In the last five years, the politics of citation, rooted in critical race thought, has generated cross-disciplinary scholarly debate. Notably, it has found itself mobilised more recently in relation to global calls for the decolonisation of the curriculum. While institutions and individuals have at times promoted tokestic empty gestures, numerous scholars and visual practitioners have been engaging with this field of knowledge in care-driven, innovative and resistant ways.
We construct citational practices as transdisciplinary, expansive, emancipatory, subversive, generative, emotional, political, spatial, sensory, performative, utopic, conflictual, dialogic, ecological, technological (to name some!). We wish to centre visual practices (in the expanded sense of the term) which dynamically challenge institutional and historical logics of what citation can and perhaps should be.
Further, we wish to interrogate and nuance the right vs. wrong ethic which governs the binary of citing vs. plagiarizing, and unpack the motivations, intentions and implications which dictate who we cite, how we cite, why we cite them as well as those who are consistently left out of dominant disciplinary processual frameworks. How do artistic, curatorial, architectural, spatial, cinematic, sonic, techno, gastro (and more!) practices help shape new directions for our conversations on citation?
– Cathryn Klasto and Marie-Louise Richards
During the autumn 2022, Kungl. Konsthögskolan / Royal Institute of Art’s
co-organizes Citations, a series of public research events. The three events take place in Stockholm, Gothenburg and online, and is part of the upcoming issue (2023) on Citations in Parse Journal initiated by guest editors Cathryn Klasto (HDK-VALAND), and Marie-Louise Richards (KKH).
Citations aim to offer exploratory positions and pathways to discuss the politics of citations and articulate citational practice, giving space and time to gather thoughts and ideas in dialogue with the practices in the expanded field of architecture and the visual arts.
Read more and follow updates about the upcoming issue and events here. Past events include Setting the table (28th of August 2022) at Konsthall C. The event Spatialising Citation (1st of December 2022), a conversation with contributors led by co-editors Marie-Louise Richards and Cathryn Klasto will be held online.
10:00 – 18:00
➔ Narrativising Citation: Saltwater Sensibilities
Léuli Eshrāghi X Parse Journal: Indigenous poetry and performance of the Great Ocean
➔ Göteborgs Litteraturhus
Heurlins Plats, 413 01, Inom Vallgraven
Register to the event here
Respecting Indigenous cultural and intellectual property principles, this workshop is imagined as a space promoting the non-cannibalistic consumption of alterity, according to collective learning modes defined by Sāmoan and Tuvaluan artist and researcher Rosanna Raymond. In this vein, the workshop charts a humble journey through recent works of Indigenous art and thought of the Great Ocean, a third of this planet. Seeking to implement non-colonial gestures to enact healing, rebalance and reparations, we will analyse and learn from Great Ocean artists, writers, curators, not usually studied in northern Atlantic contexts.
Léuli Eshrāghi is a Sāmoan/Persian/Cantonese artist, writer, curator and researcher working between Australia and Canada. They intervene in display territories to center global Indigenous and Asian diasporic visuality, sensual and spoken languages, and ceremonial-political practices. They engage with Indigenous futurities as haunted by ongoing militourist and missionary violences that once erased faʻafafine-faʻatane people from kinship and knowledge structures. Eshrāghi is Curator of the 9th TarraWarra Biennial in 2023, Curatorial Researcher in Residence at the University of Queensland Art Museum, and Scientific Advisor (Reclaim the Earth) at the Palais de Tokyo. In 2022, Eshrāghi led the first global Indigenous art criticism edition of the Momus Emerging Critics Residency, titled Writing Relations, Making Futurities. Eshrāghi has realized art commissions for the 22nd Biennale of Sydney, Sharjah Biennial 14, Australian Centre for Contemporary Art and Smithsonian Asian Pacific American Center among other group and solo presentations, including the 17th MOMENTA Biennale de l’image.
Valentina Desideri explores study as a form of making art and making art as a form of study. She trained in contemporary dance at the Laban Centre in London (2003–2006), later did her MA in Fine Arts at the Sandberg Institute in Amsterdam (2011–13) and is currently a PhD candidate at the Social Justice Institute at the University of British Columbia, Vancouver. She does Fake Therapy and Political Therapy, she speculates in writing with Stefano Harney, she engages in Poethical Readings and gathers Sensing Salons with Denise Ferreira da Silva, and collaborates with many. She is one of the co-organizers of Performing Arts Forum in France and the online platform www.ehcho.org, she is a reader and a writer.
Dr Denise Ferreira da Silva
Denise Ferreira da Silva is Professor at the Social Justice Institute, University of British Columbia (Vancouver, Canada) and Adjunct Professor at MADA, at Monash University (Melbourne, Australia). Her academic writings and artistic practice address the ethico-political challenges of the global present. She is the author of Toward a Global Idea of Race (University of Minnesota Press, 2007), A Dívida Impagavel (Oficina da Imaginaçāo Política and Living Commons, 2019), Unpayable Debt (Stenberg/MIT Press, forthcoming) and co-editor (with Paula Chakravartty) of Race, Empire, and the Crisis of the Subprime (Johns Hopkins University Press, 2013). Her several articles have been published in leading interdisciplinary journals, such as Social Text, Theory, Culture & Society, Social Identities, PhiloSOPHIA, Griffith Law Review, Theory & Event, The Black Scholar, to name a few. Her artistic works includes the films Serpent Rain (2016) and 4Waters-Deep Implicancy (2018), in collaboration with Arjuna Neuman; and the relational art practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri.
Cathryn Klasto is a transdisciplinary theorice, educator, and researcher. They make theory as critical practice via occupying the intersection of visual art, spatial practice, urban design and architecture. Currently a lecturer in Fine Art at HDK-Valand, University of Gothenburg, they have a range of enquiry subjects including: radical future pedagogy – citational practices – climate narratives – public publishing – atmosphere building – ethics (with a focus on feminist meta-ethics) – xenofeminist spatialities – future-orientated methodologies – network theory – spatial modes of writing – micro urban ecologies – speculative urbanism.
Marie-Louise Richards is an architect, lecturer, and researcher at the Royal Institute of Art in Stockholm. Her work explores invisibility as embodiment, a critical strategy, and a spatial category through methods of architectural and artistic practice, curatorial practice, and writing. Current work seeks to interrogate the Swedish Welfare State, colonial narratives, and the relationships of race and space. Reimagining the discipline, practice and history of architecture, through citational practices, queer, black feminist and decolonial methodologies, theories and approaches. She is part of the research platform Spaces of Care, Disobedience and Desire, and the research collaborative The Domestic Worldmaking of the Enslaved.