Key words
Objectives
Students participate in four seminars, depending on the theoretical needs encountered in the course
of their study and from the perspective of their own artistic practice and theoretical interests.
Seminars are incorporated into the Master’s programme as a specific form of study, in which
theoretical content is transmitted in a flexible and open working structure, subject to intervention and
dialogue on the part of students.
Seminars are partly supported by the artistic and theoretical investigations currently being conducted
at the KASK, so that students are engaged in seminars that focus on pertinent problems and themes.
Topics
Each seminar comprises a single unit of study within this segment of the programme.
Seminars focus on specific problems and investigations.
The seminars are thematic in nature and are not intended as overviews. In terms of content, seminars
in the Master’s programme may be on any subject or theme linked to the study areas of the visual
and audiovisual arts.
The specific focus of a seminar evolves from investigation by an instructor/lecturer.
The seminars may reach beyond the standard limits of specific artistic disciplines.
In 1995 Hal Foster introduced the concept “Ethnographic turn of contemporary art”. Sincethe 90ies a
challenging wave of art events occurred, which show significant similaritieswith anthropology in its
theorizations of cultural difference and representational practices.Artists share with anthropologists a
concern for the ‘politics of representation’. However,several writers critique the underlying neocolonial
or Eurocentric assumptions of theseprojects. Critics accuse artists of exoticizing ‘the other’, of
presenting ‘the other’ in a premoderncontext, the artists are ideologically patronizing the other etc.
During this seminar we discuss this wave of art events from two different perspectives:we read
theoretical articles where definitions are offered of “cultural identity”,“multicultural arts’, and related
terms like “diaspora-art”, “interstitial or imperfect cinema”,..We then confront these theoretical insights
with art experiences by looking into specificart practices, such as Nikki S. Lee, Kara Walker, Jimmy
Durham, Lothar Baumgarten,Charif Benhelima, Alain Platel, etc.
Prerequisites
It is strongly advised that students have the required competencies of the Bachelor’s programme in
visual or audiovisual art.
Final Objectives
- In a well-grounded manner, students can share thoughts and reflections concerning a scientific or
artistic investigation.
- Students demonstrate their capacity for originality and creativity in expanding knowledge and
acquiring insight.
- Students demonstrate the potential added value of collaboration that goes beyond specific artistic
disciplines and can moreover achieve that added value in a multidisciplinary environment.
- Students have advanced understanding of and insight into scientific and/or artistic knowledge
inherent to their specific domain in the visual or audiovisual arts.
- Students have insight into the most recent contemporary knowledge in a specific area and can
follow current research and interpretation.
Materials used
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Teaching materials vary according to the seminars selected.
• Syllabus (Hal Foster, Arnd Schneider and Chris Wright, Laura U. Marks, ..).
• van. Dienderen, A., Janssens, J., Smits, K. TRACKS. 2007.
Study costs
Syllabuses are provided through studio funding.
Students purchase any handbooks that may be required.
Study guidance
Instructors/lecturers are always available for consultation by appointment.
Teaching Methods
Theoretical discourse and group discussions.
When appropriate, visiting lecturers may hold seminars in languages other than Dutch.
- six weekly sessions with reading assignments
- projections and art presentations
- visit to an artist’ work space or/and screening/talk by an invited artist
- dialogue with an artist
Assessment
Each seminar requires a verbal examination, possibly prepared by means of a written paper.
Students must pass each unit in order to receive full credits for this programme segment.
Each unit is 25% of the total credits.
Second settings are possible.
Attendance is obligatory.
Active participation in discussions, presenting inspiring examples and relevant topics ofdiscussions.
Writing a paper based on the reading assignments and based on a dialoguewith an artist about
her/his practice.
Lecturer(s)
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