HISTORY OF RIDING - RETHINKING ART HISTORY
DATES
25July - 7. August 2016.
PROGRAM
The residency consisted of theory, lectures and talks followed by open discussions as well as various practice based programs. The central research theme of this year's course had an important anthropological and art historical element. It would be difficult to gain critical understanding of the place of the horse in contemporary art without its historical background, and riding masters today often use old representations and texts on the art of riding. To understand our current practice as artists working with horses and as riders using old knowledge, it was a great help to discuss these references. We mapped the history of riding in the mirror of art history and tryed to rethink art history this way. We asked participants to prepare lectures and talks on works in different periods selected individually, possibly taken from their own national heritage, so that we could find direct correspondences and meeting points. After introductions on one's own current practice, particpants introduced the results of their research in the selected field in relation to the theme. We put together the training program with the horses in relation to the talks reflecting some of the problems in riding, which came up in the talks. A significant part of the program was the training with horses. Particpants depending on the level of their knowledge participated in riding lessons and learned natural communication, elements of ground work and riding, participated in excursions cross-country. There was the opportunity for studio practice, where the meaning of the studio could be taken as far as neighbouring 40 hectare forest and land.
DATES
25July - 7. August 2016.
PROGRAM
The residency consisted of theory, lectures and talks followed by open discussions as well as various practice based programs. The central research theme of this year's course had an important anthropological and art historical element. It would be difficult to gain critical understanding of the place of the horse in contemporary art without its historical background, and riding masters today often use old representations and texts on the art of riding. To understand our current practice as artists working with horses and as riders using old knowledge, it was a great help to discuss these references. We mapped the history of riding in the mirror of art history and tryed to rethink art history this way. We asked participants to prepare lectures and talks on works in different periods selected individually, possibly taken from their own national heritage, so that we could find direct correspondences and meeting points. After introductions on one's own current practice, particpants introduced the results of their research in the selected field in relation to the theme. We put together the training program with the horses in relation to the talks reflecting some of the problems in riding, which came up in the talks. A significant part of the program was the training with horses. Particpants depending on the level of their knowledge participated in riding lessons and learned natural communication, elements of ground work and riding, participated in excursions cross-country. There was the opportunity for studio practice, where the meaning of the studio could be taken as far as neighbouring 40 hectare forest and land.
We opened the doors of the program to the community of Barnag village, and participants could be introduced as part of our horsearchery performance in the Village Day. Members of the horsearchery school had also the opportunity to meet this interesting group of international artists, so that they could get an insight into the work made during our program. Guest lecturers were invited, such as Dóra Sík cello artist, as well as a number of vocational excursions were organised. We visited Szépalma Ménesbirtok, the riding academy of Dr István Gőblyös at Kajászó Szentpéterpuszta and the center of the horsearchery school in the Kassai Valley.
Invited artist was Sossa Jorgensen (Norway), who introduced participants the methodology of the Academic Art of Riding by Brent Branderup, which she is studying thoroughly since years and started to teach last autumn.
Our invited lecturer was Sík Dóra cello artist, who gave a talk on the relationship between her instrument, the cello and horses as well as she gave a private concert to the group.
All material of the talks are available in our archive and was presented publicly in Budapest at the Parthenon-fríz gallery in November 2016.
Invited artist was Sossa Jorgensen (Norway), who introduced participants the methodology of the Academic Art of Riding by Brent Branderup, which she is studying thoroughly since years and started to teach last autumn.
Our invited lecturer was Sík Dóra cello artist, who gave a talk on the relationship between her instrument, the cello and horses as well as she gave a private concert to the group.
All material of the talks are available in our archive and was presented publicly in Budapest at the Parthenon-fríz gallery in November 2016.
PARTICIPANTS
Artists and researchers, who' s work and practice contains the horse with significance. Participants arrived from the USA, England, France, Japan and Norway.