EDITORIAL

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A C E R TA I N M A - N E S S
O P E N I N G : A C E R TA I N M A - N E S S WILLEM DE GREEF UNDER PRESSURE U T E M E TA B A U E R I S I T P O S S I B L E T O M A P… ? CLEMENTINE DELLIS POSING SINGUL ARIT Y JAN VERWOERT ROOM FOR THOUGHT SIMON SHEIKH U N C E R TA I N M A - N E S S MICK WILSON A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

EDI TOR I AL
Too many conferences currently being organized by art academies draw attention to the recent development of
PhD’s in art trajectories. Yet an even more important issue

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A C E R TA I N M A - N E S S
5 – 6 O P E N I N G : A C E R TA I N M A - N E S S
WILLEM DE GREEF

today pertains to the specificity of MA Fine Art programs of art academies. After all, it is the master’s program, focused on research, that prepares artists for a possible PhD trajectory; it is the master’s program that offers artists various perspectives on their professional careers; and it is the master’s program and its strong emphasis on the specificities of its curriculum that force the bachelor’s program to reflect on the particular structure of its own curriculum. Moreover, in spite of the obligation to implement the Bologna rules by 2010, many European countries interpret the concrete establishment of the master’s program in various ways. In some countries, a one-year program is offered, while other countries concentrate on a two-year program. Some countries have had master’s programs in Fine Art for many years, whereas others hardly adhere to the deadline for the implementation of a master’s program. These clear-cut urgencies indicate a definite need for an international symposium addressing the issue of the specificity of the MA Fine Art programs. In order to explore these questions further the Utrecht Graduate School of Visual Art and Design ( MaHKU ) started a longterm collaboration project with the Brussels Sint Lukas Academie, an academy which, similar to MaHKU, offers a one-year MA program in Fine Art. A series of meetings last year between lecturers from the Sint Lukas Academy and the MaHKU generated a number of additional questions. It turned out that a variety of issues could be categorized in three sub-categories: the student perspective or the question of competencies; the lecturer’s perspective or the question of specific didactic strategies; and last but not least, the perspective of the institutional environment where the interaction between lecturer and student takes place. Precisely these three perspectives – addressing the same issue from different points of view – are departure points for the symposium A Certain Ma-ness ( Amsterdam, Spring 2008 ) organized by both academies in collaboration with VCH De Brakke Grond, Amsterdam. During the first two presentations ( Jan Verwoert, Clementine Deliss ) the perspective of MA-competencies is the starting point. The issue pertains to whether it is possible to map the various skills required for the MAprogram particularly with regard to a reflective and critical attitude, and a conception of both knowledge production and research. How can we assess these competencies? Could it be that specific, rhetorical qualities are decisive? What will happen to traditional skills such as mastery of technique? Is the artist unskilled despite having followed the graduate program or are traditional skills reformulated during the course of the program and its critical studies? What do critical and contextualizing skills mean for the situation of the academy as such? Is the graduate art academy eventually nothing more than a bastion of the neo-liberal art system as is often the case with prominent American MFA program’s,
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7 – 13 U N D E R P R E S S U R E
U T E M E TA B A U E R

14 – 22 I S I T P O S S I B L E T O M A P … ?
CLEMENTINE DELLIS

23 – 27 P O S I N G S I N G U L A R I T Y
JAN VERWOERT

28 – 3 2 R O O M F O R T H O U G H T
SIMON SHEIKH

3 3 – 4 0 U N C E R TA I N M A - N E S S
MICK WILSON

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or is the academy still clearly defined as an outpost for a culturecritical awareness? During the next two presentations ( Simon Sheikh, Mick Wilson ) the perspective shifts to didactic strategies. Can one determine how a MA curriculum is characterized? What are adequate didactic strategies and educational models, and how do they differ from a BA program? What are the differences and similarities between the various European MA Fine Art programs? How does the Bologna-ruled, curriculum-based program and its seminars, lectures, and various methods and bodies of knowledge relate to the still dominant studiobased paradigm with its rituals of tutorials and studio visits? How do we prevent a more topical discourse based on critical studies and artistic research becoming canonized into a novel form of academia? Finally, how do the current educational strategies and models relate to the research practice of lecturers? In other words, how could the lecturer’s own artistic research be strategically deployed in the curriculum? The question of the position of one’s own artistic research leads us also to the theme of the research environment. Is it the task of the academy to develop a specific artistic research environment? How should such an experimental research environment be facilitated? How does such a research environment relate to the artistic field mostly determined by the free market system? Is it the potential of the experimental environment as one of the last asylums for deviant forms of knowledge production ( or thinking ) that made a great number of curators decide in recent years to proclaim the academy as the starting point for their exhibition projects? Investigating the issue of the academy as field of possibilities from the perspective of the Graduate School appears urgent. In other words, in what way – political, facilitative, infrastructural – could the Graduate School contribute to the development of a research climate in art education? These questions are approached during A Certain Ma-Ness in two ways. First, artists Tiong Ang and Aglaia Konrad developed a presentation in the exhibition space of VCH De Brakke Grond parallel to the themes of the symposium. The exhibition shows the interaction between the research of the lecturer ( Tiong Ang, MaHKU and Aglaia Konrad, Sint Lukas ) and of the student ( Filip Gilissen, Sint Lukas, Joris Lindhout, MaHKU ) as a didactic tool for creating a dynamic research environment within the current educational system ( The visual material printed in MaHKUzine 5 is a series of impressions of this parallel exhibition ) . Secondly, Bart Verschaffel’s talk, Willem de Greef’s introduction, and the presentation of the Utrecht Consortium ( see Research Reports ) all elaborate further on the conditions and possibilities of an artistic research environment. It was Ute Meta Bauer at the Vienna School of Art who was one of the first people in the art academy field to address these questions and issues in the context of institutional preconditions. Therefore, she opens the symposium A Certain Ma-ness with a keynote statement. ( HS )É
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A C E R TA I N M A - N E S S
5 – 6 O P E N I N G : A C E R TA I N M A - N E S S
WILLEM DE GREEF

7 – 13 U N D E R P R E S S U R E
U T E M E TA B A U E R

14 – 22 I S I T P O S S I B L E T O M A P … ?
CLEMENTINE DELLIS

23 – 27 P O S I N G S I N G U L A R I T Y
JAN VERWOERT

28 – 3 2 R O O M F O R T H O U G H T
SIMON SHEIKH

3 3 – 4 0 U N C E R TA I N M A - N E S S
MICK WILSON

41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y
BART VERSCHAFFEL

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are being transformed into “academically oriented” Bachelor’s and Master’s degrees.N E S S O P E N I N G : A C E R TA I N M A . the Flemish government started to implement the Bologna declaration some years ago. Like all the other higher education programs and courses. be they practicebased or not. what could it probably mean? This is what this symposium is about. meaning the Flemish and French groups in Belgium.N E S S WILLEM DE GREEF 5 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . First and foremost. and only in Flanders. there are some peculiarities in the way the Flemish government has implemented the Bologna Declaration. this symposium tries to deal with what we call in Belgium. and believe me even in Dutch it sounds also quite weird: “academizing”. Other programs or courses. the subject of this symposium is not PhD’s or doctorates in the arts.N E S S W I L L EM D E G R EEF To make it very clear from the outset. or at least in Flanders. Especially the academization of higher arts education. universities and non-universities alike. and probably as a consequence of this. Is there really a need for this? And if so.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Fact number two: arts education is a regular part of the Flemish educational system. Instead there has been a complete devolution of competencies for education to the different linguistic communities. for instance. As adopted by the Flemish Parliament in the 2003 Act on the structure of higher education in Flanders. Since then the Ministry of Education for the Flemish Community is responsible for higher education in Flanders. provided by both universities and “hogescholen”. education has not been a national matter. professional bachelor’s degrees are only provided by the “hogescholen”.A C E R TA I N M A . In other words. It has not always been so.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Art students have to become academics or develop some basic competencies in research. higher arts education has undergone and is still undergoing several reforms. Contrary to the Netherlands. the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . will necessarily have to present or develop curricula for students which are clearly “embedded in research”. and no exception was made for higher arts education. while academic bachelor’s and master’s degrees are provided by universities and by the “hogescholen. Fact number one: since 1989. or for artists. Nevertheless. By this we mean that higherlevel art institutes. Which means that only since then were its structure and its qualifications aligned with the rest of the system. those provided by what we call the “hogescholen” ( higher educational institutes ). Only in 1994. art education became a full part of the higher educational system.” Another important aspect is that there is only one kind of Master’s degree in Flanders. are generally transformed into what are called “professionally oriented” Bachelor’s degrees. the largest part of the non-university higher education programs and courses. if they want to provide Master’s degrees. Let me give you some facts on the educational system in Belgium. just one decade ago. including reform of the Bachelor-Master degree structure. At present.

How would an academic curriculum look which still made sense for higher arts education and for art students? What are the academic competencies they are supposed to develop? More profoundly. Let me just point out some of them. for most of the Flemish politicians it is widely accepted that the “hogescholen” cannot possibly meet this requirement for “academization” without a helping hand from the universities. All Master’s degrees in Flanders are supposed to be academic. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. between arts education and research? Does it mean. how do we make a clear link. are looking for the best way to deliver excellent art education within an outstanding academic context. Therefore. Even the Flemish minister of education himself stated recently that the helping hand of the universities in the process of academization cannot be more than a small finger. Is there really a need for this ? Do all students in the arts really need to follow this academic track. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. Many arts institutes. if not undeveloped. the Hogeschool Sint-Lukas Brussel.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . to put it differently. that in the near future all staff members of art schools should hold doctorates or a PhD? 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Firstly.N E S S WILLEM DE GREEF 6 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . is associated with the Catholic University of Leuven. Moreover. each of the “hogescholen” has been affiliated with a university. scientific domain. or is there still a need for more professionally oriented programs? Or. all over Europe. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. is the identity as such of higher arts education not at stake here? Thirdly.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON Or are their artistic or professional qualities more important? Does it mean that higher arts institutes have to develop their own research programs? If so. should higher arts institutes become fully embedded in the universities and evolve into a full faculty department at the university? Do universities have enough experience with performing arts? At least in Flanders it is no secret that artistic research is an underdeveloped.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. if we want to. does all of this not demand a change in the structure of higher arts education itself? For instance. if higher arts institutes want to transform their traditional programs into academic programs. today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree. they will necessarily have to reset their targets and to rethink the curriculum. My own institute. for instance. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . All these issues are not unique to Flanders. what type of research should they develop? Importantly. All this undoubtedly poses many questions. Some have called it the academic drift of the arts institutes or departments.

The exorbitant tuition fees in the US put a certain pressure to “succeed” on both the institution and the student. Then the debate centered around what the majority of art students would do who never entered the golden triangle of the academy–gallery–museum.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . The strong market has made art education red hot.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . This is not only for programs in the United States. the chance of grabbing a seat on the art carousel has sharply increased. and has become an increasingly. Art students have more knowledge of the art market than ever before.” Nevertheless. attractive field within education. critical curatorial studies. In order to serve these expectations. more art institutions opening their doors and more museums for contemporary art being established than ever before.UNDER PRESSURE U T E M E TA B AU ER The art system. MA courses have expanded both in the field of artistic education and curatorial studies to serve an ever-growing market. there is a certain pressure on the art schools to connect early with the art market and to generate a smooth entry into the system while the future artist is still in school. Today there are more exhibitions taking place. producers of video clips. being a critical scholar myself. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . with its annual top of the pops and one-hit wonders. say. Art academies invent new programs ranging from MAs in public art. Culture and art are significant economic factors leaving their mark on how art education is shaped. This is a major shift as compared to. I am not sure this is a positive development. The art schools and universities – previously more free and open zones for experiments – gradually became incorporated into a suspiciously commodified system. More private collections. to critical studies. especially the art market today has become part of the educational system. What might be more specific within the US American setting is the very short path from the art school to the gallery into a collection. the desired and demanded accessibility to this “ field of distinction” for a larger number of people has finally become a reality. This might be the case in London as well. and so on? But with the expansion of the market through a new generation of collectors and the globalization of the market itself including the biennial boom. Although I appreciate that today almost everyone can be a producer of some kind. Would they instead become more creative web designers. one wonders where will all these students go when they leave the institution with their degrees in their pockets? If you invest so much into your education. it feels as if the art market has replaced the music industry. On the one hand. and so forth. in more countries. are opening their doors to the public. and “creating” successful artists has become a standard promise on the mission statements of and calls for applications to MA programs. even ten years ago. which is a indeed a welcome specialization disrupting the dominance of hundreds of years of European “master schools” established in order to select and form “the best. But was this what we meant when we asked for more visibility as young art students twenty five years ago? Weirdly enough.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 7 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . you want to know what the pay-off might be.

young curators. no outside to the art market and vice versa. Art and its different manifestations have become a powerful economical factor. There is a huge demand for fresh artists. The questions we need to address are: What is communicated through this new art. some more antagonistic. Solid educational foundations were provided by a ”master” when a school’s focus and reputation rested more upon skills and techniques. F R I E Z E . as this depends on how and by whom a space or institution is run. through current exhibitions and their various formats? What is their content and for whom are they being staged? The society of spectacle. and in which direction we move. as today no one can afford such naiveté. I don’t necessarily agree with that argument as grounds to support an opinion and debate. each new spot popping up on the global map. the academy provided a somewhat sheltered “biotope” encouraging experience and wild growth. Myriad strategies are incorporated to serve the system. A S P ? B AC K = 1& F = 119 8 . a growing industry producing scores of new job opportunities. H T T P :// W W W . The critical field defines itself as distinct from the commercial sector. But what will be left after the glory days have faded? A recent debate on New Institutionalism in “Bureaux de Change” by Alex FarquharsonΩ referred to a number of us freelance curators joining the “safe haven” of the institutions for higher artistic education. Art is now a lifestyle. new host sites for biennials. 3 – 4 EDITORIAL A C E R TA I N M A .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 8 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . as Guy Debord presents in his text and film. Are they still places to discuss the meaning of artistic production within the larger field of culture? Do they negotiate the role art plays in contemporary society? Previously. art has become a huge globally operating machine in need of skilled labor. This brings us back to the art schools. Where there is a biennial today. as I still believe in artistic practice as a necessary critical contribution to the formation of societies. tomorrow there is an art fair as well. These are not fixed configurations and an institution today does not represent the same thing it did twenty years ago. The art world is and has always been a complex system. is rife everywhere. The market embraces all too quickly. “Off” spaces nowadays are not necessarily more political than a museum. C O M / F E AT U R E I S S U E 101 I S S U E 101 . However. some are amicable. it is a system of interconnected relations. The market is part of the discursive field. a black-and-white understanding of this complex system.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON _ S I N G L E .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . art academies and art schools were pre-market. galleries and so on. however. and are we not in need of art schools too at all these newly emerging locations? Again I am of two minds. some reading of ΩFRIEZE. Therefore. Yet now the art schools seem pretty much part of the canon. some knowledge of system theory. a kind of playground and creative laboratory when the academy was more innovative. I support the improved access to discourse and modes of production in many places of the world. Yesterday it was China. and tomorrow Dubai and the Gulf. To me there is no outside to the institution. Additionally. To assume the same clear divisions exist as did maybe twenty-five years ago would be overly simplifying. today India. where each “actor” decides where we position ourselves.The art market is growing rapidly. as stated above. a field of constellations and interrelations. B A LT I C B A B EL .

specifically those who previously held highprofile curatorial positions. although a very open and liberal one.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . one reason is the increasing commodification and instrumentalization of the position of the curator for all sorts of agendas and desires. We – as an artists’ group. and some independence. called “Stille Helden” – were not completely opposed to art institutions. a European male-dominated art school setting. at least in the Western hemisphere. It was not until later that I understood that art history is not made 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . but I want to express – and this I share with a number of my colleagues – a strong feeling of unease about the economic and political pressures that those who run museums increasingly have to face today.over’ of the. and the option of getting away from the sheer pragmatism of running the day-to-day business of a museum. music. I am quite aware of the influence of teachers and the impact of innovative institutional leadership in higher artistic education upon students. the inspiration to be found in other related research fields. But what I currently see happening is the `take . I have been studying art myself. affected my desire to understand not only art theory. The wish to renegotiate the role of art through an expanded notion of artistic education allows a certain degree of distance. but also the social topography of the art world at large. To return to Farquharson’s mention of freelance “curators [re-] entering or flirting with educational art institutions”: today’s conference topic does indeed raise the question of why curators in recent times have been accepting leading positions at art schools. more distant locations by the market and its protagonists – and the pressure attached to the market is already felt. We were students of the visual arts. film. did often not address what mattered to us or was not linked to our discussions about art. Furthermore. Instead of complaining. The motivation actually causing my shift from working as an artist and organizer to curator and educator seems outdated. performance and theater. In my case. To be mainly involved with satisfying trustees and/or local politicians rather than investing time researching fields that might be not that popular – this is not everyone’s cup of tea.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .Bourdieu. universities etc. Therefore. specifically women. The exclusion of a younger generation of artists. from mainstream art institutions in those days. I do not want to criticize my colleagues in art institutions and do not want to sound all too negative. Rorty and Luhmann never hurts in becoming aware of our very own entanglements. A second reason is that today’s director of a museum or a “Kunsthalle” is more involved in management and fundraising activities than in working on shows or directly with artists as was the case in the past. extended by post-graduate studies in art theory.. at least so far.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 9 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Art schools seem to offer a kind of temporary refuge for those with a desire to sustain a more critical and discursive practice. we simply created our own formats and spaces and generated our own audiences. From my perspective. and poetry. was a catalyst for me and some artist friends to generate something else. but there was no space for us available and what we saw exhibited. Today this all seems so far away. from what the art field represents. one should not underestimate the potential and pleasure of working with students.

the market dictates what art is produced and. there is a definite advantage to “duck and cover” within an educational structure for a while. As the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . but not least. so nothing is wrong with involving students in exhibitions. they have the budget.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . We have to demand a review and a correction of public collections and force a change in outdated focus points. When I studied art in the early 1980s as part of the group of young artists called “Stille Helden”. For obvious reasons they should take place as well within an apparatus of representation such as an art museum. and also the media power to “correct” and re-write art history. I must have internalized this attitude. and the Carnegie International.. what the idea behind such participation is. or within opinion-creating blockbusters such as Documenta. So. offering them some independence. to discover. such as Hans Haacke at Cooper Union and Michael Asher at CalArts could only sustain their practice during previous high art markets due to their teaching positions. both formats produce a communicative space through artistic and intellectual means. to reflect. It must be made clear. and this made me sensitive towards being identified with an institution rather than with a distinct practice. it is not to create a showcase for students entering the market. those “institutions” are indeed highly interesting. this was my interest. The exploration of thoughts and work is a necessary focus in art education. and Entertain” as a healthy mix and a valid model. Facing today’s powerful art market with huge cash flow on one hand.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 10 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . being unpredictable prevented us from being co-opted. And last. Even today I seek to find “company” to explore. Inform. I still see certain gaps arising within the dominance of the market. I feel the relation between art and exhibitions offers the option to test situations and combinations. More and more. One should not forget. I can only hope that at one point the necessity to interfere becomes strong enough to enter the history-producing apparatus. and an inflation of temporary exhibition formats such as the exploding number of biennials on the other. though. Being part of an artist group allowed us not to get pigeonholed. in those days as young artists we were far removed from having a master plan to develop and to manage a career.in the garage. To come back to teaching. the authority on the art historical cannon is to a certain extent still in the hands of the major museums and based on their collections. I see teaching in art schools as a practice in line with my curatorial work. shown. within art history that mattered to my generation – such as the already mentioned lack of female positions etc. and to analyze. there is a need for crucial debates within universities and other societal institutions focusing on those issues. thus. Yet teaching is also about the possibility and responsibility of transmitting a specific understanding and notion of a critical artistic and cultural practice to a younger generation of art students. An exhibition is equal to a seminar for me. to share what I perceive. the infrastructure. But are there any shared intentions to do so at present? In that respect. I keep in mind the BBC’s founding mandate: “Educate. in order to be able to implement a correction through a multitude of voices whenever necessary. One should also not forget that a number of conceptual artists. the Venice and Whitney biennials. though.

Michael Lingner claimed that only the combination of a work of art. I view both art and curating as ephemeral and process-oriented work. These notions are in constant flux. museums. Since raising theoretical questions through both artistic and curatorial practice is one of my driving forces. postcolonial. while working as a curator for large-scale exhibitions such as Documenta11 or the 3rd Berlin Biennial. This understanding of generating an audience to develop a space of communication. and the speed of the transformational process has been increased alongside the development of high consumption in general. the institutions were the opinion makers. and communicate that Ω KO S U T H . I developed a view of the audience as informal participants over time. I realize that the art schools are too involved in the markets. while they should really be “free” thinkers.” I consider myself always to be the primary audience for my projects. Power positions are not static or written in stone.an audience separate from the participants does not exist. but to be a critical and independent voice negotiating civil society. That keeps one alive and very sensitive to cultural developments. During the years I directed an artists-run space in StuttgartΩ. and the communication about it generates what we consider art. these issues are addressed to pressure artists into being “do-gooders”. work not so easily absorbed. you have to participate to produce a discourse and to understand an art work. curators. But free of what? That question reminds me of Antonio Gramsci and his notion of the artist as organic intellectual whose role is not to act. art takes part in the economical and political reconfigurations on this planet as much as everything else. possibly caused to a certain degree by curators entering the field. its perception. to subordinate or to serve a system. it remains essential to enter institutional spaces and at the same time not to become too comfortable within them. to be committed for a certain time span and then to move on to new territories. At the same time. is still crucial and important to me.. we should maintain a laboratory-type situation in the academies.e. – 3 – 4 EDITORIAL A C E R TA I N M A . M A S S AC H U S E T T S / LO N D O N . For example. and class debates that once appeared in the curricula of art education disappear almost immediately through the back door now that they have a whiff of “PC ” about them. C A M B R I D G E . Today. Therefore.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . As long as we are able to address that in our educational positions. to be challenged. Globalization as such does not stop when it comes to art. artists. gender. I recall that in the 1990s it was the curators who were considered the strong players in the field. In other words. my self-understanding of my position as a curator did not differ much from my self-understanding and way of working as a practicing artist right after finishing art academy.. but is more difficult to achieve.conceptual artist Joseph KosuthΩonce stated so clearly: “. Surely one should not fall into the trap of considering art.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . I regret that the awareness of colonial. as an entity sharing and debating experiences. Later. For me. As an audience. E N G L A N D : T H E M I T P R E S S . you have to engage in what you perceive. 19 91 .. a public space sphere within an institution for education. J O S EP H : A R T A F T ER P H I LO S O P H Y A N D A F T ER C O L L E C T E D W R I T I N G S 19 6 6 -19 9 0 . although the market is strong today. Such understanding has been continued by a number of recent political philosophers such as Toni Negri. i. One of my teachers in art theory at the Academy in Hamburg.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 11 14 – 22 I S I T P O S S I B L E T O M A P … ? Ω K Ü N S T L ER H AU S S T U T TG A R T F R O M 19 9 0 -19 9 4 CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and art schools as fixed entities. Before that. Today.

to debate creolité in Kassel does not make much sense.” Such a “zone of activity” marks the effort one makes to create discursive art – through a curatorial decision. The so-called professionals have to re-encounter art each time they experience new works. rather than educate them from the position of those “in the know. we considered Documenta as an educational tool.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 20 02 . What I shared with Okwui Enwezor and my colleagues from Documenta11 – Carlos Basualdo. we had to go to the places of origin or of relevance for each of the platform topics. Such topics triggered some highly sensitive reactions amongst my colleagues on the faculty at the Vienna academy. In order to focus on the specifics of these discourses. a place with an everyday experience of this fairly recent academic discourse. Curators are under pressure to Ω P L AT F O R M 5 V I S I TO R S . This meant there were eighteen months before the initial scheduled opening date of Documenta11 in June 2002 ( then called Platform_5 ).4 correlated with the discourses artists invited to Documenta11 were currently exploring. but if you debate it in St. H A D A R O U N D 650. Lucia. The opening of Documenta11 took place in March 2001 at the Academy of Fine Arts Vienna with Platform_1. Once. An exhibition has to clarify the questions raised and share this process with the audience. it feels quite normal. Automatically one is confronted with criticism of people who share the experience and have deep convictions on the topic. Octavio Zaya.constellations are constantly shifting. T H E E X H I B I T I O N I N K A S S EL I N 3 – 4 EDITORIAL A C E R TA I N M A . Several art critics. a space one has to produce. For example. why not launch Documenta11 at an art academy. But since the Documenta11 curatorial team understood this exceptional exhibition format as a form of knowledge production. art dealers. Sarat Maharaj. So Documenta11 was criticized mostly for resembling a seminar for higher cultural education.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . on “Democracy Unrealized”. museums were the places for serious historical research. An exhibition of that scale reaches many peopleΩ. and why not view it as an expanded series of seminars? Platform_1 . Today they are forced to take part in a tourist industry and have started to become fundraising machines in order to survive. What do we generate as curators when we put art works. also because museums are withdrawing more and more from curatorial obligation. Those questions indicated that antagonism was already on the rise. workshops etc.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 12 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Some of them wondered how debates on democracy related to the agenda of an art school. That is immensely important in order to establish a serious kind of back-and-forth debate and to delve deeper into a topic. we are still doing fine.0 0 0 48 C O LO FON . and what do we generate by what is then written about it? When it comes to research I consider curatorial practice well-situated within an art school context. O F D O C U M E N TA 11 . too. Platform_1 was focused on a series of talks. Let’s return to the topic of curators connected to art schools. next to each other. artistic views. In other words. One needs a “critical mass” to interact with you if you raise such questions. and last but not least Susanne Ghez – was the view that Documenta is a knowledge production machine. Mark Nash. many for the first time encountering contemporary art. I see an exhibition as a zone of activity. and art collectors asked why such an important exhibition as Documenta11 was launched in an art school context and on a topic unrelated to art. it is not a given.

N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . A “good” exhibition leaves one irritated.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . troubled. stimulated.continuously produce art shows that create media attention and attract large audiences. An exhibition should be able to create a space for critical reflection. That leaves them with less time for research. a space for discourse that challenges the way we think and the way we perceive the world. Aren’t those the exhibitions that stick around the longest?É 3 – 4 EDITORIAL A C E R TA I N M A . No wonder some curators migrate to educational institutions in order to do research. Exhibitions are not being created to simply satisfy us.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 13 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .

economic models. Japan. has no formal legitimacy in terms of official diplomas or exam qualifications. This research deepened until we decided to make voice recordings in a studio in Oslo and develop another Metronome ΩIT Ω“ T H E N OT I O N O F 3 – 4 EDITORIAL A C E R TA I N M A . with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas. a process.Ω In 1999. what it has provided for students studying at both large-scale institutions as well as smaller protozoan organisations is a recursive and transitional model for learning how to conduct focused research as artists. building up an analysis of the use of rhetoric and the voice in art practice with a voluntary posse of postgraduate students who were studying at the various art colleges. C O N T I N U U M . Bordeaux.” J AC Q U E S R A N C I ÈR E . As a self-reflexive investigation that relies on the free will and engagement of students from different institutions and faculties it is necessarily heterological: it appears to disturb the existing coordinates of fine art education by tracing paths across geopolitical locations that throw up earlier colonial cartographies and question current affiliations of power and knowledge that are in the process of being re-negotiated. and finally Biella. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA . Africa.. or became so fully involved in it that their ownership of it is unrelenting.I S I T P O S S I B L E T O M A P . and community. This has involved generating work with artists and writers through the independent organ Metronome and led to a backstage approach to curating for which the art college has proved to be the most efficient and responsive institutional setting. . Edinburgh. and responses to fieldwork in foreign locations.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . I transited around Scandinavia for eighteen months. T H E P O L I T I C S O F A E S T H E T I C S . As a procedure that involves the elaboration of new proposals and their execution. P. In 2001. 20 0 4 .. 71 ‘ H E T ER O LO GY ’ R EF ER S TO T H E WAY I N W H I C H T H E M E A N I N G F U L I S D EB ATA B L E W H E T H ER T H E D E V ELO P M E N T O F M E T R O N O M E W O U L D H AV E B EE N AC H I E V E D I N T H E M I D TO L AT E N I N E T I E S I F I H A D W O R K E D W I T H I N M U S EU M S W H ER E T H E EM P H A S I S O N P U B L I C V I S I B I L I T Y A N D AC C E S S M AY H AV E R U N C O N T R A R Y TO T H E F O C U S O N ‘ C O N C EP T UA L I N T I M AC Y ’ T H AT I C H O S E TO WORK WITH. Currently part of Edinburgh College of Art. students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. A N E X P R E S S I O N D O E S N OT FI N D I T S P L AC E I N T H E S Y S T EM O F V I S I B L E C O O R D I N AT E S W H ER E I T A P P E A R S . However. I published Backwards Translation based on the ex-curricula of students.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 14 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . in fact. Future Academy characterises my activity as a curator over the last ten years. whilst simultaneously coming to grips with survival. Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come. Future Academy does not provide an MA or MFA and. setting up a situation of parallel research and co-production between the Städelschule in Frankfurt ( where I was a guest professor) and the art academies in Vienna. a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON FA B R I C O F T H E S E N S I B L E I S D I S T U R B E D : A S P E C TAC L E D O E S N OT FI T W I T H I N T H E S E N S I B L E F R A M E W O R K D EFI N E D BY A N E T W O R K O F M E A N I N G S . and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’. production. USA .program particularly with regard to a reflective and critical attitude. and Australia.Ω Over the last five years. Supported by host institutions from Europe. which can only be successful if they view their current condition as closely aligned to that of a future environment for research. Interestingly. I N T ER V I E W W I T H G A B R I EL R O C K H I L L . India. Future Academy students have acted as the diagnosticians of their own art education.

Tate Britain. but then denied an affiliation to throughout the 1990s. I developed Future Academy. This conversation should be such that not only do the participants discuss ΩOSCAR Ω S EE M E T R O N O M EP R E S S . PAU L R A B I N O W . S E C O N D . In 2002. I WA S I M M ER S E D I N A S T R A I N O F “S EM A N T I C A N T H R O P O LO GY ” W H I C H N OT O N LY R EF L E C T E D R EF ER E N C E S I H A D I D E N T I FI E D E A R L I ER A S A N A R T S T U D E N T I N T H E W O R K O F J O S EP H KO S U T H . Australia. M I C H A EL B U T H E . and was able to knit together institutional support. and Glasgow School of Art. “A metalogue is a conversation about some problematic subject. nine expostgraduates and I set up base for ten months in the derelict. LOT H A R D I S C I P L I N E ’ S N A R R AT I V E T R O P E S B AU M G A R T E N A N D OT H ER S . C O M 3 – 4 EDITORIAL A C E R TA I N M A . collating materials from Future Academy fieldwork and developing a further constellation of backing and finance. the one convergence I would like to turn to now is the influence of early ethnographic experiments in research. first between the London Institute ( now University of the Arts). T H ER E I S A H O R I ZO N O N T H E K I N D O F AU TO N O M Y P O S S I B L E I N T H I S S I T UAT I O N . and the primary focus on translation as a key trope in advanced art practice. R AC E A N D D I F F ER E N C E . Copenhagen. building a form of “ecological epistemology”.Ω I want to revisit the maverick methodologies of twentieth century anthropologists from Margaret Mead through to Michel Leiris and more recently. Finally. the polymathic academic and cyberneticist who made seminal advances in the translation of systems of knowing and communicating.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Metronome is neither vanity publishing nor self-publishing. P LU S T H E B U R G EO N I N G P O S I T I O N . for example. E TC . Bateson’s concept of the “metalogue” is relevant here. the nurturing of self-appointed communities of artists and researchers who engage in a joint investigation and debate modes of survival. I am interested in looking back at the controversial discipline of social anthropology. W I T H A R T I S T S I N S E V ER A L A F R I C A N C O U N T R I E S . W I T H I N A N AC A D EM I C S E T T I N G M O S T O F T H E F U N DA M E N TA L Q U E S T I O N S O F S U R V I VA L H AV E B EE N A D D R E S S E D A N D TA K E N C A R E O F BY T H E I N S T I T U T I O N . C O L L A B O R AT I O N S O F C U LT U R A L S T U D I E S R E N D ER E D P R O B L EM AT I C T H E O N G O I N G A R T I C U L AT I O N O F S O C I A L A N T H R O P O LO GY A S A N A P P R O P R I AT E M E T H O D O LO GY F O R A N 8 0 S ’ U N D ER S TA N D I N G O F G LO B A L I S AT I O N .11 “I WA N T TO A D D R E S S W H AT I S EE A S A N I N H ER EN T Ω H AV I N G S T U D I E D S O C I A L A N T H R O P O LO GY I N T H E E A R LY 19 8 0 S .publication called The Bastard. and later Edinburgh College of Art. Bergen. and Japan. A R T I S T A N D C O L L A B O R ATO R I N F U T U R E AC A D EM Y.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON T UA ZO N . Chelsea College of Art and Design. and Stockholm. a thought-structure that is naturally interdependent and interactive with other disciplines. regulated art publishing and academic norms. co-funded by art academies in Oslo.” M E T R O N O M E N O . yet high-security Royal Army Medical College that had just been acquired by Chelsea College of Art and Design. Bateson refers to recursiveness as meaning that repeatedly loops back onto itself in a reflexive dialogue with its representational boundaries. and their subsequent interpretation. B U T O F F ER E D A S EL F .). T H E S T R U C T U R E O F A L A R G E I N S T I T U T I O N R EQ U I R E S C O L L A B O R AT I O N W I T H P EO P L E W I T H W H O M YO U M I G H T N OT H AV E A N Y R E A L A F FI N I T Y. EM P H A S I S E S T H E P R O B L EM O F T H E A R B I T R A R Y C O M M U N I T Y S O O F T E N F O U N D I N AC A D EM I C S T R U C T U R E S : L I M I T TO T H E AC A D EM Y A S A PA R A D I G M F O R E X P ER I M E N TA L W O R K .Ω However. I published the last two editions of Metronome for documenta 12. Once again I set up informal research units. I’ve come back to Gregory Bateson. M Y S U B S EQ U E N T W O R K W I T H ( S EE J A M E S C L I F F O R D . FI R S T . A N D F O R A N A R T I S T I C P R AC T I C E W H ER E T H E P R I M A R Y I S S U E I S H O W TO G E T BY. In particular. in 2006 and 2007. the process of moving and working in different cities and involving local histories and organisations in the project as it evolves. S U S A N H I L L ER . Clifford Geertz. At that point. a publication and 12hour event held in the unconverted Millbank building. T H I S I S A R E A L O B S TAC L E .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 15 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . fieldwork studies. but the carrier and medium through which I have transported this research in motion that tends to lie somewhat to the side of recognised curatorial models. Malmö.C R I T I C A L A N A LY S I S O F T H E C L I F F O R D G EER T Z . Navigating through this vast. turning back onto itself the environment in which I had been given so much conceptual freedom and means of production. which I studied alongside contemporary art. Using a relational methodology to understand perception. only this time in the US. sinister site next to Tate Britain with guest artists while imagining its past and future led to The Stunt and The Queel.Ω Future Academy and Metronome clearly have many points in common including their unofficial status – you may well ask how Metronome fits into the UK’s Research Assessment Exercise when most productions are without ISBN and Future Academy student cells are not academically accredited? Several convergences exist. Bateson writes. M A R C U S A N D C U S H M A N . P R OTAG O N I S T S F R O M T H E B L AC K A R T S M O V EM E N T I N LO N D O N .

” One might say the same distinction applies to the art academy in relation to the museum as a site of new production: art academies necessarily should be places where art is engaged with and expanded in a manner that cannot be achieved in museums and galleries. but the structure of the conversation as a whole is also revealed to the same subject. and there are no results.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. “Art academies should be places where research is done that actually cannot be done in universities because universities have other limits that art academies do not need to have. and heterogeneous location for visioning the future and forming agents in this process. To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. an art academy. One question emerges here: can both art students and faculty recognise the plurality and therefore the instability of methodological procedures as part of their research activities. On an elementary level. “S T EP S TO A C E R TA I N M A . and highlighters together. and yet. So my personal question. has been to ascertain whether the art academy remains a location in which its faculty can experience the flexibility to undertake the prelusive or unknown that defines independent research and the work associated with it. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. As Martin Prinzhorn stated in a conversation at the start of Future Academy. and whether I survive professionally. each of us has the authority to retain a sense of individual development. the art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”. to become interlocutors. However. Its artist-members are able to deploy the transformational moment in their research of aesthetic practices in a way that is not possible in any other institution today. As well as providing a more or less thorough training ground for artistic positions. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. Only some of the conversations achieve this double format. or is the current conception of competence and accreditation in art education unnecessarily driving both parties towards conformism? Underlying my interests in the art academy environment is the presupposition that it offers an exceptionally individualist. and then involving them from day one when nothing is known. places and people. 1971 .the problem. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. collaborators.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . I would argue that the academy is the site of prelusive knowledge.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 16 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . reactivated again and again over the last ten years. deregulated. The work of the students has a bearing on what I produce. like any institution. B AT E S O N . where I travel to. at the same time. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. For the art academy specialises in and nurtures the lead-up time to production through a particular approach to the relation between ideas and things.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process.

and the Cultural Industries. entry is based on convocation rituals. From the 19th century mercantile marriage of Empire Education. a powerful. “A ‘common’ world is never simply an ethos. and Trade. and are permanently revised and reactivated to reflect changing concepts of national and cultural heritage. concordant accreditation systems. It is from this perspective that it is possible to raise the question of the relationship between the ‘ordinariness’ of work and artistic ‘exceptionality’. Today’s corporate rather than imperial model of schooling and human resource development places emphasis on structures we are all too familiar with.”Ω ΩIBID. definitions usually lead at one point to a certain tension between inclusion and exclusion. We thought. we shift seamlessly into today’s neo-liberal threesome of Globalisation. It begs the question as to whether the European MFA is actually a neocolonial device ultimately being developed to be implemented beyond Ω S EE 44 – 46 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . A more innovative analogy might be the one raised recently by Georg Schöllhammer at documenta 12. which functions to reinterpret the past and reinscribe as well as redistribute values of competence. vocational training. global market in postgraduate education. However. Presenting this notion at the Metronome Think Tank in Tokyo. “The idea of the documenta magazines project is to come back to a form of mobility that is also a form of academy. For example. However one chooses to define the academy per se. Here the academy is understood as an editorial group. one might focus on the academy as a protection lodge. Highly ritualised in contrast to more bohemian academies.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 17 As the name Future Academy indicates. 20 07 . He writes. that results from the sedimentation of a certain number of intertwined acts. Schöllhammer states. because they have the distinct feeling that they need to speak about these in an audible and visible manner. and by extension internationalist policy. on strictly maintained interpersonal networks. I’ve opted for the heavy connotations of the historically bound. TO K YO . run by an elite orthodoxy with a structure which necessitates it to be non-accessible and non-populist. a shared abode. Learning. non EU students. The geopolitical incentives of this formulation rise and fall according to demand. and an unhealthy reliance on the fees of foreign. artists’ collectives whose scale is necessarily small and mutable in contrast to the elephantine magnitude of the major art educational establishments that most of us work within. here I’d like to focus on the art academy as the tool of cultural expansion. It is always a polemical distribution of modes of being and ‘occupations’ in a space of possibilities. these editorial groups and bring them into discussion with one another?”Ω Schöllhammer’s proposition combines the method of an organ such as Metronome with that of a collective research project like Future Academy.an antagonism.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON M E T R O N O M E N O . PAG E 42 3 – 4 EDITORIAL A C E R TA I N M A . heritage art academy and combined it with more self-destruct. It has a long tradition in independent media and involves a group of people working over a long period of time on issues which they find interesting to translate from one place to another or to present. a very stable form. virtual learning environments. formal and informal. W H AT I S TO B E D O N E ?.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . organised and deregulated knowledge. and more could be developed on this relationship. 11 . why not use these academies. namely the editorial group. and on notions of adherence. Life-long learning.

Future Academy’s resolution to be voluntary and non-paying led to a deep interest on the part of the students in all locations in economic propositions. J. the Media Centre of Dakar. As a result of pitches I made to artists. this symbiotic relationship was confirmed once more with the participation of small artists’ collectives in Tokyo that focus on educational formats. what I hope characterises today’s globalised art academy is not just the frenzy of standardisation. in order to perform a deep transfer of knowledge that can reflect and compliment the newly international character of this student body. A college with a large amount of international students is heterogeneous but not necessarily able to make use of this condition. In both locations. the student body increasingly mutates flooding the once singular character of a nation’s art academy with an unstoppable flow of new influences. Later. Both NGOs could thereby circumvent entrenched bureaucratic problems within the older structures and enable students to develop new methods and productions external of the existing curricula. I was able to set up experimental student cells and with these. devised by social anthropologist Arjun Appadurai with US academic funding. such as CommandN. Likewise Future Academy would negotiate its way forward with its motherships in London and Scotland. Their claim 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the urban research group PUKAR (Partners for Urban Knowledge and Research). I made the decision to curate this investigation away from a super-structure of European super-schools and to focus instead on the current ramifications of colonial art academies established in the 19th and 20th centuries. and confused expectations. a weeklong Future Academy seminar generated a proposal by MFA students to set up a bank. In February 2003.the territorial parameters of the Bologna agreement? Meanwhile. where art colleges were aligned historically with their British colonial counterparts.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 18 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . With this modest endeavour. where the Ecole des Beaux Arts in Dakar is actually a post-independence phenomenon initiated by the late president and poet Leopold Sedar Senghor in 1963. For example. School of Art. J. or Arts Initiative Tokyo ( AIT ). for example. open to a wide range of office workers and people whose education may not have included formal art studies. when Future Academy moved to Japan. but the alternative option of travelling intelligently through different institutional structures with their contrasting value systems. and encourage students from the different departments or schools to take ownership of this research. and then in several cities in India. scholars. Within the first six months of Future Academy. AIT has managed to remain financially self-sufficient and autonomous. an NGO co-financed by Norwegian state funding. parallel institutional partnerships. m-lab.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . there were different institutional scales at work. runs exceptional evening classes on curating and contemporary art. AIT. thereby questioning today’s renewed forays into educational expansion. was producing documentary films with students of Shri. latent cultural backgrounds. Nevertheless. I worked first in Senegal. and students on the hypotheses and modus operandi of this research. was working with the Ecole Nationale des Arts in Dakar and teaching new media to students. indicating a true mushrooming of short-term working systems.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and in Mumbai.

N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . What have these people done to become successful in the context of an international system? They receive ΩT H E 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the scheme was activated in the recession of the 1980s as an alternative to the development banks. B I R I M A . AT THIS MEET ING YOUSSOU N’DOUR RAISED THE ISSUE OF THE GROWTH IN OPPORTUNITIES FOR YOUNG PEO PLE AND THE FAST TRACK THAT THE YOUTH PERCEIVED IN BECOMING A MUSICIAN TODAY . precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research. The senior management of the UK School in question immediately quashed the proposal and. Trust and social sanctions encourage a self-selection process with regard to the group’s membership. This hawker enters the economic system too. through to smaller cooperatives based on neighbourhood structures. the organisation of events. the one that we call informal. In Dakar. which. In the future.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON S E N E G A L E S E M U S I C I A N A N D P R O D U C ER YO U S S O U N ’ D O U R TOOK PART IN THE FIRST FUTURE ACADEMY FORUM HELD IN DAKAR IN JANUARY 2003 . However. As research on this financial.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 19 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . SENEGALESE MICROCREDIT ASSOCIATION CALLED BIRIMA TO SUP P OR T SM A L L C A M PA I G N I S T H E P O R T R A I T O F A S E N E G A L E S E H AW K ER . as any further development was voluntary. the students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there. both defined as agents in a transactional relationship. S EE W W W . and constitutes part of the informal economic chain. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL. or the acquisition of health and educational infrastructures. the Tontine provided an experiment in alternative funding systems and actually paid for the Senegalese visas to India so that they could to take part in the Synchronisations forum set up by their Indian Future Academy colleagues. and the teacher or professor on the other. is not monitored by the police or the state. Likewise. the Edinburgh cell also applied the Tontine system to their collective finances. If the example of legally extraneous micro-credit associations had provided the framework. In contrast you have the hawker who has no formal education in economics and who has only attended traditional and Coranic schools.Ω “ We realise that there are eminent professors of economics in Senegal who often receive travel grants to go to Europe or the States in order to study during the holidays. Tontines can fall within several categories. O R G S C A L E E N T R EP R E N EU R I A L I N I T I AT I V E S . the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed. communal structure developed. and managed to raise a considerable amount for their visit to India. the role and value of the artist might lead to a type of international intelligence for which both a black market and a barter system might become operational. They come back with theories. so too did the concept of the individual who might operate it: the student on the one hand. Tontines can even have clandestine membership arrangements such that although the savings will rotate from person to person these individuals remain unknown within the group. it was to be the hawker or itinerant salesman who offered the role model. The model proposed by the Senegalese artists referred back to the Tontine. Key to the Tontine in Senegal has been the cultural and social dimension it employs to ensure that a rotating rhythm of contribution and spending is maintained by each of its members. women’s groups. The fundamental issue with the Tontine is that it remains outside of the law. O N E O F T H E I C O N S U S E D I N T H E P R .was straightforward: independent thinking required independent economies. from those that are regulated by religious and commercial interests in order to cover financial difficulties or pay for pilgrimages to Mecca. whilst apparently run by the Senegalese. and he or she travels worldwide. were still closely tied to French finance. a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653. In the context of Future Academy.

networks. If we want to analyse one-day economies or smaller more chaotic models where things are done in more fluid ways. But also in terms of media and communications. They exist in the artistic domain too and we should open up this debate in Future Academy. like a market. then I feel we need to take into account that this actually works and investigate its relationship to the predominant paradigm.”Ω Effectively the Senegalese Future Academy team spent lengthy periods in Dakar analysing informal systems such as the network of beggars. and which they are encouraged to qualify and take ownership of. The formal and the informal do not only exist in economic terms. analyses. emphasising their interconnectedness: “The informal sector is a little like a bazaar. can we find a way to align the informal to the formal sector? This is the predominant economic paradigm that we are trying to work with or break out of. You go out and find your guy and he offers you a mixed bag of things. should we look at it in isolation or not? Instead of having one-day economies.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R ΩD I S C U S S I O N B E T W EE N N A L L E AU R O . may fast track them into a professional context. and individual contacts across the world.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON E V E N T I N B A N G A LO R E . from a sole dependency on grants. loans and student debt towards alternative economic Ω U M A N G . if anything. the stock exchange of second-hand clothing. A N D AWA D I O U F AT 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 20 F U T U R E AC A D EM Y ’ S ‘ S Y N C H R O N I S AT I O N S ’ E V E N T I N B A N G A LO R E .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . we could ask them how their system functions without basic formal economic principles. and “ traders and crafts people would meet at the shack studio. 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 20 05 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . peripheral academics. Indeed. M A N E . Moreover. and the shifting of competence from illegal mini-cabbing to the acquisition of what in London taxi driver’s parlance is known as the ‘Knowledge’. <<<<<‘ S Y N C H R O N I S AT I O N S ’ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .no support from the government. extensive debates took place between the students in Future Academy on the relationship between informal and formal economies. It is random. expertise would be handed over to informal economists. In this Permeable Academy. their final conclusion was that at a certain point (postgraduate education) student and teacher need to reformulate the hierarchical relationship of knowledge transfer and enter into a flat zone in which each party recognises the value of their respective input and can effectively pitch and barter their way forward. To resume the argument so far: competence in Future Academy is the ability for students to make a series of shifts. Here we find the transition from informal to formal. If we look at the informal sector and how this fluid state of the economy is run. and deducing complex performative and presentational modalities from them. But if they could enter the future academy. 20 05 . Secondly. looking at all these phenomena in terms of aesthetic values and vectors. and illegal taxi drivers with their speed-driven race against death. the Future Academy team subsequently re-defined this proposal into the ‘Permeable Academy’. The hawker is at the heart of our intellectual debates right now. I do not think we should look at it in isolation.”Ω In India. and how it is that they still manage to survive (…). You don’t enter a pyramid structure. from prescribed learning structures to voluntary initiatives that do not feature in their academic assessment. Firstly. and that. describing the mobile architecture of the itinerant salesman as that of a moving directory of comparative studies. a tea shop outside the walls of the heritage academies.

In this manner. A N D OT H ER P R O P O S A L S F O R O N L I N E S A L E S AT T H I N G S FA L L D O W N . Art students. The Tontine system that fuels this moving group of artists and 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 21 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . daily survival and collective projects. Moreover. The Roaming Faculty model offers selected artists and scholars the chance to develop new work through a chain of interconnected situations at four to five different art academies.. to name just a few). just as they might be interested in hearing from economists or scholars whose research is founded in the cultural idioms and methodologies of non-Western societies. to Superflex.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . production. and the transnational group of students who work with him or her. research. a polymathic educational model. With the introduction of a ‘Roaming Faculty’. Raks. the mystery of biological evolution. institutional structures and time frames. and practices that might be taught. Heterodox combinations of information and skill would inform art practice: for example. the nature of play. RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . which stand outside of the course curricula.”Ω When we investigated future faculties of knowledge in the art academy.Ω Ω I ’M THINKING OF JOE S C A N L A N ’ S C O F FI N S . like our hawker earlier on. something that one could argue is taking place once again. in other words those subjects. or Pukar in India. and developed.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R I would like to end on a related issue that provides the basis for intellectual competence: the figure of the polymath and the concept ‘ of a roaming faculty. they argued. the Roaming Faculty structure requires part investment of no more than 20 to 25% of a full professorial salary. researched.g. It’s a consortium of sorts. the exercise of a particular sport as a model for analysing thought structures (e. C O M 3 – 4 EDITORIAL A C E R TA I N M A . a future art academy would engage in a polymathic economy. for a participating institution. Senegalese wrestling as mental and physical dialectical engagement). It’s a non-prescriptive condition of empathic learning. I’d hesitate to call this the seeds of a micro-institutional development but increasingly I feel it may just be heading that way. Let’s go back to Gregory Bateson who defines his stance in opposition to what he sees in the 1970s as the increasingly materialist ecology of academic departments. could benefit from a lawyer on immigration and identity issues. the escalation of an armaments race. that provides for a parallel extension in the work of guest. to the shaping of content and the nurturing of transcultural and transdiciplinary positions. it was to both latent aesthetic processes. and finally a polymathic understanding of place. situating itself between different public audiences. given the global importance of social interventionism in art practice of the 1990s (from N55. travel. the polymath. contexts. becomes embedded in a structure dedicated to mobile knowledge transfer and deep exchange. Huit Facettes in Senegal. and the contemporary crises in man’s relationship to his environment.approaches with regard to studying. and everyday relational activities that attention was directed. It would confirm the value accorded by artists in transactions that introduce service environments into their work from the clinic through to purchases that can be made online. peripatetic researcher. but it is led by the value attributed to an individual’s research. can only be understood in terms of such an ecology of ideas. Open Circle. the processes of courtship. In 1971 he states that “such matters as the bilateral symmetry of an animal. which may be no wonder. the patterned arrangement of leaves in a plant. the grammar of a sentence. a polymathic faculty.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL ΩI B I D .

a lucid and production-based interest in economic and symbolic value. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and helps to broker decision-making. and thereby to dissolve the idea that following a course will make them into an artistÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .scholars guarantees the on-going low-level costs. and cultural contexts. the predisposition to embark on voluntary non-course or examination-led investigations which enhance an understanding of different methodologies of research. rotates ownership between the participating institutions. I’d like to propose three areas of articulation for fine art students: first. So to conclude. secondly. To impart this critical approach to the student seems to be essential today. which are shared. analysing and evaluating their presence within the next generation of artists and practitioners. The value accorded to survival and self-organisation leads naturally to a further set of skills: the rhetorical and analytical wherewithal to stake a position as a student player in the revision of educational structures.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . methodologies. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. and by extension the ability to engage with a form of research that is non-prescriptive from the outset. understood here as the flexible act of idiomatic transference between disciplines.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 22 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .

Embodiment goes necessarily beyond the academic discourse. since that fight is a practice filled with clandestine techniques. to discovering whether there are new ways for art practitioners to embody provocative ideas and produce novel forms of communication. while art education is about inspiration and creation. ideas. I am not in the position to talk about clandestine knowledge in public. but rather to the creation of new forms of embodiment. I would rather suggest working on a clandestine manual or instruction book listing all the tricks and all the ways of seduction required to enable art education within institutions not designed to facilitate anything remotely linked to that form of education. However. We lose the spirit of conceptual art when we actually believe it has produced knowledge.e. In fact. and words. that notion is based on a fundamental misunderstanding of what conceptual art practices meant. the academic discourse is about evaluation and legitimation. because institutions are innately about legitimation and evaluation. i. Today. I do believe that education based on the notion of art as a form of knowledge production creates artists focused on skills such as self-administration and email production..N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 23 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . perhaps we should understand the intellectual even as something entirely different from the academic. That is not something to be taken for granted.POSING SINGUL ARIT Y JA N V ER W O ER T In the continuous rituals of institutional politics and their related internal closed-door logic. Benjamin Buchloh has argued that the past is the aesthetization of bureaucracy. Yet it might simply be that we did not understand that conceptual art is about intellectual provocation and the disruption of thoughts. i. If we want to maintain a critical discourse. The second issue that worries me is the current prominence of the notion of art as a form of knowledge production. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . That disruption is not necessarily connected to the production of knowledge. So I must find other ways of sharing it. the libidinal and cerebral embodiment of an idea.e. while the intellectual is about the public embodiment of ideas and thoughts.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Those different principles imply that people who actually believe in art education will always have to fight the logic of the institution and its continuous institutional ceremonies. After all. Perhaps we should reconsider the legacy of conceptual art and investment in producing intellectual bodies of art. even if it depends on the academic discourse to realize its practice. In my view. the logic of institutions and the logic of art education are fundamentally at odds. we do take works from the 1970s seriously and believe they have produced knowledge. thereby creating hermetic black boxes which destroy information and burn bridges with the outside world.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . though well-meaning and wellintentioned. The question is how to talk about fighting institutional rituals in public. since institutions tend to follow strictly the Kafkaesque dynamics of closing in on themselves. Along those lines of thought. there is fortunately always someone trying to keep doors wide open. This in turn brings to another important issue: the issue of the academy as institution.

How can we avoid becoming public commodities. The second is the matter of temporality or the organization of time. teaching artistic subjectivities is teaching people how to put themselves at the mercy of the communication industry. Reappropriating today’s means of production no longer implies invading the factories. One concerns the ethical-political question of the good life connected to the question of subjectivity or singularity. we are producers in the new industry of communication.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Therefore. When you read Negri and Hardt’s Empire. The last question concerns debt or indebtness. contemporary discussions suddenly create an uncanny moment of closure when we speak of the institution in the name of the institution. the means of social existence. That perpetuates the false assumption that we are all just institutional people and that is the only reason we are entitled to speak on its behalf. This issue pervades art schools and is almost everywhere in highly individualized societies. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . As producers of artistic subjectivities. Something pointing to the possibility of a different world. In the new forms of immaterial labor. At heart this concerns resuming control over our social lives. The issue of the chosen is part of a larger discourse in society.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . They argue that today’s means of production are the means of communication. that puts us at odds with everybody else. That is what you must do as an artist or an intellectual. docile bodies and willing contributors to a new form of immaterial labor? Negri and Hardt explore how we may regain control over our intellectual lives.we can never speak in the name of the institution even when we are speaking about the institution. since you have been accepted.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 24 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . constantly producing subjectivity. One of the major contradictions in a society dedicated to the production of subjectivities is the issue of singularity. I would suggest that it might be necessary to speak about institutions in the name of the good life. but suddenly with horror you realize that you are surrounded by chosen ones. the singular ones. as we put our life skills at its disposal. Let me start with the question of subjectivity. There must be a way of speaking about the institution not in its name but in the name of something else. the one hope we all share is that we are the chosen. but essentially to wrest back the means of social communication. We sacrifice our very lives in that new economy. I believe one of the most urgent questions facing the art academy is: How do we want to live together? How can we renegotiate the forms of communication that will determine the conditions of our life together? I would like to raise three issues related to that question. the most pressing question is in what name or in whose name we want to talk about institutions. Perhaps a utopian world is a world without any need for institutions. We are works in progress. What do you do when there is more than one of the chosen on a panel or in a room? That is the first experience you have when entering an art school. the question of the good life is actually the most pressing issue they raise. something implying a utopian principle. the biggest growth industry is communication. officially you are the chosen. Many times. Immediately. Currently.

I would like to make the distinction between a community of provocation and a community of convocation. How can we be singular. A strange assembly of creatures finding a way to coexist that is impossible to explain. union. the first issue deals with the exercise of singularity within the different ethics of a community building. Today. Temporality is related to the urgency to answer emails immediately. because the question of singularity is the most pressing issue every student experiences when entering art school. I dream of a provocative community that might exist in an art school as an antagonistic community of provocateurs. to realize that deeply existential feeling of singularity. Good ways of posing are exposing. In a literal sense you provoke. in the loop. You learn to present singularity as a form of provocation. Bad ways of posing are just imposing.Books such as the Harry Potter series or films such as the Matrix or the Lord of the Rings are all about the chosen. exposing yourself to provoke someone else into reacting to what you are saying. So. One could consider the promise of singularity not to be a problem as it is a deeply existential experience. except violence. That is what you do as a student. In that sense. it becomes difficult to imagine disrupting that regime of a particular temporality. the actual problem is that competition is the sole mode or experience of the promise of singularity society offers today. So the pressing question is whether we can really propose an alternative model to competition to realize that collective experience of singularity. Those bonds. The antagonistic community of jealous lovers of solitude might prove provocative. but it is also what you do as a teacher. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . but to the need for forms of antagonistic friendship. That is a temporality of absolute presentism. Let’s provoke a provocative community of poses. The second issue I mentioned above pertains to temporality or the organization of time. allowing the sharing of solitude. temporality is the regime determining institutional life and also the market. assembling people together to eradicate differences among them. are forms of conviviality not pointing to the need for another church or another constitution. with always staying on the beat. I think we have an unique opportunity to do that in the art academy. since he writes about the community of jealous lovers of solitude who have nothing to bring to the community save their love of solitude. I like to think that the academy is a good place to do just that. There is no other alternative. One of my ideal models of an academy as a provocative community would be The Muppet Show. together? In that context. Often communities are about coexistence. not convocative. imposing your subjectivity on others. How do you effect the calling. The chosen has to fight within a constellation or competition among others to prove that there can only be one. Usually the chosen becomes approved or legitimized through violence and competition. When you always live in the present. you call upon somebody to articulate his or her position. However. Derrida’s Politics of Friendship is fascinating.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 25 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . though? I think it should be provocative.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . There are bad and good ways of posing. The art of posing as a form of provocation is one of the competencies you gain as an art student. without constitutions and manifestos.

you could say that we should have many overlapping. But there are also high-performance academies. beyond material debt. Thus. To redeem themselves from that debt they immediately start doing a socially engaged project in order to give back to the community and to do good. students have to pay back what they were given. I was once in a place that was so presentish that the person running the print workshop was fired because of his links to past knowledge. Staying in the Muppet Show model. the art academy is a place where various pasts.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 26 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and with the oblique angles of talking and choosing the subject of teaching. and to produce a different form of co-existence and conviviality.Ideally. ideas. I realized that different institutional structures produce different forms of debt. where the past squashes all presences. and talking with students there. Finally. like Düsseldorf. I found that students left school with a debt to the community. especially in market-driven societies. when one temporality starts dominating others. People embodying the past also embody a particular form of potentiality. On a basic material level. However. I found of course that debt is market-related. After three years in Sweden. Thus. or in a multiple sense of temporalities. though at the same time conflictual. That is a big challenge. To generate the art of the future. because they have to pay back their student loans. since one never knows what the art of the future will be. That has to do with characters and generations. with artists and texts brought in. since they all speak different languages. where people.A. People become involved in serious debt problems when financing education. we need to talk about the third issue mentioned: debt. where people embody the present and erase any memory of the past. debt is at the heart of education. there is also a spiritual and a symbolic debt. the academy is a place of many temporalities. and futures exist in one building. artists must have financially viable products ready and out in a gallery. While teaching in academies in countries where the social welfare state still exists.A. While teaching in L. embodied by people who might never be able to properly talk to each other. L. This indicates things seriously have gone wrong. the potential of the art academy lies in a radical non-contemporary quality.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the better it is. Not surprisingly. where various generations meet. as well as in academies in Britain and the United States. There are traditional academies. and practices embodying different forms of temporality may exist under one roof. Yet there should be a way for different temporalities to coexist in one building. one can only wish and hope that all people will get enough money to pay their loans back. I think the more temporalities an academy has. The goal should be to multiply and diversify the inherent temporalities of the academy. you need some non-contemporary past potential. In a Nietzschean sense. Very often. completely antagonistic and incongruent temporalities. The artist embodies both the experience of the past and performs the experience of the present. while art students embody the promise of the future. I think students all become indebted to certain ideas and to certain principles through forms of education. presents. In a welfare 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .

On that symbolic level. they become indebted to the idea of the social or society. teaching can make a difference in helping students to determine to whom or to what principles they chose to become indebted. and perhaps we can never redeem or absolve ourselves completely from this debt. another form of embodiment. Especially when teaching traditional skills. you will remain completely indebted to people whose lives you would have to assure. by saying you should write for the ghost of Shakespeare’s sister. beyond the material? This leads to considerations of how one might go beyond the institution. I believe we have to communicate that a certain indebtedness will always linger with both students and teachers at the end of the year. That is a promise one can never guarantee. I would like to propose dedication as the principle to which we devote our practices of embodimentÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . while you cannot actually do that. What other horizon could we open up? What would it mean to be indebted to the good life? There is a beautiful book by Gayatri Spivak called Death of a Discipline.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 27 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Teachers are always tricksters because they bear witness to the fact that art is not just a product. she asks to what spirit do we dedicate our teaching.state. because they have received affirmation of the validity of producing art. while art could equally be a highway straight to hell? As a teacher. but will make a difference. to whom do we want to dedicate that practice? Then she refers to Virginia Woolf and that fantastic passage at the conclusion of Room of One’s Own where Woolf speaks to the feminist writers of the future. In the end. for the sake of her return to the future. That is a perfect example of shifting debt to dedication.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . teachers feel enormously indebted to them. in a market-driven environment. where she raises that question of debt and dedication.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Let’s go for another form of art. So there is a mutual sense of indebtedness. All we can do is shift the debt into a mode of dedication by asking to what do we spiritually want to be indebted. How could one ever make that guarantee. they become indebted to the market. When the graduates go out into the world.

writer ) within the art context. What then would be our object of study today? Is it the art world. The curriculum should not only be involved in the production of knowledge. However. Even though the academy may have lost its aura and its disciplinary modus operandus. which is both anti-utopian and antirevolutionary. One might argue that the death of disciplines has been occasioned by interdisciplinarity. curators. One of the goals of art education could be to try and unravel the triad art world. In spite of the problems with defining the object of study. but also in terms of their socialization and cultural context in general. the artist.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . evaluation. Currently we have a specific political horizon. the art academy has never been so successful as it is today. it should also imply a certain lack of rigidity. disciplines are no longer fixed.ROOM FOR THOUGHT SI M O N S H EIK H How could one use ideas from critical art practices within an educational model also connected with accreditation. our program is interdisciplinary with a focus on what could be called the role of the cultural producer ( artist. Spivak talks about “unlearning”. In our view. Yet the lack of an overall ideological goal in terms of utopias could also be blamed for that. We specifically try to mix artists. Disciplines once involved in utopian and revolutionary goals also find themselves in a crisis. in trying to let them unlearn what they have learned. the only way to become an artist is through the art school. and course plans? This question relates to didactic strategies and to what the discipline called teaching means today . Both theory and practice need a specific mode of address and a specific mode of representation. artistic practice is always based on a theory. But what kind of system are we using? And what is the system we are educating people for? I believe that a MA curriculum should never be entirely predetermined. configure and reconfigure them. as Spivak states in Death of the Discipline. Presently.and what its object of study entails. artist. and vice versa. in the postmodern and postcolonial era. So we can at least say with some certainty that art schools produce artists. In that sense. but also in creating a space for thinking. thinking could break down pre-determined knowledge. all major exhibitions in commercial shows and galleries demonstrate that exhibiting artists are products of art schools.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . They all have different preconceptions about art. and art. In addition. not only in terms of their education. I am teaching in Malmö’s Critical Studies Program with students from all over the world.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 28 3 3 – 4 0 U N C E R TA I N M A . We focus on available modes and how we can deconstruct and reconstruct. We consider artistic production as being outside the contradiction between theory and practice. writers and theorists in one master’s program 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Where knowledge could be inhibiting. curator. There is no hierarchical relationship between theory and practice. so we are continuously involved in deskilling. as a reaction to academicism at art schools today. or is it art? These objects overlap and seem hopelessly entangled. That is a historical shift compared to fifty years ago.

Perhaps that is starting to permeate art education. we offer insight into how art is produced. Today. By mirroring those two conceptions. Even in curatorial programs.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . audiences. there is rarely a discussion about how art works are produced. you learn how art is received. Fifty years ago. The current composition of the museum’s constituency is very difficult to define. as building blocks that can be used in the articulations of the exhibition. new counter-narratives and perhaps even new subjectivities? To and for whom does one speak as a cultural producer? What is the difference in conceptions and locations of various notions among institutions.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 29 3 3 – 4 0 U N C E R TA I N M A . in art we could argue that representation is an act whereby something comes to represent something else. construct new narratives. One model 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . In other words. it was the nation-state. its constituency could be easily defined based on the interests of the ruling classes. historically. and communities? Sometimes these notions are considered synonymous. Unlike theory courses at the university. since art institutions ( museums ) have a problem with constituencies. In those days. we see a move into the educational space of curators. the education of the populace into a national. i. What does that mean? What is that act of de-presentation? Those questions play an important role in understanding how any representation of the world has certain exclusions rendering things possible or impossible. we can create different kinds of understanding and disentanglement. through various modes of address.e. how can we. though. An obvious example of de-presentation would be the so-called post-communist condition which is now impossible to discuss or imagine. So there is a profound shift in how to define a constituency. Another question cropping up is what the relationship is between representation and depresentation. it usually means that someone stands for someone else. we could state that in critical theory. In the context of an expanded idea of the notion of representation. In our program. There are certain historical models of the art academy that have been handed down to us that could easily be deconstructed. That was the goal of the museum. What is the public role of the artist. constituencies.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . but obviously there is a immense difference between production related to art institutions or production related to the audience. unified body. presently. I understand de-presentation as the disappearance of ideas and imaginations actively or passively de-presented from the world. Artworks still seem to come to us as almost readymade. so that there is a certain absence both spatial and temporal. However. we also try to discuss how one as a cultural producer one would define work vis-à-vis the apparatus surrounding production and presentation. the bourgeoisie. and potentially? These discussions must revolve around various truths and methods of representation. In art history courses. most art institutions are part of the so-called entertainment industry.in order for them to develop a single vocabulary of representation. What happens if we try to transform audiences – as many artists currently try to do – into a constituency or a community? What does that mean? With regard to constituencies. but you do not learn how ( contemporary ) art is produced.

a phenomenon.pertains to the idea of the masterclass. Therefore. how they are inadequately historical. students. and how they fail to be equipped for dealing with the current situation of lifelong education and re-education. That is the very issue of a certain ma-ness. i. One model I have been interested in is based 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Where traditional educational systems were part of a disciplinary society. based on the sovereign reigning over the subject. are being produced. Artists are a sort of social avant garde.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . To paraphrase Spivak. modules and internalization can only be seen as part of a society of control. since the results of institutional critique. one should examine the implementation of its productive features. One should then try and maintain the open-space freedom of the laboratory. As producers of knowledge. but now moving to a curatorial practice. Simultaneously. Hopefully it is too difficult to transform thinking into a commodity. loose their effectiveness in terms of transforming the art environment. as happens with knowledge in the knowledge industry. teaching. the new model of examination. The cultural producers we try to create in the Malmö program can also be seen as a counter shift towards these developments within art administration and politics. I believe.e. Thought has boundaries different entirely from knowledge.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 30 3 3 – 4 0 U N C E R TA I N M A . on the forefront of our current society and its notion of immaterial laborers. originally an artistic practice.e. we must question the relevance of this model and perhaps look more closely at the university model now replacing the masterclass. one professor talking to multiple students and deciding just what art education is. The critique and the transformation from managerialism. The subjects are all listening to their master’s voice. and not just with themselves. In terms of mode of address. replicators rather than producers of knowledge.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . as places through which subjectivity has been formed. That has very little to do with institutional critique as such. there have also been didactic historical models that could prove inspirational. However. That is an inherently hierarchical and masculine subject position. now that artists engage with the world.” That is an urgent issue. However. I believe it would be unrealistic to think that the implementation of the Bologna model or system would solve the problems most of us have – I hope – with the historical master classes. For this reason. and as discursive spaces. Rather one should learn from them as spheres of experience. it is a critique of how institutions work. have been much more profound. it is important to shift the notion of knowledge production into what we at the Malmö art school call room for thought. “If the art school is a teaching machine. and its administrative model. potentially hidden in the academy model. a nondialogical model of address. i. That very model lies behind the implementation of the Bologna process and its type of top-down political dictating on how all art education should be structured. Rather. universities are often teaching machines. and what kind of knowledge. while omitting a certain notion of unproductive time and space. we must ask what kinds of subjects. This is why. one should not uncritically adopt the university structure. That model would merely substitute the system of discipline for the system of control. this is of course a pre-democratic model.

In principle. a bachelor course is a foundation. If one cannot offer that form of socialization. while giving equal value to the experiences and preconceived notions of the student and the teacher. and the production of knowledge. but that only seems to result in an unprotected title. In Academy. 14-21 ). of course. In that sense. the real socialization. what else is there to offer? Fraser’s interesting statement alludes to a possible scenario one must be aware of in a Master’s program. So. You could have a Bachelor’s in Fine Art and then a Master in Biology. So he would replace the children’s books with complicated books which then immediately initiated a sphere of production. and probably several people engaged in teaching have had the experience that even second-year students are already showing in private galleries and selling work. socialization seems to be the most important way art schools produce their subject of knowledge. Rather than seeing knowledge as something uncontested. one could argue that teaching Critical Studies has a dual function. an introduction into basic skills and disciplines.on Paul Veyne’s ideas. i. So why do they still need an art institution? Even though the institution gives a degree similar to the university system. there is an interesting text by Andrea Fraser. Another inspiration for teaching theory I discovered was on a more pedagogical level in Veyne’s work. One could say. I always give students the most difficult text first as an introduction to theory. In terms of adequate. about different parts of the world and different languages.e. it is actually a degree worthless in the real world. Why would you ever need a master’s degree 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . who states that she is not capable of writing a text on teaching. as something transmitted solely from the authority of the teachers to the students. Currently we are seeing a wild expansion of the market. the room for thought. and on the other hand we are studying critically. I am also talking about location and culture. MaHKUzine 2. what exactly is the MAlevel? There is an idea that one could study anything all over Europe connected to mobility – which is something completely different from fluidity – a notion popping up in the Bologna process. within that socialization it is hard not to see that students socialized for the art world are influenced by the market – as Ute Meta Bauer argued. One can talk about the program’s content. He found that teaching adults using children’s books caused them to learn very simple things they could not move past.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Secondly. On the one hand. the artist. Veyne tried to begin from spaces of experience. an introduction into the art market. In this model. I am not only talking about disciplines. a book published by Stephan Dillemuth was called Academy ( cf. However. Already in the mid 1990s. all students will be forced to immediately translate what they view as their knowledge of both themselves and the world. she claims. didactic strategies and educational models. we are studying a genealogy of critique.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . One way to do this is to have a group of participants in a course with very different background. this was one of the first re-evaluations of the critical artistic potentials of education while considering the educational space as an artistic space. All one can offer are contacts with gallery owners and the art world – perhaps that is the real teaching.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 31 3 3 – 4 0 U N C E R TA I N M A .

who come from a variety of backgrounds such as theory. At the Malmö school we ask seminar leaders. of art’s placement in the world in addition to its place in the art world. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . it has to provide some kind of critical understanding of what art means. to present their research rather than work toward fulfillment of a curriculum. This means that we need a certain fluidity and looseness in our course descriptions and certain keywords which can actually change the program’s content. At our school. I am over dramatizing the situation in order to point out what could become the problem with master’s degrees vis-à-vis the market. art production. and vis-à-vis the marketing of education. is pedagogy part of the artistic and theoretical practice? Or are these separate things? How could pedagogy influence your work and your thinking? Could one actually analyze artistic or theoretical work in the light of teaching at a specific institution? Does one’s work have an institutional color?É 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . in fact. If the MA program does not provide socialization. Finally. that would be the only reason to get a master’s degree. Of course.in art if you are already an artist with your bachelor’s degree? Why should you spend two more years in school? You could want to go for a PhD. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words. and curating.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 32 3 3 – 4 0 U N C E R TA I N M A . That is also how art schools can differ from university humanities departments such as art history or philosophy. research and the practice of the lecturers are reflected in the teaching.

‘The Bologna Conference’ is such an attempt to achieve a common.N E S S Is it possible to determine how a MA art curriculum is characterized? What are its appropriate didactic strategies and educational models? I am going to respond to these two questions by working through the general problem of the MA in art education and how the issue occurs within the Bologna process. Master’s degrees are awarded to students who: – have demonstrated knowledge and understanding that is founded upon and extends and/or enhances that which is typically associated with Bachelor’s levels and that provides a basis or opportunity for originality in developing and/or applying ideas. since it has failed to withstand a neo-liberal paradigm. Our common problem is that the demands of a technocratic discourse have become the norm. but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements.U N C E R TA I N M I CK W I L S O N `M A . and rediscover what it is that we believe we are doing. and formulate judgements with incomplete or limited information.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . that rhetoric is exhausted.N E S S MICK WILSON 33 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . So. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. we have to invent new ways to speak the university. So. through various instruments. That third question is connected with the conditions of the university at large. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. For decades. In fact. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. we are facing problems not significantly different from the ones our colleagues in literary criticism. and sociology have. we are all forced to review. However. independent definition. Next. All the other discourses face its effect and consequence. At present. philosophy. – have the ability to integrate knowledge and handle complexity. I just want to begin by noting that the ‘Master’s’ degree – across all subjects – has always been one of the least understood and least defined academic degrees. rethink. – can apply their knowledge and understanding. there have been calls from different positions to try to achieve some equality about what it is exactly what the Master’s entails as distinct from a degree at a doctoral level. A series of distinctions is 44 – 46 WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . universities defend the rhetorics of the 19th century.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. – can communicate their conclusions. I will turn to the question of how the academy has emerged as a paradigm and a recurrent theme within the field of contemporary art practice. and the knowledge and rational underpinning these. in fine art and in the contemporary art practice. reassess. often within a research context. to specialist and non-specialist audiences clearly and unambiguously. This is what the Dublin Descriptors state.

also correlates to marketization. they do not begin with an agency. – between structured or unstructured Master’s. Master’s level: [demonstrates] the ability to integrate knowledge and handle complexity. More dangers may be identified. under the heading Making Judgements: Bachelor’s level: [involves] gathering and interpreting relevant data. not on the curriculum. There are other more important risks at stake here. evaluation and synthesis of new and complex ideas.made between Bachelor. The support for curriculum diversity.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . This move to establish the market economy everywhere is of course the primary agenda of neo-liberal dispensation. then. – between discipline-specific or multi-disciplinary or even interdisciplinary Master’s. This is an important component related to our fear of overspecialization in the outcomes or competencies model. Is it possible to determine how a Master’s curriculum is characterized? Within the ‘Bologna process’ the focus has been on outcomes. There are other risks in the ‘learning outcomes’ model.N E S S MICK WILSON 34 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Do we not already address some of the generic MA level descriptors in the first two to three years of undergraduate study? For example. So ’Bologna’ is consistent with making distinctions of ‘kind’ at the same Master’s level. In the competencies. and formulate judgements with incomplete data. The introduction of the Anglo-American system of Bachelor and Master degree programs into the European art school system ( as part of the so-called Bologna 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Master and Doctorate. however. The students appear to be constructed as pre-autonomous actors – they are in search of an agency. the transformative and critical potential within pedagogy is underrepresented or even absent within the descriptors. Doctorate level: [requires being] capable of critical analysis. Then one must ask whether it is possible to determine how a Master’s curriculum for contemporary art practice is characterized. and a researchoriented Master’s. there are other risks within the ‘learning outcomes’ ( or competencies ) model. which on the surface may appear welcome and beneficial. But wouldn’t we also expect that from a third-year undergraduate student? A primary issue. – between one or two-year Master’s programs. – the Master’s award can be described without reference to one specific discipline. The educators within the descriptors appear as secondary ‘resources’ for the realization of the outcomes. Even accepting that ‘Bologna’ does not prescribe curriculum content. – between specialist or generalist Master’s. is the question of how the generic descriptors match what we already do within contemporary art education. we are required to differentiate our educational products and compete in the new market place of higher education. For example. We can make distinctions – between a ‘professional’ and employment – focused Master’s.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . The advocates of Bologna propose that: – curricula can retain their diversity. a Master student [demonstrates] the ability to integrate knowledge and handle complexity.

The question is whether the transformation from a place of creative freedom to marketplace is good for the quality of the art academy. Until recently. We have institutional reputations. So we have two kinds of market threats: i Higher education as such has become a more intensely marketized system in general.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Similar to all other areas of cultural policy. What is our purpose? What do we need to disclose? What is it that we do? To what end and with what purpose are we 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Confronting this view. the open academy will offer more space for risking new and unwarranted forms of art production and more space for thought. I believe that the open academy rhetoric is somewhat problematic.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the cultural capital and the ascription of reputational standing was something endemic to a community of discourse. the reputation-based economy of art education has been displaced by the emergence of managerialism. since the annual student presentations and the graduate shows have become hunting grounds for gallerists and curators who are tripping over each other in their insatiable craving for talent. Today. Now the criteria for recruitment and promotion are no longer primarily based on reputation. So. We all participate in the reputation-based economy in the form of e-flux. we are suddenly required to disclose what it is that we do as art educators. Part of the problem here is that this move is effectively shuttering the openness we have come to understand as being the potential – not always delivered – of the art academy model. Is it then possible to determine how a Master’s curriculum is characterized? Yes. artist-teachers as ’chosen ones’ jostling for status. ii The art market colonizes the imagination and orientation of the student-artist within the academy. there is even a third type of ‘market’ beginning to emerge: the reputation-based economy of art education. and how we do our jobs within the scenario of handing out awards. and so on. The reputation-based economy within art education also blurs into its larger counterpart within the contemporary art world. People got together and spoke about art.process ) seems to point towards the creation of open academies with an unstable sense of identity rather than towards the consolidation of art schools as educational institutions with regimented schedules. the advertising pages in Art Forum. within the network of fellow competitors for reputational standing. The essential germ of the open academy model is that in an educational setting. of course! But the really important question relates to purpose. constructing one’s curriculum vitae.N E S S MICK WILSON 35 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . it is merely that the student imagines the possibility and already starts playing a different game. A labor market is partly regulated by the guild process of artist-teachers themselves. It is not necessarily the case that the art market appears on the doorstep. we have the sense that the market is making inroads into education. a certain bureaucratic disclosure moves in. However. Within our working practice. When and why we give awards. program reputations. where the work of the student-artists is unhooked from the immediate productive demands of the market. but driven by the discursive community around the extended field of contemporary practice. we had a labor market governed by reputation.

‘protoacademy’. 1 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . hierarchies. to enable the flow of other discourses. troubling questions of education in general. but which in some way enable. I want to expand a bit on what I believe is significant. and practices. different dispensations of power? How do you work within this and still address questions of emancipation? These are standard. 2 The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. – that we wish to provide a robust and critical learning environment. the fairs. and the art education conversation leapfrogged over it. – that we are trying to establish credibility with our funders. Cork Caucus. ‘We’ art educators. These are three generally recurrent features. but rather to facilitate. but they really recur strongly throughout all these different experiments. The tension that might be painted as a showdown between Ranciere’s ignorant schoolmaster and Bourdieu’s sociologist king. – that we are trying to bring an offering to the market place. Possibly the best articulation we have of our aspiration as teachers is not to dictate. – that we are doing it because there is some impulse to regiment and shutter the openness. the biennials. I would suggest. Here the question of art practice and the notion of autonomy come together. There are three observations I would like to make in light of these developments in the larger field. and Frieze Art Fair’s recent round-table discussion on art education ( October 2007 ). It is also being answered and tested in many different ways . Cyprus and unitednationsplaza theme. ArteContexto’s recent dossier on ‘teaching visual arts’. to questions of ‘autonomy’ and ‘agency’. The future model of the art school is clearly something engaging the imagination and energies of the international contemporary art scene. in the academies themselves. The quandary of ‘emancipatory practice’ – how to enable ‘autonomy’ and ‘agency’. and autonomous agencies. Frieze’s ‘Art schools then and now’. We want to create structures which do not themselves exhaustively prespecify what will happen. not to determine.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . not to describe.N E S S MICK WILSON 36 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON The meditations on and experiments in alternative academies consistently return to the quandary of ‘emancipatory practice’. ‘Pedagogy’ was one of the three leitmotifs of documenta12. the question of art education is being asked and rehashed again and again. Everywhere in the journals. What is it that our work does? What is it for? It is as if the curator conversation died. Manifesta’s Notes for an Art School. not to control.describing and [discursively] constructing the Master’s program or indeed any program? The possibilities are: – that we are doing it simply to mimic an alien system. How do you work within institutional structures. 3 .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Then part of what that structure must be able to do is to entirely dismantle and change.but not so visibly.’ The ‘academy’ projects and debates too often fail to address the general state of higher education in favor of a narrow focus on the specificity of art education.

Part of that accountability is mutual disclosure: what we ( believe we) do. I am worried when people seek pure positions. as long as you do it within this framework. The disavowal of authority is a classic strategy of authority. especially for intellectuals and artists employed in academic institutions. you’re the experts. and say go on. the inability to speak honestly and openly about contradictory consciousness can lead to a destructive desire for “pure” political positions. you know what you’re doing. someone who says they have shed their authority is not so easily challenged for their exercise of that authority. It is authority not subject to challenge and critique – when it is not answerable to others – which is most troubling. Let us accept our authority and our considerable agency and open it to accountability. Consider Bourdieu’s early lesson on the cultural indoctrination of students not by what is spoken. The first thing you learn as a student in the academic environment is the flow of influences in the room when teachers and students meet.But we should still be troubled by this. If we cannot do it with our colleagues. The other part is listening to others when they suggest to us that we might be mistaken –that we mis-recognize ourselves as the ‘subject presumed to know (themselves ). Consider also the desire for ‘pure’ conviviality. un-interrogated in the ‘disciplinary’ conversation. why do we think we can do it with our students? Teachers.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Consider the petty cruelties and rivalries of teachers for the affections of their students.’ This is why we might be a little bit cautious of our claims to realize moments of pure conviviality. the pure flow of uninterrupted. Authority is not in and of itself ‘bad’. ‘Living with contradictions is difficult. What we need to do is to revisit the possibility of resisting this. We should perhaps rather seek to cope with -and reflect upon this ‘coping with’ – the impure. and why ( we believe ) we do it. Think about what the national governments are doing in the domain of higher education.’ Part of this is to reflect upon our desire to be loved by our students and to be respected by our peers. with 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the brackish ground upon which our agency is based. and. the mucky – the muddy wet ground. Let ‘us’ not disavow authority. we’ll just sit back. but by what goes unspoken. This will bring us not to pure positions but to messy human situations with complex agendas. how we ( believe we ) do it. dialogical exchange. Of course. They say. Accountability to each other – to our peer networks and our colleagues less fully embedded in the art academies – or those who are not there at all. undisclosed. even artist teachers should perhaps not seek purity and an attempted disavowal or refusal of authority. of another type of accountability. The problem with this particular mode of accountability we are being asked to adopt is precisely the technocratic mode which is determined at a central governmental and European level.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . to militant posturing and internecine battles with one another that ultimately have more to do with individual subjectivities and self-images than with disciplined collective struggle for resources and power. Consider the classic power struggles of academics for their tiny territories. with conflict and competition for resources. The American cultural studies practitioner George Lipsitz says.N E S S MICK WILSON 37 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .

[. but it is a promise that we may not fully be able to redeem or honor. are ( a ) the universities got much larger.N E S S MICK WILSON 38 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 3 The ‘academy’ projects and debates too often fail to address the general condition of higher education in favor of a narrow focus on the specificity of art education. There are some general points to adduce first. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere. the magazines. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’.] Basically. the inevitable corollary of seeking ‘pure’ positions for ourselves.” ( Calhoun 2006:3 ). the festivals– opened the question of the academy? Were ‘we’ a little reluctant to do so? 2 3 – 4 EDITORIAL A C E R TA I N M A . Calhoun says about these challenges. 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . The issues. Those academies arising outside the university setting came into being because of imperial.’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto. do.. Those who cannot teach. This is perhaps the trickiest issue to tackle. In the face of these instrumental and technocratic imperatives. – have undergone a series of profound transformations in the last two centuries. The ‘university’ and the entire field of ‘higher education’ – post. The question of ‘bad faith’ was referenced earlier in the discussion. tertiary etc. It will not work.” Camnitzer presents an extreme position on this question of ‘bad faith’ – that we already know that what we actually do as artist educators is not what we say we do. the relationship of higher education to elite formation changed. in a nutshell. ‘Without a dramatic change in institutional and sectoral size. mercantilist and other vested interest arguments. (c ) that the higher education sector got much larger. ( b ) that more or less full-time scientific and engineering research components of universities got much larger. Those who cannot.. what we have here is a pyramid scheme. I would suggest. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive. Remember the general suspicion of art school teachers: Those who can. They will find some other means. nationalist. The independent art academies have a different history. For some time now. cultural. “The [.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . write criticism. ‘we’ have recognized a need for a new way to speak of the university which can challenge the un-challenged authority of the neo-liberal specification of the university as factor of industry and nothing more.. on means-ends rationale. and social reproduction attuned to the flows of global capital. So these institutions were founded on instrumental logics. and ( d ) that partly as a consequence. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status. Why is it that the art world – the market. it is unlikely that some of the other changes would have taken place. teach. It is the market that emerged 48 C O LO FON .. secondary.troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue. The question of ‘bad faith’ is.N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith.] mistake is promising by implication that a degree in art will lead to economic survival after graduation.

. All aspects of the life-world are taken as its legitimate concerns. and still retain some unsquandered potential. we should not be incensed simply by the fact that there is a bureaucratic imperative to adhere to a framework of BA . to actually bring that into the public domain.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . You can’t include us in your conversation about BA’s and MA’s and PHDS. My presentation may seem far too generalized to be of any real value in helping to frame a particular MA program or deal with ‘urgencies’. more interesting problem or pre-occupation and tell us about it. It would be unfortunate for us under these circumstances to then shout hands off while we take every other discipline.. the rhetoric of the ‘open’ – just as the universities’ rhetoric of the ‘idea’ – has now exhausted itself. I think this is a very urgent matter for us.my [institutional] horizon is not yours. we’re different. though. and discourses. We could not possibly be comprehended – even partially – within someone else’s discourse of means-ends or ‘learning outcomes’ or `the sociology of professions or ‘knowledge’. post-minimalist era – has the characteristic of wishing – or at least appearing to be willing – to thematize everything given in experience. So not Bologna. and so on. It’s a little bit yours now if you want to join. materials. that we were not already in a position to be the bearers of the public disclosure of what art educators do. If we are really asking today whether we can we make a clear distinction in the education of artists among these levels. Where is this rhetoric to be found? Contemporary art practice – as it has emerged in the post-conceptual. That is where it originated. What I have presented is precisely the kind of presentation that I would make to MA students in the first few weeks of their studies. not within the academies. But ‘we’ are always negotiating some kind of balance between the requirements of ‘regulatory’ ‘instruments’ and the embedded human situation of our contingent practicesÉ . How it has been left to the policy-makers and ceded to practitioners on the margins of the academy or outside the academy altogether. and areas of action: a standing reserve of metaphors. We’re pure..”.or find a better. We seem to have come along way off track on our question of the MA curriculum and appropriate teaching practices. The answer. but what we are already doing. maybe not. let us to see it. I would argue.. I think here is a lot more. post-pop. I would say “Welcome to ‘our’ uncertain world – the world of art educators. focus. profession and occupation as grist for our mill.on the fringes of entrepreneurial capitalism that generated the spaces for avant-garde experiments which later became the paradigm for the open academies. is a conditional ‘yes’. How we were not the bearers of that conversation into the public domain. MA .N E S S MICK WILSON 39 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON came to this. I suggest...maybe change it a little.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . We should examine how it is that we 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .. show it to us. not 2010.. and PHD. For these academies. We need some new rhetorics of becoming to negotiate and challenge the dominance of the technocratic way of speaking in the world.

( 1988 ) T h e Mas t er’s D e g re e. 94.REFERENCES 3 – 4 EDITORIAL Ca m n it zer. 80 . N . in Jod i Dea n ( ed . Ga rber. pp. ) Cultural Stu di e s / Polit i c al T h e or y. Ma r jor ie ( 2001 ) A c a d emi c Ins t in c ts. pp. JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . ER IC D igest Wash in g ton: ER IC C lea r i n g house on Hig her Educ at ion Spu r r. Lu is ( 200 7 ) Frau d an d E du c at i on. P r inc iples of Refor m i n Deg ree St r uc t u res i n t he Un ited St ates.15-20. 4 . George( 2000 ) “Ac adem ic Pol it ics a nd Soc ia l C ha n ge”. It hac a: Cor nel l Un iversit y P ress.N E S S MICK WILSON 40 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT Ver woer t . A r teConte x to16 Mad r id: A r tehoy. Berkeley : Ca r neg ie Fou nd at ion for Adva ncement of Teac h i n g. Ja n ( 200 6 ) L essons in Mod es t y: T h e O pe n A c a d emy as Mod e l. L ipsit z. pp.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y Glazer..N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . A C E R TA I N M A . 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . P r i nceton NJ : P r inceton Un iversit y P ress. Stephen H. ( 1970 ) A c a d emi c D e g re e Str u c ture s: Inn o vat ive Approa ch e s . Jud it h S. in Met ropol is M: E x pa nd i n g Ac ademy.94 .96.

art should to be free. and images. art as reflective criticism or art as an avant-garde logic of negativity has ended in a free-floating game. Reflection as criticism is a tool for discovering how one can make a move in an artistic or creative project. independent. Conversely. Art as artistic research seems to be the major cultural value and the major relevance of art today. a critical confrontation with other voices. and how the final form has been chosen. In this mode. assess the positions. Clearly. reflection is a form of applied thought. problems. reflection in the mode of an anthropological laboratory. However. Stating criticism is the first move. and the desire for the new as inherent components of art and artistic production. In this context.e. Art asks for a certain environment in which to establish an artistic production and to organize that production. i. Conversely. then. i. over the last fifty years. That form of reflection could be called reflection in the mode of an anthropological laboratory. and the image that captures life. In fact. The critical mode of reflection is different from reflection linked to formulation. The other form of reflection is connected with art working on meanings and images. education and the research environment.. thoughts. since isolating works of art is rather unproductive. is connected to the phenomenon of art as research and the project of transforming institutions of art education into research institutions. meanings. and questions. In this sense. the major accent has been on reflective art practice as criticism. it is interesting for most artworks to demonstrate the stages. Both the social function and the cultural function of art have been identified with being critical where being critical refers both to the institutional and the traditional. Rather than being merely critical. the statement. the sense of possibility per se. and also radically new. and description. Reflection. current art is relevant and important only because it is connected to the anthropological laboratory as a space for reflection. art is working on all aspects of life. implying a continuous reservoir of metaphors. the work. is very much alive. is crucial so that making art 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . implying an overview of a range of positions while identifying conflicts. the process is very important. Artists need to understand the artistic field. During the process of production. the two polarities of creativity and reflection need to be involved. critical. similar to playing chess.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 41 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . I understand creativity as the pleasure of invention. since it is connected with meanings and images as phenomena guiding people to an understanding of what it means to be here and now. I would like to distinguish between two different reflective practices. connected with working on meanings and images capturing life. and then decide what is relevant to make.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the variations. art as a reflective research practice.A N T H R O P O L O G I C A L L AB O R ATOR Y B A R T V ER S C H A FFEL In thinking about art. articulation. feedback. One is criticism. whereupon artists then evaluate what is needed to build on their position. From this perspective. Let me elaborate on the concept of anthropological laboratory. autonomous.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .e. the metaphor. reflection is now connected with curiosity and the sense of finding the gesture.

As a criterium for this. that what we need is more preparation and more improvisation. That is the importance of topical art. What is the danger of introducing a research curriculum into art school environments? That danger is connected to the issue of 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . there is what I would call the degree of condensation in the work of art. Indeed. Therefore. It is the responsibility of the academic staff to include more preparation and more improvisation while creating a managed freedom and liberated space for artistic research.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . When art is research in the sense of working on meanings and images as a form of reflection in an anthropological laboratory. there are places that do not belong to academia and. private. universities are at least 90 percent self-governed. Therefore. the universities worked with a 19th century cultural map. In other words. In fact. academic research in the universities fails to transform and. the universities are transformed into industries of knowledge. Fortunately. However. Of course. and ideological realms. Thus. the problem is that reflection in the mode of the anthropological laboratory seems to be hidden in the art world. The need for reflection. the art world’s favorite discourse is about trends and the art market. it is disturbing that this type of artistic research fails institutional frameworks. Yet instead of developing into an institution where art could be deployed as an instrument to reflect upon culture. Thus. the need for a laboratory. therefore. there is interest in cultural production in commercial. is shunted onto art education. Here art addresses both art production and an audience interested in working on meanings and images a society could adopt. thus.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 42 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . so they do not assume the responsibility of organizing work on the visual culture.itself becomes part of a complex process. be it visual or not. The question arises as to how one could introduce the idea of reflection in the mode of an anthropological laboratory into art education. The great gift of cultural production is that the entire process of creation is condensed in a transmittable form. belonging to the culture in an anthropological sense. but even more so in university education. we need an organization and an academic management of freedom. universities are guilty of neglecting both cultural production at large and focusing on a living culture. seem to be free of its constraints. However. That led to ignorance of film and photography. in a few minutes you can understand what the artist intends from a year of concentration and production. during the 20th century. since the discourse produced for the outside world and the image the art world creates of itself are not about reflection. whereas the spectator can experience it in just a few minutes.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . art is of course a public matter. The work of art has to be addressed somehow in the community of people working on meanings. makes reflection a goal of art education. Currently. In Belgium. I indeed think we need more preparation and more improvisation not just in art education. all the management positions and decisions involve people with an academic background rather than professional managers. communication is immensely important. Derrida once claimed during one of the famous Any Conferences on Architecture. The miracle of an art work is precisely that the artist spends a year creating it.

a statement and an exhibition called Lacan’s Gaze. research areas are defined. art as reflection in the mode of the anthropological laboratory clearly necessitates new forms of collaboration with various disciplines and institutions outside the art world and outside art educationÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . What will be the focus? What will be the subject of reflection? What is relevant? How does one define research programs? How does one formulate decision and evaluation procedures? What will be the goal of the outcome of the research process? In an academic structure. Then what? The research might be a document to be sent out into the world. document. content-wise.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . That is the only context. and discuss the end product and how to connect it to the academic discourse. and content. However.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 43 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Those problems mainly emerge in the beginning and at the end of an artistic process considered research. since artistic research fails to connect with institutional frameworks. a research program in an art institution – let’s say about Lacan’s gaze – will result in two interventions. In addition.unresolved art-related research problems. Thus. evaluate. artistic research could possibly have. But how many responses will there be? How many people really read that type of research report? I believe that continuity in artistic research is a problem. one should be able to manage a variety of issues. the only topic for artistic research to work on is art itself.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . At the start of research trajectories. it is clearly understood how to articulate. In the academic realm.

Institutions participate in international discussions on the repositioning of academies and cultural institutions as started by the exhibition Academy in the Museum for Contemporary Art ( MuHKA ) in Antwerp and the Van Abbe Museum in Eindhoven. one talks in a rather abstract way about art as a form of knowledge production. That situation made the Utrecht Consortium ( a research collaboration as of January 2008 with MaHKU/Professorship Artistic Research and Utrecht art institutions ) decide to map out the current practical and theoretical issues and developments in further detail. the paradigm of art education has been rooted in the artistic situation of the 1980s.e. in contrast to scientific knowledge production. i. This was a period where reflection and theory did not play a major role in the world of visual art. Each artistic research project. however. similar to that of scientific research.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . In order to deal adequately with this novel situation. artistic knowledge production does not have a ready methodological model.RESEARCH REPORT UTRECHT CONSORTIUM Today. the Utrecht organizations intend to establish an enduring network comprising the art institutions and the Utrecht School of Art while focusing on dynamic exchanges of views and expertise in the context of knowledge production. These two activities used to be considered part of professional domains such as art criticism and curating.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . the exhibition models are still based on “alternative” ( non-museological) models from the 1980s. One of the significant problems the Utrecht Consortium has found is that today artists are expected to be able to ( theoretically ) contextualize and present their work in addition to expanding their artistic profession. the situation of art institutions is rapidly changing all over the world. i. the Utrecht Consortium as a network of research activities mapping out the outcome of presentations based on the production of artistic knowledge.. Yet the institutional consequences of this debate have been subject to extensive reflection. In principle. Until now.e. by Manifesta 5’s focus on the academy in 2006. is able to contribute to our knowledge about the world. Conversely. This novel situation has immense consequences for how one approaches competencies in the profession of art. In this debate. What does it mean for an exhibition space in 2008 to develop a policy directed towards knowledge production? After all. the artistic practice is considered a researching activity whose outcome. Today. today’s artistic research attitudes have brought reflection and theory to the center of attention. In these international discussions. However. a methodology manifesting itself in artists’ texts and exhibition forms focused on knowledge production. artists are expected to fulfill the role of art critic and curator themselves.. such a model would be impossible to create. requires its own methodology.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 44 48 C O LO FON . That expectation seems to relate to the most recent debate in the world of visual art. in light of the emancipation of artistic research. one argues. the debate on artistic knowledge production mentioned above. The establishment of the Utrecht Consortium is inspired by the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . and by Documenta 12’s educational program in 2007.

but still a structural collaboration exploring issues in the context of artistic knowledge production from the exhibition programs and their young artists at the art institutions.e. In developing adequate presentation models in the form of both exhibitions and texts. Using the historical collection of the Utrecht University Museum. ICA . Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science.so-called London Consortium. the Utrecht Consortium intends to be flexible. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. regional. The professorship in Artistic Research seeks to employ the Utrecht Consortium project and its outcome to spark an urgently required discussion in the Netherlands on how art academies could prepare students for a knowledge-based practice. Additionally. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. Another core issue of the Utrecht Consortium implies the issue of the significance and position of an art academy in the context of the topical knowledge debate and its implications for didactic perspectives. the Science Museum. and gamma sciences. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. At the core of the Utrecht Consortium is practice-based research. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University. a collaboration among four institutions for education and art – the University of London. In addition to the Consortium partners and professionals in the field. An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. The professorship will also hopefully be able to contribute to an international debate about the specificity of artistic knowledge production and its relationship with more traditional forms in the academic distinction of alpha. a platform has been created without the need for offices and staff with minimum overhead costs. i.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Fine Art graduate students and young artists in the area will also be able to distill tools for critical reflection from the research and its results. Thus. (More about that research will be reported in greater depth in MaHKUzine 6 ). Those issues could easily be expanded to local. The results of this research will be published as a series of “best practices”. Through this first case study. young artists will be able to enhance their communication with a variety of audiences.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 45 48 C O LO FON alien to visual art. With that. and the TATE – offering joint artistic research programs. models of presentation enabling both artists and exhibition spaces to adequately deal with topical situations regarding the position of visual art while clearly communicating with the audience. beta. and international levels while sharing networks. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . exploration of methods of presentation specific to today’s visual art as a form of knowledge production.

The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH lecturers the day following the public lecture.unique collaboration of the Consortium partners. Each invited speaker will also give a master class at the Utrecht School of Arts for MA Fine Art students and/or be involved in an expert meeting with 3 – 4 EDITORIAL A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 46 48 C O LO FON . The survey of “best practices” and its relevant models of presentation will be realized and published. ( HS )É The Utrecht Consortium is also made possible by the financial support of the Ministry of Education and Culture ( Sia-Raak ) 3 3 – 4 0 U N C E R TA I N M A . These models and their context of artistic knowledge production will be discussed in professional master classes and workshops producing a broad spectrum of knowledge and insight. Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice. Topics will deal with reflective methodologies and presentation strategies.

N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 47 48 C O LO FON .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .3 – 4 EDITORIAL A C E R TA I N M A .

BA LK EM A ARJEN MULDER B I B I S T R A AT M A N FINAL EDITING A N NE T T E W. SLADE SCHOOL OF ART.LUKAS ACADEMY. DUBLIN .N L RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM EDITORIAL BOARD HENK SL AGER (GENER AL EDITOR) 48 C O LO FON 48 A N NE T T E W. DEAN GRADCAM. LONDON AND VIENNA SCHOOL OF ART. GRADCAM ( DUBLIN ). PA R T I C I PA N T S UTE META BAUER. DIRECTOR SINT.BAKKERL A AN 50 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 5 8 2 VA U T R E C HT THE NETHERL ANDS MAHKUZINE@MAHKU.M A HKU. UNIVERSITY GHENT JAN VERWOERT. CAMBRIDGE MA WILLEM DE GREEF. LECTURER CRITICAL STUDIES. BA LK EM A L ANGUAGE EDITING JENNIFER NOL AN T R A N S L AT I O N S GLOBAL VERNUNF T DESIGN CHRIS T I A A N VA N D OK K UM. DIRECTOR VISUAL ARTS PROGRAM. DIRECTOR FUTURE ACADEMY. ROTTERDAM MICK WILSON.N E S S WILLEM DE GREEF M A H K U zi n e JOURNAL OF ARTISTIC RESEARCH H O S T E D B Y T H E U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R ( MaHKU ) I S S N : 18 8 2 . MIT. PROFESSOR OF PHILOSOPY.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . MALMO SCHOOL OF ART BART VERSCHAFFEL. EDINBURGH SIMON SHEIKH. MALMO SCHOOL OF ART. TOGETHER WITH THE HELSINKI SCHOOL OF ART. BRUSSELS CLEMENTINE DELISS.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL WEBSITE W W W.4 7 2 8 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS C O N TA C T MAHKUZINE U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N INA BOUDIER .NL 3 3 – 4 0 U N C E R TA I N M A .M A H K U zi n e 5 3 – 4 EDITORIAL JOURNAL OF ARTISTIC RESEARCH SUMMER 2008 A C E R TA I N M A . PROFESSOR PIET ZWART INSTITUTE.

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