Efterår 2009
OKTOBER
Torsdag 1. oktober
kl. 10.00 - 12.00 Officiel åbning (Festsalen)
kl. 13.00 Frokost på Skolen for Mediekunst (Auditoriet)
Fredag 2. oktober
kl. 10.00 Rundvisning ved Jeannette Ehlers/Ann Lislegaard
The Eye in The Door på Kunsthallen Nikolaj
kl. 13.00 – 15.00 Gennemgang af efterårets undervisnings program
Mandag 5. oktober
kl. 10.00 – 12.00 Lars Kristensen:
Intro til videoværkstedet særligt for nye studerende
Tirsdag 6. oktober
kl. 10.00 – 12.00 Benny Jørgensen:
Intro til lyd- og computerværksted særligt for nye studerende
Torsdag 8. Oktober
kl. 10.00 – 17.00 Fælles intro gennemgange (se separat opslag).
Deltagelsen er obligatorisk for studerende ved Medieskolen alle dage.
Introduktionen skal indeholde fremlæggelse af et tidligere projekt gerne med fokus på
på de ideer og reflektioner om kommende projekter.
Fredag 9. oktober
kl. 10.00 - 17.00 Fælles intro gennemgange fortsætter
Mandag 12. oktober -
Tirsdag 13. oktober
kl. 10.00 - 17.00 Fælles intro gennemgange fortsættes
Onsdag 14. oktober -
Torsdag 15. oktober
kl. 10.00 – 16.00 Benny Jørgensen:
Kursus i opbygning af egen webside
Fredag 16. oktober
kl. 10.00 – 12.00 Ann Lislegaard:
EXIT-møde – planlægning
kl. 13.00 – 18.00 Ann Lislegaard:
Individuelle gennemgange med EXIT-studerende
Mandag 19. oktober -
Tirsdag 20. oktober
kl. 10.00 – 15.00 Lars Kristensen:
Udvidet kursus i Final Cup Pro
Kurset henvender sig til dem, der har arbejdet med Final Cut.
Det vil blive en introduktion til filtre: Primært color-correction,
key og masker. Der vil også blive givet tips til organisering og
konsolidering af projekter.
Onsdag 21. oktober -
Torsdag 22. oktober
kl. 10.00 – 16.00 Benny Jørgensen:
Kursus LYD
Fredag 23. oktober
kl. 10.00 – 12.00 Afdelingsforsamling
kl. 13.00 – 17.00 Ann Lislegaard:
Individuelle gennemgange med nye studerende angående
metode og struktur
Tirsdag 27. oktober -
Torsdag 22. oktober
kl. 10.00 – 15.00 Lars Kristensen
Lys-kursus
Grundlæggede principper for belysning. Med udgangspunkt i
det udstyr, som findes på videolab, vil der blive arbejdet med
hands-on opgaveløsning.
Torsdag 29. oktober
kl. 10.00 – 12.30 Skolerådsmøde m/ Ann Lislegaard, Lars Kristensen,
Lena Rodgers
kl. 13.30 – 17.30 Ann Lislegaard
Individuelle gennemgange
kl. 13.30 – 15.00 Poul Borum
Forelæsning om Gilles Deleuze film teoretiske værker:
L’image-mouvement (1983), L’image-temps (1985)
Fredag 30. oktober
kl. 10.00 – 12.00 AFLYST: Ann Lislegaard:
Forelæsning om egne værker (Flyttet til 8. December)
kl. 13.00 – 18.00 Ann Lislegaard:
Individuelle gennemgange
Exit studerende afleverer text om egne arbejder til
Mette Moestrup (via Lena Rodgers som samler alle
inden aflevering)
NOVEMBER
Onsdag 4. November
kl. 10.00 – 15.00 Mette Moestrup:
Text (kun for exit studerende) – fortsættes 26. og 27. januar
Tekstgennemgang med udgangspunkt i dels projekttekster til afgangsprojekter, dels tekster i/som kunstprojekter. Teksterne sendes til Mette fred 30.okt, og der vil være fælles gennemgang af disse. Med afsæt i den enkeltes tekst diskuterer vi alt fra sætning til tankeføring.
Mette Moestrup, f. 1969, er digter og cand.phil. i litteraturhistorie. Har i en årrække været lærer ved Forfatterskolen i København og underviser nu mere løst på bl.a. Litteär Gestaltning i Göteborg og Skriveakademiet i Bergen. Har udgivet tre digtsamlinger, senest "Kingsize" i 2006. Er aktuel med romankollagen "Jævnet med jorden", som udkommer oktober 2009.
kl. 13.00 – 19.00 Ann Lislegaard:
Individuelle gennemgange.
Torsdag 5. November
kl. 10.00 – 16.00 Personaledag for ansatte (Ann Lislegaard, Lars Kristensen,
Benny Jørgensen og Lena Rodgers)
Fredag 6. november
kl. 10.00 – 11.30 Afdelingsforsamling
kl. 11.30 – 18.00 Ann Lislegaard
Ekskursion Malmø:
Rock my Religion (Dan Graham) og Spiral Jetty (Robert
Smithson) bliver fremvist på Konsthøgskolan i Malmø.
Præsentationen bliver introduceret af Magnus af Petersens fra
Moderna Museet.
Mandag 9. november
kl. 10.00 - 16.00 Jonas Mortensen:
16mm film workshop – Part 1
In the past decade, just as the industrial / commercial use for 16 mm film production has dwindled, many important contemporary artists have been increasingly drawn to the medium, aware of it's deeply ingrained historical resonance. With these twin developments as a contextual framework, a pilot workshop in 16mm film-making will continue after opening class during November and December at the Academy. The class is jointly between the Professor schools of Ann Lislegaard, Katya Sander, and Gerard Byrne.
To participate in the practical workshops, please contact the Professor of your school (3 students from each school)
Tirsdag 10. November -
Torsdag 12. november
kl. 10.00 – 16.00 Jonas Mortensen:
16mm film workshop – Part 1 continued
Deltagerne får hver udleveret en rulle film, som de skal filme
enten på location eller i skolens studie.
Evt. individuelle samtaler med de resterende deltagere.
Mandag 16. november – Fredag 27. november
kl. 10.00 – 16.00 Matthew Buckingham
Material Time
Skolen for Mediekunst 1/5 professor (max. 18 stud.)
My visit to the academy in November 2009 and March 2010 will be structured around 1.) a presentation and discussion of some of my own projects and methods; 2.) group critiques of student work and individual tutorials; 3.) viewing and discussing films by other filmmakers and artists; 4.) readings that address questions of time as material in the construction of narrative form; and 5.) possible relevant field trips to collections or sites in Copenhagen. Participating students are strongly encouraged to attend all parts of the course.
The phrase “material time” refers to the moment that an event “took place,” and usually indicates a moment that may have had few or no witnesses, is pivotal in some way, or is under dispute and in need of interpretation. This seminar will look at time as “material” in the hands of artists and writers in relation to broader questions of narration and historiography. We will do this by examining various constructions of time in light of the 20th century debate between proponents of “historical-memory” (or “academic history”) and “social-memory” (or “collective memory”). We will look at notions of “history from below” and “above” and ask “What do we gain or lose by embracing or rejecting notions of objectvity and subjectivity when we restage the past here and now?”
From November 16 to 27 we will meet Monday to Friday between 10:00 and 12:00 and 13:00 and 16:00. All of our activities, artist-talks, group critiques, tutorials, film screenings, and reading seminars will take place during these hours.
Artist Talks
I will introduce some of my own art works, show several examples, and look at a few of the concepts of time that I have investigated alonside some of the historiographic methodologies I have attempted to transpose into the art context.
Group Critiques
This will be an opportunity to gain valuable feedback on your own work as well as sharpen your ability to spontaneously articulate your responses to the work of others.
Individual Tutorials
One-on-one studio visits where individual questions can be explored more systematically.
Film Screenings
As a group we will view, juxtapose and discuss two films: Roberto Rossellini's The Taking of Power by Louis XIV (1966) and Chantal Akerman's News From Home (1976).
Readings
In order to create a common ground for the above we will read three essays:
"The Value of Narrativity in the Representation of Reality" by Hayden White, from The Content of the Form: Narrative Discourse and Historical Representation; Baltimore: Johns Hopkins University Press, 1987; pp. 1–25.
"The Fictions of Factual Representation" also by Hayden White, from Tropics of Discourse: Essays in Cultural Criticism; Baltimore: Johns Hopkins University Press, 1978; pp. 121–134.
and
"Creation and Production"; "Implicit and Explicit"; and "The Spoken and the Unspoken" by Pierre Macherey from A Theory of Literary Production; London: Routledge, 1978 (1966); pp. 66–68; 82–89.
Field Trips
Depending on interest, time, and what is available the group may make one or two field trips to sites, exhibitions, etc., in Copenhagen that would be relevant to the group discussion.
Spring visit 2010
At the conclusion of the November session we will collectively map out the direction our spring session will take.
Mandag 30. november
kl. 10.00 – 16.00 Jonas Mortensen:
16mm film workshop – Part 2
Screening af rushes. Introduktion til klipning og
Steenbeck workshop. Deltagerne får herefter mulighed
for at klippe deres film. Individuelle samtaler med de
resterende deltagere
DECEMBER
Tirsdag 1. december
kl. 10.00 – 16.00 Jonas Mortensen:
16mm film workshop – Part 2 continued
Steenbeck workshop og klipning fortsat. Individuelle samtaler.
Torsdag 3. december
kl. 10.00 – 16.00 Mette Moestrup:
Skriveworkshop
For alle Skolen for Mediekunsts studerende
– fortsættes 10. december
En skrivemaraton dag, hvor der arbejdes med
sproget som materiale gennem skriveøvelser.
Mandag 7. december
kl. 10.00 – 12.00 Afdelingsforsamling
kl. 13.00 -14.15 Fællesgennemgang: åben
Tirsdag 8. december
kl. 10.00 – 12.00 Ann Lislegaard:
Forelæsning om egne værker
kl. 13.00 – 15.00 Erik Granly Jensen:
Walter Benjamins lille fotografihistorie
Forelæsningen vil præsentere Walter Benjamins (1892-1940) essay “Lille fotografihistorie" (1931) og i forlængelse heraf diskutere fotografiets rolle i samtidskunsten.
Forberedelse: Walter Benjamin: “Lille fotografihistorie" (1931). Udleveres i kopi.
Erik Granly Jensen er adjunkt i Kultur & Formidling ved Syddansk Universitet. Han har skrevet Ph.D-afhandlingen “Snakkesalighedens Politik" (2004) om Walter Benjamin og Robert Walser.
Onsdag 9.december
Aflevering af tekster til sensorer til midtvejsgennemgang
kl. 13.00 – 15.00 Jan Bäcklund
Forelæsning: Det okultes historie
Torsdag 10. december
kl. 10.00 – 16.00 Mette Moestrup:
Skriveworkshop
– fortsat fra 3. december
Vejledning i at skrive projekttekster.
Plenumdiskussion om formiddagen og individuel
vejledning om eftermiddagen.
Mandag 14. December -
Torsdag 17. December
kl. 10.00 – 17.00 Ulrik Heltoft, Lars Mathiesen og Ann Lislegaard
Midtvejs gennemgange/ group critiques
Obligatorisk for Studerende ved Mediekunstskolen
Forår 2010
JANUAR
Tirsdag 5. januar
kl. 10.00 – 12.00 Afdelingsforsamling
kl. 14.00 – 16.00 Jeremy Millar
Individuelle gennemgange / Studio visits
Onsdag 6. januar
kl. 10.00 – 12.00 Jeremy Millar
Individuelle gennemgange / Studio visits
kl. 13.00 - 16.00 Jeremy Millar
Lecture,
Belief in relation to Art and Anthropology
Jeremy Millar
Jeremy Millar is an artist living in Whitstable and currently AHRC Research Fellow in the Creative and Performing Arts at the Ruskin School of Drawing and Fine Art, University of Oxford. He has exhibited widely in the UK and abroad including Tramway, Glasgow; NGCA, Sunderland; CCA, Vilnius; Rooseum, Malmö; Bloomberg Space, London; and the Metropole Galleries, Folkestone. Recent exhibitions and screenings include ‘Plum Tree Blossom’, commissioned by Inverleith House, Edinburgh, to complement works by John Cage and Merce Cunningham; the Vigeland Museum in Oslo; Sleeper in Edinburgh; and Tate Modern, London. A permanent public work was installed in Folkestone in 2006. A monograph on his work, Zugzwang (almost complete), with an essay by Brian Dillon, was published in 2006. A major new commission, 'Given', opened at the National Maritime Museum, London, in September 2009; during October 2009 new works were also exhibited in 'the Object of the Attack' at David Roberts Art Foundation, London, and in 'The Dark Monarch: Magic and Modernity in British Art' and Tate St Ives. His work 'Projector' (2007) will be exhibited at Ikon Gallery, Birmingham, from November 2009, with another new work, 'Object to be Activated' being exhibited at 7.9 Cubic Metres at Kingston University in December 2009.
http://www.jeremymillar.org
Torsdag 7. januar
kl. 10.00 – 16.00 Jeremy Millar
Individuelle gennemgange / Studio visits
kl. 13.00 – 18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Fredag 8. januar
kl. 13.00 – 15.00 Erik Granly Jensen
Walter Benjamins medieteorie
Med udgangspunkt i Walter Benjamins epokegørende essay “Kunstværket i dets tekniske reproducérbarheds tidsalder" (1935/38) vil Erik Granly præsentere Benjamins generelle medieteori og diskutere den betydning, som teksten har haft for film-, billed- og lydkunsten i det 20. og 21. århundrede.
Forberedelse: Walter Benjamin: “Kunstværket i dets tekniske reproducerbarheds tidsalder" (1935/38). Udleveres i kopi.
Erik Granly Jensen er adjunkt i Kultur & Formidling ved Syddansk
Universitet. Han har skrevet Ph.D-afhandlingen “Snakkesalighedens Politik" (2004) om Walter Benjamin og Robert Walser.
Onsdag 20. januar
kl. 10.00 – 12.30 Ann Lislegaard
Individuelle gennemgange / Studio visits
Torsdag 21. januar
kl. 10.00 – 18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Fredag 22. januar
kl. 10.00 – 12.30 Ann Lislegaard
Individuelle gennemgange / Studio visits
kl. 13.00 – 15.00 Erik Granly Jensen
Giorgio Agamben og Walter Benjamin
Den måske vigtigste nutidige fortolker af Walter Benjamins tænkning er den italienske filosof Giorgio Agamben (f. 1942). Forelæsningen vil omhandle Agambens aktualisering af Benjamins politiske og historiefilofiske værk.
Forberedelse: Uddrag fra Giorgio Agambens The Coming Community (1991) og Homo Sacer (eng. 1995). Udleveres i kopi.
Tirsdag 26. januar
kl. 10.00 – 15.00 Mette Moestrup
Foreläsning: "Nye sætninger"
Foredrag om nye strømninger i poesi med fokus på amerikansk language-, postlanguage- og postlineær poesi, svensk sprogmaterialisme, danske pendanter til disse bevægelser - og flersproglighed (herunder såkaldt 'barbaric english'). Det handler på den ene side om formgreb, men også hvordan disse formgreb hænger sammen med kritisk tænkning og bl.a. tematisering af køn og etnicitet. Alt vil foregå ud fra konkrete eksempler, ligesom der vil være mulighed for løbende diskussion. Tanken er, at der også skal være plads til kortere tekstnære læsninger af eksemplerne undervejs.
Onsdag 27. januar
kl. 10.00 – 15.00 Mette Moestrup:
Text fortsætter
Exit-holdet, gennemgang af projektbeskrivelser. Men også mulighed for læsning af tekster,
som optræder i afgangsværkerne. Sig til i forvejen, hvis der er behov for fremvisning af
visuelt materiale i forbindelse med teksten, så vi kan sætte tid af til det.
FEBRUAR
Torsdag 4. februar
kl. 10.00 – 12.00 Ann Lislegaard
Reading group; delirious new york/ Rem Koolhaas.
Prepare by reading the chapters: Introduction, Prehistory, Coney Island: The Technology of the Fantastic, The Double Life in Utopia.
kl. 13.00 - 18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Fredag 5. februar
kl. 10.00 – 18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Mandag 8. februar
kl. 10.00 – 12.00 Afdelingsforsamling
kl. 14.00 – 16.00 Manon De Boer
Individuelle gennemgange / Studio visits
Tirsdag 9. februar
kl. 10.00 – 12.00 Manon De Boer
Individuelle gennemgange / Studio visits
kl. 13.00 – 16.00 Manon De Boer
Artist Talk
"I want the viewers to question the stability of identity by introducing doubt, but also by separating sound, image and text. The different elements that construct a film or a work are put into dialogue with one another. Instead of creating a homogeneous whole with which the viewer can identify, the viewer is always held on a slight distance, which can create a critical space."
Manon De Boer is an artist working and living in Brussel.
Onsdag 10. februar
kl. 10.00 – 16.00 Manon De Boer
Individuelle gennemgange / Studio visits
Torsdag 11. februar
kl. 13.00 – 15.00 Erik Granly Jensen:
Hannah Arendts kritik af volden
Forelæsningen vil fokusere på filosoffen Hannah Arendts forelæsning om vold fra 1969. Selv 40 år efter dens offentliggørelse er denne forelæsning stadig instruktiv til en forståelse af relationen mellem vold, ret, offentlighed og kunst.
Forberedelse: Uddrag fra Hannah Arendts: “Om vold, tænkning og moral" (1969). Udleveres i kopi.
Tirsdag 16. februar
kl. 13.00 – 15.00 Deane Simpson:
New York: The Metropolis and After
“As a city, New York moves in the forefront of today's great trend of great cities toward neurosis. She is confused, self-pitying, helpless and dependent.” John Lardner
A presentation of the urban and architectural transformation of New York City.
Deane Simpson is an architect teaching as a unit master at the Architectural Association in London and at the Royal Academy School of Architecture in Copenhagen. He practiced with Diller + Scofidio in New York between 1997 and 2003, and taught design and theory at the ETH Zürich between 2004 and 2009. He was educated at Columbia University in New York.
Onsdag 17. februar
kl. 10.00 – 15.00 Mette Moestrup:
Skriveworkshop, fortsat. Mere skrivemarathon.
Torsdag 18. februar
kl. 10.00 – 15.00 Mette Moestrup:
Exit-holdet, tekstlæsning med henblik på katalog.
Mandag 22. -
Fredag 26. februar
kl. 10.00 – 16.00 Tamar Guimaraes:
Workshop
Affective Contagion1: Barthes, Bardot, Godard and Homer
Alluding to Roland Barthes' notion of affective contagion, (that desire, like thought, 'proceeds from others, from language, from books, from desire, from friends: no love is original'2) the themes of this seminar will follow from one another and be suggested by one another.
Our departure point is Jean-Luc Godard's Le Mepris (1963) - in which American film producer Jeremy Prokosch (Jack Palance) hires the Austrian director Fritz Lang (playing himself) to direct a film adaptation of Homer's Odyssey. We will linger with the film for longer than usual, unpacking some of its main themes while also digressing towards the persons, places and things the film points to.
In doing so we are putting a form of digressive research into practice and course participants are invited to suggest and present further directions for this research. These presentations can be formal or informal in format and will be scheduled to happen in the course of the week.
Reading:
Barthes: Excerpts from A lover’s discourse (1979) and ‘The pleasure of the text’ (1975)
Harun Farocki and Kaja Silverman: ‘In search of Homer’, in Speaking about Godard (1998)
Homer: Excerpts from The Odyssey, (aprox. 8th century BC)
Dante: Excerpts from The Divine Comedy: Inferno (1308)
Friedrich Hölderlin: "Dichterberuf" ("The Poet's Vocation") (1800)
Davide Panagia: Excerpts from The Political Life of Sensation (2009)
Marida Talamona: Excerpts from Casa Malaparte (1992)
A collection of short reviews on Le Mepris
Screening:
Le Mepris, (1963) Jean-Luc Godard
Excerpts of A Band Apart, (1964) and Vivre sa Vie (1962), Jean-Luc Godard
Bardot & Godard, (1963) Jean-Luc Godard (short documentary)
Paparazzi, (1963) Jean-Luc Godard (short documentary)
The Legacy of the Owl, (1989) Chris Marker (series Marker made for French TV on the contemporary heritage of ancient Greece)
Der Tod des Empedokles (1986), Danièle Huillet & Jean-Marie Straub
Destiny, (1921) Fritz Lang
VIA (48 Dante Variations), Caroline Begvall, (2004) (sound)
Participants are required to read the assigned texts prior to our meetings, and to actively engage in class conversations but the choice of whether or not to make a presentation is open.
Maximum: 10 students
_
1 ‘Følelsessmitte’ in the Danish translation of Fragments d’un discours amoureaux.
2 Roland Barthes, ‘Show me whom to desire’, in A Lover’s Discourse, New York: Hill and Wang, 1979, p136-137
MARTS
-
Tirsdag 9.marts
kl. 10.00 – 12.00 Ann Lislegaard
Afdelingsforsamling
kl. 13.00 – 17.00 Ann Lislegaard
Forberedende møde: Afgangstuderende
Onsdag 10. -
Søndag 21. marts
kl. 13.00 – 17.00 Matthew Buckingham:
Material Time
My visit to the academy in March 2010 will be structured around 1.) group critiques of student work and individual tutorials; 2.) viewing and discussing films by other filmmakers and artists; 3.) readings drawn from Søren Kierkegaard and Hannah Arendt that will allow us to compare and contrast their individual conceptions of 'public' and 'private' as well as 'the political.' Participating students are asked to attend all parts of the course.
March 10 to 20 we will meet daily from 13:00 to 17:00. All of the required activities, group
critiques, tutorials, film screenings, and reading seminars will take place during these hours.
Group Critiques
This will be an opportunity to gain valuable feedback on your own work as well as sharpen
your ability to spontaneously articulate your responses to the work of others. Upon my
arrival on Tuesday 10 March we will work out a schedule so that all participating students
will have time to present finished work to the group.
Individual Tutorials
I will hold one-on-one studio visits with students who were not able to meet me last
semester and use any remaining time to meet a second time with students who wish to do
so.
Screenings
As a group we will view and compare a selection of time-based works by other artists as
time and interest permits.
Readings
Over the course of my visit we will discuss two longer texts:
"Conclusions from a Consideration of the Two Ages" by Søren Kierkegaard from The Two
Ages: The Age of Revolution and the Present Age; a Literary Review. Copenhagen: Bianco
Luno Press, 1846 (English translation: Howard V. Hong and Edna H. Hong; Princeton:
Princeton University Press, 1978).
"The Public and the Private Realm" by Hannah Arendt from The Human Condition.
Chicago: University of Chicago Press, 1958.
Lørdag 13. marts
kl. 16.00 – 18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Søndag 14. marts
kl. 17.00 – 19.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Tirsdag 16. marts
kl. 13.00 – 16.00 Matthew Buckingham
Artistalk
Matthew Buckingham is an artist living and working in New York. Utilizing photography, film, video, audio, writing and drawing, his work questions the role that social memory plays in contemporary life. His projects create physical and social contexts that encourage viewers to question what is most familiar to them. Recent works have investigated the Indigenous past and present in the Hudson River Valley; the "creative destruction" of the city of St. Louis; and the inception of the first English dictionary. His work has been seen in one-person and group exhibitions at ARC / Musée d’art moderne de la Ville de Paris, Paris; Camden Arts Centre, London; The Corcoran Gallery of Art, Washington DC; Hamburger Bahnhof National Gallery, Berlin; Kunst-Werke, Berlin; Moderna Museet, Stockholm; Museum Moderner Kunst, Vienna; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Whitechapel, London and The Whitney Museum of American Art, New York. He was a 2003 recipient of the DAAD Artist in Berlin Fellowship.
Torsdag 18. og
Fredag 19. marts
kl. 10.00 – 17.00 Barbara Clausen and Rike Frank
Seminar / workshop: Collaborative Practices
Introduction
Collaboration has, especially since the 1950‘s become an artistic practice in its own right, developing into an individual and joint strategy that remains vital for the production and mediation of contemporary art. Collaboration as an artistic method can take on a variety of forms as well as practices: from individual couplings to political groups or movements, to organized communities. Despite its heterogenous and quotidian nature, „to collaborate“ remains to be a powerful tool, one that because of its performative nature and initiative drive, can establish (counter-)narratives and create a community, they can trigger an instance where knowledge can be produced and shared, and where a panoply of perspectives is given an arena. They maintain a specific relationship to their context, often relating to site and time specific factors within their practice.
While still remaining on the periphery of the one artist „star struck“ art system, they have questioned art as commodity as well as the institutional politics of cultural production and have given the opportunity for artists to realize their projects and voice their agencies in the public realm. Artist collaborative have continued to ask crucial questions about authorship, hierarchy and communal efforts. Pushing the boundaries of their relationship through the mediation and distribution of their works & audiences. Their intentions can range from being a reaction against political, economical, and cultural issues and realities, to the pragmatic strategy of a marketing tool, creating a network, and furthering common as well as individual interests and translocal knowledge.
The aim of the seminar is to think about the ideological, conceptual, as well as economical considerations that continue to be at the core of collaborative practices. We will research, present, and discuss a variety of collaborative initiatives from the past as well as the present. The seminar offers a platform for discussing the potential of critical art practices as well as their reception, effect, and historization.
Asking, what is their current as well as historical significance within the art system? How do strategies, agency, desire, and intention play out in the realization of these projects? And what role do art schools play as a feeding and breeding ground for collaborations? As the field of examples is endless, we will focus on key collaborative practices. Investigating each example in regard to their intention, execution and reception.
The seminar will be held in three sections (Introduction, Part I and Part II), asking why, when and how does one become two, three, and more? We will start by investigating the myth of the artist as a singular enterprise and the popular art historical idiom of the „the artist couple“, as well as the promise of the collaboration as an anti-commercial and anti-institutional egalitarian practice. Is collaborating in itself a critical practice, or just another neo-liberal artists’ strategy, oscillating between friendship and network? Can the politics of collaborations mirror and influence the politics of life?
After a general introduction the seminar will look at two aspects:
Part I – The Third Hand - A Question of Authorship
How can the commitment to collaborate become a fertile ground for the shifting persona of the artist, as an entrepreneur, a curator, an initiator, community organizer, or even as a vehicle of individual strategies? What does it mean when artist´s like Walid Raad use the idea of the collaborative as a form of artistic representation in The Atlas Group? And to whom does the work belong when artists like Jeremy Deller, Katerina Seda or Ricardo Basbaum base her artistic action on the participation of an entire neighborhood or village? What kind of aesthetic experience and spaces of communication can be established with “Trips out of Town”, as for example initiated by the Russian group Collective Actions in the late 1970s? How can we compare Marina Abramovic and Ulay’s testing the limits of their coupled bodies in their performances, to Gilbert and George’s exploration of „art and life“ as one of art histories most famous couples? The first part of the seminar would look at artists who as individuals initiate groups, networks or communities that involve unorthodox models of authorship.
Part II – A Shared Agency and a Public Cause
The second segment would look at historic and contemporary collaborative, that are in search of new forms of artistic production and presentations of art. Examples range from Group Material, Independent Group, General Idea, Guerilla Girls, LTTR, Raqs Media Collective, Park Fiction, Igloolik Isuma Productions, to the protests against the Flick Collection or the Anti-Humboldt forum in Berlin as well as the local history in Vienna.
In addition the second segment will also look at the work of contemporary collaborations that are defined through social networks with a conscience on the history of collaborations and the physical mediation of art: Dexter Sinister, Bernadette Cooperation,Continuous Project, A Ghost in a Shell, as well as spaces such as Orchard Space or Reena Spauling"s in New York.
The seminar will include theoretical discussions, readings, as well as student presentations and guests, analyzing local as well as international art practices.
Mandag 22. -
Fredag 26. marts
kl. 09.00 – 16.00 Optagelsen af nye studerende/admission
Tirsdag 30. marts -
Onsdag 14. april
Study trip: New York
NEW YORK Study Trip Excerpts:
Tuesday 30th march:
Arriving at JFK airport from Copenhagen
Wednesday 31th:
MUSEUM
Whitney Museum, Bienalen 2010
This year marks the seventy-fifth edition of the Whitney’s signature exhibition. While Biennials are always affected by the cultural, political, and social moment, this exhibition “simply titled 2010” embodies a cross section of contemporary art production rather than a specific theme. Balancing different media ranging from painting and sculpture to video, photography, performance, and installation, 2010 also serves as a two-way telescope through which the Whitney’s past and future can be observed.
Artists; Richard Aldrich, Michael Asher, Tauba Auerbach, Nina Berman, Huma Bhabha, Josh Brand, The Bruce, High Quality, Foundation, James Casebere, Edgar Cleijne and Ellen Gallagher, Dawn Clements, George Condo, Sarah Crowner, Verne Dawson, Julia Fish, Roland Flexner, Suzan Frecon, Maureen Gallace, Theaster Gates, Kate Gilmore, Hannah, Greely, Jesse Aron Green, Robert Grosvenor, Sharon Hayes, Thomas Houseago, Alex Hubbard, Jessica Jackson, Hutchins, Jeffrey Inaba, Martin Kersels, Jim Lutes, Babette Mangolte, Curtis Mann, Ari Marcopoulos, Daniel McDonald, Josephine Meckseper, Rashaad Newsome, Kelly Nipper, Lorraine O’Grady, R.H. Quaytman, Charles Ray, Emily Roysdon, Aki Sasamoto, Aurel Schmidt, Scott Short, Stephanie Sinclair, Ania Soliman, Storm Tharp, Tam Tran, Kerry Tribe, Piotr Ukla?ski, Lesley Vance, Marianne Vitale, Erika Vogt, Pae White, Robert Williams
ARTIST TALK at MOMA:
Andrea Geyer
The presentation follows by a talk between Andrea Geyer and MOMA director Glenn D. Lowry with focus on her project Criminal Case 40/6: Reverb that takes it cue from her 1961 Trial of Adolf Eichmann in Jerusalem.
FILMSCREENING at Light Industri:
The Hart of London
Jack Chambers, 16mm, 1970, 79 mins
Introduced by Carolee Schneemann
APRIL
Thursday 1. April
NEW MUSEUM
Skin Fruit: Selections from the Dakis Joannou Collection (by Jeff
Koons)
Museum as Hub: In and Out of Context;
16 Beaver
Ugo Rondinone
INTRODUCTION
LUDLOW 38 - EUROPEAN KUNSTHALLE COLOGNE,
GOETHE INSTITUT NEW YORK;
Toby Maier, director/curator talks about the program and the exhibtion:
Group Exhibition curated by Adam Carr In Print
Into the Unknown
artists:
Deimantas Narkevicius, Sarah Pierce, Mariana Silva and
Dmitry Gutov, João Dias, António Cunha Telles
Galleries and a walk in Lower east side, China Town and Soho;
e-flux 41
Allan Sekula?This Aint' China (curated by Monika Szewczyk)
Artist Space
Duncan Campbell
Film Screening of “Shellshock Rock”, 1979, 16mm, 44 min. by John T. Davis
FILMSCREENING: Goethe-Institut Wyoming Building
Screening of António Cunha Telles’s 'Continuar a Viver' (1975) and João Dias’s 'As Operações SAAL' (2009)
with an introduction by Joaquim Moreno
OPENING:
Nanna Debois Buhl
Shallow Graves at Rush Arts, NY
In drawing from the ephemera of collective memory, Shallow Graves bridges the historical record or trace with the ways we remember and render the history in its particularity. Nanna Debois Buhl, Eric J. Henderson, Meridith Nickie, Jaye Rhee, Ryan Roa and Benjamin Tiven reflect upon both private and public monuments and employ multi-disciplinary approaches in researching, authoring and surveying the methodologies of tribute. Shallow Graves repurposes the colonial footprint to alternately define heritage as the amalgamation of the real and the imagined, history and heterotopia, and assert visual translation as a vital tool of biography.
Curator: Nico Wheadon Guest Writer: Franklin Sirmans
Friday 2nd
FILMSCREENING:
At MOMA Education and Research Center
Portabella's VAMPIR CUADECUC (with English subtitles) for your group .
You would then have 80 minutes for discussion, and you would also have access to the Museum galleries.
Vampir Cuadecuc 1970. Spain. Directed by Pere Portabella. Vampir Cuadecuc is a delirious reflection on the codes and conventions of the horror film through the language of structural materialist cinema. Shot on the set of Jesús Franco's Count Dracula (1970), with a compelling soundtrack by Carles Santos, the film alternates between being a horror film—with intertextual references back to Carl Dreyer's Vampyr (1932)—and documenting Franco's filming. This film evinces a distinct authorial style, evidenced through Portabella's use of high-contrast photography and his blending of documentary and fiction. 75 min.
MUSEUM
MOMA galleries
Marina Abramovic, Henri Cartier-Bresson: The Modern Century
Tim Burton, William Kentridge: Five Themes, Joan Jonas; Mirage,
EXHIBITION
Gallery Marian Goodman
Artist Anmar Kanwar,
Shows two multi-channel installations, The Torn First Pages, 2004-2008 and The Lightning Testimonies, 2007.
EXHIBITION
Metropolitan Museum
Tension surface
Saturday 3rd
EXHIBITIONS
Galleries Chelsea, Museums, The Kitchen (exhibition and performances)
performance
Jay Scheib: Bellona, Destroyer of Cities
Thursday – Saturday, April 1 – 3 and 8 – 10, 8pm??Following the critically acclaimed, Obie Award-winning first installment of Jay Scheib's performance trilogy Simulated Cities/Simulated Systems, The Kitchen presents the world premiere of part two, Bellona, Destroyer of Cities, a new theater work based on Samuel R. Delany’s celebrated science fiction novel Dhalgren. Scheib combines passages from the novel with original material, movement sequences, and live video to trace several intertwining plotlines driven by a group of characters with shifting identities. Set in a city after a cataclysmic event, Bellona, Destroyer of Cities draws on the labyrinthine world imagined by Delany to express the intricate and at times abstract delineations of race, gender, and sexuality today.??.??There will be a post-show discussion with Samuel R. Delany, Jay Scheib, and Carrie Mae Weems.
EXHIBITION
Leslie Hewitt: On Beauty, Objects, and Dissonance
Curated by Rashida Bumbray??This solo exhibition presents the US premiere of Leslie Hewitt’s most recent investigations in photography, sculpture, and site specific installation—that explore her long-standing interest in non-linear perspective and early twentieth century notions of double-consciousness. Known for a practice that traffics in a realm between the sculptural and the photographic, and riffs on political, social and personal material in order to expand confining narratives, Hewitt’s current proposition evokes similar concerns. Using Claude Brown’s Harlem migration text Manchild in the Promised Land (1965), as a point of departure, Hewitt creates visually elegant and thoughtfully composed situational works that question the contemporary moment through the exigencies of time.??Exhibition Hours: Tues-Fri, 12-6pm; Sat 11-6pm FREE
Sunday 4th
WALK accross Harlem
Dia at the Hispanic Society
Dominique Gonzalez-Foerster
chronotopes & dioramas, 2009
STUDIOVISIT
Artist Moyra Davey at her studio in Harlem
…’Moyra Davey has built an extraordinary body of work comprised of photographs, writings, and video. As opposed to a current predilection for large-scale, digitally manipulated photographs, her seemingly modest works reclaim a practice of photography grown out of contingency and accident. At stake is not just a series of discrete works, but rather an entire practice of engagement with the world, a reflection on possibilities of producing and consuming, and on the psychic lives of objects. Her practice of close looking reflects something like Virginia Woolf’s observation that the most satisfying kind of reading is that done with “pen & notebook” (or camera) in hand.’…
WALK
Sunday afternoon walk down Broadway from Hispanic Society Harlem towards
Central Park
Monday 5th
DAYTRIP up Hudson river to
DIA:Beacon
EXHIBITIONS
Sol LeWitt: Drawing Series...
Imi Knoebel: 24 Colors—for Blinky
Zoe Leonard: You see I am here after all,
OTHERS; Bernd and Hilla Becher, Louise Bourgeois, Walter De Maria, Dan Flavin, Michael Heizer, Robert Irwin, Donald Judd, On Kawara, Louise Lawler, Agnes Martin, Bruce Nauman, Max Neuhaus, Blinky Palermo, Gerhard Richter, Robert Ryman, Fred Sandback, Richard Serra, Robert Smithson, Andy Warhol, Lawrence Weiner
SEMINAR
Performance and Art at CUNY
With Sharon Hayes, Alix Pearlstein, Radiohole, and Nancy Spector, all of whom are employing or engaging performative techniques drawn from across disciplinary lines. The discussion will examine flexible practices and how they benefit artistic inquiry, challenge institutional approaches and develop spaces for social rapport between often segregated art worlds. Unfortunately, we did not get tickets for this.
Tuesday 6th
TALK:
Artist Lothar Baumgarden at Columbia University.
Wednesday 7th
DAY TRIP; train through the industrial wastelands of New Jersey
EXHIBIITON
PHILADELPHIA MUSEUM OF ART
DADA and Marcel Duchamp, The Bride Stripped Bare by her
Bachelors, Even (unfinished, 1915-1923) known as:The Large Glass.
ARTIST TALK
Kasper Akhøj lives and works in New York and Copenhagen
PROJECT
Contemporary Feminism
Artist Liz Linden and writer Jen Kennedy:
A Feminist reading group (the third in a series of events she's organized) at PPOW gallery where people discuss the days news from a "feminist" perspective.
This project is a long-term, wide-ranging, and interdisciplinary collaborative project. Our website, www.contemporaryfeminism.com, details at length our various works, from performances, sculptures, texts, and public discussions. The website is one further way we publicly explore what feminism looks like today, an inquiry that forms the basis of all instantiations of the project.
Thursday 8th
EXHIBIITONS in Chelsea
James Welling, Leslie Hewitt, Mike Nelson, Sam Durant, Dan Walsh, Susan Philipsz, Banks Violette, Cathrine Opie, Janet Cardiff and George Bures Miller, Candifa Höfer…between others.
OPENING
Green Naftali Gallery; artist Joachim Koester
TALK
Artitst JOAN JONAS, Location One
Bonnie Marranca and Claire MacDonald speak with Joan Jonas
Drawing is an underlying practice and ongoing concern that Jonas has pursued throughout her life. All of Jonas’s performance drawings retain a working relationship to her individual video and installation projects. For Jonas, drawings can be lasting and autonomous objects or they may be ephemeral and destroyed during a performance. Jonas considers the act of drawing and the physical objects themselves (media on substrate), in terms of their relation to the camera, the monitor, the space, as well as their status of being descriptive, diagrammatic or iconic.
Drawing/Performance/Video will look at Jonas's drawings within the context of her performance and video work, including the groundbreaking work Double Lunar Dogs, originally performed in 1984, Lines in the Sand, The Shape the Scent the Feel of Things, Organic Honey's Vertical Roll and others
About the Artist: Joan Jonas is a pioneer of video-performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Threads of Jonas’s influence can be found in many genres; from performance and video to conceptual art and theater.
Jonas has worked with composers such as Alvin Lucier and Jason Moran to develop video-performance works. Her work continues to explore the relationship of digital media to performance.
Friday 9th
MUSEUM
Whitney Museum
2010 Biennial Performances
This event is one in a series, Live on 5 Songs, curated by 2010 artist Martin Kersels, whose sculpture, 5 Songs, leads a double life as a stage for performance throughout the duration of the Biennial.
Aki Sasamoto‘s contribution to 2010, Strange Attractors, consists of the careful arrangement of sculpturally altered found objects and insistent repetitions of performances that alter and add to the feelings of the installation; the objects themselves provide guidance for the artist’s structured improvisation. Sasamoto demonstrates and develops a kaleidoscopic worldview out of deeply personal episodes and a hypothetical mapping of the universe. In an attempt to understand and feel the mathematical concept of strange attractors in dynamical systems, she jumbles her recent obsession for doughnuts, fortunetellers, hemorrhoids, and things detected in the world.
Saturday10th
EXHIBITION
P.S.1 Contemporary Art Center
1969 100 Years (version #2, ps1, nov 2009)
On-site 3: Mickalene Thomas
Marina Abramovi?: Chair for Man and His Spirit
Leandro Erlich: Swimming Pool
Christian Marclay: 2822 Records (PS1), 1987-2009
Between Spaces
Performance: Liz Magic Lazer
Sunday 11th
STUDIO VISIT
Artist Andrea Geyer in her studio at Industri City, Brooklyn
FILM SCREENING
Cabinet
Vsevolod Pudovkin's Mechanics of the Brain
Intro with Michael Hagner in conversation with D. Graham Burnett
Vsevolod Pudovkin is primarily known as a realist filmmaker whose feature films Mother, Storm over Asia, and The End of St. Petersburg are brilliant examples of 1920s Soviet cinema. It is less known that he started his career in 1926 with The Mechanics of the Brain, a popular film on Pavlov's reflexology. Pudovkin’s film practice drew on the technical possibilities of his apparatus, the artistic methods of the originally literary concept of factography, and the psycho-physiological knowledge he was supposed to document. This experimental setup generated sequences that were new and provocative to the broader public: Pavlov’s dog tortured with electrical impulses to train its conditioned reflex; a frog hanging on a tab, as on a cross; the face of a woman in the throes of giving birth. These and other passages continue to be both fascinating and shocking to this day, and the film remains an invaluable document at the crossroads of art and science in the "Age of Extremes." The screening will be followed by a discussion between science historians Michael Hagner and D. Graham Burnett.
ABOUT THE PRESENTERS
Michael Hagner is professor of science studies at the ETH Zürich (Federal Institute of Technology). He studied medicine and philosophy at the Freie Universität Berlin and was senior scientist at the Max Planck Institute for the History of Science in Berlin between 1995 and 2003. He has published extensively on the history of the neurosciences, the history of cybernetics, and the function of visualization in the sciences. In 2008, he was awarded the Sigmund-Freud-Preis für wissenschaftliche Prosa by the Deutsche Akademie für Sprache und Dichtung.
D. Graham Burnett is an editor at Cabinet and teaches history of science at Princeton University.
Monday 12th
FILM
Anthology Film Archives
April 9th -18th Kuchar Brothers Feature, incl Program of shorts, feature films, 8mm, and a new documentary portrait of the two New York film makers:
Precocious twin brothers George and Mike Kuchar were raised in the Bronx, where they began making ultra-low-budget, feverishly inventive movies as kids in the mid-50s. Whether working in film or video, together or alone, the world-renowned Kuchars are rightfully revered for their ribald humor, over-the-top ingenuity, incredible camera work, and prolific output. IT CAME FROM KUCHAR is bursting with hysterical and touching footage of the Kuchars at work and play, overflowing with eye-popping excerpts from countless films, and abounding with commentary from Kuchar devotees including John Waters, Buck Henry, Guy Maddin, and Anthology’s own Andrew Lampert. In short, IT CAME FROM KUCHAR is the Kuchar documentary we’ve all been dreaming of. Now it’s time for Hollywood to come through with a big-budget bio-pic…
TALK
The Cooper Union School of Art
With Greg Tate and the Black sugar band;
Greg Tate is an American author who has spent the last two decades formulating a critical language that has redefined African-American cultural theory and writing. An essayist and long time staff writer for The Village Voice, Tate has published widely, with writings on art, music, and culture appearing in The New York Times, Rolling Stone, The Washington Post, Spin, Artforum, The Nation, and DownBeat, and Africa-based magazines such as Glendora Review and Chimurenga.
The impact of Tate's writing lies in the seminal productive tensions he navigates between post-structural theory and black cultural nationalism; academia and street culture. Tate has been inspired by black innovators such as Miles Davis, Jimi Hendrix, Sly Stone, George Clinton and the artist Jean-Michel Basquiat . Furthermore, Tate has defied fixed notions about what constitutes authentic black culture, and has inscribed a new radical trajectory that is simultaneously rebellious yet intelligently written.
Now in his 50s, Tate continues to challenge cultural hegemony, writing on everything from hip-hop to YouTube. His books include Flyboy in the Buttermilk, Midnight Lightning: Jimi Hendrix and the Black Experience and Everything But the Burden: What White People Are Taking from Black Culture. He is also a founding member of the Black Rock Coalition and the conductor and music director of Burnt Sugar, a band that fuses jazz, rock, funk, and African music in a lyrical, exploratory and improvisational manner.
Tuesday 13th
INTRODUCTION
Parsons school of the Arts.
With professor Andrea Geyer
STUDIO VISIT
Artist Jesper Just at his studio in Williamsburg:
Wednesday 14th
INTRODUCTION
International Studio & Curatorial Program (ISCP)
With program director Kristine Siegel
INTRODUCTION
New York Now, with assistant director Jacob King on the show;
Fiona Banner, Matthew Buckingham, Moyra Davey,
Kota Ezawa, Matthew Higgs, Ann Lislegaard,
Barbara Probst, Beat Streuli at Murray Guy
With assistant director Jacob King
Leaving NY at JFK 23:25
Mandag 19. -
Onsdag 21. april (flyttet til oktober 2010)
kl. 10.00 – 16.00 Ewa Einhorn & Jeuno JE Kim:
The Return of the F* Word: Horror,
Masquerade and Feminist Theory
Issues of representation, gendered spectatorship, the gaze, language, voice, voyeurism and fetishism, narrativity, and new paradigms of authorship are some of the points we will cover in this survey course on feminist (film) theory. We will read selected texts by Judith Butler, Carol J Clover, Laura Mulvey, Renata Saleci, Kaja Silverman, Susan Sontag, Slavoj Zizek, and Alenka Zupancic. In conjunction to the readings, we will view works and films by the following Yvonne Rainer, Chantal Akerman ”Jeanne Dielman”, Ulrike Ottinger, Adrian Piper, Theresa Hak Kyong Cha.
Mandag 19. –
Fredag 23. april
kl. 10.00 – 17.00 Madeleine Bernstorff (arranged by Wall&Space)
The dilemmas of documentary
(in the age of easy manipulation)
Documentary/non-fiction film has always been 'the other' of film
studies and film practice, it seems to be much easier to capitalise on
(analysing) fiction films. Since the eighties when commercially viable
formats of documentary film (Godfrey Reggio, Michael Moore,) were
developed, there was a long wait before the art world began to embrace
the documentary format, and use it’s potential as a marker for social
and political engagement to enhance the museum / gallery space with an
idea of socially concerned impact.
We can now also observe a performative turn in artistic production, which
might be linked to the contemporary demand/request to perform the
subject in neo-individual-liberal context.
So which (filmic) subjectivisation processes work in an affirmative
way for the production and reproduction of the
economic/military/post-industrial
complex, and which of these processes might be productive in developing
sensuality and perception, which are not oblivious to the state of things?
The boundaries between documentary and fiction have always
been blurring, and one can consider the most common denominator of
fictionalisation, the medium and it's parameters as such.
How could we gain back a realism, which doesn't bend before these
problematic questions?
Poetic realism, neo-realism, hyper-realism.
What does realism nowadays mean?
Fact-image, action-image, time-image.
I would not claim 'the documentary' as a distinct genre, but as a tool
to question an ethical access to, and use of images. We can ask
questions about victimisation/agency, functionalisation, ethical space,
strategies of authentication, handling and exposure of protagonists,
and the perspective and position of the filmmaker within/against embedded
post/colonial, hetero-normative, class-universalist categories.
Claiming an existing, written, canonised history of feminist
documentary film might be in many ways a productive presumption!
To work on these questions collectively, while watching material (less
canonised, lesser downloadable) together, and to speak about one’s own
relation to the works and discuss questions of dissent/consent while
taking into account the specifity of the aesthetic form, might be a
beautiful experience.
Torsdag 28 april –
Fredag 29
kl. 10.00 – 17.00 Barbara Clausen and Rikke Frank
Seminar / workshop: Collaborative Practices
Part II – A Shared Agency and a Public Cause
(Organised by Kanalen)
The second segment would look at historic and contemporary collaborative, that are in search of new forms of artistic production and presentations of art. Examples range from Group Material, Independent Group, General Idea, Guerilla Girls, LTTR, Raqs Media Collective, Park Fiction, Igloolik Isuma Productions, to the protests against the Flick Collection or the Anti-Humboldt forum in Berlin as well as the local history in Vienna.
In addition the second segment will also look at the work of contemporary collaborations that are defined through social networks with a conscience on the history of collaborations and the physical mediation of art: Dexter Sinister, Bernadette Cooperation,Continuous Project, A Ghost in a Shell, as well as spaces such as Orchard Space or Reena Spauling"s in New York.
The seminar will include theoretical discussions, readings, as well as student presentations and guests, analyzing local as well as international art practices.
MAJ
-
Onsdag 5.maj
kl. 12.00 – 19.00 Ann Lislegaard
Filmarkiv
Torsdag 6.maj
kl. 09.00 – 12.00 Fællesmøde
Fredag 7.maj
kl. 10.00 – 15.00 Ann Lislegaard
Admin/ansættelse
Torsdag 20.maj
kl. 10.00 –12.30 Skoleråd
kl. 13.00 –14.30 Afdelingsforsamling
kl. 13.00 –14.30 Individuel gennemgang/studio visit
Fredag 21.maj
kl. 10.00 –11.00 Individuel gennemgang/studio visit
kl. 11.00 – 15.00 Ann Lislegaard
Admin/ansættelse
Tirsdag 25. Maj
kl. 09.00 –17.00 Ann Lislegaard
2.års evaluering på grundskolen
Torsdag 27. maj
kl. 00.00 –00.00 Individuelle gennemgange / Studio visits
Kl 20.00 Fernisering
Afgangs Udstilling 2010 – Åbning Kunsthal Charlottenborg
Mandag 31.maj
kl 12.00 Afgangs studerende: afleverer materiale til sensorer
JUNI
-
Onsdag 2.juni
kl. 09.00 –18.00 Ann Lislegaard
Individuelle gennemgange / Studio visits
Torsdag 3. Juni
Kl 10.00 – 17.00 Anette Østerby, Lars Bang Larsen og Ann Lislegaard
Afgangs eksamination.
Anette Østerby - Centerchef
Kunststyrelsens Billedkunstcenter
Lars Bang Larsen - kunsthistoriker, kritiker, kurator og Ph.D. stipendiat
Bosat i København og Barcelona
Fredag 4.juni
Kl 13.00 – 16.00 Lars Bang Larsen
Talk
Psychedelic Prologue
Lars Bang Larsen - kunsthistoriker, kritiker, kurator og
Ph.D. stipendiat
Bosat i København og Barcelona
Fredag 11. juni
kl 10.00 – 16.00 Maryam Jafri
Gennemgang med afgangs studerende
Maryam Jafri
Kunstner, bosat og arbejder i København og New York
Fredag 18. -
Søndag 20. juni
kl 10.00 – 18.00 Rundgang
Mandag 21. -
Onsdag 23. juni
kl. 10.00 - 16.00 Ann Lislegaard og Pernille Albrethsen
Gruppe gennemgang/group critiques
Pernille Albrethsen
Kunsthistoriker, skribent og kurator, bosat i København
Onsdag 23. juni
Kl 10.00 – 14.00 Afdelingsforsamling/ Evaluering
Onsdag 30. juni
kl. 14.00 Diplom overrækkelse