Program 2022
SUMMER SCHOOL CURATING IN CONTEXT
STRUGA, NORTH MACEDONIA
29.08.2022 – 02.09.2022
Please find detailed information on the blog of the open course 2022 https://curatorialpracticeincontext2022.blogspot.com
- GENERAL INFORMATION
Summer School “Curating in Context”/ Intensive
week in Struga, North Macedonia (Aug. 29 – Sept. 2) is the first part
of the Freestanding Course, HT 2022/ Curatorial Practice and Context, 7.5
credits, HT 2022
The Course is created in four parts
and consists of lectures, seminars, mentor sessions and individual work:
Summer School “Curating in Context”/ Intensive
week in Struga, North Macedonia Aug. 29 – Sept. 2
Intensive week of lectures,
discussions, presentations and workshops.
“Composting” / online Oct.
3 – Oct. 7 – a process of developing, reshaping, reusing and
recycling curatorial knowledge and information.
Reading seminars, writing and group
discussions, through the logics of “The Compost”.
“Ethics and Politics of Production”/ online Nov.
7 – Nov. 11.
Lectures, presentations and
discussions on issues of policies, politics, organization, advocacy or how to
produce, advocate and initiate different models to present and articulate art
within a specific context.
Individual writing period Nov.
12 – Dec. 12.
Writing a proposal for a curatorial
project (mentoring sessions included)/ time for research and self-reflection.
Send written assignment to course leaders by Dec. 7, 2022.
End of Seminar/Examination /
online Dec. 13 -Dec. 16
Description of the Course Curatorial
Practice and Context, 7.5 credits, HT 2022:
The course deals with a broadened
perspective on curatorial and contextual practices in performing arts in
relation to sociopolitical, economic and cultural contexts. The course analyzes
the context in which art is produced and highlights curation in dialogue with
contemporary issues such as democracy, gender, feminism, ecology and human
rights. Furthermore, tools for critical and ethical reflection on curation are
introduced; to produce, advocate and initiate different models to present and
articulate art within a specific context. The course also offers the
opportunity to develop curatorial methods in relation to activism and
self-organization to rethink the curatorial practices of the performing arts.
Background:
The course is created as a result of
several outcomes of the project “Curating in Context”, including the
“International Summer School” and “Composting”, both dedicated to the
development of critical reflection on diverse sociopolitical and economic contexts,
related to curatorial approaches in contemporary (performing) arts.
Thematically, both are related to the question of the curatorial and its
extended understanding, which goes beyond black or white box presentation and
representation politics. They analyze the environment in which art is produced
and disseminated, and focus on the creation of knowledge and opportunities for
practitioners who want to pursue their career as curators, or expand their
artistic practice through a curatorial perspective, in the field of performing
arts and interdisciplinary.
Background of the International Summer
School “Curating in Context”:
This week in Struga is the third
edition of the International Summer School program that started as program of
the collaborative project “Curating in Context” (2019-2021) Erasmus+ supported
project, co-organized between two NGOs (Tanzfabrik Berlin and Lokomotiva
Skopje), and two Higher Education Institutions (Stockholm University of the
Arts and University of Zagreb). More info available at https://curatingincontext.com
International Summer School was one of
the outcomes, and was conceived in collaboration with the partners, co-curated
by Biljana Tanurovska–Kjulavkovski and Slavcho Dimitrov, and organized by
Lokomotiva.
This edition is co-curated by Biljana
Tanurovska–Kjulavkovski and Slavcho Dimitrov, in collaboration with the course
director Tove Salmgren, organized by Lokomotiva and SKH.
The first two editions were organized
remotely and this is the first ‘school’ live. More information on the previous
sessions available at https://www.lokomotiva.org.mk,
under the section Curating in Context.
This edition of the program on the
“International Summer School” as an integral part of the Freestanding
Course, recapitulates on the previous editions and offers critical
perspective on diverse cultural, sociopolitical and economic contexts, through
which we are (re)thinking the curatorial practices of contemporary (performing)
arts in relation to activism, self-organization and critical thinking.
The “School” discusses, reflects,
theorizes and practically views diverse practices as curatorial perspectives
based on (international) collaboration and goes beyond disciplinary
understanding of art production, offering new models of dissemination outside
of black or white box presentation and representation politics. Through the
program of the school we are trying to define labor aspects of curatorial practices,
viewing the curatorial as a process, or as ‘“modes of becoming” (O’Neill and
Wilson 2015), an open term that exists and develops in relation to other terms
and actions, and an environment in which art is produced and
disseminated.
Being aware that this term, or ways of
work related to it, has diverse meanings, this course will reflect on its
pluralities, enabling us to rethink them and understand how curatorial
strategies and practices can be activistic, socially aware, can relate art to
sociopolitical and economic domains and problems, create better conditions for
production and dissemination of art and critically position those processes and
art in public.
Course teaching methods:
The course will provide a
collaborative environment, enhance self-organized working modes and
peer-to-peer analyses, mentoring exchange and other approaches that would
enable fluidity of knowledge and its production through a process of
exchange.
Teachers: Sergej
Pristas, Tove Salmgren (TSa) Biljana Tanurovska-Kjulavkovski (BTKj),
Silke Bake (SBa), Una Bauer (UBa), Ana
Vujanovic (preliminary), Rok Vevar (RVe),
Marijana Cvetkovic (MCv), Danae
Theodoridou (DTh), Jasmna Založnik (JZa), Bojana Kunst (BKu), Slavcho Dimitrov
(SDi), Anna Efraimsson (AEf).
Course directors: Tove
Salmgren (TSa) Biljana Tanurovska-Kjulavkovski (BTKj)
_________________________________________________________________
Program 2022
SUMMER SCHOOL CURATING IN CONTEXT
STRUGA, NORTH MACEDONIA
29.08.2022 – 02.09.2022
PROGRAM
29.08. Monday
11.00- 12.15// Introduction and context presentation/ Brief introduction on
the course presentation of the SKH, OPEN course and presentation of the
participants by Tove Salmgren and Biljana Tanurovska-Kjulavkovski
Bio: Tove Salmgren works
as a dancer, choreographer, curator and educator. Since 2016 she leads,
together with the artist Kajsa Wadhia, Köttinspektionen Dans, an artist-driven
platform and place for experimental dance and choreography in Uppsala, Sweden.
As a choreographer, she explores shifted perspectives and reality, often
through tiny interventions, based on the interest in negotiating what art (and
non-art) can do and be as a place for the emancipatory unknown. Tove has over the
last decade been part of various artistic collaborations, such as “The Blob”
(initiated by Anna Efraimsson), a curatorial persona exercising and practicing
an institutional critique of art, knowledge and beyond, the curatorial
collaboration “We happen things” (with Manon Santkin and Moa Franzén) and since
2018, she forms, together with Moa Franzén and Kajsa Wadhia, a performance trio
which explores the voice as physical materiality and choreographic tool. Since
2017, she has been employed as a Lecturer in perfomative practices at SKH,
Stockholm University of the Arts.
Bio: Biljana Tanurovska–Kjulavkovski is a
curator, researcher and cultural producer, co-founder of Nomad Dance Academy
platform (NDA), Kino Kultura (KK) – project space, and program director of NGO
Lokomotiva, Skopje. She currently works on diverse activities as part of the
project (Non)Aligned Movements, including research and development of Archive
of Dance and Performance in North Macedonia; she is co-curator of the
International School “Curating in Context”, which became part of the course
“Curatorial practices and context” at the Stockholm University of Arts as of
2022, where she is a course co-leader; she is co-mentor of the Critical
Practice (made in Yu) program, co-researcher and co-curator of the exhibitions
“REALIZE! RESIST! REACT! Performance and Politics in the 1990s in the
Post-Yugoslav Context” in 2020 at the MOCAM Ljubljana and “Ecstatic Bodies:
Archive of Performative Queer Bodies in Macedonia” at the 2022 Skopje Pride
Weekend festival. She is a teacher and lecturer, and is the author and editor
of numerous articles, journals and the book “Modeling Art and Cultural
Institutions”. She holds a PhD from the Faculty of Drama Arts in Belgrade. In
2019, she won the ENCATC International Research Award on Cultural Policy and
Cultural Management for her doctoral thesis “Modeling Cultural and Art
Institutions”, and in 2021 she won the AICA Macedonia “Ladislav Barishic” Award
for the research “Political Performance as Extended Field in Macedonia in the
90s”.
12.30- 13.30// Lecture: Curatorial
Pluralities by Biljana Tanurovska-Kjulavkovski
Abstract: In this lecture I will give an overview of curatorial practice as one
that enables plurality of working modes, and which theorizes, problematizes, reflects
and identifies the curating and the curatorial as processes that are related to
specificities and problems in certain contexts. Through this perspective, whose
development I will analyze historically, we will try to identify how the
‘curatorial turn’, or how through the transformation of the ‘curating’ and
‘curatorial’ this practice entered/enters the field of performing arts.
Curatorial practice in this field is still undefined, uncertain, and not
institutionally established, thus can be understood as experimental, that works
on discovering and inventing new modes of working, and conditions for the
production and distribution of works of art. While experimenting, the
curatorial practice considers and elaborates critical positions and builds
models of curation as 1. Practice which reviews, determines and establishes 2.
Critical practice which projects a new horizon and new models and 3. Practice
in-between these two models. The one that interests us here is the second one,
or the one that recognizes, reflects, integrates and relates the artistic idea
that is mediated through the work of art, to artistic and theoretical currents
and sociopolitical contexts, and creates conditions towards its further
development and sharing. Such settings create an opportunity for a discursive
change that generates plurality of reformations of the institutional, festival
models and other formats of work, collaboration and display.
15.30-17.00// Lecture: Collaborative
Curating by Marijana Cvetkovic
Abstract: I will speak about collaborative curating as an approach to creation
of temporary cultural environments through negotiations and co-existence of
people, art works, affects, city and other elements of the specific context.
This approach comes from the genuine development of my practices of
collaboration in the region of post-Yugoslavia and the micro-collective memory
of Yugoslav political, economic and social organization called self-management.
In the specific context of performing arts, these forms of knowledge and bodily
experiences have been transgressed to the practices of collaborative curating.
I will present the case of the Kondenz Festival of contemporary dance and
performance in Belgrade, using “a few ‘c-terms’: collectivity, community,
criticality and conceptualization” (Cvejic 2005).
This case will allow us to understand the contextual forces that shape a
community which organically produces a collaborative mode of creating a
programme (festival or any other), and further reinforces the same community.
Here, collaborative curating is seen as knowledge production based on
multitudes of contextual interventions sourced from the real needs and
conditions of art workers.
Further reading:
Always contextualize. An exercise in curating performing arts, Ana Vujanovic,
Marijana Cvetkovic, Jelena Knezevic, Biljana Tanurovska-Kjulavkovski (eds.),
2022
Elke Van Campenhout, Curating as environ-mentalism, 2011/
https://bureaudespoir.org/2013/11/16/curating-as-environmentalism-2011/
Bojana Cvejic, Collectivity? You mean collaboration, 2005/
https://transversal.at/transversal/1204/cvejic/en
Bio: Marijana Cvetkovic completed
MA in Management in Culture and Cultural Policy at the University of Arts
Belgrade and University Lyon 2, France, and is currently PhD candidate at the
University of Arts Belgrade. She initiated and realised various programmes and
projects in the fields of cultural policy, international and Balkan cultural
cooperation, contemporary dance, visual arts and museum culture. She is also
co-founder of Station Service for contemporary dance, Nomad Dance Academy
(Balkan platform for the development of contemporary dance and performing
arts), Belgrade’s independent cultural centre Magacin, Association of
Independent Culture Scene of Serbia and Platform for the Commons “Zajedničko”.
She is a cultural activist on the independent cultural scenes in Belgrade and
Serbia.
Marijana previously worked at the University of Arts Belgrade (Head of
International Relations 2002-2010), Nomad Dance Academy (member of the
Coordination Office, 2006-2013) and the Museum of Contemporary Art Belgrade
(Strategic Development manager). Since 2009 she has been teaching at the UNESCO
Chair in Cultural Management and Cultural Policy at the University of Arts
Belgrade.
Marijana gives lectures and workshops on diverse topics related to
self-organization, independent cultural scene, contemporary dance, museum
development and networking. She has organised and curated international
conferences and exhibitions at Centre Georges Pompidou Paris, Museum of
Contemporary Art Belgrade, FLU Gallery at University of Arts Belgrade, BITEF
Festival, Kondenz Festival of Contemporary Dance and Performance and many
others. She has edited several books and published numerous articles in
magazines and edited books, in Serbo-Croatian, English, Italian, Polish,
German, Swedish and French.
In 2018 she received the Jelena Santic
Award “for consistency in her work and promotion of contemporary dance,
continuous advocacy for better working conditions in the field of culture, and
for the introduction of innovative practices for the youngest within the
project Generator.”
20.00//Informal meeting with Nomad
Dance Academy/ short presentation, discussion
More information available at
https://nomaddanceacadem y.org/nonaligned- movements/
30.08. Tuesday
11.00-12.30// Lecture: Policies and
Politics of Curating by Jasmina Založnik
Abstract: In this lecture, I will
first pay attention to Jacques Rancière’s readings and explanation of politics
and of the political, keeping in mind that the mentioned philosopher »does not
maintain a strict terminological distinction between politics (la politique)
and the political (la politique), he often distinguishes the latter as the
meeting ground between politics and the police.« Following Rancière’s thought,
I will tackle some of the crucial problems of processes of subjectivization
(according to Rancière also the essence of politics) today, thinking through
concrete curatorial procedures and strategies as possible and potential
navigation and tools in the post-factual, identity-driven and harshly
neoliberal society. The provided cases will arrive from my own experiential
field (festivals in which I was or am engaged: the City of Women festival,
Pleskavica and CoFestival) while unpacking some of the relevant concepts (vita
activa, public sphere, »public« time, community/communitas, notion of care,
etc.). Moreover, in order to do so, I will emphasise the work of the regional
performing arts theorists, including Bojana Kunst, Bojana Cvejić, Goran Sergej
Pristaš, Ana Vujanović, Slavcho Dimitrov, Rok Vevar etc.
Bio: Dr. Jasmina Založnik is
active in the dance field as dramaturge, dance theorist, publicist and
producer. Her primary focus is contemporary dance that she researches through
the lens of philosophy and history. She regularly publishes articles locally
and internationally, edits thematic journals and curates dance festivals and
wide range of discursive programmes.
She is an active member of Nomad Dance Academy Slovenija, regional network
Nomad Dance Academy, City of Women association and a member of the Association
of Theatre Critics and Researchers of Slovenia and The Contemporary Dance
Association Slovenia.
She has edited a number of art catalogues and journals’ special issues. She is
an occasional contributor to journals and magazines; writing reflections,
portraits and in-dept analyses on various topics of her interests.
As curator, she is cofounder and cocurator of CoFestival, an international
dance festival in Ljubljana; initiated and worked as programme director of Performa&Platforma
festival, Maribor (2014-2019) and had co-curator number of radioCona editions
as well as smaller programme lines on various occasion.
As dramaturge she is collaborating in research processes with artists,
including Ivan Mijacević, tandem Dragičević & Sonderkemp, tandem Williem
& Groener, Kai Stoeger, Alexandra Baybutt, Esta Matković, Sinja Ožbolt, Ana
Romih, Beno Novak, Mojca Kasjak, Ajda Tomazin, Rok Kravanja, Daniel Petković,
Saška Rakef etc. Her stage work included I am Now … Infinity (2020), I Stutter
with Joy (2017) (both in collaboration with Darko Dragičević) and ABCDE_F in
collaboration with Saška Rakef (2015), where she transformed some of the most
burning questions into poetic performances.
In 2015 she received Ksenija Hribar Award for dance in the category
criticism/dramaturgy/theory.
12.45. -14.00// Lecture: The Temporary
Slovenian Dance Archive: Approaches to archiving contemporary dance between
detective, archaeological and forensic approaches by Rok Vevar
Abstract: Archiving and historicizing
ephemeral artistic practices that generate their products through practices,
skills, actions and conceptualizations of the human body is a particular
challenge, as this kind of work is more or less inaccessible to its object of
research. These are, so to speak, the proverbial problems concerning the
archiving and historicizing of the entire spectrum of the so-called performing
arts. In my contribution, I will draw on my own experience and methods of
archiving and historicizing contemporary dance and performing arts to present
some of my starting points for the reconstruction of individual contemporary
dance events and, at the same time, of that which, with its various
informational traces, functions in this kind of work as a contextual “notation
of dance”, the missing event. This kind of work is (partly figuratively, but in
some cases also literally) a combination of detective, archaeological and
forensic methods. A cross-examination of the multitude of material and
immaterial forms of traces that the contemporary dance practice and its events
leave behind. The historiographical reconstruction of contemporary dance events
is – in the terminology of structural linguistics – made possible by
reconfiguring contexts as precisely as possible, and by gradually moving
towards particularised texts, which are always marked (with greater or lesser
informational scope) by their fundamental reconstructive de cit. The
contemporary notion of dance work, which by no means is merely event products
in the form of performances or site-specific /in situ events, but a whole
series of production processes, is very helpful in this respect. However, the
history of contemporary dance and performing arts is a series of professional
and methodological speculations. Their archiving is an “exhibition” of more or
less exhaustive or eloquent traces, documentation in a wide variety of media.
In this kind of work, a series of meta-objects emerge in cross-examinations,
which are not event-objects of the contemporary art work (performance), but
witnesses to the culture produced by this kind of art, while at the same time,
in individual cases, different contextual traces allow the actual contemporary
dance present to emerge in a moment before us as a trace that we were looking for
in the past only a moment before. No archival document is superfluous for this
to happen.
Bio: Rok Vevar graduated
from the Department of Comparative Literarture and Literary Theory at the
Faculty of Philosophy in Ljubljana. In the 1990s he attended the Theatre and
Puppetry School – Cosmopolitan art workshop (GILŠ KODUM) at the then called,
ZKOS (Zveza kulturnih organizacij Slovenije – Union of Cultural Organizations
of Slovenia). He is a publicist in the field of contemporary performing arts,
and a historian and archivist of contemporary dance. He has published articles
and reviews in a number of daily newspapers (Delo, Finance, Večer), in
professional journals (Maska, Frakcija), as well as in Slovenian and foreign
periodicals. As dramaturg, he has collaborated with artists from the field of
contemporary dance and theatre (Sinja Ožbolt, Jana Menger, Goran Bogdanovski,
Andreja Rauch Pozdravnik, Snježana Premuš, Kaja Lorenci, Dejan Srhoj, Oliver
Frljić, Ana Vujanović, Saša Asentić). Together with Simona Semenič, he has
created three plays: Polna pest praznih rok (Fistful of Empty Hands), 2001,
Solo brez talona (Solo Without Talons), 2003, and Kartografija celovečernih
slik (Cartography of Full-Length Images), 2005. In the frame of the network of
festivals FIT (Poland, Finland, Slovakia, Slovenia), as well as at
international festivals (Bulgaria, Latvia, Croatia), he taught young critics,
dance dramaturgs, and publicists. At the AGRFT academy (Academy of Theatre,
Film and Television) in Ljubljana he taught history, dramaturgy, analysis,
theory of contemporary dance, as well as theatre criticism. Since 2010, he is
an active member of the Balkan network for dance, Nomad Dance Academy, and its
various artistic, educational, and production programs. As part of the Nomad
Dance Institute project he initiated the archiving and historization of
choreographic practices in the region, and published the findings of this
research in two issues of the journal Maska (Premiki sodobnega plesa
II/Movements in Contemporary Dance II, Avtonomija plesu/Autonomy to Dance). In
2012 he established the Temporary Slovenian Dance Archives in his own
apartment, moving it to MSUM (Museum of Contemporary Art Metelkova) in
Ljubljana in April 2018. He has also presented his archive at Harvard University,
USA. He founded and co-curated with Sinja Ožbolt the festival Ukrep, which was
a festival for perspectives in dance in Ljubljana at PTL (Dance Theatre of
Ljubljana), from 2008-2010. Since 2012 he co-curates the international dance
festival CoFestival (Nomad Dance Academy Slovenija, Kino Šiška). A selection of
his reviews and articles was published in the book Rok za oddajo (Deadline), in
2011, and in 2018 edited of the book Dan, noč + človek = Ritem: Antologija
slovenske sodobnoplesne publicistike 1918–1960 (Day, night + man = Rhythm: An
Anthology of Contemporary Slovene Journalism 1918-1960), for which he sellected
materials and wrote accompanying texts. In 2020, his new monograph Ksenija,
Xenia: Londonska plesna leta Ksenije Hribar 1960–1978 (Ksenija, Xenia: The
London Dance Years of Ksenija Hribar 1960-1978). In 2019, he received the
Ksenija Hribar Award for his work, and in 2020, the Vladimir Kralj Award for
achievement in the field of theatre criticism and theatre studies for the
period 2018-2019. In 2020, as co-curator, he participated in the exhibitions
Autography, Uncanniness, Rebellion: the Photography of Božidar Dolenc and
REALIZE! RESIST! REACT! Performance and Politics in the 1990s in the
Post-Yugoslav Context at the Museum of Contemporary Art Metelkova. In the
academic years 2020/21 and 2021/2022 he taught at the Anton Bruckner University
(Anton Bruckner Privatuniversität) in Linz, Austria, at the Department of
Contemporary Dance and Movement Research. He was a member of several expert panels
(Ministry of Culture of the Republic of Slovenia, Municipality of Maribor) and
juries (Maribor Theatre Festival, Gibanica). He is self-employed in the field
of culture.
15.30-16.30// Workshop: Trans
Practices for Everyday Life by elena rose light
Abstract: I will facilitate a participatory workshop inspired by my recent
project, “Trans Practices for Everyday Life,” developed in collaboration with
six other trans and nonbinary people. As nonbinary and trans people, we wake up
everyday ready to thwart reality, choosing to shape our bodies and identities
through self-determined improvisation—even in the face of systems that threaten
to pathologize or erase us. In this workshop, I will share our collected
strategies with participants of all gender identities and lived experiences.
Participants will work individually and collectively to develop physical
practices out of their unique daily routines and experiences of embodied joy.
We will write, talk, move, sing. We will choreograph our own existence, deciding
how, where, and when we want to be witnessed.
Bio: elena rose light (they/them)
is a choreographer, performer, and writer originally from Southern California
(Micqanaqa’n) currently living and working in Berlin, Germany. Their creative
practice is rooted in the potential of antiracist, queer, and non-binary
somatics to reorganize systems of thought and social codes. elena received a BA
with honors in French and art history from Yale University, and is currently
finishing an MA in Choreography and Performance at the ATW Institut Giessen.
16.30-17.30// Workshop/Discussion:
Accessibility and Accountability as Generative Practice by Frida Laux
Abstract: In a common inquiry of what we need if we choose a kinder way of
making it possible for each other, this practice-sharing invites us to feel out
ways of relating across differences. Scarcity and the accompanying lack of
access have their origins in the extractivist acting and unjust distribution of
resources. While exhaustion has become the new normal, the pressure for
productivity remains unabated. Which accesses have we lost? And which ones do
we need? How do we learn to deal more respectfully with the vulnerabilities of
bodies and land? By touch and text, we will take a small dive into exploring
the technologies of our togetherness.
Bio: Frida Laux works
as artist, organizer, mediator in the field of the performing arts. Through
engaging in different collective and (con)textual practices, she investigates
together with human and more than human collaborators how we can become a wider
ecology of knowledge. She researches Accessibility and Accountability as
relational and generative practices and is involved in the organization of the
Performing Arts Forum in St. Erme (France) as a side of experimenting with structures
of selforganisation. She holds an MA in Choreography and Performance from the
Institute of Applied Theatre Science in Gießen and is alumni of the German
National Academic Foundation. Her collaborative works have been invited and
shown at festivals and venues such as Künstler*innenhaus Mousonturm Frankfurt,
Teatro Il Lavatoio Santarcangelo, Dance in Response Hamburg, Queer Zagreb
Festival, MOT Festival Skopje, Act Festival Bulgaria, Hessische Theatertage,
Cabaret Voltaire Zurich, Festival Implantieren Frankfurt.
31.08. Wednesday
11.00- 12.30 // Discussion led by
Critical practice group
More information available at https://criticalpractice-
madeinyu.dancestation.org/ about/
Reading: https://criticalpractice- madeinyu.dancestation.org/ 2022/06/20/beyond-
present-future-feminisms/
13.00- 14.30// Discussion with the
local independent artistic and cultural scene in Struga moderated by Kristina
Todoroska–Petreska
International Poetry Festival: Struga Poetry Evenings https://svp.org.mk/en/
Independent scene:
INKA/INCA – Initiative for Independent Cultural Activism was
established in 2013. Since then, until 2018, they produced the DrimON festival
for processing culture, one of the most remarkable events in the latest
independent festival production, significant for its attempt to address the
need for better conditions and financing of the independent scene aside from
the capital city. Involved in different cultural projects nationally and
regionally, INCA today works on establishing conditions and opportunities for
residencies and residence production, especially in the fields of visual arts,
dramaturgy and literature, as well as interdisciplinary practices.
https://www.facebook.com/inkastruga
and festival portfolio (can be sent to those interested)
Drim Short
https://www.drimshortfestival.mk/
Atelier Kandilka is
the workspace of Milko Nestoroski, a visual artist from Struga, where he
creates and teaches art classes for children. During the covid pandemic, the
studio grew into a gathering place for artists and youth from the city. In an
environment filled with works of art, these gatherings inevitably took on a
slightly different character. A space was created that offered suitable
conditions for developing creative thought, exchanging ideas and knowledge
between artists from different disciplines, but also bringing art closer to
those who are not involved in it. Many collaborations, organization of events,
new approaches and content in cultural manifestations started to emerge from
here. The studio hosts gatherings that include presentations and discussions,
creative workshops, meditation, artist meetings, and is also a place for party
on weekends.
and local artists will present their works and working contexts.
Bio: Kristina Todoroska–Petreska is a
cultural producer and dramaturge. She is a cofounder of Association INCA
(Initiative for independent cultural activism) Struga, recognised by the
interdisciplinary Festival for cultural processing DriMON that had 6 editions
(2013-2018). In the frame of this 5days summer festival in Struga, Kristina is
one of the program authors/ producers. Since 2016, she is fully employed as
assistant dramaturge in Public Theatre Ohrid. In her previous freelance
experience she has been part of the production team and scriptwriter for Struga
Poetry Evenings, as well as leader/ trainer in numbers of community art
projects. She holds BA for Basic and comparative literature (2005).
She is Alumni of European diploma for project and cultural management
(2017-2018), Tandem for culture program (2019-2020), and also attended the
first edition of Curating in context – school (2020). She has also attended
many labs, trainings and workshops form art facilitation and art leadership,
based on performing disciplines and methodologies.
19.00- 21.00// Public Lecture:
Thinking and Making beyond the Project: Making temporal kinships by Bojana
Kunst
Bio: Bojana Kunst is a
philosopher, dramaturg and performance theoretician. She works as a professor
at the Institute for Applied Theater Studies in Justus Liebig University
Giessen, where she is leading an international master program Choreography and
Performance. She worked as a researcher at the University of Ljubljana and
University of Antwerp (till 2009), and later as a guest professor at the University
of Hamburg (2009 – 2012). She lectured and organized seminars, workshops and
laboratories in different academic institutions, theaters, artistic
organizations across Europe, and working with the artistic initiatives,
artists, groups and activists. Her research interest is contemporary
performance and dance, arts theory and philosophy of contemporary art. She
published Artist at Work, Proximity of Art and Capitalism, Zero Books,
Winchester, London, 2015, and The Life of Art. Transversal Lines of Care,
Ljubljana, 2021 (in Slovenian language).
01.09. Thursday
11.00- 13.30 and 15.00-16.30//
Workshop: PUBLICING: Curation as a Frame for Constructing Public Space and
Time, facilitated by Danae Theodoridou
Abstract: Through a series of
individual and group tasks made of moving, reading, writing, discussing,
questioning, designing and testing, this workshop will involve participants in
a critical process that aims to reflect on the relation between curatorial
practices and the emergence of social alternatives to capitalism. In this
frame, the design of a curatorial project will be approached as a frame for the
creation of social imaginaries different than the capitalist ones, through the
(re)construction of public space and “public time”.
The act of curating will, thus, be
worked as a practice that moves away from established norms and social habits.
Curation here will be seen as the crafting of social encounters that move away
from capitalist demands striving for the “groundbreaking” controllable,
popular, profitable, effective product, towards more caring, imaginative,
unknown directions.
Key terms in our exploration will be
the notions of “social imaginary” and “public time” (as discussed by C.
Castoriadis), “dramaturgy as a working on actions” and “publicing” (as
discussed in the books co-authored by the workshop’s facilitator) and
“commoning” (as a practice related to commons). Participants will be asked to
read in advance two texts related to such issues, which will be further
discussed in the workshop. In the same frame, participants will also be asked
to design and, at least partly, test different models for social exchange that
could act as artificial social imaginaries, through which they will attempt to
detect the processes and working principles involved in such acts.
Bio: Danae Theodoridou is a
performance maker and researcher based in Brussels. She studied literature and
linguistics in Aristotle University of Thessaloniki, and acting in the National
Theatre of Northern Greece. She completed her PhD on dramaturgy of contemporary
theatre and dance at Roehampton University in London. The last years, her
artistic work focuses on the notion of social imaginaries, the practice of
democracy, and the way art can contribute to the emergence of social and political
alternatives. At the same time, Danae teaches in Fontys University of Applied
Sciences (NL) and in Aristotle University of Thessaloniki (GR), curates
practice-led research projects, and presents and publishes her research work
internationally. She has been the co-creator of Dramaturgy at Work (2013-2016),
the co-author of The Practice of Dramaturgy: Working on Actions in Performance
(Valiz, 2017) and the author of PUBLICING: Practicing Democracy Through
Performance (Nissos, 2022). For more information: www.danaetheodoridou.com
Further reading: Theodoridou, Danae
(2022), Publicing: Practising Democracy Through Performance [book]. Athens:
Nissos, 36-39 & 72-86
https://thetheatretimes.com/dramaturgical-practice-some-thoughts-on-working-on-actions-in-performance/
02.09. Friday
11.00-12.30// Lecture: An-archic Bodies: The Political, the Performative and
Corporeality
Abstract: Presenting and discussing
how theoretical notions of political, body and queer are part of the curatorial
strategies of the Pride Weekend festival – queer arts & culture festival
which creates spaces of non-normative forms of worldmaking that have been
marked, by the heteronormative, nationalistic and neoliberal capitalist
context, as queer failures.
Bio: Slavcho Dimitrov had his Bachelor
degree in Comparative Literature at the St. Cyril and Methodius University. He
got his first Master’s degree in Gender Studies and Philosophy at the
Euro-Balkan Institute in Skopje, and his second Master’s degree from the
Department of Multidisciplinary Gender Studies at the Cambridge University.
Currently he is working on his doctoral thesis “An-archic Bodies: Corporeal
Materialism, Affects and the Political” at the Department for Transdisciplinary
Studies of Contemporary Arts and Media at the Faculty of Media and
Communications – SINGIDUNUM, Belgrade. He has worked as a teaching assistant at
the Department of Law and Political Sciences at FON University. He was also a
teaching assistant at the postgraduate Gender and Cultural Studies at the
Euro-Balkan University, and at the undergraduate and postgraduate studies at
the Faculty for Media and Communications – SINGIDUNUM, Belgrade, teaching
courses on Contemporary Cultural Theories, Critical Theory, Embodiment, Gender
and Culture, Queer Theory and others. He is the founder of the international
Summer School for Sexualities, Cultures and Politics in Belgrade, and is one of
founders of IPAK.Center – Research Center for Identities, Cultures and Politics
in Belgrade. Slavcho Dimitrov has curated several art and cultural projects,
and many conferences in North Macedonia. He has been curating for seven years
now the Skopje Pride Weekend, interdisciplinary queer arts, culture and theory
festival. Dimitrov has published many papers in the field of cultural studies,
political philosophy, performance studies, embodiment and affects, and queer
theory in regional and international journals and books. He is also the author
of the book Impossible Confession: Subjectivity, Power and Ethics (2014). In
his theoretical and research practice his focus is set on post-foundational
political philosophy, cultural, critical and gender and queer theory,
embodiment and affects, aesthetics, social choreography and performance
studies. In 2022 he conducted and published his collaborative research “The
Everyday and Emotional Life of Oppression” together with Ana Blazeva. He is a
recipient of AICA Macedonia – Ladislav Leshnikov Award – 2018 and the Igor
Zabel Award for Culture and Theory – Grant – 2020.
_________________________________________________________________
Program schedule
Summer School “Curating in Context”/
Intensive week in Struga, North Macedonia
Aug. 29 – Sept. 2. 2022
29.08
11.00-12.15
Introduction and context presentation/
Brief introduction on the course
presentation of the SKH, OPEN course and presentation of the participants
Tove Salmgren, Course director/
Lecturer from SKH;
Biljana Tanurovska-Kjulavkovski,
Course co-director/ Program director Lokomotiva, Skopje
12.30-13.30
Lecture: Curatorial Pluralities
Biljana Tanurovska-Kjulavkovski,
Course co-director/ Program director Lokomotiva, Skopje
15.30-17.00
Lecture: Collaborative Curating
Marijana Cvetkovic, Stanica – Service
for Contemporary Dance Belgrade, co-curator Kondenz Festival
20.00
Informal meeting with Nomad Dance
Academy/ short presentation, discussion and party
30.08.
11.00 – 12.30
Lecture: Policies and Politics of
Curating
Jasmina Založnik, dramaturge, dance
theorist, producer and co-curator NDA Slovenia, CoFestival, Ljubljana
12.45 -14.00
Lecture: The Temporary Slovenian Dance
Archive: Approaches to archiving contemporary dance
between detective, archaeological and
forensic approaches
Rok Vevar, theorist, dance historian,
archivist, Slovenian Dance Archive/Nomad Dance Academy, Slovenia/ CoFestival
Ljubljana
15.30-16.30
Workshop: Trans Practices for Everyday
Life (The Workshop)
еlena rosa light, choreographer,
performer, and writer
16.30-17.30
Discussion/workshop: Accessibility and
Accountability as Generative Practice
Frida Laux, artist, organizer,
mediator in the field of the performing arts
31.08.
11.00 – 12.30
Critical practice session
https://criticalpractice-
madeinyu.dancestation.org/ about/
13.00 – 14.30
Discussion with the local independent
artistic and cultural scene in Struga
Moderated by Kristina
Todoroska–Petreska
19.00 – 21.00
Public Lecture: Thinking and Making
beyond the Project: Making temporal kinships
Bojana Kunst, philosopher, dramaturg
and performance theoretician, and professor at the Institute for Applied
Theatre Studies, JLU Giessen
01.09.
11.00 – 13.30 and 15.00-16.30
Workshop PUBLICING: Curation as a
Frame for Constructing Public Space and Time
Danae Theodoridou, performance maker and
researcher
02.09
11.00 -12.30
Lecture: An-archic Bodies: The
Political, the Performative and Corporeality
Slavcho Dimitrov, theorist, curator
and activist/ co-curator of Summer School “Curating in Context”
12.30 -13.30
Presentation of the students sketched
curatorial idea/project
Moderated by Tove Salmgren, Biljana
Tanurovska-Kjulavkovski and Slavcho Dimitrov
15.30 -16.30
Presentation of the students sketched
curatorial idea/project and presentation of the course assignment
Moderated by Tove Salmgren and Biljana
Tanurovska-Kjulavkovski and Slavcho Dimitrov
17.30- 19.00
Group visit to Struga surroundings
*****
The school is part of the (Non)Aligned Movements project supported by the Creative Europe/European Cooperation Western Balkans program, Goethe-Institut Skopje, the Ministry of Culture of North Macedonia, and the Stockholm University of the Arts (SKH).
The (Non)Aligned Movements project is developed in partnership between STANICA Service for contemporary dance, Belgrade; Nomad Dance Academy Slovenia, Ljubljana; Nomad Dance Academy Bulgaria, Sofia; Tanzfabrik Berlin and LOKOMOTIVA Centre for new initiatives in art and culture, Skopje.
Lokomotiva team and collaborators of the school:
(Core team): Biljana Tanurovska-Kjulavkovski – programme director, Blagica Petrova – programme and financial manager, Zorica Zafirovska – programme and project coordinator, Gjurgjica Hristovska administrator;
(Collaborators): Kristina Todoroska-Petreska – local coordination and PR, Hristijan Tomanoski, Milko Nestoroski – local technical support and Aleksandra Nestoroska – photographer.
____________________________________________________
Curatorial
Practice Agenda 2022
Comments
Post a Comment