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Ateliér bez vedoucího

Cooperation, Education, Critique – publication. January 2, 2017. TransArts platform on forms of teaching and learning, 12.-13. April 2016. June 11, 2016. How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? What is it not? What part does the (art) university play in society today? Where and when do we study? Who has access to the (art) university? And who does not? How is knowledg...

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Ateliér bez vedoucího | abv.451.cz Reviews

https://abv.451.cz

Cooperation, Education, Critique – publication. January 2, 2017. TransArts platform on forms of teaching and learning, 12.-13. April 2016. June 11, 2016. How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? What is it not? What part does the (art) university play in society today? Where and when do we study? Who has access to the (art) university? And who does not? How is knowledg...

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February | 2016 | Ateliér bez vedoucího

http://abv.451.cz/2016/02

Monthly Archives: February 2016. Marina Gržinić , 18.1 – 19.1. 2016. February 8, 2016. Jaké formy vzdoru mohou přežít /uvnitř akademie a ve veřejném prosto. U/ v globálním neoliberálním kapitalismu? Přednáška z oblasti teorie a umění. Https:/ cs-cz.facebook.com/events/1013111178730289/. Marina Grzinic, Ph.D. Je profesorkou na Akademii výtvarných umění ve Vídni a výzkumnou pracovnicí na FI SRC SASA (Institut filosofie vědeckého a výzkumného centra na Slovinské akademii věd a umění) v Lublani.

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Knihovna | Ateliér bez vedoucího

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Https:/ atelierbezpedagoga.capsa.cz. Cooperation, Education, Critique – publication. TransArts platform on forms of teaching and learning, 12.-13. April 2016. ROZHOVOR ABV PRO SOLIDARITU. ATHÉNY: SPOLUPRÁCE, EDUKACE, KRITIKA / ATHENS: Cooperation, Education, Critique. Marina Gržinić , 18.1 – 19.1. 2016. Proudly powered by WordPress.

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Uncategorized | Ateliér bez vedoucího

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Cooperation, Education, Critique – publication. January 2, 2017. TransArts platform on forms of teaching and learning, 12.-13. April 2016. June 11, 2016. How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? What is it not? What part does the (art) university play in society today? Where and when do we study? Who has access to the (art) university? And who does not? How is knowledg...

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Marina Gržinić , 18.1 – 19.1. 2016 | Ateliér bez vedoucího

http://abv.451.cz/2016/02/08/marina-grzinic-18-1-19-1-2016

Marina Gržinić , 18.1 – 19.1. 2016. February 8, 2016. Jaké formy vzdoru mohou přežít /uvnitř akademie a ve veřejném prosto. U/ v globálním neoliberálním kapitalismu? Světový kapitalismus se násilně zrychluje, lidé jsou deportováni, bída a utrpení dosahují svého vrcholu, instituce všech druhů se stávají selektivními, uzavřenými a ne otevřenými, kontrolujícími. Jaké umělecké návrhy a postoje můžeme přijmout, abychom dostály možnosti politické pozice v umění, kultuře a společnosti vůbec?

5

June | 2016 | Ateliér bez vedoucího

http://abv.451.cz/2016/06

Monthly Archives: June 2016. TransArts platform on forms of teaching and learning, 12.-13. April 2016. June 11, 2016. How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? What is it not? What part does the (art) university play in society today? Where and when do we study? Who has access to the (art) university? And who does not? What is taught at (art) universities? Source: http:...

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Ateliér bez vedoucího

Cooperation, Education, Critique – publication. January 2, 2017. TransArts platform on forms of teaching and learning, 12.-13. April 2016. June 11, 2016. How can such formats be reconsidered from the viewpoint of artistic practice? And which formats and approaches are being developed elsewhere, including outside academic contexts? What is it not? What part does the (art) university play in society today? Where and when do we study? Who has access to the (art) university? And who does not? How is knowledg...

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