Centar za dramsku umjetnost vas poziva na predavanja u sklopu programa Metodologije valorizacije
Mark Fisher
Politička estetika postkapitalizma
16.11.2011. 19:00h, klub za net.kulturu mama, Preradovićeva 18, Zagreb
U svojoj knjizi Kapitalistički realizam Mark Fisher je argumentirao da suvremenom kulturom dominira sveprožimajući osjećaj da kapitalizmu nema alternative. Iako se kapitalizam nalazi usred dosad neviđene krize, kapitalistički realizam nije nestao. Naprotiv, promijenio je formu: umjesto visoke pompe neoliberalne arogancije, kapitalistički realizam se danas javlja u očajnijem, gotovo lažno melankoličnom obliku. Strategija raznih agenata kapitala više se ne bazira na osudi antikapitalističkih prosvjeda, već na tvrdnji da antikapitalisti ne nude koherentnu alternativu. Kad bi je samo ponudili, podržali bismo ih... Iako je riječ o krivoj liniji napada, ipak naznačuje ozbiljan problem s 'antikapitalizmom'. Pojava antikapitalizma bila je simptom razaranja organizirane ljevice koja je bila definirana pokušajem artikulacije alternativnog moderniteta. Barem implicitno, tendencija većine antikapitalizama je ipak anti-modernistička. Naglašenost organskog i lokalnog u odnosu na sisteme, birokratsko planiranje i transnacionalnu koordinaciju uzrokuje klizanje od anti-statizma prema anti-politici. To je također pitanje i političke estetike jer slika koju projiciraju antikapitalizmi odbacuje tehnološko, masovno proizvedeno i brendirano.
U ovom izlaganju Fisher će argumentirati da ljevici treba promjena fokusa s antikapitalizma na postkapitalizam i da koncepti originalno smišljeni u izrugivanju ljevici – kao što su radikalni šik ili dizajnerski socijalizam – mogu pomoći u ovoj tranziciji. Sada kad je kapital izgubio kontrolu nad modernitetom, vrijeme je za tvrdnju da budućnost pripada postkapitalizmu.
Mark Fisher je poznat i kao muzički kritičar i teoretičar. Redovito objavljuje u friezeu, New Statesmanu, Sight&Soundu i Wireu u kojemu je bio i zamjenik urednika godinu dana. Gostujući je profesor na Goldsmithsu, University of London i piše jedan od najuspješnijih blogova posvećen kulturnoj teoriji, k-punk(http://k-punk.abstractdynamics.org).
Douglas Murphy
Spomenik čemu?
17.11.2011. 18:00h, klub za net.kulturu mama, Preradovićeva 18, Zagreb
U središtu Olimpijskog parka u Londonu predviđenog za igre 2012., bliži se kraj izgradnje neobične konstrukcije. 'ArcelorMittalOrbit' je 114.5m visoka javna skulptura; uvijeni toranj i platforma za promatranje dizajnirani su da budu dramatični središnji objekt Olimpijskih igara. Koncepcija objekta udružila je političara, industrijalca, inženjera i umjetnika u realizaciji ovog najspiralnijeg od svih spomenika. Ali što on znači? Kroz raspravu o povijesti okolnosti nastanka i mrežama moći i kapitala koje su osigurale izgradnju, o njegovim priznatim značenjima i njihovu značaju, o povijesnim rezonancama i odnosu prema drugim značajnim strukturama i prema tehnici, ovo izlaganje tvrdi da je 'ArcelorMittalOrbit' artefakt koji savršeno utjelovljuje tekuću krizu izražavanja političkih i kulturnih vrijednosti prostornim sredstvima.
Douglas Murphy je arhitekt i autor iz Londona. Studirao je na Glasgow School of Art i Royal College of Art. Njegov blog Entschwindet und Vergeht prati arhitekturu, glazbu, politiku i filozofiju. Piše o arhitekturi za Icon Magazine. The Architecture of Failure (zerobooks) njegova je prva knjiga.
Owen Hatherley
Pulp: urbanizam, seks i klasa
17.11.2011. 19:00h, klub za net.kulturu mama, Preradovićeva 18, Zagreb
Predavanje se oslanja na Hatherleyevu nedavno objavljenu knjigu Uncommon.
Ako se uopće sjećamo sheffieldske pop grupe Pulp sjećamo ih se po zabavnoj pjesmi o klasnom ratu ''Common people'', po slavi njihova frontmana interesantnog imena, njegovom mahanju guzicom Michael Jacksonu na Brit Awardsu, po tome što su bili dio ne-pokreta britpop i nestanku gotovo bez traga. Napravili su nekoliko dobrih stvari, snimili nekoliko smiješnih spotova, i iako su možda nacionalno blago, nisu ništa ozbiljno. Ili jesu?
Ova knjiga tvrdi da ih se treba uzeti ozbiljno – zapravo, vrlo ozbiljno. Pokušavajući izbaviti Pulp iz bezobzirnog šovinističkog spektakla britpopa i kruga oživljavanja-oživljavanja (revivals-of-a-revival), ova knjiga mapira vrlo čudne stvari koje se pojavljaju u njihovim snimkama i vodi nas duboko u nepoznatu, egzotičnu zemlju: zemlju akrila, preljuba, arhitekture, analognih sintisajzera i gorućeg klasnog bijesa.
Ovo je knjiga o pop glazbi, ali je uglavnom o seksu, gradu i klasi posredstvom najbolje britanske pop grupe devedesetih.
Owen Hatherley je rođen 1981. u Southamptonu, a zadnje desetljeće živi u jugoistočnom Londonu. Piše o arhitekturi, urbanizmu, politici, dizajnu, glazbi i kritičkoj teoriji na blogu Sit Down Man, You're a Bloody Tragedy (nastybrutalistandshort.blogspot.com). Redovito piše za Icon, Guardian i Frieze i mjesečni je kolumnist o arhitekturi za Building Design. Autor je dviju vrlo priznatih knjiga - Militant Modernism i A Guide to the New Ruins of Great Britain.
Metodologije valorizacije ovogodišnji su program Centra za dramsku umjetnost koji se sastoji od serije predavanja posvećene teorijskim i historijskim istraživanjima odnosa između kriterija i metoda valorizacije u umjetničkom polju i onih u širem političko-ekonomskom okružju. Bavit ćemo se artikulacijom razlika, koincidencija, uvjetovanosti, kratkih spojeva, ideoloških srastanja, te historijskih i geografskih specifičnosti.
Projekt podržavaju Gradski ured za obrazovanje, kulturu i šport Grada Zagreba, Ministarstvo kulture Republike Hrvatske i IPA 2009 Programme – Civil Society Facility.
 |
 |
Hvala Multimedijalnom institutu i klubu za net.kulturu mama
---
The Center for Drama Art invites you to participate in a lectures in our The Methodologies of Valorisation series:
Mark Fisher
The Political Aesthetics of Postcapitalism
16.11.2011 19:00, net.culture club mama, Preradovićeva 18, Zagreb
In his book Capitalist Realism, Mark Fisher argued that contemporary culture was dominated by a pervasive sense that there is no alternative to capitalism. Even though capitalism is in the midst of what is shaping up to be an unprecedented crisis, capitalist realism has not disappeared. Instead, it has changed form: from the bullishness of neoliberalism in its high pomp, capitalist realism now has a more desperate, even faux-melancholic edge. Increasingly, the strategy of many of capital's agents is not to condemn anticapitalist protest, but precisely to claim that the anticapitalists do not present a coherent alternative. If only they did, we might be able to support them .... While this is in many ways a spurious line of attack, it does point to serious problems with 'anticapitalism'. The emergence of 'anticapitalism' was a symptom of the destruction of the organised left, which was defined by its attempt to articulate an alternative modernity. At least implicitly, the tendency in much anticapitalism, however, is anti-modernist. There is a slide from anti-statism into anti-politics, as the organic and the local are emphasised at the expense of sytstems, bureaucratic planning and transnational co-ordination. This is a question of political aesthetics as much as anything else, in that the image projected by much anticapitalism implies a renunciation of the technological, the mass produced and the branded.
In this presentation, Fisher will argue that the left needs to shift the focus from anticapitalism to postcapitalism, and that concepts originally intended to mock the left - such as 'radical chic' and 'designer socialism' - can assist in this transition. Now that capital has lost its control of moderrnity, it's time to assert that the future belongs to postcapitalism.
Mark Fisher is highly respected both as a music writer and a theorist. He writes regularly for The Wire, frieze, New Statesman, Sight & Sound and The Wire, where he was acting deputy editor for a year. He is a Visiting Fellow at Goldsmiths, University Of London, and maintains one of the most successful weblogs on cultural theory, k-punk (http://k-punk.abstractdynamics.org)
Douglas Murphy
Monument to what?
17.11.2011 18:00, net.culture club mama, Preradovićeva 18, Zagreb
In the centre of the 2012 London Olympic site, a remarkable construction is nearing completion. The 'ArcelorMittalOrbit' is a 114.5m high piece of public sculpture; a twisting tower and viewing platform designed to be a dramatic centrepiece of the Olympic Games. Its conception has brought together a politician, an industrialist, an engineer and an artist in holy alliance to realise this most involute of monuments. But what does it mean? Through discussion of its circumstantial history and the networks of power and capital that have led to it being built, its avowed meanings and their significance, its historical resonances and its relationship to other significant structures as well as its relationship to technik, this paper will argue that the 'ArcelorMittalOrbit' is an artifact which perfectly embodies a current crisis in the expression of cultural & political values by spatial means.
Douglas Murphy is an architect & a writer living in London. He studied at the Glasgow School of Art and the Royal College of Art. His weblog Entschwindet und Vergeht covers architecture, music, politics and philosophy. He is architecture correspondent for Icon Magazine. The Architecture of Failure(zerobooks) is his first book.
Owen Hatherley
Pulp: urbanism, sex and class
17.11.2011 19:00, net.culture club mama, Preradovićeva 18, Zagreb
The lecture relies on Hatherley's latest book ''Uncommon''.
If we remember them at all, the Sheffield pop group Pulp are remembered for jolly class warfare ditty 'Common People', for the celebrity of their interestingly-named frontman, for the latter waving his arse at Michael Jackson at the Brit awards, for being part of a non-movement called 'Britpop', and for disappearing almost without trace shortly after. They made a few good tunes, they did some funny videos, and while they might be National Treasures, they're nothing serious. Are they?
This book argues that they should be taken seriously - very seriously indeed. Attempting to wrest Pulp away from the grim jingoistic spectacle of Britpop and the revivals-of-a-revival circuit, this book charts the very strange things that occur in their records, taking us deep into a strange exotic land; a land of acrylics, adultery, architecture, analogue synthesisers and burning class anger.
This is book about pop music, but it is mainly a book about sex, the city and class via the 1990s finest British pop group.
Owen Hatherley was born in Southampton in 1981, and has lived in South East London for the last decade. He blogs on architecture, urbanism, politics, design, music and critical theory at Sit Down Man, You're a Bloody Tragedy (nastybrutalistandshort.blogspot.com). He is a regular contributor to Icon, the Guardian, Icon and Frieze and writes a monthly topical column on architecture in Building Design. He is the author of two highly acclaimed books - Militant Modernism and A Guide to the New Ruins of Great Britain.
The methodologies of valorisation is one of this year's Centre for Drama Art's main programs. It consists of a series of lectures dedicated to theoretical and historical investigation of relations between criteria and methods of valorisation in the artistic field and in the broader political and economic sphere. We will deal with the articulations of differences, coincidences, conditionalities, shortcuts, ideological juxtapositions and historical and geographical specificities.
Supported by: City of Zagreb Office for Culture, Education and Sport; Ministry of Culture, Republic of Croatia; IPA 2009 Programme – Civil Society Facility.
|
|
Thanks to the Multimedia Institute and net.culture club mama
top