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PIE’s Stones to be turned Following the Biennial Conference theme, the PIE working group invites colleagues to join the session of the Platform Internationalisation ELIA (PIE) to talk about topics that may not be so comfortable in the work of this community, being heads of internationalisation, policymakers,
and other colleagues with these responsibilities in higher arts education institutions.
The First Stone: The Internationalisation Work. What does it mean to work for the international office? What responsibilities do we have? Which are the unspoken and sometimes unseen tasks
that we are performing? The two years of pandemic have also been quite tough for some of us. How did we deal with that and what tools were we provided with by our institutions. When turning this
stone, we help each other in understanding ourselves, what we do and how can we prevent ourselves being engulfed by work.
The Second Stone: Induction of New Students How is being done by the different institutions? Has the pandemic changed the expectations and attitude of the students? What steps are we taking
to integrate the national and international students? Are we capable of providing the extra care that international students need when they move to a new country to study?
The Third Stone: Institutional Cooperation: difficult choices Institutions face difficult choices when accepting or refusing partnership agreements with other higher education institutions.
The dilemmas we face between education freedom and politics. How do we go about all the difficult choices? While turning this stone some colleagues help us in finding ways of making the choice
and deal with the dilemmas.
10.00 – 10.30
Welcome and Introduction Introduction of the UAX project
10.45 – 13.00
First Stone: The Internationalisation Work
Presenters: Aparajita Dutta (KABK – Royal Academy of Art), Astrid Anna Behrens (University of Applied Arts Vienna), Vit Havránek (Academy of Fine Arts Prague)
Are you a student interested in tackling global challenges such as climate change, sustainability, democratic resilience and social cohesion?
Agents of Transformation is a student-driven platform for systemic change through arts and design, helping institutions and decision-makers
in politics and industry to understand the future through the lens of the next generation in arts and design. By engaging students on a pan-European level, AOT provides visibility and promotion
for arts and design student initiatives that address today's systemic societal, ecological, and political challenges. Thereby empowering students in art and design by bringing them into conversations
with decision-makers in higher education and politics. Agents of Transformation operates within a yearly cycle of different episodes, covering student workshops, expert consultation, public dialogue
and follow-up.
This Biennial workshop aims to bring together students to determine and steer conversations and actions for the future. What challenges should we tackle in arts education? Join us!
In 2045 the world as we know it will look very different. Although we cannot predict the future, we can shape it. FAST45 (Futures Art School Trends 2045) recognises the potential of the creativity
and imaginative thinking nurtured and developed in art schools. This burgeoning power and the drive for innovation in society have inspired key players from higher arts education and business
to join forces. The aim is to imagine and promote a future in which the arts and arts education plays an integral role in a world radically reshaped by the 4th industrial revolution, globalisation
and climate change.
During this hands-on workshop, participants will join in the process of discussing change drivers and futures images of IHAE in 2045. This workshop is supporting FAST45 project to created scenarios
aiming to empowering arts institutions not only to anticipate an unknown future but to actively shape it. The workshop is based on data collected from previous workshops (Futures Art School Labs)
organised in six higher arts institutions.
Find out more about the FAST45 project here.
FAST45 is an Erasmus + Knowledge Alliance funded by the European Union.
The Sibelius Academy is the cornerstone of Finnish music culture through its expertise in teaching, research, and artistic activities. Its primary mission is to foster and renew the culture of music.
It is an internationally recognised centre of learning, a creative community of about 1,500 students and 500 teachers, and one of the largest music academies in Europe.
The Fine Arts Academy offers a highly esteemed programme within four subject areas: sculpture, painting, printmaking, and time and space arts, which allows students to specialise in moving image
and site- and situation-specific art or photography. The academy is a pioneer in the field of artistic research. Research and teaching are in close interaction with each other, and research is
regarded as the underlying premise of contemporary art. Doctoral studies in fine arts provide students with skills needed in conducting independent artistic research. Integral to fine arts are
a curriculum that emphasises personal aspirations and freedom of choice, interaction between teachers and students, and one-on-one guidance.
Uniarts Helsinki’s Theatre Academy offers bachelor’s, master’s, and doctoral programmes in performing arts. Performances are a significant part of the core of teaching and research at the Theatre
Academy, which is why they are also included in the degree requirements. For students, performances are an instrument for producing art, a research tool, and an opportunity for hands-on learning.
12:00 – 13:00 EET
Meet & mingle session for newcomers
Is this your first ELIA Biennial Conference? Want to make the most out of it? Then this session is for you! Join us for a quick overview of what to expect, the tracks on offer and programme highlights.
Find a Conference Buddy - If you'd like, the ELIA team will happily pair you with a Conference Buddy - a regular ELIA conference-goer for company. Enjoy the sessions and events with a familiar
face. Get helpful Biennial tips and insider knowledge from an active ELIA member.
The Artistic Research Platform connects researchers, academics, (PhD) students and leadership interested in artistic
research practices and developments in the field. The Biennial edition of the Artistic Research Platform Meeting will be an opportunity for the ELIA community to exchange and learn about new
opportunities and developments in artistic research. Building on the Florence Principles and the Vienna Declaration on Artistic Research, we will also explore how to further join forces to increase
the recognition of Artistic Research at European level and beyond. An update will be given with regards to ongoing OECD Frascati Manual efforts followed by a panel conversation on the theme of
open research. Join to hear more about these developments.
Panellists: José Filipe Silva (Professor, Theoretical Philosophy and Vice Dean for Research and Doctoral Education Faculty of Arts, University of Helsinki), Ilmari Jauhiainen (Federation of Finnish
Learned Societies Senior Expert, Open Science and Research Secretariat), Glenn Loughran (Lecturer and Programme Coordinator, TU Dublin, School of Creative Arts), Ellen Røed (Professor, Stockholm
University of the Arts).
ELIA's new EDI Working Group was formed in December 2021 to address and activate equity, inclusion, and diversity
within ELIA member institutions. The EDI Working Group aims to raise awareness, create a peer learning platform among leadership, staff and students, connect to other organisations/parties dealing
with EDI, and help ELIA act against discrimination in the HAE sector. We invite the ELIA membership to join this interactive session at the ELIA Biennial in Helsinki and share your experiences,
challenges and knowledge. Let us together create a welcoming space where a greater sense of social justice and ideas and visions about a more inclusive higher arts education sector can be activated.
PIE’s Stones to be turned Following the Biennial Conference theme, the PIE working group invites colleagues to join the session of the Platform Internationalisation ELIA (PIE) to talk about topics that may not be so comfortable in the work of this community, being heads of internationalisation, policymakers,
and other colleagues with these responsibilities in higher arts education institutions.
The First Stone: The Internationalisation Work. What does it mean to work for the international office? What responsibilities do we have? Which are the unspoken and sometimes unseen tasks
that we are performing? The two years of pandemic have also been quite tough for some of us. How did we deal with that and what tools were we provided with by our institutions. When turning this
stone, we help each other in understanding ourselves, what we do and how can we prevent ourselves being engulfed by work.
The Second Stone: Induction of New Students How is being done by the different institutions? Has the pandemic changed the expectations and attitude of the students? What steps are we taking
to integrate the national and international students? Are we capable of providing the extra care that international students need when they move to a new country to study?
The Third Stone: Institutional Cooperation: difficult choices Institutions face difficult choices when accepting or refusing partnership agreements with other higher education institutions.
The dilemmas we face between education freedom and politics. How do we go about all the difficult choices? While turning this stone some colleagues help us in finding ways of making the choice
and deal with the dilemmas.
14.30 – 15.15
Second Stone: Induction of New Students
Presenters: Shona Paul (The Glasgow School of Art), Sandra Mell (Estonian Academy of the Arts)
15.15 – 16.15
Third Stone: Institutional Cooperation: difficult choices
Presenters: Florence Balthasar (Zurich University of the Arts), Aparajita Dutta (KABK – Royal Academy of Art)
ETHO is ELIA’s platform for technical staff and technical services which aim to advance hands-on learning and innovation in all
artistic disciplines through an inclusive community. After a technical visit to the Aalto ARTS workshops, Emerging Technologies in Arts and Design Education will feature three case studies:
Virtual Production at Nottingham Trent University, presented by Abid Qayum Virtual Production is a rapidly growing area of filmmaking and content production. This case study
looks at how NTU is developing resources in VP and new immersive Media, seamlessly and sympathetically alongside more established and understood technical disciplines, processes and workshops.
Bioart Lab at Willem de Kooning Academy, presented by Aldje van Meer The living stations are dynamic learning environments in which students are challenged to respond to
major societal issues while at the same time, they get introduced to materials and technologies. This case study will show the development of several education programs within the Living Stations
and the challenges we are facing in doing so.
Digital Manufacturing at Aalto University, presented by Tapio Koskinen The School of Arts, Design and Architecture started investing in digital manufacturing already in the
late 1990s. The new building, completed in 2018, included multifaceted facilities for both deductive and additive digital manufacturing. This case study will present how digital manufacturing
is changing pedagogy when teaching design for 1st year BA students.
Skills: A Buzzword or Problem-Solving Strategy? Future skills, creative skills, urgent skills, ... "skills" are currently being used to remeasure parts of the cultural sector. What does this mean? Are we talking about the substantial
contribution of artists and designers to solving the big problems of tomorrow, or is it simply the wishful thinking of politicians?
In this workshop, we look behind the buzzword and explore why a skills-based approach is helpful. We discuss which skills from the artistic and design disciplines could be relevant, how
they can be explored for society and politics, and what impact can be achieved.
This workshop brings together students and curriculum leaders from arts universities with policymakers. During the day, we will work on three concrete cases in a flexible and innovative
setting. At the end of the day, the ELIA Working Group "Careers in the Arts" will give first answers to the question of how
to make a difference with creative skills, what this would mean for higher arts education, and why this would be important.
14.30 – 14.40
Welcome and Introduction
14.40 – 15.30
Case One – ZHdK SkillMatcher
The ZHdK "SkillMatcher" tool is an AI-based experiment by the Zurich Centre for Creative Economies (ZCCE). It identifies overlaps between the skills profiles of ZHdK degree
programmes and the requirement profiles from job advertisements. ZHdK students are shown the most suitable job profiles for their skills and vacancies. How could the Accreditation
and Quality Development Office of ZHdK use this tool for the internal processes of programme development and quality assurance? What could be the advantages of a skill-based approach
to the labour market for arts universities? … These and more questions will be discussed. Presenter: Christoph Weckerle, ZHdK, member of the ELIA Representative Board and chair
of the Careers in the Arts working group Hanja Blendin, Accreditation and Quality Development Office ZHdK Roman Page, Data Analyst, ZHdK
15.30 – 16.30
Case Two - University of the Arts Helsinki
Competence-based curriculum: its limits and risks in higher arts education This case outlines the risks of a skills-based curriculum Presenter: Kai Lehikoinen, University Researcher
Climate action, higher arts education, student voices, community outreach, innovation, and global and urban contexts all interconnect when thinking about environmental sustainability. Arts universities have the potential to play a pivotal role in climate
action. Students are vital actors in all this, often the voice of change. Reducing institutions' negative impact/carbon footprint is already on the minds of many and starts with revisiting our
own practices and policies. Taking one step further, many arts universities are integrating sustainability skills and thinking into curricula. Should we also consider working with local communities,
industries, and municipalities to boost innovation and creativity in climate initiatives?
In part 1 of Claiming a Role in Climate Action join the conversation on creating sustainable higher arts education and be inspired by stories from peers, students and innovative projects.
This session will be followed by an interactive workshop (on location only) from 17:00 to 18:30.
Speakers: Teemu Sorsa (Uniarts Helsinki), Maria Hansen (ELIA), Alessandro Galli (Global Footprint Network, EUSTEPs), Abbie Vickress (University of the Arts London), Sakis Kyratzis
(University of the Arts London), Úna Henry (St. Joost School of Art & Design), Sanne Karssenberg (freelance process designer and educator in arts and design, CrAFt), Pauline Berger (St. Joost
School of Art & Design), Michaela Davidova (St. Joost School of Art & Design). .
The Arts in Education Platform meeting at the ELIA Biennial 2022 will focus on how arts teachers can be ever more challenged
by their students’ own learning processes. How flexible should arts teaching become? In which ways can peer-learning and deep interactivity benefit arts education? How can approaches to arts
teaching (based on teamwork, multidisciplinarity and competences) enhance student autonomy in learning processes?
Through a moderated discussion between the panellists and the participants we will discuss new models in arts education and reflect on how higher arts education institutions can prepare
their students to become increasingly open, inclusive and innovative arts teachers.
Presenter and panellist: Thomas Bloch-Bonhoff (Musikschule Konservatorium Zürich)
Panellists: Þóra Einarsdóttir (Iceland University of the Arts), Fríða Björk Ingvarsdóttir (Iceland University of the Arts), Marika Orenius (Uniarts Helsinki) and moderator Ana Telles
(School of the Arts, University of Évora).
Are you curious about what new opportunities for higher arts education are brewing in the European Commission? This session will highlight significant developments in funding and policy at the European
level. We will consider the EU funding schemes most relevant for ELIA members (Erasmus+, Horizon Europe and Creative Europe). We will also make connections to ongoing intersectoral initiatives
like the New European Bauhaus, and new developments in the Cultural and Creative Sectors. Join the expert panel in exploring how European policy is responding to the changing needs of higher
education, research, knowledge exchange and funding in the field of the arts.
Panellists: Ioana Dewandeler, Policy Officer Higher Education, European Commission, DG Education and Culture) Stefan Gies, Chief Executive, Association Européenne des Conservatoires,
Académies de Musique et Musikhochschulen (AEC)
Moderators: Silke Lange, Associate Dean of Learning, Teaching and Enhancement at Central Saint Martins, University of the Arts London
Irene Garofalo, Advocacy and Project Manager, ELIA
In this participatory workshop, which builds on part I of ‘Claiming a Role in Climate Action’, join the thinking, doing and imagining that is urgently needed to further integrate environmental sustainability
skills and thinking into curricula. In this session we use our own experiences with practices and policies as a starting point to collectively imagine how to work towards an inclusive, beautiful,
and ecologically sustainable future (inspired by the New European Bauhaus principles). Breaking out in smaller groups, we will dive into the roles and skills of the different actors and agents
involved in future infrastructures of change. What does sustainability-thinking look like when put into practice? And how might we imagine programmes and actions with all key actors involved,
in order to make urgent change happen?
Skills: A Buzzword or Problem-Solving Strategy? Future skills, creative skills, urgent skills, ... "skills" are currently being used to remeasure parts of the cultural sector. What does this mean? Are we talking about the substantial
contribution of artists and designers to solving the big problems of tomorrow, or is it simply the wishful thinking of politicians?
In this workshop, we look behind the buzzword and explore why a skills-based approach is helpful. We discuss which skills from the artistic and design disciplines could be relevant, how
they can be explored for society and politics, and what impact can be achieved.
This workshop brings together students and curriculum leaders from arts universities with policymakers. During the day, we will work on three concrete cases in a flexible and innovative
setting. At the end of the day, the ELIA Working Group "Careers in the Arts" will give first answers to the question of how
to make a difference with creative skills, what this would mean for higher arts education, and why this would be important.
Abbie Vickress + Sakis Kyratzis, University of the Arts London, United Kingdom Current design education assumes a kinaesthetic learner, and thus tends to keep theory away from the studio.
Environmental issues tend to be treated like theory in the classroom, integrating them into the curriculum becomes a challenge. The climate classroom brief argues that combining theory and practice
in the studio will facilitate students in exploring their own values in relation to their practice and prime them for socially responsible and sustainable design. This contribution is part of
the Plastic Justice research project.
Andrea Palasti, Academy of Art, University of Novi Sad, Serbia + University of Applied Arts Vienna, Austria Have you ever wondered how it feels to withdraw with the low tide? Or to burrow
yourself as a clam? This is your chance to join the ‘Fitness for unlikely species’, a session of shape shifting exercises mimicking more-than-human worlds. Using the Danube river as a case study,
the Office for Para-Pedagogical Activities will deliver an illustrative lesson and a fitness training all rolled into one. By blending conceptual art with pedagogical impulses, the presentation
will guide you through a set of examples on how we transformed art lessons with a series of performative events outside the school settings. The presentation is part of the collective Danube
Transformation Agency for Agency, co-founded with Solmaz Farhang, Alexandra Fruhstorfer, Lena Violetta Leitner, Ege Kökel, and supported by the INTRA.
Michelle Kasprzak + ginger coons, Willem de Kooning Academy, Netherlands As arts funding shrinks, does becoming a designer or artist necessitate a focus on selling, making money, and
participating in mass consumption? In the age of climate crisis, it is urgent to rethink how the arts can take a lead in supplying an ethical framework for future modes of living. This session
explores how we might critically re-examine the values we impart to our students in a world that can no longer support constant growth and rampant resource consumption.
Tero Nauha, Theatre Academy of the Uniarts Helsinki, Finland This session is part of an inquiry on the effects of finance on the social sphere, collective imaginary, and the circulation
of knowledge, particularly in the field of arts, pedagogy, and research. It considers the real-life forms and impacts of the unknown, the volatile, and the risky in both finance and the arts.
Not only taking a speculative but also a practical perspective, Tero Nauha inquires how these arrangements manifest in the classroom, the studio, and research.
Inés Sauer + Cormac Burmania + Fabiola Camuti, ArtEZ University of the Arts, Netherlands This session looks to examine how students become aware of how they wish to and can give shape
to their needs in addressing ‘the world’. The case study of an ‘Activism and Compassion’ module asks questions such as: When we wish for conflict transformation, what kind of dramaturgical strategies
do we need? When we create ‘political theatre’, do we then reaffirm the power game of knowing who is right or wrong? How can we try to address our concerns in a compassionate, non-hierarchical
way?
Loraine Leeson, Middlesex University, United Kingdom This session will be the first public presentation of project findings of a transnational initiative that asks: How can social practice
pedagogy be improved through partnership between cultural and higher education institutions and the sharing of ideas and practices across national boundaries? The project looks to develop the
teaching of social practice arts in higher education and extend it to artists of all stages in their careers.
Beverley Carruthers, London College of Communication, University of the Arts, United Kingdom; John Martin, Artistic Director of Pan Intercultural Arts, London, United Kingdom; Neil Armstrong, Institute of Social & Cultural Anthropology, Oxford University, United Kingdom Responding to the alarming rise of mental health concerns in higher education environments, the ‘Creative Connects’ team developed prosocial workshops prioritising playfulness, a ‘purposeless
activity that provides enjoyment and a suspension of self-consciousness and sense of time’. After running the workshops with students, the team looks to present their findings and analysis to
audiences interested in working with art for social change and addressing loneliness and isolation.
Nataša Antulov + Sanja Bojanic, Academy of Applied Arts, Rijeka, Croatia During their studies, artists confront challenges concerning boundaries of intimacy in their work and creating
emotional personal competencies, now only heightened by the pandemic. The presenters aim to develop a curriculum with micro-qualifications for learning various techniques of overcoming discomfort
and burnout. The focus is on strengthening practical-orientational skills for confronting challenges, strengthening resilience, and overcoming unjust practices in work that can affect homeostasis.
Angelica Böhm + Nicole Loeser, Art for Futures Lab, Film University Babelsberg Konrad Wolf, Germany The Art for Futures Lab is developing an international online future museum that takes
on the challenges of the 21st century in an interactive and interdisciplinary way. They invite participants to co-create positive narratives of envisioned scenarios of 2050. Due to the complex
socio-economic, cultural, and ecological issues, strong images and value-based visions are needed to be able to steer towards positive, sustainable futures.
Glenn Loughran, TU Dublin, Ireland This presentation will expand on archipelagic arts education through the research project ‘What is an Island?’, which aims to develop an artistic research
inquiry into the changing nature of islands within the political context of Brexit and the environmental context of the Anthropocene. It will examine the impact of visual arts education on isolated
island communities and the value of Archipelagic Thinking in approaches to art education in the Anthropocene.
Jana Eske + Miriam Schmidt-Wetzel, Zurich University of the Arts, Switzerland This session reflects on pandemic ad hoc distancing and digitalisation, with the aim of learning how digitalisation
alters forms of collaborative working in academic and school environments—the dimensions of learning, teaching, and researching in the field of art education. Demonstrating collected samples
of working processes, experiments, presentations, and discussions, it aims to draw conclusions from international perspectives for the further development of arts education research.
Michael Li + Wong K. Katrine, The Hong Kong Academy for Performing Arts The pandemic has accelerated many initiatives, including forcing everyone to teach digitally. As part of a study
on students, this session investigates their learning habits, preferences, tools, spaces, and how they managed learning during the pandemic. The presenters hope to provoke discussions that consider
the other side—understanding performing arts students from learners’ perspectives. What makes students comfortable? How have they adapted? What are their perceptions and strategies?
Eva Maria Bäcker + Sunedria Nicholls-Gärtner, Internationale Filmschule Köln (ifs), Germany In the light of polarising e-learning discussions, this session offers a space to debate, laugh,
cry, and let out the frustrations of online teaching. It aims to encourage the community to continue exploring their own assumptions and preconceptions about what our classrooms are and need
to be. The speakers will also introduce a collaborative research project aiming to contribute to an innovative, inclusive, and diverse higher education environment for film and media, both on-
and offline.
Marja-Leena Juntunen + Riku Saastamoinen + Taneli Tuovinen, University of the Arts Helsinki, Finland Based on the course ‘Introduction to Interdisciplinary Arts Pedagogy’, the presenters
discuss and demonstrate their recent developmental work (2018–2021), which has examined possibilities offered by interdisciplinary arts education. Challenges and discoveries of past development
work as well as the role of arts education in coping with the global and interconnected world will be tackled interactively with participants.
Orlando Budelacci + Jacqueline Holzer, Lucerne School of Art and Design, Switzerland The world is moving: towards digital spaces and networks. And back to the very human values of proximity
and the tangible. The students at the Lucerne School of Art & Design are active within this field of tension. They engage with the unknown and indeterminate and thus prepare themselves for
their professional futures. In 2019-2022, the Lucerne School of Design & Art implemented a transformation process to develop the educational programmes for students. This presentation focuses
in particular on the transformation process and its results, including tried and tested instruments and formats.
Timo Kuzme, Maryland Institute College of Art, USA Starting off with a performance by speaker Timo Kuzme, showcasing their own practice of peeling back the curtain on an art-making process,
the session discusses how finding their own identity as an agender omnisexual person has affected their pedagogical approach, creating a deeper dialogue and understanding with their students.
If we learn to help students access their true selves, they have the potential to blow open the doors of self-expression in their own practices.
Nadia Fistarol, Zurich University of the Arts, Switzerland and Barbara Ehnes, Academy of Fine Arts Dresden, Germany It’s time to turn over every stone, also in theatre, yet we still
work with materials that are harmful to the environment and disposed of after a brief period of use. Working on developing alternatives which are not harming our ecosystem, this session invites
students and professionals from all fields of design, architecture, and theatre who are interested in developing a transformative force in their fields to join a workshop aiming to establish
effective alliances for the mindful management of resources.
Fred Meller + Paul Haywood, University of the Arts London, United Kingdom Systems Thinking, Collaboration, Critical Thinking, Anticipatory, Self-Awareness, Participatory, Normative,
Strategic, Integrated Problem Solving—competences UNESCO considers essential in a curriculum with sustainability at its core. As part of a work in progress of curriculum development trying to
create just that, participants will join an experimental process, discovering and applying the new and old form of ‘REBEL’, a language toolkit designed for learning recognition.
Monika Hegner + Jan Pfitzer + Ulrike Herzog, Nuremberg University of Music and the Academy of Fine Arts Nuremberg, Germany Academic education at the intersections of technology, arts,
science, and society is what lies at the heart of LEONARDO. LEONARDO, Centre for Creativity and Innovation, is a cooperation between the Nuremberg Institute of Technology, the Nuremberg University
of Music, and the Academy of Fine Arts Nuremberg. Participants will be presented with its interdisciplinary methodology, projects, and the scientific findings LEONARDO is built on. LEONARDO supports
interdisciplinary groups in their process of addressing both regional and global problems and consecutively developing answers to their challenges. In this workshop, participants will experience
the way LEONARDO works—how interdisciplinarity can help to find answers to pressing questions of our time, and how art and technology can enrich each other and thereby create valuable achievements.
and identity; and propose new strategies to investigate the pedagogies of the future.
Nadine Roestenburg, Fontys School of Fine and Performing Arts, Netherlands STRP and Fontys continue experimenting with events and artworks that arise from hybrid ways of thinking, beyond
(often boring) livestreams. Focusing on artistic approaches that use digital technologies as artistic tools to connect audiences in different spaces in exciting ways, ‘Hybrid Infinities’ is an
interdisciplinary research project creating meaningful, engaging, and immersive experiences between physical and online audiences using creative technologies.
Linda Sīle, Art Academy of Latvia COVID-19 left higher arts education institutions insecure about their futures and needing a framework detailing their specific situation in current
events. The culture-cognitive pillar does just that. The session starts out with the growing crisis of trust and pressure to set clear goals for higher arts education and goes on to criticise
different methodologies for higher education institution evaluation, examining the future role of higher arts education.
Catalin Gheorghe, George Enescu National University of Arts, Romania Starting from the idea that praxis can be understood as thought-reflection-action, this session will focus on the
transformational condition of research as an emancipatory art of living. An operational framework is sketched in which an artist-as-researcher can re-articulate decapitalist, decolonial epistemosophies
of interdependencies in the language of their practice, also tackling concepts of ‘puriversal autonomies’ and the ‘imaginary of care’.
Regine Bruhn, Muthesius University of Fine Arts and Design, Germany Struggling to implement a ceramics walk though Berlin in a pandemic, students had to resort to virtual walks to identify
and document significant objects, later transferring their knowledge from their research into the three-dimensional objects by recreating miniatures of the works. The miniatures not only created
a third, tangible dimension, but also a new pictorial reality. The project FOR FREE & OUTSIDE materialises the working conditions under COVID-19, the artist’s respective perspective, and
the constant possibility of imagination. The students had to find a completely new way of working together: everyone on their own, together as a project group, together with the professor, in
consultation with the participating designers, and in cooperation with the Furnace and Ceramics Museum. A special result emerged from the extensive efforts of this extraordinary project—a unique
artwork by several artists.
Einat Amir, Ieva Laube, Anna Lioliou, Zara Asgher + Leire de Meer, Aalto University, Finland An international group of students comes together to establish ‘Practices of Care’ by creating
a safe space for different identities and opinions and learning from each other about art and activism in various places worldwide. They find self-care and activism go together, hand in hand.
Participants are offered an experience of coming together and forming trust in a short amount of time, as well as some of the simple and effective caring strategies the presenters came up with.
Anna Lioliou, Zara Asgher, Ieva Laube + Francesca Bogani Amadori, Aalto University, Finland Questioning capitalist, neoliberal, results-oriented university structures that prioritise
individualism and productivity, Aalto University students occupy an exhibition space—not exhibiting, but finding new forms of support and resilience while creating meaning and knowledge outside
institutionalised forms. This session is not only a representation and reconstruction of Non-Exhibition, but an opportunity to further challenge institutional spaces.
18:30 - 22:00 EET
Reception + Dinner
Morning venue: Sörnäinen Campus (Theatre Academy + Academy of Fine Arts), Uniarts Helsinki, Haapaniemenkatu 6 Afternoon venue (incl. lunch): Paasitorni, Paasivuorenkatu 5 A
Nikkie Melis + Geert Werkers, LUCA School of Arts, Belgium Green Impact is a United Nations award-winning programme to support environmentally and socially sustainable practice in organisations.
LUCA is the first arts school to oversee the campaign during the academic year 2021–2022. The main goal is to inform, engage, and activate as many people as possible. The impact works on three
levels: 1. Existing policies, initiatives, and projects for sustainability are implemented in the work and study space; 2. Behavioural change for both individuals and teams; 3. Stimulating a
sustainability culture to awaken sustainable entrepreneurship. Presenters will share with participants how the Green Impact initiative is being implemented throughout the whole institution, involving
both staff and students. What are the main results and insights?
Klára Peloušková, Academy of Arts, Architecture and Design in Prague (UMPRUM), Czech Republic The current structure of UMPRUM follows a modernist Bauhausian model of an academy based
on a masterclass system and nurturing connections between artistic and industrial practices. Recent developments in art, design, and architecture education in the international context as well
as the multitude of pressing environmental, societal, and political crises have led to an update of the inherited institutional structure. UMPRUM decided to launch a platform that presents an
alternative to the existing studio model and fosters teamwork and transdisciplinary practice-led, cross-scalar research focused on the issues of planetary viability and possible new co-dependencies
within natural and artificial environments.
Hazal Ertürkan + Sarah Lugthart, St. Joost School of Art & Design, TU Delft, Netherlands This workshop aims to broaden the perspective of biodesigners and stimulate design ideation
with living materials (e.g., bacteria- and algae-based materials) based on speculative storytelling strategies and recent research on designing with living materials. Building on the Miraculous
Futures card deck, which is a tool developed by Klasien van de Zandschulp and Ashley Baccus-Clark for designing speculative stories, a special living materials edition of this card deck was designed
based on the research ‘Living Material Vocabulary’ (Erturkan, Karana, Mugge, 2021, [under review]) to discuss possible futures for living with living materials. The card deck helps to understand
what living materials are by introducing their qualities and stimulates the imagination to speculate on radical futures integrating living materials. During the workshop, this card deck is used
to spark ideas and generate concepts. World-building exercises and templates help to develop these ideas further. The workshop results in a speculative story (a scene or situation) that can take
place in the world that is created.
Jocelyn Cottencin + Christelle Kirchstetter, École nationale supérieure d'art et de design de Nancy (Ensad Nancy), France The crisis linked to the pandemic has put even more tension
on the Western vision of the world, the concepts of modernity and ‘nature/culture’. Climate and ecological issues are the determining elements that replay current political questions. ‘The Assembly,
incomplete lexicon for now’ is an editorial utopia, both modest and ambitious, from the field of art in dialogue with other disciplines. It is the creation of a lexicon to rename the world, or
rather to re-engage a reading of it in the light of the animal, plant, and climatic interdependencies that we seem to have forgotten. Talking about milieu rather than environment is already the
beginning of changes in posture in order to understand where we are. ‘The Assembly, incomplete lexicon for now’ is simultaneously an art project and a workshop at ENSAD Nancy. The experiment
will be continued with students in Helsinki and presented in the form of a performative lecture.
Aneta Zelenkova, Tomas Bata University in Zlín, Czech Republic What are the motivations of European fashion design students’ work at fashion events? And what role does their university
play in the self-presentation of students at these events? A two-way communication is key in education, and the information on opportunities for students should be disseminated in a more interesting
and likable way. Join the discussion.
Demis Quadri, Hugues Chatelain, Emmanuel Pouilly + Susanna Lotz, Accademia Teatro Dimitri, University of Applied Sciences and Arts of Southern Switzerland Tyres may seem an unattractive
sector for artists who want to save the world. At the same time, theatre may seem unattractive to a profit-oriented company. As the Verfremdungseffekt (distancing effect) teaches us, however,
it is precisely unexpected perspectives that can contribute to paradigm shifts, bringing artists, entrepreneurs, workers, and employees out of their cognitive bubbles. This lecture-workshop aims
to present an innovative collaboration between a university of applied arts specialising in physical theatre and a leading company in the tyre industry. Through the tools of narration, video,
and practical exercises, the presenters will illustrate an immersive experience that involves the collaborators of the two partner institutions in the discovery of their respective worlds. The
partnership is animated by the desire to contribute with its project ‘pROUEsse’ to developing the potential of an art that meets society again and of an economy that rediscovers humanism and
sustainability.
Kurt Vanbelleghem, Sint Lucas School of Arts, Belgium; Annie Gérin, Faculty of Fine Arts, Concordia University, Montréal, Canada This workshop is about creating a pedagogical context
which is more focused on educating more resilient artists, and more resilient art worlds. We must provide a meaningful education to all students, so we should provide them with professional skills
that they can use across 360 degrees in our society. At the moment, almost all educational energy is directed towards developing artistic knowledge and skills, while almost none goes to equipping
our students with professional skills that will allow them to manage their artistic career, start their own business, or develop relevant positions in other segments of society. What should an
art education provide students? What broad (360 degrees) skills do artists, designers, and cultural producers need to find their place in the art world? What are the challenges our graduates
face when creating their professional path? What programmes or solutions are available to meet these challenges, either in art schools or elsewhere? Participants will be encouraged to collectively
develop a manifesto gathering guidelines and calling for action.
Nirit Binyamini Ben-Meir + Michal Pauzner, Royal College of Art London, United Kingdom, Shenkar College of Engineering, Design and Art, Israel How do emergencies affect design and creative
processes? Quick, Swift, Instant, Hasty, Rushed, Frantic, Impulsive… What can we learn about a rapid creative reaction and immediate decisions? What conflicts and complexities arise from such
a pressing process? The pandemic has revealed a spectrum of responses to emergencies in different countries, from ad hoc restrictions and drastic measures to circumspect negotiations about adequate
actions at the cost of doing too little, too late. Each approach saw its social implications and carried its political context. How are these approaches reflected in creative practices and academia?
How do different cultures and mentalities affect responsivity and decision-making processes? The ‘Emergency Workshop’ will introduce simulations of time-sensitive scenarios that require rapid
creative responses and reflect on time frames of learning and teaching and the role of creative practices in states of short- and long-term emergencies. Contributors: Danielle Barrios-Oneil,
Carolina Ramirez-Figueroa, Charlotte Jarvis, Laura Dudek, Elena Falomo, Yael Moria, Oded Kutok.
Ewa Satalecka, Jan Piechota, Jakub Karpoluk + Marjatta Itkonen, Polish-Japanese Academy of Information Technology, Warsaw, Poland Learn more about social design workshops, a programme
created together with an international network of educators who work with students on current social issues such as migration, citizenship, precariat, circular economy, responsible and sustainable
design for communities, and fake news. Join the programme and help to develop it further.
Liisa-Maria Lilja-Viherlampi, Anna-Mari Rosenlöf + Marja Susi, Turku University of Applied Sciences, Finland Arts and health is a fairly new area of expertise that is attracting growing
interest throughout Europe. A holistic approach to health and well-being cannot be achieved without developing the educational field. How can the professional expertise of artists be expanded
to be able to work with the needs of the well-being sector? And at the same time, how can social and health care professionals be trained to be able to work with artists and develop their own
arts-based practices? Join this session on tackling the challenges in developing the emerging professional and educational field of arts, health, and well-being.
Celia Quico, Anastasiya Maksymchuk Lkhagvadulam, Purev-Ochir + Possidonio Cachapa, Lusófona University, Portugal To combat sedentary behaviour, particularly in the troubled times of
the COVID-19 pandemic, is no easy task, both individually and collectively. Staying at home has been mandatory for days and weeks in a row, ever since early 2020, therefore make it much more
difficult to engage in any kind of physical activity. Recognising and addressing the issues of sedentarism, as well as food habits, sleep habits, mental health, and general well-being, a multidisciplinary
team of professors and students at Lusófona University took a stand against sedentary behaviour, hopefully inspiring fellow colleagues and other staff members to join the cause. Under development
since early 2021, the research project LusofonAtiva aims to monitor and to promote active and healthy lifestyles in students, faculty, and other staff of the Lusófona University campus in Lisbon.
Michèle Graf, Zurich University of the Arts, Switzerland Join this workshop about future skills, expectations of future students, teaching heterogeneous student groups for as yet unknown
profiles, and future management and support capacities. Through a card game, participants will simulate new situations that the new study model could bring. Participants are invited to play and
explore. The aim is to bring insights into how art universities design their programme portfolio for the future by simulating a future educational setting. Where will we be skating on thin ice?
Are there stones we forgot to unturn?
Godelieve Spaas, Carla Bakker, Isolde Sprenkels, Ine Mols + Kees-Jan Mulder, Avans University of Applied Sciences, Netherlands Researching future economies away from the incumbent narrative
requires a new perspective on research. Imagination, experiments, design, and subjectivity become integral parts of the research strategy. The focus of the project ‘Punished: Just imagine’ is
that the government will criminalise acting in violation of the Sustainable Development Goals (SDGs) in 2029. The film Punished investigates what the consequences of that decision might be. Who
will go to prison? What have they done? And will punishment help to achieve the goals? Are coercion and rules the best way? How drastic are the changes required of us? And what is needed to tackle
the system at its roots? Spaas and Mulder confront the audience with personal and intimate reflections on these questions and, in doing so, offer viewers a mirror to engage in conversation with
themselves and with each other. Watch the film, followed by a performance highlighting a specific element of a plausible new economy.
medienhaus/, Berlin University of the Arts, Germany As a result of the pandemic, Berlin University of the Arts was faced with the challenge of digitalising its education. Since this
institution was largely defined by work in physical space, there was no digital infrastructure in place. An “emergency digitalisation” had to be undertaken. A group of students, alumni, and employees
asked themselves what tools could enable artistic practice in the digital space, and who defines and shapes this space for collaborative teaching and learning? They founded the medienhaus/ ×
udk/spaces project, which is now firmly anchored within the Berlin University of the Arts. The result is an explorative, free and open-source project focusing on the requirements of creative
groups and institutions, enabling data-friendly, digital collaboration which attempts to understand digital space for what it is—a supplement to the physical space, not a replacement for it.
Dylan Yamada-Rice, Manchester Metropolitan University, United Kingdom; Eleanor Dare, Faculty of Education, University of Cambridge, United Kingdom Using critical chatbots, tarot, and
drawing as an epistemological repositioning to defend against the neoliberal structures of art education. As universities moved rapidly en masse at the start of the COVID-19 pandemic, so apparently
did the impetus to algorithmically monitor, and by implication model, the actions, intentions, and emotions of online students. Intelligence and emotion are both contested subjects, and while
technologies that claim to detect them proliferate in the case of emotion, ‘despite the continuing proliferation of books, journals, conferences, and theories on the subject of “emotion”’, there
is still no consensus on the meaning of this term. Presenters critique such practices by comparing AI to a critical chatbot (made by Dare) and psychometric testing (of Yamada-Rice) to a tarot
reading (by Feather Tarot).
Taina Erävaara, Turku University of Applied Sciences, Finland; Mark O’Kelly, National College of Art and Design, Dublin, Ireland Join the specially convened Community Conversation titled
‘Turning the Page: Art Curriculum should not and can never be written in Stone’. The Chair of PARADOX, Taina Erävaara, and the monthly Community Conversations Facilitator and PARADOX Steering
committee member Mark O’Kelly will convene a panel of prominent contributors drawn from the Community Conversations forum to elucidate the key learnings and a lexicon of keywords to advance new
thinking for pedagogy in art education. This specially devised Community Conversation will critically reflect on the opportunities now apparent in the light of potentialities for curriculum development
in the aftermath of the pivotal ‘Before and After’ thematic effects articulated in our conversations during this urgent and emergent experience of sustaining innovative and vibrant art education
for all our learners.
Pawel Pokutycki, Royal Academy of Art The Hague, Netherlands The presentation aims at provoking a discussion on the insufficient and slow transformation of traditional curricula in art
academia towards new models of education in design, of which many are of growing importance and urgency, especially in the context of climate change and rapidly progressing technological innovation.
Janka Csernák, Moholy-Nagy University of Art and Design, Budapest, Hungary FRUSKA (meaning ‘little girl’ in Hungarian) is a design education programme targeting disadvantaged and rural
girls aged 10–18 that creates a multilevel learning experience through design tools. It applies a peer-to-peer, intersectional viewpoint to engage and empower girls and boost their confidence
and self-worth while facilitating social mobility. The FRUSKA programme emphasises the importance of radical beginners and mutual knowledge transfer, involving design students and underprivileged
girls. A multidisciplinary design process involves new communities with no former design knowledge. The method is based on self-reflection, self-assessment, and discovery.
Electa Behrens + Øystein Elle, Norwegian Theatre Academy How does who we are affect what and how we teach in the current climate of 2022? This is a speculative workshop for teachers
in which we will ‘undress’ our own positionality and power. How do we work with and against our own intersectional identities in ways that make space for student agency and our own creativity?
How can we ‘stay with the trouble’ (Harraway) of our own strengths and limitations and ‘queer use’ (Ahmed) them in productive ways? How do we stage ourselves? Presenters are looking to create
a space where we as teachers can fail, ask stupid questions, and laugh at ourselves, to be vulnerable and courageous. Participants are asked to wear clothes they would wear to teach in.
Chanda Vanderhart + Sonja Schebeck, University of Music and Performing Arts, Vienna, Austria The Freestyle Orchestra is a collective of classically trained musicians practicing at becoming
a broadly varied, interdisciplinary artistic collective. All had rigorous classical music training, but developed many extracurricular skills core to TFO by studying other musical styles and
various circus/movement arts and experimentally integrating them into performance. They push for toppling artistic hierarchies, challenging which formats are expected and where, in order to question
hegemonies and challenge the limits and assumptions about what a classical orchestra is. TFO both brings modern circus, movement, and staging into their classical performances and brings classical
music into urban space.
Liisa Jaakonaho + Eeva Anttila + Pauliina Laukkanen, University of the Arts Helsinki, Finland This presentation underlines the importance of acknowledging vulnerability in the context
of tertiary arts education. The context for our presentation that will take a workshop format is an Erasmus+ strategic partnership entitled Pedagogy of Imaginative Dialogues (PIMDI). PIMDI focuses
on taking the (radical) differences between cultural values seriously and allowing students to get a better insight in the process of valuing as such, highlighting its historical and social conditions.
This workshop draws from our experiences within PIMDI and elsewhere in academia and also, from the perspectives of our research interests. We want to emphasize that fostering working cultures
where people are safe to share, rather than hide, their vulnerability, is key in supporting collective well-being, as well as students’ personal growth as artists.
Emily Huurdeman + Jan Staes + Carry van Bokhoven, Fontys University of Fine and Performing Arts, Netherlands Can a learning community really teach itself? How does the community experience
this new type of supervision? Can we give the students a sense of stability to navigate through their research? How do we avoid superficial research supervision? What are the up- and downsides
of the individualistic approach versus a communal approach? Can we extend the learning community through conferences like this? And how can we include an international perspective and international
experts in our learning and researching? Join this interactive discussion.
Rachel Mader + Axel Vogelsang + Nathalie Oestreicher, Lucerne University of Applied Sciences and Arts, Switzerland The gap between MA and PhD studies is still huge for interested students.
Based on the experiences with the MOOC ‘Doing a PhD in Fine Art, Design, and Film’, which we therefore produced, we want to discuss the possibilities for a joint international effort to develop
further platforms, measures and even policies in order to better prepare artists, designers and filmmakers for the challenges of a PhD.
Riikka Palonkorpi + Aino Alatalo, University of the Arts Helsinki, Finland Research assessments have become a widespread practice globally. This is also the case in Finland. Research
assessments are typically designed for evaluating scientific research and the assessment formats are standardised to a certain extent. Through the case of the University of the Arts Helsinki
Research Assessment 2021–2022, this presentation discusses conducting a research assessment in the context of an arts university. How can artistic research be included in a research assessment
format that considers the criteria and rationale of artistic research?
Heli Kauppila + Marika Orenius + Katja Thomson, University of the Arts Helsinki, Finland During this interactive session, participants will explore the many facets of reflection as part
of teaching and learning in the arts. The session examines, restructures, and suggests different notions of reflection as a phase in a learning process. Participants are invited to explore different
questions: How can reflection help us attune to each other and to our surroundings and form connections in the moment? How do we form relationships with the space and relationships with each
other in that space? This session scrutinises the experiences and reflections on different modes of being. It is an invitation to participate and engage with the pedagogical dimensions that remain
or move underneath the surface.
Martin Klusak, Academy of Performing Arts in Prague, Czech Republic Interactive session at the intersection of music composition and filmmaking. Knowing that both music composer and
film director have the means to create experimental ‘audiovisual music’ films, what is the possible genre spectrum that emerges from the confrontation of the two academically different views?
Can one approach genre and format of a time-based work as a parameter to be consciously worked with and changed over time within the piece? If yes, what are possible compositional shapes of such
an approach?
Bertrand Chavarria-Aldrete, Malmö Academy of Music, Lund University, Sweden This form of creative criticism/intervention is a plastic extension of music that takes the instrumental interpretation
(praxis) of a work as a poietic process preceding plasticity. Considering musical performance as an incompleteness that creates a recollection of material—impressions, technical hacks, muscle
memory, and more subjective information—generated during the physical work with the instrument along in the exegetical study and the musical interpretation.
Franco Ripa Di Meana, Accademia di Belle Arti di Roma, Italy Join this participatory session to together test our ecosystem potentialities. Within the communities of our academies we
endlessly produce an enormous amount of qualified knowledge. Digital tools allow us today first to categorise, tag, and index this knowledge, then, using authoring criteria, to create different
‘spaces’, and finally, through user interfaces, to make this knowledge accessible. Our community will then have a shared knowledge—a knowledge ecosystem. Such an ecosystem will go beyond the
scale of every personal knowledge, allowing new associations and unexpected perspectives to emerge and boosting creative thinking. A knowledge ecosystem will change all didactic relationships
from within and open new possibilities for individual research. We will be able to link our ecosystem to other Institutions, inside and outside the arts field, tightening our bonds with society
as a whole, thus giving arts education a central role in shaping the uncertainties we are all facing.
Christiane Oertel, HfBK Dresden, Germany for EU4ART Allianz Students of the EU4ART Alliance will present their project experiences as active co-creators in a new quality of cooperation.
EU4ART (Hungarian University of Fine Arts, Art Academy of Latvia, Academy of Fine Arts of Rome, Dresden University of Fine Arts) is committed to making visible and strengthening the essential
importance of art for the development of a European identity and to making Europe’s cultural diversity known to the public. The alliance is also dedicated to the question of what demands the
21st century places on artistic teaching and what solutions can be jointly developed against the background of the respective traditions. The students have a prominent role in building the alliance,
and their extensive participation is elementary for its dynamic further development, basically through a bottom-up involvement.
13:00 – 14:00 EET
Lunch
14:00 – 16:00 EET
Mobile Visits + Session – The Board Meeting: Based on a True Story
Visit a cultural institution in the city of Helsinki based on your interest or join the session:
Alexandra Ross, The Glasgow School of Art, United Kingdom + Christophe Alix + Savvas Lazaridis, L'ESA Le 75, Belgium; Maarten Cornel + Ingrid Grunwald + Rob van den Nieuwenhuizen, Royal Academy of Art The Hague, Netherlands; Inge Linder-Gaillard, Les Beaux-Arts de Marseille, France In this session, participants shall constitute a board. Crucially, all in attendance will be members of this temporary board, and during the session items shall be tabled on an agenda for discussion.
This workshop will allow us to consider radical reformulation of art school hierarchies and afford us a polyphonic space for engaging with examples of challenges faced by a selection of art schools and
subjects. Students, lecturers, and support staff will have equal voice, and undergraduate and postgraduate concerns will be brought together and viewed holistically.
The Helsinki Music Centre is a concert hall and a music center in Helsinki. The building is home to Sibelius Academy of the University of the Arts Helsinki
and two symphony orchestras, the Finnish Radio Symphony Orchestra and the Helsinki Philharmonic Orchestra. The Music Centre is located on a prestigious site between Finlandia Hall and the museum
of contemporary art Kiasma, and across the street from the Parliament of Finland. The vineyard-type main concert hall seats 1,704 people. The building contains five smaller rooms for 140–400
listeners. These include a chamber music hall, a chamber opera hall, an organ hall, a 'black box' room for electrically amplified music and a rehearsal hall. The smaller rooms are used regularly
by the students of Sibelius Academy for their training and student concerts.
Dance House Helsinki is Finland's first landmark designed in terms of dance. The building comprises more than 5,400 square metres dedicated to dance and
provides a world-class setting for the performance and experience of dance and circus. Dance House Helsinki creates and schedules its annual programme in cooperation with its programme partners
Swedish Theatre is a Swedish National Theatre in Finland. Our mission is to practice and develop performing arts in Swedish as part of Nordic culture. As a national
stage, the theatre provides a broad repertoire that is aimed at everyone. Drama, newly written, domestic, classics, musicals, children's theater - there is not a genre that has not been performed
at the Swedish Theatre. On average, the Swedish Theater produces 8-10 plays per year. In addition, there are guest performances and co-productions with other theaters or independent theater groups.
Since 2002, Cirko – Centre for New Circus has been working to promote and develop contemporary Finnish circus. In 2011 the Cirko circus building opened in Helsinki’s
Suvilahti – 1,400 square metres of office and performance space, custom made for contemporary circus.
Cirko – Center for New Circus opened its new premises in 2011 in what was once the powerhouse of Suvilahti’s former gasworks. It’s owned and developed by Helsinki City and the Cable Factory real
estate group • It consists of 1,400 square metres of performance and rehearsal space for contemporary circus professionals
The Cirko Center is an active player in the Suvilahti and Kalasatama areas, Helsinki’s new cultural and residential hub • Cirko’s building is run under the same name and by the same association
that was established in 2002
Cirko offers the public high quality and interesting contemporary circus, provides circus professionals with a first-class working environment, showcases Finnish contemporary circus and is internationally
active in the field of contemporary circus
Cirko attracts more than 25 000 visitors a year
International circus performers grace the Finnish stager
Around 20 professional groups practice and perform in Cirko spaces each year
The Museum of Contemporary Art Kiasma is part of the Finnish National Gallery, along with the Ateneum Art Museum and the Sinebrychoff Art Museum. The Finnish National Gallery is Finland’s largest art museum organisation. Its activities are governed by
the National Gallery Act. Kiasma organises exhibitions, performances and events. Public programming in Kiasma makes contemporary art accessible to everyone. Its services range from colour play
for toddlers to art workshops for grownups to guided tours and events. Kiasma’s extensive educational programming integrates contemporary art into schoolwork. The museum also houses the Kiasma Library,
which specialises in contemporary art, and the Kiasma Theatre, a stage for contemporary live art. Kiasma Club is a free service
that anyone can join to earn benefits and discounts on Kiasma services. Kiasma not only presents contemporary art but also collects and preserves it. Our art collections are part of the collections
of the Finnish National Gallery and as such is a significant element of Finland’s cultural heritage. Currently, Kiasma has over 8,500 contemporary artworks in its collections.
16:00 – 16:30 EET
Coffee Break
16:30 – 17:30 EET
Closing Keynote by Sara Davis Buechner IN PERSON + ONLINE
Interactive session at the intersection of music composition and filmmaking. Knowing that both music composer and
film director have the means to create experimental ‘audiovisual music’ films, what is the possible genre spectrum that emerges from the confrontation of the two academically different views?
Can one approach genre and format of a time-based work as a parameter to be consciously worked with and changed over time within the piece? If yes, what are possible compositional shapes of such
an approach?