Pool 10: Art & (Re) Presentation
Pool 11: Art & Film: Queer Subjectivities as Content and Form (gLV)
Charlotte Jane Prodger
Pool 12: Berlin Biennale (Excursion)
Swetlana Heger-Davis, Judith Welter
Pool 13: What about... Documenta? (Excursion)
Christian Hübler, Yvonne Wilhelm
Pool 3: Art & Curating: Artists as Curators
Pool 4: Art & Book (gLV)
Pool 5: Degree Show Preparation (Graduating Group 1)
Pool 6: Degree Show Preparation (Graduating Group 2)
Gianmaria Antonello Andreetta
Pool 7: Art & Painting
Pool 8: Art & Theory: Reconceptualizing Histories
Pool 9: Art & Research (gLV)
Laura von Niederhäusern, Viviana Gonzalez
Practice 2: Looking for Drama: Future Forms of Theatricality in Art
Marie-France Rafael, Paulina Matylda Olowska, Rabea Ridlhammer
Practice 3: Metabolizing Animism
Christian Hübler, Lorenza Longhi, Nina Kerschbaumer
Practice 4: "Why I Don't Read the Press Release"
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 II)
Yvonne Wilhelm, Sören Grammel, Nina Kerschbaumer
|Nummer und Typ||MFA-MFA-Pr00.22F.004 / Moduldurchführung|
|Veranstalter||Departement Fine Arts|
|Leitung||Judith Welter, Shirana Shahbazi, Pascal Sidler|
|Voraussetzungen||Course language: English|
|Zielgruppen||* MA Fine Arts students only|
* Open for exchange students
|Lernziele / Kompetenzen|
|Inhalte||In their blunt essay "Why I don’t Read the Press Release" the art critic duo The White Pube who are giving a new voice to art critic state: “Artists aren’t entitled to the visitor’s understanding of their work, however much they want to flail and throw as many words at the exhibition as they can to get their orchestrated experience […]: the world is chaos, no one is the center of the universe, and u can’t pretend to control a thing.”|
Or can we control a thing? As an artist – be it as an individual or a collective – you constantly position yourself in relation to your work. What comes after the outdated figure of the genius-artist? Who do we want to be as artists and how do we position ourselves towards our own artistic practice, within the art and a broader social context?
The practice seminar looks at this topic through the lenses of your own practice and beyond strategic machineries or common places as the “art world” or the “art market” Positioning yourself can also be playful, steadily changing or mean to boycott or negate. How do you relate to your own work and where and how do you “control” or influence how it is mediated to a public or promoted? Which formats are important to your practice or how do you use them?
About the lecturers:
Judith Welter (*1980) is a curator. She studied art history, Spanish literature and Religious Studies at the University of Bern. In 2014, she completed her PhD on the role of rumors and anecdotes in contemporary. From 2015 to 2021 she has been director of the Kunsthaus Glarus. From 2004 to 2015 she worked for the Migros Museum für Gegenwartskunst in Zurich where from 2012 on she was the Collection Curator. Since 2016 she has been teaching at different universities. From 2016-2021 she was the jury president for the Kiefer Hablitzel I Göhner Kunstpreis. Since 2015 she is co-editor of the online magazine for art criticism Brand-New-Life.
Recent curated solo exhibitions include Puppies Puppies (Jade Kuriki Olivo) (2021), Caroline Bachmann, Jan Vorisek (2020) Sam Pulitzer (2019), Bonnie Camplin (2018), Marta Riniker-Radich (2018), Birgit Megerle (2017) and Shana Moulton (2016). Curated group exhibitions include "Tourism" (2021, in collaboration with Stadgalerie Bern, Luca Beeler and Richard Sides), "Im Volksgarten" (2021), "Sie sagen, wo Rauch ist ist auch Feuer" (2017, in collaboration with Kunsthalle Bern), "Unruly Relations", 2016, "Toys Redux", (2015)
Shirana Shahbazi (*1974 in Teheran, Iran; lives and works in Switzerland) creates conceptual works in the medium of photography. Her practice is characterized by a variety of photographic production processes, printing techniques and spacial installations. Pure forms, radiant colours and sharp contrasts are the protagonists of her photographs, as well as landscapes, portraits and other historical genres, which are inspired by the fundamental question of the reception of pictorial reality.
Her works are represented in the collections of important institutions worldwide, such as: Centre Pompidou, Paris; Guggenheim Museum, New York; Kunsthaus Zürich; Museum of Modern Art, New York; Tate Modern, London; Sprengel Museum, Hannover.
Pascal Sidler is an artist, currently working as a teaching assistant at the MA Fine Arts. His paintings are often based on photographs from everyday life, which currently undertake various ways of digital and analog transformations. His work has been shown in various exhibitions, including “European Southern Observatory” at Hamlet in Zürich, 2019. He received the Grant of the Canton of Zürich in 2021/2013 and the Grant of the City of Zürich in 2019. www.pascalsidler.ch
|Bibliographie / Literatur||Will be handed out during the course.|
|Leistungsnachweis / Testatanforderung||Mandatory attendance (minimum 80%); active participation; semester report|
|Termine||Time: 10:00 - 18:00 o'clock|
CW 09: 28 February, 01 / 02 / 03 / 04 March
CW 18: 02 / 03 / 04 May
CW 18: 05 / 06 May
|Bewertungsform||bestanden / nicht bestanden|