SEMINAR How the public sphere is constructed through artistic practice and critical pedagogies

sesion 1: 

(Languages: spanish and english simultaneous tralations)

Stine Hebert - Models of Organisation

Much has been said about a crisis in higher education. Universities and art schools are often referred to as battlefields under continued pressure to adapt in response to the political climate and our changing economic situation. What are the potentials harboured by other possible ways of organising education and understanding the work of studying? What kinds of relationships take form when we organise ourselves?

Stine Hebert is an art historian and curator based in Copenhagen, Denmark. Hebert has practiced as a freelance curator for a number of years focusing on investigations of conditions of artistic production. She has produced exhibitions for various spaces internationally and lectured at universities and art academies in the Nordic countries. Hebert was previously Acting Director of BAC - Baltic Art Center in Visby; curator at Kunsthal Charlottenborg in Copenhagen, and now holds the position as Rector of Funen Art Academy in Odense, Denmark.

Hebert’s most recent curatorial projects include Rose English: The Eros of Understanding, Kunsthal Charlottenborg 2014, The Nordic Model, co-curated with Kim Einarsson & Cecilia Widenheim, Malmö Art Museum, Malmö, 2013; Leigh Ledare et.al, co-curated with Elena Filipovic, Kunsthal Charlottenborg, Copenhagen 2013 and Joachim Koester: If One Thing Moves, Everything Moves, Kunsthal Charlottenborg, Copenhagen, 2012. Hebert has participated in a number of curatorial residencies, including placements at Monash University, Melbourne, Temple Bar Gallery & Studies, Dublin, Hordaland Art Centre, Bergen and the Platform Garanti Contemporary Art Centre, Istanbul. Hebert co-edited the international anthology ‘Self-Organised’ with Anne Szefer Karlsen published in by Open Editions, London in the series Occasional Table

Bani Brusadin - Troll Public Sphere

In the age of mass media fakes, hoaxes and pranks proved to be effective tools to interfere with the normal, top-down propagation of knowledge. The invention of non existing events, the creation of improper identities and the manipulation and defacement of media messages were creative tactics adopted by artists and activists alike to confuse authorities or distracted observers. Those subtle (or not so subtle) symbolic assaults to the legitimacy of mass media were meant to provoke any type of otherwise inconceivable reactions and reopen a shrinking public sphere, poisoned by big-time political and economical interests. Now, what happened to those tactics in the age of Google, Wikipedia, social media and ubiquitous data control? How can temporary confusion be subversive in the age of information overload? How can identity play be liberating in a context where every move is tracked, always, everywhere and apparently for ever? (And, by the way, how is art possibly making a difference in such a scenario?)

Bani Brusadin is a researcher and cultural producer in the stormy waters where contemporary art, network technologies, popular culture and politics meet. In the past 15 years he has carried out various artistic and activist projects. Since 2004 he has co-directed "The Influencers" (http://theinfluencers.org/), together with artists Eva and Franco Mattes, a festival that addresses non-conventional forms of art and communication. Since 2014, the festival has been a part of the European project "Masters & Servers" (http://mastersandservers.org/). Bani is a lecturer at the University of Barcelona and he collaborates regularly with the Elisava School.

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