DIG Pool 10: Art & Radical Love (gLV)
DIG Pool 8: Art & Surveillance
Master-Symposium: Touching Ground
Nils Röller, Judith Welter, Rabea Ridlhammer
Pool 1: Art & Politics: October School 2021
Christoph Schenker, Franz Krähenbühl, Yvonne Wilhelm
Pool 11: Art & Commission
Pool 2: Art and Techno-Ecologies (gLV)
Pool 3: Art & Experimental Writing
Pool 4: Art & Performativity (gLV)
Pool 5: Art & Bad Taste
Pool 6: Art & (Re) Presentation
Pool 7: Art & Painting
Pool 9: Art & Critique
Christian Philipp Müller
Practice 2: Futuristic Vaudeville meets Postdramatic
Marie-France Rafael, Paulina Olowska, Pascal Sidler
Practice 3: Animism
Christian Hübler, Uriel Orlow, Nina Kerschbaumer
Practice 4: Untitled 2021/2022
Judith Welter, Shirana Shahbazi, Pascal Sidler
Practice 5: Thinking Big, Small & Many
Dominique Lämmli, Nils Röller, Rabea Ridlhammer
Praxis 1: „Wokeness“ – im Strudel von Solidarität, Nachhaltigkeit und Diversity (Teil l)
Yvonne Wilhelm, Sören Grammel, Nina Kerschbaumer
Technology 1: Sound-STOP, REWIND, REPLAY. Terrestrial Presence in Recorded Audio
Technology 2: Introduction Photo Cluster
Conradin Frei, Jyrgen Ueberschär
Technology 3: Sketching and Model Making for Exhibitions (2D/3D)
|Nummer und Typ||MFA-MFA-Pr00.21H.003 / Moduldurchführung|
|Veranstalter||Departement Fine Arts|
|Leitung||Christian Hübler, Uriel Orlow, Nina Kerschbaumer|
|Anzahl Teilnehmende||maximal 15|
|Voraussetzungen||Course language: English|
|Zielgruppen||MA Fine Arts students|
Open for exchange students
|Lernziele / Kompetenzen||• Engage with conceptual aspects of your artistic practice. |
• Develop an awareness of a wider context around your work.
• Develop the skills to critically engage with your own work and that of others.
• Gain an understanding of new concepts of materiality, medium and animation.
• Develop new modes of analysis and of making.
|Inhalte||How do we distinguish things from beings, life from non-life? Do animals and other critters have a spirit or soul? What is the role of art in negotiating these boundaries?|
Human cultures have engaged with and thought about animals, plants, rocks, clouds, and other elements in ways which affect our relationship to nature and the environment as well as our representations of it. Since the Enlightenment drive towards rationality and positivist science, modern Western societies have excluded or suppressed animism – the belief that other beings or objects possess souls or agency. Once expunged from the West, animism became associated with the indigenous, colonised other.
While animism has been suppressed as pre-modern, superstitious and primitive, it still continues to exist in the aesthetic realm and remains rooted in our lives. Today animism takes on new urgency: for example, the looming environmental catastrophe has led to activist initiatives to declare rivers or forests legal personhoods to give them protection 09:30 a.m. – 10:30 a.m. from destruction. Meanwhile, the molecularization of everything creates a new continuum between life and non-life, whilst technological advances in algorithmic, robotic or bio-chemical processes create new forms of animation which question the old distinctions between the animate and the inanimate.
In this practice seminar we will be looking at phenomena, discourses and practices around animism from contemporary, western and non-western standpoints. Considering artworks, exhibitions and your own practices, we will think through the knotty questions of life and non-life, nature and artifice, the animate and the inanimate and some of the systems of knowledge, representation and belief underpinning them.
About the lecturers:
Christian Huebler/ knowbotiq has been experimenting with forms and medialities of knowledge, political representations and epistemic disobedience. In recent projects knowbotiq is investigating and enacting inhuman geographies with the focus on algorithmic governmentalities, libidinous and affective economies and postcolonial violence. Projects: Thulhu Thu Thu, before the sun harms you, knowbotiq.net/thulhu/. Genesis Machines: knowbotiq.net/genesis-machine and Swiss Psychotropic Gold: knowbotiq.net/psychogold/
Uriel Orlow’s practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories and bring different image-regimes and narrative modes into correspondence. His work is concerned with residues of colonialism, spatial manifestations of memory, blind spots of representation and forms of haunting. Orlow’s work has been presented at major survey exhibitions including the Venice Biennale, Manifesta, Sharjah Biennial, Moscow Biennial and others.
Nina Kerschbaumer is a filmmaker, researcher and an assisting teacher at DFA. She is interested in fact and fiction narratives and the deconstruction of common storytelling methods. In her artistic work, she explores how the supposed distinction of private and public space and its visual representation affect concrete social and political decisions. Her research is directly linked to her practice as a Visual Artist, centered around mobile phone photography in social media, its production methods and implications
|Bibliographie / Literatur||Will be handed out during the course.|
|Leistungsnachweis / Testatanforderung||Mandatory attendance (minimum 80%); active participation; semester report|
|Termine||Time: 09:00 - 17:00 o'clock|
CW 39: 27 / 28 September
CW 41: 11 / 12 / 13 October
CW 48: 29 / 30 November, 01 December
CW 48: 02 / 03 December
|Bewertungsform||bestanden / nicht bestanden|