(Head of the Photographic Collection at the Centre National des Arts Plastiques, CNAP, Paris)
10:00 – 10:45
Pascal Beausse will talk about the politics of his curatorial experience in relation with a series of exhibitions produced for the Centre National des Arts Plastiques (CNAP) Collection in Paris, raising issues such as: body, biopolitics, house / factory, representation of labour, globalization, migration and counter-history.
Mihai Laurenţiu Fuiorea
(Faculty of Philosophy, Bucharest University)
10:45 – 11:30
Dé(re)construction du sujet et écosophie
Une préoccupation philosophique importante et récurrente dans la pensée contemporaine concerne la déconstruction du sujet souverain, universel et fondateur. Cela suppose, d’une part, de la déconstruction des modalités de domination et d’assujetissement des individus, et d’autre part, la revendication de processus de subjectivation inédits, hybrides, marginaux, artistiques. Dans cette présentation, nous allons nous pencher sur ces formes de subjectivité, telles qu’elles sont décrites dans les derniers écrits de Félix Guattari et sur son proposition de créer des territories existentiels alternatifs sur le modèle de l’art : «on crée de nouvelles modalités de subjectivation au même titre qu’un plasticien crée de nouvelles formes à partir de la palette dont il dispose ». Cette pensée des formes actuelles d’existence, militant pour la reconstruction de l’environnement et pour l’invention de nouveaux rapports sociaux et de rapports à soi, Guattari l’appelle « écosophie ». L’urgence de cette re-construction tient au contexte biopolitique de détérioration accrue du cadre de vie, de précarisation sociale et de souffrance psychique, spécifiques au « capitalisme mondial intégré » (CMI), générateur de subjectivité normalisée.
COFFEE AND BEVERAGE BREAK
(lecturer at the Department of Political Science, International Relations and European Studies, Faculty of Philosophy and Social-Political Sciences “Al. I. Cuza” University, Iaşi)
The Use of Image in Street Protests
When analysing social movements, the sources of mobilization represent the stake of social analysis. Why, when and how groups decide to act publicly, to express their outrage and discontent remain some of the most relevant questions on the way people struggle to produce social change. Despite such a heterogeneity of approaches, my paper is focused on one particular matter – the role of the image as instrument of social mobilization in social movements. In this respect, it seeks to provide an answer to the following question: How relevant is the use of image in mobilizing social groups in street protests?
Raluca Oancea Nestor
(lecturer in Aesthetics and New Media, Bucharest National University of Arts, Department of Theory and Research)
Image in Post-Human Paradigm
At the beginning of a new century we are facing a significant series of aesthetic challenges implying provocative artistic mutations and unexpected theoretical approaches. New hybrid domains such as artistic nano- and genetic technologies or geo-philosophy (Deleuze) spring out. In the context of the reevaluation of Human Sciences as a whole, as a unique interdisciplinary field, contemporary art redefines itself as a socio-political practice, as an applied anthropology as well as a field of enquiry where truth and knowledge are to be encountered. Following in Nietzsche’s footsteps, contemporary thought searches for a method to surpass the modernist substantial, anthropocentric view. As an alternative to Cartesian “I think therefore I am”, Derrida thus proposes a new formulation: “The animal looks at us and we are naked before it. And thinking perhaps begins there.” A couple of questions stand out here: how do we know that thinking is so different from sniffing or scenting and why is this zone of sensibility so neglected or reduced to a secondary position in philosophy and the arts? In this context, one should also focus on the fact that agency can be a category that exists separately from thought, and take into consideration the distinction between subjectivity and agency, between what might be termed a sense of self-in-the-world, and a capacity to shape that world.
A new post-human view is therefore needed together with a thorough reconsideration of nature as nature in itself, and with a firm acknowledgement of an independent animal phenomenology and animal Umvelt (typical environment-world). Thus, one should also notice the inevitable turn to transhuman aesthetics: a type of aesthetics that no longer follows the modern decree that everything is to be understood in relation with the human and by referring it back to the human. The human should take into consideration the shift from the trivial representation of the animal to the real animal interaction and concern. A new series of artistic projects have emerged from this urge to reconsider the otherness, the non-human. Animals are engaged by artists such as Olly and Suzi, Mark Dion, Paula Rego, Perdita Philips and Sue Coe in the making processes of the artworks, often through the marking of surfaces. The resulting co-produced artworks become then the ‘genuine artifact of the event’, of the animal’s Umwelt (Baker, 2000: 13). Aesthetics is redefined as a field of knowledge that enables us to reflect and ask questions about identity, creativity and post-humanism.
Ana Lúcia Coelho Pereira da Silva Nobre
(University of Lisbon, with a grant from FCT – Fundação para a Ciência e a Tecnologia)
From the Abyss to the Open
Is photography as performance? Essentially, this assertion is validated through the preponderance of the process of the photographic image’s appearance over the question of the image’s fixation: its focus is in the image that is being built throughout a process that is intentionally not fully controlled. The image/work – photography without camera – is the trace of a process that was being, of the performance’s distended present. The argumentation of this central question calls together the concepts of Abysm and Open. With Martin’s Heidegger and his reading of F. Hölderlin’s poetry, the Abysm is assumed as the lack of ground, of foundation of the being. The being’s foundation is physis, a greek concept, retrieved by Heidegger. Phisis is the being in its entirety, the being’s being, life common to all that exists. On the path of Merleau-Ponty’s phenomenology, which appeals to a direct and reciprocal contact with the world, we are body/flesh of the world. This Abysm is thus the (re)entrance in life’s own bosom, the descent to phisis, the acceptance of its essential rhythm and its living to the full. The concept of Open as set forth in Rainer Maria Rilke’s poetry, and analysed by Heidegger, is a double, consequent of the concept of Abysm. If Abysm refers to the lack of foundation of the being, Open refers to the being and the world. In this investigation, Open is a synonym of unveiling. We descend into the Abysm, to be able to fully access Open. The photograph is the performance: Photography as a sensitive, ephemeral experience. The performance is the photography’s actual production, the appearing of the image. It is the image of the world: it is the world that adheres to the world, and not an inert image substituting it. A photograph that is not fixed, but is instead, as life itself, in uninterrupted movement; a photograph at the scale of the body, opened to the body of the world.