Teaching Tools Research Group 2019

Participants Teaching Tools Research Group 2019

The Teaching Tools Research Group 2019 was chaired by Alice Twemlow, head of Design Lectorate

Tutor, Individual Study Trajectory (IST), Material Lab

COMBINING CRAFTING, REFLECTING AND THINKING IN THE ARTISTIC PROCESS: A TEACHING METHOD

Even though the marketing rhetoric of many art academies seeks to elide the differences between making and thinking and to present them as undivided wholes, the locations in which they are taught remain separate. Theory classes continue to be taught in classrooms, seminar rooms, libraries and lecture theatres, while instruction of materials experimentation and making skills takes place in workshops, ateliers or project spaces. As a consequence, it becomes very difficult to bring the worlds of theorizing, reflecting and making together. This research project is aimed at developing a teaching method that can help bring these processes (back) together.

As a theory teacher, Vibeke Gieskes has already developed courses at different art schools in which she has experimented with the ways in which these processes could merge, including the IST course ‘Crafting your Thinking, Reflecting your Craft’ at the KABK. In this course, students follow a trajectory integrating theorizing, technical apprenticeship, analysing, writing, making, drawing, producing work and reflection, which is guided by both workshop instructors and the IST tutor. This year, the course is offered for the fourth time, and while developing this experiment on the basis of trial and error, shaping the educational method becomes a research project in itself, revolving around the question: What kinds of teaching methods work best to tie together the reflection/research/theoretical aspects of learning with the actual making in such a way that the artistic process can benefit optimally from it?

Reflection and writing at the IST Lab ‘Crafting your Thinking, Reflecting your Craft’, 2018
Fig. 1. Reflection and writing at the IST Lab ‘Crafting your Thinking, Reflecting your Craft’, 2018. Image credit: Vibeke Gieskes.
Midterm presentation, 2018
Fig. 2. Midterm presentation, 2018. Image credit: Vibeke Gieskes
Interaction between methods, documentation and data in design research
Fig. 3. Interaction between methods, documentation and data in design research (Nimkulrat, 2009).
One of the students of the IST Lab ‘Crafting your Thinking, Reflecting your Craft’
Fig. 4. One of the students of the IST Lab ‘Crafting your Thinking, Reflecting your Craft’ gets guidance by one of the workshop instructors in how to make a blouse. Image credit: Vibeke Gieskes
One of the students of the IST Lab ‘Crafting your Thinking, Reflecting your Craft’
Fig. 5. One of the students of the IST Lab ‘Crafting your Thinking, Reflecting your Craft’ gets guidance by one of the workshop instructors in how to make a blouse. The student studies in the department of Interactive Media Design and was determined to make his own handmade blouse. After many experiments, testing, trial and a lot of error, he succeeded in making a wearable garment for himself. He learned about crafting by hand, about how he disliked the process of slow making and did in-depth research into the philosophical concept of nihilism – a notion he was meeting during his process of making. The student wrote many reflections on his way of going through the artistic process and learned about his way of processing such a long-term project. Image credit: Vibeke Gieskes


VIBEKE GIESKES is an independent educator, editor, curator and project manager in the field of arts and architecture. She teaches theoretical and writing courses at the Academy of Architecture in Amsterdam and at the KABK, The Hague. Previously, Gieskes curated the International Watercities exhibition at the 2nd Biennale of Architecture (2005) in Rotterdam, edited Herman Hertzberger’s book Space and Learning (2008), compiled and edited the publication The Future of Architecture (2013) and, as in interim-director of Studio Veemarktkwartier, was involved in the development of a cultural district in the city of Tilburg (2009). Between 2011 and 2018, she was responsible for teaching all theory courses at the Department of Architectural Design at the Rietveld Academy in Amsterdam. Now she is editor of Forum and involved in several research projects in collaboration with architects. Gieskes studied Arts and Culture Studies at Erasmus University in Rotterdam and History of Architecture and Theory at the Université Lumiere II and the Ecole d’Architecture in Lyon.

Tutors, BA Interior Architecture & Furniture Design

QUEER AND FEMINIST PEDAGOGICAL FRAMEWORKS WITHIN ART AND DESIGN EDUCATION AT KABK

Maher and Bedford posit that power is articulated by, and reproduced through, a number of dynamics that are mutually constitutive; through material space, embodied space and conceptual space. They aim to locate and name where these phenomena exist within KABK and, additionally, to focus on three pedagogic situations of direct interpersonal engagement where both the body and the subjectivity (of tutor and student) can be entwined within power dynamics, hierarchy and bias, namely: 1. tutor to tutor; 2. tutor to student; and 3. student to student. Maher and Bedford aim to observe these three interaction points independently (1, 2 & 3) and, once established, in relation to one another. They will study a selection of willing departments across the KABK, starting with their own (IA&FD). They are curious to see in what ways the deployment of feminist/queer methodologies, discourse and strategies might transform all three points of interpersonal interaction, with a view to enhancing creative decision making and problem-solving processes within a pedagogical environment. What is the potential for feminist and queer pedagogical frameworks within the institutional practices of the KABK? How could these frameworks enable both physical and dialogical vocabularies for students and teachers to co-create the conditions of creative production, an institutional safe space, and open out other spaces of being and becoming?

Carly Rose Bedford, Soft Pink, 2017. Performance installation
Fig. 1. Carly Rose Bedford, Soft Pink, 2017. Performance installation. Performer: Astrit Ismaili. Image credit: Mylou Oord.
Carly Rose Bedford & Gabriel .A. Maher, Performative Methodologies & Physicalizing Research, 2018
Fig. 2. Carly Rose Bedford & Gabriel .A. Maher, Performative Methodologies & Physicalizing Research, 2018. Workshop at Design Academy Eindhoven (Bachelor 2nd year). Image credit: Gabriel .A. Maher.
Carly Rose Bedford, Gabriel A. Maher and Roberto Perez Gayo, Collective Enunciation, 2018
Fig. 3. Carly Rose Bedford, Gabriel A. Maher and Roberto Perez Gayo, Collective Enunciation, 2018. Installation with performative intervention. Image credits: Kyle Tryhorn and Daantje Bons.


GABRIEL .A. MAHER is a tutor in the BA Interior Architecture & Furniture Design. With a practice established in Interior Architecture and Social Design, Maher’s work centres on critical and analytical approaches to design and research – and, more specifically, on the effects of design and designing on bodies and the shaping of identity. Maher’s position and approach questions design and media practices through queer and feminist frameworks. To articulate, physicalise and activate this position, Maher seeks to create situations where research and design come together in performance. Pedagogic exchange is integral to this approach. Besides tutoring at the KABK, Maher is also a mentor at the Design Academy Eindhoven. For these institutions, Maher collaborates with students on relationships between gender and identity in design as well as performativity. These collaborations work to establish accountable foundations from which to approach design practice. Maher uses the gender pronouns they/them/theirs.


CARLY ROSE BEDFORD teaches in the BA Interior Architecture & Furniture Design. Bedford is a multidisciplinary artist who works across a diverse spectrum of mediums, from performance to sculptural installation to text. Her work balances between a meditation on how materials stimulate affective responses within the body on the one hand, and critical analysis of hierarchies and power structures in society on the other. Her way of approaching these two interrelated issues could be defined as giving materials and objects agency to ‘perform’ queerly. This approach allows for nuanced propositions that enact queer thematics without always reverting to representations of the body and identity politics. She is also engaged in a long-term research project into methods for institutional critique that considers ways to engage power structures within institutions through a process of pedagogical exchange, positioning, workshops and exhibition making. Besides tutoring at the KABK, Bedford is also a mentor at the Institut für Künstlerische Keramik und Glas in Koblenz, Germany.

Tutor, BA ArtScience and MA ArtScience

ALTERNATIVE IMAGES FOR THE SCIENTIFIC CULTURE

As humanity looks into the deepest parts of galaxies and smallest aspects of subatomic spaces, the images created to document such endeavours have become increasingly abstract and technical. Recorded data is reproduced and presented repetitively and, subsequently, these representations became the standard for our worldview(s). This is why the ability not just to interpret these images but also to understand the processes behind their production is crucial to our understanding of the world and the ways in which we look at the world. Michiel Pijpe is interested in the conversation between artistic and scientific representation, in being wedged in the ambiguity of that conversation. Through his art practice, he became intrigued by the aesthetics of various (historical) representations that are used in scientific fields like earth-sciences and astronomy. But, more specifically, in the historical narrative and traditions behind those representations. After all, the scientific image has always been constructed and augmented by a combination of technical innovations, (geo-)political motives, and various belief systems. In this research project, Pijpe seeks to develop a new teaching tool for conveying conceptual knowledge about the organisation and representation of scientific images, through the proposition and creation of an alternative scientific image.

Flight mechanics from NASA’s Jet Propulsion Laboratory (JPL) in Pasadena, Calif.
Fig. 1. Flight mechanics from NASA’s Jet Propulsion Laboratory (JPL) in Pasadena, Calif., lower the Cassini spacecraft onto its launch vehicle adapter in KSC’s Payload Hazardous Servicing Facility. The Cassini mission, a joint US-European four-year orbital surveillance of Saturn's atmosphere and magnetosphere, its rings, and its moons, seeks insight into the origins and evolution of the early solar system. Date: 22 July 1997, NASA/GSFC. Image credit: no copyright protection is asserted for this photograph.


MICHIEL PIJPE has been teaching at the ArtScience Interfaculty since 2008. For more than a decade, he has been developing an image-making procedure that combines optics, light and fluid mechanics. A visual technology that exposes forms and textures found in various chemical potentials. The results from this procedure are translated and presented in a variety of photographic techniques. Next to this ongoing visual research, Pijpe has developed several (site specific) theatrical and performative installations. The installations have been presented in a variety of venues in The Netherlands, including WORM Rotterdam, Muziekgebouw aan ’t IJ, Paradiso, Het Veem Theater and Frascati in Amsterdam, Baltan Laboratories in Eindhoven, De NWE Vorst in Tilburg and Theater aan het Spui/ZAAL3 in The Hague. International venues include The Greenroom in Manchester (UK), the Salone di Mobile, Milan (IT) and CTM in Berlin (DE).

Tutor, Preparatory Year – i.c.w. Merel van ‘t Hullenaar

THE other ACADEMY

In their work, artist duo Van ‘t Hullenaar & Vis investigate different forms of ‘survival’ encountered in artworks, focussing on the material and immaterial aspects of how ideas live on. They look at how historic artworks are tied to the dead-or-alive state of the artist as a persona and speculate on forms of future immortality for both artworks and their makers. Currently they are working on a multimedia work with the title I Was Here, where they present a fictional journey in which they discuss their own positioning as these ‘future immortal artists’. How will artists and designers survive in the future? And what tools will they need? Extending this theme into the realm of pedagogy, Van ‘t Hullenaar & Vis have initiated an experimental space, known as The other Academy (ToA), which involves the development of a frame of mind to be shared with art students as a parallel reality, an undefined space, a multi-dimensional potential. They aim to develop the ToA framework, by working collectively with students and tutors to explore the following research questions underlying this project: What role will artists and designers play in a future post-work society where solely the embodied knowledge of the artist holds any ‘real’ value? What should this new form of embodied knowledge consist of and how can digital technology simultaneously assist us in building and conveying this knowledge?

Van ‘t Hullenaar & Vis, The other Academy – The You in Me, 2018
Fig. 1. Van ‘t Hullenaar & Vis, The other Academy – The You in Me, 2018. Video still of The other Academy classroom presented during a performative lecture at KABK – I/M/D 1st year assignment. Image credit: Courtesy of the artists.
Van ‘t Hullenaar & Vis, The other Academy – Act-your-Interior, AWPPW project week at KABK, 	2019. Photographic registration of Senseless Design, a workshop by Laura van Santen
Fig. 2. Van ‘t Hullenaar & Vis, The other Academy – Act-your-Interior, AWPPW project week at KABK, 2019. Photographic registration of Senseless Design, a workshop by Laura van Santen. Image credit: Courtesy of the artists
Van 't Hullenaar & Vis, Versions Colombia – Memorial Reading, 2017. Photographic registration of a private performative reading session with Sylvia Suarez, Carmen Maria Jaramillo and Oscar Moreno
Fig. 3. Van 't Hullenaar & Vis, Versions Colombia – Memorial Reading, 2017. Photographic registration of a private performative reading session with Sylvia Suarez, Carmen Maria Jaramillo and Oscar Moreno. Image credit: Courtesy of the artists.
Van 't Hullenaar & Vis, Versions Colombia – Analytical Chart of Memorial Reading, 2018
Fig. 4. Van 't Hullenaar & Vis, Versions Colombia – Analytical Chart of Memorial Reading, 2018. Pencil and clay on printed paper, 60 x 43 cm. Image credit: Courtesy of the artists.
Van 't Hullenaar & Vis, Versions Colombia – The Long-Wave Motion Woman II, 2017
Fig. 5. Van 't Hullenaar & Vis, Versions Colombia – The Long-Wave Motion Woman II, 2017. 3D digital render print, part of a vertical diptych, 63 x 47 cm. Image credit: Courtesy of the artists.

Van 't Hullenaar & Vis, I Was Here, 2018, video still

Fig. 6. Van 't Hullenaar & Vis, I Was Here, 2018, video still. Image credits: Courtesy of the artists.
Van 't Hullenaar & Vis, I Was Here, 2018, video still
Fig. 7. Van 't Hullenaar & Vis, I Was Here, 2018, video still. Image credits: Courtesy of the artists.


NIELS VIS is a tutor in the Preparatory Year at the KABK. Since 2004, he has been working together with Merel van ’t Hullenaar on projects that focussed on contradictions between the human experience of time on the one hand and scientific definitions of time on the other. Through several installation pieces, with titles like -1 MomentaaN (’04) and Simultaneous Models (’07), they aimed to rearrange conventional experiences of past, present and future for the spectator. During these years, in addition to collaborating on projects as a duo, they also realised work as independent artists, formed collectives with other makers and were sometimes more active as mediators. They each participated in an MA program: Vis at the Piet Zwart Institute (2005-7) and Van ‘t Hullenaar at the Sandberg Institute (2003-5). The multidisciplinary artist duo works from their studio in Amsterdam on a set of interrelated research-based projects titled The Man-Made History of Today.

Tutor, MA Artistic Research

PRACTICE OF FEMALE FRIENDSHIP

In this project, Katarina Zdjelar aims to explore the question of female affection as a political, aesthetic and artistic concern with relevance to art and design education. The first part of the research involves an excavation and analysis of relevant historical practices – including pre-monastic and convent-based formations and epistolary practices such as the Beguines but also works of Afra, Roswitha, Teresa of Ávila and Juana Inés de la Cruz – in order to draw a line of descent and create a foundation onto which ideas of community, creativity and cooperative labour can be built and further developed. Indeed, although the project starts with an understanding of historical context, its main course and direction is generative i.e. located in the here and now and ‘looking forward’. Therefore, the project also engages with contemporary speculative models, art practices and discourses, which might serve as a tool to unlock the potential of female friendship, not only as the intimacy of a personal relationship, but also as a politically affective state of being. Ultimately, the aim is to sharpen and refine collaborative and multi-vocal aesthetics, in conceptual and formal terms: What are the formal consequences, technical possibilities and aesthetic potentials of such a practice? How do questions of women’s homosociality and its histories emerge in the practicalities of formalizing this interest in an artistic and technical way?

Katarina Zdjelar, Not a Pillar Not a Pile

Fig. 1. Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017. Multichannel audio-video work and a floor sculpture, 5'50" loop. Installation view details ‘Prix de Rome 2017’, Kunsthal Rotterdam, 2017. Image credit: Daniel Nicolas.
Katarina Zdjelar, Not a Pillar Not a Pile
Fig. 2. Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017. Multichannel audio-video work and a floor sculpture, 5'50" loop. Installation view details ‘Prix de Rome 2017’, Kunsthal Rotterdam, 2017. Image credit: Daniel Nicolas.
Katarina Zdjelar, Not a Pillar Not a Pile
Fig. 3. Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017. Multichannel audio-video work and a floor sculpture, 5'50" loop. Installation view details ‘Prix de Rome 2017’, Kunsthal Rotterdam, 2017. Image credit: Daniel Nicolas.
Katarina Zdjelar, Not a Pillar Not a Pile
Fig. 4. Katarina Zdjelar, Not a Pillar Not a Pile (Tanz für Dore Hoyer), 2017. Multichannel audio-video work and a floor sculpture, 5'50" loop. Installation view details ‘Prix de Rome 2017’, Kunsthal Rotterdam, 2017. Image credit: Daniel Nicolas.


KATARINA ZDJELAR is a core tutor for Studio Practice at the MA Artistic Research. Originally from Serbia, she is a graduate of the Piet Zwart Institute in Rotterdam, where she currently lives. In her videos, sound works and other projects, Zdjelar examines how people behave by reinventing their identities through a choreography of language, voice, and body language as they move between different situations and cultures. These artistic interests find their focus in the creation of different platforms for speculation, knowledge building, and exchange. Zdjelar also teaches in the Fine Art program of Piet Zwart Institute, Rotterdam. In 2017 Zdjelar was shortlisted for the Dutch Prix de Rome, and won the Dolf Henkes art prize. She has exhibited extensively throughout Europe, including at the Muzeum Sztuki Lodz; Kunstverein Bielefeld; The Serbian Pavilion of the 53rd Venice Biennial; MACBA Barcelona; MNAC Bucharest; De Appel Contemporary Art Centre, Amsterdam; 5th Marrakech Biennale; The Power Plant Contemporary Art Gallery Toronto; Witte de With Centre for Contemporary Art, Rotterdam; HMKV in Dortmund; MuHKA Antwerpen, and the Total Museum of Contemporary Art Seoul.