EDITORIAL

3–4

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

5–6

7 – 13

14 – 22

23 – 27

28 – 32

33 – 40

41 – 43

RESEARCH REPORT
UTRECHT CONSORTIUM

44 – 46

COLOFON

48

5
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

3

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,
44 – 46

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

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

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

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

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

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

RESEARCH REPORT
UTRECHT CONSORTIUM

48 C O LO FON

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
44 – 46

3 – 4 EDITORIAL

4

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

RESEARCH REPORT
UTRECHT CONSORTIUM

48 C O LO FON

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

if not undeveloped. One of the major consequences of this choice is that all Master’s degree programs have to be “embedded in research”. Therefore. what type of research should they develop? Importantly. if higher arts institutes want to transform their traditional programs into academic programs. or is there still a need for more professionally oriented programs? Or. Many arts institutes. scientific domain. if we want to. to put it differently. the Hogeschool Sint-Lukas Brussel. is the identity as such of higher arts education not at stake here? Thirdly. 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. each of the “hogescholen” has been affiliated with a university. how do we make a clear link. My own institute. Some have called it the academic drift of the arts institutes or departments. does the difference sharply evident in Flanders between professionally oriented and academic course programs make any sense in higher arts education? Secondly. 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 .N E S S WILLEM DE GREEF 6 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON Or are their artistic or professional qualities more important? Does it mean that higher arts institutes have to develop their own research programs? If so. how can one evaluate the quality of the research done by higher arts institutes or departments? Fourthly. 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. All these issues are not unique to Flanders. I believe this symposium offers us a wonderful opportunity for discussing these issuesÉ . today nearly all courses in higher arts education in Flanders are supposed to be leading to a Master’s degree. 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. Firstly. All this undoubtedly poses many questions. they will necessarily have to reset their targets and to rethink the curriculum. between arts education and research? Does it mean. for instance. Moreover.Flemish government has chosen not to introduce a “professionally oriented” degree at the Master’s level. Is there really a need for this ? Do all students in the arts really need to follow this academic track. Let me just point out some of them. All Master’s degrees in Flanders are supposed to be academic. all over Europe. is associated with the Catholic University of Leuven. does all of this not demand a change in the structure of higher arts education itself? 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.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . are looking for the best way to deliver excellent art education within an outstanding academic context.

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

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

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

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

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

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

A “good” exhibition leaves one irritated. An exhibition should be able to create a space for critical reflection. That leaves them with less time for research. stimulated. Aren’t those the exhibitions that stick around the longest?É 3 – 4 EDITORIAL A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT 44 – 46 UTRECHT CONSORTIUM 48 C O LO FON .continuously produce art shows that create media attention and attract large audiences. troubled.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 13 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . No wonder some curators migrate to educational institutions in order to do research. Exhibitions are not being created to simply satisfy us. a space for discourse that challenges the way we think and the way we perceive the world.

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

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

where I travel to. 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. 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. and whether I survive professionally. and there are no results. and yet. I would argue that the academy is the site of prelusive knowledge.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 16 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A . is the organic result of a groups’ desire to work together and formalise certain experiences and resolutions. The work of the students has a bearing on what I produce. “S T EP S TO A C E R TA I N M A . but the structure of the conversation as a whole is also revealed to the same subject. 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. collaborators. As well as providing a more or less thorough training ground for artistic positions. places and people. “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. encouraging us to determine hypotheses together and form the representation of our findings gradually as they are being pursued. Only some of the conversations achieve this double format. 1971 . a fuzzy logic that is perhaps this institution’s saving grace and ongoing claim to heterodoxy. deregulated.”Ω This perpetual mirroring exemplifies the liminal dimension located between researching something and producing a representation of this process. each of us has the authority to retain a sense of individual development. an art academy. at the same time. rather than becoming reduced to mere providers or teachers? This brings me to the blurred definitional framework of what we call the art academy. following Jacques Rancière’s notion of the “aesthetic regime of the arts”. 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. reactivated again and again over the last ten years. just as it evokes the distinctions and concordances between academic discourses of knowledge production and the eccentric vagaries of art practice.” 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. the art academy necessarily embodies 44 – 46 3 – 4 EDITORIAL ΩGREGORY A N E C O LO GY O F M I N D ”. to become interlocutors.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . and heterogeneous location for visioning the future and forming agents in this process. B AT E S O N . However. On an elementary level. To develop Future Academy as a Batesonian metalogical investigation means pitching it first to students. So my personal question.the problem. 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. As Martin Prinzhorn stated in a conversation at the start of Future Academy. like any institution. and then involving them from day one when nothing is known.

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

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

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

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

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

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

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

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

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

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

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

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

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

“If the art school is a teaching machine.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . That is the very issue of a certain ma-ness. there have also been didactic historical models that could prove inspirational. a nondialogical model of address.pertains to the idea of the masterclass. However. One should then try and maintain the open-space freedom of the laboratory. have been much more profound. One model I have been interested in is based 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . I believe. a phenomenon.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . one professor talking to multiple students and deciding just what art education is. one should not uncritically adopt the university structure. this is of course a pre-democratic model. As producers of knowledge. as places through which subjectivity has been formed. modules and internalization can only be seen as part of a society of control. The critique and the transformation from managerialism. but now moving to a curatorial practice. now that artists engage with the world. we must question the relevance of this model and perhaps look more closely at the university model now replacing the masterclass. based on the sovereign reigning over the subject. and not just with themselves. one should examine the implementation of its productive features.” That is an urgent issue. In terms of mode of address. teaching. it is a critique of how institutions work. That has very little to do with institutional critique as such. 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. Thought has boundaries different entirely from knowledge. That model would merely substitute the system of discipline for the system of control. loose their effectiveness in terms of transforming the art environment. 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. replicators rather than producers of knowledge. while omitting a certain notion of unproductive time and space. and how they fail to be equipped for dealing with the current situation of lifelong education and re-education. However. the new model of examination. The subjects are all listening to their master’s voice. Artists are a sort of social avant garde. potentially hidden in the academy model. That is an inherently hierarchical and masculine subject position. originally an artistic practice. it is important to shift the notion of knowledge production into what we at the Malmö art school call room for thought. on the forefront of our current society and its notion of immaterial laborers. students. since the results of institutional critique. Rather one should learn from them as spheres of experience. we must ask what kinds of subjects. Therefore. Where traditional educational systems were part of a disciplinary society. as happens with knowledge in the knowledge industry. This is why. how they are inadequately historical. are being produced. For this reason. Simultaneously.e. and its administrative model.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 30 3 3 – 4 0 U N C E R TA I N M A . To paraphrase Spivak. universities are often teaching machines.e. 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. Rather. and as discursive spaces. i. and what kind of knowledge. Hopefully it is too difficult to transform thinking into a commodity. i.

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

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

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

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

So we have two kinds of market threats: i Higher education as such has become a more intensely marketized system in general. The reputation-based economy within art education also blurs into its larger counterpart within the contemporary art world. The question is whether the transformation from a place of creative freedom to marketplace is good for the quality of the art academy. of course! But the really important question relates to purpose. Similar to all other areas of cultural policy. Today. Until recently. I believe that the open academy rhetoric is somewhat problematic. The essential germ of the open academy model is that in an educational setting. the cultural capital and the ascription of reputational standing was something endemic to a community of discourse. we are suddenly required to disclose what it is that we do as art educators. We all participate in the reputation-based economy in the form of e-flux. 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 . 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. and how we do our jobs within the scenario of handing out awards. and so on.N E S S MICK WILSON 35 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON . Confronting this view. program reputations. there is even a third type of ‘market’ beginning to emerge: the reputation-based economy of art education. it is merely that the student imagines the possibility and already starts playing a different game. the reputation-based economy of art education has been displaced by the emergence of managerialism. Now the criteria for recruitment and promotion are no longer primarily based on reputation. A labor market is partly regulated by the guild process of artist-teachers themselves. 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. When and why we give awards. the open academy will offer more space for risking new and unwarranted forms of art production and more space for thought. ii The art market colonizes the imagination and orientation of the student-artist within the academy. constructing one’s curriculum vitae. but driven by the discursive community around the extended field of contemporary practice.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . So.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. It is not necessarily the case that the art market appears on the doorstep. Within our working practice. Is it then possible to determine how a Master’s curriculum is characterized? Yes. we have the sense that the market is making inroads into education. the advertising pages in Art Forum. within the network of fellow competitors for reputational standing. We have institutional reputations.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 . People got together and spoke about art. However. where the work of the student-artists is unhooked from the immediate productive demands of the market. we had a labor market governed by reputation. a certain bureaucratic disclosure moves in. artist-teachers as ’chosen ones’ jostling for status.

not to determine. but rather to facilitate. ArteContexto’s recent dossier on ‘teaching visual arts’. to questions of ‘autonomy’ and ‘agency’. ‘Pedagogy’ was one of the three leitmotifs of documenta12. I want to expand a bit on what I believe is significant.N E S S WILLEM DE GREEF 7 – 13 U N D E R P R E S S U R E U T E M E TA B A U E R 14 – 22 I S I T P O S S I B L E T O M A P … ? CLEMENTINE DELLIS 23 – 27 P O S I N G S I N G U L A R I T Y JAN VERWOERT 28 – 3 2 R O O M F O R T H O U G H T SIMON SHEIKH 3 3 – 4 0 U N C E R TA I N M A .but not so visibly. Everywhere in the journals. ‘We’ art educators. Then part of what that structure must be able to do is to entirely dismantle and change. Manifesta’s Notes for an Art School. – that we wish to provide a robust and critical learning environment.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. Cyprus and unitednationsplaza theme.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A . hierarchies. the biennials. 3 . I would suggest. What is it that our work does? What is it for? It is as if the curator conversation died. Cork Caucus. in the academies themselves. – that we are trying to bring an offering to the market place. Possibly the best articulation we have of our aspiration as teachers is not to dictate. not to control.’ The ‘academy’ projects and debates too often fail to address the general state of higher education in favor of a narrow focus on the specificity of art education. ‘protoacademy’. 1 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . There are three observations I would like to make in light of these developments in the larger field. The quandary of ‘emancipatory practice’ – how to enable ‘autonomy’ and ‘agency’. and the art education conversation leapfrogged over it.N E S S MICK WILSON 36 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 48 C O LO FON The meditations on and experiments in alternative academies consistently return to the quandary of ‘emancipatory practice’. We want to create structures which do not themselves exhaustively prespecify what will happen. the question of art education is being asked and rehashed again and again. and Frieze Art Fair’s recent round-table discussion on art education ( October 2007 ). not to describe. and autonomous agencies. – that we are doing it because there is some impulse to regiment and shutter the openness. The tension that might be painted as a showdown between Ranciere’s ignorant schoolmaster and Bourdieu’s sociologist king. It is also being answered and tested in many different ways . but they really recur strongly throughout all these different experiments. troubling questions of education in general. 2 The ‘academy’ debates are troubled by the possibility of the educator’s ‘bad faith. – that we are trying to establish credibility with our funders. These are three generally recurrent features. The future model of the art school is clearly something engaging the imagination and energies of the international contemporary art scene. to enable the flow of other discourses. different dispensations of power? How do you work within this and still address questions of emancipation? These are standard. How do you work within institutional structures. the fairs. Frieze’s ‘Art schools then and now’. and practices. Here the question of art practice and the notion of autonomy come together. but which in some way enable.

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

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

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

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

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

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

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

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

An initial example of such collaboration is artist Irene Kopelman’s PhD research study within the context of the Utrecht Consortium. young artists will be able to enhance their communication with a variety of audiences. the Utrecht Consortium intends to expand its views on the strategy of artistic presentations and exchange of knowledge as such. occurring in a location 44 – 46 3 – 4 EDITORIAL A C E R TA I N M A . the Science Museum. a platform has been created without the need for offices and staff with minimum overhead costs. With that. The results of this research will be published as a series of “best practices”. Through this first case study.N E S S 5 – 6 O P E N I N G : A C E R TA I N M A .so-called London Consortium. and international levels while sharing networks. 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. beta. i. 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. a collaboration among four institutions for education and art – the University of London. the Utrecht Consortium intends to be flexible. and the TATE – offering joint artistic research programs. models of presentation enabling both artists and exhibition spaces to adequately deal with topical situations regarding the position of visual art while clearly communicating with the audience. In addition to the Consortium partners and professionals in the field. In developing adequate presentation models in the form of both exhibitions and texts. ICA .e. 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. At the core of the Utrecht Consortium is practice-based research. That research will also focus on creating a more natural collaboration of the Utrecht School of Arts and various departments at Utrecht University.N E S S MICK WILSON 41 – 4 3 A N T H R O P O L O G I C A L L A B O R AT O R Y BART VERSCHAFFEL RESEARCH REPORT UTRECHT CONSORTIUM 45 48 C O LO FON alien to visual art. The Consortium activities will offer them possibilities to develop reflective capacities ( competencies ) crucial for presenting their own practice. Another core issue of the Utrecht Consortium implies the issue of the significance and position of an art academy in the context of the topical knowledge debate and its implications for didactic perspectives. Those issues could easily be expanded to local. (More about that research will be reported in greater depth in MaHKUzine 6 ). and gamma sciences. Kopelman explores whether the University Museum might be presented as the optimum location for exchange of knowledge between art and science. regional. Additionally. Using the historical collection of the Utrecht University Museum.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 . Unique to the London Consortium is the establishment of a “virtual” organization depending on the knowledge and ( limited ) input of the Consortium partners. the production of artistic knowledge is the theme of various programs and projects to be initiated in 2008 and 2009 through the . but still a structural collaboration exploring issues in the context of artistic knowledge production from the exhibition programs and their young artists at the art institutions. exploration of methods of presentation specific to today’s visual art as a form of knowledge production.

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

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

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

Sign up to vote on this title
UsefulNot useful