On Tuesday May 24, 6-8pm, I will give my seminar: “Pre-figures of Divestment in Feminist Cinemas of Extraction” at the National Institute for Experimental Arts (NIEA)
It is presented for the seminar series “Precarity//Futurity//Aesthetics”, co-convened by Jennifer Biddle, Anna Munster and Veronica Tello, at the Elywn Lynn Conference Centre (near the UNSW A&D library).
Contemporary mine production involves high salaried contractors negotiating ‘unconventional’ extractive regimes via increasingly privatized, post-democratic licensing and labour agreements, at the anthropocenic limits of land use. In the settler-colony especially, the image of mining labour, once key for dramatizing production (and anti-production, in strike) has been mobilized within the New Economy in ways that fundamentally disturb the figure-ground relations of citizenship through which the mine worker dialectically achieved its value in the first place.
Rachel O’Reilly’s visit to NIEA, UNSW A&D, coincides with the presentation of two series of drawings from her larger research project, The Gas Imaginary (2011-) as part of Frontier Imaginaries, currently at IMA/QUT.
Working through the difference of the contemporary mode of primitive accumulation of the mining contract, this talk draws on an earlier generation of feminist filmmakers’ im-proper and clinamen-like engendering of industry forms and formal ‘movement’, between labour and nature, to substantiate a contemporary aesthetic theory of divestment.
1. Sandra Lahaire, Uranium Hex, 1987
2. Susan Wallace-Babb in oxygen mask, Winnsboro, Texas, Sept. 12, 2011. (Erin Trieb for ProPublica)