Hans Bellmer and the Body without Organs

Irina-Gabriela Rus

Gilles Deleuze defines the “Body without Organs” (BwO) as a de-organised body, in opposition with an organism, governed by thresholds of levels, by a rhythm that “plunges into chaos,” substituting temporality and diegesis. The BwO is an unformed matter, occupied and populated by intensities that circulate through it; the organs aren’t necessarily absent from the body, but they lose their...

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format: in words
practice: image
keywords: body without organs, Hans Bellmer

The Image as a Process of Individuation Within Artistic Research

Felix Rebolledo, Andreia Machado Oliveira

To think about the image is to already activate and engage in artistic research. And to think about artistic research in a hybrid world, we need a different approach to think the image—one that considers both the natural and the technological milieu. We argue that the image only occurs within an associative reticulation that integrates a hybrid actuality. Here, hybrid refers to the acknowledgeme...

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conference: DARE 2015: the dark precursor
date: November 10, 2015
venue: De Bijloke Music Center, Kraakhuis
format: in words
practice: image
keywords: Cinema 1, Cinema 2, Difference and Repetition, Gilbert Simondon, milieu

Outtake

Kriss Ravetto

By looking at Dennis Adams’s 1998 film Outtake—a film that consists of Adams distributing photographic copies of 416 separate frames of Ulrike Meinhof’s 1969 film Bambule—I will discuss how the copying and redistributing of the seventeen-second sequence of Meinhof’s film asks us to think about a rather complex set of relations from difference to repetition, copy to cine...

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conference: DARE 2015: the dark precursor
date: November 10, 2015
venue: De Bijloke Music Center, Kraakhuis
format: in words
practice: image
keywords: copyright, Difference and Repetition, film

Mouldworks: An Art Rhizomatic Inquiry into Haecceities in Material (and) Thought

Radek Przedpełski

Conducting an art-philosophical inquiry into the Polish neo-avant-garde artist Marek Konieczny and his mobilisation of Polish Baroque, I have embarked on what Simon O’Sullivan calls “art rhizomatics.” O’Sullivan (2006, 36–37) defines “a rhizomatics of art” as a mode of art writing that attends to the researcher’s particular enfoldment in the world and resonates with the art objects...

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conference: DARE 2015: the dark precursor
date: November 9, 2015
venue: De Bijloke Music Center, Rotonde
format: performed
practice: image
keywords: baroque, haecceity, photography, rhizome, Robert Smithson