Susan Schuppli is a researcher and artist based in the UK whose work examines material evidence from war and conflict to environmental disasters and climate change. Current work is focused on the politics of cold and is organised by the provocation of “Learning from Ice”. Creative projects have been exhibited throughout Europe, Asia, Canada, and the US. Recent exhibition contexts included the Toronto Biennial of Art, Morris & Helen Belkin Art Gallery, Vancouver, Garage Museum of Contemporary Art, Moscow, Blackwood Gallery, Mississauga, Gallery Wellington, New Zealand, and Extra City, Antwerp. Other notable works include Nature Represents Itself, SculptureCenter, New York, which was selected by ARTnews as one the 20 best environmentalists works of the past 50 years. She has published widely within the context of media and politics and is author of the new book, Material Witness: Media, Forensics, Evidence published by MIT Press in February 2020. Schuppli is Director of the Centre for Research Architecture, Goldsmiths University of London and is an affiliate artist-researcher and Board Chair of Forensic Architecture. Previously she was Senior Research Fellow and Project Co-ordinator of Forensic Architecture. Prior to working in the UK she was an Associate Professor in the Department of Visual Arts at Western University. Schuppli received her PhD from Goldsmiths and participated in the Whitney Independent Study Program after completing her MFA at the University of California San Diego. She is the recipient of the 2016 ICP Infinity Award for Critical Writing and Research.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.

Presentation

Polyvocal Tongue
The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.

Conversation

TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries

At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.