Pool 2: Beyond Knowing
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
Pool 4: (Un)curate!
Pool 6: Post-Blockchain: Art and the Politics of Entanglement
Pool 7: Deep Time
Pool 8: The Wise Fool
Pool 9: TEXT WORK: On Artists’s Writing
Pool 10: Money – Body – Time – Space
Tyna Fritschy, Laura Nitsch
Praxis 1: Embodiment
Donatella Bernardi, Rory Rowan, Philip Matesic
Praxis 2: Our monstrosities - complication and poetry
Yvonne Wilhelm, Christian Hübler, Gerald Raunig, Johanna Bruckner
Praxis 3: Small projects for the coming communities
Dominique Lämmli, Dorothee Richter
Praxis 4: UN-BOXING
Erik Steinbrecher, Elodie Pong
Student Study Groups
Master-Symposium: Molekulare Ästhetiken / Molecular Aesthetics
Johanna Bruckner, Yvonne Wilhelm
Research Based Practice and the Knotty Questions of Knowledge Production in Art
|Nummer und Typ||MAF-MAF-Po00.19F.002 / Modul|
|Veranstalter||Departement Kunst & Medien|
|Lehrform||The course will closely engage with key theoretical texts, a selection of contemporary artists’ work and the student’s own practices.|
Three invited international artists will be joining to talk about their work and research: Maria-Thereza Alves and Revital Cohen/Tuur van Baalen.
If time permits, there will be an excursion to exhibitions in and around Zurich and other relevant sites.
|Inhalte||This course seeks to examine art's complex and layered relationships to so-called knowledge production. Art can be considered as searching for the not-yet-visible, for the not directly communicable, operating between and across the sensory and the cognitive, between experience and knowledge in zones of tensions and ambiguity. So perhaps we need to consider formations of knowledge that are shaped by content, form and affect. But what are these knowledge formations? How is knowledge produced through art - if it is at all produced?|
Scientific research often implies an extensive, systematic effort to produce new verifiable insights. In contrast, the process of researching (as well as of experimenting) in art can also be understood as an intensive and associative exploration which instead produces knowledge fragments, connections and intensification of questions.
The course will explore the question of research through a deep engagement with the work of contemporary artists in order to examine how their work has contributed to understanding of knowledge production.
Uriel Orlow's practice is research-based, process-oriented and multi-disciplinary and includes film, photography, drawing and sound as well as publishing. Orlow's work is presented widely in museums, film festivals and international survey shows including Manifesta 12, Palermo (2018), 2nd Yinchuan Biennial (2018), 13th Sharjah Biennial 13 (2017), 7th Moscow Biennial (2017), EVA Biennial, Limerick (2016), 2nd Aichi Triennale, Nagoya (2013), Bergen Assembly (2013), Manifesta 9 (2012), 54th Venice Biennale (2011). Solo exhibitions in 2018 include Les Laboratoires d'Aubervilliers, Paris; Market Photo Workshop & Pool, Johannesburg; Durban Art Gallery; Kunsthalle St Gallen and LaVeronica Gallery, Modica.
|Bibliographie / Literatur||Graeme Sullivan: Art Practice as Research (London: Sage, 2005)|
Elke Bippus, ed.: Kunst des Forschens (Zürich/Berlin: Diaphanes, 2009)
Dorothea von Hantelmann: How to Do Things with Art (Zurich: JRP/Ringier, 2010)
Jens Badura, Selma Dubach et al: Künstlerische Forschung - Ein Handbuch (Zürich: Diaphanes, 2015)
Gillian Rose, Visual Methodologies (London: Sage, 2001)
|Termine||Time: 09:00 - 17:00 o'clock|
05 / 06 / 20 / 21 March