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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BART VERSCHAFFEL

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

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

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

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

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

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

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

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

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

T H E P O L I T I C S O F A E S T H E T I C S . I published Backwards Translation based on the ex-curricula of students. 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. As a procedure that involves the elaboration of new proposals and their execution. 20 0 4 . students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. I transited around Scandinavia for eighteen months. 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. 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.. USA .program particularly with regard to a reflective and critical attitude. in fact. 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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . has no formal legitimacy in terms of official diplomas or exam qualifications. with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas. Edinburgh. Currently part of Edinburgh College of Art. or became so fully involved in it that their ownership of it is unrelenting. Interestingly.” J AC Q U E S R A N C I ÈR E . P. a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students. Supported by host institutions from Europe. and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA . C O N T I N U U M . Future Academy students have acted as the diagnosticians of their own art education. 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 . Japan. production. economic models. Africa.. . Future Academy characterises my activity as a curator over the last ten years. In 2001. 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. 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. and Australia. Bordeaux. which can only be successful if they view their current condition as closely aligned to that of a future environment for research. 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 .Ω In 1999. whilst simultaneously coming to grips with survival. and responses to fieldwork in foreign locations.I S I T P O S S I B L E T O M A P . a process. and finally Biella. India. However.Ω Over the last five years. Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 14 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON FA B R I C O F T H E S E N S I B L E I S D I S T U R B E D : A S P E C TAC L E D O E S N OT FI T W I T H I N T H E S E N S I B L E F R A M E W O R K D EFI N E D BY A N E T W O R K O F M E A N I N G S . 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. and community.

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

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

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

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

In the future. 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 . both defined as agents in a transactional relationship. the organisation of events. and the teacher or professor on the other. They come back with theories. and constitutes part of the informal economic chain.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 19 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . SENEGALESE MICROCREDIT ASSOCIATION CALLED BIRIMA TO SUP P OR T SM A L L C A M PA I G N I S T H E P O R T R A I T O F A S E N E G A L E S E H AW K ER . so too did the concept of the individual who might operate it: the student on the one hand. The model proposed by the Senegalese artists referred back to the Tontine. Tontines can fall within several categories. which. or the acquisition of health and educational infrastructures. B I R I M A . the Edinburgh cell also applied the Tontine system to their collective finances. In Dakar. O N E O F T H E I C O N S U S E D I N T H E P R . it was to be the hawker or itinerant salesman who offered the role model. Likewise. women’s groups. This hawker enters the economic system too.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. is not monitored by the police or the state. However. The senior management of the UK School in question immediately quashed the proposal and. communal structure developed. In contrast you have the hawker who has no formal education in economics and who has only attended traditional and Coranic schools. and managed to raise a considerable amount for their visit to India. and he or she travels worldwide. the scheme was activated in the recession of the 1980s as an alternative to the development banks. If the example of legally extraneous micro-credit associations had provided the framework. Trust and social sanctions encourage a self-selection process with regard to the group’s membership. were still closely tied to French finance. precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research.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. 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 . 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.was straightforward: independent thinking required independent economies. In the context of Future Academy. S EE W W W . 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 students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL. 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. whilst apparently run by the Senegalese. a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653. as any further development was voluntary. The fundamental issue with the Tontine is that it remains outside of the law. the one that we call informal. the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON S E N E G A L E S E M U S I C I A N A N D P R O D U C ER YO U S S O U N ’ D O U R TOOK PART IN THE FIRST FUTURE ACADEMY FORUM HELD IN DAKAR IN JANUARY 2003 . through to smaller cooperatives based on neighbourhood structures. As research on this financial. 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. O R G S C A L E E N T R EP R E N EU R I A L I N I T I AT I V E S .

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

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

a lucid and production-based interest in economic and symbolic value. 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. rotates ownership between the participating institutions. To impart this critical approach to the student seems to be essential today. methodologies.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. So to conclude. I’d like to propose three areas of articulation for fine art students: first. and cultural contexts. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. which are shared.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 thereby to dissolve the idea that following a course will make them into an artistÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .scholars guarantees the on-going low-level costs.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 . and by extension the ability to engage with a form of research that is non-prescriptive from the outset. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending. the predisposition to embark on voluntary non-course or examination-led investigations which enhance an understanding of different methodologies of research. secondly. analysing and evaluating their presence within the next generation of artists and practitioners. and helps to broker decision-making.

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

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

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

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

teachers feel enormously indebted to them. 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. On that symbolic level. while art could equally be a highway straight to hell? As a teacher. All we can do is shift the debt into a mode of dedication by asking to what do we spiritually want to be indebted. beyond the material? This leads to considerations of how one might go beyond the institution. you will remain completely indebted to people whose lives you would have to assure. How could one ever make that guarantee.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 . because they have received affirmation of the validity of producing art. When the graduates go out into the world. In the end. That is a promise one can never guarantee. in a market-driven environment.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . they become indebted to the market.state. Let’s go for another form of art. 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. Especially when teaching traditional skills. she asks to what spirit do we dedicate our teaching. where she raises that question of debt and dedication. teaching can make a difference in helping students to determine to whom or to what principles they chose to become indebted.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . That is a perfect example of shifting debt to dedication. and perhaps we can never redeem or absolve ourselves completely from this debt. I would like to propose dedication as the principle to which we devote our practices of embodimentÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . they become indebted to the idea of the social or society. So there is a mutual sense of indebtedness. while you cannot actually do that. another form of embodiment. Teachers are always tricksters because they bear witness to the fact that art is not just a product. for the sake of her return to 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.

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

Unlike theory courses at the university. though. it usually means that someone stands for someone else. In the context of an expanded idea of the notion of representation.e. 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. Even in curatorial programs. historically. it was the nation-state. In art history courses. we offer insight into how art is produced.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 . you learn how art is received. but you do not learn how ( contemporary ) art is produced. Perhaps that is starting to permeate art education. presently. Today. i. So there is a profound shift in how to define a constituency. most art institutions are part of the so-called entertainment industry. and potentially? These discussions must revolve around various truths and methods of representation. in art we could argue that representation is an act whereby something comes to represent something else. there is rarely a discussion about how art works are produced. since art institutions ( museums ) have a problem with constituencies. Artworks still seem to come to us as almost readymade.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . so that there is a certain absence both spatial and temporal. through various modes of address. The current composition of the museum’s constituency is very difficult to define.in order for them to develop a single vocabulary of representation. construct new narratives. how can we. There are certain historical models of the art academy that have been handed down to us that could easily be deconstructed. 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. the education of the populace into a national. its constituency could be easily defined based on the interests of the ruling classes. An obvious example of de-presentation would be the so-called post-communist condition which is now impossible to discuss or imagine. constituencies. we could state that in critical theory. and communities? Sometimes these notions are considered synonymous. Another question cropping up is what the relationship is between representation and depresentation. In our program. we see a move into the educational space of curators. the bourgeoisie. we can create different kinds of understanding and disentanglement. unified body. However. 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. we also try to discuss how one as a cultural producer one would define work vis-à-vis the apparatus surrounding production and presentation. Fifty years ago. In other words. I understand de-presentation as the disappearance of ideas and imaginations actively or passively de-presented from the world. By mirroring those two conceptions. but obviously there is a immense difference between production related to art institutions or production related to the audience. That was the goal of the museum. as building blocks that can be used in the articulations of the exhibition. One model 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . audiences. In those days.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 what kind of knowledge. For this reason. teaching. i. replicators rather than producers of knowledge. as happens with knowledge in the knowledge industry. and as discursive spaces. it is important to shift the notion of knowledge production into what we at the Malmö art school call room for thought. one should examine the implementation of its productive features. This is why. Rather one should learn from them as spheres of experience. Thought has boundaries different entirely from knowledge. as places through which subjectivity has been formed.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 . modules and internalization can only be seen as part of a society of control. and its administrative model. i. Simultaneously. The critique and the transformation from managerialism. the new model of examination. are being produced. it is a critique of how institutions work.pertains to the idea of the masterclass. we must ask what kinds of subjects. That has very little to do with institutional critique as such.e. this is of course a pre-democratic model. “If the art school is a teaching machine. Artists are a sort of social avant garde. One should then try and maintain the open-space freedom of the laboratory. a phenomenon. based on the sovereign reigning over the subject. students.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . potentially hidden in the academy model. on the forefront of our current society and its notion of immaterial laborers. However. universities are often teaching machines. originally an artistic practice. have been much more profound. 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. 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. However. one professor talking to multiple students and deciding just what art education is. As producers of knowledge. loose their effectiveness in terms of transforming the art environment. while omitting a certain notion of unproductive time and space. Where traditional educational systems were part of a disciplinary society. The subjects are all listening to their master’s voice. but now moving to a curatorial practice. since the results of institutional critique. and how they fail to be equipped for dealing with the current situation of lifelong education and re-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 . To paraphrase Spivak. a nondialogical model of address. Rather. That is the very issue of a certain ma-ness. one should not uncritically adopt the university structure.” That is an urgent issue. One model I have been interested in is based 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . I believe. 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. how they are inadequately historical. 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. In terms of mode of address. and not just with themselves.e. That model would merely substitute the system of discipline for the system of control. Therefore. That is an inherently hierarchical and masculine subject position. there have also been didactic historical models that could prove inspirational. Hopefully it is too difficult to transform thinking into a commodity.

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

and curating. At the Malmö school we ask seminar leaders. 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.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 . of art’s placement in the world in addition to its place in the art world. If the MA program does not provide socialization. and vis-à-vis the marketing of education. to present their research rather than work toward fulfillment of a curriculum. research and the practice of the lecturers are reflected in the teaching. 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. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. in fact. At our school.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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 . That is also how art schools can differ from university humanities departments such as art history or philosophy. Finally. that would be the only reason to get a master’s degree. art production. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time. who come from a variety of backgrounds such as theory. Of course. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words.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. it has to provide some kind of critical understanding of what art means.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 rhetoric is exhausted. and sociology have. For decades. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. philosophy. At present. through various instruments. All the other discourses face its effect and consequence. 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. This is what the Dublin Descriptors state. in fine art and in the contemporary art practice. ‘The Bologna Conference’ is such an attempt to achieve a common. That third question is connected with the conditions of the university at large. and formulate judgements with incomplete or limited information. 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.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . – have the ability to integrate knowledge and handle complexity. since it has failed to withstand a neo-liberal paradigm. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. reassess. However. – can apply their knowledge and understanding. I just want to begin by noting that the ‘Master’s’ degree – across all subjects – has always been one of the least understood and least defined academic degrees. rethink. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. often within a research context. 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. independent definition. to specialist and non-specialist audiences clearly and unambiguously. universities defend the rhetorics of the 19th century. Next. So. and rediscover what it is that we believe we are doing.U N C E R TA I N M I CK W I L S O 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 . 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 . So. – can communicate their conclusions. we are all forced to review. In fact. we have to invent new ways to speak the university. but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements. and the knowledge and rational underpinning these. we are facing problems not significantly different from the ones our colleagues in literary criticism. Our common problem is that the demands of a technocratic discourse have become the norm. – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous.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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

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

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

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

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

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

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

George( 2000 ) “Ac adem ic Pol it ics a nd Soc ia l C ha n ge”. 80 . Stephen H. in Jod i Dea n ( ed . L ipsit z.REFERENCES 3 – 4 EDITORIAL Ca m n it zer. ( 1988 ) T h e Mas t er’s D e g re e. P r i nceton NJ : P r inceton Un iversit y P ress. A C E R TA I N M A . pp. 4 . 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. Berkeley : Ca r neg ie Fou nd at ion for Adva ncement of Teac h i n g. 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . It hac a: Cor nel l Un iversit y P ress.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.96.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Jud it h S. Ma r jor ie ( 2001 ) A c a d emi c Ins t in c ts.15-20. in Met ropol is M: E x pa nd i n g Ac ademy. 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.. A r teConte x to16 Mad r id: A r tehoy. Ga rber.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 . ) Cultural Stu di e s / Polit i c al T h e or y. pp. ( 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 . Lu is ( 200 7 ) Frau d an d E du c at i on. 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 . pp. 94.94 . N . 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.

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

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

At the start of research trajectories. Those problems mainly emerge in the beginning and at the end of an artistic process considered research. In the academic realm.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 . since artistic research fails to connect with institutional frameworks. 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 5 – 6 O P E N I N G : A C E R TA I N M A . In addition. the only topic for artistic research to work on is art itself. artistic research could possibly have. and discuss the end product and how to connect it to the academic discourse. 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 . it is clearly understood how to articulate. a research program in an art institution – let’s say about Lacan’s gaze – will result in two interventions. However. document. Then what? The research might be a document to be sent out into the world. What will be the focus? What will be the subject of reflection? What is relevant? How does one define research programs? How does one formulate decision and evaluation procedures? What will be the goal of the outcome of the research process? In an academic structure. evaluate. a statement and an exhibition called Lacan’s Gaze.unresolved art-related research problems. one should be able to manage a variety of issues. That is the only context. content-wise. and content. research areas are defined. Thus.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 43 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .

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

In addition to the Consortium partners and professionals in the field. beta. Thus. the Utrecht Consortium intends to be flexible. 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. The results of this research will be published as a series of “best practices”. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. the Science Museum. Using the historical collection of the Utrecht University Museum. 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. (More about that research will be reported in greater depth in MaHKUzine 6 ). Those issues could easily be expanded to local. An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. 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. With that. 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.e. Additionally.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. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . At the core of the Utrecht Consortium is practice-based research. 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. Through this first case study. young artists will be able to enhance their communication with a variety of audiences. Another core issue of the Utrecht Consortium implies the issue of the significance and position of an art academy in the context of the topical knowledge debate and its implications for didactic perspectives. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University. ICA . exploration of methods of presentation specific to today’s visual art as a form of knowledge production. and the TATE – offering joint artistic research programs.so-called London Consortium. a collaboration among four institutions for education and art – the University of London. In developing adequate presentation models in the form of both exhibitions and texts. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. and international levels while sharing networks. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and gamma sciences. regional. i. a platform has been created without the need for offices and staff with minimum overhead costs.N E S S 5 – 6 O P E N I N G : 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. The survey of “best practices” and its relevant models of presentation will be realized and published. Topics will deal with reflective methodologies and presentation strategies. The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures.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 46 48 C O LO FON .unique collaboration of the Consortium partners. ( 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. Each invited speaker will also give a master class at the Utrecht School of Arts for MA Fine Art students and/or be involved in an expert meeting with 3 – 4 EDITORIAL A C E R TA I N M A .

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

TOGETHER WITH THE HELSINKI SCHOOL OF ART. DIRECTOR FUTURE ACADEMY.NL 3 3 – 4 0 U N C E R TA I N M A . LECTURER CRITICAL STUDIES. BA LK EM A ARJEN MULDER B I B I S T R A AT M A N FINAL EDITING A N NE T T E W. UNIVERSITY GHENT JAN VERWOERT.M A HKU. DUBLIN . PROFESSOR OF PHILOSOPY.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . ROTTERDAM MICK WILSON. LONDON AND VIENNA SCHOOL OF ART. DEAN GRADCAM. CAMBRIDGE MA WILLEM DE GREEF. DIRECTOR SINT. SLADE SCHOOL OF ART.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. MALMO SCHOOL OF ART BART VERSCHAFFEL.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. EDINBURGH SIMON SHEIKH. PA R T I C I PA N T S UTE META BAUER. MIT.LUKAS ACADEMY. 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.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.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 . M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . BRUSSELS CLEMENTINE DELISS.M A H K U zi n e 5 3 – 4 EDITORIAL JOURNAL OF ARTISTIC RESEARCH SUMMER 2008 A C E R TA I N M A . PROFESSOR PIET ZWART INSTITUTE.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 . GRADCAM ( DUBLIN ). DIRECTOR VISUAL ARTS PROGRAM. MALMO SCHOOL OF ART.

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