Academy of Fine Arts in Gdańsk
Targ Węglowy 6, 80-836 Gdańsk
NIP: 583 000 93 46, REGON: 000275820
+48 58 301 28 01, kontakt@asp.gda.pl
Academy
Students
Sponsors
Partners
Targ Węglowy 6, 80-836 Gdańsk
NIP: 583 000 93 46, REGON: 000275820
+48 58 301 28 01, kontakt@asp.gda.pl
Head of the studio:
Assistant:
Programme of Painting Studio 3
The aim of the studio is the sustainable and individual development of the student.
Studying is a kind of time travel, during which experiencing and getting to know each other will shape the relationship between the teacher and the student. It is basically a journey into ourselves on which we embark in order to get to know our own boundaries and situate ourselves in the context of what is happening around us. It is a mutual interweaving of dependencies that can become a driving force for the student’s development, allowing him to overcome the difficulties that arise in establishing one’s own order. An important goal of the teacher and the student is to work out a common strategy for adopting a position towards a reference point which is a concept that marks a place on the map of the territory of action. The map and the territory are key research concepts that will allow the students to build their own cartography of the area of what they want versus what they do not know, along with their fears and unconscious desires, in relation to the map of the studio – a place where the programme is not an imposed ideology but a set of references that can help them build their own subject of study. Thus, the programme is a clue for building the students’ consciousness, enhancing their ability to see in the work on the visualisation of the thought process in the broad context of contemporary painting. The interpretation of the notions of painting and pictorialness – marking the differences – will be an important element of building the consciousness of the young artist, trying to find himself in the field of contemporary criticism. The joint work contains a discourse around art, around the fundamental problems connected with the new criticism of the perception of painting. Thus, it also contains a reference to the process of the perception/creation of a painting – to seeing in the context of knowing. The act of seeing, as Georges Didi-Hubermann puts it, involves getting to know the area of the image using both thought categories and words. When speaking about the programme, I’m referring to a certain superstructure which becomes helpful in the process of education and contextualises the emerging work. The cognitive process, thanks to operations such as assembly, disassembly, dispersion or alienation, allows to take a critical look and disarm the ordinary perception of the relation between what is seen and what is merely looked at. On the one hand, it is a reference to Brecht’s idea of assembly and disassembly of order, as well as Rancier’s concept of perceived division in order to take a fresh look at things. Thus understood, painting may include many of the contemporary problems of depicting what seems impossible to depict – see the whole programme
Programme
The aim of the studio is the sustainable and individual development of the student.
Studying is a kind of time travel, during which experiencing and getting to know each other will shape the relationship between the teacher and the student. It is basically a journey into ourselves on which we embark in order to get to know our own boundaries and situate ourselves in the context of what is happening around us. It is a mutual interweaving of dependencies that can become a driving force for the student’s development, allowing him to overcome the difficulties that arise in establishing one’s own order. An important goal of the teacher and the student is to work out a common strategy for adopting a position towards a reference point which is a concept that marks a place on the map of the territory of action. The map and the territory are key research concepts that will allow the students to build their own cartography of the area of what they want versus what they do not know, along with their fears and unconscious desires, in relation to the map of the studio – a place where the programme is not an imposed ideology but a set of references that can help them build their own subject of study. Thus, the programme is a clue for building the students’ consciousness, enhancing their ability to see in the work on the visualisation of the thought process in the broad context of contemporary painting. The interpretation of the notions of painting and pictorialness – marking the differences – will be an important element of building the consciousness of the young artist, trying to find himself in the field of contemporary criticism. The joint work contains a discourse around art, around the fundamental problems connected with the new criticism of the perception of painting. Thus, it also contains a reference to the process of the perception/creation of a painting – to seeing in the context of knowing. The act of seeing, as Georges Didi-Hubermann puts it, involves getting to know the area of the image using both thought categories and words. When speaking about the programme, I’m referring to a certain superstructure which becomes helpful in the process of education and contextualises the emerging work. The cognitive process, thanks to operations such as assembly, disassembly, dispersion or alienation, allows to take a critical look and disarm the ordinary perception of the relation between what is seen and what is merely looked at. On the one hand, it is a reference to Brecht’s idea of assembly and disassembly of order, as well as Rancier’s concept of perceived division in order to take a fresh look at things. Thus understood, painting may include many of the contemporary problems of depicting what seems impossible to depict.
Painting issues, in the form of tasks or a jointly developed position, exist in relation to tradition, which is a constant source of intellectual, artistic and technical inspiration. The selection of appropriate means of expression is the foundation for the content contained in the painting. Studies around the issues of the meaning of colour deepen our painting practice and make it possible to build our own aesthetics based not only on psychophysiological but also psychoanalytical experiences. These studies will cover the concepts of the substance and sound of colour, materiality and colour theories. In painting, colour is an essential quality triggering the cognitive process of the eye in order to bring out its hidden content from vision and from what is visible. The essence of colour in painting, its interpretative possibilities are one of the cognitive methods for those seeking their own means of expression.
Studies around the issues of colour bring to mind its material cause. It is impossible to separate the vision of an image from its matter and its meaning. It is important for the students to discover the possibility of using many well-known techniques in their own individual processes. Searching for one’s own technique or matter will allow to deepen the notions connected with memory. Matter and memory – categories related to the visible and the invisible – will allow the students to realise the mutual penetrating relations of this connection, enriching the constructed work and forming the identity of the painting matter along with its form.
The construction of the content and meaning of a painting results from the awareness of the body as a medium in the painting act, as a starting point for further aesthetic considerations related to the creative process aimed at preserving one’s own subjectivity. An important element in the shaping of expression is working with one’s own collection – which is a starting point for further considerations.
The studio – as a place of joint influences – is an important element building the programme and the identity of the group. As in the system of communicating vessels, the students complement each other’s knowledge and experience. They bring their energy and vision that intersect with the contemporary and the old. In the tradition of the Academy, discussions, meetings and reflections are what attracted students to the studio and built its myth.
The role of an educator–artist is to strengthen the independence of the artistic creation of the student through a joint discussion that concerns more than just art. The teacher and the student are a clash of two worlds, separate histories, linked by taking a stand towards each other and towards something else – views, memory, history. Knowledge and experience will allow young artists to be introduced into the world, by talking about its complexity and the place of art in the contemporary reality. An important element of the work in the studio will be workshops with other universities from Poland and abroad. Undertaking joint artistic and research projects both in the studio and outside will create a platform for the exchange of artistic thoughts and views for the students. These meetings will culminate in exhibitions, which I consider an important factor in shaping the attitude of artists.
Knowledge
The student acquires theoretical and practical knowledge in the field of contemporary art in the area of painting. Knowledge of the construction of artistic performances resulting from the widely formulated field of painting in a theoretical context. Expanded knowledge of the creation of one’s own artistic subject in relation to political meanings, body awareness in the process of creating a painting, or by means of cognitive operations such as: montage, disassembly, scattering, alienation. Knowledge of cognitive operations allows to take a critical look and disarm the ordinary perception of the relation between what is seen, noticed and looked at. Knowledge of these processes allows to understand the context in relation to art and related theory. The acquired knowledge is the path to the artist’s independent development and to the building of his independent artistic consciousness.
Skills
The student achieves the ability to create his own concept of artistic performance (painting, in situ, installation, object, activities involving multimedia) resulting from working with his own collection (atlas) of documents (own sketches, photographs, texts, multimedia) as a point of reference. Thanks to the ability to analyse a work of art in an aesthetic and philosophical context, he is able to realise it in the chosen manner and to express himself in a way appropriate for a given subject.
Technical skills are linked to artistic creation and are acquired in the course of subsequent realisations–tasks. The ability to understand the essence of painting matter and the meaning of its form in the context of the latest research. The ability to see, connected with knowledge, deepens the meaning of the technique of creative expression. The ability to develop one’s own technique in a historical context will condition the form of a work of art and intensify its artistic activity.
The ability to discuss the problems posed in the studio will result in the involvement in joint projects and the acquisition of teamwork skills. The student is obligated to shortly describe his work (orally or in writing) to the other students and present it publicly. He thus acquires professional skills: creating projects, documenting his work, establishing cooperation in the field of art.
Social competences
The programme implemented in the studio, in the context of broadly defined problems, will be a guideline for further independent studies undertaken in order to improve the artistic quality of one’s work. Artistic decisions made on the basis of one’s knowledge and the ability to apply it in practice will provide a basis for making independent artistic choices. The ability to justify one’s decisions on the basis of arguments gives one the power of persuasion in the social discourse, especially when implementing participatory projects. Portfolios, exhibitions, workshops and open discussions equip the student with social communication tools. This type of activity is an important element and the test of the implemented programme in practice. Meetings with graduates, artists, curators, scientists, as well as visits to galleries and studios introduce the student into the real world of art. A graduate begins an independent creative life with full awareness of the artist’s functioning in society.
DIPLOMAS (DOCUMENTATION)
