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Thursday 25 October 2012 Solent Lecture Theatre (SM Building)

09:30: Arrive & register. Refreshments available in Meon Suite. 10:05: Introduction 10:15 11:15 Charlotte Cotton: Imaging Technologies and Narrative in Cultural Space Charlotte Cotton will discuss how our attitudes to recent image-making technologies impact upon the narratives and potential narratives of the photographic in cultural spaces. She will focus on practice in the past five years, with specific reference to practitioners who extend this discourse, providing initiatives signal the future of photography in the cultural realm, together with the hurdles for this to happen across cultural spaces. Charlotte Cotton is an independent writer, curator, and lecturer. She is the author of Photography as Contemporary Art, Imperfect Beauty, Guy Bourdin and Then Things Went Quiet. Charlotte has formerly been Creative Director for the National Media Museum, the curator & head of the Wallis Annenberg Department of Photography at the Los Angeles County Museum of Art, curator of photographs at the Victoria and Albert Museum (1992-2004), before moving to the head of programming at The Photographers Gallery (2004-2005) in London. She has also been visiting professor at Yale University. 11:30 12:15 Steffi Klenz: Artist Talk, Frictions Abound: Photographic Materiality, Process & Indexicality Steffi Klenzs photographic practice is fundamentally concerned with challenging conventional conceptions of architecture. Her work unfolds in urban places, engaging with the space in question as a location for transition and transformation. Klenz will be focusing on her most recent works, which regard the house as a mysterious space embodying strangely animated furniture, convulsive forms and unruly guests. Interested in the indexicality of presence, her work equally attempts to investigate metaphorically the skin of the image by working with acid chemicals or screen- printing on aluminium. By liberating the domestic space from its traditional role, she instead explores the materials and objects that determine the place in question. Steffi Klenz is a senior lecturer at University for the Creative Arts. Her work has shown her work in group and solo exhibitions both nationally and internationally. It has been reviewed in Art Review, The Architectural Review, The Times, The Independent, Camera Austria, and Portfolio among other publications. Her work has also featured in the books New Art from London & The Geographies of Art and Architecture. 12:20 13:05: Guy Moreton: Artist Talk - Technology in Ruins: Film, Photography, and the Materiality of the Image This paper will explore the use of old technology as a significant and vital parallel skillset in contemporary art and photographic practice. Conversely, the idea of technological ruination and has been the subject of writings and artworks by Tacita Dean, Brian Dillon, W.G Sebald and Jane and Louise Wilson that have also allowed for a wider discursive position and approach in Moretons visual practice. Guy Moreton is Associate Professor of Photography at Southampton Solent University. He has published, presented, and exhibited nationally and internationally at Tate Britain, Whitechapel Gallery, EAST international, Norwich, Kettles Yard University of Cambridge, the John Hansard Gallery, Southampton Showcase, Norwich Castle Museum and Art Gallery; the Sainsbury Centre for Visual Arts, University of East Anglia, and The National Art Pavilion Zagreb, Croatia. His work has been critically reviewed in American Book Review, Photo-Eye (USA), The Guardian, The Times Literary Supplement, BBC Radio 4, The Spectator, Art Monthly, Art Review and Camera Austria.

14:00 14:45 Maren Juell Kristensen: Artist Talk - Film, Temporal Narrative, and the 'Real'. Maren Juell Kristensens presentation will consider the perception of reality and film. She is concerned with film as a time-based memory-narrative and as a physical screen and light. The content in her latest work has been the gap between an internal and an external dialogue, where nature has been given the role as the "Real" but uncertainty regarding own perception prevails. Maren Juell Kristensen lectures at Einar Granum Kunstkole in Oslo, Norway. Most recently she exhibited in the show LIGHTS ON Norwegian contemporary art in Oslo & Five Nordic Women at Liverpool Biennial. Her solo and group shows, have been shown internationally from Oslo, London, Berlin, Spain, Australia and the most current exhibition Stereo. Not Mono is in Germany.

14:50 15:35 Joanna Lowry Acknowledging Rosalind Krauss's proposal that in its progressive obsolescence photography had emerged as a theoretical object, Joanna will attempt to think through what kind of a theoretical object lies at the heart of very slow moving image practices. What is the promise that the lost object of photography stands for? She will suggest that the answer to this question can be found through a recognition of the uncanniness of technology's relationship to time. The paper begins with an analysis of three works: one installation and two video projections, and explores the way in which concepts of the simulacral, the uncanny and the blind spot are played out in these works through the interaction between the still and the moving image. The argument is developed that the concept of the still photograph that is implicit within these works and that underpins them stands for a model of a visual space from which the spectator has been absented, for a kind of impossibility of vision that has its origins in a form of psychic repression. The suggestion is that photography in these contexts should not be seen either as a technology, nor as a theoretical object, but as a phantasmic one. Joanna Lowry is Course Leader for the MA Photography programme at Brighton University. She has written a number of pieces, appearing in Creative Camera, Portfolio, and Photoworks among others. Her work has featured in books such as Stillness and Time: Photography and the Moving Image, Face on: Photography as Social Exchange, Theatres of the Real (that she also curated as a show at the Antwerp FotoMuseum, Rineke Dijkstra Location, Cindy Sherman, Ori Gershts Afterglow, and Nancy Spero 15:50 16:35 Mandy Jandrell: Artist Talk - Reality and Digital Montage Mandy Jandrell will present ideas arising from her practice concerning digital montage. Jandrells work are constructed partly from digital images of plants photographed at Kew Gardens and images appropriated from the internet. She will articulate concepts around this theme in her new work New Utopia. Mandy Jandrell is course leader for BA (hons) Photography at Southampton Solent University. She has exhibited internationally from South Africa to the Florida and Minneapolis in the USA, Germany, Vienna, Manchester and London. Her work has been published and reviewed in publications including The Guardian, The Observer, Art Review, Art Monthly, Flash Art, Contemporary, Alaska, Fleisch (Austria), Art South Africa, Arena, Dazed and Confused, Artthrob (South Africa), Itch (South Africa), and the Mail and Guardian (South Africa). 16:40 17:00: Panel Discussion & Audience Questions (chair: Stephen Brigdale)

Friday 26 October 2012

Solent Lecture Theatre (SM Building)

09:30: Arrive & register. Refreshments (tea, coffee, water) available in Meon Suite. 10:05: Introduction 10:15 11:15 Ori Gersht: Artist Talk History and metaphor, journeys and geographical place intertwined with metaphysical space are Ori Gershts concerns and have been over the course of his career. Gershts practice bridges a history that is full of traumas. Engaging in that difficult arena of not only pushing the photographic camera to the limits of what it can record, but also working in innovative ways with film and video, Gershts highly researched aesthetic has an instinctive innovative approach to the materiality of his medium.

Professor Gersht has exhibited in museums and galleries around the world from the Tate Modern, Tate Britain and the V&A Museum to the Guggenheim Museum in New York. His work has been shown in the UK, the US, France, Israel, Spain, Norway, China, Germany, Italy, and the Czech Republic. 11:30 12:15 Duncan Wooldridge: Crisis and Anxiety in the Expanded Field of Photography Duncan Wooldridges presentation will explore the proliferation of diagnoses of crisis in the practice of postdigital photography. Hell be locating this enquiry within some of the discourses surrounding photography's expanded fields, which propose an opening up of the medium whilst continuing to propose a static array of propositions about the medium. Looking at the writing of George Baker et al alongside recent work from the USA, he will suggest this work might be used to identify the limits or aporias within photography criticism, but moreover, can propose new fundamental commentaries and uses for the medium itself, especially within a culture determined as digital/immaterial/post-fordist. Duncan Wooldridge is Course Leader for the Camberwell College of Arts, University of the Arts London. He curated the show Anti-Photography in 2011 and exhibited internationally from London to Denmark to the U.S He has written in Photoworks and Source Magazine, as well as publishing in Eikon Magazine among others. 12:30 13:15 Ben Burbridge: A Cry and a Demand? (More) Notes on Photography and the Politics of Space Focusing on 2012 Brighton Photo Biennial, this paper examines relationships between contemporary image culture and the politics of space. It aims to locate politicised forms of artistic and curatorial photographic practice in the wider context of recent political occupations and associated modes of image-based activism. Dr. Ben Burbridge is a lecturer at Sussex University and Programme Curator and Co-Editor of Photoworks magazine. Most recently he has curated Agents of Change: Photography and the Politics of Space at the Brighton Photo Biennal. He is the co-founder of Ph, and has curated a number of exhibitions. 14:15 15:00 Tom Slevin: Photography and its Condition as Technological Prosthesis The unfolding of humanity has been ontologically interconnected to the presence of technology. However, in modernitys profound doubt over the bodys relationship to reality, technologys role as supplement altered human experience. Photography, in its moment of guaranteeing a fixed, objective mechanical guarantor for memory and vision, fundamentally shifted their very nature. Photographys mechanical prostheticisation of the human body also brings into focus the relationship between vision and power. However, for Martin Heidegger, art must confront its own effects of representation despite its own condition as techn. Dr. Tom Slevin is a lecturer at Southampton Solent University, previously teaching at Royal Holloway University of London and University for the Creative Arts. He has a number of works in publications such as Film International: Journal of World Cinema, Angelaki: A Journal of the Theoretical Humanities, Body and Society, and Fashion Theory: Journal of Dress, Body, and Culture. His book Visions of the Human: Art, World War I and the Modernist Subject is due for release January 2014. 15:15 16:00 Sandra Plummer: The Expanding Photograph: Media Convergence and Medium Deconstruction. Recent conceptual photography demonstrates a distinct material turn. While photographys convergence with paint, sculpture and mixed-media can be seen as a literal expansion of photography as medium, there has simultaneously emerged a focus on the material aspects of photography as a deconstructed form. This paper will consider photography that is at once expanding and contracting: expanding by means of its sculptural form, but contracting in its abstraction and destruction of the photographic image. Sandra Plummer is Course Leader on the MA in Photography at Sothebys Institute of Art. Her PhD was entitled Photography after Deleuze: Ontology, Reflexivity and Materiality that examined the ontology and materiality of contemporary self-referential photography. She has taught The History & Theory of Art at the Slade School of Fine Art and recently has been an Artist in Residence at the Slade School of Fine Art Summer School. Recent articles on contemporary photography have been published in the journal Rhizomes as well as Source: The Photographic Review and Photoworks. 16:05 16:35: Panel Discussion & Audience Questions (chair: Guy Moreton)

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