IRIT ROGOFF PDF

Irit Rogoff is a writer, teacher, curator and organiser. She is Professor of Visual Culture at Goldsmiths London University, a department she founded in This text is the first section of “What is a Theorist?”, see You can find Irit Rogoff’s extended deliberations on criticality in her recent text. Goldsmiths, University of London has launched a series of publications considering the discipline of visual cultures – one of those ushered in by Hall and .

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Prof. Irit Rogoff

Instead I am concerned with the dynamics of loss, of giving up and of moving away and of being without. Critique, in all of its myriad complexities has allowed us to unveil, uncover and urit re-examine the convincing logics and operations of such truth claims.

This is surely a tricky balance, however, as we must accept that some art is complicated, and demands time and attention to understand. Starting in the Middle: Academy as Potentiality Rogoff, Irit. My practice is one of both academic research as well as in the practices of curating and organizing. Rogoff works at rogoft meeting ground between contemporary practices, politics and philosophy.

Public Program Joselina Cruz.

Comtemporary views on art and exhibitions. With the work of Kutlug Ataman Rogoff, Irit.

Irit Rogoff

Seijdel Jorinde and Gielen Pascal, eds. Now we rogof of all of these practices as linked in a complex process of knowledge production instead of the earlier separation into creativity and criticism, production and application.

This article was first published in the April issue. Mirzoeff,2nd ed. As part of the collective freethought, Rogoff was one of the artistic directors of the Bergen Assembly, Bergen, Furthermore, I come to the formations rlgoff Visual Culture from a slightly different perspective of cultural difference, and it is one of the privileges of the culturally displaced that their view is always awkward and askance, never frontally positioned and often exists in an uneasy relation to dominant paradigms.

In riit own particular case the distance between these three was such, that fairly acceptable exercises in stretching and expanding a professional practice to make it accommodate one’s concerns seem in retrospect to have not been able to bridge the gaps.

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Professor Irit Rogoff | Goldsmiths, University of London

The Visual Culture Reader. Counter Knowledges and Permissions. For, it is not the time of the West that has passed. Singularising Knowledge Rogoff, Rpgoff. Her current work is on new practices of knowledge production and their impact on modes of research, under the title of The Way We Work Now forthcoming. D in Visual Culture.

Mika Rottenberg at Goldsmiths Centre for Contemporary Art, London

Open Source Coming Soon. However, given that Rogoff ends with a call for a recalibrated, focused intellectual intensity or passion as a form of seriousness, one can only suggest that in an expanded world of art that has invited different forms of masses to take part, from fun-seeking daytrippers to hedge funders, there are now many interlinked artworlds.

Productive anticipation Rogoff, Irit and Schneider, Florian.

My forthcoming book Looking Away — Participating Singularities, Ontological Communities builds on work I published and curated in recent years and which asks the question on what does it mean to take part in culture beyond the roles that culture allots us for that kind of involvement.

As a curator and public organisor Rogoff has been involved irif a series of exhibitions, the public programs they generate and the possibility of constituting public igit platforms at the edges of numerous occasions.

Third Text, 23 2pp. Obviously I am speaking of a long journey of some 18 years now, which has included encounters with on the one hand the ways in which global politics constantly reformulate and reformat themselves and on the other, tremendously exciting encounters with critical theory that asserted that things are’nt necessarily what irti seem and gave me the tools to see through them. Rogoff areas of supervision include: Geography’s Visual Culture It seems to me that within the space of a relatively short period we have been able to move from criticism to critique to criticality – from finding fault, to examining the underlying assumptions that might allow something to appear as a convincing logic, to operating from an uncertain ground which while building on critique wants nevertheless to inhabit culture in a relation other than one of critical analysis; other than one of illuminating flaws, locating elisions, allocating blames.

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Engendering Terror Rogoff, Irit. In the context rogff a question regarding what an artist might be, I would want to raise the question of what a theorist might be, to signal how inextricably linked these existences and practices might be.

GeoCultures I am interested in untangling the seemingly naturalized relations of subjects and places, in the constitution of sites and spaces that can not be cohered under the proper names on nations, regions, identities or identities and in the cultural and artistic practices that have emerged from mobilities, dislocations and states of extreme irut prolonged conflict and the terroristic as the undermine the certainties of belonging, stability and emplacement.

Contemporary Art from Turkey. TransGlobe publishing and Thames and Hudson, pp. Kutlug Ataman and Irit Rogoff in conversation.

Unfolding the critical Rogoff, Irit and Stahre, Ulrike. Her initiatives to establish this new field are led by a belief that we must work beyond bodies of inherited disciplinary knowledge and find motivation for knowledge production in the current conditions we are living out.

Regional Imaginaries Rogoff, Irit. Projects such as A. D program in theorizing the curatorial. Staff details Position Professor of Visual Cultures. Relational Knowledges, Docu Dramatisation, mimicry of bureaucratic and managerial strategies and computational logics have produced new opportunities for criticality and new permissions for positioning knowledge as intervention.

David Held and Henrietta Moore, eds. I am interested in untangling the seemingly naturalized relations of subjects and places, in the constitution of sites and spaces that can not be cohered under the proper names on nations, regions, identities or identities and in the cultural and artistic practices that have emerged from mobilities, dislocations and states of extreme and prolonged conflict and the terroristic as the undermine the certainties of belonging, stability and emplacement.