DAI-bulletin 2009-2010 number eight April 2009
This is the eight 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.
DAI-week April 20 till April 25
Lunch will be served Monday from 12:00-13:00, other days from 13:00-14:00, dinner Monday from 19:00-20:00; Tuesday to Thursday from 18:30-19:30.
This weeks’ DAI guest cook is Yutaka Hoshino.
Monday February 9
10:30-17:00 at Werkplaats Typografie, Arnhem
Run by Delphine Bedel
for second year students
This week the second year students of the DAI and the designers of Werkplaats Typografie will meet in Arnhem with Gabrielle Schleijpen, Anniek Brattinga and Delphine Bedel to evaluate the graduation publications and to give the ‘green light’ for publications that will go to print. We will also discuss the end presentation of the publication project.
with Alena Alexandrova
for first year students
The plenary session will consist of two parts. First, we will read and discuss an essay by Rosalind Krauss “The Originality of the Avant-Garde: A Postmodernist Repetition” (October, vol 18:1981) – a key text discussion of the double status of notions of authorship and originality. The second part of the session will focus on some central moments in the research process related to writing of the thesis - working towards formulating a central question, finding out literature and dealing with sources.
Alena Alexandrova is completing a doctoral dissertation on the way contemporary art critically re-appropriates religious motifs at the University of Amsterdam. She is a co-editor of a volume on Jean-Luc Nancy and a guest researcher at the Tilburg University. She joined the Dutch Art Institute as a Thesis Advisor in March 2009. She has published in the fields of aesthetics and visual studies. Among her publications are: “Image-instant/image plastique. Métamorphoses de l’origine”, Rue Descartes, Collège international de philosophie, Paris, 64, 2009;“The Body Within: On Images and Ruptures“ In: Disturbing Bodies. Eds. Sylvia Miezskowsky, Christine Vogt-William (Berlin: Trafo, 2008); “The Autodeconstructive Image. Of Vestigial Places”, Bijdragen, 69: 3, 2008;“Death in the Image. The Post-Religious Life of Christian Images”, In: Religion. Beyond a Concept. Ed. Hent de Vries, (New York:Fordham University Press, 2008).
Starting 20:00 project room
Screening of Steve McQueen’s movie HUNGER
With an introduction by John Heymans
For all students
Steve McQueen (born 1969) is an English artist, born in London of Afro-Caribbean ancestry, currently based in Amsterdam. He is best known for his films. McQueen's films, which are typically projected onto one or more walls of an enclosed space in an art gallery, are often in black and white and minimalist. He has cited the influence of the nouvelle vague and the films of Andy Warhol. He often appears in the films himself.
His first major work was Bear (1993), in which two naked men (one of them McQueen) exchange a series of glances which might be taken to be flirtatious or threatening. One of his best known works, Deadpan (1997), is a restaging of a Buster Keaton stunt in which a house collapses around McQueen who is left unscathed because he is standing where there is a missing window.
As well as being in black and white, both these films are silent. The first of McQueen's films to use sound was also the first to use multiple images: Drumroll (1998). This was made with three cameras, two mounted to the sides, and one to the front of an oil drum which McQueen rolled through the streets of Manhattan. The resulting films are projected on three walls of an enclosed space. McQueen has also made sculptures such as White Elephant (1998) and photographs.
He won the Turner Prize in 1999, although much of the publicity went to Tracey Emin, who was also a nominee.
His 2008 film Hunger, about the 1981 Irish hunger strike, premiered at the 2008 Cannes Film Festival. McQueen received the Caméra d'Or (first-time director) Award at Cannes.
Tuesday April 21
9:30 - 17:00
Face to Face meetings with individual DAI-students and thesis advisor Alena Alexandrova
EDITION 111 – MASQUERADE
Masterclasses by If I Can’t Dance
Face to face meetings with Dieter Roelstraete and Wendelien van Oldenborgh.
Eveninglecture by Dieter Roelstraete and Wendelien van Oldenborgh
DETROIT UNREAL ESTATE AGENCY
A curatorial project, which re-values the city of Detroit and the practices it’s made up by.
Run by Partizan Publik
Evaluation of the trip with Gabrielle Schleijpen
19:30 Evening lecture
please see GOODTRIPBADTRIP
The artworks as a trip, contemporary art and the idea of the trip. Curated by Mark Kremer, with contributions by John Heymans.
Starting 10:00 (space to be announced)
The morning is reserved for discussing various practicalities related to working on Crete. DAI Alumnus Nikos Doulos will assist us with an introduction about Crete past and present. Please prepare general issues you would like to bring into the general discussion. We also will need to develop a concrete scenario/order of the "Exhibitions of a Day". In the afternoon we will discuss Dan Graham's "Rock my Religion" after it has been introduced by Manami Yoshimoto, Hidenori Misue and Ruben van Klaveren.
19:30 Evening lecture (project room)
“Between disappearing and immortality. An Italian Paragraph of Conceptual Art. Prini, Pistoletto, De Dominicis”
by Lorenzo Bernadetti
For all students except Masquerade participants
"The most famous movement of the 60's and 70's in Italy was the Arte Povera; the term was introduced by the Italian critic Germano Celant in 1967. But this internationally recognized art movement was one of the many artistic positions of the Italian post war artistic scene. In this lecture will be taken in consideration three artists that played a very important role in the movement of the Arte Povera -- Michelangelo Pistoletto and Emilio Prini -- and the outsider Gino de Dominicis."
Lorenzo Benedetti (Rome 1972) has been director of the art space Volume in Rome and founded the Sound Art Museum. He was curator at the museum Marta Herford (Germany). Since 2008 is appointed director of De Vleeshal in Middelburg. Benedetti studied art history at the University of Rome and attended the Curatorial Training Programme at De Appel in Amsterdam. In 2008 he realized the exhibitions 'Eurasia', Mart, Rovereto; 'Der eigene Weg', MMK, Duisburg, Germany; 'Cabinet of Imagination', Aalst, Belgium.
Nikos Doulos was born in Athens in 1978. He obtained a bachelor degree in painting from the Athens School Of Fine Arts (ASFA).
In 2006 he was awarded with a scholarship in photography from the State Scholarship Institute (IKY) and was accepted in the two-year master program at the Dutch Art Institute in the Netherlands.
He graduated from the master course in August 2008 and has been living in the Netherlands ever since. His artistic practice remains diverse and expands from participation in group shows and public space interventions to stage design and art direction.
He is currently engaged in a public space project initiated by EXPODIUM platform voor jonge kunst in Utrecht.
Nikos Doulos: www.nikosdoulos.com
Wednesday April 22
Face to Face meetings with Florian Göttke, Mark Kremer, Lorenzo Benedetti, Sergio Basbaum, Gabrielle Schleijpen, Darko Fritz, Rebecca Sakoun
EDITION 111 – MASQUERADE
Dieter Roelstraete, curator of the MuHKA and Wendelien van Oldenborgh (artist, and previous visitor of DAI) will be looking at 'styling of the self' and 'roles and repetition'.
Wendelien van Oldenborgh was born in Rotterdam. After graduating from Goldsmiths' College in London, she worked in Belgium and Germany for many years. Van Oldenborgh films communication and interaction between individuals, often against the backdrop of a unique (public) location. In this way her work investigates the political, social and cultural relationships in our society and how these are openly manifested through everyday social intercourse. Other works of Wendelien van Oldenborgh are at the moment shown at the Van Abbemuseum (Maurits Script, 2007) and the MuHKA in Antwerp (LECTURE/AUDIENCE/CAMERA, 2008). An overview of her work, ‘As Occasions’ was exhibited in TENT, Rotterdam in 2008.
Dieter Roelstraete (°1972) was trained as a philosopher at the University of Ghent and currently works as a curator at the Antwerp museum of contemporary art MuHKA. His curatorial projects there include Emotion Pictures; Intertidal, a survey show of contemporary art from Vancouver; The Order of Things; and the collaborative projects Academy: Learning from Art and The Projection Project. His most recent curatorial project, The Thing, is part of a larger series of MuHKA-organized exhibitions titled All That Is Solid Melts Into Air, now on view in the Belgian city of Mechelen. In 2005 he co-curated Honoré d’O: “The Quest” in the Belgian pavilion at the 51st Venice Biennale; he has also organized group shows and monographic exhibitions in Amsterdam, Berlin and Vancouver. He is an editor of Afterall and FR David as well as a contributing editor to A Prior Magazine. Roelstraete has published extensively on contemporary art and related philosophical issues in numerous catalogues and journals, and is currently preparing a book on the early work of Richard Long, as well as an anthology of his literary writing to be published by ROMA Publications in 2009. He is a tutor at De Appel Curatorial Training Program in Amsterdam and at Piet Zwart Institute in Rotterdam. Dieter Roelstraete lives and works in Berlin and Antwerp.
Student presentations by DAI students Leatitia Queranne and Omar Koubaa
External reviewer: Rebecca Sakoun
For all students
19:30 (project room)
"Synesthesia, hyperesthesia, info-sensations"
by Sergio Bassbaum
For all students
Thursday April 23 & Friday April 24
9:30-10:30 Thursday only, project room
Group meeting with Gabrielle Schleijpen
Ruffles and Fray
Curated by Florian Göttke
A collaboration of the Research Group Art in Public Space in Amsterdam (www.lkpr.nl), the Dutch Art Institute and the Sandberg Institute. The aim of the project is to develop and produce temporary work in the Zuidas in Amsterdam to contribute diverging positions of the art and the artists to the vision of the area. As the area has the image of a slick and smooth business zone, there is urgent need to show different views, to de-gentrify, to add ruffles and fray to that seemingly smooth image. Guestlecturer: Anno Dijkstra.
Curated by Renée Ridgway
I would like you to read Jens Hoffman's text: The art of curating and the curating of art. It's available online: http://www.theutopiandisplay.com/platform/the-art-of-curating-and-the-curating-of-art.
We will be discussing this in the morning, after witch we will be doing studiovisits as a group. Please have your latest work prepared to show us, within an half an hour's time.
For Friday we have two guests scheduled: Simon Ferdinando and Paul O'Neill. Simon is a colleague and also co-curated 'Migrating Identity-Transmission/Reconstruction in 2004-2005. For this one and a half hour workshop, he will develop a series of questions around post-curatorial strategies. We will first begin by meeting at Overtoom 139 in Amsterdam at 'Odds & Sods', an antique store and then proceed to derive our way to Smart Project Space. Along the way we will consider the nature and textuality of the invisible city, Spinoza and postcodes.
We will then move on to Smart Project Space, view the exhibition there Endless Installation: A Ghost Story for Adults, and then Paul O'Neill will lecture on curation, leading up to the contemporary position of artist-curator. We will finish around 17:00 with a wrap up and discussion about Delft planning the months ahead.
Paul O'Neill is a curator, artist, and writer, based in London and Bristol. He is currently Great Western Research Alliance (GWR) Research Fellow with Situations at the University of the West of England, Bristol, where he is leading 'Locating the Producers' - a three year international research project that investigates curatorial methodologies and the commissioning of contemporary art through internationally-focused public events. Since 2003, he has dedicated his time to researching the development of contemporary curatorial discourses since the late 1980s as part of a PhD scholarship at Middlesex University.
He has curated or co-curated over 40 exhibition projects including: Tape Runs Out, Text and Work Gallery, Bournemouth (2007); Intermittent, Gallery for One, Dublin (2007); Making Do, The Lab, Dublin (2007); Our Day Will Come, Zoo Art Fair, London (2006); General Idea: Selected Retrospective, Project, Dublin (2006); Mingle-Mangled, part of Cork Caucus, Cork (2005); La La Land, Project, Dublin (2005); Coalesce: The Remix, Redux, London (2005); Tonight, Studio Voltaire, London, (2004); Coalesce: With All Due Intent at Model and Niland Art Gallery, Sligo (2004); Are We There Yet? Glassbox, Paris (2000) and Passports, Zaçheta Gallery of Contemporary Art, Warsaw (1998).
As an artist, he has exhibited widely including at: Zaçheta Gallery of Contemporary Art, Warsaw; the Irish Museum of Modern Art, Dublin; temporarycontemporary, London; Andrew Kreps Gallery, New York; Villa Arson, Nice; South London Gallery; Cell, London; the Hugh Lane Gallery, Dublin; Temple Bar Gallery, Dublin and many others.
Simon Ferdinando is an artist-curator who lives and works in Amsterdam. Born in Mombassa, Kenya he studied fine art at Goldsmiths College 1984-1988, and first encountered Artaud in the exhibition “Aftermath 1945-1954. New images of man” at the Barbican Gallery in London in 1982. He is currently preparing an academic study on Artaud, Bacon and Van Gogh.
Curated by Binna Choi
The investigation into different forms of correspondence should go on in the ream of “cultural exchange” and in the meta-level of talking and listening.
Utrecht/Amsterdam, different venues
11:00-15:30 Seminar with Michele Faguet on “Pornomiseria”
15:30-16:30 Check & talk the exhibition ‘The Antagonistic Link’ at Casco
18:00-21:00 Attend the book launch and roundtable ‘Alain Badiou: An Obscure Disaster? Philosophy and Politics after 1989’ at Maison Decartes (this program is subject to change)
10:00-13:30 Participation in recording session for the project ‘The Power of Listening by Nicoline van Harskamp at Theatre Frascati (Nes 63, Amsterdam)
14:00-16:00 Check & talk the exhibition ‘The Demon of Comparisons’ at SMBA
16:00-17:00 Meeting with Nicoline van Harskamp on her new research project Archive Kreuger (with correspondence archive of anarchist Karl Max Kreuger in International Institute of Social History)
Pornomiseria”: Origins and Recontextualization of a Critical Term
The term “pornomiseria” was originally coined by Colombian filmmakers Carlos Mayolo and Luis Ospina in the 1970s to describe the proliferation of voyeuristic, amateur social documentaries being made in Colombia and other Latin American countries that exploited and packaged poverty and social problems to meet the increased demand for third-world cinema by European film festivals and television. In recent years, the term has enjoyed a resurgence within the context of contemporary art discourse in Colombia to critique art practices deemed exploitative and opportunistic in relation to the country’s complex social and economic problems. Michèle Faguet’s article will both examine the contemporary relevance of Mayolo and Ospino’s concept and describe the term’s historical origins through a close reading of primary sources and interviews with pertinent individuals.
Michèle Faguet is a freelance writer and curator living in Berlin. Previously she directed non-profit exhibition spaces in Mexico City (La Panadería); Bogotá (Espacio La Rebeca); and Vancouver (Or Gallery); and was assistant professor of art history and theory at the Universidad de los Andes, Bogotá. Recent publications include “Soy mi madre: Conversation between Phil Collins and Michèle Faguet,” El Tiempo Celeste (Spring 2009); “Je est un autre: la estetización de la miseria,” Ensayos sobre Arte Contemporáneo en Colombia (Universidad de los Andes, 2008); and “El sueño de la razón que produce monstruos: On the Work of Javier Téllez” Afterall (Summer 2008). Faguet received an MA in art history from Columbia University in 1996.
The Power of Listening
What happens in our heads when we listen to public speakers? Do the things we hear add up to a collective knowledge field? Does this field have substance? Does it have language? And can it be used for political purposes? Five experts focused on these questions during a public panel discussion in Frascati. During the following week, visitors were interviewed by telephone on what they could remember of what they saw and heard. A reconstruction of the evening was then written based on the interviews. The Power of Listening is a staged panel discussion with as many loops, misinterpretations and black holes as the brain and the memory itself.
Nicoline van Harskamp is a visual artist based in Amsterdam, where she recently completed a residency at the Rijksakademie. This year she was was nominated for the Prix de Rome. The Power of Listening was produced and presented as part of this competition.