Koninklijke Academie voor Schone Kunsten Antwerpen - Deeltijds Kunstonderwijs
www.academieantwerpendko.org
Blindestraat, 7-2000 Antwerpen
Ingang : Mutsaardstraat 31-2000 Antwerpen
Tel: (03) 213 71 60 (62) (63) - Fax: (03) 213 71 69
kaska.dko@g-o.be
INFORMATION OPTIONS INFO EN CONTACT Download Info Opties_Dutch version.doc
Download Information Options_ English version.docLower Grade ( from 6 y)
Visual Arts for YoungstersWednesday afternoon from 13.30 till 17.00 hrs and Saturday morning from 9.00 to 12.30 hrs. For creative youngsters from 12 tot 17 years old who are anxious to explore the world as far as colour and form are concerned and who are not afraid to experiment with several materials. Who likes to let his fantasy linger on paper, clay, paint etc., is probably willing to qualify himself in graphic techniques and/or to work with cardboard, ceramics, plaster, textile, wood, … as well. The subject of the training is to gradually and playfully get acquainted with composition, perspective, light-dark, colour, space and a lot of other plastic features. The lessons include: exploring nature (still life, anatomy of humans and animals, architecture), initial knowledge of art-history and looking for a personal way of expression. Musea are visited, also artistic workshops and galleries. For students older than 16 it is possible to follow extra specific art-shop, together with adults.
Higher Grade + Specializing Grade
Visual Arts
MONUMENTAL ARTS
Laboratorium - Actuality
MKNU is an open, dynamic atelier, where you can work in very divers ways and with very divers means. MKNU works not with any specified medium: the medium is only one part of a whole strategy. Concept, context and technique are one and seen as one. Works can take on many forms, from conceptual art to installation art, two-dimensional work, sculptural work, performance, working with light, space, society, time... Ideas, sensibilities, personal fascinations, society issues are all possibilities to start from. The computer as data- and work instrument, new materials, reuse of traditional materials, are possible methods to work with. Technical issues go hand in hand with ideas and meaning. Crossovers with other ateliers is sought after. MKNU has a function as a laboratorium: a place for searching, researching and experimenting, and this on all levels: meaning, technique and form.GRAPHIC
It is no longer true that graphic is considered print art the contents of which fail for the technique. Graphic has now become on autonomous art form which offers the present art an enormous amount of possibilities making it easy to be used by other media such as photography and computer. All possible graphical techniques can be acquired: high-pressure (lino-cutting, wood-carving, wood-engraving) intaglio (etching, dry-point, aquatint..) flat-pressure (lithography, offset) straining-pressure and digital graphic (computer graphic). To be able to express yourself freely graphic is discovered on the basis of the experience. The experimental aim will lead to cross-pollination and an enlargement of the horizon as well as far as contents as technique are concerned. The accent lies on free creative work and to reach a personal visual expression based on a thorough skill of professional knowledge. Essential is the personality of the student to be able to make an autonomous personal work. The students try to find the impact of the graphical image and analyze their work. To be able to reproduce the graphic becomes a means and no longer an aim. Various copies can lead to one big work or may even lead to a moving picture on computer or film. The possibilities are endless, the limit is only the one the student imposes himself. The students are supported in this labyrinth of artistic and visual means and try to find their place as an artist in the present art-world. They learn how to look further than the initial goal and by doing so they find other ways and means to come to unique and personal pictures.
PHOTO
The aim of the training-course for making art-photo’s is to help students to obtain a thorough technical knowledge during their year’s course so that they can develop themselves in a free, artistic, and creative way. The photo technical aspect is in function of the picture-language and develops itself in proportion of the personal interest of the young artist. The student examines not only the direct observation (reporting, portrait, architecture, still life…) but also the interpretation possibilities, the shifting play of light and shadow, the relation between picture and imagination. The various photographic styles and the history of the medium are studied. Beginners as well as experienced students pay much attention to the multimedia character of the actual photography and they are teached how to digitalise, to use and to work up the photo material in function of the artistic expression.
SCULPTURE
Step by step the student will be able to develop his artistic possibilities into a personal plastic language. The study of the human figure is very important. Composition – practice and free expression can help to perfect the insight in the moulding frame. The progress of the design, the workingscheme, the execution finish and presentation will be supported by discussions in the workshop. Clay, gyps, wax, concrete, wood, stone and other various assembly materials are used.
JEWELS
At the end of the 19th century “Art Nouveau” artists as for instance Philippe Wolfers in Belgium and Rene Lalique in France will join sculpture and making jewels so that henceforth jewels can be looked upon as art pieces. Later on world known artists like Braque, Picasso, Calder and Dali will give it a pure artistic dimension.
DRAWING
Drawing is the stimulation of the visual observation, developing own creations and expressing inner imagination. Via drawing students are doing introspection. It is a constant associative process with interplay between artist and drawing. Drawing is also a research of the impact of the object brought back to its essential simplicity. Without the help of technical means a drawing is made here and now. Not only the technical, material, anatomical, artistic, but also the philosophical side of a drawing are examined. This search is part of the artistic development which leads to a personal figurative expression. In this course there is an unlimited supply of materials and techniques. All the aspects of drawing are examined: perspective, still-life, plasters, architecture, model, anatomical drawing, expressive drawing, composition, colours and collages. All these aspects are studied within the context of the actual art. Various subjects of drawing are dealt with observation: drawing is learning to watch and to observe, and the better you learn how to draw, the less something will escape you. Philosophically: how did drawing come into being? It is a way of communication, of comprising reality, understanding and controlling it, also a visual manner of thinking and giving shape. Psychologically: how do we understand this material? How does it influence our brain? Do we learn how to observe better by drawing? Personal reflection: what is the influence of the drawing or the drawer? What is the effect and reaction of the drawing process on the personality and vice versa. What analysis do we make and what is our conclusion?
PAINTING
Anybody who is anxious to find his own identity in this unknown and confusing actual art world may find his solution in a painter’s studio. With love and respect for tradition and honest basis is laid. Via openness for the actual artistical problems students are encouraged to develop their own personal painting idiom.
THEATRE
Today the designer of stage clothing has obtained a new position in the theatre. Together with the producer and the scenario-writer, he determines the image and the contents of the play. The department of “designing stage clothing” is founded on the need to confront students with the actual costume creations. This search is supported by dramaturgist and historical knowledge. An introduction in the study of the cut is necessary. The purpose is to develop a personal view and creativity in function of the present theatre.
SOUNDDESIGN
VIDEOWorkshop Film and Video are based on 3 disciplines: fiction, non-fiction and experiments. In workshop fiction you create, develop and/or you work up a story into a scenario to be filmed. You work with your own ideas, memories and themes. The obtained material is transmitted in scenes which are then treated as dramaturgist units. Starting from this scenario the complete production process is looked over. Ideas for non-fiction may be found everywhere. An entertaining documentary film asks for a good angle of incidence, concern of the maker and interesting principal persons. In the non-fiction workshop you invent and look out for an idea for a documentary film. The idea develops into an enchaining story. These workshops try to get the piece beautifully staged. Most important are: image-language, cutting, stage-setting, picture and play production, script, working on the set, the organizing aspects of the production, lighting, camera-man, assembling, sound… Next to the attention for tradition is the most important subject: experiment. What are the new story-possibilities within the media? How do you get the public/listener in the experience? In the experimental workshop you learn to develop your experimental and interactive forms for DVD, CD-rom, internet, video/film and installations. In this workshop the making of interactive projects with a more experimental character is the main thing. The experimental workshop is a melting-pot. You change from film to video, from the animator-role to the script man, from the realisator to the musician. In doing so you receive impulses from many disciplines. Disciplines which associate themselves with film, video, theatre, music, story and motion. By taking up this matter you get more attention for the “moulding”. Choices you have constantly to make. In the experimental workshop we try to transform these ideas into realizable projects. The workshop Film and Video works with modules. These modules succeed themselves enabling you to improve your course. The lessons (+/- 16 hrs pro 14 days) are a mix of artistic training, theory and technique. The courses are given on Monday, Tuesday, Wednesday, Thursday and Saturday (according to the year) during day-time or in the evening.
DIGITAL
The study of digital image moulding is added to the experimental workshop of video, and film. In this workshopyou learn how to develop interactive moulds for DVD, CD-rom, internet, video-film and installations. Here special attention is given to the making of (interactive) projects with a more experimental character. The experimental workshop is a melting-pot. You go from film to video, from the animator’s role to the script-man, from producer to musician. Hereby you receive impulses from many disciplines, which are connected with film, video, theatre, music, story and movement. By doing so you can give more attention to the form-giving choices which you have continually to make. In the experimental workshop we try to transform these ideas into realizable projects.
SCENOGRAPHY
The scenography lessons try to follow up the more and more complex story of the platform arts and the crucial role of the setting up. To look for a good location where the play will be performed gets more and more difficult and during the training this will become theoretically and practically our study object. Important here is the multidisciplinary subject of the scenography. Installation art, video, architecture, lighting are some elements which determine the present scenery and which will certainly be encountered during our years of study.
CERAMIC
Ceramic is a medium to give a form to ideas such as paint can do for the painter and stone for the sculptor. In this department the limits of this medium are constantly broadened. The more technical approach is put into question. Today ceramic is developed into an autonomous artistic form with a lot of possibilities: pottery, sculptural work, installations and design. The working-process is always again an adventure: the works in clay are in fact baked in the ceramic oven. At that moment the artist is helpless… opening the oven is always a real sensation.
Textile Art
TEXTILEBatik, sieve print, textile prints, textile paintings and other related techniques: a wonderful world of colour, form and line. Here technical problems are examined and solved in order to discover the various possibilities which natural fibres such as silk, cotton and wool offer in all their transparency and flexibility. Experiments as far as paper, leather, plastic and recyclage materials are concerned are not excluded. Possibilities for computer designs will be technically supported and extended so as to be able to create a quasi perfect work.
TEXTILE ART
To practise the traditional trade of textile art in order to create actual textile, is the object of this study. By putting up a simple loom one can learn the principle of weaving, the crossing of warp and woof. At the same time the designing of elementary patterns becomes clear. Little by little you get acquainted with the more complex ratlines by using more and more shafts and analysing tissues. Endless variation possibilities in material, colour and shape turn each exercise into a lesson of colour- and composition course. By doing so you get a thorough knowledge of the theory and technology of weaving. You can weave your own patters in an abstract or figurative way according to your own creativity.
LACE
In the lace workshop the classical lace techniques are teached: halter-lace, Flemish-lace Lille-and Paris-lace, flower work from Bruges etc… Students learn how to transform their designs into technical drawings after which they can be executed. Through relativation of the lace-stitches we come to actual creations by using colour and new materials. Experimental techniques such as pillow-lace are applied without losing respect for the authenticity of lace: transparency. This last decennary lace is again ‘in’ fashion. Our workshop follows this trend by making lace designs for clothes.
Art Techniques
FRESCO
Here the technical painting techniques are emphasized. The works of the old masters serve as an example for the techniques of: aquarelle, fresco, tempera and oil paintings, they are thoroughly studied and brought into practice. Each mentioned technique is learned with practical training so that you get to know how a work of art is built up starting with the preparation of the foundation up to a protecting coat. An important part of the course is the technique of gilding: gold- leaf – gilding by means of the mixtion-method and gilding with red bolus-foundation, punch technique, graffits, lustre. Restoration techniques are next: conservation and restoration of paintings, material knowledge and starting a dossier (file)
FURNITURE IN WOOD
This class offers a training in the restoration of furniture and wood-carving. Our country possesses a very rich tradition and a large patrimony of ornament- and wood carving. Much of this has suffered consideral damage during the last decades and must be restored. This workshop teaches thoroughly new method techniques and skill so that the old masterpieces can be restored. Also to be able to make beautiful copies in the traditional way. This art-trade tries also to develop personal creativity to arrive at the responsable present modelling; In the course “furniture” you get acquainted with the classic cabinet-work; as well traditional construction techniques (swallow’s tail, panelling, veneer, intarsia, marquetery with tortoise, metal, ivory …) also with the finishing methods (colouring, wood-oil, varnish, polish…) In a next phase you can more concentrate on the restoration of wood furniture and conservation: specific techniques and handling with special care for the restoration ethic which are so much more important than “having done up the furniture”.
LEAD-GLASS
In the glass workshop reigns the fascinating sphere of a word full of light and colour. The trade skill, needed for creating and making a lead-glass window, is systematically and thoroughly learned: to draw to scale, to cut glass, to stain glass, etching, putting in lead, to solder and to mastic. Not only original creations but also restorations are possible as well as taking the lead away, cleaning, mending or replacing.
STONE SCULPTURE
Ornaments and statues in stone erose now more than ever by air pollution and acid rain. In the stone cutting workshop the best specialists are trying to bring their trade knowledge and experience of cutting marble and stone over on their students. This course is an exploring-expedition throughout the past. It is a privilege to experience the earlier time spirit via this trade and to develop your own world.
FORGE
In the historical smithy of the “Zuiderpershuis” the artistic forge training has found an unique workshop. This temple of fire and metal is at the disposal of everybody interested in giving this old handicraft a new life. The new practise of artistic wrought iron as well as the technique of conservation and reconstruction are dealt with. For numerous monuments the conservation of smith’s work is indeed a very important aspect. Creators make their own designs which can easily find their way to interiors and new buildings.
ART HISTORY
The study of art history is not intended to be dull, the main object is to get a critical reflection on art in general as well as on the activities of the art workshop. You gain an insight into the chronological evolution and the cultural-historical context of art; parallels are drawn between European and non-European art. Examples of art-products from different disciplines are analyzed as far as form and subject are concerned with dia projections. Work visits to musea and galleries follow closely the exhibition actuality. Special art history (first and second specialization). The special art history functions as a go between with the art workshops, it submits the cultivated discipline to an art- and historical cultural examination and supplies background information for special workshop tasks. Moreover it intends to help the student to explicate the reflection on his own work as far as form and subject are concerned.
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