82697370-Makhuzine5 | Flanders | Visual Arts Education

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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RESEARCH REPORT
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COLOFON

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

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

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

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

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

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SIMON SHEIKH

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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

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BART VERSCHAFFEL

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

they will necessarily have to reset their targets and to rethink the curriculum. is associated with the Catholic University of Leuven. each of the “hogescholen” has been affiliated with a university. Is there really a need for this ? Do all students in the arts really need to follow this academic track. My own institute. Let me just point out some of them. if higher arts institutes want to transform their traditional programs into academic programs. for most of the Flemish politicians it is widely accepted that the “hogescholen” cannot possibly meet this requirement for “academization” without a helping hand from the universities. for instance. is the identity as such of higher arts education not at stake here? Thirdly.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. 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. what type of research should they develop? Importantly.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. 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. Moreover. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. How would an academic curriculum look which still made sense for higher arts education and for art students? What are the academic competencies they are supposed to develop? More profoundly. are looking for the best way to deliver excellent art education within an outstanding academic context. 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 . how do we make a clear link. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. Therefore.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 . to put it differently. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. Some have called it the academic drift of the arts institutes or departments. does all of this not demand a change in the structure of higher arts education itself? For instance. the Hogeschool Sint-Lukas Brussel. All this undoubtedly poses many questions. today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree. Firstly. scientific domain. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . if we want to. if not undeveloped. all over Europe.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . between arts education and research? Does it mean. All these issues are not unique to Flanders. All Master’s degrees in Flanders are supposed to be academic. Many arts institutes. or is there still a need for more professionally oriented programs? Or.

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

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

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

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

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

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

Aren’t those the exhibitions that stick around the longest?É 3 – 4 EDITORIAL A C E R TA I N M A .continuously produce art shows that create media attention and attract large audiences. 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. That leaves them with less time for research.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . A “good” exhibition leaves one irritated. troubled. stimulated.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 13 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .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 . Exhibitions are not being created to simply satisfy us. An exhibition should be able to create a space for critical reflection.

” J AC Q U E S R A N C I ÈR E . In 2001. and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’. India.I S I T P O S S I B L E T O M A P . and responses to fieldwork in foreign locations. 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. Interestingly. Currently part of Edinburgh College of Art. has no formal legitimacy in terms of official diplomas or exam qualifications. However. and community. Africa.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . P. Supported by host institutions from Europe. Edinburgh. I published Backwards Translation based on the ex-curricula of students.Ω In 1999. with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas. Future Academy characterises my activity as a curator over the last ten years. 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.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON FA B R I C O F T H E S E N S I B L E I S D I S T U R B E D : A S P E C TAC L E D O E S N OT FI T W I T H I N T H E S E N S I B L E F R A M E W O R K D EFI N E D BY A N E T W O R K O F M E A N I N G S . 71 ‘ H E T ER O LO GY ’ R EF ER S TO T H E WAY I N W H I C H T H E M E A N I N G F U L I S D EB ATA B L E W H E T H ER T H E D E V ELO P M E N T O F M E T R O N O M E W O U L D H AV E B EE N AC H I E V E D I N T H E M I D TO L AT E N I N E T I E S I F I H A D W O R K E D W I T H I N M U S EU M S W H ER E T H E EM P H A S I S O N P U B L I C V I S I B I L I T Y A N D AC C E S S M AY H AV E R U N C O N T R A R Y TO T H E F O C U S O N ‘ C O N C EP T UA L I N T I M AC Y ’ T H AT I C H O S E TO WORK WITH.. 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 . 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.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 . 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. whilst simultaneously coming to grips with survival. 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 . C O N T I N U U M . production.Ω Over the last five years. and finally Biella. a process. students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. Japan. Bordeaux.program particularly with regard to a reflective and critical attitude. economic models. and Australia. As a procedure that involves the elaboration of new proposals and their execution. USA . Future Academy students have acted as the diagnosticians of their own art education. This research deepened until we decided to make voice recordings in a studio in Oslo and develop another Metronome ΩIT Ω“ T H E N OT I O N O F 3 – 4 EDITORIAL A C E R TA I N M A . Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come. Future Academy does not provide an MA or MFA and. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA . building 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. 20 0 4 . I transited around Scandinavia for eighteen months. T H E P O L I T I C S O F A E S T H E T I C S . a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students. . in fact. or became so fully involved in it that their ownership of it is unrelenting. which can only be successful if they view their current condition as closely aligned to that of a future environment for research..

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

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

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

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

The model proposed by the Senegalese artists referred back to the Tontine. In contrast you have the hawker who has no formal education in economics and who has only attended traditional and Coranic schools. 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 .was straightforward: independent thinking required independent economies. whilst apparently run by the Senegalese. 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 . If the example of legally extraneous micro-credit associations had provided the framework. Trust and social sanctions encourage a self-selection process with regard to the group’s membership.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. women’s groups.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 . However. as any further development was voluntary. 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. and constitutes part of the informal economic chain. the students continued with their individual work and this institution’s involvement in Future Academy pretty much ended there. the scheme was activated in the recession of the 1980s as an alternative to the development banks. Likewise. B I R I M A . and the teacher or professor on the other. O N E O F T H E I C O N S U S E D I N T H E P R . the one that we call informal. Key to the Tontine in Senegal has been the cultural and social dimension it employs to ensure that a rotating rhythm of contribution and spending is maintained by each of its members. precisely because the nervous accountability of the host institution did not interfere with students’ conception of legitimate research. so too did the concept of the individual who might operate it: the student on the one hand. which. In Dakar. As research on this financial. were still closely tied to French finance. The senior management of the UK School in question immediately quashed the proposal and. both defined as agents in a transactional relationship. S EE W W W . 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 . the Edinburgh cell also applied the Tontine system to their collective finances. 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. communal structure developed.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON S E N E G A L E S E M U S I C I A N A N D P R O D U C ER YO U S S O U N ’ D O U R TOOK PART IN THE FIRST FUTURE ACADEMY FORUM HELD IN DAKAR IN JANUARY 2003 . from those that are regulated by religious and commercial interests in order to cover financial difficulties or pay for pilgrimages to Mecca. HE RECENTLY COLLABORATED WITH BENETTON AND ESTABLISHED A LOCAL. This hawker enters the economic system too. a micro-credit scheme originally devised by the Neapolitan Lorenzo Tonti in 1653. the organisation of events. In the context of Future Academy. it was to be the hawker or itinerant salesman who offered the role model. and managed to raise a considerable amount for their visit to India. and he or she travels worldwide.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Tontines can fall within several categories. The fundamental issue with the Tontine is that it remains outside of the law. or the acquisition of health and educational infrastructures. They come back with theories. through to smaller cooperatives based on neighbourhood structures. In the future. 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. is not monitored by the police or the state. 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 . the focus on economics did not and it was in Dakar that the most coherent and topical economic model was developed.

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

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

and thereby to dissolve the idea that following a course will make them into an artistÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . understood here as the flexible act of idiomatic transference between disciplines. which are shared.scholars guarantees the on-going low-level costs. So to conclude. and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. and helps to broker decision-making. 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. methodologies. the predisposition to embark on voluntary non-course or examination-led investigations which enhance an understanding of different methodologies of research.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 22 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . and cultural contexts. I’d like to propose three areas of articulation for fine art students: first. a lucid and production-based interest in economic and symbolic value. The value accorded to survival and self-organisation leads naturally to a further set of skills: the rhetorical and analytical wherewithal to stake a position as a student player in the revision of educational structures. secondly. To impart this critical approach to the student seems to be essential today.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . rotates ownership between the participating institutions. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

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

One of the major contradictions in a society dedicated to the production of subjectivities is the issue of singularity. the one hope we all share is that we are the chosen.we can never speak in the name of the institution even when we are speaking about the institution. I believe one of the most urgent questions facing the art academy is: How do we want to live together? How can we renegotiate the forms of communication that will determine the conditions of our life together? I would like to raise three issues related to that question. This issue pervades art schools and is almost everywhere in highly individualized societies.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The issue of the chosen is part of a larger discourse in society. We are works in progress. We sacrifice our very lives in that new economy. Reappropriating today’s means of production no longer implies invading the factories. Currently. 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. 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . the question of the good life is actually the most pressing issue they raise. constantly producing subjectivity. Many times. 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. Therefore. That is what you must do as an artist or an intellectual. the biggest growth industry is communication. the most pressing question is in what name or in whose name we want to talk about institutions. At heart this concerns resuming control over our social lives. One concerns the ethical-political question of the good life connected to the question of subjectivity or singularity. Perhaps a utopian world is a world without any need for institutions. officially you are the chosen. Immediately. Something pointing to the possibility of a different world. The second is the matter of temporality or the organization of time. but suddenly with horror you realize that you are surrounded by chosen ones. that puts us at odds with everybody else. but essentially to wrest back the means of social communication. As producers of artistic subjectivities. contemporary discussions suddenly create an uncanny moment of closure when we speak of the institution in the name of the institution. There must be a way of speaking about the institution not in its name but in the name of something else. we are producers in the new industry of communication. since you have been accepted. as we put our life skills at its disposal. I would suggest that it might be necessary to speak about institutions in the name of the good life. 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. teaching artistic subjectivities is teaching people how to put themselves at the mercy of the communication industry. They argue that today’s means of production are the means of communication.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 24 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . the singular ones. Let me start with the question of subjectivity. When you read Negri and Hardt’s Empire. The last question concerns debt or indebtness. How can we avoid becoming public commodities. something implying a utopian principle. the means of social existence. In the new forms of immaterial labor.

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

students have to pay back what they were given. I found that students left school with a debt to the community. completely antagonistic and incongruent temporalities. with artists and texts brought in. presents. and talking with students there. 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. where various generations meet. one can only wish and hope that all people will get enough money to pay their loans back. and with the oblique angles of talking and choosing the subject of teaching. you need some non-contemporary past potential. To generate the art of the future. and to produce a different form of co-existence and conviviality. embodied by people who might never be able to properly talk to each other. and practices embodying different forms of temporality may exist under one roof. In a Nietzschean sense. This indicates things seriously have gone wrong. I think students all become indebted to certain ideas and to certain principles through forms of education. there is also a spiritual and a symbolic debt. I realized that different institutional structures produce different forms of debt. especially in market-driven societies. as well as in academies in Britain and the United States.A. I found of course that debt is market-related.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . since they all speak different languages. While teaching in L. Yet there should be a way for different temporalities to coexist in one building. while art students embody the promise of the future. In a welfare 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . where the past squashes all presences. Very often. ideas. the art academy is a place where various pasts. you could say that we should have many overlapping. The goal should be to multiply and diversify the inherent temporalities of the academy. After three years in Sweden. I think the more temporalities an academy has. when one temporality starts dominating others. the potential of the art academy lies in a radical non-contemporary quality. 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. beyond material debt.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 26 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . we need to talk about the third issue mentioned: debt. where people.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . People embodying the past also embody a particular form of potentiality. Finally. and futures exist in one building. the better it is. like Düsseldorf. L. debt is at the heart of education. though at the same time conflictual. However. While teaching in academies in countries where the social welfare state still exists. That is a big challenge. Thus. the academy is a place of many temporalities. Staying in the Muppet Show model. People become involved in serious debt problems when financing education.A.Ideally. since one never knows what the art of the future will be. There are traditional academies. The artist embodies both the experience of the past and performs the experience of the present. Thus. where people embody the present and erase any memory of the past. But there are also high-performance academies. artists must have financially viable products ready and out in a gallery. or in a multiple sense of temporalities. That has to do with characters and generations. On a basic material level. because they have to pay back their student loans. Not surprisingly.

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

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

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

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

didactic strategies and educational models. So. but that only seems to result in an unprotected title. Another inspiration for teaching theory I discovered was on a more pedagogical level in Veyne’s work. as something transmitted solely from the authority of the teachers to the students. 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. of course. and on the other hand we are studying critically. He found that teaching adults using children’s books caused them to learn very simple things they could not move past. it is actually a degree worthless in the real world. while giving equal value to the experiences and preconceived notions of the student and the teacher. the artist. an introduction into the art market. However. Secondly. 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. she claims. a bachelor course is a foundation. 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. 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. So why do they still need an art institution? Even though the institution gives a degree similar to the university system. In terms of adequate. In that sense. Already in the mid 1990s. MaHKUzine 2. this was one of the first re-evaluations of the critical artistic potentials of education while considering the educational space as an artistic space. one could argue that teaching Critical Studies has a dual function. One can talk about the program’s content.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 31 3 3 – 4 0 U N C E R TA I N M A . 14-21 ). All one can offer are contacts with gallery owners and the art world – perhaps that is the real teaching. If one cannot offer that form of socialization. In principle. So he would replace the children’s books with complicated books which then immediately initiated a sphere of production. You could have a Bachelor’s in Fine Art and then a Master in Biology. the room for thought. socialization seems to be the most important way art schools produce their subject of knowledge. the real socialization. we are studying a genealogy of critique. I always give students the most difficult text first as an introduction to theory. a book published by Stephan Dillemuth was called Academy ( cf. In this model. Currently we are seeing a wild expansion of the market. I am not only talking about disciplines.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.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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Rather than seeing knowledge as something uncontested. i. One could say. One way to do this is to have a group of participants in a course with very different background. and the production of knowledge. On the one hand. In Academy. an introduction into basic skills and disciplines. who states that she is not capable of writing a text on teaching. Veyne tried to begin from spaces of experience. about different parts of the world and different languages. Why would you ever need a master’s degree 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . there is an interesting text by Andrea Fraser.

Of course.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . who come from a variety of backgrounds such as theory. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words. that would be the only reason to get a master’s degree. and curating. If the MA program does not provide socialization. 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. to present their research rather than work toward fulfillment of a curriculum. 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. Finally. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. in fact. art production. it has to provide some kind of critical understanding of what art means. At our school. research and the practice of the lecturers are reflected in the teaching. At the Malmö school we ask seminar leaders. of art’s placement in the world in addition to its place in the art world. 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 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 . That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time.in art if you are already an artist with your bachelor’s degree? Why should you spend two more years in school? You could want to go for a PhD. is pedagogy part of the artistic and theoretical practice? Or are these separate things? How could pedagogy influence your work and your thinking? Could one actually analyze artistic or theoretical work in the light of teaching at a specific institution? Does one’s work have an institutional color?É 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .N E S S 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 .

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

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

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

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

Consider the petty cruelties and rivalries of teachers for the affections of their students. Authority is not in and of itself ‘bad’. even artist teachers should perhaps not seek purity and an attempted disavowal or refusal of authority. the inability to speak honestly and openly about contradictory consciousness can lead to a destructive desire for “pure” political positions. ‘Living with contradictions is difficult.’ Part of this is to reflect upon our desire to be loved by our students and to be respected by our peers. the pure flow of uninterrupted. The American cultural studies practitioner George Lipsitz says. and why ( we believe ) we do it.N E S S MICK WILSON 37 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and say go on. as long as you do it within this framework. Let ‘us’ not disavow authority. What we need to do is to revisit the possibility of resisting this. 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. why do we think we can do it with our students? Teachers. Let us accept our authority and our considerable agency and open it to accountability. the mucky – the muddy wet ground. the brackish ground upon which our agency is based. but by what goes unspoken. Of course. with conflict and competition for resources. of another type of accountability. un-interrogated in the ‘disciplinary’ conversation. and. you’re the experts. Consider the classic power struggles of academics for their tiny territories.But we should still be troubled by this. Consider also the desire for ‘pure’ conviviality. Think about what the national governments are doing in the domain of higher education. Consider Bourdieu’s early lesson on the cultural indoctrination of students not by what is spoken. 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 ). we’ll just sit back. I am worried when people seek pure positions.’ This is why we might be a little bit cautious of our claims to realize moments of pure conviviality. you know what you’re doing. Part of that accountability is mutual disclosure: what we ( believe we) do.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . We should perhaps rather seek to cope with -and reflect upon this ‘coping with’ – the impure. how we ( believe we ) do it. 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. They say. especially for intellectuals and artists employed in academic institutions. The disavowal of authority is a classic strategy of authority. someone who says they have shed their authority is not so easily challenged for their exercise of that authority. If we cannot do it with our colleagues. 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. 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. undisclosed. It is authority not subject to challenge and critique – when it is not answerable to others – which is most troubling. This will bring us not to pure positions but to messy human situations with complex agendas.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 . with 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . dialogical exchange.

’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto. on means-ends rationale. what we have here is a pyramid scheme. This is perhaps the trickiest issue to tackle. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status. and ( d ) that partly as a consequence. mercantilist and other vested interest arguments. The independent art academies have a different history.troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue. nationalist. secondary. the relationship of higher education to elite formation changed. The ‘university’ and the entire field of ‘higher education’ – post. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. It is the market that emerged 48 C O LO FON . Those who cannot teach. ‘Without a dramatic change in institutional and sectoral size. 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 .” ( Calhoun 2006:3 ). I would suggest. – have undergone a series of profound transformations in the last two centuries. and social reproduction attuned to the flows of global capital. in a nutshell.. The issues. ( b ) that more or less full-time scientific and engineering research components of universities got much larger. are ( a ) the universities got much larger.. Those academies arising outside the university setting came into being because of imperial. (c ) that the higher education sector got much larger.] mistake is promising by implication that a degree in art will lead to economic survival after graduation. it is unlikely that some of the other changes would have taken place. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive. ‘we’ have recognized a need for a new way to speak of the university which can challenge the un-challenged authority of the neo-liberal specification of the university as factor of industry and nothing more. cultural. Remember the general suspicion of art school teachers: Those who can. The question of ‘bad faith’ was referenced earlier in the discussion. the magazines. do. They will find some other means. Why is it that the art world – the market. In the face of these instrumental and technocratic imperatives..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. [. So these institutions were founded on instrumental logics. The question of ‘bad faith’ is. the inevitable corollary of seeking ‘pure’ positions for ourselves. It will not work. Calhoun says about these challenges. teach. write criticism. Those who cannot.” 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..] Basically. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere. but it is a promise that we may not fully be able to redeem or honor. “The [. There are some general points to adduce first. 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 . tertiary etc.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . For some time now.N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’.

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

pp. L ipsit z. Jud it h S.N E S S MICK WILSON 40 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT Ver woer t . Berkeley : Ca r neg ie Fou nd at ion for Adva ncement of Teac h i n g.96. 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 . in Jod i Dea n ( ed . A r teConte x to16 Mad r id: A r tehoy. 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. 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. ( 1988 ) T h e Mas t er’s D e g re e. A C E R TA I N M A . N . 94. Ga rber.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. George( 2000 ) “Ac adem ic Pol it ics a nd Soc ia l C ha n ge”. 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 .94 . It hac a: Cor nel l Un iversit y P ress. ) Cultural Stu di e s / Polit i c al T h e or y.15-20. in Met ropol is M: E x pa nd i n g Ac ademy. pp. 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y Glazer. 4 . pp. Ma r jor ie ( 2001 ) A c a d emi c Ins t in c ts. 80 . Stephen H.REFERENCES 3 – 4 EDITORIAL Ca m n it zer. Lu is ( 200 7 ) Frau d an d E du c at i on.

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

Derrida once claimed during one of the famous Any Conferences on Architecture. thus. academic research in the universities fails to transform and. and ideological realms. The great gift of cultural production is that the entire process of creation is condensed in a transmittable form. the universities worked with a 19th century cultural map.itself becomes part of a complex process. Here art addresses both art production and an audience interested in working on meanings and images a society could adopt. the art world’s favorite discourse is about trends and the art market. private. belonging to the culture in an anthropological sense. there is interest in cultural production in commercial. Thus. In Belgium. whereas the spectator can experience it in just a few minutes. The miracle of an art work is precisely that the artist spends a year creating it. As a criterium for this. However. the universities are transformed into industries of knowledge.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL 42 RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . In fact. That led to ignorance of film and photography. I indeed think we need more preparation and more improvisation not just in art education. since the discourse produced for the outside world and the image the art world creates of itself are not about reflection. makes reflection a goal of art education. The work of art has to be addressed somehow in the community of people working on meanings. universities are at least 90 percent self-governed. therefore. but even more so in university education. Of course. art is of course a public matter. so they do not assume the responsibility of organizing work on the visual culture. during the 20th century. in a few minutes you can understand what the artist intends from a year of concentration and production. Fortunately. Yet instead of developing into an institution where art could be deployed as an instrument to reflect upon culture. What is the danger of introducing a research curriculum into art school environments? That danger is connected to the issue of 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . The need for reflection. it is disturbing that this type of artistic research fails institutional frameworks. that what we need is more preparation and more improvisation. communication is immensely important. seem to be free of its constraints. there are places that do not belong to academia and. there is what I would call the degree of condensation in the work of art. When art is research in the sense of working on meanings and images as a form of reflection in an anthropological laboratory. 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. Therefore. Thus. Therefore. Currently. The question arises as to how one could introduce the idea of reflection in the mode of an anthropological laboratory into art education.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . be it visual or not. That is the importance of topical art. the problem is that reflection in the mode of the anthropological laboratory seems to be hidden in the art world. the need for a laboratory. is shunted onto art education. we need an organization and an academic management of freedom. In other words. However. all the management positions and decisions involve people with an academic background rather than professional managers. universities are guilty of neglecting both cultural production at large and focusing on a living culture. Indeed.

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

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

regional.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 45 48 C O LO FON alien to visual art. the Science Museum. the Utrecht Consortium intends to be flexible. At the core of the Utrecht Consortium is practice-based research. 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. (More about that research will be reported in greater depth in MaHKUzine 6 ). An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. Using the historical collection of the Utrecht University Museum. The professorship in Artistic Research seeks to employ the Utrecht Consortium project and its outcome to spark an urgently required discussion in the Netherlands on how art academies could prepare students for a knowledge-based practice. Thus. and the TATE – offering joint artistic research programs. Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. Fine Art graduate students and young artists in the area will also be able to distill tools for critical reflection from the research and its results. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. With that. young artists will be able to enhance their communication with a variety of audiences. Those issues could easily be expanded to local. Additionally. Through this first case study. i. exploration of methods of presentation specific to today’s visual art as a form of knowledge production. and gamma sciences. a collaboration among four institutions for education and art – the University of London.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . ICA . a platform has been created without the need for offices and staff with minimum overhead costs. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . 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. 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. beta. In addition to the Consortium partners and professionals in the field. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University.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-called London Consortium. and international levels while sharing networks. In developing adequate presentation models in the form of both exhibitions and texts. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. The professorship will also hopefully be able to contribute to an international debate about the specificity of artistic knowledge production and its relationship with more traditional forms in the academic distinction of alpha. The results of this research will be published as a series of “best practices”.

( 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 . The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures.unique collaboration of the Consortium partners. Topics will deal with reflective methodologies and presentation strategies. The survey of “best practices” and its relevant models of presentation will be realized and published.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH lecturers the day following the public lecture. Each invited speaker will also give a master class at the Utrecht School of Arts for MA Fine Art students and/or be involved in an expert meeting with 3 – 4 EDITORIAL A C E R TA I N M A . Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice. 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 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 .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 .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 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 47 48 C O LO FON .

LECTURER CRITICAL STUDIES. UNIVERSITY GHENT JAN VERWOERT.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 . BRUSSELS CLEMENTINE DELISS. PROFESSOR OF PHILOSOPY. PROFESSOR PIET ZWART INSTITUTE. DIRECTOR VISUAL ARTS PROGRAM.M A HKU.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL WEBSITE W W W. CAMBRIDGE MA WILLEM DE GREEF. LONDON AND VIENNA SCHOOL OF ART. SLADE SCHOOL OF ART.BAKKERL A AN 50 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 5 8 2 VA U T R E C HT THE NETHERL ANDS MAHKUZINE@MAHKU. MIT.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. DIRECTOR FUTURE ACADEMY. MALMO SCHOOL OF ART BART VERSCHAFFEL.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . ROTTERDAM MICK WILSON.NL 3 3 – 4 0 U N C E R TA I N M A .4 7 2 8 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS C O N TA C T MAHKUZINE U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N INA BOUDIER . GRADCAM ( DUBLIN ).N E S S WILLEM DE GREEF M A H K U zi n e JOURNAL OF ARTISTIC RESEARCH H O S T E D B Y T H E U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R ( MaHKU ) I S S N : 18 8 2 . DIRECTOR SINT. DEAN GRADCAM. EDINBURGH SIMON SHEIKH. MALMO SCHOOL OF ART. PA R T I C I PA N T S UTE META BAUER. 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.LUKAS ACADEMY. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . DUBLIN . BA LK EM A L ANGUAGE EDITING JENNIFER NOL AN T R A N S L AT I O N S GLOBAL VERNUNF T DESIGN CHRIS T I A A N VA N D OK K UM.

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