I was invited to the Visual Cultures of Work research group in the Discursive and Curatorial Production Initiative of the Department of Visual Arts at UC San Diego, to present this lecture ‘Feminist Cinemas of Extraction – Reading Divestment through the Historicity of Labor’
Thursday, November 3, 2016
‘Mining has stood out as an exemplary industry through which labor and labor struggle has been historically imagined, imaged, and understood. Nevertheless, the formal conventions of radical labor film inherited from Soviet cinemas of the 1920s—in placing trope-like emphasis on machinic automation and the patriarchal ‘family’ wage—have tended to contract viewers into materially very limited and highly gendered readings of extractive politics. Feminist practices of art, film, and activism have long since grappled with this problem on an aesthetic level in accordance with the industry’s own revolutions of production. Rachel O’Reilly’s talk will address the intersection of unwaged, feminist sociality and labor cinema’s attention to the theory of value. Focusing on feminist experiments in cinematic form found in Sophie Bissonnette, Martin Duckworth, and Joyce Rock’s 1980 film Une Histoire de Femme—which tracks the work of Franco/Anglophone women in their support and organization of the historic 1978 International Nickel Company of Canada (INCO) strikes that took place in Sudbury, Ontario—O’Reilly will rethink the relationship between aesthetic politics, contractual form, and labor within present day settler colonial conditions with regard to its relevance for our own cultural work’.
The Visual Cultures of Work research group in the DCP Initiative in the Department of Visual Arts at UC San Diego examines cross-disciplinary ideas and influences—ranging from art history, film and media studies, the history of science, literature, feminist theory, and political history—in the economy of work within modern and contemporary visual culture. This event is co-sponsored by Critical Gender Studies at UC San Diego.
Die Konsequenz(en) der Kunst, or The Consequence(s) of Art, is a series of four lectures and conversations curated by faculty members Prof. Kerstin Stakemeier and Prof. Lars Blunck and hosted at the Akademie der Bildenden Künste in Nürnberg.
On three thematic panels artists, theoreticians, researchers and producers present their takes on the possible consequence(s) of art, followed by a joint discussion with the panel and audience.
I take part in the Demonstrations of Consequence(s) talk alongside cultural theorist Paul Feigelfeld (Lüneburg/Berlin) and artist Susanne Winterling (Offenbach/Berlin). on October 27th 2016 at 19:00.
The philosopher Alenka Zupančič recently proposed the concept of consequence as a measure of our actions. Instead of hoping for the social normalization of our acts, those should rather be directed by the consequence(s) they entail. With Zupančič we can also ask for the consequence(s) of art, its having consequences as much as its being consequential. And it is therefore that the notion of consequence seems geeignet, to foster a discussion in which the arts are not primarily understood from their products and distribution but rather as a composition of actions – of consequential actions, of actions with consequences.
Demonstrations of Consequence(s) – 27.10.16, 19:00 The consequence(s) of the political in its institutionalized and nationalized form are very openly perceivable where states are reigning over their citizens, or – today hardly less virulent – over their non-citizens. But how can the consequences of a political form be demonstrated which engages with life beyond or even consciously averted to such official administrations? Demonstrations of Consequence(s) brings together three panelists who, in their respective fields of work, have proposed and tried out moments of political consequence: in writing, in teaching, in theory, in art …they are testing out the specific capacities of their respective media for critical consequence(s).
Jelena, Vlidi and I were invited to Savvy Contemporary, by the wonderful curators Brigitta Isabella and Renan Laru-an as part of their exhibition ‘From Bandung to Berlin: If all of the moons aligned’. This was the second adapted performance lecture of On Neutrality: Between Non-Aligned Movement(s) and Neoliberal Curatorial Economies.
As part of ‘From Bandung to Berlin: If all of the moons aligned’
At Savvy Contemporary, Berlin-Wedding on October 22, 2016
The lecture-performance On Neutrality deals with the juxtapolitical concept of ‘neutrality’ or ‘neutralisation’ in terms of its use in political and aesthetical position-taking within different ‘international relations,’ especially as a response to discrepancies of power. In contrast to the moral minimalist concept of neutrality as it is mobilized in liberal governmentalities, historically and today, across art and politics, the project considers the rich variegated recent history of situated, politicised forms of political neutrality concepts, which stemmed from the active positioning of non-aligned and ‘third world countries’ gaining independence during the Cold War era and re-claiming neutrality as a politics of de-colonisation, independence, peace and non-alignment with the powerful world empires of the time… This politicised history of neutrality concepts will be juxtaposed with the waves of depoliticising neutrality, including curatorial neutralisations of politics, which, aided and abetted by the humanitarian rhetorics of contemporary art, persist in attenuating institutional anxiety and agonistic possibilities of production in contexts of re-colonisation by multinational corporations.
The project On Neutrality was first presented by Jelena Vesić and Rachel O ’Reilly at Museum of History of Yugoslavia, Belgrade in 2014 as part of the research and exhibition Travelling Communiqué. The lecture coincides with the launch of the book by Jerić, O’Reilly and Vesić titled: On Neutrality, The letter from Melos, Museum of Contemporary Art, Belgrade, 2016 (Edition: Non Aligned Modernity; English and Serbian language)
My series on unconventional gas extraction, The Gas Imaginary, is presented in collaboration with Valle Medina and Benjamin Reynolds from PA/LA/CE Architects and artist Rodrigo Hernandez.
The Gas Imaginary is an artistic research project incorporating poetry, photomedia
documentation, archi-poetic diagrams and essayistic labours exploring the aesthetic languages, mechanical ideology, speculative economics, and technocultural patterning surrounding the large-scale install of ‘unconventional’ gas extraction. Through this technology and industry, indebted state and national governments cause disenfranchised rural but increasingly urban populations to speculate on their own health and futures: through compensatory leasing arrangements, temporary industry employment and privatized infrastructure delivery and sponsorship aimed at the social licensing of investment in environmental injustice and dispossessions from common bioheritage.
I will also participate in a panel discussion, ‘Poetics and Power, In Translation’ on Wednesday 19 October at 18:00 at Garage Coffee Shop & BAR, Al Rajaa Street, Ramallah, Palestine.
This discussion event features poetry reading, a lecture and a public editing workshop that seeks to grasp the power of language in the governance of land, property and peoples. The event departs from the many contributions to Jerusalem Show VIII that prominently feature language. These include the prison writings of Syrian/Golan poet Yasser Khanger, drawings by Rachel O’Reilly that diagram the social economies of mineral extraction politics in Australia, and a legal contract devised by Ramallah-based artist Yazan Khalili. The event will take place in Arabic and English, with translation foregrounded as a crucial issue in itself, and is in collaboration with the Educational Bookshop (Jerusalem) and Garage Cafe.
I will exhibit my collaborative exhibition The Gas Imaginary at GRAGM from July 2 – August 13, 2016 with an official launch on June 25, 2016 at 6pm.
This short video discusses the research and concepting behind this longer duree artistic work on unconventional gas extraction. The specific work in this showing, ‘THE GAS IMAGINARY, Broken norms, unconventional extraction, drawings and other collaborative acts’ 2016 was produced in collaboration with PALACE Architects (Valle Medina and Benjamin Reynolds) and artist Rodrigo Hernandez. Film material produced by Louise O’Reilly.
“Despite traversing World Heritage Protected and UNESCO-listed terrain, the LNG developments and dredging of the Gladstone Harbour were made possible through legal innovations and special economic zonings. Environmental Impact Assessments of the infrastructure itself have since been proven to have lacked ‘critical information’ on groundwater and well locations, while the process of approval has been subjected to a 2015 Federal Senate Inquiry.
The artist would especially like to thank and pay respects to Gooreng Gooreng Elders Jackie and Lindsay Johnson and Juliri Ingra for their time, generosity and commitment to culture, and Cheryl Watson of the Gladstone Conservation Council during the research phase.”