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Examples of courses offered during the spring semester 2020

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.


An Undeniable Hit

Optional BFA-level course

Teacher: Michael Portnoy

A joint production between students from the Art Academy and the School of Performing Arts course in conceptual theatre, we will embark together on the ridiculous quest to create an undeniable hit performance which will be presented in Studio B, the black box space in the Mazetti building. What makes a hit in the rarefied worlds we operate in? What is it like to focus on relatability, universality, joy, urgency, affect, generosity, hope, catchiness, electricity, caring for the audience? Does a hit need to be only a 5% deviation from existing art - i.e. the public can only take so much originality? Do we need to lobotomize ourselves to create a hit? Must we sell our souls? Using various approaches from theater, dance and visual arts performance, we will generate tons of material in daily rehearsals in Studio B and boil it all down to a one hour show.

Georges Bataille, From Abattoir to Vulva

Optional BFA-level course

Teachers: Stephan Møller & Gertrud Sandqvist

Georges Bataille was one of the most transgressive thinkers of the 20th century. His texts, and to a certain extent his actions, have exerted an influence not only within the visual arts and literature, but also within psychoanalysis, sociology, religious studies, philosophy and politics. As editor of the important surrealist journal Documents and through a large number of texts, both public and esoteric, he put a stamp on not only the Paris of the 1930s and 40s, but also generations of intellectuals and artists. We will read a rich selection of these texts and cross-read them together with the work of other thinkers such as Simone Veil, Walter Benjamin, Marquis de Sade, Jean Genet, Michel Foucault and Giorgio Agamben.


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.


Painting, techniques and materials

Optional BFA-level course

Teacher: Lena Johansson

The course presents different useful techniques and specialised knowledge of materials. It will include practical exercises such as stretching and priming different kinds of canvases in a sustainable way. Students will test painting on different surfaces with different types of paint as well as mixing their own tempera paint. They will gain specialised skills in tempera, acrylic, and oil paints as well as knowledge of how different materials work together. The course will also present technical methods and techniques based on relevant contemporary painters selected together with Fredrik Vaerslev, professor in painting. 

Setting a performative Frame

Optional BFA-level course

Teacher: Rosa Barba

In this class I would like to propose a journey from cinema to another kind of film through an objectification of a filmic ontology, into a hyper-space whose nature and limits remain to be defined. How do we create a performative setting where fact and fiction can be intertwined? The class will interrogate the industry of cinema with respect to various forms of staging, such as gesture, genre, information and documents, taking them out of the context in which they are normally seen and reshaping and representing them anew.  In the course we experiment and expand time-based forms into sculptural objects or speculations. Topics of this cinematic journey include the essay film, video art, structural film, Expanded Cinema, and the recent art of using projection.

What does it mean for a painter to talk?

Optional BFA-level course

Teacher: Fredrik Vaerslev

What does it mean for a painter to talk?” är en fyradagarskurs med inriktning på måleri och språk. Den kommer att utgöras av två gruppsamtal om deltagarnas arbeten på eftermiddagarna, som en konkret uppföljning av närläsningar av Rosalind Krauss texter på förmiddagarna. Syftet är att ifrågasätta vårt språk och använda olika verktyg för kritik när vi talar om ett konstverk.«What does it mean for a painter to talk?» will be a four day course focusing on painting and language. It will consist of two group conversations on the participants works in the afternoons as a concrete extension of close readings of the writing of Rosalind Krauss in the mornings.

The aim is to challenge our language, and add various tools of critique in talking about an artwork.

On materiality

Optional BFA-level course

Teacher: Runo Lagomarsino

On materiality is a 1-week workshop focusing on different strategies with in the praxis of sculpture. In this workshop we will together discuss, read, present works that use materiality as a form for narrative. Thinking with Chinua Achebe; new systems, new ways of narrating have to be produced, not only in content but also in the form in which the conversation is being held. Can a material speak? Can it be a voiceover?  And if so, what is it telling us? Can a material be a narrator? A form for witness? What traces and memories can a material carry? We will together look at different forms of artistic strategies within sculpture praxis that focus on material; It can be works that use the specificity of a material (being it historical, visual or social) as a starting point, but also works that use the experience of a material as the strategy of narration.

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