Philosopher-artist Jonathan Lahey Dronsfield has a PhD in Philosophy from the University of Warwick, where he was a British Academy Scholar, and held a Post-doctoral Research Fellowship at the Centre for Modern European Philosophy, Middlesex University, where he was a Leverhulme Fellow. He was Director of the Centre for Contemporary Art Research at the University of Southampton, then Reader in Theory and Philosophy of Art at the University of Reading. Most recently he has held visiting positions at the Royal College of Art, London, the Zürcher Hochschule der Künste, Zürich, and a.pass, Advanced Performance and Scenography Studies, Brussels. He is also on the faculty of the Collegium Phaenomenologicum, Italy, and Performing Arts Foundation France, summer schools.

Recent publications include:

  • “The Paradoxes of Democracy: Postwar American art and US foreign policy”, Saint Louis University Public Law Review, special issue, ‘Does Democracy Translate Across Borders?’, vol. XXXV (2), spring 2016, pp. 303-322.
  • “Contents, The Swerve of Freedom After Spinoza”, Pli, The Warwick Journal of Philosophy, ‘Spinoza: The Proper Order of Philosophy’, vol. 27, 2015, pp. 79-80.
  • “Philosophers enowning that there be no own (face)”, Mattar, M. (ed.), You Must Make Your Death Public, London: Mute Books, 2015, pp. 119-28.
  • “Drawing through drawing”, Ciprian Mureşan: Drawings 2015-2004, Ostfildern: Hatje Cantz, 2015, pp. 13-19.
  • “’A strange image you speak of, he said’: cave painting and the allegory of the cave”, Mircan, M. and van Gerven Oei, V. (eds), Allegory of the Cave Painting, Milan: Mousse Publishing, 2015, pp. 115-34.
  • “Immanent surface: art and the demand for signification”, Dejanovic, S. (ed.), Nancy and the Political, Edinburgh: Edinburgh University Press, 2015, pp. 164-91.
  • “The artist-philosopher and the pathology of enthusiasm” (interview), SARMA: Laboratory for discursive practices and expanded publication, 2015. [online]
  • “Filming deconstruction / deconstructing film”, Callaghan, J. & McQuillan, M. (eds), Love in the Post: From Plato to Derrida. The Screenplay and Commentary, London: Rowman & Littlefield, 2014, pp. 213-37.
  • “Materiality of theory”, Elkins, J (ed.), Artists with PhDs: On the New Doctoral Degree in Studio Art, second edition, Washington DC: New Academia Publishing, 2014, pp. 325-40.
  • “Deleuze and the image of thought”, Philosophy Today, 56 (4), November 2012, pp. 104-14.

Dronsfield’s work has been performed at or shown in exhibitions in:

  • Manifesta 11, Zürich;
  • MACBA, Barcelona;
  • Spazio K, Prato;
  • Recyclart, Brussels;
  • ODD Space, Bucharest;
  • Muzeul Naţional de Artă Contemporană (MNAC), Bucharest;
  • Wilkinson Gallery, London;
  • KaaiTheaterStudios, Brussels;
  • Cabaret Voltaire, Zürich;
  • art:gwanju:12, Korea;
  • Focal Point Gallery, Southend;
  • Lethaby Gallery, University of the Arts, London;
  • Stroom Den Haag gallery;
  • Esposizione Internazionale d’Arte, la Biennale di Venezia 54;
  • Extra City Kunsthal, Antwerpen;
  • Stedelijk Museum voor Actuele Kunst (SMAK), Gent.