Lisa Deml is a Midlands4Cities funded researcher who holds degrees in Art History and Philosophy from the Courtauld Institute of Art, London, and the Ludwig-Maximilians-University, Munich. Initially trained as a journalist, she subsequently worked for public cultural institutions and non-profit organisations internationally, including Haus der Kulturen der Welt (HKW), Berlin, Haus der Kunst, Munich, and Ashkal Alwan, Beirut.
Her research interests focus on visual articulations of citizenship and artistic strategies to foster transnational solidarity and resistance, particularly in the framework of new media practices and visual culture in the Middle East and North Africa.
The corporeality of warfare is disappearing into digital networks and information structures, ass... more The corporeality of warfare is disappearing into digital networks and information structures, assuming ever more materially dispersed and datafied formations. '(W)archives: Archival Imaginaries, War and Contemporary Art' considers how immanent digital archiving has become part of this extended materiality of war. The edited volume seeks to expound the increasingly structuring role of digital archives in contemporary warfare, wherein processes of data production, gathering, management, and distribution expand—but also profoundly transfigure—the waging of war. While '(W)archives' tracks the ways in which archives are deployed to an ever-greater extent as technologies of warfare, it also explores how archival practices open up critical vantage points and venues for dissent and demands for accountability. Bringing together a range of scholarly perspectives and artistic practices, the book examines how archives could be mobilised to articulate political demands, to engender new formats of evidence, and to make palpable the experience of living with war.
The corporeality of warfare is disappearing into digital networks and information structures, ass... more The corporeality of warfare is disappearing into digital networks and information structures, assuming ever more materially dispersed and datafied formations. '(W)archives: Archival Imaginaries, War and Contemporary Art' considers how immanent digital archiving has become part of this extended materiality of war. The edited volume seeks to expound the increasingly structuring role of digital archives in contemporary warfare, wherein processes of data production, gathering, management, and distribution expand—but also profoundly transfigure—the waging of war. While '(W)archives' tracks the ways in which archives are deployed to an ever-greater extent as technologies of warfare, it also explores how archival practices open up critical vantage points and venues for dissent and demands for accountability. Bringing together a range of scholarly perspectives and artistic practices, the book examines how archives could be mobilised to articulate political demands, to engender new formats of evidence, and to make palpable the experience of living with war.
Today, professional as well as private relationships are driven by energies that prey upon emotio... more Today, professional as well as private relationships are driven by energies that prey upon emotional investments and rewards. Economic calculation and intimate relation are by no means contradictory; rather, financial transaction and tender devotion are intrinsically correlated and co-dependent. Against this background, Mariona Berenguer and Kris Douglas interrogate the conditions of their artistic production embedded in an industry in which creative practice as well as emotional labour are measured by originality and efficiency. While their material vocabularies and working processes are distinct, they share a commitment to translating intimate emotions, personal experiences, and cultural histories into concrete forms and spatial relations. The works presented in this exhibition reveal the ways in which their creative practices are impacted and informed by affectionate exhilaration and exhaustion.
Under the term material witness, Susan Schuppli proposes a new operative concept to explore the e... more Under the term material witness, Susan Schuppli proposes a new operative concept to explore the evidential role of matter—the evidence of a particular event as well as the event of evidence. Moving through a series of investigations into human rights violations and environmental catastrophes, her book 'Material Witness: Media, Forensics, Evidence' tracks evidential artifacts through the discursive networks in which they gain juridical or institutional traction. Assuming a heightened sensitivity to the materiality of politics, material witnesses manage the regimes of intelligibility that enable us to contest evidentiary systems and their corresponding truth claims as well as to engage alternate modes of witnessing beyond the paradigms of recognition and representation.
The challenges and constraints to visibility in a perpetual state of emergency are what underwrit... more The challenges and constraints to visibility in a perpetual state of emergency are what underwrite and impel the content and form of – door open – (2019), a three-channel film installation by ZouZou Group. This collective is formed of two anonymous female artists, one living in Syria, the other in England, who have shared video clips and photographs with each other that were recorded between 2014 and 2018 in Damascus and countries that impacted the course of the Syrian civil war, such as England, Germany and Russia. The various difficulties the two artists encountered in their exchange have come to determine the visual language, structure and substance of this artwork. Therefore, without showing violence, – door open – exposes the dangerous conditions of its creation by manifesting the effects of warfare on the formal processes of its production.
The exhibition Errata guides its spectators along a counter-expedition into the materialised past... more The exhibition Errata guides its spectators along a counter-expedition into the materialised past to make visible the fault lines and injured infrastructures of art and historiography. Projects by Ariella Aïsha Azoulay and New Red Order propose historiographic and mnemonic working methods that are premised on the right to intervene in and reverse imperial mechanisms of knowledge extraction and production. This reparative movement renders archival strongholds vulnerable by undermining their ability to relegate imperial violence to a well-guarded and bygone time. Ultimately, Errata attempts to reconfigure imperialism’s taxonomic and epistemic systems by shifting the framework of archival literacy from factual adherence toward radical imagination.
The corporeality of warfare is disappearing into digital networks and information structures, ass... more The corporeality of warfare is disappearing into digital networks and information structures, assuming ever more materially dispersed and datafied formations. '(W)archives: Archival Imaginaries, War and Contemporary Art' considers how immanent digital archiving has become part of this extended materiality of war. The edited volume seeks to expound the increasingly structuring role of digital archives in contemporary warfare, wherein processes of data production, gathering, management, and distribution expand—but also profoundly transfigure—the waging of war. While '(W)archives' tracks the ways in which archives are deployed to an ever-greater extent as technologies of warfare, it also explores how archival practices open up critical vantage points and venues for dissent and demands for accountability. Bringing together a range of scholarly perspectives and artistic practices, the book examines how archives could be mobilised to articulate political demands, to engender new formats of evidence, and to make palpable the experience of living with war.
The corporeality of warfare is disappearing into digital networks and information structures, ass... more The corporeality of warfare is disappearing into digital networks and information structures, assuming ever more materially dispersed and datafied formations. '(W)archives: Archival Imaginaries, War and Contemporary Art' considers how immanent digital archiving has become part of this extended materiality of war. The edited volume seeks to expound the increasingly structuring role of digital archives in contemporary warfare, wherein processes of data production, gathering, management, and distribution expand—but also profoundly transfigure—the waging of war. While '(W)archives' tracks the ways in which archives are deployed to an ever-greater extent as technologies of warfare, it also explores how archival practices open up critical vantage points and venues for dissent and demands for accountability. Bringing together a range of scholarly perspectives and artistic practices, the book examines how archives could be mobilised to articulate political demands, to engender new formats of evidence, and to make palpable the experience of living with war.
Today, professional as well as private relationships are driven by energies that prey upon emotio... more Today, professional as well as private relationships are driven by energies that prey upon emotional investments and rewards. Economic calculation and intimate relation are by no means contradictory; rather, financial transaction and tender devotion are intrinsically correlated and co-dependent. Against this background, Mariona Berenguer and Kris Douglas interrogate the conditions of their artistic production embedded in an industry in which creative practice as well as emotional labour are measured by originality and efficiency. While their material vocabularies and working processes are distinct, they share a commitment to translating intimate emotions, personal experiences, and cultural histories into concrete forms and spatial relations. The works presented in this exhibition reveal the ways in which their creative practices are impacted and informed by affectionate exhilaration and exhaustion.
Under the term material witness, Susan Schuppli proposes a new operative concept to explore the e... more Under the term material witness, Susan Schuppli proposes a new operative concept to explore the evidential role of matter—the evidence of a particular event as well as the event of evidence. Moving through a series of investigations into human rights violations and environmental catastrophes, her book 'Material Witness: Media, Forensics, Evidence' tracks evidential artifacts through the discursive networks in which they gain juridical or institutional traction. Assuming a heightened sensitivity to the materiality of politics, material witnesses manage the regimes of intelligibility that enable us to contest evidentiary systems and their corresponding truth claims as well as to engage alternate modes of witnessing beyond the paradigms of recognition and representation.
The challenges and constraints to visibility in a perpetual state of emergency are what underwrit... more The challenges and constraints to visibility in a perpetual state of emergency are what underwrite and impel the content and form of – door open – (2019), a three-channel film installation by ZouZou Group. This collective is formed of two anonymous female artists, one living in Syria, the other in England, who have shared video clips and photographs with each other that were recorded between 2014 and 2018 in Damascus and countries that impacted the course of the Syrian civil war, such as England, Germany and Russia. The various difficulties the two artists encountered in their exchange have come to determine the visual language, structure and substance of this artwork. Therefore, without showing violence, – door open – exposes the dangerous conditions of its creation by manifesting the effects of warfare on the formal processes of its production.
The exhibition Errata guides its spectators along a counter-expedition into the materialised past... more The exhibition Errata guides its spectators along a counter-expedition into the materialised past to make visible the fault lines and injured infrastructures of art and historiography. Projects by Ariella Aïsha Azoulay and New Red Order propose historiographic and mnemonic working methods that are premised on the right to intervene in and reverse imperial mechanisms of knowledge extraction and production. This reparative movement renders archival strongholds vulnerable by undermining their ability to relegate imperial violence to a well-guarded and bygone time. Ultimately, Errata attempts to reconfigure imperialism’s taxonomic and epistemic systems by shifting the framework of archival literacy from factual adherence toward radical imagination.
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