11.09.2023 (18-20h) “Policies and Politics of Curating “ / Dr. Jasmina Založnik 

She is active in the field of dance as a playwright, dance theorist, publicist and producer. Her primary focus is contemporary dance, which she explores through the lens of philosophy and history. He regularly publishes domestic and foreign articles, edits thematic magazines, curates dance festivals and a wide range of discursive programs. She is an active member of Nomad Dance Academy Slovenia, the regional network of Nomad Dance Academy, the City of Women association and a member of the Society of Theater Critics and Researchers of Slovenia and the Society for Contemporary Dance of Slovenia. She edited a number of art catalogs and special magazine issues. She is an occasional contributor to various journals and magazines. He writes reflections, portraits and in-depth analyzes on various topics in his field of interest. She is the co-founder and co-curator of CoFestival, an international dance festival in Ljubljana; she started and works as the program director of the festival Performa&Platforma, Maribor (2014-2019) and is the co-curator of several editions of radioCon as well as smaller program lines on various occasions. As a playwright, she collaborates in research processes with artists including Ivan Mijačević, duo Dragičević & Sonderkemp, duo Williem & Groener, Kai Stoeger, Alexandra Baybutt, Esta Matković, Sinja Ožbolt, Ana Romih, Beno Novak, Mojca Kasjak, Ajda Tomazin, Rok Kravanja . Rakef (2015) where she translated some of the burning questions into poetic plays. In 2015, she received the Ksenija Hribar award for dance in the criticism/dramaturgy/theory category.

Summary: In this lecture, I will first pay attention to the readings and explanations of politics and political discourse by Jacques Rancière, bearing in mind that the aforementioned philosopher "does not maintain a strict terminological distinction between politics (la politique) and the political (la politique). The latter is often distinguished as the meeting place of politics and the police. Following Rancière's thought, I will deal with some of the key problems of the process of subjectivization (according to Rancière the essence of politics) today, reflecting on concrete curatorial practices and strategies as possible and potential navigation and tools in a post-factual, identity-driven and strongly neoliberal society. The proposed cases will come from my own field of experience (festivals at which I have been or am involved: Grad žena festival, Pleskavica and CoFestival) while I expose some of the relevant concepts (vita activa, public sphere, "public" time, community /communitas, the concept of care etc.). Moreover, in order to do so, I will highlight the work of regional theoreticians of performing arts, including Bojana Kunst, Bojana Cvejić, Goran Sergej Pristaš, Ana Vujanović, Slavcho Dimitrov, Rok Vevar, etc.

Aktivna je na polju plesa kao dramaturginja, teoretičarka plesa, publicistkinja i producentica. Primarni fokus joj je suvremeni ples koji istražuje kroz optiku filozofije i povijesti. Redovito objavljuje domaće i inozemne članke, uređuje tematske časopise,  kurira plesne festivale i široki spektar diskurzivnih programa.

Aktivna je članica Nomad Dance Academy Slovenija, regionalne mreže Nomad Dance Academy, udruge City of Women te članica Društva kazališnih kritičara i istraživača Slovenije i Društva za suvremeni ples Slovenije.

Uredila je niz umjetničkih kataloga i posebnih izdanja časopisa. Povremena je suradnica različitih časopisa i magazina. Piše promišljanja, portrete i produbljene analize o različitim temama iz područja interesa.

Suosnivačica je i kokustosica CoFestivala, međunarodnog plesnog festivala u Ljubljani; pokrenula je i radi kao programska direktorica festivala Performa&Platforma, Maribor (2014.-2019.) te je sukustosica više izdanja radioCona kao i manjih programskih linija u raznim prigodama.

Kao dramaturginja surađuje u istraživačkim procesima s umjetnicima među kojima su Ivan Mijačević, duo Dragičević & Sonderkemp, duo Williem & Groener, Kai Stoeger, Alexandra Baybutt, Esta Matković, Sinja Ožbolt, Ana Romih, Beno Novak, Mojca Kasjak, Ajda Tomazin, Rok Kravanja, Daniel Petković, Saška Rakef itd. Njezin scenski rad uključuje:  “Ja sam sad… beskraj” (2020.), “Mucam od radosti"(2017.) (oba u suradnji s Darkom Dragičevićem) i “ABCDE_F” u suradnji sa Saškom Rakef (2015.) gdje je neka od gorućih pitanja pretočila u poetske predstave.

2015. godine dobila je nagradu Ksenija Hribar za ples u kategoriji kritika/dramaturgija/teorija.

 Sažetak: U ovom predavanju najprije ću obratiti pažnju na čitanja i objašnjenja politike i političkog diskursa Jacquesa Rancièrea imajući na umu da spomenuti filozof »ne održava strogu terminološku razliku između politike (la politique) i političkog (la politique).  Potonju često razlikuje kao mjesto susreta politike i policije. Slijedeći Rancièreovu misao, pozabavit ću se s nekim od ključnih problema procesa subjektivizacije (prema Rancièreu biti politike) danas, promišljajući konkretne kustoske postupke i strategije kao moguću i potencijalnu navigaciju i alate u postčinjeničnom, identitetski vođenom i oštro neoliberalnom društvu. Predloženi slučajevi stizat će iz vlastitog iskustvenog polja (festivali na kojima sam bila ili jesam angažirana: festival Grad žena, Pleskavica i CoFestival)  dok razotkrivam neke od relevantnih pojmova (vita activa, javna sfera, »javno« vrijeme, zajednica /communitas, pojam skrbi itd.). Štoviše, da bih to učinila, istaknut ću rad regionalnih teoretičara izvedbenih umjetnosti među kojima su Bojana Kunst, Bojana Cvejić, Goran Sergej Pristaš, Ana Vujanović, Slavcho Dimitrov, Rok Vevar itd.

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12.09.2023 (10-12.30 p.m.) "Activating space through stage lighting" / Saša Fistrić is a shaper of light. He started working in the theater in 1995 at the Zagreb Youth Theatre, where he remained until 2005. Then he went to the Zagreb Puppet Theater where he collaborated with numerous directors and lighting designers. From ZKL, he moves to the Cultural Center Travno, where he works as deputy technical director, organizer and designer of light. In 2016, he became a member of the Croatian Association of Independent Artists. During her 26 years of work experience, Saša cooperates with many theater directors, choreographers, actors and dancers and gains valuable experience working on drama and dance performances. Since 2004, he has been working with numerous festivals as a technical director (Zagreb Queer Festival, Eurokaz, Perforations, San Vincenti Dance and Non-Verbal Theater Festival, Animafest, New Circus Festival). Since 2005, he has been a member of ULUPUH and the winner of numerous awards. As part of the creative team, he is the author of lighting design in many award-winning plays such as: "Staging a play: Glass menagerie" choreographed by Matija Ferlin, "From terror. From struggle. From pain. RASPLITANJE", directed by Marina Petković Liker, "Ms. Fox invited Mrs. Cat for tea and a chat one late afternoon last summer" by choreographers Silvija Marchig, Iva Nerina Sibila and Josip Maršić, "We are kings, not people" directed by Matija Ferlin, "Sad Sam Lucky", choreography by Matija Ferlin, "Plakir", directed by Joško Juvančić and lighting design of the album "Ruke" by Darko Rundek and Rundek Cargo Orchestra. Together with the dancer and choreographer Koraljka Begović, Saša creates their author's work REVERSING (proximity), which was selected for the selection of the Croatian Dance Network in 2019. ​ At the workshop, Saša will explain the basic terms related to stage lighting - especially for the basic conditions in which we often find ourselves, and the creativity that can occur with such conditions.

12.09.2023 (10-12.30h) “Aktiviranje prostora kroz scensku rasvjetu” / Saša Fistrić

je oblikovatelj svjetla. Kazališnim radom počeo se baviti 1995. g. u Zagrebačkom kazalištu mladih u kojem ostaje do 2005. godine. Tada odlazi u Zagrebačko kazalište lutaka u kojem je  surađivao s brojnim redateljima i oblikovateljima svjetla.  Iz ZKL-a prelazi u Kulturni centar Travno gdje radi kao zamjenik tehničkog direktora, organizator i oblikovatelj svjetla. 2016. godine postaje član Hrvatske zajednice samostalnih umjetnika. Tijekom 26 godina radnog iskustva Saša surađuje s mnogim kazališnim redateljima, koreografima, glumcima i plesačima te stječe cijenjeno iskustvo radeći na dramskim i plesnim predstavama.

Od 2004. godine surađuje s brojnim festivalima kao tehnički direktor (Zagreb Queer festival, Eurokaz, Perforacije, Festival plesa i neverbalnog kazališta San Vincenti, Animafest, Festival novog cirkusa). Od 2005. godine član je ULUPUH-a te dobitnik brojnih nagrada. Kao dio kreativnog tima autor je dizajna svjetla u mnogim nagrađivanim predstavama kao što su: “Staging a play: Staklena menažerija” u koreografiji Matije Ferlina, “Od terora.Od borbe.Od boli. RASPLITANJE”, redateljice Marine Petković Liker, “Gospođa Fox pozvala je gospođu Cat na čaj i čavrljanje jednog kasnog poslijepodneva prošlog ljeta” koreografkinje Silvije Marchig, Ive Nerine Sibile i Josipa Maršića, “Mi smo kraljevi, a ne ljudi” u režiji Matija Ferlin, “Sad Sam Lucky”, koreografija Matije Ferlina, “Plakir”, režija Joško Juvančić i dizajn svjetla albuma “Ruke” Darka Rundeka i Rundek Cargo Orchestra. Zajedno s plesačicom i koreografkinjom Koraljkom Begović Saša kreira njihov autorski rad REVERSING (proximity) koji je izabran u selekciju Hrvatske plesne mreže 2019.

Na radionici Saša će objasniti temeljne pojmove vezane uz scensko svjetlo – pogotovo za bazične uvjete u kojima se često nalazimo te kreativnost koja se uz takve uvjete može dogoditi.

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13 and 14 September 2023 (10am-1pm) "I know what you did last season" Performance workshop / Jasna Žmak ​ Premieres, projects, guest appearances, achievements, successes, awards, educations, festivals, panels, certificates, workshops, courses, lectures, collaborations, educations, grants, residencies - every good artistic resume contains all of the above, preferably written on several densely written pages . But behind every good CV there is another one, a little less visible, usually a little thicker, a CV full of rejections and failures, doubts and insecurities, failed plans and collaborations, unpaid fees, unwon grants, unrealized projects. And somewhere next to those two CVs there is a third one, an open-format CV that doesn't care much about facts and numbers, but is more interested in some more tangible things, coincidences and paradoxes. And those two CVs, unfortunately, are rarely seen in public. In this workshop, we will therefore dedicate ourselves to getting to know those other two types of resumes, which also say a lot about us - both as people and as authors. Through simple tasks, we will also play with their performance potential, and we will end the workshop by designing a completely new, unorthodox resume of the fourth type, a resume for the future, with a little help from a work by Dalibor Martinis. ​

Jasna Žmak is not the winner of the Croatian Theater Award.

13 i 14.09.2023 (10-13h) “Znam što si radila prošle sezone” Izvedbena radionica  / Jasna Žmak

Premijere, projekti, gostovanja, postignuća, uspjesi, nagrade, edukacije, festivali, tribine, certifikati, radionice, tečajevi, predavanja, suradnje, edukacije, grantovi, rezidencije – svaki dobar umjetnički životopis sadrži sve navedeno, po mogućnosti raspisano na nekoliko gusto pisanih stranica.

Ali iza svakog dobrog CV-a čuči još jedan, malo manje vidljivi, najčešće malo deblji, CV pun odbijenica i neuspjeha, sumnji i nesigurnosti, propalih planova i suradnji, neisplaćenih honorara, neosvojenih grantova, nerealiziranih projekata. A negdje pored ta dva CV-ja nalazi se i neki treći, CV otvorenog formata koji ne mari puno za činjenice i brojeve nego ga više zanimaju neke teže opipljive stvari, slučajnosti i paradoksi. A ta dva CV-ja, nažalost, jako rijetko viđamo u javnosti.

Na ovoj ćemo se radionici zato posvetiti upoznavanju upravo te druge dvije vrste životopisa, koji također puno govore o nama – i kao osobama i kao autori-ca-ma. Kroz jednostavne taskove poigrat ćemo se i s njihovim izvedbenim potencijalom, a radionicu ćemo završiti osmišljavanjem nekog skroz novog, neortodoksnog životopisa četvrtve vrste, životopisa za budućnost, uz malu pomoć jednog rada Dalibora Martinisa.

voditeljica:

Jasna Žmak nije dobitnica Nagrade hrvatskog glumišta.

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14.09.2023 (18.30-20.30h) "Toolkit for the survival of artists: projects, working conditions, collaborations" / Marijana Cvetković she graduated with a degree in art history (Belgrade) and a master's degree in cultural management and cultural policy (Belgrade and Lyon). She initiated and realized various programs and projects in the fields of cultural policy, international and Balkan cultural cooperation, contemporary dance, visual arts and museums. She is the co-founder of Station Service for contemporary dance and Nomad Dance Academy, a Balkan platform for the development of contemporary dance and performing arts, as well as a cultural activist on the independent cultural scenes of Belgrade and Serbia. Marijana Cvetković is a lecturer at the University of Arts in Belgrade (UNESCO Chair in Cultural Policy and Management and MAIPR - MA in International Performance Research). ​ ​ At the workshop, the skills of writing a project concept, creating a budget, and creating an artistic portfolio will be improved. In addition, he will talk about the artistic, cultural, socio-economic context of the production of contemporary art, about cooperation strategies and policies of solidarity and responsibility in the field of culture.14.09.2023 (18.30-20.30h)“Toolkit za preživljavanje umjetnika : projekti, uvjeti rada, suradnje“ / Marijana Cvetković

diplomirala je povijest umjetnosti (Beograd) i magistrirala menadžment u kulturi i kulturnu politiku (Beograd i Lyon).

Inicirala je i realizirala razne programe i projekte u područjima kulturne politike, međunarodne i balkanske kulturne suradnje, suvremenog plesa, vizualnih umjetnosti i muzeja.

Suosnivačica je Station Service for contemporary dance i Nomad Dance Academy, balkanske platforme za razvoj suvremenog plesa i izvedbenih umjetnosti kao i kulturna aktivistica na nezavisnim kulturnim scenama Beograda i Srbije.

Marijana Cvetković je predavačica na Sveučilištu umjetnosti u Beogradu (UNESCO Chair in Cultural Policy and Management i MAIPR - MA in International Performance Research).

Na radionici će se usavršavati vještine pisanja koncepta projekta, izrade budžeta, izrade umjetničkog portfolija. Pored toga, govorit će o umjetničkom, kulturnom, društveno-ekonomskom kontekstu proizvodnje suvremene umjetnosti, o strategijama suradnje i politikama solidarnosti i odgovornosti u polju kulture.

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15.09.2023 (18.30-20.30h) “Curatorial Pluralities” / Biljana Tanurovska–Kjulavkovski 

Biljana Tanurovska–Kjulavkovski is a curator, researcher and producer in culture, co-founder of the platform Nomad Dance Academy (NDA), Kino Kultura (KK) - project space, and program director of NGO Lokomotiva, Skopje. He is currently working on various activities within the (Non)Aligned Movements project including research and development of the Archive of Dance and Performance in North Macedonia; she is the co-curator of the International School "Curating in Context", which from 2022 becomes part of the course "Curatorial Practices and Context" at the University of the Arts in Stockholm, where she is the co-leader of the course; she is co-mentor of the Critical Practice program (made in Yu), co-researcher and co-curator of the exhibition "REALIZE! RESIST! REACT! Performance and politics in the 90s in the post-Yugoslav context" in 2020 at MOCAM Ljubljana and "Ecstatic Bodies: Archive of Performative Queer Bodies in Macedonia" at the Skopje Pride Weekend festival in 2022. She is a teacher and lecturer, author and editor of numerous articles, magazines and books "Modelling of artistic and cultural institutions". She received her doctorate at the Faculty of Dramatic Arts in Belgrade. In 2019, she won the ENCATC international award for cultural policy and cultural management for her doctoral thesis "Modelling of cultural and artistic institutions", and in 2021 she won the AICA Macedonia "Ladislav Barishic" award for the research "Political performance as an expanded field in Macedonia 90- them years".

Summary: In this lecture, I will give an overview of curatorial practice as one that enables pluralism in ways of working, that theorizes, problematizes, reflects and identifies curatorship as processes that are related to specificities and problems in certain contexts. Through this perspective, the development of which I will analyze historically, we will try to identify how the 'curational turn' is, that is, how through the transformation of the 'curator' and the 'curator' this practice entered/enters the field of performing arts. Curatorial practice in this area is still undefined, uncertain and institutionally unorganized, so it can be understood as experimental, working to discover and invent new ways of working and conditions for the production and distribution of works of art. While experimenting, curatorial practice considers and elaborates critical positions and builds curation models as: 1. a practice that questions, establishes and establishes, 2. a critical practice that projects a new horizon and new models, and 3. a practice between these two models. The focus of the lecture is on the second, that is, the one that recognizes, reflects, integrates and connects the artistic idea mediated by the work of art with artistic and theoretical currents and sociopolitical contexts and creates conditions for its further development and sharing. Such settings create an opportunity for discursive change that generates a pluralism of reformations of institutional, festival models and other formats of work, collaboration and exhibition.

jBiljana Tanurovska–Kjulavkovski je kustosica, istraživačica i  producentica u kulturi, suosnivačica platforme Nomad Dance Academy (NDA), Kino Kultura (KK) – projektni prostor, te programska direktorica NVO Lokomotiva, Skopje. Trenutno radi na različitim aktivnostima u sklopu projekta (Non)Aligned Movements uključujući istraživanje i razvoj Arhiva plesa i performansa u Sjevernoj Makedoniji; sukustosica je Međunarodne škole “Curating in Context” koja od 2022. postaje dio kolegija “Kustoske prakse i kontekst” na Sveučilištu umjetnosti u Stockholmu gdje je suvoditeljica kolegija; sumentorica je programa Kritičke prakse (made in Yu), suistraživačica i sukustosica izložbi „REALIZE! RESIST! REACT! Performans i politike u 90-ima u postjugoslavenskom kontekstu” 2020. na MOCAM Ljubljana i “Ecstatic Bodies: Archive of Performative Queer Bodies in Macedonia” na festivalu Skopje Pride Weekend 2022. Učiteljica je i predavačica, autorica i urednica brojnih članaka, časopisa i knjige “Modeliranje umjetničkih i kulturnih institucija”. Doktorirala je na Fakultetu dramskih umjetnosti u Beogradu. Godine 2019. osvojila je međunarodnu nagradu ENCATC za kulturnu politiku i kulturni menadžment za svoju doktorsku tezu „Modeliranje kulturnih i umjetničkih institucija“, a 2021. osvojila je nagradu AICA Macedonia „Ladislav Barishic“ za istraživanje „Politički performans kao prošireno polje u Makedoniji 90-ih godina”.

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Sažetak: U ovom predavanju dat ću pregled kustoske prakse kao one koja omogućava pluralizam u načinima rada, koja teoretizira, problematizira, reflektira i identificira i kustostvo kao procese koji su povezani sa specifičnostima i problemima u određenim kontekstima. Kroz ovu perspektivu čiji ću razvoj povijesno analizirati, pokušat ćemo identificirati kako je ‘kustoski obrat’, odnosno kako je kroz transformaciju ‘kustoskog’ i ‘kustoskog’ ova praksa ušla/ulazi u polje izvedbenih umjetnosti. Kustoska praksa u ovom području još uvijek je nedefinirana, nesigurna i institucionalno neustrojena, pa se može shvatiti kao eksperimentalna, koja radi na otkrivanju i izmišljanju novih načina rada te uvjeta za produkciju i distribuciju umjetničkih djela. Dok eksperimentira, kustoska praksa razmatra i razrađuje kritičke pozicije te gradi modele kuriranja kao: 1. praksu koja preispituje, utvrđuje i uspostavlja, 2. kritičku praksu koja projicira novi horizont i nove modele i 3. praksu između ova dva modela. U fokusu predavanja je druga odnosno ona koja umjetničku ideju posredovanu umjetničkim djelom prepoznaje, reflektira, integrira i povezuje s umjetničkim i teorijskim strujanjima i sociopolitičkim kontekstima te stvara uvjete za njezin daljnji razvoj i dijeljenje. Takve postavke stvaraju priliku za diskurzivnu promjenu koja generira pluralizam reformacija institucionalnih, festivalskih modela i drugih formata rada, suradnje i izlaganja.