Education and Its Discontents
Part III: Education and Its Discontents
18th of October, from 5 pm - with Corina Lucia Apostol and Dmitry Vilensky (Chto Delat?)
tranzit.ro/ Bucureşti, Str. Gazelei nr. 44, sector 4
The conflicts and struggles in the field of creative education are at the core of determining what kind of subjectivities will shape the culture(s) of future generations. It is therefore very important to analyze what is currently at the stake in these specific fields of educational processes and how they are linked with what is happening outside academies and universities. We will discuss possible emancipatory approaches to education that are possible today, which resist pressing commercial demands for flexible and “creative” subjectivities. Can we imagine an alternative system of values based of a different meaning of progress? As part of the workshop we will also be screening the film “2+2 Practicing Godard” (2009) directed by Dmitry Vilensky, which tells the story of a police raid on an educational seminar in Nizhny Novgorod, Russia.
Dmitry Vilensky is an artist, writer, activist and founding member of Chto Delat?/What is to be done?, a platform initiated in 2003 by a collective of artists, critics, philosophers, and writers with the goal of merging political theory, art, and activism. Vilensky works mainly within a framework of interdisciplinary collective practices in film, photography, text, installation and interventions in the public sphere. He is also an editor of the Chto Delat? newspaper. Vilensky is one of the co-founders of ArtLeaks in 2011 and co-editor of the ArtLeaks Gazette. He lives and works in St. Petersburg.
The ArtLeaks workshops are free and open to the public.
For more information you can contact us at: firstname.lastname@example.org and email@example.com / phone: 031 482271.
The ArtLeaks Workshops take place in September and October 2013 in Bucharest.
In these workshops we analyze how cultural producers have organized in the past and the present to improve not only their living conditions, but also political, social, and economic frames at large. Moreover, we problematize the classification of cultural activity as labor, test the viability of “cultural producer” or “cultural worker” as a collective marker of subjectivity, and look at culture as a field of but not limited to labor practices that affect society.
Participants are encouraged throughout the workshops to imagine their own alternative models, list of demands, manifestos, ways in which artistic labor can be collectivized, new institutional models.