A three day seminar on the concept of control – its unwritten terms and conditions in relation to art education and aesthetics. Course developed with Jennifer Bergkvist.
Konstfack University of Arts, Crafts and Design (2017).
How Will I Know?
A performance/lecture. Poster by Anna Brumark.
How is intuition made (un)intelligible within the higher education of Fine Art and Visual Communication? And, how can the effects of this (un)articulation reinforce or challenge configurations of power?
Like emotion, intuition is often viewed as an individual and private matter, a view that in itself reveals power structures. To characterise intuition as feeling provides a position within a matrix of power. This is important both to understand why we lack an engaged critique of intuition as well as to present a framework that allows us to engage with intuition from other perspectives than the predominant individual conceptualisation. By replacing the understanding of intuition and its effects as private yet universal with an a intersectional analysis, we can begin naming the meaning(s) of intuition on a structural level, shaped by different experiences; personal and political.
With this research project I hope to contribute to and develop feminist traditions of epistemological and experiential research on intuition from the stand point of a fine artist/illustrator. With a foundation in feminist and postcolonial theory it becomes possible to investigate how experiences are valued differently depending on which bodies they are assigned or linked to. My research question departs from a feminist and post-colonial tradition by centralising the politics of emotion.
Further research on the politics of emotion within the field of visual communication is needed since we are experiencing an enormous expansion of the field of visual communication due to the technological advances that are providing new platforms and with it increased exposure, at the same time as ”…we have seen how power increasingly ventures outside of the realm of written law or traditional discourse into the less chartered waters of pure feeling.” (Steyerl, 2007). What does the convergence of these changes mean? Chantal Mouffe writes that artistic practices ”employ resources that induce emotional responses, they [the works of art] are able to reach human beings at the affective level.” (2018). This is a resource which is exploited in a time in which politics are increasingly characterised by affect. Forces that need us to believe in their political message and/or product can manipulate the emotional response by speaking to peoples feelings directly, and like Mouffe points out, artistic practices have the capacity to reach people on an emotional level.