Ineligible: A Disruption of Artefacts and Artistic Practice - Conference volume (2020) (original) (raw)
Related papers
Art/Archaeology: the Ineligible project (2020) - extended book chapter
In D.W. Bailey, S. Navarro, and Á. Moreira (eds) Ineligible: a Disruption of Artefacts and Artistic Practice. Santo Tirso: International Museum of Contemporary Sculpture.
In this chapter Professor Bailey provides a detailed description of the origins, aims, processes, and outcomes of an early phase of the Ineligible project: the installation at the International Museum of Contemporary Sculpture in Portgual that was part of the exhibition Creative (un)makings: Disruptions in Art/Archaeology.
Creative (un)makings: Disruptions in Art/Archaeology - Exhibition Catalogue (2020)
2020
Art/archaeology, a new transdisciplinary practice has fractured traditional perspectives on the relationships of art and archaeology, and the exhibition "Creative (un)makings" brings that disruption to the museum world for the first time. This book is the catalogue from the exhibition at the International Museum of Contemporary Sculpture in Portugal (March-September 2020) Seen from the standard perspective of traditional academic and cultural subjects, art and archaeology have comfortable relationships: collaboration, co-inspiration, shared aims to advance knowledge of human behavior and thought. Art/archaeology argues that writing and thinking about the past should move beyond existing boundaries of both disciplines, and that creative work should replace written texts and lectures. Art/archaeology opens a new space where creative work, thought, and debate expand in unexpected directions, and where we find innovative potentials for objects from the past.
Art // archaeology // art: letting-go beyond (2013)
Published in I. Russell and A. Cochrane (eds). Art and Archaeology: Collaborations, Conversations, Criticisms, pp. 231-50. New York/Dordrecht: Spring., 2013
In this text chapter, Professor Bailey investigates the articulations of art and archaeology. He argues that while recent influences of contemporary art have expanded archaeological interpretations of the past, more provocative and substantial work remains to be done. The most exciting current output is pushing hard against the boundaries of art as well as of archaeology. Bailey’s proposal is for archaeologists to take greater risks in their work, and to cut loose the restraints of their traditional subject boundaries and institutional expectations. The potential result of such work will rest neatly within neither art nor archaeology, but will emerge as something else altogether. The new work will move the study of human nature into uncharted and exciting new territories.
Art archaeological interactions (2024).
2024
Bailey, 2024. Art archaeological interactions. In A. Gago, J. Amorim, and N. Moura (eds) [e]motion, pp. 11-25. Porto: UCP. This chapter is the result of Doug’s keynote at the 2021 [E]motion Conference on Science and Technology in the Arts coordinated at the Center for Research in Science and Technology of the Arts, of the School of Arts, Universidade Católica Portuguesa in Porto. One of the important archaeological conversations taking place today surrounds this important question: what are the creative potentials for collaborations between artists and archaeologists? The content and potential of these conversations are fresh and exciting, to the extent of even challenging standard traditions of work between the two disciplines.
Disarticulate—Repurpose—Disrupt: Art/Archaeology (2017)
Cambridge Archaeological Journal 27(4): 691-701., 2017
This project sees archaeology and art as a political tool for disrupting conventional, politically loaded narratives of the past. Rather than producing institutionally safe narratives conventionally certified as truth, archaeologists should follow the lead of artists who use the past as a source of materials to be reconfigured in new ways to help people see in new ways. Using as an example the works of the Canadian artist Ken Monkman, who subverts nineteenth-century landscape painting to reinsert the missing critiques of Anglo-American colonialism, dominance of nature, and heteronormativity, this paper advocates disarticulat-ing materials from the past by severing them from their context, repurposing them to bring contemporary concerns to the fore and creating new, disruptive visions from them. The article proposes the practice of an art/archaeology.
Fleeing from Categories: Monstrous Artefacts and Style in Archaeology
Monstrous Ontologies: Politics, Ethics, Materiality, 2021
The styles of Celtic art are populated by monstrous artefacts whose forms and decorations are an admixture of animal, human, and vegetal motifs. Because of these material qualities, monstrous artefacts flee from our categorisations, capture our attention, and entrap our senses. They evade from the notion of style that archaeology has created to make sense of the cultures and people who created them. In this paper, I present an analysis of style and argue that it is necessary to take monstrous artefacts seriously. An enterprise that requires to analyse what they do for us, rather than what they represent. That is, observing the requirements that these monstrous artefacts place on artisans in the context of reproducing them. By adopting the Material Engagement Theory (MET), I present a novel definition of style as a continuous creative process: an accumulation of ways of thinking and acting recreated every time an artisan engages with them through required creative gestures and skills. The aim is to explore how artefact are not passive entities but actively constitute our modes of engaging with the world.
Programme: Other Perspectives in Archaeology, "Erased from the past"
2023
The first edition of the Other Perspectives in Archaeology (OPA) conference, which will take place in the Faculty of Geography and History of the University of Barcelona the 29th, 30th and 31st March 2023. This new archeology congress is organized collectively by a number of young researchers from different research groups of the Department of History and Archeology of the University of Barcelona. The study of those forgotten by History is not a recent one, but, under the auspices of favourable theoretical currents, Archaeology has achieved a more sensitive approach towards these subjects. Under the broad theme “Erased from the past”, we aim to give much needed visibility to forgotten people and subjects, which have been traditionally marginalized. The event welcomes proposals on any archaeological subject including, but not limited to: - Invisibilized social approaches in Archaeology (Gender and Feminist studies, Childhood studies, Elderly people studies, ----- Disabilities studies, Subaltern studies, etc.) - Archaeology of social, ethnic, cultural and religious minorities. - Geographically / physically isolated human communities. - Economic activities deemed “secondary” or “marginal” by ancient / modern scholars.
Beyond archaeology: disarticulation and its consequences (2023)
2023
In H. Barnard (ed.) Archaeology Outside the Box, pp. 9-18. Los Angeles, CA: Cotsen Institute. In this chapter Doug Bailey describes and discusses his controversial destruction of an amphora at the Theoretical Archaeology Group (USA) sessions in 2019 at Syracuse University (with apologies to Ai Weiwei). Issues of interest include the following: the creative power of destruction, art/archaeology, visual archaeology, and questioning the basis of archaeology and historical conservation. In addition, Doug discusses his "Ineligible" project exhibited in Portugal at the International Museum of Contemporary Sculpture (Santo Tirso) and Carpintarias de São Lázaro (Lisbon) in 2020 and 2021.
Architecture and Culture, 2013
This paper argues that architecture and archaeology are simply (and not so simply) forms of one another, that some resemblances between them are explicit and revealed, and that others have become obscured with time. Both disciplines use drawing and both often work with buildings or artifacts because, uncontroversially, architecture and archaeology share aspects of common origin. Of the divergent and now occluded resemblances between the two disciplines, this paper argues that design for architecture and reconstruction for archaeology are almost identical. It further suggests that once rendered explicit through forms of interdisciplinary analysis and practice, designreconstruction enables ways for interdisciplinary research to practice in the space between them. Using Claude Lévi-Strauss' term "scandal" for transgressive social practice to inform Julia Kristeva's interdisciplinary "site[s] of encounter," this paper attempts to characterize the kinds of drawing practicesscandalous artifactsthat may be made between architecture and archaeology.