I Like That - Rob Stone and Jean-Paul Martinon
...And there were other questions about the museum’s knowledge vs. our own knowledge, and about open forums for learning at the edges of that which is acknowledged, as in I Like That (Rob Stone and Jean-Paul Martinon).... Irit Rogoff: Turning
Rob Stone and Jean-Paul Martinon, I Like That, 2006 © Van Abbemuseum
"The Shrinking Green (On Eccentric Archives).
Stone, Rob (2006) The Shrinking Green (On Eccentric Archives). In: Nollert, Angelica and Rogoff, Irit and De Baere, Bart and Dziewior, Yilmaz and Esche, Charles, (eds.) A.C.A.D.E.M.Y. Revolver, Frankfurt, pp. 177-189. ISBN 3-86588-303-6
Full text is not in this repository.
This theoretical text was designed to articulate the questions around archive that developed from my involvement in the 'Academy' project. This was a series of publications, conferences (Antwerp, Eindhoven) and exhibitions (Hamburg, Eindhoven, Antwerp) funded by the Siemens Art Fund, and organised by Irit Rogoff (Goldsmiths College) with whom I worked closely, in the conceptualisation and execution of the project. Through braided research initiatives involving online and printed publications, performances, conferences and exhibitions to which I contributed, the project explored the history and future the role of education in the art museum. My concerns were with the overlooked spaces of the museum (workshops, security offices, unnamed vestibules, smoking shelters) and the forms of sociable knowledge generated by them. The text's structure is analogical with a syncopated approach to the problems of articulating the sociabilities and holdings of archives when viewed from competing vantages. The piece connects with the exhibition 'I Like That' at the Van Abbe Museum that I curated with John Paul Martinon in 2006, which produced aural provocations of the museum's collection. The piece represents a furtherance in my theorisation of the unlikely role of aurality in modern architectural culture, and its mode of address is in keeping with the large number of essays I have written in similar circumstances Eg. ‘Just Give Me One Thing That I Can Hold On To', in Lok, S. (ed.), Golden (Notes), (2007); ‘Salted Pleasures', Walsh, R. (ed.), Infallible, (2005); ‘The Design of Sighs', Crowe., N. & Rawlinson, I., At 25 Metres, (2007); ‘Eyes With Hope Gleaming', Voeglin, S. (ed.), Clickanywhere, (2006); ‘The Windows' Leave: Ligatures for the Lovesick', de Philo, J. (ed.), Issues, No. 4, (2005)." (© eprints.mdx.ac.uk)
Bio - Rob Stone
Rob Stone teaches and writes on twentieth century and contemporary art, cinema and curating, as well as the critical theories, poetics and forms of innovative writing that involve them. He has a particular and long-standing interest in modern architectures and the musical and otherwise acoustic production of spaces of sociability and politics. A forthcoming book on the subject, Auditions: Architecture and Aurality, will be published by MIT Press.
He completed his MA in the Social History of Art in 1992 at the University of Leeds and stayed on for his doctoral research with Professor Adrian Rifkin into the often Delphic relationships between modernist cultural and architectural theory and the processes of mass suburbanisation that occurred in Britain in the period between the wars. From 1997-2004 he worked to help build the Department of Visual Cultures at Goldsmiths College, London, where he also established the Centre for Research Architecture. He was an editor of versus contemporary art magazine and The Journal of Visual Culture. (© http://www.ahva.ubc.ca)
Bio - Jean-Paul Martinon
I currently teach courses at undergraduate and postgraduate level in museum studies, curatorial theory, contemporary French philosophy, and Sub-Saharan African thought. I co-founded the PhD Curatorial / Knowledge Programme with Irit Rogoff and I run a seminar on the representation of violence on the PhD in Visual Cultures.
After completing a master’s degree in International Law in Paris, I moved to London in the late 80s. Very quickly and with no previous experience or training, I found myself curating exhibitions of contemporary art. In 1991 I co-founded Rear Window, an independent arts trust that staged a series of exhibitions and conferences in temporary sites across London throughout the 90s. Each project presented, outside the conventions of the gallery space (in and around different frames, themes, media, and locations), new or collaborative work by young or established contemporary artists, writers, and poets. One such project, Care and Control (1995), was sited in a fully functioning psychiatric hospital in East London and involved 30 psychiatric patients and 18 contemporary artists. It is in the context of this project that I completed my first monograph, a social history of Hackney Workhouse, Swelling Grounds, 1995. I stopped curating exhibitions by the end of the millennium and started working in academia, completing a PhD in contemporary art theory in 2001. My interest in contemporary curatorial practices developed with the creation of the Curatorial Knowledge PhD Programme and the editing of a new book on this topic, Allegories of the Curatorial.
Over the years, I have slowly developed an interest in two areas of modern and contemporary philosophy. The first focuses on the works of Emmanuel Levinas and Jacques Derrida. This interest led me to complete a second monograph, On Futurity / Malabou, Nancy & Derrida (2007), which comprises a series of essays on the notion of futurity in contemporary continental philosophy. The second focuses on the work of Sub-Saharan philosophers and specifically the work of Alexis Kagame and Maniragaba Balibutsa, both of Rwanda. This interest led me to write a new monograph, The Proposition: Peace and the Rwandan Genocide Memorial Centre (2012), which focuses on the Genocide Memorial Centre in Kigali, Rwanda. (© http://www.gold.ac.uk )