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9780714867366-Akademie-X-Preview 01 19 004-013 Tutor: 174-185 Tutor: Marina Abramović Thomas Lawson 02 20 014-027 Tutor: 186-195 Tutor: Walead Beshty Dinh Q. Lê 03 21 028-035 Tutor: 196-207 Tutor: Sanford Biggers Won Ju Lim 04 22 036-049 Tutor: 208-215 Tutor: Dara Birnbaum Jonas Mekas 05 23 050-059 Tutor: 216-223 Tutor: Carol Bove Carrie Moyer 06 24 060-071 Tutor: 224-229 Tutor: Tania Bruguera Wangechi Mutu 07 072-079 Tutor: 25 230-243 Tutor: Mark Dion Bob Nickas 08 080-089 Tutor: 26 244-253 Tutor: Ólafur Elíasson Raqs Media Collective 09 090-097 Tutor: 27 254-261 Tutor: Harrell Fletcher Neo Rauch 10 098-103 Tutor: 28 262-269 Tutor: Charles Gaines Tim Rollins 11 104-113 Tutor: 29 270-277 Tutor: Liam Gillick Michael Smith 12 114-121 Tutor: 30 278-283 Tutor: Piero Golia John Stezaker 13 122-131 Tutor: 31 284-295 Tutor: Michelle Grabner Stephanie Syjuco 14 132-139 Tutor: 32 296-305 Tutor: Dan Graham Shirley Tse 15 140-147 Tutor: 33 306-319 Tutor: Katharina Grosse James Welling 16 148-155 Tutor: 34 320-329 Tutor: Joan Jonas Richard Wentworth 17 156-165 Tutor: 35 330-337 Tutor: Miranda July Christopher Williams 18 166-173 Tutor: 36 338-349 Tutor: Chris Kraus Krzysztof Wodiczko 01 2 Tutor: 01 3 Tutor: Marina Abramović Marina Abramović BORN / Belgrade, Serbia, (former Yugoslavia), 1946 / LIVES AND WORKS: New York TRAINING: Honorary doctorates: • Instituto Superior de Arte, Havana, 2012 • Williams College, Williamstown, MA, 2011 • University of Plymouth, UK, 2009 • Art Institute of Chicago, IL, 2004 MA, Academy of Fine Arts in Zagreb, 1972 BA, Academy of Fine Arts in Belgrade, 1970 TEACHING POSTS: • Founder, Marina Abramović Institute, New York • Professor at the Hochschule für Bildende Kunst, Hamburg, Germany, 1992–96 • Visiting Professor, Hochschule der Kunst, Berlin, 1990–91 • Visiting Professor, Académie des Beaux-Arts, Paris, 1990–91 • Teacher at the Academy of Fine Arts, Novi Sad, Serbia, 1973–77 KEY WORKS: • Places of Power, Waterfall, 2013 • Art Must Be Beautiful, Artist Must Be Beautiful, 1975-2010 • The Artist is Present, 2010 • Seven Easy Pieces, 2005 • Balkan Baroque, 1997 • Works with Ulay, 1976–88 • Rhythm series, 1973–74 AWARDS: • Ordre des Arts et des Lettres Officier, for work in Bolero, Paris, 2013 • The Diaghilev Award for Marina Abramović, The Artist is Present at The Diaghilev Festival, Perm, Russia, 2012 • The Austrian Decoration of Honor for Science and Art, Vienna, 2008 • AECA Gran Premio Award, Madrid, 2007 • International Association of Art Critics, 2007 • AICA-USA Award for Seven Easy Pieces, New York, 2007 • Guggenheim Museum Award for Best Exhibition of Time Based Art (Vi deo, Film or Performance) for Seven Easy Pieces, New York, 2006 • Golden Lion Award for Best Artist, Balkan Baroque (Performance) 47th Venice Biennale, Italy, 1997 2014: Entering the Other Side, Kistefos-Museet, Jevnaker, Norway // Marina RECENT SOLO Abramović: 512 Hours Holding Emptiness, EXHIBITIONS: Serpentine Gallery, London // 2013: Centro de Arte Contemporáneo de Málaga, Spain // 2012: Marina Abramović, Galerie Krinzinger, Vienna, Austria // Balkan Stories, Kunsthalle Vienna // 2011: The Artist is Present, Garage Center for Contemporary Culture, Moscow // Marina Abramović, Pinnacle Gallery, Savannah, GA // 2010: Personal Archaeology, Sean Kelly Gallery, New York // Marina Abramović, Lisson Gallery, London // The Artist is Present, MoMA, New York // RECENT GROUP 2013: The Temptation of AA Bronson, Witte de With Contemporary Art, Bad Girls EXHIBITIONS: Rotterdam, Netherlands // , Fonds regional d’art contemporain de Lorraine, Metz, France // 2012: Feast: Radical Hospitality in Con tem porary Art, Smart Museum of Art, University of Chicago, IL // Faces: The Phenomen on of Faces in Video Art, Galerie Rudolfnum, dOCUMENTA (13): The Worldly House, Prague // Karlsaue Park, Kassel, Germany // Beyond Time: International Video Art Today, Kulturhuset, Stockholm // 2011: Eleven Rooms: The Life and Death of Marina Abramović, Manchester International Festival, UK // Heroinas, Museo Thyssen- Bornemisza y Fundacion Caja, Madrid // Publics and Counter-publics, Centro Andaluz de Arte Contemporaneo, Seville, Spain // 2010: 100 YEARS, MoMA PS1, Long Island City, NY // 01 4 Tutor: Selected Works 01 5 Tutor: Selected Works Marina Abramović Marina Abramović ← Rest Energy, 1980, performance/Polaroid, ROSC, Dublin/Amsterdam. Collaboration with Ulay ↙ Rhythm 4, 1974, performance, Galleria Diagramma, Milan, Italy ↓ Waiting for an Idea, 1991, Maraba, Brazil → The Artist is Present, 2010, three-month performance, Museum of Modern Art, New York ↘ Balkan Baroque, June 1997, performance- installation (detail), 47th Venice Biennale 08 82 Tutor: Selected Works 08 83 Tutor: Selected Works Ólafur Elíasson Ólafur Elíasson ← Beauty, 1993, spotlight, water, nozzles, wood, hose, pump, installation view, Minding the World exhibition, ARoS Århus Kunstmuseum, Denmark, 2004 ↓ Your rainbow panorama, 2006–11, permanent installation at ARoS Århus Kunstmuseum, Denmark ↓↓ Green river, 1998, uranine, water, installation view, Stockholm, Sweden, 2000 → The weather project, 2003, monofrequency lights, projection foil, haze machines, mirror foil, aluminium, scaffolding, installation view, Turbine Hall, Tate Modern, London (The Unilever Series) 14 134 Tutor: Selected Works 14 135 Tutor: Selected Works Dan Graham Dan Graham ← Eleven Sugar Cubes, 1970/2012, colour photograph, 24 parts, each 24 x 36 cm ↙ Two-Way Mirror Curve Bisected by Norwegian Wood Lattice, 2010 → Lax/Relax, first performance at New York University Loeb Student Center, New York, May 1969 ↘ Pavilion for Showing Rock Videos/Films, 2012, two-way mirror glass and stainless steel 250 x 834 x 420 cm 14 136 Tutor: Lesson: 14 137 Tutor: Lesson: Dan Graham Art Schools at Their Dan Graham Art Schools at Their Best and Worst Best and Worst BEST use of the school’s facilities very limited, so I suggested that the school invite my friend Kasper König, and later Benjamin Buchloh, to oversee 1.) Visiting artists: lectures and studio visits. the NSCAD–NYU Press to make monographic books that would involve 2.) Class trips. such artists, musicians and dancers as Simone Forti, Yvonne Rainer, Dara 3.) Availability of video, film and audio equipment with technicians. Birnbaum, Steve Reich, Michael Asher and myself, as well as re pub lishing 4.) Practical training in areas such as graphic design. the previously out-of-print early reviews and articles of Don Judd. The 5.) Good libraries. school had previously invited visiting artists to come for short stays of two or three days, so I initiated a course where I would do a three-week WORST stint to be followed by three-week stints by a series of visiting artists who had never taught before. At the end of the year, I would do another 1.) The emphasis, since the 1980s, on making art as a specialist three weeks of teaching (Jeff Wall, Michael Asher, Dara Birnbaum and professional ‘career’ rather than as a passionate experiment. Martha Rosler were the first artist-teachers I invited for this course). 2.) The obsession with the artist as a future ‘art star’. From the position of the visiting-artist teacher at an art school, I see 3.) The obsession with making an academic rationale for art, teaching as both a great place to earn some cash and to have very focused a good example being the overuse of the word ‘problematize’. conversations with young artist students, whose works are often more 4.) Teaching only the contemporary art that is found in the art inspiring when in first bloom than when later refined in a gallery setting. magazines in the library. I have also enjoyed talking about other shared passions like rock music. I especially enjoy learning from the cultural context and personal My personal observation is that most of my favourite artists have either biography of foreign students. Finally, the art school setting is a way for come out of areas other than art, or like myself, never went to either art artists who are friends but rarely see each other any more to spend fun school or university – being self-taught. In my case, I initially wanted time together again. to be a writer. When I accidentally started the John Daniels Gallery, I pursued being an artist-writer due to my admiration of ‘young’ artist- writers whom I showed in my gallery. These were Don Judd, who made Assigned Reading his living writing art reviews, Dan Flavin, who had a monthly column in Artforum, and Sol LeWitt, who had studied architecture and then Benjamin, Walter. ‘Das Kunstwerk im Zeitalter Seiner Technischen worked both in a major architect’s office and as a magazine graphic Reproduzierbarkeit’ in Illuminationen: Ausgewahlte Schriften. Frankfurt designer. He shared my love of literature and also wrote occasionally. am Main: Suhrkamp, 1961. Translated by Harry Zohn as ‘The Work of After my gallery failed, I supported myself through writing about Art in the Age of Mechanical Reproduction’ in Illuminations. New York: cultural phenomena such as rock music or television. Because of my Harcourt, Brace & World, Inc., 1968 published articles on art, art schools invited me to do lectures or limited teaching. I invited myself to a short residency at Nova Scotia Clark, T. J. Image of the People. London: Thames & Hudson, 1973 College of Art (NSCAD) in Halifax in the late 1960s to try out video and performance art projects, utilizing the school’s film and video Dick, Philip K. Ubik. New York: Doubleday, 1969 equipment and my students as participants in these projects. The shared communication and feedback in the small group setting in this art Eshun, Kodwo. Dan Graham: Rock My Religion. Cambridge, MA: school facilitated the realization of those ideas. The MIT Press, 1994 When I first started teaching at NSCAD I wanted the school to be placed into the local community. I used local cable television’s Marcus, Greil. Mystery Train: Images in Rock and Roll Music. New York: public-access stations for student projects.
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