Course Syllabus
Nordic Contemporary Art |
 |
| Semester & Location: |
Fall 2019 - DIS Stockholm |
| Type & Credits: |
Elective Course - 3 credits |
| Major Discipline: |
Art History |
| Faculty Member: |
Alessandra Di Pisa and Robert Stasinski |
| Program Director: |
Andreas Brøgger - abr@dis.dk |
| Academic Coordinator: |
Mark Peters - mpe@disstockholm.se |
| Time & Place: |
Mondays & Thursdays, 10.05 - 11.25 |
Description of Course
This course focuses on current trends and the dynamics of regional identity in contemporary art, art history, and curating. The Stockholm art scene is used as an entry-point to analyze artworks, exhibitions and texts: What is contemporary, and what is Nordic, about the art and issues that surface here? Contemporary art has been subject to globalization processes since the 1980s. A focus on identity politics—for instance feminist, post-colonial, and queer perspectives—came to include concerns about exclusionary structures within and beyond an art context. The course considers regional specificities of the Nordic countries, as well some of the self-reflexive conceptual approaches that characterize post-1960s art practices.
Learning Objectives
- To gain knowledge of the primary manifestations of Nordic Contemporary Art
- To acquire the ability to formally analyze and discuss specific artworks and related historical and cultural parameters
- To enable students to critically evaluate the content and contexts of artistic practice
- To utilize museums and art galleries in Stockholm as sites for experiential learning
- To develop written and oral skills that enable the student to discuss and analyse specific artworks and wider themes
Faculty
Alessandra Di Pisa
Alessandra Di Pisa (b 1977) has worked as an artist and lecturer for fifteen years, working with a wide range of expressions such as video, performance, sound art, robotics, artificial intelligence and artist books. Di Pisa is a Sineor Lecturer and Director of Studies at Malmstens, Linköping University and has been teaching at KTH Royal Institute of Technology since 2007. Previous exhibitions include Hyper Design - Shanghai Biennale (2006), Living in a Modern Society, Kaliningrad State Art Gallery (2009), Swedish Conceptual Art, Kalmar Art Museum (2010). She has lectured on art, creativity and design thinking at Linköping University, Nordic Summer University, Lithuania, Konstfack, Octa Pharma, Socialstyrelsen, SIDA, Historiska Museet, KTH Royal Institute of Technology, Färgfabriken, IBM Sweden, Moderna Museet, Skandia, Bonniers Konsthall, Berghs School of Communication, Kalmar Konstmuseum, among others.
Robert Stasinski
Robert Stasinski (b 1980) has worked as an artist, critic, magazine editor, author and curator for over fifteen years. He has been the editor-in-chief of Konstnären and Nu-E – The Nordic Art Review, as well as editor of several books including Felix Gmelin – The Aging Revolution, (2006), The Synthetic Supernatural, (2011), The Board Room, (2016) and Soli Deo Gloria (2017). He is currently Editor and Communications Manager at SSE Art Initiative, Stockholm School of Economics and course leader in Arts Management at the International Master Program in Curating at Stockholm University. He has lectured on topics such as Artificial Intelligence Art, Arts Management, Cultural Policy, Neuroaesthetics and Body Image/Body Politics at Stockholm University, Akademi Valand, Linköping University, Nordic Summer University, Lithuania, Konstfack, KTH, Färgfabriken, IBM Sweden, Moderna Museet, The Stockholm School of Economics, among others.
Reading List
Barikin, Amelia (2013). Making Worlds in Art and Science Fiction, in Proceedings of the 19th International Symposium of Electronic Art. Handout/PDF
Bishop, Claire (2014). Radical Museology: Or, What is "Contemporary" in Museums of Contemporary Art?, Cologne: Walther König. Handout/PDF.
Bosse, Laurence and Obrist, Hans-Ulrich (eds.) (1998). Nuit Blance, Scenes Nordiques: Les Annees 90. Handout/PDF
Bourriaud, Nicolas (2002). Relational aesthetics. Dijon: Presses du réel. Handout/PDF
Danto, Arthur Coleman (1981). The transfiguration of the commonplace: a philosophy of art. Cambridge, Mass.: Harvard Univ. Press. Handout/PDF
Doherty, Claire (ed.) (2015). Out of Time. Out of Place: Public Art (Now). London: Art/Books.
Dormer, P. (1988). The ideal world of Vermeer's little lacemaker, in- J. Thackara, ed., Design after modernism. Beyond the object, 1st ed. Thames and Hudson Inc. Handout/PDF
Guillet de Monthoux, Pierre (2012). Organizing Reality Machines: Artepreneurs and the new aesthetic enlightenment. Handout/PDF
Kwon, Miwon (2002). Chapter 1: GENEALOGY OF SITE SPECIFICITY, in One place after another: site-specific art and locational identity. Cambridge, Mass.: MIT Press. Handout/PDF
Ljungberg, Joa, Malm, Lena, Mostyn, Santiago & Pousette, Johan (red.) (2018). In & beyond Sweden: journeys through an art scene. Stockholm: Art and Theory Publishing. Handout/PDF
Manen, Marti & Klontz, Anne (2019). Momentum10: The Emotional Exhibition: Reader. Stockholm: Art and Theory. Handout/PDF
Shaheed, Farida (2013). The right to freedom of artistic expression and creativity. Handout/PDF
Schacter, Rafael (red.) (2013). Akay, in The world atlas of street art and graffiti. New Haven, CT: Published in association with Yale University Press. Handout/PDF
Ward, Ossian (2015). Ways of Looking: How to Experience Contemporary Art, London: Lawrence King Publishing.
N.B. Additional reading will be uploaded to Canvas during the semester.
Field Studies
The purpose of the field study sessions is to give students the opportunity to have a more extended visit to an art institution and to get to know its collection and/or range of programming. More information on these will be provided in class.
Guest Lecturers
Please see the calendar.
Approach to Teaching
We will meet for 23 regular class sessions throughout the semester. The sessions will be a mixture of class discussions, student presentations, gallery and on-site visits, and lectures. Field studies to significant museums and contemporary exhibitions in Stockholm make up an essential part of this course.
Expectations of the Students
Students are expected to read the assigned literature and prepare for each class according to the given instructions. Student participation is expected in all of the different course formats: the lectures often involve time for discussion of a given issue; text and image seminars require the students to reflect on the course literature and artworks; and during field visits, students will actively engage with the visited institution, its exhibitions, collections, and program.
Evaluation
Students’ course work and participation in class will be evaluated on the basis of their use of the course literature, the ability to use artworks and artistic practices in independent ways and in terms of their active participation in class discussions. Well-executed home assignments that are delivered in a timely manner are expected. In general, evidence of critical and independent processing of the course material (literature, artworks, seminars, lectures, field trips) is highly evaluated.
Grading
|
Assignment |
Percent |
| Mini-research paper: Public Art Project (2 pages) |
10% |
| Oral presentation in class: Public Art Project (7 minutes) |
10% |
| Research paper (4 pages) |
20% |
| Oral analysis of a research paper |
5% |
|
Research poster |
5% |
| Oral presentation in class: Art Institution (7 minutes) |
20% |
| Reflective essay: How has your perception of art changed? (2 pages) |
10% |
|
Active class participation |
20% |
Mini-research paper: Public Art Project (10%)
This 2-page paper is a written version of the 7-minute oral presentation based on the one randomly assigned art project from the book Out of Time, Out of Place (2015). You are expected to apply different parts of the course and carry out a well-researched analysis of the artwork.
Oral presentation in class: Public Art Project (10%)
A 7-minute power-point presentation of one randomly assigned art project from the book Out of Time, Out of Place (2015) that you analyze within the context of the course and the general themes covered.
Research paper (20%)
For this 4-page research paper, you are expected to apply different parts of the course and carry out a well-researched comparative analysis of two contemporary artworks. This reflective paper should show your basic historical and conceptual knowledge of Nordic contemporary art.
Oral analysis of a research paper (5%)
Every student will be presenting and critically analyzing one of the other student research papers. This entails an analysis of the paper, a short rundown of its biggest strengths and weaknesses and suggestions for the author to move forward with the material and subject matter.
Research poster (5%)
As part of the research paper assignment, you are also expected to present your results in a research-poster at the DIS show-case exhibition at the end of the semester.
Oral presentation in class: Art Institution (20%)
A 7-minute power-point presentation of one randomly assigned Swedish art institution that you analyze within the context of the course and the general themes covered.
Reflective essay: How has your perception of art changed? (10%)
The essay is meant to present your personal reflections of the concepts, experiences, and methods that have changed your perception of art in general and Nordic art, more specifically. Since each student brings individual experience and knowledge from different backgrounds, this assignment helps to personally develop your knowledge and shared platform of common knowledge.
Active class participation (20%)
Participation in class requires arriving on time and being prepared in relation to readings and other assignments. Your participation grade reflects the importance of being active in this course, which relies in great part on the reflections, discussions, and exercises in class. Active participation is essential in both the classroom, field visits, and group work. Attendance is mandatory.
All assessment and grading are based on the instructions – addressing the given topics, with reference to course materials and teaching, within the requested length.
Detailed assignment descriptions will be made available on Assignments on Canvas and/or in class.
Late Papers
You are expected to hand in your papers on time. Late papers will be accepted in special circumstances but you need to clear that with the teacher ahead of time.
Policy on the Use of Electronic Devices in Class
Use of cellphones or computers will not be allowed in this class, unless specified in advance. You are expected to bring a pen and paper to the class for note taking.
Academic Regulations
Please make sure to read the Academic Regulations on the DIS website. There you will find regulations on:
DIS - Study Abroad in Scandinavia - www.DISabroad.org
Course Summary:
| Date | Details | Due |
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