Acoustic Space #5

As part of the Studies Constellation, the Study Directoship’s annual fellowship, art historian and theorist Sven Lütticken leads the seminar The (Legal) Person and the Legal Form: Theoretical, Artistic, and Activist Commitments to foster dialogue and deepen the hypotheses and questions driving his research project. 

The seminar consists of eight sessions, divided into three chapters throughout the academic year. While conceived as non-public spaces for discussion and collective work, these sessions complement, nourish, and amplify the public program of the Studies Constellation.

First session of the third chapter focuses on the transformation of the artwork in the context and wake of Conceptual art. The very notion of the artwork, together with its ownership and authenticity, is reconsidered from a broad perspective open to new and alternative models of management, which could ultimately transform the relationship between artist, artwork and owner. Can some of the practices in question serve as critical models? To what extent is it possible to think and act with them, and extrapolate from them, beyond a beautiful niche?

The second session turns to the question of representation. While many (but not all) human natural persons can, in principle, represent themselves in legal matters, other needs representatives. This goes for minors as well for adults who have been placed under legal guardianship; it applies to fictitious persons such as corporations and states, who need human representatives to sign contracts or defend them in court. We will look into the question of legal representation in conjunction with other forms of representation, in the cultural as well as political register—taking cues from Spivak’s distinction between portrait (Darstellung) and proxy (Vertretung), which is an unstable and historically mutable one.

The seminar concludes with a closing session dedicated to collectively revisiting and reflecting on the themes and discussions that have emerged throughout the first Studies Constellation Residency Program.

Art historian Patricia Falguières inaugurates the María Luisa Caturla Chairwith the lecture Art History in Dark Times. This Chair, dedicated to the reflection on art in times «sick with uncertainty», is aimed at dismounting, digressing and imagining multiple temporalities and materialities in art history and cultural studies from an eccentric gaze, in the sense of being displaced, off-centre or with a centre that is different. 

The lecture’s title references Hannah Arendt’s collection of essays Men in Dark Times, which in turn paraphrases a Bertol Brecht poem. In it, Arendt asserts «dark times are not only not new, they are no rarity in history».

Patricia Falguières also claims history knows many periods when the public realm has been obscured, when the world becomes so uncertain that people cease to ask anything of politics except to relieve them of the burden of their vital interests and their private freedom. The art historian —whose expertise is in the field of Renaissance art and philosophy but paying close attention to contemporaneity— invites us to a «chaotic and adventurous journey», from the Italian Renaissance to Fukushima, through which to delve into the questions: What can the practice of art history mean today, in a world ablaze with ominous glimmers and even more ominous threats, if not as mere entertainment or social ornament? Of what vital interests, of what freedom can it bear witness and serve as an instrument?

The seminar On Black Study: Towards a Black Poethics of Contamination proposes Black Study as a critical and methodological practice that has emerged in and against racial capitalism, colonial modernity and institutional capture. Framed through what the invited researcher and practitioner Ishy Pryce-Parchment terms a Black poethics of contamination, the seminar considers what it might mean to think Blackness (and therefore Black Study) as contagious, diffuse and spreadable matter. To do so, it enacts a constellation of diasporic methodologies and black aesthetic practices that harbor “contamination” -ideas that travel through texts, geographies, bodies and histories- as a method and as a condition.

If Blackness enters Western modernity from the position of the Middle Passage and its afterlives, it also names a condition from which alternative modes of being, knowing and relating are continually forged. From within this errant boundarylessness, Black creative-intellectual practice unfolds as what might be called a history of touches: transmissions, residues and socialities that unsettle the fantasy of pure or self-contained knowledge.

Situated within Black radical aesthetics, Black feminist theory and diasporic poetics, the seminar traces a genealogy of Black Study not as an object of analysis but as methodological propositions that continue to shape contemporary aesthetic and political life. Against mastery as the horizon of study, the group shifts attention from what we know to how we know. It foregrounds creative Black methodological practices—fahima ife’s anindex (via Fred Moten), Katherine McKittrick’s expansive use of the footnote, citation as relational and loving labour, the aesthetics of Black miscellanea, and Christina Sharpe’s practices of annotation—as procedures that disorganise dominant regimes of knowledge. In this sense, Black Study is approached not as a discrete academic field but as a feel for knowing and knowledge: a constellation of insurgent practices—reading, gathering, listening, annotating, refusing, world-making—that operate both within and beyond the university.

The study sessions propose to experiment with form in order to embrace how ‘black people have always used interdisciplinary methodologies to explain, explore, and story the world.’ Through engagements with thinkers and practitioners such as Katherine McKittrick, C.L.R. James, Sylvia Wynter, Christina Sharpe, Fred Moten, Tina Campt, Hilton Als, John Akomfrah, fahima ife and Dionne Brand, we ask: What might it mean to study together, incompletely and without recourse to individuation? How might aesthetic practice function as a poethical intervention in the ongoing work of what Sylvia Wynter calls the practice of doing humanness?

In conjunction with the opening of Aurèlia Muñoz. Beings, an exhibition curated by Fundación EINA via its einaidea platform, Manuel Cirauqui, einaidea’s founding director, and collaborators Rosa Lleó and Sílvia Ventosa engage in conversation around the curatorial approach to this anthological show devoted to Aurèlia Muñoz (Barcelona, 1926–2011). The exhibition, organised by the Museo Reina Sofía and the Museu d’Art Contemporani de Barcelona (MACBA), traces an extensive path through the artist’s career and revises the conceptual points that run through her work, points which are pivotal to understanding the development of contemporary textile art.  

The encounter seeks to explore new perspectives imparted by the show and to offer a wider reading of Muñoz’s legacy, travelling through more than fifty years of artistic practice: from monumental textile structures to handmade paper sculptures, from her beginnings linked to Nouvelle Tapisserie and the Catalan Tapestry School to the consolidation of her own language, which flows beyond the limits of fabric and craft.  

Furthermore, the conversation touches on the experimental nature of Muñoz’s work, defined by a constant investigation into techniques and materials that interlace ancestral knowledge and artisan traditions with contemporary resources, as well as her main points of reference, influences and unique concept of space. Thus, the focus rests on the concept of “beings”, which are key to understanding her semi-abstract sculptures and suspended structures, conceived as constantly evolving forms which inhabit space. Finally, her drawings, maquettes and personal archive are presented as keys to understanding the cohesiveness and depth of her creative universe.  

These inaugural conversations, part of the main working strands of the Museo’s Public Programmes Area, aim to explore in greater depth the exhibition narratives of the shows organised by the Museo from the perspective of artists, curators and specialists.

READ Madrid. Festival of Books and Ideas emerges as a meeting space for critical and experimental voices in the fields of literature, theory, and publishing. With particular attention to artistic production practices and independent publishing, and seeking to build a transatlantic cultural bridge with Latin America, the program aims to decenter hegemonic frameworks of knowledge production and open up new communities of interpretation and horizons for political imagination. To this end, it takes writing and reading—understood in broad and plural ways across their modes, forms, and registers—as constitutive of a public laboratory of what we call study: a space for thinking collectively, debating and coining ideas, making and unmaking arguments, as well as articulating new imaginaries and forms of enunciation.

In a context of ecological, political, and epistemological crisis, the festival proposes modes of gathering that make it possible to sustain shared time and space for collective reflection, thereby contributing to the reconfiguration of the terms of cultural debate. In this sense, the program is conceived as an intervention into the contemporary conditions of circulation and legitimation of thought and creation, expanding the traditional boundaries of the book and connecting literature, visual arts, performance, and critical thought. These formats are organized around three thematic axes led by key voices in contemporary writing, artistic practice, and critical thinking.

The thematic axes of READ Madrid. Festival of Books and Ideas are: a popular minoritarian, or how to activate an emancipatory practice of the popular; raging peace, or how to sustain justice, mourning, and repair without resorting to pacifying imaginaries devoid of conflict; and fiction against oblivion, which explores the role of science fiction, horror, and speculative narratives as forms of resistance against the liberalism of forgetting. Ultimately, the aim is to interrogate our present through the potential that ideas and books can mobilize within a shared space of study, debate, and enjoyment.