Workshop Open Form 

Following the invitation of the University art collections by Cosima Rainer, Stefanie Kitzberger and Robert Müller, this seminar is dedicated to the development of an accompanying/mediation program for the exhibition Lill Tschudi - Franz Čižek. A delightful sort of game.  What form could such an accompanying program take? Which form is a program, accompanying/mediating?

Back and forth (between exhibition and seminar space), we ask about the interrelation of reception and production and probably also about a mode of expression of the secondary, the reproductive.

What do we do when we mediate? How is mediation in art? So: mediation in work.

Example of a possible movement (sketch,open):

Franz Čižek, who taught at the Wiener Kunstgewerbeschule from 1908 to 1934, became known not only for his "Sonderkurs für ornamentale Formenlehre" but also for his pedagogical methods, free of any teaching regulations, he establishedat the Jugendkunstklasse . Lill Tschudi gained popularity especially for her linocuts in the 1930s.

We try to keep the formal relation Čižek - Tschudi open by observing. Forms are thus formed in series of experiments, in investigations that find form in the sensual interrelation of dissecting/selecting and building/assembling. Form, formation, which also means the grasping of indeterminate feelings, is thus always affectively co-determined transformation of the given. That is, the processes of perception themselves are open to the shaping and forming of what is perceived. Perceiving thus becomes a processual object, a change of position, an alternating reference: observation, open form.

In this sense, we would conceptualize the formation of form (based on Čižek / Tschudi) as the intersection or interface of inner and outer movements. It also follows that we make this shaping of perception perceptible to others through and in the (technical-apparative) handling of material: In other words, we communicate with others through perceptibility. With the question of what we perceive and how, perceiving is thus just as much an open question as who (or what) becomes "we" (or also becomes "non-we"), how, in and through which processes this "we"/"non-we" figures itself at all.  Accumulating, or dispersing assemblages of possibilities of expression: Heterogeneous, discontinuous, incoherent, secondary?

Group –  Workshop Open Form

The workshop Open Form allows the group to organize itself in space, in process. Making or restoring a work, concrete tasks, direct assistance and care, experiential learning, aesthetic action, collaboration or form-finding are figures of this group as well as temporalities, phases of resistance and reception.

How does form, figure come to be?

Starting on let's say the concrete technique of (figurative-abstract) scissors, paper or folding cut[1], as well as the linocut ( fill in the blank) and in the collective reading of selected texts, a post-medial vector could be conceptually developed at the following moments: as outline, as distinction, as flowing/separating, as machine, as partial object, as fragmentation, as segmentation, as interruption, as repetition, as select, copy, paste , record, play, pause, stop, as quotation or montage, as displacement and condensation, as rhythm and ask how micropolitical forms of organizing group (for what purpose? )can be derived.

And what does that have to do with aesthetic experience anyway?

This seminar - Workshop for Open Form - is a collaboration between the project seminars of Ricarda Denzer and Johannes Porsch .

Please register online AND by email:

ricarda.denzer@uni-ak.ac.at

johannes.porsch@uni-ak.ac.at

 

Notes:

The course is part of the APL - Applied Performance Laboratory.

 

 

[1] In 1914, Čižek published a book on paper-cutting and gluing: its technical foundations and educational significance in teaching.

Die Note für diesen Kurs setzt sich aus vier aufeinander bezogenen Komponenten zusammen. Wobei diese vier Komponenten auch als Gestaltungsmomente des Seminars zu verstehen sind:

 

1.) Kontinuierliche Arbeit an einer entlang der Seminarthematik selbständig entwickelten formalen und gestalterischen Fragestellung (50%)

2.) Diskussionsteilnahme aufgrund eigenständiger Recherche zum Seminar (20%), 

3.) Präsentation und Diskussionsleitung (20%) und 

4.) einzeln und kollektiv mündlich oder schriftlich verfasste Lektürekommentare (10%).