http://pzwiki.wdka.nl/mw-fineart/api.php?action=feedcontributions&user=Ayo&feedformat=atomFine Art Wiki - User contributions [en]2024-03-28T22:44:10ZUser contributionsMediaWiki 1.38.2http://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/22-09-2020_-Event_2&diff=28626Calendars:Fine Art Calendar/Fine Art Calendar/22-09-2020 -Event 22020-09-09T18:22:08Z<p>Ayo: </p>
<hr />
<div>GRADUATION STUDENT SV WITH NATHALIE HARTJES<br />
<br />
*11.00 Annabelle<br />
*12.00 Christine <br />
*13.00<br />
*14.00<br />
*15.00<br />
*16.00<br />
*17.00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/10-07-2020_-Event_2&diff=28468Calendars:Fine Art Calendar/Fine Art Calendar/10-07-2020 -Event 22020-07-01T07:58:16Z<p>Ayo: </p>
<hr />
<div>GRADUATION GATHERING <br />
<br />
>RSVP: Please leave your name here if you will be able to attend!<br />
<br />
*Location: Het Park, Rotterdam. <br />
*Meeting point TBD, will communicate closer to the date<br />
*Day/Time: Friday July 10, 18:00 - 20:00<br />
*Bring a blanket to lay in the grass, B.Y.O refreshments and glass to toast!Friends and family welcome!<br />
<br />
*Yes I will be there!:<br />
Diana AL Halabi (with a possibility of cancelling depending on my state of mind) thank you for understanding :)<br />
Bernd<br />
Liesbeth<br />
Steven<br />
Jamie<br />
Lucía<br />
Annabelle (+ Family & Friends)<br />
Lukas<br />
Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/02-07-2020_-Event_1&diff=28456Calendars:Fine Art Calendar/Fine Art Calendar/02-07-2020 -Event 12020-06-29T17:28:43Z<p>Ayo: </p>
<hr />
<div>Studio visits Guest tutor Florian Cramer.<br />
<br />
* please sign up on June 30 at noon*<br />
<br />
*10.00 Daphne Simons<br />
*11.00<br />
*12.00 <br />
*13.00 Peter H<br />
<br />
https://meet.jit.si/StudioVisitsPZIMFA</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/02-07-2020_-Event_1&diff=28455Calendars:Fine Art Calendar/Fine Art Calendar/02-07-2020 -Event 12020-06-29T17:25:52Z<p>Ayo: </p>
<hr />
<div>Studio visits Guest tutor Florian Cramer.<br />
<br />
* please sign up on June 30 at noon*<br />
<br />
*10.00 Daphne Simons<br />
*11.00<br />
*12.00 Christine <br />
*13.00 Peter H<br />
<br />
https://meet.jit.si/StudioVisitsPZIMFA</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/03-07-2020_-Event_4&diff=28420Calendars:Fine Art Calendar/Fine Art Calendar/03-07-2020 -Event 42020-06-24T09:22:48Z<p>Ayo: </p>
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<div>GUEST TUTOR AMAL ALHAAG<br />
<br />
!! THIS SV DAY MIGHT BE MOVED TO JULY 2ND!!<br />
!!ONLY SIGN UP AT 10AM ON JUNE 24!!<br />
<br />
*10.00 Jamie<br />
*11.15<br />
*12.30 Christine<br />
LUNCH BREAK<br />
*14.45 Halla<br />
*16.00 Diana<br />
* DUE TO LECTURE AT 18.00 THE LAST SV IS AT 16.00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/15-06-2020_-Event_2&diff=28331Calendars:Fine Art Calendar/Fine Art Calendar/15-06-2020 -Event 22020-06-11T11:23:32Z<p>Ayo: </p>
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<div>STUDIO VISITS WITH DANNY GILES<br />
<br />
*14:00<br />
*15:00 Christine<br />
*16:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-06-2020_-Event_2&diff=28276Calendars:Fine Art Calendar/Fine Art Calendar/12-06-2020 -Event 22020-06-02T08:30:31Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
'''sign up from Monday 1st of June at noon'''<br />
<br />
> (R) = student was on the reserve list from previous month.<br />
<br />
*10:00 - 11:00 Aimilia<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00 Josie <br />
*13:00 - 14:00 Annabelle<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00<br />
*16:00 - 17:00<br />
*17:00 - 18:00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/24-06-2020_-Event_1&diff=28275Calendars:Fine Art Calendar/Fine Art Calendar/24-06-2020 -Event 12020-06-02T08:30:09Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS NINA WAKEFORD<br />
<br />
'''sign up from Monday 1st of June at noon'''<br />
<br />
> (R) = student was on the reserve list from previous month.<br />
<br />
*10:00 - 11:00<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00 Antonia<br />
*13:00 - 14:00 <br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/03-06-2020_-Event_2&diff=28274Calendars:Fine Art Calendar/Fine Art Calendar/03-06-2020 -Event 22020-06-02T08:29:03Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS NINA WAKEFORD<br />
<br />
'''sign up from Monday 1st of June at noon'''<br />
<br />
> (R) = student was on the reserve list from previous month.<br />
<br />
*10:00 - 11:00 <br />
*11:00 - 12:00 Diana (R)<br />
*12:00 - 13:00 Lucia (R)<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/17-06-2020_-Event_1&diff=28273Calendars:Fine Art Calendar/Fine Art Calendar/17-06-2020 -Event 12020-06-02T08:28:43Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Monday 1st of June at noon'''<br />
<br />
> (R) = student was on the reserve list from previous month.<br />
<br />
*10:00 - 11:00 Steven (R)<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00<br />
*13:00 - 14:00 <br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00<br />
*16:00 - 17:00<br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/26-05-2020_-Event_4&diff=28206Calendars:Fine Art Calendar/Fine Art Calendar/26-05-2020 -Event 42020-05-25T13:18:35Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:30 Emma's GC<br />
*11:45 - 13:15 Berglind's GC<br />
<br />
> 13:15 - 14:00 LUNCH BREAK<br />
<br />
*14:00 - 15:00 Pascale<br />
*15:00 - 16:00 Jake<br />
*16:00 - 17:00 Bruno<br />
*17:00 - 18:00 Peter<br />
<br />
RESERVE: Linus 2. Antonia 3. Josie 4. Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/20-05-2020_-Event_1&diff=28179Calendars:Fine Art Calendar/Fine Art Calendar/20-05-2020 -Event 12020-05-19T09:38:39Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:00 Dagmar<br />
*11:00 - 12:00 <br />
*12:00 - 13:00 Annabelle <br />
*13:00 - 14:00 Berglind Erna<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00 Daphne and Josie<br />
*17:00 - 18:00 Linus<br />
<br />
RESERVE: and also Steven</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-05-2020_-Event_1&diff=28153Calendars:Fine Art Calendar/Fine Art Calendar/12-05-2020 -Event 12020-05-11T08:01:01Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:30 Pascale's GC<br />
*11:45 - 13:15 Peter's GC<br />
<br />
> 13:15 - 14:00 LUNCH BREAK<br />
<br />
*14:00 - 15:00 Jake<br />
*15:00 - 16:00 Diana <br />
*16:00 - 17:00 Antonia<br />
*17:00 - 18:00 Linus<br />
<br />
RESERVE: Petter</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-05-2020_-Event_2&diff=28152Calendars:Fine Art Calendar/Fine Art Calendar/11-05-2020 -Event 22020-05-09T15:19:01Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:00 Jamie (R)<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00 Petter (R)<br />
*13:00 - 14:00 Berglind (R)<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Guillem S.<br />
*16:00 - 17:00 Emma<br />
*17:00 - 18:00 Halla<br />
<br />
RESERVE: Diana</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/13-05-2020_-Event_2&diff=28113Calendars:Fine Art Calendar/Fine Art Calendar/13-05-2020 -Event 22020-05-04T16:48:29Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS NINA WAKEFORD<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:00 Steven<br />
*11:00 - 12:00 Petter<br />
*12:00 - 13:00 Annabelle<br />
*13:00 - 14:00 Linus<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Peter<br />
*16:00 - 17:00 Daphne <br />
*17:00 - 18:00 Josie <br />
<br />
RESERVE:1.Diana 2.Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/20-05-2020_-Event_1&diff=28088Calendars:Fine Art Calendar/Fine Art Calendar/20-05-2020 -Event 12020-05-02T09:04:38Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:00 Petter<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00 Annabelle <br />
*13:00 - 14:00 Berglind Erna<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00 Antonia<br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-05-2020_-Event_1&diff=28087Calendars:Fine Art Calendar/Fine Art Calendar/12-05-2020 -Event 12020-05-02T09:03:52Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:30 Pascale's GC<br />
*11:45 - 13:15 Peter's GC<br />
<br />
> 13:15 - 14:00 LUNCH BREAK<br />
<br />
*14:00 - 15:00 Jake<br />
*15:00 - 16:00 Olga<br />
*16:00 - 17:00 Antonia<br />
*17:00 - 18:00 Christine<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/11-05-2020_-Event_2&diff=28086Calendars:Fine Art Calendar/Fine Art Calendar/11-05-2020 -Event 22020-05-02T09:03:31Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
'''sign up from Wednesday 29th of April at 17:00'''<br />
<br />
*10:00 - 11:00 Jamie (R)<br />
*11:00 - 12:00 Aimilia (R)<br />
*12:00 - 13:00 Petter (R)<br />
*13:00 - 14:00 Berglind (R)<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Guillem S.<br />
*16:00 - 17:00 Emma<br />
*17:00 - 18:00 Halla<br />
<br />
RESERVE: Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/07-04-2020_-Event_1&diff=27942Calendars:Fine Art Calendar/Fine Art Calendar/07-04-2020 -Event 12020-04-05T17:17:32Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Tuesday 31st of March at 17:30'''<br />
<br />
*10:00 - 11:00 Αimilia<br />
*11:00 - 12:00 <br />
*12:00 - 13:00<br />
*13:00 - 14:00 <br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Christine<br />
*16:00 - 17:00 Berglind Erna<br />
*17:00 - 18:00 Peter<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/07-04-2020_-Event_1&diff=27940Calendars:Fine Art Calendar/Fine Art Calendar/07-04-2020 -Event 12020-04-05T16:10:10Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Tuesday 31st of March at 17:30'''<br />
<br />
*10:00 - 11:00 Αimilia<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00<br />
*13:00 - 14:00 <br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 <br />
*16:00 - 17:00 Berglind Erna<br />
*17:00 - 18:00 Peter<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/07-04-2020_-Event_1&diff=27891Calendars:Fine Art Calendar/Fine Art Calendar/07-04-2020 -Event 12020-03-31T16:02:11Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Tuesday 31st of March at 17:30'''<br />
<br />
*10:00 - 11:00 Αimilia<br />
*11:00 - 12:00<br />
*12:00 - 13:00<br />
*13:00 - 14:00<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Christine<br />
*16:00 - 17:00<br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/31-03-2020_-Event_2&diff=27830Calendars:Fine Art Calendar/Fine Art Calendar/31-03-2020 -Event 22020-03-27T14:18:30Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
<br />
> (R) = student was on the reserve list from previous month.<br />
*10:00 - 11:00 Josie<br />
*11:00 - 12:00 Steven <br />
*12:00 - 13:00 Christian<br />
*13:00 - 14:00 Berglind Erna<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00 petter<br />
<br />
<br />
RESERVE: Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/10-03-2020_-Event_2&diff=27671Calendars:Fine Art Calendar/Fine Art Calendar/10-03-2020 -Event 22020-03-04T07:42:06Z<p>Ayo: </p>
<hr />
<div>Essay meetings (5th round)<br />
<br />
MIKE<br />
<br />
*10.00 - 11.15<br />
*11.15 - 12.30 Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/13-03-2020_-Event_2&diff=27630Calendars:Fine Art Calendar/Fine Art Calendar/13-03-2020 -Event 22020-03-02T10:36:22Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
*10:00 - 11:00 Lucía<br />
*11:00 - 12:00 <br />
*12:00 - 13:00 Guillem S.<br />
*13:00 - 14:00 Linus<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Steven<br />
*16:00 - 17:00 Daphne<br />
*17:00 - 18:00 Peter<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/10-03-2020_-Event_4&diff=27629Calendars:Fine Art Calendar/Fine Art Calendar/10-03-2020 -Event 42020-03-02T10:36:00Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
*10:00 - 11:00 Christine<br />
*11:00 - 12:00 Yanik<br />
*12:00 - 13:00 Berglind Erna<br />
*13:00 - 14:00 Annabelle<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Dagmar<br />
*16:00 - 17:00 Antonia <br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/04-03-2020_-Event_3&diff=27568Calendars:Fine Art Calendar/Fine Art Calendar/04-03-2020 -Event 32020-02-20T12:12:45Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS WITH DANNY GILES<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
<br />
*10:00 - 11:00<br />
<br />
*11:00 - 12:00 Christian<br />
<br />
*12:00 - 13:00 Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/13-03-2020_-Event_2&diff=27567Calendars:Fine Art Calendar/Fine Art Calendar/13-03-2020 -Event 22020-02-20T12:11:33Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
*10:00 - 11:00<br />
*11:00 - 12:00 Christine<br />
*12:00 - 13:00<br />
*13:00 - 14:00<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00<br />
*16:00 - 17:00<br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/07-02-2020_-Event_1&diff=27566Calendars:Fine Art Calendar/Fine Art Calendar/07-02-2020 -Event 12020-02-20T12:08:21Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
*10:00 - 11:00 Aimilia<br />
*11:00 - 12:00 Diana<br />
*12:00 - 13:00 Christine<br />
*13:00 - 14:00<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00 Olga<br />
*17:00 - 18:00 Steven <br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/19-03-2020_-Event_1&diff=27514Calendars:Fine Art Calendar/Fine Art Calendar/19-03-2020 -Event 12020-02-19T15:05:24Z<p>Ayo: </p>
<hr />
<div>Guest Tutor Aernout Mik<br />
<br />
'''sign up from Wednesday 19th of February at 14:00'''<br />
<br />
*10:00 - 11:00 <br />
*11:00 - 12:00 Bruno<br />
*12:00 - 13:00 Antonia <br />
*13:00 - 14:00 Annabelle <br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Guillem S.<br />
*16:00 - 17:00 Christine<br />
*17:00 - 18:00 Junghun <br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/20-02-2020_-Event_1&diff=27513Calendars:Fine Art Calendar/Fine Art Calendar/20-02-2020 -Event 12020-02-19T14:47:27Z<p>Ayo: </p>
<hr />
<div>Essay SWAP meetings (4th round)<br />
<br />
MIKE<br />
*10.00 Jake<br />
*11.15 Antonia<br />
*1.30 yanik<br />
*2.45 Daphne<br />
*4.00 Annabelle<br />
<br />
<br />
KATE<br />
*10.00 Petter<br />
*11.15 Christine<br />
*1.30 Peter<br />
*2.45 <br />
*4.00 Jamie</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/20-02-2020_-Event_1&diff=27426Calendars:Fine Art Calendar/Fine Art Calendar/20-02-2020 -Event 12020-02-12T19:00:32Z<p>Ayo: </p>
<hr />
<div>Essay SWAP meetings (4th round)<br />
<br />
MIKE<br />
*10.00<br />
*11.15 Antonia<br />
*1.30<br />
*2.45 <br />
*4.00<br />
<br />
<br />
KATE<br />
*10.00<br />
*11.15<br />
*1.30 <br />
*2.45 Christine<br />
*4.00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/18-02-2020_-Event_2&diff=27388Calendars:Fine Art Calendar/Fine Art Calendar/18-02-2020 -Event 22020-02-07T14:50:54Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
*10:00 - 11:00 Emma<br />
*11:00 - 12:00 yanik<br />
*12:00 - 13:00 Lucía<br />
*13:00 - 14:00<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00 Halla<br />
*17:00 - 18:00 Peter<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-02-2020_-Event_2&diff=27358Calendars:Fine Art Calendar/Fine Art Calendar/12-02-2020 -Event 22020-02-04T19:16:25Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS NATHALIE HARTJES - GRAD SHOW CURATOR<br />
2ND Y STUDENTS ONLY<br />
<br />
>> '''PLEASE NOTE: SIGN UP ON TUESDAY 4TH FROM 17:30''' <<<br />
<br />
*10:00 - 11:00<br />
<br />
*11:00 - 12:00<br />
<br />
> 12:00 - 13:00 break<br />
<br />
*13:00 - 14:00 Christine<br />
<br />
*15:00 - 16:00<br />
<br />
*16:00 - 17:00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/18-02-2020_-Event_2&diff=27256Calendars:Fine Art Calendar/Fine Art Calendar/18-02-2020 -Event 22020-01-27T14:30:31Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
*10:00 - 11:00<br />
*11:00 - 12:00 yanik<br />
*12:00 - 13:00 <br />
*13:00 - 14:00 Christine<br />
<br />
> 14:00 - 15:00 LUNCH BREAK<br />
<br />
*15:00 - 16:00 Junghun<br />
*16:00 - 17:00<br />
*17:00 - 18:00<br />
<br />
RESERVE:</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/06-02-2020_-Event_1&diff=27255Calendars:Fine Art Calendar/Fine Art Calendar/06-02-2020 -Event 12020-01-27T14:27:59Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
> (R) means that student was on the reserve list.<br />
<br />
*10:00 - 11:30 Diana’s GC<br />
*11:45 - 12:45 Christian (R)<br />
<br />
> 12:45 - 13:30 lunch break<br />
<br />
*13:30 - 14:30 Linus (R)<br />
*14:30 - 15:30 Diana (R)<br />
*15:30 - 16:30 Josie (R)<br />
*16:30 - 17:30 Aimilia (R)<br />
<br />
Reserve: Pascale, Petter, Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/22-01-2020_-Event_2&diff=27192Calendars:Fine Art Calendar/Fine Art Calendar/22-01-2020 -Event 22020-01-21T18:13:41Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
(GC IN THE MORNING)<br />
<br />
> 13.15 - 14:15 LUNCH break <<br />
<br />
*14.15 Olga<br />
*15.30 Christine<br />
*16.45 Annabelle</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/24-01-2020_-Event_1&diff=27126Calendars:Fine Art Calendar/Fine Art Calendar/24-01-2020 -Event 12020-01-12T16:55:15Z<p>Ayo: </p>
<hr />
<div>Essay meetings (3rd round)<br />
<br />
MIKE<br />
*10:00<br />
*11:15 Josie<br />
*12:30 Lucía <br />
*14:45 Christine<br />
*16:00 Peter<br />
<br />
KATE<br />
<br />
*10.00 Jake<br />
*11.15 Annabelle</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=GROUP_CRITIQUES&diff=27047GROUP CRITIQUES2020-01-08T09:00:44Z<p>Ayo: /* ROUND 2 */</p>
<hr />
<div>For more in depth information about the procedure of the GC, please read Appendix 1 (Student Handbook 2019-2020): Group Critique Guide. <br />
<br />
=Academic year 2019-2020=<br />
<br />
=='''ROUND 2'''==<br />
<br />
SLOTS WILL OPEN ON JANUARY 8TH=='''ROUND 2'''==<br />
<br />
'''FEB 4TH - BERND KRAUSS > REPORT DUE ON FEB 18TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''FEB 6TH - KATARINA ZDJELAR > REPORT DUE ON FEB 20TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''FEB 17TH - LIESBETH BIK > REPORT DUE ON MARCH 2ND'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 <br />
<br />
<br />
'''MARCH 4TH - BERND KRAUSS > REPORT DUE ON MARCH 18TH'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 <br />
<br />
<br />
'''MARCH 18TH - LIESBETH BIK > REPORT DUE ON APRIL 1ST'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 <br />
<br />
<br />
'''APRIL 1ST - LIESBETH BIK > REPORT DUE APRIL 15TH'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 Pascale<br />
<br />
<br />
'''APRIL 3RD - BERND KRAUSS > REPORT DUE ON APRIL 17TH'''<br />
* 10:00 - 11:30 Petter<br />
* 11:45 - 13:15 <br />
<br />
<br />
'''APRIL 7TH - NINA WAKEFORD > REPORT DUE ON APRIL 21ST'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 LLucia<br />
<br />
<br />
'''APRIL (DAY TBC) - KATARINA ZDJELAR > REPORT DUE 2 WEEKS LATER'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 Christine Ayo<br />
<br />
<br />
'''MAY 6TH - BERND KRAUSS > REPORT DUE ON MAY 20th'''<br />
* 10:00 - 11:30 daphne<br />
* 11:45 - 13:15 josie<br />
<br />
<br />
'''MAY 8TH - LIESBETH BIK > REPORT DUE ON MAY 22ND'''<br />
* 10:00 - 11:30 Lukas<br />
* 11:45 - 13:15 <br />
<br />
<br />
'''MAY (DAY TBC) - KATARINA ZDJELAR > REPORT DUE 2 WEEKS LATER'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15 <br />
<br />
<br />
'''JUNE 4TH - BERND KRAUSS > REPORT DUE ON JUNE 18TH'''<br />
* 10:00 - 11:30 <br />
* 11:45 - 13:15antonia<br />
<br />
=='''ROUND 1'''==<br />
<br />
'''OCTOBER 15TH - KATARINA ZDJELAR > Report received'''<br />
* 11:45 - 13:15 PETER H. > attendance recorded<br />
<br />
<br />
'''NOVEMBER 8TH - NINA WAKEFORD > Report received'''<br />
* 10:00 - 11:30 JAKE C. > attendance recorded <br />
* 11:45 - 13:15 CHRISTINE A. > attendance recorded <br />
<br />
<br />
'''NOVEMBER 12TH - KATARINA ZDJELAR > Report received'''<br />
* 10:00 - 11:30 Annabelle > attendance recorded <br />
* 11:45 - 13:15 Linus > attendance recorded <br />
<br />
<br />
'''NOVEMBER 15TH - LIESBETH BIK > Report received'''<br />
* 10:00 - 11:30 Diana > attendance recorded <br />
* 11:45 - 13:15 Aimilia > attendance recorded <br />
<br />
<br />
'''NOVEMBER 26TH - BERND KRAUSS > Report due on Dec 10th'''<br />
* 10:00 - 11:30 Pascale > attendance recorded<br />
* 11:45 - 13:15 Guillem S. > attendance recorded<br />
<br />
<br />
'''DECEMBER 3RD - KATARINA ZDJELAR > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Steven M > attendance recorded<br />
* 11:45 - 13:15 Antonia > attendance recorded<br />
<br />
<br />
'''DECEMBER 4TH - BERND KRAUSS > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Jamie > attendance recorded<br />
* 11:45 - 13:15 Lucía > attendance recorded<br />
<br />
<br />
'''DECEMBER 6TH - NINA WAKEFORD > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Daphne > attendance recorded<br />
* 11:45 - 13:15 Lukas > attendance recorded<br />
<br />
<br />
'''DECEMBER 10TH - LIESBETH BIK > Report due on Jan 6th'''<br />
* 14:30 - 16:00 Petter D.P > attendance recorded<br />
* 16:15 - 17:45 Halla > attendance recorded<br />
<br />
<br />
'''JANUARY 13TH - KATARINA ZDJELAR > Report due Jan 27th'''<br />
* 10:00 - 11:30 Olga<br />
* 11:45 - 13:15 Dagmar<br />
<br />
<br />
'''JANUARY 20TH - BERND KRAUSS > Report due on Feb 3rd'''<br />
* 10:00 - 11:30 Christian <br />
* 11:45 - 13:15 Bruno N.<br />
<br />
<br />
'''JANUARY 22ND - LIESBETH BIK > Report due on Feb 5th'''<br />
* 10:00 - 11:30 Junghun<br />
* 11:45 - 13:15 Yanik<br />
<br />
<br />
'''JANUARY 30TH - NINA WAKEFORD > Report due on Feb 13th'''<br />
* 13:00 - 14:30 JOSIE<br />
* 14:45 - 14:15 EMMA<br />
* 16:30 - 18:00 BERGLIND</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=GROUP_CRITIQUES&diff=26990GROUP CRITIQUES2019-12-16T15:40:30Z<p>Ayo: </p>
<hr />
<div>For more in depth information about the procedure of the GC, please read Appendix 1 (Student Handbook 2019-2020): Group Critique Guide. <br />
<br />
=Academic year 2019-2020=<br />
<br />
=='''ROUND 2'''==<br />
<br />
'''FEB 4TH - BERND KRAUSS > REPORT DUE ON FEB 18TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''FEB 6TH - KATARINA ZDJELAR > REPORT DUE ON FEB 20TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''FEB 17TH - LIESBETH BIK > REPORT DUE ON MARCH 2ND'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''MARCH 4TH - BERND KRAUSS > REPORT DUE ON MARCH 18TH'''<br />
* 10:00 - 11:30 Steven<br />
* 11:45 - 13:15 <br />
<br />
<br />
'''MARCH 18TH - LIESBETH BIK > REPORT DUE ON APRIL 1ST'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''APRIL 1ST - LIESBETH BIK > REPORT DUE APRIL 15TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15 Pascale<br />
<br />
<br />
'''APRIL 3RD - BERND KRAUSS > REPORT DUE ON APRIL 17TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15<br />
<br />
<br />
'''APRIL 7TH - NINA WAKEFORD > REPORT DUE ON APRIL 21ST'''<br />
* 10:00 - 11:30 Aimilia <br />
* 11:45 - 13:15<br />
<br />
<br />
'''APRIL (DAY TBC) - KATARINA ZDJELAR > REPORT DUE 2 WEEKS LATER'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15 Berglind Erna<br />
<br />
<br />
'''MAY 6TH - BERND KRAUSS > REPORT DUE ON MAY 20th'''<br />
* 10:00 - 11:30 Daph<br />
* 11:45 - 13:15 Josie <br />
<br />
<br />
'''MAY 8TH - LIESBETH BIK > REPORT DUE ON MAY 22ND'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15 Annabelle<br />
<br />
<br />
'''MAY (DAY TBC) - KATARINA ZDJELAR > REPORT DUE 2 WEEKS LATER'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15 Christine<br />
<br />
<br />
'''JUNE 4TH - BERND KRAUSS > REPORT DUE ON JUNE 18TH'''<br />
* 10:00 - 11:30<br />
* 11:45 - 13:15 Antonia<br />
<br />
=='''ROUND 1'''==<br />
<br />
'''OCTOBER 15TH - KATARINA ZDJELAR > Report received'''<br />
* 11:45 - 13:15 PETER H. > attendance recorded<br />
<br />
<br />
'''NOVEMBER 8TH - NINA WAKEFORD > Report received'''<br />
* 10:00 - 11:30 JAKE C. > attendance recorded <br />
* 11:45 - 13:15 CHRISTINE A. > attendance recorded <br />
<br />
<br />
'''NOVEMBER 12TH - KATARINA ZDJELAR > Report received'''<br />
* 10:00 - 11:30 Annabelle > attendance recorded <br />
* 11:45 - 13:15 Linus > attendance recorded <br />
<br />
<br />
'''NOVEMBER 15TH - LIESBETH BIK > Report received'''<br />
* 10:00 - 11:30 Diana > attendance recorded <br />
* 11:45 - 13:15 Aimilia > attendance recorded <br />
<br />
<br />
'''NOVEMBER 26TH - BERND KRAUSS > Report due on Dec 10th'''<br />
* 10:00 - 11:30 Pascale > attendance recorded<br />
* 11:45 - 13:15 Guillem S. > attendance recorded<br />
<br />
<br />
'''DECEMBER 3RD - KATARINA ZDJELAR > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Steven M > attendance recorded<br />
* 11:45 - 13:15 Antonia > attendance recorded<br />
<br />
<br />
'''DECEMBER 4TH - BERND KRAUSS > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Jamie > attendance recorded<br />
* 11:45 - 13:15 Lucía > attendance recorded<br />
<br />
<br />
'''DECEMBER 6TH - NINA WAKEFORD > Report due on Jan 6th'''<br />
* 10:00 - 11:30 Daphne > attendance recorded<br />
* 11:45 - 13:15 Lukas > attendance recorded<br />
<br />
<br />
'''DECEMBER 10TH - LIESBETH BIK > Report due on Jan 6th'''<br />
* 14:30 - 16:00 Petter D.P > attendance recorded<br />
* 16:15 - 17:45 Halla > attendance recorded<br />
<br />
<br />
'''JANUARY 13TH - KATARINA ZDJELAR > Report due Jan 27th'''<br />
* 10:00 - 11:30 Olga<br />
* 11:45 - 13:15 Dagmar<br />
<br />
<br />
'''JANUARY 20TH - BERND KRAUSS > Report due on Feb 3rd'''<br />
* 10:00 - 11:30 Christian <br />
* 11:45 - 13:15 Bruno N.<br />
<br />
<br />
'''JANUARY 22ND - LIESBETH BIK > Report due on Feb 5th'''<br />
* 10:00 - 11:30 Junghun<br />
* 11:45 - 13:15 Yanik<br />
<br />
<br />
'''JANUARY 30TH - NINA WAKEFORD > Report due on Feb 13th'''<br />
* 13:00 - 14:30 JOSIE<br />
* 14:45 - 14:15 EMMA<br />
* 16:30 - 18:00 BERGLIND</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/22-01-2020_-Event_2&diff=26927Calendars:Fine Art Calendar/Fine Art Calendar/22-01-2020 -Event 22019-12-11T18:05:07Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS LIESBETH BIK<br />
<br />
(GC IN THE MORNING)<br />
<br />
> 13.15 - 14:15 LUNCH break <<br />
<br />
*14.15 Olga<br />
*15.30 Annabelle<br />
*16.45 Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/20-01-2020_-Event_2&diff=26926Calendars:Fine Art Calendar/Fine Art Calendar/20-01-2020 -Event 22019-12-11T18:04:21Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS BERND KRAUSS<br />
<br />
*14:45 Pascale<br />
*16:00 Petter<br />
*17:15 Christine<br />
<br />
reserve: 1.2.3</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/15-01-2020_-Event_1&diff=26925Calendars:Fine Art Calendar/Fine Art Calendar/15-01-2020 -Event 12019-12-11T18:03:19Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS JAN VERWOERT<br />
<br />
*10.00 Aimilia<br />
*11.15 Christian <br />
*12.30 Jake<br />
> 13.45 break <<br />
*14.45 Linus<br />
*16.00 Berglind Erna<br />
*17.15 Christine<br />
<br />
reserve: 1.2.3</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/13-01-2020_-Event_2&diff=26831Calendars:Fine Art Calendar/Fine Art Calendar/13-01-2020 -Event 22019-12-10T13:01:19Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR<br />
<br />
FROM 14:15 (GROUP CRIT IN THE MORNING)<br />
<br />
. Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/09-12-2019_-Event_4&diff=26647Calendars:Fine Art Calendar/Fine Art Calendar/09-12-2019 -Event 42019-11-26T10:41:07Z<p>Ayo: </p>
<hr />
<div>Y2 ESSAY MEETINGS (first draft) with MIKE & KATE<br />
<br />
MIKE (via Skype)<br />
Skype address: mikesperlinger<br />
*10.00 <br />
*11.00 <br />
*12.00 Christine<br />
--<br />
*14.00 <br />
*15.00 Peter<br />
<br />
<br />
KATE<br />
*10.00 Olga<br />
*11.00 Jake<br />
*12.00 yanik<br />
--<br />
*14.00 <br />
*15.00</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/22-11-2019_-Event_1&diff=26430Calendars:Fine Art Calendar/Fine Art Calendar/22-11-2019 -Event 12019-11-09T15:06:40Z<p>Ayo: </p>
<hr />
<div>Y1 WOOD WORKSHOP 9:00 - 12:00 in the MATERIAL STATION <br />
<br />
SESSION 1 OF 2<br />
<br />
An introduction to the wood workshop has been booked for first year students.<br />
<br />
If you would like to participate please write your name below.<br />
<br />
The second session will be on Nov 29th 9:00 - 12:00, if you sign up you are then required to attend both sessions.<br />
<br />
· Christian<br />
<br />
· Guillem S.<br />
<br />
.Diana AL Halabi<br />
<br />
·Junghun Kim<br />
<br />
- Dagmar Bosma<br />
<br />
- Bruno Neves<br />
<br />
- Pascale de Graaf<br />
<br />
- Christine Ayo</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/12-11-2019_-Event_1&diff=26429Calendars:Fine Art Calendar/Fine Art Calendar/12-11-2019 -Event 12019-11-09T15:04:57Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS KATARINA ZDJELAR*10.00<br />
<br />
*13.45 break<br />
*14.45 Yanik<br />
*16.00 Jake<br />
*17.15 Antonia<br />
<br />
reserve: 1. Halla 2.Jamie 3. Christian. 4. Christine</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Calendars:Fine_Art_Calendar/Fine_Art_Calendar/26-11-2019_-Event_1&diff=26428Calendars:Fine Art Calendar/Fine Art Calendar/26-11-2019 -Event 12019-11-09T15:04:33Z<p>Ayo: </p>
<hr />
<div>STUDIO VISITS BERND KRAUSS<br />
<br />
*13.45 break<br />
*14.45 Josie<br />
*16.00 Christine<br />
*17.15 Antonia<br />
<br />
reserve: 1. 2. 3.</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=UNRECONCILED&diff=26427UNRECONCILED2019-11-09T14:57:05Z<p>Ayo: /* LIST OF PARTICIPANTS */</p>
<hr />
<div>'''UNRECONCILED''' by Jan Verwoert, 6 credits (scroll down to see list of participants)<br />
<br />
October 2019 - June 2020<br />
<br />
Critical philosophies of difference and embodiment complicate the use of both these terms. They confront structures of oppression enforced through violent discrimination, and/or insipid inclusions. Some treat you as 'other', some force you to be the 'same'. It hardly makes any difference. Both terms in the equation are born from the selfsame logic (logic of the selfsame) which indiscriminately imposes its standards of otherness and identity onto the world. Difference doesn't actually come to figure: what lived experience it may testify to, and what powers may reside in it, is denied and distorted beyond recognition by divise acts of setting one apart from the other, under the sign of sexism, racism, xeno- and homophobia… How to articulate difference in a key that breaks (with) the logic of discrimination? Unreconciled practices of embodiment don't resign themselves to filling slots on the given menu of alternatives by playing 'other' to the 'selfsame'. They tap powers that elude distinctions between this and that: an excess or collapse of signs and flesh, of artifice and life, of make-up and making do, of meanings, forces and forms of life which surpass or undercut established norms of discrimination, and expand realities. The challenge difference poses to thought is to invoke in a manner that doesn't fall for false promises of reconciliation, but sustains the tension which inheres to what is neither this nor that. <br />
<br />
The seminar will seek to unfold a series of genealogies which may render tangible how notions of difference and embodiment have been cracked open and interlaced, philosophically, artistically, existentially, and politically. The seminar is structured in three parts, each of which chooses a potentially formative moment in history as a port of entry to our inquiries.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
The educational aim of the course lies in exercising skills of close reading and developing the patience and persistence required for reconstructing complex bodies of thought. Thereby we seek to access an influential tradition of thought and grasp the manner in which different thinkers shape their philosophies by performing variations on premises and key motifs which they share with other thinkers, yet interpret in significantly different ways. In this sense, a goal of the seminar is to reach an understanding of philosophy as an ongoing conversation, so as to acquire the means of joining and continuing this exchange. Consider it a case of call and response: to render the call of a thought audible, we may first need to listen closely, amplify its nuances and voice its implications. Once we hear, we need to respond, and experience the resonances layered thoughts produce, by riffing on them, with precision, answering to philosophical provocations with a freedom born from antagonism as much as attunement. <br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
Continuous attendance, presence of mind, lively participation, shared enjoyment of layered abstractions.<br />
<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
Irene Gammel: Baroness Elsa — Gender, Dada, and Everyday Modernity, a Cultural Biography, MIT Press, Cambridge Massachusetts & London England, 2003.<br />
<br />
Djuna Barnes: Nightwood. Faber and Faber, London, 2001.<br />
<br />
Djuna Barnes: The Book of Repulsive Women and other poems. Fyfield Books, Manchester 2003.<br />
<br />
Jacques Derrida: Différance. In Jacques Derrida: Margins of Philosophy, Harvester Press, Brighton, 1982, pp. 1-28.<br />
<br />
Luce Irigaray: The Sex which is Not One, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Luce Irigaray: Speculum of the Other Woman, Cornell University Press, Ithaca, New York, 1985.<br />
<br />
Gilles Deleuze: Difference and Repetition. Columbia University Press, New York, 1994.<br />
<br />
Hortense J Spillers: Mama's Baby, Papa's Maybe: an American Grammar Book. In: Diacritics, Vol. 17, No. 2, Culture and Countermemory: The American Connection (Summer 1987), pp. 64-81.<br />
<br />
Alexander G. Weheliye: Habeas Viscus — Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human; Duke University Press, Durham and London, 2014.<br />
<br />
SCHEDULE<br />
Port 1 OCTOBER - DECEMBER <br />
Blood, sweat and artifice; life, art and excessive body-text-objects; The Baroness Elsa, Djuna Barnes, Jacque Derrida. <br />
<br />
The first port of entry is marked by the life and work of two mothers of modernism, as it played itself out in New York and Paris: 'The Baroness' Elsa von Freytag Loringhoven (poet, performer, phenomenon, sculptor, dada personified) and Djuna Barnes, radical artists in their own right, friends at one point. Both put their bodies at stake, in a performance of art, poetry and literature, that exploded binaries, between gender stereotypes as much as between life and art. They set the tone for the seminar, in the sense that neither of them is a particularly conciliatory figure. Their ways of messing with the difference between existence and artifice led to oeuvres and biographies that not only challenge the canon of modern art as it's commonly taught, they remain unreconciled: Rather than ask for a rephrasing of the protocols for canonisation, their practices demand for a rupture to be held open, and thought through, on its own terms. If there is an ethos implicit to the deconstructive philosophies the seminar studies, it might lie in the need to keep the gaps open from which displacements spawn embodiments surpassing and undercutting imposed norms of difference and/as identity.<br />
<br />
As is becoming increasingly clear now, the life and work of the Baroness is inseperable from the entry of the ready-made into the discourse of modern art. Her practice of clothing herself in garments made from assorted bathroom appliances, and use of plumbing metaphors for erotic purposes, most likely laid the ground for the appearance of the infamous urinal. Her and Duchamp being lovers not only resulted in the series of photographs that saw them posing together in drag (in her clothes) for Man Ray (launching Duchamp's alias Rrose Sélavy), but also led to two sister pieces being put forward in 1917, the upturned urinal (Fountain), and a knotted pipe-trap (God), a twisted vaginal and phallic shape, the first to be authorised by him, the second by her. Quite literally though, it seems she gave the thing to him. What body did the Baroness enter into public circulation in the guise of the ready-made? Anonymous sexual organs? Unattached porcelain and metal genitals to be exchanged as gifts? Or existential signifiers of twisted relations? As little as a throw-away joke? Or as much as all a creature can give? A sur-plus, less than a body, too much of a signifying organ…<br />
<br />
Not only did The Baroness and Djuna Barnes later become involved, there is a strong resonance between the form of existential camp The Baroness advanced and the way Barnes in her pivotal novel Nightwood twists the relation between art and life, artifice and embodiment in a manner that exceeds and undercuts simple binaries. On the face of it, the novel may be read as a slash-your-wrist type queer break-up tale, in which an entire personage of Parisian Left Bank characters becomes transposed into larger-than-life versions of themselves, not least because key voices in the book speak with a tone and vocabulary taken from Milton's Paradise Lost. Not unlike Kathy Acker, Barnes amplifies intensities of life by channeling them trough ostentatious artifice. The result is an incredible displacement, in which language bursts open and defracts realities like a shattered disco-ball. A pivotal figure in the novel—who practically embodies the role of a second narrator of the story within the story, competing with the voice of Barnes' alter ego— is an Irish fake gynaecologist transvestite public drunk commentator of everyone's fate speaking in magnificently riddled anachronistical English, like a queered Joyce or sick doctor straight out of the commedia dell'arte. Semiotically, physically, and glamouristically the sick doctor disseminates difference, in that nothing he says or does is ever at one with itself, but this is precisely why, as a fractured assemblage, his discourse yields perverse wisdom.<br />
<br />
Like Barnes, Jacques Derrida embraces the ongoing displacement of semiosis through 'differing (différance)': the inherent motion of semiotic shifters, and language in so many ways becoming bodily. Here we cross over from poetry, performance, and literary forms of excessive embodiment into the field of a philosophy (at times referred to as 'deconstruction'), which, from the 1970s onwards seeks to voice difference in a key that undercuts and supersedes oppressive regimes of imposed distinctions. In many ways the keys developed by Derrida among other associated thinkers are the arms that many thinkers in the fields of queer, feminist, postcolonial, and black studies thereafter took up. <br />
<br />
<br />
Port 2 JANUARY-MARCH<br />
Embody what dwells in difference, concealed in distinctions, revealed in material experience: Luce Irigaray & Gilles Deleuze<br />
<br />
We will closely study Luce Irigaray to see how she dismantles psychoanalysis as a discourse articulating sexual difference in an oppressive patriarchal key, and how she, in a feminist key, opens pursuit of ways to testify to forms of embodied desire undercutting and superseding the false alternatives imposed by the dominant order preached by psychoanalyst Jacques Lacan. Not unlike Derrida, Irigaray localises the seat of oppression in a symbolic matrix, or semiotic structure, which, by imposing its concepts of otherness on gendered experience, distorts and occludes what potential may reside in difference. In unmaking this matrix, Irigaray seeks to gesture towards the possibility of the feminine AS difference, as "The sex which is not one".<br />
Contrary to Irigaray and Derrida, Deleuze attempts to sidestep the challenge of theorising difference/embodiment primarily through symbolic matrices. From a holistic materialist (Spinozist) point of view, he develops ideas around the concatenation and displacement of singularities along lines of flight, in terms of embodied intensities playing across assemblages and rythms of difference and repetition. <br />
<br />
Port 3 APRIL - JUNE<br />
Difference is no exception! Refusal, in the flesh, as a constant state of life under conditions of oppression. Hortense J. Spillers & Alexander G. Weheliye. <br />
<br />
The third section is centered around the work of contemporary philosopher and critic, Alexander G. Weheliye. In his book "Habeas Viscus - Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human." he launches a powerful critique against forms of philosophy which address difference in the key of the "exception", even and especially when the experience and embodiment of difference is portrayed (in more or less romanticised terms) as a form of deviance, subversion or life on the edge. He points out that, conditions of racial oppression and enslavement create cruel conditions of normality which make violence, and the need for survival persist on a level of collectivity and constancy that can hardly be grasped in a vocabulary focussed on individual performances. To this end Weheliye dismantles Giorgio Agamben's concept of 'bare life' as life in the state of exception. In dialogue with Deleuze and Hortense Spillers, he instead develops the notion of 'enfleshment' to evoke conditions of persistent embodiment of difference, to address the world-changing violence of enslavement, and pertinent forces of racism. The final third section will be an ongoing back-and-forth between Weheliye and Hortense Spillers, their texts being read side by side, so as to create the experience of how philosophy emerges as a form of layered abstraction, in the close interplay between thinkers.<br />
<br />
==LIST OF PARTICIPANTS==<br />
<br />
> > Next to your name add (credit) if you are officially taking this thematic project for credits.<br />
<br />
1ST YEAR STUDENTS<br />
<br />
* Junghun Kim<br />
* Aimilia Efthymiou <br />
* Dagmar Bosma<br />
* Steven Maybury<br />
* Halla Einarsdóttir<br />
* Pascale de Graaf<br />
* Diana AL Halabi<br />
* Linus Bonduelle<br />
*<br />
*<br />
*<br />
*<br />
*<br />
<br />
2ND YEAR STUDENTS<br />
<br />
* Antonia Brown<br />
* Annabelle Binnerts<br />
* Peter Horneland<br />
* Olga Hohmann > credit<br />
* Christine Ayo<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*<br />
*</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=How_to_be_%27authentic%27&diff=26426How to be 'authentic'2019-11-09T14:56:16Z<p>Ayo: </p>
<hr />
<div>'''How to be 'authentic'''' by Nina Wakeford. 6 credits (scroll down to see list of participants)<br />
<br />
January-June 2020<br />
<br />
The term ‘authentic’ is used either in the strong sense of being “of undisputed origin or authorship”, or in a weaker sense of being “faithful to an original” or a “reliable, accurate representation”. To say that something is authentic is to say that it is what it professes to be, or what it is reputed to be, in origin or authorship. <br />
(Stanford Encyclopedia of Philosophy, 2014, accessible at https://plato.stanford.edu/entries/authenticity/)<br />
<br />
Each material has its own individual qualities…Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh…It should keep its hard tense stoniness. (Henry Moore, Unit One, 1934)<br />
<br />
The live act is most often privileged as delivering an authentic and “present” body… …paradoxically, Abramovic’s recent practice, in its desire to manifest presence, points to the very fact that the live act itself destroys presence (or makes the impossibility of its being secured evident)… [or is] an inadvertent parody of the structure of authentic expression and reception of “true” emotional resonance that modernist art discourse (brought to its apotheosis in institutions such as MoMA) so long claimed for modernist painting and sculpture. (Amelia Jones, ‘The Artist is Present’, 2011)<br />
<br />
This thematic project will engage with the ‘authentic’ as a provocation within the making of contemporary art. This theme will be discussed in terms of representation and identity, political claims for recognition/reparation, the fetishism of liveness and presence as guaranteeing authenticity, as well as asking how and why ‘truth to materials’ is still mobilised explicitly or implicitly in the making of contemporary art e.g. in materials lists. If the ‘authentic’ is always already a performance of human and non-human entities and there is now only ‘nature’, as cultural theorists claim, how does this affect the decisions in the making of work? Alternatively, can we take ‘authentic’ out of its quotation marks and wholeheartedly commit to straightforward faithfulness, for example to a person, a social group, an archive or an affective event? We will address associated concepts of sincerity, accuracy, precision and validity and ponder if and why these might seem urgent or outdated or embarrassing or ideological or downright irrelevant. <br />
<br />
The priority of this thematic will be the viewing, discussion and making of art. The format will be a series of seminar discussions plus an output based around the making of artwork to be shown in a public context. In this way the readings from the seminars will be activated through the discussion of contemporary art works and the making of new art. During the course each student will actively participate in seminars by bringing examples of artworks (their own, contemporary, historical) to the group.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
-To be able to evaluate readings and document exhibitions/artworks in relation to the key problematic posed by the Thematic Project<br />
-To identify and critically reflect upon the relationship between the themes of this course and the making of your own work<br />
-To research and present works of art and exhibitions, and to us these to develop your conceptual vocabularies<br />
-To evidence your research and understanding by preparing and participating in discussions<br />
-To develop positions and arguments in relation to the key problematic, through the making of artwork<br />
-To develop collaborative ways of working, particularly in the development of public outputs.<br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
<br />
Students must come prepared and participate in seminar discussions, group visits and the making of new work for public engagement.<br />
<br />
All students must present work for public engagement.<br />
<br />
Absences must be negotiated in advance and make-up work/presentations will be assigned.<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
<br />
Indicative Readings<br />
<br />
Ferrara, Alessandro (1998) Reflective Authenticity, London: Routledge.<br />
<br />
Howe, Alyssa (2001) Queer Pilgrimage, Cultural Anthropology Vol 16, No 1 <br />
<br />
Jones, Amelia (2011) “The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review. Vol 55, Issue 1. <br />
<br />
Jones, Amelia (2018) Performative Afterlife. Parallax, Vol 24, Issue 1<br />
Gopinath, Gayatri (2018) Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement. In Willis, D (2019) Women and Migration: Responses in Art and History. Open Book Publishers<br />
<br />
Telling, Kathryn (2014) Real Feminists and Fake Feminists, in Cobb R. (Ed) The Paradox of Authenticity in a Globalized World. Palgrave Macmillan, New York<br />
<br />
SCHEDULE<br />
<br />
Meetings - monthly Jan-June 2020<br />
<br />
Exhibition viewing – student organised<br />
<br />
NOTE - It is anticipated that this seminar will include a group trip to London, either in conjunction with a seminar and/or to present the final works created.<br />
<br />
<br />
==LIST OF PARTICIPANTS==<br />
<br />
> > Next to your name add (credit) if you are officially taking this thematic project for credits. <br />
<br />
1ST YEAR STUDENTS<br />
<br />
* Diana AL Halabi<br />
* Guillem S. Arquer<br />
* Junghun Kim<br />
* Aimilia Efthymiou<br />
* Dagmar Bosma<br />
* Emma Astner<br />
* Halla Einarsdottir<br />
* Pascale de Graaf<br />
* Linus Bonduelle <br />
* Christian Ovesen<br />
* Bruno Neves (credit)<br />
*<br />
*<br />
<br />
2ND YEAR STUDENTS<br />
<br />
* Josie<br />
* Daphne Simons<br />
* Jamie Kane<br />
* Petter<br />
* Lukas<br />
* Lucía <br />
* Christine (Credit)<br />
*<br />
*<br />
*<br />
*<br />
*</div>Ayohttp://pzwiki.wdka.nl/mw-fineart/index.php?title=How_to_be_%27authentic%27&diff=26425How to be 'authentic'2019-11-09T14:55:16Z<p>Ayo: </p>
<hr />
<div>'''How to be 'authentic'''' by Nina Wakeford. 6 credits (scroll down to see list of participants)<br />
<br />
January-June 2020<br />
<br />
The term ‘authentic’ is used either in the strong sense of being “of undisputed origin or authorship”, or in a weaker sense of being “faithful to an original” or a “reliable, accurate representation”. To say that something is authentic is to say that it is what it professes to be, or what it is reputed to be, in origin or authorship. <br />
(Stanford Encyclopedia of Philosophy, 2014, accessible at https://plato.stanford.edu/entries/authenticity/)<br />
<br />
Each material has its own individual qualities…Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh…It should keep its hard tense stoniness. (Henry Moore, Unit One, 1934)<br />
<br />
The live act is most often privileged as delivering an authentic and “present” body… …paradoxically, Abramovic’s recent practice, in its desire to manifest presence, points to the very fact that the live act itself destroys presence (or makes the impossibility of its being secured evident)… [or is] an inadvertent parody of the structure of authentic expression and reception of “true” emotional resonance that modernist art discourse (brought to its apotheosis in institutions such as MoMA) so long claimed for modernist painting and sculpture. (Amelia Jones, ‘The Artist is Present’, 2011)<br />
<br />
This thematic project will engage with the ‘authentic’ as a provocation within the making of contemporary art. This theme will be discussed in terms of representation and identity, political claims for recognition/reparation, the fetishism of liveness and presence as guaranteeing authenticity, as well as asking how and why ‘truth to materials’ is still mobilised explicitly or implicitly in the making of contemporary art e.g. in materials lists. If the ‘authentic’ is always already a performance of human and non-human entities and there is now only ‘nature’, as cultural theorists claim, how does this affect the decisions in the making of work? Alternatively, can we take ‘authentic’ out of its quotation marks and wholeheartedly commit to straightforward faithfulness, for example to a person, a social group, an archive or an affective event? We will address associated concepts of sincerity, accuracy, precision and validity and ponder if and why these might seem urgent or outdated or embarrassing or ideological or downright irrelevant. <br />
<br />
The priority of this thematic will be the viewing, discussion and making of art. The format will be a series of seminar discussions plus an output based around the making of artwork to be shown in a public context. In this way the readings from the seminars will be activated through the discussion of contemporary art works and the making of new art. During the course each student will actively participate in seminars by bringing examples of artworks (their own, contemporary, historical) to the group.<br />
<br />
<br />
LEARNING OUTCOMES<br />
<br />
-To be able to evaluate readings and document exhibitions/artworks in relation to the key problematic posed by the Thematic Project<br />
-To identify and critically reflect upon the relationship between the themes of this course and the making of your own work<br />
-To research and present works of art and exhibitions, and to us these to develop your conceptual vocabularies<br />
-To evidence your research and understanding by preparing and participating in discussions<br />
-To develop positions and arguments in relation to the key problematic, through the making of artwork<br />
-To develop collaborative ways of working, particularly in the development of public outputs.<br />
<br />
REQUIREMENTS FOR OBTAINING CREDITS<br />
<br />
Students must come prepared and participate in seminar discussions, group visits and the making of new work for public engagement.<br />
<br />
All students must present work for public engagement.<br />
<br />
Absences must be negotiated in advance and make-up work/presentations will be assigned.<br />
<br />
READING, LISTENING AND VIEWING MATERIAL<br />
<br />
Indicative Readings<br />
<br />
Ferrara, Alessandro (1998) Reflective Authenticity, London: Routledge.<br />
<br />
Howe, Alyssa (2001) Queer Pilgrimage, Cultural Anthropology Vol 16, No 1 <br />
<br />
Jones, Amelia (2011) “The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR/The Drama Review. Vol 55, Issue 1. <br />
<br />
Jones, Amelia (2018) Performative Afterlife. Parallax, Vol 24, Issue 1<br />
Gopinath, Gayatri (2018) Diaspora, Indigeneity, Queer Critique: Tracey Moffatt’s Aesthetics of Dwelling in Displacement. In Willis, D (2019) Women and Migration: Responses in Art and History. Open Book Publishers<br />
<br />
Telling, Kathryn (2014) Real Feminists and Fake Feminists, in Cobb R. (Ed) The Paradox of Authenticity in a Globalized World. Palgrave Macmillan, New York<br />
<br />
SCHEDULE<br />
<br />
Meetings - monthly Jan-June 2020<br />
<br />
Exhibition viewing – student organised<br />
<br />
NOTE - It is anticipated that this seminar will include a group trip to London, either in conjunction with a seminar and/or to present the final works created.<br />
<br />
<br />
==LIST OF PARTICIPANTS==<br />
<br />
> > Next to your name add (credit) if you are officially taking this thematic project for credits. <br />
<br />
1ST YEAR STUDENTS<br />
<br />
* Diana AL Halabi<br />
* Guillem S. Arquer<br />
* Junghun Kim<br />
* Aimilia Efthymiou<br />
* Dagmar Bosma<br />
* Emma Astner<br />
* Halla Einarsdottir<br />
* Pascale de Graaf<br />
* Linus Bonduelle <br />
* Christian Ovesen<br />
* Bruno Neves (credit)<br />
*<br />
*<br />
<br />
2ND YEAR STUDENTS<br />
<br />
* Josie<br />
* Daphne Simons<br />
* Jamie Kane<br />
* Petter<br />
* Lukas<br />
* Lucía <br />
* Christine<br />
*<br />
*<br />
*<br />
*<br />
*</div>Ayo