We would like to thank the 400 delegates, the speakers and presenters, our partners and our dear host and co-organiser Palazzo Spinelli for their dedicated contributions and for a phenomenal week in Florence.
Furthermore, we are proud to announce that the next ELIA Biennial Conference will take place 21-24 November 2018 in Rotterdam, the Netherlands. The 15th edition will be hosted by Codarts and Willem de Kooning Academy.
Take a look at a photo highlights below. Stay tuned, as we will shortly publish the videos and presentations!
Registration Deadlines
Early Bird 30 June 2016
Regular 15 November 2016
| EUR 425 | Early Bird ELIA Members Fee registered before or on 30 June 2016 |
| EUR 495 | Regular ELIA Members Fee registered on or from 1 July 2016 onwards final registration deadline 15 November 2016 |
| EUR 120 | Doctoral Students Fee for Doctoral Students of ELIA Member Institutions only |
| EUR 2000 | Non-Member Fee |
| EUR 100 | Accompanying Person/Spouse Fee |
| EUR 20 | Closing Party |
| EUR 40 | Blind Date Dinner |
| The registration fee includes all conference materials and access to all conference sessions and related events. Please notice: the Accompanying Person/Spouse Fee is meant for spouses or accompanying persons joining the social and cultural events only. The Closing Party and the Blind Date Dinner require an additional fee. | |
Please refer to the events Cancellation Policy for further clarifications on our Terms & Conditions.
Wednesday 30 November
| 10.00-12.00 | Optional: Higher Arts Education Institution Visits Visits and Tours hosted by Florentine Higher Arts Education Institutes, showcasing their work and the historic cultural venues they are situated. Details |
| 14.00 | Registration Details |
| 14.00-18.00 | Open Space Workshops, Network Meetings and Discussions Details |
| 20.00 | Optional: Blind Date Dinner Networking Dinner and Authentic Florentine Cuisine Details |
Thursday 01 December
| 08.30 | Registration Details |
| 09.15 | Grand Opening Welcome Details |
| 10.15-11.00 | Coffee Break |
| 11.00-12.00 | Plenary Keynote by Daan Roosegaarde Details |
| 12.00-13.00 | Table Talks Round Table Discussions Details |
| 13.00-15.00 | Lunch with Pecha Kucha Presentations Community/Activation - Crossing Borders - Preparing the Artists of Tomorrow - The Role of the Arts Schools - Analogue/Digital Details |
| 15.00-18.00 | Mobile Sessions Meet the City's Artists and Practitioners: working sessions, discussions and showcases by Florentine Cultural Institutes Details |
| 19.00 | Civic Reception Welcome by the City in the Palazzo Vecchio and Dinner Details |
| 08.30 | Registration Details |
| 09.15-09.45 | Plenary Keynote by Cristina Accidini Details |
| 09.45-10.15 | Plenary Keynote by David Greig Details |
| 10.15-11.15 | Table Talks Round Table Discussions Details |
| 11.15-12.15 |
Plenary Positions on the Doctorate of the Arts Details |
| 12.15-13.30 | Lunch |
| 13.30-14.30 | Thematic Sessions Break Out 1 3rd Cycle Supervision - Preparing the Artists of Tomorrow Pt. 1 - Community/Activation - Crossing Borders Pt. 1 - Transformations in Learning and Teaching Details |
| 14.30-15.30 | Plenary Making a Living from the Arts Details |
| 15.30-16.00 | Coffee Break |
| 16.00-17.00 | Thematic Sessions Break Out 2 Cultural Entrepreneurship - Preparing the Artists of Tomorrow Pt. 2 - Crossing Borders Pt.2 - Quality Assurance and Enhancement Details |
| 17.00-18.15 | Official Closing Keynote by Carla Delfos Details |
| 21.00 | Closing Party Details |
| 08.30-09.30 | Registration General Assembly Members Only Details |
| 09.30-13.00 | General Assembly Members Only Details |
Click on the title for more details on the session and its presenters.
Plenary Sessions
The plenary sessions feature keynote speakers offering thought-provoking presentations to further promote dialogue based on the theme TURN MIRRORS INTO WINDOWS. A series of questions will be raised to give jumping off points for discussion, focused on the influences, challenges and opportunities presented by current European and worldwide developments.
Furthermore, two plenary sessions are organised on Friday, focuses on respectively the expert field of artistic research and cultural entrepreneurship: ‘Positions on the Doctorate in the Arts’ and ‘Making a Living from the Arts.’
Thematic Sessions
Presenters who are selected from the Call for Presentations for ELIA Member Institutions showcase research papers, case studies and innovative projects. Delegates can choose one of the parallel organised thematic sessions, each addressing a different area of interest.
Table Talks
Table Talks are designed to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Delegates will be assigned to small, alternating discussion groups to facilitate dialogue and to encourage networking.
Pecha Kucha
Lunch on Thursday is accompanied by presentations in the Japanese format of Pecha Kucha: 20 slides shown for 20 seconds each- equal to a total presentation of six minutes and 40 seconds. The presenters are selected from the Call for Presentations for ELIA Member Institutions. Delegates can choose between 3 parallel break-out sessions to attend.
Mobile Sessions
The urban fabric of Florence has hardly changed since the Renaissance, with world-class artefacts and art venues in each of its narrow streets. The arts and their creators have always been a cornerstone of Florentine economic and cultural life and still are today, showcasing both the city’s rich heritage and the contemporary arts. To engage with Florence in a broader sense the Mobile Sessions have been designed to give conference participants the rare opportunity to explore behind closed doors and meet local professors, practitioners and producers. Through dialogue with these experts, delegates will explore the complex relationship between Florence, its art history and its art future. Delegates are invited to choose which of these sessions they wish to be part of.
Open Space
Open Space is the non-curated platform that offers ELIA Members and Partners the opportunity to showcase and share their own practices with delegates, for example, a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise. Several parallel sessions will be organised. Delegates attending Open Space can register for the whole conference upon arrival in the venue.
General Assembly
The ELIA General Assembly will be held on Saturday in the morning. While the ELIA Biennial Conference will be open to all conference participants, the General Assembly is a forum that is restricted to ELIA members only. The agenda and relevant papers will be distributed separately.
| Preparing the Artists of Tomorrow |
| Preparing the Artists of Tomorrow showcases different approaches to meet the opportunities and challenges that young artists and creative professionals encounter in today’s society and while facing the industry, during their education as well as after graduation. |
| Crossing Borders |
| Crossing Borders reflects on change versus the status quo in today’s society, prompted by actors such as globalisation, diversity and gender, and how the arts and higher arts education play part in this. |
| Artistic Research |
| This session addresses current developments in artistic research, with a distinct focus on the 3rd cycle. It discusses a joint ELIA/EUA position paper and showcases challenging practice examples. |
| Making a Living from the Arts |
| Through the project NXT - Making a Living from the Arts, ELIA looks into what higher arts education institutions are doing to support the career development of emerging artists. How can young artists make a living from their artistic practice? How are higher arts education institutions evolving? What is the role of the arts in the societal context? The role of the creative industries and the activities developed by creative hubs all over Europe and beyond are taken into consideration. |
| Quality Assurance and Enhancement |
| Quality Assurance and Enhancement discusses the quality management process of higher arts education institutions and programmes across Europe and beyond, investigates how higher arts education institutions and programmes could be supported in quality assurance and accreditation processes and addresses current influential developments. |
| Community/Activation |
| Community/Activation discusses the arts and higher arts education as a catalyst for social, cultural, political or rural transformation and its impact on communities. |
| Transformations in Learning and Teaching |
| Transformations in Learning and Teaching showcases new approaches in didactic strategies and practice in higher arts education. |
| Analogue/Digital |
| Analogue/Digital goes into the relation between online and offline creation, conservation and learning processes. |
| The Role of the Arts Schools |
| The Role of the Art Schools presents papers and best practices on strategies of higher arts education institutions. |
Confirmed keynote speakers thus far are multiple award winning social designer and artist Daan Roosegaarde and Director of the UNESCO Office in Doha Anna Paolini, who has over 25 years of experience in advocating culture in areas of conflict. More speakers and information will be published shortly.
We are proud to announce that we have over 80 presenters from 19 countries contributing to the programme!
The presenters represent ELIA Member Institutions and are selected by an independent jury of experts as well as the members of the 14th ELIA Biennial Steering Group, based on proposals submitted in response to the Call for Presentations.
You can learn more on the presenter(s) and their presentations by clicking on "details" when you browse through the programme and/or sessions & events online.
Emanuele Amodei, General Director, Palazzo Spinelli Istituto per l’Arte e il Restauro, Florence, Italy
Carla Delfos, Executive Director, ELIA – European League of Institutes of the Arts, Amsterdam, Netherlands
Philippe Hardy, Executive Managing Director, Ecole Européenne Supérieure d’Arts de Bretagne, Rennes, France
Maggie Kinloch, Vice Principal, Royal Conservatoire of Scotland, Glasgow, United Kingdom
Michael Kwakkelstein, Director Dutch University Institute for Art History, Florence, Italy
Thomas D. Meier, President, ELIA; Zurich University of the Arts, Zurich, Switzerland
Stefano Baldassarri, Director of ISI - International Studies Institute, Palazzo Rucellai
Monica Stefania Baldi (President), President of Pinocchio by Carlo Lorenzini Cultural Association, Former Member of European Parliament for Culture, Education, Youth and Sport.
Marina Bistolfi, Head of Education at Fabbrica Europa
Giò Carbone, Director of Le Arti Orafe Jewellery School
Eugenio Cecioni, Director of Accademia di Belle Arti di Firenze
Alessandro Colombo, Director of IED Florence – European Institute of Design
Corinna Del Bianco, Board member for international relationships at Fondazione Romualdo Del Bianco
Elisa Gradi, Art Historian, Art Critic, Curator at Lorenzo de’ Medici Institute
Anne Chantellier Pellegrini, Senior Administrator at SACI (Studio Arts Centers International)
Paolo Pieri Nerli, Conservation Architect at Palazzo Spinelli per l’Arte e il Restauro
Francesco Torrigiani, Lecturer at Conservatorio Musicale Luigi Cherubini
Riccardo Ventrella, Director of Communicatons at Fondazione Teatro della Pergola
Marte Brinkman, Conference Manager, ELIA – European League of Institutes of the Arts, Amsterdam, Netherlands
Catherine Burnett, Head of International Projects and Cooperation, Palazzo Spinelli Instituto per l’Arte e il Restauro, Florence, Italy
Click on the title to learn more about the session and its presenters.
OPTIONAL:
HIGHER ARTS EDUCATION INSTITUTIONS VISITS
10.00-12.00
Venue: Various
Meeting Point: TBC
For the early arrivals we have organised a few tours, hosted by higher arts education institutions who will take you on a journey through their work and the unique historic venues where they are situated.
Palazzo Spinelli, Le Arti Orafe Jewellery School, SACI Florence, Lorenzo de’ Medici - The Italian International Institute, Palazzo Coppini- International Meeting and Study Centre, Conservatorio Cherubini
OPEN SPACE
14.00-18.00
Venue: IED
OPEN SPACE is the non-curated platform that offers ELIA partners and member institutions the opportunity to showcase and share their own practices with delegates, being it for example a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise.
Delegates attending OPEN SPACE can register for the whole conference upon arrival in the venue.
Workshops, Expert Meetings and Network Events by ELIA Members and Partners.
BLIND DATE DINNER
20.00
Venue: TBC
If you wish to start networking straight away, join the optional Blind Date Dinner. During this dinner the organisers facilitate matchmaking; placing participants in intimate groups across several tables at the restaurant, where authentic Florentine dishes will be served. Places are limited and should be re-reserved during online registration.
REGISTRATION
08.30
Venue: Palazzo dei Congressi, Villa Vittoria
Please register upon arrival at the venue to collect your conference badge, printed programme and other materials.
GRAND OPENING
09.00-10.15
Venue: Palazzo dei Congressi, Villa Vittoria
The 14th edition of the ELIA Biennial Conference will be opened with a Vivaldi chello duet, taking a piece of Italy its rich artistic heritage, performed by one of its most renowned contemporary musicians Vittorio Ceccanti. Delegates will be further welcomed by ELIA, Palazzo Spinelli and representatives of the city of Florence, followed by a keynote talk of Cristina Acidini: art historian and President of l’Accademia delle Arti del Disegno of Florence- the oldest academy of fine arts in the world.
Performance by Vittorio Ceccanti, Welcome by ELIA, Palazzo Spinelli and the City of Florence, Keynote by Cristina Acidini
COFFEE BREAK
10.15-11.00
PLENARY
KEYNOTE: DAAN ROOSEGAARDE
11.00-12.00
Venue: Palazzo dei Congressi, Villa Vittoria
Keynote by Daan Roosegaarde, who creates innovative, technology based social designs that explore the relation between people, technology and space. He is the creative director of the social design lab Studio Roosegaarde and winner of the Dutch Design Award, Charlotte Kohler Prijs, Design for Asia Award and China's Most Successful Design Award.
TABLE TALKS
12.00-13.00
Venue: Palazzo dei Congressi, Villa Vittoria
TABLE TALKS give the opportunity to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Each round of TABLE TALKS the composition of delegates at the tables switches; to change the mode of dialogue and encourage making new contacts.
LUNCH WITH PECHA KUCHA
13.00-15.00
Venue: Palazzo dei Congressi, Villa Vittoria
LUNCH will be accompanied by presentations in the Japanese format of PECHA KUCHA: 20 slides shown for 20 seconds each. Delegates can choose between five parallel sessions to attend, each adressing a different topic frameworked by the conference theme.
Community/Activation, Crossing Borders, Preparing the Artists of Tomorrow, The Role of the Art Schools, Analog/Digital
MOBILE SESSIONS
15.00-18.00
Venue: Various
Meeting Point for Departure: Palazzo dei Congressi, Villa Vittoria
Engage with the city’s wider cultural community and landscape during the MOBILE SESSIONS: visits across a range of cultural and higher arts education institutions that are hosted by local artists and practitioners.
IED – European Institute for Design, Palazzo Spinelli, Fabbrica Europa, Lorenzo de’ Medici - The Italian International Institute, Conservatoria Cherubini, Life Beyond Tourism, Accademia di Belle Arti di Firenze, Le Arti Orafe Jewellery School, Teatro La Pergola, Biblioteca Nazionale Centrale di Firenze
CIVIC RECEPTION
19.00
Venue: Palazzo Vecchio
Delegates are invited to attend the Civic Reception. The City Council of Florence welcomes you in the Salone dei Cinquecento of Palazzo Vecchio, followed by dinner.
REGISTRATION GENERAL ASSEMBLY
08.30-09.30
Venue: Auditorium al Duomo
GENERAL ASSEMBLY
09.30-13.00
Venue: Auditorium al Duomo
The General Assembly is a forum that is restricted to ELIA voting members only. The agenda and relevant papers will be distributed separately.
OPTIONAL: CITY TOURS
AFTERNOON
Venue: Various
Meeting Point: TBC
If your stay extends beyond Friday, you could visit one or more of the city its finest cultural and historic venues. In Florence most sightseeing events should be booked in advance. A selection of tours will be available for booking during online registration.
Please notice this is an additonal service offered: it involves seperate charges and it is not an official part of the programme.
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
Strand: Preparing the Artist of Tomorrow
Room: Passi Perdutti Yellow
PREPARING THE ARTISTS OF TOMORROW |
| Welcoming Multiprofessional Cooperation - Moving towards Multiprofessional Work. Liisa-Maria Lilja-Viherlampi Turku University of Applied Sciences/Arts Academy, Finland Details |
| Preserving Contemporary Art as a Way to the Understanding and Appreciation of Current Artistic Activity. María del Carmen Bellido Márquez University of Granada, Spain Details |
| Windows on Worlds: Artist-Teachers Conducting Action Research on Four Continents. Stacey Salazar Maryland Institute College of Art, United States Details |
| The discovery of the body, didactics for a dance in movement. Marinella Guatterini Teatro Paolo Grassi, Italy Details |
| Westpassage – Journey, Inquiry and Sustainable Collaboration. Babette Martini InWest eG, Germany Details |
| Coaching for artists: From the University to the art world. The case study of the R+D project: “Visual Arts and Talent Management.” Belén Mazuecos University of Granada, Spain Details |
The role of the Art Schools |
| Making Learning: The Red House as mirror and window; and creative education as catalyst for social and cultural transformation. Andrew Brewerton Plymouth College of Art, United Kingdom Details |
| Artistic Research: Prolific Innovation or Pragmatic Tool? Radka Kunderová Theatre Faculty of Janáček Academy of Music and Performing Arts, Czech Republic Details |
| Arts Institutions and Aesthetic Education. Jonathan Clark, Louise Jackson Trinity Laban Conservatoire of Music and Dance, United Kingdom Details |
| Let our Mirror be your Window. Bridget Kievits Amsterdam University of the Arts, the Netherlands Details |
ANALOGUE/DIGITAL |
| Online and studio based fine art learning - a dialogue of with-ness? Jonathan Kearney University of the Arts London, United Kingdom Details |
| theweb.printing() Loïc Horellou Haute École des Arts du Rhin (HEAR), France Details |
| Design 1o1: from Mirrors to Windows. Fosca Salvi Abadir Academy of Design and Fine Arts, Italy Details |
COMMUNITY/ACTIVATION |
| Turn mirrors into windows - Our stories and the other stories. Predrag Velinovic University of Arts Belgrade, Serbia Details |
| Hungarian and gipsy youth making and enjoying art together. Márta Nyilas University of Pécs, Faculty of Music and Visual Arts, Hungary Details |
| The educational innovation in music and social fallout . Luciano Tristaino, Anna Carli Music Conservatory Rinaldo Franci, Italy Details |
CROSSING BORDERS |
| Figural Theatre of the Mediterranean: a ‘Liquid Border’ of Imagination, Memory, and Hope. Melanie Zefferino Florence Biennale / Churchill British Centre, Italy Details |
| Sensing Behind the Mirror. Peter de Cupere School of Arts/PXL-MAD, Belgium Details |
| Know yourself to make a new hospitality. Corinna del Bianco, Simone Giometti Life Beyond Tourism, Florence Details |
Thursday 01 December
Venue: Various
Meeting Point for Departure: Palazzo dei Congressi, Villa Vittoria
15.00-18.00
Engage with the city’s wider cultural community and landscape during the Mobile Sessions: visits across a range of cultural and higher arts education institutions that are hosted by local artists and practitioners. Please notice: due to limited capacity, delegates will be asked during online registration to select their first and their second choice of which Mobile Session they wish to attend. Delegates will be allocated to the session of their choice on a first come, first served basis.
Session 1
High-end Craftsmanship meets Advanced Technologies |
| Crafts and contemporary thinking: new forms of beauty for “hand made” products. Delegates are invited to visit the European Institute of Design and debate new trends with style and design experts and Tuscan craftsmen. A dialogue will be formed between those who are familiar with, and anticipate, aesthetic canons and the workers who have made the Italian brand synonymous with quality. www.ied.edu |
Session 2
A practical restoration workshop of paintings on canvas and wood |
| Delegates are invited to come to Palazzo Spinelli’s workshops and learn about the restoration of paintings on canvas and wood. The practical session will involve an overview of various aspects of restoration and conservation processes and an interactive demonstration of some of the techniques. Participants will also be able to visit the 15th-century chapel on the school campus with frescoes by Santi di Tito. www.palazzospinelli.org |
Session 3
Inter Pares Project: Open Work Session with Agnese Lanza and Julie Havelund |
| Fabbrica Europa invites delegates to a end an open work session of the Inter Pares Project, focused on the value of observing, describing, listening and remembering. These elements are the raw material that is physically explored and elaborated in the performance to discover a new sense of authenticity. The information taken from what is around us, audience and architecture, allows a sense of inter pares, of equality between ourselves and the space, to emerge from the work. The session is led by dancer Agnese Lanza, a graduate from London Trinity Laban Conservatoire, and Scandinavian, London-based dance artist Julie Havelund. Agnese Lanza and Julie Havelund danced together for the first time in the Square Dances (2011), a work commissioned by the Dance Umbrella festival and directed by Rosemary Lee. In 2013 they began developing Inter Pares Project and recently presented the work in different spaces both in the UK and in Italy. fabbricaeuropa.net |
Session 4
Culinary Masterpieces: A creative laboratory at Istituto Lorenzo de’ Medici |
| Participants will be welcomed to the LdM Cucina in San Lorenzo Market and at the Fashion Department of Istituto Lorenzo de’ Medici for an interdisciplinary laboratory involving Art, Fashion and Food. The session will be an exploration into the fusion of regional colours and flavours with the art of sensory experience. LdM extends an invitation to participants to travel on an artistic journey of the five senses resulting in the creative expression of aesthetics and taste. The 'Culinary Masterpiece' project is a multidisciplinary laboratory that seeks to explore the highest expression of Italian creativity guided by professionals in the fields of fashion, art and cuisine. Colours and flavours will awaken and stimulate imagination and produce individual handmade creations; the cornerstone of centuries-old Tuscan tradition and Florentine craftsmanship. www.ldminstitute.com |
Session 5
Conservatorio Cherubini: From Roots to Leaves |
| Delegates will be welcomed in the Salone del Buonumore and then see three multidisciplinary musical interludes – with audio-visual interplay – organised by the Computer Music Department. During these interludes, small groups will be invited into the Library to see the historic collections of the Conservatoire including its most precious volumes and documents. Delegates will then enjoy three short, live acoustic performances from three different historical periods. The session will end with a talk by organised by RAMI-Ricerca Artistica Musicale in Italia, an association for research development founded by the Conservatorio Cherubini along with seven other Italian conservatoires. Throughout the afternoon, Computer Music students will be working in the areas around the Salone del Buonumore to create an interactive experience for delegates showing the relationship between machines and sound creation. The session has been put together to involve delegates in the Conservatoire’s current teaching and research activities and show them its historic links to the roots of our music culture. conservatorio.firenze.it |
Session 6
Intercultural dialogue made through travel |
| The Fondazione Romualdo Del Bianco - Life Beyond Tourism has been dedicated to cultural rapprochement since 1991. Life Beyond Tourism is the practical application of the activities and research carried out by the foundation over 25 years of activity with university students from all over the world. Life Beyond Tourism is a way of living the travel, in respect of the territories’ identity, creating a new commercial offer that goes far beyond consumerist tourism. The Foundation believes in travel as a crucial tool for the development of territories. Forecasts on tourism clearly show how important is this economy. The world needs to transform the power and capillarity of the tourism economy in a new form of hospitality that makes possible a greater awareness of cultural diversity and a consequent mutual respect – the essential basis for peace in a world that is moving towards 10 billion inhabitants. Delegates are invited to hear about how the Fondazione Romualdo Del Bianco is now spreading its knowledge and research through its International Institute Life Beyond Tourism that provides courses in Florence and in all the institutions part of the Foundation's network (over 500 institutions in 83 countries in the 5 continents), and take part in the continuing debate on how to move forward into the future. www.lifebeyondtourism.org |
Session 7
A Date with a Jewel at Le Arti Orafe Jewellery School |
| A visit to the schools facilities offering insight into the activities of dissemination of contemporary jewellery culture on an international level and the possibility to participate in an interview / dialogue with a student at the workbench. The delegates are invited to visit the LAO Facilities in Oltr’arno, part of the historic city centre of Florence. The visit includes an exhibition of students’ works, a presentation of the school’s teaching methods and its activities in the organisation of events dedicated to the dissemination of contemporary jewellery. The delegates are also invited to participate in an interview/dialogue with the students and their work. They will have the chance to sit down at the workbench and anticipate the creative process of making a piece of jewellery from the idea to the object. To encourage further exchange, we want to invite the delegates who want to participate in this meeting, to bring a (family) jewel (or a photograph of the same) to exchange a story of their own with the students. www.artiorafe.it |
Session 8
A live visit to the historic Teatro della Pergola intertwined with performances recreating and explaining the theatre’s history, secrets, evolution and spaces. |
| The magic of a theatre does not just come alive on the stage, but behind the scenes in the backstage areas, wings, dressing rooms and corridors: the parts that never appear in the playbills and programmes. The live theatre visit, In sua movenza è fermo, is named after the motto of the Accademici Immobili, the founders of the theatre. It is a voyage into the heart of the theatre in the company of “friendly shadows”; the characters that, over three centuries, have made the Teatro della Pergola great and immortal. The theatre manager/impresario Lanari, the inventor Meucci, the soprano Barbieri Nini, the stagehand Canovetti and the wardrobe mistress of Eleonora Duse tell their stories to visitors as if suspended between a dream and real life. The visit includes the museum section of the theatre with items on display such as the original stage lifting mechanism built in 1857 by Canovetti and the high-backed chair built for the première of Giuseppe Verdi’s Macbeth in 1847. www.teatrodellapergola.com |
Session 9
The original remaining text of Pinocchio at the National Library |
| Delegates are invited to the National Central Library of Florence to see the last remaining original chapters from the manuscript of the Adventures of Pinocchio and discuss the book’s significance with the Director of the Pinocchio by Carlo Lorenzini Cultural Association. The Association studies and promotes the Florentine author of the Adventures of Pinocchio – the most translated book in the world after Bible and Koran – through the identification of historical themes mentioned in many of the writer’s tales. The Association also works on projects for the architectural, social and economic redevelopment of the San Lorenzo district, where the author was born and lived. Activities include support for historical shops to promote the teaching of arts and crafts typical of Florence’s artisan culture. www.pinocchiohome.it www.bncf.firenze.sbn.it |
Wednesday 30 November
Venue: IED
14.00-18.00
Open Space is the non-curated platform that offers ELIA partners and member institutions the opportunity to showcase and share their own practices with delegates, being it for example a workshop, as a kick-off meeting for the starting of new initiatives or to accommodate networking, sharing experiences and discussion in their field of expertise. Delegates attending Open Space can register for the whole conference upon arrival at the venue and select during online registration which session(s) they wish to attend.
|
14.00-15.30 |
| Presentation and Open Exchange Bernhard Kernegger University of Applied Arts Vienna, Austria Details |
|
14.00-15.30 |
| Presentation Chrissie Tiller United Kingdom |
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14.00-16.00 We will bring forth topics to stimulate dialogue about the intersections of art and design in colleges, directed at "Turning Mirrors into Windows," the conference theme. The format will be presentation of ideas, followed by dialogue and discussion with assessment at the end of the session. www.cumulusassociation.org |
| Cumulus Session- International Association of Universities and Colleges in Art, Design and Media Ann Albritton, Gwen Farrelly Ringling College of Art and Design, United States |
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14.00-15.30 |
| Workshop Kai van Hasselt- Independent Adviser, Noha in partnership with Fontys School of the Performing and Fine Arts, the Netherlands Details |
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14.00-16.00 Building on the success of conferences in Poznan (2015), Granada (2013), Cork (2011) and Palermo (2009) the 2017 Paradox European Fine Art forum biennial conference will take place in London. Reflecting on the current social and political climate for artists and educators, and taking its cue from the diversity of its host city, the conference will examine how issues of difference, change, inclusion and prohibition are currently played out within the discipline of Fine Art and education across Europe. Drawing together researchers, educators, students and artists it will explore the issues most at stake within art practice and education, for those who teach and learn. |
| Hosted by Middlesex University at Conway Hall & the Artworkers’ Guild, London Paradox Session- Fine Art European Forum Stephanie James, Syracuse University, USA, Paul Haywood, Central St.Martins, London, Andris Teikmanis, the Art Academy of Latvia, Latvia, Christine Pybus, CIT Crawford College of Art and Design, Ireland, Dean Hughes, University of Edinburgh, Scotland, Basia Sliwinska, Middlesex University London, United Kingdom, Ana García-Lopez, University of Granada, Spain, Maia Rosa Mancuso, Accademia di Belle Arti Palermo, Italy paradoxfineart.net |
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14.00-17.30 The goal of the session is also to form an international network of schools working in the field, to make exchanges of students and teachers possible. In creating such a network we would all deepen our knowledge and enhance the possibilities of research on the field. |
| Network Session: Seminar, Masterclass, Starting of a new Network Lena Stefenson, Stanislaw Brosowski, Alejandro Bonnet The Stockholm Academy of Dramatic Arts (SADA), Sweden Details |
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16.00-17.30 |
| Workshop Merete Røstad The Oslo National Academy of the Arts, Norway Details |
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16.00-17.30 |
| Workshop Lars Ebert European League of Institutes of the Arts (ELIA), the Netherlands Details |
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16.00-17.30 |
| Presentation Alberto Reatti Florence University, Italy |
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16.00-17.30 During this session, recent developments and results will be presented, and form the basis for sharing experiences with artistic research of participants in the session. We will not focus on the political aspects of artistic research, but will instead try to go deeper in the research processes and how research and practice mutually and positively influence each other. |
| Presentation Johan Verbeke, coordinator of ADAPT-r, Campus Sint-Lucas, KU Leuven, Belgium and Aarhus School of Architecture, Aarhus, Denmark Sally Stewart, the Mackintosh School of Architecture, the Glasgow School of Art, Scotland |
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16.00-17.30 |
| Workshop Marte Brinkman European League of Institutes of the Arts (ELIA), the Netherlands Details |
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16.00-18.00 Supported by the University of the Arts London this Network aims to “open a window” of reflection onto Performance and Theatre Design pedagogy; to develop opportunities for debate, to initiate projects, and develop staff exchanges. The Open Space will allow participants to hear about the vision for the Network, and an open discussion will begin to shape the agenda for the conference to be held in Wimbledon in 2017 to establish the Network. After the presentation and open discussion there will also be time for networking. |
| Network Session: Presentation, Discussion, Starting of a new Network Simon Betts, Esther Armstrong Wimbledon Collage of the Arts, University of London, United Kingdom |
Thursday 01 December
12.o0-13.00
Friday 02 December
11.00-12.00
Venue: Palazzo dei Congressi, Villa Vittoria
Table Talks are designed to discuss the input and questions raised during the plenary sessions with colleagues from across the globe. Delegates will be assigned to small, alternating discussion groups to facilitate dialogue and to encourage networking.
CIVIC RECEPTION
Thu 01 Dec
19.00
Venue: Salone dei Cinquecento, Palazzo Vecchio
Delegates are invited to attend the Civic Reception. The City Council of Florence welcomes participants of the conference in the Salone dei Cinquecento in Palazzo Vecchio, followed by dinner.
CLOSING PARTY
Fri 02 Dec
21.30
Venue: TBC
One of Florence’s premier contemporary venues will set the scene for the closing party, where we all have the opportunity to meet, dance and relax before returning home.
Thursday 1 December
19.00-21.00
Venue: Salone dei Cinquecento, Palazzo Vecchio
Please notice: an additional €20 fee (€5 fee for PhD Students) is required and it can be purchased from 21.00 hrs at the door of the Palazzo Strozzi on the night itself. Tickets purchased during the online registration will be included in your personal envelope, which will be dessiminated when you collect your conference bag at the venue.
Wednesday 30 November
20.00
Venue: Il Porcospino
If you wish to start networking straight away, join the optional Blind Date Dinner. During this dinner just before the official start of the conference, the organisers facilitate matchmaking: placing participants in intimate groups across several tables at the restaurant, where authentic Florentine dishes and drinks will be served.
Please notice places are limited and participation involves an additional fee of EUR 40. If you wish to join the Blind Date Dinner, you can ensure your place by making a pre-reservation in the portal during online registration.
Early arriving delegates are invited to participate in one out of six tours, organised and hosted by local higher arts education institutions. Please notice: places are limited and must be pre-reserved during online registration.
1. Art and Restoration at Palazzo SpinelliA visit to the Art and Restoration Laboratories of Palazzo Spinelli and the 15th century chapel with frescoes by Santi di Tito. |
| Palazzo Spinelli Institute for Art and Restoration is in Florence’s antiques quarter near Palazzo Pitti on the left bank of the Arno. It was founded in 1978 and now operates from Palazzo Zanchini-Corbinelli, later Palazzo Ridolfi, in Via Maggio. Palazzo Spinelli invites delegates to visit the paintings and frescoes restoration laboratories, and the 15th century Zanchini-family chapel. Palazzo Spinelli’s students restored the chapel over a period of three years and completed the work in 2005. The chapel has frescoes attributed to Santi di Tito and an original 14th-century floor with Montelupo ceramic tiles. www.palazzospinelli.org |
2. Le Arti Orafe Jewellery School – Education and Cultural Events in FlorenceA visit to the schools facilities with life demonstrations of students and staff as well as an insight into the activities of dissemination of contemporary jewellery culture on an international level. |
| The school invites the delegates to visit the school facilities in Oltr’arno, part of the historic city center of Florence. The delegates will get an insight into the schools history, its way of embracing constant change and teaching living heritage. The “Preziosa Contemporary Jewellery” exhibition, organised since 2005, will be an example of how the school brings together international players of the art jewellery world to draw attention to the field of contemporary handcrafts and to involve the audience in further activities as successfully proposed in the first edition of the “Florence Jewellery Week” in 2015. Finally the delegates will witness the students and teachers working in the beautifully equipped workshops and can engage in questions and answers. www.artiorafe.it/en/ |
3. Teaching Art, Design, Conservation, Art History in Renaissance palaces: SACI FlorenceA tour of SACI's undergraduate and graduate studios. |
| At the Palazzo dei Cartelloni (located on Via Sant'Antonino 11), in addition to SACI's main Gallery and beautiful garden, visitors will have an opportunity to see SACI's Library, Lecture Hall, Conservation laboratories, and Photography, 2D (Painting, Drawing, and Etching) , and 3D (Ceramics and Sculpture) studios. Visitors will be guided from the Palazzo dei Cartelloni to the Jules Maidoff Palazzo for the Visual Arts (Via Sant’Egidio 14), where they will see SACI's Maidoff Gallery and garden, MFA in Studio Art, MFA in Photography, and Post-Bac studios, as well as Design, Multimedia, Digital Photography, Animation, Video, Fresco, and Language/Literature classrooms. www.saci-florence.edu |
4. Lorenzo de’ Medici - The Italian International Institute |
| www.ldminstitute.com |
5. Palazzo Coppini, International Meeting and Study CentreVisit to the renaissance Palazzo Coppini, venue of the Fondazione Romualdo Del Bianco - Life Beyond Tourism® |
| Palazzo Coppini dates back to the fifteenth century and is located in Via del Giglio, in the heart of Florence. Functioning as the historic headquarters of the Fondazione Romualdo Del Bianco® - Life Beyond Tourism®, it has been completely renovated. After twenty active years, the Fondazione Romualdo Del Bianco®-Life Beyond Tourism® is putting the memoirs, objects and volumes that have been donated to it over the years on public display. Palazzo Coppini accommodate numerous cultural treasures: books, including over 6000 volumes written in several languages in 11 different alphabets, as well as artefacts. These objects and books come from all over the world and from very diverse cultures. By halting a project designed to turn Palazzo Coppini into a hotel, the Fondazione has, yet again, salvaged a building for public and cultural use. This is the space where the Fondazione Romualdo Del Bianco® - Life Beyond Tourism® conduct its studies and research to promote cultural dialogue both from and with Florence. www.istitutointernazionalelbt.org www.palazzocoppini.org/en/ http://fondazione-delbianco.org |
6. Conservatorio di Musica “Luigi Cherubini” di Firenze |
| Delegates will be welcomed in the Salone del Buonumore by the Director and the Deputy Director. Students will perform a short piece then delegates will be accompanied on a guided visit to the ancient musical instruments collection in the Accademia Gallery. The collections include Medici and Lorraine pieces from the second half of the 17th century to the first half of the 19th century. Rare items include 18th-century string instruments, some made by Antonio Stradivari (a tenor viola, a cello from 1690 and a violin from 1716), and a precious cello by Niccolò Amati from 1650. There is also a harpsichord by Bartolomeo Cristofori, the inventor of the pianoforte, and an ancient vertical piano. The visit will come to an end in the Accademia Gallery in front of Michelangelo's David. www.conservatorio.firenze.it/it/ |
Wednesday 30 November
Venue: Various
10.00-12.00
For the early arrivals we have organised a few tours hosted by higher arts education institutions. The hosts will take you on a journey through their work and the unique historic venues where they are situated. Please notice: places are limited and should be pre-reserved during online registration. Delegates are able to choose one out of six tours.
Art and Restoration at Palazzo SpinelliA visit to the Art and Restoration Laboratories of Palazzo Spinelli and the 15th century chapel with frescoes by Santi di Tito. |
| Palazzo Spinelli Institute for Art and Restoration is in Florence’s antiques quarter near Palazzo Pitti on the left bank of the Arno. It was founded in 1978 and now operates from Palazzo Zanchini-Corbinelli, later Palazzo Ridolfi, in Via Maggio. Palazzo Spinelli invites delegates to visit the paintings and frescoes restoration laboratories, and the 15th century Zanchini-family chapel. Palazzo Spinelli’s students restored the chapel over a period of three years and completed the work in 2005. The chapel has frescoes attributed to Santi di Tito and an original 14th-century floor with Montelupo ceramic tiles. www.palazzospinelli.org |
Le Arti Orafe Jewellery School – Education and Cultural Events in FlorenceA visit to the schools facilities with life demonstrations of students and staff as well as an insight into the activities of dissemination of contemporary jewellery culture on an international level. |
| The school invites the delegates to visit the school facilities in Oltr’arno, part of the historic city center of Florence. The delegates will get an insight into the schools history, its way of embracing constant change and teaching living heritage. The “Preziosa Contemporary Jewellery” exhibition, organised since 2005, will be an example of how the school brings together international players of the art jewellery world to draw attention to the field of contemporary handcrafts and to involve the audience in further activities as successfully proposed in the first edition of the “Florence Jewellery Week” in 2015. Finally the delegates will witness the students and teachers working in the beautifully equipped workshops and can engage in questions and answers. www.artiorafe.it |
Teaching Art, Design, Conservation, Art History in Renaissance palaces: SACI FlorenceA tour of SACI's undergraduate and graduate studios |
| At the Palazzo dei Cartelloni (located on Via Sant'Antonino 11), in addition to SACI's main Gallery and beautiful garden, visitors will have an opportunity to see SACI's Library, Lecture Hall, Conservation laboratories, and Photography, 2D (Painting, Drawing, and Etching) , and 3D (Ceramics and Sculpture) studios. Visitors will be guided from the Palazzo dei Cartelloni to the Jules Maidoff Palazzo for the Visual Arts (Via Sant’Egidio 14), where they will see SACI's Maidoff Gallery and garden, MFA in Studio Art, MFA in Photography, and Post-Bac studios, as well as Design, Multimedia, Digital Photography, Animation, Video, Fresco, and Language/Literature classrooms. www.saci-florence.edu |
Istituto Lorenzo de’ Medici - The Italian International InstituteMeet the Etruscans: Art and Archeology at Istituto Lorenzo de’ Medici |
| Participants will be welcomed to the Church of San Jacobo in Campo Corbolini at Istituto Lorenzo de’ Medici for a one-of-a-kind meeting on art, education, and archeology. The visit will begin with a presentation of Istituto Lorenzo de’ Medici, covering its history, facilities, and educational opportunities, including the archeology program in collaboration with the Center for Ancient Mediterranean and Near Eastern Studies (CAMNES). Following the discussion of education, attendees will have the unique opportunity to view Etruscan artifacts excavated from the archeological digs of Tuscania, a historic hilltop town located in the breathtaking countryside of Latium-Region. The artifacts were recovered with the aid of LdM faculty and students in cooperation with the State University of Florence and are distinctive to the history of the region, not existing outside of Italy. www.ldminstitute.com |
Palazzo Coppini, International Meeting and Study CentreVisit to the renaissance Palazzo Coppini, venue of the Fondazione Romualdo Del Bianco - Life Beyond Tourism® |
| Palazzo Coppini dates back to the fifteenth century and is located in Via del Giglio, in the heart of Florence. Functioning as the historic headquarters of the Fondazione Romualdo Del Bianco® - Life Beyond Tourism®, it has been completely renovated. After twenty active years, the Fondazione Romualdo Del Bianco®-Life Beyond Tourism® is putting the memoirs, objects and volumes that have been donated to it over the years on public display. Palazzo Coppini accommodate numerous cultural treasures: books, including over 6000 volumes written in several languages in 11 different alphabets, as well as artefacts. These objects and books come from all over the world and from very diverse cultures. By halting a project designed to turn Palazzo Coppini into a hotel, the Fondazione has, yet again, salvaged a building for public and cultural use. This is the space where the Fondazione Romualdo Del Bianco® - Life Beyond Tourism® conduct its studies and research to promote cultural dialogue both from and with Florence. www.istitutointernazionalelbt.org www.palazzocoppini.org fondazione-delbianco.org |
Conservatorio di Musica "Luigi Cherubini" di FirenzeA visit to the Conservatoire and the acient musical instruments collection in the Accademia Gallery. |
| Delegates will be welcomed in the Salone del Buonumore by the Director and the Deputy Director. Students will perform a short piece then delegates will be accompanied on a guided visit to the ancient musical instruments collection in the Accademia Gallery. The collections include Medici and Lorraine pieces from the second half of the 17th century to the first half of the 19th century. Rare items include 18th-century string instruments, some made by Antonio Stradivari (a tenor viola, a cello from 1690 and a violin from 1716), and a precious cello by Niccolò Amati from 1650. There is also a harpsichord by Bartolomeo Cristofori, the inventor of the pianoforte, and an ancient vertical piano. The visit will come to an end in the Accademia Gallery in front of Michelangelo's David. www.conservatorio.firenze.it |
Grand Opening
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
09.00-10.15
The 14th ELIA Biennial Conference will be heralded by an opening performance and official welcome, followed by a keynote of Italian art historian and writer Cristina Acidini.
Before taking on her current position as the President of the l’Accademia delle Arti del Disegno of Florence –the oldest fine art academy in the world- Cristina Acidini worked amongst others at the Ministry of National Heritage and Culture and was Superintendent of the State Museums of Florence.
ELIA contributes to the recognition of the European Higher Art Education Sector and to improved conditions for higher arts education and graduating artists. In the frame of ELIA she successfully realized several research projects funded by the European Commission and numerous events and conferences, including the annual graduate festival NEU NOW.
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
09.30-10.30
Daan Roosegaarde, creative director of the social design lab Studio Roosegaarde, delivers unimaginable technology to the world – in the most literal way.
With studio’s in Rotterdam
and Shanghai, he develops innovative, interactive landscapes that are accomplished through the objective of pulling technology ‘out of the screen’ and integrating it into the real world.
The key to accomplishing this task, believes Roosegaarde, is his Dutch attitude of artist-entrepreneur, which he considers equal parts “priest and entrepreneur” in order to perfectly merge technology and creativity. Through the creation of social designs that instinctively respond to sound and movement, he is able to pursue the widest possibilities of technological innovation.
Roosegaarde is best known for his internationally awarded projects such as ‘Dune’, ‘Intimacy 2.0’ and ‘Sustainable Dance Floor’. In 2008 he developed the ‘Sustainable Dance Floor’ which is the interactive dance floor that generates electricity through the motion of dancing. The interactive technology creates an environment in which dancers are sensually engaged with sustainability. But Roosegaarde wants to go further. Together with the infrastructure company Heijmans, he is currently developing ‘Smart Highways’ which are interactive and sustainable roads.
Roosegaarde’s professional mission is to create the missing links between bullshit and beauty, between fantasy and budget. He believes that The Netherlands must lose its “yes, but...” attitude and “look for the missing links”. This link between between ideology and technology, is what Roosegaarde calls “techno-poetry”.
Roosegaarde has won the Dutch Design Award, Charlotte Kohler Prijs, Design for Asia Award and China's Most Successful Design Award. He has been the focus of exhibitions at the Tate Modern, the National Museum in Tokyo, the Victoria and Albert Museum in London, and various public spaces in Rotterdam and Hong Kong.
www.studioroosegaarde.net
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| Quarter | Results |
| First Quarter | € 10.000 |
| Second Quarter | € 14.000 |
| Third Quarter | € 8.000 |
| Fourth Quarter | € 12.000 |
Thematic Sessions
Break-Out 2
16.00-17.00
Quality Assurance and Enhancement: Taking Ownership of Quality Assurance
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| The presentation focuses on three cases studies that together illustrate the ensemble of approaches undertaken at NICAI. Drawing on various NICAI disciplines, the studies range from engagement with the culture of indigenous people, to strategic arts projects in zones of conflict, to preparing students for creative participation in the new world of global media and technology. All three reflect the overall vision of NICAI in building a community of enquiry that explores contemporary issues in a national and international context. The first study deals with strategic support for the tertiary education of Maori and Pacific students in New Zealand. It includes initiatives directed towards wider understanding and engagement with indigenous language and tradition, combined with culturally appropriate forms of support for the education of individual students, with emphasis on their personal development and wellbeing. This represents a holistic approach to education rooted in the person and the cultural environment, equipping students with the confidence and skills to embrace a changing world of new possibilities. The second study is focused on the strategic role of dance education in international zones of conflict from the Middle East to the Baltic states. Research undertaken by NICAI Dance Studies asks how participation in the art of dance might assist people to negotiate contemporary crises born of complex questions of history and identity. Specific projects have involved the role of women in their society, affected by notions of modernity, the stresses of war and politics, and the impact of enforced migration and the plight of refugees. Again, the study reveals the role of art and creativity in the building of personal and communal identities in a rapidly changing and often overwhelming world. The third study takes yet another approach, this time tracking the progress of a recent graduate from NICAI Fine Arts. It shows how a young artist can be equipped to embrace new media and technologies, and to make interventions that question their impact on the interconnected realms of lifestyles, communications, economics and politics. Whether this rapidly changing world appears exhilarating, baffling, or threatening will depend on the student’s level of understanding and the depth of the skills acquired through a well-planned contemporary curriculum. All three studies build on a common platform within NICAI that has supported many other projects of international standing, dealing with contemporary urban forms, public art, and the role of art in a time of change. |
| About Diane Brand |
|---|
| Diane Brand trained in New Zealand and the USA as an architect and urban designer, and worked professionally for large international practices, before becoming an academic in 1994. As an educator, she has worked at the disciplinary boundaries of architecture, landscape architecture, urban design and planning. She was instrumental in introducing New Zealand’s first masters programme in urban design at the University of Auckland. Since 2008, in her role in academic governance, she has emphasised the linkages between disciplines; has overseen curriculum restructurings at Victoria University School of Architecture and Design; and is now Dean of Creative Arts and Industries at the University of Auckland. Diane has for many years been involved in urban design panels in Adelaide, Auckland and Christchurch, and she publishes extensively in international journals of planning and urban design. |
| About Nuala Gregory |
|---|
| Nuala Gregory is an exhibiting artist in the mediums of painting, printmaking, sculpture and drawing. Her work has been shown in Ireland, the USA, New Zealand, Mexico, China and Japan. In recent exhibitions, she has sought a ‘return’ to the possibilities of colour, surface, drawing and collage in order to renew the force of the material and the aesthetic in art, in opposition to reductively discursive or conceptual approaches. Gregory is also known for her writings on contemporary art and on art education. A recipient of numerous arts awards and bursaries, she has contributed to the visual arts environment through curation, artistic collaborations, international conferences, and the enhancement of arts programmes, teaching and infrastructure at tertiary level. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| In Weiwei-isms, his ‘little black book’ of aphorisms published in 2010, Ai Weiwei makes a fundamental observation of profound interest to ELIA: "Creativity is part of human nature, it can only be untaught.[1]" This insight was one of many inspirations underpinning Plymouth College of Art (PCA)’s decision to create the Plymouth School of Creative Arts (PSCA), a mainstream city centre 4–16 all-through Free School that fosters learning through making in all subject areas. PSCA was founded in 2013 by PCA, and together we are creating a radical progressive continuum of creative learning and practice from age three to Masters level and beyond, into professional practice. This is a trans-generational pedagogical innovation project and catalyst for community self-transformation in an area of significant social and economic disadvantage in inner-city Plymouth. Our project rests upon a very simple – you’d have thought, uncontentious – proposition which these days turns out to be a serious heresy. Our contention is that, in education, making is as important as reading & writing or maths & science. Now it seems that this is a very dangerous idea. Clearly it’s a programme for makers, rather than consumers, of learning. Our parallel project at PCA is thus to create the richest, most diverse ecosystem of materials, technologies, processes, practices, artforms, ideas and cultural influences that you could ever find in the shape of an art college. We are re-investing in materials-based analogue technologies – traditional printmaking, a glass factory – endangered specialist learning environments for making and thinking that have always existed in art schools and, once lost, tend to be gone forever. Environments out of which creative thinking, material intelligence and technical sensibility can of course be migrated into digital, but where it doesn’t always work in the reverse direction. Our ethos engages the intrinsic motivation of all learners to purposeful learning, which brings me to my second proposition: that the business of learning and that of living your life are inseparable, their mutual purpose being individual, social and professional transformation. Education is a window, not just a mirror, on the world. Last October to our delight Sir Nicholas Serota, Director of Tate, conducted the formal opening of The Red House He was emphatic, in his public address, as to the significance of the occasion: "This is an event in the history of education in this country." My paper will present the ethos and pragmatics of this trans-generational inner-city project. [1] Ai Weiwei, Weiwei-isms (Princeton University Press, 2012) ISBN-10 0691157669 |
| About Andrew Brewerton |
|---|
| Andrew Brewerton is Principal & Chief Executive of Plymouth College of Art and, since 2000, Honorary Professor of Fine Art at Shanghai University. He is founding Chair of Governors and Director of Trustees of the Plymouth School of Creative Arts, and Vice Chair of GuildHE, one of two formal representative bodies for UK Higher Education. A former Principal of Dartington College of Arts, and Dean of Art & Design at the University of Wolverhampton, Andrew is an English graduate of Cambridge University and from 1984 worked for a decade in glass crystal manufacturing and design. He has held a number of academic and public appointments: at the Università dell’Aquila, Italy; with Professorships at the Universities of Wolverhampton and Plymouth; as a Council member of Arts Council England; and as Vice-Chair of the Prime Minister’s Advisory Group on Higher Education (PMI2). His international work has involved the catalytic development of academic programs at Shanghai University and at Tshwane University of Technology (Pretoria), as well as public art projects in China and the UK. A book-length Chinese monograph on his contribution to Art & Design education in China was published in Shanghai in April 2011. Andrew is the author of more than sixty journal and catalogue essays and books on contemporary art, including extended essays of Chinese artists He Yunchang, Xue Guangchen and Yang Hui-shan. His poetry publications include Via (2010); Raag Leaves for Paresh Chakraborty (2008); and Cade l’uliva (2003). His work is cited in ‘Poetry after 1970’ in The Cambridge History of Twentieth Century English Literature (Cambridge University Press, 2004). An Italian edition of his poetry is due from Edizioni Kolibris (Ferrara) in 2016. |
| Abstract |
|---|
| ELIA is developing a hands-on international project management training, specifically tailored towards higher arts education institutions. In this introductory session ELIA addresses the multifaceted skill set necessary to design, develop and manage international projects successfully, as when operating in the lively domain of research and practice in the arts, specific expertise comes into play that goes beyond straight forward project management tools and techniques. It requires the ability to work across a variety of nationalities, cultures, artistic disciplines and fields of expertise, with many objectives and interests to marry and find balance between. And therefore the ability to built and adapt upon various combinations of explicit and tacit knowledge, practical experience and an ethos of partnership, while taking the widely different cultural, social, economic and professional settings from across the globe into account. In this session we will review the key issues in a nutshell and in dialogue with the audience, establishing a clear and hands-on overview of the elements that should be taken into consideration when developing a well-functioning strategic and operational framework for your international project: the core objective of the training. |
| About Marte Brinkman |
|---|
| Marte Brinkman has over 10 years of experience with delivering a wide range of strategies, events and programmes in various national and international contexts. Prior to taking on the position of ELIA Conference Manager 3 years ago, she worked for commissioners such as governmental agencies, taskforces and institutions operating in the creative industries, economy, social sciences and technology. She has delivered activity programmes, projects and events across the Netherlands, United Kingdom, Germany, Denmark, South-Africa, Italy, China, Switzerland, Belgium and Poland, as well as developed and written fundraising applications, business plans and policy papers. Marte holds an MA in international cultural policy and management and was born (1985) and raised in the Netherlands. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 2 16.00-17.00
| Abstract |
|---|
| In the UK, several characteristics of our economy, political outlook, and changes in the creative industries are increasingly emphasising the growing significance of entrepreneurship and the development of small businesses for the performing arts sector. At the start of 2013, within arts and culture 90-94% of businesses were SMEs (BIS, 2013b, p. 10) and just over 4% of private sector businesses were in the arts, entertainment and recreation. In addition, the alternative finance market was predicted to grow to £4.4 billion in the UK in 2015 (Baeck, Collins, & Zhang, 2015), having grown 91% from 2012 to 2013, and in 2011-13 providing £463m for start-ups and SMEs (Collins, Swart, & Zhang, 2013). As Sorrell, Roberts & Henley have suggested the UK needs people who are ‘more inquisitive, persistent, imaginative, disciplined and collaborative – essential qualities for the future. The result will be generations of job-creators, not just job-seekers vital for a world of continuous and rapid change’ (2014, p.69). In response to the critical issues emerging through this fast-changing professional landscape, the Guildhall School created Guildhall Creative Entrepreneurs: an incubator initiative developed in partnership with social enterprise Cause4, aimed at equipping artists with the skills, resources and mind-set to pioneer innovative work and sustainable business models. Since its launch in 2013, Guildhall Creative Entrepreneurs has been supporting the development of a wide range of innovative enterprises: from orchestras to drumming groups; actors developing corporate training to disruptive opera companies; commercial businesses to social enterprises and charities. The Guildhall School aims to grow Guildhall Creative Entrepreneurs, not just in numbers but also in relevance and necessity; to revolutionise creative entrepreneurship in the performing arts, energise the City’s cultural hub and establish worldwide reach. Arts institutions have a unique and pivotal role to play in supporting its artists in their ability to adapt to the future challenges that face all of us in a rapidly changing society. In an economic landscape where more artists are working ‘portfolio careers’ the Rise of the Creative Entrepreneur will undoubtedly help drive each of our countries’ economies. Drawing on research findings to date, we will demonstrate that there are important bridges to be built between artistic mind-sets and the fundamentals of sustainable business, and how we are delivering on this. Conservatoire trained performing artists can really lack confidence in their ability to set up a business, and tailored support is much needed in this area. |
| About Sian Brittain |
|---|
| Sian has worked in the strategic development of small creative businesses and cultural institutions across a range of art forms. She currently manages Enterprise & Entrepreneurship programmes at the Guildhall School of Music & Drama and the Barbican Centre, with the aim of developing long-term sustainable and entrepreneurial organisations. Activity ranges from cutting-edge professional development for creative arts professionals, training programmes for wider business that draws on the skills of the performing arts, and short courses and summer schools. Sian's previous employment includes four years as Project Manager for CreateKX, the strategic agency supporting creative industries and artists in Kings Cross during the recent massive regeneration of the area. CreateKX worked to establish the area as a destination and knowledge hub, through business support programmes, arts funding provision and large-scale events. |
| About Marina Papageorgiou |
|---|
| Marina is Enterprise Coordinator at the Guildhall School of Music & Drama, where she supports the growth of programmes promoting innovation and entrepreneurship development at the School. She holds degrees in Music and Anthropology and is passionate about engaging with initiatives driving research and innovation on the convergence of the arts, education and the creative economy. |
Thematic Sessions
Break-Out 2
16.00-17.00
Quality Assurance and Enhancement: Taking Ownership of Quality Assurance
Author: Bartolomé Antonio Cazorla Arévalo, Spain, 1990. University of Granada Philosophy Graduate (2009 -2014) Current: MA in Art Production and Research at University of Granada Curator of Zizek was Here! (Granada, 2015)
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Recent concerns over the role and funding of higher education have focused attention on its intrinsic value, with the debate regarding societal contribution often centered on solely quantifiable and measurable benefits. This has been coupled with some arguably detrimental side-effects, including: the increasing marketization of higher education through the introduction of student fees, resulting in the ubiquity of the notion of consumer satisfaction; an increasing accountability framework that similarly promotes consumerism through the guise of the protection of public money; a fundamental change in the relationship between institution, teacher and learner; reductions in teaching grants and the promotion of ‘best practice’ themes within learning and teaching; a focus on recruitment and income generation from research activity. These factors have all contributed to the construction of the now dominant idea within higher education that the university subscribes to a mode of production that exists to contribute to a knowledge economy, coupled with a political emphasis on the essential utility of knowledge. And much of these trends have crossed over from the large cross-faculty higher education institution to the conservatoire and the art school in general. But given the inherent reductionism implied by these same trends, not surprisingly they have come recently under sustained critical scrutiny, using approaches from a range of historical, sociological, philosophical, political and pedagogical perspectives. This paper will bring the conservatoire context squarely into dialogue with this recent critical pedagogical literature, with a view to reimagining the function of arts education, and specialist arts education in general, in society. We argue that if allowed to fulfill its critical and creative potential, a specialist arts education has a unique, perhaps autonomous role to play in resisting the conformity, inequality and inevitability of the effects on individuals of globalized economies. Using approaches variously from phenomenology, philosophy of education and postcolonial theory, the paper will stress the social, transformational and ethical benefits of the arts, situating them firmly in community contexts. |
| About Jonathan Owen Clarke |
|---|
| Jonathan Owen Clark is an artist and academic who has published widely in: philosophical aesthetics; intellectual history and historiography; cultural and critical theory; performance studies. He is currently Head of Research at Trinity Laban Conservatoire of Music and Dance where he leads a doctoral research programme in aesthetics and creative practice. He worked previously at Brunel University and at the International Centre for Music Studies, University of Newcastle-upon-Tyne. He is also an active composer and sound artist, and serves on the committee for the Society for European Philosophy. |
| About Louise Jackson |
|---|
| Louise Jackson has recently completed her PhD at the University of Exeter, in which she researched neoliberalism and the current situation of higher education through the lens of widening participation. Professionally, she joined Trinity Laban Conservatoire of Music and Dance in 2012 as Head of Learning Enhancement. Previously she worked as a Senior Lecturer and Academic Development Coordinator teaching across Music and Musical Theatre programmes at the University of Chichester. In 2013 Louise was awarded a National Teaching Fellowship by the Higher Education Academy, the most prestigious award for teaching excellence in the UK. Other areas of interest in research and teaching include gender and music; interdisciplinary collaboration in composition teaching with a focus on composition for contemporary dance; radical pedagogy in teaching histories of music; Widening Participation in the Arts. Louise has been actively involved in school and college liaison, working with schools, colleges and other institutions to advise on curriculum and pedagogy within the performing arts and also using music as a tool within other subject areas such as medicine. With undergraduate students Louise has investigated the affect of role modelling on undergraduate success in study through their participation in outreach work. |
Thematic Sessions
Break-Out 2
16.00-17.00
Quality Assurance and Enhancement: Taking Ownership of Quality Assurance
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| By applying and focusing on various senses, Peter de Cupere’s art has been trying to ‘turn mirrors into windows’ right from the start. Traditionally, most art (and most of the art education) is focusing on the senses of watching and hearing. Visual arts and music are being experienced with the eyes or ears only, resulting in a rather one-dimensional perception, accompanied by an intellectual interpretation of what is seen/presented by the artist. Too often, watching art may be compared to a quick glance in a mirror, seeking confirmation of a more or less expected image. Looking through a window implies that both artist and public expect the unexpected and are open to new views, thoughts, experiences. By applying more senses like smell, taste, touch and this way enriching the context, art will automatically appeal to more senses. Thrilled by various sensations, the public starts ‘looking’ behind the traditional mirror. Experiencing art contrary to e.g. watching art becomes a multi-sensorial experience. The artist is communicating on a multi-layered level ; his art combines richer content and meaning with the ambition to stir various emotions with the public. The spectator is being invited to look behind the mirror, to look through a much wider window. In Peter de Cupere’s vision, this is what contemporary art should strive for: a multi-sensorial mirror will become an open window to the world and improve the interaction between artist and spectator, easier transcending cultures and societies. In both his art and his academic courses, Peter de Cupere has always been aiming at inviting students, artists and spectators to experience a multi-sensual reflection when creating or sensing (in stead of merely watching) art. In his lecture he will explain how e.g. scent can add context to art, thus turning traditional mirrors into windows. He will not only elaborate on his own art practice, but focus on how this can be implemented in (academic) art education, based upon his experience as professor-coordinator of various courses at School of Arts/PXL-MAD in Hasselt (BE). |
| About Peter de Cupere |
|---|
| Peter de Cupere, (Leuven, BE, 1970) is a pioneer in ‘olfactory art’ with an artistic practice of more than 17 years. At the School of Arts/PXL-MAD in Hasselt (BE), he is responsible for the Dutch language ‘Media Lab’ and Master Studio ‘Art Vision Lab’. From 2016-2017 onwards, Peter de Cupere will coordinate a new English Master in Visual Arts, unique in the world by focussing on the education of lower senses and how to use these to fuel artistic work with added context. He is currently a doctoral student at PXL-MAD, UHasselt and VUB (Brussels). For his PhD-thesis, titled ‘When Scent Makes Seeing, When Seeing Makes Scents’, Peter de Cupere is researching the use of scent as a context and/or concept for art. Peter de Cupere is widely known for his works with scents. In 2015 he took part in 27 exhibitions and art projects, e.g. Cuba (Biennial of Havana), UK (East Wing Biennial-London), Argentina, Brazil, Switzerland, Germany, The Netherlands, Italy and Belgium. He is a member of the jury at the Art & Olfaction Awards in Los Angeles. Among his most well-known realizations are the ‘Olfactiano’, the first scent piano, the ‘Olfacio’, the first smell recognition app developed in collaboration with Cartamundi and a ‘blind smell stick’ to guide blind people by scents. In 2015 Peter de Cupere founded ‘The Olfactory’, an organisation to promote the use of scent in art. He has also curated ‘The Smell of War’ in Poperinge (BE), an exhibition remembering the first gas attacks in the Great War. His art, subject of an article in NYT (7th April 2015), has a close connection with scientific research, is questioning actual topics like air pollution and does invite the viewers to reflect upon their own smell perception. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| This paper reflects on some characteristics of artistic education in an age of stimulated intercultural exchange and outreach. Globally, artistic invention and performance is now dominated by international movements and unrestrained cultural blending. It is called diversity. It is assumed to be a good thing. Unique local/regional artistic traditions and singular artistic communities are increasingly undermined by such open access and easy exposure. This is assumed to be a bad thing. Technological advancements and digital tools now have almost immediate impact all across the globe. Large-scale movement of human beings following economic opportunities or fleeing from suffering in their native land adds further to the disruption of cultural and artistic customs. Within the academies, increased diversity of student backgrounds and prior education impact on the dynamic of finding and performing the ‘artistic self’. This is an increasingly fraught prospect for students. Many versions of western/nonwestern contradictions play out in educational and professional contexts. These varieties of ‘us and them’ can be recognised in approaches to and rejection of technological advancement, in ethical and moral approaches to the design of material and social artefacts, in philosophical orientations to social entrepreneurship, and in attitudes to contemporary political and economic contingencies. There are positive effects and also pressures and difficulties associated with working in blended-culture, internationalised aesthetic environments. Some students flounder while others reject institutional expectations in this globalised context. Furthermore, the relatively new academic development of ‘artistic research’ and associated doctoral degrees is becoming a dominant site of cultural influence that will have an increasing, on-going effect reshaping our world. Artistic ideas and cultural texts are increasingly performed and written with the expectation that they can be applied universally. Moreover, critical texts and artistic research reports are produced increasingly in English and disseminated digitally across seamless institutional and national boundaries. All of this fluidity and blending, encouraged by open-access to institutions, financial partnerships and trans-national agreements, is supported by widespread use of digital media offering immediate access. In this paper, I reflect on key contemporary conditions that need to be addressed within our institutions in order to adapt into the future, making strategic use of these challenges and opportunities. |
| About Nancy De Freitas |
|---|
| Nancy de Freitas is an artist and academic based at Auckland University of Technology in New Zealand. Her research interests include: the form and language of research reporting; active documentation as a research method, 'material thinking' approaches and professional education models for the design, creative and cultural sectors. She has lectured widely on art and design research practice and material thinking method at host institutions in the United States, Canada, Australia, the United Kingdom, the Netherlands, Sweden, Norway and Finland. Her own installation works have been exhibited in solo and group exhibitions in Canada, Australia and New Zealand. Conceptually, this work has been grounded in an awareness of immigrant sensitivities and a notion of exile. Philosophically, she explores the human condition in which cultural material such as tradition, memory and identity are preserved, reconstructed, questioned and sometimes discarded as markers of individuality. Her work reveals a broadly felt desire to understand what it means to belong, to have a sense of home and in particular, to understand how memory and forgetting affect this process. In 2012 de Freitas received a Fulbright Travel Award in support of an invitational speaking tour in the USA on the topic ‘Moving Artistic Research Beyond Practice-Led Explanations’. She is currently Editor-in-Chief of the international journal ‘Studies in Material Thinking’. |
Thematic Sessions
Break-Out 2
16.00-17.00
Quality Assurance and Enhancement: Taking Ownership of Quality Assurance
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Mirrors show us our reflection, allow us to understand better ourselves, how we look like and how people see us; but more than one mirror is needed to reflect the real tridimensional complexity of ourselves, and more, how do we show to the others our identity? The possibility of knowing better our tangible and intangible way of being is crucial in the communication of our own identity - it is due to remember the ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites (also called Ename Charter 2008) - and to open a dialogue with others that differs from us to give a contribution to the UNESCO Conventions 2003 (Safeguarding of the Intangible Cultural Heritage) and 2005 (Protection and Promotion of the Diversity of Cultural Expressions). Life Beyond Tourism is the philosophy born from the activity that the Fondazione Romualdo Del Bianco - dedicated to the rapprochement of cultures since 1991 - is creating, experimenting and implementing. Cultural heritage, both tangible and intangible, is an opportunity of immeasurable importance to grasp the attention of masses in order to let them exercise Intercultural Dialogue. To activate this exercise it is fundamental that each community is aware of its identity and is able to communicate it. Each community, communicating properly its own culture is able to open the windows and the doors to dialogue. To put into practice this dialogue people should be enabled to appreciate the context, the size and the whole process that creates a cultural expression. The proper communication of this process makes possible a better understanding of the cultural expression through the awareness of the difficulties to know and really understand the cultural heritage. This awareness leads to the respect for diversity. Life Beyond Tourism is a way of opening the doors of hospitality in the mind of the traveller and of the resident. The Foundation believes in travel as a crucial tool for the development of territories. Forecasts on tourism clearly show how important is this economy. The world needs to transform the power and capillarity of the tourism economy in a new form of hospitality that makes possible a greater awareness of cultural diversity and a consequent mutual respect – the essential basis for peace in a world that is moving towards 10 billion inhabitants. In time Life Beyond Tourism has been developed as a model for the sustainable development of territories through tourism with a conscious promotion, communication and interpretation of them. |
| About Corinna del Bianco |
|---|
| Corinna Del Bianco Florence, 1986 - Board member for the international relationships of the Fondazione Romualdo Del Bianco and part of Life Beyond Tourism project since its beginning, is dedicated to the involvement of youngsters through several activities. Among the many are remembered the Florence Youth and Heritage Festival, official side event of the ICOMOS General Assembly 2014, photo contests and courses on the topics of Life Beyond Tourism. For these courses has been appointed Assistant Professor at Josai International University, Tokyo, where she held the first intensive course in September 2015. Graduated in architecture at the Politecnico di Milano supervisor Stefano Boeri with a thesis on informal settlements in Sao Paulo, she is now PhD student in Pianificazione Architettonica, Urbana e degli Interni, with a research on strategies for developing territories. Since 2015 she is tutor at the Politecnico di Milano of the course Urban Design for Development – master degree in architecture - since 2012 she has lectured at several institutions and cultural and educational organizations (Associação Mutirão do Povres - San Paolo, Politecnico di Milano, Hong Kong University, Fondazione Romualdo Del Bianco – Firenze) in the topic of informal settlements. Beside the educational and teaching activity, since 2009 she has collaborated with various Italians and international architectural offices (CROS Architecture – Parigi, MDU Architetti – Prato, Stefano Gambacciani Architetto – Florence, Stefano Boeri Architetti – Milan, Buro-Ole Scheeren – Beijing). |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| "Turn mirrors into windows" What does this enigmatic sentence mean? How do we see ourselves in other contexts? How does the experience of non-Western contexts transform our self-perception and push us to reconsider our certitudes and self-sufficient positions ? From 2003 to 2010 a partnership process was developed between the two art schools of Strasbourg and Kinshasa. This intense ‘close connexion’ questioned and transformed deeply the teachers and students involved in it and by extension both schools. This 7-year project was a ‘non-ending’ circulation from one place to the other and vice versa, involving around 30 teachers and 50 students (both schools); workshops, exhibitions, shared courses for students including an essential dimension of graduation, exhibitions and events were the various formats of this relation. The process was clearly experimental and shifted all participants from their established position and practice. We were constantly discovering the fact that our stories, on both sides, were shaping our point of view. We were facing our atavisms. We constantly had to be aware of the obstacles on the way in order to keep the quality and possibility of the relation, increase and preserve it, and to create a common space. For us, French teachers and students, this process often perceived as an « adventure », was interestingly challenging and pushed us to look back to our colonial history and to become aware of the ongoing asymetrical relation resulting of it. Crucial in the perspective of the world to come. |
| About Francois Duconseille |
|---|
| Visual artist, scenographer, founder in 2000 of ScU2 and of the Urban Scenos project with Jean-Christophe Lanquetin. Formed at the National Theatre of Strasburg, François Duconseille works for theater, exhibitions, television and develops an individual career as a visual artist (Biennale de Paris, Fondation Cartier, numerous exhibitions in galleries and Art Centre in France and abroad). He funded and runs with Jean-Christophe Lanquetin the department of scenography of the HEAR art school of Strasbourg. They hold there together the partnership with the Art School of Kinshasa and later the research program in art Play>Urban with the WITS School of Arts of Johannesburg. www.play-urban.org www.urbanscenos.org |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 2 16.00-17.00
| Abstract |
|---|
| “A good school (read: academic) leads to a society that is not there yet.” This phrase from the German philosopher Sloterdijk is many-sided. For certain it integrates a transitional state of a society. With its ‘technological evolution, globalisation and open border policies’ we ought to say that our society finds itself in a liminal space. Distinguished Research Professor Mihai Spariosu confirms this conclusion from a cultural-theoretical approach. Play is also a form of liminality, he states. Play is a perpetual process of setting and resetting limits. Play is, like reality, both real and unreal. Men can dream, plan, think, fantasize; but whatever arises in the human imagination may be actualized at some juncture in human history. HKU Design is converting this viewpoint into educational innovation. Explaining the affiliation between play, art and the awareness of reality requires according to HKU Design more than just a theoretical frame. To become imbued with this awareness is about embodiment. Viewed in this light a playground is born where there is an interlocking of liminal space and imaginary places; where questions like ‘what if mirrors turn into windows?’ can be addressed. HKU Design emphasizes in this educational development the viewpoint that if reality is constantly changing and always interwoven with conventions and expectations, then play comes closer to reality than reality itself. This implies that art students must be equipped with ‘play skills’. In order to accomplish this, students starts, inspired by John Cage, by writing their Manifesto and from this build their player profile. With this input they develop awareness about the ambiguity of reality and their possible role(s) in it as an artist. Drawn from theories of classic scholars Johan Huizinga and Roger Caillois and also contemporary scholars like Spariosu and game designers. Hence in this approach art students can experience the ambiguity of themselves, society and reality from their artistry and it opens new teaching opportunities in art education. |
| About Imara Felkers |
|---|
| Imara Felkers is Lecturer in Philosophy at the HKU University of the Arts Utrecht. Together with fine artist and game developer Eva den Heijer they developing on behalf of HKU crossover teaching methods in the field of play, art and game design for students as for colleague lectures as well. Imara has written and published on philosophy issues related to sport, play and art. Among the published works is the contribution to the book Philosophical Perspectives on Play with the chapter Homo Ludens in the twenty-first century: towards an understanding of Caillois’ paidia (Routledge 2015) together with Ellen Mulder and Malcolm MacLean (University of Gloucestershire). |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| “Magic mirror on the wall, who’s the fairest of them all?” “Good morning Dear! Nice to see you here! I’ve been thinking about your last post / homework on Instagram… It truly activated some matter inside of me: good job! Did you see what your friend @just_slow_down_laurie made / posted? Very interesting + made me think of you… :-) Then, what else could I say? #ManRay is your man for today! :-) Kisskiss / Lovelove Sincerely yours, Magic Mirror” --- While mirrors reflect, windows offer a taste of the “other side”. Design 1o1 always makes sure to do both! Design 1o1 is an experiment within the world of online / offline education, design and new (and social) media. Using the mirror metaphor, Design 1o1 is a place in which you find your own reflection. It is a place made “of” and especially “by” people like you. In fact, Design 1o1 is a community of people “like you” from all over the world (of all ages, cultures and backgrounds) who learn together by “doing and sharing” things through a common and simple vocabulary (to facilitate and encourage flows), who travel while exchanging important references and fascinating pieces of content (from the past to the present). Furthermore (and most importantly), in the Design 1o1 universe, people “like you” are at the center of it all and the ones guiding the whole adventure. For instance, to follow the Design 1o1 “way of doing things”, this Pecha Kucha presentation for ELIA Biennial Conference is ideated, designed and prepared by the Design 1o1 Crew. On the other hand, Design 1o1 acts as a window. Actually, it acts as an infinite series of windows framing an infinite series of worlds, all of them to be discovered (if one feels like it). In fact, Design 1o1 understands that there is a broad variety of inter-connected worlds and people out in the designrelated universe. For this reason, it does not offer any strict, linear or “top-down” curriculum to it’s community, but encourages its educational “transfers” to follow more horizontal and rhizomic flows. In a variety of windows we trust! A variety of windows we are! Regarding the ELIA Biennial Conference, here are the 2 goals we have set for ourselves: 1. to reflect our audience 2. to let our audience see through our “other sides”… An exciting challenge we hope to be given the opportunity to accomplish! |
| Quarter | Results |
| First Quarter | € 10.000 |
| Second Quarter | € 14.000 |
| Third Quarter | € 8.000 |
| Fourth Quarter | € 12.000 |
The presentation focuses on three cases studies that together illustrate the ensemble of approaches undertaken at NICAI. Drawing on various NICAI disciplines, the studies range from engagement with the culture of indigenous people, to strategic arts projects in zones of conflict, to preparing students for creative participation in the new world of global media and technology. All three reflect the overall vision of NICAI in building a community of enquiry that explores contemporary issues in a national and international context.
The first study deals with strategic support for the tertiary education of Maori and Pacific students in New Zealand. It includes initiatives directed towards wider understanding and engagement with indigenous language and tradition, combined with culturally appropriate forms of support for the education of individual students, with emphasis on their personal development and wellbeing. This represents a holistic approach to education rooted in the person and the cultural environment, equipping students with the confidence and skills to embrace a changing world of new possibilities.
The second study is focused on the strategic role of dance education in international zones of conflict from the Middle East to the Baltic states. Research undertaken by NICAI Dance Studies asks how participation in the art of dance might assist people to negotiate contemporary crises born of complex questions of history and identity. Specific projects have involved the role of women in their society, affected by notions of modernity, the stresses of war and politics, and the impact of enforced migration and the plight of refugees. Again, the study reveals the role of art and creativity in the building of personal and communal identities in a rapidly changing and often overwhelming world.
The third study takes yet another approach, this time tracking the progress of a recent graduate from NICAI Fine Arts. It shows how a young artist can be equipped to embrace new media and technologies, and to make interventions that question their impact on the interconnected realms of lifestyles, communications, economics and politics. Whether this rapidly changing world appears exhilarating, baffling, or threatening will depend on the student’s level of understanding and the depth of the skills acquired through a well-planned contemporary curriculum. All three studies build on a common platform within NICAI that has supported many other projects of international standing, dealing with contemporary urban forms, public art, and the role of art in a time of change.
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Since 1986 the Scuola Paolo Grassi has stood out nationally and internationally as a forge of actors, directors, playwrights and theatre professionals. In Italy it is the only institutional course (now about to become a university course), aimed at training and professionalization of contemporary choreographers, performers and dancers. Thanks to the program guidelines devised by journalist and expert Marinella Guatterini, the training path has continuously evolved in line with the trends and needs of the languages of dance-theatre by proposing a path of discovery of the body without barriers between movement, dance, use of the voice, word, breath, action. The Course is structured on the model of the great European schools and is articulated in technical disciplines (classical and contemporary dance, Laban method, release, contact improvisation, acrobatics, vocal techniques, anatomy applied to dance, Feldenkreis) and theoretical-aesthetic teachings (history and aesthetics of dance, music, visual arts, theatre). In addition to following these core disciplines, students are also encouraged to present their creative results and develop them with the help of tutors. The space left for personal creativity and collaboration with students of the other courses of the School accompanies and broadens the possibilities of growth of the students, under the constant supervision of international and Italian masters, choreographers and directors, and dance recitals allow the young talents to improve their skills and have a direct contact with audience. Over the years the School and the professionals involved in teaching have succeeded in creating a fruitful relationship with several important festivals that have presented the School productions giving students the opportunity to experience the world of professional dance. These connections have allowed and continue to facilitate the entry of students into the working world. Among the festivals: “Oriente Occidente” (Rovereto), “Bolzano Danza”, “MilanoOltre”, “Adda Danza”, “Mittelfest”, “Civitanova Marche in Danza”, “Torinodanza”, “Fabbrica Europa”(Florence), “Festival Monteverdi” of Teatro Ponchielli (Cremona), Venice “Dance Biennale” etc. Over time guests of the Teatrodanza Course have been, among others: Susanne Linke, Ismael Ivo, Reinhild Hoffmann, Lucinda Childs, Emio Greco, Cesc Gelabert, Yasmeen Godder, Shen Wei, Sang Jijia, Alain Platel e Les Ballet C de la B, Chaterine Divèrres; Trisha Brown, Jonah Bokaer, Marco Baliani, Luca Veggetti, Michele Di Stefano, Silvana Barbarini, Enzo Cosimi. |
| About Marinella Guatterini |
|---|
| Essayist and critic ("Il Sole 24 Ore-Domenica", "Famiglia Cristiana"), Marinella Guatterini is Professor of Aesthetics at the School of Dance "Paolo Grassi" in Milan, where, since 1992, is responsible for the activities of the Course of Dance Theatre. Since 1997 she writes the programs for the ballet of Teatro alla Scala and she is the author of numerous essays and texts, including “L’ABC del balletto” (sixth edition) and “L’ABC della danza - History, techniques, the great choreographers of modern and contemporary art scene” (Mondadori). Twenty years after the five-year long Neoclassical Project (1990-1995), in 2011, she launched the project RIC.CI. Reconstruction Italian Contemporary Choreography years 80'/90', that is dedicated to the historical memory of Italian choreography and its reconstruction. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| This presentation is an attempt to consider the convergence between web and print media through processes of practical experimentations. How the same information – sometimes massive – can be used simultaneously on line and in print? How to set workflows that can meet such a requirement? How to design information in a traditional book form through coding and scripting? This also addresses the issues of how to teach new and converging fields and media that are expanding incredibly fast and where much has still to be invented. The presentation is based on examples of student's projects resulting from the following semester-long assignment,given to Bachelor's students: “We currently live in a period of strong convergence between printed and digital media. The commercial softwares that where originally intended for laying out printed material (Quark XPress, Adobe InDesign) now offer increasingly large possibilities for designing digital projects (websites, digital publications, interactive slideshows….). On the other hand, the web programming languages take into account a wider variety of outputs (computers, mobile devices, digital readers, digital and traditional printing press). From a subject close to the student's interests, the goal of this assignment is to design an editorial printed project based on the recovery of a consistent corpus of texts and pictures taken from a website of the student's choice. The project must necessarily respect the HTML / XML structure of the original document the data is processed from (by making some adjustments if necessary). The template of the publication will be based on this structure and laid out with InDesign using automatic software processing tools, automatic features and scripts. Examples of useful features: regular expression (GREP); nested styles; scripts; open-type features in a font. The graphic design of the project must be original (it should definitely not make use of the graphic codes of the original website), but must be consistent with the proposed contents. The editorial project will be conducted at real scale and must not remain in the state of a concept. Students will keep track (notebooks, protocols) of the automated layout processes implied. |
| About Loic Horrelou |
|---|
| Freelance interactive and graphic designer, Loïc Horellou graduated with a DNSEP (Master's degree) in Visual Communication at the School of Fine Arts of Rennes and completed his education within the post graduate program ARI (Atelier de Recherche Interactive) at ENSAD Paris. In 2008 he created the design collective Sÿclo and co-funded in 2013 the graphic design studio Formidable where he worked on multimedia and motion design projects. Working today as a freelance designer, he contributes to many projects combining graphics and digital media. Loïc Horellou teaches interaction design at Haute École des Arts du Rhin de in Strasbourg since 2011 and at École Supérieure d'Art et de Communication de Cambrai since 2014. He also regularly conducts workshops in different art schools and universities. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 2 16.00-17.00
| Abstract |
|---|
| The performance Translating Other Knowledge is an experiment on performing and translating indigenous knowledge in a Western university context. Our method of extended documentary includes documentary footage presented together with sound of the former presentations and live dubbing. Among the Wixarika living in Sierra Madre Occidental, Mexico, art is an important part of everyday life and festivals. Artistic expression is present in ever aspect of community life, for example agriculture, political gatherings and childcare. Art education takes place in the context of independent wixarika-governed schools and in the context of shaman training. Unofficially art is taught in families, in ceremonies and in social gatherings. Tatuutsi Maxakwaxi, Great-grandfather Deertail, is a special community-founded school at the Wixarika community of Tsikwaita. A community museum is being planned as a part of the school, and it has been given the name Tunuwame after one of the manifestations of the sacred deer. The purpose of it is to research, document, present and represent Wixarika knowledge and art. By combining traditional knowledge with modern institutions and technology the teachers and the members of Parents´association face the future with hope, howewer they are not uninformed of the turmoils and challenges of contemporary Mexican society. In this ethnographic performance we want to introduce different methods of knowledge adquisition of the school and the museum. We have asked the teachers, pupils and their parents what is Wixarika knowledge, how is it learned and what kind of issues would be especially important to be documented. In the performance we present shots of a video that is being developed in collaboration with the school community. The main performer in the video is a teacher, folk musician and maraakame Heriberto de la Cruz. He will guide the audience to watch the pilgrimage and the cleaning ceremony shown on the video, and he will dub the dialogue of the video into Spanish, and other performers will further dub it into their own languages. In Florence the live dubbing will be in Spanish and English. |
| About Lea and Pekka Kantonen |
|---|
| Lea and Pekka Kantonen, are Finnish visual artists working with indigenous communities since early 1990s. in 2014 Lea was research fellow at the Collegium of Advanced Studies at the University of Helsinki and now working as a professor of Artistic Research at the University of Arts Helsinki. Pekka is finishing his doctoral degree at the University of Arts Helsinki. They have presented their works both in art museums and performance events and in anthropological conferences, for ex. EASA conference 2014. |
| Quarter | Results |
| First Quarter | € 10.000 |
| Second Quarter | € 14.000 |
| Third Quarter | € 8.000 |
| Fourth Quarter | € 12.000 |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| In 2013 at the 6th ELIA Leadership Symposium, Jin Xing said that she left the USA when she felt ‘soft power was being enacted upon me’. In considering the challenges facing Europe there is a danger that we also see the ‘soft power’ of the arts and arts education as a useful and effective tool. However in this talk I want to challenge this assumption. Drawing on our experience of running a small but highly effective fine art practice based Masters course with half the students physically based in London and half fully online living anywhere in the world, we have developed a structure that encourages a ‘dialogue of with-ness’. The online element of the course encourages a conversation across boundaries that opens up deeper understanding and insight. Instead of doing ‘for’ our students we attempt to create a space to be ‘with’ them on their artistic journeys. Is this a model for developing tomorrow’s society? Small conversations, listening intently and seeking to be challenged and stretched. The technological evolution over recent years has lead to a range of potentially useful concepts including connectivism (Siemens 2004) and transactive memory (Wegner 1985) which both promote the idea of socially distributed knowledge and learning. Having students from around the world, some based in London and others remaining in their home countries, this Masters course uses digital tools to create spaces for interaction on a small scale. Often technology is seen as something massive, allowing actions on a scale previously unattainable. This concept has crept into higher education via the idea of MOOCs, however it appears there is a danger that these perpetuate the ‘soft power’ approach. Our model remains small, on the edge, allowing students to create personal learning environments and yet our simple structures can facilitate both the minute scale and the massive potential of the rhizomic network. This talk will draw on a range of theories and student interviews exploring the effectiveness of the approach we have used since 2004, is there a dialogue of with-ness and is it a useful model? Siemens, G. (2004) Connectivism: A LearningTheory for the Digital Age. eLearnspace. Wegner, D. M., Giuliano, T., & Hertel, P. (1985). Cognitive interdependence in close relationships. In W. J. Ickes (Ed.), Compatible and incompatible relationships (pp. 253-276). New York: Springer-Verlag |
| About Jonathan Kearney |
|---|
| Jonathan Kearney is a British artist living and working in London, UK. He is the Postgraduate Programme Director at Camberwell College of Arts, University of the Arts London. He is also the Course Leader for MA Fine Art Digital where since 2004 he has pioneered online learning for fine art masters students. Uniquely the MA Fine Art Digital course is offered both as a studio based course in London and as an Online option. Jonathan has recently added the UK’s first Fine Art Low Residency element to the Masters course. With extensive international experience both exhibiting work and teaching, Jonathan has particular interest in China having lived there for 3 years. His research covers a range of interests from online and blended pedagogy, through art practice and theology engagement, to fine art practice in a digital environment. |
Open Space
Wednesday 30 November
Venue: IED
14.00-15.30
| Abstract |
|---|
| Quality assurance has been one of the core issues of the Bologna Process from its very beginning in 1999. But although the European Standards and Guidelines for Quality Assurance adopted in 2005 clearly stated that ‘the primary responsibility for quality assurance in higher education lies with each institution itself’, this implicit but strong call for institutional diversity has not yet lead to the introduction of a broad range of different and institution-specific QA systems: All over Europe, QA usually focuses strongly on teaching, usually especially on course evaluation, usually especially on student questionnaires. The relevance of this issue is sometimes not fully acknowledged by university communities, as QA is frequently perceived as a necessary evil and thus blanked out whenever possible. Although this mindset at first sight seems to help artists focus on their core interests, on a closer look it carelessly neglects the powerful side-effects of QA routines on institutional culture: A control-oriented evaluation system e.g. can put the trust between university leadership and academic staff at stake, or an outcome-measuring system can influence the individual habits of art production and praxis on the long run, as new members of institutions are more likely to take for granted what has been contested by long-term staff members. This paper points out the necessity of strong concepts how to further develop universities, and how QA can be used as a common reference and repertoire of instruments, in the best case jointly owned by institutions as a whole and all of its members. The author believes that it is a strategic task, especially for arts universities, to establish a genuine critical praxis that does not ignore European and national frameworks, but consequently builds on the values and specifics of the respective institution – and then to argue this praxis, even publicly, against the actual tendencies of simplification and over-reductionism that threaten a beneficial further development of diversity in European higher education. To illustrate this belief by an empirical example, the paper concludes with summing up an almost ten-year process at the University of Applied Arts Vienna that led to the establishment of an alternate approach to QA. This approach was successfully certified externally in September 2015, although it mainly focuses on supporting reflection and transformation processes instead of steering and control. (cf. dieangewandte.at/quality) |
| About Bernhard Kernegger |
|---|
| Bernhard Kernegger works at the University of Applied Arts Vienna where he is responsible for the department of academic affairs, the department of university and quality enhancement and the department of international affairs. During the last ten years, he dedicated himself to the development of an institution-specific approach to quality enhancement, using his own academic background as a pianist and piano pedagogue as a basis for carefully translating between the realms of the arts and internal and external demands. He regularly utilises opportunities to reflect and further develop practical experiences in national and international contexts, bringing in critical approaches towards over-mechanistic systems and standardization. Bernhard Kernegger has regularly been invited to speak or publish on issues of quality enhancement (e.g. European Quality Assurance Forum, Zeitschrift für Hochschulentwicklung, Jahrbuch für Hochschulrecht). He also appears as a consultant in trainings for university leadership and QA responsables at arts universities. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Join us in a journey through the Amsterdam University of the Arts. We will start at our headquarters, guiding you along the history of our university and the choices we have made to keep up with society as it transforms. Let us take you to our six academies and experience our diversity. During your journey we will address the following topics: An introduction - Who are we: six different academies with their own management - Six different academies that form one university of the arts - A university of the arts in the capital of the Netherlands (Amsterdam) Our organizational policy - Why did we decide to promote our academies individually instead of our whole university as one? - What challenges does this decision bring about, and what opportunities? Our role in the changing world around us - How do we adapt to the transitions our society finds itself in? - Examples from the different academies We will show that our choice of positioning as six ‘individual’ academies allows us to be flexible. As a result we are able to adapt, make use and contribute to the ongoing transformation of the world around us. Learn from the lessons we have learned and see whether your organization can benefit. |
| About Bridget Kievits |
|---|
| Born in 1960 in Holland, Bridget studied Dutch Language and Literature in Amsterdam, where she graduated Cum Laude in 1988. After graduation she started working at De Nederlandse Opera, where after two years Bridget became manager of the Opera Choir. She left the Opera in 2004 and became head of the management team at the Royal Conservatoire in The Hague. In 2008 Bridget went to the Amsterdam University of the Arts (AHK), where she became Secretary to the Executive Board, under Olchert Brouwer, the then President. Since October 2010 Bridget has been Vice-President of the Executive Board, together with her colleague, Bert Verveld, who is President. Her principal portfolios are education and research, quality control, lectorates, student affairs and accreditations. The AHK exists of six independent and unique art schools, from the Conservatoire of Amsterdam, to the Reinwardt Academy for cultural heritage studies. As Board they have the final responsibility for these schools; to govern them with an eye on the uniqueness of each school, with an understanding of their differences and with a vision on what we have in common. Her aim as member of the Board is to create the best possibilities for those people who actually do the work: our students, teachers, artistic leaders and directors. That means making sure the management is of high quality, that there is a demanding but safe atmosphere in which the talent of students can be fostered and developed, and that they are well prepared for the outside world that awaits them. Since 2014 Bridget is a member of the Executive Board of Elia, as well as Treasurer. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| 'The whole is other than the sum of its parts' Gestaltist thinking This paper will look art what we are about, what do we believe in and value in art and design education. 'Communities of practice deepen their mutual commitment when they take responsibility for a learning agenda, which pushes their practice further.' Wenger, Communities of Practice and Social Learning Systems (2000) Looking at several recent case studies the presentation will address the successes and pitfalls that staff face when they try to develop a community of like minded practitioners. Universities are losing students at key moments in the first year and this deeply affects progression. The university has asked key staff to identify ways to resolve this issue. There were exercises and experiments offered to students to see how students might help create a more meaningful environment to work in. An evaluative paper was produced and this has been reflected on, the findings will be examined. The Florentine venue is a perfect location to look at communities and the presentation will make some interesting comparisons between Florentine culture and twenty first century at education. |
| About Andrew Kulman |
|---|
| Professor Andrew Kulman MA (RCA) FRSA is a respected practitioner and educator. He has taught at many leading UK universities and colleges of art and is a strong advocator of 'learning by doing' Some of his workshops have gained international recognition. In January 2015 he was invited to deliver an open elective at NID in India, this was a major collaborative experience that developed into a series of innovative changes in the curriculum of NID. Andrew is a Professor at Birmingham City University where he runs a large Graphic Design provision, he is also an advocate of innovation in teaching and learning and has been awarded a number of teaching awards for his ideas and teaching. Andrew teaches in Hong Kong and Thailand supporting courses running visual communication. Andrew has established a professional profile as an illustrator and printmaker. he's exhibited widely and has work in national collections in the UK. He has attended the10th, 11th, 12th and 13th ELIA biennales and presented at two of them. His research interest focuses on pedgogy and new ways of looking at the teaching environments that exist in new institutions of art. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Economic pressure on the higher arts education has been increasing within the last decade and most probably will be even growing due to the current escalating situation in Europe. One of the strategies developed by the arts education institutions to compete with the “hard sciences” in the neoliberal environment and to secure their funding is represented by setting up the artistic research methodology. Artistic research aims at fusing artistic creation with academic discourse and mostly has been linked to the third – doctoral – level of education. Recently, it has entered the field of theatre schools. How is it implemented into their curriculums? What strategies of knowledge production dominate at present PhD projects using artistic research? To whom is the produced knowledge addressed? Is it mainly the artist, his/her collaborators, the audience or the scholarly community? What modes of knowing unrecognized by governing political systems are made visible by current doctoral projects? The critical framework of the paper will include writings of Annette Arlander, Henk Borgdorff, Robin Nelson, Klaus Jung and Torsten Kälvemark. The author will share insights into the current challenges in doctoral research from her perspective in the Czech Republic and as a programme chair of the 7th International Conference of Doctoral Studies in Theatre Practice and Theory CURRENT CHALLENGES IN DOCTORAL THEATRE RESEARCH, 20-21 November 2015, held by Janáček Academy of Music and Performing Arts in Brno, Czech Republic. |
| About Radka Kunderová |
|---|
| Assistant professor, researcher, critic and editor. She graduated from Charles University in Prague, Czech Republic, in theatre studies, media studies and journalism, also studied in England and Greece. She has received her PhD with the dissertation Erosion of the Authoritative Discourse in Czech Theatre Reviewing Practice within the Period of So-called Perestroika (1985–1989) at the Department of Theatre Studies, Masaryk University Brno, Czech Republic. She has been working as an asistent professor, conference organizer, researcher and editor at the Theatre Faculty of Janáček Academy of Music and Performing Arts (JAMU), Brno, Czech Republic. She teaches history of Czech theatre, performance analysis for foreign students or theory of audiovisual documentation of theatre. She is also pedagogically involved in doctoral studies. Her research interests include issues of politics, language and ideology in theatre discourse (mostly in Czech theatre between 1948 and 1989), new media in contemporary theatre or documentary theatre. She has published conference proceedings of various JAMU conferences focused on theory of theatre. Recently, she has been a programme chair of the 7th International Conference of Doctoral Studies in Theatre Practice and Theory CURRENT CHALLENGES IN DOCTORAL THEATRE RESEARCH, 20-21 November 2015, held by JAMU. She has participated in various Czech and foreign conferences and research projects, e.g.Contemporary Central European Theatre: Document/ary versus Postmemory held by the International Alternative Culture Center, Budapest. As a theatre critic, she has been an external editor of the Czech theatre magazíne Svět a divadlo (World and Theatre). |
"Turn mirrors into windows"
What does this enigmatic sentence mean?
How do we see ourselves in other contexts?
How does the experience of non-Western contexts transform our self-perception and push us to reconsider our certitudes and self-sufficient positions ?
From 2003 to 2010 a partnership process was developed between the two art schools of Strasbourg and Kinshasa. This intense ‘close connexion’ questioned and transformed deeply the teachers and students involved in it and by extension both schools. This 7-year project was a ‘non-ending’ circulation from one place to the other and vice versa, involving around 30 teachers and 50 students (both schools); workshops, exhibitions, shared courses for students including an essential dimension of graduation, exhibitions and events were the various formats of this relation.
The process was clearly experimental and shifted all participants from their established position and practice. We were constantly discovering the fact that our stories, on both sides, were shaping our point of view. We were facing our atavisms. We constantly had to be aware of the obstacles on the way in order to keep the quality and possibility of the relation, increase and preserve it, and to create a common space.
For us, French teachers and students, this process often perceived as an « adventure », was interestingly challenging and pushed us to look back to our colonial history and to become aware of the ongoing asymetrical relation resulting of it. Crucial in the perspective of the world to come.
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| • A presentation of an Erasmus+ Strategic Partnerships project 2014 - 2017 • Key concepts: Arts, health and well-being, creative well-being, additional education for HE lecturers, multiprofessional cooperation, young people, community practices. Moving towards Multiprofessional Work, MOMU, defines and develops multiprofessional working skills and environments for professionals in arts and social work. These skills will respond to the needs of the European labour market in a rapidly changing society. From arts viewpoint it is about the development of the role artists, arts educators and arts education institutions have in the creation of tomorrow's society. In order to be competent in educating professionals and answering the needs of working-life, the lecturers need to modify their knowledge and skills towards dialogue and interaction between different disciplines. Skills to apply their own professional capacity in cooperation is in the key role in building students’ multiprofessional competences. Project partners are University of Tartu Viljandi Culture Academy, University of Castilla La Mancha, Manchester Metropolitan University and Turku University of Applied Sciences. MOMU 1. Defines preconditions and existing promising practices for multiprofessional teamwork between professionals of arts and social work; 2. Plans and executes the MOMU Training Package of Multiprofessional Teaching and Learning in partner countries for HEI lecturers of arts and social work; 3. Documents and evaluates both the training package for HEI lecturers, as well as the multiprofessional courses organized by the participating lecturers in their home institutions; 4. Compiles and modifies the gained knowledge and materials into a Handbook of Teaching and Learning of Multiprofessional Work; and 5. Disseminates the outcomes of the project through seminars and articles by the responsible organizers of the project activities. Social work and arts students in Britain, Estonia, Finland and Spain participate in the multiprofessionally organized training courses by the lecturers joining in the MOMU training. The work with the students forms the practical part of the training of the lecturers and will be both documented and evaluated. The students will work in multiprofessional teams to cooperate with the working-life implementing workshops or activities for young people. In my presentation I will give a view of the project’s first year and the steps in promoting multiprofessional work so far. My aim is to arouse interest on this kind of lecturers´ education and to present the creative learning process with its outcomes by November 2016. |
| About Liisa-Maria Lilja-Viherlampi |
|---|
| Liisa-Maria Lilja-Viherlampi has made her PhD in Education. She is also Master of Music and Music Therapist. She has a wide background as a teacher and educator in a variety of educational contexts/settings from primary school to higher education and teacher education. Currently Lilja-Viherlampi works as Principal Lecturer in Culture and Well-being, Research Group Leader and Master Degrees and Spesialisation Studies Leader in Turku university of Applied Sciences/Arts Academy. During 2009 – 2014 Lilja- Viherlampi worked as Research and Development Manager in Arts Academy leading its RDI as a whole. Main themes in Lilja-Viherlampi’s competence chart are: creative processing, innovation competencies, pedagogic development work and music and other arts in health and well-being. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| The Deichman is currently being relocated. From a neoclassical building to a modern glass structure by the waterfront. In the architectural drawings: A display of books in full view—conceived by the architects as wall elements—connects to the aesthetics of public space, rather than earlier public use, when the books were brought by the librarians, handed over to lenders, from their existence in invisible and inaccessible catacomb-like storage in the «tesseracts» of deep basements. On this background, the students were asked to develop a concept for ‘one million book jackets’—in a project called The Molt of the Book: it was based on the assumption that the aesthetics of the library as a public space, would entail a renewed interest in the public aesthetics of the book (as distinct from the commercial designs targeting private owners). The grounds for such an assumption is that the circulation of library books always was—and still is—different from the privately acquired bookstore-item. The library is more than the sum of its books: it is a window to the contemporary, in that it hosts a multi-cultural public in an atmosphere of low voices, where crowds otherwise grow louder by the day. The library-book is design for library use. In a series of three contemporary essays on the present and emerging conditions of book—written by a graphic designer, a librarian and an anthropologist—we wanted to reect this atmosphere by using the last generation of the library editions proper, shirted with a brand of synthetic skin called Granitol, embossed with gold-letters. The Molt of the Book—we would like to share the story to and through this book with the audience at ELIA: its story conveyed in its contents, and its story as a container. Our volume does not simply mirror a library book-model from the 60s, but is a window unto the deep questions of the contemporary library, and a transition in the history of Deichman. Its contents ranges from the history of book-binding in popular culture and a specialized practice in Deichman, myths and facts in a current assessment of reading habits among lenders, how the stacking and joinery of a technology of yore—the book—with present technologies of tangible computing in which books become nodes in a network. In this specific sense, mirrors the changes in society and—at the same time—it is a window unto a society in change. |
| About Martin Lundell |
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| Martin Lundell is a graphic designer and professor of visual communication at the Oslo National Academy of the Arts. His main focus as a designer and education is the printed book. |
| About Theodor Barth |
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| Theodor Barth is an anthropologist and professor of theory and writing at the Oslo National Academy of the Arts. He has worked with a broad set of topics with a special interest to book-building. |
Thematic Sessions
Friday 02 December
Venue: Palazzo dei Congressi, Villa Vittoria
Break Out 1 13.30-14.30
| Abstract |
|---|
| Since last year Shota Rustaveli Theater and Film Georgian State University started cooperating with AKT-ZENT in the field of Theater Pedagogy, which for several years invites universities and academies to jointly examine the position of the acting teacher and the different ways for the education of acting teachers. During the ELIA congress Shota Rustaveli Theater and Film Georgian State University and AKT-ZENT would like to discuss and investigate different models of training - as a Master programme for academies and universities (HEIs) and as a post-graduate Vocational Education and Training course. Furthermore this new international project proposes to share the newest research of Dr. Jurij Alschitz and raise artistic methodological questions challenging theatre education today: Dialogue Presentation by Professor Dr. Jurij Alschitz, Professor Giorgi Margvelashvili and Dr. Levan Khetaguri. The world is entering a new stage of its development, a stage of rapid development, in which the distribution of new information technologies assume the character of a global information revolution; one, which has a growing influence on politics, economics, science, culture and, above all, on education. This so-called digital revolution is determining the motion of an entirely new type of society, albeit one that still sees this information as the basis of acquiring ‘knowledge’. The famous words uttered by philosopher Francis Bacon - "Who owns the information - owns the world", could now perhaps be slightly amended to “Who owns the education - owns the world”. Over the past two years, AKT-ZENT Research Centre has spent time researching and exploring through practical case studies how the development of theatrical education in this new era should be determined, in order to comply with our rapidly evolving society. Prognoses indicate that this period will be marked by a distinct lack of energy in general, which in turn will generate a counter-energy of creation. This creativity will determine the development on many different levels - state,individual and social. The aim of theatrical education is to provide an entrance point for integration into the global information space, before the most recent discoveries in science and technology are fully realized. For schools and education, this requires changes in the very near future. Changing theater schools equals (=) changing theater. |
| About Giorgi Margvelashvili |
|---|
| Professor Giorgi Margvelashvili is rector of the Shota Rustaveli Theatre and Film Georgian State University. In 1980 he graduate from Shota Rustaveli Theatre and Film Institute as stage director, as teacher of drama department since 1984. Since 2005 he was elected as rector of the university. In parallel he is working as theatre practitioner, as stage director of Tumanishvili Film Actors Theatre since 1984, and as artistic director 2001-2005. Since 2009 he is Chief Director of A. Griboedov State Academic Theatre in Tbilisi. He received several professional awards in Georgia for best production, best directing (1994, 1996, 2001, 2004), etc. He is actively involved in artistic research too and takes part in international conferences like ATEC (2011, 2012,2013, 2014). Since 2009 he is the member of Tbilisi International Festival advisory council. |
| About Jurij Alschitz |
|---|
| Director, theatre teacher and academic, Dr. Jurij Alschitz, received his first director training in Moscow under the tutelage of Prof. J. N. Malkovsky (a former pupil of Stanislavsky). After several acclaimed productions, he continued his education with a second course of training at GITIS Russian Academy for Theatre Arts, under the instruction of Prof. M. Butkevich and Prof. A. Vasiliev, where he subsequently held a teaching post. In 1987, he took part in the foundation of the theatre ‘School of Dramatic Art – Anatoly Vasiliev’, where he established his own rehearsal and training methods. From there, Jurij Alschitz went on to further develop the methods of the famous Russian theatre tradition, creating his own unique pedagogical system, whereby training forms the central basis of educational and rehearsal techniques. In 1992, Jurij Alschitz established his own “School” by teaching and directing at various universities and drama schools throughout Europe and which led to the opening of International Theatre Centres in Berlin, Stockholm, Oslo, Rome and Paris, now commonly known as The European Association of Theatre Culture. EATC has created an extensive network of ideas and a teaching ensemble with the ongoing aim to channel new theatre impulses and instigate practical research. He is the artistic director of the AKT-ZENT /research centre of the International Theatre Institute in Berlin. In 1999 he founded the bi-annual international festival for theatre training methods – METHODIKA His actual works are concentrating on the theoretical research and practical theatre training methods. In 2011 the project of J.Alschitz "World Theatre Training Library” was recognized by the International Theatre Institute as one of the most important theatrical exploration nowadays. In 2012-14 he proposed and realized the first MA Master Programme for Teaching Professional Theatre at UNAM, Mexico; since 2015 the second pilot started with European Academies. His books have been published in a range of languages and offer practical theatre exercises and advice for thousands of students, teachers, actors and directors. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| The conservation of contemporary art is included in the content of different courses of the Fine Arts degree of the University of Granada (Spain). However, not all students develop sufficient relevant competences and/or properly apply them according to the recommended instructions. This is the subject matter of the research presented, initiated at the University of Granada (Spain) in 2011 with students from the Bachelor of Fine Arts (Plan 1997) and continued in 2014 with students of the Fine Arts Degree (Bologna Plan) at the same centre. It has also been carried out at other european institution. The results given by different groups of participating students clarify their views, experiences and knowledge on the conservation of contemporary art andindicate the need to improve their professional skills in this regared as a way to know better the contemporary artistic activity and its importante in the global world, to the present and the future generations. The research shows that most students express concern for the conservation of their works, although they like creating ephemeral works or allowing their material degradation, knowing the importance of conservation of works of art for buyers and collectors. The students, while performing preventive conservation work with their works, state that they do not have sufficient knowledge about the conservation of contemporary artworks, having already lost works for unforeseen technical reasons, while they have not suffered significant material degradation and, finally, believe their Syllabus does not provide them with the necessary knowledge and teaching skills for the conservation of contemporary art to adequately develop their profession. Therefore, this research allows us to know that conservation of contemporary art is a topic of interest for Fine Arts students who participated in this project, who think that this subject is not sufficiently developed in their Syllabus and since these people will be future cultural agents, this aspect of their training should be improved, implementing theoretical and practical teaching content on it and applying the most appropriate methodologies for the transfer of knowledge to be a tool that enhances the conservation of contemporary patrimonial heritage in the future. |
| About Maria del Carmen Bellido Marquez |
|---|
| Maria del Carmen Bellido is a Professor in the Sculpture Department at the Faculty of Fine Arts at the Univeristy of Granada. She teaches Sculpture, Photography and Agents involved in the deterioriation of materials. She is a published author in scientific jounral and books on contemporary artistic creation and its conservation. As an artists she created and exhibited her sculptural works, mainly in metal, but also photography, video and painting. She undertook various research and teaching fellowships for a variety of organisations and countries including a Thomas Bata Foudnation sculpture grant in Czech Republic. |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| This paper describes the art project called Westpassage (Passage to the West). The project has two aspects to it: on the one hand collaboration between artists from different disciplines, and on the other an intended positive impact on the Unionviertel, a westerly part of the city of Dortmund in the Ruhr area in Germany, with formerly heavy industry and then and now high immigration density. The project hopes to show that through collaboration mutual and reciprocal inspiration between artists can be engendered and strategies for a sustainable artistic enterprise within the Unionviertel can be established. Being an artist and part of the project, I will illustrate the structure and the outcome of this project. Westpassage is a project of the Union Gewerbehof, a cooperative of different small businesses. It is composed of four individual art projects executed by three individual artists and one artists’ group, all working in the area. The project runs from December 2015 to May 2016 and is financially supported by the Land North Rhine Westphalia. The Union Gewerbehof is a member of the InWest eG which facilitates the setting up of creative and artistic businesses in the Unionviertel. Westpassage revolves around life and structure in the Unionviertel: using the metaphor of the journey, it will trace, document and make visible memories, architecture and enterprises past and present. Through their different artistic practices the individual projects will engage with selected residents, businesses and enterprises of the area. It is hoped that through these engagements sustainable relationships between both the artists and the enterprises can be developed. Each project of the Westpassage uses a different fine art discipline and engages with a different aspect of the Unionviertel and its enterprises. The paper will describe the four projects and their different approaches, which are: audio (sound recordings of interviews) and installation (Silvia Liebig), paper folding and installation (Stephanie Brysch), rubbings and installation (Babette Martini) and photography (Projektraum Fotografie: Daniel Sadrowski, Gerhard Kurtz, Eisenhart Keimeyer, Donja Nasseri, Sabrina Richmann. A web site will inform about the progress during the project. A final exhibition will present the results of the different projects of Westpassage in a final exhibition both to the Unionviertel and a wider public. With the exhibition the documentation of the project will be published and disseminated. |
| About Babette Martini |
|---|
| Babette Martini lives and works in Dortmund, Germany, as a freelance fine artist. She holds workshops and is leading a mentoring group for professional artists. She is also a founding member of the artist led gallery project blam! in the Unionviertel in Dortmund. Currently she is working in a collaborative art project called Westpassage. From 1987 to 2011 she lived and worked in Bath and Cardiff, GB. In 2007 she was awarded a PhD in Art & Design, Cardiff Metropolitan University and in 2002 gained an MA in Ceramics, Cardiff Metropolitan University. She taught Ceramics on BA and MA level (Central St Martins College, Cardiff Metropolitan University). For her PhD studies she was awarded a stipend from the University of Wales Institute, Cardiff. Further (selected) awards include the Postgraduate Award, Arts and Humanities Research Board (2001), Setting Up Grant, Crafts Council, London (1993), Major Award from South West Arts (1993). She exhibits her sculptural and two-dimensional work in Germany and abroad in group and solo exhibitions in public and private galleries like (amongst others) the Kunstverein Projektraum Bahnhof25, Kleve (G), Künstlerhaus Göttingen (S), BBK Torhaus, Galerie, Braunschweig (S), BRLSI, Bath (S) or Galerie Freyer, Bocholt (S). She is also showing her work in so-called non-gallery spaces like the Bath Abbey, Bath (S), the Fraunhofer Institut UMSICHT, Oberhausen (S) or the Old Postal Museum, Bath (G). (S - solo exhibition, G – group exhibition) Her work was most recently reviewed in 2015 New Directions in Ceramics: from Spectacle to Trace, Jo Dahn, London, Bloomsbury Publishing Plc, ISBN HB:978-1-4725 2671-7. For more information please visit www.babettemartini.com |
Pecha Kucha
Thursday 01 December
Venue: Palazzo dei Congressi, Villa Vittoria
13.00-15.00
| Abstract |
|---|
| Since the late 90s, there has been an unprecedented expansion of the business of art and the creative and cultural industries, multiplying the number of mediators and diversify their skills and, of course, also the number of artists seeking to break into the complex current artistic scene . Unquestionably, the artistic mediators actively involved in building the cultural value of contemporary art; in 1994, the art critic and historian Juan Antonio Ramirez (Ramirez , JA 1994 ) compared the complex system of art and its market with an "extremely fragile ecosystem " in which the survival of a species was conditional on the other; in this scenario, the ruling class from the 80s, the art "intermediaries", guided the contemporary artistic evolution. Producer artist has experienced in recent decades a metamorphosis into a new type of "artist-product", the result of complicated operations of marketing, in which legitimate art system providing the optimization of resources. To be successful, an artist must harmoniously manage their investments in specific "capital" and "relational capital" (Uhlaner, C.J. 1989) generating consistent project quality but also cultivating a network of contacts that allows for credibility. The project presented raises the symbiotic collaboration between different areas of knowledge, promoting a shared knowledge transfer Academia-Industry-Society, on the basis of a broad aggregation which will involve universities and national and foreign private companies, in order to analyse the processes of building branding of young artists and to create a network for promotion and dissemination (examining the mechanisms of legitimation of contemporary art, managing talent and applying cultural marketing techniques), allowing internationalize the careers of emerging artists and transfer artistic research to society. The main objectives of this research are: 1) Determine the mechanisms of legitimation of young artists and the role of different art’s mediators in building of value. 2) Analyse the different processes involved in building the branding of young visual artists and develop actions to manage their talent and internationalization of their careers (i.e. using coaching strategies). 3) Generate a network for the promotion of young artists and disseminate the works they produced in national and international exhibitions and in virtual environment (social networks, app...). 4 ) Investigate what new art business models are in a globalized context. The main expected results of the project are to determine the influence of relational capital in the success of emerging artists and lay the foundation for the creation, design and development of a social network of the international arts community (artists , dealers, collectors, etc.) as a platform to share information about young contemporary artists, with the objective to create social relations between different actors of the contemporary art system using similarity algorithms. |
| About Belén Mazuecos |
|---|
| Dr Belén Mazuecos Sánchez is Director of the Visual Arts Area at the Contemporary Cultural Centre-Vicerectorate Cultural Affairs of the University of Granada (Spain) (since July 2015) and she has been Vice-dean of Cultural Affairs and Knowledge Transfer at the Faculty of Fine Arts-University of Granada for the last seven years (2008-2015). She is currently a contracted professor and researcher in the Department of Painting since 2002. She graduated in Fine Arts at the University of Granada (Spain) and the Accademia di Belle Arti di Brera of Milan (Italy) in 2001. She obtained a degree in Conservation and Restauration of Cultural Heritage in 2004 (at the UGR). She obtained an European PhD in Fine Arts in 2008 (at the UGR) with a thesis on Contemporary Art market. She graduated in Social&nbs |