Time: 10:00 - 18:00 o'clock
CW 49: 06 / 07 / 08 / 09 / 10 December
You can register from 01st to 19th September 2021 by email to: email@example.com. You will be informed in calendar week 39 about a possible participation. Applications before 01 September 2021 will not be accepted.
Universität / Haute École
for student applications
In this course we want to explore the theatrical potential and relations of the objects and artefacts we make. We ask ourselves: How do the artefacts activate the maker, the viewer and possibly each other in the context of a studio and a poststudio practice? Relating to the theories of minimalism, we think about whether and how the key concepts of the sixties presentness and performativity, are relevant today in another way. We perceive the objects as actors beyond their isolated formal qualities and discover them as parts of assembling forces. For us, this means an enjoyable immersion in such performative installations, handling them as immersive, viral and narrative object assemblages.The focus will also be on contemporary trans- and queerfeminist, de- and postcolonial artists and their practices.
We will investigate the performative moments of Goshka Macuga, Theaster Gates, Katrin Mayer*, among others, the (anti-)identitarian qualities of Raoul de Nieves*, Nicola Genovese, Ines Doujak*, Jakob Lena Knebl and Ashley Hans Scheirl and the social agencies of objects of Helen Martens, Rosella Biscotti*, Precious Okoyomon.
We will pay special attention to the strategies of artistic production and the used materialities, such as natural, recycled and synthetic materials, digital and 3D printed objects, consumer products, industrial materials and found footage like Haegue Yang, Peles Empire*, Juan Covelli. In the pool seminar we will ask what transformative aesthetics are at play in the students' various artworks themselves.
Possible guests for the seminar.
About the lecturer:
Yvonne Wilhelm is an artist (part of the artist duo knowbotiq) and professor, teaching at the ZHdK MFA, who has been experimenting with forms and medialities of social imaginaries, visual regimes, and epistemic disobedience, with a certain focus on queer-feminist and post-/decolonial aspects. Her practical focus is on post-digital time-based formats, installative-performative settings, and research-led art.