...... CONTENT ...... YEARBOOK 2005 ...... CONTENT YEARBOOK 2005 / ACADEMIE, , NL (ADVISING) RESEARCHERS REFLECTIONS ON PAST AND JAN VAN EYCK ACADEMIE RESEARCH PROJECTS PROGRAMME FUTURE THINGS INSTITUTE YEARBOOK 2005/

Kasper ANDREASEN [39, 114, 115, 116, 118, 144, 148, 169] Filiep TACQ [39, 120, 167] Institutes like the Jan van Eyck Academie almost have the The Jan van Eyck Academie is an institute for research and AVANT-GARDE [7] Zafer ARACAGÖK [12, 13, 133, 134, 135, 181, 182] Saliou TRAORÉ [144, 164] obligation to look forward, into the future, rather than The Spectre of the Avant-Garde [7] Monika BAKKE [19, 20, 21, 182] Armando Andrade TUDELA [144, 157] production in the fields of fine art, design and theory, based looking back. The opening week of 2005 – from 10 January Avant-garde, film and propaganda [11] Orla BARRY [155] Toni URODA [177] in Maastricht in the south of the . The academy Avant-garde, theory and cultural praxis [11, 12] to14 January 2005 – had hardly inaugurated the academic Ralph BAUER [43, 169] Francisco VALDES [165] offers individuals and institutes the opportunity to submit Avant-garde, architecture and responsibility [12] BAVO [11, 12, 13, 39, 41, 42, 94, 97, 182, 183] Robrecht VANDERBEEKEN [12, 189] year, or the application procedure for 2006 was started up. JAN VAN EYCK Avant-garde, popular media and censorship [12, 13] research or production proposals. Besides, the Jan van Eyck Stéphanie BENZAQUEN [57, 143, 183, 184] Daniël van der VELDEN [12, 43, 80, 120, 167, 168] The institute is indeed continuously engaged in recruitment, Koen BRAMS [59, 120, 155] Joël VERMOT / HARRISSON [120, 177] itself also initiates projects for which artists, designers and starting up new projects, welcoming new researchers. It is AIR, ART, ARCHITECTURE [15] Kristien Van den BRANDE [45, 170] Annelys de VET [41, 168] theoreticians can apply. In order to realise these projects the Breath-Taking. Air, Art, Architecture [19] Norman BRYSON [118, 143, 151, 179] Richard VIJGEN [120, 178] undeniably something the institute loves to do: after all, the academy offers the necessary made-to-measure artistic, Sabeth BUCHMANN [55, 179] Inga ZIMPRICH [120, 121, 122, 143, 144, 145, 165] unknown – the new project, the next researcher – implies THE CITY [23] Peggy BUTH [157] uncharted promises. Looking back cannot be anything but technical and auxiliary preconditions and develops contacts Authoring the City [39, 40, 41] Lorenzo CHIESA [11, 13, 93, 94, 184] PROGRAMME 2005 [191] confrontational: some expectations turn out not to have been with external partners. Since the academy is not led by pre- Lend Me Your Dream/Lend Me Your Fantasy [41, 42] Min CHOI [39, 82, 121, 170] January – December [193-200] ACADEMIE, MAAS determined leitmotivs, the subject matters of the various Trichtlinnburg. An Urban Affair [42, 43, 44] Sulki CHOI [39, 82, 121, 170] Studio visits [200] met, some research scripts were tossed aside and substituted Visualizing the Visual [44, 45] Sulki & Min CHOI [171] by others, some projects not only got different titles, but their research projects of the international artists, designers and Tina CLAUSMEYER [39, 45, 80, 145] POLICY BODIES [205] content turned out differently from what was originally theoreticians are heterogeneous. These miscellaneous pro- FILM & TELEVISION [47] Marijke COBBENHAGEN [44, 172] Board [205] planned. (This conclusion does not need to be disappoint- jects form the basis for several events which are organised The Cut [55] Wim CUYVERS [41, 45, 166] Policy Board [205] Designing Truth [55] Marc De KESEL [12, 93, 96, 133, 180, 181] Editorial Board [205-206] ing: after all, the Jan van Eyck first and foremost works with each week: lectures, seminars, screenings, exhibitions. Film and Biopolitics [55] Marthe Van DESSEL [42, 44, 172] Selection Committees [206-207] people, not objects; plus, people who research, who are External interested parties are welcome to attend these activi- TRICHT, NL / The Scheme of the Veil [57] Helmut DRAXLER [55, 61, 180] Researchers’ Meeting [207] exploring, do experiment. And that, in turn, should not be ties. The result is a dynamic and critical exchange between On the Television Work of Jef Cornelis [59, 60, 61] Jonathan DRONSFIELD [185] Personnel Meeting [207] seen as an excuse…) Oliver FELTHAM [12, 94, 185] the different agents from within and without the Jan van Eyck. GAME DESIGN [63] Nikolaus GANSTERER [43, 143, 144, 145, 158] THE ARTISTIC APPARATUS [208] Over the past years, against its nature, the Jan van Eyck has Innovative Game Design [67] Geoffrey GARRISON [11, 39, 55, 143, 144, 158] Researchers [208] done its utmost to face the challenge of thoroughly reviewing Jan van Eyck Academie Stephan GEENE [55, 59, 180] Advising Researchers [208-209] what the institute has done. Over the next years – most defi- IDENTITY [69] Christopher GEMERCHAK [186] Academieplein 1 nitely in 2006 – the institute will do so even more. We should History vs. Future [79] Natascha HAGENBEEK [159] ORGANISATION [210] 6211 KM Maastricht Logo Parc [79, 80] Yolande HARRIS [144, 186] Researchers’ Secretariat [210] perhaps also regard the things we have realised as a kind of The Netherlands Meta Haven: Sealand Identity Project [80] Paul HENDRIKSE [144, 145, 159] Departmental Secretariat [210] promise – the promise that what has been realised can be The Physical Jan van Eyck [83] Chantal HENDRIKSEN [44, 172] Workshops [210-211] returned to and further developed. In that sense, the Jan van T +31 (0)43 350 37 37 Benda HOFMEYR [11, 12, 41, 187] Library [211] Eyck is not building a collection, or accumulating objects, F +31 (0)43 350 37 99 PSYCHOANALYSIS [85] Willem van der HULST [159] Documentation centre [211-212] Circle for Lacanian ideology Critique (CLiC) [91] but could be seen as a kind of patrimony, a heritage, which, [email protected] Ils HUYGENS [11, 57, 59, 187] Production bureau [212] A Community of Scoundrels [93] Sarah INFANGER [120, 173] Internal and external communication [212-213] moreover, is quite often of a virtual, discursive nature. Visit [email protected] Politics and Jouissance [94] Lina ISSA [160] Administration [213] the Jan van Eyck website, or read this book – the yearbook Psychoanalysis, Urban Theory and the City of Late-Capitalism [94, 95, 96] Alevtina KAKHIDZE [118, 144, 160] Catering [213] 2005 – not merely to find out what the institute did in 2005, Johanna KIRSCH [144, 161] Cleaning [213] PUBLISHING [99] but also as a way to acquaint yourself with the things the Jan Jouke KLEEREBEZEM [81, 120, 121, 122, 166, 167] Human Resources [213] Bookmark [113] Aglaia KONRAD [39, 155] van Eyck will do in 2006 and in the future. Camouflage Comics [113] Vinca KRUK [79, 80, 144, 145, 173] FINANCES [215] How They Met Themselves [114] Will KWAN [43, 143, 161] General [215] Koen Brams, April 2006 Interlude. The Reader’s Traces [114] Zuzana LAPITKOVÁ [39, 43, 143, 144, 174] Subsidising and sponsoring of projects [215] Research as Authorship [114-118] Lucia MACARI [161] Balance [215, 216] Research projects The Drawings [118] Tamara MALETIC [39, 83, 121, 174] Infrastuctureand housing [216] The Tomorrow Book [118] Sébastien MANIGLIER [45, 174] Facilities [216] The Xerox Book (1968) [120] Lene MARKUSEN [143, 144, 162] Curricula vitae Thinktank [121] Kobe MATTHYS [45, 175] APPENDIX [217] UbiScribe [121, 122] Adriaan MELLEGERS [80, 144, 145, 175] Personnel/Appointment [217] Programme When the Story Finishes Light Sadness Grasps Me [122, 123] META HAVEN [39, 80, 144, 176] Termination of employment [217] Eva MEYER [57, 181] Students on work placement [217] Institutional information THEORY, MUSIC AND NOISE [125] Dan MICHAELSON [39, 83, 121, 174] Board [217] Gilles Deleuze. The Passage from Noise to Voice [133] Charlotte MOTH [143, 144, 145, 162, 163] Balance [218] Resonance, Mimesis, Noise and Refrain [133] Sabine MÜLLER [45, 176] Songs for a Neighbour [135] John MURPHY [121, 156] COLOPHON [220] André NUSSELDER [11, 96, 188] VISUAL CULTURE [137] Dirk PAUWELS [45, 176] Art’s Birthday 2005 [143] Falke PISANO [143, 144, 163] / Chardin and the Text of Still Life [143] Andreas QUEDNAU [45, 176] Dreaming in the Plural [143] Aarnoud ROMMENS [13, 113, 188] Japanese Curators Visit the Jan van Eyck [143, 144] Hinrich SACHS [39, 44, 55, 156, 157] Motion Path [144] Johan SCHOKKER [11, 94, 188] Serendipity [144] Aaron SCHUSTER [95, 189] Stepping Out [144] Stefanie SEIBOLD [143, 144, 164] The Practice of Drawing [151] Ingrid STOJNIC [113, 177] Visibility [151]

POLICY PLAN JAN VAN EYCK ACADEMIE ...... YEARBOOK 2005 JAN VAN EYCK ACADEMIE ...... RESEARCH PROJECTS AVANT-GARDE AVANT-GARDE, FILM AND PROPAGANDA THE SPECTRE OF THE AVANT-GARDE AVANT-GARDE, THEORY AND CULTURAL PRAXIS

AVANT-GARDE, ARCHITECTURE AND RESPONSIBILITY

AVANT-GARDE, POPULAR MEDIA AND CENSORSHIP BAVO.JANVANEYCK.NL ...... RESEARCH PROJECTS AVANT-GARDE AVANT-GARDE, FILM AND PROPAGANDA THE SPECTRE OF THE AVANT-GARDE AVANT-GARDE, THEORY AND CULTURAL PRAXIS

The Spectre of the Avant-Garde, organised by BAVO AVANT-GARDE, FILM AND PROPAGANDA (researchers in the Theory department), presented contem- The medium film is said to reflect or contemplate on reality porary re-assertions of the programme of subversion in film, rather than actively demonstrate an alternative or a way to architecture, theory and popular media in two 24h meetings change it. Yet, film cannot escape some degree of construc- (15-16 March and 12-13 April) and a publication in AS tivism and authorial positioning since it inevitably changes Mediazine (AS 176, December 2005). In January 2006 a and transmutes reality. Film functions as a quilting point, a symposium on the same topic will be held in . creative act by which the multitude of incomprehensible and The Spectre of the Avant-Garde considered whether the diffuse micro-political workings are ‘quilted’ and retroactively avant-garde attitude is relevant for cultural forces today. become comprehensible in their systemic coherence and Going against the dominant Zeitgeist that is outright anti- all-pervasiveness. Ken Loach’s The Navigators, for instance, avant-gardist, some researchers in the Theory department manages to capture the diffuse workings of Thatcherite neo- claim that if cultural production wants to regain its impact liberal politics. As such, it breaks ground for counteraction on society, the possibility of an avant-garde praxis should be and serves as social imaginary of the struggle against the genuinely examined and discussed. To assure that this is not ideology of privatization – even if it does not literally suggest just another theoretical phantasm, the project pinpointed a particular form of struggle. aesthetical strategies with an impact on contemporary society Other films take this avant-garde constructivism further and their understanding within the cultural disciplines of film, and stage – however subtly and minimally – a dialectic in architecture, theory and popular media. which some of the characters are transformed for the better. Doing away entirely with the avant-garde stance is not an This second definition of avant-garde film comes closer to option according to the researchers, since a nostalgic kernel what Bertolt Brecht defined as a learning play. In Loach’s still subsists which goes against the historicist-realist stance. My Name is Joe the central characters experience personal This is manifest in the complaint – widely voiced in cultural and social enlightenment. Even if the outcome of this poten- circles – that in late-capitalist society every act to ‘make a tially subversive dialectic is not explicitly spelled out or difference’ is censored or recycled by the market, the masses presented as a universal receipt for political action, the

and neo-conservative populist politicians. The structure of this structure of the film does present it as an applicable analytical

^ complaint is homologous^ to the formula of fetishism proposed technique for social change. by Slavoj Zizek states that a person may know that he lives the The discussion moved between these two avant-garde end of history and that nothing really ‘other’ is possible, but definitions, between the minimal one – film as a quilting point still that person believes that something fundamentally different – and the maximal one – film as analytic technique – and must be possible, that radical paradigm shifts do happen. considered films as diverse as My Name is Joe (Ken Loach), References to the avant-garde in cultural circles show this Dogville (Lars von Trier), Salò (Pier Paolo Pasolini) and La ‘split’ attitude. Designers, for instance, show a nostalgic atti- promesse (Jean-Pierre and Luc Dardenne.) tude to avant-garde collectives: they admire the collectives’ Presentations were given by: BAVO: Why Social will to go against the grain, their openness to novelty and their Constructivism in Film is Unavoidable Today; Lorenzo Chiesa readiness to reinvent life. And yet, they also reject the avant- (researcher Theory department): Pasolini and the Ugliness of garde’s proto-totalitarian tendencies, the violent and indiffer- Sex; Ils Huygens (researcher Theory department): The Will to ent implementation of political visions, the anti-democratic Lose one’s Will: Aesthetic Strategies in the Cinema of David tools, the utopian gesture with which it declares all social Lynch and Johan Schokker (researcher Theory department): antagonisms to be dissolved. On Mourning: The Sweet Hereafter and Mulholland Drive. The project took it upon itself to tackle this ‘fetishist split’, to Respondents were Geoffrey Garrison (researcher Fine Art go beyond mere mapping, resignation or cynicism. It intended department), Benda Hofmeyr and André Nusselder to free the avant-garde desire from its fetishist veil, to break (researchers in the Theory department). the unproductive, immobilizing and self-destructive effects in today’s cultural production. AVANT-GARDE, THEORY AND CULTURAL PRAXIS The Spectre of the Avant-Garde pursued two lines of inquiry. How do cultural forces make use of the discourse of theorists Firstly, it intended to bring back the concept of the avant- or political thinkers such as Lefort, Laclau/Mouffe, Agamben, garde to the initial idea that art and cultural forces should Hardt/Negri, Rancière? Notions such as dissensus, state of ‘march ahead of the masses’ – instead of facilitating the exception and democratic gap have become common when masses’ inconsistent demands and aesthetical desires. referring to cultural products, even operate at the heart of Secondly, this conceptual redefining was assessed against cultural production and trigger the rethinking of the formal, instances of contemporary cultural re-enactments and mani- a priori principles of cultural production. After all, cultural festations of the avant-garde attitude in film, theory, architec- production’s main objective is to counter again and again ture and popular media. the in-eradicable tendency of politics to reduce everything,

BAVO.JANVANEYCK.NL JAN VAN EYCK ACADEMIE 2005 / 11 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS AVANT-GARDE AVANT-GARDE, ARCHITECTURE AND AVANT-GARDE AVANT-GARDE, POPULAR MEDIA AND THE SPECTRE OF THE AVANT-GARDE RESPONSIBILITY THE SPECTRE OF THE AVANT-GARDE CENSORSHIP AVANT-GARDE, POPULAR MEDIA AND CENSORSHIP including cultural production, to its own image, to leave assumptions of heroic realism should be inversed. This Presentations were given by: BAVO: When Society Commands open the spaces of difference, focus on the inconsistencies would produce an attitude that is on the one hand more You to Subvert; Lorenzo Chiesa: Feigning Madness: Lars within the system, to enact heterotopia. Its ultimate goal is realistic-pessimistic, stating from the start that all architecture von Trier with Lacan; Alexei Monroe (Communication and to prevent society from accomplishing its own psychotic, is subjected to political or economical manipulation even or Image Studies, University of Kent, GB): Full Spectrum totalitarian closure. especially in its most formal-architectural aspirations. This Provocation: The Retrogarde Cultural Strategies of Neue The researchers and participants of this project turned to the attitude is at the same time optimistic since it would make Slowenische Kunst; Aarnoud Rommens (researcher in the texts of the theorists of the political and reread them to recon- for an architecture that cleverly plays out the ideological Theory department): Dirty War Comics, Camouflage and struct what they actually said. They translated the ‘rectified’ projections and processes in which it is inevitably caught. Counter-Censorship: Advertisement and Product Placement concepts back to the field of cultural production. Theory, they The meeting debated the potentials of such a radicalized in ‘Buscavidas’. Respondent was Zafer Aracagök. believe, should start with a thorough self-critique that allows form of heroic realism as a real neo-avant-garde answer to BAVO.JANVANEYCK.NL them to see how a reactionary streak runs through the heart the neo-liberal processes in contemporary architecture. of the source-texts. They wanted to avoid the conclusions that Presentations were held by: BAVO: From Political Games ‘theory is right and cultural praxis is wrong’ and, secondly, to Pure Architecture... and Back!; Hilde Heynen (architecture that cultural praxis always necessarily ‘backfires’ in its subver- theorist, University of Louvain, BE): Against the Post-critical sive ambitions because – due to its specific, decentred posi- Discourse: a Critical Evaluation of the Architectural Avant- tion – it is always dependent of the same society it aims to Garde; Benda Hofmeyr (researcher Theory department): subvert. The subversive core of the theory of the political only From Usurpation to Subversion: Foucault Meets Cultural becomes relevant when it is translated to the cultural field and Capitalism; Laurent Liefooghe (researcher Theory department its practical ‘struggles’. 2004, BE): On Monumentality and Superstudio. Respondents Presentations were given by: BAVO: Utopian Avant-Garde were: Bert De Muynck (architect, writer, independent resear- or Critical Avant-Garde? Yes, Please!; Boris Buden (writer and cher, NL), Bert Gellynck (architect, BE), Daniël van der Velden

cultural critic, HR/DE): Avant-Garde Today: a Re/translation (advising researcher Design department).

^ Project?; Marc De Kesel (advising^ researcher Theory depart- ment): Act without Denial – Zizek on Totalitarianism, AVANT-GARDE, POPULAR MEDIA AND CENSORSHIP Revolution and Political Act and Oliver John Feltham (resear- How does the avant-garde relate to popular media? Popular cher Theory department, GB): Naming the New. Respondents media are generally regarded as uncritical, their position were Zafer Aracagök, Dominiek Hoens, Robrecht being over-determined by consumption rationalities. Vanderbeeken (researchers in the Theory department). However, in the most repressive political circumstances, the Junta in Argentina for example, recourse to mass media AVANT-GARDE, ARCHITECTURE AND RESPONSIBILITY proved an effective formula for dissident forces to subvert Progressive architects believe that architecture cannot really existing power relations. By including encoded messages or subvert existing power relations, because its programme, hidden social critiques in music performances or comic strips, function and symbolism are inevitably determined by society. dissident voices addressed a wide and critical audience, mak- Many architects shift their focus from a direct ideological and ing it extremely risky for the supporters of the status quo to programmatic interference to concentrating on the formal openly discredit, eliminate or exile them. aspects of architecture. They try to establish an autonomous, When subversion has become a sign of its opposite, cultural pure architecture through investigating empirical building forces have to reflect upon the effectiveness of the forms or conditions and the specific semantic levels of urban planning modes of subversion and detect the self-censorship in popu- or through the analysis of architectural-historical contexts. lar cultural productions that keep an ironic stance when it In other words, they only focus on problems of a strictly archi- comes to their political context or commitment. The meeting tectural nature: typology, form, circulation, light or material – tackled questions such as: Are cultural forces merely seen things that are part of their ‘jurisdiction’. as knaves that constantly and ironically comment on social This meeting on avant-garde, architecture and responsibility antagonisms, turning serious political events into cynical generated a critical discourse on heroic realism. Dutch archi- jokes, contributing to a ‘healthy’ process of collective tects of the Neutelings-Riedijk office call themselves heroic catharsis? Does it suffice to stage the complicity between realists – realists, in that they no longer attempt to do ‘the the dominant order and its inherent transgression? Or do impossible’ by redefining the wishes of their clients. They we have to obey the ‘command to enjoy’ and assume the consider this ‘turn to reality’ as a strength and virtue, as a so-called internal transgression without constraint, being liberation of the architectural discipline from the moralist ‘consciously insensitive’ to the small, unwritten rules that burden. They claim that it is only this ‘architecture within the are always introduced to domesticate the enjoyment? limits of architecture alone’ that can realize the avant-garde The meeting examined aesthetic procedures in a search of ‘constructivist’ dream of enlightenment through the experi- an avant-garde use of popular media that can deal effectively ence of pure space. The participants argued that the basic with acts of transgression.

12 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 13 ...... RESEARCH PROJECTS AIR, ART, ARCHITECTURE BREATH-TAKING AIR, ART, ARCHITECTURE BREATH-TAKING.JANVANEYCK.NL ...... RESEARCH PROJECTS AIR, ART, ARCHITECTURE BREATH-TAKING AIR, ART, ARCHITECTURE

Breath-Taking. Air, Art, Architecture was initiated and devel- ventilation systems on existing architecture as a means of pro- oped by Monika Bakke (researcher Theory department). viding temporary shelter for homeless people; Rise, where the The project consists of three elements: a series of lectures that central oven duct of the Fei Dar Bakery was extended through took place from 25 May until 15 June, an anthology entitled the rooftop of the bakery, up 125 feet, and into the ninth floor Going Aerial. Air, Art, Architecture (forthcoming in spring gallery space filling it, with the aroma of Chinese pastries as 2006) and a website with a database (summer 2006). they were baked; Climate Control, an apparatus consisting of The lectures dealt with the concept of air (the ephemeral ductwork and fans, incorporating the existing interior heating and unique mixture of gases) and that of breath (an individu- system of the building and the outdoor winter temperature in alized form of exchange between subject and environment). order to lower the temperature of a gallery space. On 25 May François Perrin (architect, Art Center College Annick Bureaud (new media art critic and researcher, FR) of Design, FR/US) presented the lecture The Geometry of talked about weightlessness or freedom from gravity in her Climate, in which he described several projects that he presentation Art and Weightlessness. Everything Considered realized in Los Angeles in recent years: Air Architecture, Equal, What if We Cancel the Effects Of Gravity? of 10 June. Solar Envelope, Weather Garden, and Climate1. The design Bureaud stated that weightlessness shapes human perception of each project is a direct response to the specific climatic on a physical, intellectual-conceptual and emotional level. conditions of their location. Indeed, the climate is one of We have expanded the world to include the orbit of the space the main conditions that shaped the city of LA as it is today, station and we inhabit this environment with our culture and attracting people from all over the country and the world in imagination. This new environment produces a new sensitivity their flight from difficult or hostile weather conditions and and mindset. Artworks are present in this space and so far inviting them to reinvent themselves. Particular attention was about forty artists or groups of artists have been working on given to Air Architecture, the exhibition design that created an projects related to micro-gravity. The artworks are constructed air conditioning system for the house, using such instruments specifically for this environment; they closely relate to its prop- as a ‘misting’ system, fans and shading structures controlled erties and possibilities, explore its potentialities and reflect on by a computer. life conditions as they present themselves in micro-gravity. In answer to the question What Makes People Construct These projects also inform the audience ‘on the ground’ Buildings?, Peter Sloterdijk (professor of philosophy and about something it hasn’t experienced. Works of this kind aesthetics at the Hochschule für Gestaltung, Karlsruhe, DE) push against and open up the boundaries of their own genre. discussed the relation between building and time in his lec- George Halkias’s (Oriental Institute, Oxford, GB) lecture ture on 31 May. In Sloterdijk’s opinion, the main task of Breathing to Enlightenment: Buddhist Theories and architecture is not only to interpret human life defined by Representations on 15 June offered an analysis of breathing the experience of boredom, but also to create containers of and its relation to spiritual principles, inspiring sacred prac- boredom in the form of buildings. Keeping in mind that tices across various religious domains, but especially in space-shaping is co-existent with human existence, in order Buddhist thinking. Training one’s breathing technique helps to understand what architects do, Sloterdijk proposed to ‘go to dispel the ‘discursive mind’ and conscious breathing also back into the original situation of the savannah’ to look for serves as an entry to the tantric subtle body, which is experi- proto-architecture and picture how human beings managed enced as flows and intensities located on the skin’s surface. their existence when architecture did not yet exist. It was only Essential to a number of esoteric Buddhist meditations in in the monastery, place of divine boredom, that a concept of Tibet is the concept that the mind, in its perception, is trained building was conceived along with the idea that ‘one person to ride the breath of three contiguous planes of experience: and one room should always be brought together in such a the surrounding environment, the physical body and the way that the individual becomes the kernel of the cell he is subtle body. The different experiences and appraisals of located in’. Heidegger described the most contemporary type breath advanced in India and in Indo-Tibetan Buddhism of boredom as a great absence of a driving conviction. We can be integrated into a perfectly consistent system, where may have interests, games, inclinations, but no convictions, the experience of breathing primarily signifies a meeting which means that we have no real job. Such deep joblessness with ultimate reality. is reflected in modern architecture and modern culture; the On 9 December Alphonso Lingis (philosopher, writer and stadium, for instance, is the perfect equation between bore- translator, US) gave his lecture Animism and Fetishism. dom and entertainment. Lingis’s areas of specialization include phenomenology, On 2 June, in Recycling of Air, Michael Rakowitz (artist, existentialism, modern philosophy and ethics, excesses of Maryland Institute College of Art Baltimore, US) spoke about eros and culture, French existential theories, abuses and his works, which use specific qualities of air – such as temper- dangerous emotions. ature and fragrance. He focused on the following projects: BREATH-TAKING.JANVANEYCK.NL parasite, which proposes the appropriation of the exterior

JAN VAN EYCK ACADEMIE 2005 / 19 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS AIR, ART, ARCHITECTURE BREATH-TAKING AIR, ART, ARCHITECTURE BREATH-TAKING AIR, ART, ARCHITECTURE AIR, ART, ARCHITECTURE

In Going Aerial, Monika Bakke In Going Aerial, Monika Bakke

20 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 21 ...... RESEARCH PROJECTS THE CITY AUTHORING THE CITY

LEND ME YOUR DREAM/LEND ME YOUR FANTASY

VISUALIZING THE VISUAL

TRICHTLINNBURG, AN URBAN AFFAIR POSTER AUTHORING THE CITY AUTHORINGTHECITY.JANVANEYCK.NL SUPER.JANVANEYCK.NL INVITATION RADICALE DEMOCRATIE POSTER TRICHTLINNBURG POSTER TRICHTLINNBURG POSTER TRICHTLINNBURG – RE:SOUND OF MUSIC POSTER TRICHTLINNBURG – RE:SOUND OF MUSIC POSTER TRICHTLINNBURG POSTER TRICHTLINNBURG GUIDE TRICHTLINNBURG – MAASTRICHT DECTOR-DUPUY FLYER TRICHTLINNBURG – LOVE CITY COVER TRICHTLINNBURG ...... RESEARCH PROJECTS THE CITY AUTHORING THE CITY

Authoring the City is an umbrella research project about projects inhabitants and tourists could gain a greater aware- urban space as a communication platform and a communi- ness of their roles and positioning in the cultural settings of cation device covering collective research projects and indi- the city and its public space. vidual trajectories on specific urban themes. The project is On 19 May Min Choi (researcher Design department, KR) pre-eminently multi-disciplinary in nature, involving the gave the lecture A Field Guide to Cryptographic Space, departments of Fine Art, Design and Theory. Pathological Space, and Other Haunted Locales in the City, Authoring the City stimulates alternative and experimental in which he dug into ‘uncanny’ or ‘unhomely’ spatial experi- research into the themes of the city and its communication. ences. Choi studied the role of graphic design in shaping, Starting point is the assumption that the city not only features mediating, and representing experiences of the kind. The long-term communication through architectural and urban sentiment of the uncanny – ranging from vague feelings of interventions, but also short-term, non-official and informal fear, anxiety, suspicion and alienation to more extreme forms communication: flyers, posters and billboards, graffiti, festi- of phobia – is experienced in such banal urban spaces as vals, art in public spaces and guided tours. The research dark and damp basements, elevators, parking lots, shopping project concerns the design of communication as well as the malls and motorways. It has been an important subject of social, political, historic and technological aspects of com- exploration in aesthetic practices and discourses, from Joy munication about, in and by the city. Division’s music to Anthony Vidler’s architectural writings and Collective projects deal or dealt with 19th-century topo- Anthony Dunne and Fiona Raby’s product design proposals. graphical photography (Citygraphy), the city as a stage trying Choi meant to explore this subject through the practice of to balance urban preservation and urban development graphic design, setting up a convincing ‘conspiracy theory’ (Trichtlinnburg), the cultural identity and communication of that could provide a useful model for critical discourse and the Belgian city of Louvain (Micropolis), the experimental practice – somewhat similar to Salvador Dali’s Paranoid design of a visual identity for the mini-state Sealand (Meta Critical Method. Haven: Sealand Identity Project) and reading, writing and In his lecture Defining the Place By Naming It, presented on mapping the environment of the Congo river in Brazzaville 9 June, graphic designer Kasper Andreasen (researcher and Kinshasa (Visualizing the Visual). Design department, DK) traced his research trajectory at the Individual projects deal with cryptographic spaces and Jan van Eyck, which started with Micropolis (September 2003 haunted places (Min Choi), the creation of a new urban layer – April 2004), a research project on the cultural identity and that voices the city’s in/visible flows (Tamara Maletic & Dan communication of the Belgian city of Louvain. Andreasen Michaelson), determinants of a communication during public visited the archives of Louvain and studied the city’s cultural festivities (Zuzana Lapitková), mapping conspiratorial spaces history by looking at its cartographic depictions. When the (Tina Clausmeyer) and Third Way Urbanism (BAVO). Micropolis project came to an end, Andreasen, spurred on by his fascination for maps, continued his research into map- Authoring the City at the ABKM making and the conceptualizing of space, focusing on lan- In collaboration with the Academy of Fine Art in Maastricht, the guage and drawing, two essential elements in map producing Jan van Eyck organised a series of lectures in May and June. On 26 May Aglaia Konrad (advising researcher Fine Art On 12 May Filiep Tacq (advising researcher Design depart- department, AT/BE) and Geoffrey Garrison (researcher ment, BE), introduced the ‘umbrella’ project Authoring the Fine Art department, US) presented Desert Cities. In the late City and gave an account of a project he undertook in the 1970s president Sadat of Egypt had sixteen strategically spring of 2002. Tacq travelled to Dakar find out more about planned cities built around Cairo to relieve the overpopulated the decorations on its buses, known as cars rapides; these are megalopolis. Unaware of their background Aglaia Konrad decorated using traditional design techniques that are disap- visited four of these ‘new’ residential cities in 1992. The pearing through the gradual rise of computer techniques. In images she took during this visit show empty, standardized, Dakar Tacq met painter Moussa Tine, who in the early 1970s serially manufactured building sites of potential living space. designed a new font and decoration system – with the charac- Twelve years later, Konrad returned to the cities – as part of teristic red shadow underneath each letter – still found on the a larger research project – and compared their state with local city buses, taxis and billboards. The font has become a the construction sites she documented earlier. Collaborating concept in its own right: it works as a logo that can easily be with an interdisciplinary group of researchers with architec- adapted to all circumstances. tural, urbanist, sociological and image-based interests, Hinrich Sachs (advising researcher Fine Art department, DE) these particular instances of Egyptian urbanist modernism presented the Trichtlinnburg project, which attempted to pen- were investigated and related them to the historical, cultural etrate into the urban fabric of the city of Maastricht. During and geo-political specificities of other cities also constructed the ten-day manifestation the city of Maastricht became a from scratch, such as Brasilia (BR), Celebration (US) and stage for cultural projects and interventions. Through the Milton Keynes (GB).

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In The Subversive Core of Urban Communication Manage- City Management ment, presented on 2 June, BAVO (researchers Theory The first debate on city management assessed alternative department, BE) delved into current urban management urban forms of organisation set up to include marginalized and planning processes and their entailing communication groups of people. Central to the debate was the question devices and strategies. They presented a critique of three dif- whether this tolerance towards formerly excluded groups ferent modes: the strategy of the ‘blind spot’, the enclave and positively affects the city or whether it is a perverse way of the event. These strategies counter the normalising effects of keeping social antagonisms under control. the dominant neo-liberal application of the communication Benda Hofmeyr (researcher Theory department) considered discourse on the city, by emphasizing the ‘non-representable’ the tense relationship between city management and art; status of subcultures at the borderlines of communicability: a textbook example being the art project AVL-Ville that was prostitutes, illegal refugees, gypsies. part of Rotterdam Cultural Capital 2002. On 16 June Wim Cuyvers (advising researcher Design Jan van der Borg (regional economist, NL) presented the department, BE) elaborated on the project Visualizing the results of his comparative study on the impact of culture on Visual. Reading, Writing and Mapping the Environment of the economical development in ten European cities. He advised Congo River at Brazzaville-Kinshasa, which he initiated and on policy matters that would intensify and stimulate the rela- coordinated. Cuyvers’ earlier research in various Western tionship between creativity and economy. cities and regions such as Belgrade, , New York, , Pieter Breek and Bas van der Geijn (social geographers, Sarajevo and Tirana has shown that Western cities can be Stichting De Vrije Ruimte, NL) weighed the social aspects in ‘read’ even without very much prior knowledge. Adopting the the current debate on urban management and the creative gaze of the needy, Cuyvers took and retook ‘walks’ through city. They considered the influence of the real estate sector these cities and recorded and mapped them. The research on the policy of sanctuary. project Visualizing the Visual investigated whether this ‘gaze’ Gideon Boie (researcher Theory department) considered can be applied to cities that belong to non-Western cultures. the position of the city manager and his attitude towards If this holds true, this would mean that we can really communi- traditional town planning. He also addressed the practice of cate through (public) space, that (public) space could be con- authorities allowing certain (illegal) activities to take place. sidered a (universal) means of communication, a language in its own right. The research project Visualizing the Visual fo- Cultural Enterprise cused on two cities along the Congo: Brazzaville and Kinshasa. The second debate, on cultural enterprise, focused on cultural actions that seek to establish a balance between Authoring the City – Website the economic interests of clients, on the one hand, and a This year saw the ‘birth’ of the Authoring the City website personal ethical responsibility, on the other. Four architects designed by Annelys de Vet (advising researcher Design entered into a discussion and voiced idiosyncratic and department, NL). This site covers all events that have taken controversial opinions. place in the framework of Authoring the City. Articles, descrip- According to Jasper Jägers (UCX Architecten, NL), archi- tions of individual and collective projects, authors’ biogra- tects should concern themselves with social and spatial issues phies and a list of works to be consulted make up an extensive and take the lead in social debates. Jägers was laureate of platform on multi-disciplinary topics related to urban commu- the competition to design a brothel for the ‘Queens of the nication and identity. The weblog creates a dynamic virtual night’ in Rotterdam. environment for everyone who is ‘authoring the city’. Roemer van Toorn (Berlage Instituut, NL) argued that the fascination that architects currently display for conser- LEND ME YOUR DREAM/LEND ME YOUR FANTASY vative building programmes does not seem to match the As part of Super! 1st Triënnal for Fine Art, Fashion and Design agendas of social movements and partners. Van Toorn in Hasselt (BE), the Jan van Eyck Academie and the Academy coined the term ‘fresh conservatism’. of Fine Art Maastricht organised Lend Me Your dream/Lend Wim Cuyvers (advising researcher Design) posited that Me Your Fantasy, three debates about the city as a platform the architect’s only possible engagement is to do away with Cars rapides, Dakar, Filiep Tacq for cultural involvement in a post-ideological age. his instrumental task, to give up on building and to ‘read’ Today the belief no longer prevails that urban culture engen- the city by adopting the gaze of the needy and subaltern. Desert Cities, Aglaia Konrad ders emancipation and democracy; it is rather thought that Cuyvers analyzed how junks, gays, Roma gypsies and street urban society breeds disintegration and violence. In a series of urchins deal with public space. BAVO argued in favour of debates BAVO gathered artists, architects, theoreticians and an architectural praxis that identifies with popular, ideolo- politicians who took a stance against the idea that urban life is gical elements from post-industrial culture, in order to doomed. The debates focused on the issue of the post-ideo- undermine them. logical era and the extent to which it can bring about revolution.

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Radical Democracy On the occasion of the opening event of Trichtlinnburg the tried to link the ordinary and the grand, the forbidden and heading for the Vrijthof. On this festive occasion, the newly The third debate, on radical democracy, considered different Bolloon Happyning project, initiated by Marthe Van Dessel the most protected and cherished. created giant Jeanne van Eyck gave the giants a hearty wel- strategies which abuse existing communication channels and (researcher Design department), launched balloons that With Deformed Hoarding Nils Norman (artist, GB) analysed come and took part in a festive ‘ceremony of naturalisation’ networks for their own progressive ends. carried messages. the urban situation at and around the Vrijthof. The huge conducted by mayor Leers: she was entered in the Maastricht Jos Geysels (politician, Groen!, BE) argued that politics hoarding, depicting existing buildings and infrastructure city register. should borrow tactics from multinational businesses and around the square, resembled hoardings put up at construc- The Salzburger artists’ collective Gold Extra invited video establish them through parliamentary and democratic tion sites. However, its sheer size and its funny captions – and sound artists from Maastricht, Salzburg and Tallinn and channels. Supercreative Core, Obsolete Street, Bohemian Sector – presented Love City, an experimental DJ/VJ show that trans- Saskia Poldervaart (social scientist, NL) stressed the impor- contain a hint of mockery at urban strategies. formed the bandstand at the Vrijthof into a virtual, utopian tance of autonomous sanctuaries to fight the increasing flow Various films were screened, which breathed the atmos- city through image (screening) and sound (live remix). Paul of multinational money into the city. For years Poldervaart phere of the metropolis, including Berlin. Die Sinfonie der Devens and Alexa Meyerman, participating Maastricht artists, actively participated in and did research into squatters’ Grossstadt by Walther Ruttmann, Roma by Federico Fellini, called their contribution ‘a rhythmic journey based on the communities and other alternative living communities. Mundo Grua by Pablo Trapero and Brazil by Terry Gilliam. concept of urban movement’. Fine artist Ives Maes argued that irony can be used to coun- Two debates were organised on the tension between terbalance the false consciousness of the new global elite urban conservation and development in a historical city as expressed in their hypersensitive and ethical concern with like Maastricht. The debate on urban development was Bolloon Happyning, Marthe van Dessel life. Aiming at making a 100% ethically correct artwork, he held with Hans Mommaas (sociologist, Tilburg University, made an entirely ‘bio-degradable’ refugee camp. The City Piece was a large and flat sculptural object doubling NL), Christoph Schäfer (member of the Hamburg activists’ BAVO posited that progressive forces should concentrate the existing surface area of the Vrijthof and transforming initiative Park Fiction, DE) and Daniël van der Velden on the ‘subaltern’of democratic society. it into a stage. The ‘sculpture’ invited passers-by and visitors (graphic designer and advising researcher at the Jan van Eyck crossing the square to become conscious performers in Academie, NL). The debate on urban conservation brought TRICHTLINNBURG. AN URBAN AFFAIR their own right. together Gerard Rooijakkers (University of Amsterdam, Trichtlinnburg. An Urban Affair was a collaborative research Colourfield Parking was a collaboration project between Meertens Instituut, NL) and Nicole Maurer (Maurer United project on contemporary urban dynamics and politics and its Ron Bernstein and Institute for Driving Experience ID Drives Architects, NL). consequences for artists, designers, architects and art institu- LIGNA (DE). It triggered an unusual parking experience in In their slide presentation The Image Is the Actor or: Love City, Gold Extra tions. The Jan van Eyck Academie, the Salzburger Kunstverein its users, who became part of an art work as their cars were The Perfect Asymmetry of Before and After Ralph Bauer (AT) and the Centre for Contemporary Arts Tallinn (EE) organ- grouped in the car park according to colour. Participants (researcher Design department 2003-2004) and Christine For the film If I Lived Here Sanja Ivekovic (artist, HR) invited ised manifestations in the three cities. The project culminated were also offered a gift in the shape of a CD containing Lemke (researcher Fine Art department 2003-2004) visited visiting tourists, city residents and professional picture pro- in a publication. songs with special references to colour, plus a dialogue with the city of Maastricht through its images. They took the audi- ducers to wander through the city and make recordings. She The cities of Maastricht, Tallinn and Salzburg are popular a kind of instruction, enabling the listener to experience their ence on an imaginary tour round Maastricht, showing an then created a ‘reading’, using both the footage she received destinations for city tourism due to their ‘intact’ historical city own car as well as traffic in general in a different light. The accidental collection of photographs from local newspapers and her choice of historical takes. The Maastricht contribu- centres. The three cities, in which strict regulatory measures instructions were like a training, referring humorously to exist- advertisements and the tourist guide Maastricht eigenwijs. tions were gathered and co-ordinated by Gam Bodenhausen apply when it comes to preserving historical buildings, try to ing navigation systems. These images formed the basis of a narration with an ‘out- (researcher Fine Art department 2001-2002, NL). strike a balance between city preservation and city develop- sider’s view’; their annotations – analytical, pseudo-scientific For his project Precious Cargo Will Kwan (researcher Fine ment, between cultural heritage and mass tourism, between and commercial – were factions, a blend of fact and fiction. Art department) approached and recorded market vendors economic interests and the urban world of living. Their atti- and queried them concerning the status and impact of their tudes towards restoration has resulted in the inner cities hav- profession. The recordings were made into a video postcard ing been transformed into ‘theme parks’, attracting shopping, and projected on a screen in the pick-up body of a van during fashion and food chains as well as real estate agents. market days in Maastricht, Tallinn and Salzburg. The project Trichtlinnburg addressed the status and impor- Jean-Marc Huitorel (writer and curator, FR) lectured on Art tance of public space through a series of artistic, cultural and in the Public Space: to Add or to Take Away? and gave some theoretical events. Trichtlinnburg in Maastricht was a ten-day proposals for furtive monuments, clandestine or passing manifestation with communicative and performative art proj- interventions by artists, such as the throwing of a snowball ects. These intended to analyse urban dynamics and politics against a wall. The ensuing debate with the inhabitants of and to incite the participant to take an unaccustomed look at the Vrijthof was moderated by Math Verberkt. the urban cultural landscape. Colourfield Parking, Ron Bernstein and Ligna Nikolaus Gansterer (researcher Fine Art department) made a trailer of the well-known Hollywood motion picture Trichtlinnburg Maastricht – Projects The French artists’ duo Dector Dupuy (Michel Dector and The Sound of Music: Re:Sound of Music. Part 1 The Trailer. Jeanne van Eyck For their project Artisan limited productions Stadtraum.org – Michel Dupuy) organised a guided city tour for locals, tourists Images of the original film location in Salzburg, which is a Markus Ambach and Andrea Knobloch – were running a and the artistic crowd, in which they treated the town’s histori- Zuzana Lapitková (researcher Design department) was invited tourist attraction, were alternated with images of an English mobile souvenir market stall. They produced and sold hand- cal heritage and the illegal or unusual signs in the same way. by the Maastricht Reuzengilde (Giants’ Guild) to choreograph lady who is teaching an Austrian man the famous film sound- made clay reproductions of sculptures in the public space of They looked for graphic traces in public space, signs express- the event of the giants’ visit to Trichtlinnburg. Five giants – track. Gansterer’s adaptation toyed with the concept of Maastricht. ing individual voices of protest and non-belonging. They also each with their own characteristics – paraded through the city contemporary city branding.

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For Trichtlinnburg Regional Specialty – Eat for Free! Geoffrey Museum CS op 11 in Amsterdam, with presentations by With six researchers from the Design department, Kristien write ‘This parcel is not for sale’ on walls forming the parti- Garrisson (researcher Fine Art department) created a dish Simon Sheikh (critic and writer, DK) and Hinrich Sachs. Van den Brande (BE), Tina Clausmeyer (DE), Kobe Matthys tions of plots of land. selected from traditional recipes and made with ingredients (BE), Sabine Müller (DE), Dirk Pauwels (BE) and Andreas Starting point of SMAQ’s (Sabine Müller & Andreas from Maastricht, Salzburg and Tallinn: succulent pork roast VISUALIZING THE VISUAL Quednau (DE), with backgrounds in architecture, urbanism, Quednau) research into Map-Archiving and Map-Making served with turnips in a creamy caraway sauce, potato salad The researchers of the Visualizing the Visual project attempted theory, visual arts and design, initiator and project coordina- for Brakin was the impossibility to find extensive maps of the and fresh dandelion leaves. It was added to the regular menu to ‘read’ and map two cities in the Congo area: Brazzaville tor Wim Cuyvers (advising researcher Design department) cities. They collected, then ‘assembled’ several maps into one of restaurant De Perroen at the Vrijthof. and Kinshasa. These cities are coping with post-war condi- undertook two visits to the Congo region: from 27 January map that serves as a medium to allow different projects and Marthe Van Dessel contributed under the label bolwerK tions and allow for inventories of war damage, inflicted on until 17 February the team visited Kinshasa and from 8 until aspects of the city to communicate with each other. Their Interrational (WWW.OOOOO.BE/INTERRATIONAL), for this occasion function- buildings or building infrastructure, to be drawn up. Kinshasa 28 May it walked the streets of Brazzaville. One researcher, project The Cut Tomato Tin studied the practices of recycling ing as a travelling collective and art(istic) company. With her and Brazzaville are regarded as each other’s mirror images – Sebastien Maniglier (FR), organised and hosted a website and re-portioning prevalent in Kinshasa’s economy – prac- work Vaneyck Residence, cultural nomad and nomadic artist the Congo river being the dividing or mirroring line. The team forum (www.bra-kin.fr.to). Two-day team meetings were held tices that give the (originally colonial) concept of a city as Van Dessel queried the use of art and culture for city market- members took walks, did research into dead-end streets and every two weeks and external experts were reported to on a an abundant source of manpower and production a twist. ing ends by contemplating tourism and considering it as an into public space in general. They read public space as: the two-monthly basis. Wim Cuyvers has been ‘reading’ by trusting what he sees art project. In her project Tourist operator she addressed the space of transgression; places where dirt and slurry accumu- and feels, by recognizing his own needs. In Reading Kinshasa modes of contact and exchange with the public in formal/fes- late; space that is not privatized; the place of the vulnerable; Cities: Is What You See What You Are? through its Roundabouts, Instances of Traffic Regulation he tive/leisure/informal communication. She took up residence the places where colonial architecture is located; the places On 24 and 25 March the Visualizing the Visual team present- considered the roundabout in Kinshasa, archetypal urban in a bunga(S)low, in a church-cum-place-for-sleeping-the- where Western institutions are situated. ed their research items after having visited Kinshasa. Topics element and rare remnant of the urban road system. Near night for cyclists and finally set up a ‘bivasquat’-cum-summer that were tackled included: places in Kinshasa where street these roundabouts many and various signs – such as adver- camp in the garden of the Jan van Eyck. urchins roam; life at the cemeteries of Gombe and Kintambo tisements for communication companies – are displayed that and the former cemetery of Kasa Vubu; effects of customary enable to understand and ‘read’ the city’s driving forces. and Western laws and their interference on city life; sites of Cuyvers also reread Heidegger’s Wohnen, Bauen, Denken diamond trade and United Nations and MONUC stations; and formulated a critique on it through Gagarine et nous by informal trade and mobile telephony in Kinshasa and their Levinas and La part maudite by Bataille, a book he literally impact on urban structure and infrastructure; instances of found in the streets in Kinshasa. traffic regulation such as roundabouts; Belgian social and Furthermore, a number of external experts were invited to modernist housing ‘experiments’. give presentations on related themes. Filip De Boeck (profes- In her lecture The Cold-Blooded Love Affair or in Search sor of Anthropology, Louvain, BE) has conducted extensive of New Post-Colonial Networks Tina Clausmeyer presented field research in both rural and urban communities in the visual and textual materials that she collected and recorded. Democratic Republic of the Congo (the former Zaire) since She investigated diamond trading and its visible sites in 1987. His current theoretical interests include local subjec- Kinshasa and the roles of the UN and MONUC, both tivities of crisis, post-colonial memory, youth and the politics having a peace-keeping mission in the Democratic Republic of culture, and the transformation of private and public space of the Congo. in the urban context in Africa. Jan Masschelein (educational Vaneyck Residence, Marthe Van Dessel Kristien Van den Brande’s presentation Cemeteries in theorist and professor at the Faculty of Psychology and Trichtlinnburg – Publication Kinshasa described ‘life’ in three cemeteries in Kinshasa: Educational Sciences, University of Louvain, BE) visited The full-colour book publication Trichtlinnburg. An Urban Gombe, Kasa-Vubu and Kintambo. In Gombe, a graveyard Kinshasa with a group of students during the same period as Affair rounded off the project. Authors and photographers situated in the city centre, only rich people are buried, which did the team of Visualizing the Visual. Their research mainly Visualizing the Visual observed, researched and documented the three cities and sharply contrasts with the ‘street children’ who live among concerned street children in Kinshasa. Koen Van Synghel contributed to the biased and subjective receptions of the tombstones. The cemetery of Kasa-Vubu is no longer used (architect and critic, BE) and Filip De Boeck conducted and Trichtlinnburg. The book further contains inside perspectives as a graveyard; at present it is a dump, a garden, a shortcut, recorded several video interviews in Kinshasa in 2004. Both on Tallinn, Maastricht and Salzburg, presented in various text a dwelling place for ‘street children’ (who are not always chil- Van Synghel and De Boeck acted as curators of the exhibition formats emphasising the local spectrum of perceptions and dren) and prostitutes. The third cemetery in Kintambo is totally in the Belgian pavilion at the 9th International Architecture effects as well as an index of all Trichtlinnburg events. overgrown, but still in use. Its southern border is formed by Biennale of Venice (2004) where they showed photographic Editors of the book – with texts in Dutch, English, Estonian the river and here the graveyard is gradually eroding. and video work by Marie-Françoise Plissart. The exhibition and German – were Hildegund Amanshauser, Mare Pedanik Dirk Pauwels studied social housing experiments in Kinshasa Kinshasa, ‘The Imaginary City’ won the Golden Lion Award. and Hinrich Sachs. Authors of the texts were Michael Hauffen and spoke about borders he saw, protocols he underwent, (artist and writer, DE), Andres Kurg (Estonian Academy of Arts scales he tried to measure, processes of claiming and Tallinn, EE) and Dieter Lesage (philosopher, BE). The photo- reclaiming space and planified habitats. He showed designs graphs were by Helmut & Johanna Kandl (DE) and Bertien and re-designs of OCA-housing, the colonial attempt to van Manen (NL) and Marijke Cobbenhagen and Chantal embed modernistic architecture and a modern way of life Hendriksen did the design. in Leopoldstad during the fifties. The book was launched at Marres, Maastricht, with presen- Kobe Matthys studied the effects of customary and ‘Western’ tations by Hinrich Sachs and Andres Kurg and in the Stedelijk laws and tried to find out about the stories that made people

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DESIGNING TRUTH

FILM AND BIOPOLITICS

THE SCHEME OF THE VEIL

ON THE TELEVISION WORK OF JEF CORNELIS INVITATION FILMSCREENING DESIGNING TRUTH INVITATION CONFERENCE FILM & BIOPOLITICS BIOPOLITICS.JANVANEYCK.NL DE WITTE RAAF, NO. 117, SEPTEMBER 2005 ...... RESEARCH PROJECTS FILM & TELEVISION THE CUT DESIGNING TRUTH FILM AND BIOPOLITICS

THE CUT gates the role and power of pictures in contemporary society The Cut is a twenty-minute video made by Geoffrey Garrison in all its ranges. In-dept conversations between the artist and (researcher Fine Art department), which condenses his his interviewee furthermore blur the line of author and pro- research on the history of the John Huston film Freud the tagonist. With projects like this Sachs examines how biogra- Secret Passion (1961), starring Montgomery Clift, Larry Parks phy, memory and culture are constructed. and Susannah York. Freud the Secret Passion is a little-known Designing Truth was commissioned by Casco and co-pro- biographical film presenting the discovery of psychoanalysis duced with the Jan van Eyck Academie. The film was realized as a kind of detective story. The screenplay was based on with the financial support of the Jan van Eyck Academie, the a long, complex scenario written by Jean-Paul Sartre and City Council of Utrecht, the Mondriaan Foundation and the subsequently rewritten by a series of Hollywood screenwriters. Institut für Auslandsbeziehungen. Working through the layers of material left out, erased, for- gotten and repressed, another narrative emerges – a narra- FILM AND BIOPOLITICS tive that deals with the traces of Freud within the popular Film and Biopolitics, a research project set up by Sabeth imagination, with fiction, memory, and history, and with the Buchmann, Helmut Draxler and Stephan Geene (advising unavoidable complexities of translation and communication. researchers Theory department), considers film and life in its This is the narrative that Garrison used as a basis for his purely biological as well as in its creatively qualified form. screenplay for the Cut. It tackles questions such as: Does film participate in the para- The video presents six scenes in which four actors act out digm of life? What life is that? And is film then reproductive, fragments of the film’s history and the history of the major even simulative, or productive? How does reception take protagonists: an FBI agent interrogates John Huston about place? How do we know that the traits of a film are symptoms his relationship to communism, Marilyn Monroe complains of anything else but themselves? Do we derive film-theory of sleeplessness and the disappointments of her marriage, from film or film-theory from theory or from political posi- Montgomery Clift argues with John Huston about the portray- tions? Is film a bio-product? Still from The Cut, Geoffrey Garrison al of Sigmund Freud, John Huston confronts a movie produc- The project investigates the rhetorics of the notion of life in er about the editing of his film, a priest criticizes Huston’s its constitutive impact on most of the art and film categories plans for a film on Freud, and Elizabeth Taylor comforts Clift of the 20th century, using a theoretical-historical approach. as he descends into a pit of self-doubt and substance abuse. It aims at re-evaluating the avant-garde paradigm of trans- While a classical film narrative usually unfolds along a lin- gression, that is to say, the belief that overcoming the institu- ear path, focusing on the deeds of a few primary protagonists tional and esthetical-ideological barriers between art and and moving towards the resolution of a conflict, the screen- life would entail a fundamental attack on the premises of play at the basis of The Cut followed strands of narrative capitalism and bourgeois society. The avant-garde notion going in multiple directions; they encompass the stories of of life along the lines of bio-political categories is discussed many characters while simultaneously focusing on the gaps with reference to Giorgio Agamben, Michel Foucault and in the dominant narrative. Donna Haraway. On 14 March Helmut Draxler presented the paper The DESIGNING TRUTH Aesthetic Road to Victory: Sharing Education, in which he Designing Truth, a thirty-minute film produced by Hinrich argued that the expanding economics of empathy and com- Sachs (advising researcher Fine Art department), presents passion are important in helping people who are affected a colourful and surprising portrait of the Swiss molecular by disasters. However, Draxler also stated that the marketing biologist and software designer Ansgar Philippsen, an authori- of empathy and compassion often reproduces stereotypes ty in the field of bio-molecular visualization. Since 1998 concerning the relations between ethnic or racial codes and Philippsen has been developing the DINO software codes of wealth and power. Therefore, global charity activi- (WWW.DINO3D.ORG), which generates realistic 3D images of mole- ties, especially in the enlightened version ‘to help ‘them’ help cules, invisible to the human eye, in real-time mode. themselves’, can easily be considered as a contemporary In his interview with Philippsen, Hinrich Sachs examines the form of the philanthropic, educational and colonial regimes creation and interpretation of scientific images in structural of the 19th century, described by Foucault and others. biology as well as the impact on general knowledge about the body and nature. The Ghostly Social Aspects of Cinema Designing Truth is part of a series of ‘portraits’ that Sachs The conference The Ghostly Social Aspects of Cinema has realised since 1998 in different presentation formats (14 - 16 April) considered post-classical and post-avant- (installation, audio piece, printed matter). While all portrayed garde film work from a bio-political viewpoint. This approach individuals are professionally involved with the creation of queries the conceptions of life and death as a-historical Still from The Cut, Geoffrey Garrison images – although none of them as artists – the series investi- moments of the human condition and connects them to

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modern and contemporary economical and social modes worth asking why cinema came back to haunt advanced of production. The questions raised at the conference con- artistic practices during the period of the sixties and seventies. cerned issues of history and representation: What histories Cinema no longer serves as a progressivist model of the can or cannot be narrated? How is history itself shaped by avant-garde. Classical cinema had already relinquished narration? In representing the non-representable – the holo- its control of the public sphere to more diversified forms of caust or nuclear strikes – the issue no longer seems to be mass communication. about authentic or false representations of past reality, but Clemens Krümmel (editor of Texte zur Kunst, translator, how history has become the battlefield of representations, freelance curator, DE) presented the paper ‘I Sow for all constituting present symbolic, economic and political realities. Winds.’ Motifs of Bios, Movement and Fertility in Imamura’s In his presentation Among Other Things: Cinema’s Vitalism Cinema of Chaos, in which he commented on the use of of Whatever-Beings Drehli Robnik (lecturer, film critic, DJ, biological metaphor in some of Shohei Imamura’s middle edutainer, AT) drew on the entanglement of a messianic and late works. The consequences of his identification of philosophy of history and social analysis in Siegfried sexuality and chaos as the driving forces of an unintelligible Kracauer´s phenomenology of mediated mass culture and history were discussed as possible solutions to a traumatized the cinema in particular. He approached Kracauer´s con- post-nuclear society and its prohibitive structures. cepts via their implied resonances in writings by Agamben In The Biopolitical Aesthetic. Is There a Culture to ‘Life and and Deleuze, and analysed excerpts of films by Rossellini, Nothing But’ Bert Rebhandl (freelance journalist and writer, Farocki and the Farrelly Brothers. DE) presented observations on recent films from Iran, PR Sex is Comedy Katja Diefenbach (lecturer and writer, b-books Berlin, DE) China, and Argentina, using the German film remarked on the differences between Marx and Foucault in Gespenster (Ghosts) as reference. When Fredric Jameson her presentation Ghostly Value-Form. She discussed why it is proposed a ‘geopolitical aesthetic’ in 1992, he was hinting more interesting to start thinking about power as a relation at a ‘totality’ of the global condition being mirrored in the between forces than as a form, considered what life would be paranoid subject. Totality today comes with different labels: all about when bio-power prevails and commented on why empire, bio-power, governmentality. we love the melodramatic affect in moving pictures. BIOPOLITICS.JANVANEYCK.NL In his intervention From Postmodern to Postmortem Cinema: Zero-Degrees of Affect and Agency, Thomas Elsässer THE SCHEME OF THE VEIL (University of Amsterdam, NL) argued that commercial cine- The Scheme of the Veil is a research project initiated and ma is all about the themes of life and death and, lately, also coordinated by Eva Meyer (advising researcher Theory about afterlife, living in memories, survival and parallel lives. department, DE). In her seminars, Meyer argued that to think Elsässer’s hypothesis is that trauma fills a void that is the result the veil means to take it as a document of the past, yet only of a lack of references and the loss of historical awareness. to the extent that it implicates new possibilities. In exerting This lack is counterbalanced in popular culture and media a pressure that is equally material as it is immaterial on the by a mass of information of biographical nature, memoirs phenomena of live, on the senses, on the sexual, on hate and testimonies. and love, on power and opposition. Tanja Widmann (Academy of Fine Arts , AT) present- Within this framework Stéphanie Benzaquen (researcher Still from Trouble Everyday ed the paper How Life Invades Work (as Emotion) that took Theory department) commented on the film Ararat by Atom dis-identificatory practices as a point of departure. Dis-iden- Egoyan. The release of Ararat in May 2002 generated a tificatory practices potentially displace the spectator from wave of comments ranging from praise to disapproval – identifying with the illusionary fictional worlds offered in art, some discarded the film as propaganda work. Beyond literature and film and could be seen in direct opposition to communal positions, most reactions centred on the idea the avant-gardist claim to overcome the distance of the view- that Atom Egoyan had realised the first film dealing with er through immediacy, transgression and shock. Dis-identifi- the Armenian genocide (1915). Statements of the kind raise cation as a practice to regain the self as a site of resistance several questions, mainly related to the representational has shown to be an impossible trajectory. But through the choices the filmmaker had to make, both on conceptual and intertwining of dis-identificatory practices and the supposedly formal levels. By focusing on the notions of transmission and contradicting effect of affect, the critical approach has shifted denial, central issues in the work of Atom Egoyan, the lecture to a new practice of questioning the production of reality. attempted to apprehend Ararat within the Armenian context Eric de Bruyn (University of Groningen, NL) presented and investigated its relation to cultural representation of A Cinematic Politics of Translation: Lawrence Weiner’s First genocides and mass murders. and Second Quarter. If cinema can be said to function as a Ils Huygens (researcher Theory department) gave an bio-political paradigm of everyday life – a hypothesis that analysis of the film Shadows by John Cassavetes. Cassavetes stands in need of greater historical specification – then it is encouraged his actors to use life experiences and personal

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feelings in playing out their roles. Rather than ‘pretend’, he IJsbreker urged his actors to create an overlap between their real life On 23 February Jack Post (University of Maastricht, NL) and their characters’ lives in the film. Whereas cinema tradi- and Stephan Geene (advising researcher Theory department) tionally breaks down scenes into small units, Cassavetes pre- presented the episode of the television programme IJsbreker ferred long takes in real-time, giving the actors space and time on the Belgian artist Panamarenko. At prime time on 19 to develop and transform their gestures, movements and January 1983, IJsbreker (Icebreaker), a television programme expressions. The resulting film consists mainly of unstructured on culture, was launched on the Belgian public broadcasting shifts in mood and feeling and sudden outburst of emotion; network. IJsbreker called itself ambitious and adventurous representation of racial and social identity is thus made ambi- and promised to do away with ready-made opinions and guous. Huygens showed how meaning and identity in Shadows formats and be revolutionary instead. It presented live televi- are never a question of unity and stability, but are constantly sion on culture, which ‘happened’ in three places at once. coming into being through the actor’s gestures, speech and The guests, all in different locations, were connected through actions. In relying on the unpredictability of performance, telephone lines, radio-beam links and the like. The episode Cassavetes wanted to get closer to the experience of daily life. in question showed the central guest, Panamarenko – at Another screening that took place was that of Anguish by home in with his mother – communicating and Bigas Luna, with Ils Hygens commenting on the film. She crossing swords with the prominent and erudite professor posited that the cinematic screen is often hiding things from Charles Hirsch, speaking from a video room in Brussels, the viewer, but it can make itself disappear completely, bring- and with Georges Adé and professor Herman Roelants, who ing the viewer inside his world. What happens when the are in Malines. The participants could not see each other screen becomes permeable on both sides, making the world and there was no moderator to guide or intervene. of the screen blend with that of the viewer? That is the prem- ise of the Spanish horror film with its surreal characters and Lili Dujourie hypnotizing subliminal imagery. On 4 April Belgian fine artists Lili Dujourie and Jacques Other films that were screened included I Can’t Sleep by Charlier were invited to discuss their work, on the occasion Claire Denis, Return by Sylvia de Swaan and Nostalgia of the screening of the television film Lili Dujourie (1990), (Garod) by Frounze Dovlatian. made by Jef Cornelis as a tribute to the artist. The discussion further touched upon art in the 1970s and the art gallery ON THE TELEVISION WORK OF JEF CORNELIS MLT, which was run by Fernand Spillemaeckers, artist and With the project On the Television Work of Jef Cornelis Koen late husband of Lili Dujourie. Brams (director Jan van Eyck Academie) initiated research Jacques Charlier (1939, BE) calls himself a ‘wholesaler in into the television work of Flemish filmmaker Jef Cornelis. Belgian humour of all categories’. His main themes are the Still from IJsbreker Cornelis worked as executor, director and scriptwriter for the socio-cultural and economic issues in art and the art world. Flemish public broadcasting company (currently VRT) and He uses a range of media including painting and sculpture accomplished an impressive body of work. The research and photography, film, video, words, caricatures and comic involves the idiosyncratic stylistic properties of his works, the strips. He opposes conformism and any authority that impos- unique documentary value of his films on fine art, architecture es an aesthetic form. Charlier has a penchant for ‘Belgian’ and literature as well as the films’ exceptional production themes; with irony and humour he juxtaposes pictures of conditions. Prior to this project, no research was carried out ‘icons’ from popular culture (Helmut Lotti), sports (Kim into Cornelis’ work, which is symptomatic of a general discur- Clijsters) and religion (Cardinal Danneels) and transcends sive neglect of the medium of television. the boundaries between genres while focusing on the power Beside television maker Jef Cornelis was an active partici- of the expressive image. pant in the international art scene. From the sixties on he was Lili Dujourie’s (1941, BE) oeuvre includes sculpture, photo- involved in various art initiatives (such as the alternative art graphs, projections, and drawings. Her works breathe a space A379089, with Kasper König, Panamarenko, James sense of the pensive and evoke a domain of thought and feel- Lee Byars, Marcel Broodthaers, et al.). In the nineties he ing verging on the inexpressible and ineffable and partaking cooperated on a thorough rethinking of the purchase, artist of both the visible and the invisible, the available and the and museum politics of the Flemish government as a member secreted, the overt and the covert. Dujorie’s subtle and recur- of the Committee of Fine Arts of the Flemish Community. sive works have been fuelled by literature, poetry and film. Precisely because of his active participation in the art scene Still from IJsbreker Still from IJsbreker in Belgian and outside it, Cornelis has found the right ‘ins’ to Landschap van kerken realise his television works. Lectures and screenings were held On 11 July Dirk Pültau (editor-in-chief of De Witte Raaf, BE) and discussions on the problems of the representation of art gave a lecture on the film Landschap van kerken (Landscape on television, a pre-eminent ‘public medium’. of Churches). He talked about whether or not the music in

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that film is at one with its content. In 1987 Geert Bekaert (architect and critic, BE) published the book Landschap van kerken, in which he describes some twenty churches in Flanders and Brussels. In 1989 Cornelis and Bekaert turned the book into a television film; the script was Bekaert’s. The 30-minute film shows a series of eight churches. The film was first screened as a silent film, with Bekaert reciting the text live. Later on, Bekaert’s voice was recorded and a soundtrack added by musicologist Serge Dorny. The latter chose musical fragments from the romantic-symphonic repertoire and excerpts from modern compositions by Igor Stravinsky and Luigi Dallapiccola. Cornelis once claimed that he considers a film finished when the montage and stills editing is done. To him, the finished product is a ‘mute’ film in the strictest sense. Geert Bekaert’s text and Serge Dorny’s soundtrack are autonomous ‘works’ in their own right.

Little Sparta, et in Arcadia Ego. A Portrait of Ian Hamilton Finlay On the same day, Helmut Draxler (advising researcher Theory department, DE) gave an introduction to and interpretation of Little Sparta, et in Arcadia Ego. A Portrait of Ian Hamilton Finlay (1988). Ian Hamilton Finlay (1925, GB) is a poet, writer, conceptual artist and sculptor. Finlay became known Still from Little Sparta, et in Arcadia Ego. A Portait of Ian Hamilton Finlay for his concrete poetry, where the layout of the words con- tributes to the overall artistic form. He went on to carve some of his poems into stone sculptures, which he set alongside Greco-Roman classical architectural fragments in the natural surroundings of his garden in Scotland, known as Little Sparta. Finlay is best known for the transformation of his Lanark farmhouse: he turned his estate into a miniature ‘republic’ of symbolic sculptures, temples, and conceptual artistic pieces. Finlay’s use of imagery and language associated with warfare and Nazi iconography triggered frowns and outrage from the public and critics. What degree of irony does Finlay actually apply? This ambiguity in the work of Finlay fascinated both Jef Cornelis and screenwriter Chris Dercon. When, in 1987, Catherine Millet accused the artist of an unhealthy fascination with Nazi iconography in the French magazine Art Press, an assignment for the French Ministry of Culture on the occasion of the anniversary of the French Revolution was suspended. The opening images and the soundtrack of the film immediately evoke the atmosphere of a Hitchcock thriller. Finlay guides the camera team around in his temple and his winter garden, which looks drab and dreary. Dercon voices his desperation in an interview, when Finlay fumes at the questions about his alleged sympathies and ideas with regards to the Third Empire. The film was finished several weeks later, but due to threats by Finlay, who had taken legal action in France by that time, the VRT never broadcast it. WWW.DEWITTERAAF.BE

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On 18 February the Jan van Eyck Academie hosted the researcher, co-editor Water Cooler Games and educational Innovative Game Design symposium. The symposium was publisher, US) suggested – following LaCapra and Badiou – held in the framework of the NWO research programme that contrary to public opinion, JFK Reloaded and other Transformations in Art and Culture and was organised by games about traumatic historical moments (in particular 9/11) Michaël Samyn and Auriea Harvey (researchers Design offer the creation of new, potentially transformative under- department 2002-2004, BE), in close collaboration with standings of the world in general by giving new perspectives project researchers of Transformations in Perception and on the uniqueness of a specific event and that event’s broader Participation: Digital Games of the Faculty of Arts and impact on the improvement of the world at large. Culture, . An international party of In his presentation Physical Engagement in the Virtual researchers was invited to discuss different aspects of Representation of a City, Marnix de Nijs (artist, NL) introduced computer game design practice, taking various lines of two of his interactive installations, Panoramic Acceleration approach. Core issues were whether and how game design and Run Motherfucker Run, in which the visual representation can be mutually instructive for researchers from academia, of the city plays an important role. Both physical interfaces are the artistic field and commercial industry; how research not only designed to entice the public but also to determine methods can be cross-fertilizing; and how they can generate the images perceived and the course of navigation through innovative game design. the virtual world set before it. Celia Pearce (game designer, artist, researcher and author In Spite of Wishing and Wanting: Developing a Game Inside of The Interactive Book: a Guide to the Interactive Revolution, and Outside the Game Industry was the title of the presentation GB) gave a presentation, entitled Playing Ethnography: given by Michaël Samyn and Auriea Harvey (artists, designers Cyberethnography as Performance and Game. Pearce of hypermedia projects, BE). They argued that the game presented her research avatar Artemesia through the social industry is the last place you want to be as a creative person virtual world ‘There’. In this presentation, they discussed a when you wish to make something you care about. They out- methodology for conducting cyber-ethnography in massive lined their research and infiltration into the international game multi-player online games, being developed as part of a development scene and revealed what the scene hides about PhD dissertation at the SmartLab Centre in London. the ways in which today’s games are conceived, designed, Innovative Game Design, 8 Chris Crawford (game designer, former head of Atari’s published and distributed. They also talked about games Games Research Group, author, lecturer, editor of The magazines set against the reality of doing business, about Journal of Computer Game Design, US) gave a lecture what is in it for the designer of an original game and how entitled Bridging the Two Cultures Chasm, about the commu- sometimes beauty and creativity can slip through the cracks. nication gap between ‘techies’ and ‘artsies’. Crawford was GAMES.JANVANEYCK.NL advocating the unification of these antipathetic cultures, by establishing a clean division of labour. He argued that developmental environments could be created, whereby techies would forego artistic activities, and artsies would be relieved of the most tedious mechanical tasks while allowing them to express themselves in a technically simplified manner. Henk van Zeijts (head of the Creative Learning department, Waag Society, NL) talked about creative learning. At the Waag Society, designated Centre of Expertise on Cultural Education and ICT, he investigates the possibilities of new media in cultural education. The centre works with primary and secondary schools, Cultuurnetwerk Nederland, Imagine IC and several museums. Waag Society believes that new media can stimulate learning by challenging those who acquire knowledge or gain information to express themselves creatively. In this way, ‘ownership of content’ is stimulated, rather than consumer behaviour. By stimulating ‘ownership’ we generate motivated learning. Such creative digital learn- ing environment should incorporate youth culture and pro- vide youngsters with a platform to help shape their identity and share their views. In his lecture At This Very Moment: Representations of Events in Video Games, Ian Bogost (game designer, academic game

JAN VAN EYCK ACADEMIE 2005 / 67 ...... RESEARCH PROJECTS IDENTITY HISTORY VS. FUTURE

LOGO PARC

META HAVEN: SEALAND IDENTITY PROJECT

THE PHYSICAL JAN VAN EYCK INVITATION HISTORY VS FUTURE #1 INVITATION HISTORY VS FUTURE #2 INVITATION HISTORY VS FUTURE #3 INVITATION HISTORY VS FUTURE #4 INVITATION LOGO PARC INVITATION LOGO PARC POSTER THE PHYSICAL JAN VAN EYCK ...... RESEARCH PROJECTS IDENTITY HISTORY VS. FUTURE LOGO PARC

HISTORY VS. FUTURE The lectures fit into the framework of Vinca Kruk’s research History vs. Future is a series of lectures organised by Vinca into history in general, the ‘fictionalisation’ of history, the role Kruk (researcher Design department). Surfing the Internet via of the historian, historical periodization and web archaeology image browser Beholder Vinca Kruk happened upon a stamp in specific. The Internet opens up new possibilities for history, that was probably issued in the late 1970s and depicted the and archive.org shows that even supposedly non-hierarchical Palast der Republik, house of the DDR parliament and a cul- structures, such as websites, can be archived and recalled. tural centre. This bronze block of modernism was the pride of To the historian, fiction comes in at the end of the process, in Erich Honecker, leader of the German Democratic Republic. the product of manipulation and analyses: the historian, too, On further browsing she found images of cups with the is a designer. ‘exclusive’ P.R. logos, plates, ice cream glasses and the like. In History vs. Future #1 Vinca Kruk elaborated on research It seems that the Palast der Republik itself was a P.R. tool, done on identity design and history in Bucharest, Berlin and serving as Proportional Representation of the DDR state. Maastricht and presented ideas on oblivion and design and Kruk decided to dig deeper into the matter of Proportional the concept of defunct symbolism. Representation and buildings that were once logos of power, In History vs. Future #2 Femke Snelting (NL) gave a presen- such as the monstrous palace built by Rumanian dictator tation on her working methods and interests in relation to Nicolae Ceausescu in Bucharest. forms of historical narration. Snelting has a background in graphic design and is currently involved in various collabo- rative projects: Renee Turner, Riek Sijbring and Snelting form De Geuzen, an art and design collective for multi-visual research. Using leitmotivs such as reparation, curriculum vitae and history writing history, she presented a collection of projects and ideas, speculating on how representation shapes histories and vice versa. History vs. Future #3 presented visual proposals and prototypes for the identity of Nicolae Ceausescu’s Palace of Parliament in Bucharest. In her first lecture, History vs. Future #1, Vinca Kruk unfolded her theoretical insight in the con- temporary use and misuse of former totalitarian architecture and its position within the current construction of national identity. In this third presentation she displayed visual material and discussed this in relation to the first presentation. In his presentation History vs. Future #4 Wim Crouwel (graphic designer, NL) reflected on his own work, which is currently being re-appropriated; he also discussed the issue of ‘history’ in graphic design. Since the 1950s Wim Crouwel, one of the founding members of Total Design, has designed posters, alphabets, exhibitions, catalogues and information systems. Total Design was the first design studio in the Netherlands to approach design in the widest sense – work- ing for institutional, cultural and non-profit organizations. Crouwel’s ideas on functionalism and aesthetics became prime instances of modernism in Dutch graphic design.

LOGO PARC. CHALLENGING THE AESTHETICS OF ECONOMY Logo Parc is a design research project for public space. Its main focus of interest is the Zuidas (South Axis) in Amsterdam, a prestigious area of high-rise offices, residential and cultural facilities on both sides of the A10 motorway. The Zuidas is considered a new typology of city, dedicated to the symbolic representation of economy, information, History vs. Future, p.r. tools knowledge and mobility. Here, the role of design is pivotal as it constitutes the cultural face of these phenomena.

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Logo Parc is driven by a critical interest in the representation designers and theorists lined up to discuss the state of affairs of power and economy; both to deconstruct it, and to create in Logo Parc and beyond. Presentations were given by Kamiel it. As a machine for comments, ideas and visions for the Klaasse (architect and founding partner of NL Architects, NL), Zuidas, the project aims to fuel discussion as well as trigger Friedrich von Borries (author of Who’s Afraid of Nike-Town? actual design issues, operating freely in an area in between Nike-Urbanism, Branding and the City of Tomorrow, a com- architectural, spatial and communication design. pelling book on Nikes situationist branding strategies, DE), The Logo Parc research outcomes will inform not only the Gerard Hadders (graphic designer, founding member of perception of the Zuidas but also how the field – design in Hard Werken, designer/educator at St. Joost Academy, NL), a very wide sense – deals with the subject matter at hand. Wouter Vanstiphout (architectural historian with Crimson, The team, headed by Daniël van der Velden (advising co-founder of Wimby Hoogvliet, NL), Roemer van Toorn researcher Design department), works together in a series (architect, photographer, essayist, coined the term ‘fresh of design workshops, inviting guests to the academy, and conservatism’, NL), Daniël van der Velden (graphic designer, working intensively in both Maastricht and Amsterdam. On writer, advising researcher Design department, NL). The a regular basis, the Logo Parc results are presented both with- presentations were concluded by a forum discussion chaired in the academic community and in a larger public context. by Jouke Kleerebezem (artist, writer, designer, cultural devel- On 16 November Logo Parc ‘kicked off’ with an opening oper, advising researcher Design department, NL). symposium at the in Amsterdam. Logo Parc is a joint project of Jan van Eyck Academie, An array of prominent architects, architectural historians, Lectoraat Kunst en Publieke Ruimte, Gerrit Rietveld Academie, Amsterdam University and Premsela Dutch Design Foundation.

META HAVEN. SEALAND IDENTITY PROJECT Meta Haven is a research project on design, politics and nation branding. Its main focus is designing an identity for the Principality of Sealand, located on a former war platform www.metahaven.net in the North Sea hosting the world’s first ‘data haven’, or lawless information vault. The work of Meta Haven – its name derived from ‘data haven’ – stands for a return to politics in Dutch design and seeks to develop discourses and visual approaches related to both resistance and power. Central to its approach is that conflict and contradiction are essential elements in today’s complicated political and media land- scape. In order to effectively think about identity, these contradictions need to be exposed rather than reduced to a single, clear result. Meta Haven – its design and research practice based on cultural, historical and political references Presentation Logo Parc – combines design and research and produces visual works, essays, proposals and models. The Meta Haven team consists of Tina Clausmeyer, Vinca Kruk, Adriaan Mellegers (researchers in the Design Department); Daniël van der Velden (advising researcher Design department) is coordinator. Setting up the website, Meta Haven collaborated with Maurits de Bruijn (web design- er and programmer, NL). The website, launched in August, is conceived as an ‘arch’ of three web windows, surrounding an empty centre through which the user looks at his own desk top. The arch is uploa- ded with a ‘rainfall’ of visual projects moving over the screen and functions as a developing visual narrative. The site contains an expanding array of different models, proposals, drafts and ideas, including proposals for ‘stealth’ and ‘logo’- based approaches to identity. WWW.METAHAVEN.NET

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THE PHYSICAL JAN VAN EYCK The Physical Jan van Eyck is a design research project that intends to represent the identity of the Jan van Eyck Academie. In January design researchers Min Choi & Sulki Choi ((KR) and Tamara Maletic & Dan Michaelson (US) were commissioned to come up with ideas to promote the physical presence of the academy in the urban landscape of Maastricht. Overall aim was to establish a link between the institute, its direct environment and the city – in other words: between intra muros and extra muros – and thus increase the academy’s radius of communication. The Jan van Eyck also commissioned the design of a new ‘house’ or ‘corporate’ style. The proposals – the implementation of which is still to be discussed – comprised a three-part plan: an external glass façade, flat computer screens for providing internal informa- tion and a computer programme. The glass façade or gate in front of the existing entrance – open and inviting architecture – can be used to bill Jan van Eyck posters and flyers. The exhibited printed matter will inform of the activities that take place behind the façade. The Physical Jan van Eyck , announcement board Posters and flyers can be billed at random, in a pattern or text structure. At the back of the building, a glass board bearing the name of the academy will attract the attention of people who approach the building from other directions than the main entrance. The transparent and flexible nature of this alternative ‘sign’ is mirrored in the internal signposting: glass posts containing static information serve as bearers of printed matter – flyers, personal texts, images – to be inserted at will. The second proposal is to attach three flat-screen monitors to the pillar in the hallway containing information about long- and short-term research projects, autonomous activities by researchers, design briefings, the weekly programme activi- ties, studio visits, presence / absence of staff. They would be real-time announcement boards that, given the changing information, exude a sense of dynamism. The information can be easily and efficiently updated from a database. A computer programme functioning as an announcement board would state which researchers are at work in the building and indicates who is on-line. The programme, a welcoming gift for new researchers, would be installed on the computers in the workshops and the library.

The Physical Jan van Eyck , glass façade

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A COMMUNITY OF SCOUNDRELS

POLITICS AND JOUISSANCE

PSYCHOANALYSIS, URBAN THEORY AND THE CITY OF LATE-CAPITALISM CLIC.JANVANEYCK.NL POSTER A COMMUNITY OF SCOUNDRELS FLYER PSYCHOANALYSIS, URBAN THEORY AND THE CITY OF LATE-CAPITALISM ...... RESEARCH PROJECTS PSYCHOANALYSIS CIRCLE FOR LACANIAN IDEOLOGY CRITIQUE (CLiC)

CIRCLE FOR LACANIAN IDEOLOGY CRITIQUE (CLiC) The Circle for Lacanian Ideology Critique (CLiC) gathers researchers who do not consider Lacanian theory a dogmatic, closed system, but rather see it as an open set of tools that enable them to critically look at/on current (post)modern

culture. CLiC intends to activate the psychoanalytical and

^ especially Lacanian background^ of many current philoso- phers and critics such as Zizek, Badiou, Rancière, Laclau, Mouffe, Jameson, Zupancic, Agamben, Negri, Derrida and Nancy. Insight into the Lacanian background of these theories is indispensable to discover the very core of their critical potentialities. That is why reading of and research into the Lacanian text – Lacan’s seminars are the core of his thought – is one of CLiC’s main objectives. CLiC is a platform for both researchers in the Theory depart- ment at the Jan van Eyck Academie and researchers outside of the Academie. Its objective is to stimulate studies in Lacanian ideology critique, to organize seminars and collo- quia, and to set up publications. Alenka Zupancic (Centre for Scientific Research of the Slovenian Academy of Arts, SI) gave the lecture Enjoyment Ex Machina. In his reading of Aristophanes’ myth of the divid- ed creatures, meant to explain the ‘sexuated’ nature of human beings, Lacan highlights another division: the one between the sex organs and the rest of the body. This allows for a reading of ‘enjoyment’ as that what remains alien and functions as an object-like surplus to the human subject. Nina Power (University of Warwick, GB) presented Kicking against the Pricks: Badiou and Beckett. According to Badiou, Samuel Beckett is not the thinker of the absurdity of existence and its ensuing despair, but the author of works in which one can find the basic characteristics of the human subject pro- voked and enthused by an event. In his paper Lacan and Topology Antonello Sciacchitano (psychiatrist and psychoanalyst, IT) argued that the place of topology in Lacan’s work remains obscure and its relevance debated. Sciacchitano argued that Lacan introduced topolo- gy as a didactic means and in order to secure the transmis- sion of psychoanalytic theory. In On Literature and Love Justin Clemens (writer, University of Melbourne, AU) gave a reading of Wordsworth’s poem A Slumber Did My Spirit Seal and showed how both poetry and love deal with a cut – understood as an infinite break into a finite order. Alberto Toscano (Goldsmiths College, GB) presented the paper The Function of Humanity: A Critical Commentary on Alain Badiou’s ‘What is Love?’ In Badiou’s dealing with love as a truth procedure he takes up Lacan’s ideas about the two sexes and the non-relationship between them. At the same time it is argued that since there are two sexes, humanity itself is one. Circle for Lacanian Ideology Critique CLIC.JANVANEYCK.NL

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A COMMUNITY OF SCOUNDRELS. THE ‘GIFT’ IN MO- an underlying or preceding state of – Hobbesian and/or DERN SOCIETY THROUGH LARS VON TRIER’S DOGVILLE. Darwinian – conflict. A Community of Scoundrels was a two-day international In What Is the Gift of Grace? Lorenzo Chiesa (researcher conference in Nijmegen taking von Trier’s film Dogville as a Theory department) posited that in Lars von Trier’s Dogville starting point to reflect upon the question whether the notion there are two main reasons why something goes wrong at of the ‘gift’ is able to shed a critical light on the impasses of the level of the gift-exchange: first, the gift of the fugitive our contemporary freedom-based society. This was done named Grace – the gift of Grace – stops being reciprocated from a range of disciplines such as political theory, critical at a certain point. The gift, and the symbolic order it sustains, thought, philosophy, theology, social sciences, psychoanalysis is nothing but reciprocation. Second, the unconditional way and communication theory. in which Grace offers herself to Dogville is per se dangerous: Modern community is supposed to be a free society, based the pure gift soon turns into a poison, a dis-grace. However, upon mutual respect for each other’s individual freedom. At isn’t it the case that Grace’s final violence is precisely that least, this is what we commonly believe since the emergence which avoids the imminent threat of an apocalypse, which of modernity; since the French Revolution we organize society is what happens when the unilateral Christian gift, pure grace, on that basis. Yet, does this idea of freedom not repress a is detached from the circuit of dialectical gift-exchange? deeper and more problematic (and even violent) level? Did Consequently, shouldn’t violence of the kind be clearly distin- Thomas Hobbes not detect anxiety and violence at the foun- guished from apocalyptic revenge? In stark contrast to some dation of free society? Did medieval Christianity not consider readings of von Trier’s film, Chiesa was inclined to suggest society to be based upon a divine gift, transferred onto a that the final massacre is precisely that which stops the per- feudal gift-relation among humans? These questions form verse bio-political economy of ‘the time that times takes to the background of Lars von Trier’s Dogville. In that film, a finish’ – the definition of Messianic time according to Agamben small free community experiences how wonderful it is to give – and that, for this very reason, it should not be regarded as hospitality to someone who is a gift of grace to that communi- an apocalypse. Grace’s violent act should not be seen as an ty. What begins as an idyll of freedom, gift and grace, ‘arrogant’ Armaggedon; it is not arrogance – one of the key- nonetheless ends up in the catastrophe of a real holocaust. notions of Dogville – that causes the final carnage: quite the As if through the gift the Dogville community has to discover contrary, the carnage is the unavoidable product of the over- both its truth and the impossibility to deal with that truth. coming, on Grace’s part, of perverse Christian arrogance, In his introductory lecture, Marc De Kesel (advising whose more familiar name is ‘forgiveness’. researcher Theory department) talked about The Village and In his lecture The Politics of Gift Giving: Friendship and Its She-Dog in which he argued that the object of longing that Hostility in the Exchange of Social Good Dany Nobus (Brunel Dogville makes anchorage in is by definition situated outside University, GB/BE) drew simultaneously on Freud’s Civilization of Dogville. That thing that makes the village long, of which it and Its Discontents, Lacan’s ‘structuralist’ conception of the lives, is a mercy, a Grace; it is not divine mercy that assumes field of language in psychoanalysis, and Derrida’s interpreta- a supernatural and supreme subject, but an uncontrollable tion of Mauss’s seminal essay The Gift. He explored the poli- grace/mercy that assumes an exciting but incomprehensible tics of gift giving along five distinct dimensions: the object ‘something’. That ‘something’ is a figment of the imagination of the gift; the act of giving; the giver and the recipient; gift that the village creates and yet it is situated outside of the giving within symbolic systems of exchange; the significance village. It is that which makes Dogville a community, by mere- of gift giving for discursive transformation. This exploration ly longing for it, not by possessing it. If Dogville appropriates generated three propositions: firstly, Nobus suggested that in that ‘something’, it would become its victim. If the village the process of gift-giving, the importance of the object is appropriates the reason of its longing, it ceases to exist. inversely proportional to the importance of the act of giving; Raymond Corbey (Leiden University, NL) presented the paper secondly, he stated that, although there is no such thing as a Hobbesian ‘Warre’ and the Maussian Gift: Evolutionary versus free gift, the expectation that the recipient produce a counter- Culturalist Perpectives. Most current research on reciprocity gift can never be met, since perfect reciprocity is impossible. and exchange takes place within perspectives that are not Finally, it was proposed that gift giving has the power to desta- easily reconcilable, because they have conflicting philosophi- bilise and reorganise structures of power, the more so as the cal/theoretical presuppositions, tied up with divergent disci- gift giver is an outsider. plinary identities. Two extremes are constituted by culturalist In Gifts Desire to be Seen. A Reflection on the Place of approaches on the one hand and evolutionary (biological, Altruistic and Agonistic Gifts in Contemporary Society Toon game theoretical) ones on the other hand, with ‘Malinowskian’ Vandevelde (University of Louvain, BE) argued that gift and (functionalist) viewpoints somewhere halfway that spectrum. counter-gift can be understood via economical models On top of that, there is a widespread preconception in cur- which give an account of both tendencies towards balance rent research, which holds exchange to be the overcoming of and imbalance.

Still from Dogville 92 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 93 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS PSYCHOANALYSIS POLITICS AND JOUISSANCE PSYCHOANALYSIS PSYCHOANALYSIS, URBAN THEORY PSYCHOANALYSIS, URBAN THEORY AND THE CITY OF LATE-CAPITALISM AND THE CITY OF LATE-CAPITALISM

Aafke Komter (University of Utrecht, NL) posited in The Gift The series is made possible with the support of the Jan van Both urban theory and psychoanalysis indicate that the constantly ‘reinvented’ by those with a vested interest in does not Exist. About the Variety of Gift Giving that two con- Eyck Academie and the American University of Paris. managers of the late-capitalist city indulge in self-undermin- anxiety: the police, politicians, planners, the building mate- clusions can be drawn from the work of classical anthropolo- ing ‘hysterical’ activities and use urban guerrilla tactics as rials, security and insurance industries, but also artists, gists and ethnologists such as Malinowski, Mauss, Lévi- PSYCHOANALYSIS, URBAN THEORY AND THE CITY OF ultimate marketing tool to get at their opponents. It is worth- authors, and academics. Strauss: firstly, a universal principle of reciprocity is underlying LATE-CAPITALISM while to consider what can be true urban-political acts and In ‘Fantasy Wears Boots, Desire is Violent, Invention is gift-giving and secondly, gift-giving is based on a variety of Psychoanalysis, Urban Theory and the City of Late-Capitalism what the contours are of an urban-analytic act that reveals Organised’. Metropolitan Insurrection and Psychoanalytic motives – there is no uniformity in the gift. In modern discus- was a three-day international workshop organised by BAVO the truth of a situation and opens up a space for different Categories, Alberto Toscano (Goldsmiths College, GB) inves- sions about the gift the idea of the universality of the rule of & Lorenzo Chiesa (researchers Theory department), in collab- urban organization. tigated the resonance of psychoanalytic categories in debates reciprocity seems to prevail over the notion that gifts are oration with the Academy of Fine Arts Maastricht and the Jan on the urban strategies of the Italian extra-parliamentary Left. varied and can embody different intentions and motives. van Eyck Academie as part of Super! First Triennial of Fine Psychoanalysis in the City He specifically explored the directives to ‘take over the city’ Gifts can take the form of potlatch, where power and prestige Arts, Fashion and Design. It gathered a number of experts The third day of the conference on 20 November focused (Lotta Continua) and to construct or rather re-appropriate are the dominant motives, but many acts of gift-giving are from the fields of Marxist urban theory, radical political phi- on psychoanalysis in the city. There is no doubt that psycho- ‘red bases’ (Potere Operaio). Toscano queried the role of the meant to maintain and fortify social ties. According to Komter, losophy and Lacanian psychoanalysis, who delivered papers analysis is a historical product of the capitalist city. Suffice it language of ‘desire’ in these ephemeral and opaque political there are basically four broad categories of motives to give: on topics relevant for our understanding of what some have to recall how Freud’s early observations of Little Hans’s pho- moments. Moreover, he studied how the critique of the poli- more or less ‘pure’ altruism, power-related motives, equality- called ‘the post-metropolitan condition’. They analysed post- bia took place against an urban background of warehouses, tics of desire prepared the ground for a surge of interest in

oriented motives, and predominantly self-interested motives. urban developments and formulated new forms of resistance. loading docks, railings and carts. The discovery and evolu- Lacanian psychoanalysis.

^ Apart from the abovementioned presentations, Erik Vogt Urban culture is no longer thought to be the most effective tion of the ‘talking cure’ is inextricably linked to the specific Yannis Stavrakakis (political^ scientist and theorist, GR/GB)

(Trinity College, US) presented the paper On Gift, Freedom motor for democratization and emancipation. While Marx socio-political conditions of fin-de-siècle Vienna and the presented Re-Acting to Zizek’s Act/Re-Enacting the Act: Real

^ and Violence in Sartrean Community and Marin Terpstra and his descendents dreamt of ‘the urban’ as something later rise of twentieth century cosmopolis. In more recent and^ Symbolic Dimensions in Psychoanalysis and Politics. (Radboud University Nijmegen, NL) lectured on Cult in that might foster universal solidarity and radical social times, Jacques Lacan himself elaborated his theory of dis- Zizek’s work has been instrumental in launching a whole field Modern Political Order. Or: from Dogville to Godville. change, today’s metropolitan areas are often considered courses in concomitance with and in relation to the urban of Lacan-inspired political theory. His recent writings are places of disintegration, segregation and violence. For uprising of May 1968. structured around a conceptualization of the act modelled on

POLITICS AND JOUISSANCE Freud the metropolitan way of life made possible the hysteri- The current debate concerning the interplay between psy- Lacan’s concept of the Real and put forward as the kernel for

^

Lorenzo Chiesa and Oliver Feltham (researchers Theory cal subjectivity with which psychoanalysis begins; today, in choanalysis and the capitalist city seems to revolve around ethico-political praxis ^ in our age. Stavrakakis articulated a

^ department) organize a series of workshops on the theme of an environment in which individuals and communities have two fundamental sets of questions. The first concerns the critical reading^ of Zizek’s version of the act and hypothesized politics and jouissance in philosophy and psychoanalytical withdrawn into a solipsism that is nurtured by the isolating precise location of the ‘urban unconscious’ in today’s metro- that, in Zizek, the complex Lacanian negotiation between theory that takes place from December 2005 until May 2006. gadgets of technology, subjectivity seems to be evaporating polis. The second set of questions concerns the precise socio- negative and positive is ultimately disavowed or downplayed In 1972 Jacques Lacan laid down a challenge to philoso- into a general sense of autism. political role of psychoanalysis in the city of late-capitalism. and replaced by a positive politics of the event/act as miracle.

phy: to think jouissance. The philosophers who have most The workshop tackled these issues by gathering specialists He re-articulated the status of the act which links Lacan’s

^ clearly taken up this challenge have done so ^ in the order of Identifying the Urban Unconscious working in many different fields, from psychoanalytical theory insights on the act (as operating on both the real and the love and politics: Jean-Luc Nancy, Slavoj Zizek and Alain On 19 November presentations focused on the construct and practice to sociology and philosophy. Psychoanalysis as symbolic level) with a radical democratic project founded on Badiou. This project will primarily be a question of politics. of the city of late-capitalism. What are its basic procedures? an agency for urban-political action forecloses in different the possibility of continuously re-enacting the act. Yet, the question remains whether contemporary philosophers How do they secure the city’s normal functioning? Or inver- ways vital questions such as: should we not prevent the dis- Edward Soja (professor of Urban and Regional Planning, have taken on board the full significance of Lacan’s explora- sely, how is the city kept in a permanent ‘state of emergency’? course of the analyst from being re-inscribed into the dis- UCLA, and Centennial Professor of Sociology at the London tion of jouissance. In Seminar XVII, Lacan states that one of Of special interest were studies of Marxist-oriented urban courses of the master, university and hysteric? Is there a School of Economics, US/GB) presented Urban Psychas- the non-eliminable presuppositions of politics is that all dis- theorists and Lacan-inspired psychoanalysts that lay bare specific politics of psychoanalysis that stems directly from thenia. A Spatioanalysis. Rather than focusing on psycho- courses deal with jouissance. Psychoanalysis qua science of how the city of late-capitalism increasingly depends on the discourse of the analyst? Should such a political agency analysis, Soja has been concerned with spatio-analysis, the unconscious is thus related to the field of the political, psychosocial processes to generate the necessary increase ultimately establish a polis of analysts by means of a psycho- a term suggested by Henri Lefebvre to describe those who insofar as we acknowledge that it deals with jouissance. in ‘return value’ or to secure control over its subjects. There’s analytical avant-garde collective? Conversely, can a psycho- see the world through assertively spatial lenses. Soja explored Starting off from the premise that the discourse of the capital- the production of geographies of fear, the stimulation of an analysis-based form of architecture and town planning work the concept of urban psychasthenia, a disturbance between ist is ‘a particular determination’ of the discourse of the mas- economy of all-pervasive transgression, the explosive ‘inmix- and what are the political implications of this? the self and surrounding urban spaces, which leads us to ter, this project aims at exploring two fundamental questions: ing’ of race and class tensions, the virtualization of the every- In his paper Crime Does Pay! How Architecture and Town camouflage ourselves into the environment. He further exam- What kind of economy of jouissance does the discourse of the day – phenomena which unveil the ‘urban unconscious’ of Planning are Powered by Crime Michael Zinganel (architect, ined the precession of hyper-reality in the urban arena (such capitalist impose? How does Lacanian psychoanalysis help us today’s metropolis. art historian, artist, curator, theoretician, AT) argued that as the ecology of fear, gated communities and cyber cities) think philosophically its demise? crime pays – not always for the ‘criminal’ or the unfortunate on a national and global scale. The first presentations in this series dealt with politics and Conceiving of an Urban Act victim, but certainly for ‘society’. Because, according to Marx, In his presentation Is Psychoanalysis a Metropolitan Science? jouissance through science. Antonello Sciacchitano (psycho- Central to the interventions on 19 November was the issue the criminal not only produces the crime itself, but also the Some Reflections on Freud and the City, Aaron Schuster analyst and mathematician, IT) presented the lecture Who of agency within the late-capitalist urban situation. The preventive measures against crime: the police, the penal (researcher Theory department) explored the question of the Enjoys in Democracy? on mathematics of sexuation and participants debated on which spatial tactics discussed in code, the judicial system and the prison. The anxiety generat- relationship between philosophy, psychoanalysis and the city mathematics of politics and Johan Schokker (researcher day one are most adequate and effective to tackle the late- ed by real or imagined crime is not only portrayed in numer- and sketched three basic portraits of urban life in accordance Theory department) presented Scientific Practices, the Letter capitalist mechanisms and what consequences can be drawn ous aesthetic forms of expression, like crime novels and with what he takes to be its main treatments in twentieth centu- and Ontological Politics. Respondents were Lorenzo Chiesa with regard to the subject position of the urban designer, police movies, it also produced preventive structural, archi- ry thought: the modern city as a place of traumatic shock or and Oliver Feltham. activist or analyst. tectural and town-planning measures. Crime seems to be over-stimulation (Simmel, Benjamin); the polis as a public

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space permitting presence against the background of a Democracy Marc De Kesel (advising researcher Theory fundamental absence (Heidegger), and urban existence as department) related the current increase in racist behaviour a drama of self-presentation and self-styling (Sennett). to the broader issue of human identity by detecting hatred as André Nusselder (researcher Theory department) presented a characteristic of all identity, even of the most pacifist and his paper Psychic City Walls, in which he considered the city anti-racial. While racism may be in its own right avoidable, as an ‘extension’ of the psychic barriers that identify the self. what is fundamentally unavoidable is the ‘identity hatred’ that The city determines how we define ourselves, what we consid- we find at the very heart of racism. In his Lacanian analysis, er as ‘self’ and ‘other’, through such concepts as the neigh- De Kesel showed that in order to combat racism its ‘identity bourhood, the gang, gated communities, one city versus hatred’ should be openly acknowledged and affirmed, which another city, the matrix of cyberspace superimposed above is what parliamentary democracy is commonly held to do. the material city. Such an approach of the city (or ‘cities’) as Only when an attitude of discussion and debate prevails, can a ‘psychological cocoon’ questions its ideal function as a the hatred bred by our identity find a truly humane expression. cosmopolitan medium for social interaction and communica- In ‘Mettre un peu de honte dans la sauce’. Third Way tion, as a liberating medium of continuously changing and Cultural Activism, the Discourse of the Analyst, and the City new self-formations. Especially the ‘informational city of of Late-capitalism, BAVO argued that recent cultural activism postmodernism’, which is increasingly designed and accessi- dealing with socio-spatial symptoms typical of global capi- ble from behind the computer screen, seems to boost man’s talism – the erosion of the public space, the marginalization condition of screening himself off, and lead to an increasingly of social classes, the violent exclusion of illegal residents – self-enclosed individual that only imagines, by means of his shows a common denominator: the logical form of a ‘Third (technological) interfaces with the world, to be cosmopolitan. Way’. Every instance of activism intends to deconstruct, medi- In For What it’s Worth. On the Meaning of Money in ate, reconcile or overcome typical oppositions, such as high Psychoanalytic Economy Dany Nobus (Brunel University, versus applied art, esthetical autonomy versus heteronomy GB/BE) argued that money has always been a thorny issue for or the cultural actor as a critical outsider versus a collabora- psychoanalysis. Insofar as psychoanalysts have contributed tor. Rather than offering possibilities of cultural resistance, extensively to an understanding of the psychic significance of this search for a ‘Third Way’ boils down to a mere ‘domesti- money, they have not been able to come up with a solid con- cation’ of a more fundamental connection between cultural ceptual framework for grasping the status and circulation of activism and politics. money (fees, payment, costs) within their own clinical prac- PSYCHOANALYSIS-URBANTHEORY.JANVANEYCK.NL tice. This has prompted cynics to argue that psychoanalysis is actually worse than capitalism, since it validates an economic system in which people have to pay for the work they are being told to do (whereas in capitalism labourers at least receive some form of recompense for selling their labour). Is it possible to formulate stringent psychoanalytic criteria for determining the cost of psychoanalytic labour? Nobus argued that the difficulty of placing a price on what is being generated in and through psychoanalysis stems from the impossible task of assessing the value of a process that is neither accumulative nor sacrificial, but geared towards recognition of the intrinsic limit of psychic economic control. In her intervention The City at the End of History, or the Eternal City of the Unconscious Juliet Flower MacCannell (professor emeritus of Comparative Literature at the University of California, Irvine, US) explored the psychical aftermath of late-capitalism’s strenuous reformation of the city, which sup- plants the democratic urban model in favour of ‘tourist cities’ or cities organised primarily by flows of capital. She explored what psychoanalysis has to tell us about the post-modern condition of the city – the city ‘at the end of history’, the city re-eternalized – or about civilization and its discontents for the post-democratic urban subject. In his paper Something Inevitable in Racism. A Lacanian Perspective on Cosmo-Political Identity, Hatred and

96 / JAN VAN EYCK ACADEMIE 2005 ...... RESEARCH PROJECTS PUBLISHING BOOK MARK

CAMOUFLAGE COMICS. DIRTY WAR IMAGES

HOW THEY MET THEMSELVES

INTERLUDE. THE READERS’S TRACES

RESEARCH AS AUTHORSHIP

THE DRAWINGS

THE TOMORROW BOOK. NAVIGATING TO, WITHIN AND BEYOND THE BOOK

THE XEROX BOOK

THINKTANK

UBISCRIBE

WHEN THE STORY FINISHES LIGHT SADNESS GRASPS ME POSTER RESEARCH AS AUTHORSHIP INVITATION FUSEDSPACE DATABASE INVITATION DRAW A MAP COVER INTERLUDE. THE READER’S TRACES SPREAD FROM INTERLUDE. THE READER’S TRACES INVITATION INTERLUDE. THE READER’S TRACES COVER WHEN THE STORY FINISHES LIGHT SADNESS GRASPS MEINVITATION INTERLUDE. THE READER’S TRACES CD-ROM MUSEUM IN MOTION?? PUBLICATION THE DRAWINGS PUBLICATION THE DRAWINGS WWW.CAMOUFLAGECOMICS.COM ...... RESEARCH PROJECTS PUBLISHING BOOKMARK CAMOUFLAGE COMICS

BOOKMARK. site) and Aarnoud Rommens (researcher Theory Department) A SELECTION OF CENTRAL EUROPEAN TYPOGRAPHY presented the audience with background information on the From 16 December 2004 until 11 February 2005, the exhi- project and the website. bition Bookmark showed a selection of Central European Camouflage Comics aims at producing reflections – both typography. In the library of the Jan van Eyck Academie a set in the form of written and visual material – on the interplay of 50 bookmarks was installed directly on book shelves. Each between art, dictatorship and human rights in general and bookmark represented one typeface, showing one large indi- the legacy of the Argentine ‘dirty war’ (1976-83) in particular, vidual character, the alphabet set in the respective typeface, with a focus on comics. The site Camouflage Comics: Dirty and information about the designer and the typeface itself. War Images is a discursive memorial, drawing on the utopian The exhibition was coordinated by Johanna Balusikova potential of memory, opening up new associations and inter- (researcher Design department 1999-2001, SK). The main pretations via the visual (and written) traces left by the artists. exhibition was held in Museum Meermanno in The Hague, There are roughly two sections in Camouflage Comics. First, while the sub-exhibition was simultaneously shown at several there are the custom-made comics and illustrations made by libraries of art academies in the Netherlands. graphic artists and script writers. These new works are picto- rial articulations of what it means to be living in Argentina today, a country still haunted by the spectre of the Proceso, the Argentine dictatorship. Secondly, Camouflage Comics contains essays concentrating on cartoons and comics pub- lished during the dictatorship, or during the time of transition from military rule to democracy. These analyses also shed light on the new comics. Indeed, the two parallel timelines continuously intersect, urging us to interpret the ‘new’ in light of the ‘old’ – and vice versa. WWW.CAMOUFLAGECOMICS.COM

Bookmark, Johanna Baluskova

CAMOUFLAGE COMICS On 19 May, the website Camouflage Comics was officially launched at the Academy of Fine Arts Maastricht, NL. Ingrid Camouflage Comics, Aarnoud Rommens Stojnic (Rekall Design, with Bert Balcaen, designers of the

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HOW THEY MET THEMSELVES a page again, a note in the margin, perhaps a coffee stain. Christine Lemke’s (researcher Fine Art department 2003- This is why Castillo Deball invited various artists, designers 2004) artist’s book interrelates text and found imagery. and theoreticians to produce their own ‘traces’: a textual or Departing from the 19th century motive of the Doppelgänger visual contribution, which were added to the library books as as pictured in the pre-raphaelite painting How They Met appendices. The members of staff themselves determined the Themselves by Dante Gabriel Rossetti, her texts trace a ‘Self’ strategy for distribution of the pages: in a specific department or a pattern of a ‘Self’ which is not fixed, but which evolves of the library, in a certain selection of books, on a certain along the textual structure in a rather searching movement. page of a book, … Mariana Castillo Deball photographed It is a ‘Self’ which confuses its inner and outer space. It mixes these traces, produced and left behind on purpose, and up sensory experiences with visuals, commercials with memo- recorded them on microfilm, together with the photo report ries, friends with actors and romantic self-experiences with on the behaviour of the library users. The microfilms, in turn, expanded wellness-environments. A ‘Self’ which can only find were left behind in the microfilm databases of the libraries. itself in the reflecting gaze of the others or in its own visual The artist’s book Interlude. The Reader’s Traces brings togeth- representations. er the photo reports and the photographs of the microfilms with the actual pages added in the library books. For the proj- INTERLUDE. THE READER’S TRACES ect to come full circle, the book itself now has to be included Interlude. The Reader’s Traces, an artist’s book by Mariana in the collections of the libraries that were researched. Castillo Deball (researcher Fine Art department 2002 -2003, MX), was launched at the Stedelijk Museum CS in Amsterdam RESEARCH AS AUTHORSHIP on 21 April. The book was the outcome of her research Kasper Andreasen (researcher Design department) organised project at the Jan van Eyck. For the occasion of the launch, a series of lectures, studio visits and workshops around the Paul Elliman (artist, GB), Ian Monk (poet, translator, GB), topic of the authorship of spatial and ‘placial’ representation. Steve Rushton (writer, film maker, researcher Theory depart- These took place at the Jan van Eyck, on 17 March; 6-7 ment 2001-2002, GB), K. Schippers (auteur, NL) (gave April; 20 May. Since 2003 he had been comparing and ana- their comments on the book, in the presence of Mariana lyzing different aspects of historical, urban and autonomous Castillo Deball and the designer of the book, Manuel Räder maps: forms of representation, the notion of place, the ways (researcher Design department 2001-2002, DE). meaning is structured. According to Andreasen, cartography and drawing not only act as a way of mapping what is physi- cally present, but they also act as a form of reworking mental spaces, or the experience of places and spaces we inhabit. This conclusion is one of the points of departure of Andreasen’s work on paper. Andreasen’s first guest, Will Holder (independent designer, NL/GB) is predominantly interested in how knowledge is shared, or put simply, the act of publishing. He has taken to Research as Authorship, Kasper Andreasen reading out loud in public or asking others to read or recite as acts of three- dimensional publishing. Thus, on 17 March, Holder presented his statement An Attempt to Evolve, which is an ongoing lecture or public reading, whereby the end result is an accumulated self- portrait over a long period of time. This (initial) episode of An Attempt to Evolve considers lan- guage, or correct wording and naming, being at the root of any healthy design decision in terms of evolution and survival. On 6-7 April Willem Oorebeek (artist, printmaker, NL) Interlude. The Reader’s Traces, Mariana Castillo Deball visited the Jan van Eyck, to answer questions like ‘To what Mariana Castillo Deball did research in Berlin, New York extent do interests and needs of your own influence your and Paris into the way the public uses libraries and their practice as an independent printmaker?’ ‘How important is books. She documented the behaviour of the public in these an ephemeral vocabulary in your work and how do the reading and study places in a photo report. The images notions of time and space occur?’ Oorebeek presented him- reveal how readers mark out space by arranging books, self by giving a lecture introducing himself and his work. He pens and laptops on the tables, how readers fall asleep over talked about his particular interest in collecting images and their books, et cetera. The photographs also expose traces how these were dealt with within the context of the printing readers left behind in books: a small piece of paper to find mechanism. With this in mind, a one-day printing workshop

114 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 115 Draw a Map, Kasper Andreasen 116 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 117 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS PUBLISHING RESEARCH AS AUTHORSHIP PUBLISHING THE TOMORROW BOOK THE DRAWINGS THE TOMORROW BOOK was organised in order to generate critical thinking about the (summer 2005) and now in her series of cards, The Drawings. manual printing mechanism: participants could investigate ‘If advertising is the dominant visual language of commerce, two procedures of image-making through the simple use of Kakhidze’s drawings involve the subtle undermining of that a photocopier. The material used was a collection of news- language, a playful emptying out of its lines of force.’ paper cut-outs of places and spaces. The collection was Kakhidze’s criticism not only takes place on the level of the inventoried by name and newspaper into individual piles of drawing, but also by approaching the shop as a gallery, images. The participants discussed two methods to develop as a venue that carefully exhibits its precious goods. It is ‘a procedures for printing the piles of images: on the one hand, ‘minor’ resistance, perhaps, that Alevtina Kakhidze’s draw- the objective presentation of a pile of images and, on the ings turn against the process of becoming a normal, that is other, the subjective choice for one specific image and its to say, normalized, Western consumer. relevance to the rest. The workshop finished with a wall paste- up in the gallery space presenting the results of the workshop. On 20 May Christoph Fink (artist, BE) presented his Introduction to the Atlas of Movements as an Interlude to the ‘Résistance’ Series. Fink’s work mainly focuses on the jour- neys he makes all over the world. His work, which he calls an Atlas of Movements, comprises maps and also notes, tables, calculations, photos, sculptures and sound recordings. His creations are based on his own subjective experiences, which define his world-view. These journeys – on foot, by bicycle, car, train or aeroplane – are not just a means of reaching a particular place, but are in fact more important than the Glaspaleis Heerlen, Alevtina Kakhidze destination itself. Fink addressed queries into his own interests and needs influencing his practice as a walking artist, and THE TOMORROW BOOK. talked about the method he invented for the direct translation NAVIGATING TO, WITHIN AND BEYOND THE BOOK and representation of your walks in printed matter. In the current debate on the book a defensive stance is often Finally, Draw a Map was the title of an exhibition showing taken, since it is argued that the very existence of the book drawings, prints and books made by Kasper Andreasen. The as a medium is threatened. It is said that new technological exhibition was held at the Jan van Eyck Academie from 29 media are displacing the book, book craft is deteriorating June to 16 July. It showcased his research on how a drawn due to a lack of specialist expertise and the massive, and line can represent a space on a map, in relation to the use that worldwide distribution of bestsellers hinders the publi- of language. It was shown that each spatial representation is cation of less commercial texts. a subjective document, a personal interpretation of a specific The research project The Tomorrow Book. Navigating to, location at a given time. Thus, he has made a map of within and beyond the Book is not taking such a negative London, on which only the street names, here and there made approach. Convinced of the fact that the book will always visible in words, remind one of a traditional map. The lines exist, the project members of The Tomorrow Book centre on normally indicating streets have been replaced by a different the future of the book. The book, after all, has a physical real- kind of line: a drawing of an architectural environment in ity and functionality that is irreplaceable in education, science Alexandra Palace. Today’s Escape Route shows how the and the public domain. The Tomorrow Book therefore focuses boundaries of the line can generate new images, thoughts attention on the book as a material object. It takes a multi- and ideas – the mapmaker as author of space. disciplinary approach and highlights aspects such as editing, typography, book design, publishing and distribution. THE DRAWINGS The overall theme of The Tomorrow Book is navigation. ‘If you really want it: don’t buy it, turn it into lines.’ That must The term navigation is not merely used in the field of non- have been one of the motives for Alevtina Kakhidze (resear- material new media; it can also be applied to the material cher Fine Art department) to make several black and white book. The very term navigation refers to the book, to the ways drawings of luxury commodities and their prices, as Norman in which books are made available, appeal to the reader and Bryson clearly points out in his essay I Don’t Need It/I Want It. are subsequently purchased or borrowed. Structuring of infor- One of the activities to prepare the societies of the former mation and different systems of distribution partly determine Eastern block for their engagement in Western social and navigation towards the book. Navigation within the book can cultural systems, he states, is shopping. This Western con- purposively be done through particular references (the index, sumerist culture is exactly what Alevtina Kakhidze critically notes, page numbers, illustrations) or through personal asso- researched in her exhibition at the Glaspaleis in Heerlen ciations. Historical developments in book production and

The Tomorrow Book 118 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 119 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS PUBLISHING THE TOMORROW BOOK PUBLISHING THE XEROX BOOK THE XEROX BOOK THINKTANK UBISCRIBE reader attitudes influence this type of navigation. Navigation repetitive practice, instructions, insistence, audience and On 15 November, there was a presentation by Thinktank’s outside of the book, then, relates to the state of the book and poetry as a means for structuring a social environment. first invited guest: m7red, an urban resource network based its content once it is published, distributed and read. In short, Daniël van der Velden stated that Books Become Buildings: in Buenos Aires, AR. Run by Mauricio Corbalán and Pio navigation refers to the ways that lead towards the book, the the exploitation of its physical size, weight and material fea- Torroja, m7red has completed projects in Argentina as well ‘signposting’ within the book and the ways in which the book tures made the book into a means to occupy space. These as in the United States, Brazil, Germany, the Netherlands and establishes relationships with the world outside of the book. ‘former coffee table books’ share a tendency to become Austria. Instead of designing buildings, they build forums that In January, a publicity campaign was set up to recruit coffee tables themselves. They might no longer be seen as bring together both experts and non-experts to discuss the researchers for the project The Tomorrow Book. The subse- maxi-books, but rather as furniture. Books are no longer most pressing political and urban topics: from total economic quent selection procedure took place in April and May of meant to be read or even opened. Books are no longer in collapse to healthcare in a post-welfare state. 2005. The selection committee assessing the project propos- the public domain, but private property competing with als comprised Lars Müller (designer, publisher, CH), Just van clothes, cars and design. UBISCRIBE Rossum & Erik Blokland (type designers, LettError, NL), Jouke After the September meeting, the newly recruited resear- The UbiScribe project was started up in 2004 and focuses Kleerebezem (artist, editor), Filiep Tacq (designer), Astrid chers on the project were set a first task in the context of on new modes of on-line and off-line publishing, in which Vorstermans (editor, publisher, NL) and Daniël van der Velden The Tomorrow Book: to make a design for the book produced networked information and communication support the con- (designer). Three researchers were recruited: Sarah Infanger, by the Visualising the Visual team, entitled Brakin 2005. ception, production and distribution of original publishing Joël Vermot and Richard Vijgen. In December there was a second, closed, project meeting, formats in any media. In an additional programme, UbiScribe On 13 and 14 September the research project The at which advising researchers Daniël van der Velden and Filiep investigates so-called ‘content management systems’ for Tomorrow Book started with a meeting of its researchers Tacq sat down with researchers Sarah Infanger, Joël Vermot their application in artistic production. (Sarah Infanger, Joël Vermot and Richard Vijgen) and advis- and Richard Vijgen in order to take a close look at the project The research project and online publication platform ing researchers (Daniël van der Velden, Jouke Kleerebezem proposals of the new researchers and to critique and fine-tune UbiScribe sets out to investigate authoring and publishing and Filiep Tacq). Together with special guests Lars Müller them. Thus, Vijgen’s project wishes to explore the non-physical in the age of personalization. Personal computers and com- and Will Holder, they advanced some theses on the book, space of the book, with experiments around authorship, cross- munication devices, personal preferences and personal(ised) reflected on the possible direction of the research into the ing the borders of the book and rethinking the organisation of publishing define our communication today. Embedded in future of the book and formulated a working method. the library. Vermot will study how the future of the book takes our communication networks, ubiquitous writing and publish- Thus, Jouke Kleerebezem’s statement Ubibook-Mark-up place in the pertinent adaptation of its specific elements in an ing is a reality, as can be witnessed in the existence of multi- expounded his views that a new medium – a ‘tomorrow book’ accelerating communication world and how the role of graph- tudinous multimedial and multidisciplinary chronicles – can only be invented in our time and age, if we benchmark ic designers can evolve, between the book and digitalisation, (weblogs or blogs, vlogs, photologs, et cetera). it by answering two essential questions: where and when can authors and readers, structure and narrativity. Besides stimulating research on personal publishing, it be produced, accessed, stored, shared and deleted or Sarah Infanger intends to investigate how materiality and UbiScribe supports and hosts network publications which The Xerox Book updated. This in view of the fact that any medium of our time book structure can influence our perception and how it by their nature and execution use the possibilities of the is both container and content, supporting any imaginable becomes part of (self-)reflective navigation. Will Holder and THINKTANK Internet/web optimally. These network publications are piece of information, in text, image, possibly sound, anytime, Lars Müller, Inga Zimprich (researcher in the Fine Art depart- The Thinktank is a proposal for a groupware, an online col- emphatically different from publications which could exist any place. Where the text is, is the medium. Where the medi- ment) and Koen Brams (director) were also present at this laborative environment, which offers practitioners from the on CD/DVD or in print. UbiScribe publications are open um is, is the information-driven consumer. round-table discussion. artistic, social and political field online spaces for group-work, structures which exist on and off the network, and which occur He further clarified that these Tomorrow Containers and The Tomorrow Book is a project in cooperation with Charles initiated by Inga Zimprich (researcher Design, 2005-2007). in a great diversity. UbiScribe offers possibilities to present Tomorrow Content, in order to enhance Tomorrow Literacy Nypels Foundation and supported by the Province of . On 28-31 August Thinktank presented its first conceptual the various forms of network publications more specifically or to cater for Tomorrow Leisure, should be open to multiple WWW.CHARLESNYPELS.NL/TOMORROW.HTML proposal at REX media art space in Belgrade together with and to search for more extreme positions. The platform hosts edits, random access, real time streaming and/or on demand Milica Gudovic, who spoke about the WITT project, a trans- not only the presentation of publication projects, but also the delivery, peer supported production, recommendation and THE XEROX BOOK (1968) national women’s initiative that teaches women the usage of evaluation of and reflection on the possibilities and impossi- distribution. On 21 November Seth Siegelaub (artist, US), Jack Wendler ICT as a strategic tool. bilities of network publications. Filiep Tacq elaborated on The Uncanny Strategies of the (co-founder Art Monthly, US) and John Murphy (advising (Art)Book. From Rubens to Ed Ruscha. The outside of a book, researcher Fine Art department) engaged in a conversation Welcome to Fusedspace Database especially the cover, has something to ‘say’ which goes on art and the politics of publicity, on formats and strategies The Welcome to Fusedspace Database exhibition, at Stroom beyond the actual content of the book. Publishers or artists of exhibition and distribution, on art, advertising and sign Art and Architecture in The Hague (NL), ran from 27 August want to convey a specific meaning with the design of their value. Siegelaub organised the group show The Xerox Book to 9 October and was designed by four researchers from the books. As such, design is used as a strategic instrument to in December 1968, in which he pioneered a new exhibition Design department: Tamara Maletic, Dan Michaelson, Sulki add to the content of the book. format and a novel strategy of distribution. Siegelaub used Choi and Min Choi – here united as Team Science Fiction. Swiss publisher Lars Müller stressed the three-dimensional advertising and mass media to make the art available uni- The exhibition was the follow-up of the 2004 internet com- aspects of the book in relationship to electronic and digital versally, freed from the confines of museums and galleries. petition Fusedspace, in which people worldwide had been media: Building Books into the Digital World. The publicity surrounding a show of conceptual art was Thinktank, Inga Zimprich invited to submit ideas online for innovative applications of Designer Will Holder considered language at the source of defined by Siegelaub as ‘primary information’ about the information and communication technology in the public design and publishing. In his statement An Attempt to Evolve works; low quality technology was to be employed to achieve domain. The ‘call for submissions’ resulted in 307 entries he presented 99 remarks on speculative fiction, allegories, mass distribution of the art. from 38 different countries. Ubiscribe’s Jouke Kleerebezem

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was one of the competition’s (final) jury members. The ‘Scifi to a specific location wherever they are needed. A mobile Team’ built three cone-shaped pavilions, each containing phone with camera function and a very few add-on devices a database terminal holding information on all 307 Fused- are sufficient to make the messages visible not just in written space proposals. In the design process for the exhibition they form but also in a photo of the vicinity. The virtual messages again re-edited the database, adding a complete new set of are cleverly superimposed on the real world (augmented real- handles, keywords and categories, which supported the final ity (AR)). The user can take a picture of the surroundings with access to the projects by thematic trajectories. On the out- a mobile phone camera. The digital graffito is then superim- side, the exhibition consisted of six information walls covered posed on the camera photo. with cityscape murals: images, text and barcodes – which In his contribution Urban Tapestries: Public Authoring, Place could be read with palmtop computers – containing addition- and Mobility, Giles Lane (artist and founder of Proboscis, GB) al information. Using a barcode scanner or a database, discussed his progress on social tapestries. Urban Tapestries visitors could follow several trails and find their own engage- is an experimental software platform for knowledge mapping ments with the many ideas raised by the competition’s pro- and sharing – it aims to enable people to become authors of posals. They could listen to summaries, read any author’s the environment around them: public authoring. It combines texts in his or her own words, read the jury statements and mobile and internet technologies with geographic informa- see each proposal’s original images. tion systems to allow people to build relationships between places and to associate stories, information, pictures, sounds The Matching Link and videos with them. At the one-day symposium The Matching Link, held on On behalf of Team Science Fiction Dan Michaelson 28 September to celebrate the Welcome to Fusedspace explained the design of the exhibition Welcome to Database installation, moderator Jouke Kleerebezem (ad- Fusedspace Database. vising researcher Design department) invited speakers to A second Ubiscribe meeting took place on 4 November reflect on and present projects which enhance public space 2005. Guests Mathew Fuller (GB) of the Media Design by means of communication media, showing how the flow Research programme at the Piet Zwart Institute, Wilfried of information today has merged almost seamlessly with the Houjebek (writer and psycho-geographer, NL) of socialfic- flow of goods, traffic, people – where virtuality has become tion.org and Simon Worthington (GB), director of Mute ma- deeply embedded in our daily lives, in other words, where gazine and metamute.org gave their comments on the project computing has become ubiquitous. The Matching Link looked proposals of Ubiscribe researchers Sandra Fauconnier (V2 Art into the information media which help us ‘author our (own and Media Technology, BE), Arie Altena (editor Mediamatic and each other’s) environment’: access and navigate its Magazine, NL) and Inga Zimprich (researcher Fine Art depart- physical and/or information realities, contribute to them, ment, DE), who had invited them for in introduction into their shape and change their experience, organise ourselves research areas and for a peer review. Both Fauconnier and When the Story Finishes Light Sadness Grasps Me in and through such ‘spaces’, and other issues relevant to Altena are to start their research in January 2006, respectively everyday information manipulation. about participatory media and cross-platform authorship, and Andrea Zapp (media artist, senior lecturer at Manchester personal publishing. Inga Zimprich’s project Thinktank – about When the Story Finishes Light Sadness Grasps Me is a journey Metropolitan University, Manchester, GB) presented Narrative the development of software facilitating collaboration on of images, seeking symbolic access to our minds, without our Networked Environments as Imaginary Spaces of Being, social-artistic project management – runs from 2005-2006. being immediately able to grasp their significance. This net- a publication about how we experience digital networking UbiScribe is funded by the Province of Limburg and the work of images examines the experience and representation and the Internet not only as leading platforms for artistic Mondriaan Foundation. of space. It also addresses the private and public context in ideas, but as extending far beyond their political and social WWW.UBISCRIBE.NET, WWW.UBISCRIBE.NET/THEMATCHINGLINK/ which art can be found: the studio and the museum, the neighbourhoods, infiltrating nearly every sector of our every- place of creation and presentation, while at the same time, day lives. This publication examines models of public instal- WHEN THE STORY FINISHES LIGHT SADNESS GRASPS ME people and events are kept out of the picture, out of the lations and theatrical spaces that are linked to the Internet Having realised photographic work and cinematic installa- space. Doris Lasch and Ursula Ponn reveal how the meaning with the aim to integrate the viewer into the artwork. The tions during their stay at the Jan van Eyck, Doris Lasch and of art depends on its context, a context which is simultaneous- book also serves as a central illustration and case study of Ursula Ponn (researchers Fine Art department 2003-2004, ly influenced by the book itself. The book contains a closing the specific discourse on narratives and of a more universal DE) subsequently made the artists’ book When the Story statement by Belgian curator Filip Luyckx, who writes: ‘As cultural debate on media art. Finishes Light Sadness Grasps Me. The book shows a wide the imaginary journey metastasises across different media, In his lecture Digital Graffiti in Urban Space, Roland Haring range of photographs, film and video stills of installations the strict division between mental and three-dimensional (key researcher at Ars Electronica Futurelab, Linz, AT) demon- and interiors in an almost filmic transference from image images breaks down. Perhaps the real interiors are no more strated how digital graffiti could be used in urban space. to image; these images are interspersed with poetic texts, than points of recognition whose task is to churn up our In the future, cell phone users will be able to leave messages which – although conceived as autonomous texts – may minds, so that the subconscious layers are exposed to the anywhere in the form of what might be termed electronic yet serve as bridges of meaning, symbolic links to the images surface.’ The publication was launched on 14 December in post-its. They will be able to post virtual messages referring in the book. Etablissement d’en face projects in Brussels.

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RESONANCE, MIMESIS, NOISE AND REFRAIN

SONGS FOR A NEIGHBOUR INVITATION CONFERENCE GILLES DELEUZE. THE PASSAGE FROM NOISE TO VOICE INVITATION CONFERENCE GILLES DELEUZE. THE PASSAGE FROM NOISE TO VOICE POSTER RESONANCE, MIMESIS, NOISE AND REFRAIN ...... RESEARCH PROJECTS THEORY, MUSIC AND NOISE GILLES DELEUZE. THE PASSAGE FROM NOISE TO VOICE

GILLES DELEUZE. whether the passage from noise to voice ever takes place. THE PASSAGE FROM NOISE TO VOICE Although that which is heard should belong to the Other, On 9 September the conference Gilles Deleuze. The Passage religious discourse invented the voice of the Other beyond from Noise to Voice, organised by Zafer Aracagök (resear- the self – even though it may be (heard) ‘inside’ the self. cher Theory department), was held at the Jan van Eyck Mutman argued that Levinas’ insistence on the dispossession Academie. The conference on Deleuze was an invitation to of the self by the voice of the other makes it difficult to think of consider a specific ‘passage from noise to voice’ in The the voice as uttering a sentence, if anything is uttered at all. Twenty-Sixth Series of Language of The Logic of Sense, with Islam, too, begins with the voice of the other: the command the intention of opening up Deleuzian philosophy to various ‘Recite!’, given to Muhammad by the angel Gabriel. In his ways of deterritorialisations from different viewpoints, includ- reciting, the two voices are unified: the voice of Allah the ing those of Leibniz, Kant, Hegel, Nietzsche, Lacan, Derrida, addressor (the other voice of Muhammad) and Muhammad and quantum theory. the addressee as recognized by the witnesses. The unicity of After Aracagök’s introduction of the subject of conference, Allah and of the Arabic language marks and consolidates the Arkady Plotnitsky (Purdue University, US) presented his essay difference of Islamic imaginary. While recitation is circular, Chaosmologies: Chaos and Thought in Gilles Deleuze and hermeneutic and dialogical on the institutional level, where Félix Guattari’s ‘ What is Philosophy?’, with Quantum Field it works as a power relationship between the imam and the Theory. This paper explored the conjunction(s) between Gilles student in the Qur’an course, it is at the same time always Deleuze’s concept of the virtual, ranging from his earlier re-citing, therefore dividing and abysmal, a flow of sounds, works to What is Philosophy? and modern mathematics and silences and cries, which remains heterogeneous to the physics, including chaos theory and quantum field theory. former level. The noise of lost writing keeps haunting and While the essay offered a comprehensive discussion of the encrypting the sacred word, like an invisible passage or slip- relationships between the workings of the virtual in Deleuze page from the voice to the noise. The recitation manual is and modern mathematics and science, its core argument designed to control this invisible passage in order to stop addressed the relationships between the idea of virtual the haunting, to regulate and shape the haunted voice. In particle formation, introduced by Paul Dirac as part of his his lecture, Mutman argued that the opening opened as the discovery of antimatter, arguably the most radical idea of voice or the noise remains open, beyond the word and 20th century physics, and Deleuze and Guattari’s equally beyond the faith, and in this opening, on the other side of radical concept of chaos in What is Philosophy?. its unicity, Islamic sign remains enigmatic and on the move. Marc Rölli (University of Darmstadt, DE) addressed the topic ‘Readability’ becomes the paradoxical imperative of this of Pragmatism and Structuralism in the Thought of Gilles other, unreadable, cryptic or lost sign. Deleuze. Rölli argued that he passage from (undifferentiated) In her lecture La Ritournelle: des Oiseaux et des Hommes, roar to (articulated) speech is based on the structuralism Manola Antonioli (author, theoretician, FR) explained how Deleuze had developed in Difference and Repetition (1968). in What is Philosophy?, Gilles Deleuze and Félix Guattari Given the criticism of structuralism in the name of pragmatic define philosophy as the art of forming, inventing concepts – thought in the philosopher’s later works (particularly A concepts being entities of multiplicity, consisting of various Thousand Plateaus (1980)), Rölli showed how Foucault’s components which define them. Antonioli focused on the theory of productive power relations, developed in the 1970s, concept of the Ritournelle, or Refrain, comprising territorial, motivated Deleuze to locate and theorize the pragmatic geophysical, aesthetic and political components and a Nature dimension not only in the order of speech but also in the order philosophy which is in dialogue with the achievements of of language itself. Rölli pursued the question of how the rela- biology and ethology. In particular, Antonioli highlighted the tionship between pragmatism and structuralism in Deleuze’s musical and the political dimensions of the concept of the writings on language can be characterized as a whole. Refrain, as well as the zones of neighbourhood and the limits Rosi Braidotti (University of Utrecht, NL) gave a lecture of indiscernability between those two components. entitled The Politics of Becoming, or: Self-Styling as Resistance. In his presentation The Sense of Logic. Lacanian Questions Braidotti focused on the theory of becoming in Deleuze’s to Gilles Deleuze’s ‘Theory on Language’ in Logique du philosophy, from a materialist perspective. The paper raised sense, Marc De Kesel (advising researcher Theory depart- the question of which ethical affects can best sustain the effort ment) aimed to focus on the fundamental differences between to engage in political, cultural, personal resistance – not only the Deleuzian and the Lacanian theories of language in order in the critical mode expressed by the cultures of opposition, to question the ontological suppositions in Deleuzian ‘struc- but also in the affirmative mode of creation of new alterna- turalism’. He explained how this question is decisive for that tives. The key idea was that of ‘sustainable ethics’. other huge question of 20th century philosophy, which is the In his contribution Passing. The Voice, Mahmut Mutman question of the subject. The conference was supported by the (Bilkent University, Ankara, TR) labored with the question Province of Limburg.

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RESONANCE, MIMESIS, NOISE AND REFRAIN On 24 May, in Refraining from the Refrain, Aracagök Zafer Aracagök presented a series of lectures on the philo- presented the idea that if the ‘resonance’ between Deleuze sophy of Gilles Deleuze. Within a framework based on spe- and Nietzsche can be used as a key to elucidate the function cific texts, each lecture addressed problematical issues such of ‘noise’ in the work of these philosophers, one possible way as mimesis, resonance, noise and refrain in the work of the of such an attempt requires an understanding of how Deleuze philosopher. The lectures, in that sense, offered a scrutinisa- and Guattari determine the relationships between chaos, tion of the Deleuzian thought through a deconstructionist milieus and the refrain. Especially in A Thousand Plateaus, filter which did not aim to destroy, but rather, to preserve the when Deleuze and Guattari handle the Wolfman’s case, they ‘problematic’ as a problem. say that it was ‘a call of multiplicity’ which was neglected by On 23 March, in his lecture On Rhythm, Resonance and Freud. As Deleuze puts it, if the passage from noise to voice Distortion, Zafer Aracagök discussed Agamben’s approach to is possible as long as the deterritorialisation of the rhythm is the question of rhythm in Hölderlin, as well as his reading of required towards the (de)constitution of the subject as a multi- Nietzsche’s The Birth of Tragedy in order to emphasize plicity, why should, as they put it, ‘the sound makes us want the Heideggerian steps he makes in his concern for truth. to die’? Is it sound or noise that ‘makes us want to die’? Aracagök also pointed to a widespread understanding Noise, as Nietzsche explains it, is a form of intoxication, of rhythm, resonance and distortion in philosophy in general, which knows no such distinctions between the formed and by referring to two different introductions of Nietzsche to the unformed. Is it possible to trace a sense of ‘distortion’ his The Birth of Tragedy, and Derrida’s Tympan, in Margins in Deleuze and Guattari’s understanding of distortion, disso- of Philosophy. nance, and noise when one pricks up one’s ears to the ways On 27 April, in the lecture Decalcomania, Mapping and Nietzsche talks about noise (ge-rausch) and intoxication Mimesis, an approach was developed to the problem of (rausch)? As far as following Nietzsche is concerned, can mimesis in Deleuze’s (and Guattari’s) works from the view- one theorise the immediate without yielding to noise? point of their concepts the ‘rhizome’, ‘the plane of imma- nence’, and ‘the image of thought’. If the importance of these SONGS FOR A NEIGHBOUR terms in their texts can be considered as setting up a barrier On 27 January Zafer Aracagök and Victoria Carolan (resear- against the return of the transcendental, Aracagök argued cher Fine Art department 2003-2004) gave a performance that the resurgence of binarisms and contradictions, although at the Jan van Eyck, where they explored the question whether partially resolved with their certain way of positing the plane every practice of listening first and foremost requires being Resonance, Mimesis, Noise and Refrain, Zafer Aracagök of immanence, cannot hide the return of the transcendental, a neighbour to oneself, and also running the risk of listening because of their privileging of one term over the other in a with the ears of a neighbour? Referring to Nietzsche’s thought binary system, which points to their uncritically maintained about ‘ears’, Derrida discusses that one listens always with position with respect to mimesis. In that sense, do Deleuze the ear of the other, that is, with a borrowed ear, since listen- (and Guattari), because of a certain insistence on leaving ing requires in the first place an ability to hear, or a capacity metaphysics behind, attempt to theorise the untheorisable, of listening to what one is telling to himself/herself. Unavoida- that is, the immediate, and therefore, fall victim to the prob- bly, one becomes a neighbour to oneself due to the shifting lems of what Nietzsche once called, ‘active forgetting’? positions of teller and listener. On 10 May, the lecture Noise on Noise, offered an analysis The performance intended to create a special experience of Schopenhauer’s and Nietzsche’s responses to noise – of ‘listening to a neighbour making music’, where the bound- stressing that in whatever Nietzsche borrows from aries between the music-maker and the listener were blurred, Schopenhauer, he introduces some certain sense of ‘noise’. and the act of listening was brought closer to the experience This is a move which can be traced both in Nietzsche’s philos- of the music-maker – who cannot hear the music he is mak- ophy of ‘noise,’ and also in the two philosophers’ approaches ing, because he himself is first and foremost in the position of to the question whether noise can be experienced, or theo- a neighbour to what he is making. rised as such. In this sense, it is a question which is closely related to the problem of the immediate in Schopenhauer and Nietzsche. For example, when Nietzsche borrows Schopenhauer’s theory of music and elaborates upon it in The Birth of Tragedy, he is very careful not to fall into Hegelian moves – which Schopenhauer reverts – by means of a certain sense of resonance, and noise. Can artwork be the immedi- ate itself, or can it only point to this impossibility of theorising the immediate as such?

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CHARDIN AND THE TEXT OF STILL LIFE

DREAMING IN THE PLURAL

JAPANESE CURATORS VISIT THE JAN VAN EYCK

MOTION PATH

SERENDIPITY

STEPPING OUT

THE PRACTICE OF DRAWING

VISIBILITY ANNOUNCEMENT JAPANESE CURATORS VISIT THE JAN VAN EYCK INVITATION STEPPING OUT. AN INVITATION TO DO SOMETHING NEW ...... RESEARCH PROJECTS VISUAL CULTURE ART’S BIRTHDAY 2005 DREAMING IN THE PLURAL JAPANESE CURATORS VISIT THE JAN VAN EYCK

ART’S BIRTHDAY 2005: PERMANENT CREATION DREAMING IN THE PLURAL On 17 January Nikolaus Gansterer (researcher Fine Art On 29 November Jan Verwoert (critic, DE) gave the lecture department) invited Jan van Eyck researchers to take part in Dreaming in the Plural: Calling up Ghosts and Sharing the global Art’s Birthday celebrations and contribute to the Secrets. On Artistic Modes of Collective Address, in which ‘acting instructions pool’, which served as scores for micro- he introduced and discussed various contemporary artistic performances during the evening. methods of working through the rhetoric of collectivity. In 2005, art is 1,000,042 years old – at least, it is accord- Verwoert tried to find models for art practices that invoke ing to Robert Filliou, French Fluxus artist, who claimed back in collectivity without necessarily imagining specific communi- 1963 that art was born 1 million years earlier on 17 January. ties. He wondered whether there could be methods and Filliou posited that the birth of art was marked by a rather rhetorical modes of address by which contemporary critical banal incident: someone dropped a dry sponge into a bucket art practices can speak and dream in the plural. He consid- of water. Filliou suggested to elebrate art’s birthday on 17 ered alternative modes of public address, more secretive January and to make this day a public holiday. forms of communicating collectivity, such as the innuendo, In recent years, countless artists around the globe have the moment of sharing a secret. related to this idea and organised parties to celebrate Art’s Birthday and exchange birthday presents, which often take JAPANESE CURATORS VISIT THE JAN VAN EYCK the form of telematic events via snail mail, telephone, On 24 September Japanese curators visited the Jan van Eyck. numerous radio channels, and later also via the Internet. On that occasion Fine Art researchers present their latest This year’s Art’s Birthday motto was Permanent Creation. work in the gallery space: Geoffrey Garrison, The Cut; Will The celebrations turned into a networked project with partner Kwan, Canaries; Lene Markusen, Sketch (for Mennesket); links around the world, including Baden-Baden, Berlin, Charlotte Moth, Balloon Party; Falke Pisano, Plan for a Lecture Budapest, London, Maastricht, Madrid, Melbourne, Moscow, on the Development of a Situation; Inga Zimprich, installation. Prague, Stockholm, Tokyo and Vancouver. Stéphanie Benzaquen (researcher Theory department) gave the presentation Cultural Representations of Genocide and Mass Murder, in which she focused on representation of genocide and mass killings in cinema, documentary films, exhibitions and so on. Benzaquen documents, visualizes and contextualizes representations of incidents of mass violence in culture, realms of memory, news media, academic essays, trials and humanitarian interventions. Geoffrey Garrison showed the preparations, the build-up and working process of the film The Cut; Garrison wrote a screenplay based on the film Freud the Secret Passion (1961). Lene Markusen presented her film Grad that deals with the (Soviet) past and its remembrance in contemporary Russian society. An ekskurszavoda, a traditional soviet guide, intro- duces the viewer to the main characters: a lady who, when young, went to Moscow in 1958 to make her dreams come true; three men who earn a living by posing as historical Permanent Creation figures; an old woman and her adult daughter who are particularly determined by the past. The re-construction of CHARDIN AND THE TEXT OF STILL LIFE the Soviet past generates different and contradictory points On 25 March Norman Bryson’s (advising researcher Theory of view. In this non-linear story time and space out of sync. department) seminar addressed Chardin and the Text of Still Stefanie Seibold (researcher Fine Art department) organised Life. Historically, still life was always at the bottom of the hier- the performance I Am Not Half the Man I Used to Be. Making archy of the genres. Still life has never seen much of a critical use of the ‘documentary’ elements of the film classic The literature, which leaves unanswered many of the fundamental Killing of Sister George, the performance dealt with certain questions concerning this type of image: What does still life aspects of the gaze and considered how hierarchical positio- do? What is it for? What is its range of cultural, affective, ning is developed, leading to the construction of the ‘other’. poetic effects? Rather than tackle the whole history of still life Tara Casey was the performer. painting, Bryson focused on the case of Chardin. Zuzana Lapitková (researcher Theory department) gave an introduction to Jeanne van Eyck, a public event she organised in the inner city of Maastricht. Jeanne van Eyck, the giant of

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MOTION PATH Casa poporului – scenarios for a dialogue, Vinca Kruk Be not afraid to break those flowers, Alevtina Kakhidze On 6 September Graham Ellard and Stephen Johnstone (artists, GB) gave the lecture Motion Path. Architecture and the Moving Image, in which they presented their video instal- lations that combine architecture and cinema. Their current project Motion Path is concerned with the inter-relationships between the structure and dynamics of architectural space and the moving image – in particular their common emphasis on framing and movement, the mobile point of view, parallax and the changing relationships between vistas, voids, solids and apertures.

Serendipity

STEPPING OUT. AN INVITATION TO DO SOMETHING NEW From 28 November until 12 December the exhibition Stepping Dish-cloths, Paul Hendrikse Prototype for Travelogue, Charlotte Moth Out. An Invitation To Do Something New presented work by researchers Armando Andrade Tudela, Kasper Andreasen, Nikolaus Gansterer, Geoffrey Garrison, Paul Hendrikse, Yolande Harris with Bert Bongers, Alevtina Kakhidze, Johanna Kirsch, Vinca Kruk, Lene Markusen, Adriaan Mellegers, Charlotte Moth, Falke Pisano, Stefanie Seibold, Saliou Traoré and Inga Zimprich. Stepping Out was not a conventionally curated exhibition, in the sense that no individual, or group of curators had been given the task of selecting, placing or creating a thematic in which to develop relativity for the works within this exhibition. Instead, the ideology of the Motion Path Jan van Eyck as an institutional container demanded a dif- ferent approach, whereby the generation of research and production provided a common ground within the space of the gallery space.

When you eat you are the king, Tina Clausmeyer Stepping Out, Overview 144 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 145 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS VISUAL CULTURE STEPPING OUT VISUAL CULTURE STEPPING OUT

All die dinge die wir brauchen, Nikolaus Gansterer 146 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 147 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS VISUAL CULTURE STEPPING OUT VISUAL CULTURE STEPPING OUT

The route book spine, Kasper Andreasen 148 / JAN VAN EYCK ACADEMIE 2005 JAN VAN EYCK ACADEMIE 2005 / 149 ...... RESEARCH PROJECTS ...... RESEARCH PROJECTS VISUAL CULTURE STEPPING OUT VISUAL CULTURE THE PRACTICE OF DRAWING VISIBILITY

THE PRACTICE OF DRAWING On 11 February Norman Bryson (advising researcher Theory department) held his seminar The Practice of Drawing. It focused on the fact that there has never been a tradition of commentary or aesthetic inquiry into the practice of drawing, as there has with history painting, or landscape, or portraiture. Moreover, academies of fine art have, for the most part, long since dropped drawing from their curriculum of instruction. Precisely in the era of its demise, or at least its undervalua- tion, drawing deserves theoretical reflection. It has the reputation of being the medium closest to artistic thought or inspiration, and the closest to perception. Does this claim have any substance? What other claims might be made?

VISIBILITY On 24 March Kathleen Rahn (art historian and curator at the Kunstverein für die Rheinlande und Westfalen in Düsseldorf, DE) elaborated on several projects and exhibitions that she realized. She also raised questions concerning art institutions and museums versus independent projects and artists’ spaces. On 8 March Hans Scheirl (freelance filmmaker, performer and artist, AT) gave a presentation and satirical performance: The Earth Is Pregnant With Art. The Creation Myth. A member of a London-based group Cyborg, consisting of progressive ‘trans-gendered’ men, he has a deep interest in transforma- tion. In his film Dandy Dust (1998) a split personality cyborg of fluid gender zooms through time to fight against a genealogical obsessed super-mother. Inspired by Hong Kong and Japanese live-action comic strips, splatter movies, queer underground, feminist and Viennese Aktionism, Dandy Dust is a transgender noize/splatter/scifi/horror/comics feature film. In his lecture Hans Scheirl presented paintings, installations and films, addressing such themes as language games, performance as central modus, perversion as creative potential beyond gender fixation, the dynamics between bodies, body-parts, body-extensions and waste-products as metaphor for becoming cyborg. In a lecture and screening on 28 November Cherry Smyth (critic, curator, poet, IR) explored how artists are examining questions of sexual and racial identity through video. Smyth argued that strategies of visibility, explicitness and explanation have been replaced by a probing, subtle and indirect approach. Artists discussed included Phil Collins, Mark Raidpere, Steve McQueen, Grace Ndiritu, Ann Course and Vanda Playford.

Stepping Out, overview

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KOEN BRAMS ORLA BARRY AGLAIA KONRAD 1964, 1969, Ireland 1960, Austria

Projects Orla Barry centres her practice on language, Aglaia Konrad travels to big cities and numerous On the Television Work of Jef Cornelis. written and spoken. Her work is strongly poetic urban agglomerations in order to, roughly speak- and lyrical. Barry was born in Ireland, and the ing, research the contemporary urban. Using Publications rhythm of her phraseology, the pictorial and nar- photography and video she focuses on the end- • De mythologisering van de Belgische kunst rative vernacular on which she draws, somehow less variety of urban time, its structural growth, of hoe de Vlaamse kunst Belgisch werd… evokes her homeland’s topography, climate and character and living order. The archive she has In: De Witte Raaf, 113 (suppl.), pp. 1-12. literary heritage. built up throughout the years has become a • Een gesprek met Guillaume Bijl, deel 2. Much of Barry’s photographic, video, perform- source for installations and publications. In: De Witte Raaf, 113, pp. 9-15. ance, text and sound installation work searches The presentation level covers Konrad’s interest • Le Double Secret – het dubbele geheim. for the place where myth, memory and a robust in space (exhibition space) in relation to the out- Interview met Jef Cornelis over ‘The Music and sensual physical reality intersect. side. Using windows, entrances or any openness Box’, ‘Les Vacances de Monsieur Mag., Een Barry invents a fiction of multiple ‘I’s, which she formulates a type of ‘montage’. These are Weekend met Meneer Magritte (Zaterdag en enrich our understanding of the unfixed, multiple attempts, temporary stills, preferably not to be Zondag)’. In: De Witte Raaf, 118, pp. 23 - 24. nature of identity. Barry’s use of female personae fixed. With her publications Konrad tries to ques- makes her feminism subtle, witty and pleasantly tion the role of the (representational) printed form. Moderating underhand. • On the Television Work of Jef Cornelis. Exhibitions (September-December). Maastricht, NL: Exhibitions • First Shenzhen Biennial of Urbanism and Jan van Eyck Academie. • Portable Stones. (25 November 2005 - 29 Architecture. (December 2005 - March 2006). • Lili Dujourie (1990). (4 April). With Jacques January 2006). London, GB: Camden Arts Shenzhen, CN. Charlier, Lili Dujourie, John Murphy & Centre. • Iconocity. (13 October -18 December). Dirk Pültau. Maastricht, NL: Jan van Eyck • …Mixing with the Sound of a Fountain. Antwerp, BE: DeSingel. Academie. (10 September - 9 October). Amsterdam, • 14ème Festival international des artistes de NL: W139. rue de Vevey. (25 - 27 August). Vevey, CH. • Chemins. (25 August - 25 September). Liège, • Avenirs de villes/Future for cities. In: Nancy BE: Galerie Nadja Vilenne. 2005. Le temps des Lumières. (7 May - • Encontro com Arte. (20 - 23 June). Sao Paolo, 22 August). Nancy, FR: Site Alstom. BR. (Exh. Cat). • Her City. (29 April - 18 June). Cologne, • Brussels South Airport. (20 May - 30 June). DE: Frehrking Wiesehöfer. Vienna, AT: Galerie Krinzinger. (Exh. Cat). • Portable Stones. (5 February - 24 April). , Publications BE: Stedelijk Museum voor Actuele Kunst • Amicalement vôtre. Tourcoing, (S.M.A.K.). FR: Musée des Beaux-Arts. • Landscapes. Porto, PT: Gallery Brando-Graca. • Iconocity. Antwerp, BE: DeSingel; Cologne, DE: Walther König. Films/video’s • Le journal de l’exposition ‘Avenirs de • Portable Stones. Video, colour, sound, 62’. villes/Future for cities’. In: Nancy 2005. Brussels, BE: Argos. Le temps des lumières. Nancy, FR: Alstom.

Screenings Reviews • Portable Stones. In: Argosfestival: Belgian • Dries Vande Velde. Aglaia Konrad. Iconocity. Focus. (14 - 21 October). Brussels, BE: Argos. In: De Witte Raaf, 118, p. 31. • Wideawake. In: Opening Week 2005. (10 -14 January). Maastricht, NL: Jan van Eyck Academie.

Publications • Amicalement vôtre. Tourcoing, FR: Musée des Beaux-Arts. • Severin Dünser (Ed.). Brussels South Airport. Vienna, AT: Krinzinger Projekte. • David Barro & Paulo Reis (Eds.). Razão e Sensibilidade. In: Encontro com Arte 2005. Sao Paulo, PT. • Portable Stones. Ghent, BE: Stedelijk Museum voor Actuele Kunst (S.M.A.K.).

Reviews • Bruce Haines. Orla Barry, Portable Stones. In: Kunst nu. February, pp. 20-25.

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JOHN MURPHY HINRICH SACHS • Designing Truth. (13 December). Followed ist weiterhin offen. Über Typographie, ARMANDO ANDRADE TUDELA PEGGY BUTH 1945, Great Britain 1962, Germany by a round-table discussion with Ansgar Stadtentwicklung und Speculation. (16 01.01.2004 – 31.12.2005 01.01.2004 – 31.12.2005 Philippsen & Inge Hinterwaldner. Basel, CH: November). Düsseldorf, DE: stadtraum.org. 1975, Peru 1969, Germany John Murphy’s work of the last decennium is Hinrich Sachs is artist and writer. Critically Kunsthalle. • Gala Night of the Cannibals. (11 November). th a mediation on what might be the work of an reflecting upon communicative and cultural • Designing Truth. (24 November). Rotterdam, In: BMW. The 9 Baltic Triennial of International In his work Armando Andrade Tudela traces Peggy Buth works with different media, trans- exhibition. An exhibition as an itinerary, but an frameworks, he focuses on testing, elaborating, NL: Piet Zwart Instituut. Art. With Jochen Schmith. Vilnius, LT: moves of displacement in discourses on history, forming various forms and relating them again itinerary as Gilles Deleuze says in his Abécédaire choreographing and transferring cultural ma- • Designing Truth. (13 September). With Ansgar Contemporary Art Centre (CAC). architecture and vernacular paraphernalia. to each other. She is interested in the developing whichs tends towards encounter. An encounter terial, in other words: its forms and formats. Philippsen. Maastricht, NL: Jan van Eyck • Kami, Cookie-monster, Bert und Ernie He studies how signs and symbols can be less ‘body’- the relationship between equality and with the other. Since 1999 he has worked as an artist both Academie. (all together now). (25 June). In: Relocated than fixed and static and reconfigures values value within a construct or a production. For John Murphy an exhibition is the special within and outside the art-world context, working • Designing Truth. (14 May). With Ansgar Identities II. Amsterdam, NL: Public Space and meanings, thus creating means to compre- The objects that thus develop can be described place of intervals. A place where works of art with, amongst others, architects, exhibition Philippsen. Utrecht, NL: CASCO. With A Roof (PSWAR). hend our immediate landscape and historical within an ever-changing and transforming order. placed side by side may start to compose their designers and publishers. • Kultur besitzen. Aktuelle kulturelle Produktion background. His work is about dialogue and This working method produces a kind of ‘contra- own history. A place of endless returnings of Publications und der Transfer kulturellen Erbes. (21 May) exchange, about strategies to replace and dis- story’ that repeals a fixed structure or evokes a repeated new beginnings, where works of art Projects • The BMW book. In: The black box. Vilnius, In: 10 International Design Conference TYPO place unfamiliar information for ‘real’ databases different order. become unstable, unfixed, forever filled with • Trichtlinnburg. LT: Contemporary Art Centre (CAC). Berlin 2005. Organised by fontshop. Berlin, and about alternative ways of keeping informa- new readings and unstable meanings. • Hinrich Sachs (Ed.). Trichtlinnburg. An urban DE: Haus der Kulturen der Welt. tion in transit and motion. Exhibitions Curated projects and events affair. With Hildegund Amanshauser & • Trichtlinnburg. (12 May). In: Authoring the City • Untitled Excerpts. (16 December 2005 - Exhibitions • Favourite Videos (from the Collection of the Mare Pedanik. Maastricht, NL: Jan van Eyck at ABKM. Organised by Academie Beeldende Exhibitions 9 January 2006). Liège, BE: Galerie Nadja • John Murphy. Up or Down, It’s All the Same: Kunstmuseum and Others) (14 December). Academie. Kunsten Maastricht & Jan van Eyck Academie. • Untitled Excerpts. (16 December 2005 - Vilenne. (Exh. Cat.) in Gent or Venice. (8 October - 20 November). Basel, CH: Museum für Gegenwartskunst. • [Untitled]. In: The Need to Document, Maastricht, NL: Academie Beeldende Kunsten. 9 January 2006). Liège, BE: Galerie Nadja • Freezer. (29 November 2005 -14 January Ghent, BE: Het Kabinet. • Trichtlinnburg Maastricht. An Urban Affair. pp. 233-236. Zürich, CH: JRP/Ringier, • Abidjan. Ein Arbeitsbericht. (19 January) Vilenne. (Exh. Cat.) 2006). London, GB: Archeus Galerie. • … Mirror. (1- 22 April). Edinburgh, GB: (27 May - 5 June). In the public space of Kunsthaus Baselland, Halle für Kunst. In: Kulturaustausch. Komplikationen mit dem • Torino Triennale Tremusei. T1, the Pantagruel • Peggy Buth & Dirk Scheidt. (3 - 24 September). Sleeper (Reiach & Hall). Maastricht. Maastricht, NL: Jan van Eyck • Holiday from the Self. In: Looking, encounter- Fremden, Interdisziplinäre Ringvorlesung. Syndrome. (11 November 2005 -19 March Berlin, DE: Galerie Amerika. • Cantos. (15 January -10 April). Academie. ing, staging, pp. 83-94. Frankfurt am Main, Luzern, CH: Hochschule für Gestaltung und 2006). Torino, IT. (Exh. Cat). • Peggy Buth & Carina Randløv. (26 August - Luxembourg, LU: Casino Luxembourg, DE: Revolver; Rotterdam, NL: Piet Zwart Kunst • All My Friends Are Vampires. (29 November 24 September). Leipzig, DE: ASPN Galerie. Forum d’art contemporain. Tentoonstellingen Instituut. • Multiplicity # 4. Hinrich Sachs & Ansgar 2005 - 7 January 2006). With Claudia de • A1. (19 March - 9 April). Berlin, DE: Galerie • Wer Visionen hat soll zum Arzt gehen. • In the Studio: Claudia and Julia Müller in Philippsen. (16 January). With Ansgar Cleen. Maastricht, NL: Traders Pop Gallery. Amerika. Reviews 25 Jahre GAK. (20 November - 4 December). conversation with Hinrich Sachs. In: Looking, Philippsen. Utrecht, NL: CASCO. • Farsites. Urban Crisis and Domestic Symptoms • Joe Norman. (25 November). From Bremen, DE: Gesellschaft für Actuelle Aktuelle encountering, staging, pp. 61-67. Frankfurt am • Untitled (All my Curly Friends). In: Opening in Recent Contemporary Art. In: inSite_05. Lectures/presentations Scrapbooks to Star Music. Winter at the Ikon Kunst (GAK). Main, DE: Revolver: Rotterdam, NL: Piet Zwart Week 2005. (10 -14 January). Maastricht, (27 August -13 November). San Diego, • Shifting the Red Carpet. In: Opening Week th Gallery. [review]. 24 Hour Museum. Published • BMW (Black Market Worlds). The 9 Baltic Instituut. NL: Jan van Eyck Academie. US: San Diego Museum of Art; Tijuana, 2005. (10 -14 January). Maastricht, NL: on: 20 November). London, GB: Institute of (all together now). In: Relocated Identities. • Tropical Abstraction. (10 July - 21 August). Contemporary Art (ICA); Vilnius, LT: Part II. Amsterdam, NL: Public Space With Amsterdam, NL: Stedelijk Museum CS. Lectures/presentations Contemporary Art Centre (CAC). (Exh. Cat). A Roof (PSWAR). • Lili Dujourie (1990). (4 April). With Koen • 33,5 Baltic Triennial. (1- 2 October). London, Publications Brams, Jacques Charlier, Lili Dujourie & GB: Institute of Contemporary Art (ICA). Reviews • Tropical Abstraction. In: Nieuwsbrief Stedelijk Dirk Pültau. Maastricht, NL: Jan van Eyck • Very Early Pictures. (6 September - 30 • Helga Meister. (15 October). Weltkulturerbe Museum Buro Amsterdam, p. 87. Academie. October). Glenside, US: Arcadia University auf dem Ceci-Hof. Westdeutsche Zeitung. • And Things Throw Light on Things. Art Gallery. • Els Fiers. Trichtlinnburg Maastricht. An Urban Reviews In: Opening Week 2005. (10 -14 January). • Very Early Pictures. (26 May - 23 July). Affair. In: Metropolis M, 4, p. 88. • Roos Gortzak. Armando Andrade Tudela. Maastricht, NL: Jan van Eyck Academie. Los Angeles, US: Luckman Fine Art Complex, • Nadja Lutz. (19 March). Felder zwischen [review]. In: Metropolis M, 3, pp. 76 & 85. California State University. Fiktion und Realität. Basellandschaftliche • Mark Godfrey. Image Structure. In: Artforum, Discussions/debates • Can Buildings Curate? (29 April - 27 May). Zeitung. February 2005, pp. 146-153. • The Xerox Book (1968). (21 November). With Barnaby Drabble. London, GB: • Karen Gerig. (23 March). Die Famile als With Seth Siegelaub, Jack Wendler. Maastricht, The AA School of ArchitectureAA Gallery. Kartonbox. Basler Zeitung Kulturmagazin. Lectures/presentations NL: Jan van Eyck Academie. • Fuera de la Orbita [Out of Orbit]. In: • Ina Maenhout (11 March). Pause auf der • [Untitled]. (11 May). Maastricht, NL: • [Untitled]. (24 October). With Jonathan International Conference of Independent Osterinsel. Rheinische Post. Jan van Eyck Academie. Watkins. Maastricht, NL: Jan van Eyck Art Spaces (E.i.E.i). (25 March - 25 April). • LIMA Group. In: Opening Week 2005. Academie. With Planet 22. Valparaíso, CL. Lectures/presentations/events (10 -14 January). Maastricht, NL: Jan van Eyck • The Need to Document. (19 March -1 May). • Trichtlinnburg. An Urban Affair. Book launch. Academie. Organised by Halle für Kunst, Kunsthaus (8 December). With Simon Sheik. Amsterdam, • Transa at Closing Time. In: Opening Week Baselland & Tranzit. Muttenz/Basel, CH: NL: Stedelijk Museum. 2005. (10 -14 January). Maastricht, NL: Kunsthaus Baselland. • Trichtlinnburg. An Urban Affair. Book launch. Jan van Eyck Academie. (7 December). With Andres Kurg. Maastricht, Films/video’s NL: Marres. • Designing Truth. (Video, colour, sound, • Bildmonopole [Image Monopolies]. 30 min.). Commissioned and produced by (2 December). In: Private Investigations. CASCO, co-produced by the Jan van Eyck With a screening of the film Designing Truth. Academie. Innsbruck, AT: Künstlerhaus Büchsenhausen. • Reisen als Metaphor der Screenings Produktionsbedingungen? (22 November). • Designing Truth. (15 December). Organised Hamburg, DE: BLAU, Zimmer für Kunst und by Simon Starling. Frankfurt Main, DE: andere. Städelschule. • Die Zukunft der Baskischen ‘Euskara’ Schriften

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NIKOLAUS GANSTERER • Moving Patterns: Electronic Music and Beyond. GEOFFREY GARRISON NATASCHA HAGENBEEK PAUL HENDRIKSE WILLEM VAN DER HULST 01.01.2005 – 31.12.2006 (23 - 27 April). (Sound) performance, New York, 01.01.2004 – 31.12.2005 01.01.2004 – 31.12.2005 01.01.2005 – 31.12.2006 01.01.2005 – 31.08.2005 1974, Austria US: Austrian Cultural Forum. 1978, United States 1970, the Netherlands 1977, the Netherlands 1976, the Netherlands • The Importance of Abstraction is Relative. The processes of translation and allocation con- (10 May). In: Paradox. With Falke Pisano, Starting from the film Freud: The Secret Passion Natascha Hagenbeek’s research project is A starting point in Paul Hendrikse’s work is the During his research period Willem van der Hulst tinuously occur in our brain when we compose Utrecht, NL: Expodium. based on the life of Sigmund Freud, Garrison about a search for authenticity, investigating notion of escape, the escape from systems, order studied and attempted to simplify the paradoxes thoughts and receive information. Thus, the act • Superrouter II. (4 March). In: Generator 24. worked through the layers of material left out, codes and behaviour and exploring freedom in or codes in both society and mind. Hendrikse at at the heart of contemporary society in which of remembering and forgetting is a constant part With the Institut für transakustische Forschung. erased, forgotten and repressed, in order to find identity. She has different ongoing lines of work times stages or creates conditions to evoke an freedom, choice and individuality feature promi- of the construction of our self-identity. In his work Vienna, AT: Konzerthaus Wien. a narrative that deals with fiction, memory, and running at the same time that she turns into an ‘event’. Many of his works are ‘moments in- nently. How do we deal with moral questions and Gansterer explores these phenomena of transla- • Translecture. In: Opening Week 2005. history, and with the unavoidable complexities of archive; this archive forms the basis to start up between’, which are not necessarily important or the weakness of the individual? What’s left when tion and transfer. He considers antonyms such as (10 -14 January). Maastricht, NL: Jan van translation and communication. He wrote the projects that can grow into performances and/ noticeable moments. By giving these moments something is reduced to its simplicity? analogue-digital, inside-outside, image-reality, Eyck Academie. script The Cut and turned it into a short film. or productions. At the moment, the lines are con- a less than ordinary context, he creates different script-language of central importance. As means nected to people she calls collaborators. With readings of time and event; the moment of artistic expression he uses drawings, installa- Broadcasts Exhibitions Chris she does research into edible plants and becomes meaningful through its received tions and sound-works that function as models • Dots and Lines. In: Cut and Splice. (13 May - • Untitled Excerpts. (16 December 2005 - nature in general, with Simon she investigates emphasis. Hendrikse’s artworks are proposals and maps of reality. Focusing on the research 11 June). Organised by BBC Radio 3 & Sonic 9 January 2006). Liège, BE: Galerie Nadja perfume and image in general, Pim did research that allow to move beyond systems; they under- and reconstruction of processes within cultural Arts Network. London, GB: Barbican. Vilenne. (Exh. Cat.) into geometry and related science and with mine common ideas, create larger contexts and communication and social networks, Gansterer • Art’s Birthday 2005: Permanent Creation. • Stepping Out. An Invitation to Do Something Rachne she shares an interest in life in nature openings. explores forms of visualisations and the way the (16 January). With the Institut für transakustische New. (28 November -12 December). and prehistory/archeology. diagrammatic view is developed and used in Forschung. Vienna, AT: Ö1Kunstradio. Maastricht, NL: Jan van Eyck Academie. Exhibitions contemporary science and theory. He adheres to • New Work by Fine Art Researchers. In: Exhibitions • Stepping Out. An Invitation to Do Something the idea that we lack models that correlate with Concerts Japanese Curators Visit the Jan van Eyck. • Untitled Excerpts. (16 December 2005 - New. (28 November -12 December). the complex world we live in. Such a model could • The Vegetable Orchestra. (23 - 25 December). (24 September). Maastricht, NL: Jan van Eyck 9 January 2006). Liège, BE: Galerie Nadja Maastricht, NL: Jan van Eyck Academie. derive its coordinates from concepts such as Shanghai, CN: The Shanghai Theatre Centre. Academie. Vilenne. (Exh. Cat.) • Soundscape. In: Klapstuk 12. (20 October - time, memory and microclimates. Science, much • The Vegetable Orchestra. (27 & 28 October) In: • Op TV. In: OpTrek. (3 July - 31 December). 25 November). Louvain, BE: Stuk expozaal. like contemporary art, expands continuously into RomaEuropafestival, Rome, IT: Teatro Palladium. Actions/performances The Hague, NL. areas of high immateriality; Gansterer studies • The Vegetable Orchestra. (3 September). • Lecture. In: Opening Week 2005. Actions/performances the correlation between things and looks for the In: Fresh and Wild Festival Fringe. Bristol, GB: (10 -14 January). Maastricht, NL: Jan van Eyck Actions/performances • Blind Date. In: Stuk. (20 October - point of overlap, where both science and con- The Victoria Rooms. Academie. • The Daily Invisible. (23 September). In: Black 25 November). With Martin Nachbar. Louvain, th temporary art move into ontology. • The Vegetable Orchestra. (16 June). In: Sonar Market Worlds. The 9 Baltic Triennial of BE: Stuk expozaal. Festival. Barcelona, ES: Escenario Hall. Festivals/events International Art. Vilnius, LT: Contemporary Exhibitions • The Vegetable Orchestra. (23 April). Moscow, • Trichtlinnburg Regional Specialty. Art Centre (CAC). Screenings • Stepping Out. An Invitation to Do Something RU: DOM Art Centre. In: Trichtlinnburg Maastricht. An Urban Affair. • ‘17:21-17:49‘. (17 September). New. (28 November -12 December). • The Vegetable Orchestra: Belgiumtour. (27 May - 5 June). Maastricht, NL: Jan van Publications In: International Exhibitionist. (colour, 5 min., Maastricht, NL: Jan van Eyck Academie. (31 March - 6 April). With concerts in Lokeren, Eyck Academie. • The BMW Book. In: The Black Box. Vilnius, 2002). London, GB: Curzon Soho. • Architecture of Interaction. (4 -11 November). , Leopoldsburg, Bierbeek, Kortrijk and LT: Contemporary Art Centre (CAC). • Dust/birds, Warpzone & 17:21-17:49. Amsterdam, NL: De Veemvloer. Roeselare. Seminars/workshops • Contribution to Thisisnotparis. A Fashion In: Opening Week 2005. (10 -14 January). • Architecture of Interaction. (31 October - • Kontrapunkte IV. (26 March). In: Osterfestspiele • Co-respondent in The Spectre of the Avant- Reader. Part of the fashion biennial ‘Are Maastricht, NL: Jan van Eyck Academie. 3 November) London, GB: Chisenhale Gallery. Salzburg 2005. With the Vegetable Orchestra. Garde. Avant-Garde, Film and Propaganda. Clothes Modern?’. Arnhem, NL. • For and From. An Exhibition of Drawings by 50 Salzburg, CH. (15 March). Maastricht, NL: Jan van Eyck Festivals/events Artists. (29 October - 4 December). Folkestone, • The Vegetable Orchestra. (9 March). In: Academie. Lectures/presentations • Jan van Eyck Academie Film Programme. GB: Metropole Galleries. Al Bustan festival. Beirut, LB: Crystal Garden. • Let Me Entertain You, In: Opening Week 2005. In: Kunsttour 2005. (21- 22 May). Maastricht, • Zero Bending. (11- 29 October). With the (10 -14 January). Maastricht, NL: Jan van Eyck NL: Lumière Cinema. Institut für transakustische Forschung. Festivals/events Academie. Ljubljana, SI: P74 Gallery. • Re: Sound of Music – Part 1 (2005). In: Lectures/presentations • Profiler. (6 October - 26 November). Vienna, Trichtlinnburg Maastricht. An Urban Affair • On Resonance. (17 November). The Hague, AT: Kunst Raum NOE. (27 May - 5 June). Maastricht, NL: Jan van Eyck NL: Koninklijke Academie voor Beeldende • Ways In / Ways Out. (30 September - 5 Academie. Kunsten (KABK). November 2005). Horn, AT: Kunstverein Horn. • Jan van Eyck Academie Film Programme. In: • Vehicle. In: Opening Week 2005. (10 - • Skylab5. (23 September 2005 -12 March Kunsttour 2005. (21- 22 May). Maastricht, NL: 14 January). Maastricht, NL: Jan van Eyck 2006). Vienna, AT: ZOOM. Lumière Cinema. Academie. • Lebt und arbeitet in Wien II. (14 May - 4 September). Vienna, AT: Kunsthalle. Multimedia Reviews • Spaciously. Wszystko zalezy od punktu • Architecture of Interaction. Published on: • Jeroen Laureyns. (5 November). Kunst met widzenia [Alles hängt vom Standpunkt ab / 31 March on www.architectureofinterac tion.net/ lichtste materiaal. [review of One by One It All Depends on Where You Stand]. (21 March (part 1).]. In: De Tijd. - 20 April). Warsaw, PL: Austrian Cultural Forum. Design • Luk Lambrecht. (5 November). Stilleven met • Update. (27 January - 3 April). Vienna, AT: • Art’s Birthday 2005: Permanent Creation. neonlamp. [review of One by One (part 1).]. Künstlerhaus Wien. ((post)cards). In: De Morgen. • Cut and Splice. (poster). • Anne-Marie Poels. (27 October). Freespace Actions/performances • 8. (DVD/booklet). neemt Antwerpse musea in. [review of • 88. (17 December). With Katharina Klement Freespace NICC.]. In: De Tijd. & Josef Novotny. Vienna, AT: Echoraum. Lectures/presentations • Luk Lambrecht. Freespace NICC, Antwerp, BE. • Translecture. In: Lebt und arbeitet in Wien II. • Lecture. (30 November). Maastricht, NL: In: De Morgen. (9 June). Vienna, AT: Kunsthalle. Jan van Eyck Academie.

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LINA ISSA ALEVTINA KAKHIDZE Lectures/presentations JOHANNA KIRSCH WILL KWAN LUCIA MACARI 01.03.2003 – 28.02.2005 01.01.2004 – 31.12.2005 • Work-in-progress. In: Opening Week 2005. 01.01.2004 – 31.12.2005 01.01.2005 – 31.12.2006 01.03.2003 – 28.02.2005 1981, Lebanon 1973, Ukraine (10 -14 January). Maastricht, NL: Jan van Eyck 1980, Austria 1978, Canada 1974, Moldavia Academie. Lina Issa has been working on ‘movement Alevtina Kakhidze tries to take the viewer into her Johanna Kirsch’s artistic venture explores and Canaries is a body of research and studio work After years of having concentrated mainly on research’, joining different workshops in dance, own ‘living word’, using gallery spaces, objects, rearranges medial realities. She analyses and that draws from contemporary theories of military visual arts, Marcari investigates other forms of performance skills and movement techniques. video and different media. Through these, she reworks concepts such as autonomy, freedom, economy and the war machine. The work of war art as well, searching for a particular way of syn- Issa studied a wide range of performances and communicates her beliefs, fantasies and worries. and identity and studies the dynamics and flexi- theorists offers a useful alternative reading of thesizing, combining and mixing them in paral- theories on movement, choreography, notation She draws in the viewer, compelling him to reflect bility of the borders that define these concepts. social organization, human endeavour, and lel. Her love of music, literature, cinematography and dance. In doing so, several interesting and on his own traumas and passions. She samples, restructures, inverts, magnifies and world order, by tracking the role of military and and theatre has made them fields of unlimited challenging questions and directions came to the Since she moved to the Netherlands she has minimizes. She then uses the fragments created political influence on the evolution of infrastruc- experiment. In collaboration with composer and fore, which she explores in Report on Body, an been fascinated by fashion in all its forms and to generate a medial reality by painting, drawing, tures, technologies, and institutions that are now musician Dima Riba, she initiated Kinematix – open weekly lab at the Jan van Eyck Academie the mass of ‘beautiful’ objects available. This is video, animation, performance and installation. deeply embedded in daily civilian experience. the name refers to their method of playfully that involves moving into action, finding inspira- a complex subject, particularly in relation to her She made a spaceship, which, beyond serving to Kwan is interested in the ability of this discourse imbuing objects, images, sounds and ideas with tion, negotiating community and exploring Ukrainian background. She is interested in this provide a setting, becomes a flight simulator; it to establish both material and affective relation- motion and dynamics. modes of collaboration. It investigates the inti- highly industrialized commercialism and con- is a ‘practice field’, an object of visualization for ships between the personal and the geopolitical. Macari’s most recent project is Hip Hop on macy of moving, examining the experience of sumerism and wonders how financial confidence alternative/fictional models of a future. Little Within this broad sphere of inquiry, Canaries Bones – a complex work based on a true story proximity and distance while moving within the and disposability affects the individual. She also handbooks define her radius of action and begins with a study of the ‘assets’ of a trans- that she lived in her native country. Hip hop on body and also examining the experience of the examines the related subject of envy and rap- herself as an artist. As a whole, you could say national bank founded by the British in Hong Bones is a hip hop operetta in three volumes, body in relatedness, practicing the integration of ture/capture of the object. that her work deals with self-portraits in the Kong in 1865, shortly after the Opium Wars. presenting three main protagonists, each show- inner and outer focus, training the awareness of broadest sense and discovering possibilities for The identity, architectonics, and operations of ing their individual take on the same ‘adventure’. perception while moving or witnessing movement. Exhibitions creating workable strategies for self-definition the bank become conceptual and sculptural • Untitled Excerpts. (16 December 2005 - and self-determination, and checking the validity templates that Kwan appropriates and recon- Exhibitions Exhibitions 9 January 2006). Liège, BE: Galerie Nadja of such strategies. figures to comment on the relationship between • Music for the Artists, or You Can’t Curate Music, • How to Send a Message. (26 November - Vilenne. (Exh. Cat.). corporate trans-nationalism and the overseas You Have to Adore It! (18 November -18 11 December). Organised by Piet Zwart • Stepping Out. An Invitation to Do Something Exhibitions transfer of culture and communities. December). With Kinematix. Amsterdam, NL: Instituut. Rotterdam, NL: Het Wilde Weten. New. (28 November -12 December). • Untitled Excerpts. (16 December 2005 - De Veemvloer. Maastricht, NL: Jan van Eyck Academie. 9 January 2006). Liège, BE: Galerie Nadja Exhibitions • The Mystery of New Art. (27 May - 4 June). Actions/performances • For and From. An Exhibition of Drawings by Vilenne. (Exh. Cat.) • Day Labor. (30 October 2005 - 9 January Amsterdam, NL: The Sandberg Instituut. • Still Still in the City. Explorations Behind Closed 50 Artists. (29 October - 4 December). • Intermittent Territory for Alienated Figures. 2006). New York, US: P.S.1 Contemporary • Artdialog. (17 March - 28 April). Magdeburg, Eyes. (2 & 10 December). Organised by Piet Folkestone, GB: Metropole Galleries. (10 December 2005 - 9 January 2006). Art Center. DE: MDR Broadcasting Centre. Zwart Institute. Rotterdam, NL: Different Public • I Don’t Need It/I Want It. (8 July -16 August). With Ben Cottrell, Humberto Ducque, Katrin • New Work by Fine Art Researchers. In: • Artdialog. Show of Young Moldovan Spaces, Rotterdam, NL. Heerlen, NL: Glaspaleis. Plavcak, Nancy Radloff & Esther Stocker. Japanese Curators Visit the Jan van Eyck. Contemporary Art. (16 January -12 March). • Come, My Beloved, and Dine With Me. New York, US: Outrageous Look. (24 September). Maastricht, NL: Jan van Eyck Dresden, DE: Der Neuer Sächsischer Lectures/presentations In: Continental Breakfast / Kontinentalni zajtrk • I Want My Fucking Adventure. (3 -18 Academie. Kunstverein. • Report on Body. In: Opening Week 2005. Ljubljana, Memory (W)hole. (5 - 25 December). Antwerp, BE: F18, Hoger Instituut • Negotiating Us, Here, Now. In: Situation (10 -14 January). Maastricht, NL: Jan van Eyck September). Ljubljana, SI: Castle of Ljubljana. voor Schone Kunsten (HISK). Leeds: Contemporary Artists and the Public Actions/performances Academie. • Borshch, video art z Urainy. (2 September - • Stepping Out. An Invitation to Do Something Realm. (13 - 29 May). Leeds, GB: Artist House. • Hip Hop on Bones. (6 December). In: Music • Shifting Identities: Anecdotes. (29 August). 2 October). Bialystok, PL: Galeria Arsenal. New. (28 November -12 December). for the Artists, or You Can’t Curate Music, You In: Buro 4 Emigree. Organised by Dimitri • Wlasnosc Prywatna [Private Property]. Maastricht, NL: Jan van Eyck Academie. Films/video’s Have to Adore It! Met Kinematix. Amsterdam, Nieuwenhuizen & Paul Gofferjé. Utrecht, NL: (1-19 April). Warsaw, PL: Wizytujaca Galeria. • You See What I Want. (11- 26 March). Vienna, • Markt Installation. (Video, colour, sound, NL: De Veemvloer. Hogeschool Utrecht, Design department. (Exh. Cat). AT: Praxis. 11 min.) • Hip Hop on Bones. (19 March). In: Festival Cement. Maastricht, NL: Nightlive. Seminars/workshops Works of art Screenings Festivals/events • The Intimacy of Moving: Workshop. • I Can Be a Girl with Blue Eyes. Two video • Kurzfilme: Werke junger österreichischer • Trichtlinnburg Maastricht. An Urban Affair. Broadcasts (15-17 August). Beirut, LB: Lebanese American pieces for an installation. With Christine Lemke FilmemacherInnen. (3 July). In: Poolbar (27 May - 5 June). Maastricht, NL: Jan van • Aquq Art Sound Broadcast. In: Art Basel Miami University. (camera). Maastricht, NL: Jan van Eyck Festival. Feldkirch, AT: Poolbar. Eyck Academie. Beach. (1- 4 December). With Kinematix. • Report on Body: Workshop/lab. (28 April). Academie. • Me, the Big Bad Wolf and the Radical Sense Miami Beach, US. Organised by Piet Zwart Institute. Rotterdam, • The Drawings. Maastricht, NL: Jan van Eyck of Freedom. (24 April). In: European Media Art Lectures/presentations NL: Tent. Academie. Festival (EMAF). Osnabrück, DE: Lagerhalle. • Presentation. (31 August). Maastricht, NL: Festivals/events • Me, the Big Bad Wolf and the Radical Sense Jan van Eyck Academie. • Moskow Diskow. (9 September). In: Russian Films/video’s of Freedom. In: Diagonale. (14 - 20 March). • [Untitled]. In: Opening Week 2005. (10 -14 Nights on Stubnitz! Cultural Experience from • Through the Tolmachev’s Eyes. Maastricht, Graz, AT. January). Maastricht, NL: Jan van Eyck the Black Sea to the Baltic. With Dimitri Riba. NL: Jan van Eyck Academie. • Me, the Big Bad Wolf and the Radical Sense Academie. Amsterdam, NL. of Freedom. (30 January). Zürich, CH: Bevor Festivals/events Kaputt. Lectures/presentations • Jan van Eyck Academie Film Programme. • [Untitled]. In: Opening Week 2005. (10 - In: Kunsttour 2005. (21- 22 May). Maastricht, Festivals/events 14 January). Maastricht, NL: Jan van Eyck NL: Lumière Cinema. • Jan van Eyck Academie Film Programme. Academie. In: Kunsttour 2005. (21- 22 May). Maastricht, Publications NL: Lumière Cinema • Wlasnosc Prywatna [Private property]. Warsaw, PL: Wizytujaca Galeria. (Exh. Cat.). Lectures/presentations • [Untitled]. In: Opening Week 2005. (10 -14 January). Maastricht, NL: Jan van Eyck Academie.

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LENE MARKUSEN Festivals/events CHARLOTTE MOTH Films/video’s FALKE PISANO January). Maastricht, NL: Jan van Eyck 01.01.2005 – 31.12.2006 • Jan van Eyck Academie Film Programme. In: 01.01.2005 – 31.12.2006 • Balloon Party Liverpool, England 2005. 01.01.2005 – 31.12.2006 Academie. 1973, Denmark Kunsttour 2005. (21- 22 May). Maastricht, NL: 1978, Great Britain Colour, no sound, 10 min. 1978, the Netherlands Lumière Cinema. Discussions/debates The methodological approach of Lene For a number of years Charlotte Moth has been Festivals/events Falke Pisano is interested in the possibilities of • Me in Front of (5). (5 October). With Stefaan Markusen’s film project Mennesket diverges Publications building a collection of photographs, which is • Jan van Eyck Academie Film Programme. constructing and solving problems in a specula- Dheedene, Reinaart Vanhoe & Freek from conventional filmmaking, the ‘craftsman- • Expanding Video. Berlin, DE: Galerie Olaf both active research and resolved work. This In: Kunsttour 2005. (21- 22 May). Maastricht, tive field of language. She would love to be a Wambacq. ‘s-Hertogenbosch, NL: Artis. ship approach’ that focuses on technical aspects. Stüber. collection as visual vocabulary functions as a NL: Lumière Cinema. sculptor, so her research currently focuses on Markusen considers this approach insufficient, methodological kind of matrix, where continuous abstract sculptures. Through examining reasons because different working steps are less than Lectures/presentations growth and omissions establish a culture for the Publications for and methods of creating abstract sculptures integrated and the strict time management • Four Seconds of a Film. (17 March). Slide collection of found forms, architectural structures • Adam Chodzko (Ed.). Artracks. London, she hopes to get a clearer view of sculptural imposed leaves little or no space for thorough show. Maastricht, NL: Jan van Eyck Academie. and environments, situated predominantly within GB: Material. practice. Questions she tackles include: What revision, either of the screenplay or of the film modernist seaside spaces/leisure locations. • Jane Lee. White Window. Shared Work: decisions are made in the creation of abstract material already being shot. Markusen’s work is Prizes/awards These reveal varying forms of mimicry and dou- Travail Partagé. Dunkerque, FR: La Platforme. sculptures? What are these decisions based on? very much inspired by Ronald Barthes’ thoughts • 17. Bundeswettbewerbs. Berlin, DE: bling, connected to actual phenomenological How does this affect the meaning of the work? on photography: a photograph is always a Bundesministerium für Bildung und Forschung experiences of time and place. Lectures/presentations How does abstraction manifest itself in the world reproduction of something that at a certain point (BMBF). The photographs have an analogue core; they • [Untitled]. (9 March). Maastricht, NL: Jan van when created by the hands and minds of man? in time had a real existence; this makes the view- are imprints that exist as forms of doubles, split Eyck Academie. How does the maker perceive this process of er hold the illusion that the photograph contains from their original. They enable areas of inquiry • Between Travel, Method and Research. In: ‘coming into being’? What do we draw from and a certain degree of ‘truth’. What the viewer sees to develop where photography as a genre itself Opening Week 2005. (10 -14 January). attach to an object? How do we communicate on a photograph is reality in a past stage. Yet, at uncovers the notion of ‘possibility’. Maastricht, NL: Jan van Eyck Academie. encounters? the same time, this illustrated past has a present Moth’s practice outside of the photograph • Travelogue 1999 – Present. In: Opening existence. Shooting a present ‘reality’ means collection considers spaces themselves as sites Week 2005. Slide projection. (10 -14 January). Exhibitions responding to contemporary time that has within which to install site-specific or context- Maastricht, NL: Jan van Eyck Academie. • Stepping Out. An Invitation to Do Something already become the past. This leads to a special specific works. These works are dependant upon New. (28 November -12 December). dramaturgy: the fragments of time are the build- certain conditions in which they can come into Maastricht, NL: Jan van Eyck Academie. ing blocks for constructing an imagination of being; developing and researching these condi- • For and From. An Exhibition of Drawings by 50 present and reality. Markusen is interested in the tions is an important part of this methodology, Artists. (29 October - 4 December). Folkestone, relations between the past and the present as which is linked to a chain of material questions GB: Metropole Galleries. well as in those between ‘reality’ and imagina- exploring notions of layering, methods of • New Work by Fine Art Researchers. In: tion; she does not tell straight stories. removal. These processed considerations lead Japanese Curators Visit the Jan van Eyck. to the creation of falsifications, within staged (24 september). Maastricht, NL: Jan van Eyck Exhibitions real-time events, and resulting documentation. Academie. • Stepping Out. An Invitation to Do Something • If I Can’t Dance, I Don’t Want to Be Part of New. (28 November -12 December). Organised events Your Revolution. In: Festival aan de Werf. Maastricht, NL: Jan van Eyck Academie. • Stepping Out. An Invitation to Do Something (19 - 28 May). Organised by Festival a/d Werf • New Work by Fine Art Researchers. In: New. (28 November -12 December). & Theaterfestival Boulevard. Utrecht, NL. Japanese Curators visit the Jan van Eyck. Maastricht, NL: Jan van Eyck Academie. (24 september). Maastricht, NL: Jan van Eyck Publications Academie. Exhibitions • Concrete abstracties. In: Metropolis M, 5, • Expanding Video. (19 - 21 May). With Emanuel • Sphere. New Works. Liverpool, GB: pp. 72-75. Geisser, Volko Kamensky, Eva Könnemann, MuseumMAN. Frank Lüsing, Alexander Rischer & Deborah • For and From. An Exhibition of Drawings Lectures/performances/presentations Schamoni. Berlin, DE: Galerie Olaf Stüber. by 50 Artists. (29 October - 4 December). • Concrete Abstractions. Eindhoven, NL: • Expanding Video. (29 June - 7 August). With Folkestone, GB: Metropole Galleries. University of Technology (TU/e). Emanuel Geisser, Volko Kamensky, Eva • Sculpture at Canterbury. A Gathering of New • Een avond vol verdwaalde beelden en Könnemann, Frank Lüsing, Alexander Rischer Forms Here. (7 October -19 November). geluiden. (2 December). In: Lost & Found. & Deborah Schamoni. Berlin, DE: Galerie Canterbury, GB: Herbert Read gallery. Amsterdam, NL: Theatrum Anatomicum, Olaf Stüber. • New Work by Fine Art Researchers. In: De Waag. • 17. Bundeswettbewerb. Kunststudentinnen Japanese Curators Visit the Jan van Eyck • Concrete Abstractions. (25 May). In: If I und Kunststudenten stellen aus. (24 February - (24 September). Maastricht, NL: Jan van Eyck Can’t Dance, I Don’t Want to Be Part of Your 28 March). Bonn, DE. Academie. Revolution. Utrecht, NL: Festival a/d Werf. • Pick up and Mix 2005. (18 - 25 February). • Les merveilles du monde. (26 June - 16 • The Importance of Abstraction is Relative. Hamburg, DE. October). Organised by Musée des Beaux (10 May). In: Paradox. With Nikolaus Arts & Plate-Forme. Dunkerque, FR: Lieu Gansterer. Utrecht, NL: Expodium. Screenings d’Art et Action Contemporaine (LAAC). • On Abstraction and Evil. In: Lost & Found • Grad & Skizze (zu Mennesket). In: Opening • Insula Ovinium. (1- 31 May). London, GB: over tekens, symbolen, betekenissen, codes Week 2005. (10 -14 January). Maastricht, NL: Hogarth House. en complottheorieën, over het creëren van Jan van Eyck Academie. alternatieve, parallelle en paranoïde verhalen Works of art over de werkelijkheid. (25 March). Amsterdam, Broadcasts • Bird Islands. [Commissioned work]. NL: De Waag. • FreeUtvResearch: TV TV. (22 - 24 November). Dunkerque, FR: Lieu d’Art et Action • [Untitled]. (9 March). Maastricht, NL: Jan van With Christoff Rauch & Monika Wucher. Contemporaine (LAAC). Eyck Academie. Copenhagen, DK: Copenhagen Free • Aspects of Thought: towards Thinking as University. Action. In: Opening Week 2005. (10 -14

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STEFANIE SEIBOLD Lectures/presentations SALIOU TRAORÉ FRANCISCO VALDES INGA ZIMPRICH Editorials 01.01.2004 – 31.12.2005 • I Am Not Half the Man I Used to Be. In: Fact 01.01.2004 – 31.12.2005 01.03.2003 – 02.28.2005 01.01.2005 – 31.12.2006 • Relocated Identities. Part II: Relocating Products 1967, Germany and Fiction. (10 -14 October). Nijmegen, NL: 1965, Burkina Faso 1968, Chile 1979, Germany and People. Amsterdam, NL: Public Space With Radboud University. A Roof (PSWAR). It isn’t what I do, but how I do it. It isn’t what I say, • Come into My Room (of Embarrassments). Saliou Traoré’s research project Finding your Francisco Valdes studied the influence of the Open source software and licenses, such as the but how I say it and how I look when I do it and With Tanja Widmann. (May). In: City of way around the block is a kind of anthropologi- global economic system on reproductive tech- GNU public license, have brought about major Reviews say it. (Mae West’s definition of performance). Women. Organised by Vereinigung Bildender cal study of the people of the Netherlands. nologies. Flow and disembeddedness are key changes in our understanding of ownership, • Maxine Kopsa. Public Space With a Roof. By exploring the means and possibilities of per- Künstlerinnen Österreichs (VBKÖ). Vienna, AT. Traoré takes photographs of elements blocking concepts. He linked disparate specialisms collaboration and production. Alternatives to In: Metropolis M, 3, pp. 103-4. formance – both live and recorded on videotape • LIMA Group. In: Opening Week 2005. (10 -14 the public space and documents how people find through networks and flows of people, images, personal ownership and copyrights have devel- – Stefanie Seibold creates alternative spaces that January). Maastricht, NL: Jan van Eyck their way around these obstacles. With his work goods and ideas. Sources were Latin American oped on legal bases. In her research project Lectures/presentations allow for a narration of different identities. Her Academie. he wants to relate and react to social and politi- domestic videos and films and popular ‘con- Thinktank Research on Collaborative and Artistic • Thinktank. Open Source as Social Practice. work mainly deals with issues of identity, especial- • Suffragette City. In: Opening Week 2005. cal issues both in his home environment and in sumer’ images such as ads of global corpora- Practices and Open Source Programming In: Opening Week 2005. (10 -14 January). ly of sexual and gender identities and other femi- (10 -14 January). Maastricht, NL: Jan van Eyck the places he visits. He works with different tions and brands. Zimprich investigates the parallels between Maastricht, NL: Jan van Eyck Academie. nist and post-feminist issues. She works on a the- Academie. media, including photography and video. open source programming and social and artistic • EAN 13 Daycode. In: Opening Week 2005. oretical level, but frequently uses various alterna- Exhibitions collaborative practices. Part of the research will (10 -14 January). Maastricht, NL: Jan van Eyck tive identities as vehicles for probing other areas, Exhibitions • Art Basel Miami Beach. (1- 4 December). be to bring artists, thinkers and concept makers Academie. such as certain aspects of the art and media • Stepping Out. An Invitation to Do Something Miami, US: Miami Beach Convention Centre. together with open source programmers (‘We • Lairesse Buurt Archief. In: Opening Week worlds. She adopts a variety of artistic techniques New. (28 November -12 December). • Fantasmatic. (1-18 September). Buenos Aires, are the artists – we make the code’, a program- 2005. (10 -14 January). Maastricht, NL: and employs methods of imitation, often juxta- Maastricht, NL: Jan van Eyck Academie. AR: Centro Cultural Borges. mer claimed at an open software conference) Jan van Eyck Academie. posing contradictory elements to create non-lin- • La carte d’art correspondance. (25 February - • Expanded Painting and Acción Directa. in order to create a first Thinktank, a web-based ear, contingent statements. These techniques are 6 March). Ouagadougou, BF: Production (26 May -15 September). In: Prague Biennale structure that facilitates self-organization, admin- Seminars/workshops also meant to question obsolete notions of hierar- Centre Informatique. 2. Prague, CZ: Karlin Hall. istration of collaborative projects and networking • Crystalpunk Workshop for Soft Architecture. chical forms of organization and other prevailing • The Zoo of Space. Let Me Be Your Dictionary. • Strangely Familiar. (21 February - 5 March). amongst autonomous initiatives. What can (13 November). Thinktank. Utrecht, NL: power structures through which the notion of oth- Exhibition during Opening Week 2005. In cooperation with D magazine (D is for evolve from this might become a tool to strength- Impakt. erness is constructed. She works on an installation (10 -14 January). Maastricht, NL: Jan van Eyck Drawing). Bolzano, IT: AR/GE Kunst. en local and informal networks and will offer called Suffragette City /City of Women that con- Academie. technological solutions to non-commercial and Websites tains performance-videos, sounds, drawings that Lectures/presentations artistic production. • Thinktank. • Women´s Day in Ouagadougou Djandjoba. (10 -14 January). Maastricht, NL: Jan van Eyck Projects Exhibitions 14’00, colour, sound. Maastricht, NL: Jan van Academie. • UbiScribe. • K-Market. (16 December). Brussels, BE: Eyck Academie. • Reformulating the Fictional Character of • Thinktank. Galeries Ravenstein. Reproductive Technologies. In: Opening • Untitled Excerpts. (16 December 2005 - Festivals/events Week 2005. (10 -14 January). Organised Exhibitions 9 January 2006). Liège, BE: Galerie Nadja • Jan van Eyck Academie Film Programme. In: by Jan van Eyck Academie. • Stepping Out. An Invitation to Do Something Vilenne. (Exh. Cat.) Kunsttour 2005. (21- 22 May). Maastricht, NL. New. (28 November -12 December). • Stepping Out. An Invitation to Do Something Maastricht, NL: Jan van Eyck Academie. New. (28 November -12 December). Lectures/presentations • New Work by Fine Art Researchers. In: Maastricht, NL: Jan van Eyck Academie. • [Untitled]. (8 June). Maastricht, NL: Jan van Japanese Curators Visit the Jan van Eyck. • If I Can’t Dance, I Don’t Want to Be Part of Eyck Academie. (24 september). Maastricht, NL: Jan van Eyck Your Revolution. In: Festival aan de Werf. • Présentation du siteweb des artistes plasticiens Academie. (19 - 28 May). Organised by Festival a/d Werf à Burkina Faso. (1 March). In: Cours d’internet • LAB & archive. (28 August). Thinktank. & Theaterfestival Boulevard. Utrecht, NL. 2005. Organised by African Colours, La Carte Belgrade, CS: Rex. • You See What I Want. (11- 26 March). Vienna, d’Art Correspondance (CAC) & Stichting Doen. AT: Praxis. Ouagadougou, BF: SLP Centre Informatique. Curated events • Relocated Identities. Part II: Relocating Products Actions/performances and People. (19 June -10 July). Amsterdam, • In meiner Badewanne bin ich Kapitän! (6 June). NL: Public Space With A Roof (PSWAR). Vienna, AT. An action of Marlene Haring, with • Reforms. (13 - 22 May). With Kristina Kersa. Julia Wayne, Publikum, Mahony and Cheek. Amsterdam, NL: Public Space With A Roof • I’m Not Half the Man I Used to Be. (23 May). (PSWAR). In: If I Can’t Dance, I Don’t Want to Be Part of • Around Vondel Lake. (17 April -1 May). Your Revolution. Utrecht, NL: Festival a/d Werf. With Harmen de Hoop, Tobias Loffler, Bernd Trasberger & Anne de Vries. Amsterdam, NL: Screenings Public Space With A Roof (PSWAR). • City of Women. In: Opening Week 2005. (10 -14 January). Maastricht, NL: Jan van Eyck Organised events Academie. • M7red. (15 November). In: Thinktank Research and Development Project. With Mauricio Festivals/events Corbalán, Pio Torroja. Maastricht, NL: Jan van • OPblaasPOP. Performance festival. Eyck Academie. (September). Ghent, BE. • Jan van Eyck Academie Film Programme. Publications In: Kunsttour 2005. (21- 22 May). Maastricht, • Public Space With A Roof. A Dependant Space NL: Lumière Cinema. in Amsterdam. In: Gray (special • Festival Cement. (16 -20 March). Maastricht, NL. issue:Sovereignty), #1.

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WIM CUYVERS • Cities: Is What You See What You Are? JOUKE KLEEREBEZEM • Welcome to Fusedspace Database. FILIEP TACQ DANIËL VAN DER VELDEN 1958, Belgium In: Authoring the City. (24 - 25 March). 1953, the Netherlands (14 September). In: Kunst in de openbare 1959, Belgium 1971, the Netherlands With Kristien Van den Brande, Tina ruimte. With Joes Koppers, Susann Lekàs & In his recent work architect Wim Cuyvers is Clausmeyer, Kobe Matthys, Sabine Müller Jouke Kleerebezem’s work since 1993 is based Tom Lommée. The Hague, NL: Stroom. Filiep Tacq is initiator and artistic advisor of the Daniël van der Velden, graphic designer and mainly ‘reading the city’. In cities such as New & Andreas Quednau, Dirk Pauwels, Filip de on presentations and publications in text and • Ubibook Mark-Up. (13 September). Maastricht, research project The Tomorrow Book. Within this writer, lives and works in Amsterdam and collab- York, Sarajevo, Belgrade, Paris and Tirana he Boeck, Jan Masschelein, Koen Van Synghel, image that come about through a variety of NL: Jan van Eyck Academie. framework and within the scope of his independ- orates with Maureen Mooren in a design office analyzed ‘public space’: space where anyone Jochen Becker. Maastricht, NL: Jan van Eyck venues, most notably networked media. Personal • Out of Print, Out of Mind. In: Opening Week ent practice as a graphic designer, he focuses on that was set up in 1998. His work takes an in- can do anything at any given moment, space Academie. publishing is an important part of this body of 2005. (10 -14 January). Maastricht, NL: different views on books by artists, architects, novative and experimental position in contem- that is non-private and thus economically uninter- • Congo-Brazzaville Team. In: Opening Week work and he sees the decisive conditions for Jan van Eyck Academie. curators, writers, designers, editors and histori- porary design, linking it to other disciplines such esting. The weak and the vulnerable – junkies, 2005. (10 -14 January). With Kristien Van den experimental cultural production in the coming ans. He intends to re-question ‘the Book’ and as architecture, while taking writing and editing gypsies, the homeless people – occupy this Brande, Tina Clausmeyer, Kobe Matthys, decades met in the young public/private realm Symposia/congresses test the limits and potential of today’s book. as essential parameters. public space, which is the space of exclusion. Sabine Müller, Dirk Pauwels & Andreas of the Internet and World Wide Web. His main • Intermediale reflecties. Over artistieke In doing so, the Book is not only treated as a As advising researcher at the Jan van Eyck Taking walks through the cities, Cuyvers draws Quednau. Maastricht, NL: Jan van Eyck project consists of three websites that have been conceptualiteit en kwaliteit in hedendaagse carrier of text and image, but also as a medium, Academie, Daniël initiated the Meta Haven: up inventories and planning schemes. Academie. set up over the years 1998–2000. Their portal kunstpraktijken. (30 September). Organised with its own rules and habits. Various devices Sealand Identity Project, proposing a corporate Cuyvers is coordinator and advising researcher is at nqpaofu.com, Notes Quotes Provocations by Dutch Aesthetics Federation (DAF). used in books, such as capitals, italics, subscript, identity for Europe’s smallest nation state, the for the project Visualizing the Visual. Reading, Discussions/debates and Other Fair Use, containing a web log by Rotterdam, NL: Museum Boijmans van but also margins, footnotes, index, running Principality of Sealand. Subsequently, he co- Writing and Mapping the Environment of the • Cultureel ondernemerschap. Architectuur en the same name and two other publications: Beuningen. heads, French title and the like will be examined founded the design research project Meta Haven Congo River at Brazzaville-Kinshasa. The engagement. With Gideon Boie, Jasper Innovation and Design for Information • The Matching Link. (28 September). With as materials for a more complete and subversive with researchers Tina Clausmeyer, Vinca Kruk Visualizing team visited the cities of Kinshasa and Jägers, Matthias Pauwels & Roemer van Toorn. Empowerment idie.net and the Le Moulin du Roland Haring, Gilles Lane, Team Science way of using the medium. and Adriaan Mellegers. Meta Haven is involved Brazzaville and experienced that the world the (14 oktober). In: Lend Me Your Dream/Lend Merle dotcom estate lemoulindumerle.com. Fiction & Andrea Zapp. Organised by Jan van in research into (corporate) identity, design and Western artist and intellectual is confronted with Me Your Fantasy. Organised by Academie At the Jan van Eyck Academie Kleerebezem is Eyck Academie. The Hague, NL: Stroom. Projects politics. reduces the cultural schedules and schemes and Beeldende Kunsten Maastricht, Super! First developing multiple publishing projects and • Authoring the City. turns them into ridiculous, senseless dreams. Triennial of Fine Arts, Fashion and Design & platforms that speculate on the possibilities of Moderating • The Tomorrow Book. Projects How to survive in a world that cannot be concep- Jan van Eyck Academie. Maastricht, NL: the general content abundance in, and partially • Logo Parc. (16 November). Organised by • Logo Parc. tualized without falling back on acquired know- Academie Beeldende Kunsten. thanks to, today’s communication media market, Lectoraat Kunst en Publieke Ruimte, Jan van Curated events • Meta Haven: Sealand Identity Project. ledge, craft, literature, references and concepts? all the while weighing the answerability of an edit- Eyck Academie & Premsela Foundation. • Jouke Kleerebezem. Molenkraam • The Tomorrow Book. As a member of the Charles Nypels working ing competence which is both respectful of and Amsterdam, NL: Gerrit Rietveld Academie. (10 December 2005 - 22 January 2006). group Cuyvers is also involved in the research critical towards how our information and knowl- Ghent, BE: Het Kabinet. Exhibitions project Authoring the City. edge is produced, processed and distributed. • John Murphy. Up or Down, it’s All the Same: • Now and again. De toekomst ligt in het archief. in Gent or Venice. (8 October - 20 November). In: Utrecht Manifest. (21- 30 October). Projects Projects Ghent, BE: Het Kabinet. Utrecht, NL: CASCO. • Authoring the City. • Authoring the City. • Marc Goethals. Covers. (15 April). Ghent, BE: • The European Design Show. (June - • Visualizing the Visual. • The Tomorrow Book. Het Kabinet. September). London, GB: Design Museum. • UbiScribe. • Michel Lorand. Camera Obscura. • Dutch Resource. In: Festival international de Exhibitions (18 February - 3 April). Ghent, BE: Het Kabinet. l’affiche et des arts graphiques. (23 May - 26 • Van België naar nergens [From Belgium to Exhibitions June). Chaumont, FR: Le Garage. (Exh. Cat). Nowhere]. (16 January - 23 April). The Hague, • Molenkraam. (10 December 2005 - 22 January Lectures/presentations NL: Stroom. (Exh. Cat). 2006). Ghent, BE: Het Kabinet. • The Future Book. In: Verbindingen/Junctions 9. Publications • Ensemble! (25 June - 28 August). Antwerp, (24 - 28 November). With Sarah Infanger, Joël • Theory Rocks. Beeldcultuur hunkert naar Publications BE: Museum van Hedendaagse Kunst Vermot & Richard Vijgen. Liège, BE: Het muse- reflectie. In: Metropolis M, 1, pp. 24 - 37. • Tekst over tekst [Text on Text]. With Inge Antwerpen (MUHKA). um voor openbaar vervoer/Le musée des Braeckman & Lily van Ginneken. The Hague, transports en commun. Lectures/presentations NL: Stroom; Lier, BE: Voorkamer. Publications • The Uncanny Strategies of the (Art)Book. • Werkplaats Typografie presente Dutch • Eigenaar; bewoner; huisbezorger. In: De Witte From Rubens to Ed Ruscha. (13 September). resource. Exercices de collaboration. Lectures/presentations Raaf, 116, pp. 4-5. Maastricht, NL: Jan van Eyck Academie. (8 October). • Brakin. (14 December). With Kristien Van den • Ik publiceer dus ik besta. In: Metropolis M, 3, • A Study in the Decoration and Use of In: Festival de Chaumont. Paris, FR: Galerie Brande, Tina Clausmeyer, Kobe Matthys, pp. 108-114. Typographyon the Public Buses or ‘Car Anatome. Sabine Müller, Dirk Pauwels & Andreas • Het postmonumentale beeld. Over de Rapides’ in Dakar. (12 May). In Authoring the • Questions & Answers. (10 May). In: Insights Quednau. Maastricht, NL: Jan van Eyck duurzame zichtbaarheid in de netwerksamen- City at ABKM. Organised by Academie 2005: Design and... Minneapolis, US: Walker Academie. leving. In: Open (special issue:(On)zicht- Beeldende Kunsten Maastricht & Jan van Eyck Art Center. • Doodlopende straten en ronde punten [Dead baarheid), 8, pp. 34-47. Academie. Maastricht, NL: Academie • White Flag. In: Opening Week 2005. End Streets and Roundabouts]. (10 October). • Ubi lector, ibi liber. Het boek van morgen. Beeldende Kunsten. (10 - 14 January). Maastricht, NL: Jan van Eyck Leerstoel Charles Vermeesch 2005. Ghent, BE: In: Metropolis M, 6, p. 71. • On Books. Genk, BE: Media en Design Academie. University of Ghent. • Vraag & aanbod. Published at the occasion Academie; Antwerp, BE: St-Lucas. • BraKin. (30 June -1 July). With Kristien Van den of ‘Molenkraam’ installation. Ghent, BE: Symposia/congresses Brande, Tina Clausmeyer, Kobe Matthys, Sabine Het Kabinet. • Logo Parc. (16 November). Organised by het Müller, Dirk Pauwels & Andreas Quednau. • Offre & demande. Published at the occasion Lectoraat Kunst en Publieke Ruimte, Jan van Maastricht, NL: Jan van Eyck Academie. of Molenkraam installation. Ghent, BE: Eyck Academie & Premsela Foundation. • Visualizing the Visual. Reading, Writing and Het Kabinet. Amsterdam, NL: Gerrit Rietveld Academie. Mapping the Environment of the River Congo • Avant-Garde, Popular Media and Censorship. at Brazzaville-Kinshasa. (16 June). In: Lectures/presentations (13 April). With Zafer Aracagök, Gideon Boie, Authoring the City at ABKM. Organised by • Ubiscribe Presentation. (4 November). With Benda Hofmeyr, Alexei Monroe, Matthias Academie Beeldende Kunsten Maastricht & Arie Altena, Sandra Fauconnier, Matthew Fuller, Pauwels, Aarnoud Rommens. In: The Spectre of Jan van Eyck Academie. Maastricht, NL: Wilfried Houjebek & Simon Worthington. the Avant-Garde. Maastricht, NL: Jan van Eyck Academie Beeldende Kunsten. Maastricht, NL: Jan van Eyck Academie. Academie.

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Discussions/debates ANNELYS DE VET KASPER ANDREASEN Design RALPH BAUER • Printing Matters. Kiosk XII, Modes of 1974, the Netherlands 01.06.2004 – 30.06.2005 • Jan van Eyck Publicaties/Jan van Eyck 01.01.2003 – 28.02.2005 Multiplication. With Shumon Basar, Christoph 1979, Denmark Publications. (booklet/brochure). With Ralph 1968, Germany Keller, Hans-Ulrich Obrist & Anthony Vidler. Annelys de Vet is an Amsterdam-based graphic Bauer. Maastricht, NL: Jan van Eyck Academie. Rotterdam, NL: Witte de With. designer. Her work tends towards ‘graphic jour- Kasper Andreasen focuses on map-making and • Untitled Excerpts. (booklet & invitation). Or: How do cows pronounce ‘y’ in German? • Grafische vormgeving in de hedendaagse nalism’; it investigates and develops ideas on the idea of conceptualizing space, on the structure Maastricht, NL: Jan van Eyck Academie, Liège, Oder: Wie pronuncieren die Kühe ‘y’ in maatschappij. (2 December). With Paul society and culture and transforms those into of printed matter and on paper as a medium. BE: Galerie Nadja Vilenne. Belgischen? Ou: Comment les vaches pronon- Boudens, Gert Staal. Brussels, BE: De graphs, stories and other media. The designs He set up a series of short-term projects that deal cent-elles ‘y’ en esperanto? Beursschouwburg. reveal and comment on the context in which with the act of documenting different experiences Lectures/presentations This project is an attempt to approach the • De legitimiteit van vormgeving. each work exists: always conscious of the role of space through essays, photography, diagrams • Defining the Place by Naming It. (9 June). discrepancy of signs as a form, their acoustic (22 September). In: Utrecht Manifest. of the maker, often taking autobiography as a and maps. In: Authoring the City at ABKM. Organised expression and their meaning. A fictive sign With Adriaan Beukers, Mirjam Huffstadt, point of departure. Since representation of space is a kind of personal by Academie Beeldende Kunsten Maastricht system, related to the classical alphabet, is Jan Konings, Wouter Vanstiphout. Utrecht, documentation and interpretation of one’s own & Jan van Eyck Academie. Maastricht, NL: allocated stories and situations in a pseudo- NL: Louis Hartloper Complex. Exhibitions whereabouts in location and time, all the images, Academie Beeldende Kunsten. scientific way. Different actors – man, cows, a • Halte Verlangen. (17 December 2005 - signs, marks, notations we take in and catalyze • Drawing the Landscape by Looking at the Map. cloud, a red cabbage, signs and letters and their 22 January 2006). Amsterdam, NL: W139. through our position in space give meaning to the In: Opening Week 2005. (10 -14 January). sound – are in a permanent process of commu- • Nieuwe symbolen voor Nederland. (24 sensual/visual world around us. Maastricht, NL: Jan van Eyck Academie. nication. The stories are about the explaining, September - 27 November). With Ahmed Maps, for instance, offer a structure for conceptu- ordering and recording of language, about the Aynan, Alex van de Beld, Peter Delpeut, Jos alizing 3D space. Their effectiveness comes from power of misunderstanding and chance, and de Putter, Marjolein Rothman. Middelburg, NL: transferring information from the past to the pres- about the game of sense and nonsense. De Vleeshal. ent through editing, correction and distortion. • Catalysts! The Cultural Force of Therefore a ‘map’ is a representation of a space Design Communication Design. In: in time. What exactly is the transformation which • Christine Lemke. How They Met Themselves. ExperimentaDesign 2005. (16 September - information undergoes once it is transferred to a (book). Brussels, BE: Lebeer Hossmann. 27 November). Lisbon, PT: Centro Cultural map? Why is the mapping process such a flexible • Jan van Eyck Publicaties/Jan van Eyck de Belém. medium of communication and how does it turn Publications. (booklet/brochure). With Kasper • Value for Money, Droog Design during Salone into authorship? How does the meaning of the Andreasen. Maastricht, NL: Jan van Eyck del Mobile. (13 -17 April). Milan, IT: Galleria information change to ‘content’ in different maps? Academie. Postart. • Johannes Porsch. Ottokar Uhl. (book). Organised events Salzburg, AT: Anton Pustet. Design • Research as Authorship. I Am Here, When I Am • Rutger Wolfson (Ed.). Nieuwe symbolen voor Not There. (17 March - 20 May). Lectures/presentations Nederland. (book). Amsterdam, NL: Valiz. • Two lectures and one workshop. Maastricht, NL: • The Image Is the Actor or, the Perfect • www.janvaneyck.nl/authoringthecity (website) Jan van Eyck Academie. Asymmetry of Before and After. With Christine Lemke. (29 May -1 June). In: Trichtlinnburg Publications Exhibitions Maastricht. An Urban Affair. Maastricht, NL: • Subjectieve Atlas van Nederland. (book), • Amsterdam 2.0. (22 December 2005 - Theater aan het Vrijthof. Annelys de Vet (red.) Amsterdam, NL: BIS 29 January 2006). With Tine Melzer, Maurice • LIMA Group. In: Opening Week 2005. Publishers Nio, Paul Perry & Joke Robaard. Amsterdam, (10 -14 January). Maastricht, NL: Jan van Eyck • La mer à boire. In: Items, 5, p. 69. NL: Mediamatic. Academie. • Stevijn van Heusden. De overheid als voor- • Untitled Excerpts (16 December 2005 - • The Title of the Lecture is >. In: Opening Week beeld: een illusie? In: Vormberichten, 9 January 2006). Liège, BE: Galerie Nadja 2005. (10 -14 January). Maastricht, NL: Jan December, pp. 8-10. Vilenne. (Exh. Cat.) van Eyck Academie. • Tegen stellingen. In: Items, 4, p. 63. • 2005 Final Editions & Artist’s Books. (15 December). With Johan Deumens. Lectures/presentations Amsterdam, NL: Wetering Galerie. • View on Whatever. (5 November). Live • Stepping Out. An Invitation to Do Something magazine with students of the Design Academy New. (28 November -12 December). Eindhoven during the ‘Museumnacht‘. Maastricht, NL: Jan van Eyck Academie. Amsterdam, NL: W139. • For and From. An Exhibition of Drawings by 50 • Subjectieve Atlas van Nederland. Artists. (29 October - 4 December). Folkestone, (29 September). Book launch and performan- GB: Metropole Galleries. ces with students of the Design Academie. • Start: a Group Show. (3 September - Eindhoven, NL: Design Academie. 8 October). With Nadine Amelang, Andre • Subjective Atlas. In: Opening Week 2005. Avelas, Laurenz Brunner, Yumi Choi, Marta (10 -14 January). Maastricht, NL: Jan van Eyck Jurkiewicz, Elke Roelant, Marieke Academie. Schoonderbeek & Marianne Viero. Amsterdam, NL: Galerie Fons Welters. • Draw a Map. Exhibition of Drawings, Prints and Books. (29 June -15 July). Maastricht, NL: Jan van Eyck Academie. • Printing Matters. In: Kiosk XII: Modes of Multiplication. (2 -17 April). With Christoph Keller, L.A.T. & PrintROOM. Rotterdam, NL: Witte de With.

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KRISTIEN VAN DEN BRANDE MIN CHOI SULKI CHOI SULKI & MIN CHOI TINA CLAUSMEYER Wim Cuyvers, Kobe Matthys, Sabine Müller & 28.12.2004 – 31.12.2005 01.09.2003 – 31.08.2005 01.09.2003 – 31.08.2005 01.05.2004 – 30.04.2005 Andreas Quednau, Dirk Pauwels. Maastricht, 1981, Belgium 1971, Korea 1977, Korea Projects 1978, Germany NL: Jan van Eyck Academie. • The Physical Jan van Eyck. • P.S. I Love You. In: Opening Week 2005. Kristien Van den Brande was a member of the Min Choi’s undertakes research into ‘uncanny’ Sulki Choi is working on an anthology of writ- In her research project Mapping Conspiratorial (10 -14 January). With Vinca Kruk, Adriaan Visualizing the Visual team and took walks in or ‘unhomely’ spatial experiences, and particu- ings, which will investigate the complex aspects Exhibitions Spaces. Visualization of Stasi surveillance pat- Mellegers & Daniël van der Velden. Maastricht, Brazzaville and Kinshasa in an attempt to ‘read’ larly the role of graphic design in shaping, of ‘information design’ – the design of charts, • Paralleles Leben [Parallel life]. (5 October - terns from 1980 - 89 in the former GDR. Erfurt as NL: Jan van Eyck Academie. their urban public space. The public space is a mediating, and representing those experiences. graphs, diagrams, and maps. Traditionally, 4 December). Frankfurt am Main, DE: Frankfurter Model City, Tina Clausmeyer intends to investi- meeting place where man appears pure and vul- The sentiment of the uncanny, which ranges from information design has enjoyed a certain ethical Kunstverein. gate what has become of the unofficial meeting Exhibitions nerable, stripped of his civil mask. The dialogue feelings of fear, anxiety, suspicion and alienation privilege as a discipline of ‘truth’ and transparent places known as KW’s (Konspirative • Stepping Out. An Invitation to Do Something that is established then is fair and without inter- to the more extreme forms of phobia, has been rationality, as opposed to the more persuasive Design Wohnungen), the conspiratorial meeting places New. (28 November -12 December). ference of civil, moral or social power. Public reportedly experienced in such banal urban and emotionally exploitative fields of advertising • Breath-Taking. Air, Art, Architecture. (website of the Stasi, the secret service of the former Maastricht, NL: Jan van Eyck Academie space is a tragical space where man is forced spaces as dark and damp basements, high- and other promotional designs. Choi queries the & brochure). Maastricht, NL: Jan van Eyck German Democratic Republic. The project sets to deal with the tragical dimension of life. speed elevators, ghostly parking lots, spectacular very ethical premise of information design by Academie. out to locate and analyze a decade’s worth of shopping malls and sublime motorways. It has investigating diverse ways in which information • Modafe 2005. Modern Dance Festival. visual evidence of Stasi operative surveillance Projects been an important subject of exploration in graphics in the ‘real world’ operate: not only to (identity & promotional materials). Seoul, KR. methods. It documents the 500 secret meeting • Visualizing the Visual. aesthetic practices and discourses, from Joy objectively communicate information, but also • Macky McCleary & Jennifer Silbert (Eds.). places listed in a copy of a lost Stasi file, discov- Division’s music to Anthony Vidler’s architectural to persuade audience as a rhetorical device; Perspecta 36. Juxtapositions. (book). Cambridge ered at the Central Archive for the Records of the Lectures/presentations writings and Anthony Dunne and Fiona Raby’s to tell stories as an editorial tool; to confirm MA, London: MIT Press. State Security Service of the former GDR in Berlin • Brakin. (14 December). With Tina Clausmeyer, product design proposals. However, graphic existing cultural hegemonies as an authoritative • D.T.1. (magazine). Seoul, KR: Sizirak. (2004). Adapted to 21st century technology, Wim Cuyvers, Kobe Matthys, Sabine Müller, design has been a notable exception, and Choi’s representation; and to invoke associations as • Welcome to Fusedspace Database. (exhibition). research methods and results will be translated Dirk Pauwels & Andreas Quednau. Maastricht, research attempts to fill this void. a graphic style. With Tamara Maletic & Dan Michaelson. to the Internet architecture of the www. The NL: Jan van Eyck Academie. The research Choi undertakes aims to construct The Hague, NL: Stroom. research aims to reveal the inconceivable and • Brakin. (30 June -1 July). With Tina a convincing ‘conspiracy theory’ regarding the • Gilles Deleuze. The Passage from Noise to Voice. diverse secret service surveillance GDR architec- Clausmeyer, Wim Cuyvers, Kobe Matthys, uncanny locales in and around Maastricht, by (website & brochure). Maastricht, NL: Jan van ture that allowed to set up the fanatic and grue- Sabine Müller, Dirk Pauwels & Andreas means of writing and design. Conspiracy theory Eyck Academie. some control apparatus. The resulting counter- Quednau. Maastricht, NL: Jan van Eyck will explain this and when used carefully could • Fast Forward. Photographic Message from Korea. cartography of contemporary and original Academie. provide a useful model for critical discourse and (catalogue). Frankfurt am Main, DE: Fotografie material intends to display how the Stasi used • Cities: Is What You See What You Are? practice. Choi intends to set up a paranoiac Forum International. an entire city to communicate to its various col- In: Authoring the City. (24 - 25 March). With theory about the world, ‘collect’ evidences and • 1/4. Orientätie. (magazine). Beetsterzwaag, NL: laborators through a network of secret locations. Tina Clausmeyer, Wim Cuyvers, Kobe Matthys, sometimes even ‘forge’ them. Then the theory Kunsthuis Syb. The database will connect memory and former Sabine Müller & Andreas Quednau, Dirk becomes a pseudo-reality, affecting the percep- • Report (Not Announcement). (website). Utrecht, conspiratorial architecture to specific locations, Pauwels, Filip de Boeck, Jan Masschelein, tion of the world itself. NL: BAK / New York, US: E-flux. street names, house numbers or entire city maps Koen Van Synghel, Jochen Becker Maastricht, of the city as it is today. Published on-line, this NL: Jan van Eyck Academie. Editorials cartography will give testimony to its former invis- • Congo-Brazzaville Team. In: Opening Week • D.T.1. (magazine). Seoul, KR: Sizirak. ible visible control apparatus and its distribution 2005. (10 -14 January). With Tina Clausmeyer, and operation of the KW’s. Wim Cuyvers, Kobe Matthys, Sabine Müller, Lectures/presentations Dirk Pauwels & Andreas Quednau. Maastricht, • WelcometoFusedspaceDatabase.(28September). Projects NL: Jan van Eyck Academie. In: The Matching Link. The Hague, NL: Stroom. • Mapping Conspiratorial Spaces. Visualization • (Min Choi) Cryptographic Spaces. (19 May) of Stasi’s Secret Meeting Places from 1980-89 In: Authoring the City at ABKM. Organised by in the Former GDR. Erfurt as Model City. Academie Beeldende Kunsten Maastricht & Jan • Meta Haven: Sealand Identity Project (see Meta van Eyck Academie. Maastricht, NL: Academie Haven Project CV for more details). Beeldende Kunsten Maastricht. • Visualizing the Visual. • First public presentation of the ‘Physical Jan van Eyck’. (12 May). With Tamara Maletic & Dan Lectures/presentations Michaelson. Maastricht, NL: Jan van Eyck • Brakin. (14 December). With Kristien Van den Academie. Brande, Wim Cuyvers, Kobe Matthys, Sabine • The pragmatics of the diagram. In: Opening Müller & Andreas Quednau, Dirk Pauwels. Week 2005. (10 -14 January). Maastricht, NL: Maastricht, NL: Jan van Eyck Academie. Jan van Eyck Academie. • Brakin. (30 June -1 July). With Kristien Van den • The Physical Jan van Eyck. In: Opening Week Brande, Wim Cuyvers, Kobe Matthys, Sabine 2005. (10 -14 January). With Tamara Maletic Müller & Andreas Quednau, Dirk Pauwels & & Dan Michaelson. Maastricht, NL: Jan van Eyck Liévin Chirhal Wirwa. Maastricht, NL: Jan van Academie. Eyck Academie. • Sulki & Min 2000–2005. In: IdN Design Edge • Cities: Is What You See What You Are? Conference. (11 November). Singapore, SG: In: Authoring the City. (24 - 25 March). With SUNTEC. Kristien Van den Brande, Wim Cuyvers, Kobe Matthys, Sabine Müller & Andreas Quednau, Symposia/congresses Dirk Pauwels, Filip de Boeck, Jan Masschelein, • The Matching Link. (28 September). Organised by Koen Van Synghel, Jochen Becker Maastricht, Jan van Eyck Academie. The Hague, NL: Stroom. NL: Jan van Eyck Academie. • IdN Design Edge Conference. (11 November). • Brakin. In: Opening Week 2005. (10 -14 Singapore, SG: SUNTEC. January). With Kristien Van den Brande,

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MARIJKE COBBENHAGEN & MARTHE VAN DESSEL • Trichtlinnburg. An Urban Affair. (brochure). SARAH INFANGER VINCA KRUK • Two Scenario’s for a Dialogue. History vs. CHANTAL HENDRIKSEN 01.09.2004 – 30.06.2005 Maastricht, NL: Jan van Eyck Academie. 01.09.2005 – 31.08.2006 01.11.2003 – 31.10.2005 Future #3. (17 October). Maastricht, NL: 01.06.2005 – 31.08.2005 1976, Belgium 1978, Switzerland 1980, the Netherlands Jan van Eyck Academie. 1978, the Netherlands Festivals/events • History vs. Future #1. (9 September). As a media sociograph Van Dessel uses graphic • POLYPOLY: Parker Sister Real Estate Trading Sarah Infanger researches the book as a material Vinca Kruk aims to develop a historical approach Maastricht, NL: Jan van Eyck Academie. Marijke Cobbenhagen, together with associative language to analyze and comment Game. (26 - 29 October). In cooperation with object. She also looks at conscious and sub- to identity design. Her research will mainly focus • Re-Designing the Past. In: Opening Week Chantal Hendriksen, designed the publication on a wide range of facts/topicalities. In doing so, FEMCITY & Stad in vrouwenhanden. conscious ways of reading, reading attitudes, on three issues. First of all, she wants to design 2005. (10-14 January). Maastricht, NL: Trichtlinnburg. An Urban Affair. the audience becomes an explicit participant in Mechelen, BE. objective and subjective perceptions of content. a visual identity for three companies or organiza- Jan van Eyck Academie. a game of absurd logic and context-linked neol- • Vaneyck Residence. In: Trichtlinnburg Infanger, moreover, studies the relationship tions that no longer exist. Secondly, she intends to ogisms. This axiom is the source of inspiration Maastricht. An Urban Affair. (27 May - 5 June). between the book and its content. Form experi- examine the questions of how historical charac- for Van Dessel’s thinking and design work. Maastricht, NL: Jan van Eyck Academie. ments, experiments between content and the teristics, such as describing or referring to some- As member of bolwerK she co-produces installa- tangible object are an essential part of her thing of the past, can become a form of symbol- tions in public space, work shops, vj performanc- Performances research. How does the material and content ism re-appearing through contemporary design, es, events, et cetera. It gives her the anonymous • Your Host for Tonight. (Radio Forest project aspect influence our perception? How do form and what such design strategy would mean in the freedom to put theories into practice. BolwerK is initiated by Stijn Schiffeleers & Amy and content direct our (self)reflective way of context of this paradoxical ‘re-design of the past’. a varying collective which ties together image, Franceschini). Neerpelt, BE: Klankenbos. navigating? Finally, she investigates whether it is possible – sound, text, content and form – the five ‘basic • Trailer31 Vegetal Sensor-Embodiment. as in architecture – to create design that lacks its elements’. It functions as a platform for making (13 August). With Johannes Taelman. Maison Projects usual purpose, but rather functions as a model and showing various hyper-medial creations, Radieuse, Nantes, FR: Placard Festival. • The Tomorrow Book. and exists merely in the sense of being a proto- focusing on the (inter)human, among other things. • No Quality but Quantity! (19 August). With type, reflecting on a new role for history in con- BolwerK interrational investigates realistic Simon Halsberghe, Kirsten Lemaire, Winke Design temporary design. utopias within the territory of Trichtlinnburg. Hossfeld & BoemtjakTV. Hasselt, BE: • Programme brochure 2006. With Harrisson. Or how ‘experience design’ is increasingly deter- Pukkelpop. Maastricht, NL: Jan van Eyck Academie. Projects mining her vision of urban development. • Axaxaxas mlö. Library of Babel. (11 • Meta Haven: Sealand Identity Project. December). With COMBO 01 (Bas Wiegers, Lectures/presentations • Re-Designing the Past. (visual proposals and Projects Gijs Kramers, Saartje Van Camp, Sanne van • The Future Book. In: Verbindingen/Jonctions 9. prototypes for Ceausescu’s palace and the • Trichtlinnburg. Delft, Lies Declerck & Floriaan Ganzevoort). (24 - 28 November). With Filiep Tacq, Joël VOC). Amsterdam, NL: Kanaal 10. Vermot & Richard Vijgen. Liège, BE: Design • bolwerK featuring Clever Gretel (4 March). Het museum voor openbaar vervoer/ Exhibitions • bolwerK Interrational (website and event). With Stefanie Seibold, Lies Declerck & Sophie Le musée des transports en commun. • Stepping Out. An Invitation to Do Something Maastricht, NL: Jan van Eyck Academie. Burm. Hasselt, BE: Female Exploration. New. (28 November -12 December). Published on: . Workshops • Lies Declerck (Ed.). Contour 2005. (book, • Cinéketje. In: Cimatics International Platform Design brochure and website), (co-lab) Sfumato & Festival of Live Visual Arts & Vjing. With Lies • History vs. Future. (invitations for a lecture (Kurt Cornelis). Mechelen, BE: Contour, Declerck & Ingrid Stojnic (10 October). series). Maastricht, NL: Jan van Eyck Academie biënnale voor videokunst. Published on: Brussels, BE: Cinema Nova. • Museum in ¿Motion? (book on CD-ROM). . With Adriaan Mellegers. Maastricht, NL: • Cyberfeminism Reloaded. (website). With Lectures/presentations Jan van Eyck Academie; Sittard, NL: Museum Nicolas Malevé. Brussels, BE: Constantvzw. • Mediasociography. In: Opening Week 2005. Het Domein; Ghent, BE: A&S/books, Ghent Published on: . Academie. • ‘T-shirts’. (series of t-shirts for the Jan van Eyck • Facelifters – Manual Labour: platformatorium • Mediasociography. (March) Antwerp, BE: Academie). With Adriaan Mellegers. voor interface onderzoek. (leaflet/poster and Sint Lucas, Karel De Grote Hogeschool. Maastricht, NL: Jan van Eyck Academie. website). With Sfumato (Kurt Cornelis) & Lies • Temporal Nomadic Prolongation? • Recruitment Campaign 2005. (poster and Declerck. Genk, BE: Tor & Maastricht, NL: (14 December). Maastricht, NL: Jan van Eyck advertisements). With Adriaan Mellegers. Intro in situ. Published on: http://www. Academie. Maastricht, NL: Jan van Eyck Academie. facelifters.net>. • Trichtlinnburg. (poster, brochure & advertise- • Michel Dector & Michel Dupuy, Maastricht Reviews ments). With Adriaan Mellegers. Maastricht, Dector – Dupuy. (brochure). Maastricht, NL: • Els Fiers. Tricht-Linnburg Maastricht. In: NL: Jan van Eyck Academie; Tallinn, EE: Center Jan van Eyck Academie. Metropolis M, 4, p. 88. for contemporary arts, Estonia; Salzburg, AT: • Annick Bijnens (Ed.). Nicc, Zelfpromotie van • Caroline Goossens. Frisse wind in Antwerpen. Salzburger Kunstverein. de Kunstenaar en Professionalisering. Antwerp, In: Items, 5, p.73 BE: New International Cultural Centre (NICC). Publications • Johanna Kirsch. Schrik.info (website). • Gebouw als logo. In: Metropolis M, 5, pp. 27-34. Maastricht, NL: Jan van Eyck Academie. Lecture series • Sophie Burm (Ed.). Smakers. Jongeren en • History vs. Future. With Femke Snelting & cultuur 2004. (book). (co-lab) Sfumato Wim Crouwel. Maastricht, NL: Jan van Eyck (Kurt Cornelis). Brussels, BE: Afdeling Jeugd Academie. en Sport, CJP. • The Ghostly Social Aspects of Cinema. (invite Lectures/presentations and website). Maastricht, NL: Jan van Eyck • Defunct Symbolism: First Draft. (14 December). Academie. Published on:. Eyck Academie.

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ZUZANA LAPITKOVÁ TAMARA MALETIC & DAN MICHAELSON SÉBASTIEN MANIGLIER KOBE MATTHYS ADRIAAN MELLEGERS Lectures/presentations 01.01.2004 – 31.12.2005 01.06.04 – 31.10.2005 28.12.2004 – 28.06.2005 28.12.2004 – 28.06.2005 01.11.2003 – 31.10.2005 • [Untitled]. In: End of Year Activity. 1974, Slovakia TAMARA MALETIC, 1970, Yugoslavia 1977, France 1970, Belgium 1975, the Netherlands (14 December). Maastricht, NL: Jan van Eyck DAN MICHAELSON, 1974, United States Academie. When we think of the various forms of commu- Sébastien Maniglier was part of the Visualizing Africa’s contemporary judicial organization is Adriaan Mellegers aims to develop a working • Special Effects. In: Opening Week 2005. nication manifesting themselves in cities we Maletic and Michaelson are designing and the Visual team. He set up and hosted a forum. drawn up of various collective customs dating method that focuses on making visual state- (10 -14 January). Maastricht, NL: Jan van Eyck cannot omit public festivities. They have been installing a set of ‘weathervanes’, devices from the period prior to the European coloniza- ments; creating forms of symbolism that reflect Academie. typical of urban events since the Middle Ages. embedded in the urban fabric, which report Projects tion of Africa on the one hand and European contemporary culture, with an emphasis on the At the time of absolutism, festivities represented visually on local conditions (pedestrian move- • Visualizing the Visual. written laws that were introduced through colo- way we experience information through the deliberately harmonized Gesamtkunstwerke, ments, infrastructural changes, and other winds). nization in the mid-19th century on the other Internet. combining theatre, fine arts, and music to They could help support or shift the tactical hand. Many countries maintain a dual legal The world of information culture surrounds us impress all the audience’s senses. A primary choices city users make all the time. Their system, including the Congo. Land use was also with façades and so-called realities. How do function of such a work of art – the result of research is toward the creation of new layers subjected to a double system of property rights. we deal with this constant flow of information, team-work by humanists, designers and artists – of the city, embedded in the city, giving voice Apart from traditional practices and ‘customs’ what position should we take? How do narratives was to create an illusion of a perfect world and to the city’s in/visible flows. A related goal is a ‘European’ system was in use for the white and constructions become part of our lives? to persuade citizens that it was real. to develop economical methods for network- settlers enabling them to establish their planta- How should we act when confronted with The main objective of Lapitková research project based or data-driven typographic systems in tions through application to the central state. stories and phenomena which take on a life of is to imitate a public festivity in its role of a com- the public sphere. All vacant land was declared to be the property their own? Is it still possible to communicate in munication medium as it has developed to the of the colonial state. The right to use land was a meaningful way? present form. In doing so, the project intends to Projects thus assigned or allocated by the government The role of designers can be that they make use inspire public interest in self-reflection. To make • The Physical Jan van Eyck. through the Department of Land Affairs, Environ- of these narratives and constructions, while at people understand themselves as an influencing • Weathervanes. ment, Nature Conservation and Tourism. Land the same time being able to question the motives society and as a society being influenced. was expropriated for settler-owned concessions of these structures. Graphic design is a means Deriving from a practice of festivities, the project Design and compensation was paid to the customary to view and comment on situations. In Special should involve artists, designers and theorists in a • Welcome to Fusedspace Database. leaders (mwami). Kobe Matthys took walks in Effects (working title) Mellegers realizes a body common work, which would result in an outdoor (28 August - 9 September). With Sulki & Kinshasa and Brazzaville and tried to find out of work that reflects ideas about the different exhibition – a performance in the style of a public Min Choi. The Hague, NL: Stroom. about the stories attached to the sentence: layers of information we are subjected to. festivity. ‘This parcel is not for sale’ that he found painted Lectures/presentations on walls. Projects • Weathervanes, Presentation 01. Projects • Trichtlinnburg. (14 September). Maastricht, NL: Jan van Eyck Projects • Meta Haven: Sealand Identity Project. Academie. • Visualizing the Visual. Actions/performances • First Public Presentation of the ‘The Physical Exhibitions • Closing Maaspromenade. (2 June). Maastricht, Jan van Eyck’. (12 May). With Sulki & Min Lectures/presentations • Stepping Out. An Invitation to Do Something NL. Choi. Maastricht, NL: Jan van Eyck Academie. • Brakin. (14 December). With Kristien Van New. (28 November -12 December). • Weathervanes, Presentation 02. In: Opening den Brande, Tina Clausmeyer, Wim Cuyvers, Maastricht, NL: Jan van Eyck Academie. Festivals/events Week 2005. (10 -14 January). Maastricht, Sabine Müller & Andreas Quednau, Dirk • Reuzenoptocht met Jeanne van Eyck. NL: Jan van Eyck Academie. Pauwels. Maastricht, NL: Jan van Eyck Design (12 June). Maastricht, NL. • The Physical Jan van Eyck. In: Opening Week Academie. • Het bezoek. Jaarverslag 2004/The Visit. • Jeanne van Eyck. In: Trichtlinnburg Maastricht. 2005. (10 -14 January). With Sulki & Min • Brakin. (30 June -1 July). With Kristien Van Annual Report 2004. (institutional publication). An Urban Affair. (27 May - 5 June). Maastricht, Choi. Maastricht, NL: Jan van Eyck Academie. den Brande, Tina Clausmeyer, Kobe Matthys, Maastricht, NL: Jan van Eyck Academie. NL: Jan van Eyck Academie. Sabine Müller, Dirk Pauwels & Andreas • Debate Cultureel ondernemerschap: Symposia/congresses Quednau. Maastricht, NL: Jan van Eyck architectuur en engagement. In: Lend Me Lectures/presentations • Welcome to Fusedspace Database. In: Academie. Your Dream/Lend Me Your Fantasy. (invite). • Het evenement. In: Opening Week 2005. The Matching Link. (28 september). • Cities: Is What You See What You Are? Maastricht, NL: Jan van Eyck Academie, (10 -14 January). Maastricht, NL: Jan van Eyck With Roland Haring, Jouke Kleerebezem, In: Authoring the City. (24 - 25 March). Academie Beeldende Kunsten. Academie. Gilles Lane, Sulki & Min Choi, Andrea Zapp. With Kristien Van den Brande, Tina • Debate Radicale democratie. (invite). In: • Jeanne van Eyck. In: Japanese Curators Visit Organised by Jan van Eyck Academie. Clausmeyer, Wim Cuyvers, Sabine Müller Lend Me Your Dream/Lend Me Your Fantasy. the Jan van Eyck. (24 September). Maastricht, The Hague, NL: Stroom. & Andreas Quednau, Dirk Pauwels, Filip de Maastricht, NL: Jan van Eyck Academie, NL: Jan van Eyck Academie. Boeck, Jan Masschelein, Koen Van Synghel, Academie Beeldende Kunsten. • Closing Maaspromenade. (14 December). Jochen Becker Maastricht, NL: Jan van Eyck • Museum in ¿Motion? (digital publication, Maastricht, NL: Jan van Eyck Academie Academie. CD-ROM). With Vinca Kruk. Maastricht, NL: • Congo-Brazzaville Team. In: Opening Week Jan van Eyck Academie; Sittard, NL: Museum 2005. (10 -14 January). With Kristien Van Het Domein; Ghent, BE: A&S/books, den Brande, Tina Clausmeyer, Wim Cuyvers, Universiteit Gent. Sabine Müller, Dirk Pauwels & Andreas • Recruitment Campaign 2005. (advertisements Quednau. Maastricht, NL: Jan van Eyck and posters). With Vinca Kruk. Maastricht, NL: Academie. Jan van Eyck Academie. • Trichtlinnburg. (booklet/brochure). With Vinca Kruk. Maastricht, NL: Jan van Eyck Academie. • Wiels, centrum voor hedendaagse kunst. (visual identity, proposal for logo, poster, programme, folder and website). With Vinca Kruk. Brussels, BE.

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META HAVEN: SEALAND IDENTITY PROJECT DIRK PAUWELS SMAQ INGRID STOJNIC TONI URODA JOËL VERMOT / HARRISSON With Tina Clausmeyer, Vinca Kruk, Adriaan 28.12.2004 – 31.12.2005 SABINE MÜLLER, 1969, Germany 01.09.2003 – 31.08.2005 01.11.2003 – 31.10.2005 01.09.2005 – 31.08.2006 Mellegers & Daniël van der Velden 1969, Belgium 28.12.2004 – 31.12.2005 1976, Croatia 1975, Croatia 1972, France ANDREAS QUEDNAU, 1967, Germany Publications Dirk Pauwels’ research focuses on the history of 28.12.2004 – 30.06.2005 With designer Bert Balcaen, Ingrid is developing Toni Uroda’s research concerns the relationship As in architecture, the book has a role to play in • The Discovery of the Fifth World. In: Sarai utopias, a history that becomes especially clear a web dictionary for the Chinese language. between typography and Croatian orthography. history. It is a container, a means and a tool. Its Reader (special issue: Bare Acts), 05. in modernity. The moderns, philosophers and Within the project Visualizing the Visual Sabine Currently, several of these online dictionaries This involves articulating the characteristics of the form, codes and practice make it a constitutive • ImagiNation. Open, 8. urbanists alike, believe that it is possible to create Müller & Andreas Quednau study logics of pro- exist, but most of them have a very limited user Croatian language that are relevant for typogra- part of mankind. Having said that, its position • ImagiNation. With Daniël van der Velden. an ideal place, a place that can be as small as a duction of space as ‘cartographers’. The under- interface: an input field and a search button, phy, that is, indicating particular orthographic today has dramatically changed, partly due to In: Idea Magazine (special issue: Design room or as big as a society. This belief culminat- taking unfolds from the non-representational which give access to the list of words matching features such as word length, frequent letter economy, mainly to the digital revolution. The Liberated), 53 (309). ed in the designs of 20th century modernism and spaces of the two cities along the Congo river. your criteria. The consequence is that language combinations, punctuation and capitalization future of the book takes place in the pertinent • Shadow Nation. In: HTV De IJsberg, 61, p. 10. is nowadays, often literally, ruined. We think and Neglected from one side, but appropriated and appears to be nothing more than a list of isolated rules, which determine the criteria for choosing adaptation of its specific elements in an acceler- work in the shambles of former endeavours to domesticated from another, they could be words. In contrast, the dictionary they want to a suitable typeface when setting Croatian texts ating communication world. Lectures/presentations create utopias. revealed as opportunity-bearing gaps, as failures design is one that offers its users a more contex- or for designing new typefaces intended primarily The politics of graphic design present an inter- • Stealth Nation/Ghost Prison. Project on To spot, read and rewrite some traces of mod- of one system that allow other systems to act. tualized view of a language: an integration of for the Croatian language. esting case. If the typographic workroom was Disappearance. (April). In: Radio Days. ern(istic) endeavours in Kinshasa/Brazzaville will To meet this intersectional notion of space a search functions and tools for browsing around The research also focuses on the current manu- the laboratory of the fragmentation and reparti- Amsterdam, NL: De Appel be his contribution to the project Visualizing the double perspective of mapping is required: from in a semantic network. In short, their research als in which the orthographic norm is prescribed. tion of the work (as with weaving workshops, • P.S. I Love You. In: Opening Week 2005. Visual. What is left of the architecture of the within and from a distance. deals with organizing and classifying data, visu- There are currently two different orthographic premises of industrialization), the last 25 years (10 -14 January). Maastricht, NL: Jan van Eyck OCA (1952-1960), the colonial attempt to Diagrams and possibly animations ought to trace alizing words in their context and developing an manuals available, each written by a different of technical revolution have suddenly concen- Academie. implant modernism (and modernity) in the the transgressive practices of the ‘user’, the adequate, intuitive and user friendly interface. team of leading Croatian linguists. Both manuals trated many professions into one (conception, Congo? Does the current absence of planology actions, fluctuations and tastes of the very locality. in fact follow the same basic underlying principle creation of pictures, lay-out). Quite paradoxi- in the Congo deserve labels such as ‘pre-mod- At the same time these need to be framed within Exhibitions (phonemic) and differ only in minor details cally, the graphic designer handles many crafts ern’ and ‘proto-urbanistic’, ‘neo-tribalistic’ or global or regional dependencies to localize the • Camouflage Comics. In: PROGMe. concerning orthographic rules, and somewhat at once, while also being a specialist. The graph- ‘neo-rural’? How to establish a communication international (UN), colonialist and ethnic fields of (19 September). San Paulo, BR. in methodology and terminology. The essential ic designer is the vector between authors’ ideas between our strategies of understanding and the cities. Questions to tackle are: Where do these difference is more ideological and political and their Zion. Moreover, he often makes the claiming space on the one hand and theirs on spaces emerge geographically? Could trangres- Lectures/presentations rather than strictly linguistic. economic choices in the production of the print- the other? And what to think of the quest for sive spaces be described as ruptures or overlays • Web 2.0. (13 December). Maastricht, NL: ed object. He thus bears a grave responsibility (micro-)utopias in the maquettes of Kinois artists of zones of power and influences from outside? Jan van Eyck Academie. Design in the publishing production line, and finally, such as Bodys Isek Kingelez and Pume Bylex? Both cartographic views are interrelated and • RadMap – Where is my Dictionary?. • A Community of Scoundrels. (poster and in its politic. How can the graphic designer role inform each other. From the planning discipline’s In: Opening Week 2005. (13 -14 january). programme for the conference). Maastricht, evolve, between the book and digitalization, Projects tradition they seem to be irreconcilable; yet, these Maastricht, NL: Jan van Eyck Academie. NL: Jan van Eyck Academie, Nijmegen, NL: authors and readers, structure and narrativity? • Visualizing the Visual. changing points of entry echo the necessity to Radboud University. meet the asymmetry emerging from the exterritori- Films/video’s • Extra City, Centre for Contemporary Art. Projects Editorials al nature of influences shaping living environments • Drama (video clip). DVD, 3 min., colour. (visual identity). Antwerp, BE: Extra City, • The Tomorrow Book. • Victoria Magazine, 05. and the continuing territoriality of life. With Zafer Aracagök. Centre for Contemporary Art. • Los Entropicos. (poster). Design Lectures/presentations Projects Screenings • Pablo Pijnappel: Andrew and Felicitas. (poster • Programme brochure 2006. With Sarah • Brakin. (14 December). With Kristien Van den • Visualizing the Visual. • Drama (video clip). Shanghai, CN: Room and catalogue). Antwerp, BE: Extra City, Infanger. Maastricht, NL: Jan van Eyck Brande, Tina Clausmeyer, Wim Cuyvers, Kobe with a View Gallery. Centre for Contemporary Art. Academie. Matthys, Sabine Müller & Andreas Quednau. Lectures/presentations • Zagrebacko kazali?te mladih. (visual identity). Maastricht, NL: Jan van Eyck Academie. • Brakin. (14 December). With Kristien Van den Prizes/awards Lectures/presentations • Brakin. (30 June -1 July). With Kristien Van den Brande, Tina Clausmeyer, Wim Cuyvers, Kobe • 4th Gangart Awards 2005. For: Camouflage Lectures/presentations • The Future Book. In: Verbindingen/Jonctions 9. Brande, Tina Clausmeyer, Wim Cuyvers, Kobe Matthys, Dirk Pauwels. Maastricht, NL: Jan van Comics. • Problems in Croatian Orthography. A (24 - 28 november). With Sarah Infanger, Filiep Matthys, Sabine Müller & Andreas Quednau. Eyck Academie. • Memefest Award 2005. For: Camouflage Typographic Investigation. In: Opening Week Tacq & Richard Vijgen. Liège, BE: Het museum Maastricht, NL: Jan van Eyck Academie. • Brakin. (30 June -1 July). With Kristien Van den Comics. First prize best web and interactive site. 2005. (10 -14 January). Maastricht, NL: voor openbaar vervoer/Le musée des trans- • Cities: Is What You See What You Are? Brande, Tina Clausmeyer, Wim Cuyvers, Kobe Jan van Eyck Academie. ports en commun. In: Authoring the City. (24 - 25 March). With Matthys, Dirk Pauwels. Maastricht, NL: Jan van Seminars/workshops Kristien Van den Brande, Tina Clausmeyer, Eyck Academie. • Cinéketje, In: Cimatics International Platform Wim Cuyvers, Kobe Matthys, Sabine Müller • Cities: Is What You See What You Are? In: & Festival of Live Visual Arts & Vjing. (10 & Andreas Quednau, Filip de Boeck, Jan Authoring the City. (24 - 25 March). With Kristien October). With Lies Declerck & Marthe van Masschelein, Koen Van Synghel, Jochen Van den Brande, Tina Clausmeyer, Wim Dessel. Brussels, BE: Cinema Nova. Becker Maastricht, NL: Jan van Eyck Cuyvers, Kobe Matthys, Dirk Pauwels, Filip de Academie. Boeck, Jan Masschelein, Koen Van Synghel, Design • Congo-Brazzaville Team. In: Opening Week Jochen Becker. Maastricht, NL: Jan van Eyck • Camouflage Comics. (website). With with 2005. (10 -14 January). With Kristien Van den Academie. Bert Balcaen & Aarnoud Rommens. Jan Brande, Tina Clausmeyer, Wim Cuyvers, Kobe • Congo-Brazzaville Team. In: Opening Week van Eyck Academy, NL. Published on: Matthys, Sabine Müller & Andreas Quednau. 2005. (10 -14 January). With Kristien Van den . Maastricht, NL: Jan van Eyck Academie. Brande, Tina Clausmeyer, Wim Cuyvers, Kobe • Trichtlinnburg. (website). With Bert Balcaen. Matthys, Dirk Pauwels. Maastricht, NL: Jan van Maastricht, NL: Jan van Eyck Academy. Eyck Academie. Published on:. • Game Design Symposium. (website). With Bert Balcaen. Maastricht, NL: Jan van Eyck Academy. Published on: .

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RICHARD VIJGEN NORMAN BRYSON SABETH BUCHMANN Vienna, AT: Museum Moderner Kunst Stiftung 01.09.2005 – 31.08.2006 1949, Great Britain 1962, Germany Ludwig (MUMOK). 1982, the Netherlands • About Avant-Garde Film. (February). Basel, Norman Bryson’s current concern in research is The Film and Biopolitics project takes a theoreti- CH: Kunsthistorisches Institut der Universität In the past decade attempts have been made to with areas of visual culture that tend to be over- cal-historical approach and aims at investigating Basel. make the information stored in books available looked or ignored in art history and art criticism. the rhetorics of the notion of life in its constitutive • Introduction. In: The Ghostly Social Aspects on the Internet – some proprietary, some open Many sessions of his present cycle of seminars at impact on most of the art and film categories of of Cinema. (14 -16 April). With Helmut Draxler source. Even though some of these attempts have the Jan van Eyck address visual culture in Japan: the 20th century, hence the question to what & Stephan Geene. Maastricht, NL: Jan van been very successful, they usually conform to the Meiji Western-style painting, Yukio Mishima and extent they participate in these forms of produc- Eyck Academie. old idea of the library in digital form. As long as photography, the photo-tableaux of Yasumasa tion und utilization of ‘pure’ and ‘qualified’ life. • Soft Cars and Hardware Emotions. Visual these works are being stored online, and printed Morimura. Other seminars are concerned with In a second step the intention is to show that this Cars and Real Cars in Cinema. With Stephan for reading, the concept is simply an evolutionary types of representation that are rarely given critique on avant-garde, with its positive refer- Geene. In: Opening Week 2005. (10 -14 process in production and distribution, most likely theoretical attention, such as Still Life and draw- ences to elements of the genre cinema, has January). Maastricht, NL: Jan van Eyck to be taken advantage of by the bookmaking ing. His aim is to help researchers develop tools already become part of a ‘critical’ self-under- Academie. industry in the form of ‘print on demand’. for visual and cultural analysis, drawing on a standing of artists and film makers – while their Vijgen’s research focuses on the new paradigm wide range of disciplines and debates, including theoretical and political importance has not yet of the non-physical book existing in a uniform semiotics, cultural studies, psychoanalysis, queer been realized. database environment. The absence of physical theory, and literary criticism. limitations and the uniformity of the structure in Projects which the book exists, opens up new ways of Publications • Film and Biopolitics. thinking about the book. The book no longer • Review of: Art since 1900: Modernism, starts at the first page, and ends at the last, it can Antimodernism, Postmodernism. In: Frieze, 92, Organised events be a collection of quotes, pages or chapters from pp. 110-115. • The Ghostly Social Aspects of Cinema. different books in the library. Like a DJ mixes (14 -16 April). Maastricht, NL: Jan van Eyck records, readers or lecturers can recompose text Seminars/workshops Academie. by making connections or by sampling books. • Degas and the Movement-Image. The uniform structure allows us to add data to (28 November). Maastricht, NL: Jan van Eyck Publications the book, making it more valuable the longer it Academie. • Von der Antropofagia zum Tropikalismus. exists. Readers may leave traces in a book. In this • [Untitled]. (13 September). Maastricht, NL: In: Giorgio Ronna (Ed.). Elke aus dem Moore, scenario the ‘entity’ shifts from the book to the Jan van Eyck Academie. pp. 71-80. Nürnberg, DE: Entre Pindorama. library and beyond, challenging our cultural • Taking Over the Archive: Portrait Photography • The Painting Which is Not One/ Die Malerei, perception of the book. It allows us to navigate from August Sander to Nan Goldin. (21 June). die nicht eins ist. In: Monika Baer. [Exh. Cat]. to the book using the content of the book itself. Maastricht, NL: Jan van Eyck Academie. Cologne, DE: Walther König. The open source Project Gutenberg (www.guten- • Chardin and the Text of Still Life. (25 March). • Das Begehren nach Begehren [The Desire to berg.org) will be a test-case in applying such a Maastricht, NL: Jan van Eyck Academie. Desire]. In: Josephine Pryde. Secessions pp. scenario. The goal is to develop an online soft- • The Practice of Drawing. (11 February). 31-37. Frankfurt am Main, DE: Revolver. ware project that will use the project Gutenberg Maastricht, NL: Jan van Eyck Academie. • Blut hat es überall schon immer gegeben. database to challenge our perception of the book. In: Texte zur Kunst, 15 (57), pp. 132-134. • Szenen einer Biennale. Spuren von Projects Institutionskritik in Arbeiten von Tino Sehgal • The Tomorrow Book. und de Rijke/de Rooij. In: Texte zur Kunst, 15 (59), pp. 54-63. Lezingen/presentaties • The Future Book. In: Verbindingen/Jonctions 9. Editorials (24 - 28 November). Met Sarah Infanger, • Wenn sonst nichts klappt: Wiederholung. Filiep Tacq, Joël Vermot (Harrisson). Liège, BE: Wiederholen in Kunst, Popkultur, Film, Musik, Het museum voor openbaar vervoer/Le musée Altag, Theorie und Praxis. In cooperation with des transports en commun. students of the Hochschule für Bildende Künste. Hamburg, DE: Hochschule für Bildende Künste.

Lectures/presentations • Kritik der Institutionen und/oder Institutionskritik? (Neu-)Betrachtung eines historischen Dilemmas. In: Ist die Kunstkritik am Ende? (29 October). Krems, AT: Donau- Universität Krems. • About Conceptual Drawing. (October). In: Raum. Orte der Kunst. Räume der Zeichnung. Berlin, DE: Akademie der Kunste. • About Software. Information Technology and its New Meaning for the Arts. (September). In: Open Systems. London, GB: Tate Modern. • About Narration in the Work of Yvonne Rainer. (May). In: Kulturen des Erzählens symposium.

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HELMUT DRAXLER STEPHAN GEENE MARC DE KESEL (Ed.). Hoe wetenschappelijk is de psychiatrie? EVA MEYER ZAFER ARACAGÖK 1956, Austria 1961, Germany 1957, Belgium Antwerp, BE: Garant, pp. 111-128. 1950, Germany 01.10.2004 – 30.09.2005 • Wie der Gott und Mensch sich paart: Hölderlin’s 1960, Turkey Helmut Draxler collaborates with Sabeth Stephan Geene collaborates with Sabeth Main topic of De Kesel’s research is the problematic theory of the sublime as read in his remarks on What does the veil know and what might it (not Buchmann and Stephan Geene on the project Buchmann and Helmut Draxler on the project status of modernity/post-modernity, and the ques- tragedy. In: Bart Vandenabeele (Ed.). Act of the directly) tell us? This phrasing may sound like an After tracing the question of the immediate in Film and Biopolitics. Film and Biopolitics. tion of (the notion of) the subject within that moder- Symposium ‘Histories of the Sublime’. Brussels, odd personification, but Meyer would like the Schopenhauer and Nietzsche, Zafer Aracagök

nity. He publishes on contemporary continental BE: Academie voor Wetenschap en Kunst, pp. question, and the figure of speech, just to hang intends to develop an approach to this problem

^ Projects Projects philosophy, psychoanalysis,^ art theory: articles on 123-134. in our mind, like a motto, or an old tune. Against in Deleuzian philosophy, along the following • Film and Biopolitics. • Film and Biopolitics. Bataille, Derrida, Zizek, Certeau, Blanchot, Nancy, the backdrop of this tune, we can reexamine lines: Does the concept of ‘resonance’ in the phi- Lacan, and others. In 2003, together with Dominiek Editorials how we define knowledge and realize that the losophy of Deleuze, as used vis-à-vis the question Organised events Organised events Hoens, Marc De Kesel set up CLiC: Circle for • Religion als Kritik; Kritik als Religion: Die veil insists, knows that there is more to it than of the immediate, function as it is supposed to • The Ghostly Social Aspects of Cinema. In: • The Ghostly Social Aspects of Cinema. In: Lacanian ideology Critique. Marc De Kesel is affili- monotheïstische Sackgasse moderner Kritik In: we can ever know about it. function? Is Deleuze’s reading of Nietzsche (and Film and Biopolitics. (14 -16 April). Maastricht, Film and Biopolitics. (14 -16 April). Maastricht, ated with the Arteveldehogeschool Ghent (courses Dominiek Hoens & Marc De Kesel (Eds.). Wieder The first known references to veiling all refer to of Schopenhauer), especially in his The Birth of NL: Jan van Eyck Academie. NL: Jan van Eyck Academie. in social and political philosophy, philosophy of Religion? Christentum im zeitgenössischen kritis- the veil’s potential of invoking the wrong conclu- Tragedy, problematic because of a certain kind law, philosophy of culture), and with the Heyendaal chen Denken. Vienna, AT: Turia & Kant. sions. It is this very potential which is embraced of resonance between Deleuze and Nietzsche? Lectures/presentations Publications Instituut (Radboud University Nijmegen, where his by storytelling but restricted by law – in order to Can the untheorized concept of resonance in • Failing a Revolution. (24 November). Lecture • (I) Like Your Life (More Than Mine). Maastricht, research is on ‘theories of the gift’). Lectures/presentations contain female sexuality and to structure the Deleuze be traced back to the way he privileges & screening. Maastricht, NL: Jan van Eyck NL: Jan van Eyck Academie. Published on • Something Inevitable in Racism: A Lacanian social status imposed on women. Nowadays, simulacra over models and copies? One might Academie. • CliC. and Democracy. (18 November). In: Identifying split that instrumentalizes a cultural and religious order not to give way to the question of the first – und Ausverkauf im Film. (8 November). In: the Urban Unconscious. Maastricht, NL: Jan van artefact for its various reasons. But what has so that his will be a philosophy of immanence, Orte der Produktion. Stuttgart, DE: Lectures/presentations Organised events Eyck Academie. recently become synonymous with differences a philosophy which leaves behind ‘representa- Künstlerhaus Stuttgart. • Failing a Revolution. Godard and Mieville • A Community of Scoundrels. The ‘Gift’ in Modern • Introduction to Lars von Trier’s ‘Dogville’. that have been presented to us repeatedly as tion’ through a destruction of Platonism. The • The Labor of Writing. The Author’s Destiny in Post-Revolutionary Mozambique in 1978. Society through Lars von Trier’s Dogville. (18 -19 (5 October). In: CIT.CIT. 2 Platform and Treasury. unbridgeable and terrifying, has in fact been part question is whether this act of privilege, despite in Hollywood. (3 October). Maastricht, NL: (24 November). Maastricht, NL: Jan van Eyck May). Organised by Jan van Eyck Academie & Brussels, BE: Etablissement d’en face projects. of both Western and Eastern cultures for millen- pointing to an already-given-decision, enables Jan van Eyck Academie. Academie. Radboud University. Nijmegen, NL: Huize • The Sense of Logic: Lacanian Questions to nia, from aristocratic women of ancient Greece Deleuze to erase the act of copying in the case • On the Film ‘Little Sparta, et in Arcadia Ego’, • The Collective as a Tool of Production in Rainer Heyendaal. Gilles Deleuze’s Theory on Language in to contemporary brides and widows worldwide. of simulacra. Could the untheorized concept of

a Portrait of Ian Hamilton Finlay. (11 July). Werner Fassbinder’s Films and The politicized ‘Logique du Sense’. (9 September). In: Gilles It is the veil’s ubiquity that seems to allow every- resonance be the reason why the question of the

^ Maastricht, NL: Jan van Eyck Academie. Zeitgeist of the 70s as a Tool of Production in Publications ^ Deleuze. The Passage from Noise to Voice. one to form an opinion about it, and it is its first is unavoidably invited into the discussion? • Introduction. In: The Ghostly Social Aspects of Rainer Werner Fassbinder’s Films. (12 July). • Act without Denial: Slavoj Zizek on Totalita- Maastricht, NL: Jan van Eyck Academie. ambiguity that stops us short and imposes on To what extent is it possible to follow Nietzsche Cinema. (14 -16 April). With Sabeth Lecture & screening. Maastricht, NL: Jan van rianism, Revolution and Political Act. In: Studies • The Village and Its She-Dog: the Gift as us not the veil, but the omnipresence of absence, without yielding to noise? Is it possible to theorize Buchmann & Stephan Geene. Maastricht, Eyck Academie. in East European Thought, 56, pp. 299-334. Modernity’s Political Problem in Lars von Trier’s its potentiality. the immediate without theorizing it, that is to say,

NL: Jan van Eyck Academie. • Keiner ist böse, keiner ist gut. Videosplitter und • Back. Text of a Videofilm by Dany Deprez. ‘Dogville’. In: A Community of Scoundrels. by merely pointing to it? Can the recognition of

^ • The Aestethic Road to Victory. Sharing Statements. (30 May). Berlin, DE: b_books. In: HTV De IJsberg, 60, p. 4. (18 -19 May). Nijmegen,^ NL: Huize Heyendaal. Exhibitions the immediate as the untheorizable throw light on Education. (9 March). Maastricht, NL: • Introduction. In: The Ghostly Social Aspects • Delphi revisited: over literatuur en psychoanalyse. • Act Without Denial. Zizek on Totalitarianism, • Schweizer Krankheit + die Sehnsucht nach ‘a concept of event before the event’, of which Jan van Eyck Academie. of Cinema. (14 -16 April). With Sabeth In: J. Houppermans (Ed.). Over de schreef, Revolution and Political Act. (16 March). In: der Ferne. (11 December 2005 - 5 February only the aftermath can be theorized? Buchmann, Helmut Draxler. Maastricht, NL: psychoanalyse & literatuur. Amsterdam, NL: The Spectre of the Avant-Garde. Avant-Garde, 2006). Dresden, DE: Kunsthaus. Discussions/debates Jan van Eyck Academie. Dutch University Press, pp. 72-82. Theory and Partiality. Maastricht, NL: Jan van Organised events • Helmut Draxler im Gespräch mit Fareed • Soft Cars and Hardware Emotions. Visual • Het onvermijdelijke in het racisme. In: Piet Decoster Eyck Academie. Lectures/presentations • Gilles Deleuze. The Passage from Noise to Armaly. (7 July). In: Kunst & Migration. Cars and Real Cars in Cinema. With Sabeth (Ed.). Psychoanalyse en politiek, pp. 55-82. • Town with Dog: about Lars von Trier’s ‘Dogville’. • ‘Shadows’ by Cassavetes. (22 June). Lecture Voice. Conference. (9 September). With Cologne, DE: Kölnischer Kunstverein. Buchmann. In: Opening Week 2005. (10 - • Je maakt geen ding, een ding maakt jou. In: Opening Week 2005. (10 -14 January). & screening. With Ils Huygens. In: The Scheme Manola Antoniolli, Rosi Braidotti, Marc De 14 January). Maastricht, NL: Jan van Eyck Over Lacans notie van das Ding. In: Thierry Maastricht, NL: Jan van Eyck Academie. of the Veil Maastricht, NL: Jan van Eyck Kesel, Mahmut Mutman, Arkady Plotnitsky Academie. De Duve. Maak iets: Kleur/Blik/Ding. Ghent, BE: Academie. & Mark Roelli. Maastricht, NL: Jan van Eyck Sint-Lucas Beeldende Kunst Gent. Symposia/congresses • ‘Ararat’ by Atom Egoyan. (23 May). Lecture Academie. Seminars/workshops • Het onvermijdelijke in het racisme. In: Piet • Intermediale reflecties. Over artistieke conceptu- & screening. With Stephanie Benzaquen. In: • Resonance, Mimesis, Noise and Refrain. • To Find some Animal in Man Seems Easy, Decoster (Ed.). Psychoanalyse & politiek. Amster- aliteit en kwaliteit in hedendaagse kunstprak- The Scheme of the Veil. Maastricht, NL: Jan Lecture series. Maastricht, NL: Jan van Eyck But Does It Work the Other Way Round? dam, NL: Dutch University Press, pp. 51-82. tijken. (30 September). Organised by Dutch van Eyck Academie. Academie. (23 February). Maastricht, NL: Jan van Eyck • Praten uit het donker. Interview met Marc De Kesel Aesthetics Federation (DAF). Rotterdam, NL: • The Scheme of the Veil. In: Opening Week Academie. door Jan Knops over sms- en chatcultuur bij jon- Museum Boijmans van Beuningen. 2005. (10 -14 January). Maastricht, NL: Actions/performances geren. In: Marc De Kesel, Bram Bresseleers & Jan • Gilles Deleuze: the Passage from Noise to Voice. Jan van Eyck Academie. • Divide by Zero. (21 September). In: ctrl_alt_del Knops (Eds.). Sms- en chat-cultuur bij Jongeren. (9 September). With Manola Antoniolli, Zafer 2005, the 9th International Istanbul Biennial. Ghent, BE: Mens en Cultuur Uitgevers, pp. 73-92. Aracagök, Rosi Braidotti, Mahmut Mutman, Screenings (composed in collaboration with Yolande • Religion as Critique, Critique as Religion. Some Arkady Plotnitsky & Mark Roelli. Maastricht, • Flashforward. (6 February). Rotterdam, NL: Harris). Istanbul, TR. Reflections on the Monotheistic Weakness of NL: Jan van Eyck Academie. Witte de With. th Contemporary Criticism. In: Umbr(a): A Journal of • 29 Annual IAPL Conference.Chiasmatic Lectures/presentations the Unconscious, pp. 119-137. Encounters. (2 - 6 June). Organised by Seminars/workshops • Refraining from the Refrain. (24 September). • Religion und/als Kritik. In: Marc De Kesel & International Association for Philosophy and • The Scheme of the Veil. Maastricht, NL: In: Resonance, Mimesis, Noise and Refrain.

Dominiek Hoens (Eds.). Wieder Religion: Literature (IAPL). Helsinki, FI. Jan van Eyck Academie. Maastricht, NL: Jan van Eyck Academie.

^ Christentum im zeitgenössischen^ kritischen • Noise on Noise. (10 May). In: Resonance,

Denken (Lacan, Zizek, Badiou u.a.). Vienna, AT: Seminars/workshops Mimesis, Noise and Refrain. Maastricht, NL:

^ Turia & Kant.^ • Reading Lacan. On Identification. Maastricht, Jan van Eyck Academie. • Slavoj Zizek. In: H. Achterhuis, J.Sperna Weiland, NL: Jan van Eyck Academie. • Decalcomania, Mapping and Mimesis. S. Temmema & J. De Visscher. Denkers van nu. • On Love. A Concept to Analyse Current Cultural (27 April). In: Resonance, Mimesis, Noise Diemen, NL: Veen Magazines, pp. 440-452. Discontent? Maastricht, NL: Jan van Eyck and Refrain. Maastricht, NL: Jan van Eyck • Een sociomaterieel psychè. In: Jos A.M. de Kroon Academie. Academie.

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• On Rhythm, Resonance and Distortion. MONIKA BAKKE BAVO (Gideon Boie & Matthias Pauwels) • Enjoy the Right Not to Enjoy! In: AS (special • It’s About an Architectural Act that is Not STÉPHANIE BENZAQUEN (23 March). In: Resonance, Mimesis, Noise 01.02.2004 – 31.01.2006 01.01.2004 – 31.12.2005 issue: Emotional Pictures), 173, pp. 142-156. Already Backed up by the Other, Stupid! 01.01.2005 – 31.12.2006 and Refrain. Maastricht, NL: Jan van Eyck 1967, Poland GIDEON BOIE, 1975, Belgium • Het spookbeeld van de avant-garde. (8 June). In: International Design Seminar 1971, France Academie. MATTHIAS PAUWELS, 1975, Belgium Hedendaagse hernemingen van het program- 2005. Delft, NL: Faculty of Architecture, Monika Bakke set up the project Breath-Taking. ma van subversie in de culturele productie. Delft University of Technology. In her project Cultural Representations of Geno- Conferences Air, Art, Architecture that consists of three ele- During the first year of their research period at In: AS, 176, pp. 4-23. • The Subversive Core of Urban Communication cide and Mass Murder Benzaquen investigates • A Seminar on Deleuze (24 May). Utrecht, NL: ments: a series of lectures, the anthology Going the Jan van Eyck Academie BAVO wrote a book: • The Spectre of the Avant-Garde. Management. (2 June). In: Authoring the City representations of genocide and mass killing in The Netherlands Research School of Women Aerial and a website with a database. The Open City, or the Urban Logic of Post- Contemporary Reassertions of the Programme at ABKM. Organised by Academie Beeldende culture, realms of memory, news media, acade- Studies, Faculty of Arts, Utrecht University. The project took as central notion the concept Capitalism in which they focus on a type of of Subversion in Cultural Production. In: Kunsten Maastricht & Jan van Eyck Academie. mic essays, official actions (trial, humanitarian • Co-respondent in The Spectre of the Avant- of air, the ephemeral and unique mixture of designer who manages to profile him/herself AS, 176, pp. 24-41. Maastricht, NL: Academie Beeldende Kunsten. intervention). She documents, visualizes, and Garde. Avant-Garde, Popular Media and gases, and that of breath, an individualized form with increasing success in debates concerning • From Political Games to Absolute • It’s about the Heterotopia as a Real Different contextualizes mass violence incidents and re- Censorship. (13 April). With Gideon Boie, of exchange between subject and environment. the city. It is a figure who is very agitated by the Architecture… and Back: the Architectural Place, Stupid. In: EAAE Colloquium: The Rise flects common issues as well as differences in or- Lorenzo Chiesa, Alexei Monroe, Matthias Air, necessary to exist, affects our bodies and the recent popularity of extremist models regarding Avant-Garde Today. In: AS 176, pp. 42-61. of the Heterotopia, Public Space and the der to generate a wider frame of comprehension. Pauwels & Aarnoud Rommens. Maastricht, NL: way we think and exist in the world. the city (gated communities, neighbourhood • Being Absolute Avant-Garde, Again! Architecture of the Everyday in a Post-Civil To re-establish the complexity of mass murder Jan van Eyck Academie. The anthology Going Aerial, which Monika patrols, etc.), but who is also very sceptical about (9 March). In: Cut Up, 3 (10). Published on: Society. (26 - 28 May). Organised by processes, she has to confront singular and • Noise on Noise. In: Sonic Interventions. Bakke edited, focuses on air-related art practices the multicultural city model, in which population 1 April on • When the Society Commands You to Subvert. views. It is the coexistence, juxtaposition and School of Cultural Analysis. as: How do we use air? What does air do? It relation to these extreme models the new type (13 April). In: The Spectre of the Avant-Garde. contradiction of these multiple representations • Co-respondent in The Spectre of the Avant- draws attention to its functions, rather than to of designer profiles him/herself as crafting a Lectures/presentations Avant-Garde, Popular Media and Censorship. which clarifies roles and shows responsibilities Garde. Avant-Garde, Theory and Cultural what it is. The book does not present an aerial ‘third way’, in which commitment to an open, • Introduction: Let the Scum Bury the Scum. Maastricht, NL: Jan van Eyck Academie. of persons, groups and powers before, during Praxis. (16 March). With Gideon Boie, Boris view on the subject but rather an effort to look tolerant and undivided city is ‘blended’ with a (19 November). In: Psychoanalysis, Urban • From Political Games to Pure Architecture… and after genocidal events. It is an on-going Buden, Oliver Feltham, Dominiek Hoens, closely into coinciding individual attempts made practical realization that openness also requires Theory and the City of Late-Capitalism. and Back! (12 April). In: The Spectre of the process that takes into account the dynamics Marc De Kesel, Matthias Pauwels & Aarnoud by artists, architects and theoreticians to consider limitations. In other words, this type of planner Conceiving of an Urban Act. Maastricht. Avant-Garde. Avant-Garde, Architecture and of multi-originated, multi-layered, and multi- Rommens, Robrecht Vanderbeeken. air as a material carrier, conductor, and catalyst unproblematically balances the ideal of an open Maastricht, NL: Jan van Eyck Academie. Responsibility. Maastricht, NL: Jan van Eyck purposed representations. Benzaquen focuses Maastricht, NL: Jan van Eyck Academie. necessary in the process of communication city with pragmatic considerations like economic • Introduction: the City of Late Capitalism and Academie. on specific fields of representation such as cine- • Refraining from the Refrain. Deleuze, Guattari between a breathing organism and the environ- feasibility or political consensus. its Vicissitudes. (18 November). In: Psycho- • Utopian Avant-Garde or Critical Avant- ma and documentary, museum, website, and et le politique. (14 -15 January). Paris, FR: ment as well as communication of data with the The thesis of their book is that this enlightened analysis, Urban Theory and the City of Late- Garde? Yes, Please! (16 March). In: The association work. Université de Paris VIII-Vincennes. use of wireless technology. figure is the ideological complement of more Capitalism. Identifying the Urban Unconscious. Spectre of the Avant-Garde. Avant-Garde, • The Question of the Immediate: Resonance in abstract post-capitalist developments such as Maastricht, NL: Jan van Eyck Academie. Theory and Cultural Praxis. Maastricht, NL: Exhibitions the Philosophy of Gilles Deleuze. In: Opening Publications the ‘European urban competition model’ and • ‘Mettre un peu de honte dans la sauce’: Jan van Eyck Academie. • Dispersion (December). With Clarisse Hahn Week 2005. (10 -14 January). Maastricht, NL: • Kobieca polityka przyjemnosció [Feminine ‘the global village’. Through an analysis of Third Way Cultural Activism, the Discourse of • Why Social Constructivism in Film is & Ecole Supérieure des Beaux Arts. Nîmes, Jan van Eyck Academie. Politics of Pleasure]. In: W. Burszta, M. Czubaj, several concrete ‘third-way’ solutions for the the Analyst, and the City of Late-Capitalism. Unavoidable Today. (15 March). In: The FR: Contemporary Art Centre Carré d’Art. M. Rychlewski (Eds.). Kontrkultura. Co nam outcasts of the European metropolis – such as (18 November). In: Psychoanalysis, Urban Spectre of the Avant-Garde. Avant-Garde, • Artists and Arms. (2 -15 November). zostalo z tamtych lat [Counterculture. What is prostitutes, illegal immigrants or the inhabitants Theory and the City of Late-Capitalism. Film and Propaganda. Maastricht, NL: Organised by M’ARS Centre for Contemporary Left of those Years]. Wydawnictwo SWPS of problem areas – BAVO lays bare the contra- Identifying the Urban Unconscious. Maastricht, Jan van Eyck Academie. Art, National Center for Contemporary Art Academica. dictions of the ideological construct of the NL: Jan van Eyck Academie. • Why Today’s Cultural Scene Hates to Love (NCCA) Kaliningrad & National Center for • Re-kreacyjny charakter transkulturowej esteyki ‘open city’. • Laat ons vastberaden de democratie redden Michael Moore. In: Opening Week 2005. Contemporary Art (NCCA) Moscow. Moscow, [Re-creational Character of Transcultural binnen de Grote Verbouwing van de (10 -14 January). Maastricht, NL: Jan van Eyck RU: M’ARS Centre for Contemporary Art. Aesthetics]. In: K. Wilkoszewska (Ed.). Estetyka Projects Nederlandse steden en binnen het Academie. • Beware! Politics! In: Alytus Biennial. transkulturowa [Transcultural Aesthetics]. • The Spectre of the Avant-Garde. Maastrichtse Model in het bijzonder. In: • The Heroic Realist, Dogville and the Perverse International Festival of Experimental Art. Krakow, PL: Universitas. Lend Me Your Dream/Lend Me Your Fantasy. Core of the Dutch Cultural Third Way. In: (22 - 28 August). Alytus, LT. • Zoo Pleasures, the Usual Suspects. In: Organised events Organised by Academie Beeldende Kunsten Opening Week 2005. (10 -14 January). Relocated Identities. Part II. Amsterdam, NL: • Psychoanalysis, Urban Theory and the City of Maastricht, Jan van Eyck Academie, Super! Maastricht, NL: Jan van Eyck Academie. Publications Public Space With A Roof (PSWAR). Late-Capitalism. In: Super! First Triennial of First Triennial of Fine Arts, Fashion and Design. • On Dictators, Carnival, and Funny Animals. Fine Arts, Fashion and Design. (18 - 20 Maastricht, NL: Academie Beeldende Kunsten. Discussions/debates In: Camouflage Comics. Published on: Lecture series November). With Lorenzo Chiesa. Organised • Voorbij het politiek economisch analfabetisme • Integratiearchitectuur: United Colours of NL. . • Breath-Taking. Air, Art, Architecture. With by Academie Beeldende Kunsten Maastricht in het architecturaal verzet ten tijde van het (6 October). Organised by ABC • Two Years. In: Beware! Politics! Alytus, LT. Annick Bureaud, George Halkias, François & Jan van Eyck Academie. Maastricht, NL. globale kapitalisme. In: Cultureel ondernemer- Architectuurcentrum Haarlem. • Istanbul, Tirana, Alytus, Peking, Vilnius, Lyon, Perrin, Michael Rakowitz & Peter Sloterdijk. Maastricht, NL: Jan van Eyck Academie. schap. Architectuur en engagement [Cultural Kaliningrad, Prague… In: Daile 2005/2, LT. Maastricht, NL: Jan van Eyck Academie. • Lend Me Your Dream/Lend Me Your Fantasy. Enterprise]. (14 October). In: Lend Me Your • Samples. In: Artists and Arms. Kaliningrad, (16 September - 4 November). In: Super! First Dream/Lend Me Your Fantasy. Cultureel RU: National Center for Contemporary Art Lectures/presentations Triennial of Fine Arts, Fashion and Design. ondernemerschap. Architectuur en engage- (NCCA), Moscow, RU: M’ARS Centre for • Zoo Pleasures. (25 June). In: Relocated Organised by Academie Beeldende Kunsten ment. Organised by Academie Beeldende Contemporary Arts. Identities II. Amsterdam, NL: Public Space Maastricht & Jan van Eyck Academie. Kunsten Maastricht, Jan van Eyck Academie, • Clear Positions. Some Thoughts on Israeli With A Roof (PSWAR). Maastricht, NL: Academie Beeldende Kunsten. Super! First Triennial of Fine Arts, Fashion and Artistic Engagement in the Second Intifada’s • Ecstatic Mobility: Visual Representations of • The Spectre of the Avant-Garde (12 -13 April; Design. Maastricht, NL: Academie Beeldende Years. Published on: Bodies against Graviotropism. In: Hawaii 15 -16 March). Maastricht, NL: Jan van Eyck Kunsten. . International Conference on Arts and Academie. • Veel gedoe rond de creatieve stad. (16 Humanities. (13 -16 January). Honolulu, US. September). In: Lend Me Your Dream/Lend Lectures/presentations • Zoo Pleasures, the Usual Suspects. In: Publications Me Your Fantasy. Stadsmanagement. • Clear Positions. Some Thoughts on Israeli Opening Week 2005. (10 -14 January). • God is a Deejay: FAT in Berlage. Published on: Georganiseerd door Academie Beeldende Artistic Engagement in the Second Intifada’s Maastricht, NL: Jan van Eyck Academie. . Kunsten Maastricht, Jan van Eyck Academie, Years (3 November). In: Artist and Arms. • Wat een gordijn leek maar een muur bleek te Super! First Triennial of Fine Arts, Fashion and Organised by NCCA-Kaliningrad and the zijn, kritische reconstructie van het symposium Design. Maastricht, NL: Academie Beeldende NCCA-Moscow. Moscow, RU: National Center Collage Europa. In: Architectura Murator, 125. Kunsten. for Contemporary Art (NCCA).

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• Return (26 September). With Sylvia de Swaan. LORENZO CHIESA • Lacan le sinthome. In: (Re)-Turn: A Journal JONATHAN DRONSFIELD • Resisting the Ethical Turn of Contemporary Art? OLIVER FELTHAM Maastricht, NL: Jan van Eyck Academie. 01.01.2005 – 31.12.2006 of Lacanian Studies, 2 (Spring). University of 01.01.2005 – 30.09.2006 (16 February). Department of Fine Art, History 01.01.2005 – 31.12.2005 • Images and Violence. (May). Lecture and 1976, Italy Missouri, US. 1962, Great Britain of Art & Cultural Studies research seminar. 1972, Great Britain screening of video works. Organised by Ecole • Paul, the Militant. In: Parallax. The Journal of Leeds, GB: University of Leeds.

Supérieure des Beaux Arts. Nîmes, FR: The aim of Chiesa’s proposed research is two- Ethics and Globalisation, 35. The Aurelius In the project On the ‘Ethical Turn’ of Contem- • The Ethical Turn of Contemporary Art? Oliver Feltham researches the philosophical

^ Contemporary Art Centre Carré d’Art. fold: to carry out a thorough analysis of Jacques Foundation, US. ^ porary Art Jonathan Dronsfield intends to assess (13 January). In: Opening Week 2005. underpinnings of contemporary theories of ideol- • ‘Ararat’ by Atom Egoyan. (23 May). Lecture Lacan’s notion of the ‘discourse of the capitalist’ • Pasolini, Badiou, Zizek und das Erbe der how, if at all, contemporary art has taken an (10 -14 January). Maastricht, NL: Jan van Eyck ogy in terms of the nexus between the subject, & screening. In: The Scheme of the Veil. and to compare Lacan’s fragmentary treatment Christlichen Liebe. In: Dominiek Hoens & Marc ‘ethical turn’; to ask what is at stake when con- Academie. substance and change. The basic proposition is Maastricht, NL: Jan van Eyck Academie. of capitalism and its ideology with the more sys- De Kesel (Eds.). Wieder Religion? Christentum temporary artists, theorists and curators appeal that when contemporary philosophers theorize

• Genocide and Mass Killing. Languages of tematic Marxist and post-Marxist approaches im zeitgenössischen kritischen Denken. Vienna, to the ethical as a justification or rationale or Symposia/congresses ideology, their efforts are determined by a con-

^ Mediated Violence. In: Opening Week 2005. offered by Louis Althusser and Alain Badiou. This AT: Turia & Kant. ^ premise or aim of their work; to contest the • The Resistance of Art to the University to Come: ceptual matrix which articulates a subject with th (10 -14 January). Maastricht, NL: Jan van Eyck detour through the work of more openly political • Pasolini, Badiou, Zizek and the Legacy of assertion made recently by Rob van Gerwen that Kant after Derrida. (22 October). In: 44 some form of substance and a form of move- Academie. thinkers should ultimately allow Chiesa to venture Christian Love. In: HTVNews. ‘Much contemporary art seems morally out of Annual SPEP Conference. (20 - 22 October). ment. The matrix itself was originally consolidat-

beyond the restricted domain of psychoanalytical • Review of Giorgio Agamben. In: The Open: control’. However, Dronsfield does not plan to Organised by Society for Phenomenology and ed in Aristotle’s Physics, and a small number of

^ theory in a critique of the hedonistic ideal of cur- Man and Animal. Italian^ Studies, LX. do so by insisting on or retrieving ethics. Rather, Existential Philosophy (SPEP). Salt Lake City, well-known variations have historically ensued rent capitalism. In this regard, by also taking into • Review of Slavoj Zizek, ‘The Puppet and the he intends to show how contemporary art is ethi- US. such as the Hegelian reworking, Marx’s material- consideration contemporary ‘mass-culture’, he Dwarf’. In: Journal of the Society of British cal in how it internalizes the question of what it is, • Resisting the ‘Ethical Turn’ of Contemporary ist version thereof, and the Heraclitean- aims to investigate the manifold reasons which Phenomenology, 36 (1). so that the question is transformed in the perfor- Art: Deconstructing Actuality. (20 September). Bergsonian-Deleuzean variation. The hypothesis

enable Lacan to suggest that, in our late-capital- mative way in which art raises it, which at the In: XXXIX AICA Congress. Art Theory and Art guiding the research project is that contemporary

^ istic era, the ideological imposition of happiness Translations^ same time denies the possibility of any definition- Criticism in the New Millennium. (18 - 23 philosophy attempts to generate new articula- emerges as the most determining ‘political fac- • Slavoj Zizek. America Oggi: Abu Ghraib e altre al or fixed answer to the question of what art is. September). Organised by International tions of the subject, movement, and substance; tor’ and, at the same time, necessarily entails the oscenità del potere. Verona, IT: Ombre Corte. Thus, art does show us something essential Association of Art Critics (AICA). Ljubljana, SI. yet, due to the power of the matrix, it often fact that ‘everybody is identical to everyone else’. • Alain Badiou. Love What You Will Never about what it is to be a human being: the singu- • Art as Terror. (9 September). In: First FEP/SEP unconsciously repeats ancient articulations in More generally, he aims to investigate the nature Believe Twice. In: Positions, 14. lar event that is an artwork rehearses a way in Joint Annual Conference. What Is Terror. new guises. The goal is to make these repetitions of the distinctive links between the capitalistic ide- which we can come to ourselves as constructions (8 -10 September). Organised by Forum for explicit in order to identify their limits and then set ological imperative which, according to Lacan, Lectures/presentations whose nature is secondarily made up of our (self) European Philosophy (FEP) & the Society for out the requirements for a genuinely modern enjoins us to enjoy and two other hegemonic • Remarks Prior to any Possible Treatment of interpretations. Within a conceptual field delimit- European Philosophy (SEP). Reading, GB: articulation of substance, subjectivity and change

imperatives of today’s consumer society, namely Lacanian Truth as Marxian Materialism. In: ed primarily by the work of Derrida, Heidegger, University of Reading. so as to theorize both ideology and its obverse,

^ those which order us to purchase and to learn or Is the Politics of Truth Still Thinkable?^ Margolis, Nancy and Wittgenstein, but referring • Painting. (16 June). With Darren Ambrose & praxis, or, the work of change. know. The overt outcome of these manifold com- Conference organised by Slavoj Zizek and constantly throughout to the work of contempo- Adrian Rifkin. London, GB: The Royal College binations is the formation of the following con- Costas Douzinas. (25 - 26 November). rary artists and curators (all theory should emerge of Art. Projects temporary social commandments related to London, GB: Birkbeck Institute for the in a responsive way), his work involves inquiring • The Condition of Film as Philosophy; or, • CLiC. everyday cultural phenomena: the imperative Humanities. into what makes a work work, the blindness of How Can Film Ask a Question? (6 June). • Politics and Jouissance. to enjoy purchasing through shopping, learn • Topology of Fear: Lacan with Mike Davis. the artwork, the temporality of art, art as a space In: 29th Annual IAPL Conference. Chiasmatic enjoyment through sexology, learn to purchase In: Psychoanalysis, Urban Theory and the City of questioning, and broader questions of auton- Encounters. (2 - 7 June). Organised by Lectures/presentations through business-schools, purchase knowledge of Late-Capitalism. (18 - 20 November). omy, freedom, responsibility and decision. International Association for Philosophy and • An Account of Enjoyment (on Capitalism through the university system based on the equa- Maastricht, NL: Jan van Eyck Academie. Literature (IAPL). Helsinki, FI. and the Social Bond). (20 November). In: tion between student and client, purchase enjoy- • Pasolini and the Ugliness of Sex. (22 Publications Psychoanalysis in the City. Organised by Super! ment through easily accessible pornography… September). Melbourne, AU: Monash • ‘I Am in the Liber’: Remarks on the Question of Seminars/workshops First Triennial of Fine Arts, Fashion and Design, University. Theorising Art. In: Y. Pérez, M. Anxo Rodríguez • Art as Terror. (4 October). Maastricht, NL: Jan van Eyck Academie. Maastricht, NL: Jan Projects • What Is the Gift of Grace? In: International & E. Saladini. (Eds.). Espazos de Creación Jan van Eyck Academie. van Eyck Academie. • CLiC. Association for Philosophy and Literature Contemporánea. Santiago de Compostella, • On Aesthetics and Socio-Political Change. • Politics and Jouissance. Annual Conference. (3 June). Helsinki, FI: ES: Concello de Santiago, pp. 183-95. Discussions/debates (16 March). In: The Spectre of the Avant- University of Helsinki. • The Resistance of the Question to • Deleuze. (27 January). With Claire Colebrook. Garde. Avant-Garde, Theory and Cultural Organised events • What Is the Gift of Grace? In: A Community Phenomenological Reduction: Husserl, Fink, Organised by Forum for European Philosophy. Practice. Maastricht, NL: Jan van Eyck • Politics and Jouissance. (December 2005 - of Scoundrels. (18 -19 May). Nijmegen, NL: & the adequacy of the Sixth Cartesian London, GB: Borders Bookshop. Academie. May 2006). A series of workshops on politics Huize Heyendaal. Meditation as a response to Heidegger. In: • On Epicurus. (10 March). With Howard • Ideology and Praxis. In: Opening Week 2005. and jouissance in philosophy and psychoana- • Feigning Madness: Lars von Trier with Lacan. Analecta Husserliana, LXXXVIII, pp. 293-305. Caygill. Organised by Forum for European (10 -14 January). Maastricht, NL: Jan van Eyck lytical theory. With Oliver Feltham. Maastricht, (13 April). In: Avant-Garde, Popular Media and • The Hourglass. In: Sara Rossi. Miele. Prato, Philosophy. London, GB: L’institute Français. Academie. NL: Jan van Eyck Academie. Censorship. Maastricht, NL: Jan van Eyck IT: Gli Ori Editions, p. 134. • Diderot and the Blind Man: Could Our Sense • Lacan and Topology. (10 December). With Academie. • Memories of Underdevelopment: The Collages Experience Be Contradictory? (9 June). With Seminars/workshops Oliver Feltham. Maastricht, NL: Jan van Eyck • Lacan and Pasolini: Resistance against Sado- & Sculptures of Melita Couta. In: A. Danos. Marian Hobson. Organised by Forum for • Alain Badiou’s ‘le Siècle’. (27 May). With Academie. Erotic Capitalism. In: Opening Week 2005. (Ed.). Somatópia: Mapping Sites, Siting Bodies, European Philosophy. London, GB: L’institute Lorenzo Chiesa, Daniela Franco, Romina • Psychoanalysis, Urban Theory and the City (10 -14 January). Maastricht, NL: Jan van Eyck pp. 34-43. Français. Power, Aaron Schuster & Alberto Toscano. of Late-Capitalism. In: Super! First Triennial Academie. Brussels, BE: Etablissement d’en face projects. of Fine Arts, Fashion and Design. (18 - 20 Lectures/presentations • Reading Lacan. On Identification. Maastricht, November). With BAVO. Maastricht, NL: Seminars/workshops • Art and Social Space. (29 August). Helsinki, FI: NL: Jan van Eyck Academie. Jan van Eyck Academie. • Reading Lacan. On Identification. Maastricht, Nordic Institute for Contemporary Art (NIFCA). NL: Jan van Eyck Academie. • The Ethical Turn of Contemporary Art? (15 Symposia/congresses th Publications • Alain Badiou’s le Siècle. (27 May). With Oliver June). Department of Art History research • 29 Annual IAPL Conference. Chiasmatic • Ethics and Capital. Ex Nihilo. In: Umbr(a), Feltham, Daniel Franco, Nina Power, Aaron seminar. Rome: IT: Luiss University. encounters. (2 - 6 June). Organised by a Journal of the Unconscious. With Alberto Schuster & Alberto Toscano. Brussels, BE: • The Ethical Turn of Contemporary Art? International Association for Philosophy and Toscano. Etablissement d’en face projects. (3 March). Modernity Art Representation Literature (IAPL). Helsinki, FI. • The Subject of the Imaginary (Other). Knowledge Society (MARKS) research seminar. In: Journal for Lacanian Studies, 3. Maastricht, NL: Universiteit Maastricht.

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CHRISTOPHER GEMERCHAK YOLANDE HARRIS Publications BENDA HOFMEYR Discussions/debates ILS HUYGENS 01.09.2005 – 31.08.2007 01.10.2003 – 30.09.2005 • Inside-Out Instrument. In: Contemporary 01.01.2005 – 31.12.2006 • Stadsmanagement. De stad als platform voor 01.01.2005 – 31.12.2006 1967, United States 1975, Great Britain Music Review. 1972, South Africa cultureel engagement in een postideologisch 1980, Belgium • The Building as Instrument. In: Hearing Places, tijdperk [City Management]. (16 September). Christopher Gemerchak’s research project is the Score Spaces investigates our understandings International Anthology of Sound and Place, But couldn’t everybody’s life become a work In: Lend Me Your Dream/Lend Me Your Starting from a critical analysis of contemporary completion of his manuscript Fetishism and the of the relations between sound, place and image ed. University of Melbourne, AU: Cambridge of art? Why is it that in our society today, art has Fantasy. Georganiseerd door Academie theories on haptic vision, tactility and Deleuzian Crystallization of Desire (working title). Fetishism in a technologically extended environment. Scholars Press become something which is related only to Beeldende Kunsten Maastricht, Jan van Eyck sensation Huygens tries to establish the outlines has long been a concept permitting philoso- Harris is drawn towards the gap, the border, • Christiana Galanopoulou (Ed.). VD05. objects and not to life, practiced only by experts Academie, Super! First Triennial of Fine Arts, of a creative film-philosophical model or theory phers, psychoanalysts, anthropologists and cul- the no-man’s-land between disciplines, between Videodance2005, 6th International Festival on that are artists and not by everybody. Why should Fashion and Design. Maastricht, NL: that can be used for analyzing emotional and tural theorists to critically examine the nature of modes of presentation, between conventions of Movement & the Moving Image. Thessaloniki, the lamp or the house be an art object, but not Academie Beeldende Kunsten. sensational aspects of cinematic experience. beliefs, sexual interests and material values, and creating. Score Spaces is a research project that GR: VideoDance. our life? (Michel Foucault) • Co-respondent in Avant-Garde, Film and Thinking about visual images as pre-conceptual it still is a vital interpretive paradigm today. works with this gap, exploring its characteristics What did Foucault actually mean with his ques- Propaganda. (13 April). With Gideon Boie, traces allows us to escape and resist dominant The research project focuses on the development and contradictions. The research is necessarily Lectures/presentations tion? Was he practicing a kind of elitism by Lorenzo Chiesa, Ils Huygens, Matthias Pauwels structures of discourse and can offer new insights of a philosophical determination of fetishism as both practical and theoretical. Using sound, • Seminar Presentation. (9 November). Cologne, excluding the masses or was he advocating the & Johan Schokker. In: The Spectre of the Avant- into visual culture in general. Huygens does not a response to a crisis of meaning, whether per- video and projection techniques she experiments DE: Academy of Media Arts (HKM). wholesale aestheticization of society? Most Garde. Maastricht, NL: Jan van Eyck exclude cognitive thought, but tries to enrich sonal, social or religious. The fetish will be seen with extending perceptions of spaces and places • The Building as Instrument. (29 September). Foucaultian scholars and even practitioners Academie. ideas on filmic experience by examining how as mediating the crisis that arises when a system through performance. The score, as a medium Piece written for Hearing Places, International would agree that at the heart of this ‘aesthetics physical affects and emotional responses interact of meaning/value or the coordinates of identity of communication and therefore essentially Anthology of Sound and Place. Maastricht, NL: of existence’ is a call to resistance. Does this with these cognitive processes. Key concept in is confronted with a threat of alienation, or bound up with the technological development Jan van Eyck Academie. mean that crafting or stylizing one’s existence is the research is that of inter-subjectivity, which worse, dissolution. This threat may arise from a of communication, is expanding its role as the • Score Spaces. In: Opening Week 2005. primarily a move of tactical reversal – of seizing allows to focus on the lines of force that are traumatic figure of alterity, or from a loss of faith interface between notation and the event. She (10 -14 January). Maastricht, NL: Jan van Eyck the power to react to constraining governmental mutually created between observer and screen. in a ground of certainty, which runs the risk of is interested in forms and roles of notation within Academie. regulations, institutionalized normalizations and These lines are generated by the dual nature of plunging the subject into a world of meaningless- different disciplines, the gap between notation societal intolerance? But if resistance is a mere the filmic experience that is at once a mimetic ness. The response to such a confrontation will and its realization, and the potential futures of re-action or negation, what is inherently creative immediacy and an abstract sign. be shown to have a profound influence on the notation in an arena where the event appears about it? How can we answer Foucault’s appeal life of desire; it may lead either to a transforma- to make it redundant. and retain the power of resistance as a positive tion of everyday life into a world of excessive action on its own terms? This is the question at Publications significance, or to an attempt to protect oneself Exhibitions the heart of this project: a kind of DIY manual for • Emotie in film/theorie deel 1. Tussen zuiver against uncertainty through perverse repetition • Stepping Out. An Invitation to Do Something those who wish to take seriously the Foucaultian affect en cognitieve evaluatie (Emotion in or an ideological refusal of change. New. (28 November -12 December). invitation to increased freedom. It will move Film/Theory part 1: Between Pure Affect and Maastricht, NL: Jan van Eyck Academie. between the borders of theory and practice, Cognitive Evaluation). In: AS,173 (Emotion Projects • Orbital. (27 - 30 September). Video, sensors between philosophy and artistic expression pictures), pp. 104-130. • CLiC. and sound installation. Maastricht, NL: (whether theoretical or practical) with special • Emotie in film/theorie, deel 2. Op weg naar Jan van Eyck Academie. emphasis on how our historical present – under- een affectieve benadering (Emotions in Seminars/workshops • Project Relay/Video Walker. In: Welcome to stood as a time in which neo-liberalism reigns Film/Theory part 2: an Affective Approach). • Reading Lacan. On Identification. Maastricht, Fused Space Database. The Hague, NL: supreme – affect the possibility of cultural/artis- In: AS, 174 (Emo-Pics, the Quest), pp. 46-57. NL: Jan van Eyck Academie. Stroom. tic/intellectual activism. • Interview with David Bordwel I. On Cinematic • A Collection of Circles (or Pharology). In: Staging in Asia and Fast Cutting in Hollywood. Earwitness, #5 (7 - 9 February). Brussels, BE: Lecture series With Jan Sulmont. Published on: . (CCNoA). 18 December). Utrecht, NL: Basis voor Actuele Kunst (BAK). Lectures/presentations Actions/performances • Cryogenics and Cinema: Freezing Time • Divide by Zero. (21 September). In: ctrl_alt_del Lectures/presentations (4 July). In: Still Things, Multidisciplinair project 2005. With Zafer Aracagök. Istanbul, TR: • On Imagining (Options and Strategies of rond cryogenics. Frederik de Wilde & vzw NOMAD. Resistance). (17 December). In: Concerning Nadine. Brussels, BE: vzw Nadine. • Light Phase. In: VideoDance 2005. (9 -17 War. Undercurrents. Utrecht, NL: Basis voor • ‘Shadows’ by Cassavetes. (22 June). In: September). Performance for video, voice, Actuele Kunst (BAK). The Scheme of the Veil. Lecture & screening. sound and sensors. Thessaloniki, GR: Mylos • The Metaphysics of Foucault’s Ethics. With Eva Meyer. Maastricht, NL: Jan van Eyck Theatre. Succeeding Where Lévinas Fails. In: 29th Academie. • Meta-Orchestra. In: Facelifters. Manual Annual IAPL Conference. Chiasmatic • The Will to Lose One’s Will. Aesthetic Labour. (29 - 30 April). With Bert Bongers, Encounters. (2 - 7 July). Organised by Strategies in the Cinema of David Lynch. Sebastian Harris, Hilary Jeffery, Jos Mulder International Association for Philosophy and (15 March). In: The Spectre of the Avant- & Cesar Villavicencio. Organised by Intro in Literature (IAPL). Helsinki, FI. Garde. Avant-Garde, Film and Propaganda. Situ & Tor. Genk, BE: Mijn Waterschei. • Ethics and Aesthetics in Foucault and Levinas. Maastricht, NL: Jan van Eyck Academie. (25 May). Nijmegen, NL: Radboud University. • Cinema and Sensation: Precognitive Aspects Multimedia • From Usurpation to Subversion. Foucault of Cinematic Experience. In: Opening Week • Collecting Circles (or Pharology). In: Sound Meets Cultural Capitalism. (12 April). In: The 2005. (10 -14 January). Maastricht, NL: Art Series. An Interactive Sound Installation. Spectre of the Avant-Garde. Avant-Garde, Jan van Eyck Academie. Brussels, BE: Centre for Contemporary Architecture and Responsibility. Maastricht, NL: Non-Objective Art (CCNoA). Jan van Eyck Academie. • Light Phase. Performance for Video, Voice, • Resistance How. In: Opening Week 2005. Sound & Sensors. Maastricht, NL: Jan van Eyck (10 -14 January). Maastricht, NL: Jan van Eyck Academie. Academie.

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ANDRÉ NUSSELDER AARNOUD ROMMENS JOHAN SCHOKKER AARON SCHUSTER • Alain Badiou’s ‘le Siècle’. (27 May). ROBRECHT VANDERBEEKEN 01.04.2005 – 31.03.2007 15.04.2003 – 15.04.2005 01.09.2004 – 30.08.2006 01.01.2005 – 31.12.2006 With Lorenzo Chiesa, Oliver John Feltham, 01.01.2004 – 31.12.2005 1969, the Netherlands 1977, Belgium 1964, the Netherlands 1974, United States Daniela Franco, Romina Power & Alberto 1971, Belgium Toscano. Brussels, BE: Etablissement d’en André Nusselders’s main activity at the Jan van In 2005 Aarnoud Rommens finished his research The decline of what in Lacanian theory is desig- What can psychoanalysis contribute to our face projects. Robrecht Vanderbeeken undertakes a critical Eyck is to participate in the activities of CLiC: project Camouflage Comics. nated as the Name-of-the-father is undeniable; understanding of the meaning of art and the analysis of philosopher Gilles Deleuze’s views studies in Lacanian theory, organizing seminars. master-signifiers as ‘family’, ‘religion’, ‘class’ and ‘ nature of creativity? The perspective on art on art and philosophy. According to Deleuze, Inside and outside this setting he explores forms Projects gender’, which used to give the identity of the sub- opened by Freud’s research still elicits controver- in order to experience and maximize our lives, beyond the academic style in writing on philo- • Camouflage Comics: Dirty War Images ject firm grounding, are adrift. The consequences sy; psychoanalytically inspired art criticism is we must go out scouting. That is: we must adopt sophical issues concerning man (personal identi- [web project]. are many: one no longer has a job for life, but a often accused of a psychological reductionism a ‘nomadic’ attitude. Vanderbeeken wishes to ty, desire, anxiety, religiosity): he wants to write career and several employers, sometimes even at that ignores the formal properties of specific examine whether Deleuze’s view is theoretically philosophy in the shape of dialogues, aphorisms. Publications the same time. The same goes for relationships: artworks, as well as the internal logic of art histo- sound. • Memory in Camouflage: Alberto Breccia and the constitution of families changes easily in time. ry (the malaise of ‘applied psychoanalysis’). Or, Lectures/presentations Guillermo Saccomanno’s ‘William Wilson’ Religion is found after a process of discovery, and quite the opposite, art itself seems all too happy Projects • Imagining (Cyber)Space. (14 oktober): as Catalyst for Memory. In: Poetics Today, life itself is experienced as a search for identity and to take on psychoanalytic themes in a way that • CLiC. In: Cyberculture Seminar. Amsterdam, NL: 26(2): pp. 305-347. ‘inner growth’, not as a mission to earn Eternal Life frequently appears naïve or inartistically didactic. University of Amsterdam • Camouflage Comics: Dirty War Images. in an afterlife. But it is clear that the freedom to Schuster’s first concern is to try and define the Publications • Psychic City Walls. (18 November). In: Published on . the fact that our identities have become difficult of art, and then to examine the conceptual diffi- van Nicolas Provost. Late-Capitalism. Organised with Super! First to sustain, reality itself is becoming frail. To counter culties this approach raises within the context • Cultuurmanagement?! In: Rekto Verso, Triennial of Fine Arts, Fashion and Design & Lectures/presentations this, a key feature of modern life is the attempt to of psychoanalytic theory (‘meta-psychology’). July-August. Jan van Eyck Academie. Maastricht, NL: Jan • Camouflage Comics. Launch. With Ingrid get rid of the false layers of ‘deceptive’ reality and The problem is thus twofold: to determine the • Kontro:verso. Is het terecht dat de podiumkun- van Eyck Academie. Stojnic. In: Authoring the City at ABKM. to aim for ‘the Thing itself’. The urge for adventure enduring originality of a Freudian perspective on sten meer subsidies krijgen dan de beeldende • How to Write on Philosophy. In: Opening Week (19 May). Organised by Academie Beeldende and the masochistic celebration of pain are exam- art, and to show how this perspective reflects kunsten? In: Rekto Verso, May-June. 2005. (10 -14 January). Maastricht, NL: Kunsten Maastricht, Jan van Eyck Academie. ples of this ‘passion of the Real’. Schokker analyzes back into psychoanalytic theory, posing new (and Jan van Eyck Academie. Maastricht, NL: Academie Beeldende Kunsten. the new manifestations of modern subjectivity and ultimately unresolved) problems for Freud himself. Lectures/presentations • Dirty War Comics, Camouflage and Counter- tries to discover their logic with Lacanian theory as Schuster develops this problematic by confron- • Er was eens een persoon met een beperking. Seminars/workshops Censorship: Advertisement and Product a dissecting tool. ting Freud’s theory of sublimation, on the one Een filosofische bevraging van de conceptuele • Reading Lacan. On Identification. Maastricht, Placement in ‘Buscavidas’. In: The Spectre of hand, with the revisions and innovations of later omkadering van het ‘begeleid werken’. NL: Jan van Eyck Academie. the Avant-Garde. Avant-Garde, Popular Media Projects psychoanalysts (Klein, Lacan, Laplanche, (3 November). Ghent, BE: Hogeschool Ghent. • Co-respondent in The Spectre of the Avant- and Censorship. (13 April). Maastricht, NL: • CLiC. Wajcman), and, on the other, with the phenome- • A Metaphysics of Dispositions for Psychology Garde. Avant-Garde, Popular Media and Jan van Eyck Academie. nological approach to artistic creation proposed form a Deleuzian point of view. In: European Censorship. (13 April). Maastricht, NL: • Camouflage Comics and ‘Dirty War’ Images: Publications by Merleau-Ponty and Paul Valéry. In addition, Society for Psychology and Philosophy Jan van Eyck Academie. Introduction & Website Demo. In: Opening • De held en zijn schaduw. Over ‘De donkere the theory of sublimation will be tested by looking Conference 2005. (11-14 August). Lund, SE: • Co-respondent in The Spectre of the Avant- Week 2005. (10 -14 January). With Bert kamer van Damokles’ van W. F. Hermans. at some contemporary artworks. Is sublimation Department of Philosophy, University of Lund. Garde. Avant-Garde, Film and Propaganda. Balcaen & Ingrid Stojnic. Maastricht, NL: In: HTV De IJsberg, 61, pp. 11-12. still a viable concept for understanding the logic • What about a property Dualism? In: Annual

(15 March). Maastricht, NL: Jan van Eyck Jan van Eyck Academie. of current artistic practices? Meeting Metaphysics of Science Group.

^

Academie. Translation^ (2 - 3 June). Ghent, BE: Ghent University

^ • S. Zizek & G. Daly. De politiek^ van het genot. Projects • Reply to Raymond Corbey. In: A Community Gesprekken met Slavoj Zizek. In: Filosofie in • CLiC. of Scoundrels. (18 -19 May). Georganiseerd Dialoog. Kampen, NL: Klement. door Jan van Eyck Academie and Radboud Publications Universiteit. Nijmegen, NL: Huize Heyendaal. Seminars/workshops • The Weird but True Book. In: The Black Box. • Beukens vs. Lacan. About the Methodological • Reading Lacan. On Identification. Maastricht, Vilnius, LT: Contemporary Art Centre (CAC). Twisters of Analytical Philosophy. In: Opening NL: Jan van Eyck Academie. Week 2005. (10 -14 January). Maastricht, NL: Lectures/presentations Jan van Eyck Academie. Lectures/presentations • Is Psychoanalysis a Metropolitan Science? • De onmogelijke liefde: Mulholland Drive. Some Reflections on Freud and the City. In: Symposia/congresses (12 December). Amsterdam, NL: CREA. Psychoanalysis, Urban Theory and the City of • Co-respondent in The Spectre of the Avant- • Scientific Practices, the Letter and Ontological Late-Capitalism. (18 - 20 November). Garde. Avant-Garde, Theory and Cultural Politics. (11 December). In: Politics and Organised by Super! First Triennial of Fine Arts, Praxis. (16 March). Maastricht, NL: Jan van Jouissance. Politics and Enjoyment through Fashion and Design, Jan van Eyck Academie. Eyck Academie. Science. Maastricht, NL: Jan van Eyck Academie. Maastricht, NL: Jan van Eyck Academie. • On Mourning. ‘The Sweet Hereafter’ and • Art and Sublimation: Does It Still Have a ‘Mulholland Drive’. In: The Spectre of the Meaning? In: Opening Week 2005. (10 -14 Avant-Garde. Avant-Garde, Film and Propaganda. January). Maastricht, NL: Jan van Eyck (15 March). Maastricht, NL: Jan van Eyck Academie. Academie. • Kierkegaard’s Antigone. (9 January). • Desire, Perverse Fantasy and the Will-to- In: On Love. A Concept to Analyse Current Enjoyment. In: Opening Week 2005. (10 - Cultural Discontent?. Maastricht, NL: 14 January). Maastricht, NL: Jan van Eyck Jan van Eyck Academie. Academie. • Freud on ‘Versagung’. (9 January). In: On Love: a Seminars/workshops Concept to Analyse Current Cultural Discontent?. • Reading Lacan. On Identification. Maastricht, Maastricht, NL: Jan van Eyck Academie. NL: Jan van Eyck Academie.

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SUNDAY 9 JANUARY WEDNESDAY 12 JANUARY FRIDAY 14 JANUARY New Year’s Event Opening Week 2005 Opening Week 2005 Prof. dr. Anton Zijderveld • BraKin • Suffragette City • Lecture in collaboration with Academie Congo-Brazzaville Team (Kristien Van den Stefanie Seibold Beeldende Kunsten Maastricht, Brande, Tina Clausmeyer, Wim Cuyvers, • Untitled Sebastien Maniglier, Sabine Müller, Kobe Johanna Kirsch In: Bonnefantenmuseum, Maastricht, NL Matthys, Dirk Pauwels, Andreas Quednau) • Shifting the Red Carpet • Why Today’s Cultural Scene Hates to Love Peggy Buth MONDAY 10 JANUARY Michael Moore • The Pragmatics of the Diagram Opening Week 2005 Matthias Pauwels Sulki Choi & Min Choi Presentations: • Subversion... Yes, Don’t Laugh! • Thinktank. Research on Collaborative and • The Physical Jan van Eyck Gideon Boie Artistic Practices and Open Source Min Choi, Sulki Choi, Tamara Maletic, • Resistance How Programming Dan Michaelson Augusta Benda Hofmeyr Inga Zimprich • Out of Print, Out of Mind • Town with Dog. About Lars von Trier’s ‘Dogville’ • Urban Weather Stations Jouke Kleerebezem Marc De Kesel Tamara Maletic, Dan Michaelson • Radmap • Art and Sublimation. Does It Still Have a • Problems in Croatian Orthography. Ingrid Stojnic Meaning? A Typographic investigation • Effort Square Live Aaron Schuster Toni Uroda Aglaia Konrad • Lacan and Pasolini. Resistance against • All my Curly Friends Performance: Sado-Erotic Capitalism Hinrich Sachs • Reformulating the Fictional Character Lorenzo Chiesa • Mediasociography of Reproductive Technologies • Ideology and Praxis Marthe Van Dessel Francisco Valdes Oliver Feltham • Het evenement • Special Effects • How to Write on Philosophy Zuzana Lapitková Adriaan Mellegers André Nusselder • Subjective Atlas • The Search for a Research • Desire, Perverse Fantasy and the Annelys de Vet Willem van der Hulst Will-to-Enjoyment • Translecture • Between Travel, Method and Research Johan Schokker Nikolaus Gansterer, performance Charlotte Moth • Untitled • Zoo Pleasures. The Usual Suspects THURSDAY 13 JANUARY Will Kwan Monika Bakke Opening Week 2005 • Vehicle • Untitled • The Uncanny Strategies of the (Art)Book Paul Hendrikse, performance Lucia Macari Filiep Tacq • LIMA group (Ralph Bauer, Doris Lasch, • And Things Throw Light on Things • Drawing the Landscape by Looking at the Map Christine Lemke, Gyan Panchal, Stefanie John Murphy Kasper Andreasen Seibold, Ursula Ponn, Armando Andrade • Re-Designing the Past Tudela, Francisco Valdes) TUESDAY 11 JANUARY Vinca Kruk Opening Week 2005 • The Title of the Lecture is > SUNDAY 16 JANUARY Presentations: Ralph Bauer Live streaming project: • P.S. I Love You • Beukens vs. Lacan • Art’s Birthday 2005. Permanent Creation Meta Haven: Sealand Identity Project Robrecht Vanderbeeken (Daniël van der Velden, Tina Clausmeyer, • Aspects of Thought. Towards Thinking as Action WEDNESDAY 26 JANUARY Vinca Kruk, Adriaan Mellegers) Falke Pisano Seminar: • Soft Cars and Hardware Emotions. Visual • Report on Body • Circle for Lacanian ideology Critique Cars and Real Cars in Cinema Lina Issa On Love. A Concept to Analyse Current Sabeth Buchmann, Stephan Geene • Untitled Cultural Discontent? XIX. Le non de Sygne. XX. • Genocide and Mass Killing. Languages of Natascha Hagenbeek L’abjection de turelure Mediated Violence • Lecture Stephanie Benzaquen Geoffrey Garrison THURSDAY 27 JANUARY • Camouflage Comics and Dirty War Images. • Grad & Skizze (zu Mennesket) Performance: Introduction and Website Demo Lene Markusen • Songs for a Neighbour Aarnoud Rommens, Bert Balcaen, Ingrid Film screenings: SFR, VIKI Stojnic • Cinema and Sensation. Precognitive Aspects • Wideawake of Cinematic Experience FRIDAY 28 JANUARY Orla Barry, screening Ils Huygens Presentations, discussion: • White Flag •The Ethical Turn of Contemporary Art • The Physical Jan van Eyck Daniël van der Velden Jonathan Dronsfield Min Choi, Sulki Choi, Tamara Maletic • The Scheme of The Veil •Transa at Closing Time and Dan Michaelson; Paul Elliman, Eva Meyer Armando Andrade Tudela Paul Mijksenaar, LUST, Karel Martens • The Quatrain of the Immediate. Resonance •Work-in-Progress in the Philosophy of Gilles Deleuze Alevtina Kakhidze TUESDAY 8 FEBRUARY Zafer Aracagök Seminar: • Score Spaces • The Scheme of the Veil Yolande Harris Eva Meyer

JAN VAN EYCK ACADEMIE 2005 / 193 ...... PROGRAMME 2005 ...... PROGRAMME 2005 FEBRUARY — APRIL APRIL — MAY

WEDNESDAY 9 FEBRUARY TUESDAY 8 MARCH THURSDAY 17 MARCH WEDNESDAY 6 APRIL • Body, Time, Agency. From Post-Modern to Lectures Authoring the City at ABKM organised in Seminar: Lectures: Lecture Research as Authorship organised Lecture, workshop Research as Authorship Post-Mortem Cinema collaboration with Academie Beeldende Kunsten • The Scheme of the Veil • Circle for Lacanian ideology Critique by Kasper Andreasen: organised by Kasper Andreasen: Thomas Elsässer Maastricht. In: Academie Beeldende Kunsten, Eva Meyer The Function of Humanity. A Critical • An Attempt to Evolve • Image or Procedure Maastricht, NL: Seminar: Commentary on Alain Badiou’s ‘What is Love?’ Will Holder Willem Oorebeek SATURDAY 16 APRIL • The Car Rapide in Dakar • Circle for Lacanian ideology Critique Alberto Toscano Slide show: Lecture, discussion Circle for Lacanian ideology Film and Biopolitics. The Ghostly Social Aspects Filiep Tacq On Love. A Concept to Analyse Current • Kicking Against the Pricks. Badiou and Beckett • Four Seconds of a Film Critique: of Cinema, symposium: • Trichtlinnburg Cultural Discontent? XX. L’abjection de Turelure Nina Power Lene Markusen • Enjoyment Ex Machina • How Life Invades Work (as Emotion). Abbas Hinrich Sachs Presentation, performance: Alenka Zupancic Kiarostami and Andrea Fraser FRIDAY 11 FEBRUARY • The Earth is Pregnant with Art. SATURDAY 19 MARCH Tanja Widmann WEDNESDAY 18 MAY Seminar: The Creation Myth Performance in the framework of Festival TUESDAY 12 APRIL • A Cinematic Politics of Translation. Lawrence Conference Circle for Lacanian ideology Critique • The Practice of Drawing Hans Scheirl Cement. In: Nightlive, Maastricht, NL: Workshop The Spectre of the Avant-Garde. Weiner’s First and Second Quarter A Community of Scoundrels. The ‘Gift’ in Modern Norman Bryson Seminar: • Hip Hop on Bones Avant-Garde, Architecture and Responsibility Eric de Bruyn Society through Lars von Trier’s ‘Dogville’ organ- • Circle for Lacanian ideology Critique Lucia Macari organised by BAVO with co-respondents • I sow for all winds. Motifs of Bios, Movement ised in collaboration with Radboud University FRIDAY 18 FEBRUARY On Love. A Concept to Analyse Current Bert Gellynck, Bert de Muynck, Daniël van and Fertility in Imamura’s Cinema of Chaos Nijmegen. In: Huize Heyendaal, Nijmegen, NL: Symposium in collaboration with University Cultural Discontent? XXII. Décomposition SUNDAY 20 MARCH der Velden: Clemens Krümmel • The Village and its She-Dog. The Gift as Maastricht, NWO. In: Conservatorium, structurale Video presentation in the framework of Festival • From Political Games to Pure Architecture... • The Biopolitical Aesthetic. Is There a Culture to Modernity’s Political Problem in Lars von Trier’s Maastricht, NL: Cement. In: Nightlive, Maastricht, NL: and Back! ‘Life and Nothing but’? ‘Dogville’ • Innovative Game Design WEDNESDAY 9 MARCH • Clever Gretel BAVO Bert Rebhandl Marc De Kesel Maaike Lauwaert and Jouke Kleerebezem Presentations: Stefanie Seibold • A Critical Reading of the Architectural • Hobbesian ‘Warre’ and the Maussian Gift. • Bridging the Two Cultures Chasm • Charlotte Moth Avant-Garde of the 20th Century THURSDAY 21 APRIL Evolutionary versus Culturalist Perpectives Chris Crawford • Falke Pisano WEDNESDAY 23 MARCH Hilde Heynen Book launch organised in collaboration with Raymond Corbey • In Spite of Wishing and Wanting. Developing a Lecture: • Monumentality and Collective Desire. Stedelijk Museum CS. In: Stedelijk Museum CS, • What is the Gift of Grace? Game Inside and Outside the Game Industry MONDAY 14 MARCH • On Rhythm, Resonance and Distortion The Naming of the Event in Projects by Amsterdam, NL: Lorenzo Chiesa Michaël Samyn, Auriea Harvey Seminar: Zafer Aracagök Superstudio, Office and BDP • Interlude. The Reader’s Traces • The Politics of Gift-Giving. Friendship and • Playing Ethnography. Cyber-Ethnography as • Film and Biopolitics Presentation: Laurent Liefooghe Mariana Castillo Deball with Manuel Räder, Hostility in the Exchange of Social Good Performance and Game The Aesthetic Road to Victory. • Paper and its Applications • From Usurpation to Subversion. Paul Elliman, Ian Monk, Steve Rushton, K. Dany Nobus Celia Pearce Sharing Education Trudy Dorrepaal (paper consultant Foucault Meets Cultural Capitalism Schippers • At This Very Moment. Representation of Events Helmut Draxler Proost en Brandt) Benda Hofmeyr THURSDAY 19 MAY in Video Games Seminar: TUESDAY 26 APRIL Conference Circle for Lacanian ideology Critique Ian Bogost TUESDAY 15 MARCH • Circle for Lacanian ideology Critique WEDNESDAY 13 APRIL Lecture Circle for Lacanian ideology Critique: A Community of Scoundrels. The ‘Gift’ in Modern • Waag Society / Creative Learning Workshop The Spectre of the Avant-Garde. On Love. A Concept to Analyse Current Workshop The Spectre of the Avant-Garde. • On Literature and Love Society through Lars von Trier’s ‘Dogville’ organ- Henk van Zeijts Avant-Garde, Film and Propaganda organised Cultural Discontent? XXIII. Glissement de Avant-Garde, Popular Media and Censorship Justin Clemens ised in collaboration with Radboud University • Physical Engagement in the Virtual by BAVO with co-respondents Geoffrey sens de l’idéal organised by BAVO with co-respondents Zafer Seminar: Nijmegen. In: Huize Heyendaal, Nijmegen, NL: Representation of a City Garrison, Dominiek Hoens, André Nusselder: Aracagök, Monika Bakke, André Nusselder: • Circle for Lacanian ideology Critique • Gifts Desire to Be Seen. A Reflection on the Marnix de Nijs • Why Social Constructivism in Film is THURSDAY 24 MARCH • When the Society Commands You to Subvert On Love. A Concept to Analyse Current Place of Altruistic and Agonistic Gifts in • Discussion Unavoidable Today Presentations: BAVO Cultural Discontent? XXIV. L’identification Contemporary Society BAVO • Authoring the City • Full Spectrum Provocation: The Retrogarde par einziger Zug Toon Vandevelde WEDNESDAY 23 FEBRUARY • Pasolini and the Ugliness of Sex Kathleen Rahn Cultural Strategies of Neue Slowenische Kunst • The Gift Does Not Exist. About the Variety Lecture, discussion: Lorenzo Chiesa • Cities. Is What You See What You Are? Alexei Monroe WEDNESDAY 27 APRIL of Gift-Giving • To Find Some Animal in Man Seems Easy, • The Will to Lose One’s Will. Aesthetic Strategies Jochen Becker, Kristien Van den Brande, • Dirty War Comics, Camouflage and Counter- Lecture Resonance, Mimesis, Noise and Refrain: Aafke Komter But Does It Work the Other Way Round? in the Cinema of David Lynch Wim Cuyvers, Tina Clausmeyer, Jan Censorship. Advertisement and Product • Decalcomania, Mapping and Mimesis • On Gift, Freedom, and Violence in Sartrean Stephan Geene Ils Huygens Masschelein, Dirk Pauwels, Koen Van Synghel Placement in ‘Buscavidas’ Zafer Aracagök Community • On the Television Work of Jef Cornelis • On Mourning. ‘The Sweet Hereafter’ and Aarnoud Rommens Erik Vogt Lecture, film screening, discussion: ‘Mulholland Drive’ FRIDAY 25 MARCH • Tragic Transgression and Political Re- TUESDAY 10 MAY • Cult in Modern Political Order • Panamarenko (1983) Johan Schokker Presentations Authoring the City: Inscription. Jacques Lacan with Lars von Trier Lecture Resonance, Mimesis, Noise and Refrain: (or: from ‘Dogville’ to Godville) Jack Post with Stephan Geene • Cities. Is What You See What You Are? Lorenzo Chiesa • Noise on Noise Marin Terpstra Seminar: WEDNESDAY 16 MARCH Filip de Boeck, Kobe Matthys, Sabine Müller Zafer Aracagök • Circle for Lacanian ideology Critique Presentation: & Andreas Quednau, Wim Cuyvers THURSDAY 14 APRIL Lecture: THURSDAY 19 MAY On Love. A Concept to Analyse Current • Peter Doroshenko Seminar: Film and Biopolitics. The Ghostly Social Aspects • Jeppe Hein Presentations Authoring the City at ABKM organ- Cultural Discontent? XXI. Le désir de pensée. Workshop The Spectre of the Avant-Garde. • Chardin and the Text of Still Life of Cinema, film screening: ised in collaboration with Academie Beeldende XXII. Décomposition structurale Avant-Garde, Theory and Cultural Praxis Norman Bryson • Ghosts WEDNESDAY 11 MAY Kunsten Maastricht. In: Academie Beeldende organised by BAVO with co-respondents Christian Petzold Seminar: Kunsten, Maastricht, NL: THURSDAY 24 FEBRUARY Zafer Aracagök, Dominiek Hoens, Robrecht MONDAY 4 APRIL • Circle for Lacanian ideology Critique On Love. • Camouflage Comics Performance lab: Vanderbeeken: On the Television Work of Jef Cornelis FRIDAY 15 APRIL A Concept to Analyse Current Cultural Aarnoud Rommens, Ingrid Stojnic • Report on Body • Utopian Avant-Garde or Critical Avant-Garde? Discussion, film screening: Film and Biopolitics. The Ghostly Social Aspects Discontent? XXV. L’angoisse dans son rapport • Cryptographic Spaces Lina Issa Yes, Please! • Lili Dujourie (1990) of Cinema, symposium: au désir. XXVI. Rêve d’une ombre, l’homme Min Choi

BAVO Lili Dujourie, Jacques Charlier. With Koen • Introduction Presentation:

^ TUESDAY 1 MARCH • Avant-Garde Today. A ^ Re/Translation Project? Brams, Dirk Pültau, John Murphy Sabeth Buchmann, Helmut Draxler, Stephan • Armando Andrade Tudela FRIDAY 20 MAY Film screening: Boris Buden Geene Lecture Research as Authorship organised by • Dandy Dust (1998) by Hans Scheirl • Act without Denial. Zizek on Totalitarianism, TUESDAY 5 APRIL • Among Other Things. Cinema´s Vitalism of THURSDAY 12 MAY Kasper Andreasen: Johanna Kirsch Revolution and Political Act Presentation: Whatever-Beings Presentation: • Introduction to the Atlas of Movements as an Marc De Kesel • Ann Demeester Drehli Robnik • The Physical Jan van Eyck Interlude to the ‘Résistance’ Series • On Aesthetics and Socio-Political Change • Ghostly Value-Form Min Choi, Tamara Maletic, Dan Michaelson Christoph Fink Oliver Feltham Katja Diefenbach with Koen Brams, Paul Elliman, Filiep Tacq

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SATURDAY 21 MAY – SUNDAY 22 MAY Seminar (general overview, conclusion): Assembly and departure band stand Vrijthof: Inhabitants of the Vrijthof On: Vrijthof: THURSDAY 9 JUNE Jan van Eyck Academie film programme organ- • Circle for Lacanian ideology Critique • Maastricht Dector-Dupuy Math Verberkt • (If) I Lived Here Lecture Authoring the City at ABKM organised ised in collaboration with Academie Beeldende On Love. A Concept to Analyse Current Michel Dector, Michel Dupuy In: De Groote Sociëteit, Vrijthof: Sanja Ivekovich in collaboration with Academie Beeldende Kunsten Maastricht, Lumière Cinema. In: Cultural Discontent? XXVII. L’analyste et son In: Hustinxzaal, Theater aan het Vrijthof: • The Image Is the Actor, or the Perfect Film screening. On: Plein 1992: Kunsten. In: Academie Beeldende Kunsten, Lumière Cinema, Maastricht: deuil • The Image is the Actor or the Perfect Asymmetry Asymmetry of Before and After • Re: Sound of Music – Part 1 (2005) Maastricht, NL: • Yellow of Before and After Ralph Bauer, Christine Lemke Nikolaus Gansterer • Defining the Place by Naming it • The Twinning of Marseille and Ramsgate THURSDAY 26 MAY Ralph Bauer, Christine Lemke Film screening. On: Plein 1992: • Knock off – Revenge on the Logo (2003) Kasper Andreasen (2004), 6 minutes Presentation Authoring the City at ABKM organ- On: square Bonnefantenmuseum: • Re: Sound of Music – Part 1 (2005) by Anette Baldauf/ Katharina Weingarter Charlotte Moth ised in collaboration with Academie Beeldende • Artisan Limited Productions Nikolaus Gansterer Film screening. On: Plein 1992 FRIDAY 10 JUNE • Jewel Osco Rap (2003/2004), 4 minutes Kunsten. In: Academie Beeldende Kunsten, Stadtraum.org • Mundo Grua (1999) by Pablo Trapero • Deformed Hoarding Lecture Breath-Taking. Air, Art, Architecture Johanna Kirsch & Katrin Plavcak Maastricht, NL: Debate. In: Bonnefantenmuseum: On: Vrijthof: Nils Norman organised by Monika Bakke: • Dust/Birds (2002/2003), 6 minutes • Desert Cities • Een toekomst voor de kunst in Maastricht? • Deformed Hoarding In: Academieplein/garden Jan van Eyck • Art and Weightlessness. Everything Considered Paul Hendrikse Aglaia Konrad, Geoffrey Garrison Hinrich Sachs, Gerard Rooijakkers, Nicole Nils Norman Academie (accessible 24 hrs) Equal, What if we Cancel the Effects of • Natura parenda vincitur (2005), Maurer In: Academieplein/garden Jan van Eyck • Vaneyck Residence Gravity? 1.20 minutes FRIDAY 27 MAY On: Vrijthof: Academie (accessible 24 hrs) bolwerK interrational Annick Bureaud Willem van der Hulst Manifestation Trichtlinnburg Maastricht. An • Deformed Hoarding • Vaneyck Residence • 88 (2004), 5.33 minutes Urban Affair in public space of Maastricht: Nils Norman bolwerK interrational SATURDAY 4 JUNE WEDNESDAY 15 JUNE Nikolaus Gansterer In: MECC car park: In: Academieplein/garden Jan van Eyck Manifestation Trichtlinnburg Maastricht. Lecture Breath-Taking. Air, Art, Architecture • Pink • Colourfield Parking Academie (accessible 24 hrs) THURSDAY 2 JUNE An Urban Affair in public space of Maastricht: organised by Monika Bakke: • The Queer are Dead, Long Live the Queer Ron Bernstein • Vaneyck Residence Lecture Breath-Taking. Air, Art, Architecture On: Markt • Breathing to Enlightenment. Buddhist Theories (1994) by Karen Vanderborght, 40 seconds • Institute for Driving Experience. ID Drives bolwerK interrational organised by Monika Bakke: • Precious Cargo and Representations • Retour Performer: Barbara Salcher (2004) LIGNA • Michael Rakowitz Will Kwann by Katharina Lampert, 2:25 minutes On: Vrijthof MONDAY 30 MAY • Authoring the City at ABKM On: Vrijthof THURSDAY 16 JUNE • Oh Bondage (2003/2004), 8 minutes • Artisan Limited Productions Manifestation Trichtlinnburg Maastricht. Lecture organised in collaboration with • Artisan Limited Productions Lecture Authoring the City at ABKM organised Stefanie Seibold Stadtraum.org An Urban Affair in public space of Maastricht: Academie Beeldende Kunsten. In: Academie Stadtraum.org in collaboration with Academie Beeldende • Vrouw in de Straat (1993) by Karen • Press conference Film screening. On: Plein 1992: Beeldende Kunsten, Maastricht, NL • (If) I Lived Here Kunsten. In: Academie Beeldende Kunsten, Vanderborght, 13 minutes • Bolloon Happyning • Re: Sound of Music – Part 1 (2005) • Urban Communicative Management Sanja Ivekovich Maastricht, NL: • Women´s Day in Ouagadougou (2005), bolwerK interrational Nikolaus Gansterer BAVO On: Vrijthof: • Visualizing the Visual 14 minutes In: restaurant De Perroen: • Berlin. Die Sinfonie der Grossstadt (1927) Manifestation Trichtlinnburg Maastricht. • Deformed Hoarding Wim Cuyvers Saliou Traoré • Trichtlinnburg Regional Specialty by Walther Ruttmann An Urban Affair in public space of Maastricht: Nils Norman • Green Geoffrey Garrison On: Vrijthof: On: Markt: In: Academieplein/garden Jan van Eyck TUESDAY 21 JUNE • Skizze (zu Mennesket) (2003/2004), In: Bonnefantenmuseum, debate: • Deformed Hoarding • Artisan Limited Productions Academie (accessible 24 hrs) Seminar, discussion: 14 minutes • A Future for Art in Maastricht? Nils Norman Stadtraum.org • Vaneyck Residence • Taking Over the Archive. Portrait Photography Lene Markusen Koen Brams, Hans Mommaas, Christoph In: Academieplein/garden Jan van Eyck In: Stationsstraat: bolwerK interrational from August Sander to Nan Goldin • From the Date Series: 21/04/04, 21/05/04, Schäfer, Daniël van der Velden Academie (accessible 24 hrs): • Precious Cargo Norman Bryson 02/06/04 (2004) by Keren Cytter, 6 minutes, Dj-vj performance. On: Vrijthof: • Vaneyck Residence Will Kwan SUNDAY 5 JUNE 5 minutes, 7 minutes • Love City bolwerK interrational In: restaurant De Perroen: Manifestation Trichtlinnburg Maastricht. WEDNESDAY 22 JUNE • Through The Tolmashev’s Eyes (2004), Gold Extra • Trichtlinnburg Regional Specialty An Urban Affair in public space of Maastricht: Seminar: 15 minutes On: Vrijthof: TUESDAY 31 MAY Geoffrey Garrison On: Vrijthof • The Scheme of the Veil Alevtina Kakhidze • Deformed Hoarding Lecture Breath-Taking. Air, Art, Architecture In: De Groote Sociëteit, Vrijthof • Artisan Limited Productions Eva Meyer, Ils Huygens • Horizon (2004/2005), 18 minutes Nils Norman organised by Monika Bakke: • Art in the Public Space. To Add or to Take Stadtraum.org Film screening: Paul Hendrikse In: Academieplein/garden Jan van Eyck • Inspiration Away? From Plein 1992 to Vrijthof: • Shadows by Cassavetes Academie (accessible 24 hrs): Peter Sloterdijk Jean-Marc Huitorel • Stertocht MONDAY 23 MAY • Vaneyck Residence Manifestation Trichtlinnburg Maastricht. Film screening. On: Plein 1992: Zuzana Lapitková, Jan van Eyck Academie, THURSDAY 23 JUNE Seminar: bolwerK interrational An Urban Affair in public space of Maastricht: • Re: Sound of Music – Part 1 (2005) Giants’ Guild Maastricht Seminar: • The Scheme of the Veil Film screening. On: Plein 1992: Nikolaus Gansterer On: Vrijthof: • The Scheme of the Veil Eva Meyer SATURDAY 28 MAY • Re: Sound of Music – Part 1 (2005) • Brazil (1985) by Terry Gilliam • Ceremony of Naturalisation Jeanne van Eyck Eva Meyer Film screening, presentation: Manifestation Trichtlinnburg Maastricht. An Nikolaus Gansterer On: Vrijthof: Zuzana Lapitková, Jan van Eyck Academie, • Ararat by Atom Egoyan Urban Affair in public space of Maastricht: • Roma (1972) by Frederico Fellini • Deformed Hoarding Giants’ Guild Maastricht FRIDAY 24 JUNE Eva Meyer, Stephanie Benzaquen Assembly and departure: band stand Vrijthof: On: Vrijthof: Nils Norman • Deformed Hoarding Lecture: • Maastricht Dector-Dupuy • Deformed Hoarding In: Academieplein/garden Jan van Eyck Nils Norman • History vs. Future #1 TUESDAY 24 MAY Michel Dector, Michel Dupuy Nils Norman Academie (accessible 24 hrs) In: Academieplein/garden Jan van Eyck Vinca Kruk Lecture: On: Vrijthof: In: Academieplein/garden Jan van Eyck • Vaneyck Residence Academie (accessible 24 hrs) • Art after Deconstruction • Artisan Limited Productions Academie (accessible 24 hrs): bolwerK interrational • Vaneyck Residence WEDNESDAY 29 JUNE Jeremy Gilbert-Rolfe Stadtraum.org • Vaneyck Residence bolwerK interrational Opening exhibition: • Deformed Hoarding bolwerK interrational FRIDAY 3 JUNE • Draw a Map WEDNESDAY 25 MAY Nils Norman Manifestation Trichtlinnburg Maastricht. TUESDAY 7 JUNE Kasper Andreasen Lecture Resonance, Mimesis, Noise and Refrain: In: Academieplein/garden Jan van Eyck WEDNESDAY 1 JUNE An Urban Affair in public space of Maastricht: Lecture: • Refraining from the Refrain Academie (accessible 24 hrs): Manifestation Trichtlinnburg Maastricht. On: Vrijthof: • Florian Pumhoesl THURSDAY 30 JUNE Zafer Aracagök • Vaneyck Residence An Urban Affair in public space of Maastricht: • Artisan Limited Productions Colloquium Visualizing the Visual: Lecture Breath-Taking. Air, Art, Architecture bolwerK interrational • Artisan Limited Productions Stadtraum.org WEDNESDAY 8 JUNE • BraKin organised by Monika Bakke: Stadtraum.org In: restaurant De Perroen: Presentation: Kristien Van den Brande, Tina Clausmeyer, • The Geometry of Climate SUNDAY 29 MAY • Precious Cargo • Trichtlinnburg Regional Specialty • Saliou Traoré Wim Cuyvers, Kobe Matthys, Sabine Müller & Francois Perrin Manifestation Trichtlinnburg Maastricht. An Will Kwan Geoffrey Garrison Andreas Quednau, Dirk Pauwels Urban Affair in public space of Maastricht: • Inhabitants and Consumers. Debate with the

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Lecture Visualizing the Visual: • The Sense of Logic. Lacanian Questions to Presentation: THURSDAY 29 SEPTEMBER Reading Lacan. On Identification. Seminar IX. • Conclusion • Urbanism in Post-War Kinshasa Gilles Deleuze’s ‘Theory on Language’ in • Meta Haven. Sealand Identity Project Lecture: Lesson of 6 December 1961 & Lesson of 13 BAVO Liévin Chirhal Wirwa ‘Logique du sense’ Presentation: • The Building as Instrument December 1961 Marc De Kesel • Cultural Representations of Genocide and Yolande Harris SATURDAY 19 NOVEMBER FRIDAY 1 JULY Mass Murder FRIDAY 4 NOVEMBER Workshop Psychoanalysis, Urban Theory and the Colloquium Visualizing the Visual: FRIDAY 9 SEPTEMBER Stephanie Benzaquen MONDAY 3 OCTOBER Debate Lend Me Your Dream/Lend Me Your City of Late-Capitalism organised by BAVO & • Bra-Kin Presentation, tour: Film screening: Presentation Film and Biopolitics: Fantasy organised in collaboration with Lorenzo Chiesa within the framework of Super!, Kristien Van den Brande, Tina Clausmeyer, • Visit by De Appel • Grad • The Labor of Writing. The Author’s Destiny in Academie Beeldende Kunsten Maastricht, Hasselt: Wim Cuyvers, Kobe Matthys, Sabine Müller & Tessa Giblin, Laura Schleussner, Angelo Lene Markusen Hollywood Super! Hasselt. In: Academie Beeldende • Conceiving of an Urban Act Andreas Quednau, Dirk Pauwels Serino, Diana Wiegersma, Meta Haven. Presentation: Helmut Draxler Kunsten, Maastricht, NL: BAVO Sealand Indentity Project, Daniël van der • Jeanne van Eyck Film screening: • Radicale democratie • Re-Acting to Zˇizˇek’s ‘Act/Re-Enacting the Act’. MONDAY 11 JULY Velden Zuzana Lapitková • Barton Fink (1991) by Joel Coen BAVO, Jos Geysels, Ives Maes, Real and Symbolic Dimensions in Lecture On the Television Work of Jef Cornelis: Performance: Saskia Poldervaart Psychoanalysis and Politics • On the Film ‘Landscape of Churches’ TUESDAY 13 SEPTEMBER • I Am Not Half the Man I Used to Be TUESDAY 4 OCTOBER Yannis Stavrakakis Dirk Pültau Seminar: Stefanie Seibold Presentation: THURSDAY 10 NOVEMBER • ‘Mettre un peu de honte dans la sauce’: Lecture: • The Tomorrow Book. Meeting #1 Tour of the building: • Artis. Exhibition space Den Bosch Presentation in the framework of Curating the Third-Way Cultural Activism, the Discourse of • On the Film ‘Little Sparta, et in Arcadia Ego’ Norman Bryson • Presentation publications and printed matter Koenraad Dedobbeleer, Arjan Reinders, Mieke Library. In: DeSingel, Antwerp, BE: the Analyst, and the City of Late-Capitalism Helmut Draxler • Introduction research team in library van Schaijk • Interlude. The Reader’s Traces BAVO Film screening: Sarah Infanger, Joël Vermot (Harrisson), Open studio 219: Seminar: Mariana Castillo Deball • Round-table discussion • ‘Little Sparta, et in Arcadia Ego’. A Portrait of Richard Vijgen • Orbiting • Art as Terror • Conclusion Ian Hamilton Finlay by Jef Cornelis and Chris • Ubibook-Mark-Up Yolande Harris Jonathan Dronsfield TUESDAY 15 NOVEMBER Dercon (1990, 41 minutes) Jouke Kleerebezem Open studio132: Presentation organised by Inga Zimprich SUNDAY 20 NOVEMBER Film screening Film and Biopolitics: • The Uncanny Strategies of the (Art)book. From • The Cut WEDNESDAY 5 OCTOBER • Thinktank Workshop Psychoanalysis, Urban Theory and the • Trouble Every Day (2001) by Claire Denis Rubens to Ed Ruscha Geoffrey Garrison Seminar: Research guest #1 City of Late-Capitalism organised by BAVO & Helmut Draxler, Stephan Geene Filiep Tacq Exhibition: • Circle for Lacanian ideology Critique M7red (Mauricio Corbalan, Pio Torroja) Lorenzo Chiesa within the framework of Super!, • Building Books into the Digital World • New Work by Fine Art Researchers Reading Lacan. On Identification. Seminar IX. Hasselt: TUESDAY 12 JULY Lars Müller Nikolaus Gansterer, Geoffrey Garrison, Lesson of 22 & 19 November 1961 WEDNESDAY 16 NOVEMBER • Psychoanalysis in the City Discussion Film and Biopolitics: Film screening in the presence of the protagonist, Will Kwan, Lene Markusen, Charlotte Moth, Seminar: Lorenzo Chiesa • Vivacity as Ultima Non-Ratio of Film. Is a Film Dr. Ansgar Philippsen, In: Cinema Lumière, Falke Pisano, Stefanie Seibold, Inga Zimprich FRIDAY 14 OCTOBER • Circle for Lacanian ideology Critique • Is Psychoanalysis a Metropolitan Science? of Claire Denis likely to Be Produced? Maastricht, NL: Debate Lend Me Your Dream/Lend Me Your Reading Lacan. On Identification. Seminar IX. Some Reflections on Freud and the City Stephan Geene • Designing Truth MONDAY 26 SEPTEMBER Fantasy organised in collaboration with Lesson of 10 & 24 January 1961 Aaron Schuster Hinrich Sachs Seminar: Academie Beeldende Kunsten Maastricht, Super! Symposium Logo Parc organised in collaboration • For What it’s Worth. On the Meaning of Money WEDNESDAY 31 AUGUST • The Scheme of the Veil Hasselt. In: Academie Beeldende Kunsten, with Lectoraat Kunst en Publieke Ruimte, in the Psychoanalytic Economy Presentation: WEDNESDAY 14 SEPTEMBER Eva Meyer with Stephanie Benzaquen Maastricht, NL: Gerrit Rietveld Academie, Premsela Foundation. Dany Nobus • Will Kwan Round-up discussion The Tomorrow Book. Lecture: • Cultureel ondernemerschap. In: Gerrit Rietveld Academie, Amsterdam, NL: • Late Capitalism and Psychoanalysis Meeting #1: • Return Architectuur en engagement • Jouke Kleerebezem Renata Salecl TUESDAY 6 SEPTEMBER • An Attempt to Evolve Sylvia de Swaan BAVO, Wim Cuyvers, Jasper Jägers • Daniël van der Velden • ‘Fantasy Wears Boots, Desire is Violent, Lecture: Will Holder Film screening: (UCXarchitects), Roemer van Toorn • Kamiel Klaasse Invention is Organised’. Metropolitan • Motion Path. Architecture and the Moving Image • Books Become Buildings • Nostalgia (1990) by Garod • Roemer van Toorn Insurrection and Psychoanalytic Categories Graham Ellard, Stephen Johnstone Daniël van der Velden MONDAY 17 OCTOBER • Friedrich von Borries Alberto Toscano TUESDAY 27 SEPTEMBER Presentation, discussion History vs. Future #3: • Gerard Hadders • An Account of Enjoyment. On Capitalism and WEDNESDAY 7 SEPTEMBER THURSDAY 15 SEPTEMBER Opening video and sound installation: • Two Scenarios for a Dialogue • Wouter Vanstiphout the Social Bond Lecture organised by Vinca Kruk: Lecture: • Orbital Vinca Kruk • Forum discussion Oliver Feltham • History vs. Future #2 • Intellectual Property and Artistic Freedom Yolande Harris • Conclusion Femke Snelting Cornelia Sollfrank TUESDAY 18 OCTOBER FRIDAY 18 NOVEMBER Lorenzo Chiesa WEDNESDAY 28 SEPTEMBER Seminar: Workshop Psychoanalysis, Urban Theory and the FRIDAY 9 SEPTEMBER FRIDAY 16 SEPTEMBER Symposium The Matching Link. Welcome to • Circle for Lacanian ideology Critique City of Late-Capitalism organised by BAVO & THURSDAY 17 NOVEMBER Conference Gilles Deleuze. The Passage from Debate Lend Me Your Dream/Lend Me Your Fusedspace Database organised in collaboration Reading Lacan. On Identification. Seminar IX. Lorenzo Chiesa within the framework of Super!, Lecture: Noise to Voice organised by Zafer Aracagök Fantasy organised in collaboration with with Stroom. In: Stroom, The Hague, NL: Lesson of 19 November 1961 Hasselt: • Emma Hedditch • Introduction Academie Beeldende Kunsten Maastricht, Super! • Introduction • Identifying the Urban Unconscious Zafer Aracagök Hasselt. In: Academie Beeldende Kunsten, Jouke Kleerebezem MONDAY 24 OCTOBER BAVO MONDAY 21 NOVEMBER • Chaosmologies. Chaos and Thought in Gilles Maastricht, NL: • Narrative Networked Environments as Presentation: • Crime does Pay! How Architecture and Town Conversation, discussion: Deleuze and Félix Guattari’s ‘What is • Stadsmanagement Imaginary Spaces of Being • John Murphy, Jonathan Watkins Planning are Powered by Crime • The Xerox Book (1968) Philosophy?’ BAVO, Jan van der Borg, Pieter Breek & Andrea Zapp Michael Zinganel Seth Siegelaub, Jack Wendler with Arkady Plotnitsky Bas van der Geijn, Benda Hofmeyr • Digital Graffiti in Urban Space TUESDAY 25 OCTOBER • The City at the End of History, or the Eternal John Murphy • Pragmatism and Structuralism in the Thought Roland Haring Seminar, film screening The Scheme of the Veil: City of Unconscious of Gilles Deleuze WEDNESDAY 21 SEPTEMBER • Introduction afternoon speakers • I Can’t Sleep (1994) by Claire Denis Juliet Flower MacCannell TUESDAY 22 NOVEMBER Marc Rölli Seminar: Jouke Kleerebezem Eva Meyer • Something Inevitable in Racism. A Lacanian Lecture History vs. Future #4 organised • The Politics of Becoming, or: Self-Styling as • Circle for Lacanian ideology Critique • Urban Tapestries. Public Authoring, Place and Film screening: Perspective on Cosmo-Political Identity, Hatred by Vinca Kruk: Resistance Reading Lacan. On Identification Mobility • Anguish (1986) by Bigas Luna and Democracy • Wim Crouwel Rosi Braidotti Giles Lane Ils Huygens Marc De Kesel • Passing. The Voice SATURDAY 24 SEPTEMBER • Welcome to Fusedspace Database • Urban Psychasthenia. A Spatioanalysis THURSDAY 24 NOVEMBER Mahmut Mutman Japanese Curators Visit the Jan van Eyck Team Science Fiction WEDNESDAY 2 NOVEMBER Edward W. Soja Lecture, film screening Film and Biopolitics: • La ritournelle: des oiseaux et des hommes • Welcome • Panel discussion Seminar: • Psychic City Walls • Failing a Revolution Manola Antonioli Koen Brams • Circle for Lacanian ideology Critique André Nusselder Stephan Geene

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MONDAY 28 NOVEMBER SUNDAY 11 DECEMBER • John Murphy Lecture: Workshop Politics and Jouissance organised • Willem Oorebeek • Cherry Smyth by Lorenzo Chiesa & Oliver Feltham: • Kathleen Rahn Seminar: • Politics and Enjoyment through Science • Michael Rakowitz • Degas and the Movement Image • Who Enjoys in Democracy? Mathematics • François Perrin Norman Bryson of Sexuality, Mathematics of Politics • Florian Pumhoesl Opening exhibition: Antonello Sciacchitano • Hinrich Sachs • Stepping Out. An Invitation to Do Something • Response (Lorenzo Chiesa) • Cherry Smyth New • General discussion • Femke Snelting Kasper Andreasen, Nikolaus Gansterer, • Scientific Practices, the Letter and Ontological • Cornelia Sollfrank Geoffrey Garrison, Paul Hendrikse, Yolande Politics • Filiep Tacq Harris with Bert Bongers, Alevtina Kakhidze, Johan Schokker • Daniël van der Velden Vinca Kruk, Lene Markusen, Adriaan • Response (Oliver Feltham): • Jan Verwoert Mellegers, Charlotte Moth, Falke Pisano, • General discussion • Annelys de Vet Stefanie Seibold, Saliou Traoré, Armando • Conclusion • Nadja Vilenne Andrade Tudela, Johanna Kirsch, Inga • Jonathan Watkins Zimprich TUESDAY 13 DECEMBER Seminar: TUESDAY 29 NOVEMBER • Circle for Lacanian ideology Critique Lecture: Reading Lacan. On Identification. Seminar IX. • Dreaming in the Plural. Calling up Ghosts and Lesson of 10 January 1961 Sharing Secrets. On Artistic Modes of Collective Address WEDNESDAY 14 DECEMBER Jan Verwoert Presentations: Seminar: • Bert Balcaen & Ingrid Stojnic, Marthe Van • Circle for Lacanian ideology Critique Dessel, Vinca Kruk, Zuzana Lapitková, Reading Lacan. On Identification.Seminar IX. Adriaan Mellegers, Brakin team Lesson of 20 December 1961 & 10 January Book launch. In: Etablissement d’en face 1962 projects, Brussels, BE: • When the Story Finishes Light Sadness WEDNESDAY 30 NOVEMBER Grasps Me Presentation: Doris Lasch & Ursula Ponn, Christine Lemke, • Nikolaus Gansterer Johannes Porsch

TUESDAY 6 DECEMBER THURSDAY 15 DECEMBER Meeting: Opening exhibition. In: Galerie Nadja Vilenne, • The Tomorrow Book Liège, BE: Harrisson, Will Holder, Sarah Infanger, Jouke • Untitled Excerpts Kleerebezem, Lars Müller, Filiep Tacq, Daniël Armando Andrade Tudela, Kasper Andreasen, van der Velden, Richard Vijgen Peggy Buth, Natascha Hagenbeek, Geoffrey Garrison, Alevtina Kakhidze, Johanna Kirsch, WEDNESDAY 7 DECEMBER Stefanie Seibold and Saliou Traoré Book launch. In: Marres, Maastricht, NL: • Trichtlinnburg. An Urban Affair STUDIO VISITS 2005 Andres Kurg, Hinrich Sachs • De Appel (Defne Ayas, Tessa Giblin, Stefan Rusu, Angela Serino, Laura Schleussner, THURSDAY 8 DECEMBER Diana Wiegersma) Book launch. In: Stedelijk Museum CS, • Artis Amsterdam, NL: • Orla Barry • Trichtlinnburg. An Urban Affair • Julia Born Jelle Bouwhuis, Marijke Cobbenhagen, • Norman Bryson Chantal Hendriksen, Hinrich Sachs, • Sabeth Buchmann Simon Sheikh • Wim Crouwel • Wim Cuyvers FRIDAY 9 DECEMBER • Ann Demeester Lecture organised by Monika Bakke: • Helmut Draxler • Animism and Fetishism • Graham Ellard and Stephen Johnstone Alphonso Lingis • Emma Hedditch • Jeppe Hein SATURDAY 10 DECEMBER • Will Holder Workshop with Antonello Sciacchitano organised • Christoph Fink by Lorenzo Chiesa & Oliver Feltham: • Stephan Geene • Circle for Lacanian ideology Critique • Jeremy Gilbert-Rolfe Lacan and Topology • Aglaia Konrad • Eva Meyer

200 / JAN VAN EYCK ACADEMIE 2005 ...... INSTITUTE ...... INSTITUTE POLICY BODIES BOARD POLICY BOARD EDITORIAL BOARD

BOARD structure for the programme, recruitment had a discussion on the 25% rule in relation to General campaign 2005, policy on disruptive behav- symposiums and colloquiums. It was agreed • The Jan van Eyck Academie Foundation is iour at public activities); that the Theory department will warrant 25% of supervised by a board. – documentation centre (presentation new the budget in the case of events with a collecti- Composition database). ve interest. The department is free to encoura- • In 2005 the board included the following ge researchers to set up a co-production. When members: Jan van Adrichem, Marthe EDITORIAL BOARD the concept of the proposal is submitted to the Coenegracht, Tijmen van Grootheest, Fons General Editorial Board, it is decided whether it is a case Haagmans, Cees Hamelink, Bart Verschaffel • The Editorial Board handles the artistic affairs of collective interest (and if the ruling should be and Jacques De Visscher. of the academy. Artistic affairs include: initia- applied). If it is, the researcher does not have to • Each year, one or two members of the board ting and following up research and producti- provide 25% of the budget him/ herself. At any retire and are replaced according to a roster ons. These matters are the exclusive preserve rate, researchers are requested to suggest opti- of resignation. New appointments to the board of the Editorial Board, which meets once a ons for fundraising for their projects. are based on qualities that are linked to policy month. The meeting comprises one advising Meetings priorities of the academy and the division of researcher per department and the director. • In 2005 the Editorial Board met nine times, in tasks within the board. Decisions of the Editorial Board are published February, March, April, May, June, September, Meetings in the announcements. In addition, announce- October and November. The budget of the • The board met three times in 2005: in ments may also contain general information Editorial Board for 2005 was fully utilised. February, June and October. Fons Haagmans about the artistic programme. The Editorial Board dealt with the following became a member of the board at the meeting • A recommendation of the Editorial Board is artistic projects by (advising) researchers and of 5 June. required for production proposals that require external parties: a budget in excess of 3,500 euros. The – Zafer Aracagök, Gilles Deleuze: The POLICY BOARD Editorial Board has a production fund of at Passage from Noise to Voice (symposium) General least 87,500 euros to fund projects. Revenues – Artis (proposal for collaboration) • It is the task of the Policy Board to deal with the from projects by researchers, departments and – Monika Bakke, Breath-Taking. Air, Art, institutional affairs of the academy. Institutional the institute flow back into the production fund Architecture (book) affairs include: the policy principles relating to of the Editorial Board. – BAVO (Gideon Boie & Matthias Pauwels), the selection and advice of (advising) resear- Composition Lend Me Your Dream/Lend Me Your Fantasy chers, personnel, finance, investments, work- • In 2005 the Editorial Board comprised: (series of lectures and debates) shops, production bureau, library and docu- Koen Brams (director), Marc De Kesel (Theory – BAVO (Gideon Boie & Matthias Pauwels) & mentation centre, ex-researchers and public department), Aglaia Konrad (Fine Art depart- Lorenzo Chiesa, Psychoanalysis, Urban relations. The Policy Board deals exclusively ment), Daniël van der Velden (Design depart- Theory and the City of Late-Capitalism with these issues and meets once a month, ment). Prior to the meetings of the Editorial (symposium) at most. The meeting comprises one advising Board, production bureau staff (Jo Frenken, – BAVO (Gideon Boie & Matthias Pauwels), researcher per department, the director and Petra Van der Jeught, Winnie Koekelbergh) The Spectre of the Avant-Garde (24-hour the deputy director. Decisions of the Policy provide an overview of the current status of meetings in preparation of the symposium Board are published in the announcements. projects already passed by the Editorial Board and presentation of the issue of AS magazine Apart from the decisions, announcements and of the other projects known to the produc- composed by BAVO) may also contain general institutional infor- tion bureau. Kim Thehu takes the minutes. – Peggy Buth, Desire in Representation. mation which is deemed important for the Procedure Travelling through the Musée (book) (advising) researchers and the technical and • With respect to projects submitted to the – Centrale Financiën Instellingen (suggestion administrative staff. Editorial Board, it is a rule that content discus- for the use of the exhibition space) Composition sions precede any budgetary discussions. – Lorenzo Chiesa & Oliver Feltham, Politics • In 2005 the Policy Board comprised: Koen Projects with budgets under 3,500 euros are and Jouissance (workshops) Brams (director), Marc De Kesel (Theory facilitated by researchers themselves or by the – Min Choi, D.T. (magazine) department), Jouke Kleerebezem (Design department. Researchers are expected to con- – Wim Cuyvers, Brakin(book) department), Hinrich Sachs (Fine Art depart- tribute 25% of the budget. Moreover, this 25% – Fine Art department, Untitled Excerpts ment) and Laurens Schumacher (deputy own contribution must be guaranteed before (group exhibition) director). Kim Thehu takes the minutes. a production is started. The 25% rule does not – Geoffrey Garrison, The Cut (video) Meetings apply to institutional projects. The Editorial – GGD (proposal for collaboration in the • In 2005 the Policy Board met four times: in Board wants to indicate an amount of 5,000 framework of the week of love) June, September, November and December. euros (including the 25% own contribution – Natascha Hagenbeek, The Inheritance The Policy Board addressed the following of the researcher) as a directional budget for of Pim Conradi (closed workshops and issues: projects. If the researcher wishes to call in the public presentation) – general policy (subsidy relationships with help of external people to lend a hand in the – Yolande Harris, Score Spaces. Taking the Ministry of Education, Culture & Sciences, realisation of a project, compensation for their Soundings around Sound (book) the Province of Limburg and the City of contributions can only be paid on a ‘per diem’ – Ils Huygens, Cinematic Embodiment Maastricht); basis. The contents of project proposals from (symposium) – restructuring the workshops; researchers staying at the Jan van Eyck for two – Alevtina Kakhidze, Zhdanovka (book) – financial issues (fundraising; settlement of years, must be submitted seven months prior – Marc De Kesel, A Community of Scoundrels costs for materials used by researchers); to the departure of the researcher, at the very (symposium) – researchers’ affairs (researchers’ attendance, latest. The corresponding budget must be – Vinca Kruk & Jonathan Dronsfield, residency plan, use of canteen by (advising) presented six months before departure. Representation of Regimes, Regimes of researchers); Evaluation Representation. Art and Architecture as – public relations (directory, evaluation PR • In the meeting of 6 June the Editorial Board Foundation (symposium)

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– Kunsttour (presentation of videos in the Recruitment campaign Trichtlinnburg (Fine Art department), The Rossum & Erik van Blokland), Lars Müller, framework of the open studio route) • Preparations for the recruitment campaign star- Tomorrow Book (Design department), Logo Filiep Tacq, Daniël van der Velden and Astrid – Doris Lasch & Ursula Ponn, When the Story ted in November 2004; implementation began Parc (Design department) and Circle for Vorstermans. Twenty-two candidates applied Finishes Light Sadness Grasps Me (artists’ in January 2005. As in 2004, Vinca Kruk and Lacanian ideology Critique (CLiC) (Theory for Logo Parc: nine were interviewed, three book) Adriaan Mellegers designed the campaign, department). accepted. The committee comprised the follo- – Tamara Maletic & Dan Michaelson, Weather- which addressed the fact that the Jan van Eyck Committees and selection Fine Art department wing members: Koen Brams, Will Holder, vanes. Every Arrow (objects in public space) has become increasingly more well-known. • 193 candidates applied to the Fine Art depart- Filiep Tacq and Daniël van der Velden. – Lene Markusen, Mennesket (film) Instead of giving background information on ment for academic year 2005. Eighteen candi- Committee and selection Theory department – Eva Meyer, The Scheme of the Veil (work- the poster, a choice was made to reduce the dates were interviewed, eight of whom were • Thirty-three candidates applied to the Theory shops and book) amount of text on all communication carriers admitted. This filled all of the positions in the department for academic year 2005. Seven – Planet Gender (proposal for collaboration) to the absolute minimum. The designers based Fine Art department for 2005. In 2004 the candidates were interviewed, five of whom – Aarnoud Rommens, Camouflage Comics the campaign on well-known advertising selection committee of the Fine Art department were admitted. Next to the receptive recruit- (website) slogans, which they subsequently rewrote with comprised: Orla Barry, Koen Brams, Aglaia ment campaign, the Theory department facili- – Anje Roosjen (proposal for collaboration in reference to the core tasks of the academy: Konrad, John Murphy and Hinrich Sachs. tated the CLiC project (Circle for Lacanian the framework of the project Kloone 4000) ‘research’ and ‘production’. Examples: • There were 231 candidates who applied to the ideology Critique), initiated by Marc De Kesel; – Hinrich Sachs, Trichtlinnburg (event) ‘we research right’; ‘four out of five artists Fine Art department for academic year 2006. a pro-active recruitment campaign was set up – Stefanie Seibold, A READER (posters) recommend research’; ‘we think therefore Sixteen candidates were interviewed, eight of for this project in 2004. Eleven candidates – Andrei Siclodi (Künstlerhaus we research’; ‘it’s a research adventure’; whom were admitted. This filled all of the posi- applied for CLiC. Eight candidates were inter- Büchsenhausen), Private Investigations (pre- ‘production wanted’. Apart from these slogans, tions in the Fine Art department for 2006. In viewed, three of whom were admitted. In 2004 sentations of research projects and produc- the advertisements and poster contained a 2005 the selection committee of the Fine Art the committee comprised the following mem- tions) reference to the website and an invitation to department comprised: Orla Barry, Koen bers: Koen Brams, Norman Bryson, Sabeth – Saliou Traoré, Let Me Be Your Dictionary submit research and production proposals. Brams, Aglaia Konrad, John Murphy and Buchmann, Marc De Kesel and Eva Meyer. (book) • From November 2004 the invitation to submit Hinrich Sachs. A pro-active campaign was set • There were 62 applications to the Theory – Robrecht Vanderbeeken, What Are You research proposals was included in the weekly up for the project Trichtlinnburg. Seven candi- department for academic year 2006. Eight Doing? (publication) programme and in the newsletter; it was also dates were interviewed, two of whom where were interviewed, five of whom were admitted. – Inga Zimprich, Thinktank (development mentioned as a news item on the website. admitted. Next to the receptive recruitment campaign, groupware) From January 2005 advertisements ran in Committees and selection Design department the Theory department facilitated the CLiC Artforum, Artpress, De Witte Raaf, Edunews, • Twenty-two candidates applied to the Design project, initiated by Marc De Kesel; a pro- SELECTION COMMITTEES Metropolis M, Texte zur Kunst, Eye and Items. department for academic year 2005. Two active recruitment campaign was set up for General The edition of 1,500 posters was distributed candidates were interviewed and they were this project in 2005. Two candidates applied • The role of the selection committees is to assess globally. The poster was distributed in combi- admitted with a view to further develop the for CLiC, both of whom were interviewed and the applications and possibly the de-registrati- nation with the email campaign. Trichtlinnburg project and the Meta Haven: admitted. In 2005 the committee comprised ons of researchers and applicant researchers. • The success of the campaign can be deduced Sealand Identity Project. In 2004 the committee the following members: Koen Brams, Norman A researcher/applicant researcher can be from the increase in the number of applications for the Design department comprised the follo- Bryson, Sabeth Buchmann, Marc De Kesel and admitted for a two-year or one-year period of and the lesser dependency on the grapevine. wing members: Koen Brams, Jouke Eva Meyer. research at the academy or for a variable peri- A total of 395 candidates (living in 50 different Kleerebezem, Filiep Tacq and Daniël van der od of time in order to carry out a particular countries) applied. Most applications were Velden. Next to the receptive recruitment cam- RESEARCHERS’ MEETING project. Since researchers may have a place for from Germany (17%), followed by the paign, the Design department facilitated the General one year instead of two, or spend a variable Netherlands (16%), Belgium (10%) and the project Visualizing the Visual, initiated by Wim • The researchers’ meeting is intended to inform period at the academy, the number of vacan- United States (6%). It is striking that there was Cuyvers; a pro-active recruitment campaign researchers about all current academy affairs, cies fluctuates. It is not the case, for example, a 73% increase in the number of applications was set up for this project in 2004. Twenty-five from policy and financial matters to artistic, that eight vacancies are available at the same from Europe and a 75% increase from North candidates applied for this project. Ten candi- organisational and practical matters. time each year. America. The number of applications from dates were interviewed, seven of whom were Multi-disciplinarity • The selection of researchers takes place within other continents did not increase compared to admitted. The committee comprised the follo- • In 2005 there was one researchers’ meeting, each department, in conformity with the 2004. Within Europe most applications are wing members: Koen Brams, Wim Cuyvers and which addressed the issue of the multi-discipli- departmental structure of the academy. from German language areas. Filiep Tacq. narity of the Jan van Eyck. An assessment was Candidates have to indicate their preference • Selection of researchers for the research period • There were 43 applications for academic year made whether the academy policy provides all for one of the departments. The committee starting in 2005 (completed in 2004) 2006. Eight candidates were interviewed, of conditions to achieve real exchange between comprises the director and a minimum of three • 284 candidates applied for academic year whom five were admitted; two of these had researchers from different disciplines. advising researchers of the department in 2005. There was a slight increase in applicati- applied for the UbiScribe project, initiated by question. ons compared to academic year 2004. Next to Jouke Kleerebezem. In 2005 the committee PERSONNEL MEETING • A strict selection policy is maintained. Ad- a receptive recruitment policy, researchers were for the Design department comprised the follo- General mission requires that all of the application cri- canvassed for vacant research positions for wing members: Koen Brams, Jouke • The personnel meeting is intended to inform teria are met, both in formal terms and in terms projects formulated by the Design, Fine Art and Kleerebezem, Filiep Tacq and Daniël van staff about matters of policy and to talk about of content. As soon as future researchers are Theory departments: Trichtlinnburg (Fine Art der Velden. Next to the receptive recruitment their consequences for the shop floor. informed that they have been admitted, they department), Visualizing the Visual (Design campaign, the Design department facilitated General Staff Meetings (GSM) can prepare for their arrival at the academy, department), Circle for Lacanian ideology the project The Tomorrow Book, initiated by • In 2005 one general staff meetings was held. with the assistance of the researchers’ secreta- Critique (CLiC) (Theory department). Filiep Tacq, and the Logo Parc project, initiated The meeting of 19 September 2005 was dedi- riat for logistical matters and with the help of • There were 395 applications for academic year by Daniël van der Velden. For these projects cated to updating the terms of employment the advising researchers for issues of content. 2006. Compared to academic year 2005, this pro-active recruitment campaigns were set up. scheme. The updated terms of employment • Kim Thehu monitors the recruitment of resear- was a large increase in the number of applica- Twenty-eight candidates applied for The immediately came into effect after the general chers in terms of content and Leon Westenberg tions. Next to a receptive recruitment policy, the Tomorrow Book, five of whom were intervie- staff meeting. deals with the practical aspects of recruitment. availability of researchers’ positions was publi- wed. Of these, three were accepted. The com- • In 2005 deadline for application was 15 April. cised for research projects formulated by the mittee comprised the following members: Koen The application fee was 60 euros. Design, Fine Art and Theory departments: Brams, Jouke Kleerebezem, LettError (Just van

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RESEARCHERS Insurance Charlotte Moth), The Ghostly Social Aspects Editorial Board, following up the programme General • From 2005, researchers need to arrange of Cinema (designed by Marthe Van Dessel), and selection committee) and a smooth trans- • Researchers develop research projects, set up for their own health insurance. The Inheritance of Pim Conradi (designed by fer of advisory and institutional tasks between productions and thus contribute to the realisati- Accommodation Adriaan Mellegers), The Matching Link. current and newly appointed advising resear- on of the programme of the academy. The • Researchers are required to have a place of Welcome to Fusedspace Database (designed chers. objectives, methodologies and timing of the residence outside of the academy. This is why by Min Choi & Sulki Choi, Tamara Maletic & Fine Art projects are determined by the researcher. they are requested to submit a copy of their Dan Michaelson), Trichtlinnburg (designed by • In 2005 the team of the Fine Art department To this end, the researcher can call upon rental agreement. On not complying with this Vinca Kruk & Adriaan Mellegers, Marthe Van comprised: Orla Barry, Aglaia Konrad, John technical and artistic advice. Researchers are agreement, the academy can proceed to redu- Dessel, Bert Balcaen & Ingrid Stojnic, Marijke Murphy and Hinrich Sachs. expected to be engaged in the projects of other cing their stipend. The academy plays an active Cobbenhagen & Chantal Hendriksen), Untitled Design researchers, on the assumption that the intermediary role in acquiring appropriate Excerpts (designed by Kasper Andreasen), • In 2005 the team of the Design department research and the productions of one resear- accommodation for researchers. An overview When the Story Finishes Light Sadness Grasps comprised: Wim Cuyvers, Jouke Kleerebezem, cher form the formal or content-based context was provided of the addresses of the resear- Me (designed by Doris Lasch & Ursula Ponn). Filiep Tacq, Daniël van der Velden and Annelys of the research and productions of the other chers with a view to a rapid future allocation Information de Vet. researchers. of accommodation. • Information on abovementioned issues has Theory Residency plan Psychological assistance been made available to researchers in a • In 2005 the team of the Theory department • The residency plan is about the development • On the basis of a ‘partnership’ with the document. This document contains information comprised: Norman Bryson, Sabeth of accommodation for the researchers of the University of Maastricht, researchers can on the stipend and other (foreign) bursaries / Buchmann, Marc De Kesel, Helmut Draxler, Jan van Eyck. The residency plan also offers receive psychological assistance. The psycho- scholarships, other income, internal and exter- Stephan Geene and Eva Meyer. the possibility to engage in exchanges with the logist, Heiny Eilkes, provides short series of nal commissions policy, income from activities local (cultural) infrastructure in terms of one-hour sessions, which target cognitive and (supported by the Jan van Eyck), taxation, research and production, thus contributing to behavioural aspects. residence and employment permits, promotion a stimulating climate for art, design and theory Visa procedure of expertise, rental and use of equipment and in Maastricht. In 2004 this plan was discussed • All visa applications were submitted before the studios. An extensive clarification to the con- with the city of Maastricht. In 2005 Maastricht summer break. All requests were approved by tract has also been added. art gallery K.H. Bärwaldt donated an amount the IND (Immigration and Naturalisation of 7,855 Euros to the Jan van Eyck Academie, Service). ADVISING RESEARCHERS especially with a view to developing the Internal commissions General residency plan. • The Jan van Eyck regularly issues calls for inter- • The three departments – Fine Art, Design and Contract nal commissions. Although such commissions Theory – are led by a team of advising resear- • The academy has worked out a contract which can cover all disciplines, they usually concern chers. The team is responsible for such depart- defines the relationship between researcher design commissions. In 2005 there were com- mental activities as the selection of researchers; and academy. The contract covers the follo- missions for the following institutional means the initiation and carrying out of institutional wing topics: registration (duration research of communication: the programme brochure policy (and participating in the Policy Board); period, et cetera), information on policy 2005 (designed by Min Choi & Sulki Choi), the the initiation and carrying out of artistic policy (documentation, accommodation, studio, et academy façade (a project by Min Choi & Sulki (and taking part in the Editorial Board); the ini- cetera) and the concrete results of the research Choi, Tamara Maletic & Dan Michaelson), the tiation and carrying out of the artistic program- (distribution, copyrights, sharing revenues, annual report 2004 (designed by Adriaan me and providing artistic advice to researchers. et cetera). In conformity with the contract, the Mellegers), the recruitment campaign 2005 • Providing artistic advice is the principal task of researcher acts as maker and the academy (designed by Vinca Kruk & Adriaan Mellegers), the advising researcher. It involves querying as producer and distributor. Core issues are: a publications list (designed by Kasper objectives, methodologies and completed the researcher has and keeps the intellectual Andreasen & Ralph Bauer) and the programme research projects; creating conditions for the property rights; the academy acquires a non- brochure 2006 (designed by Sarah Infanger & optimal development of individual research exclusive licence with regard to the producti- Joël Vermot). In 2005 there were commissions projects (with due attention paid to the collecti- ons; in the case of exploitation of a production, for the means of communication of the follo- ve horizon); participating in research groups revenues to an amount equalling the invest- wing artistic projects: (as participant or as a catalyst); giving advice ment will flow back to the Jan van Eyck. Profits • A Community of Scoundrels (designed by on setting up production plans (content, are shared pro rata according to the respective Toni Uroda), Breath-Taking. Air, Art, Architecture budget and time) for the Editorial Board. investment contributed. (designed by Min Choi & Sulki Choi, Toni The advising researchers are available to all Stipend Uroda), Camouflage Comics (designed by researchers. The meetings between the resear- • Due to the decision made by the State Bert Balcaen & Ingrid Stojnic), Cultural Activism cher and the advising researcher (studio visits) Secretary for Culture to halve the subsidy for Today: Strategies of Over-Identification are included in the weekly programme. stipends, starting 2005, the academy has been (designed by Marijke Cobbenhagen & Chantal • Advising researchers also carry out their own obliged to work out a plan in order to offer Hendriksen), Gilles Deleuze. The Passage from research and set up projects at the academy. researchers an acceptable form of financial Noise to Voice (designed by Min Choi & Sulki To enable them to complete their projects, the support. Starting point of the plan is to guaran- Choi), History vs. Future (designed by Vinca facilities of the academy are at their disposal. tee a basic income position for (a maximum Kruk), Innovative Game Design (designed by Lectures, seminars, presentations and other of 48) researchers: an annual stipend of 8,840 Bert Balcaen & Ingrid Stojnic), Interlude. The productions by advising researchers are open Euros, paid in 13 equal terms. Reader’s Traces (designed by Manuel Räder), to all (advising) researchers. Registration fee Logo Parc (designed by Daniël van der Velden), Contract duration • The registration fee was cancelled, as of Museum in ¿Motion? (designed by Vinca Kruk • In 2005 talks were held with the teams of advi- 1 January 2005. & Adriaan Mellegers), Psychoanalysis, Urban sing researchers, about the composition of the Production budget Theory and the City of Late-Capitalism (design- teams from 2006. Point of departure of the • The individual production budget was aban- ed by Adriaan Mellegers), Stepping Out. An talks was a maximum contract duration of five doned, as of 1 January 2005. Invitation to Do Something New (designed by years for institutional tasks (Policy Board,

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RESEARCHERS’ SECRETARIAT was assisted by students on work placement roster will be followed, with a view to preven- regard to artistic policy the following premises LIBRARY Adlib catalogue was then closed. Henceforth, General Stefanie Padmos and Sangeeta Bhansingh. ting excessive pressure. Individual members have been set, which will be taken on board in General users only need to look in one catalogue: the • The researchers’ secretariat, managed by Leon Opening academic year 2005 of staff will be invited to meetings about their the restructuring of the workshops: the Jan van • The library is first and foremost a study area for online public catalogue, which can also be Westenberg, looks after all matters related to • The opening activity, a communal initiative work pressure. Eyck Academie as multi-disciplinary institute (advising) researchers and a centre of support consulted via the website. In November 2005 researchers, such as the selection procedure, of the Jan van Eyck Academie, the Bonne- Policy on disruptive behaviour during public which operates internationally; a broad selecti- for the technical staff members. In addition, the a new project was started: entering the book accommodation, studio assignments (and any fantenmuseum and the Academie voor events on of research and production proposals; alte- library has a public research function. Digital titles of the collection of the former Design infrastructural adjustments to the studios), resi- Beeldende Kunsten Maastricht focused on • A plan of action has been devised for dealing red views relating to experiment and producti- access to the media is made possible by con- Institute in Amsterdam. At the end of 2005 a dence and employment permits, insurance, paid the issue of ‘being young, being young in with disruptive behaviour at public events – on in the Jan van Eyck and outside it. The dis- nection to the IHOL network and the national total of 14,479 titles were entered in the PICA employment, promotion of expertise and the Limburg’. Anton Zijderveld gave a lecture in by visitors with improper intentions. It has been cussions have led to a document, which will be accessing system PICA. Researchers and staff system, including 664 of the Design Institute. job-board. Moreover, Leon Westenberg is also which he queried (cultural) policy that make agreed that the project leader, or the appoin- implemented from 2006. members get a free borrowing pass, which Consultation in charge of the apartments of the academy. a show of ‘being young’. ted replacement, are in charge during the Materials workshop enables them to borrow from libraries in the • In 2005 Annet Perry-Schoot Uiterkamp took Information • The opening week ran from 10 to 14 January. public event. • The materials workshop, run by Ron Bernstein region, including the university library in part in the meetings of the IHOL user council, • All researchers have been handed a document All (advising) researchers gave a presentation. and Math Cortlever, is a multi-functional space Maastricht and the libraries of the tertiary insti- and in the consultations of the Art History relating to researchers’ affairs. The emphasis was on projects they wish to set WORKSHOPS for experiments with all sorts of procedures and tutes in Limburg. External researchers posses- Libraries Flanders and the Art History Libraries Recruitment of researchers up during their stay at the Jan van Eyck. General materials, with the exception of wood. Facilities sing an IHOL pass can borrow the media Netherlands. • In November 2005 a start was made with the External guests and interested parties were also • Workshops are first and foremost places for are available in the areas of metal and stone (books, magazines, audio-visual material, publicity campaign to recruit artists, designers invited to the opening week. Every year someo- experimentation and for obtaining technical working, non-ferrous technologies and various and multimedia) present in the Jan van Eyck. DOCUMENTATION CENTRE and theoreticians for a research period starting ne is approached to carry out an intervention advice. The role and responsibilities of the other materials. The library also lends materials via the national General in 2006. A range of communication tools was with a view to the opening week. In 2005 technical staff are: providing advice; maintai- Wood workshop Interlibrary Lending Traffic (IBL). • The documentation centre, run by Armand employed. Vinca Kruk and Adriaan Mellegers Armando Andrade Tudela made a mural near ning the equipment (also drawing up the • The wood workshop, run by Huub Gelissen, Staffing Guicherit, is a publicly accessible place for did the design. The poster was printed in an the reading table in the hall. investment plan); researching into materials is a space for all experiments and implementa- • The library is run by Annet Perry-Schoot research on the Jan van Eyck Academie. Its edition of 1,500 copies. From January 2005 • The opening week brought on the publication and technologies; formulating future plans for tions relating to wood. The workshop has a Uiterkamp. Monique Notermans, library assi- focus is on documentation about the institute; advertisements appeared in the following of a programme brochure, designed by Min the workshops; setting up and assisting in complete carpentry, wood-tooling set-up with stant, concentrates on entering the collection the programme (both past and present); the periodicals: Artforum, Artpress, Edunews, Eye, Choi and Sulki Choi. The programme brochure events. semi-professional machinery and equipment. into the PICA cataloguing system. Apart from work of the (advising) researchers and techni- Items, Metropolis M, Texte zur Kunst and De contains information about everyone active • First of all, technical advice relates to providing Due to safety issues, assistance is given on the that, she sees to providing adequate service in cal staff (both past and present) and the res- Witte Raaf. within the Jan van Eyck in academic year 2005. information about the specific characteristics of basis of individual instruction and guidance the library, together with Annet Perry-Schoot ponse to these productions. The documentary Evaluation recruitment procedure Closure academic year 2005 particular materials and production processes with independent activities of researchers. Uiterkamp and Armand Guicherit. material in the centre is for reference only and • In 2005 the recruitment campaign and the • On 15 December the exhibition Untitled and the functionality of hardware and software. Graphics workshop Collection cannot be borrowed. entire recruitment procedure was evaluated. Excerpts opened in Galerie Nadja Vilenne. In doing so, technical members of staff can • The graphics workshop, run by Frans Vos, is a • The librarian, in cooperation with the advising Digital archiving system This has led to a plan to optimise the campaign Untitled Excerpts comprised work of those Fine refer to specialized places that provide comple- space for instruction and experiments relating researchers, defines the collection profile. The • In 2003 the decision was made to design a and the procedure. Art researchers whose research period ended mentary guidance and equipment (and, for this to various printing processes and technologies. profile of the collection is based on the three new Filemaker database for the documentation Accommodation on 31 December 2005. The invitation to the reason, an effort is made to form alliances with By means of instruction and actual implemen- disciplines within the academy. Books are pre- centre. The development of the database was • Advising researchers and guests may use one exhibition and the accompanying publication such institutions). It is also important that the tation, various technologies (silkscreen, flat- ferably bought in the original language in completed at the end of 2004, after which a of the academy apartments. Any remarks were designed by Kasper Andreasen (Design technical staff inform researchers and advising bed, engraved and relief printing) are made which they were published (English, French, start was made with entering the data. In the about the accommodation can be directed to department), who also took part in Untitled researchers on the artistic consequences of the accessible to researchers. Dutch and German), with English and Dutch new database, selective cross-links can be Leon Westenberg. Leon Westenberg draws up Excerpts. The final day of academic year 2005 use of particular techniques and materials. Photography workshop as duplicate languages. made between the various entities held in the an evaluation every year. took place on 16 December. On this final day Moreover, the advising researchers can appro- • The photography workshop, run by Frans Vos, Title processing database (researchers, projects, productions, various researchers gave closing presentations ach the technical members of staff for speciali- is a space for experimental production and • In July 2001 a decision was made to make the publications, …). The database is a source of DEPARTMENTAL SECRETARIAT of their projects. Winnie Koekelbergh organi- zed checklists or for assistance in drawing these guided activities in the area of analogue and library collection accessible through the PICA data for the annual report and the programme General sed the closing event. up, as well as for overviews, composition and digital images and image manipulation. cataloguing system. From that moment on, all brochure, without requiring intensive formatting. • The departmental secretariat, run by Scheduling personnel for activities advice on production budgets, and also for Workshop for time-based media new acquisitions for the library collection have Writing model Madeleine Bisscheroux, takes care of the coor- • In order to have the programme run smoothly, control on the progress and planning of pro- • The workshop for time-based media is run by been immediately registered and described in • A writing model has been developed in order dination of the programme and the organisati- personnel can be scheduled to help organise ductions. Berto Aussems. Audio-visual research is mainly PICA. Also, all lending traffic has, from then on, to ensure a quick and consistent delivery of on of events (colloquiums, lecture series etc.). special activities. This is mainly done based on • Each workshop has a ‘mission’. Discussions carried out with the help of digital technolo- been carried out via the PICA system. Each bor- information for (among other things) the an- All productions, both internal and external, are the qualities connected to the expertise of the about investments are carried out on the basis gies. Often, presentations take place using rowed book which had not yet been registered nual report, the programme brochure and the included in the weekly programme. Any infor- member of staff in question. Apart form this, of this mission. The following workshops are mixed media. Besides video and CD, DVD and in PICA, got an abbreviated entry in the system website. The model dictates the way in which mation about former researchers is also inclu- there is a roster dividing this kind of work distinguished: materials (Ron Bernstein, Math the internet are increasingly used to archive, and was described fully on return of the book. information is processed in the database. The ded in the programme, up to one year after equally among members of staff. Cortlever), wood (Huub Gelissen), computers distribute and publicise audio-visual content. • During the mid-nineties, the Jan van Eyck had model is largely based on the APA system and the end of their research period. Content back- Evaluation organisation of events (René Belleflamme), time-based media (Berto Production methods and programmes follow also used the system for a while. The 6,702 thus follows international and professional ground information on internal and external • At the instigation of the members of staff invol- Aussems), photography (Frans Vos), graphics the latest developments in this field of work. titles which were then entered were checked in guidelines. programme activities is available in digital ved in organising events such as the opening technology (Frans Vos). Computer workshop August 2001. This check proved that many tit- Evaluation format, on the website, and in physical format, week, symposiums and seminars, a meeting Experiments • The computer workshop, run by René les were no longer present in the collection and • The quality of the exported data for the annual in the library. was held on the ensuing increased burden of • It is possible to propose experiments, either to Belleflamme, is a place for instruction, experi- that the placement codes had been changed. report 2004 was evaluated in April 2005. • The weekly programme is publicly announced the job. New agreements on the employment the directors or to the departments. Once a ment and implementation of various software Therefore, in the autumn of 2001 a start was It was decided to make some changes in the on the website and is also sent in a digital for- of members of staff were made. Thus, in the proposal is known, a decision will be made and DTP applications. made to check and correct all these titles. On database. As a result, the exported data are mat to those interested. The upcoming pro- case of larger (public) events, briefings will about organisation and budget. • Making expertise available in the computer 18 January 2005 all ‘old PICA titles’ had been a better match with the requirements of the gramme is distributed in a newsletter on the henceforth be organised, informing the mem- Future functionality of the workshops workshop has been made dependent on the processed. Of the 6,702 old PICA titles, 5,381 users. In November 2005 the database was first working day of each month. Recipients bers of staff about the set-up of the activity, the • In 2005 discussions were started with the advi- demands for it. If certain expertise was not titles have been changed. From January 2002 presented to the advising researchers and the can chose whether they are sent both weekly latest developments in the programme and the sing researchers and the workshop tutors about available internally, external expertise was – though systematically mainly from January members of staff. programme and newsletter, or just one of intended employment of members of staff. That the future functionality of the workshops. After sought. External experts could be met in work- 2005, the so-called Adlib titles were being Entering data them. The weekly programme is finally also employment will be divided equally among all all, a new balance must be struck between the shops, for which researchers had to register entered into the PICA system. These were titles • The details of researchers from the year 2000 brought to the attention of the public through members of staff, taking into account people’s offer of techniques within the academy and the beforehand. entered in the old cataloguing system Adlib, onwards are actively searched for and proces- advertisements. specific qualities for a smooth organisation of available financial means, in relation to the but not yet into the PICA system (5,056 titles, sed. Details of preceding years are processed • Jo Hardy provides assistance at presentations the event at hand. For intensive programme age structure of the staff and the available data including 150 titles of video tapes). This project in a more ‘passive’ manner. Armand Guicherit and events. In 2005 Madeleine Bisscheroux weeks, such as the opening week, an adapted on use of materials and past investments. With was concluded on 17 October 2005. The has drawn up a plan relating to retro-activities.

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PRODUCTION BUREAU management. Knowledge and insights relating website. Based on specific programme activi- Distribution supports the deputy director. Thuur Menger gement, the included terms being fully in line General to organisation and production as well as con- ties, specialised mailing lists are set up. Apart • Taking into account the heterogeneity of the handles reception. For three months, Vincent with those of the state sector’. This policy inten- • The production bureau is responsible for the tent can be safeguarded by evaluation in a from the weekly programme, a new monthly production of the Jan van Eyck, the core issue Cufaro carried out reception duties in the tion led to updates in the legal regulations set coordination and completion of artistic pro- constructive manner. The following procedure newsletter is sent to external interested parties. of the distribution policy is a lesser dependency context of a work experience project. down in 1999. In 2005 there were three mee- ductions which are set up at the initiative, or has been agreed to: the Editorial Board or the The newsletter contains information about the on existing distributors and a specific distributi- Accountant tings with the personnel committee (Annet with the cooperation of (advising) researchers, department appoints someone at the start of institutional policy, the upcoming programme on based on theme and target group per pro- • Based on having received various quotes, Perry, Leon Westenberg, Armand Guicherit) departments or the institute. These include the project, who follows up the project from a and the productions of current and former ject. The Jan van Eyck, after all, is directed a decision was made to engage a different about a thorough adaptation of the statutory analogue publications (books, magazines distance. This can be an advising researcher researchers. In 2005 the programme was also towards areas in the periphery, in terms of accounting firm: Baat. This firm meets the regulations. The new regulations are brought and other graphical work), digital publications or someone external. He / she is outside of the publicised in advertisements. There were week- theme as well as public. Researchers are acti- requirements by the Ministry of Education, together into one document, stating the (for- (websites, CD-ROMs, …) and all other pro- project and has enough time to reflect on it. ly advertisements in the Maastricht Week-in- vely involved in the distribution of their publica- Culture and Sciences. The transfer, as well mal) legal regulations as well as the way in ductions (events, exhibitions, …). Once the project is completed, this person week-uit and bi-monthly adverts in Metropolis tions. Kim Thehu is responsible for developing as drawing up the annual accounts for 2004, which the academy applies these in carrying • The production bureau also acts as a work- organises an evaluation meeting. M and De Witte Raaf. The underlying idea is to the distribution policy; Jo Hardy is in charge of went smoothly. out its policy. At the general personnel meeting shop, where researchers are enabled to make highlight activities by making as much back- stock management. Accountant review ministry of 19 September the staff agreed to adopt the use of the expertise available. As far as assi- INTERNAL AND EXTERNAL COMMUNICATION ground information as possible available via • In 2005 a two-part publisher’s list (in English • On 30 September the Ministry of Education, new regulations, which then went into effect stance to researchers is concerned, it can take General the website and press releases. The campaign and Dutch), designed by Kasper Andreasen & Culture and Sciences held an accountant’s immediately. various possible forms, from providing advice, • Kim Thehu is responsible for reporting on mee- proved successful: more external people than Ralph Bauer, was published, containing back- review on financial year 2004. The review Commuting arrangement providing suitable checklists which make the tings with researchers, advising researchers before have attended activities. ground information on all Jan van Eyck publi- meant to check whether the accountant had • A new commuting arrangement came into trajectory of various types of production visible, and staff, for internal communication, coordi- Website cations. The idea is to produce such a list once worked according to the rules of subsidy condi- effect retroactively from 1 January 2005. to actually tutoring researchers or locating nating the recruitment of researchers and • In 2004 the new website, designed by Min or twice a year, depending on the number of tions and checked the organisation for having The arrangement was adapted to the text of appropriate assistance outside the production public relations, including editing the website. Choi and Sulki Choi, went online. Its set-up new publications. The first edition appeared in applied these rules. The outcome of the review the state sector and will henceforth also apply bureau or outside the academy. • Dorrie Tattersall is in charge of translating and design link up with the heterogeneous April 2005, with a view to being presented on was that the accountant’s check had been car- to members of staff living at a distance of less • The production bureau functions as an infor- (from Dutch to English or vice versa) and edi- programme of the academy. Firstly, internal the Druksel fair in Ghent, BE. The edition was ried out ‘satisfactorily’. This is the highest than ten kilometres from the academy. mation hub for the organisation. The producti- ting the internal and external communication. and external people are informed about the reprinted in June and sent to (art) bookshops in grade used by the Ministry in their verdict. Compensation for commuting costs are based on bureau makes an inventory of all producti- Internal communication programme, the facilities and the policy. the Netherlands and Belgium, libraries of art Evaluation on the travelling pattern indicated by a mem- ons of (advising) researchers. (Advising) resear- • After the meetings of the Policy Board and Secondly, but not less importantly, the website academies and museum shops. Student on • In 2005 there was an evaluation of the admini- ber of staff. For those members of staff who, chers and technical or administrative members Editorial Board minutes and announcements offers (advising) researchers a platform to work placement Lonneke van Heugten made stration. The following aspects were explored: consequentially, will receive a lower compen- of staff who want to know more about any are produced. The English translation of the publicize research and productions. Thirdly, an inventory of this distribution network. administrative organisation; financial admini- sation amount than previously, a transitional given project can contact the production announcements is distributed within a week. there is attention for alumni. Finally, the website Contacts were made with distributors, fairs and stration; personnel administration; administra- arrangement has been made for 2005: they bureau. The production bureau also takes the Annual report serves an internal purpose, such as, for instan- bookshops in order to bring the Jan van Eyck tion and management; specific administrative do not have to repay the higher amount alrea- initiative in involving workshops in those pro- • The Annual Report 2004, designed by Adriaan ce, making the library accessible. Reactions to publications to their attention. tasks. dy received according to the old arrangement. jects that touch on their domain. The producti- Mellegers, was published in two separate editi- the website have been positive. (Advising) • On 21 February representatives of the Art For them the new arrangement will come into on bureau delivers project information in terms ons: a Dutch and an English version. The researchers submit more text and image mate- History Libraries Flanders and the Art History CATERING effect from 1 January 2006. of content and finances to the Editorial Board. chosen set-up gives priority to the programme rial than they did previously. Ex-researchers, Libraries Netherlands visited the Jan van Eyck. General Non-smoking policy Personnel – the Jan van Eyck content. It was also the first too, submit material for their personal pop-up The Art History Libraries Flanders and the Art • Wil Engelen, Petra Kuhlman, José Nievergeld • In 2005 measures were taken with regard to • Petra Van der Jeught is responsible for editing time that the details of the activities were rubri- on the site. People register to receive the news- History Libraries Netherlands are consultative and Nicolle Vandooren were responsible for smoking in the academy. The arrangement will analogue and digital publications of (advising) cated with the help of the data in the newly letter on a weekly basis. bodies for institutions and individuals working catering in 2005. come into effect on 1 January 2006. In effect, researchers, departments and/or the institute; developed database of the documentation Directory in the area of libraries and documentation Personnel this means that all matters connected with smo- for coordinating and following up any external centre. • In 2004 a new directory was developed. In the stocks on art and architecture. A similar visit to • Petra Kuhlman’s employment ended on 1 June king will be removed from all public spaces. editing of publications; for advising (advising) Other institutional communication carriers new directory each addressee has a unique the academy library was made on 9 May, by due to having reached her retirement age. She A non-smoking policy will also be upheld in researchers in terms of editing, specifically for • In 2005 the programme brochure – providing code, preventing the entry of doubles. Also, it representatives of public libraries in the carried on working in the canteen until her the workshops, offices, library, auditorium and the realisation of productions and contributing an overview of curricula and research projects is possible to differentiate addressees. Finally, Euregio. Annet Perry and Kim Thehu shed light summer break (7 July) with a view to facilitating the hallways. to the distribution of the publications. of the (advising) researchers and technical / the directory has been linked to the general on the functioning of the library and the Jan a smooth succession. Nicolle Vandooren was Terms of employment applied • Jo Frenken is in charge of supervising producti- administrative members of staff and available administration, the researchers’ administration van Eyck’s own publications, respectively. hired after the summer break, on a temporary • Special leave relating to particular family on of the print work and for drawing up bud- from the opening week of the academic year – and the distribution database. Thuur Menger is • Moreover, in 2005 specific campaigns were set basis. circumstances or moving house was granted gets. He also supervises the digital productions was designed by Min Choi and Sulki Choi. responsible for entering the addresses. By up for the following publications: Interlude. Hygiene code to five members of personnel (Annet Perry, (including the website of the academy). The recruitment campaign (advertisements and appointing Vincent Cufaro on a three-monthly The Reader’s Traces by Mariana Castillo • The Food Inspection Department considers the Dorrie Tattersall, Laurens Schumacher, Yvonne • Winnie Koekelbergh coordinates the realisati- poster) was designed by Vinca Kruk and learning contract there was extra time in 2005 Deball, En coulisses, parfois, les artistes canteen to be a catering establishment. A Pluimakers, Berto Aussems). on of other productions. She also draws up Adriaan Mellegers. to enter addresses into the directory. On 31 changent de costumes. Actualités by Olivier hygiene code geared to the Jan van Eyck • Two members of staff (Ron Bernstein and the agenda for the Editorial Board meetings. Writing model December 2005 a total of 5,303 addresses Foulon, When the Story Finishes, Light Sadness Academie has come into effect from 1 January Yvonne Pluimakers) received compensation • Jo Hardy takes care of various logistical • All kinds of information carriers within the were entered. Grasps Me by Doris Lasch & Ursula Ponn, Hip 2005. As of this date, goods will only be pur- for the costs of child care. issues, including stock management of the academy (including the database of the docu- Evaluation Hop on Bones by Lucia Macari, The Milgram chased from suppliers who state in writing that • An agreement was made with one member of publications. mentation centre, the annual report, the pro- • In 2005 there was an evaluation of the internal Re-Enactment by Steve Rushton, Proceeding they work according to this code. staff (Dorrie Tattersall) about compensation for Project management of research projects gramme brochure, the website, the weekly and external communication. The internal com- #1 Dakar 5-19/05/2002, initiated by Filiep Prices costs made due to teleworking, on the basis of • The project manager acts as the contact per- programme) are used to give information on munication has attained the desired level. As Tacq, and the publication derived from the • From 1 January, food and drink have been the updated terms in the adapted statutory son for the advising researcher in the academy, the range of productions of the institute. In for the external communication, the academy Trichtlinnburg event, initiated by Hinrich Sachs. offered for sale at cost price, at minimum, with regulations. provides content and organisational support to order to achieve a speedy and consistent flow has achieved a better profile in the Netherlands a small surcharge for general costs. Calamity arrangement the advising researcher and looks after of information for (among other things) the an- and Belgium through the use of advertising ADMINISTRATION • A calamity procedure was set up with the mem- management, filling in and making public the nual report, the programme brochure and the campaigns. In terms of shape and functionality, General CLEANING bers of staff. The procedure proscribes what to discourse on the project, especially on the web website, a writing model has been developed. the new website is a better match with the week- • The administration, carried out by Martin • Tonnie Lindt is responsible for cleaning. do in case of calamities relating to material pages related to the project. Winnie Koekel- External communication ly programme and the newsletter. However, Dassen, Thuur Menger and Yvonne Pluimakers, issues (such as water, fire or storm damage, bergh, Petra Van der Jeught and Kim Thehu • The weekly programme is emailed to external improvements are still possible for the medium looks after the interests of the staff and financi- HUMAN RESOURCES vandalism, burglary) and in case of calamities have been appointed as project managers. interested parties. Moreover, elaborate back- range PR – the newsletter and the bi-monthly al affairs for the technical, artistic and admini- Statutory regulations relating to personal injury (injuries and/or Evaluation productions ground information on programme compo- adverts. The weekly programme and the news- strative members of staff and researchers. • The policy plan 2005 – 2008 states that, with deaths). • The evaluation, in terms of content, organisati- nents is distributed digitally. The component letter can be used to greater effect by expan- Martin Dassen looks after finances; Yvonne regard to the terms of employment, the acade- Personnel trip on and budget, is the final piece of project parts of the programme are announced on the ding the mailing list actively and structurally. Pluimakers is in charge of personnel affairs and my ‘wishes to use its own Jan van Eyck arran- • Every year, on the initiative of the members of

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staff, a personnel trip takes place, usually in • In the departmental secretariat Stefanie Pauwels) and Lorenzo Chiesa. The latter two GENERAL SUBSIDISING AND SPONSORING on Bones. A non-exclusive distribution agree- the autumn. This personnel trip is organized by Padmos, student Scientific Drawing, assisted events were set up in collaboration with Super!, • The financial policy is geared at increasing the OF PROJECTS ment was made with Kidnap records one or more members of staff. The concept Madeleine Bisscheroux. From 5 September the first edition of the triennial on art, fashion budgets for the development of artistic policy. General (Amsterdam). programme is discussed with the directors. Sangeeta Bhansingh was appointed as student and design (Hasselt, BE). Operating subsidy • Fundraising will be initiated after content – Hinrich Sachs, event Trichtlinnburg. This Partners have a choice to take part, or not. on work placement in the departmental secre- • At a local level, Kim Thehu took part in the • The total operating subsidy amounts to approval from the Editorial Board or the event, which lasted several days and which The personnel trip is financed with funds from tariat, in the context of her course in VVV (tourist board) culture platform meeting 1,980,832 Euros in conformity with the alloca- department. In every Policy Board and Editorial was realised by the Centre for Contemporary the personnel fund (50 %) and the academy Management, Economy and Law, at the HEAO in the city of Maastricht. tions in the context of the arts plan period Board meeting overviews are presented of the Arts of Tallinn, the Salzburger Kunstverein (50 %). The trip is put on the agenda of the in Sittard. Memberships 2005-2008. This amount includes government state of affairs relating to fundraising for pro- and the Jan van Eyck Academie, could count General Staff Meeting in June, where will be • A placement project was set up with Annemie • In 2005 the Jan van Eyck was a member of: contributions to the development of labour jects and distribution of productions. The idea on subsidies by the European Community decided, among other things, who will organi- Moesen, student Cultural Sciences (Maastricht – Kunsten ’92 (Arts ’92); costs and excludes the subsidy of 248,861 is to create an exchange of information and (57,009 Euros), the city of Maastricht ze the trip and when it will take place. In 2005 University) relating to the symposium Innovative – Res Artis, international association for artists Euros for stipends. knowledge with regard to the possibilities of (20,000 Euros) and the Province of Limburg the trip was organised by Ron Bernstein and Game Design. The project regarded setting up in residencies and programmes; Financing the stipends fundraising and distribution. Fundraising is (20,000 Euros). The Bonnefanten Museum Monique Notermans. and maintaining a website and lending a hand – IHOL – the regional library network of • The Jan van Eyck Academie guarantees the coordinated by Laurens Schumacher. contributed 1,500 Euros to the costs for a Mutations with the promotion of the symposium. Maastricht University and other tertiary insti- researcher a stipend of 8,840 Euros per Distribution is coordinated by Kim Thehu. series of lectures. • Petra Kuhlmann’s contract ended on 1 June • Pamela Uyttendaele, student Cultural Sciences tutes. The contract was prolonged for the annum – in case of full-time registration. Subsidising and sponsoring of projects – Filiep Tacq, lecture programme The due to her having reached retirement age. at the Catholic University of Louvain, was period 2005-2007; This amount is in part (4,725 Euros) supplied • In 2005 fundraising actions were organised for Tomorrow Book. The lecture programme • Nicolle Vandooren has been appointed as selected as student on work placement for two – SSHM – the Stichting Studenten Huisvesting by the Ministry of Education, Culture and the following projects of researchers and/or the realised in 2005 was subsidised by the successor of Petra Kuhlmann on a temping tasks: to provide assistance for the recruitment Maastricht (Student Accommodation Sciences, whereas the remaining part (4,115 academy: Province of Limburg (3,030 Euros). contract, starting 22 September 2005. of researchers for the 19th Century Topographic Foundation Maastricht). Euros) is financed from the academy’s own – Zafer Aracagök, symposium Gilles Deleuze. – Daniël van der Velden, research project Logo • From 1 May the part-time employment contract Photography project, and for the project itself. budget. In order to do so, internal cost-saving From Noise to Voice. The symposium Parc. The project is a collaboration with the with Carla van Zeventer, financial employee, • During the summer, Dirk Ploos van Amstel, measures and additional fundraising have received an allowance from the Province of Lectoraat Kunst in de Openbare Ruimte has been converted into a permanent appoint- student New Media and Digital Culture at the been introduced so that the basic income Limburg (1,530 Euros). (Rietveld Academie & Universiteit van ment. University of Utrecht, was on work placement facilities for researchers can be guaranteed. – BAVO (Gideon Boie & Matthias Pauwels), Amsterdam) and the Premsela Stichting. • From 1 May the part-time employment contract on the Ubiscribe project. • The annual stipend is destined for a maximum series of debates Lend Me Your Dream/Lend In 2005 the kick-off symposium was facilitat- with Monique Notermans, library assistant, has • Chantal Claessens and Noortje Fischer, of 48 researchers. The stipend is intended to Me Your Fantasy; BAVO (Gideon Boie & ed by the Premsela Stichting (2,200 Euros). been converted into a permanent appointment. students cultural sciences at Maastricht cover living expenses, including accommo- Matthias Pauwels) and Lorenzo Chiesa, the – [Various (advising) researchers], lecture pro- • From 15 August the full-time employment con- University, were selected to conceptualise the dation. workshop Psychoanalysis, Urban Theory and gramme Authoring the City at ABKM. A series tract with Petra Van der Jeught, editor, has been project on art and television in Flanders and Early repayment of loans the City of Late-Capitalism. In the framework of lectures was set up in collaboration with the converted into a permanent appointment. the Netherlands. • In order to be able to profit from lower interest of Super!, the first edition of the triennial on Academie voor Beeldende Kunsten Maastricht. • From 1 July Berto Aussems, technical advisor First aid rates, two measures have been taken. The first art, fashion and design (Hasselt, BE), a com- The Academie voor Beeldende Kunst has of the time-based media workshop, is making • Ron Bernstein, Thuur Menger, Yvonne concerns an interest scheme (with bonus clau- munal initiative was set up by the festival financed this lectures series (17,000 Euros). use of the PAS scheme by working one day a Pluimakers and Leon Westenberg are the aca- se) relating to outstanding debts. The second management, the Academie voor Beeldende Services rendered to third parties week less. demy’s first-aiders. measure concerns the (penalty-free) early Kunst and the Jan van Eyck Academie. – The gallery space was offered to SICA in • In the framework of the Trichtlinnburg project Promotion of expertise repayment of two loans. This early repayment is A budget of 15,000 Euros was guaranteed connection with a regional presentation of two people were appointed freelance. In April • The academy encourages initiatives relating to carried out with the use of the liquidity reserve to this end by Super!. the EU subsidy programme for 2006. Gam Bodenhausen did preparatory work for promotion of expertise. In 2004 the following on the current account. – Koen Brams, lecture programme On the – A beamer was given in loan for the realisa- one of the projects. From 1 April to 6 June initiatives were supported: course in translation Cost reductions Television Work of Jef Cornelis. The lecture tion of Kunsttour 2005. Mique Eggermont was employed as production and editorial skills (Dorrie Tattersall, Petra Van • The cost reduction plan, devised in 2004, programme realised in 2005 was subsidised – Furniture was made available to Studio assistant. der Jeught, Winnie Koekelbergh and Kim was implemented in 2005. This meant that by the Province of Limburg (1,770 Euros). Kernland for the benefit of decorating an • In 2005 Dominiek Hoens was appointed on a Thehu); workshop colour management (Jo measures have been taken with regard to the – Sabeth Buchmann, Helmut Draxler & exhibition. freelance basis to assist Marc De Kesel on CLiC Frenken); visit materials workshop following areas: write-offs, waste manage- Stephan Geene, symposium The Ghostly (Circle for Lacanian ideology Critique). Beeldenstorm (Ron Bernstein); workshop WIA ment, energy, financial management, infra- Social Aspects of Cinema. The symposium BALANCE ID position and sabbatical regulation (Martin Dassen and structure, canteen management, copying and received an allowance from the Province of Accounting principles for determining the value • The City of Maastricht has announced it will Laurens Schumacher). printing costs, mailings, materials, personnel Limburg (1,500 Euros). of assets and liabilities and the results of 2005 cancel the subsidy scheme placing long-term • Researchers, too, are offered the opportunity to costs, publicity, telephony and workshops. – Marc De Kesel, symposium A Community of General unemployed in jobs at (state) institutions. Jo take part in activities promoting their expertise. Telephone registration Scoundrels. For this symposium, a collabora- • The principles applied for the evaluation of Hardy was appointed at the academy on this The academy will contribute up to 50% of the • Extra software was purchased in order to tion was entered into, with Radboud assets and liabilities and determining the basis. Should the city’s plans go ahead, it costs of such courses. In 2005 Natascha accomplish an accurate on-charging of tele- Universiteit (Nijmegen), who contributed one results are based on historic costs. Unless might mean that Jo Hardy is placed elsewhere, Hagenbeek did a course in academic writing. phony costs. This software helps register the half of the budget (3,811 Euros). otherwise indicated, the assets and liabilities through a reintegration scheme. On the initiati- Consultations actual telephone costs of the telephones used – Auriea Harvey & Michaël Samyn, symposium are included at their nominal value. Revenues ve of the Jan van Eyck Academie, the cultural • In 2004, the directors of the Jan van Eyck by the researchers. Innovative Game Design. The symposium and expenditure are allocated to the period to institutions confronted with this situation have Academie and the Academie voor Beeldende • After the production budget was cancelled, was set up in collaboration with Maastricht which they relate. expressed their objections against this measure Kunsten in Maastricht have articulated their new agreements were made with regard to on- University. The NWO and Maastricht Material fixed assets in writing. This protest has contributed to the wish for a closer collaboration. In 2005 this led charging materials purchased by – internal or University contributed one half of the budget • The buildings, land, construction/installations proposed cancellation being converted into a to three communal projects: the lecture series external – researchers. Point of departure was (6,690 Euros). and inventories are valued at the price of new proposal, ending the scheme in mutual Authoring the City at ABKM, organised by to use an arrangement which would ensure a – Dirk Lauwaert, symposium Citygraphy. acquisition. Depreciation is calculated as consultation, in the future. Point of departure (advising) researchers of the Jan van Eyck smooth operation in the workshops. The exis- The Province of Limburg had allocated sub- a percentage of the acquisition price using will be that those employees placed in a so- Academie for students and tutors of the ting registration system remains in use. The sidies (4,170 Euros), but the symposium a linear method on the basis of economic via- called ID job are guaranteed work. Academie voor Beeldende Kunsten; the series changes have to do with limiting financial risks, could not go ahead. The symposium will bility. The following depreciating percentages Work placement – General of debates Lend Me Your Dream/Lend Me Your invoicing for costs and settlement of invoices. now be realised in 2006. The allocated are employed: • In 2005 a number of work placement projects Fantasy set up and moderated by BAVO subsidy can be used in that year. The Werner – buildings: 2,5 % were set up. (Gideon Boie & Matthias Pauwels); and the Mantz Foundation is contributing 7,500 – construction and installations: • Lonneke van Heugten was on work placement workshop Psychoanalysis, Urban Theory and Euros to the costs of pro-active recruitment no depreciation for the Trichtlinnburg project, initiated by the City of Late-Capitalism, set up and mode- for this project. – areas and foundation of buildings:10% Hinrich Sachs, until the end of January 2005. rated by BAVO (Gideon Boie & Matthias – Lucia Macari, three vinyl records Hip Hop – inventories:10 and 33 1/3 %

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• In the year of purchase, the inventory is deter- • In December investments were made in the PERSONNEL APPOINTMENT BOARD mined at half the normal percentage. work stations of members of staff, with the Directors 2.00 • Nicolle Vandooren 22.09.2005 • Dr Jan van Adrichem • The inventory with a purchase price of less than purchase of better monitors and computer • Koen Brams, director Head of Collections, Department of Scientific 2,500 euros will be written off within a year of equipment. The improvements were made in • Laurens Schumacher, deputy director TERMINATION OF EMPLOYMENT and Administrative Management, Stedelijk purchase. the library and documentation centre, in the Advising researchers 3.38 • Petra Kuhlmann 31.05.2005 Museum, Amsterdam Claims departmental secretariat and the offices of • Orla Barry • Mr Marthe Coenegracht (secretary) • Claims are valued at their nominal value the directors and administration. The wireless • Norman Bryson STUDENTS ON WORK PLACEMENT / Judge, Court of Roermond following the deduction of a provision for computer network was extended to the studios • Sabeth Buchmann START • Tijmen van Grootheest (treasurer) non-collectables. in the annex. Furthermore, a refrigerated dis- • Wim Cuyvers • Pamela Uyttendaele 09.02.2005 Chairman of the Board, Gerrit Rietveld Provisions play was acquired for the canteen, as well as • Helmut Draxler • Vincent Cufaro 15.03.2005 Academie, Amsterdam • The provision for the staff relates to the estim- a franking machine for reception and a digital • Stephan Geene • Chantal Claessens 06.06.2005 • Fons Haagmans ated cost of long-term sick leave. A provision camera. • Marc De Kesel • Noortje Fischer 06.06.2005 Artist, Maastricht is also being made for the expected cost of • Due to their bankruptcy, the running contract • Jouke Kleerebezem • Dirk Ploos van Amstel 11.07.2005 • Dr Cees Hamelink (chairman) maintenance of buildings, renovations and with provider Cobweb was terminated. The • Aglaia Konrad • Sangeeta Bhansingh 05.09.2005 Em. Professor of International Communication, installations. The provisions specified are given academy has switched to Euro-IP. • Eva Meyer University of Amsterdam; Em. Professor Media, their nominal value. • In anticipation of the outcome of the dis- • John Murphy STUDENTS ON WORK PLACEMENT / Religion and Culture, Vrije Universiteit, Balance sheet at 31 December 2005 cussions about the future functionality of the • Hinrich Sachs TERMINATION Amsterdam Revenue and expenditure for 2005 workshops, the investment proposals have not • Filiep Tacq • Lonneke van Heugten 31.01.2005 • Dr Bart Verschaffel • See page 218 been attended to. • Daniël van der Velden • Annemie Moesen 28.02.2005 Professor, Department of Architecture & Urban Calamity fund • Annelys de Vet • Vincent Cufaro 17.06.2005 Planning, University of Ghent; Senior lecturer, INFRASTRUCTURE AND HOUSING • The academy has a calamity fund that is Director’s assistance 1.28 • Steffie Padmos 30.06.2005 University of Antwerp General intended to cover more expensive repairs to • Dorrie Tattersall, translator/editor • Pamela Uyttendaele 30.06.2005 • Dr Jacques De Visscher • With regard to the infrastructure, there are machinery or to meet substantial costs due • Kim Thehu, director’s assistant • Dirk Ploos van Amstel 16.09.2005 Extraordinary Professor of Philosophy and a number of problems, including the lack of to unforeseen circumstances. Administration 3.00 Literature, Radboud University Nijmegen space and health and safety (ARBO) require- • Martin Dassen, finances ments. It was decided to solve these problems • Thuur Menger, reception within the existing building. Considerations in • Yvonne Pluimakers, personnel this were that the original building, by the • Carla van Zeventer, finances architect Peutz, has an important representative Production bureau 3.95 value and that the location of the institute, in • Jo Frenken, publications the centre of Maastricht and in the proximity of • Jo Hardy, assistant production bureau other cultural institutions, is excellent. In the and programme (ID job) light of this principle choice for the existing • Petra Van der Jeught, editor building, a multi-phased plan was set up that is • Winnie Koekelbergh, productions to act as a guideline for interim infrastructural Departmental secretariat 1.61 adjustments. • Madeleine Bisscheroux, departments Studios • Leon Westenberg, researchers • It has been decided that twice a year comfort- Technical advisors 5.00 enhancing refurbishments can be carried out in • Berto Aussems the studios. • René Belleflamme Energy • Ron Bernstein • The energy contract with Nutsbedrijven ran up • Math Cortlever to and including 31 December 2005. • Huub Gelissen • Frans Vos FACILITIES Library and documentation centre 2.20 General • Annet Perry, librarian • The technical staff members draw up invest- • Monique Notermans, library assistant ment proposals based on the future visions for • Armand Guicherit, documentalist the workshops. These include a long-term view Canteen 0.80 of the investment policy based on new devel- • Wil Engelen opments in each discipline and on the cohe- • Petra Kuhlmann rence of investments with other workshops. • José Nievergeld Before the directors are able to make a definite Cleaning 0.70 decision on the investments they consult with • Tonnie Lindt the artistic staff. Then the decision of the direc- tors is communicated to the Policy Board and Total amount permanent functions 23.92 to everyone involved. Investments in equipment 2005 • Priorities for the investment plan 2005 were: repairs instead of new purchases; investments directly linked to content projects; preventing double purchases in auxiliary provisions; one-off investments linked to the cost-reduction plan, which – in the long run – will lead to structural cost reductions.

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BALANCE SHEET ON 31.12.2005 FUNCTIONAL OPERATING in Euro ACCOUNT 2005

Debit 2005 2004 Assets 2005 2004 • Fixed assets 534,769 583,497 • Proceeds 155,262 120,648 • Floating assets 506.272 603,865 • Subsidies 2,326,424 2,530,408 ————— ————— ————— ————— Total 1,041,041 1,187,362 Total assets 2,481,686 2,651,056

Credit Liabilities • Equity 262,621 238,282 • Administration 605,459 626,720 • Provisions 58,912 46,250 • Activities 1,867,684 2,049,258 ————— ————— • Long-term liabilities 88,059 270,009 Total liabilities 2,473,143 2,675,978 • Current liabilities 631,449 632,821 ————— ————— Total 1,041,041 1,187,362 • Balance from operating administration 8,543 – 24,922 • Balance interest received and interest charges 15,796 – 3,214 ————— ————— Operating results 24,339 – 28,136

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Text Koen Brams, Armand Guicherit, Petra Van der Jeught, Laurens Schumacher, Dorrie Tattersall

Editing and translation Petra Van der Jeught, Dorrie Tattersall

Design Marijke Cobbenhagen & Chantal Hendriksen

Lithography and production Jo Frenken

Printing Holbox bv, Echt

Binding Handboekbinderij Geertsen, Nijmegen

Edition Dutch 700 & English 500

Maastricht, April 2006

Jan van Eyck Academie Academieplein 1 6211 KM Maastricht The Netherlands t. +31 (0)43 3503737 f. +31 (0)43 3503799 e. [email protected] w. www.janvaneyck.nl

220 / JAN VAN EYCK ACADEMIE 2005 JOUKE KLEEREBEZEM, SYMPOSIUM FUSEDSPACE DATABASE