Download Annette W. Balkema, Henk Slager Artistic Research Lier & Boog Series, 18 2004 PDF

TitleAnnette W. Balkema, Henk Slager Artistic Research Lier & Boog Series, 18 2004
File Size1.4 MB
Total Pages183
Table of Contents
	Discours de la Méthode
	Unfinishable Sketch of 'An Unknown Object in 4D’: scenes of artistic research
	Connecting Worlds
	What is the Point of Research and Doctoral Studies in Art?
	River Low, Mountain High. Contextualizing Artistic Research
	Is Artistic Research a Meaningful Concept?
	The Luxury of Doubt
	The UK Fine Art PhD and Research in Art & Design
	Arteleku (in the Crisis of the Modernist Project)
	Front Line Compilation
	Observations and Considerations
	Research, Production, Presentation, Discussion (Review)
	Academy Schloss Solitude
	The Right to Think
	Manifesta 5: Curatorial Research
Document Text Contents
Page 2

Artistic Research


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page 92 L&B volume 18

for a couple of years, the program had had difficulties developing commu-
nication and interaction with the school and the community. Directors had
come and gone and the validity of the current structure was under scrutiny
from various skeptical perspectives as to its feasibility, benefit, and contin-
ued success. So, we offered to formulate a project that could actually man-
age itself through a cooperative structure, while revolving around working
relationships built through problem-solving and decision-making, rather
than through responding/committing to a particular theoretical or artistic
position. The proposed new structure would require a balance of priorities
between personal practice and promotion and group requirements/needs.
Success would depend on exchange of competencies, shared responsibility,
some level of personal sacrifice and gain, and understanding diversity in a
real functioning environment. The basics of restructuring are as follows:
* There is no director in charge of the program; the

members and the goals of the program are the responsibility of active par-
ticipants who drive the group through their involvement. The program will
be open to a wider range of persons with different backgrounds.

* This self-managed group is based on the idea of shar-
ing competencies and networks. Responsibilities are mutually supported.

* It has been decided that seven is a good number of par-
ticipants to facilitate efficient decision-making, while still maintaining the
international diversity that has become part of the Nantes program’s repu-

* The program has been extended from eight months to
one year, beginning in June instead of October, in order to let the members
settle into Nantes during the summer, find a place to live, get to know each
other, and to meet the students and faculty of the school at a particularly
active time of year.

* The grant is 800 euros.
* The production budget, which used to be managed by

the director, has become the responsibility of the group. The administrative
director approves the decisions. One part of the budget is allocated for
inviting people, organizing workshops and events, and travel. Another part
of the budget can be used for producing works, exhibitions, and publica-
tions. The method for distributing the budget is determined by the mem-
bers of the group (individually or collectively, for example).

* The current team is involved in choosing the team for
the following year. With some participants invited from outside, they coor-
dinate the applications, receive and review the portfolios, conduct the

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L&B Volume 18page 93

interviews, and make the final decision about the selection. For the group
selected for 2003-2004, MultiPoint was joined by Robert Fleck, the direc-
tor of the art school, and Yann Chateigné, a member of the French cultural
administration and a curator working with artists in collaborative group
situations. The involvement of the current team in the jury for selecting the
next group assures a continuity of the process (as it evolves) from year to

* At the request of the first MultiPoint, a cultural staff
member was added to the administrative staff of the school to act as a part-
time administrative assistant to the group. The participants in this program necessarily have
more responsibility with a project of this bearing and require a profile that
will include some professional experience. So, the description of an ideal
participant in this program might include some work experience, some
self-managed projects, and a developed personal, creative art practice. How the interaction with the art school and the
city of Nantes unfolds is a goal that each group, or member of the group,
can deal with personally. This interaction is something that contextualizes
the experience in Nantes, as the support for the program is directly linked
to the value-adding, cultural exchange between the group, Nantes, and its
surrounding region.

2. Structure

2.1.Our own experience of formulating MultiPoint (developing a
structure for working, managing banal but fatal-if-ignored administrative
details, and finding a supporting environment for daily production and
long-term personal goals), includes a regular meeting schedule to discuss
ideas, problems, and tasks; discussions about possible projects - often
great discussion topics but never realized for one practical reason or anoth-
er; and coordinating our invited seventh member (as we had only six, we
were able to invite some guests to work with us for long-term projects);(4)

and to develop a schedule for short-term (two days) guests such as cultural
critics, writers, and other artists.

2.1.1. We were able to receive some critical feedback
about the functioning of our group from members of the pedagogic and
administrative team at the school, external invitees such as Brian Holmes
and Frederic Maufras, and members of the French cultural administration
such as Yann Chateigné from the DAP.

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Series of Philosophy of Art and Art Theory


This issue investigates the meaning of the photographic image for contempoary art. In

Malraux’dream, photography offers the ultimate guarantee for a coherent presentation of art.

However, as Douglas Crimp has stated, the appearance and enhancement of photography as

a form among other art forms disrupted the center of the art world. What does this mean for

art and philosophy in our time. Various artists and theorists delved into that question:

Christian Boltanski, Benjamin H.D.Buchloh, Jean-François Chevrier, Douglas Crimp, Jos de

Mul, Liza May Post, Johan Swinnen, Jeff Wall, a.o.


In the current debate on art, thought on time has commanded a prominent position. Do we

live in a posthistorical time? Has objective art historical time and belief in a continual

process shifted to a more subjective experience of the ephemeral? Has (art) history fallen

away and, if so, what does this mean for the future of art? How does a visual archive relate

to artistic memory? Philosophers and theorists explore the subject theoretically. Curators

articulate the practice of art. Participants: Hans Belting, Arthur C. Danto, Okwui Enwezor,

Kaspar König, Hans Ulrich Obrist, Barbara Vanderlinden, Gianni Vattimo, a.o.


Nowadays there are many spaces of fascination in visual art. Of course, installative space

and contextual space have been on the art scene for awhile. However, they are now accom-

panied by other spaces such as urban space, architectural space, cyberspace, hyperspace, and

screen-based space. In this volume, architects, artists and theorists attempt to find answers to

questions such as: Could the architectonic study and/or deconstruction of space play a deci-

sive role in the shift of attention to space? Which theoretical factors structure the current

experience and meaning of space? Participants: Andrew Benjamin, Paul Crowther, Hou

Hanru, Rem Koolhaas, Geert Lovink, Eran Schaerf, Peter Weibel, Mark Wigley, a.o.

VOLUME 15, SCREEN-BASED ART, ISBN 90-420-0801-6, 186p.

In the 21st century, the screen -the Internet screen, the television screen, the video screen

and all sorts of combinations thereof - will be booming in our visual and infotechno culture.

Screen-based art, already a prominent and topical part of visual culture in the 1990s, will

expand even more. In this volume “the new media” will be the subject of investigation. How

could screen-based art be distinguished from other art forms? Could screen-based art be can-

onized? What are the ideosyncratic concepts geared toward screen-based art? Participants:

Raymond Bellour, Noël Carroll, Sean Cubitt, Chris Dercon, Annemarie Duguet, Arnout Mik,

Jeffrey Shaw, Peter Sloterdijk, Siegfried Zielinski, a.o.

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page 184 L&B volume 18

VOLUME 16, EXPLODING AESTHETICS, ISBN 90-420-1315-x, 188p.

Today, many visual artists are giving the cold shoulder to the static, isolated concept of visual

art and searching instead for novel, dynamic connections to different image strategies. Could

the characteristics of an artistic image and its specific manner of signification be determined

in a world which is entirely aestheticized? What would be the consequences of a variety of

image strategies for aesthetic experience? Would it be possible to develop a form of cultural

criticism by means of artistic activities? Participants: Mieke Bal, Liam Gillick, Martin Jay,

Friedrich Kittler, Maria Lind, Nicholas Mirzoeff, Richard Shusterman, Wolfgang Welsch, a.o.

VOLUME 17, CONCEPTS ON THE MOVE, ISBN 90-420-1269-2, 198p.

In order to give an impetus to the production of an apparatus of artistic concepts, in line with

Deleuze and Guattari’s claim to create new concepts for a changing world, this volume pub-

lishes statements and discussions of ten Concept on the Move workshops, as well as texts

and discussions of the concluding Concept on the Move symposium. Participants: Daniel

Birn-baum, Lynne Cooke, Anne-Marie Duguet, Thierry de Duve, Mark Gisbourne, Boris

Groys, Hou Hanru, Lev Kreft, Sarat Maharaj, Bartomeu Mari, Patricia de Martelaere,

Andrew Morri-son, Jos de Mul, Michael Newman, Hans Ulrich Obrist, Heinz Paetzold,

Herman Parret, John Rajchman, Andrew Renton, Irit Rogoff, Jerome Sans, Apolonia

Sustersic, Peter Weibel, Hiroshi Yoshioka.

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