Fig.5. An Academy, an Opera and other Fictions

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Fig.5. An Academy, an Opera and other Fictions

37 Camden High Street
London NW1 7JE
United Kingdom
November 14th, 2012 6:00 PM - 8:00 PM

camden town
+44 020 7383 3004


The Second Session of Fig.5 will be on Saturday 15th December at the following times:

1 – 2 pm DRAF Course: On Museology

Is the role of museums to educate? In what way could educational strategies forge the programme and display (ordering of artifacts and spacial configuration of rooms) of institutions?

Presenting a range of approaches through museums of different scales and histories, the session seeks to understand the current relationship between museology and gallery education, and its future development. The discussion will be based on the programmatic text by Carmen Mörsch At a Crossroads of Four Discourses. Gallery Education in between Affirmation, Reproduction, Deconstruction, and Transformation.

With GLENN ADAMSON (Head of Research, Victorian and Albert Museum, London), KEN ARNOLD (Head of Public Programmes, Wellcome Collection, London), CARMEN MÖRSCH (Head of the Institute of Art Education, University of Arts, Zurich), CAROL SEIGEL (Director, Freud Museum, London). The discussion will be mediated by NICOLETTA LAMBERTUCCI (Assistant Curator, DRAF).

This event will take place in our STUDIO space on the first floor.

4 – 6 pm An Opera in Five Acts. Act II: Musical Instruments.

Join Joel Vacheron, Manuela Ribenadeneira, Annalisa Sonzogni, Fatos Ustek and Per Huttner for the creation of musical instruments (made out of everyday objects, trash, toys etc.) for the Opera, based on the characters profiled in ACT I.

The courses are free and open to everyone. Limited places, booking essential:


Fig.5: An Academy, an Opera, and other Fictions, is a four months educational project, presented in tandem with the exhibition A House of Leaves. Fig.5 is the fifth in a series of initiatives launched at DRAF in 2011 investigating the production and dissemination of knowledge. “Fig.” (short for “Figure”) points towards Marcel Broodthaers, evocating the peculiar arrangements of objects, details, references, and inscriptions included in his Musée d’Art Moderne, Département des Aigles. “Academy” emphasises the programme’s educative potential; “opera” calls for a theatrical, musical and participatory context; “fictions” manifest cumulative efforts to draw plural narratives and conversations through the museum.

Fig.5 explores the pedagogical potential of DRAF and questions the role of the audience. We want to stimulate cultural democracy rather than the democratization of culture, as we produce together and for individuals, rather than publics. Fig.5 is free and open to all, but we ask for an active engagement that rejects the museological rhetoric of combining ‘amusement without excess and knowledge without fatigue.’

Fig.5 comprises three courses: FormContent, Vision Forum and DRAF. FormContent’s course explores issues within visual language that lie at the core of its current programme It’s moving from I to It. Within the framework of a class run by an artist, a performer and an academic, each mode of thinking and working is presented indistinctively in a setting of knowledge-production.

Vision Forum Course: An Opera in Five Acts invites enrolled participants to take part in its course of production. This unconventional art opera is constructed as a series of five acts – each of which bears witness to a cumulative process, leaving traces of the acts that came before it.

The DRAF course focuses on the progressive opening up of the notion of the museum. It starts from a focus on location (First session: The London Eye), by pointing to the problematics that affects the relationships between programming and its context. Fig.5 becomes a forum for different museographical methodologies – sharing ideas and imaginative processes with a range of institutions not devoted primarily to contemporary art (Second session: On Museology). We believe that knowledge could be visual and linguistic, immediate and time-based. Different artworks and events by artists (Third session: Practicing Knowledge) will explore how knowledge can be an artistic material. Academies traditionally frame knowledge through a rigorous and hierarchical allocation of power. Fig.5 aims to consolidate its scope by eschewing codified information for processes that empower the notion of ignorance (Fourth session: On Education). The project tests a pointed query: how can the museum investigate knowledge if not by placing it within ignorance?

Fig.5 is conceived by Vincent Honoré and Nicoletta Lambertucci.


The Inclusion is a blog: an independent structure extending in parallel with Fig.5. Sharing resources, essays, projects and articles, The Inclusion operates as a forum and platform for the diversification of discourse. The Inclusion is conceived by Nicoletta Lambertucci and Alex Ross.

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