Central to Aranda’s practice are her involvement with circulation mechanisms and the idea of a “poetics of circulation”; her interest on science-fiction, space travel and zones of friction; the possibility of a politicized subjectivity through the perception and use of time, and the notion of power over the imaginary. Julieta Aranda’s work spans installation, video, and print media, with a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making.
As a co-director of the online platform e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have travelled to many venues worldwide. Aranda's work has been exhibited internationally, in venues such as the 56th Venice Biennale (2015), Guggenheim Museum (2015, 2009), Kunsthalle Fridericianum, Kassel (2015), Espace Verney – Carron, Lyon (2015), Mana Contemporary, Jersey City (2015), 8th Berlin Biennale (2014), Berardo Museum, Lisbon (2014), Witte de With (2013 and 2010), Museo d’Arte Contemporanea Villa Croce, Genova (2013), MACRO Roma (2012) Documenta 13 (2012), N.B.K. (2012), Gwangju Biennial (2012), 54th Venice Biennial (2011), Istanbul Biennial (2011), Portikus, Frankfurt (2011), New Museum NY (2010), Kunstverein Arnsberg (2010), MOCA Miami (2009), Museum of Contemporary Art, Chicago (2007), 2nd Moscow Biennial (2007) MUSAC, Spain (2010 and 2006), and VII Havanna Biennial; amongst many others.
THINKING THROUGH PRACTICE is a seminar series at Trondheim Academy of Fine Art around the question of what constitutes an artistic research, or research through art. Every practice concerns a mode of thought (Massumi, 2014), however a mode of thinking defined by the singularity of each research-creation. The development of each artistic investigation is an individual – and perhaps non-replicable – process-oriented way of working, which involves a distinct, and hybrid assemblage of methodologies and critical tools for thinking through making. It is a push-and-pull, give-and-take activity of creating, articulating, revising, reflecting, and sharing. (Hannula, 2013) Scribbles, sketches, drawings, failed work, models, studies, thoughts, and conversations – as proposed by Sol LeWitt's list – while common attributes related to artistic activity can also be useful tools for placing a work within a context, by providing insight and a roadmap to the artist’s intentions, reasons, and processes. (Bärtås, 2013)
Yet much of the research coming out of an artistic practice challenges the language of research and its expectations implied by such a term. A question arises: How can art, as a tool for thinking with, be used to generate new knowledge, while at the same time not promising easily predictable and quantifiable results?
Rather than abridge or simplify, the THINKING THROUGH PRACTICE seminar series shifts towards complexity. Through the introduction of critical and innovative approaches to artistic research, the seminar series looks at art as a thinking, theorizing process.
The Thinking through Practice seminar series is conceived and organized by Associate Professor Michelle Teran.
Unless stated, each seminar takes place at the 3rd Floor MFA Hub, from 10:00-13:00.
SCHEDULE OF LECTURE SERIES
FRANS JACOBI (Copenhagen and Bergen): Synsmaskinen
Tuesday, September 26th
MAGNUS BÄRTÅS (Stockholm): Microhistories and Work Stories
Tuesday, October 17th