Lanfranco Aceti
Since 2003
Works in London United States of America

BIO
Lanfranco Aceti works as an academic, artist and curator. He is Visiting Professor at Goldsmiths College, Department of Media and Communications, and at the Steinhardt School, at NYU; teaches Contemporary Art and Digital Cultures at the Faculty of Arts and Social Sciences, Sabanci University, Istanbul; is Editor in Chief of the Leonardo Electronic Almanac (the MIT Press, Leonardo journal and ISAST); and is currently Director of Kasa Gallery, Istanbul. He is the Founder of Director of the Museum of Contemporary Cuts (MoCC) and of Operational and Curatorial Research in Art, Design, Science and Technology (OCR). He was Artistic Director and Conference Chair for ISEA2011 Istanbul.

He has a Ph.D. from Central Saint Martins College of Art and Design, University of the Arts London and has published, lectured and exhibited internationally.

http://www.lanfrancoaceti.com
http://www.museumofcontemporarycuts.org
http://kasagaleri.sabanciuniv.edu/
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EVENT

Making Visible the Invisible: Media, Art, Democracy and Protest


Dates:
Fri Nov 15, 2013 17:00 - Fri Nov 15, 2013

MAKING VISIBLE THE INVISIBLE

Making Visible the Invisible: Media, Art, Democracy and Protest is the title of a panel at Kasa Gallery, Friday November 15, 2013, at 5pm that precedes the opening of the exhibition I Occupy. The panel and the exhibition are inspired by “Why I Occupy,” a text by Nicholas Mirzoeff – Professor at NYU -, and analyze the inheritance of the Occupy Wall Street movement and the contemporary relationship between community, art, politics and economics. Prof. Mirzoeff has produced a video reading of his seminal essay with a new updated commentary, exclusively for Kasa Gallery.

Making Visible the Invisible: Media, Art, Democracy and Protest and I Occupy follow the curated artistic intervention at the Contemporary Istanbul art fair titled YOU CANNOT AFFORD THIS! This series of events coincide with the opening of a new distributed exhibition Jackpot, by the Museum of Contemporary Cuts. There are also a series of Augmented Reality public installations in the city of Istanbul. Why I Occupy is the title of the public AR installation over Gezi Park by Will Pappenheimer with handwriting by Prof. Mirzoeff.

Other installations are: Welcome Plutocrats by John Craig Freeman, Toads of Money by Will Pappenheimer, You Will Be Swept Away by Money by Mark Skwarek and May Gold Fall Upon You by Tamiko Thiel.

The panel will question what is left of the Occupy movement and its worldwide distribution and redistribution as well as the importance of mass participation in the democratic processes. In this context of juxtaposed ideologies of mass exploitation and mass participation stand contemporary democracies, unable to respond to social instances and demands.

What is the role that art should play in this socio-political scenario? Is that of engaging the community and voice criticism through a new series of visual interventions and critical imageries?

Chair: Lanfranco Aceti

Co-chair: Jussi Parikka

Panelists: Ryan Bishop, Burçe Çelik, Nazım Hikmet Richard Dikbaş, Stephen Foster and Peter Lewis

Text and video contribution: Nicholas Mirzoeff

Skype intervention: Marquard Smith

Biographies of the speakers

Ryan Bishop is Professor of Global Art and Politics at the Winchester School of Art, University of Southampton. He co-edits Cultural Politics (Duke University Press) with John Armitage and Doug Kellner, the Theory Now series for Polity Press and serves on the editorial board of Theory Culture & Society. He also co-edits a new series, Technicities, for the Philosophy line at Edinburgh University Press. His most recent books include Comedy and Cultural Critique in American Film (Edinburgh University Press 2013) and Virilio and Visual Culture (co-edited with John Armitage, Edinburgh University Press 2013).

Burçe Çelik received her doctoral degree from McGill University, Communications and teaches at Bahçeşehir University in New Media Department. She has authored a book called Technology and National Identity in Turkey: Mobile Communications and the Evolution of a Post-Ottoman Nation (I.BTauris, 2011) and number of articles in varying journals including Birikim, Toplum ve Bilim, European Journal of Cultural Studies, New Perspectives on Turkey etc.

Nazım Hikmet Richard Dikbaş is an artist, lecturer and translator based in Istanbul. He studied sociology at Istanbul University, and completed his MA in philosophy at the University of Warwick. A member of the groups Zen and Hafriyat, he has also written on art. His own work focuses on concepts such as denial, concealment and violence on individual and social planes, and their theoretical and practical impact across historical and geographical matrices. His work also explores the emergence, design, ownership, dissemination, hybridization and censorship of ‘social’ knowledge.

Stephen Foster has been the Director of the John Hansard Gallery since 1987 and in that time has established a substantial reputation for bringing rigorous research and debate along with interesting public engagement. This includes innovative exhibition programming, major international conferences and ground-breaking education and outreach work. He has been the Chair of VAGA, the British curators association, a number of times and is a Board Member of IKT, the International Association for Curators of Contemporary Art.

Peter Lewis is an artist and curator. He publishes /seconds, the online journal of research into contemporary art practices. The journal has represented a range of new developments in practice since 2004. Previously holding post at Goldsmiths, University of London, as Assistant Director of Curating, and currently as Director of MA Art and Design at Leeds Metropolitan University. From 1999, he was Independent Curator at Kunstverein Bregenz, Austria, in 2003 as Curator of Sharjah Biennale 6. The artistic collaboration with Makiko Nagaya centres on performance and event-based collaborations, continuing his work in 1990s in London. He has recently published ‘Articulating the Event Space’ in E:vent, Archive and Related Material 2003-2011, edited by Colm Lally, Event Media Projects. He is currently invited to curate /seconds projects at Sharjah Art Foundation for 2014 in collaboration with the Director Hoor Al-Qasimi, in the production of related exhibition, performance, and installation.

Nicholas Mirzoeff is Professor of Media, Culture and Communication at New York University. He works in the field of visual culture. He has been working on the genealogy of visuality, a key term in the field. Far from being a postmodern theory word, it was created to describe how Napoleonic era generals ‘visualized’ a battlefield that they could not see. Applied to the social as a whole by Thomas Carlyle, visuality was a conservative strategy to oppose all emancipations and liberations in the name of the autocratic hero. Mirzoeff’s book The Right to Look: A Counterhistory of Visuality was published by Duke University Press (2011). He also produces texts and projects that support the general development of visual culture as a field of study and a methodology. The third Visual Culture Reader was published in 2012 by Routledge. The second fully revised edition of An Introduction to Visual Culture was published in 2009 by Routledge, with color illustrations throughout and new sections of Keywords and Key Images. Mirzoeff works on militant research with the global social movements that have arisen since 2011. He is currently working on a new project on the cultures of climate change in conjunction with the not-for-profit Islands First.

Jussi Parikka is Reader at Winchester School of Art. He has written extensively on biopolitics of network culture, media archaeology and cultural theory of technology. His recent books include Insect Media (2010) and What is Media Archaeology? (2012). He has edited collections such as Medianatures (2011) which focuses on materiality of media culture through electronic waste. Parikka blogs at Machinology (http://jussiparikka.net). From Autumn 2013 Parikka is affiliated with Bahcesehir University, Istanbul.

Marquard Smith is Founding Director of the Institute for Modern and Contemporary Culture; Founder and Editor-in-Chief of Journal of Visual Culture; publishes widely on the visual and cultural study of bodies, technologies, and sexualities in Modernity; has monographs forthcoming with Yale University Press and Reaktion Books; is supervising PhD students on projects around Visual Culture Studies, the body, technology, the human and post-humanism; and is an AHRC Peer Review Panel Member. Prior to arriving at Westminster, Marq was Reader in Visual and Material Culture and Head of Public Programmes in the Faculty of Art, Design, and Architecture at Kingston University, London, where he was co-director of the Visual and Material Culture Research Centre, and Founding Editor of KIOSK, a magazine of art, design, and architecture. He has also taught at Birkbeck, Middlesex, Goldsmiths, Leeds Met, and University of Leeds, and spent time working in the world of commercial publishing as a Commissioning Editor for Reaktion Books. Marq was a Founder (1992) and Editor (1992-98) of the Cultural Studies journal parallax (Routledge/Taylor & Francis), and the Founder and Editor-in-Chief of the international peer-refereed Journal of Visual Culture (Sage, 2000-onwards). As part of this ongoing commitment to developing collaborative projects, he is currently involved in heading three arts and humanities network projects on: Visual Culture Studies in Europe; Bio-Cultures; and the Network for Editors of Interdisciplinary Journals.

Smith has programmed conferences and events at The ICA, Tate, The Whitechapel Gallery, and The Sterling and Francine Clark Art Institute, Williamsburgh, Mass, USA. He has made contributions to recent events at: MIT; Bilgi University, Turkey; University of Cambridge; European Humanities University, Lithuania; Hong Ik, Seoul, South Korea; Goldsmiths; ICA, London; UC Berkeley; The Sterling and Francine Clark Art Institute; Universität Zürich, Switzerland; University of London; Victoria & Albert Museum; Centre d’Art Santa Monica, Barcelona; Utrecht Graduate School of Visual Art and Design; The London Consortium; and the Whitechapel Gallery.


EVENT

YOU CANNOT AFFORD THIS! at Contemporary Istanbul


Dates:
Thu Nov 07, 2013 11:00 - Sun Nov 10, 2013

Location:
Istanbul, Turkey

YOU CANNOT AFFORD THIS!, a collaboration between Kasa Gallery and the Museum of Contemporary Cuts at CI – Contemporary Istanbul, is an art event that questions current art market practices and the disruptive nature of contemporary digital media. This continues an international theme that Kasa Gallery has addressed during the past year with a series of exhibitions that reflect upon the nature of contemporary art, politics, neo-capitalism and plutocratic practices.

Are the arts inexorably linked to the market? What is the role, if any, for politicized art media practices that bring new critical perspectives and alternative forms of engagement to the corporate art world? Is once again, as in the early avant-garde, the aesthetic choice trapped between total acceptance and total rejection, since the ‘third way’ appears to have failed in the past 20 years? In a climate of profound social and economic cuts, where the lack of social cohesion is bringing forward struggles and tensions, who are the ‘marketable artists’ talking to? Is a commercialized and purely self reflective aesthetic art practice the only option that can be set as a ‘successful’ example of aesthetic contemporary engagement?

Kasa Gallery and the Museum of Contemporary Cuts, invited by Ceren Arkman (Director) and Irmak Arkman (Art Director) of Plugin at CI – Contemporary Istanbul, present artworks by John Craig Freeman, Will Pappenheimer, Mark Skwarek and Tamiko Thiel.

YOU CANNOT AFFORD THIS! is a collaboration between MoCC, Kasa Gallery, OCR, Goldsmiths, NYU Steinhardt and the Royal College of Art.

Lead Curator: Lanfranco Aceti.
Senior Curators: Pat Badani, Nicholas Mirzoeff and Marquard Smith.
Event Manager: Çağlar Çetin.

CI – Contemporary Istanbul: November 7 to 10, 2013.

Please bring smart phones and iPads to view the installations.



EVENT

I Occupy


Dates:
Fri Nov 15, 2013 17:00 - Tue Dec 31, 2013

Location:
Istanbul, Turkey

I OCCUPY

I Occupy, the new exhibition of Kasa Gallery in collaboration with the Museum of Contemporary Cuts surveys, analyzes and questions current trends in interventionist art and Augmented Reality Art which, by intervening within the urban and socio-political landscape, contribute to redefining the aesthetic and cultural understanding of the environments we operate in.

“No Socialism for Capitalists” was the slogan on the sign that a man held during the days of the Occupy Wall Street protests. Other signs read “R.I.P. American Dream” and “Corporations Are Sociopathic People,” the latter held by an elegantly dressed woman. Visual culture theorist Nicholas Mirzoeff, who joined the movement, wrote “Why I Occupy,” a seminal essay that linked and expanded – via a personal blog – on the events, and Mirzoeff’s role within them. (Nicholas Mirzoeff, “Why I Occupy,” Public Culture 24, no. 3 (2012): 451-456.)

The Occupy Movement has catalyzed attention – nevertheless it has not really succeeded in creating the transformative change that people expected. And yet, it has succeeded in bringing on to the political arena the presence of a popular discontent about the escalating lack of participation and resulting erosion of democracy in the contemporary representation of the post-state.

What is the actual social and political legacy of the Occupy Wall Street movement today? And further, what is the role of art in advancing political activism? Do Augmented Reality interventions further Occupy’s claimed agendas? Does Augmented Reality art succeed in bypassing institutional control? Can this art practice exist without the autocratic and centralized stamp of approval of political bureaucratic institutions?

The exhibition I Occupy will be prefaced by the text “Why I Occupy” by Nicholas Mirzoeff, world renowned scholar at NYU Steinhardt. I Occupy will also showcase the ARworks, actual live interventions and documents of past events during Occupy Wall Street, with pieces by Mark Skwarek (the organizer of the AR events), John Craig Freeman, Will Pappenheimer and Tamiko Thiel.

The exhibition showcasing these artists’ work will provide the opportunity for a panel discussion that will analyze the issue of art, politics and interventions in the public sphere within a technologically advanced society that allows for the creation of digital layers and tapestries in the urban landscape. These layers are no longer localized but part of increasingly globalized interventions that operate without and beyond the traditional – and perhaps obsolete – boundaries of national states.

The exhibition I Occupy is concurrent to the show Jackpot at MoCC (Museum of Contemporary Cuts). Jackpot and I Occupy are a collaboration between MoCC, Kasa Gallery, OCR, Goldsmiths, NYU Steinhardt and the Royal College of Art.

Lead Curator: Lanfranco Aceti. Senior Curators: Pat Badani, Nicholas Mirzoeff and Marquard Smith.
Event Manager: Çağlar Çetin.
Exhibition Dates: November 15 – December 31, 2013.
Opening: November 15 at 5pm.

Please bring smart phones and iPads to view the installations.


OPPORTUNITY

Journal of Visual Culture ~ Visions of Contemporary Cuts


Deadline:
Sun Jan 05, 2014 00:00

VISIONS OF CONTEMPORARY CUTS

Journal of Visual Culture, in collaboration with the International Association for Visual Culture, Operational and Curatorial Research, the Museum of Contemporary Cuts and Kasa Gallery, is pleased to announce a new refereed issue titled Visions of Contemporary Cuts.

The issue is guest edited by Lanfranco Aceti, Sabanci University, Istanbul; and Goldsmiths College, University of London.

Visions of Contemporary Cuts is a special call for a refereed issue open to international scholars, curators, artists and thinkers who are provocatively discussing and analyzing the contemporary economic crisis as well as the meaning of the word ‘cuts’ and how these affect contemporary society.

Visions of Contemporary Cuts – Theme

What are the contemporary narratives of the Great Recession (2008-Present) that are defining the politics of economic cuts to the arts, education and social services?

Historically, the narratives and stories of the Great Depression were mainly narrated through institutional forms of representation and visual imagery that presented a portrait of the dispossessed – Dorothea Lange, Walker Evans and Lewis Hine, to note a few of the most well known photographers. Their work of documentation was paid for by the American government, perhaps raising concerns related to an institutionalized form of narrative instrumental to the political realities of the time.

The most poignant portrait of the time, Migrant Mother by Lange, is surrounded by a certain controversy: “Florence Owen Thompson revealed her identity in a letter to a local newspaper, the Modesto Bee, stating her dismay about the iconic photograph. She felt exploited by it, never received a penny, and seemed hurt that the photographer never asked her name.” [Michael Stone, ‘The Other Migrant Mother,’ The Open Photography Forum, http://www.openphotographyforums.com/index.php (accessed February 2, 2013).]

What then are the images of today that represent the contemporary economic crisis and symbolize the financial cuts that are being enforced across the arts, education and public health systems? What are the realities of these cuts in the context of societies in crisis such as the United States and Western Europe? Are the politics of rigor and cuts – with their institutionalized discourse – hiding other realities? And finally, what is the impact of the images and contextualized discourses that we as academics, practitioners, curators, and cultural commentators are constructing?

This themed issue of Journal of Visual Culture seeks papers that address, although are not limited to, the following themes:

1 Cuts and their visual mythology in contemporary discourses
2 Cuts, protest and resistance
3 Narratives of cuts
4 Lives cut: suicides in the economic crisis
5 The visual politics of cutting
6 Cuts and social justice
7 Dreams cut: the failing of upward social mobility
8 Creative finance and art cuts
9 Comparative analyses between historical images of poverty and contemporary poverty
10 The role of media technology in distributing imageries and in creating narrative of cuts
11 How to curate the visuality of cuts and its social impact
12 Artistic practices in a time of crisis
13 Other related topics



EVENT

Cloud Banks, the new exhibition by Mark Amerika at Kasa Gallery


Dates:
Fri Sep 27, 2013 00:00 - Thu Oct 31, 2013

Location:
Istanbul, Turkey

Cloud Banks, the new exhibition by Mark Amerika at Kasa Gallery, will coincide with another of Mark Amerika’s exhibitions titled Precipitations at the Museum of Contemporary Cuts, continuing the aesthetic analysis of the theme of Art and Economics.

Cloud Banks at Kasa Gallery will explore the way artists, political and economic theorists, metaphysical philosophers, and businessmen use language as a tool to construct their vision of the world as they see it.

As with much of Amerika’s conceptual net art, the title is a pun, one that refers to both a weather phenomenon – a layer of clouds seen from a distance – and the recent rise of both cloud computing and too-big-to-fail banking systems.

Amerika has taken numerous texts from authors such as Immanuel Kant, John Ruskin, P. T. Barnum, Andy Warhol, Raoul Vaneigem, Karl Marx, John Stuart Mill, and various documents produced by Conceptual artists of the 1960s, to produce experimental tag clouds that reveal both the writer’s use of language and the thematic subjects they obsessed over.

Amerika then cleverly manipulates the tag clouds by mashing up some of the texts for aesthetic and political effect. For example, in the show at Kasa Gallery, two of the works on exhibit mashup Conceptual art documents with John Stuart Mill’s Principles of Political Economy out of which emerge a subset of tag clouds titled Conceptual Art Mill.

This post-structuralist and postmodern approach to contemporary art introduces multilayered issues on the blending of image and text that create a series of relationships indicative of the current struggle to preserve old definitions and hierarchies, which are increasingly unable to explain the current socio-political upheavals in an economic context that is increasingly deteriorating.

Senior Curator: Lanfranco Aceti. Curator: Ozden Sahin.

Exhibition Dates: September 27 – October 31, 2013.

Address: Kasa Galeri Bankalar Cad. No: 2, Karakoy, Istanbul.

Visiting hours: 10:00 – 17:00 every day except Sunday.

Notes on the Artist and the Artworks

Mark Amerika’s work has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2009-2010, The National Museum of Contemporary Art in Athens, Greece, hosted Amerika’s comprehensive retrospective exhibition entitled UNREALTIME. He is the author of many books including remixthebook (University of Minnesota Press, 2011 — remixthebook.com) and his collection of artist writings entitled META/DATA: A Digital Poetics (The MIT Press, 2007). His latest art work, Museum of Glitch Aesthetics [glitchmuseum.com], was commissioned by Abandon Normal Devices in conjunction with the London 2012 Olympics.

Amerika is a Professor of Art and Art History at the University of Colorado at Boulder and Principal Research Fellow in the Faculty of Humanities and Social Science at La Trobe University.

More information can found at his website, markamerika.com and at his twitter feed @markamerika.