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Putting Rehearsals to the Test at KHiO in Oslo

Teaching period: March 1-3, 2018 (travel days not included)
Teacher(s): Rike Frank (Kunstakademiet, KhiO), Sabeth Buchmann (Academy of Fine Arts, Vienna), Ilse Lafer Academy of Visual Art, Leipzig), Constanze Ruhm (Academy of Fine Arts, Vienna)
ECTS: students will receive a certificate stating teaching hours and workload. Their home institutions will then make their own recognition (ects).
Number of available place for KUNO students: 5
Level: BA & MA
- Putting Rehearsals to the Test: Introduction by Sabeth Buchmann, Ilse Lafer, and Constanze Ruhm
- What Your Spontaneity Is Worth to Us: Improvisation between Art and Economics by Kai van Eikels
- Shared Production (-Values) by Sabeth Buchmann
- Passion in Work by Ilse Lafer
- The Rehearsal in Film: From the Focus on Results to a Space of Experience by Rainer Bellenbaum
- The Play's the Thing: On the Politics of Rehearsal by José M. Bueso
- The Rehearsal as Form: An Essay on Yvonne Rainer's Lives of Performers by Jenny Nachtigall and Dorothea Walzer
- In Abeyance: It Is Perhaps Now Time to Leave, Once More, the Clinic ... by Vincent Bonin
- Castingagentur: Casting as Agency by Constanze Ruhm

LINK to essays:

Application deadline: February 14, 2018
How to apply: short letter (max. 240 words) describing interest in the 'rehearsal' and / or exhibiting and the curatorial. Documentation of 1-2 works / projects.

Course description:
Although the format of the rehearsal is used across a number of disciplines-film and theater as well as fine arts-it has been scarcely considered in historical and contemporary art discourses. With this in mind, Putting Rehearsals to the Test investigates the role and function of the rehearsal as a methodology, modus operandi, medium, site of representation, and reflection on processes of artistic production. As the long-term research project demonstrates, practices of rehearsal put those procedures-sometimes joyful, sometimes troublesome but structurally productive-into the foreground to replace given conventions and regulations with new forms and rules. Shaping working processes (the in-the-making) and products (the making-of) without defined aims and ends, artists, activists, and theorists working with strategies of rehearsal focus on moments of contingency, interruption, recommencement, irregular repetition, uncertainty, and failure within existing systems. Practices of rehearsal, in attempting to transform asymmetric labor divisions, appear as links between aesthetic judgment and social or institutional critique. As such they imply a structural ambivalence since the popularity of the topic of ‚rehearsal' can't be separated from the neoliberal task to improve working methods as well as work performances for the sake of efficiency and value production.
Putting Rehearsals to the Test is a long-term research and exhibition project by Sabeth Buchmann (Academy of Fine Arts, Vienna), Ilse Lafer (Academy of Fine Art, Leipzig) and Constanze Ruhm (Academy of Fine Arts, Vienna). 

The seminar takes place as collaboration between Rike Frank (Associated Prof. of Exhibition Studies, Kunstakademiet, Oslo) and Sabeth Buchmann, Ilse Lafer and Constanze Ruhm. Additional guest speakers and participants are Pietro Consolandi and Malene Nielsen amongst others (tba).

PART I: Thursday: March 1, 2018: 3-5pm --- Kunstakademiet, Kunsthøgskole i Oslo

PART II: Friday: March 2, 2018: 11am-6pm
Visit to the exhibition project 59° 54' 41'' N 10° 45' 28' E at Akdemirommet followed by public seminar with lectures at Kunstakademiet, Kunsthøgskole i Oslo

PART III: Saturday, March 3, 2018: 10am-3pm --- Workshop Part 2, Kunstakademiet, Kunsthøgskole i Oslo

59°54'41''N 10°45'28''E (the geographical coordinates of Oslo) is a group show and artistic/curatorial experiment that - drawing inspiration from Lucy Lippard's Numbers Shows - brings together in a five-months long process 10 artists and students based in the city, an artist run space and a curator - an MA exchange student visiting from Venice. The participants come from Norway, Iceland, Denmark, Ukraine, Egypt and Italy and met in Oslo in August 2017. Curated by Pietro Consolandi with Asmaa Barakat (1MA), David Tobias Bonde Jensen (1BA), Hedda Grevle Ottesen (1MA), Maja Pauline Haugsgjerd (1MA), Espen Iden (1MA) Espen Kvålsvoll (1MA), Valgerdur Yr Magnusdottir, Magnus Myrtveit (1MA), Øyvind Sørfjordmo (2MA), Lesia Vasylchenko (1BA).

Sabeth Buchmann will reconsider the classical exhibition as an exposure under the auspices of information and communication media, process art and site specificity, cinematographic and theatrical experiments, those formats share a common interest in opening the hermetic art object for the experience of participatory interactions between artistic procedures and spectators. As we'll discuss with regard to the so called Number Shows (1969 -1973) by the curator and critic Lucy R. Lippard - realized in four North- und Latin-American cities - those models of situation- and site-specific interaction and engagement went along with the popularity of cybernetic feedback systems: intended to generate social change by spontaneous enactments of self-learning and micro-publics, they replaced the modernist ideal of individual author- and mastership by the ideal of collective experience and agency. Since then we observe cyclical booms of artistic and curatorial endeavors to conceive the exhibition as a procedural medium and mulit-site formed by and for the sake of the illusion of 'inclusive collectives'.   

Against the backdrop of [PAUSES] in BRACKETS Ilse Lafer will specify the difference but also overlapping of rehearsal and improvisation as practices of collective curating by problematizing the transformation of such performative concepts into the realm of the rather static format of the exhibition-as exemplified by documenta 14 or Putting Rehearsals to The Test-and further addresses the question: Just what is it that makes rehearsal and/ or improvisation in today's curatorial practices so appealing, so attractive? Is it the (false) promise of a shared collective experience that equally empowers us to shift the tissue of the so-called "exhibitionary complex"? If so, what is then the role of a [PAUSE] in BRACKETS?

Malene Nielsen (currently student at the Academy of Fine Arts Vienna) will present her research on the topic of rehearsal with regard to the reflection of social and media techniques within feature films, eg. those of Harun Farocki.

Constanze Ruhm will discuss her long-term film- and installation series X CHARACTERS: X Characters/RE(hers)AL (2004), X NaNa/Subroutine (2004), X Love Scenes/Pearls without a String (2007), Crash Site/My_Never_Ending_Burial_Plot (2010) and Cold Rehearsal (in collaboration with Christine Lang, 2013) in relation to her use of the rehearsal stage as a not yet completely buried or fully narrated yet marked (acting) form.

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