There are many possibilities to write about art and there is a variety of text formats. A press release contains other information than a review, which in turn is formulated in a different way than a catalogue essay, a contribution in a daily newspaper or a tweet. An artist will write differently about his own work than a critic. As an experienced journalist Kimberly Bradley is the best teacher for this diversity. She knows all kinds of writing, from popular to theoretical and she knows how to communicate it. She contributes to New York Times, Monocle, Frieze a. o. and she has many years of experience in editing, e.g. for Haus der Kunst in Munich.
She will advise you how to overcome writing inhibitions and gets you to trust your instincts. Students will work on how to revise their own texts and will learn about the mechanics and strategies of art writing and issues around art criticism. Have a look at her website and find some texts by her on trend online magazine hyperallergic.
Catalan jeweller Marc Monzó, based in Barcelona, has a specific view on jewellery making. He contemplates the nature of things and reflects this process of observation in his pieces, known for their plain and intelligent designs. Wining the prestigious Françoise van den Bosch prize 2016, he is among the most famous jewellers in Europe today. The jury praised his ability to reduce jewellery to its essence while still keeping his work poetic, elegant, wearable and playful at the same time. It is surprising too, in the way it connects sometimes contradictory ideas. "Fire Camp, brooch" e.g. combines geometry and found forms of natural elements.
Marc Monzó, "Fire Camp", brooch, 2014, silver, steel, 85 x 65mm
"My work is a treasure hunt among things and ideas finally fashioning into pieces of jewellery made to be desired, worn, questioned, or loved", he says.
Read here an insightful interview with Marc Monzo about his relationship to materials, form-finding processes, small objects that he collects and his ideas about teaching. On the bottom of this page you will also find further texts and information on Marc Monzó.
If the Summer Academy’s motto 2017 „Why produce art“ is a fundamental question, it is even more essential in the field of painting. Why painting now, is there any reason left? The famos artist Paulina Olowska knows many: „painting is an amusing, very clever, ancient, outgoing, silly, smart, stupid, groundbreaking, world-changing method of social confrontation and a tool for the future“. She can teach you how to use a painting for your own means, while having an intense dialogue with it at the same time. Through painting you can look on other things. Olowska did so, on Punk, fashion, feminism and the avantgarde. Beyond her inquiry into urban utopias, she also began investigating the ancient, the pagan and the feminine. More information and images you find here.
Though her paintings are obviously constructed, almost like staged settings, one gets the impression one might enter the fictional scene or parts of the image would expand into the real space. Subsequentely her work is not confined to the painted surface, it extends to other media and contexts, for example to performance and theater. Recently her piece „Slavic Goddesses“ (together with Sergei Tcherepnin and Katy Pyle) was enacted at the legendary „Kitchen“ in New York. She again revisited the Polish artist Zofia Stryjeńska, basing the performers costumes on her designs.
Also well known is Olowska’s acclaimed performance „Alphabet“ she showed in several venues, like Galerie Meerettich in Berlin and Moma in New York.
Here she talks on her interest on neon signs. Come to Salzburg if you like to see one of hers in the collection of Museum der Moderne.
A longer talk on her works and occupations you find here.
Tony Chakar is a Lebanese architect, who's comprehensive thinking includes literature, philosophy, and art. You do not need to be an architect to participate in his course as his interests reach beyond architecture. Just to get a little impression of the wide spread range of his subjects, have a look at this insightful talk below at Bunker Ljubljana August 2016. He is explaining the title of his show "On becoming two". If you happen to be in Beirut you can still see it until March 26 at Beirut Art Center.
Ruth Noack, trained as artist and art historian, is an enthusiastic teacher. Since the 1990s she has worked as art critic, university lecturer and exhibition maker, in 2007 she was curator of documenta 12. The "migration of forms", and the question of “cultural education” two of Noack’s pivotal interests were already important at that time. For Ruth Noack an exhibition is not a singular event, but a medium, a process, in which many people are involved, not only artists and curators.
Her course in Salzburg will investigate the “non-transmittable” form and its potential to resist in times of a globalized art world. What sounds quite abstract here will be grounded and become tangible by her distinguished curatorial experience and concrete examples. Individually or in teams, participants will develop exhibition concepts, going through the steps of discussion, research, proposal and implementation. They will not necessarily end up with an actual exhibition, but learn about “thinking with works of art”.
Ruth Noack on transnational art production:
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