A panel held by the Platypus Affiliated Society on Saturday, February 23, 2013, at the New School.
Video Recording Transcribed in Platypus Review #58
Panelists Julieta Aranda was born in Mexico City, and currently lives and works between Berlin and New York. Central to Aranda’s multidimensional practice are her involvement with circulation mechanisms and the idea of a “poetics of circulation”; the possibility of a politicized subjectivity through the perception and use of time, and the notion of power over the imaginary.
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Changes in Art and Society
A View From the Present
Panel held on March 31st, 2012 at the Fourth Annual Platypus International Convention, School of the Art Institute of Chicago.
Video Recording Transcript in Platypus Review #46
Panelists Mary Jane Jacob (School of the Art Institute)
Walter Benn Michaels (University of Illinois Chicago)
Robert Pippin (University of Chicago)
Description Hegel famously remarked that the task of philosophy was to “comprehend its own time in thought.” In a sense, we can extend this as the raison d’etre for artistic production, albeit in a modified way: art’s task is to “comprehend its own time in form.
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The Significance of Art in the Occupy Movement
Video Recording Panelists Noah Fischer is a Brooklyn-based artist originally from north of San Francisco. He has exhibited kinetic art installations, photographs, and sculpture in New York, Europe, and India. He has also worked collaboratively with the Berlin-based performance group andcompany&Co. Noah initiated Occupy Subways and Occupy Museums in the first weeks of OWS. Noah is the curator of the No-Eyes Viewing Wall at Brooklyn Zen Center.
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Art, Culture, and Politics
Marxist Approaches
Panel held as part of the third annual Platypus International Convention, on Saturday, April 30, 2011, at the School of the Art Institute of Chicago.
Audio Recording Your browser does not support the audio element A transcript of Bret Schneider’s remarks appears in Platypus Review #37
Panelists Omair Hussain
Lucy Parker
Pac Pobric
Bret Schneider
Description After its apparent exhaustion as a project of social transformation, Marxism seems to remain alive as a cultural and hermeneutic endeavor.
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Aesthetics in Protest
A panel discussion organized by the Platypus Affiliated Society, held on March 19, 2011 at Left Forum, Pace University.
Audio Recording Your browser does not support the audio element A transcript of Chris Mansour’s remarks appears in Platypus Review #39
Panelists Chris Mansour - Parsons School of Design, Platypus Affiliated Society
Jamie Keesling - 491
Laurel Whitney - Yes Men
Marc Herbst - Journal of Aesthetics and Protest, Reclaim the Streets
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On the Possibility of What Isn't
An Interview with Robert Pippin
A public interview with Robert Pippin, hosted by the Platypus Affiliated Society, exploring the implications of Hegel’s thought, particularly regarding art, in the present day. Held on March 14, 2011, at the School of the Art Institute of Chicago.
Audio Recording Your browser does not support the audio element Transcript in Platypus Review #36
Description Robert Pippin is a professor in the John U. Nef Committee on Social Thought, the Department of Philosophy, and the College at the University of Chicago.
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What is Critique?
An all day symposium, “What is Critique?” was held on Nov. 20, 2010 at the New School in New York City. The first video is from the afternoon panel, entitled The Art Critique: Its History, Theories, and Practices. This panel consisted of Tom Butter, Simone Douglas, and James Elkins; it was moderated by Laurie Rojas.
The second video is documentation of the evening panel, entitled The Relevance of Critical Theory to Art Today.
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Review: "The Common Sense"
MY FIRST IMPRESSION UPON ENTERING Haseeb Ahmed’s installation, “The Common Sense,” which opened at Around the Coyote Gallery on September 5th was one of open space. It was an openness that contrasted sharply with the hundreds of paintings, photographs, sculptures that cluttered the rest of the many other galleries that opened that Night in Wicker Park’s FlatIron Building. Such a contrast pointed out the fact that, more a piece of interior architecture than a collection of installed objects, the central element to be experienced in Ahmed’s installation was space itself.
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