Diplomkonzert BA Musik - She Who Sleeps WIth A Small Blanket
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2012 Items
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Old Friends of Time in Fragrant Harbour
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- Author
- Date
- 30.05.2022
- Description
- How long have you not heard some stories of female elders?
My master's project is called Old Friends of Time in Fragrant Harbour. During my one-year study in Zurich, I could keep on working on my previous project as a continuity and on a bigger scale and think of the ideas and notions that I would like to transmit in this prospect. I aim to creating a unique view, share a message as an artist. The terms that I use are also important to convey this idea. My core research question is: How can the embodiment of intergenerational questions through a sensory experience bring the audience to reflect on communication problems and stereotyping between young people and elderly people?
Now, my master project is an transdisciplinary experience design project integrating video, sound, photography, pictures, performing interaction and experimental creative products (mainly smell soap). Also, the project is about valuing the stories and know-how of elderly women, about giving visibility and space to this not often heard narrative in the public space. Therefore, it is based on a co-creative process that I run together with six elderly woman from mainland China and Hong Kong, which I consider the co-author of this project. More importantly, I want to give a platform for under-represented elderly women to share their life stories in new and unexpected ways with the public. So I take the life stories of grandmothers as the creative background, use the medium of smell soap, and combine my own body to interact with soaps. With the passage of time, the friction of the body and the scouring of liquid, soap gradually changes from solid to liquid under various forms of consumption. These changes will make this work of art pull the author and audience into an instant state. The changes of social development, the transience and eternity of history complement each other, and the common experience with a female elder as a child. These will make the author and the audience put themselves into memories and experiences to complete a deeper reflection on their own identity cognition and current situation.
- How long have you not heard some stories of female elders?
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Patrick Müller
- Imported on
- 01.06.2022
- Parent sets
- 1
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- 0 1
Sustainable Art in Developing Country: Trend or Trendy?
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- Author
- Date
- FS 2022
- Keywords
- Description
- Sustainable and Innovative art and related exhibitions have been a topic of great interest in China in recent years. During 2021, the author curated three exhibitions of very different scale
and style in three cities in China: Guiyang, Chengdu and Shanghai , in collaboration with various institutions. The main artists of the exhibitions are Swiss artists Marco D’Anna and
Bernard Garo with local Chinese artists. The exhibition concentrations fall under the general
development theme of the Swiss Embassy in Bei jing: Smart & Sustainable. This paper will
analyze the three exhibitions from the curatorial preparations to the on site exhibition
conditions and audience reactions. They will be related to Western theories of the
development of sustainable art to see if it is possible that the sustainable art can motivate the
development of the art curating industry as a whole in developing countries. In addition, it
will be questioned whether the development of sustainable art can truly act as the catalyst of
the sustain able development in the society.
- Sustainable and Innovative art and related exhibitions have been a topic of great interest in China in recent years. During 2021, the author curated three exhibitions of very different scale
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
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- 0 2
ORGANIC TRACESKin Constellations among contemporary artistic practices
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Author that can easily go onto 2 lines as well
- Subtitle
- Investigating site-specific cultural traces
- Author
- Date
- FS 2022
- Keywords
- Description
- Organic Traces is a curatorial project conceived with the aim of constellating four young artists who are rooted in bordering territories. The symbiosis between their perspectives reveals common strengths by proposing distinct narratives and hybrid expressive languages that disclose the itineraries and perceptions pertaining to their practices. Those that might be defined as their biographical geographies flow into a broad and intertwined mapping of personal and collective themes.
In order to comprehend the articulation and reflection of the research carried out, the core of this project has been divided into three chapters or cluster terms: Site-Specificity, Female Presence and Organic Trace. Each section is interlaced with the other and finds in the named keywords theoretical references and explanatory cases, global or autochthonous, iconographic or etymological, through which the authors are related. The fusion of an investigation with references to significant essays and practices, combined with the realisation of a tangible drawing, is therefore based on the analysis of the three pivotal sections mentioned above. Firstly, it looks at the dynamics of implementation and at the importance of the specific location selected for a cultural event conceived in a small-scale reality, as well as at the possible audience and the type of works displayed. Furthermore, it offers a space to contemporary female artists who operate through multiple narrative media. Finally, the third chapter investigates to what extent and how the organic-visceral trace is an essential element of the pieces presented, in terms of the materials selected, semantically in the analysis of the subjects proposed, as well as in their concretisation.
- Organic Traces is a curatorial project conceived with the aim of constellating four young artists who are rooted in bordering territories. The symbiosis between their perspectives reveals common strengths by proposing distinct narratives and hybrid expressive languages that disclose the itineraries and perceptions pertaining to their practices. Those that might be defined as their biographical geographies flow into a broad and intertwined mapping of personal and collective themes.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 2
Über das Kuratieren des Un-Erhörten
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- Author
- Date
- FS 2022
- Keywords
- Description
- Das folgende Paper versucht eine Adaption einer Fragestellung der postkolonialen Kritik auf die kuratorische Praxis, indem die Frage der indischen Philosophin Gayatri Chakravorty Spivak: «Can the Subaltern Speak?» auf Künstler:innen, angewendet wird, die vom Kunstbetrieb ausgeschlossen werden. Spivaks Konzept der epistemischen Gewalt wird auf eine Bevölkerungsgruppe angewendet, die sich zwar nicht ethnisch von der Mehrheit unterscheidet und doch von Machtstrukturen, die sich geschichtlich manifestiert haben, ausgeschlossen wird. Im Transfer aus dem klinischen in das Kunstfeld durch Jean Dubuffet 1949 ist mit dem Begriff Art brut eine Vereinfachung und Pauschalisierung passiert, die noch heute nachwirkt. In der Mythenbildung des Anderen durch die Kunstrezeption spielen Begrifflichkeiten eine wichtige Rolle. Die von Michel Foucault genannten Effekten des Diskurses bestimmen das Aussen und das Innen. Diese nicht materielle Infrastruktur kann durch die Präsentation, die Rezeption und das Publizieren neugeordnet werden. Anhand zeitgenössischer Projekte wird die Frage untersucht, inwieweit die kuratorische Praxis diesen Prozess der Neuordnung unterstützten kann, um Künstler:innen in den Kunstbetrieb einzuschliessen, bzw, um sie selber sprechen zu lassen, denn nach Spivak geht es darum, Infrastrukturen für die aufzubauen, die von den Strukturen des Staates abgeschnitten sind. Denn es sind keine Positionen von Aussenseitern, sondern verschiedene Stimmen aus der Gesellschaft und erst in der Zusammenführung und Gegenüberstellung diverser Positionen, wird eine gemeinsame Narration gebildet.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
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How to do things with art, words and grapefruits
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- Author
- Date
- FS 2022
- Keywords
- Description
- "A word is dead/ When it is said,/ Some say./ I say it just/ Begins to live/ That day".
Emily Dickinson's poem "A word" stands as a source of inspiration for the research
questions of this paper. Its focus lies on the possibilities inherent in the relationship
between art and language and the ways that language is being physicalised,
transcribed or used as medium, narrative and a central communication vehicle in the
artistic expression; mainly the polysemy of language, its potential and dynamic, as
well as its performativity. Taking J.L. Austin’s seminal book How to Do Things With
Words (1962) and Dorothea Von Hantelmann's study, How to Do Things With Art—
The Meaning of art's performativity (2010) as a point of departure, I tackle the question
of "How to do things with art and words". Yoko Ono's Grapefruit (1964) constitutes the
core case study of this research, and it is examined through the theoretical lens of two
key structuralist texts by Umberto Eco and Roland Barthes, which concern the new
role of the viewer in relation to modern art, music, and literature, aiming to query the
relationship between writing and performance, script/score and enactment, as well as
their blurring boundaries.
- "A word is dead/ When it is said,/ Some say./ I say it just/ Begins to live/ That day".
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 1
Drawn from Life
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Author that can easily go onto 2 lines as well
- Author
- Date
- FS 2022
- Keywords
- Description
- Theory has historically been a form of discursive gatekeeping, because of the deliberately complex use of terminology and the insistence on objectivity. It is inaccessible to many who may not be able to afford the resources required in order to practice it, such as time, energy, or money for tuition, making it an exclusive preserve of the already privileged. Beyond who gets to write theory is the question of who is allowed to read, understand, and dialogue with it.
This thesis examines the work of practitioners who counter the exclusivity of theory by puncturing the ideal of objectivity through the insertion of their self-hood, the parameters of which are framed by the marginalised nature of their bodies and perspective, thus allowing for subjectivity to come through. Specifically my thesis explores the contours of autotheory, a strand of theoretical discourse that relates the personal to the structural, while contextualising it within scholarly research and systems of citation. Authors, such as Gloria E. Anzaldúa, Audre Lorde, bell hooks and Helene Cixous, incorporate their personal body-shaped lived experiences, through their writing and art, and highlight the extant place of subjectivity, thus dismantling the myth of universality by embracing difference.
- Theory has historically been a form of discursive gatekeeping, because of the deliberately complex use of terminology and the insistence on objectivity. It is inaccessible to many who may not be able to afford the resources required in order to practice it, such as time, energy, or money for tuition, making it an exclusive preserve of the already privileged. Beyond who gets to write theory is the question of who is allowed to read, understand, and dialogue with it.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 2
Margins Revisited
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- Subtitle
- Locating Spaces of Radical Openness and Communities of Resistance within Contemporary Art
- Author
- Date
- FS 2022
- Keywords
- Description
- The core of our research interest lies in knowledge production and artistic activity that emerge from politically decentralized positions. Though these positions may connote subordination and powerlessness, alternative sites can constitute new and valuable perspectives within the field of art and beyond. Drawing from prior year’s research on fluid yet potent categories of alternativity, in-betweenness and para-sites, we decided to merge our trajectories and perform our MAS research collectively. Our study of these hybrid sites as tactical positions for asserting counter-hegemonic narratives continues with an exploration of how the margin can embody another alternative space of articulation. In today’s interconnected, networked, yet politically fragmented world, how are these spaces of solidarity and resistance formed and sustained? This research aims to explore how artists and cultural practitioners have used literary and exhibitionary strategies to assert counter-narratives and ‘othered’ identities within the globalized art world.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 2
QUEER CURATING AS AN ANTI-IKEA MANIFESTO
- Subtitle
- MAPPING A NEW LANDSCAPE IN EXPLORING KNOWLEDGE CREATION WITH NO DEMARCATION LINES.
- Author
- Date
- FS 2022
- Keywords
- Description
- Queer curating has received a great deal of attention as a field of study within the visual arts. And
while scholars, practitioners, and indeed curators may disagree upon a single definition of its
nature, its key focus is to act as a medium of addressing inequality and to provide an approach
to showcasing works in a democratic and equal manner. This paper will explore the notion of
‘cruising curation’, which focuses on expansive and experimental forms of knowledge production
or circulation, departing from texts, objects, audio visual and analogue materials in search for
alternative epistemes. Reviewing the realm of exhibitions that have explored queer themes, we
will examine their impact upon knowledge creation from a queer curating lens, while exploring
the historical evolution of queer curation within the western world. The paper will illuminate queer
cruising curatorial practices that can be translated within institutional spaces and commercial
galleries alike.
- Queer curating has received a great deal of attention as a field of study within the visual arts. And
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 0
Navigating Online participation
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Subtitle
- Individual journeys and communities
- Author
- Date
- FS 2022
- Keywords
- Description
- In this research paper, the author analyses the implications of participatory art which solely exists in online spaces. Bringing conventional and historical theoretical perspectives on participatory art in general and combining them with contemporary research on digital cultures, the author builds typologies of online participation and dives deeper into specific curatorial methods of guiding participatory projects online. Contrasting the provided arguments to the present surge of digital platforms, the author tries to focus on the online-specific cases and examples, and argues that online as a space exists according to specific laws and mechanisms and should be researched separately as is, and not as a secondary space to the physical presence. The author distinguishes between individual interaction, where the viewer/participant aims at interpreting and creating a subjective experience of art, drawing a metaphorical map of their journey, and communal participation, where the participants are multiple, and the goal of both the curator and the participant is to collaborate and to connect. The author then continues to review the case studies of recent digital participatory projects that deal with different levels and intensities of engagement and navigate the participation through the use of the contemporary instruments and formats.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 2
"Sometimes I wish I could just phone home"
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Author that can easily go onto 2 lines as well
- Subtitle
- Domesticity, an embodied bridge
- Author
- Date
- FS 2022
- Keywords
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Lecturer / head of project
- Prof Dr. Dorothee Richter, Ronald Kolb
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 2
Strange Days (Arbeitstitel)
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Author that can easily go onto 2 lines as well
- Subtitle
- 2022 ZHdK Fonds für internationale und interkulturelle Studierenden-Projekte
- Author
- Date
- 2022
- Description
- In «Strange Days» (Arbeitstitel) geht es um die Untersuchung der Beziehung zwischen Fremden, Verkörperung und Gemeinschaft. Was ist im Fremden vertraut, was ist im Vertrauten fremd? Sechs internationale Künstler:innen erarbeiten zu diesem Thema kollaborativ ein Magazin / Artistbook. Ausgehend von Sarah Ahmeds Text «Strange Encounters» soll die freie «Übersetzung» als formale Verständigungsgeste dienen. Sara Ahmeds Text «Strange Encounters. Embodied Others in Post-Coloniality» wird dafür stückweise vorbereitet und in mehreren Zoom-Sessions besprochen.
Thematische Schwerpunkte sind Queer-Feminismus, Postkolonialität und Intersektionalität – insbesondere in Bezug auf das Konzept der «Fremdheit» und die Figur der bzw. des «Fremden», die nach Ahmed sehr genau vordefinierte und paradoxerweise vertraute Konzepte zu sein scheinen. Diese werden lose mit dem Konzept der Übersetzung verstrickt: In einem ersten Schritt entstehen eigene Beiträge. In einem zweiten Schritt werden diese Beiträge von je einer anderen Künstlerin oder einem anderen Künstler nach eigenen Kriterien frei «übersetzt». Die Beiträge sollen gleich viel Raum, bzw. Seiten bekommen, wodurch die Hierarchien bewusst angesprochen werden.
Als Endprodukt entsteht ein Magazin, welches online publiziert und als E-Objekt frei zugänglich ist. Schliesslich ist im Spätherbst 2022 ein Magazin-Launch geplant (evtl. als Ausstellung, je nach weiteren Fördermitteln), in mehreren Kapiteln (in Berlin / Zürich / Wien), bei dem auch Print-Ausgaben erworben werden können.
- In «Strange Days» (Arbeitstitel) geht es um die Untersuchung der Beziehung zwischen Fremden, Verkörperung und Gemeinschaft. Was ist im Fremden vertraut, was ist im Vertrauten fremd? Sechs internationale Künstler:innen erarbeiten zu diesem Thema kollaborativ ein Magazin / Artistbook. Ausgehend von Sarah Ahmeds Text «Strange Encounters» soll die freie «Übersetzung» als formale Verständigungsgeste dienen. Sara Ahmeds Text «Strange Encounters. Embodied Others in Post-Coloniality» wird dafür stückweise vorbereitet und in mehreren Zoom-Sessions besprochen.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- Strange Days (Arbeitstitel)
- Imported on
- 31.05.2022
- Parent sets
- 1
- Set is related to
- 0 1
Aktuelle Diskurse Ausstellen und Vermitteln: Museum und Ausstellung als gesellschaftlicher Raum – Praxen, Positionen, Perspektiven
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Author that can easily go onto 2 lines as well
- Author
- Description
- Das Seminar/die Konferenz möchte gemeinsam mit internationalen Gästen Praxen, Positionen und Perspektiven von «Museum und Ausstellung als gesellschaftlicher Raum» befragen. Nach einer Einführungsveranstaltung geschieht dies entlang der thematischen Schwerpunkte «Museen und Ausstellungen als Kontakt- und Konfliktzonen», «Künstlerische und kuratorische Praxis als politische Intervention» sowie «Ausstellungsinstitutionen als kritische Instanz». Zur Diskussion gestellt wird, inwiefern Museen, Ausstellungsinstitutionen und Ausstellungen als Möglichkeitsräume für demokratische Aushandlungsprozesse fungieren könnten.
Konzeption und Moderation
Sønke Gau, Angeli Sachs, Thomas Sieber
Was ist eigentlich ein Museum? Für lange Zeit schien relativ klar zu sein: Unabhängig davon, ob sich ein Museum in privater oder öffentlicher Trägerschaft befindet, ob es der Kunst, Geschichte oder Naturkunde gewidmet ist – es «… erwirbt, bewahrt, beforscht, präsentiert und vermittelt das materielle und immaterielle Erbe der Menschheit und deren Umwelt zum Zweck von Studien, der Bildung und des Genusses». So definiert der Internationale Museumsrat (ICOM) seit 2007 die Institution. Seit 2016 versucht die ICOM eine neue Definition zu erarbeiten. Auch mit dem seit 2019 vorliegenden Neuvorschlag – der Museen als polyphone Orte definiert, die für soziale Gerechtigkeit einstehen, demokratisch agieren und zum globalen Wohlsein beitragen – ist die internationale Diskussion über die Frage, was ein Museum ist, bzw. was es in Zukunft sein soll, keineswegs verstummt. In jüngerer Zeit hat insbesondere die Debatte um die Dekolonisierung von Sammlungs- und Ausstellungsinstitutionen gezeigt, dass dominante, (neo-)koloniale Narrative nach wie vor (re-)produziert werden und die Mehrheit der epistemologischen Grundlagen, auf denen die Wissensordnungen von Ausstellungsinstitutionen beruhen, davon bestimmt sind.
Zur Diskussion gestellt wird, inwiefern Museen, Ausstellungsinstitutionen und Ausstellungen als Möglichkeitsräume für demokratische Aushandlungsprozesse fungieren könnten. Wie können Museen zu vielstimmigen Orten werden, die zuvor marginalisierte Stimmen und unsichtbare Geschichten hör- und sichtbar machen und dabei die Grundlagen ihrer eigenen Wissensordnungen zur Disposition stellen? Wie können Ausstellungen in ihrem Zusammenspiel von diversen Akteur:innen, Kunstwerken und Objekten mit Architektur, Displays, kuratorischen Konzepten und Vermittlungsprogrammen als Versuchsanordnungen im gesellschaftlichen Raum verstanden werden? Inwiefern können und sollen Ausstellungsinstitutionen über ihre traditionellen Funktionen, Selbstverständnisse und Expertisen hinausgehen und zu Akteur:innen einer politischen Demokratisierung und sozialen Inklusion werden?
Termine
Museum und Ausstellung als gesellschaftlicher Raum
29.4.2022, 10–17h
Toni-Areal, Kunstraum, 5.K12, Ebene 5
mit
Léontine Meijer-van Mensch
Absolvent:innen des Master Art Education Curatorial Studies:
Katrin Bauer, Jonas Bürgi, Julian Denzler, Yulia Fisch, Martina Oberprantacher
Museen und Ausstellungen als Kontakt- und Konfliktzonen
13.5.2022, 10–17h
Toni-Areal, Raum 4.T09, Ebene 4
mit
Anna Greve
Bonaventure Ndikung
Ismahan Wayah
Künstlerische und kuratorische Praxis als politische Intervention
20.5.2022, 10–17h
Toni-Areal, Raum 4.T09, Ebene 4
mit
Kathleen Bühler
Forensic Architecture
RELAX (chiarenza & hauser & co)
Ausstellungsinstitutionen als kritische Instanz
27.5.2022, 10–17h
Toni-Areal, Raum 4.T09, Ebene 4
mit Binna Choi
Clémentine Deliss
Maria Lind
- Das Seminar/die Konferenz möchte gemeinsam mit internationalen Gästen Praxen, Positionen und Perspektiven von «Museum und Ausstellung als gesellschaftlicher Raum» befragen. Nach einer Einführungsveranstaltung geschieht dies entlang der thematischen Schwerpunkte «Museen und Ausstellungen als Kontakt- und Konfliktzonen», «Künstlerische und kuratorische Praxis als politische Intervention» sowie «Ausstellungsinstitutionen als kritische Instanz». Zur Diskussion gestellt wird, inwiefern Museen, Ausstellungsinstitutionen und Ausstellungen als Möglichkeitsräume für demokratische Aushandlungsprozesse fungieren könnten.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Study path
- Project title in German
- Aktuelle Diskurse Ausstellen und Vermitteln: Museum und Ausstellung als gesellschaftlicher Raum – Praxen, Positionen, Perspektiven
- Lecturer / head of project
- Konzeption und Moderation / conceptualized and moderated by Sønke Gau, Angeli Sachs, Thomas Sieber
- Imported on
- 30.05.2022
- Parent sets
- 1
- Set is related to
- 0 12