the legacies of Modernism for the contemporary novel.
17 November – Sophie Ratcliffe, ‘Beckett and Abortion’. Sophie Ratcliffe is a British Academy Postdoctoral Fellow at the University of Oxford. She is the author of On Sympathy (OUP, 2008) and is currently editing the letters of P. G. Wodehouse.
24 November – Elaine Hobby, ‘On The Birth of Mankind’. Elaine Hobby is Professor of English and Drama at Loughborough University. She is editor of Jane Sharp, The Midwive’s Book (OUP, 1999) and The Birth of Mankind (Ashgate, 2009), and is working on a history of the midwifery manual from 1540 to 1720.
1 December – Laura Doyle, ‘Postcolonial or Inter-Imperial? The Dialectics of Culture in the Longue Durée’. Laura Doyle is Professor of English at the University of Massachusetts-Amherst. Her books include Bordering on the Body: The Racial Matrix of Modern Fiction and Culture (OUP, 1994) and Freedom’s Empire: Race and the Rise of the Novel in Atlantic Modernity, 1640-1940 (Duke University Press, 2008). She is currently working on a book about the dialectics of global literary history and a book-length essay on cubism in art and fiction, informed by the philosophies of Frantz Fanon and Maurice Merleau-Ponty.
8 December – Monica Mattfeld, ‘Spectacular Masculinity: Visable Centaurs and Virtuous Horsemanship in the British Long Eighteenth Century’ and Fiona Masterson, ‘Patches, Powder and Paint: Cosmetics in Literature 1790-1820’. Monica Mattfield and Fiona Masterson are Ph.D. students at the School of English, University of Kent. In this seminar, they will both discuss the content and scope of their research and explore the particular implications of research on material culture in the context of literary studies.
15 December – Brian Dillon, ‘A Short History of Hypochondria’. Brian Dillon is AHRC Research Fellow in the Creative and Performing Arts at the University of Kent. He is author of In the Dark Room (Penguin, 2005) and Tormented Hope: Nine Hypochondriac Lives (Penguin 2009). A novel, Sanctuary, will be published by Sternberg Press in 2011. In this paper he’ll discuss the development of hypochondria from an organic disease in the seventeenth century to its flourishing as a psychiatric and aesthetic concept in the nineteenth.
Becoming a little obsessed with the phenomena of waste in contemporary art has left me vulnerable to discovering just how many other people share something of this obsession. This realisation doesn’t help me write or plan my thesis one bit and I’ve had to make the uncomfortable decision not to try and give an exhaustive account of all the different ways that objects of waste have been used in sculpture. (Lea Vergine’s When Trash Becomes Art attempts this, giving particular emphasis to European and North American artists of the twentieth century.) I hope my analysis of Cornelia Parker and Mark Dion does enough for me to pass my viva but these close readings offer little comfort when I think of all the fascinating and diverse work being done now. So, I hope to update what follows on a regular basis; whenever I come across a contemporary artist using waste in a striking or unusual way:
Lara Almarcegui was born in Zaragoza, Spain, in 1972 and now lives in Rotterdam, the Netherlands. Building archives of the transient, Almarcegui collects historical, geographic, ecological, and sociological data about vacant areas in the urban spaces. She says about her work, “one wasteland has very different characteristics from the next. I try to present each site in as much detail as I can, zoom in a lot, try to present the uniqueness of each site.”
Cutting across her Guides to European and North American wastelands, Almarcegui also looks to the materials of construction and destruction, to the substance of rubble. In her current solo show at Secession, Austria, she has piled the necessary quantities of concrete, wood, terrazzo, brick, mortar, glass, plaster, polystyrene, and steel that were needed for the construction of the Secession exhibition space.
These construction materials are heaped together like spices at a market and all are products of recycling processes. They come to evoke both the future and past uses of these objects as well as the future and past uses of the exhibition space. And operating and anticipating a continuum between making and discarding, it seems to me that Almarcegui’s work unearths the etymological root of the work ‘material’, from the Latin materia: “timber roughly squared off for future construction” (see Michel Serres, Rome p. 43). That is to say, her material feels to have a for-ness even when it is ruinous. This point might lead us on to a little quixotic quotation from Jacques Derrida, who observed that “At the origin comes ruin; ruin comes to the origin, it is what first comes and happens to the origin, in the beginning” (Memoirs of the Blind, 65). I like how Almarcegui’s Guides and installations are works that end with beginnings and discover the beginning in the end. Whether or not this is the substance of ‘deconstruction’ is, perhaps, a different matter.
Closer to home. I first discovered Kathy Taylor’s work at the artist’s studios in Wandsworth, London. Having seen a friend on the upper floor of Collective Studios we were greeted by this at the door; snapped with the camera on my mobile telephone:
The low quality of my photography actually exaggerates an effect that I think Taylor wants to put to work – that it isn’t immediately obvious that the work is constructed from thousands of used teabags. Falling from a vent, this vine-like construction presents a constellation of national self-description, international finance, caffeinated ritual, European trade and expansionism. It also smells of tea. The work first appeared earlier this year in a collaborative exhibition with Margret Duston.
See Kathy Taylor’s website for more details.
Born 1963 in Dendermonde, Belgium, Peter Buggenhout’s assemblages are really quite odd. This strangeness is largely born out of the waste, household dust, animal hair, blood and intestines that are his source materials. Intricate yet monolithic, his sculptures are both abject and calmly composed; oscillating between the catastrophic remainders of bizarre or subterranean crimes, and a solemn and delicate orderliness.
In his series The Blind Leading the Blind, Buggenhout assembles pieces of waste and covers them with thick layers of household dust. Another series of wall-based sculptures entitled Gorgo is made of waste textiles, horse hair and black animal blood. A third series, Mount Ventoux, is formed out of bleached animal intestines stretched over polymorphous shapes of polyurethane foam.
Kiefer was born in Donaueschingen, Germany in 1945. He now lives and works in Provence, France. Once a student of Joseph Beuys, Kiefer shares Beuys’ interest in mixing, combining and confusing unusual objects with great texture and visual complexity. His huge variety of materials – oil paint, dirt, lead, models, photographs, woodcuts, sand, straw – are made to occupy a compelling third space between painting and sculpture. He once said, “All that artists do is to reorganise remnants.” And, in the second part of this BBC ‘Arena’ documentary, Kiefer compares the position of the artist to that of Walter Benjamin’s ‘Angel of History’; standing before a chaotic and ever growing heap of ruin.
More to follow…