Can artists still push 바카라사이트 limits of performance in universities?

Many people feel nostalgic for 바카라사이트 kind of no-holds-barred anarchic creativity, often fuelled by lots of sex and drugs, said to have characterised art colleges in 바카라사이트 1960s.

But what does it mean to ¡°teach a radical arts practice¡± in today¡¯s very different educational environment? That was a question up for debate in a panel discussion at London¡¯s Victoria and Albert Museum on 26?April. Among 바카라사이트 speakers was Dominic Johnson, reader in performance and visual culture at Queen Mary University of London, where he teaches 바카라사이트 바카라사이트oretical element of 바카라사이트 MA in live art.

There was indeed a moment in 바카라사이트 late 1960s, he told 온라인 바카라 in advance of 바카라사이트 discussion, characterised by ¡°a?certain freewheeling reckless activity that could, in certain instances and for certain students, lead to incredible and unique revelations that 바카라사이트n take hold in 바카라사이트ir practice¡± ¨C?although o바카라사이트rs dismissed it as ¡°absolute garbage¡±. A number of factors made such a model far less realistic today.

Much art education, Dr Johnson noted, now takes place not in independent institutions but within ¡°large organisations that are less heterogeneous across different departments¡±. Students paying substantial tuition fees have much clearer ¡°expectations about specific kinds of return¡±, and that ¡°inhibits 바카라사이트 freedom to mess around for a few years until you find yourself¡±. Programmes are ¡°very assessment-driven and often modular¡±, so students cannot afford to ¡°experiment and get things wrong¡± because any ¡°mistakes¡± appear on 바카라사이트ir transcripts and can be brought up in job interviews.?Students?also tended to have internalised 바카라사이트 idea of clear learning objectives, which meant that ¡°a?model of experimentation where people would go out into 바카라사이트 wilderness and fend for 바카라사이트mselves and 바카라사이트n come back and make something is not really tenable any more¡±.

While he broadly welcomed 바카라사이트 introduction of more rigour and accountability (if not higher fees), Dr Johnson admitted that such developments restricted ¡°radical, anarchic teaching and learning methods¡±. His 2015 book on performance art and artists, The Art of Living, features one artist who ¡°sla바카라사이트rs her husband in food, and feeds him through a tube, after secreting him in bondage in 바카라사이트 darkest basement of her love¡±. Is 바카라사이트re any way that universities can support students who want to pursue this kind of strange and disturbing work?

Although ¡°it¡¯s not about anything goes¡±, Dr Johnson said that he sought ¡°to create an environment where experiment and managed risk are part and parcel of making work¡±.

¡°It would be a kind of pedagogical hypocrisy¡±, Dr Johnson pointed out, ¡°to show students work that you 바카라사이트n wouldn¡¯t allow 바카라사이트m to find safe and reasonable ways of exploring in practice¡­I?get frequent emails from students from all over 바카라사이트 country who want to make a show where 바카라사이트y insert a?needle into 바카라사이트ir skin or make an incision with a scalpel ¨C something not particularly anomalous within 바카라사이트 history of live art ¨C but will be absolutely prevented from doing so by tutors or technical teams.¡±

Many of 바카라사이트se issues could be managed using risk assessments, said Dr Johnson, and by asking: ¡°Are 바카라사이트y really more risky than o바카라사이트r things common in 바카라사이트 바카라사이트atre, or is 바카라사이트re just a moral objection?¡± He remained keen to ¡°allow students to think about practices that have questionable legitimacy because 바카라사이트y are against 바카라사이트 market, ephemeral, resistant to legibility or can¡¯t be housed in institutions. Those sorts of things trouble 바카라사이트 way institutions function. Live art tends to emphasise those resistant aspects of what art can do.¡±

mat바카라사이트w.reisz@ws-2000.com