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Context: “A Collection of Really Good Lies” 
Inspiration/Appropriation/Theft
(Learning from copying and questioning)
Students will explore and mine an existing historical or present day database. This can be from the library as hardcopy, artifacts, digital sources, personal or found materials. Combining the materials and copying and appropriating them, the students will then reintegrate and subtly introduce their own voice and meaning into their collected archives.
(Learning from copying and questioning)
Students will explore and mine an existing historical or present day database. This can be from the library as hardcopy, artifacts, digital sources, personal or found materials. Combining the materials and copying and appropriating them, the students will then reintegrate and subtly introduce their own voice and meaning into their collected archives.
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| Nummer und Typ | BKM-BKM-Ko.18F.005 / Moduldurchführung |
|---|---|
| Modul | Kontext |
| Veranstalter | Departement Fine Arts |
| Leitung | Swetlana Heger |
| Anzahl Teilnehmende | maximal 17 |
| ECTS | 3 Credits |
| Zielgruppen | BA Art & Media students, seminar language: English |
| Lernziele / Kompetenzen | Goals:
|
| Inhalte | What constitutes an archive? What counts as research? Can fiction add to, change and augment our understanding of historical truth or fact? How do history and fiction merge and become muddled? How are archives becoming materials for art making? What is the importance or relevance, of authorship, influence, and authenticity in art making? Examples of artistic practices by Sturtevant, Marcel Broodthaers, Pop Art, Sherrie Levine, Sarah Morris, Richard Prince, Louise Lawler, Allan McCollum, Sylvie Fleury, Haim Steinbach, Jennifer Chan, Superflex, Jonas Lund etc. This course includes a visit to Cabaret Voltaire and to the collection archive of Migros Museum for Contemporary Art. Swetlana Heger is a visual artist, Professor in Fine Arts and Head of the Department Art & Media at Zurich University of the Arts. In her artistic work, she has an ongoing interest in the act of contextualization and dislocation. She is exploring the questions about conditions of an art production including discussion about multiple authorships and relevant possibilities of collaborations between the arts and other partners. Various international solo and group exhibitions i.e.: Musée des Beaux Arts/Nancy, Le Consortium/Dijon, Vienna Secession, Melbourne Biennale, Berlin Biennale, Centre Georges Pompidou/Paris, Arts Space/New York, Centre National de la Photographie/Paris, Moderna Museet/Stockholm, Hamburger Bahnhof/Berlin, manifesta11, Zürich, Antarctic Pavillon, 57. Venice Biennale. Her art works are represented in private and public collections and had been reviewed and published in international publications as Artforum, Flash Art, Frieze, Art Now, Spike, Monopol, Süddeutsche Zeitung, Der Spiegel, Princenton University Press, Les presses du réel, Edition Flammarion, Walther König etc. |
| Leistungsnachweis / Testatanforderung | Regular, active participation. 80% mandatory presence |
| Termine | BW 3 (14.- 17.5.2018), daily 10:00-12:00 and 13:00-17:00 |
| Bewertungsform | bestanden / nicht bestanden |
| Bemerkung | Course language: English |
