Notes for an Art School

Anton Vidokle

Exhibition as Schoolin a Divided City

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Just looking at the titles of some recent large-scale international art exhibitions—‘The Production of Cultural Difference’, ‘The Challenge of Colonisation’,‘Critical Confrontation With the Present’, ‘Urban Conditions’, etc.—one quickly
realises that there is an increasing desire, on the part of the organisers andparticipants of these shows, to see their work as concrete social projects or active
interventions. Such language and positioning has become the norm, and it now
seems that artistic practice is automatically expected to play an active part insociety. But is an exhibition, no matter how ambitious, the most effective vehicle
for such engagement?
In 1937, André Breton and Diego Rivera (and, it is believed, Leon
Trotsky) wrote the manifesto ‘For an Independent Revolutionary Art’. They callfor a ‘true art, which is not content to play variations on ready-made models but
rather insists on expressing the inner needs of man and of mankind in its time—true art is unable not to be revolutionary, not to aspire to a complete and radical
reconstruction of society.’ What may appear to be a naive call for all-or-nothing
revolution includes a subtle and important justification for that demand—that we, as
artists, curators, writers, need to engage with society in order to create certain freedoms, to produce the conditions necessary for creative activity to take place at all.
But what precisely does it mean, the desire that art should enter all
aspects of social life? Is it a desire to bring art out of rarefied and privileged spaces,
or is it merely a move towards the further instrumentalisation of art practice?
Perhaps the exhibition is not the place to start. One must begin at the beginning.
The Manifesta team proposed going back to school.
The Bauhaus, in its brief period of activity, arguably accomplishedwhat any number of Venice Biennials have not (and at a fraction of the cost)—a wide range of artistic practitioners coming together to redefine art, what it canand should be, and most importantly, to produce tangible results. All this in theface of Walter Gropius’ famous assertion that ‘art cannot be taught’. An art
school, it would appear, does not teach art, but sets up the conditions necessary forcreative production, and by extension the conditions for collaboration and social
engagement. For Manifesta too, these conditions are necessary. To follow Breton
and Rivera, ‘We cannot remain indifferent to the intellectual conditions underwhich creative activity takes place; nor should we fail to pay all respect to thoseparticular laws which govern intellectual creation.’
The need for a more productive and open-ended structure isheightened by the location of this Manifesta—the divided city of Nicosia. It is
one thing to bring together a group of colleagues at a designated space under the
rubric of an ‘exhibition’ in London or Berlin, it is another altogether to do thesame thing in the Cypriot capital. Given the absence of a widespread andhistorically established cultural apparatus to uphold part of the proposition,
the implications of such a gesture are altogether different. The ‘particular laws
which govern intellectual creation’ demand self-criticality, and require considerationof political pasts and presents, religious conflicts, and economic forces.
The aftermath of colonial rule has left Cyprus without such national
cultural institutions as a museum of modern or contemporary art, an opera or an
art academy. Ethnic and religious tensions have resulted in what appears to be
an insurmountable political, economic and cultural divide. And while Cyprus
historically maintained close commercial ties both with its regional neighbours

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and with trade centres further afield, this did not lead to cultural exchanges on thesame scale. There are few cultural institutions significant enough to deserve orwithstand critique, while the political situation is already prominently displayed byan ever-present Green Line—a presence so strong as to render other ‘politicaldisplays’ superficial at best. In other words, the situation demands not commentary,
but involvement and production. There is a need to engage with realities in acomprehensive, direct way, to build common ground for the divided city to meet
and work, and to pose pertinent questions and answer them as practically as
possible—all goals that are often central to the concerns of a school.
It can be argued that this approach is applicable to a much larger
situation, far beyond the boundaries of Cyprus. It can be said that the position ofartist-as-social-commentator/critic has run its course. Perhaps it’s time to consider
forms of art (and wider cultural practices) that can continue to be viable even in
the absence of reference points such as institutions, that can remain relevant evenin the presence of overt politicisation of the landscape, that can remain productive
both within the centres of art production and without.
But what specifically is an art school, and what is an art school at thispoint in time? My research for the Manifesta 6 School yielded a range of models,from art academies and experimental schools to collaborative projects, accompaniedby the insistent voices of critics lamenting the ‘crisis of the art school’. Yet there
has been an amazing range of schools in the past one hundred years: from theultra-academic École nationale supérieure des beaux-arts to the high-priced
Columbia MFA, from the inclusiveness of the various Bauhaus schools and the
dynamism of the Staedelschule to the elite coteries of the Whitney Independent
Study Program (ISP). Given this proliferation of different models of art education,
the notion of crisis seems, at the very least, a misplaced one. Art education is
not in stasis. It is being constantly re-thought, restructured and re-invented.
École Temporaire, run by Dominique Gonzalez-Foerster, Pierre
Huyghe and Philippe Parreno from 1998 to 1999, was a series of workshops
conducted at several universities and schools in Europe. In one, the artists rented
a cinema for a day and screened a feature film, while narrating potential alternative
scenarios before the start of each scene. Another workshop was a seminar heldat the top of a mountain, a location only accessible by dogsled. In yet another, theartists interviewed the participants in the middle of a frozen lake. Each workshop
was a situation filmed and edited by participants and addressed directly to thestudents at the beginning of the next class session, creating a chain of connections
and continuity, and in this way constituting a school that stretched over a rangeof times, spaces and institutions.
The Mountain School of Art was started in Los Angeles just this year
by artists Piero Golia and Erik Wesley. In their exposé, they write:
MSA^ [Mountain School of Art] is not tobe considered an ‘art project’ but a real, fully
functioning school. Although the school issmall in size, the program as well as its collective
ambition is substantial. It is important tounderstand the intentions of developing as aserious contender in the field of education andculture while maintaining a position as asupportive element in relation to otherinstitutions. MSA^ members often liken theirpursuits to those of 18th century European

revolutionists. Our present location at the backrooms of the Mountain Bar, one of LA’s hippest‘Art’ bars and hottest nightlife spots, provides apungent metaphor for this as these revolutionists
held court in the back rooms of bakeries,
printshops, etc. The culture undercurrent isperpetually condemned to the backroom of theestablishment. It is the intention of MSA^ tocontinue this tradition while holding onto a more
orthodox notion of educational impetus.

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The Copenhagen Free University was started by Henriette Heise andJakob Jakobsen in their apartment. As they describe it:
The Copenhagen Free University opened in May
2001 in our flat. The Free University is an artistrun institution dedicated to the production ofcritical consciousness and poetic language. We do
not accept the so-called new knowledge economy
as the framing understanding of knowledge.

We work with forms of knowledge that are
fleeting, fluid, schizophrenic, uncompromising[sic] subjective, uneconomic, acapitalist,
produced in the kitchen, produced when asleep
or arisen on a social excursion—collectively.

What is remarkable is not what these programmes propose, but thatthey should exist simultaneously, offering such varied approaches at the radical
end of the art education spectrum. But bringing up these examples is only tounderscore how far the nature of education has evolved in the past century.
Only when these experiments are set alongside the historic establishments of
the Beaux-Arts and the Art Students League do we have a complete picture.
And complete it must be, whatever the type of practice one may wish to pursue,
whatever political projects one might wish to promote. As Boris Groys points out
in an interview included in this volume, artists’ practices are often formed in
opposition to their education; methodologies and techniques borrowed from fields
seemingly irrelevant to advanced cultural practices can also form the basis for the
production of advanced and radical art. Clearly, there is unlimited potential today
for the artist pursuing an education.
The real crisis in art education appears to be one of distribution:
radical, experimental and advanced institutions are clustered in Europe andNorth America, acting as magnets for those in other regions who wish toparticipate in advanced art practice and discourse. As a result, despite the diversityof practitioners, discourse and focus tends to remain bound, on many levels, tothese centres of institutional production and their relatively homogenous concerns.
Perhaps the most efficient way to impact the general state of art
education is not by denying the plurality of existing schools and programmes,
but by building a new productive model. In 1967, Fluxus artist George Maciunas,
following ‘the great contribution made by Bauhaus and Black Mountain’,drew up his prospectus for an experimental art school in the village of New
Marlborough. The plan was never realised, due to his untimely death the same year.
His prospectus was one of the most inspiring discoveries of my research, a fully
formed vision of learning and production in no more than two pages. I was struckby its subjectivity, a singular worldview that drew as much from the spirit of Fluxus
as it did from the actual body of work that its loose group of artists produced.
The prospectus encapsulates a particular poetics, a core vision that simply andgracefully branches out to encompass all that was relevant in the art production of
the day. It is a proposal that hinges on the notion of ‘possibility’, saying far lessabout what needs to be done than about what can be done.
The actual activity that can take place in a school—experimentation,scholarship, research, discussion, criticism, collaboration, friendship—is a continuous process of redefining and seeking out the potential in practice and theory at
a given point in time. An art school is not concerned solely with the process oflearning, but can be and often is a highly active site of cultural production: books
and magazines, exhibitions, new commissioned works, seminars and symposia,
film screenings, concerts, performances, theatre productions, new fashion and4product designs, architectural projects, public resources such as libraries andarchives of all kinds, outreach, organisation—these and many other activities andprojects can all be triggered in a school. I say ‘triggered’ rather than ‘located at’or ‘based in’ to draw attention to the danger pointed out by Paulo Freire, whowisely cautioned against positioning a school as a privileged or an exclusive siteof ‘knowledge production’, which only reaffirms existing social inequalities andhierarchies. The activities of the Manifesta 6 School are an attempt to infiltrate
the space of the city, to transform it and be transformed by it.
Experimentation is key to the structure of a school, to the processof learning and to notions of progress. It is also key to this project, to the motivation and goals behind the Manifesta 6 School, and to the rationale behind an
exhibition as a school. The group of people involved in organising the Manifesta 6
School are not an NGO, a ministry or a bureaucratic educational committee.
I see this school as a subjective act, essentially, an experiment—one that aims toopen, to question, to encourage the formation of subjectivities. So, although
I have outlined my hopes and aims above, there is no ‘ideal’ Manifesta 6 School.
There are no ideal results, no hard-and-fast principles beyond the production andcirculation of possibilities, a reshuffling of priorities for Manifesta and Nicosia,
and an attempt to privilege the conditions for creative intellectual production,
both in the city and beyond.
To go back to the beginning, to go back to school, involves a great
deal more than the desire to bring art into social life. Producing tangible resultsthat move beyond commentary requires research, groundwork and a continuous
process of involvement and production. Let’s call it homework. And a little
bit of homework never hurt anyone.

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Prospectus for
New Marlborough Centre
for Arts
George Maciunas
The Centre is being created in recognition of thegreat contribution made by Bauhaus and Black
Mountain as a think-tank and training ground forthe future avant-garde. The acquisition of abeautiful “village” of a group of some 12 buildingsin the township of New Marlborough presents thepossibility of creating a similar center that could
devote itself to:
1. study, research, experimentation anddevelopment of various advanced ideas and forms
in art, history of art, design & documentation,
2. teaching small groups of apprentices in subjects
and through procedures not found in colleges,
3. production and marketing of various products,
objects and events developed at the centre,
4. organization of events and performancesby residents and visitors of the centre.
The Centre would be structured as follows:
1. Studios, workshops and residencies forpermanent and visiting members of thecommunity would be housed in buildings 3 to 12,
the tentative list of members is as follows:(a) permanent residents:– George Maciunas (design, production ofmultiple objects, new sports, new forms of
documenting history, diagrams)– Robert Watts (director of school, workshops& studios; events, environment and objects)– Jimmy Giuffrey (jazz workshop)– Yoshimasa Wada (developing new acoustical
instruments)(b) visiting members:– Ayo (tactile objects & events)– David Behrman (electronic music)– George Brecht (concept art, border-line art,
non art, objects, events etc.)– Trisha Brown (kinesthetic events& environments, anti-gravitational dance)– Bob Diamond (electronic engineer)– Jean Dupuy (optic & sound constructions)– Robert Filliou (literary art, poetry,verbal objects)– Richard Foreman (surrealist theatre,
state mechanics)– Geoff Hendricks (events & environments)– Dick Higgins (theatre, art criticism, poetry,music, action music)– Joe Jones (musical machines & kinetic art)
– Alison Knowles (bean art)
– Shikego Kubota (video art)
– Joan Mekas (film-poetry, film criticism)– Larry Miller (e.s.p. art)

– Peter Moore (photography, photo-technology,
documentation, archives)– Nam June Paik (action music, kinetic art,
robots, video art)
– Takako Saito (games, sports, objects)– Paul Sharits (experimental cinema)– Stuart Sherman (magic acts, new vaudeville)– Daniel Spoerri (objects, events, culinary art)
– Stan Vanderbeek (animation film, video art)
– Ben Vautier (concept art, humorous art,
street events)– La Monte Young (concept art, electronic
music, endless music)
2. School-workshop. Students will be acceptedon a part time basis. For most part instruction
will be individual. Students will maintaina working relationship with the staff.
When appropriate, students will assist thestaff in their ongoing research. At all times
students shall be considered part of the learning
community on an equal basis. Students will
be introduced to a wide range of experience
not ordinarily found in conventional schools
and art programs.
3. Library, archives and exhibit space (buildings
1a, 2, 13). It would contain reference material
on past & present avant-garde, original
documents, prototypes, possibly contain archivesof photo-documentation (Peter Moore’s), exhibit
new work in sound, graphics, objects, video etc.
and would contain the “learning machine”
being developed by G. Maciunas.
4. Performance space (chamber music room in
1b, theatre in building 2) & lawn bandstand.
Music room to be used for small scale, solo events,
music, lectures, video presentations, suitable
for audiences up to 40. Theatre with audiences
up in balconies and a 30ft × 60ft performance
space in the middle, for multi-media, inter-media
performances, events, theatre, music, dance,cinema, new sports, games etc. Suitable foraudiences up to 100.
5. Technical workshops (located in basementsof building 2 & 3) to contain equipment forelectronic music, video, machine shop, wood
working shop, ceramic workshop, photodarkroom, film editing & processing, recording
studio, chemical laboratory.

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An Incomplete
Chronology of Experimental
Art Schools— École nationale supérieure desbeaux-arts (1671)— Drawing School (1751, Geneva)— Vienna University of Applied Arts (1867)— Académie Julien (1868, Paris)— The Flying University (Warsaw, 1883,
several versions until 1979)— Gustave Moreau’s Paris studio(1892–98)— Ox-Bow (1910)— Ealing Art College (renamed 1913)— Merz Akademie (1918, Stuttgart)— Vitebsk Art School (1918–1920s,
founded by Marc Chagall)— Bauhaus (1919–1933, founded byWalter Gropius)— VKhuTeMas School of Architecture(Moscow, founded 1920)— Black Mountain College (1933–57,
founded by John Andrew Rice)— Bard College (Annandale-on-Hudson,
renamed 1934)— St John’s College (Annapolis, 1937
reform initiated by Stringfellow Barr and
Scott Buchanan)— Berlin Free University (founded 1945)— Skowhegan School of Painting and
Sculpture (1946)— Independent Group seminars at the ICA(London, 1947–52)— John Cage at the New School for
Social Research (1956–60)— Ray Johnson’s New York Correspondence
School (founded early 1960s)— Intermedia (Toronto, 1960s)— Experimental Art School (Copenhagen,founded 1961 by Paul Gernes & Troels Andersen)— National Art Schools (Havana, built 1961)— Bauhaus Situationniste (Sweden, 1963)— John Latham and the Artist Placement Group(London, formed 1966)— The Munich Academy for Television
and Film (1967)— Nova Scotia College of Arts and Design(founded 1882, renamed 1967)— Whitney ISP Program (New York,
founded 1968)— Jörg Immendorff, Chris Reinecke andthe LIDL-Akademie (1968–69) at the
Kunstakademie Düsseldorf— New Marlborough Centre for Arts
(George Maciunas, 1968–69)— Image Bank (Vancouver, founded 1969)— Joseph Beuys’ ‘Free International Universityof Creativity and Interdisciplinary Research’(founded 1974)— Jack Kerouac School of Disembodied Poetics(Boulder, founded 1974 by Allen Ginsberg
and Anne Waldman)— General Idea (Toronto, founded 1977)— Escola de Artes Visuais do Parque Lage
(Rio de Janeiro)— Ultimate Akademie (Cologne, founded 1988
by Al Hansen and Lisa Cieslik)— The Vera List Center for Art and Politics at
the New School (New York, founded 1992)— DasArts (Amsterdam, established 1994)— Mode2Research—NPO Austria(Eva Maria Kosa, 1997)— École Temporaire (1998–1999,
Dominique Gonzalez-Foerster, Philippe Parreno
and Pierre Huyghe)— Proto Academy (Edinburgh, 1998–2002,
founded by Charles Esche)— The Independent Art School(Hull, founded 1999)— School for the History and Theory of
Images (Belgrade, 1999, founded byBranimir Stojanovic)— The Real Presence (Belgrade, annually
since 2000, founded by Biljana Tomic)— Centre for Advanced Study (CAS), Sofia(founded 2000)— Copenhagen Free University (founded 2001
by Henriette Heise and Jakob Jakobsen)— Masters in Print and Multimedia,
University of Bologna (founded 2001
by Umberto Eco)
— ArtSchool Palestine (founded 2001,
London)— Campus 2002 at Kokerei Zollverein,
Essen (founded by Marius Babias andFlorian Waldvogel)— Gasthof 2002 at Staedelschule, Frankfurt— School of Missing Studies (Belgrade,founded 2002)— Future Academy (London, founded 2002
by Clementine Deliss)— University of Openness (London,
founded 2002)— Manoa Free University (founded 2003)— Informal University in Foundation(Berlin, founded 2003)— The Paraeducation Department(Rotterdam, founded 2004 by Sarah Pierce
and Annie Fletcher)— Cork Caucus (Cork, 2004–05)— Mountain School of Art (Los Angeles,
founded 2005 by Piero Golia andErik Wesley)— Free University of Los Angeles— L’université tangente— La Universidad Nómada
— Facoltà di Fuga
— Göteborgs Autonoma Skolas