Thank you to all keynote speakers, presenters and delegates of the 7th ELIA Teachers' Academy for a fantastic event!
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Teachers' Academy Day 2: From Plenary to Parallel Sessions
The ELIA Teachers' Academy continued on Monday with a plenary keynote address from Eamon O'Kane on 'Fröbel Studios: The Institute of Creativity', followed by an afternoon of parallel sessions ranging from presentations to workshops and labs on the themes of the learning environment, learning by making, perspectives on learning and learning & researching as a spatial practice and was capped off with a keynote address from Jonas Dahlberg on 'The Architecture of Loss: the July 22 Memorials'.
Teachers' Academy 2015 Launches!
The 7th ELIA Teachers' Academy kicked off on Sunday with an in-depth look at the 'Apprentice/Master' project, which matches graduating fine art students from across Europe to renowned contemporary artists, a keynote address from Sara Wookey on 'Moving Through the City and Cultural Contexts' and rounded up with a dinner of Pecha Kucha presentations. Be sure to check back here for updates on the highlights of each day of the three day programme.
About the 7th ELIA Teachers' Academy
The European League of Institutes of the Arts - ELIA is pleased to announce the 7th ELIA Teachers’ Academy - ENACT: Learning in/through the Arts, hosted by Fontys School of Fine and Performing Arts, which brings together lecturers from Higher Arts Education across Europe and beyond.
The three day programme offers keynote speeches, presentations, workshops and panel discussions. The in-depth exchange of ideas at the ELIA Teachers’ Academy in Tilburg will provide a critical framework for informed discussions as well as a professional networking.
The Teachers' Academy 2015 takes place in Fontys School of Fine and Performing Arts, as well as in the unique venue Museum De Pont. This museum is renowned for its contemporary art collection and architecture; housed in a former woolspinning mill that has been transformed into a beautiful environment for the many works of art it has collected. On Tuesday afternoon the programme is situated in De Pont. Delegates will have the opportunity after the closing to visit the museum on their own or join one of the tours free of charge. Please visit the programme for more information.
ENACT: Learning in/through the Arts
Making and teaching the arts are practices that intervene in a specific way, both in education and in society at large. The arts practice has its own knowledge base and logic; it evolves by creating and doing . The same can be said about education where learning environments are created by teachers and students in the work and on the spot. On the one hand we see how art educators bring artistic strategies into schools and higher arts institutions. This way of learning in/through
the arts requires a distinct set of competences and habits of mind. On the other hand we see how artists and designers introduce educational practices to their artistic work, be it in the studio, the museum, the public space or on stage.
Fees
ELIA members: 395 euro
ELIA members early bird fee: 295 euro (registered before 1 April 2015)
Non members: 790 euro
Questions?
Contact Conference Manager Marte Brinkman, at marte.brinkman[at]elia-artschools.org
The ELIA Teachers’ Academy is supported by Fontys School of Fine and Performing Arts and the European Commission.
7th Teachers' Academy 2015
ENACT: learning in/through the Arts
Tilburg, The Netherlands
10-12 May 2015
Call for Presentations, Papers and Workshops: 73 proposals from 19 countries were submitted. The international jury selected 35 presentations from 12 countries which have been integrated in the event programme.
ENACT: Learning in/through the Arts
Making and teaching the arts are practices that intervene in a specific way, both in education and in society at large. The arts practice has its own knowledge base and logic; it evolves by creating and doing . The same can be said about education where learning environments are created by teachers and students in the work and on the spot. On the one hand we see how art educators bring artistic strategies into schools and higher arts institutions. This way of learning in/through the arts requires a distinct set of competences and habits of mind. On the other hand we see how artists and designers introduce educational practices to their artistic work, be it in the studio, the museum, the public space or on stage.
For the 7th Elia Teachers’ Academy we invite artists, art professors and art educators to showcase their own practices in the arts and education, be it in a presentation, a pecha kucha, a workshop, or another suitable format. What are the specificities of artistic strategies employed in teaching and learning, and what kind of educational practices do artists use to put their work into action?
Theme
The ELIA Teachers’ Academy 2015 will address the following themes:
• Theme 1; Artistic Strategies in Education
• Theme 2; Educational Practices in the Arts
The 3 day programme offers keynote speeches, presentations, workshops and panel discussions. The in-depth exchange of ideas at the ELIA Teachers’ Academy in Tilburg will provide a critical framework for informed discussions as well as a professional networking.
Who can participate?
Lecturers/artists teaching in ELIA member schools who are directly involved in the delivery of theory and/or practice, artistic researchers and teachers/researchers in arts education or pedagogy, including art educators working in the public domain, who want to:
engage with innovative pedagogic methods on an international level;
gain new insights and look to future practicesm in educating and training artists across all art disciplines;
share ideas and practices with like-minded international colleagues.
The Call for Papers is also open to members of the following partner networks:
AEC-European Association of Conservatories
CILECT-International Association of Film and Television Schools
Cumulus
Call for presentations
To shape the content of the ELIA Teachers’ Academy 2015 we invite colleagues from ELIA member institutions from all art disciplines to consider contributing to the programme. ELIA encourages diversity in its programme, and invites a wide variety of formats, including papers, workshops, pecha kucha’s and other presentations.
Submissions for presentations should include:
• theme;
• summary of maximum 250 words of the
specific knowledge/practice transferred;
• structure of the presentation: paper
presentation, workshop, pecha kucha, other
• contact details of the presenter(s).
Submissions will be peer reviewed by an international panel, selection criteria will reflect theme, innovative quality, and a balanced division
of regions, countries and disciplines.
Selected presenters will be waived the conference fee.
Pecha Kucha presentation and co-presenters will receive a reduced fee of 250 Euro.
The working language of the ELIA Teachers’ Academy will be English.
Applicants will be informed early February 2015.
Fees
ELIA members: 395 euro
ELIA members early bird fee: 295 euro (registered before 1 April 2015)
Non members: 790 euro
The ELIA Teachers’ Academy is a platform for new ideas and innovative practices for educating the next generation of artists. The 2015 edition of the Teachers' Academy focuses on:
ENACT: Learning in/through the Arts
Making and teaching the arts are practices that intervene in a specific way, both in education and in society at large. The arts practice has its own knowledge base and logic; it evolves by creating and doing. The same can be said about education where learning environments are created by teachers and students in the work and on the spot. On the one hand we see how art educators bring artistic strategies into schools and higher arts institutions. This way of learning in/through the arts requires a distinct set of competences and habits of mind. On the other hand we see how artists and designers introduce educational practices to their artistic work, be it in the studio, the museum, the public space or on stage.
The ELIA Teachers’ Academy 2015 will address the following themes: • Theme 1; Artistic Strategies in Education
• Theme 2; Educational Practices in the Arts
What are the specificities of artistic strategies employed in teaching and learning, and what kind of educational practices do artists use to put their work into action?
With a good balance of information, participation and interaction with colleagues, the 3 days programme offers keynote speeches, paper sessions and panel discussions, a networking dinner with pecha kucha presentations and other social events. The in-depth exchange of ideas at the ELIA Teachers’ Academy in Tilburg will provide a critical framework for informed discussions as well as professional networking.
Programme
Please click date for detailed view of programme, including sessions, workshops and speaker information.
Dafne Maes Pedagogical Tools and Methodologies for Dance Education/Mediation with Children and Youngsters
Artesis University College Antwerp, The Royal Conservatoire
Stacey Salazar Artistic Strategies in Education
Center for Art Education, Maryland Institute College of Art
Oliver Iredale Searle Technophonia
Royal Conservatoire of Scotland, Drake Music Scotland
Liese Stuer - Iris Bouche Rethinking Bodies, Inclusive Dance and Movement Practice
Artesis Plantijn Hogeschool Antwerpen, the Royal Conservatoire
Pris Tatipikalawan - Ed Santman Elucidation on How to Utilise the Arts as a Corrective and Correctional Force to Turn Destructive Behaviour
Changes and Chances - PEETA Project
Kie Watkins Education Pedagogy for Artist Educators
LASALLE College of the Arts
Margret Wibmer Exploring Collaborative Practice and New Forms of Engaging with the Public
Visual artist and network ambassador and fundraiser at the Dutch Art Institute (MFA ArtEZ Institute of the Arts)
Monday 10.30-12.30: 4 Parallel Sessions
Karin Arink In A Manner Of Speaking - First Language Presentations
Willem de Kooning Academie Hogeschool Rotterdam
Anka Falk Cultural Spaces and Design – Reflections on Design
Education Fachhochschule Nordwestschweiz, Hochschule für Gestaltung und Kunst, Institut HyperWerk
Toni Kauppila - Riku Saastamoinen School for Unforced Errors: ERROR – SHAME – CREATIVITY
Spatial and Furniture Design, Oslo National Academy of the Arts
Theatre Academy Helsinki, University of the Arts Helsinki
Mark Luyten This is Not a Studio. A Space and Time to Un-work.
Sint Lucas University College of Art & Design Antwerp
Kai van Hasselt Design Thinking @ artschool: Implications for Physical Creative Learning Environments
Fontys Academy for Art and Design
Monday 13.30-15.00: 2 Parallel Sessions
Sarah Rowles Q-Art: a graduate run organisation that works to break down barriers to art education and share student, graduate and staff practice across art schools.
Glasgow School of Art
Henny Dörr Performing Knowledge - Performing Ignorance: Repertoire of Voices in the Student-Teacher Relationship
University of the Arts Utrecht (HKU)
Paul Fieldsend-Danks Students as Partners: Integrating Undergraduate and Postgraduate Students in Curriculum Design
Norwich University of the Arts
Elisabeth Belgrano - Fredric Gunve Madness and The Bastard in Motion: Learning/Teaching through Performance Studies
School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg
Dancer, Choreographer and Consultant
United Kingdom Moving Through the City and Cultural Contexts: How engaging human movement and sensitivities to socio-spatial dynamics contribute to learning and understanding
In this keynote address Sara will introduce a series of projects she has initiated and implemented for cultural institutions and government agencies in the United States and in Europe. These projects consider artistic practice as a tool for prompting sensitives to movement and the socio-spatial as well as act as subtle interventions to help amplify the rather invisible rules of social behavior imposed by urban, public-private space and cultural institutions. Some projects that will be shared are: Metro Art Moves You a curated series of interactive tours for the Creative Services Department at the Metropolitan Transportation Authority in Los Angeles and led by artists and aimed to demystify the transit riding experience for Angelenos; Punt.Point at the vanAbbe museum, Eindhoven that introduces a wearable and playful tool kit offering 'repositions' for the museum visitors to engage with, including headstands; Performing Navigations: (Re)mapping the Museum at the Hammer Museum, Los Angeles that aims to encourage new modes of navigation in an otherwise confusing environment; And her work with Tate Learning as part of the Experience and Value of Live Art and as the Associate Role: Curating and Young People where she is engaging young people into her practice and in ways that choreographic practice can be a mode of knowledge exchange and collaborative thought processes.
Dean of Art Department
Professor Of Visual Art
Artistic Research Leader (KU Leder)
Bergen Academy of Art and Design
Norway
Fröbel Studios: The Institiute of Creativity – An introduction to Eamon O´Kane´s non-hierarchical and co-constructive interactive installations.
In his keynote address Professor Eamon O´Kane will introduce a series of interactive installations inspired by the legacy of Frederich Fröbel (the inventor of the kindergarten) that have been shown in exhibitions in Los Angeles, New York, Limerick, Quimper and Dublin. Beginning with the historical context of the research, the artist will discuss how his artworks develop the argument that within Fröbel's legacy we can locate the seedbed of modern art. Fröbel designed the educational play materials known as Fröbel Gifts, which included geometric building blocks. With its emphasis on abstract decomposition and building up from elemental forms, the original kindergarten system of the mid-nineteenth century created an education and design revolution that profoundly affected the course of modern art and architecture, as well as physics, music, psychology and the modern mind itself. Eamon O'Kane's installations can be referred to as "research-based-projects". The audience can change the work by using the materials placed at their disposal and initiate new ways of approaching the material, which prompts the artist to take the work in different directions in subsequent versions of the installation. In a truly experimental way the straightforward boundaries between production and reception, workshop and museum, spectator and audience have become permeable.
Artist, Jonas Dahlberg Studio
Sweden The Architecture of Loss: the July 22 Memorials
After the July 22 atrocities in Norway the Swedish artist Jonas Dahlberg was giving the task of designing the permanent memorials at the Sørbråten peninsula in Hole municipality and in the Government Quarter in Oslo, as well as the temporary memorial in the Government Quarter in Oslo. Jonas Dahlberg’s proposal for the memorial site on the Sørbråten peninsula evokes the physical feeling of loss, symbolizing the wound inflicted on the victims, their families, and the whole of Norway by the Utøya massacre on July 22, 2011. Rock removed from Sørbråten, which lies opposite the island of Utøya, will be used to create a memorial in Oslo’s government quarter, forming a link between the scenes of the two terror attacks.
Accommodation
We suggest the following hotels in Tilburg, the Netherlands. Delegates are advised to book early to avoid dissapointment and directly with the hotels listed below.
Standard Room Price: 80 Euro (excluding breakfast and 3.5% tourist tax) Privilige Room Price: 105 Euro (excluding breakfast and 3.5% tourist tax) Reservations: please book via thislink
Single Room Price: 75 Euro (excluding breakfast and 2 Euro tourist tax) Double Room Price: 85 Euro (excluding breakfast and 2 Euro tourist tax) Reservations: www.depostelsehoeve.nl (after selecting the dates on the right at the home page, you will enter a booking menu with the option to switch to English as your language)
Single Room Price: 82,50 Euro (excluding breakfast, including tourist tax) Double Room Price: 87,50 Euro (excluding breakfast, including tourist tax) Reservations: www.cityhoteltilburg.nl
Tilburg, the Netherlands
Delegates of the Teachers' Academy will have the opportunity to explore and enjoy Tilburg, one of the Netherlands most inspiring and suprising cities.
There is much to see and do in Tilburg, from world class museums to fascinating public artworks, and performance venues in all shapes and sizes. With so many local educational institutes specializing in the arts, culture certainly occupies a very prominent position in Tilburg.
Other offerings that the city has to enjoy include a wide range of fine restaurants in all price classes and excellent shopping districts with their many enticing stores.
For more information about Tilburg, things to see and entertainment, please visit the official tourism website.
Travel
Tilburg is easy to reach with public transport from both Amsterdam Schiphol Airport (1,5 hrs) and Eindhoven Airport (1 hr). From both airports public transport leaves every 30 minutes to take you to the city centre of Tilburg. To plan your travel within the Netherlands with public transport, we recommend 9292.nl (available in English). Train tickets are available at the yellow machines at each train station (cash, debit and credit card) or at the railway ticket service desks. Bus tickets can be purchased from de driver on the bus (cash only).
Schiphol Airport - Tilburg Central Station
Intercity Train from Schiphol Airport to Breda
In Breda change for Intercity Train to Tilburg Central Station
Eindhoven Airport - Tilburg Central Station
Bus 401 (direction Eindhoven Station) from Eindhoven Airport to Eindhoven Central Station.
From Eindhoven Central Station to Tilburg Central Station by Intercity Train.
Tilburg Central Station – Fontys School of Fine and Performing Art
Fontys School of Fine and Performing Art is situated within a 10-minute walking distance from Tilburg Central Station.
Or:
Local bus 1 (direction St Elisabeth Zkh), Bus stop: Stadhuisplein
Local bus 2 (direction Stadhuisplein), Bus stop: Stadhuisplein
Local bus 8 (direction Het Laar), Bus stop: Stadhuisplein
Local bus 11 (direction Goirle), Bus stop: Stadhuisplein
Public Transport and Taxi Services
Tilburg lies within easy reach of the railway transport. You can buy a train ticket at the railway station.
A bus or a taxi is the best means of public transport within Tilburg. You can buy a bus ticket on the bus. You can order a taxi by calling: +31(0)13-777.77.77.
Venue
Fontys School of Fine and Performing Arts
The main venue is Fontys School of Fine and Performing Arts, which provides higher professional education on bachelor’s and master’s degree level in the field of art education and performing arts. The building is designed by Jo Coenen, former state architect. A 19th century monumental villa, the remains of a former monastery and a Visitation Gothic Revival chapel are part of the complex. The architecture reflects respect for history, while providing space for the future.
Visiting Address
Zwijsenplein 1
5038 TZ Tilburg
the Netherlands
To visit Fontys School of Fine and Performing Arts online, please click here.
Sunday 10 May
15.00-18.00 Registrations and Coffee
location:
Fontys School of Fine and Performing Arts, Zwijsenplein 1, 5038 TZ Tilburg
15.00 Cultural Event: Apprentice/Master
location:
Kunstpodium T, Noordstraat 105, 5038 EH Tilburg
(8 min. walking distance from Fontys School of Fine and Performing Arts)
Free access between 13.00-17.00 from Thursdays to Mondays
The Apprentice/Master project matches graduating fine art students (BA or MA) from different art schools in Europe to renowned contemporary artists who connect with the work of the apprentices. During the project, groups of three or four apprentices work together and exhibit along with their master artist in Kunstpodium T: a laboratory and a platform for art students and contemporary artists.
Exhibition
Master/Artist: Inge Aanstoot
Apprentices: Aaron Smyth (Dublin), Jonas Delaey (Ghent), Lisa Eksteen (Utrecht) and Ondrej Reichel (Prague)
Tour
You are welcome to join a guided tour; staff will be available to guide at any time between 15.30 to 16.30 hrs. You can participate free of charge, however signing up during registration is required.
17.00-18.00 Welcome
location:
will be announced during registration at Fontys School of Fine and Performing Arts.
Welcome
followed by
Moving Through the City and Cultural Contexts: How engaging human movement and sensitivities to socio-spatial dynamics contribute to learning and understanding.
Keynote by Sara Wookey
18.00-22.00 Pecha Kucha Dinner
location:
will be announced during registration at Fontys School of Fine and Performing Arts
(same location as the Welcome).
The Pecha Kucha Dinner offers multiple courses, interspersed with Pecha Kuchas presented by colleagues from across Europe and beyond. The dinner is also a great network opportunity and in addition, short intermissions performed by students of Fontys School of Fine and Performing Arts will take place.
Strand A: Technology/E-Learning Mel Brown The Great Editorial Race: The Serious Business of Play
Plymouth College of Art
Liese Stuer - Iris Bouche Rethinking Bodies, Inclusive Dance and Movement Practice
Artesis Plantijn Hogeschool Antwerpen, the Royal Conservatoire
Oliver Iredale Searle Technophonia
Royal Conservatoire of Scotland, Drake Music Scotland
Strand B: Creativity Chris Gribling - Monique Zijp Problem Finding and Focused Creativity
Fontys Academy for Art and Design
Stacey Salazar Liberating Constraints for Creative Thinking
Center for Art Education, Maryland Institute College of Art
Pris Tatipikalawan How the arts affect behaviour: executive functions in art education.
Utrecht University, Department of Pedagogical and Educational Sciences
Following the Pecha Kucha presentations Professor Pascal Gielen of Fontys School of Fine and Performing Arts and University of Groningen introduces Arts Education Beyond Art: Teaching Art in Times of Change- on the critical function of the arts in society. Instead of teaching how to look at art, we should teach how to look at life – through art.
Monday 11 May
location:
Fontys School of Fine and Performing Arts, Zwijsenplein 1, 5038 TZ Tilburg
08.30 Registrations and Coffee
09.30-10.30 Plenary
Official Opening
followed by
Fröbel Studios: The Institiute of Creativity – An introduction to Eamon O´Kane´s non-hierarchical and co-constructive interactive installations.
Keynote by Eamon O'Kane.
10.30-12.30 4 Parallel Sessions
1) Learning Environment: Presentations
School for Unforced Errors: ERROR-SHAME-CREATIVY
Toni Kauppila - Riku Saastamoinen
Oslo National Academy of the Arts, University of the Arts Helsinki
This is not a Studio. A Space and Time to Un-work.
Mark Luyten
Sint Lucas University College of Art & Design Antwerp
Design thinking @ artschool: Implications for physical creative learning environments
Kai van Hasselt
Fontys Academy for Art and Design
2) Learning by Making: Workshop
Learning by making - opening up musical work forms between practice and reflection
Bart van Rosmalen - Tet Koffeman - Falk Hübner
University of the Arts Utrecht (HKU)
3) Perspectives in Learning: Presentations
In A Manner Of Speaking - First Language presentations
Karin Arink
Willem de Kooning Academie Hogeschool Rotterdam
Cultural Spaces and Design – Reflections on Design Education
Anka Falk
Fachhochschule Nordwestschweiz - Hochschule für Gestaltung und Kunst - Institut HyperWerk
4) Learning and Researching as a Spatial Practice: Workshop
Jochen Kiefer - Thomas Dreissigacker - Colette Baumgartner
Zurich University of the Arts, Department of Performing Arts and Film
12.30-13.30 Lunch
13.30-15.00 2 Parallel Sessions
Knowledge Lab 1
Madness and The Bastard in Motion: Learning/Teaching through Performance Studies
Elisabeth Belgrano - Fredric Gunve
School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg
Students as partners: Integrating undergraduate and postgraduate students in curriculum design
Paul Fieldsend-Danks
Norwich University of the Arts
Towards a mirror: the learning and the work in a partnership of equals
Susan Orr - Julian McDougall - Fred Meller
University of the Arts London
Knowledge Lab 2
The b-side of screen-learning. A MOOC to think with eyes and hands.
Nany Vansieleghem - Marc DeBlieck - Roel Kerkhofs - Thomas Storme
LUCA School of Arts, Gent
Q-Art: a graduate run organization that works to break down barriers to art education and share student, graduate and staff practice across art schools.
Sarah Rowles
Glasgow School of Art
Education Pedagogy for artist educators
Kie Watkins
Lasalle College of the Arts
15.00-15.30 Coffee
15.30-17.00 Plenary
The Architecture of Loss: the July 22 Memorials
Keynote by Jonas Dahlberg
followed by
A national trauma in an art school course
Andreas Berg - Martin Lundell
Oslo Academy of the Arts
Tuesday 12 May
location:
Fontys School of Fine and Performing Arts, Zwijsenplein 1, 5038 TZ Tilburg
09.30-10.30 Plenary
Deep water between art and education? A reflective dialogue.
Barbara Bader, Stuttgart Academy of Fine Arts, Design and Architecture
Pascal Gielen, Fontys School of Fine and Performing Arts
10.30-12.00 Didactic Lab
The Didactic Lab invites selected presenters and delegates to gather around various themed tables in small groups for a round table discussion. The kickoff is done by the presenter, who gives an introduction and opening statement, and subsequently, gets an open and transparent discussion about the topic with the delegates going. Delegates will have the opportunity to participate in at least two round table discussions of their choosing. The selected presenters are:
Instructions for a Drawing Class
Chloé Briggs
Paris College of Art
The didactics of being nowhere.
Erik de Jong
Maastricht Academy of Fine Art & Design
Understanding Practice as Research
Mo Throp
CCW Graduate School, Chelsea College of Arts, University of the Arts London
Arts education that goes beyond the arts
Hans van Dijk - Maria Speth
Fontys Academy for Art and Design
Practical music philosophy -fostering curious, critical minds of classical musicians.
Andrea Voets
Hochschule für Musik 'Hanns Eisler', Berlin
So you want to be a good musician? You better start researching now!
Henrice Vonck
Codarts University for the Arts, Rotterdam
I spy with my little eye.. Portraying people with dementia
Herman van Hoogdalem
Minerva Academy, Groningen
Re-enact: creating an active living archive
Louise O'Boyle
Belfast School of Art, University of Ulster
The Music Teaching Artist: How can we embody and employ an inclusive pedagogy?
Zachary Scott
the Royal Conservatoire of Scotland
12.00-13.00 Take Away Lunch & Bus Trip to Museum De Pont (venue afternoon programme)
location:
Museum De Pont, Wilhelminapark 1, 5041 EA Tilburg
Walking distance from Fontys School of Fine and Performing Arts: 30 minutes
13.00-14.30 On Trial
Participatory trial claiming: ‘The ‘teaching' of art is an artistic practice in itself.’
Artists/Teachers have the potential to transform people and their lives. Yet the ‘teaching’ of art remains marginalised within current discourse. This participatory ’trial' will challenge the 21st century focus on artistic practice as ‘making’ by examining alternative paradigms.
Nelly van der Geest - Chrissie Tiller - Marjolijn Brussaard - Mantautas Krukauskas - Loykie Lomine
Utrecht University of the Arts (HKU), Goldsmiths London, College of Art and Design Nottingham Trent University, Lithuanian Academy of Music and Theatre, University of Winchester
14.30-15.00 Closing
Cecilie Broch Knudsen (Chair), Rector/President Oslo National Academy of the Arts Karen Neervoort, President Fontys School of Fine and Performing Arts
Carla Delfos, Executive Director European League of the Institutes of the Arts
15.00 Cultural Event: Visit & Tours Museum De Pont
De Pont is housed in a former wool spinning mill that has been transformed by Benthem Crouwel Architects into a space where contemporary art can be seen at its best. The vast, light main area of the monumental old factory and the intimate ‘wool-storage rooms' constitute a beautiful environment for the many works of art that De Pont has collected since its opening to the public in September 1992. The acquisition policy aims at accentuating not the breadth but rather the depth of collecting, for which roughly three large exhibitions per year serve as the breeding ground.
In addition, you can experience brief theatrical, bold, edgy, sweet and raw performances and appearances in the museum, created by choreographers and musicians, in collaboration with students, of Fontys ArtCoDe (Alan Boom) and Dance Academy (Marc van Loon).
Tours
On Tuesday afternoon between 15.00-17.00 students of Fontys School of Fine and Performing Arts give guided tours. Please note: more detailed information about the times and frequency of tours will be announced shortly. Free of charge, however, signing up during registration is required.
Andrea Voets
Practical Music Philosophy - Fostering Curious, Critical Minds of Classical Musicians
Hochschule für Musik Hanns Eisler, independent artist
Professional classical musicians spend a lot of time in isolated practice rooms, which makes it easy to overlook that they remain artists, who need extra-musical inspiration to develop their artistry. Many music students express the desire to get a solid introduction to music philosophy, to strengthen their ability to reflect on their own work in a diverse and critical way: an important skill in the swiftly changing cultural field. Unfortunately, the scholarly way of teaching philosophy is not cut out for, nor relevant to the professional practice of musicians. Since October 2014, harpist-philosopher Andrea Voets merges these worlds in her innovative course 'Practical music philosophy' at the 'Hanns Eisler' conservatoire in Berlin. This presentation advocates for the benefits of philosophical reflexion at conservatories and explain the urgency of giving critical, curious spirits the space to unfold, especially within one of the most traditional of all professional art educations.
Anka Falk
Cultural Spaces and Design – Reflections on Design Education
Education Fachhochschule Nordwestschweiz, Hochschule für Gestaltung und Kunst, Institut HyperWerk
This presentation explores and discusses issues related to inquiries of process design students who made significant experiences of cultural difference. It deals with questions such as how cultural implications can be taken up in supervision with the overall intention to foster reflections on cultural diversity and the impact of global developments.
Ankelien Kindekens - Free De Backer - Jeltsen Peeters - Valérie Thomas - Koen Lombaerts
The Promotion of Secondary School Students’ Self-Regulated Learning through Arts Education
Vrije Universiteit Brussel, Faculty of Psychology and Educational Sciences, Department of Educational Sciences
Well-developed self-regulatory behaviour - involving responsibility over the learning process, personal goal setting, selection of learning strategies, etc. - is proven to be crucial for students' learning in and beyond school. Ankelien Kindekens presents how and to what extent arts educators that introduce arts into secondary schools foster self-regulated learning with their students.
Bart van Rosmalen - Tet Koffeman - Falk Hübner
Learning by Making - Opening Up Musical Work Forms between Practice and Reflection
University of the Arts Utrecht (HKU)
Learning by Making is developed in the international seminars of the Innovative Conservatoire, a network of European conservatoires for teacher development. It became also an active practice in the music study Musician 3.0 at the Utrecht Conservatory (HKU). Recently HKU started a research group on ‘muzische professionalisering’ (art in professional development) that elaborates further on these forms on the edge of theory and practice. This research group closely collaborates with centre for leadership and entrepreneurship 'De Baak'. The shared purpose of all these practices is the education and professionalization of reflective practitioners.
The point of departure for these work forms is a shared fascination for the participant's ownership within a learning process. We like to share a number of forms with a strong artistic signature, in which artistry and creatorship play an essential role.
Chloé Briggs
Instructions for a Drawing Class
Paris College of Art
This presentation will focus on the results of collaboration with fine art students at Paris College of Art. In class, each student offered a frank description of a ‘problem’ they had with drawing, these individual dilemmas were sent to selected artists internationally who responded by offering a set of personal instructions for a drawing assignment.
Chris Gribling - Monique Zijp
Problem Finding and Focused Creativity
Fontys Academy for Art and Design
Contemporary professional practices are diverse and changing at a high pace. This asks for professionals who are able to ‘re-invent’ themselves constantly in order to apply their personal creative skills to a new professional context again and again. To become an outstanding and long lasting creative professional a clear personal style is essential. This workshop offers techniques to focus on creating authentic work, to apply personal values and style, in short to deepen expertise in problem finding.
Colette Baumgartner - Thomas Dreissigacker - Jochen Kiefer
Learning and Researching as a Spatial Practice
Zurich University of the Arts
Our workshop would like to offer the possibility to experiment in the field of articulation and negotiation within a research process not only by words. On the basis of a common experience at the beginning of the workshop, the participants are modelling spatial/scenic situations in specific frames by using the objects and the space where the workshop takes place. In a second part of the workshop we research and transform the spatial dimensions of a literally text in kind of a spatial art practice. The aim is to discuss about the chances, potential and risks of these kind of transformations to express the states within a research process.
Dafne Maes
Pedagogical Tools and Methodologies for Dance Education/Mediation with Children and Youngsters
Artesis University College Antwerp, The Royal Conservatoire
In this workshop, tutors learn how to get started with (contemporary) dance with children and youngsters. Dafne Maes elucidates her theoretical research and introduces her website www.dancingdances.com, with lots of inspiring tips for dance in class rooms or groups of young audiences. She’ll focus on different questions: What is movement? What is dance? Why do people dance?
Elisabeth Belgrano - Fredric Gunve
Madness and The Bastard in Motion: Learning/Teaching through Performance Studies.
School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg
This paper performs an encounter between Madness and The Bastard. FORCE-fully they move through frames/FORMS of time, diffracting microscopic moments of teaching and learning. The outcome is the performative encounter in itself. An ornamenting 'becoming' based on the indeterminable and affinity. A potential model for teaching and learning in higher arts education.
Erik de Jong
The Didactics of Being Nowhere
Maastricht Academy of Fine Art & Design
The sensitivity to the creation of value is what determines the insight received at the moment that ‘nothing’ transitions into ‘something’, the moment that ‘nowhere’ transitions into ‘somewhere’. Something that will resonate and possibly evolve into a next moment of transition in which art and learning become one.
Hans van Dijk - Maria Speth
Arts Education That Goes Beyond The Arts
Fontys Academy for Art and Design
An important aim of the Fontys Academy for Dance Education is to mesh training with practice in the field. Furthermore, the conviction of the necessity to experience and understand the relationship between art and cultural education from numerous perspectives leads to developing a curriculum with close ties between the theoretical and practical components of said education. This results in weaving theory and practice into the classes given by our students in secondary school internships. This held not only for the arts such as dance, visual arts, music and literature but also for the social, political and cultural aspects associated with the era in focus.
Creating new teaching materials needs to extend beyond offering the separate basic facts concerning a discipline, style or period of time. This design strives integration of our world, art and culture in the broadest sense of the word and how dance can augment depth to this process.
Henrice Vonck
So you want to be a good musician? You better start researching now!
Codarts University for the Arts, Rotterdam
Codarts Rotterdam created a curriculum that teaches Master of Music students to do research and become awesome musicians as a result of it. This presentation highlights the key factors that make the programme successful.
Herman van Hoogdalem
I spy with my little eye: Portraying People with Dementia
Academy Minerva
In the research module I spy with my little eye, ten art academy students from Academy Minerva made contact with ten people with dementia from care home Blauwbörgje about making a portrait. From the start of the project all participants knew that this module focused on the social process of portraying and not on the artistic result, and that it asked questions about the social impact of this ‘artistic strategy”. What does portraying mean when it concerns portraying people with dementia? How are family and carers involved in the process? What kind of meetings took place? And how did this assignment influence the artistic practice of the students? By placing the making of portraits in such a delicate social context, we learned a lot about it. The research has resulted in a special exhibition, one which doesn’t focus on artistic quality but on the representative quality of images, texts, quotes and even music to communicate process and result.
Julie Morel
Variable Geographies
École Européenne Supérieure d'Art de Bretagne - EESAB
In most cases, it seems that in French art schools, research and teaching are two separated streams when really they are two sides of the same entity, or should at least benefit one another. Through the Géographies variables project, a concrete and on-going experience, this presentation aims to share and discuss how a research project within an art school can be at the center of pedagogy.
Kai van Hasselt
Design Thinking @ artschool: Implications for Physical Creative Learning Environments
Fontys Academy for Art and Design
The presentation will compare a number of physical environments that foster creative learning and relate its implications to the research into design thinking and arts educations at Fontys Academy for Art and Design.
Karin Arink
In A Manner Of Speaking - First Language Presentations
Willem de Kooning Academie Hogeschool Rotterdam
In A Manner Of Speaking - First Language presentations is an educational setting, a group experience, in which students with different backgrounds talk to each other (and a few teachers) in their first language.
As identity is in part manifested in/through language, it is important for students to formulate their ideas freely - and it is fine not to understand (Rancière). In response, all present can make notes in a sign system they invent/experiment with for this purpose.
Kie Watkins
Education Pedagogy for Artist Educators
LASALLE College of the Arts
As professional artists increasingly perform roles of a pedagogic nature in schools, it has become apparent that they find themselves ill equipped to do so from a theoretical perspective. This presentation explores the effectiveness of a newly devised approach at LASALLE College of the Arts in Singapore that is used in training artists who spend a significant amount of their working time in educational institutions and yet do not perform traditional classroom teaching roles.
Liese Stuer - Iris Bouche
Rethinking Bodies, Inclusive Dance and Movement Practice
Artesis Plantijn Hogeschool Antwerpen, the Royal Conservatoire
How do we prepare the dancer of the future? Which skills does a dance artist need to take up a role in society?
These are questions that the dance programs of the Royal Conservatoire of Antwerp, Duncan Conservatoire and Fontys Dance Academy would like to investigate during their Erasmus+ project 'Inclusive Dance and Movement practice, the transferable skills of the dance artist'. We look back at our first intensive study program about inclusive dance and share our results and upcoming activities.
Louise O'Boyle
Re-enact: Creating an Active Living Archive
Belfast School of Art, University of Ulster
The compilation of archives and collections by and held within tertiary educational institutions is not uncommon. Their value as records of past practices and outputs to current and future audiences both inside and outside of those institutions is clear - or is it? his paper will discuss the journey and experience of creating an online archive of students work at Belfast School of Art, University of Ulster, United Kingdom. The rationale for such a project was to initiate a process whereby the students became active participants and collectors for the archive. An archive that would also reflect more holistically the contexts in which works were created, including the students, their environment, the surrounding sounds and visual markers of the time. Possibly the antithesis of the ahistorical strategy of museum collecting and installations proposed by Rudi Fuchs, Jan Hoet and Harald Szeemann (1970’s, 1980’s) this project moves akin to the monographic strategy of collecting works over a time period to gain a deeper insight into students artistic evolution. The paper will discuss the possibilities of the student as documenter, collecting strategies and the use of the archive as enhancements to the learning experience. The archive acts as a living ‘document’ for self and peer reflection and development.
Margret Wibmer
Exploring Collaborative Practice and New Forms of Engaging with the Public Visual artist and network ambassador and fundraiser at the Dutch Art Institute (MFA ArtEZ Institute of the Arts)
Visual artist Margret Wibmer applies her experience as a fine art tutor during open workshops in galleries and museums. The aim is to start a conversation about art through making and performing in a friendly, stimulating atmosphere. Participation is open to anyone.
The results of these workshops are taken back into the context of art education with the purpose of raising questions about artistic production today, introducing students to current developments and stimulating thoughts about where they might want to position themselves when leaving college.
Mark Luyten
This is Not a Studio. A Space and Time to Un-work.
Sint Lucas University College of Art & Design Antwerp
Is the studio still the site and condition par excellence for artistic production and research? How should the contemporary 'workspace' be (re)defined? And what are be the consequences for the art school? Is an art school a building or an ever-changing set of situations and conditions?
Mel Brown
The Great Editorial Race: The Serious Business of Play
Plymouth College of Art
In the second year of the BA(Hons) Illustration programme at Plymouth College of Art, the Great Editorial Race is a 21 day game that develops the skills that lie at the heart of Illustration - the requirement to work to commission for a client, visually interpreting a message that needs to be conveyed to a particular audience in a given context.
Illustrations are created and judged within the ‘Race’, the aim is for students to develop experience and awareness of the following professional and industry specific skills: working to short deadlines, project management, responding to critique & art direction, developing peer critique communities, placing/presenting work in professional contexts, costing and commissioning of work etc.
With such an emphasis on developing serious professional skills the question this paper will answer is why ‘play’ the Great Editorial Race? What is it about play and the nature of games that motivates students to work at an increased pace and engage more readily with their peers and tutors for critique and feedback.
Mo Throp
Understanding Practice as Research
CCW Graduate School, Chelsea College of Arts, University of the Arts London
How addressing and understanding the artwork as embodying and evidencing its research, its processes and research methodologies, has allowed a more dialogic relationship between the studio practice and the written component for PhD practice based students.
Nancy Vansieleghem - Marc DeBlieck - Roel Kerkhofs - Thomas Storme
The b-side of Screen-Learning. A MOOC to Think with Eyes and Hands.
LUCA School of Arts, Gent
Apart from sharing knowledge and information and making it accessible for everyone, art education also involves the educational experience of exposure with aspects of curiosity, imagination and materiality. The creation of a space of exposure and exposition is what constitutes the core of the artistic educational practice. With this point in mind, we explore how to bring in artistic elements into a MOOC. Our starting point is thus to find out how the screen can foster educational experiences of exposure and exposition. In short, we explore how we can turn the screen into a space that makes us think with eyes and hands. We want to open up the artistic potentiality of screen-based learning by highlighting the b-side of the MOOC (bMOOC).
Nelly van der Geest - Chrissie Tiller - Marjolein Brussaard - Mantautas Krukauskas
Participatory Trial Claiming: ‘The "teaching" of art is an artistic practice in itself’.
Utrecht University of the Arts (HKU), Goldsmiths London, College of Art and Design Nottingham Trent University, Lithuanian Academy of Music and Theatre
Artist/teachers have the potential to transform people and their lives. Yet, the ‘teaching’ of art remains marginalised within current discourse. This participatory ’trial' will challenge the 21st century focus on artistic practice as ‘making’ by examining alternative paradigms.
Oliver Iredale Searle Technophonia
Royal Conservatoire of Scotland, Drake Music Scotland
Technophonia was a collaborative project between composer/educator Oliver Searle, and Drake Music Scotland, which facilitated the creation of a new course component at the Royal Conservatoire of Scotland, allowing students to build the skills required to lead workshops and incorporate technologies when working with individuals with additional support needs.
Paul Fieldsend-Danks
Students as Partners: Integrating Undergraduate and Postgraduate Students in Curriculum Design
Norwich University of the Arts
This paper will explore the notion of ‘students as partners’ within the learning discourse. Dialogues 2014: Place, space and negotiated territories was the fifth iteration in a series of annual interdisciplinary symposiums, developed through an innovative partnership between undergraduate and postgraduate Fine Art students and staff at Norwich University of the Arts (UK).
Pris Tatipikalawan
How the arts affect behaviour: executive functions in art education.
Utrecht University, Department of Pedagogical and Educational Sciences
Executive functions are a set of processes that all have to do with managing oneself and one’s resources in order to achieve a goal. It is an umbrella term for the neurologically-based skills involving mental control and self-regulation. (Cooper-Kahn and Dietzel, 2008)
Pris has been an artist and an art teacher for over 25 years. From her own experiences as a professional visual artist and a hobby musician and dancer, she came to an understanding of the omnicompetence of the arts.
From a teachers perspective, she researched how the arts can be applied to address behavioural problems, which find its roots in executive dysfunctioning.
In the Pecha Kucha presentation she will lay out the operatives that effectively worked to target executive functions through art education on students who have been found guilty of violence, drugs abuse, racism and worse.
In the art projects they found new values for themselves as human beings, and learned to appreciated the same values in others. By targetting the executive functions to create the best piece of art possible, human values were restored.
Sarah Rowles
Q-Art: a graduate run organisation that works to break down barriers to art education and share student, graduate and staff practice across art schools.
Director Q-Art and PhD Candidate Glasgow School of Art
Q-Art is an independent graduate run organisation. Through open crits, books, workshops and panel discussions Q-Art works to share staff, student and graduate practice across UK art colleges and support people into, through and beyond art education. Since the organisation was set up in 2008 it has attracted participation from over 3,000 students and staff and has sold over 2,000 books. Mapped against the wider context of art education in the UK, this presentation will explore the origins, activity, and ambitions of the organisation.
Stacey Salazar
Liberating Constraints for Creative Thinking
Center for Art Education, Maryland Institute College of Art
In this Pecha Kucha session I will highlight the ways in which liberating constraints maximize creative thinking and meaning-making, by sharing some my work with K-12 art educators, pre-professional designers, and practicing artist-teachers. I focus on liberating constraints that incorporate elements of chance, play, individual reflection, materials exploration, collaborative interaction, and personal narrative. Attendees will see examples of how the artistic strategy of choosing constraints might liberate creative thinking in educational settings.
Steve Dutton
Towards an Office of Institutional Aesthetics
University of Lincoln, School of Fine and Performing Arts, College of Arts
How can we occupy our institutions? If we imagined our institutions as works of art in their entirety how might this affect the spaces and places of work which we inhabit? To this end I propose 'the Office of Institutional Aesthetics'.
Susan Orr - Julian McDougall - Fred Meller
Towards a Mirror: The Learning and The Work in a Partnership of Equals
University of the Arts London
In this presentation we draw out the parallels between creative practice and teaching practice to map connections between the roles of artist and educator.
Toni Kauppila - Riku Saastamoinen
School for Unforced Errors: ERROR – SHAME – CREATIVITY Artistic-pedagogic live-installation about dialogical learning.
Spatial and Furniture Design, Oslo National Academy of the Arts
Theatre Academy Helsinki, University of the Arts Helsinki
What happens when two art-pedagogues, an architect and a theatre director bring their practice as part of the conference for a day?
Sara Wookey
Biography
Sara Wookey is an American dancer, choreographer and consultant based in London on a Tier 1 Visa endorsed by Arts Council England. Prior to her move to the UK she was based in Los Angeles where she consulted for the Art Program at the Los Angeles County Metropolitan Transportation Authority and, before that, in Amsterdam, the Netherlands where she established her company Wookey Works and taught at the Amsterdam School for the Arts. Her current projects include work with Tate on The Experience and Value of Live Art and Associate Role: Curating and Young People and mentoring for Dance UK. As a certified transmitter of Yvonne Rainer’s repertoire Sara recently performed in Yvonne Rainer: Dance Works at Raven Row gallery and is one of five certified transmitters of Rainer’s repertoire. She has presented her own choreographic work at the Hammer Museum, Museum of Contemporary Art San Diego, REDCAT, Perth Institute of Contemporary Art, Performance Space, Sydney, and the New Museum, NYC. Sara holds a Master of Fine Arts degree from the Department of World Arts and Cultures at the University of California, Los Angeles and has been recently published in The Ethics of Art: Ecological Turns in the Performing Arts (2014, Valiz Press). She also calls square dancing for public and private events.
Abstract
Moving Through the City and Cultural Contexts: How engaging human movement and sensitivities to socio-spatial dynamics contribute to learning and understanding.
In this keynote address Sara will introduce a series of projects she has initiated and implemented for cultural institutions and government agencies in the United States and in Europe. These projects consider artistic practice as a tool for prompting sensitives to movement and the socio-spatial as well as act as subtle interventions to help amplify the rather invisible rules of social behavior imposed by urban, public-private space and cultural institutions. Some projects that will be shared are: Metro Art Moves You a curated series of interactive tours for the Creative Services Department at the Metropolitan Transportation Authority in Los Angeles and led by artists and aimed to demystify the transit riding experience for Angelenos; Punt.Point at the vanAbbe museum, Eindhoven that introduces a wearable and playful tool kit offering 'repositions' for the museum visitors to engage with, including headstands; Performing Navigations: (Re)mapping the Museum at the Hammer Museum, Los Angeles that aims to encourage new modes of navigation in an otherwise confusing environment; And her work with Tate Learning as part of the Experience and Value of Live Art and as the Associate Role: Curating and Young People where she is engaging young people into her practice and in ways that choreographic practice can be a mode of knowledge exchange and collaborative thought processes.
Eamon O'Kane
Dean of Art Department
Professor Of Visual Art
Artistic Research Leader (KU Leder)
Bergen Academy of Art and Design, Norway
Biography
Eamon O'Kane has exhibited widely and is the recipient of many awards and scholarships including the Taylor Art Award, The Tony O'Malley Award and a Fulbright Award. He has shown in exhibitions curated by Dan Cameron, Lynne Cooke, Klaus Ottman, Salah M. Hassan, Jeremy Millar, Mike Fitzpatrick, Sarah Pierce, Jeanne Greenberg-Rohatyn, Angelika Nollert, Yilmaz Dziewior and Apinan Poshyananda. He has taken part in EV+A, Limerick, Ireland seven times including 2005 when he received an EV+A open award from Dan Cameron. In 2006 he was short-listed for the AIB Prize and received a Pollock Krasner foundation grant. O'Kane has had over forty solo exhibitions including shows in Berlin, Frankfurt, Dublin, Zurich, New York, London and Copenhagen. He was short-listed for the Jerwood Drawing Prize in London in 2007. His artwork is in numerous public and private collections worldwide including Deutsche Bank; Burda Museum, Baden Baden, Germany; Sammlung Südhausbau, Munich; Limerick City Gallery; FORTIS; DUBLIN 98FM Radio Station; Microsoft; Bank of Ireland Collection; Irish Contemporary Arts Society; Country Bank, New York; Office of Public Works; P.M.P.A. and Guardian Insurance; Donegal County Library; UNIBANK, Denmark; NKT Denmark; HK, Denmark; Den Danske Bank, Denmark; Sammlung Strack, Cologne, Germany; Letterkenny Institute of Technology; University Of Ulster, Belfast; Sammlung Winzer, Coburg, Germany; British American Tobacco, Bayreuth, Germany; Aspen RE, London; Rugby Art Gallery and Museum Collection. Eamon completed a three month residency at Centre Culturel Irlandais in Paris in 2008. O'Kane is Professor of Visual Art at Bergen Academy of the Art and Design, Norway.
Abstract
Fröbel Studios: The Institute of Creativity – An introduction to Eamon O´Kane´s non-hierarchical and co-constructive interactive installations.
In his keynote address Professor Eamon O´Kane will introduce a series of interactive installations inspired by the legacy of Frederich Fröbel (the inventor of the kindergarten) that have been shown in exhibitions in Los Angeles, New York, Limerick, Quimper and Dublin. Beginning with the historical context of the research, the artist will discuss how his artworks develop the argument that within Fröbel's legacy we can locate the seedbed of modern art. Fröbel designed the educational play materials known as Fröbel Gifts, which included geometric building blocks. With its emphasis on abstract decomposition and building up from elemental forms, the original kindergarten system of the mid-nineteenth century created an education and design revolution that profoundly affected the course of modern art and architecture, as well as physics, music, psychology and the modern mind itself. Eamon O'Kane's installations can be referred to as "research-based-projects". The audience can change the work by using the materials placed at their disposal and initiate new ways of approaching the material, which prompts the artist to take the work in different directions in subsequent versions of the installation. In a truly experimental way the straightforward boundaries between production and reception, workshop and museum, spectator and audience have become permeable.
Jonas Dahlberg
Biography
Jonas Dahlberg lives and works in Stockholm, Sweden. He studied architecture at Lunds Technical High School from 1993 to 1995. From 1995 to 2000 he studied art at Malmö Art Academy where he received his M.F.A. in 2000. Since 2000 he has developed a series of videos that primarily consist of slow movements through architectural spaces. The videos are created by building miniaturized architectural sets that are filmed through experimental methods.
In addition to video and video installation, his practice includes public art works, sculptures, commissions, book projects and photography. In June 2012, Dahlberg's concept and set design for an opera production of Guiseppe Verdi's Macbeth debuted at the Grand Theatre in Geneva.
Through his installations, be they video or otherwise, Jonas Dahlberg works with space. Architecture is addressed as a political place that influences how we understand ourselves, and how the body and mind experience the outside world.
Among other exhibitions Index Foundation Stockholm (2001), Manifesta 4 Frankfurt (2002), Italian Pavillion at 50th Biennale di Venezia (2003), National representative for Sweden at 26th Bienal de São Paolo (2004), Momentum 04 Moss (2004), Modern Museum Stockholm (2005), Marian Goodman Paris (2005), FRAC Dijon (2006), Taipei Biennal (2006), Leeum Museum of Art Seoul (2007) Kunsthalle Wien (2008), Kunstmuseum Stuttgart (2009), Galerie Nordenhake (2010, 2008, 2006, 2004) The Lisbon Architecture Triennale (2010), Prospect II New Orleans Biennial (2011), Kunstmuseum Bonn (2013).
Lectures/workshops/studio talks include venues such as Architecture Association London, École Polytechnique Fédérale de Lausanne, Bergen National Academy of the Arts, KTH School of Architecture Stockholm, University College of Arts, Crafts and Design Stockholm, The Royal Institute of Art Stockholm, Valand School of fine Art University of Gotheburg and Beckmans college of Design Stockholm.
Abstract
The Architecture of Loss: the July 22 Memorials
After the July 22 atrocities in Norway the Swedish artist Jonas Dahlberg was giving the task of designing the permanent memorials at the Sørbråten peninsula in Hole municipality and in the Government Quarter in Oslo, as well as the temporary memorial in the Government Quarter in Oslo. Jonas Dahlberg’s proposal for the memorial site on the Sørbråten peninsula evokes the physical feeling of loss, symbolizing the wound inflicted on the victims, their families, and the whole of Norway by the Utøya massacre on July 22, 2011. Rock removed from Sørbråten, which lies opposite the island of Utøya, will be used to create a memorial in Oslo’s government quarter, forming a link between the scenes of the two terror attacks.
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Fulbright Award. He has shown in exhibitions curated by Dan Cameron, Lynne Cooke, Klaus Ottman, Salah M. Hassan, Jeremy Millar, Mike Fitzpatrick, Sarah Pierce, Jeanne Greenberg-Rohatyn, Angelika Nollert, Yilmaz Dziewior and Apinan Poshyananda. He has taken part in EV+A, Limerick, Ireland seven times including 2005 when he received an EV+A open award from Dan Cameron. In 2006 he was short-listed for the AIB Prize and received a Pollock Krasner foundation grant. O'Kane has had over forty solo exhibitions including shows in Berlin, Frankfurt, Dublin, Zurich, New York, London and Copenhagen. He was short-listed for the Jerwood Drawing Prize in London in 2007. His artwork is in numerous public and private collections worldwide including Deutsche Bank; Burda Museum, Baden Baden, Germany; Sammlung Südhausbau, Munich; Limerick City Gallery; FORTIS; DUBLIN 98FM Radio Station; Microsoft; Bank of Ireland Collection; Irish Contemporary Arts Society; Country Bank, New York; Office of Public Works; P.M.P.A. and Guardian Insurance; Donegal County Library; UNIBANK, Denmark; NKT Denmark; HK, Denmark; Den Danske Bank, Denmark; Sammlung Strack, Cologne, Germany; Letterkenny Institute of Technology; University Of Ulster, Belfast; Sammlung Winzer, Coburg, Germany; British American Tobacco, Bayreuth, Germany; Aspen RE, London; Rugby Art Gallery and Museum Collection. Eamon completed a three month residency at Centre Culturel Irlandais in Paris in 2008. O'Kane is Professor of Visual Art at Bergen Academy of the Art and Design, Norway. 
