European Exchange Academy

EUROPEAN EXCHANGE ACADEMYA four-week non-stop pressure-cooker for advanced visual art studentsRestrained working conditions in an international contextFocus on personal motivation, conceptual starting points, and the relationship between art and societyViews on visual artVisual art is created in a self motivated process, from someone’s own motivations. Two components in this process, reflection and production are equally important.Visual art is a reaction on society’s reality as well as an intrusion in it.Visual art has always been crossing boundaries. Nowadays, as society’s reality is largely defined by globalisation and the transformations towards a network-society that go along with it, visual art is more international than ever before.BackgroundIn 2004 Charles Esche published results of research on factors determining success of several important art academies. Decisive according to him is the energy between students, commitment and courage of staff and the external political and social circumstances. The curriculum and the philosophy of an academy are less important for the success of an academy than the extent to which students have the possibility to work against the system. In any thought about the situation that can be brought about to construct the ideal ‘academy’ I believe we should not forget this need to be imperfect, precisely in order to inspire resistance. Charles EscheThe EEA was established in 2003 after a few years of experimenting with principles that are close to Esche’s findings. The projects leading towards the EEA varied in duration, composition and (international) background of participants and advisors and were held in different parts of Europe.Starting-point was a limited amount of time for a project of no longer than a month in which participants and advisors could partake with a maximum amount of energy.Stimulating the practise of art on the EEAA strong and coherent concept was developed from the mentioned view on art, based on the limited-time-with-maximum-devotion principle.Characteristic is the view that art-practise is not so much formed by sharing of knowledge (education) that is decided by a third party, as that it is formed by - factors that enhance the own motivation and reflection. - circumstances that can function as inspiring breeding ground and in which the international character of art can flourish.The coherent EEA concept is a total of components that will be illustrated one by one in the following. EEA COMPONENTSMaster-class constructionArt-practise in development benefits from stimulating interaction with congenial minds. Openness towards the contribution of others is essential at the EEA. One should feel inclined to heighten each other’s qualities to extremes. One should be open to criticism. And there should be a critical mass, that is to say a sufficient number of interesting, charismatic and motivated people to make something happen in a group of limited size.The Amsterdam based ‘De Ateliers’ is the first post-academic institute in the area of visual art that calls itself specifically workplace instead of educational institute. This starting point has been taken by several post-academic programmes, such as the Jan van Eyck Academy. ‘De Ateliers’ keeps distinguishing itself by limiting the amount of participants, keeping group-dynamic principles in mind.EEA participants are not only selected by the benefits they might have of the EEA but also on their expected contribution to the overall work mentality. There are high demands on artistic motivation and energy and social skills. One should be able to work reasonably independent and be aware of what art means to him- or herself on a personal level. Selection takes place in a personal conversation.LocatieThe area inspires with a morbid charm. A lot of pain has been endured here. It has often been compared to Thomas Mann‘s Magic Mountain. Gerd Ohligschläger Business Dir. EEA(D)The building of the EEA was originally a clinic for tuberculosis. There are many such buildings in the park-like environment, surrounded by vast woodlands. The village of Beelitz-Heilstätten has a rich history, linked to the East-West trauma. During the World Wars the original purpose of the tuberculosis-clinics was changed to that of a military hospital. After the Second World War the largest military hospital outside Soviet territory was based here. The grounds remained sperr-territory, closed or restricted area. For some parts of the area this is still the case since the departure of the Russians in 1993. One month a year the presence of the EEA places the village of Beelitz Heilstätten in an international context.The fact that something new is articulated on this location gives the EEA an interesting energy. Maarten de Reus (NL/UK)On 35 minutes by train you find Berlin, with its ICE and two international airports central in Europe. Cosmopolitan Berlin joins the EEA to important international movements and processes. The proximity of such a city creates an extra livelihood.Sometimes I go to Berlin for a day in the weekend and return full of ideas. Dafna Maimon (FI/IL) Thank god there is Berlin, to be able to escape for a while. Maarten de Reus (NL/UK)Internationalisation: meeting-point of ten countriesThe art world is increasingly international. Artists from various countries and continents react on each other and collaborate. Because of intensive international cultural collaboration communities are constantly presented with different points of view. Putting oneself in somebody else’s place stimulates self-reflection. Art makes an appeal on the ability to imagine oneself in another’s situation, to compare and to use the imagination. Art puts reality in a wider context. The freedom of art-traffic is extremely beneficial for the communication between nations.Question to the curator of the Dutch contribution to the Venice Biennial 2003 “ You chose five artists, of which three are foreign.” Answer Rein Wolfs: “ Art is international”. Interview Toon Beemsterboer in Vrij NederlandThe importance of internationalisation is dealt with at the EEA by inviting participants and advisors of ten countries in and outside Europe. Because of its special concept the EEA is a place to be for an international target group of aspiring art-students.Ten participating academiesFor art students it is important to be able to compare the situation of their own academy to what is happening elsewhere, in foreign countries. For this reason international exchange programmes give students the opportunity to visit a foreign academy during their studies.The EEA takes it a step further. The EEA makes it possible to compare ten different academy cultures at the same time on neutral ground. By doing so the EEA offers a much wider frame for orientation.At least ten academies, of which three outside Europe, take part in EEA06, each with a maximum of four students, with one or more guest-teachers and with financial commitment. It concerns academies that think high of dialogue and are open to innovation and protection of quality.Different nationalities and academy cultures function on an equal basis alongside each other. This concept is unique in Europe. This way you can really raise international artists who have an awareness of their cultural identity on an international level. Maarten de Reus, advisor (NL/UK)High pressureA lot is expected of participants. In four weeks time an intensive re-evaluation takes place of the (future) art practise, as well as a process of reflection on content that leads to tangible, presentable work. Therefore the EEA follows a strict working schedule. Every day starts with a group discussion including all participants and staff, in which the state of affairs are talked about. On top of that residence at the campus is bound to rules.Freedom here does not lie within the possibility for everyone to simply go and do as they please. The challenge here is to gain freedom for oneself concerning areas that really matter. Artistic Dir. EEA Harry Heyink. NLThe fact that one can’t escape each other’s company for four weeks on end creates an intensity that would otherwise never be reached. Discussions progress the following morning. Insights are deepened because the same point of discussion comes up spontaneously from another angle in the evening.The EEA is in fact not an educational institute but a workplace. At the EEA we refer to participants, not to students. These participants work from their own motivation. They decide the principle content in regard to the work that they produce. They are intensively guided in this process. So there is no hierarchical teacher-student relationship as is usual in education, in which the former decides what the latter should learn.In general it is very challenging to make some understanding with students at all. Here it’s a lot more intense/magnified. Because its going on and on. It is almost like at the end some relationships are more intense and deep in one month than in Leeds IN 3 YEARS. It’s an acceleration and an altering of time. Marion Harrison. advisor (UK)All aspects of the four-week residence are attuned to the intended results. The laundry is done and lunch and daily transport are taken care of. Only at breakfast and dinner participants assist in preparing the meals and doing the dishes. In this way the process of reaching solid content can develop to its fullest extent.Every day there are new feelings. Ups and downs are at very large distances. Ups when you got a great idea. And downs when you have had no good idea at all. Martine van de Wal, participant 2005 (NL)Micro-cosmosIn one month’s time a new community is being built in isolation from point zero, including a social structure. This takes place with people of different cultural backgrounds. Such a process is a far-reaching experience that can be seen reflected in a lot of the work made at the EEA. Moreover it is an important learning experience. Artists regularly live in other places with others to create exhibitions or initiate other kinds of work processes.This place could be the answer, cut off as it is from everything else. Important questions arise. What is it to form a new society? What is it about? Back home we have our own rules, our own set of behaviour. What is happening to you in a new surrounding? Which role do you take? At first I played out some roles. Polite, cooperative. At some point you remember basic feelings. What is politeness, love, fear? Here people laugh about different things and for different reasons. Pipsu Isola, participant 2005 (FI)CollaborationAn increasing number of artists currently explore socio-political issues, and so the notion of the artist as anthropologist/ethnographer/social worker seems one of the dominant elements in the discourse. Aankondiging lezing juni 2006 – Stedelijk Museum Amsterdam & Kunstenaarsinitiatief W139 & Universiteit van AmsterdamThe last decade a technological revolution has taken place on the area of communication, which has resulted in a so-called ‘network-society’. The artist works less and less as a solitary one-man’s concern. More and more one works in interdisciplinary and multidisciplinary ways. It’s more and more about temporary non-hierarchical relationships in which a dependency occurs that works both ways.At the EEA participants are prompted to work together in various ways. That may be with a high quality of artistic content, but it could also be by profiting from each other as a model, a labourer or advisor. Participants are often each other’s sharpest critics.Until now group exhibitions have been a rather negative experience. Competition is huge elsewhere. Here you are concerned with helping out others. Zoro Fiegl, participant 2005 (NL) Social skills of the artist are put to the test. Important questions arise, that will give an idea how and why each other’s possibilities may be profited from. How do you ask for something in a way that the other feels he is getting something in return? How do you appeal to a larger group in such a way as to get a response?The material was the 40 people who come and go each day at the EEA. My goal was to put in my energy and charisma to get the others to participate. I tested how far I could go in asking others to do things. You have to be persuasive, not fluffy. Make other people fall in love with your project. Maya Cohen, participant 2003 (IL) At the EEA one can generate work on a social psychological or social political character by means of working together. My first project was The Office. I asked people to work for The Office secretly. The big surprise at the end was that practically everybody appeared to have been mobilized. Maya Cohen, participant. 2003 ILConfrontational guidanceStudents are forced to distance themselves from their egos. A minor trauma can be beneficial. Huub Vinken, advisor (NL/BE)At the EEA the working-process is analysed on all levels. How is the coherence between motivation and fascination on the one hand, and the actual result on the other hand? During the technical realisation you do what you are ABLE to do, therefore you focus on what you DON’T YET KNOW. A consciousness of these two contradicting energies creates a field of tension. How do the initial views, the ability to create images and conceptual thinking relate? And how does a concept that is finally developed relate to its becoming material?I ask questions, I don’t make statements, I try to get students out of their system, by provoking, and often in an analytical way. I confront people with incoherencies in their stories. Constant Dullaart; advisor (NL)Specific problems of the working progress form an important issue. What are the possible scenarios that are at the background of it? The process should lead to work that can be presented at the final exhibitionPeople get to be focused over here. All communicative skills are being put to the test. I challenge students to be unpredictable at the risk of taking a deep dive. Here they catch you if you fall - Constant Dullaart, advisor (NL)The work has to consist of several things. It should be communicative for example. One has to be able to deal with these principles. Participants become more eloquent during the course of the month.Communication about your work, without the constraints of society, means putting everything in another context. You stand there kind of naked. Actually I was taken aback a bit at the EEA. I had tough criticism. Peter Kortmann, participant 2004 (D)Project-discussions - Individual advisory talks will generally be held in the individual studios. This advice is frequent and generous, but also intense and confronting. Each advisor offers a different part of the total spectrum.Each advisor has a specific function. The total is like a meal with peppers as well as hard potatoes. Harry Heyink. Artistic Dir. EEA.Theory sessions - In daily collective theory sessions all facets of the process in their coherence become a topic.What you are doing here has to be a process. In which direction is it heading? What’s happening? There is no incompatibility between the fact that you have to be ready in a week and the fact that you are in a process. Roderick Packe, advisor (UK)Assignments - The process is introduced with on average ten very short and also some longer running assignments. In this way inspiration and the speed of work is gradually taken further. If necessary, participants are individually or collectively told to speed things up.Workshops - In the course of a month a few workshops can be followed (not compulsory) with specific themes as ‘word and image’ or video. Except for reasons of gaining content they can also be followed for getting extra inspiration.Participants discussion - every week advisors speak about specific problems of participants. It is decided who acts where necessary so that every one gets treated in a way that is most beneficial to the result.Final exhibition - The final work is presented at an exhibition to which diverse groups of people are invited, and for which participants are prepared by presentation- and media training.OrganisationArtistic leader is Harry Heyink, visual artist and cultural entrepreneur. Heyink has wide experience as a teacher at several art academies and is initiator of projects that form the backbone of the EEA-concept.When you are in charge of people not only during official working hours, but also during the rest of the day and night, you are much more in control of the eventual results. It leads to more content. Only when I’m able to control all conditions I can define the ultimate mix in which they can together sort out the right effect at the right time. Harry Heyink Artistic Dir. EEA (NL)Business leader is Gerd Ohligschläger. Of house architect, he is working for the City of Beelitz. During the EEA as a kind of a general secretary of the Stadt Beelitz. Beelitz could an international meeting place on interim basis. Universities can start here an exchange programme. Gerd Ohligschläger Business Dir. EEA (D) EEA RESULTSCompensation for shortcomings in art-education of todayIn the last 15 years education has become of less quality at most European art academies. Teachers have less time to spend per student. The length of studies has become shorter in most cases. There is a lack of time to reflect on individual ambitions and the professional consequences.The content of education has insufficiently developed compared to the shifting views of art-practise and that can also be seen in the form the education is given. The art-practise of today benefits less of traditional sharing out of knowledge. There is a need for other ways of advising in which the intrinsic motivation of the developing artist is the starting point. Also the view of the artist as a solitary entrepreneur needs rethinking. There is a need for training in various forms of artistic collaboration.Academies do not sufficiently adhere to the increasing importance of internationalisation. They might take on foreign students and participate in international one-on-one exchange programmes with other academies, but a possibility to get an orientation on the influence of a wider range of countries on an equal level does not exist in their curriculum.For these huge shortcomings in the academy-structure of today, the EEA offers a unique compensation. Extremely intensive advise, in-depth theory, experimenting with diverse ways of working together and all of that in an international setting with the input of academies of ten different countries. If followed in the month prior to the final year, it is a mega-vitamin-boost. The final year will be started in a higher gear and with stronger intensity.The EEA falls outside regular education programmes. That fact is not disputed by anyone. Although the initiative for the EEA stems from dissatisfaction with the increasing lack of quality of the regular programmes, it is in no formal way attached to any educational programme or art academy whatsoever. The EEA admits a limited amount of extremely motivated students, from international art academies that have been selected on grounds of content. The idea behind that selection is that selected students will fit in with a certain EEA attitude.Work in the exam year - The EEA proves to be one of the most influential experiences of the entire study programme; a phenomenal ‘kick in the butt’. The basis for the exam work is often made at the EEA.At the EEA I’ve learned that you can reach far more than you tend to think at first. That’s why I now push things harder. I have decided to choose to become an artist: ‘with the conceptual acceptance that I am an artist.’ Choosing against financial security, gratified by the satisfaction from work, this view has largely strengthened due my experience in the EEA. Fabrice Schomberg, advisor 2004, (FR/IL/UK) Enrichment individual networks - About fifty people of various countries live and work together intensively for a month on a social and business level. As an international artist, you will get to know artists all over the world. And, simply put, one will have a sleeping place in New York. One could go anywhere in the world. That can be seen amongst other things in guest tutor-ships at other participating academies.Getting on in the art business is all about having good networks, good contacts and knowing who are the right people to work with at the moment. Anna Harding, Visual Arts Department Goldsmiths College LondonEnrichment participating academies - Participating academies benefit from the EEA. A group of participants and advisors will take some of the approach and intensity to their own academies. On top of that EEA-advisors are often asked at other academies to give workshops or work as a guest-teacher.Last year two Leeds students who did the EEA ended up in Leeds with a very high degree (first class). That was a direct result of becoming friends with EEA artists. For them the EEA was a great success. Marion Harrison, advisor (UK)Enrichment art-stage - EEA-productions are shown at various places in and outside Europe, at festivals, in museums, galleries and at artist-initiatives.Some examples: “Der Wurst” Amsterdam, The netherlands 2003 “Kartoffelsalate” Amsterdam / Leeds / Brussels 2004 “Handelsgeest” Rotterdam, The Netherlands 2004 “PARK 4D TV uitzendingen Amsterdam, The Netherlands - The Web 2003-2004-2005 “Point of View” Leeds – Amsterdam, England & The Netherlands 2004 “Manifestatie Internationalisering ArtEz Enschede The Netherlands 2005 "Going Underground 5" - 5th International Subway Film Festival Berlin, Germany, 2004-2005-2006. “De Een Minuten Awardshow” Paradiso Amsterdam, The Netherlands 2003 – 2004- 2005. “AIAS 2005 - MICA Baltimore, USA 2005 “VPRO, Nachtpodium” TV 2005-2006 “The One Minutes” Sjanghai, China 2005 “Video-Art Foundation Barcelona, Spain2005 “Overschilderen” Leuven, Belgium 2005 “Belgische Videobiennale” 2006, Leuven, Aalst, Megelen, Brussel, Belgium. “Transmediale Festival” Berlin, Germany 2006. “Kunstvlaai 2006” Amsterdam, The Netherlands. “PARK, 10 seconds free Art on Mobile telephone” Amsterdam 2006. “Video-Festival VALENCIA Spain, Oktober –November 2006. “Berliner Underground 2006” Berlin 2006