Robert Filliou: Teaching and Learning as Performing Arts / Lehren und Lernen als Auffuehrungskuenste (1970) [English/German]

“Off and on 3 years of work and now VERLAG GEBR. KOENIG, KOELN – NEW YORK publishes the first draft of TEACHING AND LEARNING AS PERFORMING ARTS by ROBERT FILLIOU and the READER if he wishes, with the participation of JOHN CAGE, BENJAMIN PATTERSON, GEORGE BRECHT, ALLEN KAPROW, MARCELLE, VERA and BJOESSI and KARL ROT, DOROTHY IANNONE, DITER ROT, JOSEPH BEUYS. It is a Multi – book. The space provided for the reader’s use is nearly the same as the author’s own” (from cover)

Publisher Verlag Gebr. König, Cologne/New York, 1970
Editor Kasper König
236 pages
via Charles Turner

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Hannah Higgins discusses this book in her Fluxus Experience (pp 188–189, 195–207)

R. Murray Schafer: The New Soundscape: A Handbook for the Modern Music Teacher (1969)

“Overheard in the lobby after the premiere of Beethoven’s Fifth: ‘Yes, but is it music?’

Overheard in the lobby after the premiere of Wagner’s Tristan: ‘Yes, but is it music?’

Overheard in the lobby after the premiere of Stravinsky’s Sacre: ‘Yes, but is it music?’

Overheard in the lobby after the premiere of Varèse’s Poème électronique: ‘Yes, but is it music?’

A jet scrapes the sky over my head and I ask: ‘Yes, but is it music? Perhaps the pilot has mistaken his profession?’ ” (Preface)

Publisher Berandol Music Limited, Scarborough, Ontario, and Associated Music Publishers, New York, 1969
67 pages
via Charles Turner

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Heresies: A Feminist Publication on Art and Politics, No 1-27 (1977-1993)

Classic feminist art magazine from the 1970s through the 1990. Collectively produced issues featured a wide variety of artists’ work, essays, prose and poetry.

The founding members of the Heresies Collective included Patsy Beckert, Joan Braderman, Mary Beth Edelson, Elizabeth Hess, Harmony Hammond, Joyce Kozloff, Arlene Ladden, Lucy Lippard, Mary Miss, Marty Pottenger, Miriam Schapiro, Joan Snyder, May Stevens, Michelle Stuart, Susana Torre, Elizabeth Weatherford, and Sally Webster.

Publisher Heresies Collective, New York
ISSN 0146-3411
via Heresies PDF Archive

The Heretics, trailer of documentary film by Joan Braderman, 10 min, 2009
View article index

Heresies 1: Feminism, Art and Politics (Jan 1977)
Heresies 2: Patterns of Communication and Space Among Women (May 1977)
Heresies 3: Lesbian Art and Artists (Fall 1977)
Heresies 4: Women’s Traditional Arts – The Politics of Aesthetics (1978)
Heresies 5: The Great Goddess (1978)
Heresies 6: On Women and Violence (Summer 1978)
Heresies 7: Women Working Together (Spring 1979)
Heresies 8: Third World Women (1979)
Heresies 9: Organized Women Divided (1980)
Heresies 10: Women and Music (1980)
Heresies 11: Making Room – Women and Architecture (1981)
Heresies 12: Sex Issue (1981)
Heresies 13: Earthkeeping / Earthshaking: Feminism & Ecology (1981)
Heresies 14: The Women’s Pages (1982)
Heresies 15: Racism is the Issue (1982)
Heresies 16: Film / Video / Media (1983)
Heresies 17: Acting Up!: Women in Theater and Performance (1984)
Heresies 18: Mothers, Mags, and Movie Stars – Feminism and Class (1985)
Heresies 19: Satire (1985)
Heresies 20: Heresies (1985)
Heresies 21: Food is a Feminist Issue (1987)
Heresies 22: Art in Unestablished Channels (1987)
Heresies 23: Coming of Age (1988)
Heresies 24: 12 Years (Anniversary Issue) (1989)
Heresies 25: The Art of Education (1990)
Heresies 26: A Journal of Feminist Post-Totalitarian Criticism (1992)
Heresies 27: LATINA – A Journal of Ideas (1993)
Download all 27 issues (ZIP’d PDFs)

Možnosti studentského života (2010) [Czech]

Možnosti studentského života je průběžně rozvíjený projekt skupiny P. O. L. E. (aktuálně působící ve složení Vasil Artamonov, Alexey Klyuykov, Václav Magid, Tereza Stejskalová, Pavel Sterec, Tomáš Uhnák), který formou výstavy seznamuje s různými pojetími společenské role studujících.

Projekt má několik složek. Faktografická část poskytuje základní vhled do dějin studentstva jako společenského fenoménu. Tvoří ji jednak graf, jenž lokalizuje klíčové události a hnutí na časové a zeměpisné ose, jednak medailonky vybraných osobností studentského aktivismu. Teoretická část přibližuje formou citátů různé koncepce identity studujících. Jako zdroj těchto pojetí posloužily manifesty studentských hnutí a úvahy některých myslitelů. Další složka projektu má podobu multimediální instalace, koláže z plakátů a letáků či sestřihu videí a ukazuje obraz studujících jako specifické skupiny konzumentů, jenž je dnes prosazován reklamou a masmédií. Nedílnou součástí projektu jsou také bannery a další předměty používané při pouličních protestech. Tyto artefakty, ať už převzaté od různých studentských uskupení nebo vyrobené samotnými autory projektu, jsou v závislosti na kontextu prezentace aranžovány do podoby muzeální instalace nebo naopak začleňovány do aktuálně probíhajících protestů.

Původní verze výstavy byla připravena ve spolupráci se Studentskou komorou RVŠ pro galerii TranzitDisplay v roce 2009 u příležitosti sedmdesátého výročí 17. listopadu 1939. Aktualizované reprízy proběhly v roce 2011 v galerii D9 v Českých Budějovicích a v klubu K4 v Praze. Pro prezentaci na Filozofické fakultě UK v rámci Týdne neklidu autoři přepracovali projekt tak, aby se stal nedílnou součástí protestů proti připravované reformě vysokých škol.

Edited by Vasil Artamonov, Patrik Eichler, Miroslav Jašurek, Václav Magid, Tomáš Uhnák
Publisher tranzitdisplay, Prague
80 pages

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Paul O’Neill, Mick Wilson (eds.): Curating and the Educational Turn (2010)

In recent years, there has been increased debate about the incorporation of pedagogy into art and curatorial practice-about what has been termed the `educational turn’. In this companion volume to the critically acclaimed Curating Subjects, artists, curators, crities and academics respond to this widely recognised sense of art’s paradigmatic re-orientation towards the educational. Consisting primarily of newly commissioned texts, from interviews and position statements to performative texts and dialogues, Curating and the Educational Turn also includes a small number of previously published writings that have proved pivotal in the debate so far This anthology presents an essential enquiry for anyone interested in the cultural politics of production at the intersections of art teaching and learning

Curating and the Educational Turn is indispensable reading for anyone interested in curating, art practice and pedagogy as creative, engaged and potentially transformative activities. This timely and important collection provides a forum for what has been described as the `educational turn’ in curating and its more broad-based manifestations in art, education and culture.

With texts by 16 Beaver Group, Peio Aguirre, Dave Beech, David Blamey & Alex Coles, Daniel Buren & Wouter Davidts, Cornford & Cross, Charles Esche, Annie Fletcher & Sarah Pierce, Liam Gillick, Janna Graham, Tom Holert, William Kaizen, Hassan Khan, Annette Krauss, Emily Pethick & Marina Vishmidt, Stewart Martin, Ute Meta Bauer, Marion von Osten & Eva Egermann, Andrea Phillips, Raqs Media Collective, Irit Rogoff, Edgar Schmitz, Simon Sheikh, Sally Tallant, Jan Verwoert, Anton Vidokle, Tirdad Zolghadr.

Publisher Open Editions, London, with De Appel Arts Centre, Amsterdam, 2010
ISBN 0949004189, 9780949004185
342 pages

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A Peer-Reviewed Newspaper, Vol 2, No 1: Researching BWPWAP (2013)

“In referring to the cancellation of Pluto’s planetary status in 2006, BWPWAP (Back When Pluto Was a Planet) – the 2013 edition of the transmediale festival – interrogates techno-cultural processes of displacement and invention, and asks for artistic and speculative responses to new cultural imaginaries. In light of this, the conference and workshop Researching BWPWAP took place in November 2012 in Lüneburg, Germany, organised jointly by Leuphana University of Lüneburg, Aarhus University and the reSource transmedial culture/transmediale. The call for participation focused on Ph.D. researchers and other participants to speculate on BWPWAP as a pretext for presenting their research and even to further reflect on its circulation as a meme.

This newspaper presents some outcomes of this process, and like the conference and workshop, can be interpreted in the context of a research culture that has been significantly destabilized by network culture and digital media. If the planet Pluto didn’t exactly fall prey to an epistemological break or a scientific revolution, but rather to a mundane administrative procedure – a redefinition of what constitutes a planet – then what does this say about contemporary research culture? Certainly, much research culture has shared Pluto’s fate: conferences reduced to networking events to foster cultural capital, and scholarly communications reduced to impact factors measured by grant givers. In other words, research is not just about measuring the performativity of a single researcher (the peer-reviewed journal system), but also the processes of questioning, investigating, speculating, and sharing between peers in a broader sense.” (from the Editorial)

Peer-reviewed newspaper, Volume 2, Issue 1, February 2013
Edited by Christian Ulrik Andersen and Geoff Cox
Publisher Digital Aesthetics Research Center, Aarhus University, in collaboration with reSource transmedial culture Berlin/transmediale
Creative Commons Attribution-NonCommercial-ShareAlike license
ISBN 8791810256
ISSN 2245-7593

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Nato Thompson, Gregory Sholette (eds.): The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life (2004)

Art made to attach to buildings or to be given away? Wearable art for street demonstrations or art that sets up a booth at a trade show? This is the art of the interventionists, who trespass into the everyday world to raise our awareness of injustice and other social problems. These artists don’t preach or proselytize; they give us the tools to form our own opinions and create our own political actions. The Interventionists, which accompanies an exhibit at MASS MoCA, serves as a handbook to this new and varied work. It’s a user’s guide to art that is exciting, provocative, unexpected, inspiring (artistically and politically), and fun. From Michael Rakowitz’s inflatable homeless shelter and William Pope.L’s “Black Factory” truck with pulverizer, gift shop, and giant inflatable igloo to the Biotic Baking Brigade’s political pie-throwing, the art of The Interventionists surveys a growing genre and offers a guide for radical social action.

The book classifies the artists according to their choice of tactics: the Nomads, who create mobile projects; Reclaim the Streets, artists who act in public places; Tools for Resistance: Ready to Wear, artists who produce fashion for political action; and the Experimental University, artists whose work engages pedagogy and theory. The accompanying text includes essays by noted scholars putting the work in a broader cultural and social context as well as texts by the artists themselves.

With contributions by Nicholas Mirzoeff and Ondine C. Chavoya
With graphics by Arjen Noordeman
Publisher MASS MoCA Publications, North Adams/MA, 2004
154 pages

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