What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?
This practice-related research is concerned with the shifts from Greenbergian abstraction and medium-specificity to the current 'post-medium condition' of art, and more specifically with questions in experimental animation of 'formal coherence' in light of the disputes over the ontological and categorical relevance of the medium...
My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of the two?
Currently researching for a practice-related PhD that considers the role of fine art practices since the 1960s in relation to the environmental impact of new technologies...
What is cool? The word denotes a certain socially desirable trait or characteristic that can apply to animate objects, like people or inanimate objects, like products.
I was born in Seoul where everything changes so fast. Nothing waits to grow old or to become attached to the city. As I moved through four continents and the Arctic Circle, I made ephemeral art works.
My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object.
My work is based on stories about parts of cities annihilated by totalitarian interventions.
My practice and thesis begin from an understanding of social structures as spatial and as performed.
I love science. The big ideas, the big questions: time, space, consciousness, Grand Theories of This, That and The Other. Her scales and time-frames outstrip our capacity to experience her universe by orders of magnitude.
The intention of this project is to examine the theory of the distributed object.
Single point perspective and photographic technologies of sight have been implicated in a dominating western way of seeing, referred to here as 'natural vision' for the past 500 years.
My research investigates different concepts of imagination in Hannah Höch's independent and collaborative work. I ask where Höch locates her understanding of imagination within different conceptual frameworks.
Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.
In this practice-related study I use a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler.
I work with video, photography and installation and am interested in the interface between the external world and the internal world of the imagination.