SUSANNE BOSCH
Susanne Bosch, born in 1967, Wesel, Germany.
Susanne Bosch is an artist, art based researcher and teaches. She achieved a PhD about her public artwork in 2012. From 2007-2012, she developed and led the Art in Public master programme at the University of Ulster in Belfast together with Dan Shipsides. She works predominantly in public and on long-term questions, which tackle creative arguments around the ideas of democracy. Works include among other things issues around money, migration, surviving, work, societal visions and participation models. She formally uses site- and situation-specific interventions, installations, video, drawing, audio, dialogic work, in addition formats such as writing, speaking, listening, workshops, seminars and Open Space conferences. She is a trained Open Space facilitator (2008) and trained in conflict analysis and - management (2004). Susanne works internationally on exhibitions and projects.
www.susannebosch.de
Susanne Bosch is an artist, art based researcher and teaches. She achieved a PhD about her public artwork in 2012. From 2007-2012, she developed and led the Art in Public master programme at the University of Ulster in Belfast together with Dan Shipsides. She works predominantly in public and on long-term questions, which tackle creative arguments around the ideas of democracy. Works include among other things issues around money, migration, surviving, work, societal visions and participation models. She formally uses site- and situation-specific interventions, installations, video, drawing, audio, dialogic work, in addition formats such as writing, speaking, listening, workshops, seminars and Open Space conferences. She is a trained Open Space facilitator (2008) and trained in conflict analysis and - management (2004). Susanne works internationally on exhibitions and projects.
www.susannebosch.de
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Books by SUSANNE BOSCH
10 artists were invited to respond to questions around interactivity, collaboration, participation, sustainability, responsibility, feedback and authorship in relation to one specific project they have realized.
The contributions of the participating artists, Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER), can now be found in this publication.
Ten artists make their work transparent reflecting and explaining what they actually do when they are practicing in communication with others. The book is to be read as a toolbox for artists operating with participatory and collaborative strategies. Based on the art projects presented as ‘case studies’, it refers to artistic methodologies, but also to theoretical frameworks and other practitioners.
Susanne Bosch / Andrea Theis (eds)
Authors: Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER).Date of publishing: July 2012
Publisher: Interface, UU, Belfast
ISDN: 978-1-905902-06-4
Authors/contributing Artists: Katharina Jedermann, Kristina Leko, Alexander Henschel, Gordana Košćec, Jelena Bračun, Konstantin Adamopoulos, Claudia Hummel, Susanne Bosch, Nada Beroš, Rädle&Jeremić, Kolektiv Radikalnog Obrazovanja / Radical Education Collective, Ured Trafo.K / Büro trafo.K, Marija Mojca Pungerčar, Eck_Ik, Marijan Crtalić, Ana Bilankov, Kontraakcija, Urbanfestival, Sonja Vuk, Vesna Milić, Nicole Hewitt, Martin Krenn.
Contributions published in this issue of Život umjetnosti were presented at the international symposium on art mediation THE PARTICIPATORY IMPERATIVE, art mediation, the art of mediation, a project by the Goethe Institut Kroatien which took place at the Museum of Contemporary Art Zagreb (MSU Zagreb) from 13th – 15th May 2010. The programme concept was developed by Katharina Jedermann and Kristina Leko.
“The aim of this publication is to bring into life the new/old profession of art mediator, thus strengthening the position of art by empowering human resources that are potentially active in this field. Art mediation involves individuals of various profiles, which means that we would like to address artists, art historians, theoreticians, pedagogues, cultural producers, and other related audiences. It is an invitation to reflect on art mediation and its promotion and communication in the context of museums and beyond, in various non-museum settings such as schools and open/public spaces, as well as to reflect on various forms of presence of (contemporary) art in everyday life of individuals and social groups of different backgrounds.(…)
In order to adjust the topic to the regional and Croatian needs, we have formulated it relatively broadly. Thus, this publication, as well as the conference that preceded it, presented an occasion for an intersection of various discourses on art and art mediation, cultural education (kulturelle Bildung) and art pedagogy, cultural work (Kulturarbeit), and participatory artistic projects, art in public spaces, etc.”
Editors: Kristina Leko and Katharina Jedermann
112 pages
ISSN 0524-7794
AGENCY exists since 2006 and has neither a manifesto nor is a fixed group of creative practitioners.
The name AGENCY represents the possibility to work (both) temporarily (and) collectively with a changing group of creative people. It offers to experience for a period of time the synthesis of art and life, an intensive exchange, to take the risk to overcome (certain perceived) limits of individual artistic activity, to give the interest in the others and the situation a powerful expression.
* A·GEN·CY n
1. an organization, especially a company, acting as the representative, agent, or subcontractor of a person or another company
2. a division of a government or international organization that carries out administrative duties
3. the building or offices where an agency is located
4. the action, medium, or means by which something is accomplished
5. a legal relationship involving a person (the principal) and another who acts for the person (the agent), or the area of the law concerned with such relationships
So far, AGENCY has realized 3 projects.
Residency (2008) and Billboard Project (2009)
[15 – 22 March 2008]
Organised by: Birgit Schumacher/ Uwe Jonas, curators of Pilotprojekt Gropiusstadt, Berlin. http://www.pilotprojekt-gropiusstadt.de
Location: Berlin Gropiusstadt (2008) and Berlin Gipsstrasse (2009)
Partly funded by Gropiusstadt and RI, UU, Belfast
by AGENCY (Cherie Driver, Sandra Johnston and Susanne Bosch.)
AGENCY was a guest for a week in March 2008 at the pilotproject. The participants were Cherie Driver, Sandra Johnston and Susanne Bosch. We spent the week exploring the entire area and speculating about its past and future. As part of this process we looked into property prices and arranged apartment viewings with an estate agent. We also met local residents, community managers and the two projectmanagers Uwe Jonas und Birgit Schumacher to listen to their impression about contemporary Gropiusstadt. Some perspectives we encountered about Gropiusstadt as a residential location were quite negative, generally statements from residents of other Berlin neighbourhoods. But in response to all of the diverse viewpoints we heard, we tried to consider objectively our own experiential reaction to the qualities of the environment, and we found there was much to appreciate, and inevitable great complexity which we decided we did not want to make a simplistic response to. The most honest outcome for us being there in the apartment was to realize the value of such an opportunity given to us, to reflect objectively on our everyday living situations in Northern Ireland (and the emotions and choices they entail).
Subsequently we developed a billboard project in Gipsstrasse in Berlin Mitte, which is a reflection of our visit and the debate which living in Gropiusstadt initiated. This billboard project is a reflection of our visit and debate. . The billboard were launched in January and February 2009.
Publication:
2009 Yearbook 2008 Pilotprojekt Gropiustadt, Schumacher/Jonas (ed.) pg 12-13
Papers by SUSANNE BOSCH
ISBN 978-3-86736-162-0, 2012
Published by Muthesius Kunsthochschule Kiel, Germany, 2012
Rainer W Ernst (Editor), Anke Müffelmann (Editor), Florian Riedel (Illustrator), R Ernst (Author), Susanne Bosch (Author), Martin Schönfeld (Author), Markus Graf (Author), Jürgen Bock (Author), Tina Sherwell (Author), Elfriede Müller (Author), Brian Currid (Translation), Matthew Partridge (Translation), Judith Rosenthal (Translation), Robert Durlong (Translation)
ISBN-10: 3981378172
ISBN-13: 978-3981378177
Publisher: Montréal: Dare-Dare, Centre de diffusion d'art multidisciplinaire de Montréal.
Texts in French and English.
With text contributions from Clara Bonnes (ed), Pascal Nicolas-Le Strat, Eve Dorias, Jean-Pierre Caissie, J.R. Carpenter, Dan Pitera, Marie-Suzanne Désilets, Susanne Bosch.
ISBN: 9782980564048 2980564044
DARE-DARE supports research and valorises emerging practices. Its members are interested in the context of creation and answer the need of exchange and collaboration. DARE-DARE is a flexible, open space devoted to research, experimentation, risk and critical inquiry. The artist-run center manifests a sustained interest in exploration and in the diversity in the modes of presentation.
Therefore, DARE-DARE accepts innovative, original and critical propositions, which invest the gallery's space, the urban space or any other context. Submit any proposal of exhibition, performance, public intervention, event, etc., may they be specific or of variable duration.
DARE-DARE is located near Metro St-Laurent in Montréal Québec, Canada.
www.dare-dare.org
Setting the scene
Art in the public sphere is probably one of the oldest art forms in its incarnation as commemorative culture or representation of power. In her essay “For Hamburg: Public Art and Urban Identities”, art and architecture critic Miwon Kwon discusses the three phases of the paradigm shifts that have taken place over the course of the last decades in art in public spaces: from an art in public places, typically modernist abstract sculptures situated outdoors that are supposed to ‘decorate’ or ‘enrich’ urban spaces; via an art as public spaces that aims to promote the increased integration of art, architecture and environment, and for which artists work with those responsible for urban planning on continuous city-development projects; to an art in the public interest (or “new genre public art”), which deals more with social issues than with the architectonic environment, preferring to work with social groups to working engage with professionals, and which works towards the development of a political awareness in society. [1]
Art in public spaces that involves people in the creative process through participatory methods is not actually a recent phenomenon. Art movements at the end of the 19th and the beginning of the 20th century, for example, supported social reform. Stella Rollig describes the role of artists in the Russian revolution of 1917 as designers of a new society. To this end, life and art were merged in order to “break from the indifferent autonomy of the nineteenth century's bourgeois salon art”. [2]
Participatory art explicitly situates itself where art leaves no doubt as to its sociality: whether with an object or without, it is always about an interaction between people via an artistic process or product.
Participation as an art form is currently subsumed in the discourse of socially engaged art, activist or dialogical art, art in the public interest.
Nowadays, many of these projects are situated where the meaning of a democratic public as a social and political form is in need to be formulated.
The discussion about the teaching of this art form is more recent: how does one prepare artists for this type of work? This text will provide a critical contextualisation of this issue, with reference to two existing Master’s programmes (MFA Fine Arts, Public Art and New Artistic Strategies at the Bauhaus-University Weimar and MA Art in Public at the University of Ulster, Belfast).
[3]
[1] Miwon Kwon, For Hamburg: Public Art and Urban Identities. 1997. See online http://eipcp.net/transversal/0102/kwon/en [20.1.2011]
[2] Stella Rollig, Between Agitation and Animation. Activism and Participation in Twentieth Century Art, 2000. See online http://eipcp.net/transversal/0601/rollig/en [30.11.2010]
[3] The author worked on both programmes and is herself a practising artist in this field.
10 artists were invited to respond to questions around interactivity, collaboration, participation, sustainability, responsibility, feedback and authorship in relation to one specific project they have realized.
The contributions of the participating artists, Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER), can now be found in this publication.
Ten artists make their work transparent reflecting and explaining what they actually do when they are practicing in communication with others. The book is to be read as a toolbox for artists operating with participatory and collaborative strategies. Based on the art projects presented as ‘case studies’, it refers to artistic methodologies, but also to theoretical frameworks and other practitioners.
Susanne Bosch / Andrea Theis (eds)
Authors: Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER).Date of publishing: July 2012
Publisher: Interface, UU, Belfast
ISDN: 978-1-905902-06-4
Authors/contributing Artists: Katharina Jedermann, Kristina Leko, Alexander Henschel, Gordana Košćec, Jelena Bračun, Konstantin Adamopoulos, Claudia Hummel, Susanne Bosch, Nada Beroš, Rädle&Jeremić, Kolektiv Radikalnog Obrazovanja / Radical Education Collective, Ured Trafo.K / Büro trafo.K, Marija Mojca Pungerčar, Eck_Ik, Marijan Crtalić, Ana Bilankov, Kontraakcija, Urbanfestival, Sonja Vuk, Vesna Milić, Nicole Hewitt, Martin Krenn.
Contributions published in this issue of Život umjetnosti were presented at the international symposium on art mediation THE PARTICIPATORY IMPERATIVE, art mediation, the art of mediation, a project by the Goethe Institut Kroatien which took place at the Museum of Contemporary Art Zagreb (MSU Zagreb) from 13th – 15th May 2010. The programme concept was developed by Katharina Jedermann and Kristina Leko.
“The aim of this publication is to bring into life the new/old profession of art mediator, thus strengthening the position of art by empowering human resources that are potentially active in this field. Art mediation involves individuals of various profiles, which means that we would like to address artists, art historians, theoreticians, pedagogues, cultural producers, and other related audiences. It is an invitation to reflect on art mediation and its promotion and communication in the context of museums and beyond, in various non-museum settings such as schools and open/public spaces, as well as to reflect on various forms of presence of (contemporary) art in everyday life of individuals and social groups of different backgrounds.(…)
In order to adjust the topic to the regional and Croatian needs, we have formulated it relatively broadly. Thus, this publication, as well as the conference that preceded it, presented an occasion for an intersection of various discourses on art and art mediation, cultural education (kulturelle Bildung) and art pedagogy, cultural work (Kulturarbeit), and participatory artistic projects, art in public spaces, etc.”
Editors: Kristina Leko and Katharina Jedermann
112 pages
ISSN 0524-7794
AGENCY exists since 2006 and has neither a manifesto nor is a fixed group of creative practitioners.
The name AGENCY represents the possibility to work (both) temporarily (and) collectively with a changing group of creative people. It offers to experience for a period of time the synthesis of art and life, an intensive exchange, to take the risk to overcome (certain perceived) limits of individual artistic activity, to give the interest in the others and the situation a powerful expression.
* A·GEN·CY n
1. an organization, especially a company, acting as the representative, agent, or subcontractor of a person or another company
2. a division of a government or international organization that carries out administrative duties
3. the building or offices where an agency is located
4. the action, medium, or means by which something is accomplished
5. a legal relationship involving a person (the principal) and another who acts for the person (the agent), or the area of the law concerned with such relationships
So far, AGENCY has realized 3 projects.
Residency (2008) and Billboard Project (2009)
[15 – 22 March 2008]
Organised by: Birgit Schumacher/ Uwe Jonas, curators of Pilotprojekt Gropiusstadt, Berlin. http://www.pilotprojekt-gropiusstadt.de
Location: Berlin Gropiusstadt (2008) and Berlin Gipsstrasse (2009)
Partly funded by Gropiusstadt and RI, UU, Belfast
by AGENCY (Cherie Driver, Sandra Johnston and Susanne Bosch.)
AGENCY was a guest for a week in March 2008 at the pilotproject. The participants were Cherie Driver, Sandra Johnston and Susanne Bosch. We spent the week exploring the entire area and speculating about its past and future. As part of this process we looked into property prices and arranged apartment viewings with an estate agent. We also met local residents, community managers and the two projectmanagers Uwe Jonas und Birgit Schumacher to listen to their impression about contemporary Gropiusstadt. Some perspectives we encountered about Gropiusstadt as a residential location were quite negative, generally statements from residents of other Berlin neighbourhoods. But in response to all of the diverse viewpoints we heard, we tried to consider objectively our own experiential reaction to the qualities of the environment, and we found there was much to appreciate, and inevitable great complexity which we decided we did not want to make a simplistic response to. The most honest outcome for us being there in the apartment was to realize the value of such an opportunity given to us, to reflect objectively on our everyday living situations in Northern Ireland (and the emotions and choices they entail).
Subsequently we developed a billboard project in Gipsstrasse in Berlin Mitte, which is a reflection of our visit and the debate which living in Gropiusstadt initiated. This billboard project is a reflection of our visit and debate. . The billboard were launched in January and February 2009.
Publication:
2009 Yearbook 2008 Pilotprojekt Gropiustadt, Schumacher/Jonas (ed.) pg 12-13
ISBN 978-3-86736-162-0, 2012
Published by Muthesius Kunsthochschule Kiel, Germany, 2012
Rainer W Ernst (Editor), Anke Müffelmann (Editor), Florian Riedel (Illustrator), R Ernst (Author), Susanne Bosch (Author), Martin Schönfeld (Author), Markus Graf (Author), Jürgen Bock (Author), Tina Sherwell (Author), Elfriede Müller (Author), Brian Currid (Translation), Matthew Partridge (Translation), Judith Rosenthal (Translation), Robert Durlong (Translation)
ISBN-10: 3981378172
ISBN-13: 978-3981378177
Publisher: Montréal: Dare-Dare, Centre de diffusion d'art multidisciplinaire de Montréal.
Texts in French and English.
With text contributions from Clara Bonnes (ed), Pascal Nicolas-Le Strat, Eve Dorias, Jean-Pierre Caissie, J.R. Carpenter, Dan Pitera, Marie-Suzanne Désilets, Susanne Bosch.
ISBN: 9782980564048 2980564044
DARE-DARE supports research and valorises emerging practices. Its members are interested in the context of creation and answer the need of exchange and collaboration. DARE-DARE is a flexible, open space devoted to research, experimentation, risk and critical inquiry. The artist-run center manifests a sustained interest in exploration and in the diversity in the modes of presentation.
Therefore, DARE-DARE accepts innovative, original and critical propositions, which invest the gallery's space, the urban space or any other context. Submit any proposal of exhibition, performance, public intervention, event, etc., may they be specific or of variable duration.
DARE-DARE is located near Metro St-Laurent in Montréal Québec, Canada.
www.dare-dare.org
Setting the scene
Art in the public sphere is probably one of the oldest art forms in its incarnation as commemorative culture or representation of power. In her essay “For Hamburg: Public Art and Urban Identities”, art and architecture critic Miwon Kwon discusses the three phases of the paradigm shifts that have taken place over the course of the last decades in art in public spaces: from an art in public places, typically modernist abstract sculptures situated outdoors that are supposed to ‘decorate’ or ‘enrich’ urban spaces; via an art as public spaces that aims to promote the increased integration of art, architecture and environment, and for which artists work with those responsible for urban planning on continuous city-development projects; to an art in the public interest (or “new genre public art”), which deals more with social issues than with the architectonic environment, preferring to work with social groups to working engage with professionals, and which works towards the development of a political awareness in society. [1]
Art in public spaces that involves people in the creative process through participatory methods is not actually a recent phenomenon. Art movements at the end of the 19th and the beginning of the 20th century, for example, supported social reform. Stella Rollig describes the role of artists in the Russian revolution of 1917 as designers of a new society. To this end, life and art were merged in order to “break from the indifferent autonomy of the nineteenth century's bourgeois salon art”. [2]
Participatory art explicitly situates itself where art leaves no doubt as to its sociality: whether with an object or without, it is always about an interaction between people via an artistic process or product.
Participation as an art form is currently subsumed in the discourse of socially engaged art, activist or dialogical art, art in the public interest.
Nowadays, many of these projects are situated where the meaning of a democratic public as a social and political form is in need to be formulated.
The discussion about the teaching of this art form is more recent: how does one prepare artists for this type of work? This text will provide a critical contextualisation of this issue, with reference to two existing Master’s programmes (MFA Fine Arts, Public Art and New Artistic Strategies at the Bauhaus-University Weimar and MA Art in Public at the University of Ulster, Belfast).
[3]
[1] Miwon Kwon, For Hamburg: Public Art and Urban Identities. 1997. See online http://eipcp.net/transversal/0102/kwon/en [20.1.2011]
[2] Stella Rollig, Between Agitation and Animation. Activism and Participation in Twentieth Century Art, 2000. See online http://eipcp.net/transversal/0601/rollig/en [30.11.2010]
[3] The author worked on both programmes and is herself a practising artist in this field.