PROGRAMME BASE 2019/2020

From August 15 to September 15, 2019, the BAZA Institute opened the application process for admission to the next academic year in two areas: artist and art critic. For further training on art criticism, the program "Art Critics Laboratory" is provided

In the new academic season, we will radically reformat the learning process in the Base. We invite practicing progressive artists to teach. We want to devote much more time to actual artistic practice, which these artists own.

In our opinion, it is these artists who are now at the forefront of artistic experimentation
We invited Jan Ginzburg, Alex Buldakov, Nastya Ryabova, Alexandra Sukhareva, Ivan Novikov, Kirill Savchenkov. 

Courses and teachers:

 Anatoly Osmolovsky "History of Art of the 20th-21st Century".

Art history is an important discipline. It does not consist only of enumerating the events and facts of artistic life, but also of distinguishing between logic, tendencies of development or decline, dynamics and regularities. The formalist theory of K. Greenberg is taken as the basic model of such a history. Together with Greenberg's students (founders of October magazine), who criticize this concept of history, the pandemonium of artistic trends of the 20th century turns into a clear and logically verified picture.

Konstantin Bokhorov "Post-media Art course for the 1st year"

The course introduces the laws of postmodern artistic expression outside the genre and medium. Examples of the use of performative and installation practices, photography, video, sound, and other means instrumentalized by contemporary art today are analyzed.

Course "Curating Contemporary Art" for the 2nd year.

The course is built around the creation of an exhibition as a modern artwork, curator - as an artist, artist - as an artist. Analysis material: the most significant exhibition projects of the last 60 years, the curator's figure, the work in the form of an exposition statement. The importance of expositionism in the production of art is becoming clearer.

Boris Klyushnikov  "Theory of Contemporary Art"

The course "Theory of Contemporary Art" is built around the concepts put forward over the past 10 years. The lecture course introduces the theories of Peter Osborne, David Joslit, Pamella Lee, Julianne Rebentish, Terry Smith, Hito Steyerl and gives an overview of the context of contemporary discussions on the role of contemporary art, ontology and modernity as a chrono-ontological problem.

Karev's Lika "Cyber and Xenofeminism"

How to launch a thought and create a multi-level project without privileged resources? What are the advantages of being on the cultural "fields"? And what can be the pleasure in that? 
Cyberfeminist philosophers are always self-taught. Cyberfeminist artists work with materials that are generally available - because their field of work is the Internet, open to all. 

It would seem that this accessibility is quite obvious, and it has lasted long enough to become part of the nexus of anxiety: why, if your abilities are on the surface, are you doing nothing? Is it possible that there is a connection with modern all-penetrating communication and the very high (too small) technologies that are penetrating our home? But it is none of our business to blame things for their current situation.
We need a new aesthetics of the post-Cybernetic age, new ways of representation that correspond to the global connectiveness, and other ways of calculating (defining the significant). And, of course, the political imagination that will allow all these processes to be launched.
The course is designed for two blocks: the first one works with our context and history (cyberfeminist), and the second one with the current state of affairs (xenofeminist). 

 Block 1: Context. Subject. Aesthetics.
 Deleuze and Guattari, Jean-François Liotard, Luc Irigaray, Cyberfemin Club, Cybernetics
Jean Baudrillard, Mark Fischer, Sadie Plante, women's pleasure, work, time and communication
Lynn Ershmann Lisson, Aesthetics "after the limb", Amy Irland, science fiction, cyberfeminist writing.

Alex Buldakov  "Introduction to Chaos"

Art is a specific experience of freedom.  It is the freedom to create knowingly fragile and short-lived forms. Freedom is any scraps from the owner's table and, at the same time, the freedom to invite beggars and homeless people to the feast. Freedom of waste, freedom of self-infection and self-destruction. In my course I will consider art as a part of natural history. It includes lectures, seminars and field practice.

 Yegor Sofronov "Art since 1900 and History and Practice in Three Chapters"

Theory and practice in three chapters. Chapter I. Theory and practice: making the world a philosophical place. Chapter II. Letter about and in art: critic as an artist, author as a producer. Chapter III. Execution of economy: class consciousness.

Ivan Novikov.   "Critical History of Contemporary Painting" and "The Idea of Contemporary Art and the Project of Colonialism".

Today, painting production at first glance, pictorial production has left the field of contemporary art. But again and again there are artists who turn to this medium. Paintings still constitute the largest part of the contemporary art market. And almost at every global exhibition curators show paintings. But what is modern painting? How has it formed? How do artists turn to the history of art today? What ideas structure painting practices today? 

Kirill Savchenkov Laboratory Course "Shooting and Transmedia in Art Practice

Ian Ginzburg, Nastya Ryabova's course is about to appear.