european art research network @ venice
'becoming bologna' conference june 2009
saturday 6/5/09 + sunday 7/5/09
Hosted by Università Iuav di Venezia (IUAV)
This event brings together graduate schools from around Europe to discuss the future of graduate school artistic research models. This conference builds upon the success of earlier conferences, seminars and exhibition projects such as: A Certain- MA-ness, Amsterdam, March '08; The State of Play, Dublin, May, '08; Nameless Science, New York, Dec '08; Seminar on doctoral research programmes in Europe, Vienna, Jan '09; and many other events and seminars led by particpants in the European Art Research Network
Participants include: Tiong Ang, Jeremiah Day, Klaas Hoek, Henk Slager, Daniel Birnbaum, Simon Starling, Dietrich Koska, Angela Vettese, Jan Kaila, Pekka Kantonen, Eija-Liisa Ahtila, Felicitas Thun, Tom Holert, Jan Cools, Willem de Greef, Steven de Vleminck, John Aiken, Penny Florence, Andrew Stones, Glen Loughran, and Mick Wilson.
Participating schools include: Ensba (Paris), KUVA, Finnish Academy of Fine Arts (Helsinki), IUAV (Venice), MaHKU (Utrecht), Slade (London), Sint-Lucas Academy (Brussels), Staedelschule (Frankfurt), Vienna Academy of Art, and GradCAM (Dublin).
Topics for discussion include:
full programme download
Is it possible to map the various skills required for a post- graduate (research) program, particulary with regard to a reflective and critical attitude, and a conception of both knowledge production and research. How can we assess these competencies? What will happen to traditional skills such as mastery of technique? What do critical and contextualizing skills mean for the situation of the art academy as such?
Can one determine how a graduate program (Ma, PhD) is characterized? What are the adequate didactic strategies and educational models? What are the differences and similarities between the various european graduate 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 studio-based paradigm with its rituals of tutorials and studio-visits? How do the current educational strategies and models relate to the research practice of lecturers?
Is it the task of the academy to develop a specific artistic research environment? How should such an experimental research environment be facilitated? It is 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 to proclaim the academy as the starting point for their exhibition projects?