Antonia Majaca
Antonia Majaca's work spans critical environmental theory and political epistemology of the postwar techno technoscience. Grounded in anti-colonial feminist praxis, her research often manifests as discursive, critical-creative interventions at the intersection of contemporary art and academia. Her current work is developing at the intersections of technology, political ecology, and social theory in the context of the critique of the Anthropocene hypothesis.
She is the editor of the forthcoming volume "Incomputable Earth: Technology and the Anthropocene Hypothesis" (Bloomsbury: Theory in the New Humanities, 2024), which builds upon her role as principal investigator for the multi-year artistic research project 'The Incomputable'' (2019-2021) at the IZK - Institute for Contemporary Art, Graz University of Technology, funded by the Austrian National Science Fund (FWF).
Currently, Majaca is a research fellow in the HealthXCross ERC research project at the University of Ca' Foscari in Venice where her research, conducted at the Department of Philosophy, investigates how the recent developments in metagenomics and microbiome ecologies informs a reconceptualization of planetary health in the Anthropocene.
Her academic trajectory includes positions such as visiting professor at the Graz University of Technology, IZK - Institute for Contemporary Art (2015-2016), and lecturer in critical theory at the Dutch Art Institute (2018-2020). She was one of the research curators for the 'Kanon Fragen' project at the HKW - Haus der Kulturen der Welt in Berlin, where she co-curated the exhibition 'Parapolitics - Cultural Freedom and the Cold War' (2017) and co-edited the accompanying book, published by Sternberg press.
In 2015, Majaca founded 'Feminist Takes', an ongoing, itinerant investigation into the relationship between Non-Western avant-garde cinema and feminist praxis. This project has resulted in sessions at various international institutions and the publication of 'Feminist Takes: Early Works' (Sternberg Press, 2021).
Her contributions to major international art events include authoring a collective aural project for Documenta 14 and co-curating its discursive program 'Women's Work in Revolt'. She has also directed educational programs for the Berlin Biennale X and developed research projects commissioned by institutions such as the German DAAD and HAU - Hebel am Ufer Theater, Berlin.
From 2005 to 2011, Majaca served as the artistic director of G-MK - Galerija Miroslav Kraljevic, a non-profit contemporary art space in Zagreb. Concurrently, she engaged in independent curatorial work, often in collaboration with art historian and theorist Ivana Bago, focusing on projects at the intersection of art, politics, and cultural theory.
She is an editorial committee member of the South as a State of Mind journal and a frequent contributor to art and theory publications, including E-Flux journal and various edited volumes. Her work has been presented at numerous institutions worldwide, including MoMA (NYC), Centre Pompidou (Paris), and Haus der Kulturen der Welt (Berlin).
Majaca's educational background includes studies in Art History, Comparative Literature, and Political Theory in Zagreb, New York, and London, with postgraduate scholarships from Goldsmiths College London and New York University. Her research has been supported by grants from the Getty Foundation, Fundación Cisneros, and FFAI foundation, among others.
She is the editor of the forthcoming volume "Incomputable Earth: Technology and the Anthropocene Hypothesis" (Bloomsbury: Theory in the New Humanities, 2024), which builds upon her role as principal investigator for the multi-year artistic research project 'The Incomputable'' (2019-2021) at the IZK - Institute for Contemporary Art, Graz University of Technology, funded by the Austrian National Science Fund (FWF).
Currently, Majaca is a research fellow in the HealthXCross ERC research project at the University of Ca' Foscari in Venice where her research, conducted at the Department of Philosophy, investigates how the recent developments in metagenomics and microbiome ecologies informs a reconceptualization of planetary health in the Anthropocene.
Her academic trajectory includes positions such as visiting professor at the Graz University of Technology, IZK - Institute for Contemporary Art (2015-2016), and lecturer in critical theory at the Dutch Art Institute (2018-2020). She was one of the research curators for the 'Kanon Fragen' project at the HKW - Haus der Kulturen der Welt in Berlin, where she co-curated the exhibition 'Parapolitics - Cultural Freedom and the Cold War' (2017) and co-edited the accompanying book, published by Sternberg press.
In 2015, Majaca founded 'Feminist Takes', an ongoing, itinerant investigation into the relationship between Non-Western avant-garde cinema and feminist praxis. This project has resulted in sessions at various international institutions and the publication of 'Feminist Takes: Early Works' (Sternberg Press, 2021).
Her contributions to major international art events include authoring a collective aural project for Documenta 14 and co-curating its discursive program 'Women's Work in Revolt'. She has also directed educational programs for the Berlin Biennale X and developed research projects commissioned by institutions such as the German DAAD and HAU - Hebel am Ufer Theater, Berlin.
From 2005 to 2011, Majaca served as the artistic director of G-MK - Galerija Miroslav Kraljevic, a non-profit contemporary art space in Zagreb. Concurrently, she engaged in independent curatorial work, often in collaboration with art historian and theorist Ivana Bago, focusing on projects at the intersection of art, politics, and cultural theory.
She is an editorial committee member of the South as a State of Mind journal and a frequent contributor to art and theory publications, including E-Flux journal and various edited volumes. Her work has been presented at numerous institutions worldwide, including MoMA (NYC), Centre Pompidou (Paris), and Haus der Kulturen der Welt (Berlin).
Majaca's educational background includes studies in Art History, Comparative Literature, and Political Theory in Zagreb, New York, and London, with postgraduate scholarships from Goldsmiths College London and New York University. Her research has been supported by grants from the Getty Foundation, Fundación Cisneros, and FFAI foundation, among others.
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Articles by Antonia Majaca
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Published in 'Documentary Across Disciplines', Edited by Erika Balsom and Hila Peleg, Haus der Kulturen der Welt, Berlin / The MIT Press, Cambridge, MA and London, 2016.
Edited Books / Exhibition Catalogues by Antonia Majaca
The conference was conceived as an open forum departing from Iveković’s proposal to re-create the “Monument to Revolution” – a memorial dedicated to Rosa Luxemburg, Karl Liebknecht, and the revolutionaries of the January 1919 uprising. Commissioned by the German Communist Party, the monument was designed by Ludwig Mies van der Rohe, built in 1926 in Berlin, and destroyed by the Nazis nine years later. As a response to the proposal, the gathering does not necessarily celebrate the idea of the reconstruction of the monument, nor discuss Iveković’s project per se. Rather, it is intended to develop as a forum for assessing the complicated relation between the notions of “revolution” and “commemoration.” The very notion of the “monument to revolution” will thus be called into question: is it a contradiction in terms or, indeed, a revolutionary matter? Recognizing the multiplicity of interdependencies in the formation of political memory, we wish to create a space in which diverse actants – people and things, objects and subjects – start to speak and acquire the capacity to productively both encourage and challenge each other. Ultimately, such a forum of memorial recompositioning could be understood as a monument itself, or as a continuously expanding base for the impossible monument.
These topics became a base for initiating new collaborations, gathering groups and temporary communities of artists, theoreticians, activists, students and curators, and generating new vocabularies that together form Exposures.
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Published in 'Documentary Across Disciplines', Edited by Erika Balsom and Hila Peleg, Haus der Kulturen der Welt, Berlin / The MIT Press, Cambridge, MA and London, 2016.
The conference was conceived as an open forum departing from Iveković’s proposal to re-create the “Monument to Revolution” – a memorial dedicated to Rosa Luxemburg, Karl Liebknecht, and the revolutionaries of the January 1919 uprising. Commissioned by the German Communist Party, the monument was designed by Ludwig Mies van der Rohe, built in 1926 in Berlin, and destroyed by the Nazis nine years later. As a response to the proposal, the gathering does not necessarily celebrate the idea of the reconstruction of the monument, nor discuss Iveković’s project per se. Rather, it is intended to develop as a forum for assessing the complicated relation between the notions of “revolution” and “commemoration.” The very notion of the “monument to revolution” will thus be called into question: is it a contradiction in terms or, indeed, a revolutionary matter? Recognizing the multiplicity of interdependencies in the formation of political memory, we wish to create a space in which diverse actants – people and things, objects and subjects – start to speak and acquire the capacity to productively both encourage and challenge each other. Ultimately, such a forum of memorial recompositioning could be understood as a monument itself, or as a continuously expanding base for the impossible monument.
These topics became a base for initiating new collaborations, gathering groups and temporary communities of artists, theoreticians, activists, students and curators, and generating new vocabularies that together form Exposures.
The writers in this volume are: Ric Allsopp, Jonathan Beller, Ivana Bago, Bojana Cvejić, Isabel de Naveran, Tomislav Gotovac, Owen Hatherley, Ana Janevski, Janez Janša, Marko Kostanić, Bojana Kunst, Antonia Majača, Aldo Milohnić, Goran Sergej Pristaš, Mårten Spångberg, Mladen Stilinović, Miško Šuvaković, Terminally Unschooled, Terms study group, Ana Vujanović
Call for applications: Art and the Politics of Collectivity
July 4–27, 2017
Application deadline: April 3
SFSIA
Rosa-Luxemburg-Strasse 45
10178 Berlin
saasfeesummerinstituteofart.com
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The Saas-Fee Summer Institute of Art is a roving art academy that was initiated in Saas-Fee, Switzerland in 2015. This summer it will take place in Berlin, Germany at the Spike Art Quarterlyheadquarters. It will concern "Art and the Politics of Collectivity." In a world in which we find ourselves more and more connected as a result of the internet and social networking websites, what happens to our sense of collectivity? Are these new technologies and the data they generate keys to new forms of subjection and subjugation? And what, if anything, can we do about it? Do artistic practices, especially those concerned with noise and improvisation, provide an exit? The academy will orbit around five important concepts in the hope of addressing these issues: post-operaist ideas of cognitive capitalism, cosmopolitanism, the undercommons, the theory of originary technicity, and extended cognition.
Inquisitive students and professionals hailing from artistic discourses such as painting, drawing, film making, sculpture, performance, sound studies and installation as well as those associated with the aligned fields of poetry, cultural studies, gender and queer studies, architecture, philosophy of mind, neuroscience, sociology and politics, are encouraged to apply. Lectures, discussions and workshops with outstanding artists and thinkers will be accompanied by an exhibition produced by participants in the last days of the course.