Engineered Air Theatre
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Over the past few decades, multiple modes of creative and critical writing have proliferated in art worlds. A range of approaches – from ficto-criticism, speculative fiction, performative writing, site-writing, poetic innovations, new mediations and alternative forms of criticism – have made political, philosophical and academic space for art writing. Dylan Thomas notes, ‘A good poem is a contribution to reality. The world is never the same once a good poem has been added to it. A good poem helps to change the shape of the universe, helps to extend everyone's knowledge of himself and the world around him.’ His phrase ‘never the same’ evokes the articulation of mutable writing approaches which refuse to accept art discourses and production as business-as-usual.
Never the Same: what (else) can art writing do? asks, what are the places for, and political implications of, de-instrumentalized forms of writing? In an age of austerity, neocolonialism, neoliberal uses of creativity, art marketing, grant writing and practice based PhD work, how can writing by and for artists and their work enact resistance to such forces? What are the language forms (re)emerging in the present? How might art writing be considered as an ethical practice towards an understanding/in defense of artistic knowledge? How do (re)emergent modes of artistic writing enact agonisms and solidarities in relation to art audiences?
Never the Same will address how and for whom these new modes of art writing matter through multiple symposium sessions guided by the following four areas of investigation: performing and materialising art writing, making space, place and time through art writing, art writing and knowledge production, and new modes of publishing and distribution.
For further information, please visit neverthesame.ca
Please note that Never the Same: What (Else) Can Art Writing Do will take place from 9 AM to 5:30 PM on Saturday September 16, 2017 and Sunday September 17, 2017.
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Photo credit: Carissa Gallo
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