Federica Martini, PhD, is an art historian and curator. She is dean of Visual Arts at the Ecole cantonale d’art du Valais (ECAV) and a member of the artists-run space standard/deluxe, Lausanne. Previously, she was Head of the MAPS Master program at ECAV, and a member of the curatorial departments of the Castello di Rivoli Museum of Contemporary Art, Musée Jenisch Vevey, Musée cantonal des Beaux-Arts/Lausanne and the Festival des Urbaines. In 2015-16 she was a research fellow at the Istituto Svizzero di Roma.
Petra Köhle, artist, since 2018 Head of the MAPS Master program at ECAV. She has been developing her artistic work collaboratively with Nicolas Vermot since 2003. In stage-like settings they engage with repetition and translation, creating new scenarios. Their work has been shown at Palais de Tokyo in Paris Museum of Modern Art in Frankfurt and performed as a contribution to the Nordic Research Pavilion in Venice. She is currently doing a collaborative PhD at University of the Arts in Linz and ZHdK.
Michael Marder is Ikerbasque Research Professor of Philosophy at the University of the Basque Country (UPV-EHU), Spain & Professor at Large in the Humanities Institute at Diego Portales University (UDP), Chile. He is author of numerous articles and books in the fields of environmental philosophy, phenomenology, and political thought. His most recent monograph is Energy Dreams: Of Actuality (Columbia UP, 2017).
Caspar Heinemann is an artist, poet and twinky butch anarcho-communist mystic based in Berlin. Their interests include critical occultism, gay biosemiotics, and countercultural mythology. Recent events include readings at the Baltic Triennial, Serpentine Miracle Marathon, Basis voor Actuele Kunst, Utrecht, and the ICA, London. They have recently exhibited at the Museum of Modern Art in Warsaw, David Roberts Art Foundation, London, and Outpost Gallery, Norwich.
Dr Andrea Phillips is PARSE Professor of Art and Head of Research at the Valand Academy, University of Gothenburg. Andrea lectures and writes about the economic and social construction of publics within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture.
Samia Henni is an architect and an anti-colonial writer. Her research and writings focus on the intersection between colonial policies, military measures, and the expanded field of architecture and planning. She teaches Research Practice at CCC since 2016. She also teaches at the Chair of Prof. Dr. Philip Ursprung, ETH Zurich. She holds a PhD in the history and theory of art and architecture from the ETH Zurich. Her dissertation examined French psychological and spatial counterinsurgency operations in colonized Algeria during the Algerian Revolution (1954–1962). Ongoing research projects include: Paris and the Algerian Desert, which investigates French transformation and exploitation of the Algerian Sahara and the forced resettlement of nomadic populations after the Second World War; Discreet Violence, Architecture and the French War in Algeria, a traveling exhibition that scrutinizes French military propaganda visual records produced in the fifties and sixties; and the Algerian Pavilion, nomadic and mutating forms of featuring colonialism and warfare, founded in the aftermath of the approval followed by a refusal of an Algerian governmental institution to exhibit certain colonial historical episodes.
Anselm Franke is Head of the Visual Arts department at the Haus der Kulturen der Welt in Berlin, where he was part of the curatorial team of the Anthropocene Project and organised exhibitions such as Animism (2012), and together with Diedrich Diederichsen The Whole Earth (2013), Forensis together with Eyal Weizman (2014) and Ape Culture together with Hila Peleg (2015). He was chief curator of the Taipei Biennale 2012 and the Shanghai Biennale 2014. He completed his PhD at Goldsmith College in London in 2015.
Griselda Pollock was born in South Africa, grew up in Canada and is Professor of the Social and Critical Histories of Art and Director of Centre for Cultural Analysis, History, and Theory at the University of Leeds. Her most recent publications include Concentrationary Imaginaries: Imaginaries of Violence and the Violation of the Human (editor, with Max Silverman, 2015), After-affects | after-images. Trauma and aesthetic transformation in the virtual feminist museum (author, 2013), Visual Politics and Psychoanalysis: Art & the Image in Post-Traumatic Cultures (editor, 2013), Digital and Other Virtualities: Renegotating the Image (editor, with Antony Bryant, 2010), The Sacred and the Feminine: Imagination and Sexual Difference (editor, with Victoria Turvey-Sauron, 2008), Museums after Modernism (editor, with Joyce Zemans, 2007), and Encounters in the Virtual Feminist Museum Time, Space and the Archive (2007).
Eyal Weizman is an architect, Professor of Spatial and Visual Cultures, and Director of the Centre for Research Architecture at Goldsmiths, University of London. Since 2011, he also directs Forensic Architecture, whose collection FORENSIS was published by Sternberg Press in 2014. He is a founding member of the architectural collective DAAR in Beit Sahour/Palestine. His books include Mengele’s Skull (with Thomas Keenan at Sternberg Press, 2012), Forensic Architecture (dOCUMENTA13 notebook, 2012), The Least of all Possible Evils (Nottetempo 2009, Verso 2011), Hollow Land (Verso, 2007), A Civilian Occupation (Verso, 2003), the series Territories 1,2 and 3, Yellow Rhythms and many articles in journals, magazines and edited books. He has worked with a variety of NGOs worldwide, and was a member of the B’Tselem board of directors. He lectured, curated and organised conferences in many institutions worldwide.
Start: October 9, 2017, 10am
Reading Octavia E. Butler’s Xenogenesis Triology for diagramming the abstract machine
At its best, science fiction and speculative fiction operates as an act of speculation as rigorous as any philosophical hypothesis and as experimental as any scientific enquiry. The most powerful science fiction can work by creating fictional characters and fictional narratives capable of investigating, analysing and enacting the novum of futurity. The fictions of Octavia E. Butler, arguably the most important science fiction novelist of the 20th Century, exemplifies the thought of science fiction at its most conflictual and disputatious. Butler’s novels and short stories grapple with antimonies that are equally valid and antagonistically true even as they remain incompatible, intractable and irresolveable.
Butler’s trilogy, Dawn, 1987 Adulthood Rites, 1988, and Imago, 1989, initially titled The Xenogenesis Trilogy, later renamed Lilith’s Brood, develops the dialectically opposed perspectives of extinction, survival, evolution and reproductive futurism by way of a sustained exploration of the future of humanity after the end of Man. Butler’s aliens and the few survivors remaining after the ‘humanicide’ of nuclear war confront each other at levels of compromise, collusion and complicity that neither resolves its planetary dilemmas nor restores the global status quo.
The Theory-Fiction Seminar 2017-2018 begins with the collective close reading of Dawn, Adulthood Rites and Imago. The Seminar then moves into the collective construction of a vocabulary of a future notation. This notation will diagram the antinomies that play out between aliens, humans, extinction and evolution within and across each book in the Xenogenesis Trilogy. These diagrams will experiment in the mobilization of the abstract machine that is operative throughout the textual systems and the fictional landscapes of Octavia E. Butler.