Category Archives: Related to Practice

The Only Rule is Work

Video by Helga Jakobson, 2016

All MFA participants and core tutors Erik Hagoort, Thomas Bakker plus invited guest tutor Iede Reckman spent a good time in Glasgow last april, 2016. We did studio visits with our colleagues of the Glasgow School of Art MFA, visited Market Gallery for a meetup, Sculpture Studio’s Glasgow and much more.

An important part of the trip was the presentation and event at House for an Art Lover in Glasgow. HFAAL generously hosted us in- and outside of the exhibition space, allowing experiment and working in-and with the moment as it presented itself to us. After the event, the manifestation of Glasgow International opened. Every venue in town was packed with exhibitions, talks and events.

Our trip was aimed at exploring a new place by also giving, contributing to it in making. In the video above you can get a glimpse of how that idea turned into The Only Rule is Work. Thanks to all involved for making it a special experience; participants, tutors, Iede Reckman, Gemma Mannion (House for an Art Lover), Conor Cooke (Market Gallery), John Calcutt (Glasgow School of Art) and their MFA participants, and all others involved.

Workshop Politics of Installation, 7.09 – 10.09.2015 Process and Findings

What happened during the workshop week Politics of Installation? Jack Segbars wrote a small recap on this week’s work process, findings (and some images, too).

Adriano La Licata, Ielse Slager, Vinh Tanh

Adriano La Licata, Ielse Slager, Vinh Tanh

Proceedings

The participants were first asked to present there work in a general sense and to give an overview of their recent projects. In their presentation they also had to focus on the topic at hand: how do you relate your work and artistic practice vis a vis its mode of dissemination, (institutional/spatial) exhibition formats, presentation and publication and? How is the work informed, structured, projected and presented concerning these qualities?

Maurice Nuiten, Piffin Duvekot

Maurice Nuiten, Piffin Duvekot

Duo

After these presentations the students teamed up in duo’s by choice, depending on overlap, communality or productive relation (methodically or conceptually) to one another. The assignment was to jointly, working with elements in each others work, come up with a presentation that would address the topic of the workshop. What is needed to bridge different modes of artistic methods of the individual participants into one presentation? In this way issues of authorship/coöperation immediately emerge, and are made operational vis a vis the topic in general.

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Results

The results were, as could be expected, very diverse. A lot of effort was made to thoroughly investigate ones stance towards the topic, and the way one wants to work mediating this stance in a coöperative set-up of. This element further enhanced the need to be precise.

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How can one maintain one’s own idea’s in a coöperative endeavour? How is it maintained, how adaptable can one be? Issues of control, authorship arose. Mutual overlap in affinities or approach led to the search for one’s specific take or expertise that could be brought into the joint presentation.

Most teams came up with solutions that radicalized and accentuated their respective individual artistic ideas. Some focussed on the institutional aspects and worked with those, while others used the this aspect to redirect the audience’s attention to a more subjective and personal narrative.

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Some teams moved in-between these two poles, intricately weaving the qualities of the general and the subjective. The coöperation mostly proved fruitful and productive, showing that students are comfortable with the idea of working in a group, countering the accepted notion of the artist as ego-driven agent by necessity.

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Thank you Jack Segbars, all students, tutors, and Atelierbeheer Den Bosch for providing us with generous workspace!

MFA Workshop Politics of Installation, with Jack Segbars

At the start of the year, the first and second year MFA students collaborated in a weeklong workshop Politics of Installation (in artistic practice and program) with Jack Segbars. What are the topics and questions at stake in the workshop?

Where in the model of contemporary arts: a hybrid and joint undertaking between artists, institutions, curators, theory and critique is the actual ‘object’ of art located and generated?

The artistic practice is an interconnected mode of production, not solely defined by the artist. 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 Curatorial, Educational, Historiographical and Discursive Turns, that have ex- panded the scope of context and layerings of conditions, that have become part of artistic strategies and content, can be seen as further examples of this development. Es- pecially now in what is called the Post-Conceptual condition, in which the dominance of the conceptual as quality, frame of evaluation and as institutional framework, governs artistic production (Peter Osborne), it is crucial to re-evaluate artistic methodology in order to (re-) gain critical agency.

The aim of the workshop is to explore the individual take to this topic. How is ones work situated and operational concerning the expanded notion and set-up of production? The central issue, through which we will explore this, is through the notion of the ‘Installation’. As Boris Groys has stipulated in his essay: Politics of Installation: no- wadays the manner in which art is mediated and presented, its context of production, is an integral part of content, that artist need to negotiate. According to Groys this also provides for possibilities of agency.

The installation is a key concept to define the context of art production including cu- ratorial, institutional, issues of authorship and discursive/theoretical aspects of pro- duction. The term ‘installation’ can serve as instrument to see the production of art as a constellation involving all these components.

We will research this topic through group discussion and group work on location, and will work towards an end presentation at the end of the week.

Jack Segbars is an artist, writer, curator amongst others living and working in Rotterdam, NL.

http://www.segbars.nl

Trip Ghent, 2015

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Charlotte van Buylaere, These Things Take Time

At the start of the new academic year, all master students left for a short trip to Ghent. In Ghent, the MFA visited These Things Take Time, an interdisciplinary project space located in the centre of Ghent, and Studio Manor Grunewald as well as collective visits to S.M.A.K. (Lili Dujouri, Jef Geys, Sol Lewitt), Museum Dhont Dhaenens (Proximus Collectie), and Museum Dr. Guislain.

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These Things Take Time

Studio Manor Grunewald

Open Studio 2015: introduction of participants

Schermafbeelding 2015-06-29 om 17.20.20

The 1st years made a small booklet for the upcoming open studio’s to introduce their practice.

You can view the whole booklet here:

OpenStudio2015

Please be welcome for the opening this week, july 2nd 16.00 h, Onderwijsboulevard 256, Den Bosch

The Collection, MFA graduation show at Greylight Projects, Brussels

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You are cordially invited  for The Collection, MFA AKV|St.Joost graduation show taking place at Greylight Projects, Brussels!

Danni van Amstel (NL), Katrein Breukers (NL), Giulia Cenci (I), Katherina Heil (D), Tyas Leeuwerink (NL), Maud Oonk (NL), Mohadeseh Rahimitabar (IR) and Maarten Spons (NL).

Opening: july 4 2015, 5 PM!

Greylight Projects

Politics of Installation II, P/////AKT Amsterdam – opening sat june 13, 20.00 h

MFA tutor Bas van den Hurk exhibits at P/////AKT, Amsterdam with Hans Demeulenaere (B) and guest artists Koenraad Dedobbeleer (B) and Lorelinde Verhees.

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“By taking aesthetic responsibility in a very explicit way for the design of the installation space, the artist reveals the hidden sovereign dimension of the contemporary democratic order that politics, for the most part, tries to conceal.” – Boris Groys

Politics of Installation is a two-part dialogue between Bas van den Hurk and Hans Demeulenaere, in which they examine their own and each other’s practice, in order to form a new series of works and presentation models together. After the first part in Loods 12 in Wetteren (B), the final part is now presented in P/////AKT. A combination of new works and parts of the previous show, will be displayed in a new arrangement.

Bas van den Hurk’s work is on the verge between painting, fashion, sculpture, installation, architecture and performance, by which he addresses the process of making in its various forms. Hans Demeulenaere plays with the perception of space. His work consists of objects, constructions and frames which integrate both sculptural and daily elements. In Politics of Installation, a title that is derived from a text by Boris Groys in 2009, the artists ask themselves to what extent the making of an installation can attach certain (political) meanings to a space. How do we relate to a shared space? How do we negotiate its use and meaning?

The binding factor in the work of Van den Hurk and Demeulenaere is the changing relation between autonomy and heteronomy. For this reason, they offer multiple points of view in this exhibition. They invited guest artists Koenraad Dedobbeleer and Lorelinde Verhees to make a contribution, as well as several text writers and especially the audience. In this way, the physical space of P/////AKT becomes a ‘place for negotiation’, where the artists engage in a dialogue on the work and the arrangement of the space. Art work and exhibition element will merge somewhere between showing and looking.

Also, an art historical line will be drawn by means of architectural interventions. Bas van den Hurk (re-)constructs a concrete circular element, based on the work of Belgian architect Juliaan Lampens, who introduced the ‘open plan living’ in the 1960’s. He will also present clothing works in collaboration with Sanne Jansen, paintings and bottles with remains from the painting process. Hans Demeulenaere shows a combination of existing and new work, amongst which a reconstruction of a part of the Sonsbeek-pavilion from 1965-’66, built by Aldo van Eyck. Recently, this pavilion was rebuilt in the sculpture garden of Kröller-Müller Museum.

Politics of Installation, part 2 is the third exhibition in the series Not Making Sense As Something Else, which is reflected upon by Freek Lomme (moderator) and Marnie Slater (writer).

http://www.pakt.nu