Elective courses for our programme students

Elective courses fall semester 2025
 

Economy and law for Artists, 7,5 credits w/Katarina Renman Claesson

Dates: 3-5.9, 10-12.9, 17-19.9 
Time: 10-16, lunch 12.00-13.00
Exceptions: 3.9 at 13.00-16.00, 10.9 at 13.00-16.00 ONLINE, 17.9 at 13.00-16.00 ONLINE
Optional BFA level course, (mandatory for BFA2)

16 mm Film – the Fundamentals 15 credits (MFA) w/Joachim Koester and Sophie Ljungblom 

Dates: 15.9, 22-24.9, 15-22.9, 25.9-7.11 own work see separate schedule, 18.10-7.11 own work see separate schedule, 7.11-16.1 own work see separate schedule, 6.2 Panora
Time: 10.00-16.00, lunch 12.00-13.00
Optional MFA level

Community engagement and art as ecological practise 15credits (BFA) w/Ronald Kolb and Maj Hasager

Dates: 19.9 at 10.00-12.00. On site in Hohenlockstedt 24-28.9. 23.10 at 13.00-15.00, studio visits 22-24.10 TBC. November follow-up studio visits TBC.
12-14 January: Installing works at Arthur Boskamp-Stiftung M.1 in Hohenlockstedt.
Optional BFA level

The Artist as Ecologist – Contemporary Art and the Environment 5 credits (MFA) w/FilippaRamos 

Dates: 29.9-2.10, 4.10, Symposium at Wanås
Time: 10.00-15.00, lunch 12.00-13.00
Optional MFA level

Welding w/Ariel Alaniz

Dates: 29.9-10.10
Time: 10.00-16.00, lunch 12.00-13.00
Optional tech intro

Digital Print, 3 credits w/Joakim Sandqvist

Dates: 6-10.10
Time: 10.00-16.00, lunch 12.00-13.00     
Optional BFA level              

Parallel tracks 12 credits (BFA) w/Maria Hedlund 

Dates: 13-17.10 & 10-14.11
Time: 10.00-16.00, lunch 12.00-13.00
Optional BFA level

Textile ecologies, 5 credits (BFA) w/Luca Frei

Dates: 20-24-10.10 + readings in advance
Time: 10.00-16.00, lunch 12.00-13.00
Optional BFA level

Hannah Arendt. Basics 9 credits (MFA+BFA) w/Gertrud Sandqvist

Dates: 29.10, 5.11, 12.11, 19.11, 26.11, 3.12
Time: 10.00-12.00
Optional BFA level

Artist's Writing from the Late 1960s to Today 9 credits (MFA) w/Alejandro Cesarco

Dates: 24-28.11, 1-5.12
Time: 10.00-12.00 
Optional MFA level                  

Performance practices for artists: tools for performing within varied contexts, 9 credits (BFA) w/Liz Kinoshita

Dates: 8-12.12
Time: 10.00-16.00, lunch 12.00-13.00
Optional BFA level

Introduction to sculpture 3 credits (BFA) w/Gabriel Karlsson 

Dates: 15-19.12
Time: 10.00-16.00, lunch 12.00-13.00
Optional BFA level

Course descriptions

Valbar kurs på BFA-nivå/Optional BFA level course, (obligatorisk för BFA2/mandatory for BFA2):

Ekonomi och juridik för konstnärer/Economics and Law for Artists

Antal hp/Credits: 7,5
Lärare/Teacher: Katarina Renman Claesson
Datum/Dates: 3-5, 10-12 & 17-19 September
Tid/Time: 10.00-16.00
Undantag/Exceptions: 3 & 9 September 13.00-16.00 online, 17 September 13.00-16.00 onlimne
Undervisningsform/Form: Lectures and Seminars
Språk/Language: Swedish and English
Antal studenter/Number of students: unlimited and mandatory for BFA2 students

Course description
The aim of the course is to provide theoretical knowledge and practical skills in economy and law that are important for students in the artistic process and the practice of art as well as in the role as small business owners.

 The purpose is to prepare students for questions about economy and law that they may encounter after their studies. Not least, students should get insight into when it may be necessary to consult legal and / or financial expertise.

After completing the course, the students are to:

•  Have a basic understanding of economic and legal issues. They are to understand fundamental concepts and understand the impact economic and legal issues may have on their future activities.
• Understand the impact that intellectual property rights may have both on their own protection and their possibilities to be inspired by others.
• Have an understanding for the effect of different types of agreements, including how agreements can be a part of the creative process.
• Understand the difference between different kinds of associations and different basics regarding economy (budget, VAT etc.) in a small firm.

Valbar kurs på MFA-nivå/Optional MFA level course:

The fundamentals – 16mm film 

Antal hp/Credits: 15
Lärare/Teacher:  Joachim Koester & Sophie Ljungblom 
Datum/Dates: 15 September 2025 – 5 February 2026
Undervisningsform/Form: Workshop
Språk/Language: English  

Antal studenter/Number of students: 8 - 12

Course description 
This course is an introduction to the fundamental skills involved of film making and 16mm film. The course aims at increasing students’ ability to create and display a well-motivated body of artistic work. The objective is that students should deepen their understanding of artistic practice. The goal is that the students shall develop a deepened understanding of 16 mm filmmaking and its complex process.

This course is designed as an introduction to the fundamental skills involved of film making and 16mm film.

The students will learn some basic film skills: how to shoot a scene, how to use a 16mm camera, how to measure and set lights, and also 16mm film editing: how to cut and splice the film and to edit a film analogue on a Steenbeck editing table. 

We will start with an individual exercise where each student makes a short video. After this we will go through technical aspects of using a 16mm camera. Building on the very first individual video exercise the students will be divided into groups and spend two days making a film in collaboration.  

Additionally, each student will be given 3 films and to shoot a film of her own. The student will receive individual feedback and technical and artistic advice while doing this. 

Parallel to working on their own film, students will be introduced to working on a Steenbeck editing table. This will be done through collective and individual exercises. The students will edit their group films and after this they can edit their individual films on the Steenbeck. 

Finally, and concluding the course we will premiere the films at the cinema Panora.  

Please note: There are a lot of deadlines in the course and it is expected that the student is able to meet these. In order to pass the course, the student must finish the first individual exercise. Participate in the group filming sessions. Participate in the group editing sessions and finish an individual 16mm film to be screened at Panora.

Timeline and overview of what is going to happen when:

September 15 (one day) 
Introduction, to the course by Joachim. After this Joachim will is how examples from his own work and various films as an introduction to the video exercise. Each student will spend the next week working individually on this exercise 

September 15 to Monday September 22
Individual student work (Joachim estimates that each student will spend 1-3 days on this exercise depending on the ambition and technical skill of the individual student).

Deadline: the videos have to be finished to be screened on Monday September 22

Monday September 22 – 24^th (Joachim and Sophie)

Morning: screening and feedback on the individual student videos.
Afternoon: Introduction to the use of the 16mm camera by Sophie (after this the students will start filming in groups). 
Deadline: The groups will hand in their films to Sophie on Wednesday September 24^th at 16.00 at the latest (Sophie will then send the films to DeJonghe in Begium for development and a work copy).

Important: please remember to do a detailed shooting log. Please remember to label each box carefully, name, content and how it was exposed.

Thursday September 25 – November 7^th (Sophie solo)
3 students will start filming their individual films. They will receive their film rolls and a camera. They will hand in the camera and their finished films on Friday October 3, as the next 3 students will start to film and so forth. 

Deadline: the individual films will have to be finished on November 7 at the latest.

October 18th – November 7th (Sophie solo)
Each group will spend a day being introduced to analogue editing by Sophie and editing their group film on the Steenbeck.

Specific dates will follow

Deadline: November 7 Sophie will send the individual films to DeJonge for development.

November 7^th to January 16^th

Shooting of individual films. 

Deadline: for having a finished films January 16^th

February 6, 2026

Grand premiere of all edited films at Panora (they have a great and very rare 16mm projector so seeing the image in that quality and size is a great pleasure).

Valbar kurs på BFA-nivå/Optional BFA level course:

Community engagement and Art as Ecological Practice

Antal hp/Credits: 15
Lärare/Teacher: Maj Hasager, Ronald Kolb and guests
Datum/Dates: 19.9 at 10.00-12.00. On site in Hohenlockstedt 24-28.9.  23.10 at 13.00 15.00, studio visits 22-24.10 TBC. November follow-up studio visits TBC. 
12-14 January: Installing works at Arthur Boskamp-Stiftung M.1 in Hohenlockstedt.
Undervisningsform/Form: Seminar/seminar/exhibition
Språk/Language: English  
Antal studenter/Number of students: 8-10

Course description
The course will be an introduction to community/socially engaged art practices as it exists in our current global cultural context - after MeToo, Black Lives Matter, and the Trump presidency in the US, and amongst a rising tide of fascism and anti-immigrant sentiment globally, all against the backdrop of a global pandemic, wars and climate crisis. A part of this course takes place on site at the Arthur Boskamp-Stiftung in rural northern Germany (hohenlockstedt) led by curator Ronald Kolb. Art as Ecological Practice seeks to put ecological thought–based on critical feminist materialism–into artistic and communal practices and aims to go beyond aesthetic representations of “nature” and expand awareness of the climate crisis. It seeks to enact ecological thinking through artistic and scientific collaboration, engaging in participatory practices of contact with local experts and the interested public. By examining the relationships between organisms, environments, and governing systems (“NatureCulture”), the project critically deals with notions of sustainability, (agro-)cultural practices, and power structures – highlighting the governmental aspect of ecology as the study of our interdependences in more-than-human environments.

The central element of the project is a series of public assemblies, where artistic research, scientific insights, and local community perspectives converge. These gatherings include workshops, performances, cooking events, lectures and informal encounters, and aim to produce evidence-based, transversal knowledge between art, science, and everyday life.

As a part of this course we will join the September assembly with artists and scientists in Hohenlockstedt where we will work on site towards developing proposals to be presented at Arthur Boskamp-Stiftung in January 2026. There will be individual studio visits and group meetings during the fall.

Preliminary Schedule

19. September introduction to the course and the field of socially engaged art
24-28 September: Site visit to Hohenlockstedt and the assembly art as ecology
23. October: Presentation by Ronald Kolb in Malmö and follow up studio visits on all projects with Ronald Kolb and Maj Hasager (22-24 october)
November follow up studio visits and group meeting (TBD) 
12-14 January: Installing works at Arthur Boskamp-Stiftung M.1 in Hohenlockstedt

Valbar kurs på MFA-nivå/Optional MFA level course:

The Artist as Ecologist — Contemporary Art and the Environment

Antal hp/Credits: 5
Lärare/Teacher: Filipa Ramos
Datum/Dates: 29 September-2 October, 4 October symposium at Wanås
Time: 10.00-15.00
Undervisningsform/Form: Seminar
Språk/Language: English
Antal studenter/Number of students: 20

Course description
The Artist as Ecologist is a short course concerned with the ways in which 21^st-century art engages with ecologyand addresses climate change. It focuses on present-day artistic positions, proposing a global, gender-levelledand intergenerational debate of practitioners and institutions.

The Artist as Ecologist proposes that contemporary art is at the forefront of environmental awareness, andhighlights the ethical approach which many artists have taken towards the environment over the last decade,and the new role of artists in raising environmental consciousness. It discusses and questions thecharacteristics that define the artist as ecologist in the 21^st century, and analyses how environmental valuesand artistic expression can complement one another.

The course is divided into five sections, each titled with an active verb: Returning, Claiming, Performing,Reverberating and Exhibiting. The concept of the artist as ecologist is developed through a thoughtful selectionof case-studies, with each section featuring a central case-study that explores a specific trait of the artist asecologist, complemented by a series of other references and artworks. The result is a constellation of majorexamples that provide a clear and well-balanced development of the concept.

The Artist as Ecologist adopts two complementary and original lines of analysis:

1. It proposes a key concept, that of the artist as ecologist. The concept pays tribute to Walter Benjamin’s TheAuthor as Producer and Hal Foster’s The Artist as Ethnographer, two manifesto-like essays that define forms ofengaged and progressive positions in art and culture. The question of how artists become ecologists isanalysed practically, through a selection of well-referenced case-studies. This selection considers work in arange of different media: painting and sculpture as well as installation, film and social practices. The selectionis inclusive, not limited to western geographies, gender-balanced and looks at artists from variousgenerations.
2. It reflects on the relationship between ecology as theme and ecology as praxis. This discussion is part ofeach-case study. By commenting on how the presented projects were developed practically, and on theinstitutional approaches that accompanied their production and exhibition histories, the course considers thepotential and the limits of contemporary art and its institutional apparatus to foster coherent and exemplary measures of sustainability.

Introduction to the course

• I will explain the course’s title and introduce its key concept. I will reflect on how and why artists as ecologistsnot only depict the enchantment of the natural world but also narrate the histories of capitalism’s extractiveand divisive actions, describe the traumas of colonialism and modernity that have affected nature, and putforward transformative gestures of real impact.
  • I will outline the course’s structure and introduce the various lines of investigation it pursues by describingseveral gestures (returning, claiming, performing, reverberating and exhibiting).

I will contextualise the antecedents of the 21^st century artist as ecologist: narrate how art, during the 20^thcentury, contributed to the development of an ecological consciousness. I will compare art’s engagement withecology during the 20^th and the 21^st centuries by referencing pioneering artists who influenced subsequentgenerations of artists and helped to define current trends in art eco-activism. The introduction will thereforeallow us to map key artist precursors who should not be omitted in such a course while dedicating its variousdiscussions to a selection of contemporary practitioners.

Filipa Ramos, Biography
Filipa Ramos, PhD, is a writer and curator. She is Lecturer at the Arts Institute of the HGK/FHNW, Basel. Herresearch focuses on how contemporary art engages with nature and ecology. Recent projects include BESTIARI,the Catalan representation at the 60th International Art Exhibition - La Biennale di Venezia (2024) and the arts,humanities and the science festival The Shape of a Circle in the Mind of a Fish (since 2018). In 2024, she curatedSongs for the Changing Seasons for the 1. Klima Biennale Wien, In 2022, Persons Personen, the 8th BiennaleGherdëina (with Lucia Pietroiusti). In 2021, she co-curated Bodies of Water, the 13th Shanghai Biennale.

Optional tech intro:

Svetskurs/Welding course

Antal hp/Credits: 0
Lärare/Teacher: Ariel Alaniz
Datum/Dates: 29 September -10 October
Undervisningsform/Form: Workshop, technical course in welding.
Tid/Time: 10.00-16.00
Språk/Language: Swedish and English

Course description
Through this course you gain knowledge about different welding techniques such as mig- and gas-welding as well as information about the security regulations for the different techniques. After the course you will receive a “driver’s license” that allows you to work on your own with the welding equipment.

Valbar kurs på BFA-nivå/Optional BFA level course:

Textile Ecologies

Antal hp/Credits:5
Lärare/Teacher: Luca Frei
Datum/Dates: 20-24 October 
Time: 10.00 – 16.00
Undervisningsform/Form: Seminar/workshop
Språk/Language: Swedish/English
Antal studenter/Number of students: 8-10

Course description
This seminar/workshop explores the intersection of textile practices and ecological thinking through both theoretical engagement and hands-on experimentation. Drawing from contemporary artists' work and traditional techniques, we will examine how textile practices engage with environmental, social, and political ecologies. The workshop encourages collective experimentation and reciprocal learning. No previous experience is required. 

Textiles are particularly useful for thinking through ecological questions because they embody interconnection, transformation, and cyclical processes. As physical manifestations of human-material relationships, textiles make visible our interactions with natural resources, production systems, and cultural practices. The very nature of fiber work—intertwining, knotting, connecting—mirrors ecological thinking about interdependence and networked systems.

Ecology will be addressed in a broad sense through three interconnected dimensions:

• Material connections (natural resources, production methods, repurposing)
• Social ecologies (collective knowledge, community practices)
• Temporal dimensions (cycles of growth, decay, regeneration)

Learning objectives: After completing this workshop, students will be able to analyse textile art through ecological frameworks, contextualise textile practices, connect theory to practice, engage in collaborative making, and handle basic natural dyeing techniques. 

Daily Schedule 

DAY 1: Introduction, Textile Art Survey Pt 1 & Initial Experiment 

• Morning: Textile as Cultural Memory & Identity - Britta Marakatt-Labba, Faith Ringgold, Małgorzata Mirga-Tas, Noah Eshkol & Pioneering Material Innovations - Magdalena Abakanowicz, Anni Albers, Lenore Tawney.
• Afternoon: General introduction to basic dyeing techniques and set-up of the first moment of the natural dyeing experiment: mordant bath. 

DAY 2: Experiment Continued

• Morning: Preparing the dye bath while discussing Ibrahim Mahama's and Sheila Hicks' approaches to materials.
• Afternoon: Proceeding with the dyeing process with a selection between onion skins, avocado pits, turmeric, and black tea, while exploring connections to Dan Lie's work with organic processes.

DAY 3: Textile Art Survey Pt 2 & Visit to Local Workshops 

• Morning: Post-Minimalist Material Explorations - Franz Erhard Walther, Richard Tuttle, Hélio Oiticica, Moki Cherry & Personal/Intimate Material Language - Louise Bourgeois, Leonilson, El Anatsui, Ishigan Adams.
• Afternoon: Visit the weaving workshop (MalmöVÄV, Lantmannagatan 7) and the textile printing workshop (Textiltryck Malmö, Korsgatan 6). 

DAY 4: Course Participants' Studio Visits

• All day: Studio visits to workshop participants' spaces. 

DAY 5: Integration & Future Applications

• Morning: Sharing of completed experiments and reflection on outcomes and possible applications. Plan a patchwork of the experiments to create a larger textile piece.
• Afternoon: Stitching together the pieces with sewing machines or by hand. 

Luca Frei is a visual artist whose practice encompasses sculpture, installation, textile work, and design. His work explores pragmatic aesthetics with an interest on collective processes and pedagogical approaches, bridging practical application with artistic expression. Recent solo exhibitions include Guiding Fabric at Galerie Barbara Wien, 2024, working spacing moving at Museum Dhondt-Dhaenens, 2021, and From Day to Day at Malmö Konsthall, 2020. Frei has contributed to exhibition design for Merz! Flux! Pop! at Henie Onstad Kunstsenter, 2021, Migration, Traces in an Art Collection at Tensta Konsthall and Malmö Konstmuseum, and bauhaus imaginista at Haus der Kulturen der Welt, 2019. He served as Associate Professor at the Royal Danish Academy of Fine Arts, School of Visual Arts, Copenhagen (2015-2021), and has conducted workshops at institutions including the Royal Institute of Art, Stockholm, and Nuova Accademia di Belle Arti, Milano. Frei graduated from the Malmö Art Academy in 2002.

Valbar kurs på BFA-nivå/Optional BFA level course:

Parallel Tracks

Antal hp/Credits: 12
Lärare/Teacher: Maria Hedlund
Datum/Dates: 13-17 October, 10-14 November
Time: 10.00 – 16.00
Location: Photo-studio and b/w-lab
Undervisningsform/Form: Tutorials, group-discussions, presentations and individual work
Språk/Language: Swedish/English
Antal studenter/Number of students: 6

Course description  
A creative course with an analog photographic focus, intended to create a possible dialogue between two simultaneously ongoing work processes.

The course aims to enhance analog photographic skills and deepen an understanding of your own work and creative process. 

Preparation

Find an artist whose work and practice you want to explore in depth. During the course you will prepare and present your findings to the group.

Select one of the artist’s works, during the course make an interpretation of it.

To read Walter Benjamins text: “On the mimetic faculty”, the text is two pages and will be handled out to the participants.

First week

We will meet in the photo studio at 10.00. You will give a brief presentation on the project you plan to develop during and the artist whose work you wish to research.

We will also plan and schedule technical tutorials, including:

• Using medium- and large-format cameras
• Film developing
• Printing techniques
• Light setting

Then you will have two weeks to work independently.

Last week:

Again, we meet in the photo studio at 10.00. You will present you project’s progress to the group. We will also make a schedule for your presentation for the artist you have researched. Friday we will have a final presentation.

Before the course begins, I will contact all participants to see which cameras you are interested in using, as well as the types of film and paper you prefer to work with. The school provide materials within reasonable limits.

Examination: A group-discussion, going through visual results and gained technical knowledge.

To pass, 80% attendance is required and a presentation.

Valbar kurs på BFA-nivå/Optional BFA level course:

Digital Print

Antal hp/Credits: 3
Lärare/Teacher:  Joakim Sandqvist
Datum/Dates: 6-10 October
Time: 10.00-16.00
Location: Dimman 
Undervisningsform/Form: Workshop
Språk/Language: Swedish/English  
Antal studenter/Number of students: 7

Course description  
During a one-week course, we will learn the basics of how digital images work and different principles for digital image processing and printing. We will learn to print with large format printers through a RIP (Raster Image Processor). 

 There will be a focus on photography, but other mediums are also welcome. During the course we learn basic theory about how digital sensors and digital images work and what happens in the process when they are materialized on a paper or a canvas. By experimenting with different software, paper, and editing, we will try to understand the process and search for the best suiting expression for each project. We will evaluate and discuss our prints and how they could be developed further. We will also look at different artist that work with digital print and discuss their decisions and aesthetics.  

Participating students must bring image files that they want to work with during the course. 

Valbar kurs på BFA-nivå/Optional BFA level course:

Hannah Arendt. Basics.

Antal hp/Credits: 9
Lärare/Teacher:  Gertrud Sandqvist
Datum/Dates: 29.10, 5.11, 12.11, 19.11, 26.11, 3.12
Time: 10.00-12.00
Undervisningsform/Form: Seminar
Språk/Language: Swedish/English  
Antal studenter/Number of students: Unlimited

Course description 

1. lecture
2. Being stateless
3.How evil can evil be? /The Origins of Totalitarianism, Eichmann in Jerusalem
4. the human condition
5.Why Art is the political centre of society
6. Eme emauto - thinking with oneself (and Socrates)

Hannah Arendt is one of our great political thinkers. She is always interesting, and sometimes controversial, to follow. Since her death in 1975, her insistence on independent thinking based on personal experience AND collective action has become increasingly relevant. Arendt was one of the first to distrust the idea of constant progress, so fundamental to modern society. She asks what happens when the language of science can no longer be shared, while its results are uncritically used to justify political action. She wonders what happens when we are seized by the illusion that we leave the planet earth when the problems become too great.

Arendt's big question was also the question of her time: how could totalitarian ideologies become totalitarian states, where the human herself is unnecessary? For Arendt, it means Absolute Evil. She did not finish the answer, but a partial answer concerns the banality of evil, the inability or reluctance to put oneself in another person's shoes, which she calls the inability to think.

One of her answers places art at the centre of society in an unusual way: she argues that art is the very essence of a society, as impossible to ‘value’ and ‘use’ as the human being herself. Its political function is to train us to think outside ourselves, without “ an interest”.

The course is an introduction to Arendt's thinking.

Valbar kurs på MFA-nivå/Optional MFA level course:

ARTIST’S WRITING FROM THE LATE 1960S TO TODAY

Antal hp/Credits: 9
Lärare/Teacher:  Alejandro Cesarco
Datum/Dates: 24-28 November, 1-12 December
Time: 10.00-12.00
Undervisningsform/Form: Reading seminar
Språk/Language: English  
Antal studenter/Number of students: 14

Course description
This intensive two-week seminar meets five times a week for three hours each day and investigates the role of writing by artists in the practice of contemporary art. By examining a broad range of texts—including theoretical essays, criticism, diaries, letters, and hybrid forms—we explore how writing operates in parallel to artistic work and serves as both an essential tool of creative reflection and a powerful means of critical intervention. The course asks: Why do artists write? For whom is their writing intended? And how do the chosen forms—whether formal, personal, or experimental—shape meaning and influence audiences? 

The course is organized into four thematic units, each focusing on distinct motivations and formats: 

Unit 1: Foundations – Conceptual Art and the Linguistic Turn 

Unit 2: Personal Narratives and Autobiographical Reflections 

Unit 3: Social Critique, Identity, and Cultural Commentary 

Unit 4: Diverse Formats and Contemporary Strategies 

We will be reading texts by Dan Graham, Lee Lozano, Moyra Davey, Mike Kelley, Helio Oiticica, Anne Truitt, Julie Ault, John Kelsey, Willam Pope.L, Andrea Fraser, and Aria Dean, among others. 

Assessment: In advance of each seminar, each student is asked to prepare a provocation or question to pose to the class. This is a statement or question that speaks to a moment in the text that you want to affirm or put in doubt. This will help us guide our conversations around each reading.

Towards the end of the seminar students will present a one-page text that reflects on an object (be it your own work, an exhibition you visited, an idea, etc.) analyzed through the lenses, concepts, and possible formats read in class. 

Assessment of the course consists of active participation in class and presentation of your individual project.

Valbar kurs på BFA-nivå/Optional BFA level course:

Performance practices for artists: tools for performing within varied contexts 

Antal hp/Credits: 9
Lärare/Teacher: Liz Kinoshita
Datum/Dates: 8-12 December
Time: 10.00-16.00
Undervisningsform/Form: Workshop
Språk/Language: English  
Antal studenter/Number of students: 24

Course description  
Drawing from twenty years of experience performing in multidisciplinary creations often in visual arts contexts, the purpose of this course is to offer tools for performative practices to arts students. We will focus on presence, grounded-ness, and the ability to pivot in instant compositional set ups, to surprise oneself through rigorous scores, structures or a ’cage’ to set oneself ’free’. 

We will study principles from dance artists Deborah Hay, Tino Sehgal, Chrysa Parkinson, Jonathan Burrows, Meg Stuart, and ZOO/Thomas Hauert, as well as Liz Kinoshita’s own performative practice principles. 

The course will start with physical engagement to get the heart pumping, blood flowing, and body ignited in a studio space.  We will work on gradations of presence, experimenting with spectrums of intense muscle tone to visceral subtlety.  We will play with different proximities and modes of receiving performance, such as differences between a large proscenium stage, a white cube, a film screen, etc, examining the roots and conditions of each of these scenarios. 

We will investigate what history and habits we carry with us whether consciously practiced or not, and how we can deviate from these when we wish to, so that one’s performativity is not being presented by default nor accident but is rather deliberate and responsive.  By reframing our attention, we will practice varied modes of being seen, of inhabiting and relating to space and time, to deliver our work to a visitor or audience member with clear intentions and understanding of what is being transmitted. 

We will establish a safe lab for learning through proposing, through action, through repetition, and through generous formatted discussion of what reverberations our attempts create as we witness each other engaging with performance exercises.  There will be room to examine specific contexts each participant may be working on, to workshop what optimal mechanisms could be used in one’s own art. 

Learning outcomes 
On completion of the course the students shall be able to embody performative proposals with a knowledge of their inherent strengths and weaknesses and be equipped with tactics for nonetheless delivering a performance as they intend it to be received. 

Students will be able to describe what they are aiming for in their performative practices, to clearly identify what they hope to project in their performance and why, to help them through creation, rehearsal, and collaboration. 

The goal is for the students to gain confidence, tools, and understanding in relation to executing performance proposals in any setting. 

Assessment  
The course consists of a five-day full-time in studio workshop where participation is obligatory. (Action and feedback should be reciprocal).  

Examination 
Evaluation of the students will be based on live and filmed performances received in studio on the last day of the workshop.   

Literature list (further reading) 

Deborah Hay - My Body, The Buddhist (2000) 
Janelle Porter – Dance With Camera (2009) 
Jonathan Burrows – A Choreographer’s Handbook (2010) 
Chrysa Parkinson – The Dancer As Agent Collection (2014) 
Manon Santkin – Glossary of the Atlas of Interpretation (2015) 
Meg Stuart – Let's Not Get Used To This Place (2024) 

Valbar kurs på BFA-nivå/Optional BFA level course:

Introduction - Sculpture Workshop

Antal hp/Credits: 3
Lärare/Teacher: Gabriel Karlsson
Datum/Dates: 15-19 December
Time: 10.00-16.00
Undervisningsform/Form: Workshop
Språk/Language: Swedish/English  
Antal studenter/Number of students: 6
 

Course description:  

The course provides a basic introduction to working in the workshops – with a focus on the plaster and ceramics workshops. It is intended for students who wish to learn fundamental techniques and who need practical guidance in their individual projects. At the end of the course, each student presents their project to the group and describes their working process. The course offers foundational knowledge that can later be used to develop a personal approach to working in the workshops.

The course introduces basic techniques such as mold-making in plaster and silicone, casting materials, and working with clay and ceramics. These techniques are developed individually with supervision tailored to each student’s project. 

After completing the course, each student will have acquired basic knowledge of materials and techniques related to the plaster and ceramics workshop, enabling them to further develop their individually adapted working methods in the workshops.