deschooling.classroom(o^o)

Icon

collective self-education in the arts and culture…

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.

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

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 »

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

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.

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

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 »

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

DVD izdanje :: VIDEO POJMOVNIK UMETNOSTI I TEORIJE XX VEKA, Miško Šuvaković

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)

ŠTA? ZAŠTO? KAKO?

Regionalni susret aktera nezavisnih kulturno-umetničkih scena Raškolovano znanje, information pills
održava se od 1. do 3. marta 2012. u Beogradu. Susret organizujemo kao završnicu projekta Raškolovano znanje (o^o): kolektivno samoobrazovanje u umetnosti i kulturi, koji su tokom prethodne tri godine (2009-2012) partnerski realizovale TkH [Teorija koja hoda], teorijsko-umetnička platforma iz Beograda i organizacija Kontrapunkt iz Skoplja, a koji je okupio preko 70 učesnika iz Srbije i Makedonije i oko 30 saradnika iz ex-Yu regije i šire.

* * *

Raškolovano znanje je kulturna inicijativa, koja je posvećena i bavi se savremenim nezavisnim kulturno-umetničkim scenama, istražujući, ispitujući i praktikujući alternative hijerarhijskim modelima tradicionalnog obrazovanja s jedne strane i komodifikaciji znanja kroz zvaničan obrazovani sistem u neoliberalnom „kognitivnom kapitalizmu“, s druge. Govoreći konkretno, to je obrazovni program bez unapred zadatog curriculuma, u kojem privremene radne grupe samoorganizuju svoje istraživačke i obrazovne procese i odlučuju o njegovom sadržaju, obezbeđujući time horizontalnu produkciju, razmenu i distribuciju znanja. Razlog da se projekat postavi kontekstualno i da se ne završi samočestitanjem već diskusijama sa kolegama iz regije, leži u uverenju našeg radnog tima da Raškolovano znanje nije ni jedinstven, niti naročito originalan projekt. Umesto toga, smatramo ga delom ogromnih i dugoročnih napora koje u novije vreme nezavisni kulturni radnici u našim društvima ulažu u promišljanje uloge savremene umetnosti i kulture u nacionalističkim i/ili neoliberalnim javnim sferama, u negovanje saradnje među onima koji bi intervenisali u postojeće kulturne sisteme, u izazivanje konceptualnih i infrastrukturnih postavki kulturnih institucija i u stvaranje novih struktura za podršku nezavisnim i kritičkim kulturnim praksama. Mi naš projekt shvatamo kao laboratoriju za kondenzaciju i kristalizaciju potencijala, prednosti, prepreka i problema katakterističnih za regionalne nezavisne kulturno-umetničke scene tokom prve decenije 21. veka, kojima projekt i njegov radni tim pripadaju i sa kojima delimo težnje i načela kolektivizma, samoorganizacije i samoobrazovanja.

Stoga, namera ovog susreta je da se akterima nezavisnih kulturno-umetničkih scena u regiji predstavi refleksija i ponudi platforma za diskusiju i dalje promišljanje širih pitanja koje je projekat Raškolovano znanje pokrenuo ili testirao.

U to spadaju pitanja: kolektivizma, samoorganizacije, samoupravljanja, savremene umetnosti i obrazovanja kao javnog dobra, kao i mogućnosti stvaranja novih organizacionih modela i infrastruktura za nezavistan i kritički rad na našim scenama. Polazna refleksija ove vrste urađena je kroz Priručnik Raškolovanog znanja, koju je uredio radni tim projekta, i kroz dokumentarni film Kulturni radnik/ca 3 u 1, o društvenoj ulozi aktuelne nezavisne scene i kulturnih radnika, kao i odnosu teorije, umetničke prakse i aktivizma na prostoru Jugoslavije, koji je režirala Marta Popivoda.

* * *

U okviru susreta ćemo predstaviti knjigu i prikazati work in progress verziju filma, kao i organizovati diskusije o temama:

· Samoobrazovanje – kako ga vidi obrazovanje?

· Zašto kažeš kolektivizam, a misliš kolaboracija?

· Da li nezavisnoj sceni trebaju strategije ili taktike?

· Teorija – umetnička praksa – aktivizam, kako napraviti jedinstven kulturni front?

Takođe, u okviru susreta organizovaćemo i update sastanak aktera nezavisnih scena, sa ciljem da se međusobno informisemo o aktuelnim dešavanjima na pojedinačnim scenama u regiji, kao i da artikulišemo šta su okolnosti, problemi i rešenja koje još uvek delimo.

Radni jezici susreta su engleski i svi regionalni jezici na kojima se prisutni mogu sporazumeti.

Ana Vujanović i Marta Popivoda

[urednice susreta, ispred radnog tima Raškolovanog znanja]

ŠTA? ZAŠTO? KAKO?

Regionalni susret aktera nezavisnih kulturno-umetničkih scena Raškolovano znanje, try
održava se od 1. do 3. marta 2012. u Beogradu. Susret organizujemo kao završnicu projekta Raškolovano znanje (o^o): kolektivno samoobrazovanje u umetnosti i kulturi, koji su tokom prethodne tri godine (2009-2012) partnerski realizovale TkH [Teorija koja hoda], teorijsko-umetnička platforma iz Beograda i organizacija Kontrapunkt iz Skoplja, a koji je okupio preko 70 učesnika iz Srbije i Makedonije i oko 30 saradnika iz ex-Yu regije i šire.

* * *

Raškolovano znanje je kulturna inicijativa, koja je posvećena i bavi se savremenim nezavisnim kulturno-umetničkim scenama, istražujući, ispitujući i praktikujući alternative hijerarhijskim modelima tradicionalnog obrazovanja s jedne strane i komodifikaciji znanja kroz zvaničan obrazovani sistem u neoliberalnom „kognitivnom kapitalizmu“, s druge. Govoreći konkretno, to je obrazovni program bez unapred zadatog curriculuma, u kojem privremene radne grupe samoorganizuju svoje istraživačke i obrazovne procese i odlučuju o njegovom sadržaju, obezbeđujući time horizontalnu produkciju, razmenu i distribuciju znanja. Razlog da se projekat postavi kontekstualno i da se ne završi samočestitanjem već diskusijama sa kolegama iz regije, leži u uverenju našeg radnog tima da Raškolovano znanje nije ni jedinstven, niti naročito originalan projekt. Umesto toga, smatramo ga delom ogromnih i dugoročnih napora koje u novije vreme nezavisni kulturni radnici u našim društvima ulažu u promišljanje uloge savremene umetnosti i kulture u nacionalističkim i/ili neoliberalnim javnim sferama, u negovanje saradnje među onima koji bi intervenisali u postojeće kulturne sisteme, u izazivanje konceptualnih i infrastrukturnih postavki kulturnih institucija i u stvaranje novih struktura za podršku nezavisnim i kritičkim kulturnim praksama. Mi naš projekt shvatamo kao laboratoriju za kondenzaciju i kristalizaciju potencijala, prednosti, prepreka i problema katakterističnih za regionalne nezavisne kulturno-umetničke scene tokom prve decenije 21. veka, kojima projekt i njegov radni tim pripadaju i sa kojima delimo težnje i načela kolektivizma, samoorganizacije i samoobrazovanja.

Stoga, namera ovog susreta je da se akterima nezavisnih kulturno-umetničkih scena u regiji predstavi refleksija i ponudi platforma za diskusiju i dalje promišljanje širih pitanja koje je projekat Raškolovano znanje pokrenuo ili testirao.

U to spadaju pitanja: kolektivizma, samoorganizacije, samoupravljanja, savremene umetnosti i obrazovanja kao javnog dobra, kao i mogućnosti stvaranja novih organizacionih modela i infrastruktura za nezavistan i kritički rad na našim scenama. Polazna refleksija ove vrste urađena je kroz Priručnik Raškolovanog znanja, koju je uredio radni tim projekta, i kroz dokumentarni film Kulturni radnik/ca 3 u 1, o društvenoj ulozi aktuelne nezavisne scene i kulturnih radnika, kao i odnosu teorije, umetničke prakse i aktivizma na prostoru Jugoslavije, koji je režirala Marta Popivoda.

* * *

U okviru susreta ćemo predstaviti knjigu i prikazati work in progress verziju filma, kao i organizovati diskusije o temama:

· Samoobrazovanje – kako ga vidi obrazovanje?

· Zašto kažeš kolektivizam, a misliš kolaboracija?

· Da li nezavisnoj sceni trebaju strategije ili taktike?

· Teorija – umetnička praksa – aktivizam, kako napraviti jedinstven kulturni front?

Takođe, u okviru susreta organizovaćemo i update sastanak aktera nezavisnih scena, sa ciljem da se međusobno informisemo o aktuelnim dešavanjima na pojedinačnim scenama u regiji, kao i da artikulišemo šta su okolnosti, problemi i rešenja koje još uvek delimo.

Radni jezici susreta su engleski i svi regionalni jezici na kojima se prisutni mogu sporazumeti.

Ana Vujanović i Marta Popivoda

[urednice susreta, ispred radnog tima Raškolovanog znanja]

ŠTA? ZAŠTO? KAKO?

Regionalni susret aktera nezavisnih kulturno-umetničkih scena Raškolovano znanje, help
održava se od 1. do 3. marta 2012. u Beogradu. Susret organizujemo kao završnicu projekta Raškolovano znanje (o^o): kolektivno samoobrazovanje u umetnosti i kulturi, and
koji su tokom prethodne tri godine (2009-2012) partnerski realizovale TkH [Teorija koja hoda], teorijsko-umetnička platforma iz Beograda i organizacija Kontrapunkt iz Skoplja, a koji je okupio preko 70 učesnika iz Srbije i Makedonije i oko 30 saradnika iz ex-Yu regije i šire.

* * *

Raškolovano znanje je kulturna inicijativa, koja je posvećena i bavi se savremenim nezavisnim kulturno-umetničkim scenama, istražujući, ispitujući i praktikujući alternative hijerarhijskim modelima tradicionalnog obrazovanja s jedne strane i komodifikaciji znanja kroz zvaničan obrazovani sistem u neoliberalnom „kognitivnom kapitalizmu“, s druge. Govoreći konkretno, to je obrazovni program bez unapred zadatog curriculuma, u kojem privremene radne grupe samoorganizuju svoje istraživačke i obrazovne procese i odlučuju o njegovom sadržaju, obezbeđujući time horizontalnu produkciju, razmenu i distribuciju znanja. Razlog da se projekat postavi kontekstualno i da se ne završi samočestitanjem već diskusijama sa kolegama iz regije, leži u uverenju našeg radnog tima da Raškolovano znanje nije ni jedinstven, niti naročito originalan projekt. Umesto toga, smatramo ga delom ogromnih i dugoročnih napora koje u novije vreme nezavisni kulturni radnici u našim društvima ulažu u promišljanje uloge savremene umetnosti i kulture u nacionalističkim i/ili neoliberalnim javnim sferama, u negovanje saradnje među onima koji bi intervenisali u postojeće kulturne sisteme, u izazivanje konceptualnih i infrastrukturnih postavki kulturnih institucija i u stvaranje novih struktura za podršku nezavisnim i kritičkim kulturnim praksama. Mi naš projekt shvatamo kao laboratoriju za kondenzaciju i kristalizaciju potencijala, prednosti, prepreka i problema katakterističnih za regionalne nezavisne kulturno-umetničke scene tokom prve decenije 21. veka, kojima projekt i njegov radni tim pripadaju i sa kojima delimo težnje i načela kolektivizma, samoorganizacije i samoobrazovanja.

Stoga, namera ovog susreta je da se akterima nezavisnih kulturno-umetničkih scena u regiji predstavi refleksija i ponudi platforma za diskusiju i dalje promišljanje širih pitanja koje je projekat Raškolovano znanje pokrenuo ili testirao.

U to spadaju pitanja: kolektivizma, samoorganizacije, samoupravljanja, savremene umetnosti i obrazovanja kao javnog dobra, kao i mogućnosti stvaranja novih organizacionih modela i infrastruktura za nezavistan i kritički rad na našim scenama. Polazna refleksija ove vrste urađena je kroz Priručnik Raškolovanog znanja, koju je uredio radni tim projekta, i kroz dokumentarni film Kulturni radnik/ca 3 u 1, o društvenoj ulozi aktuelne nezavisne scene i kulturnih radnika, kao i odnosu teorije, umetničke prakse i aktivizma na prostoru Jugoslavije, koji je režirala Marta Popivoda.

* * *

U okviru susreta ćemo predstaviti knjigu i prikazati work in progress verziju filma, kao i organizovati diskusije o temama:

· Samoobrazovanje – kako ga vidi obrazovanje?

· Zašto kažeš kolektivizam, a misliš kolaboracija?

· Da li nezavisnoj sceni trebaju strategije ili taktike?

· Teorija – umetnička praksa – aktivizam, kako napraviti jedinstven kulturni front?

Takođe, u okviru susreta organizovaćemo i update sastanak aktera nezavisnih scena, sa ciljem da se međusobno informisemo o aktuelnim dešavanjima na pojedinačnim scenama u regiji, kao i da artikulišemo šta su okolnosti, problemi i rešenja koje još uvek delimo.

Radni jezici susreta su engleski i svi regionalni jezici na kojima se prisutni mogu sporazumeti.

Ana Vujanović i Marta Popivoda

[urednice susreta, ispred radnog tima Raškolovanog znanja]

WHAT? WHY? HOW?

The regional meeting of the actors of the independent cultural-artistic scenes, obesity
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 Popivo

ŠTA? ZAŠTO? KAKO?

Regionalni susret aktera nezavisnih kulturno-umetničkih scena Raškolovano znanje, sickness
održava se od 1. do 3. marta 2012. u Beogradu. Susret organizujemo kao završnicu projekta Raškolovano znanje (o^o): kolektivno samoobrazovanje u umetnosti i kulturi, koji su tokom prethodne tri godine (2009-2012) partnerski realizovale TkH [Teorija koja hoda], teorijsko-umetnička platforma iz Beograda i organizacija Kontrapunkt iz Skoplja, a koji je okupio preko 70 učesnika iz Srbije i Makedonije i oko 30 saradnika iz ex-Yu regije i šire.

* * *

Raškolovano znanje je kulturna inicijativa, koja je posvećena i bavi se savremenim nezavisnim kulturno-umetničkim scenama, istražujući, ispitujući i praktikujući alternative hijerarhijskim modelima tradicionalnog obrazovanja s jedne strane i komodifikaciji znanja kroz zvaničan obrazovani sistem u neoliberalnom „kognitivnom kapitalizmu“, s druge. Govoreći konkretno, to je obrazovni program bez unapred zadatog curriculuma, u kojem privremene radne grupe samoorganizuju svoje istraživačke i obrazovne procese i odlučuju o njegovom sadržaju, obezbeđujući time horizontalnu produkciju, razmenu i distribuciju znanja. Razlog da se projekat postavi kontekstualno i da se ne završi samočestitanjem već diskusijama sa kolegama iz regije, leži u uverenju našeg radnog tima da Raškolovano znanje nije ni jedinstven, niti naročito originalan projekt. Umesto toga, smatramo ga delom ogromnih i dugoročnih napora koje u novije vreme nezavisni kulturni radnici u našim društvima ulažu u promišljanje uloge savremene umetnosti i kulture u nacionalističkim i/ili neoliberalnim javnim sferama, u negovanje saradnje među onima koji bi intervenisali u postojeće kulturne sisteme, u izazivanje konceptualnih i infrastrukturnih postavki kulturnih institucija i u stvaranje novih struktura za podršku nezavisnim i kritičkim kulturnim praksama. Mi naš projekt shvatamo kao laboratoriju za kondenzaciju i kristalizaciju potencijala, prednosti, prepreka i problema katakterističnih za regionalne nezavisne kulturno-umetničke scene tokom prve decenije 21. veka, kojima projekt i njegov radni tim pripadaju i sa kojima delimo težnje i načela kolektivizma, samoorganizacije i samoobrazovanja.

Stoga, namera ovog susreta je da se akterima nezavisnih kulturno-umetničkih scena u regiji predstavi refleksija i ponudi platforma za diskusiju i dalje promišljanje širih pitanja koje je projekat Raškolovano znanje pokrenuo ili testirao.

U to spadaju pitanja: kolektivizma, samoorganizacije, samoupravljanja, savremene umetnosti i obrazovanja kao javnog dobra, kao i mogućnosti stvaranja novih organizacionih modela i infrastruktura za nezavistan i kritički rad na našim scenama. Polazna refleksija ove vrste urađena je kroz Priručnik Raškolovanog znanja, koju je uredio radni tim projekta, i kroz dokumentarni film Kulturni radnik/ca 3 u 1, o društvenoj ulozi aktuelne nezavisne scene i kulturnih radnika, kao i odnosu teorije, umetničke prakse i aktivizma na prostoru Jugoslavije, koji je režirala Marta Popivoda.

* * *

U okviru susreta ćemo predstaviti knjigu i prikazati work in progress verziju filma, kao i organizovati diskusije o temama:

· Samoobrazovanje – kako ga vidi obrazovanje?

· Zašto kažeš kolektivizam, a misliš kolaboracija?

· Da li nezavisnoj sceni trebaju strategije ili taktike?

· Teorija – umetnička praksa – aktivizam, kako napraviti jedinstven kulturni front?

Takođe, u okviru susreta organizovaćemo i update sastanak aktera nezavisnih scena, sa ciljem da se međusobno informisemo o aktuelnim dešavanjima na pojedinačnim scenama u regiji, kao i da artikulišemo šta su okolnosti, problemi i rešenja koje još uvek delimo.

Radni jezici susreta su engleski i svi regionalni jezici na kojima se prisutni mogu sporazumeti.

Ana Vujanović i Marta Popivoda

[urednice susreta, ispred radnog tima Raškolovanog znanja]

Regionalni susret aktera nezavisnih kulturno-umetničkih scena

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

Read the rest of this entry »

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

DESCHOOLING VIDEO CLASSROOM

Common terms do not always imply common meanings: this cultural reality has become obvious after one year of discussions between members of TkH/Walking Theory and the team of Les Laboratoires d’Aubervilliers, medicine which crystallized during two exchanges between Belgrade and Ile-de-France in January and February 2011. Participants in the De-Schooling Classroom project from Serbia (Belgrade and Novi Sad) and Macedonia (Skopje) and participants in the Re-Hallucinating Contexts in Ile-de-France, urologist both initiated by TkH in order to address “cultural policies” in the “independent performing arts scene”, thus produced a map of comparative denitions of frequently used terms.

The terms were selected and dened by participants in the Re-Hallucinating Contexts workshops from Paris (Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou) and in the De-Schooling Classroom project from Belgrade (Marijana Cvetkovic), Novi Sad (Marina Laus) and Skopje (Tamara Bushtreska, Ksenija Cockova).

Download PDF, you will find the text on the pages 46/47.

http://www.howtodothingsbytheory.info
THE CITY FOR BELGRADE

CULTURAL POLICY GUIDELINES FOR

BELGRADE EUROPEAN

CAPITAL OF CULTURE 2020

This text is the collaborative result of a one‐week program of workshops, recipe
talks and discussions organized by Marta Popivoda and Ana Vujanovic
from TkH in Belgrade from January 24 to 31, visit web
2011 investigating cultural policies of the independent scene. It gathered participants in the Re‐
Hallucinating Contexts workshops from Paris (Virginie Bobin, Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou) and in the De‐Schooling Classroom project from Belgrade (Marijana Cvetkovic, Nevena Jankovic, Dragana Jovovic), Novi Sad (Marina Laus) and Skopje (Tamara Bushtreska, Ksenija Cockova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska).

Download PDF, you will find the text on the page 43.


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, pilule
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/.

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

TERMINOLOGY MAP

Common terms do not always imply common meanings: this cultural reality has become obvious after one year of discussions between members of TkH/Walking Theory and the team of Les Laboratoires d’Aubervilliers, buy information pills which crystallized during two exchanges between Belgrade and Ile-de-France in January and February 2011. Participants in the De-Schooling Classroom project from Serbia (Belgrade and Novi Sad) and Macedonia (Skopje) and participants in the Re-Hallucinating Contexts in Ile-de-France, what is ed both initiated by TkH in order to address “cultural policies” in the “independent performing arts scene”, sales thus produced a map of comparative denitions of frequently used terms.

The terms were selected and dened by participants in the Re-Hallucinating Contexts workshops from Paris (Virginie Bobin, Sabine Macher, Vanessa Theodoropoulou) and in the De-Schooling Classroom project from Belgrade (Marijana Cvetkovic), Novi Sad (Marina Laus) and Skopje (Tamara Bushtreska, Ksenija Cockova).

Download PDF, you will find the map on the pages 46/47.

http://www.howtodothingsbytheory.info

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

THE CITY FOR BELGRADE 2020

letnja-skola-09
PROGRAMME & SCHEDULE

16 AUGUST (SUNDAY)

19:00 Dinner

20:15 Introductory word: organisers

20:30 Opening lecture: Goran Stefanovski

17 AUGUST (MONDAY)

10:00 – 13:00 Presentations: participants
Moderator: Ana Vujanović
The session consists of 10-minute presentations of each participant of the School. It can include personal portfolio, pilule fields of interest, medical as well as proposals of possible programs the participants want to propose to the others during the School. All formats are possible, as well as video and audio media.

13:00-16:30 Lunch, leisure time

16:30-18:30 Presentations: participants
Moderator: Marta Popivoda

18:30-20:30 Dinner, break

20:30-22:00 “The biopolitical and necropolitical space of EU (2)”,
lecture and discussion: Marina Gržinić


18 AUGUST (TUESDAY)

10:00-13:00 “Where Do We Stand? De-Coloniality of Knowledge”,
workshop: Marina Gržinić

13:00-16:30 Launch, leisure time

16:30-19:00 Time and space for programs by the participants

19:00 Dinner, break

20:30 Evening events:
• 20:30-21:00 “Dictionary of self-education – 1. Deschooling”,
sharp thoughts: Ana Vujanović (with sparing partner – Marina Gržinić)
“Sharp thought” is meant as 30-minute format of public talk. It consists of short lecture / presentation of a concrete topic (in this case a concept from the dictionary) by a presenter, following with brief polemic with a sparing partner who contests it.
• 21:00… Film projection with discussion and/or other programs proposed by the participants…

19 AUGUST (WEDNESDAY)

10:00-11:30 “Self-organisation as method of art production”,
presentation/lecture and discussion: Dmitry Vilensky

11:30-13:00 Time and space for programs by the participants

13:00-16:00 Lunch, leisure time

16:00-19:00 “Self-organisation as method of art production”,
workshop: Dmitry Vilensky

19:00 Dinner, break

20:30 Evening events:
• 20:30-21:00 “Dictionary of self-education – 2. Post-pedagogy”,
sharp thoughts: Ana Vujanović (with a sparing partner, Jelena Vesić)
• 21:00… Film projection with discussion and/or other programs proposed by the participants…

20 AUGUST (THURSDAY)

10:30-12:00 “Where the Internet came from, and why this ship is full of ‘pirates’?”,
lecture and discussion: Vladimir Jeric Vlidi

12:00-13:00 Informal talk about the working groups of (o^o) 2009/10
Moderator: Iskra Geshoska
The participants of (o^o) project 2009/10 are supposed to express their fields of interest proposed as topics for possible working groups.

13:00-16:30 Lunch, leisure time

16:30-19:00 Time and space for programs by the participants

19:00 Dinner, break

20:30 Evening events:
• 20:30-21:00 “Dictionary of self-education – 3. Ignorant Schoolmaster”,
sharp thoughts: Ana Vujanović (with a sparing partner, Dmitry Vilensky)
• 21:00… Film and/or other programs proposed by the participants…


21 AUGUST (FRIDAY)

10:00-10:30 “Dictionary of self-education – 4. Critical pedagogy”,
sharp thoughts: Ana Vujanović (with a sparing partner, Iskra Geshoska)

10:45-13:00 „(o^o) working groups”, talks in groups
Moderator: a participant
The participants of (o^o) project 2009/10 will talk in smaller groups, according to the previously expressed interest, focusing concrete topics as well as formats of collaborative works during incubator and time-share campus…

13:00-16:30 Launch, leisure time

16:30-19:00 Time and space for programs by the participants

18:00-19:00 „(o^o) working groups”, talk with conclusions
Moderator: a participant
The session is dedicated to articulation of the working groups (o^o) project 2009/10, including fields of work and ways of collaboration. These conclusions are not final, as they will be presented to the other participants of the project who do not attend the School, but should be the basis of future work in the project.

19:00 Dinner… informal talks…

torbe-031

The summer school Deschooling Classroom is a consisting part of the three year project on collective self-education in the arts and culture Deschooling Classroom(o^o). The project is organised by TkH (Walking Theory) platform for performing arts theory and practice from Belgrade (http://tkh-generator.net) and the organization Kontrapunkt, discount from Skopje (http://kontrapunkt-mk.org), troche
with the financial support of the Swiss Cultural Programme in the Western Balkans.

TkH and Kontrapunkt announce the call for participation at the one-week Summer School Deschooling Classroom project for collective self-education. The Summer School programme comprises of different activities such as lectures, opisthorchiasis
workshops, seminar readings in groups, discussions, film projections, and other events related to the issues of self-education and self-organisation in the context of alternative education in arts and culture. The Summer School is aimed to students, cultural workers and emerging professionals in the fields of contemporary art and culture from Serbia and Macedonia and elsewhere.

Deschooling Classroom Summer School and the project in general address the contemporary independent cultural scenes in the region and aim to research and promote alternatives to the hierarchical models of education in the art and culture. The project moves away from the concepts of individual authorship and expertise and advocates open collective educational structures where self-organised communities facilitate horizontal production, exchange and distribution of knowledge.

The Summer School Structure

Besides the attendance at the open lectures, reading seminars, film projections and the other events that are carefully organised during the one-week programme to take place in Ohrid, Macedonia (16-22 August, Hotel Park), the participants will go through an intense process of collective self-education and simultaneously will develop collaborative cultural initiatives throughout the workshops of the working groups.

The programme activities were created according to the various themes and fields of interest of the participants in the one-year project such as: self-education and self-organisation in curating of visual and non-visual arts, interdisciplinary dramaturgy, free software and open source technology, etc.

According to this, the open programmes will be lead by various invited guests and collaborators, such as Marina Gržinić (SLO/A), Dmitry Vilensky (RU), Goran Stefanovski (MAC/GB), Vladimir Jerić (SRB), Ana Vujanović (SRB), as well as by the others involved in the project.

All open programme activities are in English language. The language of the events and meetings organised by and for the very participants depends on the structures of the participants involved (it can be English, Serbian, or Macedonian).

HOW TO APPLY

Both individuals and groups can apply.

Any discrimination on ethnic, gender, generational, sexual, religious, etc. basis is not accepted within this project.

Please send your application consisting of:

  • narrative biography (up to 500 words);
  • one page motivation letter, with indicates field of interest; and
  • your contact (email and cell phone).

To:

Deschooling Classroom :: dsc@tkh-generator.net

Deadline: August 10, 2009.

The decisions will be announced to the applicants by August 11, 2009.

Please note that anybody can apply to participate the Summer School. The participants of the one year project Deschooling Classroom are automatically involved in the School, and do not need to apply particularly for the Summer School. The applicants who want to take part only at the Summer School and did not apply or were not admitted during the open call for the one year project Deschooling Classroom, do not pay participation fee. They need to pay only 228 (for double room) or 252 € (for single room) that covers the accommodation and full board for six days in Hotel Park. The project team can organise their stay in Ohrid, together with the other participants.

For further information please visit: www.deschoolingclassroom.tkh-generator.net, or contact us at: dsc@tkh-generator.net

Contact person: Vladimir Jankovski ++ 389 75/441763
Cultural policy of the independent cultural scene:

  • Tamara Bušuterska (Тамара Буштерска)
  • Marijana Cvetković
  • Ksenija Čočkova (Ксенија Чочкова)
  • Biljana Dmitrova (Билјана Димитрова)
  • Nevena Janković
  • Marina Lauš

part-time:

  • Marija Bjekova (Марија Бјекова)
  • Ana Dubljević
  • Maja Marković
  • Martina Nikolovska (Мартина Николовска)
  • Lavinija Šuvaka (Лавинија Шувака)

Art and Activism:

  • Marko Aksentijević
  • Doplgenger kolektiv (jedno full time mesto)
  • Ivana Dragšić (Ивана Драгшиќ)
  • Andrija Filipović
  • Nita Muča (Nita Mucha)
  • Vladimir Palibrk
  • Dragana Zarevska (Драгана Заревска)

part-time:

  • Doplgenger kolektiv (jedno part time mesto)
  • Ivana Koraksić
  • Ivana Nelkovska (Ивана Нелковска)
  • Jovana Papović
  • Maja Pelević
  • Katarina Petrović
  • Hristina Stojčevska (Христина Стојчевска)
  • Jordan Tasevski (Јордан Тасевски)

Art and/as politics:

  • Ivica Antevski (Ивица Антевски)
  • Marko Djordjević
  • Ana Isaković
  • Kristofer Jovkovski (Кристофер Јовковски)
  • Vladimir Krstevski (Владимир Крстевски)
  • Aneta Stojnić

part-time:

  • Žarko Aleksić
  • Snežana Filipova (Снежана Филипова)
  • Sava Jokić
  • Mirjana Nedeva (Мирјана Недева)

Cultural policy of the independent cultural scene:

  • Tamara Bušuterska (Тамара Буштерска)
  • Marijana Cvetković
  • Ksenija Čočkova (Ксенија Чочкова)
  • Biljana Dmitrova (Билјана Димитрова)
  • Nevena Janković
  • Marina Lauš

part-time:

  • Marija Bjekova (Марија Бјекова)
  • Ana Dubljević
  • Maja Marković
  • Martina Nikolovska (Мартина Николовска)
  • Lavinija Šuvaka (Лавинија Шувака)

Art and Activism:

  • Marko Aksentijević
  • Doplgenger kolektiv (jedno full time mesto)
  • Ivana Dragšić (Ивана Драгшиќ)
  • Andrija Filipović
  • Nita Muča (Nita Mucha)
  • Vladimir Palibrk
  • Dragana Zarevska (Драгана Заревска)

part-time:

  • Doplgenger kolektiv (jedno part time mesto)
  • Ivana Koraksić
  • Ivana Nelkovska (Ивана Нелковска)
  • Jovana Papović
  • Maja Pelević
  • Katarina Petrović
  • Hristina Stojčevska (Христина Стојчевска)
  • Jordan Tasevski (Јордан Тасевски)

Umetnost i/kao politika (repolitizacija diskursa humanistike)

  • Ivica Antevski (Ивица Антевски)
  • Marko Djordjević
  • Ana Isaković
  • Kristofer Jovkovski (Кристофер Јовковски)
  • Vladimir Krstevski (Владимир Крстевски)
  • Aneta Stojnić

part-time:

  • Žarko Aleksić
  • Snežana Filipova (Снежана Филипова)
  • Sava Jokić
  • Mirjana Nedeva (Мирјана Недева)

Cultural policy of the independent cultural scene:

  • Tamara Bušuterska (Тамара Буштерска)
  • Marijana Cvetković
  • Ksenija Čočkova (Ксенија Чочкова)
  • Biljana Dmitrova (Билјана Димитрова)
  • Nevena Janković
  • Marina Lauš

part-time:

  • Marija Bjekova (Марија Бјекова)
  • Ana Dubljević
  • Maja Marković
  • Martina Nikolovska (Мартина Николовска)
  • Lavinija Šuvaka (Лавинија Шувака)

Art and Activism:

  • Marko Aksentijević
  • Doplgenger kolektiv (jedno full time mesto)
  • Ivana Dragšić (Ивана Драгшиќ)
  • Andrija Filipović
  • Nita Muča (Nita Mucha)
  • Vladimir Palibrk
  • Dragana Zarevska (Драгана Заревска)

part-time:

  • Doplgenger kolektiv (jedno part time mesto)
  • Ivana Koraksić
  • Ivana Nelkovska (Ивана Нелковска)
  • Jovana Papović
  • Maja Pelević
  • Katarina Petrović
  • Hristina Stojčevska (Христина Стојчевска)
  • Jordan Tasevski (Јордан Тасевски)

Art and/as politics:

  • Ivica Antevski (Ивица Антевски)
  • Marko Djordjević
  • Ana Isaković
  • Kristofer Jovkovski (Кристофер Јовковски)
  • Vladimir Krstevski (Владимир Крстевски)
  • Aneta Stojnić

part-time:

  • Žarko Aleksić
  • Snežana Filipova (Снежана Филипова)
  • Sava Jokić
  • Mirjana Nedeva (Мирјана Недева)

THE CITY FOR BELGRADE

CULTURAL POLICY GUIDELINES FOR

BELGRADE EUROPEAN

CAPITAL OF CULTURE 2020

This text is the collaborative result of a one‐week program of workshops, visit this site
talks and discussions organized by Marta Popivoda and Ana Vujanovic
from TkH in Belgrade from January 24 to 31, illness
2011 investigating cultural policies of the independent scene. It gathered participants in the Re‐
Hallucinating Contexts workshops from Paris (Virginie Bobin, case
Delphine Jonas, Sabine Macher, Nathalie Rias, Vanessa Theodoropoulou) and
in the De‐Schooling Classroom project from Belgrade (Marijana Cvetkovic, Nevena Jankovic, Dragana Jovovic), Novi Sad (Marina Laus) and Skopje (Tamara Bushtreska, Ksenija Cockova, Biljana Dimitrova, Wiebke Stadler, Jasmina Mitkovska).

Download PDF, you will find the text on the page 43.

http://www.howtodothingsbytheory.info

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

ANTIJARGON :: Publication in process / Open Printing House

Publication in process / Izdanje u nastajanju / Издание во создавање

Terms is a group that trough the process of self-education studies terms in the field of contemporary artistic, hepatitis theoretical, phlebologist cultural and educational practice from the perspective of practitioners active on the independent cultural scenes of Skopje and Belgrade. The aim of the group work was not to create yet another glossary, vocabulary or lexicon, but rather to establish a relational web of concepts in most frequent use. We either comprehend them differently or are, simply, unaware of the different readings according to one’s assumed theoretical (or ideological) position. Investigating the origin, epistemology and the politics of a term, we come to a non-implied, non-colloquial – anti-jargon term platform. By jargon we imply fast, specialized communication, with implied meaning but is actually completely empty. There is no implied meaning behind used terms, instead they only represent an affiliation to the moment, profession, ideology… This position is not a result of some kind of idealistic search for ‘authentic’, ‘original’ meaning of the word. On the contrary, it is a search to establish the term and the politicality of its use in the contextual, historically-materialistic sense. In addition, our intention is not only to detect and demonstrate the mechanism of jargon or to claim that we are excluded from it. The work on de-jargonisation we also view as affirmation of new terms. The new terms can be subjected to de-jargnisation as a prevention. In this publication we offer the registry as a format for de-jargonisation – it is a simple table that is also one of the algorithms for using this publication. Origin, history, utilization, references and ‘description’ are determined for terms used in this table. ‘Description’ can be a note, artistic statement, a list of other terms, or something close to a lexicon entry. The entries in the table link to texts in the publication and outside of it – and thus create relational network of terms and definitions, virtually unlimited hypertextual structure. Publication is open in content and structure, and its real purpose is achieved if the users – editors/authors/readers – continue to work on it: filling in, adding, reediting and using it. That’s why we leave the registry unfinished, demonstrating the possible ways and formats of its use, and invite you to cooperate with is on making it grow.

Open Printing House

Publication in Process is hardcopy version of a web site designated as an open online registry of terms and notions from the field of contemporary arts. This website is the result of 10 month process of self-education of our working group within Deschooling Classroom Project (o^o). Everyone interested can print their own copy of this publication from the www.antijargon.tkh-generator.net and re-organise it according to their own needs – re-edit it, shorten it or supplement it in a DIY manner, that in this case draws the sign of equal between the traditionally separate roles: user/reader= editor= publisher= author= printer. The print-run of this publication is indeterminate and unknown. It can be printed in an infinite number of copies, and every self-published copy can differ from the other. Through abolished pagination, there is no right order for reading this publication. The texts can be printed on their own or in combination with other texts, and they can also be read as single texts or in combination with other texts in any order. Therefore each text and the notion featured in it are separate units that can be placed within the issue arbitrarily. For easier assembly, within each text the numeration of its folio is kept. The layout is adapted to the printing on regular home or office printers on regular A4 paper. For easier printing and binding all the standard printers’ marks are kept. The easiest way to bind the publication is by perforating on the marked places and binding it in a A5 binder. Texts can also be bound with cord and covers of choice. All readers/editors/printers can design their own covers, and add other tects, empty pages for notes or illustrations of choice to the publication. The first issues will be printed and bound by members of the group terms, within the Open Printing House event, where all the others can see the process of printing and binding and make their own copies of publication on the spot.

http://www.antijargon.tkh-generator.net

http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/digg_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/reddit_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/stumbleupon_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/delicious_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/technorati_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/google_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/myspace_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/facebook_48.png http://www.deschoolingclassroom.tkh-generator.net/wp-content/plugins/sociofluid/images/twitter_48.png

Tag Cloud