Vienas dienas kurss fenomenoloģiskajā zīmēšanā

Mākslas akadēmijā š.g. 15. maijā notiks mākslinieces un Tartu Mākslas koledžas pasniedzējas Naģeždas Černobajas (Nadežda Tšernobai) vadīts vienas dienas kurss „Fenomenoloģiskā zīmēšana. Zīmējuma horeogrāfija“. Lai piedalītos kursā, aicinām pieteikt savu dalību līdz š.g. 14. maija plkst. 14:00, rakstot uz e-pasta adresi egita.kurpniece(abols)">.

Kurss ilgs no plkst. 10:00 līdz plkst. 16:00 (ar pusdienu pārtraukumu no plkst. 13:00 – 14:00). Norises vieta: LMA 19. telpa. Darba valoda: angļu.

Temata sīkāks apraksts angļu valodā:

Phenomenological Drawing. Choreography of Drawing.

The practice considers the participatory dimension of collaborative drawing as an act taking place in three and four-dimensional space and relating to the two-dimensional resolution of a drawing. The drawing activity, therefore, consciously explores the dynamic interrelationship between participants the choreographic dessinateur (the researcher/teacher) and others in site specific situations which result in surface action on both the vertical and horizontal plane of drawing.

There are two major considerations, the concrete and direct observable behaviours of the participants and the resulting graphic marks of the drawing left as a trace of that activity. This is seen as the facts of the body and the drawing. That is, that tangible dimension which looks at the movement of the body in relation to all that it may physically come into contact with and its „arrival“ as „vectoral force“ on a material surface as a „scored“ and „recorded“ reflection of that activity. What the researcher is looking at therefore, takes account of this as the initial infrastructure from where other possibilities collide.

The researcher/teacher is also attempting to locate an underlying significance to the first physical observations which may have a correlation to other phenomena within the same time/space situation, namely, the invisible and interpretative dimension. The attempt therefore, is to explore the relationship of subject and the „world” (in this case the space of a performative and collaborative drawing), as an ontologically reciprocal act, embracing the self as we know we are with its orientation to the other. Merleau-Ponty has referred to this as the primary source of expression in his essay „Indirect Language“, that area where the embodied self is slightly out of focus, but situated where it may collide with new possibilities. The embodied self therefore, focussing on things as the relation between the subject and object of experience, from the personal to the collective, from the particular to the general. Hence, the collaborative nature of this course searches for new images and methods through and as a move away from the common habitual behaviours of drawing and into realm of the unknown. It is a conscious engagement with pre-reflective sensory, motor and affective capabilities, „primary expression“ on the one hand and „secondary expression“ the more routine behaviours both operating within a specified and unified whole. This is a „dialogical method“ which accepts what is there while also endeavour into change or extend through added and invented dimensions.

The whole process of drawing and reflection for the course embraces ambition and intentions for developmental outcomes which might enhance comprehension, performance and communication skills in and about drawing. A dimension which relies upon observation, insight, reflection and interpretation from a multitude of viewpoints.