|10:00 - 14:00||Registration|
|10:30 - 14:00||Meet & network (optional)|
|11:00 - 12:00||Tour of ELISAVA (optional)|
|14:30 - 15:00||Welcome|
|15:00 - 16:30||Keynote|
|16:30 - 17:00||Coffee break|
|17:00 - 19:00||Workshop sessions|
|19:00 - 20:30||Exhibition opening|
|09:30 - 10:00||Coffee and visit to the Exhibition “The Populist Fair”
The final presentation of the project “Design your own party” (ELISAVA Students)
|10:00 - 12:00||Workshops sessions|
|12:00 - 13:00||Reflection|
|13:00 - 13:30||Closing|
|13:30 - 14:30||Lunch|
|14:30 - 15:30||Continue to network! (optional)|
|15:30 - 18:30||Cultural visits (optional)|
Reserve your room by contacting Mrs. Gemma Piñol at email@example.com
In the e-mail, please specify the reference group 2501 ELISAVA.
If arts institutions want to sit at the table when decision-makers deal with today’s major problems – such as populism – art universities have an essential role to play. They train the next generation of artists, designers, curators and cultural managers.
Therefore, leaders of higher arts education have a series of questions to discuss: Is an art university an institution which offers the students multiple settings to reflect and to work on their concerns or does an arts university need its own agenda which drives the students? Is it still adequate to think in traditional career paths, or can we rather tackle the impending challenges with more flexible constellations? Will arts universities in the future continue to act as stand-alone institutions or will they be part of larger university networks?
Facing these questions, we tend to argue in relatively unproductive dichotomies of either-or, good vs bad, tradition vs innovation or public vs private. How can we move beyond and build sustainable and future-oriented educational settings for the next generation? What can Europe learn from the US, and vice-versa?
Value creation in the arts is a complex matter. Due to a lack of knowledge and specific methodologies, people tend to reduce value creation to market relevance. Leaders in higher arts education have their work cut out for them.
In order to discuss the value being created by artists and designers, we must consider at least economic, cultural, social, political, technological and scientific aspects. In addition, we should distinguish for whom such values become relevant: who are the stakeholders, who should be involved, who is affected, and who is participating? Finally, how is the relevance of these values ascertained, and how is this measured – is it a matter of success, relevance, meaningfulness, or scaling?
Which are the cases worth highlighting from Europe and the US illustrating the variety of values generated through art and design? Who has useful descriptions of impact through art and design, and how can we measure it? Which artistic strategies could be useful to discuss the above questions?