Conference Frenzy

23 Feb

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February has been a month of conferences and colloquia. On February 2, our department at the VU hosted a “young researchers’ colloquium” titled Artistic Subversions: Setting the Conditions of Display. On the day before (and connected to) the Stedelijk Museum’s symposium Lose Yourself!, on “labyrinthine exhibitions,” this colloquium brought together an impressive array of international young(ish) researchers, many of whom are PhD candidates, in a total of four panels and a keynote lecture. Angela Bartholomew, an alumnus of VAMA (now CSAC) who is doing PhD research at the VU, introduced the colloquium. Another AVAM alumnus and current VU PhD candidate, Steyn Bergs,  gave a presentation on “The Attention Economy as a Condition of Display” in the fourth panel, on Authenticity and the Production of Value.

From February 15-18, the College Art Association’s Annual Conference took place in New York City. It proved to be a veritable alumni reunion of VAMA/CSAC alumni. Angela Bartholomew, who as a PhD candidate in our department is still closely affiliated with CSAC, gave a talk on “Television’s Feedback LoopArtists Talking Back to the Media (1985) and the Stedelijk Museum on Television” as part of the European Eighties panel. On another panel, On Conformism and Subversion: Aesthetic Strategies and the Problem of the Political in Contemporary Art, Boris Čučković Berger delivered a paper titled “A Window to Capital: Yuri Pattison’s Outsourced Views, Visual Economies and the Aesthetic Conditions of Critique. Boris is now doing his PhD at the Courtauld Institute of Art. As part of the intriguingly named Architecture and Comedy section, Stefaan Vervoort (now in Ghent) gave a presentation titled “’Trendsetter and/or Town Fool’: Luc Deleu and the Proposals and Advices (1972–80)”, together with our former professor of art history, Wouter Davidts. And finally: Karin de Wild, who graduated not from VAMA but from our museum curating MA, presented on “Agent Ruby (1998–present): A Case Study for Historicizing the Life of an Internet Artwork” as part of the panel on Accelerated Art History. \

We don’t care if this sounds paternalistic: we’re proud of all of them!

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