EDITORIAL

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

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

3 – 4 EDITORIAL

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

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

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

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

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

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

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BART VERSCHAFFEL

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

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

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

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

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

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

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

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

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

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

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

music. but there was no space for us available and what we saw exhibited.Bourdieu. Rorty and Luhmann never hurts in becoming aware of our very own entanglements. But what I currently see happening is the `take .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 9 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . The motivation actually causing my shift from working as an artist and organizer to curator and educator seems outdated. and poetry. From my perspective. and the option of getting away from the sheer pragmatism of running the day-to-day business of a museum. specifically those who previously held highprofile curatorial positions. universities etc. Art schools seem to offer a kind of temporary refuge for those with a desire to sustain a more critical and discursive practice. I am quite aware of the influence of teachers and the impact of innovative institutional leadership in higher artistic education upon students.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 . although a very open and liberal one. the inspiration to be found in other related research fields. We were students of the visual arts.over’ of the. The wish to renegotiate the role of art through an expanded notion of artistic education allows a certain degree of distance.. one should not underestimate the potential and pleasure of working with students. The exclusion of a younger generation of artists. Therefore.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . I have been studying art myself. Instead of complaining. more distant locations by the market and its protagonists – and the pressure attached to the market is already felt. but also the social topography of the art world at large. In my case. was a catalyst for me and some artist friends to generate something else. Furthermore. from what the art field represents. called “Stille Helden” – were not completely opposed to art institutions. It was not until later that I understood that art history is not made 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . from mainstream art institutions in those days. one reason is the increasing commodification and instrumentalization of the position of the curator for all sorts of agendas and desires. did often not address what mattered to us or was not linked to our discussions about art. at least so far. extended by post-graduate studies in art theory. film. 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. affected my desire to understand not only art theory. Today this all seems so far away. we simply created our own formats and spaces and generated our own audiences. performance and theater. at least in the Western hemisphere. and some independence. a European male-dominated art school setting. To be mainly involved with satisfying trustees and/or local politicians rather than investing time researching fields that might be not that popular – this is not everyone’s cup of tea. A second reason is that today’s director of a museum or a “Kunsthalle” is more involved in management and fundraising activities than in working on shows or directly with artists as was the case in the past. I do not want to criticize my colleagues in art institutions and do not want to sound all too negative. specifically women. We – as an artists’ group. 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.

And last. thus.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . An exhibition is equal to a seminar for me. But are there any shared intentions to do so at present? In that respect. Inform.. to reflect. Facing today’s powerful art market with huge cash flow on one hand. both formats produce a communicative space through artistic and intellectual means. The exploration of thoughts and work is a necessary focus in art education. the infrastructure. I still see certain gaps arising within the dominance of the market. they have the budget. When I studied art in the early 1980s as part of the group of young artists called “Stille Helden”. within art history that mattered to my generation – such as the already mentioned lack of female positions etc. 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. though.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 10 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . what the idea behind such participation is. To come back to teaching. I must have internalized this attitude. and to analyze. it is not to create a showcase for students entering the market. So. 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. Even today I seek to find “company” to explore. As the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . and also the media power to “correct” and re-write art history. and this made me sensitive towards being identified with an institution rather than with a distinct practice. this was my interest. to share what I perceive. It must be made clear. 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. One should not forget. I feel the relation between art and exhibitions offers the option to test situations and combinations. Being part of an artist group allowed us not to get pigeonholed. We have to demand a review and a correction of public collections and force a change in outdated focus points.in the garage. the market dictates what art is produced and. being unpredictable prevented us from being co-opted. and the Carnegie International. the Venice and Whitney biennials. One should also not forget that a number of conceptual artists. For obvious reasons they should take place as well within an apparatus of representation such as an art museum. I see teaching in art schools as a practice in line with my curatorial work. though. shown. there is a need for crucial debates within universities and other societal institutions focusing on those issues. and an inflation of temporary exhibition formats such as the exploding number of biennials on the other. offering them some independence. but not least. there is a definite advantage to “duck and cover” within an educational structure for a while. in those days as young artists we were far removed from having a master plan to develop and to manage a career. I keep in mind the BBC’s founding mandate: “Educate. or within opinion-creating blockbusters such as Documenta. I can only hope that at one point the necessity to interfere becomes strong enough to enter the history-producing apparatus. in order to be able to implement a correction through a multitude of voices whenever necessary. so nothing is wrong with involving students in exhibitions. and Entertain” as a healthy mix and a valid model. More and more. to discover.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 . those “institutions” are indeed highly interesting.

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

Curators are under pressure to Ω P L AT F O R M 5 V I S I TO R S . and what do we generate by what is then written about it? When it comes to research I consider curatorial practice well-situated within an art school context. That is immensely important in order to establish a serious kind of back-and-forth debate and to delve deeper into a topic. Lucia. it feels quite normal. Those questions indicated that antagonism was already on the rise. many for the first time encountering contemporary art. The opening of Documenta11 took place in March 2001 at the Academy of Fine Arts Vienna with Platform_1.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 12 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . Mark Nash. rather than educate them from the position of those “in the know. But since the Documenta11 curatorial team understood this exceptional exhibition format as a form of knowledge production. An exhibition has to clarify the questions raised and share this process with the audience. and why not view it as an expanded series of seminars? Platform_1 . why not launch Documenta11 at an art academy. For example. Platform_1 was focused on a series of talks. artistic views.constellations are constantly shifting. a place with an everyday experience of this fairly recent academic discourse. too. we considered Documenta as an educational tool. museums were the places for serious historical research. Automatically one is confronted with criticism of people who share the experience and have deep convictions on the topic. I see an exhibition as a zone of activity. In order to focus on the specifics of these discourses.0 0 0 48 C O LO FON . but if you debate it in St. O F D O C U M E N TA 11 . art dealers. and art collectors asked why such an important exhibition as Documenta11 was launched in an art school context and on a topic unrelated to art.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 . Once. This meant there were eighteen months before the initial scheduled opening date of Documenta11 in June 2002 ( then called Platform_5 ). we are still doing fine. Today they are forced to take part in a tourist industry and have started to become fundraising machines in order to survive. to debate creolité in Kassel does not make much sense. An exhibition of that scale reaches many peopleΩ. So Documenta11 was criticized mostly for resembling a seminar for higher cultural education. next to each other. H A D A R O U N D 650. In other words. and last but not least Susanne Ghez – was the view that Documenta is a knowledge production machine. One needs a “critical mass” to interact with you if you raise such questions. Let’s return to the topic of curators connected to art schools. T H E E X H I B I T I O N I N K A S S EL I N 3 – 4 EDITORIAL A C E R TA I N M A . The so-called professionals have to re-encounter art each time they experience new works. What do we generate as curators when we put art works. Sarat Maharaj. Such topics triggered some highly sensitive reactions amongst my colleagues on the faculty at the Vienna academy. Some of them wondered how debates on democracy related to the agenda of an art school. a space one has to produce. What I shared with Okwui Enwezor and my colleagues from Documenta11 – Carlos Basualdo. Octavio Zaya.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . on “Democracy Unrealized”.” Such a “zone of activity” marks the effort one makes to create discursive art – through a curatorial decision. we had to go to the places of origin or of relevance for each of the platform topics. Several art critics. workshops etc. it is not a given.4 correlated with the discourses artists invited to Documenta11 were currently exploring. also because museums are withdrawing more and more from curatorial obligation.

A “good” exhibition leaves one irritated.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Exhibitions are not being created to simply satisfy us. Aren’t those the exhibitions that stick around the longest?É 3 – 4 EDITORIAL A C E R TA I N M A . That leaves them with less time for research.continuously produce art shows that create media attention and attract large audiences.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 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 .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 . troubled. An exhibition should be able to create a space for critical reflection. 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. stimulated.

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

Tate Britain. S U S A N H I L L ER . I published the last two editions of Metronome for documenta 12.” M E T R O N O M E N O . M A R C U S A N D C U S H M A N . “A metalogue is a conversation about some problematic subject. I developed Future Academy. 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 . Clifford Geertz. sinister site next to Tate Britain with guest artists while imagining its past and future led to The Stunt and The Queel. and Stockholm. Malmö.).Ω Future Academy and Metronome clearly have many points in common including their unofficial status – you may well ask how Metronome fits into the UK’s Research Assessment Exercise when most productions are without ISBN and Future Academy student cells are not academically accredited? Several convergences exist. fieldwork studies. In 2002. 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. yet high-security Royal Army Medical College that had just been acquired by Chelsea College of Art and Design. but then denied an affiliation to throughout the 1990s. Bergen.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 . turning back onto itself the environment in which I had been given so much conceptual freedom and means of production. FI R S T . and Japan. 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 . the nurturing of self-appointed communities of artists and researchers who engage in a joint investigation and debate modes of survival. Bateson refers to recursiveness as meaning that repeatedly loops back onto itself in a reflexive dialogue with its representational boundaries. PAU L R A B I N O W . the polymathic academic and cyberneticist who made seminal advances in the translation of systems of knowing and communicating. 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 .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON T UA ZO N . S E C O N D . collating materials from Future Academy fieldwork and developing a further constellation of backing and finance. I’ve come back to Gregory Bateson. and the primary focus on translation as a key trope in advanced art practice. At that point. and their subsequent interpretation. In particular. a publication and 12hour event held in the unconverted Millbank building. R AC E A N D D I F F ER E N C E . 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 . only this time in the US. a thought-structure that is naturally interdependent and interactive with other disciplines.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 . B U T O F F ER E D A S EL F . E TC . 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 . I am interested in looking back at the controversial discipline of social anthropology. Copenhagen. and later Edinburgh College of Art.Ω However. Chelsea College of Art and Design. 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 . the one convergence I would like to turn to now is the influence of early ethnographic experiments in research. nine expostgraduates and I set up base for ten months in the derelict. building a form of “ecological epistemology”. Navigating through this vast. 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 . and Glasgow School of Art. P LU S T H E B U R G EO N I N G P O S I T I O N . Bateson’s concept of the “metalogue” is relevant here. Finally.publication called The Bastard. T H I S I S A R E A L O B S TAC L E . 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 . the process of moving and working in different cities and involving local histories and organisations in the project as it evolves. Metronome is neither vanity publishing nor self-publishing. Bateson writes. first between the London Institute ( now University of the Arts). and was able to knit together institutional support. co-funded by art academies in Oslo. Once again I set up informal research units. 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. which I studied alongside contemporary art.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 . Using a relational methodology to understand perception.Ω I want to revisit the maverick methodologies of twentieth century anthropologists from Margaret Mead through to Michel Leiris and more recently. 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 . regulated art publishing and academic norms. A R T I S T A N D C O L L A B O R ATO R I N F U T U R E AC A D EM Y. 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. Australia. C O M 3 – 4 EDITORIAL A C E R TA I N M A . M I C H A EL B U T H E .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . in 2006 and 2007. for example. 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 .

deregulated. at the same time. To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. 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. On an elementary level. 1971 . and heterogeneous location for visioning the future and forming agents in this process. B AT E S O N . places and people. 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. Only some of the conversations achieve this double format. to become interlocutors. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. and highlighters together. So my personal question. The work of the students has a bearing on what I produce.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 .”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. and there are no results. 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 16 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and whether I survive professionally. 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. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. 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. and yet.N E S S 5 – 6 O P E N I N G : A 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. each of us has the authority to retain a sense of individual development. “S T EP S TO A C E R TA I N M A . I would argue that the academy is the site of prelusive knowledge. and then involving them from day one when nothing is known. like any institution. the art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”. 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. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. As Martin Prinzhorn stated in a conversation at the start of Future Academy. “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. As well as providing a more or less thorough training ground for artistic positions. where I travel to.the problem. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. but the structure of the conversation as a whole is also revealed to the same subject. collaborators. reactivated again and again over the last ten years. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. following Jacques Rancière’s notion of the “aesthetic regime of the arts”.

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

In both locations. Later. 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. In February 2003. the student body increasingly mutates flooding the once singular character of a nation’s art academy with an unstoppable flow of new influences. for example. I worked first in Senegal. Likewise Future Academy would negotiate its way forward with its motherships in London and Scotland. was working with the Ecole Nationale des Arts in Dakar and teaching new media to students. J. or Arts Initiative Tokyo ( AIT ). As a result of pitches I made to artists. an NGO co-financed by Norwegian state funding. J.the territorial parameters of the Bologna agreement? Meanwhile. parallel institutional partnerships. but the alternative option of travelling intelligently through different institutional structures with their contrasting value systems. a weeklong Future Academy seminar generated a proposal by MFA students to set up a bank. AIT. A college with a large amount of international students is heterogeneous but not necessarily able to make use of this condition. runs exceptional evening classes on curating and contemporary art. what I hope characterises today’s globalised art academy is not just the frenzy of standardisation. AIT has managed to remain financially self-sufficient and autonomous. latent cultural backgrounds. I made the decision to curate this investigation away from a super-structure of European super-schools and to focus instead on the current ramifications of colonial art academies established in the 19th and 20th centuries. and then in several cities in India.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . indicating a true mushrooming of short-term working systems.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . With this modest endeavour. the urban research group PUKAR (Partners for Urban Knowledge and Research). Their claim 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . in order to perform a deep transfer of knowledge that can reflect and compliment the newly international character of this student body. I was able to set up experimental student cells and with these. For example. m-lab. and students on the hypotheses and modus operandi of this research. scholars. devised by social anthropologist Arjun Appadurai with US academic funding. Within the first six months of Future Academy. and encourage students from the different departments or schools to take ownership 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. thereby questioning today’s renewed forays into educational expansion. there were different institutional scales at work. this symbiotic relationship was confirmed once more with the participation of small artists’ collectives in Tokyo that focus on educational formats. and confused expectations. open to a wide range of office workers and people whose education may not have included formal art studies. when Future Academy moved to Japan. School of Art. and in Mumbai. the Media Centre of Dakar. 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. where art colleges were aligned historically with their British colonial counterparts. Nevertheless.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 18 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . was producing documentary films with students of Shri. such as CommandN.

Likewise. B I R I M A .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . In the future. Tontines can fall within several categories. This hawker enters the economic system too. They come back with theories. as any further development was voluntary. the Edinburgh cell also applied the Tontine system to their collective finances.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 19 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . the 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. or the acquisition of health and educational infrastructures. so too did the concept of the individual who might operate it: the student on the one hand. it was to be the hawker or itinerant salesman who offered the role model. 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. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL. both defined as agents in a transactional relationship. However. Trust and social sanctions encourage a self-selection process with regard to the group’s membership. is not monitored by the police or the state.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. the organisation of events. O N E O F T H E I C O N S U S E D I N T H E P R . communal structure developed. If the example of legally extraneous micro-credit associations had provided the framework. 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. 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 . S EE W W W . were still closely tied to French finance. The model proposed by the Senegalese artists referred back to the Tontine. In the context of Future Academy. women’s groups. 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. and constitutes part of the informal economic chain. The senior management of the UK School in question immediately quashed the proposal and. 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 . a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653. through to smaller cooperatives based on neighbourhood structures.was straightforward: independent thinking required independent economies. and managed to raise a considerable amount for their visit to India. from those that are regulated by religious and commercial interests in order to cover financial difficulties or pay for pilgrimages to Mecca. In Dakar. As research on this financial. the one that we call informal. The fundamental issue with the Tontine is that it remains outside of the law. precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research. the scheme was activated in the recession of the 1980s as an alternative to the development banks. the students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there. 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.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 . the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed. 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 . which. and the teacher or professor on the other. and he or she travels worldwide. 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 .

expertise would be handed over to informal economists. the stock exchange of second-hand clothing. and how it is that they still manage to survive (…). Firstly. In this Permeable Academy. describing the mobile architecture of the itinerant salesman as that of a moving directory of comparative studies. the Future Academy team subsequently re-defined this proposal into the ‘Permeable Academy’. If we look at the informal sector and how this fluid state of the economy is run. and deducing complex performative and presentational modalities from them. looking at all these phenomena in terms of aesthetic values and vectors. Here we find the transition from informal to formal. 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 .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 . extensive debates took place between the students in Future Academy on the relationship between informal and formal economies.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . and that.”Ω Effectively the Senegalese Future Academy team spent lengthy periods in Dakar analysing informal systems such as the network of beggars. But also in terms of media and communications. peripheral academics. 20 05 . The hawker is at the heart of our intellectual debates right now. You go out and find your guy and he offers you a mixed bag of things. loans and student debt towards alternative economic Ω U M A N G . may fast track them into a professional context. a tea shop outside the walls of the heritage academies.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R ΩD I S C U S S I O N B E T W EE N N A L L E AU R O . Indeed. if anything. M A N E . from a sole dependency on grants. The formal and the informal do not only exist in economic terms. networks. like a market. It is random. Moreover. I do not think we should look at it in isolation. You don’t enter a pyramid structure. They exist in the artistic domain too and we should open up this debate in Future Academy. and which they are encouraged to qualify and take ownership of. <<<<<‘ 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 . 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. should we look at it in isolation or not? Instead of having one-day economies. and individual contacts across the world.no support from the government. then I feel we need to take into account that this actually works and investigate its relationship to the predominant paradigm. To resume the argument so far: competence in Future Academy is the ability for students to make a series of shifts. from prescribed learning structures to voluntary initiatives that do not feature in their academic assessment.”Ω In India. we could ask them how their system functions without basic formal economic principles. 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. emphasising their interconnectedness: “The informal sector is a little like a bazaar. If we want to analyse one-day economies or smaller more chaotic models where things are done in more fluid ways. and “ traders and crafts people would meet at the shack studio. 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’. analyses. But if they could enter the future academy. Secondly. 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 20 05 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and illegal taxi drivers with their speed-driven race against death.

a polymathic educational model. situating itself between different public audiences. Raks. and the contemporary crises in man’s relationship to his environment. and practices that might be taught. It’s a consortium of sorts. 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. 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 . daily survival and collective projects.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . in other words those subjects. that provides for a parallel extension in the work of guest. to the shaping of content and the nurturing of transcultural and transdiciplinary positions. could benefit from a lawyer on immigration and identity issues. the nature of play. something that one could argue is taking place once again. 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. I’d hesitate to call this the seeds of a micro-institutional development but increasingly I feel it may just be heading that way. In this manner. 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. it was to both latent aesthetic processes. With the introduction of a ‘Roaming Faculty’.”Ω When we investigated future faculties of knowledge in the art academy.. and everyday relational activities that attention was directed. a polymathic faculty. The Tontine system that fuels this moving group of artists and 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 21 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . contexts.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 . travel. researched. the polymath. which may be no wonder. peripatetic researcher. which stand outside of the course curricula. Senegalese wrestling as mental and physical dialectical engagement). production. Art students. It’s a non-prescriptive condition of empathic learning. the Roaming Faculty structure requires part investment of no more than 20 to 25% of a full professorial salary. to name just a few). or Pukar in India. C O M 3 – 4 EDITORIAL A C E R TA I N M A . becomes embedded in a structure dedicated to mobile knowledge transfer and deep exchange. the patterned arrangement of leaves in a plant. Heterodox combinations of information and skill would inform art practice: for example. given the global importance of social interventionism in art practice of the 1990s (from N55. Open Circle. 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. Huit Facettes in Senegal.g. like our hawker earlier on. but it is led by the value attributed to an individual’s research. they argued. Moreover. for a participating institution.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R I would like to end on a related issue that provides the basis for intellectual competence: the figure of the polymath and the concept ‘ of a roaming faculty. to Superflex. can only be understood in terms of such an ecology of ideas. and developed.approaches with regard to studying. In 1971 he states that “such matters as the bilateral symmetry of an animal. a future art academy would engage in a polymathic economy. the processes of courtship. and the transnational group of students who work with him or her. the exercise of a particular sport as a model for analysing thought structures (e. the escalation of an armaments race. the grammar of a sentence.Ω Ω I ’M THINKING OF JOE S C A N L A N ’ S C O F FI N S . and finally a polymathic understanding of place. research. RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . the mystery of biological evolution. institutional structures and time frames.

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

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

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

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

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

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

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

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

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

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

to present their research rather than work toward fulfillment of a curriculum.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 curating.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . art production. 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. If the MA program does not provide socialization. I am over dramatizing the situation in order to point out what could become the problem with master’s degrees vis-à-vis the market.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . it has to provide some kind of critical understanding of what art means. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time. Of course. that would be the only reason to get a master’s degree. who come from a variety of backgrounds such as theory. is pedagogy part of the artistic and theoretical practice? Or are these separate things? How could pedagogy influence your work and your thinking? Could one actually analyze artistic or theoretical work in the light of teaching at a specific institution? Does one’s work have an institutional color?É 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Finally. research and the practice of the lecturers are reflected in the teaching. At the Malmö school we ask seminar leaders. in fact. and vis-à-vis the marketing of education. That is also how art schools can differ from university humanities departments such as art history or philosophy. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. At our school. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 32 3 3 – 4 0 U N C E R TA I N M A . of art’s placement in the world in addition to its place in the art world.

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

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

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

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

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

( b ) that more or less full-time scientific and engineering research components of universities got much larger. Those who cannot. mercantilist and other vested interest arguments. write criticism.N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith.. It is the market that emerged 48 C O LO FON . do.. but it is a promise that we may not fully be able to redeem or honor. Why is it that the art world – the market. This is perhaps the trickiest issue to tackle. on means-ends rationale. Remember the general suspicion of art school teachers: Those who can. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. The question of ‘bad faith’ is.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . There are some general points to adduce first. For some time now. and social reproduction attuned to the flows of global capital. the inevitable corollary of seeking ‘pure’ positions for ourselves.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 issues.] mistake is promising by implication that a degree in art will lead to economic survival after graduation. teach.. what we have here is a pyramid scheme. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive. the relationship of higher education to elite formation changed. cultural. The ‘university’ and the entire field of ‘higher education’ – post.” ( Calhoun 2006:3 ). nationalist. Those who cannot teach. 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . in a nutshell.troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’. The question of ‘bad faith’ was referenced earlier in the discussion. and ( d ) that partly as a consequence.’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto.. I would suggest.” 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. Those academies arising outside the university setting came into being because of imperial. “The [. the magazines. it is unlikely that some of the other changes would have taken place. In the face of these instrumental and technocratic imperatives. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status. 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 . (c ) that the higher education sector got much larger. are ( a ) the universities got much larger. – have undergone a series of profound transformations in the last two centuries. tertiary etc. They will find some other means.] Basically. The independent art academies have a different history. It will not work. ‘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. ‘Without a dramatic change in institutional and sectoral size. [. secondary. So these institutions were founded on instrumental logics. Calhoun says about these challenges.

N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . MA . Where is this rhetoric to be found? Contemporary art practice – as it has emerged in the post-conceptual. That is where it originated..N E S S MICK WILSON 39 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON came to this. We need some new rhetorics of becoming to negotiate and challenge the dominance of the technocratic way of speaking in the world. not 2010.my [institutional] horizon is not yours. to actually bring that into the public domain. we’re different. You can’t include us in your conversation about BA’s and MA’s and PHDS.on the fringes of entrepreneurial capitalism that generated the spaces for avant-garde experiments which later became the paradigm for the open academies. So not Bologna.maybe change it a little. that we were not already in a position to be the bearers of the public disclosure of what art educators do.”. How it has been left to the policy-makers and ceded to practitioners on the margins of the academy or outside the academy altogether. I think here is a lot more. more interesting problem or pre-occupation and tell us about it. I would say “Welcome to ‘our’ uncertain world – the world of art educators. and areas of action: a standing reserve of metaphors. and PHD. We’re pure... For these academies. 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’.. It would be unfortunate for us under these circumstances to then shout hands off while we take every other discipline. I suggest. and still retain some unsquandered potential. we should not be incensed simply by the fact that there is a bureaucratic imperative to adhere to a framework of BA . not within the academies. It’s a little bit yours now if you want to join.. post-pop. though. But ‘we’ are always negotiating some kind of balance between the requirements of ‘regulatory’ ‘instruments’ and the embedded human situation of our contingent practicesÉ .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . focus.. materials. I think this is a very urgent matter for us. let us to see it. is a conditional ‘yes’. How we were not the bearers of that conversation into the public domain.. the rhetoric of the ‘open’ – just as the universities’ rhetoric of the ‘idea’ – has now exhausted itself. We should examine how it is that we 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . profession and occupation as grist for our mill. and so on. All aspects of the life-world are taken as its legitimate concerns. If we are really asking today whether we can we make a clear distinction in the education of artists among these levels. What I have presented is precisely the kind of presentation that I would make to MA students in the first few weeks of their studies. I would argue.. We could not possibly be comprehended – even partially – within someone else’s discourse of means-ends or ‘learning outcomes’ or `the sociology of professions or ‘knowledge’. and discourses. show it to us. The answer. post-minimalist era – has the characteristic of wishing – or at least appearing to be willing – to thematize everything given in experience. maybe not. We seem to have come along way off track on our question of the MA curriculum and appropriate teaching practices.or find a better. but what we are already doing.

94 . 4 . in Jod i Dea n ( ed . 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. 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. Berkeley : Ca r neg ie Fou nd at ion for Adva ncement of Teac h i n g. A r teConte x to16 Mad r id: A r tehoy. Ma r jor ie ( 2001 ) A c a d emi c Ins t in c ts.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .. 94. pp. pp. P r i nceton NJ : P r inceton Un iversit y P ress. ( 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 . 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.REFERENCES 3 – 4 EDITORIAL Ca m n it zer. ( 1988 ) T h e Mas t er’s D e g re e. 80 . in Met ropol is M: E x pa nd i n g Ac ademy. L ipsit z. 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 hac a: Cor nel l Un iversit y P ress.15-20. Ga rber. N .N E S S MICK WILSON 40 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT Ver woer t .N E S S 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. 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . Jud it h S. Lu is ( 200 7 ) Frau d an d E du c at i on. A C E R TA I N M A .96. George( 2000 ) “Ac adem ic Pol it ics a nd Soc ia l C ha n ge”. ) Cultural Stu di e s / Polit i c al T h e or y. Stephen H. pp.

the work.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. Clearly. connected with working on meanings and images capturing life. In this sense. since isolating works of art is rather unproductive. education and the research environment. art as a reflective research practice. During the process of production. and the image that captures life.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the statement. a critical confrontation with other voices. The other form of reflection is connected with art working on meanings and images. then. In fact. the sense of possibility per se.e. and how the final form has been chosen. 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. Art asks for a certain environment in which to establish an artistic production and to organize that production. similar to playing chess. Let me elaborate on the concept of anthropological laboratory. the major accent has been on reflective art practice as criticism. the metaphor. critical. implying a continuous reservoir of metaphors. articulation. Reflection. Stating criticism is the first move. The critical mode of reflection is different from reflection linked to formulation.. thoughts. the variations. reflection in the mode of an anthropological laboratory. and also radically new. reflection is now connected with curiosity and the sense of finding the gesture. meanings. it is interesting for most artworks to demonstrate the stages. autonomous. i. assess the positions. over the last fifty years. and description. From this perspective. implying an overview of a range of positions while identifying conflicts. I would like to distinguish between two different reflective practices. independent. Conversely. feedback. Rather than being merely critical. In this mode.e. and then decide what is relevant to make. Conversely. current art is relevant and important only because it is connected to the anthropological laboratory as a space for reflection. the two polarities of creativity and reflection need to be involved. That form of reflection could be called reflection in the mode of an anthropological laboratory. whereupon artists then evaluate what is needed to build on their position. Artists need to understand the artistic field. is connected to the phenomenon of art as research and the project of transforming institutions of art education into research institutions. One is criticism. since it is connected with meanings and images as phenomena guiding people to an understanding of what it means to be here and now. Reflection as criticism is a tool for discovering how one can make a move in an artistic or creative project. However. art is working on all aspects of life. and images. Art as artistic research seems to be the major cultural value and the major relevance of art today. the process is very important. problems. and questions. art should to be free. is very much alive. is crucial so that making art 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . art as reflective criticism or art as an avant-garde logic of negativity has ended in a free-floating game. i.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 41 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . reflection is a form of applied thought. and the desire for the new as inherent components of art and artistic production.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . I understand creativity as the pleasure of invention. In this context.

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

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

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

Through this first case study. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. 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. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. Using the historical collection of the Utrecht University Museum. exploration of methods of presentation specific to today’s visual art as a form of knowledge production. a collaboration among four institutions for education and art – the University of London. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. 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 Science Museum. 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. At the core of the Utrecht Consortium is practice-based research. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University.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. 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. In developing adequate presentation models in the form of both exhibitions and texts.so-called London Consortium. and the TATE – offering joint artistic research programs. young artists will be able to enhance their communication with a variety of audiences. The results of this research will be published as a series of “best practices”. the Utrecht Consortium intends to be flexible. a platform has been created without the need for offices and staff with minimum overhead costs. (More about that research will be reported in greater depth in MaHKUzine 6 ).e. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. i.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . ICA . and international levels while sharing networks. With that. beta. and gamma sciences. Those issues could easily be expanded to local. regional. An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. Thus. 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. In addition to the Consortium partners and professionals in the field. 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. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . Additionally.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 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. Topics will deal with reflective methodologies and presentation strategies.unique collaboration of the Consortium partners. 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 . The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures.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 . ( HS )É The Utrecht Consortium is also made possible by the financial support of the Ministry of Education and Culture ( Sia-Raak ) 3 3 – 4 0 U N C E R TA I N M A . These models and their context of artistic knowledge production will be discussed in professional master classes and workshops producing a broad spectrum of knowledge and insight.

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

MALMO SCHOOL OF ART BART VERSCHAFFEL. TOGETHER WITH THE HELSINKI SCHOOL OF ART. 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.M A H K U zi n e 5 3 – 4 EDITORIAL JOURNAL OF ARTISTIC RESEARCH SUMMER 2008 A C E R TA I N M A .N L RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM EDITORIAL BOARD HENK SL AGER (GENER AL EDITOR) 48 C O LO FON 48 A N NE T T E W. MIT. DIRECTOR SINT. SLADE SCHOOL OF ART.M A HKU.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 . BRUSSELS CLEMENTINE DELISS. 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. ROTTERDAM MICK WILSON. DUBLIN .LUKAS ACADEMY. LECTURER CRITICAL STUDIES. DIRECTOR FUTURE ACADEMY. UNIVERSITY GHENT JAN VERWOERT.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. DIRECTOR VISUAL ARTS PROGRAM. MALMO SCHOOL OF ART. EDINBURGH SIMON SHEIKH.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. PA R T I C I PA N T S UTE META BAUER. PROFESSOR OF PHILOSOPY. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . PROFESSOR PIET ZWART INSTITUTE.NL 3 3 – 4 0 U N C E R TA I N M A . GRADCAM ( DUBLIN ).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 . LONDON AND VIENNA SCHOOL OF ART. CAMBRIDGE MA WILLEM DE GREEF. DEAN GRADCAM.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

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