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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Oblique Points of Entry Rogoff, Irit. Y irig, Hamburg Kunstverein, MuHka Antwerp VanAbbe, Eindhoven brought together large groups of intellectuals, curators, architects and artists to pose questions about the forms that learning might take within public institutional culture.

These dynamics are for me a necessary part of my understanding of Visual Culture, for whatever it may be it is NOT an accumulative, an additive project in which bits of newly discovered perspectives are pasted on to an existing structure, seemingly augmenting and enriching it, seemingly making it acceptable to the pressures of the times. Iri 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 they seem and gave me the tools to see through them.

My practice is one of both academic research as well as in the practices of curating and organizing. However, for all of its mighty critical apparatus and its immense and continuing value, critique has sustained a certain external knowingness, a certain ability to look in from the outside and unravel and examine and expose that which had seemingly lay hidden within the folds of structured knowledge.

The dogoff of theoretical unravelling, of being undone is a journey of phases in which the thought we are immersed in is invalidated. Time Zones—Recent Film and Video. Contemporary Art from Turkey.

With the work of Kutlug Ataman. In my own thinking it is not possible to divorce the notion of ‘criticality’ which I see as foundational for Visual Culture from the processes of exiting bodies of knowledge and leaving behind theoretical models of analysis and doing without certain allegiances.

She has also published rogpff periodicals such as Art Journale-flux journaland Third Text. Goldsmiths, University of London. I am interested in untangling the seemingly naturalized relations of subjects ieit 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.


Regional Interactions with Global Art Discourses: Rogoff areas of supervision include: 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.

The Visual Culture Reader. Projects such as A.

Irit Rogoff – Wikipedia

With the work of Kutlug Ataman Rogoff, Irit. Unfolding the critical Rogoff, Irit and Stahre, Ulrike. 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. Neither police, nor pirates Rogoff, Irit.

Open Source Coming Soon.

In my own particular case this was a journey from a discipline called art history, via great roads of critical, theoretical study to some other and less disciplined place which for the moment and very provisionally we might call Visual Culture. 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.

Angelika Nollert and Irit Rogoff, Revolver Counter Knowledges and Permissions. To introduce questions and uncertainties in those places where formerly there was some seeming consensus about what one did and how one went about it. In the s a concern with race and cultural difference which resulted in trying to take on the authority of ‘geography’ as a body of knowledge with political implications and currently a concern with questions of democracy and of what modes, parliamentarian and performative, might be open to us to take part in it, which I am currently thinking about as an exploration of participation and of what does it mean to take part in visual culture beyond the roles it allots us as viewers or listeners.

The Where of Now Rogoff, Irit. When we in the West, or in the industrialized, technologized countries, congratulate ourselves on having an infrastructure— functioning institutions, systems of classification and categorization, archives and traditions and professional training for these, funding and educational pathways, excellence criteria, impartial juries, and properly air conditioned auditoria with good acoustics, etc.

Karlsruhe, Germany February Practice driven research has become a paradigm shift in contemporary knowledge production as well as an opportunity to repoliticise work through how it is done rather than what its subject matter is.


The publication is somewhat brief and chattily propositional; most akin to the experience of watching two papers and a panel discussion at a talk or conference.

Vancouver Art Gallery and Aargauer Kunsthaus, pp. Artistic practice is being acknowledged as the production of knowledge and theoretical and curatorial endeavours have taken on a far more experimental and inventive dimension, both existing in the realm of potentiality and possibility rather than that of exclusively material production.

Vancouver, BC, and Aarau, Switzerland: You can find Irit Rogoff’s extended deliberations on criticality in her recent text: Though there are points of convergence, the ways in which Butt and Rogoff approach seriousness are rather oblique.

Mirzoeff,2nd ed. Starting in the Middle: Participating Singularities — Ontological Communities. In the context of 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.

Professor Irit Rogoff

And the recent appearance of a website called sellyoulater. Rogoff works at the meeting ground between contemporary practices, politics and philosophy.

Art explored how the work of a contemporary artist might provide pathways into a broader understanding of a culture by wrapping the art work in several layers of archives and performative reflection. If you can see this message, your browser does not support canvas and needs an update.

Overview Becoming Research The Way We Work Now Practice driven research has become a paradigm shift in contemporary knowledge production as well as an opportunity to repoliticise work through how it is done rather than what its subject matter is. The old boundaries between making and theorising, historicizing and displaying, criticising and affirming have long been eroded.

Rather than the rogocf of theoretical tools and materials, models of analysis, perspectives and positions, the work of theory is to unravel the very ground on which it stands. And so the question becomes: Those moment of silent epiphany in which we have realised that things might not necessarily be so, that there might be a whole other way to think them, moments in which the paradigms we inhabit cease to be self legitimating and in a flash are revealed to be nothing more than what they are, paradigms.