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Venues: Colégio dos Leões (CL), Morada: Antiga Fábrica Leões, Estrada dos Leões
Colégio Mateus d' Aranda (CMA), R. do Raimundo 104
Colégio do Espírito Santo (CES), R. do Cardeal Rei 6
Mar d'Ar Muralhas Hotel, Tv. da Palmeira 4
09:00 – 13:00
Registration
10:00 – 12:00
Getting ‘situated’ in Évora: Mobile visits / tours (optional)
André Forte, EIT and Sónia Alves and Soenke Zehle, HBKS Academy of Fine Arts Saar This workshop guides the audience through processes and methods to identify relevant skills and raise
awareness around explicit and implicit skill sets.
Using the GreenComp as an exemplary framework, participants
will engage in conversation around questions about curricular design, organizational design matters and the cross-organizational processes of transformation in the cultural and creative industries
sector.
The GreenComp is used as a training manual, which allows
participants to enhance their knowledge and understanding of transversal skillsets and the need for up-skilling of academic staff when it comes to the green transition and the consequent new
curriculum design needs for higher arts education. The Cyanotypes workshop hopes to be a first step towards our future literacy and future of education. Alliances for Sectoral Cooperation on
Skills co-funded by the European Commission Erasmus+ Programme. CYANOTYPES brings together a wide variety of organisations, stakeholders, and European networks to address the needs and skills
gaps in the Cultural & Creative Industries. Based on innovative multidisciplinary approaches, CYANOTYPES tackles the sector’s potential for innovation and competitiveness, which deals as
well with challenges presented by, among others, COVID-19, the digital transition, and the green shift.
More information on the CYANOTYPES website.
The second exhibition of the 1st year students' work on the theme Folies, this year developed within the scope of the international workshop UoU (University of Universities) in the Curricular Unit
Design Studio II, is presented. The exhibition seeks to resume, in a post-COVID19 situation, an exercise that had its first edition in 2019. The pandemic brought disruption in teaching with a
significant impact on learning. In response, an international group of architecture teachers gathered around a new idea of thinking about education in architecture, in a “new normality” where
the "online" has become an opportune and motivating tool for the internationalization of learning. Thus, the UNIVERSITY of Universities [UoU] was born.
The public spaces Praça do Sertório and Largo do Chão das Covas, in Évora, were selected due to their identity and the capacity to promote culture and social gathering. These eight proposals
demonstrate that it is possible to create moments of pause in a city where the constant movement, of those who live there and those who visit, removes any possibility of enjoyment and appreciation
of the simple pause.
The two-week workshop, led by Évora, encouraged decision-making autonomy and collaborative work, with international Master's colleagues, in a relationship between peers in which, in the
World Heritage City and future European Capital of Culture. Our 1st-year students were “the eyes, skin, ears, nose and mouth” of colleagues who, from a distance, could not capture the sensations
of these unique spaces. The final critique, with the participation of several professors from other schools of architecture, was a moment of sharing, discussing themes, and presenting a work
developed in a dedicated and committed method, with surprising and exciting results.
Follies are presented as critical tools to question the condition of the public space, becoming a motto to explore form, limits, and space, not defining a specific function, but rather a
space for pause, contemplation, and enjoyment. The challenge of conceiving temporary spatial structures that allow a different perception of the identity elements of the place seeks to create
new meanings for an urban transitional space, where one does not stay but travels, in a movement that is indifferent to what defines and characterizes it. By presenting these proposals for the
city, the connection between the teaching of architecture and the community where the MIA operates is also disclosed. The guiding principles of Design Studio II value the safeguarding of built
historical heritage - cities, buildings, and public space -, requiring the development of skills in looking and knowing, so that ephemeral interventions can be proposed in our common urban places.
À MESA É QUE A GENTE SE ENTENDE | AT THE TABLE WE UNDERSTAND EACH OTHER
In the Alentejo, we recognise the importance and significance of talking around a table. “At the Table We Understand Each Other” is a project initiated by Évora 2027, European Capital of Culture.
The concept is born out of a desire to meet with individuals and communities to discuss and exchange ideas about what the European Capital of Culture can bring to the Alentejo and what the Alentejo
can bring to the European Capital of Culture.
On 10 May, from 10:00 am – 12:00pm, as part of the “ELIA Academy 2023: Exploring Situatedness” programme, the Évora 2027 team invites you to situate yourself in the city of Évora and join
us at the table, where we will explore and discuss our concept of “vagar”, and the process behind Évora 2027 becoming the European Capital of Culture. The Évora 2027 team will bring bread and
drinks, as well as the readiness to answer any questions – especially those that can only be asked in a face-to-face meeting, promoting an honest conversation.
Since the launch of the project, in the Spring of 2022, the Évora 2027 team has sat in conversation at around 20 different tables with young people, artists, teachers and sports groups –
and even an entire neighborhood. These have been conversations that have brought us together, have inspired us and made each citizen an ambassador for Évora 2027.
The Palácio de Dom Manule, also known as the “Galeria das Damas” (Ladies’ Gallery), is located in the Évora Public
Garden. It is an elegant 16th-century pavilion, the only survivor of the former Royal Palace of Évora, destroyed in the 19th century. With a variety of Moorish influences, Manueline naturalistic
décor and Roman-style details, it is a light-filled and spacious building that has become one of the most appreciated venues for cultural events in the city.
The ancient Leões pasta factory, dedicated to the production of pasta and bakery products, considered an important reference in the national milling industry closed its doors in 1993. Five years
after its closure, the University of Évora acquired this symbolic space, starting an ambitious project - the creation of a pole for artistic education in the University of Évora (Colégio dos Leões). The requalification project was in charge of the architects Inês Lobo & Ventura Trindade. This work of rehabilitation had as a guiding principle the
concern to maintain coherence with the surrounding architecture and original architectural features, opting for mixed solutions of steel-concrete, steel-wood and wood-concrete. The use of simulated
white lime is another symbolic element of connection to the traditions of the region where we are located, the Alentejo.
Inaugurated in 1559 by the Cardinal Henrique, future king of Portugal, the Colégio do Espírito Santo
turned Évora into an intellectual and religious centre of Jesuit inspiration. Inside, you can visit the monumental cloister with two colonnade floors and the classrooms decorated with magnificent
baroque tile panels related to the matters there taught.
Interactions and ‘A(r)tivism’ in the City’s Historical Soundscapes
Filipe Oliveira, University of Évora, Portugal One of the fundamental aspects of the urban soundscape has to do with the musical happenings associated with political events. In this
regard, the hymn as a musical genre has a prominent place. As a matter of fact, during 19th-century liberalism it was closely associated with all kinds of political, military, and patriotic musical
manifestations. This lecture aims to present a series of decisive facts associated with musical events of a political nature in Évora during the second half of the 19th century, especially those
linked to the commemorations of the 1st of December within the framework of the city’s urban space. Join to hear more.
The hymns and commemorative music in the context of the 1 December celebrations in Évora during the second half of the 19th century
Vanda Sá, University of Évora, Portugal The goal is to contribute to the valorisation of Historical Soundscape Heritage and to a broad understanding of the city as a cultural environment,
exploiting a sensorial living of urban space and articulating scientific research. The main tool was the creation of digital resources (web page and digital platform). With PASEV there’s also the possibility for users to upload audio and video recordings while on location, to enrich the platform and archives. We develop some experiences, like
the augmented reality game for the Évora museum still in progress; thematic guided tours concerning historical soundscapes, to inform the community about the relevance of this heritage; or a
citywide bell-ringing in eight churches (European Researchers’ Night of 2020), where young volunteers played the bells and live streamed. Experience Évora’s soundscapes.
Ellen Røed, Rebecca Hilton, Stockholm University of the Arts, Sweden Map out a temporary constellation of relations and bring into being an entirely new aesthetic and ethical network
of people and practices. This workshop session aims to explore ‘new ways of transforming artistic practices, research, and education grounded in the theory of ‘situatedness’ through practice
rather than theory. Manifesting a student-centred pedagogical approach developed as part of the doctoral education at Stockholm University of the Arts, participants are invited to share experiences
from their own artistic or arts pedagogy practice in order to map, situate, and orient understandings which are common to this group of people, in this place, at this moment in time.
Marianne van Bommel, Sam Maske, Melike Karaslan and Niels van Rijsbergen, AVANS University of Applied Sciences, Netherlands Marianne van Bomme and her associates present findings of
an experiment in the spring of 2023 with 150 students. Discover how they act as a learning ecosystem in an assemblage of different parts that (may) contaminate each other. Ten students from five
different programmes and three lecturers form a research group to set up an evolving ecosystem for the creative cluster at Avans University of Applied Sciences. They investigate what the value
and meaning could be of concepts such as collectivity, delay, precarity, a circular way of thinking, and situatedness. Through this type of work, can we allow alternative educational models and
organisational forms to emerge that challenge existing neoliberal trends within education?
Filipe Lopes, João Leal, Escola Superior de Media Artes e Design (Porto Polytechnic), Portugal Situatedness implies slowness. Both aspects represent antidotes against a normalisation
that is often imposed on professors, individuals, and institutional organisations, materialised by means of mechanical and impulsive actions to meet the demands of efficiency and promised outcomes,
as well as open new courses, get new protocols, or obtain funding.
Teaching arts reminds students about silence in its many facets. We give reassurance that art takes time for good reasons. In modern Western society, this ubiquitous Instagramatic-instantaneous-digital
world in which our students are born and in turn embody, teaching arts represents an act of resistance and an encouragement for our students to reframe their experience of inner time, of their
inner pace. Lopes and Leal invite you to question quick and easy feelings of gratification.
Ambra Pittoni, University of Art and Design Linz, Austria Initiated as a practice of data collection through images the card deck developed as a practice of attention and patience. Several
rules invite you to enter a posture to read their assemblages and relations imagining new assemblages, opening up the possibility for a flow and /or allowing a chaotic rather proliferating way
to organise thoughts. Informed by Martha Kenney’s wild facts and the practice of dance dramaturgy the practice focuses on wander and on wonder as modalities of attention aiming to dwell amongst
the world and to be part of its creation. As the cards are displayed on the table and turned, a story is there to be read/told/foretold/rinegociated and resituated by the collectivity of attendees
along the way. Finally the agency is bestrewed among humans and things (in this case, the cards) as the story is generated by the dialogue and relation between these two.
Paul Jones, Glyndwr University, United Kingdom The digital age uproots us, it displaces us from our situatedness and disembodies us. The acceleration of information does not allow for
deep understanding; in fact, it extracts and fragments. It repels the slowness required to absorb and shape our understanding beyond the surface. Jones proposes that we turn towards slowness
and reconnect to things in the real world. We need to stop our compulsion to produce the new, we need to end our obsession with hyper-communication (Han, 2022) and situate ourselves in a shared,
positive, and active stillness in the now and learn once again to connect to physical things — their presence, shape, weight, colour, taste, fragility, permanence, and history.
Ollie Palmer, Situated Art and Design Research Group, Centre for Applied Research in Art, Design and Technology (Caradt), Netherlands + Situated Design MA, Master Institute for Visual Cultures, Avans University of Applied Science, Netherlands Are you sitting comfortably? Then we’ll begin…
Digital audio is a potentially valuable yet underused medium in teaching and situated research. The podcast format creates a feeling of intimacy that is unparalleled by visual media, allowing
listeners great flexibility in how and where to listen, as well as enabling their environment to become folded into the work they create (or connections they make) while listening. This presentation
describes three podcasts used in teaching and research: two syllabi created for teaching on a Situated Design MA course, disseminated via podcast, and one set of research interviews. The aim
of the podcast is to contextualise the field itself within which situated practice takes place, investigating the relationship, harmonies, and tensions between creative practice and teaching.
This playful presentation will present the case for aurally intimate, podcast-based teaching and research, as well as methods for audio creation.
Susana Mendes-Silva, Beatriz Cantinho, University of Évora, Portugal This workshop is about how you can create connections with the place where you are, how you can look and unveil lost,
forgotten, or erased stories through the eyes of the common passer-by. Our territory is the city and we want participants to experience its landscape and soundscape, and their own bodies, from
a situated perspective. That perspective will derive from a script and instructions that we provide the group with, guiding them through this journey. We are also informed by the legacy of the
situationist drift (Debord, 1981) and the way in which it can constitute a legacy for the elaboration of a choreographic thought. Drawing from choreography, performance, and visual arts, Mendes-Silva
and Cantinho explore ways in which one relates the movement of the bodies and their sensorial experience in a poetic and affective relationship with the visible and invisible spaces of Évora.
Gina Wall, Gabby Morris, GSA Highlands & Islands, The Glasgow School of Art, United Kingdom Wall and Morris will present a multisensory workshop that took place at the Glasgow School
of Art’s Highlands & Islands campus in the rural north of Scotland. Through storying and multisensory learning, they brought the heritage of the region to life, creatively reimaging the practices
and cultures of ancient farming systems of Scotland. To do this, Wall and Morris designed an immersive culinary experience for a group of innovation design students which engaged the senses and
emotions in a multisensory environment. The purpose was twofold: to engage the students in deep learning about aspects of Scotland’s food heritage; and to demonstrate an innovative, experience-based
pedagogy of wonder that the students could emulate in their own innovation design practice.
Klara Björk, Jan Nåls, Arcada, Finland + HDK-Valand, Academy of Arts and Design at the Artistic Faculty, Gothenburg University, Sweden TDuring this performance lecture, Björk and Nåls
will guide the audience on a journey through the Norwegian island of Vega. It is a place of extraordinary beauty and wonder, and at the same time, a place of deep ecological and historical trauma.
The promise of utopia and the threat of dystopia is ever-present on any island. To date, they have visited three different Nordic islands with film students to deepen individual artistic practices
as well as methods of teaching. Now they wish to share their experience of their last adventure, Vega, with you. Their performance lecture will include sensory exercises that will give the participants
an embodied experience of the island of Vega — the smells, the sounds, and the sights — but also evoke its history and forgotten stories. In their lecture, they will also speak to theories, persons,
and the non-humans that have helped them understand the islands they have visited.
Sunedria Nicholls-Gärtner, IFS – Internationale Filmschule Köln, Germany Join this short guided dance experience where no one is watching and there is nothing to accomplish, to serve
reflection and practice deeper forms of conversation around research. Artistic research is seldom focused on slowing down thoughts or fostering a first-person inquiry within artistic processes.
Generally, the work of artistic researchers looks for new ways to push forward to discover and recover humanity. This session will provide a practical exercise derived from Otto Scharmer’s and
Arawana Hayashi’s Social Presencing Theater, to practice and discover together through movement and stillness what the body has to offer artistic research.
Hilary Carlisle, Norwich University of the Arts, United Kingdom In teaching creativity, we invite students to understand and celebrate their own unique experience of the world and be
open and compassionate towards the manifold lived experiences of others. This interactive workshop invites participants to take part in mindfulness practices alongside reflective and collaborative
exercises that are intended to support positive shifts in our teaching practice.
This workshop seeks to encourage us to reflect on, develop, and advance our teaching practice and creative pedagogy through the principles of mindfulness, in particular: presence; non-judgemental
awareness, compassion, and connection.
19:00
Jazz concert
20:00 - 22:00
Welcome dinner
22:00
Choir and Guitar Ensemble Concert
Venues: Colégio dos Leões (CL), Morada: Antiga Fábrica Leões, Estrada dos Leões
Colégio Mateus d' Aranda (CMA), R. do Raimundo 104
Colégio do Espírito Santo (CES), R. do Cardeal Rei 6
Tamara de Groot, Rotterdam Arts and Sciences Lab, Erasmus University Rotterdam, Netherlands During this presentation, De Groot introduces the praxis of pedagogical worldmaking as a speculative
strategy to practice educational futures in the present and works with participants to explore how this strategy can support the imagining and enacting of higher education that is more socially
and ecologically just. In her research and teaching practice, she explores how transgressing and transcending the boundaries between arts and academic education and knowledge production necessitates
pedagogical approaches that are multi-sensorial, situated, and affirmative. Over the past years, De Groot has been designing and teaching the experimental minor ‘Re-Imagining Tomorrow through
Arts and Sciences’. To be able to describe what happened during this reshaping, she developed the notion of pedagogical worldmaking influenced by the concepts of queer worldmaking by José Esteban
Muñoz and Donna Haraway’s worlding.
Alexandra Cruchinho, Lusófona University, Portugal In most situations, the knowledge and skills that maintain some of the main traditions and cultural manifestations such as local handicrafts
are held by people of advanced age. The involvement of these people and the appreciation of their knowledge gives them a new dynamic in the society in which they live. Making these citizens active
is also one of the main focuses of the projects we have been developing. Thus, in a first phase, we developed the recognition of traditional artistic manifestations, handicrafts such as embroidery,
lace, patchwork, etc. After identifying the fundamental elements for the characterisation of the cultural heritage of a region, we try to explore the knowledge around this theme. Fashion emerges
as a value-added factor for the creation of new products that result from the reinterpretation of these ancestral technologies that characterise each region. This presentation demonstrates how
bringing this knowledge into the classroom context is the challenge we set for ourselves and the students.
Phillip Kennedy, National College of Art and Design, Ireland This workshop focuses on the role of artificial intelligence (AI) in education and explores how this technology can be used
as a tool to expand the possibilities of teaching and learning. By leveraging the power of AI, educators can free themselves from the constraints of traditional teaching methods and gain a new
perspective on how they can best support their students. Discover how AI can be used as a valuable tool in education, helping to free educators from the constraints of traditional teaching methods
and empowering students to explore new ideas and concepts. By leveraging the power of AI, educators can create personalised learning experiences that can foster creativity, innovation, and success.
Stacey Salazar, Maryland Institute College of Art, United States In this presentation, Salazar will share ways in which MICA is working, as the school’s mission states, to ‘thrive with
Baltimore’, a majority-Black city. As the senior administrator responsible for all of the school’s residential graduate degree programmes, her talk will focus on the graduate level. The presentation
will transition into a provocation for participants to consider the implications for art schools working as partners with/in communities in the 21st century, such as: reflection and action at
the individual and institutional level; iterative, participatory models for dismantling white supremacist structures with/in the college’s workgroups and departments — because you cannot do the
work outside the institution if you are not doing it inside; and cultural humility — engaging off-campus partners with a ‘humble hand’.
Pedro Retzke, Leonor Almeida, University of Évora, Portugal This session reflects on the positive aspects and difficulties in implementing transdisciplinary, community-based projects
in training contexts. ‘PLAY/ACT – Placemaking as Youth Activism’ is an Erasmus+ project coordinated by the University of Évora, with partners in Spain, Italy, and Hungary. The objective of the
project is to train university students to develop placemaking projects. This is to encourage transformation of public spaces through co-design practices with communities, with the aim of making
those spaces more participatory, happy, and sustainable. As part of the project, an international lifelong training course was created with the participation of the Universities of Évora (PT),
Extremadura (ES), and Basilicata (IT). Participants are invited to share examples of other transdisciplinary, community-based projects or pedagogical practices that promote relations between
academia and the physical, social, and cultural contexts where they operate.
Niall O'Hare, Belfast School of Architecture, Northern Ireland Students who struggle with reflective practices grab and grasp at information for fast, immediate data accumulation and
struggle with instigating and maintaining reasoning within their design process. This presentation seeks to awaken in students the traits of slowness to inform their personal development and
academic discernment. Providing students with observation training, a deeper articulation of attention, demonstrates greater verbal and illustrated subjective articulation. Situated slowness
may provide students with tools for inquiry which become more discerning, nuanced, and descriptive. Slowness as a learning attribute does not impede the breadth of learning; rather, it evokes
the substance of creativity and ingenuity.
Thor Magnus Tangerås, Kristiania University College, Norway An important aspect of situatedness is our interconnectedness with the natural environment (e.g. Chemero, 2009). Many environmental
psychologists assert that a person’s relationship with nature is a key antecedent of ecological values, beliefs and actions. Connectedness to Nature is a construct that has been operationalised
in order to “measure individuals’ experiential sense of oneness with the natural world.” (Mayer et al 2004, 504). Studies provide evidence of a “strong positive relationship between the Connectedness
to Nature Scale and eco-friendly actions” (2004, 512). Yang et al have found that experiences of awe can increase connectedness to nature (2018). How can poetry help us to acknowledge the loss
of nature and biodiversity? This presentation proposes three different strategies of strange-making based on my current poetic project, which thematizes the potential conflict between climate
concerns and preserving the natural environment. An explicit aspect of this is Wind Power: to what extent should we sacrifice wild nature in creating renewable energy? The central motif of my
project is the wind turbine. One experiential approach is what I term ‘lyrical vandalism’: translating romantic lyrical poems by e.g. Goethe and Shelley into Norwegian, and subsequently ‘damaging’
them by replacing nature-words with words related to wind-turbine technology. The second strategy is by way of metaphor and hyperbole: e.g. representing the wind-turbine as a giant insect or
plant. The third strategy is irony and satire: e.g. looking at the wind turbine as a musical instrument, a modern aeolian harp. The 20 min. presentation will provide concrete examples of these
strategies in specific poems, and discuss how they may create and sustain attention to our ways of experiencing nature through processes of defamiliarization.
Zsófia Szonja Illés, Moholy-Nagy University of Design, Hungary Join a talk on sensory methods in the context of more-than-human placemaking (see the above video) followed by a sensory
walk in Évora. The talk will reflect on what different kinds of arts- and design-based sensory methods (e.g., sensory walks, sensory ethnography, and sensory installation art) can do in relation
to global challenges such as climate change. The talk will work with the term ‘creative practice’ as research that involves participants and respondents in imagining, making, and telling as a
set of interrelated practices. It will consider how these might encourage and enable a different kind of place-based and sensory engagement, collaboration, collaborative learning, and understanding
around environmental issues, and how such methods might help designers to communicate complex, layered, entangled environmental and land use issues. Participants will be invited to join a sensory
walk in Évora to test out the method in the local context.
Bertrand Chavarria-Aldrete, Faculty of Fine and Performing Arts, Lund University, Sweden A workshop on the research ‘Plastic Extension of Music’. This workshop aims to create a new catalogue
of sounds in different outputs and associations with the help and collaboration of participants from the visually impaired and blind community in Sweden. With the information gathered, Chavarria-Aldrete
has conceived a workshop/test to create a new catalogue of the shapes, textures, resiliency, form, weight, scent, taste, verbal association, and elasticity of the musical elements that construct
a musical discourse. Associated with the tests and as a completion of the new catalogue of sounds, a series of clay expression workshops will be held to create a new iconographic history of sound,
unveiling its form through the hands of the visually impaired in a complete and new dimension of the absent physical form of sound. During the session the film Unveiling the invisible /
2022 / 17:01, by Bertrand Chavarría-Aldrete & Gonçalo Duarte will be screended. How does sound look like ? Ana and Carla, both visually impaired, tell us how they “see” and feel sound. This short
documentary is a fragment of how sound seems to unveil its mysterious form through the hands and “visions” of the visually impaired. Gonçalo Duarte, co-director of the film will be present
Lesley Raven, Manchester Metropolitan University, United Kingdom Photography* and collage will be used in the workshop to stimulate debate around visual communication and dress code.
Our garments and conference attire will be considered to investigate linkages between academic identity and the materiality of everyday dress framed by our creative practice and persona. Wearing
Practice is a development of a previous research project: Drawing Practice, a methodology to promote reflective practice and collaboration’ (IASDR, 2019; Raven, Carr & Shearston, 2019). Drawing,
as a common skill within art and design, was used to aid the depiction of tacit thoughts (Rodgers, 2008). Similarly, collage and image-making will be explored to support the articulation of our
thoughts and ideas.
*There will be opportunity for delegates to have their outfits photographed on Day 1.
Claire Binyon, ESMAE – School of Music and the Performing Arts, Portugal Binyon proposes to bring the Feldenkrais Method to the table. This practice which she has implemented in the
school of music, theatre, and dance in Porto is concerned with quality of experience and explores how to we can learn do something better without extra effort or force, but with attention and
pleasure, presence, and ease. ARRIVE, LIE DOWN, PAY ATTENTION TO YOURSELF, EXPERIMENT WITH THE IDEA OF BEING KIND TO YOURSELF AND BECOME AWARE OF YOUR UNLIMITED POSSIBILITIES FOR CHANGE, SPONTANEITY
AND CREATIVITY. START THE DAY FROM PLAY — CONTINUE WITH PLEASURE.
Lois Rowe, Sarah Woodfine, City and Guilds of London Art School + University of the Arts London, United Kingdom Presented by artists Sarah Woodfine and Dr Lois Rowe, this co-authored
event will be aimed at shifting the focus of creativity away from “outputs” towards an ongoing sense of open, formative practice. Situatedness will become a strategy for widening access to broader
creative knowledges that can be tapped into more readily through intuitive process. Beginning with a collective drawing exercise, participants will move into actively engaging with the environment
through a traditional frottage process and be asked to draw on their own sense of place and be open to finding new perspectives through non-authored practice. The experience is designed to embrace
collective place-making and value articulation through accessing immediate sources of creativity.
The workshop will build on a previous iteration of What Moves You which took place between students from Camberwell College of Arts and Ontario College of Art and Design (OCAD) University in
Canada through a virtual student residency. Seven fine art students from each institution were asked to explore space and place in their own locations. Responding to a series of questions, interesting
conversations opened, about immigration, policy and the regeneration of Camberwell and Toronto. They considered issues of regeneration and aboriginality and how art can be used as a catalyst for
social change.
Leonel Alegre, Marius Araújo, University of Évora, Portugal REPLAY aims to reduce waste associated with toys by promoting community-driven circular networks to collect toys and recycle
their materials. To complete the loop, an eco-design competition invited university students to design a toy made from recycled plastic, demonstrating how a toy can be sustainably engaging through
its lifecycle. The project engaged local schools and local entities, providing crucial tools for environmental education and proactive civic engagement. The University of Évora, together with
the Municipality of Évora and local stakeholders, set up a collecting and sorting network for end-of-life toys and tested a recycling circuit relying on the university’s Precious Plastic equipment.
Developed with five primary school classes, students had the opportunity to meet the OIO designers and get familiar with the design and production processes.
Marianna Chernyavska, I.P. Kotlyarevsky Kharkiv National University of Arts, Ukraine Situatedness generated by war creates an artificial aesthetic space — it can be any place, even that
completely unsuitable for such actions in normal peaceful times; for example, the Kharkiv subway, basements, or underground parking areas. And situational artistic events are a natural human
protest in opposition to war. Join this presentation on the various kinds of artistic events which occurred as result of the specific current situation in Ukraine — concerts, meetings, conferences,
readings, round tables. The leading topic of these events are achievements of Ukrainian art. At the end, Marianna Chernyavska will perform ‘Impromptu Waltz’ for the piano by Kharkiv composer
Volodymyr Ptushkin, who became one of the victims of war.
Mathilde Kirkegaard, Aarhus School of Architecture, Denmark This workshop will explore how the UNESCO World Heritage Site of Évora is valued differently by the people attending the conference
by orchestrating them to subjectively registrate and interact with the place. The workshop will work as an intervention, which is a planning method that strives to move the decision-making into
the public space (Oswalt et al., 2013). The workshop is inspired by research conducted in three different heritage sites in Denmark: an old fishing harbour, a former meatpacking district, and
a former freight rail area. The workshop will ask the question: Can an inclusive approach work as a democratic heritage management method? Join this exploration of the site-specific characteristics,
of physical interventions as a means to include, and of the intangible nature of the seemingly physical heritage.
Zsófia Szonja Illés, Moholy-Nagy University of Design, Hungary TJoin a talk on sensory methods in the context of more-than-human placemaking (see the above video) followed by a sensory
walk in Évora. The talk will reflect on what different kinds of arts- and design-based sensory methods (e.g., sensory walks, sensory ethnography, and sensory installation art) can do in relation
to global challenges such as climate change. The talk will work with the term ‘creative practice’ as research that involves participants and respondents in imagining, making, and telling as a
set of interrelated practices. It will consider how these might encourage and enable a different kind of place-based and sensory engagement, collaboration, collaborative learning, and understanding
around environmental issues, and how such methods might help designers to communicate complex, layered, entangled environmental and land use issues. Participants will be invited to join a sensory
walk in Évora to test out the method in the local context.
Gillian Proctor, Mary O’Neill, Elizabeth Wheelband, Richard Hudson-Miles, De Montfort University, United Kingdom The Museum of Leathercraft has made a selection of 20 leather artifacts
available for DMU staff and students to respond to. Each artefact will inspire opportunities to review heritage, materiality, technique, patina, and the relationship between digital and traditional
ways of making. This presentation shows the results of this creative collaboration and highlights the social, ethical, aesthetic, and political questions raised during the collaboration. This
presentation introduces a collaborative project called Artifacts Live, run between researchers at De Montfort University, Leicester, and the Museum of Leathercraft, Northampton [https://museumofleathercraft.org/].
The project invites today’s designers and researchers to use this archive as a creative resource for contemporary art and design practice.
Mary O’Neill, De Montfort University, United Kingdom This presentation will discuss three projects that encouraged students to engage with the world around them, both locally and globally.
Cheap Trends asked students to consider the materials used to make art and to explore the potential of waste from local textile factories as a material and source of inspiration. The Writing
Lab provided space and resources to give students, who are often averse to academic writing, an opportunity to explore text as an element in their creative practice. The Legacy of Leather invited
students to use objects from the Museum of Leathercraft as a source of inspiration. Each of these projects had an element of collaboration and social engagement. All were funded, and in some
cases the students were involved from the initial design of the project and funding application to the execution and review. Projects were designed to give students real art world experience,
and each project was a model for creating and funding projects post-university.
Elena Ananiadou, Aggelos Gkiokas, Pablo Palacio, Muriel Romero, Athena Research Center, Greece; International Consortium including: Amsterdam University of the Arts (Netherlands), Forum Dança – Associaçao Cultural (Portugal), La Tempesta (Spain), CYENS – Centre of Excellence (Cyprus), Argo Theater (Greece), Medidata.net – Sistemas de Informação Para Autarquias (Portugal), FITEI – Festival Internacional de Teatro de Expressão Ibérica (Portugal), Instituto Stocos (Spain), Laboratoire Hubert Curien – Université Jean Monnet Saint Etienne (France), Coliseu Porto Ageas (Portugal), ICK Dans Amsterdam (Netherlands) In this context, situatedness is interpreted as the way that the body of a performer as an instrument and a performance as an experience can be used to interpret the body itself, our relation
with it and the space around it, and the relation between the producers, the performers, and the spectators. In this workshop we will present a hybrid performance/presentation of PREMIERE that
will conduct two parallel actions. A presentation of the main notions and ideas of PREMIERE will take place during a dance performance by Instituto Stocos that will explore the notion of an extended
body by the use of interactive technology, in order to enhance our body presence and awareness, translating our body experiences into other sensorial modalities such as sound and light. PREMIERE
is an EU-funded research and innovation project that aims to modernise performing arts, with a focus on theatre and dance.
13:00 – 15:00
Lunch & slowing down
13:30 – 15:00
Açorda 4All
Sílvio De Matos, University of Évora, Portugal This is a performance but also an act of community/collaborative creation, resorting to the production and sharing of how to make a local dish characteristic
of the Alentejo region — the açorda de alho — with Arab origins around the 5th century and Christian and Jewish influences. A true cultural symbiosis, which fits perfectly into contemporaneity. De Matos
proposes not only to cook an açorda, but also to teach visitors how to make one in all its precept, speed, and character in a translation around the world, explaining that one day, with a lot of practice
and patience, anyone can be an Alentejano! Açorda is where families and friends meet, but also strangers, because in each stranger there is a potential friend.
14:00 – 15:00
Creative agency – Part of everyday life?
Anastasia Zagorni, weißensee school of art and design, Germany What if creative agency is being in relation to ourselves and to each other? And these each others are places, people, plants,
time, machines, and beyond? In this time of transition, is agency in the first instance about unlearning in order to go ahead and challenge assumptions, perspectives, and structures? Anastasia would
like to work together with participants to explore qualities and practices of being with complexity, and how this is actionable as just learning spaces. Join to discover more.
Andrea Palasti, Academy of Arts, University of Novi Sad, Serbia Have you ever wondered how it is to ruffle because of a light breeze, or to withdraw with the low tide? How to dance as
wrigglers, or to burrow yourself as a clam? ‘Fitness for Unlikely Species’ is an attempt to challenge humans to channel their bodily experience through physical movement while rethinking fitness
practices as connected to the environmental concept of entanglement by mimicking more-than-human worlds. By using the practice of mimicry, these shape-shifting somatic exercises can be regarded
as relational tools for finding new ways of learning, understanding, connecting, and moving between worlds. ‘Fitness for Unlikely Species’ was first delivered with and for the students of the
Academy of Art Novi Sad within the subject Elements of Visual Art, and for the students from the department of Art & Science at the University of Applied Arts Vienna, within the workshop ‘Liquid
Tools for River Fiction’. The exercises were primarily developed as ‘empathy exercises’ and as a warm-up strategy for the students before working with/in and around the Danube. Experience these
methods for yourself!
Catherine Dineley, Staffordshire University, United Kingdom Contemporary higher education is digital to the core. Learning environments are hyper-tech and immersive. How do we navigate
this artificial horizon with our students to activate learning while reducing the cognitive load? As modern visual cultures become increasingly ‘simmersed’ in AI, students from disciplines as
wide-ranging as architecture, ceramics, surface pattern design, and fine art respond in real-time to this low-tech, sustainable form of image making as if no time had passed. Outcomes are fervent,
varied, and fresh. What sense of connection to material and process is it that can so gamely supplant algorithms with the alchemic? What transportive magic? How can heritage processes be used
in teaching to positively disrupt our sense of situatedness?Cyanotype was one of the first non-silver technologies used to create photographic images. With lower toxicity than other photographic
processes, interacting with natural elements, sunlight and water, it is more sustainable and ecologically sympathetic. I invite you to interact and share while we investigate this slow process.
Roberta Alessandrini, IED – Istituto Europeo di Design, Italy This talk will give you some hints and a historical overview of the research of several authors. Taking advantage of the
stunning landscape of Évora, this outdoor experience will be based on a mind-body approach: listening, grounding, moving, drawing, telling and guessing stories, and a guided meditation to feel
the state of connection with the surrounding nature, with our inner selves, with our creative power, with our neighbours. Are you ready to switch off and experiment? Unleash your creative power
by reconnecting. Willis Harman and Howard Rheingold made an interesting example in their popular work Higher Creativity by explaining how the majority believes that some genius artists such as
Brahms and Beethoven were ‘inspired by their nature’. As a lecturer, Alessandrini believes that the real initial phase of the creative process is the most crucial and the most difficult one.
Antonio Sanchez Gomez, Rosario University, Colombia Sanchez Gomez shares pedagogical opportunities emerging from addressing the historiography of creativity from and for the Global South.
Finding panoramic histories focusing on the Global South, particularly in Spanish, has proven difficult for professors in that area. As a result, the classes have migrated to concept-based courses
with three main features in common. First, the classes depart from a theoretical question that sparks the need to access historical content focused on the Global South without the ambition of
outlining linear narratives. Second, while striving to provide all the content that students acquire from encyclopaedic, North-focused, normative histories, they recentre this knowledge in the
South by applying criticism from various studies: gender, racial, disabled, and decolonial. Third, as the classes depart from conceptual tools that highlight fragmented, non-teleological historical
narratives, lecturers encourage the theoretical and historical analysis that emerges from courses to result in a creative outcome. This talk addresses the challenges and opportunities of teaching
histories of creativity focused on non-normative and decolonial frameworks.
Michal Pauzner, Jonathan Ventura, Shenkar College of Engineering, Design and Art, Israel Shenkar is a large college located at the heart of Israel. Working in developing teaching methodologies
in Shenkar holds two significant challenges. First, the sociocultural context of an Israeli-situated art and design school necessitates the ability to understand and face local and global challenges
through the various curricula. Second, the students arrive from various sociocultural backgrounds, making their own situatedness extremely important as future creators and designers. These two
starting points accumulate an overall approach the lecturers imbue and develop in their design education strategies. This presentation focuses on a few case studies that illuminate the importance
of situatedness in our specific context, including facing ideological and political issues in the works of artists and designers; focusing on working with and for local communities; identifying
and implementing tools to develop vernacular art and design; and developing tools to encourage students to bring their own perspectives into class discussion and work.
Valerio Rocco Orlando, Brera Academy of Fine Arts, Italy Through practices ranging from workshops to video installations, he conceives art as a process of mutual knowledge and understanding.
The core of his research is the exploration of osmosis among institutions, museums, academia, and the social sphere. Thanks to the Ministry of Culture’s support within the Italian Council program,
in 2021 Valerio Rocco Orlando founded an independent and transdisciplinary school; he created a digital platform and started the restoration of a building granted to him by the city of Matera
for thirty years. His works are held in public and private collections, including: A. M. Qattan Foundation, Ramallah; Centro de Arte Contemporáneo Wifredo Lam, Havana; Centro per l’arte contemporanea
Luigi Pecci, Prato; Fundação Calouste Gulbenkian, Lisbon; La Galleria Nazionale, Rome; MACRO, Rome; MAGA, Gallarate; Mart, Rovereto; Museo del Novecento, Milan; MUSMA, Matera; Nomas Foundation,
Rome; VAF Stiftung, Frankfurt am Main; Villa e Collezione Panza, Varese.
This presentation will question how the relationship between art practice and pedagogy can affect how we share learning experiences. How can we understand and translate the need for such
interaction? What methods, paths, and reflections widen the social field to include diversity and otherness? How do we reconceptualize pedagogy to incorporate such informal and transversal processes?
How can we stimulate and activate conditions of autonomous exchange between learners? From the perspective of a collective, self-generative, and self-reflective school, how do we facilitate an
intergenerational caring relationship? How can the artist stimulate practices of self-organization? How do we construct a helpful approach to welcome functional solutions that rethink how we
inhabit a place?
João Soares, Vanessa Franco, João Eduardo Rabaça, Maria da Conceição Freire, Beatriz Monteiro, University of Évora, Portugal Coming from a Brazilian indigenous culture numbering 150
individuals, Ailton Krenak evokes the notion of multiple significances of humanities by looking at the world from a very particular standpoint. This touches on conceiving the hypothesis of ‘space
of being’ — a space of senses, a ‘Eutopia’, or ‘a possibility of utopia in our own time and space’ (Geddes). ‘Situatedness’ therefore invites thinking into modalities of living (well) in a broad
sense. It embodies the idea of connection with beings, things, and spaces around people (territory). In architecture and landscape architecture, it is called ‘context’. Biologists call it ‘habitat’.
This session thinks and designs a pavilion-like structure (a hut) built with an environmental consciousness, both in the systems and processes, materials, and forms and within an awareness of
natural and cultural contexts.
Marta Bozyk, Jan Matejko Academy of Fine Arts, Poland Learn about the project ‘Nature is My Homeland’, which involves creative activities (drawings, installations, graphics, and inter-media
forms) focused on the concept of nature as the ancient homeland, based on cultural anthropology, art history, and natural sciences. During the workshops, meetings, and lectures the artists and
researchers reviewed models of interaction between humans and nature and their reflection in art. The project includes hosting international workshops and seminars with the participation of specialists,
artists, educators, and students of the Academy of Fine Arts in Kraków and three foreign universities; exhibitions involving participants from Poland, Serbia, the United States, Germany, and
other countries; and the publication of monographs. The project produced a feature film presenting interviews with natural science experts, urban beekeepers, and artists dealing with nature.
Sanne Koevoets, Erasmus University Platform for Design, Impact and Transition, Willem de Kooning Academy, Netherlands The project ‘Transformative Reparative Pedagogy’ invites students
to participate in mending as a way of embodied and affective thinking-together-with-objects. In this lecture-workshop, Koevoets explores the possibilities of transformative reparative pedagogy
and research-creation together with the participants. At the start, she introduces the participants to an accessible visible mending technique. Together with participants she will form a mending
circle, so that they can explore its potential as architecture and diagram of transformative knowledge transfer and recuperative sociality. The mending circle will continue throughout the session,
with participants being encouraged to work throughout or take breaks to listen or talk as they feel fit. Participants are invited to contribute to the collaborative vision on utopian mending
in art and science.
Lies Colman, Royal Conservatoire The Hague, Netherlands & Royal Conservatoire Antwerp, Belgium The position and profile of ‘the’ classical music performer is increasingly questioned
— culturally, dramaturgically, pedagogically, socially… The centuries-old paradigm of the virtuoso execution of the untouchable written score is being replaced or complemented by a sociocultural
concept of music, where the performance is considered to be a functional praxis within a specific social-cultural situation, an embodied and social act instead of fact, a highly diverse social
praxis within an integrated network of socially situated music-makers and listeners. This presentation invites the audience to join the investigation into the individual as well as social and
communicative dimension of collaborative artistic praxis and offers a proposal for a ‘creative-performative model’ as a methodological tool.
Pedro Moreira, University of Évora, Portugal Created by EArtes student Pedro Moreira, the ‘Plug-in’ project, developed within the framework of the research initiation scholarship ‘Summer
With Science_Magallanes’ at R&D CESEM – Center for Studies in Sociology and Musical Aesthetics, oriented by Professor Ana Telles, sought to welcome new students at the University of Évora’s
School of Fine Arts, promoting an interaction between themselves, the community, the school, as well as its materials and spaces. Based on a multidisciplinary and interactive premise, different
games and workshops were promoted, using different techniques and forms of artistic expression, as a way of creating an inter- and transdisciplinary artistic object, making use of the human and
infrastructural potential of arts. Join this session to find out more.
Mel Brown, Bridgette Ashton, Arts University Plymouth, United Kingdom In ’Playing for Time’, Lucy Neal introduces the driving force behind her book as a desire to understand the role
our imaginations and creative skills play in reimagining a world in which life on Earth is cherished and sustained. In our cross-uni project ‘the Curiosity Incubator’ we invited our students
to work together, sharing their subject skills in pursuit of creative problem solving to pursue visions of a better world. The project began with three workshops — HOME, SUSTENANCE, and FOLK
— each oriented towards specific targets within the United Nations Sustainable Development Goals. For ELIA we would like to recreate our FOLK workshop. purposefully situating ourselves off this
troubled planet to explore troublesome futures and imagine fantastic solutions. We invite you to playfully consider: what will society/culture look like? What artefacts will be made? What stories
will be told?
Jovana Karaulic, University of Arts in Belgrade, Serbia As a co-founder of the initiative Green Art Incubator and Assistant Professor at the Faculty of Dramatic Arts in Belgrade, Jovana
will focus session on understanding the possibilities of eco-shift in thinking of green management and the challenges of arts as an agent of positive change. In order to understand the new paradigm
in an old structure it is necessary to learn and rethink ‘how we do what we do’ in a relation to overall aesthetic and production philosophy. Through the interactive collaborative workshop, we
will try to explore the eco-turn of art practices, research methods, and education as a powerful platform for understanding the complex matrix of environmental and social crises.
17:00 – 17:30
Coffee Break
17:30 – 18:30
Plenary contribution by Irina Cherniaieva HYBRID
18:30 – 20:00
Break
19:00 – 20:00
Jewish Évora – Musical and theatrical approach
Monika Streitová, Liliana Bizineche, Isabel Bezelga, School of Arts, University of Évora, Portugal After centuries of peaceful coexistence in Évora, which for this reason earned it the designation
of City of the Three Cultures, the 16th century represents an implacable turn against Jews and Muslims, through the edicts of forced conversion, expulsion, and expropriation, and by the odious processes
instituted by the tribunal of the holy office, which leave their marks in a whistle-blowing compulsion forged by the Inquisition. This eradication of cultural practices, spiritual experiences, and emotional
relationships that define urban sociability has led to a profound invisibility in the heritage memory of Évora. The Jewish Évora project will involve theatre and music students of the School of Arts.
The theatre students will incarnate various personalities of the residents of the Jewish quarter. Their premiere performance of the arrangements of the iconic Jewish songs performed by Tomas Novotny
will be complemented by pieces by Jewish composers or composers inspired by Jewish music.
20:00 – 22:00
Dinner
22:00
Wind Ensemble Concert
Venues: Colégio dos Leões (CL), Morada: Antiga Fábrica Leões, Estrada dos Leões
Colégio Mateus d' Aranda (CMA), R. do Raimundo 104
Colégio do Espírito Santo (CES), R. do Cardeal Rei 6
08:30 – 09:15
Running Artfully
Veronique Chance, Anglia Ruskin University, United Kingdom Chance would like to expand on what has previously largely been a solitary art practice shared with others via live-streamed and recorded
technology and to explore more participatory, inclusive, and pedagogical possibilities. She would like to take you on a (slow) running journey, using our bodies and mobile phones to explore and share
our immediate surroundings with one another, either as running participants, running alongside her in person, or as observer/receiver participants, who could track and view our journey, giving us directions
as we run. She aligns this work to performance art practices in the ways in which the limits of the body are tested through the physical demands of long-distance running, while the limits of technology
are also challenged through the ways in which she communicates that experience to others.
Rita Carvalho, Inês Marques, Lusófona University, Portugal Departing from the observation and discussion of the 16th-century frescoes depicting birds at Casas Pintadas, we invite you
to take a walk while listening to the songs of diverse species of birds, following a route in the outskirts of Évora. Using the audio recorder of their mobile phones, participants will record
bird sounds they hear along the way. Participants are then invited to imitate some of these sounds and translate them into their own written language. This moment will be followed by the construction
of an onomatopoeic object (interpretation of these sounds) using natural found materials. These new words, made with three-dimensional letters, are a human way of speaking avian language. At
the end of the workshop these objects will be placed in nature as a humble homage to the birds, challenging the menace of a silent spring (Carson, 1962).
Fae Brauer, University of East London, United Kingdom Negotiating Ecological Intersectionality: Illuminating Environmental Calamity and Sustainability through EcoArt: As ecological crises
accelerate, the interconnectedness of climate change with human societies and the need for environmental sustainability increasingly requires investigation and illumination, particularly through
intersectional methodologies and their application to art. These intersectional methodologies may be defined as exposing, following K. Davis, “the interaction between gender, race and other categories
of difference in individual lives, social practices, institutional arrangements, and cultural ideologies and the outcomes of these interactions in terms of power”. How diverse genders, sexualities
and ethnicities relate differently to climate change, due to their specific situatedness in power structures, institutional practices, social categorisations and knowledge production, has been
exposed through multileveled intersectional investigations and illuminated through EcoArt, including Ecophotography. EcoArtists have endeavoured to reveal how power structures, categorisations
and unsustainable lifestyles have contributed to the emission of greenhouse gases, global warming and ecological crises while challenging and renegotiating them in order to explore how climate
change may be combated and environmental sustainability pursued. By focusing upon the Ecophotography of the Canadian, Edward Burtynsky and Bangladeshean, Munem Wasif, plus the EcoArt of English,
Michael Pinsky and Australian, Janet Laurence, this presentation shall explore their diverse engagements with ecological intersectionality. After focusing upon their exposures of the impact of
diverse ecological disasters, particularly in relation to new planetary awareness of environmental risks and sustainability, this presentation shall then examine how these EcoArtists also explore
ways in which relations between human subjects and the global environmental imaginary may be reconceived in time and space.
Sanja Bojanic, Academy of Applied Arts, University of Rijeka, Croatia In an exercise of intellectual ‘response-ability’ (Haraway, 2016) and to be able to cultivate collective ways of
doing and knowing before even entering the class at the art academy, ‘I’ disclose my situatedness as a political subject of knowledge. The first premise allowing me to address the phenomenon
of eco-anxiety consists of presenting various aspects of the situation: ‘my situation’ and ‘the situation of each student’ attending the class. The position I occupy in the class determines its
environment and is also determined by it. ‘Survival tools’ are built together and through various stages of our work in class. Response provided through arts and pedagogical mechanisms in an
art school bring specific forms of the meaning of the ‘here and now’ momentum. Anchored in this momentum, we create conjunctures, oppositions, and combined aspects of our shared situatedness.
Filipe Rocha da Silva, University of Évora, Portugal Join this presentation on the creation of a centre that will rejuvenate the textile activity in Arraiolos, Portugal, by bringing
over new generations of artists, designers, and artisans. This is also helped by the proximity to Arraiolos of the University of Évora, which teaches, among others, courses in chemistry, heritage,
fine arts, and design. The aims of the laboratory, besides being artistic, are also scientific and technological, to bring further knowledge about the Arraiolos carpet and textiles in general.
There is an ongoing collaboration between the village and the university in which the following areas are being contemplated: natural materials and colorants; digital designing and weaving; cooperation
with the local handicraft and standard improvement; and international collaboration with other textile labs, artists, and designers.
Sonintogos Erdenetsogt, Odsuren Dagmid and Uranchimeg Dorjsuren, Mongolian National University of Arts and Culture, Mongolia Living cultural heritage is at risk all around the world.
Preserving these practices is especially important in Mongolia due to the relative paucity of tangible heritage objects and structures, which is why the Culture has registered XVII intangible
cultural heritage practices with UNESCO. Their projects are based on the traditional culture and artistic values of Mongolians, to prepare researchers and artist practitioners who combine tradition
and innovation and contribute to world culture. They would like to share how they, as Mongolians, their intangible cultural practices, based on their traditional nomadic culture, see and live
in the world differently. In this way, they hope to provide an understanding of the roots of our artistic, cultural, and social context when making art.
Thomas Arctaedius, The Royal College of Music, Sweden A new course in sustainability for musicians has been developed at the Royal College of Music in Stockholm. The course covers three
aspects of sustainability: ‘inner sustainability’, understanding how to manage your own work in order to be able to work as a musician throughout your working life; how to work as an international
musician in a sustainable way; and how music and musicians can participate and enhance the transformation of society into a sustainability, working towards the Sustainable Development Goals.
Andrew Kulman, Birmingham Institute of Creative Art, Birmingham City University, United Kingdom The research focuses on the expectation on higher education institutions to ensure employment
for art and design students. Students find the first steps into industry and employment. Kulman’s presentation will look at a number of case studies that explore the space between undergraduate
and postgraduate experience and between graduating and employment. Many students find it difficult to navigate the chasm that leads to employability, having had a secure experience in higher
education. The presentation will look at how the graduate artist-in-residence scheme has allowed students to gain experience and confidence while preparing to find full-time employment. There
are also added benefits to those who work around the artist-in-residence, as they gain new knowledge and see the transition between education and employment. The presentation will consider situatedness
in terms of how academics, learners, and those in-between view the learning environment.
Falk Hübner, Fontys Fine and Performing Arts, Netherlands Artists have always related to what happens around them, both on a local and global level. This relation to society manifests
itself in many forms of artistic practices in public spaces and spheres. The professorship ‘Artistic Connective Practices’ at Fontys Fine and Performing Arts in Tilburg addresses the notion of
‘artistic connectivity’ as a lens towards artistic research in relation to society and the socio-economic and ecological issues of our time through a number of core values, such as: connecting
through spending time together; mutual respect and endless curiosity; and reciprocity, affinity, integrity, and kinship. The overarching question is what artistic research, rather than the arts
exclusively, can offer to specific communal or societal contexts. Let’s explore together how such situated approaches can contribute to higher arts education and how they might be inspiring approaches
towards teaching and learning in the arts.
Dana Gez, Bezalel Academy of Art and Design, Israel In Israel these days, the political climate is turning ever more divisive. People of different ethnic backgrounds and nationalities
seldom cross paths in non-conflict situations. This is especially apparent within the schooling system. For many, higher education is the first meeting point with people from another background.
Higher education thus lays bare this political complexity, resulting in special challenges as well as a rare potential for undoing some of the harm caused by the politics of division. Gez wishes
to analyse the political and demographic dynamics in Bezalel today. In this talk, Gez presents and discusses several hands-on initiatives currently being workshopped, including a parallel typographic
catalogue in Arabic to supplement the Hebrew one, Arabic language courses aimed at faculty members, an advanced undergraduate course in Arabic typography, and revising existing courses’ curricula
to reflect the principle of diversity.
Steve Hawley, Professor Emeritus, Manchester Metropolitan University, and Steve Dutton, Professor Emeritus, Bath Spa University, United Kingdom In 1967 two sociologists decided to study
how art students became socialised and spent three years observing and recording verbatim the teaching at ‘Midville College of Art’, actually Lanchester School of Art, Coventry. The resulting
book, Art Students Observed (1973), has become a classic of art teaching literature. 55 years later we have interviewed the same students and asked them about those experiences. Their reflections
combined with on-the-spot observations in the studio, and sometimes savage critical assessments by tutors, are presented as a video that forms the basis of a critical debate about how much has
changed in the art school. What happened in Coventry then became the default mode for contemporary galleries around the world in the subsequent years. The proposal puts the students’ own views
and words at the heart of a critical debate about teaching methods, and who exactly the Fine Art experience is for.
Olívia Da Silva & Adriana Baptista, Escola Superior de Media Artes e Design do P.Porto, Vila do Conde uniMAD, Unidade de Investigação de Media Artes e Design Reconfiguring the photographic
studio as a context for portraiture requires diversified forms of research using digital practices, but also sustainable processes; the way in which the present recovers the past, within or outside
the situation in which it occurs, and the way in which, in each photograph, the present can construct the past in a new and coherent context. This photographic project works on the two lives
of photography as process and product. One of the lives runs between the technique and the goals of who builds, produces, and manipulates the photograph; the other life blurs the boundary between
explicit and implicit by who, seeing, retrieves, values, and interprets the heritage made into a new photographic context. Both lives leave the time in which photographs are made; that is, both
resort to a search for everything that provides those who remain in the photograph with the possibility of keeping active the way in which life is/was based in a context. Join to find out more.
11:30 – 12:00
Coffee break
12:00 – 13:00
Closing contribution by Belén Santillán and Katja Henriksen Schia HYBRID
The Arraiolos Rug Interpretation Center is a museum that has been open to the public since 2013 and presents information about one
of the most important textile expressions in Portugal, the Arraiolos Rug, which is documented since the 16th century. In this mobile visit, the historical origins, techniques, materials and decorative
evolution of this important textile tradition will be explored.
The Centro de Arte e Cultura of Fundação Eugénio de Almeida (Eugénio de Almeida Foundation Arts and Cultural Centre) is a
space dedicated to the promotion of artistic and cultural initiatives, guided by social commitment and sustainable practices based on a multidisciplinary, formative and inclusive programming,
realized through exhibitions, with a focus in contemporary art, as well as to the organization of performative projects and educational programs. The timeless nature of art is evident in the
murals of the Casas Pintadas (Painted Houses), a rare example of palatial mural painting dating from the first half of the 16th century.
Malagueira is a project by architect Álvaro Siza Vieira (Pritzker Prize 1992) begun in 1977, which includes a 27ha expansion area to the
west of the historic centre of Évora. The visit, accompanied by teachers and researchers Pedro Guilherme and Sofia Salema, begins in the amphitheatre (next to the lake) and will walk through
the gently sloping streets of this neighbourhood, providing a narrative that includes the main built elements - the housing, the conduit and the public spaces - as well as highlighting the elements
not yet built - the half-dome and the restaurant. The visit will take a maximum of two (2) hours, and comfortable shoes are recommended.
Venue: Colégio Mateus d' Aranda, R. do Raimundo 104 & Colégio dos Leões, Morada: Antiga Fábrica Leões, Estrada dos Leões, 7000-208 Évora, University of Évora
Visitors’ Portraits
Katja Henriksen Schia, Maria Santillán, Oslo National Academy of the Arts, Norway In our actual context, higher education is facing major challenges, like budget cuts and the possibility of
tuition fees for non-European students. Therefore, more barriers to access are created. The intervention ‘Visitors’ Portraits’ is a political-poetical statement, thinking about gates and gatekeeping.
Though the doors of higher education institutions are open, what keeps many from entering? Through a combination of questions that can portray a visitor’s imaginary about a situated art field (a specific
art school, the access to culture and education in a context), we made an intervention-action in our current institution, Oslo National Academy of the Arts, during its Open Day to Visitors 2022. Henriksen
Schia and Santillán will connect with participants, offering them a portrait, and share a conversation about their relationship with the place, including their thoughts about access to higher education
and the future they envision for themselves and the university.
“Derealisation”
Mariia Charkina, Kharkiv State Academy of Design and Arts, Ukraine The topic of the work is the replacement of reality, or derealisation. Creating contrast of objects in space. The project
raises the psychological problem of perceiving the surrounding world as an illusion. During severe upheavals, life turns into a waking dream, in which the real seems artificial. Your world has become
scenery, after long steps up the stairs over the abyss. At the heart of the composition are two trees — two different realities. And the space between them is the path from one to the other, from the
living to the dead. The connecting thread is hung with cages, which means stiffness and fear.
Light and Shadow
Olga Bondar, Anna Vehnyk, Kharkiv State Academy of Design and Fine Arts, Ukraine Play of light and shadow. Tranquillity and tension. Fear and hope. This project is about inner feelings and thoughts
that evolve in this new reality that shaped after 24 February, 2022, with the invasion of the Russian Federation on the territory of our country. Since then, we, like hundreds of thousands of our fellow
citizens, have been forced to experience what it means to be refugees, what it is like to hide from shelling, to live without water, heat, and electricity, and how it feels to lose relatives and friends.
And this project is an attempt to explore and visually represent the feelings and emotions of people under the permanent tension that is now dominant in our society.
Sense of Évora
Baptiste Gautier, University of Évora, Portugal This project revolves around the sense of place; in other words, the intimate and subjective relationship that can exist between humans and places.
The city of Évora, unique in its architecture and resplendent with authenticity and charm, is a fertile ground for this artistic exercise. The project has two dichotomous dimensions. On the one hand,
the audience should feel invited to open to the environment, to let their own memories and experiences interact with the stimuli of the city of Évora to deliver a first version of the sense of place.
However, too often the sense of place tends to be reduced to this individual subjectivity. As if a place could not exist independently of the human mind. Therefore, a second version of the sense of place
is sought by highlighting the intrinsic and objective elements that give a place its special character. The video presentation is intended to be a brief glimpse of how the sense of place of Évora can
be transcribed in a videographic way.
TALKS WITH STONES: Site-specific performance and its reproduction in time and space through expanded reality
Ana Tamen, Jorge Sá, University of Évora, Portugal TALKS WITH STONES explores a site-specific performance and its reproduction in time and space through expanded reality. The first part of this
investigation is based on fieldwork at the Almendres Cromlech, carried out within the framework of the Master’s in Theatre at the University of Évora. It aimed to create a site-specific performance with
actors, over five days, through an immersive approach which was guided according to a pre-established psycho-physical protocol. Entitled ‘Conversas com Pedras/Talks with Stones’, the work is an interrogation
about the passage of time: the traces of a previous life contrasting with our present, and specifically, the ‘here and now’, which is intrinsic to the performance. This means that the explored site-specific
term can be reproduced, perceived, and lived out of place, at any time through new technologies. See for yourself.
