Education in the Museum – A Space of Political Emancipation?

This text is based on the concepts, working methodologies, and deliberations of institutions conducted by the initiative Radical Education (RE) between 2006 to 2014. RE was initiated as a project within a public art institution – the Museum of Modern Art in Ljubljana – in order for it, through analysis of its own work, to direct itself towards a different level of relationship with this institution and others like it.

Education in the Museum.pdf

First presented as lecture held at the Nova Gallery in Zagreb, currently run by What, How and For Whom? (WHW), in December 2014. It appeared in Serbo-Croatian in April 2015 at http://dematerijalizacijaumetnosti.com and first time in English in the ArtLeaks Gazette no. 3.

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A short analysis of the Workers’ Inquiry investigation

WI analysis – pdf

Bojana Piškur (Radical Education Collective and a curator in Moderna galerija Ljubljana) and Djordje Balmazović (Škart) conducted a common research investigation Workers’ Inquiry in Belgrade and Novi Sad in September 2012. The research was based on Marx’ Workers Inquiry (WI), which was concerning with the positions of cultural workers in Serbia. The aim of the investigation was to disclose the modes and different levels of exploitation of the cultural workers, to better understand how social and political positions define artistic ideas and practices and to discern the positions and dynamics between the cultural/artistic and various other processes involved in the social and political production.

The Non-Aligned Movement and Cultural Politics in the Former Yugoslavia

The emancipatory potential of the non-aligned movement had its roots, speaking from the perspective of the former Yugoslavia, already in the people’s National Liberation Struggle, that is, the Partisan resistance movement of the Second World War, and later, from the fifties on, in the special, Yugoslav brand of socialism, called the self-management system. Some political philosophers speak of the so-called “politics of rupture”, the three historical sequences that enabled the beginning of a radical novum, something that was completely different from the established state politics in Yugoslavia of that time, and those three sequences were, as mentioned, the Partisan liberation struggle, self-management and the non-aligned movement.

The Non-Aligned Movement and Cultural Politics in the Former Yugoslavia – pdf

Parallel models of curating

Parallel models of curating – pdf

There is a certain ambiguity linked to the concept of parallel curating, and this ambiguity has to do, above all, with the loose definition of parallel. What does parallel actually mean, especially in the light of the universal meaning of curating and the relation it bears to art production and artists? This relation has changed significantly over the last decades. There have been major changes not only in the aesthetic objectives of artworks and their function in society, but also in the conditions of art production and in the blurred division of labour between artistic work and the so-called regular work. All these transformations and mutations have had a strong impact on curating.

On silence and cultural workers

On silence and cultural workers – pdf

For some time now we have been facing the new modulations and regulations of work in the field of culture, i.e. the unequal proportions between paid and unpaid work, work and free time, and the increasing fragmentation of the work experience, but also the self-precarization, which is happening on all levels of life, and the lack of class consciousness and solidarity among those working in the field of culture / the new proletariat. This lack of solidarity is even more apparent when we look beyond the confines of the sphere of culture; cultural workers rarely act politically when one has to risk one’s reputation or life for a political cause.

From army barracks to museum of contemporary art

The Metelkova Case – pdf

I would argue that what has given this space a specific meaning was neither its architectural frame, that is, its representational and ideological function, nor the notion of space as an ‘historical idea’. Instead I would like to call attention to various performative functions; performative acts and repetitions that have defined it and vice versa. In performativity, as it is generally understood, repetitions through time play a vital role and are connected with the concept of identity. When something, a sentence, an utterance, an act, is repeated often enough, it gains power, it constructs an identity.

Radical education in a museum

Radical education in a museum – pdf

We will argue that radical education in a museum today has not only to do with – contrary to what a majority of more progressive educational theorists / artists propose – creating new spaces of micropolitics, encounters, intermediate spaces etc. within these institutions, but it has to do first of all with changing the ideological, economic and cultural perspectives of time within these institutions, that is, interfering in the authority of knowledge on one hand and the authority of time on another.