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Courses 2018 (fall semester)

Contemporary art both reflects and develops a wider cultural and societal context. It is therefore important to have the tools to understand and master the artistic dialogue. We are constantly developing our courses to enable our students to broaden and deepen their artistic skills and critical ability. The courses are only available to students admitted to Malmö Art Academy. The courses are designed to meet current student needs and are therefore changed every year. If you wish to read more about our previous courses, please consult our yearbooks. Below you will find a selection of our courses this fall (2018): 

This is the land with no path 

Optional BFA-level course. Teacher: Emily Wardill

This course will be a practical and critical engagement with the different guises under which artist’s moving image expresses itself. Liberated from industrial cinema, from arthouse cinema and taken as a series of possibilities rather than recognised as a set of genres - we will try to open up what this medium might still be capable of. The course will involve critical engagement with rare moving image works and improvisation running parallel to this engagement. We will be thinking with our bodies, our voices and our gestures. We will also be trying to take the spirit of improvisation on from the performance and into both its recording and exhibition. The course grounds itself in practice- so we will not equate ‘research’ with ‘reading’ and ‘writing’ - but consider moving, filming, recording sound, editing and installing as equally important research strategies.

Let my people go re-imagining the politics of identity – selected perspectives from South Africa

Optional BFA-level course. Teacher: Betty Govinden

Den här korta kursen tar sin utgångspunkt i historieskrivningen om slaveri och livegenskap, kolonialism och apartheid, frigörelsehistoria och feministisk analys. Stoffet bygger på kritisk historiografi, litteraturvetenskap, teori, skönlitteratur och konst. Det utgår i hög utsträckning från indiska författare och konstnärer i Sydafrika och deras strävan att kritiskt omvärdera Sydafrikas individuella och kollektiva historia. Två ledande personer från 1900-talet och den indiska subkontinenten – Tagore och Gandhi – kommer att behandlas. Båda är av global betydelse och i synnerhet den senare har haft stort inflytande i Sydafrika under motståndsperioden och senare.   




Feminist Knowledge Production 

Optional BFA-level course. Teacher: Katy Deepwell

First week: Feminist Perspectives: Standpoint/Location/Situated Knowledges

In these seminars we will consider three different configurations of feminist knowledge production: in theories about standpoint, location and situated knowledges.

Second Week: Feminist Close Readings/politics of representation of gender/sexuality

In these seminars we will use examples from the Feminist-Art-Topics project in relation to different feminist theories of gender/sexuality as a construction.


Optional BFA-level course. Teachers: Laura Hatfield, Niels Henriksen, Joachim Koester, Matts Leiderstam, Sarat Maharaj, Joao Penalva, Silja Rantanen, Gertrud Sandqvist, Emily Wardill among others

History is not linear, nor is it neutral. Walter Benjamin speaks about reclaiming fragments of the past for the present, in a leap, or as a pearl diver. This is not least true of what we call art history. When the Art Academy’s team of lecturers started to talk about the need for more knowledge, especially about twentieth-century art, it was in recognition of Benjamin’s insight. Yet, for perhaps 1000 years artists have looked at each other’s work and made new works in relation to them. Ironically, this handing down of a craft was interrupted by the nineteenth-century creation of the concept of art history. How to proceed? Many artists do have an intense and alive relationship to colleagues in the past, for different reasons. Like pearl divers, they have found treasures. Our idea is that each one of the Art Academy’s lecturers is to show their findings. Furthermore, we have invited the Finnish artist Silja Rantanen to once more give her brilliant lectures on colleagues. A few art historians will also make an appearance. The course is named Correspondences, based on a Romantic idea of spiritual affinities.


Plastic 1

Optional BFA-level course. Teachers: P-O Persson & David Nilsson

The course in handling plastics gives knowledge in laminating and casting of plastics, plus basic information about the safety prescriptions in the workshop. After finishing the course, you will get a “driver’s license” that permits you to work in the workshop on your own.


Optional BFA-level course. Teachers: Robert Cassland, P O Persson och Ariel Alaniz

Through this course you gain knowledge about different welding techniques such as mig- and gas-welding as well as information about the security regulations for the different techniques. After the course you will receive a “driver’s license” that allows you to work on your own with the welding equipment.Through this course you gain knowledge about different welding techniques such as mig- and gas-welding as well as information about the security regulations for the different techniques. After the course you will receive a “driver’s license” that allows you to work on your own with the welding equipment.

The Disoeuvre: Integrating / Disintegrating / Recuperating Practices 

Optional MFA level course. Teacher: Felicity Allen

How does a practice cross between studio, the social and the institutional? You will be invited to consider to what extent this might be desirable and motivations for both integrating a practice across different aspects of life/work, or for maintaining distinctions. We will think short-term, long term and retrospectively, informed by ideas of maintenance (Mierle Laderman Ukeles), Wages for Housework (Silvia Federici et al) and the international preoccupation with art-as-life that threaded through C20 art (Allan Kaprow, Joseph Beuys, and their antecedents). In a time or precarious (or feminised) labour and, as Cornell West puts it, ‘mass distractions’, is this cross-over desirable?



The Grid ­ – Abstraction in Painting

Optional BFA-level course. Teacher: Matts Leiderstam

The aim of this course is to focus on ways of seeing in relation to contemporary painting practices, and to trace what it is that remains, the ruins perhaps of artistic knowledge connected to the concept of the grid – so rooted in Western art history. Whether it is; the recent return to abstract painting, historically associated with the grid, or the amplification of the uses of the grid in the context of a quantum shift in our time of planetary- scale computing – in a culture dominated by the mediations of the screen, how might the grid frame what it is that we inherit. The realization of this course will be through close reading, studio practice, critic and at the end a small exhibition ­ – with the aim to underscore the concept of the grid as it is used as a visual code, as well as a prism to look ‘through’.

Ett rum med nya regler

Optional BFA-level course. Teacher: Michael Portnoy

How can rules be used to structure participatory or relational art? Artists as diverse as Yoko Ono, Marina Abramovic, Vito Acconci, Tania Bruguera, Lygia Clark, Christian Falsnaes, Dora Garcia, Felix Gonzales-Torres, Roman Ondak, Adrian Piper, Tino Sehgal, Rikrit Tiravanija, Ian Wilson, Erwin Wurm, among others (including myself!), have all used some form of rules to change the way we behave and interact in a social space. Specifically, we’ll be looking at how rules which govern the use of language, etiquette, speculation, movement, role, or activity can be established to reengineer human exchange and make it, for example, more abstract, poetic, political, empathic/intimate or generative.



Pedagogy Intensive 

Only for CPS students. Teachers: Maj Hasager, Laura Hatfield + Invited Guests

This intensive course on pedagogical theories and practices will include seminars and presentations on assigned readings as well as a series of lectures on related topics by invited guests. Key texts that examine pedagogical shifts in different times and places, will be discussed at length alongside lectures on important topics in education. Artists Simona Dumitriu and Ramona Dima will lecture and give a workshop on how to deal with ethical dilemmas in the realm of teaching and art practice. Elizabeth Sweeney will discuss museum education and disability arts. Artist/Educator Michala Norup will hold a lecture on didactics. Jonna Pettersson’s presentation will focus on Jacques Rancière’s text, The Ignorant Schoolmaster. Barbara Mahlknecht will hold a talk and workshop on feminist pedagogies in relation to art and the archive. Maaike Muntinga and Lina Issa will present their artistic research and works that engage art practice and critical pedagogical methods in the field of medical humanities education.

The analogue black and white process

Optional BFA-level course. Teacher: Patrik Elgström

The course aims to provide knowledge of different development methods using the black and white process within the field of photography. The course consists of lectures, seminars, teacher-led practical exercises, group exercises and individual work with visual representation. Teaching focuses on students, individually and in groups, critically discussing and reflecting on their own work and that of other students. The course consists of physical meetings in seminar form, centred on arriving at a working method and material suited to the student’s planned project.


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