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

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

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

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

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SIMON SHEIKH

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

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

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U T E M E TA B A U E R

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

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

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

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

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BART VERSCHAFFEL

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

what type of research should they develop? Importantly. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . scientific domain. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. all over Europe. for instance. 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. how do we make a clear link. the Hogeschool Sint-Lukas Brussel. between arts education and research? Does it mean. All Master’s degrees in Flanders are supposed to be academic. Some have called it the academic drift of the arts institutes or departments.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. if we want to. All these issues are not unique to Flanders. All this undoubtedly poses many questions. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. is associated with the Catholic University of Leuven. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. My own institute. Firstly. Let me just point out some of them. they will necessarily have to reset their targets and to rethink the curriculum. does all of this not demand a change in the structure of higher arts education itself? For instance. 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.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 .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree. Moreover. each of the “hogescholen” has been affiliated with a university. if not undeveloped. 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. 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 . should higher arts institutes become fully embedded in the universities and evolve into a full faculty department at the university? Do universities have enough experience with performing arts? At least in Flanders it is no secret that artistic research is an underdeveloped.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. Is there really a need for this ? Do all students in the arts really need to follow this academic track. if higher arts institutes want to transform their traditional programs into academic programs. Many arts institutes. is the identity as such of higher arts education not at stake here? Thirdly. are looking for the best way to deliver excellent art education within an outstanding academic context.

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

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

We were students of the visual arts. Art schools seem to offer a kind of temporary refuge for those with a desire to sustain a more critical and discursive practice. From my perspective. although a very open and liberal one. and poetry. specifically those who previously held highprofile curatorial positions. and the option of getting away from the sheer pragmatism of running the day-to-day business of a museum. specifically women. Rorty and Luhmann never hurts in becoming aware of our very own entanglements. but there was no space for us available and what we saw exhibited. Instead of complaining. 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. I have been studying art myself. performance and theater. film. the inspiration to be found in other related research fields. We – as an artists’ group. called “Stille Helden” – were not completely opposed to art institutions. Furthermore. 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 . Therefore.. I am quite aware of the influence of teachers and the impact of innovative institutional leadership in higher artistic education upon students. music. extended by post-graduate studies in art theory. was a catalyst for me and some artist friends to generate something else. In my case. we simply created our own formats and spaces and generated our own audiences.over’ of the. and some independence. Today this all seems so far away. one should not underestimate the potential and pleasure of working with students. But what I currently see happening is the `take . a European male-dominated art school setting. I do not want to criticize my colleagues in art institutions and do not want to sound all too negative. The wish to renegotiate the role of art through an expanded notion of artistic education allows a certain degree of distance. at least in the Western hemisphere. universities etc. from mainstream art institutions in those days.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . at least so far. did often not address what mattered to us or was not linked to our discussions about art. but also the social topography of the art world at large. 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.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 . 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. one reason is the increasing commodification and instrumentalization of the position of the curator for all sorts of agendas and desires. The exclusion of a younger generation of artists.Bourdieu. affected my desire to understand not only art theory. from what the art field represents. A second reason is that today’s director of a museum or a “Kunsthalle” is more involved in management and fundraising activities than in working on shows or directly with artists as was the case in the past. The motivation actually causing my shift from working as an artist and organizer to curator and educator seems outdated. more distant locations by the market and its protagonists – and the pressure attached to the market is already felt.

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

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

too. One needs a “critical mass” to interact with you if you raise such questions. What do we generate as curators when we put art works. Once. Lucia. Sarat Maharaj. 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. Today they are forced to take part in a tourist industry and have started to become fundraising machines in order to survive. we considered Documenta as an educational tool. we are still doing fine. In other words. also because museums are withdrawing more and more from curatorial obligation.” Such a “zone of activity” marks the effort one makes to create discursive art – through a curatorial decision. artistic views.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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 . So Documenta11 was criticized mostly for resembling a seminar for higher cultural education. on “Democracy Unrealized”. This meant there were eighteen months before the initial scheduled opening date of Documenta11 in June 2002 ( then called Platform_5 ). next to each other. a space one has to produce. Some of them wondered how debates on democracy related to the agenda of an art school. Automatically one is confronted with criticism of people who share the experience and have deep convictions on the topic.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 20 02 . O F D O C U M E N TA 11 . An exhibition has to clarify the questions raised and share this process with the audience. For example. Curators are under pressure to Ω P L AT F O R M 5 V I S I TO R S . The so-called professionals have to re-encounter art each time they experience new works. H A D A R O U N D 650.4 correlated with the discourses artists invited to Documenta11 were currently exploring. Octavio Zaya. Such topics triggered some highly sensitive reactions amongst my colleagues on the faculty at the Vienna academy. What I shared with Okwui Enwezor and my colleagues from Documenta11 – Carlos Basualdo.0 0 0 48 C O LO FON . rather than educate them from the position of those “in the know. Let’s return to the topic of curators connected to art schools. museums were the places for serious historical research. why not launch Documenta11 at an art academy. but if you debate it in St. a place with an everyday experience of this fairly recent academic discourse. to debate creolité in Kassel does not make much sense.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 . it is not a given. and why not view it as an expanded series of seminars? Platform_1 . workshops etc. Several art critics. In order to focus on the specifics of these discourses. I see an exhibition as a zone of activity. That is immensely important in order to establish a serious kind of back-and-forth debate and to delve deeper into a topic. Those questions indicated that antagonism was already on the rise. 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. But since the Documenta11 curatorial team understood this exceptional exhibition format as a form of knowledge production. Mark Nash. and last but not least Susanne Ghez – was the view that Documenta is a knowledge production machine. we had to go to the places of origin or of relevance for each of the platform topics. art dealers. The opening of Documenta11 took place in March 2001 at the Academy of Fine Arts Vienna with Platform_1. many for the first time encountering contemporary art. it feels quite normal. Platform_1 was focused on a series of talks.constellations are constantly shifting. An exhibition of that scale reaches many peopleΩ.

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

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

building a form of “ecological epistemology”. I am interested in looking back at the controversial discipline of social anthropology. and later Edinburgh College of Art. E TC .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 . Metronome is neither vanity publishing nor self-publishing. for example. Clifford Geertz. PAU L R A B I N O W . Bateson refers to recursiveness as meaning that repeatedly loops back onto itself in a reflexive dialogue with its representational boundaries. Copenhagen.). S E C O N D . R AC E A N D D I F F ER E N C E . Bateson’s concept of the “metalogue” is relevant here. and the primary focus on translation as a key trope in advanced art practice. and Stockholm. 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 . Bateson writes. A N D F O R A N A R T I S T I C P R AC T I C E W H ER E T H E P R I M A R Y I S S U E I S H O W TO G E T BY. In particular. 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 . 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 . Navigating through this vast. I developed Future Academy.publication called The Bastard.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 . C O M 3 – 4 EDITORIAL A C E R TA I N M A . I published the last two editions of Metronome for documenta 12. 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 . 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.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. nine expostgraduates and I set up base for ten months in the derelict.Ω However. only this time in the US. 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 . regulated art publishing and academic norms. 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 . fieldwork studies. P LU S T H E B U R G EO N I N G P O S I T I O N . a thought-structure that is naturally interdependent and interactive with other disciplines. 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 .Ω I want to revisit the maverick methodologies of twentieth century anthropologists from Margaret Mead through to Michel Leiris and more recently. Chelsea College of Art and Design. Once again I set up informal research units. the one convergence I would like to turn to now is the influence of early ethnographic experiments in research. 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 .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. M I C H A EL B U T H E . “A metalogue is a conversation about some problematic subject. in 2006 and 2007. Bergen. In 2002. M A R C U S A N D C U S H M A N . the polymathic academic and cyberneticist who made seminal advances in the translation of systems of knowing and communicating. 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 . B U T O F F ER E D A S EL F . Malmö.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the process of moving and working in different cities and involving local histories and organisations in the project as it evolves. but the carrier and medium through which I have transported this research in motion that tends to lie somewhat to the side of recognised curatorial models. T H I S I S A R E A L O B S TAC L E . Using a relational methodology to understand perception. collating materials from Future Academy fieldwork and developing a further constellation of backing and finance. and their subsequent interpretation. first between the London Institute ( now University of the Arts). which I studied alongside contemporary art. but then denied an affiliation to throughout the 1990s. 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 . At that point. turning back onto itself the environment in which I had been given so much conceptual freedom and means of production. FI R S T . the nurturing of self-appointed communities of artists and researchers who engage in a joint investigation and debate modes of survival. yet high-security Royal Army Medical College that had just been acquired by Chelsea College of Art and Design. S U S A N H I L L ER . I’ve come back to Gregory Bateson. and Glasgow School of Art. Australia. sinister site next to Tate Britain with guest artists while imagining its past and future led to The Stunt and The Queel. and was able to knit together institutional support. co-funded by art academies in Oslo. a publication and 12hour event held in the unconverted Millbank building. Finally. A R T I S T A N D C O L L A B O R ATO R I N F U T U R E AC A D EM Y.” M E T R O N O M E N O .11 “I WA N T TO A D D R E S S W H AT I S EE A S A N I N H ER EN T Ω H AV I N G S T U D I E D S O C I A L A N T H R O P O LO GY I N T H E E A R LY 19 8 0 S . and Japan.

reactivated again and again over the last ten years. B AT E S O N . and yet. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. So my personal question. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. like any institution. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. One question emerges here: can both art students and faculty recognise the plurality and therefore the instability of methodological procedures as part of their research activities. 1971 .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. 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. 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. an art academy. 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. each of us has the authority to retain a sense of individual development. places and people. to become interlocutors. where I travel to. and there are no results.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . collaborators. at the same time. “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. 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 highlighters together. but the structure of the conversation as a whole is also revealed to the same subject. “S T EP S TO A C E R TA I N M A . and whether I survive professionally. On an elementary level. deregulated. To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. As Martin Prinzhorn stated in a conversation at the start of Future Academy.the problem. 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. However.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. As well as providing a more or less thorough training ground for artistic positions. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. Only some of the conversations achieve this double format. and then involving them from day one when nothing is known. The work of the students has a bearing on what I produce. and heterogeneous location for visioning the future and forming agents in this process. I would argue that the academy is the site of prelusive knowledge.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 16 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .” 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.

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

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

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

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

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

a lucid and production-based interest in economic and symbolic value. rotates ownership between the participating institutions. methodologies. which are shared. understood here as the flexible act of idiomatic transference between disciplines. 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. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending. 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 . 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. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .scholars guarantees the on-going low-level costs. and cultural contexts. So to conclude. To impart this critical approach to the student seems to be essential today. analysing and evaluating their presence within the next generation of artists and practitioners.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 22 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .

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

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

That is what you do as a student. In a literal sense you provoke. except violence. How do you effect the calling. not convocative. to realize that deeply existential feeling of singularity.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . imposing your subjectivity on others. with always staying on the beat. Good ways of posing are exposing. temporality is the regime determining institutional life and also the market. You learn to present singularity as a form of provocation. The second issue I mentioned above pertains to temporality or the organization of time. since he writes about the community of jealous lovers of solitude who have nothing to bring to the community save their love of solitude. exposing yourself to provoke someone else into reacting to what you are saying. it becomes difficult to imagine disrupting that regime of a particular temporality. in the loop. There are bad and good ways of posing. though? I think it should be provocative. Let’s provoke a provocative community of poses. but to the need for forms of antagonistic friendship.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . How can we be singular. So. you call upon somebody to articulate his or her position. One of my ideal models of an academy as a provocative community would be The Muppet Show. but it is also what you do as a teacher. One could consider the promise of singularity not to be a problem as it is a deeply existential experience. There is no other alternative. Often communities are about coexistence. I would like to make the distinction between a community of provocation and a community of convocation. The antagonistic community of jealous lovers of solitude might prove provocative. The art of posing as a form of provocation is one of the competencies you gain as an art student. In that sense. I like to think that the academy is a good place to do just that. union.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 . because the question of singularity is the most pressing issue every student experiences when entering art school. When you always live in the present. the actual problem is that competition is the sole mode or experience of the promise of singularity society offers today. 44 – 46 3 – 4 EDITORIAL A 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. without constitutions and manifestos. Derrida’s Politics of Friendship is fascinating. Those bonds. are forms of conviviality not pointing to the need for another church or another constitution. the first issue deals with the exercise of singularity within the different ethics of a community building. together? In that context. allowing the sharing of solitude. Usually the chosen becomes approved or legitimized through violence and competition. A strange assembly of creatures finding a way to coexist that is impossible to explain. I think we have an unique opportunity to do that in the art academy. I dream of a provocative community that might exist in an art school as an antagonistic community of provocateurs. 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. Temporality is related to the urgency to answer emails immediately. However. assembling people together to eradicate differences among them. That is a temporality of absolute presentism. Today.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 found of course that debt is market-related. To generate the art of the future. debt is at the heart of education.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 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 . Very often.Ideally. the better it is. There are traditional academies. In a Nietzschean sense. when one temporality starts dominating others. especially in market-driven societies. you could say that we should have many overlapping. because they have to pay back their student loans. there is also a spiritual and a symbolic debt. However. While teaching in L. as well as in academies in Britain and the United States. Yet there should be a way for different temporalities to coexist in one building. since one never knows what the art of the future will be. though at the same time conflictual. like Düsseldorf. where people. and practices embodying different forms of temporality may exist under one roof. I found that students left school with a debt to the community. we need to talk about the third issue mentioned: debt. I realized that different institutional structures produce different forms of debt. where people embody the present and erase any memory of the past. you need some non-contemporary past potential. beyond material debt. while art students embody the promise of the future. with artists and texts brought in. and futures exist in one building. since they all speak different languages. ideas.A. one can only wish and hope that all people will get enough money to pay their loans back. But there are also high-performance academies. students have to pay back what they were given. Not surprisingly. This indicates things seriously have gone wrong.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . where various generations meet. The artist embodies both the experience of the past and performs the experience of the present. the potential of the art academy lies in a radical non-contemporary quality. Thus. I think students all become indebted to certain ideas and to certain principles through forms of education. That has to do with characters and generations. People become involved in serious debt problems when financing education. I think the more temporalities an academy has. Staying in the Muppet Show model. In a welfare 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . While teaching in academies in countries where the social welfare state still exists. presents. 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. That is a big challenge. On a basic material level. where the past squashes all presences. Finally. After three years in Sweden. and to produce a different form of co-existence and conviviality. L. The goal should be to multiply and diversify the inherent temporalities of the academy. People embodying the past also embody a particular form of potentiality.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Thus. the art academy is a place where various pasts. and talking with students there. completely antagonistic and incongruent temporalities. or in a multiple sense of temporalities. and with the oblique angles of talking and choosing the subject of teaching. the academy is a place of many temporalities. artists must have financially viable products ready and out in a gallery. 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. embodied by people who might never be able to properly talk to each other.

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

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

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

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

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

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

N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . independent definition. 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 . – can apply their knowledge and understanding. All the other discourses face its effect and consequence. philosophy.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and formulate judgements with incomplete or limited information. – can communicate their conclusions. So. and sociology have. I just want to begin by noting that the ‘Master’s’ degree – across all subjects – has always been one of the least understood and least defined academic degrees. rethink. This is what the Dublin Descriptors state. through various instruments. reassess. I will turn to the question of how the academy has emerged as a paradigm and a recurrent theme within the field of contemporary art practice. and rediscover what it is that we believe we are doing. That third question is connected with the conditions of the university at large. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. 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. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. ‘The Bologna Conference’ is such an attempt to achieve a common. Our common problem is that the demands of a technocratic discourse have become the norm. So. and the knowledge and rational underpinning these. we are all forced to review. – have the ability to integrate knowledge and handle complexity. At present. Next. but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements. that rhetoric is exhausted. – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. universities defend the rhetorics of the 19th century. to specialist and non-specialist audiences clearly and unambiguously. often within a research context. there have been calls from different positions to try to achieve some equality about what it is exactly what the Master’s entails as distinct from a degree at a doctoral level. However.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. For decades. In fact. in fine art and in the contemporary art practice. since it has failed to withstand a neo-liberal paradigm.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 .U N C E R TA I N M I CK W I L S O N `M A . we are facing problems not significantly different from the ones our colleagues in literary criticism. we have to invent new ways to speak the university.

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

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

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

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

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

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

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

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

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

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

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

The professorship will also hopefully be able to contribute to an international debate about the specificity of artistic knowledge production and its relationship with more traditional forms in the academic distinction of alpha. i. Using the historical collection of the Utrecht University Museum. a collaboration among four institutions for education and art – the University of London. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. 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. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University.so-called London Consortium. a platform has been created without the need for offices and staff with minimum overhead costs.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. exploration of methods of presentation specific to today’s visual art as a form of knowledge production. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . beta. Additionally. At the core of the Utrecht Consortium is practice-based research. the Utrecht Consortium intends to be flexible. young artists will be able to enhance their communication with a variety of audiences. In developing adequate presentation models in the form of both exhibitions and texts. In addition to the Consortium partners and professionals in the field. and gamma sciences. 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. Thus. regional. (More about that research will be reported in greater depth in MaHKUzine 6 ). The professorship in Artistic Research seeks to employ the Utrecht Consortium project and its outcome to spark an urgently required discussion in the Netherlands on how art academies could prepare students for a knowledge-based practice. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. 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 Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. ICA . the Science Museum. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . With that. 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. and international levels while sharing networks.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 45 48 C O LO FON alien to visual art. Those issues could easily be expanded to local.e. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. and the TATE – offering joint artistic research 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 . Through this first case study.

The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures. ( HS )É The Utrecht Consortium is also made possible by the financial support of the Ministry of Education and Culture ( Sia-Raak ) 3 3 – 4 0 U N C E R TA I N M A .unique collaboration of the Consortium partners. These models and their context of artistic knowledge production will be discussed in professional master classes and workshops producing a broad spectrum of knowledge and insight.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH lecturers the day following the public lecture. 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 . Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice. The survey of “best practices” and its relevant models of presentation will be realized and published.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Topics will deal with reflective methodologies and presentation strategies.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 .

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 .

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

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