OHO Group, Seer Guids the Blind Men, 1970, part of a Group schooling in Čezsoča project, bw photo, courtesy Moderna galerija, Ljubljana
Constructing Utopia / Eastern European Avant-Gardes and Their Legacy
Museum of Modern Art plus Museum of Contemporary Art Metelkova, MG+MSUM
24—31 August 2018, Ljubljana, Slovenia
Moderna galerija Ljubljana is pleased to announce a summer school entitled Constructing Utopia / Eastern European Avant-Gardes and Their Legacy in August 2018.
Aimed at postgraduate students and art professionals interested in Eastern European art, the summer school offers courses on its museumisation, interpretation and presentation. The focus of the courses will be on different topics and characteristics of Eastern European avant-garde art, its influence on contemporary art in Eastern European countries, and the relationship between art and society in these countries during the 20th century.
The one-week summer school is taking place at the Museum of Contemporary Art Metelkova, which houses the first collection of Eastern European art Arteast 2000+. The Arteast 2000+ Collection includes works by such artists as Marina Abramović, Ilya Kabakov, Komar & Melamid, Neue Slowenische Kunst with the groups Laibach, Irwin, and the Scipion Nasice Sisters Theater, Mladen Stilinović, Kazimir Malevich from Belgrade, and others. In the more than seventeen years since the inception of this collection, Moderna galerija has staged some very consequential exhibitions in the frame of a series entitled Arteast 2000+ Exhibitions. We are currently planning another exhibition in the series, with the working title Yugoslav Avant-Gardes from the 1920s to the Early 1990s in Dialogue with Russian Avant-Gardes. In addition, the next edition of Moderna galerija’s Triennial U3 will be conceived around topics related to Eastern and Central European issues.
The summer school was conceived by Boris Groys, one of the most prominent theorists and curators of Eastern European, especially Russian art, a Global Distinguished Professor of Russian and Slavic Studies at New York University and Senior Research Fellow at the Karlsruhe University of Arts and Design in Karlsruhe, and Zdenka Badovinac, Director of Moderna galerija, curator, writer and initiator of the Arteast 2000+ Collection. The programme will consist of lectures delivered and workshops led by specialists on Eastern European art, with exclusive access to the Arteast 2000+ Collection. Also included in the programme will be visits to other collections in the region.
We will look at researching and presenting Eastern European art through its different shifts, in particular the shifts that happened after the October Revolution, after the Second World War, and after the collapse of the communist regimes. The lectures, field trips, studio visits, presentations, discussions and practical work will enable the participants to define or become more acquainted with their own field of interest and theoretical approach.
We will visit a number of spaces in Ljubljana, the city of Jožef Plečnik, and other cities in the region (such as Zagreb), ranging from museums, galleries, and foundations to alternative art spaces and artists’ studios, with some of the leading experts giving lectures and presentations.
The summer school will give participants an opportunity to meet and learn from some of the leading curators and theorists of Eastern European contemporary art and to be introduced to prominent artists and other professionals in the field. Our speakers include Zdenka Badovinac, Boris Buden, Keti Chukhrov, Eda Čufer, Branislav Dimitrijević, Mladen Dolar, Vít Havránek, Marko Jenko, Lev Kreft, Bojana Piškur, Arseny Zhilyaev.
The programme of courses will be published soon on our website. All the courses will be held in English.The summer school will take place at the Moderna galerija and the Museum of Contemporary Art Metelkova, Ljubljana, from 24 to 31 August 2018.
Participation fee is 270€ and includes all courses, museum visits, one excursion to Zagreb, lunches. The fee does not include accommodation, travel expenses, dinners and individually necessary materials. We can help you finding an accommodation in Ljubljana.
How to apply
The applications are now closed. We thank all the applicants for applying to the Summer School 2018. For more information please contact email@example.com (please add "Summer School 2018" to the e-mail subject title).
LIST OF TOPICS
Lecture: Alternative Models of Cultural Production
This lecture will follow up some issues developed around my exhibition The Site of Sustainability: Pavilions, Manifestos, and Crypts (the section of the exhibition Hello World – Revisions of a Collection in Hamburger Bahnhof, Berlin).
Eastern European post-war avant-gardes developed relatively autonomous modes of production. They achieved this by treating and presenting their own material production as art: the conditions of work were no longer viewed as something external, extrinsic, but were structured to form (part of) the work. In this way, art became its own condition of work, a locus of its own sustainability, of its own survival.
The site of post-war avant-garde art was thus not just a physical location, but extended to include everything that made this art art: the often collective production, discussions, behaviour, correspondence, and collective decision-making; the artist-run spaces, improvised exhibition venues in art supply stores and shop windows, basements, private apartments and studios, which were sometimes the only places where artists were able to show their works. City streets can also be included here, as well as the countryside, forests and fields. This art’s locus was also civil society, the collective habitus so typical of socialist countries. Another special locus of its sustainability was manifestos, samizdats, artist books, and journals. All this decentred art will be gathered in one place and presented in a pavilion.
Lecture: The Ruptures and Continuities between Avant-garde and Contemporaneity
The avant-gardes – both first and second – brought art to its zero condition, to its sublation. This self-destructive zeal re-instituted art practice as a conceptual work of mind, but also as a radical and revolutionary modes of socialisation. Contemporary art as the Institute of global contemporaneity hijacked the narratives and lexicons of revolutionary emancipation from both avant-gardes. However, it had to integrate them in various forms of neoliberal globalisation while speaking the language of revolutionary emancipation. This paradigm seems to have collapsed with the election of Donald Trump and the rise of numerous conservative governments all over the world. This deflates both the heritage of emancipation after 1968, as well as the narratives of the avant-garde(s), and raises the following questions: what was irreversibly unmonetisable in the avant-garde? Was the avant-garde a form of radical enlightenment or counter-enlightenment? Can global art's quasi-avant-garde social engagement be treated as progressive, and if not, why?
The workshop will deal with the concept of globality and contemporaneity in connection with surplus production in art.
Lecture: Play Within a Play: Institutional Critique in Late Socialist Yugoslavia
The NSK art collective, founded in 1984 in the former Yugoslavia, is known today mostly through the work of the music-art group Laibach and visual-art group Irwin, both of whom remain active. Much less is known about the third founding component of NSK – a short-lived but in its time most cohesive group known as the Scipio Nasica Sister’s Theatre (SNST). Its enigmatic status today is due largely to the fact that it predetermined and executed its own “self-abolishment”. The lecture will show how SNST’s operations during the critical years (1983/87) of the last decade of state socialism in Yugoslavia exposed various contradictory relations between the authority of the late Yugoslav Socialist Federation and its autonomous republics’ institutional apparatuses (such as national Theatres). By insisting that transnational “retro-avant-gardism” (or the revitalized spirit of the avant-garde), and not the romantic Germanic national culture model, would be the most appropriate cultural politic for a socialist state, SNST sought to usurp (using NSK’s common performative strategy of “over-identification) the Yugoslav state’s cultural ideology and impose itself as a transcendental, “real” socialist authority in its place.
Workshop: Silent Conversations
Miran Mohar (SNST’s stage designer), Dragan Živadinov (SNST’s director) and Eda Čufer (SNST’s dramaturge) in conversation about SNST’s production model. Documents from the productions will also be shown.
Lecture: Thinking by Cutting: Branko Vučićević and a Coy Recurrence of the Avant-garde
Branko Vučićević (1934-2016) is known for a number of film scripts for acclaimed Yugoslav films, including Innocence Unprotected, Early Works, and The Medusa Raft. However, the activity of this, the only associate of the Fluxus movement in Belgrade, has had many guises and consequences. Although generally overlooked in narratives on the neo-avant-garde art in the former Yugoslavia, or only narrowly considered within the history of cinematography, Vučićević remains a de-centred focal point for any study of the avant-garde modes of “art-thinking” within the Serbian and Yugoslav context – but a study which transcends a medium-specific historiography of art incompatible with such modes of artistic and social thinking.
Workshop: Innocence Unprotected
Film screening and the discussion on the montage practices of Dušan Makavejev and the future of editing in art. The workshop will also include clips for other films by Makavejev (such as WR and Sweet Movie) and will try to raise a discussion around the relation between montage and the critique of ideology. The workshop will be a follow-up to the foregoing lecture on Vučićević.
Lecture: Postmodern Irony and NSK
The concept of irony stretches back to Socratic irony in antiquity, it had its moment of glory with romantic irony (harshly criticized by Hegel and conceptually expounded by Kierkegaard), then it became one of the leading slogans of postmodernity. It seemed to provide the best antidote to the fatal seriousness of modernism. Yet NSK presented a gesture which went adamantly against the grain of irony, a gesture that was completely devoid of all irony and turned this into its defining feature. The lecture wants to explore the tension between the two and further reflect on the status of irony and its possible critical consequences.
Lecture: Subjective Organisations
Case Studies from East European Art History (Tamas St. Auby, Julius Koller, Stano Filko, Alex Mlynarčik, recent writings of Walter Benjamin and others)
The lecture will concentrate on several artists who lived between the 1960s and 1990s in Eastern Europe and made use of procedures known from the world of bureaucracy – the world of public organisations and institutions. It will speak about the authors who replaced, substituted or hid their identity and used instead that of an institution; they thus appeared in the name of an institution and subordinated their actions to its rules, and in this sense we can speak of “institutional production”; of institutions that already existed, of institutions founded as new, or of fictional institutions.
Workshop: Docu-fiction and Case Study of “Zastavka” (a filmic performance by Eric Baudelaire)
The workshop will start with a discussion around the film Anabase by Eric Baudelaire and on the topic of docu-fiction and other hybrid practices using documentary sources to construct an actual debate about the future. I would like to ask each participant to pick one case study (visual art, film documentary, docu-theatre …) and present a work that contains such a proposition.
Workshop: The Slovene Historical Avant-garde in the Permanent Collection of 20th Century Art at the Moderna Galerija, Ljubljana
The focus of the workshop will be the historical avant-garde in Slovenia in the 1920s, especially its reception and exhibition history during and after socialist Yugoslavia. One of the main talking points will be the interpretation of the so-called Trieste Constructivist Space, its newest or second reconstruction in Moderna galerija’s permanent exhibition. A group reading of two short texts about the constructivists from Trieste, written by Avgust Černigoj, the key protagonist of the Slovene historical avant-garde, will underline the importance of the role of the (written) word, as seen in the manifestos and avant-garde magazines of pre-WWII Yugoslavia.
Lecture: Politics of the Avant-garde in Central Europe
Avant-gardes were not the centre of the art world, and Central Europe was never the centre of Europe. However, avant-gardes from Central Europe were more than simply marginal, and they are still absent from the theories of the avant-gardes. Instead they are just added to and included in the notions produced from other, more central cases. This absence is gigantic, and to name just a few protagonists from the period between the two world wars: Karel Teige, Jaroslav Seifert, Tadeusz Kantor, Srečko Kosovel, August Černigoj, Lajos Kássak, Ljubomir Micić, and Marko Ristić. How do these avant-gardes fit into the dominant mapping which reflects them as Grenzräume, a transitory and borderline provisionality? This asks for examination of the politics of the avant-garde in Central Europe.
Workshop: Exercises in Collection (including a guided tour of the Arteast 2000+ exhibition at the Museum of Contemporary Art Metelkova)
In the workshop we will discuss the idea of a “collection”, focusing on the Moderna galerija's Arteast 2000+. Through the analysis of key texts related to the collection, various art works as well as contexts and concepts of previous Arteast 2000+ exhibitions, we will discern what it now means to have a collection of “Eastern European Art”. Is it possible to have a collection “exercised”, similar to Raymond Quennau’s Exercises in Style?
Lecture: (Post)-Avant-Gardist Art. Towards Museification of the Universe
The lecture is devoted to transformation of museum from late 19th century. to the first decade following the 1917 revolution. Zhilyaev’s interest starts from an understanding of the main artistic institutions in the philosophy of Russian cosmism. The doctrine considers museums as a platform for unification of science, art, school and church in a “common task”. The Soviet revolution brought other artists’ voices into the discussion. Some of them, like Kazimir Malevich, claimed to have destroyed the institution and burned art history. But many avant-gardists, such as constructivists and productivists, moved on from museums and by this act freed them. Former artistic institutions then started to act as artists themselves. Free from the dilemma of an urgent exit from art, Soviet museum workers opened up a new field of expression beyond the limitations of the past centuries and decades. A short period of experimentation with dialectic-materialistic exhibitions existed until the mid-1930s, when the wave of repressions swept the avant-garde institutions away. However, many previously unknown results of this period of experimentation have been resurrected in contemporary conceptual artistic and curatorial practices.
Workshop: Possibilities of Artistic Production After Social Revolution, After Victory over Death and the Radical Change of Sexual Relations.
ABOUT THE SPEAKERS
Zdenka Badovinac is a curator and writer, who has served as Director of the Moderna galerija since 1993 and of the Museum of Contemporary Art Metelkova in Ljubljana since 2011. She has curated numerous exhibitions presenting both Slovenian and international artists. She initiated the first collection of Eastern European art, Moderna galerija’s Arteast 2000+ Collection. She has been systematically dealing with the processes of redefining history and with the questions of different avant-garde traditions of contemporary art, first with the exhibition Body and the East – From the 1960s to the Present, staged in 1998 at Moderna galerija, Ljubljana. She was the Slovenian Commissioner at the Venice Biennale (1993–1997, 2005, 2017) and Austrian Commissioner at the São Paulo Biennial (2002). From 2011 to 2013 she served as president of CIMAM.
Her recent projects include: 1:1 Stopover co-produced by the Maska Institute at the Museum of Contemporary Art Metelkova, Ljubljana (2013); Grammar of Freedom / 5 Lessons: Works from Arteast 2000+ Collection, with Snejana Krasteva and Bojana Piškur, at the Garage Museum, Moscow (2015); NSK from Kapital to Capital. Neue Slowenische Kunst – an Event of the Final Decade of Yugoslavia at Moderna galerija, Ljubljana (2015); Low-Budget Utopias, with Bojana Piškur, at the Museum of Contemporary Art Metelkova, Ljubljana (2016); NSK from Kapital to Capital. Neue Slowenische Kunst – an Event of the Final Decade of Yugoslavia at Garage Museum of Contemporary Art, Moscow (2016) and at the Museo Reina Sofía Madrid (2017).
Boris Buden is a writer and cultural critic based in Berlin. He received his Ph.D. in cultural theory from Humboldt University in Berlin. In the 1990s, he was editor of the magazine Arkzin in Zagreb. His essays and articles cover the topics of philosophy, politics, cultural and art criticism. He has participated in various conferences and art projects in Western and Eastern Europe, Asia and USA, including Documenta XI. Buden is the author of Barikade Zagreb (1996/1997), Kaptolski Kolodvor, Belgrade (2001), Der Schacht von Babel, Berlin (2004), Zone des Übergangs, Frankfurt/Main (2009), Findet Europa, Wien (2015), etc.
Keti Chukhrov, Moscow-based art theorist and philosopher. Chukhrov holds a PhD in comparative literature and Doc. Habil. in philosophy. She is an associate professor in the Department of Cultural Studies at the Higher School of Economics in Moscow, and in 2012-2017 ran the Theory Department at the National Centre for Contemporary Art. She is currently a Marie Curie fellow at Wolverhampton University in the UK. Chukhrov has authored numerous texts on art theory, culture, politics, and philosophy, as well as the books To Be and to Perform. The Concept of “Theatre” in Philosophical Art Criticism (2011) and Pound & £ (1999), and two volumes of dramatic poetry, Just Humans (2010) and War of Quantities (2004).
Eda Čufer is a dramaturge, curator and writer. In 1984 she co-founded the art collective NSK based in Ljubljana, Slovenia. She has collaborated with many contemporary theater, dance and visual art groups including the Scipion Nasice Sisters Theater, the dance company En-Knap, the IRWIN group and Marko Peljhan’s Project Atol. Her recent writings are mainly concerned with the ideological dimensions of contemporary art and the relationship of political systems to art systems. These have appeared in magazines like Art Forum and Maska, and in books published by The Museum of Modern Art, MIT Press, Revolver, Afterall Books, Sternberg Press, Whitechapel Gallery, and the catalog of the 2009 Istanbul Biennial. She has curated exhibitions in Germany, Austria, and Italy, including In Search of Balkania, Balkan Visions, and Call Me Istanbul. She recently published a history of dance notation systems, and is now working on a new book project, Art as Mousetrap, with the support of a fellowship from the Arts Writers Grant Program of the Andy Warhol Foundation. Now living in the United States, she remains active with many art projects and groups in Europe.
Branislav Dimitrijević is Professor of the History and Theory of Art at the School for Art and Design in Belgrade. He has been active as a writer and curator, and his main research interests are in the fields of the visual arts, popular culture and film of socialist Yugoslavia. He also writes regularly on contemporary cultural, artistic and political issues in Serbia. His books include On Normality: Art in Serbia 1989-2001 (MSU/MOCA Belgrade, 2005), Against Art - Goran Djordjević, 1979-1985 (MSU/MOCA, Belgrade, 2014) and most recently, Potrošeni socijalizam (Fabrika knjiga, Belgrade, 2016). Dimitrijević holds an MA degree in the history and theory of art from the University of Kent, and received his PhD in cultural studies from the University of Arts in Belgrade for a thesis on the emergence of consumer culture in socialist Yugoslavia. For selected texts and his full CV, see: https://independent.academia.edu/BranislavDimitrijevic
Mladen Dolar is Professor and Senior Research Fellow at the Department of Philosophy, University of Ljubljana. His principal areas of research are psychoanalysis, modern French philosophy, German idealism and art theory. He has lectured extensively at universities in US and across Europe, he is the author of over hundred papers in scholarly journals and collective volumes. Apart from ten books in Slovene, his most notable book publications include A Voice and Nothing More (MIT 2006, translated into five languages) and Opera's Second Death (with Slavoj Žižek, Routledge 2001, also translated into several languages).
Vít Havránek is a curator and art organizer based in Prague. Since 2002 he has been working as a director of the contemporary art organization tranzit.cz (www.tranzit.org), that is constituted as a discursively oriented exhibition space with an international publishing program. He lectures on the history of exhibitions at NC State Prague. Havránek has also been invited to give guest talks on topics ranging from the history of 20th century East European art to issues related to curating at various institutions, such as MIT Boston, Amsterdam University, and Documenta 12, among others. He has curated and co-curated exhibitions at the constellations, such as the Jakarta Biennale 2017, Muzeum Sztuki Łodz, VOX Montréal, New Museum HUB New York, Steirischer Herbst, Graz, Manifesta 8 Murcia, Centro Monthermoso, Espace Electra Paris. Together with the artists, editors and JRP Ringier, Havránek has edited and co-edited several books and catalogues, including those on Eva Koťátková, H.U. Obrist, and Jan Mancuska, as well as the works Atlas to Transformation; Autobiographies; The Need to Document, Lanterna Magika; and action, word, movement, space. His texts have appeared in the books Invisible Adversaries, Green Room, Promesses du passé, and Voids: A Retrospective, as well as numerous art magazines.
Marko Jenko holds a PhD in art history and a degree in French language and literature. Until 2010 he worked as a PhD researcher at the Department of Art History at the Faculty of Arts, University of Ljubljana. Since December 2010 he has worked as a curator for Slovenian 20th century art at Moderna galerija (Museum of Modern Art, Ljubljana). In his theoretical work he focuses primarily on questions concerning the knot between art, art history, theoretical psychoanalysis and philosophy. He has translated works by Gérard Wajcman, Daniel Arasse, Jacques Lacan, Jacques Rancière, Gilles Deleuze, Jean Starobinski, David Freedberg, Monique David-Ménard and others into Slovenian.
Lev Kreft is a cultural worker, politician and university professor. Educated to become a philosopher, Kreft’s orientations are aesthetics and the philosophy of sport. In research he has dealt with the history of aesthetics, with the aesthetics of avant-gardes, as well as with Marxist aesthetics, Marxism and Marx. Next to those topics, he has published on post-modernism and cultural turns, on conflicting points of cultural history as well as on theories of contemporary art. His most recent books are Left Sky-Hook (2011), on the philosophy of sport, and Aestheticians Studio (2015). Somewhat retired, he lives and lectures in Ljubljana.
Bojana Piškur graduated in art history from the University of Ljubljana and received her Ph.D. at the Institute for Art History at the Charles University in Prague, the Czech Republic. She is a senior curator at the Moderna galerija in Ljubljana. Her research focuses on political issues and the way in which they relate to, or are manifested in, the field of art looking specifically at the regions of former Yugoslavia and Latin America. She has contributed to numerous publications and lectured extensively on topics such as post avant-gardes in former Yugoslavia, radical education, cultural politics in self-management, and the Non-Aligned Movement. She initiated Radical Education Collective in 2006 (active until 2014). Related exhibitions and projects include Glossary of Common Knowledge (with Zdenka Badovinac and Jesús Carrillo), MG Ljubljana in th frame of L'Internationale, 2013-2017; This is All Film. Experimental Film in Yugoslavia 1951–1991 (with Ana Janevski, Jurij Meden and Stevan Vuković), Moderna galerija Ljubljana, 2010; Museum of Affects (with Bartomeu Mari, Bart De Baere, Teresa Grandas and Leen de Backer), Museum of Contemporary Art Metelkova 2010, Politicization of Friendship, +MSUM Ljubljana, 2015, Grammar of Freedom / Five Lessons (with Zdenka Badovinac and Snejana Krasteva), Garage Museum of Contemporary Art, Moscow, 2015.
Arseny Zhilyaev is an artist based in Moscow and Venice. His projects examine the legacy of Soviet museology and museums based on the philosophy of Russian Cosmism, using exhibitions as a medium. The artist's works have been shown at biennales in Gwangju, Liverpool, Lyon and the Ljubljana Triennale, as well as at exhibitions at the Centre Pompidou, Palais de Tokyo, Paris; de Appel, Amsterdam; HKW, Berlin; Kadist Art Foundation, Paris and San Francisco; V-a-c Foundation, Moscow and Venice, among others. Zhilyaev graduated from the Philosophy Faculty of Voronezh State University, (2006); Moscow Institute of Contemporary Art (2008); and MA International Programs, Valand School of Fine Arts, Goteborg, Sweden (2010). Zhilyaev publishes articles in the journals e-flux, Idea, Moscow Art Magazine and others. He is an editor of the anthology Avant-Garde Museology (e-flux, University of Minnesota Press, V-a-c Press, 2015). Recent accolades include Russian awards in the sphere of contemporary art, and a nomination for the Visible Award in 2013.
* TIMETABLE_LECTURES & WORKSHOPS
Friday, 24 August 2018, Museum of Modern Art, MG+
Arrivals of the participants
20:00 welcome drink, Kavarna Moderna
(Moderna galerija reception will be open for registration from 16:00 until 22:00)
Saturday, 25 August 2018, Museum of Modern Art, MG+
9:30 - 10:00 coffee and late registrations
10:00 - 10:30 welcome by the organisers / introduction of the participants
10:30 - 11:30 keynote speech by Boris Buden
11:30 - 12:30 Alternative models of cultural production, lecture by Zdenka Badovinac
12:30 - 13:00 Q & A
13:00 - 14:00 lunch break
14:00 - 15:00 guided tour and presentation of the national collection by Marko Jenko
15:00 - 15.15 break
15:15-17:15 The Slovene historical avant-gard, workshop by Marko Jenko
Sunday, 26 August 2018
9:00 - 21:00 Excursion to Zagreb; visiting MSU (presentation of their collection display by the senior curator Tihomir Milovac), and other spaces for contemporary art
(detailed programme will be announced later)
Monday, 27 August 2018, Museum of Contemporary Art Metelkova, +MSUM
10:00 - 10:15 coffee
10: 15 - 11:15 Thinking by Cutting: Branko Vučićević and a Coy Recurrence of the Avantgarde, lecture by Branislav Dimitrijević
11:15 -11:30 break
11: 30 - 13:30 Innocence unprotected, workshop by Branislav Dimitrijević
13:30 - 14:30 lunch
14:30 - 15:30 The Ruptures and Continuities between Avant-garde and Contemporaneity, lecture by Keti Chukhrov
15:30 - 15: 45 break
15:45 - 17:45 workshop by Keti Chukhrov
18:00 - 20:00 parallel programme (visits of the Metelkova City & Rog old Factory)
Tuesday, 28 August 2018, Museum of Contemporary Art Metelkova, +MSUM
10:00 - 10:15 coffee
10: 15 - 11:15 Postmodern irony and NSK, lecture by Mladen Dolar
11:15-11: 45 Q & A
11: 45 - 12:45 Politics of the avant-garde in Central Europe, lecture by Lev Kreft
12: 45 - 13: 15 Q & A
13:15 - 14:15 lunch break
14:15 - 15:15 guided tour of the Arteast 2000+ collection display by Bojana Piškur
15:15 - 15:30 break
15:30 - 17:30 Exercises in Collection, workshop by Bojana Piškur
18:00 - 20:00 parallel programme Ljubljana exhibitions visits/meeting local curators (Mestna galerija, Škuc, DUM...)
Wednesday, 29 August 2018, Museum of Contemporary Art Metelkova, +MSUM
10:00 - 10:15 coffee
10: 15 - 11:15 Play Within a Play: Institutional Critique in Late Socialist Yugoslavia, lecture by Eda Čufer
11:15 -11:30 break
11: 30 - 13:30 Silent Conversations, workshop by Eda Čufer with Miran Mohar and Dragan Živadinov
13:30 - 14:30 lunch
Afternoon reserved for individual research
Thursday, 30 August 2018, Museum of Contemporary Art Metelkova, +MSUM
10:00 - 10:15 coffee
10: 15 - 11:15 (Post)-Avant-Gardist Art. Towards Museification of the Universe,
lecture by Arseny Zhilyaev
11:15 -11:30 break
11: 30 - 13:30 workshop by Arseny Zhilyaev
13:30 - 14:30 lunch
14:30 - 15:30 Subjective Organisations, lecture by Vit Havranek
15:30 - 15: 45 break
15:45 - 17:45 Docu-fiction and Case Study of „Zastavka“, workshop by Vit Havranek
18:00 - 20:00 parallel programme / visit of the Irwin group studio, Metelkova
Friday, 31 August 2018
10:00 - 10:15 coffee
10:15 - 12:15 feed back and presentations of the students
12: 45 - 13:45 lunch break
13: 45 - 15:00 wrap up / evaluation by Zdenka Badovinac and Boris Buden
18:00 farewell dinner
20:00 party at the Metelkova
* The program is liable to change. Any update will be published online.