Prizes for the Academic Year 2017/ 2018
In June 29th 2018 PhD in Practice candidate Belinda Kazeem-Kamiński won the Cathrin Pichler Prize, and PhD in Practice alumna Yasmine Eid-Sabbagh was awarded the prize of the Academy for a scientific work.
Nika Autor, PhD in Practice Alumna, wins Rotterdam Film Festival Award
The winners at the 47th International Film Festival Rotterdam (24 Jan 2018 – 4 Feb) have been announced.
The new found footage award, supported by the Netherlands Institute for Sound and Vision, went to Newsreel 63 – The Train Of Shadows by Nika Autor.
Festival director Bero Beyer said: “We’re very happy that the strong winners represent the bold spirit of the festival’s entire programming. They are filmmakers, both emerging and established, who use their talent to deliver a new view on our world. As diverse as they are there seems to be a common thread, the beautiful and human thread of cinema!”
Call for Applications / Funding
Application period | 15.01.2018 – 05.03.2018
Beginning of studies for new participants: October 1, 2018
The Academy of Fine Arts Vienna invites applications to its doctoral program for research in artistic practice. The PhD in Practice program provides participants with the opportunity to pursue their individual arts-based research projects in a collective learning environment with a decidedly transdisciplinary and international bent. The program is coordinated by Renate Lorenz (Professor for Art and Research) and Anette Baldauf (Professor for Methodology and Epistemology). The invited lecturers and guests include Trinh T. Minh-ha, Stefano Harney, Suzana Milevska, Sharon Hayes, Frank B. Wilderson III.
The PhD in Practice program is built on a concept of arts-based research that relates to critical epistemologies, as they have been developed in the context of feminist, queer, postcolonial, ecological, postmarxist and other political and emancipatory projects. Inspired by these struggles, the PhD in Practice program approaches arts-based research as a space for the negotiation of social, political, cultural and economic conflicts. It refers to a history of research in the arts, which has been developed in dialog with an array of different fields, including academia, activism, high art as much as pop and subculture. It thus privileges cultural/artistic productions, which are concerned with a critique of injustice, social hierarchies and exclusions, and it is interested in the development of heterotopic visions as well as activist interventions. Its current focus, “Artistic Research: Assemblages of Epistemology, Methodology And The Arts” links questions on how to gain knowledge and how to do research with questions on aesthetics and representation, hoping to contribute to an understanding of research as a means to produce different knowledge and to produce knowledge differently.
The PhD in Practice program is designed for a duration of four years of study. During this time the participants will develop and implement their projects analytically and experimentally in coordination with the academic and artistic team of co-participants and faculty. Participants learn how to conceive, organize, document, as well as carry out independent and/or collaborative arts-based research in an environment that is dedicated to transdisciplinary and international exchange.
Course work is organized around so-called focus weeks, which take place one week per month during the academic calendar (October to January, March to June). During these weeks the participants and the PhD in Practice team meet for tutorials, seminars, lectures, workshops, excursions and other research and study events. The PhD in Practice participants have access to the facilities and resources of the Academy of Fine Arts Vienna and to the institutions and people that form the broader and expanding network of the Academy. Moreover, participants are expected to take an active part in organizing the program, including the conceptualization and organization of workshops, guest lectures, conferences, exhibitions, screenings, etc.
Requirements for admission to the PhD in Practice program are a degree (Magister, MA or diploma) from a recognized university, and the submission of a portfolio and a written project proposal. Applicants who are already engaged in an artistic or academic career are especially encouraged to apply.
The application is online only. Applications (to be written in English) must be received by March 5th, 2018 following the online application procedure explained on the website of the program.
Further information can be found at blogs.akbild.ac.at/phdinpractice.
The final results of the application process will be published by June 2018.
Admitted candidates will embark on the PhD in Practice program in October 2018.
The PhD-in Practice program offers a limited number of doctoral study positions with full financial support for up to 4 years (30h/week on a 12-months-basis). The modalities of the payment follow the rules laid out by the Austrian Science Fund (FWF) (currently 2,071 €/month before tax, incl. health benefits).
Afro-Pessimism: Theorizing Anti-Blackness
with Frank B. Wilderson III
A cooperation between mumok, Department of Theater, Film and Media Studies at the University of Vienna, and the PhD in Practice at the Academy of Fine Arts Vienna
December 13th, 7pm
mumok, Museumsplatz 1, 1070 Vienna
Introduction by Belinda Kazeem-Kaminski and Janine Jembere
Screening: The Dutchman (1966), Anthony Harvey (55 min) and
Reparations… Now (2005), Frank B. Wilderson III, (20 min)
Followed by a discussion with Frank B. Wilderson III
December 14th, 3pm – 8pm
Afro-Pessimism: Theorizing Anti-Blackness
Academy of Fine Arts Vienna, Augasse 2 – 6, 1090 Vienna, 4th floor, BC 4.2
3pm Welcome by Anette Baldauf and Andrea Steier
3pm – 5:30pm Presentations by Sophie Schasiepen, Belinda
Kazeem-Kamiński, Janine Jembere, Doris Posch, Maren Grimm and
Jakob Krameritsch in discussion with Frank B. Wilderson III
5:30pm – 6pm Break (snacks and drinks)
6pm Lecture by Frank B. Wilderson III: The Ruse of Analogy
Afro-Pessimism and the Ruse of Analogy
Afro-Pessimism argues that the regime of violence that elaborates and positions Black people, worldwide, is not analogous to the regime of violence that elaborates and positions the Gramscian subaltern. Until recently, practitioners of Cultural Studies have, for the most part, assumed the opposite—that though structural violence performs differently on different populations, an essential regime of violence undergirds the subjugation of all sentient beings; and, furthermore, it is claimed, all sentient beings are Human beings. Afro-Pessimism interrogates the explanatory power of these claims by demonstrating how the cultural production and ontological coherence of the Human is secured through the impossibility of analogizing the violence that subjugates the subaltern and the violence that subjugates the Black. Afro-Pessimism argues that the ruse of analogy is, more often than not, the besetting hobble of our labors on- and interventions through cultural objects; a blind spot that subtends one of Cultural Studies’ first principles: that all sentient beings possess the capacity to transform limitless space into nameable place, and endless duration into recognized and incorporated events. In short, to wield cultural objects and, in so doing, change the fundamental nature of their lives. At every scale of abstraction, from psychoanalysis’s topography of the psyche or the Bakhtinian chronotope, ascending to Gramsci’s civil society or the dream of a new, postindustrial Commons calved from the glacier of globalization, cultural optimism, or optimism in culture production, prevails—as though the transformative powers of discursive capacity were hardwired into being itself. This presentation interrogates this logic and reflects on the stakes for Cultural Studies.
Venice 2017 – “Hauntopia/ What if”
In times of violent political conflicts, the exhibition explores the conjuring of specters as a proper method of arts-based research. It welcomes the appearance of ghostly events, signs, images, practices and objects that recount the ferocities of the past while they also hold the possibility of a different future. Building on a glossary of hauntopic devices the exhibited work is looking for traces, negations even, of things, stories and future visions, while in many instances making use of formats that employ ephemeral, opaque or sci-fi elements. Thus the exhibition explores the range of a ghostly aesthetics: In Naomi Rincón-Gallardo’s video work, for instance, a set of fantastic species from a forgotten future – located between trashy leftovers and a not-yet-here gender-ambiguity – explore the connections between sexuality and colonialism and create a counter-world within neocolonial settings. A backpack appears as a phantom-object in Zsuzsi Flohr’s installation; despite its material absence it became the main protagonist of a Holocaust survival story. Rafal Morusiewicz’ film installation conjures ghostly figures out of found footage from Polish (experimental) cinema – figures pushed to the margins during the Polish People’s Republic. Belinda Kazeem-Kamiński’s performance-based video installation shows the impossibility of visualizing the ways in which the artist is haunted by the leftovers of Paul Schebesta, an Austrian ethnographer, writer and photographer.
Artists: Aline Benecke, Katalin Erdödi, Zsuzsi Flohr, Sílvia das Fadas, Moira Hille, Zosia Holubowska, Hristina Ivanoska, Janine Jembere, Ruth Jenrbekova, Belinda Kazeem-Kamiński, Rafal Morusiewicz, Lisa Nyberg, Read-in, Naomi Rincón-Gallardo, Masha Godovannaya, Keiko Uenishi
EARN-Conference, September 8 and 9, 2017
The concept of haunting has been employed to create a language for the many ways in which an unfinished past makes itself known in the here and now (Avery Gordon) and violent histories, or stories, cause ongoing disruptions, wronging the wrong (Eve Tuck). Haunting often takes place when an official narrative insists that the violence of subjection and injustice is overcome (after liberation from colonialism, after Stonewall, after the end of a war, etc.) or when their oppressiveness is strictly denied. Now ghosts “appear” as agency in-between subjectivities, images and spaces and demand a response, while haunting also works as an exile for our longing, it stimulates an imagination of how things could be otherwise. With these complexities in mind, the conference reflects on the potential of artistic research to not just welcome but conjure the specters of the past to make unresolved social violences demand their due.
The conference is organized by the Academy of Fine Arts Vienna as the annual event by the European Artistic Research Network (EARN).
Conference with lectures, artists’ presentations and performance.
Including: the specters of Octavia Butler and José Munoz
Keynote lectures by Avery Gordon (UC Santa Barbara) and Eve Tuck (University of Toronto), and researchers from the EARN network
Programme: www.artresearch.eu and www.akbild.ac.at
Research Pavilion Utopia of Access 11 May – 15 October 2017
The programme of the Research Pavilion consists of three 6-week contemporary art exhibitions and 46 multidisciplinary art events activities called Camino Events.
Uniarts Helsinki is set to open a Research Pavilion in May in the context of the 57th Venice Biennale. During a span of five months, the Pavilion will host three contemporary art exhibitions and over forty multidisciplinary events. Under the theme Utopia of Access, the Pavilion calls for a variety of interpretations on urgent topics of debate using experimental methods. Over a hundred artist-researchers from European art universities will introduce their own contribution to the Pavilion in the field of contemporary art, music, performing arts, and curating.
The Research Pavilion is a follow-up to the pilot project that took place in Venice in 2015, and thanks to the enthusiastic reactions from the international art and research field, the university was encouraged to develop the concept further. Uniarts Helsinki has invited Konstex and the Norwegian Artistic Research Programme (NARP) as its main partners for the Research Pavilion. The networks represent a large number of Norwegian and Swedish art institutions of higher education. In addition, Academy of Fine Arts Vienna and Zurich University of the Arts will also produce one exhibition each for the Research Pavilion.
#researchpavilion #artisticresearch #caminoevents
Exhibition producer: Academy of Fine Arts Vienna
AMOQA is happy to host a series of presentations and screenings by the PhD in Practice program.
“The PhD in Practice program provides a concept of arts-based research that is built upon critical epistemologies, as they have been developed in the context of feminist, queer, postcolonial, ecological, postmarxist and other political and emancipatory projects. Inspired by these struggles, the PhD in Practice program approaches arts-based research as a space for the negotiation of social, political, cultural and economic conflicts. It refers to a history of research in the arts field, which has been developed in dialog with an array of different fields, including academia, activism, high art as much as pop and subculture. It thus privileges cultural productions, which are concerned with a critique of social hierarchies and exclusions, and it is interested in the development of heterotopic visions. By engaging with these trajectories, the conditions and foundations of knowledge production in the arts field become itself a subject-matter of basic research.”
Naomi Rincon Gallardo
THE FORMALDEHYDE TRIP, Video (snippets) 15’
The Formaldehyde Trip is a speculative fiction comprising a cycle of songs and videos dedicated to murdered Mixtec activist Bety Cariño. The Formaldehyde Trip imagines Bety Cariño’s journey to the underworld, where she finds women warriors, witches and widows, both-sexed deities and animals preparing her re-birth party.
Digressing/Uprooting, Video 10’
Hands Up! (dir. Jerzy Skolimowski, 1967/1981), How Far Away, How Near (dir. Tadeusz Konwicki, 1971), and Another View (dir. Károly Makk, 1982) present stories of individuals-emblems of the specific chrono-political moments in Poland’s history. A theme that binds and informs my reading of the three films is uprootedness: in the stories narrated, of the characters featured, of the films themselves. My film propels the action of uprooting, with the multiple layers of sounds, images, text, and narrations. These are the voices that digress, that fight for prominence, that fleet.
STICKY, Video 10’
The video cruises narrations that are haunting the ocean around the Island of Lesvos.
Title: Queer Arts in Central Asia: Very Short Introduction.
Format: 10-15 min presentation with slides.
Description: A sketchy overview of the situation in Central Asia concerning queer-feminist issues in arts and activism.
“All power – to animals!” by queer-feminist affinity art group “Unwanted Organisation”, Video, 25’
The 1st May demonstration in St. Petersburg was organized quite strangely in 2016: the authorities officially gave permissions to “United Russia” (Putin’s party), communists, stalinists, fascists, and professional unions. Together with the comrades from our queer-feminist affinity art group “Unwanted Organisation” we decided to come out on behalf of all the Excluded and wrote subversive slogans for everyone interested. Since it’s getting more complicated to protect and fight for human rights in Russia, we made a decision to turn into animals, so some came out in costumes. We spread out inside the non-permitted column.
Rusałki Video 10’
Rusałki is a creative interpretation of the songs found in the archives of “Muzyka Odnaleziona (Rediscovered Music) by Andrzej Bieńkowski. It comes from the north-east part of Ukraine where it is sang by woman wearing rowan daisy chains, circling around the village. The song is addressed to the fairies, the souls of drowned virgins, who changed into demons, seduce men and tickle them
to death. The song becomes a gift, a meeting place, a subversive wink, that can’t be caught by the male gaze.