Wasif Munem
POSTPONED – Editing as Practice: Developing Personal Voice
Machine Matter, 2017, filmstill.
Course format
Hybrid class
Participation
Either Fortress Hohensalzburg (on site) or online*
Teaching Language
English (Bengali also available)
What to bring
Laptop/tablet with camera and microphone (if possible with basic photo-editing software [Photoshop, Adobe Bridge/Lightroom], digital camera (if available), material from ongoing projects (photographs, archival material, notes-scans).
Requirements
Ongoing artistic/research project (about 60 working images), willingness to work in a group.
Maximum number of participants
12 on site, 6 online
Participation fee
€ 640,– (€ 480,–)
Postponed to 2022!
"I always listen to what I can leave out."(Miles Davis). How can we listen to what's not there? Spaces behind the images (notes) and the silence from which pictures (music) emerge. We are living in a time where ninety-five million photos are uploaded every day on Instagram alone. In such a time of constant visual feed, how can we create a voice and give meaning to our work? How can we listen through images and value authorship?
The focus of the course is to understand editing as a practice and a continuous process. By engaging with the idea of sequencing and narrative building, students explore how editing can create, alter and influence new meanings in our work. Students learn to analyse various theories and approaches to editing and look at the conjunction of flow, pace and rhythm in a narrative. By drawing parallels between composing music, cinema practices and textual forms, students explore various materials – taken or found, documentary or fiction – to understand editing in contemporary image-making practices. How can the same body of work respond to the needs of different forms of representation, such as for digital platforms, physical exhibition or as a book?
Students learn from intense dialogue about ongoing personal works, paired with one-on-one consultations. Other students’ engagements involve dissecting, juxtaposing and analysing a variety of critical work by other artists and photographers, while I will share personal experiences and approaches, from conceptualisation to exhibiting.
*If necessary, the course may be held exclusively online.
Hybrid class
Participation
Either Fortress Hohensalzburg (on site) or online*
Teaching Language
English (Bengali also available)
What to bring
Laptop/tablet with camera and microphone (if possible with basic photo-editing software [Photoshop, Adobe Bridge/Lightroom], digital camera (if available), material from ongoing projects (photographs, archival material, notes-scans).
Requirements
Ongoing artistic/research project (about 60 working images), willingness to work in a group.
Maximum number of participants
12 on site, 6 online
Participation fee
€ 640,– (€ 480,–)
Postponed to 2022!
"I always listen to what I can leave out."(Miles Davis). How can we listen to what's not there? Spaces behind the images (notes) and the silence from which pictures (music) emerge. We are living in a time where ninety-five million photos are uploaded every day on Instagram alone. In such a time of constant visual feed, how can we create a voice and give meaning to our work? How can we listen through images and value authorship?
The focus of the course is to understand editing as a practice and a continuous process. By engaging with the idea of sequencing and narrative building, students explore how editing can create, alter and influence new meanings in our work. Students learn to analyse various theories and approaches to editing and look at the conjunction of flow, pace and rhythm in a narrative. By drawing parallels between composing music, cinema practices and textual forms, students explore various materials – taken or found, documentary or fiction – to understand editing in contemporary image-making practices. How can the same body of work respond to the needs of different forms of representation, such as for digital platforms, physical exhibition or as a book?
Students learn from intense dialogue about ongoing personal works, paired with one-on-one consultations. Other students’ engagements involve dissecting, juxtaposing and analysing a variety of critical work by other artists and photographers, while I will share personal experiences and approaches, from conceptualisation to exhibiting.
*If necessary, the course may be held exclusively online.
Munem Wasif‘s photography and film investigates conceptions of ‘documents’ and ‘archives’ and their corresponding influence on politically and geographically complex issues. Expressionistic in style and long term in method, Wasif often experiments beyond tradition, testing the possibilities of fiction through a familiar documentary language.
Solo exhibitions
2017 Jomin o Joban, Project 88, Mumbai (IN). 2016 Land of Undefined Territories, Dhaka Art Summit, Dhaka. 2015 In God We Trust, 247 Gallery, Paris. 2012 Salt Water Tears, Musée du sel, La Réunion (FR). 2010 Salt Water Tears, Kunsthal Rotterdam, Rotterdam (NL). 2009 Salt Water Tears, Prix Pictet, Mall Gallery, London.
Group exhibitions
2019 Seeds Shall Set Us Free II, Cosmopolis #2: Rethinking the Human, Centre Pompidou, Paris. Spring Song, Homelands: Art from Bangladesh, India, and Pakistan, Kettle Yard, Cambridge (UK). Machine Matters, Leaving the Echo Chamber, Sharjah Biennial 14, Sharjah (AE). Land of Undefined Territories, Undefined Territories. Perspectives on Colonial Legacies, Museu d'Art Contemporani de Barcelona, Barcelona (ES). 2018 Kheyal, 9th Asia Pacific Triennale of contemporary art, Qagoma, Brisbane (AU). Machine Matter, A beast, a god, and a line, Museum of Modern Art, Warsaw. Seeds Shall Set Us free, Bearing Points, Dhaka Art Summit, Dhaka. 2017 Land of Undefined Territories, Prix Pictet Space, V&A Museum, London. 2016 Land of Undefined Territories, The Eighth Climate (What does art do?), Gwangju Biennale, Gwangju (KR). Land of Undefined Territories, An atlas of mirrors, Singapore Biennale, Singapore. 2016 In God We Trust, You Cannot Cross the Sea Merely by Staring at the Waves, Krinzinger Projekte, Vienna.
Publications
Munem Wasif, Homelands: Art from Bangladesh, India & Pakistan, Devika Singh, Kettle's Yard, Cambridge 2020.
Making New Time, Omer Kholeif, Sharjah Art Foundation, Sharjah 2019.
Belonging, with Clémentine de la Féronnière, Paris 2013.
Larmes salées, Images Plurielles, Marseille 2011.
Kamra 1 & 2, with Tanzim Wahab, Kamra, Dhaka 2011 - 2013.
www.munemwasif.com
Solo exhibitions
2017 Jomin o Joban, Project 88, Mumbai (IN). 2016 Land of Undefined Territories, Dhaka Art Summit, Dhaka. 2015 In God We Trust, 247 Gallery, Paris. 2012 Salt Water Tears, Musée du sel, La Réunion (FR). 2010 Salt Water Tears, Kunsthal Rotterdam, Rotterdam (NL). 2009 Salt Water Tears, Prix Pictet, Mall Gallery, London.
Group exhibitions
2019 Seeds Shall Set Us Free II, Cosmopolis #2: Rethinking the Human, Centre Pompidou, Paris. Spring Song, Homelands: Art from Bangladesh, India, and Pakistan, Kettle Yard, Cambridge (UK). Machine Matters, Leaving the Echo Chamber, Sharjah Biennial 14, Sharjah (AE). Land of Undefined Territories, Undefined Territories. Perspectives on Colonial Legacies, Museu d'Art Contemporani de Barcelona, Barcelona (ES). 2018 Kheyal, 9th Asia Pacific Triennale of contemporary art, Qagoma, Brisbane (AU). Machine Matter, A beast, a god, and a line, Museum of Modern Art, Warsaw. Seeds Shall Set Us free, Bearing Points, Dhaka Art Summit, Dhaka. 2017 Land of Undefined Territories, Prix Pictet Space, V&A Museum, London. 2016 Land of Undefined Territories, The Eighth Climate (What does art do?), Gwangju Biennale, Gwangju (KR). Land of Undefined Territories, An atlas of mirrors, Singapore Biennale, Singapore. 2016 In God We Trust, You Cannot Cross the Sea Merely by Staring at the Waves, Krinzinger Projekte, Vienna.
Publications
Munem Wasif, Homelands: Art from Bangladesh, India & Pakistan, Devika Singh, Kettle's Yard, Cambridge 2020.
Making New Time, Omer Kholeif, Sharjah Art Foundation, Sharjah 2019.
Belonging, with Clémentine de la Féronnière, Paris 2013.
Larmes salées, Images Plurielles, Marseille 2011.
Kamra 1 & 2, with Tanzim Wahab, Kamra, Dhaka 2011 - 2013.
www.munemwasif.com
Photo: Aj Ghani
Internationale Sommerakademie
für Bildende Kunst Salzburg
—
Kontakt
Postfach 18, 5010 Salzburg, Österreich
T +43 662 842113
T +43 662 842113
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