, 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.
clear-cut urgencies indicate a deﬁnite need for an internationalsymposium addressing the issue of the speciﬁcity of the
Fine Artprograms. In order to explore these questions further the UtrechtGraduate School of Visual Art and Design (
) started a long-term collaboration project with the Brussels Sint Lukas Academie,an academy which, similar to
, offers a one-year
programin Fine Art. A series of meetings last year between lecturers fromthe Sint Lukas Academy and the
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
De Brakke Grond,Amsterdam.
the ﬁrst two presentations (
Jan Verwoert, Clementine Deliss
) theperspective of
is the starting point. The issue pertainsto whether it is possible to map the various skills required for the
-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
Too many conferences currently being organized by artacademies draw attention to the recent development of
’s in art trajectories. Yet an even more important issuetoday pertains to the speciﬁcity of
rt programsof art academies. After all, it is the master’s program,focused on research, that prepares artists for a possible
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.