ccc

Yoneda Lemma connects the universal world of functors to the universal world of morphisms. Yoneda Lemma is Xenofeminist thinker, artist and archaeologist, Katrina Burch, practicing music in order to remember the universe. Music contains revolutionary thinking; sounding with the universe is a fulcrum for earth’s evolution. The aesthetic science of digital music ought to give back to earth, for earth affords it an objective position equal to that of any hard science. Yoneda Lemma’s dense and complex harmonic layers dig into the sound, shifting elements from one to another.

Laboria Cuboniks (b. 2014) is a polymorphous xenofeminist collective, whose members include Amy Ireland, Diann Bauer, Helen Hester (who will be present), Katrina Burch (who will be present), Lucca Fraser, and Patricia Reed. As an anagram of the “Nicolas Bourbaki” group of mathematicians, Cuboniks also advances an affirmation of abstraction as an episto-political necessity for 21st century claims on equality. Espousing reason and vigorous anti-naturalism, she seeks to dismantle gender implicitly. Cuboniks is a multi-taloned, tetraheaded creature uncomfortably navigating the fields of art, design, architecture, archeology, philosophy, techno-feminism, sexuality studies, digital music, translation, writing and regular experiments with the use of evolutionary algorithms in offensive cybersecurity.

Gene Ray is Associate Professor in the CCC Research-based Master Program at HEAD-Genève/Geneva School of Art and Design. He is Project Director of the ongoing HEAD/SNSF-supported collective research project The Anthropocene Atlas of Geneva (TAAG), which studies responses to a changing climate and planet among human and nonhuman assemblages in the city and region Geneva. Ray is author of Terror and the Sublime in Art and Critical Theory (2005, 2010), co-editor of Art and Contemporary Critical Practice (2009) and Critique of Creativity (2011), and author of essays for journals including Third Text, Brumaria, Nordic Journal of Aesthetics, Left Curve, Historical Materialism, and Yale Journal of Criticism.  His current individual research explores embodied relations to place and the more-than-human, and reflects on modern processes of eco-genocide by constellating settler-colonial histories and legacies, extinction, art, critical theory, and Indigenous knowledges. This research is informed by practical collaborations with the Council of the Original Miccosukee Simanolee Nation Aboriginal Peoples and artist-activist Rozalinda Borcilă. His writings in this context, in South as a State of Mind 8 and South as a State Mind 9 for documenta 14 (2017), try to activate and transform the positionalities of his South Florida settler background, and seek ways of bearing, through language and other politicized practices, the embodied knowledges of local eco-genocide.

Armin Linke was born in 1966 and lives in Milan and Berlin. As a photographer and filmmaker he combines a range of contemporary image-processing technologies in order to blur the borders between fiction and reality. His artistic practice is concerned with different possibilities of dealing with photographic archives and their respective manifestations, as well as with the interrelations and transformative powers between urban, architectural or spatial functions and the human beings interacting with these environments. He was Research Affiliate at MIT Visual Arts Program Cambridge, guest professor at the IUAV Arts and Design University in Venice and is currently professor at the HfG Karlsruhe. Solo exhibitions (selection): ZKM Karlsruhe (2015); MAXXI, Roma (2010), Museum für Gegenwartskunst Siegen (2009). Group exhibitions (selection): KW Institute for Contemporary Art Berlin (2015); BAK Utrecht (2015); Museum of Yugoslav History, Belgrade + Centre Pompidou Metz (2014); Moscow Biennale of Contemporary Art + Haus der Kunst, Munich (2011); International Architecture Biennale, Rotterdam (2010) + Bienal de São Paulo (2008). Prizes: 9. Biennale di Architettura, Venezia + Graz Architecture Film Festival. During 2013 and 2014, Armin Linke, together with Territorial Agency and Anselm Franke, was executing the Anthropocene Observatory video series at Haus der Kulturen der Welt in Berlin.

Grant Watson is a curator and researcher based in London, he is Tutor in Curatorial Theory on the MA Curating Contemporary Art at the Royal College of Art. Further recent projects include Practice International (Iaspis Sweden, Casco Utrecht, Raw Material Dakar), Social Fabric (Iniva London, Lunds Konsthal and Bhau Daji Lad Museum Mumbai) and Keywords: Art Culture and Society in 1980s Britain (Tate Liverpool). He is a PhD candidate in Visual Cultures, Goldsmiths College, London.

Françoise Vergès holds the Chair “Global South(s),” Collège d’études mondiales, Paris. Vergès grew up in Reunion Island in a communist, anti-colonialist and feminist family. In the 1970s–1980s, she was a journalist in a feminist monthly and weekly, an editor in a feminist publishing house in France and worked in anti-racist and anti-imperialist movements. She has written extensively on vernacular practices, memories of colonial slavery and colonialism, psychoanalysis, Frantz Fanon, Aimé Césaire, and on processes of creolization in the Indian Ocean world. Between 2000 and 2010, she was Head of the scientific and cultural program for a forthcoming museum in Reunion Island for which she advocated the idea of a “museum without objects.” Between 2009 and 2012, she was president of the Committee for the Memory and History of Slavery in France, created in application of the May 21st 2001 Law (Loi Taubira) recognizing slave trade and slavery as “crime against humanity.” Beside her activism-based writings, Françoise Vergès is author of moving-image documentaries, collaborated with filmmakers and artists and has been working as an independent curator.

Primarily working as an artist, Izet Sheshivari founded Boabooks in 2008 to develop a practice of critical engagement with bookworks for the digital age. In his presentation, the publisher will address the problems of translating a process (artistic practice, research project) into a print-publication using his own work.

Ilana Salama Ortar (born in Alexandria, Egypt) is an Israeli civic artist who creates performative installations on uprooting, refugeeness, migration and memory in zones of conflict (war, occupation, or ghettoisation of segments of populations living in suburbs) and their consequences for individuals and groups, cities, and landscapes. Since July 2015, Research Fellow at LAMES (Laboratoire méditerranéen de sociologie associé à l’université d’Aix-Marseille, AMU), MMSH (Maison méditerranéenne des sciences de l’homme). Lives in Frankfurt am Main, Tel Aviv and Marseille.

Anne-Julie Raccoursier is an artist whose projects involve conceptual and discursive interventions using installations and videos. Her academic inquiry particularly in alternative pedagogy, feminist studies, media and youth culture informs her ongoing artistic explorations. She was awarded a MA degree in critical studies from the California Institute of the Arts in Los Angeles (CalArts) and a diploma (in curatorial and gender studies) from Ecole supérieure des beaux-arts Geneva. Since 2011, Associate Professor at CCC Master, HEAD Geneva.

Farid Rakun is trained as an architect at the University of Indonesia and Cranbrook Academy of Art, Michigan, and currently serves as a researcher and education coordinator for the artists’ initiative ruangrupa, a nonprofit organization founded in 2000 that examines contemporary Indonesian urban and cultural issues. Through interdisciplinary collaboration among the arts, social sciences, politics, technology, and media, ruangrupa produces a diverse array of exhibitions, festivals, art labs, workshops, research projects, and publications.