Institutions, Borders and Politics in the Contemporary Art World

  • 5pm - 7.15pm

  • Hunter Building, Hunter Lecture Theatre (017)
    74 Lauriston Place
    EH3 9DF

Rapidly shifting technological and geopolitical paradigms constantly restructure the art world and its institutions, impacting the ways in which borders, hierarchies and inequalities are instantiated and negotiated. Given the recent ongoing displacement crises and the rise of divisive, neo-reactionary ideology, the border has been re-articulated as an expanded site of political, theoretical and artistic contestation. The talks will reflect on some of the main global issues of the current historical moment, including revived nationalism, populism and neo-fascism, growing inequalities, shifting gender realities and digital technologies, examing also how they are registered in creative practice and its institutional conditions. Overall, the event aims to generate discussion on the contemporary art world and its relation to the notion of the border through multiple approaches and sub-foci: technological, socio-political, aesthetic, amongst others.

Marina Grzinic is a philosopher, theoretician, and artist from Ljubljana, Slovenia. She works as a researcher at the Institute of Philosophy ZRC SAZU, Ljubljana. Since 2003, she has been Professor of Post-Conceptual Art Practices at the Academy of Fine Arts in Vienna, Austria. A selection of publications includes Marina Grzinic and Šefik Tatlic, Necropolitics, Racialization, and Global Capitalism. Historicization of Biopolitics and Forensics of Politics, Art, and Life (Lanham: Lexington Books, 2014); Marina Grzinic (ed.), Border Thinking: Disassembling Histories of Racialized Violence (Academy of Fine Arts Vienna: Sternberg Press, 2018).

Morgan Quaintance is a London-based artist and writer. His moving-image work has been shown recently at LIMA, Amsterdam, Kunstmuseum, Bonn; Jerwood Space, London; the 14th Berwick Film & Media Arts Festival, London Film Festival 2018, November Film Festival, The Palace International Film Festival, and Videonalle.17.

Yaiza Hernández Velázquez is a lecturer at Central Saint Martins-University of the Arts London, where she leads the MRes Art: Exhibition Studies. Her research focuses on on art institutions understood in a broad sense as sites of political import. With a background in Fine Art and Visual Culture, she went on to complete a PhD at the Centre for Research in Modern European Philosophy. Before arriving at Central Saint Martins, she worked, among other things, as Head of Public Programmes at the Museu d’Art Contemporani de Barcelona (MACBA), director of CENDEAC in Murcia and curator of contemporary art at the Centro Atlántico de Arte Moderno in Las Palmas de Gran Canaria. Recent publications include “Imagining Curatorial Practice after 1972” (in Curating after the Global, MIT, 2019); “Who Needs ‘Exhibition Studies'?” (in El Museo Foro, UNAM, 2019) and “Cortocircuitos del Museo y la Autonomía” (in ¡Autonomia! ¡Automatización!, TEA, 2019).

Convened by Angeliki Roussou, Anastasia Philimonos and Mateusz Sapija

Image credit: Maria Tzanakou, 272 Days, 2014. Postcard, installation detail

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