Posthuman Pedagogies in Practice
Time: 14:00-16:30
Location: Gebouw 50
With:
Agnieszka Anna Wołodźko, PhD, is a lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ since 2017. At AKI she has founded a biolab space where she runs a BIOMATTERs, an artistic research program that explores how to work with living matters. Her research focuses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology. Selected recent publications include: “Ars Demones*2022*Manifesto,” in Footprint. Delft Architecture Theory Journal; “Demonological re-enchantments,” in Technoetic Arts: A Journal of Speculative Research; “Living Within Affect As Contamination: Breathing In Between Numbers” in Capacious: Journal for Emerging Affect Inquiry; “Materiality of Affect: How Art Can Reveal the More Subtle Realities of an Encounter”, in This Deleuzian Century: Art, Activism, Life, edited by Rosi Braidotti and Rick Dolphijn. Currently finalizing her book Affect as Contamination. Embodiment in Bioart and Biotechnology (Bloomsbury, 2023).
Martine van Lubeek is an artistic researcher facilitating processes of knowledge production for the Chtuluscene and student facilitator at BEAR ArtEZ.
Phebe Kloos, general board member at Dutch water authority Rijn and IJssel and policy officer at Dutch water authority Vallei and Veluwe.
Wouter Engelbart is oprichter van Platform DIS dat via beeldende kunstpraktijken ecologische vraagstukken verkent. Platform DIS brengt kunstenaars en wetenschappers bijeen, die – gedurende enkele maanden – concepten en materialen uitwisselen over een ecologisch aandachtsgebied, zoals wieren of bodemleven. Sociaal-artistiek onderzoek vormt de kern van dit proces. Aandacht voor een vraagstuk en incubatietijd leiden tot rust en enthousiasme, positieve twijfel en meerstemmigheid bij betrokkenen. Via artistieke events worden nieuw verworven inzichten in velerlei vormen en op diverse locaties gedeeld.
Alia Mascia is an Italian designer, artist, and researcher. She is currently a Ph.D. Candidate in fashion and design theory at IUAV University of Venice, and has a background in fashion design (BA IUAV University of Venice) and Critical Fashion Practices (ArtEZ University of the Arts). She is part of the APRIA Platform Advisory Board. In her interdisciplinary research, which she names garment publishing, she tries to bridge the fields of fashion and publishing through the material and conceptual exploration of the garment as a publishing platform. In her work, the garment functions as a tool to share information, and the connection between text and textile represents the base of her creative process. A consistent part of her work is informed by the phenomena and ephemera of underground culture, which she implements in her practice by enacting a re-activation, re-interpretation and, re-read of countercultural archival material through garments.
Lejla Vala Verheus is a critical fashion practitioner and graphic designer. She holds a BA in Graphic Design from the Gerrit Rietveld Academie (NL) and is currently a participant at the MA Critical Fashion Practices at ArtEZ (NL). Her practice mainly revolves around researching traditional female-driven textile crafts and their relation to the digital realm. She aims to create alternative narratives towards the dominant fashion system by analysing, researching, and transcribing unseen or forgotten codes and relationships. She questions and challenges existing digital and physical methods of publishing and making, blurring the line between fashion and printed matter.
Ingeborg Iona Isla Kvalnes (Oslo, Norway) uses her skills in traditional textile handicrafts to highlight the space of practical knowledge within fashion and textiles. From the perspective of hands and through weaving, she researches the domestic language of instructions to challenge the existing narratives related to how clothes are made.
Chet Bugter utters a cry of resistance against the industrial fashion system, which denies the power and importance of the body at its centre. He moves within this system as an artistic and embodied researcher, writer, and educator. Through (participatory) performance, written and visual essays, manifestos, and film, Chet proposes new perspectives on said fashion system, and sets out to make this system more embodied, diverse, and inclusive. Besides his independent practice, Chet is Head of Programme of the Master Critical Fashion Practices at ArtEZ University of the Arts.
Programme Posthuman Pedagogies in Practice
In the first hour, you can join one of the workshops where you can participate in these pedagogical practices. The second hour is dedicated to a collective session in which our invited guests will share their experiences of introducing and developing these pedagogies at ArtEZ University of Arts.Go to the ArtEZ Studium Generale Agenda to register directly for this workshop programme on Thursday afternoon 30 November.
Register for Thursday afternoon
Alia Mascia
Alia Mascia is an Italian designer, artist, and researcher. She is currently a Ph.D. Candidate in fashion and design theory at IUAV University of Venice, and has a background in fashion design (BA IUAV University of Venice) and Critical Fashion Practices (ArtEZ University of the Arts). She is part of the APRIA Platform Advisory Board. In her interdisciplinary research, which she names garment publishing, she tries to bridge the fields of fashion and publishing through the material and conceptual exploration of the garment as a publishing platform. In her work, the garment functions as a tool to share information, and the connection between text and textile represents the base of her creative process. A consistent part of her work is informed by the phenomena and ephemera of underground culture, which she implements in her practice by enacting a re-activation, re-interpretation and, re-read of countercultural archival material through garments.Lejla Vala Verheus
Lejla Vala Verheus is a critical fashion practitioner and graphic designer. She holds a BA in Graphic Design from the Gerrit Rietveld Academie (NL) and is currently a participant at the MA Critical Fashion Practices at ArtEZ (NL). Her practice mainly revolves around researching traditional female-driven textile crafts and their relation to the digital realm. She aims to create alternative narratives towards the dominant fashion system by analysing, researching, and transcribing unseen or forgotten codes and relationships. She questions and challenges existing digital and physical methods of publishing and making, blurring the line between fashion and printed matter.Ingeborg Iona Isla Kvalnes
Ingeborg Iona Isla Kvalnes (Oslo, Norway) uses her skills in traditional textile handicrafts to highlight the space of practical knowledge within fashion and textiles. From the perspective of hands and through weaving, she researches the domestic language of instructions to challenge the existing narratives related to how clothes are made.Chet Bugter
Chet Bugter utters a cry of resistance against the industrial fashion system, which denies the power and importance of the body at its centre. He moves within this system as an artistic and embodied researcher, writer, and educator. Through (participatory) performance, written and visual essays, manifestos, and film, Chet proposes new perspectives on said fashion system, and sets out to make this system more embodied, diverse, and inclusive. Besides his independent practice, Chet is Head of Programme of the Master Critical Fashion Practices at ArtEZ University of the Arts.Alia Mascia is an Italian designer, artist, and researcher. She is currently a Ph.D. Candidate in fashion and design theory at IUAV University of Venice, and has a background in fashion design (BA IUAV University of Venice) and Critical Fashion Practices (ArtEZ University of the Arts). She is part of the APRIA Platform Advisory Board. In her interdisciplinary research, which she names garment publishing, she tries to bridge the fields of fashion and publishing through the material and conceptual exploration of the garment as a publishing platform. In her work, the garment functions as a tool to share information, and the connection between text and textile represents the base of her creative process. A consistent part of her work is informed by the phenomena and ephemera of underground culture, which she implements in her practice by enacting a re-activation, re-interpretation and, re-read of countercultural archival material through garments.
Lejla Vala Verheus is a critical fashion practitioner and graphic designer. She holds a BA in Graphic Design from the Gerrit Rietveld Academie (NL) and is currently a participant at the MA Critical Fashion Practices at ArtEZ (NL). Her practice mainly revolves around researching traditional female-driven textile crafts and their relation to the digital realm. She aims to create alternative narratives towards the dominant fashion system by analysing, researching, and transcribing unseen or forgotten codes and relationships. She questions and challenges existing digital and physical methods of publishing and making, blurring the line between fashion and printed matter.
Ingeborg Iona Isla Kvalnes (Oslo, Norway) uses her skills in traditional textile handicrafts to highlight the space of practical knowledge within fashion and textiles. From the perspective of hands and through weaving, she researches the domestic language of instructions to challenge the existing narratives related to how clothes are made.
Chet Bugter utters a cry of resistance against the industrial fashion system, which denies the power and importance of the body at its centre. He moves within this system as an artistic and embodied researcher, writer, and educator. Through (participatory) performance, written and visual essays, manifestos, and film, Chet proposes new perspectives on said fashion system, and sets out to make this system more embodied, diverse, and inclusive. Besides his independent practice, Chet is Head of Programme of the Master Critical Fashion Practices at ArtEZ University of the Arts.
At Critical Fashion Practices we critically explore alternative, non-industrial modes and frameworks for making, doing, seeing, and experiencing fashion and clothes. For this, we make use of a distributed network, our Learning Community, inspired by one of the most mysterious occurrences in nature: the mycorrhizal network. This underground network of mycorrhizal fungi connects the roots of trees and plants in forests, and the symbiotic relationship between the tree roots and the fungal threads surrounding them represents the open and horizontal knowledge exchange within our Learning Community. By sharing experiences, questions, and ideas, we spark conversations and collective explorations of a wide range of research methods, design principles, and creative strategies, and aim to move away from the idea of “genius” that is so prevalent in the fashion industry.
Alia, Lejla, and Ingeborg will weave together their different practices, ranging from artistic research as a method to hack traditional research methods, to exploring different ways of teaching and sharing knowledge about craft practices, and weaving together disparate fields—such as weaving practices and programming—through a feminist lens to unveil hidden narratives and overlooked connections. The resulting woven network will show a clear perspective on the current state of fashion as a discipline, as well as add to the critical discourse on fashion’s educational system from the “eyes of the student”.
INTERVIEW
Read an
Read an interview about Biolab that appeared on ArtEZ's website earlier this year: Biolab: where art and science converge
Chet Bugter utters a cry of resistance against the industrial fashion system, which denies the power and importance of the body at its centre. He moves within this system as an artistic and embodied researcher, writer, and educator. Through (participatory) performance, written and visual essays, manifestos, and film, Chet proposes new perspectives on said fashion system, and sets out to make this system more embodied, diverse, and inclusive. Besides his independent practice, Chet is Head of Programme of the Master Critical Fashion Practices at ArtEZ University of the Arts.
Alia Mascia is an Italian designer, artist, and researcher. She is currently a Ph.D. Candidate in fashion and design theory at IUAV University of Venice, and has a background in fashion design (BA IUAV University of Venice) and Critical Fashion Practices (ArtEZ University of the Arts). She is part of the APRIA Platform Advisory Board. In her interdisciplinary research, which she names garment publishing, she tries to bridge the fields of fashion and publishing through the material and conceptual exploration of the garment as a publishing platform. In her work, the garment functions as a tool to share information, and the connection between text and textile represents the base of her creative process. A consistent part of her work is informed by the phenomena and ephemera of underground culture, which she implements in her practice by enacting a re-activation, re-interpretation and, re-read of countercultural archival material through garments.
Phebe Kloos
Phebe Kloos, general board member at Dutch water authority Rijn and IJssel and policy officer at Dutch water authority Vallei and Veluwe.
Martine van Lubeek
Martine van Lubeek is an artistic researcher facilitating processes of knowledge production for the Chtuluscene and student facilitator at BEAR ArtEZ.
by
Martine van Lubeek is an artistic researcher facilitating processes of knowledge production for the Chtuluscene and student facilitator at BEAR ArtEZ.
Phebe Kloos, general board member at Dutch water authority Rijn and IJssel and policy officer at Dutch water authority Vallei and Veluwe.
In these precarious times of crises, ecological downfall and fast-changing landscapes, the world asks - or maybe even screams - for new pedagogies. Reflecting on our own learning experiences, we - anthropologist
Phebe Kloos, general board member at Dutch water authority Rijn and IJssel and policy officer at Dutch water authority Vallei and Veluwe.
Martine van Lubeek is an artistic researcher facilitating processes of knowledge production for the Chtuluscene and student facilitator at BEAR ArtEZ.
In the workshop, we will put Haraway's multispecies theory into action by engaging with the bodies of water within the workshop room. Departing from your own body of water, we invite you to engage with their watery senses to construct the multispecies stories of the bodies of water present. We will share some of our intimate encounters with water that have shaped our belief in possible social-ecological futures, we will engage in two embodied watery exercises, and we will collectively map a variety of waters through a multispecies ethnography. We will end the workshop together by reflecting on our learnings.
Agnieszka Anna Wołodźko
Agnieszka Anna Wołodźko, PhD, is a lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ since 2017. At AKI she has founded a biolab space where she runs a BIOMATTERs, an artistic research program that explores how to work with living matters. Her research focuses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology. Selected recent publications include: “Ars Demones*2022*Manifesto,” in Footprint. Delft Architecture Theory Journal; “Demonological re-enchantments,” in Technoetic Arts: A Journal of Speculative Research; “Living Within Affect As Contamination: Breathing In Between Numbers” in Capacious: Journal for Emerging Affect Inquiry; “Materiality of Affect: How Art Can Reveal the More Subtle Realities of an Encounter”, in This Deleuzian Century: Art, Activism, Life, edited by Rosi Braidotti and Rick Dolphijn. Currently finalizing her book Affect as Contamination. Embodiment in Bioart and Biotechnology (Bloomsbury, 2023).
by Dr.
Agnieszka Anna Wołodźko, PhD, is a lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ since 2017. At AKI she has founded a biolab space where she runs a BIOMATTERs, an artistic research program that explores how to work with living matters. Her research focuses on post-humanism, ecocriticism, affect theory and new materialism at the intersection of art, ethics and biotechnology. Selected recent publications include: “Ars Demones*2022*Manifesto,” in Footprint. Delft Architecture Theory Journal; “Demonological re-enchantments,” in Technoetic Arts: A Journal of Speculative Research; “Living Within Affect As Contamination: Breathing In Between Numbers” in Capacious: Journal for Emerging Affect Inquiry; “Materiality of Affect: How Art Can Reveal the More Subtle Realities of an Encounter”, in This Deleuzian Century: Art, Activism, Life, edited by Rosi Braidotti and Rick Dolphijn. Currently finalizing her book Affect as Contamination. Embodiment in Bioart and Biotechnology (Bloomsbury, 2023).
Within the Art Academy I teach, there is a deep rooted ideology that art is autonomous. It derives from a cultural belief and value of an importance of art to stand alone, to not be influenced by governments, society and politics. Nevertheless, to start to declare art as autonomous first, can make art appear as a fixed phenomenon, giving it a sense of indifference and immutability within changing societies and cultures. When taking autonomy as a first condition and defining moment of action, regardless of living bodies and their environments, it becomes a word that shields against all, namely constrains but also accountability. In my practice as a teacher and researcher thus, I struggle to overcome the disciplinary belief in autonomy, that derives from the longing for purity (Shotwell) and imperial imagination of control (Singh). Instead, I learn how to teach risk and uncertainty that emerges from being uncomfortable because not knowing when working with more than human bodies.
In this way, I will elaborate on my philosophical development and pedagogical practice of the notion of contamination as a way of attentive encounter with bodies. This presentation of research through my book Affect as Contamination. Embodiment in Bioart and Biotechnology (Bloomsbury 2023) and pedagogical practice will discuss possibility of thinking and practicing contamination that resist what Isabell Lorey defined as precarization. The form of the talk will have theoretical and personal tone, woven by the mutating personas of a witch, a ghost, and a demon – they will navigate contaminating and mutating character of the problems encountered and yet to come.
INTERVIEW
Read an
Read an interview about Biolab that appeared on ArtEZ's website earlier this year: Biolab: where art and science converge
Wouter Engelbart
Wouter Engelbart is oprichter van Platform DIS dat via beeldende kunstpraktijken ecologische vraagstukken verkent. Platform DIS brengt kunstenaars en wetenschappers bijeen, die – gedurende enkele maanden – concepten en materialen uitwisselen over een ecologisch aandachtsgebied, zoals wieren of bodemleven. Sociaal-artistiek onderzoek vormt de kern van dit proces. Aandacht voor een vraagstuk en incubatietijd leiden tot rust en enthousiasme, positieve twijfel en meerstemmigheid bij betrokkenen. Via artistieke events worden nieuw verworven inzichten in velerlei vormen en op diverse locaties gedeeld.
by
Wouter Engelbart is oprichter van Platform DIS dat via beeldende kunstpraktijken ecologische vraagstukken verkent. Platform DIS brengt kunstenaars en wetenschappers bijeen, die – gedurende enkele maanden – concepten en materialen uitwisselen over een ecologisch aandachtsgebied, zoals wieren of bodemleven. Sociaal-artistiek onderzoek vormt de kern van dit proces. Aandacht voor een vraagstuk en incubatietijd leiden tot rust en enthousiasme, positieve twijfel en meerstemmigheid bij betrokkenen. Via artistieke events worden nieuw verworven inzichten in velerlei vormen en op diverse locaties gedeeld.
We need to overcome our ego-oriented and human centered way of living. When we take care for reciprocal processes live will be fun for everyone as well as the planet.
In this workshop you will meet the holobiont (what?) and co-develop a symbiotic farm. This farm is an analogy for the Future Art School. We make a move to the field of food production to re-learn art practices and community building.