2012 Biennial Conference | Vienna
Programme
For PDFs of the full print programme or map and timetable please see the "Downloads" sidebar to the right.
Programme Timetable
Thursday 8 November
10.30 - 18.00 Registrations
(Halle E Foyer)
09.30 - 13.00 ArtSHARES: SHARE Dissemination Session
Keynote Speaker: Ute Meta Bauer
Registration required.
For detailed programme click ArtSHARES above.
(Leopold Museum Auditorium, Foyer and Arena21)
14.00 - 15.00 Opening Session
Welcome Speeches and Performances
(Halle E)
15.00 - 16.00 Art Knows - Part 1 Session
Speakers: Gerald Bast and Hito Steyerl
(Halle E)
16.00 - 17.00 Table Talks 1
(Halle E, Ovalhalle, Arena21)
17.00 - 18.00 Art Knows - Part 2 Session
Speakers: Mick Wilson and Matthias Horx
(Halle E)
20.00 - 23.00 Dinner Reception
(Festsaal-City Hall Vienna)
Friday 9 November
09.00 - 10.00 Coffee and registration
(Halle E Foyer)
10.00 - 12.00 Art Questions Session
Speakers: Jeanne van Heeswijk, Peter Weibel, and Isabel Mundry
(Halle E)
12.00 - 13.00 Table Talks 2
(Halle E, Ovalhalle, Arena21)
13.00 - 14.30 Lunch
(MUMOK Hofstallung)
14.30 - 16.15 Art Matters Session
Speakers: Raumfaltung group: Laura Popplow,
Lena Freimüller, Therese Schuleit; Gerhald Treml;
Shady El Noshokaty; Maria Aiolova-Terraform One
(Halle E)
16.15 - 17.15 Table Talks 3
(Halle E, Ovalhalle, Arena21)
17.15-18.00 Closing Speech
Speaker: Yoko Ono
(Halle E)
18.00 - 18.30 Closing Plenary
Speakers: Klaus Jung and Gerald Bast
(Halle E)
21.00 - 01.00 Party
(MUMOK Hofstallung)
Saturday 10 November
09.00-09.30 Coffee and registrations
(Leopold Museum Auditorium Foyer)
09.30 - 13.00 ELIA General Assembly
(Leopold Museum Auditorium)
For detailed programme click ELIA General Assembly above.
14.00 - 17.00 Open Space Programme
14.00-17.00 Open Floor Podium for Delegate Presentations
(Halle E)
14.00-15.30 Parallel Sessions:
Thematic Session:
Making Differences
(Leopold Museum Auditorium)
Network Session: FEDEC
(Lounge)
Network Session:
EPAS and
ENCEPA
(Baroque Suite B)
ELIA Session: EQ-Arts - Quality Review
(Baroque Suite C)
ELIA Session: New European Funding Programmes
(Baroque Suite A)
15.30-17.00 Parallel Sessions:
Network Session:
PARADOX – Fine Art European Forum
(Baroque Suite A)
Thematic Session:
PEEK
(Leopold Museum Auditorium)
Discipline Session:
Conservation and Restoration
(Baroque Suite C)
Discipline Session:
Musical Theatre
(Baroque Suite B)
15.30-17.30 Discipline Session:
Dance
(Lounge)
17.00-18.00 Parallel Sessions:
Discipline Session:
Audiovisual Communication
(Leopold Museum Auditorium)
ELIA Session: NEU NOW Festival Presentation
(Baroque Suite A)
Thematic Session: In-between-ness
(Baroque Suite B)
Speakers
Click name for biography.
ArtSHARES Speakers
Fifteen Statements Polling Results
The three sub-themes of the 12th ELIA Biennial Conference - Art Questions, Art Knows, Art Matters - were chosen to provoke discussion and thoughts that have the potential to shape Higher Arts Education in the future. Following this mission we invited conference participants to respond to a list of statements to provoke conversation and initiate alternative thinking.
We asked participants to pick a maximum of seven statements out of fifteen that they felt were of importance. The following are the results of this polling with the statements listed in order of importance as indicated by the combined votes (please note an asterik indicates a tie for placing):
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FIRST PLACE Statement 10: Art making supports independent thinking and enables to see and show the world in new and unexpected ways.
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SECOND PLACE Statement 3: Higher Arts Education should reclaim the role of being a leading factor for social change beyond economic growth.
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THIRD PLACE* Statement 12: Freedom of the arts and freedom of Higher Arts Education are radical preconditions for our social, economic and cultural wellbeing.
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THIRD PLACE* Statement 13: Art and art making can contribute to knowledge through their own methods of thinking and production.
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FOURTH PLACE* Statement 1: The crisis of our market-oriented economic and social systems calls for a repositioning of the arts and Higher Arts Education within society.
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FOURTH PLACE* Statement 11: The jobs, careers and businesses of the future have not been invented yet; students need to be equipped with the necessary capabilities to design their own future and the future of our societies.
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FIFTH PLACE* Statement 7: Higher Arts Education contributes to the understanding of world with the experience as being different and living differences.
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FIFTH PLACE* Statement 8: Higher Arts Education provides students with a wide range of skills which reach further than the arts itself.
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SIXTH PLACE Statement 14: Institutes of Higher Arts Education need to be equipped with appropriate means to undertake research and equivalent activities.
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SEVENTH PLACE* Statement 2: Higher Arts Education has proven to be vital for the economy and creative industries.
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SEVENTH PLACE* Statement 5: Higher Arts Education promotes a highly individual approach to learning which values time as a condition for constantly evolving intellectual and emotional maturity.
Cultural Events
Museums Guided Tours
On Wednesday, Saturday and Sunday guided tours of the museums of the MuseumsQuartier will be offered to the Conference participants free of charge. Registration in advance is requested vie the online conference registration form. Because of limited availability, we cannot guarantee you will be assigned your preferred tour. Assignments are made on a first registered, first assigned basis.
Please find here below a list of the Museums and link to their webpages:
mumok – Museum Moderner Kunst Stiftung Ludwig Wienmuseum features 4.800 square meters of exhibition space for the main works of the collection of modern and contemporary art.
KUNSTHALLE wien : beside few public projects and workshops, a new exhibition on Marina Abramovic will be showing.
Leopold Museum owns the largest collection in the World of Egon Schiele and it will host an exhibition on Melancholy and Provocation, in occasion of its tenth anniversary.
Opening
Following welcome speeches from the organisers, Brigitte Jank, President of the Austrian Economic Chamber and representatives of the Federal Government, a live performance will open the ELIA Biennial Conference 2012.
Dinner Reception at the Vienna City Hall
On Thursday evening, participants of the conference are invited to attend the Buffet Dinner Reception at the City Hall of Vienna
(Festhall - Entrance: 1010 Vienna, Lichtenfelsgasse 2, Feststiege I)
An official invitation will be distributed at the registrations to the Conference delegates.
Party
On Friday night you’ll have the opportunity to meet, dance and relax during a live music event organized in the Hofstallung of the MUMOK.
Please notice an additional 20 EURO fee is required and it can be selected through the online registrations.
Exhibition Opening
Rosa Arbeit auf Goldener Straße
On Friday evning from 19.00 onwards at xhibit, the exhibition rooms of the Academy of Fine Arts Vienna, will be hosting the opening of an exhibition as part of the project Dildo Anus Macht: Queere Abstraktion.
Project leaders and ymposium concept: Hans Scheirl, Ruby Sircar
Exhibition curators: Christiane Erharter, Dietmar Schwärzler
About the project:
The concept "queer" is meanwhile omnipresent and lives from its immanently constructed complexity. What exactly is meant by it remains therefore often unspecific and depends on the users and context. The exhibition project takes as a starting point a definition posited by Judith Halberstam: "queer refers to nonnormative logics and organizations of community, sexual identity, embodiment, and activity in space and time." The exhibition title Rosa Arbeit auf Goldener Straße makes reference to an earlier, disarming short film by Rosa von Praunheim: In Rosa Arbeiter auf Goldener Straße II (1968), a young woman flees from the (former) East block to the West and finds shelter in the bourgeois art milieu. This transgression, also intended in a political sense, is the motif of the exhibition, which also includes works from artists of post-socialist countries. There is still a dominant idea that these countries' queer art production lacks visibility.
The project Dildo Anus Macht: Queere Abstraktion, along with the exhibition Rosa Arbeit auf Goldener Straße, also includes a four-day symposium (22 - 25 November 2012) on the theme of queerness in everyday life and work. Questions on gender relations and difference will be negotiated, as well as questions of post-pornographic and post-colonial content, within the background of material and artistic necessities. Judith/Jack Halberstam, Nikita Dhawan, Tim Stüttgen, Eliza Steinbock, Antke Engel, Gini/i Müller, Maria Llopis, Sushila Mesquita, among others, have been invited as speakers and workshop leaders.
Venue:
Xhibit
Schillerplatz 3
1010 Vienna
1st Floor
ELIA General Assembly
The ELIA General Assembly will be held on
Saturday 10 November, from 09:30 till 13:00 at the Leopold Museum Auditorium.
While the ELIA Conference will be open to all delegates, the General Assembly is a forum that is restricted to ELIA members only. Here below a tentative agenda.
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Welcome, introductory remarks , presentation Board, method of election
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Approval minutes Nantes 30 October 2010 (to be endorsed)
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Introduction election nominees
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Elections
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Activities and Financial reports 2010-2012 (to be received)
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Report on current developments on Quality issues
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Report on current developments transparency tools
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Report on current developments relation Higher Arts Education and Creative Industries
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Four Year Development Plan 2012-2015 (to be approved)
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New Programmes of the European Commission
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Resolutions and recommendations
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Results election
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Closing remarks
Venues
Below is a map of conference venues, located within the MuseumsQuartier.
Click on image to enlarge.
Travel and Accommodations
Travel
Vienna lies at the heart of Europe. Vienna-Schwechat Airport is located 18 km outside the city limits and offers ideal connections to the rest of the world. The City Airport Train (CAT) takes you from the airport to central Vienna in only 16 minutes. For more information visit
www.viennaairport.com
Accommodations
ELIA has arranged block bookings for special rates at several hotels within walking distance or few metro stops from the conference venues.
The following hotels are some suggestions in different hotel categories. More options are available below.
Hotel 3 Kronen***
www.hotel3kronen.at
Schleifmühlgasse 25, 1040 Vienna
87,00 € for Singe Rooms
97,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 15 September 2012)
Hotel Beethoven****
www.hotel-beethoven.at
Papagenogasse 6, 1060 Vienna
98,00 € for Singe Rooms
108,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA Kontingent
(valid until 30 September 2012)
Hotel Das Tyrol****
www.das-tyrol.at
Mariahilfer Strasse 15, A-1060 Vienna
169,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 8 October 2012)
Hotel Topazz****
http://hoteltopazz.com/home/
Lichtensteg 3, 1010 Vienna
Different price categories 168-368 €
For reservations, please contact [email protected]
Reservation code: ELIA
(valid until 12 September 2012)
For ease of browsing these hotels have been sorted by the following criteria:
To browse accommodations by location and proximity to conference venues click here.
To browse accommodations by price click here.
To browse accommodations by star rating click here.
Vienna
Conference Venues
The University of Applied Arts Vienna
More than 2,000 students, many of them from abroad, study at the University of Applied Arts Vienna, Die Angewandte, which was founded in 1867. Die Angewandte is an institution with a long tradition that has played a key role in the development of Vienna’s and Austria’s cultural and intellectual identity. Today it is one of the world’s most important art universities, offering a wide-ranging spectrum of programmes. It plays a pioneering role in many new fields, such as transmedia and transdisciplinary art, art and science, social design and artistic research. The increasing linking of various disciplines, to which Die Angewandte is continually adapting with new interdisciplinary programmes, offers students a great diversity of possibilities for designing their own individual course of study. Each student’s progress through the wide spectrum of learning opportunities is closely accompanied by advisors and instructors from a variety of fields of art, science and scholarship. In addition to transmitting artistic and scientific competence, all programmes of study aim to promote critical reflection and encourage independent action, enabling university graduates to make significant contributions to the further development of our society.
City of Vienna
Worldwide, Vienna numbers among the cities with the highest quality of life. The city on the Danube, surrounded by the Vienna woods and hillside vineyards, is located in the Vienna Basin, which links the Eastern Alps and the Western Carpathian Mountains. The former Habsburg capital is widely known as the historic city of music and Viennese Modernism. Today a fresh wind is blowing through Vienna’s urban environment, which is enlivened by a thriving art, design and architecture scene. Transdisciplinary activities, networks, initiatives and cooperation reaching far beyond the bounds of conventional artistic categories, festivals of contemporary art and museums with open doors for young art, characterize Vienna’s cultural identity today. The urban space is a collaborative laboratory for manifold creative niches, for a plurality of styles, living spaces and perspectives.
MuseumsQuartier Wien
The MuseumsQuartier Wien, the MQ, is one of the world’s largest and most transdisciplinary complexes for modern art and culture. It is home to nine museums and venues for fine arts and performing arts, music, fashion, design, children’s culture, architecture and digital culture. It also is a habitat populated by more than 60 culture initiatives. The MuseumsQuartier is an urban hub and meeting point for many cultural enthusiasts.
Architecturally, Baroque mixes with new structures and contemporary arts – for example in the Electric Avenue of quartier21, where the university’s Department of Digital Art often exhibits. Even early on, at the opening of the MQ in 2001, the leitmotif was “Baroque meets Cyberspace”. Since then the idea of culturally linking the new and the old has characterized the MQ. In this respect it represents Vienna’s contemporary cultural environment with an accent on new – and even radical – developments arising from this symbiosis.
Plenary Sessions and Table Talks Overview
The 12th ELIA Biennial Conference is composed of four major parts:
ArtSHARES, a dissemination and network meeting; the conference plenary sessions with distinguished keynote speakers and table talks (see below); the
ELIA General Assembly and the
Open Space programme.
Opening Session
The Rector of the University of Applied Arts Vienna,
Gerald Bast and the ELIA President, Kieran Corcoran,
welcome the delegates of the 12th edition of the ELIA
Biennial Conference. Karlheinz Töchterle, Federal
Minister for Science and Research and Andreas
Mailath-Pokorny, Executive City Councillor for Cultural Affairs Vienna address the audience during this official Opening Session.
Plenary Sessions: Art Questions, Art Knows, Art Matters
The conference core is divided into three plenary sessions – Art Questions, Art Knows, Art Matters. Each session features keynote speakers offering thoughts provoking presentations to further promote dialogue. Following each keynote speech delegates will have the opportunity to discuss in smaller groups over coffee, tea and soft-drinks. A series of questions will be raised to give jumping off points for discussion, to illuminate the interrelationship between art, science and society.
Art Knows: the creative arts contribute to the experience of life in parity with science and philosophy.
The arts have the capacity to persuade, subvert, celebrate and confront; to challenge the status quo; to act as powerful cultural agents; to inspire an individual's aspirations, to help people learn to appreciate differences and to construct coherent value systems. In this first plenary session, artists andeducators will be joined by the futurist Matthias Horx to examine the quality of knowledge deriving from the arts. In other words, how arts contribute to knowledge and its fundamental role in shaping our thoughts and our future.
Art Questions: on Friday morning, the discussion will focus on the investigative, explorative and analytical qualities of the arts.
The arts constitute a distinct network of knowledge, complete with its own language and procedures, that enables us to describe, understand and engage in different forms of experience. The tone of our debates will be set by keynotes from established artists, who have successfully developed careers in the arts or who have added leading curatorial and theoretical influence to their practice.
Art Matters: The arts (and artists) make a substantial contribution to the economy and to social change.
Artists and arts graduates are invaluable not only to the arts but to society at large. Artists provide a workforce with a more sophisticated range of creative, interactive, negotiating, presentation, team-building, decision-making and entrepreneurial skills. Young and more established artists have been invited to add more arguments and to underpin this claim.
Table Talks
Following the input of the keynote speakers, delegates will be divided into small groups to discuss over coffee in a more informal atmosphere. These small groups have been designed to facilitate dialogue and allow delegates the opportunity to network and make new contacts. The conference organizers will instruct the delegates to choose a new group composition for each table talk, increasing and diversifying the number of people to meet.
On the back of each delegate’s badge there will be information about the group and the room assigned to each participant.
About SHARE
SHARE is an international networking project comprising 40- partners from across Europe working together on enhancing the 3rd cycle of arts research and education in Europe.
Programme ArtSHARES
The dissemination sessions by the SHARE Network, ArtSHARES, will explore different ways in which creative arts research can be disseminated, networked, exhibited, presented, published, broadcast, webcast, and generally distributed/archived for the future.
The sessions will feature a keynote speech from Ute Meta Bauer and two thematic strands, Performative Dissemination and Dissemination in Industry, focusing on case studies from a number of speakers.
ELIA members are welcome to attend the SHARE Sessions and can register through the online registration form.
Thursday 8 November
For speaker biographies and detailed abstracts of their presentations please click on their name or visit the "Speakers" sidebar.
9.00-9.30 Registration for ArtSHARES delegates at the
Venue: Leopold Museum Auditorium
9.30- 11.00 Keynote:
ArtSHARES Plenary Session
Venue: Halle E
Speaker: Ute Meta Bauer
Invited Respondent: Barbara Holub
11.00-11:15 Coffee Break
Venue: Halle E Foyer
ArtSHARES Parallel Sessions
For the rest of the programme participants can choose between two thematic strands:
11.15-13.00 Strand A:
Performative Dissemination
Venue: ARENA21
Issues Addressed:
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Dissemination of work involving live performance, where there is a restriction on documentation intrinsic to the artwork’s particular nature or form.
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Dissemination that is performative in character.
Casestudy #1
"Circu-analysis”, a “psychoanalytical” reading of the identity of the circus-artist behind his/her act
Speaker: John-Paul Zaccarini
Topics Addressed: The challenges of sharing knowledge that is based in a transitory “event” / ephemeral practice
Casestudy #2
A Lecture Performance about Lecture Performances
Topics Addressed: Subject matter and mode of dissemination overlap
11.15-13.00 Strand B:
Dissemination in Industry
Venue: Leopold Museum Auditorium
Issues addressed:
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Dissemination of work involving partnership with industry and subject to IP issues.
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Dissemination of work involving non-specialist/non-professional collaborators where issues of co-ownership of work or confidentiality or other concerns arise.
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Dissemination that is primarily oriented to a professional world or to a general public (not the academy as such).
Casestudy #1
A 3rd Cycle Researcher Working with Industry
Speaker: Simon Dennehy
Topics Addressed: The challenges of sharing knowledge that is commercially sensitive from the perspective of a 3rd Cycle researcher working with industry
Casestudy #2
Swimming with the Sharks, or Biting the Hand that Feeds You
Speaker: Trygve Allister Diesen
Topics Addressed: The challenges of sharing knowledge that is based in ongoing collaboration and dialogue
Open Space
The Open Space is located in the Foyer of the Halle E, at the heart of the conference.
The Open Space will accommodate networking, discussion, sharing of experiences and information, dissemination of materials, and the starting of new initiatives.
On Saturday afternoon, several parallel sessions focusing on specific topics or disciplines will be organized by ELIA Members and Partners. In addition, ELIA has organized two sessions, one on Quality Assurance and the other on New European Funding Programmes.
Detailed information on these Discipline, Network and Thematic sessions is available by clicking directly on the titles below.
Discipline Sessions
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Audiovisual Communication
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Conservation and Restoration
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Dance
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Musical Theatre
Network Sessions
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ENCEPA (Joint Session with EPAS)
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EPAS
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FEDEC (Fédération Européenne des Ecoles du Cirque Professionnelles)
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PARADOX - Fine Art European Forum
Thematic Sessions
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Making Differences - Researching Inequalities in Higher Arts Education
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In-between-ness: Using art to capture changes to the self during anti-depressant treatment
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PEEK - Funding of Arts-based Research
ELIA Sessions
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EQ-Arts - Quality review visits offered by ELIA
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New European Funding Programmes
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NEU NOW Festival Presentation
Open Floor Podium
The Open Floor Podium also scheduled for Saturday afternoon, is a free space for pre-registered delegates to present their own works, institutions or anything else they are passionate about and want to bring into the public eye at the conference. A separate programme for The Open Floor Podium is available in the delegates’ bag.
Biennial Book Fair
The Biennial Book Fair further encourages the exchange of knowledge by featuring selected professional publications submitted by the conference participants which will be available for sale for the duration of the conference.
Maria Aiolova
Maria Aiolova is an educator, architect and urban designer in New York City. Her work is focused on the theory, science and application of ecological design.
She is the founding Co-President of
Terreform ONE and a Partner at Planetary ONE.
Presently, Maria chairs the ONE Lab NY School for Design and Science and the One Prize Design and Science Award. Most recently, Maria was faculty at Pratt Institute, Graduate School of Architecture and Urban Design and Parsons the New School for Design.
She has taught at University of Toronto, Wentworth Institute of Technology and Boston Architectural Center and has been a visiting lecturer and critic at Harvard GSD, Columbia University, Cornell University, CUNY, Washington University, the Cooper Union and Rhode Island School of Design.
Maria was the winner of the Victor J. Papanek Social Design Award sponsored by the University of Applied Arts Vienna, the Austrian Cultural Forum, and the Museum of Arts and Design in 2011. She has a number of winning competitions including first place in the CHARLES/MGH Station, Boston and the Izmir Post District International Competition, Turkey. Maria won the Zumtobel Group Award for Sustainability and Humanity and the Build Boston Award.
She received her M.Arch. in Urban Design from Harvard University, B.Arch. from Wentworth IT with Honors, Dipl.-Ing. from the Technical University of Vienna, Austria and Sofia, Bulgaria.
Trygve Allister Diesen
Trygve Allister Diesen is a director and writer/creator of feature films and television drama, working in Scandinavia and the US. Half Norwegian-half Scottish, Diesen has directed and/or written five feature films, and directed more than 130 episodes of TV drama. His
work has been screened at festivals globally, and his second feature
Hold My Heart was Norway’s submission for the Academy Awards in 2002. His first English-language film
Red premiered in Sundance in 2008, and he has recently written a pilot for HBO.
Trygve Allister Diesen was the first research fellow in directing at the Norwegian Film School, completing his doctoral project
Being the Director - Maintaining Your Vision while Swimming with Sharks in 2010.
He got his basic training at the School of Cinematic Arts at the University of Southern California in the nineties, and is currently partner in the Oslo-based upstart production company tenk.tv
ArtSHARES Abstract
Swimming with the Sharks, or Biting the Hand that Feeds You
Challenges of sharing knowledge that is based in ongoing collaboration and dialogue.
Being the Director – Maintaining Your Vision while Swimming with Sharks – is an artistic research project and video essay where director and former artistic research fellow Trygve Allister Diesen quite literally interviews himself and scrutinizes his own work and process to study the role of the film and TV director.
Starting with the core question "is it possible
to maintain a personal, artistic vision in an art form as collaborative and commercial as film
and television?", he soon realizes that he has no clear definition of what "director’s vision"
really is.
Swimming with Sharks is a personal video essay about Diesen’s work and process as director/creator on the hard-boiled TV-series
Torpedo, and the American feature film
Red (Sundance 2008), juxtaposing his video diary with footage from the set, and interviews with key staff and collaborators, who often see things rather differently than the director. Diesen also interviews international capacities like Danish director Per Fly and character actor Brian Cox, using their input as a sounding board to his own ongoing reflection.
In his presentation, Diesen will screen clips of his video essay and discuss some of the challenges of personal, practical, ethical and artistic nature when you place (or even force) your artistic research project on an already ongoing ambitious endeavor with many vested interest, artistically as well as financially.
He will also particularly address challenges related to how you can use and share that knowledge, often gained in vulnerable and personal moments - or disseminate your research.
The video essay is a part of Diesen’s doctoral work in directing at The Norwegian Film School.
Gerald Bast
Dr. Gerald Bast is rector /president of the University of Applied Arts in Vienna, Austria since 2000.
He published in the fields of university law, university management as well as educational and cultural policy.
He is speaker of the Rectors of Austrian Universities of the Arts, Vice president of the Austrian Rectors‘ Conference (Universities Austria), Member of the scientific Board of the “Journal for University Law, University Management and University Politics (Zeitschrift für Hochschulrecht,Hochschulmanagement und Hochschulpolitik), Board-Member of the European League of Institutes of the Arts (ELIA) and member at the pool of experts for the Institutional Evaluation Programme of European University Association (EUA)
Simon Dennehy
Simon Dennehy graduated from the National College of Art and Design in 2003. After working in industry with many progressive Irish companies, he chose to return to his Alma Mater to commence a two year research masters, through Industrial Design. While continuing to work, both as an employee and as an independent design professional, Simon chose to study Ergonomic School Furniture for Primary School Children, as his research question.
This subject arose as a result of ongoing work that had been undertaken in NCAD by his tutor Dr. Gearóid O'Conchubhair, whose PhD saw the development of very specialist furniture for Orchestral Musicians. Building on this work, Simon took an interdisciplinary look at existing methods, theories and practices, related to task seating and work.
By the end of his Research Masters, Simon had developed and designed a patented system for sitting and working, which had shown to improve the comfort and posture among Primary school children. After showcasing this work at the NCAD annual exhibition, Simon decided to pursue this concept in several different ways.
In 2009, he established his Design company,
Perch, to commercialise the IP and design vision, which emerged from his MA. Simon has built a very comprehensive team of 5 designers and engineers and has received several business awards, with some financial awards from Enterprise Ireland. This work has shown great potential with international furniture leaders and from October 2012, the RAY school furniture system has been launched at the worlds leading furniture fair, Orgatec. His research has continued and forms the foundation for the company's direction. Perch is now collaborating with several leading companies to generate new furniture solutions, which are primarily based around his MA and ongoing PhD research work.
In 2009, in the same month that Perch was formed, Simon chose to continue his academic research. He joined the GradCAM school in Dublin, to undertake a PhD, with the hope to define the interdisciplinary nature of the design process, with relation to task furniture. This study is ongoing. Charting the design progression from the Perch/RAY school furniture design, its interaction and evolution in the commercial world and the postural analysis deployed during the development phase, are key building blocks for this study. Using both Quantitative and Qualitative assessment methods to determine the validity of a new approach to task work Simon has learned to use the scientific equipment as a design tool. By partnering with physiological laboratories such as MEDIC, in Cork, he noted large gaps and inconclusive/unsatisfactory findings from short term studies. In reaction to this, Simon designed a new long term observation study to visually assess the posture of school children in their natural environment.
The combination of Physiological assessment tools with Qualitative visual assessment, through a design lens, is where Simon's PhD will emerge.
Simon and his tutor, Gearóid pursued funding from the EU's FP7 programme, under the IAPP scheme, in 2009. Entitled TFE, (Task Furniture in Education) their project received the highest ever rating at proposal level and the project received over €1.3 million in funding. TFE is now an active and exciting project which hopes to create and direct new legislation, for the appropriate design of educational furniture. With very substantial project partners, such as VS Moebel, Fielding Nair International, BAG, Trinity College Dublin and ESAD in Portugal the project is now almost half ways through its four year term. Simon has interacted with the project from its conception and currently acts as a Design Director for the project.
Simon currently lectures in the National College of Art and Design and has done so since 2008. He works as tutor to the students, through various design projects and has also worked with the college on his work in Perch.
He also lectures in NUI Maynooth, where he tutors the final year design students. In 2012, Simon was requested by the Cork Institute of Technology, to help them establish a new design lead course. He will also act as an external examiner for the course.
Simon has published his work in the Irish Ergonomic Society in 2009. He has presented work at the BINI, Bioengineering annual conference in Ireland in 2011 and also at the Dublin TEDx conference. In 2012, he spoke at the global Interaction 12 conference in Dublin and has won design awards at the IDI annual showcase.
ArtSHARES Abstract
A 3rd Cycle researcher working with industry
Simon Dennehy will discuss how the work he conducted through his Masters Study, in Industrial Design, with NCAD, has influenced his PhD inquiry. He will discuss his patented design, in brief and what he believse can be achieved by using this approach to task seating. Through interdisciplinary design, taking account of the scientific data banks from relevant sources, as well as acknowledging the need for a sympathetic aesthetic, the hope is to argue the need for a global approach to problem solving and design thinking.
How this work has formed the foundation, in part, for an EU funded FP7 IAPP, Marie Curie funded research programme will also be discussed. This programme has been entitled TFE Research (Task Furniture in Education). It has received over €1.3 million in funding and has partnered with some of the most significant industry and academic partners in Europe and the US.
Dennehy’s PhD work looks at the design development of a concept, through to completion and implementation. Through this process, I will discuss the need for both quantitative and qualitative analysis of working prototypes. This is a way forward for designers who make attempts to validate their concepts and create more value for the R&D and design disciplines.
How the IP created through Dennehy’s work has taken the shape of both Patented designs as well as a very intricate working knowledge of how to design for the user will also be a focus of the presentation.
Dennehy will introduce his company, Perch, and discuss how it borrows heavily from his PhD and MA work. This model of working sets Perch apart from traditional design companies.
To give a more complete overview of Perch Dennehy will discuss the latest unveiling of the RAY school chair, which has been successfully developed with commercial partners Labofa, a successful Danish company who have invested in design through intense research.
The presentation will highlight the benefits for this type of research. Finally, Dennehy will discuss the IP transfer from a Postgraduate project to industry and the future potential for continuing both PhD Research and commercial outputs as a direct result of the work.
VALIE EXPORT
VALIE EXPORT is one of the most important pioneers of conceptual media art, performance and film. Her artistic work includes: video environments, digital photography, installation, body performances, feature films, experimental films, documentaries, expanded cinema, conceptual photography, body-material interactions, persona performances, laser installations, objects, sculptures, and texts on contemporary art history and feminism.
Jeanne van Heeswijk
Jeanne van Heeswijk is a visual artist who creates contexts for interactions in public spaces. Her projects distinguish themselves through strong social involvement. With her work, Jeanne van Heeswijk stimulates and develops cultural production and creates new public (meeting-)spaces or remodels existing ones.
Barbara Holub
Barbara Holub is an artist based in Vienna and was trained as an architect at the Stuttgart University of Technology.
In 1999, she founded
transparadiso with Paul Rajakovics (architect and urbanist), a collaborative practice in between architecture, art, urban design and urban intervention. Transparadiso is engaged in developing new urbanistic tools and strategies for “direct urbanism” as third layer in addition to urban planning and urban design.
Barbara Holub has been a member of the editorial board of
dérive_magazine for urban research in Vienna since 2001; a member of the Public Arts Committee of Lower Austria from 2005 to 2007. She was president of the Vienna Secession from 2006 to 2007. In 2004 transparadiso received the Schindler grant for the MAK Center for Art and Architecture, Los Angeles, and in 2007 transparadiso was awarded the Otto-Wagner-Prize for Urban Design for the new urban quarter in Salzburg-Lehen.
Barbara Holub currently directs the research project “Planning Unplanned_Towards a New Positioning of Art in the Context of Urban Development" at the Institute for Art and Design, Vienna University of Technology.
Matthias Horx
Matthias Horx born in 1955, is considered the most influential futurist in the German-speaking world.
Between 1980 and 1992, he worked as author and editor on the magazines Tempo, Die Zeit and Merian. Horx was interested in science-fiction, value change, youth cultures, new technologies and during this time laid the foundations for his future profession. His essayist books, e.g. ‘Die Wilden 80er’ (the wild 80s) and ‘Aufstand in Schlaraffenland’ (rebellion in the land of milk and honey) are about value change and the zeitgeist of the 80s.
In 1993, he founded the Trendbüro Hamburg with Peter Wippermann. Trendbüro rapidly became the nucleus of German marketing orientated trend research, and five years later Matthias Horx founded the Zukunftsinstitut.
The Zukunftsinstitut’s main mission is the analysis and presentation of fundamental future developments in society, the economy and everyday culture. With headquarters near Frankfurt (Kelkheim) and branches in Vienna and representatives in London, the economic and political think-tank is now very much in demand throughout Europe.
Matthias Horx and his family currently live in Vienna. He has two sons, Julian and Tristan, and is married to the British journalist, Oona Strathern. His wife is actively involved in the work of the Zukunftsinstitut and has written a number of the studies published by the company.
1955: Born in Düsseldorf
1956-1965: Childhood in Kiel / Northern Germany
1965-1973: Youth and secondary school in Frankfurt/Main
1973-1980: Studied sociology at Frankfurt/Main University
1980-1985: Comic drawer and Science-Fiction author, editor of "Pflasterstrand" magazine
1980-1991: Author and editor at TEMPO, ZEIT and MERIAN in Hamburg.
During this time he published the bestselling "ZEITGEIST-Trilogy":
"Das Ende der Alternativen", "Aufstand im Schlaraffenland" und "Die wilden 80er".
1993: Married English journalist Oona Strathern
1993: Founded "Trendbüro"in Hamburg with Peter Wippermann.
Published the bestsellers "Trendbuch 1" and "Trendbuch 2"
1998: Founded Zukunftsinstitut in Kelkheim near Frankfurt
1999: Moved to Vienna
2005: Published "Wie wir leben werden" (How we Will Live, also available in English) and "Anleitung zum Zukunftsoptimismus" (Guide to Future Optimism)
2005-2010: ZUKUNFTSINSTITUT, is a well-established prognosis and consultancy firm with offices in Vienna and correspondents in London. The company has 35 employees and focuses on trend innovation and development of early warning systems.
From 2007: Teaching Trend and Future research at the Zeppelin University in Friedrichshafen/Bodensee.
2009-2010: Building and opening of the ‘Future Evolution House’ in Vienna.
Ute Meta Bauer
Ute Meta Bauer is Associate Professor at MIT’s School of Architecture and Planning, where she served as Founding Director of the Programme in Art, Culture and Technology and as Director of the Visual Arts Programme. She recently got appointed as Dean of Fine Arts at the Royal College in London. She studied stage design and art at the HfbK Hamburg, and for more than two decades, she has worked as curator of exhibitions and presentations on contemporary art, film, video, and sound with a focus on transdisciplinary formats. Bauer was Co-Curator of Documenta11 on the team of Okwui Enwezor, Artistic Director of the 3rd Berlin Biennale and served as Founding Director of the Office for Contemporary Art Norway (OCA).
Gerard Mortier
Gerard Mortier is a Belgian opera director and administrator of Flemish origin.
Mortier has served as general director of La Monnaie/De Munt (Brussels) (1981–1991) and of the Salzburg Festival (1990–2001). He was a founding director of the Ruhr Triennale arts festival in Germany, and then he became general director of the Opéra National de Parisfrom 2004-2009.
Late in November 2008, the Teatro Real of Madrid announced the appointment of Mortier as its next general director, effective September 2010.
Isabel Mundry
Isabel Mundry, 1963 born in Schlüchtern/Hessen, grown up in Berlin (West) / 1983–91 composition studies at the Hochschule der Künste Berlin (with Frank-Michael Beyer and
Gösta Neuwirth) as well as at the Studio of the Technische Universität (TU) Berlin; at the same time musicology (with Carl Dahlhaus), art history and philosophy at the TU Berlin / 1986–93 lecturer at the Berliner Kirchenmusikschule and at the Hochschule der Künste (HdK) Berlin / 1991–94 composition studies with Hans Zender in Frankfurt / 1992–94 stay in Paris, first at the Cité des Arts, later at the IRCAM / 1994–96 worked freelance in Vienna / 1996–2004 professor for composition at the Frankfurter Musikhochschule / 1997 instructor at the Akiyoshidai Festival (Japan) / 1998, 2000, 2002 and 2008 instructor at the Darmstädter Ferienkurse für Neue Musik / 2001 Composers’ Grant of the Ernst von Siemens Foundation / 2002/03 Fellowship of the Wissenschaftskolleg Berlin / since 2004 professor for composition at the Musikhochschule Zürich / 2007/08 first “Capell-Compositeur“ at the Staatskapelle Dresden / 2011 Heidelberg Female Artists’ Prize / since 2011 professor for composition at the Musikhochschule in Munich.
Numerous other prizes and scholarships.
Portrait concerts at home and abroad.
Image: http://www.weingarten-neue-musik.de/galerie.php?mghash=9322faa8d659aad5e09f027db4a50714&mggal=4
Shady El Noshokaty
Shady El Noshokaty is a contemporary Egyptian visual artist whose projects were featured in the biggest museums and international exhibitions around the world. He works as Assistant Professor at the Department of the Arts at the American University in Cairo.
At the 2011 Venice Biennale he was executive curator for Ahmed Basiony’s Art project (30 days Running in the place) in the Egyptian pavilion.
Shady El Noshokaty has also played an undeniable role in the field of art education in Egypt for the last decade.
In 2010 he established ASCII - foundation for contemporary art education – aimed to educate and develop young thinkers into new and alternative media practices.
Yoko Ono
Yoko Ono is a Japanese artist, author, and peace activist, known for her work in avant-garde art, music and filmmaking.
Ono brought feminism to the forefront in her music, which prefigured New Wave music, and is known for her philanthropic contributions to the arts, peace and AIDS outreach programs.
For further information on her latest projects and to learn more about her rich contribution to art and activist cultures visit
Yoko Ono's official website.
.
Lucia Rainer
Lucia Rainer (1983) is a German-Italian performer and performance studies theorist based in Hamburg, Germany.
She received her Bachelor of Arts in ‘Intercultural European and American Studies’ from the University of Halle/Saale and Macquarie University Sydney while working as an assistant theater director at the Stadt-Theater in Augsburg, Germany and Tutu Theater in Accra, Ghana.
In 2008 she received her Master of Arts in Performance Studies from the University of Hamburg and started working as a performer and performance director for small theaters in Guatemala City (Instituto Experimental) and Hamburg (LICHTHOF THEATER, Kulturhaus Eppendorf, Sprechwerk). From 2009 until 2011 she worked as the director of studies for the Hamburger Sprachschule developing language theater courses and integrating them into the school’s curriculum.
In 2010 Lucia Rainer started her PhD in performance studies at the University of Hamburg. In 2011 she was granted a three-month residency at the Künstlerdorf Schöppingen where she started her practice-based research and produced her first lecture performance ‘She’s All Dressed up for Peace’, which was performed at the Dancekiosk in Hamburg in 2012. Following this, she produced the lecture performances Wissen is(s)t Torte (knowledge = cake / knowledge is eating cake) for the International Performance Art Festival 2011 in Berlin and woMAN for the Stockholm Fringe Fest 2012.
In January 2012 Lucia Rainer taught within the project Der Choreografische Baukasten (The Choreographic Kit) at the University of Hamburg. Also, she teaches performance courses and contact improvisation to children, teenagers and adults. Lucia Rainer’s articles ‘Life is a cabaret’ (2011) and ‘Lecture performance. The experiment between art and science’ (2012) were published in tanz – die europäische Zeitschrift für Ballett, Tanz und Performance (dance – the European journal for ballet, dance and performance) and Praxistest. Künstlerische Projekte zur Vermittlung aktueller Kunst (On-Road-Test. Disseminating contemporary art projects).
Abstract
A Lecture Performance about Lecture Performances
The project “a lecture performance about lecture performances” is situated in the field of performance art. As a performer and performance theorist, Lucia Rainer practically and theoretically experiments with lectures as performances: She illustrates, exemplifies and questions ideas and hypotheses scenically, so that she is able to speak with a topic – and not merely about it. Her lecture performance explores the collaboration of two frames, that of the academic lecture and that of the artistic performance, wanting to understand how lecture performances bring forth knowledge and how this knowledge is recognized, communicated and legitimized by the audience.
Laura Popplow
Lena Freimüller
Therese Schuleit
Company for perception strategies.
Experts for spontaneous spacetime-folding.
Raumfaltung is working on interventions in public - with public spaces and with communities. Open dialogue is used as a tool for (artistic) research, while poetic changes of the status quo are used to get attention and awareness for the other possibilities of space. The aim is to open up the reception of the world as a place that is shaped by us and could be changed together. A part of the group has worked for some years with the artistic collective "Mühlenkampf". Recent projects made by a new constellation of people called "Raumfaltung" will be presented along with former projects made with Mühlenkampf. Projects involve a new nuclear power narration, a public school as social sculpture, and local production in a public housing district.
Laura Popplow
Lena Fremüller
Therese Schuleit
Hito Steyerl
Hito Steyerl has produced a variety of works as a filmmaker in the field of essayist documentary video.
Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta 5, The European Biennial of Contemporary Art. She also participated in Documenta 12, Kassel 2007, Shanghai Biennial 2008, Gwangju and Taipeh Biennials 2010, and was the subject of numerous solo exhibitions throughout Europe.
She works at the Berlin University of the Arts as Professor for New Media Art.
Gerhard Treml
Gerhard Treml is a US-American/Austrian artist based in Vienna. His work explores narrative strategies in order to question relations that are basic to the understanding of everyday life. For this he appropriates practices from various cultural fields to investigate and redesign their purposes. Accordingly he has been mistaken for an architect, social scientist or most currently for a landscape designer.
In this role he is directing the collaborative art-based research program “Eden’s Edge” in cooperation with the University of Applied Arts and an international team of art based researchers generously supported by the Austrian Science Fund (FWF)
Their goal is to develop narrative tools to understand how stories of everyday life, work, science, politics, movies, dreams, or the news actually form the environments by which we interpret and make use of our physical world.
How this approach could practically also be utilized for the production of space was the basic question for a workshop the project team conducted with students of landscape design. Together they developed experimental practices within featured relations of plot and place as they followed Mikhail Bakhtin's insight into a writer's use of space.
Peter Weibel
Peter Weibel follows his artistic aims using a large variety of materials, methods and media: text, sculpture, installation, film and video.
In the mid 1980s he explores the possibilities of computer aided video processing. Beginning of the 1990s he realizes interactive computer-based installations. Here again he addresses the relation between media and the construction of reality.
In his books, lectures and articles Weibel comments on contemporary art, media history and media theory, film, video art and philosophy. As theoretician and curator he pleads for a form of art and art history that includes history of technology and history of science. In his function as a university professor (University of Applied Art, Vienna) and director of institutions like the Ars Electronica, Linz, the Institute for New Media in Frankfurt and the ZKM | Center for Art and Media Karlsruhe he influenced the European Scene of media art through conferences, exhibitions and publications.
Image: ONUK
Mick Wilson
Mick Wilson (b. 1964) [BA, MA, MSc, PhD] is a researcher, educator, artist and writer. He is currently the Head of Department of (the newly formed) Valand Academy; which is the result of a merger of the School of Film Directing, the School of Photography, the Valand School of Fine Arts and the Department of Literary Composition, Poetry and Prose of the University of Gothenburg. Previously Mick Wilson was the Dean of the Graduate School of Creative Arts & Media, Dublin, Ireland where he worked with artists, designers, curators, musicians, cultural historians/theorists, and policy analysts to investigate aspects of public culture and contemporary cultural practices.
Mick's research and professional interests are eclectic, ranging from the reputational economy of contemporary art to the rhetorical construction of knowledge conflict, and from the contested reconstruction of the contemporary university to the general arena of critical cultural pedagogies. He has lectured internationally on art research, public culture, critical education and urbanism. He is a member of the European Arts Research Network (EARN). Currently a visiting research scholar at UTAS, Australia; Adjunct Professor at Trinity College Dublin; and an Associate of the Humanities Institute of Ireland, UCD. He has organised many international conferences, summer schools and workshops. He has developed several new undergraduate and postgraduate programmes across contemporary art theory and practice. He was co-curator with Daniel Jewesbury of re : public (2010) an expanded exhibition platform on the nature of public culture and urban politics and he is co-curator of the food thing (2011-2013) a project investigating contemporary food cultures and politics.
John-Paul Zaccarini
Biography
John-Paul Zaccarini was an Artistic Director of award-winning Company FZ for 13 years.
He choreographed and performed for the Nobel Prize Ceremonies, The Royal Variety Show, The Millenium Dome, Hermes Fashion and L'Oreal and was photographed for French Vogue. He has just finished being Rehearsal Director for New York's STREB company for One Extraordinary Day, taking place on London's iconic buildings this Summer.
He has been an international circus/dance/theatre director, working with Gandini Juggling Project, Cirque Vost, Archaos, Cirkus Cirkor and has repeatedly turned down offers to perform with Cirque Du Soleil.
He performed with DV8 Physical Theatre on two tours of Enter Achilles and collaborated on the research project for Happiest Day of My Life.
He was nominated Best Actor by The Stage and earned the Total Theatre Award for Innovation and Excellence for Throat. World's Fair gave him the award for Best Contemporary Circus Artist in 2003.
He supervises on the M.A in Performance at the University of Dance and Circus in Stockholm where he is completing his PhD and where he was Visiting Professor 2007/08.
He is on the Board of Advisors for Circus Space London.
Abstract
Knowledge and the Transference in Circus Performance and Lecture Performance
Circus, like Psychoanalysis deals with sex, death and fantasy. It also needs an "other" to whom it must recount its story. My research deals with what happens in that transmission of information called the circus performance; what knowledge is communicated in that event and what relation is established between artist and other.
In order to do this I look at the Lacanian distinction between truth and knowledge in the analytic set-up and the circus event and find correspondences between the two
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Bauernmarkt 22
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Lichtensteg 3
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Rotenturmstrasse 15
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Hotel Das Tyrol
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Mariahilfer Strasse 15
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LeMeridien
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Opernring 13-15
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Hotel Terminus
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Fillgradergasse 4
1060 Vienna
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Kolpinghaus
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Schleifmühlgasse 25
1040 Vienna
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Hotel Admiral
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Hotel Alpha
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Buchfeldgasse 8
1080 Vienna
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Hotel Graf Stadion
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Buchfeldgasse 5
1080 Vienna
85,00 € for Twin Room
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 23 October 2012)
Hotel Ibis
www.ibishotel.com
Mariahilfergürtel 22-26
1060 Vienna
80,00 € for Singe Rooms
109,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA KONGRESS
(valid until 1 September 2012)
Hotel Levante Parliament
www.thelevante.com/
Auerspergastrasse 9
1080 Vienna
130,00 € for Singe Rooms
160,00 € for Double Rooms
For reservations, please contact:
www.thelevante.com/
Reservation code: Reservation-Link
(valid until 27 September 2012)
Hotel Museum
www.hotelmuseum.at
Museumstraße 3
1070 Vienna
70,00 € for Singe Rooms
135,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 1 October 2012)
Hotel Papageno
www.hotelpapageno.at
Wiedner Hauptstraße 23-25
1040 Vienna
112,00 € for Singe Rooms
128,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 7 September 2012)
Hotel Savoy
www.hotelsavoy.at
Lindengasse 12
1070 Vienna
95,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 8 September 2012)
Hotel Schweizerhof
www.schweizerhof.at
Bauernmarkt 22
1010 Vienna
110,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(payment for one night in advance)
Hotel Zipser
www.zipser.at
Lange Gasse 49
1080 Vienna
79,00 € to 115,00 € for Different Categories:
Standard to Superior
For reservations, please contact:
[email protected]
Reservation code: ELIA
4 Star
Hotel Beethoven
www.hotel-beethoven.at
Papagenogasse 6
1060 Vienna
98,00 € for Singe Rooms
108,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA Kontingent
(valid until 30 September 2012)
Hotel Das Tyrol
www.das-tyrol.at
Mariahilfer Strasse 15
A-1060 Wien
169,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 8 October 2012)
Hotel Kummer
www.austria-hotels.at
Maria Hilfer Straße 71a
1070 Vienna
99,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 28 September 2012)
Hotel Lamée
http://hotellamee.com/home/
Rotenturmstrasse 15
1010 Vienna
Different Price Categories 168-368 €
For reservations, please contact: b [email protected]
R eservation code: ELIA
(valid until 12 September 2012)
Hotel Topazz
http://hoteltopazz.com/home/
Lichtensteg 3
1010 Vienna
Different Price Categories 168-368 €
For reservations, please contact: [email protected]
R eservation code: ELIA
(valid until 12 September 2012)
5 Star
LeMeridien
www.lemeridienvienna.at
Opernring 13-15
1010 Vienna
190,00 € for Rooms
For reservations, please contact:
[email protected]
Reservation code: ELIA
(valid until 7 September 2012)
Boutique
The Ring
www.theringhotel.com
Boutique Kärntnerring 8
1010 Vienna
259,00 € for Single Rooms
299,00 € for Double Rooms
For reservations, please contact:
[email protected]
Reservation code: Booking Form
(valid until 7 October 2012)
Audiovisual Communication
Audiovisual Realities in the Public Sphere - A Critical Perspective on the Conditions for Audiovisual Communication
Hosted by Per Zetterfalk (Senior Lecturer in TV Production - Luleå University of Technology)
Saturday 17.00-18.00 Leopold Museum Auditorium
This session analyses the driving forces behind the development of the audiovisual public sphere and, especially, explore its implications in Sweden in particular. Audiovisual production refers to the sound and visual components in film, TV and new media, and the departure of the study is the working conditions for primetime TV, the hub of audiovisual communication. The core question is: How does the ongoing mediation of reality affect what the producers and participants in the audiovisual field believe they can communicate and not?
At the centre of the study are the interviews with professionals from various fields, all related to the audiovisual public sphere. The conversations will start from a concrete example, which gives a unique insight into the inner sanctum of Swedish television: the already existing documentation behind the scenes of a large modern TV production, the reality TV series The Kingdom (Riket, 2004) by Swedish Television (SVT). This will be shown to the informants as a short documentary film, Reality. The goal is to capture the experiences, insights and questions that the mechanisms of reality TV arouse among professionals in a wider context of audiovisual communication, where one is expressing some sort of reality, e g in TV news.
The reality behind the reality TV production will show how it is like a mirror towards the reality in front of the cameras. The cameras of the production team are directed like binoculars in one way, but also give a picture in the other direction. The reality is anchored in the conditions of its own origins, or is it maybe the other way around? A TV production is a power apparatus in itself, and the social game in a reality series happens within occasional and more lasting hierarchies even behind the cameras.
In a media society and culture such as ours, where you cannot live without using media for most of the time awake, you need to care about reality TV. It relates to the conceptualisation of truth in general, both how reality is realized and how realities are created in the news, political communication and art as well as the everyday life of everyone.
EQ-Arts - Quality review visits offered by ELIA
Presenters: John Butler and Lars Ebert
Saturday 14.00-15.00 Barocke Suite B
This session will give information on the latest developments on quality assurance and enhancement in the European Higher Education Area and present the ELIA EQ-arts services such as institutional and / or
subject peer review by an international panel of trained and experienced experts. There will be time for questions and answers as well as for individual consultations.
In-between-ness: Using art to capture changes to the self during anti-depressant treatment
Hosted by: Glyndwr University
Presenters:
Karen Heald (Senior Lecturer, Glyndwr University)
Susanne Liggett (Senior Lecturer, Glyndwr University)
Saturday 17.00-18.00 Barocke Suite B
Working in a UK based National Health Service hospital, artists Karen Heald & Susan Liggett collaborated with patients and staff, in an acute adult psychiatric inpatient unit. Initiating video/pinhole camera and painting workshops, the artists began developing ideas relating to ‘in-between-ness’ from an art and science perspective.
Heald began exploring upon Julia Kristeva’s notion of the ‘semiotic’ chora , which in itself is extracted from Plato’s chora. Kristeva uses the term to imagine a preverbal creative space that relates to rhythms, colours and trace; the infant before the use of language; the depressive and the psychotic. By creating new video artworks, Heald expands on Kristeva’s chora in relation
to time (Revolution in Poetic Language 1974 and Women’s Time 1979), and results in new concepts: ‘transitory strata’ and ‘in-between-ness’. These ‘dream films’ are representations of transitional spaces of the mind; the imaginary; states between wake and sleep; reverie; the unconscious and layers of consciousness, such as that of the creative or the depressive and psychotic who travels between several time zones simultaneously. Through ‘dream films’ she creates ambient environments, where the audience was unsure as to whether one is asleep, awake, or even in a state of ‘in-between-ness’. The artworks are intentionally framed to display and narrate the unconscious recordings and measurements of time, the gap between wake and sleep. However these experiences seldom occur whilst asleep, they can be uncovered in the nuances of wakefulness. Stirred by direct sensitivity to perception, which when heightened under extreme moments of creativity, stress or illness, they can take the finder on a more profound pathway. Through painterly, poetic non-linear video narratives,these transitional spaces are played out.
Liggett builds on her PhD thesis ‘Psychological Resonance and its Relationship to Site in the Work of Five Contemporary Painters’. She found ‘in-between-ness’ related to the stage in the creative process where the artists in her research could not articulate in words exactly what they were intending in their work. Liggett is interested in exploring the notion of ‘Psychological Resonance’ within a conceptual framework she devised for the creative process. Psychological resonance is an analogous concept, that according to Liggett (2008) is: “the metaphoric vibration resulting from an inner dialogue between ‘subject’ and ‘object’.”
The transition from individual working modes to involving collaborations with scientists and psychiatric patients at the in-patient psychiatric unit enabled a complex collaborative methodology to evolve. In building upon the work at the psychiatric unit and in collaboration with Dr Richard Tranter, (Consultant Psychiatrist), Professor Rob Poole, (Professor of Mental Health), and GP surgeries, the artists are proposing new perspectives into the effects of antidepressant
medications. In-between-ness: Using art to capture changes to the self during antidepressant treatment is currently in the second year of a three-year Research and Development project, which is funded by the Arts Council of Wales and the North Wales Clinical School. Through arts and science research the collaborators are exploring if patient changes are reflected in the way people express themselves and respond to their environment, prior, during and post antidepressant medication.
Discussion
Although the project was conceived as a method of exploring the experiential effects of antidepressant medication, these preliminary findings raise the possibility that engagement in the creative process itself may aid recovery from depression. This may be through diverting attention from internal ruminations towards external sensations, enhancing self-worth through the creation of aesthetic work and promoting the reconstruction of a meaningful personal narrative.
The artists perceived these abstract and poetic non-linear narratives as “dream films”, referring to a transitional space where contextualisation begins to re-emerge. The relative contributions of medication and interactions with professional artists to this recovery cannot be disentangled in this project. A well as generating potentially testable hypotheses for future
research into the psychological effects of antidepressants, the project also points toward
clinical studies investigating the role of creativity in recovery from depression. Such future work would also benefit from the collaborative approach adopted in this project, that respected and valued the creative space developed and nurtured by the artistic partners.
The proposed session includes film extracts exploring visualizations of time through practicebased
arts research. Through a visual language that develops from a background of poetic films, this non-verbal communication translates through the performative use of time-based media. These preliminary experimental films alongside those of the participants explore a preverbal language of ‘in-between-ness’. This non-linear narrative, which addresses arts and
science research, is both timely and significant.
Consultant Psychiatrist Rob Poole says:
“narrative has uses both in mental health practice and in research, because it is important to overcome decontextualisation and loss of meaning.” This intriguing offer to participants to tell their story is about starting dialogues as: “people process their internal world very differently.”
In measuring success we are searching for changes to the self from a biomedical perspective and in the creative output. Paradoxically it is by the abstract non-linear narrative of ‘dream films’ that contextualisation begins to re- emerge.
As Professor Poole states: “there is no model of the self in psychiatry”. Perhaps by ‘being in-between’ the collaborative process of ‘in- between-ness’ is one step closer to discovering it.
FEDEC (Fédération Européenne des Ecoles du Cirque Professionnelles)
Circus: New Education, New Artistic Forms
Presenter:
Donald B. Lehn (Vice-President of FEDEC and Vice-President of FIC – Federación Iberoamericano de Circo)
Saturday 14.00-15.30 Kunsthalle Wien Lounge
Circus in the XXI century is no more the domain of red noses and unequalled triple somersaults than dance is the domain of tutus and pink ballet slippers. Though classic circus is still alive and valued as a discipline and style, circus arts have evolved, redefining contents and aesthetics, and jumping from the realm of popular entertainment to art form in the course of the last thirty years.
Circus Education is at the heart of this revolution. For centuries, circus skills and ways were transmitted within the family, and circus companies were clans that lived and performed in a bubble, isolated from society, and closed to outsiders. That bubble burst with the creation of the first circus schools open to anyone interested in learning. The new students brought new influences, new expressive desires and languages. The schools incorporated a much broader range of teachers, and cultivated the creation process. The result is a dynamic new form that crosses lines into many other art forms, from dance and theatre to architecture and visual arts.
In this, our first contact with other higher arts institutions, we would like to share the general process of circus education, discuss how this process has laid the groundwork for the development of contemporary circus, discuss the challenges faced by our institutions as we “come of age” in formal educational frameworks, and how the FEDEC plays an essential role in facing those challenges.
As Circus Arts Education is a newcomer to higher education, we hope that this will open a dialogue to allow our young art form (and even younger network) to learn from the experience of other arts institutions, at the same time as we contemplate together the many areas where circus arts can encounter other art forms in the future.
Conservation and Restoration
Re-spect: Conservation Matters Conservators in a Demanding World
Round table discussion hosted by Palazzo Spinelli - C&R traning center
Saturday 15.30-17.00 Barocke Suite C
Presenters:
Emanuele Amodei (Palazzo Spinelli for Art and
Restoration, Florence, Italy)
Paolo Pieri-Nerli (Palazzo Spinelli
for Art and Restoration, Florence, Italy)
Gabriela Krist (Head of Restoration, University of Applied Arts, Vienna, Austria)
Anna Opalka (Research and Education Centre of Conservation of Art, Nysa, Poland)
Sergio Meyer (Centro Albayzin, Granada, Spain)
Luci a Giuliano (ABADIR – Accademia di Belle Arti, Catania, Italy),
Max Pinucci (ISIA Higher Institute for Industrial and Communication Design, Florence, Italy)
Marina Sokhan (City and Guilds of London Art School, London, UK)
In a world which is becoming more and more swallowed up by the relentless rush towards indiscriminate progress and production, the urgency of a culture of re-covery moves forward and it is in view of this necessity that the potential and the absolute relevance of the founding principals of conservation clearly emerge.
Like a conciliatory figure trying to repair an ancient fracture between man and nature, restoration teaches us good practices, such as respect and protection for the preventative maintenance and careful and philological recuperation of all types of heritage for future generations.
All types of heritage must be taken into consideration given that it is not just the tangible and intangible heritage unquestionably worthy of relay that must be safeguarded, but also the minority heritage, lesser known or even everyday tokens which provide evidence of a history equally worth knowing.
Usefulness and beauty, therefore, are brought together thanks to conservation and restoration and their capacity to protect heritage from the primarily anthropic and climatic changes that put it at risk; a risk of lose of knowledge and identity, two elements which have always, even in moments of crisis, allowed humanity to rise again through a new environmental and cultural conscience.
It is for this reason that today we do not have to be afraid of stating that art counts and that the principles of restoration, in clear harmony with those of the environment, are aimed at a new relationship with the things that have been passed down to us by allowing them to survive in a sustainable way, and to be completely understood by man.
Effective and emotive social involvement, one of the strongest elements in the world of conservation and restoration, highlights the difficulty of recovering damaged heritage and favours a new awareness in those who come into contact with it, promoting respect, care and responsibility.
In conclusion, we assert that restoration can be interpreted as a guide, able to teach civic and ethical principles like a cure aimed at transferring good practices to train people conscious of today and tomorrow in the knowledge of the fragility of the tokens of our presence on this planet.
New European Funding Programmes
Presenter: Truus Ophuysen
Saturday 14.00-15.30 Barocke Suite A
This interactive workshop provides up to date information on new European funding programmes and policies. There will be time for questions and answers as well as for individual consultations.
NEU NOW Festival presentation
Presenters: Paula Crabtree and Anthony Dean, artistic directors of the NEU NOW Festival, give a presentation on the past editions and future plans.
Saturday 17.00-18.00 Barocke Suite A
The NEU NOW Festival has established itself as an innovative platform for talented graduating or recent graduate artists – coming out of Higher Arts Education institutions and universities across Europe and beyond – to present themselves to a wider international audience within professional contexts.
Dance
What's in it for the Artists? Educating dancers and choreographers to create and work in contemporary society
Hosted by DOCH, the University of Dance and Circus in Stockholm and the Inter-University Centre for Dance Berlin (HZT)
Saturday 15.30-17.30 Kunsthalle Wien Lounge
Presenters: Efva Lilja and Nik Haffner
This seminar aim to discuss how our educational programmes can be developed through collaboration. We all want to be as strong a resource as possible within the art form we represent. This goal requires dialogue and an effort to influence the environment – both within educational politics and within the politics of art. We formulate our own target visions.
We identify each other from our different target visions. We can discover each other for collaboration, exchange, courses, joint programmes, high-level seminars, and collaborative research. We can see how our tasks, profiles and cultural contexts differ, maybe as complementary, maybe as an inspiration, maybe as something to avoid at all cost. If we learn more about each other’s profiles/aims/competences, we can better utilize the possibilities for specialization offered by collaboration within the EU and Bologna framework, but also work on the political level.
We have formulated three questions as a starting-point for our discussions:
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Which is our role as educators today?
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Which role do we assume as educators today?
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Which role would we like to have as educators tomorrow?
We also see a need to develop the discussion to include questions like:
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How do we envisage the higher seat of learning/educational programmes/free standing courses in relation to traditional vocational training programmes?
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How do we envisage the higher seat of learning/educational programmes/free standing courses in relation to the profession?
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How do we envisage the higher seat of learning/artistic research education and artistic research in relation to the profession?
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Besides our responsibility to educate and conduct research, is there a responsibility also to engage in cultural politics?
EU contributes to more cooperation through various support systems, such as Erasmus, Leonardo da Vinci, Grundtvig, Comenius and joint EU research funds, etc. Bologna creates a format for agreement on levels, but leaves the content for us to decide. How do our strategies differ when it comes to the relation between excellence and broad education? Is there a need for more specialisation? Which role in this can we assign to the research programmes and artistic research education? What’s in it for the artists?
We invite you to join in for an exiting event and a crucial discussion on the future of dance and choreography in contemporary society. Every participant will be given the opportunity to present her/his institution. Then we will have short introductions followed by open discussions.
Joint Sessions with EPAS
Challenges within continuing education in performing arts
Presenters:
Vigdís Jakobsdóttir (Lecturer, Iceland Academy of the Arts)
Bodil Persson (Lecturer, DOCH – University of Dance and Circus)
Kerstin Anderson (Head of Continuing Education, The Danish National School of Performing Arts)
Saturday 14.00-15.30 Barocke Suite C
This session will focus on how higher Education institutions deal with and develop Continuing Education in our different disciplines. This seminar will examine the sometimes blurred borders between MA-level - and other courses that award credit and continuing education, and how the different education institutions handle this. Ultimately, this is to promote interested in a serious and continuous collaboration and dialogue within ELIA about the above mentioned issues.
Background Information on ENCEPA
The Leonardo da Vinci partnership 'ENCEPA' is the creation of a network for European institutions and organisations offering continuing education and training for professionals in performing arts. The Danish National School of Theatre - Continuing Education is the coordinator of the network consisting of nine partner institutions in Norway, Finland, Sweden, Iceland, Estonia, France and Denmark. The kick-off meeting was held in September 2010 and the project will culminate with a joint workshop in June 2012.
The aims and objectives of the ENCEPA network are:
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To exchange experiences and best-practices on how to make high quality continuing training and education for professionals in performing arts
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To create a comprehensive inspiration list with themes and ideas for future joint European courses/seminars/master-classes and further international cooperation
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To develop new ways of working together internationally
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To join forces and create European workshops and courses
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To identify new institutions offering continuing professional education for the theatre and dance environments in Europe
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To invite potential new partners to join the network in order for ENCEPA to cover most of Europe
EPAS network
(Joing Session with ENCEPA)
The Performing Arts as a dynamic means of Social Transformation
Presenters:
Anthony Dean (Dean of Performing Arts, University of Winchester)
Clare Hobbs (Hampshire County Council & Wessex Dance Academy)
Saturday 14.00-15.30 Barocke Suite C
This session will explore, through concrete examples, ways in which the performing arts are actively meeting some of the contemporary social and economic challenges facing Europe – celebrating both the redemptive and regenerative powers of the arts.
Making Differences Researching Inequalities within the field of Higher Arts Education
Presenters:
Catrin Seefranz (Research Associate, Institute for Art Education, Zurich)
Philippe Saner (Sociologist, University Basel)
Round Table:
Paul de Bruyne (Researcher, Playwright and Theatre director, Professor, Fontys University for the Visual, Amsterdam, Lecturer, Maastricht University)
Mark Crawley (Director of Widening Participation, Progression and the National Arts Learning Network, University of the Arts London)
Lysianne Léchot Hirt (Professor, Head of teaching [former Head of research 2003–2012],
HEAD – Geneva University of Art and Design)
Carmen Mörsch (Head of Institute for Art Education, Zurich)
Ruth Sonderegger (Professor of Philosophy and Aesthetic Theory, Academy of Fine Arts Vienna)
Saturday 14.00-15.30 Leopold Museum Auditorium
While both art and higher education/universities have each sociologically been studied for generations, research on inclusion and exclusion in the field of higher art education is just about to establish itself. A field which is occasionally—and, as empirical surveys reveal, not without good reason—described as “preserve of the privileged” (Malik Okon).
Inspired by the long-term researches under the motto “Widening Participation” in Great Britain, the research project Making Differences of the Institute for Art Education at the University of the Arts, Zurich, initiated a scientific analysis of politics, processes and practices of homogenization, exclusion, as well as pluralization, diversification, or inclusion in the field of institutes of higher art education. Based on the assumption that an institute of higher art education is a place of reproduction of social asymmetries (just like a potential place for their transformation), some fundamental questions can be raised: Who studies at Swiss art universities? Who is missing? Does the diversity of the student body reflect that of the Swiss population or are some groups missing? Does the university create social inequalities or does talent alone create equality? How are inclusions and exclusions being reproduced individually, institutionally, and structurally? And how are these related to the field of art and its theories and logics?
Based on the results of a preliminary study published in spring 2012, a continuation and expansion of research to rely on participatory and artistic methods is being planned.
In an attempt to strive for international research on inequalities in the field of art universities, Making Differences is strongly interested in an exchange of expertise and experiences with other institutes of higher art education and invites to a presentation of the results from the preliminary study and a discussion of the research questions essential to the future of global higher art education.
In
an
attempt
to
strive
for
international
research
on
inequalities
in
the
field
of
art
universities,
Making
Differences
is
strongly
interested
in
an
exchange
of
expertise
and
experiences
with
other
institutes
of
higher
art
education
and
invites
to
a
presentation
of
the
results
from
the
preliminary
study
and
a
discussion
of
the
research
questions
essential
to
the
future
of
global
higher
art
education
Musical Theatre
Preparing our students in Musical Theatre Education for the future
Hosted by the Musical Theatre Department, Lucia Marthas Dance Academy/Hanze Hogeschool Groningen, the Royal Conservatoire of Scotland and the University of Gothenburg
Saturday 15.30 - 17.00 Barocke Suite B
Presenters:
Jacques Van Meel (Senior Consultant, Lucia Marthas Dance Academy)
Andrew Panton (Artistic Director Musical Theatre, Royal Conservatoire of Scotland)
Rich Ascroft (Head Musical Theatre Department, Dance Academy Lucia Marthas / Hanze University Groningen)
Nina Norblad (Director of Studies in Musical Theatre, University of Gothenburg)
Two Higher Art Institutes, the Royal Conservatoire of Scotland/Musical Theatre Department and Lucia Marthas Dance Academy/Hanze Hogeschool Groningen are building up a small network in the context of Musical Theatre.
Higher Musical Theatre Education is growing, not only because of the huge possibilities in the working field of theatre, but also in the amount of institutions all over Europe, USA and Asian countries.
The last twenty years the development of Musical Theatre, from the perspective of three art forms coming together (singing, acting and dancing), is huge. The recognition as an art form is still going on. Because Musical Theatre is most of the times part of the big entertainment industry, not everybody accepted this phenomena as art.
Now the questions are raised up in the context of art development, writing processes, interaction of art forms, but very special about the development of this art form in the future.
In this seminar we will ask these questions to the artistic leaders of the Musical Theatre departments as well to some important representatives from the working field by a panel and a keynote speaker.
The Inheritance: Contesting Legacies in Fine Art Practice, Research and Education – Presentation V Biannual Conference, Granada University
Presenters:
Isidro López-Aparicio (Chair of the Fine Art European Forum)
Maia Mancuso (Palermo conference co-ordinator)
Christine Pybus (Cork conference co-ordinator)
Ana García López (Granada conference co-ordinator)
Saturday 15.30-17.00 Barocke Suite A
PARADOX, the Fine Art European Forum, will present some of the dialogue that has emerged from its last two successful Conferences; Transition and Progression: in Fine Art Education and Research in Palermo (2009) and Outside In – The Permeable Art School in Cork (2011).
These Conferences have evolved around different strands of thinking crucial to the teaching of fine art such as curriculum development, exchange and exhibition, professional practice, the art school gallery, the art school as broker, the relation between the academy, the city and the artist, as well as questioning if Fine Art itself needs a facelift.
An important accompaniment to these events has been the involvement of students undertaking practice-based research before and during the conference. We also plan to use this session to identify some of the issues to explore at the next Paradox conference in Granada in September 2013.
PEEK - Funding of Arts-based Research
State of the Arts: Funding of Arts-based Research
Hosted by Austrian Science Fund (FWF) and the Art Universities of Austria.
Presenters:
Paula Crabtree (International PEEK Board, Bergen National Academy of the Arts)
Eugen Banauch (PEEK Management, Austrian Science Fund)
Alexander Damianisch (University of Applied Arts Vienna)
Saturday 15.30-17.00 Leopold Museum Auditorium
Those who practice research know best about its quality. This is a clear statement in favour of peer review and it does not only apply to the so-called traditional disciplines. It is also strongly relevant for flourishing approaches such as arts-based research. But it is only one thing “to know best” - it is also necessary to exchange this practice of knowledge. Therefore, this session seeks to explore how best to identify quality and how to exchange this knowledge. The FWF will present its approaches to funding and evaluation.
In addition, the session invites two or three experienced specialists from research institutions (Alexander Damianisch, Research and Context, University of Applied Arts Vienna, and N.N.) to present their perspectives and experience.
The Program for Arts-based Research (PEEK), established in 2008, is a funding scheme at the Austrian Science Fund (FWF). The FWF is Austria's central funding organization for basic research, comparable to the Research Councils in the UK or the DFG in Germany.
The following groups are invited to participate: arts-based researchers, research institutions, funding agencies
