Inhabiting practice: speaking from where you are

The 2020 winter residency in Mexico City will focus on articulating where your practice and research live in relation to a larger field. Where does your work speak from? How do you inhabit your practice and how does this translate into the presentation of your work?

In this residency, you will present your work to your peers and guest reviewers, participate in workshops, and visit studios, art and non-art spaces (independent and institutional) in order to think, analyze and experience the varied ways in which work is contextualized through space, presentation and voice.



Reviewers for presentations



Venue: SOMA

Calle 13 #25, Col. San Pedro de los Pinos, 03800 Ciudad de México

SOMA is a non-profit organization conceived to nurture discussion and exchange in the field of contemporary art and education in Mexico City. SOMA’s mission is to provide a forum for dialogue between Mexican and international artists, cultural producers, and the public at large. 

Sunday 5th

3pm - 5pm - Walk/talk with Leslie Moody Castro & Tanya Díaz
6pm Opening dinner

Monday 6th

10am - 10:30am - Guest reviewers presentation
10:30am - 2pm - Presentations
3pm - Grad Dialogue meeting
4pm - Studio visit

Tuesday 7th

10am - 2pm - Workshop: Museo de Antropología y Historia with with Eduardo Abaroa
4pm - 7pm - Presentations

Wednesday 8th

11am - 2pm - studio visits with curator Gaby Cepeda
4pm - Museo Jumex guided tour
8:30pm - Miércoles de SOMA (lecture series) - Magalí Arriola (curator, critic and director of Museo Tamayo)

Thursday 9th

10:30am - Studio visits
3:30pm - Guided tour - Casa Luis Barragan
5:30pm - Collegium Meeting

Friday 10th

11am - MUAC museum guided visit
4pm - Visit Panik studios
5pm - closing meeting
6:30pm - closing dinner


Site-specific Workshop at the Museo de Antropología y Historia

Eduardo Abaroa (Mexico City, 1968) is an artist and writer working in the fields of sculpture, installation and live action. He has shown his work in several major museums, including MUAC and Museo Tamayo in Mexico; LA MoCA, PS1 and ICA Boston in the United States; Reina Sofia Museum in Spain; Kunstwerke in Germany, the Nottingham Contemporary Museum in the UK, among others. He has participated in Biennial exhibitions in Busan, South orea, Porto Alegre in Brasil, and Cartagena, Colombia. His most important ongoing project is titled Total Destruction of the Anthropology Museum, which began at kurimanzutto in 2012. As a writer, he was the art reviewer for the Reforma newspaper and has published in other Mexican platforms like Curare, Casper, Moho, Codigo 06140, La Tempestad and Tomo. He has contributed texts for exhibition catalogues of artists related to the Mexican context, such as Francis Alÿs, Melanie Smith, Pablo Vargas Lugo, Tercerunquinto, and Dr. Lakra. In the early nineties, he co-founded the T44 artist run space in Mexico City. He directed the 9th International Symposium of Art Theory in Mexico City (SITAC) in 2011.

Walk/Talk: Tlatelolco and Plaza de Tres Culturas
 with Leslie Moody Castro
 & Tanya Díaz

The megalopolis of Mexico City is ripe with layers of history and cultural expression which has shaped the formation of the city itself. The foundation of the city lies in its complicated pre-Columbian past that occupies the same space as its post-conquest colonial history with roots so deeply embedded we still see the effects of the past even into the present day. We will walk with independent curator, Leslie Moody Castro and invited expert, George Flaherty through one of the most emblematic spaces in the City.

Leslie Moody Castro is an independent curator and writer whose practice is based on itinerancy and collaboration. She has produced, organized, and collaborated on projects in Mexico and the United States for more than a decade, and her repertoire of critical writing is also reflective of her commitment to place. She is committed to creating moments of artistic exchange and dialogue and as such is a co-founder of Unlisted Projects, an artist residency program in Austin, Texas. In 2017, she was selected as Curator and Artistic Director of the sixth edition of the Texas Biennial, and was recently the first invited curator in residence at the Galveston Artist Residency. Moody Castro earned a Master's degree at The University of Texas at Austin in Museum Education with a portfolio supplement in Museum Studies in 2010, and a Bachelor's degree in Art History at DePaul University in Chicago in 2004, and has been awarded two grants from the National Endowment of Arts for her curatorial projects (2016, 2017). In addition to her firm belief that the visual arts creates moments of empathy, Moody Castro also believes that Mariachis make everything better.


REVIEWERS for Presentations

Eduardo Abaroa (Mexico City, 1968) is an artist and writer working in the fields of sculpture, installation and live action. He has shown his work in several major museums, including MUAC and Museo Tamayo in Mexico; LA MoCA, PS1 and ICA Boston in the United States; Reina Sofia Museum in Spain; Kunstwerke in Germany, the Nottingham Contemporary Museum in the UK, among others. He has participated in Biennial exhibitions in Busan, South orea, Porto Alegre in Brasil, and Cartagena, Colombia. His most important ongoing project is titled Total Destruction of the Anthropology Museum, which began at kurimanzutto in 2012. As a writer, he was the art reviewer for the Reforma newspaper and has published in other Mexican platforms like Curare, Casper, Moho, Codigo 06140, La Tempestad and Tomo. He has contributed texts for exhibition catalogues of artists related to the Mexican context, such as Francis Alÿs, Melanie Smith, Pablo Vargas Lugo, Tercerunquinto, and Dr. Lakra. In the early nineties, he co-founded the T44 artist run space in Mexico City. He directed the 9th International Symposium of Art Theory in Mexico City (SITAC) in 2011.

Fabiola Iza (Mexico City, 1986) is a curator and art historian who lives in Mexico City. Her work interrogates the institution and manipulation of archives within curatorial practice and seeks tools, strategies, and methodologies that may undermine the hegemonic narratives withheld in exhibitions. Iza served as curator at Casa del Lago-UNAM (2011-13) and since 2014 is the director of TEEORIA, a collection of books on cultural theory published by Taller de Ediciones Económicas. She holds a B.A of Art Theory and an MA in Visual Cultures, with a specialization in Contemporary Art Theory, from Goldsmiths, University of London.

MFA & Academy
Summer Residency 2019

August 5 - 24
Berlin (and surrounds)


Session One

Badstr. 41a (Gate 1), Wedding, Berlin

Session Two

The Institute for Endotic Resarch
Donaustr. 84, 12043 Berlin

Spike Berlin
Rosa-Luxemburg-Straße 45, Berlin

Session Three

Field Kitchen Academy
Wüsten-Buchholz, Perleberg

Field Kitchen Academy

Field Kitchen Academy is a mobile project of GROUND e.V., that gathers artists and creative minds with experts around interdisciplinary topics and food. It aims at transcending the existing borders between research and practice, and beyond forms and formats with innovative tools and experiences on holistic knowing and thinking. Each edition of the Field Kitchen Academy is composed under a different concept that creates a lab for field research, experimentation, discussion, trial and fail, progression of knowledge, know how and creativity and artistic production. It aims at stimulating new areas and formats of investigations that will support artistic practice and creative thinking in a lab format.

Apart from being a lab, at the Field Kitchen Academy, kitchen is a symbol for overcoming the hierarchies in society. It stands out for an experience exchange and production platform where heated and open debates can take place.

2019 Edition of Field Kitchen Academy - SILENCE WITH THE CONSENT OF SOUND

For the duration of the project we will use the notion of silence in sound as a gateway to opening various sensory experiences. Silence is used as a “sound” component in sound art and music, which creates an aspect of empowering the work itself by making it stronger. Use of silence can accentuate the other frequencies, and at the same time sound might accentuate the silence further. Yet, silence in sound also creates a passage to other senses of the body. With silence, the journey with the sound enables quick shifts and glitches from auditory senses to the enhanced senses of sight, touch, smell and taste. The notion of silence withholds many charged discussions both from the performer’s and the listener’s perspective.

WorkShops + Events




Michael Bowdidge

Jacques Derrida suggests that “the gaze called ‘animal’ offers to my sight the abyssal limit of the Human” (2008, p.12). Similarly, Deleuze and Gauttari’s notion of ‘becoming animal’ seeks to shift the notion of the subject way from any notion of stability and into a zone of constant nomadic becoming which resists definition (after Bruns, 2007). Given the richness of the philosophical thought which notions of the animal have inspired, this three day course seeks to explore notions of the animal and the human and the way in which these concepts intertwine and inform each other, creatively and philosophically, and also to ask whether the deployment of the animal as a creature of philosophy mirrors its exploitation in the wider human sphere?

Drawing on texts by John Berger, Derrida, Gilles Deleuze and Felix Guattari, Cora Diamond, Donna Harraway and Ludwig Wittgenstein we will explore the various ways in which the animal, considered here as humanity’s Significant Other (after Harraway) informs and inflects what it means to be human. In doing so, we’ll also try to inhabit the Animal Other so that we gain a fresh perspective on the seemingly ever increasingly anthropocentric culture(s) we inhabit.

We’ll do this by undertaking daily individual and collaborative practical exercises interspersed with presentations and class discussions of relevant readings. We’ll be looking at and discussing works by a variety of artists who have engaged with notions of ‘the animal’ in their practice, including Joseph Beuys, Rosa Bonheur, Damian Hirst, Dennis Oppenheim, Meret Oppenheim and Carolee Schneemann.



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editing spaces

Lorenzo Sandoval & Benjamin Busch (The Institute for Endotic Research)

The Institute for Endotic Research (TIER) seeks to present a transdisciplinary approach that brings together art practice and writing. The French literary group Oulipo started to combine techniques from mathematics to create generative systems to facilitate the practice of writing. The way that they applying mathematics was through constraints: in a playful manners, for each piece there were a set of rules. Using these protocols, they were able to exercise the imagination and go beyond the self-imposed frame. In many cases, these games were directly related to the practice of space.

One of the meanings of the word publication is to make something public. If the relations between local and global are regarded as a text that can be read through contemporary art practices, a pertinent tactic would be to substitute the idea of exhibition with publication. This means to understand exhibitions as narrative machines, as expanded books that can also unfold a set of other possibilities such as cross-temporal approaches, choreography of bodies moving through the extensive idea of text and support structures.




nothing breaking the losing (At Field Kitchen Academy)

Juliana Hodkinsen

During this course, we will proceed from concepts of resonance and silence, working both with aspirations towards sustained states, ideals, and transcendence, and towards insufficiencies and the collapse of meaning that occur when silence breaks into fluid articulations. Creating and sharing experiences of resonance and silence in a participatory and social spirit, we will be creating social and sonic assemblages. Using hesitation as a radical disruptive narrative, we will work with constructing, decomposing and recomposing an initial performative score, Nothing breaking the losing, by Juliana Hodkinson. There will be lots of work with space and objects, and there will be a dark session, a movement session and an outdoor session (whatever the weather), a loud session, a quiet session, a very quiet session, and of course a silent session.

The outcome will be performed on August 23.

Course materials: Instruments of any kind are welcome, but instrumental or formal musical knowledge are not required, and there will be scope for all participants to work sonically with a range of objects and physical materials as well as spoken word and technologies of amplification.

Juliana Hodkinson works with instruments, objects, electronics, text, voice and visual formats. Field recordings, foley, media samples and spoken word also figure in both her live and installation works. Hodkinson studied musicology and philosophy at King’s College Cambridge, and Japanese Studies at the University of Sheffield, and holds a PhD from the University of Copenhagen on the subject of silence in music and sound art. She has received major accolades such as the Carl Nielsen Prize, the Stuttgart Composition Prize, the Daiwa Anglo-.‐Japanese Foundation scholarship, and the Danish Arts Foundation 3-.‐year open working grant, and she has been composer-in-.‐residence with l’Orchestre Royal de Chambre de Mons and Odense Symphony Orchestra.

In 2013 Juliana Hodkinson curated Spor Festival, and in April 2014 she was guest resident at the University of Bogazici, Istanbul. She has received commissions from ensembles, festivals and arts organisations worldwide including Louisiana Museum of Modern Art, Interfilm Festival, Konzerthaus Berlin, Chamber Made Opera, Den Anden Opera, Speak Percussion, Operanord, Scenatet/

Spor Festival/MaerzMusik, Esbjerg Ensemble/Klangspuren, Ensemble KNM/Transmediale/the Nordic Embassies in Berlin, Südwestdeutsche Rundfunk, Westdeutsche Rundfunk/Wittener Tage für neue Kammermusik, Odense Symphony Orchestra, l’Orchestre Royal de Chambre de Mons, Zinc & Copper Works, Lydenskab and Haus der Kulturen der Welt.



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art grant clinic (At Field Kitchen Academy)

Ece Pazarbasi

This is a crash course that will give you the main perspective and tools to make a competitive grant application. In this seminar you will be instructed step by step through the narrative structure of a grant application. Additionally, you will explore the ways of finding suitable international application calls for your project/artwork.


Roving Sessions

ROVING SESSIONS are brief encounters between Transart MFA cohort-a berlin based artist or curator-and a site of their choice. The invited guest will propose a site to meet and will then host a hour-long visit/walk/derivé/discussion group or any other form of exchange they propose. The idea is to get us out of the classroom and into the world, sharing ideas and thinking in a more social, exploratory way and sharing a brief exchange with local practitioners.


Magic Materiality
with Susan Ploetz at the Floating University


Susan Ploetz’s recent work utilizes her inquiry into the material intelligence of the body and the healing that occurs by tuning into this as a site of internal/imaginational aesthetic experience, social relations and perceptual expansion. She has expanded her inquiry into our relation to the materials (and environment) around us, and is developing a fictional magic system around this.

We will meet at the floating university to talk about some theory and text that have been inspiring me, and relate this to Floating University and the question of the personhood of non-human beings/ the environment. Students are then welcome to join in a workshop I will run at the Floating University afterwards.

Meeting Place: Floating University, Lilienthalstr, 10965 Berlin



Curator guided tour
with cathrin mayer at KW institute for contemporary art

Anna Daučíková,  Výchova dotykom (Upbringing by touch) , 1996, Courtesy the artist

Anna Daučíková, Výchova dotykom (Upbringing by touch), 1996, Courtesy the artist

KW Institute for Contemporary Art aims to approach the central questions of our times through the production, display, and dissemination of contemporary art. Since its inception more than 25 years ago, KW has established itself, not only as an institution, but also as a dynamic and lively space for progressive practices within the Berlin art scene, as well as in an international context. By means of exhibitions and various event formats, KW has aligned itself towards the current tendencies of the national and international art and cultural discourse, and has actively developed them on a collaborative level with artists, institutions, and by means of commissioned works. As an institution for contemporary art without a collection of its own, the team at KW maintains a high degree of flexibility in creating its programs and addressing its audience.

Meeting Place: KW Institute for Contemporary Art (Auguststraße 69, Berlin)


Excursions / Events

Image: Georg Schroeder

Image: Georg Schroeder

Studio visits

Künstlerhaus Bethanien

The Künstlerhaus Bethanien is an international cultural centre in Berlin. An artist-in-residence programme with workspaces for professional artists and exhibition spaces, it is dedicated to the advancement of contemporary visual arts. As part of its residency scheme, it aims to establish a lively dialogue between artists from various backgrounds and disciplines, and the public at large. The focus of its manifold missions is the International Studio Programme, where artists from around the world conceive and present new projects with the help of its team.
Transart will visit a series of current artists-in-residence to view and discuss their current work.


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the garden bridge - summer party

Afternoon of performances, actions, guided walks and other events curated by Kinderhook & Caracas at Casa Isadora, pavilion by artist Sol Calero in the garden of the Brücke Museum.

With Casa Isadora, the artist Sol Calero (*1982 in Caracas, Venezuela) has built a pavilion in the garden of the Brücke- Museum in the form of a walk-in painting that is open to all visitors. In the design of the pavilion, Calero was inspired by the paintings and woodcuts of the artist group Brücke. She combines her unique visual language, which is informed by Latin American art and popular aesthetics, with references to the artist group’s explorations. The content of Casa Isadora ties in with the MUIM Institute (Modern Instruction in Painting), founded by Ernst Ludwig Kirchner and Max Pechstein in Berlin in 1911. Calero values collaborative work and is interested in the art school as a place of unorthodox learning from artists for artists.

Program includes works by: Ana Alenso, Kasia Fudakowski, Monika Grabuschnigg, Petrit Halilaj & Alvaro Urbano, Stephen Kent, Nuri Koerfer, Annika Rixen, STONEROSES Mirak Jamal and Santiago Taccetti
Sea Urchin (Francesco Cavaliere & Leila Hassan)
Heatsick (Steven Warwick)
Brücke Museum



PERFORMANCE (At Field Kitchen Academy)

Choreomania / Performance by Emma Howes

Separate the tears from the water …

            they will come back to haunt your trees.

The Dancing Plague of 1518 was a phenomenon of collective dancing mania that occurred in Strasbourg. The outbreak began when Mrs. Troffea began to dance fervently in the street. Her manic movements lasted somewhere between four and six days, but within a week thirty-four others had joined, and within a month over four-hundred people were taken by this torrential force. In an attempt to halt the epidemic, the government arranged for an orchestra as accompaniment to the movement. Their efforts failed, and eventually many people died, collapsing from heart attacks, strokes, or physical exhaustion. This dance epidemic happened in silence, yet most likely there was music in their minds. Contemporary performer Emma Howes will present a new piece by taking this historical event as her cue.

Concept: Emma Howes and Ece Pazarbaşı

Emma Waltraud Howes (CA/DE) works as a translator between movement and form. Her interdisciplinary works manifest as multiple reconfigurations of the body and space informed by her background in dance, performance theory, and the visual arts within the framework of a conceptual art practice. Her labour is guided by observations of gestures with a focus on the development of an expanded choreographic practice incorporating public interventions, kinaesthetic and architectural research, and an underlying drawing component in the form of graphic scores for performances as compositions representative of a stage in the development from concept and intention to depiction and effect.
Recent and upcoming solo presentations include: Scores for Daily Living, ZIL, Moscow (2019), The Nine Returns to the One, The Place, London and Centrum, Berlin (2018), dreiküchenhaus: Labour, Ritual, and Civilization, Hamburg (2018), Scores for Daily Living, Kunstmuseet Nord-Trøndelag, Namsos (2018). She has performed with and for: ‘Ten Days Six Nights’, Joan Jonas, Tate Tanks, London (2018); ‘Dynamis’, Georgia Sagri, Documenta14, Kassel (2017); ‘Liminals’, Jeremy Shaw, Venice Biennale (2017); ‘Symphony for a Missing Room’, Lundohl & Seitl, Martin-Gropius-Bau, Berlin (2016). Howes leads workshops for artist and dancers alike, including: Alive ... & then Some, Ateneu, Porto, and Martin-Gropius-Bau, Berlin (2018), and is currently working towards a lucid opera with Just In F Kennedy.



Program Schedule


Session One

Course: Becoming-Animal with Michael Bowdidge
Movement Sessions with Kate Hilliard
Excursion: Artist studios - Künstlerhaus Bethanien
Roving Session #1

Session Two

Course: Editing Spaces with The Institute for Endotic Research
Roving Session #2

Session Three

Course: Nothing Breaking the Losing with Juliana Hodkinsen
Course: Art Grant Clinic with Ece Pazarbasi
Coceptual Dinners

Session One
Monday August 5th - Saturday August 10th

Studio 6 + Seminar Room (office)


9:30 Grad Dialogue Meeting (S6) Hilliard, Bertorello, Susie
10:00-10:45 Opening meeting & discussion.
10:45-11:15 Mini-presentations (3 minute each, analog)
1:00-1:50 ROVING SESSION #1 with Susan Ploetz (meet: Floating University)
2:00-5:00 Workshop at the Floating University with Susan Ploetz OPT
6:00 Group dinner


11:30-12 PRESENTATION - Workshop Instructor - Bowdidge (S6)
12-2 WORKSHOP (S6) (ALL)
6:15-7 Second year orientation meeting (MFA1, SQ & MB) (Seminar Room)


11:30-1:30 WORKSHOP (S6) (ALL)
1:30-2:30 BREAK
2:30-5:30 WORKSHOP (S6) (ALL)
5:45-6:30 Collegium meeting (REPS, SQ, MB) (Seminar Room)


11:30-1:30 WORKSHOP (S6) (ALL)
1:30-2:30 BREAK
2:30-5:30 WORKSHOP (S6) (ALL)
5:45-6:30 Alumni presentation - Aurora del Rio & Alvin McIntyre
6:30 Group dinner (student-organised)


10:30 -11:00 Install for presentations
11:00-11:30 MINI-ARTIST TALK - (guest reviewers - Desert & Bikoro)
11:30-1 Presentations - (Lopez, Kyambi & Lynch)
2 - 2:15 MINI-ARTIST TALK - (Martin)
2:15 - 3:15 Presentations - (Eaton & Cossovich) [Reviewers: Ploetz & Martin]
3:30 - 4:30 Presentations - (Mascarenhas + Meyer-Grimberg) [Reviewers: Bowdidge & Martin]
4:30 - 7 Install for Grad dialogues (MFA2) (S6)
4:45 - 6:30 Discussion/Reading Group (Seminar Room)


10-5 Production Day - Install for Grad Dialogues - ALL
10-5 Individual meetings with Susie (Seminar room) and Advisor meetings
6-7 Grad Dialogue - Hilliard & Bertorello (performance/viewing + dialogue) (S6)
7-8 Reception (courtyard)

Session Two
sunday August 11th - friday August 16th

TIER Space


12-6 The Garden Bridge Summer Party, Brücke Museum (OPT)


(TIER Space)
10:00-10:30 PRESENTATION - Workshop instructors: Lorenzo Sandoval & Benjamin Busch
10:30-1:00 WORKSHOP
1:00-2:00 BREAK
2:00-4:00 WORKSHOP

5:00 - 6:00 Roving Session #2 - Curator Guided Tour (meet: KW Institute for Contemporary Art)
7:00 Event with curator & editor Laura Vallés (TIER Space) (OPT)


(TIER Space)

10:00-12:00 WORKSHOP
12:00-1:00 BREAK
1:00-4:00 WORKSHOP


(TIER Space)
10:00-12:00 WORKSHOP
12:00-1:00 BREAK
1:00-4:00 WORKSHOP
5:00-6:15 Studio visits Kunstlerhaus Bethanien
6:30 Group Dinner (student organised)


10:00-12:00 APM meeting + External Examiner Meetings
12:30-1:30 PU Programme Committee meeting (Chris, Anya, Susie, Michael via skype)
2:00-5:00 Discussion Group - crit group discussion session

5:15-5:45 Graduate Dialogue Meeting (MFA1)
6:00 Advisor confirmation deadline
6:30 - 8:00 SCREENING: Donna Haraway: Story Telling for Earthly Survival (ALL, PUBLIC)



Session Three
saturday August 17th - saturday August 24th

Field Kitchen Academy


9:30am Depart Berlin Hauptbahnhof station
11:30 Arrive Gutshaus Wüsten Buchholz
12:30 Lunch
13:30 -18:00 Working session: Introduction, and Listening/Walking exercises, outdoor
19:00 Performance/ presentation, outdoor
20:00 Dinner


10:00-12:45 Grant writing workshop
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Loud/Movement session
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Drones/Instruments
19:30 Dinner


10:00-12:45 Grant writing workshop
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Objects/Performers
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Quiet session
19:30 Dinner


10:30-12:45 Working sessions with Juliana: Words about silence
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Silent/Movement session
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Scoring silence
19:30 Dinner
After dinner: Dark working session with Juliana (may be moved to another evening, tbc)


10:30-12:45 Working sessions with Juliana: Very quiet session
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Rehearsal
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Silent/Still session
19:30 Dinner


10:30-12:45 Working sessions with Juliana: Discussion Domestics/Politics
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Loud/Drones
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Rehearsal in large/small groups
19:30 Dinner


10:30-12:45 Working sessions with Juliana: Preparing props, objects, threads
12:45-13:30 Lunch
13:30- 15:30 Working sessions with Juliana: Rehearsal
16:00-16:30 Break
16:30-18:00 Working sessions with Juliana: Final rehearsal
19:00 - 20:00 First course of the conceptual dinner
20:00-21:00 Performance
21:00 Second and final course of the conceptual dinner

saturDAY, AUGUST 24th

Conclusion during the day
16:00 Emma Howes performance
Evening - Return to Berlin
Closing group dinner (OPT)

REVIEWERS for Presentations

Jean-Ulrick Désert is a conceptual and visual artist born in Port-au-Prince, Haiti. Désert's art works vary in form: public billboards, actions, paintings, site-specific sculpture, video and art objects. They emerge from a tradition of conceptual work engaged with social and cultural practices.

Well known for his “Negerhosen2000,” his provocative “Burqa Project” and his poetic "Goddess Projects," Désert has said his practice may be characterized as visualizing “conspicuous invisibility.” He has exhibited widely at venues such as The Brooklyn Museum, The Contemporary Arts Museum of Houston, Grey Art Gallery NYU/Studio Museum of Harlem, Walker Art Center in the USA, la Cité Internationale des Arts in France, The Neue Gesellschaft für Bildende Kunst in Germany and in galleries and public venues as well in Amsterdam, Rotterdam, Ghent, Brussels.

He is the recipient of awards, public commissions, private philanthropy, including Lower Manhattan Cultural Council, the Villa Waldberta-Munich, Kulturstiftung der Länder (Germany) and Cité des Arts (France). He received his degrees at Cooper Union and Columbia University (New York) and has been an invited lecturer and critic at universities in the United States (Princeton, Yale, Columbia), Germany (Humboldt University in Berlin) and in France (at the École supérieure des Beaux-Arts, Paris).

Dr. Nathalie Anguezomo Mba Bikoro

Bikoro is a conceptual artist from the region of Woleu-Ntem in North Gabon and is presently based in Berlin. Her artistic practices move between performance, archaeology, video & sound, politically and socially engaged international/local collaborations—aiming to facilitate long-term dialogue through artistic research. With projects frequently community-based, Bikoro addresses collective narratives on identity, memory, dialogue, history, and polylingualism. Through her experience of inter- and trans- continental migration, Bikoro has developed a sensibility for cross-border interculturalism and the plurality of languages. She deconstructs these subjects in order to newly construct past and present mythologies by taking up multiple forms of media production and intervention in public space.

She is Associate Lecturer in Philosophy and Arts History and Curator of Performance Programmes at Savvy Contemporary gallery in Berlin. She is director of Squat Museum in Gabon and Artistic Director of Squat Monument & Future Monuments. Her contributions include in Dak'art Biennale Senegal (2012); Smithsonian Museum of African Art Washington DC (2013); Tiwani Contemporary London (2012); Kalao Pan African Galleries Bilbao (2014); 798 Art District Gallery Beijing (2015); Museum of African Art Johannesburg (2011); Michael Stevenson Gallery Cape Town (2011); Tate Britain London (2009); Pitts Rivers Oxford Museum UK (2014); Bedfordbury Gallery London (2010); South London Gallery (2010); and Art15 Fair London (2015).

Susan Ploetz (US/DE) is an artist, somatic consultant and live action role play (LARP) designer. Her work is multidisciplinary and deals with bodymind-technology interactions, imagination as interface, perceptual expansions, procedural expression, and emancipatory emotional dissonance. She has presented work, spoke or taught at Martin Gropius Bau/Berliner Festspiele, Universität der Künste Berlin, The Pervasive Media Studio (Bristol), Sophiensaele, ABC Art Fair, Dutch Art Institute, dOCUMENTA (13), Portland Institute for Contemporary Art, and Performa amongst other venues.

Susanne Martin (PhD) is a Berlin based artist, researcher, and teacher in the field of contemporary dance and performance. She works internationally as soloist and in collaborative settings. Her artistic practice and research focuses on improvisation, contact improvisation, narrations of the aging body, humor and irony in dance, artistic research methods, and improvisation-based approaches to learning, knowledge production and knowledge dissemination. Her book Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance has been published by transcript in 2017. She currently holds a postdoc position at École Polytechnique Fédérale de Lausanne in Switzerland.


Thursday, February 14, at 5:30-7:00PM
New York City


This is a FREE EVENT at CAA

Location and Time:
CAA 107th Annual Conference in New York City.
Thursday, February 14, 5:30-7:00PM
1335 Avenue of the Americas, New York, NY 10019 
Holland Suite, 4th Floor, Hilton New York Midtown Hotel

Come hear four fantastic short talks by featured alumni of the Transart Institute, a global transdisciplinary art and research community. Artist/professor speakers include Fulbright Fellow Miriam Schaer, Decorative Arts Historian Allison Geremia, Else Foundation and ECOCA Cofounder Jeanne Criscola, and featured TED speaker Virgil Wong.


5:30 - 5:45 - Jeanne Criscola

5:45 - 6:00 - Miram Schaer

6:00 - 6:15  - Allison Geremia

6:15 - 6:30 - Virgil Wong

6:30 - 7:00: Reception 

7:00 - 9:00: Dinner and/or Drinks at Omikasa

31 West 52nd St. Midtown (3 min walk)

Reading Color: Type in and on color

While we learn about color experientially from birth, later we are taught its properties with abbreviated diagrams in the shape of a pie or the form of a rainbow. Similar types of examples are used to teach students of communication design the rules and guidelines associated with typography. Sometimes these examples go further than simple black letterforms on a white background and employ color to the letters and the ground to illustrate effects color has in type. But in actuality these methods, devoid of a situational context, fall short of their intention to inform how the myriad configurations of type in sizes and styles—and the infinite spectrums of color—visually interact. This presentation is a prequel to my book about the synergistic intricacies of typography and color and means to integrate their pedagogy.


Jeanne Criscola is a designer/artist/educator whose work exploits their intersections. Her studio, Criscola Design, collaborations with organizations and authors on cultural production multiples under imprints Useless Press and OctoberWorks. Jeanne founded the Ely Center of Contemporary Art in New Haven and co-founded Else Foundation, a global consortium publishing Else, a peer-reviewed journal of creative research initiatives in experimental and alternative projects and research. Her artworks take many forms and media that include installation, time-based media, performance, and the book with one she designed and produced for the Soros Foundations that is in the Franklin Furnace Collection of MOMA. Currently, Jeanne teaches design at CCSU in Connecticut.



Practice-Based Research in the context of craft

While ‘craft’ is generally pushed into a terminal degree at the MFA status, a PhD program facilitates the necessity for further study. Throughout my course of study in contemporary narrative jewelry, it has become clear that practice is an element that is both natural and mandatory for the continued understanding of its context. As a historian and a maker, I have looked at the jewelry medium throughout many lenses and I find that my personal understanding has informed my dissertation. I have been allowed to activate my practice through inquiry.  

Allison Geremia is a current Ph.D. candidate at Transart Institute studying contemporary jewelry of the United States and its sociological implications. She received her Masters at Parsons in the History of Decorative Arts and Design at the Cooper-Hewitt, National Design Museum. Her undergraduate studies in Art History and Jewelry/Metalsmithing from the University of Massachusetts Dartmouth have allowed her to access craft in a hands-on and theoretical way. Her most recent publication is entitled “Through the Lens of a Jewellery Practice: An inquiry into photographic representation within a practice-based Ph.D.” in The Journal of Arts Writing by Students.



Books of Memory
with Miriam Schaer

“Life is all memory,” Tennessee Williams wrote, and memory, he might well have added, nurtures the artistic process — memories, in my case, of the struggle to accept my infertility, and of a fragile collaboration with my mother, a former maternity nurse, as she slipped into dementia before passing away at 90. They led me to create a multidisciplinary body of work which includes portfolio of photographs, a series of layered prints using some of her garments, and two limited-edition books exploring our intertwined lives. Using pages from her final notebook, filled with the incoherence of a gone mind, is the starting point for my newest work, reminiscences printed and partly embroidered on translucent silk.


MiriamSchaer_head shot 2.jpg

Miriam Schaer ( is an artist and educator based in Brooklyn, New York. She exhibits extensively and is represented in numerous collections, including both the Yale Museum and Yale’s Sterling Library, the Brooklyn Museum, Harvard University, the Rhode Island School of Design, the Tate Gallery in London, Duke University, and the University of California. Her work has earned a New York Foundation for the Arts Fellowship, Soros Foundation support, and artist residencies in Spain, Estonia, India and Egypt. She has taught the Art of the Book at Columbia College Chicago, the Pratt Institute and numerous institutions throughout the U.S. A Fulbright Scholar, Schaer spent part of 2017 in the Republic of Georgia, where she established the Artist Book Collection at Telavi State University. She currently serves on the board of directors of the Center for Book Arts in New York.



Inter-Corporeal Time Travel: Pregnant Men, Avatars, and Reincarnation
with Virgil WOng

A Lazarus Syndrome patient awoke from death and told her doctors that all time occurs at once. "Upon the breath that is our last," she said, "We are reborn as another person – present, future, or past. So everyone, he and she, that's walked (or will walk this earth) is inside of you and inside of me. And every possible you and every possible me. Our purpose in life then, our meaning, is to see inside ourselves, in each other, the lives of every other human being."

In this talk, artist and health technologist Virgil Wong describes how drawing cadavers, creating VR avatars, visualizing people's pain with symptom data maps, and designing science fiction medical technologies has led to a speculative narrative on how all life and death in the universe are interconnected.


Virgil Wong creates art and technology to transform human health. As cofounder and CEO of Medical Avatar LLC, he pioneered “medical time travel” visualizations with health coaching programs that reduced rates of diabetes and heart disease in high-risk communities. For 15 years, he founded and led the Web and multimedia division at NewYork-Presbyterian Hospital and Weill Cornell Medical College. Since 2000, he has been a part-time assistant professor at The New School, now teaching media design and virtual reality.

Virgil exhibits art about medicine and society in museums around the world – including the State Hermitage Museum in St. Petersburg, the Museum of Contemporary Art in Taipei, and Deitch Projects in New York. His film Murmur, based on a cardiovascular surgeon’s dream journal, premiered at the 2001 Sundance Film Festival.

At Columbia University, his doctoral research investigated cognition and intelligent technologies for health behavior transformation. He is currently Executive Director of Digital Experience at Element, a digital solutions provider serving healthcare organizations like Anthem, Harvard Pilgrim HealthCare, City of Hope, Northwestern Medicine, and NewYork-Presbyterian Hospital. To watch his TED talk, please visit:




JANUARY 7 - 11, 2019 | Winter Residency

The Expanded Body

The Transart Institute 2019 winter residency will think, discuss and practice the artist as an expanded body. From the corporeality of our practices, to the bodies of knowledge we encounter and produce through our research, to the private and public space we engage with our work, the expanded body asks us to stretch ourselves outwards to think, act and reflect collaboratively.

Our group of MFA artists each have a relationship to this theme. They are by turns, expanding their bodies through dance or performance practices, extending the body through materials or technology, exploring the spaces between bodies via portraiture and experimenting with expanded bodies of knowledge. In each of these practices, Transart’s artists are exploring forms for expanding their various bodies, outwards into the world; connecting and exchanging, co-constructing new spaces and publics where their practices can be in vital and critical relation to the world. 



Venue Information



Workshop + event DESCRIPTIONS






Sunday January 6th

Location: Various

6:30pm - Group Dinner + Opening Meeting (Bar Laika, Brooklyn)

Monday January 7th

Location: Art in General

9am - 10am Movement Session with Kate Hilliard (OPT)

10:30am - 1:30pm Workshop
“One speaking mouth, with many ears, and half as many writing hands” with The Center for Experimental Lectures

1:30pm - 2:30pm - Lunch break (installation time if needed + tech check)

2:45pm - 3:15pm - Guest reviewers mini-artist talk* - Vanessa Anspaugh & Dejan Lukic

3:20pm - 5:40pm - Presentations - Kate Hilliard, Sheila Lynch, Syowia Kyambi

5:45 - 6:15pm - Summer residency meeting (MFA)

Tuesday January 8th

Location: Art in General

9am - 10am Movement Session with Kate Hilliard (OPT)

10am - 11am Install time + tech check

11am - 11:30am - Guest reviewers mini-artist talk* - Jeff Thompson + Dafna Naphtali

11:30am - 1pm - Presentations - Rudi Cossovich, Flavia Bertorello

1pm - 2pm - Lunch break (installation time if needed + tech check)

2pm - 2:30pm - Guest reviewers mini-artist talk* - Virgil Wong + Isin Olon

2:30pm - 4:50pm - Presentations - Winston Mascarenhas, Iris Karayan, Polly Snaith

4:50 - 5:20 Break (installation time if needed + tech check)

5:30pm - 6pm - Guest reviewers mini-artist talk* - Elia Alba + David Antonio Cruz

6pm - 8:15pm - Presentations - Sarah Jane Eaton, Peter Lopez, Irene Mamiye

Wednesday January 9th

Expanding the body - listening and collaboration
Location: Various

10am - 12pm - Guggenheim Museum self-guided tour of Hilma Af Klint show

12pm - 1:30pm - Lunch break
12pm - 1pm - Graduate Dialogues meeting (MFA2)

2pm - 3:30pm - Walkie Talkie Dream Garden Soundwalk, guided by Dafna Naphtali

4pm - 5:30pm - Studio visits at The International Studio & Curatorial Program (ISCP)
1040 Metropolitan Ave, Brooklyn, NY 11211

Thursday January 10th

Expanding the body - publishing and writing practices
Location: Various

10am - 11am - Visit to MoMA Library

11am - 1pm - MoMA galleries*

1pm - 2pm - Lunch break

3:30pm - 6:30pm - Workshop ‘The Body I Call Home” with Nicolás Dumit Estévez Raful Espejo
Meeting Location: Jefferson Market Library | 425 6th Ave, New York, NY 10011
Arrive by 3:25pm

Friday January 11th

Location: Various

9:30am - Collegium Meeting
(La Pain Quotidian SoHo - 100 Grand St, New York, NY 10013)

11am - 4pm - Jean Marie Gallery Crawl

Drawing Center guided tour In SoHo
35 Wooster St, New York, NY 10013

Printed Matter guided tour & artist book browsing
231 11th Ave, New York, NY 10001

MOMA PS1* in Long Island City (lunch & galleries)
22-25 Jackson Ave, Long Island City, NY 11101

5pm - Closing Meeting at Bia

23-10 Jackson Ave, Long Island City, NY 11101

*Students responsible for entrance fees. Student discount available.


Venue: Art in General Residency Studio
20 Jay Street, suite M10E
Brooklyn, NY 11201

Art in General Residency Studio is a nonprofit organization that assists artists with the production and presentation of new work. It changes in response to the needs of artists and informs and engages the public about their work.

Art in General Residency Studio was founded in 1981 by two artists, Martin Weinstein and Teresa Liszka, in the General Hardware building as a space for artists to inspire, meet, and exhibit. A pioneering force since the 1980s, it has grown into a New York institution unlike any other in the city, supporting thousands of local and international artists through deep personal connections and direct funding.

Floor Plan


Elia Alba was born in Brooklyn, New York.  She received her Bachelor of Arts from Hunter College in 1994 and completed the Whitney Museum Independent Study Program in 2001.    She has exhibited throughout the United States and abroad.  Those include The Rhode Island School of Design Museum; Stedelijk Museum, Amsterdam; The Science Museum, London; ITAU Cultural Institute, Sao Paolo; National Museum of Art, Reina Sofía, Madrid and the 10th Havana Biennial.   She is a recipient of numerous awards and residencies for example, Studio Museum in Harlem Artist-in Residence Program in 1999; New York Foundation for the Arts Grant, Photography 2008; Pollack-Krasner Foundation Grant, 2002 and Joan Mitchell Foundation Grant 2002 and 2008.  Her work is in the collection of the Smithsonian Museum of Art, El Museo del Barrio, Lowe Art Museum to name a few. For the past 6 years, she has been working on a project titled “The Supper Club.  The project brings together artists, scholars and performers of diasporic cultures, through photography, food and dialogue to examine race and culture in the United States.  A book on The Supper Club, produced by The Shelley & Donald Rubin Foundation and published by Hirmer is scheduled for November 2018.

Vanessa Anspaugh - I am a dance artist who works through visual, somatic, and conceptual languages in an effort to facilitate emotional, political, and relational dance works. My particular process methodology hinges on a belief that what is going on inside of the room reflects also what is going on outside of the room, in the culture at large. In my processes driven work, I continue to work collaboratively with performers in order to discover how their interests and concerns can be in dialogue with my own interests exploring the complex power relations embedded in a variety of relationships. From the personal, institutional and sociopolitical, I aim to work through questions around control, collaboration, authorship, domination and surrender.

David Antonio Cruz is a multidisciplinary artist and a Professor of the Practice in Painting and Drawing at the School of the Museum of Fine Arts at Tufts University. Cruz fuses painting and performance to explore the visibility and intersectionality of brown, black, and queer bodies. Cruz received a BFA in painting from Pratt Institute and an MFA from Yale University. He attended Skowhegan School of Painting and Sculpture and completed the AIM Program at the Bronx Museum. Recent residencies include the LMCC Workspace Residency, Project For Empty Space’s Social Impact Residency, and BRICworkspace. Cruz’s work has been included in notable group exhibitions at the Smithsonian National Portrait Gallery, El Museo del Barrio, BRIC, Performa 13, and the Bronx Museum of Art. His fellowships and awards include the Joan Mitchell Foundation Painters & Sculptors Grant, the Franklin Furnace Fund Award, the Urban Artist Initiative Award, the Queer Mentorship Fellowship, and the Neubauer Faculty Fellowship at Tufts University. Recent press includes The New York Times, Wall Street Journal, WhiteHot Magazine, W Magazine, Bomb Magazine, and El Centro Journal.

Dejan Lukic (PhD) is a scholar and writer, and received his PhD in anthropology from Columbia University. His work revolves around the inescapable convergence of art and politics, while taking seriously stylistic forms of writing around and about this convergence. He has published two books (one on the aesthetics of terrorism and the other as a collection of thought-images), as well as numerous essays on art and philosophy. He is currently writing two manuscripts: a) “The Charismatic Image” (on the nature of charisma) and b) “Sickness Unto Life” (on delirium of literature as a form of health). Dejan is a faculty member in the Art Writing department at the School of Visual Arts in New York City and teaches online courses for the Node Center for Curatorial Studies in Berlin and for the Global Center for Advanced Studies in Ireland. He runs an art & ecology Summer school—Step Not Beyond—on the Adriatic island of Cres and co-directs the culinary-philosophical troupe Vitalist Cuisine. and

Jeff Thompson is an artist, educator, curator and programmer. He is Assistant Professor and Program Director in Visual Art and Technology at Stevens Institute of Technology.

Dafna Naphtali is a electronic-musician/performer/singer/composer from an eclectic musical background (jazz, classical, rock and near-eastern music). Since the mid-90’s she composes/performs experimental, interactive electro-acoustic music using her custom Max/MSP programming for live sound processing of her voice and other instruments, and also interprets the work of Cage, Stockhausen and contemporary composers. With her large variety of projects with well regarded musicians in the US, Europe and India, she has received awards from NYFA, NYSCA, Franklin Furnace, American Composers Forum, Foundation for Contemporary Arts and American Music Center, and recorded several CDs, including “What is it Like to be a Bat?” a digital punk trio with Kitty Brazelton (on Tzadik). Dafna teaches at New York University and Brooklyn College, Harvestworks and privately.

Isin Önol has been working as an independent curator predominantly in Austria and Turkey since 2009. Before that, she leaded the Elgiz Museum of Contemporary Art as its director and curator in Istanbul for three years. (2006-2009) She is an enthusiast producer of exhibition projects, talks, and other art-related events as well a researcher working in the field of contemporary art, cultural studies, and art education.

Virgil Wong is the Cofounder and Chief Executive Officer (CEO) of Medical Avatar LLC, a mobile health company that generates personalized 3-D anatomical bodies to visualize health information in the past, present, and future. As a researcher in medical cognition and intelligent technologies at Columbia University, he is studying how time travel simulations of patients’ bodies can increase engagement, motivate disease prevention, improve chronic disease management, optimize patient physician communication, reduce misdiagnoses, and decrease hospital readmission rates.

As a visual artist working with concepts in medicine and technology, Professor Wong has exhibited interactive installations, films, paintings, drawings, and prints in galleries and museums around the world – including the State Hermitage Museum in St. Petersburg, Russia; the Museum of Contemporary Art in Taipei, Taiwan; and Deitch Projects in New York City. He produced and co-directed Murmur, a cardiovascular dreamscape film that premiered at the 2002 Sundance Film Festival. In the previous year, he received a grant from the National Endowment for the Arts (NEA) for an art and medicine exhibition called Corporeal Landscape.

Workshops + Events

Photo : Hedvig Ersman, Solomon R. Guggenheim Museum in New York.

Photo : Hedvig Ersman, Solomon R. Guggenheim Museum in New York.


Hilma af Klint tour

1 hour self-guided tour. Each student will choose one work to present to the group.

Guggenheim - Hilma af Klint: Paintings for the Future




Dafna Naphtali’s “Walkie Talkie Dream Garden”
Walkie Talkie Dream Garden Soundwalk, guided by Dafna Naphtali

Walkie Talkie Dream Garden is an interactive soundwalk for the Williamsburg waterfront, developed by sound artist and composer Dafna Naphtali. 

Walk, run, ride or listen on the passing ferry to experience the sounds of the Williamsburg Brooklyn waterfront,  and hear historical and imagined soundscapes, juxtaposed with vocal pieces to recreate the former Bushwick Creek, trainyards from Williamsburg’s industrial past, and playground equipment whimsically transformed into percussion, and a giant marimba.

Walkie Talkie Dream Garden‘s Williamsburg/Brooklyn walk will encompasses the Williamsburg waterfront, from the former Domino Sugar factory to Bushwick inlet, from Kent Avenue extending into the East River, to be experienced from the piers and passing ferries, with large structures that become oversized virtual instruments so participants can shape their own musical experience as they walk, run, or ride.


Eyebeam stands out from its neighbors in Chelsea. (photo by Steve Lambert, via  Wikimedia )

Eyebeam stands out from its neighbors in Chelsea. (photo by Steve Lambert, via Wikimedia)



Eyebeam is an organisation for art & technology. Welcome Wednesday is a space for current and former Eyebeam artists to share new ideas, works in progress, host conversations, and experiment with different formats. Printed Matter is the world’s leading non-profit organisation dedicated to the dissemination, understanding and appreciation of artists’ books.


Photo: Printed Matter

Photo: Printed Matter


Printed Matter

Printed Matter is the world’s leading non-profit organisation dedicated to the dissemination, understanding and appreciation of artists’ books.



The Drawing Center

The Drawing Center presents an exhibition that focuses on three young artists who explore diverse identities through portraiture and who do so almost exclusively through the medium of drawing.



Dream House

Dream House is a sound and light environment




One speaking mouth, with many ears, and half as many writing hands

Joseph Lubitz and Gordon Hall
The Center for Experimental Lectures

Starting the lecture from zero.
The lecture is a work, not a report on the work you do elsewhere.

Be prepared to present a 5 min “lecture” of your own creation or appropriation--not a talk about your practice, but a practice in the form of the talk.

How do you want to speak and in what voice?
What kind of language do you want to use?
Where are you physically in relation to the audience?
Is it you that is presenting? Are you collaborating with anyone?
Are they images or other media included? What is the size / scale /duration and proximity to you?
What software or other interfaces will you use?
What is the role of these images to what is being said? Is it illustrative? Dialogical? Some other relation?
Are there objects involved?
Are you sitting / standing / moving around?
How are you engaging or not engaging with the space you are in?
What are you doing with your body?
…and so on…


The Center for Experimental Lectures is an artist’s project based in New York that engages with the public lecture as form. The Center for Experimental Lectures commissions new lecture performances, focusing on not only the content and format of each unique lecture but also the possibilities of the lecture as a creative platform.

The Center for Experimental Lectures was started in 2011 by Gordon Hall, and since then has commissioned 35 new lecture performances at a variety of venues including Alderman Exhibitions (Chicago), Recess (NYC), MoMA PS1 (NYC), The Shandaken Project (Shandaken, NY), The Shandaken Project at Storm King (New Windsor, NY), Interstate Projects (Brooklyn, NY), Brooklyn Academy of Music, and at the Whitney Museum of American Art presenting Seminars with Artists in conjunction with the 2014 Whitney Biennial. Starting in 2016 Joseph Lubitz joined Gordon Hall as an organizing collaborator at the CEL.



The Body I Call Home

Nicolás Dumit Estévez Raful Espejo


Participants travel by foot to several locations within the area of 14th Street in Manhattan while paying close attention to their bodies in relationship to street life, indoor spaces, crowds, as well as some of the specific bodies that they may come across with. Walking and writing are the main tools to be deployed during this workshop, hence combining movement with pause. During each stop on the route, the group will devote time to engage in what I refer to in my own work as writing as performance. This is a creative effort that envisions writing as an embodied process and reading as an invitation to enact the text. Some of the bodily concepts to be experienced include expansion, contraction, porosity, bilocation and invisibility. With the exception of the final group share of the writings, most of this workshop will observe silence.

Dress in layers, wear comfortable shoes, bottle some liquid to hydrate your system, and bring notepads of your choice and a variety of analog writing devices (pencils and pens). No cells or computers of any kind please. No photographic, film or audio documentation.


The Body I Call Home © 2018 Nicolás Dumit Estévez Raful Espejo

Nicolás Dumit Estévez Raful Espejo treads an elusive path that manifests itself performatively or through experi¬ences where the quotidian and art overlap. He has exhibited and performed extensively in the U.S. as well as internationally. Residencies attended include P.S. 1/MoMA, Yaddo, The Center for Book Arts, and the MacDowell Colony. Estévez Raful Espejo Holds an MFA from Tyler School of Art, Temple University, Philadelphia, PA, where he studied with Coco Fusco; and an MA from Union Theological Seminary. He has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Montano and Estévez Raful Espejo have also collaborated on several performances. Publications include Pleased to Meet You, Life as Mate¬rial for Art and Vice Versa (editor), One Person at a Time, The P Word, and For Art’s Sake. He is the founding director of The Mangú Museum (pronounced man-goo) and The Interior Beauty Salon. He was born in Santiago de los Treinta Caballeros, Dominican Republic, and in 2011 was baptized as a Bronxite: a citizen of the Bronx.


Transart Residency email
All announcements will come to you via this email address. 
Address all residency questions and alert staff to illness, emergency or missed classes here as well. 


You will present from your own computer. Make sure you have the appropriate HDMI adaptor for your computer to connect to the projector. Also make sure you have a back-up thumbdrive with your presentation loaded and check it on someone else’s computer. 
Mandatory TECH CHECK 30 min. in advance of session.

You must sign up to attend this optional residency by 9/15/19.
No late sign-up possible for returning students, there are no exceptions out of fairness to all. 
You are automatically on leave for winter/spring semester if you do not attend a residency you sign up for.
You are expected to attend the full residency if you sign up for it.
You are required to attend any optional event you sign up for. 


Participation in Winter Residency 2019 sign up (deadline 9/15/18)
   Advance request to arrive late or leave early form (expires 9/15, approval required)
   Explanation of missed residency requirement (illness or emergency)
Invoice form


Venue Map

VENUE: Art in General Residency Studio
20 Jay Street Suite M10E
Brooklyn, NY 11201

Museum of Modern Art (MOMA)
11 West 53rd Street, Manhattan (ever at 18 West 54th Street)

International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue, Brooklyn, NY 11211

 Staff Emergency Contact Information





Course Descriptions

Metassemblage: collaging theory and practice

Michael Bowdidge


In A Thousand Plateaus (1988) Deleuze and Guattari deployed a critical theoretical notion of assemblage thought of in terms of “qualities, speeds and lines” (Mcgregor-Wise in Stivale, ed., 2005). Markus and Saka (2006) identify a recent upsurge in such usage, stating that “assemblage is a sort of antistructural concept that permits the researcher to speak of emergence, heterogeneity, the decentred and the ephemeral.”

If philosophers (and, subsequently, researchers in non-artistic disciplines) have co-opted the language of the historic avant-gardes and now routinely deploy notions of collage, montage and assemblage as conceptual frameworks, what can we learn from juxtaposing these (originally) practical and creative modes of disorganisation and reorganisation with their more recently derived theoretical and philosophical counterparts?

This course aims to re-examine the relation between theory and practice by means of comparing and contrasting the use of strategies of collage, montage and assemblage in contemporary and historic artistic production with their usage in critical theory and philosophy. It also aims to explore the hybrid forms which can result from the fusion of theoretical and practical manifestations of these concepts.

We’ll begin the class with a brief look at the historic origins of collage, montage and assemblage and their contemporary manifestations as strategies for making and unmaking in a wide range of current media. We’ll then be conducting non-medium-specific, practical examinations of these creative methods, and then moving forward to look at the connections and ruptures which become apparent when we consider these modes of artistic fragmentation and juxtaposition in relation to relevant facets of theory and philosophy. We’ll also be examining and discussing artworks which are explicitly informed by these theoretical sources and also exploring what happens when these perennially useful artistic approaches are re-applied to the theoretical sources which borrow from them.

The workshop will consist of presentations, class discussions of readings from relevant contextual and theoretical materials and shorter practical exercises. Each session will relate to a practical assignment designed to encourage further exploration of the course material. We’ll be looking at writings from theorists and critics such as Manuel DeLanda, Gilles Deleuze and Felix Guattari, and Simon O’Sullivan, amongst others, as well as a wide variety of work by artists such as Sergei Eisenstein, Jim Lambie, Hayley Tompkins, Sergei Eisenstein, Meret Oppenheim, Nam June Paik, and Cathy Wilkes, along with many others.




Michael Bowdidge (PhD)  is an artist who works with found objects, images and sound. He received his undergraduate degree in Fine Art from Middlesex Polytechnic in 1989, and completed 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 thePhilosophical 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.

Infinite Play

Kim Schoen


“To be playful is not to be trivial or frivolous, or to act as though nothing of consequence will happen. On the contrary, when we are playful with each other we relate as free persons, and the relationship is open to surprise; everything that happens is of consequence.”
—James P. Carse, Finite and Infinite Games

This workshop will look at differing conceptions of infinity and address the question: what are the differences between ‘theatrical’ and ‘dramatic’? Our two days together will be spent exploring these questions and their implications for making artwork. Exercises and explorations in the workshop will engage ideas of dramatic, or infinite, play. Finite play is theatrical because the outcome is known in advance. In tension with the existential idea that death forms the boundary that lends life its meaning, in infinite play the outcome is necessarily unknown and the only purpose of infinite play is that the game continues.  

Activities will include collaborative games of play, and improvisation, in both art-making, writing, and speaking extemporaneously.




Kim Schoen’s work with photography, video, and text takes on the rhetorics of display in consumer culture. Recent exhibitions of her work include Komma, (Kunstverein Springhornhof) Have You Never Let Someone Else Be Strong, (MMoCA), duh? Art & Stupidity (Focal Point Gallery, UK), Imitation Game (Maraya Art Centre, Sharjah, UAE), Remembering Forward: (LAXART, L.A.), Objective Considerations of Contemporary Phenomena (MOTInternational Projects, London), and Stupidious (South London Gallery, London). Schoen’s work has been written about in the Los Angeles Times, Art in America, and her essays on repetition and photography (“The Serial Attitude Redux”, “The Expansion of the Instant”) have been published in X-TRA Quarterly for Contemporary Art. She is the co-founder and editor of MATERIAL Press.

UTOPIA REVISITED: dreams and nightmares of future past.

Angeliki Avgitidou


Starting off from architecture and going on to films, literature, philosophy, the visual arts, comics and video games we will explore the concept of utopia, an enduring fascination of artists and thinkers alike. The presentations will concentrate on four models of utopia: The Island (isolation and containable scale), Paradise (flight form society and reconnection with nature), the School (new institutions, new order and space manipulation) and (the ideal) Cosmos (transcendental value and symbolism invested in geometry). Students will select a favorite case study from any form of art or theory and work on a concept deriving from it.




Angeliki Avgtiidou 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 she has participated in the Biennale of Contemporary Art of Thessaloniki and the Performance Biennale Deformes (Chile). She was part of the Greek national representations at the Architectural Exhibition of the Biennale of Venice (2016) and The Prague Quadrennial of Performance Design and Space (2015). Angeliki works as Assistant Professor at the Department of Fine and Applied Arts of The University of Western Macedonia in Greece. Her research interests include the everyday, autobiographical practices, body and space, gender and identity, performance and politics/activism and performance and the archive.

Bad Performing for Shy Artists

Susanne Martin


This 2-day workshop is about creating a playful, supportive space in which we can explore and improve our performer / presentation skills. No matter if you give a lecture about your research, if you have to face and answer questions on your work, or (want to) make your moving body the main tool and site of your artistic work, you have to deal with the exhilarating moment of being there with an audience – live and vulnerable. We will create a safe environment to work on being on ‘stage’, using working methods from dance improvisation, and postdramatic theatre. We will watch each other, listen to each other, applaud to each other, try out our worst performance, failed self-presentation, longest black out, and playfully get more used to our bodies being seen, our voices being heard.


Aim: Explore performing aspects of your research to us in ways unusual to yourself. Be ready to have fun. We’ll help you.




Susanne Martin is a Berlin based choreographer, performer, researcher, and teacher in the field of contemporary dance and theatre. She presents her work internationally in solo performances and collaborative stage works. Her artistic practice and research focuses on improvisation, contact improvisation, narrations of the aging body, humour and irony in dance, and performance as research. Her book Dancing Age(ing): Rethinking Age(ing) In and Through Improvisation Practice and Performance was published in February 2017.

She studied at Rotterdam Dance Academy, Folkwang University Essen, Inter-University Centre for Dance Berlin, and Middlesex University London, which earned her a BA, MA, and a PhD. She keeps studying with her colleagues, friends, students... and plans to continue and continue and continue...

Selection of recent performance works:

- The Fountain of Youth, solo premiered 2013 in Gothenburg, Sweden
- The Fountain of Age, solo premiered 2015 in London, UK
- Doctor D. meets Doctor V., duet with Alex Nowitz premiered 2016 in Berlin
-7 Minutes of Fame, a genre-mix performance series curated together with Marlène Colle, Lisa Stockinger, and Gabriele Reuter, since 2016 in Berlin

Art as affective encounter

Sarah Bennett

Sarah Bennett 2014

Sarah Bennett 2014



[French author Marie-Henri Beyle (aka Stendhal) wrote of giddiness and fear of falling after first seeing the Giotto frescoes at Santa Croce in Florence. The term Stendhal ‘s syndrome (or hyperkulturemia) was coined by Graziella Magherini in 1979 to describe what she and others treating tourists in Florence, understood as a psychosomatic illness].

Occasionally, experiencing an artwork causes us to falter, to stumble, to trip up - creating a palpable and visceral sensation that occurs momentarily prior to our cognitive processes being set in motion.  This sensation might be understood as an affective encounter, contingent upon Nigel Thrift’s notion that ‘affect occurs through a dynamic relationship between the social and the biological’ (Thrift 2008: 221), or in Teresa Brennan’s terms, an interaction between people and an environment in what she proposes as the ‘transmission of affect’ (Brennan 2004: 3).

John Dewey identifies the ability of an artwork to affect when he states that  ‘we say with truth that a painting strikes us. There is an impact that precedes all definite recognition of what it is about’ (Dewey 2005: 151). Whilst he is not negating the importance of the critical engagement that an audience can have with a piece of work, he is nonetheless ordering the process of encounter so that affect precedes criticality: ‘while both original seizure and subsequent critical discrimination have equal claims […] it must not be forgotten that direct and unreasoned impression comes first’ (Dewey 2005: 151).

Jane Bennett takes a different slant when arguing that ‘… the trace in [Doris] Salcedo’s work always short-circuits the interpretative endeavour, offering too little content to ground a narrative of absent characters, yet too much to obviate an increasing bodily investment in viewing’ (Bennett 2005: 61).

Affective encounters are, of course, not limited to artworks. In Proust and Signs (2008: 12), Gilles Deleuze draws our attention to the passage in Le Temps Retrouvé - the final volume of La Recherché du Temps Perdu  (174-5) - when the narrator trips on a uneven paving-stone, and is immediately compelled to seek the source of the sensation’s exact significance to him, something important that he needs to recall.

The difference between the instant of the encounter when affect, which according to Thrift is non-representational, occurs and the subsequent reflections upon it as cognitive processes, get going, is the central theme of this workshop.




Within her practice Sarah Bennett (PhD) 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.

Making Writing: The Poetics of the Dissertation

Anna Gibbs


This workshop explores the epistemological and philosophical aspects - and the creative possibilities - of the dissertation component of your doctoral work.

Focusing on activating the relationship between creative and critical components of the doctorate, we consider ways of moving between the critical and the creative, ways of making the creative critical, and above all, ways of making the critical creative.

Here we understand poetics as at once a theory of practice and a practice of theory, enabling a feedback between creative absorption and critical reflection to generate new knowledge about both the process of making and what is made. Poetics then becomes a form of research-creation in its own right rather than simply something that comes after a research which takes place elsewhere (whether in the studio, the archive or the field).

With this in mind, we will engage in a series of practical experiments in writing with rather than writing about, aiming at inventing a particular poetics for your own writing.




Professor Anna Gibbs teaches in the School of Humanities and Communication Arts at Western Sydney University. A member of the Writing and Society Research Centre and the Digital Humanities Research Group, she writes across the fields of textual, media and cultural studies focussing on feminism, fictocriticism and affect theory. Co-editor of three collections of Australian experimental writing, she is currently completing a book on feminist theory and electronic literature (Exscryptions: Memory, Movement, and the Unfolding of Space in Digital Writing) with Maria Angel. Her experimental and cut up writing has been widely published and internationally performed. She curated the ‘(Un)coverings: Art, Writing and the Book’ exhibition at Horus and Delores Gallery, and is currently collaborating with artists Elizabeth Day, Julie Gough and Noelene Lucas on The Longford Project, which works with the colonial history of Tasmania to turn the coincidence of common ancestry into reconnection and reconciliation in the present.


Elena Marchevska


This class will work with the concept of silence and will consider silence from multiple positions: as a servant of power, as a lie, as a punishment, as a luxury good, as the reason for creation, as an object we both do and do not recognize. In a world saturated with noise, this class will ask whether we should desire or fear silence-or if it is even ours to choose. We will also explore through practice what is aesthetic of silence, proposition brought by Susan Sontag. We will reflect on the work of John Cage and Merce Cunningham, Doug Wheeler, Hito Steyerl , Christine Sun Kim, Susan Philipsz etc. At last, we will discuss the connection between silence and silenced, using Sara Ahmed’s concept of ‘feminist killjoy’ as a departure point. We will examines the idea of ‘feminist kiljoy’—along with the unhappy queer, the angry black woman, and the melancholic migrant—to demonstrate how our Western obsession with maintaining happiness and silence, can be problematic for those whose experience interrupts the silenced narratives.




Elena Marcevska (PhD) 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.

Walking Practices and Cyclic Journeys: Entering the Wood

Herman B. Mendolicchio

Still from: Going Nowhere 1.5  Simon Faithfull, HD video, 9min, 2016

Still from: Going Nowhere 1.5
Simon Faithfull, HD video, 9min, 2016


The practice of “walking in the forest” and the notion of “entering the wood” contain some magical and mystical elements that can challenge our modern way of living. Walking in the forest becomes a counter-narrative to our current hypermobility, a symbolic search for balance and equilibrium in the contemporary urban schizophrenia. The two-day workshop will address several ideas related to the concept and practice of walking, the notion of cyclic journey, as well as questions and approaches connected to sustainability, environment, cultural nomadism, unproductivity, slow practices, etc.

Day one will be focused on a more experimental/experiential walk in the Grunewald forest; while the second day will be dedicated to the presentation, reflection and analysis of modes, approaches and artworks employed and developed by international artists and practitioners. 




Herman Bashiron Mendolicchio holds an International PhD in “Art History, Theory and Criticism” from the University of Barcelona. He is a faculty member and core advisor at Transart Institute (NY-Berlin) and has worked as a Postdoctoral Visiting Researcher at United Nations University - Institute on Globalization, Culture and Mobility (UNU-GCM). 
He is Lecturer at the Cultural Management Programme of the University of Barcelona, and Coordinator of the Postgraduate Course on International Cultural Cooperation. 

His current lines of investigation involve the subjects of intercultural processes, participation, globalization and mobility in contemporary arts and cultural policies, the interactions between artistic, educational, media and cultural practices in the Mediterranean, the cultural cooperation between Asia and Europe and the impact of new technologies on art, communication and contemporary society.

He has participated in several international conferences and developed projects and research residencies in Europe, Asia, USA and the Middle East. 
As an art critic, editor and independent curator he collaborates with international organizations and institutions and writes extensively for several international magazines. He is Editorial contributor at Culture360 – Asia-Europe Foundation (ASEF), Managing Editor at ELSE – Transart Institute, and co-founder of the Platform for Contemporary Art and Thought, InterArtive.


ECE Pazarbasi

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Experiments have shown that when we go for a walk, our hearts pump faster allowing the blood to circulate faster and oxygen is delivered to the muscles as well as to our brain like other organs. Walking also supports the brain to make connections between its cells and enhances our memory as it increases the volume of hippocampus. Yet there is also an interdependency between how we move and how we think. This 5 hour session will be a physical and mental exercise where we will overlap a critical text, 5 artistic site visits with different types of walks. Each “station” will add up to the context of the text and we will completely depend on the increased capacity of our brains to come up with new ideas on art, theory and our own physicality. 




Ece Pazarbaşi works and walks on the merged borderline of curatorial practice and artistic research as her main profession. She has realised many projects over the issues of urbanism, digital and analogue public space, participatory art, alternative education as well as food and technology of the human body.

Since 2005 she works on alternative formats of education sometimes by directing alternative education and residency programmes, at other times by being part of them. In 2007 and 2009, she has directed and curated Meeting Point: Gülpinar and Meeting Point: Buyukhusun—a mobile education, residency and festival programme that took place in villages of Turkey. In 2015, she co-curated Everything Under the Sun Alternative Education Programme that focused on climate change from the perspective of art and food. She also teaches at Transart Institute for Creative Research, was a participant at Mobile Academy and in 2013 at Olafur Eliasson’s Institution for Spatial Experiments where she was privileged to receive a special research grant.

In 2015 Pazarbaşı has curated Insomnia Dyslexia, 5th Short Video Biennial at P74 Gallery, Ljubljana (2015). She was Istanbul Coordinator for New Museum—New York’s Ideas City (2012): Istanbul; curator of “Silent Shape of Things-Sophia Pompery” at ARTER Istanbul (2012). In Berlin she co-curated “12/12” and “Turkish Art Nice and Simple” exhibitions at Tanas Berlin (2011-2012) together with René Block. She was the assistant curator of the 52nd Venice Biennial Turkish Pavilion (2007), and project manager of "Orhan Pamuk: Museum of Innocence" for Schirn Kunsthalle Frankfurt (2007-08). In 2009 and 2010 she worked as Consultant and Program Specialist of Visual Arts for Turkey at the Strategic Planning and Development Department for Abu Dhabi Authority for Culture and Heritage, UAE. In April 2015, she was the resident curator at HIAP Helsinki.


Artist Talk: A Fugitive Practice Over Time

Nola Farman


I am attracted to art works that don’t fit comfortably in the mainstream of the art establishment. Even so I don’t deny the value of the formal constraints of conventional works in terms of composition, perspective, shape, form, materials, space, kinetics, etc. I am interested in hybrid forms as metaphors for mobile knowledges that cross borders, dip in and out of the market place,  ferret in the garbage of rejected ideas to make things emerge with freshness and vitality— especially when sharpened by a connection with words.



Nola Farman studied sculpture at Ontario College of Art, Toronto, Canada, completing her MA and PhD at the University of Western Sydney.  She is currently writing and producing artworks about the absurdity of contemporary life, using the art world as an exemplar. Farman’s art practice is diverse ranging from drawing to large environmental works, installations (sound, sensors, electronics and video), artists’ books and sculpture. Commissions include public artworks in Singapore, Brisbane, Canberra, Sydney and Perth. Awards include Australia Council Two Year Fellowship (1997); two Premier's Awards, WA Civic Design Award (1995); Predominantly Landscape Environment Award (1995) with FFW Architects/Urban Planners; Mundaring Arts Centre Inaugural Prize, Self-portraiture; L.I.N. Award of Excellence (EPRA), as Public Art Consultant with Tract Landscape Architects. Diploma of Honor, Prix Ars Electronica, Linz for The Lift Project; (made in collaboration with Michael Brown), project grants from the Australia Council, ANAT, NSW Department for the Arts and WA Department for the Arts.

Diagramming Research

Geoff Cox


The diagram exists in space and time, it is a material assemblage of marks and lines of thought, a map of dynamic relations. To Deleuze, the diagram is an “abstract machine” that can offer a way to read the cartography of forces in opposition, where different knowledges collide: “It is the presentation of the relation between forces unique to a particular formation; it is the distribution of the power to affect and the power to be affected...”. The workshop takes these ideas as a starting point, responding to a perceived upsurge in interest in diagrams in the arts, and as arts practice, to explore diagrammatic forms of research: making reference to grids, cartography, drawing, cognitive/mind maps, flow diagrams and infographics. How might you draw an essay, a set of arguments, and lines of thought?




Geoff Cox is Associate Professor/Reader in Fine Art at Plymouth University (UK) and Associate Professor/Lektor in the School of Communication and Culture, Aarhus University (DK), currently engaged (with Jacob Lund) on a 3 year research project The Contemporary Condition funded by the Danish Council for Independent Research. As part of this, he recently published The Contemporary Condition: Introductory Thoughts on Contemporaneity and Contemporary Art (with Jacob Lund) as the first in a series of small co-edited books published by Sternberg Press (2016-). He co-runs a yearly workshop/publication in collaboration with transmediale festival in Berlin (2012-) and is co-editor of the associated open access online journal APRJA (with Christian Ulrik Andersen), as well as editor for the open access DATA browser book series (Open Humanities Press; with Joasia Krysa). He wrote Speaking Code: coding as aesthetic and political expression (MIT Press 2013; with Alex McLean), and amongst other things is currently working on a multi-authored book project about live coding, a book on aesthetic programming (with Winnie Soon) and trying to develop a research project on machine seeing. He is also an occasional artist/curator, and part of the self-institution Museum of Ordure.

Seducer or Seduced?

Andrew Cooks


Art is about seduction where we might put ourselves—or allow ourselves to be transported—to a condition of seduction.

Seduction is a heady business. We all know about seduction: both as seducers and the seduced, for to seduce is to be first seduced—even if only by the very idea of seduction. Each seduction is an offering: will it fulfill a need; make us whole; slake some unnamed/unknowable thirst; scratch that itch?

Seduction ignites desire. But what is this desire, how does it manifest itself in artwork work when—and if— intentionally deployed? How and why do we artists make art if not to seduce by proxy?Seduction is as well bound up with surprise; and surprise really is such a wonderful delivery system.

But back to seduction and art: from Nabokov’s Humbert Humbert making us his at first unwitting and later perhaps willing accomplice or Duchamp’s teasing notes that accompany the Large Glass to de Laclos’ Les Liaisons Dangereuses to Louise Bourgeois’ tantalizing neurotics, the seduction by art (and the artist) is a tantalizing promise.

Initial readings will background this two-day workshop, supplemented by short writing assignments, presentations and discussion; and with activities and projects that negotiate winning over the other; the long or short con; duplicitous or honest; earnest or ignorant; playful or cruel?



A ramble through the paradoxes of space Sydney born Andrew Cooks (PhD) peripatetic practice addresses the pleasure garden as a model of created/curated space vis-à-vis his imagining. Titled Between Shadow and Memory his work examines the traverse and occupation of real and imagined space and his spatial curiosity, using pattern and scale discrepancy to effect pictorial space in painting, drawing, photographic side- glances, writing, talking and teaching. Made up of sideways glimpsing and glancing his works are accumulations which attempt the communication of a comprehensive glance; a poetic, visual totalising of space both inhabited and imagined. He describes his practice as a garden where he is the gardener. He has been teaching since 1982 in a variety of academic and community settings in Australia, Europe and the United States and as well as his work with Transart Institute he currently teaches at the School of Visual Arts in New York City and at Dutchess Community College in upstate New York. 


Movement Series: The Porous Body

Louis Laberge-Côté

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This workshop will be a movement-based class during which the participants will play and experiment with several physical ideas, spatial concepts, and guided mental imagery games. No previous dance or movement experience is required, but participants should be comfortable with basic movement ideas (such as walking, running, bouncing, and reaching), as well as breathing exercises and physical contact with classmates. Participants should wear comfortable clothing (no need for sports or dance attire) and bring a yoga mat/towel if they prefer not to lie down directly on the floor. 



Louis Laberge-Côté is a Canadian dancer, choreographer, teacher, and rehearsal director. An acclaimed performer, he has danced internationally with over twenty companies and has been a full-time member of Toronto Dance Theatre (1999-2007) and the Kevin O’Day Ballett Nationaltheater Mannheim (2009-2011). He has created over 80 choreographic works, which have been presented and commissioned in Canada and abroad. An award-winning performer and choreographer, he has received several creation, research, production and professional development grants. A sought-after pedagogue, he has taught classes and workshops around the globe and has been recently appointed Assistant Professor of Dance at Ryerson University (Toronto, Canada).

CRITICAL Writing and THinking

An Paenhuysen

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What is the purpose of art? What can art achieve? Why does it matter? In this course we do exercises in thinking and writing about art, both concrete as on a more abstract level. We will use imagination and fantasy to do so. In short “finger exercises" we experiment with an art writing that playfully stretches our thinking about art. Maya Angelou called it “deep talk”: “When you read me, you should be able to say, Gosh, that’s pretty. That’s lovely. That’s nice. Maybe there’s something else? Better read it again.” 

The workshop will train you to think and write critically and lead you through the creative process of developing an own voice. It is praxis-oriented and asks students to engage. 





An Paenhuysen is a freelance curator, art writer and educator living in Berlin. She loves blogging on art. An is a lecturer of art writing and cultural theory at Node Center for Curatorial Studies. Together with her Creative Forms in Art Writing class she published a series of e-books, of which the last one was about storytelling in art writing. At the Hamburger Bahnhof - Museum of Contemporary Art, Berlin An gives guided tours - her favourite artist in the collection is Andy Warhol. An's curatorial career started also at Hamburger Bahnhof in 2009, co-curating an exhibition of Paul Pfeiffer and, in 2010, together with Wolfgang Müller the exhibition Pause. Valeska Gert: Bewegte Fragmente. Recently she curated the show Up and Down at KINDL - Centre for Contemporary Art, Berlin. she studied cultural history at the University of Leuven, Belgium, where she obtained a PhD which materialised itself in a book publication in Dutch on the cultural criticism of the Belgian avant-garde in the 1920s. An continued as a post-doc fellow researching on Berlin 1920s visual culture at UC Berkeley, Columbia University New York and Humboldt-University Berlin before switching to the contemporary art world. They have a beautiful word for this crossover in German language: "quereinsteiger."

Check out the video interview by Spokehub
and the Q&A by Project Space, Vancouver

Workshop: Slow Drawing

Andrew Cooks


In this workshop we will explore drawing time as an idea and as the reality of passing time. 

Do you look at drawings and photographs in the same way? 

Mechanically produced images intrinsically change the time reserved for looking. This is nothing new. In his 1982 book Another Way of Telling John Berger described this when he wrote that cameras are machines for transporting appearances. A photograph is like a trace but unlike a drawing. 

A drawing by the very nature of its making is a translation; each mark a decision in relation to a motif and every other mark made. Drawings accumulate looking and judgements; actions woven together over time.

A camera treats everything within its viewfinder equally. Photographs supply information as drawings translate. 

A photograph distills time as a drawing expands it. 

Materials: vine or willow charcoal; compressed charcoal; a white plastic and a kneadable eraser; cold pressed rag paper for drawing or etching (min size 56 x 76 cm/22” x 30” - 76 x 112 cm/ 30” x 44” preferred) x 2 sheets min (one for each session; rags and disposable gloves (optional).



A ramble through the paradoxes of space Sydney born Andrew Cooks (PhD) peripatetic practice addresses the pleasure garden as a model of created/curated space vis-à-vis his imagining. Titled Between Shadow and Memory his work examines the traverse and occupation of real and imagined space and his spatial curiosity, using pattern and scale discrepancy to effect pictorial space in painting, drawing, photographic side- glances, writing, talking and teaching. Made up of sideways glimpsing and glancing his works are accumulations which attempt the communication of a comprehensive glance; a poetic, visual totalising of space both inhabited and imagined. He describes his practice as a garden where he is the gardener. He has been teaching since 1982 in a variety of academic and community settings in Australia, Europe and the United States and as well as his work with Transart Institute he currently teaches at the School of Visual Arts in New York City and at Dutchess Community College in upstate New York.

Movement Series: Body Talk

Kate Hilliard

Photo: Aleks Slota

Photo: Aleks Slota


Body Talk is a movement philosophy that expands physical awareness and sensitivity, inviting this awareness to contribute to an artist’s current creative process. Classes include meditation, stretching, breathing and core-centering activities and are geared toward participants who have no prior movement training. In a collaborative environment we will examine the ways that movement languages can be critical to our creation practices and further strengthen our art. We will celebrate the body as a vessel that broadcasts our histories by engaging in movement states and gestural motifs, encouraging communication, expression and authorships derived from individualism. Participants will learn to listen to their physical impulses in order to discern their idiosyncratic nuances for the purpose of deepening their art practice.



Kate Hilliard is a contemporary movement artist with a practice in creation, performance, teaching and curation. Her choreographic works have been commissioned and presented across Canada and the USA. Hilliard has performed with internationally recognized dance companies including:  Ottawa’s Le Groupe Dance Lab, Montreal’s Fortier Danse Création, Toronto’s Dancemakers, The Margie Gillis Dance Foundation and has performed Tino Sehgal’s Kiss at the New York MoMA and Art Gallery of Ontario. A proponent of cross disciplinary performance training, Hilliard has instructed at The Stella Adler Studio of Acting in Manhattan teaching their Physical Theatre Intensive. She is guest faculty at The School of Performance at Ryerson University in Toronto, teaching Creative Performance Studies to dancers and actors in all four years of their academic program. In 2017 Hilliard was appointed curator for dance and theatre at a newly founded creative research centre The Cultural Campus. Hilliard studied Art History at The University of Toronto and is inspired to continue her studies in Creative Practice in the MFA program at Transart Institute.


Movement Series: Movement Curiosity

Luis Lara Malvacías


Working with slow body explorations and observations through somatics approaches, we will prepare the body for easy organization and movement.


Luis Lara Malvacías is a Venezuelan choreographer and trans-disciplinary artist. His body of work has focused on ideas of transformation, multiplicity, authorship and the role of the audience in dance performance. His projects explore the interaction between dance, design, videos, installations, sound, new media and the visual arts, questioning preconceived ideas of choreography and modes of production and presentation. He has presented his work in New York since 1995 and has performed worldwide, from conventional venues to galleries and more unconventional spaces. Current projects include the creation of 26 collaborative duets (A-Z) with his partner Jeremy Nelson. Using significant signposts connected with life and aging, these duets look into issues surrounding mature dance makers and inquiring into the relationship of the body thinking, the body processing, the body making, and the body performing.

In 2003 he created 3RD CLASS CITIZEN, a collective initially comprising Latino artists living in NYC, which has become a platform for the NOT FESTIVAL - a nomadic and kaleidoscopic conceptual artistic object, embracing ideas of cross-cultural and global artistic collaboration. Instalación Sur from 2001 and Channel Sur from 2005 are two of his several cross-cultural, multi-disciplinary projects involving collaboration with local artists in countries in Central and South America. Currently, he is an Assistant Professor of Dance at UC Riverside.

January 2018



Summer Residency 2017


Summer Residency 2016