Vår 2017 SEMESTERPLAN / SEMESTER PLAN · 1. år 2. år 3. år høst vår høst vår høst vår...

Vår 2017

SEMESTERPLAN / SEMESTER PLAN

Bachelor i billedkunst / Bachelor of Fine Art

Master i billedkunst / Master of Fine Art

Oppdatert: 04.01.2017 / Updated 04.01.2017

Endringer i semesterplanen kan forekomme. Følg med på www.khio.no

Changes might occur. For updates please visit: www.khio.no

Innhold / Content

EMNESTRUKTUR / PROGRAMME STRUCTURE ............................................................. 7

EMNESTRUKTUR BACHELOR ...................................................................................................... 7

PROGRAMME STRUCTURE BACHELOR ...................................................................................... 8

EMNESTRUKTUR MASTER .......................................................................................................... 9

PROGRAMME STRUCTURE MASTER ........................................................................................ 10

VIKTIG INFORMASJON / IMPORTANT INFORMATION ............................................. 11

STUDIEPLAN / STUDY PLAN .................................................................................................... 11

INDIVIDUELL STUDIEPLAN / INDIVIDUAL STUDY PLAN ........................................................... 11

SEMESTERPLAN / SEMESTER PLAN ......................................................................................... 12

TIMEPLAN / TUITION SCHEDULES ........................................................................................... 13

REGLEMENT OG FORSKRIFTER / RULES AND REGULATIONS ................................................... 13

KURSBESKRIVELSER / SYLLABUS .................................................................................... 14

Scenarios for Going Public ........................................................................................... 15

Main advisors ............................................................................................................................................. 15

TEMATISK FOKUS / THEMATIC FOCUS .................................................................................... 16

SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7 ................................................. 17 MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE ........................................................................................ 17

Artists Moving Image Norway .................................................................................... 20

Ane Hjort Guttu .............................................................................................................................................. 21

Non-Fictional Performance & Real-Time Composition ....................................... 22

Jeremiah Day .................................................................................................................................................. 23

Picture Makers ................................................................................................................. 25

Jeremiah Day .................................................................................................................................................. 25

What can neither be seen nor said ............................................................................ 27

May sparkle most brightly, .......................................................................................... 27

When cast in a certain light. ........................................................................................ 27

Jan Verwoert .................................................................................................................................................. 28

Maleri: materialer og metoder .................................................................................... 30

Painting: Material and Method ................................................................................... 30

Kristian Øverland Dahl ................................................................................................................................... 31

Maleratelier? / Painting studio? .................................................................................. 32

"Notater og samtaler / Notes and Conversations" ............................................... 32

Kristian Øverland Dahl.................................................................................................................................... 32

Shifts in Translation ........................................................................................................ 34

Saskia Holmkvist............................................................................................................................................. 35

Malersalen. Et praxiologisk syn på maleriets teori ................................................ 37

Stian Grøgaard ............................................................................................................................................... 37

Ting som er skjult siden verdens grunnleggelse. René Girards filosofiske

antropologi. Våren 2017 ............................................................................................... 40

Things hidden since the foundation of the world. René Girard´s philsophical

anthropology, spring semester 2017 ........................................................................ 40

Stian Grøgaard ............................................................................................................................................... 40

Painting in Palestine ...................................................................................................... 42

Felix Gmelin.................................................................................................................................................... 44

DIY Television Gallery / Telegalleriet ......................................................................... 45

Felix Gmelin.................................................................................................................................................... 46

Expanded Scripting ........................................................................................................ 49

Maryam Jafri .................................................................................................................................................. 49

Material Longevities ....................................................................................................... 51

Tris Vonna-Michell ......................................................................................................................................... 52

Interacting with public space ...................................................................................... 58

Jeannette Christensen.................................................................................................................................... 58

Sound Positions .............................................................................................................. 61

Dirkjan van der Linde ..................................................................................................................................... 61

Easy Rider .......................................................................................................................... 64

Felix Gmelin.................................................................................................................................................... 65

UTSTILLINGSPRAKSIS / EXHIBITION PRACTICE ........................................................................ 66

Does the network fit into the cube? .......................................................................... 67

Rike Frank ....................................................................................................................................................... 67

Exhibiting: An Introduction .......................................................................................... 69

Rike Frank ....................................................................................................................................................... 69

SKRIVEPRAKSIS / WRITING PRACTICE ..................................................................................... 71

Nordisk skrivekurs .......................................................................................................... 72

Hans Petter Blad ............................................................................................................................................ 72

Avgangsessay bachelor ................................................................................................. 74

Bachelor Graduation Essay ........................................................................................... 74

Mike Sperlinger .............................................................................................................................................. 74

Master essay .................................................................................................................... 78

Mike Sperlinger .............................................................................................................................................. 78

ÅPNE FORELESNINGER / PUBLIC LECTURES ................................................................ 82

ÅPENT FORUM/ OPEN FORUM ............................................................................................... 82

ACADEMY LECTURES ............................................................................................................... 82

AKADEMIROMMET ................................................................................................................... 83

ADMINISTRASJON / ADMINISTRATION ...................................................................... 84

Hege Nyborg .............................................................................................................................................. 84

Eva Løveid Mølster .................................................................................................................................... 84

Therese Veier .............................................................................................................................................. 84

Berit Andresen ........................................................................................................................................... 84

Sunniva Lundh ........................................................................................................................................... 84

7

Emnestruktur / Programme structure

Emnestruktur bachelor

Krav til bachelorgrad: 180 studiepoeng (sp)

Emnekode Emnenavn

Studiepoeng per semester

1. år 2. år 3. år

høst vår høst vår høst vår

BK101 Kunstnerisk praksis 1 15

BK102 Gruppekritikk 1 5

BK103 Tematisk fokus 1 6

BK104 Skrivepraksis 1 4




BK115 Utstillingspraksis 1 4




BK204

BK205 Enten Skrivepraksis 2 eller Utstillingspraksis 2 4




BK204











SUM STUDIEPOENG 30 30 30 30 30 30

8

Programme structure Bachelor

Requirements for Bachelor`s degree: 180 Credits

Course

code Course name

Credits per semester

Year 1 Year 2 Year 3

autumn spring autumn spring autumn spring

BK101 Independent practice 1 15

BK102 Group critique 1 5

BK103 Thematic focus 1 6

BK104 Writing practice 1 4




BK115 Exhibition practice 1 4




BK204

BK205

Either Writing practice 2 or Exhibition

practice 2 4




BK204

BK205

Either Writing practice 2 or Exhibition

practice 2 4










TOTAL CREDITS 30 30 30 30 30 30

9

Emnestruktur master

Krav til mastergrad: 120 studiepoeng (sp)

Emnekode Emnenavn

Studiepoeng per semester

1. år 2. år

høst vår høst vår




BK504





BK504











SUM STUDIEPOENG 30 30 30 30

10

Programme structure Master

Requirements for Master`s degree: 120 Credits

Code Course name

Credits per semester

Year 1 Year 2

autumn spring autumn spring

BK501 Independent Practice 1 15

BK502 Group Critiques 1 5

BK503 Thematic Focus 1 6

BK504

BK505 Either Writing Practice 1 or Exhibition Practices 1 4




BK504

BK505 Either Writing Practice 1 or Exhibition Practice 1 4




BK525 Exhibition Practice 2 4

BK524 Writing Practice 2 4



BK535 Exhibition Practice 3 6

BK534 Writing Practice 3 4

TOTAL CREDITS 30 30 30 30

11

Viktig informasjon / Important information

Studieplan / Study plan

Alle studenter må sette seg inn i studieplanen for sitt studieprogram. Studieplanen gir

viktig informasjon om studiets oppbygging, undervisningsformer, arbeidskrav,

vurdering og annen informasjon som er viktig for å gjennomføre studiet. Studieplan

for Kunstakademiets studieprogrammer finner du her:

Studieplan for bachelorstudium i billedkunst

Studieplan for masterstudium i billedkunst

All students must be familiar with the curriculum for their programme. The curriculum

provides important information regarding the course structure and descriptions,

requirements, teaching methods, assessment, and other information the students

need to know about in order to follow the study programme. The English version of

the curriculum is available on khio.no:

Bachelor of Fine Art

Master of Fine Art

Individuell studieplan / Individual Study plan

Alle studenter må oppnå 30 studiepoeng (sp) i løpet av et semester innenfor de fem

emnene, basert på emnestrukturen i sitt program. Vi ber studentene krysse av hvilke

undervisningstilbud de vil følge i en individuell studieplan. Den individuelle

studieplanen danner grunnlag for godkjenning av semesteret. Arbeidskrav må være

godkjent for at studenten skal kunne få avsluttende vurdering i emnene.

Ved semesterstart blir det hengt opp lister over kurstilbudet på oppslagstavla ved

kontorene til Kunstakademiet. Alle studenter må skrive seg på disse listene for å

melde seg på kurs. Studentene skal i tillegg levere skjemaet for individuell studieplan

til studiekonsulent Berit Andresen. Her skal studentene også opplyse om hvem de

ønsker å ha som hovedveileder. Nærmere informasjon sendes på e-post.

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDgvMzEvMTRfMjBfMTJfOThfQmFjaGVsb3JzdHVkaXVtX2lfYmlsbGVka3Vuc3RfcmV2aWRlcnRfMTUuX2p1bmlfMjAxNi5wZGYiXV0/Bachelorstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDgvMzEvMTRfMjBfMTJfOThfQmFjaGVsb3JzdHVkaXVtX2lfYmlsbGVka3Vuc3RfcmV2aWRlcnRfMTUuX2p1bmlfMjAxNi5wZGYiXV0/Bachelorstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDYvMjgvMTNfMDBfMjBfNDczX01hc3RlcnN0dWRpdW1faV9iaWxsZWRrdW5zdF9yZXZpZGVydF8xNS5fanVuaV8yMDE2LnBkZiJdXQ/Masterstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDYvMjgvMTNfMDBfMjBfNDczX01hc3RlcnN0dWRpdW1faV9iaWxsZWRrdW5zdF9yZXZpZGVydF8xNS5fanVuaV8yMDE2LnBkZiJdXQ/Masterstudium%20i%20billedkunst%20revidert%2015.%20juni%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDgvMzEvMTRfMjBfMTJfMjUzX0JhY2hlbG9yX0ZpbmVfQXJ0c191cGRhdGVkXzE1X2p1bmVfMjAxNi5wZGYiXV0/Bachelor%20Fine%20Arts%2C%20updated%2015%20june%202016.pdf

http://www.khio.no/system/resources/W1siZiIsIjIwMTYvMDgvMzEvMTRfMjBfMTJfMjUzX0JhY2hlbG9yX0ZpbmVfQXJ0c191cGRhdGVkXzE1X2p1bmVfMjAxNi5wZGYiXV0/Bachelor%20Fine%20Arts%2C%20updated%2015%20june%202016.pdf

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All students must obtain 30 Credits within the five courses each semester, based on

the programme structure. We ask the students to mark the classes they wish to follow

in an individual study plan, which will form the basis for approval of the semester. The

coursework requirements must be met and approved in order for the student to

receive a final assessment in the courses.

Application lists for the classes are on the board by the offices at the Academy of Fine

Arts. All students must use these lists to sign up for classes. The students must also

submit their individual study plan to Study Consultant Berit Andresen. In this process

the students will inform the administration of their preferred main advisors. Further

information will be sent by e-mail.

Semesterplan / Semester Plan

Semesterplanen inneholder beskrivelser av kurstilbudet ved Kunstakademiet. Kursene

i semesterplanen er knyttet til noen av de obligatoriske emnene i studieplanen. Se

studieplanen for nærmere opplysninger om emnene og emnestrukturen.

Alle kurs har et deltakelseskrav på minst 80% for å få bestått. Noen kurs krever 100%

deltakelse. Se kursbeskrivelsen for nærmere opplysninger.

The Semester plan contains the class descriptions at the Academy of Fine Arts. The

classes presented in the semester plan are related to the programme structure and

some of the courses in the Study Plan. Please consult the curriculum for further

information regarding the courses and the course structure.

All classes require at least 80% attendance to pass. Some classes require 100%

attendance. Please look at the syllabus for further information.

13

Timeplan / Tuition Schedules

Timeplanen (Time Edit) er tilgjengelig på Kunsthøgskolens nettsider. Du finner også

direkte lenker til timeplanen for det enkelte kurs i kursbeskrivelsene for inneværende

semester. Vær oppmerksom på at det kan skje endringer i timeplanen. Endringer

oppdateres i Time Edit, og det forventes at studentene holder seg oppdatert på

endringer i kursene de følger.

Viktig informasjon for studenter om timeplaner, semesterregistrering med mer finner

du her:

http://www.khio.no/intranett/for-studenter/studieinformasjon

Tuition Schedules (TimeEdit) are available on our Web Pages. There are also direct

links to the Class Schedules in the class description for the upcoming semester.

Changes in the schedule might occur. Students are expected to keep updated on

changes in their classes in the online schedule.

Important information for students regarding Tuition schedules, semesterregisration

and more, can be found here:

http://www.khio.no/en/intranet/for-students/study-information

Reglement og forskrifter / Rules and regulations

http://intranett.khio.no/Intranett/For_studenter/Reglement_og_forskrifter/

http://www.khio.no/intranett/for-studenter/studieinformasjon

http://www.khio.no/en/intranet/for-students/study-information

http://intranett.khio.no/Intranett/For_studenter/Reglement_og_forskrifter/

14

Kursbeskrivelser / Syllabus

15

Kursnavn Scenarios for Going Public

Kurstype Individuell veiledning og utvikling av prosjekt

Kurset inngår i

følgende emne(r)

Kunstnerisk praksis

Målgruppe Kun for 1MA/ only for 1MA

Forhåndskrav Ingen/ None

Undervisningsspråk Norsk og engelsk / Norwegian and English

Kursansvarlig lærer Main advisors

Gjennomføres Complete project by the end of the first school year, spring

2017, June 15th

Plasser Alle studenter i 1MA/All students 1MA

Vurdering Se studieplanen for nærmere informasjon.

Kort beskrivelse av kurset:

Scenarios for Going Public - A Pilot Project of the Academy of Fine Art at Oslo

National Academy of the Arts Where is the public? Do we find it or make it? Is it a

Public with a capital first letter as in Oslo, Norway and the modern Nation state? Or a

small p as in 'push it'? To push for a public would be the attempt to invest passion

into the fiction of a place that was not already taken

but, for a split second, owned by no one.

Scenarios for Going Public is a pilot project for students of the Master's programme

at the Academy of Fine Art in Oslo. In their first year, students will seek out people

and places outside the Academy and, through their art, create moments of

engagement with urban culture and civil society. Risking vulnerability, they will

expand their practice and test the premises of what's impossible

and what's possible within the horizon of their work. Art and politics alike thrive on

situations in which people can communicate their concerns to each other. Scenarios

for Going Public is an experiment in generating such conversations.

Scenarios for going Public is a platform for first year master students to develop and

discuss an independent project over the course of one year. The project could include

organizing encounters, research groups or public programs, performing interventions

and activating situations in the city, or any other practice which reconfigures what the

16

public can be and what artists can do to engage it.

The main advisor is the main guide for the project and responsible for ongoing

monitoring, guidance and follow-up.

Arbeidskrav:

Development of project by 15th of June

Write a project description and estimate budget, by 2nd of December

Individual tutorials with selected advisor 2

Complete the project by the end of the first school year, spring 2017, June 15th.

Tematisk fokus / Thematic focus

17

Title SCULPTURE STUDIO WHERE’S THE SCULPTURE 2016/7

Activity lectures, workshop

The class is

part of the

following

course(s)

BK113 Tematisk fokus 2



3 sp1

Year/Semester B.A. & M.A.

Language of

instruction

ENGLISH/NORWEGIAN

Teacher MICHAEL O’DONNELL DIRKJAN VAN DER LIINDE

Class meeting

time(s)

https://no.timeedit.net/web/khio/db1/student/ri16656y6Z6460Q077QQY202Z167003Q159W45.html

Maximum

number of

students in

30

1 Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus. Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.



18

the class

Assessment Study requirement for the class is assessed with “approved/not approved”. Please see the course description (course code) for information about final assessment.

Description:

Sculpture Studio is a meeting point for the exchange of ideas and solutions

within the field of sculpture and installation- where everybody brings

something to the table.

Where’s the Sculpture 2016/7:

The workshops lie within a sculpture/installation frame of reference,

incorporating and expanding earlier themes “Public space” “Installation-a

sense of space” “Body” and “Context and Awareness of Space”

It is looking to a combination of methods in order to stimulate the individual

and joint studio practice -as well as incorporate a greater awareness and use of

the thinking/facilities within the area of sculpture /installation practice.

The workshop consists of two parts running over two semesters. It will mean a

commitment of at least 40 hours per semester.

Autumn semester 2016

Personal presentations:

Students presenting their own references and angles of approach in order to

pool information and present potential areas of future discourse for their

studio thinking and joint ventures. These presentations often take the form of

“mini lectures” followed by group discussions.

Spring semester 2017

Joint shows: Weeks 8, 10, 11 .

The group will be divided up into three teams in order to develop three

shows at Akademirommet.

Each team will work closely, through the semester, with the staff, whose role

is to facilitate and advise during the development process.

Each team will be called into evening startup meetings in February to discuss

19

the process and possibilities.

The content of the show is entirely up to the team involved and may reflect

individual’s current studio practice or be seen as the basis for exploring new

areas of team thinking. The whole group will come together for

discussions/critical reflection around each of the shows.

Each show will have a budget available.

Requirements:

100% commitment

20

Kursnavn Artists Moving Image Norway

Fra The Lost Dreams of Naoki Hayakawa, Ane Hjort Guttu/Daisuke Kosugi 2016

Kurstype Workshop

Kurset inngår

i følgende

emne(r)

BK113 Tematisk fokus

2


4


2

3 sp2

Målgruppe BA og MA

Forhåndskrav Ingen

Undervisnings

språk

Norsk eller engelsk


21

Kursansvarlig

lærer

Ane Hjort Guttu [email protected]

Gjestelærer Div (tba)

Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri18650y6Z0480Q0

87QQY202Z467076Q559W05.html

Plasser 15

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent. Se

emnebeskrivelsen (emnekode) for informasjon om sluttvurdering.


Kurset Artists Moving Image Norway søker å kartlegge nye initiativer rundt film- og

videokunstfeltet i Norge. Få områder i kulturfeltet har i den grad manglet

virksomme institusjoner; fra produksjonsstøtte til visningsmuligheter, fra

distribusjon til arkivering. Heldigvis har en hel rekke nye prosjekter dukket opp de

seneste to årene. I kurset Artists Moving Image Norway møter vi noen av

initiativtakerne til disse prosjektene, for eksempel filmmagasinet WUXIA, FRANK og

den nye kinoen på Kunstnernes Hus. Ca halvparten av kurset vi gå med til å se

utvalgte nye film- og videoarbeider og snakke med kunstnerne bak dem.

Arbeidskrav:

Det kreves oppmøte hver dag og forberedelse i form av å se film og video. Lenker

formidles. Ytterligere informasjon om dette kommer.

Litteraturliste: Tba



22

Title Non-Fictional Performance & Real-Time Composition

Activity Interdisciplinary workshop with a focus on movement-improvisation,

with a day of preparation and a day of follow up.

The class is

part of the

following

course(s)


2


4


2

3 sp3

Year/Semes Bachelor and master

3Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus. Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

23

ter

Language

of

instruction

English

Teacher Jeremiah Day, [email protected]

Class

meeting

time(s)

https://no.timeedit.net/web/khio/db1/student/ri18657y6Z6480Q087

QQY202Z067086Q659W05.html

Maximum

number of

students in

the class

16 (8 from Academy of Dance /Choreography KHiO and 8 from The

Academy of Fine Art KHiO).

Assessment Study requirement for the class is assessed with “approved/not

approved”. Please see the course description (course code) for

information about final assessment.

Description:

This course is an attempt to establish working dialogue between the dance and

visual arts departments by offering a workshop in how the different disciplines can

work together in practice.

Two days will be in the dance studio, working with improvisational movement and

speech and experimental compositional strategies.

One day before will be focussed on theoretical work to introduce the shared

territory between dance and art (a follow up on my September Scene 5 lecture) and

then a month later there will be a follow up session to present and chart what

results emerged from the workshop in the student’s individual work (ie did the

vocabulary introduced to them then become integrated in other works).

Requirements:

Attendance for all parts of the workshop is mandatory as is interest in working with

one’s body – running, jumping, crawling – and comfort with physical intimacy –

touching, leaning upon one another, etc. Texts must be read in advance of first

meeting.

mailto:[email protected]



24

Reading list:

Required:

“Nonfictional Performance”; Allan Kaprow, from Essays on the Blurring Between

Art and Life

“On the News Animations”; Simone Forti, from Oh, Tongue

“Mind Body World”; Simone Forti, from Oh, Tongue

25

Title Picture Makers (Two part seminar – February and October

2017)

Activity Two day seminar Oslo; one with guest teacher; trip to Paris

The class is part

of the following

course(s)

Thematic

focus, 3

credits

*Please note that you will not obtain any credit

points for each class. You have to fulfill the total

credit requirement for each semester within the

course Thematic focus.

Year/Semester Masters

Language of

instruction

English

Teacher Jeremiah Day [email protected]

Guest teacher(s) Alain Cueff

Class meeting

time(s)

Preparatory meeting with Cueff 14th and 15th of February.

https://no.timeedit.net/web/khio/db1/student/ri16655y6Z5460

Q087QQY202Z467076Q759W05.html

Paris trip October, dates trip will be specified later.

Maximum

number of

students in the

class

12 students, Oslo class February

6 students. Short motivation letter required for Paris trip in

October, [email protected]

Assessment Study requirement for the class is assessed with

“approved/not approved”. Please see the course description

(course code) for information about final assessment.

Description:

Is there a discourse of pictures, and their capacities? Is picture making more like

fabricating a sculpture or performing a gesture into the public realm? In this world

of digital media, what potential is left for the concrete physical picture produced by

an individual?

Besides theoretical issues (image vs. picture, for instance) there is a history of

practice to draw from in exploring these dilemmas, to elaborate and speculate.

In this two-part seminar (which can be taken separately) we will look back to the

traditions of modern art in French history painting and impressionism to then gain

new perspectives on Pop Art, the group of artists known as the Pictures Generation,





26

and our own practices. With Alain Cueff, writer and art historian from Paris as a

special guest, we will discuss concrete examples and concrete potentials of picture

making.

Part 1: February 14,15

In this two day intensive seminar we will look at 20th century strategies for picture

making as a form of public meaning – from Barnett Newman struggling with the

nuclear war, to Pop art and then the Pictures Generation. We will also travel to the

National Gallery to look at a few key works. Alain Cueff will co-teach the seminar

and will deliver a lecture as part of the Academy Lecture Series.

Note: the seminar is limited to 12 participants and those interested should write a

brief statement of motivation. Also – please visit “Under the Microscope –

Gustave Courbet” at the National Gallery before it closes February 5.

Part 2: October 16-21 (subject to change) in Paris

In this week long seminar we will meet in Paris to visit key works of impressionism

and French History painting as well as hold group critiques. Alain Cueff will also

contribute.

Note: the seminar will be limited to 6 participants – more details available in Spring.

Requirements:

Two day seminar in Oslo and four day trip to Paris.

Reading list:

Required:

Painters Painting, documentary film by Emile de Antonio, 1972.

The Pictures Generation, exhibitions catalogue, Metropolitan Museum of Art, New

York, 2009.

27

Title What can neither be seen nor said

May sparkle most brightly,

When cast in a certain light.

Opaque situation on church door: Sant’Agata protects Catania, Sicily, because this is what she

does.

Activity Seminar/workshop / Korridoruker / Corridoor weeks

The class is

part of the

following

course(s)




3 credits4

Year/Semester Bachelor- / Master students


28

Language of

instruction

English, Symbol, Metaphor, Metamorphosis

Teacher Jan Verwoert

Class meeting

time(s)


87QQY202Z467075Q359W45.html

Maximum

number of

students in

the class




This class is an experiment in performing theory, in pursuit of ways to grasp the

poetic and political potentials of opacity. We will experiment with thoughts and

techniques dedicated to the art of sharing what may remain unshareable in

experiences and intuitions.

The class will take its point of departure in a reading of selected writings by

Édouard Glissant, Hélène Cixous and Jean-Luc Nancy. We will try to unravel how

these philosophers develop the intuition that what cannot, as such, be

communicated directly might create the very basis for the exchange poetry and art

draw us into. The unshaeable colours communication, taints, animates or

accentuates it, sets its key. What is alive in the ways poetic exchanges become

coloured are the experiences people have lived through, historically, biographically,

just as well as the sense of familiarity our bodies may sense with the way the light

temperature changes during a particular place in a particular time of the year. What

emerges in these intutions is the condition and limit of a world, a limit on which

worlds may meet or miss one another.

Parallel to the reading, we will try to collect intuitions, tropes and motives,

around which a poetic manifestation can take shape. We will rehearse exchanges

between ourselves using colours, poems, gestures, tunes, objects or images.

On the final night of the workshop we will make these exchanges public in a

form they will have to be determined in the course of our experiments. It could be

an evening of poetry reading, an exhibition, a parade, two hours of deep silence or

a walk through the city whistling a certain melody.

Requirements:

Continuous attendance, wits



29

Reading list:

Édouard Glissant: Poetics of Relation, University of Michigan Press, 1997.

Hélène Cixous. To live the orange. In Susan Sellers (Ed.), The Helene Cixous reader,

Routledge Press, 1994, pp. 81-92.

Jean-Luc Nancy: Literary Communism. In Nancy: The Inoperative Community,

University of Minnesota Press, 1991, pp. 71-81.

30

Kursnavn

Title

Maleri: materialer og metoder

Painting: Material and Method

Foto: Kristian Ø. Dahl

Kurstype /

Activity

Workshop / Workshop

Emne / Course BK113 Tematisk fokus 2



3 sp 5

Målgruppe /

Year

BA og MA / BA and MA

Forhåndskrav

/

Requirements

Ingen / No

Undervisnings

språk/

Language

Norsk og/eller engelsk / Norwegian and/or English


31

Lærer /

Teacher

Kristian Øverland Dahl, [email protected]

Gjennomføres

/ Class

meetings

https://no.timeedit.net/web/khio/db1/student/ri15650y6Z0450Q077QQY202

Z367063Q859W45.html

Plasser /

Number

12

Vurdering /

Assessment

Godkjent/Ikke godkjent / Approved/Not approved


Kurset gir studentene en innføring i

grunnleggende maleteknikker, metoder,

vinklinger og strategier. Kursleder vil gå i

samtale med gruppen for å kartlegge

behov.

Course description:

The course is an introduction to basic painting

techniques, methods and strategies. The teacher

will map the students needs in dialogue with the

group.

Arbeidskrav:

Aktiv deltagelse og minst 80 %

fremmøte.

Requirements:

Active participation and 80% attendance.

Litteraturliste:

Obligatorisk : Selsjord, Marianne (1991).

Staffelimaleriets oppbygning. Oslo:

Kunsthøgskolen i Oslo.

Anbefalt: Gottsegen, Mark David

The painter's handbook Watson- Grupill

Publications

Itten, Johannes (1995). Farvekunsten og dens

elementer. Forsythia.

Reading list:

Compulsory : Gottsegen, Mark David (1993).

“The painter's handbook”

Recommended : Itten, Johannes (1995). The art of colour.

Forsythia.



32

Kursnavn

Class

Maleratelier? / Painting studio?

"Notater og samtaler / Notes and Conversations"

Foto: Kristian Ø. Dahl

Kurstype Workshop

Kurset inngår i

følgende emne




3 sp.6

Målgruppe BA og/and MA

Forhåndskrav Ingen

Undervisningsspråk Norsk/ (Engelsk)

Kursansvarlig lærer Kristian Øverland Dahl, [email protected]

Gjestelærere Blir annonsert

Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450

Q087QQY202Z467075Q959W45.html

Plasser 10




33


emnebeskrivelsen (emnekode) for informasjon om

sluttvurdering.

Maleratelier?

Dette kurset har undertittelen; "Notater og samtaler / Notes and Conservations" vi vil

ta for oss samtaler med kunstnere i forskjellige genre og generasjoner via filmklipp,

tekst og i levende live. Samtaler fra antikken til i dag, notater på huleveggen, i andre

«arkiver» utført med pensel, penn og papir til smart-phone. Vi kommer til å forholde

oss til et litt rotete scenario, men vil forsøke ha blikket rettet mot fremtiden.

Kurset skal tres igjennom en praktisk, pragmatisk, kunstnerisk tankegang med maleri

som omdreiningspunkt.

Studentene vil forventes å bidra med egne og andres eksempler for diskusjoner etter

lunsj.

Det sies at det fins aspekter ved tegning og maleri som kan bringe frem interessant

kunst, hva disse aspektene er kan ikke konkretiseres i den grad at vi får en troverdig

formel, men kunstnere har til alle tider arbeidet med teknikker for effektivt å

understøtte sine intensjoner. Vi vil i dette kurset også se på et utvalg av disse

teknikkene.

Meningen er å skape et sosialt verksted som faller ut og inn av «maleriet».

Vi tar for oss teknisk/praktiske vinklinger og øvelser fra forskjellige tradisjoner innen

tegning og maleri. Vi skaper et sted for arbeide og informasjon.

Er det slik at hendene våre er dømt til å være i verden, til å utføre, kan de overaske

oss?

Vi skal meisle ut sanntids erfaringer innen formelig og taktil grensetesting, reflektere

over estetikkens og etikkens forbindelseslinjer. I bred forstand fremme praktisk/

logistisk, økonomisk forståelse av vårt virke.

Nøkkelord; observasjon, analyse, medie, farge, form, tegn, tekstur, intensjon.

Kurssamlingene innledes med at maleriet knyttes til til begreper som:

Penger, kontrakt, signatur, historie, smak, tid, kjærlighet, offer, tjeneste, logistikk,

fattigdom, dumhet, presentasjonen, produksjon.

Painting studio?

This course is subtitled; "Notes and conversations" we will look at conversations with

artists in various genres and generations through film clips, text and alive. Calls from

antiquity to the present, notes taken on cave walls, in other "archives", conducted by

brush, pen and paper to smart-phone. We are going to deal with a messy scenario,

but will attempt to have our minds focused on the future.

34

The course has it's starting point in a practical, pragmatic, artistic thinking with

painting as a pivot.

Students will be expected to contribute their own and others' examples for discussion

after lunch.

It is said that there are aspects in drawing and painting that can bring fourth

interesting art, what these "aspects" are can not be specified to the extent that we get

a credible formula, but artists have always worked on techniques for effectively

supporting their intentions.

In this class we will investigate a selection of these techniques.

The intention is to create a social workshop that moves in and out of "painting".

We will deal with «hands on» technical / practical approaches and exercises from

different traditions in drawing and painting, and create a place for production and

information.

Is it so that our hands are doomed to be in the world, to reflect and perform, will they

surprise us? We are devising real-time experiences within shaping and tactile

threshold testing, reflect on aesthetic and ethic connections and in a broad sense

promote practical / logistical, economic understanding of our work.

Keywords: medium, observation, analysis, form, color, texture, sign, intention.

In the class meetings we will also bring fourth more or less elaborated thoughts on:

Money, contract, signature, history, theme, time, love, offer, favor, persona, taste,

logistics, poverty, stupidity, presentation, production.

Requirements:

80% participation

Kilde tekst/Required source text:

Selsjord Marianne: Staffelimaleriets Oppbyggning

Anbefalt lesing/Recommended reading:

Itten Johannes: Farvekunsten og dens elementer.

Krug Margaret: An artist´s Handbook

Title Shifts in Translation

35

Adrian Piper

Course

format

Workshop and seminar

The course

is part of

the

following

study

area(s)




3 sp7

BA and/or

MA

Bachelor and Master students

Teaching

language

Swedish or English depending on student participation

Teacher Saskia Holmkvist [email protected]

Guest

teacher(s)

Guest teacher to be confirmed


36

Date and

time



15 15

Assessment Commitment

Course description:

How can it be that the burglar became the foreigner and the asylum seeker

becomes a criminal?

The focus on translation and how things shift in meaning, productive and in-

productive misunderstandings, phantoms, sticky words, affective economies,

subversive depression and other political combinations of psycho-economic and

social wording will be central to our discussion. Many of these terms derive from

post colonial discourse and will be subject for our discussion on how affect and

bodily emotions translate into societal structures.

Selected texts and works will be a departure for a discussion on this topic as a way

to start relating the words to one´s own practice.

As a part of the coarse we will visit institutions dealing with issues of translation

and migration.

Course requirements:

Commitment

Reading list:

Will be handed out.



37

Kursnavn Malersalen. Et praxiologisk syn på maleriets

teori

Kurstype Seminar

Kurset inngår

i følgende

emne




3 sp8

Målgruppe BA + MA

Forhåndskrav Ingen

Undervisning

sspråk

Norsk

Kursansvarlig

lærer Stian Grøgaard

Gjestelærer Fredrik Værslev, prof. i filosofi Arild Utaker m.fl.

Gjennomføre

s



Plasser 25



Hver seminardag blir en egen enhet. Det skal være mulig å komme

og gå på kurset. Studenter får studiepoeng etter antall ganger. Max

studiepoeng pr semester er 4 poeng, målt etter oppmøte og

egeninnsats.


Maleri er en kompetanse som kan brukes utenfor maleriets egen disiplin, ikke bare

om kunst i alminnelighet, men som en visuell beredskap, en egen, instrumentell

holdning til persepsjon. Viktige malerier er slike vi blir avhengig av og vender tilbake

til. De blir optikker som endrer vår måte å se på, slik Daniel Buren sier om Cézanne, at

han endret vår sensibilitet.

Maleriet er taust og samtidig det mest diskursiverte, italesatte, av medier. Det er




38

mediet for de som liker å se kunst som en form for tenkning. Malere er "varast i

garden", som katten i et kjent dikt av Olav H Hauge, den første en må snakke med når

en besøker et sted. Malere kjenner på forskjellige betydninger av det sette, som

nesten ikke er skjelnelige. Denne sensibiliteten må vernes i en situasjon hvor

kunstnere stadig nøyer seg med å være produsenter av meninger de har fra andre.

Seminaret vil være et møte med bilder, først og fremst malerier, i tillegg til teorier om

maleriet, både historiske og nåtidige. Det vil være et seminar som legger vekt på å

forstå bilder ikke bare ikonografisk, men praksiologisk, som måter å tenke maleriske

handlinger på. Studentene blir bedt om å legge fram tekster, undersøke bestemte

malere, skaffe eksempler på deres produksjon, og presentere dem for de andre

deltakerne på seminaret som utgangspunkt for diskusjon. Ambisjonen er å ta det

maleriske, i betydningen det ekspressivt synlige, tilbake fra generell kommunikasjon,

fra omløpet av klisjeer, for å få øye på hvordan klisjeer blir til, eller blir oppløst i nye

ikoniske bilder.

Materialet blir samtidig og historisk maleri samt tekster med utgangpunkt i maleriet

fra Leonardos traktat til kritikere som Clement Greenberg og Jerry Salz. Men også

tekster fra andre områder vil være aktuelle å trekke inn, som f.eks. Foucaults analyse

av Velazquez i Ordene og Tingene, Arild Utakers Foucault-kritikk og restitusjon av

representasjonsbegrepet, og Deleuze bok om Francis Bacon. Billedforståelsen vil bli

brukt som ressurs for forståelsen av ting en sjelden forbinder med maleri. Det skal

ikke dreie seg om en "ikonisk vendning" a la WJT Mitchell, men vendingen mot en

ikonisitet, en billedkvalitet, som er formålet med all malerisk praksis.

Arbeidskrav:

80 % deltagelse + presentasjoner av kunstnere, kunstverk eller tekster. Oppgavene

fordeles i begynnelsen av semesteret.

Litteraturliste:

Greenberg Clement, Collected writings.

Bochner Mel: Primary Structures.

Crary, Jonathan: Suspension of perception.

Gabrielsen, Stian: Intervju med Fredrik Værslev på kunstkritikk.no

Grøgaard, Stian: "I still carry you around", essay i Fredrik Værslev-katalog, East

bound and down.

Grøgaard, Stian: "Ingen metode er spontan", katalog Munch-Jorn-utstillingen,

Munchmuseet.

Salz, Jerry: Zombies on the walls: Why does so much new abatraction look the

same?

39

Salz, Jerry: The malignant influence og Michel Krebber: How early- `00s

Abstraction gave way to Zombie formalism

Utaker, Arild: Essay om bildet og billedbegrepet.

Foucault, Michel, Ordene og tingene, kapittel 1, "Las Meninas".

Godfrey, Mark: "Statements of Intent", Artforum, May 2014.

40

Kursnavn Ting som er skjult siden verdens grunnleggelse. René

Girards filosofiske antropologi. Våren 2017

Things hidden since the foundation of the world. René

Girard´s philsophical anthropology, spring semester 2017

Kurstype Seminar

Kurset inngår

i følgende

emne




3 sp9

Målgruppe (BA- / MA-studenter + evt. årstrinn) BA+MA

Forhåndskrav Ingen

Undervisning

sspråk

Norsk

Kursansvarlig

lærer Stian Grøgaard

Gjennomføre

s



Plasser 25




René Girard, kort presentasjon.

En alternativ beskrivelse av religionen som grunnlag for all kultur, og et antropologisk

forsvar for rasjonalitetsgevinsten i den vestlige, jødisk-kristne tradisjonen.

Studentene legger fram og diskuterer utvalgte kapitler av René Girards Things

Hidden.

Arbeidskrav:

Studentene må legge fram resymeer av kapitler på seminaret. Oppmøteprosent 80.

Litteraturliste: (nevn om litteraturen er obligatorisk eller anbefalt)




41

For oppsett anbefales Harvard-stilen:

Eks: Scott, P. (1994). Ceramics and print. London: A & C Black. 128 s.

Girard, René (1977?) Things hidden since the foundation of the world.

Tekstutvalget blir kopiert og kan hentes i adminsitrasjonen på kunstakademiet.

42

Title Painting in Palestine

Khaled Hourani,” Picasso in Palestine”, 2011

Sadik Kwaish Alfraji, “The House that my Father Built”, 2010

43

44

Activity Seminar, lectures, workshop, exhibition

The class is

part of the

following

course




3 sp 10

Year/Semester BA, MA

Language of

instruction

English, Scandinavian , including translation if necessary

Teacher Felix Gmelin

Class meeting

time(s)


0Q087QQY202Z667026Q059W05.html

Maximum

number of

students in

the class

14 (including 2 students from Kunstakademiet in Oslo)

Is it possible to do a painting within a situation where there is no good time for an

exhibition, and administrations pretend they are not occupying a territory?

The Belgian political scientist Chantal Mouffe claims not being political is political.

The Italian painter Giorgio Morandi survived WW1 and WW2. I see his rejection to

do political work as a political act.

In this class we will we will practice painting. It is a workshop on painting. This is a

painting class that takes you out of your regular studio practice. I propose a

painting class based on research, quick experiments and mutual discussions about

what painting could be today, and about how to make painting a relevant tool and

language for communicating your personal affections.

For our first day I would be glad if you could present a painting you like or dislike




45

and argue for or against it. With this brief research we could start our discussions.

I will present some works that apply painting as a political act to explore history,

migration, memory and commemoration within painting. Also we will look at the

effect the invention of photography had on painting and discuss what

consequences new media, post colonial studies, feminism, performativity and other

disciplines has had for painting.

Welcome!

I Look forward to see you within this class,

Best,

Felix

Requirements: Interest and engagement

Kursnav

n

DIY Television Gallery / Telegalleriet

46

Kurstype Project & exhibition

Kurset inngår i

følgende emne(r)

Tematiskt fokus / Utställningspraktik

Målgruppe BA- / MA-studenter

Forhåndskrav Enagemang og intresse

Undervisningsspråk Norsk & Engelsk. Översättning vid behov

Kursansvarlig lærer Felix Gmelin [email protected]

Gjestelærer Livia Paldi, Edit Molnar & Marcel Schwerin

Gjennomføres Januar / Februar 2017. Resa till Oldenburg och

inspelningsdatum 12, 13 eller: 19 januari. Efter det fortsätter

kursen sporadiskt i överenskommelse mellan deltagarna.

Plasser 2—3 studenter

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent


In the 50-ties artists dreamt about television being for artists what radio had become

for music. Unfortunately this didn’t happen.

Today only local television stations still give artists the opportunity to articulate

artistic positions. This is such an opportunity. If you are interested in articulating

something within an local amateur DIY television format together with me, this is a

project for you.

I will be producing a work around how Lean manegment affects educations within

this context and hope you would like to join me by presenting your own work within

this context: your work in this context could be a fake add, a poetic advert, or

something else within this television format. I will help you articulate this if you wish.

Current Research Project Description:

“Vi ønsker velkommen til en aktiv, inspirerende og deltagende dag!” is a

participatory televised conference including staff and students from KHiO and the

Oldenburg Carl von Ossietzky University, orchestrated by me at the local Oldenburg

television station OEINS.

The project is part of the exhibition project and book “The Fevered Specters of Art”

at the Edith-Russ-Haus in Oldenburg, Germany, which revisits radical revolutionary

movements and has a focus on the changing nature of education and its relevance in

the development of future communities.

47

“The Fevered Specters of Art” is also a book about how we organise our societies. It

is edited by Nataša Ilić, curator and member of the Zagreb-based curatorial collective

What, How & for Whom / WHW. It is about collectivity and collaboration, production

and distribution, and the artist’s position in the labor market. It is re-examining

Marxist theory, which is part of her heritage as an Eastern European curator, anew.

The book has its starting point in an exhibition project organised by the Edith-Russ-

Haus in Oldenburg, Germany, A part of this book is the documentation of a televised

conference orchestrated by Felix Gmelin at the local television station OEINS: A

project which asks why market-oriented managerial reforms lose track of educating

individuals who can relate to societal questions.

Universities are obliged to be transparent and comparable according to the

“Bologna Accords”, which is great for student mobility. At the same time

universities are being evaluated. But who is evaluating what and on which terms?

Why have the managerial reforms that followed the "Bologna Accords" become

market-oriented and lost track on educating individuals who can relate to societal

questions? This project has the ambition to evaluate the evaluators. It also takes

interest in finding local examples to address global problems.

The project is in part inspired by the work of Harun Farocki who uses the camera to

question didactic methodologies. Also the Brechtian "Lehrstücke", translated by

Brecht himself as "learning-plays" serve as a model for this televised conference,

whereby learning through acting is being explored as a pedagogical approach.

The citizen-run TV channel OEINS is a non-profit broadcasting station in Oldenburg in

which the Edith-Russ-Haus appears regularly with self-produced programs. In close

collaboration with this venue, we will produce a televised conference in their studio to

reach out to a broader audience and reflect on the changing nature of conversation

culture of politics in the public media. The televised conference will be orchestrated

by myself and planned according to the specificities of both a conference and a

television production. The event will take place during 4 days in Dec 2016 or Jan

2017.

To begin with, this conference will be televised by OEINS. Later in 2017 it will be

documented in a book published by Sternberg Press, edited by Nataša Ilić, curator

48

and member of the Zagreb-based curatorial collective What, How & for Whom /

WHW. I am invited to dedicate a section to the book about my televised conference.

I would be honoured if you, some students at Kunstakademiet, would be interested to

be involved in this endevour around a local television channel in Oldenburg,

Germany, and would like to produce and present a work of yours within this context.

Arbeidskrav:

Participation and engagement

Litteraturliste kommer

49

Title Expanded Scripting

Activity Workshop

The class

is part of

the

following

course




3 sp11

Year/Sem

ester

BA, MA

Language

of

instructio

n

English

Teacher Maryam Jafri [email protected]

Class

meeting

times

https://no.timeedit.net/web/khio/db1/student/ri15656y6Z6450Q087QQ

Y202Z467076Q159W05.html

Maximum

number of

students

unlimited

11 *Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet Tematisk fokus. *Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.



50

in the

class

Assessme

nt

Study requirement for the class is assessed with “approved/not

approved”. Please see the course description for information about

final assessment.

Description

Expanded Scripting is a production class that ranges from task and endurance-based

performances, distilled into a set of instructions and which reduce language to its

most basic function (to communicate, to instruct) to lecture-performances fuelled by

dramatic structure, freewheeling narrative and/or discursive analysis. Although Jasper

Johns was talking about objects, we are going to use his instructions as a jumping off

point, only our medium will be performance in its broadest sense and our tools will

be bodies, voices, time and of course language.

This is an intensive, four-day class where students are split into small groups and

work during class time. It is open to all years and all levels, you don’t need a

performance background to take the class but you do need to have the enthusiasm

and energy to throw yourself into the tasks. As you can see, there is no reading or

preparation in advance but that does not mean this is not a demanding class. It is

high energy and the demands are high as well - you will be producing and

performing, often improvising in the class so the class is very much dependent on

your commitment. Expect intensive discussion of student works produced during

class.

The four days are split over two weeks, so two days the first week and then another

two days the following week. Think of it as expanded scripting. Language: English will

be language of instruction but working languages of each team can be what the team

decides it to be. Number of students: no limit as we will work in teams.

Requirements:

In class assignments and presentations. Participation in all aspects of course. 80 %

attendance and punctuality.

51

Title Material Longevities

Activity (e.g. lecture, workshop etc.) Workshop in 2 parts and in

collaboration with Royal Institute of Art in Stockholm

The class is part

of the

Thematic Focus, 3 sp.

52

following

course(s)

Year/Semester BA and MA

Language of

instruction

English

Teacher Tris Vonna-Michell

[email protected]

Guest teachers Cecilia Grönberg: [email protected]

Diana Kaur: [email protected]

Class meeting

time(s)

At KHiO: Uke 6

Feb Mon 6th - Wed 8th (10am until 4pm)

https://no.timeedit.net/web/khio/db1/student/ri16655y6Z0460Q

087QQY202Z667016Q259W05.html

At RIA (Stockholm): Uke 8

Feb Mon 20th - Fri 24th (10am until 4pm)

Maximum

number of

students in the

class

8




The workshop is assessed continuously in the parts when

students actively participate in the joint discussions, seminars

and lectures.

Description:

(What. How. Aim/learning outcomes. Structure/procedures. Time schedule. Other

relevant information.)

Context?

Material Longevities workshop will be constructed in 3 parts:

- Part one will focus on setting the premise for the course. Lectures, screenings and

field trips will present case studies and artistic practices, which are followed up by

discussions, after which the relevant issues will be traced and raised in the student´s

own presentations of their research and work. This will take place at KHiO and at



53

the Royal Institute of Art in Stockholm.

Part one will provide the framework for which the students will be guided in

interpreting notions of longevity, ephemerality and documentation in relation to

their own work and within a visual arts context. It will also involve a seminar on

documentation rights and responsibilities, considering the value of oral and written

agreements and the ethics of appropriation.

- Part two of the course will be practice-led in which the relevant issues already

discussed will be applied in the conception and construction of an artwork

(individually or in groups) and presented as prototypes, maquettes, documentation

or completed artworks.

Structure:

PART 1 at KHiO:

Mon 6 Feb

Day 1 at KHiO: Introductions Objects & mishaps (shapes)

I will introduce the workshop ideas, my practice and influences. The students will

give introductions of themselves and discuss their areas of interest and potential

directions to explore during the course. In order to set the course in motion the

students will be shown selected books, films and audio works. A reference/literature

list will also be provided, a provisional list can be found further below.

Tues 7 & Wed 8 Feb

Day 2+3 at KHiO: ACT 1 / Printed matter Proximities (proximity of text to

speech explored)

This category will focus on various notions of artists working from a textual

foundation - as a point of departure. Examples of artists employing the use of

scripts, scores and guidelines will be presented by means of books, film screenings

and presentations. Cecilia Grönberg (artist, editor and co-founder of OEI) will give a

presentation and seminar on her practice and publishing enterprises.

Thurs 9 Feb

Day 4 at KHiO: ACT 2 / Performative matter Notion of locomotive (motive and

location)

54

Artists working from a performative foundation - as a catalyst - will be explored in

this category. Parameters of improvisation will be discussed as well as notions of

spoken word and motion in relation to floating documents (transience). A series of

documentation works and performance documentations by artists will be screened.

Friday 10 Feb

Day 5 at KHiO: Reflections Directions

The students will share references and reflections as a means to recap and prepare

for the upcoming assignment and trip to Stockholm.

// Interlude //

Mon 20 Feb

Day 1 at RIA: Introduction

Marie-Louise Lorentzen (Malerikonservator & driftansvarlig, Universitetsmuseet i

Bergen and lärare IMK/Kungl. Konsthögskolan, Stockholm) will give a presentation

on the history, role and current activities of the Material Institute at the RIA. This

will be an opportunity for students to consider carrying out the assignment in

dialogue with her and the Material Institute.

Tues 21 Feb

Day 2 at RIA: ACT 3 / Documents Conjure / Linger / Lose

The role of documents and the act of documentation, whether generated by the

situation or actively decided upon, will be looked into and discussed. Questions

such as: what is the importance of recording, classification, recapitulation, repetition

and continuation to be posed and addressed. Also, notions of absence, reduction

and removal will be explored. There will be a field trip to Jean-Baptiste Beranger´s

studio, whereby he will present his forensic photography investigations and artistic

practice in general.

Wed 22 Feb

Day 3 at RIA: ACT 4 / Archives Idiosyncrasies and Bureaucracies

The role of the archive in specific practices will be discussed and artists working

from archives will be presented and explored in the form of film screenings, books,

websites and a field trip to the rock art in Slagsta. The artist Henrik Andersson will

present his research and in-progress project (working title: History Belongs to the

55

Future):

¨We will follow the footsteps of Belgian archaeologist Herman Wirth, the director of

a German expedition to Sweden in 1935/1936. The aim for the journey was to

document the Bronze Age rock art, which can be found in Scandinavia. Believing

them to originate from a diaspora of the mythical island of Atlantis this was the

foundation of a new religion (science) of the third Reich. A scientific approach is

based on a specific form of optical distance to the world that enables us to reflect

on it. However, that separation also creates an internal crisis where the imaginary

always seems to be in our horizon.¨

Thurs 23 Feb

Day 4 at RIA: Articulations & Assignment Actions

Diana Kaur (freelance curator, teaches art history at Umeå Academy of Fine Arts)

will present her research and give a lecture on the premise of social contracts and

Seth Siegelaub´s artists´ agreement project. Potential modes of display and sites of

articulation, archive and propagation will be discussed. Propositions such as the

exhibition, outdoor, online, live context, portfolio and publication will be posed and

considered.

Students will be invited to return to an existing project or to start working on a new

project in which the framework of four acts: longevity, ephemerality,

documentation and archivisation are addressed (either by selecting an act or all

acts). Copy, mishap, cut-out, and collecting (convolute) are examples of techniques

and exercises that can be employed for carrying out the assignments. A longer and

potentially more collaborative assignment may also be developed, based on early

discussions with students.

Friday 24 Feb

Day 5 at RIA: Part 1 Recap & Part 2 preparations

Recap of Part 1 by exchanging references, insights and ideas and by discussing

potential directions for the realisation of the assignment: artwork, prototype,

macquette or the construction of documentation.

INTERLUDE in which students work on the realisation of assignments

56

PART 3 at KHiO:

Mon 27 & Tues 28 March

Day 1 & 2 at KHiO: Group critiques

Completion of assignments, followed by a final group evaluation, in which students

will present the results from the assignment and discuss collectively and give

feedback.

Requirements:

Attendance and active participation in the scheduled activities. Each student to give

a presentation of a contribution related to the topics explored. Involvement in the

following feedback-sessions.

Reading list: (specify whether the reading/viewing material is required or

recommended)

Selective reference list of artists and writers that will be explored during

the course:

Caroline Bergvall: http://www.carolinebergvall.com/

Sue Tompkins: https://www.themoderninstitute.com/artists/sue-tompkins

Lawrence Weiner: http://www.leftmatrix.com/weinerlist.html

Ana Torfs: http://www.anatorfs.com/Gagarin, The Artists in their Own Words:

http://www.gagarin.be/

Mary Ellen Solt: http://epc.buffalo.edu/authors/solt/

Simone Forti. Here It Comes (Index press release):

http://indexfoundation.se/exhibitions/simone-forti

Hamish Fulton: http://www.hamish-fulton.com/

Fia Backstrom: http://www.fiabackstrom.com/

Robert Lax: http://web.sbu.edu/friedsam/laxweb/

Dieter Roth: http://www.dieterrothfoundation.com

Marcel Broodthaers: http://ubu.com/film/broodthaers.html

Selective (suggestive) reading list:

Henri Chopin. Guy de Cointet. Channa Horwitz. Spector Books, 2013.

Mary Ellen Solt. Toward a theory of concrete poetry. OEI no. 51, 2010.

Öyvind Fahlström. Moderna Museet, 1979.

http://epc.buffalo.edu/authors/solt/

57

Art & Project Bulletins 1 - 156, September 1968-November 1989. Cabinet

Gallery,

Christophe Daviet-Thery, 2011.

Celant, Germano. Book As Artwork 1960/1972. 6 Decades Books, 1972.

Fietzek, Gerti. Having Been Said - Writings & interviews of Lawrence Weiner

1968-

2003. Hatje Cantz Publishers, 2004.

Simone Forti. Handbook in Motion. Edited by Emmett Williams, 1974.

http://www.monoskop.org/images/4/4e/Forti_Simone_Handbook_in_Motion.

pdf

Fia Backström. Nordic Pavilion, 54th Venice Biennale. Moderna Museet,

Sternberg

Press, 2011.

Dieter Roth. Balle Balle Knalle. Kunstmuseum Stuttgart, Verlag der

Buchandlung

Walther König, 2015.

Robert Lax. Dear Jack: Heart Not Head. Water Row Press, 2014.

Hannah Rickards. Thunder. Media Art Bath, 2006.

Bellingham, David. Ideas Leave Objects Standing. BALTIC, 2005.

Wilson, Ian. The Discussions. Van Abbemuseum, Eindhoven / MACBA,

Barcelona /

Mamco, Geneva, 2008.

The Life and Work of Bob Cobbing / Boooook. Occasional Papers, 2015.

58

Title Interacting with public space

Activity Workshop at IAAP, International Art Academy Palestine, Ramallah

The class is

part of the

following

course




3 sp 12

Year/Semes

ter

Bachelor- / Master students

Language

of

instruction

Norwegian and English

Teacher Jeannette Christensen/ [email protected]

Class

meeting






59

times

Maximum

number of

students in

the class

5 students from KHIO + students from IAAP. Students from KHIO

interested in participating must write a letter of interest by 1

February 2017.




Description:

Workshop at IAAP, Ramallah based on group work. The workshop is about

interacting in or with public space, exploring the immediate vicinity, sharing,

negotiating and formulating an idea. This can be done in any chosen medium:

photography, video, sound recording, text etc.

Discussions on method, intention, content and outcome.

All in all this kind of meeting and exchange is an opportunity to question different

aspects of art

production, what we are influenced by and where our ideas come from. Sometimes

a short deadline

can be very productive.

Prior to departure group will start preparing with meetings from January on,

looking

in to background information on Palestine, lectures, films, reading material etc.

Meeting time flexible.

When at IAAP:

Day 1. introductory lecture and assigning the task of the workshop and the

students start working on

their ideas.

Day 2. groups present the work they did on day 1. The whole day is spent on

presentations and group

discussions. New task to follow up on feedback and continue the working process.

Day 3. groups work all day developing their ideas.

Day 4. groups present their work. The whole day is spent on presentations and

group discussions

and final evaluations.

Day 5. Open

Day 6. Farewll and excursion together with students from IAAP

60

9 days: 5 days workshop at IAAP, Ramallah. 2 days of travelling to and fro, 2 days to

explore the vicinity.

Requirements:

Please refer to the course description (course code).

Reading list:

Recommended reading:

Edward Said. The End of the Peace Process (2000), Orientalism (1978)

The group is encouraged to bring in texts for a shared discussion.

61

Title Sound Positions

Activity Workshop and presentations

The class is

part of the

following

course(s)




3 sp13

Year/Semester B.A. & M.A.

Language of

instruction

English / Norwegian

Teacher Dirkjan van der Linde, [email protected]

Guest

teacher(s)

Jana Winderen, Tris Vonna Michell

13 Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale

kravet til studiepoeng for hvert semester innen emnet Tematisk fokus.

Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course Thematic focus.

62

Class meeting

time(s)


87QQY202Z767026Q459W05.html

Maximum

number of

students in

the class

10

Assessment Pass / fail

Description:

Spring semester 2017

Week 13 – First day, Friday, March 24. Last day, Friday, March 31.

Seilduken 1 or Seilduken 2

Point of reference is the use of sound in your own artistic practice.

The workshop will consist of presentations, round-the-table discussions as well

as

practical workshop components.

We will use one of the Seilduken galleries as our base but will move around

dependıng on ideas and interests.

This interest moves between listening and adding sound to this world.

We'll touch on the use of scripts, scores and guidelines. What is the Importance

of

recording and classification.

Bring your own equipment. (We cannot provide some as well; recorders,

microphones,

loudspeakers.)

In Addition two more idea based discussions and listening practices there will

Also ask

technical demonstrations of equipment (underwater recording with

hydrophones,



63

recording of ultrasound and other inaudible wavelengths).

We are asking you two Participate with your own interests at the center of

activity. That

the end of the week we will have an informal roundup where we will be

presenting

and Discussing our work for each other.

Requirements:

Participation

64

Kursnavn Easy Rider

Kurstype Exchange with Kungl. Konsthögskolan, Stockholm

Kurset inngår i

følgende emne(r)




3 sp14


Forhåndskrav engagement

Undervisningsspråk Norsk, svenska, engelska, tyska


kravet til studiepoeng for hvert semester innen emnet.

Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course.

65

Kursansvarlig lærer Felix Gmelin, [email protected]

Gjestelærer [email protected]

Gjennomføres March 2017

Plasser 6

Vurdering Kursets arbeidskrav vurderes til godkjent/ikke-godkjent


Studentutbyte: Studenter från Oslo Kunstakademi åker och hälsar på studenter på

Kungl. Konsthögskolan i Stockholm. Och vice versa. Bor hos varandra på soffan.

Ställer ut tillsammans om det går att organisera.

Exchange spaces. Reclaim spaces. Work together. live together for a moment. Find

mutual interests for possible future collaborations.

Arbeidskrav:

Deltagande & engagemang

Litteraturliste:

Kommer

66

Utstillingspraksis / Exhibition practice

67

Title Does the network fit into the cube?

Course format Workshop

The course is part of

the following study

area

BK115 Utstillingspraksis 1



4 sp15

BA and/or MA Open to all students

Teaching language English

Teacher Rike Frank; [email protected]

Guest teacher(s) Research Center for Proxy Politics (RCPP) with Vera

Tollmann & Boaz Levin, UdK Berlin, rcpp.lensbased.net

Date and time https://no.timeedit.net/web/khio/db1/student/ri15650y6Z

7460Q087QQY202Z967006Q559W25.html

Maximum number of

students

Not restricted


“approved/not approved”. Please see the course

description for information about final assessment.

Course description:

The course will be held in collaboration with the Research Center for Proxy Politics

(RCPP), an artistic research project based in the Universität der Künste, Berlin. It

consists of a workshop, a participation in a half-day seminar at Henie Onstad

Kunstsenter and a practical part, either a series of presentations or an exhibition.

Does the network fit into the cube? The web – sprawling, placeless and ostensibly

virtual – is difficult to pin down. It seems that the more pervasive the Internet

becomes in our daily lives, the greater the urgency to represent it within the artistic

realm. But how does one fit a network within a cube, reconciling the evasive nature

of this seemingly boundless technology, within the physical confines of the

exhibition space? Either the internet appears dead inside the white cube, or it

15 Vær oppmerksom på at du ikke vil få utløst studiepoeng for hvert kurs. Du må oppfylle det totale kravet til studiepoeng for hvert semester innen emnet. Please note that you will not obtain any credit points for each class. You have to fulfill the total credit requirement for each semester within the course.

http://rcpp.lensbased.net/



68

simply does not appear the way we know it.

The Research Center for Proxy Politics, based at Berlin University of the Arts, will

address questions of how to visualize and perform the mostly invisible dimension

of networks and how to mimic the network in an exhibition form.

To begin the discussion, we will introduce a selection of artworks making use of or

reflecting on mesh networks, among those, the installation "The City and its

Double", which RCPP developed for the group show “Hailweed” at Auto Italia

Southeast in London in 2016. Another relevant example when it comes to staging

the network is Nina Könnemann's live video performance "Free Wifi", which she

scripted for Oststation in Vienna in 2016.

Furthermore we will visit the exhibition “Myths of the Marble” at Henie Onstad

Kunstsenter and participate in a half-day seminar that considers how the virtual, in

both a critical and material sense, is being theorized and deployed by

contemporary practitioners/artists.

Asking how best to exhibit the network’s material as well as social and political

dimensions, the workshop will aim to turn the discussion into a working process

which resulting in a show at Akademriommet (http://akademirommet.khio.no) or a

series of presentations during spring 2017.

The Research Center for Proxy Politics (RCPP) is an artistic research project based in

the Universität der Künste, Berlin, that explores the role played by communication

technologies in contemporary modes of governance, resistance and artistic

production. Notions such as "the right to loiter" (Wendy Chun), or the right for

opacity (Edouard Glissant) serve as starting point for a conversation which attempts

to bridge the gap between the so called virtual and the ostensibly physical realms.

The intention is to also invite students from the UdK, Berlin to come to Oslo and to

join the workshop (tbc).

Requirements:

Participation requirements for approval of courses: 100%.

Reading list: Will be provided.

http://akademirommet.khio.no/

69

Title Exhibiting: An Introduction

Course format Seminar

The course is

part of the

following study

area



4 sp16

BA and/or MA Bachelor students

Teaching

language

English

Teacher Rike Frank; [email protected]

Date and time https://no.timeedit.net/web/khio/db1/student/ri16655y6Z5460

Q087QQY202Z467076Q059W55.html

Maximum

number of

students

Not restricted


“approved/not approved”. Please see the course description

for information about final assessment.

Course description: This seminar is an in-deepth introduction into exhibiting for

BA students, exploring the history of exhibition making, methods, strategies, and

terminologies as well as discourses related to exhibiting. It is a comprehensive,

material-intensive course that requires a lot of reading and a lively exchange –

especially about what an exhibition is, what form it can take, how artist have shaped

our understanding of exhibiting through their practice, what communities, debates

and specific forms of relating and critic exhibiting enables and how? Thus, the

course aims to invite to reflect on the exhibtion as a non-static form, that breathes






70

and speaks, an arrrangment and statement that frames and is being framed by the

interrelations between things, actions and articulations as much as it struggles with

dominant regimes, an intervention that is connected to the social and political

realm, yet at the same time a medium of its own.

Requirements:

Participation requirements for approval of courses: 100%.

Reading list: Will be provided.

71

Skrivepraksis / Writing practice

72

Kursnavn Nordisk skrivekurs

Kurstype Skrivekurs

Kurset inngår

i følgende

emne(r)

BK314 Skrivepraksis 4


4 sp17


Forhåndskrav -

Undervisnings

-språk

Norsk / nordisk

Kursansvarlig

lærer

Hans Petter Blad, [email protected]

Gjennomføres https://no.timeedit.net/web/khio/db1/student/ri17650y6Z6480Q0

77QQY202Z667021Q959W25.html

Plasser 12




Skrivekurset vil ta for seg ekfrase og hvordan man som kunstner kan jobbe med

dette. Ekfrase er et dikt eller en tekst som beskriver et kunstverk.

Mandag, 27.03.: Film og diskusjon. Foredrag om ekfrase og hvordan dette kan

brukes i et forfatterskap.

Tirsdag, 28.03.: Film og diskusjon. Eksempler på ekfraser brukt i skjønnlitteratur og i

hele enkeltverk.

Onsdag, 29.03.: Skrivedag. Obligatorisk innlevering av tekst om ekfrase.

Tekstlengde fleksibel, maks 5 sider. Deadline tekst onsdag kveld / torsdag før 09:00.

Tekster skal leveres på e-post til [email protected] og [email protected]

Torsdag, 30.03.: Opplesing, samtaler og diskusjoner av tekster, tema og eksempel.

Fredag, 31.03.: Opplesing, samtaler og diskusjoner av tekster, tema samt flere

eksempler.









73

Arbeidskrav:

80% tilstedeværelse og innlevering av skriftlig oppgave

Litteraturliste:

Billy Wilder, Sunset Boulevard (ser filmen på kurs)

Pedro Almodovar, Alt om min mor (ser filmen på kurs)

Sophie Calle, Take Care of Yourself

Pier Paolo Pasolini, Askens poet

Pier Paolo Pasolini, Teorema

Marguerite Duras, Atlantmannen

Valgfritt:

Hans Petter Blad, Museum, Flamme Forlag

74

Kurstype

Activity

Seminar, individuelle tutorials og øvelsesgjennomgang /

Seminar, individual tutorials and rehearsal

Emne

Course


4 sp18

Målgruppe

Year/Semester

3BA

3BA

Språk

Language

Norsk og/eller engelsk

Norwegian and/or English

Kursansvarlig

Teacher

Mike Sperlinger (English writing)

[email protected]

Gjestelærer

Guest teacher

Susanne Christensen (Nordic writing)

[email protected]

Gjennomføres

Class meetings


Q077QQY202Z467074Q059W55.html + individual tutorials +

tba

Plasser

Maximum

number

Alle i 3BA

All 3BA students

Vurdering

Assessment

Godkjent/Ikke godkjent

Approved/Not approved

Kursbeskrivelse:

Avgangsessayet er en viktig del av

studiet på Kunstakademiet, og en god

mulighet til å avklare ditt kunstneriske

prosjekt. For at du skal bestå studiet

Class Description:

The Bachelor essay is an important part of

the program at the Academy of Fine Art,

and a good opportunity to clarify your

artistic project. It is a requirement for




Kursnavn

Title

Avgangsessay bachelor

Bachelor Graduation Essay





75

kreves det at du skriver et essay som

tilfredsstiller læringsmålene i emnet

Skrivepraksis.

Essayet er ment å legge til rette for en

samtale omkring din kunstneriske

praksis, spesielt med ekstern sensor.

Enda viktigere handler prosessen med

å skrive essay om å lære å

kommunisere ditt prosjekt på en

meningsfull måte til et bredere

publikum, inkludert generell presse,

samt andre kunstnere og fagpersoner

(kuratorer, teoretikere, kritikere,

gallerister, etc.). Hovedvekten i

avgangsessayet bør legges på din egen

«forskning» i vid forstand av begrepet

– alle de tingene som inngår i

prosessen av tanker og handlinger bak

verket ditt. Målet er å bruke skrivingen

både til å forklare noe av forskningen

din for andre og å utdype din egen

utforksningsprosess. Dette skal vi

diskutere sammen. Vi skal også

diskutere ulike tilnærmingsmåter til

skriving og hvilke former essayet kan

ha. Og vi skal se på noen eksempler

under introduksjonsdagene.

Lengden bør være 2,000 ord. Uansett

hvilken form dit essay tar, kan det

inkluderes bilder om du ønsker det. Vi

vil gi deg noen eksempler på

forskjellige stiler og tilnærminger til det

å skrive fra et utvalg kunstnere.

passing your studies that you write an

essay that reflects the teaching aim in the

subject area Writing Practice.

The essay is supposed to facilitate a

conversation about your artistic practice,

particularly with the external assessor.

More importantly, the process of writing

the essay is about learning to

communicate your project in a

meaningful way to a broader audience

including the general press, as well as

other artists and art professionals

(curators, theorists, critics, gallerists, etc.).

The emphasis in the graduation essay is

on your ‘research’, in the broadest

sense – all of those things which go into

the processes of thinking and making

behind your work. The aim is to use

writing to both explain some of your

research to others and to deepen your

own process of exploration in making. We

will discuss all this – including the

different possible approaches to writing

about research and what forms an

‘essay’ might take, as well as looking at

some examples – in the introductory

sessions.

The length should be approximately

2000 words Whichever form your essay

takes, it can include images if you wish.

We will give you some examples of

different styles and approaches to writing

by artists.

76

Felles introduksjon for ALLE 3BA-

studenter:

Mandag 17. og tirsdag 18. oktober,

09:00 - 13:00: med Mike Sperlinger og

Susanne Christensen.

Individuelle essayveiledninger:

Susanne holder individuelle

veiledninger med alle for å diskutere

ideer. Det vil bli sendt ut

påmeldingslister.

Gruppeundervisning

Tirsday 24 & onsdag 25 januar

Innleveringsfrister:

Førsteutkast: fredag 25. november,

16.00

Andreutkast: fredag 13. januar, 16.00

Endelig innlevering: fredag 17. februar,

16.00

Eksamen:

Essayet blir vurdert som del av

avgangsutstillingen.

Presentasjon og innlevering

Essayet skal ha en forside som

inneholder følgende;

- Studentens navn

- Tittel på essay

- BA essay

- Utdanningsinstitusjon: KHiO,

Kunstakademiet i Oslo / Oslo National

Academy of the Arts, The Academy of

Fine Art

Joint introduction for ALL 3BA students:

Monday 17 and Tuesday 18 October,

09:00 - 13:00: with Mike Sperlinger and

Susanne Christensen.

Individual essay guidance:

Susanne will have individual tutorials with

all of you to discuss your initial ideas – we

will circulate a timetable for the tutorials

nearer the time.

Group tutorials

Tuesday 24 & Wednesday 25 January

Deadlines:

First draft essay: Friday 25 November,

16.00

Second draft essay: Friday 13 January,

16.00

Final deadline essay: Friday 17 February,

16.00

Exam:

The essays will be examined as part of

your final graduation exhibition.

Presentation and delivery:

The essay must have a front page that

contains the following information:

- The students name

- Title of essay

- BA essay

- Educational institution: KHiO,

Kunstakademiet i Oslo / Oslo National

Academy of the Arts, The Academy of

Fine Art

77

Endelig essay må leveres som pdf og

sendes til [email protected] før 16.00,

17 February 2017.

The essay must be submitted as a pdf

and emailed to [email protected] by

16.00 on the 17 February 2017

Arbeidskrav:

Se studieplanen.

Requirements:

See Study Plan.


78

Kursnavn Master essay

Kurstype Seminar, individuelle tutorials og øvelsesgjennomgang /

Seminar, individual tutorials and rehearsal

Kurset

inngår i

følgende

emne(r)


4 sp19

Målgruppe 2MA

Forhåndskra

v

Fullført 1MA / Completed 1MA

Undervisning

sspråk

Norsk eller engelsk / Norwegian or English

Kursansvarli

g lærer

Mike Sperlinger (English writing) , [email protected]

Susanne Christensen (Norsk / nordisk)

Gjennomføre

s

https://no.timeedit.net/web/khio/db1/student/ri15550Qg06620Q0g3

QY6752Z863X77YQ65Y560yZ.html

Plasser Alle i 2MA




Essay formål / Essay aims

(Norsk)

Master-avgangsessayet er en viktig del av studiet på Kunstakademiet, og en god

mulighet til å avklare ditt kunstneriske prosjekt. For at du skal bestå studiet kreves det

at du skriver et essay som tilfredsstiller læringsmålene i emnet Skrivepraksis.

Essayet er ment å legge til rette for en samtale omkring din kunstneriske praksis,

spesielt med ekstern sensor. Enda viktigere handler prosessen med å skrive essay om

å lære å kommunisere ditt prosjekt på en meningsfull måte til et bredere publikum,

inkludert generell presse, samt andre kunstnere og fagpersoner (kuratorer,

teoretikere, kritikere, gallerister, etc.). Det første møtet mange vil ha med deg og ditt





https://no.timeedit.net/web/khio/db1/student/ri15550Qg06620Q0g3QY6752Z863X77YQ65Y560yZ.html

https://no.timeedit.net/web/khio/db1/student/ri15550Qg06620Q0g3QY6752Z863X77YQ65Y560yZ.html

79

arbeid vil være gjennom tekst, enten i form av en pressemelding eller en artist’s

statement.

Å kunne skrive om eget arbeid er essensielt i svært mange sammenhenger, fra å

skrive søknader til å forhandle (eller bestride) hvordan arbeidet ditt fremstår for

kuratorer, institusjoner og lignende.

Å kunne skrive om eget arbeid er essensielt i svært mange sammenhenger, fra å

skrive søknader til å forhandle (eller bestride) hvordan arbeidet ditt fremstår for

kuratorer, institusjoner eller lignende.

(English)

The Master essay is an important part of the program at the Academy of Fine Art, and

a good opportunity to clarify your artistic project. It is a requirement for passing your

studies that you write an essay that reflects the teaching aim in the subject area

writing practice.

The emphasis in the graduation essay is on your ‘research’, in the broadest sense –

all of those things which go into the processes of thinking and making behind your

work. The aim is to use writing to both explain some of your research to others and to

deepen your own process of exploration in making. The supervisors will work with

you on which particular aspect of your research which you might want to explore in

more detail, and how it can be presented in the essay to a reader who may not be

familiar with your artwork. We will discuss all this – including the different possible

approaches to writing about research and what forms an ‘essay’ might take, as well

as looking at some examples – in the introductory sessions.

We will work towards an online publication which will coincide with your final

exhibition. The idea is to put your writing into a more meaningful context, to reach a

potentially larger audience, and to experience a more professional editorial process

such as you might expect in writing for art magazines or other publications in the

future.

Lengde og antall ord / Length, words and characters

Lengden bør være ca. 3000 ord - det betyr ca 7-14 sider. Uansett hvilken form dit

essay tar, kan det inkluderes bilder om du ønsker det. Vi vil gi deg noen eksempler på

forskjellige stiler og tilnærminger til det å skrive fra et utvalg kunstnere.

80

The length should be 3000 words – approximately 7-14 pages of text (pictures not

included). Whichever form your essay takes, it can include images if you wish. We will

give you some examples of different styles and approaches to writing by artists.

Joint introduction for ALL 2MA students

Thursday 29 & Friday 30 September, 09:00 - 13:00: with Mike Sperlinger, Susanne

Christensen (and Therese).

Individual essay guidance

Susanne and Mike will have individual tutorials with all of you to discuss your initial

ideas – we will circulate a timetable for the tutorials nearer the time. There will be

more individual tutorials in weeks 48 & 49, after you have handed in your first drafts

(due November 25).

Presentasjon og innlevering / Presentation and delivery

Essayet skal vise til og avklare de aspektene som vises til her. Dette gjennom en klar

struktur, et forståelig språk og en ryddig organisering av innhold i form av avsnitt og

avsnittsoverskrifter.

Essayet kan skrives på engelsk eller norsk (inkludert svensk eller dansk). Teksten skal

leveres i 12 punkts Times New Roman, med 1,5 linjeavstand. Du har lov til å illustrere

essayet med bilder. Sider skal være nummerert.

Essayet skal ha en forside som inneholder følgende;

- Studentens navn

- Tittel på essay

- MA essay

- Utdanningsinstitusjon: KHiO, Kunstakademiet i Oslo / Oslo National Academy of

the Arts, The Academy of Fine Art

Endelig essay må leveres som pdf og sendes til [email protected] før 16.00, 17

February 2017.

The essay should clarify the different aspects that are presented through a clear

structure, with understandable language and an orderly organization of content in

the form of paragraphs and section headings.

The essay can be written in either English or Norwegian (including Swedish or

Danish). The text is to be delivered in 12 point Times New Roman, with 1.5 lines line

spacing. You are allowed to illustrate the essay with images. The pages must be

numbered.

The essay must have a front page that contains the following information:


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- The students name

- Title of essay

- MA essay

- Educational institution: KHiO, Kunstakademiet i Oslo / Oslo National Academy of

the Arts, The Academy of Fine Art

The essay must be submitted as a pdf and emailed to [email protected] by 16.00

on the 17 February 2017. If you have any questions about the format, please contact

Mike and Therese.

Essay innleveringsfrister / Essay deadlines

Førsteutkast essay / First draft essay: Friday 25 November, 16.00

Andre utkast essay / Second draft essay: Friday 13 January, 16.00

Endelig innlevering essay / Final deadline essay: Friday 17 February, 16.00

Essay rehearsal exams

Dates: 23 & 26. January (time schedule will be distributed later)

Essay exams

Dates: 29, 30 & 31 March (time schedule will be distributed later)


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Åpne forelesninger / Public Lectures

Åpent forum/ Open Forum

aapentforum.khio.no

Åpent forum er en serie forelesninger, presentasjoner og diskusjoner med kunstnere,

kuratorer og teoretikere, initiert av og arrangert i samarbeid med studenter ved

Kunstakademiet. Samtalene foregår oftest på engelsk.

Open Forum is a series of lectures, presentations and discussions by and with artists,

curators and theoreticians, initiated by and run in collaboration with students at the

Academy. The discussions are usually in English.

STED: Hovedauditoriet på KHiO

TID: Mandager kl. 19.00 (endringer kan forekomme).

Academy Lectures

academylectures.khio.no

Academy Lectures er en serie forelesninger som presenterer foredragsholdere og

posisjoner innenfor samtidskunst og -kultur, og vektlegger en dialog åpen for alle

interesserte.

Academy Lectures is a series of lectures positioned within contemporary art and

culture, with an emphasis on dialogue.

STED: Hovedauditoriet på KHiO.

TID: Mandager kl. 18.00 (Endringer kan forekomme).

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Akademirommet

akademirommet.khio.no

Akademirommet er et utstillingssted på Kunstnernes Hus som er åpent for publikum

og drives av Kunstakademiet for å utforske utstillingsformat som et sentralt element i

samtidskunst og kultur.

Akademirommet is an exhibition space open to the public, located at Kunstnernes

Hus and run by the Academy to explore exhibiting as a key element in contemporary

art and culture.

STED: Kunstnernes Hus, Wergelandsveien 17.

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Administrasjon / Administration

Hege Nyborg

Fungerende dekan / Interim dean

Telefon: 90 561 434

E-post: [email protected]

Eva Løveid Mølster

Programansvarlig Bachelorstudiet / Programme Coordinator Bachelor

Telefon: 93 268 101


Therese Veier

Programansvarlig Masterstudiet / Programme Coordinator Master

Telefon: 40 843 501


Berit Andresen

Rådgiver / Adviser

Telefon: 94 523 258


Sunniva Lundh

Rådgiver / Adviser

Telefon: 94 523 488


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