För en konstutbildning är det avgörande att vara i rörelse och våga förändras. Tittar man lite närmare på Mejans långa historia så ser man att den inte är en obruten linje. Skolans historia består av en rad omförhandlingar som har lett till förändringar av utbildningen. Förändringar som gjorts för att möta nya synsätt och metoder i konsten.
Drivkraften bakom initiativet att formulera en ny vision för skolan kom ur behovet att utveckla skolan för att möta samtiden både i konsten och samhället i stort. Det viktigaste i vårt visionsarbete är att utgå från konsten, Mejans särartoch vad vi tror är viktigt för framtidens konstnärer – våra studenter. Visionen ska vara en gemensam idéom vad en konstutbildning ska vara. En gemensam idéom hur vi vill arbeta tillsammans, hur vi vill utbilda och forska i konst.Visionen kommer att hjälpa oss att göra viktiga vägval när vi utvecklar utbildningen.
Arbetet med en ny vision för de närmaste fem åren är ett av höstterminens stora uppdrag. Under sommaren har jag samlat en projektgrupp. Gruppen utgör ett tvärsnitt av skolan med lärare, forskare, studenter och medarbetare från förvaltningen. Vi arbetar intensivt med visionen med hjälp av det material vi har fått in från intervjuer och workshops med hela skolan.
För att skolan ska få perspektiv och inspiration i arbetet med visionen arrangerar Rutiga golvetett program av föreläsningar, utställningar och diskussioner kring olika modeller för konstutbildning. Nu senast hade vi besök av den litauiska konstnärsduon Nomeda och Gediminas Urbonas som är verksamma vid den inflytelserika institutionen ACT, MIT:s program för konst, teknologi och arkitektur. Nästa tillfälle är den 22 november kl 17, då Christian Nyampeta kommer och berättar om sitt arbete med projektet Another Roadmap School i Rwanda.
For an art school, it is crucial to be dynamic and open to change. If you take a closer look at the long history of Mejan, you notice that it is not an unbroken line. The school’s history includes a long line of renegotiations which have led to changes to its programmes and courses. The school’s history includes a long line of renegotiations which have led to
changes to its programmes and courses. Changes have been made to meet new perspectives and methods in art. The driving force behind formulating a new vision for the
school arose from the need to develop
the school to meet contemporary needs, both in the art world and in society at large.
Our vision work’s foundation is art, the special nature of Mejan, and what we think is important for the artists of the future, that is to say, our current students. The vision represents a shared
idea about what an art school should be. A shared idea about how we want to cooperate, educate, and research art.The vision will help us make important choices while developing the programme. The work on a vision
for the coming five years is one
of the big undertakings of this autumn semester. During the summer, I have assembled a project group. The group represents a
cross-section of the school and includes teachers,
researchers, students, and administrators. Our hard work is aided 14-15. by the material
we have gathered
through interviews and
people at the school. To give us perspectives and inspiration for working on the vision, Rutiga golvet is organising a series of
lectures, exhibitions, and discussions about different art schools education models.
Most recently, we were visited by the Lithuanian duo Nomeda and Gedinimas Urbonas, who work at the influential
ACT department, MIT’s programme for art, technology and architecture. Most recently, we were visited by the Lithuanian duo Nomeda and Gedinimas Urbonas, who work at the influential ACT department, MIT’s programme for art, technology and architecture. The next event will be held on 22 November at 17:00, when Christian Nyampeta will talk about his work on the Roadmap School project in Rwanda.
Our work on finding good premises and solutions to stay in Skeppsholmen continues. During the autumn, we will discuss the issues with the various parts of the school and draw up a proposal for the renovations. When we decided that we wanted to stay in Skeppsholmen, we knew that this would also means losing space. This means that we have to prioritise and change how to best utilise our premises. It also means that we will soon enter a reconstruction phase which will stretch over three years, with the actual construction work taking 6–7 months. As teaching and research must continue, it is important that we find productive ways of working throughout this period. At the same time, I think that the redesign of the house gives us great opportunities for improving the school and make it a better fit for what we want Mejan to be, today and in the future.
Printmaking is the section most heavily impacted by the fire. While waiting for a new school with new printmaking workshops, our printmaking programme will continue to run at half speed during the spring of 2019. We will have some access to other printmaking workshops in the Stockholm area. We will find individual solutions for programme students working on printmaking techniques, but our course activities are reduced and we are not accepting new project students.
The school must now find a long-term solution for getting the reconstruction done and creating good teaching conditions for printmaking.
Teaching and research
This autumn sees the launch of several new courses aimed at professional artists. Giving artists and architects a chance to advance their knowledge and skills has long been part of the school’s activities. We are now looking to develop and find new forms for this. The school should be a hub of artistic development work, a place that artists return to at various points in their professional life.
The Materialities course is based on the expertise housed in our sculpture workshops. Students work on artistic development in groups. The work is based on various materials as carriers of meaning. The one-year third-cycle course Composing / Public / Space is led by our new visiting professor, the internationally renowned composer and sound artist Tarek Atoui from Beirut. He assembles a group of artists who are working both on individual and shared projects. Based on concepts such as composing, public, and space, the group produces a shared sound laboratory and gives a series of public performances. Tarek Atoui is happy to meet with students outside of his group for studio talks.
Some of our public activities
As always, the school offers a wide-ranging public programme which is also aimed at the general public. Students in the final year of their Master’s programmes will have their graduation exhibits at Galleri Mejan. We continue host exhibitions there organised by the students themselves. These exhibitions are open to everyone at the school. Dates and times are regularly posted on the intranet.
On 9–10 November it is time for the annual Rundgång where the school’s students have created a programme and opened their studios to the public. During the autumn, we continue with open lectures by our professors and some of our guest lecturers. As part of our focus on strengthening our painting courses, we end the autumn semester with a major conference with international guests on the topic of materiality in painting.
I will continue to hold Vice-Chancellor’s meetings to answer any questions you may have. You are, as always, welcome to my open hours, first Monday of the month at 14 – 15, where you can discuss issues with me, or you can contact me by e-mail.
Welcome to an exciting autumn at Mejan!