Publications by Kirsten Lloyd
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What happened in art following the consolidation of capitalist globalisation after 1989? Drawing ... more What happened in art following the consolidation of capitalist globalisation after 1989? Drawing on work in art history, curating, critical theory, political economy and sociology, essays in Economy: Art, Production and the Subject in the 21st Century frame and substantiate the increasing attendance to economic relations as a defining trend in contemporary art’s history and one that brought to an end the hegemony of the cultural subject encountered in postmodern discourse.
Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations.
Building on, extending and querying the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the 20th to the 21st century.
Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt.
Editors: Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh
Kirsten Lloyd is Teaching Fellow in History of Art at the University of Edinburgh and Associate Curator at Stills, Edinburgh
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From 'ECONOMY: Art, Production and the Subject in the 21st Century', Dimitrakaki and Lloyd eds), ... more From 'ECONOMY: Art, Production and the Subject in the 21st Century', Dimitrakaki and Lloyd eds), Liverpool University Press (2015).
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Third Text, Sep 2012
This article considers how contemporary conditions of production have resulted in a reconfigurati... more This article considers how contemporary conditions of production have resulted in a reconfiguration of the artwork at the outset of the twenty-first century. It offers a detailed analysis of the entrepreneurial output of Anton Vidokle, artist and co-founder of e-flux, focusing on the video A Crime Against Art (2007) which documents Vidokle's mock trial at the hands of invited ‘artworld agents’. This complex work encapsulates dominant tendencies in recent art, namely the turns towards the social, knowledge production, performative documentary and education. Situating it in relation to Luc Boltanski and Eve Chiapello's consideration of the evolving structures of capitalism, the article argues that this is an exemplary instance that illustrates how the artwork itself has been radically reformulated. As part-and-parcel of this transformation it frames the recent rise to prominence of the curator and, by extension, the curatorial function so often appropriated by artists, as a symptom of economic conditions.
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Conference Presentations by Kirsten Lloyd
CAA, 2015. 'The Ethics of Social Practice' panel
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As an increasing number of artists site their practice within the social fabric of everyday life,... more As an increasing number of artists site their practice within the social fabric of everyday life, the encounter has been placed at the heart of a newly defined aesthetic experience. Participatory, collaborative and community-based methodologies now proliferate both within and beyond the institution while documentary modes often play a central role in mediating the intersubjective encounters produced. If art has thereby been endowed with a renewed and expanded ethical significance, the complex interfaces that have emerged between ethics, aesthetics and politics have received surprisingly little attention in the field of art history. Seeking to address this gap, this paper will consider whether contemporary artists’ ethical engagements establish sites for critique through the production of social knowledge or instead displace the political. Though this topic encompasses a broad range of what might be termed ‘reality-driven’ practices, I will primarily focus upon the specificities of lens-based documentary modes. Such an approach will necessarily draw in both questions relating to the situational immediacy of other types of social practices as well as now long-running investigations in the documentary genre.
This paper is based upon a curatorial investigation I undertook at Stills Gallery in Edinburgh from November 2010 until March 2011 entitled Social Documents: The Ethics of Encounter. It will focus on two video works which were exhibited as part of this programme: Renzo Martens’ Episode III – Enjoy Poverty (2009) and Dani Marti’s Time is the fire in which we burn (2009). Though these works bear a close resemblance to ethnographic mapping, investigative journalism, community work and even sex therapy, in contrast to the strict ethical codes to which these disciplines adhere, these artists operate outside – or deliberately corrupt – accepted conventions and frameworks. Constructing situations, manipulating participants and editing footage, Martens and Marti build challenging narratives which push the ethical relations to the fore.
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Since around 1990, the compulsion to document has taken on such new levels of urgency that the pr... more Since around 1990, the compulsion to document has taken on such new levels of urgency that the proliferation of documentary materials, processes and tropes has become one of the most significant tendencies in contemporary art practice. Boris Groys has argued that we are experiencing nothing short of a transformation in art and, by extension, its modes of theoretical engagement: in the biopolitical age, as art seeks to ‘become life itself, not merely to depict life or to offer it art products’, the narrative document becomes an inevitable – and indispensible – symptom. Building from Groys’ observations, this paper argues that the social document now occupies a central role in art’s quest to provide a site for critique and to produce social knowledge. Yet, if its emphatic emergence indicates that art is undergoing a passage to the 21st century, the recognition of its originality must be tempered with an acknowledgement of its antecedents. Within art history, these can be most productively traced through feminist practices which engage performatively with material social realities and encounters. Such a recovery works against conventional framings – most obviously postmodernism’s apparent repudiation of the (impossible) document in favour of ‘Pictures’. In linking current formations with the work of Mary Kelly, Margaret Harrison, Jo Spence, Sanja Iveković and others, this paper will examine the use of intimacy, experience, narrative and performance in the generation of social knowledge and social critique.
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Talks by Kirsten Lloyd
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Exhibitions by Kirsten Lloyd
ECONOMY was a curatorial project examining the outstanding and increasing visibility of economic ... more ECONOMY was a curatorial project examining the outstanding and increasing visibility of economic relations and their impact on everything that we do or, indeed, are. Since the 1990s, capitalism as a global system has been mutating into an aggressive form of economic reductionism. At this moment in the history of capitalism, rampant economic oppression and a regime of crisis are transforming livelihoods and lives, yet also bringing forth an awareness about the necessity for struggle on all fronts. As a result, a new economic subject is displacing postmodernism’s celebrated cultural subject. But how and where does this take place exactly? Can it be observed in our everyday reality? And does the emergence of an economic subject indicate a new phase in the history of contemporary art?
Exhibition Artists: David Aronowitsch & Hanna Heilborn | Ursula Biemann | Pauline Boudry & Renate Lorenz | Tracey Emin | Andrea Fraser | Claire Fontaine | Melanie Gilligan | Johan Grimonprez | Andreas Gursky | Kai Kaljo | Owen Logan | Rick Lowe | Jenny Marketou | Dani Marti | Angela Melitopoulos | Marge Monko | Tanja Ostojić | Anu Pennanen | Stéphane Querrec | Raqs Media Collective | Martha Rosler | Hito Steyerl | Mitra Tabrizian | WochenKlausur | Paolo Woods
Film Lounge Artists: Dario Azzellini & Oliver Ressler | Jeremy Deller & Mike Figgis | Marcelo Expósito & Nuria Vila | Yevginy Fiks, Olga Kopenkina & Sasha Lerman | Christos Georgiou | Michael Glawogger |Francesco Jodice | Ernest Larsen & Sherry Millner | Jesper Nordahl | Maria Ruido | Yorgos Zois
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An increasing number of artists currently employ photography and the moving image to work with so... more An increasing number of artists currently employ photography and the moving image to work with social processes and document social realities. In response Social Documents presented an eclectic programme exploring this turn towards the documentary which considered in depth themes ranging from ethics and the politics of representation to the effects of globalisation. A durational research project comprising exhibitions, screenings, reading groups, workshops and seminars.
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When artists site their practice within the fabric of social relations, documentary modes often p... more When artists site their practice within the fabric of social relations, documentary modes often play a central role in mediating events and experiences. Though the resulting material often bears a close resemblance to ethnographic mapping, investigative journalism or even community work, in contrast to the strict ethical codes to which these disciplines adhere many of today's artists operate in somewhat murkier waters. Working outside - or even deliberately corrupting - accepted conventions and frameworks, the artists participating in this two-part exhibition find alternative means to engage with social realities in situations of war, sex and political urgency.
The Atlas Group | François Bucher | Renzo Martens | Dani Marti | Frederick Wiseman | Artur Żmijewski
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Books by Kirsten Lloyd
various authors
monograph on Dani Marti's Work
published 2012
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Papers by Kirsten Lloyd
Stills, Dec 1, 2010
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What happened in art following the consolidation of capitalist globalisation after 1989? Drawing ... more What happened in art following the consolidation of capitalist globalisation after 1989? Drawing on work in art history, curating, critical theory, political economy and sociology, essays in Economy: Art, Production and the Subject in the Twenty-First Century frame and substantiate the increasing attendance to economic relations as a defining trend in contemporary art’s history and one that brought to an end the hegemony of the cultural subject encountered in postmodern discourse. Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations. Building on and extending the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the twentieth to the twenty-first century. Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt Editors: Angela Dimitrakaki and Kirsten Lloyd Endorsements / Reviews As postmodernism fades away, capitalism enters a major crisis and hot wars abound, a generation of artists and thinkers turn to political economy. Here is a book that shows why the reorientation is vital and necessary. Steve Edwards, Professor in Art-History-Materialism, The Open University In these topsy turvy times, artists have turned their attention to matters economic, looking past the vaunted effects of the art market to an analysis of the workings of the broader society, bringing to bear their hard-won perspectives on labour, gender, identity, power, agency— and aesthetics. This book is an indispensable guide to these urgent debates. Martha Rosler, artist CONTENTS INTRODUCTION ‘The Last Instance’: The Apparent Economy, Social Struggles and Art in Global Capitalism Angela Dimitrakaki and Kirsten Lloyd PART 1: PRODUCTION 1. Art as Property Andrea Phillips 2. Art and the Problem of Immaterial Labour: Reflections on Its Recent History John Roberts 3. Indifferent Agent: Speculation as a Mode of Production in Art and Capital Marina Vishmidt 4. Women’s Lives, Labour, Contracts, Documents: The Biopolitical Tactics of Feminist Art, Act Two and a Half Angela Dimitrakaki 5. Seeing Socialism: On the Aesthetics of the Economy, Production and the Plan Alberto Toscano PART 2: SUBJECTS 6. DIWY: Precarity in Embodied Capitalism Vassilis Tsianos and Dimitris Papadopoulos 7. Being with, across, over and through: Art’s Caring Subjects, Ethics Debates and Encounters Kirsten Lloyd 8. The Long Working Hours of Normal Love Renate Lorenz 9. Occupy the Art World? Notes on a Potential Artistic Subject Gregory Sholette 10. (Re)Making the World: An Interview with Melanie Gilligan on Capitalist Exchange, Subject Formation and ‘Social Synthesis’ Angela Dimitrakaki and Kirsten Lloyd 11. Economy, Capital and the Commons Massimo de Angelis First edition Pages: 256 Illustrations: 20 black and white illustrations 234 x 156 mm © 2014 Hardback £30.00 Liverpool University Press ISBN: 9781781381380 Apr 2015 http://www.liverpooluniversitypress.co.uk/index.php?option=com_wrapper&view=wrapper&Itemid=11&AS1=Economy+Art%2C+Production+and+the+Subject+in+the+21st+Century
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i ACKNOWLEDGEMENTS iii
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Publications by Kirsten Lloyd
Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations.
Building on, extending and querying the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the 20th to the 21st century.
Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt.
Editors: Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh
Kirsten Lloyd is Teaching Fellow in History of Art at the University of Edinburgh and Associate Curator at Stills, Edinburgh
Conference Presentations by Kirsten Lloyd
This paper is based upon a curatorial investigation I undertook at Stills Gallery in Edinburgh from November 2010 until March 2011 entitled Social Documents: The Ethics of Encounter. It will focus on two video works which were exhibited as part of this programme: Renzo Martens’ Episode III – Enjoy Poverty (2009) and Dani Marti’s Time is the fire in which we burn (2009). Though these works bear a close resemblance to ethnographic mapping, investigative journalism, community work and even sex therapy, in contrast to the strict ethical codes to which these disciplines adhere, these artists operate outside – or deliberately corrupt – accepted conventions and frameworks. Constructing situations, manipulating participants and editing footage, Martens and Marti build challenging narratives which push the ethical relations to the fore.
Talks by Kirsten Lloyd
Exhibitions by Kirsten Lloyd
Exhibition Artists: David Aronowitsch & Hanna Heilborn | Ursula Biemann | Pauline Boudry & Renate Lorenz | Tracey Emin | Andrea Fraser | Claire Fontaine | Melanie Gilligan | Johan Grimonprez | Andreas Gursky | Kai Kaljo | Owen Logan | Rick Lowe | Jenny Marketou | Dani Marti | Angela Melitopoulos | Marge Monko | Tanja Ostojić | Anu Pennanen | Stéphane Querrec | Raqs Media Collective | Martha Rosler | Hito Steyerl | Mitra Tabrizian | WochenKlausur | Paolo Woods
Film Lounge Artists: Dario Azzellini & Oliver Ressler | Jeremy Deller & Mike Figgis | Marcelo Expósito & Nuria Vila | Yevginy Fiks, Olga Kopenkina & Sasha Lerman | Christos Georgiou | Michael Glawogger |Francesco Jodice | Ernest Larsen & Sherry Millner | Jesper Nordahl | Maria Ruido | Yorgos Zois
The Atlas Group | François Bucher | Renzo Martens | Dani Marti | Frederick Wiseman | Artur Żmijewski
Books by Kirsten Lloyd
Papers by Kirsten Lloyd
Contributions include reflections on art in its relation to property as well as to speculation and finance, immaterial labour and the avant-garde, the lessons of the past in pursuing an aesthetics of the economy, the ethics of care and the role of the art document, queer politics and class, the new feminist critique of economic subjects, migration, precarity and empowerment, the ambivalence of the commons, and a range of perspectives on the possibility of opposition, in the art world and beyond, to the biopolitical rule of global capital as the arbiter of human relations.
Building on, extending and querying the curatorial project ECONOMY (Edinburgh and Glasgow 2013), the book puts forward a proposition that cuts across a number of ‘turns’ in the art of the past two decades, including socially engaged practices, seeking to connect localised approaches with the broader organisation of production and the unprecedented apparentness of the economy in the passage from the 20th to the 21st century.
Contributors: Massimo de Angelis, Angela Dimitrakaki, Melanie Gilligan, Kirsten Lloyd, Renate Lorenz, Dimitris Papadopoulos & Vassilis Tsianos, Andrea Phillips, John Roberts, Alberto Toscano, Gregory Sholette, Marina Vishmidt.
Editors: Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh
Kirsten Lloyd is Teaching Fellow in History of Art at the University of Edinburgh and Associate Curator at Stills, Edinburgh
This paper is based upon a curatorial investigation I undertook at Stills Gallery in Edinburgh from November 2010 until March 2011 entitled Social Documents: The Ethics of Encounter. It will focus on two video works which were exhibited as part of this programme: Renzo Martens’ Episode III – Enjoy Poverty (2009) and Dani Marti’s Time is the fire in which we burn (2009). Though these works bear a close resemblance to ethnographic mapping, investigative journalism, community work and even sex therapy, in contrast to the strict ethical codes to which these disciplines adhere, these artists operate outside – or deliberately corrupt – accepted conventions and frameworks. Constructing situations, manipulating participants and editing footage, Martens and Marti build challenging narratives which push the ethical relations to the fore.
Exhibition Artists: David Aronowitsch & Hanna Heilborn | Ursula Biemann | Pauline Boudry & Renate Lorenz | Tracey Emin | Andrea Fraser | Claire Fontaine | Melanie Gilligan | Johan Grimonprez | Andreas Gursky | Kai Kaljo | Owen Logan | Rick Lowe | Jenny Marketou | Dani Marti | Angela Melitopoulos | Marge Monko | Tanja Ostojić | Anu Pennanen | Stéphane Querrec | Raqs Media Collective | Martha Rosler | Hito Steyerl | Mitra Tabrizian | WochenKlausur | Paolo Woods
Film Lounge Artists: Dario Azzellini & Oliver Ressler | Jeremy Deller & Mike Figgis | Marcelo Expósito & Nuria Vila | Yevginy Fiks, Olga Kopenkina & Sasha Lerman | Christos Georgiou | Michael Glawogger |Francesco Jodice | Ernest Larsen & Sherry Millner | Jesper Nordahl | Maria Ruido | Yorgos Zois
The Atlas Group | François Bucher | Renzo Martens | Dani Marti | Frederick Wiseman | Artur Żmijewski