EDITORIAL
A
CERTAIN
MA
-
NESS
OPENING
:
A
CERTAIN
MA
-
NESS
WILLEM
DE
GREEF
UNDER
PRESSURE
UTE
META
BAUER
IS
IT
POSSIBLE
TO
MAP
…
?
CLEMENTINE
DELLIS
POSING
SINGULARITY
JAN
VERWOERT
ROOM
FOR
THOUGHT
SIMON
SHEIKH
UNCERTAIN
MA
-
NESS
MICK
WILSON
ANTHROPOLOGICAL
LABORATORY
BART
VERSCHAFFEL
RESEARCH
REPORT
UTRECHT
CONSORTIUMCOLOFON
3–45–67–1314–2223–2728–3233–4041–4344–4648
5
JOURNAL
OF
ARTISTIC
RESEARCH
SUMMER
2008
3
–
4
EDITORIAL
A
CERTAIN
MA
-
NESS
5
–
6
OPENING
:
A
CERTAIN
MA
-
NESS
WILLEM
DE
GREEF
7
–
13
UNDER
PRESSURE
UTE
META
BAUER
14
–
22
IS
IT
POSSIBLE
TO
MAP
…
?
CLEMENTINE
DELLIS
23
–
27
POSING
SINGULARITY
JAN
VERWOERT
28
–
32
ROOM
FOR
THOUGHT
SIMON
SHEIKH
33
–
40
UNCERTAIN
MA
-
NESS
MICK
WILSON
41
–
43
ANTHROPOLOGICAL
LABORATORY
BART
VERSCHAFFEL
RESEARCH
REPORT
44
–
46
UTRECHT
CONSORTIUM
48
COLOFON
Moreover
, in spite of the obligation to implement the Bologna rules by2010, many European countries interpret the concrete establishmentof the master’s program in various ways. In some countries, a one-yearprogram is offered, while other countries concentrate on a two-yearprogram. Some countries have had master’s programs in Fine Artfor many years, whereas others hardly adhere to the deadline for theimplementation of a master’s program.
These
clear-cut urgencies indicate a definite need for an internationalsymposium addressing the issue of the specificity of the
MA
Fine Artprograms. In order to explore these questions further the UtrechtGraduate School of Visual Art and Design (
M
a
HKU
) started a long-term collaboration project with the Brussels Sint Lukas Academie,an academy which, similar to
M
a
HKU
, offers a one-year
MA
programin Fine Art. A series of meetings last year between lecturers fromthe Sint Lukas Academy and the
M
a
HKU
generated a number of additional questions. It turned out that a variety of issues could becategorized in three sub-categories: the student perspective or thequestion of competencies; the lecturer’s perspective or the question of specific didactic strategies; and last but not least, the perspective of theinstitutional environment where the interaction between lecturer andstudent takes place. Precisely these three perspectives – addressing thesame issue from different points of view – are departure points for thesymposium
A Certain Ma-ness
(
Amsterdam, Spring 2008
) organizedby both academies in collaboration with
VCH
De Brakke Grond,Amsterdam.
During
the first two presentations (
Jan Verwoert, Clementine Deliss
) theperspective of
MA
-competencies
is the starting point. The issue pertainsto whether it is possible to map the various skills required for the
MA
-program particularly with regard to a reflective and critical attitude, anda conception of both knowledge production and research. How can weassess these competencies? Could it be that specific, rhetorical qualitiesare decisive? What will happen to traditional skills such as mastery of technique? Is the artist unskilled despite having followed the graduateprogram or are traditional skills reformulated during the course of theprogram and its critical studies? What do critical and contextualizingskills mean for the situation of the academy as such? Is the graduate artacademy eventually nothing more than a bastion of the neo-liberal artsystem as is often the case with prominent American
MFA
program’s,
Too many conferences currently being organized by artacademies draw attention to the recent development of
P
h
D
’s in art trajectories. Yet an even more important issuetoday pertains to the specificity of
MA
F
ine
A
rt programsof art academies. After all, it is the master’s program,focused on research, that prepares artists for a possible
P
h
D
trajectory; it is the master’s program that offers artists variousperspectives on their professional careers; and it is themaster’s program and its strong emphasis on the specificitiesof its curriculum that force the bachelor’s program to reflecton the particular structure of its own curriculum.
3
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During the first two presentations ( Jan Verwoert, Clementine Deliss ) the for MaHKUzine5 2008
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