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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COLOFON

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JOURNAL OF ARTISTIC RESE ARCH SUMMER 2008

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

3 – 4 EDITORIAL

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

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

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

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

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

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

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BART VERSCHAFFEL

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or is the academy still clearly defined as an outpost for a culturecritical awareness? During the next two presentations ( Simon Sheikh, Mick Wilson ) the perspective shifts to didactic strategies. Can one determine how a MA curriculum is characterized? What are adequate didactic strategies and educational models, and how do they differ from a BA program? What are the differences and similarities between the various European MA Fine Art programs? How does the Bologna-ruled, curriculum-based program and its seminars, lectures, and various methods and bodies of knowledge relate to the still dominant studiobased paradigm with its rituals of tutorials and studio visits? How do we prevent a more topical discourse based on critical studies and artistic research becoming canonized into a novel form of academia? Finally, how do the current educational strategies and models relate to the research practice of lecturers? In other words, how could the lecturer’s own artistic research be strategically deployed in the curriculum? The question of the position of one’s own artistic research leads us also to the theme of the research environment. Is it the task of the academy to develop a specific artistic research environment? How should such an experimental research environment be facilitated? How does such a research environment relate to the artistic field mostly determined by the free market system? Is it the potential of the experimental environment as one of the last asylums for deviant forms of knowledge production ( or thinking ) that made a great number of curators decide in recent years to proclaim the academy as the starting point for their exhibition projects? Investigating the issue of the academy as field of possibilities from the perspective of the Graduate School appears urgent. In other words, in what way – political, facilitative, infrastructural – could the Graduate School contribute to the development of a research climate in art education? These questions are approached during A Certain Ma-Ness in two ways. First, artists Tiong Ang and Aglaia Konrad developed a presentation in the exhibition space of VCH De Brakke Grond parallel to the themes of the symposium. The exhibition shows the interaction between the research of the lecturer ( Tiong Ang, MaHKU and Aglaia Konrad, Sint Lukas ) and of the student ( Filip Gilissen, Sint Lukas, Joris Lindhout, MaHKU ) as a didactic tool for creating a dynamic research environment within the current educational system ( The visual material printed in MaHKUzine 5 is a series of impressions of this parallel exhibition ) . Secondly, Bart Verschaffel’s talk, Willem de Greef’s introduction, and the presentation of the Utrecht Consortium ( see Research Reports ) all elaborate further on the conditions and possibilities of an artistic research environment. It was Ute Meta Bauer at the Vienna School of Art who was one of the first people in the art academy field to address these questions and issues in the context of institutional preconditions. Therefore, she opens the symposium A Certain Ma-ness with a keynote statement. ( HS )É
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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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and believe me even in Dutch it sounds also quite weird: “academizing”. Only in 1994.” Another important aspect is that there is only one kind of Master’s degree in Flanders. the subject of this symposium is not PhD’s or doctorates in the arts. there are some peculiarities in the way the Flemish government has implemented the Bologna Declaration. and no exception was made for higher arts education. the Flemish government started to implement the Bologna declaration some years ago.N E S S O P E N I N G : A C E R TA I N M A . meaning the Flemish and French groups in Belgium. By this we mean that higherlevel art institutes. First and foremost. and only in Flanders. are generally transformed into what are called “professionally oriented” Bachelor’s degrees. Contrary to the Netherlands. the largest part of the non-university higher education programs and courses. just one decade ago. Especially the academization of higher arts education. those provided by what we call the “hogescholen” ( higher educational institutes ). Is there really a need for this? And if so. be they practicebased or not. At present. education has not been a national matter. art education became a full part of the higher educational system. universities and non-universities alike. professional bachelor’s degrees are only provided by the “hogescholen”. or for artists. including reform of the Bachelor-Master degree structure. Let me give you some facts on the educational system in Belgium. As adopted by the Flemish Parliament in the 2003 Act on the structure of higher education in Flanders. higher arts education has undergone and is still undergoing several reforms.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 . while academic bachelor’s and master’s degrees are provided by universities and by the “hogescholen. In other words. Art students have to become academics or develop some basic competencies in research. for instance. this symposium tries to deal with what we call in Belgium. provided by both universities and “hogescholen”. Instead there has been a complete devolution of competencies for education to the different linguistic communities. It has not always been so. Since then the Ministry of Education for the Flemish Community is responsible for higher education in Flanders. or at least in Flanders. are being transformed into “academically oriented” Bachelor’s and Master’s degrees. Like all the other higher education programs and courses.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 . and probably as a consequence of this. will necessarily have to present or develop curricula for students which are clearly “embedded in research”. the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . what could it probably mean? This is what this symposium is about. Other programs or courses.A C E R TA I N M A . if they want to provide Master’s degrees. Fact number one: since 1989.N E S S W I L L EM D E G R EEF To make it very clear from the outset. Fact number two: arts education is a regular part of the Flemish educational system. Which means that only since then were its structure and its qualifications aligned with the rest of the system. Nevertheless.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .

each of the “hogescholen” has been affiliated with a university. scientific domain. All this undoubtedly poses many questions. what type of research should they develop? Importantly. All these issues are not unique to Flanders. how do we make a clear link. Many arts institutes. 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. is the identity as such of higher arts education not at stake here? Thirdly. if not undeveloped. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly.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 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 . if we want to. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . does all of this not demand a change in the structure of higher arts education itself? For instance. Let me just point out some of them. for most of the Flemish politicians it is widely accepted that the “hogescholen” cannot possibly meet this requirement for “academization” without a helping hand from the universities. are looking for the best way to deliver excellent art education within an outstanding academic context. Moreover. between arts education and research? Does it mean. all over Europe. the Hogeschool Sint-Lukas Brussel. if higher arts institutes want to transform their traditional programs into academic programs. 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. to put it differently. All Master’s degrees in Flanders are supposed to be academic. or is there still a need for more professionally oriented programs? Or. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. My own institute. Some have called it the academic drift of the arts institutes or departments. Firstly. for instance. 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. they will necessarily have to reset their targets and to rethink the curriculum. is associated with the Catholic University of Leuven. Therefore. 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 . Is there really a need for this ? Do all students in the arts really need to follow this academic track. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON Or are their artistic or professional qualities more important? Does it mean that higher arts institutes have to develop their own research programs? If so. today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level.

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

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

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

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

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

What I shared with Okwui Enwezor and my colleagues from Documenta11 – Carlos Basualdo. art dealers. also because museums are withdrawing more and more from curatorial obligation. next to each other. 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. Platform_1 was focused on a series of talks. Sarat Maharaj. Those questions indicated that antagonism was already on the rise. but if you debate it in St. and why not view it as an expanded series of seminars? Platform_1 . artistic views. What do we generate as curators when we put art works. Curators are under pressure to Ω P L AT F O R M 5 V I S I TO R S .N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 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 . we considered Documenta as an educational tool. many for the first time encountering contemporary art. In other words. Today they are forced to take part in a tourist industry and have started to become fundraising machines in order to survive. Mark Nash. 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 . we are still doing fine. on “Democracy Unrealized”. That is immensely important in order to establish a serious kind of back-and-forth debate and to delve deeper into a topic.” Such a “zone of activity” marks the effort one makes to create discursive art – through a curatorial decision. we had to go to the places of origin or of relevance for each of the platform topics. I see an exhibition as a zone of activity.4 correlated with the discourses artists invited to Documenta11 were currently exploring. a place with an everyday experience of this fairly recent academic discourse. Automatically one is confronted with criticism of people who share the experience and have deep convictions on the topic. a space one has to produce. to debate creolité in Kassel does not make much sense. workshops etc. In order to focus on the specifics of these discourses. The so-called professionals have to re-encounter art each time they experience new works. rather than educate them from the position of those “in the know. Such topics triggered some highly sensitive reactions amongst my colleagues on the faculty at the Vienna academy. Some of them wondered how debates on democracy related to the agenda of an art school. The opening of Documenta11 took place in March 2001 at the Academy of Fine Arts Vienna with Platform_1. Several art critics. One needs a “critical mass” to interact with you if you raise such questions. it is not a given. too. Let’s return to the topic of curators connected to art schools. why not launch Documenta11 at an art academy. museums were the places for serious historical research. This meant there were eighteen months before the initial scheduled opening date of Documenta11 in June 2002 ( then called Platform_5 ). Lucia. 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. Octavio Zaya.0 0 0 48 C O LO FON . An exhibition has to clarify the questions raised and share this process with the audience. But since the Documenta11 curatorial team understood this exceptional exhibition format as a form of knowledge production. So Documenta11 was criticized mostly for resembling a seminar for higher cultural education.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 20 02 . and last but not least Susanne Ghez – was the view that Documenta is a knowledge production machine. An exhibition of that scale reaches many peopleΩ. it feels quite normal. Once. O F D O C U M E N TA 11 .constellations are constantly shifting. H A D A R O U N D 650. For example.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.N E S S 5 – 6 O P E N I N G : A 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 . A “good” exhibition leaves one irritated. No wonder some curators migrate to educational institutions in order to do research. troubled. Exhibitions are not being created to simply satisfy us. stimulated.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 . a space for discourse that challenges the way we think and the way we perceive the world.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . An exhibition should be able to create a space for critical reflection.

has no formal legitimacy in terms of official diplomas or exam qualifications. T H E P O L I T I C S O F A E S T H E T I C S . economic models. 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. As a procedure that involves the elaboration of new proposals and their execution.program particularly with regard to a reflective and critical attitude. Currently part of Edinburgh College of Art.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 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 . Japan. USA . Future Academy students have acted as the diagnosticians of their own art education. This research deepened until we decided to make voice recordings in a studio in Oslo and develop another Metronome ΩIT Ω“ T H E N OT I O N O F 3 – 4 EDITORIAL A C E R TA I N M A . and community. and finally Biella. a process. This has involved generating work with artists and writers through the independent organ Metronome and led to a backstage approach to curating for which the art college has proved to be the most efficient and responsive institutional setting.. Africa. which can only be successful if they view their current condition as closely aligned to that of a future environment for research. I transited around Scandinavia for eighteen months. Future Academy characterises my activity as a curator over the last ten years. I published Backwards Translation based on the ex-curricula of students. C O N T I N U U M . Bordeaux. As a self-reflexive investigation that relies on the free will and engagement of students from different institutions and faculties it is necessarily heterological: it appears to disturb the existing coordinates of fine art education by tracing paths across geopolitical locations that throw up earlier colonial cartographies and question current affiliations of power and knowledge that are in the process of being re-negotiated. and Australia. a curated research initiative set up in 2003 that has been driven primarily by voluntary and non-paying cells of postgraduate students. students who take on Future Academy either leave quickly because they do not understand its apparent lack of course structure. 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. ? CL ÉM EN T I N E D EL I S S Is it possible to map the various skills required for the MA . However.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . whilst simultaneously coming to grips with survival. 20 0 4 . Interestingly.. In 2001. or became so fully involved in it that their ownership of it is unrelenting. Future Academy has effectively spanned five continents in its attempt to discern the context for independent research in art in times to come.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 . Future Academy does not provide an MA or MFA and. 71 ‘ H E T ER O LO GY ’ R EF ER S TO T H E WAY I N W H I C H T H E M E A N I N G F U L I S D EB ATA B L E W H E T H ER T H E D E V ELO P M E N T O F M E T R O N O M E W O U L D H AV E B EE N AC H I E V E D I N T H E M I D TO L AT E N I N E T I E S I F I H A D W O R K E D W I T H I N M U S EU M S W H ER E T H E EM P H A S I S O N P U B L I C V I S I B I L I T Y A N D AC C E S S M AY H AV E R U N C O N T R A R Y TO T H E F O C U S O N ‘ C O N C EP T UA L I N T I M AC Y ’ T H AT I C H O S E TO WORK WITH. Edinburgh. I N T ER V I E W W I T H G A B R I EL R O C K H I L L .Ω Over the last five years. India. and responses to fieldwork in foreign locations. P. and a conception of both knowledge production and research? My contribution to this discussion is based on ‘Future Academy’. with Michelangelo Pistoletto who was setting up the Cittadellarte and University of Ideas.” J AC Q U E S R A N C I ÈR E . 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 . Supported by host institutions from Europe. . in fact. 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.I S I T P O S S I B L E T O M A P . production.Ω In 1999.

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

to become interlocutors. a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. collaborators. As well as providing a more or less thorough training ground for artistic positions.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 . “Art academies should be places where research is done that actually cannot be done in universities because universities have other limits that art academies do not need to have.N E S S 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 . each of us has the authority to retain a sense of individual development. places and people. The work of the students has a bearing on what I produce. and whether I survive professionally. As Martin Prinzhorn stated in a conversation at the start of Future Academy. 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 . 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. B AT E S O N . at the same time. is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. “S T EP S TO A C E R TA I N M A . 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. and yet. and heterogeneous location for visioning the future and forming agents in this process. where I travel to. deregulated. To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. I would argue that the academy is the site of prelusive knowledge.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process.the problem. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. 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. 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 there are no results. 1971 . but the structure of the conversation as a whole is also revealed to the same subject. So my personal question. Only some of the conversations achieve this double format. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. an art academy. However. On an elementary level. 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 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. and highlighters together. 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. like any institution. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. reactivated again and again over the last ten years.

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

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

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

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

production. something that one could argue is taking place once again. In 1971 he states that “such matters as the bilateral symmetry of an animal. 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. research.approaches with regard to studying. The Roaming Faculty model offers selected artists and scholars the chance to develop new work through a chain of interconnected situations at four to five different art academies. Open Circle. I’d hesitate to call this the seeds of a micro-institutional development but increasingly I feel it may just be heading that way. can only be understood in terms of such an ecology of ideas. and finally a polymathic understanding of place. C O M 3 – 4 EDITORIAL A C E R TA I N M A . In this manner. 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 .. and practices that might be taught. to Superflex. like our hawker earlier on. it was to both latent aesthetic processes. the polymath. Heterodox combinations of information and skill would inform art practice: for example. daily survival and collective projects.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL ΩI B I D . 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. researched. It’s a non-prescriptive condition of empathic learning. peripatetic researcher. becomes embedded in a structure dedicated to mobile knowledge transfer and deep exchange. the processes of courtship. the mystery of biological evolution. they argued. that provides for a parallel extension in the work of guest. a polymathic faculty. the nature of play. and developed. in other words those subjects. and everyday relational activities that attention was directed. could benefit from a lawyer on immigration and identity issues. a polymathic educational model. travel. a future art academy would engage in a polymathic economy. RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON . situating itself between different public audiences. contexts. which may be no wonder.g.”Ω When we investigated future faculties of knowledge in the art academy. the Roaming Faculty structure requires part investment of no more than 20 to 25% of a full professorial salary. institutional structures and time frames. Moreover. With the introduction of a ‘Roaming Faculty’. and the contemporary crises in man’s relationship to his environment. for a participating institution. or Pukar in India. but it is led by the value attributed to an individual’s research. to name just a few). which stand outside of the course curricula. the exercise of a particular sport as a model for analysing thought structures (e.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . the grammar of a sentence. 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.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. given the global importance of social interventionism in art practice of the 1990s (from N55. Huit Facettes in Senegal. Raks. It’s a consortium of sorts. the patterned arrangement of leaves in a plant. and the transnational group of students who work with him or her. Art students. the escalation of an armaments race. 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 .Ω Ω I ’M THINKING OF JOE S C A N L A N ’ S C O F FI N S . Senegalese wrestling as mental and physical dialectical engagement). to the shaping of content and the nurturing of transcultural and transdiciplinary positions.

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

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

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

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

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

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

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

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

The subjects are all listening to their master’s voice. However. Thought has boundaries different entirely from knowledge. That model would merely substitute the system of discipline for the system of control. Simultaneously. a nondialogical model of address. i. Therefore.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . 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. Where traditional educational systems were part of a disciplinary society. it is a critique of how institutions work.e. originally an artistic practice. now that artists engage with the world. One model I have been interested in is based 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . as happens with knowledge in the knowledge industry. we must ask what kinds of subjects. For this reason. universities are often teaching machines. are being produced. and its administrative model. modules and internalization can only be seen as part of a society of control. replicators rather than producers of knowledge. and as discursive spaces. Rather. However. One should then try and maintain the open-space freedom of the laboratory. That is the very issue of a certain ma-ness. and what kind of knowledge. i. the new model of examination.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . on the forefront of our current society and its notion of immaterial laborers. That is an inherently hierarchical and masculine subject position. “If the art school is a teaching machine.pertains to the idea of the masterclass. how they are inadequately historical. and not just with themselves. That has very little to do with institutional critique as such. one professor talking to multiple students and deciding just what art education is. one should not uncritically adopt the university structure. one should examine the implementation of its productive features. but now moving to a curatorial practice. it is important to shift the notion of knowledge production into what we at the Malmö art school call room for thought. 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. As producers of knowledge.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 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 . and how they fail to be equipped for dealing with the current situation of lifelong education and re-education. The critique and the transformation from managerialism. I believe. a phenomenon.e. have been much more profound. based on the sovereign reigning over the subject. This is why.” That is an urgent issue. In terms of mode of address. potentially hidden in the academy model. loose their effectiveness in terms of transforming the art environment. this is of course a pre-democratic model. Artists are a sort of social avant garde. there have also been didactic historical models that could prove inspirational. while omitting a certain notion of unproductive time and space. teaching. Hopefully it is too difficult to transform thinking into a commodity. since the results of institutional critique. we must question the relevance of this model and perhaps look more closely at the university model now replacing the masterclass. Rather one should learn from them as spheres of experience. To paraphrase Spivak. students. as places through which subjectivity has been formed. 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.

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

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

In fact. rethink. often within a research context. philosophy. in fine art and in the contemporary art practice. Within the Dublin Descriptors is the core of the competencies and outcomes required of an MA graduate. The related Dublin Descriptors are actually the core statements from the European Union as to what constitutes the specific Bologna outcomes. since it has failed to withstand a neo-liberal paradigm. we are all forced to review. that rhetoric is exhausted.N E S S Is it possible to determine how a MA art curriculum is characterized? What are its appropriate didactic strategies and educational models? I am going to respond to these two questions by working through the general problem of the MA in art education and how the issue occurs within the Bologna process. and sociology have. At present.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 . reassess. and the knowledge and rational underpinning these.N E S S´ 3 – 4 EDITORIAL A C E R TA I N M A . – can apply their knowledge and understanding. universities defend the rhetorics of the 19th century. to specialist and non-specialist audiences clearly and unambiguously. and rediscover what it is that we believe we are doing. ‘The Bologna Conference’ is such an attempt to achieve a common. However. That third question is connected with the conditions of the university at large. independent definition. there have been calls from different positions to try to achieve some equality about what it is exactly what the Master’s entails as distinct from a degree at a doctoral level. we are facing problems not significantly different from the ones our colleagues in literary criticism. All the other discourses face its effect and consequence. through various instruments. – have the ability to integrate knowledge and handle complexity. – have the learning skills to allow them to continue to study in a manner that may be largely self-directed or autonomous. So.U N C E R TA I N M I CK W I L S O N `M A . 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. This is what the Dublin Descriptors state. So. we have to invent new ways to speak the university. Next. I just want to begin by noting that the ‘Master’s’ degree – across all subjects – has always been one of the least understood and least defined academic degrees.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . For decades. Our common problem is that the demands of a technocratic discourse have become the norm. 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. – can communicate their conclusions. and formulate judgements with incomplete or limited information. and problem-solving abilities in new or unfamiliar environments within broader ( or multidisciplinary ) contexts related to their field of study. A series of distinctions is 44 – 46 WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . but that include reflecting on social and ethical responsibilities linked to the application of their knowledge and judgements.

The advocates of Bologna propose that: – curricula can retain their diversity. then. Master’s level: [demonstrates] the ability to integrate knowledge and handle complexity. – between one or two-year Master’s programs. a Master student [demonstrates] the ability to integrate knowledge and handle complexity. – between specialist or generalist Master’s.N E S S MICK WILSON 34 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . More dangers may be identified. In the competencies. There are other risks in the ‘learning outcomes’ model. The students appear to be constructed as pre-autonomous actors – they are in search of an agency. the transformative and critical potential within pedagogy is underrepresented or even absent within the descriptors. under the heading Making Judgements: Bachelor’s level: [involves] gathering and interpreting relevant data. which on the surface may appear welcome and beneficial.made between Bachelor. This is an important component related to our fear of overspecialization in the outcomes or competencies model. they do not begin with an agency. This move to establish the market economy everywhere is of course the primary agenda of neo-liberal dispensation. we are required to differentiate our educational products and compete in the new market place of higher education. The support for curriculum diversity. The educators within the descriptors appear as secondary ‘resources’ for the realization of the outcomes.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . We can make distinctions – between a ‘professional’ and employment – focused Master’s. also correlates to marketization. There are other more important risks at stake here. not on the curriculum. Master and Doctorate. Is it possible to determine how a Master’s curriculum is characterized? Within the ‘Bologna process’ the focus has been on outcomes. Do we not already address some of the generic MA level descriptors in the first two to three years of undergraduate study? For example. – between structured or unstructured 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 risks within the ‘learning outcomes’ ( or competencies ) model. and a researchoriented Master’s. But wouldn’t we also expect that from a third-year undergraduate student? A primary issue. So ’Bologna’ is consistent with making distinctions of ‘kind’ at the same Master’s level. and formulate judgements with incomplete data. Then one must ask whether it is possible to determine how a Master’s curriculum for contemporary art practice is characterized. For example. evaluation and synthesis of new and complex ideas. – between discipline-specific or multi-disciplinary or even interdisciplinary Master’s. – the Master’s award can be described without reference to one specific discipline. Doctorate level: [requires being] capable of critical analysis. is the question of how the generic descriptors match what we already do within contemporary art education.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . however. Even accepting that ‘Bologna’ does not prescribe curriculum content.

Is it then possible to determine how a Master’s curriculum is characterized? Yes. Today. and how we do our jobs within the scenario of handing out awards. What is our purpose? What do we need to disclose? What is it that we do? To what end and with what purpose are we 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A .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 . Now the criteria for recruitment and promotion are no longer primarily based on reputation. So we have two kinds of market threats: i Higher education as such has become a more intensely marketized system in general.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 essential germ of the open academy model is that in an educational setting. The question is whether the transformation from a place of creative freedom to marketplace is good for the quality of the art academy. We have institutional reputations. A labor market is partly regulated by the guild process of artist-teachers themselves. However. It is not necessarily the case that the art market appears on the doorstep. program reputations. The reputation-based economy within art education also blurs into its larger counterpart within the contemporary art world. the open academy will offer more space for risking new and unwarranted forms of art production and more space for thought. a certain bureaucratic disclosure moves in. Confronting this view. but driven by the discursive community around the extended field of contemporary practice. So. the reputation-based economy of art education has been displaced by the emergence of managerialism. 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. I believe that the open academy rhetoric is somewhat problematic. and so on. the advertising pages in Art Forum.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . we have the sense that the market is making inroads into education. When and why we give awards. within the network of fellow competitors for reputational standing. ii The art market colonizes the imagination and orientation of the student-artist within the academy. Similar to all other areas of cultural policy. we are suddenly required to disclose what it is that we do as art educators. Within our working practice. we had a labor market governed by reputation. where the work of the student-artists is unhooked from the immediate productive demands of the market. Part of the problem here is that this move is effectively shuttering the openness we have come to understand as being the potential – not always delivered – of the art academy model. the cultural capital and the ascription of reputational standing was something endemic to a community of discourse. constructing one’s curriculum vitae. People got together and spoke about art. of course! But the really important question relates to purpose. artist-teachers as ’chosen ones’ jostling for status. Until recently. it is merely that the student imagines the possibility and already starts playing a different game. We all participate in the reputation-based economy in the form of e-flux. there is even a third type of ‘market’ beginning to emerge: the reputation-based economy of art education.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.

– 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’. not to control. Frieze’s ‘Art schools then and now’.but not so visibly. ArteContexto’s recent dossier on ‘teaching visual arts’. Then part of what that structure must be able to do is to entirely dismantle and change. Possibly the best articulation we have of our aspiration as teachers is not to dictate. – that we are trying to bring an offering to the market place. Cork Caucus. 3 . ‘We’ art educators. and practices. the biennials. I would suggest. different dispensations of power? How do you work within this and still address questions of emancipation? These are standard.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The quandary of ‘emancipatory practice’ – how to enable ‘autonomy’ and ‘agency’. I want to expand a bit on what I believe is significant. but rather to facilitate. not to determine.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. – that we are trying to establish credibility with our funders. to questions of ‘autonomy’ and ‘agency’. hierarchies. ‘protoacademy’. and Frieze Art Fair’s recent round-table discussion on art education ( October 2007 ).N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . to enable the flow of other discourses. but which in some way enable. These are three generally recurrent features. and autonomous agencies. The tension that might be painted as a showdown between Ranciere’s ignorant schoolmaster and Bourdieu’s sociologist king. We want to create structures which do not themselves exhaustively prespecify what will happen. Everywhere in the journals. troubling questions of education in general. 1 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . How do you work within institutional structures. Here the question of art practice and the notion of autonomy come together. the fairs. the question of art education is being asked and rehashed again and again. 2 The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. Cyprus and unitednationsplaza theme. but they really recur strongly throughout all these different experiments. – that we wish to provide a robust and critical learning environment. and the art education conversation leapfrogged over it.’ 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. It is also being answered and tested in many different ways . in the academies themselves. There are three observations I would like to make in light of these developments in the larger field. not to describe. The future model of the art school is clearly something engaging the imagination and energies of the international contemporary art scene. What is it that our work does? What is it for? It is as if the curator conversation died. ‘Pedagogy’ was one of the three leitmotifs of documenta12. Manifesta’s Notes for an Art School.

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

and social reproduction attuned to the flows of global capital. 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 .] mistake is promising by implication that a degree in art will lead to economic survival after graduation.” 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. They generated spaces of experimentation and openness AFTER the market outside had enabled a non-statemandated private/public-cultural sphere. the inevitable corollary of seeking ‘pure’ positions for ourselves. in a nutshell. (c ) that the higher education sector got much larger.’ Consider Luis Camnitzer’s ‘Fraud and Education’ in the recent issue of ArteContexto. Those academies arising outside the university setting came into being because of imperial. Remember the general suspicion of art school teachers: Those who can. do. the rhetoric of the university – the ‘idea’ of the university – simply fails to be persuasive. Why is it that the art world – the market. 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . cultural..troubled workplaces where institutionalized behaviors already cause many ‘closures’ of dialogue..N E S S WILLEM DE GREEF The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. Jan Verwoert said that ‘we’ promise ‘it makes sense to make art’. mercantilist and other vested interest arguments. Those who cannot teach. tertiary etc.” ( Calhoun 2006:3 ). In the face of these instrumental and technocratic imperatives. Calhoun says about these challenges. ‘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. There are some general points to adduce first.] Basically. ‘Without a dramatic change in institutional and sectoral size. I would suggest.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . “The [. The question of ‘bad faith’ is.. Those who cannot. For some time now. The ‘university’ and the entire field of ‘higher education’ – post. write criticism. They will find some other means. This is perhaps the trickiest issue to tackle. The question of ‘bad faith’ was referenced earlier in the discussion. – have undergone a series of profound transformations in the last two centuries. secondary. what we have here is a pyramid scheme. The serious elite will no longer look to the university as the primary space to construct and to reproduce their elite status. The independent art academies have a different history.N E S S MICK WILSON 38 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 3 The ‘academy’ projects and debates too often fail to address the general condition of higher education in favor of a narrow focus on the specificity of art education. The latest of these transformations is the reconditioning of the university as a fully and explicitly instrumentalized space of economic. The issues. are ( a ) the universities got much larger. but it is a promise that we may not fully be able to redeem or honor. the relationship of higher education to elite formation changed. So these institutions were founded on instrumental logics. it is unlikely that some of the other changes would have taken place. It will not work. [. on means-ends rationale.. and ( d ) that partly as a consequence. nationalist. the magazines. teach. It is the market that emerged 48 C O LO FON . ( b ) that more or less full-time scientific and engineering research components of universities got much larger.

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

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

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

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

a research program in an art institution – let’s say about Lacan’s gaze – will result in two interventions. In addition. 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. What will be the focus? What will be the subject of reflection? What is relevant? How does one define research programs? How does one formulate decision and evaluation procedures? What will be the goal of the outcome of the research process? In an academic structure. one should be able to manage a variety of issues.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . However. research areas are defined.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . In the academic realm. Those problems mainly emerge in the beginning and at the end of an artistic process considered research.unresolved art-related research problems. evaluate. That is the only context. 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 .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 . Thus. and discuss the end product and how to connect it to the academic discourse. a statement and an exhibition called Lacan’s Gaze. document. Then what? The research might be a document to be sent out into the world. artistic research could possibly have. and content. 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. content-wise. it is clearly understood how to articulate.

. one talks in a rather abstract way about art as a form of knowledge production. i. today’s artistic research attitudes have brought reflection and theory to the center of attention. by Manifesta 5’s focus on the academy in 2006. In this debate.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 44 48 C O LO FON . a methodology manifesting itself in artists’ texts and exhibition forms focused on knowledge production. artistic knowledge production does not have a ready methodological model.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. What does it mean for an exhibition space in 2008 to develop a policy directed towards knowledge production? After all.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . artists are expected to fulfill the role of art critic and curator themselves. 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 artistic practice is considered a researching activity whose outcome. in contrast to scientific knowledge production. In order to deal adequately with this novel situation. the Utrecht organizations intend to establish an enduring network comprising the art institutions and the Utrecht School of Art while focusing on dynamic exchanges of views and expertise in the context of knowledge production. the Utrecht Consortium as a network of research activities mapping out the outcome of presentations based on the production of artistic knowledge.. Each artistic research project. in light of the emancipation of artistic research.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . One 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. These two activities used to be considered part of professional domains such as art criticism and curating. the debate on artistic knowledge production mentioned above. In these international discussions. That expectation seems to relate to the most recent debate in the world of visual art. is able to contribute to our knowledge about the world. Yet the institutional consequences of this debate have been subject to extensive reflection. In principle. However. the paradigm of art education has been rooted in the artistic situation of the 1980s. the situation of art institutions is rapidly changing all over the world. Conversely. Until now. This was a period where reflection and theory did not play a major role in the world of visual art. one argues. requires its own methodology. This novel situation has immense consequences for how one approaches competencies in the profession of art. the exhibition models are still based on “alternative” ( non-museological) models from the 1980s. however. and by Documenta 12’s educational program in 2007. such a model would be impossible to create. Today.e.RESEARCH REPORT UTRECHT CONSORTIUM Today. The establishment of the Utrecht Consortium is inspired by the 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . similar to that of scientific research. i.

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

( HS )É The Utrecht Consortium is also made possible by the financial support of the Ministry of Education and Culture ( Sia-Raak ) 3 3 – 4 0 U N C E R TA I N M A . These models and their context of artistic knowledge production will be discussed in professional master classes and workshops producing a broad spectrum of knowledge and insight. 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 . Topics will deal with reflective methodologies and presentation strategies.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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . The survey of “best practices” and its relevant models of presentation will be realized and published. The professorship Artistic Research will also organize a yearly cycle of Utrecht Research Lectures. Internationally known artists will give lectures in the context of the theme of Artistic Knowledge Production based on their own research-based practice.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 46 48 C O LO FON .unique collaboration of the Consortium partners.

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 .

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 . DIRECTOR SINT. MALMO SCHOOL OF ART BART VERSCHAFFEL. DEAN GRADCAM. UNIVERSITY GHENT JAN VERWOERT. DIRECTOR VISUAL ARTS PROGRAM. DUBLIN .M A H K U zi n e 5 3 – 4 EDITORIAL JOURNAL OF ARTISTIC RESEARCH SUMMER 2008 A C E R TA I N M A .N L RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM EDITORIAL BOARD HENK SL AGER (GENER AL EDITOR) 48 C O LO FON 48 A N NE T T E W. PROFESSOR OF PHILOSOPY.NL 3 3 – 4 0 U N C E R TA I N M A . BA LK EM A L ANGUAGE EDITING JENNIFER NOL AN T R A N S L AT I O N S GLOBAL VERNUNF T DESIGN CHRIS T I A A N VA N D OK K UM. PA R T I C I PA N T S UTE META BAUER.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . DIRECTOR FUTURE ACADEMY. LECTURER CRITICAL STUDIES. EDINBURGH SIMON SHEIKH. SLADE SCHOOL OF ART. BRUSSELS CLEMENTINE DELISS. MALMO SCHOOL OF ART.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL WEBSITE W W W. M aHK U /M A EDI TORI A L DESIGN EARN MAHKU IS PART OF THE EUROPEAN ARTISTIC RESEARCH NETWORK . CAMBRIDGE MA WILLEM DE GREEF.M A HKU. PROFESSOR PIET ZWART INSTITUTE.LUKAS ACADEMY.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. GRADCAM ( DUBLIN ). TOGETHER WITH THE HELSINKI SCHOOL OF ART.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 . MIT. ROTTERDAM MICK WILSON. LONDON AND VIENNA SCHOOL OF ART. BA LK EM A ARJEN MULDER B I B I S T R A AT M A N FINAL EDITING A N NE T T E W.