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Courses 2018 (spring 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 spring (2018):
 

Courses

PRACTISE PRACTICE: THINKING THROUGH THE VISUAL (PART II)

Optional MFA-level course. Teacher: Matts Leiderstam & Maj Hasager

For a decade or more, ‘artistic research’ has been a buzzword; practice-led PhD programmes keep popping up around the globe, numerous conferences aim to map the field and on-going discussions investigate the terminology. How do we as artists position ourselves in relation to this highly debated approach/methodology?

In the course Practise Practice we look at artistic knowledge and the broad term artistic research from the perspective of an artistic practice. We will discuss different modes of research and long-term perspectives/strategies in art practices. We will also look at differences between working inside the academic world and working with art institutions, and the potential instrumentalisation of artists.

The course will be a mix of excursions, readings, lectures, peer to peer feedback and presentations – anchored in the participants’ own artistic practices. The course will run for three days every month between November and February – ending with an exhibition of the projects the participants developed during the course.

Beginning in January 2018 students will work on a process-oriented project at Skånes konstförening.

 

Courses

PERCEPT, AFFECT, CONCEPT

Optional BFA-level course. Teacher: Gertrud Sandqvist

The past twenty-five years in art criticism have been dominated by the French philosophers Gilles Deleuze and Félix Guattari. We will try to find out what and how they think. In particular, we will read texts from A Thousand Plateaus and What is Philosophy, but also Deleuze’s work on Francis Bacon (The Logic of Sensation) and his ideas about the Fold – Le Pli.
 

Courses

MOTSTÅNDETS ESTETIK

Optional BFA-level course. Teachers: Ulf Peter Hallberg & Gunilla Palmstierna-Weiss

More information soon.

 

Courses

POWER TRIP II

Optional BFA-level course. Teacher: Ieva Misevičiūtė

In Power Trip, we are interested in rewiring the mind through a high-energy physical work. It is a two-hour class; build as a flow of movements that plunges you into a strong visual imaginarium. It may feel like someone is shooting a film in your head and streaming it live through your body. We incorporate Japanese style body-work with training techniques from fields such as dance, theater and comedy.

The course introduces students to the basics of different traditions of body-work, with an emphasis on Eastern Physical Theater methodologies (Butoh, Noh Theater, Kabuki); we will work on expanding movement vocabulary, all of which is in service of finding new revenues to heighten imagination and energetic presents.

 

RETHINK, UNDO, REMAKE, LET GO: TOWARDS A DECOLONIAL PRAXIS

Optional MFA-level course. Teacher: Temi Odumosu

The course is composed as montage, and a space for dialogue and co-production. It will combine mixed-media seminar and workshop formats that also make room for moving the body, sketching, and reflecting. The course will take place predominantly on site with a field trip to a local arts/cultural heritage institution in Malmö.

It is fair to say that the world of images and signs has reached a tipping point. On the one hand, over 70 million Instagram photographs are uploaded every day, adding to a vast bank of global digital data that produces the double effect of superabundance and entitlement to “capture” – arguably a renewed expression of coloniality. At the same time, public space is haunted by a backlog of signs (remains) from contested histories, which include monuments to colonial/genocidal representatives that are increasingly difficult to live with. Some have already been forcibly destroyed. Amidst these polarities of image making and breaking, data exhaust and absence, artists, cultural producers and institutions continue to wrestle with their roles (their legitimacy) as communicators and custodians. So, how are we going to ethically deal with all of these representations, on and offline? What kind of mind-set is required to honour and reconcile with histories that are unfinished? Could we listen, feel, or speculate our way into alternative futures, with and without images? Through mixed-media workshop and seminar sessions, this course will explore these questions in order to envisage new possibilities for decolonial practices in arts and education.

Courses

Installation by raumlabor in the foyer | © HKW / Stephanie Pillick

SCHOOLS OF TOMORROW – STUDY TRIP – BERLIN


The Study Trip for Critical & Pedagogical Studies in 2018 will be to Berlin, Germany. The purpose of the trip is to participate in the concluding events of Schools of Tomorrow at Haus der Kulturen der Welt.

During Spring semester 2018, students will prepare to give a presentation at Schools of Tomorrow that will demonstrate their position in relation to the field of art and education. Drawing from their previous and current course work, students may work towards delivering workshops, a publication, or a panel discussion, for example. Meetings with the course supervisors will be scheduled to discuss and prepare for our group involvement in the event. While in Germany, we will also attend the Berlin Biennial titled We don’t need another hero, and visit artists’ studios and collectives.

TWO WEEK-COURSE WITH SIMRYN GILL

Optional BFA-level course. Teacher: Simryn Gill

A workshop that sets out to think about material and materials to make substitutions/stand-ins/facsimiles/records. Key are both the object, situation, reality, being 're-made', and the substance of the rendering. The aim of the course is to create situations where matter/stuff (even actions) and its physicality leads the direction of making and decision-making rather than language or concept. We will also consider the inherent properties/identity of the substance/s being used; how they can be physically and otherwise manipulated, and the etiquette required in their handling (violations, misreadings, renamings).
 

Betty Govinden

TWO WEEK-SEMINAR WITH BETTY GOVINDEN

Optional BFA-level course. Teacher: Betty Govinden

More information soon.
 

track

TRACK CHANGES 2.0: COLLECTIVE EDITORIAL PROCESSES

Optional MFA-level course. Teachers: Laura Hatfield & Matthew Rana

This course in collective editorial processes will approach writing as a multi-modal form of practice, while emphasizing the social dimensions inherent to the production of text in a broader sense. Artists’ writings will serve as the practical basis for workshop sessions where we will examine different approaches to the use of voice, tone and structure. Pedagogical skills such as annotating texts and giving/incorporating feedback will be integral to the course activities.

Participants will develop historical, theoretical and practical perspectives on different approaches to critical writing, and a heightened awareness regarding the role that writing might play within their practice. Participants will also gain tools for developing a critical text in dialogue with others, and strengthen their ability to receive, give and incorporate feedback within a group setting.

 

tim bishop

KINAESTHETIC AUDIO

Optional BFA-level course. Teacher: Tim Bishop

Kinaesthetic Audio
is aimed at providing students with practical knowledge of techniques and technology to produce high-quality sound for various contexts – from immersive sound installation to sound for video. The course will provide an introduction to the aesthetic possibilities of working with sound through various recording, editing and playback techniques.

The course consist primarily of practical work with talks on key topics and listening to relevant case studies. Students will learn the basics of digital audio, gain a basic understanding of Reaper for importing, manipulating, mixing and delivering audio material, and knowledge of specific microphone and playback techniques for creating bespoke audio content for specific contexts. Students will also be encouraged to focus on the act of listening and develop an understanding of the importance of sound in creating affective, engaging and immersive experiences.

 

Courses

PLASTIC I

Optional BFA-level course. Teacher: 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.

PLASTIC II

Optional BFA-level course. Teacher: 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.

 

Courses

MOULDING: BRONZE/ALUMINUM/SILICONE

Optional BFA-level course. Teachers: P-O Persson & Robert Cassland

The course will provide basic knowledge in silicone- and cire perdue casting. With the help of mould and silicone the students will produce objects/moulds in wax in which to cast bronze/aluminum. The course is divided into two blocks, and will take place at the school (Annexet) and KKV (Bragegatan 15).

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