Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
Unpublished thesis (University of Leeds)
Radical Resonances: Art, Self-organised Cultural Activity and the Production of Postcapitalist Subjectivity; or, Deferred Self-Inquiry of a Precarious Artworker, 2008 – 2011.2012 •
The thesis and accompanying portfolio of practical work presents a parallel inquiry into socially transformative art practice and the evaluative framework proper to it. It explores how art contributes to a better world and the form such practice takes in an increasingly expanded, ‘precarious’ and interdisciplinary sphere. The varied nature of the work under question leads to the adoption of a structure that distinguishes practices by their operation in different spaces or ecologies: the individual, social and structural. A further distinction is made between those practices that self-identify as art (and the institutional, market-led and capitalist framework this can entail), and those that either actively disavow or go unrecognised as art due to their distance from the signifying apparatuses of the discipline. This ‘informal’ art practice is referred to as ‘self-organised cultural activity’ and opens up on to discussions of the relative merits of DIY practices including music, self-publishing, political activism and so on. The thesis demonstrates how these often distanced and apparently contradictory practices find resonance and whose accumulative effect contributes to the conditions for a paradigmatic shift that would constitute ‘postcapitalism’. The connecting thread between these sites and practices is their potential for effecting change at the level of the individual via a subjectivising aesthetic rupture. Contextualised by poststructuralist, postanarchist and Autonomist Marxist political philosophy and debates in contemporary art criticism and theory, the thesis and dossier of practice contribute to a richer understanding of - and expanded language with which to discuss – the relation between art and politics. It draws links between normally unconnected practices, identifying the often overlooked or underplayed aesthetic experience within socially engaged art and the political resonances of aesthetic experience, attending to gaps in thought and practice around art and social change.
Documenta: Tijdschrift voor theater
‘The constant critique of the state can end up colluding with intensively conservative neoliberal models’. Shannon Jackson on art, politics and labour.2016 •
The fourth edition of the Brussels festival Performatik (2015) opened with a panel discussion between Shannon Jackson (professor theatre, dance and performance studies at UC-Berkeley) and Hendrik Folkerts (curator Stedelijk Museum Amsterdam). The specific interaction between the performing arts and visual art was at the very heart of this so-called “Brussels biennial of performance art”, an initiative of the renowned Kaaitheater in association with a dozen cultural organizations such as Beursschouwburg, Bozar, Passa Porta & WIELS, to name but a few. All artists invited playfully explored and revised the codes, conventions and expectations of the world of performance and visual art. Choreographer Anne Teresa De Keersmaeker, for instance, undertook the challenge to rethink her own dance work in Work/Travail/Arbeid, a choreographic exhibition in WIELS. Visual artist Joëlle Tuerlinckx made a reverse move. Drawing from her vast archive, she created a four-hour ‘all-round show’ entitled "THAT's IT!" (+3 FREE minutes). Formally speaking, the resulting artworks did not belong exclusively to either artistic domain. Karel Vanhaesebrouck and Nele Wynants took this opportunity to engage in a conversation with Shannon Jackson about her recent book Social Works: Performing Art, Supporting Publics. In this volume Jackson offers an interdisciplinary approach to the recent return to socially engaged art in both contemporary performance and visual art. Social art practice is often collaborative and involves people as the medium of the work. At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book tackles some of the contradictions and competing stakes of contemporary experimental art-making.
2011 •
Rhetoric, Social Value and the Arts, Palgrave McMillan, 2017
Paradoxical Engagement of Contemporary Art with Activism and ProtestPresentation for public art and self-organisation conference
The Radical Ethics of DIY in Self-organised Art and Cultural Activity2012 •
Presentation delivered for IXIA public art and self-organisation conference, Leeds 2012 proposing that self-organised and Do-It-Yourself cultural activity is an organic practice of postcapitalist politics.
Third Text, Critical Perspectives on Contemporary Art and Culture
Reclaim The Streets! From Local to Global Party Protest, THIRD TEXT 4, special issue Global Occupations of Art, July 2013.2013 •
cdn-generations.net.au
CREATIVE FRICTION: DISRUPTING THE BOUNDARIES OF 'ART'AND 'COMMUNITY ART'Forms of participatory practice have become ever more widely employed across the arts in recent years, operating across various institutional settings and social contexts. It is misleading, however, to assume that a single agenda binds these developments or that they serve the same social values and interests. Veils of common terminology can conceal important differences of political intent and ethical integrity. Conceptions of art, artists, culture and community vary widely, while terms such as participation, engagement and co-creation are rarely well defined. This article draws on current research into UK cultural and artistic leadership, as well as established theories of participation and action, to explore the complex power relations that underpin participatory discourse. It critiques policies and practices that claim ‘participation’ as an automatic methodological virtue, questioning the positive connotations of participatory language, particularly in relation to shaping assumptions of shared interest. It argues that there is a need for improved critical self-awareness on the part of artists involved in participatory projects and processes, discussing possible frameworks for analysis of the relevant power relationships.
Timitikos tomos gia ton Kathigiti Nikolao Chr. Stampolidi
Un viaggio in barca: osservazioni sui modellini fittili dalla tomba X della necropoli di Fortetsa2023 •
2023 •
Texte présenté lors du séminaire des doctorants en phénoménologie à Sorbonne Université
La voix et la conscience. Une étude sur les rapports entre l'Introduction à « L'Origine de la géométrie » et La Voix et le phénomène2023 •
Review of L’herméneutique de la foi dans la pensée et l’oeuvre de J. Ratzinger - Benoît XVI, by Paul Domini
Review of L’herméneutique de la foi dans la pensée et l’oeuvre de J. Ratzinger - Benoît XVI, by Paul Domini, in Gregorianum (2024): 465–467.2024 •
2005 •
Turkish Online Journal of Qualitative Inquiry (TOJQI)
Design and analysis of Free Energy Generator system by balancing of flywheel2022 •
Reallexikon der Germanischen Altertumskunde
Siedlungs-, Gehöft- und Hausformen im Norwegen2003 •
2023 •
Carbohydrate Polymers
Fabrication of novel nanohybrids by impregnation of CuO nanoparticles into bacterial cellulose and chitosan nanofibers: Characterization, antimicrobial and release properties2018 •
International Perspectives on Sexual and Reproductive Health
The Estimated Incidence of Induced Abortion in Ethiopia, 20082010 •
Revista Eletrônica Acervo Enfermagem
Processo de trabalho em um Centro de Atenção Psicossocial: um relato de experiênciaTheorein. Revista de Ciencias Sociales.
Populismo y ciclos de conflictividad política en el Ecuador. Una entrevista con Valeria Coronel2020 •
2020 •