A discussion based on the book by Adla Isanović, The Regime of Digital Coloniality: Bosnian Forensic Contemporaneity. This book problematizes how databases are conceived and how they relate to knowledge production in the current environment of global capitalism, biopolitics, and necropolitics. It is indispensable for discussing about the consequences of the war in Bosnia and Herzegovina in the 1990s and BiH contemporary transformation from a genocide into a forensic site.
We will talk about two main points: Contemporary database logic (beyond the biopolitical archive) that organizes media, social networks, state governance, politics, legal processes, and military interventions, and as well a wider range of art practices, including contemporary presentation/exhibition models and forms. The forensic shift is the prevailing forensic methodology and aesthetics that is occurring in a variety of forums, including international humanitarian politics, law, and art. What are the consequences?

Adla Isanović, Assoc. Professor, Academy of Fine Arts, University of Sarajevo
Jovita Pristovšek, postdoctoral researcher, Academy of Fine Arts Vienna
Šefik Tatlić, PhD, theorist in the fields of political philosophy and decolonial theory, BiH
Moderation: Marina Gržinić, Professor, Academy of Fine Arts Vienna

Adla Isanović, The Regime of Digital Coloniality: Bosnian Forensic Contemporaneity, CEEOL Press, Frankfurt am Main 2021

A cooperation with the Academy of Fine Arts Vienna, Studio for Post-conceptual Art Practices (PCAP/IBK).

Listening to a radio piece, to be followed by an artist talk by Masimba Hwati, in conversation with a guest, Eleftherios Krysalis.

A description of the tension and beauty of a struggle. The piece is a radio composition consisting of field recordings from the black market and flea market in Harare Zimbabwe, also included are snippets of wartime radio broadcasts from the 2nd Chimurenga (Zimbabwe War of Independence-1964-1979). Two personal stories are punctuating the piece, one from Masimba’s father and another from his Mother both are centered on their experiences around war time radio. Interwoven within also, are moments from an Improvised live sound performance “Bread Scores” from Masimba Hwati and some friends in Weimar. “Bread Scores” was inspired by how small wireless radios, spare batteries, newspaper cuttings and secret messages were smuggled in loaves of bread to the Liberation fighters who were imprisoned during the war of Independence in Zimbabwe. The Blackmarket is a zone for economic and political negotiation and resistance where a people under duress, economic and political pressure alchemically improvise.

Masimba Hwati, interdisciplinary artist and PhD candidate at Academy of Fine Arts, Vienna
Eleftherios Krysalis, radio/sound artist and freelance researcher, Curator and project coordinator of the Radio Art Residency Weimar

The PhD in Practice program provides a concept of arts-based research that is built upon critical epistemologies, as they have been developed in the context of feminist, queer, postcolonial, ecological, postmarxist and other political and emancipatory projects.

A cooperation with the Academy of Fine Arts Vienna, coordinated by Renate Lorenz (Professor for Art and Research) and Anette Baldauf (Professor for Methodology and Epistemology)

For each event within the discourse series Future now two participants, one artist and one theorist, conceive future scenarios. This time to the topic of borders: The last years have seen a proliferation of borders, made of concrete and metal, security techniques, laws, deportations and also made of exoticism and racism.

The PHD candidate Carla Küffner is working in the field of migration studies and analyzes (non-)deportation practices.
Nour Shantout ist studying at Akademie der bildenden Künste Wien, and works around social barriers, and heritage.

Carla Küffner, theorist
Nour Shantout, artist

In Kooperation mit Zeitschrift engagée politisch-philosophische Einmischungen, Kunstraum Memphis und Kepler Salon Linz

Vom Tafelbild zum Selfie – auch in der Kunstgeschichte und der Bildwissenschaft halten neue Formen empirischen Arbeitens Einzug. So sollen einerseits Prämissen klassischer Interpretationen hinterfragt, andererseits neue Fragenkomplexe erschlossen werden. Verlieren dabei traditionelle Geisteswissenschaften ihre Identität oder stellt die Empirie eine legitime Bereicherung dar?

Laura Commare, Dissertantin, Institut für Kunstgeschichte, Uni Wien

Maria Schreiber, Dissertantin, Institut für Sozialwissenschaft, Uni Wien
Klaus Speidel, Labor für empirische Bildwissenschaft, Institut für Kunstgeschichte,Uni Wien

THNK TNAK – eine Reihe von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten

Welche Rolle spielen Autor_innen im Text während sie ihn schreiben, oder verstecken sie sich? Wie sieht es in diesem Versteck aus? Was sagt der Text über die Autor_innen, die er versteckt, was sagt er den Leser_innen? Über wen lacht das Publikum?

Ann Cotten, Autorin, Berlin
Barbara Markovic, Autorin, Wien
Stefanie Sargnagel, Autorin Wien
Pippin Wigglesworth, Autor, Berlin

THNK TNAK – eine Reihe von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten

Sparkling Past displays the backstage of advertising and is also a essay that questions the artworld`s relationship to advertising. While artists such as Roe Ethridge or Christopher Williams mimic the aesthetics of advertising, sometimes creating sophisticated metaphors, Richard Prince and Jeff Koons directly appropriate ads, but display their disregard for the authors. In this context, Speidel and Hugard felt the urge to not only go back to the «originals“, but to follow through to a pre-promotional level, where they discovered pictures of a quality and strangeness which – once brought into the context of art – directly rival the artistic creations that reference advertising.

Benjamin Hugard, Künstler und Fotograf
Klaus Speidel, Kunstkritiker, Blicklabor Universität Wien

Moderation: Noit Banai, Kunsthistorikern, Inst. f. Kunstgeschichte, Universität Wien

AICA France (Hg),  Benjamin Hugard & Klaus Speidel:  Sparkling Past . RVB Books, Paris 2016

THNK TNAK – eine Reihe von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten

(Post-)Punk Enfreakment, Antipsychiatrie, Cyborgs und Geek-Kultur. Welche möglichen Verstrickungen bestehen zwischen ästhetischer Imperfektion, Gegenkultur, Krankheit und Pop? Unter Rekurs auf einerseits historische Bewegungen wie dem Disability Rights Movement und andererseits crip-affine Diskurs aus Pop-Musik, Film und bildender Kunst wird eine Annäherung an der Schnittstelle von Devianz und Pop versucht.

Eva Egermann, Dissertandin PhD in Practice, Akademie der bildenden Künste Wien
Katharina Hausladen, Dissertandin, Akademie der bildenden Künste Wien

In Kooperation mit ÖH-Doktorate, Akademie der bildenden Künste Wien

Anfang der 1990er Jahre entwickelten sich im Zuge der Techno-Kultur in England neue ästhetische Praktiken der Licht-Projektionen – kurz Visuals. Pionierinnen aus den Bereichen der Subkultur, der feministischen Theorien, elektronischen Musik, Club-Kultur und -Praxis werden als Ausgangspunkt einer Analyse genommen, um Visuals aus dem Blickwinkel einer feministischen Techno-Geschichte zu diskutieren.

THNK TNAK ist eine Veranstaltungsreihe konzipiert von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten.

Treatise, eine grafische Partitur des Britischen Komponisten Cornelius Cardew, besteht aus Symbolen, geometrischen und abstrakten Formen und weist kaum noch Ähnlichkeiten mit  traditionellen musikalischen Zeichen auf. Es gibt keine Aufzeichnung oder Anleitung, wie das Werk aufzuführen ist. Mit dem Titel beruft sich der Komponist auf Wittgensteins Tractatus (logico -philosophicus).

Präsentation von Ausschnitten aus der Partitur:
Anna Barfuss, Anamaria Batista, Mladen Bizumic, Heinrich Deisl, Verena Dengler, Diedrich Diederichsen,  Anke Dyes, Elli Ferriol,  Leander Gussmann, Anita Hafner, Katharina Hausladen, Christiane Kues, Andrea Legiehn, Julia Pennauer, Lydia Nsiah, Karl Salzmann, und Selma Doborac,Dirigentin

THNK TNAK ist eine Veranstaltungsreihe konzipiert von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten.

The text of a radio play by artist Sarah Mendelsohn begins as a fictional conversation among a group of cultural workers and city officials about how to address the problematic statue Kniender und straßenwaschender Jude installed at Albertinaplatz as part of Alfred Hrdlicka’s Mahnmal gegen Krieg und Faschismus. Over six chapters the focus expands to include personal narrative and associative thinking about the politics of public space and poetic signification.

Sarah Mendelsohn, artist, US Fulbright Fellowship, Akademie der bildenden Künste Wien
Fred Schmidt-Arenales, Director, artist

Veranstaltung in Deutsch und Englisch

THNK TNAK ist eine Veranstaltungsreihe konzipiert von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten.

Kneeling and Streetwashing will be broadcast as an o94 Kultur-Spezial on ORANGE 94.0 – Das Freie Radio in Wien, on 26 June, at 16.00

Photography is deeply enmeshed in our daily lives. But what do we talk about when we talk about photography? Is there any commonality that links a photoshopped picture in a magazine, a silver-gelatin paperphotograph displayed in an art gallery and a downloaded file image on a computer screen?

Nuit Banai, Institut für Kunstgeschichte, Uni Wien
Mladen Bizumic, Akademie der bildenden Künste Wien
Helmut Lethen, Internationales Forschungszentrum Kulturwissenschaften, Wien
Vanessa Joan Müller, Kunsthalle Wien
Axel Stockburger, Akademie der bildenden Künste Wien

THNK TNAK ist eine Veranstaltungsreihe konzipiert von Dissertant_innen und PhD in Practice-Kandidat_innen der Kunstuniversitäten

Brandon LaBelle’s artistic work explores questions of social life and cultural narratives, using sound, performance, text and sited constructions. His new book Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary surveys the oral cavity as the central channel by which self and surrounding are brought into relation.

Brandon LaBelle, artist, writer, Bergen Academy of Art and Design, Norway

Brandon LaBelle, Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary. Bloomsbury Academic, London 2014

Post-lecture discussions lead with:

Ricarda Denzer, artist, Universität für angewandte Kunst, Wien

Keiko Uenishi, artist, doctoral candidate, PhD-in-Practice, Akademie der Bildenden Künste Wien

Co-presented by Öh-Doktorate der Akademie der Bildenden Künste Wien and TransArts of the Universität für Angewandte Kunst, Wien.

Veranstaltung in englischer Sprache