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Christoph Solstreif-Pirker
Austria °1989
research interests: Anthropocene, trauma, political ecology, performative research, non-philosophy, ecofeminism, copoiesis, psychoanalysis, continental philosophy, art theory, architecture, space, environmental ethics, artistic research, painting-as-discourse
affiliation: Institute for Contemporary Art & Institute of Architecture and Landscape, Graz University of Technology
Christoph Solstreif-Pirker is an architect and transdisciplinary researcher crossing cultural studies, political ecology and spatial theory, and a practicing artist working on performance, painting, drawing, music, and text. He is an Assistant Professor at the Institute of Architecture and Landscape at the Graz University of Technology, Austria, and Post-Graduate Researcher at the Global Center for Advanced Studies – GCAS College, Dublin. He completed his Ph.D. in artistic research and contemporary art under the supervision of Milica Tomić and Henk Slager. His research interests include (post-)anthropocenic subjectivity, trauma, political ecology, performative research, non-philosophy, ecofeminism, copoiesis, psychoanalysis, continental philosophy, art theory, and their connection to architecture and the wider planetary space. His work has appeared in publications including GAM – Graz Architecture Magazine, Ruukku: Studies in Artistic Research, and JAR: Journal for Artistic Research. He is currently preparing a monograph on the mutual interplay of subject and nature, emotion and space, brutality and cure, Self and Otherness, titled Digging in the Dirt – Investigative Approaches to a Planetary Trauma. To view his latest projects, visit www.solstreif.at
research expositions
Just a mere Spring to take: Embedding in Capitalocenic Atmospheres (2019) author(s): Christoph Solstreif-Pirker published in: RUUKKU - Studies in Artistic Research
30 years after the publication of Félix Guattari's "The Three Ecologies," we are facing a turning point in the way we are encountering our environment. Established concepts of "nature" have proved to be considerably part of a grand homocentric design whose spatiality Peter Sloterdijk poignantly defined as the "World Interior of Capital." To investigate these capitalocenic strata, it becomes necessary to re-territorialize institutionalized debates, conceptions and practices, and perceive contemporary landscapes as manifold, unknown and peripheral alterities. This research exposition aims to encounter the capitalocenic field, its actors and inherent specificities, and to propose a peripheral methodology for its investigation. According to its etymological roots, periphery not only implies a field or site at "the outer surface", but also refers to the Greek verb periphérō, meaning "to carry around." This adds a proto-ethical component, as we become part of a carrying and compassionate interplay with virtual forces of capitalocenic dominance, violence, and destruction. In this intimate moment of becoming peripheral, we are striving from the grand institutional narrative towards the fragility of an uncertain world interior. To Félix Guattari, this is an act of empathy, of an affective affinity and imaginary re-construction that unfolds new practices, grounds, and epistemologies of how to encounter our manmade planet. Furthermore, it highlights the importance of peripheral discourse on the edge of the planetary crisis, and unfolds a vibrant and democratic borderspace within the all-encompassing ecological trauma. Departing from Victor Turner's "social drama" and the unpredictability of a global monetary system, the research exposition focuses on the specific context of Iceland as a knot geographically located within the global fabric of the Capitalocene. Being the site of a massive banking crisis between 2008 and 2011, the island-state is seen as an artificial environment of capitalist warfare, based on an ecosystem of virtual forces that actualize themselves on a social, economic, cultural or ecological level. Applying a situated performative research praxis, the research exposition affirmatively investigates this manifold and monetary-driven spatiality. As the research exposition suggests, performative research allows to confront the unpredictability of the capitalocenic field in all its complexity and to pave the way for "vanquishing [...] or even befriending" the dominant forms of global financial market capitalism" (Gilles Deleuze, Logic of Sensation). "Just a mere Spring to take" is a discursive assemblage of various investigative highlights on a virtual, global and elusive phenomenon, aiming at peripherically unfolding horizons of performative thinking, and enabling a fragile intra-active confrontation with our vertiginous, traumatized but still living cosmos.
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