Institut National des Beaux Arts
Av. Med V - Cité Scolaire BP 89 - Tétouan, Maroc
…
http://www.etudiant.ma/inba.htm
La Faculté des Sciences de Rabat
Le premier embryon d’enseignement supérieur scientifique marocain est mis en place en novembre 1940 lorsque des cours de propédeutique furent organisés pour 65 étudiants dans les locaux de l’Institut Scientifique et au lycée Gouraud (lycée Hassan II actuellement).
Le noyau du siège de l’actuelle faculté des sciences a été mis en service dès 1952 sous l’appellation « Centre d’études supérieures scientifiques ». Devenu « Faculté des Sciences » en 1957-1958, nom officialisé par le Dahir de 1959. Cet établissement allait connaître une extension importante de ses locaux avec le doublement dès 1966 de la superficie couverte puis son quadruplement vers la fin des années soixante-dix.
…
http://www.fsr.ac.ma
Emily Carr
Based in Vancouver, BC, Canada, Emily Carr Institute is a learning community devoted to excellence and innovation in visual arts, media arts and design. We offer a rich variety of degree programs and continuing studies courses. We have galleries, studios, workshops, classrooms and labs all centred on art, media and design. You will be challenged to reach your creative potential at Emily Carr, one of the world’s premier art institutes.
…
http://www.eciad.ca
Core77 ~ *Industrial Design Supersite*
Since 1995 Core77.com has served a devoted global audience of industrial designers ranging from students through seasoned professionals. Core77 publishes articles, discussion forums, an extensive event calendar, hosts portfolios, job listings, a database of design firms, schools, vendors and services. Core77 provides a gathering point for designers and enthusiasts alike by producing design competitions, lecture series, parties, and exhibits.
…
http://www.core77.com
Bezalel Academy of Art and Design - Jerusalem
In 1903, the Jewish Zionist Congress decides upon the foundation of “Bezalel – The School of Handicrafts” in Jerusalem. Ever since its opening in 1906, Bezalel has been the most prominent academy of Fine Arts, Design and Architecture in Israel.
…
http://www.bezalel.ac.il/sitee/homepage.asp
ARTSCHOOL PALESTINE
ARTSCHOOL PALESTINE IS A STRUCTURE AND PLACE FOR THE EXCHANGE AND DEVELOPMENT OF CONTEMPORARY PALESTINIAN ART It is an ambitious initiative that will increase opportunities and develop skills for contemporary artists living and working in the Palestinian Territories. Foremost, ArtSchool Palestine is a website connecting artists to each other in order to stimulate critical debate, grow networks, showcase work to an international audience and disseminate information about opportunities. It is a forum that will project contemporary art activity happening in Palestine and its Diaspora to an international audience.
…
http://www.artschoolpalestine.com/
In the Garden of the Arts. Ecole Supérieure des Beaux Arts Algiers
In the Garden of the Arts. Ecole Supérieure des Beaux Arts Algiers:
In the Garden of the Arts
By Knut Ebeling
Archive:Institutions
Algeria
The Ecole Supérieure des Beaux-Arts (ESBA) in
Algiers is an excellent school for two reasons: firstly, for it being
Algeria’s only art school with the rating of supérieure since 1985; and secondly, for it certainly being among the world’s
best-situated learning institutions for the arts. Erected in the 1950s
on a terrace overlooking the Mediterranean, the building rises up from
a garden of palm trees, and the blue of the sea is visible from every
studio.
Interestingly enough, the Mediterranean not only plays an optical
role for the ESBA. Particularly in recent times, the Mediterranean
basin in Algeria has become an identity politics reservoir, with which
diverse art projects attempt to newly position themselves. Between
an enlightened Europe and an Islamic Mahgreb, the Mediterranean offers
an alternative of self-description as convincing as it is sparkling – and
nowhere does it sparkle like from the terrace of the ESBA.
How does one study art in a veiled culture? "Do you see this
catalog?" asks Mohammed Djehiche, director of the art school,
displaying a publication rather worn in places. "A French artist
who wants to show here sent it to me. But I won’t be able to
show him," says Djehiche, without regret. Why should he regret
something not suited to his country’s cultural canon of values?
He doesn’t see himself as a pioneer for western values in the
Islamic world. The naked women Vanessa Beecroft exhibited at the National
Gallery in Berlin, attentively followed in ARTE broadcasts, met with
little understanding in a country like Algeria.
"The different cultures is not a problem, but rather a wealth," announces
Djehiche at first moderately. Later he adopts an aggressive tone: "We
have the right to be different. We have a right to our own vision of
contemporary art. Mimicking things from the West can destroy us...We
would degrade ourselves to a sub-Occidentalism, and we’ve had
enough dictates, especially in the arts," explains the most powerful
art-school director in a country a French colony for a hundred years
and only independent since about a half century.
At the same time, the Ecole Supérieure des Beaux Arts of Algiers
was in itself the fruit of colonialism, already recognizable in its
name. Built in 1870, in the French Belle Epoche style, it was relocated
to a modernistic, new building in the 1950s, where the art school has
remained up until today. It was only after the independence that the
school received its first Algerian director in 1962. Today the colonial,
neo-classical legacy is still present in countless plaster casts that
skirt every part of the building and garden, and which include a pair
of sculptures donated in the 1940s by Paul Belmondo, the father of
the actor Jean-Paul Belmondo.
An art school in the colony is a copy workshop, and its copying business
runs in both directions: via the school not only was the occidental
pictorial tradition, together with revealing depictions of the body,
imported into the Arabic nation; developed since 1905 in its own specially-furnished
copying studio, the style arabisé – the version of local
forms and formats compatible with the West – was exported back
to Europe again. "Whenever the Occident shows an interest in the
Orient, it has to eat it with a western sauce," knowingly reports
the sauce-lover Djehiche, under the portrait of his president of state
found hanging here like it does in every official space in Algeria.
There’s a western gaze directed at the Arabic world from which
one has to first decolonize oneself. It’s not an easy task breaking
away from the postcolonial legacy which nowadays lures with the connection
to the western art world.
Not only Algeria’s connection to the West, but also its connection
to the international art world is sorely needed. During the 1990s the
art school’s greatest problem was its isolation. While entertainment
art flourished in the West, Algeria sank into the dark ages of a national
terrorism similar to a civil war, which claimed hundreds of thousands
of lives. The afterpains of this national trauma are felt everywhere – especially
in the arts. Dealing with the trauma of terror is Theme No.1 in the
arts in Algeria. Today, in the historic citadel of Algiers, occupied
by the Turks before the French, art is shown – memory art. Not
only do people pay tribute to the National Liberation of 1962 with
great devotion; but even more present, the bondage of terror haunts
the collective memory of Algerian artists.
In Algeria, even art schools participate in memorial culture – especially
when recalling how their former director, Ahmed Asselah, predecessor
of the current director, fell victim to a brutal assassination on the
school grounds. More than just a memorial plaque noting the exact time
of the slaying refers to this day in the year 1994; with an annual
art festival as well the school commemorates the times of terror, which
today - inshallah (as God wills) – are finally over.
(Translated from the German by Karl Johnson)
In the Garden of the Arts
By Knut Ebeling
Archive:Institutions
Algeria
The Ecole Supérieure des Beaux-Arts (ESBA) in
Algiers is an excellent school for two reasons: firstly, for it being
Algeria’s only art school with the rating of supérieure since 1985; and secondly, for it certainly being among the world’s
best-situated learning institutions for the arts. Erected in the 1950s
on a terrace overlooking the Mediterranean, the building rises up from
a garden of palm trees, and the blue of the sea is visible from every
studio.
Interestingly enough, the Mediterranean not only plays an optical
role for the ESBA. Particularly in recent times, the Mediterranean
basin in Algeria has become an identity politics reservoir, with which
diverse art projects attempt to newly position themselves. Between
an enlightened Europe and an Islamic Mahgreb, the Mediterranean offers
an alternative of self-description as convincing as it is sparkling – and
nowhere does it sparkle like from the terrace of the ESBA.
How does one study art in a veiled culture? "Do you see this
catalog?" asks Mohammed Djehiche, director of the art school,
displaying a publication rather worn in places. "A French artist
who wants to show here sent it to me. But I won’t be able to
show him," says Djehiche, without regret. Why should he regret
something not suited to his country’s cultural canon of values?
He doesn’t see himself as a pioneer for western values in the
Islamic world. The naked women Vanessa Beecroft exhibited at the National
Gallery in Berlin, attentively followed in ARTE broadcasts, met with
little understanding in a country like Algeria.
"The different cultures is not a problem, but rather a wealth," announces
Djehiche at first moderately. Later he adopts an aggressive tone: "We
have the right to be different. We have a right to our own vision of
contemporary art. Mimicking things from the West can destroy us...We
would degrade ourselves to a sub-Occidentalism, and we’ve had
enough dictates, especially in the arts," explains the most powerful
art-school director in a country a French colony for a hundred years
and only independent since about a half century.
At the same time, the Ecole Supérieure des Beaux Arts of Algiers
was in itself the fruit of colonialism, already recognizable in its
name. Built in 1870, in the French Belle Epoche style, it was relocated
to a modernistic, new building in the 1950s, where the art school has
remained up until today. It was only after the independence that the
school received its first Algerian director in 1962. Today the colonial,
neo-classical legacy is still present in countless plaster casts that
skirt every part of the building and garden, and which include a pair
of sculptures donated in the 1940s by Paul Belmondo, the father of
the actor Jean-Paul Belmondo.
An art school in the colony is a copy workshop, and its copying business
runs in both directions: via the school not only was the occidental
pictorial tradition, together with revealing depictions of the body,
imported into the Arabic nation; developed since 1905 in its own specially-furnished
copying studio, the style arabisé – the version of local
forms and formats compatible with the West – was exported back
to Europe again. "Whenever the Occident shows an interest in the
Orient, it has to eat it with a western sauce," knowingly reports
the sauce-lover Djehiche, under the portrait of his president of state
found hanging here like it does in every official space in Algeria.
There’s a western gaze directed at the Arabic world from which
one has to first decolonize oneself. It’s not an easy task breaking
away from the postcolonial legacy which nowadays lures with the connection
to the western art world.
Not only Algeria’s connection to the West, but also its connection
to the international art world is sorely needed. During the 1990s the
art school’s greatest problem was its isolation. While entertainment
art flourished in the West, Algeria sank into the dark ages of a national
terrorism similar to a civil war, which claimed hundreds of thousands
of lives. The afterpains of this national trauma are felt everywhere – especially
in the arts. Dealing with the trauma of terror is Theme No.1 in the
arts in Algeria. Today, in the historic citadel of Algiers, occupied
by the Turks before the French, art is shown – memory art. Not
only do people pay tribute to the National Liberation of 1962 with
great devotion; but even more present, the bondage of terror haunts
the collective memory of Algerian artists.
In Algeria, even art schools participate in memorial culture – especially
when recalling how their former director, Ahmed Asselah, predecessor
of the current director, fell victim to a brutal assassination on the
school grounds. More than just a memorial plaque noting the exact time
of the slaying refers to this day in the year 1994; with an annual
art festival as well the school commemorates the times of terror, which
today - inshallah (as God wills) – are finally over.
(Translated from the German by Karl Johnson)
www.lust.nl/deprogram
Dear guys at soDA,¶Your name came to me through a couple of friends and contacts Linda van Deursen a friend in Amsterdam and David Clavadetcher, in Luzern a contact through friends at Studio LUST in Den Haag. ¶During the summer I conduct a workshop based in Den Haag. The guys at LUST and Bob van Dijk at NLXL act as primary tutors for the program. The program is three weeks and we spend most of the time in Den Haag. Each year there is a brief side trip and this year we will be in Zurich from July 8 to Sunday July 11. The students are 3rd and 4th year graphic /¶communication design students from different programs in the U.S. During our stay in Zurich I was hoping to schedule a brief visit to your studio. It's a small group, 8 in total. ¶I know this is difficult with a busy work schedule but the experience of connecting with other designers, understanding something of their intent, inspiration is so important in aiding students in finding out more about themselves.¶Thanks in advance, I truly hope something can work out. www.lust.nl/deprogram
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