TEACHING
From 2021 Professorship in Visual Art, Painting and Participatory Strategies, Hochschule für Künste im Sozialen, Ottersberg
From 2019 teaching Visual Art and Design in middle and high school (12-13 grade advanced course, corresponds to AP level) at PFS Gemeinschaftsschule, Berlin (zweites Staatsexamen), as well as online courses, freelance lectures and workshops (University of Suffolk/HfbK Dresden)
2009 - 2019 teaching postgraduate course courses in art practice and art theory, team-teaching and individually.
From 2021 Professorship in Visual Art, Painting and Participatory Strategies, Hochschule für Künste im Sozialen, Ottersberg
From 2019 teaching Visual Art and Design in middle and high school (12-13 grade advanced course, corresponds to AP level) at PFS Gemeinschaftsschule, Berlin (zweites Staatsexamen), as well as online courses, freelance lectures and workshops (University of Suffolk/HfbK Dresden)
2009 - 2019 teaching postgraduate course courses in art practice and art theory, team-teaching and individually.
- 5 years of producing interdisciplinary artistic research projects as director of arttransponder
- 6 year appointment as Associate at Bauhaus-Universität Weimar - mid level academic
- 2 year appointment at Institute for Art In Context, of the University of the Arts, Berlin (Vertretung in der Lehre).
Road Warrior Art Educator, currently anywhere, everywhere, above, at University of Suffolk (Erasmus, 2020), presenting my artistic research into human milk as material, below production for Hungry Eyes Zinefest, in the kitchen, during lockdown (with Yann Colonna) #closertowhereitmatters #wirnennenesvorbereitung
Publications on Teaching:
Amputierte Erinnerung zwischen Medizin und Kunst. In: Erinnern und Vergessen. Hg.Wolfgang Knapp, Lisa Glauer, Be-bra Verlag 2018.
Teaching the Global Nomad in Weimar and Beyond, Lisa Glauer and Anke Hannemann, in: Tracing the Public. Hg. Danica Dakic, Lisa Glauer, Anke Hannemann, Bauhaus Verlag, 2015.
City Map, Lisa Glauer, Nadin Reschke and Danica Dakic, Bauhaus Verlag, 2011.
Amputierte Erinnerung zwischen Medizin und Kunst. In: Erinnern und Vergessen. Hg.Wolfgang Knapp, Lisa Glauer, Be-bra Verlag 2018.
Teaching the Global Nomad in Weimar and Beyond, Lisa Glauer and Anke Hannemann, in: Tracing the Public. Hg. Danica Dakic, Lisa Glauer, Anke Hannemann, Bauhaus Verlag, 2015.
City Map, Lisa Glauer, Nadin Reschke and Danica Dakic, Bauhaus Verlag, 2011.
TEACHING AT UNIVERSITY OF THE ARTS, BERLIN 2016 - 2018
(Vertretung in der Lehre)
in connection to my position within the collaboration between the University of the Arts Berlin and the GedenkOrt.Charité of the Charité Medical Center on art and commemoration.
(Vertretung in der Lehre)
in connection to my position within the collaboration between the University of the Arts Berlin and the GedenkOrt.Charité of the Charité Medical Center on art and commemoration.
SEMINAR: Empty Pedestals, Removed Memorials. Case Study Charité Medical Center.
Output: exhibition at Organ Kritischer Kunst in Berlin and newspaper accompanying the presentation with texts by Charité Medical Center students and students of the University of the Arts.
Janos Brückner, for the exhibition Empty Pedestals, Removed Memorials. Case Study Charité Medical Center, for co-sponsored exhibition and publication.
Summer Semester 2016 - Experimental Drawing
Winter Semester 2016/17
Touch, Smell, Hear. Temporary Interventions in Public Space, Case Study: Charité Medical Center
Output: exhibition produced for nGbK and newspaper presenting the work, concept and design by Hanwen Zhang.
more: https://platzda2017.wordpress.com/2017/01/27/meeting-bodylandscapingtime/
http://www.kunstimkontext.udk-berlin.de/opening-ngbk-charite/
The following publication documents the work of the students as well as my artistic research work.
Winter Semester 2016/17
Touch, Smell, Hear. Temporary Interventions in Public Space, Case Study: Charité Medical Center
Output: exhibition produced for nGbK and newspaper presenting the work, concept and design by Hanwen Zhang.
more: https://platzda2017.wordpress.com/2017/01/27/meeting-bodylandscapingtime/
http://www.kunstimkontext.udk-berlin.de/opening-ngbk-charite/
The following publication documents the work of the students as well as my artistic research work.
Amputierte Erinnerung zwischen Medizin und Kunst
Lisa Glauer in:
Erinnern und Vergessen
Zwischen Medizin und Kunst
Reihe Charité-Hefte, H. 4
Hg: Hans Peter Schmiedebach/ Thomas Beddies
Be-bra Verlag für Wissenschaft
https://www.bebraverlag.de/verzeichnis/titel/834-erinnern-und-vergessen.html
Lisa Glauer in:
Erinnern und Vergessen
Zwischen Medizin und Kunst
Reihe Charité-Hefte, H. 4
Hg: Hans Peter Schmiedebach/ Thomas Beddies
Be-bra Verlag für Wissenschaft
https://www.bebraverlag.de/verzeichnis/titel/834-erinnern-und-vergessen.html
Teaching and structural organization at Bauhaus-Universität Weimar, Public Art and New Artistic Strategies from 2009 - 2015
Approximately 25-30 students from 18 countries per year. Advised about 20 Masters and Bachelor Thesis projects, for example: Daniel Poveda, Invisible .
Topics: Art and Commemoration, Temporary Interventions in Public Space, Art in Architecture, New Artistic Strategies, Art and Urbanism
Sample Courses:
2015 – NoExit/AnAmnesia
Co-conceptualized Conference, Initiated Workshop.
Workshop, developed with Kate Clark, guests Emily Bovino (Visual Art, UCSD) Philippe Schmidt (Urbanism) funded by „Strategic Partnerships“, DAAD, with the Department of Structural Engineering, University of California, San Diego.
2014 – Drawing Across Disciplines
Initiated, developed and organized workshop, funded by Strategic Partnerships(DAAD) with UCSD, in collaboration with EXPERIMENTAL DRAWING STUDIO (Amy Adler) University of California, San Diego. The workshop was based on a a transdisciplinary approach to hand-drawing in order to enhance perceptional training and experimental drawing skills.
2014/15 Art as (In)visible Labor – developing an artistic response - 6 credits
How does the (d)evaluation of (care-)work play out, depending on whose body is seen as producing it, in the supposedly post-feminist, post author, post-everything art world? What and whose work is pushed out and made invisible how and where? The work developed was on view in the semester exhibition titled WORK.
2013/14 How to Monday Night Lecture Series - (with Anki Hannemann) 3 credits
Students will manage and coordinate the MNL themselves, which will include: selection and choice of guests, calculating and managing budget, preparing announcements, coordinating technical support and presenting the lecturers - develop introductory presentations that relate to the theme, work or talk of the invited guest speaker. Presentations can include: performance, video-clip, sound piece, an active discussion or other...
2013/14 Dis/Re/Membering (with Anki Hannemann) 3 credits
Develop public artistic presentation skills in relation to Art and Commemoration
Connect public displays of cultural and collective memory and link these thoughts to what might constitute unspoken – memory and commemoration in the public realm.
2012 (Un)Disciplined Body-Temporary Interventions in Public Space
(with Danica Dakic, Anki Hannemann) semester project 18 credits
The (individual) body’s encounter with space, the experience of its limitations and delimitation corresponds in every case to the question of the individual in relation to society and their respective power relations. But how does the body open a space through performative movement and how does it develop there – when is body disciplined, when undisciplined? Excursion to Athens, Funded by Goethe Institute. (more info)
2012 City as Stage – City as Laboratory (with Nina Lundström) 2 credits
Beyond the "white cube": What is the role of the autonomous, individual artist seeking to express him or herself in and with the public realm? What do artists need to know about the context they are working in - how can they find out about a context they will be working with in the future?
2011 INSIDE/OUTSIDE- MARTA/HERFORD- Buckminster Fuller/ (with Nadin Reschke)
Students are invited to participate with a short film in the Symposium „About Richard Buckminster Fuller“ at the Marta Museum in Herford. Films are to be developed in relation to the utopian ideas of Buckminster Fuller. The course will culminate in a three day excursion to Herford.
2010/2011 Art in Architecture (with Hans Hemmert, Georg Zey, Nadin Reschke) semester project, 18 credits All aspects of a typical art in architecture competition will be dealt with based on an exemplary assignment for the permanent installation of a work of art. The focus of this semester’s work will lie on the development of artistic ideas, followed by technical planning, budgeting and their presentation via image and model. Goal and finale of the work is the public presentation of the designs and an exhibition
2010/11 Reading Room/Speaking Space graduate theory seminar, 6 credits
Different ways of experiencing the local interior and exterior space and landscape, as it relates to language will be considered, providing room for cultural exchange and translation. Drawing on Bachelard's, Poetics of Space, a particular emphasis will be placed on the descriptive, the phenomenological – physical and psychological - experience of perceiving works of art
2009 Excavating other (sub)Versions: THE PROCESS OF COMMEMORATION Graduate Theory Seminar 6 credits
Drawing on personal memory and contextualizing this within the arts by examining work by international and local artists, the course aims at developing a framework for reflecting on the artists’ individual practice while considering the potential for creating collective and individual commemorative work within an increasingly “Globalized Village”. It is encouraged to develop a theoretical approach by reflecting on the respective individual artistic practice.
Approximately 25-30 students from 18 countries per year. Advised about 20 Masters and Bachelor Thesis projects, for example: Daniel Poveda, Invisible .
Topics: Art and Commemoration, Temporary Interventions in Public Space, Art in Architecture, New Artistic Strategies, Art and Urbanism
Sample Courses:
2015 – NoExit/AnAmnesia
Co-conceptualized Conference, Initiated Workshop.
Workshop, developed with Kate Clark, guests Emily Bovino (Visual Art, UCSD) Philippe Schmidt (Urbanism) funded by „Strategic Partnerships“, DAAD, with the Department of Structural Engineering, University of California, San Diego.
2014 – Drawing Across Disciplines
Initiated, developed and organized workshop, funded by Strategic Partnerships(DAAD) with UCSD, in collaboration with EXPERIMENTAL DRAWING STUDIO (Amy Adler) University of California, San Diego. The workshop was based on a a transdisciplinary approach to hand-drawing in order to enhance perceptional training and experimental drawing skills.
2014/15 Art as (In)visible Labor – developing an artistic response - 6 credits
How does the (d)evaluation of (care-)work play out, depending on whose body is seen as producing it, in the supposedly post-feminist, post author, post-everything art world? What and whose work is pushed out and made invisible how and where? The work developed was on view in the semester exhibition titled WORK.
2013/14 How to Monday Night Lecture Series - (with Anki Hannemann) 3 credits
Students will manage and coordinate the MNL themselves, which will include: selection and choice of guests, calculating and managing budget, preparing announcements, coordinating technical support and presenting the lecturers - develop introductory presentations that relate to the theme, work or talk of the invited guest speaker. Presentations can include: performance, video-clip, sound piece, an active discussion or other...
2013/14 Dis/Re/Membering (with Anki Hannemann) 3 credits
Develop public artistic presentation skills in relation to Art and Commemoration
Connect public displays of cultural and collective memory and link these thoughts to what might constitute unspoken – memory and commemoration in the public realm.
2012 (Un)Disciplined Body-Temporary Interventions in Public Space
(with Danica Dakic, Anki Hannemann) semester project 18 credits
The (individual) body’s encounter with space, the experience of its limitations and delimitation corresponds in every case to the question of the individual in relation to society and their respective power relations. But how does the body open a space through performative movement and how does it develop there – when is body disciplined, when undisciplined? Excursion to Athens, Funded by Goethe Institute. (more info)
2012 City as Stage – City as Laboratory (with Nina Lundström) 2 credits
Beyond the "white cube": What is the role of the autonomous, individual artist seeking to express him or herself in and with the public realm? What do artists need to know about the context they are working in - how can they find out about a context they will be working with in the future?
2011 INSIDE/OUTSIDE- MARTA/HERFORD- Buckminster Fuller/ (with Nadin Reschke)
Students are invited to participate with a short film in the Symposium „About Richard Buckminster Fuller“ at the Marta Museum in Herford. Films are to be developed in relation to the utopian ideas of Buckminster Fuller. The course will culminate in a three day excursion to Herford.
2010/2011 Art in Architecture (with Hans Hemmert, Georg Zey, Nadin Reschke) semester project, 18 credits All aspects of a typical art in architecture competition will be dealt with based on an exemplary assignment for the permanent installation of a work of art. The focus of this semester’s work will lie on the development of artistic ideas, followed by technical planning, budgeting and their presentation via image and model. Goal and finale of the work is the public presentation of the designs and an exhibition
2010/11 Reading Room/Speaking Space graduate theory seminar, 6 credits
Different ways of experiencing the local interior and exterior space and landscape, as it relates to language will be considered, providing room for cultural exchange and translation. Drawing on Bachelard's, Poetics of Space, a particular emphasis will be placed on the descriptive, the phenomenological – physical and psychological - experience of perceiving works of art
2009 Excavating other (sub)Versions: THE PROCESS OF COMMEMORATION Graduate Theory Seminar 6 credits
Drawing on personal memory and contextualizing this within the arts by examining work by international and local artists, the course aims at developing a framework for reflecting on the artists’ individual practice while considering the potential for creating collective and individual commemorative work within an increasingly “Globalized Village”. It is encouraged to develop a theoretical approach by reflecting on the respective individual artistic practice.