Salzburg International Summer Academy of Fine Arts 2016, Austria


Deadline:

April 08, 2016

Disciplines:


Opportunity Cover Image - Salzburg International Summer Academy of Fine Arts 2016, Austria

What is the International Summer Academy of Fine Arts?

The Salzburg International Summer Academy of Fine Arts, founded in 1953 by Oskar Kokoschka as the "School of Vision", in Hohensalzburg Fortress, is the oldest of its kind in Europe.
Every year, some 300 participants from more than 50 countries attend some 20 courses offered in two fixed locations:Hohensalzburg Fortress and the Kiefer quarry in Fürstenbrunn, as well as in further temporary spaces in the city of Salzburg. Well-known artists, curators and critics from all over the world offer courses focusing on topical questions of art production, as well as curatorial practice and writing about art.

Special features of participants' stay in Salzburg are the fantastic atmosphere in the locations, the outstanding quality of the teachers and the first-rate programme of events, which includes Lunch Talks, lectures and discussions on the history and theory of art, vernissages, city walks, etc. For many people, the Summer Academy provides a unique opportunity to devote themselves exclusively to reflecting on and producing art. Participants reassess their own roles as artists/curators/writers and the social function of their art production, also exploring possibilities for opening up new ways of bringing their work to public notice. This helps to form new networks, which often last a lifetime, and which are of immeasurable importance in the art world of today.

The Summer Academy is open to anyone interested. Some two-thirds of participants are professionals (artists and art students). All applicants submit to a process in which the teachers of the courses chosen decide on acceptance; however, the proportion of rejected applications is extremely small.

In 2013, the Salzburg International Summer Academy of Fine Arts celebrated its 60th anniversary.

AARON ANGELL

RADICAL HANDBUILDING
08.08.2016 – 27.08.2016

From "Tortoise, Candle Holder Variations (Nepenthes)", 2015, bleiglasiertes Tongut, 52 x 43 x 32 cm. Courtesy Aaron Angell, Rob Tufnell London und Studio Voltaire London. Photo: Andy Keate
Medium/Media: Ceramics
Location: Festung Hohensalzburg

Language: English
What to bring: protective clothing
Requirements: Zero interest in making pots; no prior experience with ceramics is necessary
Maximum number of participants: 15

In this course, you will use ceramics as a sculptural medium, divorced from the context of craft and design.

In the first week we will explore simple building techniques, looking in particular at the ceramic works of Denise Wren, Gillian Lowndes and Mo Jupp. We will also look at some sensibilities of landscape design as a method of building ceramic sculpture, focusing on the one hand on grotto building and rococo encrustation, but also on occult balance and the works of Capability Brown, one of the most important 18th-century English landscape architects.

In the second week we will allow the ceramic works to dry out prior to firing. During this time, depending on the local facilities, we will try to build as a group a number of small wood-fired kilns based on the ancient Romano-British design.

In the third week you will learn to fire the electric kiln, and to mix your own glazes from raw materials. If possible, we will end the course by tending an all-day firing of our Romano-British kilns.

KIMBERLY BRADLEY

IMAGES INTO WORDS: WRITING ABOUT ART
08.08.2016 – 13.08.2016

Languages: English (primary) and German
What to bring: Laptop and/or pen and paper; your ideas, thoughts and questions on art writing in all its forms; works in progress
Requirements: Curiosity and a willingness to take risks
Maximum number of participants: 15

Are you a curator whose work requires you to write both snappy press releases and theoretical catalogue essays? An emerging or even established art critic? Are you an artist who works with text, an art blogger, or someone who simply enjoys translating visual experiences into words?

Writing about visual art is never easy, no matter what its purpose might be. To paraphrase a well-known saying, writing about art can feel like dancing about architecture. This workshop provides an array of tools to help art writers in all areas to find not only their individual voices, but also focus and flow.

We will consider different forms of art writing, along with their histories and idiosyncrasies. We’ll practise skills such as focused research, close viewing, interviewing, and the all-important steps of self-revision and editing. We’ll learn how to approach the blank page or screen unafraid, and discover our own writing processes. Through discussions, group sessions, exercises, and individual consultations and assessments, participants will learn how to “throw the clay” (write first drafts) and then shape those raw words into polished texts they can be proud to present.

VARDA CAIVANO

PAINTING LAB – PAINTING ENQUIRY
18.07.2016 – 30.07.2016

Location: Festung Hohensalzburg

Languages: English, Spanish, German
What to bring: Favourite tools and materials for working in your preferred medium (drawing or painting materials, documentation etc.)
Requirements: Some experience in doing art
Maximum number of participants: 20

This course will focus on students' individual needs and experiences. As in a laboratory, we will design three experimental set-ups to analyse:

1. The position of the artist
Students will develop methods of research, learn relevant theory and practical skills, and analyse conceptual and historical background, in order to produce a new group of works.

2. The world of the image
We will consider the visual language of the image – questions of possible links between objectivity/realism and subjectivity/inner world – and whether this kind of classification makes sense. We will also examine how narratives and stories take shape and become legible.

3. The critical view – theory and practice
We will look at the discourse contained within the work and seek to interpret the visual vocabulary.

The course aims to enable students to work out their own individual projects with a view to their future production, and will conclude with a presentation of the works created.

BERNHARD CELLA

THE BOOK AS PRINTED SPACE – CONCEPT AND PRINTED WORK
08.08.2016 – 27.08.2016

Medium/Media: All media that can be captured on paper
Location: Festung Hohensalzburg

Languages: German, English
What to bring: Laptop, personal archive material, books already developed or printed works (these may also be in the form of models)
Requirements: Basic computer skills, readiness to work in small groups
Maximum number of participants: 15
Co-teacher: Anton Stuckardt

The course deals with the current status of the printed (analogue) book and concomitant questions. It enables participants to design and develop their own publications, from the initial idea, through the conception, right up to the finished product.

During recent years, a real boom has been observed in very small editions of artistic publication projects, accompanied by developments in desktop publishing and digital printing. In contrast to industrial manufacture, small editions allow a high degree of interaction between production and conception, so that technical processes may influence decisions on content.

Taking current examples and historical models, we will analyse the various approaches and forms of production for our project. These include analysing pictorial language, formats and varieties of paper, text production, typography and typesetting techniques. In small groups, we will discuss concepts and prepare dummies for various book projects – prototypes that allow a different way of thinking about the space that is a book.

The aim of this course is to develop a comprehensive understanding of the medium “book” as a production process, and for individual participants to produce their own small publication or part of a larger one.

DISTRUKTUR / MELISSA DULLIUS + GUSTAVO JAHN

FILM AS A SENSITIVE BODY
15.08.2016 – 27.08.2016

Medium/Media: 16mm film
Location: Festung Hohensalzburg

Languages: English, German, Portuguese, Spanish
What to bring: If available: 16mm camera, light meter, pocket flashlights, tripod. 16mm cameras with accessories are available for use on site; film material and developing chemicals are available at cost price.
Requirements: Basic knowledge of image exposure on film (light measurement, speed x aperture relation, types of film, etc.) is welcome but not a must.
Maximum number of participants: 15
Co-teacher: Viktoria Schmid

Film as a sensitive body proposes that 16mm film material has properties that react not only to light exposure but also to contact with other bodies and substances. Through these contacts, image-making can be influenced in diverse ways and experimentation becomes a key part of the process.

During the two-week course the participants will try out diverse procedures involved in analogue film-making. They will capture images using 16mm cameras, process film in the dark room, cut, splice, and project the results. Every step of the process will be investigated in order to discover the aesthetic possibilities they offer. The working method will valorise intuitive approaches and at the same time stimulate knowledge exchange. The group will be encouraged to produce individual tests and experiments, as well as to plan and create together, in order to generate a film of collective authorship as result of the course.

By taking part in Film as a sensitive body the participants will be introduced to analogue film-making in an autonomous way, where they assume control over every aspect of moving-image-making, from conception to projection.

FELD72

PUBLIC SPACE
18.07.2016 – 06.08.2016

Medium/Media: Art in public space, intervention, architecture, urban planning
Location: wird zeitnah bekanntgegeben (öffentlicher Raum Salzburg)

Languages: German, English
What to bring: Laptop, camera; (if available) tools for working in your preferred medium; working clothes
Requirements: None
Maximum number of participants: 20

feld 72's temporary Museum for Public Space is setting up shop again in Salzburg.

Salzburg is a town where global meets regional and local, where identities are “exploited” and specific expectations generated or perhaps courted. What is “other” or “different” occupies – in diverse manifestations – considerable space in the town, whether in the form of visitors in the flourishing tourist industry or during the Summer Festival, or of increasing numbers of refugees passing through Salzburg, due to its situation near the German border.

From backstage of tourism to Arrival City (Doug Sanders), Salzburg holds visible and invisible traces of globalism, which also influence the everyday life of the town.

Participants will analyse contemporary phenomena of Salzburg's public space, and go on to develop projects for it, realising these in the form of interventions or similar, in specific situations. The course will place emphasis on learning and developing new methods, strategies, tactics and tools for dealing with public space.

A place in the town centre will serve the group as a workshop and home base for holding discussions. At the end of the course, the projects will be presented to the public on a conducted tour, and documented in the temporary Museum for Public Space.

MELISSA GORDON

WHO AM I AS A PAINTER, IN PAINTING, IN MAKING?
01.08.2016 – 13.08.2016

Medium/Media: Painting and theory
Location: Festung Hohensalzburg

Language: English
What to bring: notebook/laptop (for writing), readings (e-mailed to you ahead of time), camera (or camera phone). Further necessary tools and materials will be specified along with your confirmation of acceptance, and can be purchased at the Academy shop.
Requirements: None
Maximum number of participants: 20

When we make art, who are we? This course will combine analysis of theoretical texts on painting and experimental creation of objects. Throughout the two weeks we will be examining the subjective nature of art production, including concerns of gender and the problem of “genius”. Who is “the painter”, and how do we locate him/her in a picture?

We will read a number of texts on genius, gender and abstraction, including writers and theorists Yve-Alain Bois, Amy Sillman, Chris Kraus, Eva Kenny and David Joselit. We will spend the mornings discussing questions of contemporary painting, including the “model” of painting (Yve-Alain Bois), and we will then make objects in the afternoon, both in groups and individually. I will encourage a highly experimental form of painting – utilising mass-produced objects and tools, photo and/or silkscreen to make “imprints” on surfaces. Any material may be used. 

We will then discuss our creations, in both group and individual tutorials, and the course will include a written element to address the means of production and the perspective of ourselves as makers.

VALÉRIE JOUVE

PHOTOGRAPHY AS A TOOL OF ENCOUNTERS
01.08.2016 – 13.08.2016

Medium/Media: Photography
Location: Festung Hohensalzburg

Languages: English, French
What to bring: Laptop, digital camera or with silver films, if available: 4.5 inch large-format camera – but there will be one for use on site.
Requirements: Basic technical knowledge of photography
Maximum number of participants: 20

My course will oncentrate on the image as a structure for bringing together the elements contained. It may be a person in a context, a place, a personified tree, or a landscape that reveals the history of the terrain.

To begin with, we will practise using the 4.5 inch camera as a tool for examining perspective space, and explore ways of circumventing the rules. How can we use photography for invention rather than for reproduction? The camera simply shows what is there; so how can we take a picture using intuition and heart, rather than the eye?

Participants may bring their own projects, and work individually or in groups. We will look at each project and try to take a more abstract approach. No precise subject will be given, to avoid images becoming too literal. An image can be more powerful when the subject is not the primary challenge. For instance, we can step back and compose the idea of an image by writing, drawing or walking, before taking the photograph.


Part of the work will be to compile images taken during the course, to form a narrative line conveying the meaning of the work. How can photography tackle philosophical questions?

BEN KATCHOR

COMICS IN PERFORMANCE
18.07.2016 – 23.07.2016

Medium/Media: Drawing, text, performance
Location: Festung Hohensalzburg

Language: English
What to bring: Drawing and painting materials of your choice (pen, ink, pencil, acrylic paints); laptop if available. Further necessary tools and materials will be specified along with your confirmation of acceptance, and can be purchased at the Academy shop.
Requirements: An interest in drawing and storytelling
Maximum number of participants: 20

In this workshop, students will explore the worldwide traditions of illustration and comics in performance: picture-recitation, cantastoria, kamishibai and others.

While examining and discussing various picture-story techniques from diverse historical and geographical contexts, students will immediately start making their own pictures and writing their own texts.

Projects in the workshop will include narrated slide-shows, narrated panoramic drawings, toy theatre and shadow puppet construction and performance. In a series of exercises, students will develop the technical and narrative skills needed to combine hand-made images with the human voice in a theatrical performance.

The aim of the workshop is to discuss, individually and in groups, the best way of realising each student's picture-story, and to perform the story at a final presentation to the public.

ANDREAS LOLIS

WORKING WITH STONE
24.07.2016 – 20.08.2016

Medium/Media: Stone sculpture
Location: Kiefer Steinbruch Fürstenbrunn

Languages: English, Greek, Italian, German
What to bring: Weatherproof clothing, protective goggles and gloves, earmuffs, dust mask
Requirements: Interest in working with stone, previous experience in stone sculpting is welcome but isn’t a condition
Maximum number of participants: 12

What does it mean to work with a monumental material? How can one take an ephemeral, perishable object and turn it into something monumental? How can the traditional technique of stone sculpting simultaneously be contemporary? In this course, the participants will explore and discuss issues which Andreas Lolis also deals with in his own work, when he transforms common packaging litter into precious marble sculptures.

The Untersberg quarry, which for centuries has provided the co-called “Untersberg marble” (which in fact is a limestone), offers ideal conditions for different approaches to this material. Participants live and work for four weeks directly on site, thus gaining an idea of the dimensions and the complex operations involved in quarrying, both past and present.

Participants will learn about the possibilities and limitations of working with limestone. They will explore light, colour and texture of this specific material and experiment or refine skills in the treatment of the stone.

As from Saturday evening, 23 July, simple dormitory accommodation will be available for € 7.– per night in the quarry grounds.

MAHA MAAMOUN

AND WHAT DID THE ANIMAL SAY?
15.08.2016 – 27.08.2016

Medium/Media: Photography, video and text

Location: Festung Hohensalzburg

Language: English
What to bring: Camera, laptop, source and other material relevant to your practice
Requirements: None
Maximum number of participants: 20
Co-teacher: Giovanni Giaretta

In Mathieu Kassovitz’s film La Haine, while Vinz and Sayid walk through the clashes between police and residents in their suburb, Vinz is sure he saw a cow crossing the street. It is not clear if he is the only one who saw it, if it’s even real, a symbol of the collapse of the urban order, or possibly an omen of his imminent death. 

Why look at animals? Do we use animals as symbols or proxies for other subjects? Is our interest in them driven by a desire to reach beyond the confines of our bodies, subjectivities, knowledge and practice? How are these interests or desires finally translated in our work?

In this course we will take animals as our starting-point to explore issues that relate to our selves, societies, cultures and politics. By engaging with a diverse selection of contemporary writers, artists, film-makers and others who use or reflect on the use of animals in their work, as well as through field-trips, class discussions and one-on-one meetings, this course aims to explore and develop different modes and languages of observation and how they are translated into images and texts. Starting from our individual interests and projects, we will work on the development of our ideas from conception and visualisation, to translating them into images and texts, and finally to sharing our work in a space with an audience. 

MARC MONZÓ

THE BIG BANG AND YOU
01.08.2016 – 20.08.2016

Medium/Media: Jewellery design
Location: Galerie 5020

Languages: English, Spanish
What to bring: Basic goldsmith's tools (pliers, files, drill, saw and blades) if available, drawing materials, laptop, camera.
Requirements: Basic knowledge of jewellery making techniques.
Maximum number of participants: 12
Co-teacher: Andrea Durianová

In this jewellery design course we will take the Big Bang theory as the starting-point for our own visions, to be materialised in various (jewellery) objects.

The Big Bang refers to the origin of the universe. According to this theory, matter, space and time are compressed in a single point of infinite density, which expands in all directions, producing what we know as our universe. The current level of knowledge is that everything that exists – including ourselves – is a fragment of the unity which exploded, and which had somehow always been there.

Participants' work should express their own relation to the beginning of the universe. Particular attention will be paid to fine-tuning certain jewellery-making techniques which will enable participants to convey their message precisely. Individual advice will be given, and ideas exchanged in group discussions.

The works produced will be exhibited at the end of the course. The aim is to hone and expand students' individual expressive plastic talent by considering the Big Bang .

IRINA NAKHOVA

THE NUDE: INTERPRETATION IN PAINTING
25.07.2016 – 13.08.2016

Medium/Media: painting
Location: Festung Hohensalzburg

Languages: English, Russian, German
What to bring: Preferred painting tools and materials; bring your own portfolios to start the initial discussion and to determine your individual standpoint and potential direction.
Requirements: None
Maximum number of participants: 20
Co-teachers: Katharina Karner, Gregor Eldarb

This course is designed to develop our ability to see, analyse and create. The main subject of our investigation is the human figure, as one of the oldest and most delightful subjects in art. Our work will be a conscientious effort to develop acute perceptual and painting skills, with emphasis on individual growth and development. You will learn and study the human body as a part of a broader understanding of the origin of art language, not only as representation.

Acquiring fundamental approaches to painting, and to life painting in particular, will enable you to continue on your own, and help you understand that observational skills are basic to any artwork, including abstraction. You will recognise that the long history of figure-drawing and -painting is an integral part of contemporary art. The practice of painting or drawing within an art-historical perspective is one of the goals of this class.

Image-making which uses the figure will be investigated through our studio work. While working with life models, different learning techniques and approaches will be employed – from gestural drawing exercises to long, sustained painting sessions. Students are encouraged to pursue their own approach to the human figure, acquiring skills that will be vital for each participant’s development.

SENAM OKUDZETO

UNORTHODOX APPROACHES TO DRAWING
08.08.2016 – 13.08.2016

Medium/Media: Drawing, mixed media
Location: Festung Hohensalzburg

Languages: English, German
What to bring: Sketchbook, laptop, camera, watercolour brushes of various sizes, black Indian ink and red, yellow and blue coloured inks; also any preferred drawing materials such as pens or charcoal.
Requirements: None
Maximum number of participants: 16
Co-teacher: Bernhard Lochmann

This course is open to anyone keen on drawing. The programme is designed to accommodate a range of needs, so that artists who are new to, or uncomfortable with the medium can easily work with those who are more skilled. This class mixes unorthodox and conventional drawing techniques with an aim of both improving drawing skills and developing experimental approaches to drawing and representation. 

Each day will begin with a series of repetitive rapid sketching exercises, after which students will undertake a series of intensive activities designed to improve basic skills and simultaneously create new understanding of how drawing can be used to communicate meaning. The resultant works and processes will be discussed individually and in groups.

The preferred medium for this class is ink and brushes, as they allow for speed and fluidity of movement. However, students may feel free to work using other preferred drawing materials such as pencils, charcoal etc.

LUKAS PUSCH

PRINT PRINT PRINT
18.07.2016 – 06.08.2016

Medium/Media: Printmaking, various techniques
Location: Festung Hohensalzburg

Languages: German, English, Russian
What to bring: Any tools available, drawing materials and cheerful disposition
Requirements: None
Maximum number of participants: 15

In this course we will explore various techniques of classical printmaking, such as etching, woodcut and silkscreen, as well as experimenting with alternative methods.

Participants will learn not only new techniques, but also ways of developing their own work. Regular individual discussions and a lively exchange of artistic and practical ideas in the group will help to secure what has been learned.

Basically, students are completely free to work as they wish. As an aid to understanding proportions while making portraits or drawing figures, a nude model will be available. The aim – besides the pleasure of learning and experiment – is to encourage reflection on your own work, and to find your individual means of expression in a specific printing technique for a particular subject. This will broaden your own artistic scope and horizon long after the course is over.

IMRAN QURESHI

MINIATURE PAINTING
18.07.2016 – 06.08.2016

Medium/Media: Miniature painting and other media
Location: Festung Hohensalzburg

Language: English
What to bring: The necessary tools and materials will be specified along with your confirmation of acceptance, and can be purchased at the Academy shop.
Requirements: Basic understanding of drawing. Participants should be able to work sitting on cushions on the floor.
Maximum number of participants: 20

This three-week introductory course will focus on the centuries-old traditional technique of miniature painting, from the Indian subcontinent. The course will evolve around preparation of materials (including brush-making, wasli-(paper)making and processing paints/pigments in a traditional way). Demonstrations will also be an important part of the course throughout, including different techniques of making a miniature painting (pencil, Siyyah Qalam, Gad’rang, gilding and border-making).

A PowerPoint presentation on the revival of contemporary miniature painting in Pakistan will be shared during the course.

The basic objective of this course is to encourage conceptual work in the participants after they have been introduced to certain skills and gained an understanding of the ancient art form of miniature painting.

At the end of the course, the participants will translate their previous assignment-based practice into their own personal visual vocabulary.

TEX RUBINOWITZ

HOMAGE
15.08.2016 – 27.08.2016

Medium/Media: Mainly painting, also drawing, assemblage, embroidery, oil on wood, text
Location: Festung Hohensalzburg

Languages: German, English
What to bring: Tools and materials for working in your preferred medium
Requirements: None
Maximum number of participants: 20

Participants will choose a person, an object or a phenomenon to whom or which they wish to pay homage, in a manner aesthetically comparable to votive images in churches, which bear intercessions and depict dire predicaments. So pictorial resources will be used to relate or glorify something in a readily comprehensible form, similarly to icons – a spiritual exaltation of what is depicted, with the intention of inspiring veneration, and of creating an existential link between viewer and object. Possible references might be Peter Blake, with his British pop-art homages to the Beatles and Elvis, or Elizabeth Peyton, with her iconographic portraits of Sid Vicious, David Bowie and Empress Sisi.

The course should end with a small informative exhibition, flanked by descriptions (possibly also sound recordings) designed both to provide details about the object/person and to encourage the viewer to take an interest in the subject.

You should recognise the artist's real enthusiasm for his object, that he wants to convey – ultimately, I'm happy to be convinced. (Tex Rubinowitz)

NORA SCHULTZ

WHEN SCULPTURES WALK OUT
18.07.2016 – 06.08.2016

Medium/Media: All media
Location: Festung Hohensalzburg

Languages: German, English
What to bring: Preferred materials, your own archive material, laptop, camera, notebook, possibly reference material (pictures, photos, texts, films)
Requirements: None
Maximum number of participants: 20
Co-teachers: Noële Ody, Sam Siwe

This course deals with a possible practice of expanded sculptural production, the aim being to find out how a different perspective can be introduced into the work.

Just as an art-work is contingent upon an external reality and must necessarily contain parts of this, we can regard the external world as a possible partner in a sculpture, with (and to) which it can configure expanded perspectives. Helpful strategies might include drifting, collecting, or working with found and invented material. If a sculpture can also be immaterial in our present understanding, we will ask ourselves how these strategies might be applied to virtual processes.

We will also ask what it means to “dis-play” an object, to put it in an exclusive place (in the market, for instance), or conversely, to “dis-place” it from a context, detaching it from its meaning, to “out-place” or “mis-place” it, etc.

In this production, the connection with theoretical academic models, fictional narratives and other artistic works plays a vital part, and should be constantly borne in mind during the working process. We would like to collaborate with the students in finding practical and spontaneous ways of working, in which the actions and works are understood in a fragmentary fashion, both in reference to the space and to one another within the metaphorical space.

ALYA SEBTI

CURATING/TRANSLATING THE POLYPHONY OF VOICES
18.07.2016 – 23.07.2016

Medium/Media: Curatorial practice
Location: Festung Hohensalzburg

Language: English
What to bring: Laptop and any other media required to present your project
Requirements: None
Maximum number of participants: 20

As the global art system’s pace gets faster, exhibition-making becomes dictated by hyper-productivity, while the curator is expected to perform within a frenetic temporality punctuated by curatorial turns. These turns are often based on geographies, as contemporary art discourses increasingly try to deal with voices from multiple centres, defined here as the place from which one speaks and contributes to polyphony rather than trying to listen to a collective but unified voice.

This course proposes to slow down and analyse the figure of the curator since 2000, and its evolution. With the essay Curare l’arte by Chiara Bertola as a starting point, we will consider curating as weaving a conversation with an artist and translating it to an audience. We will investigate the curatorial challenges to doing research under pressure, and integrate different approaches and disciplines, which participants will be encouraged to apply within their own research.

The classes will include lectures and visits to exhibitions, followed by discussions. Participants may choose to work in a small group (maximum 4) or individually on their projects, which they will develop in conversation with other participants and present their result at the end of the course.

AHLAM SHIBLI

THE NOTION OF SUBJECT MATTER
18.07.2016 – 30.07.2016

Medium/Media: Photography
Location: Festung Hohensalzburg

Languages: English, Arabic if needed
What to bring: Camera, laptop or tablet, material from your own archives, pocket notebook and pen
Requirements: Motivation and commitment
Maximum number of participants: 20

The course will be based on working in groups. The process is divided into the following steps:

1. Choosing a subject to photograph
After a general discussion about how to choose a subject, sub-groups will be formed of people who want to deal with the same subject. They will discuss details of the research and how to photograph the subject. Each group can be 3-4 persons. Before going out, each participant writes a script reflecting subject, methods and goals.

2. Taking photographs
Normally each one goes out alone to take photos. If necessary, we may choose to go together.

3. Reviewing and editing the work
Looking at what we have photographed provides us with a learning experience about our way of seeing and our ability to capture a subject. Reviewing our material will result in an editing process and the elaboration of a presentation of the subject. This step will combine individual reflection and group discussion.

4. Artist’s statement and captions
To write a statement and captions will be necessary to shape our own position towards our subject and to provide a context for the images.

5. Exhibition
We will investigate the possibilities of staging an exhibition of the work.

JOANNA WARSZA

I CAN'T WORK LIKE THIS. ADDRESSING THE QUESTION OF CURATORIAL ETHICS
25.07.2016 – 30.07.2016

Medium/Media: Curatorial practice
Location: Festung Hohensalzburg

Languages: English (French, Polish)
What to bring: Laptop
Requirements: Text reading in advance (reading list will be provided)
Maximum number of participants: 20
Co-teacher: Mirela Baciak

We know it now better than ever: no art context is innocent, and every project is in some way problematic, be it for financial, ideological or political reasons. In recent years, the art world has been more often confronted with a classic dilemma of engagement or disengagement, in the face of political turmoils, corporate agendas or disrespect of human rights. It all gives a feeling that curating and art production cannot just carry on “as if nothing had happened”.

During the workshop we will examine some historical and recent examples of curatorial ethical dilemmas (e.g. the 1968 Venice Biennale or the 2015 Kiev Biennale), looking at the dos and don'ts, the concepts of right or wrong and the standard practices in the profession. It is widely believed that one of the critical curatorial responsibilities is to be a good mediator, but how much can you compromise when you feel something is wrong? If an exhibition is a site of social negotiation, how do you address its terms and conditions, how do you navigate between knowledge production and getting things done?

The course will propose an exercise in reflecting on curatorial and artistic scenarios and the contexts in which they are situated. On the basis of selected examples, we will work collectively towards our code of curatorial ethics between core professional beliefs and personal compass.

NICOLAS WILD

THE CRAFT OF COMICS
15.08.2016 – 27.08.2016

Medium/Media: Drawing on paper or on digital devices
Location: Festung Hohensalzburg

Languages: English, French, German
What to bring: A sketchbook and A4 paper, ink, pencils, charcoal, acrylic or any tools you like to use to sketch and draw (these can be purchased in the Academy shop); laptop or Wacom tablet if you draw digitally. Bring also a couple of drawings you made when you were a child. If available, bring a musical instrument (small ones, leave your organ at home). And a food speciality from your home town (optional).
Requirements: The students should have basic illustration skills. Minimum experience in storyboarding or fanzine creation is welcome but not a condition.
Maximal number of participants: 20
Co-teacher: Nina Prader

Each student is asked to bring an idea for a story to develop through the class. The story can be anything – the adaptation of a novel, a story of your own, a graphic reportage made in Salzburg during the summer class, a pure experimental improvisation…

Nicolas Wild will explain all the steps of comic creation, from the idea of the story to the book launch at a festival. Storyboarding, character design, scenario, fanzine and photoshop workshops will be provided during the class to help students with their project. Students who have already started a comic project are welcome to bring it along and use the summer class to continue working on it. 

The graphic quality and style of the student’s illustrations do not matter much. The main purpose of the class is to work on the relation between texts and images and to develop skills in visual narration.

APPLICATION

Applications should include the following documents:

application form, reservation of accommodation (if required), full CV, photographs/copies/concepts of applicant's own work (portfolio) as indicated.

For the courses concerning curatorial and writing praxis, a full CV and a letter of intent is required. Also, you should explain why you are applying and why you think you are qualified for participation.

You can upload (see below) your portfolio joined together in a PDF or ZIP file or also in single documents (jpg or doc formats only). To avoid any confusion, you are requested to label your documents with your proper names. There are 5 files with max. 35 MB possible to upload. The Summer Academy team is ready to answer any questions you may have.

We also accept applications via regular mail (no originals, format A4).

The teacher of the course applied for will select successful applicants on the basis of the work submitted.

ONLINE APPLICATIONFILE UPLOAD

PERIOD OF APPLICATION

All applications received by 2 May 2016 will be treated equally, and a reply confirming acceptance or non-acceptance will be sent by the end of May 2016. Later applications will be accepted and processed in the order of receipt, according to vacancies in the courses. Successful applicants will receive written confirmation and detailed information from the Summer Academy.

The closing date for grant applications is 8 April 2016.

PARTICIPATION FEES

The fees consist of the enrolment charge of € 200.– (non-refundable) and a course fee which varies according to the length of the course (€ 250.– per week/reduced fee € 170.–). Students are entitled to the reduced fee on production of a valid confirmation of enrolment at an educational institution for the 2016 summer term.

It is not generally possible to attend a course for only one week. Students attending two consecutive courses pay the enrolment fee only once; the course fee is calculated according to the total number of weeks.

Duration of course

Normal fee

Reduced fee

4-week course

€ 1,200.-

€ 880.-

3-week course

€ 950.-

€ 710.-

2-week course

€ 700.-

€ 540.-

One-week course

€ 450.-

€ 370.-

 

   

PAYMENT

On acceptance, the enrolment charge of € 200.– should be paid immediately. The course fee must be entered in the Summer Academy account by 30 June 2016:

Internationale Sommerakademie für Bildende Kunst Salzburg
Salzburger Landes-Hypothekenbank AG,
Residenzplatz 7, 5020 Salzburg, Austria
IBAN: AT09 5500 0000 0251 6046, BIC / SWIFT: SLHYAT2S

Payments will be accepted using the following credit cards: Mastercard and Visa.

ENROLMENT FOR NON-SCHENGEN CITIZENS REQUIRING A VISA FOR AUSTRIA

To obtain a visa, an “electronic letter of intent” (EVE document) is necessary. After receiving notification of acceptance from the teacher, the Summer Academy has to apply to the Immigration Authority in Salzburg for an electronic code number, which will be forwarded to the student. With this identification number and other relevant documents, the student can apply to the appropriate Austrian Embassy for a visa.

For the EVE document, we require the following details from the student:
surname, first name(s) as in passport, address, gender, date and place of birth, nationality, passport number, name and address of the appropriate Austrian Embassy (passport and visa department).

Enrolment assumes acceptance of the General Terms and Conditions.

GRANTS

Some 80 grants, usually covering participation fees only, are available for participation in one of the classes at the Summer Academy.

Additional subsidies for travel and living costs are offered by the The American Austrian Foundation (AAF/Seebacher Prize for Fine Arts), ERSTE Foundation, Free State of Bavaria, Münster Academy of Fine Arts, Society of Friends of the Leipzig Academy of Visual Arts, and the Fine Art Department (FADA), Kingston University, London. Applications for these grants should be made directly to the granting bodies, according to their guidelines and closing dates.

The Eastern Europe grants, co-financed by the Austrian Federal Chancellery and awarded by the Summer Academy, also include travel and living costs.

Applications for the latter and all other grants should be made, online only, via the Summer Academy.
The grant application also counts as the application for a class (so need not be made separately).

The closing date is 8 April 2016.

GRANT APPLICATION

For applying please make a file upload. It is not necessary to apply for a special grant, applications should  contain the following:

  • Application form for grants
  • Brief informative curriculum vitae
  • Statement on the reason for applying and what you expect from participation in a course at the Summer Academy
  • Portfolio, approximately 10 photographs of your work (for the curatorial courses a portfolio is not necessary)

Granting bodies with travel and living costs

The American Austrian Foundation (AAF/Seebacher Prize for Fine Arts) Grants apply exclusively to art students from the USA. Please send applications to: finearts.prize@americanaustrianfoundation.org.

The ERSTE Foundation offers fellowships for emerging curators and artists from the Czech Republic, Hungary, Romania and the Slovak Republic. Applications to:
www.tranzit.org

The Free State of Bavaria offers grants for students at the art academies of Munich and Nuremberg. Applications to:
Bayerisches Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst, Salvatorstraße 2, 80327 München, Germany.

The Münster Academy of Fine Arts offers two grants for outstandingly talented students at the Academy. Grants are awarded by a jury in the course of the annual survey.
www.kunstakademie-muenster.de

The Society of Friends of the Leipzig Academy of Visual Arts awards a grant to a student at the Leipzig Academy of Visual Arts.
www.hgb-leipzig.de/freundeskreis

As one of the UK's leading Fine Art Schools, the Fine Art Department (FADA), Kingston University, London offers two grants for students of the BA (Hons) Fine Art course in their second year. Information/Application:c.cullinan@kingston.ac.uk

Co-financed through funding from the Austrian Federal Chancellery – Division II Arts and Culture the International Summer Academy of Fine Arts awards Eastern Europe grants to art students from the following countries: Albania, Armenia, Azerbaijan, Belarus, Bosnia-Herzegovina, Bulgaria, Georgia, Croatia, Macedonia, Moldavia, Montenegro, Romania, Russia, Serbia, Ukraine. Grants include € 200.– per week for living costs. Applications via this website.

Grants covering participation fees only

Applications for the following grants to this website. It is not necessary to state the specific awarding body.

Grants from the culture fund of the Provincial Capital of Salzburg are open to all applicants, the decisive criterion being the quality of the works submitted.

The culture department of the Province of Salzburg awards grants to talented pupils from the 7th and 8th years of secondary school or from the 3rd year onwards of vocational college, and to students of art or architecture.

The Society of Friends of the International Summer Academy of Fine Arts awards grants funded from the income from membership fees. The grants are open to all talented and needy applicants.

The Society of Friends also awards the following special grants:

The Miloslav Chlupác grant for the Stone Sculpture Symposium
This grant is dedicated to Miloslav Chlupác (1920–2008), the co-founder and long-time director of the Stone Sculpture Symposium in the Kiefer Quarry, Fürstenbrunn. It is financed by Friends of the Stone Sculpture course and includes the participation fee for the course as well as on-site accommodation.

The M.E. Prigge grant is dedicated to the artist Maria Elisabeth Prigge (1948–2007), who directed the painting classes of the International Summer Academy of Fine Arts on the island of La Gomera from 1997 to 1999, as well as the 2003 and 2005 graphic arts classes in Hohensalzburg Fortress. It is intended for young talented artists to participate in a graphic arts course (engraving, drawing, etc.), and is financed by friends of the artist.



Eligible Countries
Host Country
Opportunities
Publish Date
February 01, 2016
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