Amanda Beech is an artist and writer. Her work proposes a new realist politics of the artwork and its possibilities in the context of contingency and neo-rationalist conceptions of power. Recent solo shows include: All Obstructing Walls Have Been Broken Down, Catalyst Arts, Belfast, 2014; Everything Has Led to this Moment, Xero, Kline, Coma, London, 2014 and Final Machine, Lanchester Gallery Projects, UK, and HaGamle Prestagard, Norway, with the accompanying publication Final Machine (Urbanomic Press) 2013. Final Machine also featured in Agitationism, the 2014 Irish Biennial curated by Bassam El Baroni and L’Avenir, the Montreal Biennale, curated by Peggy Gale and Gregory Burke, 2014, where Beech contributed catalogue essays for each publication. Her recent work has included the video installation Covenant Transport Move or Die, exhibited at Homeworks 7, Beirut City Forum 2015, the symposia How Art Thinks as part of her 2015-16 Visiting Professorship at the University of Newcastle Upon Tyne, UK, and the essays, Concept Without Difference, the Promise of the Generic’ in Realism, Materialism, Art, 2014; ‘Last Rights, The Non Tragic Image and the Law’ in The Flood of Rights, Sternberg, 2014; ‘Space is No Object’ in Post-Planetary Capitalism, Punctum, 2014; and, ‘Curatorial Futures with the image: Overcoming scepticism and Unbinding the Relational’ Journal of Visual Arts Practice, Volume 9.2: pp. 139-151, Intellect, 2011.
A means by which a critical culture defines itself as such is for its art, architecture and artifacts to picture the human as a subject of history. This is to say that buildings, forms, images and exp...