Welcome to Scribd. Sign in or start your free trial to enjoy unlimited e-books, audiobooks & documents.Find out more
Standard view
Full view
of .
Look up keyword or section
Like this

Table Of Contents

It was Ute Meta Bauer at the Vienna School of Art who was one of the
To make it very clear from the outset, the subject of this symposium
Fact number one: since 1989, education has not been a national
Fact number two: arts education is a regular part of the Flemish
Nevertheless, there are some peculiarities in the way the Flemish
Another important aspect is that there is only one kind of Master’s
Moreover, for most of the Flemish politicians it is widely accepted
Firstly, today nearly all courses in higher arts education in Flanders
Secondly, if higher arts institutes want to transform their traditional
Fourthly, does all of this not demand a change in the structure
All these issues are not unique to Flanders. Many arts institutes,
The art system, especially the art market today has become part of the
What might be more specific within the US American setting is the
Art academies invent new programs ranging from MAs in public art,
On the one hand, the desired and demanded accessibility to this
This brings us back to the art schools. Are they still places to
Art and its different manifestations have become a powerful
A recent debate on New Institutionalism in “Bureaux de Change”
To return to Farquharson’s mention of freelance “curators
To be mainly involved with satisfying trustees and/or local politicians
The motivation actually causing my shift from working as an
So, there is a need for crucial debates within universities and other
To come back to teaching, I see teaching in art schools as a practice
When I studied art in the early 1980s as part of the group of young
Yet teaching is also about the possibility and responsibility of
For me, it remains essential to enter institutional spaces and at
Let’s return to the topic of curators connected to art schools. The
So Documenta11 was criticized mostly for resembling a seminar for
I see an exhibition as a zone of activity, a space one has to produce; it
When it comes to research I consider curatorial practice well-situated
Is it possible to map the various skills required for the MA - program
My contribution to this discussion is based on ‘Future Academy’,
As a procedure that involves the elaboration of new proposals and
Future Academy and Metronome clearly have many points in
However, the one convergence I would like to turn to now is the
Underlying my interests in the art academy environment is
This brings me to the blurred definitional framework of what we
As the name Future Academy indicates, I’ve opted for the heavy
Schöllhammer’s proposition combines the method of an organ such
Within the first six months of Future Academy, I made the decision
In both locations, there were different institutional scales at work
Future Academy’s resolution to be voluntary and non-paying led to a
The model proposed by the Senegalese artists referred back to the
We realise that there are eminent professors of economics in Senegal
Effectively the Senegalese Future Academy team spent lengthy
In India, the Future Academy team subsequently re-defined this
To resume the argument so far: competence in Future Academy
I would like to end on a related issue that provides the basis for
When we investigated future faculties of knowledge in the art
So to conclude, I’d like to propose three areas of articulation for
In the continuous rituals of institutional politics and their related
The question is how to talk about fighting institutional rituals in
The second issue that worries me is the current prominence of
Benjamin Buchloh has argued that the past is the aesthetization of
This in turn brings to another important issue: the issue of the
Currently, the most pressing question is in what name or in whose
How can we avoid becoming public commodities, docile bodies and
I would like to raise three issues related to that question. One
Let me start with the question of subjectivity. We are works in
One could consider the promise of singularity not to be a problem
The antagonistic community of jealous lovers of solitude might
So, the first issue deals with the exercise of singularity within
Yet there should be a way for different temporalities to coexist in one
Finally, we need to talk about the third issue mentioned: debt. Very
This leads to considerations of how one might go beyond the
How could one use ideas from critical art practices within an
In spite of the problems with defining the object of study, the art
I believe that a MA curriculum should never be entirely
We consider artistic production as being outside the contradiction
In the context of an expanded idea of the notion of representation,
In our program, we also try to discuss how one as a cultural producer
With regard to constituencies, we see a move into the educational
There are certain historical models of the art academy that have been
Therefore, I believe it would be unrealistic to think that the
However, there have also been didactic historical models that could
Another inspiration for teaching theory I discovered was on a more
Fraser’s interesting statement alludes to a possible scenario one
Finally, I would like to explore the topic of the relationship between
Is it possible to determine how a MA art curriculum is characterized?
I just want to begin by noting that the ‘Master’s’ degree – across
This is what the Dublin Descriptors state. Master’s degrees are
Within the Dublin Descriptors is the core of the competencies and
So ’Bologna’ is consistent with making distinctions of ‘kind’ at
Is it possible to determine how a Master’s curriculum is
Then one must ask whether it is possible to determine how a Master’s
There are other risks in the ‘learning outcomes’ model. The support
The question is whether the transformation from a place of creative
However, there is even a third type of ‘market’ beginning to emerge:
Today, the reputation-based economy of art education has been
Is it then possible to determine how a Master’s curriculum is
There are three observations I would like to make in light of these
These are three generally recurrent features. I want to expand a bit on
Possibly the best articulation we have of our aspiration as teachers
Consider also the desire for ‘pure’ conviviality, the pure flow of
This is why we might be a little bit cautious of our claims to realize
Let ‘us’ not disavow authority. Let us accept our authority and our
Part of that accountability is mutual disclosure: what we ( believe we)
This is perhaps the trickiest issue to tackle. There are some general
Calhoun says about these challenges, ‘Without a dramatic change in
The independent art academies have a different history. Those
Contemporary art practice – as it has emerged in the post-conceptual,
It would be unfortunate for us under these circumstances to then
We seem to have come along way off track on our question of the MA
What I have presented is precisely the kind of presentation that I
If we are really asking today whether we can we make a clear
I would like to distinguish between two different reflective practices
The critical mode of reflection is different from reflection linked
Art as artistic research seems to be the major cultural value and the
Let me elaborate on the concept of anthropological laboratory. Art
When art is research in the sense of working on meanings and
The question arises as to how one could introduce the idea of
What is the danger of introducing a research curriculum into art
In an academic structure, research areas are defined. In the academic
I believe that continuity in artistic research is a problem, since artistic
Today, the situation of art institutions is rapidly changing all over the
That situation made the Utrecht Consortium ( a research collaboration
These two activities used to be considered part of professional domains
At the core of the Utrecht Consortium is practice-based research; i.e
In addition to the Consortium partners and professionals in the field,
Another core issue of the Utrecht Consortium implies the issue
An initial example of such collaboration is artist Irene Kopelman’s PhD
Thus, the production of artistic knowledge is the theme of various
The professorship Artistic Research will also organize a yearly cycle
0 of .
Results for:
No results containing your search query
P. 1


|Views: 8|Likes:
Published by Brook Brooke

More info:

Published by: Brook Brooke on Jul 17, 2012
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less





You're Reading a Free Preview
Pages 5 to 48 are not shown in this preview.

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->