Projekt fhs by kunst.innatumarkin

PROJEKT MMag.Inna Langner-Tumarkin

KONZEPT KUNST FACHHOCHSCHULE KORNEUBURG ART EDUCATION GRAPHIK UND ILLUSTRATION. BUCHMANAGEMENT ART and CRAFTS MEDIENDESIGN

PROJEKT MMag.Inna Langner-Tumarkin

Das Studium Die Bologna-Reform schafft im Hochschulbereich in Europa eine Vereinheitlichung der Ausbildung durch die Einführung eines zweistufigen Studiensystems mit Bachelor- und Master- Abschlüssen und die Einführung eines gemeinsamen Kreditpunktesystems (ECTS). Dieses dient der Transparenz und Vergleichbarkeit der Abschlüsse und soll den Studierenden erleichtern, Teile ihrer Ausbildung an anderen europäischen Hochschulen zu absolvieren. Das Studium zeichnet sich durch die Interdisziplinarität von Kunst, Design und Kommunikation in Verbindung mit wirtschaftsrelevanten Projekten. Entsprechend wird die praktische sowie die theoretische Auseinandersetzung mit Kunst, Gestaltung, Medien, Technik und Kommunikation zusammengefasst und als eigenständiges Kompetenzprofil gelebt. Der Kunstunterricht soll als wirtschafts- und gesellschaftsrelevantes Produkt definiert und durchgeführt werden. Wirtschaftlichkeit: soll in Proportionalität 30% (wirtschaftsrelevante Sequenzen) 70% (kunstrelevante Module) aufgeteilt werden. Intensive Verbindungen mit wirtschaftrelevanten Disziplinen sowie realitäts- und regionalbezogene Projekte machen das Studium Markt- und Selbständigkeitstauglich. Das Bachelor-Studium hat einen hohen Praxis- und Anwendungsbezug. Die Ausbildung ist in ihrer Ausrichtung innerhalb eines Berufsfeldes grundsätzlich generalistisch. Spezialisierungen erfolgen in auf den Bachelor - Abschluss aufbauenden Master-Studiengängen Aufbau:  Gemeinsames Basiscurriculum für Art Education und Art and Craft- Lehrgänge  Fachdifferenzierung in höheren Semestern  Das Curriculum ist an internationale Standards angelehnt und für Österreich spezifiziert  Die Basisfächer sollen starke Wirtschaftsanlehnung nachweisen

STUDIENRICHTUNGEN Art Education Beginnt mit der künstlerischen Auseinandersetzung und mit konkreten künstlerischen Techniken in eine gesamte Palette von Möglichkeiten. Kunst und Kunstwissen werden als allgemeiner Kulturschatz geführt und gelebt. Kunst soll als Ganzes gelehrt werden.  Aufbau und Präsentationsmöglichkeiten von künstlerischen Techniken und Stilen. Verbalisierung des künstlerischen Prozesses.  Strukturierung und Spezifikation von konkretten unterrichtenden Sequenzen.  Sehr praxisorientierter Lehrgang ( Erwachsenen, Jugendliche und KinderKunstbildung) Art and Craft Ermöglicht die vertiefte Auseinandersetzung mit handwerklich-kreativen beruflichen Fertigkeiten, sowie Vermarktungs- und Präsentationsstrategien. Aufbau von Netzwerken sowie ständige Evaluierung von kreativen Ideen und Umsetzungen. Buchmanagement. Beschäftigt sich mit berufsspezifischen Techniken im Bereich o Illustration o Graphik o Schrift o Typographie o Druckverfahren International orientierte Projekte werden sehr präzise und konstruktiv definiert. Eigene Projekte müssen eine breite Strategische Wirkung erzielen. Konzeptuelle Aufbau- und Durchführung – Strategien Medien Design Beschäftigt sich mit folgenden Bereichen o Mediendefinition o Entwicklung und strategischer Einsatz derselben o Werbestrategien im Bereich Produkt bzw. Ideenpromotion werden  definiert  präsentiert  diskutiert  durchführt Projektstrategien sollen als Gesamtkomplex ausgearbeitet werden.

PROJEKT MMag.Inna Langner-Tumarkin

FORM UND BEGRÜNDUNG: Studienform:  BACHELOR 3 Jahre (6 Semester)  MASTER 2 weitere Jahre (4 Semester,Aufbaustudium)  MASTER (Postgraduate, 4 Semester) Studienzeit:  Vollzeit (15 Vortragswochenstunden; 4 Stunden Seminare, 2 Stunden Tutorials, Bibliothekstunden, Vorbereitungsstunden) Insg. 30 Wochenstunden  berufsbegleitend (Blockveranstaltungen und Tutorials) 5/3 - tägige Blöcke/ Semester, Hausaufgaben,…. Aufnahmekriterien:  Matura  Postgraduate  Persönliches Gespräch mit Mappenvorlage Studentenzahl:  Vollzeit - 15-20 Studenten pro Gruppe, 45 Studenten pro Jahrgang  Berufsbegleitend, 20 Personen pro Jahrgang Raumbedarf für die ersten zwei Jahre:  Hauptgebäude  Sekretariat (1 Raum; 4 Tische)  Aufenthaltsraum für Lehrer (1 Raum, 6 Tische)  Personalraum , Garderobe  Werkstätten (4 Räume á ca. 50qm)  Ausstellungsraum/ Präsentationsraum (150-200 qm)  Bibliothek (ca. 50 qm)  Arbeitsräume (4 Räume á ca. 30qm)  Beratungsraum ca. 20qm  Kreative Shop ca. 50 qm  Vorlesungssaal mit Beamer und mehreren Reihen von Stühlen (ca. 100 qm)

Studiengebühren Richtlinien Internationaler Wirkungskreis:  ERASMUS und International Studies (60 vernetzte Kunsthochschulen in Europa und weitere 14 Institutionen in Russland, Ukraine, Australien und Amerika)  Austauschmöglichkeiten  Auslandssemester  Auslandsprojekte Wirtschaftskompartibilität:  Wirtschaftsintegrierende Projekte  Intensive Zusammenarbeit mit privaten und öffentlichen Institutionen Lehrende: Vortragende aus Kunst- und Wirtschaftsbereichen International anerkannt Vortragende Gastprofessoren (Blockveranstaltungen)

PROJEKT MMag.Inna Langner-Tumarkin

Vergleichbare Einrichtungen in Österreich: Joanneum GRAZ (FH) (MA in 4 Semestern)  Ausstellungs- und Museumsdesign Graduate Postgraduate FH SALZBURG  Lehrgang „Medien und Design“ o Multi Media Art o Digitales Fernsehen o Design und Produktmanagement Graduate Postgraduate Donau-Universität KREMS  Professional Teaching and Training  Ausstellungsdesign und Management  Bildmanagement  Bildwissenschaft  Media Art History  TV/Film Produktion  Intercultural Training Design Postgraduate

Vergleichbare internationale Einrichtungen: Fachhochschule Nordwestschweiz (FHNW) Standorte in Basel und Aarau Internationale Hochschule Calw (Deutschland)

Graduate Graduate

Roehampton University of Surrey, London Graduate

MMag. INNA LANGNER

CURRICULUM VITAE

CAREER SUMMARY

 19 years of teaching experience across all sectors of fine arts education  Vast experience in developing comprehensive fine arts curricula and managing international art events  Top awards for projects and competition entries developed with students  International acclaim as an artist, with exhibitions in premier art galleries in Europe and beyond

TEACHING EXPERIENCE Contact Details: Kreuttalstraße 39 2123 Unterolberndorf Austria Ph.:+43(0)2245/894180 FAX:´43(0)2245/8941804 innatumarkin@aon.at www.kunstkueche.com (English version under construction)

Personal Details: Date of Birth: 08/04/1966 Citizenship: Austrian

Languages: German – Fully fluent English – Advanced comprehension and communication skills Russian – Native speaker Ukrainian – Advanced comprehension and communication skills

2001 - current Kunsthaus, Unterolberndorf, Austria Director / Principal Instructor  Develop curriculum and teaching aides and act as a Principal Instructor for over forty different fine art courses for children and adults; including drawing, painting, graphic design, illustration, portraiture, mosaics and calligraphy  Provide workshops and specialist training for fine art teachers from a growing number of secondary schools  Develop and lead a diverse range of workshops for secondary school students  Managed international summer academy specialising in intensive fine art courses and culminating in an exhibition for all participants  Developed business partnership and collaborative projects with the Senica Art School in Slovakia  Managed the establishment of Poysdorf branch of Kunsthaus  Student projects receive various international awards

1999 – current Private Secondary School, Wolkersdorf Fine Arts Teacher / Co-ordinator  Opened an art gallery on the school’s premises, with the exhibition program featuring leading contemporary artists  Created ground-breaking art projects, incorporating fine arts education with the rest of school subjects  Led innovative projects, focusing on the creation of short films in collaboration with the Austrian Art Service  Introduced multimedia education to the school’s arts curriculum

1996 Mistelbach College Specialist Fine Arts Teacher  Student projects won international awards  Built close links between the fine arts program and local community, with the emphasis on mutual transformation

1991-1994 Fine Arts Teacher

Wiener Neustadt Secondary School

 Developed projects incorporating music and fine arts appreciation  Led programs in book illustration, calligraphy and publishing

Computer Skills: Proficiency in Graphic, Imaging and Desktop Publishing Software: Quark Express, Adobe Photoshop, Illustrator Internet Browsing, Search and E-mailing Skills

References: Available on request

Artwork Folio:

SUMMARY OF OTHER PROFESSIONAL EXPERIENCE

1999 – current ´Kunstlerische Werbegraphic´ Director / Principal Graphic Designer  Created and manage a graphic design company specialising in the use of high art style and philosophy in advertising  Created exclusive advertising portfolios for high-profile clients in a range of industries, including wine manufacture, building restoration, regional promotion and hair-dressing

Available on request

Membership: Deutsche Gesellschaft für Semiotik BÖKW Mitglied Österreich National Society for Education in Art and Design, UK

2002 Director

Kunsthaus Festival, Unterolberndorf

 Instigated and managed a highly successful international art event with active participation from more than sixty international artists and craftsmen as well as a diverse range of workshops on offer  Promoted far-ranging collaboration between local residents, artists, manufacturers of fine art supplies and high-profile public figures  Developed an innovative framework for the festival, focused on demystifying the process of making art, with all participating artists creating exclusive artworks in the course of the event

1989 – current Artist  Received wide international acclaim in response to solo and group exhibitions in Austria, Germany, USA, Australia, Switzerland, Russia and Ukraine  Committed to perfecting and synthesising skills across diverse art techniques and genres, including drawing, painting, lithographs, graphic design, mosaics, ceramics, puppet-making, paper-making, painting on glass, interior design, fashion, film-making and multimedia  Wide media coverage of my art projects in Austria and internationally

ACADEMIC BACKGROUND  Summer 2007 expected finishing of research work  2005-2007 Moscow Language Research Academy, Professor Tarasow Ph.D Thesis „ Approaches of creating a Model of Verbalisation from Art Object”.  2004 London. Research visitors Teacher on the Roehampton University of Surrey. Ph.D Thesis ‘One Does not talk about Art… Possibilities and Limits of Verbalisation in the creation and teaching of visual arts’ with Professor Racel Mason and Dr. John Steers  2003 – current, Ph.D Thesis ‘One Does not talk about Art… Possibilities and Limits of Verbalisation in the creation and teaching of visual arts’, Academy of Fine Arts Vienna, Supervisor – Professor

Zens  1994 – Master of Arts, The University of Vienna  1992 – Specialist Courses in Fine Arts, The University of Vienna & the Viennese Academy of Arts  1991 – Recognition of B.A Qualifications, The University of Applied Arts, Faculty of Graphics and Painting, Vienna  1984-1989 - B.A in Fine Arts (with Honours), Faculty of Graphics and Industrial Design, Ukrainian Arts Academy – the youngest student accepted by the Faculty. Achieved high results in all subjects, including graphic art, painting, illustration, ceramics, portraiture and photography.

RESEARCH REPORT One does not talk about Art… Possibilities and Limits of Verbalisation in the Creation and Teaching of Visual Arts.

Mag. Mag. Inna Langner-Tumarkin Ph.D Candidate Academy of Fine Arts Vienna, Austria

WORKS COMPLETED UP TO NOW: This Ph.D Thesis was commenced at the Academy of Fine Arts in Vienna on October of 2003 under the supervision of Professor Herwig Zens. Once the overall agenda of the research project was delineated, the decision was made in consultation with the Supervisor to dedicate the first part of the project to the extensive fieldwork research. Between November 2003 and June 2004, this fieldwork research took a form of a series of intensive workshops in a variety of settings, targeting a range of age groups and interests. In all of these workshops, I have strived to incorporate verbalisation as a vital pedagogical tool and to evaluate the results of this approach through observation, evaluation and an extensive feedback process. Each workshop built on the results of the previous one to refine and further develop methodological innovations and techniques centering on verbalisation.

One of the key locations for the delivery of the workshops and seminars was Kunsthaus, an Art House, which I created in 2001 in an Austrian township of Unterolberndorf, 20 minutes drive from Vienna. By 2001, I had spent over a decade teaching visual arts in various primary and secondary schools across Austria and felt an overwhelming need to create a facility solely dedicated to the teaching of fine arts using innovating methodologies and an integrated inter-disciplinary approach. I envisaged Kunsthaus as the first school in Austria aimed at providing children with a comprehensive fine arts educational program, with over forty programs available throughout the year, including drawing, painting, graphic design, illustration, portraits and mosaics.

I have designed the ‘Kunsthaus’ building and its interior, so it would have not only all the necessary facilities, but also a very special atmosphere conducive to creativity, innovation and collaboration. Over time, Kunsthaus has grown to offer fine arts classes for adults, workshops, international exhibitions, concerts as well as gallery and meeting spaces for artists and students of all ages.

Between November 2003 and June 2004, my â&#x20AC;&#x2DC;Kunsthausâ&#x20AC;&#x2122; workshops and programs have actively incorporated aspects of verbalization. I wanted to gauge the effect of the verbalisation method on the success of various teaching modules. The children on the photograph were enrolled in a long-term visual arts program, which offered a diverse range of disciplines and themes. Verbalisation was the common link between these programs, as children were encouraged to develop an individual and imaginative vocabulary for talking about various areas of visual arts and to present their artwork verbally in a series of exhibitions at the end of each module.

The emphasis on verbalisation in the development of my Kunsthaus programmes for the children has been underpinned by an acute sensitivity to the needs and capabilities of different age groups. This workshop for younger children was designed around creative projects using fur. To stimulate the development of verbal skills in primary-school children, an exciting and unusual technique was selected. As the projects were not abstract, but hands-on and containing an element of surprise, many participants found it easy to articulate their emotions in the course of the creative process. The textured nature of the fur produced another layer of verbalisation with children continuously commenting on the sensations they were experiencing in handling and shaping the fur. The development of verbal skills was further targeted in children being asked to present their finished art-object to the rest of the group.

The Kunsthaus workshops for adults have also actively incorporated the development of verbal skills. For example, the intensive watercolour workshop presented on the photograph, focused on the articulation of creative objectives at the start and the end of the process of producing a large-format watercolour painting. The workshop ran for 3 days, 8 hours a day, with all participants encouraged to express and share verbally in an on-going manner their aspirations, feelings, frustrations, dilemmas and impressions of the finished work. At the end of the workshop, an extensive evaluation process focused on the participantsâ&#x20AC;&#x2122; reaction to the introduction of verbalisation as one of the key methodologies employed in the workshop.

As part of my field-work, I have conducted a series of workshops in Austrian primary and secondary schools, employing innovative teaching methodologies and an emphasis on verbalisation. This puppet-making workshop at a secondary school was designed around the extensive employment and development of verbal skills in the participating children. Students were asked to conceive and produce a puppet as a self-portrait, an expression of their image of themselves and a broader self-awareness. Students were then asked to name their puppets and develop their life-story in the form of a script, which was then presented to the rest of the class. In other words, students were asked to engage verbally with their creations and the rest of the class and to bring together visual and verbal modes of consciousness and creativity. The students’ presentation was filmed and edited into a movie. This workshop was followed by an evaluation process. Students were asked what, if anything, the emphasis on verbal engagement and presentation contributed to their overall experience in the workshop and their understanding of the puppet-making.

In this workshop with primary school children at their school, the emphasis on verbal skills and self-articulation was designed to facilitate a heightened level of classroom interaction. All children worked together on one project and they were encouraged to continuously discuss their vision of the project and to interact verbally throughout the creative process. Their teachers were asked to participate in the evaluation process to analyse the impact of the new approach on the overall level of classroom interaction, the individual self-expression and the quality of the artwork produced.

The emphasis on an integrated interdisciplinary approach was further developed in this workshop at an Austrian secondary school. Titled ‘Black and White’, this workshop asked students to develop creative ideas and produce artworks based on two words ‘Black’ and ‘White’. In the process, students had to articulate their creative process from being given two words to presenting the rest of the class with the fully-fledged creative project.

As part of my fieldwork and in the course of developing the thesis that it is essential for children to be exposed to and to participate in many diverse discussions about Art, I have organised the opening of a visual arts gallery in one of the Austrian schools. In the gallery, contemporary artists exhibit their work and discuss their ideas about Art with children through a series of school-based presentation and seminars.

My ideas and teaching methods have already achieved a wide recognition in Austria. I have been contracted by various agencies to lead a range of work-place workshops focused on organizational team-building. For instance, I was contracted by a PR agency to organize a workshop for over 150 employees of a government agency. Working together, with each person playing an active part, we created a largescale mosaic piece (more than 2 meters in height), which will be shortly on display at the government agency involved. With over 150 people involved in the project, the active and dynamic verbalisation was a key ingredient of the workshopâ&#x20AC;&#x2122;s success.