Learning

13 February–05 June 2014

Learning Place: Curating the Political

educational platform with MaHKU, Utrecht and MAR, KABK, The Hague

Learning Place (LP) is BAK’s key educational platform and a site of talent development. It is conceived as a series of learning, interactions, and gatherings parallel to the main research and program trajectory of BAK, so that the participants fully benefit from, and contribute to, primary research into the conceptual urgencies that drive BAK’s work; exchange directly with artists, scholars, and activists contributing to BAK projects; and gain hands-on experience in the day-to-day life of a theoretically-driven and politically motivated art organization. It is developed in dialogue with BAK’s fellows and with a variety of MA programs at art academies and universities in Utrecht, the Netherlands, and abroad.

Folded into the multifaceted series Future Vocabularies and its inaugural, yearlong vocabulary entry on survival, a 16-week comprehensive curriculum is realized under the title Survival: Curating the Political. The triad of survival—the political—curating forms the guiding thread of LP and structures the program into three clusters. Daylong weekly sessions in this semester explore artistic and philosophical approaches to the politics of life and negotiations around the conception of survival at the intersections of biology and biography. Morning sessions on art and theory are taught by Maria Hlavajova with various guests; afternoon practicum sessions (each time in clusters of three) are hosted by artists Aernout Mik and Manuel Beltrán, as well Elke Uitentuis and Savannah Koolen together with members of the refugee collective We Are Here Yoonis Osman Nuur and Thomas Philip Guya, among others. Participants engage with the concerns of Future Vocabularies by carrying out collaborative research into new gestures of both power and resistance and organizing a series of changing, makeshift archive-exhibitions at BAK.

The LP Survival: Curating the Political is realized as part of the MA research curriculum at MaHKU, Utrecht and MAR, Royal Academy of Art (KABK), The Hague with the following participants: Sharelly Emanuelson, Pierfrancesco Gava, Anna Ioannidi, Annabel Kanaar, Yumemi Kobayashi, Quenton Miller, Sara Pape, Minsun Park, Uzine Park, Ika Putranto, Heekyung Ryu, Sissel Marie Tonn, Clara Turchi, Anne-Marie Twigge, Alejandro Vasquez, Audrey Wang, Yinan Wang, You-Na Wang, and Gayane Yerkanyan.

In collaboration with

Suggestions from the archive

Discursive

18 October 2018–24 January 2019

Propositions #7: Evidentiary Methods

Propositions #7: Evidentiary Methods—the public program in the context of the exhibition Forensic Justice and part of the BAK series Propositions for Non-Fascist Living (2017–2020)—expands upon the notion of forensic justice in a series of lectures, screenings, and workshops on methodologies for articulating claims within the multidimensional space of aesthetics, law, architecture, politics, and ecology.

Exhibition

18 October 2018–27 January 2019

Forensic Justice

Forensic Justice is an exhibition and a series of public programs with Forensic Architecture, a London-based independent and interdisciplinary research agency comprised of, among others, artists, scientists, lawyers, filmmakers, and architects.

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Exhibition

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Lecture Program

Discursive, Exhibition, Publication

11 January–01 March 2009

The Return of Religion and Other Myths

The Return of Religion and Other Myths is a large-scale multifaceted project, consisting of the exhibition The Art of Iconoclasm, a discourse program taking place in early 2009 titled On Post-Secularism, and the publication of a BAK Critical Reader on the subject in 2009. The project explores the popular assumption of the return of religion to the public sphere, contemporary politics, and the media in the West as a constitutive “myth.”

Lecture

Learning

10 February–31 March 2009

Curating (Beyond) Exhibitions: Critical Curatorial Practices and Contemporary Society

Master course organized by Utrecht University and BAK. The course, structured as a series of lectures and seminars, explores the dynamic field of curating vis-ŕ-vis the challenges that artistic and intellectual practices are presented with by contemporary society, and takes the year 1989—which marks the end of the Cold War—as a starting point from which to explore the practice of curating.