Gostovanje Amelie Jones

Amelia Jones otvara novu akademsku godinu na Odsjeku za dramaturgiju Akademije dramske umjetnosti u Zagrebu
srijeda 9.10. 19:00

soba 202, Akademija dramske umjetnosti, Trg M. Tita 5

Amelia Jones, jedna od vodećih teoretičarki izvedbenih i vizualnih umjetnosti, autorica nekoliko prijelomnih knjiga (Postmodernism and the En-Gendering of Marcel Duchamp; Body Art/Performing the Subject; Self-Image: Technology, Representation, and the Contemporary Subject) te profesorica na Sveučilištu McGill u Montrealu, održat će sljedećeg tjedna javno predavanje Queering Performance and Performing Queer: The "Inappropriate" Performances of Nao Bustamante.

Predavanje će fokusirati svjesno “neprimjerene” izvedbe Nao Bustamante, kalifornijske izvedbene umjetnice, te istražiti načine njezina aktiviranja histeričnog (u značenju hilarious, ali i u smislu oznake ženske histerije). Kroz ekscesivne strategije samo-izlaganja, Bustamante dovodi gledateljice i gledatelje u neugodnu situaciju, upravo ih posramljuje, te provocira njihove uobičajene reakcije na pitanja “primjerenog” ili normativnog socijalnog ponašanja.

Dan poslije, Amelia Jones održat će i radionice za studente dramaturgije. Raspravljat će se o njezinu eseju The Artist is Present” Artistic Re-enactments and the Impossibility of Presence objavljenom u časopisu The Drama Review povodom čuvenog performans-projekta Marine Abramović.

Više o Ameliji Jones: www.mcgill.ca/ahcs/people/faculty/jones

Više o Nao Bustamante: www.naobustamante.com

Amelia Jones practices a queer, anti-racist, feminist history and theory of twentieth- and twenty-first century Euro-American visual arts, including performance, film, video, and installation—articulated in relation to increasingly global frameworks.

Jones is the author of a number of books including Postmodernism and the En-Gendering of Marcel Duchamp (1994), and Body Art/Performing the Subject (1998), Irrational Modernism: A Neurasthenic History of New York Dada (1994), and Self-Image: Technology, Representation, and the Contemporary Subject (2006). This latter book expands on her work on body art, exploring the experience and understanding of the self in relation to performances of the body via technologies of representation from analogue photography to the Internet. Seeing Differently: A History and Theory of Identification and the Visual Arts (2012) offers a history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture, tracing the rise of identity politics in the mid-twentieth-century and critically examining debates in art discourse about "gaze theory," "post-identity" movements, and "multiculturalism."

Jones has curated exhibitions, organized performance and creative events, and edited volumes such as Contemporary Art, 1945-2003 (2005) and Feminism and Visual Culture Reader (new edition, 2010), which collectively attempt to rethink standard chronologies and modes of thinking about areas of visual culture studies and art history by including voices previously marginalized, or otherwise not fully accounted for, in debates and histories of these fields.

Jones's research is also at the forefront of the surge of interest in retrieving histories of feminist art and histories of performance or live art practices from the 1960s and 1970s. She has published major essays on feminist curatorial practices as well as an article on Marina Abramović's recent projects re-enacting body art works from the past and staging herself as an artwork (in The Drama Review, Spring 2011).  Her new book, co-edited with Adrian Heathfield, Perform Repeat Record: Live Art in History (Intellect Press, 2012) includes a range of primary documents, artist's projects, and academic articles examining the issues surrounding historicizing ephemeral, live art practices.

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  • Gostovanje Amelie Jones
  • Gostovanje Amelie Jones
 
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