MFA & Academy
Summer Residency 2019

August 5 - 24
Berlin (and surrounds)




Reviewers for presentations





Session One

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

Session Two

Herzbergstraße 40–43
Haus 6/Werkstatt 4

Spike Berlin
Rosa-Luxemburg-Straße 45, Berlin

Session Three

Field Kitchen Academy
Wüsten-Buchholz, Perleberg

Course Descriptions

Session 1


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.

Session 2

Book as exhibition / Publishing practices for artists (working title)

Anna-Sophie Springer

Detailed description pending. This will be a hands on workshop addressing publishing practices for artists, working with students own material/research.

Anna-Sophie Springer is an independent exhibition maker, writer, editor, and publisher. She directs the publishing imprint K. Verlag in Berlin, advancing new forms of the “book-as-exhibition.” In her research-based practice, she works with cultural and scientific archives and collections to produce post-disciplinary ecologies of attention and care.

Springer has completed two M.A.s—one in Contemporary Art Theory from Goldsmiths College, University of London (2007), and one in Curatorial Studies from the HGB, Leipzig (2013). In 2014, she was invited as the Craig-Kade Visiting Scholar-in-Residence at Rutgers University, New Jersey.

Since 2016, she is a Visiting Lecturer at the Institut Kunst, Basel where she teaches intensive seminars that aim to show how theory and practice intertwine. Currently, Springer is also developing her Ph.D. on the financialization of nature at the Centre for Research Architecture, Goldsmiths. As a practice-based degree the project also continues her work on natural history exhibitions in times of ecological collapse.



Excursion: 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.


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.


A Walk Through with The Institute for Endotic Research
In "A Walk Through", Benjamin Busch and Lorenzo Sandoval will visit some of the public sculptures in the surrounding of TIER. The walk proposes a walk-essay on the role of art in the constitution of the German welfare state, and as a way to reflect on the universal access that art has to shape consciousness.





Session 3

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.


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.



nothing breaking the losing

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.

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.

art grant clinic

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.

Program Schedule


Session One

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

Session Two

Course: Artist Publishing with Anna-Sophie Springer
Roving Sessions

Session Three

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

Session One
Monday August 5th - Sunday August 11th

Studio 6 + Seminar Room (office)


11-12:30 Opening meeting & discussion. Mini-presentations “on process” (3 minute each, analog)
12:30-1:30 BREAK
1:30-3:30 Student-guided discussion group - on readings for workshop 1 (S6) ALL EXP
3:30-6:30 Excursion - Studio visits Künstlerhaus Bethanien
6:30 Group dinner


11:30-12 PRESENTATION - Workshop Instructor - Bowdidge (S6)
12-2 WORKSHOP (S6) (ALL)
2-3: BREAK


11:30-1:30 WORKSHOP (S6) (ALL)
1:30-2:30: BREAK
2:30-5:30: WORKSHOP (S6) (ALL)
5:45-6:30pm: Colegium meeting (REPS, SQ, Cella, MB)


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)


11:00 -12:00 — Install for presentations
12:00-1:00 MINI-ARTIST TALK - (guest reviewer x 2)
1:00-1:15 BREAK
1:15-2:15 Presentations - (2 x MFA1)
2:15-3:15 BREAK
3:15 - 4:15 Presentations - (2 x MFA1)
4:30 - 7: Install for Grad dialogues (MFA2) (S6)
4:45-5:45 Second year orientation meeting (MFA1, SQ & MB) (Seminar Room)
6 - 7:30: Discussion/Reading Group (Seminar Room)


10-4 Production Day - Install for Grad Dialogues - ALL
5-6:30 Grad Dialogue (performance/viewing + dialogue) (S6)
6:30-7:30 Reception (courtyard)



Session Two
Monday August 12th - Sunday August 18th



11:00-11:30 PRESENTATION - Workshop instructor: Anna-Sophie Springer
11:30-1:30: WORKSHOP
1:30-2:30: BREAK
2:30-5:30: WORKSHOP

6:30 - 7:30 ROVING SESSION


9:30 - 10:30 Individual meetings (Oberholz)

11:00-1 WORKSHOP
1:00-2:00: BREAK
2:00-5:00: WORKSHOP


9:30 - 10:30 Individual meetings (Oberholz)

11:00-1 WORKSHOP
1:00-2:00: BREAK
2:00-5:00: WORKSHOP
6:00: Group Dinner (student organised)


10:00-12:00: APM meeting + External Examiner Meetings
1:30-2:30 PU meeting (cella, susie, Michael via skype, Anya)
1:00 - 2:00 Encounter
3:30-6:00 Discussion Group - crit group discussion session

6:30 - 7:30 ARTIST TALK (S6) (ALL, PUBLIC)
7:30 - 8:30 Reception



Session Three
saturday August 17th - saturday August 24th

Field Kitchen Academy

(Daily schedule details TBC)


Travel to Field Kitchen Academy


Conceptual Dinner


Conceptual Dinner


Conceptual Dinner


Conceptual Dinner


Conceptual Dinner


7:00 - 8:00 Public Presentation of workshop results

saturDAY, AUGUST 24th

Performance - Choreomania with Emma Howes
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). He also advises and teaches for Trans Art Institute (based in New York).

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. A 10 year long battle with Leukaemia Cancer during her youth transposed her into different environments and languages in the Netherlands, France, UK, Brazil and Germany inevitably challenging her political positions, citizenship and feeding into her transdisciplinary practice as a visual activist, writer and teacher.
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.

Bikoro uses live art practices and digital photography story-telling to create living and performative archives contesting the nature of our cultures, histories and identity. Her practice works on the functions of performing archives contesting the purpose of our cultures, histories and identity through decolonial cannibal aesthetics. Her research is a time-machine reacting to sense-memory and political landscapes to create Human Monuments about spaces and peoples across all nations to re-invent memorial post colonial gestures towards freedom. These narratives are based on true stories and meander with visual fictions. Her practices often engages communities interactively by bridging societal constructs through educational theory and practice workshops in Decolonial Histories through Performance using sonorous archives, notably form colonial POW's between 1915-1942.

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).
She is the recipient of several  awards including BBK Artists Award (2017), British Arts Council (2016), Senats Abteilung Kulturelle Angelegenheiten (2016), Goethe Institut South Africa (2016), Fondation Blachère and Afrique Soleil Mali for Best Artist awarded at the 10th Dakar Biennale (2012), Best Discovery Award at New York Cutlog (2013), Ercillas Prize for Best Exhibition Award at FIG Bilbao (2014), HANGAR Research Fellowship Lisbon/Angola (2016-219). She was recently speaker in the TAZ.Lab Open Conferences at Haus Der Kulturen Der Welt presenting Decolonial Cities. She is also part of the Goethe Institute’s programme Episodes of the South in São Paulo.