|Nummer und Typ||MFA-MFA-Po00.21F.010 / Moduldurchführung|
|Veranstalter||Departement Fine Arts|
|Anzahl Teilnehmende||maximal 13|
|Voraussetzungen||Course language: English|
Basic video/film and editing skills
Presentation of a short video/film (max. 3min)
|Lehrform||Seminar, theoretical and practical workshop, group and individual tutorials|
|Zielgruppen||MA Fine Arts students|
Open for exchange students
Interested students of other study programmes can register from 3rd to 21st February 2021 by email to: firstname.lastname@example.org. You will be informed at the end of calendar week 8 about a possible participation.
|Lernziele / Kompetenzen||Strategies of creation based on the students' own biography and recent art history|
Ability to initiate, realize and defend artistic concept in group critique
|Inhalte||From Annika Ström:|
In 1995 I was invited to a performance project in a gallery in Berlin.
I had at the time never made any performance but came to the conclusion to bring my mother down from Sweden. She said yes and following weekend she was on the bus to Berlin in her best clothes. Her task was to make portraits of her daughter. She was not an artist and had not made a drawing for 48 years.
The performance was cheerful where I sat being portrayed, my mother full of charm, made one drawing after the other and even sold them. But to me it was painful; my mother refused to accept my departure from her and kept making images of me, as if I was a child.
From that weekend I began to work with my very complicated, dynamic yet lovely mother and many work followed. It was the first time I used my own biography in a work.
Throughout history mothers and fathers has always been a topic of big drama. Mothers manipulating their daughters, mothers jealousy of their stepdaughters (Snow White..), mothers being over protected, mothers being frustrated about non realised dreams due to their current times, fathers being loving to daughters, but demanding towards their sons. Mothers rejecting their role as motherhood –mothers. Fathers who are confused by their sudden part as an authoritarian adult. Abusive fathers, abusive mothers.
And of course endless loving mothers and fathers, who do everything they can to protect their children.
In this workshop I hope it can be a break from your regular practice.
Or if you haven’t started one this can be an entrance to a new way of working. This workshop is an exercise to, that one day you might be stuck in your practice and need a new direction.
This is a practice to use your own biographical history, your own experience of a mother or a father and see what’s there.
It will also be a practice into make something fast, uncomplicated and a fast exposure of a thought, a memory, and homage without judgements.
It will also be a practice in to making a film with time limit; in this case the film is to be maximum 3 minutes long including title.
At the end of the week we will do a public screening followed by discussions.
You might be surprised how many artists who had made works about their parents.
Every morning that week, I will show works by artists who made works around this complicated, yet common topics such as; Mona Hatoum, Martin Creed, Andrea Arnold, Gillian Wearing, Richard Billingham, Anri Sala, Maysles Brothers to mention a few.
We all have a relation to them: Mothers / Fathers.
About the lecturer:
Annika Ström is a Swedish-born, UK based artist, musician and film maker who’s existentially comic and insubordinate art unfolds across media, predominantly with film and soundtracks, site-specific performances, textual work and painting. Ström studied at the The Royal Academy of Fine Arts in Copenhagen.
Her film practice is often autobiographical, lacing an intense focus on the everyday with moments of fiction and absurdism. She has written a feature film, directed over 50 short films and is currently writing a novel.
Annika Ström's songs, text pieces and films all touch on the question of inadequacy – if not miserable failure. The content and aesthetics repeatedly play with the notion of imperfection. Ström's text pieces are clearly hand painted, the videos include shaky, blurred images, and her rhythm-box compositions flirt with an amateurish Eurovision aesthetic. Her relationship with the means of production is calculated to form an inherent problem between technologies or tools and her own manufacture.
Annika Ström's work is exhibited in many international biennales, museums and galleries.
|Bibliographie / Literatur||Will be handed out before or during the course.|
|Leistungsnachweis / Testatanforderung||Mandatory attendance (minimum 80%); active participation|
|Termine||Time: 09:00 - 17:00 o'clock (individual tutorials usually from 13:00 - 17:00)|
CW 24: 14 / 15 / 16 / 17 / 18 June