HØSTSEMESTERET 2013
SEMESTERPLAN
BA Billedkunst—Kunstakademiet
MA Billedkunst—Kunstakademiet
Versjon: 30. september 2013
Endringer i semesterplanen vil forekomme
Oppdatert semesterplan: www.khio.no
1
Innholdsfortegnelse /Contents
Bachelorprogram …………………………………………………………………………………………………………………………………….3
Masterprogram ……………………………………………………………………………………………………………………………………….4
Undervisnings formater ved Kunstakademiet/Teaching formats ……………………………………………………………..5
Tematisk fokus/Issues in practice and theory …………………………………………………………………………………………..8
BA
Marte Johnslien: 1 BA felles seminar ………………………………………………………………………………………………………9
Stian Grøgaard: Lesegruppe i kunstteori for 1BA ……………………………………………………………………………………11
Cathy Lane and Salome Voegelin: Her Noise …………………………………………………………………………………………12
Stian Grøgaard: Kunst etter 1945 …………………………………………………………………………………………………………..14
MA
Will Bradley: Capitalism and power ……………………………………………………………………………………………………….15
Marit Grøtta: Introduction to the philosophy of Giorgio Agamben …………………………………………………………17
Goksøyr og Martens: Simultan dramaturgi ……………………………………………………………………………………………19
BA/MA
Dag Erik Elgin og fast gjest Stian Grøgaard: Akademi ……………………………………………………………………………21
Dag Erik Elgin og Victor Boullet: Salongmaleri ……………………………………………………………………………………..23
Dag Erik Elgin og Gavin Jantjes: An Appetite for Painting ………………………………………………………………………25
Synne Bull, Amanda Steggel, Greg Pope: Landing Sites …………………………………………………………………………26
Synne Bull: Re:placing the cinematic ……………………………………………………………………………………………………..29
Dirkjan van der Linde, Germain Ngoma, Michael O’Donnell, Jeanette Christensen: Sculpture studio ….32
Jeanette Christensen og Marianne Heier: Art and Finance ……………………………………………………………………33
Jan Verwoert: A social tapestry of wildness …………………………………………………………………………………………..35
Kristian Øverland Dahl: Maleri: Materialer og metoder, maleri teknisk workshop ………………………………..36
Stian Grøgaard og Gard Frigstad: Fivreld III ……………………………………………………………………………………………37
Skrivepraksis / writing practice ……………………………………………………………………………………………………………..39
Gard Frigstad: 1BA Skrivepraksis ……………………………………………………………………………………………………………40
Gard Frigstad: Tegnteori (BA/MA)………………………………………………………………………………………………………....41
Mike Sperlinger: 'Words Are No Help': A Short Introduction to Contemporary Artists' Writing (BA) ………43
Mike Sperlinger: 'Escape from Discussion Island': Contemporary Artists' Writing (MA) …………………………45
Teseveiledning ………………………………………………………………………………………………………………………………………47
Exhibition practice og gruppe kritikk / Group critique ……………..……………………………………………………………48
Tekniske Worskhops / Techinical workshops
Odd-Svein Vadseth: Modell og prototype verksted ……………………………………………………………………………….49
Greg Pope, Christian Tviberg og Tom Trøbråten: Film, video, lyd og bilde / workshop
Greg Pope, Christian Tviberg og Tom Trøbråten: Film, video, lyd og bilde
Fargeverksted
Prosjekttorget
Åpent Forum/Open Forum …………………………………………………………………………………………………………………… 52
Academy Lectures ………………………………………………………………………………………………………………………………… 56
Lærere/Teachers ……………………………………………………………………………………………………………………………………57
Gjestelærere/Guest teachers …………………………………………………………………………………………………………………59
Administrasjon/Administration ……………………………………………………………………………………………………………..67
2
Bachelor program
Requirements for a Bachelor’s Degree: 180 credits
Course structure
Independent
practice
1 BA
1 semester
Issues in practice
and theory
Writing
practice
Introductory
writing
workshop
TOTAL
Introduction course
theory and
workshops,
seminars and
lectures
15
5
6
Open Academy presentation and assessments
30 ECTS
Studio practice, Group
Workshops,
tutorials
critiques
seminars and
lectures
15
5
6
30 ECTS
2 BA
3 semester
Studio practice,
tutorials
Thematic
writing
workshop
TOTAL
1 BA
2 semester
TOTAL
2 BA
4 semester
Studio practice,
tutorials
Group
discussions
of practice
Group
critiques
Group
critiques
Workshops,
seminars and
lectures
15
5
6
Open Academy presentation and assessments
30 ECTS
Studio practice, Group
workshops,
tutorials
critiques
seminars and
lectures
TOTAL
15
5
6
Open Academy presentation and assessments
30 ECTS
3 BA
5 semester
Studio practice,
tutorials
Group
critiques
15
5
Workshops,
seminars and
lectures
2
Exhibition
practice
4
Exhibition
practice,
seminar
4
4
Exhibition
practice,
Seminar
4
Thesis
writing
Graduation
show
4
4
Open Academy presentation and assessments
TOTAL
30 ECTS
3 BA
6 semester
Studio practice,
tutorials
Group
critiques
Thesis
writing
Graduation
show
15
30 ECTS
5
4
6
TOTAL
TOTAL
180 ECTS
3
Masterprogram
Requirements for a Master’s Degree: 120 credits
Course structure
Independent
practice
1 MA
1 semester
TOTAL
1 MA
2 semester
Studio practice,
tutorials
Group
discussions
of practice
Group
critiques
Issues in practice
and theory
Writing
practice
Workshops,
seminars and
lectures
Introductory
writing
workshop
15
5
6
Open Academy presentation and assessments
30 ECTS
Studio practice, Group
Workshops,
tutorials
critiques
seminars and
lectures
30 ECTS
TOTAL
15
30 ECTS
5
6
2 MA
3 semester
Studio practice,
tutorials
Group
critiques
30 ECTS
15
5
Workshops,
seminars and
lectures
2
Exhibition
practice
4
Exhibition
practices,
Seminar
4
Thesis
writing
Graduation
show
4
4
Open Academy presentation and assessments
TOTAL
30 ECTS
2 MA
4 semester
Studio practice,
tutorials
Group
critiques
Thesis
writing
Graduation
show
30 ECTS
TOTAL
15
30 ECTS
5
4
6
TOTAL
120 ECTS
4
Undervisningsformater ved Kunstakademiet /
Teaching formats at the Art Academy
Individuell studieplan / Individual studyplan
Alle studenter må oppnå 30 studiepoeng i løpet av semesteret innenfor de fem hovedområdene.
Noe av programmet er obligatorisk og noe valgfritt. Vi ber om at du krysser av hvilke
undervisningstilbud du vil følge i høstsemesteret. Dette skjemaet vil danne grunnlag for
godkjenning av semesteret sammen med intern vurdering.
Den individuelle studieplanen vil danne grunnlag for godkjenning av semesteret, sammen med
evalueringsskjema som leveres inn i slutten av semesteret.
Deltakelseskrav for godkjenning: minst 80 %.
Alle studenter må selv skrive seg opp på lister for de enkelte undervisningstilbudene som henges
opp på oppslagstavlen på kontoret til Kunstakademiet ved semesterstart. Alle må melde seg på til
undervisning på disse listene og samtidig levere skjemaet for individuell studieplan til
administrasjonen ved studiekonsulent Berit Andresen. Nærmere informasjon sendes via e-post. /
All students must obtain 30 credits during the semester within the five main areas. Some parts of
the program are mandatory. We ask you to choose which courses/workshops/seminars you will
follow. This form is thus a basic plan for approval of the semester, along with an internal
assessment.
The individual study plan will form the basis for acceptance of the semester, along with the
evaluation form that is submitted at the end of the semester.
Participation requirements for approval: at least 80%.
All students must sign up on lists for the various announced courses that are offered and posted on
the board in the administration office of the Academy of Art. Everyone must sign up for courses on
these lists and also deliver their individual study plan to the administration and study consultant
Berit Andresen. Further Information is sent via e-mail.
Undervisningsformater / Teaching formats
TUTORIAL
En tutorial er en samtale mellom en lærer/gjestelærer og en student med utgangspunkt i
studentens arbeid, og regnes som en del av studentens kunstneriske praksis. Hvis ønskelig kan
studenter også gå sammen i tutorials med hverandre. Samtalen kan foregå på et hvilket som helst
stadium av en kunstnerisk prosess. /
A tutorial is a conversation between a teacher/guest teacher and a student based on the student's
work, and are considered part of the student's artistic practice. If desired, students can also join
together in tutorials with each other. The conversation may be performed at any stage of an
artistic process.
SEMINAR
Et seminar er et undervisningsopplegg over et begrenset tidsrom der man belyser og observerer
et spesifikt tema fra forskjellige vinkler. Et seminar foregår i gruppe med flere studenter, og kan
også inkludere flere inviterte bidragsytere. Typisk varighet er fra en til ti dager, og studentene vil
5
normalt oppfordres til å engasjere seg i diskusjon om seminarets tema. /
A seminar is an educational program over a limited period in which to explore and observe a
specific topic from different angles. A seminar takes place in a group with several students, and
can also include several invited contributors. The typical duration is from one to ten days, and
students are normally encouraged to engage in discussions on the seminar theme.
WORKSHOP
En workshop er bygget på modell av et verksted, og er basert på konkret produksjon. Vanligvis vil
en workshop gå over et samlet tidsrom over for eksempel noen dager, og være basert på
deltakelse fra flere studenter i samarbeid med lærer og/eller gjestelærer. En workshop kan være
teknisk eller konseptuelt orientert men er alltid fokusert på praktisk produksjon som for eksempel
skrivekurs, lyddesign, eller materialorientert utvikling av ferdigheter. /
A workshop course is built on the model of a workshop and is based on actual production.
Typically, a workshop course will extend over a total period of a few days and be based on the
participation of several students in collaboration with the teacher and/or guest lecturer. A
workshop can be technically and conceptually oriented but is always focused on practical
production such as writing, sound design, or material oriented development of skills.
FORELESNING / LECTURE
En forelesning er en forklaring av et utvalgt tema foretatt av en lærer/gjestelærer eller student
overfor en gruppe tilhørere. Ofte kan forelesningen også ha rom for diskusjon og innspill fra
tilhørerne. /
A lecture is an explanation of a selected topic conducted by a teacher/guest teacher or student to
a group of listeners. Often, the lecture can also have room for discussion and input from the
audience.
GRUPPEKRITIKK/CRITS
En gruppekritikk er en samtale mellom flere deltakere rundt et konkret kunstverk, prosess,
kunstprosjekt eller en utstilling. Den kan finne sted på et hvilket som helst stadium av en
kunstnerisk prosess. Det finnes flere modeller for gruppekritikk, men de vektlegger alle
deltakernes involvering i hverandres prosjekter og diskusjonen rundt disse. /
A group critique is a conversation between several participants around a specific work of art,
process, an art project or an exhibition. It can take place at any stage of an artistic process. There
are several models for group critique, but they all emphasize the participants' involvement in each
other's projects and discussion around these.
UTSTILLINGSPRAKSIS / EXHIBITION PRACTICE
Utstillingspraksis omfatter alle former for offentlige presentasjon av ferdige kunstprosjekter i
galleriene ved Kunstakademiet eller andre steder. For eksempel intervensjoner, performance,
publikasjoner osv. Uansett format må presentasjonen av prosjektet være offentlig tilgjengelig. /
Exhibition practice encompasses all forms of public presentation of finished art projects exhibited
in the galleries at the Art Academy or venues elsewhere. For example, interventions,
performances, publications, etc. Whatever format, the presentation of the project must be publicly
available.
6
STUDENTINITIERTE PROSJEKTER / STUDENT INITIATED PROJECTS
En målsetting for undervisningen ved Kunstakademiet er aktiveringen av studentene i forhold til
både eget arbeid og konteksten det inngår i. Ved selv å definere behov og ønsker for egne
rammer, blir de i stand til å arbeide autonomt, fritt og nyskapende i forhold til kunnskapen de
tilegner seg i løpet av studiet. Derfor er det et pedagogisk prinsipp ved Kunstakademiet at
studentene selv aktivt skal bidra til utformingen av studietilbud. Gjennomføring av egne
prosjekter som workshops, seminarer, forelesninger, reiser, utstillinger osv. gir verdifull praktisk
erfaring. Prosjekter der flere studenter er involvert gir trening i kommunikasjon, ledelse,
kritikalitet og koordinering. Søknad for studentinitierte prosjekter leveres til studieleder. /
A goal for teaching at the Academy of Fine Arts is the activation of the students in relation to their
own work and the context it belongs TO. By defining their own needs and limits, students are able
to work autonomously, free and innovative in terms of the knowledge they acquire during the
course. Therefore, it is a pedagogical principle at the Art Academy that students themselves
actively contribute to the design of the study. And completion of own projects such as workshops,
seminars, lectures, trips, exhibitions etc. provide valuable practical experience. Projects where
several students are involved provide training in communication, leadership, criticality and
coordination. Application for such student-initiated projects must be delivered to the study
leaders.
Selvstendig praksis/Independent practice
Kjernen i dine studier ved Kunstakademiet ligger i din praksis som kunstner. Forskning og
produksjon av arbeid er selvstyrt og foretas på egen hånd. Dette kan innebære teknisk opplæring,
produksjon av verk, oppsøke eller studere andre kunstneres verk, lese litteratur, søke etter
informasjon i arkiver, gjøre feltarbeid, eller enhver annen form for aktivitet som er relevant for
din kunstneriske praksis. /
At the core of your studies at the Oslo Academy of Fine Art lies your practice as an artist. Research
and production of work are self-directed and undertaken independently. This may involve technical
training, production of works, viewing of works by other artists, reading literature, searching for
information in archives, doing field research, or any other kind of activity relevant to your practice.
In the first year of your studies the emphasis will lie on experimentation and exploration of
processes, materials and ideas. In your second year the emphasis will be placed more on the
development and production of your graduation project.
7
Emner i praksis og teori BA og MA /
Issues in practice and theory BA and MA
Kunstakademiet tilbyr et bredt spekter av tematiske workshops, seminarer og foredrag slik at du
kan berike din praksis, få en forståelse av historien og konteksten som former samtidskunsten, og
engasjere deg kritisk i forhold til problemstillinger i samtidskunst, kultur og samfunn. /
The Academy offers a broad range of thematic workshops, seminars and lectures for you to enrich
your practice, gain an understanding of the histories and contexts shaping contemporary art, and
engage critically with issues in contemporary art, culture and society.
8
1BA FELLES SEMINAR
1BA
STUDIEPOENG / CREDIT POINTS
2
SPRÅK/LANGUAGE
Norsk/Engelsk, Norwegian/English
LÆRERE/TEACHER
Marte Johnslien
KONTAKT/CONTACT
post@martejohnslien.com
UKER/WEEKS
35, 36, 37, 40, 41, 43, 46, 47, 48, 49
UKEDAG/WEEKDAY
Torsdag/Thursday
TID/TIME
10.00-16.00
ANTALL GANGER / NUMBER OF SESSIONS
10
ROM/SPACE
Social space and screening room
MAKS ANTALL STUDENTER/
1BA
MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Lukket/Closed
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80 % attendance
COURSE REQUIREMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING / COURSE DESCRIPTION:
Norsk:
- Generelt sett skal torsdags seminaret være et sosialt treffpunkt, hvor vi vil ta for oss et bredt
utvalg emner som er å finne i studieplanen og forsøke å knytte disse nærmere hverandre.
- Vi vil bli bedre kjent gjennom felles lunsjer og åpne diskusjoner.
- Studentene vil få omvisning i KHiO’s verksteder og fasiliteter med introduksjon fra
verkstedsansvarlige.
- Vi vil ha fokus på ateliervirksomhet/produksjon, og hva den enkelte vil ha behov for av utstyr og
ressurser for å få jobbet best mulig.
- Studentene vil bli bedt om å presentere sine arbeidsprosesser (i plenum og/eller i mindre
grupper), og vi vil besøke profesjonelle kunstnere i Oslo på deres atelierer og se nærmere på
hvordan de jobber.
- Vi vil snakke om kunstteori, og se på viktigheten av dette i forbindelse med studentenes praksis.
- Vi vil også besøke og bli introdusert til andre kunstinstitusjoner i Oslo (blant annet UKS og et par
kunstnerdrevne visningssteder).
- Det vil bli satt av tid til individuelle samtaler etter behov.
English:
- The Thursday seminar will take form as a social meeting point, and a wide range of topics
relating to the curriculum will be touched upon.
- We will get to know each other better through lunches and open discussions.
- We will look closely at KHiO’s facilities and be guided through the different workshops.
- We will focus on studio practice / artistic production, and look at what kind of resources each
student will need in order to create a good working condition.
- The students will be asked to present their work processes (in plenum or smaller groups). And
we will visit professional artists in Oslo in their studios to look closer at how they work.
- We will talk about art theory, and look at the importance of this in relation to your artistic
practice.
- We will visit and be introduced to art institutions in Oslo (for example UKS and a couple of artist
run spaces).
- There will be time for individual tutorials.
9
UNDERVISNINGSMÅL / COURSE OBJECTIVES:
Norsk:
Torsdags Seminaret vil finne sted 10 ganger i første semester. Den vil være et sosialt treffpunkt,
hvor vi vil ta for oss et bredt utvalg emner som alle er å finne igjen i studieplanen. Fokuset for
kurset er å gi 1BA studentene informasjon om varierte kunstneriske prosesser og
produksjonsmetoder. Dere vil få omvisning i KHiOs verksteder og fasiliteter, og bli presentert for
andre kunstinstitusjoner i Oslo. Vi vil besøke kunstneres atelierer, og diskutere hverandres
arbeider bade individuelt og i grupper. /
English:
Thursday seminar will take place 10 times in the first semester. They will take form as a social
meeting point, and a wide range of topics will be touched upon. The course will focus on giving the
1BA students input and guidance in various artistic processes and production methods. We will
meet to look at KHiO’s facilities, be guided through different workshops and get familiar with other
art institutions in Oslo. We will visit artists’ studios, have lunch together. And discuss your work in
groups or individually.
TIDSPLAN/SCHEDULE:
Norsk:
29.08: fellesmøte Social Space, introduksjon av alle
05.09: Biblioteket, intro og oppgave
12.09: omvisning i alle skolens verksteder med introduksjoner av verkstedsansvarlige.
Oppmøte kl. 12.30 ved resepsjonen, KHiO.
Videre tidsplan følger senere. /
English:
29.08: meeting in the Social Space: introduction of all the participants.
05.09: Library: intro and assignement.
12.09: tour of the schools facilities with introduction by the people in charge of the different
workshops.
Everyone meets at the main reseption at 12.30 p.m.
Further schedule will be announced.
10
LESEGRUPPE I KUNSTTEORI FOR 1BA
SEMINAR/LECTURE
BA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TISTEDEVÆRELSE
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
4
Norsk/Norwegian
Stian Grøgaard
Stian.S.Grøgaard@khio.no
43, 44, 45, 46, 47 og 48
Onsdag / UKE 46: Mandag
13.00-16.00
6
TT 4 / UKE 46: TT2
25
Lukket/Closed
80%
Seminaret vil gå gjennom tekster av Clement Greenberg, Donald Judd, Rosalind Krauss, Robert
Smithson, Joseph Kosuth, Sol Lewitt og Hal Foster. Studentene legger tekstene fram til diskusjon.
Faglærers oppgave er å gi bakgrunnsinformasjon om tekstene og forfatterne.
UNDERVISNINGSMÅL / COURSE OBJECTIVES:
Det er viktig for denne introduksjonen til teori for førsteklasse at flere av forfatterne av tekstene
selv er kunstnere. Formålet med lesegruppa er å diskutere med støtte i sentrale tekster exiten fra
en mediumspesifikk modernisme og ulike kunstneriske posisjoner fram til dagens postmediale
situasjon.
PENSUMLISTE: Kopier av tekstene vil bli utlevert ved begynnelsen av kurset.
ANBEFALT LESNING / OPTIONAL READING OR VIEWING MATERIAL:
-
Greenberg, Clement. Modernist Painting.
Judd, Donald. Specific objects.
Krauss, Rosalind. Sculpture in the expanded field.
Smithson, Robert. Spiral Jetty.
Kosuth, Joseph. Art after philosophy.
LeWitt,, Sol. Sentences on Conceptual Art.
Foster, Hal. The Return of the Real, 1. Kapittel, Who is afraid of the neo-avantgarde?
TIDSPLAN / TIME SCHEDULE:
23.10: Greenberg og abstrakt ekspresjonisme.
30.10: Judd og Minimal Art.
06.11: Krauss postmoderne utvidelse av skulpturfeltet.
11.11: Smithson og postminimalismen (Obs! Mandag)
20.11: Konseptkunst: LeWitt og Kosuth.
27.11: Foster og neo-avantgarden.
11
HER NOISE
WORKSHOP
BA (MA can apply)
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHERS
KONTAKT/CONTACT
4
English
Cathy Lane and Salome Voegelin
mail@salomevoegelin.net,
c.lane@lcc.arts.ac.uk
Therese Veier: TherVeie@khio.no
Holly Ingleton and Anne Hilde Neset
Study trip to London week 39 (25.-27.9)
Seminars in Oslo week 42, 45 and 49
Thursdays
10.00-16.00
Study trip + 3 sessions in Oslo
TT2 and/or students studios
10
Closed
80% attendance
GJESTELÆRERE/GUEST TEACHERS
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
COURSE REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNINGEN / COURSE DESCRIPTION:
Aim:
This unit provides the support and facilitates the planning, development and realization of an
applied research project which results in the production of a piece of creative sound work. During
this unit you will learn about and explore different ideas of art as a professional practice and as
practice-based research. Lectures, workshops and seminars delivered by teaching staff and visiting
speakers will introduce you to different models of practice-based research, their application and
aims. Through these you will begin to develop a critical understanding of the relationship between
research and practice in relation to your own work and will be able to produce your own applied
research project.
Assessment requirements:
You will produce a piece of creative sound work in response to the HerNoise archive at the London
College of Communication. You are free to respond in any way you wish but your interaction with
the archive, its concepts, contents and context has to demonstrate a critical engagement and
produce a creative realisation. This project will require you research into all aspects of the archive
that might inform your work and how they might be dealt with in your practice. At the end of the
term you will present your work and your concurrent ideas on research in a formal presentation to
your fellow students.
You are required to submit:
- A piece of work produced in response to the Her Noise archive at LCC, demonstrating solid
research and presenting a substantial experimental development; exploring different modes of
working.
- A short report outlining and presenting the notion of research as it is pursued for the
development and through the realization of the piece of work (approx. 800-1000 words)
12
- A formal presentation of the work, highlighting the critical context of the work and its
relationship to research.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
Learning Outcomes:
On completion of this Unit, you will be able to:
- Demonstrate a developing critical understanding of research in relation to sound arts practice.
- Develop a piece of sound work through a process of research, experimentation, contextual
awareness and critical reflection.
- Articulate and document your research reflectively, representing your working processes through
sonic, visual, verbal and written means.
- Be self-directed in managing production and research processes.
ANBEFALT LESNING / OPTIONAL READING OR VIEWING MATERIAL:
Please consult the handbook’s unit descriptor for reading suggestions, however, as your practice
based research is individual; please do take care to also find your own literature, in consultation
with your tutor.
TIDSPLAN / TIME SCHEDULE:
Studytrip to London 25, 26 and 27 September:
25.09:
Cathy Lane and Salome Voegelin discuss the Her Noise sound archive, presentations by MA Sound
Arts students. Salome will meet students and their tutors (Hanan Benhammer) at the reception at
LCC at 09:50, which is at Elephant and Castle tube station (Northern and Barkerloo line).Holly,
Cathy and myself will do an introduction to the HerNoise archive in the morning from 10:00, at
11:00 they will get a tour through the archive by Richard Daniels the archivist. at 12:00 we will
continue the introduction and discuss, take questions etc.
After lunch, from 14:00 the current MA Sound Art students, who have made work in response to
the archive will present their work and talk about their responses and research.
there will be time for questions and debate and hopefully to be social.
26.09 and 27.09:
Visit the sound archive. The next two days, there is a timetable for small groups of two or three to
have access to the archive, and others have access to computers where they can research and
listen/read etc. while waiting for their turn.
Oslo:
17.10: Tutorials about works in progress and group discussions with Holly Ingleton and Anne Hilde
Neseth.
07.11: Tutorials about works in progress and group discussions with Holly Ingleton and Cathy Lane.
05.12:
Holly Ingleton and Anne Hilde Neset, Crit. where each student presents their work, playing it and
talking about the research, the concepts, the processes and context of the work and how it could
be presented publicly. Presentations should last for about 20 minutes plus 10 minutes questions,
one full day of tutorials about finished work, presentations and group discussions.
DEADLINE FOR SUBMISSION OF TEXT: 15 December
13
KUNST ETTER 1945
FORELESNING/LECTURE
BA og eksterne kursdeltakere/BA and external participants.
STUDIEPOENG/CREDIT POINTS
3
SPRÅK/LANGUAGE
Norsk/Norwegian
LÆRER/TEACHER
Stian Grøgaard
KONTAKT/CONTACT
Stian.S.Grøgaard@khio.no
UKER/WEEKS
43, 44, 45, 46, 47, 48
UKEDAG/WEEKDAY
Onsdager/ UKE 46: Mandag
TID/TIME
09.00-12.00
ANTALL GANGER/NUMBER OF SESSIONS
6
ROM/SPACE
TT 4
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP Åpent for eksterne
KRAV TIL TILSTEDEVÆRELSE/
80%
COURSE REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Kunsthistorie etter 1945. Forelesningene avslutter gjennomgangen av kunstens historie som
begynte høstsemesteret 2012.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
Forelesningen tar sikte på å gi studentene en oversikt over hovedretninger i kunst de siste femti
årene.
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
Ved siden av generelle innføringer i nyere kunst er følgende å anbefale:
- Foster, H. et al., Art since 1900
- Harrison, C. et al. Art in Theory 1900-2000: An Anthology of Changing Ideas.
TIDSPLAN/TIME SCHEDULE:
Uke 43: Onsdag 23/10 - Pop Art og neoavantgarde
Uke 44: Onsdag 30/10 – Minimalisme
Uke 45: Onsdag 6/11 - Postminimalisme
Uke 46: Mandag 11/11 - Konseptkunst (obs! mandag)
Uke 47: Onsdag 20/11 - Neo-ekspresjonisme
Uke 48: Onsdag 27/11- Identitetspolitikk og relasjonell estetikk
14
CAPITALISM AND POWER
CLOSE READING GROUP
MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRER/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
COURSE REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
4
Engelsk/English
Will Bradley
wllbrdly@gmail.com
Phone: 90171872
36, 41, 42, 43, 44, 45, 46, 47, 48, 49
Friday
09.00 -12.00
10
TT 2
Open
80% attendance
A reading group introducing key perspectives on the critique of capitalist social organisation,
including viewpoints from history, philosophy, cultural studies, critical theory and the critique of
political economy. The first half of the course will begin with broad questions and follow the
development of new approaches through the twentieth century. The second half will focus more
closely on contemporary theory and on cultural production.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
The critic Fredric Jameson has claimed that to take a position in relation to culture in
postmodernity “is also at one and the same time, and necessarily, an implicitly or explicitly political
stance on the nature of multinational capitalism today.” If capitalism dominates the relations of
production in contemporary society, then an understanding of the critique of capitalism is
essential to a developed understanding of cultural production. The aim of this reading group is to
introduce key perspectives on the critique of capitalist social organisation and to relate these ideas
to cultural production. In addition, the course aims to introduce a set of critical tools which can be
more widely applied, and to develop the practice of close reading and discussion.
TIDSPLAN/TIMESCHEDULE:
Reading list:
Part 1
Week 36 : Michel Foucault - 7 January 1976, in Society Must Be Defended, Penguin Books 2004
Week 41 : Peter Linebaugh and Marcus Rediker, 'The Wreck of the Sea Venture', Chapter One of
The Many-Headed Hydra, Beacon Press 2001
Week 42 : Karl Marx, texts collected in Selected Writings in Sociology and Social Philosophy, ed. T.
B. Bottomore and M. Rubel, Pelican 1956, Section Two: The Social System of Capitalism
Week 43 : Mustapha Khayati - On the Poverty of Student Life, 1966
15
Week 44 : Franz Fanon, 'Violence in the International Context', in The Wretched of the Earth, tr.
Farrington, Penguin 1967
Week 45 : Raymond Williams, 'Base and Superstructure in Marxist Cultural Theory', New Left
Review 1973
Week 46 : Intellectuals and Power: A Conversation Between Michel Foucault and Gilles Deleuze
Week 47 : Gayatri Spivak, 'Can the Subaltern Speak?
Week 48 : Maurizio Lazzarato (1996) 'Immaterial Labour', trans. Paul Colilli & Ed Emory, in Paolo
Virno & Michael Hardt, eds., _Radical Thought in Italy_, Minneapolis: University of Minnesota
Press, pp. 132-146.
Week 49: Michael Hardt and Antonio Negri, Excursus 1: Method, in Multitude: War and Democracy
in the Age of Empire
Part 2
Texts from Franco Berardi, George Caffentzis, Felix Guattari, David Harvey, Fredric Jameson,
Jacques Ranciere, Marina
16
INTRODUCTION TO THE PHILOSOPHY OF GIORGIO AGAMBEN
FORELESNING/LECTURE
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKE/WEEK
DATE/DATO
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
2
Engelsk/English
Marit Grøtta
maritgrotta@gmail.com
47
20, 21, 22 nov.
Wed/Thurs/Fri
13.00-15.00
3
TT 2
Open
80 %
Introduction to the Philosophy of Giorgio Agamben
These lectures give an introduction to Giorgio Agamben’s political philosophy and his
reinterpretation of the political condition. In the Homo Sacer-series, Agamben offers a critical
analysis of the state of society and politics today and the place of the individual within it. Exploring
the concepts of “biopolitics,” “bare life,” and “state of exception,” he highlights the close ties
between law and lawless; between democracy and totalitarianism. However, Agamben is not
merely a political philosopher; in his work, questions of politics, law, and ethics are intertwined
with questions of language and metaphysics. To grasp the complexity of Agamben’s thought, all
these aspects must be considered together.
1. Homo sacer and the politicization of life
- What is a human life? What is politics?
- Happiness and the concept of potentiality
- Biopolitics: the politicization of life
- Political exclusion: homo sacer (examples: refugees, roma/gypsies)
2. State of Exception
- Sovereign power and violence
- The relation between life and law
- The permanent state of exception
- The camp as a paradigm (Auschwitz, Guantánamo, refugee camps)
- Democracy and totalitarianism
3. Politics as economy, administration, and management
- The relation between theology and politics; between sovereign and executive power
- Executive power as economy, administration, management
- Sovereign aesthetics: pomp & circumstance, media spectacles
- After politics: inoperability (désoeuvrement)
17
PENSUMLISTE/READING LIST:
Excerpts from the following books (to be distributed):
Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life (Stanford, Cal.: Stanford University
Press, 1998).
Agamben, Giorgio. State of Exception (Chicago: University of Chicago Press, 2005).
Agamben, Giorgio. The Kingdom and the Glory : For a Theological Genealogy of Economy and
Government (Stanford, Cal.: Stanford University Press, 2011).
Agamben, Giorgio. Means without End: Notes on Politics (Minneapolis: University of Minnesota,
2000).
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
Grøtta, Marit. “Giorgio Agamben: Livet i unntakstilstanden”. Moderne politisk teori. Red, Jørgen
Pedersen (Oslo: Pax, 2010).
18
SIMULTAN DRAMATURGI
WORKSHOP
MA (BA kan søke)
STUDIEPOENG/ CREDIT POINTS
SPRÅK/LANGUAGE
LÆRER/TEACHER
KONTAKT/ CONTACT
3
Norsk/Norwegian
Toril Goksøyr og Camilla Martens
torilgoks@gmail.com / camilla@martens.as
95891178 / 90651682
46 og uke 2 i 2014
12, 13, 14 nov.
Tue./Wed./Thurs.
10.00-16.00
To tre dagers workshop (høst/vår)
TT 4
15
UKE/WEEK
DATO/DATE
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/
MAX. NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Lukket
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE
80%
BESKRIVELSE AV UNDERVISNING / COURSE DESCRIPTION:
SIMULTAN DRAMATURGI
“Ontologies: note that. Now the word needs to go in the plural. For, and this is a crucial move, if
reality is done, if it is historically, culturally and materially located, then it is also multiple. Realities
have become multiple.” (Annemarie Mol, Actor Network Theory and After, 2005)
PRESENTASJON
Fordi vi lever i en tid hvor mange tviler på det representative demokratiets evne til å håndtere
økonomi, fordelingspolitikk og integrering av mennesker med en ikke vestlig bakgrunn, er det
behov for et teater som innebærer direkte innflytelse, deltagelse og dialog.
Goksøyr & Martens tror at samarbeid og medvirkning er gode verktøy når framtidige forestillinger
skal utvikles. Vår ambisjon er å engasjere både individer og grupper, og vårt mål er å gi de
involverte en mulighet til å fortelle sine historier.
Vår metode innebærer å intervjue folk, observere folk og nedtegne nøyaktige hendelser og
bevegelser. Materialet vi sitter igjen med er avgjørende for den ferdige forestillingens innhold,
handling og forløp.
Parallelt med dette er en vesentlig del av vårt arbeid også knyttet opp til å undersøke en simultan
dramaturgi. Årsaken er at vi ønsker å lage forestillinger som rommer flere budskap, bilder,
fiksjonsunivers og situasjoner samtidig, hvor det er mulig for publikum å selv bestemme hvilken
virkelighet hun eller han ønsker å følge.
UNDERVISNINGSMÅL / COURSE OBJECTIVES:
Vi vil presentere vår arbeidsmetode, diskutere denne og legge til rette for at studentene kan
benytte og utfordre metoden på en relevant måte i forhold til egen selvstendig kunstpraksis.
19
FRAMDRIFT
1: Studentene velger om de vil arbeide alene eller i gruppe.
2: Studentene velger et offentlig sted.
3: Studentene observerer situasjoner på stedet og finner brukbare måter å dokumentere på.
4: Studentene lager en presis romlig, handlingsbasert og/eller tekstbasert beskrivelse av
situasjonen/hendelsen de vil gjenskape.
5: Studentene presenterer idéen for gruppen.
6: Studentene bestemmer hvor de skal være, hvilke materialer som skal benyttes og hvilke aktører
som skal realisere hendelsen.
7: Studentene tolker egen rekonstruksjon og relaterer den til egen kunstnerisk praksis.
8: Studentene presenterer ferdige verk for hverandre, og inviterer til åpen visning.
9: Studentene reflekterer over hvordan de ulike performative verkene fungerer sammen og i
relasjon til hverandre.
10: Studentene dokumenterer alle verk.
PENSUMLISTE:
Gjervan, Ellen Karoline et al. (2005), Dramaturgi – Forestillinger om teater, Universitetsforlaget .
ANBEFALT LESNING/OPTIONAL READING:
Gatland, Jan Olav,(1998), Teaterteori–klassiske og moderne tekster, Pax.
Lehmann, Hans-Thies (2006), Post dramatic theatre, Routledge.
Warr, Tracey, Jones, Amelia (2006), The artists body, Phaidon.
Kwon, Miwon(2004), One place after another, site-specific art and locational identity, MIT press
20
AKADEMI
SEMINAR i hovedveiledergruppe
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
3
Norsk. (Engelsk ved besøk av internasjonale gjester/
Norwegian. (English on the occasion of English
speaking guests).
Dag Erik Elgin
dageelgi@khio.no
Stian Grøgaard (fast gjest)
Arnold Dreyblatt, Jan Brockmann
35, 37, 40, 43, 44, 46, 47
Tirsdag/Tuesday
10.00-13.00
7
Malersalen
15
LÆRERE/TEACHER
KONTAKT/CONTACT
GJESTE LÆRER/
GUEST TEACHERS
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/
MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Lukket/Closed
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80%
REQUIREMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Norsk:
Akademi er et gjennomgående seminar hver annen tirsdag i Dag Erik Elgins hovedveiledergruppe
(andre etter avtale) høstsemesteret 2013 med fast gjest Stian Grøgaard. og gjestelærere (ukeplan).
Vi møtes ved bordet i malersalen som markerer nærhet til to steder: det fysiske produksjonsstedet
og stedet for kritisk refleksjon og diskusjon. Kontinuitet i samtalen og formidling mellom praktisk
kunstnerisk arbeid og teoretisk refleksjon står sentralt. Akademi skal være et sted der vi forhandler
og revurderer synspunkter direkte.. Formen har elementer av seminar, forelesningsrekke og
gruppekritikk med hovedvekt på nærhet til det kunstneriske arbeidet . Gjennom forelesninger,
samtaler og diskusjoner nærmer vi oss den etymologiske betydningen av skole (fra det greske
`schole´ σχολή , fritid) – et sted der fri tid utøves; tid til å undersøke, reflektere og diskutere. I
Politikken skriver Aristoteles at både arbeid og fritid er viktig, men at prinsippet for all (god)
aktivitet er fritid. Ordet schole er beslektet med det greske verbet echein: å ha eller holde. Schole:
å ha tid.
Undervisningen bygger på forpliktende deltakelse for å utvikle en felles referanseramme og et
språk som gir trygghet for også å uttrykke ulike synspunkter. Tema formuleres i fellesskap
underveis med noen faste punkter, eksempelvis problematiske verdisystemer som autentisitet,
sannhet, kvalitet, overskridelse, talent. Eller materialisme, persepsjon, fellesskap, techne, rutine,
vitne (Zaugg), reversibilitet, kiasme (Merleau-Ponty), affekt (Deleuze), poiesis og praksis
(Agamben), rasling (Barthes), støv (Serres), flekken (Didi-Huberman), hvit elefantkunst vs
termittkunst (Faber).
Målet er diskusjoner om samtidskunst og deltakernes prosjekter som artikulerer sammenhengen
mellom kritisk refleksjon og kunstnerisk praksis. Det handler om å finne ordene som åpner for
betydningen av bilder, objekter, idéer og intuisjoner. Aktiv deltakelse er en forutsetning, og
21
omfatter alt fra å lese en tekst, anbefale en tekst, svare på utfordringer fra medstudenter eller
lærere og å analysere egne eller andres arbeider. I Akademi er samtalens egenverdi det vesentlige.
English:
Every other Tuesday, Dag Erik Elgins hovedveiledergruppe (others by appointment) with
permanent guest Stian Grøgaard and guest teachers (week plan) will meet in Malersalen for
Akademi, a place of production and critical reflection. Continuity of dialogue and negotiation
between practical artistic
and theoretical work is essential. The etymological meaning of the word school (from Greek
`schole´ σχολή , free time) is a place where free time is performed; time to investigate, time to
reflect and time to discuss. In Politics, Aristotle describes work and leisure to be of equal
importance, stressing that the principle for all (good) activity is leisure. The word school is related
to the Greek verb echein: to possess or to hold. Schole: to possess time.
In order to develop a common point of reference and a language for formulating opposing views,
participation on a regular basis is compulsory. Themes and content will be formulated succesively
by the participants with some fixed points such as problematic systems of value, e.g. athenticity,
truth, quality, transgression, talent. Or materialsm, perception, techne, routine,witness (Zaugg),
reversibility, chiasm (Merleau-Ponty), affect (Deleuze), poiesis and praxis (Agamben), withering
(Barthes), dust (Serres), the spot (Didi-Huberman), white elephantart versus termiteart (Manny
Faber). Akademi is about finding words that open up for the meaning of images, objects, ideas and
intuitions. Active participation includes reading or recommending a text, responding to challenges
from fellow students or teachers and to analyse one´s own and others works. The main focus of
Akademi is the inherent value of dialogue in itself .
22
SALONGMALERI
WORKSHOP
BA/MA
STUDIEPOENG/CREDIT POINTS
LANGUAGE
LÆRERE/TEACHERS
CONTACT
UKE/WEEK
DATO/DATE
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
3
Engelsk/English, Norsk/Norwegian
Dag Erik Elgin og Victor Boullet
salongmaleri@gmail.com
http://salongmaleri.tumblr.com/
dageelgi@khio.no
42
14. -18.10
10.00 - 16.00 (see course description)
5 + preparations (see course description)
Malersalen +satellites
Places and time will be announced closer to
arrival.
15
MAKS ANTALL STUDENTER/
MAX. NUMBER OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Lukket/Closed
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80% attendance
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Title: Salong Maleri, do I need mentioning by Victor Boullet, am I worthy, who cares?
Another pathetic attempt to join the masses, so here I am trying to understand why I chose this
particular artistic path of survival.
The title for the week at the academy derives from a very personal conversation I had with
Professor Dag Erik Elgin where he criticized a Norwegian painter by calling his oeuvre a tad Salong
Maleri, an negatively biased expression. I do not disagree with Professor Dag Erik Elgin, but one
has to be very aware of what one says in the company of a competitor, in this case me. The
content of the conversation and the name of the person will never leave our private talk. Should
or can a private dialogue colour one’s opinion regarding another artist’s work and life.
During the week at the Academy I would like to investigate private conversations / critiques
towards friends and their art vs the public reading on the same topic. A humble attempt on how
to understand it and why it feels good to slag others off.
Also on the agenda; why have a high level of art production? Are we scared of being forgotten?
Are we defending our position? Our personal archive of work, what is it, where is it and how
important is it? Why are some accepted and not others? Do we care? Why should we care? Why
do people need to take control? Who are we?
During the week I will give a personal and visual lecture containing how I slag others off and the
contradiction in my own work. This will be done somewhere comfortable, important, no?
Dag Erik Elgin will give a lecture about the history of Salong Maleri, why and how one can
understand it and what the word means today.
I will also invite a guest lecturer. To be announced on that very same day. I expect all students
that attend to help, before, during and after. Via phone, sms and emails. Please provide me with
email addresses as soon as possible. salongmaleri@gmail.com
23
I would like to have everything documented and made into a thick, fat fanzine. Need two / three
students to be responsible for this. Edition of 5.
A tumblr web site with an communal email address will be opened September 2013 so that
everyone can post individually. email address will be provided in August.
http://salongmaleri.tumblr.com
We will also produce a silkscreen by 10 different artists, edition of 5. Myself and Dag Erik Elgin will
make one each, and I need 8 other students to make the remaining 8. I need one person to be
responsible for this. This has to be done two to three weeks before the workshops starts. Title /
content Salong Maleri. Where to be hung will be announced.
Also, I would like to orchestrate 5 very small happenings in Oslo during the week, and this for no
reason. The work will be a recreation of an accident / incident found / come across in Paris by me,
I would like them to reappear in Oslo as a work. Photos will be provided.
So I need 5 students for that. More info to come.
Last but not least I would like 3 students to come forward to study three different Norwegian
artists and give us a small lecture of 30 min each during our week. The artists are Henrik Lund,
Arne Kavli and Bernhard Folkestad.
Also, I have no reason to stay at the academy so the workshop will become a nomadic journey, all
to be announced towards September 2013. As we will picnic throughout the week the students
themselves will make the food that we will eat, I am sure your professor Dag Erik Elgin will
provide some help regarding hard cash. Simple food is also good food.
Victor Boullet
Paris late may 2013.
24
AN APPETITE FOR PAINTING
SEMINAR
BA/MA
STUDIEPOENG/CREDIT POINTS
LANGUAGE
LÆRERE/TEACHERS
CONTACT
UKE/WEEK
DATE/DATO
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
3 study point for students who participated in
spring 2013.
Engelsk/English
Dag Erik Elgin, Gavin Jantjes, chief curator at
The National Museum of Art Oslo
dageelgi@khio.no/94523336
38
19.09 and 20.09
Thursday (seminar) and Friday (reception)
10.00
2
Museet for Samtidskunst/The Museum of
Contempprary Art,
Bankplassen 4, 0151 Oslo
10
MAKS ANTALL STUDENTER/
MAX. NUMBER OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Closed
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80% attendance
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
An Appetite for Painting
International Conference on contemporary painting
If you are concerned about what has happened to painting over the past ten years and what its
future could be in the next decade, then this is a conference for you. The speakers are renowned
painters and historians from around the world who are familiar with the state of painting today.
They will offer their views on why painting has remained an autonomous and discursive practice
and retained its ability to grapple with present realities even when it appears to be pushed to the
periphery of popular discourse. And they will argue why notions of beauty, harmony and empathy
survive in painting´s many modes of practice, when these are often absent in other media. This
two-day conference forms the final part of a series of discussions about painting organized by the
museum that began with the seminar ”Paradox Painting” held in November 2012. These
discussions inform the curation of an ehhibition of contemporary painting scheduled to open at
the museum of contemporary art in the autumn of 2014.
Invited speakers:
Glenn Barkley, Marlene Dumas, Peter Doig, Olav Christopher Jenssen, Jitish Kallat, Analia Saban,
Mari Slaattelid, Robert Storr.
25
LANDING SITES
WORKSHOP
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHERS
KONTAKT/CONTAT
3
Engelsk/English, Norsk/Norwegian
Synne Bull, Amanda Steggel, Greg Pope
synnbull@khio.no, amansteg@khio.no,
gregpope@khio.no
H C Gilje
Week 45 and presentation week 49.
4-8 Nov.
Monday-Friday
10.00-18.00
5
Choreography Black Box + Medielab 4
5 (+ 3 MA Choreography students)
GJESTELÆRER/GUEST TEACHER
UKER/WEEKS
DATO/DATES
UKEDAGER/WEEKDAYS
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/
MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Lukket/Closed
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80% attendance
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING / COURSE DESCRIPTION:
Norsk:
Denne praktiske workshopen utforsker hvordan audiovisuell teknologi kan brukes til å forvandle,
skape, utvide, forsterke og tolke fysiske rom.
På kurset introduseres billedkunstner Hans Christian Giljes egenproduserte ”Video Projection
Tool”, (VPT) 6.0., et gratis og fleksibelt sann tids- projeksjonsverktøy for Mac og Windows. Blant
annet kan det brukes til å projisere video på komplekse former, til å tilpasse en projeksjon til en
bestemt plass eller overflate, eller til å kombinere innspilte- og liveopptak for flere-skjerms HDvisning. Det kan også brukes for interaktive installasjoner ved hjelp av Arduino sensorer eller
kamerasporing, osv. VPT har blitt et populært verktøy for teater og videoinstallasjoner, men
brukes også av VJs.
Den forrige versjonen, VPT 5.1, ble lastet ned i underkant av 5000 ganger. Mer om HC Gilje her:
http://hcgilje.com/
Tematisk er workshopen basert på ideen om tilstedeværelse forstått av arkitekt og kunstnerparet
Arakawa og Giner som en perseptuell tilnærming til oppmerksomhet, besluttsomhet og handling.
Gjennom kunstnerpresentasjoner og korte foredrag vil vi også gi denne workshopen en historisk
kontekst, fra de tidlige ”visuell musikk” eksperimentene fra begynnelsen av 1900 tallet, til
”expanded cinema” bevegelsen på 60- og 70-tallet. Vi skal diskutere denne praksisen utover en
dominerende formalistiske tenkning, ved å anerkjenne både intellektuelle og politiske
dimensjoner i konkrete verk.
Format: intenst arbeid med praktiske forsøk, oppgaver, lesing av tekst, foredrag, diskusjoner, og
dagbok.
Deltakerne må være forberedt på å samarbeide og være til stede under hele workshopen.
Vi vil arrangere en offentlig presentasjon og en lukket presentasjon med respondent i desember.
26
English:
This hands-on workshop explores how audiovisual technology can be used to transform, create,
expand, amplify and interpret physical spaces.
You will be introduced to guest artist Hans Christian Gilje’s own Video Projection Tool, (VPT) 6.0.,
a free multipurpose real-time projection software tool for Mac and Windows. Among other
things it can be used for projecting video on complex forms, adapt a projection to a particular
space/surface, combine recorded and live footage, for multiscreen HD playback, for interactive
installations using arduino sensors or camera tracking ++
VPT has become a popular tool for theatre and installation use, but is also used by VJs.
VPT 5.1 was downloaded just under 5000 times.
More about HC Gilje here: http://hcgilje.com/
Thematically, this project is drawing on ideas of ‘situatedness’ proposed by the architect/artist
duo Arakawa and Gins, where a perceptual approach to ‘attention’, ‘decision’ and ‘action’ are key
elements.
Through artist presentations and brief lectures we will also contextualize this workshop within a
historical frame constituted by the early “visual music” experiments of the early 1900s, as well as
the “expanded cinema” movement of the 60s and 70s. We will be discussing these practices
beyond the dominant formalist thinking, by acknowledging both intellectual and political
dimensions of specific works.
Format: practical experiments, tasks, talks, discussions, reading, lectures, diary keeping
Participants must be prepared to collaborate and be present during the whole of the workshop.
We will arrange one public presentation and one closed presentation with respondent in
December.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
Norsk:
Hensikten er å utforske nye perseptuelle, kognitive og kinestetisk verktøy for individuelle
kunstneriske prosjekter og tverrfaglige samarbeid. Fra et internasjonalt perspektiv har prosjektet
link til den voksende diskursen rundt 'utvidet koreografi' frontet av blant andre, den svenske
koreografen Mårten Spångberg.
Målet med den historiske vinklingen er å utforske hva den non-narrative tilnærmingen tilbyr som
et verktøy for filosofisk og kunstnerisk gransking av det anti-hierarkiske og abstrakte som et
potensial for et politisk uttrykk.
Workshopen vil gjøre det mulig å trekke noen historiske linjer og se på hvordan disse historiske
posisjonene informerer live film- og videoinstallasjoner og forestillinger i dag. /
English:
The intention is to propagate new sets of perceptual, cognitive and kinesthetic tools for individual
artistic projects and interdisciplinary collaborations, dance-wise, stage-wise and otherwise. From an international perspective the project resonates with a growing discourse on ‘expanded
choreography’ fronted by, amongst others, the Swedish choreographer Mårten Spångberg.
The objective is to explore what the non-narrative approach offers as a tool for philosophical and
artistic inquiry into the anti-hierarchical and abstract as a potential for political expression.
27
The workshop will make it possible to draw some historical lines and see how these historical
positions informs live film and video installations and performances today.
PENSUMLISTE:
-
Walley, Jonathan (2003). The Material of Film and the Idea of Cinema: Contrasting
Practices in Sixties and Seventies Avant-Garde Film, October, 103: 15-30.
Brougher, Kerry, (2005), Visual-Music Culture in Visual Music: Synaesthesia in Art and
Music Since 1900, Thames & Hudson, 88-18 s.
Norsk:
Disse tekstene vil være tilgjengelig som pdf til den enkelte og kan også skrives ut og legges i min
posthylle på kontoret ved forespørsel. Andre tekster og verk vi skal ta for oss introduseres på
seminarets første dag.
English:
These texts will be available as pdf and print out in my mail box upon request. List of other short
texts and works will be distributed on the 1st day of the seminar.
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
Norsk:
Dette kurset er direkte relatert til konferansen Re:placing the cinematic som finner sted på ANX,
ORP. 2. Fra 31.10 til 02.11. Samtaler og presentasjon fra denne konferansen vil fungere som
kontekst for diskusjoner i workshopen og det vil være gunstig om man derfor får med seg begge
dagene i konferansen.
English:
This course is directly related to the conference Re:placing the cinematic 31.10-02.11. Talks and
presentation from this conference will serve as a context for this workshop. A participation of
both days of the conference is therefore an ideal starting point.
TIDSPLAN/TIME SCHEDULE:
Norsk:
Dette kurset vil være en intens uke 10-18 mandag-fredag. Det skal gi hands-on praktisk opplæring
samt diskusjoner og selvstyrt forskning og praksis. Den detaljerte planen vil ta form når vi møtes
som en gruppe. Vi møtes igjen uke 49 for evaluering med en ekstern respondent og presentasjon
for publikum.
Vennligst merk: Det er viktig å møte opp kl. 10 den første dagen for å delta. Hvis du har
problemer med dette eller andre spørsmål så kontakt meg så snart du kan.
English:
This course will be an intense week 10-18 Monday-Friday. It will be giving hands-on practical
training as well as discussions and self-directed research and practice. The detailed schedule will
take form when we meet as a group. We are meeting again week 49 for evaluation with an
external respondent and presentation for the public.
Please note: It is essential to meet up at 10am the first day in order to participate. If you have
problems with this or any other questions please contact me as soon as you can.
28
RE:PLACING THE CINEMATIC
WORKSHOP/FORELESNINGER/LECTURES
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
2
Engelsk/English
Synne Bull og Susanne Ø. Sæther
synnbull@khio.no
GJESTELÆRERE/GUEST TEACHERS
Day 1: Tom Gunning, Noam M. Elcott, Ina Blom,
Susanne Ø. Sæther.
Day 2: Bull.Miletic, Ivar Smestad, Andreas Bunte
Jeremy Welsh, Ellen Røed, and more TBA.
UKE/WEEK
DATO/DATES
UKEDAG/WEEKDAY
TID/TIME
44
31.10, 01.11 (related events 2.11 and 3.11)
Thu. and Fri. (related events Sat. and Sun.)
10.00-18.00
+ evening events/screenings
2
The conference takes place off-site at Atelier Nord,
ANX. (Olaf Ryes pl. 2).
The conference day 1 is open for the general public,
day 2 only for invited participants and a maximum of
10 registered students. A registration e-mail for day 1
will be sent out to everyone – please reply to this email in due time as space is limited!
Day 1: Open for the general public.
Day 2: Only for registered students and invited
participants.
80% attendance
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/
MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
REQUIRMENTS FOR CREDITS
Please note: If you plan to take this course for credits
you have to sign up for both days. This seminar
combines well with the Landing Sites workshop the
following week.
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
The art research project Re:place is an investigation of (relationships between) place, time and
memory as manifested in artistic works exploring image, sound, text – or combinations of these.
At the 3rd Re:place seminar in Oslo we will discuss the notion of the cinematic, focusing on the
social and performative aspect of cinema as experience and event, and on the current expansion
and migration of cinema to spaces and places old and new. Rephrasing the seminal title of André
Bazin’s classic essay collection “What is cinema?” (1958–1962), several film theorists have recently
asked, “Where is cinema?” As this question indicates, cinema and the cinematic is on the move,
theoretically, materially, institutionally, socially and geographically. Re:place will present a set of
artistic practices and theoretical propositions that implicitly and/or explicitly engages this
question.
29
“The cinematic” is here understood more specifically both through recent manifestations of the
historical trajectory of “expanded cinema,” such as live video, and to encompass the way cinema
produces a historically situated collective experience, be it through shared time and/or space
(as in traditional theatrical distribution of cinema) or through technologically mediated social
interaction (in new networks of file-sharing etc.). Emerging through this approach is also a
conception of much recent moving image art as site-specific.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
This is the final conference in the art research project Re:place. The two previous conferences are
documented here: http://replace-project.blogspot.no/p/seminar.html?
Day 1 will offer four distinctly different theoretical positions within cinema and media research
related to contemporary art practices. Speakers have been invited to respond to the theme as
described above and their abstracts will be circulated in good time before the day of the
conference.
Day 2 will be a closed seminar with presentations of work in progress by invited artists receiving
informed responses by other participants in the group. This session is not open to the general
public and will therefore be an intimate and relaxed meeting between artists, scholars and
students.
You will be engaging in dialog with artist and scholars of international recognition, learn about the
work they are doing now and the various discussions this works activates in the group.
Extra events and screenings will be announced, see separate program and website
http://replace-project.blogspot.no/ for details.
Please remember to register for this course separately according to forthcoming e-mail
announcements (early fall).
PENSUMLISTE/ REQUIRED READING LIST:
It is a requirement to do some research on the participating artists and scholars as well to as read
through the abstracts when available and prepare for the talks and discussion.
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
- Ina Blom ”The Autobiography of Video: Outline for a Revisionist Account of Early Video Art”,
Critical Inquiry, Vol. 39, No. 2 (Winter 2013). 276-295.
- Noam M. Elcott, “On Cinematic Visibility: Expanded Cinema Between Wagner and Television,” in
Expanded Cinema: Art Performance, Film, (Tate Publishing, 2011), 39-49.
- Tom Gunning “Moving Away from the Index: Cinema and the Impression of Reality,” differences
18, 1 (Spring 2007), 29-52.
http://replace-project.blogspot.no/
These texts can be made available as pdf (e-mail) or print out in my mail box upon request.
30
TIDSPLAN/TIME SCHEDULE:
Thursday 31.10:
Short presentation of the works in the final Re:place exhibition “This must be the place (pick me up
and turn me around)”.
Coffee break
Lecture 1: Tom Gunning (University of Chicago)
Lecture 2: Noam M. Elcott (Columbia University)
Lunch
Lecture 3: Ina Blom (University of Oslo)
Lecture 4: Susanne Ø. Sæther (University of Oslo)
Moderator: Susanne Ø. Sæther
Friday 01.11:
Closed session: presentation of works in progress by invited artists with participants from day 1
as respondents, schedule TBA. (Open for participating students).
Evening program and screenings:
Film artists Greg Pope and musician Jon Wesseltoft performs a new long duration
projection/sound piece titled 'Longwave'. This is improvised around certain parameters - which
lasts the whole evening , maybe 2.5 hours long ... with the audience free to come and go. It’s a live
installation, with multiple projectors (16, S8, slide and video ) and slowly evolving image and
sound.
Other evening projects/screenings - TBA.
31
SCULPTURE STUDIO
“installation/a sense of place”
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
3
Norsk/Norwegian
Engelsk/English
Michael O’Donnell, Dirkjan van der
Linde, Jeanette Christensen and
Germaine Ngoma
odonnell@online.no
35, 36, 37, 40, 41, 42, 43, 44, 46, 47, 48
Onsdag/ Wednesday
10.00-12.00
11
TT2
Åpen/Open
80% attendance
Sculpture Studio is made up of two components:
- It is a regular meeting point for the exchange of ideas and solutions within the field of sculpture
and installation- where everybody brings something to the table.
- It is an ongoing series of informal presentations, by both students and staff, dealing with
Installation /a sense of place, seen from source to current perspectives.
It can be viewed as a development from last year’s course dealing with Art/public space, where
that “resource reading list” will also be relevant to the one being used for this situation.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
- To enable students to access facilities and technical advice. As well as to develop solutions from
the conceptual as well as the practical perspective within the expanded field of
sculpture/installation.
- To develop a broad overview of the current thinking in Installation/ space and to provide access
to the elements for personal research, leading to further specialized study at a higher level or
studio thinking.
32
ART AND FINANCE
SEMINAR
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHERS
KONTAKT/CONTAT
GJESTELÆRER/GUEST TEACHER
UKER/WEEKS
DATO/DATES
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
3
Engelsk/English
Jeanette Christensen and Marianne Heier
jeanchri@khio.no
heier_marianne@hotmail.com
Ingrid Hjertaker
(http://ingrid.hjertaker.com/about-me/).
Financial crisis: presentation of background
and status quo. What is it really, and in what
way does this crisis differ from other, earlier
economic crises?
Evening lecture, Open Forum, open for all.
44, 45
28th of Oct. Monday evening lecture with
Ingrid Hjertaker,
Seminar continues Tuesday 29th of Oct and
Thursday 31st of Oct, week 44
Tuesday 5th of Nov., week 45
10.00 -16.00
1.session:Monday evening lecture with Ingrid
Hjertaker, open for all.
2.session:Tuesday 29/10, 10-16, closed for
group
3.session Thursday 31/10, 10-16,closed for
group
4.session Tuesday 5/11, 10-16,closed for group
TT 2
15
ROM/SPACE
MAKS ANTALL STUDENTER/
MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/
Monday: Open
OPEN OR CLOSED GROUP
Other sessions: Closed
KRAV TIL TILSTEDEVÆRELSE/
80% attendance
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Marianne Heier: Presentation of the project Surplus.
(http://www.kunsthall.no/default.asp?AID=1248&ID=26&K=1&a1=Kunsthallen&a2=Arkiv&a3=
Marianne%20Heier%20-%20Surplus&act=ark&aar=). Background, objectives and evaluation of the
reception.
The purpose of this seminar is to approach the study of finance, financial markets and financial
regulation as the social and political phenomena that they are. Financial markets should not only
be the business of bankers, traders, investors and economists. This is because financial markets
matter a great deal for the material welfare of the vast majority of people, both in the developed
and developing world. You might not see financial markets as relevant to you unless you’re a highflying investor or you yourself work in the sector. Yet when you save for your pension or your
children’s education, when you insure against accidents, illness and death, when you borrow
33
money to buy a house, a car, or study, you are engaging with financial markets. Despite these
markets’ importance for the material welfare of many people, financial regulation does not rank
high on the political interest agenda, and is, for the most part, delegated to technocrats. In the
wake of the greatest financial crisis since the Great Depression, It’s time to bring the politics back
in!
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
The Art-Economy-Life course aims to question the features of our global culture through
considering the interplay between art and economy. It is aimed at examining in what way artistic
practice participates within the flows of the market, the seeming immateriality and invisibility of
labor today, and the different ways artists are negotiating these new conditions. Through
concrete examples and practice we will aim to rethink the question of "economy" away from
structures of monetary exchange, to investigate ideas of gift giving, excess, dematerialization,
empathy and radical sharing, and to imagine how artistic work can participate in staging new
models of common culture.
PENSUMLISTE:
We will put together a compendium of the following texts:
Fraser, Andrea (2011), L’1 %, C’EST MOI, Texte zur Kunst, 83: 114-127 s.
Fraser, Andrea, There’s no place like home, 2012 Whitney biennial.
Bishop, Claire, (2011), Con-Demmed to the Bleakest of Futures: Reports from the UK. e-flux
journal#.
Marianne Heier: http://marianneheier.no/?text=diamond
Franco Berardi and Charles Esche:
http://www.generation-online.org/t/tinfolabour.htm
http://www.afterall.org/online/do-not-go-gentle.
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
F"Bifo" Berardi, Franco, (2012), The Uprising., Semiotext(e).
Marazzi, Christian (2011), The Violence of Financial Capitalism, Semiotext(e).
Napoleoni, Loretta (2008), Rogue Economics. Seven Stories Press.
34
A SOCIAL TAPESTRY OF WILDNESS
SEMINAR
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKE/WEEK
DATE/DATO
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
2
Engelsk/English
Jan Verwoert
verwoertjan@googlemail.com
42
16 -18.10
Wed - Frid
10.00-12.00/13.00-16.00
3
TT 4
Open
80% attendance
Impressionists recognized the retina as a skin best exposed to outside light. The Nabis painters
took the eyes from the fields back into the salon and watched people blend in with the wallpaper
and bodies emerge from multicoloured multipatterned clothes. In their paintings they vividly
picture the altered social states in which the senses become relays for the body electric circulating
in their surroundings, as their canvasses come ot resemble the fabric of lived life (the very best
next thing to the dress and scarf you may put on for the night). In writing, this form of fully kinetic
socio-impressionism can be reflected in a long stream of texts that passes through Baudelaire to
Colette and Kathy Acker's many hypnotic linguistic mimicries.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
A talk and a seminar for reading and looking at pictures.
PENSUMLISTE:
Baudelaire, Charles (1995), The Painter of Modern Life. Phaidon.
Colette et al. (2000), The Pure and the Impure. New York Review Book.
Acker, Kathy (1978), Blood and Guts in High School, Grove Press, New York.
35
MALERI: materialer og metoder / PAINTING: methods and materials
WORKSHOP
BA/MA
STUDIEPOENG/STUDYPOINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHERS
CONTACT
2
Norsk/Engelsk, English/Norwegian
Kristian Øverland Dahl
mail@kristiandahl.org
phone: 90159772
Dag Erik Elgin: dagEElgi@khio.no
35, 36, 37, 40, 41, 42, 43, 44, 45, 46, 47
Onsdager/Wednesdays
13.00 - 16.00
11
Fargelaben/malersalen
Åpen/Open
UKER/WEEKS
UKEDAGER/WEEKDAYS
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
80% attendance
REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Norsk:
Bunnmaterialer: oppspenning og grundering av lerret. MDF-plater: liming og grundering.
Preparaturer: gesso og oljegrundering. Bindemidler. Pigmenter og fargestoffer. Gjennomgang av
ulike malemedier: akryl, tempera, olje. Individuelle samtaler for å kartlegge behov.
English:
Base Materials: stretching and the priming of the canvas. MDF: bonding and priming. Preparations:
gesso and oil priming. Binders. Pigments and dyes. Review of different painting mediums: acrylic,
tempera, oil. Tutorials will be given to map out the needs and interests of the group.
UNDERVISNINGSMÅL/COURSE OBJECTIVES:
Norsk:
Kurset vil gi studentene en grunnleggende innføring i maleriets materialer og metoder.
English:
The course will give students a basic introduction to painting materials and methods.
PENSUMLISTE/ REQUIRED READING LIST:
Selsjord, M, Staffelimaleriets Oppbygning.
Hellström, Bjørn, Måleriets material.
Elkins James, What painting is.
36
FIVRELD III: Sjelen etter 1900. Fra William James til Franco Berardi
FORELESNING/LECTURE
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/
OPEN OR CLOSED GROUP
KRAV TIL TILSTEDEVÆRELSE/
COURSE REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
4
Norsk/Norwegian
Stian Grøgaard og Gard Frigstad
StiaS.Gr@khio.no
GardFrig@khio.no
35, 36, 37, 40, 41, 42
Mandager/Mondays
13.00-16.00
6
TT 4
Åpen
80 %
I forlengelsen av foregående seminarer om samme emne vil dette seminaret tolke framstillinger av
sjelen i tekster skrevet etter 1900 som representerer ulike filosofiske posisjoner, pragmatisme,
fenomenologi, hermeneutikk, feminisme og autonomisme (nymarxisme).
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
Seminaret legger vekt på diskusjon, og skal sette studentene bedre i stand til selv å delta.
Tekstutdragene av hver tenker vil være korte og oversiktlige. Sjelsseminaret kan sees som en
innføring i ett sentralt emne i filosofiens historie, men det vil vise at tekster også fra andre
disipliner kan være relevante.
PENSUMLISTE:
Tekster av William James, Ludwig Wittgenstein, Maurice Merleau-Ponty, Charles Taylor, Judith
Butler, Richard Sennett, Franco Berardi mfl. vil bli utdelt ved begynnelsen av seminaret.
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
William James: The Varieties of Religious Experience.
Ludwig Wittenstein: Zettel.
M. Merleau-Ponty: Phenomenology of Perception.
Charles Taylor: Sources of the Self.
Judith Butler: Bodies That Matter.
Richard Sennett: The Corrosion of Character.
Franco Berardi: The Soul at Work.
37
TIDSPLAN/TIME SCHEDULE:
1. gang. William James´ feite subjektivitet.
2. gang. Wittgenstein om det indre menneske.
3.gang. Merleau-Ponty og "kjødismen".
4. gang. Taylor og den moralske rammen om sjelen.
5. gang. Butler og det konstruerte kjønnet
6. gang. Sennett og Berardi: Sjelen i arbeid.
38
Skrivepraksis / Writing practice
Som kunstner vil det å skrive være en viktig del av din praksis. Enten du må skrive et forslag for å
motta finansieringsstøtte, en kunstnerklæring, en pressemelding, eller bruke det å skrive som et
verktøy for refleksjon og analyse eller også som en kunstnerisk praksis i seg selv, vil det å ha en
skrivepraksis være avgjørende for din kunstneriske utvikling. /
As an artist, writing will always be an important part of your practice. Whether you have to write a
funding proposal, an artist statement, a press release, or use writing as a tool of reflection and
analysis or even as an artistic practice in itself, having a writing practice will be essential for your
artistic development.
39
1 BA SKRIVEKURS
Obligatorisk for 1. år BA og studenter som ikke har tatt kurset tidligere må delta.
STUDIEPOENG/CREDIT POINTS
4
SPRÅK/LANGUAGE
Norsk/Norwegian
LÆRERE/TEACHER
Gard Olav Frigstad
KONTAKT/CONTACT
gardfrig@khio.no
UKER/WEEKS
35,36,37,40,41,42
UKEDAG/WEEKDAY
Onsdag
TID/TIME
13.00 - 16.00
ANTALL GANGER/NUMBER OF SESSIONS
6
ROM/SPACE
TT 2
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED
Lukket
GROUP
KRAV TIL STUDIEPOENG/REQUIRMENTS FOR CREDITS
Innlevering av oppgave.
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Kurset baserer seg på tekstinnleveringer per epost til skrivekurs@khio.no som går ut til alle på
kurset. Alle er forberedt på de andres tekster og gir tilbakemeldinger muntlig under kurset.
Oppgavene har vært: Beskrivelse av et kunstverk, kritikk av kunstverk/utstilling, pressemelding og
prosjektbeskrivelse, i et format på en A4-side.
UNDERVISNINGSMÅL/ COURSE OBJECTIVES:
Kurset vil hjelpe deg å bedre skriveteknikk og metode.
40
TEGNTEORI
TEMATISK SKRIVEKURS
BA/MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED
GROUP
KRAV TIL STUDIEPOPENG/REQUIRMENTS FOR CREDITS
4
Norsk/Norwegian
Gard Olav Frigstad
gardfrig@khio.no
43, 44, 45, 46, 47, 48
Mandager
13.00 - 16.00
6
TT 4
Lukket
80 % tilstedeværelse og Innlevering av
oppgave.
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
Seminar i tegnteori
Seminaret er en fortsettelse fra forrige semester, men delta.
Seminaret i tegnteori tar utgangspunkt i hvordan tegn er forankret i noe sanselig, og hvordan
meningsproduksjon er forbundet med det. Det fins forskjellige typer tegn og det er en
arbeidshypotese at kunst er en arena hvor man utvikler og omarbeider uttrykksstrategier for å lage
nye betegnelsesmåter.
Seminaret vil belyse meningsteoretiske emner fra forskjellige angrepsvinkler og bakgrunnsteppe er
hvordan vår forståelse av betydningsdannelse innen kunst kan gi oss innsikt i hvordan tegn oppstår
og fungerer. Her kommer rammebetingelser inn og hvordan de påvirkes og jongleres med.
Kurset drives ved aktiv deltakelse av studentene: Ukentlig fremlegging av tekstsammendrag og
diskusjoner.
UNDERVISNINGSMÅL/COURSE OBJECTIVES:
Tilegne seg selvtillit til at alle tekster lar seg forstå og hvis tekstene ikke er forståelige, er det gjerne
forfatteren som ikke er det og ikke leseren.
PENSUMLISTE/ REQUIRED READING:
Her kommer en foreløpig leseliste. Det betyr ikke at vi rekker over dette og heller ikke at det ikke
kan være andre tekster som vi kan finne mer interessante:
-Gregory Bateson: A Theory of Play and Fantasy, fra Steps to an Ecology of Mind, Lnd. 1992
- Mary Douglas: Do Dogs Laugh? – A Cross-cultural Approach to Body Symbolism, fra Implicit
Meanings, Lnd 1984
- - Mary Douglas: In The Nature of Things, fra Implicit Meanings, Lnd 1984
- Albert Cook: Rhetoric and Rapture -– The Interdependence of Signification and Depth41
Communication in the Arts (fra Dimensions of the Sign in Art, Lnd. 1989)
- Adrian Frutiger: Signs and Symbols -– Their Design and Meaning, Lnd. 1989 (Das Mensch und
seine Zeichen, 1978)
- Mark Johnson: The Body in The Mind – The Bodily Basis of Meaning, Imagination, and Reason,
Chicago 1987 (utdrag)
- Gotthold Eprhraim Lessing: ”On the Limits of Painting and Poetry” fra ”Laocoön”, 1766
- J.Locke: An Essay Concerning Human Understanding (utrdag)
- J. C. Nyiri: The Picture Theory of Reason
- Arne Næss: Ludwig Wittgenstein, fra Moderne Filosoffer, Kbh 1965
- William O. v Quine: Word and Object
- Martin Scheel: Aesthetics of Appearing (cal.2005), IV Thirteen statements on the Picture pp 159186
- Ludwig Wittgenstein: Filosofiske undersøkelser
- Artikler om Pierce og Saussure fra Vor tids filosofi, Kbh 1982
- Artikelen "Language" og "Sign and Symbols" fra Syntopicon an Index til Britannicas Great Books.
42
'Words Are No Help': A Short Introduction to Contemporary Artists' Writing
BA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED
GROUP
KRAV TIL STUDIEPOPENG/REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
4
Engelsk/English
Mike Sperlinger
45 and 48
Wed/Thu/Fri
Wed. 12.00-14.00/ T. F. 09.00-13.00
6
TT 4 / Wed. TT2
Open
80% attendance
In his short 1955 text 'Words Are No Help', the painter Alberto Burri explained the problems he
had speaking about his painting – but nonetheless felt the need to put this problem into words.
Burri's dilemma seems to perfectly reflect the ambivalence artists often feel about writing.
Why do artists write? When does writing become necessary to develop, explain or defend their
practice? In this course we will start to sketch some answers to these questions by looking at a
wide range of recent writing by artists, from the Art Workers Coalition to Ed Atkins, including
everything from manifestos and critical texts to press releases and fiction. The seminars will be
centred on group discussion, with some collective viewing/listening of audio-visual material.
We will be looking at writing as a practice in its own right rather than as a medium for making
artworks, although in practice this distinction (beween primary work and supplementary writing) is
something we will be returning to throughout. We will focus on close readings of mostly short
texts, in order to tease out the differences in attitude and approach of the artists under discussion.
UNDERVISNINGSMÅL/COURSE OBJECTIVES:
To become familiar with some of the key texts by artists from the last three decades; to develop
critical reading skills; and to start to think about the place that writing might have in the students'
own practice.
PENSUMLISTE/ REQUIRED READING:
The readings are mostly very short and pdf scans will be available in a Dropbox folder:
Week 45
•
Art Workers Coalition, 'Statement of Demands 1970', in Art in Theory: 1900-1990, eds.
Charles Harrison & Paul Wood (Oxford: Blackwell, 1999), 901-2
•
Alberto Burri, ‘Words Are No Help’ (1955), Theories and Documents of Contemporary Art,
ed. Kristine Stiles & Peter Selz, (London: University of California Press, 1996), 53-4
•
The Copenhagen Free University, 'All Power to the Copenhagen Free University', online at
43
http://copenhagenfreeuniversity.dk/allpow.html
•
Moyra Davey, The Problem of Reading, online at http://74.220.219.113/~murraygu/wpcontent/uploads/2012/02/Problem-of-Reading03.pdf
•
Ad Reinhardt, 'Twelve Rules for a New Academy', in Theories and Documents of
Contemporary Art, 86-90
•
Frances Stark, 'Professional Me', in Collected Writings 1993-2003 (London: Bookworks,
2003), 52-53
•
Nick Relph, Gavin Brown Enterprises press release, 2010
•
Mierle Laderman Ukeles, 'Maintenance Art Manifesto', Theories and Documents of
Contemporary Art, 622-4
•
Tristan Tzara, 'Dada Manifesto 1918' and 'Lecture on Dada', Seven Dada Manifestos and
Lampisteries (London: Calder, 1992), 3-13 & 107-12
Week 48
•
Ed Atkins, A Tumour In English [extract], online at
http://www.whitechapelgallery.org/downloads/Education/ATKINS_A_TUMOUR_IN_ENGLISH.PDF
•
Marc Camille Chaimowicz, 'Le Parc…', in Café du Rêve (Paris: Editions du Regard, 1985), 3561
•
Anders Eiebakke, 'It’s typically Norwegian to be good', in We Are All Normal (And We Want
Our Freedom), Katya Sander & Simon Sheikh, eds., (London: Black Dog, 2001), 238-43
•
Hollis Frampton, 'Letter to Donald Richie', On The Camera Arts and Consecutive Matters
(Cambridge, Mass.: MIT Press, 2009), p.159-62
•
Andrea Fraser, 'From the Critique of Insitutions to an Institution of Critique', Institutional
Critique and After, John C. Welchman, ed., (Zurich: JRP Ringier, 2006), 123-135
•
Martha Rosler, Service: A Trilogy on Decolonization (New York: Printed Matter, 2008)
•
Robert Smithson, 'A Tour of the Monuments of Passaic, New Jersey', in Robert Smithson:
The Collected Writings, ed. Jack Flam (London: University of California Press, 1996), 68-74
•
Hito Steyerl, 'A Thing Like You And Me', in The Wretched of the Screen, (Berlin: Sternberg,
2012), 46-59
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
•
BANK, Faxback project, examples available online at http://www.johnrussell.org/Web%20pages/Artworks/Exhibitions/Bank/A_fbl.html
•
Adrian Piper, 'In Support of Meta-Art', Out of Order, Out of Sight: Volume II (London: MIT
Press, 1996), 17-27
•
Seth Price, Dispersion, online at www.distributedhistory.com/Dispersion2008.pdf
•
Alex Rule & David Levine, 'International Art English', in Triple Canopy, online at
http://canopycanopycanopy.com/16/international_art_english
•
Hito Steyerl, 'International Disco Latin', in e-flux journal, online at http://www.eflux.com/journal/international-disco-latin/
•
James Whistler – 'A Catalogue' [list of critics' attacks on his work], The Gentle Art of
Making Enemies, online at http://www.gutenberg.org/ebooks/24650
44
'Escape from Discussion Island': Contemporary Artists' Writing
MA
STUDIEPOENG/CREDIT POINTS
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL STUDIEPOPENG/REQUIRMENTS FOR CREDITS
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION:
4
Engelsk/English
Mike Sperlinger
37 and 40
Wed/Thu/Fri
Wed. 12.00-15.00/ T. F. 09.00-13.00
6
TT 4
Open
80% attendance
The last decade has seen an explosion in writing by artists unmatched since the 1960s, as if artists
were keen not be drowned out by the swelling tide of curatorial discourse. But does writing allow
artists to assert themselves in ways they never could through their work alone? Or does it simply
bind artists ever closer to the agenda of critics and curators?
In this course we will try to map some of the different approaches to writing by artists over the last
few decades. Rather than a comprehensive survey of recent artists' writing, we will instead focus
on close readings of a few key examples by artists such as John Kelsey, Henrik Oleson, Frances
Stark and Hito Steyerl. Starting with artists' own accounts of their reasons for writing (and reading)
we will go on to look at a wide variety of texts, from critical and art historical essays to memoirs
and court case documents.
Our aim will be to draw out differences as much as similarities, so we will be reading these artists'
texts through or against one another. This will hopefully allow us to recognise these writings as
products of very different motivations, circumstances and strategies, and often with radically
different relationships to the artists' own wider practice.
UNDERVISNINGSMÅL/COURSE OBJECTIVES:
To become familiar with some of the key texts by artists from the last three decades; to develop
critical close reading skills; and to start to think about the place that writing might have in the
students' own practice.
PENSUMLISTE/ REQUIRED READING:
The readings are mostly very short and pdf scans will be available in a Dropbox folder:
Week 37
•
Moyra Davey, The Problem of Reading, online at http://74.220.219.113/~murraygu/wpcontent/uploads/2012/02/Problem-of-Reading03.pdf
•
Frances Stark, 'Professional Me' and 'Pull-Quotable', in Collected Writings 1993-2003
(London: Bookworks, 2003), 52-53; 68-69
•
Matias Faldbakken, ‘The Absence of Absolute Freedom’, FR David (‘Stuff and nonsense’,
2007): 218-29
45
•
John Kelsey, 'Escape From Discussion Island', Rich Texts: Selected Writings for Art (Berlin:
Sternberg, 2010), 87-98
•
Adrian Piper, 'In Support of Meta-Art', Out of Order, Out of Sight: Volume II (London: MIT
Press, 1996), 17-27
•
Martha Rosler, 'Tijuana Maid', in Service: A Trilogy on Decolonization (New York: Printed
Matter, 2008)
•
Hito Steyerl, 'Letter From an Unknown Woman', October 138 (2011): 57-69
•
Andy Warhol, The Philosophy of Andy Warhol (London: Penguin, 2007), especially Chapter
6 ('Work') 87-103
Week 40
•
Liam Gillick, 'Michael Asher: Fenced, Unfenced, Refenced', Proxemics: Selected Essays,
1988-2006 (Zurich: JRP Ringier, 2006), 67-73
•
Yvonne Rainer, 'Looking Myself in the Mouth', in A Woman Who... (John Hopkins
University Press, 1999), 85-97
•
Henrik Oleson, 'Pre Post: Speaking Backwards', Art After Conceptual Art, eds. Alexander
Alberro & Sabeth Buchmann (London: MIT Press, 2006), 213-30
•
Lis Rhodes, 'Whose History', Film as Film (exh. cat.), London: Hayward Gallery and Arts
Council, 1979, p.119–120
•
James Whistler, 'The Action' [transcript of court case], The Gentle Art of Making Enemies,
online at http://www.gutenberg.org/ebooks/24650
ANBEFALT LESNING/OPTIONAL READING OR VIEWING MATERIAL:
•
Greg Allen, Canal Zone Richard Prince YES RASTA (Lexington: greg.org, 2011)
•
Francis Bacon, 'Interviews with David Sylvester', Theories and Documents of Contemporary
Art, ed. Kristine Stiles & Peter Selz, (London: University of California Press, 1996), 199-204
•
John Cage, 'On Rauschenberg, Artist, and His Work' & 'Lecture on Nothing', Silence:
Lecures and Writings by John Cage (Cambridge, Mass.: MIT Press, 1961), 98-109
•
Jeff Wall, 'Unity and Fragmentation in Manet', Jeff Wall: Works and Collected Writings, ed.
Michael Newman (Ediciones Poligrafa, 2007), 265-99
46
Teseveiledning
3BA: To dagers felles skrivekurs / Teseveileder: Hans Petter Blad
Torsdag 10.okt , kl. 10.00 - 12.00 og 13.00 - 15.00
Fredag 11.okt, kl. 10.00 - 12.00 og 13.00 - 15.00
Samt individuelle tutorials og/ eller skriftlig feedback på tese og tekst.
Formalia teselevering
Tesen skrives på enten engelsk eller norsk (herunder også svensk eller dansk). Teksten skal leveres
i 12 punkts Times New Roman, med halvannen linjeavstand. Den skal være mellom 1500 - 2000
ord, noe som betyr ca. 4-5 sider tekst (uten bilder). Dere kan godt illustrere tesen med bilder av
egne verk eller andre relevante verk i tillegg til teksten.
Utkast til tesen skal leveres innen 2.desember 2013, slik at dere kan få feedback fra teseveileder.
Endelig tese skal leveres både elektronisk til batekst@khio.no, og på papir i 4 eksemplarer til
studiekonsulent Lisa Karlsson innen 1. februar, 2014.
Tesen skal ha en forside som inneholder følgende:Studentens navn
Tittel på tesen
BA tese / BA thesis
Utdanningsinstitusjon: KHiO, Kunstakademiet i Oslo / Oslo National Academy of the Arts, The
Academy of Fine Art
Sider skal være nummerert. Endelig tese leveres som pdf
.
MA: Tre dagers teseveiledning / Teseveiledere: Arne Skaug Olsen (norsk)
Mike Sperlinger (english)
Mandag 30. oktober
Space: TT2
Kl.14.00-16.00: Felles introduksjon/Introduction meeting:
Hva vil det si å skrive en mastertese: prosess, strategier, metoder, fallgruver og løsninger/
What does writing a thesis involve: process, strategies, methods, problems and solutions.
Individuell veiledning og samtale / Individual tutorials
Sign up lists on the notice board in the office.
Arne Skaug Olsen
Rom: TT3
Onsdag 02.10 : kl.10.00-15.15
Torsdag 03.10: kl. 10.00-15.15
Fredag 04.10: kl. 10.00-12.45
47
Mike Sperlinger
Space: Mikes office
Wednesday 02.10: 15.30-17.00
Thursday 03.10: 15.00-17.15
Friday 04.10: 15.00-17.15
Til individuell samtale skal hver student ha levert:
Prosjektbeskrivelse for tese og/eller beskrivelse av hvordan form, tematikk og kunstnerisk praksis
skal henge sammen i tesen. Sendes på epost til arneskaugolsen@gmail.com innen fredag 4.
oktober klokken 1200.
Deadline for innlevering av første utkast for Mastertesen er Mandag 2 Desember.
Utstillingspraksis / Exhibition practice
Å presentere arbeidet sitt i det offentlige er sentralt i enhver form for kunstnerisk praksis.
Kunstakademiet tilbyr en rekke muligheter for deg til å eksperimentere med utstillingspraksis og
bli i stand til å bringe arbeidet ditt frem til et avslutningspunkt der det kan vises og diskuteres
offentlig. Dette kan være i en utstilling, en forestilling, en opplesning, en intervensjon i det
offentlige rom, en radio-overføring, en publikasjon eller annen form som inntar det offentlige
rom. /
Presenting your work in public is central to any kind of artistic practice. The academy offers a
number of opportunities for you to experiment with exhibition practice and learn to bring your
work to a final point where it can be viewed and discussed publicly. This might be in an exhibition,
a performance, a reading, an intervention in public space, a radio transmission, a publication or
other forms of public presentation.
Gruppekritikk / Group critiques
Et viktig verktøy for å utvikle egen praksis er evnen til å gå inn og ut av eget arbeid, og å innta
rollen som produsent, samt betrakter av arbeidet ditt. Videre er evnen til å tolke og diskutere
andre kunstneres arbeid svært viktig, fordi det hjelper deg til å reflektere over hvordan ditt eget
arbeid kan bli mottatt i den offentlige sfæren. I gruppekritikkene vil formelle presentasjoner, samt
kritikk og analyse av arbeid praktiseres.
Å lytte til dine kolleger diskutere ditt arbeid i forhold til dine kunstneriske spørsmål og intensjoner
vil gi deg en mulighet til å teste og reflektere over ulike lesninger arbeidet ditt genererer. Å bli
konfrontert med hvordan andre tolker ditt arbeid vil hjelpe deg til å skille mål og intensjoner du
har med arbeidet, fra hva selve arbeidet gjør – måtene det iscenesetter sitt fag eller henvender
seg til publikum på, samt tolkningene det genererer. Disse diskusjonene kan åpne opp for
48
konnotasjoner, implikasjoner, problemstillinger eller løsninger du ennå ikke har vurdert, og kan
også bekrefte dine kunstneriske avgjørelser.
In an ongoing series of group critiques a forum is provided for students to reflect together on each
other’s work and analyze their practice. An essential tool for developing practice is the ability to
step in and out of your work, and to adopt the role of maker as well as viewer of your work.
Furthermore, the ability to interpret and discuss other artists’ work is very important, as it helps
you to reflect on how your own work might be received in public. In the group critiques, public
presentation as well as discussion and analysis of work is practiced.
Listening to your peers discussing your work, in relation to your artistic questions and intentions,
will provide an opportunity to test and reflect on the readings your work generates. Being
confronted with the way others interpret your work will help you distinguish the aims and
intentions you have with the work from what the actual work does – the ways in which it stages its
subject or addresses its audience, the meanings it generates. These discussions may open up
connotations, implications, problems or solutions you have not yet considered, and may also
confirm your artistic decisions.
Tekniske workshops / Technical workshops
SIKKERHETSKURS MODELL- OG PROTOTYPEVERKSTED
WORKSHOP
BA/MA
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TISTEDEVÆRELSE/REQUIRMENTS FOR
PARTICIPATION
Odd-Svein Vadseth
OddSVads@khio.no
38
Mand./Tird./Onsd./Torsd./Fred.
09.00-15.30
NB! Det forventes at den enkelte møter
opp i forkant av dette tidspunktet.
5
Modell og prototypeverksted
8
Åpen/Open
Sikkerhetskurset er obligatorisk, det vil
si at for å få godkjent kurset, kreves 100
% oppmøte.
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION
I kurset vil det være hovedfokus på opplæring på de store maskinene her på verkstedet.
I tillegg vil det også bli gitt opplæring i bruk av håndverktøy og håndholdt maskinverktøy.
49
Kurset har som overordnet formål å gi en generell opplæring i bruken av maskinparken på modellog prototypverkstedet, samt å bygge opp en enhetlig og sunn verkstedskultur.
Sikkerhetskurset vil ha fokus på:
Sikkerhet for deg og andre
Riktig og sikker bruk av maskiner
Visualisering av fysiske lover og mekaniske prinsipper for å gi en grunnleggende forståelse
av maskiners virkemåte.
Tekniske muligheter og begrensninger som ligger i den enkelte maskin.
Rydding og orden på verkstedet.
Gjeldende HMS-krav (Helse, Miljø, Sikkerhet)
Bruk av verneutstyr og riktig bekledning.
Informasjon om generelle regler for verkstedet.
Modell og prototypverkstedet er i store deler av året et undervisningsverksted. Når det er kurs og
undervisning her så vil det være begrenset tilgang for andre.
Så fremt det er kapasitet på verkstedet kan arbeid påbegynnes uten forutgående avtale. Hvis ikke
må avtale gjøres med verksmester.
Prosjekter skal være skolerelatert, og skal godkjennes av verksmester, eventuelt av denne i samråd
med gjeldende faglærer.
Ved gjennomført og godkjent sikkerhetskurs må den enkelte student etterstrebe å jevnlig arbeide
på verkstedene for å opprettholde og videreutvikle sine ferdigheter.
Verkstedets oppgave er ikke å utdanne møbelsnekkere, men å veilede studenter teknisk for å finne
løsninger som fungerer i den enkeltes oppgave.
UNDERVISNINGENS MÅL/COURSE OBJECTIVES:
Godkjent kurs gir adgang til bruk av maskiner innenfor verkstedets åpningstid.
50
FILM, VIDEO,LYD, BILDE/FILM, VIDEO, SOUND, PHOTOGRAPHY
WORKSHOP
BA/MA
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ROM/SPACE
MAKS ANTALL STUDENTER/MAX NUMB. OF STUDENTS
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
KRAV TIL TISTEDEVÆRELSE/REQUIRMENTS FOR
PARTICIPATION
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION
Norsk/Engelsk Norwegian/English
Greg Pope: Film, darkroom, video
cameras. Movie cameras
Tom Trøbråten: Lyd, mikrofoner,
opptak elektronikkverksted. Avvikling
av lyd.
Christian Tviberg: Programvare,
videoredigering. Fotoredigering.
Stillkamera analogt og digitalt.
Mørkeromsarbeid. Web.
ChriTvib@khio.no, GregPope@khio.no,
tom.trobraten@khio.no
38
Mand./Tird./Onsd./Torsd./Fred.
10.00-16.00
Datasalen/fotostudio 1
12
Åpen/Open
80%
Teknisk workshop med ulike innføringer i film, video, lyd og foto. Elektronikk. Printing Mørkerom
UNDERVISNINGENS MÅL/COURSE OBJECTIVES:
Ha en forståelse for hvordan en bruker utstyret på medielab.
51
FILM, VIDEO,LYD, BILDE/FILM, VIDEO, SOUND, PHOTOGRAPHY
NB! UKENTLIG VEILEDNING
BA/MA
SPRÅK/LANGUAGE
LÆRERE/TEACHER
KONTAKT/CONTACT
UKER/WEEKS
UKEDAG/WEEKDAY
TID/TIME
ANTALL GANGER/NUMBER OF SESSIONS
ROM/SPACE
ÅPEN ELLER LUKKET GRUPPE/OPEN OR CLOSED GROUP
BESKRIVELSE AV UNDERVISNING/COURSE DESCRIPTION
Norsk/Engelsk Norwegian/English
Greg Pope, Tom Trøbråten, Christian
Tviberg
ChriTvib@khio.no, GregPope@khio.no,
tom.trobraten@khio.no
37-48
Mandag/Monday
11.00-13.00
12
Datasalen/fotostudio 1
Åpen/Open
Ukentlig individuell veiledning i film, video, lyd og foto. Elektronikk. Printing Mørkerom
FARGEVERKSTEDET / COLOR WORKSHOP
Kunstakademiets fargeverksted ligger i fjerde etasje over grafikkverkstedene og atelierene i bygg
41. Her utføres arbeid og kursvirksomhet knyttet til pigmenter og maleri. Eksempler på dette kan
være oppspenning og preparering av lerret, tilberedelse og bruk av hudlim og akrylbasert lim,
grunderinger og riving av oljefarger. Det finnes oppspenningsutstyr og annet nødvendig verktøy til
utlån.
Målet med verkstedet er å skape et forum for løsning av praktiske problemer knyttet til maleri og
å være et sted for empiriske undersøkelser knyttet til farge og pigmenter.
Faste åpningstider for lån av utstyr og pigmenter er fredager kl. 11.00-13.00.
Verkstedet er ellers alltid åpent for Kunstakademiets studenter og en verksmesterassistent er
tilgjengelig på sms og email.
For mer informasjon kontakt Tarald Wassvik på fargeverksted@khio.no /
The Art Academy’s color workshop is located on the fourth floor above the print making
workshops and studiosin building 41. The workshop houses various courses and independent work
related to pigments and painting.Examples of this can be stretching and preparation of canvases,
use of skin glue and acrylic based adhesives and making of various groundings and grinding of
pigments for making paint. There are canvas pliers and other necessary tools for loan. Materials
are purchased as needed and is free for the Academy’s students.
52
The workshop’s aim is to facilitate a forum within the Academy dedicated to the solving of
practical problems related to painting as well as to function as a table for empirical reasearch in
the field of color and pigments.
Main opening hours for equipment and pigments is Mondays from 11.00-13.00.
The workshop is open all week for students and a workshop assistant is available on sms and email
during the week.
For any inquiries please contact Tarald Wassvik at fargeverksted@khio.no
PROSJEKTTORGET / booking
Michael O’Donnell
MichO'Do@khio.no
Prosjekttorg workshop
This wood-workshop is located directly at the Prosjekttorg and houses a table-saw, a planer, a
band-saw and a band-sander.
For availability contact;
Dirkjan van der Linde
DirkVand@khio.no
Frido Evers
FridEver@khio.no
METAL CASTING / CONSTRUCTION AND PLASSTIC WORKSHOP
The casting workshop is located at the Prosjekttorg and facilitates metal casting and metal
construction and welding. The plastics workshop is located in a back-room at the same place.
Here it is possible to work with polyesters and epoxies.
For questions and assistance contact;
Germain Ngomo
GermNgom@khio.no
Monday 9.00-12.00 13.00-16.00
Tuesday 9.00-12.00 13.00-16.00
Wednesday 9.00-12.00 13.00-16.00
53
PLASTER CASTING WORKSHOP
This workshop is located at the Prosjekttorg.
For questions and assistance contact;
Lina Mariann Friis
LinaFrii@khio.no
5 days a week
9.00-12.00 13.00-16.00
CNC WORKSHOP
The CNC workshop is located on the lower fever of the Prosjekttorg and houses 3 machines.A
router with a work area of 250 x 125 cm. A waterjet with a work area of 200 x 100 cm. A
lasercutter with a work area of 150 x 125 cm.
For questions and assistance you can contact;
Frido Evers
FridEver@khio.no
3 days a week
Dirkjan van der Linde
DirkVand@khio.no
Thursdays
PROSJEKTTORGET TOOL ROOM
Prosjekttorg tool room
Hand-tools can be lend for short periods.
Contact: Germain, Dirkjan, Frido
54
Åpent forum/Open Forum
A Kunstakademiet Student Initiative since 1999
9 September - 2 December 2013
Open Forum is pleased to announce this fall’s program on travel, transportation, and settlement.
Turning our heads towards the vast term and ever expanding project of globalization, we are
interested in where and how to position ourselves – whether to move or to stay. To which extent
do we affirm to or resist against the global flow of imageries and information? How do we deal
with the subsequent, or potential, gains and losses of time, space, and identity? And what are
some of the habits and wishes developed during and after the move and their influences on our
ways of working and living?
With the current demographical and geo-political change we see here in the Oslo art scene and in
Scandinavia at large in mind, we believe it is a good time to question and discuss what we already
know and don’t know about the issues of locality and global connections and art-making and
viewing in these contexts.
Speakers include Mike Sperlinger from KHiO, Sabrina van der Ley from the Museet for
samtidskunst, Stian Eide Kluge and Steffen Håndlykken from 1857, political scientist Ingrid
Hjertaker, and more.
Everyone is cordially invited to the lectures every Monday, 7-8pm at the Kunstnernes Hus, Oslo.
The program is free and runs in English.
Curated by Christoffer Danielsson and Julia Lee Hong
Supported by Kunstakademiet, Kunsthøgskolen i Oslo
aapentforum.khio.no
aapentforum@gmail.com
New curators 2014
A new cycle of curators will take over programming the Open Forum lecture series from January
2014 and throughout the year 2014. Students who are interested in taking on this task can
contact the study leaders Leander Djønne or Therese Veier.
55
Academy Lectures
This autumns Academy Lectures will focus and meander on artist productions. The guests and
discussions will enhance a discursive form of engaging a dialogue between collaborating institutions,
artists and critics, students and lecturers, moving and still images.
One of the topics that glow as a red threat will be portrait and spaces and challenging both concepts
in various artistic production forms. We will welcome Apichatpong Weerasethakul, Kader Attia, Jan
Verwoert, Andreas Benin, Neil Beloufa, Kirsty Bell, James Richards, Iris Mueller Westermann and Ana
Teixeiro Pinto and more.
Wednesday 28 August at 19h: Start of semester and setting the agenda is the screening of Alan
Sekulas The forgotten space.
The final list will be announced on the 28 August.
56
Lærere
Synne Bull
Førsteamanuensis i video og film
(see Bull.Miletic’s bio further down)
Jeannette Christensen
Professor i skulptur og installasjon
Christensen er utdannet ved Bergens Kunst- og Håndverksskole, Grafisk Design, Vestlandets
Kunstakademi og Ecole Nationale Supérieure des Beaux Arts, Paris. Gjesteprofessor og leder av
skolen for Mur og Rum ved Det Kgl. Danske Kunstakademi, København, 1998-2000. Professor II ved
Kunsthøgskolen i Bergen, avd. Kunstakademiet, 2000-2007.
Hun har siden tidlig på 90-tallet arbeidet med installasjoner, skulptur og fotografi, hvor bl.a. en
diskusjon omkring skulpturbegrepet, tid og materialitet har vært gjennomgående. Forholdet mellom
høy- og såkalt lavkultur, det å sitere, appropriere og kombinere aspekter fra kunsthistorien med det
samtidige har vært en tilbakevendende interesse. Hun arbeider idébasert og ikke begrenset til
bestemte medier, men i et stort spenn av materialer og teknikker.
Dag Erik Elgin
Professor i maleri
Studier ved Universitetet i Oslo, Statens Kunstakademi og Kunstakademie Düsseldorf (DAADstipendiat 1988-1990). Betrakter maleri som et historisk kulturelt fenomen og en personlig praksis.
Internasjonal utstillingsvirksomhet siden 1990. Undervisningserfaring siden 1993 fra bl.a
Kunstakademiene i Norge og Humboldt-Universität, Berlin.
Gard Frigstad
Høgskolelektor i teori
Stian Grøgaard
Professor i kunstteori
Dirkjan van der Linde
Høgskolelærer i skulptur og installasjon
Germain Ngoma
Verksmester skulptur
57
Michael O’Donnell
Professor i skulptur
Educated at Leeds College of Art and the Royal College of Art in London. He has a wide international
exhibition record of art in public spaces. He works with monuments, attitudes to spirituality and the
commodity of death.
Mike Sperlinger
Writing teacher
Mike Sperlinger co-founded LUX, a London-based agency for artists working with the moving image,
in 2002 and was assistant director there for over a decade. He has written for a variety of
publications including Afterall, Dot Dot Dot, Frieze, Radical Philosophy and Texte zur Kunst, as well as
numerous catalogue texts, and has edited books on artists' cinema, early conceptual art, and the
monumentally unsucessful 1980s British band Felt. He recently published a long article about what a
1970s Soviet spy serial can teach us about the perils of conformity and is currently researching a
history of theoretical attempts to escape theory.
Susanne Winterling
Professor i foto, film og video
Susanne M Winterling is an artist with a background in film and photography as well as philosophy
(phaenomenology, AI and critical studies).
Working across a variety of media and within a constant challenging and questioning of artistic media
in society, she is mostly known for installations with a focus on the basic elements of imagemaking,
representation and its negation. The material, the social as well as the ephemeral and poetic come
into play and entangle topics as: immersion and power as energyflows within form and content.
Architecture is a keyelement and like the frame contextual and concrete, leaves space for analysis as
well as defines the sensual aspect of her work but at the same time puts an emphasis on what is left
out by pure information and form. The subjective gesture and body consciousness are coordinates
that lead from the objectives to necessity.
Anders Smebye
Main advisor
Anders Smebye (b.1975) practice through various media such as sculpture, performance, text and
textile. Smebye is educated at Chelsea College of Art, London, UdK in Berlin and Statens
Kunstakademi in Oslo, where he graduated in 2004. Recent solo exhibitions include I´m Not Here at
SINNE in Helsinki, Finland, Dor er Dor at Gallery D.O.R. in Brussels, Belgium and Vinland at Galeria
Valenzuela Klenner in Bogotá, Colombia. He was the founder and director of the projectspace
Bastard in Oslo from 2005-10, and also works as a curator, writer, lecturer and teacher. Smebye was
involved in the collective The Parallel Action from 2009 -11. He is currently working on a publication,
Flick-flack through the Flick, for NoInput Books, NY. Smebye lives and works in Berlin and Oslo.
Marianne Selsjord
Amanuensis i data og maleriets teknikker.
58
GJESTELÆRERE
1 BA seminar:
Marte Johnslien
Marte Johnslien is an artist who lives and works in Oslo. She works in a wide range of media and
contexts, from producing handmade artist’s books to large scale public installations.
She is represented by Galleri Riis, Oslo. Homepage martejohnslien.com.
Introduction to Giogio Agamben:
Marit Grøtta
Marit Grøtta holds a Ph. D. in Comparative Literature from the University of Oslo, and has been a
visiting student/researcher at l' Université de Strasbourg, Cornell University, and Freie Universität,
Berlin. Currently, she is a lecturer at UiO and a literary critic for NRK Radio. Grøtta has written
numerous articles on literature, media, and society, and her work on Giorgio Agamben includes
“Giorgio Agamben: Livet i unntakstilstanden,” Moderne politisk teori. Ed. Jørgen Pedersen (Oslo: Pax,
2010); "Giorgio Agamben og den kommende politikken," postface to Giorgio Agamben, Midler uten
mål (Oslo: Cappelen akademisk, 2008), and "Livet på spill: Om liv, lek og désœuvrement i Giorgio
Agambens filosofi," Agora nr 4, 2011.
Art and Finance:
Marianne Heier
Marianne Heier (b. 1969) lives and works in Oslo. Her work typically consists of interventions,
performance and texts. In her projects Heier often explores specific institutions from the inside. Her
projects can be seen as part of an institution-critical artistic praxis; but Heier's critique is more often
the result of personal engagement, motivated by her own lived experience, than of a calculated,
strategic institution-critical praxis. A recurrent theme in her work is questions regarding the notion of
value in different economic systems.
Her recent solo exhibitions and projects in public space include Surplus, Bergen Kunsthall (2012);
Jamais – Toujours, Stenersen Museum, Oslo (2010); Saga Night, Maihaugen, Lillehammer (2008);
Pioneer, ROM, Oslo (2007); and Waldgänger, KORO, Hammerfest (2008). She has participated in
group exhibitions at a number of institutions such as Malmö Konstmuseum (2013); Kunsthall Oslo
(2011); Hiap, Helsinki (2010); Overgaden, Copenhagen (2009); the Henie Onstad Art Centre (2009). In
2013 she concluded her project Ex-Centric as a research fellow at KHiO.
59
Salongmaleri:
Victor Boullet
The Norwegian - Scottish artist is “green in DA face” with conceptual disappointment, according to
the archives, animated videos, and websites attached to his project. Over the years, Boullet has
developed multiple personalities and activities which allow him to constantly confuse and complicate
any agenda. Perhaps the most well known is the Institute of Social Hypocrisy, a program of events he
orchestrated in this space before Joseph Tang turned it into a commercial gallery in 2011.
(Caroline Hancock, Art Forum 2012.)
Re:placing the cinematic:
Ina Blom is Professor IFIKK Dept. of Philosophy, Classics, History of Art and Ideas, University of Oslo.
Blom’s fields of research are modernism/avant-garde studies and contemporary art with a particular
focus on media aesthetics and the relationship between art, technology, media and politics. She has
taken part in the NFR-supported projects Aesthetics at Work (2003-2007) and Media Aesthetics
(2004-2008) and am currently directing the NFR supported research project The Archive in Motion
(2011-2013) http://www.hf.uio.no/ifikk/english/research/projects/archive-in-motion/ in
collaboration with media- and film scholars. Blom is a member of the international editorial boards of
Art History. Journals of the Association of Art Historians (Wiley) and Konsthistorisk Tidsskrift
(Routledge), and a contributor to Artforum, Afterall, Parkett, and Texte zur Kunst. She has previously
worked as a music critic and also done a number of curatorial projects. Blom is currently working on
a book project named The Autobiography of Video.
Tom Gunning is Edwin A. and Betty L. Bergman Distinguished Service Professor, Department of Art
History, Department of Cinema and Media Studies, and the College.
Tom Gunning works on problems of film style and interpretation, film history and film culture. His
published work (well surpassing one hundred publications) has concentrated on early cinema (from
its origins to the WW I) as well as on the culture of modernity from which cinema arose (relating it to
still photography, stage melodrama, magic lantern shows, as well as wider cultural concerns such as
the tracking of criminals, the World Expositions, and Spiritualism). His concept of the "cinema of
attractions" has tried to relate the development of cinema to other forces than storytelling, such as
new experiences of space and time in modernity, and an emerging modern visual culture. His book
D.W. Griffith and the Origins of American Narrative Film traces the ways film style interacted with
new economic structures in the early American film industry and with new tasks of story telling. His
forthcoming book on Fritz Lang deals with the systematic nature of the director's oeuvre and the
processes of interpretation. He has written on the Avant-Garde film, both in its European pre-World
War I manifestations and the American Avant-Garde film up to the present day. He has also written
on genre in Hollywood cinema and on the relation between cinema and technology. The issues of
film culture, the historical factors of exhibition and criticism and spectator's experience throughout
film history are recurrent themes in his work.
60
Noam M. Elcott specializes in the history of modern art and media in Europe and North America,
with an emphasis on interwar art, photography, and film. His research and teaching combine close
visual analysis with media archaeology and critical theory. He also writes and teaches on
contemporary art. Recent classes include graduate seminars on the Bauhaus, Dada, and Futurism and
undergraduate lectures on Art, Media, and the Avant-Garde, and the Histories of Photography, as
well as Art Humanities. Elcott is currently at work on a book-length study provisionally titled Artificial
Darkness: An Art and Media History, 1876-1930. This book is the first to conceive, historicize, and
theorize artificial darkness from its tentative introduction in the mid-nineteenth century, through its
consolidation in a range of late nineteenth century media technologies, and, finally, to the aesthetic
challenges levelled against it by the interbellum avant-garde. In particular, the study re-imagines and
unearths new material on the cameraless photographs, films, theatrical productions, and exhibitions
of Man Ray and László Moholy-Nagy. Elcott is also at work on extended studies of Anthony McCall,
Stan Douglas, James Welling, the London Film-Makers' Co-op, and other contemporary artists. In
2009, he curated "Comic — Film — Strips," a film program and installation at the CUNY Graduate
Center James Gallery. Elcott has lectured widely, including recent and upcoming talks at Eikones
(Basel), UC Berkeley (California), Tate Modern (London), Bauhaus Universität (Weimar), ZKM
(Karlsruhe), Light Industry at X-Initiative, Miller Theater at Columbia University, and CUNY Graduate
Center (New York).
Susanne Ø. Sæther, PhD., Currently holds a post.doc position in Art History at the University Oslo.
She has curated several camera-based and media art exhibitions, among them “Comme au Cinéma:
The Cinematic as Method and Metaphor” (2008) at Fotogalleriet, Oslo with Ida Kierulf, and “Ghost in
the Machine”(2008) at Kunstnernes Hus, Oslo with Elisabeth Byre. Her most recent publications
include Arkivets estetikk in 80 millioner bilder (ed. Ekeberg/Lund, 2008) and Between the
Hyperrepresentational and the Hyperreal. A sampling sensibility? in Sutton, Brind and McKenzie
(eds.), The State of the Real. Aesthetics in the Digital Age (2007). Her PhD. dissertation The Aesthetics
of Sampling: Engaging the Media in Recent Video Art (2009) discusses the repositioning of different
media and archival material in contemporary cinema and art. Sæther is a curatorial student from the
Whitney Independent Study Program, Whitney Museum of Contemporary Art, New York, USA, 200506.
Bull.Miletic
Synne Bull (Norwegian, born 1973) and Dragan Miletic (American, born Yugoslavia 1970), live and
work in Oslo, Norway. They investigate relationships between cinema, architecture and place
through film, video, installation and text. In their most current projects they have been turning to
what they call “ready-made cinema” or “cinema trouvé” i.e. a cinematic experience on sites or places
outside the cinematic apparatus.
Bull.Miletic have shown internationally at venues including California Biennial, Yerba Buena Center
for the Arts, San Francisco, German Architecture Museum, Frankfurt, Künstlerhaus Bethanien, Berlin,
Pasadena Museum of California Art, Victorian Arts Center, Melbourne, Pacific Film Archive, Berkeley,
Ulrich Museum of Art, Wichita, Henie Onstad Art Center, Høvikodden, and Museum of Contemporary
Art Belgrade.
Bull.Miletic initiated and organized several exhibitions, symposia and events, including the Urban
Images symposium at Oslo National Academy of the Arts (KHIO) in 2010 with a subsequent
publication published by Sternberg press in 2011. In 2012 they were Visiting Artists at the Cinema
and Media Studies, University of Chicago and are currently part of the art research project Re:place
in association with Bergen Academy of Art and Design, Oslo National Academy of the Arts and The
Grieg Academy.
61
Jeremy Welsh is a visual artist and Dean at Bergen Academy of Art and Design. His work as an artist
has encompassed many media and areas of practice including video, sound, performance,
photography, installation and public commissioned artworks. His current series of works, combining
photo, digital print, video, sound and text, was commenced during an artist residency at Artspace,
Sydney, in 2009. During the 1980's he worked with artists' media centre London Video Arts (Later
known as LUX), where he was responsible for arranging exhibitions and screening programmes, and
where he curated many selections for international video art festivals. In the late 1980's he
established The Film & Video Umbrella, together with film theorist Michel O'Pray, as a curatorial and
production resource for exhibitions of artists' film and video. In 1990 Welsh was appointed as
Associate Professor, later full Professor, in Intermedia at Trondheim Academy of Art where he taught
until 2001, when he moved to Kunsthøgskolen i Bergen. Recent exhibitions featuring Jeremy Welsh
include BGO1 at Bergen Kunstmuseum (29 October 2010 - 30 January 2011) where he showed Please
Note After Image a collaborative installation with Trond Lossius and Jon Arne Mogstad. In March
2011 Jeremy Welsh organized the exhibition Strawberry Butterflies and Peppermint Cats as part of
the Borealis festival of contemporary music.
In January 2012 Welsh curated the exhibition Tracking Tracing at Stiftelsen 3,14, Bergen, with work
by three Australian artists. Jeremy is initiator of the art research project Re:place, in association with
Oslo National Academy of the Arts (KHIO) and The Grieg Academy (UiB).
Ivar Smedstad has been working in video since 1984, focusing on audiovisual composition and visual
music (viewsic). Employing time as a sculptural medium, he creates a pastiche of image and sound,
and through repetition builds rythmical structures. Smedstad received his BFA in Performance/Video
at the San Francisco Art Institute in 1988. From 1988 to 1992 he held the position as Technical
Director at Electronic Arts Intermix. From 1992 to 93 Smedstad was a fellow in the Department of
Media Art at Kunsthochschule für Medien Köln. Smedstad is currently the director of Atelier Nord in
Oslo, Norway. For updated list of exhibitions and works, see http://www.pixelpunx.com/.
Ellen Røed is a Norwegian artist who lives and works in Bergen, Norway. Her work spans from
installations and audiovisual theatre/performance to video created in real time, often developed in
collaboration with musicians. Her approach to video is performative and based on the inherent form
and language of video as process, in a low-tech conceptual-visual way. She often uses the live camera
signal, recorded footage and generated images processed through the computer in self-made
systems realized for a specific context and situation. Rather than taking control of the material in
order to express something, she assembles material in ways that creates potential transitions or
surprising relationships. As a working method, she aims to create some kind of gravitation where the
results are more like cast-off's crystallizing through the process than carefully planned results of her
intention.
Ellen Røed is educated at the Academy of Visual Arts, NTNU in Trondheim, Norway (2001). Before
that she was part of the Norwegian art collectives Motherboard and Verdensteatret, who make
projects that mix elements from both theatre and visual arts with electronic art. She soon developed
devotion towards unstable and temporary forms, projections, and performativity. Having completed
her formal education, she immediately started working at Bergen Center for Electronic Art, and since
2004 she has been working at the National Academy of the Arts in Bergen, first as Assistant Professor
in Electronic Art and Digital Media, and currently as a Research fellow in Fine Arts.
62
Andreas Bunte (Artist, KHiO fellow)
Andreas Bunte’s 16mm films probe the history of ideas and previous chapters of Western culture,
with a particular view on modernity and the changes wrought on society by technological progress.
"The footage becomes a patchwork of moving images and its incongruous articulation disrupts the
authenticity usually ascribed to film. The image is not so much a chronology of events recorded in
duration as a collage: a fiction stitched together from disparate realities loosened from their
anchorage in space and time." (Si Non Rogas Intelligo, Michelle Cotton, 2009). Bunte had several
exhibitions in 2009, including a solo exhibition at the Kunstverein Bielefeld, Germany, and the group
exhibitions Report on Probability, Kunsthalle Basel, Basel (curated by Adam Szymczyk) and Contour,
4th biennial of moving image, Mechelen, Belgium (curated by Katerina Gregos).
LandingSites:
Amanda Steggel is a professor of choreography at the Academy of Dance, Oslo National Academy of
the Arts. Since the mid-1990s, while co-founding the Motherboard project (1996-2008) with Per
Platou (www.liveart.org), Steggel has been interested in how networked technologies have
influenced the way people work, socialize, create and share information, and organise the flow of
people, ideas, and things around the globe. Steggel has investigated how a body copes with flows of
information passing between the digital, natural and lived world, grappling with how these flows
affect perceptions of time, space and place. The outcomes have taken on many live forms.
Experimental and participatory, they most often occur in public spaces beyond those normally
reserved for the arts. In 2007 Steggel gained a PhD-alternative qualification for artists in Norway for
the research in synaesthesia and contemporary live art practices. She has worked part time as
Associate Professor, Depart of Fine Art, Bergen National Academy of the Arts, and as Visiting
Professor, University for Dance and Circus, Stockholm. Steggel is an affiliated member of the
YOUrban research project at the Oslo School of Architecture and Design. Currently Steggel is working
with Rozz Dalziel (uk) curating conditions for Currently where artists, architects and technicians work
together to create open responses to marine research during a cross channel journey between Oslo
and Liverpool in 2014.
HC Gilje
HC Gilje works with installations, live performance, set design and singlechannel video.
Gilje has presented his work through different channels throughout the world: in concert-venues,
theatres and cinemas, galleries, festivals, outdoors and through several international dvd releases,
including 242.pilots live in Bruxelles on New York label Carpark and Cityscapes on Paris-label Lowave.
He was a member of the video-impro trio 242.pilots, and was also the visual motor of dance
company kreutzerkompani. The last six years Gilje has focused on animated light/shadows, projected
light objects and projected light spaces. For updated list of exhibitions and works, see
http://hcgilje.com/.
63
Greg Pope
After dabbling in punk rock bands and absurdist performance, Greg Pope founded Brighton-based
Super 8 film collective Situation Cinema in 1986 and afterwards Loophole Cinema (London, 1989).
Using 16mm, Super 8 and video, Loophole Cinema were self-styled shadow engineers performing
numerous events around Europe. They produced The International Symposium of Shadows in
London in 1996. Working collaboratively and individually, Pope has made video installations, live art
pieces and single screen film works since 1996. Recent works include live cinema performance pieces
Light Trap and Cipher Screen as well as 35mm film productions Shadow Trap and Shot Film. He
currently lives in Norway and is active teaching, projecting, programming and making film. For
updated list of exhibitions and works, see http://gregpope.org/.
Her Noise seminar:
Salome Voegeli
Salomé Voegelin is an artist and writer concerned with the practice and philosophy of sound. Her
research and practice focus on listening and its theorization in discourse. She deals with the problem
of how to critically debate sound art without simply referring the heard to a visual referent and
without losing the complexity and particularity of its expression. She is the author of “Listening to
Noise and Silence: Towards a Philosophy of Sound Art” published by Continuum Press NY, 2010,
which has achieved national and international recognition for offering ‘a refreshing departure from
the many surveys of sound art’ (Michael McCrea, Sound Art, June 2010) and for ‘making a powerful
case for preserving the “immersive complexity” of auditory experience against a critical language,
that […], is always guided by the imperatives of the visual’ (Montgomery, The Wire, August 2010).
Voegelin’s current research focuses on the relationship between sound art and music. The suggestion
is that at present, traditional musical composition and the contemporary sound art are theorised
through separate critical languages. While contemporary classical music is investigated via traditional
musicology, most other sonic works are theorised in relation to visual arts discourse. Even as this
visual affiliation has aided sound arts recognition it has hidden its musical heritage and those aspects
of its practice that recall that history, chief of which are: the problem of participation, the
relationship between composer and performer, the gap between performance and score,
temporality, invisibility, emotions and sentiment.
64
Cathy Lane
Cathy Lane established the department of Sound Art and Design and now co - directs Creative
Research in Sound Arts Practice, (CRiSAP) at the University of the Arts, London. She has a PhD in
electroacoustic music composition from City University, London. Dr Cathy Lane is interested in sound
and how it relates to the past, our histories, our environment and our collective and individual
memories. This informs her current work as a composer, sound artist, lecturer and researcher.
Aspects of her creative practice has developed out of these interests and concern composition with
spoken word, field recordings and archive material and writing and lectures on these and related
subjects. Recent works include '. the pickle jar is her home.' (2009) an installed composition for
'Material Texts', Kashi Gallery, Kochi, India; 'Episodes of Flight' (2008) a dance installation and the
latest work from a ten year collaborative relationship with choreographer Rosemary Butcher,
premiered in Munich and London, and 'On the Machair' selected for Radio Art category, Sonic
Portraits, New Adventures in Sound Art, Canada and awarded a Special mention in the 2008 Bourges
International Institute of Electroacoustic Music competition. Much of her work involves the use of
archives for information, inspiration and for compositional material. She has recently edited 'Playing
with Words: The Spoken Word in Artistic Practice' (2008), an anthology of works from over forty
leading contemporary sound artists and composers who use words as their material and inspiration
and is currently curating a companion audio compilation and researching and writing on the of the
spoken word in sound arts practice.
Anne Hilde Neset
Anne Hilde Neset is Artistic Director of nyMusikk in Oslo and Contributing Editor of The Wire
magazine, a monthly international music publication. She is also the co-founder of Electra
Productions and has worked internationally as a lecturer and curator and well as radio presenter.
Curatorial projects include the annual Latitude Contemporary Art Prize (Latitude Festival), Her Noise
(South London Gallery) and the Kim Gordon, Tony Oursler and Phil Morrison collaboration Perfect
Partner (Barbican Centre). She has curated projects with artists such Christian Marclay, Daria Martin,
Zeena Parkins, Marina Rosenfeld, Maja Ratkje, Luke Fowler and many others, has lectured at MIT,
London’s LCC, Bergen Art Academy, Middlesex University as well as co-curating a host of festivals
internationally, such as the music criticism festival Off The Page in Whitstable. She devised and
taught Sound And The 20th Century Avant Garde, a lecture series on sound art for Tate Modern and
has been a guest presenter for BBC Radio 3’s Late Junction programme and is a regular guest on
Stuart Maconie’s BBC Radio 6 show.
Maleri: Materialer og metoder:
Kristian Øverland Dahl
Norwegian artist born 1968 in Asker, Norway. Educated at KHiB Academy Department 2005.
Through various techniques he creates work that addresses the transition phenomena in the
broadest sense. He is a member of the artist group D.O.R. that has run a Gallery in Brussels and made
performances in a number of institutions since 2006. Including Charlottenborg (DK), FRAC Quimper
(FR), Armory Show 20012 (USA), 54 Venice Biennale (Ita), Witte de With (NL).
K. E. Dahl has had solo exhibitions at; Holodeck, Soft Gallery, GAD, TRAFO, Gallery Van Bau, UKS and
presented his work at the Biennale of Sydney, Stavanger kunstforening (NO), LNM, Pink Cube, CAC
Vilnius, Vestfossen Art Laboratory. He has worked part time as a framer and assistant for artists for
the last twenty years.
K.Ø.Dahl is also engaged in political work and he has a shair in the board of Norwegian Visual Artists
association.
65
TESEVEILEDERE
Hans Petter Blad
Teseveileder, BA
Hans Petter Blad (Oslo, 1962) er forfatter og dramatiker. Har bl.a. skrevet manus til spillefilmene
"Hodiak" (sammen med T. E. Lund) og "Gymnaslærer Pedersen", teaterstykkene "Roe Head" (om
familien Brontë) og "Eksorsistene". Som skjønnlitterær forfatter har han utgitt romanene "I skyggen
av små menn midt på dagen", "De nysgjerrige" og "Det oseaniske", samt diktsmalingene "Biblioteket"
og "Marmor". Han underviser på Forfatterstudiet i Bø.
Arne Skaug Olsen
Teseveileder, MA
Arne Skaug Olsen is an art critic, artist and curator living and working in Bergen.
He holds MA´s in visual art and curating from Bergen National Academy of the Arts, where he
currently works as assistant professor in the Department of Visual Art. Skaug is a founding member
of Flaggfabrikken - center for photography and visual arts, Ctrl+Z Publishing and a regular contributor
to Nordic online art journal kunstkritikk.no. His writing focuses on issues of representation and the
relation between representation and politics and art. He has recently participated in the Benin
Biennale (2012) and LIAF 2013 as Resident Chef.
66
Administrasjon
Vanessa Ohlraun
Dekan / Dean
Telefon: 945 23 278
E-post: vaneohlr@khio.no
Therese Veier
Studieleder BA / Studyleader BA
Telefon: 408 43 501
E-post: therveie@khio.no
Leander Djønne
Studieleder MA / Studyleader MA
Telefon: 945 23 362
E-post: leandjon@khio.no
Berit Andresen
Studiekonsulent (informasjon, opptak, studieveiledning, studentutveksling Norplus)
Telefon: 945 23 258
E-post: berit.andresen@khio.no
Lisa Karlsson
Studiekonsulent / Senior Executive Officer
(Gjestelærere, undervisningsplan, studentutveksling Erasmus)
Telefon: 951 20 244
E-post: lisakarl@khio.no
Jon Ivar Strømmen
Fakultetskoordinator
Telefon: 996 03 654
E-post: jon.strommen@khio.no
67