Eve Kalyva
I have 15+ years of experience working in higher education in a global context. I have held teaching, research and leadership positions in educational and cultural institutions in the UK, the Netherlands and Argentina, and led teams of experts across academic and professional staff.
I am currently leading the Professional Development Training provision at the University of Kent where I identify, develop and deliver bespoke training for a range of businesses, professionals and industry partners. My portfolio includes the Government-funded course for SMEs Help to Grow Management and AI in Business. My interdisciplinary expertise enables me to create scientifically robust and pedagogically effective training to suit different needs. I have advanced skills in cross-business engagement, market analysis and performance monitoring (including by creating and analysing surveys). I am an advocate of intersectoral mobility.
I have previously acted as the first Employability Lead for the Division of Arts & Humanities for which I created and implemented Divisional strategy, developed training and established inter-sectoral partnerships; and I have worked as Lecturer in Art History, developing undergraduate and postgraduate courses. I act as evaluator for HE programmes and PhD supervisor. I have a PG Cert in Higher Education and I am a HE Advance Fellow.
My specialist interest spans art and politics (incl. conceptual art, post-sixties art and Latin American art), discourse, social semiotics, activism, feminism, exhibition design, museum pedagogies and decoloniality. I have led the research project Decolonial Practices in Art and Culture at the University of Kent with funding from Research England, and co-coordinated the research group Global Trajectories of Thought and Memory: Art and the Global South at the University of Amsterdam (2019-24).
My scholarly publications include Image and Text in Conceptual Art: Critical Operations in Context (Palgrave/Macmillan 2016), Museums and Entrepreneurship: The Effects of Capitalising on Culture (Routledge 2024; with I. Katsaridou), The Future of Radical Women: Feminism and Latin American Art, Dialogues special issue, LALVC 51:2 (2023; with E. Mazadiego), “Borderline: Mapping Social Space in Conceptual Art”, in Charting Space: The Cartographies of Conceptual Art (Manchester UP 2023), “Making Sense and Claiming a Presence: The Social Semiotics of Visual Activism”, in Visual Activism in the 21st Century (Bloomsbury, 2022), “Parallel Lives, Parallel Aesthetics. In dialogue with León Ferrari and Gülsün Karamustafa”, in Parallel Lives, Parallel Aesthetics – Gülsün Karamustafa and León Ferrari (van Abbemuseum, Eindhoven, 2021), “The Rhetoric of Disobedience: Art and Power in Latin America”, Latin American Research Review 51:2 (2016) and “Conceptual Art and Language: Introducing a Logico-Semantic Analysis”, Social Semiotics 24:3 (2014).
I am currently leading the Professional Development Training provision at the University of Kent where I identify, develop and deliver bespoke training for a range of businesses, professionals and industry partners. My portfolio includes the Government-funded course for SMEs Help to Grow Management and AI in Business. My interdisciplinary expertise enables me to create scientifically robust and pedagogically effective training to suit different needs. I have advanced skills in cross-business engagement, market analysis and performance monitoring (including by creating and analysing surveys). I am an advocate of intersectoral mobility.
I have previously acted as the first Employability Lead for the Division of Arts & Humanities for which I created and implemented Divisional strategy, developed training and established inter-sectoral partnerships; and I have worked as Lecturer in Art History, developing undergraduate and postgraduate courses. I act as evaluator for HE programmes and PhD supervisor. I have a PG Cert in Higher Education and I am a HE Advance Fellow.
My specialist interest spans art and politics (incl. conceptual art, post-sixties art and Latin American art), discourse, social semiotics, activism, feminism, exhibition design, museum pedagogies and decoloniality. I have led the research project Decolonial Practices in Art and Culture at the University of Kent with funding from Research England, and co-coordinated the research group Global Trajectories of Thought and Memory: Art and the Global South at the University of Amsterdam (2019-24).
My scholarly publications include Image and Text in Conceptual Art: Critical Operations in Context (Palgrave/Macmillan 2016), Museums and Entrepreneurship: The Effects of Capitalising on Culture (Routledge 2024; with I. Katsaridou), The Future of Radical Women: Feminism and Latin American Art, Dialogues special issue, LALVC 51:2 (2023; with E. Mazadiego), “Borderline: Mapping Social Space in Conceptual Art”, in Charting Space: The Cartographies of Conceptual Art (Manchester UP 2023), “Making Sense and Claiming a Presence: The Social Semiotics of Visual Activism”, in Visual Activism in the 21st Century (Bloomsbury, 2022), “Parallel Lives, Parallel Aesthetics. In dialogue with León Ferrari and Gülsün Karamustafa”, in Parallel Lives, Parallel Aesthetics – Gülsün Karamustafa and León Ferrari (van Abbemuseum, Eindhoven, 2021), “The Rhetoric of Disobedience: Art and Power in Latin America”, Latin American Research Review 51:2 (2016) and “Conceptual Art and Language: Introducing a Logico-Semantic Analysis”, Social Semiotics 24:3 (2014).
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Books by Eve Kalyva
In particular, this book asks: How has the presence of language in a visual art context changed the ways art is talked about, theorised and produced?
Image and Text in Conceptual Art demonstrates how artworks communicate in context and evaluates their critical potential. It considers international case studies across Europe and North and South America (with an emphasis on UK and Argentina); and draws resources from art history and theory, philosophy, discourse analysis, social semiotics, literary criticism and sociology.
Engaging the critical and social dimensions of art, it proposes three interdisciplinary methods of analysis that consider the work’s performative gesture, its logico-semantic relations and the rhetorical operations in the discursive creation of meaning. This book offers a historiography of conceptual art in its socio-political context; and makes an original contribution to the theory of art that can be applied beyond conceptual art.
The rise of new media calls for reconsiderations of binaries such as author/reader, producer/consumer, and source centre/periphery, the role of the participating audience, and the nature of information exchange. Such re-articulation(s) could further be situated in relation to the political impetus of technological developments and the new ways of engaging and performing the world that these enable. Put differently, new media alter the material applications and critical potential of the networks of production and dissemination of information, as well as the communities within which these operate and help create. As such, the activity of reading/writing in new media becomes a particular material and social practice that can open up and create new, more democratic spaces.
This guest issue of Synthesis offers a critical discussion on new media. It aims to re-examine the relations across information, user, and medium under a new paradigm of interactivity, and to address pressing questions regarding ethics and responsibility in our globalised, digitalised era. Special focus have the cultural, societal, and political implications of the use of new technologies, and the modes, effects, and theorisations of acting (on) the text in new media.
With this plurality in mind, this special issue of parallax asks: How does one – as a philosopher, a writer or an artist – move in-between spaces? Such move can take place, for example, from the mental space of formulation of ideas and rhetorical operations to the embodied space of physical impact and back again. Furthermore, how does one act on the metaphysical space of theory from within the space of experience?
We invite discussions on various strategies that, by disturbing the spatio-temporal configuration of experienced space, open up the space for critical reflection; or that confront the canon with a premise that nourishes the possibility of doubt. What demands does the frame (of reference, of regulations, of limitations) make on the structure of the physical object? What are the frame/object’s internal and external limits and how can one invent and sustain alternative conditions of meaning and intelligibility?
Disturbing spaces entails knowledge of the object’s physical location and therefore depends on the context of its experience and the conditions of its exposure. Thus, one may arrive at a disjoined critical stand by way of upsetting the order of things, yet this disruption of the frame of reference will also cause one to fall back to a provisional starting point. If so, is it possible to retain this experience and to use it in order to reflect on and repeat such a performance? Where would one locate strategies that disturb the embodied/ mental space, and that tease their distance? Would a self-reflective operation create a new space, reconfigure the same space anew or remain in a metaphysical space?
Questioning the notion of impossibility and of impossible strategies not as a prohibition but as a tangent, this issue of parallax allows its space to become a meta-space of dialogue across philosophy, literary and art criticism, semantics and discourse analysis.
Book chapters by Eve Kalyva
Si bien el grabado es defendido como una forma de arte popularizada y democratizadora, el contexto histórico en los años sesenta y setenta se caracteriza por la profesionalización del grabado como metier y la salvaguardia de su estatus como arte. En repuesta, este artículo sugiere un marco más amplio para definir y evaluar el acto de ‘llevar el grabado a la calle’ como un acto histórico paralelo a avances tecnológicos, la organización del mercado y de los trabajadores, y procesos de modernización y de desarrollo neoliberal.
Palabras claves
Arte público, grabado, dictadura, modernización, Romero
Abstract
This article examines developments in the cultural sphere before and after Argentina's last dictatorship. Through public printmaking activities, and the participation of Juan Carlos Romero in artists’ groups and workers’ unions, it investigates how social relations are inscribed in the urban space, and how the urban space is transformed as the site of public and artistic activity where networks, structures and new forms of co-existence are formulated.
While printmaking is advocated as a popularised and democratising art form, the historical context in the sixties and seventies is characterised by the professionalisation of printmaking as a metier and by the safeguarding of its status as art. In response, this paper suggests a broader framework for defining and evaluating the act of 'taking printmaking to the streets' as a historical activity parallel to technological advances, the organisation of the market and of the workers, and processes of modernisation and neoliberal development.
Key words
Public art, printmaking, dictatorship, modernisation, Romero
Papers by Eve Kalyva
RESUMEN:
La transformación de las sociedades latinoamericanas post-1970 y las recientes reformas sociopolíticas y económicas pide reconsiderar la relación entre el arte y el poder, y su papel en los procesos de democratización. Este artículo examina la función social del arte y su comprensión como transformadora praxis social—una actividad que reflexiona sobre el mundo y trata de cambiarlo, y que al mismo tiempo reflexiona críticamente sobre su propia condición y relación con ese mundo—. Específicamente, con el fin de conceptualizar el potencial crítico del arte, se sugiere la idea de la retórica del arte. Esto ayuda a identificar los procesos que generan y que desplazan el significado a través contextos artísticos, sociopolíticos y discursivos. Tucumán Arde (1968) en Argentina, Para no morir de hambre en el arte (1979) por CADA en Chile, y Proyecto Venus (2000–2006) basado en Buenos Aires emplean metodologías interdisciplinarias para intersectar críticamente la esfera pública. Examinan la posición del arte en la sociedad, apuntan a concientizar, y actúan como redes alternativas de información y de socialización.
How can, in this context, the critical voice of criticism be recuperated from the marketable validation-by-numbers that has come to dominate institutional policies? Discourse analysis understands language as a social semiotic in operation. With this in mind, this paper suggests the idea of ‘interpretation in operation’ as a social, interdisciplinary way of writing about art. Accordingly, one must examine how art communicates across institutional, discursive, geo-political and social contexts; determine the meaning-making processes that enable social interaction and the interpretive frameworks, social conventions and power structures that condition them; and evaluate what is achieved by this act.
Keywords: conceptual art; logico-semantics; word and image; Keith Arnatt; Victor Burgin; social semiotics
Key words:
conceptual art, visual social semiotics, art and politics, Victor Burgin; Juan Carlos Romero
Resumen
Este artículo ofrece un estudio comparativo e interdisciplinario de la inscripción semiótica como medio artístico crítico, y sugiere la comprensión del uso del lenguaje como estrategia de negociación del espacio del arte como espacio público y por lo tanto social. Considera prácticas artísticas conceptuales, en particular Room (1970) de Victor Burgin y Swift en Swift (1970) de Juan Carlos Romero, mientras que discute la atención al discurso en este período dentro y más allá de la investigación histórico-artística, el paradigma del arte modernista, y la distinción arte conceptual/conceptualismo. Informado por Wittgenstein y Halliday, examina cómo las obras de arte se comunican en contexto del nivel logico-semiótico y semántico (es decir, cómo sus partes se interrelacionan y relacionan al mundo). Su objetivo es destacar la importancia del contexto tanto en términos de definir la disponibilidad de medios artísticos y de evaluar su idoneidad de comunicar. Obras de arte pueden manipular y alterar los modos habituales de leer y ver, y avanzar preguntas acerca de la función y legitimación no sólo del objeto de arte, sino también en relación con actividades asociadas a través de la esfera pública que el arte ocupa, donde las estructuras de poder operan y asignan valor, reproducen y contienen significado.
Palabras claves:
arte conceptual; semiótica social visual; arte y política; Victor Burgin; Juan Carlos Romero
While printmaking is advocated as a popularised and democratising art form, the historical context in the sixties and seventies is characterised by the professionalisation of printmaking as a metier and by the safeguarding of its status as art. In response, this paper suggests a broader framework for defining and evaluating the act of 'taking printmaking to the streets' as a historical activity parallel to technological advances, the organisation of the market and of the workers, and processes of modernisation and neoliberal development.
Key words
Public art, printmaking, dictatorship, modernisation, Romero
Resumen
Este artículo examina desarrollos en la escena cultural antes y después la última dictadura argentina. A través de actividades publicas de grabado, y de la participación de Juan Carlos Romero en grupos artísticos y sindicales, se investiga cómo las relaciones sociales se inscriben en el espacio urbano, y cómo el espacio urbano se transforma como lugar de actividad artística y pública donde se formulan redes, estructuras y nuevas formas de co-existencia.
Si bien el grabado es defendido como una forma de arte popularizada y democratizadora, el contexto histórico en los años sesenta y setenta se caracteriza por la profesionalización del grabado como metier y la salvaguardia de su estatus como arte. En repuesta, este artículo sugiere un marco más amplio para definir y evaluar el acto de ‘llevar el grabado a la calle’ como un acto histórico paralelo a avances tecnológicos, la organización del mercado y de los trabajadores, y procesos de modernización y de desarrollo neoliberal.
Palabras claves
Arte público, grabado, dictadura, modernización, Romero
In particular, this book asks: How has the presence of language in a visual art context changed the ways art is talked about, theorised and produced?
Image and Text in Conceptual Art demonstrates how artworks communicate in context and evaluates their critical potential. It considers international case studies across Europe and North and South America (with an emphasis on UK and Argentina); and draws resources from art history and theory, philosophy, discourse analysis, social semiotics, literary criticism and sociology.
Engaging the critical and social dimensions of art, it proposes three interdisciplinary methods of analysis that consider the work’s performative gesture, its logico-semantic relations and the rhetorical operations in the discursive creation of meaning. This book offers a historiography of conceptual art in its socio-political context; and makes an original contribution to the theory of art that can be applied beyond conceptual art.
The rise of new media calls for reconsiderations of binaries such as author/reader, producer/consumer, and source centre/periphery, the role of the participating audience, and the nature of information exchange. Such re-articulation(s) could further be situated in relation to the political impetus of technological developments and the new ways of engaging and performing the world that these enable. Put differently, new media alter the material applications and critical potential of the networks of production and dissemination of information, as well as the communities within which these operate and help create. As such, the activity of reading/writing in new media becomes a particular material and social practice that can open up and create new, more democratic spaces.
This guest issue of Synthesis offers a critical discussion on new media. It aims to re-examine the relations across information, user, and medium under a new paradigm of interactivity, and to address pressing questions regarding ethics and responsibility in our globalised, digitalised era. Special focus have the cultural, societal, and political implications of the use of new technologies, and the modes, effects, and theorisations of acting (on) the text in new media.
With this plurality in mind, this special issue of parallax asks: How does one – as a philosopher, a writer or an artist – move in-between spaces? Such move can take place, for example, from the mental space of formulation of ideas and rhetorical operations to the embodied space of physical impact and back again. Furthermore, how does one act on the metaphysical space of theory from within the space of experience?
We invite discussions on various strategies that, by disturbing the spatio-temporal configuration of experienced space, open up the space for critical reflection; or that confront the canon with a premise that nourishes the possibility of doubt. What demands does the frame (of reference, of regulations, of limitations) make on the structure of the physical object? What are the frame/object’s internal and external limits and how can one invent and sustain alternative conditions of meaning and intelligibility?
Disturbing spaces entails knowledge of the object’s physical location and therefore depends on the context of its experience and the conditions of its exposure. Thus, one may arrive at a disjoined critical stand by way of upsetting the order of things, yet this disruption of the frame of reference will also cause one to fall back to a provisional starting point. If so, is it possible to retain this experience and to use it in order to reflect on and repeat such a performance? Where would one locate strategies that disturb the embodied/ mental space, and that tease their distance? Would a self-reflective operation create a new space, reconfigure the same space anew or remain in a metaphysical space?
Questioning the notion of impossibility and of impossible strategies not as a prohibition but as a tangent, this issue of parallax allows its space to become a meta-space of dialogue across philosophy, literary and art criticism, semantics and discourse analysis.
Si bien el grabado es defendido como una forma de arte popularizada y democratizadora, el contexto histórico en los años sesenta y setenta se caracteriza por la profesionalización del grabado como metier y la salvaguardia de su estatus como arte. En repuesta, este artículo sugiere un marco más amplio para definir y evaluar el acto de ‘llevar el grabado a la calle’ como un acto histórico paralelo a avances tecnológicos, la organización del mercado y de los trabajadores, y procesos de modernización y de desarrollo neoliberal.
Palabras claves
Arte público, grabado, dictadura, modernización, Romero
Abstract
This article examines developments in the cultural sphere before and after Argentina's last dictatorship. Through public printmaking activities, and the participation of Juan Carlos Romero in artists’ groups and workers’ unions, it investigates how social relations are inscribed in the urban space, and how the urban space is transformed as the site of public and artistic activity where networks, structures and new forms of co-existence are formulated.
While printmaking is advocated as a popularised and democratising art form, the historical context in the sixties and seventies is characterised by the professionalisation of printmaking as a metier and by the safeguarding of its status as art. In response, this paper suggests a broader framework for defining and evaluating the act of 'taking printmaking to the streets' as a historical activity parallel to technological advances, the organisation of the market and of the workers, and processes of modernisation and neoliberal development.
Key words
Public art, printmaking, dictatorship, modernisation, Romero
RESUMEN:
La transformación de las sociedades latinoamericanas post-1970 y las recientes reformas sociopolíticas y económicas pide reconsiderar la relación entre el arte y el poder, y su papel en los procesos de democratización. Este artículo examina la función social del arte y su comprensión como transformadora praxis social—una actividad que reflexiona sobre el mundo y trata de cambiarlo, y que al mismo tiempo reflexiona críticamente sobre su propia condición y relación con ese mundo—. Específicamente, con el fin de conceptualizar el potencial crítico del arte, se sugiere la idea de la retórica del arte. Esto ayuda a identificar los procesos que generan y que desplazan el significado a través contextos artísticos, sociopolíticos y discursivos. Tucumán Arde (1968) en Argentina, Para no morir de hambre en el arte (1979) por CADA en Chile, y Proyecto Venus (2000–2006) basado en Buenos Aires emplean metodologías interdisciplinarias para intersectar críticamente la esfera pública. Examinan la posición del arte en la sociedad, apuntan a concientizar, y actúan como redes alternativas de información y de socialización.
How can, in this context, the critical voice of criticism be recuperated from the marketable validation-by-numbers that has come to dominate institutional policies? Discourse analysis understands language as a social semiotic in operation. With this in mind, this paper suggests the idea of ‘interpretation in operation’ as a social, interdisciplinary way of writing about art. Accordingly, one must examine how art communicates across institutional, discursive, geo-political and social contexts; determine the meaning-making processes that enable social interaction and the interpretive frameworks, social conventions and power structures that condition them; and evaluate what is achieved by this act.
Keywords: conceptual art; logico-semantics; word and image; Keith Arnatt; Victor Burgin; social semiotics
Key words:
conceptual art, visual social semiotics, art and politics, Victor Burgin; Juan Carlos Romero
Resumen
Este artículo ofrece un estudio comparativo e interdisciplinario de la inscripción semiótica como medio artístico crítico, y sugiere la comprensión del uso del lenguaje como estrategia de negociación del espacio del arte como espacio público y por lo tanto social. Considera prácticas artísticas conceptuales, en particular Room (1970) de Victor Burgin y Swift en Swift (1970) de Juan Carlos Romero, mientras que discute la atención al discurso en este período dentro y más allá de la investigación histórico-artística, el paradigma del arte modernista, y la distinción arte conceptual/conceptualismo. Informado por Wittgenstein y Halliday, examina cómo las obras de arte se comunican en contexto del nivel logico-semiótico y semántico (es decir, cómo sus partes se interrelacionan y relacionan al mundo). Su objetivo es destacar la importancia del contexto tanto en términos de definir la disponibilidad de medios artísticos y de evaluar su idoneidad de comunicar. Obras de arte pueden manipular y alterar los modos habituales de leer y ver, y avanzar preguntas acerca de la función y legitimación no sólo del objeto de arte, sino también en relación con actividades asociadas a través de la esfera pública que el arte ocupa, donde las estructuras de poder operan y asignan valor, reproducen y contienen significado.
Palabras claves:
arte conceptual; semiótica social visual; arte y política; Victor Burgin; Juan Carlos Romero
While printmaking is advocated as a popularised and democratising art form, the historical context in the sixties and seventies is characterised by the professionalisation of printmaking as a metier and by the safeguarding of its status as art. In response, this paper suggests a broader framework for defining and evaluating the act of 'taking printmaking to the streets' as a historical activity parallel to technological advances, the organisation of the market and of the workers, and processes of modernisation and neoliberal development.
Key words
Public art, printmaking, dictatorship, modernisation, Romero
Resumen
Este artículo examina desarrollos en la escena cultural antes y después la última dictadura argentina. A través de actividades publicas de grabado, y de la participación de Juan Carlos Romero en grupos artísticos y sindicales, se investiga cómo las relaciones sociales se inscriben en el espacio urbano, y cómo el espacio urbano se transforma como lugar de actividad artística y pública donde se formulan redes, estructuras y nuevas formas de co-existencia.
Si bien el grabado es defendido como una forma de arte popularizada y democratizadora, el contexto histórico en los años sesenta y setenta se caracteriza por la profesionalización del grabado como metier y la salvaguardia de su estatus como arte. En repuesta, este artículo sugiere un marco más amplio para definir y evaluar el acto de ‘llevar el grabado a la calle’ como un acto histórico paralelo a avances tecnológicos, la organización del mercado y de los trabajadores, y procesos de modernización y de desarrollo neoliberal.
Palabras claves
Arte público, grabado, dictadura, modernización, Romero
Ignaz Cassar (ignazcassar@yahoo.co.uk)
The divide between art and language has historically functioned as a metaphor of the division between high and low culture. Many artistic practices have challenged this binary, where the concept of gallery enclosure can be understood as a literal and figurative qualifier of art: a space that is distinct from, yet exists within, the wider social sphere.
Especially in twentieth and twenty-first century art, the use of language has facilitated a material and discursive transgression beyond the traditional art-object and its institutional isolation. Works that combine image and text have appeared on gallery walls, the popular press, and other public sites such as billboards and pavements. Such activities widen the engagement with art and open new channels of communication and participation. They also challenge, and often alter, the traditional hierarchies that underline the artworld, from the production of art to its display and consumption.
Acknowledging the manifold social practices of contemporary art and the diversity of scholarship that IAWIS-AIERTI embraces, this session wishes to address the presence of image and text in the public sphere from both a historical and critical perspective. In what ways can the use of language in art practices transform the domain of the artworld? How have art institutions shifted their policies in response to such practices? With this session, we also hope to consider the sociality of art, as this becomes evident by artistic practices that transgress the gallery enclosure of art.
The papers in this session discuss the social interaction with works that manipulate the visual and the textual beyond the traditional frame of art – a frame that can be understood in material, institutional, and theoretical terms. They address subversive displays of word and image and the shifts between public readings and private gaze; the rhetoric of public art and how language is used to challenge the divides such as private/public and elitist/communal; spatial transgression as institutional critique and practices that work ‘around’ the frame; and open-access art in new sites: from art magazines and postcards to billboards, the internet, and social networking sites.
Session programme:
Miriam Kienle (University of Illinois, Champaign-Urbana), ‘Pasted and Posted: Ray Johnson’s Networked Art, 1955-65’
Eve Kalyva (University of Buenos Aires), ‘Across North and South: Conceptual Art Practices in a Variety of Contexts’
Jody B. Cutler (St. John's University), ‘“I Can’t Imagine Ever Wanting to Be White”: The Resonant Afterlife of those Notorious Museum Tags’
Date & Time: Friday, 15 February 2013, 5:30 PM-7:00 PM
Location: Hilton New York, Madison Suite, 2nd Floor
Further information and conference particulars, including travel and accommodation information, can be found at http://conference.collegeart.org/2013/ and http://www.iawis.org/home.php.
This session wishes to query the current attention to art’s contemporaneity in both theoretical and practical terms. Contemporary art can be understood as a particular temporal definition of art production pertaining to the historical moment, and the notion of contemporaneity has been considered in relation to historicity and memory, ethics, and the value of the new (Groys, Agamben, Deleuze, Riegl). In this light, the session seeks to address the implications of contemporaneity with regard to art, history, and criticism.
However, recent art practices (notably installation and performance) have developed novel ways of engaging the spatio-temporal continuum of experience, while institutions enlist more readily-available forms of presentation and public engagement (e-bulletins, blogs, podcasts). The session’s contributions thus explore the temporality of art in works (and their presentations) that themselves engage with the notion of time. How is contemporaneity, as concept, interrogated in installations, performance, and artworks that manipulate time? How do artworks use time-manipulating technologies (raw feed, time-delays/loops), implicate time, and negotiate temporal limits? Can we discern a politics of installing temporality/collectively staging time? What philosophical reflections on temporality and experience can we ascertain in an age of globalization and instant information?
For more information see the College Art Association Annual Conference website at http://conference.collegeart.org/2013/.