Symposium - ScreenShots: Desire and Automated Image

The one-day symposium which accompanied the exhibition ScreenShots: Desire and Automated Image featured artists and scholars who considered contemporary forms of image making and its computational apparatus.
08-03-2019 - 08-03-2019
Symposium - ScreenShots: Desire and Automated Image
The one-day symposium which accompanied the exhibition ScreenShots: Desire and Automated Image featured artists and scholars who considered contemporary forms of image making and its computational apparatus. By paying attention to (im)material properties of the post-photographic image they unpacked the relation between desire and automation, uncertainty and labour, self and other, and they will consider images as living and not just moving, operative and not just generative and generated. 

The symposium was organised by Galleri Image, the Digital Design Dept. at Aarhus University and the Humans and IT Research Centre at Aarhus University, in collaboration with Kunsthal Aarhus.The symposium was curated by Magdalena Tyżlik-Carver, curator of the exhibition Screen Shot: Desire & Automated Image. 

Video documentation of the symposium is available here.

Presenters included: 
Anna Ridler, Artist (UK) 
Geoff Cox, Associate Professor (Reader) in Fine Art, Plymouth University, Associate Professor Aarhus University (UK/DK) 
Katrina Sluis, Curator Digital Programmes, The Photographers' Gallery, London (UK/AU) 
Kristoffer Ørum, Artist (DK) 
LaTurbo Avedon (Avatar artist and curator) 
Michael Mandiberg, Artist (US) 
Winnie Soon, Assistant Professor, Aarhus University (DK/HK) 

10.00–10.30: Arrival and Coffee
10.30-10.45: Welcome and Introduction to ScreenShots: Desire and Automated Image by Beate Cegielska, Director of Galleri Image and Magdalena Tyżlik-Carver, curator of the exhibition/symposium and Assistant Professor at Aarhus University, Digital Design department. 

10.45-11.30: Panel 1 (Chaired by Magdalena Tyżlik-Carver, AU)Geoff Cox: “Seeing Machines and Social Desire”.Kristoffer Ørum: “It Sings for Us of What We Might Become”.

11.30-12.00: Q&A

12.00-13.15: Lunch Break

13.15-14.00: Panel 2 (Chaired by Søren Pold, AU) Katrina Sluis: “Fully Automated Luxury Photography Now!”Winnie Soon: “Operative Screenshots: Sorting The Photographic Slides With An Algorithm”
14.00-14.20 Q&A

14.20-14.50: Coffee break

14.50-15.25: Michael Mandiberg: “Excessive data, emotional data” +Q&A (Chaired by Lea Laura Michelsen)

15.25-16.00: Laturbo Avedon: [layers+composites] +Q&A (Chaired by Magdalena Tyżlik-Carver, AU)

16.00: Symposium ended.

17.00-19.00 Opening of the exhibition in Galleri Image with the performance Drawing with Sound by Anna Ridler. Sarah Shorr applied temporary tattoos in her installation of “Saving screens: Temporary Tattoos and other Methods”. 

About the speakers:
Geoff Cox (UK/DK), PhD, is Associate Professor/Reader in Fine Art at Plymouth University and Associate Professor/Lektor in Digital Design and Information Studies at Aarhus University, currently engaged (with Jacob Lund) on a research project The ContemporaryCondition funded by The Danish Research Council.

Kristoffer Ørum (DK) is an interdisciplinary artist, researcher and organiser based in Copenhagen, Denmark. He explores contemporary notions of the digital every day, how narratives of lived life are circulated, and what that circulation means for the ways in which we live our daily lives. His work has been displayed in established institutions, such as MUSA Museum auf Abruf in Vienna and SESI' Cultural Centre in Sao Paulo as well as artist run spaces like Flux Factory in New York and projects on the internet and social networks. He holds dual MA degrees in fine art from The Royal Danish Academy of Art and Goldsmiths College. He has served as a professor at Funen academy of Art and artistic researcher at Uncertain Archives, Copenhagen University.

Katrina Sluis (UK) is Adjunct Curator of Research at The Photographers’ Gallery in London and a founding Co-Director of the Centre for the Study of the Networked Image, London South Bank University.

Winnie Soon (HK/DK) is an artist-researcher based in Denmark examining the cultural implications of technologies in which computational processes and infrastructure underwrite our experiences, which are ever more programmed. Her works explore themes/concepts around computational culture, specifically concerning internet censorship, data circulation, real-time processing/liveness and the culture of code practice. Winnie’s projects have been exhibited and presented internationally at museums, festivals, universities and conferences across Europe, Asia and America. Her current research focuses on aestheticcoding in the realm of software studies, working on two books titled “Aesthetic Programming: A Handbook of Software Studies” (with Geoff Cox) and “Fix My Code” (with Cornelia Sollfrank). She is Assistant Professor at Aarhus University.

Michael Mandiberg (US
) is an interdisciplinary artist whose work crosses multiple forms and disciplines in order to trace the lines of political and symbolic power as it takes shape online. Building on the conceptual tradition, Mandiberg orders and reorders information,
remixing the forms in which it manifests or solidifies. While technically sophisticated, Mandiberg's work eschews the novelty of new technology in favour of an exploration of appropriation, the digital vernacular, the ways in which these new technologies impact our lives, and the politics and poetics of technological subjectivities. This non-binary approach crosses media and evades stable categorization: from large-scale installations like Print Wikipedia’s 7,473 books, to custom software driven durational performance like Quantified Self Portrait, to socially engaged pedagogy like the New York Arts Practicum and collaborations such as Art+Feminism, of which Mandiberg is a co-founder and co-lead organizer.

LaTurbo Avedon is an avatar and artist originating in virtual space. Their work emphasizes the practice of nonphysical identity and authorship. Many of the works can be described as research into dimensions, deconstructions, and the explosion of forms, exploring topics of virtual authorship and the physicality of the Internet.They curate and design Panther Modern, a file-based exhibition space that encourages artists to create site-specific installations for the internet.LaTurbo’s process of character creation continues through gaming, performance and exhibitions. Their work has appeared internationally, including TRANSFER Gallery (NewYork), Transmediale (Berlin), Haus der elektronischen Künste (Basel), The Whitney Museum (New York), HMVK (Dortmund), Barbican Center (London), and Galeries Lafayette (Paris).

About the Curator: 
Magdalena Tyżlik-Carver (DK/UK/PL) is curator and researcher, and Assistant Professor in Digital Design Department at Aarhus University.Her research investigates intersections of computation and practices of participation in contemporary art and culture by focusing on 'posthuman curating'. Recent curated exhibitions and events include Movement Code Notation (2018), Corrupting Data (2017), Ghost Factory: performative exhibition with humans and machines (2013, 2015, 2018), Common Practice (2010, 2013). She is co-editor (with Helen Pritchard and Eric Snodgrass)of Executing Practices (2017) a collection of essays by artists, programmers, theorists engaging in critical intervention into the broad concept of execution in software. She is a member of Critical Software Thing group and a member of editorial board for Data Browser series published by Open Humanities Press. She is also Associate Researcher with Centre for the Study of the Networked Image at the London South Bank University.

The exhibition ScreenShots: Desire and Automated Image can be viewed 08.03.2019 – 28.04.2019
Opening Fri, 08.03.2019  17.00-19.00 Galleri Image, Vestergade 29, 8000 Aarhus C

The exhibition and symposium were supported by: 
The Danish Arts Foundation, Kulturudviklingspuljen (City of Aarhus), the Digital Design Dept. at Aarhus University, the Humans and IT Research Centre, US Embassy Small Grants Program and Grosserer L. F. Foghts Fond.