JEDER MENSCH EIN KÜNSTLER
This year’s Art & Open Learning Fair builds upon Georg Hardenberg/Novalis/Joseph Beuys’ 1978 provocation: JEDER MENSCH EIN KÜNSTLER. The Fair is a process that has emerged from the open educational resource (OER) produced by Neil Mulholland, Emma Balkind, Jake Watts and Beth Dynowski. The OER is accessible here via this blog: blogs.ed.ac.uk/artandlearning/courseware-contemporary-art-open-learning/
Can anyone be an artist?
Edinburgh College of Art (ECA) is directly implicated in this provocation which arose from Beuys’ Edinburgh Poorhouse projects (e.g. Black and White Oil Conference, 1974), the Free International University for Creativity and Interdisciplinary Research and his work with the prisoner Jimmy Boyle (1980-); a heritage presently continued by the Edinburgh branch of the Ragged University.
Students on the MFA Contemporary Art Practice & MA Contemporary Art Theory in the School of Art, ECA have provided their own responses this particular provocation, working in four groups comprised of artists, curators, researchers and paragogues.
What might it take to transform that last bastion of mercantile capitalism, the art fair, into an open educational resource? Considering the long history of fairs against our present-day pivot culture, how might they openly support peer-production and participation rather than reproduce proprietorial consumption? In ‘Open Access and Para-Academic Practice‘ tripleC 11((2)) 2013: 614-619, Paul Boshears calls on researchers to engage in the open creation of research objects (artworks, programmes of study, events, etc.)
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.
Based in Edinburgh and across China, the School of Art’s postgraduates have imagined a variety of blended approaches to art and learning that are responsive to our volatile world. The pivots herein are not simply skeuomorphic translations from meatspace to massified, open online courseware, (i.e. MOOCs); they represent a wide range of blended and augmented sites; art-as-education-as-art equipped to work within the full range of Scotland’s four tier Covid-19 protection levels.
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.
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:
and AICA Turkey’s website:
ARTISTEACHER – Virtual session
Tuesday, 1 December 2020 from 18:30 to 20:00 (GMT)
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 email@example.com
We are hosting a series of short learning modules here (👀 ⬅ left hand links panel) on the topic of paragogy.
This will provide your basho with the tools to investigate paragogy and apply it in how you work.
The short modules will show you where and how look at paragogy impacts upon art education / education-as-art. You will use what you learn here in this weeks short 📌Week 3 | Art Assignment #3: Make Gold
Contemporary Art & Open Learning is a new 20 credit course running as part of the MA Contemporary Art Theory and MFA Contemporary Art Practice programmes in the School of Art, ECA, The University of Edinburgh.
I am the Course Organiser and designer Prof Neil Mulholland. The teaching team includes Dr Jake Watts and Dr Emma Balkind. Dr Watts’ field of research expertise is the artistic workshop, Dr Balkind’s is commoning and the open paradigm.
Contemporary Art & Open Learning is a paragogics that draws on Shift/Work (Neil Mulholland, Dan Brown, Jake Watts, Naomi Garriock and ) and my own research on Re-imagining the Art School via a number of open learning theories, tools and practices.
Courseware is distributed across a number of online platforms, some of which are closed access (MS Teams; Blackboard are for UoE students with a login) and many of which are completely open (e.g. WordPress, Notion, Twitter).
The materials are designed primarily for my students in Edinburgh College of Art, so they address them directly. However, I’ve tried to use as many open resources as possible and to write the materials in a way that makes them interoperable.
Neil will be attempting to post some of the learning materials here on the course’s Art & Learning blog to create an Open Educational Resource (OER).
The links section to the 👈🏽 left will display the OER as it evolves from September to December 2020.
If you want to use the OER personally, as part of your own peer group or with your own students, please just go ahead and do so. If you want to follow the assignments, you should be able to if you have your own peer group or ‘Basho’ (3+ persons).
If you do use it in a way that involves publishing it, please make sure to attribute the author(s) using the licence posted on each page (nominally a CC Share-Share-Alike licence).
If you manage to use any of the OER successfully, please feel free to contact me (Neil Mulholland) to let me know a) what you did with it b) how you got on.
I won’t be able to help your run your own paragogy, but I’m interested to see how the OER is used so that we can recalibrate our learning design and improve the OER from one year to the next.
The course begins on the 21st of September. You will find an Introduction to the Course here
“By the end of the day, it all depends on trust. Those who interact with their issue, generally trust that universities don’t graduate somebody who is a complete idiot and that they mark accurately somebody exceptional.”