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THURSDAY 13 AUGUST, 12:30 PM & 1:45 PM

 

Participate in hour-long roundtable discussions led by special guests and Summit presenters. Space is limited. Sign up for your table in the attendee check-in area.

 

 

 

TABLE 1

NIKOLAY OLEYNIKOV AND DMITRY VILENSKY; REPRESENTING CHTO DELAT

What do we want from an art school?

 

 

 

TABLE 2

JEN DELOS REYES AND JUSTIN LANGLOIS, HOSTED BY THE POWER PLANT

What tactics and strategies can we develop to assist in applying collective bodies of political, activist, and infrastructural knowledge to the worlds of art and education?

 

 

 

TABLE 3

CHARLES GAINES, ARTIST

There are two ideologies that are operating at the heart of art discourse today; one is the idea of autonomous art, coming out of modernism, and the other is the idea of art as a cultural practice, coming out of postmodernism. How do the conflicts between these two ideologies reveal themselves in works of art, and in what ways do they create a divide between the two?

 

 

 

TABLE 4

MAGDALENA MALM, DIRECTOR, PUBLIC ART AGENCY SWEDEN; REPRESENTING ENPAP (EXTENDED NETWORK OF PUBLIC ART PRODUCERS)

In what ways can international networks build platforms for sharing, supporting, and collaboration?

 

 

 

TABLE 5

DAVID BIRKIN, ARTIST

What can (political) performance artists and protesters employing creative strategies learn from one another?

 

 

 

TABLE 6

ALINE HERNÁNDEZ RODRÍGUEZ, ALINE KHOURY, AND LINA MEJÍA ÁLVAREZ

How do we unlearn what we know, and how might we share the unsharable?

 

 

 

TABLE 7

DEFNE AYAS, DIRECTOR, WITTE DE WITH CENTER FOR CONTEMPORARY ART

Can the kind of thinking that goes into art-making shape realpolitik? Can art be used and politically expedient?

 

 

 

TABLE 8

HAKAN TOPAL, ARTIST

Art After the Middle East or what can we learn from Germans?

 

 

 

TABLE 9

GREGORY SHOLETTE, ARTIST, REPRESENTING GULF LABOR

Greece has said no to austerity measures; now can we imagine something similar happening within high culture? How can we radically redistribute the resources of the art market?

 

 

 

TABLE 10

MICHAEL GERACE, ARTIST; REPRESENTING RE-LOCATE KIVALINA

If Kivalina, Alaska is the “canary in the coal mine,” is climate displacement creating new prospects for social freedom, voluntary partnership, and particularity for us all?

 

 

 

TABLE 11

TINA SHERWELL, DIRECTOR, INTERNATIONAL ACADEMY OF ART PALESTINE

How do we teach contemporary art in a manner that addresses the practical, theoretical, and historical breadth of the field as well as the specificity of local contexts?

 

 

 

TABLE 12

NOMEDA AND GEDIMINAS URBONAS, ARTISTS

The artist as double agent: how to smuggle knowledge between truths, beliefs, and systems?

 

 

 

TABLE 13

MIRAN MOHAR, ARTIST; REPRESENTING IRWIN

What kind of educational institutions for art are needed today and how can we create them?

 

 

 

TABLE 14

ZEYNO PEKÜNLÜ, ARTIST AND LECTURER, ISTANBUL KULTUR UNIVERSITY

In an era of excessive information, is there anything that has not been represented?

 

 

 

TABLE 15

MATTEO LUCCHETTI AND JUDITH WIELANDER, VISIBLE PROJECT

How can new forms of artist-initiated, interdisciplinary organizations have a transformative impact on the institutions through which society is structured?

 

 

 

TABLE 16

ELEANOR SAITTA

What are the stories that will keep us human as civilization falls apart?

 

 

 

TABLE 17

VUK ĆOSIĆ AND IRENA WOELLE

How can people anticipate social change and maintain positive traditions during stages of national development?

 

 

 

TABLE 18

MARÍA GALINDO; REPRESENTING MUJERES CREANDO

How can each social movement and political subject escape the official, prefabricated, neoliberal script?

 

 

 

TABLE 19

ADRIAN BLACKWELL AND PUBLIC STUDIO, HOSTED BY THE POWER PLANT

The anthems of Europe were written as nations reinforced their borders, carved their lands into capitalist private property, and colonized the world beyond. Today, as Europe re-fortifies its borders in the midst of a migration crisis, can we sing these songs in resistance to this violent history?

 

 

 

TABLE 20

ALESSANDRA POMARICO AND SHAWN VAN SLUYS; REPRESENTING FREE HOME UNIVERSITY

How can we build a community of learners beyond the art world? How can an artistic perspective deepen the dialogue around radical pedagogy against the monoculture of the mind and the commodification of life?