deschooling.classroom(o^o)

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collective self-education in the arts and culture…

BLOG REZIME radne diskusije STANJE STVARI NA NEZAVISNIM SCENAMA

Drugog dana Regionalnog susreta aktera  nezavisne scene vreme od 13 do 15 časova, try
bilo je rezrervisano za predstavljanje završnih radova radnih grupa, emergency
okupljenih tokom prve i druge projektne godine.

Grupa Termini predstavila je dva rada: „Antižargon- izdanje u nastajanju“ kroz instalaciju Otvorena štamparija i DVD izdanje „Video pojmovnik umetnosti i teorije XX veka“ čiji je autor Miško Šuvaković.

Otvorena štamparija  „instalirana“ je u jednom od uglova Kulturnog centra Magacin, a činili su je štampač, kompjuter, perforatori, klupko konca, klupko kanapa kao i polica na kojoj su bili poređani tekstovi iz publikacije, odštampani na raznobojnom papiru. Svi učesnici susreta, pozvani su da odaberu tekstove, rasporede ih, uvežu i ukoriče po svojoj želji.

Više o samim tekstovima, kao i o procesu uređivanja, štampanja i koričenja publikacije po do it yourself principu, govorili su članovi i članice grupe Termini: Bojan Đorđev i Elena Veljanovska.

Ostali članovi grupe, demonstrirali su koričenje i uvezivanje. Bojan Đorđev je posebnu pažnju skrenuo na dizajn ovog izdanja i na to da je dizajn Antižargon publikacije bio polazna tačka za dizajn knjige „Priručnik Raškolovanog znanja“.

Oko police sa tekstovima stvorila se gužva, a dizajnerka Katarina Popović, Ljiljana Tasić, Anđela Ćirović i Milena Bogavac, pomagali su svim zainteresovanim da slože svoje primerke sa tekstovima, nastalim kroz proces kolektivnog pisanja, koji je bio ključan za samoobrazovni rad grupe Termini.  Bojan Đorđev je takođe pozvao okupljene da za izdanje Antižargon doniraju svoje autorske tekstove, a da sve tekstove koje žele da pročitaju ili odštampaju mogu pronaći na web-sajtu ove grupe.

Pored kolektivnog pisanja, grupa Termini se tokom svog rada bavila i gledanjem emisije „Video pojmovnik umetnosti i teorije XX veka“ koju je za televiziju Art snimio profesor Miško Šuvaković. Epizode ove emisije bile su povod za grupne diskusije, pa su članovi grupe Termini, nakon završetka svog zvaničnog rada u projektu, odlučili da nastave rad na izdavanju ove emisije, koju smatraju relevantnim učilom za sve one koji istražuju kulturu.

Članovi i članice grupe uspeli su da dobiju finansijsku podršku Ministarstva kulture, uz čiju pomoć su emisiju izdali na tri DVD-ja. Više o ovom projektu govorila je Anđela Ćirović, a Katarina Popović i Bojan Đorđev dodali su da je emisija nekada bila vlasništvo televizije Art, ali je sada „narodna“. Đorđev je obećao da će sve epizode uskoro biti dostupne i online.

Radna grupa Kulturne politike nezavisnih scena predstavila je svoj rad „Mapa termina“. U ime ove grupe, govorile su Marijana Cvetković i Biljana Dimitrova, objasnivši da je mapa nastala tokom njihovog rada sa grupom Re-haluciniranje konteksta iz Pariza.

Tokom zajedničkog rada sa koleginicama iz Francuske, članice grupe Kulturne politike nezavisnih scena, otkrile su njihova grupa i grupa iz Pariza, koriste istu terminologiju, i ako termini koji u njoj postoje, u ova dva konteksta, ne označavaju iste pojmove. Kao primer navele su pojam „nezavisna scena“  koji u kontekstu Francuske znači nešto sasvim drugačije, nego u kontekstu bivše Jugoslavije. U Francuskoj, alternativna umetnička scena je institucionalizovana, pa je ova razlika bila samo jedna u nizu onih koje su otkrile i pokušale da artikulišu kroz svoj samoobrazovni rad.

Cvetković i Dimitrova detaljno su pričale o procesu rada njihove grupe, ambicijama koje su na početku imale, ali i onom delu planova koje su tokom prethodne godine uspele da ostvare. Mapa termina u velikom formatu, bila je izložena na jednom od zidova Magacina, a svi okupljeni mogli su da pokupe i svoje primerke, odštampane u manjem formatu.

U ime grupe „Umetnost i/kao politika“ govorio je Marko Đorđević koji je na samom početku svog izlaganja kazao kako učesnici regionalnog susreta, nisu mogli da ne zapaze rad njihove grupe, jer je bio vrlo uočljiv, izložen na žutom panou , sa printovima velikog formata.

Njihov rad „Ceo svet je ready- made. Sva politika je artificijelna“ zapravo je kolaž, sačinjen od različitih tekstualnih i likovnih materijala, koje su tokom samoobrazovnog procesa izučavali, prikupljali, čitali i o njima diskutovali. Ovaj specifičan kolaž objasnili su podnaslovom  „Notes, thoughts, clips and tips“ a objavljen je u poslenjem broju časopisa Teorija koja Hoda, posvećenom političnosti performansa. Govorivši o kolektivnom, samoobrazovnom procesu njihove grupe, Đorđević je specijalni akcenat stavio na činjenicu da članovi i članice Umetnosti i/kao politike, imaju formalno obrazovanje iz različitih oblasti, od istorije umetnosti, do teatra i književnosti, što je imalo uticaj na dinamiku rada njihove grupe.

Poslednji rad predstavljen u ovom segmetnu susreta bio je „Deschooling video classroom“, video instalacija koju su članovi Raškolovanog znanja, zajedno sa ko-autorkom projekta Martom Popivodom, realizovali tokom 22. Oktobarskog salona.

Marta Popivoda je prisutnima objasnila da je Teorija koja Hoda pozvana da na Oktobarskom salonu postavi rad koji bi na kritički način reflektovao ovu izložbu. Njena ideja bila je da snime intervjue sa učesnicima Oktobarskog salona, ali i sa akterima nezavisne kulturno-umetničke scene Srbije, i da ih na ovoj izložbi predstave kao video instalaciju. U radu na projektu „Deschooling video classroom“  učestvovali su svi zainteresovani učesnici i učesnice u Raškolovanom znanju, bez obzira na to kojoj samoobrazovnoj grupi pripadaju. Marta Popivoda je iznela detalje o ovom radu i pobrojala imena svih saradnika i saradnica. Okupljene je zatim pozvala da joj se pridruže u sali posetiocima Magacina poznatoj kao Ilegalni bioskop. U Ilegalnom bioskopu, upriličena je projekcija intervjua sa Rosom Barbom, koji je deo Raškolovane video učionice.

Svi završni radovi prikazani ovom prilikom, mogu se pronaći i online, na ovom blogu kao i na sajtovima radnih grupa.

Drugog dana Regionalnog susreta aktera  nezavisne scene vreme od 13 do 15 časova, illness
bilo je rezrervisano za predstavljanje završnih radova radnih grupa, sick okupljenih tokom prve i druge projektne godine.

Grupa Termini predstavila je dva rada: „Antižargon- izdanje u nastajanju“ kroz instalaciju Otvorena štamparija i DVD izdanje „Video pojmovnik umetnosti i teorije XX veka“ čiji je autor Miško Šuvaković.

Otvorena štamparija  „instalirana“ je u jednom od uglova Kulturnog centra Magacin, price
a činili su je štampač, kompjuter, perforatori, klupko konca, klupko kanapa kao i polica na kojoj su bili poređani tekstovi iz publikacije, odštampani na raznobojnom papiru. Svi učesnici susreta, pozvani su da odaberu tekstove, rasporede ih, uvežu i ukoriče po svojoj želji.

Više o samim tekstovima, kao i o procesu uređivanja, štampanja i koričenja publikacije po do it yourself principu, govorili su članovi i članice grupe Termini: Bojan Đorđev i Elena Veljanovska.

Ostali članovi grupe, demonstrirali su koričenje i uvezivanje. Bojan Đorđev je posebnu pažnju skrenuo na dizajn ovog izdanja i na to da je dizajn Antižargon publikacije bio polazna tačka za dizajn knjige „Priručnik Raškolovanog znanja“.

Oko police sa tekstovima stvorila se gužva, a dizajnerka Katarina Popović, Ljiljana Tasić, Anđela Ćirović i Milena Bogavac, pomagali su svim zainteresovanim da slože svoje primerke sa tekstovima, nastalim kroz proces kolektivnog pisanja, koji je bio ključan za samoobrazovni rad grupe Termini.  Bojan Đorđev je takođe pozvao okupljene da za izdanje Antižargon doniraju svoje autorske tekstove, a da sve tekstove koje žele da pročitaju ili odštampaju mogu pronaći na web-sajtu ove grupe.

Pored kolektivnog pisanja, grupa Termini se tokom svog rada bavila i gledanjem emisije „Video pojmovnik umetnosti i teorije XX veka“ koju je za televiziju Art snimio profesor Miško Šuvaković. Epizode ove emisije bile su povod za grupne diskusije, pa su članovi grupe Termini, nakon završetka svog zvaničnog rada u projektu, odlučili da nastave rad na izdavanju ove emisije, koju smatraju relevantnim učilom za sve one koji istražuju kulturu.

Članovi i članice grupe uspeli su da dobiju finansijsku podršku Ministarstva kulture, uz čiju pomoć su emisiju izdali na tri DVD-ja. Više o ovom projektu govorila je Anđela Ćirović, a Katarina Popović i Bojan Đorđev dodali su da je emisija nekada bila vlasništvo televizije Art, ali je sada „narodna“. Đorđev je obećao da će sve epizode uskoro biti dostupne i online.

Radna grupa Kulturne politike nezavisnih scena predstavila je svoj rad „Mapa termina“. U ime ove grupe, govorile su Marijana Cvetković i Biljana Dimitrova, objasnivši da je mapa nastala tokom njihovog rada sa grupom Re-haluciniranje konteksta iz Pariza.

Tokom zajedničkog rada sa koleginicama iz Francuske, članice grupe Kulturne politike nezavisnih scena, otkrile su njihova grupa i grupa iz Pariza, koriste istu terminologiju, i ako termini koji u njoj postoje, u ova dva konteksta, ne označavaju iste pojmove. Kao primer navele su pojam „nezavisna scena“  koji u kontekstu Francuske znači nešto sasvim drugačije, nego u kontekstu bivše Jugoslavije. U Francuskoj, alternativna umetnička scena je institucionalizovana, pa je ova razlika bila samo jedna u nizu onih koje su otkrile i pokušale da artikulišu kroz svoj samoobrazovni rad.

Cvetković i Dimitrova detaljno su pričale o procesu rada njihove grupe, ambicijama koje su na početku imale, ali i onom delu planova koje su tokom prethodne godine uspele da ostvare. Mapa termina u velikom formatu, bila je izložena na jednom od zidova Magacina, a svi okupljeni mogli su da pokupe i svoje primerke, odštampane u manjem formatu.

U ime grupe „Umetnost i/kao politika“ govorio je Marko Đorđević koji je na samom početku svog izlaganja kazao kako učesnici regionalnog susreta, nisu mogli da ne zapaze rad njihove grupe, jer je bio vrlo uočljiv, izložen na žutom panou , sa printovima velikog formata.

Njihov rad „Ceo svet je ready- made. Sva politika je artificijelna“ zapravo je kolaž, sačinjen od različitih tekstualnih i likovnih materijala, koje su tokom samoobrazovnog procesa izučavali, prikupljali, čitali i o njima diskutovali. Ovaj specifičan kolaž objasnili su podnaslovom  „Notes, thoughts, clips and tips“ a objavljen je u poslenjem broju časopisa Teorija koja Hoda, posvećenom političnosti performansa. Govorivši o kolektivnom, samoobrazovnom procesu njihove grupe, Đorđević je specijalni akcenat stavio na činjenicu da članovi i članice Umetnosti i/kao politike, imaju formalno obrazovanje iz različitih oblasti, od istorije umetnosti, do teatra i književnosti, što je imalo uticaj na dinamiku rada njihove grupe.

Poslednji rad predstavljen u ovom segmetnu susreta bio je „Deschooling video classroom“, video instalacija koju su članovi Raškolovanog znanja, zajedno sa ko-autorkom projekta Martom Popivodom, realizovali tokom 22. Oktobarskog salona.

Marta Popivoda je prisutnima objasnila da je Teorija koja Hoda pozvana da na Oktobarskom salonu postavi rad koji bi na kritički način reflektovao ovu izložbu. Njena ideja bila je da snime intervjue sa učesnicima Oktobarskog salona, ali i sa akterima nezavisne kulturno-umetničke scene Srbije, i da ih na ovoj izložbi predstave kao video instalaciju. U radu na projektu „Deschooling video classroom“  učestvovali su svi zainteresovani učesnici i učesnice u Raškolovanom znanju, bez obzira na to kojoj samoobrazovnoj grupi pripadaju. Marta Popivoda je iznela detalje o ovom radu i pobrojala imena svih saradnika i saradnica. Okupljene je zatim pozvala da joj se pridruže u sali posetiocima Magacina poznatoj kao Ilegalni bioskop. U Ilegalnom bioskopu, upriličena je projekcija intervjua sa Rosom Barbom, koji je deo Raškolovane video učionice.

Svi završni radovi prikazani ovom prilikom, mogu se pronaći i online, na ovom blogu kao i na sajtovima radnih grupa.

The second day of the regional meeting of the independent scene’s participants, help
in the period between 1pm-3pm, case
was dedicated to presentations of the final works of the working groups that functioned during the first two years of the project.

Terms group presented two works: “Ant-jargon – An Emerging Edition”, approved
through “Open Pressroom” installation, and a DVD edition “Video Glossary of the XX c. Art and Theory”, made by Miško Šuvaković.

Open Pressroom, set up in a corner of Cultural Centre “Magacin”, consisted of a printer, a computer, perforators, a ball of thread, a ball of twine, and a shelf with texts from the publication, printed on coloured paper. All the participants were invited to make a selection of texts, rearrange, stitch and bind them according to their preferences.

The texts and the process of editing, printing and binding were more thoroughly presented by the members of the Terms group: Bojan Đorđev and Elena Veljanovska

The other group members demonstrated the stitching and binding. Bojan Đorđev made sure to draw everyone’s attention to the design of this edition, and to the fact that the design of “Anti-jargon” was the starting point for the design of “Deschooling Classroom Toolbook”.

The shelf was soon surrounded by people, and the designer Katarina Popović, Ljiljana Tasić, Anđela Ćirović, and Milena Bogavac, helped everyone interested in making a bind of texts made through a collective writing process , which was the key part of the self-educational process of the Terms group. Bojan Đorđev also invited the audience to donate their own texts to the Anti-jargon edition, reminding them that all the texts they would like to read or print can be found at the group’s website.

Another activity the group undertook in the course of its work was watching “Video Glossary of the XX c. Art and Theory”, made for Art TV by professor Miško Šuvakovic. The episodes were taken as starting points for group discussions, so the Terms group members, having finished the official project work, decided to continue broadcasting the programme, which they think is a relevant study material for everyone involved in cultural research.

The group members have managed to obtain funding from the Ministry of Culture and thus publish the programme on three DVDs.  Anđela Ćirović spoke more about the project, while Katarina Popović and Bojan Đorđev explained that the programme, which used to belong to Art TV, now belongs to the people. Đorđev promised to make all the episodes available online shortly.

The working group The Cultural Policies of Independent Scenes presented its work “Terminology Map”. Marijana Cvetković and Biljana Dimitrova spoke in front of the group, explaining that the map was created during their cooperation with Re-hallucinating context from Paris.

In the course of their cooperation, the members of The Cultural Policies of Independent Scenes” group members discovered that their group and the group from Paris use the same terminology although the terms, in the two contexts, represent different notions. As an illustration, they explained that the term “independent scene” means something completely different in France from what it represents in the x-Yugoslav context. In France, alternative artistic scene is institutionalised, which made this just one of many differences they have discovered and tried to articulate during their process of self-education.

Cvetković and Dimitrova explained the group’s working process in great details. They talked about their initial ambitions, but also about the part of the plans they managed to see through during last year. A large format of Terminology Map was displayed on one of the “Magacin’s” walls, while everyone interested in having a copy could buy it in a small format which was being sold on the premises.

Marko Đorđević was speaking on behalf of the group “Art and/as politics”. Their work “All the World Is Readymade”. All the Politics is Artificial” is, actually, a collage made from various texts and painted materials, which they have explored, collected, read and discussed during their working process. The unique collage was additionally explained by the subtitle “Notes, Thoughts, Clips, and Tips”, published in the latest issue of the TkH journal, and dedicated to the political aspects of performance. Talking about the group’s collective, self-educational process, ĐorĐevic particularly emphasized the fact that the members of Art and/as Politics are of different formal education, in art history, in theatre, in literature, which had a considerable effect on the group’s working dynamics.

The last work presented in this segment of the regional meeting was “Deschooling Video Classroom”, a video installation realised by the Deschooling Classroom members and Marta Popivoda as the project co-author, within the 22nd Belgrade October Salon.

Marta Popivoda explained that Walking Theory was invited to exhibit a work which would represent a critical view of the exhibition. Her idea was to conduct a series of interviews with the participants at October Salon, but also with the participants of independent scene in Serbia, and to present them at the exhibition in the form of an installation. The project “Deschooling Video Classroom” was open for all the interested participants of Deschooling Classroom, regardless of their working group. Marta Popivoda gave the details about the work and named all the collaborators. After that, she invited everyone to join her in, what is known as Illegal Cinema, where the interview with Rosa Barba, a part of DeschOoling Video Classroom, was screened.

All the presented final works can be found online on this blog, as well as on the working groups’ websites.

Drugog dana Regionalnog susreta aktera  nezavisne scene vreme od 13 do 15 časova, clinic
bilo je rezrervisano za predstavljanje završnih radova radnih grupa, help okupljenih tokom prve i druge projektne godine.

Grupa Termini predstavila je dva rada: „Antižargon- izdanje u nastajanju“ kroz instalaciju Otvorena štamparija i DVD izdanje „Video pojmovnik umetnosti i teorije XX veka“ čiji je autor Miško Šuvaković.

Otvorena štamparija  „instalirana“ je u jednom od uglova Kulturnog centra Magacin, a činili su je štampač, kompjuter, perforatori, klupko konca, klupko kanapa kao i polica na kojoj su bili poređani tekstovi iz publikacije, odštampani na raznobojnom papiru. Svi učesnici susreta, pozvani su da odaberu tekstove, rasporede ih, uvežu i ukoriče po svojoj želji.

Više o samim tekstovima, kao i o procesu uređivanja, štampanja i koričenja publikacije po do it yourself principu, govorili su članovi i članice grupe Termini: Bojan Đorđev i Elena Veljanovska.

Ostali članovi grupe, demonstrirali su koričenje i uvezivanje. Bojan Đorđev je posebnu pažnju skrenuo na dizajn ovog izdanja i na to da je dizajn Antižargon publikacije bio polazna tačka za dizajn knjige „Priručnik Raškolovanog znanja“.

Oko police sa tekstovima stvorila se gužva, a dizajnerka Katarina Popović, Ljiljana Tasić, Anđela Ćirović i Milena Bogavac, pomagali su svim zainteresovanim da slože svoje primerke sa tekstovima, nastalim kroz proces kolektivnog pisanja, koji je bio ključan za samoobrazovni rad grupe Termini.  Bojan Đorđev je takođe pozvao okupljene da za izdanje Antižargon doniraju svoje autorske tekstove, a da sve tekstove koje žele da pročitaju ili odštampaju mogu pronaći na web-sajtu ove grupe.

Pored kolektivnog pisanja, grupa Termini se tokom svog rada bavila i gledanjem emisije „Video pojmovnik umetnosti i teorije XX veka“ koju je za televiziju Art snimio profesor Miško Šuvaković. Epizode ove emisije bile su povod za grupne diskusije, pa su članovi grupe Termini, nakon završetka svog zvaničnog rada u projektu, odlučili da nastave rad na izdavanju ove emisije, koju smatraju relevantnim učilom za sve one koji istražuju kulturu.

Članovi i članice grupe uspeli su da dobiju finansijsku podršku Ministarstva kulture, uz čiju pomoć su emisiju izdali na tri DVD-ja. Više o ovom projektu govorila je Anđela Ćirović, a Katarina Popović i Bojan Đorđev dodali su da je emisija nekada bila vlasništvo televizije Art, ali je sada „narodna“. Đorđev je obećao da će sve epizode uskoro biti dostupne i online.

Radna grupa Kulturne politike nezavisnih scena predstavila je svoj rad „Mapa termina“. U ime ove grupe, govorile su Marijana Cvetković i Biljana Dimitrova, objasnivši da je mapa nastala tokom njihovog rada sa grupom Re-haluciniranje konteksta iz Pariza.

Tokom zajedničkog rada sa koleginicama iz Francuske, članice grupe Kulturne politike nezavisnih scena, otkrile su njihova grupa i grupa iz Pariza, koriste istu terminologiju, i ako termini koji u njoj postoje, u ova dva konteksta, ne označavaju iste pojmove. Kao primer navele su pojam „nezavisna scena“  koji u kontekstu Francuske znači nešto sasvim drugačije, nego u kontekstu bivše Jugoslavije. U Francuskoj, alternativna umetnička scena je institucionalizovana, pa je ova razlika bila samo jedna u nizu onih koje su otkrile i pokušale da artikulišu kroz svoj samoobrazovni rad.

Cvetković i Dimitrova detaljno su pričale o procesu rada njihove grupe, ambicijama koje su na početku imale, ali i onom delu planova koje su tokom prethodne godine uspele da ostvare. Mapa termina u velikom formatu, bila je izložena na jednom od zidova Magacina, a svi okupljeni mogli su da pokupe i svoje primerke, odštampane u manjem formatu.

U ime grupe „Umetnost i/kao politika“ govorio je Marko Đorđević koji je na samom početku svog izlaganja kazao kako učesnici regionalnog susreta, nisu mogli da ne zapaze rad njihove grupe, jer je bio vrlo uočljiv, izložen na žutom panou , sa printovima velikog formata.

Njihov rad „Ceo svet je ready- made. Sva politika je artificijelna“ zapravo je kolaž, sačinjen od različitih tekstualnih i likovnih materijala, koje su tokom samoobrazovnog procesa izučavali, prikupljali, čitali i o njima diskutovali. Ovaj specifičan kolaž objasnili su podnaslovom  „Notes, thoughts, clips and tips“ a objavljen je u poslenjem broju časopisa Teorija koja Hoda, posvećenom političnosti performansa. Govorivši o kolektivnom, samoobrazovnom procesu njihove grupe, Đorđević je specijalni akcenat stavio na činjenicu da članovi i članice Umetnosti i/kao politike, imaju formalno obrazovanje iz različitih oblasti, od istorije umetnosti, do teatra i književnosti, što je imalo uticaj na dinamiku rada njihove grupe.

Poslednji rad predstavljen u ovom segmetnu susreta bio je „Deschooling video classroom“, video instalacija koju su članovi Raškolovanog znanja, zajedno sa ko-autorkom projekta Martom Popivodom, realizovali tokom 22. Oktobarskog salona.

Marta Popivoda je prisutnima objasnila da je Teorija koja Hoda pozvana da na Oktobarskom salonu postavi rad koji bi na kritički način reflektovao ovu izložbu. Njena ideja bila je da snime intervjue sa učesnicima Oktobarskog salona, ali i sa akterima nezavisne kulturno-umetničke scene Srbije, i da ih na ovoj izložbi predstave kao video instalaciju. U radu na projektu „Deschooling video classroom“  učestvovali su svi zainteresovani učesnici i učesnice u Raškolovanom znanju, bez obzira na to kojoj samoobrazovnoj grupi pripadaju. Marta Popivoda je iznela detalje o ovom radu i pobrojala imena svih saradnika i saradnica. Okupljene je zatim pozvala da joj se pridruže u sali posetiocima Magacina poznatoj kao Ilegalni bioskop. U Ilegalnom bioskopu, upriličena je projekcija intervjua sa Rosom Barbom, koji je deo Raškolovane video učionice.

Svi završni radovi prikazani ovom prilikom, mogu se pronaći i online, na ovom blogu kao i na sajtovima radnih grupa.

Drugog dana Regionalnog susreta aktera  nezavisne scene vreme od 13 do 15 časova, this
bilo je rezrervisano za predstavljanje završnih radova radnih grupa, okupljenih tokom prve i druge projektne godine.

Grupa Termini predstavila je dva rada: „Antižargon- izdanje u nastajanju“ kroz instalaciju Otvorena štamparija i DVD izdanje „Video pojmovnik umetnosti i teorije XX veka“ čiji je autor Miško Šuvaković.

Otvorena štamparija  „instalirana“ je u jednom od uglova Kulturnog centra Magacin, a činili su je štampač, kompjuter, perforatori, klupko konca, klupko kanapa kao i polica na kojoj su bili poređani tekstovi iz publikacije, odštampani na raznobojnom papiru. Svi učesnici susreta, pozvani su da odaberu tekstove, rasporede ih, uvežu i ukoriče po svojoj želji.

Više o samim tekstovima, kao i o procesu uređivanja, štampanja i koričenja publikacije po do it yourself principu, govorili su članovi i članice grupe Termini: Bojan Đorđev i Elena Veljanovska.

Ostali članovi grupe, demonstrirali su koričenje i uvezivanje. Bojan Đorđev je posebnu pažnju skrenuo na dizajn ovog izdanja i na to da je dizajn Antižargon publikacije bio polazna tačka za dizajn knjige „Priručnik Raškolovanog znanja“.

Oko police sa tekstovima stvorila se gužva, a dizajnerka Katarina Popović, Ljiljana Tasić, Anđela Ćirović i Milena Bogavac, pomagali su svim zainteresovanim da slože svoje primerke sa tekstovima, nastalim kroz proces kolektivnog pisanja, koji je bio ključan za samoobrazovni rad grupe Termini.  Bojan Đorđev je takođe pozvao okupljene da za izdanje Antižargon doniraju svoje autorske tekstove, a da sve tekstove koje žele da pročitaju ili odštampaju mogu pronaći na web-sajtu ove grupe.

Pored kolektivnog pisanja, grupa Termini se tokom svog rada bavila i gledanjem emisije „Video pojmovnik umetnosti i teorije XX veka“ koju je za televiziju Art snimio profesor Miško Šuvaković. Epizode ove emisije bile su povod za grupne diskusije, pa su članovi grupe Termini, nakon završetka svog zvaničnog rada u projektu, odlučili da nastave rad na izdavanju ove emisije, koju smatraju relevantnim učilom za sve one koji istražuju kulturu.

Članovi i članice grupe uspeli su da dobiju finansijsku podršku Ministarstva kulture, uz čiju pomoć su emisiju izdali na tri DVD-ja. Više o ovom projektu govorila je Anđela Ćirović, a Katarina Popović i Bojan Đorđev dodali su da je emisija nekada bila vlasništvo televizije Art, ali je sada „narodna“. Đorđev je obećao da će sve epizode uskoro biti dostupne i online.

Radna grupa Kulturne politike nezavisnih scena predstavila je svoj rad „Mapa termina“. U ime ove grupe, govorile su Marijana Cvetković i Biljana Dimitrova, objasnivši da je mapa nastala tokom njihovog rada sa grupom Re-haluciniranje konteksta iz Pariza.

Tokom zajedničkog rada sa koleginicama iz Francuske, članice grupe Kulturne politike nezavisnih scena, otkrile su njihova grupa i grupa iz Pariza, koriste istu terminologiju, i ako termini koji u njoj postoje, u ova dva konteksta, ne označavaju iste pojmove. Kao primer navele su pojam „nezavisna scena“  koji u kontekstu Francuske znači nešto sasvim drugačije, nego u kontekstu bivše Jugoslavije. U Francuskoj, alternativna umetnička scena je institucionalizovana, pa je ova razlika bila samo jedna u nizu onih koje su otkrile i pokušale da artikulišu kroz svoj samoobrazovni rad.

Cvetković i Dimitrova detaljno su pričale o procesu rada njihove grupe, ambicijama koje su na početku imale, ali i onom delu planova koje su tokom prethodne godine uspele da ostvare. Mapa termina u velikom formatu, bila je izložena na jednom od zidova Magacina, a svi okupljeni mogli su da pokupe i svoje primerke, odštampane u manjem formatu.

U ime grupe „Umetnost i/kao politika“ govorio je Marko Đorđević koji je na samom početku svog izlaganja kazao kako učesnici regionalnog susreta, nisu mogli da ne zapaze rad njihove grupe, jer je bio vrlo uočljiv, izložen na žutom panou , sa printovima velikog formata.

Njihov rad „Ceo svet je ready- made. Sva politika je artificijelna“ zapravo je kolaž, sačinjen od različitih tekstualnih i likovnih materijala, koje su tokom samoobrazovnog procesa izučavali, prikupljali, čitali i o njima diskutovali. Ovaj specifičan kolaž objasnili su podnaslovom  „Notes, thoughts, clips and tips“ a objavljen je u poslenjem broju časopisa Teorija koja Hoda, posvećenom političnosti performansa. Govorivši o kolektivnom, samoobrazovnom procesu njihove grupe, Đorđević je specijalni akcenat stavio na činjenicu da članovi i članice Umetnosti i/kao politike, imaju formalno obrazovanje iz različitih oblasti, od istorije umetnosti, do teatra i književnosti, što je imalo uticaj na dinamiku rada njihove grupe.

Poslednji rad predstavljen u ovom segmetnu susreta bio je „Deschooling video classroom“, video instalacija koju su članovi Raškolovanog znanja, zajedno sa ko-autorkom projekta Martom Popivodom, realizovali tokom 22. Oktobarskog salona.

Marta Popivoda je prisutnima objasnila da je Teorija koja Hoda pozvana da na Oktobarskom salonu postavi rad koji bi na kritički način reflektovao ovu izložbu. Njena ideja bila je da snime intervjue sa učesnicima Oktobarskog salona, ali i sa akterima nezavisne kulturno-umetničke scene Srbije, i da ih na ovoj izložbi predstave kao video instalaciju. U radu na projektu „Deschooling video classroom“  učestvovali su svi zainteresovani učesnici i učesnice u Raškolovanom znanju, bez obzira na to kojoj samoobrazovnoj grupi pripadaju. Marta Popivoda je iznela detalje o ovom radu i pobrojala imena svih saradnika i saradnica. Okupljene je zatim pozvala da joj se pridruže u sali posetiocima Magacina poznatoj kao Ilegalni bioskop. U Ilegalnom bioskopu, upriličena je projekcija intervjua sa Rosom Barbom, koji je deo Raškolovane video učionice.

Svi završni radovi prikazani ovom prilikom, mogu se pronaći i online, na ovom blogu kao i na sajtovima radnih grupa.

Poslednja diskusija uokviru Regionalnog susreta aktera nezavisnih kulturno-umetničkih scena, drug
nazvana je Update sastanak ili Stanje stvari na nezavisnim scenama. Diskusiju su zajednički moderirale autorke projekta Raškolovano znanje (Iskra Gešoska, Ana Vujanović, Marta Popivoda) a za reč se javila većina učesnika/ca  u Susretu. Tokom uvodnog izlaganja Vujanović i Gešoska objasnile su da je ova diskusija radna i kako služi tome da se svi prisutni informišu o radu svojih kolega i koleginica, posebno onih o čijim scenama i kontekstima iz kojih dolaze, nije bilo reči na prethodnim, zvaničnim debatama.

Za reč su se javile Amila Puzić i Anja Bogojević , koje su prisutne u nekoliko rečenica obavestile o stanju na nezavisnim kulturno-umetničkim scenama u Bosni i Hercegovini. Anja Bogojević govorila je o organizaciji Abart, koja radi u okviru Kulturnog centra Abrašević, u Mostaru. Napomenula je kako ovaj kulturni centar predstavlja jedinstvenu organizaciju u BIH jer ne poseduje hijerarhiju. „On se sastoji od nekoliko različitih organizacija, koje deluju unutar Abraševića, kao unutar krovne organizacije. To je jedini prostor u Mostaru, koji pripada NVO sektoru odnosno nezavisnim inicijativama. Nehijerarhijski način na koji je vođen, iz našeg iskustva, čini ovaj prostor heterotopijskim. Heterotopijsko, po Fukou, podrazumeva međusituaciju, prostor koji nije ni ovde ni tamo. U kontekstu Mostara to je značajno, jer je Mostar još uvek podeljen grad.  Abrašević se ipak nalazi u oba dela grada i u njega dolaze ljudi svih nacionalnosti. To što mi tamo radimo, pokušaj je da se uvede jedan potpuno novi diskurs.  On podrazumeva priču o umjetnosti i strategijama djelovanja buntom u javnom prostoru. Dosta sarađujemo sa kolegama iz Hrvatske i pokušavamo raspraviti šta su strategije umjetnosti u javnom prostoru, na osnovu regionalnih iskustava.“ … Na kraju svog izlaganja dodala je da se u kontekstu BIH teško može govoriti o nezavisnoj sceni. „Kada pričate o stvaranju svoje scene, u Beogradu pominjete devedesete, a devedesetih je u Bosni bila potpuno drugačija situacija. Čak i sedamdesetih, ovdje su postojali umjetnici koji su se okupljali u SKC-u i zatim odlazili iz njega. U Sarajevu, tog vremena, mladi umjetnici su se još uvek borili da u instituciju uđu.“  … Polazeći od tih činjenica, dodala je da Abart svoje projekte radi na mikro planu, i da im je važno uključivanje studenata sa Akademija i  lokalne zajednice. Kao osnovni cilj svog rada definisala je pokušaj za ispisivanje alternativne istorije tog grada. „Kad kažem altrenativne“, rekla je, „Mislim na istoriju koja nije etno-nacionalna.“

Njena koleginica, Amila Puzić izlaganje je počela od situacije sa institucijama kulture u Sarajevu. Navela je da ih ima sedam, a da je od tih sedam čak šest institucija ove godine „stavilo ključ u bravu, jer nemaju primarne uvjete da pokazuju svoj rad“.  U takvim okolnostima, primetila je da aktivizam i nezavisna scena mogu da preuzmu sve, ali je izrazila svojb strah od toga da bi takva vrsta preuzimanja bila tehničke prirode. „Lako bismo okupirali te institucije. Uletimo tamo i budemo tamo, ali bez neke nadogradnje i bez jasnog znanja o tome kakvu poziciju mi treba da zauzmemo, sam čin okupiranja nema mnogo smisla.  Naša pozicija je specifična jer državne institucije, koje bi trebalo da budu paradigma protiv koje se nezavisna scena bori, nemaju između sebe ni minimum solidarnosti.“

Anja i Amila su zajednički skrenule pažnju i na estetske kriterijume koje prepoznaju u dominantnom kulturnom modelu BIH i izrazile svoje neslaganje sa umetnicima koji još uvek zauzimaju poziciju žrtve. „Već godinama, na snazi je autoviktimizacija i najčešće teme svake umjetnosti su trauma i žrtva. Mi ne želimo da budemo profesionalne narikače! Takođe, ne bismo ni da se bavimo nasilnim pomirenjem. Mostar je podjeljen grad, ali mi polazimo od činjenice da je svaki grad podjeljen na svoj način. Mi se, pod tim uslovima, bavimo umjetnošću i trudimo se da iz tog iskustva podjeljenosti učimo.“

Reč su potom uzeli Dren Berishaj i Tanita Zhubi, iz organizacije Stacion, Priština. Svoje izlaganje Dren Berishaj počeo je ni malo optimističkom konstatacijom: „There is no scene! We are the only organization which deals with politics and arts.“ Objasnio je da se Stacion kao organizacija bavi političnom umetnošću i društveno relevantnim temama, a da je za kosovsko društvo to još uvek pristup koji je u velikoj meri šokantan. Situacija nije mnogo bolja ni u njihovom odnosu s donatorima, jer se smatra da umetnost na Kosovu ne bi trebalo da se bavi politikom, to jest da umetnici nemaju prava da kritikuju društvo. Najavio je da Stacion trenutno radi na izdavanju edicije koju čini sedam knjiga o savremenoj umetnosti, u kojima će promovisati i lokalne autore.

Tanita Zhubi se nadovezala na prepričana iskustva koleginica iz Bosne i Hercegovine, i kazala da je i na Kosovu ratne teme dominiraju kulturnom i umetničkom produkcijom. Kroz taj proces, umetnici se bave reviktimizacijom ali, naglasila je: „In Stacion, we are doing somethnig else.“ Dren Berishaj je tvrdnju Tanite Zubai pojasnio, kazavši da je umetnost na Kosovu determinisana nacionalizmom, ali i provincijalnim duhom. Duhovito je primetio kako je predstava koja se najčešće igra na repertoaru njihovog Narodnog pozorišta – komemoracija za junake iz OVK, jer je ovaj vid događaja mnogo zastupljeniji od bilo koje umetničke produkcije ili pozorišnih komada. Naglasio je da im je u takvom prostoru veoma teško da održe duh slobodnog prostora i slobode umetnosti.

Naveo je kako je njihova organizacija u oktobru, prošle godine inicirala okupljanje nazavisne scene, koje su zamislili kao početak lobiranja za zajedničke interese. Ipak, dodao je da je taj proces veoma spor i da se još uvek dogovaraju oko moguće platforme koja bi bila prihvatljiva za sve aktere i organizacije koje se prepoznaju kao nezavisne. Kao generalni problem, naveo je činjenicu da ove organizacije nisu dovoljno vidljive, a primer kojim je objasnio svoju tezu bila je pres konferencija koju je njihova organizacija upriličila kako bi najavila svoje godišnje aktivnosti, a na kojoj se nije pojavio ni jedan novinar.

Situaciju na novosadskoj sceni, pokušala je da rezimira Gordana Nikolić iz Centra za nove medije Napon. Na samom početku rekla je kako se njena pozicija može posmatrati kao pozicija „duplog agenta“:  mada je s Krijstijanom Lukićem osnovala Napon, ubrzo se desilo da su se oboje zaposlili u Muzeju savremene umetnosti, pa su se našli u čudnoj i hibridnoj poziciji, zbog koje ih akteri nezavisne scene ponekad i kritikuju. Ipak, navela je da „Psihologija stalne plate u ustanovi na budžetu, nije nešto što ti garantuje sigurnost. I te pozicije su prekarne. Ti kao pojedinac , pokušavaš da realizuješ svoje projekte u uslovima institucije koji su potpuna anarhija. Ništa ti ne ide jer nema sredstava i tako se dešavalo iz godine u godinu. Nismo mogli da izguramo projekte, a svoje lične kredite smo trošili jer smo se povezivali sa ljudima s NGO scene i pokušavali da ih uvučemo u priču, koja nam nikako nije uspevala.  Rad na nezavisnoj sceni, za nas je ostao prilika da realizujemo sve ono što nismo mogli kroz platformu muzeja.“

Govorivši više o nezavisnoj sceni u Novom Sadu, počela je od velikih festivala i „mastodnonta“ kakav je Egzit, zatim o povezanosti ovih institucijama sa vladajućom elitom. Navela je kako je ogroman problem to što se novac iz gradskog budžeta sliva u te kanale pa za kognitivnu i kulturnu produkciju ne ostaje ništa. Da bi ilustrovala svoju tezu, navela je da Novi Sad nema ni jednu gradsku galeriju.

U nastavku izlaganja, govorila je o Društvenom centru, odnosno o velikom broju organizacija, koje su se krajem decembra okupile oko inicijative za skvotiranje prostora kasarne poznate kao Maršalka. Pomoćni objekti kasarne, pretvoreni su u Društveni centar, ali je ovo trajalo samo tokom tri (praznične) nedelje, nakon čega su aktivnisti/kinje, kulturni radnici/ce izbačeni na ulicu.

„Problem sa tom anegdotom bio je to što nismo imali kulturni front, već su tu učestvovale najrazličitije organizacije, od sporta, ekologije, zaštite prava… To je bila pametna ideja, jer je takav front imao potencijal… Ipak, tokom tri nedelje Društvenog centra bilo je dovoljno vremena da svi demonstriraju svoje programe, politike i ideje.  Tada se videlo da  politička teza oko koje je trebalo da se homogenizujemo, nije bila dovoljno jasna.  Ostala je rasuta i nije se pretvorila u jasno artikulisan stejtment.“ … Da bi objasnila šta time misli navela je da se prvog dana po upadanju u kasarnu, preko razglasa čula pesma „Suada“ grupe Plavi orkestar. „Može se tu nastupati sa pozicije kultur-fašizma, ali jasno je da je u pitanju jedna vašarska stvar koja je glatko prošla unutar tog programa. Nije mi jasno“, izjavila je, „Kako neko može da se poistoveti sa takvom muzikom, ako istovremeno sprovodi radikalnu političku agendu koja se tiče demilitarizacije društva.“

U razgovor o novosadskoj nezavisnoj sceni, zatim se uključio i Saša Asentić iz organizacije Per.Art,  koji je izjavio: „Od Suade do roštiljijade, na našoj sceni se od devedesetih godina, ponavljaju iste priče.“

Kao glavni problem Asentić je izdvojio činjenicu da su mnogi akteri nezavisne scene postali prilično korumpirani, pa im je zbog zajedničke prošlosti i svega što jedni o drugima znaju, zapravo veoma teško da se udruže. Dodao je i to da ne želi da bude „novosadska profesionalna narikača“, ali da u kontekstu svega rečenog, želi da kaže da se njegova organizacija, trenutno bavi fenomenom umetnika koji  napuštaju scenu i odlaze. „Ne vraćaju se“, kazao je, „A ne bivaju ni pozvani“.

Najavio je susret aktera koji su otišli iz zemlje,  u organizaciji Per.Art.  To će se odigrati početkom juna, a  naslov ovog događaja je  Odliv scene.

Za to kako organizacija Per.Art ostaje nezIsna na tako struktuiranoj sceni, kazao je da devedesetih godina oni nisu bili organizacija, ali su bili pojedinci u ranim dvadesetim koji su pripadali sceni u formiranju. Kada se povukao Soros bilo im jasno ta neka scena nastavlja putem na kom se svi nadaju da će biti u većoj milosti nove vlasti. „ Nama je bilo jasno da je to jedna problematična stvar“, rekao je i dodao kako su shatili da je njihov cilj da na neki način uđu u institucije. „ Ali ne da se tamo zaposliš, nego da budeš neko ko dolazi spolja,  ali sa institucijama sarađuješ… U per.artu bilo nam je stalo do toga da radimo u ozbiljnijim uslovima i tako smo počeli da sarađujemo Srpskim narodnim pozorištem,  iz hibridne pozicije. Nakon 10 godina saradnje sa SNP-om  i njihovim Forumom za novi ples, uspeli smo da realizujemo mnoge programe. Sada  smo uspeli i da s njima postignemo zvanični dogovor. Potpisali smo ugovor o petogodišnjoj saradnji, kojim sve što već deset godina radimo s njima, postavlja na zvaničniji nivo. Istovremeno, mi smo zadržali svoj status nezavisnog aktera.“

Kao veliki problem izdvojio je to što u Novom Sadu postoji baletska škola sa odsekom za savremeni ples, ali da ona obrazuje nezaposlene ljude, jer sama scena nije sposobna da ih angažuje. Mnogi učesnici diskusije složili su se sa Asetićem i naveli da je takav slučaj i sa mladima koji se obrazuju u drugim kulturnim branšama.

Nakon svega rečenog, Ana Vujanović poželela je da izrazi svoj komentar na to što se tokom ovakvih diskusija često preterano glorifikuju zagrebačka i ljubljanska scena. Navela je da ih veoma poštuje, ali da treba imati u vidu kako beogradski, novosadski ili neki drugi kontekst, nisu na isti način društveno i politički određeni kao Zagreba ili Ljubljana. „Nezavisna scena je margina margine“, kazala je, „Mi smo na margini kulture i umetnosti, koje su već na margini u društvu.“ Primetila je da su Slovenija i Hrvatska mnogo ranije krenule putem neoliberalnog kapitalizma i demokratije, pa se tako i ranije otvorio put za nezavisnu scenu. Kao primer je navela slovenačku plesnu scenu, za koju je bilo presudno to što je jeftina, i ekonomski lako održiva, ali da je važno kako i pored toga nije izgubila svoju važnu, društvenu ulogu.

Vujanović je podsetila na izlaganje Gordane Nikolić koja je govorila o svojoj poziciji „duplog agenta“ na nezavisnoj ili institucionalnoj sceni.  „One se ne mogu izjednačavati. Morali bi da osvestimo šta je društveni ulog rada na nezavisnoj, a šta na institucionalnoj sceni, jer na nivou društvene topologije, mi nemamo ista mesta, funkcije i cilj.“  … Objasnila je kako su beogradska pozorišta ove sezone stavljena „na hladni pogon“ i kolegama opisala da to znači nedostatak sredstava za nove produkcije. Zaključila je da u toj situaciji, pozorišta zaista imaju dobar razlog da se zajednički pobune, jer svi dele isti problem. Istakla je da ni do kakve pobune nije došlo, jer su direktori institucija postavljeni partijskom direktivom. Njihov zadatak nije tu da bi branili interese pozorišta i onih koji u pozorištu rade, već interese partije koja ih je dovela na odlučujuće pozicije. „U tom smislu, rad na nezavisnoj sceni znači da si se sam osnovao. Niko ti neće politički postavlti direktora, koji će ćutati kada se nešto ovakvo desi. Sam braniš svoje interese, to ti daje poziciju nezavisnosti a ona podrazumeva veći potencijal za duštvenu kritiku.“

Nakon kraće rasprave, za reč se javila Biljana Dmitrova (FRIK festival, Skopje). Duhovito je uporedila Update sastanak sa grupnom terapijom. Najavila je da joj se nameće jedna kritika, a odnosi se na to što se malo govori o demitologizaciji nezavisne scene.  „Kultura je produkt podele rada.“, kazala je, „Da li mi kulturu shvatamo kao rad ili kao način života? Šta mi tu tražimo? Institucionalizaciju kulture preko deinstitucionalizacije?  I koja je naša uloga u društvu?“  Ocenila je da nezavisna scena nedovoljno komunicira sa društvom, u širem smislu. Zapitala se da li akteri scene misle o tome kome je ta scena potrebna, ili uobražavaju da su bitni. „ Već tri dana ovde govorimo o svojoj lošoj poziciji i tome kako nam fale uslovi za rad, a svi smo obrazovani, dobro obučeni, nikom nije hladno i niko nije gladan. Dodala je da narod ima mnogo veće probleme, na šta joj je Ana Vujanović prigovorila zbog naivističke i aistorijske ideje naroda.  „I mi smo narod“, bila je njena teza. Kulturne potrebe naroda nisu samo one koje se pokazuju na primitivnim događajima.  U delu rasprave koji je usledio više se puta pominje termin „roštilj“ čije se značenje, među učesnicima diskusije, uspostavilo na nivou metafore za primitivizam i banalizaciju kulture.

U debatu se uključio Dren Berishaj, koga je izlaganje Biljane Dmitrove pokrenulo da se zapita o cilju nezavisne scene. Ukoliko je scena nezavisna, znači da ona ima potencijal da zadire u clashing points neoliberalnog kapitalizma. „Ali,“ primetio je, „Scena se nekad ponaša toliko incestuozno, da postaje elitistička, a to je upravo ideal kapitalizma. Umetnost nije nešto što dolazi sa Marsa. Nije stvar u tome da radimo svoje kul projekte, da zatim zovemo svoje kul prijatelje na kul konferencije, na kojima ćemo jedni drugima reći koliko smo kul.“  … Većina aktera se složila sa njim, a rasprava je dobila drugi tok kada je Marta Popivoda zamolila okupljene da se vratie na opis fragmentacije novosadske scene i osnovne probleme koji su tu nastali.  Baveći se udruživanjem i nemogućnošću udruživanja u odbrani zajedničkih ciljeva,  govorila je o razlici između Druge scene naspram umrežavanja kakvo je ponudio NKSS. Referisala se na jučerašnju o Nezavisnoj kulturnoj sceni Srbije i nezavisnoj sceni, kao takvoj. Istakla je kako je važno da se ova dva pojma ne izjednačavaju.

Marti Popivodi je replicirala Marijana Cvetković (STANICA, Beograd) koja je izrazila svoje čuđenje činjenicom da na ovom susretu ne učestvuje više članova NKSS. Iznela je fakte o tome da je Druga scena inicirana 2005. godine, od strane grupe organizacija koje su rešile da na osnovu sličnih pozicija na tadašnjoj sceni,  pokrenu zajedničke akcije kojim bi se prisustvo i uslovi za rad organizacija popravili. Cilj je bio i da se stupi u kontakt sa donosicima odluka kako bi se rešili osnovni problemi.  „S pokušajem definisanja ideološko pplitičko- umetničko kulturološkog identiteta“, kazala je Cvetković, „ Prvi uslov je bio pregovaranje za prostor. Tako je dobijen Magacin. Ali, sama Druga scena je prošla kroz velika iskušenja i preblem razvoja. Na kraju, jedan od ključnih momenata u njenom razvoju bila inicijativa koja se desila na nivou čitave države. To je bila inicijativa za formiranje NKSS. NKSS je trebalo da bude mreža koja računa na brojnost članica, na pokrivenost čitave zemlje, sa idejom da se kroz brojnost i vidljivost deluje na kulturne politike, na nacionalnom i velikim nivoima. Da se odvoje od javnih prostora, prostori u kojima će organizacije da razvijaju programe i da lakše komunicoiraju sa lokalnim sredinama.“

Marta Popivoda joj je replicirala da je udruživanje na Drugoj sceni bilo taktičke prirode, jer je ono poed kulturnih radnika/ca uključivalo i aktiviste, i kako u Drugoj sceni nisu samo grupe već i pojedinci tj pojedinke.  Napomenula je da je NKSS inicijativa nastala strateški, a Druga scena po principu ličnog udruživanja.

Marijana Cvetković je u svom daljem izlaganju precizirala kako su članovi Druge scene imali potrebu da se repozicioniraju i da ponovo promisle svoju ulogu kroz procese koji su inicirani kroz platformu NKSS-a. Tako se došlo do odluke da je Druga scena Plenum organizacija koje su prihvatile određena načela, i koja deluju taktički. Neće se angažovati u dugoročnim procesima, već će da reaguju u specifičnim situacijama u kojom javno dobro i interesi bivaju ugroženi.

Ovde se za reč javila Jelena Vesić koja je naglasila da u temi o kojoj se razgovara prepoznaje više problema, ali se svi oni svode na politiku. „Najvažnije je,“ kazala je, „ Da se vidi šta je ta politika jer nezavisnost može da se misli samo iz neke vrste politike. Inače je to zavisnost. Da li je naša politika kritika nacionalnog mišljenja i neoliberalnog kapirtalizma?  Imamo publikaciju koja se zove Exit Europe. Da li je to naš cilj? Uključivanje u Evropske tokove?“ pitala je.

Primetila je da se akteri nezavisne scene u Srbiji suočavaju s problemom nevidljivosti u lokalu, ali je zatim pitala i ko su internacionalno najzastupljeniji „predstavnici naše lokalnosti“. Pozvala se na činjenicu da veći deo produkcija s nezavisne scene, uspeva da ostvari uspehe i uticaj van okvira naše zemlje, ali se i na tu činjenicu osvrnula kritički. „Ako je to što radimo ovde nevidljivo, a prodajemo ga negde drugde, nije li to baš u duhu neoliberalnog kapitalizma?“ … Nakon izlaganja o tome da je problem scene u njenoj inertnosti  i neagresivnosti, zaključila je: „Nismo postigli ništa s tim što smo napisali nekoliko saopštenja!“

Inertnost kao problem Druge scene, prepoznala je i Marijana Cvetković ilustrovavši tu tezu pričom o pozivu grupama iz ove mreže da predlože kakve bi programe realizovale u Magacinu. Poziv je ostao bez odgovora u čemu Cvetković vidi „vrhunski dokaz inertnosti“.  Jelena Vesić se složila, zapitavši prisutne na koji način treba delovati, ako se nalazimo u polju potpune društvene disperzije?

O ovome je vođena rasprava, i mnogo učesnika i učesnica susreta, iznelo je svoja mišljenja i uporedilo iskustva svojih scena, sa scenom u Srbiji. Nakon sat vremena, diskusija je okončana, a njom je zatvoren i oficijalni deo regionalnog susreta aktera nezavisnih kulturno-umetničkih scena, povodom završetka projekta Raškolovano znanje.

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BLOG RESSUME: A Tour through Final Works of Self-organized Groups of Deschooling Classroom

Diskusija „Teorija-umetnička praksa-aktivizam, no rx kako napraviti jedinstven kulturni front?“ upriličena je nekon projekcije filma „Kulturni radnik/ca 3 u 1“ a učesnici u razgovoru: Tomislav Medak, buy Vida Knežević, Marko Miletić i Ana Vujanović jesu i ličnosti kojima se ovaj film bavi. Moderator diskusije Vladimir Jerić, tako je bio inspirisan da razgovor otvori šarmantnim uvodom:  „Razgovaraćemo sa vašim omiljenim junacima iz filma, čiju ste predpremijeru imali prilike da vidite, a koji je nagrađen Oskarom nezavisne scene.“ … Nakon toga, iz programa regionalnog susreta pročitao je pun naziv diskusije i primetio da jedna reč u njemu privlači naročitu pažnju. To je reč front, a Vladimir Jerić zapitao se kako se ona pojavila. „Prvo smo bili individue, zainteresovane za razne stvari“, kazao je, „Zatim smo krenuli njima da se bavimo, pa smo se udružili u neke grupe i nevladine organizacije. Sredina dvehiljaditih bila je obeležena pojmom umrežavanja i naše grupe su se uvezale u različite mreže. Ali, sada na stolu imamo najnoviji izraz: front. Zanima me šta taj izraz ustvari znači?“

Za reč se prva javila Ana Vujanović, kao urednica susreta i autorka naslova diskusije. Primetila je kako je rekonstrukcija koju je Vladimir Jerić izneo relativno tačna, ali je dodala i da mreže predstavljaju formalna, funkcionalna udruživanja. „Ne bih rekla da stvar ide od mreže ka frontu, već zapravo od platforme ka frontu.  Mislim da se termin front odnosi na vrste taktičkih povezivanja sa entitetima s kojim ne delimo nužno sve. Prepoznajemo neke političke interese i identifikujemo se sa njima na antropološki način.“, kazala je. Podsetila je okupljene na film „Kulturni radnik/ca 3 u 1“ i na to da se takva vrsta povezivanja, u filmu vidi na primeru zagrebačke scene. Navela je da u Beogradu postoje takve tendencije, ali da nikada nisu bile jasno i potpuno artikulisane. „Referenca mi je Druga scena, koja je trebalo da bude mreža, pa platforma, pa je sada plenum. Nama, na beogradskoj sceni, nedostaje neka vrsta decidiranosti, iz koje bi proizašla hrabrost i odlučnost da se nešto zahteva, na način koji prevazilazi kontekst koji je prljav i korumpiran.  Za mene, front znači prelazak sa reaktivnosti na proaktivnost. Mi smo obično u defanzivi, a došlo je vreme kada bi trebalo da se dogovorimo oko minimalnih političkih koncenzusa i da počnemo da delujemo proaktivno.

Pošto je u svom izlaganju pomenula zagrebačku scenu, Vladimir Jerić daje reč Tomislavu Medaku, kao akteru te scene. Pre početka svog izlaganja, Medak napominje okupljenima kako u diskusiji učestvuje kao aktivista incijative „Pravo na grad“, umesto Teodra Celakovskog, koji je iz zdravstvenih razloga bio prinuđen da otkaže učešće u regionalnom susretu.

„Meni se čini da je stvaranje fronta aspekt delovanja kojim se iz kultute izlazi u šire društvene sfere. U inicijativi Pravo na grad, front se formirao oko teme društvene pravde. Rad ili suradnja aktera nezavisne kulturne scene ovde su bile usmjerene prema strukturalnim uvjetovanjima. Ona su se ticala društvenog procesa privatizacije dobara koja su mogla pripasti i u javnu sferu. Tu se strvorila kohezija u kojoj se učinilo da nezavisna kulturna scena može da istupi u neke sfere koje se ne tiču samo egzistencije te scene. Inače, kulturna scena je i prošlih godina tražila alijanse u nekim područjima koja su joj bliža, kao što je sektor rada sa omladinom, ili dalja poput sektora nauke, ekologije ili među sindikatima. Ovaj iskorak u društveno proizašao je iz preokupacije nedostupnošću prostora za rad.  Svakoj organizaciji treba prostor za rad pa su počele da se grade alijanse povodom zaštite dobara javnog sektora, i radnici iz različitih sfera, međusobno su podržavali jedni druge u borbama za prostor.  Ovaj tip delovanja je zadiranje u tuđi prostor ekonomske i političke moći i utoliko je pitanje te borbe nešto što sa strane kulture uvek ovisi o stvaranju alijansi sa drugima u društvu.“

Vladimir Jerić je napomenuo kako front podrazumeva heterogenost. „U slučaju rata, svi idu na front, nezavisno od toga šta o tome misle, jer su svi ugroženi od zajedničkog neprijatelja. Šta je bio taj neprijatelj u slučaju Zagreba?“, pitao je.

Na ovo pitanje, Tom Medak je kazao kako izriče zadršku prema terminu front. „Ne mislim da je neprijatelj bio jasno definisan .Pozicije aktera su bitno drugačije, alijanse su taktičke a ne principijalne i nisam siguran da postiji jedinstvo koje front implicira.“  Rekao je da ipak postoji vrsta kohezije na nezavisnoj sceni i da je do nje došlo jer su delovali strukturalno, a ne partikularno, za interes jednog ili dvoje. „To je bila teška stvar za iskomunicirati“, kazao je, „Jer kada dođete kod onih koji donose političke odluke i predložite da napuštenu fabriku daju umetnicima, oni će vas odmah pitati iz koje ste organizacije. Vi zatim kažete da vam ne treba prostor za rad vaše organizacije, već da želite da se donese kulturna politika, i tu nastupa kratki spoj.“

Vladimir Jerić upitao je učesnike ko se nalazi sa druge strane fronta, pa zaključio da se nezavisna scena najčešće sukobljava sa državom samom. „Nezavisna scena sa oba oka posmatra državu, od nje traži apsolutno sve. Država će uvek biti kriva za sve probleme nezavisne scene, i tako se država nekako jednači sa čitavim društvom, i ako su države postale aparati koji ni na koji način ne frejmuju društvo u celini.“

Nakon ove konstatacije Vladimira Jerića, u diskusiju su se uključili i članovi Kontekst koletiva, Marko Miletić i Vida Knežević.

Marko Miletić je kazao:„ Pitanje kulturnog fronta ono je što mi, iz pozicije aktera nezavisne scene,  para uši. Na ovoj sceni, organizacije i mreže nisu uspele da iskomuniciraju ni osnovna pitanja infrastrukture ili fondova, pa se postavlja pitanje da li uopšte vredi stvarati front kulturne scene ili je bolje stvarati širi društveni front sa studentima, sindikatima i radnicima.“

Vida Knežević je dodala: „Mi delujemo u okviru Druge scene, u okviru mreže NKSS,  ali kroz naše programe pokušavamo da polje delovanja otvorimo i za druge grupe. Čini nam se da kroz takvo iskustvo dolazimo do problema organizovanja unutar nezavisne scene, jer na njoj ne postoji ni trunka solidarnosti na kojoj bi bila naznaka pravljenja šireg kultutnog fronta. Manjak je pokušaja da se samoreflektuje pozicija u kojoj se svi nalazimo, pozicija prekarnog radnika koji funkcioniše u neizvesnim uslovima, i ogromna je podela između nezavisnog i javnog, državnog, institucionalizovanog…. Ta stalna podela zamagljuje to da i jedni i drugu imaju iste probleme i to dovodi do nemogućnosti za razvijanje veće, duže, solidarne akcije.“

Na pitanje o tome da li žele da govore o poslednjim sukobima sa institucijom, Vida Knežević i Marko Miletić objasnili su da je Kontekst kolektiv u prethodnih šest meseci radio u prostoru mesne zajednice na opštini Novi Beograd. Taj prostor delili su sa još dve organizacije koje sebe prepoznaju kao aktere na nezavisnoj sceni. I pored toga što dele prostor i u njemu imaju ista prava, njihove tri organozacije nisu se ponašale jedinstveno kada im je od opštine Novi Beograd stigao ankes ugovora koji podrazumeva gubitak prava koja su do sada imali. u ugovoru traži od nas da potpuno birokratizujemo našu situavciju, da na nedeljnom i mesečnom nivou dajemo izveštaj o našem radu a program možemo da realizujemo samo ukoliko od opštine dobijemo povratnu informaciju da to možemo, a ako ne, sve se odlaže.

Samo na afirmativan način možemo da govorimo o opštini ili oni imaju apsolutno pravo da jednostarno raskinu ugovor. „U tom ugovoru od nas se na najbrutalniji način traži da potpuno birokratizujemo svoju situaciju,  da na nedeljnom i mesečnom nivou dostavljamo izveštaje o svom radu, kao i da programe možemo da realizujemo samo ukoliko od opštine dobijemo povratnu informaciju da nam je to dozvoljeno. Ako takva informacija ne stigne, naš progtam se se odlaže. U ugovoru je takođe pisalo i da o opštini možemo da govorimo samo na afirmativan način, kao i da oni imaju apsolutno pravo da jednostarno raskinu ugovor.“ … Objasnivši ovu situaciju, Vida Knežević je dodala da su pozvani u opštinu samo da taj ugovor potpišu i da im je zabranjeno da ga iznose iz kancelarije.  Kada su zahtevali da preegovaraju o uslovima ugovora, odbijeni su ali im je rečeno i kako su dve organizacije sa kojima dele prostor, iste ugovore već potpisale.

Učesnicima u regionalnom susretu, Knežević i Miletić objasnili su da takav ugovor neće potpisati jer ne žele da legitimizuju „nenormalnu poziciju koja se demostrira od strane opštine, koja matrice cenziure i autocenzure  postavlja na najeksplicitniji način, kakav na formalnom nivou ne postoji čak ni u institucijama.“ Pošto su o ovome govborili nešto duže, Vida Knežević je postavila pitanje: „O kom frontu onda govorimo kada se naše razjedinjene pozicije vide i u ovako malom kontekstu?“

Ana Vujanović se tada vratila na prvo pitanje Vladimira Jerića i genezu naslova diskusije. „Mislim da u Beogradu postoje pokušaji pravljenja društvenog fronta iz kulture, pre nego što postoji konsenzus unutar kulture same.“, kazala je i dodala da pre formiranja šireg fronta, akteri kulturne scene moraju prvo da razreše svoje unutarnje probleme. „Možda“, kazala je, „Možda bi mogli da postignemo minimalni koncenzus oko toga da se unutar društva, kultura i umetnost moraju trertirati kao javno dobro. Javno dobro, odnosno prostor u javnoj sferi gde ćemo moći da kritički reflektujemo društvo, razmišljamo o njegovoj boljoj budućnosti, ili makar samo fantaziramo o svemu tome. Ne mogu da se složim s tim da se država gleda jednoznačno“, dodala je i zaključila: „Država je danas agencija kapitala, ona štiti privatno i zbog toga imamo toliko problema s tim što umetnost i kulturu definišemo kao javno dobro. Trebalo bi da pretendujemo na to da ovo osvojimo, ili da makar počnemo da pregovaramo o tome.“

Na repliku Ane Vujanović, Vladimir Jerić je dodao kako alijansa države i kapitala jedna od definicija fašizma u Italiji. Za reč se zatim javio Tomislav Medak koji je kazao da zagrebačko iskustvo sa Pravom na grad, pokazuje da su donosioci političkih odluka bili vrlo neprijatno iznenađeni saznanjem da unutar društvenog polja postoji skupina koja izražajnim sredstvima vlada podjednako dobro kao i najveći PR eksperti koje političari angažuju: „Ta moć se ne da instutucionalizirati, ali ona ne nestaje samo tako, jer čim ste vi akter u nekoj temi, mediji će zvati vas da komentrirate tu temu, njihova pozicija je takva da im treba antagonizam, bar kada nisu u potpuno kontrolisanoj poziciji.  Što se kontrole medija tiče, naravno, ona je uvek tu i nije samo politička nego i ekonomska. Bitna situacija u svemu tome je borba za javno mnjenje. To je dogovor na pitanje gde deluješ u političkom polju i kako stičeš moć delanja. Svako toliko potreban ti je neki ekces.“, savetovao je, „Biti stalno u prostoru legalnog – ok, institucije i civilnost delovanja otvaraju prostor do neke mjere,  ali moćnici kroz institucije i kroz medije ne igraju fer… Zato  mislim da postoji bitna dimenzija u povremenom ekcesu,  koji treba izvesti u pravom trenutku.“

Okupljeni su ideju saslušali sa velikim interesovanjem.

„Oko Prava na grad“, rekao je Medak, „ Nama je ilegalno delovanje bitno pomoglo stvar i čovek treba biti spreman na ilegalno delovanje u datim okolnostima. To ne znači da treba biti spreman na ilegalno delovanje u svim okolnostima, jer ono može i potkopati legitimitet koji ti daju šire mase. Ipak, povremeno neki tip ilegalnog delovanja može doneti prekoret unutar neke situacije u društvenoj borbi.

Sve te dobivene bitle su kratkotrajno dobivene bitke. Boj ne prestaje, ne zato što nama ponestaje snage nego zato što je kapitalni interes je dovoljno uporan. On će se vratiti nakon dve i nakon četiri godine i on će realizirati što je naumio.“ , prmetio je.

Vladimir Jerić je potom upitao članove Kontekst kolektiva o tome da li su spremni na neki vid ilegalne borbe. I pre nego što su odgovorili, nekoliko ljudi iz publike dobacilo je: „I ako jeste, nemojte to da nam kažete.“

Marko Miletić zatim je rekao kako za svoj dolazak u mesnu zajednicu na Novom Beogradu, galerija Kontekst takođe može da zahvali malom ekcesu. Kako su na ekcesni način izgubili mesto u Opštini Stari Grad, kasnije: UK Parobrod, zahvaljujući Drugoj sceni uspeli su da ispregovaraju za mesto na Novom Beogradu. Na taj način oni su profitrali, ali „država i partokratija nam sada vraća“, rekao je Miletić i doddao da su akteri koji u oba slučaja predstavljaju državu, iz iste političke partije.

Vida Knežević kazala je da ne žele da se bore ilegalnim metodama. „Želimo da intervenišemo u kontekst legalnog, javnog i da ga menjamo. Slažem se s tim da državi treba ispostaviti kulturnu politiku koja će nam svima omogućiti da dođemo do prostora… To je politika koja bi tražila jasnu proceduru od lokalnog do državnog nivoa,  pa onda  umetnik ili kulturni radnik ne bi nikad dobio takav ugovor… Ne postoji nikakva prvedura, svako rešava problem za sebe, treba nam front da bi uspostavili zakon.“, rekla je.

Ana Vujanović iznela je svoj stav o legitimisanju ilegalnih metoda. „Legalne metode su nemoguće jer vlada partokratija. Ona podrazumeva netransparetne procedure i korumnpiran sistem. S druige strane, za da bi se sprovodile ilegalne akcije, zaista je poitrebno konstituisanje frona, jer ćeš u suprotnom biti shvaćen samo kao mali prekršilac zakona, koga su policajci oterali. Da se to ne bi dogodilo, potreban je fron i javna sfera. Mi nemamo nikakvu moć u društvu, a jedina koju bismo možda mogli da ostvarimo bila bi ukoliko bismo konstituisali javnu sferu.“

Vida Knežević je izrazila svoje slaganje sa Anom Vujanović i dodala kako bi u ovom trenutku bilo najlakše okrenuti se ilegalnim metodama, ali da je mnogo veći i važniji ulog pokušaj  „bušenja zida u otvaranju javnog prostora“ . Primetila je da nezavisna scena u toj akciji odlazi jedan korak napred, pa dva nazad i zapitala se zbog čega je to tako. „Sistemu najviše ide na ruku ukoliko otvaramo marginalizovane ptrostore i prakse. To su stvari kojima oni ne moraju da se bave, a odgovaraju im jer pospešuju protok kapitala, u smislu produkcije sadržaja, realizacije programa i drugog.“

Vladimir Jerić potom je postavio pitanje o institucijama, nakon što je okupljenima pročitao jednu od definicija ovog pojma. Prema toj definiciji, istitucija je društvena alatka koja služi redukciji izbora. „Što efektnije se izbori redukuju, to bolje svoje resurse možemo da lociramo na onih nekoliko izbora koje treba da napravimo. Sve velike odluke koje karakterišu instituciju su unapred donešene. Ako bi taj front bio institucija, šta mislite koje su odluke i principi koji bi bili neupitni? Šta je to što taj front čini čvrstim?“

Na pitanje je odgovorila Ana Vujanović izrazivši svoju skeptičnost prema tome da je nužno institucionalizovati sve što se radi.  „Institucionalizacija je zamka, a front može da bude fleskibilan, da se izbori za javno dobrio i da to bude njegov jedini cilj.“

Tom Medak kazao je da je za izgradnju fronta bitno definisati poziciju anagonizma, i zahtev koji nije marginalizovan i zanemarljiv.

Diskusija je trajala još trideset minuta a u nju su se sa svojim zapažanjima uključili Marina Gržinić, Nebojša Milekić i Dubravka Sekulić.
Sharp thougts je format javne debate, side effects
osimšljen tako da razjasni značenje pojmova oko kojih postoje dileme. Diskusiju vodi dvoje učesnika, s unapred pripremljenim, jasnim i preciznim tezama. Pošto ih iznesu u tri kruga izlaganja, učesnici pozivaju i publiku, da se uključi sa svojim pitanjima. Debata traje oko 45 minuta. Ovaj format diskusije osmislila je Ana Vujanović, a na Raškolovanom znanju, isproban je u toku prve letnje škole na Ohridu.

Sharp thougts s pitanjem: Da li nezavisnoj sceni trebaju strategije ili taktike?, vodile su Marijana Cvetković i Jelena Vesić.

U prvoj replici, Marijana Cvetković dala je kratki uvod o razvoju onoga što danas označavamo kao nezavisnu scenu. Govorila je o međusobnom povezivanju alternativnih, umetničkih praksi na prostoru bivše Jugoslavije i antiratnim akcijama koje su ove grupe sprovodile tokom devedesetih godina, u kontekstu bujanja nacionalnih država i nacionalističkih sistema. Nakon toga, govorila je o tome kako su novoformirane nacionalne države iskusile prodor „turbo-kapitalizma“ i tako definisala uslove u kojim funkcionišu nezavisne kulturno-umetničke scene.

Kao prvu važnu strategiju ovih scena, prepoznala je odluku da se njihovi akteri udruže u različite vrste mreža, platformi, kolektiva i plenuma. Kao primere navela je Asocijaciju iz Ljubljane, mrežu Clubture, Nomad dance akademy, Nezavisnu kulturnu scenu Srbije i Drugu scenu, koja je nedavno reorganizovana u formu plenuma. Odluke o udruživanju, za Marijanu Cvetković biloe su strategija opredeljivanja za rad, znanje i udruživanje resursa. „Svim akterima bilo je jasno da ukoliko ostanu da svije umetničke prakse realizuju van konteksta kulturne politike, neće imati dovoljno mogućnosti da ih učine vidljivim“, navela je.

Kao drugu strategiju, izdvojila je strategiju javnog zagovaranja, nastalu iz potrebe da se promene prakse lobiranja, partokratskog i „burazersko-kumskog“ odlučivanja, odomaćene u našim društvima. Navela je da ova strategija predstavlja emancipatorski koncept, koji je potekao upravo sa nezavisne scene.

Kao treću strategiju izdvojila je strategiju samoobrazovanja, navodeći da ova stretgija istovremeno razvija znanje ali i problematizuje njegovu klasifikaciju jer utiče na prpcese vezane za tržište i kapital. Strategiju samoobrazovanja prepoznala je kao značajnu i zato što predstavlja kontrabalans čudnim, obrazovnim praksama koje su se uspostavile na umetničkim univerzitetima, a kako jednu od takvih navela je pojavu „doktoranata u oblasti umetnosti“, izrazivši svoju skeptičnost prema relevantnosti diploma stečenih u ovoj oblasti.

Jelena Vesić odgovorila joj je da kao strategiju prepoznaje delovanje aktera scene u pravcu kulturnih politika. Navela je da onaj ko proizvodi sadržaj (u ovom slučaju: kulturni ili umetnički) brine o okviru produkcije i trudi se da ga menja…. Definisala je kako se nezavisnost  scene odnosi pre svega na državni aparat i zaključila da u odnosu na „kumsko-burazersko“ odlučivanje koje se praktikuje u državnim institucijama kulture, nezavisna scena pokušava da svoje poslovanje postavi u transparentniji okvir.  Skrenula je pažnju na činjenicu da termini strategija i taktika, podrazumevaju set manevara i da je interesantno to što su preuzeti iz militarističkog rečnika.  Navela je da strategija podrazumeva akciju koja treba da traje, i da pred sebe postavi dugogodišnji cilj. Taktičkim delovanjem nazvala je delovanje u okolnostima koje su „ovde i sada“, ali je zatim postavila i svokje ključno pitanje: u odnosu na šta je nezavisna, scena koju označavamo kao nezavisnu? „Sam termin nezavisnost pledira na neku vrstu automije, ali ako smo definisali da ga nezavisna scena ima u odnosu na državni aparat, pitanje je koji aparat kulture određuje naše mišljenje? Da li je on državni ili super –državni aparat?“, pitala je i zatim pojasnila, „Konkretno: da li je to aparat Evropske unije?“ … Nakon što je postavila ovo pitanje, Jelena Vesić iznela je tezu da nezavisna scena čak ni politički nije nezavisna od tog super-državnog aparata. Navela je da EU želi sektor dinamičnih radnika i radnica u kulturi, jer su ekonomični i sposbni da smanje troškove rada masovnih i glomaznih kulturnih institucija. „Dok otvaramo put u smeru nezavisnosti, zapravo srljamo u ralje zavisnosti“, kazala je.

Marijana Cvetković je nezavisnost scene, pokušala da definiše kao želju da se bude nezavisan, a ovu želju objasnila je zamajcem koji akteri ove scene dobijaju iz umetnosti i kulture. Baveći se različitim i autorskim estetikama i praksama, radnici u kulturi imaju potrebu da budu prepoznati kao nezavisni.

To je specifičnost kulture, kao sektora u kom rade. „Kultura“, kazala je Cvetković, „Nikada ne može biti servis za sprovođenje odluka Evropske unije“. Navela je organizacije koje rade u oblasti zaštite ljudskih prava ili životne sredine i uporedila ih sa NVO organizacijama koje se bave umetnošću i kulturom, pa je izvela tezu o tome da se nezavisnost umetničke scene mogo pre odnosi na umetničku želju da se bude nezavisan, nego na faktičku nezavisnost od fondova ili tržišta.

Jelena Vesić je preformulisala ovu tezu, kazavši da je nezavisnost zapravo cilj ove scene, ali je još jednom naglasila svoje pitanje o tome u odnosu na šta se ona uspostavlja. „Upadamo u spekulativnu strukturu koja je država umetnosti, i to država birokratizovana do krajnje mere“, zaključila je. Zapitala se da li su NVO samo nova vrsta institucija.

U Sharp thoughts diskusiju, zatim se uključila i publika a razgovor se dalje vodio u pravcu termninoloških razlika između strategije i taktike, kao i oko adekvatnog prevoda za engleski termin advocacy (javno zagovaranje).
Sharp thougts je format javne debate, malady
osimšljen tako da razjasni značenje pojmova oko kojih postoje dileme. Diskusiju vodi dvoje učesnika, healing s unapred pripremljenim, jasnim i preciznim tezama. Pošto ih iznesu u tri kruga izlaganja, učesnici pozivaju i publiku, da se uključi sa svojim pitanjima. Debata traje oko 45 minuta. Ovaj format diskusije osmislila je Ana Vujanović, a na Raškolovanom znanju, isproban je u toku prve letnje škole na Ohridu.

Sharp thougts s pitanjem: Da li nezavisnoj sceni trebaju strategije ili taktike?, vodile su Marijana Cvetković i Jelena Vesić.

U prvoj replici, Marijana Cvetković dala je kratki uvod o razvoju onoga što danas označavamo kao nezavisnu scenu. Govorila je o međusobnom povezivanju alternativnih, umetničkih praksi na prostoru bivše Jugoslavije i antiratnim akcijama koje su ove grupe sprovodile tokom devedesetih godina, u kontekstu bujanja nacionalnih država i nacionalističkih sistema. Nakon toga, govorila je o tome kako su novoformirane nacionalne države iskusile prodor „turbo-kapitalizma“ i tako definisala uslove u kojim funkcionišu nezavisne kulturno-umetničke scene.

Kao prvu važnu strategiju ovih scena, prepoznala je odluku da se njihovi akteri udruže u različite vrste mreža, platformi, kolektiva i plenuma. Kao primere navela je Asocijaciju iz Ljubljane, mrežu Clubture, Nomad dance akademy, Nezavisnu kulturnu scenu Srbije i Drugu scenu, koja je nedavno reorganizovana u formu plenuma. Odluke o udruživanju, za Marijanu Cvetković biloe su strategija opredeljivanja za rad, znanje i udruživanje resursa. „Svim akterima bilo je jasno da ukoliko ostanu da svije umetničke prakse realizuju van konteksta kulturne politike, neće imati dovoljno mogućnosti da ih učine vidljivim“, navela je.

Kao drugu strategiju, izdvojila je strategiju javnog zagovaranja, nastalu iz potrebe da se promene prakse lobiranja, partokratskog i „burazersko-kumskog“ odlučivanja, odomaćene u našim društvima. Navela je da ova strategija predstavlja emancipatorski koncept, koji je potekao upravo sa nezavisne scene.

Kao treću strategiju izdvojila je strategiju samoobrazovanja, navodeći da ova stretgija istovremeno razvija znanje ali i problematizuje njegovu klasifikaciju jer utiče na prpcese vezane za tržište i kapital. Strategiju samoobrazovanja prepoznala je kao značajnu i zato što predstavlja kontrabalans čudnim, obrazovnim praksama koje su se uspostavile na umetničkim univerzitetima, a kako jednu od takvih navela je pojavu „doktoranata u oblasti umetnosti“, izrazivši svoju skeptičnost prema relevantnosti diploma stečenih u ovoj oblasti.

Jelena Vesić odgovorila joj je da kao strategiju prepoznaje delovanje aktera scene u pravcu kulturnih politika. Navela je da onaj ko proizvodi sadržaj (u ovom slučaju: kulturni ili umetnički) brine o okviru produkcije i trudi se da ga menja…. Definisala je kako se nezavisnost  scene odnosi pre svega na državni aparat i zaključila da u odnosu na „kumsko-burazersko“ odlučivanje koje se praktikuje u državnim institucijama kulture, nezavisna scena pokušava da svoje poslovanje postavi u transparentniji okvir.  Skrenula je pažnju na činjenicu da termini strategija i taktika, podrazumevaju set manevara i da je interesantno to što su preuzeti iz militarističkog rečnika.  Navela je da strategija podrazumeva akciju koja treba da traje, i da pred sebe postavi dugogodišnji cilj. Taktičkim delovanjem nazvala je delovanje u okolnostima koje su „ovde i sada“, ali je zatim postavila i svokje ključno pitanje: u odnosu na šta je nezavisna, scena koju označavamo kao nezavisnu? „Sam termin nezavisnost pledira na neku vrstu automije, ali ako smo definisali da ga nezavisna scena ima u odnosu na državni aparat, pitanje je koji aparat kulture određuje naše mišljenje? Da li je on državni ili super –državni aparat?“, pitala je i zatim pojasnila, „Konkretno: da li je to aparat Evropske unije?“ … Nakon što je postavila ovo pitanje, Jelena Vesić iznela je tezu da nezavisna scena čak ni politički nije nezavisna od tog super-državnog aparata. Navela je da EU želi sektor dinamičnih radnika i radnica u kulturi, jer su ekonomični i sposbni da smanje troškove rada masovnih i glomaznih kulturnih institucija. „Dok otvaramo put u smeru nezavisnosti, zapravo srljamo u ralje zavisnosti“, kazala je.

Marijana Cvetković je nezavisnost scene, pokušala da definiše kao želju da se bude nezavisan, a ovu želju objasnila je zamajcem koji akteri ove scene dobijaju iz umetnosti i kulture. Baveći se različitim i autorskim estetikama i praksama, radnici u kulturi imaju potrebu da budu prepoznati kao nezavisni.

To je specifičnost kulture, kao sektora u kom rade. „Kultura“, kazala je Cvetković, „Nikada ne može biti servis za sprovođenje odluka Evropske unije“. Navela je organizacije koje rade u oblasti zaštite ljudskih prava ili životne sredine i uporedila ih sa NVO organizacijama koje se bave umetnošću i kulturom, pa je izvela tezu o tome da se nezavisnost umetničke scene mogo pre odnosi na umetničku želju da se bude nezavisan, nego na faktičku nezavisnost od fondova ili tržišta.

Jelena Vesić je preformulisala ovu tezu, kazavši da je nezavisnost zapravo cilj ove scene, ali je još jednom naglasila svoje pitanje o tome u odnosu na šta se ona uspostavlja. „Upadamo u spekulativnu strukturu koja je država umetnosti, i to država birokratizovana do krajnje mere“, zaključila je. Zapitala se da li su NVO samo nova vrsta institucija.

U Sharp thoughts diskusiju, zatim se uključila i publika a razgovor se dalje vodio u pravcu termninoloških razlika između strategije i taktike, kao i oko adekvatnog prevoda za engleski termin advocacy (javno zagovaranje).

The second day of the regional meeting of the independent scene’s participants, grip
in the period between 1pm-3pm, visit web
was dedicated to presentations of the final works of the working groups that functioned during the first two years of the project.

Terms group presented two works: “Ant-jargon – An Emerging Edition”, viagra buy
through “Open Pressroom” installation, and a DVD edition “Video Glossary of the XX c. Art and Theory”, made by Miško Šuvaković.

Open Pressroom, set up in a corner of Cultural Centre “Magacin”, consisted of a printer, a computer, perforators, a ball of thread, a ball of twine, and a shelf with texts from the publication, printed on coloured paper. All the participants were invited to make a selection of texts, rearrange, stitch and bind them according to their preferences.

The texts and the process of editing, printing and binding were more thoroughly presented by the members of the Terms group: Bojan Đorđev and Elena Veljanovska

The other group members demonstrated the stitching and binding. Bojan Đorđev made sure to draw everyone’s attention to the design of this edition, and to the fact that the design of “Anti-jargon” was the starting point for the design of “Deschooling Classroom Toolbook”.

The shelf was soon surrounded by people, and the designer Katarina Popović, Ljiljana Tasić, Anđela Ćirović, and Milena Bogavac, helped everyone interested in making a bind of texts made through a collective writing process , which was the key part of the self-educational process of the Terms group. Bojan Đorđev also invited the audience to donate their own texts to the Anti-jargon edition, reminding them that all the texts they would like to read or print can be found at the group’s website.

Another activity the group undertook in the course of its work was watching “Video Glossary of the XX c. Art and Theory”, made for Art TV by professor Miško Šuvakovic. The episodes were taken as starting points for group discussions, so the Terms group members, having finished the official project work, decided to continue broadcasting the programme, which they think is a relevant study material for everyone involved in cultural research.

The group members have managed to obtain funding from the Ministry of Culture and thus publish the programme on three DVDs.  Anđela Ćirović spoke more about the project, while Katarina Popović and Bojan Đorđev explained that the programme, which used to belong to Art TV, now belongs to the people. Đorđev promised to make all the episodes available online shortly.

The working group The Cultural Policies of Independent Scenes presented its work “Terminology Map”. Marijana Cvetković and Biljana Dimitrova spoke in front of the group, explaining that the map was created during their cooperation with Re-hallucinating context from Paris.

In the course of their cooperation, the members of The Cultural Policies of Independent Scenes” group members discovered that their group and the group from Paris use the same terminology although the terms, in the two contexts, represent different notions. As an illustration, they explained that the term “independent scene” means something completely different in France from what it represents in the x-Yugoslav context. In France, alternative artistic scene is institutionalised, which made this just one of many differences they have discovered and tried to articulate during their process of self-education.

Cvetković and Dimitrova explained the group’s working process in great details. They talked about their initial ambitions, but also about the part of the plans they managed to see through during last year. A large format of Terminology Map was displayed on one of the “Magacin’s” walls, while everyone interested in having a copy could buy it in a small format which was being sold on the premises.

Marko Đorđević was speaking on behalf of the group “Art and/as politics”. Their work “All the World Is Readymade”. All the Politics is Artificial” is, actually, a collage made from various texts and painted materials, which they have explored, collected, read and discussed during their working process. The unique collage was additionally explained by the subtitle “Notes, Thoughts, Clips, and Tips”, published in the latest issue of the TkH journal, and dedicated to the political aspects of performance. Talking about the group’s collective, self-educational process, ĐorĐevic particularly emphasized the fact that the members of Art and/as Politics are of different formal education, in art history, in theatre, in literature, which had a considerable effect on the group’s working dynamics.

The last work presented in this segment of the regional meeting was “Deschooling Video Classroom”, a video installation realised by the Deschooling Classroom members and Marta Popivoda as the project co-author, within the 22nd Belgrade October Salon.

Marta Popivoda explained that Walking Theory was invited to exhibit a work which would represent a critical view of the exhibition. Her idea was to conduct a series of interviews with the participants at October Salon, but also with the participants of independent scene in Serbia, and to present them at the exhibition in the form of an installation. The project “Deschooling Video Classroom” was open for all the interested participants of Deschooling Classroom, regardless of their working group. Marta Popivoda gave the details about the work and named all the collaborators. After that, she invited everyone to join her in, what is known as Illegal Cinema, where the interview with Rosa Barba, a part of DeschOoling Video Classroom, was screened.

All the presented final works can be found online on this blog, as well as on the working groups’ websites.

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BLOG RESSUME of the discussion THEORY – ART PRACTICE – ACTIVISM, HOW TO MAKE A UNITED CULTURAL FRONT

Sharp thougts je format javne debate, ailment
osimšljen tako da razjasni značenje pojmova oko kojih postoje dileme. Diskusiju vodi dvoje učesnika, s unapred pripremljenim, jasnim i preciznim tezama. Pošto ih iznesu u tri kruga izlaganja, učesnici pozivaju i publiku, da se uključi sa svojim pitanjima. Debata traje oko 45 minuta. Ovaj format diskusije osmislila je Ana Vujanović, a na Raškolovanom znanju, isproban je u toku prve letnje škole na Ohridu.

Sharp thougts s pitanjem: Da li nezavisnoj sceni trebaju strategije ili taktike?, vodile su Marijana Cvetković i Jelena Vesić.

U prvoj replici, Marijana Cvetković dala je kratki uvod o razvoju onoga što danas označavamo kao nezavisnu scenu. Govorila je o međusobnom povezivanju alternativnih, umetničkih praksi na prostoru bivše Jugoslavije i antiratnim akcijama koje su ove grupe sprovodile tokom devedesetih godina, u kontekstu bujanja nacionalnih država i nacionalističkih sistema. Nakon toga, govorila je o tome kako su novoformirane nacionalne države iskusile prodor „turbo-kapitalizma“ i tako definisala uslove u kojim funkcionišu nezavisne kulturno-umetničke scene.

Kao prvu važnu strategiju ovih scena, prepoznala je odluku da se njihovi akteri udruže u različite vrste mreža, platformi, kolektiva i plenuma. Kao primere navela je Asocijaciju iz Ljubljane, mrežu Clubture, Nomad dance akademy, Nezavisnu kulturnu scenu Srbije i Drugu scenu, koja je nedavno reorganizovana u formu plenuma. Odluke o udruživanju, za Marijanu Cvetković biloe su strategija opredeljivanja za rad, znanje i udruživanje resursa. „Svim akterima bilo je jasno da ukoliko ostanu da svije umetničke prakse realizuju van konteksta kulturne politike, neće imati dovoljno mogućnosti da ih učine vidljivim“, navela je.

Kao drugu strategiju, izdvojila je strategiju javnog zagovaranja, nastalu iz potrebe da se promene prakse lobiranja, partokratskog i „burazersko-kumskog“ odlučivanja, odomaćene u našim društvima. Navela je da ova strategija predstavlja emancipatorski koncept, koji je potekao upravo sa nezavisne scene.

Kao treću strategiju izdvojila je strategiju samoobrazovanja, navodeći da ova stretgija istovremeno razvija znanje ali i problematizuje njegovu klasifikaciju jer utiče na prpcese vezane za tržište i kapital. Strategiju samoobrazovanja prepoznala je kao značajnu i zato što predstavlja kontrabalans čudnim, obrazovnim praksama koje su se uspostavile na umetničkim univerzitetima, a kako jednu od takvih navela je pojavu „doktoranata u oblasti umetnosti“, izrazivši svoju skeptičnost prema relevantnosti diploma stečenih u ovoj oblasti.

Jelena Vesić odgovorila joj je da kao strategiju prepoznaje delovanje aktera scene u pravcu kulturnih politika. Navela je da onaj ko proizvodi sadržaj (u ovom slučaju: kulturni ili umetnički) brine o okviru produkcije i trudi se da ga menja…. Definisala je kako se nezavisnost  scene odnosi pre svega na državni aparat i zaključila da u odnosu na „kumsko-burazersko“ odlučivanje koje se praktikuje u državnim institucijama kulture, nezavisna scena pokušava da svoje poslovanje postavi u transparentniji okvir.  Skrenula je pažnju na činjenicu da termini strategija i taktika, podrazumevaju set manevara i da je interesantno to što su preuzeti iz militarističkog rečnika.  Navela je da strategija podrazumeva akciju koja treba da traje, i da pred sebe postavi dugogodišnji cilj. Taktičkim delovanjem nazvala je delovanje u okolnostima koje su „ovde i sada“, ali je zatim postavila i svokje ključno pitanje: u odnosu na šta je nezavisna, scena koju označavamo kao nezavisnu? „Sam termin nezavisnost pledira na neku vrstu automije, ali ako smo definisali da ga nezavisna scena ima u odnosu na državni aparat, pitanje je koji aparat kulture određuje naše mišljenje? Da li je on državni ili super –državni aparat?“, pitala je i zatim pojasnila, „Konkretno: da li je to aparat Evropske unije?“ … Nakon što je postavila ovo pitanje, Jelena Vesić iznela je tezu da nezavisna scena čak ni politički nije nezavisna od tog super-državnog aparata. Navela je da EU želi sektor dinamičnih radnika i radnica u kulturi, jer su ekonomični i sposbni da smanje troškove rada masovnih i glomaznih kulturnih institucija. „Dok otvaramo put u smeru nezavisnosti, zapravo srljamo u ralje zavisnosti“, kazala je.

Marijana Cvetković je nezavisnost scene, pokušala da definiše kao želju da se bude nezavisan, a ovu želju objasnila je zamajcem koji akteri ove scene dobijaju iz umetnosti i kulture. Baveći se različitim i autorskim estetikama i praksama, radnici u kulturi imaju potrebu da budu prepoznati kao nezavisni.

To je specifičnost kulture, kao sektora u kom rade. „Kultura“, kazala je Cvetković, „Nikada ne može biti servis za sprovođenje odluka Evropske unije“. Navela je organizacije koje rade u oblasti zaštite ljudskih prava ili životne sredine i uporedila ih sa NVO organizacijama koje se bave umetnošću i kulturom, pa je izvela tezu o tome da se nezavisnost umetničke scene mogo pre odnosi na umetničku želju da se bude nezavisan, nego na faktičku nezavisnost od fondova ili tržišta.

Jelena Vesić je preformulisala ovu tezu, kazavši da je nezavisnost zapravo cilj ove scene, ali je još jednom naglasila svoje pitanje o tome u odnosu na šta se ona uspostavlja. „Upadamo u spekulativnu strukturu koja je država umetnosti, i to država birokratizovana do krajnje mere“, zaključila je. Zapitala se da li su NVO samo nova vrsta institucija.

U Sharp thoughts diskusiju, zatim se uključila i publika a razgovor se dalje vodio u pravcu termninoloških razlika između strategije i taktike, kao i oko adekvatnog prevoda za engleski termin advocacy (javno zagovaranje).
Sharp thougts je format javne debate, more about
osimšljen tako da razjasni značenje pojmova oko kojih postoje dileme. Diskusiju vodi dvoje učesnika, this site
s unapred pripremljenim, jasnim i preciznim tezama. Pošto ih iznesu u tri kruga izlaganja, učesnici pozivaju i publiku, da se uključi sa svojim pitanjima. Debata traje oko 45 minuta. Ovaj format diskusije osmislila je Ana Vujanović, a na Raškolovanom znanju, isproban je u toku prve letnje škole na Ohridu.

Sharp thougts s pitanjem: Da li nezavisnoj sceni trebaju strategije ili taktike?, vodile su Marijana Cvetković i Jelena Vesić.

U prvoj replici, Marijana Cvetković dala je kratki uvod o razvoju onoga što danas označavamo kao nezavisnu scenu. Govorila je o međusobnom povezivanju alternativnih, umetničkih praksi na prostoru bivše Jugoslavije i antiratnim akcijama koje su ove grupe sprovodile tokom devedesetih godina, u kontekstu bujanja nacionalnih država i nacionalističkih sistema. Nakon toga, govorila je o tome kako su novoformirane nacionalne države iskusile prodor „turbo-kapitalizma“ i tako definisala uslove u kojim funkcionišu nezavisne kulturno-umetničke scene.

Kao prvu važnu strategiju ovih scena, prepoznala je odluku da se njihovi akteri udruže u različite vrste mreža, platformi, kolektiva i plenuma. Kao primere navela je Asocijaciju iz Ljubljane, mrežu Clubture, Nomad dance akademy, Nezavisnu kulturnu scenu Srbije i Drugu scenu, koja je nedavno reorganizovana u formu plenuma. Odluke o udruživanju, za Marijanu Cvetković biloe su strategija opredeljivanja za rad, znanje i udruživanje resursa. „Svim akterima bilo je jasno da ukoliko ostanu da svije umetničke prakse realizuju van konteksta kulturne politike, neće imati dovoljno mogućnosti da ih učine vidljivim“, navela je.

Kao drugu strategiju, izdvojila je strategiju javnog zagovaranja, nastalu iz potrebe da se promene prakse lobiranja, partokratskog i „burazersko-kumskog“ odlučivanja, odomaćene u našim društvima. Navela je da ova strategija predstavlja emancipatorski koncept, koji je potekao upravo sa nezavisne scene.

Kao treću strategiju izdvojila je strategiju samoobrazovanja, navodeći da ova stretgija istovremeno razvija znanje ali i problematizuje njegovu klasifikaciju jer utiče na prpcese vezane za tržište i kapital. Strategiju samoobrazovanja prepoznala je kao značajnu i zato što predstavlja kontrabalans čudnim, obrazovnim praksama koje su se uspostavile na umetničkim univerzitetima, a kako jednu od takvih navela je pojavu „doktoranata u oblasti umetnosti“, izrazivši svoju skeptičnost prema relevantnosti diploma stečenih u ovoj oblasti.

Jelena Vesić odgovorila joj je da kao strategiju prepoznaje delovanje aktera scene u pravcu kulturnih politika. Navela je da onaj ko proizvodi sadržaj (u ovom slučaju: kulturni ili umetnički) brine o okviru produkcije i trudi se da ga menja…. Definisala je kako se nezavisnost  scene odnosi pre svega na državni aparat i zaključila da u odnosu na „kumsko-burazersko“ odlučivanje koje se praktikuje u državnim institucijama kulture, nezavisna scena pokušava da svoje poslovanje postavi u transparentniji okvir.  Skrenula je pažnju na činjenicu da termini strategija i taktika, podrazumevaju set manevara i da je interesantno to što su preuzeti iz militarističkog rečnika.  Navela je da strategija podrazumeva akciju koja treba da traje, i da pred sebe postavi dugogodišnji cilj. Taktičkim delovanjem nazvala je delovanje u okolnostima koje su „ovde i sada“, ali je zatim postavila i svokje ključno pitanje: u odnosu na šta je nezavisna, scena koju označavamo kao nezavisnu? „Sam termin nezavisnost pledira na neku vrstu automije, ali ako smo definisali da ga nezavisna scena ima u odnosu na državni aparat, pitanje je koji aparat kulture određuje naše mišljenje? Da li je on državni ili super –državni aparat?“, pitala je i zatim pojasnila, „Konkretno: da li je to aparat Evropske unije?“ … Nakon što je postavila ovo pitanje, Jelena Vesić iznela je tezu da nezavisna scena čak ni politički nije nezavisna od tog super-državnog aparata. Navela je da EU želi sektor dinamičnih radnika i radnica u kulturi, jer su ekonomični i sposbni da smanje troškove rada masovnih i glomaznih kulturnih institucija. „Dok otvaramo put u smeru nezavisnosti, zapravo srljamo u ralje zavisnosti“, kazala je.

Marijana Cvetković je nezavisnost scene, pokušala da definiše kao želju da se bude nezavisan, a ovu želju objasnila je zamajcem koji akteri ove scene dobijaju iz umetnosti i kulture. Baveći se različitim i autorskim estetikama i praksama, radnici u kulturi imaju potrebu da budu prepoznati kao nezavisni.

To je specifičnost kulture, kao sektora u kom rade. „Kultura“, kazala je Cvetković, „Nikada ne može biti servis za sprovođenje odluka Evropske unije“. Navela je organizacije koje rade u oblasti zaštite ljudskih prava ili životne sredine i uporedila ih sa NVO organizacijama koje se bave umetnošću i kulturom, pa je izvela tezu o tome da se nezavisnost umetničke scene mogo pre odnosi na umetničku želju da se bude nezavisan, nego na faktičku nezavisnost od fondova ili tržišta.

Jelena Vesić je preformulisala ovu tezu, kazavši da je nezavisnost zapravo cilj ove scene, ali je još jednom naglasila svoje pitanje o tome u odnosu na šta se ona uspostavlja. „Upadamo u spekulativnu strukturu koja je država umetnosti, i to država birokratizovana do krajnje mere“, zaključila je. Zapitala se da li su NVO samo nova vrsta institucija.

U Sharp thoughts diskusiju, zatim se uključila i publika a razgovor se dalje vodio u pravcu termninoloških razlika između strategije i taktike, kao i oko adekvatnog prevoda za engleski termin advocacy (javno zagovaranje).

The Cultural Centre “Magacin”, pilule 4 Kraljevića Marka St.
Thursday, 1st March, 2012, 19h

Participants: Ana Vujanović and Iskra Gešoska


The regional meeting of the participants in the independent cultural and artistic scenes, organized as a closing segment of the three-year project Deschooling Classroom, will be opened with the presentation of the book “Deschooling Classroom Toolbook”.
The trilingual publication (in Serbian, Macedonian, and English), has been edited with combined efforts of the projects working team members, and the texts it contains not only summarize the process of the collective self-education, which was the focus of this project, but determine the place that Deschooling Classroom has within a wider perspective of the independent cultural scenes in the ex-Yu region.

One of the co-authors, Ana Vujanović, in the introductory notes, states that one of the main issues of the book is the one which concerns the socially political values of the contemporary cultural and artistic scenes in the region. The topic is addressed by numerous authors who have taken part in the project as the members of several self-organized groups, but also as lecturers and associates. The book also contains the texts which present the summarized facts of this multifaceted project which has gathered seventy participants and thirty associates from the entire region, and within which more than twenty public and semi-public events have been organized, in the form of workshops, laboratories, presentations, summer schools and study tours.

The book will be presented by Ana Vujanović and Iskra Gešoska, the co-authors of the project, and all the participants of the regional meeting are invited to enter the discussion and share their opinions on the issues it raises.
The regional meeting of the participants of cultural and artistic scenes, treat
organized as the closing segment of the Deschooling Classroom project, began after Jelena Knežević, the project manager and the producer, had addressed the guests and the participants. She welcomed everybody and presented all the members of the Deschooling Classroom working team.

She also announced the first programme: the presentation of the book “Deschooling Classroom Toolbook”, which was then introduced by the co-authors and editors: Iskra Gešoska, Ana Vujanović and Marta Popivoda. At this point, the audience had already taken the “Deschooling Classroom Toolbook”, and expressed their admiration for its conceptual design, made by Katarina Popović.  

Iskra Gešoska was the first to address the audience, saying that she had mixed feeling at the end of the three year project: „Deschooling Classroom closes, leaving many questions open. We were aware, from the very beginning, that we entered a laboratory project which explored the very bodies that assume the role of taking a critical stand towards context. However, the most complicated, the most exciting and the most excruciating point of the project, was the work distribution between the organizing team and the participants. The project was essentially based on non-hierarchical models and collaboration, but our memory is framed by hierarchical models. During the work, we kept facing the questions: what are the borders within the non-hierarchical, what are the limits of mentorship, who expects what from whom? There was discrepancy between the editorial team and the participants. We seemed to be expected to take a hierarchical position, which, in a way, was interesting. That gave birth to our most valuable lesson. For me, that was the conclusion of how much our consciousness is predetermined by hierarchical structures.”

Before she presented the content of the “Deschooling Classroom Toolbook”, Ana Vujanović acquainted the audience with the history of the project. She stated that it was initialized by the long-lasting TkH (Walking Theory) work. She reminded the listeners of the platform creation and the end of the nineties when she and several of her colleagues had gathered in an attempt to compensate for the shortcomings of the educational system. On one hand, it concerned the lack of information about contemporary art and culture, while on the other, they felt incapable of critical thinking. Walking Theory has, since then, organized numerous self-educational processes, but Deschooling Classroom was the first one with a budget, and the first one that was not organized by TkH members for themselves only.

“This was a project organized by the independent scene participants, for the independent scene participants. We accepted to work for others. Therefore, we asked ourselves if we wanted to work in the first place, and what does ‘not wanting anything in return’ actually mean. We did not want anything in return, but we did want to get an effect. We wanted to make an intervention in context”, she said.

Speaking about the book “Deschooling Classroom Toolbook”, Ana Vujanović pointed out that making methodology of self-education is not possible, as it always searches for models alternative to institutional methodology. “Therefore, this toolbook is permeated by self-reflection, with just an occasional naming of methods which could be useful to someone who would start a similar project in the region. In my opinion, the book lacks a slightly better articulation of the problem we were facing. The reason for that, I assume, is that the contributors were aware of the complexity of the organizational structure we had to deal with, so they did not want to criticize us.”

Ana Vujanović and Iskra Gešoska explained that the texts in the Toolbook could be divided into three categories. The first one consists of the texts which address the fact surrounding the project, the second one of the texts which reflect and self-reflect the process, while the third group of the texts are those written by Bojana Cvejić, Miško Šuvaković, Gerald Rowning and Aldo Milohnić, who also participated in the project and who were invited by Vujanović and Gešoska to write texts that would give an insight onto a wider reflection of the concepts that Deschooling Classroom is dealing with.

The concepts are: collectivism, collaboration, self-organization, and self-education.

Iskra Gešoska emphasized that, besides the book, a part of Deschooling Classroom’s toolbox is also the film Cultural Worker 3 in 1, directed by Marta Popivoda, which will be presented to the participants in the course of this regional meeting.

Marta Popivoda explained that the film is not a documentary which explains the Deschooling Classroom project. “My intention was not to become the project’s service, but to use the project as a framework for a film which touches upon my personal self-educative process. That is the film which involved people who participated in Deschooling Classroom. It does not present the independent scene; it was made from my personal point of view, or from the TkH point of view. In the film, nine characters express their attitudes on how the process of NGO-isation of culture has influenced their work. All the people were associates, participants in the project.”

After that, Ana Vujanović invited Milena Bogavac, who entered the discussion sharing her own impressions about the project Deschooling Classroom. As she was initially a participant and a coordinator, she pointed out that she witnessed a shift of perspective in her own view of the project. She also stated that she writes about the process of collective self-education which she went through within the Terms group and as a coordinator, in a text published in “Deschooling Classroom Toolbook”.

After a few questions and the answers, the participants decided to make a break before the next programme of the regional meeting.

The main partakers in the first discussion at the regional meeting of the participants of the independent cultural and art scenes were the university professors: Miško Šuvaković, ailment
Marina Gržinić, more about
Milena Dragićević Šešić i Jasna Koteska. The moderator of the discussion, Ana Vujanović, stated at the very beginning that her choice of the participants had been based on their specific sensibility or their susceptibility for the issues connected to the independent scene.

As all the participants have also taken part in the Deschooling Classroom project, the moderator added that she had a feeling that all the lecturers would be willing to introduce a self-educational initiative in the work framed by the institutions in which they work. Therefore, she opened the discussion by posing a question: what would be the role of a self-organized, self-educational initiative within a large university: “Would our presence at university be perceived as a kind of intervention, or would we be assimilated?”, she asked.

Professor Miško Šuvaković was the first one who spoke, stating at the very beginning that he observed the Deschooling Classroom project with avid interest, sometimes from nearby, sometimes from afar, and not always with positive impressions. He referred to the discussion held at the previous programme, during the presentation of the book “Deschooling Classroom Toolbook”. He singled out two theses from that discussion, comparing them to “two beautiful stitches”. The first one was the theses on the chronology of independent scene and the differences between the end of the nineties and its “nth wave”, represented by the contemporary active artists and organizations. The second theses he addressed, was the statement made by Marta Popivoda, which in Miško Šuvaković’s opinion would be “an excellent text or a book title”. The title would be: “Education is a high-risk issue”.

He said that the question of the risk is always twofold, sometimes even threefold, given the fact that learning is a process which final outcome is not easily predicted.  … Speaking about the nineties of the last century, Miško Šuvaković remembered an article he had read at the time in a neoliberal American magazine. The article dealt with the university of the future, which would be a central hierarchical structure with a network of agencies. “In order to survive, University has to be surrounded by a network of independent groups active in various interests and professional spans. That would imply a hybrid structure and if we speak of university or alternative schooling, I think those two must be interdependent. Any kind of a serious educational venture is in its base self-educative, and what university education lacks is self- organizing. And that is an important factor”, he said. In the rest of his exposé, he refused to project envisage a scheme for such a university, calling it an utopia in itself. “It is a dream of a better university”, he said, “but I am of opinion that a dream should be dreamed, eyes opened or closed.” … Comparing the contemporary context with the one in the nineties, the time when the article was published, Miško Šuvaković noticed that today, artists and cultural workers might be facing even more difficulties than then. He described the contemporary ex-Yugoslav, and especially Serbian, society as a breach between “neo-bourgeoisie, national restoration and neoliberal capitalist apocalypse.” … The formulation was greeted by an affirmative laughter in the audience.

In order to illustrate, he analysed the notion of mobility and the idea of the nomad-artist which, in his youth, seemed very attractive.

“Today”, he said, “the flexible model shows something that Brian Holmes misunderstood. According to that model, neoliberal market is offered a new product, a new identity, a new something, every minute… Actually, you offer goods, you become goods, and the very fact puts you in grave danger. If you reject neoliberal capitals, you automatically return to national-bourgeoisie revolution. Restoring a thing of the past… Which poses a question: what can be done? One of the answers is: nothing, but it puts you in a dismal place and frustration. On the other hand, if you do resist, you clash with the mafia, with the remnants of secret services, the remnants of Masonic lodges, with neoliberal capitalism which requires flexibility while, actually, trying to use your product. You become both corrupting and corruptible. What is possible is to develop critical fascinations and obsessions. What I have learned from the Deschooling Classroom project, is that those individual obsessions and fascinations can be organized and self-organized.”

In the course of his presentation, Miško Šuvaković kept mentioning the importance of collective learning, and the fact that when fifteen people study the same thing, they turn into a movement which should be articulated, and by articulating a context made by several people, a revolution can occur. Mentioning “revolution”, he stopped his presentation, asking Marina Gržinić to take over, wittily noticing that “revolution, after all, is her area of expertise”.

Marina Gržinić posed the question of the difference between “universe as educational boiler and self-organization, on the other hand”. She said that the relationship must exist and that she tried to explain it through the notion of geopolitics. “It is of vital importance”, she observed, “to make note of where we address the issue. Are we talking about Belgrade, ex-Yugoslavia, or about a neoliberal society? We have to try to discover a mechanism which separates and connects university and self-organisation, as to opposing poles.” She concluded that the question of content is of key importance: “What is this content which is a part of self-education? What is the idea, the concept and the aim of the thus produced knowledge? … That question is closely connected to geopolitics, as it actually refers to the points of antagonism, the topics, the segments of history, which are absent from the official education but are constantly articulated by the self-educational practices.”

Continuing, Gržinić said that university is facing a crisis nowadays and that the crisis is not of solely financial nature. “The very educational reform, which ended in Bologna, has led the system to the point in which knowledge has become turned into mere skills, into mechanisms which prepare students for labour market. Consequently, it has turned the students into a subject for anything.  They are programmed to always follow the market needs, while actually they not only know nothing, but also have no position which they would take and defend, they can adapt to anything. I would call the process highschoolisation: one can do everything, but doesn’t know anything, there is neither a position nor a place which connects us in terms of geopolitics; one performs in the name of a universal ideal, stripped off any kind of critical programme. The very fact that contemporary universities are so hierarchically determined and discriminative has put knowledge in the hands of self-education.”

Having explained the functioning of mechanisms which, at universities, estimates knowledge as lower than the control of work and hierarchy, she concluded: “Time is the matrix of global capitalism, but time is not what remains, for we always work somewhere. We work in a space, in ex-Yugoslavia.”

Having been invited to speak, Milena Dragićević-Šešić announced that she would tell a personal story at the beginning of her presentation. She spoke about the year 1993, about the war, the sanctions, the collapse of all the social values, which made her and her colleagues, university professors, wish to self-organize in order to study. She spoke about a self-organized group, which consisted of twenty university professors from various faculties, electronics, mathematics, humanities, etc., and about Professor Ljubiša Rajić, from the faculty of Philology, who initiated their self-educational process. “We were desperate”, she said, “an incapable of finding interlocutors. From the feeling of nausea, we formed the group in the middle of university, but among the practitioners to whom I belonged, a similar thing happened. That is how Justat was founded.” Having given a detailed description of Justat as an organization, she explained what happened when Justat was tried to be integrated in university. “We integrated in our curriculum all the best from the independent network followed by Justat, which is how the interdisciplinary study of stage design started. However, once it lost self-organization, it soon ceased to exist.


Our curriculums started being “censured by the laws of the market”, she said.“

She referred to marina Gržinić’s presentation and the thesis that contemporary universities are based on the work control principles. Milena Dragićević-Šešić wanted to remind the participants that the model which Gržinića had called neoliberal was, actually, constructed in Yugoslavia during the “strong left wing” reign. She reminded of the educational system which was applied in the mid-level schools, the so-called Šuvarice, and stated that the only difference lies in the fact that the universities of nowadays are turning towards the labour market, whereas Šuvarice were trying to meet “the needs of the society”.

Drawing on her experience and knowledge of how universities function, she concluded that it is not easy to set up a “self-organised sub-collective within a wider university skill”. In order to support this thesis statement, she mentioned legal processes in the way of obtaining accreditation, and the country which issues them only to the universities with predefined and precisely planned curricula. She explained that she has, during her career as a lecturer, tried to persuade students to make their personal study diary, in which they would make notes of their educational process on daily basis, and that it would not only reflect which part of the book they passed that day, but also what happened in their lives, what they read, heard, and experienced. However, even if there were any students interested in the idea, the professor Dragićević-Šešić was prevented by her colleagues to put it through. Their reason was that such a diary would require “additional time and energy” which could prevent the students from meeting other requirements defined by the formal university plans and curriculums.

“Learning through research”, she noticed, “was left to the students who were doing their PhD, and even then it was not a personal choice. What it actually meant, was to involve a new student-researcher into an institution-led research project.”

She continued by saying that in our country it is not possible to think about what is called “the validation of self-acquired knowledge”, which is common at some of the European universities. “The possibility for someone who has not attended a single course at university to submit a request, after which his or her knowledge would be verified, would be seen in our country as a legal way of purchasing a degree”, she said.

She spoke about ambition as a characteristic which is not highly deemed in our culture: “Self-organization requires something that is not popular among the left-wing supporters. That is a level of leadership for, someone has to stir the action. Ideally, the someone would be a student, not a professor or a teaching assistant, but someone has to do it. If not, mediocre people would remain in the leading positions, as they are the only ones brave enough to express their craving for leadership.”

Milena Dragićević-Šešić concluded her presentation by speaking about Deschooling Classroom in which she participated in the capacity of a lecturer and a consultant. “The closing segment of this project is neither the book, the film, nor the toolbox you have created. The only valuable product of Deschooling Classroom will be if all the participants, from now on, continue to initiate learning processes in their surroundings.”

The professor Jasna Koteska told us about the summer-school application for she has once received, concluding that she could not make out the real subject of any of the listed disciplines. The participation fee for the three days event was €750, so Koteska started by humorously mentioning all the things she would rather spend the money on, as all of those seemed more worth it than the skills named: bridging or remodelling or something equally abstract.

After this, she noticed that every university is constructed around false disciplinary partitions. “Self-education”, she said, “can tear down the false discourse, by structuring learning around notions. A notion can be butterfly, eye. A notion can be toilet, and all the notions can be tackled through a variety of disciplines.”… She also reminded the participants of a quotation of one of Sigmund Freud’s psychiatrists: “Theory is good but it doesn’t prevent things from being.” … The interesting quote was followed by laughter, while many of the participants noted it down.

Koteska, then, drew a parallel between knowledge and weapons.

“There isn’t a single movement which was created in the street”, she said. “Movements are made in classrooms before they go out in the streets.”

She mentioned numerous historical examples in support of the thesis and, after asking herself about the reason, she concluded that, regardless of the hierarchical structure, university framework offers more freedom to its students than they would have after they graduate and find the jobs in corporations and institutions.

She gave a detailed presentation about hierarchy, saying that it often contradicts logics and common sense, stating charming examples from her own university experience.

After her presentation, the discussion continued and the participants asked succinct and practical questions, but theoretical ones as well.

As it was initially stated, the working languages of the meeting are all the languages that all the participants can use and understand.

P.S.

The discussion finished informally, at the dinner in a restaurant which was especially chosen for the participants by the TkH organizational team. The atmosphere was cheerful, so here a few photos to illustrate it :)


Discussion “Theory – Art Practice – Activism”, mind
how to make a united cultural front?” was organized after the screening of the film “Cultural Worker 3 in 1”, and the participants were: Tomislav Medak, Vida Knežević, Marko Miletić, and Ana Vujanović, all of whom are also the main characters of the film. Therefore, Vladimir Jerić, the moderator, was inspired to open the discussion with a charming comment: “We will now talk with your favourite heroes from the film which has just been premiered and awarded with the Oscar of the independent scene.” After that, he took the regional meeting’s programme and read the full name of the discussion, noticing that one word in particular stands out. That is the word “front”, and Vladimir Jerić wondered about the choice of it. “In the beginning, we were individuals, interested in a range of things”, he said. “After that, we got actively involved in them, and we organized ourselves into groups, and into NGOs. The middle of the first decade of the XXI c. was known for networking, and our groups interweaved into various networks. However, we are now dealing with a whole new expression: front. I am interested in the actual meaning of it.”

Ana Vujanović, the author of the concept of the meeting, and the author of the title of the discussion, was the first to speak. She said that the reconstruction made by Vladimir Jerić is partly correct, but she added that networks also represent a kind of formal, functional associations. “I wouldn’t say that we go from networks towards front, but rather from platform towards front. I think that the term “front” relates to some kind of tactical connections with the entities with which we do not necessarily have everything in common. We recognize some kind of political interests, and we identify with them in an anthropological manner”, she said. She referred to the film “Cultural Worker 3 in 1” and she said that it shows this kind of association in the example of Zagreb scene. She said that there are similar tendencies in Belgrade, but that those have never been clearly and fully articulated. “I refer to Other scene, which was supposed to be a network, and then a platform, and now it’s a plenum.” We, the Belgrade scene, lack a kind of determination which would result in courage and decisiveness to make demands in a way which oversteps the dirty and corrupted context. For me, “front” means the step from reactive towards proactive approach. We are usually in the defensive, and these are times when we should agree about some minimal political consensus and become proactive.”

As Zagreb scene was touched upon, Vladimir Jerić called Tomislav Medak, as its participant, to speak. Before he started speaking, Medak informed the audience that he takes part in the discussion as an activist of the initiative “Right to the City”, instead of Teodor Čelakovski who was forced to renounce his participation due to medical reasons.

“In my opinion, creating a front is an aspect which puts culture in a wider social sphere. In the “Right to the City” initiative, the front was formed around the topic of social justice. Work or cooperation of the independent cultural scene participants was directed towards structural conditions. It was concerned with the social process of privatization of goods which could have belonged to the public as well. This showed a cohesion which proved that independent scene can enter the spheres that are not directly connected to its own existence. Cultural scene has, in the past several years, been trying to find alliances in some more related spheres, as for example the sector for issues related to young population, or sectors of science, of ecology, or among workers’ unions. The decision to take a step into the public came out of the problem concerning the lack of work spaces. Every organization needs a work space, which gave rise to alliance that tried to protect public goods, while workers from various fields of work supported each other in their struggle for space. This type of action is intrusion into someone else’s area of economic and political power which is why that struggle, from the point of view of the culture, is always something that always depends on alliances.”

Vladimir Jerić said that front always means heterogeneity. “In the event of war, everyone goes to front regardless of how they feel about it, as they are all threatened by the same enemy. Who was that enemy from the point of view of Zagreb?”

Tom Medak said that he would remain reserved towards the term “front”. “I do not think that the enemy was clearly defined. The positions of the participants were significantly different, the alliances were formed according to the tactical needs, not according to some common principles, and I am not sure that front necessarily there is a unity which front implies.” However, he agreed that there was a sort of cohesion within independent scene and that it was created because their actions were structural and not particularly interested in their particular selves. “It was a difficult thing to communicate”, he said. “When you approach the ones who make political decisions, and suggest them to give an abandoned factory to artists, they are instantly interested which organization you come from. As soon as you say that you do not need the space for your organization, but you want a development of cultural policy, there is an absolute break in communication.”

Vladimir Jerić asked the participants who on the other side of the front is, and concluded that independent scene is mostly in conflict with the state. “Independent scene inspects the state closely, and asks everything from it. The state is always guilty for all the problems independent scene has to face, which is why the state is always somehow equaled with the whole state, despite the fact that states have become apparatuses that in no way frame the society as a whole.”

After this comment, members of Kontekst kolektiv, Marko Miletić and Vida Knežević, entered the discussion.

Marko Miletić said: “The question of cultural front is what I, as a participant of independent scene, perceive as imprecise. Here where we act, organizations and networks haven’t even managed to communicate some basic questions of infrastructure or funds, so there is a question whether there is any point to create some front of cultural scene, or it would be better to enter a wider front with students, unions, and workers.

Vida Knežević added: “We act within Other scene, within the NKSS network, but we are trying, through our programmes, to make the field of activity accessible to other groups as well. We think that such experience gives us an insight into the question of problems of forming organizations within independent scene, which absolutely lacks solidarity necessary for creating a wider cultural front. Insufficiently deliberate attempt to self-reflect our common position, the position of precarious worker who acts in uncertain conditions, and a great divide between independent and public, state, institutionalized… The constant divide obscures the fact that everyone has the same problems, which is why it becomes impossible to create a strong, long, and united action.”

Asked to talk about their latest conflicts with institution, Vida Knežević and Marko Miletić explained that Kontekst kolektiv has spent the past six months using the premises of a local area government in Novi Belograd. They shared the space with another two organizations which see themselves as independent scene participants. Although they shared the space and the rights in it, the three organizations were not united when they were officially informed that they are losing their rights to that space. “The contract required from us to completely bureaucratize our position, to submit weekly and monthly reports about our work, and informed us that we can carry out our programmes only if allowed by the county government. If not, the programmes were to be postponed. The contract also stated that we are obliged to talk about the county only in a positive way, and that they have an absolute freedom to break the contract if and when it suits them”.

Explaining the situation, Vida Knežević added that they were invited to the county’s premises only to sign the contract, without the right to take it out of the office. Their demand to negotiate working conditions were rejected, and they were told that the other two organizations had already signed it.

Knežević and Miletić explained to the participants of the regional meeting that they would not sign the contract as they do not want to legitimize “the abnormal position demonstrated by the county which conducts censorship and auto-censorship in a most overt manner which is not even known within institutions”.  After a longer expose, Vida Knežević asked: “If our disunited positions are visible in such a narrow context, what “front” can we talk about?”

After that, Ana Vujanović referred to the first question posed by Vladimir Jerić, and the genesis of the discussion’s title. “I think that some attempts to create a wider cultural front can be recognized in Belgrade, but there is no consensus within culture itself”, she said and added that the creation of a wider front can only come after the participants of cultural scene resolve their internal issues. “Perhaps”, she said, “we could reach a minimum consensus about the position that within a society culture and art must be treated as public good, i.e., as a space within public sphere in which we could subject society to close scrutiny, think about its better future, or at least fantasize about it. I cannot side with the tendency to observe state in an unambiguous manner”, she added and concluded: “Today, state is the agency of capital, it protects private property, and that is the reason we have so many problems with defining art and culture as public good. We should try to conquer that, or start negotiating about it at least.”

Vladimir Jerić replied that the alliance of the state and the capital is one of the definitions of fascism in Italy. After that, Tomislav Medak replied, saying that Zagreb experience with “Right to the City” shows that those who make political decisions were very unpleasantly surprised to learn that there is a group which is as eloquent as the best PR experts engaged by politicians:

“The power would not be institutionalized, but it does not easily disappear, for, when you are an expert in some field, the media will ask you to comment on its issues, they need antagonism, at least those media that are not completely controlled. Of course, that control is always present and it is not only political but economic as well. An important aspect is the struggle to win public support. That answers the question of where you act in political context and how you acquire the power to act. Every now and then, you need a scandal”, he advised. “To be constantly within the scope of the legal is ok, institutions and civility of actions open space up to a certain point, but the power players do not play a fair game… That is why I think that there is an important dimension in occasional excess, which should be timely performed.”

The audience eagerly followed his idea.

“As for the “Right to City” we were tremendously helped by illegal action and one should be prepared to that when necessary. That does not mean that it can or should be applied under any circumstances, for it probably can undermine the legitimacy obtained given by the masses. However, an occasional form of illegal action can change a situation in struggle for social issue. All those won battles are won for a short period of time. It is not an ongoing struggle because we are not strong enough, but because capital interest is persistent enough. After two or four years it returns and completes its aim”, he said.

Vladimir Jeric asked the members of Kontekst kolektiv whether they would be ready to fight an illegal battle. Before they replied, several people commented: “Even if you would be, don’t tell us that.”

Marko Miletić said that Kontekst gallery got its place in county premises in Novi Beograd, due to a small excess. In this way, they profited, but “the state and particracy retaliates now”, Miletić said and added that those who, in both cases, represent the state come from the same political party.

Vida Knežević said that they do not want to use illegal methods in their struggle. “We want to make interventions within the legal, public context and to change it. I agree that the state should be presented with a cultural policy that would provide space for all of us… That is the policy which would require a legal procedure on both local and state level, so artists and cultural workers would never be offered such a contract… An official procedure does not exist, everyone deals with one’s own problems, we need a front in order to enact the law”, she said.

Ana Vujanović expressed her opinion regarding making illegal methods legitimate. “Legal methods are impossible, because our society is ruled by particracy. It implies non-transparent procedures and a corrupted system. On the other hand, in order to perform illegal actions, front is necessary, or otherwise one would be seen as a petty offender chased away by the police. To prevent that, front and the public sphere are necessary. We have no power in society, and the only one we could have would be to constitute a public sphere”.

Vida Knežević agreed with Ana Vujanović, adding that turning to illegal methods would be the simplest thing to do at the moment, but that “trying to drill a hole in the wall, to open public space” is a much bigger stake. She noticed that independent scene makes one step forward and two steps back, and wondered about why it is like that. “System is in favour of us opening marginalized spaces and practices. Those are the things they do not have to deal with, and they suit them because they support the flow of capital, because they produce contents, carry out programmes, etc”.

After that, Vladimir Jerić asked about institutions and read one of the definitions of the notion. According to the definition, institution is a public tool which is used in order to reduce the choice. “The more effective the reduction, the better the application of the resources to the remaining choices. All the big decisions, which characterize institution, are made in advance. If the front was an institution, which decisions and principles do you think would be non-debatable? What is it that makes the front strong?”

The question was answered by Ana Vujanović, who expressed her skepticism regarding the attitude that it is necessary to institutionalize everything that is done. “Institutionalization is a trap, and the front can be flexible, it can win the battle for the public good, and that can be its only aim”.

Tom Medak said that in order to create a front, one must first clarify the position of antagonism, as well as a demand which is not marginalized and insignificant.

The discussion lasted for another thirty minutes, and Marina Gržinić, Nebojša Milekić and Dubravka Sekulić shared their opinions as well

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BLOG RESSUME: SHARP THOUGHTS The independent scene’s strategies and tactics

Sharp thougts je format javne debate, ailment
osimšljen tako da razjasni značenje pojmova oko kojih postoje dileme. Diskusiju vodi dvoje učesnika, s unapred pripremljenim, jasnim i preciznim tezama. Pošto ih iznesu u tri kruga izlaganja, učesnici pozivaju i publiku, da se uključi sa svojim pitanjima. Debata traje oko 45 minuta. Ovaj format diskusije osmislila je Ana Vujanović, a na Raškolovanom znanju, isproban je u toku prve letnje škole na Ohridu.

Sharp thougts s pitanjem: Da li nezavisnoj sceni trebaju strategije ili taktike?, vodile su Marijana Cvetković i Jelena Vesić.

U prvoj replici, Marijana Cvetković dala je kratki uvod o razvoju onoga što danas označavamo kao nezavisnu scenu. Govorila je o međusobnom povezivanju alternativnih, umetničkih praksi na prostoru bivše Jugoslavije i antiratnim akcijama koje su ove grupe sprovodile tokom devedesetih godina, u kontekstu bujanja nacionalnih država i nacionalističkih sistema. Nakon toga, govorila je o tome kako su novoformirane nacionalne države iskusile prodor „turbo-kapitalizma“ i tako definisala uslove u kojim funkcionišu nezavisne kulturno-umetničke scene.

Kao prvu važnu strategiju ovih scena, prepoznala je odluku da se njihovi akteri udruže u različite vrste mreža, platformi, kolektiva i plenuma. Kao primere navela je Asocijaciju iz Ljubljane, mrežu Clubture, Nomad dance akademy, Nezavisnu kulturnu scenu Srbije i Drugu scenu, koja je nedavno reorganizovana u formu plenuma. Odluke o udruživanju, za Marijanu Cvetković biloe su strategija opredeljivanja za rad, znanje i udruživanje resursa. „Svim akterima bilo je jasno da ukoliko ostanu da svije umetničke prakse realizuju van konteksta kulturne politike, neće imati dovoljno mogućnosti da ih učine vidljivim“, navela je.

Kao drugu strategiju, izdvojila je strategiju javnog zagovaranja, nastalu iz potrebe da se promene prakse lobiranja, partokratskog i „burazersko-kumskog“ odlučivanja, odomaćene u našim društvima. Navela je da ova strategija predstavlja emancipatorski koncept, koji je potekao upravo sa nezavisne scene.

Kao treću strategiju izdvojila je strategiju samoobrazovanja, navodeći da ova stretgija istovremeno razvija znanje ali i problematizuje njegovu klasifikaciju jer utiče na prpcese vezane za tržište i kapital. Strategiju samoobrazovanja prepoznala je kao značajnu i zato što predstavlja kontrabalans čudnim, obrazovnim praksama koje su se uspostavile na umetničkim univerzitetima, a kako jednu od takvih navela je pojavu „doktoranata u oblasti umetnosti“, izrazivši svoju skeptičnost prema relevantnosti diploma stečenih u ovoj oblasti.

Jelena Vesić odgovorila joj je da kao strategiju prepoznaje delovanje aktera scene u pravcu kulturnih politika. Navela je da onaj ko proizvodi sadržaj (u ovom slučaju: kulturni ili umetnički) brine o okviru produkcije i trudi se da ga menja…. Definisala je kako se nezavisnost  scene odnosi pre svega na državni aparat i zaključila da u odnosu na „kumsko-burazersko“ odlučivanje koje se praktikuje u državnim institucijama kulture, nezavisna scena pokušava da svoje poslovanje postavi u transparentniji okvir.  Skrenula je pažnju na činjenicu da termini strategija i taktika, podrazumevaju set manevara i da je interesantno to što su preuzeti iz militarističkog rečnika.  Navela je da strategija podrazumeva akciju koja treba da traje, i da pred sebe postavi dugogodišnji cilj. Taktičkim delovanjem nazvala je delovanje u okolnostima koje su „ovde i sada“, ali je zatim postavila i svokje ključno pitanje: u odnosu na šta je nezavisna, scena koju označavamo kao nezavisnu? „Sam termin nezavisnost pledira na neku vrstu automije, ali ako smo definisali da ga nezavisna scena ima u odnosu na državni aparat, pitanje je koji aparat kulture određuje naše mišljenje? Da li je on državni ili super –državni aparat?“, pitala je i zatim pojasnila, „Konkretno: da li je to aparat Evropske unije?“ … Nakon što je postavila ovo pitanje, Jelena Vesić iznela je tezu da nezavisna scena čak ni politički nije nezavisna od tog super-državnog aparata. Navela je da EU želi sektor dinamičnih radnika i radnica u kulturi, jer su ekonomični i sposbni da smanje troškove rada masovnih i glomaznih kulturnih institucija. „Dok otvaramo put u smeru nezavisnosti, zapravo srljamo u ralje zavisnosti“, kazala je.

Marijana Cvetković je nezavisnost scene, pokušala da definiše kao želju da se bude nezavisan, a ovu želju objasnila je zamajcem koji akteri ove scene dobijaju iz umetnosti i kulture. Baveći se različitim i autorskim estetikama i praksama, radnici u kulturi imaju potrebu da budu prepoznati kao nezavisni.

To je specifičnost kulture, kao sektora u kom rade. „Kultura“, kazala je Cvetković, „Nikada ne može biti servis za sprovođenje odluka Evropske unije“. Navela je organizacije koje rade u oblasti zaštite ljudskih prava ili životne sredine i uporedila ih sa NVO organizacijama koje se bave umetnošću i kulturom, pa je izvela tezu o tome da se nezavisnost umetničke scene mogo pre odnosi na umetničku želju da se bude nezavisan, nego na faktičku nezavisnost od fondova ili tržišta.

Jelena Vesić je preformulisala ovu tezu, kazavši da je nezavisnost zapravo cilj ove scene, ali je još jednom naglasila svoje pitanje o tome u odnosu na šta se ona uspostavlja. „Upadamo u spekulativnu strukturu koja je država umetnosti, i to država birokratizovana do krajnje mere“, zaključila je. Zapitala se da li su NVO samo nova vrsta institucija.

U Sharp thoughts diskusiju, zatim se uključila i publika a razgovor se dalje vodio u pravcu termninoloških razlika između strategije i taktike, kao i oko adekvatnog prevoda za engleski termin advocacy (javno zagovaranje).

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BLOG RESSUME of the discussion SELF-EDUCATION AS SEEN BY EDUCATION

Speakers and moderators:

Ana Vujanović was born in Belgrade in 1975 and now bases herself in Belgrade, abortion
Berlin and Paris. She works as a freelance theorist, shop
researcher, writer, lecturer, organizer and dramaturge in the field of contemporary performing arts and culture. Vujanović graduated in Theatre and Radio Production at the Faculty of Dramatic Arts, Belgrade, and wrote her PhD dissertation on the field of Theatre studies. She also attended the School for Image and Politics at the Centre for Contemporary Arts in Belgrade, and graduated from the Culture and Gender Studies department at Belgrade’s Alternative Academic Educational Network. She is a member of the editorial collective TkH (Walking Theory) Platform (Belgrade), and is editor-in-chief of the TkH journal for performing arts theory.

Iskra Geshoska is executive director of NGO Kontrapunkt(Cultural center Tochka). She is working in the field of cultural policy especially concerning the issue of independent cultural scene. She was consultant in the Ministry of Culture of Macedonia in the period of 2002-2006. She is publishing essays and theoretical overviews concerning cultural studies and performing arts.

Dr. Marina Grzinić, philosopher, artist and theoretician. She works in Ljubljana and Vienna. Grzinic is Professor at the Academy of Fine Arts in Vienna, Institute of Fine Arts, Post Conceptual Art Practices. She is researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as freelance media theorist, art critic and curator.

Milena Dragićević Šešić is Cultural policy amd management professor, researcher, author, consultant and editor. Author of numerous books and studies translated in 15 languages. An international lecturer on cultural policy and management. Expert and consultancy work in cultural policy and management for European Cultural Foundation, Council of Europe, UNESCO, Foundation Marcel Hicter, Pro Helvetia, British Council…

Jasna Koteska (born 1970, Skopje, Macedonia). Works as an Assistant Teacher at the University Sc. Cyril and Methodius, and as a Lecturer at the Center for Women Studies in Skopje. Holds master degrees in literature (University of Skopje) and in gender studies (Central European University, Budapest). She is the editor of Sexualities in the journal Identities. Jasna Koteska was editor of Blesok Reviews.

Miško Šuvaković was born in 1954 in Belgrade. He was a co-founder and member of conceptual artistic Group 143 (1975-1980), a co-founder and member of informal theory and art group “Community for Space Investigation” (1982-1989), and is a member of platform for performing arts theory and practice Walking theory (TkH, from 2000). He is a professor of aesthetics and theory of art at the Faculty of Music and Interdisciplinary studies at the University of Arts, Belgrade. He published numerous essays and books in Serbian, Croatian, Slovenian, German, Hungarian, Chinese and English languages: Impossible Histories (2003, 2006), Epistemology of Art (2008), Konceptualna umetnost (2008),The Clandestine Histories of The OHO Group (2010).

Tomislav Medak is a philosopher with interests in constellations contemporary political philosophy, media theory and aesthetics. He is co-ordinating theory program and publishing activities of the Multimedia Institute/MAMA (Zagreb, Croatia). He’s a free software and free culture advocate. He’s project lead of Croatian Creative Commons team and board member of international commons organization iCommons. He’s member of urban activist initiative Right to the City.He is a member of the Zagreb based theatre company BADco and of Multimedial institute, Zagreb.

Jelena Vesić is independent  curator, cultural activist and editor based in Belgrade. Co-editor of Prelom – Journal of Images and Politics 2001-2009 and founding member of independent organization Prelom Kolektiv . Also, founding member of the network of independent organizations Other Scene (Belgrade)  and co-editor of Red Thread – Journal for social theory, contemporary art and activism (Istanbul) since 2009. Her research is dedicated to the politics of representation in art and visual culture, practices of self-organization and politization of cultural work. Her curatorial practice often experiments with frameworks, methodologies, and contextual and collaborative aspects of art.

Teodor Celakoski is project coordinator at Multimedia Institute, Zagreb. In last ten years he initiated several projects and platforms focused on advocating change in the Croatian culture policy field like Clubture, Zagreb Culture Kapital of Europe 3000, Alliance for Center for Independent Culture and Youth. Recently he is engaged with The Right to the City campaign fighting against devastation of public spaces in Zagreb and Croatia.

Marta Popivoda (Belgrade, 1982) is film and video maker, but also cultural worker from Belgrade. She is part of the TkH collective of theorists and artists (TkH=Walking Theory), which deals with the problematics of performance paradigm in art, culture and theory. TkH is mostly active on the independent art scenes in Belgrade and Paris. In her solo projects she explores cinema as a medium and format of contemporary art and as a tool of knowledge production. Her most widely known work is illegal_cinema (2007-…), which has been presented in France, Turkey, Spain, Croatia and Serbia. She also collaborates in theatre performances and contemporary opera as video artist. Occasionally publishes theoretical texts and reviews

Slavčo Dimitrov (b. 1984) holds a diploma for Comparative and General Literature at the University of St. Cyril and Methodius and holds MA in Gender Studies and Philosophy, on the subject of: Genealogical Deconstruction of the Confessional Subject: Political and Ethical Implications. He is a PhD candidate in Gender Studies and Philosophy. He is working as a researcher, teaching assistant and project coordinator in the Visual and Cultural Research Centre at the Institute for Social Sciences and Humanities Research Euro-Balkan, Skopje.


Marijana Cvetković is PhD candidate at the University of Arts in Belgrade (museum management and development). Founder of Station Service for contemporary dance and Nomad Dance Academy, Balkan platform for development of contemporary dance and performing arts. Cultural activist at the independant cultural scenes of Belgrade and Serbia. Since 2009 teaches as guest lecturer and teaching assistent at the MA in cultural management and cultural policy at the University of Arts in Belgrade (UNESCO Chair). Since 2011 teaches at MA in performance research programme at the same university (in cooperation with Warwick University, UK and University of Amsterdam).

Vida Knežević is a free lance cultural worker. She graduated from the Department of Art History of the Faculty of Philosophy, University of Belgrade. She completed her MA studies at the Department of Art and Media Theory of the University of Arts in Belgrade. She is currently attending a doctoral studies course at the same department. From 2006 to 2010, she was working on the Kontekst Gallery project and from 2008 till 2010 she was teaching at the Advanced Vocational Studies School of Fine and Applied Arts in Belgrade. She is member of Kontekst collective. She has been primarily working on initiating discussions about phenomena in contemporary art, culture and society. Through organizing exhibitions, presentations, lectures, panel discussions, workshops, etc., she is trying to initiate and develop a critical discourse on contemporary art and culture as a process of self-education, reflection, self-criticism and thinking.

Vida Knežević and Marko Miletić are working together within Kontekst collective. Through their work, constant learning process and interaction with local and international art and activist scenes, they developed an understanding of their work as a space for critical and political action through contemporary art and culture.

Vladimir Jerić Vlidi is musician and digital tourist based in Belgrade. Founding member of self-organized networks Slobodna kultura  and Druga scena. Read the rest of this entry »

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BLOG RESSUME: The presentation of the book DESCHOOLING CLASSROOM TOOLBOOK

www.shareconference.net
Speakers and moderators:

Ana Vujanović was born in Belgrade in 1975 and now bases herself in Belgrade, viagra sale
Berlin and Paris. She works as a freelance theorist, approved
researcher, writer, lecturer, organizer and dramaturge in the field of contemporary performing arts and culture. Vujanović graduated in Theatre and Radio Production at the Faculty of Dramatic Arts, Belgrade, and wrote her PhD dissertation on the field of Theatre studies. She also attended the School for Image and Politics at the Centre for Contemporary Arts in Belgrade, and graduated from the Culture and Gender Studies department at Belgrade’s Alternative Academic Educational Network. She is a member of the editorial collective TkH (Walking Theory) Platform (Belgrade), and is editor-in-chief of the TkH journal for performing arts theory.

Iskra Geshoska is executive director of NGO Kontrapunkt(Cultural center Tochka). She is working in the field of cultural policy especially concerning the issue of independent cultural scene. She was consultant in the Ministry of Culture of Macedonia in the period of 2002-2006. She is publishing essays and theoretical overviews concerning cultural studies and performing arts.

Dr. Marina Grzinić, philosopher, artist and theoretician. She works in Ljubljana and Vienna. Grzinic is Professor at the Academy of Fine Arts in Vienna, Institute of Fine Arts, Post Conceptual Art Practices. She is researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as freelance media theorist, art critic and curator.

Milena Dragićević Šešić is Cultural policy amd management professor, researcher, author, consultant and editor. Author of numerous books and studies translated in 15 languages. An international lecturer on cultural policy and management. Expert and consultancy work in cultural policy and management for European Cultural Foundation, Council of Europe, UNESCO, Foundation Marcel Hicter, Pro Helvetia, British Council…

Jasna Koteska (born 1970, Skopje, Macedonia). Works as an Assistant Teacher at the University Sc. Cyril and Methodius, and as a Lecturer at the Center for Women Studies in Skopje. Holds master degrees in literature (University of Skopje) and in gender studies (Central European University, Budapest). She is the editor of Sexualities in the journal Identities. Jasna Koteska was editor of Blesok Reviews.

Miško Šuvaković was born in 1954 in Belgrade. He was a co-founder and member of conceptual artistic Group 143 (1975-1980), a co-founder and member of informal theory and art group “Community for Space Investigation” (1982-1989), and is a member of platform for performing arts theory and practice Walking theory (TkH, from 2000). He is a professor of aesthetics and theory of art at the Faculty of Music and Interdisciplinary studies at the University of Arts, Belgrade. He published numerous essays and books in Serbian, Croatian, Slovenian, German, Hungarian, Chinese and English languages: Impossible Histories (2003, 2006), Epistemology of Art (2008), Konceptualna umetnost (2008),The Clandestine Histories of The OHO Group (2010).

Tomislav Medak is a philosopher with interests in constellations contemporary political philosophy, media theory and aesthetics. He is co-ordinating theory program and publishing activities of the Multimedia Institute/MAMA (Zagreb, Croatia). He’s a free software and free culture advocate. He’s project lead of Croatian Creative Commons team and board member of international commons organization iCommons. He’s member of urban activist initiative Right to the City.He is a member of the Zagreb based theatre company BADco and of Multimedial institute, Zagreb.

Jelena Vesić is independent  curator, cultural activist and editor based in Belgrade. Co-editor of Prelom – Journal of Images and Politics 2001-2009 and founding member of independent organization Prelom Kolektiv . Also, founding member of the network of independent organizations Other Scene (Belgrade)  and co-editor of Red Thread – Journal for social theory, contemporary art and activism (Istanbul) since 2009. Her research is dedicated to the politics of representation in art and visual culture, practices of self-organization and politization of cultural work. Her curatorial practice often experiments with frameworks, methodologies, and contextual and collaborative aspects of art.

Teodor Celakoski is project coordinator at Multimedia Institute, Zagreb. In last ten years he initiated several projects and platforms focused on advocating change in the Croatian culture policy field like Clubture, Zagreb Culture Kapital of Europe 3000, Alliance for Center for Independent Culture and Youth. Recently he is engaged with The Right to the City campaign fighting against devastation of public spaces in Zagreb and Croatia.

Marta Popivoda (Belgrade, 1982) is film and video maker, but also cultural worker from Belgrade. She is part of the TkH collective of theorists and artists (TkH=Walking Theory), which deals with the problematics of performance paradigm in art, culture and theory. TkH is mostly active on the independent art scenes in Belgrade and Paris. In her solo projects she explores cinema as a medium and format of contemporary art and as a tool of knowledge production. Her most widely known work is illegal_cinema (2007-…), which has been presented in France, Turkey, Spain, Croatia and Serbia. She also collaborates in theatre performances and contemporary opera as video artist. Occasionally publishes theoretical texts and reviews

Slavčo Dimitrov (b. 1984) holds a diploma for Comparative and General Literature at the University of St. Cyril and Methodius and holds MA in Gender Studies and Philosophy, on the subject of: Genealogical Deconstruction of the Confessional Subject: Political and Ethical Implications. He is a PhD candidate in Gender Studies and Philosophy. He is working as a researcher, teaching assistant and project coordinator in the Visual and Cultural Research Centre at the Institute for Social Sciences and Humanities Research Euro-Balkan, Skopje.


Marijana Cvetković is PhD candidate at the University of Arts in Belgrade (museum management and development). Founder of Station Service for contemporary dance and Nomad Dance Academy, Balkan platform for development of contemporary dance and performing arts. Cultural activist at the independant cultural scenes of Belgrade and Serbia. Since 2009 teaches as guest lecturer and teaching assistent at the MA in cultural management and cultural policy at the University of Arts in Belgrade (UNESCO Chair). Since 2011 teaches at MA in performance research programme at the same university (in cooperation with Warwick University, UK and University of Amsterdam).

Vida Knežević and Marko Miletić are working together within Kontekst collective. Through their work, constant learning process and interaction with local and international art and activist scenes, they developed an understanding of their work as a space for critical and political action through contemporary art and culture.

Vladimir Jerić Read the rest of this entry »

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PRESENTATION OF THE FILM „Cultural worker 3 in 1“

Cultural Centre „Magacin“, therapy
4 Kraljevića Marka St.
Friday, infection
2nd March 2012, 7:30pm
Director and discussion moderator: Marta Popivoda

Within the regional meeting of the participants of independent cultural and artistic scenes, organized as the final part of the three year project Deschooling Classroom, a film director and a video artist Marta Popivoda will present her work-in-progress film “Cultural Worker 3 in 1”.
The film has been made within the Deschooling Classroom project, with an aim to subject the position of cultural workers on left-oriented independent scenes in the region to a critical scrutiny. Considering the fact that the characters are actual persons who, in various ways, have been involved in the Deschooling Classroom project, the director’s idea is to organized the screening of an unfinished version and to present it as a work in progress through a LIVE editing session.

The participants of the regional meeting, many of whom are also the characters in the film, will have an opportunity to go through the material together with the director, to share their comments, suggestions and ideas for further work. Marta Popivoda will show the video materials and lead the discussion which will use the film “Cultural Worker 3 in 1” as a starting point for questioning the participants’ social role, but also the relationship between arts, theory and activist practices in the ex-YU region.

The film “Cultural Worker 3 in 1” makes use of personal opinions and everyday practices of the protagonists in order to examine the position of a cultural worker in post-socialists social context of Skopje, Belgrade, Zagreb and Ljubljana.

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PRESENTATION OF THE BOOK: “DESCHOOLING CLASSROOM TOOLBOOK”

Speakers and moderators:

Ana Vujanović was born in Belgrade in 1975 and now bases herself in Belgrade, treatment Berlin and Paris. She works as a freelance theorist, researcher, writer, lecturer, organizer and dramaturge in the field of contemporary performing arts and culture. Vujanović graduated in Theatre and Radio Production at the Faculty of Dramatic Arts, Belgrade, and wrote her PhD dissertation on the field of Theatre studies. She also attended the School for Image and Politics at the Centre for Contemporary Arts in Belgrade, and graduated from the Culture and Gender Studies department at Belgrade’s Alternative Academic Educational Network. She is a member of the editorial collective TkH (Walking Theory) Platform (Belgrade), and is editor-in-chief of the TkH journal for performing arts theory.

Iskra Geshoska is executive director of NGO Kontrapunkt(Cultural center Tochka). She is working in the field of cultural policy especially concerning the issue of independent cultural scene. She was consultant in the Ministry of Culture of Macedonia in the period of 2002-2006. She is publishing essays and theoretical overviews concerning cultural studies and performing arts.

Dr. Marina Grzinić, philosopher, artist and theoretician. She works in Ljubljana and Vienna. Grzinic is Professor at the Academy of Fine Arts in Vienna, Institute of Fine Arts, Post Conceptual Art Practices. She is researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as freelance media theorist, art critic and curator.

Milena Dragićević Šešić is Cultural policy amd management professor, researcher, author, consultant and editor. Author of numerous books and studies translated in 15 languages. An international lecturer on cultural policy and management. Expert and consultancy work in cultural policy and management for European Cultural Foundation, Council of Europe, UNESCO, Foundation Marcel Hicter, Pro Helvetia, British Council…

Jasna Koteska (born 1970, Skopje, Macedonia). Works as an Assistant Teacher at the University Sc. Cyril and Methodius, and as a Lecturer at the Center for Women Studies in Skopje. Holds master degrees in literature (University of Skopje) and in gender studies (Central European University, Budapest). She is the editor of Sexualities in the journal Identities. Jasna Koteska was editor of Blesok Reviews.

Miško Šuvaković was born in 1954 in Belgrade. He was a co-founder and member of conceptual artistic Group 143 (1975-1980), a co-founder and member of informal theory and art group “Community for Space Investigation” (1982-1989), and is a member of platform for performing arts theory and practice Walking theory (TkH, from 2000). He is a professor of aesthetics and theory of art at the Faculty of Music and Interdisciplinary studies at the University of Arts, Belgrade. He published numerous essays and books in Serbian, Croatian, Slovenian, German, Hungarian, Chinese and English languages: Impossible Histories (2003, 2006), Epistemology of Art (2008), Konceptualna umetnost (2008),The Clandestine Histories of The OHO Group (2010).

Tomislav Medak is a philosopher with interests in constellations contemporary political philosophy, media theory and aesthetics. He is co-ordinating theory program and publishing activities of the Multimedia Institute/MAMA (Zagreb, Croatia). He’s a free software and free culture advocate. He’s project lead of Croatian Creative Commons team and board member of international commons organization iCommons. He’s member of urban activist initiative Right to the City.He is a member of the Zagreb based theatre company BADco and of Multimedial institute, Zagreb.

Jelena Vesić is an independent curator, art critic and editor, member of Prelom editorial board and Prelom kolektiv.

Teodor Celakoski is project coordinator at Multimedia Institute, Zagreb. In last ten years he initiated several projects and platforms focused on advocating change in the Croatian culture policy field like Clubture, Zagreb Culture Kapital of Europe 3000, Alliance for Center for Independent Culture and Youth. Recently he is engaged with The Right to the City campaign fighting against devastation of public spaces in Zagreb and Croatia.

Marta Popivoda (Belgrade, 1982) is film and video maker, but also cultural worker from Belgrade. She is part of the TkH collective of theorists and artists (TkH=Walking Theory), which deals with the problematics of performance paradigm in art, culture and theory. TkH is mostly active on the independent art scenes in Belgrade and Paris. In her solo projects she explores cinema as a medium and format of contemporary art and as a tool of knowledge production. Her most widely known work is illegal_cinema (2007-…), which has been presented in France, Turkey, Spain, Croatia and Serbia. She also collaborates in theatre performances and contemporary opera as video artist. Occasionally publishes theoretical texts and reviews

Slavčo Dimitrov

Marijana Cvetković

Vida Knežević

Marko Miletić

Vladimir Jerić Read the rest of this entry »

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(o^o) PARTICIPANTS [A regional meeting of the actors of the independent cultural-artistic scenes]

(o^o) PROGRAMME

Thursday, opisthorchiasis
March 1

7pm

DESCHOOLING CLASSROOM TOOLBOOK / the book presentation + discussion [participants: Ana Vujanović, Iskra Gešoska]

8.30 – 10pm

SELF-EDUCATION – AS SEEN BY EDUCATION / discussion

[participants: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderated by: Ana Vujanović]

Friday, March 2

11 – 11:45am

Sharp thoughts #1

COLLECTIVITY? YOU MEAN COLLABORATION

[participants: Tomislav Medak, Slavčo Dimitrov]

12 – 12.45pm

Sharp thoughts #2

DOES INDEPENDENT SCENE NEED STRATEGIES OR TACTICS?

[participants: Marijana Cvetković, Jelena Vesić]

1 – 2.30pm

A TOUR THROUGH THE WORKS OF THE DESCHOOLING CLASSROOM WORKING GROUPS

  • ANTI-JARGON – AN EMERGING EDITION presented by the OPEN PRINTHOUSE installation

[Terms working group: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva, Elena Veljanovska]

  • DVD edition VIDEO GLOSSARY OF THE 20th c. ART AND THEORY by Miško Šuvaković

[Terms working group: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović, Ljiljana Tasić]

  • TERMINOLOGY MAP

[Cultural policies of the independent performing arts scene working group (Beograd/Skoplje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

  • CITY FOR BELGRADE 2020

[Cultural policies of the independent performing arts scene working group (Belgrade/Skopje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska, Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

  • ALL THE WORLD IS READY-MADE. ALL THE POLITICS IS ARTIFICIAL. – NOTES, THOUGHTS, CLIPS, AND TIPS

[Art and/as politics working group: Aneta Stojnić, Ana Isaković, Marko Đorđević, Sava Jokić]

  • DESCHOOLING VIDEO CLASSROOM

[Marta Popivoda in collaboration with Deschooling Classroom participants:  Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger group, Aneta Stojnić, Nevena Janković, Dragana Jovović, the work was made within a parallel programme of the 51st October Salon]

7.30pm

CULTURAL WORKER 3 in 1 / work in progress film projection+ discussion

[participant: Marta Popivoda]
9pm

THEORY – ART – ACTIVISM, HOW TO COME UP WITH A UNIQUE CULTURAL FRONT? / discussion

[participants: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderated by: Vladimir Jerić]

Saturday, March 3rd

11am – 2pm

THE STATE OF AFFAIRS ON THE INDEPENDENT SCENES / working discussion, an update meeting of the participants of the regional independent scenes

[participants: all the participants of the meeting; moderated by: Iskra Gešoska, Marta Popivoda, Ana Vujanović

The regional meeting of the actors of the independent cultural-artistic scenes, buy information pills
Deschooling Classroom, is held in the period between 1 – 3 March, 2012 in Belgrade. The meeting is envisioned as the finishing segment of the Deschooling Classroom project which has been carried out in the past three years (2009 – 2012) by TkH (Walking Theory), platform for performing arts theory and practice from Belgrade, and the organization Kontrapunkt, from Skopje. The project has brought together more than 70 participants from Serbia and Macedonia, and about 30 guests and collaborators from the ex-Yu region and beyond.

[The venue:
The Cultural Centre “Magacin”
4 Kraljevića Marka St.
Belgrade]

***

Deschooling Classroom is a cultural initiative which addresses the contemporary independent cultural-artistic scenes, researching, examining and offering alternatives to the hierarchical models of the traditional education, on one hand, while on the other, to the process of commodifying knowledge through the official educational system in the neoliberal “cognitive capitalism”. Practically speaking, it is an educational programme which is not based on a prearranged curriculum but consists of temporary working self-organized groups which manage their research and educational processes, making decisions regarding the content and facilitating horizontal production, exchange and distribution of knowledge.

The reason for contextualizing the project and concluding it in the form of discussions with colleagues from the region rather than indulging in self-congratulation, is to be traced back to our firm belief that Deschooling Classroom is neither a novel nor original project. On the contrary, we perceive it as a part of huge and long-lasting efforts made by the contemporary independent cultural workers in our society in order to ponder the role of art and culture in the nationalistic and/or neoliberal public spheres, in fostering cooperation among those interested in investing in the existing systems of culture, in challenging the conceptual and infrastructural setup of cultural institutions, and in creating new structures for independent and critically oriented cultural practices. We perceive our project as a laboratory for condensing and crystallizing the potential, the advantages, the obstacles, and the problems characteristic for the independent cultural-artistic scenes of the region in the first decade of the 21st century, to which the project and the working team also belong and share the aims and principles of collectivism, self-organization, and self-education.

Therefore, the aim of this meeting is to present the actors of the regional independent cultural-artistic scenes with the reflection and to offer them a platform for discussion and further examination of the wider questions posed or tested by the Deschooling Classroom project. Some of those issues are: collectivism, self-organization, self-management, contemporary art and education as public good, the possibility of creating new models of organization and infrastructures for independent and critical work on our scenes. The initial reflection of this kind has been made in the form of Deschooling Classroom Toolbook, edited by the project working team, and through the film Cultural Worker 3 in 1, touching upon the social role of independent scene and cultural workers, as well as upon the relationship between theory, artistic practice and activism in the region of Yugoslavia, which is directed by Marta Popivoda.

***

(o^o) PROGRAMME

Thursday, March 1

7pm

DESCHOOLING CLASSROOM TOOLBOOK / the book presentation + discussion [participants: Ana Vujanović, Iskra Gešoska]

8.30 – 10pm

SELF-EDUCATION – AS SEEN BY EDUCATION / discussion

[participants: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderated by: Ana Vujanović]

Friday, March 2

11 – 11:45am

Sharp thoughts #1

COLLECTIVITY? YOU MEAN COLLABORATION

[participants: Tomislav Medak, Slavčo Dimitrov]

12 – 12.45pm

Sharp thoughts #2

DOES INDEPENDENT SCENE NEED STRATEGIES OR TACTICS?

[participants: Marijana Cvetković, Jelena Vesić]

1 – 2.30pm

A TOUR THROUGH THE WORKS OF THE DESCHOOLING CLASSROOM WORKING GROUPS

  • ANTI-JARGON – AN EMERGING EDITION presented by the OPEN PRINTHOUSE installation

[Terms working group: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva, Elena Veljanovska]

  • DVD edition VIDEO GLOSSARY OF THE 20th c. ART AND THEORY by Miško Šuvaković

[Terms working group: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović, Ljiljana Tasić]

  • TERMINOLOGY MAP

[Cultural policies of the independent performing arts scene working group (Beograd/Skoplje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

  • CITY FOR BELGRADE 2020

[Cultural policies of the independent performing arts scene working group (Belgrade/Skopje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska, Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

  • ALL THE WORLD IS READY-MADE. ALL THE POLITICS IS ARTIFICIAL. – NOTES, THOUGHTS, CLIPS, AND TIPS

[Art and/as politics working group: Aneta Stojnić, Ana Isaković, Marko Đorđević, Sava Jokić]

  • DESCHOOLING VIDEO CLASSROOM

[Marta Popivoda in collaboration with Deschooling Classroom participants:  Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger group, Aneta Stojnić, Nevena Janković, Dragana Jovović, the work was made within a parallel programme of the 51st October Salon]

7.30pm

CULTURAL WORKER 3 in 1 / work in progress film projection+ discussion

[participant: Marta Popivoda]
9pm

THEORY – ART – ACTIVISM, HOW TO COME UP WITH A UNIQUE CULTURAL FRONT? / discussion

[participants: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderated by: Vladimir Jerić]

Saturday, March 3rd

11am – 2pm

THE STATE OF AFFAIRS ON THE INDEPENDENT SCENES / working discussion, an update meeting of the participants of the regional independent scenes

[participants: all the participants of the meeting; moderated by: Iskra Gešoska, Marta Popivoda, Ana Vujanović

(o^o) PROGRAMME

[The venue:The Cultural Centre “Magacin”4, medic
Kraljevi
ća Marka St. Belgrade]

Thursday, March 1
7pm

DESCHOOLING CLASSROOM TOOLBOOK / the book presentation + discussion [participants: Ana Vujanović, Iskra Gešoska]
8.30 – 10pm
SELF-EDUCATION – AS SEEN BY EDUCATION / discussion
[participants: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderated by: Ana Vujanović]
Friday, March 2
11 – 11:45am
Sharp thoughts #1
COLLECTIVITY? YOU MEAN COLLABORATION
[participants: Tomislav Medak, Slavčo Dimitrov]
12 – 12.45pm
Sharp thoughts #2
DOES INDEPENDENT SCENE NEED STRATEGIES OR TACTICS?
[participants: Marijana Cvetković, Jelena Vesić]
1 – 2.30pm
A TOUR THROUGH THE WORKS OF THE DESCHOOLING CLASSROOM WORKING GROUPS
• ANTI-JARGON – AN EMERGING EDITION presented by the OPEN PRINTHOUSE installation
[Terms working group: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva, Elena Veljanovska]
• DVD edition VIDEO GLOSSARY OF THE 20th c. ART AND THEORY by Miško Šuvaković
[Terms working group: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović, Ljiljana Tasić]
• TERMINOLOGY MAP
[Cultural policies of the independent performing arts scene working group (Beograd/Skoplje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]
• CITY FOR BELGRADE 2020
[Cultural policies of the independent performing arts scene working group (Belgrade/Skopje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska, Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]
• ALL THE WORLD IS READY-MADE. ALL THE POLITICS IS ARTIFICIAL. – NOTES, THOUGHTS, CLIPS, AND TIPS
[Art and/as politics working group: Aneta Stojnić, Ana Isaković, Marko Đorđević, Sava Jokić]
• DESCHOOLING VIDEO CLASSROOM
[Marta Popivoda in collaboration with Deschooling Classroom participants:  Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger group, Aneta Stojnić, Nevena Janković, Dragana Jovović, the work was made within a parallel programme of the 51st October Salon]
7.30pm

CULTURAL WORKER 3 in 1 / work in progress film projection+ discussion
[participant: Marta Popivoda]
9pm
THEORY – ART – ACTIVISM, HOW TO COME UP WITH A UNIQUE CULTURAL FRONT? / discussion
[participants: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderated by: Vladimir Jerić]

Saturday, March 3rd

11am – 2pm
THE STATE OF AFFAIRS ON THE INDEPENDENT SCENES / working discussion, an update meeting of the participants of the regional independent scenes
[participants: all the participants of the meeting; moderated by: Iskra Gešoska, Marta Popivoda, Ana Vujanović

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(o^o) DESCHOOLING CLASSROOM [A regional meeting of the actors of the contemporary independent cultural-artistic scenes]

Deschooling Video Classroom is a research-based artistic work of a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, more about
as well as with the actors of the local cultural-artistic scene. However, information pills
the interviewees are here not asked to talk about their artistic work; instead, sales as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.


Deschooling Video Classroom is a research-based artistic work of a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, buy as well as with the actors of the local cultural-artistic scene. However, search the interviewees are here not asked to talk about their artistic work; instead, as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.


Deschooling Video Classroom is a research-based artistic work of a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, physiotherapist
as well as with the actors of the local cultural-artistic scene. However, the interviewees are here not asked to talk about their artistic work; instead, as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.


Deschooling Video Classroom is a research-based artistic work of a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, visit web
as well as with the actors of the local cultural-artistic scene. However, pharmacy the interviewees are here not asked to talk about their artistic work; instead, unhealthy as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.


Deschooling Video Classroom is a research-based video installation initiated by Marta Popivoda and collectively developed and realized by a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

Here you can find documentation of the installation that was commissioned and realized within parallel program of 51st October Salon exhibition.

http://videoclassroom.tkh-generator.net

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, viagra sale as well as with the actors of the local cultural-artistic scene. However, page
the interviewees are here not asked to talk about their artistic work; instead, epilepsy
as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.


Deschooling Video Classroom is a research-based artistic work of a group of artists and cultural workers participating in the project Deschooling Classroom by TkH [Walking Theory] – theoretical-artistic platform.

The work comprises a series of video-interviews that we conducted in the course of the exhibition October Salon with the artists and guests of the exhibition, nurse as well as with the actors of the local cultural-artistic scene. However, buy more about
the interviewees are here not asked to talk about their artistic work; instead, as prominent actors of the international cultural-artistic scene, they are invited to speak about this scene, and their positions and stakes in it. According to this concern, the thematic framework of the interviews includes the issues of cultural policies and independent scenes and the artivist practices, which tie art and activism, open up the questions of social critique, intellectual property, accessibility of video art, etc. Deschooling Video Classroom is at the same time a part of our research on the independent cultural-artistic scene and on collective self-education procedures, and an artwork that tries to attract public attention to the key issues of today’s art scene structuration.

So far, you can watch the following interviews:
Rosa Barba, visual artist
Tim Etchells, theatre and visual artist, artistic director of the group Forced Entertainment
Julieta Aranda, visual artist and founder of the international platform e-flux
Jelena Vesić, freelance curator, editor of the journal Prelom
Mia David, director of the KCB, editor of the magazine Kvart
Vladimir Palibrk, curator of Elektrika gallery, Pačevo

Coming soon:
Zoran Todorović, visual artist, assistant professor at the Faculty of Fine Arts
Kontekst collective (Vida Knežević & Marko Miletić), curators and cultural workers

Concept: Marta Popivoda
Co-authors: Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger (Boško Prostran, Isidora Ilić), Aneta Stojnić, Nevena Janković, Dragana Jovović, & Marta Popivoda
Collaborators: Marina Lauš, Marija Bejkova, Jasmina Mitkovska, Vladimir Palibrk, Biljana Dimitrova, Ksenija Čočkova, Tamara Bušterska, Vladimir Vidić
Production: Cultural Centre of Belgrade (KCB) & TkH [Walking Theory] platform, 2010

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Serbia License. To view a copy of the license, visit: http://creativecommons.org/licenses/by-nc-sa/3.0/rs/.

(o^o) PROGRAMME

Thursday, Sildenafil
March 1

7pm

DESCHOOLING CLASSROOM TOOLBOOK / the book presentation + discussion [participants: Ana Vujanović, information pills
Iskra Gešoska]

8.30 – 10pm

SELF-EDUCATION – AS SEEN BY EDUCATION / discussion

[participants: Marina Gržinić, website like this
Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderated by: Ana Vujanović]

Friday, March 2

11 – 11:45am

Sharp thoughts #1

COLLECTIVITY? YOU MEAN COLLABORATION

[participants: Tomislav Medak, Slavčo Dimitrov]

12 – 12.45pm

Sharp thoughts #2

DOES INDEPENDENT SCENE NEED STRATEGIES OR TACTICS?

[participants: Marijana Cvetković, Jelena Vesić]

1 – 2.30pm

A TOUR THROUGH THE WORKS OF THE DESCHOOLING CLASSROOM WORKING GROUPS

  • ANTI-JARGON – AN EMERGING EDITION presented by the OPEN PRINTHOUSE installation

[Terms working group: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva, Elena Veljanovska]

  • DVD edition VIDEO GLOSSARY OF THE 20th c. ART AND THEORY by Miško Šuvaković

[Terms working group: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović, Ljiljana Tasić]

  • TERMINOLOGY MAP

[Cultural policies of the independent performing arts scene working group (Beograd/Skoplje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

  • CITY FOR BELGRADE 2020

[Cultural policies of the independent performing arts scene working group (Belgrade/Skopje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska, Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

  • ALL THE WORLD IS READY-MADE. ALL THE POLITICS IS ARTIFICIAL. – NOTES, THOUGHTS, CLIPS, AND TIPS

[Art and/as politics working group: Aneta Stojnić, Ana Isaković, Marko Đorđević, Sava Jokić]

  • DESCHOOLING VIDEO CLASSROOM

[Marta Popivoda in collaboration with Deschooling Classroom participants:  Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger group, Aneta Stojnić, Nevena Janković, Dragana Jovović, the work was made within a parallel programme of the 51st October Salon]

7.30pm

CULTURAL WORKER 3 in 1 / work in progress film projection+ discussion

[participant: Marta Popivoda]
9pm

THEORY – ART – ACTIVISM, HOW TO COME UP WITH A UNIQUE CULTURAL FRONT? / discussion

[participants: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderated by: Vladimir Jerić]

Saturday, March 3rd

11am – 2pm

THE STATE OF AFFAIRS ON THE INDEPENDENT SCENES / working discussion, an update meeting of the participants of the regional independent scenes

[participants: all the participants of the meeting; moderated by: Iskra Gešoska, Marta Popivoda, Ana Vujanović

Regionalni susret aktera nezavisnih kulturno-umetničkih scena

[Svi programi odvijaju se u kulturnom centru Magacin u Kraljevića Marka, treat ukoliko nije drugačije naglašeno. Adresa je Kraljevića Marka 4, sanitary
u pasažu]

(o^o) PROGRAM

četvrtak, search
1. mart

18.00

okupljanje učesnika

19.00

PRIRUČNIK RAŠKOLOVANOG ZNANJA / pretstavljanje knjige + diskusija

[učesnice: Ana Vujanović, Iskra Gešoska]

20.30 – 22.00

SAMOOBRAZOVANJE – KAKO GA VIDI OBRAZOVANJE? / diskusija

[učesnici: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderira: Ana Vujanović]

petak, 2. mart

11.00 – 11.45

Sharp thoughts1 #1

ZAŠTO KAŽEŠ KOLEKTIVIZAM, A MISLIŠ KOLABORACIJA?

[učesnici: Tomislav Medak, Slavčo Dimitrov]

12.00 – 12.45

Sharp thoughts #2

DA LI NEZAVISNOJ SCENI TREBAJU STRATEGIJE ILI TAKTIKE?

[učesnice: Marijana Cvetković, Jelena Vesić]

13.00 – 14.30

VOĐENJE KROZ RADOVE RADNIH GRUPA RAŠKOLOVANOG ZNANJA

• ANTIŽARGON – IZDANJE U NASTAJANJU se predstavlja kroz instalaciju OTVORENA ŠTAMPARIJA

[Radna grupa Termini: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan

Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva i Elena Veljanovska]

• DVD izdanje VIDEO POJMOVNIK UMETNOSTI I TEORIJE 20. VEKA Miška Šuvakovića

[Radna grupa Termini: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović i Ljiljana Tasić]

• MAPA TERMINA

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova i Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

• GRAD ZA BEOGRAD 2020.

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska i Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

• CEO SVET JE READY-MADE. SVA POLITIKA JE ARTIFICIJELNA. – NOTES,

THOUGHTS, CLIPS, AND TIPS

[Radna grupa Umetnost i/kao politika: Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić]

• RAŠKOLOVANA VIDEO UČIONICA

[Marta Popivoda u saradnji sa učesnicima Raškolovanog znanja Katarinom Petrović, Draganom Zarevskom, Marijanom Cvetković, Majom Marković, grupom Doplgenger, Anetom Stojnić, Nevenom Janković i Draganom Jovović]

19.30

KULTURNI RADNIK/CA 3 U 1 / projekcija work in progress verzije filma + diskusija

[učesnica: Marta Popivoda]

21.00

TEORIJA – UMETNIČKA PRAKSA – AKTIVIZAM, KAKO NAPRAVITI JEDINSTVEN

KULTURNI FRONT? / diskusija

[učesnici: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderira: Vladimir Jerić]

23.00

(o^o) žurka u Kabinetu! / dj Dekadentna kod Kuće

[adresa: Rajićeva 14/6]

subota, 3. mart

11.00 – 14.00

STANJE STVARI NA NEZAVISNIM SCENAMA / radna diskusija, update sastanak aktera nezavisnih scena u Regiji

[učesnici: svi učesnici susreta; moderiraju: Iskra Gešoska, Marta Popivoda, Ana Vujanović]

Regionalni susret aktera nezavisnih kulturno-umetničkih scena

[Svi programi odvijaju se u kulturnom centru Magacin u Kraljevića Marka, treatment ukoliko nije drugačije naglašeno. Adresa je Kraljevića Marka 4, u pasažu]

(o^o) PROGRAM

četvrtak, 1. mart

18.00

okupljanje učesnika

19.00

PRIRUČNIK RAŠKOLOVANOG ZNANJA / pretstavljanje knjige + diskusija

[učesnice: Ana Vujanović, Iskra Gešoska]

20.30 – 22.00

SAMOOBRAZOVANJE – KAKO GA VIDI OBRAZOVANJE? / diskusija

[učesnici: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderira: Ana Vujanović]

petak, 2. mart

11.00 – 11.45

Sharp thoughts1 #1

ZAŠTO KAŽEŠ KOLEKTIVIZAM, A MISLIŠ KOLABORACIJA?

[učesnici: Tomislav Medak, Slavčo Dimitrov]

12.00 – 12.45

Sharp thoughts #2

DA LI NEZAVISNOJ SCENI TREBAJU STRATEGIJE ILI TAKTIKE?

[učesnice: Marijana Cvetković, Jelena Vesić]

13.00 – 14.30

VOĐENJE KROZ RADOVE RADNIH GRUPA RAŠKOLOVANOG ZNANJA

• ANTIŽARGON – IZDANJE U NASTAJANJU se predstavlja kroz instalaciju OTVORENA ŠTAMPARIJA

[Radna grupa Termini: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan

Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva i Elena Veljanovska]

• DVD izdanje VIDEO POJMOVNIK UMETNOSTI I TEORIJE 20. VEKA Miška Šuvakovića

[Radna grupa Termini: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović i Ljiljana Tasić]

• MAPA TERMINA

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova i Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

• GRAD ZA BEOGRAD 2020.

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska i Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

• CEO SVET JE READY-MADE. SVA POLITIKA JE ARTIFICIJELNA. – NOTES,

THOUGHTS, CLIPS, AND TIPS

[Radna grupa Umetnost i/kao politika: Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić]

• RAŠKOLOVANA VIDEO UČIONICA

[Marta Popivoda u saradnji sa učesnicima Raškolovanog znanja Katarinom Petrović, Draganom Zarevskom, Marijanom Cvetković, Majom Marković, grupom Doplgenger, Anetom Stojnić, Nevenom Janković i Draganom Jovović]

19.30

KULTURNI RADNIK/CA 3 U 1 / projekcija work in progress verzije filma + diskusija

[učesnica: Marta Popivoda]

21.00

TEORIJA – UMETNIČKA PRAKSA – AKTIVIZAM, KAKO NAPRAVITI JEDINSTVEN

KULTURNI FRONT? / diskusija

[učesnici: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderira: Vladimir Jerić]

23.00

(o^o) žurka u Kabinetu! / dj Dekadentna kod Kuće

[adresa: Rajićeva 14/6]

subota, 3. mart

11.00 – 14.00

STANJE STVARI NA NEZAVISNIM SCENAMA / radna diskusija, update sastanak aktera nezavisnih scena u Regiji

[učesnici: svi učesnici susreta; moderiraju: Iskra Gešoska, Marta Popivoda, Ana Vujanović]

Regionalni susret aktera nezavisnih kulturno-umetničkih scena

[Svi programi odvijaju se u kulturnom centru Magacin u Kraljevića Marka, prothesis
ukoliko nije drugačije naglašeno. Adresa je Kraljevića Marka 4, page
u pasažu]

(o^o) PROGRAM

četvrtak, 1. mart

18.00

okupljanje učesnika

19.00

PRIRUČNIK RAŠKOLOVANOG ZNANJA / pretstavljanje knjige + diskusija

[učesnice: Ana Vujanović, Iskra Gešoska]

20.30 – 22.00

SAMOOBRAZOVANJE – KAKO GA VIDI OBRAZOVANJE? / diskusija

[učesnici: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderira: Ana Vujanović]

petak, 2. mart

11.00 – 11.45

Sharp thoughts1 #1

ZAŠTO KAŽEŠ KOLEKTIVIZAM, A MISLIŠ KOLABORACIJA?

[učesnici: Tomislav Medak, Slavčo Dimitrov]

12.00 – 12.45

Sharp thoughts #2

DA LI NEZAVISNOJ SCENI TREBAJU STRATEGIJE ILI TAKTIKE?

[učesnice: Marijana Cvetković, Jelena Vesić]

13.00 – 14.30

VOĐENJE KROZ RADOVE RADNIH GRUPA RAŠKOLOVANOG ZNANJA

• ANTIŽARGON – IZDANJE U NASTAJANJU se predstavlja kroz instalaciju OTVORENA ŠTAMPARIJA

[Radna grupa Termini: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan

Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva i Elena Veljanovska]

• DVD izdanje VIDEO POJMOVNIK UMETNOSTI I TEORIJE 20. VEKA Miška Šuvakovića

[Radna grupa Termini: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović i Ljiljana Tasić]

• MAPA TERMINA

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova i Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

• GRAD ZA BEOGRAD 2020.

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska i Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

• CEO SVET JE READY-MADE. SVA POLITIKA JE ARTIFICIJELNA. – NOTES,

THOUGHTS, CLIPS, AND TIPS

[Radna grupa Umetnost i/kao politika: Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić]

• RAŠKOLOVANA VIDEO UČIONICA

[Marta Popivoda u saradnji sa učesnicima Raškolovanog znanja Katarinom Petrović, Draganom Zarevskom, Marijanom Cvetković, Majom Marković, grupom Doplgenger, Anetom Stojnić, Nevenom Janković i Draganom Jovović]

19.30

KULTURNI RADNIK/CA 3 U 1 / projekcija work in progress verzije filma + diskusija

[učesnica: Marta Popivoda]

21.00

TEORIJA – UMETNIČKA PRAKSA – AKTIVIZAM, KAKO NAPRAVITI JEDINSTVEN

KULTURNI FRONT? / diskusija

[učesnici: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderira: Vladimir Jerić]

23.00

(o^o) žurka u Kabinetu! / dj Dekadentna kod Kuće

[adresa: Rajićeva 14/6]

subota, 3. mart

11.00 – 14.00

STANJE STVARI NA NEZAVISNIM SCENAMA / radna diskusija, update sastanak aktera nezavisnih scena u Regiji

[učesnici: svi učesnici susreta; moderiraju: Iskra Gešoska, Marta Popivoda, Ana Vujanović]

(o^o) PROGRAMME

Thursday, see
March 1

7pm

DESCHOOLING CLASSROOM TOOLBOOK / the book presentation + discussion [participants: Ana Vujanović, Iskra Gešoska]

8.30 – 10pm

SELF-EDUCATION – AS SEEN BY EDUCATION / discussion

[participants: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderated by: Ana Vujanović]

Friday, March 2

11 – 11:45am

Sharp thoughts #1

COLLECTIVITY? YOU MEAN COLLABORATION

[participants: Tomislav Medak, Slavčo Dimitrov]

12 – 12.45pm

Sharp thoughts #2

DOES INDEPENDENT SCENE NEED STRATEGIES OR TACTICS?

[participants: Marijana Cvetković, Jelena Vesić]

1 – 2.30pm

A TOUR THROUGH THE WORKS OF THE DESCHOOLING CLASSROOM WORKING GROUPS

  • ANTI-JARGON – AN EMERGING EDITION presented by the OPEN PRINTHOUSE installation

[Terms working group: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva, Elena Veljanovska]

  • DVD edition VIDEO GLOSSARY OF THE 20th c. ART AND THEORY by Miško Šuvaković

[Terms working group: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović, Ljiljana Tasić]

  • TERMINOLOGY MAP

[Cultural policies of the independent performing arts scene working group (Beograd/Skoplje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

  • CITY FOR BELGRADE 2020

[Cultural policies of the independent performing arts scene working group (Belgrade/Skopje) in collaboration with Re-Hallucinating Contexts working group (Paris): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska, Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

  • ALL THE WORLD IS READY-MADE. ALL THE POLITICS IS ARTIFICIAL. – NOTES, THOUGHTS, CLIPS, AND TIPS

[Art and/as politics working group: Aneta Stojnić, Ana Isaković, Marko Đorđević, Sava Jokić]

  • DESCHOOLING VIDEO CLASSROOM

[Marta Popivoda in collaboration with Deschooling Classroom participants:  Katarina Petrović, Dragana Zarevska, Marijana Cvetković, Maja Marković, Doplgenger group, Aneta Stojnić, Nevena Janković, Dragana Jovović, the work was made within a parallel programme of the 51st October Salon]

7.30pm

CULTURAL WORKER 3 in 1 / work in progress film projection+ discussion

[participant: Marta Popivoda]
9pm

THEORY – ART – ACTIVISM, HOW TO COME UP WITH A UNIQUE CULTURAL FRONT? / discussion

[participants: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderated by: Vladimir Jerić]

Saturday, March 3rd

11am – 2pm

THE STATE OF AFFAIRS ON THE INDEPENDENT SCENES / working discussion, an update meeting of the participants of the regional independent scenes

[participants: all the participants of the meeting; moderated by: Iskra Gešoska, Marta Popivoda, Ana Vujanović

Regionalni susret aktera nezavisnih kulturno-umetničkih scena

[Svi programi odvijaju se u kulturnom centru Magacin u Kraljevića Marka, page
ukoliko nije drugačije naglašeno. Adresa je Kraljevića Marka 4, urologist
u pasažu]

(o^o) PROGRAM

četvrtak, 1. mart

18.00

okupljanje učesnika

19.00

PRIRUČNIK RAŠKOLOVANOG ZNANJA / pretstavljanje knjige + diskusija

[učesnice: Ana Vujanović, Iskra Gešoska]

20.30 – 22.00

SAMOOBRAZOVANJE – KAKO GA VIDI OBRAZOVANJE? / diskusija

[učesnici: Marina Gržinić, Jasna Koteska, Milena Dragićević-Šešić, Miško Šuvaković; moderira: Ana Vujanović]

petak, 2. mart

11.00 – 11.45

Sharp thoughts1 #1

ZAŠTO KAŽEŠ KOLEKTIVIZAM, A MISLIŠ KOLABORACIJA?

[učesnici: Tomislav Medak, Slavčo Dimitrov]

12.00 – 12.45

Sharp thoughts #2

DA LI NEZAVISNOJ SCENI TREBAJU STRATEGIJE ILI TAKTIKE?

[učesnice: Marijana Cvetković, Jelena Vesić]

13.00 – 14.30

VOĐENJE KROZ RADOVE RADNIH GRUPA RAŠKOLOVANOG ZNANJA

• ANTIŽARGON – IZDANJE U NASTAJANJU se predstavlja kroz instalaciju OTVORENA ŠTAMPARIJA

[Radna grupa Termini: Milena Bogavac, Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Milan

Marković, Katarina Popović, Biljana Tanurovska-Kjulavkovski, Ljiljana Tasić, Ivana Vaseva i Elena Veljanovska]

• DVD izdanje VIDEO POJMOVNIK UMETNOSTI I TEORIJE 20. VEKA Miška Šuvakovića

[Radna grupa Termini: Anđela Ćirović, Bojan Đorđev, Siniša Ilić, Dragana Jovović, Jelena Knežević, Katarina Popović i Ljiljana Tasić]

• MAPA TERMINA

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova i Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou]

• GRAD ZA BEOGRAD 2020.

[Radna grupa Kulturne politike nezavisnih scena (Beograd/Skoplje) u saradnji sa radnom grupom Re-haluciniranje konteksta (Pariz): Marijana Cvetković, Nevena Janković, Dragana Jovović, Marina Lauš, Tamara Bushtreska, Ksenija Čočkova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska i Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou]

• CEO SVET JE READY-MADE. SVA POLITIKA JE ARTIFICIJELNA. – NOTES,

THOUGHTS, CLIPS, AND TIPS

[Radna grupa Umetnost i/kao politika: Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić]

• RAŠKOLOVANA VIDEO UČIONICA

[Marta Popivoda u saradnji sa učesnicima Raškolovanog znanja Katarinom Petrović, Draganom Zarevskom, Marijanom Cvetković, Majom Marković, grupom Doplgenger, Anetom Stojnić, Nevenom Janković i Draganom Jovović]

19.30

KULTURNI RADNIK/CA 3 U 1 / projekcija work in progress verzije filma + diskusija

[učesnica: Marta Popivoda]

21.00

TEORIJA – UMETNIČKA PRAKSA – AKTIVIZAM, KAKO NAPRAVITI JEDINSTVEN

KULTURNI FRONT? / diskusija

[učesnici: Teodor Celakoski, Vida Knežević, Marko Miletić, Ana Vujanović; moderira: Vladimir Jerić]

23.00

(o^o) žurka u Kabinetu! / dj Dekadentna kod Kuće

[adresa: Rajićeva 14/6]

subota, 3. mart

11.00 – 14.00

STANJE STVARI NA NEZAVISNIM SCENAMA / radna diskusija, update sastanak aktera nezavisnih scena u Regiji

[učesnici: svi učesnici susreta; moderiraju: Iskra Gešoska, Marta Popivoda, Ana Vujanović]
WHAT? WHY? HOW?

The regional meeting of the actors of the independent cultural-artistic scenes, diabetes and Pregnancy
Deschooling Classroom, is held in the period between 1 – 3 March, 2012 in Belgrade. The meeting is envisioned as the finishing segment of the Deschooling Classroom project which has been carried out in the past three years (2009 – 2012) by TkH (Walking Theory), platform for performing arts theory and practice from Belgrade, and the organization Kontrapunkt, from Skopje. The project has brought together more than 70 participants from Serbia and Macedonia, and about 30 guests and collaborators from the ex-Yu region and beyond.

***

Deschooling Classroom is a cultural initiative which addresses the contemporary independent cultural-artistic scenes, researching, examining and offering alternatives to the hierarchical models of the traditional education, on one hand, while on the other, to the process of commodifying knowledge through the official educational system in the neoliberal “cognitive capitalism”. Practically speaking, it is an educational programme which is not based on a prearranged curriculum but consists of temporary working self-organized groups which manage their research and educational processes, making decisions regarding the content and facilitating horizontal production, exchange and distribution of knowledge.

The reason for contextualizing the project and concluding it in the form of discussions with colleagues from the region rather than indulging in self-congratulation, is to be traced back to our firm belief that Deschooling Classroom is neither a novel nor original project. On the contrary, we perceive it as a part of huge and long-lasting efforts made by the contemporary independent cultural workers in our society in order to ponder the role of art and culture in the nationalistic and/or neoliberal public spheres, in fostering cooperation among those interested in investing in the existing systems of culture, in challenging the conceptual and infrastructural setup of cultural institutions, and in creating new structures for independent and critically oriented cultural practices. We perceive our project as a laboratory for condensing and crystallizing the potential, the advantages, the obstacles, and the problems characteristic for the independent cultural-artistic scenes of the region in the first decade of the 21st century, to which the project and the working team also belong and share the aims and principles of collectivism, self-organization, and self-education.

Therefore, the aim of this meeting is to present the actors of the regional independent cultural-artistic scenes with the reflection and to offer them a platform for discussion and further examination of the wider questions posed or tested by the Deschooling Classroom project. Some of those issues are: collectivism, self-organization, self-management, contemporary art and education as public good, the possibility of creating new models of organization and infrastructures for independent and critical work on our scenes. The initial reflection of this kind has been made in the form of Deschooling Classroom Toolbook, edited by the project working team, and through the film Cultural Worker 3 in 1, touching upon the social role of independent scene and cultural workers, as well as upon the relationship between theory, artistic practice and activism in the region of Yugoslavia, which is directed by Marta Popivoda.

***

During the meeting, we will present the book, screen a work in progress film version, and organize discussions on the following topics:

· Self-education – as seen by education

· Collectivity? You mean collaboration

· Does independent scene need strategies or tactics?

· Theory – art practice – activism, how to come up with a unique cultural front?

Furthermore, we will organize an update meeting for the independent scenes’ participants, where we will have a chance to inform each other on the relevant issues we deal with on our scenes, and to articulate the circumstances, problems and solutions we still share.

Working language is English and all the regional languages which all the participants can use and understand.

SPEAKERS, MODERATORS AND PARTICIPANTS

Ana Vujanović and Marta Popivoda

(editors of regional meeting)

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