Malmö Art Academy is a part of the Faculty of Fine and Performing Arts, Lund University, together with Malmö Academy of Music, Malmö Theatre Academy and Inter Arts Center. The Faculty of Fine and Performing Arts offers Bachelor and Master programmes in visual art, music and drama, and various courses of different extent. The Faculty also runs third cycle (postgraduate) studies and research in the artistic field and music pedagogy.

Admission to Doctorate Studies in Visual Arts at the Malmö Art Academy is hereby announced. Studies will begin during the autumn term 2012 or as agreed. At the same time one Doctorate position is advertised.

Job assignments
The holder of the position has a primary obligation to successfully fulfil the postgraduate (third cycle) education ending with a doctoral degree (PhD) in Visual Arts. The position is for a PhD degree, which implies that the total time of employment may not exceed four years of full time study at the postgraduate level. 

The Doctorate Studies in Visual Arts
The studies are based on the artistic knowledge and the artistic work with focus on the individual artistic work and research. The artistic work is both object and method. The studies of reflecting or theoretical contents are not a self-fulfilling goal but serve the purpose of being a means for developing artistic competence. The studies should as a norm be completed within four years when done on a full-time basis and when the student follows the education and supervision that are given.

Eligibility requirements for Doctorate Studies in Visual Arts
Eligible to be admitted is the applicant who has:
– completed graduate studies in Visual Arts comparable to 240 credits in the Swedish system in a study programme for visual artists or equivalent competence,
– relevant artistic skills or who has a relevant connection to artistic activity,
– presented a plan and aims for an artistic development work or research which was approved by an admission committee.
– carried out such independent work that the applicant’s suitability for this part of the studies can be estimated,
– been found to have the capability in general to manage the studies.

Basis of Assessment
Regulations for employments as a postgraduate student can be found in the Swedish Statute Book (SFS 1998:80). Only those admitted to postgraduate studies can be appointed to such a position. When appointing applicants to such a position, first and foremost their ability to benefit from postgraduate studies must be taken into consideration. In addition to pursuing postgraduate studies, the doctoral student may also perform other duties, including research, teaching and administration, according to the specific regulations. 

Qualifications: please note the study plan for third cycle artistic studies in Visual Arts www.performingarts.lu.se/upload/performingarts/PHD_Study_plan_Visual_Art.pdf

Applications should contain:
– submitted application via Lund University online job application portal
– attested curriculum vitae and attested documents
– project plan (5–10 pages) including aims of an artistic development work and time plan, method and manner of documentation
– portfolio

Please note: Applicants who only apply to be admitted to the Postgraduate studies must also attach an attested financial plan for living costs during the whole period of study (4 years at full-time and a maximum of 8 years at part-time).

Appointment Procedure
Please use Lund University job application portal when applying www.lunduniversity.lu.se/about-lund-university/jobs

Both admission to the Doctorate Studies in Visual Arts and to the Doctorate position should be applied for in the same application. Complementary documents, such as publications/books should be sent to: Faculty of Fine and Performing Arts, P.O. Box 8203, SE-200 41 MALMÖ, SWEDEN. The official record number KPA 2012/3 should be clearly stated when sending complementary documents. 

For further information please contact:
For information on admission requirements, facts concerning the Doctorate position and the form and contents of the application contact:

Gertrud Sandqvist +4640325706, +46 708363492, gertrud.sandqvist@khm.lu.se

Håkan Lundström +4640325451, +46 705507531, hakan.lundstrom@kanslik.lu.se

www.khm.lu.se

Official Records Number: KPA 2012/3
Last Day of Applying March 26, 2012

In July 2011, Susan Hiller held The Dream Seminar II at the Fondazione Antonio Ratti. Not without a hint of provocation, the artist proposed reviving a project of the seventies in which she asked the participants to “take part in intensive group workshops focusing on individual dreams.” It was a question of showing through dream that repetition is not a re-presentation, a re-make, or a re-cycling in the form of an infinite retrospective devoid of perspective, since, on the contrary, repetition only serves to express a singularity, which makes the difference, by shifting the dream into life.

It is this experience that we wish to extend in the Dream of Insomnia Workshop, subverting the limits and boundaries of both dream and life. Drifting to the edge of sleep, where insomnia, sleepwalking, and other mediumship take us into the night’s intermediary zones, we will convoke a critique, between theory and practice, of dreams and their interpretation—a critique, which no longer belongs to “the subject” of psychoanalysis.

Critique therefore in the primary sense of a topography of impure reason; but also Critique and Clinic, in a more experimental sense, of the dream as a highway of the unconscious that mixes desire with interpretation, at the end of which we will rediscover the dream, no longer as a dream of sleep or a daydream but as an insomniac dream.

The workshop is structured around lectures and artistic performances.

On Friday, the 17th of February, lectures will take place from 10am to 7pm. At 10.15pm, John Duncan will hold an all-night performance (a solo concert and video projection) entitled Narcomantic. An experiment in hypnosis and dream manipulation of a voluntary audience as they sleep. Please register in order to attend the performance by John Duncan.

On Saturday, the 18th of February, lectures will again take place from 10am to 7pm.

Lectures and performances:
Dream of Insomnia
Éric Alliez (Professor of Philosophie et Créations Contemporaines en Art at the University of Paris 8 and Professor of Contemporary French Philosophy at the Centre for Research in Modern European Philosophy, Kingston University, London) 

Il genio sonnambulo
Andrea Cavalletti (has taught Aesthetics, Italian Literature and Contemporary Literature at IUAV University, Venice) 

Narcomantic
All-night performance by John Duncan (artist)
(Please register in order to attend the performance) 

Tracking the spirit of the Dreamings. Ritual Dreamers and Warlpiri Artists from Lajamanu
Barbara Glowczewski (has a professorial research tenure at the CNRS and coordinates the team “Anthropology of perception” at the Laboratory of Social Anthropology at CNRS/EHESS/Collège de France) 

Dreamwork: an artist’s perspective
Susan Hiller (artist) 

Word Text Vortex
Karl Holmqvist (artist) 

Alexis Didier, “the most amazing clairvoyant in modern times”
Bertrand Méheust (was a teacher of philosophy and is a member of the management committee of the Institut Métapsychique International – IMI) 

Oggetti inesistenti
Cesare Pietroiusti (artist) 

Romanticism and horror films: how dreams became (again) a somatic matter
Olivier Schefer (writer and philosopher and Professor of Philosophy of Art at the University of Paris I, Sorbonne) 

I sogni dei reclusi del carcere di Palmi
Nicola Valentino (co-founder of the cooperative Sensibili alle foglie) 

Interventions by the young artists who participated in the XVII Advanced Course in Visual Arts in July 2011.

The workshop will host the presentation of the publication of the young artists who participated in the XVII Advanced Course in Visual Arts edited by Mousse Publishing.

Attendance at the daytime encounters is free. Please register to attend the performance by John Duncan by calling +390313384976 or writing to infocsav@fondazioneratti.org.

The workshop will be held in English with some interventions in Italian.

EXPERIMENTS IN THINKING, ACTION, AND FORM
Art, culture and technology. What is the potential of such an intersection in the present? Being cognizant of historical and unusual crossings while exploring more profound investigations and productions suggest experiments in thinking, action and form. Questions raised by pursuing this matrix lead to a variety of histories of the present, the combination of official and unofficial versions throughout the world; animated by examination and reflection these histories may be transformed by creation.

It is easily possible to feel indifference toward the “merely interesting.” In response to what can appear as a perpetual state of “interesting” spectacles and data flow, the invited speakers address these paradoxes of living. Their presentations and discussions will serve as opportunities to grapple with productions, conditions, and perspectives that can stimulate other kinds of responses. The speakers will not invite smooth or easy receptions of the aural, visual, or spatial operations with which they are engaged, but will, in contrast, raise questions from the perspective of producers and analysts about present and past forms of being and production.

Renée Green
Acting Director and Associate Professor
MIT Program in Art, Culture and Technology

SPRING 2012 LECTURE SERIES SCHEDULE

February 13
What Do Artists Know?
Contemporary Responses to the Deskilling of Art
Michael Corris, Professor/Chair of Studio Art, Southern Methodist University, Dallas

March 5
Re-representations and Simulations
Bruce Yonemoto, Professor of Studio Art in Video, Experimental Media, and Film Theory, University of California, Irvine
In conversation with Stephen Prina, Professor of Visual and Environmental Studies, Harvard University

March 12
Archipelago Logic: Towards Sustainable Futures
Taru Elfving, Artistic Director, Contemporary Art Archipelago (CAA), Finland
In conversation with:
Renée Green, Associate Professor, MIT Program in Art, Culture and Technology
Gediminas Urbonas, Associate Professor, MIT Program in Art, Culture and Technology
Nomeda Urbonas, ACT Fellow, MIT Program in Art, Culture and Technology

April 2
Playback: Broadcast Experiments 1970 and Now
Gloria Sutton, Assistant Professor, Northeastern University, Boston
Respondent: João Ribas, Curator, MIT List Visual Art Center

April 9
Projects and Protocols: Conventions on Art and Technology
Muntadas, Professor of the Practice, MIT Program in Art, Culture and Technology

April 23
Sound and Semiocapitalism: Affective Labor and the Metaphysics of the Real
Michael Eng, Assistant Professor of Philosophy, John Carroll University, University Heights, Ohio

CURRENTLY ON VIEW

Disobedience Archive
Exhibition extended through April 15, 2012.
disobedience.mit.edu

For further information, contact ACT Public Programs Coordinator Laura Anca Chichisan at clauraa@mit.edu or 617-253-4415.

MIT program in art, culture and technology
Massachusetts Institute of Technology
77 Massachusetts Avenue, E15-212
Cambridge MA 02139-4307

act.mit.edu
617-253-5229

Visiting artist  Jim Drain (RISD BFA 98/Sculpture) is leading Art in Embassies: Morocco, a Wintersession course at Rhode Island School of Design (RISD), as the first phase of a multiyear partnership between RISD and the U.S. Department of State’s Office of ART in Embassies (AIE), made possible through the generous support of RISD alumna and Board Vice Chair Lisa Pevaroff (RISD BFA 83/Textile Design).

This collaborative project has been designed to promote cross-cultural exchange, and to recognize and nurture the talents of the next generation of professional artists. Ultimately, the collaboration will yield a large-scale outdoor work of art for the U.S. Embassy building currently in the design phase for Rabat, Morocco.

Drain is leading RISD students in the exploration and research of the rich culture in Morocco, examining the meaning and significance behind the surface and visual culture. The class has taken a close look at AIE’s mission; at the design for this particular embassy so that the site-specific piece truly fits within the unique architecture for the structure; and will work with visiting textile artist Soukaina Aziz El Idrissi from Morocco. Dean of Fine Arts Anais Missakian and Associate Provost Patricia Phillips are also involved.

“We are approaching this installation not from specific disciplines, but rather from a materials and cultural approach. The crossover between disciplines is valuable, as each student brings a specific interest and expertise to the process,” notes Drain. “In this course I am working with the class on something with real consequence, and we have an incredible opportunity to have real input into the nuts and bolts of the work itself. It is a challenging way to do a commission, but one that I find very thrilling. Together, we are focusing on how to incorporate materials in unorthodox ways, building models, researching and discussing issues relating to cultural diplomacy.”

The work will continue beyond the studio, culminating in the debut of the artwork at the State Department’s 50th anniversary celebration on November 30 in Washington, D.C., where Secretary of State Hillary Clinton will acknowledge the important work that AIE has done to enhance foreign relations through visual art at the Department of State; and ultimately, the permanent installation of the piece at the embassy in Morocco once the building is completed in 2014–15.

“The mission of the ART in Embassies is to advance our nation’s cultural diplomacy through the international exchange of visual arts, culture and ideas,” explained Chief Curator Virginia Shore, ART in Embassies. “While AIE has worked with more than 10,000 artists, museums, collectors, universities, and dealers over the past 50 years, this project with RISD is one of the most involved collaborations to date.  Led by artist Jim Drain, along with ten RISD students, this project is engaging talented artists from both the U.S. and Morocco.  As part of our 50th anniversary, this project is representative of the culmination of our collective efforts, and one worth celebrating.”

AIE Director Beth Dozoretz noted “the generosity of Lisa Pevaroff enabled AIE to further realize one of our goals to work with RISD and the students. This collaboration is not Pevaroff’s first involvement with AIE. An artist in her own right, she has work on exhibition at the US Embassy, Montenegro.”

“As a participating artist in ART in Embassies, I was excited to be able to involve RISD students in the process,” said Pevaroff. “Of course, I’m especially pleased that the studio is being led by a fellow RISD graduate, Jim Drain.”

Jaime Marland | RISD | jmarland@risd.edu | 401 427 6954

The Salzburg International Summer Academy of Fine Arts is awarding some 70 grants, which cover either the course fees together with travel and living costs, or the course fees only. 

Highlights of the 2012 course programme include the classes directed by Tania Bruguera (Cuba, USA) with performance, sculpture and video, and Manfred Pernice (Berlin), who is concerned with expanded sculpture. After a three-year break, Katharina Sieverding (Düsseldorf, Berlin), will once again give a photography course, and Arno Brandlhuber (Berlin) will be directing an architecture class. Peter Friedl (Berlin) and Christoph Schäfer (Hamburg) are also teaching in Salzburg this year, as is the documenta participant Shaina Anand together with Ashok Sukumaran (Mumbai), who will deal with video and participatory projects. A first-time visitor here is Olav Westphalen (Hamburg, Stockholm), well known for his cartoon as co-author of Rattelschneck.

The Graphic Arts classes will be directed by Krystyna Piotrowska (Warsaw) and Leya Mira Brandner (São Paulo). Milena Dragicevic (London), Hanspeter Hofmann (Basel), Matts Leiderstam (Stockholm), Mara Mattuschka (Vienna) and Katrin Plavcak (Berlin) will be concerned with painting and related topics. Lin Cheung (London) is teaching the class in jewellery design. Again, Maria Lind (Stockholm)—this time in collaboration with Juan A. Gaitan (Rotterdam)—is holding a one-week course on curatorial practice, which is also the subject of the curatorial collective WHW/What, How & for Whom, based in Zagreb (Croatia), which was responsible for the 2009 Biennial in Istanbul. Martin Schmidl (Aachen) will concentrate on the fundamentals of drawing practice. Using collage, Christoph Draeger (Vienna, New York) will explore construction, deconstruction and reconstruction in image production.

The course fees are between 450 EUR, and 1070 EUR depending on the length of the course. Grants normally cover the course fees. KulturKontakt Austria, the American Austrian Foundation (AAF), the ERSTE Foundation, Free State of Bavaria and The Münster Academy of Fine Arts also subsidise travel and living costs.

Applications for grants will be accepted online only and the closing date is 15 April 2012.
Detailed information at www.summeracademy.at/Grants_94.html
Course Programme 2012 at www.summeracademy.at/COURSES-2012_230.html 

Further information:
Franziskanergasse 5a, POB 18, 5010 Salzburg, Austria
T+43 662 842113 F +43 662 849638
office@summeracademy.at
www.summeracademy.at 

The Boston University School of Visual Arts at the College of Fine Arts is pleased to present acclaimed artist Laurie Anderson as the eighth annual Tim Hamill Visiting Artist. The lecture series, named in honor of BU School of Visual Arts alumnus Tim Hamill, was launched in 2004 to present artists whose work crosses boundaries among artistic disciplines, and who connect to the art world in a variety of ways. This year’s lecture will be held on Monday, February 27 at 6:30pm in Boston University’s Morse Auditorium (602 Commonwealth Avenue, Boston, MA), and it’s free and open to the public. Call 617.353.3371 for more information.

New York-based artist Laurie Anderson has created large-scale theatrical works that combine a variety of media—music, video, storytelling, projected imagery, sculpture—in which she is an electrifying performer. As a visual artist, her work has been shown at the Guggenheim Museum in SoHo, New York, as well as extensively in Europe, including the Centre Georges Pompidou in Paris.  She has also released seven albums for Warner Bros., including “Big Science,” featuring the song “O Superman,” which rose to number two on the British pop charts.

The Boston University School of Visual Arts at the College of Fine Arts is a community of artists within a great university and in a city that offers diversity within a vibrant arts culture. Founded in 1954 as a professional training school at Boston University, the school offers an intensive program of studio training combined with liberal arts studies leading to the Bachelor’s of Fine Arts and Master of Fine Arts degrees. The first-rate teaching and mentoring of its regular faculty is supplemented by a vibrant program of visiting artists, guest lecture series, and exhibitions. The School offers introductory and advanced classes in painting, sculpture, graphic design, art education, ceramics, photography, glassblowing, and printmaking. A solid background in art history, contemporary critical analysis, and liberal arts complements the studio arts courses.

The BFA Program at Pacific Northwest College of Art is currently accepting applications for its new Video and Sound program.

In recognition of the fact that moving images and sound have become central modes of communication and self-expression in the 21st century, Pacific Northwest College of Art (PNCA) announces its tenth BFA program, Video and Sound, launching Fall 2012.

The BFA in Video and Sound at PNCA investigates video and sound as disciplines both distinct and allied. Students in this program acquire practice-based media literacy, a multi-modal approach toward video and sound arts, and the critical, aesthetic, and technical skills vital to contemporary cultural production. The principles of video and sound are taught in hands-on learning environments where students focus on gaining technical skills as a means to express ideas through structure, pace, rhythm, and the interplay between image and sound. Emphasis is placed on the making and presenting of single and multi-channel works in a variety of screening and listening environments. To this end, students engage in in-depth research and draw on the rich histories and interconnections between video art, sound art, experimental film and music, installation, performance, and network culture.

“PNCA’s Video and Sound program was designed with the acute awareness of this unique moment in media art history,” says Video and Sound Chair Stephen Slappe. “Robust, easy-to-use software and relatively affordable equipment have made the means of production readily available to young creators. The Video and Sound program at PNCA offers students a solid conceptual background to deepen the quality of their engagement with these media while facilitating inventive forms of expression and communication. In addition to teaching the technical skills needed to work with video and sound, we encourage students to explore the potential of mobile spectatorship, gaming interfaces, performance strategies, and network culture.”

 

We recommend that you complete your application by March 1, 2012 to be eligible for competitive scholarships. 

Learn more about admissions requirements or email admissions@pnca.edu.

Taught by an expert team of writers and critics, the Critical Writing in Art & Design MA programme at the Royal College of Art in London is designed to develop the literary and intellectual skills required to write about art and design in an age of rapid technological and cultural change.

This full-time, two-year MA located in one of the world’s leading art and design universities explores different aspects of writing about and for contemporary culture. Students are encouraged to develop specialist knowledge of a field of art, design, architecture, fashion or the applied arts, and to refine their skills as writers, editors and thinkers in a variety of contexts including radio and the Internet. Drawing on the teaching methods of the art school, this programme makes full use of the ‘crit’ (group reviews of student work), briefs and writing workshops, providing a lively environment for intellectual exchange and collaboration. Students on the programme publish their work—interviews, reviews, polemics, sustained critical essays and scripts—online and in print. Working alongside graphic designers and other postgraduate students in the College, they produce a major publication in the second year of their studies. We welcome students who wish to explore the wide range of potential forms in which writing and publication can take.

On graduating, Critical Writing in Art & Design students will have a portfolio of different kinds of writing, editing skills and critical understanding. Crucially they will also gain access to an extended network of RCA graduates—artists and designers—enhancing opportunities to pursue a career in the arts and the cultural industries.

Based in the heart of London, the RCA is home to just over 1100 talented Master’s and research students from all over the world.  The College’s graduates form an international network of influential individuals who have shaped, and who continue to shape, the culture around us.

Open Day on 23 February 2012
Come along to meet with staff and students to talk about joining the MA or Research programmes (Mphil / PhD).

Interviews will be held in March and April. Applications are encouraged from anyone with a good first degree in a humanities / arts subject (including studio-courses in art and design). The programme also supports MPhil and PhD students.

In 2011/12 the College will allocate more than 2.9 million GBP in bursaries to eligible students towards fees and the costs of living in London. These bursaries are available on a competitive basis. If you are from the USA you should note that the College is designated as an eligible institution for American students to apply for a Guaranteed Student Loan under the new Direct Loan Program. The RCA’s School Code is 00942300.

For further information on open days, application deadlines and fees, please visit www.rca.ac.uk or contact criticalwriting@rca.ac.uk.

The Core Program awards postgraduate residencies to highly motivated, emerging visual artists and critical writers who have not yet fully developed their practices and share a commitment to critical dialogue.

About the program
Established in 1982 within the Glassell School of Art of the Museum of Fine Arts, Houston, the Core artist residencies encourage intensive and innovative studio practice as well as the elaboration of an intellectual framework to understand that practice. In 1998, the Core critical studies residencies were established to provide an opportunity for writers to pursue independent curatorial and writing projects and to promote the discourse necessary for both artists and critics to sustain their practices. Throughout the year, residents engage in ongoing dialogue with each other and with pre-eminent artists, critics, curators, and art historians invited to conduct seminars, lecture, and meet with residents individually.

Program specifics
Each resident receives a stipend, health insurance, and private studio/office space. The residency term is nine months, from September to May. Residents may apply for a second term.

How to apply
For application instructions, please visit mfah.org/fellowships/core-how-apply.

The Core Program
Glassell School of Art
Museum of Fine Arts, Houston
5101 Montrose Boulevard
Houston, TX 77006
Phone: 713-639-7500 | Fax: 713-639-7709

mfah.org/core

 

The Bancomer and Museo Carrillo Gil Program for Contemporary Artists is a mutual endeavor between BBVA Bancomer Foundation and the Museo Carrillo Gil; it offers full support for the development and achievement of artistic projects where research, collaborative feedback and manifold connections between media, languages and fields of knowledge play a fundamental role.

For this Second Edition, the exhibition The Endless Cycle of Idea and Action is presented. It is the result of one year of research, work and dialogue among ten Mexico-based artists in joint collaboration with a group of interlocutors belonging to several fields and disciplines.

Featured artists are: Oscar Cueto, Gilberto Esparza, Diana María González, Fritzia Irízar, José Jiménez Ortiz, Begoña Morales, Naomi Rincón-Gallardo, Idaid Rodríguez, Jaime Ruiz Otis and Isaac Torres.

The practice of these ten artists spans from the appropriation of methodologies, archival work, dislocation of narratives from literature, fiction film and documentary, field work, interviews, collaborations to transfer of information towards formal and audio-visual experimentation. Their work proves that art is an instrument that reveals the voids, needs and disparities that run the distribution of goods, knowledge and power in contemporary societies.

Many intersections are found in the projects featured in The Endless Cycle of Idea and Action. Some artists bring methodologies from natural and social sciences into play, not only to gather information, but also to highlight the ways in which the effects of reality are produced and administered. Other projects draw from testimonials, opinions and collaboration processes. Moreover, the exhibition’s pieces exist mostly as articulated bodies of work, developed in multiple mediums and platforms. A common impulse, curiosity or interest shifts through different languages.

Parallel to the exhibition, visitors will be able to visit the Bancomer and Museo Carrillo Gil Program for Contemporary Artists’ Archive. This archive contains more than 60 portfolios of artists currently working in Mexico. More information at: www.museodeartecarrillogil.com/j_creadores/indexac.html

An exhibition catalogue will be issued featuring essays by: Mónica Castillo, Alberto López Cuenca, Ivonne Santoyo and Carmen Cebreros.

Curator and Educational Program Coordinator for the Second Edition: Carmen Cebreros Urzaiz Program´s Executive Coordinator: Andrea Paasch

For further information:
About the exhibition and participating artists: curaduriabancomer.macg@gmail.com
Press inquiries: difusionmacg@gmail.com

www.museodeartecarrillogil.com/bancomermacg2.html

All our cultural programs are opened to the public, and take place at Museo de Arte Carrillo Gil, unless otherwise noted. We are located at 1608 Revolución Avenue at San Ángel in Mexico City. To arrive by public transportation, take the 9 line subway to Barranca del Muerto Station and then the bus to San Ángel /corner with Altavista Avenue.