![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/03\/Screenshot-2024-11-15-at-12.20.22.png\")
<\/a><\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/03\/Screenshot-2024-11-15-at-12.20.36.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/03\/Screenshot-2024-11-15-at-12.20.50.png\")
<\/figure>\n\n\n\n<\/figure>\n\n\n\nDAY 1: 29\/10\/2024<\/h2>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/10\/Future-Cliamtes-Week-1_end2-1-copy.jpg\")
<\/a><\/figure>\n\n\n\n<\/p>\n\n\n\n
<\/p>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/10\/Future-Cliamtes-Week-1_end2-2-copy.jpg\")
<\/a><\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/10\/Future-Cliamtes-Week-126-3-copy-1.jpg\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/10\/Future-Cliamtes-Week-126-4-copy-1.jpg\")
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<\/figure>\n\n\n\nTalk 2
Lise Autogena and Maya and Reuben Fowkes<\/strong>
chaired by Chris McCormack <\/strong><\/h3>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/04\/art-and--785x1024.jpg\")
Screenshot<\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/04\/Screen-Shot-2018-03-01-at-10.41.03-1536x924-1-1024x616.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/04\/Screen-Shot-2018-03-01-at-10.39.46-1536x921-1-1024x614.png\")
<\/figure>\n\n\n\n30 April 2024<\/strong>, 17.00
Newcastle University
Fine Art Lecture Theatre<\/h3>\n\n\n\nLise Autogena <\/strong>is a Danish artist and Professor. Since the early 90\u2019s her collaborations with Joshua Portway have explored impacts of the economic, geographic, technological, and societal systems we have created. Projects include, for example, \u2018Most Blue Skies\u2019 that uses real-time changes in the atmosphere to visualize and locate the bluest sky in the world, Black Shoals; Dark Matter visualises the world\u2019s financial markets as a night sky of constellations. Recent work has documented the question of uranium mining in Greenland and in 2020 Autogena established the non-profit organisation Narsaq International Research Station (NIRS), which hosts scientific and cultural research projects in South Greenland. Her projects have been exhibited in museums and galleries worldwide including Tate Britain and the Gwangju Biennial amongst many others.https:\/\/www.autogena.org<\/a><\/p>\n\n\n\nMaja and Reuben Fowkes<\/strong> are art historians, curators, and directors of the Postsocialist Art Centre (PACT) at the Institute of Advanced Studies, University College London. Their publications include Art and Climate Change (Thames & Hudson, 2022), Ilona N\u00e9meth: Eastern Sugar (Sternberg Press, 2021) and Maja\u2019s The Green Bloc: Neo-avant-garde Art and Ecology under Socialism (CEU Press, 2015). Recent curatorial projects include the exhibitions Colliding Epistemes at Bozar Brussels (2022) and Potential Agrarianism at Kunsthalle Bratislava (2021). Their Horizon Europe research project into the Socialist Anthropocene in the Visual Arts (SAVA) is supported by UKRI and they are co-founders of the Translocal Institute for Contemporary Art. www.translocal.org<\/a><\/p>\n\n\n\nChair: Chris McCormack <\/strong>is a writer and associate editor of Art Monthly. He has devised and participated in numerous talks and events, including for Newcastle University as co-devisor of \u2018The Producers\u2019 and the Paul Mellon Centre in London. He is the editor of Charlie Prodger\u2019s monograph (Konig), commissioning editor of ON&BY Andy Warhol (MIT\/Whitechapel), project editor of Talking Art 2 (Ridinghouse) and has written extensively on art, and contributed numerous essays for catalogues including James Richards\u2019 Requests and Antisongs, Queer Spaces (RIBA) and the MIT\/Whitechapel anthology Moving Image. He has also collaborated with artists including Hilary Lloyd, Oreet Ashery, Ursula Mayer and Jade Montserrat.<\/p>\n\n\n\n——————————————————–<\/p>\n\n\n\n
Talk 1
Amal Khalaf and Oliver Ressler<\/strong>
chaired by Neil Bromwich<\/em><\/strong><\/h3>\n\n\n\n<\/p>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/03\/The_path_is_never_the_same_31-1024x576.jpg\")
The path is never the same, A film by Oliver Ressler, 4K, 27 min., AT 2022 <\/figcaption><\/figure>\n\n\n\n![\"\"](\"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/files\/2024\/03\/The_path_is_never_the_same_41-1024x576.jpg\")
The path is never the same, A film by Oliver Ressler, 4K, 27 min., AT 2022 <\/figcaption><\/figure>\n\n\n\n12 March 2024, 17.30
Newcastle University
Fine Art Lecture Theatre<\/h3>\n\n\n\nIntroduced by Chris McCormack and Uta K\u00f6gelsberger<\/strong><\/h3>\n\n\n\nAmal Khalaf<\/strong> is a curator and artist and currently Director of Programmes at Cubitt, Civic Curator at the Serpentine Galleries, and co-curator of the forthcoming Sharjah Biennial in 2025. Recent projects include Radio Ballads <\/em>(2019-22) and Sensing the Planet<\/em> (2021). She is a founding member of artist collective GCC, a trustee of Mophradat, Athens; not\/nowhere, London and Art Night, London. In 2019 she curated Bahrain\u2019s pavilion for Venice, in 2018 she co-curated an international arts and social justice conference called Rights to the City<\/em> in 2016 she co-directed the 10th edition of the Global Art Forum, Art Dubai. <\/p>\n\n\n\nOliver Ressler<\/strong> is an artist and filmmaker whose installations and projects in the public realm address issues of democracy, racism, climate breakdown, forms of resistance and social alternatives. Ressler\u2019s has been exhibited in solo exhibitions at the Museum of Contemporary Art, Zagreb; Neuer Berliner Kunstverein; MNAC \u2013 National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul; Centro Andaluz de Arte Contemporaneo, Seville; Museo Espacio, Aguascalientes, Mexico and Belvedere 21, Vienna and in more than 400 group exhibitions, including Museo Reina Sof\u00eda, Madrid; Centre Pompidou, Paris and the biennials in Taipei, Venice, Athens, Kyiv, Gothenburg, Istanbul and at Documenta 14, Kassel, 2017 amongst others. www.ressler.at<\/a><\/p>\n\n\n\nChair: Neil Bromwich<\/strong> is part of the Glasgow based collaborative duo Walker & Bromwich and Senior Lecturer at Newcastle University. At the core of their practice is the exploration of the role art can play as an active agent in society, with a specific focus on climate justice. Walker & Bromwich have exhibited work at documenta-fifteen, SEA + Triennale Jakarta, <\/em>Thessaloniki Biennale, Greece, MCA Sydney; Tate Britain; V&A London; Baltic Centre for Contemporary Art; Glasgow International; Edinburgh Art Festival, Kiasma Museum of Contemporary Art, Helsinki. Their most recent initiative sets about creating a new platform for the exchange and production of new work withing the context of climate justice in collaboration with the Indonesian non-profits arts organisation Rodha Among Karsa.<\/p>\n","protected":false},"excerpt":{"rendered":"DAY 2: 26 \/ 11\/ 2024 Future Climates: Artists and Curators respond to the Climate Crisis is a new series of talks developed in collaboration between Art Monthly and the School of Arts and Cultures,Newcastle University. The series brings together international artists, curators, writers to reflect on how cultural practices can respond to the climate crisis and its complex, … Continue reading “Future Climates: Artists and Curators respond to the Climate Crisis”<\/span><\/a><\/p>\n","protected":false},"author":8273,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3129","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/users\/8273"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/comments?post=3129"}],"version-history":[{"count":30,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129\/revisions"}],"predecessor-version":[{"id":3489,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129\/revisions\/3489"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/media?parent=3129"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/categories?post=3129"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/tags?post=3129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/a><\/figure>\n\n\n\n<\/p>\n\n\n\n
<\/p>\n\n\n\n Lise Autogena <\/strong>is a Danish artist and Professor. Since the early 90\u2019s her collaborations with Joshua Portway have explored impacts of the economic, geographic, technological, and societal systems we have created. Projects include, for example, \u2018Most Blue Skies\u2019 that uses real-time changes in the atmosphere to visualize and locate the bluest sky in the world, Black Shoals; Dark Matter visualises the world\u2019s financial markets as a night sky of constellations. Recent work has documented the question of uranium mining in Greenland and in 2020 Autogena established the non-profit organisation Narsaq International Research Station (NIRS), which hosts scientific and cultural research projects in South Greenland. Her projects have been exhibited in museums and galleries worldwide including Tate Britain and the Gwangju Biennial amongst many others.https:\/\/www.autogena.org<\/a><\/p>\n\n\n\n Maja and Reuben Fowkes<\/strong> are art historians, curators, and directors of the Postsocialist Art Centre (PACT) at the Institute of Advanced Studies, University College London. Their publications include Art and Climate Change (Thames & Hudson, 2022), Ilona N\u00e9meth: Eastern Sugar (Sternberg Press, 2021) and Maja\u2019s The Green Bloc: Neo-avant-garde Art and Ecology under Socialism (CEU Press, 2015). Recent curatorial projects include the exhibitions Colliding Epistemes at Bozar Brussels (2022) and Potential Agrarianism at Kunsthalle Bratislava (2021). Their Horizon Europe research project into the Socialist Anthropocene in the Visual Arts (SAVA) is supported by UKRI and they are co-founders of the Translocal Institute for Contemporary Art. www.translocal.org<\/a><\/p>\n\n\n\n Chair: Chris McCormack <\/strong>is a writer and associate editor of Art Monthly. He has devised and participated in numerous talks and events, including for Newcastle University as co-devisor of \u2018The Producers\u2019 and the Paul Mellon Centre in London. He is the editor of Charlie Prodger\u2019s monograph (Konig), commissioning editor of ON&BY Andy Warhol (MIT\/Whitechapel), project editor of Talking Art 2 (Ridinghouse) and has written extensively on art, and contributed numerous essays for catalogues including James Richards\u2019 Requests and Antisongs, Queer Spaces (RIBA) and the MIT\/Whitechapel anthology Moving Image. He has also collaborated with artists including Hilary Lloyd, Oreet Ashery, Ursula Mayer and Jade Montserrat.<\/p>\n\n\n\n ——————————————————–<\/p>\n\n\n\n <\/p>\n\n\n\n Amal Khalaf<\/strong> is a curator and artist and currently Director of Programmes at Cubitt, Civic Curator at the Serpentine Galleries, and co-curator of the forthcoming Sharjah Biennial in 2025. Recent projects include Radio Ballads <\/em>(2019-22) and Sensing the Planet<\/em> (2021). She is a founding member of artist collective GCC, a trustee of Mophradat, Athens; not\/nowhere, London and Art Night, London. In 2019 she curated Bahrain\u2019s pavilion for Venice, in 2018 she co-curated an international arts and social justice conference called Rights to the City<\/em> in 2016 she co-directed the 10th edition of the Global Art Forum, Art Dubai. <\/p>\n\n\n\n Oliver Ressler<\/strong> is an artist and filmmaker whose installations and projects in the public realm address issues of democracy, racism, climate breakdown, forms of resistance and social alternatives. Ressler\u2019s has been exhibited in solo exhibitions at the Museum of Contemporary Art, Zagreb; Neuer Berliner Kunstverein; MNAC \u2013 National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul; Centro Andaluz de Arte Contemporaneo, Seville; Museo Espacio, Aguascalientes, Mexico and Belvedere 21, Vienna and in more than 400 group exhibitions, including Museo Reina Sof\u00eda, Madrid; Centre Pompidou, Paris and the biennials in Taipei, Venice, Athens, Kyiv, Gothenburg, Istanbul and at Documenta 14, Kassel, 2017 amongst others. www.ressler.at<\/a><\/p>\n\n\n\n Chair: Neil Bromwich<\/strong> is part of the Glasgow based collaborative duo Walker & Bromwich and Senior Lecturer at Newcastle University. At the core of their practice is the exploration of the role art can play as an active agent in society, with a specific focus on climate justice. Walker & Bromwich have exhibited work at documenta-fifteen, SEA + Triennale Jakarta, <\/em>Thessaloniki Biennale, Greece, MCA Sydney; Tate Britain; V&A London; Baltic Centre for Contemporary Art; Glasgow International; Edinburgh Art Festival, Kiasma Museum of Contemporary Art, Helsinki. Their most recent initiative sets about creating a new platform for the exchange and production of new work withing the context of climate justice in collaboration with the Indonesian non-profits arts organisation Rodha Among Karsa.<\/p>\n","protected":false},"excerpt":{"rendered":" DAY 2: 26 \/ 11\/ 2024 Future Climates: Artists and Curators respond to the Climate Crisis is a new series of talks developed in collaboration between Art Monthly and the School of Arts and Cultures,Newcastle University. The series brings together international artists, curators, writers to reflect on how cultural practices can respond to the climate crisis and its complex, … Continue reading “Future Climates: Artists and Curators respond to the Climate Crisis”<\/span><\/a><\/p>\n","protected":false},"author":8273,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3129","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/users\/8273"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/comments?post=3129"}],"version-history":[{"count":30,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129\/revisions"}],"predecessor-version":[{"id":3489,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/posts\/3129\/revisions\/3489"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/media?parent=3129"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/categories?post=3129"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/fineartcommunityboard\/wp-json\/wp\/v2\/tags?post=3129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a><\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\nTalk 2
Lise Autogena and Maya and Reuben Fowkes<\/strong>
chaired by Chris McCormack <\/strong><\/h3>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n30 April 2024<\/strong>, 17.00
Newcastle University
Fine Art Lecture Theatre<\/h3>\n\n\n\nTalk 1
Amal Khalaf and Oliver Ressler<\/strong>
chaired by Neil Bromwich<\/em><\/strong><\/h3>\n\n\n\n12 March 2024, 17.30
Newcastle University
Fine Art Lecture Theatre<\/h3>\n\n\n\nIntroduced by Chris McCormack and Uta K\u00f6gelsberger<\/strong><\/h3>\n\n\n\n