PATTERNS Lectures Booklet 2010/2011

ERSTE Foundation PATTERNS_Lectures

Y ERSIT UNIV RES U LECT l and tra n rn in Ce Easte h t u o S e Europ

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.

The main objective of the programme is the development of new university courses in the fields of art history, cultural theory, and cultural studies that aim at researching and understanding recent cultural history in Central, Eastern and South Eastern Europe. Furthermore, it supports lecturers’ international study visits and encourages international aca­ demic exchange by offering the possibili­ ty of guest lectures.

An open call to submit proposals for university courses in the fields of art history, cultural theory, and cultural studies was launched from January to March 2010.

A total of 61 applications were submitted.

Ultimately, the academic advisory panel selected 15 courses from Belarus/ Lithuania, Bulgaria, Croatia, Czech Republic, Hungary, Poland, Romania, Russia, the Slovak Republic and Ukraine.

ACADEMIC ADVISORY PANEL

Members

The programme supports

Cosmin Costinaş Writer and Curator, BAK, basis voor actuele kunst, Amsterdam/Utrecht

Peer reviews: The academic advisory panel assists lecturers by offering comments and ideas during the process of course development.

Izabela Kowalczyk Art Historian, Art Critic and Curator, The School of Humanities and Journalism, Poznań Martina Pachmanová Art Historian, Curator and Writer, Academy of Arts, Architecture and Design, Prague Georg Schöllhammer Editor of springerin and documenta 12 magazines, Head of tranzit.at, Vienna

Literature purchase: Lecturers buy publications relevant to the course and hand these over to the university/ institute library.

Study visits: The lecturers visit inter­ national institutions relevant to course development. The visits provide a forum for discussion and exchange.

Guest lectures: International scholars are invited for guest teaching.

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

SELECTED COURSES

BELARUS / LITHUANIA

What the Party didn't Teach: Unofficial Internal and International Art Practices in Belarus from the Thaw till Perestroika European Humanities University, Theory and Practices of Contemporary Art, Belarus/Lithuania, www.ehu.lt Lena Prents

The 15 courses are taught in 11 different countries throughout the academic year 2010/2011.

The thematic scope of the university courses comprises architecture, film, music, collective memory, identity politics, gender studies, and feminism.

This course researches and analyses the unofficial art scene in Belarus (the BSSR) and its international affiliations in the period from the 1960s until the late 1980s in the context of the other Eastern-European Neo-Avant-Gardes.

After a general introduction to unofficial artpractices in the BSSR, the course will take a closer look at the Belarusian local situation with its main actors, facts, and occurrences, using oral history and private archives. Through workshops with Belarusian protagonists and the university eLearning platform “Moodle”, the course will be open to all those interested in this topic. guest lecturers

Piotr Piotrowski, Professor Ordinarius, Art History Department, Adam Mickiewicz University, Poland / Workshops with 5–6 key figures from Belarus from the examined period course term

Summer semester 2011

BULGARIA

Everyday Culture – Socialist Past and Present Consumption

Gendering Popular Culture East and West

South-West University, Department of Cultural Studies, Bulgaria, www.swu.bg

Sofia University St. Kliment Ohridski, Department of Cultural Studies (Matilda MA Programme in Women’s and Gender History), Bulgaria, www.uni-sofia.bg

Tatiana Nikiforova Stoitchkova The question of the nature of everyday life in Eastern Europe in the crucial years from the 1940s until 1989 is addressed within this course by describing both the historical and cultural contexts. It investigates similarities and differences between the socialist and postsocialist periods and examines the suitability of the concept “consumer society” in Eastern Europe, as well as the meaning of this term in the post-socialist context. guest lecturers

Christian Promitzer, Lecturer, Faculty of History, University of Graz, Austria / Anelia Kassabova, Researcher at the Ethnographic Institute with Museum, Bulgarian Academy of Sciences, Sofia, Bulgaria / Rosemary Statelova, Researcher, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria / Elka Tschernokoshewa, Head of the Department of Empirical Cultural Studies and Anthropology, Sorbian Institute, Bautzen, Germany course term

Winter semester 2010/11

Kornelia Slavova and Krassimira Daskalova Popular culture and gender history are both areas of social analysis that were not studied under communism. This course thus aims at triggering students' interest in the recent cultural history of Bulgaria and the region of Central and Eastern Europe and South Eastern Europe as seen through the lenses of these two specific areas.

In addition, the course intends to develop a systematic explanation of the significance of popular culture as a social and gendered terrain where ideological battles between the East and the West have been waged, as well as between patriarchal traditionalism and globalization processes. guest lecturers

Dina Iordanova, Professor, Director of the Centre for Film Studies, University of St. Andrews, UK Betty-Despoina Kaklamanidou, Lecturer, Film Studies Department, Aristotle University of Thessaloniki, Greece course term

Summer semester 2011

CROATIA

Art, History, Politics, and Popular Culture in Relation to Critical Art Practices in South Eastern Europe of the 1960s and 1970s

Comparative History of the Culture of Memory

Ljiljana KoleĹĄnik

Vjeran Pavlaković

In addition to a survey of different types of collaborative art practices, short term art associations, art groups, and curatorial initiatives and a combination of problemoriented and chronological presentation methods, this course will offer an explanation of intense political, ideological, economic, and social changes and important public debates of the 1960s and 1970s that framed the cultural production of the period. Focusing on the integrative, emancipatory potential of critical art practices and curatorial initiatives during this period, the course will pay special attention to their relevance for the present political and historical situation marked by the different paces and positions of former Yugoslav republics within the process of European integration and its possible outcome in terms of a common cultural heritage of the region.

This course is an introduction to the various theories and debates about the culture and politics of memory, commemoration, collective memory, identity, national myth, and history.

Moreover, it offers an overview of the culture of memory in contemporary Croatia, with an emphasis on the period of World War II and the wars in Ex-Yugoslavia in the 1990s. The lectures and the coursework will investigate and analyse interconnections between history, culture, and public commemoration of key moments from the modern era.

guest lecturers

To be determined course term

To be determined

University of Rijeka, Department of Cultural Studies, Croatia, www.ffri.hr

guest lecturers

Eric Gordy, Senior Lecturer, School of Slavonic and East European Studies, University College London, UK / Katia Pizzi, Senior Lecturer, School of Advanced Studies, Centre for the Study of Cultural Memory, University College London, UK / Charles Sabatos, Assistant Professor, Faculty of Arts and Sciences, Department of English Language and Literature, Yeditepe University, Turkey course term

Summer semester 2011

CZECH REPUBLIC

HUNGARY

Testimonies – Female Voices in Czech and Slovak Art

Critical Feminist Practices: Going Beyond Just Gender

Academy of Art, Architecture and Design in Prague, Department of Art History and Aesthetics, Czech Republic, www.vsup.cz

Hungarian University of Fine Arts, Department of Art Theory and Curatorial Studies, Hungary, www.mke.hu

Zuzana Štefková

Beáta Hock

The aim of this course is for students to meet personally with leading Czech and Slovak women artists. Moreover, this course aims at redressing the underrepresentation of Czech women artists within the contemporary art practice by creating a framework that fosters sharing the experiences of women living and working in the male dominated environment of the Czech(oslovakian) art world before and after 1989.

The "testimonies" gathered within the scope of this course will be archived in an on-line collaborative environment based on wiki technology.

The intention of this course is to clear cognitive space for carefully situated readings of feminist cultural practices, and thus contribute to the understanding of present cultural history and the differently lived pasts of the Western world and Central and Eastern European societies. The seminar considers cultural production – and especially art making – as always embedded in a given social, historical, cultural, and material context, and thus focuses on exploring spaces (actual and virtual), social voices, and creative options available for feminist art production in the societies in question.

guest lecturers

guest lecturers

Bojana Pejić, Art Historian and Curator, Berlin, Germany / Ilona Németh, Professor, Department of Intermedia and Multimedia, Academy of Fine Arts and Design Bratislava, Slovak Republic

Michael Blum, Guest Professor, Ecole des arts visuels et médiatiques, Université du Québec à Montréal, Canada / Ana Hoffner, PhD Candidate, Faculty of Fine Arts, Academy of Fine Arts Vienna, Austria

course term

course term

Winter and summer semester 2010/11

Winter semester 2010/11

HUNGARY

Fragmented Space: The Transformation of Central European Cities Moholy-Nagy University of Arts and Design, Institute of Art and Design Theo­ ry, Hungary, www.mome.hu and Budapest University of Technology, Department of Sociology and Communication, Hungary, http://portal.bme.hu Levente Polyák Students attending this course are offered the opportunity to participate in an investigation of the urban transformation of Central European cities as well as an analysis of regional develop­ ment paths and the similarities and differences between the discussed cities. While relying upon scientific literature, it will treat Central European cities at the interdisciplinary cross­ roads of a variety of approaches, such as those of urban sociology, cultural studies, architec­ ture history, and comparative literature. guest lecturers

–

a symposium with the

following participants

Eszter Steierhoffer, PhD Candidate, Royal College of Art, London and Director of the Art Network Agency Programme, Hungarian Cultural Centre London, UK / Dagmar Petříková, Associate Professor, Institute of Management, Slovak University of Technology in Bratislava, Slovak Republic / Grzegorz Piątek, Architecture Critic and Curator, Member of the Bęc Zmiana Foundation, Warsaw, Poland Jakob Hurrle, Multicultural Centre, Prague, Czech Republic / Constantin Goagea, Architect, Journalist, and Researcher, Founding Member of Zeppelin Association, Bucharest, Romania Ivan Kučina, Full-time Lecturer, Academy of Architecture, University of Belgrade and Cofounder and Programme Director of the “Bel­ grade International Architecture Week”, Serbia course term

Winter semester 2010/11

POLAND

(In)visible Loss. The Holocaust and the Everyday Visual Experience in Contemporary Poland and Central Europe Jagiellonian University, Polish Studies, Poland, www.uj.edu.pl Roma Sendyka This course aims to examine the relationship between the endeavour to remember the Holocaust and the contemporary everyday visual experience of present day cities in Poland and neighbouring countries. The purpose is to undertake a critical and comparative study of "memory policies", deepen the skills of analysis of visual discourses (monuments, museums, visual arts, movies, architecture, and finally: the discourse of the city as a visual object) and of the visual aspect in literature (modes of description). The issue of representation of the Shoah will build the background for examining the core problem: do/how do today’s Central/Eastern European cities represent the loss of its inhabitants? guest lecturers

Tomasz Majewski, Assistant Professor, The Institute of the Theory of Literature, Theatre and Audiovisual Arts, University of Lodz, Poland / Katarzyna Bojarska, PhD Candidate, Institute Badan Literackich, Polish Academy of Science / Wojciech Wilczyk, Artist, Photographer / Martin Jay, Sidney Hellman Ehrman Professor of History, Department of History, University of California, Berkley, USA course term

Winter semester 2010/11

ROMANIA

Politics of Identity in Eastern European Art after 1989

Eastern European Art under Communism: The Romanian Case

“George Enescu” University of Arts, Iaşi, Fine Arts, Decorative Arts and Design, Romania, www.arteiasi.ro

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

Cristian Nae

Magda Radu

The aim of this course is to offer theoretical insight into the history of art in Eastern Europe after 1989 focussing on the critical strategies and attitudes undertaken by art critics and theorists, curators, and artists towards the socalled "postcommunist" condition in terms of the representation and critique of identity. By means of a comparative approach, the course focuses on various marginalized positions upon which Eastern European art shaped its identity over the past two decades and on its discontinuities.

No consistent effort has been made thus far to address the complexity of the artistic pheno­ mena during the socialist period in Romania.

This course proposes new methodologies for discussing and analysing the recent history of contemporary Romanian art. Focus is on the introduction of a comparative approach that emphasises examples of artistic practice provided by other former-communist countries rather than a “Western” frame of reference.

guest lecturers

Edit András, Senior Research Fellow, The Research Institute for Art History, The Hungarian Academy of Sciences, Budapest, Hungary / Katalin Timár, Museologist and Curator, Department of Collections, Ludwig Museum, Budapest, Hungary / Marius Babias, Curator and Art Critic, Director of Neuer Berliner Kunstverein, Berlin, Germany Zdenka Badovinac, Director of Moderna galerija, Museum of Modern Art, Ljubljana, Slovenia / Marina Gržinić, Researcher, Institute for Philosophy ZRC SAZU, Ljubljana, Slovenia and Professor, Academy of Fine Arts Vienna, Austria course term

Winter and summer semester 2010/11

guest lecturers

Ekaterina Degot, Lecturer, The Rodchenko Moscow School of Photography and Multimedia, Russia course term

Winter semester 2010/11

ROMANIA

The Manea in Romanian Public Debates Concerning Transition, Democracy, the Roma Minority, and Reconstruction of National Identity

RUSSIA

From Prague Spring to Post-Perestroika: Art in Eastern and Central Europe (CEE) from 1960s till present

National University of Music, Bucharest, Musicology, Romania, www.unmb.ro

Moscow State Lomonosov University, History Faculty/Art Department, Russia, www.hist.msu.ru

Speranţa Rădulescu

Daria Pyrkina

Within the area of ethnomusicology, this course deals with a new, syncretic cultural phenomenon (music, dance, speeches, images, social behaviour) that has appeared in contemporary Romania: the manea. Manea reflects the main aspects and current processes in Romanian society and is the object of constant public debates opposing intellectuals and the common people.

The five researchers working on this course intend to publish a book on this topic.

The basic idea of this course is to introduce students to the problematics of contemporary art in the region and to follow the development of the artistic forms and ideas in a context determined by the conflictive socio-political reality. This course aims at investigating the peculiarities of the CEE art context from 1960s until present, comparing CEE and Rus­ sian art in different periods of recent history and emphasising different interaction possibili­ ties between socio-political and artistic processes.

guest lecturers

Anca Giurchescu, Retired Ethnocoreologist, Doctor Honnoris Causa of the Roehampton University, London, UK / Margaret Beissinger, Research Scholar and Lecturer, Department of Slavic Languages and Literatures, Princeton University, USA course term

Summer semester 2011

guest lecturers

Piotr Piotrowski, Professor Ordinarius, Art History Department, Adam Mickiewicz University, Poland course term

Summer semester 2011

SLOVAK REPUBLIC

UKRAINE

Critical Terms for Eastern European (EE) Art History and Visual Culture

Soviet Cinema since 1960s: Ideological Contradictions

Trnava University, Department of Art Education, Slovak Republic, www.truni.sk

National University of Kyiv-Mohyla Academy, Cultural Studies Department, Ukraine, www.ukma.kiev.ua

Mária Orišková

Olga Briukhovetska This course avoids teaching along a traditional art historical survey method. Instead, it implements a set of terms that allow students to understand their own culture not only in a general broader context, but also in a specific social, critical, and theoretical framework of Eastern European arts and culture.

The relevance of this kind of course – based on several critical terms ranging from Socialist past to Postsocialist and global presence – is to pursue in depth specific subjects through a combination of critical theory and visual imagery. guest lecturers

Lolita Jablonskiene, Associate Professor, Department of Art History, Theory and Critique, Vilnius Academy of Fine Arts and Chief Curator of the National Gallery of Art, Lithuania

This course introduces the methodology of post-colonialism for the purpose of studying Soviet ideology as visualized in popular cinema since 1960s. The subject of the course is not a particular national culture or its (mis) representation, but a nation as a colonial construction and the question of how the national differences were articulated in the Soviet Union within the imperialist project. guest lecturers

To be determined course term

Winter semester 2010/11

course term

Summer semester 2011

All courses are implemented in the academic year 2010/2011.

For detailed information about the project and updates, please check the website: www.wus-austria.org/patterns_lectures

or contact us at: patterns@wus-austria.org culture@erstestiftung.org

Implemented by World University Service (WUS) is an association committed to the promotion of the human right to education on the basis of academic freedom and university autonomy. Since its establish足 ment as a non-governmental organisation in Graz in 1983, WUS Austria has been working on the promotion of higher education in various countries all over the world. Since 1994, following the conflict in former Yugoslavia, WUS Austria has developed a regional focus on South Eastern Europe. Therefore, WUS Austria has set up local offices in Belgrade, Podgorica, Prishtina and Sarajevo. www.wus-austria.org

Initiated by In 2003, ERSTE Foundation evolved out of the Erste Oesterreichische Spar-Casse, the first Austrian savings bank. Currently, ERSTE Foundation holds 25.3% of the capital shares 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.

Social Development Culture, Europe

www.erstestiftung.org