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Summer Academy 2006: 12. - 16. July: 17.00 - 24.00
Brief lectures and discussion 12. - 16. July: 17.00 - 18.30
What kind of art education do we want?
Wednesday: A Conversation about Practice as Research
Guests: Florian Dombois (Bern) and Gerrit Gohlke (Potsdam)
Thursday: Nadia Schnetzler and Lilian Frei will discuss the Ideenmaschine (idea machine)
Ideenfabrik (idea factory) – Ideenmaschine (idea machine)
Why do we need a “factory” for good ideas?
Nadia Schneztler, co-founder of Brainstore and author of the book "Ideenfabrik" www.brainstore.ch, will talk about the production of ideas and of her own realm of ideas.
Discussion on: where art and economy meet and where they part
Rolf Staub, Jan Graef, THYLACINE (Mischa Düblin/Fabian Hachen)
Friday , July 14th 2006, 13.00: Discussion on: beyond cross-institutional student exchange
Students of different art schools, representatives of MetaWorx
Saturday: A discussion of (pilot) study plans that explore art education with a transdisciplinary approach. Guests: Chris Regn (Schleuse, Hamburg), Liliane Schneiter (CCC, Geneva) and Nika Spalinger (MAPS, Lucerne)
Sunday: A discussion of self-organized art education examing the qustions of motivations and the traditions of "Freie Klassen" and why they are not existing as such in Switzerland. Guests e.g.: "Freie Klasse Berlin/ Haus Selba" and manoa free university (Vienna), Studentisches Projektbüro f+f and moderation Daniel Hauser (Zurich)
Schule Utopia (School Utopia) 12. - 16. July: 18.30 - 20.00
Denise Altermatt
All the art students know their school and are probably more or less satisfied with it. But what could be changed to obtain better conditions for artistic activities, and how would a place look like that left nothing to be desired for concerning creative work? Everyone is asked to express his or her wishes, so that the Utopia School can gradually emerge. Questions on the topic are available at the Shedhalle from June 2 to July 30, 2006, or on the Internet at www.altermatt.biz -> Schule Utopia.
Lecture and workshop series 12. - 16. July: 20.00 - 22.00
Who learns from whom?
Lectures and workshops by artists whose art practice concerns workshops and communication, favors a transdisciplinary practice, and questions artistic practice in the spirit of expanding the production of knowledge.
Wednesday: Copenhagen Free University, Copenhagen
Jakob Jakobsen will talk about the Copenhagen Free University and how the CFU works.
The Copenhagen Free University is an artist run institution dedicated to the production of critical consciousness and poetic language. "We work with forms of knowledge that are fleeting, fluid, schizophrenic, uncompromisingly subjective, uneconomic, acapitalist, produced in the kitchen, produced when asleep or arisen on a social excursion - collectively."
Thursday: Carey Young, London
Carey Young is an artist based in London. Her work has become increasingly recognised for its investigation into the growing incorporation of the personal and public domains into the commercial realm, with a number of her recent works exploring legal language and systems of control. Young has works with strategies of appropriation, utilising found tools, processes and language from the spheres of multinational business and law and repurposing them for an artistic context in which the ideological basis and use value of this material is questioned and inverted.
www.careyyoung.com
Friday: Liesbeth Bik and Jos Van der Pol, Rotterdam
Liesbeth Bik and Jos Van der Pol work collectively since 1995 as Bik Van der Pol. Their work concerns the development of appropriate media with which to realize works collectively through continuously broadening notions of interaction and collaboration. Their work engages with revitalization of memory in the present and with questions of knowledge and history, thus creating the necessary potential for a dialogue and an ever-reforming discourse through which they develop an understanding of situations that surround us. Their projects engage with functionality, usability and site sensitivity, concerned with interaction at an institutional and intimate, local level. They aim to improve situations, add what is missing, highlight what is in the dark and to open rather than close. Their working method is based on co-operation and they use this as a platform for various kinds of communicative activities.
Exploring and activating such platforms is one of the main threads in their work. With, for example, The Bookshop Piece (1996/1998) and Proposition for Reclaiming a Space (1997) they re-introduced the discourse on and the practice of art into the very same arena where art is shown. With the group Nomads & Residents, of which Bik Van der Pol are one of the initiators, they create a platform for presentations by artists, critics, curators, architects, and others (www.nomadsresidents.org). Since 2003 they are involved in the School of Missing Studies (SMS), a collaborative project they developed with an international network of artists, architects, curators and theoreticians. SMS aims to provide a flexible platform for international study and exchange on cultural issues related to the urban environment in cities that have been marked by or are currently undergoing political, social, and cultural transition. For SMS, Bik Van der Pol the workshop Twist To Wildlife (Werkleitzbiennale, Halle, Germany), and Teasing Minds (developed with Stealth group and Kunstverein Munich).
Circulation of knowledge and re-use of existing and left-over spaces, forms and situations are important strategic tools in the work of Bik Van der Pol. Critically and constructively they address 'normal' situations. Not by adding yet another new idea to the cycle of production and consumption, but by revising and re-activating an existing situation. Notions of detachment, such as displacement, reconstruction and copy, allow something to outgrow its original roots, boundaries or limitations, and can be mobilized as instruments to enclose a collection or intellectual domain to critically explore its potential.
www.bikvanderpol.net
Saturday: Gruppo parole e immagini / Luca Frei
The workshop takes its point of departure in the texts presented in the work ANTIDOTES. The intention is to open up a discussion around the notions of culture and power. Culture as a creative and critical process of change and transformation, and power as a capitalizing force built on the accumulation of culture. What is the influence of power on the unfolding of culture? Can the two co-exist, or is, as André Reszler suggests, "the flourishing of either one of them […] not conceivable
without the weakening of the other"?
The aim of this workshop is to open up some questions on the current state of culture and art, interrogating its various practices and methods of mediation, its values and its systems, its economy and its history. Rather than looking for answers or conclusions, the workshop is primarily intended as a motivation to critically reformulate together our positions as artists, cultural producers and professionals in the world of today.
"Should we simply surrender to the current state of affairs by simply making our actions appear to accord with our professions?"
(Peter Kropotkin, Anarchist Morality, 1897)
Sunday: Jan Kopp, Paris
Doing nothing, to exhaustion - a collective performance which might become a workshop
I am interested in situations or productions that arise out of „nothing". Actions, coincidences or gestures are investigated using simple questions: when does something become an event, how do we recognise it, what do we do with it, what happens to it after the first, second, etc. repetition? How do we capture the event, how do we translate, how do we transmit it, how do we falsify, deceive or perform it? What is the role of spatial and temporal frames?
The workshop will consist of a number of experiments, which condense seemingly banal things into working material. Our starting point is what is happening around us, but also our language, our voices, our gestures and the ways in which they are reshaped and deformed. The "lack of understanding" is going to be the operating power. The workshop will be accompanied by video recordings and their montage which will mainly serve to displace and translate "nothing" into "something.
Screenings 12. - 16. July: 22.00 - 23.00
Wednesday: Screening
Thursday: Tatort Kunst
The representation of artists in tv-series
Justin Hoffmann (Kunstverein Wolfsburg, Director)
As television is currently the most popular medium, one could refer to the representation of artists through telecasting as society’s idea of artists. Precisely through the fictional form of TV series a stereotype image of the artist is shaped that influences the education and the social position that artists have - an example of the real effects of this medium.
Friday: Kinoapparatom
Simone Schardt und dem Künstler Wolf Schmelter
Kinoapparatom is an instant cinema on the move. Artists’ films are shown far from the White Cube and Black Box. By selecting the place with care and conscientiously presenting it a spatial structure results that expressly articulates its relationship to the moving image and thus permits a reassessment of what is seen.
Kinoapparatom is a project of the artists Simone Schardt and Wolf Schmelter.
A wide variety of results of artistic research are reflected in the program put together for the Summer Academy by Kinoapparatom: From the filmed research by way of making work and living worlds visible, to documentation presented.
Saturday: FICTION ARTISTS, 2004
Christoph Girardet / Volker Schreiner
DVD, 45 min.
Artists from films, whose lives and works are made-up, fictional artists: who are they, how do they live, how do they work? What kind of clichés do they convey? Do they reflect the way that contemporary artists view themselves or do they represent an anachronistic image of the artist in a society heavily influenced by modern media? The twelve montages, taken from more than one hundred films ranging from classics to B-movies, engage in a subjective game with these questions. The twelve montages will be shown as screenings;
1. On View (1'00"), Prologue: an art experience; 2. Shape (1'20"), In Focus: contact with the screen, the first stroke; 3. The Hidden Masterpiece (7'55"), Crisis, destruction, the search for inspiration, loneliness; 4. Etude (1'10"), The strange, virtuoso hand, borrowed talent; 5. Session (9'30"), Painter and model: a relationship under control; 6. Theft of the Mona Lisa (2'10"), The real and the true Mona Lisa; the reality of an icon as seen through media; 7. I Am (6'40"), The artist at the center of his world: what am I?; 8. Red (2'00"), Living colour; 9. Space on Light (4'50"), Dismay, ecstasy, helplessness. Reactions of the viewer as mirror; 10. Secrets (1'05"), The hidden work, veiled, sealed, blind; 11. Picasso (2'05"), Fast forward: art history as namedropping; 12. Epilogue (1'10"), With crown and sceptre: the artist on exhibit, cast aside
Funded by: nordmedia Fonds GmbH
Distribution: Light Cone, Paris. www.lightcone.org
Sunday: Screening
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