Jan van Eyck Yearbook

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1 Jan van Eyck Yearbook

2 Name index Fine art Orla Barry 12 January, 18 May Anke Brüchner 12/13 January, 13 September, 1/3 December Raphaël Cuomo 9/12 January, 12 September, 16/23 November, 1/3 December Marjolijn Dijkman 9 January, 21 June, 23 November, 1/3 December Nikolaus Gansterer 13 January, 25 March, 11 June, 1/3 December Paul Hendrikse 9 January, 17 January, 20 April, 1/3 December Maria Iorio 9/12 January, 30 May, 16/23 November, 1/3 December Aglaia Konrad 12 January, 28 January Will Kwan 11 January, 25 January, 1/3 December Achim Lengerer 12 January, 16 August, 1/3 December Lene Markusen 10/12 January, 6 June, 25 June, 1/3 December Charlotte Moth 12 January, 31 March, 9 November, 1/3 December John Murphy 7 September Falke Pisano 9 January, 27 June, 1/3 December Hinrich Sachs 9 January, 6 September, 27 October, 12 November, 6 December Romana Schmalisch 12 January, 15 February, 6 June, 1/3 December Megan Sullivan 9/12 January, 27 March, 16/23 November, 1/3/6 December Inga Zimprich 13 January, 21/23 May, 6-8 December, 10 December cit ygr aphy Lilo Bauer 2 June, 25 September DIRECTor Koen Brams 20 February, 18/19 April, between 30 April and 1 May, 19 June, 10 October, 23 November design Arie Altena 13 January, 25 January, 21 May, 12 December Tina Clausmeyer 12 January, 13 May, 2 July Marijke Cobbenhagen 11 January, 21 September Wim Cuyvers 9 January, 19 February, March, 2 July, 27 September, 16/23 November, 6-8 December Maartje Dros 29 January, 27 September, 16/23 November Sandra Fauconnier 13 January, 16 April, 21 May Katja Gretzinger 19 April, 28 April, 16/23 November Tsila Hassine 6 August Chantal Hendriksen 11 January, 29 December Will Holder 10 January, 2 February, 23 February, 20 May Sarah Infanger 10 January, 23 February, 30 April, 8 May, 20 May, 2 July Jouke Kleerebezem 13 January, 21 May, 2 August Matthijs van Leeuwen 14 January, 19 April, 16/23 November Urs Lehni 10 January, 29 December Matteo Poli 19 April, 17 November Jacqueline Schoemaker 11 March, 27 September, 16-17/23 November Filiep Tacq 10 January, 23 February, 20 May, 2 July, 1 October Daniël van der Velden 11 January, 19 April, 12 September, 10 October, 3/16/23 November, 31 December Joël Vermot/Harrisson 10 January, 23 February, 20 May, 2 July, 18 September Richard Vijgen 10 January, 23 February, 20 May, 22 June, 2 July Jozua Zaagman 9 April, 27 September, 16/23 November Gon Zifroni 19 April, 16 May, 16/23/25 November THEORy Monika Bakke 13 January, 11 June, 8 September Angelika Bartl 9 January, 12 July Stéphanie Benzaquen 11 January, 30 April, 20 June, 5 December Norman Bryson 26 February, 4 August, 9 September Sabeth Buchmann 10 January, 6 February, 25 April, 24 May, 27 August, 13 November, 5 December Lorenzo Chiesa 28 January, 25 February, 22 April, 25 April, 9 December Jonathan Dronsfield 9 January, 8 May, 12 September, 10 October Barbara Formis 21 February, 23 February, 4 November Christopher Gemerchak 13/28 January, 22 April, 12 July, 16 November, 9 December Hanneke Grootenboer 13 January, 20 February, 6/31 March, 10/24 April, 8/22 May, 22 July, 7 September, 11 October, 22 November Sönke Hallmann 10 January, 8 May, 16 August, 17 September, 6 December Sabine Hillen 10 January Benda Hofmeyr 11 January, 7 June, 20 June 11 October, 3/24 November Antony Hudek 10 January, 14 June Ils Huygens 11 January, 31 March, 20 June, 19 August, 8-9 September Tom Van Imschoot 20 December Leyla Arzu Kececi 9 January, 25 May Marc De Kesel 12/26/28 January, 6 March, 9 December Irene Lucas 9 January, 1 April, 16/23 November Eva Meyer 16 June, 20 June André Nusselder 12 January, 28 December Elisabeth Penker 6 January, 9 January Johan Schokker 28 January, 22 April, 11 June, 9 December Aaron Schuster 12/28 January, 25 February, 11 April Ruby Sircar 9 January, 7 June Tim Stüttgen 11 January, 9 September, 3 October, October

3 Project index Fine art Gala night of the cannibals 27 October Geometry in free space 26 February Language with body and image 22 March Resonance. Or how one reality can be understood through another 1/3 December The cut 21 February The liberation of the voice 23 May Thinktank, faculty of invisibility and monument as discussion 23 May Euregion Euregional Forum 21 June, 22 June, November, November Traces of autism 9 January, 22 March, 23 March, 27 September, 16/23 November Film and tele vision Film and biopolitics 6 February, 7 February, 1/24/25 April, 24 May, August, 6/7/13 November, 4/5 December On the television work of Jef Cornelis 20 February, 19 June, 18 September INSTITUte Institutional information between 30 April and 1 May body Reversing the body, undoing the frame: the beauty of the back 23 February Thinking through the body 4 November Thinking through affect 8-9 September Politics Cultural activism today: strategies of over-identification 19 January Media and mass violence: process of healing and reconciliation 5 December Post / Porn / Politics October Radical passivity. Rethinking ethical agency in Levinas November The Wal-Mart phenomenon. Resisting neo-liberalist power through art, design and theory 2-3 November Liminalit 20 June Psychoanalysis Circle for Lacanian ideology Critique 26 January On identification. Reading Lacan, seminar IX 26 January, 23 February, 9/22 March, 19 April, 3/17 May, 15 June, 5/19 October, 27 September, 15/30 November, 9 December Politics and jouissance 28 January, 25 February, 22 April publishing A reader 11 March Going aerial. Air, art, architecture 11 June Jan van Eyck Bookish weekend May The tomorrow book 10 January, 23 February, May The Vos case. De zaak Vos. Der Fall Vos 6 September The zoo of space 30 April Ubiscribe 14 January, 21 May, 12 December Rese arch Faculty of invisibility The speech 6-8 December Research on research 10 October cit y Brakin. Visualizing the visible 2 July Citygraphy 2 June Logo Parc 19 April, 3/16/23 November, 10 October Zhdanovka 18 August The pensive image The pensive image 20 February, 6/31 March, 10/24 April, 8/22 May, 3 July, 7 September, 11 October, 22 November, 13 December Museum Museum in Motion? 18 April The museum of conflict. Art as political strategy in post-communist Europe 12 September

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8 Wednesday 4 January

9 Thursday 5 January

10 Friday 6 January Elisabeth Penker 1974 / Austria Researcher Theory / FO/GO Lab The Viennese FO/GO Lab feminist research group Angelika Bartl, Leyla Arzu Kececi, Irene Lucas, Elisabeth Penker and Ruby Sircar was involved in varying projects, ranging from exhibitions and spatial setting design to conferences and performances. FO/GO Lab set up a lecture series constructed around the key issues of the project: mobility, migration, exclusion, image, cultural translation and feminism. Each group member concentrates on one specific perception angle of the issues within this trans-disciplinary series. They not only offer different options in terms of topics and formats, but also in an academic sense and vis-à-vis its framework. FO/GO Lab aims to set up networks with other feminist artist and media collectives, institutions and single-content producers. Organisation events The (un-)making of migrancy. Von der Schwierigkeit keine Rassistin zu sein. (10 11 February). Stuttgart, DE: Künstlerhaus Stuttgart. Editorials Angelika Bartl, Leyla Arzu Kececi, Irene Lucas, Elisabeth Penker & Ruby Sircar (Eds.). [fem.] Additives. Stuttgart, DE: Lautsprecherverlag. Reviews Movilities. Die schnelligkeit im Feminismus. [review of Movilities]. In: Sonnendeck, 02/06. Georg Leisten. (11 February). Currywurst oder Döner? Das Künstlerhaus beschäftigt sich mit dem Thema Migration. [review of Movilities]. In: Stuttgarter Zeitung, 35, p. 41. Michael Hall. Brutal ornamental. [review of Brutal ornamental]. In: ST/A/R Magazine. Lectures/presentations Sound und Sprache. Künstlerführung als Performance. (4 October). Graz, AT: Kunsthaus Graz. [fem.] Additives. (9 February). With FO/GO Lab. Stuttgart, DE: Künstlerhaus Stuttgart. FO/GO Lab. In: Opening week (9 13 January). Maastricht, NL: Jan van Eyck Academie. Discussions/debates Post-autonomous praxis. London, GB: Tate Modern. Exhibitions Nada. In: Nada Art Fair Miami (6 10 December). Miami, US. Runaway. Bratislava, SK: Galeria Priestor for Contemporary Arts. Protections. In: Steirischer Herbst. (23 September 23 October). With Tim Etchells, Daria Martin, Roman Ondák, Markus Schinwald & Apolonija Sustersic. Graz, AT: Kunsthaus Graz. Protections. Das ist keine Ausstellung. (23 September 22 October). With Adam Budak. Graz, AT: Kunsthaus Graz. Tonspur_Live15. (14 May). With Tobi Maier. Vienna, AT: MuseumsQuartier Wien. Presentation Galerie Kosak Hall. In: ViennAfair (6 9 April). Vienna, AT: Kosak Hall. Movilities. (10 February 4 March). With FO/GO Lab. Stuttgart, DE: Künstlerhaus Stuttgart.

11 Saturday 7 January

12 Sunday 8 January New Year s reception Ideal presentations? Ann Demeester, Charles Esche, Suchan Kinoshita, Emily Pethick, Mique Eggermont (moderator) Concept Bonnefantenmuseum, Jan van Eyck Academie, Academie Beeldende Kunsten Maastricht, Marres Centrum voor Contemporaine Cultuur Venue Academie Beeldende Kunsten Maastricht, NL

13 Monday 9 January Event Opening week 2006 Presentations Hinrich Sachs: Untitled / Falke Pisano: Untitled / Megan Sullivan: The Hunter Seat / Jonathan Dronsfield: On the very idea of habitation in art / Paul Hendrikse: Performing a sculpture park / Marjolijn Dijkman: Untitled / Wim Cuyvers: Traces of autism / Raphaël Cuomo, Maria Iorio: Untitled / Angelika Bartl, Leyla Arzu Kececi, Irene Lucas, Elisabeth Penker, Ruby Sircar: FO/GO Lab Venue Jan van Eyck Academie, Maastricht, NL For the fifth consecutive year the Opening week marked the beginning of the academic year. In five days all (advising) researchers 52 international artists, designers and theoreticians presented the research and productions they intended to realise in The programme comprised lectures, performances and a visual presentation. The main venue was the Jan van Eyck Academie, but there were two other settings as well. Cinema Lumière (Maastricht) scheduled a special programme consisting of films and videos made by researchers of the Fine Art department. Further, a visit was paid to the exhibition Untitled excerpts (Galerie Nadja Vilenne, Liège) that showed work by researchers whose research period had come to an end. The Opening week offered researchers and external guests a unique opportunity to get acquainted with the heterogeneous programme of the Jan van Eyck, with all the things that the researchers, the artistic and technical staff are concerned with. It was an intensive and dynamic week. The individual projects of the (advising) researchers that were presented during the Opening week are expounded on on their date of birth.

14 Tuesday 10 January Event Opening week 2006 [Monday 9 January] Presentations Will Holder, Sarah Infanger, Filiep Tacq, Joël Vermot, Richard Vijgen: The tomorrow book / Urs Lehni: The private press / Antony Hudek: Jean-François Lyotard and Les immatériaux: losing philosophy in the museum / Sönke Hallmann: The writing of community / Sabine Hillen: A monster with horsehair / Sabeth Buchmann: From system theory to biopolitics: remarks on (post)avant-garde art and film discourse / Lene Markusen: Untitled Venue Jan van Eyck Academie, Maastricht, NL Exhibition Untitled excerpts Armando Andrade Tudela, Kasper Andreasen, Peggy Buth, Natascha Hagenbeek, Geoffrey Garrison, Alevtina Kakhidze, Johanna Kirsch, Stefanie Seibold, Saliou Traoré Venue Galerie Nadja Vilenne, Liège, BE The tomorrow book The project The tomorrow book aims at carrying out research into the future of the book, taking a multi-disciplinary approach. The project concerns itself with commission-based book design. Thus, research can be directly tested and applied in practice. Convinced that the book will never cease to exist, The tomorrow book focuses on the specific qualities of the book as a medium. The book, after all, has a physical reality that is part of a complex and process-like entity that involves acts such as conceptualising, making, distributing, reading, using, reusing and keeping. The book has a functionality of its own that is indispensable in the fields of education, science and the public domain. What is more, the pleasures of making and reading books are distinctly unique. The tomorrow book engages in redefining the practice of design, and reflects on the relationship of the designer to all parties involved in the production process, as well as finding a balance between theory and practice. Initially, the project studio will engage primarily in internal commissions by (advising) researchers (Fine Art, Design and Theory) at the Jan van Eyck Academie, wanting to become involved in content-generation from a commission s conception. In doing so, design and articulation of given content form a grounded affinity with that content, as opposed to the application of arbitrary or universal stylistic treatments. In this way the designer becomes involved in the production process at an earlier stage, and more time can be created to consider the longterm implications of choices made. Taking the book as a model, the designers practice extends towards considering problem-solving on a structural level as opposed to a product/presentationoriented or formal level. Solutions with regard to book-making must be based on realistic research into all involved parties, from publishers to distributors to authors to designers to editors; then and then only can realistic proposals be made regarding the future of any design practice. Being based on mutual exchange, therefore, the studio considers its own functioning, as a studio, as micro-model for mutual exchange. A collective responsibility and critical attitude is needed to project towards every solution that leaves the studio, much in the same way that the studio would expect to be able to confront others, outside, on an equally existential level with regards to any commission or solution (love they neighbour as thyself). Any external commissions must become a consequent part of the same practice, avoiding a schizophrenic split between approaches to what a designer does inside as opposed to outside of the Jan van Eyck. The complete model proposed for the studio is merely an attempt at setting a new, good example with regard to the future practice and position of the graphic designer within the structure of industry. The studio will build up a portfolio of good examples and proposals, using the book as a universal, tangible, open-ended tool for discussion. Project in cooperation with the Charles Nypels Foundation; supported by the Province of Limburg. Advising researchers: Will Holder and Filiep Tacq. Researchers: Sarah Infanger, Joël Vermot (Harrisson) and Richard Vijgen. See also tomorrow.html Read more Saturday 20 May Sabine Hillen 1968 / Belgium Researcher Theory Sabine Hillen wants to research the philosophical understanding of pain. According to Hillen, the painful relationship between poet and muse can be seen as a form of asceticism: in the loss of part of himself the ascetic thinker maintains another part of his identity. Sometimes, the crisis of suffering can be the stimulus for a great productive power. Hillen wants to compare the contemporary status of pain against a past in which pain served a purpose, could lead to great creativity or acted as a restraining power of the tyranny of pleasure. In the course of the 20th century, pain seems to have increasingly moved towards primitive regression, or pleasure seems no longer to need the restraints of Freud s reality. This is why Hillen is researching whether pain today still serves a purpose or intention, whether wounds can still be read as a form of criticism or undermining of social order. Publications Kort en lang boekenplankleven. Literatuur in een tijd van digitalisering. Louvain, BE: Acco. De fotografische blik. Luc Tuymans et Jean-Paul Jungo s Doué pour la peinture. In: (H)art. De reizen van Dominique Baqué s Histoires d ailleurs: artistes et penseurs de l itinérance. In: (H)art. Lectures/presentations Lautreamont en het orgaanloze lichaam. (17 November). In: Het gemenebest. Kalmthout, BE: Strijboshof. Suspendre l événement, aimer la marge: la solitude selon Barthes. In: Roland Barthes, retroactively/ après coup. (27 28 March). Ghent, BE: Het Pand. A monster with horsehair. In: Opening week (9 13 January). Maastricht, NL: Jan van Eyck Academie.

15 Wednesday 11 January Event Opening week 2006 [Monday 9 January] Presentations Daniël van der Velden: Design research vs. the content factory / Marijke Cobbenhagen, Chantal Hendriksen: A man with a turban, the Lucca Madonna vs. the virgin of chancellor Rolin / Will Kwan: Canaries: an early storyboard / Benda Hofmeyr: What s there to resist and who are we to resist it? / Stephan Geene: Anyone s life re-animated, the freshness of commodified moments / Tim Stüttgen: Biopolitics and film: postporn cinema / Ils Huygens: Towards an aesthetics of embodied affect / Stéphanie Benzaquen: Web representations of genocides and mass murder Venue Jan van Eyck Academie, Maastricht, NL

16 Thursday 12 January Event Opening week 2006 [Monday 9 January] Presentations Marc De Kesel: Manzoni with Bataille: scatologically writing aesthetics / Aaron Schuster: Art as symptom and / or sublimation / André Nusselder: Philosophy in different media / Aglaia Konrad: Desert cities / Charlotte Moth: Between travel, method and research / Romana Schmalisch: Astana, the new city / Tina Clausmeyer: Mapping conspiratorial spaces / Achim Lengerer: Untitled Venue Jan van Eyck Academie, Maastricht, NL Film screenings Lene Markusen: Grad (2004) / Anke Brüchner: Fluch (2004) / Megan Sullivan: The birthplace of Sol LeWitt (is Hartford, Connecticut) (2004 ) / Romana Schmalisch: Der Berg (2005) / Raphaël Cuomo, Maria Iorio: Afterwork (2004) / Orla Barry: Portable stones (2005) Venue Lumière, Maastricht, NL

17 Friday 13 January Event Opening week 2006 [Monday 9 January] Presentations Hanneke Grootenboer: Kisses springing from her eyes: on intimate vision / Christopher Gemerchak: The restricted economy of desire in fetishism / Monika Bakke: Breath taking. Air, art, architecture / Jouke Kleerebezem: Goodbye and hello! / Arie Altena: In the loop / Sandra Fauconnier: Designing participation / Inga Zimprich: Thinktank / Anke Brüchner: The basement lesson Performance Nikolaus Gansterer: Untitled Venue Jan van Eyck Academie, Maastricht, NL

18 Saturday 14 January Presentations, discussions Visualising social networks / knowledge sharing / virtual structures for social exchange Tanguy Coenen, Auke Touwslager As part of Ubiscribe Venue Jan van Eyck Academie, Maastricht, NL Ubiscribe The research project and online publication platform Ubiscribe sets out to investigate authoring and publishing in the age of personalisation. This is a time when many use multi-medial and multi-disciplinary chronicles such as weblogs, blogs, vlogs and photologs for various purposes. UbiScribe explores the intrinsic potential and technological limits of presentday publishing. How do collaborations come about in online environments? How are they kept up? Can they be productive? The project investigates users, their ideas, communication devices and production channels. Ubiscribe was supervised by advising researcher Jouke Kleerebezem. See also Read more Sunday 21 May / Tuesday 12 December Matthijs van Leeuwen 1977 / the Netherlands Researcher Design / Logo Parc Using graphic design next to and combined with, for example, architecture (on a small and larger scale) can enrich our culture, add meaning to things, create room for dialogue. Matthijs van Leeuwen regards the Logo Parc adventure as a research with the objective of redefining the role of the graphic designer within the ideal public sphere. In such a role, the graphic designer does not merely address stylistic and informationdesign qualities, but would have a solid base for working with the public sphere (in cooperation with other design disciplines). It is a space in which everyday life will be very inspirational; a place where the notion of public space can truly come alive. Publications Hybriditeit van de post-publieke ruimte. Logo Parc en de Zuidas in Amsterdam. In: Open, 11, pp Lectures/presentations Presentation Logo Parc. (13 October). With Katja Gretzinger, Matteo Poli, Daniël van der Velden & Gon Zifroni. Amsterdam, NL: Gerrit Rietveld Academie. Statement. (19 April). In: Logo Parc non-stop meeting. Maastricht, NL: Jan van Eyck Academie. Seminars/workshops/lecture series Logo Parc non-stop meeting. (19 April). Maastricht, NL: Jan van Eyck Academie. Symposia/conferences Art and the city. A conference on postwar interactions with the urban realm. (11 12 May). With Katja Gretzinger, Matteo Poli, Daniël van der Velden & Gon Zifroni. Amsterdam, NL: Het Trippenhuis. Design Thinking through the body. (poster). (November). Maastricht, NL: Jan van Eyck Academie. Citygraphy. Water in the city. (poster). (June). Maastricht, NL: Jan van Eyck Academie.

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22 Monday 16 January

23 Tuesday 17 January Paul Hendrikse 1977 / the Netherlands Researcher Fine Art For some time, Paul Hendrikse has been interested in phenomena occurring in the periphery of attention. Taking walks through cities, he has gathered material (photographs or video images) which intrigued him, since it was different, unnoticed or simply ungraspable. Afterwards, the selected footage resulted in make-overs of incidental situations; these make-overs, in turn, became installations, videos, films and objects. By emphasising this marginal information and putting it in the centre, it had to be revised and rethought. Lately, Hendrikse has become interested in creating extensions of existing architecture, art and literature. By placing a second object next to its mould, the space between the two becomes important. It becomes the space where two identities meet and coalesce the resonance revealing new meaning. Like concepts, being subject to revision through time and context, their shape or meaning is not identical in two spaces: this is the threshold where the object is undergoing a permanent change and reinvents itself. Lectures/presentations Bonne esperance, maitlands, cheviot place (20 April). Presentation & screening. Maastricht, NL: Jan van Eyck Academie. Performing a sculpture park. In: Opening week (9 13 January). Maastricht, NL: Jan van Eyck Academie. Exhibitions Resonance. Or how one reality can be understood through another. (1 December January 2007). With Armando Andrade Tudela, Pavel Braîla, Anke Brüchner, Peggy Buth, Mariana Castillo Deball, Raphaël Cuomo, Marjolijn Dijkman, Olivier Foulon, Nikolaus Gansterer, Hatice Güleryüz, Eric van Hove, Maria Iorio, Johanna Kirsch, Will Kwan, Doris Lasch, Achim Lengerer, Lene Markusen, Charlotte Moth, Gyan Panchal, Falke Pisano, Ursula Ponn, Romana Schmalisch, Megan Sullivan & Inga Zimprich. Organised by the Jan van Eyck Academie. s-hertogenbosch, NL: Artis; Louvain, BE: Stuk. Archipeinture Moving in architecture. (26 30 July). London, GB: Camden Arts Centre. Adjustments & errors. (23 29 March). With Ives Maes & Derek Mawudoku. Johannesburg, ZA: The Bag Factory. Très riches heures. (24 February 26 March). London, GB: Keith Talent gallery. Très riches heures. (4 February 11 March). Brussels, BE: Le Blac. Très riches heures. (27 January 26 February). Breda, NL: Lokaal 01. Actions/performances Performance. (12 June). With Martin Nachbar. Maastricht, NL: Jan van Eyck Academie. Showings International exhibitionist No.6: Moving in architecture 2. London, GB: Curzon Soho. Festivals/events Blackouts. An event on the memory of space. (1 April). Alexandra, ZA: The Bag Factory.

24 Wednesday 18 January

25 Thursday 19 January Symposium Cultural activism today: strategies of over-identification BAVO, Joep van Lieshout, Alexei Monroe, Dieter Lesage, Jens Haaning, Boris Groys Film screening Aernout Mik: Pulverous (2003) / Saso Podgorsek & Laibach: Divided states of America (2005) Launch AS#176. The spectre of the avant-garde / Alexei Monroe: Interrogation machine Concept BAVO Venue Stedelijk Museum CS on 11, Amsterdam, NL politics This symposium, with participants BAVO, Joep van Lieshout, Alexei Monroe, Dieter Lesage, Aernout Mik, Jens Haaning, Boris Groys, tackled the new wave of cultural activism that has occurred through anti-populist or anti-globalist struggles. Most activisms today are either too cultural (and therefore become politically harmless) or, inversely, too political (and do not stand out against the bulk of socio-political actions.) This deadlock is directly related to the dominance of the Third Way ideology that holds the imagination of cultural forces in a suffocating grip. All actors are called upon to criticise the shortcomings of today s society and to offer constructive lines of flight; they are at the same time confronted with a transcendental philosophy of the End of History that does away with all possibilities of an Other utopia which can inspire such acts. Thus, in her review in Tubelight magazine, Lotte Haagsma described how Matthias Pauwels (BAVO) criticised some initiatives by Dutch artists and collectives geared at reviving urban problem areas (Jeanne van Heeswijk Crooswijk; WIMBY Hoogvliet; OpTrek Transvaal). All of these projects try to involve the residents in the changes to their environment: they are invited to give their opinions, often via websites. According to Pauwels, these citizens are in actual fact offered a kind of sham participation, since, in the end, it is the councils and developers who decide based on money and political themes like security. Pauwels deemed that the artists, with their friendly interventions, actually render the residents voices of frustration harmless. In contrast, this symposium wanted to show the possibility of a form of activism that is both radically political and cultural. More specifically, it was argued that artists should employ the strategy of over-identification in order to be truly effective. Cultural activism today brought together cultural artists and theoreticians in whose works over-identification features centrally. It explores the potential of this strategy to give back to cultural activism its undermining force. Activist works produced by artists as diverse as Christoph Schlingensief, Michael Moore, Neue Slowenische Kunst or Atelier van Lieshout lay bare the subversive potential of cultural acts. These acts uncompromisingly hack the parts of obscure dreams and fantasies that still haunt Third Way political correctness in order to unlock inconsistencies that artificially keep our society in its so-called final historical stage. Attention was drawn to Christoph Schlingensief s work Bitte liebt Österreich (2000), which was a harsh criticism of Haider s FPO policies in Austria: in a Big Brother-like programme, viewers could vote who of the refugees, all locked in containers, would be thrown out of the country. Aernout Mik s film Pulverous (2003) was also featured: it shows how stunned-looking people pulverise the contents of a supermarket, racks and all. According to BAVO, Mik confronts the viewer with the suffocating emptiness of today s consumerist society. At the end of the afternoon, Joep van Lieshout presented his latest project Call centre (2005): a completely autonomous telemarketing company set up like a high-tech camp with inmates doing forced labour, working day and night towards buying a very expensive (publicly accessible) art collection. BAVO pleaded for artists using the strategies of the demagogue, said Haagsma, rather than that of the social worker: they should exaggerate the situation they are criticising in order to display a clearer mirror to society. However, philosophy and media theory professor Boris Groys proposed the idea that capitalism is so artificial and complex that it can effortlessly absorb anything deviant or subversive. He said that both artist and capitalism want to distinguish themselves and always try to cross borders. Thus, Haagsma wrote, he supported those artists who are not afraid to enter into coalitions with public and private parties. After all, the question was whether cultural activism can at all escape the influence of the market and be truly undermining.

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30 Tuesday 24 January

31 Wednesday 25 January Arie Altena 1966 / the Netherlands Researcher Design / Ubiscribe Arie Altena s blog research In the loop was part of the Ubiscribe research strand. Altena s research is empirical. He investigates the ways in which serious bloggers design their online presence and how they use it in their intellectual practice. Which decisions guide the editorial design of their blogs? These decisions concern issues of subject matter strictly professional, but also personal, graphic design, choice of software, use of software functionalities (comments, rss, categories, syndication, links, et cetera). His research of a limited amount of serious blogs and interviews with their writers has revealed how blogging transforms writing and publishing and gives insight into the culture of software and into the question of how technology, writing and publishing influence each other. Publications 204 blogs. Screenshot collage. Published on: <http://www.xs4all.nl/~ariealt/jve/204_blogs. html> Het boek als back-up-medium en luxe object. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, p. 30. Maastricht, NL: Jan van Eyck Academie. Do not write more than 12 lines. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Glossary. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Metadata en de essayisten van de toekomst. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Of writing and other things, a collection of quotes. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Over James en John Whitney, live cinema Noise Room en Practicum06. In: Petra Jekel (Ed.). Vijf jaar Kunsthuis Syb, 3. Beesterzwaag, NL: Kunsthuis Syb. Personal data-mining In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Publiceren, overal en op elke plek. Droombeek in Enschede. In: Open, 11, pp To blog in Screenshot collage. Published on: <http://www.xs4all.nl/~ariealt/jve/2006_to_ blog_small/to_blog.html> [Untitled]. In: Ariealt.net. Multiple weblog posts on Ubiscribe. Published on: <http://www.ariealt. net/blog/category/ubiscribe> Wie blogt bestaat: lezen en schrijven in tijden van nieuwe media. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. Workspaces. In: Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory, pp Maastricht, NL: Jan van Eyck Academie. A very simple research. (25 October). Published on: <http://www.ariealt.net/blog/a-very-simpleresearch/> Editorials Arie Altena & Sandra Fauconnier (Eds.). Ubiscribe recent changes. Pervasive, personal, participatory. With Claudia Hardi, Jouke Kleerebezem & Inga Zimprich. Maastricht, NL: Jan van Eyck Academie. Lectures/presentations Authoring in the network. Blogging and web 2.0. (13 December). Breda, NL: Avans Hogeschool Breda. Authoring in the network. Blogging and web 2.0. (12 December). Maastricht, NL: Jan van Eyck Academie. Authoring in the network. Blogging and web 2.0. (29 November). In: Future s past: re-imagining art and media. Groningen, NL: Hanzehogeschool Groningen; Groningen, NL: University Groningen. Owning, hoarding, circulating and recombining sound. Some remarks on the late birth of mp3- blogging. In: Close encounters. 4th European biannual conference of the society for science, literature and the arts (SLSA). (13 June). Amsterdam, NL. Ubiscribe book launch. (21 May). In: Jan van Eyck Bookish Weekend. With Sandra Fauconnier, Claudia Hardi, Jouke Kleerebezem & Inga Zimprich. Maastricht, NL: Jan van Eyck Academie. In the loop. In: Opening week (9 13 January). Maastricht, NL: Jan van Eyck Academie. Will Kwan 1978 / Hong Kong Researcher Fine Art Canaries is a body of research and studio work Will Kwan developed at the Jan van Eyck, drawing from contemporary theories of military economy and the war machine. The work of war theorists offers a useful alternative reading of social organisation, human endeavour and world order, by tracking the role of military and political influence on the evolution of infrastructures, technologies, and institutions now deeply embedded in daily civilian experience. Kwan is interested in the ability of this discourse to establish both material and affective relationships between the personal and the geopolitical. Within this broad sphere of inquiry, Canaries begins with a study of the assets of a trans-national bank founded by the British in Hong Kong in 1865, shortly after the Opium Wars. The identity, architectonics and operations of the bank become conceptual and sculptural templates which he appropriates and reconfigures to comment on the relationship between corporate trans-nationalism and the overseas transfer of culture and communities. Exhibitions The studio visit. New York, US: Exit Art. Resonance. Or how one reality can be understood through another. (1 December January 2007). With Armando Andrade Tudela, Pavel Braîla, Anke Brüchner, Peggy Buth, Mariana Castillo Deball, Raphaël Cuomo, Marjolijn Dijkman, Olivier Foulon, Nikolaus Gansterer, Hatice Güleryüz, Paul Hendrikse, Eric van Hove, Maria Iorio, Johanna Kirsch, Doris Lasch, Achim Lengerer, Lene Markusen, Charlotte Moth, Gyan Panchal, Falke Pisano, Ursula Ponn, Romana Schmalisch, Megan Sullivan & Inga Zimprich. Organised by the Jan van Eyck Academie, Maastricht. s-hertogenbosch, NL: Artis; Louvain, BE: Stuk. Displacement (with Chinese characters). (27 October 25 November). Shanghai, CN: Duolun Museum of Modern Art. Around. (30 June 15 September). With Bernardo Giorgi, C. M. von Hausswolff & Henrik Plenge Jackobsen. Prato, IT: Galleria Enrico Fornello. Lectures/presentations Canaries. An early storyboard. In: Opening week (9 13 January). Maastricht, NL: Jan van Eyck Academie.

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