Registration for this Program is Closed
French philosopher Dr. Catherine Malabou, best known for her work on plasticity, has forged new connections across such fields as philosophy, neuroscience and psychoanalysis and their fundamental entanglements with cultural, political and social life.Working with post-structuralist and post-critical methodologies, she addresses the work of philosophers Kant, Hegel, Freud, Heiddeger, and Derrida. Her writing engenders a reconsideration of keywords and foundational concepts such as subjectivity, affect, gender, sex, feminism, neoliberalism, sovereignty, justice, and trauma, to name a few.
Dr. Malabou will deliver a public lecture, Empty Square v. Evolutionary Memory: The New Adventures of Signs on November 23, and a keynote address at UBC’s Djavad Mowafaghian Centre for Brain Health’s 20th Anniversary Symposium on November 25.
Catherine Malabou’s visit to Vancouver is part of the programming of the Morris and Helen Belkin Art Gallery’s exhibition The Beautiful Brain: The Drawings of Santiago Ramón y Cajal from September 5–December 3. Ahead of her time in the city, the Belkin Art Gallery is partnering with Simon Fraser University Galleries, SFU’s Vancity Office of Community Engagement, and 221A to host a reading group focused on a selection of her recent essays, with the final session being led as a seminar by Dr. Malabou.
Plasticity is co-presented by SFU Galleries, Morris and Helen Belkin Art Gallery, SFU’s Vancity Office of Community Engagement and 221A. The reading group coincides with 221A’s inaugural season of the Pollyanna 圖書館 Library, which will support a new artistic program of fellowships dedicated to the production of cultural, ecological and social infrastructures, through a space that acts as a research collection and events venue.
Catherine Malabou’s visit is part of the French Scholars Lecture Series made possible with the support of the Cultural Services of the Embassy of France in Canada in partnership with the UBC Peter Wall Institute for Advanced Studies, with additional support from the Audain Endowment for Curatorial Studies in the Department of Art History, Visual Art and Theory at UBC.