Vår 2017
SEMESTERPLAN / SEMESTER PLAN
Bachelor i billedkunst / Bachelor of Fine Art
Master i billedkunst / Master of Fine Art
Oppdatert: 04.01.2017 / Updated 04.01.2017
Endringer i semesterplanen kan forekomme. Følg med på www.khio.no
Changes might occur. For updates please visit: www.khio.no
Innhold / Content
EMNESTRUKTUR / PROGRAMME STRUCTURE ............................................................. 7
EMNESTRUKTUR BACHELOR ...................................................................................................... 7
PROGRAMME STRUCTURE BACHELOR ...................................................................................... 8
EMNESTRUKTUR MASTER .......................................................................................................... 9
PROGRAMME STRUCTURE MASTER ........................................................................................ 10
VIKTIG INFORMASJON / IMPORTANT INFORMATION ............................................. 11
STUDIEPLAN / STUDY PLAN .................................................................................................... 11
INDIVIDUELL STUDIEPLAN / INDIVIDUAL STUDY PLAN ........................................................... 11
SEMESTERPLAN / SEMESTER PLAN ......................................................................................... 12
TIMEPLAN / TUITION SCHEDULES ........................................................................................... 13
REGLEMENT OG FORSKRIFTER / RULES AND REGULATIONS ................................................... 13
KURSBESKRIVELSER / SYLLABUS .................................................................................... 14
Scenarios for Going Public ........................................................................................... 15
Main advisors ............................................................................................................................................. 15
TEMATISK FOKUS / THEMATIC FOCUS .................................................................................... 16
SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7 ................................................. 17 MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE ........................................................................................ 17
Artists Moving Image Norway .................................................................................... 20
Ane Hjort Guttu .............................................................................................................................................. 21
Non-Fictional Performance & Real-Time Composition ....................................... 22
Jeremiah Day .................................................................................................................................................. 23
Picture Makers ................................................................................................................. 25
Jeremiah Day .................................................................................................................................................. 25
What can neither be seen nor said ............................................................................ 27
May sparkle most brightly, .......................................................................................... 27
When cast in a certain light. ........................................................................................ 27
Jan Verwoert .................................................................................................................................................. 28
Maleri: materialer og metoder .................................................................................... 30
Painting: Material and Method ................................................................................... 30
Kristian Øverland Dahl ................................................................................................................................... 31
Maleratelier? / Painting studio? .................................................................................. 32
"Notater og samtaler / Notes and Conversations" ............................................... 32
Kristian Øverland Dahl.................................................................................................................................... 32
Shifts in Translation ........................................................................................................ 34
Saskia Holmkvist............................................................................................................................................. 35
Malersalen. Et praxiologisk syn på maleriets teori ................................................ 37
Stian Grøgaard ............................................................................................................................................... 37
Ting som er skjult siden verdens grunnleggelse. René Girards filosofiske
antropologi. Våren 2017 ............................................................................................... 40
Things hidden since the foundation of the world. René Girard´s philsophical
anthropology, spring semester 2017 ........................................................................ 40
Stian Grøgaard ............................................................................................................................................... 40
Painting in Palestine ...................................................................................................... 42
Felix Gmelin.................................................................................................................................................... 44
DIY Television Gallery / Telegalleriet ......................................................................... 45
Felix Gmelin.................................................................................................................................................... 46
Expanded Scripting ........................................................................................................ 49
Maryam Jafri .................................................................................................................................................. 49
Material Longevities ....................................................................................................... 51
Tris Vonna-Michell ......................................................................................................................................... 52
Interacting with public space ...................................................................................... 58
Jeannette Christensen.................................................................................................................................... 58
Sound Positions .............................................................................................................. 61
Dirkjan van der Linde ..................................................................................................................................... 61
Easy Rider .......................................................................................................................... 64
Felix Gmelin.................................................................................................................................................... 65
UTSTILLINGSPRAKSIS / EXHIBITION PRACTICE ........................................................................ 66
Does the network fit into the cube? .......................................................................... 67
Rike Frank ....................................................................................................................................................... 67
Exhibiting: An Introduction .......................................................................................... 69
Rike Frank ....................................................................................................................................................... 69
SKRIVEPRAKSIS / WRITING PRACTICE ..................................................................................... 71
Nordisk skrivekurs .......................................................................................................... 72
Hans Petter Blad ............................................................................................................................................ 72
Avgangsessay bachelor ................................................................................................. 74
Bachelor Graduation Essay ........................................................................................... 74
Mike Sperlinger .............................................................................................................................................. 74
Master essay .................................................................................................................... 78
Mike Sperlinger .............................................................................................................................................. 78
ÅPNE FORELESNINGER / PUBLIC LECTURES ................................................................ 82
ÅPENT FORUM/ OPEN FORUM ............................................................................................... 82
ACADEMY LECTURES ............................................................................................................... 82
AKADEMIROMMET ................................................................................................................... 83
ADMINISTRASJON / ADMINISTRATION ...................................................................... 84
Hege Nyborg .............................................................................................................................................. 84
Eva Løveid Mølster .................................................................................................................................... 84
Therese Veier .............................................................................................................................................. 84
Berit Andresen ........................................................................................................................................... 84
Sunniva Lundh ........................................................................................................................................... 84
7
Emnestruktur / Programme structure
Emnestruktur bachelor
Krav til bachelorgrad: 180 studiepoeng (sp)
Emnekode Emnenavn
Studiepoeng per semester
1. år 2. år 3. år
høst vår høst vår høst vår
BK101 Kunstnerisk praksis 1 15
BK102 Gruppekritikk 1 5
BK103 Tematisk fokus 1 6
BK104 Skrivepraksis 1 4
BK111 Kunstnerisk praksis 2 15
BK112 Gruppekritikk 2 5
BK113 Tematisk fokus 2 6
BK115 Utstillingspraksis 1 4
BK201 Kunstnerisk praksis 3 15
BK202 Gruppekritikk 3 5
BK203 Tematisk fokus 3 6
BK204
BK205 Enten Skrivepraksis 2 eller Utstillingspraksis 2 4
BK211 Kunstnerisk praksis 4 15
BK212 Gruppekritikk 4 5
BK213 Tematisk fokus 4 6
BK204
BK205 Enten Skrivepraksis 2 eller Utstillingspraksis 2 4
BK301 Kunstnerisk praksis 5 15
BK302 Gruppekritikk 5 5
BK303 Tematisk fokus 5 2
BK304 Skrivepraksis 3 4
BK305 Utstillingspraksis 3 4
BK311 Kunstnerisk praksis 6 15
BK312 Gruppekritikk 6 5
BK314 Skrivepraksis 4 4
BK315 Utstillingspraksis 4 6
SUM STUDIEPOENG 30 30 30 30 30 30
8
Programme structure Bachelor
Requirements for Bachelor`s degree: 180 Credits
Course
code Course name
Credits per semester
Year 1 Year 2 Year 3
autumn spring autumn spring autumn spring
BK101 Independent practice 1 15
BK102 Group critique 1 5
BK103 Thematic focus 1 6
BK104 Writing practice 1 4
BK111 Independent practice 2 15
BK112 Group critique 2 5
BK113 Thematic focus 2 6
BK115 Exhibition practice 1 4
BK201 Independent practice 3 15
BK202 Group critique 3 5
BK203 Thematic focus 3 6
BK204
BK205
Either Writing practice 2 or Exhibition
practice 2 4
BK211 Independent practice 4 15
BK212 Group critique 4 5
BK213 Thematic focus 4 6
BK204
BK205
Either Writing practice 2 or Exhibition
practice 2 4
BK301 Independent practice 5 15
BK302 Group critique 5 5
BK303 Thematic focus 5 2
BK304 Writing practice 3 4
BK305 Exhibition practice 3 4
BK311 Independent practice 6 15
BK312 Group critique 6 5
BK314 Writing practice 4 4
BK315 Exhibition practice 4 6
TOTAL CREDITS 30 30 30 30 30 30
9
Emnestruktur master
Krav til mastergrad: 120 studiepoeng (sp)
Emnekode Emnenavn
Studiepoeng per semester
1. år 2. år
høst vår høst vår
BK501 Kunstnerisk praksis 1 15
BK502 Gruppekritikk 1 5
BK503 Tematisk fokus 1 6
BK504
BK505 Enten Skrivepraksis 1 eller Utstillingspraksis 1 4
BK511 Kunstnerisk praksis 2 15
BK512 Gruppekritikk 2 5
BK513 Tematisk fokus 2 6
BK504
BK505 Enten Skrivepraksis 1 eller Utstillingspraksis 1 4
BK521 Kunstnerisk praksis 3 15
BK522 Gruppekritikk 3 5
BK523 Tematisk fokus 3 2
BK525 Utstillingspraksis 2 4
BK524 Skrivepraksis 2 4
BK531 Kunstnerisk praksis 4 15
BK532 Gruppekritikk 4 5
BK535 Utstillingspraksis 3 6
BK534 Skrivepraksis 3 4
SUM STUDIEPOENG 30 30 30 30
10
Programme structure Master
Requirements for Master`s degree: 120 Credits
Code Course name
Credits per semester
Year 1 Year 2
autumn spring autumn spring
BK501 Independent Practice 1 15
BK502 Group Critiques 1 5
BK503 Thematic Focus 1 6
BK504
BK505 Either Writing Practice 1 or Exhibition Practices 1 4
BK511 Independent Practice 2 15
BK512 Group Critiques 2 5
BK513 Thematic Focus 2 6
BK504
BK505 Either Writing Practice 1 or Exhibition Practice 1 4
BK521 Independent Practice 3 15
BK522 Group Critiques 3 5
BK523 Thematic Focus 3 2
BK525 Exhibition Practice 2 4
BK524 Writing Practice 2 4
BK531 Independent Practice 4 15
BK532 Group Critiques 4 5
BK535 Exhibition Practice 3 6
BK534 Writing Practice 3 4
TOTAL CREDITS 30 30 30 30
11
Viktig informasjon / Important information
Studieplan / Study plan
Alle studenter må sette seg inn i studieplanen for sitt studieprogram. Studieplanen gir
viktig informasjon om studiets oppbygging, undervisningsformer, arbeidskrav,
vurdering og annen informasjon som er viktig for å gjennomføre studiet. Studieplan
for Kunstakademiets studieprogrammer finner du her:
Studieplan for bachelorstudium i billedkunst
Studieplan for masterstudium i billedkunst
All students must be familiar with the curriculum for their programme. The curriculum
provides important information regarding the course structure and descriptions,
requirements, teaching methods, assessment, and other information the students
need to know about in order to follow the study programme. The English version of
the curriculum is available on khio.no:
Bachelor of Fine Art
Master of Fine Art
Individuell studieplan / Individual Study plan
Alle studenter må oppnå 30 studiepoeng (sp) i løpet av et semester innenfor de fem
emnene, basert på emnestrukturen i sitt program. Vi ber studentene krysse av hvilke
undervisningstilbud de vil følge i en individuell studieplan. Den individuelle
studieplanen danner grunnlag for godkjenning av semesteret. Arbeidskrav må være
godkjent for at studenten skal kunne få avsluttende vurdering i emnene.
Ved semesterstart blir det hengt opp lister over kurstilbudet på oppslagstavla ved
kontorene til Kunstakademiet. Alle studenter må skrive seg på disse listene for å
melde seg på kurs. Studentene skal i tillegg levere skjemaet for individuell studieplan
til studiekonsulent Berit Andresen. Her skal studentene også opplyse om hvem de
ønsker å ha som hovedveileder. Nærmere informasjon sendes på e-post.
12
All students must obtain 30 Credits within the five courses each semester, based on
the programme structure. We ask the students to mark the classes they wish to follow
in an individual study plan, which will form the basis for approval of the semester. The
coursework requirements must be met and approved in order for the student to
receive a final assessment in the courses.
Application lists for the classes are on the board by the offices at the Academy of Fine
Arts. All students must use these lists to sign up for classes. The students must also
submit their individual study plan to Study Consultant Berit Andresen. In this process
the students will inform the administration of their preferred main advisors. Further
information will be sent by e-mail.
Semesterplan / Semester Plan
Semesterplanen inneholder beskrivelser av kurstilbudet ved Kunstakademiet. Kursene
i semesterplanen er knyttet til noen av de obligatoriske emnene i studieplanen. Se
studieplanen for nærmere opplysninger om emnene og emnestrukturen.
Alle kurs har et deltakelseskrav på minst 80% for å få bestått. Noen kurs krever 100%
deltakelse. Se kursbeskrivelsen for nærmere opplysninger.
The Semester plan contains the class descriptions at the Academy of Fine Arts. The
classes presented in the semester plan are related to the programme structure and
some of the courses in the Study Plan. Please consult the curriculum for further
information regarding the courses and the course structure.
All classes require at least 80% attendance to pass. Some classes require 100%
attendance. Please look at the syllabus for further information.
13
Timeplan / Tuition Schedules
Timeplanen (Time Edit) er tilgjengelig på Kunsthøgskolens nettsider. Du finner også
direkte lenker til timeplanen for det enkelte kurs i kursbeskrivelsene for inneværende
semester. Vær oppmerksom på at det kan skje endringer i timeplanen. Endringer
oppdateres i Time Edit, og det forventes at studentene holder seg oppdatert på
endringer i kursene de følger.
Viktig informasjon for studenter om timeplaner, semesterregistrering med mer finner
du her:
http://www.khio.no/intranett/for-studenter/studieinformasjon
Tuition Schedules (TimeEdit) are available on our Web Pages. There are also direct
links to the Class Schedules in the class description for the upcoming semester.
Changes in the schedule might occur. Students are expected to keep updated on
changes in their classes in the online schedule.
Important information for students regarding Tuition schedules, semesterregisration
and more, can be found here:
http://www.khio.no/en/intranet/for-students/study-information
Reglement og forskrifter / Rules and regulations
http://intranett.khio.no/Intranett/For_studenter/Reglement_og_forskrifter/
14
Kursbeskrivelser / Syllabus
15
Kursnavn Scenarios for Going Public
Kurstype Individuell veiledning og utvikling av prosjekt
Kurset inngår i
følgende emne(r)
Kunstnerisk praksis
Målgruppe Kun for 1MA/ only for 1MA
Forhåndskrav Ingen/ None
Undervisningsspråk Norsk og engelsk / Norwegian and English
Kursansvarlig lærer Main advisors
Gjennomføres Complete project by the end of the first school year, spring
2017, June 15th
Plasser Alle studenter i 1MA/All students 1MA
Vurdering Se studieplanen for nærmere informasjon.
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
16
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.
Tematisk fokus / Thematic focus
17
Title SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7
Activity lectures, workshop
The class is
part of the
following
course(s)
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp1
Year/Semester B.A. & M.A.
Language of
instruction
ENGLISH/NORWEGIAN
Teacher MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE
Class meeting
time(s)
https://no.timeedit.net/web/khio/db1/student/ri16656y6Z6460Q077QQY202Z167003Q159W45.html
Maximum
number of
students in
30
1 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.
18
the class
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:
Sculpture Studio 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.
Where’s the Sculpture 2016/7:
The workshops lie within a sculpture/installation frame of reference,
incorporating and expanding earlier themes “Public space” “Installation-a
sense of space” “Body” and “Context and Awareness of Space”
It is looking to a combination of methods in order to stimulate the individual
and joint studio practice -as well as incorporate a greater awareness and use of
the thinking/facilities within the area of sculpture /installation practice.
The workshop consists of two parts running over two semesters. It will mean a
commitment of at least 40 hours per semester.
Autumn semester 2016
Personal presentations:
Students presenting their own references and angles of approach in order to
pool information and present potential areas of future discourse for their
studio thinking and joint ventures. These presentations often take the form of
“mini lectures” followed by group discussions.
Spring semester 2017
Joint shows: Weeks 8, 10, 11 .
The group will be divided up into three teams in order to develop three
shows at Akademirommet.
Each team will work closely, through the semester, with the staff, whose role
is to facilitate and advise during the development process.
Each team will be called into evening startup meetings in February to discuss
19
the process and possibilities.
The content of the show is entirely up to the team involved and may reflect
individual’s current studio practice or be seen as the basis for exploring new
areas of team thinking. The whole group will come together for
discussions/critical reflection around each of the shows.
Each show will have a budget available.
Requirements:
100% commitment
20
Kursnavn Artists Moving Image Norway
Fra The Lost Dreams of Naoki Hayakawa, Ane Hjort Guttu/Daisuke Kosugi 2016
Kurstype Workshop
Kurset inngår
i følgende
emne(r)
BK113 Tematisk fokus
2
BK213 Tematisk fokus
4
BK513 Tematisk fokus
2
3 sp2
Målgruppe BA og MA
Forhåndskrav Ingen
Undervisnings
språk
Norsk eller engelsk
2 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.
21
Kursansvarlig
lærer
Ane Hjort Guttu [email protected]
Gjestelærer Div (tba)
Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri18650y6Z0480Q0
87QQY202Z467076Q559W05.html
Plasser 15
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se
emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.
Kort beskrivelse av kurset:
Kurset Artists Moving Image Norway søker å kartlegge nye initiativer rundt film- og
videokunstfeltet i Norge. Få områder i kulturfeltet har i den grad manglet
virksomme institusjoner; fra produksjonsstøtte til visningsmuligheter, fra
distribusjon til arkivering. Heldigvis har en hel rekke nye prosjekter dukket opp de
seneste to årene. I kurset Artists Moving Image Norway møter vi noen av
initiativtakerne til disse prosjektene, for eksempel filmmagasinet WUXIA, FRANK og
den nye kinoen på Kunstnernes Hus. Ca halvparten av kurset vi gå med til å se
utvalgte nye film- og videoarbeider og snakke med kunstnerne bak dem.
Arbeidskrav:
Det kreves oppmøte hver dag og forberedelse i form av å se film og video. Lenker
formidles. Ytterligere informasjon om dette kommer.
Litteraturliste: Tba
22
Title Non-Fictional Performance & Real-Time Composition
Activity Interdisciplinary workshop with a focus on movement-improvisation,
with a day of preparation and a day of follow up.
The class is
part of the
following
course(s)
BK113 Tematisk fokus
2
BK213 Tematisk fokus
4
BK513 Tematisk fokus
2
3 sp3
Year/Semes Bachelor and master
3Vær 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.
23
ter
Language
of
instruction
English
Teacher Jeremiah Day, [email protected]
Class
meeting
time(s)
https://no.timeedit.net/web/khio/db1/student/ri18657y6Z6480Q087
QQY202Z067086Q659W05.html
Maximum
number of
students in
the class
16 (8 from Academy of Dance /Choreography KHiO and 8 from The
Academy of Fine Art KHiO).
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:
This course is an attempt to establish working dialogue between the dance and
visual arts departments by offering a workshop in how the different disciplines can
work together in practice.
Two days will be in the dance studio, working with improvisational movement and
speech and experimental compositional strategies.
One day before will be focussed on theoretical work to introduce the shared
territory between dance and art (a follow up on my September Scene 5 lecture) and
then a month later there will be a follow up session to present and chart what
results emerged from the workshop in the student’s individual work (ie did the
vocabulary introduced to them then become integrated in other works).
Requirements:
Attendance for all parts of the workshop is mandatory as is interest in working with
one’s body – running, jumping, crawling – and comfort with physical intimacy –
touching, leaning upon one another, etc. Texts must be read in advance of first
meeting.
24
Reading list:
Required:
“Nonfictional Performance”; Allan Kaprow, from Essays on the Blurring Between
Art and Life
“On the News Animations”; Simone Forti, from Oh, Tongue
“Mind Body World”; Simone Forti, from Oh, Tongue
25
Title Picture Makers (Two part seminar – February and October
2017)
Activity Two day seminar Oslo; one with guest teacher; trip to Paris
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 Masters
Language of
instruction
English
Teacher Jeremiah Day [email protected]
Guest teacher(s) Alain Cueff
Class meeting
time(s)
Preparatory meeting with Cueff 14th and 15th of February.
https://no.timeedit.net/web/khio/db1/student/ri16655y6Z5460
Q087QQY202Z467076Q759W05.html
Paris trip October, dates trip will be specified later.
Maximum
number of
students in the
class
12 students, Oslo class February
6 students. Short motivation letter required for Paris trip in
October, [email protected]
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:
Is there a discourse of pictures, and their capacities? Is picture making more like
fabricating a sculpture or performing a gesture into the public realm? In this world
of digital media, what potential is left for the concrete physical picture produced by
an individual?
Besides theoretical issues (image vs. picture, for instance) there is a history of
practice to draw from in exploring these dilemmas, to elaborate and speculate.
In this two-part seminar (which can be taken separately) we will look back to the
traditions of modern art in French history painting and impressionism to then gain
new perspectives on Pop Art, the group of artists known as the Pictures Generation,
26
and our own practices. With Alain Cueff, writer and art historian from Paris as a
special guest, we will discuss concrete examples and concrete potentials of picture
making.
Part 1: February 14,15
In this two day intensive seminar we will look at 20th century strategies for picture
making as a form of public meaning – from Barnett Newman struggling with the
nuclear war, to Pop art and then the Pictures Generation. We will also travel to the
National Gallery to look at a few key works. Alain Cueff will co-teach the seminar
and will deliver a lecture as part of the Academy Lecture Series.
Note: the seminar is limited to 12 participants and those interested should write a
brief statement of motivation. Also – please visit “Under the Microscope –
Gustave Courbet” at the National Gallery before it closes February 5.
Part 2: October 16-21 (subject to change) in Paris
In this week long seminar we will meet in Paris to visit key works of impressionism
and French History painting as well as hold group critiques. Alain Cueff will also
contribute.
Note: the seminar will be limited to 6 participants – more details available in Spring.
Requirements:
Two day seminar in Oslo and four day trip to Paris.
Reading list:
Required:
Painters Painting, documentary film by Emile de Antonio, 1972.
The Pictures Generation, exhibitions catalogue, Metropolitan Museum of Art, New
York, 2009.
27
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 / Korridoruker / Corridoor weeks
The class is
part of the
following
course(s)
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 credits4
Year/Semester Bachelor- / Master students
4 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.
28
Language of
instruction
English, Symbol, Metaphor, Metamorphosis
Teacher Jan Verwoert
Class meeting
time(s)
https://no.timeedit.net/web/khio/db1/student/ri17655y6Z5470Q0
87QQY202Z467075Q359W45.html
Maximum
number of
students in
the class
Assessment Study requirement for the class is assessed with “approved/not
approved”. Please see the course description (course code) for
information about final assessment.
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
29
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.
30
Kursnavn
Title
Maleri: materialer og metoder
Painting: Material and Method
Foto: Kristian Ø. Dahl
Kurstype /
Activity
Workshop / Workshop
Emne / Course BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp 5
Målgruppe /
Year
BA og MA / BA and MA
Forhåndskrav
/
Requirements
Ingen / No
Undervisnings
språk/
Language
Norsk og/eller engelsk / Norwegian and/or English
5 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.
31
Lærer /
Teacher
Kristian Øverland Dahl, [email protected]
Gjennomføres
/ Class
meetings
https://no.timeedit.net/web/khio/db1/student/ri15650y6Z0450Q077QQY202
Z367063Q859W45.html
Plasser /
Number
12
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.
32
Kursnavn
Class
Maleratelier? / Painting studio?
"Notater og samtaler / Notes and Conversations"
Foto: Kristian Ø. Dahl
Kurstype Workshop
Kurset inngår i
følgende emne
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp.6
Målgruppe BA og/and MA
Forhåndskrav Ingen
Undervisningsspråk Norsk/ (Engelsk)
Kursansvarlig lærer Kristian Øverland Dahl, [email protected]
Gjestelærere Blir annonsert
Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450
Q087QQY202Z467075Q959W45.html
Plasser 10
6 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.
33
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se
emnebeskrivelsen (emnekode) for informasjon om
sluttvurdering.
Maleratelier?
Dette kurset har undertittelen; "Notater og samtaler / Notes and Conservations" 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
lunsj.
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 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.
34
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 class 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% participation
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
Title Shifts in Translation
35
Adrian Piper
Course
format
Workshop and seminar
The course
is part of
the
following
study
area(s)
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp7
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
7 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.
36
Date and
time
https://no.timeedit.net/web/khio/db1/student/ri17655y6Z0470Q087
QQY202Z667015Q159W45.html
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 and works 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 institutions dealing with issues of translation
and migration.
Course requirements:
Commitment
Reading list:
Will be handed out.
37
Kursnavn Malersalen. Et praxiologisk syn på maleriets
teori
Kurstype Seminar
Kurset inngår
i følgende
emne
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp8
Målgruppe BA + MA
Forhåndskrav Ingen
Undervisning
sspråk
Norsk
Kursansvarlig
lærer Stian Grøgaard
Gjestelærer Fredrik Værslev, prof. i filosofi Arild Utaker m.fl.
Gjennomføre
s
https://no.timeedit.net/web/khio/db1/student/ri16655y6Z0460Q077
QQY202Z667013Q359W45.html
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
8 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.
38
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 f.eks. 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. Oppgavene
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?
39
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".
Godfrey, Mark: "Statements of Intent", Artforum, May 2014.
40
Kursnavn Ting som er skjult siden verdens grunnleggelse. René
Girards filosofiske antropologi. Våren 2017
Things hidden since the foundation of the world. René
Girard´s philsophical anthropology, spring semester 2017
Kurstype Seminar
Kurset inngår
i følgende
emne
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp9
Målgruppe (BA- / MA-studenter + evt. årstrinn) BA+MA
Forhåndskrav Ingen
Undervisning
sspråk
Norsk
Kursansvarlig
lærer Stian Grøgaard
Gjennomføre
s
https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450Q087
QQY202Z467075Q259W45.html
Plasser 25
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se
emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.
Kort beskrivelse av kurset:
René Girard, kort presentasjon.
En alternativ beskrivelse av religionen som grunnlag for all kultur, og et antropologisk
forsvar for rasjonalitetsgevinsten i den vestlige, jødisk-kristne tradisjonen.
Studentene legger fram og diskuterer utvalgte kapitler av René Girards Things
Hidden.
Arbeidskrav:
Studentene må legge fram resymeer av kapitler på seminaret. Oppmøteprosent 80.
Litteraturliste: (nevn om litteraturen er obligatorisk eller anbefalt)
9 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.
41
For oppsett anbefales Harvard-stilen:
Eks: Scott, P. (1994). Ceramics and print. London: A & C Black. 128 s.
Girard, René (1977?) Things hidden since the foundation of the world.
Tekstutvalget blir kopiert og kan hentes i adminsitrasjonen på kunstakademiet.
42
Title Painting in Palestine
Khaled Hourani,” Picasso in Palestine”, 2011
Sadik Kwaish Alfraji, “The House that my Father Built”, 2010
43
44
Activity Seminar, lectures, workshop, exhibition
The class is
part of the
following
course
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp 10
Year/Semester BA, MA
Language of
instruction
English, Scandinavian , including translation if necessary
Teacher Felix Gmelin
Class meeting
time(s)
https://no.timeedit.net/web/khio/db1/student/ri17650y6Z648
0Q087QQY202Z667026Q059W05.html
Maximum
number of
students in
the class
14 (including 2 students from Kunstakademiet in Oslo)
Is it possible to do a painting within a situation where there is no good time for an
exhibition, and administrations pretend they are not occupying a territory?
The Belgian political scientist Chantal Mouffe claims not being political is political.
The Italian painter Giorgio Morandi survived WW1 and WW2. I see his rejection to
do political work as a political act.
In this class we will we will practice painting. It is a workshop on painting. This is a
painting class that takes you out of your regular studio practice. I propose a
painting class based on research, quick experiments and mutual discussions about
what painting could be today, and about how to make painting 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
10 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.
45
and argue for or against it. With this brief research we could start our discussions.
I will present some works that apply painting as a political act to explore history,
migration, memory and commemoration within painting. 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 has had for painting.
Welcome!
I Look forward to see you within this class,
Best,
Felix
Requirements: Interest and engagement
Kursnav
n
DIY Television Gallery / Telegalleriet
46
Kurstype Project & exhibition
Kurset inngår i
følgende emne(r)
Tematiskt fokus / Utställningspraktik
Målgruppe BA- / MA-studenter
Forhåndskrav Enagemang og intresse
Undervisningsspråk Norsk & Engelsk. Översättning vid behov
Kursansvarlig lærer Felix Gmelin [email protected]
Gjestelærer Livia Paldi, Edit Molnar & Marcel Schwerin
Gjennomføres Januar / Februar 2017. Resa till Oldenburg och
inspelningsdatum 12, 13 eller: 19 januari. Efter det fortsätter
kursen sporadiskt i överenskommelse mellan deltagarna.
Plasser 2—3 studenter
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent
Kort beskrivelse av kurset:
In the 50-ties artists dreamt about television being for artists what radio had become
for music. Unfortunately this didn’t happen.
Today only local television stations still give artists the opportunity to articulate
artistic positions. This is such an opportunity. If you are interested in articulating
something within an local amateur DIY television format together with me, this is a
project for you.
I will be producing a work around how Lean manegment affects educations within
this context and hope you would like to join me by presenting your own work within
this context: your work in this context could be a fake add, a poetic advert, or
something else within this television format. I will help you articulate this if you wish.
Current Research Project Description:
“Vi ønsker velkommen til en aktiv, inspirerende og deltagende dag!” is a
participatory televised conference including staff and students from KHiO and the
Oldenburg Carl von Ossietzky University, orchestrated by me at the local Oldenburg
television station OEINS.
The project is part of the exhibition project and book “The Fevered Specters of Art”
at the Edith-Russ-Haus in Oldenburg, Germany, which revisits radical revolutionary
movements and has a focus on the changing nature of education and its relevance in
the development of future communities.
47
“The Fevered Specters of Art” is also a book about how we organise our societies. It
is edited by Nataša Ilić, curator and member of the Zagreb-based curatorial collective
What, How & for Whom / WHW. It is about collectivity and collaboration, production
and distribution, and the artist’s position in the labor market. It is re-examining
Marxist theory, which is part of her heritage as an Eastern European curator, anew.
The book has its starting point in an exhibition project organised by the Edith-Russ-
Haus in Oldenburg, Germany, A part of this book is the documentation of a televised
conference orchestrated by Felix Gmelin at the local television station OEINS: A
project which asks why market-oriented managerial reforms lose track of educating
individuals who can relate to societal questions.
Universities are obliged to be transparent and comparable according to the
“Bologna Accords”, which is great for student mobility. At the same time
universities are being evaluated. But who is evaluating what and on which terms?
Why have the managerial reforms that followed the "Bologna Accords" become
market-oriented and lost track on educating individuals who can relate to societal
questions? This project has the ambition to evaluate the evaluators. It also takes
interest in finding local examples to address global problems.
The project is in part inspired by the work of Harun Farocki who uses the camera to
question didactic methodologies. Also the Brechtian "Lehrstücke", translated by
Brecht himself as "learning-plays" serve as a model for this televised conference,
whereby learning through acting is being explored as a pedagogical approach.
The citizen-run TV channel OEINS is a non-profit broadcasting station in Oldenburg in
which the Edith-Russ-Haus appears regularly with self-produced programs. In close
collaboration with this venue, we will produce a televised conference in their studio to
reach out to a broader audience and reflect on the changing nature of conversation
culture of politics in the public media. The televised conference will be orchestrated
by myself and planned according to the specificities of both a conference and a
television production. The event will take place during 4 days in Dec 2016 or Jan
2017.
To begin with, this conference will be televised by OEINS. Later in 2017 it will be
documented in a book published by Sternberg Press, edited by Nataša Ilić, curator
48
and member of the Zagreb-based curatorial collective What, How & for Whom /
WHW. I am invited to dedicate a section to the book about my televised conference.
I would be honoured if you, some students at Kunstakademiet, would be interested to
be involved in this endevour around a local television channel in Oldenburg,
Germany, and would like to produce and present a work of yours within this context.
Arbeidskrav:
Participation and engagement
Litteraturliste kommer
49
Title Expanded Scripting
Activity Workshop
The class
is part of
the
following
course
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp11
Year/Sem
ester
BA, MA
Language
of
instructio
n
English
Teacher Maryam Jafri [email protected]
Class
meeting
times
https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450Q087QQ
Y202Z467076Q159W05.html
Maximum
number of
students
unlimited
11 *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.
50
in the
class
Assessme
nt
Study requirement for the class is assessed with “approved/not
approved”. Please see the course description for information about
final assessment.
Description
Expanded Scripting is a production class that ranges from task and endurance-based
performances, distilled into a set of instructions and which reduce language to its
most basic function (to communicate, to instruct) to lecture-performances fuelled by
dramatic structure, freewheeling narrative and/or discursive analysis. Although Jasper
Johns was talking about objects, we are going to use his instructions as a jumping off
point, only our medium will be performance in its broadest sense and our tools will
be bodies, voices, time and of course language.
This is an intensive, four-day class where students are split into small groups and
work during class time. It is open to all years and all levels, you don’t need a
performance background to take the class but you do need to have the enthusiasm
and energy to throw yourself into the tasks. As you can see, there is no reading or
preparation in advance but that does not mean this is not a demanding class. It is
high energy and the demands are high as well - you will be producing and
performing, often improvising in the class so the class is very much dependent on
your commitment. Expect intensive discussion of student works produced during
class.
The four days are split over two weeks, so two days the first week and then another
two days the following week. Think of it as expanded scripting. Language: English will
be language of instruction but working languages of each team can be what the team
decides it to be. Number of students: no limit as we will work in teams.
Requirements:
In class assignments and presentations. Participation in all aspects of course. 80 %
attendance and punctuality.
51
Title Material Longevities
Activity (e.g. lecture, workshop etc.) Workshop in 2 parts and in
collaboration with Royal Institute of Art in Stockholm
The class is part
of the
Thematic Focus, 3 sp.
52
following
course(s)
Year/Semester BA and MA
Language of
instruction
English
Teacher Tris Vonna-Michell
Guest teachers Cecilia Grönberg: [email protected]
Diana Kaur: [email protected]
Class meeting
time(s)
At KHiO: Uke 6
Feb Mon 6th - Wed 8th (10am until 4pm)
https://no.timeedit.net/web/khio/db1/student/ri16655y6Z0460Q
087QQY202Z667016Q259W05.html
At RIA (Stockholm): Uke 8
Feb Mon 20th - Fri 24th (10am until 4pm)
Maximum
number of
students in the
class
8
Assessment Study requirement for the class is assessed with “approved/not
approved”. Please see the course description (course code) for
information about final assessment.
The workshop is assessed continuously in the parts when
students actively participate in the joint discussions, seminars
and lectures.
Description:
(What. How. Aim/learning outcomes. Structure/procedures. Time schedule. Other
relevant information.)
Context?
Material Longevities workshop will be constructed in 3 parts:
- Part one will focus on setting the premise for the course. Lectures, screenings and
field trips will present case studies and artistic practices, which are followed up by
discussions, after which the relevant issues will be traced and raised in the student´s
own presentations of their research and work. This will take place at KHiO and at
53
the Royal Institute of Art in Stockholm.
Part one will provide the framework for which the students will be guided in
interpreting notions of longevity, ephemerality and documentation in relation to
their own work and within a visual arts context. It will also involve a seminar on
documentation rights and responsibilities, considering the value of oral and written
agreements and the ethics of appropriation.
- Part two of the course will be practice-led in which the relevant issues already
discussed will be applied in the conception and construction of an artwork
(individually or in groups) and presented as prototypes, maquettes, documentation
or completed artworks.
Structure:
PART 1 at KHiO:
Mon 6 Feb
Day 1 at KHiO: Introductions Objects & mishaps (shapes)
I will introduce the workshop ideas, my practice and influences. The students will
give introductions of themselves and discuss their areas of interest and potential
directions to explore during the course. In order to set the course in motion the
students will be shown selected books, films and audio works. A reference/literature
list will also be provided, a provisional list can be found further below.
Tues 7 & Wed 8 Feb
Day 2+3 at KHiO: ACT 1 / Printed matter Proximities (proximity of text to
speech explored)
This category will focus on various notions of artists working from a textual
foundation - as a point of departure. Examples of artists employing the use of
scripts, scores and guidelines will be presented by means of books, film screenings
and presentations. Cecilia Grönberg (artist, editor and co-founder of OEI) will give a
presentation and seminar on her practice and publishing enterprises.
Thurs 9 Feb
Day 4 at KHiO: ACT 2 / Performative matter Notion of locomotive (motive and
location)
54
Artists working from a performative foundation - as a catalyst - will be explored in
this category. Parameters of improvisation will be discussed as well as notions of
spoken word and motion in relation to floating documents (transience). A series of
documentation works and performance documentations by artists will be screened.
Friday 10 Feb
Day 5 at KHiO: Reflections Directions
The students will share references and reflections as a means to recap and prepare
for the upcoming assignment and trip to Stockholm.
// Interlude //
Mon 20 Feb
Day 1 at RIA: Introduction
Marie-Louise Lorentzen (Malerikonservator & driftansvarlig, Universitetsmuseet i
Bergen and lärare IMK/Kungl. Konsthögskolan, Stockholm) will give a presentation
on the history, role and current activities of the Material Institute at the RIA. This
will be an opportunity for students to consider carrying out the assignment in
dialogue with her and the Material Institute.
Tues 21 Feb
Day 2 at RIA: ACT 3 / Documents Conjure / Linger / Lose
The role of documents and the act of documentation, whether generated by the
situation or actively decided upon, will be looked into and discussed. Questions
such as: what is the importance of recording, classification, recapitulation, repetition
and continuation to be posed and addressed. Also, notions of absence, reduction
and removal will be explored. There will be a field trip to Jean-Baptiste Beranger´s
studio, whereby he will present his forensic photography investigations and artistic
practice in general.
Wed 22 Feb
Day 3 at RIA: ACT 4 / Archives Idiosyncrasies and Bureaucracies
The role of the archive in specific practices will be discussed and artists working
from archives will be presented and explored in the form of film screenings, books,
websites and a field trip to the rock art in Slagsta. The artist Henrik Andersson will
present his research and in-progress project (working title: History Belongs to the
55
Future):
¨We will follow the footsteps of Belgian archaeologist Herman Wirth, the director of
a German expedition to Sweden in 1935/1936. The aim for the journey was to
document the Bronze Age rock art, which can be found in Scandinavia. Believing
them to originate from a diaspora of the mythical island of Atlantis this was the
foundation of a new religion (science) of the third Reich. A scientific approach is
based on a specific form of optical distance to the world that enables us to reflect
on it. However, that separation also creates an internal crisis where the imaginary
always seems to be in our horizon.¨
Thurs 23 Feb
Day 4 at RIA: Articulations & Assignment Actions
Diana Kaur (freelance curator, teaches art history at Umeå Academy of Fine Arts)
will present her research and give a lecture on the premise of social contracts and
Seth Siegelaub´s artists´ agreement project. Potential modes of display and sites of
articulation, archive and propagation will be discussed. Propositions such as the
exhibition, outdoor, online, live context, portfolio and publication will be posed and
considered.
Students will be invited to return to an existing project or to start working on a new
project in which the framework of four acts: longevity, ephemerality,
documentation and archivisation are addressed (either by selecting an act or all
acts). Copy, mishap, cut-out, and collecting (convolute) are examples of techniques
and exercises that can be employed for carrying out the assignments. A longer and
potentially more collaborative assignment may also be developed, based on early
discussions with students.
Friday 24 Feb
Day 5 at RIA: Part 1 Recap & Part 2 preparations
Recap of Part 1 by exchanging references, insights and ideas and by discussing
potential directions for the realisation of the assignment: artwork, prototype,
macquette or the construction of documentation.
INTERLUDE in which students work on the realisation of assignments
56
PART 3 at KHiO:
Mon 27 & Tues 28 March
Day 1 & 2 at KHiO: Group critiques
Completion of assignments, followed by a final group evaluation, in which students
will present the results from the assignment and discuss collectively and give
feedback.
Requirements:
Attendance and active participation in the scheduled activities. Each student to give
a presentation of a contribution related to the topics explored. Involvement in the
following feedback-sessions.
Reading list: (specify whether the reading/viewing material is required or
recommended)
Selective reference list of artists and writers that will be explored during
the course:
Caroline Bergvall: http://www.carolinebergvall.com/
Sue Tompkins: https://www.themoderninstitute.com/artists/sue-tompkins
Lawrence Weiner: http://www.leftmatrix.com/weinerlist.html
Ana Torfs: http://www.anatorfs.com/Gagarin, The Artists in their Own Words:
http://www.gagarin.be/
Mary Ellen Solt: http://epc.buffalo.edu/authors/solt/
Simone Forti. Here It Comes (Index press release):
http://indexfoundation.se/exhibitions/simone-forti
Hamish Fulton: http://www.hamish-fulton.com/
Fia Backstrom: http://www.fiabackstrom.com/
Robert Lax: http://web.sbu.edu/friedsam/laxweb/
Dieter Roth: http://www.dieterrothfoundation.com
Marcel Broodthaers: http://ubu.com/film/broodthaers.html
Selective (suggestive) reading list:
Henri Chopin. Guy de Cointet. Channa Horwitz. Spector Books, 2013.
Mary Ellen Solt. Toward a theory of concrete poetry. OEI no. 51, 2010.
Öyvind Fahlström. Moderna Museet, 1979.
57
Art & Project Bulletins 1 - 156, September 1968-November 1989. Cabinet
Gallery,
Christophe Daviet-Thery, 2011.
Celant, Germano. Book As Artwork 1960/1972. 6 Decades Books, 1972.
Fietzek, Gerti. Having Been Said - Writings & interviews of Lawrence Weiner
1968-
2003. Hatje Cantz Publishers, 2004.
Simone Forti. Handbook in Motion. Edited by Emmett Williams, 1974.
http://www.monoskop.org/images/4/4e/Forti_Simone_Handbook_in_Motion.
Fia Backström. Nordic Pavilion, 54th Venice Biennale. Moderna Museet,
Sternberg
Press, 2011.
Dieter Roth. Balle Balle Knalle. Kunstmuseum Stuttgart, Verlag der
Buchandlung
Walther König, 2015.
Robert Lax. Dear Jack: Heart Not Head. Water Row Press, 2014.
Hannah Rickards. Thunder. Media Art Bath, 2006.
Bellingham, David. Ideas Leave Objects Standing. BALTIC, 2005.
Wilson, Ian. The Discussions. Van Abbemuseum, Eindhoven / MACBA,
Barcelona /
Mamco, Geneva, 2008.
The Life and Work of Bob Cobbing / Boooook. Occasional Papers, 2015.
58
Title Interacting with public space
Activity Workshop at IAAP, International Art Academy Palestine, Ramallah
The class is
part of the
following
course
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp 12
Year/Semes
ter
Bachelor- / Master students
Language
of
instruction
Norwegian and English
Teacher Jeannette Christensen/ [email protected]
Class
meeting
https://no.timeedit.net/web/khio/db1/student/ri18657y6Z0480Q087
QQY202Z067056Q359W05.html
12 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.
59
times
Maximum
number of
students in
the class
5 students from KHIO + students from IAAP. Students from KHIO
interested in participating must write a letter of interest by 1
February 2017.
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:
Workshop at IAAP, Ramallah based on group work. The workshop is about
interacting in or with public space, exploring the immediate vicinity, sharing,
negotiating and formulating an idea. This can be done in any chosen medium:
photography, video, sound recording, text etc.
Discussions on method, intention, content and outcome.
All in all this kind of meeting and exchange is an opportunity to question different
aspects of art
production, what we are influenced by and where our ideas come from. Sometimes
a short deadline
can be very productive.
Prior to departure group will start preparing with meetings from January on,
looking
in to background information on Palestine, lectures, films, reading material etc.
Meeting time flexible.
When at IAAP:
Day 1. introductory lecture and assigning the task of the workshop and the
students start working on
their ideas.
Day 2. groups present the work they did on day 1. The whole day is spent on
presentations and group
discussions. New task to follow up on feedback and continue the working process.
Day 3. groups work all day developing their ideas.
Day 4. groups present their work. The whole day is spent on presentations and
group discussions
and final evaluations.
Day 5. Open
Day 6. Farewll and excursion together with students from IAAP
60
9 days: 5 days workshop at IAAP, Ramallah. 2 days of travelling to and fro, 2 days to
explore the vicinity.
Requirements:
Please refer to the course description (course code).
Reading list:
Recommended reading:
Edward Said. The End of the Peace Process (2000), Orientalism (1978)
The group is encouraged to bring in texts for a shared discussion.
61
Title Sound Positions
Activity Workshop and presentations
The class is
part of the
following
course(s)
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp13
Year/Semester B.A. & M.A.
Language of
instruction
English / Norwegian
Teacher Dirkjan van der Linde, [email protected]
Guest
teacher(s)
Jana Winderen, Tris Vonna Michell
13 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.
62
Class meeting
time(s)
https://no.timeedit.net/web/khio/db1/student/ri18656y6Z5480Q0
87QQY202Z767026Q459W05.html
Maximum
number of
students in
the class
10
Assessment Pass / fail
Description:
Spring semester 2017
Week 13 – First day, Friday, March 24. Last day, Friday, March 31.
Seilduken 1 or Seilduken 2
Point of reference is the use of sound in your own artistic practice.
The workshop will consist of presentations, round-the-table discussions as well
as
practical workshop components.
We will use one of the Seilduken galleries as our base but will move around
dependıng on ideas and interests.
This interest moves between listening and adding sound to this world.
We'll touch on the use of scripts, scores and guidelines. What is the Importance
of
recording and classification.
Bring your own equipment. (We cannot provide some as well; recorders,
microphones,
loudspeakers.)
In Addition two more idea based discussions and listening practices there will
Also ask
technical demonstrations of equipment (underwater recording with
hydrophones,
63
recording of ultrasound and other inaudible wavelengths).
We are asking you two Participate with your own interests at the center of
activity. That
the end of the week we will have an informal roundup where we will be
presenting
and Discussing our work for each other.
Requirements:
Participation
64
Kursnavn Easy Rider
Kurstype Exchange with Kungl. Konsthögskolan, Stockholm
Kurset inngår i
følgende emne(r)
BK113 Tematisk fokus 2
BK213 Tematisk fokus 4
BK513 Tematisk fokus 2
3 sp14
Målgruppe BA- / MA-studenter
Forhåndskrav engagement
Undervisningsspråk Norsk, svenska, engelska, tyska
14 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.
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.
65
Kursansvarlig lærer Felix Gmelin, [email protected]
Gjestelærer [email protected]
Gjennomføres March 2017
Plasser 6
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent
Kort beskrivelse av kurset:
Studentutbyte: Studenter från Oslo Kunstakademi åker och hälsar på studenter på
Kungl. Konsthögskolan i Stockholm. Och vice versa. Bor hos varandra på soffan.
Ställer ut tillsammans om det går att organisera.
Exchange spaces. Reclaim spaces. Work together. live together for a moment. Find
mutual interests for possible future collaborations.
Arbeidskrav:
Deltagande & engagemang
Litteraturliste:
Kommer
66
Utstillingspraksis / Exhibition practice
67
Title Does the network fit into the cube?
Course format Workshop
The course is part of
the following study
area
BK115 Utstillingspraksis 1
BK205 Utstillingspraksis 2
BK505 Utstillingspraksis 1
4 sp15
BA and/or MA Open to all students
Teaching language English
Teacher Rike Frank; [email protected]
Guest teacher(s) Research Center for Proxy Politics (RCPP) with Vera
Tollmann & Boaz Levin, UdK Berlin, rcpp.lensbased.net
Date and time https://no.timeedit.net/web/khio/db1/student/ri15650y6Z
7460Q087QQY202Z967006Q559W25.html
Maximum number of
students
Not restricted
Assessment Study requirement for the class is assessed with
“approved/not approved”. Please see the course
description for information about final assessment.
Course description:
The course will be held in collaboration with the Research Center for Proxy Politics
(RCPP), an artistic research project based in the Universität der Künste, Berlin. It
consists of a workshop, a participation in a half-day seminar at Henie Onstad
Kunstsenter and a practical part, either a series of presentations or an exhibition.
Does the network fit into the cube? The web – sprawling, placeless and ostensibly
virtual – is difficult to pin down. It seems that the more pervasive the Internet
becomes in our daily lives, the greater the urgency to represent it within the artistic
realm. But how does one fit a network within a cube, reconciling the evasive nature
of this seemingly boundless technology, within the physical confines of the
exhibition space? Either the internet appears dead inside the white cube, or it
15 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. 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.
68
simply does not appear the way we know it.
The Research Center for Proxy Politics, based at Berlin University of the Arts, will
address questions of how to visualize and perform the mostly invisible dimension
of networks and how to mimic the network in an exhibition form.
To begin the discussion, we will introduce a selection of artworks making use of or
reflecting on mesh networks, among those, the installation "The City and its
Double", which RCPP developed for the group show “Hailweed” at Auto Italia
Southeast in London in 2016. Another relevant example when it comes to staging
the network is Nina Könnemann's live video performance "Free Wifi", which she
scripted for Oststation in Vienna in 2016.
Furthermore we will visit the exhibition “Myths of the Marble” at Henie Onstad
Kunstsenter and participate in a half-day seminar that considers how the virtual, in
both a critical and material sense, is being theorized and deployed by
contemporary practitioners/artists.
Asking how best to exhibit the network’s material as well as social and political
dimensions, the workshop will aim to turn the discussion into a working process
which resulting in a show at Akademriommet (http://akademirommet.khio.no) or a
series of presentations during spring 2017.
The Research Center for Proxy Politics (RCPP) is an artistic research project based in
the Universität der Künste, Berlin, that explores the role played by communication
technologies in contemporary modes of governance, resistance and artistic
production. Notions such as "the right to loiter" (Wendy Chun), or the right for
opacity (Edouard Glissant) serve as starting point for a conversation which attempts
to bridge the gap between the so called virtual and the ostensibly physical realms.
The intention is to also invite students from the UdK, Berlin to come to Oslo and to
join the workshop (tbc).
Requirements:
Participation requirements for approval of courses: 100%.
Reading list: Will be provided.
69
Title Exhibiting: An Introduction
Course format Seminar
The course is
part of the
following study
area
BK115 Utstillingspraksis 1
BK205 Utstillingspraksis 2
4 sp16
BA and/or MA Bachelor students
Teaching
language
English
Teacher Rike Frank; [email protected]
Date and time https://no.timeedit.net/web/khio/db1/student/ri16655y6Z5460
Q087QQY202Z467076Q059W55.html
Maximum
number of
students
Not restricted
Assessment Study requirement for the class is assessed with
“approved/not approved”. Please see the course description
for information about final assessment.
Course description: This seminar is an in-deepth introduction into exhibiting for
BA students, exploring the history of exhibition making, methods, strategies, and
terminologies as well as discourses related to exhibiting. It is a comprehensive,
material-intensive course that requires a lot of reading and a lively exchange –
especially about what an exhibition is, what form it can take, how artist have shaped
our understanding of exhibiting through their practice, what communities, debates
and specific forms of relating and critic exhibiting enables and how? Thus, the
course aims to invite to reflect on the exhibtion as a non-static form, that breathes
16 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.
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.
70
and speaks, an arrrangment and statement that frames and is being framed by the
interrelations between things, actions and articulations as much as it struggles with
dominant regimes, an intervention that is connected to the social and political
realm, yet at the same time a medium of its own.
Requirements:
Participation requirements for approval of courses: 100%.
Reading list: Will be provided.
71
Skrivepraksis / Writing practice
72
Kursnavn Nordisk skrivekurs
Kurstype Skrivekurs
Kurset inngår
i følgende
emne(r)
BK314 Skrivepraksis 4
BK504 Skrivepraksis 1
4 sp17
Målgruppe BA- / MA-studenter
Forhåndskrav -
Undervisnings
-språk
Norsk / nordisk
Kursansvarlig
lærer
Hans Petter Blad, [email protected]
Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri17650y6Z6480Q0
77QQY202Z667021Q959W25.html
Plasser 12
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se
emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.
Kort beskrivelse av kurset:
Skrivekurset vil ta for seg ekfrase og hvordan man som kunstner kan jobbe med
dette. Ekfrase er et dikt eller en tekst som beskriver et kunstverk.
Mandag, 27.03.: Film og diskusjon. Foredrag om ekfrase og hvordan dette kan
brukes i et forfatterskap.
Tirsdag, 28.03.: Film og diskusjon. Eksempler på ekfraser brukt i skjønnlitteratur og i
hele enkeltverk.
Onsdag, 29.03.: Skrivedag. Obligatorisk innlevering av tekst om ekfrase.
Tekstlengde fleksibel, maks 5 sider. Deadline tekst onsdag kveld / torsdag før 09:00.
Tekster skal leveres på e-post til [email protected] og [email protected]
Torsdag, 30.03.: Opplesing, samtaler og diskusjoner av tekster, tema og eksempel.
Fredag, 31.03.: Opplesing, samtaler og diskusjoner av tekster, tema samt flere
eksempler.
17 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.
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.
73
Arbeidskrav:
80% tilstedeværelse og innlevering av skriftlig oppgave
Litteraturliste:
Billy Wilder, Sunset Boulevard (ser filmen på kurs)
Pedro Almodovar, Alt om min mor (ser filmen på kurs)
Sophie Calle, Take Care of Yourself
Pier Paolo Pasolini, Askens poet
Pier Paolo Pasolini, Teorema
Marguerite Duras, Atlantmannen
Valgfritt:
Hans Petter Blad, Museum, Flamme Forlag
74
Kurstype
Activity
Seminar, individuelle tutorials og øvelsesgjennomgang /
Seminar, individual tutorials and rehearsal
Emne
Course
BK314 Skrivepraksis 4
4 sp18
Målgruppe
Year/Semester
3BA
3BA
Språk
Language
Norsk og/eller engelsk
Norwegian and/or English
Kursansvarlig
Teacher
Mike Sperlinger (English writing)
Gjestelærer
Guest teacher
Susanne Christensen (Nordic writing)
Gjennomføres
Class meetings
https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450
Q077QQY202Z467074Q059W55.html + individual tutorials +
tba
Plasser
Maximum
number
Alle i 3BA
All 3BA students
Vurdering
Assessment
Godkjent/Ikke godkjent
Approved/Not approved
Kursbeskrivelse:
Avgangsessayet er en viktig del av
studiet på Kunstakademiet, og en god
mulighet til å avklare ditt kunstneriske
prosjekt. For at du skal bestå studiet
Class Description:
The Bachelor essay is an important part of
the program at the Academy of Fine Art,
and a good opportunity to clarify your
artistic project. It is a requirement for
18 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.
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.
Kursnavn
Title
Avgangsessay bachelor
Bachelor Graduation Essay
75
kreves det at du skriver et essay som
tilfredsstiller læringsmålene i emnet
Skrivepraksis.
Essayet er ment å legge til rette for en
samtale omkring din kunstneriske
praksis, spesielt med ekstern sensor.
Enda viktigere handler prosessen med
å skrive essay om å lære å
kommunisere ditt prosjekt på en
meningsfull måte til et bredere
publikum, inkludert generell presse,
samt andre kunstnere og fagpersoner
(kuratorer, teoretikere, kritikere,
gallerister, etc.). Hovedvekten i
avgangsessayet bør legges på din egen
«forskning» i vid forstand av begrepet
– alle de tingene som inngår i
prosessen av tanker og handlinger bak
verket ditt. Målet er å bruke skrivingen
både til å forklare noe av forskningen
din for andre og å utdype din egen
utforksningsprosess. Dette skal vi
diskutere sammen. Vi skal også
diskutere ulike tilnærmingsmåter til
skriving og hvilke former essayet kan
ha. Og vi skal se på noen eksempler
under introduksjonsdagene.
Lengden bør være 2,000 ord. Uansett
hvilken form dit essay tar, kan det
inkluderes bilder om du ønsker det. Vi
vil gi deg noen eksempler på
forskjellige stiler og tilnærminger til det
å skrive fra et utvalg kunstnere.
passing your studies that you write an
essay that reflects the teaching aim in the
subject area Writing Practice.
The essay is supposed to facilitate a
conversation about your artistic practice,
particularly with the external assessor.
More importantly, the process of writing
the essay is about learning to
communicate your project in a
meaningful way to a broader audience
including the general press, as well as
other artists and art professionals
(curators, theorists, critics, gallerists, etc.).
The emphasis in the graduation essay is
on your ‘research’, in the broadest
sense – all of those things which go into
the processes of thinking and making
behind your work. The aim is to use
writing to both explain some of your
research to others and to deepen your
own process of exploration in making. We
will discuss all this – including the
different possible approaches to writing
about research and what forms an
‘essay’ might take, as well as looking at
some examples – in the introductory
sessions.
The length should be approximately
2000 words Whichever form your essay
takes, it can include images if you wish.
We will give you some examples of
different styles and approaches to writing
by artists.
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Felles introduksjon for ALLE 3BA-
studenter:
Mandag 17. og tirsdag 18. oktober,
09:00 - 13:00: med Mike Sperlinger og
Susanne Christensen.
Individuelle essayveiledninger:
Susanne holder individuelle
veiledninger med alle for å diskutere
ideer. Det vil bli sendt ut
påmeldingslister.
Gruppeundervisning
Tirsday 24 & onsdag 25 januar
Innleveringsfrister:
Førsteutkast: fredag 25. november,
16.00
Andreutkast: fredag 13. januar, 16.00
Endelig innlevering: fredag 17. februar,
16.00
Eksamen:
Essayet blir vurdert som del av
avgangsutstillingen.
Presentasjon og innlevering
Essayet skal ha en forside som
inneholder følgende;
- Studentens navn
- Tittel på essay
- BA essay
- Utdanningsinstitusjon: KHiO,
Kunstakademiet i Oslo / Oslo National
Academy of the Arts, The Academy of
Fine Art
Joint introduction for ALL 3BA students:
Monday 17 and Tuesday 18 October,
09:00 - 13:00: with Mike Sperlinger and
Susanne Christensen.
Individual essay guidance:
Susanne will have individual tutorials with
all of you to discuss your initial ideas – we
will circulate a timetable for the tutorials
nearer the time.
Group tutorials
Tuesday 24 & Wednesday 25 January
Deadlines:
First draft essay: Friday 25 November,
16.00
Second draft essay: Friday 13 January,
16.00
Final deadline essay: Friday 17 February,
16.00
Exam:
The essays will be examined as part of
your final graduation exhibition.
Presentation and delivery:
The essay must have a front page that
contains the following information:
- The students name
- Title of essay
- BA essay
- Educational institution: KHiO,
Kunstakademiet i Oslo / Oslo National
Academy of the Arts, The Academy of
Fine Art
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Endelig essay må leveres som pdf og
sendes til [email protected] før 16.00,
17 February 2017.
The essay must be submitted as a pdf
and emailed to [email protected] by
16.00 on the 17 February 2017
Arbeidskrav:
Se studieplanen.
Requirements:
See Study Plan.
78
Kursnavn Master essay
Kurstype Seminar, individuelle tutorials og øvelsesgjennomgang /
Seminar, individual tutorials and rehearsal
Kurset
inngår i
følgende
emne(r)
BK534 Skrivepraksis 3
4 sp19
Målgruppe 2MA
Forhåndskra
v
Fullført 1MA / Completed 1MA
Undervisning
sspråk
Norsk eller engelsk / Norwegian or English
Kursansvarli
g lærer
Mike Sperlinger (English writing) , [email protected]
Susanne Christensen (Norsk / nordisk)
Gjennomføre
s
https://no.timeedit.net/web/khio/db1/student/ri15550Qg06620Q0g3
QY6752Z863X77YQ65Y560yZ.html
Plasser Alle i 2MA
Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se
emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.
Kort beskrivelse av kurset:
Essay formål / Essay aims
(Norsk)
Master-avgangsessayet er en viktig del av studiet på Kunstakademiet, og en god
mulighet til å avklare ditt kunstneriske prosjekt. For at du skal bestå studiet kreves det
at du skriver et essay som tilfredsstiller læringsmålene i emnet Skrivepraksis.
Essayet er ment å legge til rette for en samtale omkring din kunstneriske praksis,
spesielt med ekstern sensor. Enda viktigere handler prosessen med å skrive essay om
å lære å kommunisere ditt prosjekt på en meningsfull måte til et bredere publikum,
inkludert generell presse, samt andre kunstnere og fagpersoner (kuratorer,
teoretikere, kritikere, gallerister, etc.). Det første møtet mange vil ha med deg og ditt
19 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.
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.
79
arbeid vil være gjennom tekst, enten i form av en pressemelding eller en artist’s
statement.
Å kunne skrive om eget arbeid er essensielt i svært mange sammenhenger, fra å
skrive søknader til å forhandle (eller bestride) hvordan arbeidet ditt fremstår for
kuratorer, institusjoner og lignende.
Å kunne skrive om eget arbeid er essensielt i svært mange sammenhenger, fra å
skrive søknader til å forhandle (eller bestride) hvordan arbeidet ditt fremstår for
kuratorer, institusjoner eller lignende.
(English)
The Master essay is an important part of the program at the Academy of Fine Art, and
a good opportunity to clarify your artistic project. It is a requirement for passing your
studies that you write an essay that reflects the teaching aim in the subject area
writing practice.
The emphasis in the graduation essay is on your ‘research’, in the broadest sense –
all of those things which go into the processes of thinking and making behind your
work. The aim is to use writing to both explain some of your research to others and to
deepen your own process of exploration in making. The supervisors will work with
you on which particular aspect of your research which you might want to explore in
more detail, and how it can be presented in the essay to a reader who may not be
familiar with your artwork. We will discuss all this – including the different possible
approaches to writing about research and what forms an ‘essay’ might take, as well
as looking at some examples – in the introductory sessions.
We will work towards an online publication which will coincide with your final
exhibition. The idea is to put your writing into a more meaningful context, to reach a
potentially larger audience, and to experience a more professional editorial process
such as you might expect in writing for art magazines or other publications in the
future.
Lengde og antall ord / Length, words and characters
Lengden bør være ca. 3000 ord - det betyr ca 7-14 sider. Uansett hvilken form dit
essay tar, kan det inkluderes bilder om du ønsker det. Vi vil gi deg noen eksempler på
forskjellige stiler og tilnærminger til det å skrive fra et utvalg kunstnere.
80
The length should be 3000 words – approximately 7-14 pages of text (pictures not
included). Whichever form your essay takes, it can include images if you wish. We will
give you some examples of different styles and approaches to writing by artists.
Joint introduction for ALL 2MA students
Thursday 29 & Friday 30 September, 09:00 - 13:00: with Mike Sperlinger, Susanne
Christensen (and Therese).
Individual essay guidance
Susanne and Mike will have individual tutorials with all of you to discuss your initial
ideas – we will circulate a timetable for the tutorials nearer the time. There will be
more individual tutorials in weeks 48 & 49, after you have handed in your first drafts
(due November 25).
Presentasjon og innlevering / Presentation and delivery
Essayet skal vise til og avklare de aspektene som vises til her. Dette gjennom en klar
struktur, et forståelig språk og en ryddig organisering av innhold i form av avsnitt og
avsnittsoverskrifter.
Essayet kan skrives på engelsk eller norsk (inkludert svensk eller dansk). Teksten skal
leveres i 12 punkts Times New Roman, med 1,5 linjeavstand. Du har lov til å illustrere
essayet med bilder. Sider skal være nummerert.
Essayet skal ha en forside som inneholder følgende;
- Studentens navn
- Tittel på essay
- MA essay
- Utdanningsinstitusjon: KHiO, Kunstakademiet i Oslo / Oslo National Academy of
the Arts, The Academy of Fine Art
Endelig essay må leveres som pdf og sendes til [email protected] før 16.00, 17
February 2017.
The essay should clarify the different aspects that are presented through a clear
structure, with understandable language and an orderly organization of content in
the form of paragraphs and section headings.
The essay can be written in either English or Norwegian (including Swedish or
Danish). The text is to be delivered in 12 point Times New Roman, with 1.5 lines line
spacing. You are allowed to illustrate the essay with images. The pages must be
numbered.
The essay must have a front page that contains the following information:
81
- The students name
- Title of essay
- MA essay
- Educational institution: KHiO, Kunstakademiet i Oslo / Oslo National Academy of
the Arts, The Academy of Fine Art
The essay must be submitted as a pdf and emailed to [email protected] by 16.00
on the 17 February 2017. If you have any questions about the format, please contact
Mike and Therese.
Essay innleveringsfrister / Essay deadlines
Førsteutkast essay / First draft essay: Friday 25 November, 16.00
Andre utkast essay / Second draft essay: Friday 13 January, 16.00
Endelig innlevering essay / Final deadline essay: Friday 17 February, 16.00
Essay rehearsal exams
Dates: 23 & 26. January (time schedule will be distributed later)
Essay exams
Dates: 29, 30 & 31 March (time schedule will be distributed later)
82
Åpne forelesninger / Public Lectures
Åpent forum/ Open Forum
aapentforum.khio.no
Åpent forum er en serie forelesninger, presentasjoner og diskusjoner med kunstnere,
kuratorer og teoretikere, initiert av og arrangert i samarbeid med studenter ved
Kunstakademiet. Samtalene foregår oftest på engelsk.
Open Forum is a series of lectures, presentations and discussions by and with artists,
curators and theoreticians, initiated by and run in collaboration with students at the
Academy. The discussions are usually in English.
STED: Hovedauditoriet på KHiO
TID: Mandager kl. 19.00 (endringer kan forekomme).
Academy Lectures
academylectures.khio.no
Academy Lectures er en serie forelesninger som presenterer foredragsholdere og
posisjoner innenfor samtidskunst og -kultur, og vektlegger en dialog åpen for alle
interesserte.
Academy Lectures is a series of lectures positioned within contemporary art and
culture, with an emphasis on dialogue.
STED: Hovedauditoriet på KHiO.
TID: Mandager kl. 18.00 (Endringer kan forekomme).
83
Akademirommet
akademirommet.khio.no
Akademirommet er et utstillingssted på Kunstnernes Hus som er åpent for publikum
og drives av Kunstakademiet for å utforske utstillingsformat som et sentralt element i
samtidskunst og kultur.
Akademirommet is an exhibition space open to the public, located at Kunstnernes
Hus and run by the Academy to explore exhibiting as a key element in contemporary
art and culture.
STED: Kunstnernes Hus, Wergelandsveien 17.
84
Administrasjon / Administration
Hege Nyborg
Fungerende dekan / Interim dean
Telefon: 90 561 434
E-post: [email protected]
Eva Løveid Mølster
Programansvarlig Bachelorstudiet / Programme Coordinator Bachelor
Telefon: 93 268 101
E-post: [email protected]
Therese Veier
Programansvarlig Masterstudiet / Programme Coordinator Master
Telefon: 40 843 501
E-post: [email protected]
Berit Andresen
Rådgiver / Adviser
Telefon: 94 523 258
E-post: [email protected]
Sunniva Lundh
Rådgiver / Adviser
Telefon: 94 523 488