EDITORIAL

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

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

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

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

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

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

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

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

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BART VERSCHAFFEL

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or is the academy still clearly defined as an outpost for a culturecritical awareness? During the next two presentations ( Simon Sheikh, Mick Wilson ) the perspective shifts to didactic strategies. Can one determine how a MA curriculum is characterized? What are adequate didactic strategies and educational models, and how do they differ from a BA program? What are the differences and similarities between the various European MA Fine Art programs? How does the Bologna-ruled, curriculum-based program and its seminars, lectures, and various methods and bodies of knowledge relate to the still dominant studiobased paradigm with its rituals of tutorials and studio visits? How do we prevent a more topical discourse based on critical studies and artistic research becoming canonized into a novel form of academia? Finally, how do the current educational strategies and models relate to the research practice of lecturers? In other words, how could the lecturer’s own artistic research be strategically deployed in the curriculum? The question of the position of one’s own artistic research leads us also to the theme of the research environment. Is it the task of the academy to develop a specific artistic research environment? How should such an experimental research environment be facilitated? How does such a research environment relate to the artistic field mostly determined by the free market system? Is it the potential of the experimental environment as one of the last asylums for deviant forms of knowledge production ( or thinking ) that made a great number of curators decide in recent years to proclaim the academy as the starting point for their exhibition projects? Investigating the issue of the academy as field of possibilities from the perspective of the Graduate School appears urgent. In other words, in what way – political, facilitative, infrastructural – could the Graduate School contribute to the development of a research climate in art education? These questions are approached during A Certain Ma-Ness in two ways. First, artists Tiong Ang and Aglaia Konrad developed a presentation in the exhibition space of VCH De Brakke Grond parallel to the themes of the symposium. The exhibition shows the interaction between the research of the lecturer ( Tiong Ang, MaHKU and Aglaia Konrad, Sint Lukas ) and of the student ( Filip Gilissen, Sint Lukas, Joris Lindhout, MaHKU ) as a didactic tool for creating a dynamic research environment within the current educational system ( The visual material printed in MaHKUzine 5 is a series of impressions of this parallel exhibition ) . Secondly, Bart Verschaffel’s talk, Willem de Greef’s introduction, and the presentation of the Utrecht Consortium ( see Research Reports ) all elaborate further on the conditions and possibilities of an artistic research environment. It was Ute Meta Bauer at the Vienna School of Art who was one of the first people in the art academy field to address these questions and issues in the context of institutional preconditions. Therefore, she opens the symposium A Certain Ma-ness with a keynote statement. ( HS )É
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3 – 4 EDITORIAL

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

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

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

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

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

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

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

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

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

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

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

but there was no space for us available and what we saw exhibited. universities etc. 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. affected my desire to understand not only art theory. 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. Rorty and Luhmann never hurts in becoming aware of our very own entanglements. although a very open and liberal one. specifically those who previously held highprofile curatorial positions. Art schools seem to offer a kind of temporary refuge for those with a desire to sustain a more critical and discursive practice. I have been studying art myself. from mainstream art institutions in those days. Today this all seems so far away. film.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . at least so far. I am quite aware of the influence of teachers and the impact of innovative institutional leadership in higher artistic education upon students.. and poetry. From my perspective. 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 . performance and theater. Therefore. music. from what the art field represents. specifically women. was a catalyst for me and some artist friends to generate something else. The wish to renegotiate the role of art through an expanded notion of artistic education allows a certain degree of distance. and some independence. did often not address what mattered to us or was not linked to our discussions about art. but also the social topography of the art world at large. at least in the Western hemisphere. We – as an artists’ group. The motivation actually causing my shift from working as an artist and organizer to curator and educator seems outdated. In my case. we simply created our own formats and spaces and generated our own audiences. Instead of complaining. one reason is the increasing commodification and instrumentalization of the position of the curator for all sorts of agendas and desires. called “Stille Helden” – were not completely opposed to art institutions. The exclusion of a younger generation of artists.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . Furthermore. one should not underestimate the potential and pleasure of working with students. and the option of getting away from the sheer pragmatism of running the day-to-day business of a museum.Bourdieu. We were students of the visual arts. 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. more distant locations by the market and its protagonists – and the pressure attached to the market is already felt.over’ of the. a European male-dominated art school setting.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 9 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . To be mainly involved with satisfying trustees and/or local politicians rather than investing time researching fields that might be not that popular – this is not everyone’s cup of tea. the inspiration to be found in other related research fields. I do not want to criticize my colleagues in art institutions and do not want to sound all too negative. But what I currently see happening is the `take . extended by post-graduate studies in art theory.

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

Such understanding has been continued by a number of recent political philosophers such as Toni Negri. although the market is strong today.conceptual artist Joseph KosuthΩonce stated so clearly: “. and the communication about it generates what we consider art. Since raising theoretical questions through both artistic and curatorial practice is one of my driving forces. museums. curators. One of my teachers in art theory at the Academy in Hamburg. a public space sphere within an institution for education. 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. I view both art and curating as ephemeral and process-oriented work.e. to be challenged. as an entity sharing and debating experiences. its perception.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . J O S EP H : A R T A F T ER P H I LO S O P H Y A N D A F T ER C O L L E C T E D W R I T I N G S 19 6 6 -19 9 0 . I recall that in the 1990s it was the curators who were considered the strong players in the field.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 . work not so easily absorbed. That keeps one alive and very sensitive to cultural developments. But free of what? That question reminds me of Antonio Gramsci and his notion of the artist as organic intellectual whose role is not to act. I developed a view of the audience as informal participants over time. is still crucial and important to me. Today. but is more difficult to achieve. the institutions were the opinion makers.an audience separate from the participants does not exist. Before that. Surely one should not fall into the trap of considering art.. Later.. These notions are in constant flux. For example. possibly caused to a certain degree by curators entering the field. while they should really be “free” thinkers. and art schools as fixed entities. C A M B R I D G E . gender. postcolonial. As an audience. During the years I directed an artists-run space in StuttgartΩ. you have to participate to produce a discourse and to understand an art work. i. I realize that the art schools are too involved in the markets. artists. to be committed for a certain time span and then to move on to new territories. and communicate that Ω KO S U T H . Michael Lingner claimed that only the combination of a work of art. art takes part in the economical and political reconfigurations on this planet as much as everything else. these issues are addressed to pressure artists into being “do-gooders”. you have to engage in what you perceive. As long as we are able to address that in our educational positions. E N G L A N D : T H E M I T P R E S S . Today. M A S S AC H U S E T T S / LO N D O N . This understanding of generating an audience to develop a space of communication. while working as a curator for large-scale exhibitions such as Documenta11 or the 3rd Berlin Biennial. Globalization as such does not stop when it comes to art. and the speed of the transformational process has been increased alongside the development of high consumption in general. to subordinate or to serve a system. For me. it remains essential to enter institutional spaces and at the same time not to become too comfortable within them. – 3 – 4 EDITORIAL A C E R TA I N M A . but to be a critical and independent voice negotiating civil society. Power positions are not static or written in stone. Therefore. 19 91 .” I consider myself always to be the primary audience for my projects. 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 regret that the awareness of colonial. At the same time..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 . we should maintain a laboratory-type situation in the academies. In other words.

But since the Documenta11 curatorial team understood this exceptional exhibition format as a form of knowledge production.4 correlated with the discourses artists invited to Documenta11 were currently exploring. Octavio Zaya. it feels quite normal. Lucia. 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. we had to go to the places of origin or of relevance for each of the platform topics. also because museums are withdrawing more and more from curatorial obligation. 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 . artistic views. art dealers. but if you debate it in St. The so-called professionals have to re-encounter art each time they experience new works. Platform_1 was focused on a series of talks. One needs a “critical mass” to interact with you if you raise such questions. Such topics triggered some highly sensitive reactions amongst my colleagues on the faculty at the Vienna academy. Automatically one is confronted with criticism of people who share the experience and have deep convictions on the topic.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 20 02 . I see an exhibition as a zone of activity. and why not view it as an expanded series of seminars? Platform_1 . Sarat Maharaj. The opening of Documenta11 took place in March 2001 at the Academy of Fine Arts Vienna with Platform_1. we considered Documenta as an educational tool. Once. it is not a given.constellations are constantly shifting. What do we generate as curators when we put art works. next to each other. This meant there were eighteen months before the initial scheduled opening date of Documenta11 in June 2002 ( then called Platform_5 ). Today they are forced to take part in a tourist industry and have started to become fundraising machines in order to survive. O F D O C U M E N TA 11 . So Documenta11 was criticized mostly for resembling a seminar for higher cultural education. we are still doing fine. a space one has to produce. a place with an everyday experience of this fairly recent academic discourse. In other words. and last but not least Susanne Ghez – was the view that Documenta is a knowledge production machine.0 0 0 48 C O LO FON . to debate creolité in Kassel does not make much sense. workshops etc. Some of them wondered how debates on democracy related to the agenda of an art school. An exhibition has to clarify the questions raised and share this process with the audience. Curators are under pressure to Ω P L AT F O R M 5 V I S I TO R S . That is immensely important in order to establish a serious kind of back-and-forth debate and to delve deeper into a topic.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . An exhibition of that scale reaches many peopleΩ.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 12 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . H A D A R O U N D 650.” Such a “zone of activity” marks the effort one makes to create discursive art – through a curatorial decision. In order to focus on the specifics of these discourses. What I shared with Okwui Enwezor and my colleagues from Documenta11 – Carlos Basualdo. Let’s return to the topic of curators connected to art schools. why not launch Documenta11 at an art academy. rather than educate them from the position of those “in the know. many for the first time encountering contemporary art. too. For example. Mark Nash. on “Democracy Unrealized”. Those questions indicated that antagonism was already on the rise. Several art critics. museums were the places for serious historical research. 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.

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

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

Bergen. In 2002. 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 . turning back onto itself the environment in which I had been given so much conceptual freedom and means of production. R AC E A N D D I F F ER E N C E . and later Edinburgh College of Art. 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 . 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 . sinister site next to Tate Britain with guest artists while imagining its past and future led to The Stunt and The Queel. Finally. “A metalogue is a conversation about some problematic subject. PAU L R A B I N O W .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .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 . Bateson writes. co-funded by art academies in Oslo. T H I S I S A R E A L O B S TAC L E . which I studied alongside contemporary art. S U S A N H I L L ER . Bateson refers to recursiveness as meaning that repeatedly loops back onto itself in a reflexive dialogue with its representational boundaries. 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 . 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 . S E C O N D . first between the London Institute ( now University of the Arts). fieldwork studies.publication called The Bastard. and the primary focus on translation as a key trope in advanced art practice. Chelsea College of Art and Design. I am interested in looking back at the controversial discipline of social anthropology. 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.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 .). 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 . 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 thought-structure that is naturally interdependent and interactive with other disciplines.Ω However. nine expostgraduates and I set up base for ten months in the derelict. M I C H A EL B U T H E . Using a relational methodology to understand perception. Copenhagen. collating materials from Future Academy fieldwork and developing a further constellation of backing and finance.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 . I published the last two editions of Metronome for documenta 12. In particular. C O M 3 – 4 EDITORIAL A C E R TA I N M A . Navigating through this vast. and was able to knit together institutional support. the process of moving and working in different cities and involving local histories and organisations in the project as it evolves. 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 .” M E T R O N O M E N O . FI R S T . the polymathic academic and cyberneticist who made seminal advances in the translation of systems of knowing and communicating. Australia. and Glasgow School of Art. Bateson’s concept of the “metalogue” is relevant here. in 2006 and 2007. a publication and 12hour event held in the unconverted Millbank building. but the carrier and medium through which I have transported this research in motion that tends to lie somewhat to the side of recognised curatorial models. building a form of “ecological epistemology”. M A R C U S A N D C U S H M A N . 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 . I’ve come back to Gregory Bateson. 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. yet high-security Royal Army Medical College that had just been acquired by Chelsea College of Art and Design. but then denied an affiliation to throughout the 1990s. P LU S T H E B U R G EO N I N G P O S I T I O N . At that point. Metronome is neither vanity publishing nor self-publishing. B U T O F F ER E D A S EL F . and Japan. E TC . the one convergence I would like to turn to now is the influence of early ethnographic experiments in research.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 their subsequent interpretation. I developed Future Academy. Once again I set up informal research units. regulated art publishing and academic norms. Malmö. for example. and Stockholm. Tate Britain. Clifford Geertz. 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 . 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. the nurturing of self-appointed communities of artists and researchers who engage in a joint investigation and debate modes of survival.Ω I want to revisit the maverick methodologies of twentieth century anthropologists from Margaret Mead through to Michel Leiris and more recently. only this time in the US.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 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 .

and whether I survive professionally.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. collaborators.” One might say the same distinction applies to the art academy in relation to the museum as a site of new production: art academies necessarily should be places where art is engaged with and expanded in a manner that cannot be achieved in museums and galleries. 1971 . like any institution. As Martin Prinzhorn stated in a conversation at the start of Future Academy. each of us has the authority to retain a sense of individual development. 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. One question emerges here: can both art students and faculty recognise the plurality and therefore the instability of methodological procedures as part of their research activities.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 16 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. and then involving them from day one when nothing is known. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice. I would argue that the academy is the site of prelusive knowledge. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. has been to ascertain whether the art academy remains a location in which its faculty can experience the flexibility to undertake the prelusive or unknown that defines independent research and the work associated with it. an art academy. and yet. So my personal question. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. the art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”. and heterogeneous location for visioning the future and forming agents in this process. and highlighters together. at the same time. B AT E S O N . places and people. As well as providing a more or less thorough training ground for artistic positions. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. 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.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 . Only some of the conversations achieve this double format. “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. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . On an elementary level. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. where I travel to. to become interlocutors. and there are no results. However. reactivated again and again over the last ten years. deregulated. The work of the students has a bearing on what I produce. “S T EP S TO A C E R TA I N M A .the problem. but the structure of the conversation as a whole is also revealed to the same subject.

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

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

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

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

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

a lucid and production-based interest in economic and symbolic value.scholars guarantees the on-going low-level costs. I’d like to propose three areas of articulation for fine art students: first. To impart this critical approach to the student seems to be essential today. methodologies. So to conclude. 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. Our Roaming Faculty member is the itinerant hawker not only of ideas but also of ways of apprehending. rotates ownership between the participating institutions. understood here as the flexible act of idiomatic transference between disciplines. analysing and evaluating their presence within the next generation of artists and practitioners. 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 MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and thereby to dissolve the idea that following a course will make them into an artistÉ 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . and finally a polymathic approach to knowledge production linked to an enhanced disposition towards translation. and helps to broker decision-making. and cultural contexts.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 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 . which are shared. and by extension the ability to engage with a form of research that is non-prescriptive from the outset.

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

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

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

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

All we can do is shift the debt into a mode of dedication by asking to what do we spiritually want to be indebted. for the sake of her return to the future. Teachers are always tricksters because they bear witness to the fact that art is not just a product. another form of embodiment. 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 . That is a perfect example of shifting debt to dedication. beyond the material? This leads to considerations of how one might go beyond the institution.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 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 . On that symbolic level. teachers feel enormously indebted to them. while you cannot actually do that.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . When the graduates go out into the world. In the end. 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. teaching can make a difference in helping students to determine to whom or to what principles they chose to become indebted.state. Especially when teaching traditional skills. 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. they become indebted to the idea of the social or society. but will make a difference. while art could equally be a highway straight to hell? As a teacher. That is a promise one can never guarantee. where she raises that question of debt and dedication. because they have received affirmation of the validity of producing art. by saying you should write for the ghost of Shakespeare’s sister. and perhaps we can never redeem or absolve ourselves completely from this debt. they become indebted to the market. 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . How could one ever make that guarantee. Let’s go for another form of art. So there is a mutual sense of indebtedness. you will remain completely indebted to people whose lives you would have to assure. she asks to what spirit do we dedicate our teaching.

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

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

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

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

art production. that would be the only reason to get a master’s degree. I would like to explore the topic of the relationship between educational strategies and the research practices of the lecturers. of art’s placement in the world in addition to its place in the art 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 32 3 3 – 4 0 U N C E R TA I N M A . to present their research rather than work toward fulfillment of a curriculum.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . That is also how art schools can differ from university humanities departments such as art history or philosophy.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. At our school. Finally. 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 . If the MA program does not provide socialization. research and the practice of the lecturers are reflected in the teaching. At the Malmö school we ask seminar leaders. who come from a variety of backgrounds such as theory. it has to provide some kind of critical understanding of what art means. in fact. and vis-à-vis the marketing of education. 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.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. That is more inspirational and interesting then listening to an analysis of Foucault’s Order of Things one more time. and curating. Of course. but – the other way around – is the teaching also reflected in the practice of the lecturers? In other words.

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

Doctorate level: [requires being] capable of critical analysis. More dangers may be identified. and a researchoriented Master’s. the transformative and critical potential within pedagogy is underrepresented or even absent within the descriptors.made between Bachelor. – between structured or unstructured Master’s. We can make distinctions – between a ‘professional’ and employment – focused Master’s. The introduction of the Anglo-American system of Bachelor and Master degree programs into the European art school system ( as part of the so-called Bologna 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . There are other more important risks at stake here. Even accepting that ‘Bologna’ does not prescribe curriculum content. This is an important component related to our fear of overspecialization in the outcomes or competencies model. – between specialist or generalist Master’s. This move to establish the market economy everywhere is of course the primary agenda of neo-liberal dispensation. For example. then.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 support for curriculum diversity. they do not begin with an agency. In the competencies. which on the surface may appear welcome and beneficial. however. So ’Bologna’ is consistent with making distinctions of ‘kind’ at the same Master’s level. there are other risks within the ‘learning outcomes’ ( or competencies ) model. Master and Doctorate. – between discipline-specific or multi-disciplinary or even interdisciplinary Master’s.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The educators within the descriptors appear as secondary ‘resources’ for the realization of the outcomes. not on the curriculum. a Master student [demonstrates] the ability to integrate knowledge and handle complexity. we are required to differentiate our educational products and compete in the new market place of higher education. – between one or two-year Master’s programs. Do we not already address some of the generic MA level descriptors in the first two to three years of undergraduate study? For example. There are other risks in the ‘learning outcomes’ model. evaluation and synthesis of new and complex ideas. – 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. Master’s level: [demonstrates] the ability to integrate knowledge and handle complexity.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 . Is it possible to determine how a Master’s curriculum is characterized? Within the ‘Bologna process’ the focus has been on outcomes. and formulate judgements with incomplete data. But wouldn’t we also expect that from a third-year undergraduate student? A primary issue. The students appear to be constructed as pre-autonomous actors – they are in search of an agency. 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. also correlates to marketization. is the question of how the generic descriptors match what we already do within contemporary art education.

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

These are three generally recurrent features. troubling questions of education in general. The quandary of ‘emancipatory practice’ – how to enable ‘autonomy’ and ‘agency’. 3 . Cork Caucus.describing and [discursively] constructing the Master’s program or indeed any program? The possibilities are: – that we are doing it simply to mimic an alien system. Here the question of art practice and the notion of autonomy come together. ‘Pedagogy’ was one of the three leitmotifs of documenta12. ArteContexto’s recent dossier on ‘teaching visual arts’. and Frieze Art Fair’s recent round-table discussion on art education ( October 2007 ). The tension that might be painted as a showdown between Ranciere’s ignorant schoolmaster and Bourdieu’s sociologist king. How do you work within institutional structures. and practices. 2 The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. and autonomous agencies. and the art education conversation leapfrogged over it. Then part of what that structure must be able to do is to entirely dismantle and change. – that we are trying to establish credibility with our funders. There are three observations I would like to make in light of these developments in the larger field. – that we are doing it because there is some impulse to regiment and shutter the openness.N E S S MICK WILSON 36 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON The meditations on and experiments in alternative academies consistently return to the quandary of ‘emancipatory practice’. the question of art education is being asked and rehashed again and again. to questions of ‘autonomy’ and ‘agency’.’ 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. 1 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . but they really recur strongly throughout all these different experiments. What is it that our work does? What is it for? It is as if the curator conversation died. Cyprus and unitednationsplaza theme.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 . not to determine. not to control. We want to create structures which do not themselves exhaustively prespecify what will happen.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . – that we wish to provide a robust and critical learning environment. in the academies themselves. the fairs. Manifesta’s Notes for an Art School. but which in some way enable. – that we are trying to bring an offering to the market place. It is also being answered and tested in many different ways . to enable the flow of other discourses. The future model of the art school is clearly something engaging the imagination and energies of the international contemporary art scene. but rather to facilitate. the biennials. Frieze’s ‘Art schools then and now’. not to describe. ‘protoacademy’. ‘We’ art educators. Possibly the best articulation we have of our aspiration as teachers is not to dictate. Everywhere in the journals. I want to expand a bit on what I believe is significant. hierarchies. different dispensations of power? How do you work within this and still address questions of emancipation? These are standard.but not so visibly. I would suggest.

Let us accept our authority and our considerable agency and open it to accountability. with conflict and competition for resources. we’ll just sit back.’ Part of this is to reflect upon our desire to be loved by our students and to be respected by our peers. how we ( believe we ) do it. Consider also the desire for ‘pure’ conviviality. The other part is listening to others when they suggest to us that we might be mistaken –that we mis-recognize ourselves as the ‘subject presumed to know (themselves ). the mucky – the muddy wet ground. Consider the petty cruelties and rivalries of teachers for the affections of their students.N E S S MICK WILSON 37 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Let ‘us’ not disavow authority. but by what goes unspoken. of another type of accountability. undisclosed. even artist teachers should perhaps not seek purity and an attempted disavowal or refusal of authority. and say go on. Part of that accountability is mutual disclosure: what we ( believe we) do. 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. the brackish ground upon which our agency is based. un-interrogated in the ‘disciplinary’ conversation. as long as you do it within this framework. Consider Bourdieu’s early lesson on the cultural indoctrination of students not by what is spoken. 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. someone who says they have shed their authority is not so easily challenged for their exercise of that authority. They say. It is authority not subject to challenge and critique – when it is not answerable to others – which is most troubling. Think about what the national governments are doing in the domain of higher education. why do we think we can do it with our students? Teachers. especially for intellectuals and artists employed in academic institutions. The disavowal of authority is a classic strategy of authority. the inability to speak honestly and openly about contradictory consciousness can lead to a destructive desire for “pure” political positions.But we should still be troubled by this. the pure flow of uninterrupted.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . This will bring us not to pure positions but to messy human situations with complex agendas. Of course. and. you’re the experts. with 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . Consider the classic power struggles of academics for their tiny territories. 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. If we cannot do it with our colleagues. 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. you know what you’re doing. The American cultural studies practitioner George Lipsitz says. and why ( 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. We should perhaps rather seek to cope with -and reflect upon this ‘coping with’ – the impure. Authority is not in and of itself ‘bad’. dialogical exchange. ‘Living with contradictions is difficult.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . What we need to do is to revisit the possibility of resisting this.

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

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

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

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

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

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

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

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

Each invited speaker will also give a master class at the Utrecht School of Arts for MA Fine Art students and/or be involved in an expert meeting with 3 – 4 EDITORIAL A C E R TA I N M A .N E S S 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 . The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH lecturers the day following the public lecture. 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. 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. ( HS )É The Utrecht Consortium is also made possible by the financial support of the Ministry of Education and Culture ( Sia-Raak ) 3 3 – 4 0 U N C E R TA I N M A .unique collaboration of the Consortium partners. Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice.

N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 47 48 C O LO FON .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .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 .3 – 4 EDITORIAL A C E R TA I N M A .

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.NL 3 3 – 4 0 U N C E R TA I N M A . BRUSSELS CLEMENTINE DELISS. MALMO SCHOOL OF ART BART VERSCHAFFEL. MIT. DUBLIN .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . TOGETHER WITH THE HELSINKI SCHOOL OF ART. LECTURER CRITICAL STUDIES.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. DIRECTOR SINT. GRADCAM ( DUBLIN ). DEAN GRADCAM. PROFESSOR PIET ZWART INSTITUTE. PROFESSOR OF PHILOSOPY. BA LK EM A ARJEN MULDER B I B I S T R A AT M A N FINAL EDITING A N NE T T E W. DIRECTOR FUTURE ACADEMY. MALMO SCHOOL OF ART.4 7 2 8 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS C O N TA C T MAHKUZINE U T R E C H T G R A D U AT E S C H O O L O F V I S U A L A R T A N D D E S I G N INA BOUDIER . ROTTERDAM MICK WILSON.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 .M A HKU. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . PA R T I C I PA N T S UTE META BAUER. 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. UNIVERSITY GHENT JAN VERWOERT.LUKAS ACADEMY. CAMBRIDGE MA WILLEM DE GREEF.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 . EDINBURGH SIMON SHEIKH. SLADE SCHOOL OF ART. LONDON AND VIENNA SCHOOL OF ART.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 VISUAL ARTS PROGRAM.

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