Abstracts (engl.)

ABSTRACTS

Jamika Ajalon

The Anti-Lecture Multi_Verse

(unrehearsed)

I aim to explore the ways in which artistic practice, academic research, and the blending of multilayered narratives destabilizes traditional, hegemonic sagacity, and static structural institutions of knowledge. An anti-lecture displaces the position of the ‘lecturer’ as the ‘owner’ of knowledge and works to liberate from the strictures of erudition. It gives privilege to a knowledge that could be called intuitive rather than ‘rational’.

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Fouad Asfour

Unwriting the Body

Based on my lecture at Un_University platform in April 2016, this text is a collection of fragments from an ongoing practice of unwriting the body as deschooling option, drawing on Walter Mignolo’s reflections around epistemic disobedience and decolonial options, Trinh T. Minh-ha’s concept of L’Innécriture: Un-writing/Inmost Writing and Gloria Anzaldúa’s Writing as a Sensous Act: ‘Picking out images from my soul’s eye, fishing for the right words to recreate the images.’ (1987: 71).

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SABINE BITTER & HELMUT WEBER

Asynchronous Spaces of Knowledge

Examining post-war university buildings and campuses that exemplify the architecture of ‘educational modernism’, Bitter and Weber translate the historical asynchronicities of social and political relations between the university and society into artistic images and spaces. At the same time, their project-based teaching practice takes place in a present marked by multiple temporalities and neoliberal logics.

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Eva Egermann

Crip Materials as Forms of Un_University Thinking

In 1990, writing about women’s studies, Elizabeth Minnich noted: ‘Invisibility itself teaches something. Students who never hear of a woman philosopher have trouble believing in such a creature.’ Today, the same applies to the absence of disabled bodies in art discourses and at universities. Accordingly, un_university thinking should mean unlearning normative narratives. My research deals with deviance, abnormality or illness with reference to crip pop culture and theory.

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Simon Harder

Stimmlos 2 – Rehearsal

Stimmlos (voiceless/unvoiced/voting ticket), a series of experimental sound pieces and a work-in-progress, is based on and centred around artworks, giving rise to compact images in space and language with an activist motivation that understand voicelessness as the result of an ongoing, violent process. The Stimmlos pieces create space for what is repressed as culturally inferior and threatening. Stimmlos 2: Zu Horizontales Paradies (On Horizontal Paradise), of which a sample is given here, explores its titular theme via drawings and sound objects by Sabian Baumann.

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Elke Krasny

Counter/Acting: Performative Porosity

Based on Counter/Acting, a symposium at the Institute for Education in the Arts at Vienna’s Academy of Fine Arts in cooperation with Kunsthalle Wien, this text opens up links between possible action, resistance and porosity. Institutions must become porous in order to work against discrimination and epistemic violence. Practicing articulations of ‘the not-in-common at the heart of being-in-common’ (Athanasiou) is the precondition for this porosity.

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Annette Krauss

Unlearning to Relate

How to approach processes of unlearning physically, intellectually, and collaboratively? This question has been at the core of my study and practice of unlearning in different constellations at the intersections of art, everyday life and (institutionalized) normalization processes with the aim of reconsidering a politics of relating. I will elaborate specifically on ‘un/learning institutional habits’, the theme of a long-term collaboration with the team of the art space Casco in Utrecht.

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Brandon LaBelle

The Living School

The Living School was held in London from February to June 2016 in collaboration with the South London Gallery and taking place at a range of venues in the city. Focusing on the issues of social housing, common property, and the precarious subject, the School created an experimental pedagogical platform aimed at supporting dialogue and collective making. Through methods of self-organized criticality, the School resulted in temporary situations from which to draw out a politics of possibility.

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MARLENE LAHMER

Unterrichtssprache – Working Language

The choice of a working language influences the content and type of discussions and creates in and out groups. At an art university in the German-speaking world, should one speak English due to the large international audience, or should one speak German because it feels unnatural when a majority of German-speaking students communicate in English? Language excludes those who do not speak it and is thus not a neutral carrier of information.

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YEN NOH

Acting Together: rethinking existing approaches to collective action

This text investigates collective action as an artistic practice. Such practice is often collaborative and curatorial, both working within artist groups and by involving the audience and other artists interactively and socially, and has been particularly marked in the contemporary visual arts since the early 1990s. Rethinking collective action as an opportunity to become conscious of action and togetherness, ‘archival mind’ resistant to ‘curatorial mind’ is proposed as an artistic practice in order to discuss participation in the contemporary visual arts.

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JIANAN QU

A Gentle Rawness

Before any kind of exchange, I think about being, seeing and feeling. In this sense, to feel something is more real than to study something. A comfortable way of being next to each other, with no intentions or desires, might offer more than an intended receiving/sharing. Things are in their own place/position, intended as an honest approach. You + others + the combination of you and others = your exchange setting, which is your setting.

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Roee Rosen

Front Covers for Virtual Essays and Non-Existent Books, 2004-2016

The board presented here, echoing those found in school libraries, was made for the exhibition Art School, curated by Avi Lubin at Tel Aviv Museum of Art in 2016. Celebrating the 70th anniversary of HaMidrasha art college, the show opted to create an actual functioning art art school rather than offer an historical overview. The board brings together samples from a variety of projects, ranging from a series of iconic weapons as the unlikely heroes of children’s books, to a reworking of Freud’s Standard Edition, to cover images I designed for actual essays published by an online platform on the topic of Opposition (edited by philosopher Nitzan Lebovic). My other contribution was a free handout consisting of ‘educational pastime games,’ including a sexuality crossword puzzle and a coloring page (reproduced here) smuggled into the military prison cell of a soldier who refused to serve in the occupied territories.

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Rúbia Salgado

Pedagogical Reflexivity (Exercise).

Introduction to the pedagogical lexicon of the present

Access, access criteria, access options, adults with few formal qualifications, agency, anti-hegemonic knowledge production, certification, competence check, competitiveness, contradiction, control, crisis, critical educational work, critiques of racism in education, empowerment, epistemic violence, evaluation, further education, human capital, innovation, institutional critique, integration of disadvantaged groups, key competences, knowledge society, learning to learn, learning to unlearn […]

Let’s start with the first entry in this poem.

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NORA STERNFELD

Museum of Burning Questions

Negotiating with reality at the Bergen Assembly 2016

Are exhibition contexts places of refuge for critical teaching and learning, precursors of their total economization, or both? And what does this mean for critical educational practice? ‘Negotiating with Reality’ describes the interventions and approaches of the Museum of Burning Questions, a project run as part of freethought at the Bergen Assembly 2016.

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STudio without master

How to Speak with Your Mouth Full?

If every art school class can be perceived as a collective body, it is usually headed by a master. We want to keep this anatomical metaphor and symbolically decapitate it. The head is generally understood as the most distinctive sign of one’s subjectivity, identity and reason. We would like to experimentally transfer these attributes to a (symbolically) lower bodily sphere in order to test possible approaches to more democratic art education.

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‘University of Ignoramuses’

Questions of Inside and Outside – resolved in the utopia of communal,[1] anti-hegemonic knowledge production

Everyone is ‘ignorant’ as long as marginalized knowledge is ignored, as long as knowledge is produced without critical reflection on its dimension of power. Knowledge production is linked to violent processes of legitimation and de-legitimation. One knowledge is posited as the norm while another is denied recognition or devalued. As a consequence, we must examine and attack the hegemonic basis of ignorant knowledge production. In the name of resistance and as an emancipatory claiming of space. As a shared anti-hegemonic practice. The word ‘knowledge’ must be chewed over, again and again.

[1] This text is the result of an exercise in joint text production, collaging old productions and new developments. Those who participated in this process were: Cristina Ursu, Gerhilde Merz, Jo Schmeiser, Luzenir Caixeta, Rocío del Río Lorenzo, Rúbia Salgado, Safiyeh Sayyed and Tania Araujo.

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Hong-Kai Wang

What Emerges in the Silence of …

In universities, there are various referents of knowledge. They are usually embedded in social forms of power relation in precluding rather than opening up other knowledges to us. Using ‘listening’ to a reenactment of two transcripts as a mode of organizing sociality, What emerges in the silence of … is a performative session that seeks to disrupt the given references that so often quietly inform our responses, and to possibly forge an emergent knowledge production.

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