PATTERNS Lectures Booklet 2012/2013

y ersit Univ ses cour d South an e ntral in Ce ern Europ t s Ea 2013 2012/

PATTERNS Lectures

PATTERNS Lectures is a programme to support the development of new university courses in Central and South Eastern Europe. It was initiated by ERSTE Foundation and is organised by World University Service (WUS) Austria.

PATTERNS aims to document and investigate different aspects of and practices related to the transformation of daily life and culture in Central and South Eastern Europe, while accounting for the pluralities that characterise the region. The initiative focuses on the 1960s and 1970s, as well as on the “transition” period leading up to the present.

The main objective of the programme is to develop new university courses in the fields of art history, cultural studies and cultural sciences that aim to research and understand recent cultural history in Central, Eastern and South Eastern Europe. Furthermore, it supports lecturers’ international study visits and encourages international academic exchange by offering the possibility of guest lectures.

The first edition of PATTERNS Lectures in 2010/2011 was successfully completed: 14 courses from 11 countries were implemented at the respective universities and many of these are continued in the longterm curriculum.

PATTERNS Lectures Advisors

The programme supports

Four international experts selected 13 applications and advise lecturers over the course of the project. The advisors have wide-ranging experience both in academia and in international curatorial research.

The development of new university courses.

Ivana Bago Art historian, curator and writer, Zagreb, Croatia; PhD student at the Department of Art, Art History and Visual Studies, Duke University, Durham, USA Andrea B. Braidt Vice-rector for Art and Research at the Academy of Fine Arts Vienna, Austria Anna Daučíková Artist, head of the School of New Media II, Academy of Fine Arts Prague and head of the Atelier of Video and Multimedia Art, Academy of Fine Arts and Design, Bratislava, Slovak Republic Georg Schöllhammer Writer, curator, editor of springerin – Hefte für Gegenwartskunst, head of tranzit.at, Vienna, Austria

Study visits: the lecturers visit inter­ national institutions relevant to course development.

Guest lectures: international scholars are invited to give guest teaching sessions.

Consultation: PATTERNS Lectures Advisors assist lecturers by offering comments and ideas during the process of course development and implementation.

Literature purchase: lecturers buy publi­ cations relevant to the course, which are then made available to the students at the university/institute library.

Publication: full or partial support for publications related to course topics.

Networking: meetings between the lecturers are organised to exchange know-how and experience.

Additional activities encourage student involvement (excursions, exhibitions…).

Selected Courses

PATTERNS Lectures advisors selected 13 outstanding courses from Austria, Croatia, Czech Republic, Hungary, Poland, Romania, Russia, Serbia and Slovak Republic that will be taught throughout the academic year 2012/2013.

The thematic scope of the university courses comprises contemporary art, gender theory and feminism, aesthetics and art practices, social change and post-socialism.

All courses will run in the academic year 2012/2013.

PATTERNS Lectures Team WUS Austria

For detailed information about the project and updates, please check the website:

Ines Suh, Michaela Handke

www.patternslectures.org

ERSTE Foundation

or contact us at:

Christine Bรถhler, Maria Derntl

patterns@wus-austria.org culture@erstestiftung.org

austria

The “second public sphere” of the Hungarian avant-garde. Understanding space-constitutive media and performances in the counter-culture of the 1960s and 1970s University of Vienna, Theatre, Film and Media Studies, Austria, www.univie.ac.at/tfm Katalin CSEH Developing various types of theatrical and media spaces which fused art and life was a basic precondition for the existence of the Hungarian “second public sphere”. The focus of the course lies on the analysis of specific spaces (such as exhibitions, studios, public spaces, youth and student clubs and apartments) and their networks. These places functioned as (often hermetic) media constructions, performative spaces and as sites of intellectual and cultural exchange or a mixture of all of these elements. Practical and theoretical patterns of avant-gardism were developed from the fragments of past and contemporary cultures. course term

Winter and summer semester 2012/2013

guest lecturers

Beáta Hock, research fellow at the Centre for the History and Culture of East Central Europe, University of Leipzig, Germany / Júlia Klaniczay, director at Artpool Art Research Centre, Budapest, Hungary / László Beke, senior research fellow at the Research Institute of Art History, Hungarian Academy of Sciences, Budapest, Hungary / Annamária Szőke, associate professor at the Institute of Art History, Eötvös Loránd University, Budapest, Hungary / Victoria E. Harms, PhD candidate and teaching assistant in the History Department, University of Pittsburgh, USA / József Havasréti, associate professor and vice-head of Communication and Media Studies at the University of Pécs, Hungary lecturer

Katalin Cseh is a researcher (free mover) and lecturer at the Department of Theatre, Film and Media Studies, University of Vienna, Austria.

Her areas of interest are the visual culture of the classical avant-garde, the Hungarian theatre of the 1950s and the media and performance history of Eastern European subcultures.

croatia

Feminisms and social changes in art practices in South Eastern Europe from the 1970s to today

Art Academy Split, Department of Film and Video, Croatia, www.umas.hr Danijela MANDUŠIĆ This course aims to introduce and map the phenomena of feminisms and contemporary feminist art in South Eastern Europe during the social and political changes of the last four decades – from social realism and the pioneering new media art of the 1970s and the wartime and transition periods in the former Yugoslavia to today’s neoliberal capitalist society. The core of this course is the connection and intersection of art and social change over the last 40 years with a particular emphasis on feminist art and artists from South Eastern Europe in the global art context. course term

Winter and summer semester 2012/2013

guest lecturers

Sanja Iveković, artist, Zagreb, Croatia / Tanja Ostojić, artist, Berlin, Germany / Kathy Rae Huffman, freelance curator, Berlin, Germany lecturer

Danijela Mandušić is a university teacher, producer, curator and artist. She is currently working on her doctoral thesis entitled “Women's Identities in the Works of Croatian New Media Artists” under the mentorship of Miško Šuvaković from the Faculty of Arts, University of Zadar, Croatia.

czech republic

Figures of memory in contemporary arts

Charles University in Prague, Faculty of Social Sciences, Institute of Sociological Studies, Czech Republic, http://iss.fsv.cuni.cz Tomáš DVOŘÁK The course examines the main issues in cultural memory research and investigates the ways that contemporary arts (visual and performing arts, new media arts, drama, literature, comics…) in Central and Eastern Europe intervene in the culturally institutionalised heritage of a society. Cultural memory will thus be addressed not as a static entity but rather in terms of the process of its establishment, which is necessarily – and particularly in the context of political transition – a selective process, one which grows out of complex power relations that determine what and how something is remembered or forgotten. course term

Summer semester 2013

guest lecturers

Andreas Böhn, professor and head of the Institute for Literary Studies, Karlsruhe Institute of Technology (KIT), Germany / Astrid Erll, professor, Frankfurt Memory Studies Platform, Goethe University Frankfurt, Germany lecturer

Tomáš Dvořák is a researcher at the Institute of Sociological Studies of Charles University and the Institute of Philosophy of the Czech Academy of Sciences specialising in history and philosophy of media and contemporary arts.

czech republic

Late production by the modernist generation of Czech and Slovak female artists

Jan Evangelista Purkyně University in Ústí nad Labem, Faculty of Arts and Design, Czech Republic, www.ujep.cz Vendula FREMLOVÁ and Anna VARTECKÁ The aim of this course is to integrate the findings of the current research project entitled Woman 65+. Old age as a constructive factor of artistic production into the curriculum. The project focuses on the issue of demographic change in the Czech Republic and Slovak Republic. It concentrates on the eldest generations of female artists (age 65+) who were active on the art scene in the 1960s, as well as after 1989, some of whom are still active artists today. This complex art history course, which verges on sociology and gender studies, will provide multi-layered information on the changing identity of the female artist in contemporary Czech and Slovak society. course term

Summer semester 2013

guest lecturers

Marie Fulková, head of the Department of Art Education, Charles University in Prague, Czech Republic / Lucie Vidović, sociologist and research fellow at the Office for Population Studies at the Faculty of Social Studies, Masaryk University Brno, Slovak Republic / Magdalena Jetelová, photographer and conceptual artist, Prague, Czech Republic / Milota Havránková, photographer, Bratislava, Slovak Republic / Zuzana Kiczková, research fellow at the Department of Philosophy and History of Philosophy, Comenius University in Bratislava, Slovak Republic / Jiřina Šiklová, sociologist and writer, Prague, Czech Republic / Gisela Weimann, multimedia artist, Berlin, Germany lecturers

Anna Vartecká is a fellow at the Department of History and Theory of Art, Faculty of Art and Design, Jan Evangelista Purkyně University (FAD UJEP) in Ústí nad Labem. She has worked as a fellow at the FAD UJEP in Ústí nad Labem since 2001 and cooperates with art institutions as an exhibition curator focusing on contem­ porary visual art.

Vendula Fremlová is a fellow at the Department of History and Theory of Art, Faculty of Art and Design, Jan Evangelista Purkyně University in Ústí nad Labem. She has worked as a fellow at the FAD UJEP in Ústí nad Labem since 2009 and has been director of the Emil Filla Gallery in Ústí nad Labem since 2009, curating Czech and international exhibitions.

hungary

The inheritance and transformation of socialist realist forms of expression in Hungarian contemporary art – a comparative-critical survey

Hungarian University of Fine Arts, Department of Art Theory and Curatorial Studies, Budapest, Hungary, www.mke.hu Edina NAGY The determining and easily recognisable symbols of the former system of “socialist realism” are always present in the oeuvres of the dominant figures of contemporary Hungarian fine art, but no comparative analysis has ever been made. The course aims to provide an insight into the history of socialist realism and give an overview of the cultural and visual paradigms, focusing on the aforementioned contemporary phenomenon.

During the seminar we will attempt to make a comparative analysis of contemporary works of art to examine their critical and aesthetic potential. The presentations from invited guest lecturers will provide an opportunity to sum up/determine similar contemporary artistic positions in the region. course term

Winter semester 2012/2013

guest lecturers

Anja Jackes, research fellow at the Department of Tangible and Intangible Cultural Heritage UNESCO, University of Paderborn, Germany / Erwin Kessler, art historian and philosopher at the Institute for Philosophy, University of Bucharest, Romania / Tomáš Pospiszyl, curator and art historian, Prague, Czech Republic lecturer

Edina Nagy studied aesthetics and contem­ porary art history in Budapest and Berlin.

She works as a freelance art critic and as an independent curator. Her areas of interest include art criticism, history of exhibition displays and critical art in Hungary today.

hungary

Roma representation after the cultural turn – media analysis

Eötvös Loránd University, Faculty of Humanities, Institute for Theory of Art and Media Studies, Department of Media and Communications, Budapest, Hungary, http://media.elte.hu/ Andrea PÓCSIK The collective representation of the Roma people is extremely important against the backdrop of an alarming increase in anti-Roma prejudices in our region. One of the most important goals of this course is, therefore, to heighten awareness of social issues connected to Roma, to inform students of the importance of Roma community media and to familiarise them with the intellectual, cultural and political achievements of the Roma intelligentsia in Hungary. By developing critical thinking and boosting social responsibility, the course intends to foster a crucial attitude and mentality. course term

Summer semester 2013

guest lecturers

Jenő Zsigó, sociologist, activist, founder of the Roma Parliament, chief editor of Amaro Drom, Budapest, Hungary / Ágnes Daróczi, journalist, editor, activist, researcher, Budapest, Hungary / Angéla Kóczé, researcher, sociologist, Budapest, Hungary / Anna Orsós, linguist, head of the Department of Romani Studies at PTE University, Pécs, Hungary / Tímea Junghaus, art historian, curator, director of the European Roma Cultural Foundation, Budapest, Hungary / Ian Hancock, linguist, scholar and political activist, director of the Program of Romani Studies and the Romani Archives and Documentation Center at the University of Texas, USA lecturer

Andrea Pócsik is a university lecturer at Pázmány Péter Catholic University, Media Studies Department and guest lecturer at Eötvös Loránd University, Institute for Art and Media Studies. Her main research fields are Roma representation, documentary filmmaking and new media.

poland

Negotiations of “the gaze”. Women’s authorship in cinema and arts in Eastern and Central Europe 1960s – 2000s

Jagiellonian University, Institute of Audiovisual Arts, Krakow, Poland, www.film.uj.edu.pl Malgorzata RADKIEWICZ The main aim of the course is to rethink and reformulate the historical and theoretical reflection on women’s cinema and arts in Poland and other Central and Eastern European countries. Each of the lecturers will try to go beyond the canons, classifications and institutionalised knowledge, using three different approaches: (I) historical – situating women’s artistic and filmic creativity in the discourse of women’s authorship, (II) artistic – analysing women as creative individuals (various aesthetic, cultural, social and historical factors), (III) theoretical and critical – introducing gender theory and feminist theory to reinterpret and re-read women’s works in different contexts. course term

Summer semester 2013

guest lecturers

Monika Talarczyk Gubała, film historian, Institute of Polish Studies and Cultural Studies, University of Szczecin, Poland / Ewa Toniak, art historian and curator at the National Museum, Krakow and the Zachęta National Gallery, Warsaw, Poland / Anna Markowska, professor, art historian, Institute of History of Arts, University of Wrocław, Poland / Redi Koobak, PhD candidate, specialising in the arts and cinema of post-communist Europe, Linköping University, Sweden / Maggie Humm, professor in the School of Arts and Digital Industries at the University of East London, UK lecturer

Malgorzata Radkiewicz has published books about women filmmakers, women in Polish cinema and arts, and on gender in Polish cinema in the 1990s. Her research interests and publications focus on gender representation in film and media as well as on the much wider category of cultural identity.

poland

Animals, gender and culture: analysing Polish popular and visual culture from the eco-feminist perspective

Polish Academy of Sciences, Gender Studies, Institute of Literary Research, Poland, www.genderstudies.pl Anna BARCZ and Magdalena DĄBROWSKA The course analyses relations between gendered humans and animals. It compares the eco-feminist approach with nonanthropocentric tendencies when studying culture. It implements the eco-feminist reading of texts and images and selects the most influential ones for critical analysis. Starting in the socialist era with the construction of masculinity and national identity through 1989 to contemporary society, we: − analyse how animals, class and gender merge and create status symbols − examine the representation of animals in visual arts, literature and popular culture − investigate how animals are used as metaphors − analyse the zoo as a paradigmatic space − discuss controversies surrounding animal rights course term

Summer semester 2013

guest lecturers

Ewa Domanska, professor, Institute of History, Adam Mickiewicz University, Poznań, Poland, Stanford University, USA / Kate Soper, professor, Institute for the Study of European Transformations, London Metropolitan University, UK / Izabela Kowalczyk, professor, Department of Cultural Studies, The School of Humanities and Journalism, Poznań, Poland lecturers

Magdalena Dąbrowska is a lecturer at the Institute of Cultural Studies, University of Maria Curie- Skłodowska (UMCS) in Lublin. She studied gender studies at the Central European University in Budapest and philosophy at UMCS. Anna Barcz is a PhD candidate and researcher at the Institute of Literary Research of the Polish Academy of Sciences in Warsaw. She studied philosophy and English literature at Warsaw University.

romania

Socialist design: art and technology in Eastern Europe

National University of Arts Bucharest, Department of Art History and Theory, Romania, www.unarte.org.

Irina CĂRĂBAŞ and Oana MATEESCU This course takes a previously neglected field – socialist design – and examines the emergence, development and relative disappearance of a new form of aesthetics at the intersection between art and technology. The intimate relationship between modernist design and post-Stalinist socialism – in particular the fact that design was especially responsive to the demands of the planned economy – testifies to the importance of the subject to a comprehensive understanding of socialist cultures and societies in Eastern Europe. Moreover, design (alongside consumerism) was invested with significant political power during the Cold War, becoming one of the yardsticks of the differences between East and West. course term

Winter and summer semester 2012/2013

guest lecturers

David Crowley, Head of the Critical Writing in Art and Design Programme, Royal College of Art London, UK / Tom Cubbin, PhD student, Department of Russian and Slavonic Studies, University of Sheffield, UK / Andres Kurg, researcher, Institute of Art History, Estonian Academy of Art, Talinn, Estonia / Mirela Duculescu, assistant professor at the Department of Architecture History and Theory, “Ion Mincu” National University of Architecture and Urban Planning Bucharest, Romania / Magda Predescu, archivist at the National Museum of Contemporary Art Bucharest, Romania / Ciprian Muresan, artist, Cluj, Romania / Cristian Mungiu, film director, Bucharest, Romania lecturers

Irina Cărăbaş is assistant professor at the Department of Art History and Theory, National University of Arts, Bucharest. She recently completed her PhD on the reception of constructivism in Romania and is the author of several articles and contributions in a collective volume on the Romanian avant-garde.

Oana Mateescu, PhD candidate, Anthropology and History, University of Michigan. She is preparing to defend her doctoral thesis and also teaching as a lecturer at the Department of Sociology, University of Bucharest.

romania

Mediatic affects, biological pathos and the psycho-technology of gender

National University of Arts Bucharest, Photography and Video Department, Romania, www.unarte.ro Irina GHEORGHE and Alina POPA How does the new immaterial economy, producing value out of affect and knowledge, come to terms with concrete bodily realities?

Where are the blood, sweat and tears in the continuous transmission of techno-mediated visual hypnoses? The material body dissolves and vanishes in the hypervisibility of its image, but remains the dark side in the production of affect, the alienated other of fear and desire.

The course will contextualise the embodiment of gender in pre- and post-89 Romania with the help of archive materials and artistic production, detective files and scientific imagery, pulp, glamour and celluloid. course term

Winter and summer semester 2012/2013

guest lecturers

To be confirmed lecturers

Irina Gheorghe and Alina Popa founded the Bureau of Melodramatic Research (BMR) in 2009 as a dependent institution which studies the circulation of affect at the core of the present financialised economy. The new productivity relies on producing subjectivities, molding desires, using emotional weapons to reduce multiplicities to binary oppositions and alienating ourselves from the bodies we inhabit.

How can melo-critique be an effective mean for subversive micropolitics?

russia

Soviet aesthetic theory and the context of Soviet cultural ethics of the 1960s and 1970s

Russian State University for Humanities, Department of Art Theory and Cultural Studies, Russia, www.rsuh.ru Keti CHUKHROV The proposed course will consist of a set of 12 lectures and lecture themes and four seminars.

Its goal is to unearth a sort of archaeology of unheeded and forgotten aspects of Soviet culture. It will focus on the 1960s and 1970s and avoid division into official and unofficial cultural spheres as well as opposition between ideology and its underground. The course aims to examine the epistemological background for the cultural context of the 1960s and 1970s and the ethical aspirations of the period by studying its aesthetic and intellectual preferences in various cultural spheres. course term

Summer semester 2013

guest lecturers

Georg Schöllhammer, editor of springerin, head of tranzit.at, Vienna, Austria / Michail Ryklin, visiting professor at the Slavic department, Humboldt University, Berlin, Germany / Oksana Bulgakova, professor of media and film studies at the Humboldt University Berlin, Germany, Stanford University, USA / Anna Daučíková, head of the Atelier of Video and Multimedia Art, Academy of Fine Arts and Design, Bratislava, Slovak Republic lecturer

Keti Chukhrov is an associate professor at the Russian State University for Humanities, Department of Art Theory and Cultural Studies and has a PhD in comparative literature.

Furthermore, she is head of the Theory and Research Department at the National Center of Contemporary Art.

serbia

Cultural and social practices of post-socialism: a case study of former Yugoslavia

University of Belgrade, Department of Journalism and Communication, Faculty of Political Sciences, Serbia, www.bg.ac.rs Jelena DJORDJEVIĆ and Marina SIMIĆ The main aim of the course is to gain understanding of the different and often contradictory ways in which the dramatic changes in Eastern Europe from 1989 onwards are played out in the everyday lives of the people who live in these regions. In particular, the course focuses on the specificities of postsocialist transformation in former Yugoslavia, endeavouring to show the continuities and discontinuities of cultural practices in socialism and post-socialism. It aims to place those practices in the wider context of the post-socialist transformation and highlight similarities and differences between postsocialist cultural practices in former Yugoslavia and the rest of Europe. course term

Summer semester 2013

guest lecturers

Stef Jansen, senior lecturer at the Department of Social Anthropology, University of Manchester, UK / Catherine Baker, lecturer at the Department of History, University of Hull, UK lecturers

Jelena Djordjević is a full-time professor at the Faculty of Political Sciences in Belgrade.

She has taught in Serbia and the USA and has published award-winning books on political rituals, cultural studies and cultural theory.

Marina Simić is an assistant professor at the Faculty of Political Sciences in Belgrade. She received her PhD in Social Anthropology from the University of Manchester and has published on topics in political anthropology and cultural studies.

slovak republic

Beyond the rapture. Contextualisation of new media art practices in Central and Eastern Europe

Academy of Fine Arts and Design in Bratislava, Department of Theory and History of Art, www.vsvu.sk Mária RIŠKOVÁ and Kristian LUKIĆ The course will provide an overview of different media art practices in Central and Eastern Europe for MA students. The idea of the course is to try and bridge the “eschatological rapture” of “1989” in Eastern European art histories and to map examples and practices of continuation of artistic research and production based in pre-1989 art. An important part of the course is an analysis of how different or similar sociopolitical conditions in different countries are observed. Introducing transdisciplinarity in the course will create cultural, economic, social and political parameters to tackle the issue of the crisis of industrialism and modernism, its impact on the political crisis of Eastern Europe and how it differs from the West. course term

Winter and summer semester 2012/2013

guest lecturers

Dušan Barok, artist, writer and cultural activist, Bratislava, Slovak Republic / Rasa Smite, new media artist, curator and network researcher, associate professor and researcher at Liepāja University, Latvia / Olga Goriunova, senior lecturer in media practice, Faculty of Social Sciences and Humanities, London Metropolitan University, UK / Inke Arns, artistic director of Hartware MedienKunstVerein, Dortmund, Germany lecturers

Kristian Lukić is a theorist and researcher in the fields of art, society and technology. He is cofounder of Napon – Institute for Flexible Cultures and Technologies, Novi Sad. He was programme manager in the New Media Center and curator for media practice at the Museum of Contemporary Art Vojvodina, Novi Sad. Mária Rišková studied history of arts and culture at Trnava University. She has cofounded a number of independent culture activities and works at the AFAD in Bratislava as a researcher and lecturer. She is director of the 13m3 association, a theorist and an editor.

Some of the guest lecturers have yet to be confirmed and may be subject to change.

Implemented by

Initiated by

World University Service (WUS) Austria World University Service (WUS) Austria is a politically independent, non-governmental organisation committed to the promotion of the human right to education on the basis of academic freedom and university autonomy.

Since its establishment in Graz in 1983, WUS Austria has been working to achieve this goal in various countries all over the world. Today WUS Austria has a regional focus on the countries of South Eastern and Eastern Europe and has set up two branch offices in Sarajevo and Prishtina.

ERSTE Foundation In 2003, ERSTE Foundation evolved out of the Erste Oesterreichische Spar-Casse, the first Austrian savings bank. Currently, ERSTE Foundation is the main shareholder of Erste Group. The foundation invests part of its dividends in the development of societies in Austria and Central and South Eastern Europe.

It supports social participation and civil-society engagement; it aims to bring people together and disseminate knowledge of the recent history of a region that has been undergoing dramatic changes since 1989. As an active foundation, it develops its own projects within the framework of three programmes: Social Development, Culture and Europe.

www.wus-austria.org

www.erstestiftung.org