Course calendar Spring 2019 The Art Academy – Department of … · development of each...

Course calendar Spring 2019The Art Academy – Department of Contemporary Art

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Welcome to the new spring semester at Faculty of Fine Art, Music and DesignYou are now holding the course catalogue for the spring semester 2019. All courses, seminars and teaching activity described in the catalogue concerns students in the Bachelor Programme of Fine Art and the Master’s Programme of Fine Art.

The catalogue has its own Programme-section with specific events for students enrolled in that specific Programme. Please note that some of these activities may be mandatory.

The educational structure at the Department of Fine Art is as follows:• Lectures and presentations occur preferably on Mondays.

These may be single lectures or happen as part of courses, seminars or external activities

• Courses, workshops and seminars are mainly scheduled for Tuesday, Wednesday and Thursday

• Summaries, group discussions, presentations and exhibitions are usually scheduled to Friday

• Tutorials, both individually and in groups, are made by appointment with the professors

• The core period for teaching is from 08:30 to 16:00, but times may vary.

Welcome to the new spring semester at The Art Academy –Department of Contemporary Art!

Please note that changes in courses may occur after the catalogue went to print. Please use Mitt UiB to keep track of updated information.

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Dear students! This course catalogue reflects our staff’s commitment and exceptional competence in the different areas in the art field. It is therefore a pleasure to introduce our courses for the spring term 2019! Our educational core is the development of each student’s artistic practice, in close dialog with main tutor and staff at The Art Academy. We offer a rich selection of courses from the 8 focus areas. It will enable in-depth studies, a possibility to pursue your inter-ests and experiment across disciplinary boundaries. You will find introductory courses, specialised and advanced courses, and research based courses (KU-course). In addition, students will find an short overview of class specific activities, such as seminars, theory and writing courses.

This is the fourth semester and catalogue since we moved to Møllendalsveien 61. We are happy to notice that the educational structure slowly, but steadily has started to fall into place. This is not to say that everything yet is perfect, but we try our best to solve issues as they occur. Our professors have put much work and dedication into these courses. To really realise each course’s full potential, it is important that students contributes and that they are active in the learning environment. Please show up for the courses you have signed up for and been admitted to! If you for some reason are prevented from participating, it is important that you contact the course administrator or student adviser as soon as possible. Often other students are on the waiting list and want to attend that particular course.

Best wishes for the spring term!

Christine HansenHead of Education – The Art Academy

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Index

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Art TheoryTextilePhotographyPaintingPrintmakingNew MediaCeramics & ClayPerformanceSculpture & InstallationClass specific activities

Course calendar (Weekly overview)

Extracurricular

How to apply for courses in Studentweb

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Art TheoryLectures & Seminars

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Description

The tensions which assail the body and its production of desires are both interrupted and eliminated at the extreme of death, yet at the same time the idea and “form” of death is only conceivable within the domain of desires and consciousness, and the language we have to address the configuration of death. As no system is available for the Being-in (experiencing) while conceptualizing death (i.e. it is only possible to think of death from within life, consciousness of life, and tension/desire in life-produc-tion), the position of death becomes one where the twin polarities of definite knowing and ultimate ignorance collapse entirely into one another. At the edge of meaning death becomes a limiting case of sense melting into the senseless, where certainty becomes infested with un-certainty and vice-versa. In short, the most certain of what is to be as referenced to not-being, ultimately undermining the certainties of a viable, totalizing language. Language cannot work as the most certain points only to the abyss.

The address of Art, in the grip of this internal dilemma of the obscurity and definiteness of death, and in the absence of adequate signifying systems to define this other side of life, is to enfold the contrary binary as

elemental pursuit towards the bound dualities of control and un-control, being and nothingness, understanding and meaninglessness. The directive of the art of death becomes a method to propel the ambiguities of meaning towards the

Subject Area Theory

Course typeSeminar/lecture

Level All

Language(s)English

Course administrator Steven Dixon

Course teacher(s) / guest teacher(s) Steven Dixon

Week / Days Week 421.01

Hours 10.00-12.00

Location T.B.A (MittUiB)

Max Students Open for everyone

Course code KMD-TEO-221

The Abyss also gazes into you: From Exchange to Oblivion in the Contemporary Art of Death

Maria Ionova-Gribina, Natura Morta, from series 2010-13

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manifold of alternate pathways leading to indefinite multiple understandings; a deconstruction of, both, strict social separations (differences and binaries) and meanings assured. The concept of death depicts a basic non-control to the meters and measures of languages and the institutional controls of what is“the speakable” (meanings), which the artist wishes to confront, question and reap as new directions and questions.

Goals and contents

This Lecture will explore contemporary arts confrontation of the ideas, language, and visualities of death.

Learning goals

Focus on the critical and theoretical considerations artists engaged towards the finale of the personal, and the symbolic exchanges ofthe end.

“Here death can no longer be called death... (but) the fabrication of corpses..... fabrication of corpses implies that it is no longer possible truly to speak of death, that what took place in the camps was not death, but rather something infinitely more appalling. In Auschwitz, people did not die; rather corpses were produced. Corpses without death, nonhumans whose decease is debased into matter of serial production. And, according to a possible and widespread inter-pretation, precisely this degradation of death constitutes the specific offense of Auschwitz, the proper name of its horror.””In one case (humans have been stripped to) the non-living, as the being whose life is not truly life; in the other case, (their) death cannot be called death, but only the production of a corpse-- as the inscription of life in a dead area, and in death, of a living area.” “As we later called them, The Living Dead....”

“This is the... “third realm” the perfect cipher of the camp, the non-place in which all disciplinary barriers are destroyed and all embankments flooded. (Producing a) indefinite being in whom not only humanity and non-humanity, but also vegetative existence and relation, physiology and ethics, medicine and politics, and life and death continuously pass through each other.

Subject Area Theory


Level All

Language(s)English




Hours 10.00-12.00


Max Students 16


“Finally, you confuse the living and the dead”: Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive (2002) Agamben interrogates

what the State of Exclusion (being excluded from the political application of

“rights”) and Bare Life (stripping subjecthood to elemental basic “life”)

as breed in the concentration camp and what this entails for society and the contemporary notions of life and death. Focus will be on the definitions of rights and governance in authoritative state structures, how this informed the biopoliti-cal subject and what this means as applied to the individual as produced subject of the social regime at the contemporary moment.

Goals and contents

Giorgio Agamben, Remnants of Auschwitz: The Witness and the Archive (2002) pgs. 41, and 71-86

Learning outcomes

Agamben ideas of the biopolitical subject and what this entails for life and death in the politics of current social mechanisms.

Ana Mendieta, Imagen de Yagul, 1973 from the series Silueta Works in Mexico 1973-1977

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Artists of all times have displayed a taste for re-searching the past in their quest for inspiration, content andparadoxically also; newness. The cubists looked for inspiration in primitive art, the surrealists used methods from psychoanalysis and psychotherapy to uncover hidden layers in their own psyche. Some recent artists have turned their attention towards long forgotten Stasi archives and yet others, like Mark Dion and our very own project “Topographies of the obsolete”, have used models from archaeology as a way of working and thinking and as a frame of mind.

In the words of the theorist, philosopher and curator Dieter Roelstraete, the early twentieth century art have experienced a “historiographical turn” in it s way of responding to the world. In his pivotal essay “The way of the shovel”, from 2009, he concludes;

“the alignment of art and archeology compensates for the one tragic flaw that clearly cripples the purported critical claims and impact of the current “historiographic turn” in art: its inability to grasp or even look at the present, much less to excavate the future”.

In this one-day seminar Dieter Roelstraete will give a lecture based on his essay “The way of the shovel”, from 2009 and the exhibition at Museum of Contemporary Art Chicago, by the same name from 2014.

The scope of the seminar will be cross disciplinary; we will invite participants and key note speakers from both Art and Archeology to shed light on this topic.

Goals and contents

Contemporary art s alignment with Archeology

Subject Area Theory


Level All

Language(s)English

Course administrator Geir Harald Samuelsen

Course teacher(s) / guest teacher(s) Dieter Roelstraete,other keynote speakersto be announced


Hours 09.00 – 15.00

Location Knut Knaus

Max Students Open


“The way of the shovel” — The alignment between Art and Archeology in 20th century Art

Belonging to no country that anybody knows of: Ilya Kabakov, Margarita Tupitsyn and Victor Tupitsyn, About Installation (1999)

“The installations now being made all over the world are of two different types: first, there is the installation that is essentially a collection of objects, of which one large object is composed; second, there is the installation that rejects, or claims to reject, the object as a matter of principle but nevertheless completely transforms space and is the principal agent of such transformation.”

“Many are wary of the fact that to some extent installation represents an intru-sion of orthodoxy into the territory of a modernist or postmodernist world pic-ture-not only in the realm of visual representation, but in the arena of social life in general. I am referring to Guy Debord’s society of the spectacle, or, in newer terminology, the “society of the installation.” Televangelists, political and finan-cial institutions, mass media, advertising, and so on-all, without exception, try to instill certain ideological constructs, identity frames, and images of desire in our

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consciousness. Thus, the consumers of visual representa-tions become easy prey for those who would force spiritual, political, or material salvation on them.”

The artists Ilya Kabakov, Margarita Tupitsyn and Victor Tupitsyn discuss the function of Installation art from ritual-istic endeavor verses capitalist consumption to the auton-omy of installation productions through artistic anonymity.

Goals and contents

Ilya Kabakov, Margarita Tupitsyn and Victor Tupitsyn, About Installation (1999). Will be concurrently open for discusion of Lecture: Room for Doubt.

Learning goals

Discussion of the function of Installation art from ritual-istic act to capitalist consumption, and the possibity of it’s autonomy of production.

Subject Area Theory


Level All

Language(s)English




Hours 10.00-12.00


Max Students 16


“...the nomadic trajectory may follow trails or customary routes, it does not fulfill the function of the sedentary road, which is to parcel out a closed space to people, assigning each person a share and regulating the communication between shares. The nomadic trajectory does the opposite: it distributes people (or animals) in an open space, one that is indefinite and noncommunicating.”

“The nomas came to designate the law, but that was originally because it was distribution, a mode of distribution. It is a very special kind of distribution, one without division into shares, in a space without borders or enclosure. The nomas is the consistency of a fuzzy aggregate: it is in this sense that it stands in opposition to the law or the polis, as the backcountry, a mountainside, or the vague expanse around a city (“either nomos or polis”). “

“Therefore..... there is a significant difference between the spaces: sedentary space is striated, by walls, enclosures, and roads between enclosures, while nomad space is smooth, marked only by “traits” that are effaced and dis-placed with the trajectory.”

This seminar will explore the theory and practice of Nomadology developed by Deleuze and Guattari. The

nomadic concept is a unfolding embryonic condition of being. An incessant changing vector of becoming. This Becoming, as multiple possible trajectories of the subject/object, grounds itself on the open and continuous action of the potential , evading the static, catatonic closures of the actual. The figure of the nomad represents the movement of the multiple possible, called forth by affective intensities (traits) and aided by vectors as manifold movements at various velocities (speed). The nomad is the production of deterritorialization, and hesitant reterritorializations, intrinsic to all phenomena.

Goals and contents

Deleuze and Guattari, Nomadology, (1986). Pgs. 43-53

Learning goals

Seminar will explore the theory and practice of Nomadology developed by Deleuze and Guattari and how it relates to Spatial and subjective concepts.

Subject Area Theory


Level All

Language(s)English




Hours 10.00-12.00


Max Students 16


“A How of matter”: Deleuze and Guattari, Nomadology, (1986)

Sandy Skolund, Revenge of the Goldfish, 1981.

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Room for Doubt: The Performative Place, Unsettled Objects and Elusive Events of Installation Art

Installation art, though having a history beginning with works such as Kurt Schwitter’s Merzbau, Wagners notion of Gesamtkunstwerk, and its establishment of terminological usage in the 1960’s, continues, to this day, to have an open and questionable meaning. Claire Bishop in her text “But is it installation art?”, still finds it meaningful to ponder what the perimeters and materialities of the term “installation art” entails. The open-endedness of an art which encompasses an immer-sion in arrangements conjoined to motion, of necessity, motivates a hesitation of description which has become problematized in the blurry binary of subject/object. As Bishop laments: “Almost any arrangement of objects in a given space can now be referred to as installation art, from a conventional display of paintings to a few well-placed sculptures in a garden. It has become the catch-all description that draws attention to its staging, and as a result it’s almost totally meaningless.”

Beyond this ambiguity, however, art consensus still recognizes a set of material events that resolve the meaning of the term “installation art”, i.e. spatial

Subject Area Theory


Level All

Language(s)English




Hours 10.00-12.00


Max Students Open


Chiharu Shiota, Over the Continents, 2004, from Arthur M. Sackler Gallery 201116

Mary Sibande, Sophie Velucia, 2009, from Whitworth Art Gallery, 2015

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arrangements delineated by place-of-objects through which spectators- must-move. Given this expansive topology of Installation art, conditions would seem to include: 1) Encompassing environment, 2) location-specific, 3) Spatial/Objective Arrangements 4) Cross-Medium/ Material categories, 5) Spectator Activation, 6) Recontextualizing Objects per Viewpoints, 7) Uncertain Temporality, and 8) Site as critique. Forms of knowing are confronted in the open experience of the installation undermining stability both of the arrangement of objects and the internal/external constructions of the subject. Place, space, and objects as active relations performativity informs installation art. The immersive experience reinforced this performance of the objects of installation to cause a disjunction with habitual assessments and throw the viewer into an re- evaluation of the fuller experience of the multiple “beings” of space.

Goals and contents

This lecture will explore at the historical and theortical trajectory of installation art

Learning goals

Focus will be on shifting space, ambiguity of the object/subject, the productive absence, and flowing appearance in Installation Art.

Forelesningene finner sted hver fredag i perioden f.o.m. 1. mars t.o.m. 5. april i tidsrommet 13.00-15.00 i Presentasjon 1.

«Verden vil gå til grunne, men vi har ingen ende»

I denne forelesningsserien skal vi sette søkelyset på modernisme, det vil her si den amerikanske efterkrigstidsmodernismen som i sin samtid gikk under betegnelsen «den abstrakte ekspresjonisme» og som var den ledende retning i USA i perioden 1945-1965.

Serien er inndelt i to deler, én del bestående av 2 forelesninger, hvor vi forsøker å denne retningen innenfra, dvs. med utgangspunkt i denne retningens samtid. Det siste vil i praksis si at vi forsøker å se den i lys av strategiene til dens to ideologiske lederskikkelser, Clement Greenberg og Michael Fried, så vel som i lys av den opphetede debatten som pågikk mellom de nevnte personene på den ene side og representanter for den fremadstormende minimalismen på

Subject Area Theory

Course typeKU

Level BAKU 3, BAKU, 5, MAKU 1 og MAKU 3.

Language(s)Norsk/Skandinavisk

Course administrator Wencke Qvale

Course teacher(s) / guest teacher(s) Wencke Qvale

Week / Days Uke 9 / 01.03Uke 10 / 08.03Uke 11 / 15.03Uke 12 / 22.03Uke 13 / 29.03Uke 14 / 05.04

Hours 13.00 - 15.00

Location Presentasjon 1

Max Students Open


Modernismen i nyere forskningsperspektiv

den annen. Derefter følger en siste og avsluttende del bestående av 4 forelesninger, hvor vi betrakter modernismen utenfra, idet vi ser den i eftertidens lys. Det vil i dette tilfelle si at vi ser den i lys av fire teoretikere, som hver formulerer en kritikk av denne retningen ut fra sitt ståsted, efter at modernismens tid var over.

(I) MODERNISMEN i USA: 1945-1970

1. Forelesning: 1. mars (UKE 9): Den abstrakte ekspresjonisme (I): Clement Greenberg og «New York-skolen» (1950-1960)

I denne forelesningen skal vi se litt nærmere på modernismen, efter at denne retningens tyngdepunkt hadde forflyttet seg fra Europa til USA. Vi starter her med det som utgjør den amerikanske modernismens første fase, den såkalte «abstrakte ekspresjonisme» med Clement Greenberg som dens ubestridte led-er og kunstpolitiske ideolog. Skulle man formulere Greensbergs ambisjoner på denne kunstens vegne i et nøtteskall, så måtte det bli å utrette for maleriet, hva Kant i sin tid hadde utrettet for filosofien, nemlig i å undersøke sine egne grunnlagsbetingelser. Mens Kant fant disse grunnlagsbetingelsene i menneskets

erkjennelsesevner (forstanden og anskuelses-formene), så fant Greenberg dem i kunstens primære virkemidler: linjen, farven og (til dels) lyset.

Formålet med dette ambisiøse programmet kan beskrives som dobbelt, dels å ta ut hele potensialet som lå i det europeiske nonfigurative maleri og således overgå europeerne på deres egne premisser, og dels gjennom denne historiske bragd å vise seg som en verdig arvtager til den europeiske maleri-tradisjonen.

René Bouché: Clement Greenberg, olje på lerret, 1955 (National Portrait Gallery, Smithsonian Institution, gave fra Denise Bouché Fitch)

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2. Forelesning: 8. mars (UKE 10):Den abstrakte ekspresjonisme (II): Michael Fried og «Washington-skolen» (1960-1970)

I denne forelesningen skal vi ta for oss neste fase i den amerikanske efterkrigs-kunstens utvikling. Utgangspunktet for dette er den omstendighet at den ab-strakte ekspresjonismen i tiden omkring 1960 ble utfordret av en nyfremadstrebende retning på det amerikan-ske Kontinent, minimalismen. Og den som tok på seg oppgaven med å lose kunsten helskinnet gjennom denne utfordringen, var Greenbergs yngre kollega, kunsthis-torikeren og kritikeren Michael Fried. Og det er med sistnevnte ideologiske leder-skikkelse i førersetet, at denne kunsten på mange måter kan sies å ta av i kreativ utnyttelse av det non-figurative formspråk.

Spørsmålet Fried stiller eller bedre, ber kunstnerne stille seg, er hvor langt det er mulig å gå langs den kursen Greenberg hadde staket ut med sitt ambisiøse pro-gram, før kunstverket kollapset innenfra, så å si, idet det ble forvandlet fra et motiv til en farveklatt – eller, om man vil: fra et kun-stverk til en ting. Og det var nettopp i dette mulighetsrommet – i denne tilstand mellom kunst og ting – eller som Fried velger å uttrykke det – mellom kunst og «tinglighet»

– at det som utgjør den annen og siste fase innenfor den abstrakte ekspresjonisme, den såkalte «Washingtonskolen», fikk sin sjanse til å vise hva det abstrakte maleri var istand til å yte. Før minimalismen omkring midten av 1960-tallet brøt igjennom alle forsvarsverker og forandret kunstscenen for all overskuelig fremtid.

Jules Olitski: Cleopatra Flesh 1962 (MoMa, Gift of G. David Thompson)

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– troen på at vi (les: kulturen) gjør fremskritt – tuftet på en basal misforståelse, nærmere bestemt den som går ut på at kultur og natur (subjekt og objekt) er fundamentalt adskilte størrelser – og en hermed sammenhengende forestilling om herredømme, les: menneskets (les: kulturens) herredømme over naturen.

Det siste kan, ifølge Latour, ikke betraktes som annet enn som uttrykk for et omfattende selvbedrag. Det vil si et selvbedrag som endatil øker i takt med den teknologiske utvikling. Noe som må igjen sees i sammenheng med vitenskap-ens økende avhengighet av avansert (les: elektronisk) teknologi og med den individets økende deltagelse i «komplekse nettverk», som gjerne følger i denne utviklingens kjølvann. Latours utsagn «vi har aldri vært moderne» er følgelig et utsagn som – om mulig – har enda større relevans i dag enn noen sinne. Og med det «moderne» faller også forestillingen om det «postmoderne» som er skapt med direkte utgangspunkt i det moderne.

5. Forelesning: 29. mars (UKE 13)Rancière og kunsten som «grensesnitt»

En annen, som deler de Duves skepsis til oppfatningen av «det moderne» som en gyldig kategori for vår tid – og den hertil knyttede forestilling om fremskrittet – er franskmannen Jacques Rancière. Slik han ser det, er det på tide å innse at modernismens ambisjon om en radikal overskridelse eller brudd – hva enten det dreier seg om et brudd i forhold til fortiden eller til det omgivende samfunn – er basert på en illusjon og følgelig en ambisjon som aldri vil kunne innfries. Istedenfor å sette sin lit til «bruddet», tar Rancière til orde for å betrakte kunstens oppgave

Bruno Latour (Foto: Manuel Braun)

Jacques Rancière (Photo: Bård Ivar Basmo 2011, Faculty of Humanities NTNU)

(II) MODERNISMEN I KRITISK BELYSNING

3. Forelesning: 15. mars (UKE 11:Thierry de Duve: Kant etter Duchamp (1996)

Vi har i de to ovenstående forelesningene sett, hvordan den amerikanske efterkrigsmodernismen i det lengste forsøkte å holde stand mot utviklingen. Men at den til slutt måtte gi tapt vis-à-vis den fremadstormende minimalismen og det som fulgte i denne retningens kjølvann, konseptkunsten, også kalt anti-kunsten (av Peter Bürger kalt «(neo-)avantgarden»)[2]. Det siste vil si retninger som så det som sin overordnede målsetning å bryte med den eldre kunstens skjønnhetsideal og erstatte det med et kunstparadigme, hvor skjønnhets-opplevelsen må vike for sjokkerfaringen. Eller, om man vil, hvor det skjønne må vike for det sublime. – Og dog, vel å merke, uten at det sublime herved knyttes til en form for overskridende erfaring (les: transcendens) og dermed til det man i Kants generasjon kalte «det opphøyede» («das Erhabene»).

Kunsthistorikeren Thierry de Duves bidrag til analyse av denne polar-iserte debatten mellom ekspres-jonister og minimalister i den tidlige efterkrigstid kommer til uttrykk i boken Kant après Duchamp (1996). Hans standpunkt er at efterkrig-stidens avantgarde-bevegelses radikale ambisjon om general-op-pgjør med tradisjonen, er noe som ikke lar seg realisere innenfor dens (les: antikunstens) egen selv-forståelse. Og at dens prosjekt på dette punkt er å anse som uttrykk for en overmodig (les: modernistisk)

illusjon om bruddets mulighet. Som han ser det, lever Kants estetiske para-digme fremdeles i beste velgående, kun med den forskjell at Skjønnheten, som var så viktig for tradisjonens kunstnere, er byttet ut med et nytt ideal, nærmere bestemt med det vi i dag kaller «Kunsten». Eller, sagt på annen måte, skjønnhet-sidealet, les: idealet om å skape skjønnhet, er i dag byttet ut med idealet om å produsere kunst.

4. Forelesning: 22. mars (UKE 12)Bruno Latour: Vi har aldri vært moderne (1996)

I denne sin kritikk av det moderne får de Duve følge av vitenskapsfilosofen Bru-no Latour. I boken Vi har aldri vært moderne (1996) tar sistnevnte et general-op-pgjør med vår tids selvforståelse. Det vil her si at han tar et oppgjør med dagens begrep om «modernitet» anvendt om vår tid og troen på fremskrittet som gjerne følger i dette begrepets kjølvann. Ifølge Latour er en slik form for fremskrittstro

Thierry du Duve: Theorist in Residence: Cal Arts Fall 2015. (Image: Courtesy of the Aesthetics & Politics Program)

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Sanna A

lbenius, blyant på papir, 20

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Subject Area Theory

Course typeWorkshop/Lecture

Level All

Language(s)English

Course administrator Lars Korff Lofthus

Course teacher(s) / guest teacher(s) T.B.A (MittUiB)

Week / Days Week 9 & 10

Hours All day


Max Students 8


Practicing identityWe look at artistic practices where personal identity appears to be present, and relate to each student s practice. Queerness will be an underlying position, but we will also be looking at a more general otherness and investigate how this is expressed in artistic practices.

Goals and contents

To gain confidence in your artistic practice, find out what is at risk and amp it up.

Requirements

No requirements (or you must have seen at least 3 John Waters movies, and read at least two books by black American writers.

Teaching and learning methods

Group discussions, tutorials, guest lectures etc.

Learning goals

To gain confidence in your artistic practice, find out what is at risk and amp it up.

som å fungere som en form for «grensesnitt». Det vil si å fungere som en form for bruddflate vis-à-vis andre konkurrerende retninger eller kunstformer – og dermed mot verden – i den forstand at den demonstrerer hva som til enhver tid «står på spill» («what … is at stake»). Det siste innebærer et nytt syn på fortiden (og dermed historiens eller tradisjonens) rolle i dagens kunst, skjønt hva det går ut på vil jeg ikke røpe her, men overlate til forelesningen å formidle. Kunstnere: Toril Johannessen

6. Forelesning: 5. april (UKE 14)David Joselit: Painting beside itself – eller «How does painting belong to a network?»

På denne siste forelesningen i høstens serie skal vi forlate kritikken av den historiske modernismen med bidrag av blant annet Latour og Rancière og i stedet ta for oss den såkalte «objekt-teorien». Det vil si en teori som er opptatt av mere generelle (for ikke å si prin-sipielle) problemstillinger knyttet til forholdet mellom subjekt og objekt, den såkalte subjekt-objekt relasjonen.

Skjønt problemstillingen er ikke helt ny. Både Latour og Rancière kan efter mitt skjønn sies å være opptatt av denne fundamentale relasjonen – Latour: ved å stille spørsmålet, hva ligger til grunn for og betinger subjektets (les: vitenskapsmannens) evne til å forholde seg til sitt objekt på en måte som frembringer kunnskap? Rancière: ved å stille spørsmålet, hva ligger til grunn for objektets (les: det sanseliges) evne til å utløse prosesser (eller reaksjoner) i subjektet som fører frem til (politisk) handling.

En som har tatt opp denne problemstillingen knyttet til forholdet mellom subjekt og objekt i nyere tid, er den amerikanske kunsthistorikeren og kritikeren David Joselit. Det nye og interessante ved Joselit i vår sammenheng er at han tar denne problematikken ut av dens tradisjonelle sammenheng med den historiske modernisme og betrakter i forhold til 90-og 00-tallets kunstscene preget av nye (les: elektroniske) medier og performative uttrykksformer som følger i denne utviklingens kjølvann. Spørsmålet han stiller, er på hvilken måte eller bedre med hvilken rett man kan si at noe «betyr» noe, når arenaen det fremstilles på, er et lerret i tradisjonell forstand. Eller, mere typisk for ham og 00-tallet, hva skal til for at vi skal kunne fastslå at (eller om) noe finner sted på et lerret? Er det tilstrekkelig å holde seg innenfor lerretets ramme – eller må man bevege seg utenfor rammen for å kunne fastslå dette? Løsningen på dette problemet finner han ved betrakte maleriet som en form for «nettverk». En annen måte å si dettepå er, som man sa på 80-tallet: løsningen ligger i å se på maleriet som en arena for «intertekstualitet». Eller for å si det med en vri på Al Foster i essayet «An Archival Impulse» (2004), løsningen ligger i å se på maleriet som en form for «arkiv» – sitt eget arkiv – modernismens arkiv.

Litteratur: David Joselit: Painting beside itself (2009) Kunstnere Martin Kippenberger, A.H. Quaytman, Sergej Jensen

David Joselit delivering his keynote lecture ‘Dark Cloud: Shapes of Information’

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Physical books are as popular as ever before. A book can by immersive, it can travel around the world and through centuries, you can bring it home, and your rela-tionship to it can last for a lifetime. This course is aimed at students who would like to make and publish their own books. I will give an introduction to the chaotic and intriguing world of self publishing, and talk about my own projects and experiences. The students will learn basic bookbinding techniques and make their own books, zines, or chapbooks during the course. We will look at and discuss a range of different artists books, talk about practicalities like printing and distribution, and discuss artistic questions like how to combine text and image.

The course is suitable for international students. It will be held in Norwegian or English depending on the students.

Teaching and Learning Methods

Seminar and practical work

Learning goals

Introduction to self publishing,

Subject Area Theory


Level BAKU 1 & 2MAKU 1

Language(s)English

Course administrator Anngjerd Rustad

Course teacher(s) / guest teacher(s) Anngjerd Rustand

Week / Days Week 19 /07. – 09.05

Hours 09.00 – 15.00


Max Students 12


Artists’ Books and Publishing

The Mini Lab project brings together two Phd fellows whose projects investigate the writings of two separate thinkers respectively, Paulo Freire in the case of Romeo Gongora’s PhD project Awaken Dreams and Frantz Fanon in Anawana Haloba’ Subtle Encounter. Boththinkers’ work interrogates the politics of the process of decolonisation and the relationship between the colonised and coloniser while investigating the meaning of freedom.

As fellows, we are interested to interrogate various avenues (processes) of art production against research with the emphasis on Visual Culture and critical think-ing. We invite students at both at BA level and MA level to dialogue in the process of creating, using the south-south references against the western background.

Goals and contents

The laboratory is intended for students to acquire tools of critical thinking towards art-production and foster a new perspective with visual culture.


Lectures, group work, film screening

Learning goals

We expect the students to acquire tools of critical thinking towards art-production and foster a new per-spective with visual culture

Subject Area Theory

Course typeWorkshop/Lecture

Level All

Language(s)English

Course administrator Romeo Gongora andAnawana Haloba

Course teacher(s) / guest teacher(s) Manthia Diawara and Denise da Silva Feirere

Week / Days Week 20, 13.05 – 24.05

Hours All day


Max Students15


Mini-lab ep 2: The Beautyful Ones Are Not Yet Born

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TextileLectures & Seminars

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Seminar i uke 3 er en gjentagende hendelse, en kick-off for the nye semesteret. I årets seminar velger vi igjen å se på kunstneres perspektiv og praksis, i egen skaping av kunst. Vi vil i år også ha en feministisk vinkling på seminaret, gjennom kun kvinnelige deltakere og deres historier. Årets tittel – Hva Hvis – å lage rom for kunstnerisk utforskning Seminaret samler profesjonelle kunstnere, alumnis og studenter både fra KMD som institusjon og utenfor til en bred presentasjon som fokuserer på perspektiv og praksis grunnleggende for kunstneriske uttrykk.

Foreløpig program; Vanessa Baird og Mette Hellesnes, Gunvor Nervold Antonsen, Kari Steihaug, Anne Karin Fu-runes, Jorunn Veiteberg m.fl

Subject Area Textile

Course typeKU-kurs

Level All

Language(s)Scandinavian

Course administrator Kari Dyrdal &Åsil Bøthun

Course teacher(s) / guest teacher(s) Aashild Grana


Hours 09:00 – 16:00

Location Knut Knaus

Max Students Open

Course code KMD-TEK-217

Hva Hvis – å lage rom for kunstnerisk utforskning

Gunvor Nervold Antonsen Kompendium 2018

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Construction & Context II is a course offered every year for the students interested in pusuing their competence in digital weave. The course builds on the Construction & Context I , fall semester 2018, where theory and technical guidance in weave construction were key factors. In C&C II the art process to communicate through woven textiles is strengthened through individual tutoring and lectures on textile art. We will continue focusing on the insight in tech-nical construction for digital weave. Each student should plan for their own individual project which will end up being woven large scale in the factory in Innvik Sellgren in March. The course this year will also prepare for the possibility to apply for exhibitions and especially the subjectarea tex-tiles own planned exhibition in Vilnius spring 2019.The course is divided in Part 1 week 4-6 for KMD stu-dents, Part 2 week 9-11 for KMD students and KUNO/CIRRUS/EVU students.

Goals and contents

Knowledge relevant for artistic development and pro-duction of artwork in different context Prepare towards exhibition entry


Course typeKU-kurs

Level All

Language(s)English

Course administrator Kristina Aas &Kari Dyrdal

Course teacher(s) / guest teacher(s) Kristina Aas &Kari Dyrdal

Week / Days Week 4-6Week 9-11

Hours 09:00 – 16:00

Location Textile workshop

Max Students 15


Construction & Context II

Photo: Kristina Aas

Requirements for prior knowledge

Preferably Construction & Context I. Motivation letter needed.


Individual tutoring. Theory on building motives in woven textiles by basic and complex theory on weaves. Intro different Software, preparing files

Learning goals

Studytrip to weaving factory. Processing one own’s art project for realization in digital weave

Time Schedule

Week 4-6, Tuesday-Thursday, 0900-1600, for KMD studentsWeek 9-11, Tuesday -Thursday, 0900-1600 for KMD students and KUNO/CIRRUS/EVU students

Photo: Kristina Aas

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This course will focus on size, colour and realisation of works in order to exhibit at the Art Academy in Vilnius, Lithuania in April.

Students have the possibility to work in the textile workshops, while being supervised and given specific introductions based on their individual needs and interests within the textile print and dyeing areas. They will have the opportunity to participate in a plant dyeing workshop later in spring and offered introductions to possibilities within digital textile printing with reactive dyes.

The course also connects to The Light and Colour Group, initiated by Mette L Orange.

Goals and contents

Realization of works in order to exhibit at the Art Academy in Vilnius, Lithuania in April.


Some knowledge of textile printing or dyeing methods, and an interest in realizing a project through these.


Introductions to relevant methods with regular discussions and tutorials.

Learning goals

The student should be able to implement a project on a safer, professional base, and get more experience in the making of an exhibition.


Course typeKU-kurs

Level All

Language(s)Norsk/scandinavian

Course administrator Tone Saastad

Course teacher(s) / guest teacher(s) Tone Saastad Ingrid Aarset

Week / Days Week 10 – 13, 05.03 – 28.03

Hours 10.00 – 15.00

Location The Textile Dying and Printing Workshops

Max Students 10


Textile Lab 2

Photo: Jane Sverdrupsen

PhotographyLectures & Seminars

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Why do images exist? Why do we make them or use them? Are there too many? Too few? Can we imagine a world without them, as William Bornefeld once did? Or a world filled with images only and deprived of text, as Vilém Fusser ventured to think? This course will study the production of images, their existence and distinct organizational and/or value systems; its aim is to learn to read and speak of images. We will undertake histor-ical and contemporary issues by addressing concepts such as surface, reflection, display, material, readability, representation, illusion, appearance, manipulation, context, frame, technology, disappearance, abstraction, over- exposure, resistance, copyright, ideology, remembrance, obsolescence, decoding, encoding, censorship, subor-dination, witness, slippage. We will commit ourselves to group discussions and will dissect artists’ works, analyze key texts, engage with guest speakers, and visit specific exhibitions, sites, and archives.

Teaching methods

We will commit ourselves to group discussions and will dissect artists’ works, analyze key texts, engage with guest speakers, and visit specific exhibitions, sites, and archives.

Time Schedule

Week 3, 5, 7, 8, 17, 21 On Thursday. Starts at 16h.Week 5 there will be a trip to Oslo (Thursday January 31 through Sunday February 3rd)

Subject Area Photography

Course typeCore course

Level All

Language(s)English

Course administrator Adrià Julià

Course teacher(s) / guest teacher(s) Adrià Julià

Week / Days Weeks: 3, 5, 7, 8, 17, 21Thursday starting at 16h.

Hours 16:00 —


Max Students 25

Course code KMD-FOT-204

Why Images?This seminar will probe into the material and cultural substance that made up Photography during its initial stages in the 19th century. We will experiment with some chemical components used in the attempted and failed standardization of photographic production. Regardless of

“unsuccessful” results, these experiments are important to understand the subsequent development of photography into mass consumption and industrial production. Central to the seminar will be the study of the different layers or strata that compose this geology of trial and error. We will have guests in the form of chemists, scientists, histori-ans, and artists sharing their research and their failures. Students are collectively expected to venture into these unsuccessful photographic stories and histories. Through it all, the classroom will be quite literally transformed into a laboratory of vanishing images.

Goals and contents

To engage in a speculative analysis of narratives, both successful and failed, around the history of photographic processes..


There will be direct cross-experimentation and contextual-ization of archaic photographic processes.

Learning goals

To promote a deeper understanding of material and historical facts generating the multiple narratives around the inception and evolution of photograph

Max students 8. Letter of interest is required. This is to be sent to course leader in good time before admission deadline.


Course typeKU

Level All

Language(s)English

Course administrator Adrià Julià

Course teacher(s) / guest teacher(s) Adrià Julià &Ina Steiner

Week / Days Week 7 & 8Tues., Wed. & Thur.

Hours 10.00 – 16.00


Max Students 8


Photographic Archeologies I

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This course uses the concept of “Solastalgia” as a vantage point to reflect on and develop a practice around landscape and environment. The notion of Solastalgia was defined by the philosopher Glenn Albrecht in 2003 as a psychic or existen-tial distress caused by environmental change. It can refer to climate change, but also more local disasters, such as drought, mining activity, and water pollution.

The course extends from the Desert Dwelling research project that Christine Hansen and Line Anda Dalmar initiated in 2018: https://www.researchcatalogue.net/profile/show-exposition?exposition=470771

Solastalgia will build on the knowledge gained from Desert Dwelling, but expand the scope. It will encourage and foster discussion on artistic strategies that could transform environmental distress into productive art practices. On the one hand, using the concept of Solastalgia, the course will focus on the psycholog-ical aspects of climate change. On the other hand, it will discuss practices that utilize documentary methods in relation to landscape. The aim is to contribute to critical reflection in the field. In addition, the focus on landscape and environ-ment plays into an urgent political issue. While many agree that it is important to protect the landscape, it is also important to conduct a thorough critical discus-sion about the means that we use to observe and document the landscape. On what grounds do we base our knowledge? How could this impact our distress?

Solastalgia. Water, Desert, Vegetation

Foto: Christine Hansen. Desert Dwelling


Course typeKU

Level All

Language(s)English

Course administrator Christine Hansen

Course teacher(s) / guest teacher(s) Åsne Eldøy, Line Anda Dalmar, Morten Torgersrud, Marte AasKjersti VetterstadSabine PoppDolly Jørgensen

Week / Days Week 4, 7, 8Tues., Wed. & Thur.

Hours See time schedule


Max Students 20




Methods

The course will be a series of seminars consisting of lectures, readings, film screenings, and a field trip. The course will also involve internal partners across different media and external partners with expertise in the field, who will be invited to give lectures and workshops. Students will contribute to the course and the content. The course will focus on how the students can find their own words and practice in their relation to landscape and climate change.

We will do smaller trips in Bergen and one field trip to Engebøfjellet i Naustdal municipality.

Learning goals

Learn to reflect their distress toward environmental change in art and text. Get a deeper understanding of the complexity in observation/documentation

Time schedule

Uke 4 tirsdag- t.o.m torsdag 10- 15 Uke 5 utflukt/field tripUke 8 Tirsdag -t.o.m Torsdag 10-15

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PaintingLectures & Seminars Goals and contents

To develop students own practice in relation to painting and drawing.


Students must work with painting and/or drawing in some form in their practice and be in the process of developing their artwork and open to discussion.

Teaching methods

This is a rotational project and group critique group where students get to experiment and present work in the project space supported by staff and other students. This involves practicing group tutorials within the subject field of paint-ing, student will be instructed on exhibition techniques, material processes and professional practice subjects. Students will have the opportunity to work on a large scale and in groups and there will be regular film screenings, guests and lectures.

Learning goals

To enable students to:• critically evaluate work in relation to a developing knowledge and

understanding of contemporary art practices and historical precedents • initiate and generate a self directed art practice• manage and plan time and studio resources effectively • use support and research sources to develop a self initiated art practice

in relation to ideas and concerns • produce a body of artwork that demonstrates creative and appropriate

use of media • present artwork in a considered and appropriate way

Subject Area Painting

Course typeKU

Level All

Language(s)English

Course administrator Eamon OKane

Course teacher(s) / guest teacher(s) Thomas Pihl

Week / Days All day 7 days a week for all of the semester

Max Students Open

Course code KMD-MAL-208

Painting Practice

Foto: Eamon O’Kane

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Nomadic Structures- ProtoStudio: The development of a modular mobile studio which can be used in the landscape as a research space for developing artwork and discourse around ecology and the environment.

The first phase was involved building JOY Forum a public gallery space which is now used for student exhibitions. The next phase will be to develop ideas for a mobile outdoor studio and begin building models and prototypes.

The workshop will involve using Google Sketchup and model making to design different model ideas. Then building some of these 1:1 in wood and testing them in spaces outside and inside the building.

The workshop is intended to stimulate ideas around the history of studio practice in relation to painting/drawing and other media and enable a critical discourse regarding contexts of production, reflection and dissemination.

Subject Area All subject areas

Course typeKU

Level All

Language(s)English

Course administrator Eamon OKane

Course teacher(s) / guest teacher(s) Sveinung Unneland Eamon OKane

Week / Days Week 4

Hours 09:00 - 16:00


Max Students 15

Course code KMD-MAL-211

Nomadic Structures PrintmakingLectures & Seminars

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Tom Kosmo will introduce into the opportunities with metal print as drypoint & etching. The course is aiming to equip students with basic knowledge of intaglio printmaking, including drypoint, hard and soft ground etching, aquatint etching and experimental techniques. Metal plate intaglio printmaking is a versatile medium spanning several differ-ent approaches, and is also very suitable for intermixing with other printmaking techniques. If students have own found materials, be it metal (beer cans), acrylics or others to print with, please bring it along.

Goals and contents

approach the opportunities with metal print as drypoint & etching


practical workshop

Learning goals

student should be able to carry out metal print on their own after attending this workshop

Subject Area Printmaking / graphics

Level All

Course typeKU

Language(s)English

Course administrator Thomas Kilpper

Course teacher(s) / guest teacher(s) Tom Kosmo

Week / Days Week 14 & 15 Tues. to Thur.

Max Students 12

Course code KMD-GRA-206

Introduction into drypoint & etching (metall prints)

Hilary will give an introduction lecture into her work. Knut Knaus Tuesday, Feb. 12 at 10AM. Participants of the workshop will meet with Hilary in the printshop after the lecture at 1PM, workshop continues

PREPARE TO EXPERIMENTI look forward to meeting with students and experimenting and collaborating with the place (Bergen...), processes and materials. We will dig deeper into the urban environment, collecting together fragments of a landscape and pushing the possibilities of working with found materials and imag-es to the limit.

Gather and glean both inspiration and literal material from the surrounding suburb and city – be it colour, structure, history, plans and blueprints, wood, metal, dust…

• Gather – images (past, present and future)• Gather – materials• Bring a camera. Document your process. What

happens along the way could be more important than the destination and hi res images of the work in progress could become the work or open up new possibilities for new work.

• The Experiment

SITE SPECIFIC PRINTMAKING: AN URBAN PALETTEHow to make a site-specific print of a place? working with the site as resource and collaborator. What is Møllendal or indeed Bergen made of? What would an urban palette of this place be?

Introduction to various possible processes and the potential of materials includ-ing: Photocopy etch – low tech image transfer process on stone or metal or as monoprint. Collagraph working with collaged found materials, rubbings. Pigment washes and stencil dustings. Basic pop-up/ paper architecture. Applying tradi-tional methods to nonconventional materials eg found wood, metal. Experiments with stone lithography on other stones and bricks, participatory giant woodcut printing from construction site hoardings.


Level All

Course typeKU

Language(s)English


Course teacher(s) / guest teacher(s) Hilary Powell

Week / Days Week 712. – 13.02

Max Students 12


Graphic Alchemy Workshop2 days with London based artist HILARY POWELL

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In this course we will explore some ways of making and thinking of artist s books. One focus will be on the combination of text and image, another on the book as object, and as a timebased medium. We will look into the different genres of artist books, poetry, theory, comics, fanzines and so on.

Goals and content

we will explore some ways of making and thinking of artist s books. We will look at works of artists who uses the book format in different ways.


During the workshop each student will develop an individual project. We will have both group discussions and time for individual work.

Learning goals

to have more practical and theoretical knowledge about artist books

Time schedule

uke 17 tirsdag onsdag torsdag og fredag og uke18 tirsdag onsdag torsdag.


Level All

Course typeKU

Language(s)English

Course administrator Caroline Kierulf & Annette Kierulf

Course teacher(s) / guest teacher(s) Caroline Kierulf &Annette Kierulf &Anna Bjorkman


Max Students 8


Artists as Independent Publishers

Foto: Jane Sverdrupsen, m

ed tillatelse.

Mattias Härenstam will give a lecture, introducing in his artistic practice with emphasis on his printmaking projects followed by group and individual tutorials.

Time schedule

February 28 & 29th (tbc)March 11 & 12 (tbc)


Level All

Course typeSeminar / Lecture

Language(s)English


Course teacher(s) / guest teacher(s) Mattias Härenstam

Week / Days January 28 & 29th

LocationKnut Knaus

Max Students Open


Lecture: The Dark Side of Printmaking

“Grey suit” from the woodcut series “Abendland” by Mattias Härenstam

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Sticky Note

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New MediaLectures & Seminars

Work in new media is developed through a consideration of relevant issues and methods, with a particular focus on relational and open practices, new forms of poetics and narrative, and reflections on global culture. This includes an understanding of and experimentation with sound and moving image tools, dialogical and participatory approaches, and with an emphasis on transdisciplinary and cross-genre aesthetic strategies.

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From diaries to morning rituals, day to day routines to forms of ongoing rehearsal, questions of art’s relation to daily life will be explored in this workshop. Through a series of examples drawn from the history of conceptual, minimal and narrative art, along with reflections on the contemporary creative worker, the aim of the workshop is to develop ideas in regards to students’ artistic works and labors reframed as a long-term diary. How do the every-day matters of friendships, errands, home-life and other practical activities influence what we make and present as artists? Can we understand our artistic activities as forming a “life diary” capturing the mundane movements and small struggles of being in the world?

The workshop is run by Brandon LaBelle and guest artist Riccardo Benassi, whose project Daily Desiderio will form a critical backdrop to our investigations. Daily Desiderio is an ever-changing public intervention by Riccardo Benassi located in Milan. The work is based on the fact that the artist committed himself to write and broadcast a new text message for every single day of his life, till the end. When the artist will die the messages will start again to be projected within the sculpture, from the first one, in a loop. The work therefore can be understood as a daily diary disguised as sculpture.

Through the workshop we will identify as well as imagine forms of art that draw from our daily activities, as well as speculate upon what we might call “daily art”, understanding aesthetics, as Gerald Raunig reminds, as a gesture of making a beautiful life.

Goals and contents

To question contemporary forms of creative labor, and to develop new methods for enriching daily creative practices


lecture / seminar based with group discussion, artist presentation and creative thinking together

Learning goals

To deepen understandings of one’s own artistic work as related to the conditions and experiences of contemporary life

Subject Area New Media

Course typeKU Course

Level All

Language(s)English

Course administrator Brandon LaBelle

Course teacher(s) / guest teacher(s) Riccardo Benassi


Hours 10.30 – 16.00


Max Students Open

Course code KMD-NYE-210

Daily Art

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The workshop focuses on questions of sound and listening, and how these relate to practices of collaboration. Sound will be understood as a shared medium that enables forms of sociability and “common-ability”: the capacity to foster conditions of radical sharing. Common-ability locates us within a space of togetherness and leads to practices of

“forming kinship” with the matters of the world, from things and materialities to bodies and creatures.

To explore these ideas, we will utilize the form of a Party as a creative device: festivity, social gathering, having fun, decorating and DJing – the Party will allow us to experiment with common-ability, creating a space for reworking conditions of singularity, loneliness and precarity. We will work through notions of hospitality and hosting, identity performance and community, felt experiences and the potentialities of new intimacy, all of which are active in a party. The Party forms a creative and energetic field of imagination that is equally a socio- material work that is actively shaped by musicality and the joy of listening.

The workshop focuses on sound as a way to capture states of common-ability. We will work as a group, iden-tifying aspects of our surroundings to collaborate with:

the building will become a partner in experimenting with audio recording, DJ software, performative gestures, and finally, the presentation of a Party: we will work together in “throwing a Party”, where expressions of DJing will act as a general aesthetic and performative method: the DJ as a figure that produces kinship with a range of sonic matters, moving from composition towards socio-material compositioning. This will allow us to deepen understandings of sound as a common matter migrating across bodies and things, creatures and networks, and how it may perform as an artistic framework for expanded practices, identities and “more than social movements”.

Goals and contents

To investigate sound as a social and relational medium and how it may nurture forms of common space and creative life


Discursive reflection and group discussion, hands on work and audio activity

Learning goals

To gain understanding of sound and listening as creative tools that can impact forms of social engagement


Course typeTechnical support

Level All

Language(s)English


Course teacher(s) / guest teacher(s) Brandon LaBelleSalomé Voegelin

Week / Days Week 1004.– 08.03

Hours 09:00 - 16:00

Location Rom 61

Max Students 12


The Pirate Sound LabToday’s capitalist systems colonize and govern our subjectivity on the micropolitical levels of desire and imagination. They disconnect us from our sensing and knowing bodies, leading towards instability, apathy and an-aesthesia (Greek: an-aesthēsis: without sensation). It is a condition that smooths the way for manipulation, and shows itself, for example, in the recent rebirth of forms of fascism, racism, populism and more.

Countering trends of reactionary an-aesthesia, The Articulating Body is an intensive workshop that aims to create a temporal alternative space for experiencing a micropolitical and a holistic making of differences as practices of resilience, disobedience and resistance. This will include exploring diverse forms of performing discourse and discussion, as well as engaging in specific somatic methods, such as Social Presencing Theatre and Biodanza. Through such activities the workshop will aim at crafting embodied knowledge and relational sensibilities that can assist in enduring and embracing moments of instability and the unfamiliar.

The workshop is organized over two days, and is structured around two encounters: The first encounter unfolds in a participatory discursive meal exploring particular philosophical questions; the second encounter will lead

us through the holistic methods of Social Presencing Theatre and Biodanza to activate and articulate our knowing bodies.

We will aspire towards sharpening our senses for an active micropolitics, and towards germinating new forms of being together that momentarily allow us to reflect, to re-feel and undo a reactionary an-aesthesia.

Goals and contents

To explore methods and forms of somatic practice and embodied knowing, and how this may relate to understandings of contemporary art


Discussion and group reflection; hands-on movement lab

Learning goals

Developing skills for opening up the potentialities of the creative unconscious


Course typeKU Course

Level All

Language(s)English


Course teacher(s) / guest teacher(s) Berit Fischer


Hours 16.00 – 21.0013.00 – 19.00

Location Knut Knaus

Max Students 25


The Articulating Body

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Please note that this course starts early in the term. Dead-line to apply for admission is 21.12.18 on Studentweb.

This expanded seminar offers a space to explore the ideas and inspiration that speculative narrative fiction can bring to your artistic practise.

A focus for this space will be how we READ - TOGETHER. We will set up an experiment, with the aim to read whole books (or big chunks of books) together, over some compressed and time-bent sessions. The reading will be interspersed it with bits of screening, mini presentations and sharing of food and reflections. So be prepared for a more immersive, out-of-normal-hours format.

For this semester the reading club will focus on science fiction that explores morphing biology and evolutionarycraziness – from the microscopic to the tectonic. Nature (including our own species) takes on new and unexpected forms – and the boundaries between technology/body/ architecture/cell/sound vibration/landscape blurs out.

We will start with:Greg Bear – “Blood Music” and Octavia Butler “Lilith’s Brood” (Xenogenisis #1-3)

Goals and contents

This expanded seminar offers a space to explore the ideas and inspiration that speculative narrative fiction can bring to your artistic practise.

Learning goals

Develop ideas and enjoyment of reading. Possibly alter ones view on what is alien and what one consists of.



Level All

Language(s)English

Course administrator Sidsel Christensen

Course teacher(s) / guest teacher(s) Sidsel Christensen

Week / Days Week 3, 10, 1417. – 18.0104. – 05.0304. – 05.04

Hours 09:00 - 16:00


Max Students Open


Sci-Fi Binge Reading Club Theme: morphing biology Please note that this course starts early in the term. Dead-

line to apply for admission is 21.12.18 on Studentweb

Course description in Norwegian, but can be taught in English if needed.

Kurset vil gi studentene førstehåndskunnskap fra kunstner og filmskaper Anders Elsrud Hultgreen, som arbeider i et grenseland mellom billedkunst, film og artists book, og utrykker seg mot eksperimentell science-fiction og sjangerfilm. Kurset baserer seg på Hultgreens egne erfaringer og har som mål å introdusere studentene til metoder og strategier for å kunne gjennomføre sitt eget filmprosjekt.

Alternative måter å realisere et filmprosjekt på vil vektleg-ges, fra idé til ferdig arbeide. Studentene blir introdusert til aspekter som prosjektutvikling, manus, regi, kamer-ateknikker og crew-samarbeid. Gjennom undersøkelser, diskusjon og analysering vil studentene tilnærme seg filmmediets, fortellerkunstens og det bevegelige bildets potensiale. I tillegg belyses en rekke grep, teknikker og triks for å skape egne fiktive filmatiske univers. Kurset vil også gi en introduksjon til filmfotografi med digitalt videokamera med objektiver og videoredigeringsverktøyet Adobe Premiere.

Øvelser vil gjøre kursdeltagerne oppmerksom på viktigheten ved location i en filmfortelling. Vi kommer til å arbeide site-specific med prosjektene på kurset. På location skal vi jobbe med kamera og diskutere hvordan hver enkelt location innehar et enormt potensiale. Det er ofte nettopp locationen som er selve kimen til et filmprosjekt. I tillegg skal vi gjøre øvelser med lys, røyk, enkel scenografi og iscenesettelse i filmstudioet.

Under kurset blir det presentert et bredt utvalg av relevante filmverk både av historisk og av nyere karakter. Disse blir diskutert og analysert i gruppen i forhold til publikums avlesning og teknikker til egen produksjon. Studenten vil også motta en bred litteraturliste, samt andre kilder som kan være gode, hvis man ønsker å fordype seg i det som uavhengige kunsteriske filmskapere rundt om i verden produserer akkurat nå. Under kurset vil hver enkelt student utvikle hvert sitt selvstendige kunstneriske filmprosjekt som de skal filme, klippe sammen, lydlegge og ferdigstille selv.


Lectures, screenings, reedings, individual support and tutorials.Practical / technical inductions. Site - specific excersises and studio work.



Level All

Language(s)English

Course administrator Sidsel Christensen

Course teacher(s) / guest teacher(s) Anders Elsrud Hultgreen


Hours 09:00 - 16:00


Max Students Open


Strategies in filmmaking

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In this course we will work with new interactive technology, that makes it possible to map the performers movement, and generate images that respond directly in real time.

This will be a highly experimental workshop, where you can test new possibilities for interfacing with digitaltechnology, and merge your body with the body of expanded silicone anatomies.

Goals and contents

experimentation with live animation.


curiosity and an interest in performing with the digital


This will be a highly experimental workshop, where you can test new possibilities for interfacing with digital technology

Learning goals

Experimentation with how to combine motion sensor technology with live performance, real-time video projection and sound.

Subject Area New media & Timebased/Performance


Level All

Language(s)English

Course administrator Frans Jacobi and Sidsel Christensen

Course teacher(s) / guest teacher(s) Frans Jacobi and Sidsel Christensen+ guest


Hours 09:00 - 16:00

Location JINOOS performancespace, Møllendalsbakken 11 & Video Studio

Max Students Open


Performing with the machine– Interactive video projections and performance

Rokoko S

mart S

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Clay / CeramicsLectures & Seminars

53

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The focus of this workshop will be in developing an understanding of the power and possibilities of marking clay, be it as a result of a process or figuratively narrative; all marks are welcome for inclusion.

Students will experiment with and investigate various modes and methods of mark making and clay. By hand and tool is process driven with hands on experimentation, group discussion and text reading.

We will begin with some technical demonstrations of mono printing on clay with slips, working into plaster for mark making templates and handmade tool developing.After covering the technical aspects students apply them to their own practices and develop their work alongside and in discussion with the others in the workshop. We will also discuss and read related texts, using the group as a resource for under-standing and investigating the related contextual theories together referring and coming from our individual practices.

The course is open to all with or without working with clay before and is open to experimentation via clay in an open attitude to expression, be it based in:

• Painting• Throwing• Printmaking• Casting• Drawing• Sculpture• Instillation• Performance• Video

and so on, you are welcome to join.

By hand and tool: clay, process and mark making

The blue vessel is: Sasha Wardell, Bone china vase

Subject Area Ceramics


Level All

Language(s)English

Course administrator Corrina Thornton

Course teacher(s) / guest teacher(s) Zoë Cameron

Week / Days Week 12, 13, 14

Hours 09:00 - 16:00


Max Students Open

Course code KMD-KER-205

Goals and contents

Mixing clay slips and mono printing. Making hand made tools. Using plaster for marking clay. Developing individual expressions via markmaking


Demonstrations, Hands on experiementation, Group discussion. Text reading and group work.

Learning goals

Students will gain and understanding and new skills for mark making for individual expression via their own interests.

Time schedule

Tues, wend and thursday with mondays and fridays for individual development and tutorials with Corrina Thornton and possible guest teacher

William Cobbing from his work “The agony of water” Video Still. 2011

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This will be a two week introduction to the quick and action filled raku-firing process. It is a chance to get a different look to your ceramic objects and get a hands on experi-ence of kiln buildning and gas firing. Students and staff will work together to make all preparations and execution.

Goals and contents

Together we will work with technical challenges and solu-tions in this process. We will also look at surface treat-ments, glazes and their possibilities


Applicants with health and safety clearence in the ceram-ics and clay workshop will have priority.


Two week workshop

Learning goals

Have a greater understanding of firing, surface treatments and glazes as well as a deeper knowledge of the ceramic process

Subject Area Ceramics and Clay


Level All

Language(s)English

Course administrator Karin Blomgren

Course teacher(s) / guest teacher(s) Kjersti Olsen


Hours 09:30 - 16:00

Location Ceramics and clay workshop

Max Students 8


Fire Raku

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Foto: Jane Sverdrupsen

This hands on course will introduce you to methods of casting and mould making. Through demonstrations,discussions, and exercises you will learn a variety tech-niques used to create a wide range of forms. Materials used are silicone, plaster, clay, alginate, gelflex and concrete.

Goals and contents

This hands on course will introduce you to methods of casting and mould making. Through demonstrations,discussions, and exercises you will learn a variety techniques used to create a wide range of forms. Materials used aresilicone, plaster, clay, alginate, gelflex and concrete.

Both weeks will consist of technical introduction, where you also get practical experience along side the demon-strations


None. Applicants that previously applied for this course without being admitted, will have priority.


Two week technical workshop

Learning goals

Gives you an introduction to possibilities of casting and mold making as well as access to the plaster room.

Subject Area Ceramics and Clay,Sculpture and Installation


Level All

Language(s)English

Course administrator Martin Woll Godal

Course teacher(s) / guest teacher(s) Karin BlomgrenÅsil Bøthun

Week / Days Week 4– 5

Hours 09:00 - 16:00

Location Plaster workshop

Max Students 8


From Replica to Unica

Casting face two

3-D Practice

See page 67

See page 70

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Developing objects in artistic practice

Since Marcel Duchamp s work Fountain introduced the ready made into the art world in the early 20th century, object appropriation and numerous ways of treating and developing objects has become an important method for many artists to create art practices that connect to narratives concerning everything from temporality and materiality to commodity culture or politics. How do we include objects in our art practices? How do we locate, re-contextualize or change them? What is an au-thentic object? How can gestures of transformation effect the status of an object? Are there boundaries between objects and images?

We will investigate the transformative aspect of bringing objects of various origins into art practice. It will build on the alchemical notion of transformation, but will expand on our understanding of objects in relation to their context and how they are mediated. We will touch upon topics like, authenticity, instrumentality, ruination, archiving, allegory, non-locality

and site specificity. We will explore concepts of transformation such as juxtaposition, displacement, disintegration, duplication, projection, destruction etc. Through practice based research, originating in the participating student s fields of interest, the goal is to allow for speculations where known hierarchies, sys-tems and locations of objects might be questioned.

The course does not go specifically into clay and ceramics but rather explores sculpture and installation. It may be seen as a reflection of the course Alchemic Matters and it is suggested that both courses are attended.

The task for participating students will be to locate objects, identify them and integrate them into your art practice or an art context, exploring methods and gestures of transformation.

Subject Area Ceramics & Clay


Level All

Language(s)English

Course administrator Arild Våge Berge

Course teacher(s) / guest teacher(s) Arild Våge Berge


Hours 10.00 - 16:00


Max Students 15


Object Journeys Goals and contents

The course will offer a take on how to understand and work with objects as an artist with background in the student s practices.

Teaching methods

Presentations, analysis of artworks, tutorials and possible local excursions.

Learning goals

To identifying existing methods, gain deeper understanding and develop strategies for working with objects in artistic practice.

NINA CANELL, “Affinity Units”, 2012, Neon, stone, Cable, 5000 volt, Photograph: Robin Watkins

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The transformation of clay into ceramics through fire has greatly impacted upon how we live our lives today - from bricks used in architecture to toilets and pipes employed in sanitation. As sophistications in ceramic technologies evolved throughout history, the Chinese during the Tang Dynasty (618—907AD) were the first to fire a mixture of china clay and china stone at high temperature to create a white, translucent porcelain. Western trade with the Far East resulted in many attempts in Europe to imitate imported oriental porcelain from the 16th century onwards. As secre-cy surrounded the development of these successful formulas on the continent, experiments continued in Britain into the 18th century to include the ashes of burned cattle bones (calcium phosphate) by Thomas Frye – a recipe that was to be perfected by Josi-ah Spode known as ‘Stoke China’. This ‘alchemy’ of ceramic production evident in the 18th century where ‘everything yields to experiment’, achieved what was then an unparalleled unity between the sciences and the arts.

Without following the dogma of textbook formulas widely available in ceramics today, this workshop sets out to revisit this process of early empirical experi-mentation to yield a new vocabulary and possibilities

of material knowledge. Through a series of experimental process and material led enquiries it will It provide an opportunity for you to channel new/established concepts which draw upon the traditional language of the past.

It will examine the potentials of unconventional mould forming materials which embrace the unpredictable rather than the traditions of uniform repetition. The flexibility and physical limitations of clay, cardboard, fabric, etc. will be utilisedto aid the metamorphosis of your individual reference points. In conjunction with this you will be able to invest the mixing of ceramic materials, to explore the ‘performativity’ of matter under variants of heat.

Goals and contents

To promote new discoveries and ways of seeing that might inspire or influence ongoing work, emphasis will be upon embracing open-ended enquiry


Lectures, material based workshops and practical enquiry

Subject Area Ceramics & Clay


Level All

Language(s)English

Course administrator Neil Brownsword

Course teacher(s) / guest teacher(s) Neil Brownsword


Hours See time schedule


Max Students 15


Alchemic Matter

Learning goals

Understanding the transformative properties of materials through practical knowledge and empirical testing via crossdisciplinary exchange.

Time schedule

Session 1 -Mon 25 Feb 2019 - 1.00 - 3.00 lecture, 3.15 - 5.00 workshop demoTues 26 Feb 2019 - 9.30 - 5.00 - Thursday 28 workshopFri 29 Feb - 9.30 -12.00 Workshop

Session 2Mon 11 Mar 2019 10.30 - 12 lecture, 1.00 - 5.00 workshop demoTues 12 Mar 2019 - 9.30 - 5.00 - Thursday 14 Mar workshopFri 29 Feb - 9.30 -12.00 Workshop


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Timebased Art / PerformanceLectures & Seminars

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A series of public lectures, artist-talks, films, performances and other events accompanied by studio-visits.

How does art cope with global geopolitical challenges? We live in a time a great global changes; continuous and rapidly developing crises on scales that are hard to grasp. All over the world artists and various art-projects are trying to come to terms with these challenges. In this series of events we present examples of these ongoing investigations, thereby trying to open up a platform for discussion. We aim to connect to UiB’s overall research theme Global Challenges, maybe creating a cross-diciplinary discussion.

Krav til forkunnskaper

Curiosity

Undervisningsformer og omfang

lectures, artist-talks, films, performances and other events accompanied by studio-visits.

Learning goals

Knowledge and engagement

Subject Area Timebased Art / Performance

Course typeLecture series

Level All

Language(s)English

Course administrator Frans Jacobi

Course teacher(s) / guest teacher(s) Frans Jacobi + guests

Week / Days T.B.A (MittUiB)

Hours Varying


Max Students Open

Course code KMD-PER-204

Art in the Age of Global Challenges

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Poet CA Conrad says:(Soma)tic Poetry Rituals are a different kind of investment in the everyday. If you hate your job, for instance, you can build a ritual to be inside this space that can reveal the unexpected and make a poem through the previously unexplored aspects of the work environment. If you have a job you dislike, that is entirely too many hours of your short life to waste. Hours you are never going to get back. For over a decade I have been building personalized rituals with people who hate their jobs and so far there is no job where a ritual is not possible.

CA Conrad will create (Soma)tic Rituals with the participants, enabling for writing and artmaking.


curiosity and braveness


automatic writing, rituals, discussions and crystals

Learning goals

Art in its broadest sense.


Course typeLecture series

Level All

Language(s)English

Course administrator Frans Jacobi

Course teacher(s) / guest teacher(s) CA Conrad

Week / Days Week 1004.–08.03

Hours 10.00 – 16.00

Location JINOOS Performance space, Møllendals-bakken 11

Max Students Open


(Soma)tic Poetry Rituals

Still from the film ‘_The Book of Conrad’_(Delinquent Films [1], 2016)

Participatory performances allow the audience to experience themselves as part of an art work. The confrontations that evolve from such experience can facilitate a broader discussion related to authority, hierarchy and social power dynamics.

In the course ”Performance and participation” we will discuss if and how art can be a frame that allows the viewer to challenge personal and social borders in order to experience moments of transformation or liberation.We will use the discussions as a starting point for the development of individual performances that are completed through individual talks and performative group exercises and subsequently presented to each other.The goal of the course will be to develop a new performance addressing or including the viewer(s) as well as to investigate and discuss the following questions:What are the formal parameters of performance?How can viewers become participants?

How can performance be shown in the context of an exhibition?

Goals and contents

The goal of the course will be to develop a new perfor-mance addressing or including the viewer(s)


to discuss how art can be a frame that allows the viewer to challenge personal and social borders in order to experience moments of transformation.

Learning goals

What are the formal parameters of performance?How can viewers become participants?How can performance be shown in the context of an exhibition?


curiosity



Level All

Language(s)English

Course administrator Lilibeth Cuenca & Frans Jacobi

Course teacher(s) / guest teacher(s) Christian Falsnaes


Hours 10:00 - 16:00

Location JINOOS – performance space, Møllendals-bakken 11

Max Students Open


Performance and participation

Video-still from the performance “Opening” by Christian Falsnaes.

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Sculpture / InstallationLectures & Seminars

66

Casting face twoThis course is exclusively for students who have already completed the first basic casting course From Replica to Unica. The four weeks module will further your knowledge of casting, where several tutors will be involved in the different methods.

Materials like concrete, wax, bronze and possibly others will be explored. The focus will be the development of your own project, where you will be able to test out a variety of approaches. There will be demonstrations and practical guidance thru out. The first two weeks will be led by David Teager-Portman, where you will look at the concept and applications for bronze casting practically and conceptually. There will be a focus on bronze and wax, where he will demonstrate the theory and technique of lost wax bronze casting. It will include working with wax, creating an original object in wax and producing a wax channel system. Making a ceramic shell mould and preparing a ceramic shell for casting. Melting metal in a furnace and pouring bronze. Cleaning the casting and bronze metalworking. Patina and finishes for bronzes.

Participants will have the opportunity to produce their own bronze sculptures, learn about the history and techniques and why it is one of the most widely used methods in producing sculpture today. The last period

will be led by Astrid Sleire, where there will be a focus on concrete. You will be encouraged to explore the use of complex yet disposable molds, by testing out different types of concrete, and colored additives to produce complex shapes and forms.

Mål og innhold

Different casting méthodes; lost wax casting, bronze, concrete, plaster


Basic casting course From Replica to Unica

Learning goals

The participant will get a deeper understanding of the various casting process-es, with a broader take on potential materials that are available.

Subject Area Sculpture and InstallationCeramics and Clay


Level BA 1, BA 2, BA 3, MA1 & MA2

Language(s)English

Course administrator Åsil BøthunAstrid Sleire

Course teacher(s) / guest teacher(s) David Teager-PortmanMartin Woll GodalAstrid Sleire

Week / Days Week 11 – 14

Hours 10:00 - 17:00

Location Plaster workshop

Max Students 10

Course code KMD-SKU-204

6968

Intro 1.0.1 - Additive manufacturing

In this course, you will learn how to make a 3D virtual model and print it on a 3D printer. Through the 6 dayperiod (over two weeks), you will be introduced to, the history of 3d printing, a brief review of 3D printing projects by emerging contemporary artists and hands-on technical experience needed to make your own 3D prints. You will first learn how to generate your own 3D models using Fusion 360 and Mudbox 3D modeling platforms. We will then convert your virtual models into printable files, print them and finish retouch the surfac-es using some post-processing techniques.

Come with a project in mind or just to learn.

Goals and contents

Learning software and methods on how to do 3-d printing


practical tutoring, workshop based

Learning goals

The student will be able to produce and print 3-d objects

Subject Area Sculpture



Language(s)English

Course administrator Åsil Bøthun

Course teacher(s) / guest teacher(s) Lindsay Lawson www.lindsaylawson.com


Hours 10:00 - 17:00


Max Students 10



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3-D Practice

From Replica to Unica

This is a meeting point for the focus area 3-d practice, where you will be able to have a allocated working space specially for your practice who is sustainable for large scale work, meet other students who are interested in the same focus area, have the possibility to join group critiques, guest teachers, lectures, text readings, filmscreenings etc.


group critiques, tutorials, text readings, lectures, seminars

See page 57

Subject Area Sculpture & Installation, Ceramics & Clay

Course typemeeting point focus area


Language(s)English

Course administrator Åsil BøthunKarin Blomgren

Course teacher(s) / guest teacher(s) several other teachers involved


Hours 09:00 - 16:00


Max Students Open


Class specific activitiesLectures & Seminars

BAKU

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How might the canon and the art historical narratives themselves have changed through a widening and multiplication of perspectives? With these questions as starting points, Theory week III unfolds in varied formats as lectures, screenings, gallery visits and theory workshops.

Goals and contents

Fokus The Art World: det systemet av krefter som inngår i og påvirker kunstproduksjonen, fra kunstneren tilformidleren, fra innhold til kontekst.


Ingen spesielle. Oppslagsverket Art Since 1900 gir et overblikk på sidene 22-31 og 545-560 (Frankfurter-skolen)

Teaching methods

Forelesninger, “screenings”, “Theory-workshops” med presentasjoner og samtaler i galleriet.

Learning goals

Utvikle et kritisk, undersøkende blikk på kunstens og kunstnerens rolle i et finmasket nettverk av samfunns-messige relasjoner.

Time schedule

UKE 2. Oppstart mandag 07.01 / alt: tirsdag 08.01 klokken 10:00. Slutt: fredag 11.01 Sted: KNUT KNAUS eller Presentasjonsrom 1, fra 10:00 – 15:00

Subject Area Theory

Course typeBA 1 kurs/forelesning

Level Mandatory for BA 1 students

Language(s)Norwegian

Course administrator Øystein Hauge

Course teacher(s) / guest teacher(s) Steven Dixon, Øystein Hauge

Week / Days Week 2, Jan. 07 – 11

Hours 10:00 - 15:00

Location Knut Knaus

Max Students 42


TEORIUKE III: «I Like America and America Likes Me» eller: Kunsten i samfunnet - samfunnet i kunsten

Is it art if it does NOT sit on a pedestal or hang in a gallery? If it is NOT made by human hand? If it is NOT the product of an inspired moment? If it is NOT enduring or pleasing? If visual stimulation is NOT the artist’s primary concern? Why does art need to be explained?

Goals and contents

Fokus: Dekonstruksjon. How is knowledge organized and arranged in our society? What does this organization mean to our ideas of reality?


Ingen spesielle, men lenker til oppslagsverket Art Since 1900 anbefales: «Poststructuralism and deconstruction» (Introduction, p. 40-48).

Teaching methods

Forelesninger, gjennomgående avbrutt og supplert med galleribesøk, gruppearbeid og presentasjoner(“Theory-workshops”), screenings og kritisk debatt.

Learning goals

Gi studenten innsikt i diskusjonene rundt “Det postmod-erne”. Dekonstruksjon som kunstnerisk praksis.

Time schedule

UKE 21. Oppstart mandag 20.05. Slutt fredag 24.01 klokken 15:00

Subject Area Theory

Course typeBA 1 kurs/forelesning

Level Mandatory for BA 1 students

Language(s)English



Week / Days Week 21 20.05–24.05

Hours 10:00 - 15:00


Max Students Open


TEORIUKE IV:”THE PIECE NEED NOT BE BUILT”. Fra modernisme til postmodern-isme og «det kontemporære».

Lawrence Weiner, Just another thing taken & changed (a wood) (a stone), Velin d Arches, 1989.

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Praktisk oppfølgingsdel til de rådene og modellene som ble introdusert tidligere i BA studiet («1BAK Faglig skriving»).

Fokus: eksamentekst hvor dere skriftlig (og muntlig) skal redegjøre for egen kunstnerisk praksis - med et sideblikk til søknad for MA.

Mål og innhold

Praktisk og teoretisk om: Sjangerforventinger, praktisk planlegging og utforming. Tekstens fokus, innholds-elementer, bruk av teori.


Ingen spesielle men det er viktig at alle har forberedt et lesbart oppgaveutkast (formulert et hovedpoeng) før kursstart.

Arbeids- og undervisningsformer

Skriveøvelser, individuelt og i responsgrupper. Korte presentasjoner av egne prosjekter.

Læringsutbytte

Innføring i, og utforskning av, faglige skrivemodeller tilpasset egen kunstnerisk praksis.

Tidsplan

Kurset går, i første omgang, over to dager, fra klokken 10:00 – 14:00. Med hele gruppen samlet. Forslag: UKE 7: onsdag 13.02 og torsdag 14.02.

Oppfølgingsuke med individuell veiledning etter behov. Forslag: UKE 9 (25.02– 01.03) eller UKE 10 (04.03 – 08.03). Du er selv ansvarlig for å avtale dag og tid med prosjektleder på email.

Subject Area Skrivekurs

Course typeSkrivekurs

Level BA3

Language(s)Norsk / skandinavisk

Course administrator Øystein Hauge

Course teacher(s) / guest teacher(s) Øystein Hauge


Max Students 12


Skrivelos for eksamenstekstFAGLIG SKRIVING

Beskrivelse: Tekst er et stadig viktigere redskap i en kunstnerisk praksis. Å skrive om egen kunst er en fruktbar anledning til å stille sentrale spørsmål om egne prosjekter, og forhåpentligvis vil disse spørsmålene bringe en videre som kunstner. I kunstfeltet blir man stadig møtt med tekster som tar sikte på å

Skrivekurs for eksamenstekst BA 3

Subject Area Theory

Course typeSkrivestøtte

Level BA3


Course administrator Espen Gleditsch

Week / Days Week 5 & 9 Tir., ons. og tors.

Hours 09:00 - 15:00


Max Students 12


utdype og kontekstualisere kunstverk, ofte ført i pennen av andre enn de som har skapt kunsten. I dette kurset tar vi saken i egne hender, og tar den tekstlige definisjonsmak-ten over våre egne prosjekter. Det er aldri friksjonsfritt å oversette en kunstnerisk praksis til ord på en dataskjerm, og i dette kurset vil vekten ligge på å bygge en bro mellom arbeidet som skjer på atelieret og teksten. Med utgang-spunkt i tekstsjangere som er uunnværlige i et profesjonelt kunstnerisk virke, som artist statement og prosjekt-beskrivelse, vil aktiv deltakelse, skriving, research og indi-viduell veiledning være en sentral del av undervisningen. Målet med kurset er å etablere en trygghet og nærhet til tekst som en direkte forlengelse av ens atelierpraksis, og å komme godt i gang i arbeidet med verksnære bacheloro-ppgaver med en tydelig kunstnerisk stemme.

Mål og innhold

Studenten skal få støtte til å starte å skrive eksamens-teksten. Det vil bli veiledning på kursutkast


Seminar,gruppeundervisningLæringsutbytte

Studenten vil få støtte og opplæring i å skrive om eget arbeid i eksamenstekst-formatet

Tekst + kunstSubject Area Theory

Course typeSkrivestøtte

Level BA3


Course teacher(s) / guest teacher(s) Anngjerd Rustand

Week / Days Week 5 & 9 Tir., ons. og tors.

Hours 09:00 - 15:00


Max Students 12


Tekst og litteratur er for mange en betydelig del av det kunstneriske uttrykket. Enten man henter referanser eller inspirasjon fra litteraturen, bruker tekst i utstill-ingsrommet eller ønsker å skrive en bok, er det en stor fordel å lære metoder for å skrive, tolke og snakke om tekst og språk. I dette kurset vil vi ta utgangspunkt i konkrete verk. Vi vil se på, lese og snakke om kunstner-bøker, poesi, tekst i utstillingsrom, tegneserier, lit-terære essays og ikke minst studentenes egne tekster. Tekst leses forskjellig i kunst- og litteraturfeltet. Disse forskjellene er det verdt å være oppmerksom på for å kunne finne gode uttrykksformer og nå ut med det man skriver. Studentenes eget skrivearbeid vil stå sentralt i kurset, og det blir mulighet for å komme godt i gang med bacheloroppgaven i løpet av kursperioden. Vi vil se på hvordan man kan skrive om egen kunst, men også åpne opp hybridsjangre og for at teksten kan være en del av kunsten.

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På BA 3 seminaret gir studenten en presentasjon av eget gruppe foran studentgruppe og stab.20 min presentasjon, 10 min Q and A

Mål og innhold

Studenten vil lære å presentere arbeidet deres foran et publikum. Presentasjonen er en begynnelse påeksamensperioden.

Læringsutbytte

Studenten vil lære å artikulere sin egen praksis. Stu-denten vil lære å motta feedback på eget arbeid.

Subject Area Theory

Course typeSeminar/forelesning

Level BA3


Course administrator Duncan Higgins

Course teacher(s) / guest teacher(s) Stab

Week / Days Week 4Tues. – Fri..

Hours 09:00 - 16:00

Location Knut Knaus

Max Students Åpent for alle

Course code Mandatory for BA 3 students

BA 3 Seminar


Seminar, skriveøvelser, gruppeveiledning, individuell veiledning Læringsmål

Studentene vil få kjennskap til ulike måter å bruke tekst i kunsten på. De vil også få støtte og opplæring til å skrive om sitt eget arbeid og jobbe med BA-op-pgaven.

Class specific activitiesLectures & Seminars

MAKU

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This course looks at current working conditions, and ar-tistic responses to increasing pressures of time and on

“productivity”. The reading departs from Hannah Arendt’s three different forms of human activity: labour, work and action, before moving on to critiques of contemporary technological culture, characterised by hyperconnectivity, a new labour “precariat”, and the blurring of the boundaries between work and leisure. What does it mean to work as an artist under such conditions? How can artistic work be characterised as

“useful”? What does “working together” entail?

Artists:

Martha Rosler, William Pope L., Christian Marclay, The Precarious Workers Brigade, Santiago Sierra, Mohamed Bourouissa.

Exhibitions:

What Keeps Mankind Alive? Istanbul biennial (2009), curated by WHW (What, How & for Whom)

What People Do for Money, Manifesta 11 in Zurich (2016), curated by Christian Jankowski.

Reading:

Hannah Arendt, The Human Condition (1958)

Jonathan Crary, 24/7 – Late Capitalism and the Ends of Sleep (2013),

Tiziana Terranova, ‘Free Labor: Producing Culture for the Digital Economy’, MIT Social Text 63 (Volume 18, Number 2), Summer 2000 (available online as a PDF).

Franco “Bifo” Berardi, The Soul at Work – From Aliena-tion to Autonomy (2009).

On.Curating.org: 02 Issue # 16/13: ‘The Precarious Labour in the Field of Art’, http://www.on-curating.org/files/oc/dateiverwaltung/old%20Issues/ONCURAT-ING_Issue16.pdf

Subject Area Theory


Level MA 1 & 2

Language(s)English

Course administrator Natalie Hope O’Donnell

Course teacher(s) / guest teacher(s) Natalie Hope O’Donnell

Week / Days Part 1: 18–19 & 22 Feb. (week 8)

Part 2: 2–3 May (week 18)

Hours 10.00–12.00: Seminar

13.00–15.00: Group discussion

Location Knut Knaus

Max Students Open for MA 1 and MA2 students

Course code KMD-MAK-317

Work, work, work, work (work) – labour and usefulness (2019)

Artsy: ‘You Can Be a Mother and Still Be a Successful Artist’ (2016)https://www.artsy.net/article/artsy-editorial-why-motherhood-won-t-hinder-your-career-as-an-artist

Lisa Rosendahl (ed.), Work, Work, Work: A Reader on Art and Labour (2012)

Goals and contents

This course looks at current working conditions, and artistic responses to in-creasing pressures of time and on “productivity”.


Seminar and group discussions

Learning goals

This course raises some of the issues which affect people working – from the point of view artists and cultural workers.

Time schedule

Week: 1219-22 March10.00–12.00: Seminar13.00–15.00: Group discussion

What People Do for Money, Manifesta 11

80 81

Presentation of your art practice. What is at stake? What is the context?

20 minutes presentation + 10 minutes Q+A

Mål og innhold

The student will learn to present and discuss their work in front of an audience.

Læringsutbytte

The student will learn to articulate their artistic practice. The student will learn to receive feedback on their work

Subject Area Theory


Level MA 2

Language(s)English



Week / Days Week 3Tues. – Fri..

Hours 09:00 - 16:00


MA 2 Seminar

Presentation of your art practice. What is at stake? What is the context?

20 minutes presentation + 10 minutes Q+A

Mål og innhold

The student will present and discuss their work in front of an audience

Læringsutbytte

The student will learn to articulate their artistic practice. The student will learn to receive feedback on their work

Subject Area Theory


Level MA 1

Language(s)English




Hours 09:00 - 16:00


MA 1 Seminar

Course CalendarWeekly overview

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Extracurricular

Monday Lectures

Practicing Identity

KMD Queer Forum

Monday lectures are a lecture series organized by MA-students. The lectures are open for students on all levels and the public. They are usually scheduled to Mondays, but sometimes happen on other weekdays. Lectures are announced a week or two before happening and are usually taking place in Knut Knaus in Møllendal.

For information on the program please add the course KMD TEO 100 - Monday Lectures so that it appears on your HYPERLINK “http://mitt.uib.no”mitt.uib.no calendar.

You can also check the KMD website calendar: kmd.uib.no/en/Calendar, follow @mondaylectureskmd on Facebook and visit the archive: mondaylectures.squarespace.com. Email [email protected] from your UiB address to receive the password.

Practicing Identity is a student group and a community at KMD. The title has its origin in a workshop, run by assistant professor Lars Korff Lofthus every spring semester.

The group also functions as an editorial office for Practicing Identity - the fanzine. The first issue was launched in June 2018 and the plan is to puclish future issues. The group also made an exhibition and several events at Joy Forum, as part of the fanzine launch. Everyone who is interested in discussing identity in artistic practice is welcome to join in.

Find us on Facebook or ask around!

KMD queer Forum is a platform for queer matters. The idea is not only to assemble people who identify as LGBTQI, but to create an arena where we discuss different aspects of gender and identity, both in artistic practices and socially. Since the start up we have been arranging screening nights; the Queer Forum Screening Program where everyone is welcome to suggest and present films. We also aim to host reading,- and discussion groups and invite people of interest to come and give lectures. The format of the forum takes form as we go, in collaboration and with initiative from students and staff involved. Our Face-book page functions as an informal message board to throw out ideas, material, clips etc.

Find us on Facebook or ask around!

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Joy Forum is an arena where works are exhibited, concerts and performances are held by students, academic staff and professionals from outside the institution. Almost every week the Joy Forum present new exhibitions available to audience both internal and external to the institution.

Joy Forum is an independent gallery and exhibition space run by a group of students and staff at the Faculty of Fine Art, Mu-sic and Design (KMD) in Bergen. The gallery is located inside the institution, built as a separate unit in the reception area.

Joy Forum wants to be a kind of anti-statement and anti-ar-chitecture by confronting the surrounding environment and building. An important goal with the initiation of Joy Forum has been to create an inter-institutional platform where it can be explored and played, and where different themes and issues can be developed through a critical exhibition practice.

The starting point has been to redefine and move the “Testing Room” from the paint factory hall in a neighbouring building into the foyer area of the faculty building in Møllendalsveien 61, and thus create a temporary gallery.

The Testing Room was set up in order to investigate and test functions and materials in relation to the building processes of KMD s new faculty building. Joy Forum also moves along this path yet with a completely different focus. In addition to the physical manifestation and the exploration of the new building, the project aims to investigate different possible organization-al forms, profiling strategies and forms of collaborations. As such, the inclusion of and bringing together of KMD’s three Departments are seen as important objectives to Joy Forum.

The actual organization of how the gallery is operated is an on going process developed by a group of students, staff and professionals that together in a forum create suggestions. The program is mainly put together of applications sent in as a result of the open call announced three times every year. The forum follows a similar path open to enter by application. It is possible to apply from all institutes of the faculty.

Joy Forum

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How to apply for courses on Studentweb:

According with individual education plan and agreements with main tutor, students must apply for admission to courses. This does not apply to open lectures. The course description shows which lectures are open to the public.

Students must apply for admission to courses on Studentweb. Studentweb is the students’ online registration service.

Each course has a code in the catalogue. You will find the code in the course’s description. When you apply on Studentweb, you can use this code, or the course’s title.

You can apply on Studentweb from 10 December 2018. The deadline to apply for admission to courses is 5 January 2019. Registration in Studentweb will close after this date.

Please note that some courses require motivation letters. Send these to the responsible professor, with main tutor in copy.

Students can find their admission to courses on Studentweb by 15 January 2019. Students will automatically be registered on Mitt UiB for the relevant courses.

If some courses still have openings after the first round of admis-sions, students will have the opportunity to register for these. The second round of registration is done on Studentweb.

Registration opens at 09:00 AM, 15 January 2019. The students who register first will be directly admitted to the course. The registration will close when courses are fully booked.

Enrolment All students must register the «semesteremne» on Studentweb at the beginning of each semester (BAKU 2, 4, 6 and MAKU 2 & 4). You will also find information regarding the semester fee on Studentweb. Please remember to pay the fee and enroll by 1 February 2019.

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A) Select «Start registration»

B) You must confirm part 1 of your education plan and information regarding submission of texts:

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C) You must confirm part 2 of your educational plan (register semesteremne):

D) Check «Status og oversikt»:

E) Check your profile and update information if relevant:

F) Check confirmation email and choose My active courses to apply for admission to courses:

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G) Search after available courses and teaching activities:

H) Select Add to apply to the course:

I) Select semester and go to Next

J) Select Next on request of exam (courses do not have exams):

K) Select Finalize when asked to add course to educational plan:

L) Confirmation - Select Close:

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M) You will notice the course under Active Courses:

N) Select the relevant course to see details regarding the admission process:

Se avslag

Se innvilget

Melde til restplasser – ikke åpnet ennå:

O) If some courses still have openings after the first round of admissions, students will have the opportunity to register for these. Registration opens at 09:00 AM, 15 January 2018.

Melde til restplasser – velg kurs:

P) Students who register first will be directly admitted to the course. The registration will close when courses are fully booked. The registration procedure is the same as the first round of admission.

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Melde til restplasser – det er fullt:

Q) If the course is fully booked, you will be receive information on this:

Course calendar Spring 2019 The Art Academy – Department of … · development of each...

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Transcript of Course calendar Spring 2019 The Art Academy – Department of … · development of each...