bezárás

Előadások- Kurzusok

EXPLAINING ART WITH WORDS:
A MULTILINGUAL DICTIONARY AS A DIDACTIC TOOL

ONLINE SYMPOSIUM HELD BY ABAROMA AND CURATED BY BEATRICE PERIA AND MARCO RINALDI

19th March
h 10:00

In the framework of EU4ART project will be introduced the state of work of the multilingual art dictionary on which members of ABAROMA, HUFA, HfBK and LMA are working.

The dictionary is a collection of two main terms groups, Poiesis and Praxis, separated for convenience, but intimately connected to each other in the daily didactic activity of Fine Arts Universities.

Language is a fundamental tool of understanding, learning and cultural integration: this is the reason why this tool is being realized aimed primarily at students and teachers, who will take part to mobilities among the four institutions of the project. Even if nowadays English represents the common language, the multilingual dictionary keeps domestic expressions, slangs and definitions from the four languages: Italian, Hungarian, German and Latvian.

This tool will be useful in the enhancement of cultural and linguistic differences as in the implementation of a more complete communication and mutual understanding in the art realm.

At the Symposium there will be speeches by staff members, who will present several issues linked to the dictionary, and artists who will talk about keywords of their artistic work and didactic activity.

EXPLAINING ART WITH WORDS (.pdf)


HANDMADE TALES

As part of the EU4ART project, the Dresden University of Fine Arts, in cooperation with the Dresden State Art Collections, invites you to the digital symposium HANDMADE TALES (24.11. to 4.12.2020).

Please find attached the invitation and the complete program.
We are looking forward to your interest and feedback.

With kind regards
the EU4ART team


.online lecture series.

BUDAPEST – DRESDEN – ROME – RIGA

Welcome to our first online lecture series organized by the EU4ART Universities in May 2020. 4 universities from 4 countries have united for one goal: sharing knowledge in the EU about our best and latest artistic practices to help the future’s generation to connect, share and create.
The project is in the developing phase between 2019-2022. During this time we will offer you different possibilities to participate in: common exhibitions, open calls, virtual studios and lectures and short-term mobilities.
In the next few weeks you will have a chance to listen to artist talks and lectures online, from your couch!

Students can participate from the universities below:


1.

"Exhibiting Beyond the Physical Space"
start on Nov 25, 2020 1pm
every wednesday, 1pm-3pm, Nov ‘20-Feb ‘21
Register until Nov. 18, 2020 >>> eu4art@hfbk-dresden.de
It is open for up to 6 students from each university.

As the digital appearance or reproduction of a work of art becomes more and more important due to the increasing possibilities of digital dissemination and circulation mechanisms, there is also a shift towards exhibitions that are developed for online reception. The Corona crisis showed however, how limited the common presentation formats of art are despite digitalization. The standardized (and institutionalized) physical art presentation (e.g. White Cube) is not really suitable for the digital realm, and a dry shift from physical to digital often remains lifeless. The curatorial urge should therefore be to continue to investigate the question of how to think and define the showing of art anew in the post-digital age!

The seminar develops and explores possibilities, strategies and tendencies of exhibitions and art presentation online and beyond the standardized exhibition space. The participants work together towards an online exhibition project, platform models or (online) solutions that are sustainably functional and useable. The aim is to develop ideas for artistically linking new virtual and physical presentation and production approaches and collaborative working methods. How can we work together while being geographically separated? How can art be presented virtually and beyond the white cube, and how can it endure as art in new found spaces? How do we design art’s digital processing and distribution? How can and must the 'shift' from the physical to the digital and vice versa be artistically (and poetically) thought and designed? It is precisely an artistic and creative form of art presentation, distribution and collaboration that is in demand.

Think of the seminar as online ‘class meetings’ where we will work, explore, discuss and exchange to develop a project. We will host guests during the course of the seminar – Nuno Patrício (artist, curator and founder of ofluxo.net), Michele Gabriele & Monia Ben Hamouda (artists, curators and founders of something must break) and David Quiles Guilló the founder of thewrong.org online biennale – who will speak about their practice and experience with online exhibition projects and are there for Q+As.

https://www.hfbk-dresden.de/veranstaltungenkalender/details/seminar-exhibiting-beyond-the-physical-space/


2.

"Physical Rules (don't) Apply here?! Exhibiting in the Digital Space"
Nov 11, 2020, 5 pm
Registration until Nov 10, 2020 >>>
There is no limitation of participants

Karla Krey in conversation with New Scenario
We expect to see art in museums or project spaces. However, there are numerous participatory, interventionist, digital, sculptural, borderline legal artistic approaches transcending the exhibition space.
The artists Paul Barsch and Tilman Hornig work together as "New Scenario" showing artistic works in digital space not only since the corona pandemic. Together with the artist Karla Krey, they take a look at digital exhibition practice and discuss the possibilities that arise in such a practice in the first place.

about: Paul Barsch and Tilman Hornig, alumni of the HfBK Dresden, develop virtual (group) exhibitions under the name New Scenario.
In her work Karla Krey explores visual narration in a social context. She is a member of the artists group fe*male intervention.

https://www.hfbk-dresden.de/veranstaltungenkalender/details/physical-rules-dont-apply-here-exhibiting-in-the-digital-space/


Lecture 4.

DATE AND PLACE OF THE 4th LECTURE: 17th June 2020, 5 pm (Riga 6 pm) on ZOOM (will send the link later)
REGISTRATION PERIOD: between the 4th June – 16th of June 2020.
WHERE TO REGISTER:
There is a limit of maximum 7 students per each university, so don’t hesitate to register!

SOME BASIC QUESTIONS
Teaching, creating and organizing art at the Dresden Academy

Professor Barbara Wille is responsible for those students who newly join the Dresden Academy of Fine Arts. Her range of tasks spans from communication, encouragement to the actual teaching of manual skills and the use of on-campus workshops, mainly in the field of sculpture.

How does she connect her personal artistic practice with her profile as an art professor? We invite you to join a conversation between Barbara Wille and art historian Susanne Altmann. Altmann has been teaching „Topics of German Art“, art history classes in English for foreign students since 2011. With Prof Wille, she will discuss the remarkable public art practice of the latter and how the acquired managerial competence helps Wille's instructing of students during the „Basic/Orientation Phase“. Our talk will provide an insight into the educational climate of the Dresden Academy, but will also exemplary introduce one of many outstanding artists active here. 

Duration: 45 (max. 60) mins plus Q&A


Lecture 3.

DATE AND PLACE OF THE 3rd LECTURE: 10th June 2020, 12.00 pm (Riga 13.00) on ZOOM (will send the link later)
REGISTRATION PERIOD: between the 3rd June – 8th of June 2020.
WHERE TO REGISTER:
There is a limit of maximum 7 students per each university, so don’t hesitate to register!

Uldis Zariņš
Sculptor, Anatomy Lecturer and  Author of two books

Uldis Zarins (Riga, Latvia, 1976)

Uldis Zarins is currently teaching anatomy at the Art Academy of Latvia
He is the author of two books:
Anatomy for Sculptors (2013)
Anatomy of Facial Expression (2017)

Originally Uldis is a sculptor with more than a 25 years of figurative sculpting experience. After graduating from the Art Academy of Latvia in 2005 he became involved in numerous figurative sculpture projects all around the world. During this time Uldis realized there was a huge deficit of good visual material that could explain the form of the human figure. In 2013 he published his first book on the subject called Anatomy for Sculptors (Understanding human form). This quickly became popular worldwide among sculptors and CG artists and until now is still one of the most recognized books in the CG industry explaining human anatomy from the standpoint of the form.

There is no point of knowing the muscles and bones
if you do not understand the form itself.

The main idea of the 1st book was to break down the complex concepts and forms into simple, easy to understand geometrical primitives and then step by step increasing complexity, guiding the reader to complete understanding. It is nothing new of course. This concept was already described in the period of European Renaissance by Luca Cambiaso (1527- 1585) who in the mid-1560s began to draw in a simplified, geometric style that may have been inspired by similar works by Albrecht Dürer (1471- 1528).
This philosophy of multi levelness was later developed by such great anatomy teachers like George B. Bridgman (1865–1943) with his dynamic analysis of the human form in the great book Constructive Anatomy published in 1973. Later came Gottfried Bammes (1920 – 2007) with his anatomical and anthropometric principles described in the famous work Der nackte Mensch.
U. Zarins in his works is following the same path of these giants but rather using modern analysis methods and the latest discoveries in anatomy, physical anthropology and biomechanics.

‘’Visual Artists are the visual thinkers’’

According to Wolff, U., & Lundberg, in (2002) research, Art academy students reported significantly more signs of dyslexia than non‐art university students. That encouraged U. Zarins to use in his books less textual material and rather focus on visuals. It seems to be one of the factors of the popularity of his method.

What can medical science offer to Art education?

In 2017 U. Zarins published his second successful book Anatomy of Facial Expression. This idea of which came in 2015 when U. Zarins was studying contemporary medical research papers and plastic surgery literature on the anatomy of the soft tissue of the face. By his surprise he realized how useful this information could be for figurative artists. In the process of creating the book he was using advanced surface data analyzing methods such as Photogrammetry scanning and volume rendering analysis of the sophisticated medical diagnostic imaging such as CT, MRI and x-ray. Revealing very detailed analysis of the facial anatomy, physiology of the facial expression and dynamic age-related morphological changes of the human face.This along with plenty of reference materials from various angles. Anatomy of Facial Expression is popular not only among the artists but also plastic surgeons and Facial augmentation specialists.

U. Zarins is very interested in the practical value of the knowledge of anatomy but this knowledge must be applicable. Currently U. Zarins is doing his PHD on Ontogenetic morphological changes of the human face as well as working on his 3rd book Form of the Headand Neck that is supposed to be released in December 2020. It will be a fundamental and practical work on the detailed analysis of the form of the human head and neck, based on the latest discoveries in the anatomy of the face.


Lecture 2.

DATE AND PLACE OF THE 2ND LECTURE: 3rd June 2020, 4:30 PM on ZOOM (the link will be sent later)
REGISTRATION PERIOD: between the 28th May – 2nd June 2020.
WHERE TO REGISTER: kollereu4art@mke.hu, Margit Koller

Alessandra Porfidia
Experience into Sculpture.
www.alessandraporfidia.com (Images)

Draft of the Lecture
Alessandra Porfidia

  1. Presentation of the Artist: self image
  2. In this presentation I will highlight my research in Sculpture, looking at some specific images, profiles and themes. Aim of this speech is to illustrate and touch various aspects emerged along the time. Topics, poetic contents, developments and different qualities embodied in each cycle of the research.
  3. The subject of the speech is in the following contents:
  4. Key words: Feeling, Creativity, Imagination, Insight, Intuition, Visual, Inner, Outside
  5. Perception/Matter/Space
  6. Sustainability of the Imagination
  7. The teaching approach and presentation of some activities, workshop and worksof the students
  8. Talk with the students

Biography
 

Alessandra Porfidia (Rome 1962)


She graduated in Sculpture (1985) at the Academy of Fine Arts of Rome with a thesis focused on the Henry Moore Sculpture. She met the artist, visiting his studios in Perry Green, England. Since 1995 she has taught in various universities and institutions; the Academies of Fine Arts of Macerata, Carrara, Sassari, Brera-Milan, the Academy of Fine Arts of Florence, where she was the Erasmus coordinator. Currently she is Professor of Sculpture at the Academy of Fine Arts of Rome.

Her Artist career start in the 1986 with her sculptures presented in numerous professional exhibitions of the “Tridente” and ARGAM Galleries in Rome. In 1988 she was invited by the Rome Municipality to participate at the extensive exhibition “12-35II°” in Campo Boario, where she placed her first cycle of outdoor sculptures in Steel, in dialogue with the industrial architecture of the site.

In 1989 she had her first personal exhibition: “Porfidia Sculptures” at the Medieval Castle of Montecchio Vesponi (AR), with a prestigious presentation by the internationally known critic Lorenza Trucchi. In the same year she exhibited Steel sculptures in Verona: “Idioms of the contemporary sculpture”, Spoleto “Festival of Two Worlds”. In 1995 she received the "Fiumara -Argam Prize for Sculpture”. The year after, was selected among the Professional Italian artists, and invited at the XII Quadrennial of Art "Last generations". With the group of works titled “Theatre of the body”, purchased by the MACRO, Municipal Museum of Contemporary Arts in Rome.

She has had exhibitions, in Europe and Overseas. In Japan she won the “Suntory Prize" in the Osaka Triennale 1998. The winning sculpture “Big Composition” was acquired by the Prefecture of Osaka for the public Museum of Contemporary Fine Arts. In 1999 she held her first personal exhibition in the United States at the "Ann Norton Sculpture Gardens", Palm Beach. In Egypt, she participated at international Biennial Arts 1996, 2000, and then in many collectives until 2008, at the XIth Biennale of Cairo. In France she was invited in the exhibition “Sculptures sous le soleil d'Antibes”, 2000 and she took part in The European Convention on Sculpture in Montauban, 2001 and 2004.

In Italy she has won many Public Art prizes. In 2000 she won the International Pubblic prize "Arte -Metro Roma", for installing a permanent mosaic in Numidio Quadrato underground station (Rome). She created sculptures for several public spaces, including the Palace of Justice in Asti and Frosinone (Italy), the Motorizzazione civile of Rome and the Prison of Viterbo.

In 2004, the artist had a personal exhibition "Talks. Alessandra Porfidia 1994-2004".at the University of Rome 2 Tor Vergata. A wide soloexhibition in the internal and external spaces. She has had presented Large scale sculptures in steel and the sound sculpture: "Lyric Form" (Music of Giorgio Nottoli and Fabio Paolizzo).

Since then that sculpture is installed in the front space of the Rome 2 University, Faculty of Philosophy.
As a member of the International organization Sculpture Network, (based in Germany) and of the International Sculpture Center of USA, and since last year she is also member of the National Museum of Women in the Art, (USA,Washington D.C.). She has been involved in several events, professional meetings, symposiums, exhibitions and forums.

In 2008 her sculptures were included in the European exhibition: "Difference and Diversity" and in 2011 she had presented her work and her thesis about contemporary sculpture on the theme "Sustainability of the Imagination" at the Xth International Forum of sculpture in Bilbao, Guggenheim Museum.

In 2015 - 2016 the artist had exhibitions in Tel Aviv, Rome, Florence at Palazzo Medici Riccardi, in the "Overlooking gardens" exhibition in Versiliana -Pietrasanta, at the Marble and Craft Museum of Carrara. In Rome she had two important exhibitions “Spaces of Light. Alessandra Porfidia between Art and Architecture" in the Edieuropa Gallery and Spazio 400. In the summer she had a third exhibition in Capalbio: "Spaces of Light. Alessandra Porfidia between Art and Nature". In the last years she had collectives and she supposed to have two wides Personal exhibitions before the Pandemic interruption of all the social activities. Her new Steels will be presented next year, in the Historic Museum of the Arts and of the Territory in the ancient Eroli Palace of Narni and in Rome, in the Center for American studies.

Porfidia's Sculptures and Paintings are included in many private and corporate collections.


Lecture 1.

Dialogue between an artist and a theorist
The Hungarian University of Fine Arts,

„DATE AND PLACE OF THE 1ST LECTURE: 20th May 2020, 4pm on ZOOM (will send the link later)
REGISTRATION PERIOD: between the 27th April – 15th of May 2020.”
WHERE TO REGISTER: kollereu4art@mke.hu, Margit Koller
There is a limit of maximum 6 students per each university, so don’t hesitate to register!

Susana Pilar Delahante Matienzo, artist from Cuba, Peter and Irene Ludwig Guest Professor & dr. habil. Tünde Varga, associate professor of HUFA

The presentation/ lecture focuses on contemporary planetary discourses and practices of art. The core of the lecture are two works by Susana Pilar Delahante Matienzo: Lo llevamos rizo: Concurso de cabello Afro Natural , Cuba, 2015/19, and the De lo que contaba la abuela, 2017. The first is a collaborative art project that poses questions of ethnic, cultural, social construct of power and identity through residual culture in the context of contemporary Cuba. The work/ project is a hair „beauty contest”, but in the background an intricate web of cultural, social, economic structure and historical inheritance become manifest as the project reflect on the possibility of imaginative, collective forms of cultural identity. The second is an installation of Matienzo’s family archive, it takes a different approach through the research of the archive of the personal family story. It is a query to what extent identity is imagined and imaged. How historical events (embedded in political, ideological structures) unfold through personal life narratives with art in the exhibition space as narration can be both, the narration of personal and collective identity. What social and political stance narratives take in highlighting certain forms of identity politics or cultural identity.

The lecture provides the context to these two works in divergent examples of contemporary art and its discursive frameworks, as well as the detailed presentations of these two works by the artist.

http://susanapilardelahantematienzo.blogspot.com/p/blog-page_3.html

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