DAI-bulletin 2010-2011 number two November 2010
This is the second issue of the monthly DAI-bulletin in the academic year 2010-2011, informing you about our program and about important dates and events.
Please note that:
- biographical notes on our guests can be found on our website under ‘Faculty’.
- all parts of the curriculum have to be attended by ALL students unless it is mentioned otherwise.
DAI-week November 8 - 12
Instead of asking its master students to be present at the institute on a daily base the DAI offers an alternative educational environment: during one week per month (11 times per year) everyone who is involved in DAI stays in Enschede day and night and takes part in an intense program (consisting of lecture presentations, seminars, face to face conversations, projects, master classes, workshops etcetera) that lasts from early morning until late at night. During the DAI week, guest cooks prepare the afternoon and evening meals that staff, students and guests enjoy together. During the DAI-week students spend the night in an accomodation provided by the DAI. In between DAI-weeks all return to their daily practices as artists and researchers - scattered over the Netherlands, or abroad.
DAI- CANTINA
Lunch will be served Monday from 13:00-14:00, other days from 13:00-14:00, dinner Monday-Wednesday from 18:30-19:30, Thursday from 18:00-19:00
Monday November 8: DAI Publication
10:30-11:00
Gabriëlle and Rik will show you where to find 'things' during the first DAI week.
11:00–17:30 (space to be announced)
For all 2st year students
Pressing Issues
With Rebecca Sakoun
Second-year students will gather with <<DAI Publications: Pressing Issues>>'s editor Rebecca Sakoun for our first session of academic year 2010-2011.
Students shall be prepared to present 5-minute introductions to the subject matter and visual material which they propose to develop into an artist's book. An in-depth look at the past several years of DAI publications and discussion will ensue.
**DON'T FORGET** Bring along any printed matter which you are drawn to, which inspires you, and whose atmosphere/aesthetic you feel connects with your work: be it a newspaper, brochure, catalog, poster, even <gasp!> an artist's book, calendar, obscure scientific publication, cookbook, user's manual, whatever, whatever, etcetera.
11:00–17:30 (space to be announced)
For all 1st year students
Publishing Class
Framework: Binna Choi (Casco)
Support editor and coordinator: Chris Lee (Casco)
Syllabus
Publishing Class is a two year programme designed for the Dutch Art Institute by Casco Office for Art, Design and Theory, delving into the act of publishing through and within artistic practice in close examination of shifting artistic practice and its forms. If today’s artistic practices take the modalities of critical and trans-disciplinary inquiry against (the backdrop of the) contemporary social, political and cultural status quo, how does publishing in such practices take different forms and shapes than, for example, in the conceptual art practices of the 60s and 70s? If art intends to engage with the public realm and the formation of discourse, how does the act of publishing differ in its effectiveness from other forms of public activity such as exhibiting, performing and presenting? What are the conditions for the publicness and visibility of our times? In such an environment, what medium, shapes and strategies are often taken up for artistic publishing, and why?
In addition to looking at publications from the art practitioners perspective, we would also like to consider how might/do those actors whose roles—in the conventional process of publication—consider their activities in terms of creative practices, towards what ends, and does/has this open(ed) up the possibilities of new modes of collaboration between artists, designers, printers, distributors, publishers, etc? This side of the investigation will include the following questions: In what ways have these roles been vertically integrated as a result of the production possibilities of digital technology (i.e. several roles being collapsed into a single actor), and what effect has (could) this had (have) on notions of disciplinary categories and the cultural economy? What kind of discourse or affect does the making public of artistic practices through publications generate? What are other forms of publishing available besides publications? In what way might these actors around art publishing deal with a market logic without a capitulation of its ‘practice’ to it?
On Monday evening of each DAI week, different artists along with their partners & co-actors in publishing—including designers, publishers, bookshop owners, distributors, printers— will give talks and presentations to share their takes on these questions. The programme is primarily for the DAI students but open to an interested public. In the daytime, prior to the evening lecture, a workshop with the featured guests will be held.
Every Monday of the DAI week for the first year of the programme is also dedicated for publishing the monthly – impromptu – journal produced within the context of Publishing In Practice, or Parallel Inquiry and edited by the group of first year DAI students as a collaborative endeavour. This journal will feature an article on the monthly guests for the programme, a report on the DAI Week, a review of new book acquisitions for the DAI library and a section that reflects on the students’ practice in light of the notion of praxis. Every issue of the journal will take different forms and approaches to the sections with different editorial approaches in which the students interchanges their roles over the seven different issues, including editor in chief, designer, copy-editor, authors per four sections, producers and so on.
19:30 (lecture space)
For all students
Reproduction Direct from Nature
With Zachary Formwalt
& Binna Choi on the New York Art Book Fair
Binna Choi introduction and review on the New York Art Book Fair
Zachary Formwalt on his new film Reproduction Direct from Nature and book Reading the Economist currently on view at Casco and reviewing the event he took part in at the NY art book fair.
Tuesday November 9: DAI Thesis
10:00-12:00 (lecture room)
For all students
Plenary meeting with Gabriëlle Schleijpen and Rik Fernhout to discuss the year to come.
15:00-17:45 at SMART PROJECT SPACE, Amsterdam (leaving DAI at 13:00)
for all students TO BE CONFIRMED
Theory session
At Smart Project Space, you will have some time to see the current exhibition before SMPS’s director Thomas Peutz will give a brief introduction of this important site for cultural production.
www.smartprojectspace.net
For this weeks theory session, taking place at SMPS as well, Alena Alexandrova will briefly introduce the theorysessions and the thesis component of the DAI programm, followed by an introduction of the text The place of the Spectator in the Work of James Coleman, in relation to the performance of Guy de Cointet that you will see after dinner.
18:00 – 19:30 at restaurant Abyssinia, J.P. Heyestraat 190, Amsterdam
Dinner !
Please note that you will have to pay for your own drinks.
20.00 SHARP
at Frascati WG, M.v.B. Bastiaansestraat 54, Amsterdam
For All students
Iglu
Performance written by Guy de Cointet & Robert Wilhite
From the late 1960s until his untimely death in 1983, French-born artist Guy de Cointet was an influential member of the Los Angeles art scene. His encrypted works on paper and theatrical productions – inspired by the works of Raymond Roussel and the tropes of TV soap opera – were often as mysterious as the man himself.
De Cointet's performances are surreal sceneries in which ordinary, daily events are linked to specific objects, colors and letters – often in a lucid way. Iglu combines an abstract visual vocabulary with television situation comedy, Rousselian word play, and drama. A special role is attributed to sound. For Iglu, co-writer Robert Wilhite – who often fabricated the objects onstage for de Cointet's productions – authored music and composed a sound track featuring prerecorded phrases from a Spanish-language course.
After the performance, all will return to Arnhem
Wednesday November 10: DAI Presentation
11:00 – 18:00 / 19:30 – 21:00 (lecture room)
Lecture-presentations / Artist Talks
by DAI-students (in no particular order) Doris Denekamp, Patricia Sousa, Rosie Heinrich, Eric Phillippoz, Eelco Wagenaar, Ane Ostrem, Petra Vackova, Lauren Alexander, Magdalene Mellin and Charlotte Rooijackers.
Their 20 – minute presentations before an audience of peers ( fellow students) will be reviewed on the spot by guest advisors Otobong Nkanga and Hans van Houwelingen.The discussion will be moderated by Gabriëlle Schleijpen.
Starting 10:30
Face to face
meetings with Alena Alexandrova
Thursday November 11: DAI Autonomous
10:00 – 12:30 (lecture room)
for all students
TRACES OF AUTONOMY - THE ECONOMY OF SPEECH AND VOICE IN GLOBAL ART
PROJECT CURATED BY VAN ABBEMUSEUM.
With Clare Butcher and Steven ten Thije
An artwork today is no longer just an object in its independance, but exists out of a complex network - a discrete economy - of statements and events. This now obvious truth has a profound inpact on all those actors that work to produce and mediate art. The name given to this development is the 'decline' or even the 'death' of art's autonomy. How irreversible this presumed decline of art's autonomy may seem, this does by no mean indicate that it is clear how we should produce and receive art today. Many institutions and professions have been carefully constructed around this almost sacred autonomy, including the profession of the artist. In this project a group of maximum 10 students will conduct an investigation mapping out the consequences of this development, identifying problems that should be addressed and thinking out a way how to address them in a symposium in early June in the Van Abbemuseum.
The starting point for the project will be the work of two French philosophers Bruno Latour and Jaques Rancière. Both philosophers have opened a door that leads beyond the type of critical analysis that dominated the thinking of the preceding generation. From Rancière comes the insight that art's autonomy should not be understood just as it's independance or as a right to be esoteric, but that it plays a particular role in modern democratic societies, marking the point where someones private 'voice' - unrecognized by the majority - enters the public stage and becomes 'speech'. Within todays globalized world this transformation from voice to speech takes on new forms and asks a new awareness from artist and related professionals. It is Latour who has developed a method on how to arrive at such awareness, based on tracing connections. In the project we will explore the value of Rancière's insight and Latour's method for artistic practice, offering Ma-students not so much a platform to produce new works, but more a deeper understanding on how to mediate their own work in the future. Although there is a good chance that this work will also be affected by this project.
The project will be supervised by staff members of the Van Abbemuseum and different guest teachers and coordinated by Steven ten Thije. Students who want to participate are not required to have specific knowledge, but should be willing study texts and participate in discussions.
The project results out of the Autonomy Project, a recent formed collaboration between various institutions and art professionals. For participating institutions and more information see: http://theautonomyproject.ning.com/
Starting 9:30
Face to Face
meetings between individual DAI-students and individual guest advisors Otobong Nkanga, Florian Göttke, Renée Ridgway, Clare Butcher and Steven ten Thije
Departing at 14:30 from DAI for the 14:53 train to Amsterdam Amstel Station – followed by tram 12 to Van Bearlestraat. Please travel in groups with someone that has a ‘kortingkaart’
If I Can’t Dance Project 2010/2011 (title to be announced)
Curated by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, tutored by Phil Collins and co-ordinated by Tanja Baudoin
Who’s that Guy? About Guy de Cointet
Lecture by Marie de Brugerolle
11 November 2010, 17.00 hrs
StedelijkMuseum, Paulus Potterstraat 13, Amsterdam
After an introduction to Guy de Cointet’s work, Marie de Brugerolle will screen a short version of her documentary film Who’s that Guy? ... tell me more about Guy de Cointet [2010; 50 min; English]. In this film, de Cointet’s friends and colleagues Paul McCarthy, Mike Kelley, Robert Wilhite, Richard Jackson, John Baldessari, Larry Bell, Barbara Smith, and others, remember him and present a portrait of a secret man who remains a genius in his capacity to bear witness to his time.
Marie de Brugerolle is an art historian, curator and dramaturge. She is a professor at the École nationale des beaux arts de Lyon in France. She has curated several exhibitions on Guy de Cointet and has been involved in the restaging of his plays.
Performance in Residence is a new programme through which If I Can’t Dance aims to research performances in order to reactivate them. We invite cultural practitioners and offer them conditions for in-depth research on performances as case studies that we consider important from an art historical perspective, but what is more, from the point of view of contemporary practice in performance. If I Can’t Dance’s first Performance in Residence is the play Five Sisters (1982), written by Guy de Cointet. Marie de Brugerolle, a leading expert on Guy de Cointet’s work, will be researching this performance in order to present a restaging in June 2011.
18:30-20:30 at BAK, Utrecht (departing 16:45 from the DAI)
Negotiating Equity (tonight also for Re-reading Public Images)
Organised by Renée Ridgway and contributors to n.e.w.s (http://northeastwestsouth.net)
‘Vectors of the Possible’ at BAK, Utrecht
tour of the exhibition with BAK curator, Cosmin Costinas
Vectors of the Possible is curated by Simon Sheikh. ‘Isn’t is so, he asks, that a work of art, and certainly an exhibition, always sets up an horizon, a proposal of what can be imagined and what cannot? At stake is what imagination of the future and past is proposed: how a work of art produces other imaginaries of the world and its institutions, rather than merely reiterating already existing ones, even in so-called
Friday November 12: DAI Project
Starting 10:30 at Florian’s studio, Berberisstraat 16, Amsterdam
Re-reading Public Images
Projectleader Florian Göttke
Florian Göttke will introduce the theme of the project. He will also talk about his own research and recent work around public statuary and his involvement in the theme.
We will read two texts to lay a basis for our further conversations, about public space from Chantal Mouffe, “Which Public Space for Critical Artistic Practices?” Lecture at the Cork Caucus, (2005), and about images and ideology from W.T.J. Mitchell, Introduction to “Iconology – Image, Text, Ideology”, (1987) and will conclude with (partly) film screenings of “Disgraced Monuments” (1994), by Laura Mulvey & Mark Lewis and “State of Mind”, (2004) by Daniel Gordon & Nicholas Bonner.
10:00 – 17:00 at If I Can’t Dance HQ, Westerdok 606-608, Amsterdam
If I Can’t Dance Project 2010/2011 (title to be announced)
Curated by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, tutored by Phil Collins and co-ordinated by Tanja Baudoin
The first group gathering of the If I Can’t Dance project takes place at the headquarters of If I Can’t Dance in Amsterdam, with tutor Phil Collins. We will introduce the specific theme of this year’s course, which is placed in the overall framework of ‘affect’. The upcoming programme of activities will be explained.
10:00 – 17:00 at BAK, Utrecht
Negotiating Equity
Organised by Renée Ridgway and contributors to n.e.w.s (http://northeastwestsouth.net)
10:00-12:00
Lecture byNancy Adajania, independent curator and cultural theorist based in Mumbai and Ranjit Hoskote, poet, cultural theorist and independent curator, based in Mumbai. Presently both are research scholars at BAK/Basis voor actuele kunst, Utrecht.
13:00-17:00
a seminar with Nancy Adajania and Ranjit Hoskote at BAK
‘nth fields’
Everywhere and increasingly—whether we are teaching at a para-academic platform in Bombay, engaging in curatorial discussions or conducting research in Berlin, co-curating a biennial in Gwangju, contributing to an international exhibition in Karlsruhe, responding with critical empathy to a triennial in Brisbane, or developing a research project in Utrecht—we find ourselves working with interlocutors and collaborators in what we think of as nth fields. All nth fields have similar structural, spatial and temporal characteristics. In structural terms, these are receptive and internally flexible institutions, rhizomatic and self-sustaining associations, or periodic platforms. In spatial terms, these are either programmatically nomadic in the way they manifest themselves, or extend themselves through often unpredictable transregional initiatives, or are geographically situated in sites to which none (or few) of their participants are affiliated by citizenship or residence. Temporally, the rhythm of these engagements is varied: it traverses a range of untested encounters, from face-to-face meetings and discussions through email and Skype, and can integrate multiple time lines for conception and production.
These nth fields certainly throw into high relief the vexed questions that haunt the global system of cultural production: Who is the audience for contemporary global art? How may we construe a local that hosts, or is held hostage by, the global? Can we evolve a contemporary discussion that does not merely revisit the exhausted Euro-American debates of the late 20th century by oblique means? Is it possible to translate the intellectual sources of a regional modernity into globally comprehensible terms? What forms of critical engagement should artistic labour improvise, as it chooses to become complicit with aspirational and developmentalist capital and its managers across the world?
http://www.ici-exhibitions.org/index.php/dispatch/posts/notes_towards_a_lexicon_of_urgencies/
Saturday November 13 and Sunday November 14
Saturday 13 November, 14:00 - 17:00 hrs
Sunday 14 November, 11:00 – 17:00 hrs
For If I Can’t Dance Participants only
If I Can’t Dance Project 2010/2011 (title to be announced)
Curated by If I Can't Dance, I Don't Want To Be Part Of Your Revolution, tutored by Phil Collins and co-ordinated by Tanja Baudoin
Performance in Residence Five Sisters
Workshop with Marie de Brugerolle and Jane Zingale
De Appel offices, Damrak 70, Amsterdam
Marie de Brugerolle and Jane Zingale are teaching a workshop as part of their research for If I Can't Dance's new Performance in Residence programme. Marie de Brugerolle is dramaturge and the first cultural practitioner invited by If I Can’t Dance to research a case study for Performance in Residence. During a period of six months, de Brugerolle will examine Guy de Cointet’s play Five Sisters (1982) - the last performance to be staged during his lifetime. Her research will result in a restaging of Five Sisters, expected in June 2011.
Jane Zingale is an advisor to the Performance in Residence case study of Five Sisters, and one of the actresses in the restaging of the play. She is one of the original actresses from Guy de Cointet’s plays and starred a.o. in Iglu, Tell Me and Five Sisters. The workshop is a first exploration of theoretical and practical concerns raised by making a restaging of the play.
The case study of Five Sisters will be a starting point to think about the basic questions raised by making a re-enactment of a historical performance, such as: what does it mean to revisit and research a performance from the past; how do you approach the working practice of another artist; and on which levels can research enable the activation of a performance? The workshop includes viewings of documentation of the work of Guy de Cointet, an analysis of his practice, discussion, rehearsals and the writing of a script in the style of Guy de Cointet.