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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7 – 13

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RESEARCH REPORT
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COLOFON

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5
JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

3 – 4 EDITORIAL

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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

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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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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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

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

each of the “hogescholen” has been affiliated with a university. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. 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. Moreover. for instance. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . how do we make a clear link. 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 . All these issues are not unique to Flanders.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. Firstly. 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. to put it differently.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. is the identity as such of higher arts education not at stake here? Thirdly. all over Europe. scientific domain. Let me just point out some of them. they will necessarily have to reset their targets and to rethink the curriculum. Some have called it the academic drift of the arts institutes or departments. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. if not undeveloped. 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. My own institute. between arts education and research? Does it mean. Many arts institutes. if we want to. Therefore. How would an academic curriculum look which still made sense for higher arts education and for art students? What are the academic competencies they are supposed to develop? More profoundly. or is there still a need for more professionally oriented programs? Or. is associated with the Catholic University of Leuven. All this undoubtedly poses many questions. are looking for the best way to deliver excellent art education within an outstanding academic context. today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree.N E S S WILLEM DE GREEF 6 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Is there really a need for this ? Do all students in the arts really need to follow this academic track. the Hogeschool Sint-Lukas Brussel.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. All Master’s degrees in Flanders are supposed to be academic. if higher arts institutes want to transform their traditional programs into academic programs.

This is a major shift as compared to. are opening their doors to the public. Then the debate centered around what the majority of art students would do who never entered the golden triangle of the academy–gallery–museum.” Nevertheless. On the one hand. What might be more specific within the US American setting is the very short path from the art school to the gallery into a collection. being a critical scholar myself. 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. and “creating” successful artists has become a standard promise on the mission statements of and calls for applications to MA programs. The strong market has made art education red hot. This might be the case in London as well. Today there are more exhibitions taking place. MA courses have expanded both in the field of artistic education and curatorial studies to serve an ever-growing market.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . with its annual top of the pops and one-hit wonders. 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. I am not sure this is a positive development. The exorbitant tuition fees in the US put a certain pressure to “succeed” on both the institution and the student. 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. the chance of grabbing a seat on the art carousel has sharply increased. attractive field within education. More private collections. more art institutions opening their doors and more museums for contemporary art being established than ever before. especially the art market today has become part of the educational system. Would they instead become more creative web designers. The art schools and universities – previously more free and open zones for experiments – gradually became incorporated into a suspiciously commodified system. say. you want to know what the pay-off might be. the desired and demanded accessibility to this “ field of distinction” for a larger number of people has finally become a reality. 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. and has become an increasingly. Art academies invent new programs ranging from MAs in public 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 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. in more countries. to critical studies. and so forth. Art students have more knowledge of the art market than ever before.UNDER PRESSURE U T E M E TA B AU ER The art system. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . In order to serve these expectations. This is not only for programs in the United States. Culture and art are significant economic factors leaving their mark on how art education is shaped.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . producers of video clips. even ten years ago. 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. But was this what we meant when we asked for more visibility as young art students twenty five years ago? Weirdly enough.

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

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

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

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

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

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

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

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

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

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

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

from those that are regulated by religious and commercial interests in order to cover financial difficulties or pay for pilgrimages to Mecca. or the acquisition of health and educational infrastructures. In the context of Future Academy. O N E O F T H E I C O N S U S E D I N T H E P R . the one that we call informal. as any further development was voluntary. communal structure developed. 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. 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. through to smaller cooperatives based on neighbourhood structures. Tontines can fall within several categories. the scheme was activated in the recession of the 1980s as an alternative to the development banks. B I R I M A . The senior management of the UK School in question immediately quashed the proposal and. What have these people done to become successful in the context of an international system? They receive ΩT H E 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . and constitutes part of the informal economic chain. In Dakar. precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research. However. whilst apparently run by the Senegalese. If the example of legally extraneous micro-credit associations had provided the framework. and he or she travels worldwide. Likewise. 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 . the Edinburgh cell also applied the Tontine system to their collective finances. As research on this financial. The fundamental issue with the Tontine is that it remains outside of the law. it was to be the hawker or itinerant salesman who offered the role model. a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653. S EE W W W . In the future. The model proposed by the Senegalese artists referred back to the Tontine. the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed. the Tontine provided an experiment in alternative funding systems and actually paid for the Senegalese visas to India so that they could to take part in the Synchronisations forum set up by their Indian Future Academy colleagues. the organisation of events. women’s groups. In contrast you have the hawker who has no formal education in economics and who has only attended traditional and Coranic schools.was straightforward: independent thinking required independent economies. They come back with theories.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. This hawker enters the economic system too. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL. O R G S C A L E E N T R EP R E N EU R I A L I N I T I AT I V E S . and managed to raise a considerable amount for their visit to India.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 19 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . were still closely tied to French finance. 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 . both defined as agents in a transactional relationship.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and the teacher or professor on the other. the students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there.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 . is not monitored by the police or the state. so too did the concept of the individual who might operate it: the student on the one hand. which. Trust and social sanctions encourage a self-selection process with regard to the group’s membership. 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.

”Ω Effectively the Senegalese Future Academy team spent lengthy periods in Dakar analysing informal systems such as the network of beggars. from a sole dependency on grants. a tea shop outside the walls of the heritage academies. extensive debates took place between the students in Future Academy on the relationship between informal and formal economies. loans and student debt towards alternative economic Ω U M A N G . we could ask them how their system functions without basic formal economic principles. The formal and the informal do not only exist in economic terms. You go out and find your guy and he offers you a mixed bag of things. and deducing complex performative and presentational modalities from 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 UTRECHT CONSORTIUM 48 C O LO FON E V E N T I N B A N G A LO R E . and which they are encouraged to qualify and take ownership of. the Future Academy team subsequently re-defined this proposal into the ‘Permeable Academy’. and how it is that they still manage to survive (…). To resume the argument so far: competence in Future Academy is the ability for students to make a series of shifts. and illegal taxi drivers with their speed-driven race against death.no support from the government. Secondly. 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.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 . looking at all these phenomena in terms of aesthetic values and vectors. should we look at it in isolation or not? Instead of having one-day economies. networks. the stock exchange of second-hand clothing. You don’t enter a pyramid structure. 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. But also in terms of media and communications. If we want to analyse one-day economies or smaller more chaotic models where things are done in more fluid ways. Moreover. describing the mobile architecture of the itinerant salesman as that of a moving directory of comparative studies. emphasising their interconnectedness: “The informal sector is a little like a bazaar. If we look at the informal sector and how this fluid state of the economy is run. <<<<<‘ S Y N C H R O N I S AT I O N S ’ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Here we find the transition from informal to formal. 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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The hawker is at the heart of our intellectual debates right now. then I feel we need to take into account that this actually works and investigate its relationship to the predominant paradigm. It is random. But if they could enter the future academy. and “ traders and crafts people would meet at the shack studio. Indeed. They exist in the artistic domain too and we should open up this debate in Future Academy. Firstly. may fast track them into a professional context. like a market.”Ω In India. 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’. 20 05 . if anything. and that. M A N E . In this Permeable Academy. and individual contacts across the world. peripheral academics. expertise would be handed over to informal economists. analyses. from prescribed learning structures to voluntary initiatives that do not feature in their academic assessment. 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.

it was to both latent aesthetic processes. In 1971 he states that “such matters as the bilateral symmetry of an animal. It’s a consortium of sorts. I’d hesitate to call this the seeds of a micro-institutional development but increasingly I feel it may just be heading that way. the Roaming Faculty structure requires part investment of no more than 20 to 25% of a full professorial salary. to name just a few). RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . they argued. 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 . or Pukar in India. becomes embedded in a structure dedicated to mobile knowledge transfer and deep exchange. production. a future art academy would engage in a polymathic economy. the nature of play. Open Circle. situating itself between different public audiences. 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 mystery of biological evolution. researched. research. 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. the patterned arrangement of leaves in a plant. and everyday relational activities that attention was directed. and the contemporary crises in man’s relationship to his environment. like our hawker earlier on. that provides for a parallel extension in the work of guest. in other words those subjects. In this manner. which may be no wonder.approaches with regard to studying. a polymathic educational model. Art students. the polymath. contexts. and developed. Raks. Huit Facettes in Senegal. can only be understood in terms of such an ecology of ideas. could benefit from a lawyer on immigration and identity issues.”Ω When we investigated future faculties of knowledge in the art academy. daily survival and collective projects. a polymathic faculty. peripatetic researcher.Ω Ω I ’M THINKING OF JOE S C A N L A N ’ S C O F FI N S . the processes of courtship. Moreover. the escalation of an armaments race. and finally a polymathic understanding of place. 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 . and practices that might be taught. given the global importance of social interventionism in art practice of the 1990s (from N55. for a participating institution.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 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. something that one could argue is taking place once again. It would confirm the value accorded by artists in transactions that introduce service environments into their work from the clinic through to purchases that can be made online. travel. With the introduction of a ‘Roaming Faculty’. institutional structures and time frames. but it is led by the value attributed to an individual’s research. It’s a non-prescriptive condition of empathic learning.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 . Senegalese wrestling as mental and physical dialectical engagement).g. the grammar of a sentence. which stand outside of the course curricula..N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. C O M 3 – 4 EDITORIAL A C E R TA I N M A . to Superflex. Heterodox combinations of information and skill would inform art practice: for example. and the transnational group of students who work with him or her. to the shaping of content and the nurturing of transcultural and transdiciplinary positions. the exercise of a particular sport as a model for analysing thought structures (e.

Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . To impart this critical approach to the student seems to be essential today.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and cultural contexts. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. the predisposition to embark on voluntary non-course or examination-led investigations which enhance an understanding of different methodologies of research. and helps to broker decision-making. secondly. methodologies. So to conclude. and by extension the ability to engage with a form of research that is non-prescriptive from the outset. I’d like to propose three areas of articulation for fine art students: first. analysing and evaluating their presence within the next generation of artists and practitioners.scholars guarantees the on-going low-level costs. 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 . understood here as the flexible act of idiomatic transference between disciplines. rotates ownership between the participating institutions. which are shared.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 . 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.

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

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

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

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

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

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

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

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

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

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

Next. 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. 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. All the other discourses face its effect and consequence. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. independent definition. That third question is connected with the conditions of the university at large. – have the ability to integrate knowledge and handle complexity. universities defend the rhetorics of the 19th century.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . we have to invent new ways to speak the university. in fine art and in the contemporary art practice. and sociology have.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. through various instruments. that rhetoric is exhausted. However. This is what the Dublin Descriptors state. – can communicate their conclusions. philosophy. So. reassess. – can apply their knowledge and understanding.N E S S MICK WILSON 33 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . we are all forced to review. – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. to specialist and non-specialist audiences clearly and unambiguously. At present. For decades. we are facing problems not significantly different from the ones our colleagues in literary criticism. So. 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. 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.U N C E R TA I N M I CK W I L S O N `M A . and formulate judgements with incomplete or limited information. and rediscover what it is that we believe we are doing. A series of distinctions is 44 – 46 WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . ‘The Bologna Conference’ is such an attempt to achieve a common. often within a research context. In fact. Our common problem is that the demands of a technocratic discourse have become the norm. since it has failed to withstand a neo-liberal paradigm. rethink. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

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

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

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

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

( b ) that more or less full-time scientific and engineering research components of universities got much larger. The question of ‘bad faith’ is. [.’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto. Remember the general suspicion of art school teachers: Those who can.troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue. Calhoun says about these challenges. ‘Without a dramatic change in institutional and sectoral size.. In the face of these instrumental and technocratic imperatives. The question of ‘bad faith’ was referenced earlier in the discussion. what we have here is a pyramid scheme. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status..N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. “The [. I would suggest.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. Those who cannot teach. The independent art academies have a different history. it is unlikely that some of the other changes would have taken place. The ‘university’ and the entire field of ‘higher education’ – post. in a nutshell. It is the market that emerged 48 C O LO FON . (c ) that the higher education sector got much larger.] Basically. So these institutions were founded on instrumental logics. the inevitable corollary of seeking ‘pure’ positions for ourselves. ‘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. nationalist. Why is it that the art world – the market. This is perhaps the trickiest issue to tackle.] mistake is promising by implication that a degree in art will lead to economic survival after graduation. secondary. and ( d ) that partly as a consequence.” 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. write criticism. mercantilist and other vested interest arguments. and social reproduction attuned to the flows of global capital. For some time now. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. The issues. It will not work. but it is a promise that we may not fully be able to redeem or honor.” ( Calhoun 2006:3 ). the festivals– opened the question of the academy? Were ‘we’ a little reluctant to do so? 2 3 – 4 EDITORIAL A C E R TA I N M A . – have undergone a series of profound transformations in the last two centuries. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’. Those academies arising outside the university setting came into being because of imperial. tertiary etc.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . on means-ends rationale. the relationship of higher education to elite formation changed.. are ( a ) the universities got much larger. They will find some other means.. 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 . cultural. the magazines. Those who cannot. teach. There are some general points to adduce first. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere. do. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive.

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

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

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

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

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

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

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

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. ( 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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH lecturers the day following the public lecture. The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures. Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice.N E S S 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. Topics will deal with reflective methodologies and presentation strategies. 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 .

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

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.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 . EDINBURGH SIMON SHEIKH. LONDON AND VIENNA SCHOOL OF ART.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 . PROFESSOR PIET ZWART INSTITUTE.LUKAS ACADEMY. GRADCAM ( DUBLIN ). PA R T I C I PA N T S UTE META BAUER. CAMBRIDGE MA WILLEM DE GREEF. 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. DIRECTOR FUTURE ACADEMY. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . MALMO SCHOOL OF ART. MIT. TOGETHER WITH THE HELSINKI SCHOOL OF ART. 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. LECTURER CRITICAL STUDIES. DIRECTOR SINT.BAKKERL A AN 50 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 5 8 2 VA U T R E C HT THE NETHERL ANDS MAHKUZINE@MAHKU. DEAN GRADCAM. UNIVERSITY GHENT JAN VERWOERT. SLADE SCHOOL OF ART. DUBLIN .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 . MALMO SCHOOL OF ART BART VERSCHAFFEL. DIRECTOR VISUAL ARTS PROGRAM. BRUSSELS CLEMENTINE DELISS.NL 3 3 – 4 0 U N C E R TA I N M A .N L RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM EDITORIAL BOARD HENK SL AGER (GENER AL EDITOR) 48 C O LO FON 48 A N NE T T E W.M A HKU.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.

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