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.
NIKOLAY OLEYNIKOV AND DMITRY VILENSKY; REPRESENTING CHTO DELAT
What do we want from an art school?
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?
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?
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?
DAVID BIRKIN, ARTIST
What can (political) performance artists and protesters employing creative strategies learn from one another?
ALINE HERNÁNDEZ RODRÍGUEZ, ALINE KHOURY, AND LINA MEJÍA ÁLVAREZ
How do we unlearn what we know, and how might we share the unsharable?
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?
HAKAN TOPAL, ARTIST
Art After the Middle East or what can we learn from Germans?
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?
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?
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?
NOMEDA AND GEDIMINAS URBONAS, ARTISTS
The artist as double agent: how to smuggle knowledge between truths, beliefs, and systems?
MIRAN MOHAR, ARTIST; REPRESENTING IRWIN
What kind of educational institutions for art are needed today and how can we create them?
ZEYNO PEKÜNLÜ, ARTIST AND LECTURER, ISTANBUL KULTUR UNIVERSITY
In an era of excessive information, is there anything that has not been represented?
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?
What are the stories that will keep us human as civilization falls apart?
VUK ĆOSIĆ AND IRENA WOELLE
How can people anticipate social change and maintain positive traditions during stages of national development?
MARÍA GALINDO; REPRESENTING MUJERES CREANDO
How can each social movement and political subject escape the official, prefabricated, neoliberal script?
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?
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?