6 10 - KHIO · Kursnavn Kunsthistorie 3: Kunst etter 1945. Kurstype Forelesningsrekke Kurset...

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Kunsthistorie 3: Kunst etter 1945 ........................................................................................ 15 Stian Grøgaard ............................................................................................................................................... 15

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Sikkerhets- og introduksjonskurs / Safety and Introduction Classes ................................... 18

Scenarios for Going Public ................................................................................................... 19 Main advisors ................................................................................................................................................. 19

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Maleri: materialer og metoder ............................................................................................ 22 Kristian Øverland Dahl ................................................................................................................................... 22

PROFESJONALISERINGSKURS ............................................................................................... 23 Kristian Dahl ................................................................................................................................................... 23

I SEE WORDS, I HEAR VOICES ............................................................................................... 25 Dora Garcia .................................................................................................................................................... 25

Painting is not dead, it just smells funny # MEETS # ................................................... 28

Magic Make-up of Modern Cities & The Many Sisters of Painting ...................................... 28 Felix Gmelin / Jan Verwoert ........................................................................................................................... 28

Malersalen. Et praxiologisk syn på maleriets teori. Høst .................................................... 30 Stian Grøgaard ............................................................................................................................................... 30

Tid ........................................................................................................................................ 32 Gard Frigstad og Stian Grøgaard .................................................................................................................... 32

Død....................................................................................................................................... 33 Gard Frigstad og Stian Grøgaard .................................................................................................................... 33

No Strait Story ...................................................................................................................... 34 Saskia Holmkvist............................................................................................................................................. 34

SCULPTURE STUDIO ............................................................................................................. 35

MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE ........................................................................................ 35

PAS | Performance Art Studies #50 | ‘roots in motion’ ....................................................... 37 BBB Johannes Deimling .................................................................................................................................. 37

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Maleri: materialer og metoder ............................................................................................ 40 Kristian Øverland Dahl ................................................................................................................................... 40

"Notater og samtaler / Notes and conversations" .............................................................. 41 Kristian Øverland Dahl.................................................................................................................................... 41

Malersalen. Et praxiologisk syn på maleriets teori. Vår ...................................................... 43 Stian Grøgaard ............................................................................................................................................... 43

Shifts in Translation ............................................................................................................. 45 Saskia Holmkvist............................................................................................................................................. 45

Sound Positions .................................................................................................................... 46 Dirkjan van der Linde ..................................................................................................................................... 46

What can neither be seen nor said ...................................................................................... 48

May sparkle most brightly, .................................................................................................. 48

When cast in a certain light. ................................................................................................ 48 Jan Verwoert .................................................................................................................................................. 48

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Attempts (or, ‘Words are no help’) ...................................................................................... 52 Mike Sperlinger .............................................................................................................................................. 52

Invisible colours (‘The thing to see is…’) .............................................................................. 54 Mike Sperlinger .............................................................................................................................................. 54

Heart Criticism ..................................................................................................................... 56 Jan Verwoert .................................................................................................................................................. 56

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Bacheloressay ...................................................................................................................... 59 Mike Sperlinger .............................................................................................................................................. 59

Masteressay ......................................................................................................................... 60 Mike Sperlinger .............................................................................................................................................. 60

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Exhibition Studies Seminar: AUDIENCES .............................................................................. 63 Rike Frank ....................................................................................................................................................... 63

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Avgangsutstillingen bachelor i billedkunst .......................................................................... 65 Tba ................................................................................................................................................................. 65

Avgangsutstillingen master i billedkunst ............................................................................. 66 Tba ................................................................................................................................................................. 66

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SCULPTURE STUDIO ............................................................................................................. 68 MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE ........................................................................................ 68

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http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDYvMjgvMTNfMDBfMjBfNjcxX0JhY2hlbG9yc3R1ZGl1bV9pX2JpbGxlZGt1bnN0X3JldmlkZXJ0XzE1Ll9qdW5pXzIwMTYucGRmIl1d/Bachelorstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDYvMjgvMTNfMDBfMjBfNDczX01hc3RlcnN0dWRpdW1faV9iaWxsZWRrdW5zdF9yZXZpZGVydF8xNS5fanVuaV8yMDE2LnBkZiJdXQ/Masterstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/en/studies/academy-of-fine-art#bachelors-in-fine-art-bfa

http://www.khio.no/en/studies/academy-of-fine-art#bachelors-in-fine-art-bfa

http://www.khio.no/en/studies/academy-of-fine-art#masters-in-fine-art-mfa

http://www.khio.no/en/studies/academy-of-fine-art#masters-in-fine-art-mfa

https://no.timeedit.net/web/khio/db1/ka/


http://intranett.khio.no/Intranett/For_studenter/Reglement_og_forskrifter/

Kursnavn Kunsthistorie 3: Kunst etter 1945.

Kurstype Forelesningsrekke

Kurset inngår i følgende emne(r)

Tematisk fokus, 3 studiepoeng *Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus.

Målgruppe BA- og MA-studenter

Undervisnings-språk

Norsk

Kursansvarlig lærer

Stian Grøgaard: [email protected]

Gjennomføres https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95547QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html

Plasser 40

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.

Kort beskrivelse av kurset: Forelesningen tar sikte på å gi studentene en oversikt over hovedretninger i kunst de siste femti årene. Forelesningene dekker følgende emner kronologisk: 1. Pop Art og neoavantgarde

2. Minimalisme

3. Postminimalisme

4. Konseptkunst

5. Neo-ekspresjonisme

6. Identitetspolitikk og relasjonell estetikk

Arbeidskrav: 80% oppmøte

Litteraturliste for anbefalt lesning: Ved siden av generelle innføringer i nyere kunst er følgende å anbefale: Art since 1900 av Bois, Buchloh, Foster og Krauss. Art in Theory 1900-2000, en antologi med originaltekster redigert av Harrison og Wood.

https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95547QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html


Sikkerhets- og introduksjonskurs / Safety and Introduction Classes

Kursnavn Scenarios for Going Public

Kurstype Individuell veiledning og utvikling av prosjekt


Kunstnerisk praksis

Målgruppe Kun for 1MA/ only for 1MA

Forhåndskrav Ingen/ None

Undervisningsspråk

Norsk og engelsk / Norwegian and English

Kursansvarlig lærer Main advisors

Gjennomføres

https://no.timeedit.net/web/khio/db1/student/riqYny570gfZ7bQZQ5555Q6Q6Z675XZ7Q1Y64Z5Q70o3qYc6oQ.html

Plasser Alle studenter i 1MA/All students 1MA


Kort beskrivelse av kurset: Scenarios for Going Public - A Pilot Project of the Academy of Fine Art at Oslo National Academy of the Arts Where is the public? Do we find it or make it? Is it a Public with a capital first letter as in Oslo, Norway and the modern Nation state? Or a small p as in 'push it'? To push for a public would be the attempt to invest passion into the fiction of a place that was not already taken but, for a split second, owned by no one. Scenarios for Going Public is a pilot project for students of the Master's programme at the Academy of Fine Art in Oslo. In their first year, students will seek out people and places outside the Academy and, through their art, create moments of engagement with urban culture and civil society. Risking vulnerability, they will expand their practice and test the premises of what's impossible and what's possible within the horizon of their work. Art and politics alike thrive on situations in which people can communicate their concerns to each other. Scenarios for Going Public is an experiment in generating such conversations. Scenarios for going Public is a platform for first year master students to develop and discuss an independent project over the course of one year. The project could include organizing encounters, research groups or public programs, performing interventions and activating situations in the city, or any other practice which reconfigures what the public can be and what artists can do to engage it. The main advisor is the main guide for the project and responsible for ongoing monitoring, guidance and follow-up.

Arbeidskrav: Development of project by 15th of June Write a project description and estimate budget, by 2nd of December Individual tutorials with selected advisor 2 Complete the project by the end of the first school year, spring 2017, June 15th.



Kursnavn

Title

Maleri: materialer og metoder

Painting: Material and Method

Kurstype

Activity

Workshop

Workshop

Emne

Course

Tematisk fokus, 3

studiepoeng

Thematic Focus, 3

credits

*Vær oppmerksom på at du ikke vil få utløst studiepoeng

for hvert kurs. Du må oppfylle det totale kravet til

studiepoeng for hvert semester innen emnet Tematisk fokus.

*Please note that you will not obtain any credit points for

each class. You have to fulfill the total credit requirement

for each semester within the course Thematic focus.

Målgruppe

Year/Semester

BA og MA

BA and MA

Undervisnings-

språk

Language

Norsk og/eller engelsk

Norwegian and/or English

Kursansvarlig

lærer

Teacher

Kristian Øverland Dahl

[email protected]

Gjennomføres

Class meetings

https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95587QQ6q

6Q5Xb7c1Y63Z5Q70o46YZ6o.html

Plasser

Maximum

number

8

8

Vurdering

Assessment

Godkjent/Ikke godkjent

Approved/Not approved

Kort beskrivelse av kurset:

Kurset gir studentene en innføring i

grunnleggende maleteknikker,

metoder, vinklinger og strategier.

Kursleder vil gå i samtale med

gruppen for å kartlegge behov.

Course description:

The course is an introduction to basic painting techniques,

methods and strategies. The teacher will map the students

needs in dialogue with the group.

Arbeidskrav:

Aktiv deltagelse og minst 80 %

fremmøte.

Requirements:

Active participation and 80% attendance.

Litteraturliste:

Obligatorisk

Selsjord, Marianne (1991). Staffelimaleriets

oppbygning. Oslo: Kunsthøgskolen i Oslo.

Anbefalt

Gottsegen, Mark David

The painter's handbook Watson- Grupill

Publications

Itten, Johannes (1995). Farvekunsten og

dens elementer. Forsythia.

Reading list:

Compulsory

Gottsegen, Mark David (1993).

“The painter's handbook”

Recommended

Itten, Johannes (1995). The art of colour. Forsythia.



Kursnavn PROFESJONALISERINGSKURS/ PREPARATORY COURSE FOR LIFE AS A

PROFESSIONAL ARTIST

Kurstype Seminar/ workshop

Kurset inngår i

følgende emne(r)

Thematic focus, 3 credits *Please note that you will not obtain any

credit points for each class. You have to

fulfill the total credit requirement for each

semester within the course Thematic focus.

Målgruppe Open but Degree students have priority

Undervisningsspråk Norwegian/ English

Kursansvarlig lærer Kristian Dahl, [email protected]

Gjestelærer To be announced

Gjennomføres https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ9

5597QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html

Plasser 25 3BA and 2MA Have priority

Vurdering 80% attendence


Dette kurset tar sikte på å forberede studentene på livet etter endt utdannelse ved

Kunstakademiet, om graden er en BA eller MA, med fokus på å gi studentene verktøy for å

etablere seg som profesjonelle kunstnere. Vi vil jobbe med flere temaer, inkludert:

1. Navigere kunstscenen: Vi vil diskutere sammenheng med kunstnerisk praksis, og fokusere

på hvordan elevene kan kartlegge sin egen "reise". Vi vil presentere ulike strategier og ruter

for å oppnå sine mål sammen med den forståelse at hver enkelt artist forhold til deres

spesifikke kontekst. Vi skal se på ulike scener og deres hierarkier. Vi vil også se nærmere på

«postgraduate»-programmer, nasjonale og internasjonale residenser, ulike utstillingssteder

som museer, ad hoc / prosjektrom, kunstnerdrevne initiativer, biennalene og messer.

2. Verbal presentasjon: Hvordan presentere arbeidet ditt på dine vilkår til en ekstern sensor,

kurator, samler, en direktør i et galleri, eller journalist.

3. Skriftlig presentasjon: Hva er kriteriene for ulike bruksområder og hvordan kriteriene

endres fra et program til OCA til et program for Norsk Kulturråd? Fokuspunkter vil være

forskning og kontekst.

4. Livet etter skolen: Bli velorganisert, få god økonomisk orden. Hvordan komme inn i en

sunn rutine, mentalt og fysisk. Strategier for å få inn penger gjennom offentlige og private

tilskudd, prosjektmidler, offentlige og private oppdrag.

Dag 1: Kurset starter med temaet hvordan å kartlegge og navigere kunstscenen. Vi vil

presentere ulike strategier og ruter for kunstnere til å oppnå sine mål og å identifisere /

anerkjenne hver spesifikke kontekst.

Dag 2-3: Den andre dagen vil vi fokusere på det verbale selvpresentasjonen. Alle elevene blir

bedt om å ta med en artist statement, og vi vil redigere og finpusse dem mot en verbal

presentasjon. Vi vil introdusere noen presentasjonsteknikk og håndtering av nervøsitet. Alle

vil praktisere sine presentasjoner. Vi vil oppmuntre til bruk av videokameraer og studere

hverandres styrker og svakheter som en del av læringsprosessen. Vi skal jobbe på den

skriftlige selvpresentasjoner og søknader der vi bruker eksempler både fra lærerne og

studente.



Dag 4-5: Vi vil diskutere hvordan å skape sunne rutiner for livet etter endt utdanning og

hvordan man skal overleve økonomisk som kunstner. Vi vil se økonomiske forhold og skatt.

Det vil også bli en gjennomgang av offentlige og private oppdrag, finansiering og tilskudd.

Course description:

This course aims to prepare the students for life after graduating from the Art Academy, whether the degree is a

BA or a MA, focusing on giving students the tools for establishing themselves as professional artists. We will

work on several topics, including:

1. Navigating the art scene: We will discuss the context of artistic practice, and focus on how the students

can map their own ‘journey’. We’ll present different strategies and routes to accomplish their goals

along with the understanding that each individual artist relation to their specific context. We’ll look at

the different scenes and their hierarchies. We’ll also look into postgraduate programs, national and

international residencies, different exhibition venues such as museums, ad hoc/ project spaces, artist run

spaces, biennales, and fairs.

2. Verbal presentation: How to present your work on your terms to an external examiner, a curator,

collector, a director of a gallery, or journalist. 3. Written presentation: What are the criteria for different applications and how does the criteria change

from an application to OCA to an application for Norsk Kulturråd? Focus points will be research and

context.

4. Life after school: Getting organized, time wise, economically and how to get into a healthy routine,

mentally and physically. Strategies for bringing in money through public and private grants, project

funding, public and private commissions.

Day 1: The course starts off with the topic of how to map out and navigate the art scene. We’ll present different

strategies and routes for artists to accomplish their goals while acknowledging each specific context.

Day 2-3: The second day we’ll focus on the verbal self-presentation. All students are asked to bring an artist

statement, and we’ll edit and tweak them towards a verbal presentation. We will introduce some presentation

techniques and dealing with nervousness. Everyone will practice their presentations. We will encourage the use

of video cameras and study each other’s strengths and weaknesses as part of the learning process. We’ll work on

the written self-presentations and use examples from the teachers and student’s artist statements and applications.

Day 4-5: We’ll discuss how to create healthy routines for life after graduation and how to survive financially as

an artist. We’ll have a focus on public and private commissions, funding and grants.

Arbeidskrav:

80% attendence

Title I SEE WORDS, I HEAR VOICES

part II THE LAB

IMAGE

Activity Seminar with study trip and collaboration with The Lab in san Fransisco

The class is part of the following course(s)

Thematic focus, 3 credits *Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

Year/Semester

Bachelor- / Master students

Language of instruction

English

Teacher Dora Garcia, [email protected]

Guest teacher(s)

(Guest teachers name and email)

Class meeting time(s)

https://no.timeedit.net/web/khio/db1/student/ri105f5c6756Z6QY5ZQ4QQgXZQ0n71Yb757593Yy.html

Maximum number of students in the class

Participation in class and trip will be based on motivation letter to Dora Garcia

Assessment Study requirement for the class is assessed with “approved/not approved”. Please see the course description (course code) for information about final assessment.

Description:



I wanted to propose for the next winter semester 2016 a second part for my 2015 seminar "I see words, I hear voices", on the relation of literature/ art and hallucination. During the 2015 first part of this seminar, we have read, studied and discussed James Joyce, Hannah Wiener, Philip K Dick, among others. We have read aloud, we have read together, we have recited and performed the texts, and made the necessary connections with the biographies and context of the authors. We always had in our minds to complete the seminar with a travel to one of the geographic centers of art and hallucination. With its Science Fiction, countercultural, activist (The Diggers), psychedelia, and intentional communities tradition, San Francisco seemed like the ideal location, where Philip K Dick had lived and died, home of many visionary projects such as the Prelinger library or the Internet archive. I have received an invitation from The Lab's director, Dena Beard, and the San Francisco Museum of Art media department, Rudolf Frieling, to develop a new project during this year 2016 (presenting it during the last two weeks of November) and I thought we should take this opportunity to travel with a few students to San Francisco and prepare there a display of the possible outputs of the I SEE WORDS I HEAR VOICES seminar: readings, debates, performance, and installation. Both institutions will help us with residency and exhibiting and presentation venues. The Lab is housed in the Redstone Building in San Francisco’s Mission District. Built in 1914 and originally named the Labor Temple, the Lab’s 3,000 square foot space was the union meeting hall that hosted the vote for the 1934 General Strike, which led to the implementation of the forty-hour work week and standard minimum wage. Over the past year, there has been massive renovations to return the space to the look and feel of its original 1914 architecture. The Lab curates projects to tour internationally and has a publication component, but more important than the making of a final, autonomous "thing" is the way that the project challenges existing ideas of value. It is a mutual experiment: the artist will have the freedom to try out new modes of working and The Lab will respond by shifting The Lab's operating model entirely to meet those needs. The http://www.thelab.org/ website contains a tumblr-like feed for each commission. Rudolf Frieling is the curator of media art in the SFMOMA, which has been closed for rebuilding and will reopen in May 2016. The Lab and the SFMOMA will be both partners in this invitation and project presentation. The ten days- two weeks residence in San Francisco , which will be preceded by at least two Oslo seminar sessions of 6 hours each to prepare the travel and the project, will research the following institutions and contact the following persons: BAY AREA HEARING VOICES http://www.bayareahearingvoices.org/ home of the powerful bay area hearing voices network, an international community of people who hear voices or who have a relative who hears voices, and who seek to de-stigmatize and de-pathologize the hearing voices phenomenon. BAY AREA ICARUS PROJECT http://theicarusproject.net/ ///Bay Area Icarus/Oakland Contact: icarus-oaklandATlistsDOTriseupDOTnet

Meeting Times/Location: First and third Wednesdays, 7:30pm, Rock Paper Scissors, Oakland. Door locked at 7:45 Forum:http://www.theicarusproject.net/forums/viewforum.php?f=62 Facebook :https://www.facebook.com/icaruseastbay Listserv: [email protected] The Icarus Project is a support network and education project by and for people who experience the world in ways that are often diagnosed as mental illness. Icarus Project advances social justice by fostering mutual aid practices that reconnect healing and collective liberation. We transform ourselves through transforming the world around us. Jonathan Lethem Jonathan Lethem is an American novelist, essayist and short story writer. His first novel, Gun, with Occasional Music, a genre work that mixed elements of science fiction and detective fiction, was published in 1994. It was followed by three more science fiction novels. Jonathan Lethem is a long- term collaborator of The Lab and the editor of The Exegesis of Philip K Dick; and we would work with him to determine how literature and hallucination mix together in the context of the Bay Area with some interesting perceptual dialectics in around the themes of utopia/dystopia, health/illness, data/phenomenon, NASA/New Age.

Requirements: Please refer to the course description (course code).

http://www.theicarusproject.net/forums/viewforum.php?f=62

https://www.facebook.com/icaruseastbay

https://en.wikipedia.org/wiki/Debut_novel

https://en.wikipedia.org/wiki/Gun,_with_Occasional_Music

https://en.wikipedia.org/wiki/Gun,_with_Occasional_Music

https://en.wikipedia.org/wiki/Science_fiction

https://en.wikipedia.org/wiki/Detective_fiction

Title Painting is not dead, it just smells funny # MEETS #

Magic Make-up of Modern Cities & The Many Sisters of

Painting

Thomas Lawson, Don't Hit Her Again, 1981 / Anonymous Shop Decorator, Walk on the Wild Socks, 2012

Activity Seminar, lectures, workshop, exhibition


Thematic Focus, 3 credits *Please note that you will not obtain any credit points for each class. You have to fulfil the total credit requirement for each semester within the course Thematic focus.

Year/Semester BA, MA


English, Scandinavian, Colour

Teacher Felix Gmelin / Jan Verwoert

Guest teacher(s) Karin Mamma Andersson / Paulina Ołowska, tba.

Class meeting time(s) https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95577QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html


14 (+ open afternoon lectures, times tba.)



This is a painting class that takes you out of your regular studio practise. Therefore we propose a painting class based on research, quick experiments and mutual discussions about what painting could be today, and about how to make it a relevant tool and language for communicating your personal affections. For our first day I would be glad if you could present a painting you like or dislike and argue for or against it. With this brief research we start our discussions. In the course of the seminar we will present works and questions to discuss: Jan Verwoert once held a lecture series titled: “Why are conceptual artists painting again? Because they think it’s a good idea.” Can painting be a god idea? Or is it as Gerhard Richter says “pure idiocy”? I will briefly present the old battle around “The End of Painting” and its loss of “critical potential”, which is not the death of a medium, but rather the death of a late Modernist approach to the function of this medium in our culture. Instead painting has become an odd activity. Some say there is an advantage in this. Is there? And is being “unpolitical”, as many painters claim they are, also political? And in that case how and why? The dominant models no longer satisfy. We will discuss what potential painting has for the future. We will look at works that apply painting as a political act or to explore history, migration, memory and commemoration. Also we will look at the effect the invention of photography had on painting and discuss what consequences new media, post-colonial studies, Feminism, performativity and other disciplines could have for painting. What if didn't talk ideas but magic and make-up instead? After all, in times when artists still derived their basic know-how from alchemy, medicine and cosmetics were painting's sisters. For centuries, the visual arts shared their knowledge on the practical use of colours/pigments for activating the powers of cosmic relations: to show, provoke, heal and seduce. Did we loose touch with these arts? Or is there another story of Modernism to be told, in which painting tapped the magic of the modern metropolis, in close proximity to fashion, dance, poetry, literature, philsophy and music. Paris, 1890: the Post-Impressionists love Bergson, wallpaper and puppet theatre. Paris 1909: The Ballet Russes have Natalia Goncharova, Bronislava Nijinska, Coco Chanel, Igor Stravinsky, Pablo Picasso et. al. work together on turning avantgarde into extravaganza. Rio de Janeiro 1960: Lygia Clark and Helio Oitica translate painterly abstraction into parades, dance, object art and therapy, with Brasilian psychedelic pop music in bloom all around them. New York 1970, a generation of painters including Mary Heilman practice a form abstraction, attuned to the daily life in a big dirty town. Meanwhile, the Chicago Imaginists transformed figuration into a comic book shorthand language for messing with urban matters. The class ends in an exhibition in Akademirommet at Kunstnerernas hus. Welcome, Looking forward, Felix & Jan

Requirements: Interest and engagement

Reading list: To come

Kursnavn Malersalen. Et praxiologisk syn på maleriets teori. Høst

Kurstype Seminar


Tematisk fokus, 3 studiepoeng

*Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus.

Målgruppe BA + MA

Undervisningsspråk Norsk

Kursansvarlig lærer Stian Grøgaard

Gjestelærer Fredrik Værslev, prof. i filosofi Arild Utaker mfl.


Plasser 25


Kort beskrivelse av kurset: Maleri er en kompetanse som kan brukes utenfor maleriets egen disiplin, ikke bare om kunst i

alminnelighet, men som en visuell beredskap, en egen, instrumentell holdning til persepsjon. Viktige

malerier er slike vi blir avhengig av og vender tilbake til. De blir optikker som endrer vår måte å se på,

slik Daniel Buren sier om Cézanne, at han endret vår sensibilitet.

Maleriet er taust og samtidig det mest diskursiverte, italesatte, av medier. Det er mediet for de som

liker å se kunst som en form for tenkning. Malere er "varast i garden", som katten i et kjent dikt av Olav

H Hauge, den første en må snakke med når en besøker et sted. Malere kjenner på forskjellige

betydninger av det sette, som nesten ikke er skjelnelige. Denne sensibiliteten må vernes i en situasjon

hvor kunstnere stadig nøyer seg med å være produsenter av meninger de har fra andre.

Seminaret vil være et møte med bilder, først og fremst malerier, i tillegg til teorier om maleriet, både

historiske og nåtidige. Det vil være et seminar som legger vekt på å forstå bilder ikke bare ikonografisk,

men praksiologisk, som måter å tenke maleriske handlinger på. Studentene blir bedt om å legge fram

tekster, undersøke bestemte malere, skaffe eksempler på deres produksjon, og presentere dem for de

andre deltakerne på seminaret som utgangspunkt for diskusjon. Ambisjonen er å ta det maleriske, i

betydningen det ekspressivt synlige, tilbake fra generell kommunikasjon, fra omløpet av klisjeer, for å

få øye på hvordan klisjeer blir til, eller blir oppløst i nye ikoniske bilder.

Materialet blir samtidig og historisk maleri samt tekster med utgangpunkt i maleriet fra Leonardos

traktat til kritikere som Clement Greenberg og Jerry Salz. Men også tekster fra andre områder vil være

aktuelle å trekke inn, som feks Foucaults analyse av Velazquez i Ordene og Tingene, Arild Utakers

Foucault-kritikk og restitusjon av representasjonsbegrepet, og Deleuze bok om Francis Bacon.

Billedforståelsen vil bli brukt som ressurs for forståelsen av ting en sjelden forbinder med maleri. Det

skal ikke dreie seg om en "ikonisk vendning" a la WJT Mitchell, men vendingen mot en ikonisitet, en

billedkvalitet, som er formålet med all malerisk praksis.



Arbeidskrav: 80 % deltagelse + presentasjoner av kunstnere, kunstverk eller tekster. Opppgavene fordeles i begynnelsen av semesteret.

Litteraturliste: Greenberg Clement, Collected writings. Bochner Mel: Primary Structures. Crary, Jonathan: Suspension of perception. Gabrielsen, Stian: Intervju med Fredrik Værslev på kunstkritikk.no Grøgaard, Stian: "I still carry you around", essay i Fredrik Værslev-katalog, East bound and down. Grøgaard, Stian: "Ingen metode er spontan", katalog Munch-Jorn-utstillingen, Munchmuseet. Salz, Jerry: Zombies on the walls: Why does so much new abatraction look the same? Salz, Jerry: The malignant influence og Michel Krebber: How early- `00s Abstraction gave way to Zombie formalism Utaker, Arild: Essay om bildet og billedbegrepet. Foucault, Michel, Ordene og tingene, kapittel 1, "Las Meninas".

Kursnavn Tid

Kurstype Seminar



Målgruppe BA- / og MA-studenter

Forhåndskrav Ingen

Undervisnings-språk

Norsk


Gard Frigstad og Stian Grøgaard, [email protected]


Plasser ∞ (men komputere og mobiltelefoner ingen adgang)

Vurdering Vurderes til godkjent/ikke-godkjent. Se emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.

Kort beskrivelse av kurset: Tid Kunstnere er såpass opptatt av tid, at noen har kalt det "den fjerde dimensjon i kunst". Men i utgangspunktet er man opptatt av det på fordekt måte, fordi det er ulovlig å si sannheten: Det å arbeide med kunst er en måte å ta tilbake tiden på. For å konsentrere seg om et lite punkt, må man forvalte sin egen tid og være i stand til å forvalte sin egen tid. En annen sak er tiden selv som motiv og moment innen kunst. Ikke bare i eksistensiell forstand av typen: Tiden står, livet forgår, og heller ikke destruktivt som "tid er noe ugripelig som omfavner oss", men heller: det lar seg uttrykke. Tid er noe alle forstår, helt til man skal si hva det er, som Augustin sier. Tid motsetter seg altså å få et uttrykk, eller ett uttrykk. Kanskje det er derfor kunst tematiserer tid, og man tar aldri tyren ved hornene, men alltid fra siden, alltid indirekte, som stang inn. Spørsmålet om "hva tid er", hvordan tid er, tidens forbindelse med bevegelse og hukommelse, og forvaltningen av disse, er noen av aspektene seminaret berører. Dette henger sammen med at mennesket er besatt av å forvalte tid og rom, (ikke minst andres), og tiden alltid har romlige uttrykk. Hvis vi kunne forstå forbindelsene mellom rom og tid, ville seminaret bringe oss et skritt på vei. (NB: underdrivelse) Hvis det viser seg at vi ikke vil kunne gi et svar på spørsmålet, så vil vi kunne finne ut hvorfor, hvilket er opplysende for å forstå spørsmålets karaktér. Velkommen!

Arbeidskrav: Kursets arbeidskrav: 80% oppmøte, det forutsettes at man er forberedt på tekstene og tekstsammendrag leveres per epost + papirkopier til medstudentene, som presenteres. Seminaret baserer seg på aktiv deltakelse.

Litteraturliste: vi tenker berøre tenkere som: Cioran, Hawkins, Immanuel Kant, Spengler, Eliade, Huizinga, Hegel, Cassirer, Bergson, Seneca, Benjamin, Elias, Augustin, Ludwig Wittgenstein Litteraturliste foreligger ved semesterstart og det er et krav at man har satt seg inn i tekstene. Alt om tiden er obligatorisk.



Kursnavn Død

Kurstype Seminar



Målgruppe BA- og MA-studenter

Undervisningsspråk

Norsk


Gard Frigstad og Stian Grøgaard, [email protected]

Gjennomføres


Plasser ∞ (men komputere og mobiltelefoner ingen adgang)

Vurdering Vurderes til godkjent/ikke-godkjent. Se emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.

Kort beskrivelse av kurset: Det er ikke uvanlig at kunstnere er skap-eksistensialister. Man stirrer gjerne på døden i det skjulte, og tør ikke innrømme det. Kunstvirksomheten drives også delvis i det skjulte og blottes innimellom i offentligheten. På et tidligere seminar "Om sjelen" ble det slått fast at ingen egentlig tror at døden kommer, til tross for at man gjerne bedyrer at "det eneste som er sikkert er at døden kommer". Siden døden ofte omtales som "å gå ut av tiden", kan seminaret om død bli ansett som det motsatte av seminaret om tid, men behøver ikke være det. Vi behandler død og døden historisk og systematisk, og kommer til å berøre de psykologiske, historiske og sosiale konsekvensene av dette uartige fenomenet. Utgangspunktet er uansett at "det finnes en død", selv om alle i det stille tenker "men ikke for oss". Grunnholdningen i seminaret er at vi er imot døden, men vi prøver å finne ut om vi egntlig har noen gode grunner for det. Med dette som utgangspunkt vil seminaret forholde seg til om døden er: 1) en fordel (slik Nosferatu hevder) 2) en ulempe (hvilket later til å være en utbredt oppfatning), eller: 3) ingen av delene: altså det er det samme: altså likegyldig, slik Sokrates hevder, før han tømmer giftbegeret. Selv om død og døden kan lyde som kjedelige temaer, er utgangspunktet sardonisk: snarere tvert imot. Velkommen!

Arbeidskrav: Kursets arbeidskrav: 80% oppmøte, det forutsettes at man er forberedt på tekstene og tekstsammendrag leveres per epost + papirkopier til medstudentene, som presenteres. Seminaret baserer seg på aktiv deltakelse.

Litteraturliste: Seminaret vil forholde seg til tenkere som Canetti, Epikur, Kierkegaard, Schopenhauer, Platon, Seneca, Schelling, Bloch. Litteraturliste foreligger ved semesterstart og det er et krav at man har satt seg inn i tekstene.



Title No Strait Story

Course format Workshop

The course is part of the following study area(s)

Thematic focus, 3 credits

*Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

BA and/or MA Bachelor and Master students

Teaching language

Swedish or English depending on student participation

Teacher Saskia Holmkvist [email protected]

Guest teacher(s)

Guest teacher to be confirmed + Greg Pope, Tom Trøbråten, Chrstian Tviberg in Medialab

Date and time https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95527QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html

Maximum number of students

12

Assessment Commitment

Course description: How can we revisit historical moments in order to re-think the present and the future? How we chose to work through history, geography, – alongside affective traces across dangerous terrains – displacement of flesh, localities, and utterances using voice through flickering perceptions of the non fixity of actions – is what is at stake during this coarse. The choices to be made while working through specific historical, architectural and biographical trajectories are of great importance in the process of grasping and linking moments across borders and time. Historical narratives are critical to how we understand the world or rethink the present and the future. 1. By bringing together a vast range of works to view, discuss and analyse concerned with historical narratives connected to material, personal or political events we will explore how one can relate to the history of a subject, meanwhile as well bringing in the students’ work and research into the conversation. The purpose is to engage and rethink some of the narrative techniques used within the broad genre of documentary such as fragmented, ethnological, deconstructed, micro-stories, counter stories, re-enactments, essay-film as a space where critical discussion takes place about the relationships between art and historical narrative. 2. In the second part – workshop - we can decide whether to work in small collaborations or individually in developing work. We will develop work in relation to the construction of personal and historical narratives in relation to conflicts, historical changes and how this relates to the present. Studio visits will be held along.

3. For those who in developing projects are interested in testing out techniques such as 16 millimeter film this is an opportunity to work with Greg Pope, sound with Tom Tröbråten, and video editing/still photography with Christian Tviberg in medialab. The coarse will in the end produce and exhibition (yet to be confirmed).

Course requirements: Active Participation in dialogue around presented work and the development of an own researched project and participation in coarse.



Title SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7

Attach a relevant image

IMAGE

Activity lectures, workshop


Autumn, thematic focus 3 credits *Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

Year/Semester

B.A. & M.A.


ENGLISH/NORWEGIAN

Teacher MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE




12


Description:



is a meeting point for the exchange of ideas and solutions within the field

of sculpture and installation- where everybody brings something to the table.

Requirements: 100% commitment

Title PAS | Performance Art Studies #50 | ‘roots in motion’

Activity Performance Art Studies / Workshop


Tematic Focus 3 credits


Year/Semester Bachelor and Master

Language of instruction English

Teacher BBB Johannes Deimling / Email: [email protected]

Guest teacher(s) Not yet announced

Class meeting time(s) https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95507QQ6q6Q5Xb7c1Y63Z5Q70o46YZ6o.html Practical part with a final presentation of the results at the PAO festival at Atelier Nord. Theoretical part with discussions, lectures and observations and analysis of the Performances presented at the PAO festival. Academy of Fine Art students should be available for the weekend as it is an integral part of the course.


Max 14 participants in the class. 2 spots reserved for Academy of Fine Art students, motivation letter must be sent to course responsible BBB Johannes Deimling.

Assessment Study requirement for the class is assessed with “approved/not approved”

Description: For the second time PAS | Performance Art Studies is cooperating with PAO – Performance Art Oslo to continue the exchange between performance art education and a professional festival setting. The first cooperation from 2015 led to PAS #42 | ‘Salt & Pepper’ with 13 international

mailto:[email protected]



participants and a presentation of the studies as part of the PAO festival at ANX – Atelier Nord in Oslo, Norway. The PAO Festival 2016 is inspired by Nicolas Bourriaud’s book “The Radicant” where we seek to investigate the artist as nomad, wanderer, refugee, migrant, expatriate, visitor, traveller, observer and connector. One aspect of Nicolas Bourriaud’s book of 2009, “The Radicant” is the role of the artist in contemporary globalized society in which many individuals are no longer anchored to one national identity or home. Migration, online communication and easier international travel have created the rise of the immigrant, the exile, the tourist and the urban wanderer as figures in contemporary culture. Bourriaud likens such figures as radicants- plant forms such as ivy that grows from multiple roots, advancing in all directions and are adaptable in growing in a variety of soils. For the artist, this enables a flexibility and fluidity in constructing identity- the original roots can be rejected, mythologized or selectively edited, whilst new environments can stimulate a myriad of influences and tools for adaptation. We perceive the world in which we are living full of change, turmoil and movement. But ever since humans have been in motion in need to find better living conditions. Nature catastrophes, wars, plagues and earth quakes are moving people around the world. What we connect with the meaning of roots is a temporary concept and an illusion since it seems everything is motion. But having roots does not mean to be stuck at one place. How can we move our roots to other places in order to create artistic fruits in an unknown place? Following to the topic of PAS #50 we will research different performance art practices and theories and create an experimental setting in which we will work towards an individual and/or collective performance work. These works will be presented as part of the PAO – Performance Art Oslo festival 2016 in a public event.

Requirements: Willingness to discover the field of visual Performance Art with experimentation. Engagement in the whole process (physical work, theoretical work and reflection). The quality and depth of the researches (which will lead as well to the final presentation). Attendance for the whole period of the course.

Reading list: It would make sense for the students to have a proper look at the following two websites: PAS | Performance Art Studies: http://pas.bbbjohannesdeimling.de Especially: http://pas.bbbjohannesdeimling.de/index.php?/timeline/publication07/ http://pas.bbbjohannesdeimling.de/index.php?/timeline/video-8/ PAO – Performance Art Oslo: http://www.performanceartoslo.no Especially: http://www.performanceartoslo.no/pao-interviews.html

http://pas.bbbjohannesdeimling.de/

http://pas.bbbjohannesdeimling.de/index.php?/timeline/publication07/

http://pas.bbbjohannesdeimling.de/index.php?/timeline/video-8/

http://www.performanceartoslo.no/

http://www.performanceartoslo.no/pao-interviews.html

Kursnavn

Title

Maleri: materialer og metoder

Painting: Material and Method

Kurstype

Activity

Workshop

Workshop

Emne

Course

Tematisk fokus,

3 studiepoeng

Thematic Focus,

3 credits

*Vær oppmerksom på at du ikke vil få utløst

studiepoeng for hvert kurs. Du må oppfylle det totale

kravet til studiepoeng for hvert semester innen emnet

Tematisk fokus.

*Please note that you will not obtain any credit points

for each class. You have to fulfill the total credit

requirement for each semester within the course

Thematic focus.

Målgruppe

Year/Semester

BA og MA

BA and MA

Undervisningsspråk

Language

Norsk og/eller engelsk

Norwegian and/or English


Teacher Kristian Øverland Dahl

[email protected]

Gjennomføres

Class meetings

Tba

Plasser

Maximum number

8

8

Vurdering

Assessment

Godkjent/Ikke godkjent

Approved/Not approved


Kurset gir studentene en innføring i

grunnleggende maleteknikker, metoder,

vinklinger og strategier. Kursleder vil gå i

samtale med gruppen for å kartlegge behov.

Class description:

The course is an introduction to basic painting

techniques, methods and strategies. The teacher

will map the students needs in dialogue with the

group.

Arbeidskrav:

Aktiv deltagelse og minst 80 % fremmøte.

Requirements:

Active participation and 80% attendance.

Litteraturliste:

Obligatorisk

Selsjord, Marianne (1991). Staffelimaleriets

oppbygning. Oslo: Kunsthøgskolen i Oslo.

Anbefalt

Gottsegen, Mark David

The painter's handbook Watson- Grupill Publications

Itten, Johannes (1995). Farvekunsten og dens elementer.

Forsythia.

Reading list:

Compulsory

Gottsegen, Mark David (1993).

“The painter's handbook”

Recommended

Itten, Johannes (1995). The art of colour. Forsythia.

Kursnavn "Notater og samtaler / Notes and conversations"

Kurstype Workshop

Kurset inngår i

følgende emne(r)

Tematisk fokus, 3

studiepoeng

Thematic Focus,

3 credits

*Vær oppmerksom på at du ikke vil få utløst studiepoeng

for hvert kurs. Du må oppfylle det totale kravet til

studiepoeng for hvert semester innen emnet Tematisk

fokus.

*Please note that you will not obtain any credit points

for each class. You have to fulfill the total credit

requirement for each semester within the course

Thematic focus.

Målgruppe BA- / MA-studenter (maks 12)

Forhåndskrav Ingen

Undervisnings-

språk

Norsk/ (Engelsk)

Kursansvarlig

lærer

Kristian Øverland Dahl [email protected]

Gjestelærere Ida Ekblad, Stian Grøgaard, (Stein Rønning), Ellef Prestsæter

Gjennomføres Tba

Plasser 10

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se

emnebeskrivelsen (emnekode) for informasjon om sluttvurdering

Maleatelie? Dette kurset har undertittelen; "Notater og samtaler / Notes and conversations" vi vil ta for oss

samtaler med kunstnere i forskjellige genre og generasjoner via filmklipp, tekst og i levende

live. Samtaler fra antikken til i dag, notater på huleveggen, i andre «arkiver» utført med

pensel, penn og papir til smart-phone. Vi kommer til å forholde oss til et litt rotete scenario,

men vil forsøke ha blikket rettet mot fremtiden.

Kurset skal tres igjennom en praktisk, pragmatisk, kunstnerisk tankegang med maleri som

omdreiningspunkt.

Studentene vil forventes å bidra med egne og andres eksempler for diskusjoner etter lunch.

Det sies at det fins aspekter ved tegning og maleri som kan bringe frem interessant kunst, hva

disse aspektene er kan ikke konkretiseres i den grad at vi får en troverdig formel, men

kunstnere har til alle tider arbeidet med teknikker for effektivt å understøtte sine intensjoner.

Vi vil i dette kurset også se på et utvalg av disse teknikkene.

Meningen er å skape et sosialt verksted som faller ut og inn av «maleriet».

Vi tar for oss teknisk/praktiske vinklinger og øvelser fra forskjellige tradisjoner innen tegning

og maleri. Vi skaper et sted for arbeide og informasjon.

Er det slik at hendene våre er dømt til å være i verden, til å utføre, kan de overaske oss?

Vi skal meisle ut sanntids erfaringer innen formelig og taktil grensetesting, reflektere over

estetikkens og etikkens forbindelseslinjer. I bred forstand fremme praktisk/ logistisk,

økonomisk forståelse av vårt virke.

Nøkkelord; observasjon, analyse, medie, farge, form, tegn, tekstur, intensjon.

Kurssamlingene innledes med at maleriet knyttes til til begreper som:

Penger, kontrakt, signatur, historie, smak, tid, kjærlighet, offer, tjeneste, logistikk, fattigdom,

dumhet, presentasjonen, produksjon.

Painting studio? This course is subtitled; "Notes and conversations" we will look at conversations with artists

in various genres and generations through film clips, text and also alive. Calls from antiquity

to the present, notes taken on cave walls, in other "archives", conducted by brush, pen and

paper to smart-phone. We are going to deal with a messy scenario, but will attempt to have

our minds focused on the future.

The course has it's starting point in a practical, pragmatic, artistic thinking with painting as a

pivot.

Students will be expected to contribute their own and others' examples for discussion after

lunch.

It is said that there are aspects in drawing and painting that can bring fourth interesting art,

what these "aspects" are can not be specified to the extent that we get a credible formula, but

artists have always worked on techniques for effectively supporting their intentions.

In this course we will investigate a selection of these techniques.

The intention is to create a social workshop that moves in and out of "painting".

We will deal with «hands on» technical / practical approaches and exercises from different

traditions in drawing and painting, and create a place for production and information.

Is it so that our hands are doomed to be in the world, to reflect and perform, will they surprise

us? We are devising real-time experiences within shaping and tactile threshold testing, reflect

on aesthetic and ethic connections and in a broad sense promote practical / logistical,

economic understanding of our work.

Keywords: medium, observation, analysis, form, color, texture, sign, intention.

In the class meetings we will also bring fourth more or less elaborated thoughts on:

Money, contract, signature, history, theme, time, love, offer, favor, persona, taste, logistics,

poverty, stupidity, presentation, production.

Requirements: 80% partisipation

Litteraturliste: Reading list: Kilde tekst/

Required source text: Selsjord Marianne Staffelimaleriets Oppbyggning

Anbefalt lesing/Recommended reading: Itten Johannes Farvekunsten og dens

elementer. Krug Margaret An artist´s Handbook

Kursnavn Malersalen. Et praxiologisk syn på maleriets teori. Vår

Kurstype Seminar


Tematisk fokus, 3 studiepoeng

*Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus.

Målgruppe BA + MA

Undervisningsspråk Norsk

Kursansvarlig lærer Stian Grøgaard

Gjestelærer Fredrik Værslev, prof. i filosofi Arild Utaker mfl.

Gjennomføres Tba

Plasser 25

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se emnebeskrivelsen (emnekode) for informasjon om sluttvurdering. Hver seminardag blir en egen enhet. Det skal være mulig å komme og gå på kurset. Studenter får studiepoeng etter antall ganger. Max studiepoeng pr semester er 4 poeng, målt etter oppmøte og egeninnsats.

Kort beskrivelse av kurset: Maleri er en kompetanse som kan brukes utenfor maleriets egen disiplin, ikke bare om kunst i

alminnelighet, men som en visuell beredskap, en egen, instrumentell holdning til persepsjon. Viktige

malerier er slike vi blir avhengig av og vender tilbake til. De blir optikker som endrer vår måte å se på,

slik Daniel Buren sier om Cézanne, at han endret vår sensibilitet.

Maleriet er taust og samtidig det mest diskursiverte, italesatte, av medier. Det er mediet for de som

liker å se kunst som en form for tenkning. Malere er "varast i garden", som katten i et kjent dikt av Olav

H Hauge, den første en må snakke med når en besøker et sted. Malere kjenner på forskjellige

betydninger av det sette, som nesten ikke er skjelnelige. Denne sensibiliteten må vernes i en situasjon

hvor kunstnere stadig nøyer seg med å være produsenter av meninger de har fra andre.

Seminaret vil være et møte med bilder, først og fremst malerier, i tillegg til teorier om maleriet, både

historiske og nåtidige. Det vil være et seminar som legger vekt på å forstå bilder ikke bare ikonografisk,

men praksiologisk, som måter å tenke maleriske handlinger på. Studentene blir bedt om å legge fram

tekster, undersøke bestemte malere, skaffe eksempler på deres produksjon, og presentere dem for de

andre deltakerne på seminaret som utgangspunkt for diskusjon. Ambisjonen er å ta det maleriske, i

betydningen det ekspressivt synlige, tilbake fra generell kommunikasjon, fra omløpet av klisjeer, for å

få øye på hvordan klisjeer blir til, eller blir oppløst i nye ikoniske bilder.

Materialet blir samtidig og historisk maleri samt tekster med utgangpunkt i maleriet fra Leonardos

traktat til kritikere som Clement Greenberg og Jerry Salz. Men også tekster fra andre områder vil være

aktuelle å trekke inn, som feks Foucaults analyse av Velazquez i Ordene og Tingene, Arild Utakers

Foucault-kritikk og restitusjon av representasjonsbegrepet, og Deleuze bok om Francis Bacon.

Billedforståelsen vil bli brukt som ressurs for forståelsen av ting en sjelden forbinder med maleri. Det

skal ikke dreie seg om en "ikonisk vendning" a la WJT Mitchell, men vendingen mot en ikonisitet, en

billedkvalitet, som er formålet med all malerisk praksis.

Arbeidskrav: 80 % deltagelse + presentasjoner av kunstnere, kunstverk eller tekster. Opppgavene fordeles i begynnelsen av semesteret.

Litteraturliste: Greenberg Clement, Collected writings. Bochner Mel: Primary Structures. Crary, Jonathan: Suspension of perception. Gabrielsen, Stian: Intervju med Fredrik Værslev på kunstkritikk.no Grøgaard, Stian: "I still carry you around", essay i Fredrik Værslev-katalog, East bound and down. Grøgaard, Stian: "Ingen metode er spontan", katalog Munch-Jorn-utstillingen, Munchmuseet. Salz, Jerry: Zombies on the walls: Why does so much new abatraction look the same? Salz, Jerry: The malignant influence og Michel Krebber: How early- `00s Abstraction gave way to Zombie formalism Utaker, Arild: Essay om bildet og billedbegrepet. Foucault, Michel, Ordene og tingene, kapittel 1, "Las Meninas".

Title Shifts in Translation

Course format Workshop and seminar

The course is part of the following study area(s)

Thematic Focus, 3 credits *Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

BA and/or MA Bachelor and Master students

Teaching language Swedish or English depending on student participation

Teacher Saskia Holmkvist [email protected]

Guest teacher(s) Guest teacher to be confirmed

Date and time Tba

15 15

Assessment Commitment

Course description: How can it be that the burglar became the foreigner and the asylum seeker becomes a criminal? The focus on translation and how things shift in meaning, productive and in-productive misunderstandings, phantoms, sticky words, affective economies, subversive depression and other political combinations of psycho-economic and social wording will be central to our discussion. Many of these terms derive from post colonial discourse and will be subject for our discussion on how affect and bodily emotions translate into societal structures. Selected texts will be a departure for a discussion on this topic as a way to start relating the words to one´s own practice. As a part of the coarse we will visit some institutions dealing with issues of translation and migration. We will amongst other visit Oslo Rikshospital (a fairly new department working with translation)- UDI- The Norwegian Directorate of integration and Diversity (IMDi)- Tøyenlyftet, Tøyenskole, 5 årsklubben).

Course requirements: Commitment

Reading list: Will be handed out.

Title Sound Positions

Activity Workshop and presentations


Thematic focus, 3 credits


Year/Semester B.A. & M.A.


English / Norwegian

Teacher Dirkjan van der Linde, [email protected]

Guest teacher(s) Jana Winderen


Tba


10

Assessment Pass / fail

Description:

Point of reference is the use of sound in your own artistic practice.

The workshop will consist of (self-)presentations, round-the-table discussions as well as a

practical workshop components.

We will inform each other of work by artists that use sound in their practice, both contemporary

as well as historically.

We will use one of the Seilduken galleries as our base but will move around depending on ideas

and interests.

This interest is anything between listening and adding sound to this world.

Bring your own equipment. (We can provide some as well; recorders, microphones,

loudspeakers.)

In addition to more idea based discussions and listening practices there will also be technical

demonstrations of equipment, of underwater recording with hydrophones, recording of

ultrasound and other inaudible wavelengths.

We are asking you to participate with your own interests at the centre of activity. In the end of

the project we will have an informal roundup where you will be presenting and discussing your

work for each other.

Requirements: Participation

Title What can neither be seen nor said

May sparkle most brightly,

When cast in a certain light.

Opaque situation on church door: Sant’Agata protects Catania, Sicily, because this is what she does.

Activity Seminar/workshop


Thematic Focus, 3 credits


Year/Semester Bachelor- / Master students


English, Symbol, Metaphor, Metamorphosis

Teacher Jan Verwoert


Tba


-


This class is an experiment in performing theory, in pursuit of ways to grasp the

poetic and political potentials of opacity. We will experiment with thoughts and techniques dedicated to the art of sharing what may remain unshareable in experiences and intuitions. The class will take its point of departure in a reading of selected writings by Édouard Glissant, Hélène Cixous and Jean-Luc Nancy. We will try to unravel how these philosophers develop the intuition that what cannot, as such, be communicated directly might create the very basis for the exchange poetry and art draw us into. The unshaeable colours communication, taints, animates or accentuates it, sets its key. What is alive in the ways poetic exchanges become coloured are the experiences people have lived through, historically, biographically, just as well as the sense of familiarity our bodies may sense with the way the light temperature changes during a particular place in a particular time of the year. What emerges in these intutions is the condition and limit of a world, a limit on which worlds may meet or miss one another. Parallel to the reading, we will try to collect intuitions, tropes and motives, around which a poetic manifestation can take shape. We will rehearse exchanges between ourselves using colours, poems, gestures, tunes, objects or images. On the final night of the workshop we will make these exchanges public in a form they will have to be determined in the course of our experiments. It could be an evening of poetry reading, an exhibition, a parade, two hours of deep silence or a walk through the city whistling a certain melody. Requirements: Continuous attendance, wits

Reading list:Édouard Glissant: Poetics of Relation, University of Michigan Press, 1997. Hélène Cixous. To live the orange. In Susan Sellers (Ed.), The Helene Cixous reader, Routledge Press, 1994, pp. 81-92. Jean-Luc Nancy: Literary Communism. In Nancy: The Inoperative Community, University of Minnesota Press, 1991, pp. 71-81.

Title Attempts (or, ‘Words are no help’)

Still from Adam Curtis’s video essay The Trap (2007)

Format Seminar/workshop

The class is part of

the following

course

Writing Practice, 4

credits

Semester/Year Bachelor year 1

Teaching language English/Norwegian

Teacher Mike Sperlinger: [email protected], nordic text tutor Victoria Durnak

Date and time https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95527QQ

6q6Q5Xb7c1Y64Z5Q70o06YZ6o.html + individual tutorials

Assessment Study requirement for the class is assessed with “approved/not approved”.

Please see the course description for information about final assessment.

Class description:

You probably did not come to Kunstakademiet to write. Perhaps you even feel, as the painter Alberto Burri did, that ‘words are no help’ when it comes to your art. So what is it we really expect from you when we ask you, as part of your studies at the academy, to write an essay for example? Just what is an essay anyway? For this introductory course, we are going to try to demystify the word essay and to return to its original meaning of an ‘attempt’ – something playful, experimental and exploratory, rather than academic – and to think about what it might mean in the context of your art-making. To begin with, we will read and discuss together some different kinds of essay, from Michel de Montaigne to the ‘video essay’. What we want to identify are forms of writing which relate more directly to your own ways of thinking, researching and making as artists, so that the texts you produce during your time at the academy (and beyond) can become tools in your art, rather than just alibis.

There will be a number of small writing assignments during the course. Each

student will then eventually develop an essay of their own, based on their own

research, and drawing on some of the ideas and processes we’ve discussed.




Exactly what ‘research’ means will be different for each of you and we will

work to identify how to draw on what is already happening in your studio.

You can choose whether your final essay is written in Norwegian or English,

and you will have tutorials as part of the course with a tutor in your chosen

language.

Requirements:

Written assignment and attendance requirements for approval of class: 80%

Recommended reading:

Theodor Adorno, ‘The Essay As Form’, in Notes to Literature: Volume II

Adam Curtis, ‘The Curse of Tina Part 2’:

http://www.bbc.co.uk/blogs/adamcurtis/entries/843165bf-1e69-3dec-873e-973fc8e604a5

Adam Curtis, The Trap: What Happened to Our Dream of Freedom? (TV essay):

https://freedocumentaries.org/documentary/bbc-the-trap-what-happened-to-our-dream-of-

freedom-f-k-you-buddy-episode-1

Errol Morris, ‘The Case of the Inappropriate Alarm Clock’:

http://opinionator.blogs.nytimes.com/2009/10/18/the-case-of-the-inappropriate-alarm-

clock-part-1/?_r=0

Robert Smithson, 'A Tour of the Monuments of Passaic, New Jersey', in Robert Smithson: The

Collected Writings, ed. Jack Flam

Frances Stark, ‘Professional Me’ & ‘Pull Quotable’, in Frances Stark: Collected Writing 1993-

2003

Hito Steyerl, 'A Thing Like You And Me': http://www.e-flux.com/journal/a-thing-like-you-and-

me/

David Foster Wallace, ‘Consider The Lobster’:

http://www.columbia.edu/~col8/lobsterarticle.pdf

http://www.bbc.co.uk/blogs/adamcurtis/entries/843165bf-1e69-3dec-873e-973fc8e604a5

https://freedocumentaries.org/documentary/bbc-the-trap-what-happened-to-our-dream-of-freedom-f-k-you-buddy-episode-1

https://freedocumentaries.org/documentary/bbc-the-trap-what-happened-to-our-dream-of-freedom-f-k-you-buddy-episode-1

http://opinionator.blogs.nytimes.com/2009/10/18/the-case-of-the-inappropriate-alarm-clock-part-1/?_r=0

http://opinionator.blogs.nytimes.com/2009/10/18/the-case-of-the-inappropriate-alarm-clock-part-1/?_r=0

http://www.e-flux.com/journal/a-thing-like-you-and-me/

http://www.e-flux.com/journal/a-thing-like-you-and-me/

http://www.columbia.edu/~col8/lobsterarticle.pdf

Title Invisible colours (‘The thing to see is…’)

Daniel Buren, flyer for You are invited to read this as a guide to what can be seen [Part 1] (1970)

Format Seminar/workshop

The class is part of the

following course

Writing Practice, 4 credits

Semester/Year 2BA & and 1MA students

Teaching language English

Teacher Mike Sperlinger: [email protected]

Date and time https://no.timeedit.net/web/khio/db1/student/riqYQy5Z0gfZ7nQZQ95537

QQ6q6Q5Xb7c1Y64Z5Q70o06YZ6o.html

Maximum number of

students

15



Class description:

How much does language determine what we perceive, or how we

behave? For example how much do words determine, rather than simply

describing, the colours we see?

In this course we will look at the theory and practice of linguistic priming:

the ways in which language can be used (and abused) to structure or even

dictate our experience, in ways we may not even be aware of. Along the

way we might look into Neuro-linguistic Programming, behavioural

economics, colour theory, the power of naming, the history of giving

artworks titles (which Duchamp described as ‘invisible colours’), and other

related phenomena. But we will also think about the subtler ways in which



writing about artworks frames or fixes them, and how artists can use text

to set parameters for experience.

We will read and discuss some history and theory from different disciplines

together (some short reading will be distributed in advance). But we will

also carry out a few practical exercises around your own work, and

eventually collaborate on an experiment in writing to test the limits of

priming’s powers, which will involve each student producing a text in the

form of a ‘primer’.

Requirements:

Written contribution to final project and attendance requirements for approval of class: 80%

Title Heart Criticism

The birth of criticism: things on the talk to Alice and she is asked to speak back to them.

Activity 4 day workshop


Writing Practice, 4 credits

Year/Semester Bachelor- / Master students

Language of instruction English

Teacher Jan Verwoert

Class meeting time(s) https://no.timeedit.net/web/khio/db1/student/ri105f5c6756Z6QY4ZQ0QQgXZQ0n71Yb757594Yy.html


-




This workshop is an exercise in writing about work which is not your own. You will be in a situation where you do not have to justify or explain your own practice, but use the language of criticism to voice criteria you defend (or reject) in relation to other people's works (who knows, you may later use it for your own).

1st day: an excercise in journalism, against the clock: we visit an exhibition in the morning and sit down to write a review immediately afterwards, deadline 4 o’clock

2nd day: an exercise in encounters: we do a short interview, ask others about their art, transcribe and edit the conversation.

Writing assignment between the 2 seminar blocks: an exercise injustice. We write an evil and judgemental review about a fictional artist’s work who either embodies everything we hate or everything we love in art. In the most polemic possible way, the writing is to either expresses all we ever want to say and didn’t dare to or portray everything we most fear to hear in relation to what we care for (and do) ourselves.

3rd day: an exercise in adding analysis to injury: We read the judgemental reviews to one another and try to understand how we want, and how we fear to be judged.

4rth day: an exercise in sculpting heartfelt abstractions: Based on the experiments of the previsous days we write a short essay/aphorism and collect thoughts on the power of interpretation and the experience of judging or being judged. Yet, we do so as abstractly as possbile, in the attempt to capture the bottom line of conflicting feelings and portray what the experiences of different people may have in common.

Requirements: consistent attendance, opinions, sense of humour

Bacheloressay

Mike Sperlinger





Masteressay

Mike Sperlinger





Title Exhibition Studies Seminar: AUDIENCES

Activity Seminar

The class is part of

the following course

Exhibition Practice, 4 credit points

Year/Semester Master students, 1MA and 2MA

Teaching language English

Teacher Rike Frank; [email protected]

Guest teacher To be announced (tba).

Date and time Tba

Maximum number of

students

No restriction



Course description:

Subject of the course is a discussion around different concepts of audience(s) – shifting from the

idea of “a” pulic to a less normative understanding ranging from “visitor” to “user” or “participant”.

Requirements:

Participation requirements for approval of courses: 100%.

Reading list: Will be provided.

Avgangsutstillingen bachelor i billedkunst

Tba

Avgangsutstillingen master i billedkunst

Tba

Title SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7

Attach a relevant image

IMAGE

Activity lectures, workshop


Autumn, thematic focus 3 credits *Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

Year/Semester

B.A. & M.A.


ENGLISH/NORWEGIAN

Teacher MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE




12


Description:



is a meeting point for the exchange of ideas and solutions within the field

of sculpture and installation- where everybody brings something to the table.

Requirements: 100% commitment

6 10 - KHIO · Kursnavn Kunsthistorie 3: Kunst etter 1945. Kurstype Forelesningsrekke Kurset...

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