Master-Symposium: Molekulare Ästhetiken / Molecular Aesthetics
Johanna Bruckner, Yvonne Wilhelm
3 CreditsMAF-MAF-Sy00.19F.001
Pool 3: Artistic Research – In Practice and in Theory
Members of PhD research group: Kamran Behrouz, Sasha Huber, Xenia Kalpaktsoglou, Eirini Sourgiadaki, Laura von Niederhäusern, Julia Weber, Kai Ziegner
3 CreditsMAF-MAF-Po00.19F.003
Pool 6: Post-Blockchain: Art and the Politics of Entanglement
Johanna Bruckner
3 CreditsMAF-MAF-Po00.19F.006
Praxis 1: Embodiment
Donatella Laura Ada Bernardi, Rory Rowan, Philip Matesic
21 CreditsMAF-MAF-Pr00.19F.001
Praxis 2: Our monstrosities - complication and poetry
Yvonne Wilhelm, Christian Hübler, Gerald Raunig, Johanna Bruckner
21 CreditsMAF-MAF-Pr00.19F.002
Praxis 3: Small projects for the coming communities
Dominique Lämmli, Dorothee Richter
21 CreditsMAF-MAF-Pr00.19F.003
Student Study Groups
3 CreditsMAF-MAF-Sg00.19F.001
Student Study Groups
3 CreditsMAF-MAF-Sg00.19F.002
Pool 10: Money – Body – Time – Space
The Material Conditioning of Contemporary Production of Art and Theory
Nummer und Typ | MAF-MAF-Po00.19F.010 / Moduldurchführung |
---|---|
Modul | Pool |
Veranstalter | Departement Fine Arts |
Leitung | Tyna Fritschy, Laura Nitsch |
Anzahl Teilnehmende | maximal 15 |
ECTS | 3 Credits |
Lehrform | Group seminar |
Zielgruppen | MFA students |
Lernziele / Kompetenzen | Ability to reflect the material conditioning of the production of art |
Inhalte | “A woman must have money and a room of her own if she is to write fiction“ writes Virginia Woolf 1929 in her novel "A Room of One's Own". While Woolf´s feminist treatise provides insights into the gendered relations of productions, she reduces the circle of those who bring along the material requirements for the production of literature or art to a small female elite. Rather than this, our queer inquiry starts with the unavailability of resources: What happens if material resources are missing or severely restricted? In actualizing Woolf in late capitalism characterized by precarity and neo-feudal relations, we might ask: What material conditions do we need today if we are to make art? While Woolf addresses both money and space, we further want to explore the body and time/temporality as structuring categories in the production of art and reflect the complex entanglement of all four terms. How, for example, do the contemporary logics of the project, the residency, and funding impinge on our work? But we also seek to imagine other horizons: How can we intervene in these limitations? What kind of collective political demands can we deduce from this? Tyna Fritschy works and lives as a knowledge laborer and cultural producer in Vienna, Zürich and Hamburg. She* obtained her Master’s degree in Philosophy, Art and Critical Thought from the European Graduate School in Saas-Fee, Switzerland, with a thesis developing on ecstatic agency. She* investigates issues of ownership relations, body politics, dis/possession, and vulnerability in employing political philosophy, queer-feminist theory and postcolonial studies. In looking for alternatives to academic knowledge, she* also employs and explores informal, subjugated and bodily modes of knowing. Recent forays into the exploration of conditions of production and the distribution of money, space, body in theory and fine art. Laura Nitsch develops her artistic, cinematic and theoretical practices mostly from changing collaborations and queer networks. Her artistic project is designed to establish working and production relationships that create space for collectivity, intersectionality and vulnerability. In 2017, she and Barbara Juch received the Cathrin Pichler Prize for the filmic work "Elemente einer Landschaft". In 2018/19 she is, together with Tyna Fritschy, lecturer at the Academy of Fine Arts Vienna. In 2019, in the context of the 58th Venice Biennale, Nitsch is working for the project "Images of / off Images" together with İpek Hamzaoğlu and Sophie Thun. She lives and works in Vienna. |
Bibliographie / Literatur | Chantal Akerman: „Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles”, 1975 Walter Benjamin: Der Autor als Produzent, 1934 Mark Fisher: Accelerate Management, 2016 Andrea Fraser: "Services. A working-group exhibition", 1994-2001 Stefano Harney / Fred Moten: Die Undercommons, 2016 Karin Michalski: „The Alphabet of Feeling Bad“, 2012 Adriana Monti: „Scuola Senza Fine“, 1983 |
Leistungsnachweis / Testatanforderung | 80 % attendance |
Termine | 09:00 - 17:00 o'clock 1 March 24 / 25 / 26 April |
Bewertungsform | bestanden / nicht bestanden |