The Far and The Near: Replaying Art in St Ives exhibition

This exhibition reinvestigates the histories of the St Ives colony in the contexts of international modernism and contemporary practice. Examining the changing legacies of British and international modernism, with a particular emphasis on artists associated with the colony in St Ives, the exhibition will present new perspectives on St Ives as a space for art, locating them within a contemporary culture that is still profoundly influenced by many of the innovations and ideologies of the time. 

Drawing on important and recently acquired works from the Tate collection, as well as archival material, this exhibition will reposition many of the artists and works associated with St Ives in a contemporary context in which they find new resonances and relevance. Looking at modernist artistic practice and our relationship to this fertile period of British art, the exhibition includes new acquisitions of both contemporary and modern works, giving some familiar historic connections alongside some alternative contemporary relationships.

Works are juxtaposed in challenging, often unexpected ways, addressing an unstable relationship between location and identity. As the art of post-war St Ives is still so resonantly bound to our view of the place, The Far and The Near offers an alternative perspective of this twenty-first century Cornish resort.

An evening on use with Stephen Wright, Tania Bruguera and Charles Esche

Introductory Comments by Nick Aikens / Charles Esche

Tania Bruguera: Arte Útil (Useful Art)

Tania Bruguera will introduce 'Arte Útil', a term the Cuban artist has coined for forms of art practice that foreground affect and implementation over representation. Tania Bruguera is currently collaborating with the Van Abbemuseum, Eindhoven and the Queens Museum, New York on the Museum of Arte Útil, a multi strand project that will culminate in the old building of the Van Abbemuseum being transformed into the Museum of Arte Útil in Autumn 2013. 

Stephen Wright: Usership

Theorist Stephen Wright will expand on ideas in his recent essay 'Here Comes Everybody: Towards a Politics of Usership', where he outlines the political, theoretical and artistic implications of 'usership' - for artists, institutions, audiences and political subjects. Wright suggests some speculative 'exit strategies' from which he sees as the outdated and restrictive conceptual edifices on which contemporary art currently rests. 

Arte Útil (Useful Art) / from month to month

DAI WEEK 4

The day in the Van Abbe will be the first session focusing on the final project of the Useful Art Project in DAI. The day will be broken up into three sessions - a review of the evening's talk the night before, a session led by Nick Aikens and one led by other Steven ten Thije.

The start of the day will be a a discussion on 'An Evening on Use' form the evening before, analysing the main areas of interest for the group.

Following the series of discussions and seminars in the Autumn, which sought to introduce students to the terms and frames of thinking around 'Useful Art', the focus will now turn to the final project in the summer. For this first session, students have been asked to bring something as the starting point for a discussion. This could be a work of art (of their own or an image). Students will be asked to talk for five minutes. From this the workshop will look at potential key areas or themes.

The purpose of the day is to begin to formulate some areas of thinking from which to develop. By the end of the day specific tasks will also be set for the next session.

Superreal: alternative realities in photography and video

Social Art, Social Cooperation: A Conversation with Tania Bruguera, Tom Finkelpearl, and Mierle Laderman Ukeles

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Socially cooperative art is a field not well understood by many, indeed even in the art world. Why is it art? Where does art end and social action begin? Who is the author of a cooperative project? In this lecture recorded on February 3, 2013, at the National Gallery of Art, Tom Finkelpearl celebrates his latest publication, What We Made: Conversations on Art and Social Cooperation, by providing an overview of socially cooperative art-where it comes from, what its artistic roots are, and why it can be considered valuable.

Tania Bruguera and Mierle Laderman Ukeles, two of the most important artists working in America today in this field, then describe their work, focusing on a single project. Bruguera, Finkelpearl, and Ukeles take a careful look at how art can intersect with life and how artists are reimagining this intersection in the new avant-garde of participatory, activist, community-inclusive art.

. Tania Bruguera, artist

. Tom Finkelpearl, executive director, Queens Museum of Art

. Mierle Laderman Ukeles, artist

Flash théorie Art : "Artist Run Spaces"

Moderator:

. Rozenn Canevet and Guillaume Leblon, Responsible of Master Art, ESAD.

Participants:

. Tania Bruguera, Artiste, professor, Ecole nationale supérieure des Beaux Arts.

. Julien Amicel, Co-director, artist residence, Dar Al-Ma'mûn.

. Massimiliano Mollona, Anthropologist and Senior Lecturer at Goldsmiths College.

. Jason Hwang, Artist and Curator, Co-founder of the independent exhibition space Shanaynay in Paris.

The Life of Others. Repetition and Survival

This project brings together the works produced on basis of artistic strategies of appropriation, citation, translation and recreation of historical pieces and events. It follows Deleuze's concept of repetition, which he deems as the power standing against singularity, as a violation and exception of special qualities covered by Law. In this regard, the project aims to provide new insights into understanding of repetition-based modern art applications. While it is trying to move away from the parameters of the act of appropriation, it is placing these parameters into affirmation of the political status of singularity. This singularity stands against the domesticated paradigm that stipulates equivalency and alterability to another thing.

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Penny W. Stamps School of Art & Design at the University of Michigan

The University of Michigan School of Art & Design (A&D), located in Ann Arbor, Michigan, offers graduate and undergraduate degrees in art and design. Established as an independent unit in 1974, A&D is one of 19 schools and colleges at the University of Michigan. A&D is fully accredited by the National Association of School's of Art & Design (NASAD).

Academic programs

The Penny W. Stamps School of Art & Design's academic programs and projects focus on generating new creative work, integrating the cultures of art and design, and engaging with the University, region, and national and international communities.

Undergraduate

The Penny W. Stamps School of Art & Design offers four undergraduate programs: a BFA in Art & Design, a BA in Art & Design, Dual Admission / Double Degree Programs with eight other university schools and colleges, and the Interarts Performance BFA, jointly offered with the School of Music, Theater and Dance. A&D also offers a Minor in Art and Design.

Beginning in Fall 2010, all undergraduate students will be required to engage in a substantive international experience. Local and regional engagement is also a priority, and BFA candidates are required to complete at least one "engagement studio" working directly with individuals or groups in Southeastern Michigan.

Graduate
The Penny W. Stamps School of Art & Design offers three graduate level degrees: a three-year MFA in Art & Design, a PhD in Design Science offered cooperatively by the School of Art & Design, the Department of Mechanical Engineering, the Ross School of Business, and the Department of Psychology, and a MFA in Art & Design / MBA in Business Dual Degree Program.

Through a short presentation around each panelist´s work in non-monetary forms of exchange, participants will discuss what is effective for them, commenting on issues of ownership, relationship-building and will respond to questions about how these exchanges are valued and who is evaluating the results.

Moderator:

.Gregory Sholette 

Panelists:

.Sol Aramendi

.Tania Bruguera

.Deborah Fisher

.Caroline Woolard

Rusell Lecture Featuring Tania Bruguera

The Museum of Contemporary Art San Diego (MCASD) and UC San Diego (UCSD) will present its annual Russell Lecture at MCASD's La Jolla location. The 2013 Russell Lecturer is internationally acclaimed artist Tania Bruguera.

For many years, MCASD and UCSD have partnered to bring contemporary artists to the city through the annual Russell Lecture program. The Russell Foundation was established in the will of Betty Russell, one of MCASD's founding docents and a long-time supporter of UCSD. She specified that funds from the foundation should help "foster the appreciation and study of the modern visual arts and creativity of young artists" through support to the Museum and the University. 

In addition to this public lecture, Bruguera will have a chance to meet and interact with students in UCSD's Visual Arts Department as part of the Russell Foundation program.

Collecting the Performance

The interdisciplinary Cuban artist Tania Bruguera will discuss a range of questions about her work in relation to performance and activism with Annie Fletcher (Curator Van Abbemuseum, Eindhoven) and Catherine Wood (Curator Contemporary Art & Performance TATE, London).

This event is cohosted by the Van Abbemuseum and TATE, as part of the research network Collecting the Performative. This research network will examine emerging models for the conservation and documentation of artists' performance and will draw upon the practices of dance, theatre and activism in order to identify parallels in the concept of a work and related notions of authorship, authenticity, autonomy, documentation, memory, continuity and liveness.

.Register for the lecture HERE (Free Entrance)

Spiraling Time

Spiraling Time is a day-and-a-half symposium bringing together artists, scholars, and curators to investigate how various "time-based" art practices are pressed into service in a Latin American context to think through questions of history, memory, and temporality. The event will focus on interactive conversations between participants (and audience members), punctuated by three keynote addresses from the perspectives of art history and performance studies.

Program

2:20pm

Conversation

Moderator:

.Favianna Rodriguez, artist, Oakland

Panelists:

.Tania Bruguera-artist/curator
.Mariana Wardwell-artist/critic/curator

3:20 p.m.     

Break

3:30

.Roundtable

Participants:

.Tania Bruguera

.Sergio Delgado

.Leda Martins

.Nuno Ramos

.Mariana Wardwell

Come In, We're Open

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COME IN, WE'RE OPEN is a show that brings together a range of voices and texts from the emerging field of social practice. We -- Edith Abeyta, Carol Zou, and Owen Driggs -- are inviting artists, curators, and writers who work in the field to make a 5-minute video using Google+ Hangout, with the following questions as guidance:

- How do you define social practice?
- Please describe one of your recent projects and how it intersects with social practice.
- What are some of the challenges facing social practice artists as you see it?
- How do you envision social practice evolving in the future?

The videos will be available online in a Youtube playlist, and on view in the Los Angeles Community College (LACC) gallery. Additionally, the gallery installation will offer texts on social practice, and hands-on student engagement events. After the show, the videos will be used as an educational archive for LACC.

4th FORMER WEST: DOCUMENTS, CONSTELLATIONS, PROSPECTS

Dissident Knowledges -Prospective Statements-

Artworks, talks, discussions, rehearsals, and performances in various constellations of documents and prospects offer a multitude of encounters with the public for negotiating the way of the world from 1989 to today, and thinking beyond.

Documents, Constellations, Prospects is organized into five currents. Each day, students are involved in Learning Place realized in collaboration with international cultural institutes, universities, and art academies-folded into contemporary negotiations on Art Production, Infrastructure, and Insurgent Cosmopolitanism. In addition, Dissident Knowledges contributions propose dynamic interventions into the ongoing program with artworks, performances, and statements.

Defying conventional fictions and their established doctrines and institutions requires tapping into knowledges that offer new archives from which to read our contemporary moment. Often kept hidden in the cracks of our attention economy, this current uncovers and formulates knowledges that, by being at once embedded and excluded, have the power to both resist the known and propose new imaginaries of how things could be otherwise.

Persona Ficta

Persona Ficta presents performances that inhabit formal spaces of law as vehicles for poetic political action. A legal person, or persona ficta, is by definition a proxy, a representational "vehicle" charged with powers to act. In the institutional domains of art and law, the document masquerades as the artist. Taking up this elusive designation of personhood, the exhibition instigates a more nuanced perception of art as immanent threat to power.

Interventions into the space of law, both symbolic and real, allow artists expanded political agency. With gestures ranging from parody to protest, Kristin Lucas, Tania Bruguera, and Dread Scott alter perceptions of what it means to perform by exploiting courtroom procedures and documents. A legal name change allows for self-transformation and plants possible loopholes in the system. A partnership agreement tests the limits of future creative license. A tactical public spectacle leads to both a summons and institutional support for free expression. Adjacent to the exhibition, arts lawyer Sergio Muñoz Sarmiento will perform legal consultations.

These challenges to legal definitions of personhood, partnership, and institutional practice encourage us to reconsider the conditions of performance art in the exhibition space, a civic forum with its own codes and possibilities. Procedure is performative. Bureaucracy is rendered otherwise.

Artists:

. Tania Bruguera & Jota Castro

. Kristin Lucas

. Dread Scott

. Sergio Muñoz Sarmiento

Four performances occupy formal spaces of law and become vehicles for poetic political action.

Office Hours at LA><ART

Office Hours are occasions for extended in-person dialogues between artists and their publics. Taking from the academic tradition of "office hours," participating artists offer scheduled one-on-one meetings to follow up on aspects of their work and further pursue open questions, in a setting apart from the lecture hall or classroom. As an ongoing program, Office Hours fosters reception of artistic interests through enquiry, exchange, and reflection.

Individuals may sign up for one 50-minute meeting by emailing one of the available dates and times listed below to: officehours@laxart.org. All meetings are held at LA><ART. The program is free and open to all publics.

. Available appointments:
Tuesday, April 2, 2013
3pm - 3:50pm
4pm - 4:50pm
5pm - 5:50pm

Tania Bruguera's participation in Office Hours is coordinated with USC Roski's Chelle Barbour, a 2013 Master's candidate in the MA Art and Curatorial Practices in the Public Sphere program. The program emphasizes the practice and history of art, curating and critical theory. In addition to realizing an individual work of advanced research in a thesis, Master's candidates produce a curatorial practicum and related programs as a means of raising social questions about art and art's publics. Barbour's work with Bruguera precedes the artist's free open public evening lecture at USC Roski on April 3rd (7pm), at the University Park Campus, 850 West 37th Street, Los Angeles, CA 90089.

Special acknowledgement is extended to Connie Butler, Visiting Professor in the M.A. Art and Curatorial Practices in the Public Sphere program at the Roski School of Fine Arts at USC and Chief Curator of Drawings at The Museum of Modern Art, New York, for her efforts in making Tania Bruguera's participation in Office Hours possible.

Graduate Lecture Series: Tania Bruguera, artist

The Graduate Lecture Series, or Visiting Artist Forum, is a required course in the MFA program each semester. This weekly lecture series, open to the public, consists of a two-hour, in-depth presentation by a prominent artist, writer, or curator, followed by a group discussion that allows MFA students and faculty to raise questions, ideas, and problems. In addition to gaining exposure to a cross section of relevant contemporary artists and thinkers, students have the opportunity for one-on-one studio visits and discussions regarding their individual practices.

The Arte Útil Lab

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The Lab will host public workshops testing hypotheses critical to formulating the principals of Arte Útil including questions of aesthetics, ethical responsibility, sustainability, reproducibility and accessibility under these four sections: Aest-ethics: Moral Aesthetics in Arte Útil; Access & Replication Mechanisms; Project Ecosystem Management; and Usefulness as Ideology. Hypotheses will be tested by bringing experts/practitioners in to challenge or support these questions and by analyzing the case studies in the Lab. The events will be recorded in a lab book that will enter the archive.

Panelists:

.Tania Bruguera

.Stephen Duncombe

.Randy Martin

.Lucía Sanromán

Meadows Prize

. Register for the workshop HERE by March 18.

. Access Division of Art Lecture Series: Tania Bruguera

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. Access Meadows Prize Winners, 2013-2014 Spring Residency

Tania Bruguera will will work with Meadows students and other faculty. Meadows Prize winner, Tania Bruguera will teach a special workshop for students in April. “The Use of Art” workshop will be held on Monday, April 8 through Friday, April 19.

The purpose is to discuss the ways in which art can be of social or political use, the challenges that arise from being evaluated aesthetically and politically and the art world in relation to the social and political sphere. A maximum of 12 Meadows students will be able to attend. Students from the art, art history, theater, dance, music, film, political science and social science are eligible to participate. Graduate students and undergraduates with permission are welcome to apply.

In the workshop, students and Bruguera will review resources to develop communication tools appropriate for use in the contemporary public sphere. Additionally, the course will involve analysis of case studies for “arte util,” or useful art and develop related projects. Bruguera often defines her own practice through the terms “arte util” and “arte de conducta,” which means conduct or behavior art.

Students will also examine texts by Claire Bishop, Carrie Lambert-Beatty, Shannon Jackson, Stephen Wright and Grant Kester. Among the addressed themes from these texts are social practice, the relationship between reality and fiction in art, the relationship between art and performance, the utility of art, public art and site specificity and the relationship between art and activism. Over the course of the two-week workshop, students will present and develop one personal project.

The workshop will be completed with student participation in the production of a new public art commission for SMU in Sept. 2013. Tania Bruguera won the 2013 Meadows Prize for her work as a political and performing artist. Her work researches ways in which art can be applied to everyday political life. She accomplished this through her creation of a public forum to debate ideas shown in a state of contradiction and by transforming the condition of “viewer” into “citizenry.” Bruguera has previously lectured at The New School in New York, the School of Art Institute of Chicago, the Royal College of Art in London and The Museum of Modern Art in New York.

The Museum as Hub

The Museum as Hub initiative supports art activities and experimentation; explores artistic, curatorial, and institutional practice; and serves as an important resource for the public to learn about contemporary art from around the world. Both a physical site and an expanding network of international art spaces, initiatives, and artists, the Museum as Hub investigates the potential for mediation and exchange realized through residencies, exhibitions, and public programs. The Museum as Hub founding partners include: art space pool, Seoul; Insa Art Space, Seoul; Museo Experimental El Eco, Mexico City; Museo Tamayo, Mexico City; New Museum, New York; Townhouse Gallery, Cairo; and the Van Abbemuseum, Eindhoven.

SMU Meadows School of the Arts will be hosting "Interdisciplinary Arts and the City: A Forum on Site and Social Spaces." Artists from across the U.S. will be on hand to discuss art, art practices and community engagement. 

This conference brought together a number of practitioners that engage with the intersection of the arts and the city. Four artists were SMU faculty from here in Dallas and four were cultural workers from around the US. Together, their practices address theater, dance, music and art. The goal of this conference was to map out the field and some of the tensions that lie within it as a way to look forward to the new Meadows initiative related to art and civic practice.

Part one included all eight participants who each presented their work in ten minutes.

. Access CONFERENCE Part I (39:56 - 51:20) 

Part two was a conversation amongst all participants which addressed terms such as community, city, site, ethics and activism as they relate to their work. We also discussed the ways that different publics are addressed, cared for, created, or antagonized.

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Moderators:
. Gavin Kroeber, Independent Creative Producer (New York)

. Noah Simblist, Associate Professor of Art, SMU

Participants:
Faculty members:

. Matthew Albert, Artist in Residence, Music, SMU

. Mary Walling Blackburn, Assistant Professor of Art, SMU

. Millicent Johnnie, Assistant Professor of Dance, SMU

. Will Power, Artist in Residence, Theater, SMU

Visiting artists:

. Tania Bruguera, Meadows Prize Winner, Artist, Immigrant Movement International

. Andrew Cyr, Artistic Director, Metropolis Ensemble

. Amy Smith, Co-Director, Headlong Dance Theater

. Carlton Turner, Executive Director Alternate Roots

Program:

12:00-2:00

O'Donnel Auditorium, Owen Fine Arts Center

Presentation Schedule:
12:15-12:25

Carlton Turner

12:35-12:45

Andrew Cyr

12:45-12:55

Amy Smith

12:55-1:05

Tania Bruguera

1:10-:1:20

Millicent Johnnie

1:20-:1:30

Mary Walling Blackburn

1:30-1:40

Matt Albert

1:40-1:50

Will Power

2:00-2:30

break

2:30-4:30

Taubman Atrium, Owen Fine Arts Center
A discussion with the artists, including Q&A

4:30-5:00

Reception

Donaufestival

The ninth edition of the festival augments its focus on performative art forms that operate beyond the boundaries of theatre, in realms of visual arts and actionism, between installation and media art, between daring assertions and camouflage - driven by a deep craving for an art that has impact on society and politics. This pursuit is also mirrored in this year's music programme, which boasts an uncompromising commitment to radical innovation, both in form and in content. We explore reciprocities between experiment and subculture, between sound art and club culture, from the past to the present.

IM International built upon the real and exemplary situation of the multi- and transnational community in Corona and has since expanded around the world. This led to IM International's campaign in Krems, which will utilise donaufestival's infrastructure and media presence to draw attention to its objectives. Additionally, the office of IM International, represented by Tania Bruguera and Camilo Godoy, will temporarily be set up in the Kunstraum Stein. The office not only provides information about the organisation, it also functions as a hub for communication with local NGOs, activists, and other protagonists who are active in the realm of civil rights for migrants and for the planning and realisation of a series of performative interventions and actions at diverse locations throughout the festival.

What left of Cuba? Culture, Politics and Civil Society

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This Distinguished Speaker series addresses where Cuba is now in the geopolitical imaginary that once heralded Cuba as the exemplar of radical left projects in Latin America. In recent years, Cuban culture has challenged the projects of the revolution and has recast the cold war frames of embargo, exile, and exceptionalism. A new generation of writers, bloggers, visual and performance artists, and political activists and dissidents have insisted on freedom of expression, the rule of law, the politics of remembering, and the notion of civil society. Both on and off the island, many campaign "for an other Cuba" (Por Otra Cuba), reclaiming the nation and challenging the state. From a burgeoning presence in social media to smaller, poignant acts of reclamation such as political tattoos and graffiti, these social actors are creating spaces of expression and action that open fissures and apertures in the discourse of the revolution and the control of the state. Although they vary in political philosophies, these new voices demand both universality and contingency: an agenda that mixes the politics of human rights, Cuban values, and the unfinished projects of both the republic and the revolution.

Elles: Mulheres Artistas na Coleção do Centro Pompidou (Elles: Women Artists from the Centre Pompidou Collection)

Elles: Pompidou is a landmark exhibition of more than 130 works of art made by 75 women artists from 1907 to 2007. Organized by the Centre Pompidou in Paris, home to the Musée National d'Art Moderne-one of the largest collections of modern and contemporary art in Europe-this exhibition is an unforgettable visual experience that will challenge visitors' assumptions about art of the past century. This ambitious survey of daring painting, sculpture, drawing, photography, video, and installation by innovative women artists offers a fresh perspective on a history of modern and contemporary art. With vision, humor, sensuality and ambiguity, these women represent the major movements in modern art-from abstraction to contemporary concerns, including identity politics.

Artists include Sonia Delaunay, Frida Kahlo, Dora Maar, Diane Arbus, Marina Abramović, Louise Bourgeois, Atsuko Tanaka, Cindy Sherman, Sophie Calle, Hannah Wilke, Nan Goldin and Tania Bruguera, among others. An exhilarating exhibition that has already become a milestone in the history of exhibitions, Elles: Pompidou will excite the casual viewer as much as the hardboiled expert.

Think Again. Session 6: World on Its Head

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Cuban artist Tania Bruguera will be in conversation with the researchers in the auditorium of the Van Eyck. Participant Alessandra Saviotti invited her within the framework of her research, which is in collaboration with art historian Gemma Medina Estupiñan, the Van Abbemuseum - Eindhoven and the Queens Museum - NY.

The Integration and Impact of Art and Social Work: Towards a New Type of Community Practice.

A small and select group of academic, arts, justice and foundation leaders nation-wide, are invited to be a part of a transformational conversation that aims to develop a new model of social work practice with arts and cultural institutions with the goal of helping people stay out of prison. Hosted by the Pulitzer Foundation for the Arts and Washington University in St. Louis, the charge of this convening is to analyze and debate the merits of creating a new pathway for working with hard to reach populations and a professional career path in social work and the arts that connects the two disciplines beyond education and community engagement and into social service interventions that emanate from within arts and cultural institutions that benefit individuals and communities.

Since 2007, the Pulitzer Foundation for the Arts and the George Warren Brown School at Washington University in St. Louis have been jointly piloting a community engaged arts program which partners with social service agencies to make a difference in the lives of their clients while also enriching the mission of the Museum. Specifically, the program targeted formerly incarcerated individuals and homeless veterans integrating back into society who were seeking employment skills and other support. By engaging in theater activities and a creative process centered around the Pulitzer's exhibitions, an evaluation of the progra found a range of positive psychosocial outcomes for participants including decreased recidivism rates. It is our goal to build upon this successful project with your input.

Session: Towards a Working Framework

Respondents:
.Tania Bruguera

.Marilyn Flynn  

.De Nichols  

.Wendy Woon

Discussion Questions:

- How can we create and sustain a new field of professional practice within social work and arts and cultural institutions? 

- What will it take for leaders within social work and the arts to develop collaborations? What goals and priorities do they share?

- Are partnerships and programs among cultural institutions and social service agencies meaningful, replicable and sustainable?

- Does there exist the possibility of creating and sustaining a new field of professional practice within social work and cultural institutions where social service intervention emanates from within arts and cultural institutions? If so, what is the role of academic, museum and foundation leaders to advance this practice?

- What challenges and opportunities exist within the fields of arts and social service organizations to advance this work?

- What measures of success should be defined and evaluated in order to demonstrate impact?

"New Dynamics in Museums: Curator, Artwork, Public, Governance"

Rather than on the question of what museums represent, the focus of this year's conference "New Dynamics in Museums: Curator, Artwork, Public, Governance" will be on who the agents of representation are. Having become too extensive to be represented in the museum context in its entirety, the world is now only presentable through the forces that shape it. And the same goes for the art world, which can be less grasped encyclopedically than ever before. Art was the first to express a critical attitude to the dominant forces shaping reality, most directly with institutional critique. After being dealt with by art, museum work embraced self-reflection. The museum seems to represent the world most accurately by reflecting the dynamics of its own work, which in turn reflects the dynamics of our socioeconomic reality in general.

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Keynote speakers:

. Tania Bruguera, artist and initiator of Immigrant Movement International (IM International), Havana, Cuba / New York, United States

. Stephen Wright, art writer and professor of the practice of theory at the European School of Visual Arts, Angoulème / Poitiers, France.

. Paulo Herkenhoff, Director at Museu de Arte do Rio MAR Rio / Rio de Janeiro, Brazil

Case study presentations by: 

. Zoe Butt, Executive Director and Curator at Sàn Art, Ho Chi Minh, Vietnam

. Rodrigo Moura, Deputy Director of Art and Cultural Programs at Instituto Inhotim, Belo Horizonte, Minas Gerais, Brazil

. Samuel Sidibé, Director at the National Museum of Mali, Bamako, Mali

. Joanna Mytkowska, Director at the Museum of Modern Art, Warsaw, Poland

. Ravi Sundaram, Senior Fellow at the Centre for the Study of Developing Societies (CSDS), Delhi, India.

Panel discussion:

Moderator:

. Luiz Camillo Osorio, Chief Curator at MAM Rio.

Participants:

. Ivana Bentes

. Marcus Faustini

. Lia Rodrigues

. Heloisa Buarque de Holanda

"Arte útil" (useful art) aims to transform some aspects of society through the implementation of art, transcending symbolic representation or metaphor and proposing with their activity some solutions for deficits in reality. Most "useful art" is structured as a long-term project, and the way it operates is dictated by the practical impact of its strategies. "Useful art" practices try to address the levels of disparities of engagement between informed audiences and the general public, as well as the historical gap between the language used in what is considered avantgarde and the language of urgent politics, science and other disciplines.

Bruguera created the Useful Art Association in January 2011 to provide a platform to meet, exchange ideas, and share strategies on how to deal with the issues of implementing the merging of art into society. Similarly to this association, in her course Tania Bruguera will work with the students in an open manner, through discussions, printed texts, action groups and public events, examining what it means to create "useful art".

Assistant: Julia Schwarzbach

Languages:

English, German, Spanish, French

What to bring:

Tools and material for working in your preferred medium.

Requirements:

None

Maximum number of participants:

20

Elles: Mulheres Artistas na Coleção do Centro Pompidou (Elles: Women Artists from the Centre Pompidou Collection)

Elles: Pompidou is a landmark exhibition of more than 130 works of art made by 75 women artists from 1907 to 2007. Organized by the Centre Pompidou in Paris, home to the Musée National d'Art Moderne-one of the largest collections of modern and contemporary art in Europe-this exhibition is an unforgettable visual experience that will challenge visitors' assumptions about art of the past century. This ambitious survey of daring painting, sculpture, drawing, photography, video, and installation by innovative women artists offers a fresh perspective on a history of modern and contemporary art. With vision, humor, sensuality and ambiguity, these women represent the major movements in modern art-from abstraction to contemporary concerns, including identity politics.

Artists include Sonia Delaunay, Frida Kahlo, Dora Maar, Diane Arbus, Marina Abramović, Louise Bourgeois, Atsuko Tanaka, Cindy Sherman, Sophie Calle, Hannah Wilke, Nan Goldin and Tania Bruguera, among others. An exhilarating exhibition that has already become a milestone in the history of exhibitions, Elles: Pompidou will excite the casual viewer as much as the hardboiled expert.

Visiting artists

Visiting artists play an important role in our undergraduate and graduate education. Internationally-recognized artists, critics, and arts professionals from around the world speak as part of the School of Art's Lecture Series each semester. The School of Art also co-presents festivals and symposia shared by the College of Fine Arts at large.

Students are strongly encouraged to attend these events, and, in some courses, attendance is required. Visiting speakers occasionally meet with MFA candidates for one-on-one studio and class critiques.

Art Crime. Legally on The Edge. A Forensic Exhibition.

Joanna Warsza writes about the inspiration for this year's crime concept:

The exceptionally popular Swedish-Danish TV crime series The Bridge starts with the image of a blackout: the lights go off in the whole city, bringing life to a halt. [...] In the past half-century, Nordic crime and horror fiction has appeared as a kind of sublimated and staged political debate in the region, a post-Marxist critique of a society hiding its vice behind an apparent harmony. Fascination with crime fiction-as the genre fan Bertolt Brecht wrote-derives from a deeply modernist project, since it represents life as logical and coherent, where every wrong must have a reason and evil eventually fails, aspiring to the phantasm of a pure society.

The Visitor Talks: Pre-ambulation and Retrospection - Tania Bruguera. 

Bruguera's presentation "Art as a verb" will be centered on Arte Útil which in Spanish roughly translates as useful or benefitial art, but also suggests art as a device or tool. Arte Útil is an artistic practice that imagines, creates and implements socially beneficial outcomes. This year-long investigation initiated by the artist Tania Bruguera includes an online archive, an association of Arte Útil practitioners, an open-call, a publication, a working laboratory at the Queens Museum, an artist residency at Immigrant Movement International and a series of public projects and debates culminating in the transformation of a building at the Van Abbemuseum in the Netherlands into the Museum of Arte Útil in the fall of 2013.

In the Fall of 2013, the Center for Curatorial Studies at Bard College (CCS Bard) will host The Visitor Talks. Focused on themes of Pre-ambulation and Retrospection, two parallel series of talks will reflect upon overarching issues pertaining to the conundrum of research within contemporary art, curatorial practice, and their attendant discourses.

Rather than accepting "doing research" or "the curatorial" as shorthand catch all phrases for the practices of seeking, questioning, and unraveling the as-yet unknown, The Visitor Talks examines the various methodological pathways towards the "Eureka moment", and their aftermath. In attending to the many activities associated with collecting, gathering, and editing, the series will explore the possibilities, limitations and contradictions of these pathways.

By examining how the cognitive working-through, living and questioning of the generative agencies made possible within such modalities The Visitor Talks aims to speculate on the implicated position of the researcher and how certain conceptions and understandings of individual approaches to research-as-practice and practice-as-research can intersect or diverge from one another. Given that research projects regularly involve dialogical and co-operative forms of production, the entanglement of relationships that make them possible are invariably accompanied by social, ethical and political imperatives. The Visitor Talks will look at how artists, curators and theorists employ different models, processes, and actions as ways to inscribe, produce and exhibit knowledge as much as how they can inhabit their own material, textual, and discursive fields of praxis.

Under the rubric of Pre-ambulation, visitors to CCS Bard will present their individual approaches to research within current works, projects, and texts under development by responding to the question:

. How Do We Do What We Do, How Do We Know We Are Doing It?

For Retrospection, a range of practitioners, educators, and theorists will critically reflect upon the after effects of projects past. These presentations will consider the question:

. With Retrospection, How Would We Do Things Differently, How Would We Do It Again?

Each of these two overlapping strands will unpick the enigma of research and how it's understanding currently intersects with contested notions of the curatorial, given they have arguably begun to closely resemble one another. Together, they have been conceived of as forms of critical thought that do not rush to embody themselves from the outset, but instead they evolve over time. Both have been expressed as having the potential to go beyond what is already known-as continuous processes of becoming that allow for connections, ideas, and outcomes to emerge in the course of being realized-where serendipity often overlaps with speculative action and open-ended forms of production.

Some of the issues to be expanded upon are: research as artistic production; the problematic question of agency within co-production; professionalization versus the instinctual amateur; writing as curatorial practice; the exhibition as a form of research action; expanded notions of the curatorial and the role of research models and methodologies within these; art writing as a curatorial form, and the distinction between research into curatorial practice/exhibition histories and the curatorial as in itself a mode of research practice.

Meadows Prize



In the workshop, students and Bruguera will review resources to develop communication tools appropriate for use in the contemporary public sphere. Additionally, the course will involve analysis of case studies for "arte útil," or useful art and develop related projects. Bruguera often defines her own practice through the terms "arte útil" and "arte de conducta," which means conduct or behavior art.

Students will also examine texts by Claire Bishop, Carrie Lambert-Beatty, Shannon Jackson, Stephen Wright and Grant Kester. Among the addressed themes from these texts are social practice, the relationship between reality and fiction in art, the relationship between art and performance, the utility of art, public art and site specificity and the relationship between art and activism. Over the course of the two-week workshop, students will present and develop one personal project.

The Usefulness of Art: Tania Bruguera in Conversation with Noah Simblist

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Meadows Prize winner Tania Bruguera, who is completing the second half of her residency at Meadows from Sept. 18 to Oct. 6, will discuss her most recent projects, Immigrant Movement International and Arte Útil, in a conversation with SMU Associate Professor of Art Noah Simblist. Bruguera is a Cuban-born interdisciplinary artist who has worked with behavior art, performance, installation and video. Her work has been featured in Documenta 11 in Germany and in the Venice, Johannesburg, Sáo Paolo, Shanghai and Havana biennials. In March 2011, Bruguera began a five-year social project, Immigrant Movement International, the first year of which was sponsored by Meadows Prize winner Creative Time and the Queens Museum of Art. IM International functions as a think tank for immigrant issues; from its storefront headquarters in Corona, Queens, Bruguera and other staff and volunteers offer free educational, artistic and consciousness-raising activities to a community of immigrants. Bruguera is a proponent of "arte útil" (useful art), meaning art that can be implemented in people's lives in ways that address social and political problems. She is now embarking on a new project with the Queens Museum and Van Abbemuseum in the Netherlands, culminating in the transformation of the old building of the VanAbbemuseum into the Museum of Arte Útil.

4th Athens Biennale 2013 AGORA

The Athens Biennale functions within an international network of large-scale periodic contemporary art events. It emerged from the intense cultural activity that makes Athens one of the most interesting places for contemporary art, and it aims to be an agent of constant change and innovation, provide a context for creativity and dialogue and constitute a wide platform for the designation and the critical engagement of local artistic production, as well as a forum of discussion and exchange with the international scene.

The Athens Biennale is organized by the Athens Biennale Non-Profit Organization, which was founded in November 2005 by Xenia Kalpaktsoglou, Poka-Yio, and Augustine Zenakos.

Politics of Art

This event  aim is to research/discuss the ability of art to think/interpret/act upon distinct aspects of contemporary world. The activities are free and open for all, although the FUNDAJ public is mostly composed of undergraduate and graduate students from arts, social sciences, urbanism, cinema and related disciplines, besides artists. It is in this context that Tania Bruguera will deliver 3 lectures (one per day) around topics which are central to her practice as an artist. 

EMMIR - Scholarship

In the 21st century, migration processes - multidirectional in their spatial as well as social and cultural structure - increasingly contribute to the shaping of societies. Consequently, the presence of migrants adds emphasis to intercultural relations and intercultural communication, which are of key concern for social cohesion.

Arguably, migration and globalisation may be considered twin processes. They contest concepts of the nation state, including territoriality and citizenship, and direct attention to questions of social justice and human rights, peace and conflict. They also lead to the emergence e.g. of new concepts of identity and transnational social spaces. Answers to policy questions linked to phenomena as diverse as voluntary and forced migration, internal displacement and transcontinental flows, movement of unskilled labourers and brain drainers need differentiated investigation and evaluation as well as complex negotiation.

EMMIR responds to this rising importance by providing state of the art education in theoretical concepts, empirical methods and transdisciplinary approaches to migration studies. Teaching and research in EMMIR will address issues that currently rank highly on the global agenda - and need expertise on transnational, transcultural and transdisciplinary level. Migration and mobility, flight, displacement and refuge - globally and (supra)nationally discussed primarily on a policy level - touch decisive dimensions in economic and social development, demography, international relations, political theory and cultural cooperation, to name some, not all of the key areas. Sustainable answers bridging the interests of nation states (incl. their welfare systems and labour markets) with human rights, democratic values and globality have yet to be found. Research on intercultural relations and intercultural communication is closely linked to these questions and frequently key to the understanding of problems and conflict.

The curriculum takes into account all forms of migration and displacement. Related issues to be addressed are intercultural conflict resolution mechanisms, multi cultural governance issues and global/regional integration.

Transeuropa Festival 2013. IMAGINE | DEMAND | ENACT

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Closing TRANSEUROPA Festival 2013 throughout Europe, this forum is a call to enact a different Europe from the bottom up through a radicalised form of citizenship. From art interventions to the elaboration of a citizens' manifesto and deciding common actions for the coming months, we create a space to Imagine, Demand and Enact an alternative Europe.

Transeuropa Festival is organized by European Alternatives, this year Tania Bruguera was selected for the next 2 years to be part of the Advisory Board for Europe Alternatives, they will work on the Citizen Manifesto to be presented on december 6th to the Parliament of the European Union. European Alternatives is a transnational organisation promoting democracy, equality and culture beyond the nation state. European Alternatives believes the nation state is no longer the appropriate political form in which to define democratic decision-making and active citizenship, equality between people, the respect and extension of rights. European Alternatives promotes its objectives by means of public events, research, activities promoting active citizenship, youth projects, campaigns and publications. It is active throughout Europe and in the rest of the world, and carries on its activities, locally, regionally, and transnationally at various levels.

Transeuropa Festival is a unique transnational festival of culture, arts and politics, taking place in 13 cities all over Europe. It is not 13 different festivals happening at the same time, but one festival taking place throughout the continent.

Transeuropa Festival is the result of aparticipative process taking place throughout the year across Europe, involving more than 200 activists and volunteers, spread over 13 cities in 12 European countries, mobilised in order to achieve a truly Transnational festival. Each city of the Festival has a local group of activists, who meet up during the year, organizing activities, taking forward campaigns and discussing the contents and activities of the Festival. All the local groups work collaboratively during the year, thanks to monthly meetings and a constant online communication, building shared visions and proposals on the urgencies and priorities challenging Europe.

Respondents:
. Tania Bruguera,  artist, Immigrant Movement International

. Ole Frahm, artist, LIGNA   

. Torsten Michaelson, artist, LIGNA  

. Erdem Gündüz, choreographer

. The Standing Man, Taksim Square

. Robert Misik, journalist

Closing:

. Daphne Büllesbach

2013 International Forum Weekend in Washington
"The Power of Culture/The Culture of Power"

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The conference is jointly presented by The Phillips Collection and Georgetown University's School of Foreign Service as part of the Phillips Collection's fifth convening of its International Forum.

Policymakers, entrepreneurs, arts professionals, and artists gather to discuss shared perspectives on the impact of the arts on politics, the role of the art market on the artistic and economic communities, and the pertinence of art biennials in a globalized world. These distinguished guests will be joined by key Phillips Collection staff members as well as faculty members from Georgetown University's School of Foreign Service (SFS).

The conference will be held in conjunction with the Phillips Collection's first course on Globalization, Diplomacy, and the Politics of Exhibitions, to be offered this fall to students of Georgetown's SFS in Washington, D.C., and the exhibition Pakistani Voices: In Conversation with the Migration Series. The exhibition will present works by young and emerging artists from Pakistan who participated in two State-Department-sponsored workshops in Lahore and Islamabad on Jacob Lawrence's The Migration Series and the power of art to create social change, conducted by Rachel Goldberg, Manager of School, Outreach, and Family Programs at the Phillips Collection.

The Phillips's International Forum Weekend stems from our institution's aim to make a "global conversation through the language of modern art" a central unifying theme of the museum's programming and exhibitions, and its identity and magnet for success in the 21st century, by bringing together leading art collectors and committed philanthropists from around the world to engage with artists, art professionals, and cultural leaders to explore topics in modern and contemporary art in a global context. Throughout the year and around the world, members of the International Forum have access to extraordinary experiences, people, places, and events.

Participants:

.Tania Bruguera, artist

.Cynthia Schneider, Ambassador, Distinguished Professor in the Practice of Diplomacy, Georgetown University

.Virginia Shore, Acting Director/Chief Curator, ART in Embassies/US Department of State

Moderator:

.Steve Clemons, Editor-in-Chief of AtlanticLIVE and Washington Editor-At-Large for The Atlantic

Co-presented:

.The Atlantic

New World Academy

Session II: Collective Struggle of Refugees: Lost. In Between. Together.

This session is taught by Yoonis Osman and Thomas, members of We Are Here, an organization of refugees who unite in order to bring their collective struggle in the Netherlands into public discussion. Consisting of some 200 immigrants from approximately 15 countries all around the world, their search for asylum has failed, and yet for a variety of reasons they cannot be sent back to their countries of origin. This session studies in detail a proposition developed by the We Are Here Cooperative, where members are brought together with artists and cultural workers into an active project of cohabitation and cooperation. Drawing and learning from the experiences of projects such as The Silent University (Öğüt), X et Y c. Préfet de. . . Plaidoirie pour une jurisprudence (Bernier & Martin), and Immigrant Movement International (Bruguera), the participants deliberate on an alternative model for cohabitation between the refugees and artists as a proposal for an instance of "co-citizenship."

Teachers:

. Yoonis Osman Nuur

. Thomas (activists and members of We Are Here, Amsterdam)

Coordinators:

. Patrick Bernier and Olive Martin (artists, Nantes)

. Emily Fahlén (curator, representative of Ahmet Ögüt 's s Silent University)

. Savannah Koolen (coordinator, We Are Here Action Center, Amsterdam)

. Elke Uitentuis (artist, We Are Here Action Center, Amsterdam)

Artworks:

. Patrick Bernier and Olive Martin

. Immigrant Movement International (Tania Bruguera)

. Gerjanne van Gink, Hans van Houwelingen, Manette van Ingenegeren, Silent University (Ahmet Ögüt)

. Wouter Osterholt, Elke van Uitentuis, We Are Here Band

CITIZENS PACT for European Democracy

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Citizens' demands will first be brought to MEPs in the European Parliament on Tuesday 3rd December, when participants in the Citizens Pact from all over Europe will engage in a dialogue with MEPs and start advocating for real democracy in Europe. Respondents include Andrew Duff (ALDE), member of the Committee on Constitutional Affairs, Rui Tavares (Greens / European Free Alliance), vice-chair of the Special Committee on Organised Crime, Corruption and Money Laundering and member of the Committee on Civil Liberties, Justice and Home Affairs (LIBE) and Sergio Gaetano Cofferati (Group of the Progressive Alliance of Socialists and Democrats in the European Parliament), vice-chair of the Committee on the Internal Market and Consumer Protection and ex General Secretary of the Italian trade union CGL. World famous artist Tania Bruguera, founder of Immigrant Movement International, will also take part in the exchange, as active supporter of the process.

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The Museum of Arte Útil is a collaboration between the artist Tania Bruguera, the Queens Museum of Art, New York and the Van Abbemuseum, Eindhoven. The Museum of Arte Útil is the result of Tania Bruguera's decade of research into a concept that emphasizes effectiveness and implementation over representation, looking at historical and contemporary examples of alternative strands in socially informed art practice.

"Útil" as a term refers to something being useful. But it goes further than the English translation, encompassing the idea of a tool or device. Bruguera states that "Arte Útil" moves beyond a propositional format, into one that actively creates, develops and implements new functionalities to benefit society at large."

The project will comprise research, an online platform, an association of Arte Útil practitioners, a series of public projects, a lab presentation at the Queens Museum of Art beginning in February 2013, culminating in the transformation of the old building of the Van Abbemuseum into the Museum of Arte Útil in the Fall of 2013 and a publication.

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* The Human Hotel will be working to give accommodation during the 4 months of the Arte Útil show at Van Abbemuseum.

For reservations please contact:

. humanhotel@wooloo.org

Note:

. Students and people taking workshops have priority 

. Maximum of 3 days 

. There is a limited capacity

. Cases will be considered in need basis

2013 Visible Award: the jury as a public event 

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On 14 December the Van Abbemuseum will host the second edition of the Visible Award. The attendees of this event will be part of the prestigious jury, as they decide together who will win the 2013 Visible Award.

Visible. where art leaves its own field and becomes visible as part of something else
A project by Cittadellarte - Fondazione Pistoletto and Fondazione Zegna, curated by Matteo Lucchetti and Judith Wielander.

On occasion of its second edition, the Visible Award evolves it project and seeks an innovative approach that passes through a more transparent methodology around its jury session which takes form during a public event at the museum. The jury session will not only be a confrontation between experts, in order to select an exemplary socially engaged art project, but rather a moment for sharing knowledge and collective learning, that in the process of assessing the winning project will hopefully create an opportunity to put at work the vast network of professionals existing around the Visible project.

On 14 December the prestigious, interdisciplinary jury, chaired by Charles Esche, will gather a together in order to assess the merits of the 10 shortlisted projects and select the winner of the 2013 Visible Award. Next to the five invited jury members, the audience of the event represents the sixth member of the jury and will be able to put in a public vote.

The ten projects that will be assessed, have been shortlisted among a list of 34 art projects nominated by the 2013 Visible advisory board and the 48 projects received, for the first time, through an open call. The ten shortlisted projects are: Sammy Baloji, Kumbuka (Congo); Beta Local, From-Tool-to-Tool! (Puerto Rico); Mabe Bethonico, Museum of Public Concerns (Brazil); Bophana Audiovisual Resource Center, One Dollar (Cambodia); Beatrice Catanzaro, Bait Al Karama, (Palestina); Fernando García-Dory, Paese Nuovo / New Country - Borgate (Italy); Inkanyiso (Zanele Muholi), Oui Twenty/20 (South Africa); Ahmet Ögüt, The Silent University (Turkey); The Propeller Group, Christ the King of Bling (Vietnam); Ruangrupa, The Gerobak Bioskop (Cinema Cart) Network (Indonesia).

The invited members of the jury are: Tania Bruguera (artist, New York), Joseph Grima (architect,writer, former editor of Domus, Milan), Koyo Kouho (curator, artistic Director of Raw Material Company, Dakar), Nikos Papastergiadis (contemporary social-cultural studies professor, Sydney), and Michelangelo Pistoletto (artist, artistic director of Cittadellarte, Biella).

Program:
10.00 – Welcome by Charles Esche
Introduction of the jury and voting system
10.30 – Introduction of the 10 shortlisted projects by Visible curators Matteo Lucchetti and Judith Wielander
13.30 – Lunch break
15.00 – Statements from the jurors about socially engaged artistic practices, moderated by Charles Esche
16.30 – Summary of the 10 shortlisted project by Charles Esche
17.00 – Jurors speak about the reasons why to vote for their chosen projects
18.00 – Coffee break
18.45 – Announcement of the Top 3, compiled by jurors / Q&A between the jurors and audience
19.30 – Public vote
20.30 – Drinks and announcement of the winner of 2013 Visible Award

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contact info: visibleprojectdesk@gmail.com

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