Saturday, 23 October 2010

5ive / Burning Season / mind of a rock

Middlesex Philosophy Events open to public

Middlesex Philosophy Seminar and Events, 2010-11

The Philosophy programme at Middlesex is due to close in 2012. Admissions have been stopped, and only second- and third-year undergraduate students now remain. We will announce the appointment of a new temporary lecturer in Philosophy shortly.
Below is the schedule for the Philosophy Seminar. This series is aimed at Philosophy and Humanities students at Middlesex, but is also open to the public, and anyone interested in fundamental enquiry about philosophical issues is welcome to attend.
Seminars will mostly be held on Thursdays, at 6.30pm, but three (30 November, 25 January and 15 February) will be held on Tuesdays at 5.30pm. All seminars will take place in the Saloon (M004), Mansion Building, Trent Park. (Cockfosters/Oakwood tube).
Please also note the workshop on Wednesday 3 November, ‘The Humanities and the Idea of the University’. This will take place between 11am and 6pm, in the Saloon, Mansion Building. The ‘Hegel Now?’ workshop on 5 May will take place from 2pm – 8.30pm (room to be announced).

Thursday 14 October.  Alex Callinicos (Kings College London): ‘Slavoj Žižek and the Critique of Political Economy’

Thursday 28 October.  Nina Power (Roehampton): ‘Intellectual Equality: Rancière and Education’

Wednesday 3 November.  Workshop: ‘The Humanities and the Idea of the University’

Thursday 11 November.  Susan James (Birkbeck): ‘Spinoza, Rembrandt and Suspicion’

Thursday 18 November.  Sean Sayers (Kent): ‘Marx’s Concept of Communism’

Tuesday 30 November.  Christopher Norris (Cardiff): ‘Aesthetic Ideology Revisited’

Thursday 9 December.  Gary Lachman (London): ‘What is Cosmic Consciousness?’

Tuesday 25 January.  Robin Le Poidevin (Leeds): ‘The Beginning of Time’

Thursday 3 February.  Keith Ansell Pearson (Warwick): ‘Beyond Compassion: On Nietzsche’s Moral Therapy in Dawn

Tuesday 15 February.  Dylan Evans (University College Cork): ‘Is Lacanian Psychoanalysis Wrong, Or Not Even Wrong?’

Thursday 3 March.  Marcus Boon (York University, Toronto): ‘The Politics of Just Intonation: Music, Mathematics and Philosophy after La Monte Young’

Thursday 17 March.  Martin Liebscher (Institute of Germanic and Romance Studies, London): ‘Sigmund Freud and his Philosophical Mediators’

Thursday 31 March.  David Lapoujade (Paris-I Panthéon-Sorbonne): Title to be announced.

Thursday 5 May.  Workshop: ‘Hegel Now?’ Including Slavoj Žižek on ‘Is it still possible to be a Hegelian today?’ Further speakers to be confirmed.

In addition, this semester we will be running two short courses open to the general public. These will take place in the Green Room (M009), Mansion Building, on Friday afternoons between 4-6pm. From 15 October to 12 November, Meade McCloughan will lead a course on Marx’s Capital, and from 26 November to 10 December, Rosa Nogues will give an introduction to French feminist philosophy.
Please direct enquiries to

Monday, 18 October 2010


I was just reading this article from Eurozine on Camus The stranger, the mother and the Algerian revolution A postcolonial reading of Albert Camus then remembered that this exhibition opens next week.
Core Gallery, Deptford | SE8 3DX |
Image: Jim Bond

Sisyphus was the king in Greek Mythology who for his crimes (ultimately his love of life) was subjected to the ceaseless task of pushing a boulder up a mountain, only to watch it fall down the other side and to repeat this task for all eternity. 

In response to the Myth the 7 exhibiting artists present sculpture, kinetic works and video exploring themes of futility, circularity and the absurd whilst displaying an immersion in the process. The artists through their works strive to reflect the futility of Sisyphus' task and indeed man's unending search for meaning with honesty and humour. 
 From an artist's perspective it would be difficult to conjure a more powerful or relevant image than that of Sisyphus under the weight of his boulder absorbed in the unrelenting physicality of his toil without respite or reward. 
"... His hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing".
(Albert Camus, The Myth of Sisyphus)
Core Gallery
C101 Faircharm Trading Estate
8 – 12 Creekside
London SE8 3DX
Tel: 020 8692 2783
Enquiries to:

Saturday, 16 October 2010

LUCY CONOCHIE 'Simile' at studio 1.1

LUCY CONOCHIE 'Simile' at studio 1.1

John Wallbank: New Work at Standpoint Gallery

John Wallbank: New Work at Standpoint Gallery

image taken from Hazard All Studio 1.1 in 2007

Image from Standpoint Gallery publication 2010 John Wallbank: New Work.
 Wallbank's work in this exhibition has revealed itself. It is also the act of revealing the absent. Three years ago I saw the exhibition Hazard All at Studio 1.1 which with title and work defined itself upon the alter of Modernism in ruinous splendour. The work alluded to an evolution of formalism to a fluid ease with itself, with its purpose, with its materiality. This current exhibition at Standpoint, the culmination of the year as recipient of the Mark Tanner sculpture prize cast this previous intent in new and more complicated light. Two things define the learning of the work in this show, one louder, one quieter, a Major and a minor if you will. The Major is the subject, which I would name the Phantasmal Volume. Wallbank's work is concerned with the cloaking of form not fully present, only there in potential. With an sensitivity of archaeology, volume is drawn out in the space between solid forms such as a corner, a hollow, whether these are tight and of the same armature or separate, the line of trajectory crossing space to be resolved. This sensibility is echoed in the minor theme, that of the presentation of art. Poetic solvency of the frame, of the plinth of the periphery of art is dotted here and there. This is clearly echoed in the materiality of the work, worked and used and re worked and reused materials, so clearly from a studio, perhaps Wallbank's, perhaps another's, and suggesting an repetition of reincarnation as to be endless, without static state at any time. "I have always been here before", in the words of Roky Erickson.
In the accompanying text for the exhibition Colin Perry suggests that "if they were drawings, these objects would be abstract sketches rather than blueprints for workable designs". Perhaps it is a matter of language but I would argue that this is incorrect. These "objects" are both "blueprints for workable designs" and the results of such designs. The point is they cross the labour divide from drawing board to workshop. Drawn in space is a cliché but here is holds. Space is pulled, it is drawn out and marked as in the application of a draftsperson's tools of defining space, but simultaneously this is an occurrence of the corporeal, it is theory and practice. Rather than praxis I would use the other Platonic, poiesis to define this activity. The work grows, and it blooms and all the time it is concerned with defining space like a cat's cradle. It is important then that the minor theme of the edge of display in art is here in John Wallbank's work as this completes the dance, from solid presentation back to ghost of form, every stage is folded inn on itself and used to define the work both unmade and made at any moment. All is temporal. All is a ghost.

Wednesday, 13 October 2010

cows / drawings


Billy Gruner – Punk Painting-Sound Installation, 2010.
Curated by Billy Gruner, Jan van der Ploeg and Tilman.
Private View: Friday,15th October, 6-9 p.m
Exhibition dates: 15th October – 7th November 2010

Billy Gruner, Adrian Macdonald, Kyle Jenkins, Sarah Keighery, Andrew Leslie, Rachel Park, John Adair, Judith Duquemin, Justin Andrews, Ruark Lewis, Giles Ryder, Suzie Idiens, Lynne Eastaway, Sophia Egarchos, Jan Van der Ploeg, Frank Ammerlaan, Marita Fraser, Michelle Grabner, Terry Haggerty, Alex Lawler , Geoff Lucas,Paul Morrison, Sean Shanahan,DJ Simpson, Tilman, Sebastian Wickeroth, Clemens Hollerer, Greet Billet, Ward Denys, Colombe Marcasiano, Ingrid Maria Sinibaldi,Tom Benson, Michael Duffy, Alma Tischler-Wood.
UND 6 – INTERCONTINENTAL is a group show of international artists exhibiting at Schwartz Gallery working within what could broadly be described as non-objective contemporary art. Organised by artists-curators Tilman, Jan Van der Ploeg and Billy Gruner, it is an annual event that at its root remains an experimental developmental project; a yearly opportunity for convergence for related artists to present and view new work out of a greater array of activity. That activity may fall under the banner of Presentational Art (US), Super Formalism or Minimal Pop (EU) or, as it is defined in Australia, Post Formalism. The UND 6 INTERCONTINENTAL show has been coordinated by Tilman, Jan Van der Ploeg and Billy Gruner working from the artist-run spaces they have established within a broad network. These include CCNOA in Brussels, PS in Amsterdam and SNO in Sydney respectively. Artists will have participated by presenting new work that they have themselves selected. This artist-driven approach taking place across a diverse and multiple network of artists engages traction with other interested artists, gallerists and collectors, outside of conventional systems.
Schwartz Gallery Project Space presents new work by emerging London-based contemporary artists alongside its main programme of exhibitions with the aim of providing exhibition, critical debate and networking opportunities. A newly-created project space, within the existing gallery space, will present exhibitions opening on the same night as exhibitions in the main space, jointly creating a dynamic and flexible exhibitions platform.
Ismail Erbil and Patrick Michalopoulos
Private View: Friday,15th October, 6-9 p.m
Exhibition dates: 15th October – 7th November 2010

For further information and images please e-mail us on

Saturday, 9 October 2010

Legacy / L.I.U / sculpture exhibition

200 years too late and 200 years too soon

Monday, 4 October 2010

School of The Moment 3 / L.I.U / Legacy / Hackney Wick

Daryl Brown and Ralph Dorey
Proposal for: Legacy at Light Industrial Unit (LIU), Forman’s Yard. 2010.
Title of project to be determined during course of installation.

Earlier in 2010 I attended a talk on subterranean space at the University of Canterbury. The engineer speaking defined the digging of a hole as having two distinct motivations; the acquisition of the material the hole contains, of the acquisition of the space the hole contains. This description draws attention to the phantasmic nature of a hole, which begins with its seem-defined existence prior to being dug. Even after excavation the hole’s existence is within the margins of form. The hole is defined by that which it is not, by its own margins. The hole must be best thought of as an act rather than an object. It is the parting of the larger body, and exists in a continual state of expansion and contraction as margins fluctuate.
If one emerges from a hole (and here the experience is perceptible, though more discretely, upon exiting certain architectural spaces) one is aware of a trajectory. The space of the hole continues up or out and becomes formless as the defining borders are left behind but for the moment when we are still guided by the ghost, the spirit without form. Perhaps consider now the structure of the mining derrick. The surface of the sunk shaft is braced at the sides and simultaneously reenforces the fluctuations of volume, restricting them to a vertical axis as matter, men and tools are brought up and down. Now look to the threshold of the terrene and the celestial, as the scaffold rises up above the pit, cloaking the ghost of the hole like a sheet around a spirit. Ralph Dorey 2nd October 2010.

With the above in mind, Daryl Brown at Ralph Dorey will produce work above a drainage opening in the Forman’s Yard space. The act of making itself will be responsive, building on exercises and preparations conducted in studios and on field excursions. As with previous endeavours of this group, the making in situ is itself an act of research into its own process, while what is exhibited is a relic of this passing occurrence. A space will be constructed that houses its own making as well as the means of examining this.

Daryl Brown and Ralph Dorey. Monday 4th October 2010