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 Education Program

22 March, 18.30–5 April, 21.00 2022

 

Course: Art as Politics – Fundraiser for Ukraine

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The sessions take place on the following Tuesdays and Thursdays, 18.30-21.00 hrs CET, via Zoom: 22, 24, 29, and 31 March, and 5 April 2022. 

BAK organizes this edition of the course Art as Politics in solidarity with the Ukrainian people. All proceeds of this fundraiser are to be donated to the Visual Culture Research Center, who are providing structural help to cultural workers affected by the war. 
 
Art as Politics, a digital extension of BAK Studies (formerly called BAK Public Studies), is prompted by the urgency to engage in collective thinking through, learning about, and imagining critical, politically-informed artistic practices that grasp—and intervene into—the present. The course brings those involved and/or interested in art, theory, and social action into collective conversation with a focus on the changing nature of artistic practices in the face of multiple and entwined crises, critical redefinitions of “publics,” institutional structuring, and art as envisioning and actualizing politics of “being together otherwise.”

Over five sessions, the participants engage in an in-depth analysis of concrete works of art and projects from within the BAK archive of practice, focusing on the historical period starting with the pivotal year 1989. The case studies and examples of artworks are mainly from BAK’s  international projects Propositions for Non-Fascist Living (2017–ongoing), FORMER WEST (2008–2016), and Future Vocabularies (2013–2016), and include works by artists such as Kader Attia, Forensic Architecture, Jeanne van Heeswijk, Aernout Mik, Rabih Mroué, and Jonas Staal, among others. The course takes a broad view on artistic production, institutions, and publics, and attempts to build a critical vocabulary through which to reshape understanding and practice of art in the face of present global challenges.

Session 1: In This Time of Crisis: How do Art and Politics Meet?
Session 2: Future Publics
Session 3: Once We Were Artists
Session 4: Rethinking/Reworking Institutions
Session 5: What is Political Imaginary?  

The course is taught by Maria Hlavajova, BAK’s general and artistic director.   

Participating in the course is open to all concerned with the question as to what art can do in times like ours. Prior knowledge or experience in the subject matter is not required.  

Practical information  
Applications should be sent in via the form on the BAK website, click button “APPLY NOW” at the top.  

Deadline for Applications: 20 March 2022 
Dates & Times: Tuesdays and Thursdays  22, 24, 29, and 31 March, and 5 April 2022, 18.30–21.00 hrs CET 
Location: Online via Zoom  
Language: English   
Fee: € 200 (individuals, incl. VAT) and € 350 (institutions, incl. VAT), to be paid before the start of the course. Participants are welcome to pay a larger fee in case they are willing and able to do so; all proceeds from this edition of Art as Politics will be directed to cultural workers suffering the consequences of war under Putin in Ukraine. 
Study material (reader): optional – € 15 plus shipping costs, the core reading material is included in the course fee and will be made available digitally. Check shipping cost/check shipping time (please note that currently shipping times can take longer: there is a risk you will not receive the reader in time for the start of the course).  

Click here to view the terms and conditions.  
If you have any questions, you can contact us via publicstudies@bakonline.org 

BAK Studies 
BAK Studies (formerly called BAK Public Studies) offer critical insights into theoretical foundations and concrete actualizations of art as public practice. Understanding art in relation to both theory and social action, BAK Studies form a space for collective thinking, imagining, and acting in parallel to BAK’s politically-driven and theoretically-informed research, discourse, exhibitions, and publications.  

*  Credits image, l.–r. (all photographs taken at BAK, basis voor actuele kunst, Utrecht by Tom Janssen):
– Maria Hlavajova speaks during Propositions #10: Instituting Otherwise, 7 December 2019
– Forensic Architecture, M2 Hospital Bombing, 2017, installation view exhibition Forensic Justice
 – Kader Attia, Les Entrelacs de l’Objet / The Object’s Interlacing, 2020, installation with video and objects, 2021, BAK, basis voor actuele kunst, Utrecht, photo: Tom Janssen
– Homebaked Community Land Trust (CLT), Homebaked Co-operative Bakery, and Homegrown Collective in collaboration with Britt Jürgensen, URBED, and Jeanne van Heeswijk, Brick by Brick and Loaf by Loaf We Build Ourselves, 2019­, installation view Trainings for the Not-Yet


 
 

Suggestions from the archive

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10 May, 12.00–12 May, 18.00 2023

Complaint Making: Setting Up Conflict-Positive Spaces for Community Building Praxis

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Performative

10 May, 12.00–12 May, 18.00 2023

The Diamond Mind II

In this dance training, the people will use a one-minute film of their own movement as material for a booklet—a sixteen page signature—that distributes their presence, their gesture, as an act of EQ. 

Learning

3 May, 12.00–4 May, 18.00 2023

Too Late To Say Sorry? 

A bad apology can ruin a friendship, destroy a community, or end a career. In this workshop, we will investigate the impact of apologies on our relationships and our worlds. Why and how do we make apologies? What can giving and receiving apologies teach us about values and integrity? Should you apologize for something you don’t really feel sorry for? We will explore conflict and how we like to be in conflict with others. We will dive into our own boundaries. We will seek to understand how honoring limits becomes an act of building (or freeing) better worlds capable of holding so many, many more of us.

Learning

28 April, 12.00–29 April, 18.00 2023

Huisje, Boompje, Beestje (D.A.F.O.N.T.)

In this rare masterclass, retired teacher and artist Glenda Martinus teaches participants a thing or two about painting with Microsoft Word. Martinus shares tips, tricks, and secrets on how to use this software to its unexpected potential as a drawing tool. Participants learn how to draw three basic objects—a house, a tree, and an animal—in a seemingly innocent exercise that perhaps contains more layered social commentary. Drawing the worlds we desire does not require expensive tools or education, simply a curiosity to understand how the monster’s tools can topple the house of the master.