EDITORIAL

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

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

3 – 4 EDITORIAL

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

stimulated. Exhibitions are not being created to simply satisfy us. a space for discourse that challenges the way we think and the way we perceive the world. troubled. No wonder some curators migrate to educational institutions in order to do research. That leaves them with less time for research.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 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. A “good” exhibition leaves one irritated.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 .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON .

a process. C O N T I N U U M . which can only be successful if they view their current condition as closely aligned to that of a future environment for research. Supported by host institutions from Europe. and finally Biella.program particularly with regard to a reflective and critical attitude. India. T H E P O L I T I C S O F A E S T H E T I C S . Future Academy does not provide an MA or MFA and. 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. I transited around Scandinavia for eighteen months.” J AC Q U E S R A N C I ÈR E .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 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 . 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 . Edinburgh. and responses to fieldwork in foreign locations. Currently part of Edinburgh College of Art. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . USA . P. Future Academy characterises my activity as a curator over the last ten years. with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas. . As a procedure that involves the elaboration of new proposals and their execution. and community.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 . Bordeaux. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA .I S I T P O S S I B L E T O M A P .. Interestingly.Ω Over the last five years. In 2001. and Australia. and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’.. in fact. or became so fully involved in it that their ownership of it is unrelenting. 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 . 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. I published Backwards Translation based on the ex-curricula of students. whilst simultaneously coming to grips with survival. Japan. 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 . economic models. students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. However. Future Academy students have acted as the diagnosticians of their own art education. production. Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come. Africa. 20 0 4 . a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students. 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.Ω In 1999. 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. 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. has no formal legitimacy in terms of official diplomas or exam qualifications.

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

rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. On an elementary level. 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 5 – 6 O P E N I N G : A C E R TA I N M A . and highlighters together. each of us has the authority to retain a sense of individual development. like any institution. “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. collaborators. B AT E S O N . To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. However. an art academy. 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. The work of the students has a bearing on what I produce. reactivated again and again over the last ten years. 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.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 . but the structure of the conversation as a whole is also revealed to the same subject.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. As Martin Prinzhorn stated in a conversation at the start of Future Academy. and heterogeneous location for visioning the future and forming agents in this process.the problem. 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 art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”. and then involving them from day one when nothing is known. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. So my personal question. Only some of the conversations achieve this double format. and there are no results. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. deregulated. to become interlocutors. and yet. where I travel to.” 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. 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. I would argue that the academy is the site of prelusive knowledge. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. 1971 . As well as providing a more or less thorough training ground for artistic positions. at the same time.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and whether I survive professionally. places and people. “S T EP S TO A C E R TA I N M A .

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

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 Future Academy moved to Japan. such as CommandN. an NGO co-financed by Norwegian state funding. Their claim 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . for example. was working with the Ecole Nationale des Arts in Dakar and teaching new media to students. in order to perform a deep transfer of knowledge that can reflect and compliment the newly international character of this student body. and encourage students from the different departments or schools to take ownership of this research. In both locations. thereby questioning today’s renewed forays into educational expansion. With this modest endeavour. open to a wide range of office workers and people whose education may not have included formal art studies. this symbiotic relationship was confirmed once more with the participation of small artists’ collectives in Tokyo that focus on educational formats. I made the decision to curate this investigation away from a super-structure of European super-schools and to focus instead on the current ramifications of colonial art academies established in the 19th and 20th centuries. and then in several cities in India. latent cultural backgrounds. scholars. the Media Centre of Dakar. was producing documentary films with students of Shri. parallel institutional partnerships. Likewise Future Academy would negotiate its way forward with its motherships in London and Scotland. I worked first in Senegal. what I hope characterises today’s globalised art academy is not just the frenzy of standardisation. Nevertheless. For example. 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. runs exceptional evening classes on curating and contemporary art. School of Art. and confused expectations. there were different institutional scales at work. As a result of pitches I made to artists. devised by social anthropologist Arjun Appadurai with US academic funding. where art colleges were aligned historically with their British colonial counterparts. a weeklong Future Academy seminar generated a proposal by MFA students to set up a bank.the territorial parameters of the Bologna agreement? Meanwhile. Later. or Arts Initiative Tokyo ( AIT ). the urban research group PUKAR (Partners for Urban Knowledge and Research). m-lab. J. and students on the hypotheses and modus operandi of this 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. I was able to set up experimental student cells and with these. J. In February 2003. AIT has managed to remain financially self-sufficient and autonomous. 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.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 . but the alternative option of travelling intelligently through different institutional structures with their contrasting value systems. Within the first six months of Future Academy. indicating a true mushrooming of short-term working systems.N E S S 5 – 6 O P E N I N G : 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. A college with a large amount of international students is heterogeneous but not necessarily able to make use of this condition. AIT. and in Mumbai.

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

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

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

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

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

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

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

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

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

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

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

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

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

of art’s placement in the world in addition to its place in the art world. and vis-à-vis the marketing of education. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words. Of course. 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.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. in fact. If the MA program does not provide socialization. At our school. At the Malmö school we ask seminar leaders. and curating. art production. to present their research rather than work toward fulfillment of a curriculum. who come from a variety of backgrounds such as theory.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . it has to provide some kind of critical understanding of what art means. 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. research and the practice of the lecturers are reflected in the teaching. That is also how art schools can differ from university humanities departments such as art history or philosophy. 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 . that would be the only reason to get a master’s degree. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. 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 .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 .

N E S S MICK WILSON 33 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . So. At present. and rediscover what it is that we believe we are doing. 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 . However. reassess. philosophy. we are all forced to review. For decades. in fine art and in the contemporary art practice. – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. and the knowledge and rational underpinning these. universities defend the rhetorics of the 19th century. – can apply their knowledge and understanding. rethink. that rhetoric is exhausted. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. – have the ability to integrate knowledge and handle complexity. Next. Our common problem is that the demands of a technocratic discourse have become the norm. often within a research context. we have to invent new ways to speak the university. – can communicate their conclusions. we are facing problems not significantly different from the ones our colleagues in literary criticism. All the other discourses face its effect and consequence. independent definition. since it has failed to withstand a neo-liberal paradigm.U N C E R TA I N M I CK W I L S O N `M A . In fact. 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.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. and formulate judgements with incomplete or limited information. That third question is connected with the conditions of the university at large. 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. So.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . ‘The Bologna Conference’ is such an attempt to achieve a common. but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements. and sociology have. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. to specialist and non-specialist audiences clearly and unambiguously. 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. This is what the Dublin Descriptors state.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . through various instruments. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate.

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

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

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

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

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

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

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

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

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

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

RESEARCH REPORT UTRECHT CONSORTIUM Today. similar to that of scientific research. Yet the institutional consequences of this debate have been subject to extensive reflection. in contrast to scientific knowledge production. however. Conversely. Until now. In this debate.e. This novel situation has immense consequences for how one approaches competencies in the profession of art.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . one argues. the artistic practice is considered a researching activity whose outcome... the exhibition models are still based on “alternative” ( non-museological) models from the 1980s. the paradigm of art education has been rooted in the artistic situation of the 1980s. These two activities used to be considered part of professional domains such as art criticism and curating. 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. i. 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. Today. requires its own methodology. In order to deal adequately with this novel situation. This was a period where reflection and theory did not play a major role in the world of visual art. today’s artistic research attitudes have brought reflection and theory to the center of attention. a methodology manifesting itself in artists’ texts and exhibition forms focused on knowledge production. In these international discussions. In principle.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 . 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. by Manifesta 5’s focus on the academy in 2006. the Utrecht Consortium as a network of research activities mapping out the outcome of presentations based on the production of artistic knowledge. i. the debate on artistic knowledge production mentioned above. the situation of art institutions is rapidly changing all over the world. What does it mean for an exhibition space in 2008 to develop a policy directed towards knowledge production? After all. artists are expected to fulfill the role of art critic and curator themselves. The establishment of the Utrecht Consortium is inspired by the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . That expectation seems to relate to the most recent debate in the world of visual art. and by Documenta 12’s educational program in 2007. in light of the emancipation of artistic research. is able to contribute to our knowledge about the world.e. such a model would be impossible to create. artistic knowledge production does not have a ready methodological model. one talks in a rather abstract way about art as a form of knowledge production. 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. Each artistic research project. However.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 44 48 C O LO FON .

a platform has been created without the need for offices and staff with minimum overhead costs. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. and the TATE – offering joint artistic research 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 45 48 C O LO FON alien to visual art. Those issues could easily be expanded to local. Additionally. (More about that research will be reported in greater depth in MaHKUzine 6 ).N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .e.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 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 . exploration of methods of presentation specific to today’s visual art as a form of knowledge production. and international levels while sharing networks. ICA . 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. 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. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. Using the historical collection of the Utrecht University Museum. 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. At the core of the Utrecht Consortium is practice-based research. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. 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. An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University. 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. Through this first case study. In addition to the Consortium partners and professionals in the field. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . In developing adequate presentation models in the form of both exhibitions and texts. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . The results of this research will be published as a series of “best practices”. the Science Museum. regional.so-called London Consortium. a collaboration among four institutions for education and art – the University of London. young artists will be able to enhance their communication with a variety of audiences. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. the Utrecht Consortium intends to be flexible. and gamma sciences. beta. With that. Thus. 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. i.

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.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 . Topics will deal with reflective methodologies and presentation strategies. The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures. 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 . 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. ( 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 . Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice.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 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 47 48 C O LO FON .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .3 – 4 EDITORIAL A C E R TA I N M A .

MIT. PROFESSOR OF PHILOSOPY. TOGETHER WITH THE HELSINKI SCHOOL OF ART. LECTURER CRITICAL STUDIES.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. GRADCAM ( DUBLIN ). SLADE SCHOOL OF ART.M A HKU.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . CAMBRIDGE MA WILLEM DE GREEF.LUKAS ACADEMY. PROFESSOR PIET ZWART INSTITUTE. DIRECTOR FUTURE ACADEMY.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 .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.4 7 2 8 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS C O N TA C T MAHKUZINE U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N INA BOUDIER .NL 3 3 – 4 0 U N C E R TA I N M A . 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. DEAN GRADCAM.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. MALMO SCHOOL OF ART BART VERSCHAFFEL. UNIVERSITY GHENT JAN VERWOERT. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . DIRECTOR VISUAL ARTS PROGRAM. MALMO SCHOOL OF ART. PA R T I C I PA N T S UTE META BAUER. ROTTERDAM MICK WILSON. DUBLIN . LONDON AND VIENNA SCHOOL OF ART. BRUSSELS CLEMENTINE DELISS.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 . DIRECTOR SINT. EDINBURGH SIMON SHEIKH. 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.

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