Yan Su
Zurich University of the Arts, MAS in Curating, Faculty Member
- HEAD-Geneva (Geneva University of Art and Design), Fine Arts, Graduate Studentadd
A draft research proposal. Looking for collaboration.
Research Interests:
Sketching Life Researching the Impact of Socially Engaged Life Drawing Practice in the Social Media and Virtual Reality Ages During the two years of my study in the TRANS MA programme at the HEAD, I would like to work on a project that... more
Sketching Life
Researching the Impact of Socially Engaged Life Drawing
Practice in the Social Media and Virtual Reality Ages
During the two years of my study in the TRANS MA programme at the HEAD, I would like to work on a project that explores the meaning and impact of socially engaged life drawing practices in the current social media age and the upcoming virtual reality age.
The practice of life drawing (to draw or paint directly from a nude model) has been regarded as crucial for artists to develop their skills, especially by academies. While contemporary art schools appear to be abandoning such practices, community-based life drawing groups seem to be getting popular. No longer a niche of artists, life drawing becomes a social activity for people from all backgrounds with different drawing skill levels and its impacts go beyond improving one's artistic skills.
Researching the Impact of Socially Engaged Life Drawing
Practice in the Social Media and Virtual Reality Ages
During the two years of my study in the TRANS MA programme at the HEAD, I would like to work on a project that explores the meaning and impact of socially engaged life drawing practices in the current social media age and the upcoming virtual reality age.
The practice of life drawing (to draw or paint directly from a nude model) has been regarded as crucial for artists to develop their skills, especially by academies. While contemporary art schools appear to be abandoning such practices, community-based life drawing groups seem to be getting popular. No longer a niche of artists, life drawing becomes a social activity for people from all backgrounds with different drawing skill levels and its impacts go beyond improving one's artistic skills.
Research Interests:
Centres ⁄Peripheries – Complex Constellations Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing... more
Centres ⁄Peripheries – Complex Constellations
Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life.
In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For many of our interview partners, the question of oppositionality is less important than the equal networking of their own artistic and curatorial practices in an international exchange, which is informed by the historical and local references of the particular place. These projects do not establish a distinction—aesthetically and personally; they open up to a broader public (and not only the “art insider”), and they relate to an embracing mode of encounters with “other” cultures, identities, and ideas, and present an inclusive gesture. Instead of voicing one view on the complex constellations of centres–peripheries in the arts, we have decided to propose different introductory statements to show the multifaceted approaches to this topic.
Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life.
In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For many of our interview partners, the question of oppositionality is less important than the equal networking of their own artistic and curatorial practices in an international exchange, which is informed by the historical and local references of the particular place. These projects do not establish a distinction—aesthetically and personally; they open up to a broader public (and not only the “art insider”), and they relate to an embracing mode of encounters with “other” cultures, identities, and ideas, and present an inclusive gesture. Instead of voicing one view on the complex constellations of centres–peripheries in the arts, we have decided to propose different introductory statements to show the multifaceted approaches to this topic.