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: 30 September 2019, 10am
The Theory-Fiction Seminar for 2019 to 2020 continues its ongoing engagement with the writings of the African American science fiction novelist Octavia Estelle Butler. The Project Earthseed Seminar 2019 to 2020 departs from a reading of Octavia Butler’s 1993 novel The Parable of the Sower. Set in the ‘accidentally coinciding climatic, economic, and sociological crises’ of the year 2024, The Parable of the Sower’s teenage protagonist Lauren Olamina keeps a diary in which she writes aphorisms and epigraphs that provide the tenets of a new religion that she names Earthseed. As the social collapse of life on the West Coast of North America forces Lauren to leave her home, the imperilled refugees that she meets on the road, Earthseed’s instructions bind these fugitives into a group oriented towards a future whose goal guides their actions in the present.
The aim of the Project Earthseed Seminar is to approach the fiction of Earthseed as an interscalar vehicle to be actualised in the present of 2019 to 2020. At its most abstracted and generalised scale, the Seminar seeks to mobilise the prospective imagination of Earthseed of 2024 by and with and through the format of a media campaign that aims to intervene in the present defined by the compounded threats of capitalogenic climate catastrophe, neo-fascism and surveillance capitalism. At its most reduced and concretized scale, the Seminar seeks to market Earthseed as a secular religion in the contemporary era.
This entails an experiment with the engineering of belief within the Seminar as the precondition for the marketing of Earthseed within the precincts of the institution of HEAD. The ultimate aim of the Seminar is to enlist the various actors that constitute the preexisting communities of HEAD for the project of Earthseed by devising methods for engineering the desire for Earthseed. The style of those methods will be drawn from the reading of The Parable of the Sower which will provide the narrative vehicle required for the mobilization of a marketing campaign that seeks to engender network effects that will in turn act as a force multiplier for the binding of beliefs.
All participants in Project Earthseed are required to read The Parable of the Sower. Texts, moving images and sound recordings related to Project Earthseed will be
introduced throughout the first and second semester.
Janis Schroeder is an artist and researcher working with video, photography, artist books and essays. His research and artistic practice is about the influence and language of image montage. He uses the video essay as a niche form of knowledge production and representation to take a critical view on the power relations within these images. In an ecosophical approach, he works on media archaeology and anthropogenic impact through manmade urban environments. After earning his BA in Visual Arts (Writing) from the Geneva University of Art and Design/HEAD, he completed an MA in Critical, Curatorial, Cross-Cultural and Cybermedia Studies (CCC) in 2013. He is currently a tutor in electronic media with the research-based master programme CCC at HEAD, presenting seminars on Situated Art Practices and co-coordinating the programme’s reading group in collaboration with his colleague Cécile Boss. He contributes to the research project The Anthropocene Atlas of Geneva (TAAG), directed by Professor Gene Ray.
Catherine Quéloz, professor in the history/theory of art and Cultural Studies, is specialized in the conceptual discursive and interventionist art practices informed by gender and postcolonial issues. She is Honorary Professor of Haute d’école d’art et design (HEAD) Geneva. Initiator of a Curatorial Programme (1987), she is the cofounder in 2000, together with Liliane Schneiter, of CCC Research-Based Master Programme and Pre-Doctorate/PhD Seminar at Geneva University of Art and Design. She is currently co-leading (with Pierre Hazan) a research project supported by the Swiss National Science Foundation (SNF) on art practices and politics of memory. She collaborates to two ongoing research projects, one on the Emerging Cultures of Sustainability (ECoS) and the other one on alternative pedagogies in the economic system of education.
Eric Philippoz is a visual artist working with video, installation, drawing, performance and text. He holds a Bachelor from the Haute école d’art et de design de Genève (art/medias) and a Master-degree from the ArtEZ Dutch Art Institute (Arnhem, The Netherlands). Recently, he initiated the project “Hotel Philippoz”, a residency and art events programme located in his grandmother’s house undergoing full renovations. Within a year, twelve international artists stayed at “Hotel Philippoz” and engaged a dialogue with the place and its memory. As an assistant-coordinator, he is responsible for the one-year colloquium “Thinking under Turbulence” that frames the curriculum during the transition of the CCC Master Programme in 2015/16.
Denis Pernet is a curator and writer educated as an artist at Ecole supérieure des beaux-arts Geneva where is was an assistant for three years. For more than ten years he has worked as a curator of exhibitions and presentations on contemporary art, film, video and sound, with a focus on transdisciplinary formats. Working as an independent curator he began his institutional career at Geneva Contemporary Art Center where he curated numerous exhibitions by emerging artists, as well as exhibitions that linked to contemporary discourses.
Currently, he is director of « La nuit des musées » in Lausanne. He has also edited numerous catalogs in the field of contemporary art, and has collaborated to several art magazines.
Aymon Kreil is an anthropologist. He is currently a researcher at UFSP Asian und Europa of University of Zurich as well as a visiting lecturer at CCC Research-Based Master Programme. His doctoral research thesis, accomplished at EHESS (Paris) in co-supervision with University of Neuchatel, is entitled Du rapport au dire. Sexe, amour et discours d’expertise au Caire (2012). In addition to gender and sexuality, his researches are also dealing with religious authority, class distinctions and the Egyptian understandings of the domain of politics.
Cécile Boss, performs research by means of art (video, performance and writing). She holds a BA in Visual Arts and a Master from the CCC Programme at Geneva University of Art and Design (HEAD). For her Master thesis and film Life is not living (2013), her research areas were balanced against the psychiatric treatment and confinement to the world of work and care. In parallel she has undertaken in collaboration with Melanie Borès an intensive study of one thesis from Walter Benjamin’s On the Concept of History, in connection with the research project Politics of Memory and Art Practices: The Role of Art in Peace and Reconstruction Processes [PIMPA/PPR]. Currently she works on the potentials for memorialization offered by the video essay form in the technologized capitalist context. As an assistant in the CCC Programme, she coordinates the reading group seminar with colleague Janis Schroeder.