Kreider + O’Leary have signed a contract to deliver the book ‘Ungovernable Spaces’ with Bloomsbury, London.
Ungovernable Spaces: Community Formation and the Poetics of Resistance is a study of situations wherein communities form amidst social and political turbulence. Understanding the formation of these communities in terms of ‘ungovernability’ and a ‘poetics of resistance’, the book charts a movement from oppression, through transformation, into imagining, and out of emergence. In particular, Ungovernable Spaces is a journey from the Mecca apartment building on Chicago’s South Side, demolished to make way for Mies Van der Rohe’s Illinois Institute of Technology campus design; through Mahatma Gandhi’s Salt March protest, intermittent fasts, and daily practice of spinning – acts that were intrinsic to his vision of a culturally and economically independent India; into Ciudad Abierta (Open City), a radical pedagogical experiment started by a poet and an architect in Valparaíso, Chile; and out of the political ecologies emergent on either side of the ‘peace walls’ of Belfast, Northern Ireland.
Kristen appointed Professor in Fine Art and Director of Doctoral Programme at the Slade School of Fine Art, UCL.
We are delighted to announce the appointment of Kristen Kreider to a Professorship in Fine Art at the Slade School of Fine Art, UCL, where she will direct the Doctoral Programme in Fine Art.
An art school with a world leading reputation, the Slade makes a significant contribution to the field of contemporary art both nationally and internationally. The Slade’s practice-led research culture facilitates an ongoing commitment to individual excellence in art research, which increasingly addresses pressing societal and cultural challenges.
https://www.ucl.ac.uk/slade/study/mphil-phd/
Belfast's ‘peace walls': How the politics and policy of 1969–1971 shaped the city's contemporary ‘interface areas' published in Handbook of Architecture, Urban Space and Politics
James O'Leary
Book chapter in The Routledge Handbook of Architecture, Urban Space and Politics, Volume I: Violence, Spectacle and Data edited by Nikolina Bobic, Farzaneh Haghighi
London: Routledge (October 2022)
Considering both ongoing and unprecedented global problems – from violence and urban warfare, the refugee crisis, borderization, detention camps, terrorist attacks to capitalist urbanization, inequity, social unrest and climate change – this handbook provides a comprehensive and multidisciplinary research focused on the complex nexus of politics, architecture and urban space. For his contribution, James O’Leary examines the political and policy circumstances that led to the construction of the first ‘peace wall’ in Belfast, Northern Ireland. He outlines the escalation of political tensions in the key timeframe between 1969 and 1971, resulting in policy response in the form of the (then) secret Taylor Report (1971) that aimed to address problems arising in areas of confrontation in the city. The chapter explores the implications of these policy decisions in relation to the contemporary urban fabric of Belfast, with walls that communicate through their opacity, scale and material condition. Massive in scale, they generate ‘shadow spaces’ and voids marked by dereliction and abandonment, acting as magnets for clashes and riots in times of unrest.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Milk, Confetti, Erratics : A Stratigraphy of the Landscape of the Belfast ‘Peace Walls’ Published in Fieldwork for Future Ecologies
Kristen Kreider and James O'Leary
Book chapter in Fieldwork for Future Ecologies: Radical Practice for Art and Art-based Research edited by Bridget Crone, Sam Nightingale and Polly Stanton
Eindhoven: Onomatopee (May 2022)
Bringing together contributions by artists, writers and theorists, ‘Fieldwork for Future Ecologies’ addresses the role that art practice and art-based research plays in expanding notions of fieldwork. At once a handbook for research and practice and a philosophical speculation, this book offers the unique opportunity to explore ways of working within vastly diverse climates and terrains using image, sound, movement and other sensing technologies. It also offers more creative and speculative interventions into the idea and location of the ‘field’ itself.
For their contribution to the book, Kreider + O’Leary construct an historical, theoretical and material matrix of artifacts, agents, designs and policy related to the fields of conflict, territory and desire that comprise the ‘Peace Walls’ used to separate and contain Nationalist and Unionist communities in Northern Ireland. Working with drawing, video, mapping and writing to separate and identify one micro-context from another, they construct a case for a ‘congregational understanding of agency’ (Bennet, 2010) related to the assemblage called ‘The Interface’.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Kristen appointed Professor in Fine Art at University of Oxford.
We are delighted to announce the appointment of Kristen Kreider to a Professorship in Fine Art at the Ruskin School of Art, and a Fellowship at St Anne's College, University of Oxford from September 1, 2020. The Ruskin School of Art provides an exceptional environment in which research through art making is entwined with research about contemporary art, each mode of enquiry enriching the other within the larger context of a world-leading, research-intensive university.
The Mountain of Art Research (MARs)
The Mountain of Art Research (MARs) was initiated by Dr. Kristen Kreider at the Department of Art at Goldsmiths College while Director of the Art Research Programme. A bit like a research centre, except it’s a mountain, MARs supported and promoted the development of innovative art research across a range of art practices including - but not limited to - studio, curatorial, critical and art-writing, situated, participatory and interdisciplinary practice. Committed to rigorous formal experimentation, maverick conceptual exploration and socially-engaged articulation, MARs supported the singular development of practice with a political imperative; emphasises the material ‘stuff’ of art research as much as its speculative possibilities. As both platform and ethos, MARs aimed to challenge received ideas and habits; to promote new ways of thinking and being both in and out of this world.
The MARs online archive documents the work conducted at the Goldsmiths Art Research Programme during Kristen’s tenure as Director from 2017-2020.
http://m-a-r-s.online
Ungovernable Spaces - Royal Academy of Arts, London
Kreider + O‘Leary: Ungovernable Spaces
Royal Academy of Arts: Borders Lecture Series
Monday 29 April 2019 / 6.30 — 8pm
Benjamin West Lecture Theatre, Burlington Gardens, RA
Poet and architect duo, Kreider + O‘Leary, take a closer look at boundaries and borderlands across the world in an exploration of how we ought to live together. Kreider + O’Leary’s performance lecture uses spoken word, video and live projected drawing to critically examine the boundaries and borderlands of some of their recent projects.
We will move across continents, from the Open City in Chile and the route of Gandhi’s infamous Salt March in India, to the contested spaces of the ‘peace walls’ in Northern Ireland and across migrant routes through the island of Lesvos in Greece. Journey from spaces of exclusion and explore the ‘outsider’ as much as the outside as we pose the political question, “How should we live together?”
https://www.royalacademy.org.uk/event/architecture-programme-borders-series-kreider-oleary
Opening Keynote: 10th SAR International Conference on Artistic Research, Zurich Z_hdk
10th SAR International Conference on Artistic Research
Zurich University of the Arts, March 21-23, 2019
OPENING KEYNOTE:
Kristen Kreider & James O’Leary
The beautiful mess we’re in: On Inspiring Failures
In his essay ‘Mistake Mystique’ from the collection Education Automation: Comprehensive Learning for Emergent Humanity, Buckminster Fuller discusses the importance of error and mistake in any learning process. Rather than viewing mistakes as something to be avoided, Fuller sees them as something to be made – and continually so – since, in his words, ‘thinking accrues only after mistake-making which is the cosmic wisdom’s most cogent way of teaching each of us how to carry on’. This talk takes Fuller’s idea as a starting point to discuss the role of failure, mistake, and error in the process of art research. Along the way, and guided by the figure of Kybernḗtes, we will look at aspects of decision-making and judgement; action, work and labour; materiality and resistance; rhythm and governmentality. All the while other figures will be falling - we hear something about philosophy, laughter, architecture, war and the beautiful mess we’re in.
Thursday March 21st / 5.30pm / Concert hall, 7th floor, 7.K12
Dr. Kristen Kreider is Professor of Fine Art and Director of the PhD Programme at Goldsmiths College, London.
James O’Leary is Associate Professor and Director of the MA Situated Practice programme at the Bartlett School of Architecture, UCL, London.
https://sar2019.zhdk.ch
Prairie (Argo) published in Seeing Degree Zero: Barthes/Burgin and Political Aesthetics
Prairie (Argo)
Kristen Kreider and James O'Leary
Book chapter in Seeing Degree Zero: Barthes/Burgin and Political Aesthetics by Ryan Bishop, Sunil Manghani
Edinburgh: University of Edinburgh Press (March 2019)
In the fields of literature and the visual arts, 'zero degree' represents a neutral aesthetic situated in response to, and outside of, the dominant cultural order. Taking Roland Barthes’ 1953 book Writing Degree Zero as just one starting point, this volume examines the historical, theoretical and visual impact of the term and draws directly upon the editors’ ongoing collaboration with artist and writer Victor Burgin.
For their contribution to the book, Kreider + O’Leary mobilise Barthes’ image of the Argo as a critical tool through which to contemplate Victor Burgin’s work Prairie (2015). Thus performing the artwork through sequences of writing and image composites, they navigate issues of erasure, resistance and potentiality; the relation between aesthetics and politics; the role that rhythm plays in this and the homogenising impulse of the grid; Whiteness, Blackness, Nativeness; ornament and crime; the importance of story and myth for our conception of the human and for imagining new forms of life. The aim, ultimately, is to suggest how racial and spatial politics together with a complex aesthetic comprising – and combining – aspects of layering, rhythm and figure inform an understanding of the relationship between politics and aesthetics, eventually suggesting new configurations of the social.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Volver a No Saber Poetry, Architecture and the Beginnings of Open City published in Companion on Architecture, Literature and The City
Kristen Kreider and James O'Leary
Book chapter in The Routledge Companion on Architecture, Literature and The City edited by Jonathan Charley.
Edinburgh: University of Edinburgh Press (March 2019)
This Companion breaks new ground in our knowledge and understanding of the diverse relationships between literature, architecture, and the city, which together form a field of interdisciplinary research that is one of the most innovative and exciting to have emerged in recent years. For their contribution, Kreider + O’Leary present the essay ‘Volver a No Saber: Poetry, Architecture and the Beginnings of Open City’.
Functioning as both a metaphorical space and a living, working community, Open City began in 1970. Conceived as a radical pedagogical experiment, the city was founded by the Argentinian poet, Godofrodo Iommi, the Chilean architect, Alfredo Cruz, and other members of the Valparaíso School. Drawing from our site visit and study, we begin with specific architectural details to discuss Open City’s ethos, key principles and practices, interspersing this with a story of its beginnings. Moving through the site, shifting modalities and vocal registers, we posit Open City as a community of teaching, research, making and, ultimately, a form of resistance.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Field Poetics - Published
Kristen Kreider and James O'Leary
London: Ma Bibliotheque (April 2018)
Field Poetics explores five different places, each with a story to tell, each with a unique mode, form, and vocal register through which to tell it. The writing journeys through a sequence of Andrei Tarkovsky’s ‘film images’, the multi-dimensional, interconnected space machine of the Bonaventure Hotel in Los Angeles, maritime pockets on the edge of the city of Lisbon, a history of silence and surveillance in a derelict wing of the Cork City Gaol, and the transposition of a centuries-old landscape aesthetic through video, performance, and pop in fourteen locations across the Kansai region of Japan. Sometimes documentation, sometimes score, and sometimes the work of a poet and an architect engaging with these sites, Field Poetics spins, suspends, and extends a relation to place.
'Field Poetics is the second volume from this longstanding partnership between a poet and an architect. With fluidity and thoughtfulness it uses what such a meeting may enable. Through sparse and precise poetic pieces and diagrammatic ink sketches, this work operates like a dystopian travel journal, making up a universe of flat lines and temporary stations through a series of real and unreal places. Architexture of un-dwellings.'
- Caroline Bergvall
Available to order here.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Thirteen Points, Expanded published in The Creative Critic
Kristen Kreider and James O'Leary
Book chapter in The Creative Critic: Writing as/about Practice edited by Katja Hilevaara, Emily Orley
London: Routledge (April 2018)
Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right. For their contribution to the book, Kreider + O’Leary present an excerpt from ‘Thirteen Points, Expanded.’
Thirteen points – fragments of image, object, action; slices of matter, memory, history, mediation – are identified: one for each of the ‘Peace Wall’ clusters situated in and around the city of Belfast, Northern Ireland. Each of these becomes the starting point for a piece of writing that seeks to magnify it, hyperbolically; narrate it, fictitiously; study it, obsessively; arrange it, haphazardly. The ‘Peace Wall’ clusters have existed and developed as markers of sectarian division in Belfast for the past forty-five years. This writing seeks to explore the physical, psychological, emotional and imaginative effects of this on the city.
Please see the companion site to the book, http://www.creativecritic.co.uk, where some of the chapters have become unfixed from the page.
See all Kreider + O'Leary Publications here: http://www.kreider-oleary.net/publications/
Milk, Confetti, Erratics at EDGE - Periphery
PERIPHERY
7 OCT 2017
UCL at Here East Queen Elizabeth Olympic Park
London E20 3BS
We will be doing a lecture performance during a day dedicated to 'PERIPHERY' as part of EDGE: Situated Practice in Art, Architecture and Urbanism.
Milk, Confetti, Erratics
A Stratigraphy of the Interface
Kreider + O'Leary
In 1904, as part of the Memoirs of the Geological Survey of Ireland, geologists Lamplugh et al. wrote a paper called ‘The Geology of the Country around Belfast’ where they surveyed the glacial drifts and other superficial deposits around the city, organising this cartographical information into a ‘Table of Formations’. In 2017, The Belfast Interface Project published ‘Interface Barriers, Peacelines and Defensive Architecture’, where they systematically catalogue each ‘peacewall’, barrier, fence and gate used to separate and contain Nationalist and Unionist communities in Northern Ireland. In the conceptual space between these two documents, one can construct a theoretical matrix of artefacts, agents, designs and policy related to the fields of conflict and desire operating in the territory surveyed by these publications. In 2014, Kreider + O’Leary began to construct such a matrix, with a view to gaining an understanding of the mutating condition they call ‘The Interface’.
Physically, The Interface comprises thirteen different wall clusters or ‘peacelines’ situated throughout Belfast. Specifically designed to respond to an evolving set of local actions, events and spaces of conflict, the wall clusters both demarcate a territorial condition and form a backdrop for the performance of expressions of cultural identity. Over many years, the areas around each wall cluster have accumulated deposits and debris, forming a unique and local archive in space and time. In order to catalogue this archive, Kreider + O’Leary use a technique called ‘stratigraphy’: the branch of Geology concerned with the order and relative position of strata and their relationship to the geological and historical timescale. Utilising drawing, video, mapping and writing, Kreider + O’Leary separate and identify one micro-context from another, constructing a case for a ‘congregational understanding of agency’ (Bennet, 2010) related to the assemblage called ‘The Interface’.
This work is supported by James O’Leary’s AHRC TECHNE doctoral award.
Never the Same: what (else) can art writing do?
NEVER THE SAME: WHAT (ELSE) CAN ART WRITING DO
AN INTERNATIONAL SYMPOSIUM ON THE AGENCIES AND FUTURES OF ART WRITING
Over the past few decades multiple modes of creative and critical writing have proliferated in art worlds. A range of approaches – from ficto-criticism, speculative fiction, performative writing, site-writing, poetic innovations, new mediations and alternative forms of criticism – have made political, philosophical and academic space for art writing. Dylan Thomas notes, ‘A good poem is a contribution to reality. The world is never the same once a good poem has been added to it. A good poem helps to change the shape of the universe, helps to extend everyone’s knowledge of himself and the world around him.’ His phrase ‘never the same’ evokes the articulation of mutable writing approaches which refuse to accept art discourses and production as business-as-usual.
Never the Same: what (else) can art writing do? asks, what are the places for, and political implications of, de-instrumentalized forms of writing? In an age of austerity, neocolonialism, neoliberal uses of creativity, art marketing, grant writing and practice based PhD work, how can writing by and for artists and their work enact resistance to such forces? What are the language forms (re)emerging in the present? How might art writing be considered as an ethical practice towards an understanding/in defense of artistic knowledge? How do (re)emergent modes of artistic writing enact agonisms and solidarities in relation to art audiences? Never the Same will address how and for whom these new modes of art writing matter through multiple symposium sessions.
Presented by Contemporary Calgary
September 15-17, 2017
Engineered Air Theatre, Arts Commons
234 9 Ave SE, Calgary, AB
Contemporary Calgary
117 8th Avenue SW, Calgary, AB
Edge - Situated Practice in Art, Architecture and Urbanism
Organised by the UCL Urban Laboratory and Folkestone Triennial 2017, with additional support from the Slade School of Fine Art, UCL and The Bartlett School of Architecture, UCL.
Curated by:
Lewis Biggs (Folkestone Triennial)
James O’Leary (The Bartlett, UCL)
Kieren Reed (The Slade, UCL)
Edge brings together practitioners and thinkers at three 'edge' locations connected by the High Speed 1 railway, which acts a geographical link and embodies ideas associated with community, connectivity and escapism.
Through each of these events we invite participants to respond to a series of 'edge' locations, drawing on their own individual approaches and fields of operation to investigate particular sensory, social, environmental and other conditions. Over the course of the three days we hope to generate a wider conversation exploring the creative use of interstitial spaces.
All are welcome to participate in this interdisciplinary adventure. The audience is invited to follow from one event to the next, engaging with each place as a manifestation of a particular kind of ‘edge’:
GATEWAY (14 SEPT)
UCL BLOOMSBURY, LONDON
For this first event, we consider Bloomsbury and King's Cross as 'edge' locations. The Gower Street campus of UCL was planned and built on the urban/rural edge of nineteenth-century London, a ‘learning’ gateway through which generations of students have now passed, and one which now runs up against the King’s Cross development, conceived as a mix of ‘knowledge’ and ‘transport’ gateways. View the full programme here (pdf).
- Keynote: Jeremy Deller
- Lectures: Marjetica Potrč and OOZE, Matthew Beaumont, Jan Kattein, and Rebecca Ross
- Masterclasses: Samson Kambalu, Gary Woodley, Florian Roithmayr, Leah Lovett, and Katy Beinart
PERIPHERY (7 OCT)
HERE EAST, QUEEN ELIZABETH OLYMPIC PARK
For the second event, we consider the environs of the Queen Elizabeth Olympic Park. Investment for the 2012 Games brought rapid development to the previously neglected Stratford area. Here East, within the former press and broadcasting centre of the Games, is envisaged as a cluster of innovators and digital makers, whilst the Stratford Waterside development will bring new institutions including the V&A, Sadler's Wells, London College of Fashion, and UCL. View the full programme here (pdf).
- Keynotes: Jill Magid and Do Ho Suh
- Lectures: Assemble, Jan Boelen, Jane Rendell, Kreider + O’Leary, MUF, Oreet Ashery, Public Works, SPACE, and Stephen Pritchard
BORDER (4 NOV)
QUARTERHOUSE, FOLKESTONE
For the third and final event, we consider Folkestone. At the littoral edge of southeast England, its urbanism connect equally with water and land. From 1842 to 1992 it was the main pivot for passenger transport between France and England, and with the more recent construction of HS1, Folkestone has been gifted the questionable status of dormitory suburb to the Capital. View the full programme here (pdf).
- Keynote: Friedrich Ludewig
- Other speakers: Lewis Biggs, Lesley Hardy, Darrell Rohl, The Decorators, Diane Dever, Stroom, Charles Quick, Jonathan Ward, JJ Charlesworth, Princess Marilyn Douala Manga Bell, Sorcha Carey and Anthony Downey.
Tickets for all dates in the series can be purchased via the UCL Online Store. There are concessions available for students and local residents.
Further links:
Extratextual
We will be presenting an installed version of of 'Thirteen Points, Expanded' as part of the EXTRATEXTUAL exhibition at Contemporary Calgary.
SEPTEMBER 01 - JANUARY 21, 2018
EXTRATEXTUAL
Exhibition // STEPHEN AVENUE LOCATION
EXHIBITION / September 1, 2017 – January 21, 2018
OPENING RECEPTION
Friday, September 15, 6:00PM - 10:00PM
EVENING SCHEDULE:
Book Launch / Chris Kraus,
After Kathy Acker 5:00PM - 6:00PM
Opening Remarks / 6:30PM - 6:45PM
* Special guests, artists, presenters and curators in attendance from 6:00PM - 8:00PM
extratextual, curated by Lisa Baldissera and Joanne Bristol
extratextual will be held from September 1, 2017 to January 21, 2018 at Contemporary Calgary. The project explores ways in which modes of writing, as well as concepts of textuality and narrative have informed artistic production. The exhibition will include contemporary and historical projects by artists and writers across disciplines. It looks at ways in which texts have both informed and created their own cosmologies, event-scapes and terms of engagement, and how they shape our understanding of contemporary narrative as well as visual and spatial culture.
The exhibition is linked to an international symposium on the agencies and futures of art writing. Titled, Never the Same: what (else) can art writing do? the symposium will take place from September 15 to 17, 2017. Both the symposium and exhibition investigate the places for, and political implications of, de-instrumentalized forms of writing. In an age of austerity, neocolonialism, neoliberal uses of creativity and art marketing, these forums seek to identify ways in which art writing in-the-expanded-field might enact resistance to such forces. They do so by articulating how performativities and materialities of (re)emergent modes of artistic writing enact agonisms and solidarities in relation to art audiences. Finally, they consider art writing as an ethical practice towards an understanding/in defense of artistic knowledge.
To register visit NEVERTHESAME.CA
Above images from a spectacle and nothing strange (2010, letterpress poster series) by Eve
Fowler. Photographs courtesy the artist and Mier Gallery.
Architecture + Ecriture
Architecture + Ecriture
30.6–9.7.2017, Paris College of Art
Paris College of Art
15 Rue Fénelon
75010 Paris
Architecture & Ecriture celebrates writing as a critical and creative practice. As the literary branch of the Architectural Association Visiting School, we welcome architects as well as writers, curators or artists interested in spatial theory and literature to join us in Paris from 30 June to 9 July 2017 for the production of exciting new written and performative pieces.
Modeled on the Literary Salon, Architecture & Ecriture draws largely, though not exclusively, from French cultural studies and literature. During our stay in Paris, we will explore how various forms of writing, and in particular the form of the essay, can contribute to the development of architectural and spatial thinking.*
For this second edition we will read Montaigne and his essays, Barthes and his lectures, Butor and his multifaceted and nomadic writings, Cixous and her memoirs. We will enter the libraries of the world, real and imaginary, with the Virtual Exhibition ‘La Bibliothèque, la nuit’ at the Bibliothèque Nationale de France. Conceived by director Robert Lepage and his company Ex Machina, the exhibition is based on Alberto Manguel’s spellbinding book The Library at Night.**
This summer 2017, we are delighted to welcome writer and translator Dr. Kate Briggs, poet and Professor of Fine Art Kristen Kreider, bookbinder Laurel Parker, and graphic designer Rosa Nussbaum. The AA Paris Visiting School is directed by Dr. Caroline Rabourdin, lecturer at the AA School of Architecture.
Offprint at Tate Modern
Offprint
Tate Modern
Turbine Hall
Bankside
London SE1 9TG
In collaboration with Tate Modern, Offprint hosts publishers from 16 different countries.The event takes place in Tate Modern’s Turbine Hall to coincide with Photo London.
Across the weekend, there will be a programme of book signings and talks with artists.
19 May 2017 at 18.00–22.00
20 May 2017 at 12.00–18.00
21 May 2017 at 12.00–18.00
We will be at Offprint on Sunday, 21 May at 12.00-14.00 for a book signing of Falling, published by Copy Press.
Text/Image Symposium at Naropa University
Caroline Bergvall, Drift (2013)
Text / Image
2017 Spring Symposium
Jack Kerouac School of Disembodied Poetics
Naropa University
Boulder, Colorado
Nalanda Events Center // 6287 Arapahoe Avenue
Naropa University & the Jack Kerouac School of Disembodied Poetics is honored to host three prominent cultural voices, J'Lyn Chapman, Kristen Kreider & Truong Tran for the 2017 Spring Symposium entitled Text/Image.
The symposium panel begins at 2:00 p.m. on Tuesday, March 14th in the Nalanda Event Center on the Nalanda Campus at 6287 Arapahoe Avenue, Boulder. The event is free and open to the public. The panel is followed with an evening reading by all four panelists with guest, Caroline Bergvall, Leslie Scalapino Lecture recipient, at 7:00 p.m. in the Nalanda Events Center.
The panel will be followed by an evening reading with Caroline Bergvall, Kristen Kreider, Truong Tran, Danielle Dutton, Andre Ardibe Bradley.
Tigersprung
Two dates.
The one, a time of emerging fascism and war. The other, a time just after worldwide social conflicts culminated into the global protests of the late 1960’s.
Jumping between these two dates, how can we catch a glimpse of our contemporary moment?
1936, Thursday, 9 Mar 2017
1972, Friday, 10 Mar 2017
Goldsmiths College
Laurie Grove Baths, Room G6 (unless otherwise noted)
New Cross, London, SE14 6BX
James will be presenting on 'Territory and Space in Belfast, 1972' at this Goldsmiths Art Research Symposium.