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1. introduction
2. Re: To Phd or not to Phd?
3. Re: To Phd or not to Phd?
4. hello
5. An exhibition of the works of Ouafae Mezouar and Maria Akdim in Berlin
6. Re: 1957-2007: Space Imaginaries
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From: lectoraatkabk@gmail.com
Subject: introduction
Date: Mon, 10 Mar 2008 14:55:43 +0200
Dear all,
I am happy to introduce myself as a new member of the Yasmin discussion group. I am an art critic based in Amsterdam, and professor of art theory at the Royal Academy of Arts in The Hague, as well as assistant professor at the Faculty of Creative and Performing Arts of the University of Leiden. I am involved in setting up a PhD programme for visual artists at Leiden University. This programma, which is the first of its kind in The Netherlands, will start in january 2009.
I follow the Yasmin discussion on the PhD in art with great interest, and look forward to many more discussions to follow.
Best regards,
Janneke
--
Lectoraat "Kunstenaarstheorieën en de artistieke praktijk"
lectoraatkabk@gmail.com
070-3154755
--
Lectoraat "Kunstenaarstheorieën en de artistieke praktijk"
lectoraatkabk@gmail.com
070-3154755
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From: rmalina@prontomail.com
Subject: Re: To Phd or not to Phd?
Date: Mon, 10 Mar 2008 15:36:02 +0200
Oguzhan You replied to my question about art and music schools that are independent of university systems: I said > b) In many countries art and music schools are outside the university system ( here where I live in France there both art schools in the university and separate art schools and music conservatories that are not university affiliated) you said: First of all, this situation is changing especially in Europe. To compute North American education and research, Bologna process is realized in EU and will be active after 2010. PhD education is called as third cycle. The third cycle will make a equality in all European Education. Art Schools and music conservatories will have to use a university structure. Oguzhan My question is not administrative !! indeed the Bologna process in europe, and the development of third cycle is one of the things in europe that is an organisational driver to setting up programs called PhD. My question is more provocative. The YASMIN network is dedicated to promoting ways for interested artists to become more involved with science and technology (and for scientists interested in research on the cultural context of their work) My question is how does an artist in an independent art or music school, not in a university with science or engineering departments, do research that crosses between the arts and techno sciences ? Maybe in order for a good Phd for research in the topics that require the crossing of the arts and science or the arts and technology = then maybe such a PhD can only be strong it in a university rather than and art and design school or conservatory or else = as i argued in another comment, one must build in strong on line, with institutional validity, to enable collaborations between art schools and science and engineering department in universities; And as has been argued elsewhere in these discussion, a good PhD program must be embedded in a context where strong research is being carried out. The concern would be that some PhD programs are being set up to respond to the Bologna process in environments where there is not a strong research environment ( as opposed to teaching or arts practice) and that the students there will not get a good research training. And the reverse is also a concern= pressuring professionals whose goals are teaching or art practice and not research to get a PhD ( because promotion and hiring criteria favor people with PhD) is also problematic. I forget who asked whether today Picasso would have to get a PhD or not. My answer is no, Picasso was not interested in being a researcher as we are talking about in this context of what a PhD is supposed to provide training for. To the question to whether Leonardo Da Vinci would today need to get a Ph D is yes. Leonardo Da Vinci did research in both the arts and sciences and today to have the necessary backgound would need a PhD. If he wanted to work on the nano world, he would need to be in an environment that provided the background for both nano science and art. Teaching, Practice, Research are different areas of professional practice. A danger of the Bologna process is that it drives administrative solutions to issues that are much deeper and more difficult. I hope this stirs something up !! Roger
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From: oguzhan.ozcan@ttmail.com
Subject: Re: To Phd or not to Phd?
Date: Mon, 10 Mar 2008 17:19:46 +0200
Dear Roger I think you provocated me to write my early mail :) Your statement reminds me Sibelies Academy ( actually current web site describes as university). Contrast with some independent music school, a number of musician in Sibelies, conducted good research between art and science. One of the important one is Vibro Acoustic Therapy Projects for deaf people. I guess They collaborated with other disciplines and other science institutes to achieve this research aim This example shows us, of course, structure of educational institute is not important . The important think is the intention. By the way I liked your comparison between Picasso and Leonardo Oguzhan >
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From: oriol@transportsciberians.net
Subject: hello
Date: Mon, 10 Mar 2008 18:46:28 +0200
dear yasminers, my name is Oriol Caba, i'm a new member of the list based in Barcelona. as a cultural producer I use to work curating AV archives on contemporary culture and also for networking strategies. cheers, oriol.
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From: soussi_h@hotmail.com
Subject: An exhibition of the works of Ouafae Mezouar and Maria Akdim in Berlin
Date: Mon, 10 Mar 2008 22:14:12 +0200
Ouafae Mezouar et Maria Akdim Exposent à Berlin Les artistes peintres marocaines Ouafae Mezouar et Maria Akdim exposent, du 7 mars au 4 avril dans l'espace culturel de l'ambassade du Maroc à Berlin, leurs Å"uvres sous le signe "Impressions féminines". Une trentaine de tableaux reflétant l'art abstrait dans toute sa richesse sont exhibés dans cette exposition, organisée à l'occasion de la Journée mondiale de la femme et don le vernissage s'est déroulé jeudi soir. Dans ses oeuvres, la plasticienne Ouafae Mezouar, connue pour sa peinture sur tissu, met à profit les signes culturels, notamment calligraphiques, dans leurs différentes dimensions. L'artiste Maria Akdim tend à puiser dans le patrimoine culturel pour véhiculer sa perception de soi-même et du monde. Ouafae Mezouar, lauréate de l'Ecole supérieure des beaux-arts de Casablanca, a remporté la médaille d'or du Festival international des arts plastiques en Tunisie. Elle compte à son actif plusieurs expositions au Maroc et à l'étranger Diplômée en arts plastiques et en sciences de l'éducation de l'université Paris VIII, Lamia Akdim a pris part à plusieurs ateliers et expositions au Maroc, en France et en Espagne.
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From: rmalina@prontomail.com
Subject: Re: 1957-2007: Space Imaginaries
Date: Tue, 11 Mar 2008 11:12:18 +0200
Hi, thought you'd be interested in this. Best, Marcia [Tanner] In a message dated 3/10/2008 10:11:02 AM Pacific Daylight Time, info@mailer.e-flux.com writes: March 10, 2008 http://www.e-flux.com/ Barbican Art Gallery http://www.barbican.org.uk/artgallery Martian Museum of Terrestrial Art 6 Mar - 18 May/08 Barbican Art Gallery Silk Street London EC2Y 8DS 00 + 44 845 121 6826 http://www.barbican.org.uk/artgallery Martian Museum of Terrestrial Art presents contemporary art works under the fictional rubric of a museum collection conceived by and designed for extraterrestrials. This ambitious, playful and irreverent exhibition features 115 artists and more than 175 works, primarily sculptures along with mixed media, video, photography and works on paper. Artists range from emerging to internationally recognised figures, including Joseph Beuys, Cai Guo-Qiang, Maurizio Cattelan, Jimmie Durham, Thomas Hirschhorn, Ryan Gander, Mona Hatoum, Susan Hiller, Damien Hirst, Brian Jungen, Dr. Lakra, Louise Lawler, Sherrie Levine, John McCracken, Bruce Nauman, Mike Nelson, Cornelia Parker, Sigmar Polke, Ugo Rondinone, Daniel Spoerri, Haim Steinbach, Francis Upritchard, Jeffrey Vallance, Andy Warhol and Rebecca Warren. This exhibition is partly inspired by the first chapter of Thierry de Duve’s Kant after Duchamp, in which an imaginary anthropologist from outer space sets out to inventory ‘all that is called art by humans’. Adopting a pseudo-anthropological approach, the Museum employs eccentric taxonomies and surprising juxtapositions. The fictitious and humorous Martian perspective opens up contemporary art to fresh interpretations and allows for its reassessment from an alien standpoint, thus mimicking the way that Western anthropologists historically interpreted non-Western cultures through foreign eyes. Looking at contemporary art as though from outer space offers the potential to make the familiar strange and to turn the dominant Euro-American art tradition into the ‘Other’. Curated by Francesco Manacorda and Lydia Yee. Publication The exhibition is accompanied by a fully-illustrated publication, which takes the form of a volume of an encyclopaedia with an eccentric classification system. Including essays by the curators and a fictional account by acclaimed novelist Tom McCarthy. First Thursdays On the first Thursday of every month, Barbican Art Gallery is open until 10pm. Join us for late night openings with a difference. Enjoy a range of interplanetary talks, performances and discussions and make sure you visit the Martian bar for cosmic cocktails. Part of Time Out First Thursdays. Films from Another Planet To complement Martian Museum of Terrestrial Art landing in Barbican Art Gallery, we present a season of films from outer space to welcome our alien friends. Visit http://www.barbican.org.uk/film for more information. Close Encounters Join a host of artists, speakers, commentators and curators for Close Encounter talks. Visit http://www.barbican.org.uk/artgallery for more details on all the events. Audioguide A free Audioguide is available from http://www.barbican.org.uk/artgallery The Barbican Centre is provided by the City of London Corporation. Martian Museum of Terrestrial Art is made possible in part by American Center Foundation and The Henry Moore Foundation.
