Dr. Edith Doove

email: bureaudoove@gmail.com
website: bureaudoove.com

Edith Doove is a curator, writer and researcher specifically interested in notions of self-organisation, emergence and contingency, cross and transdisciplinary collaborations. Her curatorial practice started in 1987 in Belgium with making exhibitions in non-commercial spaces, public space and galleries, and continued in the UK since August 2010.

She started BUREAU DOOVE in August 2014 to help promote a choice of international artists and set up various art-science collaborations.
After moving to Saint-Nazaire in April 2018 she currently works and lives in Rouen, France where she is a lecturer at ESADHaR le Havre/Rouen.

* Doctoral research:
Laughter, infra-mince and cybernetics: Exploring the Curatorial as Creative Act

Marcel Duchamp, Door: 11, Rue Larrey (Porte: 11, Rue
Larrey), 1927. Three-dimensional pun: a door that
permanently opens and shuts at the same time, made
by a carpenter after Duchamp’s design, 86 5/8 x 24 11/16 in.
Collection Arman, New York. Courtesy of Arturo Schwarz.

This research identifies and responds to an impasse in the curatorial, which it sees as being both caused by its rapid expansion since the late 1980s as well as through its mainstream appropriation, which leaves it altogether in a confused state. The research proposes a strategy of recovery of its most basic working and regarding the curatorial as a creative act. It does so by locating the curatorial in the collaboration between both human and non-human elements – the curator, artist and/or scientist versus text, artefact, space and time. A poetic investigation of an invisible force that is seen as instrumental in the curatorial and meaning making in general, is underpinned by investigating a set of three major, intersecting ideas or intertwining narratives: laughter, inframince and cybernetics.

Using an essentially diffractive methodology, building on amongst others Whitehead and Barad, this thesis connects to ideas of non-linearity and relay in (art) history, building a rich meshwork, which allows for an original reconnection of the curatorial to its provenance and connoisseurship.

*Presentations at conferences and seminars, lectures:

– Paper presentation ‘Opacity as curatorial gesture’, conférence Ways of Picturing, Thinking and Telling Our Time. Cinquante ans à voir le voir en compagnie de John Berger. The SEAC Annual International Conference 2022, l’Université de Lorraine, Metz, 20-21 October 2022

– Entre chien et loup – quand l’abstraction et la figuration se croisent, Seminar Stratégies abstraites de la peinture contemporaine, ESADHaR Le Havre/Rouen in collaboration with Institut ACTE, École des Arts de la Sorbonne, Paris; Rouen 15 November 2019

– Transtechnology Research Seminar Permaculture and art: ‘The Art of Permaculture, Transtechnology Research, University of Plymouth, UK, 17 April 2019

– Transtechnology Research Seminar The blue one or the red one. Towards a creative vision for the future as part of Panel 2: Ideoplasticity and the problem of felicitous falsehoods, Slow Conference, Transtechnology Research, University of Plymouth, UK, 21 March 2018
– Transtechnology Research Seminar Narrative medicine: Pathos and the inframince membrane, Transtechnology Research, University of Plymouth, UK, 18 January 2017
– Transtechnology Research Seminar Ephemeral Affections: Mobile Absolutes (or Absolute Mobiles), Transtechnology Research, University of Plymouth, UK, 16 December 2015
– Presentation Slow/Networked Media Art and the Museum: Who Takes Care of Whom?, Renewable Futures Conference, RIXc, Riga, 9 October 2015
– Poster presentation at Off the Lip – Transdisciplinary Approaches to Cognitive Innovation conference, University of Plymouth, UK 9 September 2015
– Transtechnology Research Seminar The Opaque Lens: Affect and Subversion in Media Practices, Transtechnology Research, University of Plymouth, UK, 18 February 2015
– Transtechnology Research Conference Public Dialogues – Dialogues at the Interlude: Between Body, Artefact and Discourse,  Session 6: ‘Artist, Territory, History’ – Chair: Edith Doove (Transtechnology Research) with Pascale Weber (University Paris 1), Jean Delsaux (Université d’Auvergne Clermont 1) and Claudia Loch (University of Brasilia), Plymouth Arts Centre, 13 July 2013
– Presentation Territory Beyond the Frame, Deleuze Conference, Lisbon, 10 July 2013
– Transtechnology Research Seminar Categories of Partial Knowledge with Martyn Woodward, Transtechnology Research, University of Plymouth, UK, 15 May 2013
Research seminar On dialogue and the nonsensical, Plymouth College of Art, Plymouth, UK, 16 May 2012
– Transtechnology Research Seminar On Translation, Transtechnology Research, University of Plymouth, UK, 26 October 2011
Lecture on Wolfgang Tillmans, British Art Show 7 Associated Artists events, Peninsula Arts Gallery, Plymouth, UK, 20 October 2011
Debates on ‘Art & technology’ two debates with a.o. Peter Beyls, Pieter-Paul Mortier, Angelo Vermeulen, Group T, Leuven, B, 19-20 May 2010
– Presentation Exhibition Making as Research, Conference Arts Research: Publics and purposes, GradCAM, Dublin, IRE, 19 February 2010
– PhDArts Conference The Artist as Researcher – moderator of parallel sessions, member of the plenary panel discussion, 5-6 February 2010, Royal Academy of the Arts, The Hague, NL

* Recent publications:

Doove, E. (2019) Attunement and the inframince. In Dust and Shadow Reader #2 – Attunement, FOaM. Available at: https://libarynth.org/dust_and_shadow/inframince

(2017). Slow/Networked Media Art and the Museum: Who Takes Care of Whom? In: Smite, R. and Smits, R. eds. (2017). Renewable Futures Conference Proceedings 2015. Riga: Acoustic Space #16.

(2016) Il faut cultiver notre jardin …On the need for gardening. In: Doove, E., Fritz, D., Maes, A., Medosh, A., Steels, L. Alchimia Nova. Ghent: MER. Paper Kunsthalle

(2016) Letter. In: Wade, C. ed. As We Alter It, So It Alters Us. Birmingham: Rope Press

(2014). Poet as Machine, on Calvino’s Cybernetics and Ghosts. In: M. Punt and M. Blassnigg, ed., Media Archaeology and Cognition – Transtechnology Research Reader 2014/15, 1st ed. Plymouth: Transtechnology Research, pp.150-156.
This essay discusses Calvino’s text ‘Cybernetics and Ghosts’ (1967) as a tool for the exploration of the cognitive role of storyteller and reader. Calvino suggests replacing the poet and author by a machine, a suggestion based amongst others on his understanding of the activities of the so-called Oulipo group that unites authors and mathematicians.
(2013). Peter Beyls – The artist as found system, a case study. In: Bit by Bit. Frankfurt: DAM Gallery

(2012). Exploring the Curatorial as Creative Act Part II: The Artist as Found System. In M. Punt and M. Blassnigg, ed., Transtechnology Research Reader 2012-13, 1st ed. Plymouth: Transtechnology Research
This essay is intended as a thought experiment around the idea of the artist as found system, open-ended and in constant becoming, as an alternative and more flexible solution for the usual art historic conceptualizing of artists. Inspired by Daumal’s Mount Analogue and the island of Mandelbrot it makes use of a pataphysical, pragmatist approach, exploring the realm between fiction and reality, and tries to apply Duchamp’s infra-mince in order to develop a system(atic) thinking about the artist(ic).

(2011). Exploring the Curatorial as Creative Act: Part I – Hidden Similarities. In M. Punt and M. Blassnigg, ed., Transtechnology Research Reader 2011, 1st ed. Plymouth: Transtechnology Research
This essay explores the focus on an immaterial in-between, an interval, the seemingly marginal or peripheral as constitutional elements for the curatorial as a creative act. It takes four, seemingly unconnected, antagonists as its starting point: Warburg as an important advocate of the iconology of the interval and as curator avant la lettre, Jarry’s introducing the idea of paired books, Duchamp as the inventor of the infra-mince or infrathin, and Koestler for his notion of the bisociative act.
(2011). Koen Vanmechelen – The chicken and its audience. [plastik] [on line], Plastik #02 – In vivo, L’artiste en l’œuvre ?, 3 June 2011.  ISSN 2101-0323.
Available on http://art-science.univ-paris1.fr/plastik/document.php?id=475
(2010). En voyage/in-between – Ways of nomadic thinking in the work of Boldireva/Olga/ Boldyreff. In: Olga Boldyreff. Nantes: Musée de Nantes, 2010
(2010). Parallellepipeda Boek. Leuven: Acco

Also see Overview publications

*Recently curated or upcoming projects:

2023                                                                                                                                              Arts Festival Watou – /kom.po’zi.ci.o:/, Belgium – 1 July to 3 September 2023

RE-SEARCH – Project Research Group (working title), on demand of Friends of the City Museum (Vrienden van het Stadsmuseum) in collaboration with PXL MAD, Hasselt, Belgium – planned for autumn 2024

2021                                                                                                                                      LaserTalks Brussels in collaboration with Alexandra Dementieva, ongoing

BOLERO – Centre André Malraux, Grand Mare, rue des Bons Enfants, Rouen, 20 March – 10 April

Troupe/troep – ChezKit, Pantin, 29-31 January

Empirical Nonsense Daily – online project initiated by Jimi Dams, New York from 1 August until the end of July 2021

Loving Care – 12 portraits of children by Pierre Mertens, Blikfabriek, Antwerp, 27 September – 25 October

Empirical Nonsense Daily – online project initiated by Jimi Dams, New York from from 1 August until the end of July 2021


ENSEMBLE – Diplômé.e.s 2019 Art, Architecture, Design en Normandie, l’Abbatiale Saint-Ouen, Rouen, France, 24 October-15 December 2019

Also see Overview exhibitions