ABC Andrea Torreblanca
Selecci贸n aleatoria para un posible manifiesto pedag贸gico
LA ENSEÑANZA DE LAS FORMAS Andrea Torreblanca. Fragmentos de clases dictadas 2010-2015 Plagio = producción de arte. Estudia las estrategias más allá de las formas. ¿Cómo se ubica la obra en el tiempo y cómo se comporta dentro de este? X se roba tus archivos y encuentra todas las imágenes y textos que recopilaste a lo largo de
¿Qué encuentra X?
los años. Hacer listas. Buscar sinónimos. Buscar antónimos. Buscar definiciones en el diccionario. Volver a empezar y escoger tres palabras. Escoge tres libros y cómetelos. Imágenes históricas = otras ideas. Escribir un libro sin escribirlo. Subrayar, citar y copiar. Piensa en el espacio. Abarca toda la página. Desbórdate y ve a las orillas. Regresa. Utiliza notas al pie. No hagas ejercicios, haz investigación. No hagas las tareas, produce obra.
No sigas instrucciones…no sigas instrucciones…no sigas instrucciones…
La obra como literatura (poesía, ficción, novela, biografía, filosofía). No invalides la historia del arte. Apréndela. Si no tienes un archivo de imágenes, empieza uno. Conecta tres historias aparentemente inconexas. Empieza con el collage. Bórralo y quédate con algunos fragmentos.
ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, verVer, ver, ver, ver, ver, ver, ver, ver ver, ver, ver ver, ver, ver ver, ver, ver ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ver, ……pausa….. ver, ver, ver ver, ver, ver, ver.
ver, ver, ver,
ver, ver, ver, ver,
Lleva tus formas a la abstracción. Regrésalas
lenguaje, semiótica, semántica, gráfica, diagrama, abecedario, índice, gramática y vocabulario. a la figuración. Vuélvelas
Es más importante ver que escuchar. Es más importante escuchar que hablar. Es más importante hacer que ver. Piensa en la ficción. Di historias. Trabaja
365
días.
mentiras.
Usurpa
“In thinking ‘academy’ through ‘potentiality’, we exit the realm of generic potentiality – we are not interested in the production of skills and knowledge, we do not think about the liberation of someone’s deeply buried creative possibilities nor do we think romantic moments of self expression or moments of analytical and investigative exposure of the grim realities of our world. Instead ‘academy’ becomes the site of this duality, of an understanding of ‘I can’ as always, already yoked to an eternal ‘I cant’.
Irit Rogoff: http://summit.kein.org/node/191
A.C.A.D.E.M.Y.
a
http://www.academycologne.org/de/
Academy of the Arts of the World Cologne
Based in Cologne, a city of migrants, the Academy seeks to move beyond eurocentrist doctrines of cultural history, while attending to the global conditions of post- and neo-colonialism, and avoiding the romance of multiculturalism, globalism, and identity politics. Facing a social and political environment deeply affected by the overwhelming logic of global finance and neoliberal force, the Academy enables and supports practices that address and challenge these very conditions. It supports processes of reflection, intervention, and collaboration that aim at a critical understanding and transformation of the conditions of contemporary cultural production. As a nomadic institution, the Academy initiates events and discussions at different locations in Cologne, and elsewhere
“
http://metropolism.com/magazine/2006-no4/lessen-in-bescheidenheid/english
”
Photo: Santiago Pinyol
Beta Local
La Ivan Illich: una plataforma mediante la cual cualquier persona puede proponer una clase
http://www.betalocal.org/sessions
b
c
Copenhagen Free University
“We call for everybody to establish their own free universities in their homes or in the workplace, in the square or in the wilderness. All power to the free universities of the future�. http://www.copenhagenfreeuniversity.dk/future.html
http://www.udel.edu/art/rmarquez/678/kosuth_teachingtolearn.pdf
En el Centro confluyen proyectos de todos los géneros artísticos con énfasis en los que desbordan los límites entre prácticas, géneros y medios, materiales artísticos y extrartísticos; aquellos que proponen nuevas formas productivas, de exhibición e intercambio; los que expanden las nociones de “público”, de “obra” y de “autor”, y aquellos que exploran contextos sociales más amplios que la escena artísticas institucionalizada. En nuestro espacio confluyen narradores, poetas, músicos, filósofos, arquitectos, diseñadores, cineastas, historiadores, psicoanalistas, tecnólogos, gente de teatro y de otras disciplinas del arte y el conocimiento.
http://www.ciacentro.org.ar/
c
Centro de Investigaciones ArtĂsticas CIA
c
colourschool is a school within a school dedicated to the speculative research and exploration of five colours: black, white, brown, yellow, and red. Providing a free and open space for critical investigations of colour, identity, artmaking, and knowledge production, colourschool attempts to develop a collaborative colour consciousness through a variety of events including reading groups, film screenings, listening labs, interviews, roundtable discussions, brown bag lunches, performances, and installations among other activities. Inspired by the history of experimental education, colourschool draws from the pedagogical precedents of Black Mountain College and Joseph Beuys’ Free International University as well as the Colour Research project undertaken by Michael Morris and Vincent Trasov.
http://www.colourschool.org/
colourschool is a school within a school dedicated to the speculative research and exploration of five colours: black, white, brown, yellow, and red. Providing a free and open space for critical investigations of colour, identity, artmaking, and knowledge production, colourschool attempts to develop a collaborative colour consciousness through a variety of events including reading groups, film screenings, listening labs, interviews, roundtable discussions, brown bag lunches, performances, and installations among other activities. Inspired by the history of experimental education, colourschool draws from the pedagogical precedents of Black Mountain College and Joseph Beuys’ Free International University as well as the Colour Research project undertaken by Michael Morris and Vincent Trasov.
Home Works Program, Ashkal Alwan
h http://ashkalalwan.org/programs_tax/hwp-program/
ONE Do what you want to do, no matter what it is. Have fun. TWO Whatever you do, it should have something to do with yourself and with your own interests, and not with much else. There is no need to imitate professors, current art trends, anything chic or anything trendy. THREE Learn just whatever you need to know. Don‘t buy into the idea of learning some or many techniques first and then going on to do your own stuff. When you need to learn something, learn it by doing it. If you don’t have anything to say, just don’t bother trying to say it. Be happy if you have to learn in an autodidactic manner. It might be even more promising, if the stuff of your interests is not offered in your art school. Saying this, I do not want to neglect all the great things art students can learn from regular art teachers and their work places. FOUR The social environment – including the faculty and visiting artists – one encounters on a campus is the most important thing an art school offers. Embrace it fully, but there is no need to run after people ahead of you. Instead, work with the people who want to work with you and create relationships with whoever you can, independent of their standing in the hierarchic pecking order of the given context. All good things derive from you and from the students around you, but don’t expect much else. Organize yourself socially. FIVE Redefine success. Every work, every career looks different if it’s really worth the adventure. You have to define for yourself what you want, what you can handle, and what you really need. You have to decide on your own, what success constitutes for you. Be aware of the difference between how you feel and see yourself and how you are perceived by others. Often, artists tend to easily fluctuate between exuberance, arrogance, and depression. SIX Accept anti-illusionary education. Embrace a no-future situation. As a second-hand Lacanian might formulate it, love your wounds and keep offering what you can’t deliver. Education is love, love is education. Loosen up. Accept being a loser. Enjoy all the bliss. SEVEN – Economics Don’t depend on sales. Try to fix your economic basis otherwise. With few exceptions, artists who want to succeed always find a way to get by somehow. If not, memorize Franz Kafka’s A Hunger Artist and recite it for money, or move to Leipzig for as long as it remains dirt cheap. There is always a Brooklyn of the early 1990s, a Berlin of the last fifty years, and a Leipzig of the current moment. Let‘s all meet in Odessa soon.
Ad hoc Manifesto for Art Students Rainer Ganahl EIGHT Art and the reception of art are questions of time. There are very few young artists who can cut it all short and hit some kind of jackpot at a very young age, though they may pay a price for it when prices are not sustainable and the downfall becomes graphic. The great curators, collectors, museum directors, and art dealers of the future are most likely studying next to you and look all alike. It is normal to always feel voiceless, powerless, and in need of those who look like they have it all. But ignore all this nonesense. FINAL MUSIC - YOU GOT THE POWER … Power is nonsense in that it doesn’t exist by itself. It results from all participants in a given game, a given context. Power always shifts, travels, transforms itself, and visits anybody who doesn’t give up ahead of time and capitulate. Today’s Macher, today‘s makers and shakers and great artists, were yesterday’s students and most likely felt as irrelevant as art students usually feel when it comes to questions of success and power. There is no need to suck up to those ahead and disregard colleagues and peers who enter the circuit later. This self-defeating and unpleasant behavior is unfortunately the predominant style in the art world, detectable already in art schools.The best way to escape this trap is to organize things oneself and do it with one’s peers and friends. Students really shouldn’t be bothered with much else but their own practices and activities, because only if they manage to connect with themselves and their own generation will they be able to take over from those ahead of them. Every generation will create their own stars and find somebody to fill the role of the curator, collector, art dealer. Anybody might play a role in this vast network of whispers, opinions, and up-anddown mouthing that so much influences all the various decisionmaking processes that we feel so dependent upon. The wheel of generational succession will never stop turning. HAPPY END The bigger the frustrations, the boredom, and the ignorance of what people define as successful art, the better and easier it is to break in with better, different, and more exciting art. Hence, we don’t need to complain anymore. Let’s just be really happy and celebrate the fact that there will always be amazing art works made. Their time will come.
New York / Leipzig / New York 2014 http://strangeteaching.info/manifesto.html
Founded in 1974 by Allen Ginsberg, Anne Waldman, Gregory Corso, Chögyam Trungpa Rinpoche, and many other well known poets, artists, and intellectuals, the Jack Kerouac School of Disembodied Poetics at Naropa University remains a unique haven for writers and spiritual seekers. Crazy Wisdom: The Jack Kerouac School of Disembodied Poetics explores the program’s history, the integration of Buddhism into the writing curriculum, and the inevitable changes the program has undergone over the last 35 years. It includes interviews with students and faculty members interspersed with archival audio material and footage from a documentary made about Naropa in 1978 entitled “Fried Shoes, Cooked Diamonds.”
http://www.jackkerouacschool.org/
Kerouac School of Disembodied Poetics
k
m
MASS Alexandria aims to complement existing art education schemes, with a focus on the conceptual aspects of artistic production. Monthly workshops, seminars and lectures are led by artists, art educators and curators. Through the exploration of contemporary artistic practices, the program also encourages students to work closely with cultural, artistic and scientific ideas in the fields of art history and theory and interdisciplinary studies
https://massalexandria.wordpress.com/
Mass Alexandria
Founded in 2005, The Mountain School of Arts is the oldest, continuous artistrun school in California. Since our inception we been offering an independent program with a serious and obligated faculty. Commitment is primary at MSA^ in terms of study, participation, and effort. The administration, faculty, and student body work together as a singular entity to construct a stressfree, mutually beneficial and organic educational community. MSA^ considers itself a supplement and amendment to the university system and encourages involvement with other educational institutions.
http://www.themountainschoolofarts.org/
Mountain School of Arts
m
Open School East
“it was about providing something that was different, more experimental, more versatile, more collaborative, listening to the needs of emerging artists.�
o
https://massalexandria.wordpress.com/
Reverse Pedagogy is a nomadic, experimental residency where participants teach each other through social and artistic exchange, in a non-hierarchical environment. PAUL BUTLER http://www.theotherpaulbutler.com/
r
Reverse pedagogy
r http://www.rupert.lt/
Rupert
RUPERT is a project-based, transdisciplinary and para academic educational program based in Vilnius and starting in June, 2012. Well, RUPERT is not exactly a school. And yet the prospect of learning something is not ruled out. But mainly it’s about getting things done. Starting a publication, curating an exhibition, shooting a film, doing some writing, scripting an event, designing an institution, etc.— whatever comes with a creative side and a practical side to it. Rupert is about selecting a small group of people with projects like these each year and servicing them with the info (research, training, stacks of books) and the pragmatic stuff (networking, meeting the right people, fundraising, production) needed to bring the projects to daylight. Now all the action in RUPERT is channeled via two pipes. First, each participant is assigned a tutor, a leading international figure from a field relevant to the project, who provides the good examples, the know-how and who oversees the development of the project throughout the year. Second, there is an intense schedule of events (trips, lectures, seminars, workshops, etc.) where all the participants collaborate and barter.The program is based in Vilnius
SOMA es un espacio que permite estimular el diálogo, la colaboración e incluso la confrontación entre artistas y agentes culturales de diferentes contextos, disciplinas y generaciones. A través de sus programas, en SOMA se analizan colectivamente las consecuencias estéticas, políticas y sociales de la producción de arte. http://somamexico.org/
SOMA
s
The Silent University
The Silent University is an autonomous knowledge exchange platform by refugees, asylum seekers and migrants. It is led by a group of lecturers, consultants and research fellows. Each group is contributing to the programme in different ways which include course development, specific research on key themes as well as personal reflections on what it means to be a refugee and asylum seeker. This platform will be presented using the format of an academic program.
http://thesilentuniversity.org/
t
t
trafo.k
“To the extent that educational projects are always located in social circumstances, they are also determined by them. The goal is to create distance, attack the canon, the dominant school of thought, or history, but it can never succeed completely—these elements cannot be replaced, but they can be engaged with. This feeling is sometimes uncomfortably palpable. In a certain sense, the educational has a lot to do with being prepared to allow oneself to engage with the impossibility of remaining “clean” in the process of doing so (as if one was ever clean to begin with”.
http://www.trafo-k.at/en/
Esta publicación forma parte de un seminario impartido a estudiantes de Maestría de la Universidad Autónoma del Estado de Morelos (2015). Cada participante escogió una palabra, utilizó su archivo personal, tomó textos e imágenes de otras fuentes para reunir un nuevo archivo. En esta publicación todas las imágenes y textos fueron apropiados de internet con la intención de hacer un compendio de escuelas alternativas e iniciativas artísticas pedagógicas que tengan como objetivo otras formas de enseñanza. Este libro no tiene ISBN ni está registrado. Funciona como un archivo personal con fines educativos.
Lua Rivera Figueroa Elias Paracelso Xolocotzin Eligio Amaranta Sánchez Diana Tamez Citlali Gómez Manjarrez Miguel Ángel Madrigal Elisa Lemus Cano Perla González Fabiola González Martínez