EDITORIAL

3–4

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

5–6

7 – 13

14 – 22

23 – 27

28 – 32

33 – 40

41 – 43

RESEARCH REPORT
UTRECHT CONSORTIUM

44 – 46

COLOFON

48

5
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

3 – 4 EDITORIAL

3

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,
44 – 46

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

RESEARCH REPORT
UTRECHT CONSORTIUM

48 C O LO FON

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
44 – 46

3 – 4 EDITORIAL

4

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

RESEARCH REPORT
UTRECHT CONSORTIUM

48 C O LO FON

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

does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. all over Europe. are looking for the best way to deliver excellent art education within an outstanding academic context. 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 . I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . each of the “hogescholen” has been affiliated with a university. My own institute. Let me just point out some of them. does all of this not demand a change in the structure of higher arts education itself? For instance. how do we make a clear link. between arts education and research? Does it mean. Therefore. 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. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly.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 there really a need for this ? Do all students in the arts really need to follow this academic track. Some have called it the academic drift of the arts institutes or departments. is the identity as such of higher arts education not at stake here? Thirdly. is associated with the Catholic University of Leuven. 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. Moreover. scientific domain. All this undoubtedly poses many questions. to put it differently. All these issues are not unique to Flanders. Firstly. if not undeveloped. or is there still a need for more professionally oriented programs? Or.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. they will necessarily have to reset their targets and to rethink the curriculum. 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. if we want to. for instance. what type of research should they develop? Importantly. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. if higher arts institutes want to transform their traditional programs into academic programs. 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.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. today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree. All Master’s degrees in Flanders are supposed to be academic.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Many arts institutes. the Hogeschool Sint-Lukas Brussel.

This might be the case in London as well. in more countries. I am not sure this is a positive development. with its annual top of the pops and one-hit wonders. 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. 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. This is a major shift as compared to.UNDER PRESSURE U T E M E TA B AU ER The art system.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 . In order to serve these expectations. The art schools and universities – previously more free and open zones for experiments – gradually became incorporated into a suspiciously commodified system. Today there are more exhibitions taking place. especially the art market today has become part of the educational system. and so forth. are opening their doors to the public. Would they instead become more creative web designers. The exorbitant tuition fees in the US put a certain pressure to “succeed” on both the institution and the student. MA courses have expanded both in the field of artistic education and curatorial studies to serve an ever-growing market. the desired and demanded accessibility to this “ field of distinction” for a larger number of people has finally become a reality.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . producers of video clips. Culture and art are significant economic factors leaving their mark on how art education is shaped. Then the debate centered around what the majority of art students would do who never entered the golden triangle of the academy–gallery–museum. This is not only for programs in the United States. even ten years ago. the chance of grabbing a seat on the art carousel has sharply increased. Art academies invent new programs ranging from MAs in public art. Art students have more knowledge of the art market than ever before. Although I appreciate that today almost everyone can be a producer of some kind. and “creating” successful artists has become a standard promise on the mission statements of and calls for applications to MA programs.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 . you want to know what the pay-off might be. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . more art institutions opening their doors and more museums for contemporary art being established than ever before. and has become an increasingly. attractive field within education. it feels as if the art market has replaced the music industry. to critical studies. More private collections. say. 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. On the one hand. 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.” Nevertheless. being a critical scholar myself. But was this what we meant when we asked for more visibility as young art students twenty five years ago? Weirdly enough. 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. The strong market has made art education red hot. critical curatorial studies.

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

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. Instead of complaining. Therefore. music. I have been studying art myself. The motivation actually causing my shift from working as an artist and organizer to curator and educator seems outdated.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 . We – as an artists’ group. and some independence. one reason is the increasing commodification and instrumentalization of the position of the curator for all sorts of agendas and desires. from what the art field represents. We were students of the visual arts. did often not address what mattered to us or was not linked to our discussions about art. and poetry.over’ of the.. 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. was a catalyst for me and some artist friends to generate something else. specifically women.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 . extended by post-graduate studies in art theory. affected my desire to understand not only art theory. Furthermore.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . more distant locations by the market and its protagonists – and the pressure attached to the market is already felt. from mainstream art institutions in those days. I am quite aware of the influence of teachers and the impact of innovative institutional leadership in higher artistic education upon students. performance and theater. one should not underestimate the potential and pleasure of working with students. But what I currently see happening is the `take . but there was no space for us available and what we saw exhibited. a European male-dominated art school setting. 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. at least in the Western hemisphere. universities etc. 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 . film. at least so far. although a very open and liberal one. called “Stille Helden” – were not completely opposed to art institutions. 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. specifically those who previously held highprofile curatorial positions. we simply created our own formats and spaces and generated our own audiences. Art schools seem to offer a kind of temporary refuge for those with a desire to sustain a more critical and discursive practice. In my case.Bourdieu. 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. the inspiration to be found in other related research fields. I do not want to criticize my colleagues in art institutions and do not want to sound all too negative. Today this all seems so far away. The exclusion of a younger generation of artists. and the option of getting away from the sheer pragmatism of running the day-to-day business of a museum. Rorty and Luhmann never hurts in becoming aware of our very own entanglements. From my perspective.

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

its perception. At the same time. One of my teachers in art theory at the Academy in Hamburg. to be committed for a certain time span and then to move on to new territories. and the speed of the transformational process has been increased alongside the development of high consumption in general. you have to participate to produce a discourse and to understand an art work. That keeps one alive and very sensitive to cultural developments. i. and the communication about it generates what we consider art. I realize that the art schools are too involved in the markets. Power positions are not static or written in stone. museums. Before that. I regret that the awareness of colonial. these issues are addressed to pressure artists into being “do-gooders”. I recall that in the 1990s it was the curators who were considered the strong players in the field. I view both art and curating as ephemeral and process-oriented work. and art schools as fixed entities.an audience separate from the participants does not exist. the institutions were the opinion makers. This understanding of generating an audience to develop a space of communication. postcolonial. M A S S AC H U S E T T S / LO N D O N .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 . Today.. possibly caused to a certain degree by curators entering the field. is still crucial and important to me. As long as we are able to address that in our educational positions. but is more difficult to achieve.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 .” I consider myself always to be the primary audience for my projects. 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 . art takes part in the economical and political reconfigurations on this planet as much as everything else.e. 19 91 . you have to engage in what you perceive. In other words. During the years I directed an artists-run space in StuttgartΩ. 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. For me. Later. artists. we should maintain a laboratory-type situation in the academies. although the market is strong today. it remains essential to enter institutional spaces and at the same time not to become too comfortable within them.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Therefore.. For example. while working as a curator for large-scale exhibitions such as Documenta11 or the 3rd Berlin Biennial. gender. as an entity sharing and debating experiences. a public space sphere within an institution for education. curators. but to be a critical and independent voice negotiating civil society. These notions are in constant flux. and communicate that Ω KO S U T H . Since raising theoretical questions through both artistic and curatorial practice is one of my driving forces. I developed a view of the audience as informal participants over time. to subordinate or to serve a system. work not so easily absorbed. Michael Lingner claimed that only the combination of a work of art. Such understanding has been continued by a number of recent political philosophers such as Toni Negri.conceptual artist Joseph KosuthΩonce stated so clearly: “. C A M B R I D G E . Surely one should not fall into the trap of considering art. 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. Globalization as such does not stop when it comes to art. Today. while they should really be “free” thinkers. to be challenged. E N G L A N D : T H E M I T P R E S S .. 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. As an audience. – 3 – 4 EDITORIAL A C E R TA I N M A .

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

a space for discourse that challenges the way we think and the way we perceive the world. stimulated. That leaves them with less time for research.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 . Exhibitions are not being created to simply satisfy us.continuously produce art shows that create media attention and attract large audiences. Aren’t those the exhibitions that stick around the longest?É 3 – 4 EDITORIAL A C E R TA I N M A . A “good” exhibition leaves one irritated. troubled. No wonder some curators migrate to educational institutions in order to do 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 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 . An exhibition should be able to create a space for critical reflection.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

or became so fully involved in it that their ownership of it is unrelenting. In 2001. 20 0 4 .. I transited around Scandinavia for eighteen months. and Australia.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 .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 community. Edinburgh.” J AC Q U E S R A N C I ÈR E . Future Academy does not provide an MA or MFA and. 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.Ω Over the last five years. 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. India. 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 . Future Academy characterises my activity as a curator over the last ten years. and responses to fieldwork in foreign locations. P. Interestingly. economic models. Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come. T H E P O L I T I C S O F A E S T H E T I C S . Africa. 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. 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. has no formal legitimacy in terms of official diplomas or exam qualifications. . Bordeaux. Currently part of Edinburgh College of Art. which can only be successful if they view their current condition as closely aligned to that of a future environment for research. 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. 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 . students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. USA . production.I S I T P O S S I B L E T O M A P . I published Backwards Translation based on the ex-curricula of students. a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students. However. As a procedure that involves the elaboration of new proposals and their execution. C O N T I N U U M .. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA .program particularly with regard to a reflective and critical attitude. Future Academy students have acted as the diagnosticians of their own art education. Supported by host institutions from Europe. Japan. whilst simultaneously coming to grips with survival.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas. in fact. and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’. and finally Biella. 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 .Ω In 1999. a process.

Using a relational methodology to understand perception. regulated art publishing and academic norms. 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. turning back onto itself the environment in which I had been given so much conceptual freedom and means of production. I published the last two editions of Metronome for documenta 12. FI R S T . 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 .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 . 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.). Once again I set up informal research units. the one convergence I would like to turn to now is the influence of early ethnographic experiments in research. S U S A N H I L L ER . a publication and 12hour event held in the unconverted Millbank building.Ω I want to revisit the maverick methodologies of twentieth century anthropologists from Margaret Mead through to Michel Leiris and more recently. nine expostgraduates and I set up base for ten months in the derelict. C O M 3 – 4 EDITORIAL A C E R TA I N M A . only this time in the US.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.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 .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 . R AC E A N D D I F F ER E N C E . Metronome is neither vanity publishing nor self-publishing. Bateson refers to recursiveness as meaning that repeatedly loops back onto itself in a reflexive dialogue with its representational boundaries. B U T O F F ER E D A S EL F . Clifford Geertz. Finally. I am interested in looking back at the controversial discipline of social anthropology. first between the London Institute ( now University of the Arts). 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 . the polymathic academic and cyberneticist who made seminal advances in the translation of systems of knowing and communicating. a thought-structure that is naturally interdependent and interactive with other disciplines. In 2002. In particular. which I studied alongside contemporary art. “A metalogue is a conversation about some problematic subject. Tate Britain. in 2006 and 2007. and Japan.Ω However. the process of moving and working in different cities and involving local histories and organisations in the project as it evolves. 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. and their subsequent interpretation. Chelsea College of Art and Design. and Glasgow School of Art. 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 .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 . for example. M I C H A EL B U T H E . Navigating through this vast. 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 . E TC . P LU S T H E B U R G EO N I N G P O S I T I O N . 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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and later Edinburgh College of Art.” M E T R O N O M E N O . the nurturing of self-appointed communities of artists and researchers who engage in a joint investigation and debate modes of survival. and was able to knit together institutional support. At that point. T H I S I S A R E A L O B S TAC L E . I developed Future Academy. 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 . and the primary focus on translation as a key trope in advanced art practice. Malmö. and Stockholm. 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 . but then denied an affiliation to throughout the 1990s. building a form of “ecological epistemology”. S E C O N D . fieldwork studies. Australia. Copenhagen. Bergen. M A R C U S A N D C U S H M A N . Bateson’s concept of the “metalogue” is relevant here. collating materials from Future Academy fieldwork and developing a further constellation of backing and finance. PAU L R A B I N O W . 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. Bateson writes. 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 . yet high-security Royal Army Medical College that had just been acquired by Chelsea College of Art and Design. sinister site next to Tate Britain with guest artists while imagining its past and future led to The Stunt and The Queel.publication called The Bastard. 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 . 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 . co-funded by art academies in Oslo. I’ve come back to Gregory Bateson.

but the structure of the conversation as a whole is also revealed to the same subject. each of us has the authority to retain a sense of individual development. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. B AT E S O N . I would argue that the academy is the site of prelusive knowledge. 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. and heterogeneous location for visioning the future and forming agents in this process. and then involving them from day one when nothing is known. and yet. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. like any institution.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 . As well as providing a more or less thorough training ground for artistic positions. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. deregulated. collaborators. 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.the problem. to become interlocutors. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. reactivated again and again over the last ten years. and whether I survive professionally.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The work of the students has a bearing on what I produce.” 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. As Martin Prinzhorn stated in a conversation at the start of Future Academy. places and people. On an elementary level. 1971 . 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. an art academy. at the same time. So my personal question. “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.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. 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. 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.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 . To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. “S T EP S TO A C E R TA I N M A . Only some of the conversations achieve this double format. and highlighters together. and there are no results. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. However. where I travel to. the art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”.

Highly ritualised in contrast to more bohemian academies. From the 19th century mercantile marriage of Empire Education. PAG E 42 3 – 4 EDITORIAL A C E R TA I N M A . For example. Presenting this notion at the Metronome Think Tank in Tokyo. on strictly maintained interpersonal networks. 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. why not use these academies. We thought. Today’s corporate rather than imperial model of schooling and human resource development places emphasis on structures we are all too familiar with. one might focus on the academy as a protection lodge. a powerful. It is from this perspective that it is possible to raise the question of the relationship between the ‘ordinariness’ of work and artistic ‘exceptionality’. and on notions of adherence. global market in postgraduate education. 11 . and an unhealthy reliance on the fees of foreign. and are permanently revised and reactivated to reflect changing concepts of national and cultural heritage. virtual learning environments. definitions usually lead at one point to a certain tension between inclusion and exclusion. “A ‘common’ world is never simply an ethos. It is always a polemical distribution of modes of being and ‘occupations’ in a space of possibilities. TO K YO . which functions to reinterpret the past and reinscribe as well as redistribute values of competence. concordant accreditation systems.an antagonism. W H AT I S TO B E D O N E ?. that results from the sedimentation of a certain number of intertwined acts. Learning. 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 . here I’d like to focus on the art academy as the tool of cultural expansion. However.”Ω ΩIBID. 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. The geopolitical incentives of this formulation rise and fall according to demand. 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. and the Cultural Industries. A more innovative analogy might be the one raised recently by Georg Schöllhammer at documenta 12. “The idea of the documenta magazines project is to come back to a form of mobility that is also a form of academy. organised and deregulated 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 17 As the name Future Academy indicates. a shared abode. However one chooses to define the academy per se. vocational training. formal and informal. Schöllhammer states. we shift seamlessly into today’s neo-liberal threesome of Globalisation. namely the editorial group.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 . a very stable form. heritage art academy and combined it with more self-destruct. 20 07 . because they have the distinct feeling that they need to speak about these in an audible and visible manner. He writes. and Trade. Life-long learning.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . entry is based on convocation rituals. I’ve opted for the heavy connotations of the historically bound. Here the academy is understood as an editorial group. run by an elite orthodoxy with a structure which necessitates it to be non-accessible and non-populist. non EU students. and more could be developed on this relationship. and by extension internationalist policy.

and then in several cities in India. AIT has managed to remain financially self-sufficient and autonomous. J. A college with a large amount of international students is heterogeneous but not necessarily able to make use of this condition. Their claim 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the student body increasingly mutates flooding the once singular character of a nation’s art academy with an unstoppable flow of new influences.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 . the urban research group PUKAR (Partners for Urban Knowledge and Research). 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. Later. Within the first six months of Future Academy. 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. scholars. where art colleges were aligned historically with their British colonial counterparts. for example. I worked first in Senegal. Likewise Future Academy would negotiate its way forward with its motherships in London and Scotland. latent cultural backgrounds. Nevertheless.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 a result of pitches I made to artists. indicating a true mushrooming of short-term working systems. thereby questioning today’s renewed forays into educational expansion. With this modest endeavour. and encourage students from the different departments or schools to take ownership of this research. School of Art. an NGO co-financed by Norwegian state funding. For example. a weeklong Future Academy seminar generated a proposal by MFA students to set up a bank. such as CommandN. open to a wide range of office workers and people whose education may not have included formal art studies. was producing documentary films with students of Shri. was working with the Ecole Nationale des Arts in Dakar and teaching new media to students. there were different institutional scales at work. this symbiotic relationship was confirmed once more with the participation of small artists’ collectives in Tokyo that focus on educational formats. and in Mumbai. J. and students on the hypotheses and modus operandi of this research. I was able to set up experimental student cells and with these. runs exceptional evening classes on curating and contemporary art. 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. In both locations. devised by social anthropologist Arjun Appadurai with US academic funding. the Media Centre of Dakar. In February 2003. when Future Academy moved to Japan. parallel institutional partnerships.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. 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. AIT. and confused expectations. m-lab. but the alternative option of travelling intelligently through different institutional structures with their contrasting value systems. or Arts Initiative Tokyo ( AIT ).the territorial parameters of the Bologna agreement? Meanwhile.

The model proposed by the Senegalese artists referred back to the Tontine.was straightforward: independent thinking required independent economies. it was to be the hawker or itinerant salesman who offered the role model. The fundamental issue with the Tontine is that it remains outside of the law. communal structure developed. B I R I M A . 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 . as any further development was voluntary. 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 . the scheme was activated in the recession of the 1980s as an alternative to the development banks. the one that we call informal. so too did the concept of the individual who might operate it: the student on the one hand. or the acquisition of health and educational infrastructures. Trust and social sanctions encourage a self-selection process with regard to the group’s membership. 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. both defined as agents in a transactional relationship. 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. the Edinburgh cell also applied the Tontine system to their collective finances. 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 . If the example of legally extraneous micro-credit associations had provided the framework. S EE W W W . and the teacher or professor on the other. In the context of Future Academy. and he or she travels worldwide. is not monitored by the police or the state. which. However. In contrast you have the hawker who has no formal education in economics and who has only attended traditional and Coranic schools. the students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there. were still closely tied to French finance. Likewise. Tontines can fall within several categories.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 . 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. As research on this financial. women’s groups. the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed. This hawker enters the economic system too. the organisation of events. O N E O F T H E I C O N S U S E D I N T H E P R . a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653.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 . through to smaller cooperatives based on neighbourhood structures.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. In Dakar. whilst apparently run by the Senegalese.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. 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 . and managed to raise a considerable amount for their visit to India. and constitutes part of the informal economic chain. from those that are regulated by religious and commercial interests in order to cover financial difficulties or pay for pilgrimages to Mecca. The senior management of the UK School in question immediately quashed the proposal and. In the future. They come back with theories. precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL.

Firstly. The hawker is at the heart of our intellectual debates right now. from a sole dependency on grants. from prescribed learning structures to voluntary initiatives that do not feature in their academic assessment. It is random. I do not think we should look at it in isolation. should we look at it in isolation or not? Instead of having one-day economies. 20 05 . and individual contacts across the world. networks. expertise would be handed over to informal economists. 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’. You don’t enter a pyramid structure. the Future Academy team subsequently re-defined this proposal into the ‘Permeable Academy’. if anything. But if they could enter the future academy. <<<<<‘ 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 . Here we find the transition from informal to formal. Secondly. In this Permeable Academy. looking at all these phenomena in terms of aesthetic values and vectors. M A N E . we could ask them how their system functions without basic formal economic principles. To resume the argument so far: competence in Future Academy is the ability for students to make a series of shifts.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 . and how it is that they still manage to survive (…). 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. emphasising their interconnectedness: “The informal sector is a little like a bazaar. Moreover. analyses. But also in terms of media and communications. and illegal taxi drivers with their speed-driven race against death. a tea shop outside the walls of the heritage academies. and “ traders and crafts people would meet at the shack studio. The formal and the informal do not only exist in economic terms. may fast track them into a professional context. If we want to analyse one-day economies or smaller more chaotic models where things are done in more fluid ways.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 . 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 . You go out and find your guy and he offers you a mixed bag of things.”Ω In India. loans and student debt towards alternative economic Ω U M A N G . peripheral academics. describing the mobile architecture of the itinerant salesman as that of a moving directory of comparative studies. If we look at the informal sector and how this fluid state of the economy is run. extensive debates took place between the students in Future Academy on the relationship between informal and formal economies. and which they are encouraged to qualify and take ownership of.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. the stock exchange of second-hand clothing. like a market. and deducing complex performative and presentational modalities from them. and that. then I feel we need to take into account that this actually works and investigate its relationship to the predominant paradigm. 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 . Indeed.no support from the government. They exist in the artistic domain too and we should open up this debate in Future Academy.”Ω Effectively the Senegalese Future Academy team spent lengthy periods in Dakar analysing informal systems such as the network of beggars.

approaches with regard to studying. In this manner. can only be understood in terms of such an ecology of ideas. to Superflex. the nature of play. C O M 3 – 4 EDITORIAL A C E R TA I N M A . to name just a few). the mystery of biological evolution. Huit Facettes in Senegal. and the contemporary crises in man’s relationship to his environment.g. they argued. travel. production. becomes embedded in a structure dedicated to mobile knowledge transfer and deep exchange. Raks. a future art academy would engage in a polymathic economy.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 . institutional structures and time frames. Senegalese wrestling as mental and physical dialectical engagement)..Ω Ω I ’M THINKING OF JOE S C A N L A N ’ S C O F FI N S . something that one could argue is taking place once again.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . daily survival and collective projects. and the transnational group of students who work with him or her. and developed. like our hawker earlier on. situating itself between different public audiences. researched. 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. contexts. which may be no wonder. given the global importance of social interventionism in art practice of the 1990s (from N55. and everyday relational activities that attention was directed. the Roaming Faculty structure requires part investment of no more than 20 to 25% of a full professorial salary. which stand outside of the course curricula. Moreover. the processes of courtship. or Pukar in India. It’s a consortium of sorts. With the introduction of a ‘Roaming Faculty’. I’d hesitate to call this the seeds of a micro-institutional development but increasingly I feel it may just be heading that way. and finally a polymathic understanding of place. the patterned arrangement of leaves in a plant. research. that provides for a parallel extension in the work of guest. a polymathic faculty. 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. Art students. could benefit from a lawyer on immigration and identity issues. Heterodox combinations of information and skill would inform art practice: for example.”Ω When we investigated future faculties of knowledge in the art academy. the escalation of an armaments race. peripatetic researcher. to the shaping of content and the nurturing of transcultural and transdiciplinary positions. in other words those subjects. and practices that might be taught. the polymath. a polymathic educational model. for a participating institution. the grammar of a sentence. it was to both latent aesthetic processes. the exercise of a particular sport as a model for analysing thought structures (e. 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 . Open Circle. RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . 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 . 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. 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. but it is led by the value attributed to an individual’s research. It’s a non-prescriptive condition of empathic learning. In 1971 he states that “such matters as the bilateral symmetry of an animal.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.

N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. To impart this critical approach to the student seems to be essential today. and cultural contexts. and by extension the ability to engage with a form of research that is non-prescriptive from the outset.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 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. the predisposition to embark on voluntary non-course or examination-led investigations which enhance an understanding of different methodologies of research. understood here as the flexible act of idiomatic transference between disciplines. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending. methodologies. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. and helps to broker decision-making.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 . So to conclude. secondly. which are shared. rotates ownership between the participating institutions. a lucid and production-based interest in economic and symbolic value. analysing and evaluating their presence within the next generation of artists and practitioners. I’d like to propose three areas of articulation for fine art students: first.

that notion is based on a fundamental misunderstanding of what conceptual art practices meant.. In fact. since institutions tend to follow strictly the Kafkaesque dynamics of closing in on themselves. ideas. but rather to the creation of new forms of embodiment. 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. In my view. Yet it might simply be that we did not understand that conceptual art is about intellectual provocation and the disruption of thoughts. perhaps we should understand the intellectual even as something entirely different from the academic. i. I am not in the position to talk about clandestine knowledge in public. even if it depends on the academic discourse to realize its practice. The question is how to talk about fighting institutional rituals in public. We lose the spirit of conceptual art when we actually believe it has produced knowledge. since that fight is a practice filled with clandestine techniques. there is fortunately always someone trying to keep doors wide open. to discovering whether there are new ways for art practitioners to embody provocative ideas and produce novel forms of communication. 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. i. Benjamin Buchloh has argued that the past is the aesthetization of bureaucracy.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.e. After all. and words. Today. while art education is about inspiration and creation. thereby creating hermetic black boxes which destroy information and burn bridges with the outside world. the academic discourse is about evaluation and legitimation.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 . the logic of institutions and the logic of art education are fundamentally at odds. the libidinal and cerebral embodiment of an idea.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 . though well-meaning and wellintentioned. If we want to maintain a critical discourse. Perhaps we should reconsider the legacy of conceptual art and investment in producing intellectual bodies of art. Along those lines of thought. while the intellectual is about the public embodiment of ideas and thoughts. because institutions are innately about legitimation and evaluation. This in turn brings to another important issue: the issue of the academy as institution. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Embodiment goes necessarily beyond the academic discourse. That is not something to be taken for granted.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . So I must find other ways of sharing it. we do take works from the 1970s seriously and believe they have produced knowledge. That disruption is not necessarily connected to the production of knowledge. However. 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.e. The second issue that worries me is the current prominence of the notion of art as a form of knowledge production.

There must be a way of speaking about the institution not in its name but in the name of something else. That is what you must do as an artist or an intellectual. Therefore. In the new forms of immaterial labor. This issue pervades art schools and is almost everywhere in highly individualized societies. Something pointing to the possibility of a different world. since you have been accepted. contemporary discussions suddenly create an uncanny moment of closure when we speak of the institution in the name of the institution. constantly producing subjectivity. We are works in progress. the most pressing question is in what name or in whose name we want to talk about institutions. officially you are the chosen. but suddenly with horror you realize that you are surrounded by chosen ones. something implying a utopian principle. 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. Many times. the one hope we all share is that we are the chosen. The second is the matter of temporality or the organization of time. One concerns the ethical-political question of the good life connected to the question of subjectivity or singularity. Immediately. The issue of the chosen is part of a larger discourse in society. but essentially to wrest back the means of social communication. the means of social existence. The last question concerns debt or indebtness. One of the major contradictions in a society dedicated to the production of subjectivities is the issue of singularity. At heart this concerns resuming control over our social lives. As producers of artistic subjectivities. Perhaps a utopian world is a world without any need for institutions. They argue that today’s means of production are the means of communication. that puts us at odds with everybody else. When you read Negri and Hardt’s Empire.we can never speak in the name of the institution even when we are speaking about the institution. we are producers in the new industry of communication.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 . the biggest growth industry is communication. Currently. 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. We sacrifice our very lives in that new economy. How can we avoid becoming public commodities. the question of the good life is actually the most pressing issue they raise.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 . Reappropriating today’s means of production no longer implies invading the factories. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the singular ones. 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. I would suggest that it might be necessary to speak about institutions in the name of the good life. as we put our life skills at its disposal. 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. teaching artistic subjectivities is teaching people how to put themselves at the mercy of the communication industry. Let me start with the question of subjectivity.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

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

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

So there is a mutual sense of indebtedness. I believe we have to communicate that a certain indebtedness will always linger with both students and teachers at the end of the year. 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. where she raises that question of debt and dedication. 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. by saying you should write for the ghost of Shakespeare’s sister. in a market-driven environment.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 . When the graduates go out into the world. she asks to what spirit do we dedicate our teaching. they become indebted to the idea of the social or society. In the end. while art could equally be a highway straight to hell? As a teacher. 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 . they become indebted to the market.state. That is a promise one can never guarantee. while you cannot actually do that. Let’s go for another form of art. Teachers are always tricksters because they bear witness to the fact that art is not just a product. beyond the material? This leads to considerations of how one might go beyond the institution. but will make a difference.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . because they have received affirmation of the validity of producing art. another form of embodiment. teachers feel enormously indebted to them. How could one ever make that guarantee. you will remain completely indebted to people whose lives you would have to assure. teaching can make a difference in helping students to determine to whom or to what principles they chose to become indebted. for the sake of her return to the future. Especially when teaching traditional skills. All we can do is shift the debt into a mode of dedication by asking to what do we spiritually want to be indebted.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 . That is a perfect example of shifting debt to dedication. and perhaps we can never redeem or absolve ourselves completely from this debt. On that symbolic level.

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

Fifty years ago. Another question cropping up is what the relationship is between representation and depresentation. through various modes of address. In the context of an expanded idea of the notion of representation. as building blocks that can be used in the articulations of the exhibition. Today. we see a move into the educational space of curators. so that there is a certain absence both spatial and temporal. There are certain historical models of the art academy that have been handed down to us that could easily be deconstructed.in order for them to develop a single vocabulary of representation. it was the nation-state. Unlike theory courses at the university. In our program. though. In those days. historically. That was the goal of the museum. What is the public role of the artist.e. 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. presently. we offer insight into how art is produced. we can create different kinds of understanding and disentanglement. By mirroring those two conceptions. The current composition of the museum’s constituency is very difficult to define.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 communities? Sometimes these notions are considered synonymous. i. unified body. An obvious example of de-presentation would be the so-called post-communist condition which is now impossible to discuss or imagine.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . However. I understand de-presentation as the disappearance of ideas and imaginations actively or passively de-presented from the world. the education of the populace into a national. in art we could argue that representation is an act whereby something comes to represent something else. you learn how art is received. audiences. Artworks still seem to come to us as almost readymade. One model 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . since art institutions ( museums ) have a problem with constituencies. Perhaps that is starting to permeate art education. construct new narratives. In art history courses. it usually means that someone stands for someone else. the bourgeoisie. there is rarely a discussion about how art works are produced. and potentially? These discussions must revolve around various truths and methods of representation. 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 also try to discuss how one as a cultural producer one would define work vis-à-vis the apparatus surrounding production and presentation. most art institutions are part of the so-called entertainment industry. constituencies. In other words. its constituency could be easily defined based on the interests of the ruling classes. we could state that in critical theory. but obviously there is a immense difference between production related to art institutions or production related to the audience. 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 . Even in curatorial programs. So there is a profound shift in how to define a constituency. how can we. but you do not learn how ( contemporary ) art is produced.

For this reason.pertains to the idea of the masterclass.” That is an urgent issue. the new model of examination. I believe. One model I have been interested in is based 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . As producers of knowledge.e. we must question the relevance of this model and perhaps look more closely at the university model now replacing the masterclass. there have also been didactic historical models that could prove inspirational. Thought has boundaries different entirely from knowledge. and as discursive spaces. and what kind of knowledge. and not just with themselves.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 . loose their effectiveness in terms of transforming the art environment. The subjects are all listening to their master’s voice. a nondialogical model of address. and how they fail to be equipped for dealing with the current situation of lifelong education and re-education. That is an inherently hierarchical and masculine subject position. students. modules and internalization can only be seen as part of a society of control. Hopefully it is too difficult to transform thinking into a commodity. i.e. one should examine the implementation of its productive features. we must ask what kinds of subjects. In terms of mode of address. Where traditional educational systems were part of a disciplinary society. Rather. That model would merely substitute the system of discipline for the system of control. but now moving to a curatorial practice. The critique and the transformation from managerialism. Simultaneously. originally an artistic practice. 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. now that artists engage with the world. replicators rather than producers of knowledge. universities are often teaching machines. have been much more profound. i. while omitting a certain notion of unproductive time and space. this is of course a pre-democratic model. one should not uncritically adopt the university structure.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 professor talking to multiple students and deciding just what art education is. To paraphrase Spivak. That has very little to do with institutional critique as such. That is the very issue of a certain ma-ness. on the forefront of our current society and its notion of immaterial laborers. how they are inadequately historical. a phenomenon. as happens with knowledge in the knowledge industry. “If the art school is a teaching machine. One should then try and maintain the open-space freedom of the laboratory. based on the sovereign reigning over the subject. Artists are a sort of social avant garde. it is a critique of how institutions work. and its administrative model. it is important to shift the notion of knowledge production into what we at the Malmö art school call room for thought. 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. This is why. Rather one should learn from them as spheres of experience. 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. are being produced. teaching. However. since the results of institutional critique.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Therefore. However. as places through which subjectivity has been formed. potentially hidden in the academy model.

Why would you ever need a master’s degree 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . In principle. 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. Veyne tried to begin from spaces of experience. an introduction into the art market. All one can offer are contacts with gallery owners and the art world – perhaps that is the real teaching. i. the real socialization. I always give students the most difficult text first as an introduction to theory. One way to do this is to have a group of participants in a course with very different background. You could have a Bachelor’s in Fine Art and then a Master in Biology. One can talk about the program’s content. I am also talking about location and culture. the room for thought. there is an interesting text by Andrea Fraser. On the one hand. So why do they still need an art institution? Even though the institution gives a degree similar to the university system. a book published by Stephan Dillemuth was called Academy ( cf. In that sense. Secondly. Currently we are seeing a wild expansion of the market.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 . MaHKUzine 2. So he would replace the children’s books with complicated books which then immediately initiated a sphere of production. it is actually a degree worthless in the real world. while giving equal value to the experiences and preconceived notions of the student and the teacher. 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. I am not only talking about disciplines. who states that she is not capable of writing a text on teaching.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and on the other hand we are studying critically. didactic strategies and educational models. One could say. In terms of adequate. about different parts of the world and different languages. the artist. In this model. Another inspiration for teaching theory I discovered was on a more pedagogical level in Veyne’s work. this was one of the first re-evaluations of the critical artistic potentials of education while considering the educational space as an artistic space. she claims.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 . as something transmitted solely from the authority of the teachers to the students. socialization seems to be the most important way art schools produce their subject of knowledge. Already in the mid 1990s. and the production of knowledge. but that only seems to result in an unprotected title. one could argue that teaching Critical Studies has a dual function. 14-21 ).on Paul Veyne’s ideas. However. He found that teaching adults using children’s books caused them to learn very simple things they could not move past. of course.e. If one cannot offer that form of 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. Rather than seeing knowledge as something uncontested. In Academy. all students will be forced to immediately translate what they view as their knowledge of both themselves and the world. 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. an introduction into basic skills and disciplines. we are studying a genealogy of critique. a bachelor course is a foundation. So.

but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words. 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. Of course. and curating. At our school.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 . At the Malmö school we ask seminar leaders. art production. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. that would be the only reason to get a master’s degree. research and the practice of the lecturers are reflected in the teaching. and vis-à-vis the marketing of education. 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. it has to provide some kind of critical understanding of what art means.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. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time. in fact. If the MA program does not provide socialization. That is also how art schools can differ from university humanities departments such as art history or philosophy.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 . who come from a variety of backgrounds such as theory. 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 . of art’s placement in the world in addition to its place in the art world. Finally. to present their research rather than work toward fulfillment of a curriculum.

in fine art and in the contemporary art practice. philosophy. since it has failed to withstand a neo-liberal paradigm. So. and sociology have. we have to invent new ways to speak the university. However. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. – can apply their knowledge and understanding. to specialist and non-specialist audiences clearly and unambiguously.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. – have the ability to integrate knowledge and handle complexity. and the knowledge and rational underpinning these. 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. 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. Next. – 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 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Our common problem is that the demands of a technocratic discourse have become the norm.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 . we are facing problems not significantly different from the ones our colleagues in literary criticism. 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. All the other discourses face its effect and consequence.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. In fact. 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 . ‘The Bologna Conference’ is such an attempt to achieve a common. For decades. independent definition. rethink. often within a research context. and rediscover what it is that we believe we are doing. we are all forced to review. universities defend the rhetorics of the 19th century. reassess. and formulate judgements with incomplete or limited information.U N C E R TA I N M I CK W I L S O N `M A . The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. So. At present. but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements. that rhetoric is exhausted. This is what the Dublin Descriptors state. through various instruments. That third question is connected with the conditions of the university at large.

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

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. People got together and spoke about art. there is even a third type of ‘market’ beginning to emerge: the reputation-based economy of art education.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 . When and why we give awards. We all participate in the reputation-based economy in the form of e-flux. A labor market is partly regulated by the guild process of artist-teachers themselves. but driven by the discursive community around the extended field of contemporary practice. Is it then possible to determine how a Master’s curriculum is characterized? Yes. Today. artist-teachers as ’chosen ones’ jostling for status. of course! But the really important question relates to purpose. and how we do our jobs within the scenario of handing out awards. where the work of the student-artists is unhooked from the immediate productive demands of the market.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . So. the cultural capital and the ascription of reputational standing was something endemic to a community of discourse. Similar to all other areas of cultural policy. it is merely that the student imagines the possibility and already starts playing a different game. Confronting this view. we had a labor market governed by reputation. program reputations. a certain bureaucratic disclosure moves in. I believe that the open academy rhetoric is somewhat problematic. 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. However. and so on.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. within the network of fellow competitors for reputational standing. It is not necessarily the case that the art market appears on the doorstep. The question is whether the transformation from a place of creative freedom to marketplace is good for the quality of the art academy. we have the sense that the market is making inroads into education. the reputation-based economy of art education has been displaced by the emergence of managerialism.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 . Within our working practice. we are suddenly required to disclose what it is that we do as art educators. ii The art market colonizes the imagination and orientation of the student-artist within the academy. We have institutional reputations. Now the criteria for recruitment and promotion are no longer primarily based on reputation. the open academy will offer more space for risking new and unwarranted forms of art production and more space for thought. Until recently. The reputation-based economy within art education also blurs into its larger counterpart within the contemporary art world. 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 . The essential germ of the open academy model is that in an educational setting. So we have two kinds of market threats: i Higher education as such has become a more intensely marketized system in general. the advertising pages in Art Forum. constructing one’s curriculum vitae.

These are three generally recurrent features. Manifesta’s Notes for an Art School. – that we wish to provide a robust and critical learning environment. not to control. 1 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . The tension that might be painted as a showdown between Ranciere’s ignorant schoolmaster and Bourdieu’s sociologist king. Cork Caucus. ‘We’ art educators. I want to expand a bit on what I believe is significant. hierarchies. There are three observations I would like to make in light of these developments in the larger field. but which in some way enable. to enable the flow of other discourses. and practices. to questions of ‘autonomy’ and ‘agency’. not to describe.but not so visibly. and Frieze Art Fair’s recent round-table discussion on art education ( October 2007 ). ‘protoacademy’.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. the biennials. the question of art education is being asked and rehashed again and again.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 . not to determine.’ 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. but rather to facilitate. in the academies themselves. I would suggest.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’. Here the question of art practice and the notion of autonomy come together. the fairs. 2 The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. Then part of what that structure must be able to do is to entirely dismantle and change. – that we are trying to bring an offering to the market place. and the art education conversation leapfrogged over it. How do you work within institutional structures. We want to create structures which do not themselves exhaustively prespecify what will happen. troubling questions of education in general. but they really recur strongly throughout all these different experiments. Cyprus and unitednationsplaza theme. The quandary of ‘emancipatory practice’ – how to enable ‘autonomy’ and ‘agency’. Frieze’s ‘Art schools then and now’. The future model of the art school is clearly something engaging the imagination and energies of the international contemporary art scene. – that we are doing it because there is some impulse to regiment and shutter the openness. and autonomous agencies. ArteContexto’s recent dossier on ‘teaching visual arts’.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . What is it that our work does? What is it for? It is as if the curator conversation died. – that we are trying to establish credibility with our funders. It is also being answered and tested in many different ways . Possibly the best articulation we have of our aspiration as teachers is not to dictate. different dispensations of power? How do you work within this and still address questions of emancipation? These are standard. 3 . ‘Pedagogy’ was one of the three leitmotifs of documenta12. Everywhere in the journals.

But we should still be troubled by this. ‘Living with contradictions is difficult. undisclosed. 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. why do we think we can do it with our students? Teachers. with 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . how we ( believe we ) do it. The disavowal of authority is a classic strategy of authority. the pure flow of uninterrupted. Consider the classic power struggles of academics for their tiny territories. They say. and say go on. 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. un-interrogated in the ‘disciplinary’ conversation. the inability to speak honestly and openly about contradictory consciousness can lead to a destructive desire for “pure” political positions. Authority is not in and of itself ‘bad’. you know what you’re doing. Let us accept our authority and our considerable agency and open it to accountability. and why ( we believe ) we do it. we’ll just sit back.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. Part of that accountability is mutual disclosure: what we ( believe we) do. the brackish ground upon which our agency is based. of another type of accountability. Think about what the national governments are doing in the domain of higher education. 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.’ This is why we might be a little bit cautious of our claims to realize moments of pure conviviality. If we cannot do it with our colleagues. as long as you do it within this framework. Of course. This will bring us not to pure positions but to messy human situations with complex agendas. 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 ). What we need to do is to revisit the possibility of resisting this. Consider also the desire for ‘pure’ conviviality. but by what goes unspoken. even artist teachers should perhaps not seek purity and an attempted disavowal or refusal of authority. dialogical exchange. Consider the petty cruelties and rivalries of teachers for the affections of their students. It is authority not subject to challenge and critique – when it is not answerable to others – which is most troubling. Let ‘us’ not disavow authority.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 . I am worried when people seek pure positions. someone who says they have shed their authority is not so easily challenged for their exercise of that authority. We should perhaps rather seek to cope with -and reflect upon this ‘coping with’ – the impure. with conflict and competition for resources. Consider Bourdieu’s early lesson on the cultural indoctrination of students not by what is spoken. the mucky – the muddy wet ground.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 . The American cultural studies practitioner George Lipsitz says. you’re the experts. and.’ Part of this is to reflect upon our desire to be loved by our students and to be respected by our peers. especially for intellectuals and artists employed in academic institutions.

“The [. So these institutions were founded on instrumental logics. (c ) that the higher education sector got much larger. the magazines. The question of ‘bad faith’ is. Those academies arising outside the university setting came into being because of imperial. [.. are ( a ) the universities got much larger. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’. on means-ends rationale. Why is it that the art world – the market. ‘Without a dramatic change in institutional and sectoral size. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. Remember the general suspicion of art school teachers: Those who can. what we have here is a pyramid scheme. ‘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. This is perhaps the trickiest issue to tackle.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .. It will not work. In the face of these instrumental and technocratic imperatives. 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 . 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 . It is the market that emerged 48 C O LO FON .” ( Calhoun 2006:3 ). and ( d ) that partly as a consequence. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive. nationalist. Those who cannot.. teach. The ‘university’ and the entire field of ‘higher education’ – post. The independent art academies have a different history.” 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. but it is a promise that we may not fully be able to redeem or honor. write criticism. Those who cannot teach.’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto.] mistake is promising by implication that a degree in art will lead to economic survival after graduation.. do. the inevitable corollary of seeking ‘pure’ positions for ourselves. I would suggest. secondary. ( b ) that more or less full-time scientific and engineering research components of universities got much larger. For some time now. The issues. tertiary etc. cultural. and social reproduction attuned to the flows of global capital.N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith.troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue. in a nutshell. There are some general points to adduce first. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status. Calhoun says about these challenges. mercantilist and other vested interest arguments. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere.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. it is unlikely that some of the other changes would have taken place. They will find some other means. The question of ‘bad faith’ was referenced earlier in the discussion.] Basically. – have undergone a series of profound transformations in the last two centuries.

post-minimalist era – has the characteristic of wishing – or at least appearing to be willing – to thematize everything given in experience. I think here is a lot more. So not Bologna. the rhetoric of the ‘open’ – just as the universities’ rhetoric of the ‘idea’ – has now exhausted itself. 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’. If we are really asking today whether we can we make a clear distinction in the education of artists among these levels. That is where it originated. MA . and still retain some unsquandered potential. that we were not already in a position to be the bearers of the public disclosure of what art educators do. The answer. It would be unfortunate for us under these circumstances to then shout hands off while we take every other discipline. to actually bring that into the public domain. focus. and PHD. We should examine how it is that we 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . I think this is a very urgent matter for us. and areas of action: a standing reserve of metaphors. though. materials. All aspects of the life-world are taken as its legitimate concerns.. It’s a little bit yours now if you want to join.. I would say “Welcome to ‘our’ uncertain world – the world of art educators.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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .. let us to see it. post-pop. not 2010. For these academies.maybe change it a little..”. Where is this rhetoric to be found? Contemporary art practice – as it has emerged in the post-conceptual.. and so on. we should not be incensed simply by the fact that there is a bureaucratic imperative to adhere to a framework of BA . more interesting problem or pre-occupation and tell us about it. How it has been left to the policy-makers and ceded to practitioners on the margins of the academy or outside the academy altogether.. 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’. and discourses. show it to us.on the fringes of entrepreneurial capitalism that generated the spaces for avant-garde experiments which later became the paradigm for the open academies.my [institutional] horizon is not yours. But ‘we’ are always negotiating some kind of balance between the requirements of ‘regulatory’ ‘instruments’ and the embedded human situation of our contingent practicesÉ . profession and occupation as grist for our mill. You can’t include us in your conversation about BA’s and MA’s and PHDS. but what we are already doing.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 . I suggest. We need some new rhetorics of becoming to negotiate and challenge the dominance of the technocratic way of speaking in the world. we’re different. is a conditional ‘yes’. 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. We’re pure. We seem to have come along way off track on our question of the MA curriculum and appropriate teaching practices.or find a better.. not within the academies. How we were not the bearers of that conversation into the public domain. maybe not. I would argue..

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. pp.96. ( 1988 ) T h e Mas t er’s D e g re e. 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . 80 . Ga rber.REFERENCES 3 – 4 EDITORIAL Ca m n it zer. P r i nceton NJ : P r inceton Un iversit y P ress. 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. pp. Jud it h S. Stephen H. Berkeley : Ca r neg ie Fou nd at ion for Adva ncement of Teac h i n g. ) Cultural Stu di e s / Polit i c al T h e or y. in Met ropol is M: E x pa nd i n g Ac ademy. in Jod i Dea n ( ed . N . 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.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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .. 4 .15-20. George( 2000 ) “Ac adem ic Pol it ics a nd Soc ia l C ha n ge”. 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 .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. ( 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 . L ipsit z.94 . A r teConte x to16 Mad r id: A r tehoy. Lu is ( 200 7 ) Frau d an d E du c at i on. A C E R TA I N M A . It hac a: Cor nel l Un iversit y P ress. Ma r jor ie ( 2001 ) A c a d emi c Ins t in c ts. 94.

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

The need for reflection. 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 . In other words. I indeed think we need more preparation and more improvisation not just in art education. That is the importance of topical art. universities are guilty of neglecting both cultural production at large and focusing on a living culture. whereas the spectator can experience it in just a few minutes. Fortunately. Yet instead of developing into an institution where art could be deployed as an instrument to reflect upon culture. Indeed. Here art addresses both art production and an audience interested in working on meanings and images a society could adopt. the universities are transformed into industries of knowledge. during the 20th century. belonging to the culture in an anthropological sense. that what we need is more preparation and more improvisation. The work of art has to be addressed somehow in the community of people working on meanings. we need an organization and an academic management of freedom. The great gift of cultural production is that the entire process of creation is condensed in a transmittable form. the art world’s favorite discourse is about trends and the art market. Thus. the universities worked with a 19th century cultural map. The miracle of an art work is precisely that the artist spends a year creating it. Therefore. and ideological realms. The question arises as to how one could introduce the idea of reflection in the mode of an anthropological laboratory into art education. in a few minutes you can understand what the artist intends from a year of concentration and production. Derrida once claimed during one of the famous Any Conferences on Architecture. is shunted onto art education. Currently. As a criterium for this. universities are at least 90 percent self-governed.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .itself becomes part of a complex process.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 . there is interest in cultural production in commercial. thus. since the discourse produced for the outside world and the image the art world creates of itself are not about reflection. makes reflection a goal of art education. In fact. However. there are places that do not belong to academia and. academic research in the universities fails to transform and. However. there is what I would call the degree of condensation in the work of art. communication is immensely important. Of course. Thus. therefore. seem to be free of its constraints. That led to ignorance of film and photography. all the management positions and decisions involve people with an academic background rather than professional managers. Therefore. be it visual or not. private. When art is research in the sense of working on meanings and images as a form of reflection in an anthropological laboratory. the problem is that reflection in the mode of the anthropological laboratory seems to be hidden in the art world. 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. In Belgium. so they do not assume the responsibility of organizing work on the visual culture.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 . art is of course a public matter. but even more so in university education. it is disturbing that this type of artistic research fails institutional frameworks. the need for a laboratory.

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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and content. However. Those problems mainly emerge in the beginning and at the end of an artistic process considered research. artistic research could possibly have.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 . evaluate. it is clearly understood how to articulate. the only topic for artistic research to work on is art itself. Then what? The research might be a document to be sent out into the world. 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. 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. Thus.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. content-wise.unresolved art-related research problems. research areas are defined. That is the only context. a statement and an exhibition called Lacan’s Gaze. since artistic research fails to connect with institutional frameworks. In addition. one should be able to manage a variety of issues. and discuss the end product and how to connect it to the academic discourse. a research program in an art institution – let’s say about Lacan’s gaze – will result in two interventions. In the academic realm. document.

In principle. the Utrecht Consortium as a network of research activities mapping out the outcome of presentations based on the production of artistic knowledge. the paradigm of art education has been rooted in the artistic situation of the 1980s. However. The establishment of the Utrecht Consortium is inspired by the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Conversely. In this debate. and by Documenta 12’s educational program in 2007. 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. a methodology manifesting itself in artists’ texts and exhibition forms focused on knowledge production. Each artistic research project. artistic knowledge production does not have a ready methodological model.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . in light of the emancipation of artistic research. in contrast to scientific knowledge production. artists are expected to fulfill the role of art critic and curator themselves. In order to deal adequately with this novel situation.e. today’s artistic research attitudes have brought reflection and theory to the center of attention. i. Today. Yet the institutional consequences of this debate have been subject to extensive reflection. i.. What does it mean for an exhibition space in 2008 to develop a policy directed towards knowledge production? After all. the exhibition models are still based on “alternative” ( non-museological) models from the 1980s. the artistic practice is considered a researching activity whose outcome. 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. by Manifesta 5’s focus on the academy in 2006. Until now. requires its own methodology. This was a period where reflection and theory did not play a major role in the world of visual art.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 that of scientific research. one argues. 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.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 . is able to contribute to our knowledge about the world. the situation of art institutions is rapidly changing all over the world.RESEARCH REPORT UTRECHT CONSORTIUM Today. This novel situation has immense consequences for how one approaches competencies in the profession of art. These two activities used to be considered part of professional domains such as art criticism and curating. In these international discussions. such a model would be impossible to create. one talks in a rather abstract way about art as a form of knowledge production. 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 debate on artistic knowledge production mentioned above. That expectation seems to relate to the most recent debate in the world of visual art.. however.e.

Using the historical collection of the Utrecht University Museum. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. With that. 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. An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium.so-called London Consortium. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . regional. the Utrecht Consortium intends to be flexible. a collaboration among four institutions for education and art – the University of London. and gamma sciences. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . (More about that research will be reported in greater depth in MaHKUzine 6 ).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. In addition to the Consortium partners and professionals in the field. Those issues could easily be expanded to local.e. Additionally. The results of this research will be published as a series of “best practices”.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 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. exploration of methods of presentation specific to today’s visual art as a form of knowledge production. 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. the Science Museum. 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. young artists will be able to enhance their communication with a variety of audiences. and international levels while sharing networks. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. Through this first case study. At the core of the Utrecht Consortium is practice-based research. ICA . and the TATE – offering joint artistic research programs. a platform has been created without the need for offices and staff with minimum overhead costs. i. 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. beta. Thus. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . In developing adequate presentation models in the form of both exhibitions and texts. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science.

Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice. The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures. ( 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.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.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 . 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 . Topics will deal with reflective methodologies and presentation strategies.unique collaboration of the Consortium partners.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The survey of “best practices” and its relevant models of presentation will be realized and published.

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 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 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 .

PA R T I C I PA N T S UTE META BAUER.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. SLADE SCHOOL OF ART. DIRECTOR FUTURE ACADEMY.M A HKU. CAMBRIDGE MA WILLEM DE GREEF. UNIVERSITY GHENT JAN VERWOERT. PROFESSOR PIET ZWART INSTITUTE. EDINBURGH SIMON SHEIKH.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 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 . PROFESSOR OF PHILOSOPY. DIRECTOR SINT.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. GRADCAM ( DUBLIN ). M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK .LUKAS ACADEMY. LONDON AND VIENNA SCHOOL OF ART. ROTTERDAM MICK WILSON.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 . TOGETHER WITH THE HELSINKI SCHOOL OF ART. DIRECTOR VISUAL ARTS PROGRAM. BRUSSELS CLEMENTINE DELISS. DEAN GRADCAM. MALMO SCHOOL OF ART BART VERSCHAFFEL.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 .NL 3 3 – 4 0 U N C E R TA I N M A . MIT. 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. MALMO SCHOOL OF ART. LECTURER CRITICAL STUDIES. 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. 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.

Sign up to vote on this title
UsefulNot useful