refusal - denial - enthusiasm:
german undertones in the "Art and Research Symphony"
german undertones in the "Art and Research Symphony"
This is the transcript of a keynote-presentation at the "Second Annual SHARE Conference London", hosted by CCW Graduate School, University of the Arts London. "SHARE is an international networking project comprising 39 partners from across Europe working together on enhancing the 3rd cycle of arts research and education in Europe. SHARE is jointly coordinated by GradCAM, the Graduate School of Creative Arts and Media (Dublin) and ELIA, the European League of Institute of the Arts. www.sharenetwork.eu .
At that time Klaus Jung was Rector of the Academy of Media Arts in Cologne
At a meeting in Germany quite recently I heard the question again: why are we having this discussion on artistic research now at all. I think we all realise that in its deepest foundation it is about status. Of course also about content. But mainly we hope to raise the status of Higher Arts Education, if we lean to science and the system of universities. Is there an inferiority complex behind it, that we need recognition from science? Science on the other hand seems to moan for the lost wholeness and suffers from phantom pains, since it lost the limb art. A pattern that seems to shine through history.
At that time Klaus Jung was Rector of the Academy of Media Arts in Cologne
At a meeting in Germany quite recently I heard the question again: why are we having this discussion on artistic research now at all. I think we all realise that in its deepest foundation it is about status. Of course also about content. But mainly we hope to raise the status of Higher Arts Education, if we lean to science and the system of universities. Is there an inferiority complex behind it, that we need recognition from science? Science on the other hand seems to moan for the lost wholeness and suffers from phantom pains, since it lost the limb art. A pattern that seems to shine through history.
Academy
This is a reproduction from an etching, the oldest depiction of an art academy. It can be found in Nikolaus Pevsner's book on art academies from 1940, up to now the only coherent history of art academies. With by now 70 years missing. Renaissance. Painters started to proclaim that painting is based on geometry and mathematics. Anatomy studies were a precondition to picture reality or history. Accordingly a kind of curriculum was developed, overriding the safely protected secrets of the guilds. At the same time the recycled idea academy was a welcomed opportunity to come together and make intelligent conversations. Universities were not interested In the arts. Art was seen as a developed form of craftsmanship. Artists themselves had to prove, that they also had brains. Which should improve status significantly. Noble families gathered intellectuals, collected intellectuals, to promote their own cultural mind. Understandable that Artists wanted to be among such collectables, as it promised a more comfortable life, than one could have in a guild, if one found a place at a court or a merchant's home at all.
This is a reproduction from an etching, the oldest depiction of an art academy. It can be found in Nikolaus Pevsner's book on art academies from 1940, up to now the only coherent history of art academies. With by now 70 years missing. Renaissance. Painters started to proclaim that painting is based on geometry and mathematics. Anatomy studies were a precondition to picture reality or history. Accordingly a kind of curriculum was developed, overriding the safely protected secrets of the guilds. At the same time the recycled idea academy was a welcomed opportunity to come together and make intelligent conversations. Universities were not interested In the arts. Art was seen as a developed form of craftsmanship. Artists themselves had to prove, that they also had brains. Which should improve status significantly. Noble families gathered intellectuals, collected intellectuals, to promote their own cultural mind. Understandable that Artists wanted to be among such collectables, as it promised a more comfortable life, than one could have in a guild, if one found a place at a court or a merchant's home at all.
Agostino Veneziano, Baccio Bandinellis "Academy" in Rom, 1531
Such academies came and disappeared. They were not institutionalised yet. The history of the institutionalisation of academies is long winded like an endless soap about money and power and people longing for money and power. A story also worth telling again, but a different story. Maybe another time Several etchings from that period give perfect insight in the curriculum ideas of early academies. Including a theory part. Probably not with an obligatory essay, but close. Studies of anatomy came very close to studies in medicine. The detailed exploration of the parts of a human body, in isolation, should enable artists to put a right picture back together and in new ways, Like research. Early artistic research. Then Life drawing started to replace the detailed anatomy studies. And Life drawing classes were the backbone of academies for centuries. Here at central St. Martins in 1939. Also the intellectual argument had become a substantial element of HAE curricula (Here Anthony Caro with students in the 1970’s). The mixture of doing and reflecting has always been central to art schools. Craftsmanship, seen as a knowledge of doing and debate, to ensure that art making is more than doing. This also proves to the world how much artists value for society. Art and thinking. The atmosphere of debate certainly reflects the mother of all academies. Platon's talk shop, as it is beautifully pictured here in Rafael's Vatican Fresco the school of Athens From 1510. This is the ideal. And being modelled like a platonic academist or academic is the idol.
Anthony Caro with students in the 1970’s picture borrowed from Malcolm Le Grice‘s article about the history of Central St Martins in Frieze in October 2011
Raphael: "The school of Athens" (1509 - 1510)
Joseph Beuys discussing with students
The German model of a Kunstakademie, perceived long ago, is still alive. The aim for any German academy is to attract successful artists, fresh from the market, under conditions which make it attractive to such artists to lend their name to the institution, hoping that their name will attract students, who in return will become like those artists and become professors themselves. A nice round system, with clear conformity to itself and usually quite convenient and loved by those in power. This is truly a successful model in most cases. The very close relationship between individual students and professor often is the fruitful ground for new cultures to emerge. Sometimes however, it just leads to very suspicious forms of reproduction. And in the worst case it leads to a very unhealthy form of neglect.
The oldest among the German art schools appears to be Kunstakademie Nürnberg, founded in 1662, 350 years old. Kunstakademie München was founded 1770, 242 years ago and Kunstakademie Düsseldorf was founded 1773, 239 years ago. The youngest among them is the Academy of Media Arts Cologne, Kunsthochschule für Medien, KHM, founded in 1990, 22 years ago. Right from its start it tested a different concept, unifying Fine Art and Filmmaking under one roof with strong support from a group of engaging theorists and scientists. A contemporary attitude to media and media techniques is the common background for all staff and students. Students are free to move between filmmaking and fine art. They are free to move between teaching staff. There are no professor led Klassen like at traditional academies, Students seek support and guidance from those staff that seem to fit to their ideas.
The oldest among the German art schools appears to be Kunstakademie Nürnberg, founded in 1662, 350 years old. Kunstakademie München was founded 1770, 242 years ago and Kunstakademie Düsseldorf was founded 1773, 239 years ago. The youngest among them is the Academy of Media Arts Cologne, Kunsthochschule für Medien, KHM, founded in 1990, 22 years ago. Right from its start it tested a different concept, unifying Fine Art and Filmmaking under one roof with strong support from a group of engaging theorists and scientists. A contemporary attitude to media and media techniques is the common background for all staff and students. Students are free to move between filmmaking and fine art. They are free to move between teaching staff. There are no professor led Klassen like at traditional academies, Students seek support and guidance from those staff that seem to fit to their ideas.
Art and Research
The story of art and research has been told many times. I am sure, that most of you are aware of it. But let me try to tell it again, the way I have perceived it through my experiences in a few art schools in some European countries. It has been an aim of artists for many years to be accepted as much more than just craftsmen, who can provide beautiful pictures or objects. Consequently artists have always played with the image of an intellectual. See the rough picture of academies that I tried to draw. Accordingly the idea of research has been an interest of artists for quite a while. Individual interest, individual solutions, often very exciting solutions, sometimes very exciting art works. The institutional interest for research experienced a complete new drive in the end of the 20st century. It started with the remodelling of the UK system of Higher education. In the 70ies art schools moved away from awarding the diploma in Art and Design towards a Bachelor of Arts. At the same time many former independent art schools entered the system of Polytechnics, in a way a raise of status. In the 90ies polytechnics had become universities and most art schools were now part of universities, fully accepted alongside all intellectual education. Universities however were funded in two (now three) strands: Learning and teaching and research. This brought the necessity to art schools to consider research as a substantial part of the academic life. But it also created the task to generate income through research. Since 1986 the research Assessment exercise and now the Research excellence framework has become the quintenial milestone or the nightmare for every UK art school to prove its value through research. It became vital to apply to the Art and Humanities research Board and since 2005 to the AHRC for the funding of research as this indicates accepted research quality
Research qualifications are (also) a better prerequisite for funding success. Phd programmes emerged everywhere in the UK and are now a robust part of HAE.
The story of art and research has been told many times. I am sure, that most of you are aware of it. But let me try to tell it again, the way I have perceived it through my experiences in a few art schools in some European countries. It has been an aim of artists for many years to be accepted as much more than just craftsmen, who can provide beautiful pictures or objects. Consequently artists have always played with the image of an intellectual. See the rough picture of academies that I tried to draw. Accordingly the idea of research has been an interest of artists for quite a while. Individual interest, individual solutions, often very exciting solutions, sometimes very exciting art works. The institutional interest for research experienced a complete new drive in the end of the 20st century. It started with the remodelling of the UK system of Higher education. In the 70ies art schools moved away from awarding the diploma in Art and Design towards a Bachelor of Arts. At the same time many former independent art schools entered the system of Polytechnics, in a way a raise of status. In the 90ies polytechnics had become universities and most art schools were now part of universities, fully accepted alongside all intellectual education. Universities however were funded in two (now three) strands: Learning and teaching and research. This brought the necessity to art schools to consider research as a substantial part of the academic life. But it also created the task to generate income through research. Since 1986 the research Assessment exercise and now the Research excellence framework has become the quintenial milestone or the nightmare for every UK art school to prove its value through research. It became vital to apply to the Art and Humanities research Board and since 2005 to the AHRC for the funding of research as this indicates accepted research quality
Research qualifications are (also) a better prerequisite for funding success. Phd programmes emerged everywhere in the UK and are now a robust part of HAE.
covers from "Art & Research, a journal of ideas, contexts and methods", edited by Dr. Ross Birrell, Reader at Glasgow School of Art
Towards the late 90ies the developments in the UK created curious interest in the Scandinavian countries. Kunstnerisk Utviklingsarbeid or artistic development was of interest to artists and art schools alike. But the dependence on a rigorous funding system like in the UK frightened and should best be avoided. Norway moved to the Stipendprogrammet, Providing funding for selected artists and their projects connected to any of the art and Music schools in Norway for the first time in 2003. The interest centred around content and came from the inside of the art schools. Art production has change fundamentally and also the roles, that artists take. The Stipendprogrammet does not lead to a degree.
A phd can be seen as the title that easily signifies comparable excellence.
But it also could mean to enter a conflict with those providing and safeguarding the long history of science, research and researchers. A PhD is certainly a qualification.
It labels that someone can do research. Not necessarily that someone does or has done interesting research, not to speak about exiting art.
Other Scandinavian countries moved along as well. Finland and Sweden now also have established research programmes for Art and design and both have established and successful PhD programmes. The Bologna process has accelerated the discussion on research and research degrees considerably. The path from a 2 cycle system to a 3 cycle system is short. The two cycle system has been established nearly all over Europe for art schools. This was necessary to survive at all, in many countries, especially east European countries. And now many art schools across Europe can offer PhDs.
The latest consequence of this is that Romania and Bulgaria are the first countries, where a PHD is a condition for teaching at an art school. Just being an excellent artist is not enough any more. I think this would be a good moment to reflect once again what originally motivated us to get involved with research
Yes, it is about status of the institutions, about equal ground to work with science and comparability of excellence through the degree PhD. But most of all the certainty that art making can very well produce new knowledge. It always has. Results are no better or worse than what science does. Artworks and art-making are an important contribution to the development of our society, socially and culturally.
Refusal
German art schools continue to concentrate on the idea of Academy. Students work with artists and focus on their own work which is presented annually to a wider public. (like everywhere). The public is delighted and stands in line to visit the annual show. An art school like the Kunstakademie Düsseldorf considers it as an indicator for quality, that about 40 000 visitors come to the school to see the show. In just one week. In parallel the spirit of Joseph Beuys and his free International University still reflects deeply into the planning of some of the German art schools. At least the idea of freedom still leads the thinking. And then : Bologna. You can imagine that the Bologna ideas are eyed very suspiciously. Art schools protested and refused. Although some German art schools were forced into a Ba/Ma system in some of the countries, the KMK (conference of Cultural Ministers, supervising the implementations of bologna) finally gave in and decided that studies of Fine Art could be exempted. No division into two cycles. No master programs just for selected few. Most of all: no modularisation. Credits would need to be calculated by a much more relaxed formula. As a result one could say: there is a small village in the empire, which successfully resists.
„The German Art School System, which belongs to the most successful in the world is threatened in its foundations by some of the aspects of the Bologna process.“
From a statement of German Art school rectors in 2007
Denial
The intense research debate all over Europe and some other parts of the world did not have an effect on German art schools at all. One could say: German art schools denied its existence. Peers are sought in the field of the international exhibition circuit and the art market rather than among those with specific formal degrees. After all: the climate is formed by artists who thrive well and successfully in such a surrounding. Successful artists with exquisite investigative curiosity. None of them would even consider a term like research as relevant for their practice
They often base their work on a considerable amount of ,exploration‘ But they would not think of calling that research. Their sole interest is making outstanding art. In the climate of a German Kunstakademie they do not come into a position to have to defend their work as research. Even Joseph Beuys’ idea of social sculpture and of a free international university managed very well without leaning to conventions borrowed from science.
The intense research debate all over Europe and some other parts of the world did not have an effect on German art schools at all. One could say: German art schools denied its existence. Peers are sought in the field of the international exhibition circuit and the art market rather than among those with specific formal degrees. After all: the climate is formed by artists who thrive well and successfully in such a surrounding. Successful artists with exquisite investigative curiosity. None of them would even consider a term like research as relevant for their practice
They often base their work on a considerable amount of ,exploration‘ But they would not think of calling that research. Their sole interest is making outstanding art. In the climate of a German Kunstakademie they do not come into a position to have to defend their work as research. Even Joseph Beuys’ idea of social sculpture and of a free international university managed very well without leaning to conventions borrowed from science.
Accordingly the press enjoyed publishing a debate which had a tendency to ridicule the art and research debate which went on all around us rather than reflecting it, often fostered by the arguments from highly respected colleagues from the humanities and cultural history. A leading argument came from Peter Geimer, Professor for art history at the FU in Berlin.
All the fuz about artistic research. The heading did not come from him, as he just told me. It was added by the feuillton chief of the FAZ to be more sensational. In the article Geimer argues that the art / science hybrid as it appears now is too indecisive for the arts and of very little relevance for science. He would rather see something new: an unexpected amalgamation of art and science. He is afraid that the current attempts restrict art making to a method of problem solving, which could be evaluated, also with the criteria in mind, which are familiar to the world of science.
Art cannot solve problems. Geimer paints a picture of artists with success in acquisition of third leg funding, rather than gaining for the highest expertise in their fields. He suggest to insist on difference, Art is different and should act different. not being exclusive, but difference in a sense of diversity and a condition to be able to cross boundaries The final sentence of his article translates somewhat like this:
"insisting that art is different is not an expression of a romantic art understanding, which would define art just as the reservoir of Beauty, sensuality and irrationalism. On the contrary art is very rational. ..... Art constructs differences and differs from other functional systems of society. ... Insisting on art being independent and different would still be a better choice rather then assimilation and mimicry of research policies.“
Peter Lynen, former administrative director of Kunstakademie Düsseldorf is another important voice in this argument. He reminds German colleagues that Science and Art are seen equal already on legal and constitutional terms. Leaning towards the jargon on conditions from research as it is known by science would be a significant step backwards.
Instead it is now time to claim substance in the opportunities for funding and support which on legal terms already exists.
The rectors of the German art schools have therefore started in 2011 to investigate different models, which would support the arts and specific forms of art making, without changing language (and as a consequence inner attitude) to adapt to the jargon of science and or humanities.
Enthusiasm
I think the State of sheer denial is over now. And has made space for moderate enthusiasm, which stems from the fact that the historical, cultural and political position of art schools in Germany brings up self confidence, also with regards to a position or voice in the art and research symphony.
If Adding dispute and discussion to craftsmanship and skills was a method then, to raise the profile of the artists and the arts, this certainly has always been reflected in many art practices. In some instances being an intellectual is also still seen as an imperative. Although somewhat with a tongue in cheek. Description of world has always been an aim for artists and they freely and without hesitation embrace descriptive methods in their art making which they borrow from other fields.
With this in mind one could say that despite the refusal to participate in certain discourses in Higher Education and the denial that an art and research debate even exists there has always been a huge amount of enthusiasm for art, artists and art schools. And somewhat secretly, also for research. Germany supports 24 music schools, 22 art schools (all of them independent), about 40 design program's, 12 of which in art schools and 28 in Fachhochschulen, and 6 film schools. There are 16 countries, and with that 16 policies of higher education. Of course there is also a German-wide discourse.
All art schools have the option to offer "Promotion", which is the right to supervise and give the title DrPhil. Only colleagues with a Dr.Phil have that right, that means scientists. Some schools have now started to experiment with an art related doctorate, f.e. the schools in Hamburg and Weimar. In both cases it is mandatory to mix a dissertation with practical art work at least in a 50 / 50 mix. Weimar started that to give Artists a second competence ( a phd programme). Hamburg wanted to give a home to artists with a double interest. In both case the experience is not always positive. Like everywhere else there are not that many double skilled artists. Consequently one struggles with a lack of competence on both sides: Not really prepared to write a dissertation which would hold scientific standards or is of interest for anyone else than the candidate him or herself and not really inspiring artworks or artists.
A different model is run by the university of the arts in Berlin. The Udk Berlin started a Graduiertenkolleg and a graduate school as a double act. The Kolleg collects scientists and and junior scientists under a thematic umbrella. Das Wissen der Künste - the Knowledge in Arts. The school offers places (supported with a grant) for selected artists, that have experience or intentions with working with scientists in the widest sense. Selection is strictly project based and highly competitive. But always art centred. The school currently names 15 fellows, as they are called. At least three of them are former graduates from the Academy of media arts, which I have the pleasure to direct at the moment. Fellows are supervised or guided by a team built out from the group of professors of the UDK. This team is further boasted by so called senior fellows, who for a limited amount of time get connected to the Graduiertenschule, artist like Tino Seghal or Ai Wei Wei. Despite the intended link to science the emphasis is on art making and the contribution to knowledge which stems directly from that. The result is artwork, not a dissertation.
NRW supports seven art and music schools and guides them under a special law: the Kunsthochschulgesetz. In the last 12 months the discussion on a third cycle offer picked up speed, although NRW art schools don't even offer the other two cycles for fine art. The ministry takes part in the discussion and is supportive. The intention is not to introduce a new degree: no phd or doctorate, but a place for artists to concentrate on a specific way of making and thinking art.
The Kunstakademie Düsseldorf , the lead dog of the old academy model plans to establish a significant number of new studios to be offered to students after graduation to give them space and time to continue working and prepare maybe their first solo exhibition. They will be supported by the professors of the school: In a sense a further prolongation of the atelier system. A bit modelled after the Rijksakademie in Amsterdam. A former tram depot has been found as a possible location for up to 30 studios. The real intention is to keep young artists in Düsseldorf after their time at the academy and to stop them from moving to Berlin, (where rents used to be lower) to rebuilt the Düsseldorf artist scene which was very strong in the 70ies and 80ies and has somehow been a bit drained recently.
Also the KHM considers introducing a third cycle based purely on the artists’ projects, vaguely leaning towards the UdK model, but without the school character and the mandatory link to science. The discussion furthers the experience the Academy of Media Art has made with its fellowship programme and with the group of currently 30 regular doctoral students supervised by the scientific staff of the school. Space is not the most important offer, but access to technology and a community to exchange and learn from each other. Sometimes I call it the academy in the Kunsthochschule. Work will always lead to a public presentation, the form depends on the project. Third cycle fellows will have the time to concentrate on their work, be it the background research for a documentary or feature film, an art project or even a specific theme. At the moment we have said that we will not start the project unless we can provide grants. So the state of affairs is a fundraising period at the moment.
Of course there are existing models to borrow from. Switzerland has introduced the "Do Re programme", providing significant seed funding, to get something like research going in the art schools. The seed funding has a best by date and now starts to run out. Artists and art schools now have to apply under the same conditions as any other scientist. I understand We like the part of significant seed funding. We do not like the idea of getting in line and queuing up like everybody else. The danger to disappear or drown seems to be too big. More interesting is the Austrian model, PEEK, incorporated into the research councils responsibilities but with its own criteria and conditions. And most of all steered by a group of peers from the arts ( and an international group)
Having said that, there is a complete new kid on the block. About six months ago we went to the president of the research council to introduce ourselves and our plans: we do not want to take a way from science, but we need your help and advise. The President agreed that there is something the research council had not thought about so far. Art is not their competence and not in their portfolio but they understood that internationally something was going on and Germany should not miss that train. Meanwhile, at an other end of the empire, a group of art historians and cultural scientists also asked to fuel the debate on „künstlerische Forschung“. They asked for support for a workshop to discuss what artistic research in Germany could look like. They met first of all more or less secretly. They did not even think of consulting art schools or art school directors. Last week finally they brought together a group of about 30 people with the aim to define artistic research in Germany. As we know now, the president of the DFG (Deutsche Forschungsgemeinschaft) had claimed a specific interest in that, after we had spoken to us. The more disappointing, that art schools were not included in the preparation. It felt a bit like the grown ups were doing a family conference, speaking about what is good for the kids, without speaking to the kids. However, to be fair after some pushing, the spokeswomen for the art school rectors and myself were invited. I went to that meeting, armed with caution and the intention to claim the stakes of art schools and mainly to keep the flag for the independence and freedom of art flying. At the same time we prepared ourselves for a laid back strategy: let them do their bit. Our ideas are anyhow more exiting.
The meeting turned out to be completely different and actually quite exiting. This was the first time, that the individual discussions, that were going on at scattered corners of the country were bundled. Those being so critical of artistic research were invited, some of the public and private foundations that (like the DFG ) have started to realise that it is about time to realise that something new is going on as well as some of the artists, whose methods of working had left traditional modes of production long ago for a much more investigative and collaborative approach but never really got funding for their own time invested in it. They had been able to get funding for production costs, but never their own time.
There was a surprising consent, that the independence of art making should under no circumstances be disturbed, under no circumstances one would go for a Verwissenschaftlichung der Kunst. I myself suggested to go a step further and take the „istic research“ out of the debate and get back to what we are best at: art. It felt like the group applauded that. Summarising one could say: things are accelerating in Germany.
The direction is very much focussing on art making. PhD or Doctorates are not seen as a must at all. Science is very interested in collaborating with art and artists. Artists will not be forced to change their jargon or language. Artwork will be in the focus.
Appeal
Let me make an appeal out of this now. Let's not forget, what it originally was about. With all attempt for change or a wish to raise the status of art and Higher Art Education. In the end art making and art thinking is what is exiting. So many artists have and will assimilate scientific methods, work with science or build and expand the Erkenntnisraum Kunst. A knowledge space art.
There are so many exciting examples: Paik, and his engineering experiments, Beuys, with his social and political drive, Richter, reflecting on Titian and his time and methods with his own methods, Baselitz exploring new ways of perception when separating the plane of production from the plane of perception, TJ Cooper when investigating the edges of our world, David Claerbout, and his surprising experiments in still image and moving images, freezing history in a propelling real time, Aernout Mik with his coherent statements on community and democracy or Phil Collins with his ethnological, anthropological and culture historical approach. All of them strong artists with powerful artistic methods, freely borrowing from science, clearly contributing to knowledge, in a very democratic way, but never even thinking of calling it anything else but art.
This is what art is about. If we have to introduce something like artistic research: this is also what artistic research should be about. Let's always keep that in mind, when discussing among peers, when proposing to research councils and when talking to ministries and funders of Higher Art education.