As a kickstart of the new academic year, Jack Segbars prepared a week’s workshop exploring the notion of “Installation” as part of the artistic practice and program.
Participants: Adriano La Licata, Marta Masiero Ramos, Dorina Kappatou, Sarah de Paiva Rodrigues, Piffin Duvekot, Nguyen Quang Vinh, Danni van Amstel, Katrein Breukers, Mohadesheh Rahimitabar, Tyas Leeuwerink, Maud Oonk.
The workshop and presentation is kindly hosted by Onomatopee, Eindhoven.
Artistic practice consists not solely as an unconnected mode of production by the artist. The manner in which art is mediated and presented, its context of production, is an integral part of its content.
The legacies of Conceptual Art, Minimal Art and Institutional Critique demonstrate that the conditions and parameters of art production are essential elements in establishing the content and mode of operation of the artwork. The conditions of the production are formal building blocks of what constitutes the artwork. Following developments in the Curatorial, Educational, Historiographical and Discursive Turns, it has become clear that the extended context and layerings of conditions have become part of artistic strategies and content.
The aim of the workshop is to explore the individual take to this topic. How is ones work situated and operational concerning the broader set-up of production? Is the broader context part of the methodology, or content of the work? How do you relate your work to the artistic practice, exibition formats and institutions? And how can one extrapolate and sharpen ones work-making use of this set-up?
The central issue, through which we will explore this, is through the notion of the ‘Installation’.
The installation is a key concept to define the context of art production including curatorial, institutional and discursive/theoretical aspects of production. The term ‘installation’ can serve as instrument to see the production of art as a constellation involving all these components.
In the installation notions of the curatorial, theoretical and of discursive qualities can come into play. How is the work structured, projected and presented concerning these qualities? Is the work self-explanatory, or do you use other strategies? Are issues of the institutional context at play?
We will research this topic through group discussion and group work and will work towards an end presentation at the end of the week. This end presentation will be cooperation between at least two participants in the group who will produce a joint presentation/collaboration/installation of their work. The workshop should be considered as a speedy exploration and exercise to the subject.
Jack Segbars (b. 1963) studied fine art at AKV/St.Joost Den Bosch. He is primarily engaged with the conditions and parameters through which the concept of art is created. To this end, Segbars has investigated the different forms and positions that shape artproduction and that are at play in the formation of the notion of art: autonomous visual art, art in public space (including the neon text, Van Alles Is Weer Waardeloos/ everything is worthless again), the role of language and theory in the art discourse and the role of the curator. The interconnections between the different positions (critic, writer, curator and visual artist) are explored as artistic investigation.