Iznācis mākslas pētījumu žurnāls "maHKUzine" Nr.9 maHKU (The Utrecht Graduate School of Visual Art and Design) The possibilities for publishing, showing, distributing, and promoting are currently expanding at a swift pace. That wave of dissemination also affects artistic research and its issues and debates. How is the outcome of artistic research propagated in a liquid, open system? What is the most effective way to communicate a work of art?
How do best practices circulate while contributing to the discussion on the specificity of the artistic research practice? And what is the role of the art academy and its research environment in the process of dissemination?
In Artistic Delay, Nicolas Bourriaud - keynote speaker DARE (Dutch Artistic Research Event) # 5, Doing Dissemination, Utrecht April 1 - claims that our world without people as active actors affects the current dissemination of the field of culture. The irresponsible subject forced away in many ways from the political arena makes that the theme of distance between activity and passivity has to be reexamined.
In Doing Research in the Age of Digital Clouds, Annette W. Balkema involves figures such as the vocalist, the cook, and the butterfly in doing research at art academies. The figures connect with rhizomatic thought and dissemination steering research-based projects away from digital superhighways while morphing them into topical cloud cultures.
The Graduate School as research environment was the theme of the conference The Academy Strikes Back in Brussels on June 4-5 maHKU organized in collaboration with the Sint-Lukas Academy. The Academy Strikes Back was the concluding manifestation of a triptych including A Certain Ma-ness (Amsterdam 2008, see maHKUzine #5) and Becoming Bologna (Venice Biennale 2009, see maHKUzine #8).
During the Brussels conference, Renee Green discussed the best-practice Spheres of Interest: Experiments in Thinking and Acting, a graduate seminar at SFAI (San Francisco Art Institute) relating artistic research to the notion of formations.
In the context of dissemination of research results, Dieter Lesage pleads for the emancipation of artistic research while questioning the function of the written supplement as a contextualization of the work of art. Lesage claims, in his article Supplementality, that the research results should speak for themselves.
In Practicing Research: Singularising Knowledge, Irit Rogoff critically interrogates the academy as location for the dissemination of an artistic knowledge production particularly in the light of protocols of current cognitive capitalism.
An immanent investigation into the conditions of presenting artistic research was realized by the professorship artistic research in the form of the exhibition Critique of Archival Reason in February in the Dublin Royal Hibernian Academy as part of the EARN (European Artistic Research Network) conference Arts Research, Publics and Purposes. Two Utrecht PhD students, Jeremiah Day and Irene Kopelman, participated in the project. Tim Stott critically reviews the event in the form of a research report.
For five years now, maHKUzine. Journal of Artistic Research has been a platform for reflection and discussion in the context of the international situation of artistic research and graduate art education. The maHKUzine platform always interacts with debates and programs of the Utrecht Graduate School of Visual Art and Design (maHKU) where the school is a test department investigating, generating, and probing research-based curricula for its Master of Arts programs. However, testing in this sense is not a traditional, immanent, academic ceremony, but rather an effect of a research environment and its collaborations with professional partners in the field. How to deal with the implications of research-based art education is always a core issue in those collaborations.
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