Paradox Conference September 2013
The Inheritance: Contesting Legacies in Fine Art Practice, Research and Education
Hosted by University of Granada, Spain
Paradox, the Fine Art European Forum biannual conference, The Inheritance: Contesting Legacies in Fine Art Practice, Research and Education, will examine how the pedagogies and practices of fine art critically evaluate their past. Through keynote addresses and three parallel strands of discussion this theme will be developed by papers and other forms of presentation, representing the rich practice and research of the teaching institutions of fine art throughout Europe.
The conference will be hosted by the University of Granada and take place at the Parque de las Ciencias, a modern interactive science Museum located near to the historic centre of Granada and the Alhambra.
The three major strands are:
A) Material Matters
B) Viewing Time Based Practice Through Time
C) Challenging Fine Art Pedagogies
How are artists contesting legacies in their art practice and research and how does artistic education implement pedagogies that assimilate both tradition and modernity? How do the Fine Arts practices, research and education add qualitative factors, such as the promotion of social understanding, rapprochement between cultures and a way of understanding the world through art?
Material Matters; on material as a matter of meaning and meaning as a matter of material
Attitudes to the use of media and processes in the making of fine art have shifted considerably in recent times. Each generation has challenged the previous generation’s norms and approaches. Both ´new media´ and traditional skills are matter of contemporary debate. The materials used by artists and designers are chosen carefully for their particular properties. In diverse contemporary art practices we can observe a renewed interest in matter; structurally and methodologically.
How do artists interrogate the processes and materials they have inherited? Are we witnessing a return to ´craft´ and the ´hand made´, in order to find specific value within the fine arts? How does new technology exert its materiality? Why does a material convey meaning and for whom? What does this [re-]turn to materiality in itself signify?
This strand welcomes contributions that promote discussion of the ways in which materials have been a matter of particular focus in the fine art curriculum and further develop new understanding in fine art practice and theory.
Conveners: Stephanie James (UK), Maia Rosa Mancuso (Italy) and Christina della Giustina (Netherlands)
James L Hayes, Crawford College of Art & Design, Ireland
The Materiality of Austerity: An exploration of the international sculptural iron casting movement & its associated relationship to materiality, performance, ritual and conference.
Material as Conflict Fernando Perez Martin, University of Granada, Spain
Various materials, the same cause. Art for Freedom in the Sahara Occidental
Material as agent Inmaculada Rodriguez Cunil, University of Seville, Spain
Wastes and Miseries of the Territory
Viewing Time Based Practice Through Time
Looking back on the time-based practices of the 1960s and 70s, critical questions are now emerging regarding how to represent the history of this art through the prism of time itself. Radical performance, video and event-based works face serious threat, either canonized or potentially made impotent, circumscribed within the museum. Should these de-materialized art practices rail against the institution yet again if in doing so they risk the chance of being written out of art history?
How do contemporary practitioners engaged in relational and other non material art practices preserve their legacy? What is the role of documentation within the artists process?
Papers and other forms of presentations are welcome that address this and other related archival challenges to temporary art practice. We are interested in exploring creative forms and insights that offer a way forward to the problem of finding new ways of looking back.
Conveners: Kevin Atherton (Ireland), Corinne Peuchet (France) and Andrzej Syska (Poland)
Miguel-Angel Melgares, Amsterdam School of the Arts, Holland
Jenny Baines, Manchester School of Art, England
Dr.Marta Negre Univeristy and Dr. Joaquim Cantalozella Planas , University of Barcelona, Spain
Ewa Wojtowicz, University of Arts, Poznan, Poland
Margaret O’Brien, National College of Art and design, Dublin, Ireland
Maria Antonietta Malleo, Accademy of Fine Arts of Palermo, Italy
Maria José Barquier Perez y Rafael Marfil Carmona, University of Granada, Spain
Richard Fajnor, Janacek Academy of Music and Performing arts, Brno, Czech Republic
Ana Vinoda, University of Zadar, Croatia
Eugenia Agusti Cami, University of Barcelona, Spain
Andrea Traldi University of Plymouth, England
Juan Bernardo Pineda Perez, Teruel-Zaragoza , Spain
Maria del Carmen Bellido Marquez, University of Granada
Challenging Fine Art Pedagogies
Recent debates in the art world have explored the notion of what has been called the ‘educational turn’ both in curating and art practice. For instance: Summit Kein (2007) Theory and Practice, Art Education Today at Freize Art Fair (2008) and the Salon Discussion: You Talkin’ to me? Why art is turning to education at London’s ICA (2008). Curators like Anton Vidokle and artists such as Copenhagen Free University have investigated the notion of pedagogy as practice. As Irit Rogoff (2008) has pointed out, what constitutes this ‘turning’ is not yet fully explored, but is based on a notion of positioning education ‘as a space of experiment and exploration’. Crucially she asks, ‘How might we extract these vital principles and apply them to the rest of our lives?’ (2008: 2). For artist-educators, this ‘educational turn’, however, has begun to change how it is possible to conceive of, and discuss, the practice- teaching interrelationship.
The function of the tutor’s ongoing practice within teaching-learning encounters can now be seen to have a much broader application than the traditional models of teaching by example (beaux-arts or atelier tradition) or the notion of apprenticeship allows. Quite how this shift towards pedagogy as an art practice in itself might play out within the academies remains to be seen.
This strand welcomes contributions that promote discussion of the ways in which artist-teachers have challenged and developed their pedagogical approaches based on recent shifts in fine art practice and theory. We are particularly interested to hear of case studies and reflections that explore the notion of audience within fine art teaching as well as attitudes towards the learning environment, specifically the teaching studio.
Conveners: Rebecca Fortnum (UK) and Christine Pybus (Ireland)
First session: History/Context
This session set the scene and established the context from which current challenges and innovations emerge.
Nicholas Houghton, University of the Creative Arts, England
The Conceptual Turn and the Fine Art Curriculum
El giro Conceptual y el Currículo de Bellas Artes
Pedro Ortuño Mengual, Universidad de Murcia, Spain
Collaborative practices in multimedia contexts. Memory and Identity in “La paz intervenida” and “Lanificios: arqueología do presente” projects
Prácticas colaborativas en contextos multimedia en Portugal. Memoria e identidad en el Proyecto Covilha arqueología del presente
Marek Wasilewski, University of the Arts Posnan, Poland
Deschooling the Art School
Second session: Current Challenges
The first half of this session outlined the pertinent issues for contemporary arts education and the second half looked more specifically at the fields of exhibition and drawing where these issues play out.
Dean Hughes, Edinburgh University, Scotland
Remaining the same
Ivan de la Torre Amerighi, Malaga, Spain
Manuel Cruz Gonzalez & Drago Diaz Aleman, Universidad de La Laguna, Spain
The classroom as a production center
El aula como centro de producción
Ivan de la Torre Amerighi, University of Málaga, Spain
Redefinition of the exhibition and the contemporary curatorial practice as spaces for pedagogical experimentation and disciplinary interaction; some particular and specific cases
La redefinición de la exposición y la práctica curatorial contemporáneas como espacios para la experimentación pedagógica y la interacción disciplinar.
Kelly Chorpening, Camberwell College, University of the Arts London, England
Convincing possibilities for drawing
Posibilidades convincentes a favor del dibujo
Third session: Case studies
This session will look at specific case studies and examples of current innovation in contemporary art pedagogy and will include a chance to discuss the issues in smaller groups.
Sean Cummins & Joanne Lee, Nottingham Trent University, England
What do you study when you study Fine Art: An Open Curriculum?
¿Qué se estudia cuando se estudia Bellas Artes: Un Currículo Abierto?
Àngels Viladomiu, Albert Valera & Salvador Juanpere, Barcelona University, Spain
Art in the user’s space: Interstitials readings between theory and artistic practice
Arte en el espacio del usuario
Noemi Pena, University of Valladolid, Spain
A study on the relationship between photography and blindness in the context of a/r/tography
Sissell Lillebostad, Bergen Academy of Arts and Design, Norway
Long-term commitment and free-flowing conversations
Jill Randall, University of Salford, UK
Context is Half the Work: The Live Brief in Fine Art Education
El Contexto es la Mitad de un Trabajo
Sara Carrasco, Barcelona University, Spain
The body as a space of possibility and contestation within artistic educational practices
El cuerpo como espacio de posibilidad y contestación dentro de las prácticas educativas artísticas
Fourth session: Enactments
This session will use performance and other forms of enactment to demonstrate new ways of configuring teaching/learning.
Brigid McLeer & Jane Ball, Coventry University UK
Occupation Workplace, (performance)
Louisa Minkin & Ian Dawson, Southampton University, UK
Haciendo Historia: La herencia
Kiki Claxton, Katrine Hjelde & Michaela Ross from FLAG, independent researchers & Chelsea College, UAL, UK
Returning the educational turn
Student residency workshop: P Fabric Granada
Along with the Conference, Paradox runs a student field project for European Fine Art Students called P Fabric. P Fabric Project was as a way of linking students to the Biennial Conference. Project facilitates the artistic intervention of students in the urban tissue of the Paradox hosting city. Students are chosen by their institutions and represent the institutions participating in the Paradox Biennial Conference. The international group of students meet with local students some 10 days before the Bienniale Conference to work with the lead artists. Local students host international students, while the university offers some spaces, labs and technical aid to develop their artwork. Artworks developed during the days before the conference opens and are presented by the students during the conference through audio-visual along with in-site guided visits through all the locations.
Urban Fabric Student Project is a parallel event to the Paradox Biennial Conference that has proved very popular at previous conferences, highlighting the most important part of a Higher Education in Fine Arts the students, tracing a line the creation of art and research in Fine Art.
P-Fabric Project was organized for the Granada Conference (Sept. 2013) by Isidro Loópez-Aparicio, Faculty of Fine Arts. University of Granada, Spain