Berlin Summer Catalog

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JULY 23 - AUGUST 11   |   TRANSART RESIDENCY



Program Schedule

INSTRUCTOR AND ADVISOR BIOS

CO-AL-ISM MFA EXHIBITION + DIALOGUES + SELF DIRECTED PROGRAM

TRAVEL INFO

COURSE SIGN UP HERE (TBC)

 

 

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.


Syllabus

 

Biography

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. 

http://www.michaelbowdidge.co.uk/


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.


Syllabus

 

Biography

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.

http://kimschoen.com/


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.


Syllabus

 

Biography

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


On Personae, Fiction, and Identity

Jean Marie Casbarian

 Still from Ingmar Bergman's  Persona

Still from Ingmar Bergman's Persona

"There are more I's than I myself," so said Portuguese poet Fernando Pessoa. Writing under the guise of more than seventy-five distinct authors in The Fictions of the Interlude, Pessoa goes on to say "To pretend is to know ourselves."

This three-four day workshop will explore the various ways in which the life of fiction might be roused, creating characters that oftentimes almost silently emerge in our artworks. As a way to investigate both the true and imagined self, we will adopt the strategies of imitation and invention as a way to coax these characters to come out and play. As we dive into ambiguity, historical myths, gender roles, and the fantastic we will discover how research begins to percolate through the act of merely being human.

 

Biography

Jean Marie Casbarian (MFA) was born to an Armenian father and a German mother on a military weapons testing ground in Aberdeen, Maryland. Her practice and research explores the relationship between the construction of memory and time, the loss and longing that occurs within personal and political mythologies, and the complex stories that live within one’s family history and displaced cultural identity. Working across photography, video, text, and performance, Casbarian fuses fact with fiction as she continually attempts to flip her own paradigm in the hopes of creating a new personal narrative. 

Her works include We took the image and put the sound too loud, Hessel Museum of Art, New York (2013); Pictures Are Words-Not-Known, LiShui Museum of Photography, China (2011); and Blind Dates Project, Pratt Manhattan Gallery, New York (2010). Her awards and residencies include Lower Manhattan Cultural Council Process Space grant at Governors Island, Five College Artist / Research Associate, Five Colleges, Amherst, Massachusetts (2013); CAAP Grant, Chicago, Illinois (2004); and Grant Recipient, LaNapoule Foundation, Cannes, France (1995). She received her MFA from the Milton Avery School of the Arts at Bard College, New York. She has taught in graduate and undergraduate programs across the United States and abroad including The School of the Art Institute of Chicago, Hampshire College, Transart Institute, the International Center of Photography and ICP-Bard. Currently, Jean Marie lives and works in New York City.

http://www.jeanmariecasbarian.com/


Bad Performing for Shy Artists

Susanne Martin

 
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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.


Syllabus

 

Biography

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.


Syllabus

 

BIography

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. http://www.sarahbennett.org.uk


Making Writing: The Poetics of the Dissertation

Anna Gibbs

 
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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.


Syllabus

 

Biography

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. 

https://www.artspace.org.au/program/the-bureau-of-writing/2016/public-talk-performative-writing-anna-gibbs/


Silence/Silenced

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.


Syllabus

 

Biography

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.
 www.elenamarcevska.com


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. 


Syllabus

 

Biography

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.


WALKING OUT OF CIRCLES

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. 


Syllabus

 

Biography

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.

http://www.fieldkitchen-academy.org/

 


Artist Talk: A Fugitive Practice Over Time

Nola Farman

 
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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.

 

Biography

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. 

http://www.nolafarman1.com


Diagramming Research

Geoff Cox

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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?


Syllabus

 

Biography

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.

http://www.anti-thesis.net/geoff-cox/


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. 

 

Biography

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).


Andrew Cooks

 
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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).


Body Talk

Kate Hilliard

 
 Photo: Aleks Slota

Photo: Aleks Slota

 

Like language, movement belongs to a critical creation practice that transmits subjectivity. In the context of both public and private communication, movement languages have as much authority to embody concepts as word languages. This workshop concentrates on the body as an agent of change. A vessel capable of broadcasting our histories. Participants will harness their physical instincts to find new modes of expression. We will use the entire body to communicate through breath and gesture in an effort to create personal authorships bound by individualism. This practice requires no prior movement training.

 

Biography

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.


ART GRANT WRITING PROFESSIONAL DEVELOPMENT WORKSHOP

Ece Pazarbasi

 
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This is a Grant Writing course that will give you the main perspective and tools to make a competitive grant application in English especially for local and International funding programmes. In this seminar you will be instructed step by step through the narrative structure. You will learn formulating your project description and artist statement as well as receive tips on portfolio making and successful artist resume preparation. Additionally, you will explore the decision process in funding application evaluations and the ways of finding suitable local and International application calls for your project/artwork. This is a hands-on grant writing workshop for artists, artistic projects and applications for residency programmes covering other critical topics like making a realistic time line and an efficient budget.

 

Biography

Ece Pazarbaşı works and walks on the merged borderline of curatorial practice and artistic research as her main profession. With 15 years of experience in the curatorial and art management field, she has realised many projects and received many fundings both for herself and other projects. The funding she has received or helped others to realise their projects from various bodies had varying amount from 3,000 EUR to 200,000 EUR. With Berlin Art Grant Clinic, the total amount she has raised for the international organisations, projects and artists for 2015 is 215.000 EUR. She also is one of the 43 recipients (5 curators + 38 artists) who has received Berliner Senat City Tax Stipendium among 1327 applications.  In 2009 and 2010 she worked at at the Strategic Planning and Development Department for Abu Dhabi Authority for Culture and Heritage, United Arab Emirates as Consultant and Program Specialist of Visual Arts for Turkey where she worked on strategic collaboration planning. Currently she actively takes place in the international boards and juries of various organisations.In 2013 she had the privilege to take part in Olafur Eliasson’s Institution for Spatial Experiments with a special research grant. Among her recent positions are artistic collaborator of Tell Me What You Eat – Mobile Urban Kitchen project together with Erik Göngrich, Wilhelm Hack Museum, Ludwigshafen (2014); curator of ‘Walk Over the City’ soundwalk series in Istanbul (2013); Istanbul Coordinator for New Museum – New York’s Ideas City (2012): Istanbul; curator of “Silent Shape of Things” 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 is curating 5th Short Video Biennial at P74 Gallery, Ljubljana (2015).  Between 2001-2003 she acted as assistant director at Proje4L-Istanbul Museum of Contemporary Art and between 2002-09 she was the executive assistant to director of the Platform Garanti Contemporary Art Center where she has been assigned on several different freelance projects. She was the assistant curator of the 52nd Venice Biennial Turkish Pavilion (2007), director of the on-going education and festival programme Meeting Point at the rural domains since 2007, project manager of “Orhan Pamuk: Museum of Innocence” for Schirn Kunsthalle Frankfurt (2007-08) and Contemporary Art Exhibitions Director at Pera Museum (2005-2006). She was the co-founder and the co-director of CUMA /// Contemporary Utopia Management (2008-2012) where she was the originator, curator and director of its artistic projects. She has published many art reviews as well as experimental texts at various printed and online media. She continues her artistic projects with CAMP. Contemporary Amplifier for Multidisciplinary Practices.


 

Program schedulE


SESSION 1  MONDAY, JULY 23 - SUNDAY, JULY 29
 

KEY: ALL (OPEN TO ALL), EXP (EXPECTED), OPT (OPTIONAL BUT REQUIRED UPON SIGN UP), ACA (ACADEMY),  MFA DCA PHD (PROGRAMS)
NOTES AND LOCATIONS END OF SCHEDULE. 

 

MONDAY, JULY 23

10-11  OPENING MEETING (S9) EXP
11-12  PRESENTATIONS (30 MIN) BY SUSANNE MARTIN + KIM SCHOEN (S3) EXP
12-1  BREAK
1-7:  WORKSHOPS DAY 1/2BAD PERFORMING FOR SHY ARTISTS / Susanne Martin (S12) ALL
1-7:  WORKSHOPS DAY 1/2 INFINITE PLAY / Kim Schoen  (S3)  ALL

 

TUESDAY, JULY 24

10-12  MOVEMENT SERIES SESSION:  BODY TALK 1/3 WITH KATE HILLIARD (S12) OPT
10-12 MEETINGS (S9) 
12-1  BREAK
1-7:  WORKSHOPS DAY 2/2BAD PERFORMING FOR SHY ARTISTS   |  Susanne Martin (S12) ALL
 1-7:  WORKSHOPS DAY 1/2 INFINITE PLAY / Kim Schoen  (S3)  ALL

 

WEDNESDAY, JULY 25


10-12  MOVEMENT SERIES SESSION: BODY TALK 2/3 WITH KATE HILLIARD (S12) OPT
10-12 MEETINGS (S9) 
12-1  BREAK
1-6  NEW STUDENT PRESENTATIONS 1/2 - Reviewers: Paenhuysen, Schoen, Gibbs (S12) EXP
S3 FREE

THURSDAY, JULY 26

10-12  MOVEMENT SERIES SESSION; BODY TALK 3/3 WITH KATE HILLIARD  (S12) OPT
10-12 MEETINGS (S9) 
12-1  BREAK
1-6  NEW STUDENT PRESENTATIONS 1/2 - Reviewers: Schoen, Gibbs, Bowdidge?  (S12) EXP
7-8  TALK BY NOLA FARMAN: A Fugitive Practice Over Time (S12) ALL
S3 FREE

FRIDAY, JULY 27

10-11 MEETINGS (S9)
10-11 MOVEMENT SERIES SESSION (COMMUNITY)  (S12) OPT
11-12  PRESENTATIONS (30 MIN EACH) BY MICHAEL BOWDIDGE + GEOFF COX (S3) EXP
12-1  BREAK
1-7 WORKSHOPS DAY 1/2:  METASSEMBLAGE: COLLAGING THEORY AND PRACTICE   |  Michael Bowdidge (S12) MFA ACA
1-7 WORKSHOPS DAY 1/1:  Documentation: DIAGRAMMING  |  Geoff Cox (S3) DCA PHD

 

SATURDAY, JULY 28

10-12  MOVEMENT SERIES SESSION THE POROUS BODY 1/4 WITH LOUIS LABERGE-COTE (S12) OPT
10-12 MEETINGS (S9) 
12-1  BREAK
1-7:  WORKSHOPS DAY 1/2: METASSEMBLAGE: COLLAGING THEORY AND PRACTICE  |  Michael Bowdidge  (S12) MFA ACA
1-7 WORKSHOPS DAY 1/1:  |   GRANTWRITING  Ece Pazarbasi (S3) DCA PHD

 

SUNDAY, JULY 29

OFF
 

 

SESSION 2  MONDAY, JULY 30 - SUNDAY, AUGUST 5
 

MONDAY, JULY 30

10-11 MOVEMENT SERIES SESSION (COMMUNITY)  (S12) OPT
10-11  MEETINGS (S9)
11-12  PRESENTATIONS (30 MIN EACH) BY ANNA GIBBS + AN PAENHUYSEN (S3) EXP
12-1  BREAK
1-7: WORKSHOP DAY 1/1 DOCTORAL INDUCTION + MAKING WRITING: THE POETICS OF THE DISSERTATION  |  Anna Gibbs  (S3) PHD DCA
1-7:  WORKSHOP DAY 1/2CRITICAL THINKING AND WRITING IN ART  |  An Paenhuysen (S12) MFA ACA
8 OPT: CO-AL-ISM Experimental writing/reading  (Flutgraben) OPT

TUESDAY, JULY 31

10-12  MOVEMENT SERIES SESSION: SLOW DRAWING WITH ANDREW COOKS (Courtyard) OPT
10-12  MEETINGS (S9) 
12-1  BREAK
1-7:  WORKSHOP DAY 2/2:  MUSEUM OF CONTEMPORARY ART + DISCUSSIONS  |  An Paenhuysen (S12) MFA ACA
 8 OPT: CO-ALISM Group dinner (TBA) OPT
S3 FREE

WEDNESDAY, AUGUST 1

10-11:30  MOVEMENT SERIES SESSION (COMMUNITY)  (S12) OPT
10-11:30  MEETINGS: (S9) 
11:30-12  PRESENTATION (30 MIN EACH) BY ELENA MARCHEVESKA (S3) EXP
12-1  BREAK
1-7  WORKSHOP DAY 1/1:  SILENCE/SILENCED  |  Elena Marcheveska  (S12) ALL
8  OPT: CO-AL-ISM: Film Night  |  PROGRAM (TBA) OPT
S3 FREE

THURSDAY, AUGUST 2

10-12  MOVEMENT SERIES SESSON: SLOW DRAWING WITH ANDREW COOKS (Courtyard) OPT
10-12  MEETINGS (S9) 
12-1  BREAK
1-7  WORKSHOP DAY 2/2:  SILENCE/SILENCED  |  Elena Marcheveska (S9) ALL
8  OPT: CO-AL-ISM: MFA Install OPT TO HELP
S3 FREE

FRIDAY, AUGUST 3

10-11:30  MOVEMENT SERIES SESSION (COMMUNITY)  (S12) OPT
PRESENTATION BY ECE PAZARBASI (S12) EXP
10-11:30  MEETINGS (S9) 
12-1  BREAK
1-7 WALKSHOP: WALKING OUT CIRCLES: Ece Pazarbasi  |  S12 ALL
 8 OPT: CO-ALISM Group dinner (TBA) OPT
S3 S9 FREE

SATURDAY, AUGUST 4

 10-8   CO-A-LISM MFA DIALOGUES + EXHIBITION + RECEPTION  ( Flutgraben ) EXP
PROGRAM

 

SUNDAY, AUGUST 5

OFF

 

 

SESSION 3  MONDAY, AUGUST 6 - SATURDAY, AUGUST 11
 

MONDAY, AUGUST 6

10-11  MOVEMENT SERIES SESSION (COMMUNITY)  (S12) OPT
10-11  MEETINGS (US9) 
11-12  PRESENTATIONS (30 MIN EACH) BY SARAH BENNETT + HERMAN BASHIRON MENDOLICCHIO (S3) EXP
12-1  BREAK
1-7:  WORKSHOP DAY 1/2 ART AS AFFECTIVE ENCOUNTER  |  Sarah Bennett  (S3) PHD DCA
1-7:  WORKSHOP DAY 1/2: WALKING PRACTICES: CYCLIC JOURNEY   |   Herman Bashiron Mendolicchio (S12) MFA ACA

TUESDAY, AUGUST 7

10-12  MOVEMENT SERIES SESSION THE POROUS BODY 2/4 WITH LOUIS LABERGE-COTE (S12) OPT
10-12 MEETINGS (US9) 
12-1  BREAK
1-7:  WORKSHOP DAY 2/2 ART AS AFFECTIVE ENCOUNTER  |  Sarah Bennett  (S3) PHD DCA
1-7:  WORKSHOP DAY 1/2:  WALKING PRACTICES: ENTERING THE WOODS   |   Herman Bashiron Mendolicchio (S12) MFA ACA

WEDNESDAY, AUGUST 8

10-11 MOVEMENT SERIES SESSION SERIES (COMMUNITY) (S12) OPT
10-11  MEETINGS (S9) 
11:00-12  PRESENTATIONS (30 MIN EACH) BY ANGELIKI AVGITIDOU + ANDREW COOKS EXP
12-1  BREAK
1-7:  WORKSHOPS DAY 1/2 UTOPIA REVISITED: DREAMS AND NIGHTMARES OF FUTURE PAST  |  Angeliki Avgitidou (S12) ALL
1-7:  WORKSHOPS DAY 1/2:   SEDUCE/SEDUCED  |  Andrew Cooks (S3) ALL 

THURSDAY, AUGUST 9

10-12  MOVEMENT SERIES SESSION THE POROUS BODY 3/4 WITH LOUIS LABERGE-COTE (S12) OPT
10-12 MEETINGS (S9) 
12-1  BREAK
1-7:  WORKSHOPS DAY 2/2:   UTOPIA REVISITED: DREAMS AND NIGHTMARES OF FUTURE PAST  |  Angeliki Avgitidou (S12) ALL
1-7:  WORKSHOPS DAY 2/2:   SEDUCE/SEDUCED  |  Andrew Cooks (S3) ALL
7-8:  READING + TALK BY ESTELLE HOY (S12) ALL

FRIDAY, AUGUST 10

10-12  MOVEMENT SERIES SESSION THE POROUS BODY 4/4 WITH LOUIS LABERGE-COTE (S12) OPT
10-12  MEETINGS (S9)
12-1  BREAK
1-3  PLANNING SESSIONS CRITIQUE OR RESEARCH OR READING OR LISTENING OR TOPIC GROUPS  (S3, S12) EXP
3-4  PU APM MEETING Cooks + Lewin  (S3) MFA REPS EXP (S3)
4-4:30  EXTERNAL EXAMINER MEETING John Newling  (S3) + ALL MFA GRADS EXP
 5-6  PU MEETING Newling + Cella + Cooks + Lewin + Groucutt (S9)
6-7  CLOSING RECEPTION ( Pfoertner Cafe ) OPT

SATURDAY, AUGUST 11

STUDENT SELF-ORGANIZED EVENTS (TBA)
COALISM DE-INSTALL
RESIDENCY ENDS

 

 

NOTES


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

PRESENTATION NOTES
* All full group digital presentations take place on Transart’s Airbook with your USB stick and Keynote.
Present up to 30 minutes including Q+A. Tech check required 30 min. in advance (CS3). 

ATTENDANCE
ALL NEW STUDENTS
are expected to attend the full residency and attend all events marked EXP
RETURNING students must attend all scheduled events marked EXP.
ALL You are not required to attend any courses or events except those marked EXP UNLESS you sign-up for them. 

FORMS
Advance request to arrive late or leave early form
Explanation of missed residency requirement (illness or emergency) form
Student course evaluation form
Instructor workshop evaluation form
Invoice form


LOCATIONS

UFERSTUDIOS
Badstr. 41a (Gate 1), Wedding, Berlin
Internet password: Dr_10-289#
Uferstudios Ethos and Rules PDF?
Floor Plans

FLUTGRABEN
Am Flutgraben 3, Berlin