Nov 4, 2010
Presentation this Saturday
4.30pm - 5.15pm 6 November
200 Gertrude Street Fitzroy
This is a Free School event and places are limited - the first 50 people to register by emailing firstname.lastname@example.org will be admitted
Please make 'Steve Kado' the subject of your email - each person may book for one or two people
This event precedes the nearby opening of Christopher LG Hill's Flowers of Romance
and Sean Peoples + INRI Cristo's '*see image' and Steve Kado's October Jr at Y3K Gallery
If the success of a model depends on it's resemblance to a source then how much less than the thing itself does a model have to be? If a model is always something like it's source isn't it always also something more, namely a model? The argument, I suppose, is that a model is more in total than anything it could represent: it has to be both an abstraction of another thing (1/2) and it's own thing in it's own right (1). That's the math. A model of a thing is 1 1/2 times more of a thing than the whole original thing. I'd like to show you all this new 3/4 scale model of October 12 that I made.
Aug 31, 2010
FREE SCHOOL PRESENTS:
From October to December 2010 Free School will host 3 one-off events by guest speakers and presenters
Students sign up for individual Presents:
This is not a Semester but a series of separate events and classes
FREE SCHOOL SEMESTER II:
Free School will commence again in January/February of 2011
The duration of the Semester is 3 months. We will begin to accept applications once FREE SCHOOL PRESENTS: has commenced
Anybody who has sent an email inquiry to email@example.com will be notified once activity has been confirmed
Jul 5, 2010
May 24, 2010
May 7, 2010
Apr 30, 2010
Apr 25, 2010
Time: Class and film will start at 7.30.
(BYO drinks and snacks)
The Good Women of Bangkok
Directed by Dennis O'Rourke 1991
pre reading for class see attached pdf "Afterward"
Afterword by Dennis O'Rourke, for book to be edited by
Chris Berry, Annette Hamilton & Layleen Jayamanne,
concerning The Good Woman of Bangkok
Notes by the Filmaker
"Like the Brecht play which inspired the title, this film is an ironic parable about the impossibility of living a good life in an imperfect world. It is also an attempt to describe in this form, and to conflate, what is so banal about sex with a measure of what is profound. It is a film about prositution as a metaphor for capitalism, here played out across the borders of race and culture, and about prostitution as a metaphor for all relations between women and men."
"It is also about voyeuristic tendencies which are inherent in all film making and film viewing. It is my hope that, as with Brecht, we are confronted with a vision of ourselves, thus forcing the consideration of how personal sexuality affects political and philosophical beliefs. In this film I have exposed myself in order to force the audience to reconsider the whole nature of documentary film practice. Under the thrall of our separate desires, we are all implicated in some way."
© Camerawork Pty Ltd
Apr 8, 2010
Host: Elizabeth Newman
Question: How can art be taught in the University? What follows from this situation, for art and artists?
In the seminar of 1968 called The Other Side of Psychoanalysis Lacan nominated four discourses that structure social relations and thereby produce particular effects: these discourses are that of the Master, the University, the Hysteric and the Analyst. In our current era it could be said that the discourse that dominates is the University Discourse, a discourse fuelled by the conjunction of science and capital to produce a certain kind of knowledge, and certain types of gadgets and technologies. Now that art education is firmly located within this universalizing discourse, where can we find room for singularity, the essential component of creativity and subjectivity? Speaking from the point of view of psychoanalysis, I want to look at the effect of the University discourse upon subjectivity, art education and art practice. Certainly a ‘free school’ is a response to the deadening and alienating effects of this discourse.
The reading I have selected is a paper ‘On Shame’ by Jacques-Alain Miller in which he analyses a comment made by Lacan in the last session of the Seminar, that ‘there is no longer any shame’. Lacan’s comments throughout the seminar - designed to produce a particular effect upon the students - are prescient in their forecasting of current conditions, conditions in which we are compelled to enjoy without limits and to renounce the dignity of our singularity in favour of shamelessness and obscenity.
Jacques-Alain Miller ‘On Shame’, in Jacques Lacan and the Other Side of Psychoanalysis: Reflections on Seminar XVII, (ed.s) Justin Clemens and Russell Grigg, Duke University Press, 2006.
Elizabeth Newman is an artist and psychoanalyst. After attending art school in the early 1980s, and making art throughout the 80s, she took a detour into psychoanalysis during the 1990s, training as an analyst and developing a psychoanalytic practice. Newman lives and works in Melbourne and is currently represented by Neon Parc.
Apr 6, 2010
Mar 30, 2010
Mar 25, 2010
Mar 16, 2010
These days, it seems that nobody really knows what they’re doing in the realm of philosophical aesthetics. As a result, we get automatic repetitions that don’t realise they’re repetitions: a ‘back to basics’ approach (‘it just has to be beautiful/skilful/ethical’); pseudo-scientific approaches that allegedly support a new ‘world art history’ (‘we all know from evolutionary biology that all humans share a creative instinct’); interpretative marginalia (‘what does that small yucky mark at the lower right of the canvas really mean?’); etc. I want to discuss how these pseudo-solutions emerge as the consequence of a failure of modern philosophical aesthetics — particularly as bequeathed European modernity in the form of Immanuel Kant’s Critique of Judgement — and return to Kant’s positions to see what else they might have to tell us today. This means talking again about ‘beauty,’ ‘taste,’ ‘form,’ ‘pleasure,’ and ‘the sublime.’ Seriously.
Mar 2, 2010
Free School Second class will be held at
Uplands Gallery, 247 High Street, Prahran
(tram 6 from Swanston street, first stop past Chapel, Train to Prahran Station, 10 min walk up High Street)
class will begin at 7.00pm
Second class will be presented by
Class of 1933 Professor of Anthropology
I began fieldwork in 1969. I have returned every year. My writing has spanned different things in roughly the following order; two books in Spanish for local people on the history of slavery and its aftermath, and books and articles in academic journals on the: 1) commercialization of peasant agriculture, 2) slavery, 3) hunger, 4) the popular manifestations of the working of commodity fetishism, 5) the impact of colonialism (historical and contemporary) on "shamanism" and folk healing, 6) the relevance of modernism and post-modernist aesthetics for the understanding of ritual, 7) the making, talking, and writing of terror, 8) mimesis in relation to sympathetic magic, state fetishism, and secrecy, 9) defacement (meaning iconoclasm), 10) a two week diary detailing paramilitary violence, 11)a study of exciting substance loaded with seduction and evil, gold and cocaine, in a montage-ethnography of the Pacific Coast of Colombia, 11) currently writing a book entitled "What Color is the Sacred?".
1980. The Devil and Commodity Fetishism in South America.
1987. Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing.
1992. The Nervous System.
1993. Mimesis and Alterity: A Particular History of the Senses.
1997. The Magic of the State.
2003. Law in a Lawless Land.
2004. My Cocaine Museum.
2006. Walter Benjamin's Grave.