KABK Studium Generale Lecture series 2018-2019 (sem 2)

The Great Derangement Object-Oriented Ontology: A New Theory of Everything Age of Hyper­ objects The Listening Society, A Metamodern Guide to Politics, Book One The Iranian Metaphysicals Field Notes from a Catastrophe: Man, Nature, and Climate Change In The Flow Faune, Social Forms: A Short History of Political Art So You Want to Talk About Race Navigating Semi-Colonialism The Specter of Global China: Politics, Labor, and Foreign Investment in Africa Relational Aesthetics Mushroom at the End of the World Enlightenment Now Queer Futures: Reconsidering Ethics, Activism, and the Political After the Future Een precair bestaan, kwetsbaarheid in het publieke domein Failed Images: Photography and Its Counter-Practices Het Monogame Drama What Happened The Fifth Risk Higher Loyalty Perhaps it is High Time for a Xeno-architecture to Match Homo Deus: A Brief History of Tomorrow Feminists Don’t Wear Pink and Other Lies Out of the Wreckage When the Rivers Run Dry: Water – The Defining Crisis of theTwenty-first Century Heartland: A Memoir of Working Hard and Being Broke In the Richest Country on Earth Text Me When You Get Home Educated: A Memoir Rage Becomes Her: The Power of Women’s Anger Melody Why Women Have Better Sex Under Socialism: And Other Arguments for Economic Independence Melancholia I/Melancholy New Dark Age Theory of Type Design Bad Blood: Secrets and Lies in a Silicon Valley Startup Brave Teachings from the Islamic Mystical Tradition Strike Art: Contemporary Art and the Post Occupy Condition Post Amitov Ghosh (2016)

Graham Harman (2018)

Timothy Morton (2013)

Hanzi Freinacht (2017)

Alireza Doostdar (2018)

Elizabeth Kolbert (2015)

Boris Groys

(2018)

Christian Viveros (2018)

Ijeoma Oluo (2018)

Anne Reinhardt (2018)

Ching

Kwan Lee (2018)

Nicolas Bourriaud (1998)

Anna Tsing (2018)

Steven Pinker (2018)

Franco (Bifo) Berardi (2011)

Elahe Haschemi Yekani (2013)

Nicolas Bourriaud

(2009)

Ernst

van Alphen (2018)

Simon(e) van Saarloos (2016)

Hillary Clinton (2018)

Michael Lewis (2018)

James

Comey (2018)

Armen Avanessian, Lietje Bauwens, Wouter De Raeve, Alice Haddad, Markus Miessen (2018) Yuval Noah Harari (2017)

Scarlett Curtis (2018)

George Monbiot (2018)

Fred Pearce (2007)

Sarah Smarsh (2018)

Kayleen Schaefer (2018)

Tara Westover (2018)

Soraya Chemaly (2018)

Jim Crace (2018)

Kristen R.Ghodsee (2018)

Jon Fosse (1995)

James Bridle (2018)

Gerard Unger (2018)

John Carreyrou (2018)

Rose McGowan (2018)

Omid Safi (2018)

Yates McKee (2017)

MAY YOU LIVE IN INTERESTING TIMES David Sedaris once wrote that it is almost impossible to understand your own time. Like a fish swimming in the water, so obvious that he does not notice it, does not know any better: that’s just what the world looks like.

The title of the series is May You Live in Interesting Times, an English ­expression taken from a Chinese curse. Although it seems to be a wish – the expression is normally used ironically. With the implication that ‘uninteresting times’ of peace and tranquility are nicer to live in than interesting ones, which from a historical perspective usually include disorder and conflict.

In what times are we living now?

Philosopher Zygmunt Bauman suggested the concept of ‘liquid modernity’ as a way to describe the condition of constant plasti­city and change he observed in social life, iden­tities and global econom­ ics within society. Philosopher of science Thomas Kuhn introduced the concept of a paradigm shift.

Once a new world view was accepted, you could not really imagine that it had ever been different.

In this Studium Generale we will talk about issues that are at stake at the moment, realising that we live in a liquid modernity and that every worldview could be seen as liquid as well. In every lecture we offer an analysis of sociological, political or scientific conditions and we talk about the possibilities of how to deal with it.

John Cage: “I can’t understand why people are frightened of new ideas.

I’m frightened of the old ones” (1988)

Traumatic Slave Syndrome Art Creates the Public

Dr. Joy DeGruy (2005)

Being Public, How Broken Bargain:

Jeroen Boomgaard, Rogier Brom Eds. (2017)

‘Step Up and Be the Director’ Shay Kreuger

7 February Shay is a firm believer that every­ one should take upon themselves the task to direct their lives.

When you realize that you are the director of your life you will realize that the decisions you make, the thoughts you have, the things you surround yourself with, impact your life in such a manner that it will help you grow... or not.

Through her work for FunX radio Shay became a spokesperson for young people with a range of different backgrounds. During the series For The Record by Het Nieuwe Instituut she moderates debates on music and videos as a way to address global issues.

Her presence and way upon the stage will make her a key figure in coming cultural debates.

Bankers, Bailouts, and the Struggle to Tame Wall Street Art of Feminism: Images that Shaped the Fight

Kathleen Day (2019)

for Equality, 1857-2017 21 Lessons for the 21st Century Rising: Dispatches from the New Helena Reckitt (2018)

Yuval Noah Harari (2018)

American Shore Fire and Fury de perdre’/‘De kunst van het verliezen Elizabeth Rush (2018)

‘L’Art Unlearn-

Michael Wolff (2018)

Alice Zeniter (2018)

‘Two Recent Controversies in Painting’ Anna van Leeuwen

‘The Work Process of an Artist, Films from the Series: Dutch Masters in the 21th Century’ Michiel van Nieuwkerk

14 February

21 February

At the Whitney Biennial of 2017, Dana Schutz’ painting Open Casket caused an outrage.

Her depiction of the dead body of Emmett Till (a black teenager who was murdered in 1955 by two men with racist motives) led to protests by black artists.

According to them Schutz, who is white, should not have painted Till as it wasn’t her subject matter.

Some artists called for Schutz’ painting to be destroyed.

As a response to Schutz’ painting, Australian artist Hamishi Farah made a portrait of Schutz’s son that has also sparked con­ troversy. A renowned German art magazine even decided to censor this painting.

This lecture will aim to tell the stories behind both paintings and will thereby address whether artists are free to pick their source materials and subjects.

It will touch on topical issues such as cultural appropria­ tion and privacy.

ing Exercises Dear Ijeawele, A Feminist Manifesto in Fifteen Suggestions Binna Choi, Annette Krauss, Yolande van der Heide, Liz Allan (2018)

Chimamanda Ngozi Adichie (2018)

Hollandse Meesters (Dutch Masters) is a series in which renowned filmmakers make a portrait of important contemporary artists in a fifteen minute doc­ umentary. The music for these short documentaries is made by renowned composers. To this day, a hundred portraits have been made. The documentaries are shown by AVRO and local broad­ casters. At Studium Generale we will present a selection of these documentaries, curated and hosted by Michiel van Nieu­ wkerk, initiator and producer of ­Hollandse Meesters.

The End of Nature The Human Planet: How We Created the Anthropocene What it Means Bill Mc (2003)

Simon Lewis and Mark A. Maslin (2019)

to Write About Art Artificial Hells, Participatory Art and the Politics of Spectatorship On the

Other Side of Freedom: The Case for Hope How to Change Your Mind: What the New Science of Psychedel-

‘How to Deal with Society?’

Domenique Himmelsbach de Vries

‘I am So Angry – I Made a Sign’ Adinda Akkermans

7 March

14 March

Jarret Earnest (2018)

Claire Bishop (2006)

Social artist Domenique Himmels­bach de Vries puts the “okay people” on a pedestal, opens up populist webshops and documents undocumented people. With his fresh perspec­ tive and thinking he provides current, cultural and social issues of ­inspiration and gives new perspectives and answers on a personal level. Himmels­ bach’s ambition is to create alternative, new legends about how you can break away with social spectatorship. He inves­ tigates how you can develop fruitful methods to relate to complex social themes.

A background in activism ensures a healthy allergy to ­sectarian and dogmatic ideas.

Deray McKesson (2018)

Anger is often seen as annoying and not constructive. But doesn’t real change often start with anger? The protesters of the sev­ enties are the elite of 2019. Are the internet trolls nowadays really different from the Dolle Mina’s of the past? Can anger lead to something positive? What are you angry about? And would you risk your life for your ideals?

ics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence Mapping It Out: Michael Pollan (2018)

European history has many examples of people who did that.

Constantin Jinga, for example, was shot during the Romanian revolution and calls that day the happiest of his life. Get to know Jinga and many others in the I’m So Angry Pop-up Museum, a traveling exhibition about revolu­ tion and protest, which also con­ fronts you with your own ideals.

An Alternative Atlas of Contemporary Cartographies Addiction, Depression,

Edited

by Hans Ulrich Obrist; Introduction by Tom McCarthy Thames & Hudson (2014)

and Transcendence Sovereign Words: Indigenous Art The New Negro: The Life of Alain Locke

Briljante Man The Line Becomes a River: Dispatches from the Border Punishment

‘Russia, Unkown Territory’ Heleen over de Linden

‘Common Ground’ Hester Alberdingk Thijm

21 March

4 April

Michael Pollan (2018)

Katya García-Antón (2018)

Russia is always directly asso­ ciated with Putin. Putin is the synonym for corruption, usurpa­ tion of power and infringements of human rights. Russia is more than Putin. 145 million inhabi­ tants are living in this territorial biggest country of the world, working, studying and traveling abroad. They are facing the same problems as people in the West, such as the struggle against climate change and pollution, being addicted to social media and working on healthy ageing.

Since the annexation of Crimea and the downing of the MH17 in 2014, nothing positive can be said anymore in the Dutch media about Russia, because if you do you may have connections with the Russian regime. The adverse side of this typical Dutch media behaviour is factually a limita­ tion of the freedom of speech and the principle of a fair hearing, because dissenting opinions are not welcome. If the media quotes Putin, the context and the nec­ essary circumstances plus legal background of the case are often withheld.

Without Crime: How Our Massive Misdemeanor System Traps the Innocent and Makes America More Unequal

Jeffrey C. Stewart (2017)

Michael Tedja (2018)

Francisco Cantú (2018)

The AkzoNobel Art Foundation was founded in 1996 on the request of the former chairman, Mr Kees J.A. van Lede. Initially there was a desire to counterbal­ ance the cold architecture of the new headquarters in Arnhem but soon the idea to collect art got its own motivation: being a good citizen in a multicultural society.

Artists had started much earlier with the reflection on that society, so the pioneering spirit of artists made art and culture trailblazers for innovation in the company.

AkzoNobel started the build-up of a contemporary collection of international art by young artists.

On the basis of a number of key works, Hester Alberdingk Thijm will explain the identity of the cor­porate collection and how the goal of ‘being a good citizen’ is achieved. The sculpture Victoria Regia (First Night Bloom) by Keith Edmier was a sort of triumph, as Alberdingk Thijm will explain.

Does the art collection live in the heart and mind of the employees?

Communication is all. At Akzo­ Nobel, they put sustainability in the heart of everything they do in their business. The AkzoNobel art collection is one of our company’s ways of helping maintain and preserve our international cultural heritage for future generations.

How does that work?

The Politics of Design: A (not So) Global Manual for Visual Communication The ThreeAlexandra Natapoff (2018)

Ruben Pater (2016)

Body Problem man Kind

Sapiens: A Brief History of HuThe Lure of the Biographical, On

Liu Cuxin (2006)

Yuval Noah Harari (2011)

Sandra Kisters (2017)

‘Fashion held in Common Take back Fashion!’

Pascale Gatzen

‘Are you Metamodern?’

Emil Ejner Friis

11 April

18 April

To hold something or each other in common means that we are in a relationship of mutuality and interdependence, no longer in a relationship of domination and control. Silvia Federici points out that no common is possible unless we refuse to base our life, our reproduction on the suffering of others, unless we refuse to see ourselves as separate from them. If “common­ ing” has any meaning, it must be the production of ourselves as a common subject.

Marshal Rosenberg underlines that our survival as a species depends on our ability to recog­ nize that our well-being and the well-being of others are in fact one and the same. How can we actively engage fashion’s compassionate potential to meet our common needs for connec­ tion, belonging, joy, mutuality and well-being?

This Will be my Undoing Eloquent Rage Facing Value, Radical Perspectives from the Arts Morgan Jerkins (2018)

(2018)

the (Self-)Representation of Modern Artists Tangled Tree: A Radical New History of Life

In this lecture, Emil Ejner Friis will present the most recognisable cognitive thought patterns that appear when we go beyond post­ modernism, in particular, the five ways of thinking that are typical of metamodern thinkers.

Brittney Cooper Maaike

The

David Quammen (2018)

The lecture will begin with a short introduction to the different stages of thought, modern, ­postmodern, metamodern, followed by a presentation of the five common habits of thought to be found in metamodern people: 1) an awareness of allergies, 2) a belief in development and progress, 3) an understanding of hierar­ chies, 4) aiming at reconstruction and 5) thinking ‘both-and’.

Not That Bad Plan and Play, Play and Plan, Defining Your Art Practice

Lauwaert, Francien van Westrenen (2017)

Roxane Gay (2018)

Janwillem Schrofer (2018)

Good and Mad: The Revolutionary Power of Women’s Anger The Great Derangement ObRebecca Traister (2018)

Amitov Ghosh (2016)

ject-Oriented Ontology: A New Theory of Everything Age of Hyper­objects The Listening Society, Graham

Harman (2018)

Timothy Morton (2013)

‘Troubles and Temptations of Religion in a Post Christian Society’ Janneke Stegeman

‘Sacred Spit’ Helen Verhoeven

9 May

16 May

Out of the Eighty Years War against Catholic Spain, the Neth­ erlands emerged as a Calvinist country. The Dutch combined lust for freedom with almost theocratic Calvinist zealousness. Today, the Netherlands is one of the world’s most secularized countries.

In Dutch post Christian society, Christian traditions are a source of shock and anger (Nashville) as well as pride and even feelings of superiority (on the basis of our ‘Jewish-Christian’ values).

Stegeman claims we cannot understand our society without a basic understanding of the ways in which Christianity shaped Europe for better and for worse, of the Calvinist roots of the Netherlands, of Christian entan­ glements with colonialism and racism and of recent flirt with our Christian roots.

A Metamodern Guide to Politics, Book One The Iranian Metaphysicals Field Notes from a CaHanzi Freinacht (2017)

Alireza Doostdar (2018)

In my lecture Sacred Spit I will discuss my installation Church I, paintings from my 2018 exhibition Oh God and some of my earlier work that deals with Christian art in particular and the religious feeling in general. Through this I hope to explore the societal and psychological underpinnings that have driven both religion and art.

Though unreligious myself, I am spellbound by the spaces and paraphernalia that induce religious feelings. I covet the light, the air and objects that demand a meditation on horror and beauty, on human love, cosmic loneliness, and other exis­ tential problems. A few years ago, I decided to build myself a church

because I longed for a space that would woo and overwhelm, would induce rapture, but that would be humanist and secular.

Was it possible to create a space that would house images and objects about mankind and the natural world without the pit­falls of the archive, the ­mausoleum, the church or museum? Could a church-ish space be free of religion, be simultaneously private and public, deeply personal and universal? Could it be at all?

tastrophe: Man, Nature, and Climate Change In The Flow Faune, Social Forms: A Short HistoElizabeth Kolbert (2015)

Boris Groys (2018)

ry of Political Art So You Want to Talk About Race Navigating Semi-Colonialism The

Specter of Global China: Politics, Labor, and Foreign Investment in Africa Relational Aesthetics

‘No Other Future but the Commons (and Art)’ Binna Choi

‘Time: A Corset We Wear Every Day’ Simon(e) van Saarloos

23 May

6 June

Christian Viveros (2018)

Ijeoma Oluo (2018)

Anne Reinhardt (2018)

The commons is a composite term – political, economic, social, cultural – acting for change towards non-binary, sharing forms of life, which undo the artificial divisions and hierarchies in social domains such as the private (market) and the public (state), the intellectual and the manual, the rich and the poor – or name it! – towards a lively, life affirming ecology of caring, collaborative, and cooperative relations, and the celebration of differences.

Art is one of the most open and affective ways of inquir­ ing, imagining, and enacting such a commons; at Casco Art Institute: Working for the Commons we call it a study process. In cooperation

with artists and communities, especially in the fields of educa­ tion and social movements, Casco Art Institute: Working for the Commons is dedicated to the pro­ duction and presentation of art as a study process of the commons.

In her lecture, Binna Choi will give insight into the practice of the commons within and beyond art: will elaborate on the process of reestablishing Casco from Casco Office for Art, Design and Theory to Casco Art Institute: Working for the Commons, especially by focusing on the longterm project Site for Unlearning: Art Organization, a collaboration between artist Annette Krauss and the Casco team.

Mushroom at the End of the World Enlightenment Now Queer Futures: Reconsidering Bourriaud (1998)

Anna Tsing (2018)

Steven Pinker (2018)

Ching Kwan Lee (2018)

What is a woman for? asks Leni Zumas in her recent novel.

Red Clocks tells the story of four different women, each named and defined by their role (i.e. ‘The Wife’, ‘The Daughter’).

Discussing the (biological) clock and other methods of time management, Simon(e) ques­ tions the many ways we tend to disguise (gender) performance as natural or innate.

Nicolas

A woman follows a design of time when using the pill, with each day of the week prescribed. Inspired

by Paul Preciado’s text The Architecture of Sex, Simon(e) will explore the daily ways that time and design create and influence our lives.

Ethics, Activism, and the Political After the Future Een precair bestaan, kwetsbaarheid in Elahe Haschemi Yekani (2013)

Franco (Bifo) Berardi (2011)

BIOGRAPHIES

at the post graduate No Academy, Laboratory for Art and Society in (1) Shay (Sheyveca) Amsterdam. Before that he gradu­ Kreuger (Rotterdam, 1981) ated as an autonomous visual artist started her career as a radio and at ArtEZ Zwolle in 2009. tv reporter in 2007 at FunX radio.

His socio-artistic practice has She works as a presenter, moder­ its origins in the conviction that being ator and reporter. She participated a studio artist is too isolated for him in programs by Jörgen Raymann, to translate his concerns about the worked as a reporter for 2Doc and world into work with social impact.

NPO Radio 2 and was invited by He wants to reach people who are De Wereld Draait Door to par­ outside his network and converse ticipate in a cultural debate on with people with other convictions, Beyoncé. She recently produced values and backgrounds. He wants her own documentary series about to break with his sense of social writing letters to prisoners called spectatorship and investigate and Brieven van Pancho. She also challenge who ‘the other’ is in our performs as a spoken word artist society. Social interventions that throughout the Netherlands. rely on co-creation and participation proved to be the best means for this.

(2) Anna van Leeuwen (Utrecht, They are the key to a practice that 1982) writes about visual art for the operates at the center of society.

Volkskrant. She studied Philosophy at the University of Amsterdam and (5) Adinda Akkermans (Den concluded her studies with a Master Haag,1983) is a writer, radio in Ethics. She worked as an editor maker and researcher for media for Mister Motley, Tubelight and as NRC Handelsblad, Human and Hard//hoofd and as editor-in-chief at VPRO. She is one of the ­journalists the magazine Kunstbeeld. Anna van of the Iron Curtain Project, a multi­Leeuwen was on the board of the media project that made a ­travelling Dutch branch of the International pop-up museum about anger.

Association of Art Critics. She pub­ She studied sociology and wrote lishes interviews, essays, reviews, two books: Bibeb, biechtmoeder news articles and short stories. She van Nederland en Ministerraad also contributes to Broadly (Vice). op vrijdag, about the most progres­ sive cabinet of the Netherlands.

(3) Michiel van Nieuwkerk (6) (Amsterdam, 1964) is a photog­ Heleen over de rapher, filmmaker, artists and Linden (Delft, 1965) is attorneyinterviewer. The work of Michiel is at-law in Amsterdam and 4th year versatile. He has a weekly column PhD student at the University of called Koppen in the newspaper Het Groningen. Heleen studied Russian Parool. He is initiator and producer language-, and literature at the Uni­ of the documentary series Hollandse versity of Amsterdam (1985 ­– 1991) Meesters in the 21st Century. and Tax Law (2000–2004), also at the University of Amsterdam. In (4) In 2010 Domenique 1988 she studied one year Russian Himmelsbach de Vries (Amsterdam, language in Moscow, at that time 1983) graduated as a social designer still Soviet-Union. In 1998 Heleen

lived and worked in the Russian countryside. Her PhD research is about the EU sanctions against the former president of Ukraine, Victor Yanukovych and against Russia, Eastern-Ukraine and Crimea.

the Arts, Arnhem, The Netherlands where she is creating and implement­ ing a radically new curriculum named Fashion Held in Common. Her work has been shown and published internationally.

(7) Hester Alberdingk Thijm (1959) is director of the AkzoNobel Art Foundation and worked for Museum Boijmans Van Beuningen.

She functioned in different advisoryand management boards in the field of art, at Stichting Niet Normaal, Fries Museum, Het Princessehof, Sikkens Foundation, De Ateliers and Stichting Spinoza Monument, among others. She was the chairman of different advisory committees at the Mondriaan Fund. She was also a part of the jury for the Dutch contribution to the Venice Biennale in 2013 and 2015.

(9) Emil Ejner Friis (Stenløse, 1981) is a Danish/Swedish writer and philosopher and a co-founder of the think tank project Metamoderna. He has helped the great Hanzi Freinacht publish The Listening Society: A Metamodern Guide to Politics, Book Two (2017) and its sequel, Nordic Ideology (2019). For the past few years he has also been working as a developmental editor for the writer, philanthropist and ex-financier Tomas Björkman on the books Världen vi skapar (2017) and the new and updated English language edition titled The World We Create (2019).

He is currently working on a new secret book project together with Hanzi Freinacht and his close ally Daniel Görtz. In addition, he’s tinker­ ing about at the progressive IT-com­ pany Glimworks in Lund, Sweden and is involved in the planning of the construction of a Metamodern mon­ astery in Kiev, Ukraine.

(8) Pascale Gatzen (Tilburg, 1969) is an artist, educator and fashion designer based in Arnhem, The Netherlands. Within her art and design practice, Gatzen produces and facilitates large collaborative projects using clothing as her main medium. Embracing fashion as a mode of human togetherness, the focus of both her artistic practice and her teaching is on the relational and empowering aspects of fashion, advancing cooperative models of production and exchange. As an Associate Professor at Parsons School of Design in New York she developed and implemented an alternative fashion curriculum with an emphasis on community, self-ex­ pression and love. She is a founding member of ‘friends of light’ a worker cooperative for textile production in the Hudson Valley, New York. She is the Head of the MA Fashion Design program, at ArtEZ, University of

(10) Janneke Stegeman (Woudenberg, 1980) is a biblical scholar and theologian. She earned her PhD (2014) with a study on the role of conflict in the development of religious tradition. Stegeman is interested in the interaction between religion and conflict and indecent theology. She regularly gives lectures, preaches and writes articles on these topics. She co-founded TITS, (The Indecent Theology Society) and GeNOT (Genootschap voor Onbetamelijke Theologie).

Her latest publication is Alles Moet Anders! Bevrijdingstheologie voor

Witte Nederlanders (2017), an essay about her thoughts on liber­ ation theology, focused on people that share her context: white Dutch citizens with a Christian background.

(11) Helen Verhoeven (Leiden, 1974) is a Dutch/American painter and sculptor based in Berlin. Ver­ hoeven grew up in the Netherlands and moved to the US in 1986.

She received her BFA from the San Francisco Art Institute (1995) and her MFA from the New York Academy of Art (2001). In 2005-2006 she attended the Rijksakademie in Amsterdam and since 2009 she has lived and worked in Berlin.

She received the Royal Award for Modern Painting in 2008, the Wolvecampprijs in 2010 and in 2018 the ABN-AMRO Art Prize for which she will make an exhibition at the Amster­ dam Hermitage in March of 2019.

Her work has been exhibited interna­ tionally in institutions such as Saatchi Gallery, Kestnergesellschaft, the Bonnefantenmuseum, Stedelijk Museum Amsterdam, Gemeentemuseum, the Essl Museum, Dordrecht Museum, Centraal Utrecht Museum, Museum of Contemporary Art – North Miami and the FLAG Art Foundation in New York.

(12) Binna Choi (Seoul, South Korea, 1977) practices the curatorial in an expanded sense, by situating art in relation to practices of social change, and by working on art institu­ tions as exemplary institutional sites.

Since 2008, Casco Art Institute: Working for the Commons has been Binna’s home base for this curatorial practice. There she has curated a number of long-term, collaborative/ cross-disciplinary artistic research projects and programs. Currently she’s focusing on the several inter­

secting study lines – as called at Casco Art Institute – with art on the commons, including Unmapping Eurasia (co-curated with You Mi), Center for Ecological Unlearning (with the Outsiders), and Diverse Economies. In conjunction with her position at Casco Art Institute, Binna also teaches at the Dutch Art Institute masters program, and works for and with the trans-local network Arts Collaboratory.

(13) Simon(e) van Saarloos (Summit, VS, 1990) is a writer, performer and philosopher, who has published several books, amongst which Enz. Het Wildersproces, De vrouw die and Het monogame drama. Simon(e) is currently working on a book on commemo­ ration, focussing on queer memory.

Simon(e) also writes for theatre and music and is currently a first year MA student at DAI.

STUDIUM GENERALE

The Studium Generale is a pro­ gramme that hovers, as it were, over the departments: it addresses themes that may not have an imme­ diate practical use, but are potentially relevant to each and every student.

It aims to introduce students to fields that aren’t directly addressed within their own course such as theatre, philosophy, poetry, film, sociology, invention, science, or a combination of these subjects.

It is, more or less, a semi-­ theoretical programme to help you assess your own work from a differ­ ent perspective and to draw inspira­ tion from other fields of knowledge.

The Studium Generale is a gift to the students: especially for them, famous actors, photographers, sci­ entists, and many others will visit the academy to deliver a lecture on their professional field, ending in a discus­ sion open to all.

Each student’s work is fuelled by the impulses surrounding him or her by the society they live in, and it’s important to gain an understand­ ing of this environment from which you can distillate your own unique interests and determine your own position. Especially for artists, it’s imperative to see beyond the borders of your specific professional field, to open yourself up to the grand and unorthodox thoughts of others and to integrate these with your own ideas.

The Studium Generale hopes to break down barriers between departments and initiate collaborations to pave the way for groundbreaking new ideas. To do so, Studium Generale works closely with each department to complement and broaden their existing programmes.

STUDY CREDITS

In the academic year of 2018 – 2019 there will be 20 lectures of Studium Generale KABK, 9 before and 13 after Christmas.

The Studium Generale pro­ gramme is a mandatory part of the curriculum. For some departments, these mandatory credits are to be taken in second year, for others in third year. The department in question will determine in which year students can follow Studium Generale as part of their studies.

Every lecture will last for approximately 90 minutes, 20 lectures bring the total sum to an estimated 30 hours. This represents 1 study credit that will be allocated after attending of the lectures.

As in other courses students are expected to be present at least 80% of the lectures for this course.

Attendance to the lectures will be monitored by the use of a stampcard. Please bring your student card. The credit earned for Studium Generale will be part of the general assessments and cannot be replaced by any other alternative activities.

Colophon Head of Studium Generale Hanne Hagenaars Coordinator of Studium Generale Janne van Gilst Design booklet & posters Dayna Casey Copyright 2018 – 2019 KABK Royal Academy of Art.

Thanks to all the participants, the studio, all ­coordinators and heads of departments.

het publieke domein and Its Counter-Practices

Nicolas Bourriaud (2009)

Failed Images: Photography Het Monogame Dra-

Ernst van Alphen (2018)

May You Live in Interesting Times Studium Generale

16:00–17:30 The lectures are held in the Auditorium at the Royal Academy of Art, Prinsessegracht 4, The Hague 7 February ‘Step Up and Be the Director’ Shay Kreuger 14 February ‘Two Recent Controver­ sies in Painting’ Anna van Leeuwen 21 February ‘The Work Process (...) Dutch Masters in the 21th Century’

ma

7 March ‘How to Deal with Society?’

Domenique Himmelsbach de Vries 14 March ‘I am So Angry – I Made a Sign’ Adinda Akkerman 21 March ‘Russia, Unkown Territory’ Heleen over de Linden

9 May ‘Troubles and Temptations (...) Post Christian Society’ Janneke Stegeman 16 May ‘Sacred Spit’ Helen Verhoeven

4 April ‘Common Ground’ Hester Alberdingk Thijm

23 May ‘No Other Future but the Commons (and Art)’ Binna Choi

11 April ‘Fashion held in Common Take back Fashion!’

Pascale Gatzen

6 June ‘Time: A Corset we Wear Every Day’ Simon(e) van Saarloos

What Happened The Fifth Risk Higher Loyalty Perhaps it is High Time

Simon(e) van Saarloos (2016)

Michael Lewis (2018)

18 April ‘Are you Metamodern?’

Emil Ejner Friis

Hillary Clinton (2018)

James Comey (2018)