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Portrait of Dr Verina Gfader Dr Verina Gfader

v.m.gfader@hud.ac.uk | 01484 473532



Biography

Verina Gfader is an artist and researcher whose work is organized around questions of what strategies and interventions one takes in relation to everyday systems, subsumed in narratives of agency and activism. Her practice involves models, drawing, animation, fictional institutions, and text material with a focus on printed matter in between unregulated and sophisticated presentation.

Postdoctoral research, after studies in visual media, photography and fine arts (PhD Central Saint Martins), includes a research residency at Tokyo University of the Arts (Geidai) to explore the structural coherence between non-commercial Japanese animation and geographical, institutional and social ideas. Her current fellowship at the School of Art, Design and Architecture, develops from a publishing practice, which is connected to the political in art—text and alliance, the immediate architecture of text, and the modalities and nature of knowledge in art.

Research & Scholarship

My artistic research (practice/theory) takes account of two subjects: the first is the incorporation of animation within fine arts; more particularly, my actual postdoctoral studies concern the structural coherence between a single cultural expression, in this case Japanese animation, and geographical, institutional and social ideas. By exploring the ways animation maintains its ambiguous status (of film, drawing, concept, vocabulary) and how it suggests a peculiar relation to the ‘minor,’ the studies attempt to trace its multiple image and reveal the potential of animation theory to contribute to new forms of knowledge that grasp current art movements and discourse, locally and globally.

The second develops from a publishing practice, which is tightly connected to the following interests: a) the political in art (possibilities for collective imagination but also, as Peter Osborne (2007) declares, that collectivity itself is fictional); b) the immediate architecture of text (corrections, editorial practice, design, marginalia); c) the question of in what way knowledge in art is by necessity accumulative and a plural voice (status of “not-knowing”). These three interrelated fields of exploration highlight a relationship to current production machines, understood as dispersed structures, not easily to be grasped in a totality, impossible to categorize and historisize. As such there appears an implicit complex relationship to histories and the historical. In turn, this dynamic leads back to a previous and longterm investigation of “minor histories” which can here be traced precisely in the very heart of economical power/capacity/potential.

The current fellowship involves a series of exilic writings. One could argue that the fellowship is grounded in assuming a position in exile, exile meaning both being detached, excluded, and simultaneously privileged (a place to be creative). This is bound with the question for the artist in exile: How to work with this position—make work—in order to break established structures. T.J. Demos (2009): “Far more radical is to universalize exile as the condition of being human, and to determine a politics of equality on that basis. It may currently be unlikely to conceive of this eventuality in today’s political environment. But perhaps this is exactly where artistic practice may assume its most radical role: to imagine alternatives otherwise impossible to contemplate, unleashing an imagination that maybe produce effects in turn.”

The hypothesis of All Practice is Text underlies my investigation.

Disciplines / Context

  • Contemporary art (non-commercial animation, Japanese animation, time-based media, film politics
  • Philosophy (Henri Bergson, Gilles Deleuze)
  • Discourse of Mobilities (geography/urbanism/the territorial/diagrams)
  • Knowledge culture and alternative tools for knowledge production (DIY practices, activist strategies)
  • Art Research and democratic models of or through (social) media
  • Publishing, printed matter (text and alliance)
  • Publications and Other Research Outputs

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'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '12', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '25', 'datestamp_day' => '25', 'abstract' => 'Provides new perspectives on the renowned anime and manga creator, Tezuka Osamu, and examines his legacy. 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undef, 'lastmod_month' => '1', 'event_dates' => 'Thursday 14 April 2011', 'fulltimestamp' => '20110414', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '15', 'number' => undef, 'rev_number' => '5', 'edit_lock_user' => '6', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Verina', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '47', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '24', 'datestamp_day' => '24', 'abstract' => '“What interested me most during the production [of Electric Dress] was an unusual beauty created by the light bulbs arranged on the dresses when the blinking device was set in rotation, powered by a motor. It was a beauty that could not be made by human hands.” Atsuko Tanaka, 1957 Hommage à Atsuko Tanaka is a talk by art historian and independent curator Silvia Eiblmayr (Vienna) on the work of the seminal Japanese artist Atsuko Tanaka (1932–2005). The presentation with discussion traces Tanaka’s personality and life as one of the most influential artists of the avant-garde group Gutai Art Association, commonly known as “Gutai” (which means concrete). Hommage particularly focuses on the subject of a conceptual, space related, performative notion of painting based on the inclusion of everyday materials, and further traces the multi-facetted gaze, clothing and the stage, embedded in the artist’s work. In 2002 Eiblmayr organised Atsuko Tanaka, Works from the Gutai-Period at Galerie im Taxispalais Innsbruck, the first solo exhibition of the artist in a public institution outside Japan. On this occasion Eiblmayr travelled to Japan to meet Tanaka in her studio in the province of Nara. The gathered material — photographs and oral histories — form one part of the talk illuminating the continuing significance and scale of the artist’s work, and by doing so, suggesting Tanaka as a central, yet in the Western context marginally received figure. References to the publication ‘Atsuko Tanaka’ (2002) with essays by Eiblmayr and Mizuho Kato accompany these excursions. 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Participants: Kenta Kishi, David d’Heilly, Tetsuo Kondo, Mitsuru Hamada, Christian Dimmer, Hikaru Fujii, Emiko Kato, Sayuri Fujiwara, Chiaki Hayashi, Joon Yang Kim, Hiroyuki Oki, Love Kindstrand, David H. Slater, BCL Georg Tremmel and Shiho Fukuhara, ASSISTANT (Megumi Matsubara, Hiroi Ariyama), Hiroshi Ota (Tokyo Picnic Club), Chi Too, Asami Hosokawa, Chiaki Sakaguchi, Takahiro Hayakawa, Emma Ota, Takaaki Soga (Contemporary Art Factory), Kohsuke Uchino, Hiro, Miki Fukuda, Chris Berthelsen, Kyoko Ebata, Nanako Inayama, Hannah Mjølsnes, Shingo Anzai, F. Atsumi (Art-Phil), Kristen Sharp, Dominic Redfern, Philip Samartzis, Nanana Kammuri, Ai Ishihata, Hiromitsu Murakami', 'edit_lock_until' => '0', 'editor_note' => undef, 'pedagogic_type' => undef, 'date_month' => 11, 'rights' => undef, 'contributors_type' => undef, 'scopus_id' => undef, 'eprintid' => '12769', 'producers_name_given' => undef, 'thesis_type' => undef, 'projects' => undef, 'lastmod_year' => '2013', 'data_type' => undef, 'gscholar_datestamp_minute' => undef, 'editors_name_given' => undef, 'isbn' => undef, 'include_in_cv' => 'yes', 'editors_name_family' => undef, 'lastmod_month' => '7', 'event_dates' => '6, 11, 12 November 2011', 'fulltimestamp' => '20111100', 'learning_level' => undef, 'conductors_name_lineage' => undef, 'pages' => undef, 'source' => undef, 'lastmod_hour' => '9', 'number' => undef, 'rev_number' => '12', 'edit_lock_user' => '116', 'series' => undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Verina', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '27', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '14', 'datestamp_day' => '14', 'abstract' => 'In response to the fragmentary, localised, decentralised, unregulated and often fragile nature of current creative practices that engage with new narratives of activism and politics, the project OrNamenTTokYo sets out to investigate the materialities that process these issues by way of ‘commonalities’. Using as a starting point the proposition of common versus the regulated or proprietary, OrNamenTTokYo aims at provoking and undoing this established and widely disseminated dichotomy. Liberating the relationship between common and regulation this way, OrNamenTTokYo looks at how these terms share a possibility for deviation, and how they propose an ability or ‘appropriateness’ of improving the understanding and articulation of contemporary forms of acting, producing and distributing, and potentially allowing new kinds of creative practices to emerge. Accumulating today’s materials and imaginary politics of these forms, the project engages with sites of precarity, friendship, micro-organisations, anti-systemic movements, the infiltration of legality in everyday life, and media as a by-product. Situated in Tokyo, OrNamenTTokYo examines the in/significance of the ‘common’ in Japan, how the common is manifest there and how it subsequently contributes to our understanding of the current social, i.e. public, and active, i.e. creative, space. While the notion of ‘common’ forms an extensive field of research in the Western context, its manifestation and realisation in Japan remains elusive and not fully explored. Ranging from ideas around ‘possession or manifestation of common attributes’, and ‘sharing features or characteristics’, the common addresses themes such as the constitution (or lack of constitution) of a united intellectual consciousness, or communal spirit in relation to social, geographical and institutional reinvention. 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'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '14', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => undef, 'importid' => undef, 'status_changed_day' => '23', 'datestamp_day' => '23', 'abstract' => 'To celebrate the launch of OTT Book, OrnAmenT Epiphanies: Tokyo brings together artists and producers in a unique ornament-assemblage, featuring artist Rie Nakajima, curator Emiko Kato, architect and researcher Merce Rodrigo García, and artist and researcher Verina Gfader. The screening of Hikaru Fujii’s film PROJECT FUKUSHIMA! accompanies the sound and text-scape, highlighting the potential of art to engage with Japan’s precarious economical state after 3/11 and its local and global effects. OTT Book (Engl/Jap, published by Art-Phil, Japan) documents and further explores ideas first proposed and discussed during OrNamenTTokYo Mobile lab, a Tokyo-based research project on the notion of the “common” in Japan across art, architecture, urbanism, activism, and sociopolitical space. In the format of an international and cross-disciplinary 3-day event, including urban walk, workshop, seminar and open kitchen at Art Autonomy Network [AAN], Creative Hub 131, Mobile lab investigated urban space, noise patterns and new forms of inhabitation/occupation; shelter structures inspired by public halls, conflictual zones and gathering points, drawing lines to mark a place; and histories of copyright and il/legal actions, migration, plants, herbs, medicine and labour. Book contributors include: Kenta Kishi, David d’Heilly, Christian Dimmer, Hikaru Fujii, Emiko Kato, Joon Yang Kim, Hiroshi Ota (Tokyo Picnic Club), Takaaki Soga (Contemporary Art Factory, Tokyo), Dominick Chen, F. Atsumi (Art-Phil), Genichi Ide (Boat People), BCL Georg Tremmel and Shiho Fukuhara, Merce Rodrigo Garcia, and Verina Gfader. OrnAmenT Epiphanies: Tokyo at Cafe Oto marks the fifth Ornament project in a series, presenting new participants and material; it introduces OTT Book through debate, screening and performance, initiating further transnational alliances and research on the “common” in the expanded cultural landscape of Japan. 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The idea for this discussion began by looking at creative proposals for revisiting the environmental in/active urban places, investigations in ‘natural and built environments’, and how a contemporary practice might suggest imaginative alternatives to established sites and systems. This initial process of researching particular works that, as Yates McKee describes, unsettle “the self-evidence of ‘environment’ itself” led to a complex map of inquiries, some of which are evident in Janice Kerbel and Ruth Maclennan’s practices. These significant inquiries led to the exploration of other issues including: calculable versus imaginary forms; the impractical; practising institutions; re-inventing the place and function of ordering and classifying. Responding to the artists’ tools and modes of practice in particular, questions and points of the evening include: What does the plan allow? Discovering in-significant details – is it a question of what to do with them? Is there a ‘culture reserve’? 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undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '56', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '24', 'datestamp_day' => '24', 'abstract' => 'In Conjunction with is a book-project in collaboration with Conor Donlon, owner of DONLON BOOKS and artist Verina Gfader. During E:ventGallery’s year-long programme of Victorian Gardening a selection from Donlon’s bookshop is installed at the gallery. Donlon has been invited to respond to the theme of ‘Victorian Gardening’ and to extract from his huge source of art-related books some relevant materials. Further contributions are by artists and writers in cooperation with Donlon. The selected books/items are displayed at E:vent, accessible during the gallery’s opening hours. 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Tracing the current state of art corrupted by the market, with modes of resistance being formed around representations of cultural difference (Chris Kraus), the paper’s trajectory passes from Osamu Tezuka’s 1963 ‘TV manga’ Tetsuwan Atomu—an early example where a work/image/animation, a serialised mode of production, and an investment of rationalisation merge into an indiscernible unity—into contemporary anime, via a vital moment of multi-layered cultural investment in 1960s Japan. Incorporating anime in these various creative endeavors, and making a claim for animation’s proliferating vocabularies and narratives rewriting history, the talk posits that this inherently reproductive force calls for experimental analytical models. In addition, the simultaneous refusal, necessity, and drive for these models produce an imaginary realm for such undertakings; Paolo Virno’s new places for intellect, where “special places” of discourse dissolve and are replaced by “common places,” speak to such undertakings. 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=> undef, 'status_changed_day' => '25', 'datestamp_day' => '25', 'abstract' => 'FRIENDLY FIRE PROSPECTUS With the launch of PROSPECTUS (Artschool/UK 2013), the publishing collective (Verina Gfader, John Reardon, Ruth Höflich) initiates a series of post-PROSPECTUS events and actions for LAABF 2014, including panel discussion and reading in the Classroom, production of flag, and distribution of posters via their book in the Friendly Fire section. Posters by Paul Bailey, David Blamey, Gürsoy Do?ta?, Samuel Dowd, Oliver Lerone Schultz, Ruth Maclennan and Simon O'Sullivan ... Artschool/UK is a self-organised artistic entity based in London. www.artschooluk.org The Classroom After five years at the NY Art Book Fair, The Classroom makes its inaugural trip to the west coast for LAABF14. This curated series of informal conversations, workshops, readings and other artist-led programs is also an informal venue for artists, writers and publishers to feature new releases and present their publications, organised by David Senior of the Museum of Modern Art Library. Located in Gallery D. FRIDAY, JANUARY 31 11:00 am - 1:00 pm PRO–SPECTUS: Materials of the Future – How can we speculate In conjunction with the launch of PROSPECTUS (ARTSCHOOL/UK, 2013), the publishing collective moderates a discursive event, expanding the topics of the book around academies and factories, art schooling and extra-institutional frameworks, into new enquiries of future materials. Themes of secondary knowledge, wildflower poetries, botanical diasporas, artistic agency and experimental analytical models, are addressed in a mix of informal panel discussion, poster distribution, reading and screening, including Fritz Haeg, Mark Allen of Machine Project, Johnnie JungleGuts / Kchung community radio station, and P.collective (John Reardon, Verina Gfader, Ruth Höflich). A limited edition flag by Ruth Höflich will be produced to coincide with the event. 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This major international symposium explores the themes and context of Anti-Academy, a new John Hansard Gallery exhibition that examines the ideas, processes, workshops and legacies of three radical art educational models in 1960s Japan (Bigakko, Tokyo), the USA (The Intermedia Programme, University of Iowa) and Denmark (Ex-School, Copenhagen). Speakers include: Alice Maude-Roxby: Curator, Anti-Academy; Falmouth University, Yoshiko Shimada: Curator, Bigakk? section, Anti-Academy; Kingston University Cornelia Schmidt-Bleek: Curator, The Intermedia Programme section, Anti-Academy, Tania Ørum: University of Copenhagen, Sunil Manghani: Winchester School of Art, University of Southampton, John Reardon: Goldsmiths College, University of London, Verina Gfader: University of Huddersfield, Dean Kenning: Kingston University Joan Giroux: Columbia College, Chicago. 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How do you respond to, ignore or contribute to new narratives of activism? 2. If a proposal can be drafted for a new place of cultural exchange, what will it need to include? 3. 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This enquiry includes questions around where ?art might not/happen?; how ?place? can be understood as a site of potential for things to happen (a gallery, a space, a conversation); or how practitioners make use of spaces that are significant for their work as condition for it to take place', 'creators_id' => 'v.m.gfader@hud.ac.uk', 'contributors_name_lineage' => undef, 'userid' => '6', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '0', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2008', 'status_changed_hour' => '15', 'gscholar_cluster' => undef, 'producers_name_family' => undef }, '12604' => { 'funders' => undef, 'conductors_name_family' => undef, 'num_pieces' => undef, 'department' => undef, 'contributors_id' => undef, 'gscholar_datestamp_second' => undef, 'keywords' => 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'workshop', 'importid' => undef, 'status_changed_day' => '24', 'datestamp_day' => '24', 'abstract' => 'an InviTe For mAking OrnAmentS is a workshop, an intervention, a picnic, and a video taking place around the Serpentine Pavilion 2009 located in Hyde Park. The workshop is suited for artists, architects, kids, gardeners, and designers. There will some be readings and the participants can draw, develop shapes, objects and additions, patterns, pop-ups, and excessive forms that in a wider sense relate to the ornamental and ornaments. The theme of the ornament here refers to the labyrinthine, measured, controlled, repetitive and pattern-like architecture of Victorian Gardens. A reference from cinema is Last Year in Marienbad by Alain Resnais. Theoretically the ornament references the idea of “Das Ornament der Masse” (the mass ornament) as explored by Siegfried Kracauer (1927). This framework leads into contemporary thinking around the construction of “vast” and “full” spaces, and complex assemblages in architecture and technologically informed environments and networks. 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Addressing different educational models, the relationship between artist, tutor & student, between theory and skills, while approaching the subject from an ‘outside’ and ‘inside’-perspective, the symposium attempts to reach for new and alternative methods in artist education. The question about a new art academy in Berlin has caused a vigorous debate this year; in Amsterdam its most famous ‘second-phase’ institutions, being the Rijksakademie and De Ateliers, have faced dramatic subsidy-cuts. Meanwhile residency programs DAAD and De Ateliers both celebrate their 50th birthday this year and new educational models like Autocenter’s Summer Academy and UdK’s Institut für Raumexperimente are offering alternative programs. In light of the growing discussion, the symposium offers a creative platform to reflect upon these educational developments. The symposium is divided into four panels spread over two days, each day concluded with a specifically arranged performance. Questions that will be addressed are: In what way do structural hierarchies in education systems influence the relation between tutor and student? How do educational institutions respond to the increased professionalization of the job of the artist? How is the quest for alternative models symptomatic for broader transformations in education/culture? How do theory and practice come together in artist education? In which way does the academy or the post-academic institution partake in the contemporary art world? 15.30-17.00 Forth Panel on What do Artists Want with Kirsty Bell, AA Bronson, Verina Gfader, Bojan Sarcevic, Uwe Schwarzer Speakers include: Jennifer Allen, Adriana Arroyo, Kirsty Bell, Jurriaan Benschop Ariane Beyn, Dominic van den Boogerd, AA Bronson, Angela Bulloch, Eric Ellingsen, Verina Gfader, Natasha Ginwala, Marie Haff, Joep van Liefland, Els van Odijk, Esper Postma, Vivian Sky Rehberg, Willem de Rooij, Karin Sander, Bojan Sarcevic, Uwe Schwarzer and Nadine Zeidler. 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The project brings together materials from experimental and non-commercial domains; it looks at the use of the medium of animation and presents new critical receptions within high and low cultural and artistic production. It traces questions of a time image, the doubling that is integral to image formation, and notions of territorial and urban constructions within the discourse of animation history. ADVENTURE-LANDING weaves together explorations of animation that emerged at different times: research for a doctoral thesis (2000–6) and material from a residency in Tokyo in June 2009. The conversations with artists, architects and researchers Takehito Deguchi, Koji Yamamura, Masaki Fujihata, Stephen Wilson, Yoshiharu Tsukamoto, Kenta Kishi, Saki Satom, Chikara Matsumoto, Naoyuki Tsuji, Hiromitsu Murakami, Takahiro Hayakawa and Toshimaru Nakamura address specific dimensions of Japanese animation, and make the claim for a structural coherence between animation and geographical, institutional and social ideas. In this duality of content and time, the book becomes a multilayered object. The format of the compendium – bookwork and map at once – enables a virtual journey in which the reader travels across various realms of a focused study. A contribution by Uriel Orlow accompanies ADVENTURE-LANDING. 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Situated in Tokyo, Japan, the discussion follows a concept of expansion through decentralization, both in terms of the subject of animation and the place from where one speaks. Decentralization is considered in relation to how our understanding of the contemporary artwork, including animation, is formed, de- and re-formed through transforming and widening socio-political grounds. Addressing the complexity and hybridity for grasping the evolving layers in the field of anime, the dialogues with Deguchi and Yamamura gather questions and responses particularly about the status of experimental work, social change, the institutional and non-histories, seen as manifestations of incomplete historical understanding. Links are drawn between experimentation and time rupture, drawings and their shifting status in society, institutions and traditional statements, and social sentiments and animation’s intrinsic qualities. The text concludes with a summary of the conversations, including valuable statements that have been made, which open out the research subject for further debates. 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With its particular emphasis on the space and movement of the image in a book, that aims at capturing some of the spirit, historical ruptures and partly overlooked cultural activities in Italy at the time in relation to the present, the question of in/visibility connects to forms of topology of printed matter and the currency of diagramming particular communities. Besides looking closely into the relation between proposal–city–fiction, the talk addresses the vitality and notorious drive for visually formalising and formatting theory and practice tightly connected with specific forms of power. Being involved both as a contributor to, and in the production and conceptualisation of the book, the debate also touches on issues of abandoning established specialised roles within ‘publishing’ and its monetary (speculative) value–something that can perhaps be traced in subtle ways in these earlier dynamics across theory, print, art, labour. – A question around formatting people’s movement. 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ISBN 0-9544901-3-4 This artist book in a limited edition of 10 is a publication by Neil Chapman and Verina Gfader exploring themes of organising data (glossaries), living systems, material agency, Stanislaw Lem’s (Solaris) vision, oracles and journeys on a ship, it brings into play questions of archive and what can be called the residual of a project. The book project takes account of seven curatorial projects initiated by Gfader with contributions by Johanna Billing; Olivia Plender and Unnar Orn; Janice Kerbel and Ruth Maclennan; Conor Donlon/Donlon Books; Mark Lewis, Dennis Oppenheim, Lucy Reynolds, Margaret Tait, Peter Todd; Merce Rodrigo García, SANAA Kazuyo Sejima + Ryue Nishizawa, workshop participants; and Neil Chapman. Chapman’s work THE SURFACE | THE PROJECT is text based and forms part one of this co-authored book. Part two is Gfader’s semi-fictional text ‘Strategies of Delegation’, which introduces the curatorial strategy and Chapman’s writing. The book was produced with E:ventGallery as part of the Victorian Gardening programme 2009. A poster version is available. 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undef, 'creators_name_lineage' => '', 'pos' => '0', 'metadata_visibility' => 'show', 'eprint_status' => 'archive', 'creators_name_given' => 'Verina', 'exhibitors_name_lineage' => undef, 'divisions' => 'art', 'institution' => undef, 'subjects' => 'N1', 'gscholar_datestamp_hour' => undef, 'producers_name_lineage' => undef, 'lyricists_name_given' => undef, 'completion_time' => undef, 'status_changed_minute' => '39', 'conductors_name_honourific' => undef, 'exhibitors_name_family' => undef, 'lyricists_name_honourific' => undef, 'event_type' => 'other', 'importid' => undef, 'status_changed_day' => '24', 'datestamp_day' => '24', 'abstract' => 'This evening Olivia Plender and Unnar Orn will perform a reading of selected dreams, as part of a project on a “dream exchange” the artists have developed since they met during a residency at FAAP (Fundação Armando Alvares Penteado) Sao Paolo, Brazil. Some materialities and processes of this project will be provided to the audience who will be invited to contribute a dream to their expanding archive. The project touches on issues of imagination, exchange, and the ir/rational, which is at the core of Olivia and Unnar’s practices. In particular, the “dream exchange” explores a dialogical relation between image and text over time, when the image becomes a source for someone else’s dream – who is forced to note down what has emerged unconsciously over night. .', 'creators_id' => 'v.m.gfader@hud.ac.uk', 'contributors_name_lineage' => '', 'userid' => '6', 'patent_applicant' => undef, 'monograph_type' => undef, 'datestamp_minute' => '39', 'lyricists_name_family' => undef, 'sword_slug' => undef, 'id_number' => undef, 'volume' => undef, 'gscholar_datestamp_month' => undef, 'conductors_id' => undef, 'suggestions' => undef, 'referencetext' => undef, 'date_year' => '2009', 'status_changed_hour' => '11', 'gscholar_cluster' => undef, 'producers_name_family' => undef } };

    2014

    Gfader, V (2014) ‘Assembly: Corrective Unrest and Image Instruments’. In: Looking at Images, Workshop 2: Image Research & Its Futures, 19th June 2014, Goldsmiths, University of London

    Gfader, V (2014) ‘Geometric, economic, real–social, elastic: Formatting Animation’s Sensorial Vocabularies’. In: Global Futures Speaker Series, 24th May 2014, Winchester School of Art, University of Southampton

    Coles, A. and Gfader, V. (2014) ‘EP: Styling Knowledge ’. In: Pedestrian Subjectivities, MA General Theory Forum, April 27, 2014, Chelsea College of Art and Design, London

    Gfader, V (2014) ‘Talk Geometries: Towards Anime’s Sensorial Vocabularies’. In: Kinema Club Conference for Film and Moving Images from Japan XIII, 17th-18th January 2014, Reischauer Institute, Harvard University, Cambridge, MA

    Gfader, V., Nakajima, R., Kato, E., Rodrigo García, M. and Fujii , H.(2014) OrnAmenT Epiphanies: Tokyo [Show/Exhibition]

    Gfader, V., Höflich, R. and Reardon, J.(2014) PROSPECTUS at LAABF Printed Matter's Los Angeles Art Book Fair [Show/Exhibition]

    2013

    Gfader, V (2013) ‘The Italian Avant Garde 1968–76’. In: Pier Vittorio Aureli, Alex Coles, Catharine Rossi & Verina Gfader, The Italian Avant Garde 1968–76 , 12th December 2013, London, Architectural Association, School of Architecture

    Gfader, V. and Reardon, J. (2013) ‘PRO–SPECTUS’. In: Anti-Academy symposium, 23rd November 2013, John Hansard Gallery, University of Southampton

    Gfader, V (2013) ‘Notebooks Spirit’. In: Proto-tools , 16th-17th November 2013, Flat Time House, London

    Gfader, V (2013) ‘What do Artists Want (panel)’. In: Educating Artists? symposium, 8th-9th November 2013, Kunstwerke KW Institute for Contemporary Art (partner/s: Gnyp Art), Berlin

    Gfader, V (2013) ‘Colonised Imagination: Urban constructions within the discourse of Japanese animation’. In: Anjin 1600: Edo Wonderpark, 16 September 2013, Rose Lipman Building, London

    Gfader, V (2013) ‘Antonio Negri interviewed by Verina Gfader, "The Real Radical?"’. In: The Italian Avant-Garde: 1968–1976 (text available on Semiotext(e), Documents - Politics Domesticity and Flight: http://semiotexte.com/?page_id=17). Berlin: Sternberg Press. pp. 200-219. ISBN 9783943365498

    Gfader, V (2013) ‘On the Fabulation of a Form of Life in the Drawn Line and Systems of ThoughtMechademia, Tezuka’s Manga Life , 8, pp. 61-71.

    Gfader, V. and Reardon, J. (2013) PROSPECTUS . London: ARTSCHOOL/UK Press. ISBN 978-1-78280-030-9

    2012

    Gfader, V (2012) ‘Afterword: on the questionsRadar , 1 (3), p. 30. ISSN 2049-4327

    Gfader, V (2012) ‘radar3 asks invited contributors:Radar , 1 (3), p. 3. ISSN 2049-4327

    Gfader, V. and Chapman, N. (2012) "Strategies of Delegation: THE SURFACE | THE PROJECT" . London, UK: scenesadventures. ISBN 0-9544901-3-4

    2011

    Gfader, V. and Garcia, M. (2011) ‘OrNamenTTokYo’. In: OrNamenTTokYo, 6, 11, 12 November 2011, Tokyo, Japan

    Gfader, V (2011) ‘The Age of the Antimodern ’. In: Group Affinity Summer school, Exhibition, Publication, 01-August-2011 to 14-August-2011, Munich, Germany and Casco, Utrecht

    Gfader, V (2011) ‘Tranquil hills fragile apparatus: Landscape film, migrational subjects, and diagrams of power’. In: The Art Theatre Guild of Japan: Spaces for Intercultural and Intermedial Cinema Symposium, 30th-31st July 2011, Birkbeck College, University of London

    Tanaka, A., Eiblmayr, S. and Gfader, V. (2011) ‘Hommage à Atsuko Tanaka ’. In: Hommage à Atsuko Tanaka talk and discussion, Thursday 14 April 2011, E:ventGallery, 96 Teesdale Street, London E2 6PU

    Gfader, V (2011) ‘Subanimation: Verina Gfader in Conversation with Takehito Deguchi and Koji YamamuraAnimation , 6 (1), pp. 55-71. ISSN 1746-8477

    Gfader, V (2011) ‘Imaginary Agents—Flowers and the Common: essay on BCL Shiho Fukuhara and Georg Tremmel’. In: Coded Cultures. New York, USA: Springer. . ISBN 978-3-7091-0457-6

    Gfader, V (2011) ADVENTURE-LANDING a compendium of animation . Berlin, Germany: Revolver. ISBN 978-3-86895-034-2

    2010

    Gfader, V (2010) ‘Garden lecture ’. In: Visual Thinking 01:Kate Davis and the Subjectivity and Feminisms research group, 11 January 2009 - 07 March 2010, Camden, UK

    Gfader, V (2010) ‘DIY and more, interview with Christiane Erharter, Vienna 2008’. In: A Brief History of Working with New Media Art: Conversations with Artists. Berlin, Germany: The Green Box. pp. 155-162. ISBN 9783941644212

    Cook, S., Gfader, V., Graham , B. and Lapp, A. (2010) A Brief History of Curating New Media Art: Conversations with Curators . Berlin, Germany: The Green Box. ISBN 9783941644205

    Cook, S., Gfader, V., Graham , B. and Lapp, A. (2010) A Brief History of Working with New Media Art: Conversations with Artists . Berlin, Germany: The Green Box. ISBN 9783941644212

    Gfader, V (2010) ‘Locating East Tokyo, interview with Miki Fukuda, Tokyo 2009’. In: A Brief History of Working with New Media Art: Conversations with Artists. Berlin, Germany: The Green Box. pp. 207-212. ISBN 9783941644212

    Gfader, V (2010) ‘White Columns, interview with Matthew Higgs, New York 2008’. In: A Brief History of Curating New Media Art: Conversations with Curators. Berlin, Germany: The Green Box. pp. 155-167. ISBN 9783941644205

    Gfader, V (2010) ‘Residency Modes, Nathalie Anglès & Sebastien Sanz de Santamaria, New York 2008’. In: A Brief History of Curating New Media Art: Conversations with Curators. Berlin, Germany: The Green Box. pp. 139-153. ISBN 9783941644205

    2009

    Oppenheim, D., Reynolds , L., Tait, M., Lewis, M. and Gfader, V. (2009) ‘film< >juxtapositions ’. In: film< >juxtapositions screening event, Saturday 12th December 2009, The Gate, 87 Notting Hill Gate, London

    Plender, O., Orn, U. and Gfader, V. (2009) ‘DREAM READINGS between OLIVIA PLENDER and UNNAR ORN ’. In: DREAM READINGS between OLIVIA PLENDER and UNNAR ORN, Wednesday 4th November 2009, E:ventGallery, 96 Teesdale Street, London E2 6PU

    Kerbel, J., Maclennan, R. and Gfader, V. (2009) ‘RESIDUAL versus EXCESS ’. In: RESIDUAL versus EXCESS is a discussion/exchange of thoughts/conversation with artists Janice Kerbel and Ruth Maclennan, Friday 27th November 2009, E:ventGallery, 96 Teesdale Street, London E2 6PU

    Gfader, V. and Garcia, M. (2009) ‘an InviTe For mAking OrnAmentS ’. In: an InviTe For mAking OrnAmentS is a workshop, an intervention, a picnic, and a video, Friday 9th October 2009, Serpentine Pavilion (2009), Hyde Park, LONDON

    Gfader, V (2009) Jon Garlick's The Imagined Archive [Artefact]

    Donlon, C. and Gfader, V. (2009) ‘In Conjunction with ’. In: In Conjunction with is a book-project in collaboration with Conor Donlon, Friday 1st May 2009, Bookshelf, (temporary installation), E:ventGallery 96 Teesdale Street, London E2 6PU

    Gfader, V (2009) ‘Micro projects and by-products’. In: Portraits of Transculturalism Symposium, 4th-7th May 2009, Kasa Galeri Sabanc? University Istanbul, Turkey

    Gfader, V (2009) ‘I prefer not to use predictable paths ’. In: Coded Cultures - Exploring Creative Emergencies Symposium, 27th-31st May 2009, Vienna, Austria

    Billing, J. and Gfader, V. (2009) ‘Curatorial Events and Dialogues’. In: Another Album – a one-evening video installation, Friday 20th March 2009, E:ventGallery, 96 Teesdale Street, London E2 6PU

    2008

    Graham, B. and Gfader, V. (2008) ‘Curator as editor, translator or god? Edited CRUMB discussion list Vague Terrain .

    Gfader, V (2008) ‘Nervous Light Planes Animation , 3 (2), pp. 147-167. ISSN 1746-8477

    Gfader, V. and Grizzar, P. (2008) ‘Interactivos?: Better Than the Real Thing ’. In: .Interactivos?@Eyebeam: Double Take Workshop and Exhibition, 12th July-9th August 2008, Eyebeam Art & Technology Center, New York, USA

    Lally, C. and Gfader, V. (2008) ‘Condensation revisited - A Lecture on Pigments:3 ’. In: Proceedings of ISEA 2008: The 14th International Symposium on Electronic Art. Singapore: International Symposium on Electronic Art (ISEA). pp. 285-287.

    Lally, C., Burrows, D., Weinmayr, E., Chapman, N. and Gfader, V. (2008) ‘Surprise’. In: Surprise: film screening, Saturday 21st June 2008, E:ventGallery, 96 Teesdale Street, London E2 6PU

    Gfader, V. and Lally, C. (2008) ‘CØDEshop’. In: CØDEshop, a series of workshops and interventions, 2008, E:ventGallery London, Academy of Fine Arts, Vienna, V2_Institute for the Unstable Media, Rotterdam

    Gfader, V. and Lally, C. (2008) ‘4 East End Occupations’. In: 4 East End Occupations project, 2008,

    Gfader, V () ‘The Real Radical? Antonio Negri interviewed by Verina Gfader’. In: EP: The Italian Avant-Garde: 1968–1976 . Berlin: Sternberg Press. pp. 200-219. ISBN 978-3-943365-49-8

    Gfader, V () ‘Notebooks Spirit (second version)’. In: Memories of the Future, 2-3 May 2014, Chelsea College of Arts, London and University of London, Senate House.

    Esteem

    Editorial Position within EP, a new discursive platform founded and directed by Alex Coles

    Associate Member, Research group Subjectivity and Feminisms, Chelsea College of Art & Design, London

    Peer Reviewer for The Journal for Artistic Research (JAR)

    Grants/Residencies

    2013: Residency at Sternberg Press, Berlin

    2009: Grant by The Great Britain Sasakawa Foundation for postdoctoral research, residency at Tokyo University of the Arts, Tokyo and Yokohama

    2007: ‘Reference Check’ co-production lab, artist residency with Colm Lally, Banff New Media Institute, Canada. Advisors: Andreas Broeckman, Anne Galloway, Sarat Maharaj

    2001–03: AHRC award for PhD Studies, Central Saint Martins, London

    1996: Photography Residency London, Federal Ministry for the Arts, Vienna

    1996: Research Grant, Federal Ministry for Science and Culture, Vienna

    Research Degree Supervision

    • Non-commercial, independent animation / animation within fine art in the Western and Eastern (Japan) context
    • Film theory with a focus on the philosophies of Bergson (actual and virtual), and Deleuze (time-image, minoritarian cinema)
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