Medien Wiki - User contributions [en]

GMU:Processual art: Life sciences and the social/political agenda

2010-04-02T10:18:29Z

Susannejaschko: Created page with ''''Processual art: Life sciences and the social/political agenda''' Questions: ''Can so-called Bio-Art be meaningfully described as processual art? Which methods of infiltration…'

'''Processual art: Life sciences and the social/political agenda'''

Questions: ''Can so-called Bio-Art be meaningfully described as processual art? Which methods of infiltration, visualisation, awareness-creation do artists apply? What are the political and social reverberations of this kind of art?''

Nowadays, by applying quantitative and qualitative methods and the performance of peer-to-peer review, science is much more than a sole methodology for producing certainty through trial and error. Likewise the spectrum of process-oriented or processual art is wide and manifold. Amongst other practices, the recent developments in conceptual art, systems art and time-based art, and the multiplication of collaborative practices brought about by the internet, have paved the way for artistic practices of which documentation is often, sadly enough, the only remaining trace of an action that took place. These art forms are activist in the formal sense of the word: they need to find, sometimes to fight their way into new systems that they are not part of and that are not always ready for understanding or accepting art. The term ‘activist’ here means ‘before the political’ or pre-political.

Once infiltrated into a system, these art forms use the new system as artistic matter/medium, or adopt a critical stance on it. These arts are not oriented towards the production of objects but are time- based, networked, changing, constantly in search for new areas of activity to appropriate: politics, science, ethics, and business to name a few. This is, in fact, what makes them difficult to digest for the market. Interestingly, this process of infiltration produces a form of reverse contamination, as artists working ‘there’ learn to speak and act like politicians, scientists, professional ethicists, or businessmen. These artists develop a multi-lingual competence.

In the field of science fifteen years ago, artists at best would be allowed to function as agents for filling the deficit of communication of science towards society, by illustrating or visualising certain scientific processes. Nowadays, by operating cautiously, artists are successful at infiltrating laboratories and eventually find themselves being respected for the work they do.

GMU:Process as Paradigm

2010-04-02T10:07:55Z

Susannejaschko: /* Themen */

[[:Category:Fachmodul|Fachmodul]] 
''Lehrperson(en):'' Dr. [[Susanne Jaschko]], Prof. [[Ursula Damm]], (begleitend) 
''Bewertung:'' 6 [[ECTS]], 4 [[SWS]] 
''Termin:''Four times Friday, 13:30 - 19:00 and Saturday, 10:00 to 17:00 
''Ort:'' [[Marienstraße 7b]], Raum 103 
''Erster Termin:'' 07.05.2010

==Beschreibung==
Prozess als Paradigma der Medienkunst und Kultur 
Die Veranstaltung stellt den Begriff des Prozessualen in den Mittelpunkt und diskutiert „Prozess“ als Paradigma der Medienkunst und darüber hinaus als Perspektive auf die Gegenwart. Im Seminar werden im Rückgriff auf die Medientheorie „Prozess“ in Abgrenzung zur Interaktivität und Performativität bestimmt (Baudrillard, Kittler, Deleuze etc.) und auch die Naturwissenschaften im Hinblick auf Systemtheorie und ihrem Verständnis von „Prozess“ herangezogen. Historische und zeitgenössische Beispiele der Medienkunst und ihre Genres (z.B. Bioart, Generative Kunst, kollaborative netzbasierte Kunst) werden auf ihre Prozessualität hin untersucht und Möglichkeiten der Präsentation, Dokumentation und Archivierung erörtert und entworfen. Das Seminar knüpft an die Ausstellung „Process is Paradigm“ im Laboral, Gijòn, Spanien an. Seminarergebnisse sollen im Weblog des Ausstellungsprojektes veröffentlicht werden.

==English description==
Process as paradigm 
The seminar focuses on 'process' as one paradigm of media art and introduces it as a valid perspective on the present. Relevant theories on interactivity and performativity will be consulted for precise definitions of ‘process’ and ‘processuality’, so are natural sciences and systems theory. Historic and contemporary media art and its genres such as bio art, generative art, and collaborative net-based art will be studied with regard to inherent processual qualities and possibilities of presentation, documentation and archiving. The seminar is loosely linked to the exhibition ‘Process is Paradigm’ at Laboral, Gijòn, Spain.

==Themen==
* [[GMU:Models of perception]]
* [[Topic2]]
* [[Topic3]]

==Voraussetzungen==
k.A.

==Anmeldung==
The class will be held by Dr. Susanne Jaschko, a Berlin based independent curator and researcher in contemporary visual and electronic art.

In order to become a participant of this class, please register by sending an e-mail to Kristina.Hellmann@uni-weimar.de, stating your name and course of studies.

Registrations will only be accepted until 16 April.

==Leistungsnachweis==
The findings of the seminar are to be published as papers (course assessments) in the project’s weblog.
Leistungsnachweise sind als Hausarbeiten zu erbringen.
Aktive Teilnahme, Präsentation, künstlerische Prüfung, Dokumentation, Eintrag im Wiki.

==Zielgruppe==
This is an offer especially for the students of the English study program “Media Art and Design”. If the maximum number of participants is not exceeded, other students are welcome to attend (after registration).

==Syllabus==
* Freitag, 7.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 8.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 14.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 15.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 21.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 22.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 28.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 29.5. 10:00 Uhr bis 17:00 Uhr

==Bibliography ''will be provided successively''==
* [http://www.uni-weimar.de/cms/universitaet/zentrale-einrichtungen/universitaetsbibliothek/recherche/semesterapparate/semesterapparate-medien/neu-medien-semesterapparate/ms-2010-14.html Semesterapparat in der Limona]
* [http://www.sujaschko.de/en/curating/exhibitions/process.html download curators' notes on Process as Paradigm]
* Hans Ulrich Gumbrecht, Production of the Presence: What Meaning Cannot Convey, Stanford University Press, Stanford, 2004 ISBN 978-0804749152
* Jean Baudrillard, Impossible Exchange, Verso, London-New York, 2001 ISBN 978-1859843499
* Nicolas Bourriaud, Relational Aesthetics (Engl. translation), Les presses de réel, Dijon-Quetigny, 2002 ISBN 978-2840660606
* Matthew Fuller, Software Studies (A lexicon), MIT Press, 2007 ISBN 978-0262062749
* Henri Bergson, Creative Evolution, 2005, Cosimo Classics ISBN 0-76076548-0.
* Bruno Latour, Pandora's Hope. Essays on the Reality of Science Studies, Harvard Univ Pr, 1999 ISBN 978-0674653368
* Jonathan Crary, Spectacle, Attention, Counter-Memory, In: October, Vol. 50, (Autumn, 1989), pp. 96-107, The MIT Press, [http://www.jstor.org/stable/778858 Jstor access], [http://books.google.de/books?id=8jPwJsJKXn8C&pg=PA455&lpg=PA455&dq=crary+spectacle,+attention+counter-memory&source=bl&ots=pMqCFU1h5R&sig=PHsMEiAXcbNTgB84Ba3PwlCR5_A&hl=de&ei=Bby1S7nIKpL9_AaF2qzdDg&sa=X&oi=book_result&ct=result&resnum=3&ved=0CBIQ6AEwAg#v=onepage&q=crary%20spectacle%2C%20attention%20counter-memory&f=false Preview on Google-Books]

German Editions in the UB

* Gumbrecht, Hans Ulrich: ''Diesseits der Hermeneutik: die Produktion von Präsenz'' ISBN 3518123645
* Baudrillard, Jean: ''Der unmögliche Tausch'' ISBN 3883961612
* Latour, Bruno: ''Die Hoffnung der Pandora: Untersuchungen zur Wirklichkeit der Wissenschaft'' ISBN 3518582968

==Links==

[[Category:Fachmodul]]
[[Category:SS10]]
[[Category:Susanne Jaschko]]

GMU:From generative to living image

2010-04-02T10:06:44Z

Susannejaschko: Created page with ''''From generative to living image''' Questions: ''What are the similarities and differences between generative and moving images? Which qualities define living images? What is …'

'''From generative to living image'''

Questions: ''What are the similarities and differences between generative and moving images? Which qualities define living images? What is the process of production of these generative and living images and in how far does it differ from traditional art practices?''

The synthetic, generative image does not fit the category of moving image nor the one of still image it, but it is in between them. Although it shows properties of both, it constitutes a category of its own. The synthetic, generative image is generally based on a process. One could say even, it is a process. Different than the moving image, it is not pre-recorded, but generated in the very moment of its presentation, even if parts of it were produced earlier. Hence it is always live and performative. It develops in a system that is predefined and constructed by the artist, in which the process of generation and synthesis evolves over time. This system can be an apparatus, a machine such as a computer or any other kind of system able to produce or possessing a ‘surface.’
The generative, synthetic image can be a totally autonomous process designed for and executed in a closed, isolated system. In its other form of existence, it is conceived for a more open system or environment, thus not isolated from its own exterior, but integrating its conditions and actions in the process.

Moving images are basically still images in fast acceleration, so that the human eye perceives them as one moving image, i.e. the recorded objects in it as moving. “Movement expresses a change of the whole, an aspect of change, a duration or an articulation of duration,” states Gilles Deleuze about the dimension of captured time in the moving image.
Like the moving image, the generative image expresses change and duration, and ‘flows’. But while the moving image is finite as soon as it is recorded and can only perform in reproduction, the generative image is – at least in theory – infinite and continuous. As much as the generative image shares with the moving image, as much it is related to the still image. Vilém Flusser notes that “It is wrong to look for ‘frozen events’ in images. Rather they replace events by states of things and translate them into scenes.” Processual images are all at once: events, that unfold in front of the viewer’s eye, but - depending on the velocity of the process - they also emphasise the state of things translated into scenes.

That the generative image is not confined to the computer, but can be produced with other processual media, for instance living, organic media.
Maybe these unique, local, temporal, image generating processes also embody resistance to the ubiquity, repetitiveness and banality of broadcasted images restructuring our reality and turning it into a global image scenario.

GMU:Process as Paradigm

2010-04-02T09:55:13Z

Susannejaschko: /* Literatur */

[[:Category:Fachmodul|Fachmodul]] 
''Lehrperson(en):'' Dr. [[Susanne Jaschko]], Prof. [[Ursula Damm]], (begleitend) 
''Bewertung:'' 6 [[ECTS]], 4 [[SWS]] 
''Termin:''Four times Friday, 13:30 - 19:00 and Saturday, 10:00 to 17:00 
''Ort:'' [[Marienstraße 7b]], Raum 103 
''Erster Termin:'' 07.05.2010

==Beschreibung==
Prozess als Paradigma der Medienkunst und Kultur 
Die Veranstaltung stellt den Begriff des Prozessualen in den Mittelpunkt und diskutiert „Prozess“ als Paradigma der Medienkunst und darüber hinaus als Perspektive auf die Gegenwart. Im Seminar werden im Rückgriff auf die Medientheorie „Prozess“ in Abgrenzung zur Interaktivität und Performativität bestimmt (Baudrillard, Kittler, Deleuze etc.) und auch die Naturwissenschaften im Hinblick auf Systemtheorie und ihrem Verständnis von „Prozess“ herangezogen. Historische und zeitgenössische Beispiele der Medienkunst und ihre Genres (z.B. Bioart, Generative Kunst, kollaborative netzbasierte Kunst) werden auf ihre Prozessualität hin untersucht und Möglichkeiten der Präsentation, Dokumentation und Archivierung erörtert und entworfen. Das Seminar knüpft an die Ausstellung „Process is Paradigm“ im Laboral, Gijòn, Spanien an. Seminarergebnisse sollen im Weblog des Ausstellungsprojektes veröffentlicht werden.

==English description==
Process as paradigm 
The seminar focuses on 'process' as one paradigm of media art and introduces it as a valid perspective on the present. Relevant theories on interactivity and performativity will be consulted for precise definitions of ‘process’ and ‘processuality’, so are natural sciences and systems theory. Historic and contemporary media art and its genres such as bio art, generative art, and collaborative net-based art will be studied with regard to inherent processual qualities and possibilities of presentation, documentation and archiving. The seminar is loosely linked to the exhibition ‘Process is Paradigm’ at Laboral, Gijòn, Spain.

==Themen==
* [[Topic1]]
* [[Topic2]]

==Voraussetzungen==
k.A.

==Anmeldung==
The class will be held by Dr. Susanne Jaschko, a Berlin based independent curator and researcher in contemporary visual and electronic art.

In order to become a participant of this class, please register by sending an e-mail to Kristina.Hellmann@uni-weimar.de, stating your name and course of studies.

Registrations will only be accepted until 16 April.

==Leistungsnachweis==
The findings of the seminar are to be published as papers (course assessments) in the project’s weblog.
Leistungsnachweise sind als Hausarbeiten zu erbringen.
Aktive Teilnahme, Präsentation, künstlerische Prüfung, Dokumentation, Eintrag im Wiki.

==Zielgruppe==
This is an offer especially for the students of the English study program “Media Art and Design”. If the maximum number of participants is not exceeded, other students are welcome to attend (after registration).

==Syllabus==
* Freitag, 7.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 8.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 14.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 15.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 21.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 22.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 28.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 29.5. 10:00 Uhr bis 17:00 Uhr

==Literatur==
A bibliography will be provided successively.

* [http://www.uni-weimar.de/cms/universitaet/zentrale-einrichtungen/universitaetsbibliothek/recherche/semesterapparate/semesterapparate-medien/neu-medien-semesterapparate/ms-2010-14.html Semesterapparat in der Limona]
* [http://www.sujaschko.de/en/curating/exhibitions/process.html download curators' notes on Process as Paradigm]
* Hans Ulrich Gumbrecht, Production of the Presence: What Meaning Cannot Convey, Stanford University Press, Stanford, 2004 ISBN 978-0804749152
* Jean Baudrillard, Impossible Exchange, Verso, London-New York, 2001 ISBN 978-1859843499
* Nicolas Bourriaud, Relational Aesthetics (Engl. translation), Les presses de réel, Dijon-Quetigny, 2002 ISBN 978-2840660606
* Matthew Fuller, Software Studies (A lexicon), MIT Press, 2007 ISBN 978-0262062749
* Henri Bergson, Creative Evolution, 2005, Cosimo Classics ISBN 0-76076548-0.
* Bruno Latour, Pandora's Hope. Essays on the Reality of Science Studies, Harvard Univ Pr, 1999 ISBN 978-0674653368
* Jonathan Crary, Spectacle, Attention, Counter-Memory, In: October, Vol. 50, (Autumn, 1989), pp. 96-107, The MIT Press, [http://www.jstor.org/stable/778858 Jstor access], [http://books.google.de/books?id=8jPwJsJKXn8C&pg=PA455&lpg=PA455&dq=crary+spectacle,+attention+counter-memory&source=bl&ots=pMqCFU1h5R&sig=PHsMEiAXcbNTgB84Ba3PwlCR5_A&hl=de&ei=Bby1S7nIKpL9_AaF2qzdDg&sa=X&oi=book_result&ct=result&resnum=3&ved=0CBIQ6AEwAg#v=onepage&q=crary%20spectacle%2C%20attention%20counter-memory&f=false Preview on Google-Books]

German Editions in the UB

* Gumbrecht, Hans Ulrich: ''Diesseits der Hermeneutik: die Produktion von Präsenz'' ISBN 3518123645
* Baudrillard, Jean: ''Der unmögliche Tausch'' ISBN 3883961612
* Latour, Bruno: ''Die Hoffnung der Pandora: Untersuchungen zur Wirklichkeit der Wissenschaft'' ISBN 3518582968

==Links==

[[Category:Fachmodul]]
[[Category:SS10]]
[[Category:Susanne Jaschko]]

GMU:Models of perception

2010-04-02T09:23:55Z

Susannejaschko:

'''Models of perception'''

Questions: ''Which special kind of perception does processual art/media call for? Can/should art merge with life? What are the consequences? We will revisit perception and performance theory.''

The subtle changes being characteristic of processual art have a strong impact on the specific, subjective perception and understanding of the here and now. While today we increasingly experience a “tyranny of the here and now,” with its unrelenting demand for our attention in everyday life, the delicate and ambient nature of processual art allows for shared attention, the choice between active and passive agency on the part of the recipient, and a multiplicity of access points. In this regard, processual art opposes the oppressive canon of the spectacle and instead introduces the idea of art that merges with life.

Processual art has the potential to mirror, respond to, or comment on the changing, processual nature of existence on a long-term basis. Consider for example the city as a living organism constantly reshaped by both rapid change and permanence. Processes inside this organism progress evolve at different speeds and at varying levels of complexity. By the integration of processual art within this realm, everyday processes – say, urban flows – can for instance be transferred into dynamic movement and abstract form, thus becoming living public works and active agents in the larger processes of building identity and community.

Nevertheless one might criticise processual art for its strong bond with the present, particularly when recalling what Guy Debord’s wrote about the reign of the perpetual present and the power of the spectacle to annihilate historical knowledge, in particular the recent past.

GMU:Models of perception

2010-04-02T09:21:46Z

Susannejaschko: Created page with ''''Models of perception''' Questions: ''What special kind of perception does processual art/media call for? Can/should art merge with life. What are the consequences? We will re…'

'''Models of perception'''

Questions: ''What special kind of perception does processual art/media call for? Can/should art merge with life. What are the consequences? We will revisit perception and performance theory.''

The subtle changes being characteristic of processual art have a strong impact on the specific, subjective perception and understanding of the here and now. While today we increasingly experience a “tyranny of the here and now,” with its unrelenting demand for our attention in everyday life, the delicate and ambient nature of processual art allows for shared attention, the choice between active and passive agency on the part of the recipient, and a multiplicity of access points. In this regard, processual art opposes the oppressive canon of the spectacle and instead introduces the idea of art that merges with life.

Processual art has the potential to mirror, respond to, or comment on the changing, processual nature of existence on a long-term basis. Consider for example the city as a living organism constantly reshaped by both rapid change and permanence. Processes inside this organism progress evolve at different speeds and at varying levels of complexity. By the integration of processual art within this realm, everyday processes – say, urban flows – can for instance be transferred into dynamic movement and abstract form, thus becoming living public works and active agents in the larger processes of building identity and community.

Nevertheless one might criticise processual art for its strong bond with the present, particularly when recalling what Guy Debord’s wrote about the reign of the perpetual present and the power of the spectacle to annihilate historical knowledge, in particular the recent past.

GMU:Process as Paradigm

2010-03-25T09:48:27Z

Susannejaschko: /* Literatur */

[[:Category:Fachmodul|Fachmodul]] 
''Lehrperson(en):'' Dr. [[Susanne Jaschko]], Prof. [[Ursula Damm]], (begleitend) 
''Bewertung:'' 6 [[ECTS]], 4 [[SWS]] 
''Termin:''Four times Friday, 13:30 - 19:00 and Saturday, 10:00 to 17:00 
''Ort:'' [[Marienstraße 7b]], Raum 103 
''Erster Termin:'' 07.05.2010

==Beschreibung==
Prozess als Paradigma der Medienkunst und Kultur 
Die Veranstaltung stellt den Begriff des Prozessualen in den Mittelpunkt und diskutiert „Prozess“ als Paradigma der Medienkunst und darüber hinaus als Perspektive auf die Gegenwart. Im Seminar werden im Rückgriff auf die Medientheorie „Prozess“ in Abgrenzung zur Interaktivität und Performativität bestimmt (Baudrillard, Kittler, Deleuze etc.) und auch die Naturwissenschaften im Hinblick auf Systemtheorie und ihrem Verständnis von „Prozess“ herangezogen. Historische und zeitgenössische Beispiele der Medienkunst und ihre Genres (z.B. Bioart, Generative Kunst, kollaborative netzbasierte Kunst) werden auf ihre Prozessualität hin untersucht und Möglichkeiten der Präsentation, Dokumentation und Archivierung erörtert und entworfen. Das Seminar knüpft an die Ausstellung „Process is Paradigm“ im Laboral, Gijòn, Spanien an. Seminarergebnisse sollen im Weblog des Ausstellungsprojektes veröffentlicht werden.

==English description==
Process as paradigm 
The seminar focuses on 'process' as one paradigm of media art and introduces it as a valid perspective on the present. Relevant theories on interactivity and performativity will be consulted for precise definitions of ‘process’ and ‘processuality’, so are natural sciences and systems theory. Historic and contemporary media art and its genres such as bio art, generative art, and collaborative net-based art will be studied with regard to inherent processual qualities and possibilities of presentation, documentation and archiving. The seminar is loosely linked to the exhibition ‘Process is Paradigm’ at Laboral, Gijòn, Spain.

==Themen==
* [[Topic1]]
* [[Topic2]]

==Voraussetzungen==
k.A.

==Anmeldung==
The class will be held by Dr. Susanne Jaschko, a Berlin based independent curator and researcher in contemporary visual and electronic art.

In order to become a participant of this class, please register by sending an e-mail to Kristina.Hellmann@uni-weimar.de, stating your name and course of studies.

Registrations will only be accepted until 16 April.

==Leistungsnachweis==
The findings of the seminar are to be published as papers (course assessments) in the project’s weblog.
Leistungsnachweise sind als Hausarbeiten zu erbringen.
Aktive Teilnahme, Präsentation, künstlerische Prüfung, Dokumentation, Eintrag im Wiki.

==Zielgruppe==
This is an offer especially for the students of the English study program “Media Art and Design”. If the maximum number of participants is not exceeded, other students are welcome to attend (after registration).

==Syllabus==
* Freitag, 7.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 8.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 14.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 15.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 21.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 22.5. 10:00 Uhr bis 17:00 Uhr
* Freitag, 28.5. 13:30 Uhr bis 19:00 Uhr
* Samstag, 29.5. 10:00 Uhr bis 17:00 Uhr

==Literatur==
A bibliography will be provided successively.

* Link zum Semesterapparat

[http://www.sujaschko.de/en/curating/exhibitions/process.html Link to download of curators' notes on Process as Paradigm]

Hans Ulrich Gumbrecht, Production of the Presence: What Meaning Cannot Convey, Stanford University Press, Stanford, 2004.

Jean Baudrillard, Impossible Exchange, Verso, London-New York, 2001.

Nicolas Bourriaud, Relational Aesthetics (Engl. translation), Les presses de réel, Dijon-Quetigny, 2002.

Matthew Fuller, Software Studies (A lexicon), MIT Press, 2007.

Henri Bergson, Creative Evolution, 2005, Cosimo Classics, [http://en.wikipedia.org/wiki/Special:BookSources/0760765480 ISBN 0-76076548-0].

Bruno Latour, Pandora's Hope. Essays on the Reality of Science Studies, Harvard Univ Pr, 1999.

==Links==

[[Category:Fachmodul]]
[[Category:SS10]]
[[Category:Susanne Jaschko]]

Susanne Jaschko

2010-03-19T15:11:41Z

Susannejaschko: Created page with 'Dr phil Susanne Jaschko is curator of contemporary art and based in Berlin, Germany. Her curatorial practice focuses on experimental art which goes beyond art as commodity and re…'

Dr phil Susanne Jaschko is curator of contemporary art and based in Berlin, Germany. Her curatorial practice focuses on experimental art which goes beyond art as commodity and renews the concept of art and its social and cultural functions. She was Head of Presentation and of the artist-in-residence program at the Netherlands Media Art Institute in Amsterdam from 2008/09. From 1997 to 2004 she was curator and later deputy director of transmediale.
Among the exhibition projects she curated independently are Visual Voltage Amplified , Felleshus, Berlin, 2010; Travelling Without Moving, Oboro, Montréal; urban interface berlin/oslo, 2007; Urban Screens Manchester 07; Open House, Vitra Design Museum/Art Center Pasadena a.o. 2006 – 2008; SCAPE – Biennial of Art in Public Space, Christchurch, New Zealand, 2006.

Next to her curatorial work she has taught at institutions in Germany and abroad. She regularly lectures and writes about contemporary art that relates to her curatorial practice.
[http://www.sujaschko.de Homepage Susanne Jaschko]

[[Category:Biography]]

[[Category:Biography]]