ANNUAL NATIONAL DELEUZE CONFERENCE MAY 17–18 May 2017 at the AKI Academy of Art and Design in Enschede, part of ArtEZ University of the Arts, the Netherlands.

Paper presentation: On Pedagogies of Affect and the Microbiopolitics of S/He/It


Paper presentation: On Waste(d) Multiplicity and the Microbiopolitics of S/He/It


“Wildness without Wilderness”: The Poiesis of Energy and Instability

Université Libre de Bruxelles,
27 October to 30 October 2016

Paper presentation: “Waste Multiplicity—On Microbiopolitics of Our Guts”


Time: every 2nd Monday 13.30-16.30
Place: AKI Academy of Art & Design, ArtEZHulsmaatstraat 35, 7523 WB Enschede
Room: Auditorium

“When you work, you are necessarily in absolute solitude. You cannot have disciples, or be part of a school. The only work is moonlighting and is clandestine. But it is an extremely populous solitude. Populated not with dreams, phantasms or plans, but with encounters. An encounter is perhaps the same thing as a becoming, or nuptials. It is from the depth of this solitude that you can make any encounter whatsoever. You encounter people (and sometimes without knowing them or ever having seen them) but also movements, ideas, events, entities. All these things have proper names, but the proper name does not designate a person or a subject. It designates an effect, a zigzag, something which passes or happens between two as though under a potential difference.” [1]

This is not a course on Deleuze’s philosophy but rather how to think with Deleuze. You will not be taught yet another system what to think and know. If you are looking for yet another tool to master knowledge, these events will disappoint you. Deleuze’s Apprenticeship that precedes the Annual National Deleuze Conference “The Grin Without a Cat” (May 17-18 2017 AKI) is to show you the ways to unlearn, unfamiliar whit what you think doing and do thinking, but not in order to find the one “true” way. Populated by encounters, we will learn together the path of multiple connections, uncomfortable lines of what drives thinking and creativity. We will slowly learn how to equip ourselves with minor glossaries, Deleuze’s ways of expression.  In this way, by following the path of the dark precursor that zigzags within the chaos of labyrinth, we will encounter the futurity, of those yet to come. This will be the path not of friendship, since we do not have to agree, we do not have to conform to the given ideas. Rather, we will follow the way of short alliances, risky relations and temporary joys. This is the apprenticeship of Deleuze, that we are to encounter.


Apprenticeship means that you are not to directly, unreflexively apply the concepts of Deleuze’s philosophy on your work, but to problematize it, see what is important for you, for today. We will focus on problems that appear in the process of creative thinking and practice. We will see how philosophical concepts are further generated within creative images, sounds, spaces and movements; and how they immediately generate new people, new forms of thinking. Consequently, we will see how the process of thinking and creation is already a political and ethical act.

Importantly, we will learn a different logic of thinking that Deleuze’s philosophy entails in order to think and practice it in your own words. We will learn how to use and understand the given tools of terminology in order to be able to work with it further in your own path. That is why, the lecturer is just a guide. She is not to tell you what is true, only how to encounter and not to be lost. You are to prepare to class by reading the given texts and finding what moves you and what is unclear. You are to ask questions and share with others your way of experiencing the path; and like in any encounter, when something disagrees with you, you speak up.

[1] Gilles Deleuze and Claire Parnet, Dialogues, trans. Hugh Tomlinson and Barbara Habberjam (New York: Columbia University Press, 1987), 6.

 giblinA New Affect Platform!



Rike-Horb--Raster_Numerik_D_1000Zufall und Liebe – Rike Horb / Matthias Krieg / Eva Vuillemin

9 October – 1 November 2015
at centrum – a contemporary art space in Berlin
Opening: Friday 9 October 2015, 7pm
curated by Jagoda Kamola
 Lecture on Chance #1: Saturday 10 October 2015, 5pm
“Thinking Against Chance or How Something New is Possible”

With the advent of modern art, chance became the creative ‘spark’ which excites artistic imagination and causes non-predictable but feasible material results; a practice that left chance a continuous paradox. This exhibition approaches chance as 1. a definable beginning 2. furthered by repetition, consolidated in 3. continuity which unfolds against the backdrop of spontaneity in continuous interaction with the world. In this sense, we refer to Charles Sanders Peirce’s notion of Tychism; rather than postulating the importance of determinism in cosmology and in socio-economic Darwinism Peirce claimed that the origin of species is triggered by evolutionary love or ‘agapeism’, when one entity is prepared to sacrifice its own perfection for the sake of the wellbeing of another.

The exhibition brings together photography (Eva Vuillemin), performative sculpture (Rike Horb) and a sound installation (Matthias Krieg). The exhibition will be accompanied by a screening of Krzysztof Kieślowski’s movie Przypadek (Blind Chance) and lectures on chance as understood by philosophy and physics.

The notion of chance, although in the common understanding carrying a sense of that which might be unexpected, is linked to the concept of probability. Here lies a particular paradox: in order for chance to be perceived, there must be a holistic vision of events. Agnieszka Anna Wołodźko will thus discuss how we can think about the new while keeping the notion of unpredictability and the non-linear understanding of causality. In this way, the problem of chance will be examined as the problem of creativity and experimentation.

BASCE seminar 10 July


Daughters of Chaos: Practice, Discipline, A Life

the 29th of June and the 1st of July 2015


Paper presentation:”Molecular Experimentations: (Bio)art, (bio)technology and (bio)semiotics”

Deleuze and Aesthetics

deleuze and aesthetics

Paper presentation:

“To have done with the judgment of aesthetics! Deleuze’s ethology actualized in bioart”

Bio+Art MeetUp

On May 7th, V2_ hosts its first Bio+Art Community MeetUp. For everyone who is interested in the symbiotic relation between art and the life sciences.

bioart meet up

New book!

This Deleuzian Century

Art, Activism, Life

According to Gilles Deleuze (1925-1995) philosophy is not for the privileged few or the specialized ones: it is an activity that appeals to anyone who is attuned to the desire for the ethical life. Inspired by Spinoza’s concepts of desire and freedom, Deleuze’s ethical life is a life that aims at experimenting with sustainable ways of coping with the earth, with society, with the long term struggles and contemporary crisis that matter to us all. An ethical life defines thinking as the invention/intervention of new concepts and takes the risk of working with them in the real world. This book has been written in this spirit of free explorations of intensities. It explores the entanglements between art, activism and life in the service of training us to live ethically. Contrary to morality, which is the implementation of socially accepted rules and regulations, ethics requires an analysis of the power relations that structure our interaction as relational subjects, in order to enable us to deal with them.
The original contributions presented in this volume aim to set these ideas to work in contemporary practices, exploring the ways in which Deleuze’s thought continues to be relevant at the start of the 21st century. As a product of the “Deleuze Circle”, an open collaboration between academics situated in the Low Countries started in 2008, the chapters in this book contribute to our ongoing conversations on how to live the ethical life today in academia, in art but above all in our multiple ecologies of belonging.


Philosophy after Nature, Utrecht

3-5 September 2014

Conference paper: ‘Life after Nature. The Human Body under Art’s Experiment’


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