Joyce Hinterding, Aeriology, 1995/2015, Aeriology, Artspace, Sydney, 1998. Photograph: Ian Hobbs.

David Haines is a member of the NMiCA and a lecturer at Sydney College of the Arts. A retrospective of his work in collaboration with Joyce Hinterding is on exhibition at the MCA from June 26 – September 6, 2015 (Admission is Free). During August a conference on ‘Energies in the Arts‘ at MCA will coincide with this exhibition.

“Australian artists David Haines and Joyce Hinterding live and work in the Blue Mountains, NSW. Their collaborative practice incorporates experimental and traditional media to investigate Hinterding’s fascination with energetic forces and Haines’ attraction to the intersection of hallucination and the environment. Both artists are captivated by the unseen energies that surround us and seek to reveal them to audiences through work that draws upon aspects of science, the occult and philosophy.

The artists work across a range of media and processes, including sound, installation, moving image, performance, sculpture, photography and drawing. This exhibition is the first comprehensive survey of their work and includes a number of key collaborative projects, solo works by both artists, and a new commission. Curated by MCA Curator, Anna Davis.” – source MCA exhibition page


Tracey Clement to present at European Utopian Studies Society Conference

Tracey Clement, Post-premonitionism 2 (detail), 2015, salt, rusty steel, cotton, dimensions variable, maximum height 1900mm. Photo: Isobel Markus Dunworth

Tracey Clement, a current PhD candidate at SCA and member of the New Materialisms research cluster, has been selected to present a paper at the 16th Annual International Conference of the European Utopian Studies Society at the Univeristy of Newcastle in Newcastle Upon Tyne, UK.

Clement’s current research responds to J.G. Ballard’s novel, The Drowned World, with a particular focus on imagery of the ruined city. The title of the conference is ‘The End of the City’ and she will address this theme in her paper, “The Ruined City in J.G. Ballard’s The Drowned World: Warning or Utopian Vision for the Age of Climate Change? “

According to the Collins English Dictionary, the term ‘Ballardian’ refers specifically to “dystopian modernity” and “bleak man-made landscapes”[i]. However, in her paper, Clement explores the urban environment in J.G. Ballard’s 1962 science fiction novel, The Drowned World, in order to pose the question: Is it possible that Ballard’s ruined metropolis is both a warning and a prescient utopian vision for the age of climate change?

Tracey Clement, Post-premonitionism 2 (detail), 2015, salt, rusty steel, cotton, dimensions variable, maximum height 1900mm. Photo: Isobel Markus Dunworth

In order to address this question she will examine how Ballard utilises the conflict between nature and culture inherent in images of architectural ruins and the temporal slippage that they embody[ii].

In The Drowned World, Ballard pictures the present as the ruined past of the future: the streets of a ruined metropolis are flooded and transformed into fetid lagoons patrolled by lurking carnivores; skyscrapers are semi-submerged and penetrated by vines. The devastated city in Ballard’s novel was (and is) a clear warning about the futility and danger of trying to master nature.

But, Clement will also argue that Ballard simultaneously uses imagery of ruins to subvert their traditional interpretation as manifestations of the adversarial dynamic between man and the natural world. He does this by repeatedly presenting the ruined city as a site of nature and culture, not as opposites, but as inextricably bound parts of a whole.

In doing this, he reconceptualises the relationship between nature and culture in ways that are significant for our post-climate change world. Clement will discuss Ballard’s vision in the context of contemporary philosophical works such as With Nature (2014) by Warwick Mules and Claire Colebrook’s Death of the Posthuman: Essays on Extinction (2014), which his novel predated by more than half a century.

In Tracey Clement’s new reading of The Drowned World, Ballard’s post-apocalyptic city is utopian. By presenting nature and culture as entwined in a fictional built environment, he conjures up an idealised non-place, a utopia. In this way, Ballard’s ruined city offers a tiny glimmer of hope for humanity post climate change.

Conference Details:

16th Annual International Conference of the European Utopian Studies Society

1-4 July 2015

Newcastle University, UK.


Tracey Clement with Post-premonitionism 2 (work in progress), 2015. Photo: Isobel Markus Dunworth.

[i] “Ballardian,” Collins English Dictionary, http://www.collinsdictionary.com/dictionary/english/ballardian.

[ii] See: Georg Simmel, “The Ruin,” in Georg Simmel, 1858-1918: A Collection of Essays with Translations and a Bibliography, ed. Kurt H. Wolff (Columbus, Ohio: The Ohio State University Press, 1959); Julia Hell and Andreas Schönle, eds., Ruins of Modernity, Politics, History, and Culture (Durham and London: Duke University Press, 2010).

Animals in the Anthropocene: New Book

Cover image Hayden Fowler, New World Order series (2013)

A new book from University of Sydney Press. Three artists have contributed chapters to this book, Madeleine Boyd (NMiCA member), Hayden Fowler, and Vanessa Barbay, along with critical theorists in animal studies.

Animals in the Anthropocene: critical perspectives on non-human futures
Edited by the Human Animal Research Network Editorial Collective
Sydney University Press
ISBN: 9781743324394

Available to purchase for AUD 35 HERE

Much of the discussion on the Anthropocene has centred upon anthropogenic global warming and climate change and the urgency of political and social responses to this problem. Animals in the Anthropocene: critical perspectives on non-human futures shows that assessing the effects of human activity on the planet requires more than just the quantification of ecological impacts towards the categorisation of geological eras. It requires recognising and evaluating a wide range of territories and terrains, full of non-human agents and interests and meanings, exposed to the immanent and profound forces of change that give their name to the Anthropocene.

It is from the perspective of ‘the animal question’ – asking how best to think and live with animals – that Animals in the Anthropocene seeks to interrogate the Anthropocene as a concept, discourse, and state of affairs. The term Anthropocene is a useful device for drawing attention to the devastations wreaked by anthropocentrism and advancing a relational model for human and non-human life. The effects on animals of human political and economic systems continue to expand and intensify, in numerous domains and in ways that not only cause suffering and loss but that also produce new forms of life and alter the very nature of species. As anthropogenic change affects the more-than-human world in innumerable ways, we must accept responsibility for the damage we have caused, and the debt we owe to non-human species.

About the editors

The Human Animal Research Network at the University of Sydney was formed in 2011. It is a cross-faculty research group, comprising members from the humanities, natural sciences, public health, social sciences and veterinary medicine, that focuses on studying the multifaceted and multidimensional relationships between humans and non-human animals.


Introduction by HARN Editorial Collective: Madeleine Boyd, Matthew Chrulew, Chris Degeling, Agata Mrva-Montoya, Fiona Probyn-Rapsey, Nikki Savvides & Dinesh Wadiwel

  1. The paradox of self-reference: sociological reflections on agency and intervention in the Anthropocene by Florence Chiew
  2. Anthropocene: the enigma of ‘the geomorphic fold’ by Ben Dibley
  3. Cycles of anthropocenic interdependencies on the island of Cyprus by Agata Mrva-Montoya
  4. Ecosystem and landscape: strategies for the Anthropocene by Adrian Franklin
  5. The matter of death: posthumous wildlife art in the Anthropoceneby Vanessa Barbay
  6. A game of horseshoes for the Anthropocene: the matter of externalities of cruelty to the horseracing industry by Madeleine Boyd
  7. Painfully, from the first-person singular to first-person plural: the role of feminism in the study of the Anthropocene by Daniel Kirjner
  8. We have never been meat (but we could be) by Simone J Dennis and Alison M Witchard
  9. Multispecies publics in the Anthropocene: from symbolic exchange to material-discursive intra-action by Gwendolyn Blue
  10. Apiculture in the Anthropocene: between posthumanism and critical animal studies by Richie Nimmo
  11. The welfare episteme: street dog biopolitics in the Anthropoceneby Krithika Srinivasan
  12. Wild elephants as actors in the Anthropocene by Michael Hathaway

Epilogue: New World Order – nature in the Anthropocene by Hayden Fowler

European New Materialisms Embracing the Creative Arts


Karolina Kucia (2010) Hair and Woolies of Tero Nuha’s Students While Working With Lygia Clark’s String + 1 Uneizz Cable Phone

Text taken from the website of New Materialism: Networking European Scholarship on ‘How matter comes to matter’

WG3 brings together European researchers, artists, museum professionals, and other activists with a keen interest in the material, corporeal, processual and relational aspects of contemporary arts and creativity. We engage with architecture, crafts, dance, film, digital media, landscape, musics, performance, sound and visual arts. We construct and assess new materialisms across these fields. Our approaches explore and intersect artistic practices, academic analyses and art-as-research.

The starting points shared by the group include a fascination with the specific agentic materialities of different practices and media; multisensoriality and affective politics of perception; and material reconsiderations of place, relation, temporality and memory. We pursue intra-actions between movement (human and non-human material, experiential, ecological) and thought, and between creative practice and new materialist theory-making, ethics and politics.

In these frames, the group focuses particularly on the following issues:

– What constitutes the concepts of art and creativity in contemporary societies?

– Critical study of creative industries, innovation and arts & therapy discourse, new commodification and anti-commodification of art.

– How might New Materialisms redefine arts and creativity through their attendance to affect, matter and the non-human?

– The changing social roles of the arts: wellbeing, everyday creativity, sustainability, democratisation in post-socialist Europe, and resisting instrumentalized understandings while forging more transformative and experimental approaches to arts

– New materialism-inspired methodologies, research and teaching, curricula, curating-as-research, research-art continuums

– New materialist enhancement of gendered and feminist perspectives and models of embodied subjectivity

– Critiquing ethnocentrism within new materialisms, non-western ecologies and cosmologies, cultural and epistemic heterogeneity

– Pushing participation and the political beyond conventional understandings: how can art revisit pasts and create communities to come?

Speculative Realities Exhibition and eBook

Screen shot 2015-06-01 at 12.40.33 PM

Nephology 1: Cloud Maker (2012) by Karolina Sobecka. Custom misting system, styrofoam, weather balloon, video projection, C-print.

This eBook (free download) the sixth in the se­ries of Blowup Read­ers re­leased by V2_, ex­plores the sig­nif­icance of the re­cent philo­soph­ic move­ments known as Ob­ject-​Ori­ent­ed On­tol­ogy and Spec­ula­tive Re­al­ism for the vi­su­al and me­dia arts. The ebook was edited in connection to the Speculative Realities exhibition.

Two artists and one col­lab­ora­tive duo were com­mis­sioned to make new art­works re­flect­ing broad­ly on con­cepts with­in Ob­ject-​Ori­ent­ed On­tol­ogy and Spec­ula­tive Re­al­ism. The artists were Tu­ur van Balen & Re­vi­tal Co­hen, Cheryl Field, and Karoli­na Sobec­ka.

To sup­ple­ment the de­scrip­tions of the works and brief in­ter­views with the artists in this eBook, three new in­ter­views were com­mis­sioned. Sven Lüttick­en was in­ter­viewed by Rachel O’Reil­ly, Jus­si Parik­ka was in­ter­viewed by Michael Di­eter, and Rick Dol­phi­jn was in­ter­viewed by Michelle Kasprzak.

The ex­hi­bi­tion took place from De­cem­ber 8, 2012 un­til Jan­uary 11, 2013 at Rood­kap­je, Meent 133, Rot­ter­dam.

Haraway: Anthropocene, Capitalocene, Plantationocene, Chthulucene

vol6-cover-724x1024Image by Owain Jones, “Crossing the Severn Bridge, c. 1980.

“There is no question that anthropogenic processes have had planetary effects, in inter/intraaction with other processes and species, for as long as our species can be identified (a few tens of thousand years); and agriculture has been huge (a few thousand years). Of course, from the start the greatest planetary terraformers (and reformers) of all have been and still are bacteria and their kin, also in inter/intra-action of myriad kinds (including with people and their practices, technological and otherwise).1 The spread of seed-dispersing plants millions of years before human agriculture was a planet-changing development, and so were many other revolutionary evolutionary ecological developmental historical events.” p 159 

Environmental Humanities, vol. 6, 2015, pp. 159-165

Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin
Donna Haraway
History of Consciousness, University of California, Santa Cruz, USA

Realism Materialism Art book launch NYC

RealismMaterialismMatthew Ritchie, Realism Materialism Art (detail), 2014. Diagram.

Realism Materialism Art book launch

Thursday, May 21, 2015, 7pm
New Museum
235 Bowery NYC


For tickets, click here.

Join us in celebrating the publication of Realism Materialism Art, an anthology of essays and artist projects published by the Center for Curatorial Studies, Bard College, in conjunction with Sternberg Press and designed by Zak Group. Combining theoretical presentations with artistic interventions, the event will feature artists Diann Bauer and R. Lyon with curators Mohammad Salemy and Natalia Zuluaga alongside the book’s editors, Christoph Cox, Jenny Jaskey, and Suhail Malik.

The event will be followed by a reception at the Artist’s Institute, 163 Eldridge Street, New York.

Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications in the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMA serves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.

Cutting across diverse thematic interests and modes of investigation, the 35 essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMA expands beyond the primarily philosophical context in which realism and materialism have developed.

Contributors: Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, and Andy Weir.

For more information about Realism Materialism Art, including excerpts from the book, click here.

About the Center for Curatorial Studies

The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late 20th-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty and researchers to question the critical and political dimension of art, its mediation and its social significance. CCS Bard cultivates innovative thinking, radical research and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center’s tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.

Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000
T +1 845 758 7598 / ccs@bard.edu