In the Monday class on "Art histories and theory / Annotating art's histories" we reflect together on the implicit colonial and imperialist assumptions present in Western academic disciplines of art history and theory. Focusing on an attentive analysis of the Western art canon, we delve into key figures and historical fundamental moments, from the late Middle Age/early Reinassance, when the figure of the artist as author and intellectual is born, to Modernism, to Contemporary art, until the current discourse.
You don’t have to want to become a designer to study design. Maybe you’re thinking about becoming an artist, an engineer, an architect, a teacher, a musician, a writer…
Studying Design as a subject provides you with life-long skills irrespective of whether or not you embark on a career in Design. Design education is relevant to those interested in diverse fields, including Internet and Communication Technologies, Architecture, Industrial Design, Advertising, Brand Development, Marketing, Business Development and Entrepreneurship, Fashion, Textiles, Visual Merchandising, Interior Design, Theatre, TV Production, Film, Publishing, Animation and Multi-media, service design and interaction design.
Choosing design as a subject can teach you very valuable skills that will prepare you for the world and a wide variety of careers in the future. In other words, design can help to develop skills that can help you to navigate a very complex world.
Many popular professions of today were completely unheard of 10 years ago. Just imagine what the career landscape would look like in 10 years time. We believe that there are going to be many more professions that we cannot even imagine today. Within the context of such an uncertain future, it is vital that the new generation is equipped with skills that can empower them to manage complex & unfamiliar situations / conditions with more ease & confidence. We believe that design & creative activities can be the vehicle to develop such skills that can help the future generation to manage an uncertain future.
Source: Suné Stassen, Creative Director: Rock City Foundation
Design class objectives and methods:
Time, Place and Light are the guiding notions for this course. Three core elements for any form of film, video and photo making. From step 0 to step 100, throughout the course participants will go through the production of a new project. A self portrait, a music video and a short film are the outcomes of this process.
The Thursday class focuses on Pictorial questions. Concrete media such as painting, drawing or printing will be practiced as well as be expanded into the space and interactions with other media. The class functions as a studio where participants are concretely working on their artworks. The class has an horizontal structure where the participants provide for the contents of the class through weekly presentations. We are learning how to develop our art practice and we are searching for accurate relations between the concept/content of the artwork and its formal realization. We are also, through the exercise of looking and discussing about diverse artworks, artist practices or exhibitions enriching our experience of looking.
in collaboration with all the workshops:
The seminar ‘Politics of Form – An Introduction to Contemporary Art Practices’ aims to focus on fairly recent art practices. We will exercise our skills in viewing and describing art using artworks by Hito Steyerl, Barbara Kruger, Arthur Jafa, Felix Gonzalez-Torres, Hilma af Klint, and others. The focus lies in how each individual student approaches an artwork rather than thorough art historical contextualization. For each meeting three to five students will prepare to introduce the artwork to the larger group. The boundaries of what is or could be a form of art production shifted drastically in the second half of the 20th century, and these new forms of art production cannot be easily conveyed through a single photograph. Therefore, the students’ descriptions will be a way to try to understand the formal and material complexity of the artworks under discussion.
second part of the program tba
about the program
The program will be divided into two parts: The first part of the program will feature lectures, workshops and excursions led mainly by professional artists, scholars and activists who themselves or whose families have migrated to Germany.
During the first part you will have the possibility to arrive at the school, get to know many other people and experiment and get to know different mediums and practices. Together we want to formulate art historie(s), that include the Global South/East, as well as your experiences without using labels such as “refugee” or “migrant”.
Together we want to find answers to the question of how the art schools of the future would look if they really recognised migration as an essential societal factor?
The first part of the program (summer semester) will also be open to other students studying at weißensee academy of art.
In the second half of the program (winter semester) we want to take all that we have learned and prepare applications for German art and design academies. In different workshops (painting, sculpting, digital media, design, drawing etc.) we will support you in creating a powerful portfolio with which you can apply in 2019.
To realise these goals weißensee art academy provides its entire infrastructure, including workshops, materials, as well as support with bureaucratic problems.
The *foundationClass strives to open up a social space within weißensee academy of art within which knowledge and artistic and design practices are not consumed, but questioned and where new forms of knowledge and practice will be produced collectively.
Duration and expected time requirements
The *foundationClass group of 2018 will work together from May 2018 until beginning of 2019. The *foundationClass is a rather intense and time consuming program. Classes take place most of the days during the afternoons so you will have time to attend your German courses during the morning.
Who should apply?
Anyone who has come to Germany and has applied for asylum (please note that the outcome of the application, or whether the process is finished or still ongoing is not relevant) and is interested in art and/or design, is 18 years or older, is ready and motivated to participate regularly in the program (please note that participation in the second part of the program will depend on regular attendance of the first part) and anyone who has working knowledge of English and/or German (please note that for an application at an art academy sufficient German skills are mandatory!)
Week 1: 10.5.-12.5.
Ali Kaaf: BLACK BOX
Performative workshop dealing with different materials, projections, video installations and photography
The aim is to collectively shape a dark room – the BLACK BOX
Ali Kaaf is a free-lance artist and lives and works in Berlin www.alikaaf.net
Week 2: 17.5.-19.5.
Keren Manor: Introduction to Documentary Photography
In the era of digital photography, smart phones and social media, journalism and documentation become a more accessible tool for civil society. In the workshop we'll go through basic elements of photography, and discuss ethical and practical aspects in documentation, as well as representation and narration through photography. The workshop will try to place documentary photography as a tool for social change.
Keren Manor is a political activists, photographer, videographer and video editor. In 2005 she has been a founding member of the activist photographers collective Activestills. Together with the collective, she developed a variety of alternative ways to reach the public, such as street exhibitions, public events, independent publications and more. In 2006 she was a founding member of the Activevision group, and has been doing participatory documentary photography projects which wish to use stills and video photography as a way for social change through involvements.
Week 3: 24.5.-26.5.
Ali Mahmoud: Introduction to Design Thinking and Visual Language
The design process involves researching, inventing, and expressing ideas. It is a mix of intuitive and deliberate actions. The workshop introduces techniques for releasing creative energy and stimulating fresh thinking to arrive at compelling and viable design solutions.
Ali Mahmoud has over 25 years of experience in design and strategic branding in the Middle East and Europe.
Worked as Creative Director in leading Branding Agencies in Frankfurt and Munich before launching Keybrand in 2005 with two offices in Frankfurt and Damascus. Studied Visual Communication in both Syria (Damascus University) and Germany (HfG Offenbach), and holds a Master's degree in Retail Branding from (ELISAVA, Barcelona).
Week 4: 31.5.-2.6.
A Parede: Impossible Methods - Design and the Myth of Objectivity
Design shapes the world around us, and enables types of interaction that determine how human and non-human beings navigate society. Design is key to determine how we perceive nature, culture, society, and each other. From graphic pieces – advertisement to memes – that construct a visual culture, to products that take a specific kind of body as default; or from urban designs made to be hostile to certain bodies and the modes of production embedded in every single gadget we use. Yet only certain practices are validated as being worth of the name "design." No wonder it became a trendy word that works as a placeholder for a taste regime rooted in whiteness, heterosexuality, and class privilege. This determines what is allowed to be ‘good’ design, and who is allowed to practice it – in detriment of what and who gets excluded. These assumptions almost always come embedded within a given design briefing, that is, what is understood that design can do, how it does it, and more importantly, for whom.
Our workshop aims to work with design at its most basic level: the briefing. In it we will find and unpack the political, cultural, and social facets of design, examining how designing as a practice sustains values that work, most of the time, against the fundamental differences in human interactions, and their interactions with artefacts in any given social and cultural context. Thus we will, together with the students, identify and interrogate where, in a common design practice, assumptions of a supposed "universality" of designed things gets normalized and perpetuated. These issues will be approached through quick exercises and debates where each student will be encouraged to speak from their specific position, and to articulate what they understand about the role of design in society. In other words, rather than teaching the students how to design, we will think together in order to identify where one might develop their design practice from, taking into account one's own backgrounds, histories, and expectations.
Luiza Prado de O. Martins and Pedro J S Vieira de Oliveira usually work together as A Parede; their work takes pride on the angry latin american trope, inviting for a decolonisation of design research via engagements with radical pedagogies, gender and sound studies. They are also 2/8ths of the Decolonising Design group.
Week 5: 7.6.-9.6.
Shanti Suki Osman & Miriam Schickler: Introduction to Sonic Arts
“We are looking for words; perhaps we are also looking for ears.”
This workshop will provide you with some theoretical, historical as well as practical input on the broad field of the sonic arts.
Together we want to explore the difference between the involuntary nature of hearing and the voluntary, selective nature - exclusive and inclusive - of listening.
After we opened our ears we will go on a sound walk and discover the so called African Quarter of Wedding through our ears. We will record the sounds that we discover and later learn how to cut, paste, combine and process them.
Shanti Suki Osman (UK) is a Berlin based musician, radio maker, researcher and educator.
Miriam Schickler is a Berlin based anthropologist, activist, and sound artist.
Week 6: 14.6.-16.6
Cana Bilir-Meier: The Archive within Artistic Practice. About Remembering within the Context of Migration
Based on artistic works and theoretical texts that deal with the archive in the context of migration, this workshop will introduce you to discourses of representation and visibility, as well as of constructions of memory and history and will analyse and discuss them.
During the workshop we aim at having a group exchange about the participants' own artistic and theoretical practices. I therefore ask you to please bring your own artistic works, or works that have inspired you, which we will then put into relation with the themes discussed in this workshop. You can bring the works themselves, or on a USB stick.
Cana Bilir-Meier lives and works in Vienna. She studied art pedagogy and fine arts and works as a filmmaker, curator and educator.
Week 7: 21.6.-23.6.
Nadira Husain - Narrative Structures, Sequential Pictorials, Comics in Painting
Through the observation of certain narrative modes of representation we will introduce notions such as time and space fragmentation in painting as well as the possibility of generating empowering subjects.
Nadira Husain'experiments with painting intend to question how cultural and economical globalisation conditions our relation to images. Her approach intermingle 'western' and 'eastern' concepts and understandings of archetypal imagery and intend to break with hierarchies of the 'western' anthropocentric value system.
Week 8: 28.6.-30.6.
Verena Melgarejo Weinandt: Photographic Bridges to Gloria Anzaldúa
In this photography workshop we will dedicate ourselves to the knowledge of Gloria Anzaldúa. Gloria Anzaldúa(1942-2004) referred to herself as Chicana, Texan from the working class, dyke-feminist poet, author-theoretician. She put into words what it means to inhabit a border. By border she does not only refer to a physical border, but those border(s) that those people inhabit and invigorate who for example have different cultural backgrounds, or speak multiple languages, or whose sexual orientation or gender identity diverges from the norm. She shows how subversive practices and forms of knowledge originate from within the border.
In this workshop we will approach her theory through her own artistic practice. Photography will be used as a medium to look for bridges between Gloria Anzaldúa's theory and our own realities and identities. We will use analogue cameras which will be provided for the duration of the workshop. No prior knowledge necessary.
Verena Melgarejo Weinandt, German Bolivian artist, curator and researcher. She grew up in Berlin and moved to Vienna for a photography education at the Graphische. During her studies of fine arts and cultural studies at the Academy of Fine Arts Vienna, she worked as a freelance photographer and photography assistant. In 2014 she spent a year at the Instituto Universitario de Bellas Artes Buenos Aires. Her artistic works, located mainly in the realm of photography and performance were exhibited at the der friday exit gallery Vienna, nGbK Berlin and the Museo de Arte Contemporaneo Salta/Argentina. In 2016 she curated exhibitions at the Mueseum of Ethnology, Vienna and the Public Library of Vienna and was a fellow of kültürgemma!. Since 2017 she is a doctoral candidate with Dr. Ruth Sonderegger. She forms part of the collective TRENZA and the association Großes Schiff, where she has been organising artistic workshops and projects within and with the Latina Community.
Week 9: 5.7.-7.7.
Alok Vaid-Menon – Political Performance Intensive
Participants of all artistic disciplines are invited to join for an intimate and intensive creative workshop facilitated by trans performance artist Alok Vaid-Menon. Over three sessions Alok will guide participants through queer, decolonial, and transfeminist performance pedagogy to imagine and create art that ambitions beyond the status quo. With an emphasis on trauma, sexuality, legacy, embodiment, and gender we will work together to create political art to challenge institutions and ideologies.
ALOK VAID-MENON (they/them) is a performance artist, writer, educator, and entertainer. For the past decade Alok has worked with feminist, queer, and transmovements across the world. Their eclectic sense of style, political humor, and poetic challenge to the gender binary have been internationally renowned. Alok’s work has been featured by HBO, MTV, National Geographic, The Guardian, The New Yorker, and more.
Week 10: 12.7.-14.7.
Rajkamal Kahlon – Cutting Up the Frame
Working with common, everyday household materials, the drawing and painting workshop will examine the use of narrative, life-size portraiture, and collage aesthetics to address the politics of representation. We will consider the ways in which European identity depends on it’s invention of the “barbaric Other” and how aesthetic tools such as drawing, painting and collage might serve as potential anti-colonial processes.
In the work of American artist, Rajkamal Kahlon, we witness an autopsy, a dissection of the visual legacies of empire. The body -injured and transformed -is a reoccurring motif throughout Kahlon’s work. Her interdisciplinary practice questions the formal and conceptual limits of painting, photography and sculpture. Drawing on history, archives and literature, her research undergoes a process of creative transformation resulting in sensual, formally rigorous work.
Week 11: 19.7-21.7.
Marina Naprushkina – Art as a Tool in Politics and in Everyday Life
What can art do other than hanging on the wall? Can art shape society? In this workshop we want to find out to which sociopolitical processes every one of us is consciously or subconsciously exposed and how our everyday life is being influenced by that. Can art influence processes or at least our relationship to those processes? We weill look at artistic works at the intersection of art/activism/the social. We will work with different media: drawing, video, photography, Object.
Marina Naprushkina is an artist, activist and author.
Founder of the Office for Anti-Propaganda
Neue Nachbarschaft //Moabit (New Neighborhood//Moabit): the neighborhood initiative to support refugees. Started as a single initiative „Neue Nachbarschaft“ grew up to an one of the largest initiative in Berlin supporting refugees.
Refugees‘ Library: Refugees‘ Library is an archive on courtroom sketches dedicated to asylum and migration politics.
Беларусь//Институт Будущего (Belarus//The Institute of the Future): educational platform dedicated to politic, art and feminism, held by artists and activists in Minsk, Belarus.
Week 12: 26.7.-28.7.
Khaled Abdulwahed: Video and Film production
Summerbreak until September
Workshops with Nadira Husain, Ali Kaaf, Ali Mahmoud, Amin Feizabadi
Scriptwriting Workshop with Elif Refig and Videoworkshop with Max Grau and Ulf Aminde
---> Videoinstallation at 3. Herbstsalon Maxim Gorki Theater, Berlin
individual portfolio production with mentorship
*foundationClass public program 2017:
fill in the blank
---> everyone is invited to join
check dates here
and also here facebook