Freespace or marketplace
Freespace or marketplace
The market is making inroads on education. The annual student presentations are hunting grounds for gallerists and curators who are tripping over each other in their insatiable craving for talent. The question is whether the transformation from place of freedom to marketplace is good for the quality of the art academy. Artists Willem de Rooij and Simon Starling have a wealth of experience , first as students and now as teahers and are totally familiar with various renowned academies. At the request of METROPOLIS M they conducted a email about the pros and cons of open and closed education.
For a number of years now I’ve been a tutor at the Ateliers in Amsterdam, an institute that offers a peculiar mix of a post-grad education and a residency-situation. The Ateliers has a deliberately closed character. Participants are not encouraged to spend much time showing their work outside of the institute during their stay, and the building is open only to those who are specifically invited. The Städelschule, where you and I both teach a class, has a more open structure. The yearly ‘Rundgang’ is an extremely popular event with general public but also with gallerists, curators and press. Students become aware of the market-related dynamics of their professional ‘umfeld’ in an early stage of their artistic development. How long or short do you feel the lines between art-student and market should be? Is it beneficial for students to exhibit their work outside the
academic context?academic context?
‘My take on this question is very much grounded in personal experience but having said that it’s experience that’s 15 years old now and without a doubt the art world has changed radically in that time. Having graduated art school in 1992 I had no dealings with commercial galleries or the art market for almost 8 years, and looking back on the way my work developed in those early years I am extremely grateful for that time largely outside of the market. I know I would be a very different artist if I had walked straight from art school into the arms of a commercial gallery. It wasn’t that I was avoiding it but it just didn’t happen and I didn’t go looking for it. I formed my early carrier in the context of artist run spaces and public galleries. As a result of this my instinct as a teacher is to encourage young artists to build something of this space into their own careers and todevelop an understanding of exhibition making without the commercial world. It seems to me paramount that young artists find a critical context for their work before it gets sucked into the ever-proliferating art fair circuit. But its not so easy these days, it seems like the gallerists come knocking earlier and earlier. The balance of power has certainly shifted andthe commercial gallery world increasingly subsumes or even orchestrates the activities of the institutions – there’s less and less of a distinction.
In Germany, the Professor system that we both work in tends towards the promotion of students by their professors. As you say gallerists are invitedto student shows and shown particular works. That’s something I’m very wary of. For me it’s more a question of opening up as many possible approaches to exhibition making for the students- trying to address each context or situation from a critical position. This has led to the class creating “Art Parking” at the Frankfurt Art Fair and then more recently trying to connect the studios to the fair building in Offenbach with 4 kms of fiber optic cable which where then used to transmit a video documenting the attempted installation of the the cable.’In Germany, the Professor system that we both work in tends towards the promotion of students by their professors. As you say gallerists are invitedto student shows and shown particular works. That’s something I’m very wary of. For me it’s more a question of opening up as many possible approaches to exhibition making for the students- trying to address each context or situation from a critical position. This has led to the class creating “Art Parking” at the Frankfurt Art Fair and then more recently trying to connect the studios to the fair building in Offenbach with 4 kms of fiber optic cable which where then used to transmit a video documenting the attempted installation of the the cable.’
I agree with you – its important for students to experience what it is like to show their work outside the studio. I think a work is not finished until it is presented and I consider a focus on exhibition practice a vital part of any art-school’s curriculum. I’m not sure in what stage of an education this confrontation should take place though. Much confusion might arise on both the sending and the receiving end of the line when artists enter the exhibition circuit at a premature stage in their development. What are the consequences if the work of a 20 year old is measured by the same criteria (because it is shown in the same context) as the work of lets say a 45 year old, or a 65 year old?
In your response you seem to make a clear distinction between the demands In your response you seem to make a clear distinction between the demands
posed on young artists by commercial contexts, and the demands resulting from exhibiting in non-commercial context. I wonder if these demands are so clearly separated. How do you see this?posed on young artists by commercial contexts, and the demands resulting from exhibiting in non-commercial context. I wonder if these demands are so clearly separated. How do you see this?
‘I’m not someone who thinks of commercial galleries as being inherently evil. I really enjoy working with the commercial sector, it often brings with it a great support structure and many possibilities for realising ambitious new projects. In fact its often much more straight forward to make a new project with a gallery than it is with an institution. Galleries are increasingly proactive in the area of production and that’s changing the way they function. Never the less there is a real sense in which if young artists get involved with galleries too soon then it can seriously impact on the way that artist’s work develops – that one, half-interesting idea can easily become a decade of repetitive production. Of course there are similar pressures from institutions as well. It’s all about working with the right people in the end and when your 20 years old its often difficult to tell who has your best interests at heart. To me working with a gallery should be a long-term project on both sides and I can’t help but mistrust gallerists who feel compelled to work with artists when their ideas about their work have still so far to evolve.
It goes back to your point about when is the right moment to confront exhibition making. In many ways this should happen from the very beginning and generally does in a very natural way when looking at exhibitions by other artists, I would always encourage students to take onboard the framing of work within whatever context it may appear. In that way the hope is that when they do come to exhibit themselves, they can do that from the strongest possible position. One of the great innovations in Frankfurt has been Portikus which over the years has allowed students access to exhibition making of all kinds and to start to get a sense of the possibilities, even within a fairly modest white cube. Exhibition making has always been an integral part of the way the school functions. Surely at the Ateliers in Amsterdam this is a major concern too? The teaching staff there seem to be some of the most sophisticated exhibition makers around, a monastic education would seem contradictory.’It goes back to your point about when is the right moment to confront exhibition making. In many ways this should happen from the very beginning and generally does in a very natural way when looking at exhibitions by other artists, I would always encourage students to take onboard the framing of work within whatever context it may appear. In that way the hope is that when they do come to exhibit themselves, they can do that from the strongest possible position. One of the great innovations in Frankfurt has been Portikus which over the years has allowed students access to exhibition making of all kinds and to start to get a sense of the possibilities, even within a fairly modest white cube. Exhibition making has always been an integral part of the way the school functions. Surely at the Ateliers in Amsterdam this is a major concern too? The teaching staff there seem to be some of the most sophisticated exhibition makers around, a monastic education would seem contradictory.’
Let me tell you a bit about my experiences as an art student before I answer your question. I studied at the Gerrit Rietveld Academy in Amsterdam in the early nineties. At the time this course took 5 years. The curriculum was limited to say the least, and the notion that 5 year contracts benefit the vitality of a faculty had not dawned. Most tutors had a contract for life, and when I arrived many had long outlived their own expiration date. Besides that the salaries were so low that it proved impossible to attract tutors that had more lucrative sources of income, or who didn’t live in the direct vicinity of the school. Result was a staff that was in the best cases passionate about teaching, but was not up to date with international (and sometimes not even national) developments. As far as I know, this situation has not changed to date.
Luckily enough Amsterdam has two institutions for postgrad education: The Ateliers and the Rijksacademy. These institutions are not financially dependent on the Dutch ministry of education, so there’s more space to maneuver. I attended the Rijksacademie for two years in the late nineties. Their Open Ateliers attract a lot of international attention, and there’s a broad range of critics, curators, artists and dealers who visit the institute all year through. One could say the institute runs a distinctly career-oriented program, and artistic success is often measured on the basis of CV-related data. Many students thrive in this system and use the mix of public attention and institutional safety to sharpen their presentation-methods and develop a public persona. But in this system insecure students often come to overly professional presentations of what are basically unfinished pieces. They’ll cater to the industry with pieces that look like art, but lack material and conceptual depth.Luckily enough Amsterdam has two institutions for postgrad education: The Ateliers and the Rijksacademy. These institutions are not financially dependent on the Dutch ministry of education, so there’s more space to maneuver. I attended the Rijksacademie for two years in the late nineties. Their Open Ateliers attract a lot of international attention, and there’s a broad range of critics, curators, artists and dealers who visit the institute all year through. One could say the institute runs a distinctly career-oriented program, and artistic success is often measured on the basis of CV-related data. Many students thrive in this system and use the mix of public attention and institutional safety to sharpen their presentation-methods and develop a public persona. But in this system insecure students often come to overly professional presentations of what are basically unfinished pieces. They’ll cater to the industry with pieces that look like art, but lack material and conceptual depth.
The Ateliers, where I joined as an advisor later, discourages students to engage in public ventures during their stay. The institute is run by artists, and (almost) only artists are invited to visit the students in their studio. This model provokes some problems. As you mentioned, exhibiting is part of artistic production, and a piece is not finished if its final contextualisation has not been thought through. Ateliers students are sometimes somewhat unsophisticated in presenting their work in public, even after two years of intense training. But the absence of curatorial and commercial stress during their work-period proves very beneficial for their focus on the work. At the Ateliers students can actually take the time to produce – and reflect on their work, whereas during my stay at the Rijks I met many people, but all I produced were CV’s and documentation-tapes.The Ateliers, where I joined as an advisor later, discourages students to engage in public ventures during their stay. The institute is run by artists, and (almost) only artists are invited to visit the students in their studio. This model provokes some problems. As you mentioned, exhibiting is part of artistic production, and a piece is not finished if its final contextualisation has not been thought through. Ateliers students are sometimes somewhat unsophisticated in presenting their work in public, even after two years of intense training. But the absence of curatorial and commercial stress during their work-period proves very beneficial for their focus on the work. At the Ateliers students can actually take the time to produce – and reflect on their work, whereas during my stay at the Rijks I met many people, but all I produced were CV’s and documentation-tapes.
In any case, both Rijksacademy and Ateliers work with students that are a bit older. But at Rietveld, or Städel, some students are so young and inexperienced that establishing relationships with the art-world – to my opinion – can often be more confusing then beneficial. In the earliest stages of artistic development it is often hard to take the emotional distance from the work that is needed for professional interaction.In any case, both Rijksacademy and Ateliers work with students that are a bit older. But at Rietveld, or Städel, some students are so young and inexperienced that establishing relationships with the art-world – to my opinion – can often be more confusing then beneficial. In the earliest stages of artistic development it is often hard to take the emotional distance from the work that is needed for professional interaction.
A number of exhibitions have been focussing on the subject of art-eduction A number of exhibitions have been focussing on the subject of art-eduction
lately, Manifesta 6 amongst them. What do you think is the reason for this curatorial interest, and what do you feel might be consequences for students, and viewers?lately, Manifesta 6 amongst them. What do you think is the reason for this curatorial interest, and what do you feel might be consequences for students, and viewers?
‘Yes, you’re absolutely right, there does seem to be a rash of things going on in that area. I suppose in Europe it may be related to this on-going discussion about the nature of art education in general and its relationship to other forms of university education, the professorial system v. the American modular system, but perhaps that’s a discussion for another day. I was very interested to read the mail you forwarded me regarding the MFA exhibition that will take place at David Zwirner Gallery in New York. It seems that not only does the gallery world want to consume the institutions but also education too. I was recently surprised by a comment made by one of my students, an exchange student from New York, who said that it is generally understood that what you’re paying for as an undergraduate or masters student in the New York schools is access to the market. I was also interested to find that in a recent retrospective catalogue on the work of John Baldessari they had published an extensive interview solely about his teaching activities. I enjoyed this very much and loved Baldessari’s approach but that interview seems to be part of the same trend. And as you say Manifesta has taken the model of the Staedelschule summer school to Cyprus – although it seems that they may have pushed a little bit further than the local politics care to stretch. Finally it seems as if the strange Manifesta bandwagon might have ground to a halt. Perhaps though all of this is simply a continuation of the ‘platform’ culture of production that has become so endemic and formalized in recent years. The art institution could be seen as convenient model in that respect – a surrogate platform if you like.
When I started studying in the late 80’s in Britain there was very little talk of the professional practice within art schools, they were places to learn a creative discipline and a little related theory and history. There was even an implicit understanding that probably only a handful of graduates would end up as artists – that’s changed radically and its’ now professional practice is a “learning outcome” for most schools. Gone are the days when art education was really for nurturing rock stars. The stakes are higher now, in some cases very high. I just came back from being the external examiner of Central St. Martins School in London where I was immediately struck by how many people had presented offices as their final degree show – art education is becoming increasingly modularised and bureaucratized and it seems the students respond accordingly.’When I started studying in the late 80’s in Britain there was very little talk of the professional practice within art schools, they were places to learn a creative discipline and a little related theory and history. There was even an implicit understanding that probably only a handful of graduates would end up as artists – that’s changed radically and its’ now professional practice is a “learning outcome” for most schools. Gone are the days when art education was really for nurturing rock stars. The stakes are higher now, in some cases very high. I just came back from being the external examiner of Central St. Martins School in London where I was immediately struck by how many people had presented offices as their final degree show – art education is becoming increasingly modularised and bureaucratized and it seems the students respond accordingly.’
I know what you mean! I find the curatorial embrace of art-education very problematic. I’m sure education is up for improvement in most every art-school in the world. But for curators to found a structure in which artists are taught to produce the art these curators might want to show, to me seems like a very difficult professional stretch for all parties involved. For a student, the implication of a similar system would be that being educated becomes the award for showing what the curator/teacher wants, and that learning/producing what the teacher/curator wants results in being exhibited. I don’t think art-students, and artists, should be taught to adapt to existing curatorial, commercial or educational structures. I also don’t think they should be obliged or expected, or even invited, to help shape these structures by participating in fora, discussions and platforms. I feel artists should be independent and free to create what they want to create, and that the administrative and bureaucratic system that by its nature and through necessity constitutes the world of curators and dealers, must react accordingly.
Maybe education is so fashionable at the moment because exhibitions are forced – by both private and public sponsors – to accommodate increasingly large audiences. When art (or anything else, for that matter) has to cater to many viewers, details and nuances naturally get lost. It is in this phenomenon that the basics of good logo-design are laying. But a successful art-piece derives its inherent qualities from another formal economy than a logo, and therefor is usually understood by less viewers than a good logo. There are two things we can do if we want nuances and details to remain part of our understanding of art. We can try to educate the large crowd we’re currently aiming to entertain to be able to read the subtleties mentioned above. But we could also set out to find other (possibly more modest) means of finance, so that we can share our work with smaller, more motivated audiences. Audiences one does not have to teach how to be curious.Maybe education is so fashionable at the moment because exhibitions are forced – by both private and public sponsors – to accommodate increasingly large audiences. When art (or anything else, for that matter) has to cater to many viewers, details and nuances naturally get lost. It is in this phenomenon that the basics of good logo-design are laying. But a successful art-piece derives its inherent qualities from another formal economy than a logo, and therefor is usually understood by less viewers than a good logo. There are two things we can do if we want nuances and details to remain part of our understanding of art. We can try to educate the large crowd we’re currently aiming to entertain to be able to read the subtleties mentioned above. But we could also set out to find other (possibly more modest) means of finance, so that we can share our work with smaller, more motivated audiences. Audiences one does not have to teach how to be curious.
Willem de Rooij en Simon Straling
