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NTNU:TIA:REST

Kunstakademiet i Trondheim

Trondheim Academy of Fine Art

Engelsk

Mer om vurdering

<ul><li>Vurdering av kunstnerisk progresjon ved presentasjon eller innlevering av arbeid produsert i emnet eller dokumentasjon herav.</li><li>Dokumentasjon: Tilstrekkelig visuell, audiovisuell, skriftlig eller annen dokumentasjon av aktiviteter, prosesser og resultater for å representere utviklingen av arbeidet og/eller prosjektet i kurset.</li><li>Utsatt vurdering avholdes førstkommende semester.</li></ul>

Læringsutbytte

Læringsformer og aktiviteter

Deltakelse i emneaktiviteter 

Oppgave

Visning og kuratering

Billedkunst

Arkitektur - masterstudium (2-årig)

Industriell design - masterstudium (5-årig)

Arkitektur - masterstudium (5-årig)

Fine Art (Master's Programme)

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All in all the course went very well and according to the plan. Students were given assignments for each class and for most parts they were very well prepared. After a thorough introduction to the history of Documenta, as well as the most recent version, the students broke out into groups and worked on several projects to be presented at the Open Academy by the end of the course. This balance between art history, theory and and practical experimentation and feedback seemed to work very well.

Most students voiced how the course had led to much more insight into their own artistic and curation practice and what things should be in place before any exhibit. Students found the study we made on Documenta, as well as the presentations students gave at the beginning of the class and the reviews of the group progresses we had at the past sessions, very useful. Due to absence from some classes towards the end, a few students found the proposed use of the KiT Gallery during Open Academy to be confusing. Next time, we should make sure to state the importance of using the KiT gallery space to show the outcome of the course at the beginning of the course, as well as be better at coordinating the activities in the gallery with the other course leaders.

Not enough students wrote their feedback using the anonymous feedback scheme, but we had quite a bit if self-reflection with the students in the course along the way, so as to adjust and specify the content. One student wrote: The fact that we have so many other courses/electives that are taking us away from our individual practice.. lots of them are writing heavy too I think its just too much for the start of the masters and an issue with departmental planning. Another student wrote: Personally for me an intensive course or maybe just 1 hour per week is more convenient and I work better that way. We wrote a longer feedback to each student after the course, which was very time consuming and probably not possible to repeat again.

<ul><li>Deltakelse og produksjon vil bli vurdert gjennom presentasjoner av prosjekter eller arbeider.</li><li>Utsatte eksamener/nye eksamener vil avholdes i den neste eksamensperioden.</li><li>Deltakelse i læringsaktiviter som seminar og prosjekter er obligatorisk.</li></ul>

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The course started with an overview of my own curatorial practice with a focus on the question: what does it mean, to create different and international frameworks, in relation to the varying conditions of the respective places (in terms of geography, funding, and institutions—big and small, independent or state funded). Presenting a variety of intertwined exhibiting and discursive strategies (journal, gathering, exhibition, side-programme etc) This was followed by a comprehensive introduction by the students, their practice, questions and expectations. Their interest and practice (including three exchange students from Architecture) were an important starting point for the further development of group projects (which themes to work on), curatorial proposals and field trips (Trondheim Kunstmuseum/ curator talk with Marianne Zamecznik and Trondheim Kunsthalle / talk and discussion with community builder Karim Tahir) -- prepared by a discussion about: what does it mean to think of an audience. In parallel, an experimental "evening class" project that I developed together with Prerna Bishnoi, called "Slow Education", in collaboration with the music section of the public library, took place at several evenings and was included in the course. The students could experience the different settings and frameworks of "listening sessions" and some of these sessions were reflected again in the course. One core question / approach of the course was: the artist as curator (including a guest-lecture on the topic by Prof Leslie Johnson). To encourage the art and architecture students to think of their own work in a larger context and to try out and test different curatorial perspectives and exhibiting strategies (beyond the white cube / the gallery). We built three groups and the students were working on different themes / proposals: around "Manifestos", design an "Open Call" and around the concept "One plus One". The students presented and discussed intermediate results on a regular basis -- the lively and in depth discussions encouraged a critical reflection.

The students seemed excited about the group projects (from what I heard through direct feedback: "I learned a lot") and in this open, inspiring and talkative environment they were very receptive to related and further references and source material which built up the curriculum.   Each group developed, designed, presented and handed in a complex, curatorial project-proposal. For the presentation two "jury members" were invited and gave feedback, Prof Leslie Johnson and artist/researcher Prerna Bishnoi.

What was particular helpful for the mutual learning process were the exchange students from architecture. They were very eager to learn from the fine art students, which in turn gave them a different role than just being among themselves --- through the "eyes" of the others everyone learned about new things from their own practice.

<ul><li>Deltakelse og produksjon vil bli vurdert gjennom presentasjoner av prosjekter eller arbeider.</li><li>Utsatte eksamener/nye eksamener vil avholdes i den neste eksamensperioden.</li><li>Deltakelse i læringsaktiviter som seminar og prosjekter er obligatorisk.</li></ul>

Students are familiar with current curatorial practices, including case-study analysis in dialogue with curatorial positions. Students can explore the potential of the exhibition as a process, that can generate knowledge that can inform current and future practice of exhibiting. Students have skills and training required in order to manage successful exhibitions needed to embark on careers in the cultural sector. Students can equip themselves with practical and theoretical tools to organise an exhibition. Students can collaborate on a presentational format in developing spatial strategies and support for:  Site-based studies with a studio-based practice  Externally curated exhibitions  Individual and institutional research projects

Exhibiting and Curating

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The quality of the course is very satisfactory and was given enthusiastic student feedback, orally and in writing. The students showed high motivation and were very active in class. Most students were actively participating in the interesting class discussions. As always there are a few who are not comfortable to speak in a group setting.  After the lock-down, it is impossible to assess the learning environment, as the MFA students were spread around the globe and in different time zones. However, most students delivered home assignments and participated on a regular base. Unfortunately, it was not possible for the department to hire a qualified teacher in time for the autumn semester of 2020, therefore the course had to be organised with external teachers. Because of the delayed hiring process, the course information was not ready at the beginning of the semester, which led to delayed communication of the course times and contents.For a continuation of this course, it is crucial that the department fills the position of a professor with a focus on exhibiting and curatorial practice.

Students are familiar with current curatorial practices, including case-study analysis in dialogue with curatorial positions. Students can explore the potential of the exhibition as a process, that can generate knowledge that can inform current and future practice of exhibiting. Students have skills and training required in order to manage successful exhibitions needed to embark on careers in the cultural sector. Students can equip themselves with practical and theoretical tools to organise an exhibition. Students can collaborate on a presentational format in developing spatial strategies and support for:- Site-based studies with a studio-based practice- Externally curated exhibitions- Individual and institutional research projects ﻿The learning outcomes are relevant and coherently connected to other offers in the study program.

Teaching a full week of online activity. Lectures with dialogue, discussions, group-tasks and seminars are very relevant for this master course. Student progression varies greatly as this is an international and interdisciplinary course with students from different countries, which includes different cultures and academic background. Due to the corona-related restrictions, the lectures were carried out online in a blocked seminar. The practical aspect of the course had to be entirely skipped. Instead, the teaching was theoretical with a historical and contextual focus on social as well as academic issues. In addition, students were asked to write reflection notes. The class was not organized via Blackboard, because external teachers cannot be added and given full permission.

The course evaluated overall participation, which is in line with the learning outcomes. In the future, there should be a compulsory assignment in addition to participation in the theoretical part. But as this course has been carried out under extraordinary conditions during the pandemic, the teachers had to exclude a variety of teaching formats, which would otherwise be employed.

Students&#8239;are&#8239;expected&#8239;to&#8239;participate&#8239;in all&#8239;lectures,&#8239;field&#8239;trips and&#8239;discussions.&#8239;Postponed&#8239;exams&#8239;/&#8239;new&#8239;exam&#8239;will&#8239;be held in&#8239;the&#8239;next&#8239;exam&#8239;period.&#8239;

Faglig innhold

This course corresponds with the practical development of exhibitions, and introduces a research-informed, experimental approach to the analysis and making of contemporary exhibitions as a distinctive form of cultural production. It invites students from a wide range of creative disciplines with interest in practice-based work and regards exhibitions as a process of co-creation, shaping as well as showcasing research-led and practice-based art for public interest. Limited course capacity. Students apply to the course and should express their interest in being part of the gallery board.

The course will have a hands on approach and introduce students to the many layered procedures and challenges of exhibition making through active participation in the current activities in Gallery KIT&#8239;and by a&#8239;collaborative project to install an exhibition on agreed upon subject or material. The students will take part in the Gallery KIT Student Board and together with a supervisor discuss, develop and produce exhibitions complementing the running program of Gallery KIT. Based on the mutual interests of the students this class will develop one or several visual concepts and forms for presenting the ideas the student group(s) develop.&#8239;The vision for this class is finding forms for contents yet unseen within disciplines we dont know, in other words to explore the limits of our knowledge, be it in ourselves, in the class or in the field, to become familiar with innovative thinking and innovation processes. To contextualise this endeavor our class looks for partners to work with.&#8239;Participation in the work of KiT Gallery Student Board.

Students are familiar with current curatorial practices, including case-study analysis in dialogue with curatorial positions. Students can explore the potential of the exhibition as a process, that can generate knowledge that can inform current and future practice of exhibiting. Students have skills and training required in order to manage successful exhibitions needed to embark on careers in the cultural sector. Students can equip themselves with practical and theoretical tools to organise an exhibition. Students can collaborate on a presentational format in developing spatial strategies and support for: 

 
 Site-based studies with a studio-based practice 
 Externally curated exhibitions 
 Individual and institutional research projects 

 

Exhibiting and Curating 1

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Visning og kuratering - BK3199