Strategies for Reparative Pedagogy, summer and fall 2019

In summer and fall 2019, Arts Research Cooperative will present a series of one-day workshops in cities across the US, bringing together artists, students, teachers and cultural producers of all kinds to discuss the current crisis in arts education and explore reparative models. To receive information about upcoming workshops, please sign up for our mailing list.

Strategies for Reparative Pedagogy

The academy is in crisis. In an era of increasing tuition and low-wage, adjunct labor, the university systems no longer serve the needs of either students or teachers. For artists, writers and other cultural producers, this problem is particularly acute. Artists have long relied on academia to provide support and community for research-based and experimental practices that are not market-driven. Yet as the American university system increasingly turns towards a profit-driven model, teachers and students are pitted against each other, forced to compete for dwindling assets – in short, the university is making us paranoid.

Arts Research Cooperative was founded in response to these concerns, to serve an immediate need for practitioners by providing a space for collaborative learning and exchange. We believe that alternative institutions can and must be created to fill the void. In this spirit, we invite you to join us for a one-day workshop to develop strategies in “reparative pedagogy,” exploring modes of repair and reparation in education. Drawing on the writings of Eve Kosofsky Sedgwick, a reparative pedagogy uses our collective resources to repair the “murderous part-objects” of the educational system “into something like a whole” – although, as Sedgwick reminds us, “not necessarily like any preexisting whole.”

The course will start with a group reading and discussion, followed by a hands-on workshop in which we develop new pedagogical approaches and administrative tactics, including the development of sexual harassment and discrimination policies, and the sharing of resources in educational cooperatives. The aim of this workshop is to counter the alienation that enables our exploitation within the neoliberal university and form new institutions and collectives that better serve our needs.


August 9, 2018
Screening and performances begin promptly at 8PM

1611 S Hope Street, 2nd Floor
Los Angeles, CA 90015

The members of the Arts Research C(ooperative) invite you to a one-night event that marks the conclusion of our inaugural summer—six weeks in which we have read theories; talked about money, memes, and depression; shared our projects for critique; critiqued the critique; and created a secret cult handshake.

Works include: definitions of family histories and genealogies within black femininity; a confession of the inability to mourn the death of one’s grandmother; black subjects in simulacra of nature in which their bodies are seen as foreign and dangerous; a modest proposal in response to America’s repudiation of social safety nets; a tour of a home in Brooklyn; a traversal of backyards, enclosures, and commons; four female serial killers restaging the violent penetration of the female Heliconius butterfly on human men; two asteroids in orbit around the gallery space, destined to collide once at random; a search for the perfect place in Los Angeles to work remotely; a recollection of a romantic story in a different language; and a portrait of ARC.

Participants: Kamaria Shepherd, John Junghun Lee, Yvonne Buchanan, Laura Solomon, Xander Rapparport, David Prince, Ariel McCleese, Filip Kostic, Morgan Waltz, Maya Olympia Bush, Andy Bennett, Maura Brewer, Trista E. Mallory, Aliza Shvarts

Marathon Screenings: Aliza Shvarts, Patty Chang & David Kelley

MARATHON SCREENINGS: Aliza Shvarts, Patty Chang & David Kelley
Sunday August 5, 2018, 6:30 PM
Roger’s Office
5827 York Blvd Building B Los Angeles, CA 90042

Aliza Shvarts will present two video works, Nonconsensual Collaborations, 2012-2014 (2016), and Shoot, 2016, followed by artists Patty Chang and David Kelley’s presentation of Spiritual Myopia, 2016. Both presentations will be accompanied by individual lectures. The evening will commence at Rogers Office, followed by a potluck BBQ.

Aliza Shvarts is an artist, writer, and scholar whose work deals broadly with queer and feminist understandings of reproductive labor and temporality. Nonconsensual Collaborations investigates the unmarked gendered dynamics of artistic collaboration, documenting a series of performances with other artists who did not agree to their participation. The second, Shoot, tells the story of how Shvarts wrote a performance proposal in 2012 to non-fatally and consensually shoot James Franco. Years later Franco visited the Whitney Museum, where Shvarts has a teaching fellowship, for a private tour. This 2 channel video juxtaposes text from the original proposal with now-canonical performance works that involve shooting, exploring the relationship between language, violence, and dramatic action.

Patty Chang is an artist working in performance, video, writing, and installation. David Kelley’s work is a hybrid of experimental documentary and ethnographic practices that make use of imaginary, choreographic and performative strategies. In their video Spiritual Myopia, the artists reveal the invisible labor and desire of the residents of the oil industry boom towns of Fort McMurray in the Canadian Tar Sands and the refining town of Port Arthur Texas. The two cities are terminal nodes of the proposed Keystone XL oil pipeline which would span the United States, linking them spatially in the same energy infrastructure and temporally in their different stages of a boom or bust economy. Borrowing its title from Alfred Stieglitz’s photo Spiritual America, Spiritual Myopia speaks to the nearsightedness innate to hypercapitalism.

Production Values

Armory Center for the Arts in collaboration with Arts Research Cooperative

July 17th, 2018 7pm

Production Values i​s a one-night video screening that features artists who investigate ways that popular culture normalizes state violence. Using their own proximity to media as a tool, the five artists in this screening each use different strategies to lay bare a violence that is often masked by entertainment. Combining humor, appropriation, essayistic digressions, and strategies borrowed from documentary film, these works ask viewers to reconsider our own role in our mediatized landscape. What could it look like to resist this normalization? How can the ways we ​look shift? What does resistance look like on the couch, in the living room, in the movie theater?

Maura Brewer, ​The Surface of Mars​, 2016
The Surface of Mars​ is a 2016 video essay that takes Ridley Scott’s 2015 film ​The Martian​ as a site of analysis. Combining appropriated footage, animation, and voiceover narration, ​The Surface of Mars​ follows the actress Jessica Chastain in her roles in ​The Martian, Zero Dark Thirty,​ and ​Interstellar.

Maura Brewer’s video essays combine footage from Hollywood films, television and internet subcultures to question ways in which female subjects are mobilized and constrained by a mainstream culture that mimes the language of feminism in the service of patriarchy. Brewer has exhibited internationally, including MoMA and Art in General in New York; MCA, Chicago; MUMOK, Vienna; and the Centre d’Art Contemporain Genève. She is a 2017 California Community Foundation Fellow, and a 2016 and 2018 Creative Economic Development Fund grantee.

Abigail Collins, ​Out of Play (episodes 1 and 2)​, 2017
Out of Play ​captures military training exercises within Medina Wasl at Fort Irwin Training Center, interspersed with footage of film set fabricators and audio clips of interviews with an Iraqi role player. Culminating in a conversation between the artist and her father — an actor who has played military figures in film and television productions — Collins investigates the weight of role-play, political trauma, and cultural production.

Abigail Raphael Collins is an interdisciplinary artist utilizing documentary, journalistic, and conceptual practices to reconsider relationships between media and systemic violence. Recent exhibitions include Angels Gate Cultural Center, PØST, Torrance Art Museum, and USC Station Gallery, all in the greater Los Angeles area, and at the Yeosu International Art Festival. She is the recipient of the Toby Devan Lewis Fellowship and a UCIRA grant, and is a former resident at Seoul Art Space Geumcheon.

Vishal Jugdeo, ​An Education in the Logic of the Leaves, ​2014
An Education in the Logic of the Leaves​ was made in 2014, in collaboration with Shyaam Kaara, an actor who had recently moved to Los Angeles to pursue a career in film. This film is edited from a series of conversations between the actor and artist, and is intercut with footage shot in India, Guyana, and Los Angeles.

Vishal Jugdeo is a filmmaker and artist whose work constructs experimental approaches to narrative and documentary, weaving together strategies from a variety of modes of film and television. His work often emphasizes the physical and psychical space around moving images, revealing the mediated process through which we understand the unfolding present. He is based in Los Angeles.

Paul Pescador, ​Greetings Friends,​ 2017
Greetings Friends​ is a full-length essay film titled after a Disney Studio produced film. In 1941 the United States government created the Office of Inter-American Affairs, stemmed from a growing concern of potential Nazi infiltration in Latin America. In ​Greeting Friends,​ Pescador reconsiders these films and their relationship between cultural diplomacy and colonialism.

Paul Pescador is an artist, filmmaker, performer, and writer discussing social interactions and intimacy as they pertain to his own personal identity and history. He graduated with an MFA from University of California, Irvine and a BA from University of Southern California. Select exhibitions and screenings in the greater Los Angeles area include 18 Street Art Center; 5 Car Garage; gallery1993; Coastal/Borders, Getty Pacific Standard Time: LA/LA at Angels Gate Cultural Center; LAND at The Gamble House; Vacancy; Ashes/Ashes; Park View; and Human Resources.

Sable Elyse Smith, ​How We Tell Stories to Children​, 2015
How We Tell Stories to Children​ is a single-channel video that combines found footage, music clips, and audio of the artist reading with video clips of her father recording himself from prison. Focal points occur just offscreen, or quickly flash away. We are given glimpses of a young man running, of city streets flying past from out a car window, but the video centers on clips of her father recounting events in their shared past.

Sable Elyse Smith is a writer and artist based in New York. In her practice she examines the complex language and emotional landscapes embedded in systems of surveillance and structures of constraint, and the often invisible ways in which they shape our minds and direct our bodies. Smith is currently an Artist-in-Residence at the Studio Museum in Harlem. Recent solo exhibitions include ​How We Tell stories to Children​ at the Atlanta Contemporary, Atlanta, GA, Ordinary Violence​ at the Queens Museum, New York and a​nd then the street lights – like a warning bell​ at Recess, Brooklyn.