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Transgressing Borders through Art, Aesthetics, and a Transformative 'Undercommons' I 
Cathy Greenhalgh (Independent)
Luke James Leo Kernan (University of Victoria)
Lucietta Williams (University of the West of England)
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10 University Square (UQ), 01/005
Wednesday 27 July, -
Time zone: Europe/London

Short Abstract:

In an era of geopolitical uncertainty, eco-anxiety, and 'Covidian' life, art practice fosters connection, hope, and well-being. This panel highlights transformative assemblage, bricolage, collage, montage, and multimodal configurations focusing on 'undercommons' and creative research methodologies.

Long Abstract:

In an era of geopolitical uncertainty, eco-anxiety, and 'Covidian' life (Levine, de Staal, 2021), art practice fosters connection, hope and well-being. These pressing circumstances have altered artistic citizenship and praxis (Elliot, Silverman, Bowman, 2016). Morton asks how in an 'age of mass extinction' can we understand that 'all art is ecological' (2021) and poised to redress these concerns. This panel highlights assemblage, bricolage, collage, montage, and multimodal configurations as transformative modes (Drag, 2020; Baldacci, Bertozzi, 2018), through a focus on 'undercommons' (Stefano, Moten, 2013, 2021; Shukaitis, 2017) and creative research methodology, which may reduce these crises and their 'toxic colonial footprints' (Loveless, 2019). Within these creative-critical spaces, the 'undercommons' arises against the 'commons' as a frictional counterpoint and tension that mobilizes hidden voices and inequities highlighted during the pandemic. Out of a need to address plurality, adopt a 'migratory aesthetics' (Bal, 2008), and produce amidst material and financial precarity, some practitioners have turned to creative methods, traditionally positioned as transgressive of boundaries. We are interested in forms of radical participation, poiesis, and meaning-making that enhance intersectional identity, expand communication across divides, and encourage resilience and resistance. Perhaps "precarious" forms of inquiry and narrative bricolage can reveal historiography and new aesthetics, creatively use juxtaposition to address rupture and crisis, and subsequently fuel enchantment and wonder (Levi-Strauss, 1962). This may provoke an anthropological, 'mindful' attention economy that questions neoliberal norms (Doran, 2018).

Accepted papers:

Session 1 Wednesday 27 July, 2022, -