The main aim of this LGC research project has been to arrive at a definition of what artistic research is and how it differs from scientific research. In contrast to the prevailing opinion among art scholars today, the results of this project show that artists do not have to approach the sciences in order to produce research. In fact, my work shows that research has been an integral part of modern art ever since it appeared in the early decades of the twentieth century.
Miguel González Virgen will present the paper “Duchamp’s art coefficient: the dark precursor at work,” at “The Dark Precursor. International Conference on Deleuze and Artistic Research 2015,” to be held from the 9th to the 11th of November 2015 at the Orpheus Institute in Ghent (Belgium).
Cette exposition, organisée dans le cadre du séminaire d’art contemporain, rassemblera des livres d’artistes autour du thème de l’utopie. Partant du constat que le livre d’artiste, dès son apparition dans les avant-gardes après la Seconde Guerre mondiale, contribue fondamentalement à un projet plus large ayant pour but de changer l’art et la vie, l’exposition retrace les effets multiples et complexes de la « pulsion utopique » dans l’art contemporain.
This research project explores the nature and meaning of the relationship between photography, performance and humor within the field of the visual arts and visual culture, filling in an important lacuna within photography research. For although humor is omnipresent in a wide spectrum of photographic practices—ranging from family snapshots with their obligatory ‘smile’ or tower of Pisajokes to advertisement or art photography—the topic has as yet not been discovered by researchers.
Supported by research grants from the KU Leuven (OT) and the FWO-Flanders, the Lieven Gevaert Centre, under the supervision of Hilde Van Gelder, Mieke Bleyen and Edwin Carels, is pursuing extensive research on Allan Sekula’s Ship of Fools / The Dockers’ Museum (2010-2013). This work, which Sekula made during the last years of his life, contains: (1) a corpus of thirty-three framed photographs, two slide projections containing over one hundred images, and texts by Sekula; (2) a collection of ca. 1250 graphic images, sculptures, paintings, photographs, postcards, and vernacular objects.
Long considered to be uninteresting, the photographic error is the object of a renewed interest. Considering the photographic error, this thesis intends to deepen the knowledge on photography history and conceptual art. The photographic error appears to be an operational tool of analysis, able to give an original meaning to both the artistic production and the nature of the medium. Due to a study of a significant part of conceptual art, the photographic error turned out to be an engine of artistic production in terms of aesthetic contest and a key of interpretation of conceptual work.
The dissertation “Masks, Drones, Digital Control: On the Disappearance of Face and Body in Contemporary Art and Visual Culture” presents a comparative analysis of the representation of face and body in contemporary art and visual culture in response to a changing image and body politics after 9/11. The question the dissertation seeks to answer is how artists can raise awareness on new, questionable technologies like facial recognition softwares, Google Glasses and Google Earth or drones that try to reduce the human body to an algorithmic information.
Funding: CONACYT (Mexico)