rt as a A Thinking Process

Edited by Mara Ambrožicˇ & Angela Vettese rt as a A Thinking Process isual VForms of Knowledge Production

Table of Contents

Angela Vettese Foreword How Do We Teach Art? 8

John Aiken Undermining Orthodoxies 18

Mara Ambrožič Regeneration 30

Ute Meta Bauer Re_ ACT: Research-Based Artistic Practice at MIT’s Program in Art, Culture, and Technology 38

Carol Becker Microutopias and Pedagogies for the Twenty-First Century 46

Franco Berardi Economic Dogmatism and Poetical Thought in the Coming European Insurrection 54

Jeremiah Day Digging 62 Marco De Michelis Art as a Way of Thinking 68

Paolo Garbolino What the Scientist’s Eye Tells the Artist’s Brain 74

Mika Hannula The Quest for the Common Good and the Participatory Community 88

Mary Jane Jacob Experience as Thinking 100

Jan Kaila Artistic Research Formalized into Doctoral Programs 114

Lev Kreft Teaching Contemporary Art (and Aesthetics) 120

Cornelia Lauf Concrete Concepts 134

Paolo Legrenzi and Alessandra Jacomuzzi Art as a Form of Knowledge and as a Creative Process 138

Hongjohn Lin From Work to Research: Sites of Artistic Research 146

Sarat Maharaj What the Thunder Said: Toward a Scouting Report on “Art as a Thinking Process” 154

Suzana Milevska Feminist Research in Visual Arts 162

Simon Njami Fictional Faculties 176

Hans Ulrich Obrist Curating in the Twenty-First Century 182 John Rajchman Art as a Thinking Process: New Reflections 194

Gertrud Sandqvist Thinking Through 206

Henk Slager The Institutional Conscience of Art 212

Hito Steyerl Art as Occupation: What Happens to Knowledge? 224

Chiara Vecchiarelli A Technical Eforescence 230

Mick Wilson We Are the Board, but What Is an Assemblage? 238

Biographies 248

Bibliography 254 8 g t smois fo ashtc t eoois ad o ot) Fo the From forth). so and economics, to aesthetics from semiotics, to ogy sociol (from theory on emphasis strong a and curators, and artists by led workshops activity-based short-term teachers, master of system rotating a on centered is, university—that Italian an in kind its of program first the as remembered be nevertheless will it cease, activities its Should support. any provide not does crisis financial European the which for adolescence, ficult dif a approaching now is and grown rapidly has program degree the tion, first and foremost, a thinking process. thinking a foremost, and first considered, be should artwork an that and knowledge of field a considered start, the concept driving this program has been that the visual arts must be col—einn wt Wle Goiss w mdli js oe more one just model—is own Gropius’s Walter Bauhaus-inspired with many schools—beginning of fall and rise the ago. America, years and thousand Europe one Across over universities first the of birth the since ing breed been has study of field a as arts visual the for contempt the Thus, tradition. Islamic and Jewish of much to to theology Christian of segment specific a Plato’sfrom suspect: been have images of attitudes iconoclastic the to ideas circles, intellectual within particularly and now, Until culture. of visual aspects from distance of sense widespread and persistent the on rests that point unresolved an concerning discussion the of part considered be may The following essays—for which I thank all those who kindly contributed— is neitherobviousnorshoulditbetakenforgranted. achievement of specific skills. As simplistic as such a statement may seem, it the solely than more on based education an deserve field this within work Venice within the Graduate Degree Program in Visual Arts. This book draws its origins from a conference held at the Iuav University of Foreword How Do We Teach Art? 2 Consequently, those who wish to wish who those Consequently, 1 Since its incep - - - - basis in the history of ideas. Predictable were our hard times, as we were we as times, hard our were Predictable ideas. of history the in basis Italian nor a European phenomenon, but rather a political one with a strong However, the difficult reception we have faced in Venice is neither solely an to “making”asopposed“planning”and“thinking.” focus the returning discipline, the of aspect technical the on insisting again production—once of world the to linked often education, art for structure one than more of birth the Venicewitnessed course, the of acceptance full the Incidentally,after glass. soon colored or terracotta with playing simply artists entail not does this when even disciplines, between borders the blur phers, historians, designers, and architects to accept that arts and crafts can philoso bring to difficult be always will It implications. cultural structured well by characterized is communication and images of production the that showing at aimed with—also deal to one difficult a victory—albeit of a sort been has it Thus, Venice. of Arts Fine of Academy the at teaching sors profes architecture the by led rebellion a of fruit the itself University,was of architecture, which has always been the main core of the small-scale Iuav course the that note to important is It itself. University Iuav the within also but academies, art Italian among just not reactions, unsettling of variety a Venetianour take could we And study,case a as course such caused having to behighlyinteresting. prove could attitude persistent a such of implications political and motives the tacit premise of a distance between making and thinking. A study of the the educating for deeply rooted: it seems as though visual arts instruction is confined to places is system—and European the in least exists—at still universities and emies acad art between gap The suspicion. long-lasting this of evidence of piece homo faber homo A rather than the than rather ngela

homo sapiens homo Vettese , according to according ,

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9 10 Foreword And it is high time we seriously reconsider the overwhelming attention paid cally, itneedssomanythataschoolisunabletoteachthem all. Paradoxi capabilities. require not does activity artistic that mean not does of whether it concerns drawing or computer competence. Nevertheless, this regardless inappropriate, thus is skills technical teaching deployed. on insistence Any is it which with device conceptual the to but used, medium of fest a multimedia character so that the value of a work is not tied to the type is Saturn, the god of thought and knowledge. the god of making, feeling and communicating, claiming instead that it also they have argued against the enduring belief that their deity is only Mercury, ways been relegated to the worlds of decoration, beauty, and manual skills, al have training of places their that matter.”fact mental the “a Despite as work their sustained zealously have Vinci’sartists da time, Leonardo since Nonetheless, graduates. of required background the of part not was search and other techniques sanctioned by decoration, time, such as illustration and engraving. Re painting, sculpture, studying for place obvious the once was Arts Fine of Academy The schools. art other and College, Goldsmiths Academy,Chicago, of Institute Art the CalArts, UCLA, Frankfurt, in Städelschule the Art Düsseldorf the as such centers at trained been have artists of generations younger The teachers. their surpassed pupils of number a which in settings educational from sprang York, New in Research Social for School New the mention to not and Design, of School Ulm the to lina Art Academy to the Bauhaus, from Black Mountain College in North Caro Munich the history,from art twentieth-century of course the changed that will be betrayed by the best Some students. of the most moments significant there than learned is what that so rules precisely schools art learn need we Perhaps to school. place better no is there and without rules, against occurs rebellion rarely a innovation hand, other the On worlds. new duce intro to intend who those to help of be not to as rigid so assumptions on Paul and based Gogh be Trainingcan one. attend van to manage or to want not Vincent did as Cézanne, such sculptors, most and the of painters Many all. interesting at purpose no serves artists for school a Perhaps worthwhile? And,ifso,howshoulditbearticulated? really program education view.art of an point Is another from begin us let But self. the of expression mere or decoration to than rather sense of tion of education in which different disciplines overlap and lead to the construc simply following suit of those art academies that had tried to provide a kind 3 Current practices now mani ------though fully giving themselves over to the intellectual the to over themselves giving fully though as schools, to time their of much devoted have artists and curators, critics, and strategy, and on organizational and fundraising skills. fundraising and strategy,organizational and on and the promotional mechanisms that distinguish a career based on competition the methodsofartisticteaching. Jones’sRoland of title the is Better” Fail Again, “Fail on essay enlightening self-esteem: to damage ensuing the overcome to how and fail to how teach also should it And it. overturn to way the and rule the both teach should tion, as the “tradition of the new.” As we have already noted, an art school Rosenberg’sdefini Harold to according implemented, been has what with is, done—that been already has what with familiar sociology.be must One of smattering a and psychology of notions requiring moods, spectators’ the even to the history of landscape. At times, an artist must be able to or influence architecture of field the toward oriented piece environmental an up set or edit, film, photograph, paint, to ability the requires often project art An continuous movementfrompracticetothinkingandbackagain. a is true hold to seems Rather,what art. as showing were they objects the Lawrence Weinerto and Language so on—never truly and gave up Art making and/or controlling work—from the of execution the from detachment advocated fervently who artists Conceptual those even that acknowledge critic has stated each time he has touched upon the argument. And we must must recognize that Andy Warhol’swe been, has theory art to contribution Danto’s Arthur relevant how ter mat No art. of work the of dematerialization the to and readymade the to the activity of exhibition venues associated with art schools has emerged has schools art with associated venues exhibition of activity the books. and posia sym in discussed increasingly is art teaching of matter the practice, artistic in revolution greatest the after century a that accident no is it Therefore, any of practice withrespecttothecertaintyoftechnology. imprecision the thus and doing include to continues nevertheless disciplines, and what is meant by “knowledge” in this specific field, specific this in “knowledge” by meant is what and disciplines, other with exist that author,relations an the be to means it what of terms in important increasingly become has theory of role Moreover,the gram. pro educational an into insert to difficult it making problematized, been has art of work the of statute The striking. still are art teaching in use to methods which and teach to methods which of questions the Nonetheless, 6 And we must bear in mind that many of the best known best the of many that mind in bear must we And 4

Brillo Boxes are not readymades, as the milieu 7 In this context, this In , abandoning , 5 which - - - -

11 Angela Vettese 12 Foreword room as a space for political activism—Rene Gabri, Lewis Baltz, Marjetica Baltz, Lewis Gabri, activism—Rene political for space a as room In my personal experience, I have witnessed how some artists value the class shackles. own its ofitself rid to is part, in least atschool, the functionof thesystem, coercive increasingly an of viewpoint the From are. they radical more the brand-new school: the less they are legitimized by the diploma they can issue, thecase of Marina Abramovic´, have taken on the responsibility of creating a have decided to transform their living and work spaces into schools, or, as in Eliasson, Olafur and PistolettoMichelangelo as such artists, Other school. art and artwork between border the on thrived have Survival of Kids and RollinsTim of activitiesthe of naturepedagogical the and lectures,ending and since the 1980s, Adrian Piper’s flavor; educationalpredominantly a performances his lend to decided had from that of “producing.” Long before his Kassel intervention, Joseph Beuys Horn, have matured toward teaching without ever truly careers separatingof many artists, from Josephthis Kosuth topractice Jannisthe KounellisAnd and there. Rebecca refuge found have Hanru Hou and Hoffmann, Jens baum, Birn Daniel Groys, Bauer,Boris Meta Ute as such critics fact, of point In Pop art. This itself could be the subject of a specific study. visionschoolarttheofshortly afterinternationalthe commercial success of Thereissome evidence pointing totheappearance oftheorigins ofthis new least in the better cases—a place for refreshing forms of hypothetical thought. past.Rather,avant-gardesthetheghostof a as graduallyhas it become—at the school may represent a break. It is no longer that dust-filled site decried comeby a somewhat suffocating and self-referential system of be has powermechanism whole The success. fromof roadmap the whichon gatekeepers other themuseums, overlappingshows,magazines,allauctions,dynamics ofand boggling. Furthermore, a desire for some respite mind- also become derives have laws from the market endless art collector, the of role the denying Without value.monetary toprimarily valuecultural linking asperceived system art hasalso been recognized bymany artists and curators aswaya to escape an cal approach—has increasingly assumed a strong political character. Studying field of universities and PhDs—though with great freedom and a deeply criti Thus said, it cannot be stressed enough that bringing the visual arts within the from theneedforapprovalofanartworldboundtocommoditization. detached centers be to themselves proven having latter the before, never as Funk Lessons , Thomas Hirschhorn’s never- - - - - time on definitions but to deal waste directly with the works. to not us asks who Warburton, Nigel quote can we point, this On already accomplished. term the redefined has period that it has adopted over centuries have changed so much that each historical practices the and art of concepts the of vicissitudes The asymptote. an and one doubt: of teaches school a subject a that is cannot be school defined, art since art an is both that an forgetendless challenge never should we And gest changes. big the follow to tools of help the needed one has century accelerated this time”—according to George Kubler’s famous definition of “shape a outlines not, or life contemporary for intended whether forms, of history The community. cohesive culturally a the of are recognition that symbolic those or nature, in totemic or votive those forms: useless of tradition the examining by found be may problems practical for solutions nearly best the that implies This institutions. educational advanced most the of all at arts fine so-called the alongside appears design that fact the by aided are we activity, worthwhile a is arts the teaching that claim our In the wheelthroughretracingofexperiencesothers. of reinventions continuous avoid to order in knowledge common of base a provide to is idea the one’sown—though on discovered be to is lack—this not does or does she or he what student art an ask to pointless be would It needs.” it that nothings lacks “genius teach, to chose Storr,who Robert critic of another words the In can. we best as and honestly as knowledge conveying of task the perform to try only can We gories of artistic practices followed today were amply defined before 1912. any desiretoprovokeorastonish:asHaroldRosenbergobserved,thecate ing further back. Today’s centers of artistic training are not distinguished by whether it be that which emerged from the twentieth century or others dat tradition, of on passing the for places are they in definition experimental by but be method, may Schools discipline. a than commodity a more is capitalistic a against protesting way,traditional very actually a Kabakov,while in Ilya work and to appear Paolini Giulio as such Others, them. among Potrcˇ,Muntadas Antoni and they lack and the ways of finding the things they don’t know they lack.” they know don’t they things the finding of ways the and lack they “the purpose of art schools is to provide students with the things they know a posteriori a laissez faire laissez , in the wake of what artists have artists what of wake the in , society, according to which art which society,to according 9 But genius is rare and thus and rare is genius But 12 11 Regardless of what —and never before 10 - - - 8

13 Angela Vettese 14 Foreword while Suzana Milevska expresses a woman’s point of view. From a perspec imagination, the of role the on focus Berardi’sspecial its with intervention, division. The political relevance of art and imagination is the core of Franco a such on insist to essay,simplistic his overly in is demonstrate it to tempts of polarization less) meaning (probably the to text, this of beginning the to back us brings this that art can create. Thus, it becomes a powerful “transforming space agent.” And shared and dynamic, continual, progressive, dialectical, the of tion notion of proposed again in Mary Jane Jacob’s essay. Jacob also suggests the Japanese and Dewey John by investigated been has making and doing by learning of episteme way tofullknowledgeback a of dignity the gives that science” of philosophy in turn “practical a ing witness now are theory,we of importance the on insisted has knowledge scientific of methodology the if even that, us tells text Garbolino’s Paolo second. the dominate and first the select to able be should one art: of work shown that random and deterministic processes interact in the creation of a have Jacomuzzi Alessandra and Legrenzi Paolo view, of point chological psy the From not? or soft skills, these behind lies what But education. seriously in taken be to emotions with involved too maybe skills,” “soft as Carol BeckerofColumbiaUniversitypointsoutthattheartsareoftenseen we areinafieldofopenedcontroversies. premise, we can move through the other essays with the understanding that a such from Starting entities.” immutable fixed, as givens, fast and hard as Wecategories. abstract “blanket, are they them treating of wary be to need states, Maharaj Sarat As “thinking.” and “art” words the of meaning the about doubt certain a with begin to useful be may their it all, donated of First thoughts. kindly who those of all to thanks my reiterate I which for analyses of some of these issues in a long series of profound contributions— the read Wecan expunged. quickly so be cannot one assembling of points tricky the and be should school art an what to related problems the Yet, world “thinking.” process, we are also questioning the meaning and widening the means of the thinking a be may art that asserting In episteme. pacifying a for room no is pigeonhole it into to a taxonomy or inflexible tries category,who a sector anyone in which there upend to aims that entity slippery a is art be, may it , and thus related to the methodologies of the arts). The importance Ba –born in the context of economy and management—for defini homo faber homo techne and (basedonexperienceandopposedto homo sapiens homo . As Richard Sennet at Sennet Richard As . ------simply with the peculiar story of a single school. In the end, it can tell us tell can it end, the In school. single a of story peculiar the with simply do to have not communication—does of means their and images reviling of forms Asian Westernto field—from this of out dignity cultural keeping at attempts the for reasons the Investigating itself. redefine and understand continuously subsequently,must And also world. education the art rethink to us wants It certainties. our on rely to not us asks It loss. of sense a and today as it was long ago. Art is not a reassuring tool. It brings about anxiety predictable, highly threats—is and censorship of point the to brought been also has both—which of criticism frequent a a that cultivate such to field difficult is education art and subjugate, to subject difficult a is art fact, In and perhapsgenerally, fromananthropologicalpointofview. also, art at look to need the evokes perspective This knowledge.” “secret a us brings art sometimes Klint, af Hilma artist Swedish the of story cinating nor desirable. And then, argues Gertrud Sandqvist, reminding us of the fas possible always neither is this art, of field the in whereas experiments, of john Lin claims, in scientific practices this notion implies the reproducibility modernistic idea of progress or even a pseudo-scientific approach. As Hong or redefinition of it: and thus we may find ourselves following the path of a understanding explicit an without “research” term the use to inclined are Yet,TechnologyBoston. of we in Institute Massachusetts at directing been has she program the (ACT), Technology and Culture, Art, of aims the of one describing in says Bauer Meta Ute as future,” our as determines ogy technol what of awareness an “develop us help can arts the that imagine quantifying quality—a process implicit in the calculation of credits. We can of risk the against warned Slager,clearly Henk have and Kaila Jan as such contributors, Some arts. visual the to applied when “research” of meaning the on in hone to tried degrees—have doctoral history-based and theory- cated to artists—that is, with a noticeable space for practice with respect to dedi PhDs with years for dealing been have who those that surprise no as comes it orthodoxy.framework, controlled this Withinof kind a for space a as school art the of apprehension similar a manifest Hannula, Mika and of knowledge.” Many of the contributors, from John Aiken to Simon Njami production “boring of places as not and freedom of halls as them treating schools, art the “occupying” of importance the stresses Steyerl Hito ing. applicability—as Jeremiah Day’s essay underlines—in city- or nation-brand direct their and industries” “creative the concerning mythology recent the from independence the of wary be should we Debord, Guy and Foucault Michel of monitions the to W.warnings Adorno’sTheodor spanning tive - - - - -

15 Angela Vettese 16 Foreword 12 11 10 9 8 7 6 5 4 3 2 1 be discreditedasuseless. and dangerous seem can it why reason a be well very may this And rated. elabo and accepted, welcome, are changes which in place a considered be have to deal with imminent changes in culture. An art school may very well something about our heritage, about our future, and about the way we will

Nigel Warburton, (New Haven:Yale UniversityPress,1962). Kubler,George Ibid. Madoff, (New York: Horizon Press, 1964),20. Rosenberg, Harold into Art in Activities,” of Bauer,“Zones Meta Ute MIT Press,2011). ed., Allen, Felicity 2010); Editions, Open eds., Wilson, Mick and Academy Press of the the Nova Scotia College of Art and Design, and 2009); Paul O’Neal PhD, the Artist, The School: Art porary eds., Conomos, John and Buckley Brad 2009); ing Mind: Experience into Art eds., Baas, Jacquelynn and Jacob Jane Mary see others, Among Kaila andAnnaHerlin(Helsinki:AcademyofFineArts,2008),6–9. Arts Fine of Academy Finnish the at Research 2: Knowledge in Knowledge,” of Producer a As Artist “The Kaila, Jan tury) ed., Madoff, Henry Steven Religion andArt Philosophy,National of History the in Studies Melancholy: and Saturn The reference is to Raymond Klibansky, Fritz Saxl, and Erwin Panofsky, venture), andmyself. ad the abandon to decided subsequently both (who Celant Germano and Polano Sergio Moli, WalterLe Arts), and dean Design of Faculty the first of (the Michelis De Marco rector), former (the Folin Marino Arts atIUAV, Venezia: 2001–2011 Vettese, Angela and Vecchiarelli Chiara in described been have activities of years ten its of results the and school the of structure The (Cambridge,MA:MITPress,2009),151–64. , eds.MaryJaneJacobandJacquelynnBaas,op.cit., 137. Art Schools The Shape of Time: Remarks on the History of Things of History the on Remarks Time: of Shape The (Edinburgh: ThomasNelsonandSons,1964). TheArtQuestion The Anxious Object: Art Today and Its Audience Its and Today Art Object: Anxious The , 54–65,65. Curating and the Educational Turn Educational the and Curating Art Schools (Propositions for the 21st Cen 21st the for (Propositions Schools Art (Berkeley: University of California Press, (Milan:MoussePublishing,2011). (London:Routledge,2003). Education Learning Mind: Experience Mind: Learning Rethinking the Contem the Rethinking (Cambridge, MA: (Cambridge, h Artist’s The (Halifax: , eds. Jan eds. , (London: Learn Visual - - - - - 17 Angela Vettese 18 importance of visual forms of knowledge production. Most of the British art had an enormous impact on how the art school can maintain and assert the questioned and replaced and new orders were established, were all of which have orthodoxies perceived when change, of period this during occurred that developments significant the of some charts paper this of subject The into universityresearchculturesandmethodologies. and problems as art schools shifted from vocational status strengths to full revealed integration developments These education. higher of requirements how the art schools contributed to the creative industries and on the formal on effect profound a had turn in upheavals These upheavals. political and cultural, social, major witnessed that time of period a during number size and in grew and curricula their developed schools Art they available. asbecame technologies new embraced and design and art contemporary of edge cutting the at happening was what with aligned more became cation one where the development of ideas and concepts took precedence. to Art edu techniques and processes particular learning for forum a from evolved school art The focus. education further a maintaining than rather agenda 1960s early addressed the concept of art education becoming part of the a higher education in initiated changes major the because pe important This is years. riod fifty last the over schools art British by pioneered edents of knowledgeproduction,itseemsappropriatetolookatsometheprec forms visual develop and with engage can art visual of school a how into inquiry effective and innovative of years ten celebrating institution an by hosted Process,” Thinking a as “Art about debate a of context the Within Undermining Orthodoxies

- - - education in Britain at the time, this work by Broodthaers confirmed the confirmed Broodthaers by work this time, the at Britain in education Bentham’swith WithinUCL. of art cloisters of the context in the auto-icon Bentham) Wax(Jeremy in pioneering the including films, short of number a made he 1973, in prominent a in location within the university. located When Marcel Broodthaers moved be to London to head, mummified his by accompanied and vided a lasting legacy in the form of an auto-icon dressed in his own clothes pro UCL, with involvement his continue to determined Bentham, Jeremy engagement, institutional to approach unorthodox his of example an As ies inteaching,research,andsociety. orthodox longstanding question and undermine to Bentham, Jeremy jurist or race. UCL was established by its founders, including the philosopher and gender,of regardless nationality,abilities creed, their on students accepting of agenda pioneering and radical a had and Cambridge) and Oxford at ing operat those as (such frameworks institutional existing few the to tied not was amulti-facultyliberalartsuniversitythat,uniquelyfortheperiod, fine art would be considered a subject worthy of study in its own right. UCL founded in 1871 within University College London (UCL) as a school where ture. For example, the Slade School of Fine Art, where I am a professor, was and Newcastle), were established at their inception within a university struc A few British art schools, including the Slade School of Fine Art (in Reading turing ofartschooleducationinthe1960s. has system been university one of the most significant changes that the has occurred since the restruc recently more and system polytechnic the first into school art independent the of absorption The funding. authority local by supported and independently existing or institutions technical to linked either system, university the recently,outside relatively until were, schools (1974), in which he was filmed in conversation in filmed was he which in (1974), J ohn Aiken

Figures - - - - -

19 20 Undermining Orthodoxies rights movement in the United States, which gave courage to communities in My awareness of protest was formulated through media coverage of the civil factions andconstituencies. disparate between coalitions and bridges form also and situations polarize simultaneously to managed and desperation cases some in and frustration of out grew that change of period a was It institutions. art and schools, art universities, in developments repressing or restricting, inhibiting, was that war in Vietnam, about civil rights, and about the “dead hand” of authority rope and America, protest movements were voicing their concerns about the exciting cycle. I entered art school at an interesting time: in 1968. Across Eu very often and inevitable this to exception no are schools Art frameworks. status quo into something quantifiable or tangible within a range of existing and unorthodox energy of new ideas and turn a process of undermining the raw the with engage to needs also but procedures and methodologies chal The art world is a paradox in that it requires its clearly defined and patriar the orthodoxytheyreplace. as argument of sophistication and vigor day,much the as of with defended ideas and ways of doing things gradually or speedily become the orthodoxy new widespread, more becomes agreement general as course, Of dogma. than rather self-reflection enables that irritant an as functioning sequently con and many the of agreement general the disrupt to potential the having always individual the of cult the fashion, discordant a in itself manifest to appearing often albeit thinking, harmonious of kind some into themselves propel or styles—drift or groups, attitudes, movements, called are they er these—wheth of powerful most the generally but groups, these of more or ing art as a thinking process. Sometimes these changes were initiated by one fram from resulted theoreticians, or curators, critics, artists, by initiated er sociopolitical primacy of the time. In art, the changes that occurred, wheth the and academy the within structures power existing perpetuate and quo status the maintain to order in energy creative undermine to function can orthodoxies prevalent when as true, also is opposite The past. the in were they as today important equally century,are twentieth and the throughout consistently substances and energies new generate to and orthodoxies lent preva undermine to served have and can purpose and endeavor Creative ceptualizing artasathinkingprocess. con to production knowledge of forms technique-based from breakaway ------had an established chair in history of art, held by important figures including to teach at the Slade in the early part of the twentieth century, the school has reticians, and curators. Since the curator and critic Roger Fry was appointed the newly employed (first-generation) university-trained art historians, theo and connoisseurship of notion a on based history art between existed that techniques. Complementary studies were introduced and illustrated the gulf and skills particular in training than rather solving problem design and methods and art in education flexible—an more something for need a was danger of obsolescence in a rapidly changing economy and society,in and and there specialized narrowly as perceived were courses vocational Existing schools acrossBritain. forty only of core accountable and well-resourced a in offered was Design and Art in Diploma new The needs. national than rather local serving each The National Diploma in Design was offered by several hundred art schools, of theNationalDiplomainDesign. integration of theory and practice, in contrast with the vocational emphasis the highlighted that established was qualification degree-equivalent new A 1963. in overhauled radically was system school art of British the report, this recommendations the on based and, 1960, in report a draft to sioned One of my predecessors at the Slade, Sir William Coldstream, was commis developed a more holistic notion of art, design, and contemporary thought. that degree equivalent an to sense) narrow the (in skills of acquisition the and competencies technical on concentrated that Diploma National a from education art of emphasis and direction the change to decision pragmatic and pedagogical, political, conscious a made day the of government The British art school education went through an enormous change in the 1960s. positions andopportunitiestoframeartindifferentcontexts. Yourin Live Form Become Attitudes When Head: Szeeman’s Harald as such exhibitions, seminal for catalogues and Povera, as such limited and provincial galleries libraries and museums in in my country—was books liberating. Magazines history art through available was what of rope—exciting, generative, and open compared with the relative conformity a growing awareness of the new art being made in the United States and Eu the political structure of the time. In parallel with social and political unrest, my own country of Northern Ireland to challenge the inequalities present in Studio International Studio , pioneering texts by Germano Celant on Arte on Celant Germano by texts pioneering , in 1969, opened up new up opened 1969, in - - -

21 John Aiken 22 Undermining Orthodoxies ment. environ the and architecture, dance, theater,music, to links and projects, collaborative installation, and performance thinking, conceptual embraced curred against the norms of what was acceptable for exhibition. New work young artists employed successful on a part-time and visiting basis and a backlash oc encountered students Ambitious others. many and George, & Saint at Martins course College diploma of Arts, new which the produced artists from such especially as Richard departments, Long, sculpture Gilbert ing themselves in an international milieu of contemporary art emerged from Many ofthoseartistswhoembracednewmediaand newwaysofposition 1970s. early and 1960s the in models and definitions new generated artists since, particularly in the expanded field of sculpture, showed how innovative range of technical processes. Evidence in the art world both at the time and limited a on focus specific a and agenda narrow a definition by had areas subject or departments specialized of concept the that correctly) generally (probably presumes activity.notion creative This of flow free the in dis solved be would departments around barriers conceptual and physical The and staffincommonprojects. should not be classes but rather creative they groupings embracing both students around—that way other the than rather students to fitted be should around structure rather than content. The occupation proposed that revolved courses but multilayered and complicated was Hornsey at situation The structure ofcoursesandmethodsdelivery. created massive media attention and exposed flaws in the newly established coverage of student riots in Paris and civil rights demonstrations in Ireland, lines for a student occupation. That occupation, in combination with media of Art in north London made national and, surprisingly, international head School Hornsey 1968 in contrast, By institution. an as Slade the with lems prob perceived of because than rather disciplines all across unrest student with solidarity in was occupation This students. university for fees high of introduction the and education in cuts against protests in students by pied occu was School Slade the 1970s, the since time first the for and 2011, In established inthe1960sBritain. generally only was system university the within discipline distinct a as art of history but Gombrich, Ernst Wittkower,and Rudolf TancredBorenius, ------the timeduringwhichthey studied. the important role social and political agendas played in higher education at cabinet posts simultaneously must be rare or even unique, but demonstrates in 1970s 1960s/early late the in studied who students art former two have Tooccupation. Hornsey the as time same the around at school art at ture Raynsford, who was also a Minister in the Blair government, studied sculp needed was some real revolutionaries to blow them out of the water.” Nick art what and bullshit conceptual mechanical “cold was exhibited work the that saying exhibition TurnerPrize a at note a leave infamously and ment should go on to become the Minister for Culture in Tony Blair’s first govern he that ironic therefore is It elite.” bourgeois the for commodities as works Kim Howells, one of the leaders of the Hornsey revolution, denounced “art was a belief that an artist’s task was to render service to the common good. and Marxist theory played a prominent part in discussion at the time. There spective families had previously studied at a university level. Social agendas 1960s were from social backgrounds in which the few, in if any,education people in higher their re entered who students of proportion significant A exhibition opportunities. increasing and markets commercial emerging the with percent 100 engage to teaching school art from themselves remove to began artists young ful with parallel In these developments, or even schools. as a result of art them, many of the most in success debate of part important increasingly an became context critical a within work position to how of understanding an and developed, theory critical of awareness stronger much A practice. which curatorial around with concepts and museums market developing a or by and worked, galleries one the by defined being sta additionally to tus shifted emphasis this back, cut was funding and 1980s the moved into 1970s the As nationally. established was lecturers and artists ing visit of program effective very a and demand, in were thinking of ways and ideas whose artist contemporary a as status conferred discuss also to but ideas opportunity dynamic a enabled only not taught one which at location The areas. subject defined previously beyond extended that ideas new of exchange and debate for forum effective an created school art The Europe. and StatesUnited the in centerscomparisonwith derdevelopedby un relatively were in opportunities museum world and gallery art as especially contemporary Britain, the of parts dynamic and effective of most one be the to perceived often was 1970s and 1960s the in school art The ------

23 John Aiken 24 Undermining Orthodoxies those weeks(ofoccupation)willnotradicallyaffectthesystem.” art schools things will be the same again, that what was said and thought in book his in occupation Hornsey the about WollheimwroteRichard and sense, stream There was a desire to make work matter in a personal rather than in a main had the idea, someone else managed the project, and a team of specialist of team a and project, the managed else someone idea, the had artist The artisanship. traditional high-end to manufacture furniture from practice commercial rather than to the industrial past, from current space technology to shop fitting and to linked were that facilities and processes, innovations, technological embraced that areas into moved methods tion Produc fabrication. demanding technically Increasingly,outsourced artists mercial sector. com the in developments technical mirror to unable now were aspirations and lists wish fulfilled had previously that Facilities facilities. technical and his tory and theory corresponded with expansion on and redefinition of the studio focus new a into expansion this and 1990s early the in tablished es formally was MPhil/PhD The Bryson. Norman with subsequently and Newman Michael with first 1994, in Slade the at reestablished were art of theory and History redefined. also be were Slade the and university relationships the tween The ways. flexible also but specific in needed was port required a number of different approaches to all aspects of the school. Sup process thinking a as Art this. to relation in restructuring began Slade The industry—and anewgenerationofartist-fabricatorswasborn. from recruited technicians skilled by supported work crafted heavily duce pro to need the question to began quickly ideas New sustain. to economic un or redundant became schools art post-industrial in installed been heavy,had that equipment comprehensive, the place: took reversal curious a moved forward and new realities in terms of funding cuts became the norm, things As schools. art newer than crossover interdisciplinary for portunity op more had it which in situation a in was universities, long-established in embedded already were that schools art those of all indeed and Slade, The the artschoolsystemthathascontinueduninterruptedeversince. in the way he anticipated, but through a series of cuts and rationalizations of cally,Margaret Thatcher’s government fulfilldidWollheim’s prediction, not Ironi system. university or polytechnic a of part become should general in with other prominent artists and thinkers, was not convinced that art schools Should Art be Respectable? be Art Should :“I personally cannot believe that in 1 He, along ------tutions dealingwithcontemporary issuesinflexibleandopenways. nevertheless began to promote themselves in terms of research-minded insti success, of rates different with schools, art The place. in structure research significant any without study doctoral offering many schools, degree-status forty of core a of instead institutions hundred several to back proliferation a and programs, MA and BA in students of number the in increase massive a fees, of introduction the assurance, quality teaching exercises, assessment research qualifications, of inflation Agreement, Bologna the included These operated andwereresourced,assessed,academicized inthelate1990s. schools art how on constraints major with coincided orthodoxies imagined or real previous from liberation or action of freedom new this Ironically, or concernsaboutwhethertheyweredoingtherightwrongthings. perimented without constraint and most importantly without fear of failure zealotry created a religious more relaxed, more vibrant, almost and new generation of with artists who ex adopted been had that theory understood barely often and aspiration unfulfilled from freedom newfound The tors. collec young of generation new a and gallerists, curators, emerging with schools interesting again and inevitably generated an expanded engagement eration from a particular aspect of a market-orientated orthodoxy made art lib This work. the for motivation overwhelming the or unobtainable ingly what appeared to by be the prescribed restricted norm, particularly as it not became either increas were and resources, financial to than rather ideas to related that situations paradoxical out searching to returned Students mercial valueofaworkbyanartistatearlystageinhisorhercareer). com realistic the to manufacture of costs the of ratio unsustainable the of group dynamic that does not look toward the highly priced artefact (in terms innovative,be thinking laterally, beinginventive, creatingandpersonal a or to waysinvolved lookingatThis do.”Wentworth:making and “gettingby Richard artist of paraphrasing this in up summed at, good are artists ish Brit that thinking of kind the enabled that shape took reality new tiger,a particular this of tail the chasing stopped students When means. students’ art most beyond priced were simply works photo printed color large-scale late1980s and early 1990s, when high-cost production in made objects and relativelytheintensely ainbutshort timeanxiousfor periodwayof this in lection,or the growing area of public art. Students aspired to produce work col private the museum, destination—the final its for it crafted fabricators ------

25 John Aiken 26 Undermining Orthodoxies createit.Art is,believe, I healthyina andinteresting period ofdevelopment, internationally focused than previously, and if opportunity doesand varied more is operate they which notin area the exciting, and strong very exist, is they artists emerging and students by produced being work the schools, art British of state current the of view Ironically,pessimistic rather this despite the developmentofsubject. dience of governments, rather than into the needs of and aspirations toward homogenized into the corporate plans of universities and the political expe and harmonized being are students distinctive of groups exciting generate to colleges individual and flourish to artists individual enabled that aspects very The funding. and methodologies, modularity,facilities, timetables, of terms in schemes harmonized of part be to pressure under are schools Art engage withknowledgeproduction. fully to art visual enable that activity of areas the forefront to school art continued remorselessly and is now seriously undermining the ability of the has development this opinion my In education. the delivering of means the matter inmanyinstitutionsbecamedangerofbeingseenassecondaryto artist/academic/manager to the reverse: manager/academic/artist. The subject from schools art in lecturer the of engagement the of hierarchy priority the shift to threatened pressure increasing and exponentially grew teaching in involved those university.for parent Bureaucracy the of plans strategic the within and nationally subject the of as concept overarching the be within sessed to had discipline individual an of needs the and mechanisms, and procedures of academization increasing an was there funding, to forcefully more linked was Accountability subject. the to specific less and generalized Institutionally, however, the mechanism for measuring success became more artists asaresult. successful very become have number significant a and environment this in thrived laboratory. students Many to a and related more semi-public space private personal, of concept a less became studio The community. versity uni wider the in research to access provided and picture academic bigger the of part be to students among desire growing the meet did it But dures. proce academic established to related artists as practices own their how to respect with particularly countenance, to prepared were they that ment engage institutional of level the as saw staff some what it of as aspects upset within from resistance of amount certain a with met this course Of - - - - - tion tothisongoingdebate. art the within contribu important and made profound a make can and should, have, decisions schools and produced work The levels. multiple on society to important vitally are production knowledge of forms visual and process thinking a is Art schemes. harmonized within delivery demic aca for mechanisms and procedures the over subject the of complexity and importance the reassert must It flexible. entirely and focused acutely simultaneously be to need a through defined be can academy paradoxical However, the viable. or acceptable longer no is model single A years. fifty last the over adopted systems different and tested been have developments many 1960s, the in Britain in system school art the of the restructuring major with Beginning be? should environment ideal the what say can Who established criticaltheory. action, and and the workshop, of the studio, thought methodologies the accepted and question speculative to respond and enable which attitudes, research-minded underpins that content to critical provide applied and be academy the can deep” and original “thoughtful, as such words where art successful the to to its do own way,”and things unafraid “determined a today: place school applied be equally could statements these of Some easy sell,Bicestandsapartasverythoughtful,originalanddeep.” field which is perhaps too often enamored with hot new things, trends or the “determined” and “unafraid to do things her own way.” He states, “In our as her describe to on Wirthgoes Iwan climate.” current the for right about has a “calm, distilled, long view of what is important and that should be just The article profiling Bice Curiger quotes Larry Gagosian, saying that Curiger than theaesthetic. important more always is art behind thinking the her for that pharaprase, to said, Prada interesting. were bites sound journalistic The 1960s. the in teenagers were whom of Curiger,both Bice and Prada Miuccia of profiles number of articles on the opening of the 54th Venice Biennale and included Journal, Mu the at book, this the of copy a given was I plane the boarding upon airport, nich of topic the is that conference the to way my On and mustresistbecomingtangentialormarginalized. and the art schools need to ensure that they are central to this period of growth the only English-language newspaper available. Inevitably it had a had it Inevitably available. newspaper English-language only the Wall Street 2 - - -

27 John Aiken 28 Undermining Orthodoxies 2 1

3181141786.html. http://online.wsj.com/article/SB1000142405270230452080457634749 Goran Mijuk, “Art’s Tranquil Voice,” Times Magazine Wollheim,Richard Occupation,” Respectable a be Art “Should , September8,1968,22. Wall Street Journal , June 3, 2011, Sunday 29 John Aiken 30 the foundational glue of the web of human relations, human of represent web the that of glue factors foundational the the are culture and art stated, Arendt Hannah As development. human cognitive and creative of step single every at ments ele crucial are they as insofar needs, human basic of parcel and part are fields interlinked These education. alongside activities cultural and artistic of coevolution present the for importance fundamental of are they believe I for freedom, power,history,and of logics the understanding to research my dedicated often have I platforms, education art to practice linking By tious” ideologicalworld. “ficti a fabricate to humans leads often too that itself reality of resentment wonder one permits that experience existence—an of experience lively a from and social knowledge can occur on a practical basis that primarily proceeds platforms are the right places where the possiblity to put in motion a visual artistic educational and schools art Sometimes level. international an and domestic a both on respected greatly are that aims and principles with us provide to able is that but model, single a impose not does that society a society.non-oppressive means a This in believed always have who those to dear so notions humanistic and values social those reinforce to as well as identities, own our reconstruct to us help process—might creating and ing think a art—as how seriously more considering start to duty our is it tool, financial pragmatic a become has “fictivization” even which in era an In Regeneration spheres are a are spheres memory,These through life. public to honor and dignity endow to able are ploring the ideas and possibilities of a practice not based on “exhibitions or ex by done be may This spheres. these to linked mechanisms production cultural building in is interest core one—my academic an not titioner,and and to begin the activity of thinking, without being possessed of a of possessed being without thinking, of activity the begin to and public social issue social public , and that is also why—as a cultural prac cultural a why—as also is that and , 1 which, particularly which, to - - - - - the chancetodeployanddevelopartisticformatsfrom scratch. have we that now especially relevant, crucially becoming is change about bring to order in react) to not (and act to how of and ourselves sensitize to of how the question on Therefore, banks. a assault here to promote violent approach best the not probably is it and enough, longer no is it expressing said, That regeneration. for a call statement: a political be considered must society of reformation and reconfiguration the for call a that say still may we rhetoric, this of danger the acknowledge we although But Europe. in least at survival, around debate ongoing the in entrapped are and siege der un are marginal and particular,potential, are that platforms educational is undergoing a period of great duress. Calls for the of legitimization artistic that horizon sociopolitical broader a within legitimization” “artistic for or of being by misperceived the general public as a mere “call for recognition” arts and context), the core demand for a call to the “collective runs justice” the risk in especially rhetorical, too as across come it making sometimes repetitiveness (its call” wakeup “permanent of sort a become has concerns described in various quarters. The state of emergency declared through these The specific condition of the current worldwide sociocultural crisis has been art andculturethatarelinkedtospecificcontingenciesissues. tance in the process of impor crucial of been always has art contemporary of frame canonical the from different fields to address questions that might not be directly linked to sharing. figures professional and intellectuals, artists, together bringing and and Linking creation knowledge of processes collaborative as primarily ing” (to relate to Mary Jane Jacob’s contribution to this book) are perceived build and learning, “doing, which in studies, political and sociocultural of event-making,” but rather a research-based approach carried out in the field making and imagining M ara contemporary visual forms of Ambrožič

- - -

31 32 Regeneration of daily living, both locally and internationally. suggests, has to come via the reformation and transformation of the politics Morin Edgar society,philosopher our French of the metamorphosis as The sentation of works—on relationships with the urban context, on the me the on context, urban the with relationships works—on of sentation pre and production mere the on than emphasis—rather concrete a Placing production/creation isandwhobenefitsfromit. knowledge what on reflection critical a deploy to trying time same the at while versa, vice and practice to theory from shifted has that approach an these are some of the issues that I have tried to address over recent years, in As part of my everyday commitment to the sociocultural context of Venice, other, isafterallthekeymalaiseaffectingoursociety. thy, and compassion, translated into a degenerative indifference toward each empathy,of lack general sympaThe loneliness. of phenomenon increasing between individuals, to the degeneration of the idea of solidarity, and to the domination of the quantitative over the qualitative, to mindless competition crisis, to the hyper-bureaucratization of public and private structures, to the financial the to counterpart workable a in believe to right is it And rights. hope for the public health service, considered one of the fundamental human the present,the“ArtEnclosures”thehearttheof atlay project,between which maycontribute tothedevelopment dialogueofa aimed atthedescription of ing the “knowing and doing” elements, in which each of the parties involved organiz of aim the with collaborate to together come subjects various which Hence, thinking of a residence model as if it were a creative training model, in capital, status,visibility, andreputation. for quest constant the in humanity of concept very the endanger that ances imbal the rethinking and differences, analyzing reflections, profitable for ter how impossible, throughout the project the attempt was made to understand bet ment in great detail as the program unfolded. Without aiming to achieve the ele experimental every and each evaluate and measure, analyze, to parties various the allow to project,” “pilot a prototype, small-scale a as designed artists, international for format residence a was developed model sity.The Bevilacqua La Masa and the Faculty of Arts and Design of the Iuav Univer Fondazione the including institutions, numerous of support the with along force behind a four-year project that I set up with the Fondazione di Venezia driving the was generates, it that ideas of circulation the and art of diation positive change may be brought about, change that opens up space 2 It has to come through new ------sion, racism, business interests at all costs, the isolation and “invisibility” of such as immigration, the exploitation of non-European citizens, social exclu several of the pressing issues directly connected to the local Venetian context, address to managed we artists, the of gaze harsh the surroundingsthrough Slowly,over the course ofthe project, thanks tothis opportunity toobserve widespread amnesiawithregardtocivilandhuman rights. a not by also but media, mass the in influenced promoted broadly stereotypes the by only gaze, common the past unnoticed slip to tend details less capable of inventing and activating new visions of a reality of which count professors) and musicians, poets, (artists, figures” “catalyzing the of text con specific a up set to made is attempt approach—the trans-disciplinary a which—through in training, experimental of platforms artistic those of given its structure and articulation, set out to make a small-scale adaptation program, The examined. material the from arose that needs and topics the cal, scientific, and artistic disciplines; and various craftsmen) with regard to histori various of experts organizations; charity refugees; centers; gration arts institutions of every kind; local artists; students and intellectuals; immi the School of Graphic Art; the Venice City University; Council and other public bodies; Iuav schools; (high associations and people a different with of range interactions face-to-face on work grassroots-level for called This to focus ever more on the local sphere and its own conflicts and potential. time, the main core of the project—from the second edition onward—began artist(throughworkshops, meetings,public samedebates,the etc.)whileat fined on the basis of the preoccupations and poetic leanings de ofwere activities eachof way,series the a individualAlong Mutelekesha). (Victor Zambia andGhitui), (Samuel(VictoriaUdondian),KenyaNigeria Mutasa), Samuel (MambakwedzaZimbabwe Henda), TamlynKia Young),(KiluanjiAngola and Maseko (Jabulani Africa South of Republic the Chicawe), Fabian rist Tanzaniaparticularities: (Eva own their with each countries, African seven Europe—developed around the contributions in of eight few promising artists very from among one indeed and Italy, in program—one-of-a-kind The Africa.world:the ofexcitingparts most richestand the of oneartistsfrom the of all,above but whole,Venice of a cityas the ofVenezia, asdi well as lationships were built that also promoted the development of the Fondazione promoters of the local community involved. Over those four years, strong re operators/organizers/ the and arts, the context, urban the politics, interests: 2008and 2011 managed to link up a great variety of subjects with different ------

33 Mara Ambrožič 34 Regeneration f ah f h cniae slce t big bu mcocags oh as both concerns theirownartistic practicesandwithregardtothelocalcontext. micro-changes about bring to selected candidates the of each of potential the on up picking to eye an with and care, great with basis case case-by- a on artist individual each for documentation the evaluated members) thus its among changes underwent (which panel selection the tion, edi each For artist’sstatement. an by accompanied proposal, project brief a of form the in outline to had each Venetianthey local which the context, cal study of each of their portfolios, and their potential for interaction with The selection of the artists took place on the basis of their curricula, a criti context wouldnothavebeenavailable. to their experimentation with expressive means, which in their own national and development poetic their to support offered that context material and sures the in presented then all total, in completed projects (thirty-five works of number a produce to chance the them—had of all for goes this artists—and the period, residence the During public. general the to open process that could best be summed up in the exhibitions and the encounters with they themselves putting forward potential solutions through a creative ideas that they were calling for: the sense of internal renewal and challenges, approach, one which was then able to give full support to the proposals and curatorial committed more a toward way the opened who ideas, their and approaches their with themselves, artists the was It on. so and languages; interactive and trans-medial of advent the to generations younger the on therapy” shock “liberal of impact the from culture; African contemporary to regard with across come to difficult otherwise information to of spread the history of years sixty last the of questioning the from immigrants; for assistance of search in another to structure public one from wandering the less bureaucratic procedures needed in order to obtain a residence permit to the GDP of the developed nations that have “access” to them; and from the end Africa in materials raw of quantity the between mismatch staggering the from topics: and circumstances key public’stoward the attention guide to designed were Island) Giudecca on TreOci dei Casa the at last the and Masa, La Bevilacqua Fondazione the of venues the in held three first the total, in (four exhibitions end-of-residence the that reason this for also was of that “knowledge” that was being created through artistic intervention. It tried to make a “good impact” on the local context, and to foster the spread tion and how it is spoken about in Western cultures. The project continually flow,history,tourist condition, the human representa immigrants, the and publication 3 , o n tesle i a itleta, methodological, intellectual, an in themselves find to ), Art Enclo Art - - - - - verge of dire poverty on a cultural, social, and a political level. verge ofdirepovertyona cultural,social,andapolitical only be achieved through the practice may of it self-discipline before rather a but world on plan, the bureaucratic a of basis the on or level, theoretical a on place take just cannot it because levels, planetary the and micro the on both basis, daily a on little, by little regeneration our planning start to Wethinking. of way our from removed far as perceive to tend have still we that yet important, fundamentally and Westernus to close are world—that the around revolving curricula educational by overlooked those especially cultures— and histories with confrontation direct a challenge: real a face to which with tools and means appropriate the seeking skills, disciplinary trans- own our deploying diversity, cultural absorbing and welcoming at aimed exclusively at self-defense, self-justification, and/or rejection, but also not processes learning triggering of change, generational of multicultural, sophisticatedly becoming of acceptance the mean may regenerating Thus, came totheforeduringthisprocess. that ideas and visions, perspectives, new the by enriched were turn in who and projects, of creation the to contribution active an make and part take to invited were who University, Iuav from students and artists, scholars, disciplines— other from professionals alongside worked often who pants, and this process, may also creation be seen the in the during artistic operations project carried out the by the for partici set aims main the of one was multiculturalism sophisticated of form a in retraining, rather or Training, dominant of power social groups.” the to resistance of forms to also and authority and control politico-economic of exercise and possession the to relates racism of existence the that recognize to fails migrant—and or indigenous either cultures— subordinate and dominant of concept the “excludes Carby: zel do withitspostmodernparadigm,which—inthecontentiouswordsofHa in multiculturalism that was put to the test, one that has little or nothing to Weindividual. each training of form a was it years, the over that say might to intrinsic differences cultural the of understanding mutual and solidarity of sense a creating and people, between bonds strengthening and involving over the course of the four years extended to various layers and levels of society, developed approach methodological the and support of type the to thanks Undoubtedly,light the to came that projects artistic the of value the 4 - -

35 Mara Ambrožič 36 Regeneration have come out of “experimental artistic platforms and trans-disciplinary art years ten past the over who people of generations are occur.There should citizens” its and “earth of defense clear a of articulation the where fields as all over the world) are questioning the role of contemporary art and culture from governments before issue the putting statement, curatorial a of sence quintes the List: WorldHeritage UNESCO the in atmosphere Earth’s the the dOCUMENTA(13)(and like hibitions projects/ex artistic relevant in where stage the reached even now Wehave standing upfor. the hope for change is not just a desire, but above all a right that it is worth which in dimension a toward projected one rather but divisions, cultural socio and geopolitical, historical, canonical in up bound not one horizon, see and know; instead, this attitude must make way for a new experimental we what refuse us makes that ideology of force material the of indication ek reminds us, is known as a fetishist split. fetishist a as known is us, reminds Žižek Slavoj as psychoanalysis, in it]” believe really don’t [I but…’ well, very know “‘I attitude the that remember to well as is it then knowledge, visual of forms new of generation the to leads that process artistic the to purpose a is there seriously.taken dreams their see If to order in to turn to who know not do often too all who but future, the improve to work to willing are and past answers to the current situation, since they can see the mistakes made in the provide to heard; voices their make to trying are who generations new the of members of demands the accompanying one dimension, regenerating a enter may they that course, different a run also may things that onstrating dem of capable people) new also thus (and energy new of injection the to equilibria certain generate and find to possible it make which mechanisms, sociocultural impact to and potential strength the have otherwise might that outset—those the from right blocked or interrupted get that projects original most and smallest the is it odology, and the means. Without these, we know from experience that often meth the discussion, critical open for context healthy the based: is any policy cultural which on premises key three the provide undoubtedly must which but all, for same the be cannot and not must which adopt, to mats for experimental the and models educational question ever,to than more today right, only is it Thus us. succeed will who those of perspectives the the refine structurally and “facilities,” reform, to, respond imagine, to means the and tools have community art the and art that sure make first If westillwanttobelievethatartisaknowledgecreationprocess,must

—to invent new solutions, thanks also thanks solutions, new invent —to Public Smog Petition Smog Public 5 Such a split is a clear a is split a Such to include to ------6 5 4 3 2 even tosay, inCornelWest’s words: Or,basis. daily a on self-discipline and solidarity of function and role the ( their where field, occupation” “cultural a call might we book, this in tion Steyerl’sHito pharaprase to what, of margins the in absorbed get contribu it’sMaybe again. time and time posium, sym after conference video, after video e-flux, after e-flux page, after page exist, to right the as such issues fundamental simple, addressing programs” 1 can onlycomeafterpropereducation. school, at learned have might we as emancipation, and regeneration that mind in better,keep it all make shall to we willing and working while And our

al. (Cambridge,MA:MIT Press,1990),36. Cultures Contemporary and Marginalization Cornel West, “The New Cultural Politics of Difference,” in lacan.com/zizraphael.htm. Lacan,” Read to “How Žižek, Slavoj See Hazel Carby, “Multi-culture,” Marsilio Editore,2012). See Fayard, 2011),24–34. Hessel, Stéphane and Morin Edgar See Press, 1958),181–188. ward thefutureandlooktomakeitdifferentbetter. to look we mounting; profits not perishing, people see and present the at look we solace; not strength, for past the to Welook present. the of costs social the bear who those for especially potential, and possibility of sense a with vision prophetic and prospective a promote crisis-ridden we present, the defend that outlooks conservative and retrospective for freedom and dignity. And while the First World terrains […]. We have now reached a new stage in the perennial struggle particular their to praxis and analyses, visions, their limit to refuse by difference to cast their nets widely, flex their muscles broadly, and there of politics cultural new the of artists and critics for come has time The Hannah Arendt, ) voices will not be heard. Maybe at least it is time to start questioning start to time is it least at Maybe heard. be not will voices ) Art Enclosures: Residencies for International Artists in Venice The Human Condition Screen , no.34(Spring1980):64–65. time (Chicago: University of Chicago Le chemin de l’espérance de chemin Le to listen to them before they before them to listen to Lacandotcom , ed. Russell Ferguson et et Ferguson Russell ed. , intelligentsia 6

http://www. , Out There: Out There: (Venice: adopts (Paris: - - - -

37 Mara Ambrožič 38 left out. Today,out. campus-wide left a such in included not is ACT like program a were arts the course of crisis, energy recent the by steered initiative energy an started MIT when that note to interesting is It progress. technological mere of idea the beyond interactions, social and challenges environmental their in societies supports technology how on reflecting were students and moment at MIT. This relates to the era after World War II “techno-social” when the MIT as to faculty refers Dutta, Arindam mine, of colleague a what as understood be VisualStudies—could and VisualDesign titled Kepes, by taught field the to referring specifically more MIT—or at research Artistic today, inaverychangedgeopoliticallandscape? mean legacy this does what pedagogy.But innovative and practice artistic research-based of history years’ forty than more on draw program, ACT these ideas and pedagogy at MIT, and therefore CAVS and its successor, the expand to continued Kepes Bauhaus. New the for Design for Professor as laborator of Moholy-Nagy, who in his position as director appointed Kepes War II. György Kepes, a Hungarian artist, was a compatriot as well as a col what had been started by the Bauhaus movement in Germany before World continued that director founding as Moholy-Nagy Lázló with schools tive consecu Chicago—two in Design of Institute the and Bauhaus New the of CAVSdescendents The the 1946. of in one MIT is to coming before (ITT), Technologyof Institute Illinois the and Bauhaus New the of faculty initial Culture, and Technology (ACT) was founded by György Kepes, who was the The Center for Advanced Visual Studies (CAVS) of the MIT Program in Art, Art, in Program MIT’s at Re_ACT:Research- Culture, and Technology Based Artistic Practice

- - later joined by Günther Uecker. Formed in Germany after World War II, WarWorld after Germany in Formed Uecker. Günther by joined later Mack, Heinz artist with along movement ZERO the of member founding a is Piene Otto years. twenty center,next the the of for director it directing second the became Piene, Otto fellows, first his of one 1974, CAVSin of director and professor as retired Kepes semi-independently.After operates that structure hybrid a is of ACT that means This School Planning. and MIT’sArchitecture of Dean the to directly report we affiliates, and fellows the Department of Architecture at MIT. With our research center that hosts the CAVS, is, with its academic program, one of the five-discipline groups of and MIT at Program VisualArts the of merger a ACT,as 2009 in founded on thisglobe. issues pressing address to fields other to up it leaving society,just civic not negotiating in voice leading a on take should CAVS,artists of that insisted the challenges of our times. Kepes along with Wodiczko, the recent director that engages with everyday life and generates artistic proposals that react to practice artistic an scale,” civic in “art for called Kepes campus. MIT the on happens what in intervening also but world, the in place takes what in Interrogative Design. For him this is a form of artistic intervention, not only as Wodiczkodefines Krzysztof artist the what on inquiry,focusing critical as well as research experimental and free favors mandate self-imposed Our investigate whatisgoingoninotherdisciplinesandschoolsatMIT. also but well, as knowledge generate arts the that claim the with research indeed ACT,we at “research” term the use we when that interesting is it So overlooked. is environment the and nature protect to technologies new using proposed already had Kepes ago years forty That respect. this in ute debate, and it is not considered that the arts might have anything to contrib U te Meta Bauer -

39 40 Re_ACT prahs ul f ih ad oeet fe te rl dr yas caused years dark truly the after movement and light of full approaches post-Worlda of artistic ness exciting and Warnew generated that period II Gutai Group at the Moderna the Museet in of Stockholm, are members picking up and the open Piene by projects performance early of reenactments and ZERO, of retrospectives major Kinetic”), the of Faces Fields: “Force temporary institutions, including the MACBA in Spain (with the exhibition con major years, recent Over cliché. a almost felt museums in presented works their saw I way the as artists, these about more out find to me aged encour and ZERO of work the revisit me made basis, regular a on MIT attends still he as Cambridge, Toin generation. Piene younger Otto a meet little of this cutting-edge collaborative work at the CAVS today is known by very movement, ZERO the by work the of prominence the with Compared experiment, whichwascertainlyquitecontroversial. TV interactive early this about deal great a wondered have must home at rooms living their in Audiences studio. WDR’selectronic in inflatables ent transpar helium-filled and sculpture kinetic between moved audience the while artists, the by projections slide and assas film Kennedy experimental with Robert sination the and King Luther Martin of funeral the from footage combining radical, pretty TV,was on and aired ever project artist first the was Cologne” Gate “Black artists, the to According Cologne. in be to broadcast program on a German television station, Westdeutscher art Rundfunk (WDR) commissioned first the Cologne,” Gate “Black duced copro CAVS,roots, Italian with Tambellini,artist Aldo American-born an at co-fellow later and friend his and he 1968, thinker.In and artist an as the arts, engineering, and science. Today Piene continues to be highly active in developments new fostered which conversation, and experimentation of events collective multi-day and projects outdoor large-scale involved often Piene, by lead happenings, Art” “Sky various The Art.” “Sky declared he what energy,of and umbrella light the of under notion the on work to ued contin furthermore Piene collaboration. interdisciplinary and artistic on focus strong a with time the of concerns relevant address to scientists and physicists, engineers, with collaborate to continued MIT,and at professor a became he when issues environmental in engaged also Kepes, like Piene, laborate withotherartistssuchasLucioFontanaandYves Klein. col to Europe across spread group the as movement avant-garde national one-night exhibitions showcasing their peers and that evolved into an inter stage would artists the where studio Düsseldorf a of out developed ZERO ------Gregos addressed this topic through her exhibition “Speech Matters” at the Katerina curator Greek the 2011 in Biennale Venice the of fifty- edition fourth the during that glad am I spaces. public in demonstrate and gather to right the and speech of freedom the to happened what experienced have we 2001, 11, September after decade, last the In constellation. geopolitical changing continuously a in engaging while departure, of point a as 1974 taking the reflections and writings of French sociologist Henri Lefebvre from lum. For example, one course we offer addresses the “Production of Space,” uate in art, architecture, or urbanism, we aim to do this through our curricu At ACT, where about half of our approximately 300 masters students grad contribution toknowledgeproductionbyouruniversities. taught is what with within the academy and university and recognized as sync a valuable and critical in be should world the in there” “out practice artistic between fluidity of kind This classroom. the in pedagogy his with munication and transformation connecting his political practice as an artist through alternative notions of design. He topics applies design as a device of com sensitive these addressing trauma, and conflict with dealt ciplines, dis MIT all from students undergraduate and graduate both to accessible course Workshop,a Design Interrogative His Architecture. of Department MIT’s in teaching CAVS,while MIT at (IDG)” Group Design terrogative “In the decade, a than more for directed, and MIT,initiated at Arts sual For example, CAVS director Krzysztof Wodiczko, Professor Emeritus of Vi curriculum. the into research faculty-led include to is attempt our ACT At of anartist’s involvementinamovementoranartscene oftheirtime. the complexityofartists’bodieswork,orfailtorepresentdimension produced in art history and intervene if institutions and collections cut and short collected is what with engage and voice a take should academics and and cultural producers. It is fine to question and reflect on museum practices artists of generations future for archive the into practice artistic of aspects important these reinscribe to asked are educators as we why reasons the of eral aspects of a work or its political references are marginalized. This is one tates—focus on the “classical” part of an oeuvre and the presence of ephem body of work. At certain times museums—often hand in hand with artist es similar experience in the 1990s when I revisited Joseph Beuys’s activities and within my own practice as an educator and curator, is critical to me. I had a linked to work this crucial moment such in history,revitalize To to review II. this Warperiod World and reflect by this and Socialists National the by ------

41 Ute Meta Bauer 42 Re_ACT To understand this challenging topography through their “eyes” is very dif very is “eyes” their through topography challenging this understand To generatetodifferent a spatial representation producedyouthsite.the onby orderinPalestinianthese live theywhere ofchildren maps createowntheir that suggested also Sawhney Nitin etc. lives, daily their friends, and family globe: the around people young of minds the in is what from not different actually so are which choose, they topics on films short are results The minds. their on is what express to and views their disseminate to order in voices, own their developing in them supports This material. audio-visual equipment to receive training in recording, editing, and media storytelling through to access have otherwise not might who there living people young allows initiative His films. short through stories telling in youth Palestinian with collaborate to in order in WestBank, the territories and Gaza including occupied Palestine, the in youth disenfranchised with engages Walls,”which Beyond “Voices NGO the founded lecturer, and fellow research post-doctoral ACT and Lab Sawhney,Media Nitin MIT the of alumnus an disciplines. other of methods working the from different not is that process a is which locality, particular a site, specific a from collect we information and ence the classroom, to engage and to reflect upon but also to theorize the experi to bring we that projects of kinds the are These Sánchez. Osvaldo director artistic its by biennal transnational this for commissioned and years two of course the over researched making the in archive an was it Diego, San and Fine Arts Vienna, who is Elke Zobl. Located at the border between Tijuana which I developed along with one of my PhD students from the Academy of began my tenure at MIT in 2005, with the “Mobile_Transborder Archive,” I had tested through the practice biennale “InSite05,” in which I was involved when I and theory of intertwinement Such Emergency.” of “Zones as offer,we topics course under thematically projects group can lab—we such ACT mobile a of work—kind off-campus for umbrella proposed a Under what ishappeningintheworld. reflect and investigate to time” “academic using topics, to attention deeper pay to us university,allowing the into there” “out working from material Technology,and Culture, Art, of section our “findings,” our implement we perspective and on what is taught at perception a university like MIT.another Teachingbring at the we inter arts the through ACT: to return to But in reaction to the threat to freedom of speech that occurs around the globe. Danish Pavilion, where she presented works by artists from many countries - - - tural engagement. Through her multi-year engagement in the FEMA Trailer cul of umbrella the under studies transdisciplinary of areas new up and open universities, our within support strong create policies, change could we belief naïve the had we together University,and Harvard at Literature Professor Doris Sommer, by a cultural activist and professor of directed Romance Languages and initiative, Agents” “Culture the with touch in also chemistry,with forces joining in law,MIT. at programs other and We were earlier.out was Lee’spointed interest as environment, the addressing tions a done deal, especially was given the history of CAVSMIT and its engagement in ques at arts of competence the expanding that thought We art. of definition narrow a such with confronted be would we MIT like place a at that myself and Lee to surprising was It investigation. its in method accuracy and about doubts some created first at artist an by led field-activism as a government agency. That such a research-related course is indeed about this was engagement in environmental justice and directly addressed FEMA the beginning was that this topic was beyond a conventional notion of at art, that faced we resistance the of Some Research.” Transdisciplinary and Practice “Artistic tenitled course established newly a in disciplines various from students include to and campus, MIT the on trailers the of problems various the research MIT,to at on-site trailers FEMA 145,000 the of one get to wanted MIT,we at Program Arts Visual the of project a as Start this ing Rita. and Katrina hurricanes to due 2005 in homes their lost who Orleans New of people the for FEMA by trailers constraints time under provided formaldehyde-polluted the addressed Project Trailer FEMA The commissioned by the US Federal Emergency Management Agency (FEMA). were that trailers by caused issues health and environmental investigating research initiated Lee, Rhim Jae program, our of alumna and fellow ACT the projecthadbeendisplayedinagalleryspace. if than school our at students and faculty the for provoking thought more four months. To pass this installation each time one entered the library was of course the over exhibition this hosted they that initiative this in invested highly visited Architecture and Visual Arts Library at MIT. the Library, Our librarians were so Visual Rotch the throughout exhibition an as Gaza” from a top-down distribution of information. Nitin installed “Re-imagining tempt is to provide space for an experience from the bottom up, rather than at Nitin’s example. for Nations, United the by provided statistics official through territory the mapping 1993), in (signed Accords Oslo the through ferent from how we might depict Palestine as covered by the news media or - - - -

43 Ute Meta Bauer 44 Re_ACT way, connecting theory with practice and vice versa. One cannot develop cannot One versa. vice and practice with theory connecting way, down-to-earth very a in them of some applications, potential with it bine When we talk about theory and practice of contemporary course. art we one-term try to a com than reflection theoretical longer and wider a requires it that study of field complex a such is Emergency” of “Zones people. of group diverse a of input the with years several over research enabling ters, clus research overarching of number a into projects those integrate to and outside, projects through do we what of knowledge our Our deepen to curriculum. is goal ACT current the of part become have period this from projects and works of reviews and decades four last the during done been With ACT, we do not start from scratch, but rather we build upon what has Technology.and Culture, Art, in Program MIT the at mission and agenda current our to critical all are Program Arts Visual the in CAVSand the at generations previous by started was what of responsibility the on take to To look into our own archive, to reflect the history of our program, and also Capital Grant. Fellow, has been featured on CNN, and is TED supportedGlobal 2011 by a a nominatedmatter,multi-year wasthis Creativeon voice valuable a come be has She well. as field this in policy US investigate to led was Lee toxins, formaldehyde,of addressingvariousproblematicsenvironmental bycaused interestingeffectsartists.challengeWorkingthefor on years sevenover for agency,an claim is to affected, those with forces join to and eye public the Tohave. not do often policy-makers and ers to matters hidden such expose work that visibility media to access have and capital, symbolic have arts come back to French sociologist, Pierre Bourdieu, who pointed out that the to has one topic, a such with engaging is artist an why yourself ask you If business—because of the sensitive nature of the topic for this large industry. funeral the from time resistance—this again, yet faced, she Council Burial Green Massachusetts the with along MIT at workshop a hosting and fairs its industry,visiting funeral the with interact to started initially she When air. and water ground contaminating eventually formaldehyde, including toxins release cremated or buried when corpses The deceased. when even “good,” look them help to order in bodies dead preserve who embalmers, the for cancer of risk the increases formaldehyde to exposure as aldehyde, form by affected also is industry funeral the that discovered she research new that of part as and Project, Burial Infinite the established has she years few past the Over humans. on as well as environment the on formaldehyde of impact and effects the of exploration in-depth an continued Lee Project, - - - - - veloping anawarenessof what technologydeterminesasourfuture. de and today face we challenges complex the address to disciplines across This is one example of what ACT has been trying to work at: joining forces ent audiencethanpolicy-makersorscholarsininternational studies. at our program series, he was grateful for the visibility of this site to a differ who initiated the “Human Cost of the War in Iraq,” to give a public lecture Tirman, John director CIS invited I When population. civil its and region ing of the conditions and impact this long-lasting conflict imposes upon the of the war in Iraq by providing a platform for a more complex understand ates for civil society in Iraq. With this site the CIS made visible the civic side cre war the situation devastating the discuss to neglecting and population Iraq’scivilian upon brings war the dangers and causalities the overlooking Iraq, which focus on collecting the number of casualties of US soldiers while in casualties of collection data one-sided the records, military and reports media usual the counter to WarIraq” the in of Cost “Human the dressing ad Website a developed CIS the ago, years few A diasporas. dynamic on reflecting and otherness of instrumentalization the discussing partners, side Studies (CIS) at MIT in a shared “think-tank” format along with some out International for Center the with collaborates currently Emergency,”ACT in of “Zones For investigation? and study situated of fields different very to proximity being of or centers, MIT other and disciplines other with ing collaborat ACT of potential the is what academy.But art an of that than being situated in a research university of such scope, a very different context in a triangle between art, culture, and technology, has to use its potential of operating program hybrid ACT,a distributed. as is knowledge how and is production knowledge what of reflection critical a “interrogation,” of kind a as serve can inquiry Artistic results. the by affected most is that society usually is it although researched, is what from society of detachment ous danger and problematic a creates This entitlement. no is there as anymore, engage not do they and experts,” the to area this leave “Weto think, have to public general a leads This speak.” “expert called is communication ic academ and areas, specialized in operate labs university time the of Most embedded inpracticeitself. theory without “real-life” experience; sustainable practice requires feedback reinforce one can nor reflection, theoretical without practice sustainable a ------

45 Ute Meta Bauer 46 schools mighthavesomething toteachthem. art of practices the Perhaps students. their educating about think they how in missing is something that know institutions These job.” same the want we admit them, when but by the time they leave us they appear all the interesting same and they are accept we students the “All it: put bravely dean to wanted discuss the leaders homogenization of difference in their own institutions or, business as one these that learned I Young. & Ernst of CEO the Moscow,by in led School all Management Skolkovo the and INSEAD, School, Business Harvard Economics, of School London the of deans the At Davos, I was in public conversations about leadership and creativity with tions.” “emo to related information and experience all describe to contexts ness with othersuchpracticesas“softskills”—atermusedinprofessionalbusi it consider to enough seriously art took Forum the time first the represented sessions week-long society.These transforming in art of place the and art-making, artists, curators, and art historians, and engaged in conversations about art, by lectures attended also participants The Stage.” “Takingthe workshops Weweek. a for training voice and theater in engage to University the called Columbia to came Forum, the by leadership for groomed being were who world, the over all from individuals talented young, Sixty 2011. in again for the World Leadership Fellows at Columbia University in 2010 and then schools. It came as a result of sessions I had worked to organize with others economics and business of deans and state, of heads leaders, corporate forum of often-protested high-powered, very this to invited usually not are vos, Switzerland. This invitation was a bit unnerving, since art school deans In January 2011, I was asked to speak at the World Economic Forum in Da Microutopias and Pedagogies for the for Pedagogies core Twenty-First Century to the education of their fellows and did not marginalize it marginalize not did and fellows their of education the to

- - - 4. 3. 2. 1. Nine Assumptions About Educating Artists They alsoofferausefulplacetobegin. sent how I personally think about Columbia University’s School of the Arts. not match those of other institutions, or those of my colleagues, might but they repre presuppositions These art. of schools of foundation the at are that premises unspoken and originary the of some with society,begin for I of knowledge? To attempt to address these questions and their implications bodies new of creation the and process about think they do How students? their of originality sustained the secure environments art-making do How

tivity inrelationtothecollective,art-historicalcontext,andhistory. individual and society, the betweenwe encourage our relationshipstudents to cultivate thetheir subjec on, comment or resolve, to attempts that problemsolvingparticularofform a function asmakingcan Becauseart to producinginterestingwork. mandfosterit,andwe their desire develop to thisuniqueness essentialas de we fact, In uniqueness. their accept we Then students. talented and The admissions process is designed to locate the most unique, committed, While the ability to replicate results is an essential element of scientific of element essential an is results replicate to ability the While and move on from there to discuss the work’s coherence and effectiveness. art as produce artists that work the Weaccept“proven.” be knowledge generated newly this that ask not do however, we sciences, the Unlike like the sciences. are we assumptionthis In artists.youngest the from emerge might ideas startling most the that understandWe youth. of insights the respectWe C arol Becker

- - -

47 48 Microutopias and Pedagogies for the Twenty-First Century thing wedo.Yet werevere it. every of front in air,and ity,like underneath, because, behind, part is in it In these pedagogical environments, we do not necessarily talk about creativ senses andintuitionswhoachievethegreatestsuccess. their with conjunction in minds their use who those often is It actions. ing engag most the perform or metaphors, best the create work, the access to able most the necessarily not are minds philosophical cultivated most the with Those senses. the also but alone, mind the not is knowledge for point approaches entry the that that assumes It ways. unexpected in knowledge of acquisition the working of process a evolves assumptions these of Out 9. 8. 7. 6. 5. even feared? Creativity relies on the cultivation of the individual’sthe of cultivation the on relies Creativity feared? imagina even and romanticized, prized, highly so it is Why creativity? constitutes What Creativity andProcess

ative thought. cre to vital is interpretations of open-endedness an to commitment This effect. its determine that juxtapositions the in embedded meanings of ity multiplic a be will there rich, is work the If artwork. most of pretation inter clear one no is there that Weunderstand and ambiguity encourage in anambitiousfailurethanmoremodestsuccess. courage risk taking that could lead to failure and are often more interested “Trywrote: Beckett Samuel Better.”Fail again. Fail again. en we Indeed, innovation. to keys the of one is rules established to conform to refusal a that know we but failure, from results often anxiety that understand failure.WeexperimentalWesuchtopracticessometimes that leadknow creativ forms. We believethatsuchhybriditycreatesnewknowledge. of intertwining applied and reconfiguring, blending, as mixing, the encourage We understood be could ity—and theexpansiveexplorationofform. innovation—which respect We be considered“safe.” We encourage risk taking and promote the value of shaking up what might verifiability, weknowthatthebestartcannotbereplicated. ------H. Lawrence wrote, “Never trust the artist. Trusttale.” artist. the the trust “Never wrote, Lawrence H. by partsofthemselvesthatmightbeunknowntotheirconsciousminds.D. led be to themselves allow practitioners Such work? the complete to able also yet and go will story the where about unclear so writers and direction How can that be? How can artists at times be so uncertain about the work’s the workintobeing. shape. What emerges often surprises even the artist, or artists, that imagined given and manifested mind—are conscious the to unknown and hidden ten to-articulate space of It also depends completely on the courage of each person to live in the hard- tive resources, even when groups, collectives, or collaborators are involved. which allows for the open-endedness needed to complete the work and the and work the complete to needed open-endedness the for allows which endeavor,entire rather,the but, work the of making actual the for ration aspect of artists’ work could be understood as research—not just the prepa process is essential, yet it often remains hidden in the “finished” work. This recognize the value of a process whose inherent that nature is places constant flux. This the are schools Art do. artists that work the in inherent ness” “unknowing process—the the of nature experimental the of part is lution of the investigation has been revealed. Living with such uncertainty of reso This interrogative process can generate anxiety for the artist until the nature the artistcompletely. viewer/receiver of the work. But sometimes the meaning of the work eludes the to recognizable then and artist the to known order,itself herent makes in its piece, the of “sense” the that process editing the in only often is It position ofmaterialsthatcombinetocreateimagesgeneratemeaning. juxta and textures, shapes, colors, itself—the form the from emerges work the of utility the or meaning the insist might formalists and imagination; active the or unconscious collective the it name might Jungians conscious; un the as it to refer might Freudians acquired; the to contradistinction in work emanates from the subtle such body; Buddhists might call it the primordial say might Theosophists irrational. fundamentally the therefore creating is of work process The audiences. their to visible easily meaning its don’t always know what a work is about, nor do they always want to make intuition. of use the for space creates It results. that knowledge of evolution constant flow , or the zone , where multiple consciousnesses—of 1 Artists simply Artists ------

49 Carol Becker 50 Microutopias and Pedagogies for the Twenty-First Century in thevirtualworld. equivalents their and actions, mass sculptures, public interactive as well as bicycle repair shops, and innumerable other neighborhood-based initiatives, ways. These efforts have taken the form of community gardens, green roofs, intimate very in interact can people where space public create to tempting at are artists sphere, public the of state complex current the to response In arena andhowtouseitachievedesiredeffects. public the in happening is what critique and interpret to how know often society.twenty-first-century overwhelms that spectacle they the result, a As of seductions the to susceptible less often results—are its achieves it how and representations visual of use media—its the of wiliness the to attuned very are whom of many Artists, future. and present, past, of confusion a as well as private, and public of conflation unprecedented an effects and information, of overabundance an and images with us floods media The changes daily. that sphere public a by complex more made are considerations Such ences. audi multiple on work their of impact potential the consider increasingly artists as profile visible more a gaining foreground, the to moved therefore has process of concept The work. the into directly response audience pated antici an such incorporating about talk now artists Many spectator. the by completed is artwork the ultimately, that, understand increasingly ists art others, and Bourriaud, Nicolas Rancière, Jacques like writers Through the traditionalecosystemsofartworld? normally address? What is needed to achieve success when working beyond and how to create it. Can artists work with communities outside those they space public of notion the to related is making art of type This work. the creasingly insist on involving their audiences more directly in the making of completed in artists contemporary as visible more become recently has process work, the than understood well less been typically knowledge—has new developing of possibility the to over oneself giving process—the While can functionwithinsystemsofexchange. is What supported. or valued as not usually are they Therefore “subjective.” science, artists’ research and the findings that result are often understood as unlike discovery, on based is inquiry, scientific like making, art Although valued—literally, given value—is the art object that is usually tangible and - - - - - critique of what is present.” a is Utopia of function essential “The W.Adorno, Theodor to said Bloch say. might Rousseau thatJean-Jacques as that-which-is-not,” of of terms “interpretation is—in which an create can making art of practice the and Art native capacitytobringpeopletogether. and collective desires visible and understood. And they use enormous imagi individual make to ability the have They societies. future our envision we how to and consciousness of development the to essential nonetheless are that but time, short a for last only might that environments micro-utopian as function projects Such practice. contemporary of types these of idealistic nature the recognize to need researchers and thinkers, artists, of ation gener next the educating with concerned are that structures Institutional Microutopias always “anticipate” and “illuminate” and “anticipate” always call “the not-yet-conscious” reveals a key imperative of utopian thought, to might Bloch Ernst what to form give to desire This prospect. utopian a is terpretation oftheworld seeing individual of particularity the that imagination—means the by externalized longitude and latitude coordinates—a given and imagined be could ideas be promotedandsupported morestronglyifthespeciesistosurvive. must that one also is it but practice, utopian naïve, undisputedly an is will, collective dominant the to juxtaposition in reality,standing of while vision individual transformationofthematerialworldthat alsopositsacollective fulfilling practice, and it is also a revolutionary one. The desire to present an This notion of dreaming the world into being is an ontogenic, archaic, wish- begins inideas,theincorporeal. world material the that demonstrate to making art of utility the assumes belief a Such others. to intention its translate to needed are elements other color,shape, narrative, complexity,texture, whatever or movement, sound, personal a of desire. Art allows for an individual vision re-presentation to become communal by giving it a just never is It world. the understanding and organizing of way communal the in change a implies always Utopia a societalsituation. 2 They bring into society that which they fear does not exist. As Ernst As exist. not does fear they which that society into bring They has been brought into the public sphere. Believing that a unique in unique a that Believing sphere. public the into brought been has can 3 No matter what the content, the fact that such occurthroughexternalizinganinteriorvision 4 what might become possible within possible become might what - - -

51 Carol Becker 52 Microutopias and Pedagogies for the Twenty-First Century 4 3 2 1 seem thereisnootherchoice. would It problem-solving. creative profoundly foster might that practice of models and interrogation of forms different out seek will would who them, inherit leaders the educating to committed and failures, its to attuned most those that surprising not uncertainty,is capitalism great it engender to continue global of shortcomings the as Still, another. of possibility the implies and order social existent the up shakes it best, its At feared. often is creativity why is this Perhaps determined. be to yet is structures existing pedagogical a embrace model that is so fundamentally non-utilitarian and essentially critical of the truly ever can environments corporate Whether cially significantforthismomentinhistory. cross- disciplinary a approach and hybridity to solve problems are unique and espe on insist that environments art-making why is This reimagined. constantly be to world the allow not do and thought of evolution natural the inhibit process ignoring while product on solely focus and categories, reify forms, isolate that models traditional those that recognition is there consciousness, such on predicated environments to look today others As

Ibid., 17–29. Press, 1988),12. says Ernst Bloch, Ernst 1968), 35. Alain Martineau, Penguin, 1923),8. in “Studies,” Lawrence, H. D. , trans. Jack Zipes and Frank Mecklenburg (Cambridge, MA: MIT MA: (Cambridge, Mecklenburg Frank and Zipes Jack trans. , The Utopian Function of Art and Literature: Selected Es Selected Literature: and Art of Function Utopian The Herbert Marcuse lsi Aeia Literature American Classic ’ s Utopia (Montreal: Harvest House, (London: - - 53 Carol Becker 54 a political project of peace at the continental level. The war between France What has Europe been during the past century? First of all Europe has been strong andinaverypolitical sense. word the with “spirit” says He sentence. his that “Europewillbeaproductofyourspirit”while Iwillreplacetheword in word a change to want I but nation, European the on speech known well this from and Benda Julien from start I be. not talk to want I about Europe- because Benda Julien of words these from start to want I such athinglikebeingEuropean.” not is there because being, your of product a not will, your of spirit, your of product a say,be will will you Europe what are. you what to thanks not his in book words, following the wrote Benda Julien 1933, year crucial the In burning thatflagofhope. solidarity,of and are they that despairing and angry so are people now and I understood that a tragedy is underway. Europe has been a symbol of peace picture the saw I when but flags, of fan a especially not am I debt. and tion darity has been abandoned and destroyed in favor of the dogma of competi soli of principle the because Berlin, and Paris in then and Rome, and drid Ma in and Lisbon, in also happen soon will Athens in happened has What flag oftheEuropeanUnion. ened me: in Athens a group of citizens were burning a flag—the blue starred fright that photo a saw I newspaper Italian or French a in ago days Some in the Coming European Dogmatism Economic Discours à la nation européenne nation la à Discours Insurrection and Poetical Thought ness : what Europe is, what Europe may be, what Europe can imagination . I use the word imagination in a very a in imagination word the use I . : “You will make Europe thanks to thanks Europe make “Youwill :

- - - - - aim f oit, n ti frcos ahmtzto o te iig body living the of mathematization ferocious this and society, of ganism or living the in inscribed ferociously is entity.Mathematics mathematical fiercely a becoming is Europe today? Europe is What now? happens What tion oftheeconomicidentityfinancialcapitalism. imagination.” Then, in the 1980s and 1990s it became a project of affirma and spirit “will, of project a essentially was project be European the the ginning, At side. violent its displayed run long the in absolutism the financial so forever, last to destined not was identity prosperity-based the But power oftheEuropeanCentralBank. dogmas of infinite growth, financial balance, consumerism, and the absolute prosperity,was the with process unification the established members the so years those in identity European The imagination. and will on than rather identity, on process European the establish to decided Maastricht in that met class ruling European the dogmas, neoliberal Benda’s by obscured Julien warning, Forgetting Europe. of reduction monetarist a of sanction TreatyMaastricht The unification. monetary and financial of the track was fast the for opted background, tragic the to oblivious nations, European of class leading the which in Union, European the of definition economic the by marginalized least at or forgotten somehow been has prospect this But Union. European the of mission historical the and assignment political the was modernity, of core very the at is which opposition, this Overcoming lightenment. Culturalidentityversusuniversalreason. between two nation-states, but also a war cultural war: Romanticism versus En a only not was It II. WarWorld until century nineteenth the of ning begin the from modernity European of history the marked Germany and F Berardi ranco - - - - -

55 56 Economic Dogmatism and Poetical Thought ... proclaimed deregulation. much more: it was a cartography of the coming future of the neoliberal self- also was it but future, possible a imagine to attempt an was thought Their Foucault, Jacques Derrida, and Jean-François Lyotard. 1970sand1980s, theinageGillesof Deleuze andFélix Guattari, Michelof the in thoughtFrenchremember also dialecticalI thought.of sphere the in of the critical thought that made possible the creation of the European entity I remember the philosophical discussion in the 1960s and 1970s in the wake today,so-calledrathergloomy.landscapetheEuropeanculture.highThe is Let us look at the landscape of philosophical and political thought in Europe of thereassertionneoliberalism. the verypossibilityofafuture,weareobligedtogobeyonddogmatism of dismantling the from start we If thought. of condition a future—as tent nonextis knowledge—the obvious this from consideration, this from start should we think I but refrain, of kind a already is future” a having “Not future. a have not do they because future, their of view of point the from useless ultimately are that but bad, or good are that things teaching are we All of us know very well the situation of the last generation, of our students: the narrowinterestsofprofitsandeconomiccompetition. to profit, of interest narrow the to research university,subjugating the ing way,prosaic more destroy a school, in the it destroying say to want you if The core project of Europe nowadays is destroying collective intelligence, or destruction, of devastation, and of dismantling the general intellect. of project sad a to leads finally that and retirement, of postponing the and impoverishmentsalariesEuropeanthecuttingsocietiesof through oftheto and reinforcement of neoliberal ideology, of neoliberal regulation that leads cal necessity of the bank system. This is a dogmatic project of reassumption mathemati the to well-being and culture, life, sacrificing and debt, of ethos ticians, belonging to the European Union nowadays means submitting to the In the speeches of Angela Merkel or Mario Monti and other European poli pression, despair, andsuicideis sweepingthecontinent. de of wave a why is this and sentiments, racist toward turning are people more and more why is this flag, European the burning are people why is This barbarianism. nurturing and reaction violent a preparing is society of - - - - - today understandwhatis happening inthepresentEuropeannightmare. imagination of poets and musicians and thinkers of the punk culture, we can visionary the now.by right foreshadowed here no-future this from Starting In this sense Luhmann was speaking about the coming “no future,” which is formed into techno-linguistic automatism. trans is dogma economic the praxis, governance the In unavoidable. the of of social existence. Governance is information without meaning, dominance automation the thought, of automation the is governance that understand can perspective,weLuhmann the from start we If time. our ofpractice cal never defined today, because it is a symptom of the total poverty of the politi and used much is that word a understand,“governance”is can I as far As that therulingclasshasbeendoinginlastdecades? 1980s. What is the meaning of this word, beyond the political manipulation guage—was first proposed and deconstructed by Luhmann lan in the political 1970s and of field the invaded totally has that word Governance—this with administrationmanagement:thefutureofgovernance. democracy of replacement the and alternative, without future a described Luhmann side other the on while society, dialogic the of idea benevolent the upon drew and communication of effects democratic good predicted of anticipation of what Europe was going to become. On one side, Habermas between Jürgen Habermas and Niklas Luhmann was an important moment In thelandscapeofGermanphilosophyin1970sand1980s,debate violence andimpoverishment. of age dark a as future coming the about thinking of way a dystopia: ing com the of cartography a been have 1980s and 1970s the of philosophers French the of works The revolution. neoliberal coming the of imagination most important books of the 1970s and 1980s—may be read as the negative Plateaus Also, Deleuze and Guattari’s celebrated books rules ofcompetitionandfinancialaccumulation. world: deregulation, welfare dismantling, and submission of life to the wild the of transformation coming the of foreshadowing enlightening most a is title the under published now is that and 1979 year the in delivered Foucault Michel that lecture the of Think , along with Jean Baudrillard’s S The Birth of Biopolitics of Birth The ymbolic Exchange and Death Anti-Oedipus and A Thousand . This book This . —the - - - -

57 Franco Berardi 58 Economic Dogmatism and Poetical Thought ... shared thecommondestiny ofthealeatory. ing, a separation of signs from their referential task. Poetry and finance have shared a common destiny of de-referentialization, a loss of referential mean paradoxically have finance and poetry century past the In communication. guage from the effects that finance has produced and embedded in the social lan of liberation as poetry of action possible a see I and finance, and etry po between relation strong a see I century twentieth the of history the In main solution that art, poetry, can offer: de-automation of language. to do with what we really need now: a de-automation of language. That’s the This is the meaning of the word. Furthermore, the word poetry has something ducing,and ofmaking something that does not actually exist inthe present. word “poetry,” there is the idea of creating a new bridge: of creating, of pro rebranding and would propose the word propriate word to say what ap I reallymost am the trying not to say.is and I context, would this propose in a smallword good the not probably is Art ousness assadness.” artist means “to escape the future of sadness, to escape an the future being of that precari feel they because artist an be to want I say they that think I the richpossibilitiesofartmarket?Well, maybe,but Idon’t thinkso. What do they think that being an artist means, exactly? Do they think about be to want artist.” an “I answer the with adult?” an are you when do to want you German of do “What percent question the 24 answered journalists by around interviewed people poll, young recent a in that seems it Yet actly. ex knows nobody no, either: aren’t you and “art,” word about the say I talking when am I what of sure not actually am I art. from but losophy phi from not come to seems openness and intelligence possible of light A ishment, andfinancialdictatorship. impover racism, violence, dogmatism, of abyss the to way the paved have philosophes,” “nouveaux label empty the with 1970s late the in fore the to came who today—those of scene Parisian the inhabit who non-thinkers cynical The thought. cynical French the of sadness the at Look politics. of sphere the than less not thought, of sphere the invaded has cynicism Now poetry . In the very etymology of the ------have to be able to think both sides of this limit (we should therefore have to But Wittgenstein also writes: “In order to draw a limit to thinking we should its oflanguage. Automated language is language trapped inside the digital and financial lim limit. present the beyond lies that being of sphere that elaborate can guage lan our when only experience and live to able be will we what lies guage lan of limits the beyond therefore language, our of limits the inside resides writes: “The limits of my language mean the limits of my world.” As world to preface the In circulating intheinfosphere. lan guage, and is the only in marker that defines the meanings of the embedded signs that are automatisms techno-linguistic of system the in scribed in intrinsically is Violence language. of and economy the of precarization and aleatorization, of de-referentialization, of effect the is This violence. through is uncertainty of conditions in relation a regulate to way only The and thingsisaleatoryuncertain? persons different between relation the and standard, objective no on based the force that makes possible regulation and measurement, when measure is no more relation between sign and meaning, signifier and signified? What is value is still possible? How can we regulate a linguistic system where there is violence: on how can we regulate based a system where no relation dogma, between time and monetarist the only is there referent the of place the In product asreferent—alongwithmoneyitself. the referent—the the So, forgotten and time. canceled has of capitalism of financialization and money of materiality the from sign financial the of abstraction and de-realization of effect an produced has economy the and cutting the relationship that makes things valuable in economy,terms of time of real labor, so-called and money between relationship the cutting fect: ef similar a produced has economy the of organization Financial (reality). referent the and word) (the sign the between relation the cut to attempted Since the symbolist age, and during the whole twentieth century, poetry has sentially actingasfactorsoflanguageautomation. es are economy financial and technology Digital automation. to subjected Separated from its signifying function (from its meaning), language has been rcau Logico-Philosophicus Tractatus Ldi Wittgenstein Ludwig , ------

59 Franco Berardi 60 Economic Dogmatism and Poetical Thought ... 1 way toareactivationofthe relationbetweensensibilityandtime. the opening and signification, of pathways new creating concatenation otic exchange and of codified correspondence of signifier and signified, of the semi sphere the exceeding is that concatenation semiotic the poetry call We tion oflandscapesimaginationandemergingmeaning. disentanglement of the signifier from the limits of the signified, the explora the limits of present to signification processes. Poetry is the limited excess of language, the not is potentiality its boundless: is language But language. of circulation social the in incorporated been have automatisms linguistic information exceeding the established meaning of words. Language has been reduced to space of possibility. Poetry is infinite an is there limit the beyond But limit. a of institution the on based a limit brings into being a world of language. Grammar, logic, and ethics are guage happens lan in finite conditions of of history exercise and existence. The the definition of although potency, infinite an is Language financial capitalism. of complexity of degree the than higher complexity of degree a disentangle can poetry chaos, and complexity between negotiation of point emergence ofanewlifeform.Inthecross-pointfiniteandinfinite,in ing the technical automatisms of financial capitalism will make possible the escap language of act an Only destroy. and overcome cannot politics of Digital financial capitalism has created a closed reality that the technicalities make itpossibletoseeit,andnameit. conditions linguistic logical when shape takes and out comes form new a world. Scientists call this effect of autopoietic morphogenesis “emergence”: the of experienceability the of limit the also is which limit, semiotic the of sis,” and he calls this going-beyond “re-semiotization,” i.e., the redefinition Guattari calls the process of going beyond the limits of the world “chaosmo my worldbydefininglanguage? define that limits the beyond go to possible it is How seen? be cannot what How is it possible to think what cannot be thought, how is it possible to see be abletothinkwhatcannotthought).”

67; mytranslation. Julien Benda, that can be measured by economic standards, and the techno- the and standards, economic by measured be can that Discours à la nation européenne the reopening of the indefinite, the ironic act of 4 (Paris: Gallimard, 1979), - - - - - 5 4 3 2

Félix Guattari, ledge, 2001),23. Wittgenstein, Ludwig Michel Foucault, Ibid. Chaosmosis La naissance de la biopolitique Tractatus Logico-Philosophicus Logico-Philosophicus Tractatus (Paris:ÉditionsGalilée,1992). (Paris: Gallimard, 2009). Gallimard, (Paris: Lno: Rout (London: -

61 Franco Berardi 62 Are works of “artistic research” “artistic of works Are that couldseehowgoodRaphaelwaswhenhe good.” eye same the by tested be to asked Pollock here. mutation there’sno tion, interrup no There’s paintings. Michelangelo’s or Rubens’s or Manet’s or lock’s paintings live or die in the same context as Rembrandt’s or Titian’s… Pol “[Jackson] Greenberg: Clement by line a of reminded I’m searcher,” re as artist “the by played be to roles” “new possible considering When —Hedda Sterne, And shesays,“That’s whyIdrawhim.” he is?” And the mother says, “How can you draw God when you don’t know what And shesays,“I’mdrawingGod.” A littlegirlisdrawingandhermotherasks“whatareyoudrawing?” the as adopt to wanted motto fortheabstract-expressionists: he which story a [Newman] Barney told once I “Leonardo drewthingstoexplainthemhimself… Digging motivation iswhatlargely animatesthepresentdiscussion. good-faith and earnest This oasis. possible a of appeal the holds research” “greater good”) threaten to overwhelm the cultural realm, the idea of “pure the to contributions supposed through (justified sphere public the and ics) econom of justifications the collectibles, spectacle, of (production ketplace the against widespread instrumentalization of culture. it When both the around terms of the mar discourse critical the of and practice art of defense tion of question the on paradoxically hinges research” “artistic of field . On the one hand, many find the emphasis on research to be a possible The LastIrascible 3 to be tested by a by tested be to 1 different 2 eye? The new The eye? func ------means—he hastosellit.” it what say to position better much a He’sMr.in Castelli. ask should you have their eyes checked.” eyes their have But, as Claes Oldenburgh said: “Anyone who listens to an artist talk should an impliedandsuperficialbenevolence. re “artistic with sciences, social the of tone ahistorical and humorless the have search” around discussions more, and More academia. of partment de another become could research, and art between connection the thing, whole the that risking thus exhibitions, good few but symposia good many and demonstration, little but discussion much had have we point this At trophy-making. high-society and city-branding for than art of instrumentalization radical more a for words, other in applicability”—or, “direct for demand the of integration an represent fact in could research” “artistic of departments to art of departments from academy the in shift sector,the high-value-add a represents art that recognition the and economy” “knowledge the indus in tries” “creative on emphasis policy public the given hand, other the On n sl-utfig reeac, n ws eetd y utv Cubt and Courbet Gustave by rejected was and irrelevance, self-justifying and inward an mean to came art modern of period early the in “Academicism” elaborated salespitch. an than more nothing becoming to prone always is arts visual the around is still wordless apprehension, and second because the discourse of meaning artworks for criteria evaluative main the because first failure, to lead only Put in an other way, the temptation to establish a legitimating discourse can 5 4

Or Andy Warhol: “What it means? Oh, I think I Oh, means? it Warhol:“What Andy Or J eremiah Day - - -

63 64 Digging ence Hito Steyerl’s recent attempts to establish a non-bureaucratic footing non-bureaucratic a establish to attempts Steyerl’srecent Hito ence French to English, furthering my suspicion of the term). Or, I can also refer from translation a from emerged likely example this even that note to ing as an ongoing “life of development” in one’s practice (although it is interest which in the term Paris “artistic research” was in used in Museum a generous Rodin and general sense, the at text caption a saw once I example, For interrogation, notatop-downone. bottom-up a is needed is What making. art from emerges that “research” of exemplification and elaboration for calls moment the think, I Instead, their own journals, gatherings, heated debates, and even funding structures. the transcendentalists counting ghosts in the vapor. like nothing, entirely be to out turn will it Wilsonperhaps speculated, once or attack on the terms of a field that is so open and undefined that, as Mick justification, evaluation, an not is discussions these from required is What turn outtobenotanoasis,butamirage. would field new The design. of form new some of favor in altogether art of abolishment the also but art, of instrumentalization the just not is risk The risk of mixing metaphors) we will also cut off the legs upon which we stand. the bathwater,(at the but with baby the out throw only not will we years, disconnect from the traditions and capacities established in the last hundred “Artistic research” must be judged by the same terms as art in general. If we and claims. questions own its with field intellectual highly a as arts visual the defined: formalization and concretization of what already exists, but which is under- of process a as established be could then research” “Artistic art. modern of part are all general in art of questions the one’sand tween making art own be dialogue matter,a subject and on methods, emphasis experimental The through artworks—i.e., the exact space “artistic research” aspires to inhabit. and artistsphilosophy, history,asunderstandingsof politicsthorough and functionary.thearticulated peersof hisrolesynthesized andthe Beuys And of rejectionvirulent the feel to ceremonyacademic an duringmicrophone of applied art. One need only think of Joseph Beuys barking like a dog at the rejectiona throughearned was world the engagementwith an for work to of paradox root perhaps and earlier the is others in favor of an outward engagement in public life and conditions. This function : the space withinwhichspacethe : 6 They too, after all, had - - - history and world history meet frequently: did the owner die in the camps, the in die owner the did frequently: meet history world and history lived there, and what happened to them? This is Berlin after all, where local it was a home, or an office, and if it was bombed or just burned down. Who I once asked Smith if he knows what kind of structure he has discovered—if can.” Indeed,thereissomerelation. “Does art have some relationship to archeology?” Smith replied, “I guess it asked, man the project art an was it told When doing. was he what asked man one there were we while but him, ignore mostly and by pass People has turnedtoashandchunksofburnedwoodnow come up. soon discover where it leads, descending downward. Along the way the dirt will and staircase buried whole a discovered has He shovel. a with digging scale— different a on forward moving is Smith so and declined city the But cast thenegativespaceandmakepositivesoutofconcrete. to them, of out sculptures make to wanted Smith site. the of ruins buried gaps—the and structures underground the measure to sonar use to allowed be he that Senate Berlin the to proposed Smith Erik all. at space no be will there soon gap; the in fill buildings apartment new as smaller and smaller a site for art, calling it “Skulpturenpark Berlin.” The area they work in gets from the Wall, but in the last years a group of people have appropriated it as zone dead limbo—former that’sin property of piece It’sa limbo. in is that property of piece a on Berlin in holes digging him of footage 8 Super some In the meantime those potentialitieswouldbeabetterstartingpointfordiscussion. of contrast the Perhaps substance. self-evident and demonstrable of works years alltheseartPhDswilleitherbealaughingstockorproducesome After all, “artistic research” must refer to a method, not to a subject. In ten throughout the twentieth century.” struggles emancipatory of history the to related is which research, aesthetic of “genealogy his Weissand Peter upon drawing “research,” word the for stayed withresearch.” I development. into got company] big the with friend [the she “Oh, solo: often and five, or four of groups with improvisation of modes different ing evolv small-scale, stayed Simone company,while large venues, big touring once distinguished herself from one of her peers who had gone on to form a —yesterday I went to help a friend, Erik Smith, by shooting 8 7 A further example is Simone Forti, who -

65 Jeremiah Day 66 Digging 3 2 1 and status(andnotjustafunction). stake some have to order in concerns, and questions broader with wrestle art’sdemonstrate and on insist who and dirt, the and ash the in to capacity dig who those foster actively instead bureaucracy,and of purpose of sense field of research in art could shake off the dust of academicism and the false research”—but it does or on the EARN (European Artistic Research Network) or even on “artistic In any case, this “investigatory poetics” does not depend upon the academy of “becoming.” one does not need to be responsible to all perspectives, to preserve the space a “limited horizon,” “limited a to go to the archive (yet) is like what Friedrich Nietzsche called the choice of gives art its own status, claims, and questions. Perhaps Smith’s decision not to the root of that word, a shaping of circumstance, the transformation that not knowing the “truth,” Smith’s act can become a kind of “fiction”—back By by,owners. former some of staircase the just not his, become will it and I believe that as Smith’s staircase becomes visible it will attract more passers staircase downwardemerges. the as well, as architecture an produces Smith him, around all build opers devel estate real the As verifiable. or axiomatic not is that one possible, is ging, attending to the soil and ash, in which a different kind of information visit. He prefers to sustain the period of this kind of discovery, through dig state archive to find out that kind of information, but he keeps delaying the or perhapshelporganizethem?Smithrepliedthathehasplanstogothe tant precedent. impor this out pointing for Dewey Fred to Thanks appropriate. more qual ity. Something like decorative Ed Sander’s phrase “investigatory poetics” would be a holding or embellishment rather but arts” the “of research-ic search as “artistic” as opposed to qualifying a kind of art that might be re of kind a qualify to seems it as inasmuch problematic is term The Corp., 1972.ReissuedbyMisticFireVideo, 1989,VHS. 1970 From an interview in New York ReviewofBooks, Irascible,” Last Boxer,“The Sarah in quoted Sterne Hedda artist The , produced and directed by Emile de Antonio, 116 min., Turin Film . To make matters worse, “artistic” does not generally mean generally not does To“artistic” . worse, matters make 9 in which not all questions have to be faced, in which in faced, be to have questions all not which in merit our support Painters Painting: The New York Art Scene 1940– December 23,2010,43. . In this way, the efforts of the new ------Researcher for Research of Abuse Vice-Versa”in and published and Art Use “The of version adapted an is text This 9 8 7 6 5 4

viu.ca/~johnstoi/nietzsche/history.htm. Johnston (Nanaimo: Vancouver Island University, 2010), http://records. Nietzsche, Friedrich From aconversationwiththeartist. 2010): 34. and Conflict,” Discipline as Research Artistic Resistance? of “Aesthetics Steyerl, Hito held attheUniversityofGothenburgin2009. From public lecture “The Art Text Art Scene1940–1970 film the of scene a from Paraphrased DC: SmithsonianInstitutionPress,1998),250. sues inPublicArt in Sculpture,” as Reclamation Land “Earthworks: in lished pub Morris, Robert by talk a in quoted remark a from Paraphrased , ed.JannekeWesseling (Amsterdam:Valiz Publications,2011). MaHKUzine, Journal of Artistic Research , eds.HarrietF. SenieandSallyWebster (Washington, The Use and Abuse of History for Life for History of Abuse and Use The , directedbyEmiledeAntonio,1973. See It Again, Say It Again: The Artist as Artist The Again: It Say Again, It See —Writing In and Through the Arts,”

Painters Painting: The New YorkNew The Painting: Painters , no. 8 (Winter , trans. Ian trans. , Critical Is Critical - -

67 Jeremiah Day 68 tion ofcatharticfreedom. daily life and from practical necessities, sometimes even granting it a condi ability to renew an experience of the world and to free it from the habits of into his own dwelling, to inhabit the world; and world the transform to need essential his satisfy to man allow manner,to art’s capacity to free the world from its grudging extraneousness and, in this dimensions oftheartisticexperience: parallel two as this described Jauss Robert philologist German experience. Their “mystic”naturedependsonthispeculiarabilitytotransformourlife itself andtothepowerthatartcanexertuponit. of reality; aspects that art aids in once again making visible. aspects They relate to life “hidden” certain concerning as them of conceive to is suggest I What today? truths” “mystic these describe best we can how But 2009. Biennale Venice 53rd the of visitors welcoming Pavilion, American the of entrance the at ago years two reappeared 1967, in Nauman Bruce by made “The true artist helps the world by revealing mystic truths.” This statement, Art as a of artistic practices of late modernity, along with their historic foundations. historic their with modernity, along late of practices of artistic peculiarnatureinterpretthe us help may that issuesintroducesome to like thought, toimprisonnotonly ourbodies,butalsominds.” tanks and bulldozers which aim to flatten differences, to reduce thoughts to againstthewieldstrongest motivationsweweaponthe its is and art) (of es this passage, affirming that “through its very fragility, the plurality of languag University,Iuav explainedtheRella Francointerestof traditional of realms sensations. Ten years ago, when we began introducing the visual arts into the ence—adiscovery theofworld madewondersof andsurprises, bodyofand experi cognitive knowledge—a of form a becomes art perspective, this From Way of Thinking of Way

1

poiesis —poietic power—consistingin

aesthesis , the work of art’s 2 I would now a - - -

of the total work of art. Gilles Deleuze observed that “philosophy,and that art observed Deleuze Gilles art. of work total the of dream modern the on set definitively sun The synthesis. unitary new a for search a than disciplines singular the within dilemmas internal of result a more be to appeared boundaries disciplinary traditional the beyond step to “totality.”artistic need rediscovered The a of framework the in differences form the very essence of the different practices and sweep away the existing a conclusion in terms of the creation of a new “art form” that would trans question posed by the new postwar condition no longer seemed to envisage crucial the forms, artistic various the between dialogue desired the for As and “modern”continuity. the end of World War II and the dramatic debate concerning reconstruction nine century.with teenth close “conclusionless” a to came matter enduring This the of half second the in Wagner Richard by formulated originally later debates of the 1950s, may be understood as a development of this idea the to Manifesto Bauhaus the from arts,” the of “synthesis the of question entire the that underline to sufficient is It art.” of work “total the of cept Todaycon the on reflections our develop further to possible longer no is it same foundation. the sharing all as thus and language, single a of variations uninterrupted as objects everyday of design the and architecture, sculpture, painting, recast it arts: the between dialogue interrupted the of resumption the for allow to had style new the of coherence The life. daily of forms various the even and expression, artistic of universe entire the concerned style” “modern a for search The arts. the of unity the reestablishing at centuries—aimed eth twenti and nineteenth the experiments—straddling numerous the to ing The “total work of art” may be read as a key phrase of modernism, pertain M arco De Michelis

- - - - -

69 70 Art as a Way of Thinking porary art. contem of “architecturation” an as behavior this described Osborne Peter there recognizing the processes and events taking shape. English philosopher of domestic dwellings. And they critically observe the places of everyday life, zones private the even and areas, public urban landscapes, natural toward The visual arts look beyond the limited spaces of art galleries and museums, their own habitual boundaries, of exceeding their limits, and of overlapping. cinema, and theatre, seem involved in a controversial process of oversteppingdance, music, unlike notarchitecture, and arts visual The approach. ernist mod traditional the to alien completely thus, and, discipline singular each within from generated problems as architecture and design, art, between disciplines. variousHence, we the may interpret of the nature activity of the of contemporary fields relations traditionalestablished the fusion—of the revision—butnot andexpansion the characterizedby“asymmetric” space, new a as described be may It arisen. has condition innovative completely and interesting, tremendously late-modern, distinctively a Consequently, for internalreasons.” science comeintorelationsformutualresonanceandexchange,butalways Architecture may be described, within the field of art, as a tool for intro for tool a as art, of field the within described, be may Architecture the professional and academic territories of planning and building practices. ous “between-disciplines” condition, closer to that of art exhibitions than to ambigu an share to seem They Park. PotrcˇKyong Marjetica or including artist-activists, of that to likeness strong a bear works whose TeddyCruz, and Studio Rural like architect-activists or Scofidio, & Diller on), so and Eyck, Teamvanprotagonists Smithson,Aldoof(Alison the Xof some and tothose of art and art exhibitions as part of this procedure: Yona Friedman architectureof territories traditionalthe from centurytwentieth the of half second the of architectsexperimental most the of some of “migration”the consider to legitimate therefore is It work. artistic the into elements tural architec drawing practices, of contamination the in interest growing even constant,andrevealathese of Nelson: allMikeSchabus andHans of tions installa sculptural the Park; Kyong and Muntadas Antoni of vestigations in conceptual the Matta-Clark; Gordon and Smithson Robert of work the ernism with a social content,” social a with ernism observed, architecture is the emblem, the symbol, of our desire for a “mod Wall Jeff As issues. collective or social specific to related meaning ducing 3 Jan De Cock’s monuments; Dan Graham’s seminal masterpieces; 4 and even Osborne noted that “architecture that noted Osborne even and ------

fulfillment of utopia consists largely only in a repetition of the continually the of repetition a in only largely consists utopia of fulfillment the observed—that general—he in say perhaps could “One sound. of speed the at traveling of and planets other visiting of possibility the and vision, called to Adorno mind W.that certain utopian dreams had, in fact, been achieved: tele Theodor Bloch, Ernst with debate famous a during 1964, In recurring failures.Howcanwestillconsiderutopiatoday? of history a as appearing history its tradition, modern the by discredited completely was that idea utopia—an of notion the to appeal to not ficult dif is it cases these In Potrcˇ’sexperiments? Tiravanija’sgroup interpret Rirkrit or otherwise practice we could How practice. visionary a as art of conceiving of possibility the rediscover also artists impetus, social original its and architecture modern of traditions the of rediscovery the Through poses himself as an artist—the process suddenly becomes devoid of interest. pro Libeskind Daniel or architect an becomes Acconci Vito status—when very their change finally to confines disciplinary the beyond move dialogue the of protagonists the When relationship. the this of in asymmetry precisely ambiguous lies interests mutual these of significance The problems. Yona Friedman spoke precisely of this in of theoptimistichyper-technological visionsofthe1960s. even not and past, the of utopias totalitarian rigid the of question a longer escape utopian lures, to cease believing that “something is missing.” It is no to unable seem Todayartists Biennale. Venice the and documenta cluding in exhibitions, art international large-scale within rather but publications, professional in or studios architectural in much so not happen to seemed this years, recent In resurface. periodically they hence, and, memory our from cancelled ultimately been not have visions these Friedman, Yona of or Constant, of Superstudio, of Metabolists, Japanese the of Archigram, of Even if we no longer live in times of fantastic futuristic visions, such as those our culture.And,infact,itis. of element ineliminable an is perfection impossible of condition a of point the to improvement and transformation its imagine to desire the that lives. And it which in world the of imperfection the of aware remains manity hu that implies missing” is “Something statement. Brechtian known well a on drawing Bloch, rebutted missing,” is ‘today.’”Yet,“something same is an archive of the social use of form,” of use social the of archive an is 5 Utopies réalisables or of the socialization of spatial of socialization the of or , 6 claiming that - - - - -

71 Marco De Michelis 72 Art as a Way of Thinking coming “the seismograph of events and movements pertaining to the future.” way,be this in and, relationship” in thinking and feeling, Seeing, […] tion. the industrial society and to translate the new findings into emotional orienta yet-unseen ranges of the biological functions, to search the new dimensions penetratecrucialofprocess,functionsocial “tothiswithina on take toasked til it fused itself in the magnificent totality of a “design for world. living.”Design penetrated the various Andlayers of artlife and wassocial organization, un existen deep a of philosophyperceivewomentialthemselvesandtheconcerning men in expression how an was art) (and design Moholy-Nagy, For standing andtosignificantlycomecloserthetotalityoflife. under its improve to process the in stage each consenting while senseless, technology,mechanical anonymous and craftsmanship individual between expressive form to another, making any distinction between art and non-art, transforming and interpreting everyday life, cannot be for isolated in separate territories. These tool flow from one and process critical a as arts, States: the United the in arrival his after shortly ago, years fifty over penned Moholy-Nagy’smanifesto, László recall to wise be would it point, this At discontinuous centers. of constellation a web, the in distributed islands utopias, of archipelago an superfluous: them between communication making of point the to enclave, each of identity cultural and political specific the and character “liberal” cally recognized this distinctive aspect of Friedman’s specifi thought: its plural and Jameson Frederic philosopher American that coincidence no is It peculiar answertoaconditionofdissatisfaction… And thisiswhatwearestill dealingwithtoday. their own utopia and “each utopia would be peculiar to a precise group,” which small groups of individuals may dedicate themselves to the search for the global city could be interpreted as a network of “urban villages” within Friedman, For universality. their of overcoming the represents fulfillment their of condition The consent. popular and solutions technical of avail ability ready a dissatisfaction, by justified form, still may visions utopian today.nonetheless, rampant And, so connotation pejorative acquired and ironic the has term the that failures their to due precisely is It dangerous. even are but impossible only not are utopias universal age, and day our in 7 a ------8 8 7 6 5 4 3 2 1

László Moholy-Nagy, Ibid, 179. translation. Yona Friedman, Ibid. Ibid. 88–101. d’art?,” l’oeuvre est “Ou Osborne, Peter sity, 2006),256–63. Venice, in the inauguration of the 2000–01 academic year of the Iuav University of dell’arte,” sapere “Il Rella, Franco stanz: Universitätsverlag,1972). Jauss, Robert Hans 1991–2006: Inaugurazioni accademiche Utopies réalisables Kleine Apologie der ästhetischen Erfahrung ästhetischen der Apologie Kleine Vision in Motion lectio magistralis lectio (Paris: Éditions de l’éclat, 1974); my (Chicago: Paul Theobald, 1947). Multitudes TR Multitudes (Venice: Iuav Univer on the occasion of occasion the on (Winter 2007): (Kon - -

73 Marco De Michelis 74 It is trivially true, of course, that applied science and technology make and make technology and science applied that course, of true, trivially is It are makingartefacts,orthings thatdonotnaturallyexist). they is, (that word that of meaning old the in also art, doing are scientists contemporary that and word, the of meaning old the with accordance in without knowing it. I shall argue that contemporary artists are doing math, play homme, Molière’s in character the like just sense, a In third centuryADwrote: the from author An mathematics. by mean we what to similar something “everything that is taught.” Only after Aristotle was the term used to denote ( practice ( knowledge when time the At tent. ex some to taught be history,can art just not practice, art that believe do I suppose that art scholars and artists who are mostly teachers in art schools claimed thatartisvanishingintophilosophy. been even has it today and thinkers, are artists visual that argued been has Vinci’s time, in order to support the idea that art can produce knowledge, it da Leonardo Since eye. the and hand the with do to has that and artifacts produces that practice a is art that and head, the in is thinking that cess, pro thinking a of product the is knowledge that believing to used Weare What theScientist’s Eye called mathematics. is things these of theory the reason this for and them, studied having first without name this by called are that things understand can one no but studied, being without even performed be can music popular and poetry rhetoric, that say Aristotelians named? so mathematics is Why Tells the Artist’s Brain who spoke in prose without realizing it, we are speaking in math in speaking are we it, realizing without prose in spoke who tekhne¯ ), the original meaning of the Greek word Greek the of meaning original the ), 1 epistêmê ) was not yet separated from separated yet not was ) e orei gentil bourgeois Le matematiké was

- - - ht h ats’ bsns i t rpeet h wrd hog non-linguistic entities (images). through world the represent to is business artist’s the that the world through objects that are linguistic entities (scientific theories), and scientist’sthe represent that to knowledge, is propositional business is edge The background assumptions of Kuhn’s argument were that scientific knowl taining knowledge. ob of end the to means but themselves in knowledge not are they because scientist, the for ancillary are knowledge of forms visual that out pointed book, famous by his raised debate the in noticed were science and art between similarities some When phenomena. artificial of production the through phenomena do things. What I’m saying is that pure science obtains knowledge of natural means forthescientist,andviceversa. are artist the for ends are what activities, of or products of realm the in puzzle is the goal, and the aesthetic is a tool for its attainment. Whether technical solved the hand, other the on scientist, the For objects. such produce to order in resolve must he what are puzzles technical objects; aesthetic of production the is goal artist’s the mean, may “aesthetic” emphasis upon these parallels obscures a vital difference. Whatever term exclusive an But […]. perception of modes established by governed and size that the scientist, like the artist, is guided by aesthetic considerations which must be resolved in the pursuit of his craft. Even more we empha […]. The artist, too, like the scientist, faces persistent technical problems activities scientific of by-products best at are hand, other the on tions, illustra scientific The […]. produce to aims painter the which object of sort the are They activities. artistic of end-products are paintings The h Srcue f cetfi Revolutions Scientific of Structure The P 2 Garbolino aolo Toa Kuhn Thomas , - - - -

75 76 What the Scientist’s Eye Tells the Artist’s Brain all impartialobservers. which is “neutral” with respect to theories and intersubjectively available to language, observational an by described evidence empirical to comparison by tested be to are Theories language. theoretical a in written sentences, of sets are theories that and knowledge, propositional is knowledge that was view”), positivist “the simplicity of sake the for it call (let’s century tieth The standard view among philosophers of science at the middle of the twen Science as Practice used todo,make,orchangethings. is reality causal underlying an which in process a is intervention and world obtained within laboratory walls. Both artists and scientists intervene in the does not exist naturally, at least not with the purity and saliency that can be that phenomenon a environment laboratory a in producing by effective—is probable produces beliefs about the world out science there in many ways, and one of them—the stance: most empiricist, and modest, more a take I physics, to referring phenomena” of “factory term is science modern that fact the of implications the of aware become have we edge: knowl scientific and science of understanding our in occurred deep has change a years thirty last the in that is fact second The senses. the perceived through be can that and happen that things of meaning classical the in phenomena, being into bring and events, produce they rather but objects,” interventions that do not make representations: they do not make “aesthetic in engage artists contemporary that is first The meantime. the in emerged have facts two and lines, these wrote Kuhn since elapsed have years Forty concept of“worldmaking”: widersketchmetaphysicaltoa it visionremindingNelson ofGoodman’s us This claim has been forcefully defended by the late Paul Feyerabend, who used “natural” and“artificial”hasbecomemeaningless. rary artists are thinkers, scientists are artisans, and the old division between netic engineering, this has become true of life sciences as well. If contempo identify withBeingitself. Being, build a variety of manifest worlds that material, they often, unknown but mistakenly,largely a on working who, artists, are researchers Or [...]. Being material unknown largely a from world a shape to ing try artisans or artists like function [...] scientists individual way, a In intervention . The French philosopher Gaston Bachelard used the used Bachelard Gaston philosopher French The . 4 3 and in the age of ge of age the in and - - - - - to scientificpractice. central as techniques experimental and experimentation seeing by chotomy Andrew Pickering, among others, has challenged the theory/observation di and Gooding, David Galison, Peter Franklin, Allan Hacking, Ian like ence sci of historians and philosophers by forward put approach, new The ods. which developed, meth experimental are methods scientific that view assertion the seriously takes balanced more and new a 1980s, the in Starting scientific puzzlesmustberesolvedinordertoproducethatphenomenon. many that and phenomenon particular a of production the is goal the tists of that scheme. Both groups overlooked the fact that for experimental scien within a particular conceptual scheme and are understandable only in terms anti positivistspossibility,thatdenied assertingexperimentscarriedoutthat are whereas tools, epistemic universal through done be can testing that nomenathelaboratoryin meansonlyatoward thisend.Positivists claimed in testing experimentstheories, considering the of complex practical activity role of producing phe the on focused both antipositivists and Positivists into sitional in content, and that all forms of mon with the positivist view, the idea that all scientific knowledge is propo com in maintained, it but works, art into objects mere of transfiguration the Danto’sabout C. ideas Arthur on and 1980s, and 1970s the of science of views radical most on impact important an had view antipositivist The good to experimental practice. prior always is theorizing scientific that and theory, by seriously infected always are observations describing sentences that claimed they quence of the difficulty of tracing a border between theory and observation: challenged thepossibilityofa“neutral”observationallanguageasconse Feyerabend, Paul and Kuhn like antipositivists, so-called the 1960s, the In in contextualizedapplications ofthetheorytoproblemsolving. transmittingthrough practice setmentalofa andmaterial technologies used theory’saing formalexpressions, ratherisbusinessbutthe adopting of and is propositional knowledge. Practicing a theory is not a matter of understand knowing-how network-based,and laboratory-based, and experimental skill-based, largely practice isembodies a and practice by driven is view, science recent this In knowing-that that cannot be entirely captured by the notion that knowledge . 5

knowing-how are to be transformed ------

77 Paolo Garbolino 78 What the Scientist’s Eye Tells the Artist’s Brain Collider in Geneva, where scientists are trying to make in the machine a physical state,machine the so-calledthe Higgs in boson, which, make according to to theory,trying existed are scientists where Geneva, in Collider in the most sophisticated machine ever built by mankind, the Large Hadron occurring phenomena the and bacteria, modified genetically by synthesized insulin lasers, are artifacts laboratory-made of examples Other photons. with electrons hitting by billiards play can we that discovered 1923, the in who, Compton Arthur physicist the after called so is effect Compton The in 1982: create new phenomena, as Ian Hacking in particular has stressed. He wrote and measurement, in precision add equipment, and instruments new check simulations), computer include that methods through of (today domains phenomena new explore Experiments theories. testing for data of vision pro mere the beyond knowledge of production the in plays it roles of riety va the showing forefront, the in experiment put has turn” “practical The Art and Science in Experiment terial resources, in which “the manipulative hand and the attentive eye,” ma and intellectual and instruments, competences, skills, of networks plex com from emerge that practice scientific of patterns stable of product the is knowledge century,scientific the of half first the of turn” “linguistic the to opposed as science, of philosophy in turn” “practical this to According use IanHacking’s words,playarole. ture exceptpossiblyonvanishinglyrareoccasions. created bytheexperimenterarelikeplutonium:they donotexistinna events and effects phenomena, the of Most trade. the of jargon the use to “events,” of creation the is phenomena of creation the of extension toelectric effect,theComptonandsoforth.A recenthigh-energy pho the “effects”: call to began 1870s after physicists what are Many technology.modern much of source the and nature to keys the physics, of touchstones the are phenomena These state. pure a in exist naturally not do that phenomena being into bring Experimenters phenomena. of ied roles of experiment […]. One chief role of experiment is the creation life ofitsown.Sowelackevenaterminologytodescribethemanyvar value only when they test theory. Experimental work, they imply, has no of say,are philosophers the have Experiments, theories. of science histories become of histories but method, experimental is method entific sci that us told have may teachers school grade Our experiment. than neglected systematically more is science of philosophy the in field No 7 6 to ------ence that help us to “extend ourselves.” “extend to us help that ence sci of methodology new genuinely a constitute simulations computer that claimed been has it and produced, physically be cannot that situations ing lations, which allow scientists to test hypotheses and probe models in limit namely,sciences: social simu and computer natural the both in important more and more becoming is creation phenomena of practice new Today a impurities, clearing away unwanted clutter, presenting in unusual settings.” out filtering concomitants, common unravelling involve may This salient. them render to contrived context a in features those presents It […]. plifies exem it features the to access epistemic “affords states, Elgin Z. Catherine as artwork, An life. everyday in seen be easily cannot what see to people tures of the world, and in doing so they make these features salient, allowing fea certain traits display,underscore, their highlight, in that convey ena or tions but representations as well—produce knowledge by creating phenom interven only experiments—not Artistic events. natural about bringing in keep them separated against the background of all other factors that concur Scientific experiments make “visible” certain features of the world, and they ton, andofmanyothers. vided a full theoretical explanation of the phenomenon produced by Comp pro mechanics quantum of field born later,newly years the few A course. a featureoftheworldthatcannotbe“seen”whennatureislefttoherown explanation best the turned out to be that photons, like end, electrons, behave as if they are particles, the in and, artefact the of property surprising energy.this lost explain had to they toiled that He out found and artefact), (the rays the of scattering the analyzed setup), artificial (the plate graphite a against X-rays fired Compton Arthur mean: I what of example simple a the natural course of things. The above-mentioned Compton effect provides in eyes naked by observed be not could that world the of features certain It happens that events produced in artificial settings allow scientists to “see” happens inthescientificcreationofphenomena. what is running in scientific labs, or so we suppose. But let us examine what is experimentation “real” but schools, art our in laboratories have we and metaphorically, speaking are we experiments,” “artistic of talk we When anymore. universe actual the in observed be not can and Bang Big the after shortly 9 Creation of virtual phenomena phenomena virtual of Creation ------8

79 Paolo Garbolino 80 What the Scientist’s Eye Tells the Artist’s Brain Andrew Pickeringhaswrittenofscientificpracticeas a“performance”: the instrumentalandonlyrarelyaretheoreticalconstraints altered. are sometimes only while modified, are constraintsexperimental the often of. A successful experiment realizes a trade-off between all these factors: very machines:the device for emitting X-rays and the material the target ismade energytoward atarget. Instrumental constraints have to do with laboratory of source a pointing of techniquethe example, our experimentalsetup—in the with do to have constraints Experimental constraints. theoretical the fect, the theory accepted at his time about the behavior of X-rays was among ground from which the “event” must be isolated: in the case of Compton’s ef back the fix constraints theoretical Scientific constraints. experimental and tween theory and phenomena, taking into account theoretical, instrumental, be adjustment mutual of process a of output the is decision cases, both In “done” andreadytobeexhibited. been working for many years at the cide when the sought-for result is fully accomplished: Marcel Duchamp had de to have Artists produced. been has for looking are researchers event” is indeedagenuinephenomenonamongtherawdata,whether“golden there whether deciding of problem the face Scientists done? well is work the When end? experiment the does When problem: common a share still experiments art and science considered, are differences these of all When world” isneeded,thistheoryexpressedinnaturallanguage. “art an of theory a if Even reasoning. common-sense by made be can data activity,dividual visual from deductions and tools, high-tech need not does in an usually is Art languages. formalized of help the with made are data from inferences and phenomena, “see” to instruments sophisticated and groups research large needs normally science Contemporary experiments. Science and art are, of course, very different in the ways they carry out their divide between artandscience. a trace to difficult be sometimes can it where territory border a is rm h hmn n, hs ae te om f daetc f resistance of dialectic a of form the takes thus end, human the from agency,asymmetrically,of seen dance The […]. machines in capture to entists are human agents in a field of material agency which they struggle Sci fore. the to come agency material and human of doings the mance, perfor the which in one, performative a is science of image basic My 10 Large Glass before deciding that it was ------es nelnugs ae pkn h cls hm pdis o “creoles”), or procedures. and “pidgins” objects in embodied are which them calls (he spoken are interlanguages” less engineering meets theory, scientific subcultures meet each other, and “word experiment, meets theory where Web) the by connected labs of (networks zones virtual or (laboratories) located spatially zones,” “trading of concept the forward put has Galison Peter science. of enterprise the to strength and stability brings appearance, with odds at that, plurality this precisely is it but practices, scientific of plurality a is exists indeed experimental What exists. “the” method nor method scientific “the” neither that say can We no simple responsetobegiven.” is there me to seems it theory?’ scientific a is ‘What asks someone “If What isScience? What isArt? constitution assignstoaestheticalexperience. bodily our that constraints physical the studying but aesthetics, in tionism of neuroaesthetics, namely, not the pursuit of some sort of physicalist reduc scope the is study.this to Maybe begun has neuroscience that and makeup perceptual our of have artists many knowledge” “tacit the to theories art in science, and much more “soft” in art: they range from explicitly asserted physical and social settings of the works. Theoretical constraints are “hard” the and employed, are they which with devices the used, are materials and tools which in way the as understood be can constraints experimental and In artistic experimentation, instrumental constraints are tools and materials, successful theories into the framework of their successors, and they believed and earlier incorporating of process the as change scientific saw Positivists of scientificchangeandthe overallpictureofscience. idea our for consequences important it with brings picture This piecemeal. and partially but “paradigms,” or schemes conceptual great in once at all even wheretherearenotgloballysharedmeanings. Meanings donottravel possible is sites and problems specific around coordination and boundaries human strategy of response to resistance, which can include revisions include can which resistance, to response of strategy human active an accommodation and practice, in agency of capture intended and accommodations, where resistance denotes the failure to achieve an surround it. that relations social and gestures of frame human the to and question to goals and intentions as well as to the material form of the machine in 11 12 13 Knowledge moves across moves Knowledge - -

81 Paolo Garbolino 82 What the Scientist’s Eye Tells the Artist’s Brain He alsomentionsthemetaphor ofthecableandthread: crophysics Galison’s Peter from Adapted periodization. Intercalated 1: Figure of abrickwallasvisualanalogyforthisview: image the offers Galison practices. other the in breaks concomitant involve dynamics of change, and breaks in each of these practices do not necessarily and time “systematic” own its has each because time, same the at change not do theory and experiment, instruments, which in views, these with ed An instruments andexperimentalpractices. shared by field scientific any in provided ground common the overlooked and practice is science that appreciate to failed both but observation, over theory,over observation privileged ists theory privileged antipositivists and Positiv observation. of standards in change a it with carrying and schemes conceptual incompatible involving shift” “paradigms gestalt-like dramatic tive view of scientific change is possible, and claimed that theory change is a cumula a building which upon bedrock the is language observational that idea the rejected Antipositivists language. observational “neutral” the by that theory change occurs when needed to accommodate new data expressed intercalated periodization gle, golden thread that winds its way through the whole. No one strand sin a having by not strength its gains cable the strands, intertwined its With[…]. cable a of image the invoked Peirce Sanders Charles 1868 In separately considered. subculture each in occur breaks deep while even whole, a as continuity making, experimenting, and theorizing) that accords physics its sense of its strength, it is this intercalation of diverse sets of practices (instrument of much wall the give wall brick a in joints between offsets the as And, just […]. wall brick rough or fence stone irregular an as whole a as This intercalated periodization would depict the history of the discipline (Chicago: University (Chicago: of Press, Chicago 1997). 14 of the history of science can now be contrast Image and Logic: A Material Culture of Mi of Culture Material A Logic: and Image - - - - - and influence.” the same artistic problem, “related to one another by the bonds of tradition bricks have partially autonomous tempos: something can be made using old whose it, over all climbing sequences” “formal by covered wall, brick ivied an like looks change artistic of process The theories. and setups, devices, techniques, and instruments of choice the of effects the properties—are cal physi as well as relational embody can traits—which whose events) and We can say that artworks make up formal sequences of phenomena (objects According toKubler’s idea,everyworkofartis: experiments” of progression “linked a view Time of Shape The Kubler’s George in fibers of bundle the of metaphor the find also can We limited strands, no one of which held all the weight. Decades later, Witt many of interleaving the by strong made were time Peirce’s of bridges massive the gripping cables steel great the Rather, whole. the defines argument—that isresponsibleforitsstrengthandcoherence. of patterns different of intercalation the science, of disunification the is laminated, finite, partially independent strata supporting one another; it community—the scientific the of disorder the These is […] It deep. fibres.” cut analogies many of overlapping the in but length, whole its of the thread does not reside in the fact that some one fibre runs through number as in spinning a thread we twist fibre on fibre. And the strength reflected on what it meant to have a concept. “We extend our concept of genstein used the same metaphor now cast in the image of thread, as he skin areofdifferentsystematicage. the and antiquity,eye biological the different and of are nerves the and any other organization of matter, such as a mammal, of which the blood like age, own its with each aspects, or traits, of clusters also having but age, systematic different a with each traits, only not having complex A scious forethoughtorrigorousplanning. con by rarely and chance, by largely and juxtaposed are They long, brief. many mostly happening, of lengths fibrous variegated of consist therefore bundles cultural The problems. its to solution the and need each of duration the as varying fibers the of lengths the and action, of theater particular a upon need a to corresponding fiber each with dles, We can imagine the flow of time as assuming the shapes of fibrous bun 18 , where each fiber is a “formal sequence” that is in his in is that sequence” “formal a is fiber each where , 20 17 19 that are different solutions to solutions different are that 16 - - - -

83 Paolo Garbolino 84 What the Scientist’s Eye Tells the Artist’s Brain 2 1 the in forms sequences ofartisticphenomena. the shaping to contribute they and world, the of things are objects physical as well as properties relational These settings. particular and people, objects, physical among relationships encode artefacts Artistic stilled.” completely was never things of stream the but […] often ends dead into has out run it and times, many branched has series “The art: call we what up make that things of series” “continuous the and fibers” many of ping “overlap the seeing from us hinder not does this but art?” is “What tion strands” of scientific practice. No straightforward answer can “intertwined be given to the the ques of view the hinder not does this but science?” is “What question the to answer simple no is there that learned Wehave sequences. formal of periodization Intercalated : 2 Figure of continuityasawhole. and practice theory,embodied in instrument, the traits of of objects and patterns events that different art is given of its sense intercalation this by is It so forth. theory,new a to according way old an and in materials new using made be theory,existing an can to something according and way new a in materials tion and Change Thomas Kuhn, entifico grecoelascienza moderna in Russo, Lucio by Quoted 17–24. 160, Teubner,1899–1974), (Leipzig: IV vol. 1976, ed. reprint vols., 5 omnia,” supersunt quae Opera Alexandrini “Heronis Anatolio, 21 The Essential Tension: Selected Studies in Scientific Tradi (Chicago: University of Chicago Press, 1977), 342–343. La rivoluzione dimenticata: Il pensiero sci pensiero Il dimenticata: rivoluzione La (Milano:Feltrinelli,2003), 224. - - - - 12 11 10 9 8 7 6 5 4 3

Today in theory?,” scientific a is “What Suppes, Patrick Pickering, Technology Wilson, Stephen ChangingFace of Experimentation,” The Simulations: Computer and Measurements, “Models, Science of Philosophy Winsberg,“Simulated Experiments: Methodology for Virtuala World,” cism, and Scientific Method Paul Humphreys, (1993): 17. Catherine Z. Elgin, “Understanding: Art and Science,” Topics Realism,” Scientific and “Experimentation Hacking, Ian tory andPhilosophyofScience Philosophers,” and Historians for “‘Style’ Hacking, Ian Practice Pickering, Andrew 1992); Press, Chicago of University 1989); Andrew Pickering, ed., eds., Academic Press, 1990); David Gooding, Trevor J. Pinch, Simon Schaffer, Gooding, Microphysics of Galison, Peter 1987); Press, go Galison, Peter iment, Right or Wrong (Cambridge: Cambridge University Press, 1986); Allan Franklin, Franklin, Allan 1983); Press, University Hacking, Ian Other ArtsandSciences Elgin, Z. Catherine and Goodman man, Good Nelson 1999); Press, Chicago of University (Chicago: Terpstra Beauty of Richness the versus Abstraction of Tale A dance: no. 1 (January 1996): 27. See also Paul Feyerabend, Artisans,” and Artists, “Theoreticians, Feyerabend, Paul (Paris: PUF, 1951),10. Bachelard, Gaston The Uses of Experiment , ed.SidneyMorgenbesser (NewYork: BasicBooks, 1967),63. as f Worldmaking of Ways , no.13(1982):154. (Chicago:UniversityofChicagoPress,1995). Experiment and the Making of Meaning of Making the and Experiment The MangleofPractice (Cambridge,MA:MITPress, 2002). o Eprmns End Experiments How ersnig n Intervening and Representing Ciao Uiest o Ciao rs, 97; David 1997); Press, Chicago of University (Chicago: nomto At: nescin o At Sine and Science, Art, of Intersections Arts: Information Extending Ourselves: Computational Science, Empiri L’activité rationaliste de la physique contemporaine physique la L’activitéde rationaliste (Cambridge: Cambridge University Press, 1990); n. 0 20) 152; agrt Morrison, Margaret 105–25; (2003): 70 no. , (Indianapolis:Hackett,1988). Philosophical Studies (Oxford: Oxford University Press, 2004); E. (Cambridge: CambridgeUniversity Press, Idaaoi: akt, 98; Nelson 1978); Hackett, (Indianapolis: Science as Practice and Culture 23,no.1(March1992):4. Image and Logic: A Material Culture Material A Logic: and Image , 21–22. eocpin i Piooh and Philosophy in Reconceptions Ciao Uiest o Chica of University (Chicago: h Nget f Experiment of Neglect The Cmrde Cambridge (Cambridge: , no. 143 (2009): 33–57. Philosophy of Science of Philosophy (Dordrecht: Kluwer (Dordrecht: Conquest of Abun Synthese Studies in His in Studies The Mangle of Mangle The Leonardo Philosophical (Chicago: e. Bert ed. , , no. 95 Exper 29, ------

85 Paolo Garbolino 86 What the Scientist’s Eye Tells the Artist’s Brain 21 20 19 18 17 16 15 14 13

Ibid., 2. Ibid., 99. Ibid., 122. Ibid., 33 (New Haven,CT: Yale UniversityPress,1962),85. Kubler,George Ibid., 843–44. Ibid., 799[Figure9.5]. Ibid., 19. (Chicago: UniversityofChicagoPress,1997),46,781. Galison, Peter mg ad oi: Mtra Clue f Microphysics of Culture Material A Logic: and Image The Shape of Time: Remarks on the History of Things of History the on Remarks Time: of Shape The 87 Paolo Garbolino 88 are certainly attacking us with the full force of one-dimensionality, be it in one-dimensionality,it of be force full the with us attacking certainly are which and into, embedded and of part are we that structures economical and political the are sharks The drowning. than rather waving, of act the the while this very the deep blue scary waters full of nasty sharks and terrible currents—and all place a come very This do it. in it, at it, with it, and on it. The question is not We are game. overall the of part is attention of economy this production, of knowledge process self-critical and situated, agencies. committed, As a long-term government by or galleries, and museums by created attention of economy the against) even (or of outside of being of illusion an provide or outside function not should PhDs practice-based that convinced am I perimenting? ex of pleasures the enjoys expressively and explicitly that research artistic practice-based content-driven, for survival of chances the are what touch: culture. Or to state it another way, with a bit of a deliberately melodramatic of production of knowledge within the fields of contemporary art and visual yet constructive. The task is to articulate the premises for an alternative way nor does it celebrate the bright future. The tone is sober, serious, and critical self-congratulary,nor nostalgic neither is tone The decade. last the during Academies Art Nordic the in field artistic educational the in working of es of practice-based PhDs. It is a line of thinking that is based on the experienc In this essay, I will reflect on and relate to the current chances and challenges The Quest for the the Participatory how in neutral or natural circumstances. This circumstances. natural or neutral in is not seeking to be articulated, searching for a way to way a for searching articulated, be to seeking not is Common Good and how is in the middle of learning the act of swimming, and Community what

we do, but but do, we how

is thrown into thrown is how we we be - - -

take processesofcoherenceandcontinuity: give-and- within thinking for quest the to good, common a for quest the to alternative an for need the on Aristotelian, Thomist a MacIntyre, Alasdair Thus, we need something else; we need an alternative. To quote philosopher let ourselvesbefooled. easily very so we which by month the of flavors and hypes the are currents schemes ofeconomicorbureaucraticrationale.Inthistrainthought,the that arguesforandwithanideaofacommongood thatisnottherebefore we remain at the scale of interaction that is small and face-to-face. It is a site and conflicts, and sites local to return we it, In model. one-size-fits-all a of This alternative sense of a practice is something that is based on the opposite being jerkedaroundbyexternalpressures. and to develop the internal closer changes and challenges get of a practice, to rather than is It slowly. so slowly, things doing of difficulty extreme the and potentiality inherent the comprehend to is It price. and volume, speed, of dangers omnipotent the from us distance to order in is This is. practice the integrity and intensity, of what a practice is and of what a participatory sensibility,and sense the but corners, street the or streets the not reclaim, must we that is production—means knowledge of ends the and values the What this Aristotelian frame—this long legacy of thinking differently about of capitalismandthedepredationsstatepower. effects corrosive the from themselves protect to need therefore that and ficient and independent form of participatory practice-based community for all those local societies that aspire to achieve some relatively self-suf In this situation what is most urgently needed is a politics of self-defense M ika Hannula 1

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89 90 The Quest for the Common Good and the Participatory Community around and start both articulating and acting upon what a specific type or type a specific what upon acting and articulating both start and around it turn to have later,we than rather Sooner not. is it what of strategy ing limit the following by much so gains only one far,and so gets only one dilemma, honest this to closer,do? stay we and closer, what come to do trying we when when And do we do What again: and again ask, to is It out of the acts we figuring process act the which continues. ongoing within frame a construct to order in but categories, of this forms fixed seeking does by not It excludes. and includes both practice a way, this Understood what onedoes,butofhowdoesit. “doing things professionally” is not of enough. It must be answered label in the ways not the of Admittedly, professionally. upon acted and done are practice implies that things we do a or try of to version do, to deep-seated use a a deliberate of shorthand, kind This practice. a considered not are out act and do we things of lot a implication, involved directly a as Therefore, also allows and encourages us to contextualize activity in a self-critical way. that practice a is ready.It never is and open-ended is setup a of type This more. even how it develop we worthwhile, could meaningfully,how more or it act do we could we that act that makes what asking doing, are we that acts very the on focusing start to able only not are way,we this Seen that isthenpassionatelyshared. knowledge extending and producing of character collective a has that and aims, and goals defined internally its furthering to committed is that tive, demanding list. We are searching a for indeed a then practice that is has requires a long-term and perspec needs practice a of type and kind this What cally extended.” systemati are involved, goods and ends the of concepts human and lence, excel achieve to powers human that result the activity,with of form that standards of excellence which are appropriate to, and partially, definitive of, those achieve to trying of course the in realized are activity of form that to internal goods which so through activity human cooperative established cially of form complex and coherent “any to refers practice a Aristotle, on based consequently,trajectory and long MacIntyre, the Alasdair Following Practice Conditions: ofOur Conditions The about consensus,butsomethingthatiscalledalovingconflict. way.not the is along It defined and described is that but begin, actions the 2 - - - - - and of which one of the routes is prioritized (as in alternatives, for example it; to added are requirements academic pre-fixed degree what to of and be; tions of how practice-led, content-driven, and experimental the activity can The most effective way to address this lack of clarity is to highlight the ques and when. another, but common to each system is that it is not clear what, how, where to stage university one and setting national one from varies anchored be to aims and floats research artistic which in way particular very This lenged. chal and new both are system university a of frame whole the within sits because partly enough, obviously is, This for.stand should they that perspective long-term that and stamina that ing lack exactly are rely often we which upon structures the Unfortunately, plan, andthemeanstoimplementthatplan.Orisit? tions, located in universities that have a clearly defined profile and institu long-term in place taking are research artistic in programs doctoral that fact recognized a is It simple. quite be to seems level structural a on Continuity and ontheindividuallevels. need to be answered for and contextually constructed both on the structural and cannot be taken for granted. As already underlined, all these “three Cs” lectivity is something that is not preexistent and that does not come for free, Col and Continuity,Commitment, of list for wanted and for wished This nasty sharksandterriblecurrents. to left certainly is frame structural credible and solid a without practice a Therefore, things. doing of failures productive and experiments ongoing the protects do: to needs it what does and course its holds that structure a within place taking not is it if lost is act committed serious, matter.Any that matters these of side structural the stress to importance utmost of is It its circlesoffriendswithwhomittalksandgetstogetherinacollective. fects of consciously being aware of its past, present, and future; and without ef of history its to linked is that continuity its without commitment; term long- its sustain that structures the without survives practice However,no trying toachieve. and doing actually is practice a of type specific this of version individual how and where artistic research artistic ------

91 Mika Hannula 92 The Quest for the Common Good and the Participatory Community the best results in the private sector, and that are led to believe it is worth is it believe to led are that sector,and private the in results best the tions that are asked to imitate the ways and means that institu sometimes bring out and universities the on squarely extremely sits blame The society. a in views and goods in exchanges varied organizing of model capitalistic The blame for the shortsightedness of structures does not go to the so-called remodeling thatseatforuptotenyears. constantly while seat same the on sitting are fact, in who, universities and institutions curators—in and writers, professionals—artists, many have we currently But planning). long-term excludes that appointment of formula years three-plus-three a on based is which professional, the of appointment the of duration the to runs reference (the years more three least at and fore be years three than more for structure the within embedded are both they that expect to it—is in active professionally agent individual the from is, structure—that a to commitment Toa consequences. for negative ask have to out turn that structure a within positions in longevity of lack this is It to it.Italsorequireslongevityofpresencewithinthestructure. ing at the site in question and understanding of the relevant issues connected and for stand tall for it requires a certain type of extensive back catalogue of work stand really to but easily, course, of comes, commitment for ing Ask admits. actually it than gravity and weight, professional competence, The problem with structural commitment is that it presupposes much more ment, but the latter also has other aspects that must be addressed with care. commit with found also are continuity of analysis above the in at hinted aspects the of many Granted, either. clear-cut very not is level structural a on commitment of nature the detail, in and nuance in scrutinized When of romance,wegetawallflowerboringsort. when it is too often treated like a backseat nothing, is that instead of flowers happens to a practice when it is not allowed to roam and really to experiment, what and that is problem The backseat. the in neatly located nature—is organic procedural, and messiness its practice—in the while wheel the hind be found actively is part control academic so-called the vision, of lack and in each individual case. Examples are vast of cases where, because of doubts ways fought when finding the balance between what leads and what follows perimental, half academic), but that statement denies the struggle that is al ex (half half-and-half is it that state and chase the to cut programs Many a practice-based one that is experiemental and/or a more academic version). ------(each of them guaranteed four years of a researcher’s salary). But instead of research artistic practice-based in PhDs of positions new twenty almost for funds new out gave and lobbied, and pushed was government The good. indeed was charitable, be to want we if it, of aim The 2010. in started den, way and for the wrong reason is the national artistic research group in Swe wrong the in things doing of case clearest The opposite? very the of amples ex of number growing a us gives and bites reality that it achieve, is why But right? to difficult very be not would it like seems duly, and truly This, we sharetheknowledgetowardwhichstrive. very specific context of what we talk about, how we talk about it, and how that construct to professionals committed of set this of responsibility the and chance the also is It shaped. and made be always endeavor,must they the preexist not do they elements, these all with as because and context, a need we short, In experiment. next the step, next the guard and guide then group of a professional audience to provide feedback for the comments that achieved when we do it alone. We need a collective aspect, we meaningfully need that be first actually can do we nothing since organized been tionally tradi has research way the is this field, specific the of Regardless opinions. and views critical giving and receiving and trial in engaging than and out; structing that first circle of an audience, that first encounter of trying things challenging enough for a group of professionals to come and together; than con possible, fruitful, it making than complicated more much not is This of eachother. there is a continuous and committed way of bouncing views and visions off how,is question that such located are it doing people the practice, a within together.The work to decide who persons of unit a or person single a by each other in intensity. This has nothing to do with whether a work is done to enough close not are agents those when and it, doing agents of volume certain a not is there when practice a not is practice a that is Aristotle lines of the in practice a of definition the in embodied argument The ward. straightfor most the perhaps is collective the of part the it, of face the On focusing on,thecontentofpractice. which we sit have lost more and more contact with, and creative craving for in universities and institutions the that played, is play a of type that ways the imitating and logic, quarterly on clock the setting enterprise, private of dress the on putting busy so are they that is fact unfortunate The so. doing - - - - -

93 Mika Hannula 94 The Quest for the Common Good and the Participatory Community as a bridge between the structural and the individual level, accentuating accentuating level, individual the and structural the between bridge a as function will Merleau-Ponty.first The Maurice from quotes two with start us let focus, of change this For out. things acting of act individual the to Now, side of research of I the artistic from will structural discussion switch Self Situated Conditions: ofOur Conditions The lovely storm. first the after away blown is that sticker cheap a like activity the of top on worst of the worst scenario: theory the as an ad embody hoc pasted element They that is stuck research. qualitative for criteria the near anywhere not luckily calling it research. It is an act of name-dropping since the results are happy-go- now before, did she or he work the with continues person each research process, either on a collective or an individual level. Consequently, specific their to the to added been having value with relevance home disappear and focus, and theme little significantly has that two or lecture a to listen bit, a eat bit, a drink hands, Shake what? do well, and, year a together once come but institutions ten in individually research their do They research. artistic for school national the in together are doctorates twenty paper,these On of act. all stated superficially a just excuse, an just ginning be the from was that something top, the on something added it Therefore, tique against spreading and cri scattering all the the positions heard around often had enough. body governmental the case, Swedish the in Certainly, lost cases. and locations different wildly into them sending and away them wasting of together,against, instead and for arguments and people, and things that brings manner collective a in done be must it and concentrated, everywhere. be and must It everyone, by done be to not is Research structure. a as have must practice research embedded and committed, serious, a what to cake the of piece a called artistic claim research. Unfortunately, to this decision is diametrically able opposite be would production) artistic of fields more (and artists more and money, the get would institutions more then because one best the be to believed was decision the surprisingly, so Not two oftherecipients. than more gets institution single one not that so money the and positions the out spread to decided it research, this do to institution an in eight) to six from (preferably people enough of concentration and volume necessary the generates and creates really it that so program this locating structurally - - 2. 1. set the tone for the articulation of a practice from a view of a situated self. then will second The two. the of connectedness intertwined necessary the down, take a step aside, and ask, hold on, what is going on? What is this is What on? slow going is what on, we hold ask, and where aside, step a is take down, this quotation, Merleau-Ponty second the to Moving already enoughofachallenge. made, more complicated than that, because dealing with the extended “I” is be not should it and not, is It work. we whom to next people and friends, relatives, defined) (professionally of circle third perhaps even and second, first, a from and by shaped family a but man, a of then family a is family—not This a include. to try and for feel we that ones the but them, of all Not us. effecting are that particles and parts is, process—that including the in by parts “I” very the of notion the expands that “I” of agent acting the of understanding an is It making. the in and move, the on constantly be must that but stable and given not is that collective self—a collective its with interaction and touch direct in be to need its and for wish its by ored col character its by also is that practice a within being-in-the-world a is It for whichweare. being-of-the-world with—the part and of part be to necessity and need the seen and acted upon as potentialities. There are no guarantees, but there are circumstances and our surroundings. It is for very good reasons that we are our effect to potentiality the have we time, same the At confront. and with deal we people the by surroundings, by circumstances, by con effected are stantly we which in situatedness a is It further. pursue to want and for we that practice the of content the making and shaping in participants and of part be to try we ways the is It mess. our is it and Wemess, a in are tainted. Weare innocent. not are we and outsiders, not Weare structures. our articulates Merleau-Ponty quotation, first the In come togetherintheactof perceiving? all they do how “view,”and this is what “point,” this is what “certain,”

Tig w prev mk sne ny hn ecie fo a certain point ofview.” a from perceived when only sense make perceive we “Things world isalreadyconstituted,butalsonevercompletelyconstituted.” “To be born is to be born of the world and to be born into the world. The 4

situatedness within feel 3

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95 Mika Hannula 96 The Quest for the Common Good and the Participatory Community a process-basedprofessionalpractice. of part be to wanting and part taking individuals the all for but rain, the in of the attitude called compassion. Not for the solitary figure standing alone surplus a generate and create must it demands, its with deal to us for order is a site we face that is absolutely, positively very confusing, and therefore in constructed, but due to these very localized and effective complications, this and conflictual, contextual, contested, are They certain. indeed are these of None situation. meaningful each in stamina with and care with addressed be must above questions the of all surroundings, immediate its conclude to enlarged and situated both is with dealing are we that “I” the when and If for and defend. we should be very careful to avoid believing that it is the only pointis what we make of and with it, and it is something we must stand up This again. and again, away moving be to order together—in all it brings and on spell the puts which point,” “a words the are view” “a and tain” cer “a between in quotation, Merleau-Ponty stated above the in yes, And sites andsituations. ously connected to the previous and upcoming views of the same and seri similar is it when view a is view A incomprehensible. meaningless, be would itself in that because nowhere, from view a never is It context. that ticulate ar to struggle ongoing and context through location, that within shaped is It look. and speak we whch from position that within situated is to, adapt or follow habit the of out we that or take, to choose we that “view” The Again, itisnotwhatwedo,buthowdoit. practicing. keeps it that practice very the of versions practice and views continuous provide to and committed a of task very the is It yet. there not never are and automatic, not are location this and position this that saying without nearly goes it and located, are we positioned, Weare perceptions. our of aspects temporal and spatial the both are describes Merleau-Ponty What something. with and of perception a always is see we believe or see cuts out many other ways of looking, acting, saying, and standing. What we ing, saying, and standing act looking, are we do, we whatever that fact certainty,the not rather but Obviously enough, what Merleau-Ponty refers to with the word “certain” is It has to stand there, and struggle for its recognition and its chances to say to chances its recognitionand its forstruggle and there,stand to has It made from a position and view combined together, but it is not much more. one many,certainlythe ofis oneit isand It point.acute most the or point, from somewhere, and 5

toward something that itself - - - - practice, within one’s daily routines of doing what one’sonewithin butislarge, doingat issues whilefordifference. Not adoing making ofthings, it. ing hope of an opening, the chance of doing things in an alternative way, of chang If there is hope, it is because we shape it for ourselves and by ourselves. It is the can welocatesomehopethatwillsustainouractivities? strategy,where adequate the is What do? to need we do what on, keeping on keep to us for order in survive, to practice open-ended the for order In Started Something Get Conditions: ofOur Conditions Combined The is nothingmoreandlessthantheartoflistening. thetopoints thatare made thator are the inprocess beingof realized. This make their points and while doing that, it must really concentrate on listening must be made in a civilized way. It is an act that should, in fact, first let thatpoint a isothers point.It the versionstheirclosermotivationwith of come to by wagging the finger, and not by shouting so that others have no lust or no somethingnow and also tomorrow. It is apoint that must be made, but not disaster, thealmost-already-happeneddeathoflistener. are facing a huge dilemma. It is not the death of the author; it is the lurking Wereturn. to need always appetite an of much too bit a perhaps and heart ing to and listening with where all of us emotional hooligans with a hungry listen of sites give-and-take the are lack we What part. all are we which of times contemporary the of cacophony the amid but fashion, a concentrated in there—not obviously is else something while that, and this claiming authors of visibility and noise, volume, much is There heartlands. its and location its shifted significantly has problem actual the while the all when quences of the idea of the death of the author. And we are so busy at this act conse the hunting and by haunted still are we that times the of sign a is It from theagenda. disappeared almost has also but lacking, only not is listening that through shuffling and up speeding to accustomed and trained well very are—so we of making that context, that collective part of the practice? We are—oh, yes passions at play, we are not getting connected, and we are not in the process the with and care with listen to and listen to how know we unless that fact listening? Instead, how many of us have actually forgotten that very burning ation grounded in a committed and continuous practice are actually good at Now, how many of us that want to be part of a collective give-and-take situ 6

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97 Mika Hannula 98 The Quest for the Common Good and the Participatory Community next to you do. It is never an issue of understanding it all, or of agreeing of or all, it understanding of issue an never is It do. you to next people what of possibilities and value the in and do you what of chances and value the both in cockiness, not confidence, A confidence. respected ly The practice-based research community is a collective built upon reciprocal again. it, open it up, and open it up to share with others, all in order to get it back question would and could one why even and how out figure to impossible is does—it one what does one when does one what at confidence tablished es it—without without But act. we acts the within beside left and lost also but one generated, and gained that framed, and formed borrow.matter is or It buy cannot a is on rely they what and require act we acts the What the stars.We givebecausewedoreallywanttoget. at looking and hands holding by just never but alone, Never out. breathing of the most crucial type of export-import. It is, in fact, like breathing in and survival of the fittest. It is an argument for a practice-based shared collective the for model the not is It Darwinism. social a for argument an not is This take, then remembertoputback.Otherwisetheshelvesaresoonenoughempty. you if well, Because, professionals. as self-interests deepest our ing responses and comments, is for based on calling the most and effective way of critique, comprehend receiving and sending continuous of processes and give-and-take committed the in part Taking have. we mess only the is it and mess, our is it but mess, horrible a is pretty.It or neat that looking up ends never that manner a everything—in much fears—pretty and hope we want to do them. We want to invest our time, energy, wants and wishes, sure formula for an immediate catastrophe. We do the things we do because a be would This person. good a being of notions or altruism of version any by motivated be not should and by motivated not are act we that acts The staying by with, stayingclose.Itisallaboutproximity. but away, running by Not issues. similar and same disagree to the loving about of act the as together cohesion, in done are they until never ever make sense and reach their potentiality and their meaningfulness can acts these And act. we acts the is It aware. and awake, moving—agile, on keep we and move, we But expectations. own our to up live to Wefail which we have difficulties, and in which we constantly and always fall short. condition. human the it called Arendt Hannah 7 Itis sitea and situation with - - - 7 6 5 4 3 2 1 something started. getting start to it—ready for ready get must We acts. the acting start and up, wake up, get to have do we Therefore, pleasing. so not are that ways in it doing and it, doing be definitely will else someone otherwise Because interaction. participatory through and in shaped and made is that trust is It practice. we that practices the of possibilities and meaningfulness the in trust is it and out, and in act we acts the in trust is It ourselves. hurt only to the concept of trust. Never ever should it be blind trust, because then we be said that commitment, continuity, confidence, and collectivity all add up for the common good created in and through participatory practice, it must quest the for frame overall the with connection in concluding of way a As be caring, andfilled withthefulfillmentofserendipity. curious, should we where is This out. act we that acts our with frame we that frame the within practice, the within remain must they but collisions, and multiple and plural rhymes and rhythms, away. We need challenges, clashes, with it all, because that would definitely take all of the air, all of the needed

sity Press,1958),chapterV. Arendt, Hannah See See LesBack, esis, 2009),33. Art Contemporary of Practices the Through and In Hannula, Mika Ibid., 499. ledge, 2002),527. Maurice Merleau-Ponty, (London: Duckworth,1985),187. Alasdair MacIntyre, Alasdair (Cambridge: CambridgeUniversityPress,2006),155. Alasdair MacIntyre, Alasdair The ArtofListening Politics, Identity and Public Space: Critical Reflections Critical Space: Public and Identity Politics, The Human Condition Human The After Virtue: A Study in Moral Theory Moral in Study A Virtue: After The Tasks of Philosophy, Selected Essays Selected Philosophy, of Tasks The Phenomenology of Perception (London:BergPublishers,2007) (Chicago: Chicago Univer Chicago (Chicago: (Utrecht: Expoth (Utrecht: (London: Rout , 2nd. ed. 2nd. , , vol. 1 vol. , - - -

99 Mika Hannula 100 constitutes thinking as an experience. Thinking is an experience because we that world the in knowing to connections or relationships of articulating a is creation Secondly,knowledge principle of“learningbydoing.” cover a connection among things. This is embodied in Dewey’s pedagogical dis we reflection in when complement necessary the “undergoing,” called doing anexperimentintheworldtofindoutsomething; andthepassivehe “trying,” called he active the aspect: passive a and active an has experience thing to the thing and then the thing does something to us in return.” in us to something does thing the then and thing the to thing some “Wedo said, simply,Dewey Quite thinking. and making reflecting, First, knowledge creation is a the experientialprocessofknowledgebuilding. for out laid Dewey characteristics the considering after point that to return ing of art holds a special place. special a holds art of ing of experiencing. Within this realm of experience, the making and experienc knowing in the conventional sense of known facts or things is but one mode Dewey,for and, sense wide a in cognitive is Experience experiential. is tion produc experience—knowledge call we inquiry of process experimental For American philosopher John Dewey, knowledge is produced through the John Dewey —John Dewey, 1929 products ofthinking,areworksart. Thinking is preeminently an art; knowledge and propositions which are the Experience as direct and complete manifestation there is of experience mode ofinquiryleadingtoknowledgeproduction,because“artisthemost Thinking dialectic process 2 For Dewey, art is a particularly important particularly a Dewey,is For art relational process relational 1

. It moves between doing and . It is the making and making the is It . as experience.” 3 4 I’ll So - - - -

use inthinking.” an experience. And “ultimately, the value of knowledge is subordinate to its as thinking constitutes that relationships of articulating and making the is it relation: in exists knowledge Hence, act. educational or intellectual inely genu the is this Dewey for and relations, these of discernment the in rests come continuous.” be two the that so result, which consequences the and do we which thing some between connections specific discover to endeavor intentional the is idea, and then considering its worth or meaning. “Thinking, in other words, an out trying tentatively problem, a at looking between dialectically move and Dewey “John Hein’s E. George from Adapted Dewey. John Education”,Museum on based cycle, education An 1: Figure Curator 6 5 The importance of experience to the activity of thinking , no.47 (October 2004). M Jane ary Jacob - - -

101 102 Experience as Thinking been calledoneofcreativechaos. to otherthings.” produced it is condensed; and it is no sooner stated than it is a light has radiatingwhat of meaning the which in conclusion a is thinking of stage cessive Fourthly, for Dewey, creating knowledge is a environment isinitiatedandmeaningformed. the to relationship new a created, art of work a or resolved is process the when terms, Dewey’s in equilibrium, of attainment the new.In something the potential held by these periods of not knowing to bring to consciousness for moments unclear employ artists process, creative creativity.the such In temporary art as a hallmark. Art, like science, has always been propelled by innovation. The “new,” a guidepost for the modern era, has come into con and experimentation to making of act the open throw they as tension, and resistance of moments in adept are Artists uncomfortable, experience. this of phase for uncertain way peculiar a in care artists that found Dewey knowledge. new at arrive to order in union” of recovery capacity to sustain “the rhythm of loss of integration with environment and and because of, this tension. Thus, in order of, to think we out need to cultivate the but way, regular,mechanical a in not about comes knowledge So problematic.” or doubtful or uncertain are things when occurs “thinking ous, confused state. Yet it is in this very state that thinking happens. That is, ambigu troubled, disturbed, a through passes it observed, Dewey unfolds, discovery.process true the to As way the on periods murky are There tain. uncer is knowledge toward inquiry of path the process, progressive a As stage itbetaken,isaworkofart.” a work of art, but also “the process is art and its product, no matter at what ing abounds. So if thinking is an art, then for Dewey, not only is knowledge we find omnipresent in the art school, where the process of trying and mak process of coming to know is derstood by contemplating knowledge from Dewey’s perspective, is that this achieving a goal. What is perhaps most exciting for us in art schools, as un toward research of course the to steer can aim one which the by values for in rooted critical be is It result. end actual or goal the defining before So at the outset it is essential for one to clearly define the aims of an inquiry question. right the having with begins and situation given a of observation a is creation Thirdly,knowledge 11 Hence,knowledgeinitiates newinquiries. as important as what comes to be known. This 10 progressive process progressive 7 continual process . It proceeds from the from proceeds It . 9 This process has process This : “Every suc ------8 of artschools,butshouldbe thewayallschoolsoperate,Deweyimagined. model.meanscreatingofaAnd, asart knowledge, justnotwasdomainthe looking at and reflecting upon art—also had a unique place in Dewey’s social making permeated his ideal public school system. The museum—the place for creativeAmerica,progressiveeducationin for model hiscreated Dewey As knowledge-buildingajust everyone.forso activity beartist,canthe forbut experience,artaffords experiences others.to So,theexperience notartisof ings that find relation to the life experiences of others: arising from the artist’s in order to communicate and be experienced by others, revealing new mean ship between artist and audience, as Dewey sees it, art crystallizes experience ee, vroe nes cetv poes hn xeinig wr of work art. a experiencing when process creative a enters everyone to Dewey, according art; making in processes creative undertake artists just Not the mostofthoseessentialprocesses. make to and moment, the in be to progress), in are works (when becoming of periods during consciousness of state a cultivate students help to school: art an at engender to try we what is That knowledge. build and references experiential locating to attuned be can we more the are, we awake more about and can contribute positively to the human condition. “means of attaining knowledge of something else” by way of reflection. of way by else” something of knowledge attaining of “means “outcomesthings,thefixedbothinquires”notarearebut ofart the ofand asserted:knowledge.”heexperiencethat“Art ais here Tois Dewey, works Still,of all Dewey’s ideas on the subject of knowledge, what is most relevant but foralllearning. art, learning for just not learning—and and teaching of process a to central is art Dewey for So agent. transforming a it makes awareness cultivate to Moreover,consciousness. this cultivating art’sfor means power ideal the is while as an experience.” an as while cause it is merged with non-intellectual elements to form an be experience worth knowledge than more something becomes it transformed; is knowledge art, of works of perceptionenjoyed andproduction both “in process, this for meaning beyond itself. potential the holds that experience an having of process process—the the about attainingthe condition of having knowledge, but also about being in just not is production knowledge So ways. individual in exists and ential refer is knowledge Rather didactic. not is It space. and time with changes a is creation knowledge Finally, 13 This is how art can lead us all to greater awareness and, for Dewey, art 15 Thus, art is foundational to living; it informs us informsit living; foundationalto is art Thus, 12 So this process requires us to be aware, and the yai process dynamic I i oe-ne and open-ended is It . 16 In the relation the In 14 In - - - - -

103 Mary Jane Jacob 104 Experience as Thinking “The Knowledge-Creating Theory Revisited: Knowledge Creation as a Synthesizing Process,” in Knowledgein Management Research &Practice Process,” Synthesizing a as Creation Knowledge Revisited: Theory Knowledge-Creating “The Toyama’s Ryoko and Nonaka Ikujiro from Adapted creation. knowledge of model SECI 2: Figure a is corporations in thinking creative and innovation that hypothesized have Toyama and Nonaka Toyama. Ryoko and Nonaka Ikujiro scholars management ness tion, I will consider parallels between Dewey’s philosophy and that of busi produc knowledge of model another for sector corporate the to Turning Ikujiro Nonaka andRyoko Toyama yond apredefinedresult. be looks experimentation when way the along byproducts and outcomes multiple for potential valuable the recognizing process, on emphasis place they Dewey, Like internalization. and combination, externalization, tion, synthesizing process synthesizing , 2003. . 17 They define four phases: socializa phases: four define They

- - - - traverses multiple viewpoints on a given subject of inquiry and weathers the der and chaos, mind and body, thought and action, thinking and making), it As the spiral travels upward, shifting between ostensibly opposing poles (or and groupofparticipants. picture of reality. Hence their model is wider a gain to order in viewpoints diverse these welcoming practices, and compromise; rather it is an integration of different aspects through dialogue Yeta knowledge. not explicit is and synthesis tacit this of perspectives tory the goal of the dialectical process is to synthesize these seemingly contradic So knowledge. new form to shared is views, of points different have each theirs is a However,Dewey,knowledge. unlike new to leading each spirals, new gers it starts with observation. Their model is a Their process of knowledge building is also that spiral emerges from a a in created is knowledge that propose Toyama and Nonaka Knowledgein Management Research &Practice Process,” Synthesizing a as Creation Knowledge Revisited: Theory Knowledge-Creating “The Toyama, Ryoko and Nonaka Ikujiro from Adapted Ba. of representation Conceptual 3: Figure collective dialectical model wherein the knowledge held by individuals, who interaction between tacit and explicit knowledge. , 2003. dynamic continual process progressive , changing with each context ; similarly to Dewey, : one spiral trig

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105 Mary Jane Jacob 106 Experience as Thinking knowledge canoccur. communication and understanding can happen, and where change and new be of space open the demands, even and from, benefits collectively.Art and individually both too, made, is art that space a such within is It arise. can knowledge new which from and tested be can of space safe the within held is chaos occur.Creative to Productively among itsparticipants. and process dialectical its in present contradictions very the through edge And like Dewey’s necessary tension, project. a undertakes group a when occurs as mission, or direction, tion, a time. persons come and go, sharing a connection and a relation to the context for experience. direct through space and permeable boundary—it is an open space—allowing for the sharing of time open, an has It knowledge. create to boundaries organizational and space, Ba production, knowledge of process Dewey’s Like democracy. participatory the space of the classroom and in the larger framework of a society based on in engender to sought Dewey what to this Werelate context. might shared Toyamaand word Nonaka Japanese the employ ideas inrelationtothoseofothers. one’s of interaction and sharing the on emphasis places Toyama’s model new ideas are formed in thoughtful reflection by the individual, Nonaka and along and up the spiral. So in contrast to Dewey’s relational model, in which process the moving thus knowledge, new into converted and can exchanged be assets knowledge tacit individuals’ which in context shared a dering engen of necessity the is model their in critical becomes What world. ness and ToyamaNonaka take a values, different strategy to by arrive at knowledge guided creation in the intent busi focused and aims clear the have to individual the for need the of speaks Dewey phase confused” ambiguous, troubled, “disturbed, this during However,while chaos. creative of storm Ba is dynamic and continual. It is in continual motion; it transcends time, transcends it motion; continual in is It continual. and dynamic is . It can become a zone, a shared and open context for anyone, where anyone, for context open and shared a zone, a become can It . Ba is best when it is self-organizing, emanating from a shared inten Ba is able to hold space open for experimentation and change and experimentation for open space hold to able is Ba Ba generates energy to produce knowl is fluid; it can change quickly.So change can it fluid; is Ba . Furthermore, art itself can itself art Furthermore, . Ba to denote this space of space this denote to Ba , where things where , - - - - Nonaka and Toyamaand out. Nonaka lay as thinking, collective of and described, Dewey as thought, individual both is knowledge building to the process of art making. Like both models above, it translates Circle Co-Creation Their thinking. of artway collective arts tian Venethe of that is here presented knowledge creating for model final The Figure 4:Co-Creation Circle, ©2011 artway of thinking. Artway of thinking in each quadrant of the diagram by asking among the group: Has the goal of knowledge builds process creative the thinking, of artway For occur. And in the case of their artistic practices, these are one and the same. can sectors non-art in thinking creative how on also but happens, art way with each otherandwiththeenvironment.Theyseekto instruct onnotonlythe alignment into and together group and self of modalities two these dialectical , relational , progressive 18 Artway’showever,emphasis, bring to seeks , continual , and dynamic . It is a cycle of dialectically -

107 Mary Jane Jacob 108 Experience as Thinking engendered by the co-creation process. It exists in practicing the diagram. the practicing in exists It process. co-creation the by engendered business model, requires the presence of the in like thinking,” of “artway for process knowledge-building the here, significant most Perhaps transformative. is art and building, knowledge is art them, for process: this in art of capabilities unique the trust thinking” of “artway and Dewey John only But change. is knowledge new creating of aim the models, three all For happens. change that undergoing the in is it him, for life; to applied is knowledge new experience, of integration an undergone having when, is this Dewey For embodied. is knowledge which parallels Nonaka and Toyama’s fourth and final phase of internalization, in phase thinking’sintegration of reality.Artway of picture wider Toyama,a view (within the self or among persons) of to incorporate, as points with Nonaka different and of synthesis a about brings processes of sequence This only tobeginanew—thoughmostimportantly—startingatanewpoint. integration, at arriving finally action, to co-generation to observation from moves process the diagram: the of nature cyclical the by demonstrated is models examined, the process of knowledge creation is dynamic is process this So timeframes. and courses unique own their following sive, tices this methodology), works of art and works of social change are respon prac who individual an for (or collective a as undertaken project each For moves witheachquarterturn. is process the So understanding. collective or sciousness of tacit knowledge about baseline a real situation and becomes the integrated into our con alters explicit made knowledge This innovation. tainable sus of forms into converted be can gained knowledge new the there, from gesture; inspired an to leads this thinking of artway With reality. of tion observa systemic a through gathered knowledge explicit and tacit between moves Toyama,it and Nonaka Like hand. at situation given the of vation Dewey,for as begins, always thinking of artway at process obser The with the commongood? for changed be reality might How changed? reality to relate things way the art school assessments. The joins with self-critique and critique of the work, a practice well known from analysis business-like strategic, Here forward? move to how affect it does that phase been attained? What has been learned? What does it mean? How , not formulaic or what Dewey called “didactic.” As with the other relational aspect comes into play, too. How has Ba . For “artway of thinking” continual progressive . Here this as it as Ba is ------to the shared context— shared the to other.each of off fed and commitment participants’ the by sustained was It the projects and programs that comprised “Learning Modern” as they led to process The process. thinking a was experience exhibition-making and art-making The Chicago, anditspublicembracethedynamicimpulse ofmodernism? of city the school, could How practices? their in alive modernism is How in the thought and action of contemporary artists, architects, and designers? alive remain modernism does Why experience: shared a through questions core investigated engaged Those thinking-in-making. learning-by-doing, in exercise an art-as-a-thinking-process, of program a was This (2008–11). Chicago of Institute Art the of School the at Modern” “Learning is school art the within production knowledge of process collective a of example An about cultivatingthespaceof also is process curating The artworks. selecting about than art’sprocesses tuned an art school. For me curating has become more about taking care of make I at especially found have I process curatorial of mode a is This exhibitions. how of and audiences, and artists with collaboration of practice curator,a as me, For tively intothefuture. produc occur can cycles the that so habit-forming, it making process, this is year,it semester,each so each and project, is it completed, is project or artwork an is process the ways, ferent way,is it so a is it reflecting; process dialectic and making incorporates school art the in practice Art gaged processoflearning-by-creating. en an in faculty and students by upon enacted be can potentiality where as artmaking of space experimental the consider also Ba Curatorial Reflections School onanArt representing theprocessandonwhichtofocusattention. mandala tether,a and net safety a roadmap, a is Circle Co-Creation The can also bring about a space of potentiality in an art school. Wemight school. art an in potentiality of space a about bring also can relational was , as Dewey already noted. Connections are made along the along made are Connections noted. already Dewey as , the product. This learning process threaded through all of all through threaded process learning This product. the Ba , and as ideas get disconnected or reconnected in dif in reconnected or disconnected get ideas as and , also describes the process of contemporary curatorial Ba —and undertaken as a deep investigation of the of investigation deep a as undertaken —and dynamic Ba . . Ultimately reaching resolution when resolution reaching Ultimately . progressive continual . This occurs with each with occurs This . . Practice reinforces Practice . Ba I i te space the is It . - - - -

109 Mary Jane Jacob 110 Experience as Thinking new possibilities for the use of facilities and finances, either unprecedented either finances, and facilities of use the for possibilities new with along be, could what imagine to able be to others and artists the for necessary was It fears. institutional and tension, interpersonal insecurity, ing which speculative propositions can raise self-doubt along with collective comfortable with the discomfort that comes with a project-in-progress, dur for space of space the alive keep to then and space creative-thinking hybrid this cultivate to was task curatorial My ing andreflecting,tacitexplicitformsofknowledge. creative chaos, we cycled many times between trying and undergoing, mak the public. Sharing this open, generative process, being together in a state of artists, scholars,colleaguesfromotherculturalinstitutions inChicago,and process took us—individually and collectively—as faculty,the students, visiting where to listened We goals. defining included that path progressive a along moved instead and exhibition), an be not would endeavor the that possibility the open leaving (even outset the at outcomes defining resisted subject with openness to others. In this open process of “not knowing,” we Figure Learning 5: Modern©2009 The Schoolof Institute theArt of Chicago. not knowing not to exist. It included enabling those involved to be to involved those enabling included It exist. to Ba . The curating process meant creating a creating meant process curating The . - - 2 1 results.” the influence to designed is and events of course the of part actual an is ing think of course the where situations in originates “Thinking said, Dewey new knowledge. perience. It is a way to integrate existing types of knowledge and to generate ex to and practice to understand, to and create to means a are exhibitions Here community-at-large. the and community school the faculty,between and students among dialogue and incorporates it workshops, collaborations; artistic classes, direct of form the takes It school. art our in modality primary a is collectivity fact, In work. collective and individual of practice the in out carried be to building knowledge enabling and knowledge, ual fact- and intuitive their both valuing involved, those of backgrounds and ideas diverse the from drawing inquiries, of set shared a be to exhibition an for allows school art the museum, the Unlike working. of way their is It becoming. of process the in comfortable are who researching, and ploring ex makers, of culture collective a is school art The place. only the maybe process— research open-ended this for place right the was school art The benefited fromallthatunfoldedintheprogram. and process research the of part as exhibition the used volume this opens, exhibition an when time in point the at known is what records that logue Society Shaped Minds Creative How Modern: architects. A book emerged, too, from this evolved process: and designers, artists, by works commissioned newly and projects, student The outcomes of “Learning Modern” took the form of exhibitions, lectures, as muchpotentialpossible. desires. But the aim of the process and allowed us resources to play between out ideas and too, to realize process, dialectical a becomes always course, of This, before. worked had others and artists the way the or expectations, institutional budget, the gallery, the it box—be existing an fill to attempt an not was It emerged. that ideas the by affected was and agenda, research or as adapted organizational systems. It was a process driven by our shared

Ibid., 240–41. Dewey wrote that art is “A strain of experience rather experience of strain “A is art that wrote Dewey 240–41. Ibid., University ofChicagoPress, 1981),316. Structure of Experience, McDermott, J. John 19 Soitisintheartschool. h Piooh o Jh Dwy Vlm I The I: Volume Dewey, John of Philosophy The and Volume II: The Lived Experience Experience Lived The II: Volume . Unlike an exhibition cata exhibition an Unlike . Chicago Makes (Chicago: - - - -

111 Mary Jane Jacob 112 Experience as Thinking 13 12 11 10 9 18 17 16 15 14 8 7 6 5 4 3

vn huh ee lctd i mdl n h idvda, i concern his individual, the in model his located Dewey though Even www.palgrave-journals.com/kmrp/journal/v1/n1/pdf/8500001a.pdf. Practice & Research Management Process,” Synthesizing a as Creation Knowledge Revisited: See Ikujiro Nonaka and Ryoko Toyama, “The Knowledge-CreatingPhilosophy ofJohnDewey Theory ing which characterizes the human endeavor overall.” McDermott, reflect and doing the in work at relations of pattern the of microcosm a providing as art of analysis an sees “Dewey writes, McDermott As Dewey, Ibid., 182,223. ence IntoArt also in Experience,” “Unframing Baas, Jacquelynn See misunderstood. been often has this though spectator, the of role the of spoke he which in Act” Creative “The speech 1957 his ered This is more than twenty years before Marcel Duchamp famously deliv tion, and,bybringingittopass,ourownexperienceisreoriented.” integra this undertake we as ourselves artists become we degree some To … produced was it which under conditions collective concerning information by just not attitudes, own our of part it make we which in Dewey, Ibid., 181. McDermott, Mary JaneJacob(Berkeley:UniversityofCaliforniaPress,2004),167. in Art,” of Space the “In Jacob, Jane Mary see concept, this of discussion a For Dewey, from ‘premises,’inthestrict,formalsense.”Ibid.,316. cause: “While a conclusion follows from antecedents, it does not follow McDermott, Dewey, Ibid., 505. Ibid., 495,500. McDermott, Dewey, 223–39. also “The Pattern of Inquiry” written by Dewey in 1938 in McDermott, John itself.” in sculpture] Dewey, or painting a example [for entity an than Art asExperience Art asExperience Experience andNature Art asExperience Art as Experience as Art Art as Experience as Art Buddha Mind in Contemporary Art Contemporary in Mind Buddha The PhilosophyofJohnDewey The PhilosophyofJohnDewey The Philosophy of John Dewey John of Philosophy The (Berkeley: University of California Press, 2009), 217–29. 217–29. 2009), Press, California of University (Berkeley: , 14. , 302. , 309. (1934; New York: Penguin, 2005), 344. See 344. 2005), York:Penguin, New (1934; , 348. “We understand it [art] in the degree degree the in [art] it understand “We 348. , , 301. , 373. , o 1 Jl 20) 21, http:// 2–10, 2003): (July 1 no. 1, , 316. , 495. , eds. Jacquelynn Baas and Baas Jacquelynn eds. , , 502. This is, in part, be part, in is, This 502. , Learning Mind: Experi Mind: Learning Knowledge The - - - - - 19

Nonaka and Toyama speak of group interaction, they address the indi the address they Toyamainteraction, and group Nonaka of speak became the cornerstone of participatory democracy.ideas Meanwhile, his though Hence society. to relation in individual the with always was McDermott, these threemodelssharemorethantheydoonfirstsight. Thus, function. to group the for necessary is which self-transcendence, is goal the where process their of stage socialization initial the in vidual The PhilosophyofJohnDewey , 50. -

113 Mary Jane Jacob 114 fine art, most art universities have had no choice but to link their activities their link to but choice no had have universities art most art, fine versity,in doctorates confer to right the and freedom artistic with endowed uni independent an of status the enjoys Arts Fine of Academy Finnish the Although arguments. addressed the of limits the of aware remain to tried paper,I this writing was I While research. artistic and programs doctoral of aspects practical the on focus mainly will I research, artistic of issues cal epistemologi and ontological fundamental the of some upon touch will I within the doctoral program at the Finnish Academy of Fine Arts. Although present) the to 2004 (from research artistic of professor a as and 2002), to 1997 (from student a as experience own my on based is text following The Introduction artistic research. scribe the essential features of Finnish (doctoral) training within the field of de to try will I paper this however,in process, and The one simple a not is search: artisticresearch. re academic within paradigm new a developing are universities art Finnish the science, to relation art’scomplicated at looking of Finland—instead of case the in down upside way,turned certain a in are, universities and tion Therefore the common questions concerning the relation between art educa and postgraduate (including doctoral) levels according to artistic standards. are small, autonomous institutions with the right to examine students on pre- and the Finnish Academy of Fine Arts all belong to this new “category”: they has been established in Finland. The Theatre Academy, the Sibelius Academy, Finnishsituation newtypeuniversity,thatofa namely the“ArtUniversity,” It is important to remind those readers who are not familiar with the current Artistic Research Formalized into Doctoral Programs

- - - - - n a ieso o sbetvt ad eaiiy I esne te rtc ask: critics the essence, In relativity. and subjectivity of dimension a ing contain for criticized been often has research artistic of aspect artistic The and whosemeaningmaybequitecomplexambiguous. appreciation, sensory for intended art of works of also but verbalizations, onstration of scholarship and skill) consist not only of text or other types of dem other some or thesis a of form the in (whether result and process the research, artistic in done—whereas, always have universities as tion—just disserta a of form the in textually in communicated is knowledge new which research, academic traditional a in inscribes research Arts world). the toward art from directed is (it art of means the with undertaken endeavor words, it is directed toward art), whereas artistic research is an investigative other (in research the conducting person the from separate are that art of two terms is quite fundamental. Arts research is the investigation of objects these between difference the ideological, or insignificant being than Rather tinction isthatbetweenartsresearchandartisticresearch. dis important more much A research. conceptual and/or theoretical purely so-called the in than role central more a plays practice which in research to however.relevant, not are terms these name between a put to seek all They differences slight and nuances The institutions. education higher other and universities art in conducted research for nomenclature of shortage no is research—there studio-based research, practice-led research, Practice-based Them Against Prejudices and Research Artistic of Concepts The for doctoraldegrees. standards its and university science the of requirements the fit to order in module a into research artistic force to and universities science-oriented to J an Kaila

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115 116 Artistic Research Formalized into Doctoral Programs inudrae i wiigo a ats’ patc hv o ta artist’s that on have practice artist’s an writing—of in tion—undertaken contextualiza and reflection effects of kinds what of question the to lated re is overlooked been largely has that research artistic of aspect Another a process of constant contextualization, which is sometimes even too much. world of contemporary art demands that practitioners engage themselves in the in Operating prevalence. its lost has itself” generating endlessly ego big “a with artist the of notion the that fact the to related be may self the of neglect such for reason One fields. research social-scientific and humanistic er surprising, considering the increasing prominence of auto-ethnography in competences. The “self” seems to have become almost taboo, which is rath es, in which case they run the danger of drifting too far from their own core artists may be too careful not to focus on themselves and their own practic research only write artistic about themselves or their own work. in In actual practice, however, engaged artists that misconception general a is There at bestalsoserveotherswhoareinterestedinart. and field, own its in knowledge produce to have does it but academic, and scientific be to have necessarily not does It verbalization. of types other or writing includes also research artistic that mind in borne be also should It (supervisors), by numerous visiting critics, and finally by external opponents. place within a circle of others engaged in research. It is evaluatedtake by experts not, than often more that, critiques and seminars through as well as gogy,say,to isthat throughprofessional competentandartistic supervision peda education—through of branches all in promoted is students of work the as promoted—just is It evaluated? it is how and practice, in promoted be development such can How practice. artistic “ordinary” an of ditions their studies in a direction that would not have been possible under the con during developed have may dif students doctoral of works and practices the necessarily not do that fact thediscussed have research artistic of critics fewHowever, a only research artistic museums.galleries,traditionalandart exhibitedspaces, are of are they where rubric the venuesthe andworld, art the“elsewhere”made inart from way any in fer under completed Works to thiscriticism. respond to try will I follows, what In done? always have they as just art of works make artists that enough not it Is research? so-called for need the is what and practice, artistic other from differ practice of kind this does How ------the MA level, postgraduate education does not seek to “shape” students, “shape” to seek not does education postgraduate level, MA the toral research program. One key factor in this is that, unlike the BA or even Student admission is one of the most difficult and complex issues in any doc much moredemandingthanstudiesforamaster’s degree. are studies doctoral all, principle—after sound a is This profession. the in ing instead that their students have had the practical experience of operating demand graduates, recent on take to like not do programs doctoral Many Education Doctoral and Artist The “knowledge” aredifficulttodefineandshare. associated and methodology underlying the but audience, and colleagues her or his on and artist the on confers research artistic that benefit greatest bodily and sensory aspects of the craft. It is the this grey area and that comprises the cognitive the between meeting the in theorizing/contextualizing), writing/ (or thinking and practice between in place takes which that is fect ef interesting more much creativity.A artistic her or his of expense the at producer mechanical mere a become to not careful is salt her or his worth artist any and results, automatic fairly are these But it. about doubt no is result? Does it improve their eyes for the artistic game? Yes, certainly—there writing affect artists and their practices? Are the artists more conscious as a and contextualizing, theorizing, do How question: main the to return To in Europe or America: there is a new category known as “Artists’ Writings.” this shift one only need take a look at the verify shelves of to any major And art bookshop texts. their published never but write, actually did ’60s and been discovered that many has artists who it were considered and “mute” in the writers, 1950s excellent are artists contemporary many 1990s: the in however,decades, especially of couple past the over changed ally.has This conceptu or writing in oneself express to able being not for compensation a of less kind a is making art that notion the oradvanced even have some curiosity; more considered was artist writing a history, of most Through that a“consciousartist”wouldonlyillustratetheories. artist’sthe on effect detrimental a has and ization uniqueness and freshness verbal simplistically,that rather thought, actually was it ’50s) and 1940s the in (mostly modernism of age golden artist’scapacity.the intellectual In mostly been rather superficial has and, in some discussion cases, has even the involved underrating the but discussed, been obviously has This works. - - - - -

117 Jan Kaila 118 Artistic Research Formalized into Doctoral Programs rd ln-em n gnrly oiay nevr o atss h already who artists for endeavor solitary generally and long-term consid a traditionally ered Finland, in least at is, doctor a become to Studying Schools Research and Programs Postgraduate of Potential Hidden The runs theriskofendinginaghettouninterestingarts research. research artistic case, the not is this If work. interesting tantly,artistically impor more and also, but topic, research textual interesting an only not include should program research doctoral artistic an to application good a that is contention My research. artistic of nature the considering givable, unfor is disciplines—which academic of doctors means practice in which tence is solved by delegating compe evaluation to of people lack with formal this qualifications, universities, science to linked universities art In lines. which simply lack the required traditions, experience, and structured guide research, artistic of institutions in common quite is expertise of lack This theoretical knowledge. required the mention to not combination, this possess not do artists most evaluation Portfolio calls for experience in traditional artistic not. practice as well as in research, and is it but truism, a like sound may This criteria. admission the of part as themselves portfolios students’ prospective the of it isatleastasimportant,ifnotmoretoconsidertheevaluation but so, Undoubtedly plans? research their reading by Perhaps out? find we can how and others, than suited more here) students doctoral prospective about thinking specifically am (I them of some Are interest? the and ness willing the have who those about what But plan. research and question, research theme, specific a to commitment long-term a make to difficult it Moreover,find practice. artists the many just with satisfied quite are many artist’sthat every reason not the is for this only that if clear tea, is of It cup practice. and conceptualization between interaction the in critically engage to ability the and desire the have student a that requires research Artistic artistic researchonthedoctorallevel? to suited pocket) their MFAin an (with artists all Are provocatively: more and broadly more reformulated be also could question The be? “elements” such would what And research? artistic constitute eventually might they research plan of the prospective research student include such elements that and portfolio the do ask, must suitability.Consequently,we but skills, or main criterion in postgraduate student admission is therefore not talent and/ The research. toward interests their steering with concerned instead is but ------and radical,playerintheworldofart. new,a best at is entails, that that artists researching for activities other and symposia, seminars, the all university,with art an in research doctoral for curriculum drawn-up carefully a cross- schools: research artistic international and disciplinary or national than option interesting more a are tions opera regular their of part as universities art within established programs doctoral research, artistic of development future the of purposes the For artists, iftheywantmoney, are,onceagain,turnedintopseudo-scientists. This involves the risk that art, as a non-scientific discipline, is excluded, and Finland). of Academy the by represented Finland (in science of world the from funding getting about concerned be to rather reason, good been with has common, it least, at Finland in artists: for programs doctoral and That said, we must nevertheless be careful when setting up research schools with theirpenchantforthetraditionalideaofartisthood. in the art world, one that is viewed with suspicion by commercial art circles institution new a is research artistic that Weremember experimental. must and cross-disciplinary potentially also and market art the of independent relatively is that way a in reflection and practice artistic in engage to nities opportu offer research artistic in programs doctoral and schools Research institutions isanexcellentthingforartisticresearch.Why? the networking but and sense of community course, created by research of schools and similar problem, a always are schedules Tighter studies. toral doc diversify and up speed to programs other and schools research funded has government sector,the public the on made efficiency for demands the of result a as dramatically: changed has however,situation decades, the of couple past the In age. in advanced rather often are who and career a have - - -

119 Jan Kaila 120 call for orientation in time—offering guiding ideas of progress, modernity,progress, of ideas guiding time—offering in orientation for call help of all the other involved professionals and engaged laity. This does not abundant and additional the with alike, philosophers and artists by duced is an astonishing crowd and a frightening mass of art and of aesthetics, pro There lot. a together.is assembled There is which that describes it because We?WeAre Where Going? title: siècle Gauguin’sde Paul fin to answer an as coordinated scale, time the on appear not does and time of category today,a understood not often is is it Contemporaneity,as least at art and aesthetics is not a step from one idea or concept of time to another. The first obstacle is that a step aside from progressive history of mankind in do. Butthereareobstacles. forefathers come true. So, their since they of want to start dreams with now,the that make is what will we that generation young a become to is, that crown, the to successors become to want not do they negation, another yet believe neither in humanity’s progress nor in God’s providence. And, to add they because circles) other some in called is it contemporarity,as (or neity progress and of God’s providence. Students want to start with contempora Delphini usum Bossuet Jacques-Bénigne by century seventeenth the in invented were which approaches, educational historicist specifically to exposed too ready al were they because but most, it like they because not contemporaneity not quite) at contemporaneity at the end of course. They want to start with (or,usually arriving and ago years 500 or twenty with starting approach, they, on average, have in common, is that they do not want “the history of” what don’t.But even some aesthetics; and art in interests different have all They historians. art to and designers, to philosophers, to aesthetics teach I TeachingContemporary Art (and Aesthetics) (and Art —for the successor of the crown—as a proof of humanity’sof proof a crown—as the of successor the —for Contemporaneity is about orientation in space in orientation about is Contemporaneity Where Do We Come From? What Are What From? WeCome Do Where ad - - - 1

put under suspicion the possibility of finding reasons and causes for such a such for causes and reasons finding of possibility the suspicion under put differences of appearances Massive worlds. possible all of best the it) has Leibniz Wilhelm Gottfried (as and freedom, and certainty human of place was still meant to be, in the post-Copernican philosophical turn, a privileged as a consistent place to live in. One of many planets circling around the Sun earth the about think to possible not was it world, the across and around orienta tion, of because without it, in spite of apparatus all the ways found and mapped an to travel for called phenomena and artifacts human and natural of abundance This customs. and arts, cultures, their and humans different including discovered, were kinds all of species of abundances and planet-ball. During a few centuries, unforeseen and unprecedented varieties a globe: a as accepted be to came world the when 1492, after world the of conquest Western the of consequences to similar situation con a with are Wefronted (1543). turn Copernican the name cannot we situation, lar In need of a historical example (I myself cannot put history aside) of a simi from production among theactorsonstageratherthanfromaudience. the seeing for place best the occupy to like would they he or she was put on the backside of a construction’s pillar.while Said differently: place, better a got others the that thinks involved everybody where spectacle, a as get to want all we that position possible—a as it about sight in much as collect to and it for feeling a get to both point best the occupy to all, it see to possible is it which from position a take to like would They all. at dis-cyclopaedia chaotic a such of out map a make to possible is it if map, a on themselves put to where hint a least at need students historians, art or designers or philosophers Being abundance. this through and in tion end, ultimate avant-gardism, retro-gardism, decline, or decadence, each of which includes causa finalis causa —but rather it calls for an apparatus of orienta of apparatus an for calls it rather —but L ev Kreft

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121 122 Teaching Contemporary Art (and Aesthetics) of artworks, movements, and institutions that, taken all together,not all may taken that, institutions and movements, artworks, multitude of and variety astonishing the about ideas better some offer they as long as theories, and concepts of kind any use can ordering This start. appropriate an is order to art putting of kind any that means goes!” thing freedom of artistic possibilities and the end of art history, while now “Any newfound a meant goes!” “Anything phrase the postmodernism in because anymore, postmodernism not is This digestion. before order menu a in put so it has to be discovered by taxonomic enumeration of cases and instances, us, of front in much so have we because it miss could we but somewhere, here already is “New” catastrophe). a as even perhaps fall, as and decline or a perfection, to movement temporal as (understood future a toward “the new”willariseasaconsequenceofhistoricalmovement ofmodernity that anymore expected order.not is manageable It into crowd chaotic a of arrangement an through them into sense some putting instead are, they as things accepting avoid to means Taxonomy them. detest that knowledge academic of conditions present to contrast in definitions, on depends omy difference between supposedly Chinese and Westernand encyclopedia. Chinese supposedly between difference a shows Taxonomy compass. a and mapping, taxonomy, for calling and artifacts, with crowded similarily space a for name a is Contemporaneity could testifytothat. we live in unbelievable chaos without any hint of order. Some baroque ideas that and worlds, possible all of best the ultimately,really is, not world our that maintaining pessimism, cultural them among tried, ways other were this abundant mass of collected data could be constructed. Of course, there of end an of idea any before on, step first the from orientation produce to taxonomy.in used were necessary innovations was whole the of image The similar and video, media, interactive before museums traditional in used was concept basic The whole. the of idea departmentalized a into and age, im controllable and certain a into etc., cultures, customs, people, animals, Taxonomy was invented to arrange a seemingly infinite variety of minerals, by now taken been has position prominent its because probably very fields, scientific fundamental more to auxiliary side a as only tioned an independent science in itself, but which is now nearly forgotten, or men tude of found objects, a need which gave birth to The first need, therefore, was for some discernibility of a plan in that multi narrative. whole the of cause final the offers that conclusion a itself, in end an be to has but storytelling of coma final a just not is End end. its rative: nar privileged of essence the questioned importantly—it and—more state, taxonomy , which became statistics 2 Taxon ------. r seis Ta a ifiiy f nnt pors i bd nnt ( infinity bad is progress infinite of infinity an of That number species. infinite art an of world art contemporary a envisage, least, at or possible all of best worlds. Thesecondobstacle isnotthequestionofhowwecanunderstand, the world—not non-Leibnizian a from starts which The second obstacle, however, is not this taxonomic approach, an approach analogue toCharlesDarwin. an of need in Westill collection. are arranged acceptably and well a rather contemporary art, and even when we do get there, it will not be a theory but in Linné von Carl to parallel a at arrived not have still we moment, this At allows. material as art contemporary of images taxonomic many as make can One museum. neighboring the of that from different obviously is that contemporaneity of taxonomy a have to existence of mode preferred a is it and own, their of taxonomy a have each museums art Contemporary it. in potential enrichment of the collection that already has some taxonomy built as but art contemporary as not artworks modern new exhibit to and past, presupposed future, in order to collect some their permanent exhibitions also from the but past, some had already art modern when appeared art ern ern art, which more or less followed one common model. Museums of mod This is much different than what happened in the case of museums of mod as there are countrysides, from one contemporary art institution to another. countryside the describe to ways many as are there happens, it Until tion. orienta for tool good a become to accepted Taxonomygenerally be to has “This is mineral! A mineral! Another mineral! Again a mineral,” and so on. yelling repeatedly and rocks at pointing another,hilariously to world the of side one from jumping mineralogist a Marx: Karl by described kind a of scientist a of movement constant the like is method The anymore. popular that not is art of whole harmonious a about optimism because preferred, is worth mentioning. The second ideological position about contemporary art on and origin order no of cases, or, preexisting pessimistic origin, in family common of of ideology an ideology an on built task empirical an is It distances, altitudes,anddepressionsalongwithsimilaritiesdifferences. point of an end. It has to be able to move around the countryside, measuring trol, but, as in the example mentioned above, it does not need a fixed view con some under field the place to has girdle taxonomic The origin? hellish come from Adam and Eve, or do some of them have a more divine or more all works the do And, left? resemblance family of mark only the art porary contem of contemporarity Is resemblance. family a share not do you when even fall into the same family, because in family you have to be related, even schlechte ------

123 Lev Kreft 124 Teaching Contemporary Art (and Aesthetics) art that glamorizes everyday reality while pretending to analyize it.” analyize to pretending while reality everyday glamorizes that art in-between an but art, high nor kitsch neither art, everyday unmistakably art— banal completely is “postart that Kuspit’sdiagnosis Donald through hc h mas a obnto of combination “a means he which by iconoclastic, are theories aesthetic all that conclusion Kelly’s Michael temporary art is disliked. We can see the whole field in combination through Once again, art’s fate in contemporaneity is deplored or criticized, and con causa finalis or telos hope—of of view Kant’sthe of broken: irreparably is critique third view following the and picture, the of out fall horizon, human specifically a as future the with connected tightly are which transcendence, and action book of the samethetitle,bookofwhich appeared nineteenththe ofendthe at century, Entartung slogan against post-classical music, for instance, would not do anymore. But familiar term his coined Adorno increasing. is public its and and art between distance misunderstanding the necessity such of because that is another and anymore, aren’tprespectives its even and harmonious not is world the because bright expression, of means and material own its destroying without truth resent Entkunstung word The look for an explanation the best approach is to take it from the title onward. art’s end, and of art after the end of its end. This sounds complicated, but to of end the about theories become now have that theories art” of end “the iiy trs ih bekhog t mv i te ieto o fedm as existence. human freedom of ofrealization direction the in move to breakthrough a with starts tivity Unendlichkeit o rmmrne ta i, o history,” for is, that remembrance, for for our lives? Art used to be important as action that “creates the condition important action an as it see to or art, contemporary like to possible it is how But it. of theory general a also but art contemporary for schema able accept an only not construct to able be will we time, due in that conclude still can We reasonable. and understandable is much That finity. its with in contemporaryart,andhavenotreachedthepointofsynthesisinfinity taxonomy of art shows that we are at a pre-theoretical stage of examination Paradojas del arte sin fin sin arte del Paradojas Vilar’sstudy Gerard pessimism. cultural at arrive nally,we Entartung Entkunstung was not a Nazi invention. They adpoted it from Max Nordau’sMax from it adpoted They invention. Nazi a not was Desartización —or, theviewofanend. , which has two sides: one is that art cannot continue to rep to continue cannot art that is one sides: two has which , ) is one of Hegel’s most insistent points. insistent most Hegel’s of one is ) (“degeneracy”), embraced by Nazi Kunst politics as a as politics Kunst Nazi by embraced (“degeneracy”), , however, because the more familiar or perhaps too perhaps or familiar more the however,because , is a Spanish translation of Theodor W.Adorno’sTheodor of translation Spanish a is 8 speaks about tradition and centemporaneity of centemporaneity and tradition about speaks 5 With contemporaneity as approach, both approach, as contemporaneity With iitrs ad itut n art in distrust and disinterest 4 r wee rncnetl subjec transcendental where or, 3 Bad infinity in the in infinity Bad Desartización: ,” 6 and 7 Fi - - - - - contemporaneity is its new stage or form—then in terms of aesthetics of of aesthetics of terms in form—then or stage new its is contemporaneity art—that as contemporary art about we speak When steadiness. persistent develop to but new something into develop to hope not does it neity,and contempora of extension an for but progress future for hope not does It itself. in end no has it but sense, much too perhaps and sense of lot a even sense, makes temporality progressive without place a as Contemporaneity and philosophical debate,discussion, andpolemicsarenotreallypossible. clusion:concerning contemporary art,fundamental substantialand aesthetic with(togethermanysimilar casesfrom other cultures) leadsanotherto con This share. necessarily not did debate general the of participants all which list, the on arguments other the of all were as arguments, banal quite were it is separated from its public, which could no longer understand it. understand longer no could which public, its from separated is it more, that contemporary art is nothing but a product of a market, and that any art contemporary to apply should criteria aesthetic no that agreed all cratic or authoritarian, general public or intellectual specialist. These groups demo right, and left between differentiation any without debate, the enter who those of all to belong art conteporary against arguments main three which on list first the gave He YvesMichaud. by analysed were art porary contem against and about polemics later.French bit little a just France in questioning happened in the United States at the beginning of the 1990s and democracy.Such of name the in art’selitism high of questioning public of end of art from the metaphysical into the physical world, and the beginning This includes the end of the avant-gardes as movements that transported the with anendtosatisfyanybody’s historicalappetite? delivery,home telos!” “Hello being not for art blame really we Should it. deliver should art that demands repeatedly it but itself, in end any possesss art’snot for does Contemporarity given. be should existence contemporary reason autotelic an where place a in taxonomy for paid tax a is pessimism Cultural had. art of ideology Zionist healthy his consequences the to and Nordau, Max to it comparing by art, in end any of absence the of and art, of end the of aesthetics contemporary the reread to need real a but Adorno of criticism not however,is mind, in have I What music. Negro American if we take into account that Adorno’s most sophisticated criticism is that of W.Theodor and Nordau especially one, insurmontable an not but Adorno, should be in asylums and not in art. There is a great difference between Max were decadent and even mentally or otherwise sick and abnormal types who and, founded in Cesare Lombroso’s views, claimed that contemporary artists 9 These - - - -

125 Lev Kreft 126 Teaching Contemporary Art (and Aesthetics) with. But continuity as a movement is much more than a result of rivalry. It started already had they what up give to having also often quite relatives, dead of position the in overnight themselves found which art, modern of This comes out also as a result of rivalry between “outfashioned” museums Worldbefore period War contemporaneity.of invasion the by untouched II the just less or more leaving “contemporary,”and as century twentieth of territory whole the nearly declaring that, before even and 1960s the with but 1980s, the with start Terrynot of do some Smith’sthey to views, trary art institutions, now spread around the world in an epidemic tsunami. Con contemporary in visible quite is continuty of movement continuity.This is contemporaneity of movement only The movement. historic represent not manageable, but it is not autotelic; it does not contain an end because it even does possible, and acceptable taxonomically is get we image The end. any has aesthetics that assure cannot taxonomy this if even sense, make least at which 1960s, the in turns cultural respective their and approaches thetic aes five of table a with us provided which but Expressionism, Abstract to Renaissance from painting Greenberg’sin Clement continuity on insistence to similar quite result a gave which on, and Hegel to Kant to Baumgarten aesthetics twentieth-century of story the told Perniola Mario compartments? tionary ria history— (a itself in end an with story a it Is it. about told story the is redone and done be could away.What a passed already in has emerge that century could view aesthetic new no and story, the to added be can artwork new No elsewhere. and Beaubourg renovated the Tateto Modern the from century, twentieth the of art to devoted buildings all up fill and in fill to have you if way better much contemporary,a as is nomena which phe its of all treats which used, is taxonomy use, that present for method past adapts a historicization, of Instead past. the as necessarily not but tieth century, already over and complete, are represented now as being over, that has always already been there: aesthetics, as well as the art of the twen To give another example, more recent than discovery of the rest of the world because whatapplieshereismoraltasteforartamongthemajority. concerned, are funds public when apply not does art of autonomy of issue gal issue. And, as political debates on contemporary art show, even the legal has no telos, while autonomy of art, deprived of its end, has become just a le itbecause autonomyanymore,butpossess not would itbecause Not more. any world autotelic an not is art that admit to have contemporaneity,we ), a chronological cronicle, or a taxonomical redistribution into evolu into redistribution taxonomical a or cronicle, chronological a ), 11 to prove that its history is consistent, from Alexander Gottlieb Alexander from consistent, is history its that prove to 10 histo ------end andpluralityofcauses isart’s problem.Itismuchmorethanthat. of absence or deficiency this that say cannot we But art-making. for cause a discover to is activity artistic of phase main the time, the of most even or cal uses for artworks for different causes as in contemporaneity. Sometimes, was just one of the arts—that is, technical skills—were art there as when many practi art, on view autotelic the before times in even therapy.Not tive morality,narra or or ecology control preaching stress engaged, offering or scientific, cultural, civil, public, intimate, community oriented, human rights this cause cannot be autotelic anymore. Any cause would do, be it political, and existence, its for cause a discovering by existence to right its prove to (art work was subjected to those rules long before anyway); it means that it has rules commodity and market to subjected now is art that mean not to exist beyond its position of post-industry and creative industry. This does without end in itself and without practical use as such, has to prove its right contemporaneity,of image prevailing the as economy with being tently art, trace of artistic religion left in contemporary art. What is left, then? Consis tin Heidegger, Theodor W. Adorno, and Hans-Georg Gadamer), there is no final efforts put into such an understanding of art’s end (as in those of Mar the After art. of religion the by humanity of redemption a was which end, art’sof body modernist dead the awaken cannot we but want, we as much out practical or useful use. We can discuss modernity and postmodernity as or part of the so-called creative industry, it kept its looks as something with ing and opposed views. Even after art became another kind of post-industry, tific and natural world ( notion of art. This notion turns art into another world, aside autotelic from the the scien to stick we if things complicates Contemporaneity autotelic. as art of notion persistent and traditional a is therefore, obstacle, third The not comefromthesamefamily, familywoulddisapear. Without changing all the time because of inclusion of new members who do itself. continuity but end other any without continuity of narration proud a is it that: than more lot a quite always is resemblance family But all. at them between resemblance shared any without membership family share the enumeration is complete and comprehensive, at least two members who if find, can we where notion, inclusive and open an as tree family a rather essence particular a not is to belong components the what that claim Y,X, to D,… C, B, A, of enumeration an is notion family A tions. a and Z, no family of Wittgenstein’sintroduction Ludwig of aspect another opens Lebenswelt ), adding a third to two already compet x but ------

127 Lev Kreft 128 Teaching Contemporary Art (and Aesthetics) time produces food for thought and spectacularexperiencesand senses.the forthought for food produces time same the at which approach “engaged”) and “critical” means nowadays (which correct politically and artistic, BMW’sscientific, a in activity dress logo-motional to effort collective great of result a is have it we that but understand to post-art, Kuspit’s Donald of neighborhood the in us get to (ab)used be could statement taxonomic colored phenomenologically This polyphony.”and plurality by defined world a in navigate individuals as we how in responsibility of sense our enhances it that fact the is energy able sustain environmentally and movement on research the in interesting so one obviously also negotiates the way time-space is constructed. What I find self-perception and the way we engage with the world […]. In driving a car, for consequences has movement Thus, friction. political and physical, cial, so also but resistance, wind only not friction: implies space in movement strong will to keep the special BMW image intact. Eliasson comments: “Our a with along warming global about concern industry’s car the exemplifies aesthetic one.” This metal-and-ice-covered, hydrogene-powered automobile an as intervention political and social a much really,as experiment “an as being “a reminder of the profound effect design can have on our lives,” and global warming and the automotive industry.”automotive the and warming global a work of art that critically and poetically refers to the relationship between into design industrial advanced of object an transforms “Eliasson’sproject purposes: and causes with interwoven result art’screative and contemporary process creative of picture a observe we on, presentation car’s the of paint “car of ing.” For Eliasson’s tradition project, on the previous BMW home page, from the the first sentence with continued who Koons, Jeff as such artists later by confirmed than more was touch special His 2007. in Venicethe for inspirations decisive the of Biennale’s Worlds”“Making title one probably very is who Eliasson, design—including was did artists these of all What (2007). Eliasson Olafur and (1986) Rauschenberg Robert to WarholAndy and (1979) (1977), Lichtenstein Roy (1975), Calder exander Al from cars, sports and race new design to invited artists great with tion coopera of history long a has Car.BMW Art BMW a for designs artistic of example excellent an to attention my turned who McMahon, Jennifer a bcm a ybl f rges lot meitl. uig h 1960s, the During immediately. almost progress of symbol a became car ma previous with As the machines, flying younger progress. railway,slightly the the especially and chines, and velocity car of case the take us Let bon-vivant a instance, for supported, which life, of way “macho” a of symbols important most the of one as there still was it 12 , analyized by Beatrix Preciado in her study. I have to thank to have I study. her in Preciado Beatrix by analyized , Playboy 13 His work is presented as presented is work His gr o a ige male single a of figure ------taey wih ut aant h cmays mg a a rdcr f ex of producer a as image company’s the against must, which strategy, company’smarketing BMW the of limits the beyond extend not does ness aware that of range critical the but space, this in invested awareness other and cultural, political, social, of network a is There intervention. artistic before there already was that purpose a get we art of end modernist a of instead is, cars—that such of production the for except result and project elaborated very this for end other any us give cannot artwork, an as car a Brillo boxes were in the Stable Gallery. It is a result that, while representing polar space in which a car is situated in a simulation of an art world as once a enter we when experience we impressions body strange from developed awarness social critically,with car-making of circumstances general about think us makes that artwork an only not is result The causes. of number a than it needs to produce artistic design mastery. In short, it needs a cause or more even awareness environmental and social of impression an produce to has alive, credibility its keep to wants it if touch, artistic side, other the On itself. engineering of not and strategies, marketing and design of ucts prod are cars Nowadays, owner. its to promises it life of way especially car’sa of favor in changed components as carossery and trademark, image, by an oil crisis. Up until now, however, the relationship between chassis and danger in put was which marketing of part a as issues, advertising for just touch highbrow some needed car The technology. by produced really but artist, an by painting with covered canvass of sort another as appeared car by engineers, following their ideas and plans, so that in the final product the made chassis a on carossery designed artistically put to meant Car Art The enlightenment. by paved path the on end its to progressing was world the that proof a appeal, aesthetic symbolic with technology advanced of result a itself, in artwork an still was itself car the 1970s, the of beginning the At a carisstillstatussymbol.Whatchangedaswelltheofartwork. such possess to but public, world art the with popular less much now is ter were symbols of scientific progress, but also of unleashed manhood: the lat velocity high of cars sport 1970s, the During perspective. in art temporary con of work this put to possible is it 1970s, the in project Car Art its with started BMW Because causes. other and environmental, political, social, of other issues. The result is and an artwork with environmental, supporting architectural elements political, social, artistic, discuss to met experts other and scientists, architects, artists, scholars, forty Eliasson’s than in more where preparations studio, the are typical really is what but book, a and film a includes project The itself. car a of that to comparable technology develop to had experts of Eliasson’s group ice, of structure this buildTo - - - - -

129 Lev Kreft 130 Teaching Contemporary Art (and Aesthetics) takes overonceagain? problem. Theproblemishowlongcancontemporaneity lastbeforehistory normal, as an as continue and moment decisive a avoid can we where place shelter a of production the is crisis—it of moment a moment, a such not is poraneity Contem outcome. its of grounds certain any without are we when ment mo decisive a die: or live to has just body the that so taken, been already has medicine available all and developed well is disease when time in ment mo a is Crisis crisis. in and of aesthetics and art not are aesthetics its and art Contemporary ends. final between choice a making avoid to possible remain will it that hopes it perfection; toward progress unending not is for hopes it What end. an produce to unable place-space a is Contemporaneity misleading anddangerous. out from art’s magic hat: there is no magic any more because it proved to be it bring to way no is there because end an create cannot art contemporary and end, no has contemporaneity that means It anymore. it with involved get to want not does art that but one is still there that mean not does art contemporary from end the of absence The that. than more do could should and art that idea an involves it if criticism of kind this with agree not of raw social material is mistaken for an imaginative triumph.” imaginative an for mistaken is material social raw of reproduction mechanical the that so blurred, become has material raw its as uses it reality that the banal imagination and creative between difference reality butinfactisunwittinglycollusivewithit.Postartartwhichthe everyday of critical be to claims Postart it. analyze to pretending while ity real everyday glamorizes that art in-between an but art, high nor kitsch apply: “Postart is completely banal art—unmistakably everyday art, neither these polemical statements on post-art before Eliasson’s project, but they do what the company needs, and that is what it got from the art. Kuspit wrote the earth. A car becomes a vehicle of political correctness, and that is exactly they,BMW,driving by of healing the including causes, right the all support that feeling a for excuse enough clients rich its giving issues, environmental and economic, political, social, of aware company a of that image: another construct machines, unacceptable environmentally and wasteful, pensive, angelus novus reposing in an aviary. Contemporaneity is not a 14 Still, I do I Still, - - - - 6 5 4 3 2 1

versity Press,2003),xi. Michael Kelly, Michael human conditionbetween labor, work,andaction. the of Arendt’sdescription from also but soul, the of Aristotle’stheory from derived are here ideas His future). the scale: time a (on through break of movement the and present), the scale: time a (on production in the world (on a time scale: the past), the movement of self-expansion/ three movements, but in descripiton, they are: a movement of anchoring Patocˇka’sfor translations different and formulations, different own his enologische Schriften I Jan Patocˇka, cago Press,1970),9. Arendt, Hannah Giovanni (Cambridge:CambridgeUniversityPress,2010),753. Hegel, Friedrich Wilhelm Georg Sciences Foucault, Michel See knowledge. all of regulation A-B-C Enlightenment’s in addressed is it as a real place and culture but rather the China of “Orientalism,” where Foucault’s famous quote from Jorge Luis Borges does not concern China originated fromnature. beings supranatural become necessity,to humans for or,it, has Kant as of world the into built freedom of perfection for hope our to rather but world this of things to belong not does that something cause”), (“final a end, an view my in is true) come to has hope this sibility philosophy,pos practical the in and as hope purpose, about rather but about not is teleology but translated, is Kant’s“telos” how sometimes is (which purposiveness Second, narrative. historical of part is it that tween past and future, and thus part of historical narrative which knows different. First, contemporaneity is not present, because present is in be slightly just is approach My fated.” seem them making thus meaning, and appropriateness purposiveness, of sort some them giving by them events in a system or pattern that simultaneusly qualifies and transcends spe a cious in present rather associated than a consistent events narravite integrating some of of these quantity a is contemporary ‘historical,’ the is, the that necessarily not is definition by ‘contemporary’ “The http://www.artnet.com/magazine/features/kuspit/kuspit4-14-05.asp. Historical,” the and Contemporary “The Kuspit, Donald See 2005. January in City Mexico in issue this on lectured Kuspit Donald (NewYork: Vintage, 1994),xv. Die natürliche Welt als philosophisches Problem: Phänom Iconoclasm in Aesthetics in Iconoclasm h Hmn Condition Human The The Order of Things: An Archaeology of Human of Archaeology An Things: of Order The (Stuttgart: Klett-Cotta, 1990), 248–67. There are cec o Logic of Science (Cambridge: Cambridge Uni Cambridge (Cambridge: Ciao Uiest o Chi of University (Chicago: tas Gog di George trans. , causa finalis causa Art Net Art ------,

131 Lev Kreft 132 Teaching Contemporary Art (and Aesthetics) 12 11 10 9 14 13 8 7

zl a te lyo mnin f 92 bcue h das ih Hugh Hefner’s—Playboy’s—launch with of architecture and sexuality. deals Her thesis is she because 1962, of mansion Playboy the at azul” importance of sport cars specifically, with the exception of the “Porsche the on touch not does Preciado Beatrix “pornotopía,” of study her In Mario Perniola, Arts andHumanities ture and Democracy: Social and Ethical Issues in Public Support for the indecent, and politically incorrect art. See Andrew Buchwalter, ed., obscene, of support for funds public of use the about rather but dom, art’sfree about or art, of autonomy the about not was argument The opening. before month one Washington,canceled in and 1989 July for scheduled was which Moment,” Perfect plethorpe’s“The retrospective MapcontroversyRobertcontinuedwithoverthat and 1989 of spring with began that art controversial politically or morally on States United the in debate the in proved As Michaud, Yves ciones UniversidadSalamanca,2010). Kuspit, http://www.bmw drives.com/artcars/bmw-artcars-eliasson.php. from available are ArtCar Eliasson’s on quotes All lona: EditorialAnagrama,2010),8,9,10,17,41,120. needs a proper vehicle as well. See Beatrix Preciado, well, and Playboy did follow the idea that such liberated men’s pleasure as cars to apply these technology.of sexuality,and All space, pleasure, elements: four with “pornotopía” of world men’s secluded and open tions as a pleasure machine meant to create a func special and that simultaneously home bachelor’s active an in represented is This adults. for Disneyland of kind a creates life of mesticity,way Playboy the that and that the Playboy style of life means men’s liberation from ideological do Gerard Vilar,Gerard Press, 2004),91. Kuspit, Donald The EndofArt Desartización: Paradojas del arte sin fin sin arte del Paradojas Desartización: La crise de l’art contemporaine L’estetica delNovecento h Ed f Art of End The (Boulder, CO:Westview Press,1992). , 91. Cmrde Cmrde University Cambridge (Cambridge: Piss Christ Piss (Bologna: IlMulino,1997). (Paris: PUF, 2005), 16–17. by Andres Serrano in the in Serrano Andres by Pornotopía (Salamanca: Edi (Salamanca: (Barce Cul ------

133 Lev Kreft 134 n 19s n e Yr ad ht nal a ok t h mcaim that mechanisms the at look a entails that and York New in 1990s and 1980s the in through lived I moment a of outgrowth an is that philosophy the panorama, and I count myself among them. I teach a rather home-baked nials (Francesco Bonami), and so on. There are less obvious contributors to bien directed have who visitors and Kuzma), (Marta spaces arts temporary Ulrich Obrist, Carlos Basualdo, Angela Vettese), directors of vanguard con (Hans museums entire or departments run who professionals are There ed. The teaching models taught in the realm of the art of display are variegat sive go, dispatch what they know, and then recede again, to their far from pas and come teachers whereby prevails, part most the for a atmosphere blissful politics, university or inter-departmental in up depart caught of alone fluid let embryonic ments, the in barely are arm arts the in professors the most from Since life. university of university much characterizes the that in-fighting of academic arm arts the liberates oddly, approach, This but notlife-sustainingprofession. wonderful a is teaching part-time as this, in succeed must who but preach, they what practice only not must who individuals to students exposes This professionals. practicing of number large a employ they that is university theater,art, the the of of sections character fashion unique and The design, Michelangelo. of time the since least at making art for model the been has which artist,” best the am “I thinking artists of tradition the from away step deliberate the Faculty of Design and Arts at the Iuav University of Venice. of University Iuav the at Arts and Design of Faculty at the education art of characteristics the of some describes essay short This Concrete studiolos Concepts .

1 t s a is It - - - - - face of what is commonly deemed an artistic career. There’s a ludic spirit ludic career.a There’sartistic an deemed commonly is what of face the in fly and goes, signature artistic as far as radar the under Venice,are of reality the in rooted or nature, in social them of many projects, These others), andacompetitionentrywithKenLumbyValerio delBaglivo. TschurtschenthalerKathrin by (among VeniceSteinbach in Haim made for multiple a of realization the Longarini, Laura by books artists’ about zine maga a others), (among (among Saviotti Alessandra by projects ecological others), Bruzzechesse Roberta by projects recycling Perella, Riccardo by and Alessandra Landi, among others), a lesson on the fonts of Joseph Beuys Giacconi, Riccardo Ciaramitaro, Mario members (including Hase Blauer as known collective magazine a Bolfe, Tiziana of chandelier neo-Memphis of paradigmatic chicken-in-a-bun image), a book work by Diego Tonus, the visiting artist, and others), the printed catalogues of Ryts Monet (and choice invited an Sachs, Hinrich with collaboration (in studio aritsts’ an of cation self-promotion as an artist), the work of Michelangelo Corsaro in the fabri magazine, art an of (launch Seri Jacopo of work the include time my in up made and fall. Some of the Iuav University student projects that have grown enough time in the nightclubs and galleries of New York City to see careers and Kosuth, Joseph artist with spent decades several Broodthaers, and Marcel Haacke Hans of work the into research early of result a probably is interest This exhibitions. of print staging the in in as well as both media, virtual descriptions in and these for search I work. their and themselves describe artists ways the at look to interesting very it found Recently,I’ve the historyofcollecting,andsoon. brand, artist’s the of creation the work, artist’s an create framing tutional insti and catalogues which in ways the at and art, of staging the constitute C ornelia Lauf - - -

135 136 Concrete Concepts 1 of artthatgobeyondtechniqueandstyle. models in faith and ideas, and structures, to dedicated flourishes, periment ex an that country’sgovernment, the and universities Italian of state rent cur the despite resilient oddly environment, this in is It school’sdirectors. the by place taken has that winnowing and selection the of because portive sup mutually and peaceful oddly is assembled teachers of panorama The whose ideas havenotyetturnedtoconcrete. people young of aspirations and dreams the epitomize and today culture visual about thinking of forefront the in are created being projects of kinds the that hope and believe we because is It warfare. internal any of because not is This school. the of future the plots that department theater art/design/fashion/ renegade often and small the of wings gossamer the is it school, university,the at dominant architecture seems often that its identity an propagates for which primarily known is University Iuav Though is uniquetotheVeneto, nomatterhowinternationalthestudents. involved, a lightness, and an ability to weave together craft and concept that

2001–2011 Angela Vettese and Chiara Vecchiarelli, eds., (Milan:MoussePublishing,2011). Visual Arts at IUAV, Venezia: - - - 137 Cornelia Lauf 138 for interpretingandanalyzing individualworksofart: guidelines provides which example, for Gestalt, of school experimental the by influenced was moment modernist the how note to important is it And times: the of art the for catalyst a was psychoanalysis how on comments include Postmodernism Antimodernism, Modernism, Buchloh— D. H. Benjamin and Bois, Yve-Alain Krauss, Foster,Rosalind Hal by work classic The paradigm. this on based are art be a the of means culture to the of understanding all almost times; histories to considered is period particular a of output artistic The approach. tural cul and historical a of form the takes question this to answer the Usually at all.Forastart:Isartreallyformofknowledge? that there are a number of different answers, some banal, others not so banal find would we form, question into paper this of title the turn to were we If from Trieste. descent Hungarian of friends two Kanizsa, Gaetano and Castelli Leo To Art as a Form of gis a oiotl rud bt hs gr-rud eain s under is relation figure-ground this but ground, horizontal a against figure vertical a of form basic most the repeats center the at cross The imagined bytheSwisspsychiatristCarlJung. the focus fell on the redemptive archetypes of a “collective unconscious” than the difficult mechanism of the individual psyche explored by Freud, Rather […]. expressionism abstract informel, art with associated artists with psychoanalysis […]. An affinity interest in the its unconscious persisted among was as set, was insane the and children, “primitives”, with art modernist some of association the thirties early the by Nevertheless, Knowledge andas a Creative Process —is a case in point; its pages pages its point; in case a —is

1 Art Since 1900: 1900: Since Art

- - ing aboutagivenworkofart? Casati posed for philosophy: What can we learn from studying and reason Roberto that query the as way same the much in formulated be can which a more abstract approach to the question with which we opened this paper, taken, is constructed on these diverse forms of mirroring. However, there is been have excerpts above the which from al., et Foster by work entire The has producednewformsofartefacts. which influence an transformations, technological by influenced strongly twining of zeitgeist and art. Over the last few decades artists have also been inter reciprocal the of instances important most the of examples are These of thelastcentury, andthatofanartistorartmovement: of Ludwig Wittgenstein, who was probably the most important philosopher As well as, finally, mirror-imaging between a system of thought such as that between them, lines that appear to be the “figure” on the top, are in fact lines whitish the because also but stripes, black the of elaboration sive exces the through only not occurs This undone. be to only here, scored you seeiswhatsee”inStella. “what Johns, in focus” “changing is all where positivistic; is Stella fact, this about playful be might Johns Where […]. underneath ground” “the cially Conceptualartists). espe generation, his of artists other by shared soon interest an 1961, Johns wrote in a sketchbook note (he began to read Wittgenstein around guage appealed to his sense of “physical and metaphysical obstinacy,” as lan of critiques whose Wittgenstein, Ludwig philosopher the for true is Duchamp would remain a crucial point of reference for Johns. The same P A 3 aolo Legrenzi lessandra 2 4 Jacomuzzi &

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139 140 Art as a Form of Knowledge and as a Creative Process world or is it just a mental reality? And if it is both, where is the borderline? a work of art stimulates reflection on the question: Is art part of the outside The passage below is an example of a reflection on the so-called Cubist grid: Just as reflecting on numbers leads us to understand them, understand to us leads numbers on reflecting as Just man. by invented objects ideal the of structure the of comprehension our sition that the contemplation of a work of art, as in mathematics, facilitates There is also the possibility of a more articulated answer, sustaining the po they interact. how and signs of types different the understand better us helps art of work a of examination the that say can we so And indexes. and icons of blend a is which example, photography,for typologies—take three the of nation combi a are but category sign one just into fall not do they that discover will we art, of works of contemplation our in tripartition this apply we If me of chanical waves,andtheperceptionofmusic. production the keys, piano over fingers pianist’s a the of movements of example famous Wittgenstein’s in as invariants, some and share way); icons that passed that beast a or being human a of traces are forest the in branches broken or sand the in footprints example, (for relationship the name iPhone and the corresponding smartphone); indexes have a causal example, (for relationship conventional purely a have Symbols referent. its to relation different a has type this of example Each index. and icon, bol, sym categories: main three identified who Peirce, Sanders Charles by ject functions of signs. This requires a reference to the original work on the sub the understand to us helps art of work a examining example, For process. knowledge a for preconditions the us shows art of work the that is above, illustrated option the than feeble less little a is which possibility, Another its influenceontheoutsideworld,inwidestsense. tion to our understanding of ourselves, of our mental reality, rather than to sis. In other words, our conception of the effect of the work of art is in rela auto-analy in-depth more a facilitating minds, our in triggers it sensations and emotions the of function a as considered is art of work The example). tions and how our cognitive processes work (for example, the figure-ground assert that reflecting on a work of art helps us to better understand our emo to is option feeblest The question. this answering of ways many are There h Cbs gi i, ehp, h fis isac o te id f pictorial of kind compriseto twentiethcomecentury the in laterwouldcomposition that the of instance first the perhaps, is, grid Cubist The 5 6 contemplating ------to be looking upward—houses ascending a hill toward the top of a mountain, in states Foster Hal As - - - sive demonstrationthat: progres the as considered be can artefacts artistic of creation the Likewise - - - important resultsobtainedbyadoptingformalismsandcomputation: Stella’sperspective, this the In with compared be can structure” “deductive rules. preceding flout that created be can art of works that so constraints, down breaking progressively by evolves art of history The constraints. by bound process (thought) cognitive a as art consider to us leads step This

lines, the grid is an instance of drawing that does not seem to delimit a delimit to seem not does that drawing of instance an is grid the lines, parallel of series a in edges horizontal and vertical its repeating and vas the whole of Frank Stella’s paintings. Derived from the shape of the can chael Friedcalledthisprocedure“deductivestructure.” Mi critic the work, Stella’s about Writing […]. surface the into space illusionistic or “depth” reading of possibility no also but represented, being itself shape the but anything of question no only not was There roring” more emphatic by casting his paintings into eccentric shapes […]. “represents” nothing but that surface itself. Stella would make this “mir drawn, is it which on surface themirroring representationalbut, object, landscapes paintedbyPicasso inSpainatHortadeEbro1909. It is not necessary to have just one single viewpoint, as can be seen in the a plainsurfaceisinitselfcoloristicprocedure. color can be modulated by a mere change of proportion, any division of single any Since drawing. and color between opposition traditional annul the to had Cézanne Paul why understood Matisse Henri coloring: for needed color is nor boundaries, delimit to necessary not are Lines jects; anaerialperspectivebasedonthegrainofsurfaces cansuffice. dimensional representation of a tridimensional spatial distribution of ob bi a obtain to another of top on one images layer to necessary not is It voting systemcannotsatisfythetransitivityofpreferences given a which under conditions the illustrates which Arrow’sParadox, Gödel’s incompletenesstheorems of knowledgeareconsistent areas that verify to attempts thwarts that explosion combinatorial The Art Since 1900 Since Art 8 , “For, inthese works, where weseem 9 7 ------

141 Paolo Legrenzi and Alessandra Jacomuzzi 142 Art as a Form of Knowledge and as a Creative Process And finally, there is no need for an ontology,an for need no finally,is And there Picasso picture.” strokes that he could make, all of which would yield a brush perfectly several recognizable probably are there moment, any At picture. particular a ing paint is he as Picasso example, “Consider,for invariants: by controlled is it process; random a not is constraints of down breaking progressive this hand, one the On them. amongst from ones viable select to some and ideas generate to below,constraints described some architecture uses multi-stage the one, third The stage. generative the govern constraints available the all case, opposite this In Lamarck’sevolution. with of analogy theory by fined tial generation of ideas. The second possible architecture for creativity is de ini the guide can that constraints no are there if available mechanism only the is it and evolution, of theory the to analogy by architecture Darwinian neo- so-called the is first The Johnson-Laird. Philip by proposed of creativity models mental three the with aligned perfectly is reached is definition mere of criterion the until invariants general and abstract increasingly of This progressive breaking down of the previous constraints through a series would be imposed by the first. Johnson-Laird defines this combination as a as combination this defines Johnson-Laird first. the by imposed be would strokes brush of sequence entire the deterministic totally were they if style; a recognize to possible be not would it random entirely were processes the how If art. of demonstrate work a creating in intertwine processes skills deterministic and random These use. they cues the articulate to able being without so do can they and before, it seen never have they if even Monet a a also or are Picasso a as picture there a identify to able are process, Experts invariants. of number random a piece, by piece is, painting while So downward.” plunging precipitously be to contradiction, total in yet, surface—and picture frontal for example,theirsplayed-apartroofandwallplanesallyingthemwiththe the work.” of definition legalistic or administrative the call could one what onto turn in open could so—which it naming by merely created be can art of work a that evident became also it work Morris’searly “With epistemology: pure perceptual manifold.” to how separate pieces of sensory information could be unified into a single as psychology nineteenth-century obsessed which problem tactile the and experience, visual between coherence the for need no is there Picasso, by 13

14 11 10

And later in the text he continues “ In these works these In “ continues he text the in later And 12 as the work of art becomes art of work the as - - - 12 11 10 9 8 7 6 5 4 3 2 1 art? of piece a show the after dinner to go to Botero Fernando by used Shadow belongs to the art world, do we not generally consider the Rolls Royce Silver gallery this inside housed is that Why,everything question: if the posed he When MaurizioFerrarisvisitedtheMarlboroughGalleryinOctober1996, not. is what and art is what between boundaries the establishes and art of work a being as artefact an pronounces author the remains: one just until constraints of down breaking progressive the of narration the as seen can be al. et Foster by proposed century twentieth the of art of history The multi-stage procedurewhendescribinghisthreementalmodels:

All the constraints that have governed the generation of ideas. So, if the if So, ideas. of generation the governed have that constraints the All extreme. an to procedure multi-stage the takes process of sort third The the nondeterminismofcreativityentersintothisprocess. have, a choice among the options must be arbitrary. The choice is where we constraints the all used have we because But, step. next possible one there may be more than one option, because constraints seldom yield just no other constraints exist to evaluate it. At various points in the procedure, definition, By revision. no needs output the viable, are constraints Antonio Danieli, Giuseppe O. Longo (New York: Springer,in 2009), 265–85. and “The the Artworld WorldFerraris, See Maurizio of Works of Art,” Exploration,” Perceptual during Merging TemporalIntersensory veals on Constraints Re Cube Necker Visual-Haptic: “A al., et Bruno Nicola also See Ibid. Ibid., 110. Foster etal., of Consistency,” Paolo Legrenzi, Vittorio P. Girotto, and Philip N. Johnson-Laird, “ModelsFoster et.al., Roberto Casati, Ibid., 685. Ibid., 676. Ibid. Ibid., 409. Thames &Hudson,2004),17. Art Since 1900: Modernism, Antimodernism, Postmodernism Buchloh, D. H. Benjamin Foster,Yve-AlainBois, Hal Krauss, Rosalind h To utrs Sae Problems Shared Cultures: Two The Art Since1900 Art Since1900 Neuropsychologia Prima lezionedifilosofia Psychological Science , 75. , 682. 45,no.3(2007):469–75. , no.14(July2003):131–37. , eds. Ernesto Carafoli, Gian Gian Carafoli, Ernesto eds. , (Rome:Laterza,2011),114. 15 (London: -

143 Paolo Legrenzi and Alessandra Jacomuzzi 144 Art as a Form of Knowledge and as a Creative Process 15 14 13

Press), 52–53. Johnson-Laird, N. Philip MA: HarvardUniversityPress,1988),256. Johnson-Laird, N. Philip Foster etal., Art Since1900 How WeReason How h Cmue ad h Mind the and Computer The , 528–29. (Oxford: Oxford University Oxford (Oxford: (Cambridge, 145 Paolo Legrenzi and Alessandra Jacomuzzi 146 that are popular nowadays. But when the term “artistic research” comes to tory, aesthetics, etc., although it can parallel the discourse of critical theories correspond to the academization of art practice. Artistic research, by definition, does not quite the primary site of artistic research should be academia, and henceforth the parallel to the insertion of MFA programs into the art academies. Therefore, is practice this that see also can One work. the disclosing in statement ten writ a included often and manner discursive a with along practice art an development of art in the late 1960s, when conceptualists started to develop the in trend a such observe systematically.can sought One be to need that limitations with format certain a by bounded is which and work, and ing writ through method academic an in formulated is which content, cursive Artistic research, instead of just “research,” is by definition a work with dis research inestablishing“aoftheresearch.” artistic of site the with grappling from address to attempt I questions the are These forth? bring can research artistic that imagination research the is What research? conventional of methods follow much research artistic As we know, there is a research imagination for every type of research. Does of production knowledge be effected from the specificity of artistic research? tribute to the field of knowledge? That is to say, can the topological relation con and with specifically,target research, this will What artwork? to son for,stand compari research in art does differences what then research, art by replaced be can artwork an If emerge. to nomenclature such for causes the to contribute can that socio-geopolitical, it be site, a is there air,and the from arise not does research” “artistic term very The practices. art for “artwork” and “art projects” to serve as the description for the end product Over recent years, the umbrella term “artistic research” has been taken over From Work to Research: Sites of Artistic Research research on art-related subjects

, such as art theory, art his

------concept-oriented artworks. Conceptual art continued through postmodernist differenta phraseproductionof distinctseenasthatbecan from earlier the ticetheacademicin institution, whichturnin internalizes theartpractice in prac art for occasion the is This results. their as equally theses written and Most practicing artists with an MFA degree must present their artistic works discourse andcreativeproductiontogether. theoretical combine to aimed art, practicing for degrees terminal the of one program, MFA popular increasingly The employed. are content discursive of art have been played by linguistics and semiotics such that dialogical and proaches, but also of transformation to a creative model in which disciplines ap formalistic and representations modernists’ of practice the to contrary is which content, discursive the delivering of capable were only not then since produced works Many programs. MFA of training the on based be to came education art higher coincidentally and trend major a became art factors meet, one of the primary scenes would be the time when Conceptual two these where seeking rather,in But research. artistic of precedents the as forms abstract of Malevich’squest Kazimir philosophical or algebra ian Duchamp- Marcel for go to need not do we that reason precise the is That be whatweknowasartisticresearchtoday. to comes what considering in combined be to need factor aesthetic the and the “artistic” side, not the other way around. Indeed, the institutional factor on always is emphasis the research,” “artistic term the use we when that is truth The “research.” word the in implied art-making of conceptualization be simply equated to the research-based art practice, but rather a structural cannot research Artistic it. of making the within operating ceptualization describe an artwork, it apparently demands a particular mechanism of con H ongjohn Lin - - -

147 148 From Work to Research supplement for the old terminal degree in art, the Master of Fine Arts. In Arts. Fine of Master the art, in degree terminal old the for supplement seen as the increasing demand and supply for higher education to create the ings than in MFA programs. The founding of the PhD in art practice can be pect in curricula is varied, there should be more credits and theoretical writ as creation the on weight the Although global. goes economy knowledge of production the as programs PhD the founded have schools many Asia, and Australia in also but Europe and States United the in only Not ments. to found practiced-based PhD programs, rather than MFAs, in their depart begun more have schools art much decade past the in been because before ever has than heated research artistic the on debate the years, recent In “work” to“research.” from transition the as noted be can which practice, art of academization the reflects significantly that exhibition an create to employed are subjects and approaches research different exhibitions, biennial With necessary. is conceptualism” reflecting the MFA training that the discursive part of work “global termed loosely be can artworks These conceptual. or temological, epis socio-cultural, territory,whether of notion the with concerned more artistic practice/research, being held in the international exhibitions, is much of sort This local. the to reference the from produced are artworks sioned proaches from artists’ preexisting works have been adopted, newly commis ap and styles certain though Even context. cross-cultural a in study field a researcher,a as for local the probing in anthropologist an like much is who functions then artist The revised. are works and research field in engaged are before—artists than role significant more much a playing are ennials, bi of occasions the on especially exhibitions, art Contextual local. the for relevancy for aim subjects and contents whose projects site-specific realize to curators by asked been have artists years, recent during Especially ects. everywhere, so that the artists are traveling somewhere to realize their proj place taking are that exhibitions numerous the research-oriented with do to endeavor.has a It of more become has artwork 1990s, the since world around flourishing biennials of proliferation the with and dialogical, more tion, and partly because of the tendency of art practice to become more and educa art higher of institution the of transformation the of because Partly times cannotbeeasilyresolved. nant practice in contemporary art, though the research and the works some predomi the became mechanism conceptual creative a as works visual and research theoretical combining of disposition the and now, until practice 1 ------cannot easily collide together and be resolved, precisely because there are two theoreticaltheblurry,ticalandbe shiftingsidescan are and sidesthesetwo and the discursive side (writing). Although often the line separating the prac (artwork) side practicecreative the contain must researchartistic meaning: of layer second a has natureMoreover, pluralisticpractice.theoretical this artistic research makes the production of art knowledge become a pluralistic icaltoolbox forartistic research. Onecan assume that theeclectic nature of even economy (as in all humanities in general) have become the methodolog cultural studies, literary criticism, sociology, philosophy, psychoanalysis, and dimensions, and so the critical methods for art have become more eclectic— accountedbemovingcanfacttodaythattheartis towardby for polysemic differencesTheinterpretive thein frameworkDA the betweenandPhD the same. the remain research and art the between relation the relied, training DA which uponhistory art of thoseexceed thatinterpretativemethods ent differ vastly employs research PhD’s the today Although art. for concern the application of the artworks, which nevertheless leans toward the stylistic for and meaning new a for “mannerism” style art past a of motif the take mannerism“thepostmodernresearchthebeDAcan into ofera,” whichis toposition their creative works in research contexts. For example, the topic motif, subject, material, and expression as their entry points for investigation style,issuesof dominantinteroperating thesubjectstakeinwhich and arts, were whichhistory, art from methods by influenced heavily was research and conclude demonstratethe findings in theoretical to writings artworkand dissertations. usingMost DA by together, i.e. artwork the and work cal theoreti the combining of way possible one reflected also training DA The graduate studentswithMFAs wentontogetDAs. many and MFAdegree, the to supplements as created were programs PhD a today’sfor reference and distinguished DA Both provides research. artistic academic program DA the 1990s, late the in programs DA their closed the work and dissertation have to be presented. Although many universities DA, a obtain to order In States. United the in exists longer no which Art), tory to the terminal degree in arts from the past, namely the DA (Doctor of trajec similar very a following are programs PhD practiced-based Today above theMFAs . opportunity and teaching position, the PhDs in fine arts were created to rise job as such capital social of terms in also but entitlement, and prestige as such capital MFAs,symbolic the of average, terms the in over win to order - - - - -

149 Hongjohn Lin 150 From Work to Research ritc eerh n nedsilnr apoc ta de nt oey value solely not does that approach interdisciplinary an research artistic make formal the and linguistic the between difference intrinsic The words. different systems of discursive modes: one with the form and the other with a systematic interrogation of the not-yet-known.” the of interrogation systematic a is research “a said, once Appadurai Arjun As research? conventional from itself differentiate research artistic can how and academia, art erogeneous het the in research be can what ask to meaningful be would it Therefore, activity canbemuchvariedbychallengingtheolddisciplines. habitus conventional the with accord cannot which knowledge, of production such tions made in accordance to certain criteria, and the immeasurable nature of rejec and exclusions, selections, the are longer No essence. in democratic which is not a simple repetition of a fixed body of knowledge, and which is form, plural the take only can knowledge art of production The academia. art in knowledge of production the in subjects and disciplines different of bases the on made are rationalizations and argumentations, speculations, reflections, accounts, Different worldwide. academia art in faculties the of most in witnessed have we as players, its become can disciplines and ties humani of fields different from heterogeneous—scholars is academia art of composition the means, activity scholarly the what define which tions, percep shared for themselves internalize participants whose academia an of notion the raised has Bourdieu Pierre Although final stanceofwork. by stressing the “artistic” side, while the research side is to be justified in the art-making shifts the epistemological base of the artistic research, so to say, seen as one example. The instrumentalization of knowledge in the service of which employs linguistics and semiotics as part of the artistic model, can be that knowledge is defied, and so is the rationalism behind it. Conceptual art, of discipline the Therefore knowledge. of branches those of domain any to belong effectively can which of neither language, new a and object new a aspect—for creative a deemed be can discourses—which and knowledge of various specialized branches of knowledge. It breaks down the old branches “re-search,” where certainrepetitionsandtransformations aretakingplace “re-search,” enced, and refer methods to be be complied to with. Conventional literature academic research related is field, research a of delimitation the claim, a of statement a through possible is Research followed. be to need that rules and formats are there research, writing In institution. the involves always , is to create a situation of knowledge production whose scholarly whose production knowledge of situation a create to is , 2 The norm of research of norm The habitus that insists on insists that - - - - - different subjects and crosses the boundary between work and discourse, and work between boundary the crosses and subjects different over crosses just not it that sense a in trans-disciplinary is research artistic Therefore, “re-searched.” and accumulated, repeated, be cannot thus and unique, is artwork replicable—an be cannot essence, in research, artistic of manner,different a in result operates the research because artistic of aspect duce further research that perpetuates in academia. Yet the creative practice duction. It is based on the principle of accumulation that knowledge can in repro for knowledge of field the to contribute be to done is it once can replicable research of result the is, that format; fixed a following consensus academic with accordance in made be to has research that reason the cisely pre is which important, is “replicability” of notion the research, ventional the making of art, and the other with the writing of art. Moreover, for con that crosses between two seemingly unparallel systems—one has to do with art writings are gauged. Most artistic research operates on a discursive space gap where the translatability (and un-translatability) between artworks and epistemological an requires research artistic of space discursive or The DA, PhD. MFA, the of trainings the in it be writings, theoretical and work art between boundary the cross to research artistic for tendency a is there because research conventional from different is research artistic art, of tion Aside from the heterogeneous and democratic nature of knowledge produc its repetitionasdifferencewherewefindtheresultofartisticresearch. inter-textual level that artistic knowledge weaves through, and can the only find on rather but contents, its of ambiguity the on depend not does rality plu This meanings. of dissemination a for involved course liberal a always is interpretation—there an or judgment a to respond not does knowledge artistic of specificity The agendas. and processes of combinations different through other the to one from traversing but coexisting just subject—not the in plurality of status the achieve to attempting always rather but sions, es sence, which does not mean just having multiple meanings and comprehen in plurality the is research artistic to contributes that knowledge The disciplines. and methods given by formed is that methodology tutionalized search an anomaly in the field of knowledge, which much relies on an insti The unique and pluralistic nature of the knowledge of art makes artistic re of knowledge, simply because art practice needs to be unique and different. reproduction of sense the in “re-search” be cannot research Artistic sure. mea to knowledge single no is there because decided be cannot feasibility and verification its research, artistic to comes it Yetwhen itself. academia of rule unwritten the in is which falsified, and verified be can therefore and ------

151 Hongjohn Lin 152 From Work to Research o is eortc nature. democratic its for erated on the principle of consensus, the latter on the principle of dissensus, op former The method. emancipatory the and method social the methods: In imagination. research different totally a creates which knowledge, and art on politics its imposes research artistic disciplines, and subjects of status in-between an in Existing forth. so history,sociology,and art philosophy, aesthetics, is it disciplines—whether theoretical of definition very the transgresses also but suchtraits ofthe emancipatory method that always involve site—academia—carriesanindecisiveness primary its investigate we when research,Artistic search, as most art PhD programs emphasize their experimental eclecticism. ing another way of art practice fueled in academia through the format of re supplemental version of the art system that a we have be already had by can mobiliz there that showing study doctoral of course the in commonality principles of democracy and quality: the principle of self-determination and the on based is It determination. or and expectation self-organization only concrete and no demand, be can there that precisely means it such, as and words, and work from knowledge a producing in nation—autonomy imagi research indeterminate through formation institutional by captured being avoid to seek to knowledge of production the within instability ate politics of art as well as of education. In particular, artistic research can cre the in nowadays education PhD art in reorientation a to lead can research artistic of aspects emancipatory the about assumptions these Considering serted canbeattainedthoughintervention. as powers where knowledge and institutions of forms hierarchical the to say,alternative to an is as authority—that question to equality of principle the inequality and classification of knowledge per se to open up the possible from escapes that production of mode specific a produces research artistic and conformity. Multiple disciplines can be of use for the research. As such, conventions challenge to art contemporary and art critical as term to come we what with coincide can research artistic Much ends. open the on pand ex to and shift to order in borderlines its keeps always research artistic of with discursive practice. As art is unteachable and unlearnable, the practice established institution and authority to show its unique outcomes: artworks search imagination through innovation within the framework of an already The Ignorant Schoolmaster,Ignorant The 3 h eacptr mto ms raie t re its realize must method emancipatory The Jacques Rancière differentiates two types of types two differentiates Rancière Jacques ------3 2 1 that istosay, anyguaranteedsuccessoutofit. be, never can there solution; given and prescribed a without over crossed the ambitious project that artistic research sets forth, and many gaps can be indicate these of All implemented. been has it which in institutions in also a change in the way we see artists and their works in contemporary art, but set within the production of knowledge. It is artistic research that can effect inducing autonomy through the principle of democracy and equality that is by practice eclectic its canalizing in effect political a created artistic has system, research art the in agencies cultural and factors external by nized orga is art know we As knowledge. of production the in art of situation special a mark thus and confront, to needs finally research artistic that atic problem very the are pairings these between Gaps thoughts. and forms or between works and words, research and discourse, method and un-method,

(Stanford, CA: StanfordUniversityPress,1991),102. (Stanford, Rancière, Jacques tion,” Arjun Appadurai, “Grassroots Globalization and the Research Imagina States, varyingfromfiftytosixtycredits. The requirement for an MFA or PhD graduation is similar in the United Public Culture h Inrn Schoolmaster Ignorant The 12,no.1(Winter 2000):9. , trans. Kristin Ross Ross Kristin trans. , - - -

153 Hongjohn Lin 154 Report on “Art as a thick ofshadowingmatters astheytickoverattheirinnards. the in are we scouring, and inspection stretched-out a through, combing this undergo we As trade. its plying itself watch to back stands procedures, and processes own its of stock takes practice art which during experience introspective self-scrutiny—an step-by-step of duration the through,” sage pas “a of sense the evokes other,it the On it. beyond going and “given” the querying for thinking, in and un art visual in for representationalism packing tool a ground, new breaking for implement” “agricultural an as his saw Duchamp Marcel way the unlike not perhaps is This or of” about catch its double drift: on the one hand, it signifies thinking “by means just can we Practice,” Art Through “Thinking phrase the to ear give we If (I) Hominidization on are They below. immediately standby forfutureelaboration. chart rudimentary a in entries as only here included are (III) and (II) Sections (I). Section to prologue the is This three items;and(III)Hamletization,consistingoffournotes. with Humanization, (II) notes; two of up made Hominidization, (I) ings: that have caught my eye. I look at them in this study under three main head those on least, modes—at of jostle this of elements on touch jottings These at loggerheads. paradoxically both at one with and at odds with each other—if not entirely are “thinking” and “art” which in expression of modes diverse of throng a covers however, phrase, The monolithic. and single-track is that mode see-feel-know a signal to seems process” thinking a as “art blush, first At What theThunder Said via art in the sense that art is an “investigative vehicle or probe.” or vehicle “investigative an is art that sense the in art Toward a Scouting Thinking Process” Thinking

Large Glass Large 1

:

- - - I call the poles of “Know-How” and “No-How.” what between teeter that operations and forms of congeries a covers latter the production: knowledge as practice art visual pervades drift double This up new experiential and epistemic intensities, objects and dimensions that dimensions and objects intensities, epistemic and experiential new up Duchamp’sof sense the in force, mushrooming expanding, An it. transcends that drive self-erasing self-raising, “given”—a the beyond goes that capacity self-spawning eruptive, Wean terances. face ut distinct separate, utterly are “thinking” nor “art” neither when ation” “ur-utterof phase the speak—is to so splurge, creative emerging state—an pre-process amorphous This indistinguishable. be to as one” “at so piece,” cesses of “art” and “thinking” are so merged pro and melded two that they are the “of a flux,” “indeterminate prior this In “thinking.” and “art” of processes separate the as label and define, up, split to hindsight in come we what to anterior process” “unnameable that on devolves issue second The the abstractcategoriessidesteporironout. their teeming diversity and vagaries—with their “phenomenal density” that differences, inner their with grapple to equipped better are we thinking,” of thinking. By focusing on actual one-off, standalone occasions of “art and singularity of this or that art work or event, in this or that particular episode trary forms in which they manifest themselves in concrete instances—in the con erratic, varied, the all in “thinking” and “art” tackling involves This also It grain. their means the against prudent move of and taking up something them like a nominalist with approach. both work to have itself—we language of coils inescapable the with do to has sweep—that generalizing reductive, somewhat their Tocircumvent entities. immutable fixed, as ens, Wegiv categories. fast stract and hard as them treating of wary be to need ab blankets, are “thinking” and “art” method: of point a away.first, The S arat épanouissement 2 Two issues crop up right Maharaj

, it throws it , ------

155 156 What the Thunder Said stippling, hand silhouetting by mouth-blown pigment to artifacts, rock andartifacts,mouth-blownsilhouettingstippling, rockhandtopigmentby has tended largely to classify the welter of Paleolithic data—marking, scoring, What is the “Stone-Age mind” in the cave up to? Art History as a discipline Cave the in Mind The respectively—serve tosignpostthisforcethatIcall the “obscuresurge.” today’sfrom worlds and Paleolithic the from moments—drawn two poses, pur our For beforehand. scripted or known or anticipated have cannot we overshoot the “given.” It brings into being unforeseeable possibilities—that Figure 1:Hominidisation, Humanisation, Hamletisation, ©2012 Sarat Maharaj. 3 - narratives notwithoutaEurocentrictinge. the human” sprung from the paleo-archives of Lascaux and related places— of “birth the and art,” of “birth the man,” modern of “making the about theorizing rhapsodic speculative, somewhat of wheel the in spoke a put to the one nor the other, if not both at one stroke. A condition of oscillatingof condition A stroke. one at both not other,if the nor one the any process that gets delimited and defined as “art” or “thinking,” it Theis stateneither of “idling” doggedly remains an undecidable condition. Anterior to dlings” doo “just were crosshatchings scorings, markings, the that likely more not Wassystem. cognitive it full-fledged a with par on was Blombos at activity the that conclusively extrapolate to plausible less it made samples limited Details of the exchange do not concern us here. The point mooted was that An earlier response to a version of this account sought to dampen its scope. ca” which, in this sense, should count as “the cradle of modernity.” up the view that Homo sapiens were already “modern before they left Afri and segments, “proto-sentences,” of thought-processing. This tends to back scraps are record to seem site the from blocks ochre and paleo-residues the what activity”: cognitive or “symbolic a of signs full-blown not if budding world’sdata the in sees Africa South Cave, Blombos at paleo-traces earliest the of some for advanced other.evidence the and to argument of body The or churning is cave the in mind the whether between tussle The like. the cognitive-stuff, experience, and shamanistic expression, bolic sym of forms to up add to tends paleo-archive the studies, ethnographic and disciplinesarcheologicaltappingfor hand, other the On PrehistoricArt. as paintings,drawings,cavecanonmaterial—tootherandamongits install in Monkeydoodling. Joyce’sword, James use to as, it describe chosen have I feel, program. its Tomirror any by engaged not but over ticking circuit communication or processor computer self-sustaining a like or,update, to idle” at away bing throb “engine an to dissimilar entirely state—not “mindless” meaningless, apparently an is This expression. “purposeful” imminent for poised were, it as not, but bearings its test to crouching perhaps mind flux—the minate indeter an scattering, directionless a of something evoked It “given.” the “art” or “thinking”—an all-over, runaway activity,either as the urge count to press ostensibly beyond not does that activity of species a highlighted it unwittingly Perhaps resonant. and arresting both it found I chord. a struck think-stuff 6 ? The phrase used to couch this apparent downscaling and caveat and downscaling apparent this couch to used phrase The ? rumbles on with periodic swings of emphasis from one side one from emphasis of swings periodic with on rumbles 7 5 aesthetic utterance aesthetic 4 It tends - - - - -

157 Sarat Maharaj 158 What the Thunder Said Christoph Winkler’s Herzog’s Werner at look a through it to akin expressions contemporary to above Paleolithic the of terms in plored ex surge” “obscure the of drift the relate to try will notes of set next The poser: Howtomakeaworkofartthatis his either.in of is short gist falling Its by “thinking” and “art” of “givens” a kind of the “oscillating densities” that Duchamp saw as going beyond the on touches It Art. to nor process, thinking the of notion conventional a to With “idling” we have an activity that is reducible neither to cognitive-stuff, fueled byit. studies ofprehistoricart,andinhisartresearch practicesthatwere Walterartist the escape not did that own—something its Battiss’s his in eye of momentum a exploratory,with and ranging free the of sense a harbors It hours.” “idle of notion the from fish of kettle another quite is idling” of “state story.The the from “art” out elbowing somewhat up end not does perspective analytical serious view,his hours” “idle the of dis versions pelling in that impression slight the get to not hard is it However,deavour. en rigorous attentive, meticulously Lewis-Williams’ Davis in exemplified is This structure. cultural-cognitive vast a system,” thinking “symbolic, a of part as them show that paleo-data the of studies have we appreciation,” with this sort of view that seemed to trivialize the material in a gush of “art time-killer,and time-filler odds a At held? have responses aesthetic some as off” into the Blombos and beyond? Was it activity to wile away “idle hours,” How do we read the paleo-archive across the Drakensberg range that “tails little morethan“simplyidling”—goingnowhereinparticular. be to appears process The fold.” animal nonhuman the leaving or human “becomingof spectrum the oscillatingacrossdensities movements,and tial more of an uneven shuffle—trial runs, draft versions, pilot tests, nonsequen animal world to the “other” side. It seems to involve less of a decisive break, amount to an unwavering, “as the crow flies” trajectory from the nonhuman to become a version of the modern human. The “passage through” does not of family primatesundergoing development thepointthresholdcrossthey thatthe to of members some about much so not is latter The process. Hominidizationthe of forth and backparallelsroughly the it flux,” minate “indeter an As classification. of kind that to itself lending of short stops it density, it teeters on the brink of “becoming art,” “becoming thinking,” but 8 Baader: AChoreography of Radicalization notofart? ae f ogte Dreams Forgotten of Cave . and - - - - - 4 3 2 1 Mayers, Chauvet, Chamberof Lions. Herzog’sWernerfrom adaptedDrawing 2: Figure

the Present: Archeological Perspectives on Society on Perspectives Archeological the Present: Behaviour: Exploring the African Human Evidence,” Modern in of Origins “The Henshilwood, Christopher also See evidence-of-san-material-culture-in-south-africa-44-000-year.html. d’Errico, Francesco 2010, Project and bols Henshilwood Christopher See Origins ofArt Williams, Lewis David 127–37. Production,” Knowledge as VisualArts Sarat Maharaj, “Know How and No How: Stopgap Notes on Method in W. B.Yeats (London:Faber, 1975),119–58. sion see also the ver English an For 489. 2011), Press, Nabu SC: (Charleston, Deussen Deussen Dr.Paul von versehen Anmerkungen und leitungen Upanishad’sSechzig Ein mit Veda,und des übersetzt Sanskrit dem aus in 5, part “Brihadaranyaka-Upanishad,” the in found is “thunder” the of meaning the of fable the control): sympathize, (give, damyata” vam, 5, available at http://www.gutenberg.org/ebooks/1321. “Datta, dayadh in Said,” Thunder the “What T.Eliot, S. (London: Thames&Hudson,2002). Ten Principal Upanishads vial a http://tracsymbols.eu/news/2012/8/1/ at available The Mind in the Cave: Consciousness and The and Consciousness Cave: the in Mind The Cave of ForgottenofDreamsCave Geist The WasteLand The , trans. Shree Purohit Swami, , no. 11-12-14 (2007/08): 11-12-14 no. , Combining the Past and (2010), © 2012 Peter John John Peter 2012 © (2010), , eds. Nils Anfinse, Anfinse, Nils eds. , (1922), part (1922), , ed. Paul ed. , Tracsym - - - -

159 Sarat Maharaj 160 8 7 6 5

Georges Bataille, 2010), 95–106. Series, International BAR (Oxford: Saetersdal Tore Oestigaard, Terje Walter Battiss, 1997): 65–71. Association Arts College the of Journal Journal: Art Politics),” Body the and (Aesthetics History’ ‘After Anti-essay the ing sign see it to reference In 1985–2000. years academic the during versity of London (“The Hamilton Joyce Duchamp” class), and occured Uni the of Goldsmith’sCollege at project a was 01” “Monkeydoodle findings areavailableathttp://news.bbc.co.uk/1/hi/sci/tech/1753326.stm. Steve Kuhn is a professor at Arizona State University. HisSkira, 1955). comments on the , no. 43 (1994–95) and Sarat Maharaj, “Monkeydoodle: Annotat “Monkeydoodle: Maharaj, Sarat and (1994–95) 43 no. , The Amazing Bushman Prehistoric Painting: Lascaux or the Birth of Art (Pretoria: Red Fawn Press, 1939). 56, no. 1 (Spring 1 no. 56, Art & De & Art (Milan: - - - 161 Sarat Maharaj 162 both socialsciencesandhumanities. from known methods qualitative and/or quantitative using by women for deal with the questions of how to change this and how to achieve liberation also artists feminist feminists, other any like Thus, culture. and society in and men exists and with investigating the main reasons for male domination art: they are concerned with understanding why inequality between women The political concerns of feminist artists are of course not unique to feminist in additiontoalreadyexistingresearchothermore academicdisciplines. necessary and relevant socially is art feminist why investigate to precisely is to investigate what makes the specificity of feminist art research, or more text this of However,aims context. main research the humanist of and one social the from methodology existing already the borrowed actually outset its from art feminist that statement the with agree easily could one over, More sciences. social and humanities both in methodology a considered is cific to feminist research. It is important to stress that feminist research itself spe methods research any distinguish cannot one that mentioned already I intended purposeoftheproducedknowledge. of the researcher within the process of creation and argumentation, and the positioning the ask, feminists questions common the considering discussed feminist methodology and feminist research practice in arts can certainly be cepted that there are no specific feminist research methods in any discipline, on artistic research in the field of visual arts in general. While it is widely ac implications eventual their on focuses and researchers art feminist by various applied methodologies and methods diverse the addresses paper This Feminist Research in Visual Arts * - - - projects by feminist artists from the Balkans in order to challenge the the challenge to order in Balkans the from artists feminist by projects unified project, I will ultimately propose to look at several feminist research one not is feminism Because projects. art feminist specific culturally some for source relevant a as context cultural the exemplify to want I Ultimately societies? Westernthe as system value same the share not do that societies temporary con in women for liberation achieve we do How poverty? of feminization do we change inequality in the representation of women and the subsequent results? Are they always transgressive? What place do they have in art? How their are what and from come they do Where pornography? and obscenity constitutes What art? view they how And world? the view genders two the which in ways the influence man’s?difference a that from does ferent How woman’sa dif is gaze How as: such questions with deal also methodology feminist using artists the feminists, of concerns political main the Besides relevant basisforuniqueartisticthinking. a make they that hold I and art feminist through instigated been have that processes research specific the appraise and explore to productive it find I different in ways explored that the relation between projects the personal and research the political. Therefore of examples unique and diverse many comprises and artists feminist among prevalent became art research-based 1960s, the in projects art feminist first the since ever because relevant more search methodology in art. Today this prehistory of feminist research is even century, re a feminist the of specificity the on reflection substantial no been half has there for around been has art feminist although because tices, prac art feminist recent the to specific is that epistemology and odology meth feminist of genealogy the at look to urgent is it that argue to want I S uzana Milevska

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163 164 Feminist Research in Visual Arts reproductive functions.” reproductive and sexual their to women reduced it is, that ‘essentialist’, and actionary “re being images the of some for criticized was Chicago years many For form ofthetable,orpersonalfamiliarityartist. the according made and arbitrary was selection the made, were references cross-abundant and checked double were facts the though However,even Count May in Weeks tal StatisticsofaCitizen project the books: history art most into it made already that few a only mention to like would I here but followed, projects feminist other Many provided, with hand-stitched runners setting off hand-painted china plates. floor inscribed with the names of 999 others. Lavish and elaborate sets were porcelain a on rests table The them. for table triangular a set and thology my and history from women renowned thirty-nine selected Chicago past. the from women unknown completely then until and famous, less famous, of research profound on results its based that projects art feminist first the Chicago’sJudy Undoubtedly Setting theTable: Theof Beginnings Feminist Research - - - The argumentsinthepaperaredividedintothreedifferentmainparts: of knowledgeproductioninfeministart. theory unified any and methodology feminist of universality of assumption Feminist Art. for Center Sackler A. Elizabeth the of floor fourth the at home permanent exhibition the art: feminist on take Museum’s Brooklyn the during “rehabilitated” was that her project covered the complete women’s history. Recently her project claimed never she that is fact the but facts, of use selective deliberate and

emphasis onthespecificculturalcontextinBalkancontemporaryart. various by feminist researchers—artists or curators in the field of visual arts—with applied methodologies and methods the of description A research ingeneral. A discussionoftheimplicationsfeministresearchagendasonartistic in visualart. research feminist of relevance and history the to introduction general A 18–05 b Gerla il. h itricpiay approach interdisciplinary The Girls. Guerrilla by 1989–2005, , 3 Global Feminism Global , 1977, by Susanne Lacy and Leslie Labowitz; and Labowitz; Leslie and Lacy Susanne by 1977, , , 2 The work was also criticized for her voluntarism her for criticized also was work The Simply Obtained The Dinner Party Dinner The is where this seminal installation found its found installation seminal this where is , 1977,byMarthaRosler; from 1974–79 was one of one was 1974–79 from Weenie Three Vi - - - 1 owes a lot to such pioneering feminist works and long-term projects that not processes research on results artistic its bases today that art Contemporary in arthistory). the main targets as the most stereotypical representation of the female body of one is which nude, the and percents and numbers (the itself stuff search re the of made was concept main its but colors and forms of research art but also part of the art medium itself. The poster was not based on the usual content and topic the only not became methodology feminist and method one of the seminal cases of feminist research art projects where the research essay byLindaNochlin. early crucial the in attacked clearly so was that aesthetics feminine of tion their clear political messages and stances that were far from any essentializa were they actually easily distinguished from artists, women’s art of women its time exactly because of by executed were projects the although that is interviews and statistics into powerful feminist tools. Important to mention through collected data of analysis and statistics turning thus engagement, activist explicit pursued and fields and research disciplines different combined from methods mainly projects these in applied research art toward Museum are women, but 83% of nudes are female.” are nudes of 83% but Met. women, the are Museum in artists the of 3% than “Less results: research the with along printed was museums?” US into get to naked be to have women “Do tion project the from poster famous their On Metropolitan Museum. art also history assuch,whichintheprojectwasmetaphoricallyrepresentedby research—but their pursued Girls Guerrilla where world, the in Art in New York—one of the most powerful and prestigious art institutions of Museum Metropolitan the only target not did critique institutional The critique. institutional obvious an as conceived Girls’swas Guerrilla project issue), society’sthe the of of ignorance critique a as project their imagining (thus time the at Angeles Los in women on attacks violent of number and issue body female the with concerned were project their in Labowitz and Lacy body.While female of measurements ideal the prescript to used ally usu is it because specificities difference gender analyze to tool relevant the as science “macho” rationalist by used method research quantifying this questioning to subjects and statistics mocks actually it reason: specific very a for relevant is project Rosler’svideo Martha paper this of context the In 4

WeenieCount 5 Obviously this was this Obviously , the research ques research the , - - - -

165 Suzana Milevska 166 Feminist Research in Visual Arts twining withnationalism. inter its and Balkans the in art gender-focused and feminist of specificity ment, Goldsmiths College, University of London, 2001–06), I addressed the Balkans the in Arts Contemporary Visual and Culture in Agency and Difference Gender of Representations of Archives For example, in my PhD research project, conceive and curate several projects with recognizible feminist agendas, the agendas, feminist recognizible with projects several curate and conceive between theory and practice, and even though theoretically I did manage to While living in the Balkans, most of the time I personally faced the huge gap different genders. of well as backgrounds, generational and cultural different from artists of beginning I tried to question the limits and potentials of the feminist agenda very the since projects my of most in and less agree not could I realm. cal and oneshouldhaveaspiredtonewnessineitherthepersonalorpoliti new, radically anything bring not did post-feminism some, Moreover,for to them all goals of feminists of the first three waves were already achieved. en—claimed that feminism was not necessary any longer because according wom also but curators male the colleagues—predominantly my of many 1990s), early the in (back writer and curator a as career my started I When Ghosts: Local Experiences of Feminism and Gender Diference in the Balkans embedded intheideologicallyconstructedsystemofsocialhierarchies. plines, and even tried to overcome their limits with severe criticism of being tried all possible methods known from various also academic and that scientific but disci change social for art on focus to first the of some were only logic being itself.” Claire Colebrook describes a difference between the speaking “the and irrelevant, becomes which speaking,” is “who between difference a voice—makes certain a locates that artwork the and feminist specific a of emergence the with concerned was I art. contemporary of history the in researcher and theorist a as later and curator a as first subscribed, voluntarily I which to role uncertain and ing demand the in sustain me made realization their surrounding conundrums category or representation but a movement of grammar […]. The concept rather than becoming. And this is because the subject is not just a political Thevery concept ofthe subject istied strategytoa ofbeing andessence, ofsubjectastiedtocertain waysofspeaking: and the grammar of becoming. At first, she identifies the 6 8 Gender Difference in the Balkans: Vsa Clue Depart Cultures (Visual grammar grammar of the f becoming of grammar and ------7

correctly ‘majoritanity.’” more or ‘manity’ essentially ‘humanity’, of discourse the in holes and gaps variety of discourses. Most of these aim to open discussion, investigating the a of proliferation multiple a is feminism of discourse know,each feminists and media imagery is Ivekovic´’sis imagery media video and Perhaps even more intriguing from the perspective of the influence of popular ist’s ownarchivebecametokens offeministartinex-Yugoslavia. series from the same period based on Ivekovic´’s personal research into a art After and Tragedy of a Venus albums of photographs and newspaper cutouts such as Her avoid. to advised usually is one world academic the in that something research, the of object and subject the both often is she and research her in embedded boldly always is ever,researcher Ivekovic´’sof role and position How relations. societal and events, political history, of research concrete on relies beginning, very its since art, feminist Ivekovic´,how Sanja prove the most recognized and long-term determined feminist artist of from Croatia, works the example, For region. this in art feminist in research toward turn contemporary the for relevant still are that but archives, artists’ sonal per in past the in isolated and scattered are that examples unknown and not very diversified and or informed shorter by Westernis Balkans feminism, I the researched many in known art feminist of history the though Even becoming-woman.” of insistence their in meant Guattari coming here is a means to get ‘outside’, which is perhaps what Deleuze and in disavowed and suspected mainly are restraints these and restraints that culture imposes on normal subjectivity in a form of biopower many are There majoritarianism. shape becoming-minoritarian of sibilities pos mere the and becoming-minoritarian by affected is Majoritarianism the bodywearenowmustberecognised.” of potential the becoming, actual for potential a be ever to there for In order […]. within identification or self-regulation from and without culture from us constitutes that speech the of versions enfleshed are we “because stitution of subject, but it should not be forgotten that discourse is corporeal recognition, andbeing(ratherthanbecoming). of thought, a specific temporality and, ultimately, a strategy of reactivism, andlogic ofthe subject assuch, then, demands orprovokes movementa (1975–76), (1975), Eight TiersEight 11 Becoming is about negotiating the discursive con Sweet Life (1976), (1975–76), Personal Cuts Personal The Black File Black The 12 9 Diary (1982) linking image,linking (1982) Double Life (1976), and other and (1976), (1975–76), 10 becoming Hwvr as “However, 13 (1975), Before . “Be . ------

167 Suzana Milevska 168 Feminist Research in Visual Arts predictable andnotenough toconveytheideaofgendertroublesin be to seem teams managerial or teaching the from exclusion and inclusion about arguments the If women. mainly are students the although faculty), all of percent 10 about is which three, only are there (currently Arts Fine of Faculty local the at teaching artist female single no was there recently until that fact the account into taking when understand to difficult is This projects aboutawoman’s bodyanditsrepresentation. naive as up end and society within labor of division and structures power the about message critical any conveying in difficulties have often them of ferent from the final results of such projects so that at the end of the day all lem that repeats all over is the fact that these initiatives often sound very dif publications realized around the issues of gender difference, the main prob and projects solo and group several been already have there though even concepts based on long-term feminist research. the problems of being a woman in the profession of art or who develop their However,ated. mention who any rarely are there artists women the among initi were projects research groundbreaking some that and increased ably it was only recently that the number of exhibitions by women artists notice nism theiragendainthelate1960sandsince,onMacedonianartscene femi declared also but women only not were who researchers art and ists, human scientists, social many were there where Croatia, with contrast In Context Art Macedonian the in Research Feminist hidden historic“silkwormcocoon.” the unravel end the at that images media of “tattooing” this of result a as constructed therefore is that personal the in wound a subject, the of body the through hole a cuts events historical the of each that suggests title The “diary.” state the without understood and considered be cannot “diary” personal the Therefore, excerpts. TV Yugoslavianstate of archive mentary docu historical the of research artistic the of results were that images the research—and the pursued who artist subject—the the side by side putting through determined reciprocally and interwoven are political and personal and is thus rendered the visible alongside the historical political events. The eo somehowrecallsadiaryinwhichthe“subject”is program documentary part of her face and also a short sequence of the Yugoslavian state television cutting holes into a black stocking that covers her face. Each “cut” reveals a face, and event. The video shows the close-up of a woman, the artist herself The History of Yugoslaviaof History The 14 It has to be mentioned that . The structure of the vid the of structure The . becoming , isrevealed, ------male gazes, and of control of power, body, and discourse. In the text for the dark. The Turkish bath made a perfect context for critical questioning of the novel Ghosts Auster Paul the in (like “them” and “us” between distinctions cut clear-make to difficult is it that you remind to just them expect don’t you presence duringitscompletion,asghosts/guests/parasites thatappearwhen exhibi the tion, but had affected the in entire project with their positive participating or negative social directly not were men) (mostly people These seemingly endlesstunnel. dark, the in floating be to appeared names fluorescent The light. ultraviolet dark with illuminated and pen fluorescent green with paper the on written men’s“favorite” been their had collected which and too), artists names the interviewed (I project the obstructed or helped had who men all of names the of inscriptions the to referred Thanks,” Special “With title, Its tunnel. dark the through and entrance main the from ran and cord navel long very a as appeared It control. our beyond spent money of figures the indicating of the exhibitionthatconsistedofalong,unraveledstripaccountingpaper, space the within display three-dimensional a with issue this on reflect to friendly) very not was bath, Turkish a of area half-ruined abandoned, dark, a exhibition, the of venue the even administration and funding the (besides circumstances difficult such in curator appointed as me provoked situation specific This Ministry). of Deputy the and Macedonia of public Re the of Culture of (Ministry organization and funding in involved men other of and festival the of director the of tactics bureaucratic chauvinistic, male, the by affected greatly was project the expected, been have might As tion ofafeministcurator. posi curatorial the of complexity the directly experienced I that time first as a metaphor for the relation between the mother and the child), it was the general. Due to the size of the project and its feminist theme (amniotic fluid in feminism on and topic the on views different having them of each nia, Macedo from five and Boston from women five included and Macedonia Amam in Skopje. It was the first collaborative women’s group exhibition in Turkishthe in 1” Amnii “Liquor curate to invited was I 1996 In Cifte Bath social, economic,andpoliticalissuesastheyarerelatedtoartproduction. reaching wider its also but curatorship, and arts the in gender of problems the only not emphasizes text this Balkans, the in world curatorial and art , ht or w iae s end y hi cniuu gz i the in gaze continuous their by defined is image own your that ), - - - -

169 Suzana Milevska 170 Feminist Research in Visual Arts a shifting toward conservatism and right-wing and neoliberal politics. The politics.neoliberal and right-wing and conservatismtoward shifting a years— transitional recent the in patriarchy of revival strong of kind a by emphasized was that genders between equality claiming for project munist The impetus for the project “Capital and Gender” was the failure of the com period. transitional the in genders the between relations in changes economic and social the about Balkans: the in debate issues urgent fruitful most the and critical a initiate to hoping curators, and rists invited I Skopje) Mall, twelve female artists, four male artists, Shopping and two couples, as City,well as ten theo the of Museum (2001, Gender” and “Capital theory and art for project international the of context the In any feministagenda. to references any bore hardly artists Macedonian the themes, feminist and sues: while the works of the American artists emphasized both the feminine terms of the self-awareness and readiness to address gender and feminist is in exactly artists Macedonian the and Mobius space artist-run Boston the from artists women the between difference the addressed also I catalogue confining models. classification this division, sex biological the on based initially society.Although and culture their by individuals to attached is that classification a gender, upon but sex upon gnrl hoy f xhne” n nhoooy etr nw a alliance theory. as known better anthropology in exchange,” of theory “general litical Economy’ of Sex.” Rubin based her analysis on Claude Lévi-Strauss’s Traffic“The article her Women:in in published Rubin ‘Po le the on Notes tive because of its resonance with the famous analysis of marriage that Gay gender,capital, between merging great the provoca more even was art and private party took place in a public museum and thus marked a new era for a such time first the for that fact The (1998). Skopje in Art Contemporary of Museum the in place took that spectacle wedding nouveau-riche typical spring of the families of two local entrepreneurs, which was crowned with a off the of marriage the was project the for provocations direct the of One gies ofconsumerismongenderrelations. profound critical inquiry into the effects of the neoliberal capitalistic strate a for venue perfect a made bodies, female objectified with billboards sized from going mall, over-of surfaces great to advertisements public of absence complete almost shopping main the of look visual the in changes rapid 17 Rubin concluded that such systems of oppression are not based not are oppression of systems such that concluded Rubin 18 15 is developed through many cultural and societal and cultural many through developed 16 The complex but complex The ------framework when it comes to the questions of ethnicity and gender, and that theoretical obsolete an in put usually are curators, foreign by curated and A very well known phenomenon is that Balkan female artists, when selected event ofbecomingwomanandtheirfemalesubjectivity. other of deal fights iftheyaretoarrivethestagewherewill beabletodiscussthe great a and them of ahead road long a have backgrounds, professional other from or curators, artists, they Womenbe Macedonia, in environment. local the within women of discourse conscious for attempts serious any suppress still games, power male typically as interpreted and The issues of politics, war, and globalization, which generally are attributed the fact that local research and debate on feminism was necessary and urgent. superficialSucha communistic misconception feminismof onlyemphasized product. imported capitalistic a as interpreted was feminism because nism femi need not did patriarchy Balkan the that claim a were it if as sounded nomenon as an import of Westernphe this feminist treated theory that and artartists practicefeminist thatand to feminism me of criticism local the of contextthe instrangeretort very a wasprojectthere my after rightfact, In and most of the male participants did not show up to the theoretical sessions. its theoretical part, the three-day conference, was attended mostly by women agers,andtheorists) turned successful interms oftheexhibition attendance, project that gathered more than thirty participants (artists, curators, thisart man though Even ended. project the after circles cultural and art local the in continued hardly Gender” and “Capital by ignited discussions the ists, sex local some by provocations superficial and incidental few a from Aside the dissolutionofYugoslavia. through dissolved was communism when moment first very the structures economic new the through structures societal and society to returned ang substantially, that the old hierarchy was haunting and in a form of boomer changed never women and men among relations the that conclude but not can one that rights hard-won sacrifice to easy so was it EU, in included be EU Committees as conditions for the future inclusion in the EU. In order to the lawsofhealthinsurance,childcare,andpregnancyleavepushedby to related policies economic and social positive preexisting the off cutting for requirements all to respect with given ride easy the account into taking more constructive distribution of the official gender politics of the time when and wider the in succeed not did obviously communism of years forty-five 19 ------

171 Suzana Milevska 172 Feminist Research in Visual Arts 1 * research hasmanifoldaimsandprospects. feminist on based art in that issue urgent an again and time became thus equality basedonanambivalent,evenbiasedandfragileagenda.Feminism gender out swept quickly so systems capitalist neoliberal into economies it is no surprise that the transformation of the former socialist societies and Therefore representation. of regimes visual patriarchal culture old the perpetuated and art genders, between equality advocated rule socialist While women. the already known fact: that socialism had an ambivalent approach toward confirmed artists male by painted nudes female of abundance The agenda. feminist explicit an with works on than rather art in roles gender of tation represen of analysis on rather put was exhibition this of emphasis the that obvious was it project this However,within that mention to important is it Check,” curated by Bojana Pejic´ “Gender exhibition (a Serbian curator who the lives and works in Berlin). was Balkans the and Europe Eastern in issues gender with dealing exhibition art an of examples rare the of One agenda. related to gender difference and the urgent need for refurbishing the feminist questions the with engaged critically and aware research, rigorous through art and art female between difference the locate to definitely is Balkans the I want to argue that one of the roles of the women artists and curators from existing voices discussing these issues within the domestic art scenes. In fact, issues but on the other hand with the West not being ready to hear even the gender with deal to ready being not Balkans the with partly hand one the did not want to go against the grain by discussing this topic. This has do on invited when or consulted not either were curators and writers female the

Marcy Sheiner, “Review of Sexual Politics: Judy Chicago’s Dinner Party,” the lawisstillineffect. but women, arrested other the and Manal release the to government Saudi pushed and signatures 75,000 over collected petition the month, a just In change.org/petitions/free-saudi-women-drivers-immediately. Driving a Car,” started to be circulated on June 1, 2011, at http://www. Woman solidarity Saudi for Against Arrested Charges “Drop release, her in for and petition global The driving. from women to forbid that Arabia Saudi in laws harsh existing still the to according car a driving I dedicated this paper to Manal, the Saudi woman who was arrested for 20 - 13 12 11 10 9 14 7 6 5 4 3 2 8

rsia Ivanoska’s Hristina Personal Cuts texts by Silvia Eiblmayr, Bojana the Pejic´, see Ivekovic´’s and Nataša works,Ilic´ Sanja into in insight comprehensive more For Ibid. Ibid. thirdspace.ca/articles/pr_3_2_maccormack.htm. ing-Monster,” Patricia MacCormack, “Perversion: Transgressive Sexuality and Becom Elizabeth Grosz(Ithaca,NY: CornellUniversityPress,1999),117–18. in Style,” Claire Colebrook, “A Grammar of Becoming: Strategy, Subjectivism, and Contemporary ArtsintheBalkans and Culture Visual in Agency and Difference Gender of resentations Ibid. ed. AmeliaJones(Berkeley:UniversityofCaliforniaPress,1996),264. in Suzana Milevska, Suzana “dirty” (thefirstsyllable,“kur,” istheslangwordfor“penis”). itself because in “curator” my mother tongue, word Macedonian, the the word sounds of vulgar and use the to due was public in and private in me to addressed sniggering The countries. Slavic other in and donia fected the reception of af the profession directly of curator that among women coincidence in Mace language specific very a to refer mainly I London. Womenof Foundation the at University,exhibition Artists/City (2006), Construction” Under “Art Macedonia; Skopje, Mall, Shopping City at exhibition (2001), Gender” and “Capital Macedonia; Gallery,Skopje, CIX at exhibition (1997), Fluids” “Bodily Island; Rhode Providence, Festival, X Convergence (1996–97), I-II” Amnii “Liquor Cen Istanbul; tre, Cultural Sabanci Yildiz at exhibition (1994), Other” and “Self See GuerrillaGirls’s website,http://www.guerrillagirls.com. ta.edu/home/gfloren/nochlin.htm. http://www.miracosat available also is text The 147–58. 1988), Press, Artists?” Womenin Great No Been There Have “Why Nochlin, Linda brooklynmuseum.org/exhibitions/global_feminisms/. http://www.See 2007. 1, 23–July March Museum, Brooklyn Nochlin, Linda and Reilly Maura by co-curated exhibition Feminisms,” “Global Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History Women, Art and Power and Other Essays Other and Power and Art Women, Becomings: Explorations in Time, Memory, and Futures Memory,and Time, in Explorations Becomings: (Vienna: Triton, 2001). thirdspace Gender Difference in the Balkans: Archives of Rep of Archives Balkans: the in Difference Gender aig f h Big “oa lvv ad Nakie and Plaveva “Rosa Bridge the of Naming , o 2 Mrh 04: 74, http://www. 27–40, 2004): (March 2 no. 3, (Saarbrücken:VDMVerlag, 2010). (Boulder, CO: Westview(Boulder, CO: Sanja Ivekovic´: , ed. , ------,

173 Suzana Milevska 174 Feminist Research in Visual Arts 17 16 15 19 18

Suzana Milevska, “Female Art through the Looking Glass,” the archivesfromOttomanperiodinMacedonia. Bajram” are not of any importance for me, as a subject of the Macedonian reality, my factual surrounding. And I said that the thesis of Gablik and Lippard tivism to be engaged according to the reality (including the social) that is discovery of relativism. But I actually then have only asked for such rela this with postfeminism of credits the confirm and contribute to hubris my of result a as crucifixion my remember still inhabitants Bratislava guage) of the female resistance against masculinism and machismo) […]. or what was the name of that magazine, and the goddess (mind the lan [sic] (N)Paradoxa of editor the Deepwell, Katy to when ago years two Bratislava in made mistake the repeated I that is reasons the of “One 1990). Identity of Trouble:Subversion the and Feminism Butler,Judith see respect that In terms. psychoanalytic in tation on similar assumptions but that was followed by more complex argumen Later Judith Butler developed a gender constructivist theory pling. that was based cou offer/demand economic on based formed is that chain the in link theory,”ance passive a becomes woman the choice, the what matter no between fathers and husbands. According to Claude Lévi-Strauss’s “alli sexual oppression in society through marriage and circulation of women ly those of kinship systems and Marxism) to explain the development of uses the established anthropological and socioeconomic theories (name (New York: Monthly Review Press, 1975), 157–210. In her article Rubin in Sex,” of Gayle Rubin, “The Traffic in Women: Notes on the ‘Political Economy’ Igor Toševski, andTatjana Vujinovic´. Stojkovic´,Ana Jocic´,Spasovik, Jelena Ostojic´,TanjaDejan RASSIM, Hristina Smid, inic´/Aina ž Gr Ivanoska/Yane Marina C Sterle, Dakic´/Sandra Danica C Violeta Bužek, Bajevic´,Zdenko Maja Boyadjiev, Luchezar Alptekin, B. Huseyin by performances and works, digital installations, Abramovic´Marina of exhibition solo a included project The html. and http://www.scca.org.mk/capital/projects.visit Skopje) Centre, Shopping City 2001, 26–30, (January Gender” and “Capital on info more For Different, Aren’t Are They?,”in “Women Milevska, Suzana 38–42; 1998): (July 7 no. is one of the rare clearly feminist projects based on research of Toward an Anthropology of Women of Anthropology an Toward ˇ alovski, Slavica Janešlieva, Kai Kaljo, Zoran Naskovski/ Liquor Amnii (Skopje:Skopskoleto,1998),5–6. , ed. Rayna R. Reiter R. Rayna ed. , (London: Routledge, (London: n.paradoxa, ˇ apovska, Gender ------20

those authorities. Here it is, I said, because they are not my discursive my not are they because said, I is, it Here authorities. those block’ ‘un and destroy me, told she dare, you can How context. the in them put and critically them question don’t I if meaning no have they der BuchhandlungWalther König,2010). Femininity and Masculinity in the Art of Eastern Europe in Pejic Böhler,Bojana Christine and Marte, Boris ska, Morawin Agnieszka Fuchs, Rainer Köbb, Edelbert by texts the see art sis of the differences between Western feminism and Eastern feminists in moderner Kunst Stiftung Ludwig Wien. For more comprehensive analy Pejic´Bojana by curated exhibition Museum mumok: the at 2009–10 in “Gender Check: Femininity and Masculinity in the Art of the issues108,109,110,111,112ofsameweeklymagazine. Eastern Europe,” 2011): 111. The debate continued during the following three months in Nebojša Vilic´, “Is there an outcast behind any thong?,” from Quoted expression).” morbid his is for eyes’ our (‘take about gue ar and of fall we which for magazine world established some in reality in cafes and then publish a study (for big honoraria) about Macedonian little at talk and come that foreigners the of many reality—as my about know she does what foreigner,’ ‘a thought I […]. her convince didn’t I it. Forget context. cultural my of meaning and function the realize I than catachrestically act I if reality,but my live not do they argument, (Cologne: Verlag Forum Gender Check: Gender (July 27, - - -

175 Suzana Milevska 176 San Diego. I was hired to conduct a seminar on sociology of art. I found I art. of sociology on seminar a conduct to hired was I Diego. San I almost got fired after teaching my first course at the University of California, fessor isnottheonlyproblem: thestudentmightbeaproblemtoo. pro the that knowledge disseminating of process the in discovered I when teach, to started I until professorship with problems had I So artists. good were decide would he whom those were artists good and artists bad and that worked was the one instituted by the professor. There were good artists goodness of definition only the and ideas, personal any express to allowed not were students His exercise. totalitarian a as job his of conceived who what shouldbeavoided,Ihavethememoryofanold teacherinCameroon of example an As with. up come to able be might they what regarding tion preconcep without students, to offered are that tools many of one only be Experimentation is probably the key here. And it implies that theory should mentation. GillesDeleuzeremindsusthatmayapplytoartschools: experi and interaction of dynamic the of outside created were that mulas for digest to rather but knowledge acquire to asked really not are students which by process ongoing an is There academia. by implemented been has that system scholar the in believe really don’t I Socrates, like because, pro cess teaching the with and professors with problem a had always have I Fictional case, theworkofartwouldreallyappearasexperimentation. experience in general must become conditions of real experience; in this experience. For these two meanings real to be of tied together,reflection the the conditions as of art of theory the designates it hand, other the on experience; possible of form the as sensibility of theory the ignates des it hand, one the On duality. wrenching a from suffers Aesthetics Faculties

1

------in the same time—because some people who are living right now give me give now right living are who people some time—because same the in poraneity has to do with sharing the same time, not just in that we are living contem of notion the guess I them. of all in interested Moreover,not am I all. them describe not could I that expressions contemporary many so are There art. to applied as especially contemporary, the of notions personal own our satisfy would anything just that mean not does which time, our during conceived is whatever throw can we which into basket big a just is heart of whatever concepts we were to deal with. Contemporaneity, as such, for a couple of sessions, because they understood that that drink was at the sentence simple that deconstruct to able were we stupefaction, of moment that passed had we after Still, face. to had I that reactions the describe to select artists with “I whom I was: can have a answer drink after My the show.”artist. contemporary There is no a need of definition my give to asked was I when us, awaiting was hurdle another step, first that passed we After was whohadneverheardofBarthesandPanofsky. professor that who asking dean, the to complained students my of couple an was A all. at not but laughing, out burst this would everyone that and joke obvious thought I education, French a from and Paris from Coming of. heard never had I names dropping were they instead, art; of definition them that there might have been a misunderstanding, but I didn’t hear came told that I facing, were we situation the anything underline to order In them. from solely hear didn’t I round, first the after and etc., Barthes, Roland Panofsky,Gombrich, Erwin Ernst from quotes with up came them of Most natural. quite me to seemed which art, of definitions their describe three months spent together: art. I asked to the students—PhD students—to the during with deal to supposed were we subject the about students and teacher among understanding mutual a establish to start, a for logical, it S imon Njami their

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177 178 Fictional Faculties we are trying disseminate is just a form of fiction. This might be one way one be might This fiction. of form a just is disseminate trying are we knowledge of whatever that forger admit a to enough first humble be at should We fictions. was Vinci, da Leonardo as such sciences, the in able knowledge very somebody Even concerned. are sciences human as far as fiction, is reality of form greatest the maybe that and fictions, building just are we that assume should we Therefore thing. such no is there that know we course of when truth some get to order in classes to coming are dents stu that is universities with problem The liars. become we truth disputable in an into subjectivity transform to want we when that think I Therefore French artpractices.” to namely and history art European to linked completely something and aesthetic that was displayed in Paris was something completely sociological and Irealizedthatit’s allaboutculturalsubjectivity. Andthatthenotionof beauty,of notions the all and bors head my in shifted aesthetic of forms, of she was not thin—she was kind of an African Mama. I looked at the neigh knew.I what with do mother,to my nothing at had looked me, I teach and to wanted Beaux-Arts the that forms and lines of canon the beauty,or of canon the that discovered just I home, back went I master.when then And not draw them. There was something about their aesthetics that I could not could I models—and models—live on working been have I years, two For was. problem my what found have “I said: He problem. the was schooling that understood he that was me told he thing quite different compared with the last time we had seen each other. The first become all again. He was coming back from vacation in Dakar and his expression was could we were, artist young the into it bumped I until if problem that about forgot I learn; Picassos. can one something not is artist an Becoming artists. make doesn’t tools—it gives task, its fulfilling when academy,The artists. good producing is world the in school art no simple: was answer My school.” that for enough good not am I Maybe learning. am I what in get don’t I that something is there practices, my in blocked am “Sir,I said: and face sad a with day one me to came He Paris. in Arts Beaux- of Academy the attending was who artist Senegalese young a recall further.head we I before universities with problem my to let’sback But go standing ofwhatisgoingon. under common of kind a share I whom with and issues, have and discuss, my contemporaries. I call contemporaries those with whom I can exchange, the feeling that they belong to other times and spaces. I would not call them he was not the problem. The problem. the not was - - - - - believing, butaboutmakingsenseofwhatwasgivenwith acriticalgaze. believing, not or believing about not was It answer? to supposed I was What lieve?” be I should what so else, something me the told contrary,other this then me and told museum German this from curator great practice. other my this in then change But could I that stuff saw even and it about think to started I so images, my on reading this had museum Dutch this from rator one of them came to me: “Mister Njami, I am a bit confused. This great sessions, cu two After careers. their change could thought, they who, sionals of photographers, course, were really impressed to be confronted with such The high-level profes directors. museum and curators, photographers, The included group with this kind of who phers were not exercise. familiar photogra the for and works the review to invited I professionals the for reading.” “portfolio This portfolio reading was an exercise interesting both called Africa, in countries of couple a in experience an in engaged have I be contradicted,oratleastpresented,accordingtoanotherpointofview. might saying is professor the whatever that realize to and formats, of kinds different have to student a to opportunity an gives That practitioners. also but theoreticians only not are professors visiting those furthermore, And constructed. yet not is relationship master/pupil the whom with outsiders inviting by teachers, so-called the with relationship of kind a different have to student the enables institution the that fact the is system University Iuav other those infinite truths that are out mind there. One of the things I found in interesting in the bear must we truth, the be could think we what ing express are we time any Therefore, one. other any by contradicted be can have the means to achieve. What we are left with is an not incomplete do “we” we that challenge a is “we” universal or global a of illusion lyrical The “we’s”? different of multiplicity a “I’s” to many lead those would that and we deal with us-ness, or with knowing that there is no “we” without an “I,” do How “us”: the of question very the is which question,” unconstructible teaching, of question very The careful. very be should we which with something is university the in avoid cannot you that relationship power of kind this So experience ofhismentor. the from benefit to there is who being passive a is student The wrong. the supposed to know, and therefore, who holds the power to tell the right from is who one the is professor The supposes. it that hierarchy tricky the with professor,the and student the between relationship strange that balance to I guess , , is to try to give an answer to what Ernst Bloch called “the - - - - -

179 Simon Njami 180 Fictional Faculties or anartist?Dowehavea magicformulatoproducegeniuses? writer a become to everyone to available standards set to trying we Are la? room, but it simply was not working. What is the aim of those new curricu Joyce orSamuelBeckettinthe what wasgoingon.ItriedtoimagineJames creative writing courses. I went, of course. But I could not quite understand his of one attend to me invited mine of colleague a Diego, San in teaching was I when that remember I programs. new these in implied subtleties the grasp to stupid too am I Maybe artists. to academia by offered PhDs of set of notion the to contradictory me to seem that years recent in flourishing merchandise new of lot a seen have we Still, scenarios thatwouldallowustothinkthe ways to be adapted further. I am talking about collective fictions, impossible al is product final the where laboratory some in like just experimentation, unique a represent would but sale, for be not would produced is whatever utopia, that in Because fashions. and trends the dictating art) about talking we’re (since market any beyond and oneself beyond go to one allows that the in displayed not are that mean here is that students should be able to experience things and thoughts space where one is confronted with what I would call “uselessness.” What I The university I dream of is a space that contradicts reality, because it is the other toconstructafictionofhisorherown. the help to means fiction a Toshare fiction? individual An subjectivity? of form a not if sensitive the is what For results. different with up come will we maybe and balanced bit a be will student, the being slave the and sor profes the being master the slave, the and master the between relationship better,be the will least university at the but if don’t know sensitive”—I the of “sharing called Rancière Jacques this—what do to able are we as long as that think validity.”I no has sense, no makes saying are you what that think I “Listen, say: and us contradict even might they that so them, use to them help then and tools those provide to have we rubber.But the use should they when and hammer the use should they when know to given, toolbox, and then it’s up to them to manage the different elements they were the teaching process the only thing we can do is provide the students with a In “toolbox.” the called Deleuze what without acquired be found—cannot be to is job Academia’s where probably is gaze—which critical that And real world real . That utopia dear to Ernst Bloch Ernst to dear utopia That . unthinkable uselessness in the form of a new a of form the in . - - - 2 1 unlearned howtodabble.” poor,are “We we have unlearned how to play.Bloch: WeErnst have forgotten it, our hands have saddened that trap that in ourselves find might we expression the used Nietzsche rich Fried as joyful, and playful be should process learning the that remember to is thingimportant most the But minute. one just last to is spacefictional then I am not sure we should not close them forever. Maybe the aim of that university should be only a theoretical space, which means pure abstraction, experimentation. I see that Iuav University is kind of striving for that. If the of space a be should university The productive. be would that discussion a contemporaneity as me—which means the same time and space—can I have same the sharingfellow, my with only sensitivity.Therefore same the ing shar are we where space a is it again because misunderstanding, can with play we where and place, take can discussion where space the is between no-man’s-landin- The expression. genuine a insert can everyone which into neutralin-between, a the in figures imagination.creativityIt and of space a call would I what of space a that believe do I misunder standings, andrepresents,infact,themainmodeofhumanrelationships. of space a is Fiction exercise. the in comprised contradictions to creation of all sorts of fictions all the time, we have to admit the inherent subject all are we since but wouldn’twork, fiction reality,my manent then per a were there If one. another by changed be could reality any if as and reality no were there if As fiction. a as to referred is performed is whatever its admits which space, fictional a be ties—should possibili other necessarily are there for mistaken probably am I course of 2011 would be more than enough. So I think that the ideal university—and pavilion Italian the that thought even I enough; be would weather the and sky the enough, be would street the enough, be would studio the thought I research. that practice to able be to university some in or faculty a in be to needed one that know didn’t I so research, permanent in involved be to the illusion that the process of being an artist, of being a creative being, was the famous quote attributed to Picasso: “I don’t search, I find.” I was under The other thing I have problems with is research in art practice. I remember

Stanford UniversityPress, 2000),10. Bloch, Ernst V. Boundas(NewYork: ColumbiaUniversityPress,1990), 260. Deleuze, Gilles The Spirit of Utopia of Spirit The The Logic of Sense of Logic The 2 The Joyful Wisdom Joyful The , trans. Anthony A. Nassar (Stanford: Nassar A. Anthony trans. , , trans. Mark Lester,Constantin Mark ed. trans. , positive misunderstanding positive fictionality . If we forget that, forget we If . , and where and , is - - - - -

181 Simon Njami 182 usually the checklist does evolve until the very end. And I believe Friedman believe I And end. very the until evolve does checklist the usually My exhibitions have starts. hardly ever had exhibition a checklist the until the before day they open, years, and not if months, closed usually is which checklist, top-down a alongside goes masterplan top-down a usually and masterplan, top-down a writes who person the still is curator the Usually recently. rather until that questioned not have Curators masterplan. tural architec the of idea the 1950s, the in even on, early very questioning was key inspiration for me in terms of curating beyond the masterplan. Friedman will see later how this relates to the exhibition. Yona Friedman was another about his own archipelago of Haiti, Cuba, Martinique, and Guadalupe. We called I would first refer to a drawing he once sent me by e-mail, which is actually this papertohim. an amazing inspiration for curating, and that’s why I would like to dedicate find might we unrealized, remained has which Martinique, of Museum the of invention his and studies museum and poems Glissant’s of think we If exhibitions-making. of terms in go should we way the is it that think I and day,every difference produces which dialogue, global the with engaging of translation). literal the be would “mundiality” of idea this is which mended, tion, which is even worse. And then there is the third way, which he recom globaliza of forces homogenizing the to succumb or surrender to is option other The lost. is dialogue global a for obviously,potential result, the a As dialogue. global of possibilities the avoid and discourse, local a of sort a in retire globalization, century.reject twenty-first Wesimply the can in rating cu of terms in globalization with coping of ways multiple be actually can Édouard Glissant explained to me when we met for the first time, that there Curating in the The Archipelago Is a Passage and It’sand Passage a WallIs a Archipelago Not The Twenty-First Century mondialité (there is not a word in English, as English, in word a not is (there

Mondialité , where he’swhere , talking is finding a way a finding is - - - - probably gobeyondthetime-frameofhisexhibition. would that but developed, he which process, of idea his and Hansen Oskar much influenced by Price’s idea of pia Station,” which I did with Molly Nesbit and Rirkrit Tiravanija, was very uncertainty.of music the called Cage John what “Uto with that say must I experimental, to be expandable and be changeable. And to it very site, much resonates the for designed be to activities the wanted He stage. traveling this into contemplation and silence of zones of lot a built to wanted Price me). told Price what is (that outside the from Earth on nothing like look would that shipyard mechanistic a build to was idea the 1960s, early the in Developed realized. never was it thought projects, influential most his of of idea the is me, inspired always has which idea, key Price’s exhibition. the of medium the to relation in things interesting very body—all the of aging the intelligence, of growth weather,the of changes preoccupation Price’swas really time: the architect. passing of time, the utopian speed of seasons, the a not is he actuality, In Donagh. Rita and ilton ence on my practice as a curator. I was introduced to him by Richard Ham influ essential very another Price, Cedric of work a states as utopia,” own “The best of the world is when anything happens, you have the right to your uncomfortable profession, and Friedman helped me in trying to question it. years and I was always called French is called the exhibition and not control them. It is not by coincidence that curating in show,a within within shows curate to people invite can we how about and shows different have actually can we how about organizations, several in bring to how about think us making that: for inspiration great a been has commissariat d’exposition commissaire H The Fun Palace —that is, a policeman. It is a very . I have lived in France for twelve ans Ulrich . We could also talk about The Fun Palace Fun The Obrist , one , - - -

183 184 Curating in the Twenty First Century participatedwith a sculpture, which is a monument for Lorca. We must also verde quiero work his and again, art visualwith together poetry bring we that important is it that TwomblyRome Cy in with meeting a in me telling started exhibition The room. the in room the of cast a and growth organic with room the doubled Iglesias Christina Vives; and Bestué by cro-theater mi little a was bed the under house; the outside park the in was that bird of type a by covered bed in lied George & Gilbert typewriter; a installed Neuenschwander Rivane changed. really has nothing and house, tiny this to artists invited I Kitchen,” “The to way similar a In Granada. in house The last show of this kind that I curated was held in Federico García Lorca’s second year since “The Kitchen,” I have done a house-museum exhibition. every or year everycontinuum,curatorial a As spaces.small longer no are standardizedsize—thereof sort a contemporaryis museums,therein more and kitchen.More my thanbigger no are thatspaces Boijmanshas The es. VanBoijmans Museum the at and spac tiny often very are Beuningen—they ums—for example the other day I was looking at the museum in Winterthur muse nineteenth-century to go you if that interesting very is It monumental. seums have expanded, and museum architecture has become more and more for which all curators are being proposed, are bigger and bigger. So many mu curatorial projects. The venues for which I am being proposed as curator, and the twenty-first century, which has on the contrary a lot to do with very large curatingin practiceof the relationtoimportant, especiallyveryin is ments environ small very in exhibitions making of idea particular,the in me, For the excitementofbeginning. show,Kitchen” “The with like be to has show every me For did. I hibition the fridge of the show. And this kind of intimate exhibition was the first ex exploring visitors with feathers and eggs marble included exhibition fridge the exhibition: the within exhibition an had we so fridge, the in exhibit to wanted He kitchen. the in only exhibition an do to boring was it thought Soup it called and sink the doubled who Wentworth, Richard including time, over project the rumor.joined a artists became of it Lots but success, public a not was it so visitors, thirty had and months three for lasted tion put and exhibi books The debut. curatorial my marks episode This kitchen. the into food the of rid get should we kitchen—that my in books only had I thought—since I and Weiss,Boltanski, David Christian Fischli, Peter . We had Boltanski projecting a candle, while Hans-Peter Feldmann Hans-Peter while candle, a projecting Boltanski had We . is basically a drawing he made in homage to Lorca. Franz West Verde que te Verdeque World ------ress, and his partner Katrin Messner, we did the “The Billboard Project.” Billboard “The the did Messner,we Katrin partner his and ress, Ortner,prog Josef in late museum the of with founder Then, visionary the other fragmentsof“Cities ontheMove.” to become a hub, tions in Asia. It was the 100th anniversary of the building, and we wanted it permuta their and cities on as well as continent, that from architects and artists amazing the and Asia on focused much very was show The Vienna.in building Secession the at place took that exhibition an Move,” the on “Cities of occasion the on Hanru, Hou with time first the for out this tried Wearchipelago. an be could exhibition large-scale the maybe that think to had also told me that I had to be less slow. So when I read Glissant, I started enters into the frame: Alighiero Boetti had told me to read Glissant—and he exhibition, but in a hotel room of ten square meters. That is where Glissant big a was It artists. seventy invited I and venue exhibition my into Paris in room hotel a transformed I So hotels. in lived I apartment. an had longer no I and nomadic more become had I time that by because room, hotel a Mirror” show had opened, I went to Paris and I repeated “The Kitchen” in then I reacted to meters. that in square a sort of of dialectic thousands of big and and small. After thousands “The Broken of space a with working to to exhibit Kitchen” “The small the from Suddenly,went moment. I that at young very was I him. with collaboration in shows large-scale these of one make I that proposed he met we When shows. large-scale visionary many so done has He exhibition. an do to how and book, a do to how curating, one of the first museum professionals I met. From him I learned the craft of having spent a great deal of time in intense dialogue with artists, König was After Mirror.” Broken “The in König Kasper with was exhibition bigger At a certain moment I started to be invited to do bigger exhibitions. My first exhibitions aresomehowarchipelagosor, rather, “kindof”oneisland. consisted of a breath of air that is forever cast into the glass. So these house Lorca’sof size smaller a in replica Parreno’sPhilippe suit. Lorca to homage a did Jeong-A Koo Granada. in buildings other to house Lorca the necting con much very tile, a of painting a presented Morris Sarah and Lorca, to invited to write their own poems. Anri Sala realized a photographic homage the word “water.” Neuenschwander provided an alphabet, and visitors were inthe kitchen, Pedro Reyes gathered all the verses ofLorca’s poetry that use nearthe house, which isalso the last house heinhabited. Inhis work placed remember that obviously Lorca died very tragically, having been assassinated a relais from where you could go all over the city and find - - -

185 Hans Ulrich Obrist 186 Curating in the Twenty First Century o ovosy hr ae ay ifrn wy i wih uaig n the in curating which twenty-first in century may happen, and I always felt that Joseph Beuys talked ways different many are there obviously Now the of centers as avant-garde. existing cities of hundreds had we that clear 1990s became the it in center, absolute an for quest the in again Paris, avant- from the garde stole famously York New century twentieth the in If center. absolute an for quest a longer no and Asia in cities” of “polyphony a also but archipelago, an of exhibition a polyphonic only not was it because ing Weother. connected each Seoul to to Tokyo, magazines to Beijing the and Shanghai. It of is obviously all interest linked we and us, with kiosk on this worked Kusolwong Surasi and Price Cedric other. each not to were connected time the at which Asia, of magazines the of all included which lounge, a of sort a magazines: of lots with realized zone participatory which implicitly an Kusolwong, Surasi and Price Cedric of collaboration the remember to important is It space. City,city, became performative a it but a of representation a not was an it was transformation; Move” permanent in the exhibition on “Cities pavilion. paper-tube a do to Ban Shigeru invited we Hayward, the to went show the when 1990s, the In shows. and reality of production as architecture of idea the of beginning the also was It architects. and by artists described moments apocalyptic very were there hand other the on and 1990s, the in moment Asian optimistic very a it was hand one the on apocalypse: an exhibition and the apotheosis So an cars. between of really was lots and lots of out made Zhen Chen of pent ser prowling a was there space the Throughout Asia. over all exists that architecture sprawling the of aspect really apocalyptic to extraordinary, wanted this show they so architecture,” of there torture of middle chamber the a “In be must said, they and design, exhibition the did Scheeren Ole and Koolhaas Rem London. to went show the Vienna, after year The growth, oforganicity, ofchange. show that has to go from A to B to C, but it became very a much a timeline not of was it time; each different completely was Move” the on “Cities So show.different very a have time each and system the shift actually would the game and enter the global dialogue, but we came up with a virus, which play actually could we Glissant’sidea; apply could we that Wefelt circus. Asian artists and architects had shown and it became an incredible traveling these of none Almost exhibition. Asian an have to wanted Europe in seum The exhibition became a traveling show, because, really, literally, every mu - - - and if we invite the artists to do things in unexpected circumstances—in a circumstances—in unexpected in things do to artists the invite we if and possibilities, other by surrounded possibility one only is there where tions video of themselves. Marcel Broodthaers said that we usually create exhibi a watching animals see can one where installation, video first and his spaces created these by inspired was example, for Ping, Yong Huang tion.” Sta Power “China exhibition the of occasion the for architects and artists with space the occupied we so generation, new the of architecture and art Chinese on London in time that at show a been never had there exhibition: Power Battersea WeStation. the at artists Chinese introduce to wanted we that decided also at exhibition an having by London in space biggest the used we instead if interesting very be would it think to started we space, institution together: it creates a dynamic, and since the Serpentine is a small art an run people two when interesting incredibly is It eleven!” is one “One plus says: always institution—Julia art an running of way the to epoch it was only logical that one could extrapolate the collaboration spirit of the So collaborations. of constellations permanent been have there generation our in while own, their on curators much very example—were for mann, Szee Harald pioneers—like our think I generation. our in change big the was curators between collaboration of promiscuity the 1990s, thinks the one about if because thing, interesting an of kind a is it that believe We London. in Gallery Serpentine the at collaboration our started I and Jones Peyton- Julia point that at and exhibition, large-scale archipelago-esque an be could what about lot a think to started I Move,” the on “Cities After ings byartists—whichcoverentirebuildings. Raise the Dead Gordon’s Douglas produced also We world. the over all of puzzles, which were like a planetary exhibition of Dante Alighieri carried thousands of tens with piece a example for produce to us led and started, Ortner Josef with progress in museum with dialogue the where that’s So shows…” museum shows,gallery exhibitions,Biennale do to things, same new forms. He used to say: “It’s very boring, we are always invited to do the in art needed we museum, the beyond go really to needed we that me told Boetti time. our for curating of notion expanded an needed we that me to clear became it George—that & Gilbert and Boltanski, Christian Boetti, ro And it was in conversations with artists of Beuys’s generation—like Alighie expanded notion of art necessarily leads to an expanded notion of curating. lows curating; curating has to follow art, and if curating follows art then an about an expanded notion of art ( : large-scale electronic paintings—computer-generated paint der erweiterte Kunstbegriff Cinema is Dead, is Cinema ). Art never fol ------

187 Hans Ulrich Obrist 188 Curating in the Twenty First Century June 2011 in Perugia, where Stefano Boeri launched his amazing on what happens between the cities. This can be related to what happened in Raqs Media Collective said something similar, i.e. to focus not on cities, but that maybe the concept of the said city is connected 2011, to the big in roots of BiennaleIndia. VeniceThe the at pavilion Indian the of commissioner and poet Hoskote, Ranjit present. was city the of topic the Move,” the on Singh’s particular urban wallpaper—that even ten years earlier, with “Cities S. N. Harsha,Sheela Gowda’s of architectural space within thespace, andDayanita painting wall the as such examples few at look we notice—if to interesting Moreover,is exhibitions. it for features display develop to tects play feature,” so I have always had an inclination to invite artists and archi dis a develop also that “Weexhibitions me: remember told only once who develop the exhibition’s display of but who also has an architecture practice both in Frankfurt and in Delhi—to Städelschule, Frankfurt the of Dean the only not is Hirsch—who Nikolaus and outside, paintings his exhibit to F.Husain M. invited We exhibition. tion,whichwould start theSerpentinein andthenbecome ever-growing an Kunst, we invited Indian artists and architects to actually develop an exhibi Moderne for Museet Fearnley Astrup the with Along it. on focus any been notthereIndianhadIndia—there fromandart,showsof anybeen not had art contemporary neglected completely had London that well, as doxically para very urgently,and Highway.”very We “Indian felt grow, was would that system dynamic complex a as Move” the on “Cities of spirit of sort show,traveling a becomethe toin tried somehow thatexhibition next The exhibition. the of café and shop the became Pavilion, Serpentine the for created Toyo initially of Ito, pavilions the and films, animation Anxiong’s Qiu exhibited we films, different documentary Among through. walk could one space a a develop promenade, to a of possible kind was it screens, many have could artists since and, In roof. installations of the sequences long show could we meters through square of thousands raining of sort were they Station; Power Battersea the of spaces gigantic the in presented were filmmakers Chinese many of images moving the of way the smell to the related is with aspect Station important Another cider. Power Battersea the of space the filled which wall, cider million-apple a produce to apples of tons using by exhibition this at installations last his of one 1980s—did the of avant-garde the Chinese of artist fascinating very a Dexin, Gu concept. com and a form in new born pletely are works station—then power gigantic a in or kitchen, Indian Highway . It was Richard Hamilton Festival of - - - - - of theEdgwareRoad. is Marwan Rechmaoui, an up artist from Beirut, with his call mappings of Beirut and to example good A team. extraordinary an with along project, this driving much very been has Programmes, of Head Serpentine’s the is residency.a is it moment, Tallant,the Sally For exhibition. an who become relation to Beirut, Cairo, and other cities, and little by little this project will in Road Edgware the map time, spend would artists The Road. Edgware in residency a develop actually Waëlto Hefuna, Shawky,others Susan and like artists invite to decided we So decades. many over East Middle the to connections with spaces other and restaurants many with along Beirut, to presence there in the form of an Egyptian cinema, and there were many links important very a had has of film Egyptian East. layers Middle the involving history and layers has Road Edgware The away. meters hundreds few a just Gallery, Serpentine the near located London, in Road Edgware the with collaboration the started we why is that and street, entire an over ing tak of idea the with up came we project, Station Power Battersea the After neologism thatdescribestheregion. artists are very uncomfortable with that description, but also to try to find a of lot a as East, Middle the of notion that question Weto only not decided East. Middle the on focus to wanted we India, and China explored having after Serpentine, the At town. new a be to meant is project curatorial and Tunisia,this in together city a build to plan a have I and Höller Carsten it is important that we think of curating as a form of urbanism. into the art world and into exhibitions, and now I think more and more that Yona by Friedman inspiredand Cedric Price very and by their was idea of urbanism, I which I brought practice it my of beginning the at because ing interest is That urbanism. of form a become can exhibitions exhibition; an highway, the road, it can become interesting that we declare an entire street Indiantheabout think you Project.”“Edgware RoadIfthe to usleads also that And between. in happening is what highway,about Indian the about is it butcities, Indianexhibitionabout an not is it that said we logicthis of between the city and the countryside in all these blasts and diffusions. So out geographies—it is the roots, the song-lines, the pathways, and what happens between in happening is what is interesting is what city,rather the but not more and more of the architects and urbanists say that what is interesting is Knowledge , which was a “festival of knowledge production about the city”; - -

189 Hans Ulrich Obrist 190 Curating in the Twenty First Century etr tig wie h tet-rt etr i mr aot conversation. about more is century twenty-first the while thing, century twentieth- a thing, masculine very a are manifestos that states Sehgal Tino century. twenty-first the in manifestos and statements others’ questioning and neighborhood, our in Corner,speech Park free Hyde to proximity the Corner,Park Hyde the of idea the on played which pavilion, Gehry Frank in marathon manifesto the or SANAA’s pavilion in marathon poetry the like Marathon,” “Experiment project the under organized were marathons Many architects. and artists with London of portrait a marathon: terview in nonstop twenty-four-hour a did we example, for Koolhaas, Rem With curring every summer in London, and now also in other cities of the world. oc activity, regular very a into developed soon Format” “Marathon The flooded building. the from rescued suddenly and inundated were we when Bauer Meta Ute with conversation a have to about just was I morning the in o’clock two at tragically—somehow leaked museum new then the first Stuttgart, in the marathon did we when because well, very launch not did idea This hours. twenty-four for nonstop discourse and events, interviews, having by city a map to was idea the Zagreb: in also and Stuttgart an in “marathons” of invented idea had I Balmond. Cecil and Koolhaas Rem with was together did we one first The project. the co-curated have then since and 2006, in collaborate to started I and Peyton-Jones summer.Julia every wing new a a wing. Usually once architecture is built it is frozen, but in this case we add vent, with Zaha Hadid, the pavilions. The idea is that every summer, we add in to 2000 in idea wonderful a had Peyton-Jones pentine’sJulia pavilions. Ser the of experience the introduce to it worth is it least, not but last And Grcic, KlaraLidén,andNairyBaghramian,togiveafewexamples. Jeff Koons, Philippe Parreno, Inside/Outside, It Started to Snow, Konstantin Barney,Matthew as such artists prominent with organized were shows ous Serpentine the Gallery’s obviously core exhibitions continued nearby while in the white workspace, cube, where numer hybrid a was program Edgware Road The space. work hybrid the of idea the is here stress to wanted really I What Schlingensief. Christoph invited we where David, Catherine of X documenta for constructed we Biennale Berlin 1st the of space work mind is the “Utopia Station,” which was a hybrid work space, or the hybrid come and work there, and reconvert spaces. Another example that comes to artists house, Lorca the like house, a in show a do I when to Similarly tion. produc knowledge about are projects aforementioned the Wethat say can ------volving a number of contemporary scientists and biologists like Armand Le in curated, he experiments scientific the for site Brockman’s John on and Serpentine the Gallery, of and for website those linked to science, the it is published on on the EDGE website available is marathons the about More “Formular ofthe21stCentury.” of experiment; the collaboration with John Brockman and EDGE led to the zone a as it analyzing by WarholFactory Andy the revisited Mekas Jonas color as an experiment: Are there color theories for the twenty-first century? experimental lecture. There was a was There lecture. experimental animals, andconversationswithanimals.FiaBackström alsoperformedan involving experiments ropes, metallic with experiment scholars, Metzger’s many Gustav were There experiment. of kind a as lecture a developed problems freeing themselves; and Thomas Saraceno and Tris Vonna-Michell huge encountered then who audience, entire the in rope literally to started just arrived, placing the contents has on the table who as an experiment; someone Pedro Reyes like suitcase, his unpacked experiment”) an is suitcase “my say would (who Cook Peter geodesics; with College Mountain Black Fuller’sBuckminster the revisited at Chetwynd experiments Spartacus tors; visi with experiments Abramovic´several Marina did very results. produced unexpected experiments those of Some relevant. extremely is think, I nowadays, failure about Talking next. the to place one from experiment an move you when fail can experiments obviously and experiments science many were there experiment; choreographic a did Evans Wyn Cerith and Clarke, Gill by performed were that scores did Forti Simone example, For public. in experiments do to practitioners sixty about inviting laboratories, of zone a pavilion the declared we Olafur With lab. a became Antwerp of called tion that we need laboratories for the twenty-first century. We once did an exhibi tory” is something that has always played a big role in my activity. I believe labora a as “exhibition the of laboratory.idea a The as designed is which pavilion, Thorsen’s Kjetil in Eliasson Olafur with 2007 in organized was The marathon that has the most to do with the topic of the conference prose ence, philosophy, music,andfilm. presenting manifestos of all kinds, from the worlds of literature, design, sci artists seventy were there end, the At wheel. bicycle broken a like almost it revisit can we because interesting is it form” defining a is manifesto the “if says, TomMcCarthy as and, manifestoes somehow are However,they Laboratorium with Barbara Vanderlinden, where the entire city Vanderlinden,entire Barbara the with where séance as an experiment, and the idea of idea the and experiment, an as - - - - -

191 Hans Ulrich Obrist 192 Curating in the Twenty First Century is agoodwaytoend... wine, and back into a glass of water. And maybe mention of this experiment of glass a into water of glass a transform to experiment: wonderful his do of the science experiments of John Brockman, we invited John Baldessari to Wolpert.Lewis as well as Jones, Steve and Roi middle the in point some At 193 Hans Ulrich Obrist 194 tions. In 2001, in Oslo, Norway, I had an earlier occasion to reflect on such ques with orthroughart,arebeingraisedagain. questions of art as “thinking process,” and so of thinking in art and thinking to help institute programs in artistic research. It is in this context, then, that also but debate, to only not Scandinavia, and Britain in first at academies: national older together linking up, grown have networks European several 1990s, the in particular,starting In schools. art national European of out side thought of and knowledge of globalization larger a in play to come have institutions artist and arts visual role new the of terms in part in and Accords, Bologna the to response critical in part in Europe, in especially about cussions own distinctive intellectual traditions, but also following a long series of dis It seems that now is a time for such questions, not simply in Venice, with its knowledge, inthesciencesandhumanities? it of forms instituted to related instruction its or it is How learned? or taught should academies—how art in institutionalized be process this or should can ways what In process”? “thinking a itself, in art, is sense what In Art as a Thinking Process: working in multiple historical sequences and within particular techno-social it mean to see this activity as an activity of thinking, in and with other fields, “experimenter” rather than as an avant-garde “transgressor”? What would but rather in terms of a certain picture of the activity of the artist as a kind of non-site,” or “site or art,” “Conceptual critique,” “institutional medium,” “post- or “medium” of terms familiar the in not art, this in temporaneity” “con define to mean War.it Cold would the What of end the after 1990s the in shape take to started which art,” “contemporary of field and nature 1 I then tried to connect them to a sometimes bitter debate over the over debate bitter sometimes a to them connect to tried then I New Reflections artistic research artistic or research-based art research-based that has taken shape taken has that - - - -

with Félix Guattari, as to what “thinking in art” image the along 1970s the in starting develop and out work to tried had Deleuze that of aspects few a recalling worth perhaps is it But institutions. its and art” “contemporary with precisely over crossing increasingly thus debate, political renewed and practices, exhibition studies, three media of the areas toward experimentation and discussion studio of moment this from away migrated has University Columbia at School Architecture the in research-based of kinds new toward geared themselves drawings, axonometric traditional than rather diagrams in topographical of kinds new using architecture”—e.g. “thinks one how involving courses, research historical traditional the in than studio the in more Deleuze, of uses and readings new arose there studios, paperless University,instituting Columbia of at process the in then School Architectural the in notably time, this at But, architecture. about tle lit written himself had Deleuze resonance. and interference, connection, of the preserve of an element rebellious to all thought), but rather more a kind didactic (where art just illustrates a given theory) nor romantic (where art is neither be would that picture art”—a in “thinking of picture certain a tice prac into put to and isolate to once at Deleuze, Gilles of work the in tried, had I “ANY,” called symposium architectural itinerant global ten-year a At first primarily with architects, in architectural schools as well as through ing theoryadaptedtothenewandglobalizingsituation. do of way a out work off—to taking was art contemporary when moment 1990s—the the in starting part, my on attempt earlier an on drawing was I dispositifs and philosophies. its investigationsandresearch,relationswith sciences,technologies, ? But in sketching this portrait of “thinking in contemporary art,” urban intervention. No doubt today theoretical discussion theoretical today doubt No intervention. urban J ohn Rajchman 2 is—the peculiar nature of

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195 196 Art as a Thinking Process is thus at some distanceKantiansometheor dreamequatingfromatthus “Knowledge”is thought” of “image the of question the which in 1970s, the in updated 1960s, the in method.” of That was already “science a key a theme in Deleuze’slike study nothing of Marcel Proust is there learned, is it ways the in and research, its in art, in thinking of process the in methodology.For of or method of matter a not is it place, first the In architecture”? matter,“in that or,for What then is thinking in art? What is it to think “in painting” or “in cinema” of its appeal, as when Antonin Artaud declared “I write for illiterates.” for write “I declared Artaud Antonin when as appeal, its of preciselypartis turn inwhich arts,thinking processesin ofthe literacy” in “il fundamental a words, other in is, There others. with relations anticipated un new process the in up opening rethink—often think—or to one forces or mutenessnessor combined inchoatesenseanwithofa necessity thatcauses given by things one cannot quite identify or see or say, creating a kind of blind wild,and something rawresearch,is of forms its in andart, thinking in of “culture,” too much “cultivation,” can smother it. Indeed, vital to the process of becoming educated, enlightened, cultivated, that we do not normally see. The way it is learned is thus not a simple matter ten tied up instead with forms of fiction or depiction that make visible things something that must be learned without a Masters or Master-Discourse, of is it such; as imitated or reproduced be cannot that process singular a is art in its realist, documentary forms or in its archival investigations, thinking in especially or Even thought. Deleuze’sof of image aspect second a find thus technology,knowledge, to related Weis “media.” nevertheless sense this in Thus, although thinking in art or research in art apparatuses. is not technical ordered by method, or it knowledge or institutions and conditions larger to connected was way,it this in or reason this for precisely yet, and it; for paths or rules preexisting no were there anew,since time each undertaken be to had that something thus was It on. go to how see cannot one where moments many with starts, and fits in advancing relations, and encounters process a of fresh to adjusting and that shifting forever directions, different in out spreading thus was rhizomatic, or Proustian art,” in thinking of today is no doubt that of that of the of that of that doubt no is today known best ways—the many in Proust in found thus had he thought” of of intelligence ideas andrelatedsignsinart.Deleuzewouldgoontoelaboratethe“image peculiar the to up leading eventually codes, known no ist ex there which for signs unraveling of process learning endless an ways, habitual in recognized be cannot that things with encounters unexpected after,”come always “ideas where through Proust’sone by is dertaken hero 3 was first formulated. For the search or research (for lost time) un rhizome gelernt . 4 His picture of the “process the of picture His —in fact too much such 5 One ------of “theviolentformthinkingthatispainting.” later presentasanattempttoextract,alongmanylines once,anewpicture would Badiou Alain brains—what our in and canvas the on once at images cliché to “violence” doing studio, cluttered famously his in working con, another way in Deleuze’s study of the “logic of sensation” of “logic the of Deleuze’sstudy in way another India today.India in working groups, artists and artists, certain of work the in example, for way,remarkable a artists—in contemporary many for also but filmmakers, for simply not suggestive turn in was cinema” in ideas “having resulting of picture The philosophy). as well as neurology or psychology new with age” is (and its role in this new “mass industrial art,” growing up in tandem “im an what of questions larger the to relation in cinema, of study his in cases many across do to tried himself Deleuze what precisely is That poses. try to start to elaborate, formulating the particular problems or questions it then can one which intuition ways—an usual the in recognized be cannot “ignorant” or “unlearned” ideas, such singular investigations of things that such to proximity of sense stimulating a has one artist great a of work the ways the they engage in and thinking in artists and through their particular art. Often in of approaching work the to into relation in put is or way used One be practice? then art in thinking of picture this might then How one fromwhichthereisnowayback. way, “absolute” an in “deterritorializing” always is thinking idiom, own “extra-territorial”—or,fundamentally Deleuze’sis use art to in thinking of process the which in words, other in sense, a is There foreseen. have could those moments when people start to see things and talk in ways no expertise in found “ignorance,” populist) not (yet popular of kind a from separable himself had not written about. Let me briefly mention two: Richard Serra Richard two: mention briefly me Let about. written not had himself Deleuze that practices art and forms art to and artists to it extend to way Reflecting on this notion and practice of “thinking in art,” I tried in my own cation” publics or public spheres—or what Johann Fichte would call “aesthetic edu “Aesthetic Judgment” with “Emancipation” through literate or enlightened is missing,” is ing in art it is then better to say, with Deleuze, that “the people is not given, no instituted knowledge or fixed of emancipatory politics itself as a zone of activity for which there preexists picture another needs one that is Rancière, Jacques by elaborated recently 6 (and the national institutions that formed it). One consequence, One it). formed that institutions national the (and 7 8 and is created along with the search or research, and so is in is so and research, or search the with along created is and At the same time, we find this approach to thinking in art in art in thinking to approach this find we time, same the At territorialization . In the processes of think 10 9 in Francis Ba Francis in - - - - -

197 John Rajchman 198 Art as a Thinking Process came to call “ignorance as a kind of nourishment.” he process larger a York,in New to move his following forms, new oped devel illiteracy of sense this that find we writing”; to relation “awkward “illiteracy,”of an form peculiar a with artists of generation his confronted to the new situation of thinking,” of “process a as regarded enligthement, Chan-Buddhist doxical para or sudden of practice the adapt to 1980s the in attempt his in ticular and the work of the contemporary Chinese artist, Xu Bing. We see it in par Drawing and thinking are connected in another striking way in the research thinking andresearchinartderives. ideas” and “lived brains” plunged into the zones of “illiteracy” from which module of “art cognition”), closer instead to Deleuze’s own picture of “vital brain a for search the on (or skills recognition repeatable on focused often neuroscience current much in that hypotheses laboratory testable of frame the outside zone, experimental of kind a drawing—in in as well as film in ways— different out carried investigation or research” “aesthetic involved thus It object-recognition. cognitive and eyes one’s with just not mind, or other body,an another brain, of another sense vital a moment, a for least at us, Serra’s “process of thinking,” in other words, was his peculiar way of giving an other kind in of space closer to what one sculpture, sees, notably, it, in certain Zen gardens. through and painting, dominated long so had which with “hands” and “feet” is intended to defeat the usual “eye-hand” gestalt, thinking between relation the that Wesee structures. then steel by massive his imposed feet” one’s with “thinking call to came he what thinking, of kind another find we sculpture, his in But art. all in found hands,” one’s ings” or “filmic research”). Drawing is then already a way of “thinking with draw “filmic (or films his through way another in elaborated later he it, puts as ideas,” “having of way a as drawing—drawing is research, related and work his in developments the early all starting through him art, accompanying in and on thinking of way visceral a Serra, For Bing. Xu and of “art for the people” and the Cultural Revolution. While the problem of problem the While Revolution. Cultural the and people” the for “art of idea Mao’s by transformed then and models European nineteenth-century what shouldbetaughtnow inChineseartacademies,whichwerebasedon ticular pedagogical question for Xu Bing, tied up with the larger question of research, find his or her own peculiar “way of thinking.” It thus poses a par Bing holds on to his idea that each artist, in a given situation, must, through eration of Chinese artists, living in different “globalized” circumstances, Xu field , in which one “thinks with one’s body,” not just with one’s brain shu (books, learning, writing) after Mao, which had 11 Even for the next gen ------cording to the calendar of biennial projects and panels, each compendious each panels, and projectsbiennial of calendar ac the to cording elsewhere, invented ideas recycle to tends agenda, or project research sustained any of absence the in which, formation, substitute of kind a of thatwas then staged in Berlin two years later), one often has the impression but Cyprus in 6 Manifestaduring 2006 in start to intendedwas that plaza unitednations project art-school failed the example, (for art contemporary then looks instead at the actual practices of the so-called pedagogical turn in schools—anew kind of specialization, the skills of a new “medium”? If one questionissuingof certificates newkindexpertiseaofof within existing art institutionalsimplea then it ishand, othertheencompassing? more on But much so is life on so-calledgrippost-Fordist theofimmaterial where labor period a in better work it should why 1960s; the in Party Communist ian Ital the of “hegemony” the outside thought and labor free of spaces” mous of all institutions already proved untenable in the failed search for “autono usetoPaolo Virno’s term? seemsIt thatthis Romantic picture outsideanof in a grand withdrawal or “exile” from the great “Empire of Capitalism,” of “Empire great the from “exile” or withdrawal grand a in thought free sanctuariesof into offretreating requireexample, for it, Does Knowledge?institutedalreadyoutside transpire art inthinking” of process institutions“theproblemdoes“outsides.”senseoftheir what anda In is it learned? How is it related to work done elsewhere or at other times? In part, make. But where and how does such thinking take place, where and how is it and look talk, andinvestigations, undertakeresearch,read do Artistscess? heart of much of the current discussion or debate about art the as a at thinking pro question, institutional pressing this formulate we should then How globalization? called now is what by up opened cross-encounter of ways extra-national new,the in working market, or state of demands the outside thinking, of face and problem: institutional how do we an provide for those then vital (and “illiterate”) is zones making—there the in still written, be to ters—yet encoun such in involved investigation historical and history of kinds the For abstraction. of theory “formalist” a in precisely lie would crux whose modernism of story teleological provincial increasingly and old the outside tied up in part with the “spatialization” of Zen or Chan Buddhist thinking, ence or “dialogue,” a kind of intersection or resonance in practice and idea, ways in the whole question of “drawing.” One thus finds, without any influ striking in connected process,” thinking a as “art of question larger the in involved were each they circumstances, and times different in nevertheless abstraction so central for Serra has little role in Xu Bing’s thought or work, 11 ------

199 John Rajchman 200 Art as a Thinking Process f h ie: o e u a pc o ecag otie ntttd disciplines, instituted outside exchange of space a up set to idea: the of ers, artists, and filmmakers took part in one way or another—that was part writ many if even group, artists’ an not was course, of group, Foucault’s “neoliberalism,” stillwithustoday. and “bio-power” surrounding notably hypotheses, and experiments new with filled 1976, after period crisis of sort a entering research, his in aim cault himself was eventually disappointed with this creative or experimental Fou however,know,that We “outside.” the was own—such their on ate prisons might be invented, which neither prisoners nor observers could cre about speaking and seeing of ways new where spaces “heard,” be actually might they which in spaces up set to rather but speak,” prisoners the “let to nor prisons about information offer or collect simply to not was aim the taking shape in different institutions, requiring new kinds of research. Thus ogy itself to include was posed in another way, following the expansion of the notion of technol Oppenheimer,from different rather fact in information of question the and military- industrial knowledge complex of which it was a larger key part. But Foucault was the and bomb, atomic the Oppenheimer, Robert with as particular within working intellectuals” “specific toward Sartre Jean-Paul and Zola Émile as such writers “universalist” the of research belonged to a larger shift of the “function of intellectuals” from kind this thought Foucault “struggle.” or agitation further for toolbox a as Punish and Discipline like publications academic to leading journals, research small publishing up set to time manifestos, or the popes avant-garde without at operating groups,” attempt “transversal larger a of part (GIP), Prisons Infor on for mation Group the called 1970s, the in up set Foucault Michel project research- short-lived the is example One it? for have we do models What tutional questionofartasaprocessthinking. insti the then perhaps is That live? can art in thinking of process the which and outside of academies, universities, museums, and exhibition practices, in pertise, are there ways to encourage and reinvent those spaces at once inside ex artistic research-based for degrees special of issue the of) part as least at (or from Apartknowledge? of“disciplines” andinstitutions the of outside knowledge, instituted of outside art in thinking of process the envisaging of ways other then there Are teams. research momentary their and lysts” “curator-cata by orchestrated one, next the by supplanted “brainstorm” dispositifs , which themselves, in turn, were together regarded together were turn, in themselves, which , , cutting across different forms of knowledge, dispositifs of knowledge, of ------those who have no part,” in which the process of thinking in art lives and lives art in thinking of process the which in part,” no have who those rupting habit or consensus, opening the field, making room for the “part of dis acts, such through precisely then is It part.” no with those of “part the for room making possibilities, other of outside the to “field” its opening in its interrupt that emancipation” of “acts those advance in out rule completely can that institution no exists perhaps there education”), thetic “aes of so (and knowledge in or art in institutions emancipatory or free art. ing away from “academism” that runs through the entire history of modern break of history York—butlong New a in to especially back 1970s, going and 1960s the in shape took that fields”) “expanded its of (or art of ideas new the of “dis-identifications” the with groups—notably and acts new by a than rather field closed a ing form outside, precisely,no had, habits or practices such that maintaining Rancière took exception to the presumptions of this new “sociologist king,” part of a “field” to be shown through detailed sociological investigation. sociological detailed through shown be to “field” a of part underlying an of particularity the by governed fact in was universality aesthetic or republican as presented was what that show to tried he case, each in and museum, the and school the France, in institutions “public” great two on takingfocused had Bourdieu shape. was art” “contemporary War, when Cold the after 1990s, the of questions the into model Foucault’sresearch extend and adapt to attempt larger of part forming light, this Bourdieu’sin Pierre approach sociological It is instructive in this regard to look back at Jacques Rancière’s objection to academies ormuseums,toartisticcuratorialresearch? ing process? How, in particular, might it be extended to art institutions, like search experiment be adapted to the institutional question of art as a think the end lead to changes Foucault had hoped for. But how then might this re why the exchange—or new just was That inventions. new to leading and habits, institutional usual of new questionsmightcome—newdiagramsofthewaythingswork,outside which from experiences de-disciplinizing and spaces extra-disciplinary of added expertise or new discipline. On the contrary, it was about the creation an as function might research artistic “inter-disciplinarity”which liberal in nice a like all at not thus was exchange The them. call would Deleuze as ensembles,” institutions—“multi-linear different many in found practices, of workings the on focused domain, one no to belonged that questions larger formulating 13 More generally, he argued, while there in fact may exist no completely dispositifs of seeing and saying underlying many different many underlying saying and seeing of partage partage —remained “outside,” even if it didn’t in habitus , interrupted, especially in the arts, the in especially interrupted, , , tied up with class relations, class with up tied , habitus 12 ------

201 John Rajchman 202 Art as a Thinking Process cal dimension, no longer reducible to higher “cosmopolitan” sensibilities of ed knowledge or practice was thus added a new and territorial or geopoliti “national” public. To the questions of thinking or research outside institut a largely least, at practice in was, form would museums and schools that public “learned” or “enlightened” the and school; national a was Asia) in European artschool(adoptedaftertheMeijiReformationinvariousforms nineteenth-century the ways, many In modernities.” “other for search the along with attempts to undo the Eurocentrism of the story of modern art or between,” “in being “hybridity,”and “nomadism,” about arts the in talk to find it. At the same time, the shift of geography affects the larger fate larger the affects geography of shift the time, same the At it. find to vital to “thinking in art.” Even Rancière is obliged to constantly leave Paris discussion and forces new York,encounter New to or Paris or Moscow to went once one as one’sdreams, in or fact in go, can one which to city one Todayno eroded. is has there “periphery” the for experimentation such of outside the old modernist Euro-American avant-garde axis, the “centrality” etc) galleries, collecting, auction, in reflected (themselves wealth of zones new nationality.of any rise in the enclosed With yet not “people” illiterate opening onto new ways of seeing and other kinds of images, appealing to an with “minor languages,” foreign or untranslatable into any given language, instead working traditions), philosophical related (and publics literate or sumed a new sense of being outside the national “monolinguism” of learned as then art in thinking other.of the “illiteracy” to the one of question The then postwar Rio and Toyko, with Dada and then Fluxus ever moving from York,Moscow,New Berlin, also but “reterritorializaiton”—Paris, sionary thinking and cen tury) had nineteenth functioned as “laboratories the of deterrorialization” in of which artistic capital Paris, as (such cities particular ways the in rather found but public, national educated aesthetically or learned given a became something of a European invention. European a of something became itself “Asia” therefore, and, idea, new a became “Europe” when moment a time, same the at also, was it “globalization”; neoliberal of discourses and exhibitions for point takeoff the only not underway.was were 1989 erates “contemporary art,”anumberofchangesinthelargerfieldwhichitop But in the period in which he thus took up—and started to be taken up by— 1990s—a newkindofitinerant,intruding“amateur”withinit. the in shape taking was that art” “contemporary to relation in increasingly partage of notion this with Armed possible. become art” of “ideas and kinds new and its disruptions, Rancière would go on to put it into practice into it put to on go would Rancière disruptions, its and partage lived, of which the nation was only a violent or exclu 14 At the time there was much was there time the At ------8 7 6 5 4 3 2 1 to develop in and practice as in formulate theory—part of an better ongoing philosophical research. to trying still now am I that one is it case any In remains an important and unresolved question for art as a thinking process. this Perhaps field? global increasingly now a within poses it questions new the articulate better to so and it for provide to laboratories or networks up set we can How histories? modernist or modern of frame older the outside exchange, and connection of space de-territorialized, not if extra-national, of kind this for provide now institutions Can question: institutional an is it part In situation. this within place taking is research, of models and ing question of the process of thinking in art, its relation to institutions of learn The them. transported and supported that power imperial European the of Antiquity through a grand universal “learning-process” can survive the loss Greek from unfolding West the of story grand the of or models hermeneutic philological old the whether of questions rekindling collections, their museums as time same the at curricula their “globalize” to trying versities uni as education, “liberal” or “humanities” the in especially research, of

collectives, and institutions. See we see the role of Deleuze, film culture, taken up in artist research groups, In a current exhibition of new Indian artists, curated by Sandhini Poddar, (Minneapolis: Universityof MinnesotaPress,1989),215. Time-ImageThe 2: Cinema For a development of the theme “the people is missing,” seeSnell (NewHaven,CT: YaleGilles UniversityPress,1954). Deleuze, Friedrich Schiller, errun Press,1987),167. Antonin Artaud, nesota Press,1989),3,374. Schizophrenia Gilles Deleuze and Félix Guattari, University ofMinnesotaPress,2000),94. Gilles Deleuze, and 10below). 9 notes (see Bacon Francis of study his in painting, of also and cinema, Deleuze develops the idea of “thinking in art” in two critical studies, of 1&author=John+Rajchman. Art Contemporary Art,” forart.no/index.php?option=com_iarticles&Itemid=28&year=- International Contemporary within in Research “Thinking for Rajchman, John See , trans. Brian Massumi (Minneapolis: University of Min of University (Minneapolis: Massumi Brian trans. , Proust and Signs On the Aesthetic Education of Mankind Collected Writings , trans. Hugh TomlinsonHugh trans. , Galeta Robert and Being Plural Singular , trans. Richard Howard (Minneapolis: A Thousand Plateaus: Capitalism and , trans. Victor Corti (New York: Riv (New York: Gug , trans. Reginald http://www. , Institute - - - - -

203 John Rajchman 204 Art as a Thinking Process 15 14 13 12 11 10 9

1960s and1970sasamomentofdis-identificationseenote1. the Yorkin New in art of idea “contemporary” new a to turn the On Oster, AndrewParker(Durham:DukeUniversityPress,2003),197. Rancière, Jacques 2004). Virno, Paolo SHU Hung, Wu see Bing, Xu in “illiteracy” and art Chinese contemporary in SHU of questions the On Biennial. Paulo São the of part as Brazil in re-engaged being currently is essay this of end the at evoked Project” “Forest The 2008). Press, University Oxford Kong: Tuo(Hong Li and in Nourishment,” of Kind a as “Ignorance Francis Bacon in Edition,” French the to “Preface Cassin, Barbara and Badiou Alain Smith (London:Continuum,2003). of 1989,whenAsiaaswellEuropebecameanewidea. wake the in question into brought be would “research,” American and European of centuries several of gift poisoned a effect in state,” nation “the of idea The 2011). Press, University Harvard MA: (Cambridge, in essay title the esp. Hui, Wang See of Madness: Texts and Interviews 1975–1995 1987 gives a sense in why. “What filmmakers is the Act of to Creation?,” in lecture own Deleuze’s 2012). Publications, genheim Gilles Deleuze, Ames HodgesandMikeTaormina (LosAngeles:Semiotext(e),2006). (New York: ChinaInstituteCatalogue,2002). A Grammar of the Multitude the of Grammar A , vii. Francis Bacon: The Logic of Sensation The Philosopher and His Poor His and Philosopher The h Pltc o Iaiig Asia Imagining of Politics The Qishi Niandai Qishi (Los Angeles: Semiotext(e), Angeles: (Los , ed. David Lapoujade, trans. , trans. John Drury, Corrine , trans. Daniel W. , eds. Bei Dao Bei eds. , Two Regimes 205 John Rajchman 206 all ofhisknowledgethrough hisuseofkabbalahsand“Egyptian”magic! universe seemed to predatecon the theories of astronomers by 300 years. He got much so infinitean aboutnot ideas whose and 1600, in Rome inheresy for burned wasis however, magic, Remember the famous visionary Giordano Bruno, the DominicanRenaissance monk who the nectedthat to visual art (apart forget from the to lenses trick) as to tend the We beginnings of science. means, fixatesuchanimageonaglassplateorpaper. art through the advent of photography was the ability to, through chemical have some magic about does it. As Hockney lens rightly states, a the only new to aspect of thanks wall a on appear reality of representation full a see to indeed, And magic. in interested were days those during whom of many lenses. optical tool: The artists very often got these lenses from bishops in the Catholic Church, new a of results were fact in Renaissance European the during world the understanding and seeing were artists how in changes Secret Knowledge magisterial his in research visual of years describes Hockney David Artist I’m tryingtodescribe. of water, and see the shape seemingly change, we might get an idea of what glass a in stick a put we when occurs that phenomenon optical the about ing it from one mode to another. This might sound abstract, but if we think due totheveryimpossibilityoffullyrenderingachainthinking,mov the point is that these translations contain an element of misunderstanding, case, that In thinking? new developing and understanding of way creative and new a provokes which clusters, and materialities, methods, orders, of types different between thinking translating of operation very the maybe it Is visual”? the through “thinking about talk we when mean we do What Thinking Through (2001). In it, he proves through experiments how famous

- - 97 wih hw cery o se ut ltrly huh truh the through thought literally quite she how clearly shows which 1917, around from probably drawings/paintings, of series unfinished an is There are notrelevant. categories such Klint, af Hilma For painting. abstract to painting figurative from transition step-by-step analytical, an made Mondrian and Kandinsky difference. big a is there view my theosophy,in by but influenced were too they since Mondrian, Piet or WassilyKandinsky to compared is she times Some doing. were contemporaries her anything resemble don’t paintings large very often The amazing. paintings—are esoteric results—1,022 The enough tomakeherowndecisions. af Klint’s vocabulary, spiritsguidedherhand,untilshebecameexperienced saw.In actually she what paint to but something, imagined she how paint to not order in spirits, the to according humility, learn to years ten these inner secrets of world and nature. Her clear, mathematical mind would need the about knowledge given her depict carefully to and open-minded totally be to her encouraged which messages, receiving was artists/spiritists fellow group small her with along she 1906, in painting esoteric first her ceding pre years ten the in particular in but 1880s, the in Beginning unconscious. in how one can, by putting oneself into a trance, gain access to the spiritual faith complete a with medium, spiritist a been also not she had today her discussing be wouldn’tHowever, I observation. of powers precise and eye keen a showing painting, landscape and portraits in specialized today.She are they as common as not were artists women when time a at artist sional Hilma af Klint was born in Stockholm in 1862, and artist. was trained researching as a a profes for prototype of kind a as and case, test a as Klint af Therefore, I would like to use the Swedish artist and spiritistic medium Hilma G ertrud Sandqvist

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207 208 Thinking Through of receiving messages/noting results, but of af Klint’s growing capacity to capacity growing Klint’s af of but results, messages/noting receiving of her next series of occult paintings. This time, the paintings were not a result started Klint af until years, four approximately for pause a was there Then one outsideaverysmallcircleoffriends,calledthe Friday group. 1908”). Af Klint was also instructed not to show any of these Jan–Feb works to any WUS, Series 5, nr “Sjustjärnan, or 1907,” 8/10 2, IV,nr “group experiments carried out in a lab (numbers in different series, and dates, e.g. resembles which system, simple rather a to according listed was painting Every doing. was Klint af what basically is this 1910, and 1906 Between secrets of human destiny. The spirits will help her to carry out their message. High,” and to paint the origins of life, the structure of the universe, and the “the of service painter,the trained into sionally skill her put to asked is she profes transform a is she Since to possible. as instrument an tuned also finely as into herself and much, so doubt to not instructed is She painting. through universe the of secrets the reveal task—to future her for Klint af prepare to be to seems “voice” this from message main the 1906, Before 1930s, referstotheseevents,shesimplycallsthem“thevoice.” tions, while others were characters resembling angels. When she, in the mid reincarna various from persons present to seem these of Some spirits. of number a from messages received Klint af trance, in medium, a As séance. the was tool main her 1910, and 1896 between least at period, long a For knowledge. occult obtain to ways different several use to seems Klint Af we willfindthatitisjustascoherent. systems, other with par on understanding of kind specific a as knowledge that might seem alien to modern scientists or artists. But if we accept occult system knowledge a magic, or occult, were methods research her Bruno, of case the in As presented. paintings esoteric own her knowledge or message of kind what understand to tried Klint af Hilma that me to clear seems It reading asthereflective,writtenpartofhervisualresearch. fascinating providing travels, spiritual own her and paintings yet-executed not- for instructions include also and messages, spiritual all handwriting regular and clear very her in describe thousand, one than more are there didn’tand constructed, clearly.this saw she until continue which of diaries, esoteric Her is universe how in problem particular some of esoteric construction exact, the saw clearly she until waited have to seems She visual. - - - her occult paintings and the connected “diaries” or journals with no access no with journals or “diaries” connected the and paintings occult her developed she that means This recommendations. friends’ of spite in 1943, classic Blavatsky’s Helena read didn’t she that notes she diary her In journals. Swedish some from apart hardly theosophical, anything and literature, occult no almost contains library personal her but 1908, in Besant Annie leader theosophical the by lecture a to listened she Dr.followed She that wrote and Steiner’s1920s, the in Dornach in lectures Af Klint does not seem to have read much theosophical or occult literature. to decodeherownwork. continued she scientist, patiently,a and as slowly But quiet. keep to rather ceived a message re from The High, she instructing her not Sometimes her.to reveal to too much, but revealed was secret the until waited and tened, lis and watched she that meant which system, knowledge occult her use to continued She meant. symbol and sign every what of lists writing ings, Methodically,1908. and 1906 between made paint the decode to tried she and understand she works “mediumistic” the to particular in and work, began previous her analyze Klint af 1930s, the in particular in and Then, according totheanthroposophicalinstructions. techniques wet-in-wet in watercolors paint to working of way her changed she 1920, in Steiner Rudolf and Dornach to move her after But 1944. in death her until paintings occult for impulses receive to continued Klint Af something whichverymuchresemblestheDNAspiral). structure main a UW,as series has IX, instance group for 1, nr Dove, (The bols, partly with careful observation of structures necessary for creating life sym with partly us, of most for hidden reality a depict to seem and logic, seamlessly between abstract and figurative, shifting have a works, great inner The coherence and paintings. earlier,guided her in as technique, in ence quickly,as working was Klint differ af no that with created and been have paintings the way the in see can One X. Altar,group the for Pictures and occult paintings, belonging to the series SUW (The Swan), UW (The Dove), large fifty-five made Klint af 1915, December and 1914 October Between with littlegnomesconstantlyirritatingyou.” cult diary (or, rather, journal): “It is not easy to make a mediumistic portrait oc her in comments She clairvoyant. became she 1913, and 1910 between period the in Somewhere nature. of secrets mystic the understand and see ss Unveiled Isis until ------

209 Gertrud Sandqvist 210 Thinking Through sidered tobethemeaningofherwork. Klint’saf of reading careful con she what understand us help might diaries A obscure. remained has message Their world. the over all exhibitions in Since then, there Art. has always been of at least Museum one Hilma af County Klint painting Angeles being shown Los the at 1890–1980,” painting Abstract Art: in Spiritual “The exhibition the within audience larger a to Museet in Stockholm, was not yet ready. Only in 1985 was her work shown Moderna the of director the of shape in world, the 1969, In 1944. in died sumed that the world would not be mature enough to understand them. She work must not be shown until twenty-five esoteric years after her her that death, since decided she Klint as af Hilma that mention can I footnote a As scientist. modern the for prototype the is Bruno Giordano as ist/researcher I would say that Hilma af Klint is just as much a prototype for the visual art of theearlyabstractpainters. or Mondrian. Needless to say, she had no contact with or knowledge of any to the pictorial and theoretical sources that were so important to Kandinsky - - - 211 Gertrud Sandqvist 212 end in most European countries. European most in end an to non-dialogic come definitively and had education master-class of model pre-democratic, master-pupil romantic, introverted, the that very made clear surely but slowly framework gradual Bologna The the of Europe. in implementation education higher for reformulating and trajectory rethinking reconstructive a as ago Accords years twelve Bologna effect the into to came that pertains world art today’s One in challenge. challenges with the all of of most but change, and precariousness, crisis, with dealing of rhetoric an excess with is filled decade artistic current Our most of all be “research-based” and “context-responsive.” This renders renders This “context-responsive.” and “research-based” be all of most should then, art, Topical visual context. connect required or given a to adequately respond or can they if anywhere occur to able be to seem dio,” stu the “beyond going that, activities interdisciplinary and constructions artistic are discourse current the of core the At accentuated. longer no is and talent capacity, studio, creative of in creation, terms Thinking as such. production art upon reflection of process the in shift paradigm real a fies signi education art higher in Process Bologna the of implementation The projects. their contextualize and to present be able should artists today is that clear abundantly becomes What for competencies. all curatorial above and and communicative productions, experimental projects, interdisciplinary and collaborative studies, contextual studies, critical as in such program the components novel for now claimed is space autonomy—curricular of principle the of sake the for model former the in to clung were that aries practice—bound art of domain the and science, education, art between boundaries the of deconstruction the of Because behind. canon historical way for a course-based, modular program while leaving the dominant art- The Institutional Conscience of Art 1 The master-pupil model had to make make to had model master-pupil The

- - - Ma-Ness,” Certain “A project collaborative the for point starting important especially an as served art visual of academization the of signification and role The the Accords? with Bologna accordance in degrees PhD and MA academic issue to capacity and the skills research on to artistic focus having while function institution education art an does How art? fine for school graduate a of setup the in tion? And last but not least, what does the concept of artistic research mean transla of process a through production knowledge on focused chitecture ar academic an in accommodated be could that practice existing already companied by intense and heated debates. heated ac and intense decade, by pastcompanied the during questions many raised has itself in research Yet, research. of art artistic of artistic to concept the rise concept the given has visual context-sensitive and research-based on focus clear-cut a Such philosophy. and technology, history,biology,sciences, film, design, architecture, as such contexts of range a deploy to freedom the art of exclusion? of mechanism novel a creating non-research-based, versus art research-based practices? certain Could the dual pair marginalize of art versus not-art be by substituted the of opposition and/or exclude it does or include practices, research of novel rhetoric the Does produce? art visual of domain the had atitscorethefollowingthreequestions: Ma-Ness” Certain “A collaborations. of series a in successors as being into quent projects “Becoming Bologna” and “The Academy Strikes Back” came subse the Ma-Ness,” Certain “A to addition In projects. three in resulted ultimately which and 2008, in Design) and Art Visual of School Graduate 4 initiated by Sint-Lucas Academy Brussels and MaHKU (Utrecht 3 Or does a research discourse and its vocabulary point to an an to point vocabulary its and discourse research a does Or H 2 What form of research could could research of form What enk Slager

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213 214 The Institutional Conscience of Art 2. 1.

be understoodindifferent ways. to began media other those that such remediation, certain a of because media, art visual other that affect new did media new of rise the in but media, specialized actively becoming started artists of group small a extent with the earlier introduction of new media in art education: only some to compared be could that development a is This views. different remediate to possibility a as education art on perspectives various the between tension insoluble ultimately and constructive the considering lum not taking artistic research as a fundamental point of departure, but curricu a curriculum, an—agonistic—research-oriented developing for designed”; curriculum research-based a is “How education?”; art of demization aca the of because developed strategies didactic the of specificity the is “What were: Bologna” “Becoming during questions Central posium. Venice)of University (Iuav interventions research of series a sym a and of consisting VeniceBiennale 2009 the of event collateral a Bologna,” “Becoming project follow-up the in question leading the was That er? lectur the of role didactic the for mean Process Bologna the does What degree precisely becauseofitslackclearcriteriafordistinction. academic defined least the fact in is art fine in degree MA the Wilsonunderscores, That education. of level PhD and BA that believes, the to also sense certain a in but education, MA to applicable only not observed, rightly Wilson Mick as are, competencies critically Those were evaluated. questions, such with dealing for established been had which learning), independent and skills; communicative complexities; with dealing in considered well attitude; problem-solving environment; research a in cope to able (being descriptors Dublin so-called the dam) Amster Grond, Brakke De (VCH exhibition and conference Ma-Ness” Certain “A the During way? distinct and clear a in charted be tencies compe these Can education? art in student the for mean competencies research of terms in thinking and academization current the does What market interests.” market by driven increasingly world a in side after-imagesby structive side live decon their and model, academy,modernist old the the when moment asynchronic “An curriculum: academy art current the around situation the characterizing components agonistic the emphasized Birnbaum iel equately?” In his keynote lecture at the opening of the symposium, Dan 6 and “How could the research competencies be judged ad judged be competencies research the could “How and 7 It is precisely this situation that is most challenging most is that situation this precisely is It 8

5 ------Figure 1:Tiong Ang, 3.

of an invisible college. invisible an of issues dealing with meaning, engagement, and function in an adaptation and lectureseriesattheSanFranciscoArtInstitute(SFAI) encountering seminar graduate a Action,” and Thinking in Experiments Interest: of “Spheres her presented Green Renée context, that In thinking. artistic for sanctuary and environment research as school graduate the of tive Back” (Sint-Lukas Brussels) this question was tackled from the perspec Strikes Academy “The conference, concluding the During itself? emy acad art the for mean interaction didactic of forms novel the do What dents to imagine unfamiliar forms of perception and creation through creation and perception of forms unfamiliar imagine to dents As The Academy Turns 9 The goal of Green’s series was to provoke stu provoke to was Green’sseries of goal The , poster for Manifesta 8,2010. - - -

215 Henk Slager 216 The Institutional Conscience of Art textual studies and curatorial studies curatorial and studies textual con example presentation—for of forms novel both with experimenting logic interactions, a focus on public space, and a laboratory-type curriculum be tween artistic production and critical studies, a curriculum with chiefly dia connection clear a as such elements, educational challenging various emphasized conferences three these from emerging responses various The capitalism is the drawback of the Bologna Process. All that Adorno once Adorno that All Process. Bologna the of drawback the is capitalism cognitive a of sake the for format to propensity the that argue could One fect ofthelate-capitalistideology ofafreemarketsystem. ef formatting the from structure implicit their derive directly to seem tion significa of strategies One-dimensional industries. creative the of rhetoric opportunistic the and culture visual of iconography in drowning world a in freedom of experience fleeting remains—a now Research” Autonomous in the practice of many art academies. No more than a zone of “Temporary evaporated have to W.seems Theodor Adorno by forward put once as art of space autonomous critical the since devaluation, dramatic a notices also one education, art European of situation present the at looking Yet,when forms ofsmoothsocialspacesandpublicspheres. doing, contribute to the aesthetic imagination of multitudinous and pluralist so in and, dissensus of awareness by consensus of awareness an substitute practices counter-hegemonic these time, same the hegemony.At dominant any of questioning critical the urge contingent, is hegemony each that ness space by developing counter-hegemonic practices that, rooted in the aware communication continuously resists the political rhetoric of a striated public that involves intersecting and conflicting elements.” spheres public of diversity fragmented “a of speaks Mouffe this, with line Action Habermas’sJürgen in understood longer,as no is sphere public the that aware being as communication artistic of forms to points latter The Mouffe). (Chantal address” of forms “agonistic as tion Experiments in Thinking and Action” makes clear that artistic research artistic that clear makes Action” and Thinking in Experiments and historical creative production and conception. “Spheres of Interest: exposure to challenging ideas related to different forms of contemporary be abletothinkandcreatebeyondcorporatizedsocialnetworks. to order in others with networks and nodes, bases, it working effect: generates catalyzing a have can institution an within institution an as , a single entity, but rather is viewed today in a pluralistic sense. In sense. pluralistic a in today viewed is rather entity,but single a , 10 —and various forms of communica of forms various —and Theory of Communicative of Theory 11 Thus, a topical artistic ------ain oa”a rjc rnig aall o h Fiz At ar 2007— Fair Art Frieze the to parallel running project Today”—a cation Edu “Art discussion panel the During Berlin. in unitednationsplaza the at curators, 6 Manifesta the of Vidokle,one by realized was project academy that authorities, Manifesta 6 program was never local executed. Eventually, part of the the Manifesta of those with incompatible were Manifesta of temporary art academy project in Cyprus. Unfortunately, because the views a of primarily consisting biennial a planned Manifesta 2006 the addition, (M HKA) and the Van Abbemuseum in Eindhoven, the Netherlands. the Eindhoven, in Abbemuseum Van the and HKA) (M Art Contemporary for Museum Antwerp the of project “A.C.A.D.E.M.Y” the of concept curatorial the in found be can this of example obvious An practices. conceive an alternative modernity in the form of a deregulated multitude of to and art of differentiation the to rise give to able is that modernity of old exhibitions seem to view the academy as a relic, an odd space at the thresh These results? quantifiable any accommo withstand to able space is that reflection a a dating space, speculative a offer to able being as such tasks, or indirect consequence of how art academies have lost track of their initial direct the perhaps this Is curating.” in turn “educational an and academy” terized by a curatorial paradigm qualified by notions such as “the expanded charac are that organized been have exhibitions more and Recently,more academy.the of notion the of shifting or stretching unexpected an effected But by no means is this all that is in play. Established curatorial practice has ates them,andrevisesthem.” negoti them, contests them, with copes one if even access, of form any for prerequisite a remains them in inscribed principles ideological the of ment acknowledg fundamental a parameters, these to surrender or submission imply necessarily not does acceptance Though system. this of parameters the accepted implicitly or explicitly either have you supervision, evaluative and checks accountability of system power-knowledge academic the enter will be erased. For example, Tom Holert argues, “The problem is, once you education of model reflective and process-based a noncon in belief the and both formity process, this of development the in that, afraid are People quantifiability. and efficiency, standardization, including terminology a in production knowledge artistic of rhetoric current the with extent some to connected intrinsically be to seem credits), study exchangeable (inter nationally ECTS so-called the of form the in example for quality, of fication quanti a and reason instrumental an including against, warned seriously 12 13 In ------

217 Henk Slager 218 The Institutional Conscience of Art comes, impact, and constant monitoring. monitoring. constant and impact, comes, out protocols: knowledge of demands pragmatic endless the to cede not research”—do “practice-based than adequate more believes she scription knowledge” of practices “creative that more once emphasized Rogoff symposium, Back” Strikes Academy “The During aspirations. of set another and terms of set another for marketability and outcomes, able quantifi professionalization, assessment, transfer,knowledge knowledge swap vocabulary—to our change to need we that aspiration, complex this what we don’t know yet know how may to know.” we how regarding question a is academy the Rather, Europe. in sceptics Bologna fearful the for one encouraging an hardly is education higher British overtaking culture result-oriented increasingly and tization bureaucra extreme the of specter the Certainly lost. be will education of a model for outcome-bound less and possibility reflective and processional, more individuality longer-term, all that is process this ex about repeatedly is pressed that fear “The development: this of fear companying ac the and education in reason technocratic of rise a the as of academy consequence the of concept the on focus the views also Rogoff Rogoff. Irit theorist British the by development this on published been has Much of experimentalacademiesthatattempttoofferspacespossibility. models and include the concepts of education and participation in the form that desire, they develop exhibitions demanding attention for more effective stressing In art. to given was once that sovereignty eighteenth-century the have to want still curators and today,artists space both public of function the on consensus of end the of spite society.Yet,in on impact an have to art for difficult increasingly it makes That time. leisure their in masses the for entertainment of role the adopted have to seems art time, same the At that the traditional art audience has disappeared over the last two centuries. work her in demonstrated has particular in Rosler Martha artist American the that argued Vidokle citizenship. of sense conscious a to and awareness social critical, a to contribute to day,had our have in exhibitions also thus and onward, point that century.From eighteenth the in revolution French the of time the at formulated was exhibition public the of paradigm The the in is art oftransformationwithregardtothespectatorandpublic. process visual of role the how to related is turn educational current the him, to According project. academy Manifesta the Vidokleon reported 14 It is here, in the aim of accessing of accessing aim in the It is here, 15 a de —a ------about, Charles Esche says, Esche Charles about, brought be could situation experimental an Such experience? and size ever encouraging new energies and questions in a group of participants of what and channeling for situations establish we could How process. creative the tion where constructive impulses could then occur, giving an indirect shift in situa laboratory-type experimental, an least at generate could we ertheless education machine seems to be specifically focused on knowledge produc knowledge on focused specifically be to seems machine education now—certainly since Walter Gropius—that art cannot be taught, Weplace. take productions by cultural know and discussions urgent where spaces speculative as laboratories, experimental as particularly themselves manifest should they that implies development this academies art the For search autonomy. re temporary or committed as autonomy of concept hackneyed somewhat the of rethink a enabling thought differential of form a for space claiming in result could contrary,this the on fear; criticasters conservative some as embedding, homogenizing a to view,all my at In lead to need not does this education. art of framework institutional the within belongs: it where to academy the about discussion the relocate will reconsideration a Such tion. educa art of specificity the of reconsideration a necessitates also this tion, curricular, module-basedmodel mustbeintroducedinEuropeanarteduca in art education—could ultimately have a positive and restraining effect. If a Bologna system (BA-MA) above-mentioned Bachelor-Master the of the introduction the instrumentalization, framework—or such of light the In rtzto o te CS bookkeeping. ECTS the of cratization bureau system—the control quantifying a by substituted entirely be will it professor,that the indeed of is position danger monopoly new feudal the the of arbitrariness qualitative and disciplinary the ends model new this of introduction the that true is it although But model. university the of ture the capacity to critically have assess any adoption whatsoever of the inherently curricular struc will perspectives these by characterized academy An - - - the followingthreeparameters:

ferences betweenitsvariousmedia,disciplines,and discourses. dif hierarchic establishing from refrains academy the Anti-hierarchic: artistic andnon-artisticenvironments. its both with dialogue open an maintains academy the Anti-isolation: Anti-specialism: theacademyresistsspecializationanddisciplining. 17 if the art academy environment could navigate could environment academy art the if 18 t h sm tm, h university the time, same the At 16 but nev ------

219 Henk Slager 220 The Institutional Conscience of Art and realized.” and fashioned is art such which in world the constitute that relations metrical asym unruly,unpredictable, the with artist individual the radi of practices experimental, cal the reconciling in lies schools art for see I task “The magazine the of special academy the In should nowarticulatetheircoretaskanew. academies art rules, Bologna the by enforced education academic art of ing rethink and reconsideration the to Due industry. creative the of rhetoric homogenizing the and enthusiasm neoliberal of because that, of sight ing los to Apparently,close academies. were art academies of art projects tion exhibi all by illustrated been has states, academy,rightly Rogoff as which, art the of task core the is thinking of freedom for space a of creation The artistic productive thought. of process a to room giving situation laboratory the of freedom open the toward directed is academy the above, mentioned as while, tion, for many European art academies. These programs present artists with an with artists present programs These academies. art European many for models inspiring and constructive are Academy Art Malmö the and Arts Fine of Academy Finnish the by example, for offered, programs doctoral the context, that In role. pioneering prominent a plays Scandinavia search, re of form groundbreaking a such of realization and development the In independent oftherhetoricsocioeconomicrelevance. an authentic research that comes about through an artistic necessity entirely be will this short, in commodification; knowledge and system market free late-capitalist the by dictated issues by swayed not research of form a be order.scientific will established This the of models formatted the by led be toral research like “Temporary Autonomous Research” without any need to say,doc to in is that Accords: Bologna the with cycle”—connected “third research—the PhD the in believe, I lies, development that for prospect One sentation willbegeneratedinthenextdecade. pre and reflection, production, to regard with processes innovative where field cultural the in location only the be to going soon is space, thinking” “freedom-of- the incorporating reformulation curricular its of account on strategies foranumberof years. and motives artistic their reconsider can they where sanctuary intellectual 19 From this perspective, it seems likely that the art academy,art the that likely seems it perspective, this From frieze , Okwui Enwezor argues that: argues Enwezor Okwui , ------of the conscience of the art academy as an institution. issues of the changing paradigms of art education, but also to fulfill the role persistent the navigate to able be only not research PhD artistic that tance 4 3 2 1 consciousness basedonacommittedautonomy. critical and thinking visual of forms different and novel supply to is, that academy focus on the reformulation and actualization of its original task— the homogenizing rhetoric of the creative industries, it seems urgent that the and neoliberalism of animation the of because core main its lose to seems field of visual art and culture. Specifically in our day, when the art academy also be aware of its responsibility regarding the various forces at play in the 5 Academy Turns”symposium, Academy the “As the During discussions. PhD-related all in specifically stressed be as a maxim for the art academy in itself. That component, therefore, should search, the doctoral research environment seems to be able to function anew a novel, experimental sanctuary for pure, temporary autonomous artistic re offering In practices. artistic their to intrinsic issues and questions on years mostly mid-career artists get the opportunity to participating, concentrate for the a number of since practice, artistic and education art to regard with impulse quality a be to appears program doctoral a such of result net The

ypsu (Te cdm Srks ak” itLks rses June Brussels, Sint-Lukas Back,” Strikes Academy (“The symposium and Venice,exhibition of concluding University a Iuav and 2009); June VeniceBiennale, the to event collateral Bologna,” (“Becoming meeting expert an and interventions research of series a 2008); March Grond, Brakke De VCC Ma-Ness,” Certain (“A Amsterdam in symposium a and exhibition an parts: three of consisted project collaborative This (2009), http://www.e-flux.com/journal/view/40. Polis,” Knowledge-based the in Tom“Art Holert, Lier enBoog,2004). in published are discussion, the of port re a with along others, and Maharaj, Sarat Hannula, Mika Sandqvist, tookplace in Amsterdam Research” in “Artistic 2003. to The contributionsdevoted conferences European first of Jan the Kaila, of Gertrud One in HigherArtisticEducation publication This development was charted for the first time by Ute Meta Bauer in the Mick Wilson, “Uncertain Ma-Ness,” “Uncertain Wilson, Mick Artistic Research 2010). Reports on the projects are published in Education, Information, Entertainment: New Approaches New Entertainment: Information, Education, , no.5(Summer2008):8–9. 20 it came to light that it is of utmost impor utmost of is it that light to came it (Vienna: EditionSelene,2001). MaHKUzine: Journal of Artistic of Journal MaHKUzine: Artistic Research Artistic MaHKUzine: Journal of 21 e-flux journal e-flux Art education must (Amsterdam: , no. 3 no. , - - -

221 Henk Slager 222 The Institutional Conscience of Art 16 15 14 13 12 11 10 9 8 7 6

“Practicing Research/Singularising Knowledge,” Research/Singularising “Practicing Rogoff, Irit knowledge. a-signifying becomes knowledge which by es In Rogoff’s view, creative practices could be better described as process lika Nollertetal.(FrankfurtamMain:RevolverVerlag, 2006),9. Potentiality,”in as “Academy Rogoff, Irit vember 26,2006). 16–No (September Netherlands Eindhoven, Abbemuseum, Van um,” Muse the from “A.C.A.D.E.M.Y.:Learning 2006). 28, 15–November “Academy: Learning from Art,” M HKA, Antwerp, Belgium (September MaHKUzine: JournalofArtisticResearch Tom Holert, “Looking for Agency in the Knowledge-based Institution,” 2007). Methods and Contexts Ideas, of Journal A search: Spaces,” Agonistic and Activism “Artistic Mouffe, Chantal frame works. economic and political, social, cultural, of conditions current artistic production relates, and is influenced by ideologies, histories, and which to contexts various the of analyses and investigations on focuses sinki, I developed the program unit “Contextual Studies.” This program Hel in Art Fine of Academy Finnish the of Program Doctoral the For MaHKUzine: Journal of Humor,”Artistic Research of Sense College/Reason’s Invisible the “Hail Green, Renée plines anddomains. disci artistic other redefine and remediate 1990s—will the in art media of role the to art—similarly research-based in interest current the that 7th (catalogue, Practices” “Research-based Shanghai Biennale,“Translocalmotion,” 2008),Idefendthehypothesis essay curatorial my In Artistic Research Experimentation,” of “Sites Birnbaum, Daniel search-based (learninginresearchmode:inquiry-based). (3)Teachingand methods); research re research: be do can to (learning Teaching(2) research); others’ about (learning research-oriented be can Teaching(1) distinguished: are strategies clear three research-led be can research Alan Jenkins and Mick Healey, Research r School Art TeachWaldvogel,One One,” Florian “Each of ArtisticResearch (York: The Higher Education Academy, 2005). In the report, the In Academy,2005). Education Higher (York:The , no.5(Summer2008):33–40. Atm 20) 2–7 http://manifesta.org/manifesta-6/. 21–27, 2006): (Autumn , no.8(Winter 2009):7–11. , no.9(Summer2010):41. Institutional strategies to link teaching and , no. 9 (Summer 2010): 16–24. , no.8(Winter 2010):41. A.C.A.D.E.M.Y Manifesta 6: Notes for an for Notes 6: Manifesta MaHKUzine: Journal of Journal MaHKUzine: MaHKUzine: Journal MaHKUzine: 1, no. 2 (Summer 2 no. 1, , eds. Ange eds. , Art & Re & Art ------20 19 18 17 21

hre Ece “nld M Ot Peaig rit t Ud te Art the Undo to Artists Preparing Out: Me “Include Esche, Charles of ArtisticResearch See also James Elkins, “What Do Artists Know?” (2010): 17–18. Tutelage,” under “Knowledge Slager, Henk See implied. is education research-based of form a while involved students the of capacities contextualizing the and thought of process artistic the for constructive be to out turns Day) Jeremiah and Kopelman Irene by projects research MaHKU the as (such projects research advanced ing students/MA students, could work as a catalyst in this context. Discuss searcher in training), in which the researchers yearly teach advanced BA (re AIO the of model academic Dutch The above. mentioned ronment envi research the to made be can contribution natural a that education art of structure the to way a such in relate should projects their and ers research The itself. in goal a be never can research artistic Conducting MaHKUzine: JournalofArtisticResearch in published is Holert, Tom and Bartus,Tuomas Magnus Nevanlinna, HitoSteyerl, SaratMaharaj, Marquard Smith,Kaila,Jan Denise Ziegler, Leiderstam,contributionMattsJacobi,theprojectFransentire(withof institutionalresearch.educationTheandtoto links strategies their and researchers, Tiong Ang’s soap opera, and a three-day symposium devoted It consisted of a series of research statements of twelve European doctoral Manifesta 8, Cendeac, Murcia, Spain (October 9, 2010–January 9, 2011). The project “As the Academy Turns” was as a collaborative 2006): 142. project part of Thought,” of “Schools Enwezor, Okwui Journal ofAesthetics Supplementality,”“On Lesage, Dieter feudalism.” demic that Bologna’s ‘academic capitalism’ is better than Europe’s former aca say can one then nation-state, the than better is Empire that say could Press University Harvard by published bestseller communist worldwide capitalism was that better than feudalism, if Antonio Negri and Michael Hardt in their say could Marx Karl “If states: rightly Lesage Dieter 2010), (Brussels, Back” Strikes Academy “The conference the During sels: Sint-LukasBooks,2011),85–94. in logue,” Henry Madoff (Cambridge MA: MIT Press, 2009), 105. See also, “Epi in World,” Agonistic Academies Agonistic Art School (Propositions for the 21st Century) 21st the for (Propositions School Art , no.8(Winter 2010):27–30. , no.9(Summer2010):26. , eds. Jan Cools and Henk Slager (Brus Slager Henk and Cools Jan eds. , , no.10(Summer2011). frieze n. 0 (September 101 no. , MaHKUzine: Journal erpls M Metropolis MaHKUzine: , ed. Steven ed. , n. 3 no. , ------

223 Henk Slager 224 tary occupation. I copy-pasted a JPEG image from a blog that is called “oc are obviously other meanings to the term, for example the meaning of mili there but occupation, of meaning first the is this that say can we Somehow in manycases,presentsanenditself. process. So that is one meaning of occupation: occupation is something that, never-endingpotentially a as seen is it that or it, to attached remuneration mean that one is going to get paid at the end of the day, or that there is any it just in order to be do distracted, or to keep oneself busy.can It one does not necessarily meaning gratification, own its contains think people many sarily have a conclusion. Most importantly, an occupation is something that something that does not necessarily hinge on any result, that does not neces not is doing it for its one own sake. Whereas day—but occupation is different; the occupation is of end the at product a has one that such something doing it for its own sake; either one is doing it to earn a wage or to produce ferent things. Work is an instrumental relationship, meaning that one is not actually it is not trivial at all, since work and occupation are completely dif This seems like a very tiny and totally trivial shift of vocabulary, but I think the official language, and now they are talking about “occupation” instead. from disappeared have “employment” and “work,” “labor,” words The words “employment”or“labor,” itinsteadwritestheword“occupation.” pean Union has changed its language so that every time it wants to write the quote This simply acknowledged Collective.” something very simple, Workersnamely the fact that the Euro “Carrot the itself calls that group a by thinking about this when I found a tiny quote, actually a footnote, in a text ferent meaning of the word. Why occupation? It is not so obvious. I started In my view, an art academy, at the moment, is a site of occupation, in a dif Art as Occupation: What Happens to Knowledge? to

------the culturalworkplace. in accepted quite also is remuneration no requires it that and gratification becomes a quite popular occupational scheme, and the idea that it provides It countries. affluent rather many in art of practice the of aspect, one only and aspect, one is This distracted. and busy people keeping gratification, offer itself in to assumed as well as endless, potentially and unpaid usually also is it that and process-based, is occupation an as art that say could we If we combine that with the meaning that we have already established, then been largely has supplemented by object these occupational as forms of form the former its work of in art. art of work traditional The knowledge. of production a or research, of form a process, a performance, activity,a an as appear to tends now before, artwork an was which product, a or object, an as exclusively less or more materialize to used what because cupation, an the to then happens What arise. complications additional context this in work, of instead tion occupa of speaking start we If art? of context the in mean this does What tion, andthequellingofautonomypeoplewhoarebeingoccupied. neutraliza stranglehold, a also expansion—but expansion—spatial times, many is, objective the and occupied, the to occupier the from imposed is extreme power relations. So military occupation is of course something that sovereignty,”to “3-D referring calling been have people other and I which developed, being is space complex very architecture—a complicated very a constructing to relates sense, military its in occupation, that fact the to fers re it case, know.any really In don’t away—we it taking or ground the on is a very mysterious activity, in which a helicopter is either dropping a house it showing: actually is it what idea no have I and cupation.blogspot.com,” art of occupation of art ? I think that yes, it does partly transform into an oc an into transform partly does it yes, that think I ? work of art of work ? Is it going to be an be to going it Is ? H ito Steyerl occupation of art of occupation

or - - - -

225 226 Art as Occupation on empty, and, on the other hand, there is an architecture of occupation occupation of architecture an is there hand, other the on and, empty, on running of sort is which occupation, artistic much too is there cases many In results. paradoxical very It about bringing flow, exclusion. and access total managing and is inclusion incomplete both means it both, means occupation Since stuck. basically and starved, deserted, undermined, over-controlled, excluded, out, hollowed being of checks, bureaucratic less become end quickly to subjected and deprived being of very sense the in occupation of can site a occupation—it of aspect subjected military be more quickly the very to also can academy art the endless. hand, potentially other is the On which and busy, itself keeps that process a duces pro essentially which on), so and administrators, teachers, (students, in it one involved is the who on everybody for scheme education, educational Art an as works education. hand, art to comes it to relate when way other paradoxical each very a in fact in that but opposition, in ingly seem are that meanings two generates occupation an as art see to Thus, Netherlands, andmanyotherplaces. tion but also to the art sector as a whole, as is now evidenced in the UK, the educa art to only not apply which “occupation,” of meanings additional also are These funds. slashing and access barring and off cutting on forces, ing them, but also predicated on keeping out certain people, on withholding tecture of occupation is not only bent on keeping people busy while not pay archi the that means Which exclusion. and inclusion simultaneous of and segregation of territory a is that occupation of space complex a of creation the of meaning the meaning, military listed—the I’ve everything to pation” And once we get to guards we can also apply the second meaning of “occu guards. cases many in as well as mediators, creates also It processes themselves. such in often involved often are who as well educators—people as more relationships, and engagements, knowledge, creates It works. than rather processes creates which occupations, own its and creating longer, longer take to tends whole a as education And space. in-between of sort some is it so education, of a place still is it and work, of a site yet not is It buffering. indefinite of zone a is academy art the Well downloading. is data when sites, video other YouTubeand on “buffering” saying sage mes Youthat artists. remember for zone purgatory,buffer cupational a oc of sort a in are post-graduate people where programs more post-post-graduate even and and more are there because picture, the into comes and is this the art where academy to art partly education, applies also This ------gardes, has by now been trampled under, but by capital interests—and from avant- by attacked violently so was which life, and art between border the and aestheticization, widespread to subjected is Life territories. more and more invading is phenomenon this and art, within dissolving quickly is life around: way other the actually is it now but life, in art dissolve to trying were century twentieth the of avant-gardes The autonomy. artistic called been has formally what of boundaries the transgressing by lives invading starts and activity of zones traditional its of out spills that something is Art well. as lives whole invade to tends it that activity,meaning occupational bullet points. Art is not only a site of occupation, but also in many cases an as present to going am I that paper my in passage short one is there Now of ayoungfemale,asmetaphorforthecontemporary fateoftheintern. mous novel Justine, which gave me the idea that one could read the Marquis de Sade’s fa to sustain her own occupation. Another girl I found on Google was nammed andexcludes theinside simultaneously. resultaAs shehasworkto order in neration,excluded frompayment, space stuckthataincludes in outsidethe remu from excluded is she hand other the on constantly—and work to has labor—sheinside is she hand one the On pane. glass a behind up locked is voluntary or involuntary,be may and this whichis also detention,echoed by to the confinement,feeling that andshe really internment to refers also it interestingsincevery is “intern,”it termtivity. the about think you if Also, smile, trying to put on to a friendly face, and tryingtrying to produce her own side, subjec other the toward communicate to ways for looking panel, glass the behind stuck is really she that architecture,occupationalmeaning this of structure the represents me for really situation heartbreaking This ;-) I’manewintern.” “Hello reads: that it to stuck sign a with pane, glass thick a behind counter a at sitting girl smiling unhappily an shows that picture a is get you what “intern,” Google you if and interns, have will you go you Wherever ects. any other venture related to art, such as galleries, museums, or artistic proj to apply does but education art to much that apply not may which intern, the of figure the is It about. talking am I everything of examples prime the Let’s look at another example. It is courtesy of Google Images, and is one of education andartproduction. art for need we infrastructure the down shut completely to manages that Justine, or the Misfortunes of Virtue , about the total degradation - - - -

227 Hito Steyerl 228 Art as Occupation go intoindetail,becauseall oftheotheronesaresortobvious. really will I example only the is This practices. art to connected is that ing raising rent and so on. So, on that level, occupation has a very spatial mean thus area, that into moving artists by start, will gentrification estate-based real- the gentrified—then aesthetically is area an happens—when process in order to make photos that they try to sell as coffee-table books. Once that try to keep them off-limits. But then artists slowly try to invade the buildings that companies security by occupied uses, new to open not empty,are and left are buildings initially because occupation, spatial to connected really is it cases those in and areas, certain of gentrification the for tool a is art lived in larger cities are familiar with. Especially in Berlin, it is obvious that have who us of many that something to relates question last this course Of ------or another ofthesequestions,oractuallytoallthem. one to “yes” be will answer the that is guess my and art, by occupied been has one whether check to one for checklist quick a is following The themselves, notmeans. in ends as understood all activities, and occupations, professions, of sion such) hascollapsedwithinsenselessmultitaskingandthefusionconfu as labor of division the and labor domestic/productive art/non-art, leisure, the side of art, not from the side of life. The division of spheres of life (labor/

cated intothatdilapidatedbuildingnextdoor? relo were paintbrushes with kids few a because doubled rent your Has Is conceptualartfromyourregionprivatizedbypredatorybanks? funding aone-offartshow? Do you live in a city that redirects a huge chunk of its cultural budget to Is laborinthisfieldunpaid? able barriers? with insurmount behind hidden being and impoverished, off, contrary cut slashed, drawn, the on production) its (and art to access is Or, your by designed feel you iPhone? do or designed, been feelings your Have ed todothisanyone/anythingelse? Have you been beautified, improved, or upgraded, or have you attempt Are youonconstantauto-display? Do youwakeupfeelinglikeamultiple? Does artpossessyouintheformofendlessself-performance? ------knowledge. Thengotowork.Thereisnotimelose.Doitnow. have sex, for Heaven’s sake, rather than engaging in a boring production of exchange and encounter. If activities there are going to be free anyway, then with it Tofill box. black the cube, white gallery,the the To occupy yours. mension—to appropriate it, to inhabit it, to take back what has always been academy.art the occupy to is di meaning Toany in sense, any in it occupy This years). and months recent during times many happened has it because myself, with up come have I that something not (definitely “occupation” be only one answer can to this question, which relates to the third meaning of the word there said, I all After occupation. of state a as education art of state current the about talking been have I now until that think I cause be be?,” academy art an should “What question the to to return now I’ll - -

229 Hito Steyerl 230 than its ability to perceive and be perceived, something like a proneness to proneness a like something perceived, be and perceive to ability its than more nothing by defined scale, the of degree particular this that chance by bile” aftertheintensity—the degree—ofitsrelationtothesensible.Itisnot “sensi named is note a sound, of world the of orders musical possible the of one within position specific A one’sbehalf. on own perceiving turn in is what recognizing of act the in existence, own its with endowed sound this perceives listener listener.The the of perception the to itself offers turn, in degree, sensitive tonality,exponentially the this to name its gives that note the perceive to Able “sensible.” word French the in slightly only varying “sensibile,” as defined was degree the that Zarlino Gioseffo theorist composer and musical Italian the of vernacular century sixteenth the in theless term for this degree clearly carries the idea of a “leading toward,” it is none that is, when at such a distance as to gesture toward the tonic. If the English semitone, a of distance the at when tone” “leading called is it degree, a of distance the at found when subtonic Named scale. the of degree damental rather,fun or first, tonic, the the to respect with position particular a in is it when name changes seventh, the degree, This piece. a of modulations the as well as tonality fundamental the as known is system, tonal the within which, that perceptible renders that scale musical the in present is degree A —Carlo Pisacane Ideas springfromdeedsandnottheotherwayaround. —Luca Turin Perfume isthemostportableformofintelligence. A Technical —Jean Dupuy Sleep bringscounsel.Isleep,thereforethink. Ef orescence 1 3 2

- - - the spaces designated to the teaching of music have, at different moments, different at have, music of teaching the to designated spaces the ogy and comparison, it is enough to note here that while art academies and in recent years. Without touching, in the brief space of this text, on chronol and at different latitudes, but without doubt, has been much more frequent moments different at occurred has universities into arts visual the of entry for.The out watch should we that us, teaches tradition geneaological able to their organizing canons, it is primarily these transformations, as a respect least paradigmatic leaps. When we at decide to pay attention to the institutions epistemological, and not when reflect, organization and place-names the transmission of techniques and knowledge. The transformations of their to designated spaces with ourselves endowed have we now time some For of thewidespreadperceptionthiserroneouspriority. demonstration the but nothing is art of work the to respect with aprioristic rial discourse that, like an unnecessary falsetto, seems both superfluous and curato a against lament follow.recent fact, relatively in The which, preceding but it, of boast that formulations theoretical to relation in seemingly support, theoretical after chases that doing a and doing the by divided ing sensible comes into being is it possible the to exit which from the with dead end modalities of the a reason embrace to able reflection a of level the on Only place. a find must debate contemporary the animating questions the precisely with the subject nor does it precisely coincide with the object—that the which sensible—in work the of the artist locates of itself as in an production imaginal space that neither of coincides space the to relation in is It logical existenceoftheworld. seventh degree of the scale borrows the term used to name the phenomeno perception, bears the name it does. Temporal figure of the sensible itself, the C hiara Vecchiarelli

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231 232 A Technical Eforescence Levinas’s tion of these limits, from the fraying of the borders of the face of Emmanuel the limits it is itself running against. Reflections concerning the indetermina at beckons turn, in which, thought limit—a the of thought a within cussed dis being itself found century,rapidly twentieth has the of course the over the banners of nineteenth century idealism, the subject, which has vacillated behind out standing of point the era—to modern times—the recent tively rela in itself reinforced Having it. exceeds which that and thought tween be relationship the as inflected variously been has what involves and focal been long has that debate a thought accompanies process artistic very ofdemonstrates—this nature specific less or more the or research artistic of significance precise the prog concerning in self-interrogation frequent is the knowledge ress—as to arts the of relationship aware an to return a If giving itself. with terms is thought the that tasks the among are out, itself plays relationship understanding this which and art, to thought of legitimacy the and thought to art Returning itself. reason to antithetical as consider to come paradoxically has thought speculative which doing, of manner a dividuate in to come also has it but time, over technique of sense this lost gradually purely any from However,knowledge. speculative only not has art as intend today we what as well as articulation, methodical of skill any without tion, all the while different from mere work, consigned to its own fulfillment knowledge technical veritable a as Ethics, Nicomachean the of book sixth the in BCE, Latin the from translation of the term techne, which derives Aristotle defined in the fourth century today use in “art” term the that known well is It relationship betweenartandthought. idea of simple contact, as a beckoning toward a renewed articulation of the halls of knowledge the within arts the of position regained This studies. of degree highest the at even taught subject a becoming system, university the in breach a made have arts visual the culture,” high of “institutions orders—of and guages lan different to according inflected title—variously the earned increasingly Cage’s poetics—in a different area which nonetheless had great impact on impact great had nonetheless which area different a Cage’spoetics—in problem. the visual arts of the sixties—are nothing but various inflections of a mutual Totalité et infini , or rather, as a knowledge reasoned and ordered toward produc par excellence , 4 to the idea of indeterminacy brought forward in must first of all be understood, beyond the ------subject and object suddenly blur.”suddenly object and subject subject nor its nature, but rather, precisely, the existence of a space in which every feeling and every act of thought does not demonstrate the truth of the these to thanks is it reality.If psychic, letter,the (to toward projected is it as inasmuch subject the expresses Viceversa,it leap. ontological an for not the from passage the hindering subject, the in infiltrated objecthood of sliver a is intention An species. intentional by threatened “are writes, Coccia trilemma,” Cartesian the of substance the and truth “The species. intentional of thought the regains sensible the yet, entered not has it conscience the and afterlife an individuates it which of body the both from independent reality own its with Gifted subject. the of theory a to itself reduce not does that knowledge of theory a of conceive words—to author’s the possible—in it makes that object, the and subject the to respect other,with is it as insofar precisely is It subject. the of side this on and object the beyond simultaneously reality,itself own holding its individuate to depth ontological the lacking subject the within event an be to ceases sensible the perspective, new this From fashion. other or metical arith visual, their in media by carried they images—be through this does and so become must It sensible. the already always not is real The degrees. different to just partakes, animal every which in sensible the of production the with itself identifies it as inasmuch privilege, human a not is that living central to life—which, upon closer inspection, he proposes as living itself; a enon, a technique of production of the sensible, that the author proposes as Rather than a thought on the phenomenon, it is a technique of the phenom absolute. an as inflects it that facticity a as of think to itself pushes it which object, the namely correlated, the toward accent the shifts realism once again in response to the phenomenological project—of which this new is it thought, in absolute an thinking of possibility the restoring at aimed jects has recently been spreading, taking the name of speculative realism and ob toward oriented itself declares that philosophy a if hand, other the On longer ofsensation,but thesensibleonsensationitself. possible—paraphrasing Maurice Merleau-Ponty—to think of a primacy, no text has been named as a “phenomenotechnique” in Emanuele Coccia’s brilliant give and which, instead, has recently been conceived of in the terms of what to able is images of consideration the that contribution the precisely is ect, proj phenomenological the to response in lacking, is approach recent this La vitasensibile . 6 7 In this new light, it therefore becomes therefore it light, new this In aimed species cogito at) the object and external, not external, and object the at) that we can feel and think, and feel can we that to the to sum res cogitans res sum 5 What , if , - - - -

233 Chiara Vecchiarelli 234 A Technical Eforescence to find a way to force the word ‘cypress’ with its nominal value, to become to value, nominal its with ‘cypress’ word the force to way a find to have will I […]. verb a is other,it the on thing; a of name the is ‘cypress’ what ‘I’ may be at the instant is for me an unknown. On the one hand, then, me; for exists that object the is cypress the place, taking cypress—is the ing act—see my Naturally,while […]. themselves executing being, occurring, things, but rather all things—men, things, situations—inasmuch as they are from distinct as another,people from nor,less, distinct even as person this a thing, of a situation. In the words of Ortega y Gasset, “‘I’ means, then, not “I,” but a certain form of “I” that can be said to be in me, be it of a man, of present indicativethatOrtegayGassetreferstoisnotmyintactandclosed the of person first The desiring. own my of tenor differntial the identifies person.” There first is an executant reality in the my desire, an inner movement that by expressed one the is meaning obvious and first the which “in Gasset, y Ortega writes verbs,” of class whole a reality.”is ecutant “There frhr tp ln te ah t su, ece u fo te eeza re Deleuzian the from us reaches issue, at path the along step further a A further indication of an experience that is placed beyond the subject, and autonomous fromtheact of perception. that notonlyisderivativewithrespecttothought itself,butthatisalso the terms of the discourse by relocating the sensible dimension to a position of the technique that allows them to be, that makes it possible to reorganize thought of the specific nature of images, and in this, essentially, the thought literature does not belong to the sensible—on the contrary. It is however the Villa’sMoreno J. say onEsthetics”takestheformofaprefaceandhas aliterarycomponent, ironic inversion the of the terms in suggested by Coccia. resolved It is not yet by accident that not the “Es couplings—is physical/psychic and outside inside/ the between correspondence the phenomenon— from emancipated already the though of thought the asthetics, philospher’s Spanish the In coincides withwhatcanbecalleditsperformativecharacter. and substance the exceeds that being of way a indicates Gasset y Ortega in everything of mood verbal The verb.” a of that assuming erupt, and active by Way of a Preface” belong. Esthetics on “Essay text brief his as such writings which to period a during Gasset y Ortega José by developed perception—was of act the of pendent inde level ontological an worlds—at closed own their beyond existing of a of mode of being acknowledgment that individuates the the manner in toward which things and step people have a developed Gasset y Ortega José El pasajero El 8 , rather than an image as its subject. Not that Not subject. its as image an than rather , Here, the author writes about the “I” as “ex - - - - - to be affected by them.” possible are but sensible, sensibile vita art),” and words fashion, and dreams mention to enough is (it spiritual as list we that phenomena the of part large “A sensified. been having first without live cannot sensible the that life a sensible: the of life psychic the as read is articulation, an such of light in itself, Thought spirit. become yet not have that bodies own their beyond forms linger; a micro-ontology—can like something with endowed beings image—those the that this in is It Thus, a sort of technical efflorescence is generated within this medial space. thought.” be also must who another me, in thinks always another that means which I, the in fracture that by only leave and butes of a thinking substance, the Ideas which derive from imperatives enter the in attri or properties Consequently,the unconscious exercise. being transcendent from far that thinks and unconscious, an of basis the on only to what is stated by the banal propositions of consciousness, thought thinks pure the think not would particular in and think, not thinking. “For the I has the rights of an unconscious without which own it would my in itself thinks question I what me—that fissured and fractured a dissolved from that which, when questioned, speaks through it. It is already in the is Deleuze, in question, the asks that “I” The proceed. problems which, toward and which, from direction the concerning flection the resultofamedialcontiguity.” of contact and of continuity ( relationship the from born is which that being, living any for is experience, of form every knowledge, of act every fact, In reality,image. sensible into technique that allows for the transformation of the world into phenomenon, the objects or natural organs or artificial reality—represent a sort of natural “the And sensible. of production constant the in intent us characterized by its own ability is to “not be that media which it is able of to receive.” space the empty, Ontologically itself. exert can memory, roic where a supplement of being, something like an additional potency of Aver that as considers instead Coccia that space medial the articulates other the an existence of problems on this side of conscience, neither one position nor Deleuzian the and subject, the of side this on and object the beyond found space a at hints Gasset y Ortega by sensed reality the If be reduced to a proposition of conscience or a representation of knowledge. idea the can nor hypothesis, the of abstraction from proceed not does lem reads, “not only “not reads, 11 It is thus a technique of phenomenon, which sees only continuatio presuppose thanks to the ability to produce images and images produce to ability the to thanks 12 ) with this intermediary space, it is some form of relation with the with relation of form some 9 For Deleuze, the prob the Deleuze, For cogitanda Je fêlé Je media . Contrary . appeals to appeals Je fêlé —be they —be —in La 10 - - -

235 Chiara Vecchiarelli 236 A Technical Eforescence on the relationship between technical activity and creation and activity technical between relationship the on the 1958 text on the way of being of technical things. technical of being of way the on text 1958 the ies on individuation that would become dear to Deleuze, but particularly of stud the of only not author Simondon, Gilbert of accidentally,teacher the Canguilhem—not George of reflections the of light in knowledge technical diffused a of idea the read to wish we if creation, toward oriented are say could we that enitities closed any of world the of fraying a like Something 8 7 6 5 4 3 2 1 consequence. rather,but act, the its in is itself exhaust not does potency which in genesis backward a of way by versa, vice not and knowledge of sake the for create We us. preexist not does that path modifying—a creating—by in consists action true as insofar produce, to itself in enough be can knowledge retical However,results. very its with fuels point, certain a at conscience, theo no as nothing but the product of a universal effort of organization that human understood be therefore will machine the life, by supported organs the and real. If it is impossible to the draw the dividing line of between primitive machines perception the from ends unsatisfied the of part the on freedom at attempt an experience—identifies reflected the in science of correlative the constitutes art as just perception, of correlative the constitutes experience, technique within a philosophy of creation. Technique—which, in precritical situating of project his described Canguilhem 1938, 26, February on louse

1975), 133–44. For the original language passage seeArt Joséand Orteganomenology y Gasset, Gasset,“Essayy EstheticsonOrtega José Wayby Preface,”aof in Ibid., 25. Emanuele Coccia, Alain Badiou. contingence Meillassoux, Quentin See Martinus Nijhoff,1961). Levinas, Emmanuel Dupuy, July8,2012. Jean penso.” quindi Dormo, consiglio. porta sonno “Il Italian the See 267. 24, (June Pisacane” in 1857), Carlo di politico “Testamento Pisacane, Carlo 262. Luca Turin and Tania Sanchez, ago ul Rivoluzione sulla Saggio Prs Éiin d Sul 20) n te re peae by preface brief the and 2006) Seuil, du Éditions (Paris: La vitasensibile , trans. Peter W.York:Petertrans.(NewSilverW. W., Norton, oaié t nn: sa sr l’extériorité sur essai infini: et Totalité

Après la finitude: Essai sur la nécessité de la de nécessité la sur Essai finitude: la Après Perfumes (Bologna: IlMulino,2011). Blga Lbei Tee, 1894), Treves, Libreria (Bologna: (London: Profile Books, 2009), 13 In an intervention an In 14 , held in Touin held , L Haye: (La Phe - - - - 14 13 12 11 10 9

ils Deleuze, Gilles Ortega yGasset in prólogo,” de manera a estética de “Ensayo série, 1938),81–86. tion et discussions in creation,” et technique “Activité Canguilhem, Georges Aubier, 1989[1958]). Simondon, Gilbert Ibid., 77. Ibid., 18. Coccia, Universitaires deFrance,2003[1968]),256. guage passage see Gilles Deleuze, York: Columbia University Press, 1994), 199–200. For the original lan La vitasensibile (Madrid:RevistadeOccidente,1964),247–60. ifrne n Repetition and Difference (Toulouse: Société Toulousaine de Philosophie, 2ième u oe ’xsec ds bes techniques objets des d’existence mode Du , 63. Différence et répétition tas Pu Pto (New Patton Paul trans. , Obras completas de José de completas Obras (Paris: Presses Communica (Paris: - -

237 Chiara Vecchiarelli 238 The questions of art and education have been prominent on the agendas of a A. advancement. Lullabies and alibis in sweet harmonious collegial laceration. and inaction of corridors the through hum that songs the are These tion.” “organiza of song unheeded great a as out lilts that singing self-important melancholic of kind a issues air,man sea-wet fat salty small the the in gent Indul sighs. breathy half-heard in again off trail to loudly,only then and seeming volatile, his voice wanders, now intense and and now sullen, little first faintly a number.Stammering our among man cranky small a is There glinting whereCaesarsonceshone. wear words down to shine as old coins that mirror us, glamored at our own round about and back: We wash away the fretful, true gods of stone racing, and sound and out, washing hard, blowing in, gushing sea-words sibilant at merely finding some tired grains of salted dust about our edges. We speak stones to sand, and then retreating once more to claim an ocean’s innocence breaking wetness, of grind daily recurrent tidal shoreline: dreary same the over receded and advanced conversation the that often is it and holding, stake and partnership in here assembled have we that often is It existence. into wonder and insight and novelty negotiate and steward to project ing ongo our of details the self-importantly and ponderously announce papers We are the board of a graduate school somewhere. We have our papers. The arts. the of practices the through research of conduct the to “governance” good give to is job Our times. many met have we where table the around nounces goodwill and affability to all gathered. We are variously assembled The papers are circulated. The meeting begins. The friendly jocular man an 1. We Board, Arethe

There Shall be Pronouncements on the Nature of Things of Nature the on Pronouncements be Shall There Gathered Have We but What Is an an Is What but Assemblage?

- - - - - art and its immanent educational praxes: What can or what should an art an should what or can What praxes: educational immanent its and art of specificity the of question the with faced are we backdrop this Against culture downtotheevisceratedtermsofvisibility, publicity, andcelebrity. public reducing of favor in meaning political complex any of “public-ness” of evacuation concomitant the of and “commonsense”; of discourse the as neoliberalism of logic irresistible seemingly the of register; positivist and ist reduction ofpolicydiscoursestoasingledominanteconomicinstrumental cultural workers, and of activists against these restructuring agendas; of the ous counter-hegemonic mobilizations of the disenfranchised, of students, of the state in terms of its engagement with culture and education; of the vari of restructuring the of space larger the into us bring They universities. in politics of the art academies, independent art schools, and art faculties with they bring us very quickly beyond the internal dynamics and self-referential are indicative of a moment of recalibration in the terms of art conjunctions education, but These platforms. education autonomous experimental other institutions of various “freeschools,” counter-“school-as-exhibition” platforms, and the within and education higher of apparatus formal the within art fair;andinthepresenceofsameartistscuratorssimultaneously establishment of a private art school within the orbit of of pages the on arts the in award doctorate the and process Bologna the on debate a of emergence the in apparent is issues these of interweaving complex The citizenries. engaged and culture, political life, public of deficits perceived the to reference with practices art recent in turn discursive the rework to is a global debate as evidenced by the wide distribution of projects that seek publications, and conferences across Europe for the last decade. Indeed, this great many art practices, exhibitions, platforms, research projects, networks, e-flux journal e-flux ; in the emergence of a discussion about the possible the about discussion a of emergence the in ; M ick Wilson Frieze

magazine and - - -

239 240 We Are the Board, but What Is an Assemblage? correspondence with Harm and Retribution where we were instructed to instructed were we where Retribution and Harm with correspondence a in culminated process recruitment The process. interview the administer to each half-day a gave people Three interviews. conduct may staff these that allow so and ‘certification’ achieve to order in Retribution and Harm days were spent as two members of staff attended a one-day workshop with The protocol beingthatwhichapplies).” ‘secret’ new the protocol: redundant half-day’sa is it done—that was work that later—after learn to only followed had we which protocol outdated the Retribution: and Harm by published previously one the from differed that recruitment staff research governing protocol new a to access seeking spent time (including Retribution and Harm with correspondence the and teria, the clearance and approval of the shortlist, the associated paperwork, received, the short-listing, the clearance and approval of the shortlisting cri applications of review the paperwork, associated the personnel, interview the of approval and clearance the personnel, interview the criteria, terview in the of approval and clearance the criteria, interview interview,the the generation: therequisitioningform,roledescription,advertisement, utilized the resources of seven person-work-days: There was the paperwork process this that estimate We period. administration and reporting this of administering this process we have been without an administrator for much as accusations intones man cranky small The a dangerousmanbecauseheknowstheropes.Heunbindsusfromthem. is He outside. unseen surfaces with contact make and boundaries our ceed ex to manifest, to exhibit, to orchestrate, to communicate, to organize, to done: be not should that things do to us enabled so and administration the of witlessness the outwitted often has wit his because time possible longest the for here him hold to administrator.wish Weas especially trator’s time adminis the extend to necessary administering of processes the ourselves administered Wehave days. ninety approximately by contract a extend to necessary process recruitment the concluded just have We,assemblage, the 2. art andnotbytheprioritiesofsomeothersystemorpractice? of requirements the by determined be to is it if like be education art should to the extrinsic protocols of a disciplinary apparatus? In simpler terms, what education be if it is to be attuned to the intrinsic modalities of art as opposed

Kafka, Kafka, ie memoire aide mon aidemémoire amoureux noe frhr h ltn o te and “w work “Two damned: the of litany the further intones aide memoires aide : “Because of “Because : - - - - cation of artists within the Westerninvested the degree within some artists to of nexus—are cation art edu the in engaged us of those mean I instance this in degree—“we”—and some in that seems it that is this, all in remarkable most perhaps is What performances of“self,”“oppositionality,” and“radicalalterity.” repetitious tediously by marked meetings extended absurdly some mention to not apparatus, school art the of operations day-to-day the in tensions not to mention their institutional logic. This makes for some pretty difficult mission institutional their about skeptical deeply are who but schools art the and academies the from pay their take who educators art professional of number great a for axiom an much pretty encounter.is that This of out arise that dialogue and judgement of processes the from also perhaps and others of artworks the with encounter the from good some derive may art of makers the that condition simple the for save technique formulated or strained or facilitated by any organizational practice, curricular innovation, con be cannot possibility of conditions its even and taught, be cannot Art art. of moment unrepresentable essentially the with whatsoever contact no makes that self-reproduction self-regarding to whole doomed is this debate of that tangle and apparatus; or rhetoric, technique, any by world the into out drawn be cannot it that and being; human the of propensity ent inher an is art that claim the education—is art drive not should or should what to questions—as these to response and challenge boldest the Perhaps B. perienced inourwork. ex been have delays and interruptions some reasons related and these For administration.” of lot a it with brings work external this And post. this of the external work that provides the income stream that covers the extension on working spent time the to addition in is course of this “All tale. the of twist final one resist cannot man cranky However,small details. the the of detailing this at irritation an indicates assembly the in man cranky Another made exquisitelyclear—therewouldbenoextensionofthepost.” was much this otherwise—and post the of extension the cover to funds of very first forms we had to complete demanded that we articulate the source sence of funds was not an acceptable rationale. This confuses us because the ab that instructed were we moment, joyous this epiphany,in this in And contract. the of renewal term longer a creating not for rationale the give From That From

On The Contrary Sir, I Think You’ll Find That In Fact It’s Very Different Different Very It’s Fact In That Find You’ll Think I Sir, Contrary The On - - - - -

241 Mick Wilson 242 We Are the Board, but What Is an Assemblage? tradiction enters the narrative as the question of public subsidy for art and art for subsidy public of question the as narrative the enters tradiction con of layer further a yet point, this At opportunities. career stage early of often the generation of yet other artists competing in the crowded economy is work paid-for this of outcome The do. to most wants one that work the of affect in play when one wants to be paid for work but cannot get paid for flows and impulses contradictory the avow to painful, even perhaps ficult, the artist’s discourse later in a teaching career as it becomes increasingly dif career.from education subside art to their tends of thematic stages this But a recurrent thematic of the informal discourses of arts educators in the early existing dispensationswithintheartsystem.Thepragmatics ofsurvivalare the by under-resourced or un-resourced is that an practice a resource pursue to to serving artist evil necessary a as seen many for is role teaching and self-mandated exploitation in over-production,pursuit of opportunity labor,and advancement. The precarious structures, career artist markets, art production, art of economy political the of context the in considered is artist-teacher the when view into comes contradiction of layer further A erential treatment of some with an attendant chronic lack of care for others. and clientelist reduction of students to petitioners, and prejudicial and pref disempowerment responsibilities’ of evasion unfairness, egregious produce the for liency sa profound and coming-to-voice, liberation, of experiences engender that students and teachers between encounters transformative various generates education art whereby practices learning and teaching existing actually of pragmatics the by provided is contradiction of edifice this of layer Another contradictions repeatedly. layer of contradictoriness in an edifice that knots contradictions upon other liberal democratic rhetorics, and humanist credos. This yields just one more culture, consumer in elaborated “individual” atomized the of construct cal ideologi the with consonant utterly is capital) of culture commodity the of critical ostensibly (while that manner a in occurs typically This individual. profound knotting of the art thing with the educational prioritization of the the doing of modality vide metaphorical templates for the elaboration of a “personal” practice—a the thing doing of modes exemplary to access providing about is it Rather content. or rhetoric, technique, something teaching essence—about its as not—in is that artists of education the see We proposition. this of part in . These exemplars are not to be imitated and reproduced, but they pro individuals art thing art involved. But the very same conditions also often also conditions same very the But involved. specific to the given individual. There is a is There individual. given the to specific art ------of ourselvesnecessarily, butofmanyourcolleagues. tant dimension of these images—they are the images that we work with, not (I hazard) recognize several colleagues. And perhaps this is the more impor educator who reads these lines, and does not recognize herself in them, will art The school. art the of worlds operational the of experience lived the of something view into brings it that sense the in “useful” is This apparatus. tion ofabad-consciousnessthatinhabitsgreatdeal ofthearteducational clichés. I am proposing that these constitute a quick, but useful, approxima mere than more are images these that accept we that propose to like would objective truthfulness for the images mobilized in the previous paragraphs, I an claim than rather further,and contradictions these itemize than Rather C. length.” at and deeply ponder indeed, other more, ponder every may we with that so knot imponderable a in up all it tie should we and forward, business company. “We shouldhaveameetingafterthistotakeserious giddy the into generously beams smile his calm, and still So becalmed. ters wa all rendering and serene man—marooning a of whaler white today—a seashore the around mist the plying is who man avuncular warm the is It dendum to the matter at hand deferred for say, perhaps, ninety days or so?” ad an as these take could we perhaps but course, of be implications resource will There judgements? some produce then and criteria some identify could we Perhaps restructuring? about conversation the in place taking is tire reorganization of the sector? What if we consider the restructuring that en the of contingencies the to plan resource future the attach we if What “Perhaps we should take the whole matter as a matter of strategic priorities? scenario withaprovisionalmodelofexpenditures. our imminent collapse? Someone should draft a discussion document and a should we have begun the process of extending ourselves beyond the date of ago years many administrator’show the role, of extension 90-day a istrate We, the assemblage, have before us a question. If it takes 180 days to admin 3. action andinterventioninthefieldofculture. state about ambivalence of drama whole the with view into shuffles artists

Images, Thinking and Unthinking and Thinking Images, So What ShallWe DoNext? ------

243 Mick Wilson 244 We Are the Board, but What Is an Assemblage? tan o pltcl ednis“aia fmns, “h rdcl wing,” radical “the feminism,” tendencies—“radical political of strains purer the or formations extreme the designate to use nomenclature political in rich a has term The something. of source underlying or nature mary pri more the “essential,” or “root” the to pertains “radical” qualifier The ity vis-à-visotherwaysofdoing,making,andbeing intheworld. alter constitutive own its prioritizes art cy—alter-aesthetic.Contemporary partial reversal and partial a is—in contemporary,art production, and experience of modalities other anywhere that they may be found. In its art and everywhere alterities pursues art contemporaneity its In art. temporary con of constitution the within inscribed doubly is that theme a then is It by whatever means necessary, it is a heartlessly unrelenting romantic theme. the of pursuit the In scales. intermediate all on and historical world the of register the on and undertaking cultural individual an of register the on play can that theme a is It same. the of der or global reproduced endlessly the from redemption and rescue for hope and dissent, the appeal of the alternative and the counter-dominant, and the contemporaneity. It is of a theme discourses that gathers philosophical to itself and the promise cultural of divergence related genealogically the within of function the to analogous is modernity of discourses sophical able to hazard that the function of function the that hazard to able reason seems It mobilization. alterglobal to theorization altermodern from theory,queer to and democracies, radical to publics counter agonistic from tual and cultural work. It has emerged in many guises from identity politics discourses, the theme of anthropological and psychoanalytical of “others” great the to reason, and ture. From the litera and philosophy,art, in and criticism and theory cultural in century of theme The D. and makeadamngoodgoofit.Andwearemanagingjustfine. renew and review to ourselves assembled have We climates. wetter yet to rands erred themselves away, floating off distractedly on eddies and currents er different to each have man warm smiling and man cranky Small times. The months have passed and the waters have washed in and out a few more 4.

We Are Completely Different, You and I and You Different, Completely Are We Myth Maketo Witless Managed Has Board The alterity alterity has played greatly in the late decades of the twentieth the of decades late the in greatly played has of artistic and philosophical discourses, of experience alterity détournement has had a rich and varied career in intellec novelty of modernity’s anti-aesthetic lega sui generis sui liness within the cultural and philo and cultural the within , in its contradistinction to as an end-in-itself, and end-in-itself, an as alterity ------sleight of hand that makes of one’sof it makes depriving that bloodless, hand something of target sleight rhetorical the avoid to and reduction toward polemic of pull the resist to attempt to therefore important mastery.be rhetorical will seeking It in and ultimately misrecognize one’s target in the very act of polemicizing against it having in risk such a target. The risk a is that one may caricature, reduce, misrepresent, inevitably and is there and polemic this for target a is There E. family a love, romance. feel We times. many met have we where table the around nounces goodwill and affability to all gathered. We are variously assembled The papers are circulated. The meeting begins. The friendly jocular man an 5. this kindofparadoxicaltension. way in which art is posited as a moment the of that radical be alterity may activates precisely It tension. semantic this of mindful here, used is alterity” othernesses that persist beyond the rule of any self-same. The term “radical and differences of mulitiplicity the to attending the in logo-) ethno-, (ego-, and given sameness but rather understood as a displacement of any centrism with the sense not of a singular field of difference centered on some primary alterity,and pure, more and primary more as understood radical, between tension semantic potential a primary,course more of is There forth. so and positive valuation in the sense of the more essential, the more authentic, the the beyond merely other. lies Of course radicality has that a broad semantic field and otherness connotes a of kind other profoundly kind—a of ence differ a becomes and degree in difference simple a exceeds that otherness of mode that as read be also may it hand, other the on but, otherness, degree of greater a hand, one the on as, alterity radical of think might One translation ormetaphoricalincorporationintothetermsofdominant. to block profound a up sets that way a in so does It metrics. and lexicons dominant available the within thematization resists which that and terms dominant’s the within comprehended be cannot which that is alterity ical mensurable.” In Lyotard’s lexicon one would speak of the “ “incom epistemology—the and science of philosophy of lexicon the in or otherness an conjure to which with term a is alterity” “Radical organization. “grassroots” or radicals” “cultural as such notions in cation appli cultural broader a has democracy,”also “radical It “radicalist.” and

A Polemic withMyTwo Faces An Assemblage IsaDisassembly: AnAvowal IsaDisavowal differend. in extremis in ” Rad - - - - -

245 Mick Wilson 246 We Are the Board, but What Is an Assemblage? fine withandwithoutyou. around the table where we have met many times. And we are managing just nounces goodwill and affability to all gathered. We are variously assembled The papers are circulated. The meeting begins. The friendly jocular man an 5. habitat elsewhere.” native its into out escape and through leak might art that where institution this in gaps few a open keep merely will we and elsewhere, specificity own overhaul the institution, because we already accept that art will persist in its or revolutionize to attempting without can we best as cope and institution the in here affairs of state unhappy this with do “Wemake elsewhere: will instituted already anyway as art of persistence the to appeal an of means the legitimizing of compliance with the contemporary institutional order by is it faces its of other the order.In cultural and/or political, social, tional, institu contemporary the to respect with and alterity radical of art forms as ofartist specificity irreducible the for argument the is target its this of faces one In target. Janus-like twin-faced a is polemic my for target The of theattempt. own judgement as to the success or failure and as to the sincerity or cynicism blow.single her a make landing to without have life will real reader of The

An Avowal IsaDisavowal: AnAssemblage IsaDisassembly - - 247 Mick Wilson 248 M U C J rently sheis mented in the e docu (2008–12), Venice” in Artists International for Program Residency Enclosures: “Art curated and developed Veniceshe 52nd and the Biennale, at Pavilion Slovene the of curator the was she 2007 In 2012. to 2008 from and asco-curatorofd video, and sound, serving as the Artistic Director of the 3rd Berlin Biennale film, art, contemporary on presentations and exhibitions of publisher and Cambridge. For more than twenty-five years, Bauer has worked as a curator Hong KongBaptistUniversity, HongKong. at VisualArts of Academy the of Director and Art Fine of Professor Chair currently is He (2000–10). program that of director also was and London, College University at Art Fine of School Slade the at Chair Slade the held Biographies School Chelsea the at studied He Belfast. in born artist, an is Aiken ohn te Meta Bauer is Dean of Fine Art at the Royal College of Art, London, arol Becker is a professor of the arts and Dean of Columbia University ara Ambrožicˇ is an independent curator, cultural producer, and lecturer. School of the Arts. Prior to this appointment she was Dean of Faculty She graduated from the Iuav University of Venice, where she taught she Venice,where of University Iuav the from graduated She and professor at the MIT Program for Art, Culture, and Technology,and Culture, Art, for Program MIT the at professor and of Art, London, and at the British School at Rome. Until recently he recently Until Rome. at School British the at and London, Art, of avisitinglectureratSciencesPoinParis. ponymous ocumenta 11 book published by Marsilio Editore in 2012. C . ur - -

F P M J SCEPSI—European SchoolforSocialImagination. munication at the Accademia di Belle Arti in Milan, and he is the founder of in the field of schizoanalysis. Currently he teaches the social history of com Guattari Félix with worked he where Paris, to fled he before 1970s, the ing dur Italy in Autonomia of movement political the in involved was He 78). of staff the of Nauman: werk among others, has published extensively about contemporary art and architecture, including, lumbiaUniversity, adjointandan professor NewYorkat University/IFA. He Co at and Union Cooper at Weimar.professor in visiting University was He ed as the Walter Gropius Professor for History of Architecture at the Bauhaus the Iuav University of Venice until 2008. From 1999 to 2003, he was appoint tion Anxiety and Gender, ( Institutions, Art, on Essays Contention: of Zones including stitute of Chicago. She is the author of numerous articles and several books, In Art the of School the at Affairs Academic for VicePresident Senior and is represented by Ellen de Bruijne Projects, Amsterdam, and Arcade, London. entlypursuing doctoratehis Amsterdam withVU MaHKU andUtrecht. He pres is Day Rijksakademie. the attend to 2003 in Holland to moving until 1996), eremiah Day graduated from the art department of the University of of University the of department art the from graduated Day eremiah ranco “

aolo Garbolino graduated from the University of Pisa and from Brown ( (1991); (1991); 2008) ro e ihls s h drco o te noi Rti onain in Foundation Ratti Antonio the of director the is Michelis De arco activist. He founded the magazine Como.He was the founding dean of the Faculty of Arts and Design at University. He is a professor of philosophy of science at the Iuav Iuav the at science of philosophy of professor a is He University. California at Los Angeles in 1997 and lived and worked in Los Angeles and, as editor, Topological Gardens Topological The Invisible Drama: Women and the Anxiety of Change Bifo” . Bauhaus 1919–1933 Radio Alice, the Alice, Radio Heinrich Tessenow, Berardi is a contemporary writer, media theorist, and media- Thinking in Place: Art, Action, and Cultural Produc (2009). first free pirate radio station in Italy (1976– Italy in station radio pirate free first (1996); (1996); 1876–1950: Das architektonische Gesamt A/traverso Sol LeWitt: (1975–81) and was part Wall (2004), and and (2004), (1 Bruce 990 ), ------

249 250 M M L J A Modern: HowCreativeMindsChangedSociety tions inandthroughthePracticesofContemporaryArt Real the of lications include pub latest His (2007–12). Gothenburg of University the at research artistic ( anthologies the to lead has perience ex art the of nature the into research Her Chicago. of Institute Art the of Neuropsychologia Her research has been published by totalitarian art and aesthetics, postmodern and post-socialist art, aesthetics art, post-socialist and postmodern aesthetics, and art totalitarian and Asia. 1980s he has functioned as an artist and lecturer in Europe, the U the SinceEuropean(EARN).ArtisticResearchNetwork the offounder the reasoning. probabilistic computer-aided in interested is he particular in law, and and history, science, in reasoning evidential of study the and evidence is area of research His of Bologna. University the and of Ferrara, Superiore University the Pisa, Normale Scuola the at taught has He Venice. of University 2004), v rf i Poesr f eteis t h Uiest o Lulaa His Ljubljana. of University the at Aesthetics of Professor is Kreft ev n al i poesr f ritc eerh t h Fnih cdm of Academy Finnish the at Research Artistic of professor is Kaila an

of University Foscari Ca’ the at researcher senior Jacomuzzi, lessandra ika Hannula is a writer, lecturer, curator, and critic. He was the Director and sculpture of professor a as well as curator a is Jacob Jane ary of the Academy of Fine Arts in Helsinki(2000–05)inprofessorArts andFinefor Academy of the of Executive Executive Director of Exhibitions and Exhibition Studies at the School Venice, has a PhD in Visual Perception from the University of Trieste. research areas are: historical avant-garde, struggles on the artistic left, Fine Arts in Helsinki. Together with Henk Slager and others, Kaila was Learning Mind: Experience into Art into Experience Mind: Learning (2011) and Tell It Like It Is: Contemporary Photography and the Lure , Cognitive Processing Politics, Identity and Public Space: C Space: Public and Identity Politics, Phenomenology and Cognitive Sciences uda id n otmoay Art Contemporary in Mind Buddha , and Perception ( 2009), ( 2012) and . (2009). . Chicago Makes Chicago ritical Reflec ritical nited States - - - , ,

P H C S S mental processesandcreativityhislatestbookis the about is research Milano,His Princetonandothers. University,among Venice. University oftheArts. Biennial 2010. Hongjohn Lin is currently a professor at the Taipei National 52nd Venice Biennale 2007, co-curated with Tirdad Zolghadr for the Taipei Hewas the curator of the exhibition “Atopia” of the Taiwan Pavilion the at (2004).Taipei Biennale the and (2008), Manchester Triennialin Asian the (2008), Festival Film Rotterdam the as such exhibitions international in ed Fellow attheJanVan EyckAkademie,Maastricht(1999–2001). Research and (2001–02) Berlin University, Humboldt at Faculty, losophy Phi Professor, Arnheim Rudolf was He Sweden. Academies, the Art Malmö and University Lund Systems, Knowledge & Art Visual of Professor lege bedded ArtPractices ša Jan Janez and Janša, Janez Janša, pitulation in “Avant-Garde,Progress,” lished and Retro-Garde pub recently He culture. of sociology and sport, of philosophy sport, of , London—where he is now Visiting Research Professor—he is currently i Legrenzi aolo arat Maharaj was born and educated in South Africa during the apartheid uzana Milevska is an art theorist and curator with degrees in Art History writer,artist, New an from is graduated Lin who ongjohn curator and partner a is She books. artists’ of editor and curator a is Lauf ornelia has in Three Star Books, Paris, and she teaches at the Iuav University of University Iuav the at teaches she and Paris, Books, Star Three in York University with a P a with University York years. Once Professor of History & Theory of Art at Goldsmiths C from St. Cyrill and Methodius University of Skopje and in Philosophy (2009) and “ and (2009) previously t a s

(2010). aught rfso a C’ ocr Uiest o Vnc, a Venice, of University Foscari Ca’ at professor The Name as Readymade: An Interview with Janez with Interview An Readymade: as Name The at the Iuav University of Venice, Università Statale hD in Arts and Humanities. He has participat has He Humanities. and Arts in ,”

in Byproduct: On the Excess of Em of Excess the On Byproduct: Laibach Kunst: Reca Kunst: Laibach Neuromania (2011). ol nd ------

251 252 H S J Methodius history and theory of art at the Faculty of Fine Arts, University Balkans the in Difference Gender published and London, of University College, Goldsmiths gerin is a contributing editor for Collège de International and Philosophie, Cooper Union, among others. He University,Princeton M at taught previously University.has lumbia He temporary collectionoftheFutureMuseumMemorialinGuadaloupe. London, Paris, Tokyo, and Johannesburg). H to traveling (2004–07, Düsseldorf Palast, Kunst Museum Continent,” a of at the 52nd Venice Biennale (2007); and “Africa Remix: Contemporary Art Pavilion African first the Pop,” “Luanda 2007); and (2001 Bamako phie,” numerous curated exhibitions, including “Les has Rencontres Africaines He de la Photogra (Saint-Denis). réunionnaise l’unité de et civilisation la de Musée the (Lyon,of Confluences and des France) Musée the of boards tific scien the of member a is and Collection, Dokolo Sindika the to adviser an v and “Sogni/Dreams” (Fondazione Sandretto Re Rebaudengo, Turin).A Open, (Antwerpen “Laboratorium” London); Gallery, (Hayward V” Move the on “Cities are projects his Walser. Robert ofMuseum Some m for curator the Migrateurs ongoing project of interviews. Since 1993 he has been in chargeGallery in London. Obrist is the author of of the program such as magazines in 1980s late the since essays many published has She Prague. in University European Central from Architecture and Art of History and isiting professor at the ohn Rajchman is an adjunct professor and Director of Modern Art M essayist. and novelist, lecturer,critic, independent art an is Njami imon n Urc Ors i crety oDrco o Ehbtos and Exhibitions of Co-Director currently is Obrist Ulrich ans , Programs in the Department of Art History and Archaeology at Co at Archaeology and History Art of Department the in Programs He is the cofounder and chief editor of editor chief and cofounder the is He rgams n Drco o Itrainl rjcs t h Serpentine the International at Projects of Director Programmes and ls Art Flash Kinopis at the M U niversity ofSkopje. , , Kulturen zhivot useum in progress in useum Afterimage usée U d niversity of California, San Diego. ’ art moderneartVillela de Paris, de beenhasheand Artforum , Curare

, Golemoto staklo , Vienna, since 1993 and of the Migratory i n 2010. From 2010 From 2010. n and , and is on the board of The Interview Project Blesok e is currently building the con Revue Noire Revue S . , Siksi e od a h from PhD a holds he

to 2012 she taught she 2012 to , Index h magazine, and magazine, er dissertation, er He also acts as Critical Space , an extensive S , t. Cyril and Nu ntwerp , Sprin IT, A ); - - - - - .

H H G C (2010). She is the coeditor (with Angela Vettese) of the book the Vettese)of Angela (with coeditor the is She (2010). VeniceTophâne-ithe at and 2009), (2010, Istanbul Centre, Cultural Âmire Zenobio, Ca’ at exhibitions curated She dOCUMENTA(13). for Director I a PhDinphilosophy. Tokyointernationally.has in and cinematography Munich studied and She her theoretic work. Her films and videos have been rewarded and exhibited as well as artistic her of themes central are theory political and feminism, of Research side Effect” (1st Tbilisi Triennial, 2012). He recently published “Off and 2012); Biennale, Shanghai 9th Pavilion, (Amsterdam Research” “TemporaryAutonomous 2011); VeniceBiennale, Pavilion, (Georgian er” Turns”“Any-medium-whatev 2010); Manifesta, project collaborative (the 2008); “Nameless Science” (Apex Art, New York, 2009); “As the Academy Shanghai, Biennale, Shanghai “Translocalmotion”(7th of curator the was present). Additionally, she is a board member of Maumaus, Escola dos Ars dos Additionally,Escola of Maumaus, present). is she member a board diaries. She Zobernig. is working on currently a book about Hilma af Klint’s occult Heimo and Benhelima, Charif Geyskens, Vincent Roos, Nina Simonsson, Jakob on texts published she 2012 In 1985. since art contemporary tional Art founded she 1986 In (EARN). Network Research Art European the of cofounder a and Lisbon, Visuais, UAV, Venezia . Sandqvist has been writing extensively on Scandinavian and interna of professor visiting a and Utrecht in MaHKU at Dean is Slager enk S ito B curator. and writer, researcher, a is Vecchiarelli hiara ertrud Sandqvist, professor in the theory and ideas of visual art at Lund 09 se w she 2009, artistic research at the Finnish Academy of Fine Arts in Helsinki. He Helsinki. in Arts Fine of Academy Finnish the at research artistic hoit ato, n junls. irto, utrl globalization, cultural Migration, journalist. and author, theorist, University, is also Dean of Malmö Art Academy (1995–2007, 2011– teyerl (2012). : 2001–2011 lives and works in Berlin. She is a video artist, filmmaker,artist, video a is She Berlin. in works and lives as uaoil eerhr n Assat o h Artistic the to Assistant and Researcher Curatorial (2011). Siksi: Journal of Contemporary Nordic Nordic Contemporary of Journal Siksi: Visual Art at Art Visual The Pleasure gnig in eginning - - -

253 254 M A of thejuryVenice Biennalein2009. Venicein Foundation Masa Additionally,2002. since president the was she La Bevilacqua the of president the was and (2005–08), Modena di Civica the Antonio Ratti Foundation (1995–2004) and the director of the Galleria essays for several international catalogues and books. She was the curator of written has She 2011–present). (2000–07, Milan in University Bocconi igi search,” and“TheAestheticsofDuration”(b art projects and collaborations include “The Food Thing: Curating and Re R University. Gothenburg Arts, of Academy Valand the of at Arts Visual in Course Graduate the of director the Vetteseis ngela ick Wilson is an educator, artist, and writer. He was the founding dean the Iuav University of Venice. She teaches contemporary art at the Lu (2008–12) of GradCAM, Ireland, and recently became the first head first the became recently and Ireland, GradCAM, of (2008–12) oth with PaulO’Neill). ecent research/ - -

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265 266 www.sternberg-press.com D-10243 Berlin Karl-Marx-Allee 78 Caroline Schneider Sternberg Press www.iuav.it I-30135 Venice Santa Croce191 Tolentini Università IuavdiVenezia Research Network(www.artresearch.eu). Artistic EARN-European of support collaborative the by possible made also was publication This one pergliAltiStudisull’ArteoftheFondazionediVenezia. Forms of Knowledge Production” was accomplished through the generous support of the Fondazi The production of this book and of the international symposium “Art as a Thinking Process: Visual Acknowledgments: page 159:©PeterJohnMayers Page 215:©Tiong Ang;page107:©artwayofthinking;156:SaratMaharaj; Photo credits: All rightsreserved,includingtherightofreproductioninwholeorpartanyform. © 2013theeditors,authors,SternbergPress,UniversitàIuavdiVenezia ISBN 978-1-934105-93-1 Printing: BUDPotsdam Graphic design:MiriamRech,MarkusWeisbeck, Surface,FrankfurtamMain/Berlin Proofreading: CourtneyJohnson Translation: BennetBazalgette,GiulianaRacco Editors: MaraAmbrožicˇ Published bySternbergPress Visual FormsofKnowledgeProduction Art asaThinkingProcess

& AngelaVettese - aa os, rn Rsii Vlra oann Slao Vlnia Roselli, Alessio Sacchetto, ValentinaDavide Spillari, and Matteo Stocco for their contributions. Solfato, Romagnini Valeria Rossini, Irene Rossi, Sara Nicole Moserle, Chiara Nuzzi, Beatrice Piva, Enrico Mazzoli, Poli, Matteo Corinne Primiterra, Locatelli, Francesco Liu, Huimin Kuznetsova, Veselina Fellini, Marco Federici, Francesco Fantin, Elisa Divizia, Cecilia Lecce, Di Colosi, Luca Coppola, Michelangelo Corsaro, Francesca De Gonda, Claudia Paola Bernabei, FedericoBovara,LucillaCalogero,MarioCiaramitaro,Giacomo acknowledge to like would Ida Maria Badhan, Rajeev Bacchetti, Valentina we Andrea Apicerni, Angelini, and editors, and organizers the to support and help invaluable of Venice, lent University Iuav Arts, Visual of and Course Graduate the Gandin, of alumni Vannaand students The Rizzardini. Bortoluzzi, Antonella Maela University, Iuav of staff the and dazioneEARN; Slager,from Henk WilsonVenezia; Kaila, Mick di Jan and individuals many the Fon the fromLegrenzi and particularPaolo in happen, project this authors made who the thank to like would editors The -

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