Previously at the ICA - Events
24 Oct 2012
Tackling the often-conjured crisis of value in art, this talk takes a closer look at the cycle of overproduction, surplus value, and cultural fetishism. In conjunction with Hannah Sawtell’s exhibition Osculator, the conversation lays bare the infrastructure that channels our encounter with the products of the information age, and the rituals we set in place to navigate this content.
Maria Fusco, Diedrich Diederichsen and John Roberts set out to explore the complex net of exchanges, tag lines and associations that assign value in art today.
Maria Fusco was in born Belfast and lives in London. In her roles as art critic, editor, lecturer, fiction writer and Director of Writing at Goldsmiths College, Fusco has searched out diverse styles of writing, not simply for their literary value but as part of an ongoing fascination with the slippery nature of writing, and its intimate relationship to contemporary art practice. She is the founder/editor of The Happy Hypocrite: a semi-annual journal for and about experimental art writing. She is currently writing Sailor, a novel about a monkey and a Browning Hi-Power pistol. Her screenplay for GONDA, a film by filmmaker Ursula Mayer based around Ayn Rand's 1934 play Ideal premiered in April 2012, commissioned by Film London.
Diedrich Diederichsen was editor of music magazines in the 80s and taught at art schools and universities (Frankfurt, Pasadena, Munich, Offenbach and others) in the 90s. From 1998-2006 he was Professor at Merz Academy Stuttgart, since 2006 he has been Professor for Theory, Practice, and Communication of Contemporary Art at the Academy of Fine Arts, Vienna. Recent publications include Psicodelia y ready-made, Buenos Aires 2010; Utopia of Sound (co-edited with Constanze Ruhm), Vienna 2010; Rock, Paper, Scissors (co-edited with Peter Pakesch), Graz 2009; On Surplus Value (of Art), Rotterdam/Berlin/New York 2008; Eigenblutdoping, Cologne 2008, and Kritik des Auges, Hamburg 2008.
John Roberts is Professor of Art and Aesthetics at the University of Wolverhampton. His books include The Art of Interruption: Realism, Photography and the Everyday; The Philistine Controversy (with Dave Beech), Philosophizing the Everyday, and The Necessity of Errors. He is also a contributor to Radical Philosophy, Oxford Art Journal, Historical Materialism, Third Text, and Cabinet magazine. He lives in London.