DAI-bulletin 2009-2010 number five January 2009

This is the fifth issue of the monthly DAI-bulletin in the academic year 2008-2009, informing you about our program and about important dates and events. Eventual alterations can be found on our website under DAI-bulletins.
Please scroll for ‘This Time it is Private’, with announcements on exhibitions and other public activities of DAI students and alumni. Please send items for that specific section to r.liongakong@artez.nl.

DAI-week January 12 till January 16

Instead of asking its master students to come to 'school' on a weekly 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 lectures, seminars, face to face conversations, projects, master classes, courses or workshops)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 week students spend the night at one of the two DAI houses in the centre of Enschede. In between DAI-weeks all return to their daily practices - scattered over the Netherlands, or abroad.

Lunch will be served Monday from 12:00-13:00, other days from 13:00-14:00, dinner Monday to Wednesday from 18:30-19:30. Because of the trip to Amsterdam a warm lunch will be served at 13:00 at the DAI on Thursday. You will be provided with sandwiches and something to drink in the bus to Amsterdam

This weeks’ DAI guest cook is Arjen de Leeuw:

Arjen de Leeuw (1972) lives and works in Amsterdam. He graduated in 1995 from the department of sculpture at the Koniklijke Academie in The Hague. Next to his autonomous work he also creates stagedesigns and costumes for theatre. Arjen de Leeuw's works have been exhibited and screened extensively in the Netherlands and abroad. The last time he prepared diner for a large company was at the Architecture Biennial in Venice where he cooked for 180 people.

- In this schedule we will only publish biographical notes on guests that are NEW to our programme. Information about the other guest lecturers is to be found on our website under ‘mentors and guest tutors’.
- All parts of the curriculum have to be attended by ALL students unless it is mentioned otherwise.

Monday January 12

13:00–18:30, continuing at 19:30, Projectroom

Artist presentations by DAI-students Catalina Nistor, Sevgi Ortac, Omar Koubaa, Ruben van Klaveren, Julio Pastor, Manami Yoshimoto, Eva Schippers and Amanda Koelman.

Their 20–minute presentations will be reviewed and discussed AS PRESENTATIONS by guest advisors Libia Castro and Tomo Savic-Gecan and the students. The discussion will be moderated by Gabriëlle Schleijpen.

Libia Castro & Ólafur Ólafsson

Libia Castro (ES) & Ólafur Ólafsson (IS) are based in Rotterdam and Berlin. The artists have been collaborating since 1997, they met during their post-graduate study in The Netherlands, after having studied design in Germany and art in The Netherlands (L) and art in Iceland and The Netherlands (Ó). With a conceptual and multidisciplinary approach and a contextual and site related practice Libia and Ólafur's works go from the creation of situations and experiential environments, to interventions, sculpture, video and photography. "Our work has developed through our dialogue, experiences on different sites and our interest in Conceptual Art and art movements like Fluxus, Life Art, Feminist Art, Arte Povera, Social Sculpture, Situationism and Neoconcretism".

In much of their work, Libia and Ólafur collaborate with other people; groups, individuals and other artists. Their work focuses on spatial, existential, social and political questions. At the same time as reflecting on everyday life in the different places they work, they wish to sensitize perception racing existential and critical questions on a.o. labour, socio-economical inequalities, migration, identity, decision-making, urban space and how globalization affects society and peoples life. "In our work Avant-garde Citizens f.i. we wish to address the growing situation of migratory conflict, reflecting on the tensions between the capitalist globalised world, freedom of movement and the consequent and growing tendency of nations to protect their territories from undocumented immigration - the friction between belonging and exclusion. In the music-video Caregivers we investigate a recent phenomenon in the labour sector in Italy, that of East European women (mainly Ukrainian) migrating to the country to work as in-home caregivers of elderly Italians in most of the cases to send money back to their husbands and children they left behind".

Tuesday January 13
9:00-10:30 Project room
Round table with all students, course director Gabriëlle Schleijpen and course manager Rik Fernhout, to further introduce and discuss the projects ‘High Finance – Common Ground’ , ‘Negotiating equity’ and ‘We Correspondents’, that all will start on Thursday.


A curatorial project, which re-values the city of Detroit and the practices it’s made up by.
Run by Partizan Publik

10:30–18:30, continuing at 19:30, space to be announced
Exclusively for participants of Detroit Unreal Estate Agency

The preparation of an intervention strategy is a work in progress – process with the clients or aimed at clients, on the site and with the officials. The participants will have to develop a wide overview of the do’s and don’ts, the wishes and demands and, importantly, a ‘nose’ for the right intervention in the complex society of Detroit.

We think, though, that the definition of economic value, even if according to alternative value systems, reproduces the logic of the real estate market—precisely the logic we are trying to subvert. Instead of proposing alternative values, then, what if we hijack the notion of value entirely? What if we attempt to undermine the accumulation of value (ie, the logic of real estate) completely? What if those features of real estate that are currently understood to diminish or eliminate value (inefficiency, redundancy, waste, danger, disfunctionality) are precisely those that we value? In so doing, we think, we could radically shift the perception of Detroit’s value: what is “destroying” the city would be rendered as projective or potential and, reciprocally, what is thought to “reconstruct” the city (optimization, functionality, efficiency) would be rendered as destructive?

Discussion literature outlines and questions
Presentation by group C
- Afternoon lecture: Marjectica Potrc.
- Evening lecture: Marjectica Potrc: The American dream after the crisis
Mid-project submittal individual notebooks!
Film screening: Paul Verhoeven RoboCop (1987).

Marjetica Potrc is an artist and architect based in Ljubljana, Slovenia. Her work has been exhibited extensively throughout Europe and the Americas in such shows as the Sao Paolo Biennial (1996 and 2006), The Structure of Survival (at the Venice Biennial, 2003 and 2009), and many others. She has had solo exhibitions at the Guggenheim Museum in New York (2001), the Max Protetch Gallery in New York (2002, 2005 and 2008), the Nordenhake Gallery in Berlin (2003 and 2007), the PBICA in Lake Worth, Florida (2003), the Portikus, Frankfurt am Main (2006), and The Curve, Barbican Art Galleries in London (2007). She has also created many on-site projects, including Dry Toilet (Caracas Case Project in Caracas, 2003) and Power from Nature (2006).

She has taught at several well-known institutions in Europe and North America, including the Massachusetts Institute of Technology (2005), and has published a number of essays on contemporary urban architecture. Her work has been the subject of numerous articles in such publications as Artforum International, Art in America, and Afterall.

Potrc is the recipient of numerous awards, including grants from the Pollock-Krasner Foundation (in 1993 and 1999); the Hugo Boss Prize 2000, administered by the Guggenheim Museum; a Caracas Case Project Fellowship from the Federal Cultural Foundation, Germany, and the Caracas Urban Think Tank, Venezuela (2002); the AICA-USA Second-Place Award for Best Architecture or Design Show (2004); and the Vera List Center for Arts and Politics Fellowship at The New School in New York (2007).

More information to be found under Projects

2. Edition 111- MASQUERADE
Masterclasses by If I Can’t Dance

The If I Can’t Dance/DAI course will depart from a special interest in the ‘performative’ and will look at elements of rituals, gestures, normalized as opposed to transgressive behaviour, covert as well as manifest action and differing approaches to role playing, power positions and appearances.

11:00-16:00 This DAI week’s contributors Francesco Bernardelli and Frederique Bergholz will have face to face conversations with participants in this project.

16:00-18:00 - projectroom
Introduction and conversation on masquerade with Francesco Bernardelli and Frederique Bergholz and screening of video’s

Starting 19:30 - Evening-program:
Francesco Bernardelli will be screening an intensive and comprehensive program of short video fragments and full feature films, revolving around notions of CAMP and GLAM. He will try to "give some sense of unity and historical development to an area of reflection and cultural analysis quite explored in the UK and English field of studies, but perhaps not much elsewhere". The program will try to (re)activate first person-experiences, looking at works that follow a a (semi, partial or integral-) autobiographical turn - partly derived from the "underground" or "underworld" milieu in which they originated. Talking about these historical documents/excerpts/memorabilia will shed a clearer light on the material, although some might still be 'resistant' today and needs to be framed within the art of its time.

Contempory art critic and curator, Francesco Bernardelli has been working in the framework in between visual arts, time-based media and performance, curating film&video programs and performance projects. From 1999 until 2005 he took care of the video and filmic screening programs of Castello di Rivoli - Contemporary Art Musem, often in collaboration with the National Cinema Museum of Torino. In 2004/05 he co-catalogued the historical video collection of Castello di Rivoli, and in recent years he has been writing about the connection between performance, video art and moving images. His essays has been published by istitutions like MAMbo, Bologna, Papesse Contemporary art center, Siena, Castello di Rivoli, GAM-Modern Art Gallery, Torino, Stedelijk Museum, De Appel, Amsterdam. Among the recent projects, he curated Split Subjects (De Appel, Amsterdam 2005) and Figures of Excess (Beursschouwburg, Bruxelles, 2006). He is part of the curatorial team for Theater der Welt/Essen 2010.

Frederique Bergholz is artistic and financial director of “If I Can't Dance, I Don't Want To Be Part Of Your Revolution”.

More information to be found under Projects, http://www.dutchartinstitute.nl

The artwork as a trip, contemporary art and the idea of the trip
Curated by Mark Kremer with contributions by John Heymans
10:30 – 18:00, space to be confirmed

Collective Meeting, artists/students with JH and MK.
An interactive day with discussions, readings, viewings.
Presentations of the participants of works they made in the last month in response to the notion of “the trip”. Discussion of Op Art using the texts on the subject that were distributed in December. Philosophy column by John Heymans who will discuss Kant and the trip.

Evening programme:
Lecture by Frans W. Cornelissen: How does the brain see - an analysis of visual perception

Frans W. Cornelissen is neurophysiologist at the University of Groningen. His interests lie in both fundamental and applied issues in visual perception and brain functioning. After his study in Biology with specialization in biophysics and psychophysics, he obtained his Ph.D. with research on color constancy and visual ergonomics for visually impaired persons. His current lines of research focus on how the eye and brain are organised (both functionally and anatomically) and enable us to perform tasks in a complex visual world.

Wednesday January 14

Face to Face meetings between individual DAI-students and individual guest advisors; Mark Kremer, Florian Göttke, Jeremiah Day, Frederique Bergholz, Francesco Bernardelli, Hala Elkoussy and Alena Alexandrova

Alena Alexandrova is completing a doctoral dissertation at the University of Amsterdam on the way contemporary art critically re-appropriates religious motifs. She is also a guest researcher at Tilburg University as a co-editor of Retreating Religion: Deconstructing Christianity with Jean-Luc Nancy. She has published articles in the fields of aesthetics and visual studies, dance theatre and film and advised visual artists.

9:30 – 10:30 Projectroom
Toolkit Thesis
With John Heymans
For second year students exclusively

10:30 – 12:00 Project room
Presentation Cappadocia – Water Re-Sources
Outside DAI – project - Artistic research
For all students

As a follow-up of our last years research trip to Cappadocia, the aim is to now develop concrete ideas and plans for work connected to the environmental and water problems of Cappadocia and especially of Ibrahimpasa, the village where we were staying.

As a start, the participants of last years trip will present a travel report, describe our experiences and findings to all DAI students. We will continue with a group of motivated students to develop projects, find additional financing for the realization and travel to Cappadocia to realize the work and exhibit or publish the results.

The project is open for all students of the DAI.

14:00 – 18:30 Project room
Groupmeeting If I Can’t Dance with Francesco Bernardelli
Screening off two full feature films, followed by discussion
For participants of If I Can’t Dance

Starting 19:30 Project room
For all students
Screenings with Francesco Bernardelli; a continuation of Tuesdays program.

Thursday January 15

Today is the first day of three new projects: High Finance – Common Ground, curated by Florian Göttke, Negotiating equity, curated by Renée Ridgway and We correspondents, curated by Binna Choi

1. High Finance – Common Ground
curated by Florian Göttke
Starting 10:30, space to be announced

A project in collaboration with the Research Group Art in Public Space in Amsterdam (www.lkpr.nl) and students of the Sandberg Institute.

The aim of the project is to develop and produce work for Amsterdam Bright City a one-day event on June 4, 2009 on the Zuidas in Amsterdam.
Amsterdam Bright City was initiated to promote the Zuidas as an “international, multicultural centre of knowledge and business services”. We connect ourselves to that event to contribute diverging positions of the art and the artists to the vision of the area.

The Zuidas in Amsterdam is the main hotspot of the global marketplace of business and finance in the Netherlands. The development of the Zuidas started in the 1990s and is projected to be finished in 2030. Currently it is in a state of constant change – in between the vision expressed in the language of the promotional brochures, the emerging steel-and-glass office architecture of the banks and law firms and the daily reality of the employees. How public – or rather private – the open space in between the buildings is, still needs to be established and will be one of our working questions.

Since the beginning the Research Group Art in Public Space accompanied the development and tried to define the role of art and worked to create space for art in the area. We will draw heavily from the knowledge and experience gathered in these earlier studies, symposia and projects initiated and conducted by the Research Group.
In that way we try to avoid getting stuck in the apparent incongruities of the Zuidas – the contrast between the values and ideas expressed in the vague language of the developers and what a real city might mean – and we will try to get a step further and address the situation as it presents itself in this moment.

The project will partly take place in Amsterdam on the Zuidas, where we will be guests of the Research Group and the Sandberg Institute. The project will be prepared and accompanied with lectures, visits to the area and artists involved in earlier projects.

2. Negotiating equity
Curated by Renée Ridgway
Starting 10:30 – space to be announced
Today’s guests: Tiong Ang and Stephen Wright

Negotiating equity aims to offer a participatory platform to address the ethics and practice of curatorship as a mode of art production, asserting that these terms of engagement imply rethinking the economic and social conditions of art. Negotiating equity will draw upon theories of fairness in questioning divergent value systems and testing artistic models amongst students, curators, artists, art critics and writers from around the world. The nature and format of this project favors cooperative endeavor, while considering the implications of self-curation.

Specificially, this project will address collaborative curation and the position of the artist as curator- investigating experimental and conceptual art practices under physical as well as virtual conditions. Using the ‘temporary reside’ from ID 11 in Delft, apartment flats donated from the city, as a space in which to engage the above practices, DAI lectures and seminars will focus on ‘creating context’ in the broadest sense of this term. Drawing upon a wide range of artistic and art-related practices, some off the radar, undocumented and under-theorized, others representative of art historical paradigms, we will examine how to use temporary housing as an exhibition and presentation model along with addressing and finding other audiences, virtual or otherwise, implicitly or explicitly challenging dominant regimes of spectatorship all too often considered self-evident.

Negotiating equity will be organised by Renée Ridgway, co-initiator of n.e.w.s. (http://northeastwestsouth.net), an online platform for contemporary art and new media structured by curatorial positionings from around the world. n.e.w.s. will serve as the hub to the project. Each month at DAI, contributors from the n.e.w.s. platform will present their individual approaches to curating and their particular social and economic criteria regarding art production. Concomitantly, experts on the positioning of the so-called ‘artist/curator’ will address this terminology with regard to present-day artistic and art-critical practice. In June, DAI participants will be expected to produce a work at ID 11 in Delft, parallel to developing their individual website, along with reading and following n.e.w.s. An online forum at n.e.w.s. will contextualise this project.

Stephen Wright: “My presentation will focus on a selection of contemporary practices with deliberately impaired coefficients of artistic visibility, whose self-understanding is nevertheless grounded in art-historical paradigms. Though best understood using art-critical tools, these practices are either dramatically under-theorized or all-too-quickly assimilated into existent conventions of display and documentation - in short, into a virtually uncontested regime of spectatorship. To an even greater extent than objecthood or authorship, spectatorship continues to enjoy almost self-evident status in conventional discourse as a necessary component of any plausible artworld. The critical sermons of contemporary art are rife with celebration about free and active viewer participation. Yet is there not something almost pathetic about such claims at a time when ever more practitioners are deliberately impairing the coefficient of artistic visibility of their activity, challenging the very regime of visibility designated by the collective noun “spectatorship”? When art appears outside of the authorized performative framework, there is no reason that it should occur to those engaging with it to constitute themselves as spectators. Such practices seem to break with spectatorship altogether, to which they prefer the more extensive and inclusive notion of usership. Is the current mainstream focus on spectatorship – as a number of recent theoretical publications suggest – not merely a last-ditch effort to stave off a paradigm shift already underway in art? Why and when in the history of ideas did spectatorship – let alone disinterested spectatorship to use Emmanuel Kant’s paradoxical term – emerge as the linchpin institution of visual art? And above all, what alternative forms of usership of art are today being put forward to displace and replace it?
Basically, my feeling is that one can curate oneself until one is blue in the face, if you don't challenge or at least acknowledge otherwise invisible conventions, you're just curating one more objectified subjectivity - precisely what needs to be untaught at every turn”!
Stephen Wright is a Paris-based art theorist and writer, whose writing focuses on the conditions of possibility and use of art-related practices without objecthood, authorship or spectatorship. See http://www.northeastwestsouth.net/site/node/56

Tiong Ang’s work blends the conceptual approach of process-based media art and the solitary, pictorial practice of painting to address issues of perception, collective memory, social and cultural estrangement and dislocation, all embedded in an ever-changing field of contradictions and contexts. Using media specific to his topic -whether painting, video installation, social projects or environments- Ang poses questions about how we negotiate our notion of self image in an ethically and culturally hybridized world. He questions authenticity and impermanence of visual imagery and storytelling, in a practice that embodies different kinds of approach towards human perception and behaviour. He is also an avid collaborator in projects that range from masquerades with children, alter ego confrontations with an African friend, the production of an American sitcom to the curatorial experience of Nederland 1, a large group exhibition at museumgoudA (2006) in which he explores the potential of cultural diversity in the Netherlands.

Tiong Ang studied at the Rietveld Academy and Rijksakademie, both in Amsterdam.
He has shown worldwide, in important institutions and at minor festivals. He participated in the 2004 and 2008 Shanghai Biennale, the 2001 Venice Biennale, the 1995 Istanbul Biennale and the 1994 Havana Biennale. Tiong Ang lives and works in Amsterdam.

Curated by Binna Choi
Starting 10:30 – space to be announced.

A project developed by Dutch Art Institute in collarboation with Casco, Office for Art, Design and Theory and organized by Binna Choi, director of Casco and co-curator of Electric Palm Tree project whose major public manifestation will take place at Casco and SMBA in spring 2009

We Correspondents
Part of Electric Palm Tree project

We Correspondents is a curatorial project to explore the possibilities of contemporary correspondence. It sets out to explore different means of communication, with experimental alterations of the existing modes and channels of communication in search of languages that might resonate in the uneven cultural and political terrain of global society. In time of mass and “participatory” communication media, finding or forming a singular and dissident voice and making it heard is a treacherous process, and one that needs to be attentive the unheard and the unspoken, along with the speech act and the “performative”.

Four major meanings of the word “correspondent” are operational for this project:

1. One who communicates by means of letters
We all become correspondents. Each meeting will be closed with writing a letter that reflects the sharing of two days. Of course, you can challenge the definition or the form of “letter”. It is a correspondence between us; the records of our reflection and exchange can remain between us, or be published if we wish to do so.

2. One employed by the print or broadcast media to supply news stories or articles: a foreign correspondent.
We will make short notes on exemplary art works, images and other materials viewed and discussed during our meetings and upload them on the website of Electric Palm Tree for the broader public. We again become correspondents. Try to abstain from giving opinions about the objects you deal with. Although we cannot be entirely objective (and the act of selection itself is obviously anything but), we shall try to be factual and succinct. The Internet is overloaded with information and opinions, and we have limited time. This must be our strategy to communicate.

3. One that has regular business dealings with another, especially at a distance.
Every time anew we define what is “at a distance” and try to make experimental correspondent-works, which will eventually form as our collective works. This can be documented and collected via the operational mode above 2. For example, I would suggest these types of works: (1) Reading the newspapers of the week in the countries where each correspondent came from, sharing, interpreting the differences and similarities, and making a “collage-work” with the selected events and issues at stake. (2) Collect a few television melodrama series from the countries where each correspondent came from, find a similar pattern(s) in the gestures and narratives and make a collective or individual works to transform those patterns.

4. Something that corresponds; a correlative.
Eventually we will question whether we are “correspondents”—perhaps rather in the negative, agonistic form than in the agreeable ones—to each other and what our work has resulted in. No extra time than our two-day gathering for extra assignments. We can ask what change has it made to spend the time of six times two days together, during the space of six months, for some kind of collective work. And is there any idea and approach that prompt us to form an artists’ group which might be comparable to the avant-garde movements of yore?

Please find more information on this project and on Electric Palm Tree on our website.

Program “We Correspondents”
Starting 10:30 – space to be announced

Binna Choi: “It is 18:30 in Korea where I am staying now. We will communicate between the two ends of Eurasian continent, The Netherlands and South Korea, by means of Skype. This will be introductory session in which we introduce each other and discuss about the motivations. I will have a couple of special guests from here too. I would like to ask you to prepare materials and props to facilitate our communication. Please consider the quality of image and voice allowed by Skype. (Technical setting will be arranged with Ricardo Liong-a-Kong)

13:30 Then I want you to read an article written by Nam June Paik “Expanded Education for the Paperless Society” published in 1970 on Radical Software (p. 7-8.Radical Software, Volume I, Number 1 The Alternate Television Movement, Spring 1970, http://www.radicalsoftware.org/e/volume1nr1.html) and have a view of his three seminal works “Global Groove” and “ Good Morning Mr. Orwell” “Bye Bye Kipling”. All these materials are Paik’s own way of engaging with the distance and discrepancy between “east” and “west” or something. As I won’t be there, the self-organization is important.

15:30-17:00 Collective working time.
Operation no. 2 and operation no .3’s example: Reading the newspapers of the week in the countries where each correspondent came from, sharing, interpreting the differences and similarities, and making a “collage-work” with the selected events and issues at stake”.

17:00 departure for Amsterdam

20:00 UVA Auditorium Singel 411, Amsterdam
Now is the time #6: Belief
Lectures by Terry Eagleton and Boris Groys

Since the beginning of this century the secularised ideology underlying our Western society has changed. Ethical and religious questions have been put on the agenda – questions of good and evil, truth and falsehood, standards and values. The French philosopher Alain Badiou even distanced himself quite firmly from postmodern relativism by returning to some basic, universal values. No wonder that some speak of a ‘religious turn’ in contemporary society.
How can we relate this complex field of ideals, ideologies and belief systems to the arts? After the Mohammed cartoons and other examples of censorship and iconoclasm, many artists feel compelled to oppose to the religious turn by defending freedom of speech. At the same time, the art world seems to be developing an increasing positive interest in religion as well, as several recent international survey exhibitions illustrate. What does this positive interaction with religion consist of and how can these two diametrically opposite tendencies in art be related?

Terry Eagleton (UK) is an influential literary critic and Professor of English Literature at the University of Manchester. His recent publications suggest a renewed interest in theological themes. His numerous publications include: Ideology: An Introduction (1991), The Ideology of Aesthetics (1990), After Theory (2003), Holy Terror (2005) and The Meaning of Life (2007).

Boris Groys (DE) is a philosopher, essayist, art critic, media theorist and Professor in Philosophy and Media Theory at the Academy for Design in Karlsruhe. Among his many publications are Die Kunst der Installation (1996), Unter Verdacht: Eine Phänomenologie der Medien (1997) and Art Power (2008). He co-curated the exhibitions Iconoclash (2002) and Medium Religion at the ZKM, Karlsruhe (2008/09). Moderator Sven Lütticken (DE/NL) is lecturer in Modern Art History at the Vrije University Amsterdam and curator of the exhibition The Art of Iconoclasm at BAK, Utrecht (2008/09).
After the lecture, at about 22:00/22:30 the bus will leave for Enschede.

Friday December 12

1. High Finance – Common Ground
curated by Florian Göttke
Starting 10:30, space to be announced

Continuation of yesterday’s program

2. Negotiating equity
Curated by Renée Ridgway
Starting 10:30 – space to be announced
Today’s guest: Stephen Wright

Curated by Binna Choi
Starting 11:00 – space to be announced.
Today’s guest: Wendelien van Oldenborgh

11:00 – 13:00
This day session will include the presentation of works by the artist with a special attention paid to the use of speech, discourse and perfomativity within the production of these. This presentation will be followed by a collective reading of a text as mobiliser for the assignment to follow in the afternoon.

14:00 – 17:00
Assignment to be worked on individually, with guidance and individual talks.

17:00 – 18:00
Discussion and possible conclusive move with all the works, to be done collectively with the whole group.

Wendelien van Oldenborgh:
"In a moment of changing and charged cultural relations and heavy conservative forces reacting on these changes, a need seems to surface to focus on different modes of perception and production of narrative, as well as on the politics and construction of subjectivity. Identity to me is not the issue. The idea of "identity" - national or otherwise - is too rigid. We are talking about formation of subjectivities, which is never without paradoxes. My works take specific situations – historical or otherwise – as departure points to display social conditions by focussing on relations and gestures in the public sphere. The cinematic format is used as a methodology for production and as the basic language for various forms of presentation. An important stage in the work is the active and often public film-shoot, in which participants co-create the script in an active event of live performance and exchange."

Recent works include: Lecture/Audience/Cinema, MuHKA Antwerpen (2008), No False Echoes for Be(com)ing Dutch, van Abbemuseum (2008), Maurits Film (2008), in co-production with MAMAM, Recife and Capacete, Rio de Janeiro. Maurits Script in co-production with Casco, Utrecht (2006), A C_B__ Sound Track Stage in Museum Boijmans Van Beuningen, Rotterdam (2006), The Basis For A Song, for “Die Regierung” (by Ruth Noack and Roger M. Buergel) in Witte de With, Rotterdam (2005), and the project website www.acertainbrazilianness.net, (2005).
Works were presented in recent years in a.o. 28th Bienale de São Paulo, van Abbemuseum, MuHKA, Antwerp, Apexart New York, MAMAM Recife, Konstfack Stockholm, MAK Wenen, Künstlerhaus Stuttgart, Art3 Valence en EAST Norwich.
Currently guest professor in the Universität für Angewandte Kunst, Vienna.

New Subversion
January 21

The Old Brand New is a monthly English language lecture series in Stadsschouwburg Amsterdam revolving around the concept ‘new’ in the arts.
In the arts, the concept ‘new’ is an ideal as well as a curse. The avant-garde has been declared dead and ‘the cult of the new’ is past its peak. The pursuit of absolute originality and total innovation has given way to concepts such as remix and postproduction, eclecticism and syncretism. Is ‘new’ still permitted, how new is neo, how innovative is retro? By looking at the term ‘new’ in the light of ‘old’ subjects such as virtuosity, beauty, knowledge and entertainment, the lecture series THE OLD BRAND NEW proposes to free ‘new’ of its stale image and present it in its full complexity.

The multidisciplinary series is held from January to September 2009 on a monthly basis at Stadsschouwburg Amsterdam. The series was initiated and developed by de Appel arts centre, If I Cant Dance I Don’t Want To Be Part Of Your Revolution, Research group Art Practice and Development at the Amsterdam School of the Arts, LISA, Studium Generale of the Gerrit Rietveld Academie, DAI /Master Programme / ArtEZ Institute of the Arts and Stadsschouwburg Amsterdam.
This month Dr. Marina Gržinić (1958, Slovenia) and Joep van Lieshout (1963, The Nederlands) will lecture on New Subversion.
Tickets and reservations: available at Stadsschouwburg Amsterdam, www.ssba.nl
More information: www.theoldbrandnew.nl or contact Hiske Zomer via hzomer@deappel.nl or +31 20 625 56 51.


///////// THIS TIME IT IS PRIVATE /////////

News on alumni and/or current students and/or lecturers.You are all most welcome to send in your announcements to r.liongakong@artez.nl.


M.O.A.T. The Last Record
February 11 - 15 2009

Current DAI student Taf Hassam is one of members participating in 'The Measure of all Things' otherwise known as 'M.O.A.T.', an ongoing *interdisciplinary research project, which first began in 2007. The project in its design and nature is ultimately experimental and seeks to explore the relationships between 'interdisciplinary' groups, theoretical thought, empirical experiences and the possible representation thereof in the medium of sound. With its first incarnation in, 2007, the project began by exploring various educational institutes in and around Amsterdam, The Netherlands. The project rather than determining itself to be an institutional critique, focused itself rather upon researching and documenting the ambient sounds that these spaces contained, and by looking to how the architectural specifics of these spaces could then be translated into revealing an underlying 'rhythm' of the spaces themselves. Through the projects various developments, one particular set of questions have remained:
'What do sounds tell you about the environments in which they are found? How much information do they contain? Is it possible to create musical compositions based upon the organization of a space? If one were to arrange the sounds together, what would the representation tell us?
The second part of the project took place in an abandoned apartment block in the shrinking city of Hoyerswerda, located in the former eastern block of Germany. The project was conducted as part of the 'The European Post Graduate Residency'; a residency comprising of 30 international artists who had been selected to create works in and around the topic of 'Spatial Intervention'. As part of the residency the group invited various artists and theoreticians to give lectures as a means to further explore interventions through information sharing. The group proposed to create a 'blue print' of the building in sound through spending the duration of the residency researching, recording and measuring the building to create the last record of a space that had been consigned to disappear. ** As soon as the residency came to a close the building itself underwent demolition.
* 'what is called'
** The town itself had made the peculiar decision to knock down a great number of its apartment blocks, so as to create space for a forest.
Kaiku Galleria, Kaikukatu 4, Helsinki.


Website DAI students

Links to two DAI students website added:
Monika Berenyi: www.monikaberenyi.com
Omar Koubaa: www.omarkoubaa.nl


Dead Darlings
February 21 2009

Dead Darlings is an anonymous and subversive auction series that started in Amsterdam in 2005. This is the third edition. On Saturday the 21 of February, in the project space of Mediamatic Bank, 66 artworks are put up for auction.
Among the participatingf artists are DAI staff member Florian Göttke, current DAI student Tzvika Gutter and advisor Rebecca Sakoun.
Mediamatic Bank, Vijzelstraat 72, Amsterdam


1st Floor-Ottilia Pribilla Gallery
January 30 - March 14 2009

Current DAI Student Carlijn Mens is showing two animations and the drawings for these animations at 1st Floor-Ottilia Pribilla Gallery.
Opening reception: January 29 2009 from 18:00
1st Floor-Ottilia Pribilla Gallery, Kronenburgstraat 21, 2000 Antwerp


January 29 - February 17 2009

Together with others DAI alumnus Jolanda Jansen participating in an exhibition, with a new installation.
On the opening on January 29 at 23:00 Jolanda Jansen and Marlijn Helder will do their performance L'EAU.
Nutshuis, Riviervismarkt 5, Den Haag, www.villanuts.nl
Jolanda Jansen: www.jolandajansen.nl


TRY OUT December 14 2008 - January 5 2009
FINALE January 9 2009, 19:30

Video projections of Alexandra Kürtz, Mes Dickson, Maria Birnbaum, Pier van Dijk, Fredie Beckmans, Karl Heinz Mauermann, Harry Hendriks, Astrid van Loo, PseudonieM, Sigrun Gudmunsdottir, Philip Ultee, Martha Atienza, Niels Elburg, Bert Meinen, Eva Wal, Ruth Hutte, current DAI students James Skunca, Sasha Miljevic, Ruben van Klaveren and Veridiana Zurita a.o.
“Stadshart”, Ressinghplein 2, Delden
Friday, Saturday and Sunday from 17:00-20:30


January 14 - February 14, 2009

The documentary film and video installation "A12NU" by Jeroen van Westen and DAI alumnus Julian H. Scaff investigates the area between the cities of Nieuwegein and Utrecht as part of a larger urban redevelopment project.  The works demonstrate that the way in which you move through a space affects how you perceives it.  Different means of movement create different layers of the city piled on top of one another, like multiple cities occupying the same space.  Where we block the natural flow, for instance where people might want to cross a street to go from point A to point B, flow still wants to find a way through, like a stream rushing around a stone you've dropped in the middle of it. Designing cities is really about designing this flow, about allowing the chance-like nature of the city to unfold naturally. The physical structures are almost secondary.
Architectuurcentrum Aorta, Achter de Dom 14, 3512 JP Utrecht


When I Grow Up
January 17 – February 28 2009

DAI alumnus Katja Sonnewend is showing her photo sequence When I Grow Up.
Opening January 17 16:00
GALERIE 16, Molenstraat 16, 7551 DC Hengelo


January 16 – March 1 2009

A duo exhibition of paintings of DAI student Hidenori Mitsue and sculptures of Sylvia Evers.
Opening January 16, 18:30 - 22:00.
Galerie 10, Schoutenstraat 10, 3512 GB Utrecht


Januari 25 – March 8 2009

Under the concept Lust Kunstgroep de Compagnie organizes different activities concerning visual art, music and theatre.
Current DAI student Jimini Hignett is participating in the exhibition in the serie LUST - Wellust. DE COMPAGNIE, Middegaal 23-25, 5461 XB Veghel www.kunstgroepdecompagnie.nl



Current DAI student Lado Darakhvelidze just launched his website: