AFTERS is an experimental exhibition spanning a range of disciplines, broadcast straight from our flat to yours. With so much focus on the the future, we want to collapse the distances between making and exhibiting, now and what will be, what has come and what comes next. In the absence of studios and galleries, we would like to invite you to our spaces, share our works in progress and have some fun…
And so, we invite you to AFTERS.
We are four final year students sharing a flat and studying at the Edinburgh College of Art: Maria Wrang-Rasmussen, Miriam Craddock, Alliyah Enyo and Gabriel Levine Brislin. Our work covers a wide array of mediums and interests, yet throughout this confined and confused year we have collaborated on projects together and created within the spaces we share. AFTERS will showcase our individual work, as well as a livestream incorporating elements of all of our practices, followed by a DJ set with live-coded visuals.
The website will go live at 7:00PM on Friday 19th of February; the livestream will begin at 8:00PM in the living room.
INVITATION TO OUR OFFICIAL WEBSITE LAUNCH AND SYMPOSIUM
26 FEBRUARY 2021, 3:00 – 9:00 PM, ONLINE (ZOOM)
In the last two decades, many different proposals and concepts of artistic and art-based research have been developed and explored. Participatory Art Based Research (PABR) is one of them. Since 2012, 50 participatory research projects were realised, which brought together more than 2000 researchers, co-researchers and participants from all areas of society, art, and science. We invite you to join us for the official launch of our online publication: The online resource of PABR aims to summarise strategies, potentials and problems of participatory art-based research and make them widely available. Please visit: https://pab-research.de To celebrate the launch of the PABR website, we will discuss these approaches and re- search formats with other experts and practitioners from the field of artistic research – in what ways can we do research together? For this celebration we invited special guests Jamie Allen, Kai van Eikels, Anke Haarmann, Marijke Hoogenboom, Brandon LaBelle, and Isabelle Stengers. Each panel offers the possibility to participate: All participants are invited to join discussions in breakout rooms (panel 1 and 2). Plenary sessions (panel 1, 2 and 3) are hosted by Kerstin Evert and Kathrin Wildner. If you are interested in the conference, please contact: email@example.com
The symposium is organised and facilitated by Kerstin Evert, Sebastian Matthias, Sibylle Peters, Esther Pilkington, Melcher Ruhkopf and Kathrin Wildner.
This is an event by PABR at HafenCity University Hamburg, FUNDUS THEATER | Theatre of Research, and K3 | Tanzplan Hamburg funded by the City of Hamburg and the Claussen Simon Foundation. It is based on the PhD programmes Versammlung und Teilhabe and Performing Citizenship
Increasingly, artistic learning and research is conducted in non-academic settings: in galleries, biennale, residencies, art fairs, and – of course – through artistic practice.
Para-academic art schools are perceived to be more personalised, flexible, engaged, accessible and cheaper than HEIs. Their alumni have already achieved many of the key performance indicators of our sector.
To remain relevant in this exploded network of artistic learning, HEI art schools must learn from para-schooling. Contemporary art is a parasite; a good host forever seeking an equally good host. Pooling and sharing resources with partners that compliment the art school’s curiosities cultivates a climate in which all communities flourish.
As an SFC-funded charity, ECA must be a democratic intellect for the public benefit, visibly upholding the value of research-led art education, not just for artists, but as a means to develop a learning society.
HEI art schools’ strengths here are the peer-esteem and artistic impact of their alumni and staff research. Emboldened by this, HEI art schools should systematically reframe research per se from the perspective of artistic research.
Tim Ingold argues that:
Research is not a particular thing you do for so many hours each day. It is rather a way of living curiously – that is, with care and attention.
In this sense, all researchers should take their lead from artists, approaching re-search as a careful, continuous quest driven by curiosity.
Ingold’s vision of research is fundamental to re-imagining the art school’s contribution to knowledge and, in turn, its curriculum design.
This leads me to two correlated observations:
Art students learn by doing, starting in the same place as their tutors, and participating in learning alongside them.
Peer-esteem emerges from peer-support. We need to be curious about each other’s work.
The residual culture in most European art schools remains motivated more by teaching than by research. To grow and diversify our research culture, research groups need to develop learning and teaching. This means we not only teach our research, we are actively involving students in the research process. Because this is fresh to colleagues and students, the curriculum provokes curiosity.
The strategic management of resources is here is driven and transformed by what actually makes us curious; emerges from elective affinities rather being superimposed by discipline or kinship.
What we are curious about is what we care for.
Artistic research isn’t just for artists. Everyone is curious and everyone cares. In 2021, open research became the new norm across the EHEA. A Plan S for artistic research presents a major opportunity in the form of a challenge:
How can the art school common more of its research and educational resources for the public benefit?
As it stands, a lot of art is freely accessible in public contexts.
Open Access additionally offers insight into the ‘workings’ of such research. Organisations such as the Society for Artistic Research lead the way here, creating open platforms that can be used as open educational resources.
The courseware for Contemporary Art & Open Learning (see: above) is open access. Students created open distribution frameworks (‘scenes’) to host their open research objects. What students produced for the course, then, formed part of the Art & Learning’s research activities.
The Pandemic Pivot and Plan S coincided in a perfect storm to ‘disrupt class’ here. Both have transformed student expectations of course provision forever. Porous forms of artistic learning are, thus, a key catalyst for post-Covid recovery.
Porosity means breathing IN and OUT
Art’s sub-disciplines are crucial to its future development. Sub-disciplines are the expanding lungs of artistic practice. Sub-disciplines are entangled and porous, venturing far beyond the boundaries of the art world. For example, think of UWE’s ongoing project on the artist’s book. To do justice to their research question, what is the artist’s book in the 21st century demands an extra-disciplinary approach.
The challenge here for art education is this:
How do you teach what you don’t know?
The art school doesn’t have to try to teach everything, rather, it needs to carefully curate access to existing methods and resources that support working in less familiar fields.
To facilitate such Fantastic Journeys, the art school’s internal research and educational resources need to be aligned in ways that foster intermediality, extra-disciplinarity and more co-investigation. Sub-disciplinary expansion also means focusing not only on what we teach, but on on how artists learn and on the many different environments they learn in.
Since difference is fundamental to educational diversity; it must mutually embodied. This requires a more carefully coordinated delegated authority and a care-based ethics. To bring educational diversity to life, all art staff need to be empowered to be visible leaders. To steward our colleagues to visibly lead our respective fields, leadership must nurture staff commitment, curiosity and initiative.
To transform a vision into a practice, good intentions must become good habits. Part of my artistic research – Shift/Work – involves creating workshops wherein peers compose new forms of artistic learning for each other to playtest. Participants shift from seeing parts to seeing wholes, from being passive to being active agents in their learning organisation.
Regularly composing and leading such workshops with colleagues and art students is a proven catalyst to collectively instilling good habits. In art schools, such a method of sharing insight and lending support can afford colleagues regular opportunities to align learning with their research by co-designing and updating the curriculum with students and stakeholders.
In turn, this can make the art school’s wide variety of practices more porous for students and our broader publics, dissolving barriers to learning to ensure that we can all feed our curiosity.
Attribution-NonCommercial-ShareAlike 4.0 International Neil Mulholland 16.2.2021
Boshears argues that, to be genuinely open, research should be focused less on research objects and more on the new ‘publics that result from the circulation of these objects’. (Boshears 2013: 617) Thinking about what sort of publics we might engage (or generate) through the production of open research objects is an ambitious challenge, one that our masters of contemporary art have risen to meet. They do so during a pandemic that has brought the arts to a virtual standstill.
Rather than create virtual projects aimed at a faceless mass of placeless lurkers, paragogues have peer-produced participatory workshops for each other. Working together in four small basho (Red, Green, Purple, Yellow) they have created an intimate, reciprocal programme of artistic learning that is, nevertheless, scaleable.
The four projects produced by each basho blend curatorial tools, re-imagine event-places and devise artistic practices for multiple scenarios. The JEDER MENSCH EIN KÜNSTLER fair is a work in progress, a chance to playtest the range of practices offered by the members of each basho.
Anyone is welcome to browse through and participate in any of the asynchronous projects and workshops. The workshops’ authors are learning how to structure your learning; so, if you participate please remember that your feedback is always very welcome.
International Association of Art Critics (AICA) TURKEY is pleased to invite you to the “AICA Online International Conference 2020” which will take place on 25 – 26 – 27 November 2020 via the following link: https://us02web.zoom.us/j/88064815504
Due to the Covid-19 pandemic throughout the world, we, as AICA Turkey, starts a full international online conference, enabling participants to carry out their academic researches. Entitled “Artworld, Reflexes and Alternative New World”, the congress will investigate topics such as Art in the Time of Pandemic, Impact of COVID-19 on Art and Culture, and Global Art World and Its Response to Coronavirus.
The language of the Conference is English.
For further information you can visit the conference’s website:
Sean Kaye, Matthew Cornford, Natasha Kidd, Zoe Mendelson and Kathleen Mullaniff
About this Event
This panel discussion will explore the legacy of ‘lost art schools’ in the UK, and the impact of small local art schools being subsumed into universities. Sean Kaye (co-curator with Ian Hartshorne of the “Fully Awake” exhibition series), will chair a conversation with Matthew Cornford (University of Brighton), Natasha Kidd (Bath Spa University), Zoe Mendelson (Wimbledon College of Arts) and Kathleen Mullaniff (Middlesex University). Using Matthew Cornford and John Beck’s project, “The Idea of Art School”, as a starting point, Sean will invite the panel to share their own experiences of working at institutions that evolved from renowned independent art schools (Corsham and Hornsey), and discuss whether the DNA of ‘lost art schools’ is retained when amalgamated into larger faculties.
The link will be provided to attendees at a later date.
For any queries, please email firstname.lastname@example.org