Teaching experience
> Currently working as Art History researcher at Burg Giebichenstein Kunsthochschule Halle, in Halle, Saxony, Germany;
> In Winter semester 2022, lecturer at "Art in Context", Master course in the Arts, at University of the Arts (UdK), Berlin;
> In 2020 /21, lecturer at the Design Department of Burg Giebichenstein Kunsthochschule Halle during two semesters;
> Between 2012 and 2014 Visiting Professor at the Federal University of Rio de Janeiro, Brazil, in the Fine Arts department;
> I occasionally work for PAP-Berlin (Performance Arts Program) to discuss with other artists about their art projects.
2023, Summersemester:
Ein Auge, offen – eine andere Grammatik der historischen Zeit [One eye, open - Another grammar of the historical times]
Tuesdays, 16:15 – 17:45
The first great revolution in Latin America took place in Haiti. This revolution began in 1791 and culminated in Haiti's declaration of independence in 1804 - an event that shocked a world organized on the basis of the violence of slave labor.
The seminar will first analyze the Haitian Revolution as a paradigmatic case that opened a path to a different kind of modernity or "counter-modernity," a path that Latin America, the Caribbean, and African countries have been following ever since. How does art feed off political resistance movements and how do these movements influence artistic practice? Starting from the role of art in the Haitian Revolution, we will offer different possible answers to these questions. To do this, we will also look at contemporary artworks from Haiti in which the symbols of voodoo recur.
The revolutionary character of voodoo spirituality strongly influences the art world today. In Benin, most artists are also initiated into voodoo, and voodoo is there a symbol of national identity. In recent years, the government has erected many public monuments to voodoo culture. In neighboring Nigeria, Yoruba spiritual practices and artwork have contributed to the Osogbo Sacred Forest being declared a Unesco cultural heritage site. The discussion of the political transformative power of art in these two West African countries is enriched by examples of historical exhibitions such as the "World Black and African Festival of Arts and Culture," Festac '77, in Lagos, Nigeria, in 1977. In the context of Festac '77, the problematic collections of African and Amerindian art in European museums and the issue of repatriation are another important theme linking art and political movements.
Other historical examples we will discuss in the seminar concern the influence of the Cuban Revolution (1959) on the concepts of the Third Havana Biennial (1989) and the presence of the concept of "quilombismo" in contemporary artworks (for example, in the practice of Abdias Nascimento). "Quilombo" is a democratic structure created by enslaved people in Brazil after they escaped the plantations. These territories still exist today and demand autonomy.
Recommended Readings:
Buck-Morss, Susan: Hegel and Haiti. In: Critical Inquiry, Vol. 26, n.4, 2000. Pg. 821 – 865.
Taussig, Michael: Mimesis and Alterity: a Particular History of the Senses. Routledge, New York 1993.
Soyinka, Wole: Beyond Aesthetics: Use, Abuse and Dissonance in African Art Traditions. Bookcraft, Ibadan, Nigeria 2020.
Ndikung, Bonaventure Soh Bejeng: Abdias Nascimento – Being An Event of Love. Archive Books, Berlin 2022.
Savoy, Bénédicte: Africa’s Struggle for Its Art: History of a Postcolonial Defeat. Princeton University Press, 2022.
Weiss, Rachel u.a.: Making Art Global (Part 1): The Third Havana Biennial 1989. Afterall Books, London 2012.
Wintersemester 2020, Burg Giebichenstein Kunsthochschule Halle
Dissidenten-Geschichten: Neue mögliche Epistemologien und Vorstellungen in Kunst und Design
Ziel des Kurses ist es, zur Bildung kritischen Denkens in der Welt der visuellen Erzählungen in zeitgenössischer Kunst und Design beizutragen. Wir werden offizielle und institutionelle historiographische Modelle problematisieren und denaturieren, indem wir alternative Perspektiven zum eurozentrischen Denken präsentieren. Dabei wird die vermeintliche Neutralität von Bildern in der Kunst und die Visualität in Designprojekten hinterfragt.
Auch ist es interessant, moderne und zeitgenössische künstlerische Produktionen und Designprojekte aus dem globalen Süden und Norden in einen Dialog zu bringen, um die uns auferlegten narrativen Auseinandersetzungen zu problematisieren. Die Idee ist, die klassische Kunstgeschichte durch Neuformulierungen der Kolonialgeschichte zu problematisieren und diese in visuellen Narrativen wiederzuerkennen.
Ich erhoffe mir, mit diesem Kurs ein kritisches Bewusstsein über den Prozess des künstlerischen und bildnerischen Verstehens anzuregen - darüber, wie wir für das, was wir zu sehen, zu berichten und wegzulassen wählen, verantwortlich sind. Dieses Bewusstsein ist auch übertragbar auf Spekulative Designprojekte.
Eingeleitet werden soll der Kurs mit einer Diskussion über den Epistemizid. Einen Begriff, den der Bonaventura Souza Santos für die Zerstörung von Wissen, Kenntnissen und Kulturen verwendet, welche von der westlichen Kultur nicht assimiliert wurden. Epistemizid ist ein Nebenprodukt des Kolonialismus, das durch den europäischen imperialistischen Vormarsch über die Völker Asiens, Afrikas und Amerikas entstanden ist. Außerdem werden antikoloniale, ästhetische Vorstellungen diskutiert und entschlüsselt.
Conversations about development of art projects at PAP Berlin.
One-to-one 2 hour conversations. For artists living in Berlin only. Subscription at the website of the Performance Arts Programm Berlin. It's for free.
Workshop about Development of art projects at Volkshochschule Prenzlauer Berg
(In English or in German)
Next ones: 5, 6, 7 February 2021 (online - Pa5670F) and 9,10, 11. April 2021 (Pa5765F).
Informationen zur Anmeldung und zur Volkshochschule Pankow: 030-902951700 | post@vhspankow.de | www.vhspankow.de | facebook.com/vhspankow | twitter.com/vhspankow |
Teaching experience
> Currently working as Art History researcher at Burg Giebichenstein Kunsthochschule Halle, in Halle, Saxony, Germany;
> In Winter semester 2022, lecturer at "Art in Context", Master course in the Arts, at University of the Arts (UdK), Berlin;
> In 2020 /21, lecturer at the Design Department of Burg Giebichenstein Kunsthochschule Halle during two semesters;
> Between 2012 and 2014 Visiting Professor at the Federal University of Rio de Janeiro, Brazil, in the Fine Arts department;
> I occasionally work for PAP-Berlin (Performance Arts Program) to discuss with other artists about their art projects.
2023, Summersemester:
Ein Auge, offen – eine andere Grammatik der historischen Zeit [One eye, open - Another grammar of the historical times]
Tuesdays, 16:15 – 17:45
The first great revolution in Latin America took place in Haiti. This revolution began in 1791 and culminated in Haiti's declaration of independence in 1804 - an event that shocked a world organized on the basis of the violence of slave labor.
The seminar will first analyze the Haitian Revolution as a paradigmatic case that opened a path to a different kind of modernity or "counter-modernity," a path that Latin America, the Caribbean, and African countries have been following ever since. How does art feed off political resistance movements and how do these movements influence artistic practice? Starting from the role of art in the Haitian Revolution, we will offer different possible answers to these questions. To do this, we will also look at contemporary artworks from Haiti in which the symbols of voodoo recur.
The revolutionary character of voodoo spirituality strongly influences the art world today. In Benin, most artists are also initiated into voodoo, and voodoo is there a symbol of national identity. In recent years, the government has erected many public monuments to voodoo culture. In neighboring Nigeria, Yoruba spiritual practices and artwork have contributed to the Osogbo Sacred Forest being declared a Unesco cultural heritage site. The discussion of the political transformative power of art in these two West African countries is enriched by examples of historical exhibitions such as the "World Black and African Festival of Arts and Culture," Festac '77, in Lagos, Nigeria, in 1977. In the context of Festac '77, the problematic collections of African and Amerindian art in European museums and the issue of repatriation are another important theme linking art and political movements.
Other historical examples we will discuss in the seminar concern the influence of the Cuban Revolution (1959) on the concepts of the Third Havana Biennial (1989) and the presence of the concept of "quilombismo" in contemporary artworks (for example, in the practice of Abdias Nascimento). "Quilombo" is a democratic structure created by enslaved people in Brazil after they escaped the plantations. These territories still exist today and demand autonomy.
Recommended Readings:
Buck-Morss, Susan: Hegel and Haiti. In: Critical Inquiry, Vol. 26, n.4, 2000. Pg. 821 – 865.
Taussig, Michael: Mimesis and Alterity: a Particular History of the Senses. Routledge, New York 1993.
Soyinka, Wole: Beyond Aesthetics: Use, Abuse and Dissonance in African Art Traditions. Bookcraft, Ibadan, Nigeria 2020.
Ndikung, Bonaventure Soh Bejeng: Abdias Nascimento – Being An Event of Love. Archive Books, Berlin 2022.
Savoy, Bénédicte: Africa’s Struggle for Its Art: History of a Postcolonial Defeat. Princeton University Press, 2022.
Weiss, Rachel u.a.: Making Art Global (Part 1): The Third Havana Biennial 1989. Afterall Books, London 2012.
Wintersemester 2020, Burg Giebichenstein Kunsthochschule Halle
Dissidenten-Geschichten: Neue mögliche Epistemologien und Vorstellungen in Kunst und Design
Ziel des Kurses ist es, zur Bildung kritischen Denkens in der Welt der visuellen Erzählungen in zeitgenössischer Kunst und Design beizutragen. Wir werden offizielle und institutionelle historiographische Modelle problematisieren und denaturieren, indem wir alternative Perspektiven zum eurozentrischen Denken präsentieren. Dabei wird die vermeintliche Neutralität von Bildern in der Kunst und die Visualität in Designprojekten hinterfragt.
Auch ist es interessant, moderne und zeitgenössische künstlerische Produktionen und Designprojekte aus dem globalen Süden und Norden in einen Dialog zu bringen, um die uns auferlegten narrativen Auseinandersetzungen zu problematisieren. Die Idee ist, die klassische Kunstgeschichte durch Neuformulierungen der Kolonialgeschichte zu problematisieren und diese in visuellen Narrativen wiederzuerkennen.
Ich erhoffe mir, mit diesem Kurs ein kritisches Bewusstsein über den Prozess des künstlerischen und bildnerischen Verstehens anzuregen - darüber, wie wir für das, was wir zu sehen, zu berichten und wegzulassen wählen, verantwortlich sind. Dieses Bewusstsein ist auch übertragbar auf Spekulative Designprojekte.
Eingeleitet werden soll der Kurs mit einer Diskussion über den Epistemizid. Einen Begriff, den der Bonaventura Souza Santos für die Zerstörung von Wissen, Kenntnissen und Kulturen verwendet, welche von der westlichen Kultur nicht assimiliert wurden. Epistemizid ist ein Nebenprodukt des Kolonialismus, das durch den europäischen imperialistischen Vormarsch über die Völker Asiens, Afrikas und Amerikas entstanden ist. Außerdem werden antikoloniale, ästhetische Vorstellungen diskutiert und entschlüsselt.
Conversations about development of art projects at PAP Berlin.
One-to-one 2 hour conversations. For artists living in Berlin only. Subscription at the website of the Performance Arts Programm Berlin. It's for free.
Workshop about Development of art projects at Volkshochschule Prenzlauer Berg
(In English or in German)
Next ones: 5, 6, 7 February 2021 (online - Pa5670F) and 9,10, 11. April 2021 (Pa5765F).
Informationen zur Anmeldung und zur Volkshochschule Pankow: 030-902951700 | post@vhspankow.de | www.vhspankow.de | facebook.com/vhspankow | twitter.com/vhspankow |