Transart Academy takes place during summer and winter residencies offering you the opportunity to join a vital, active international community of artists, theorists, writers and curators who continue to exhibit, screen, publish and perform together. Select a la carte from one to six residency weeks in different cities over the year.

Participate in presentations and choose topical, thematic elective workshops and seminars. Respond to projects, exercises or assignments in media of your choice in any course. Experiment. Receive feedback on current work. Make connections with local curators, artists, writers and other creative practitioners. 

The Academy works in three ways:

Artists, curators, writers and other creative researchers* attend the Academy for a creative surge, revitalizing their practice, gaining fresh perspectives on their work, experimenting in a supportive environment and/or striking out in new directions. You are typically a seasoned creative practitioner/researcher wishing to join graduate and doctoral researchers in workshops, lectures, critiques, exhibitions, screenings, symposia, excursions and other events. 

Post-residency Transart can help you design a self-study programme, support your praxis during the following year and advise you on an MFA, DCA or PhD proposal (possibility to continue on to DCA or MFA programme with an accepted proposal, space permitting). Optionally get support and input for a year-long independent project. 

 - Groups of students from partner institutions. Optionally, a faculty member can also participate in the residency by giving a workshop, artist talk etc.
- Groups or collectives (five or more) fully participate in weekly (7-9 day) residency sessions.

If you have a year of an MA you qualify for a doctoral degree, either DCA or PhD. Join a residency (summer or winter) and post residency we provide you with an advisor for 1 or 2 semesters to refine your ideas and/or prepare your doctoral proposal.

* Note: Transart is fully inclusive and recognizes any/all activities as creative practice/research that are individual or collaborative, inventive, imaginative, innovative, visionary, enterprising, resourceful or otherwise inspiring.





An intensive consists of a 7-10 day session with workshops, excursions, presentations, and other events. Choose workshops—studio or theory—in which a theme or idea is explored from multiple viewpoints and media. Respond to projects, exercises or assignments and experiment in any media you choose in any course. Present your work to the Transart community for feedback as well as in small critique groups. Make connections with local curators and artists at presentation and critique sessions followed by introductions and receptions with other curators. 




Summer and Winter intensives are the heart of Transart Institute for Creative Research and critical hubs for events and exchange together with a myriad of exhibitions, screenings, performances, publications, conference, talks and other events that take place in-between by Transart members both collaboratively and individually—see them here. Recent residencies have taken place in Berlin and New York City and Mexico City. Transart is committed to being fluid, responsive and nomadic; to being inclusive and with a wide perspective in order to be a relevant, vital, vibrant and global community.

To back up a bit though, residencies are both milestones and resources activated by 1 week plenaries including presentations in various forms, critique, presentations, screenings and performances. Topical and elective workshops take place as well as guest lectures, artist and curator talks, individual meetings with faculty, students, advisors, guest critics, curators and other creative practitioners. Refinement of project plans, alternate routes, revisions, the collecting of resources are all in process throughout each residency so you can leave clear-headed and well supported.


Participants explore concepts and test new ideas and working methods through a series of creative exercises and assignments (realized in media of choice and completed individually or in collaboration). Workshops aim to equip participants with expanded conceptual and aesthetic toolsets; feeling invigorated and inventive about applying the workshop ideas and processes to their respective practices and locales. Workshops are not intended to further technical virtuosity but rather to enhance creativity by exposing you to new approaches and working in various genres. In these sessions it often makes sense for you to work with what you are technically familiar with (in this case you should bring your own tools, materials). Data projectors, sound systems and printers are generally available. You will also participate in elected cultural studies seminars, devised to help contextualise work and find ways to inform projects through research while also articulating new ideas, exploring new ways of thinking and making connections through discussions and critiques. Seminars are chosen from current cultural topics viewed through the lens of media studies, literature, sociology, philosophy, art history, etc. Workshops and seminars are differentiated in terms of output: workshops include creative assignments, projects or exercises and seminars involve critical responses and discussion. In addition, some research training seminars are prescribed by our accrediting institutions.


You will participate in project presentations and critiques with residency faculty, guests and alumni. Formats vary considerably based on input, culture of hosting location, guests, curiosity (as in let's try this) and culture.  Length, audience size and formats will vary to promote versatility and the ability to present in different formats, audiences etc. To warm up these always begin with very brief introductory presentations to the full group. The goal is for you to benefit from different perspectives on your work. Issues of audience, delivery, content, aesthetics, technique, media, genre, identity, culture and process are discussed, resources are shared. Importantly you will learn to present work effectively in response to specific goals in different cultures and situations. 





Dr. Angeliki Avgitidou studied Architecture at the Aristotle University of Thessaloniki and Fine Art at Central Saint Martins College of Art and Design, University of the Arts (MA, PhD). She has exhibited internationally at venues that include the ICA (London) and the French Museum of Photography. She has participated in all three Performance Festivals of the Biennale of Contemporary Art of Thessaloniki and the Performance Biennale Deformes (Chile). She is Assistant Professor at the Department of Fine and Applied Arts of The University of Western Macedonia in Greece and teaches on the MA Graphic Arts – Multimedia of the Greek Open University. She is Sounding Board member of the i-node of the Planetary Collegium, Plymouth University. Her research interests include the everyday, autobiographical practices, body and space, gender and identity, performance and politics/activism, performance documentation and the archive.

Within her practice Dr. Sarah Bennett investigates institutional sites, both historical and contemporary. She employs a range of artistic research methods and material processes including: digital recording and projection, facsimile object making, observational drawing, and embodied actions. Through this work she aims to reveal how diverse institutional systems operate, and to question the level of complicity society affords such systems, i.e. how we are implicated in their continuance. At the same time, in her methods of making and installing, she endeavours to imbue the artwork with an affective 'charge' that she hopes may elicit critical, interpretative and associative responses on the part of the audience. Sarah Bennett is an artist and academic, whose artistic research critiques the hitory of psychiatry through associated archives and architecture. She is Head of School of Art & Architecture, Kingston School of Art (KSA), Kingston University, London, and a supervisor on the Transart PhD with Plymouth University.

Lynn Book (MFA) creates media-diverse works across a range of cultural sites through research and practice that center on questions and issues of embodiment, otherness, social structures and states of public imagination. She collaborates with a range of people and environments, from media artists to architects, with musicians, whole communities, and recently, an opera company. These works are performance-based and take form in music concert frameworks, multimedia productions, as well as site-specific encounters. Her current research interests include: reading, reception and knowledge-making as performative acts, epistemological relations between bodies, book objects, print and digital media. Themes involved in current work interrogate opera, Greek tragedy, media hybridity, performance, and what I call voicing bodies; deranged boundaries, ancient myths, concepts of hybridity in science and culture, bodies as super-organisms and the human microbiome.
Visit Lynn’s website

Artist Dr. Michael Bowdidge works with found objects, images and sound and received his undergraduate degree in Fine Art from Middlesex Polytechnic in 1989, completing his doctoral research at the University of Edinburgh in 2012. His project took the form of a practice-based investigation into the relationship between the later philosophy of Wittgenstein (specifically the Philosophical Investigations) and assemblage sculpture. This research was fueled by the same curiosity about the possibilties of object-based sculptural practice which has also driven 20 years of creative production in this medium, resulting in a substantial number of exhibitions both within the United Kingdom and internationally. The notion of the sculptural as a distinctive set of qualities and criteria (after Koed) also informs his work. Michael works in a variety of educational contexts, which include academic and community settings. All of these activities enrich his teaching practice, and by extension, his creative output – as, for him, these two areas of endeavour are fundamentally intertwined.

Jean Marie Casbarian, received her MFA from Milton Avery School of Art at Bard College in New York in the year 2000. She has received a number of awards and artist residencies including a Lower Manhattan Cultural Council Process Space Grant, a Research / Studio Art Associate with Five-Colleges, Inc., Louis Comfort Tiffany Foundation nomination, The LaNapoule Foundation Grant in LaNapoule, France, the Chicago Artist's Assistance Project Grant, and an Associateship with The Rocky Mountain Women's Institute. As an educator, Jean-Marie currently teaches and advises graduate students at Transart Institute, a low-residency MFA program based in Berlin and New York City and is also a faculty member with the ICP-Bard MFA program and the General Studies Program at the International Center of Photography in New York City. She has taught in the film and photography departments at Hampshire College and the School of the Art Institute of Chicago. Jean Marie currently lives and works in New York City.

Media and performance artist Dr. Chris Danowski is based in Phoenix (in the upper part of the Sonoran desert) and has presented theatre and performance works locally, in Minneapolis, Seattle, New York, in Berlin, Laval, Paris, Vienna, and in Mérida, Yucatán. He focuses on looking for art forms that mix earth religion ritual with post modern and post-structural elements and is initiated in Lukumí and Palo. He teaches experimental performance, reads tarot cards and caracol, is an occasional live model and completed his doctoral research—Thresholds: Desire and Sorcery in New Media Performance—at Transart Institute/Plymouth University. His research interests include creating full-length theatre/performance pieces and studying how performers experience performance when they are working under trance (and spells) from the Orishas (Lukumi spirits), light forms of trance through relating spirit ancestor possession to actorly character work; playing with desire in Lacanian psychoanalytical terms; creating an aesthetic that is very local; and experimenting with trance to come up with a system of performance that might be useful to practitioners, and interesting to scholars and academics.

Jean-Ulrick Désert is a conceptual and visual-artist. He received his degrees at Cooper Union and Columbia University (New York) and has lectured or been a critic at Princeton, Yale, Columbia, Humboldt University and l’école supérieur des beaux arts. Désert’s artworks vary in forms such as billboards, actions, paintings, site-specific sculptures, video and objects and emerge from a tradition of conceptual-work engaged with social/cultural practices,  Well known for his “Negerhosen2000”, his provocative “Burqa Project” and his poetic “Goddess Projects” he has said his practice may be characterized as visualizing “conspicuous invisibility”. He has exhibited widely at such venues as The Brooklyn Museum, Cité Internationale des Arts, The NGBK in galleries and public venues in Munich, Amsterdam, Rotterdam, Ghent, Brussels. He is the recipient of awards, public commissions, private philanthropy, including Lower Manhattan Cultural Council (USA), Villa Waldberta/Muenchen-kulturreferat , Kulturstiftung der Länder (Germany) and Cité des Arts (France). Désert established his Berlin studio in 2002.

Artist and writer Dr. Laura Gonzalez's recent practice encompasses film, performance, dance, photography and text, and her work has been exhibited and published in the UK, Europe and the US. She has spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When she is not following Freud, Lacan and Marx’s footsteps with her camera, she lectures and supervises postgraduate students at various institutions around the world.  Her doctoral project, completed in 2010, investigated the practice of seduction. She is currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. She edited a collection of essays titled ‘Madness, Women and the Power of Art’ (2013) to which she contributed a chapter—although it is really a work— written with the artist Eleanor Bowen.

Caroline Koebel is an Ohio-based filmmaker and writer, with recent retrospectives at Festival Cine//B (Santiago, Chile) and Directors Lounge (Berlin, Germany). Current research focuses on the relationship individuals have to the greater reality of contemporary global experience and the means by which information is disseminated, gathered and assimilated in the Web 2.0 age. Flicker On Of, a three-part series presented at Scope Art Fair (USA), Edinburgh International Film Festival (Scotland), European Media Art Festival (Germany), and LOOP Barcelona (Spain), applies the idiom of experimental film and artist’s video to big-budget movies in order to ponder global warming, the assassination of Benazir Bhutto, and the Haditha Massacre in an alternate essay format. Viewing Blind, her series-in-progress supported by the Texas Filmmakers’ Production Fund and the Kodak Award, extends this trajectory combining different technologies and clashing aesthetics with journalism by redefining the debate about the US drone program in the Middle East. She has published in Jump Cut, Brooklyn Rail, Afterimage, Art Papers, and Wide Angle, and co-authored the acclaimed stencil graffiti book Schablone Berlin. She holds a BA in Film Studies from UC Berkeley and an MFA in Visual Arts from UC San Diego, and is on faculty at Transart Institute (New York-Berlin).

Dr. Elena Marcevska is an interdisciplinary artist and researcher (BA, Theatre directing MFA, Performance The School of The Art Institute of Chicago; PhD, University of Northampton). Following her doctoral study on Screen and feminist performance practice, she continued to focus on contemporary multimedia performance practices. For a number of years, her primary interest was on the use of the screen in performance. Through exploring performances which brought together screen, somatic performance practice and auto ethnography, she has increasingly turned her attention to relationships between performance, female body and digital writing. She is currently working on research about radical self-organised performance practices in South East Europe and their urban manifestation.

His practice preoccupied with participatory art’s engagement with new materialism and concepts of the more-than-human Dr. Simon Pope was recently awarded his doctorate from the Ruskin School of Art at the University of Oxford (2012-15) for the practice-led project Who Else Takes Part? Admitting the more-than-human into participatory art. Formerly a member of the Net.Art group I/O/D – Webby award winners in 2000 – he also represented Wales at their first exhibition at the Venice Biennale in 2003. Pope was a NESTA Fellowship awardee (2002-05), a Reader (tenured-Professor) in Fine Art (2005-10) and is currently an Associate Research Fellow of both Birkbeck and Queen Mary, University of London (2014-). He advises MFA and PhD students, and especially welcomes those with an interest in participation, dialogue, the more-than-human, the anthropocene, and ecological thinking, as they relate to contemporary art and creative practice more generally. He is a UK citizen, and permanent resident of Canada.

Dr. Wolfgang Sützl is a transdisciplinary researcher, writer and educator chiefly concerned with a critique of violence and understanding the conditions in which such a critique is possible. His Ph.D. is in Philosophy from the Universitat Jaume I de Castellón, Spain where he wrote on “Emancipation or Violence. Aesthetic Pacifism in Gianni Vattimo”. Previously he was Principal investigator on the research project on media activism at the University of Innsbruck (2009-2012, funded by the Austrian Science Fund) and Chief researcher at, Vienna (2000-2006). He is currently an Assistant Professor at the School of Media Arts and Studies at Ohio University; Faculty and research advisor, Transart Institute (New York/Berlin) and Faculty, MA Program Peace and Conflict Studies at the University of Innsbruck. 

Within Mary Ting’s varied art practice of installation, drawing, photography and video, the prevailing emphasis is the use of the fragment within a nonlinear narrative.  Her work inhabits the realm of temporality, private obsessions and the sensual.  Layered with stories, glimpses of memories, metaphors, her animals, figures, limbs, and cropped forms are both personal and allegorical.  Mary completed her MFA at the Vermont College of Fine Arts, is an avid gardener certified master composter and also a frequent lecturer, independent curator and writer. Mary Ting’s artwork has been exhibited extensively in the U.S. and abroad since 1986. Mary currently teaches sculpture, drawing and paper, 2D/3D, and Bookarts for Pratt Manhattan, SUNY at Nassau Community College and CUNY.  She lives and works in New York City.






We encourage you to apply as early as possible if searching for funding.
Letters of support available upon acceptance.



Entry is by application form, praxis documentation (i.e. portfolio, publication, etc.) and interview.
You will need:
- Bio (approx. 1-2 paragraphs, 3rd person)
- Statement about your practice (or link to online statement)
- CV
- Photo
Application questions:
1. Which Academy Program are you applying for?
Winter Academy - Independent Participation (1 week)
Summer Academy - Independent Participation (1 week)
Summer Academy - Partner Institution Program (1 week)
Winter Academy - Partner Institution Program (1 week)
Summer Academy - Faculty/Advisor Program (1 week)

2. Please tell us a bit about your interest in Transart and goals in participating in the Transart Academy. Also if you are considering other Transart programs after the Academy, let us know so we can arrange for you to meet with faculty and staff to discuss possibilities.

3. Is there a specific project or part of your praxis that you are wanting input on (optional)?

4. Project Plan for the year ahead (optional)—if you want to meet with an advisor individually, get input or resources for your project plans in the year ahead and/or are interested in participating in a year long critique group please submit a project plan here.

5. Check which (if any) apply:

I’d like to meet with an advisor during the residency to advise me for support and input for a specific project.
I’d like to meet with the program coordinator to discuss options for continuing in the future. 
I’d like to engage an advisor for independent research after the residency, can I speak with someone about this? 

6. Are you interested in potentially applying to one of Transart's accredited programs?

7. If so, which program: DCA or PhD?



ACADEMY DOCTORAL TRACK 2018: $1000 per week of residency + $500 per semester per advisor.

ACADEMY 2018 TUITION: $1500 USD per week
Certificate or credit with student's home institution with advance approval from said institution.