<\/p>\n\n\n\n
“China\/Africa. The Split as Form, or: A Challenge to Comparison,” at 19th ACASA Triennial on African Art, Chicago, August 2024<\/p>\n\n\n\n
“Deepfake Sovereignty and Piecemeal Totality,” at Art, Film, and Visual Studies Workshop<\/em>, Harvard University, December 2023, and at NYU Cinema Studies Conference holding the gaze<\/em>, New York, February 2024<\/p>\n\n\n\n “Digital Dilapidation. On Jean-Pierre Bekolo’s Les Saignantes<\/em> (2005),” at Refraction and Resistance: Writing African Art<\/em>, Graduate Symposium at The Clark Art Institute, Williamstown, MA, April 2023<\/p>\n\n\n\n \u201cState of Disrepair. Unraveling digital film through Bekolo\u2018s Les Saignantes<\/em>,\u201d at Digital Histories, <\/em>Graduate Conference at the Department of Modern Culture and Media, Brown University, November 2022<\/p>\n\n\n\n \u201cInnovate\/Dilapidate. Selly Raby Kane\u2018s entrepreneurial Afrofuturism,\u201d at First Forum: Accumulation and Excess<\/em>, University of Southern California, Division of Cinema and Media Studies, October 2022<\/p>\n\n\n\n \u201cInsubstantial actualities. Digitality and the Politics of Frequency in Apichatpong Weerasethakul\u2018s Memoria <\/em>(2021)\u201d at Virtual Matters: Rethinking Image and Reality in Art History<\/em>, University of Pittsburgh, Department of History of Art and Architecture, March 2022<\/p>\n\n\n\n \u201cThey Meet at the Casino. Chris Kraus\u2019s Chance Event as a Postscript to Postmodernism,\u201d at IN EXCESS. RASC\/a Art History Graduate Student Conference, Southern Methodist University, January 2022<\/p>\n","protected":false},"excerpt":{"rendered":" “China\/Africa. The Split as Form, or: A Challenge to Comparison,” at 19th ACASA Triennial on African Art, Chicago, August 2024 “Deepfake Sovereignty and Piecemeal Totality,” at Art, Film, and Visual Studies Workshop, Harvard University, December 2023, and at NYU Cinema Studies Conference holding the gaze, New York, February 2024 “Digital Dilapidation. On Jean-Pierre Bekolo’s Les […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"no-title","meta":{"footnotes":""},"class_list":["post-33","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/pages\/33","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/comments?post=33"}],"version-history":[{"count":25,"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/pages\/33\/revisions"}],"predecessor-version":[{"id":549,"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/pages\/33\/revisions\/549"}],"wp:attachment":[{"href":"https:\/\/luisemoerke.com\/index.php\/wp-json\/wp\/v2\/media?parent=33"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}