November 28, 2015

“Shadow without Object” symposium

University of the Arts London

Giacomo Raffaelli, With a Relative Uncertainty (still), 2014. HD video, 7:45 minutes. Courtesy of the artist.

The symposium “Shadow without Object” considers emerging photographic technologies against a wider historical context of overlooked and marginalised practices, exploring in particular one of the medium’s long-held and contentious theoretical tenets which describes the physical relationship between a photograph and its subject: the index.

Bringing together new research from across the visual arts, particle physics and conservation studies, the symposium addresses renewed interest in photographic indexicality, reconsidering ideas around materiality, subjectivity and realism in light of emerging imaging processes and their historical contexts. Challenging linear histories of photography, the contributions at this event promise to open up photography’s technical and conceptual operations beyond narrow dichotomies of past/future, analogue/digital and light/matter.

Keynote presentations
Peter Geimer—”The Accident is Original: On Photographic Apparitions”
Professor Dr. Peter Geimer is Director of the Department of Art History at Freie Universität Berlin. He has published extensively on photography and the cultural histories of photographic materiality.

Michael Doser—”Seeing Antimatter Disappear
Dr. Michael Doser is a research physicist at CERN, the European Center for Nuclear Research in Geneva, Switzerland. He is working on a project using traditional photochemical emulsion to observe the gravitational behaviour of antimatter across three dimensional space.

Jananne Al-Ani—”View from Above: Latent Images in the Landscape
Jananne Al-Ani is an artist and Senior Research Fellow at the London College of Communication. Her work explores the impact of photography, flight and the technologies of modern warfare on the representation of contested landscapes.

Bernd Behr—”Akeley in the Elephant Skull: Trajectory of a Taxidermic Image
Bernd Behr is an artist and lecturer in photography at Camberwell College of Arts. His practice uses photography, moving image and sculpture to insert itself into historical junctures of image cultures and the built environment.

Sam Burford—”Searching for Traces of the Indexical within Synthetically Rendered Imagery
Sam Burford is an artist and PhD candidate at Chelsea College of Arts. His work deals with representations of cinematic time, introducing a malleable physical engagement with the normally intangible experience of cinema.

Louisa Minkin—”Photosculpture: A Sum of the Profiles” 
Louisa Minkin is an artist and Course Leader for MA Fine Art at Central Saint Martins. Her research interests involve technical histories and include the Making A Mark project with archaeologists at the University of Southampton, geared towards collaboratively developing innovative uses for 3D technologies.

Giacomo Raffaelli—“Non-standard Uncertainties: Experiments in the Current Visual Conditions of the Kilogram Standards”
Giacomo Raffaelli is an artist and researcher based in Milan. His practice operates across film, installation and lecture-performance to explore the peripheries of scientific research.

Daniel Rubinstein—”Graven Images: Photography after Heidegger, Lyotard and Deleuze.
Dr. Daniel Rubinstein is an artist, writer and Course Leader for MA Photography at Central Saint Martins. He has published widely on the philosophical implications of emerging imaging cultures and is co-editor of the journal Philosophy of Photography.

Betty Sacher—”Managing Change to Collections using Microfadeometry
Betty Sacher works in the field of museum conservation, currently based at UCL Institute for Sustainable Heritage and the Wellcome Library. Her research concerns the impact of different lighting intensities on the long term stability of artefacts.

Duncan Wooldridge—”Some Notes on a New Realism: Relocating Representation in the Technical Image
Duncan Wooldridge is an artist, writer, curator and Course Leader for BA Photography at Camberwell College of Arts. His practice employs strategies of appropriation and interruption at the site of photographic reproduction.

Presented by the Photography Department, Camberwell College of Art in collaboration with CCW Graduate School, University of the Arts London.

About CCW Graduate School, University of the Arts London
CCW Graduate School is the home of our research degree and taught postgraduate students, Professors, Readers and Fellows, and visiting tutors, as well as established research centres and research networks. Central to the success of the Graduate School is the quality of its research provision, the calibre of staff and students, and the existence of sustainable partnerships and collaborative arrangements with external institutions, organisations and key individuals in the cultural sector and beyond.

About Photography at Camberwell College of Arts
Camberwell’s BA Photography course is the UK’s leading Fine Art Photography undergraduate programme. Focusing on experimental practices across the photographic spectrum, students work within and outside of photography to explore the potentiality of photographic technology and culture. Students approach the medium as a starting point for investigations crossing media and discourses in and around contemporary art.



CCW Graduate School at University of the Arts London presents "Shadow without Object" symposium

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