Summer School as School
26 July – 9 August, 2015
Summer School as School (SSAS) is a guide and an intervention, stationed in Prishtina, designed to unite and disseminate critical knowledge produced by selected professionals about exploring and responding on relevant challenges of today, new models and possibilities in art education and art collaboration.
Lecturers at SSAS include: Technical Assistant of the Museum of MoAA, Branislav Dimitrijević, Martin Fritz, Felix Gmelin, Edi Hila, Ibro Hasanović, Nita Luci, Nebojša Milikić, Suzana Milevska, Miran Mohar, Alban Nuhiu, Adrian Paci, Amila Ramović, Pepi Sekulich.
Course leaders, lecturers and collaborators have compiled a challenging and inspiring program for participants and the public, structured as a hub with five core courses, public lectures, tour guides, an evening program and an exhibition, to produce a unique experience and a model.
Summer School as School is a project by Stacion – Center for Contemporary Art Prishtina in collaboration with Academy for Visual Arts – AVA, Ljubljana
The program begins on July 26 and ends on August 9, 2015.
Art History between Cradles and Barricades: Feminist art history’s research and methodology
27 July – 1 August, 2015
Course leader: Prof. Dr. Suzana Milevska
Whether one agrees that feminist art is a stage in art history, a movement, a discourse or a complete shift in ways of doing things it is clear that it embraces a different way of making art and comprehending art. In three different interlinked teaching sections (lectures followed by reading sessions and ending with a workshop) prof. Suzana Milevska will present the basic feminist research methods based on deconstruction as the major interpretative methodology by including some more recent arguments and ideas from post- Marxism, postcolonial and institutional critique, ecofeminism, cyber-feminism, transversality and intersectionality. Therefore this short course of feminist art history is not addressing only feminist art, but will offer a feminist grid of thinking about the discipline of art history by addressing different issues and prerequisites for such different art history methodology. The course argues that the profound analysis of how knowledge of art history is shaped as “a discursive formation on the axis of power institutionalised in museums and academia” (G. Pollock) and how it is determined by the general social-political contexts and economic conditions (that produced the long traditional hegemony of Western patriarchy-determined art history), has to be interlaced with different disciplinary and cross-disciplinary research layers.
Although feminist research itself is considered as a methodology there aren’t specific feminist research methods so the discipline of art history uses its own research methods, but by asking new research questions. The major general research questions addressed during the course will be the common questions feminists ask about epistemology and knowledge construction. The emphasis thus will be put on the positioning of the researcher within the process of research and within theorizing and on the intended purpose of the produced knowledge (e.g. the aims to understand why inequality between women and men still exists and to investigate the main reasons for the male domination). The seminal debate about the difference between essentialism and constructivism will be addressed through different examples from art history. Some of the additional questions to be discussed as relevant to the differentiation between male dominated art history and feminist art history methodology are how is a woman's gaze different from a man's? How does gender identity and difference influence the ways in which the two genders view the world? And how they view art? What place do they have in art?
Starting with the need for reinterpretation of some of the commonly received knowledge of art history periods, movements and genres and following more recent debates and issues stemming out the contemporary art practice of feminist oriented artists the course will enable the students to continue independent research along these line of thinking of art history. Some of the art history topics to be discussed and rehearsed through the close reading sessions and workshops will be e.g. deconstructive reading of famous artistic styles, directions and masterpieces by male artists from a feminist art history perspective, exhaustive research of lesser known, but misinterpreted and/or underestimated female artists.
Interconnected Localities as a New Globality
29 July – 6 August, 2015
Course leader: Miran Mohar
The Contemporary Art Course will focus on a practical matter, to finish one artwork in any chosen media during the time Summer School.
Participants will be asked to explore questions that can be part of contemporary art global story from their local perspective. The nature of the works to be developed during the course should discuss and present the issues of the differences between countries with developed art system and the ones without or poorly developed (as in many places of Eastern Europe and others. In places without developed art systems there are various strategies and approaches on various levels such as art’s production and distribution. The participants are expected to consider the premise that coming from a country with least developed art system is not necessarily a disadvantage.
The course development will be based on discussions of ideas, material implementation, and the process of producing an artwork along with the conceptual and technological level. The students should then decide what topics they want to deal with and develop a more complex project they would like to work on further. Topics will not be limited.
Conceptualization of Space: Set Design - Film
29 July – 6 August, 2015
Course leader: Pepi Peter Sekulich
The course aims to introduce a broad range of technical processes and key ideas within the field of set design for the screen. There is an emphasis on developing strategies for making, thinking and decision-making; to understand their interconnections and to establish the importance of context as your research interests emerge. The aim is to equip students with technical and conceptual vocabularies. This provides them with the proper development of strategies articulated through making, reflection and group discussion. Key to this course is the collation and organisation of individual 'constellation' of research.
Curating as a missing art of rhetoric
July 31 - August 2, 2015
Course leader: Dr Branislav Dimitrijević
The mode in which Aristotle considered Rhetoric as one of the “civic arts” seems rather remote from our artistic and political operationalism. For Aristotle rhetoric was “the faculty of observing in any given case the available means of persuasion” but in his articulation of rhetoric as an art he also combines almost incompatible properties of techne and appropriateness to citizens.
In a similar manner Plato was suspicious of poetry he was also suspicious of rhetorics. While it could be used to “improve civic life”, for Plato rhetoric could be used equally easily to deceive or manipulate with negative effects on the city. The masses were incapable of analyzing or deciding anything on their own and would therefore be swayed by the most persuasive speeches.
Therefore both the poetical and the rhetorical had carried a similar “hope” within in them, yet this “hope” had been jeopardized by the inherent deceptiveness of both practices. However, later on, the deceptiveness of the poetic has proven its artistic essence, whereas the deceptiveness of the rhetorical has had primarily political implications. Rhetoric is today no longer considered a form of art.
But what if, at least for the “rhetorical purposes”, we could speculate a possibility that the lost art of rhetorics has been transformed in what we today call curating?
Curating has itself undergone a major transformation since the late 1960s, and this transformation is one of the symptoms of the post-modernist, post-industrial and post-fordist order. With the institutionalization of the curatorial education since the 1990s it seems that curating has nowadays becoming primarily a practice of cultural management. In order to counter this single “purposefulness” we shall discuss all other aspects of curating as a theoretical and rhetorical practice, effectively connected to the notion of discourse-formation as well as techne within the scope of the public field and exchange.
Curating and Producing Public Art
August 3 - August 7, 2015
Course leader: Martin Fritz
Curating and Producing Public Art has come a long way since it was mainly associated with standalone sculptures, memorials and murals. Site Specificity has become an elaborated conceptual and practical framework for a great variety of practices identified as Site Specific Art, Context Sensitive Art, New Genre Public Art, Participatory Art Practices and Artivism.
Starting with on-site research in the urban context of Prishtina the participants will choose an aedaqute urban situation for their project proposal. Subsequently the participants will be guided through the conceptual, curatorial and practical development of a project. Basic principles of project-management and an introduction to the production of realities for contemporary art projects will supplement the program.
The registration deadline is July 20th, 2015.
Summer School as School is part of the annual program of Stacion - Center for Contemporary Art Prishtna and is supported by :
Ministry of Education, Science and Technology of the Republic of Kosovo
Culture for all – phase III
Kosova Foundation for Open Society
Friedrich Ebert Stiftung
Ministry of Culture of the Republic of Albania
Ministry of Foreign Affairs of the Republic of Kosovo
Ministry for European Integration of the Republic of Kosovo
Federal Chancellery of Austria
Austrian Federal Ministry for Europe, Integration and Foreign Affairs