West Hollywood Public Library, City Council Chambers
Adrian Johnston and Suhail Malik join Dean of Critical Studies Amanda Beech to talk about the stakes of materialism—aesthetic, political, speculative, et cetera—today.
Amanda Beech is Dean of the School of Critical Studies at CalArts. Her work in video, sculpture, drawing and writing investigates the condition of contingency and its manifestation in scientific, political, literary and philosophical paradigms that include: noir-ish narratives of TV shows like 24, CSI and real political events. Beech’s work includes the solo shows Sanity Assassin, Spike Island, Bristol with the publication of the same name (Urbanomic, 2010); The Church, The Bank, The Art Gallery, Banner Repeater, London, 2012; and she has upcoming solo projects at Lanchester Gallery Projects, Coventry, UK and HaGamle Pre- stagard, Stavanger, Norway. Group shows include: The Real Thing, Tate Britain, (2010); Greetings Comrades the Image Has Now Changed its Status, Occular Lab, Melbourne (2009), and Common-wealth, MGK127, Toronto, (2009).
Adrian Johnston is a Professor in the Department of Philosophy at the University of New Mexico at Albuquerque and an Assistant Teaching Analyst at the Emory Psychoanalytic Institute in Atlanta. He is the author of Time Driven: Metapsychology and the Splitting of the Drive (2005),Žižek’s Ontology: A Transcendental Materialist Theory of Subjectivity (2008), and Badiou, Žižek, and Political Transformations: The Cadence of Change (2009), all published by Northwestern University Press.
Suhail Malik is a writer and currently visiting faculty at CCS. Malik holds a Readership in Critical Studies at Goldsmiths, London, where he is Programme Co-Director of the MFA Fine Art. Recent publications include: “Tainted Love: Art’s Ethos and Capitalization” (with Andrea Phillips) in Art and Its Commercial Markets (2012); “Image -Nonimage – War” in Ekfrase (2012); “Just When You Thought It Was Safe to Participate Again—Communism, Its Recurring Nightmare” in Waking Up From the Nightmare of Participation(2011), “Why Art? The Primacy of Audience” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Educations Sentimental and Unsentimental: Repositioning the Politics of Art and Education” in Redhook Journal (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute (2010); “You Are Here” for Manifesta 8 (2010).