TV Promo: Liquidation at Stacion - Center for for Contemporary Art Prishtina
Stacion -- Center for Contemporary Art Prishtina
Liquidation
John Hawke, Patricio Larrambebere, Iva Marčetić, Bojan Mucko, Fatmir Mustafa, Martha Rosler, Andreas Siekmann
Curator: Sarah Lookofsky
Curatorial assistance: Albert Heta
24/7/2013 - 24/8/2013
Opening: 24/7/2013, 20:00 hrs.
Liquidation is a project by Sarah Lookofsky produced for Stacion -- Center for Contemporary Art Prishtina, realized in collaboration with Stacion -- Center for Contemporary Art Prishtina, with contributions by Miroslav Kraljevic Gallery (G-MK), Zagreb
Supported by: RIKOH, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Directorate for Culture, Youth and Sports of the Municipality of Prishtina, Butterfly, Technomarket, Uje Rugove, X-Print and DZG.
stacion.org
Nita Luci: Cognitive Justice: De-Centering Participatory Development Through Art in Kosovo...
Nita Luci at Summer School as School 2018
July 27, 2018, 19:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce the presentation “Cognitive Justice: De-Centering Participatory Development through Art in Kosovo” by Nita Luci, part of Summer School as School 2018 Public Program.
In 2015, Haveit, a feminist art-collective of four from Pristina, performed a direct intervention into the assumed sine-qua-non of Albanian culture, namely its tradition of customary law. In a video performance, the artists pour flour over a copy of the Kanun, a codified text of customary law, spreading it with a rolling pin over the book copy. Tager, the title of the art work, is a performance of women’s labor over the persistency of patriarchal dominance of socio-cultural relations. As such it presents one of a series of aesthetics and political challenges to the existing gender ideology in Kosovo, and globally. However, the social practices of Kanun also present a knowledge that have at times placed Kosovar society in the path of modernity while at other times defined its “backwardness.” In this regard, this paper employs the concept of cognitive justice as a principle for the equal treatment of all forms of knowledge. Such a proposal goes beyond the critique to scientific claims to universality, and specifically treats development as a form of violence conducted over ways of knowing, whether through state. We draw from this concept, without asserting a normative cultural relativism, in order to point to the structural asymmetries that position aesthetic articulations and repertoires.
We argue that aesthetic-political articulations permeate Kosovar society, while state and international funding streams and, at times, conflicting political demands influence the methods and outcomes of arts-based practices. Specifically, the paper aims to show the connections, mobility and exchange as well as the divergences, rigidities and exclusionary practices between centre and periphery inside and beyond Kosovo. Based on ethnographic and participatory action research we conduct a comparison of concepts and practices through which independent, arts-based CSOs, and state-sponsored, institutional youth centres in Kosovo reach out to disadvantaged youth. We argue that these, and other questions, require reflection upon the ways historical contingencies have shaped underpining practices, concepts, and politics of such work.
Nita Luci is a lecturer at the departments of Anthropology, Sociology and Contemporary Art at the University of Prishtina. She holds a Ph.D. in Anthropology (University of Michigan, Ann Arbor). Her research includes topics of gender and manhood, social and political movements, state and post-socialism, nationalism, contemporary art, military intervention, memory and violence. In 2013 she co-founded the University Program for Gender Studies and Research, UP. In 2013 she was visiting research scholar and fellow at the Gender Research Institute at Dartmouth College. In addition to her university engagements she also serves on the boards of a number of civil-society organizations in Kosovo focusing on gender, LGBT rights, gender based-violence, research and activism. Selected publications include The Making of Citizenship Against Corruption in Kosovo: Protest, Lies, and the Public Good (Edward Elgar, 2016); “Our men will not have amnesia”: Civic Engagement, Emancipation, and Gendered Public in Kosovo (with Linda Gusia, CEU Press 2014); Un/welcomed Guests: NATO Intervention in Kosova (Routledge, 2011); Events and Sites of Difference: Mark-ing Self and Other in Kosovo (with Predrag Markovic, Ashgate 2009); Superfluity: Cultural Policies and Contemporary Art (2008); The Politics of Remembrance and Belonging: Life Histories of Albanian Women in Kosova (with Vjollca Krasniqi, 2006); Transitions and Tradition: Constructions of Gender...
SSAS is an interdisciplinary education platform, based in Prishtina.
The 2018 program of Summer School as School included seminars, workshops, lectures, performances, study tours, school film program and exhibitions by artists, writers, and scholars, including: Julieta Aranda, Brigita Antoni, Zdenka Badovinac, Carolyn Christov-Bakargiev, Sezgin Boynik, Boris Buden, Mladen Dolar, Linda Gusia, Jakup Ferri, Kate Fowle, Felix Gmelin, Laura J Kurgan, Thomas Keenan, Sami Khatib, Nita Luci, Meriton Maloku, Ari Benjamin Meyers, Sandhya Daemge, Miran Mohar, Remijon Pronja, Danilo Prnjat, Bernhard Rüdiger, Anri Sala, Branimir Stojanović, Milica Tomić, Zorica Zafirovska, Alenka Zupančič and Dardan Zhegrova.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool
LAIBACH NE PRISHTINE
Laibach: We Come in Peace
16 November 2012, 20:00 hrs.
Venue: Big Hall at the Palace of Culture, Youth and Sports 'Boro and Ramizi', Prishtina
THERE IS NO NEWS LIKE BAD NEWS -- EXCEPT WHEN IT'S LAIBACH NEWS!
Stacion - Center for Contemporary art Prishtina presents the first concert of Laibach in Kosova. Laibach was invited to perform and be part of the project 'Identity Restoration Reloaded' a project by Stacion - Center for Contemporary art Prishtina.
The band, whose recent European tour included the Monumental Retro-Avant Garde performance at the Tate Modern in London, and the Berghain in Berlin, will soon return to the studio to start work on a box set to be released on Mute. Watch footage from the Tate Modern here:
During 2012 Laibach released Iron Sky OST, the original sound track to Iron Sky (directed by Timo Vuorensola), the dark science fiction comedy about Nazis invading earth in 2018, after escaping to the Dark Side of the Moon in 1945. Watch the trailer here: & Under The Iron Sky video here:
Laibach was formed on June 1, 1980 in Trbovlje, a mining-industry town, taking the name used during the World War II occupation of Yugoslavia for the city of Ljubljana. At the time, the group collaborated with art groups Irwin (painting) and Crveni Pilot (theatre). Since its formation, the group had been preparing their first multimedia project Rdeči revirji (Red District), aiming to provoke the current political structures in Trbovje. The performance was banned before its opening due to its improper and irresponsible usage of Malevich's black crosses as symbols on the posters, causing a lot of negative reactions in the media and public. The group's visual style at this earliest stage focused mainly on miners iconography, but in time, they included other symbols as well:Triglav, deer horns and the Malevich's black cross rounded with a gear.
The visual imagery of Laibach's art (or 'Laibach Kunst', as it calls itself) has been described as 'radically ambiguous', An early example of this ambiguity would be the woodcut entitled 'The Thrower,' also known as Metalec (The Metal Worker). This work features a monochrome silhouette of a figure with a clenched fist holding a hammer. The work could be seen by its original Slovene viewers as a poster promoting industrial protest, but the poster could have also been interpreted as a symbol of industrial pride. Another aspect of this woodcut is the large typefaced word 'LAIBACH', evoking memories of the Nazi occupation of Slovenia (when the capital city was briefly known as Laibach). This piece was featured prominently during a TV interview of Laibach in 1983, during which the interviewer Jure Pengov called Laibach enemies of the people.
Laibach has frequently been accused of both far left and far right political stances due to their use of uniforms and totalitarian-style aesthetics. They were also accused of being members of the neo-nationalism movement, which reincarnates modern ideas of nationalism. When confronted with such accusations, Laibach are quoted as replying with the ambiguous response We are fascists as much as Hitler was a painter.
The members of Laibach are notorious for rarely stepping out of character. Some releases feature artwork by the Communist and early Dada artist/satirist, John Heartfield. Laibach concerts have sometimes aesthetically appeared as political rallies. When interviewed, they answer in wry manifestos, showing a paradoxical lust for, and condemnation of, authority.
Richard Wolfson wrote of the group:
Laibach's method is extremely simple, effective and horribly open to misinterpretation. First of all, they absorb the mannerisms of the enemy, adopting all the seductive trappings and symbols of state power, and then they exaggerate everything to the edge of parody... Next they turn their focus to highly charged issues — the West's fear of immigrants from Eastern Europe, the power games of the EU, the analogies between Western democracy and totalitarianism.
Get ready!
Stacion - Center for Contemporary art Prishtina
Zija Prishtina Street
10000 Prishtine
Republic of Kosova
Tel.: +381-(0)38-222-576
Fax: +381-(0)38-544-472
E-mail: info@stacion.org
stacion.org
ANRI SALA n'STACION - Intervistë nga Dardan Selimaj P1
Anri Sala
3-2-1...Long Sorrow
Curated by Edi Muka
26.6.2012 - 4.8.2012
Opening: 26.6.2012 at 20:00 hrs.
with the 3-2-1 performance featuring free jazz musician Pierre Borel, responding on saxophone to the recording of Jemeel Moondoc.
Artist talk with Anri Sala
27.6.2012 at 20:00hrs.
Anri Sala was born in 1974 in Tirana. He is a contemporary artist whose primary medium is video. He studied art at the Albanian Academy of Arts from 1992 to 1996, video at the Ecole Nationale des Arts Décoratifs of Paris and film direction in Le Fresnoy-Studio National des Arts Contemporains, Tourcoing. He lives and works in Berlin. To name a few of his works: Dammi i Colori (2005), Long Sorrow (2005), Intervista (1999), Nocturnes - 1999, 1395 Days Without Red (2011). Sala has been part of the most important international events, such as the European Biennial, Manifesta - 2000, Venice Biennial - 2003, Istanbul Biennial - 2003, Tirana Biennial - 2003 - 2009, Sidney Biennial -2006, Documenta 2012. He's also received many international awards among which, Prix Gilles Dussein - 2000, Best Young Artist, Venice Biennial - 2003, Absolut Award- 2011.
Anri Sala's works reflect a very special perspective on how we see the world, a view that mixes reflections on history, memory and instantaneous ephemeral consciousness, with an unparalleled dedication and attention to the present. He has a unique talent for sharp and accurate realisations, as well as a special ability to create installations and spatial proposals which include sounds, images, sculptures, films or live performances.
Long Sorrow, 2005, filmed on the eponymous public housing estate in Berlin, is an enigmatic record of a performance orchestrated by the artist. Sala invited noted free jazz musician Jemeel Moondoc to perform while suspended outside the window of an empty apartment on the eighteenth floor. Through details and close ups of the musician's eyes and facial expressions we get a first hand experience of the adrenaline rush running through his body. It's this rush that dictate his musical performance, while its sound conveys the bodily experience of the architectonic space and its dimensions. Suspending him in space and denying him the possibility to express himself through words or human voice, opens up for a phenomenological relation between the body and the space, a relation in which the analytic capacity of human intelect is entirely reduced, while the brains has become merely a mechanism that responds to the spatial stimuli percieved through every extremity of the musician's body.
For the show at Stacion, Sala stages the performance 3-2-1, 2011, in which French saxophonist Pierre Borel responds live to Long Sorrow. 3-2-1 begins with Borel accompanying an audio recording of Moondoc's improvisation with his own earlier performance on film, playing in the garden area of Stacion, resulting thus in a 'trio': the film, the audio recording and the live performance. Borel then plays live with the film Long Sorrow in the inner space of Stacion, a 'duet', before finally performing a solo after the film ends. 3-2-1 punctuates the fixed cycle of the show with an improvised element, integrating the strands of film and performance that run through Sala's work.
The performance 3-2-1 was first created for Anri Sala's solo show at the Serpentine Gallery in London in 2011.
The exhibition of Anri Sala at Stacion - Center for Contemporary Art Prishtina is supported by: Ambassade de France au Kosovo, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Ministry of Foreign Affairs of the Republic of Kosovo, Directorate for Culture, Youth and Sports of the Municipality of Prishtina, Hotel Nartel, Arda Rei, Ujë Rugove, Technomarket, Europlakat, KTV, Klan Kosova, X-print, 3V studio and DZG.
Welcome to Kosovo (Pristina is CRAZY) ????????
I travelled to Pristina (Kosovo), the youngest capital of Europe, to catch some good vibes.
Kosovo people are crazy and very welcoming. Prishtina is a really cool city. I searched the news on Kosovo; from what I experienced, it’s nothing like a war-zone. However, do your own research.
But I can recommend you to travel in Pristina. I was lucky enough to get tickets for the football Euro Qualifiers 2020 game - Kosovo vs Czech Republic, which Kosovo won 2-1. Their Football Fans are crazy.
The main sights I visited are:
Newborn Monument, Nene Tereza Boulevard, Rruga B (Street Art Walls), Pristina Football Stadium, National Library (considered as one of the ugliest buildings in the world) & Cathedral of St. Mother Teresa.
Kosovo is also known for making the best Latte Macchiato. If you look for a coffeeshop, try Dit’ e Nat’ and Soma Book Station.
ps: This is not a political video. I explored Pristina as a tourist and had a good experience.
In Kosovo, they are not so used to tourists yet. Tourist mainly come from Germany and Switzerland (I’m Swiss of Chinese origin).
► Subscribe, as I will go on a longer trip to visit exotic countries, starting in November 2019.
Bunateka Libraries - Kosovo
A series of public libraries for disadvantaged youth in rural areas.
More information available at:
Remembering the Others, Ana Čigon, 2015 - TRAILER
Directing, script and editing Ana Čigon,
Interviews with: Qëndresë Deda, Dardan Zhegrova, Linda Gusia, Majlinda Hoxha, Erëmirë Krasniqi, Vjollca Krasniqi, Lura Limani, Nita Luci, Hana Qena and Vesa Qena.
Sound editing assistance: Vasja Progar
Camera assistance: Donjeta Murati and Vala Osmani
Music: Ana Čigon and Vasja Progar
Sound editing assistance: Vasja Progar
Albanian to English translations: Qëndresë Deda and Donjeta Murati
English to Slovene translations: Ana Makuc
Producers: Ana Čigon; Stacion – Center for Contemporary Art, Prishtina - Kosovo; City Gallery, Ljubljana - Slovenia
Remembering the Others is a documentary about the meaning and power of public monuments. In the film students, artists, theoreticians and activists from Prishtina, Kosovo talk about the meaning of monuments. Which people have the privilege to be represented in monuments? Why there are almost no monuments dedicated to women in Kosovo? Which other people (marginalized groups) and stories are excluded in such monuments? The film states that if the (hi)stories of marginalized groups are hushed, and the (hi)stories that have visibility are not questioned, the result will always be a misleading sense of normality. A status quo that creates a platform that gives certain groups the push to the top positions and other groups the push to oblivion, all accompanied by a deceptive sense of fairness and normality. The film epilogue opens way to ideas about what kind of monuments people want for the future.
ANRI SALA n'STACION - Intervistë nga Dardan Selimaj P2
Anri Sala
3-2-1...Long Sorrow
Curated by Edi Muka
26.6.2012 - 4.8.2012
Opening: 26.6.2012 at 20:00 hrs.
with the 3-2-1 performance featuring free jazz musician Pierre Borel, responding on saxophone to the recording of Jemeel Moondoc.
Artist talk with Anri Sala
27.6.2012 at 20:00hrs.
Anri Sala was born in 1974 in Tirana. He is a contemporary artist whose primary medium is video. He studied art at the Albanian Academy of Arts from 1992 to 1996, video at the Ecole Nationale des Arts Décoratifs of Paris and film direction in Le Fresnoy-Studio National des Arts Contemporains, Tourcoing. He lives and works in Berlin. To name a few of his works: Dammi i Colori (2005), Long Sorrow (2005), Intervista (1999), Nocturnes - 1999, 1395 Days Without Red (2011). Sala has been part of the most important international events, such as the European Biennial, Manifesta - 2000, Venice Biennial - 2003, Istanbul Biennial - 2003, Tirana Biennial - 2003 - 2009, Sidney Biennial -2006, Documenta 2012. He's also received many international awards among which, Prix Gilles Dussein - 2000, Best Young Artist, Venice Biennial - 2003, Absolut Award- 2011.
Anri Sala's works reflect a very special perspective on how we see the world, a view that mixes reflections on history, memory and instantaneous ephemeral consciousness, with an unparalleled dedication and attention to the present. He has a unique talent for sharp and accurate realisations, as well as a special ability to create installations and spatial proposals which include sounds, images, sculptures, films or live performances.
Long Sorrow, 2005, filmed on the eponymous public housing estate in Berlin, is an enigmatic record of a performance orchestrated by the artist. Sala invited noted free jazz musician Jemeel Moondoc to perform while suspended outside the window of an empty apartment on the eighteenth floor. Through details and close ups of the musician's eyes and facial expressions we get a first hand experience of the adrenaline rush running through his body. It's this rush that dictate his musical performance, while its sound conveys the bodily experience of the architectonic space and its dimensions. Suspending him in space and denying him the possibility to express himself through words or human voice, opens up for a phenomenological relation between the body and the space, a relation in which the analytic capacity of human intelect is entirely reduced, while the brains has become merely a mechanism that responds to the spatial stimuli percieved through every extremity of the musician's body.
For the show at Stacion, Sala stages the performance 3-2-1, 2011, in which French saxophonist Pierre Borel responds live to Long Sorrow. 3-2-1 begins with Borel accompanying an audio recording of Moondoc's improvisation with his own earlier performance on film, playing in the garden area of Stacion, resulting thus in a 'trio': the film, the audio recording and the live performance. Borel then plays live with the film Long Sorrow in the inner space of Stacion, a 'duet', before finally performing a solo after the film ends. 3-2-1 punctuates the fixed cycle of the show with an improvised element, integrating the strands of film and performance that run through Sala's work.
The performance 3-2-1 was first created for Anri Sala's solo show at the Serpentine Gallery in London in 2011.
The exhibition of Anri Sala at Stacion - Center for Contemporary Art Prishtina is supported by: Ambassade de France au Kosovo, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Ministry of Foreign Affairs of the Republic of Kosovo, Directorate for Culture, Youth and Sports of the Municipality of Prishtina, Hotel Nartel, Arda Rei, Ujë Rugove, Technomarket, Europlakat, KTV, Klan Kosova, X-print, 3V studio and DZG.
Short presentation of the 9 supported Collaboration Projects (2013-14)
9 Collaboration Projects COLABs supported in 2013 and 2014
ABC of Independent Culture
Partners: SEEcult.org, Belgrade, RS; Kurziv – Platform for Matters of Culture, Media and Society, Zagreb, HR; Association for promotion of cultures Kulturtreger, Zagreb, HR
Generator, A collaborative platform for development of dance theater for children in the Balkan region
Partners: Station Service for contemporary dance, Belgrade, RS; Center for Education of Young People, Travnik, BA; Nomad Dance Academy Macedonia - Platform for contemporary performing arts, Skopje, MK; Plesni centar TALA, Zagreb, HR; Interim kultur, Stockholm, SE
The Initiator, the Artist, his Advocate and the Urbanist (IAAU) - a platform for culture and city-making
Partners: Co-PLAN Institute for Habitat Development, Tirana AL; URBEGO Platform for Young Planning Professionals/IFHP, Copenhagen, DK; School of Urban Practices, SoUP/Mikser Festival, Belgrade, RS; Blok74, Rotterdam, NL; KOR-CSD Coalition for Sustainable Development, Skopje, MK
Nationless
Partners: Institute of Social Sciences and Humanities, Skopje, Macedonia; DAM-DAŠ, Belgrade, Serbia; University of Macedonia – Department of Balkan, Slavic and Oriental Studies, Thessaloniki, Greece
Out of the Margins – Research and Policy-Making on Independent Cultural Scenes in Western Balkan Societies
Partners: Centre for Empirical Cultural Studies of South-East Europe (CESK), Niš, Serbia; Center for Research and Gender Policy (CRGP), Pristina, Kosovo; Pine Street Foundation, Tirana, Albania; Association Analysis-Design-Transformation, Sarajevo, Bosnia-Herzegovina
Tenacity?
Partners: Kroz prozor Fabrika, Zrenjanin and Belgrade, Serbia; Academy of Performing Arts, Sarajevo, Bosnia-Herzegovina
Blue Talk
Partners: ERGstatus, Belgrade, Serbia;Duša, Belgrade, Serbia; NGO TK Fenix, Tuzla, Bosnia and Herzegovina, Ludruga, Zagreb, Croatia
Factory of Memories
Partners: Tirana Ekspres, Tirana, Albania; Association for Culture and Art CRVENA, Sarajevo, Bosnia and Herzegovina
BALKAN DOCUMENTARY DISTRIBUTION NETWORK – DOKUVISION
Partners: MAKEDOX, Skopje, Macedonia; Montenegro Film Festival, Podgorica, Montenegro; DokuFest, Prizren, Kosovo; Restart, Zagreb, Croatia; Petra Pan Film, Ljubljana, Slovenia; Free Zone, Belgrade, Serbia
video by Amer Kapetanovic
Dardan Zhegrova: Lucky Pierre: Casting for a wet dream. Summer School as School 2018
Dardan Zhegrova at Summer School as School 2018
July 25, 2018, 19:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce the lecture performance “Lucky Pierre: Casting for a wet dream” by Dardan Zhegrova, part of Summer School as School 2018 Public Program.
Lucky Pierre stands for the third person in a love relationship. Both in homosexual and heterosexual relationships. Being both active and a passive protagonist in Sex. Inspired by this official definition, Lucky Pierre was conceived as a series of live performances, poetry readings combined with instrumental music. The series began in 2016 as a translation of feelings into words and a collection of love poems based on real personal stories.
This actual performance Casting for a wet dream is a new collection of poems about one sided love, sexual fantasies and the practice of daydreaming. Standing in between dreams and reality the persona Lucky Pierre can be seen as a manifestation of one’s ability to transform reality, to manipulate feelings and even to impact past-present-future, in terms of memories and what one chooses to remember as its own landscape, a real living space.
Dardan Zhegrova, born in 1991, lives in Prishtina. Dardan Zhegrova’s work plays with the flux between language and its translation into visual representation. In his works emotion is used as an artistic medium that potentially could act as a means to question our assumptions about intimacy and expression. The artist can be regarded as a poet in a time where physical proximity is being replaced by an ubiquitous availability through modern means of communication. Zhegrova is represented by LambdaLambdaLambda gallery in Prishtina.
His most recent group exhibitions include: Zeta Gallery, Tirana (2018); Park View, Los Angeles (2017); National Gallery Kosovo (2017); Galerie Sultana, Paris (2016); FeKK short film festival, Ljubljana (2016); Swimming Pool Sofia, Frankfurt am Main (2016) and Baushtelle: Balkan Temple, Zurich/Belgrade/Pristina (2015). His recent solo exhibitions and performances include: LambdaLambdaLambda, Prishtina (2018); Stacion - Center for Contemporary Art Prishtina, (together with Lola Sylaj), Prishtina (2017); De-Construkt (together with Lola Sylaj), NYC (2017); M, Prishtina (2016) and LambdaLambdaLambda, Prishtina (2015). He recently performed his “Live-Poetry” at bazament, Tirana (2018); KW Institute for Contemporary Art, Berlin (2018). He was awarded with the Gjion Mili Prize of the National Gallery Kosovo (2017).
Summer School as School is an interdisciplinary education platform, based in Prishtina.
The 2018 program of Summer School as School included seminars, workshops, lectures, performances, study tours, school film program and exhibitions by artists, writers, and scholars, including: Julieta Aranda, Brigita Antoni, Zdenka Badovinac, Carolyn Christov-Bakargiev, Sezgin Boynik, Boris Buden, Mladen Dolar, Linda Gusia, Jakup Ferri, Kate Fowle, Felix Gmelin, Laura J Kurgan, Thomas Keenan, Sami Khatib, Nita Luci, Meriton Maloku, Ari Benjamin Meyers, Sandhya Daemge, Miran Mohar, Remijon Pronja, Danilo Prnjat, Bernhard Rüdiger, Anri Sala, Branimir Stojanović, Milica Tomić, Zorica Zafirovska, Alenka Zupančič and Dardan Zhegrova.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool
Liburn Jupolli: Authorial concert. Summer School as School 2018.
Liburn Jupolli at Summer School as School 2018
August 2, 2018, 21:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce the “Authorial concert” by Liburn Jupolli, part of Summer School as School 2018 Public Program.
Concert Program
1.Low Million
2.Øresund Line
3.Horisons d’or
4.KurrizCold Dance
5.Mid Million
6.Snarrh
7.Tout ce que vous savez, mais avec plus d'eau
8. High Million
The program encompasses an oeuvre from 2015 to most recent works, combining soundscapes from the Octo as a solo “spatialized” instrument, exploring the microintervalic properties of the instrument in conjunction with specific “spatial” writing for the 8 outputs the instrument possesses.
The Octo as a solo instrument in works like “TUT!!”(a solo version of the original orchestral work), explores the musical bridge of Albanian and Balkan instruments which have a mix of tonal possibilities from the Western Europe and South/East Europe, combining them into homogenous lines of expression and at the same time as complex diverse tonal landscapes.
Other works explore the “Totemic” repetitive aspects of Albanian ISO polyphony in a mirror match with African percussion repetitiveness and the Balkan sensibility to rhythmic complexity and accentuation.
Liburn Jupolli is a composer, pianist and innovator in the field of classical music and alternative genres. He has a specific interest in innovation of musical instruments and improvement of musical communication and education, as a holistic communication medium and as a tool that can serve for teaching other subjects, such as mathematics. Currently, he is studying in France, where he obtained his Master’s Degree in EdTech, with a focus in development of musical instruments and communication at CRI – Centre de Recherche Interdisciplinaire – Paris Descartes.
Summer School as School is an interdisciplinary education platform, based in Prishtina.
The 2018 program of Summer School as School included seminars, workshops, lectures, performances, study tours, school film program and exhibitions by artists, writers, and scholars, including: Julieta Aranda, Brigita Antoni, Zdenka Badovinac, Carolyn Christov-Bakargiev, Sezgin Boynik, Boris Buden, Mladen Dolar, Linda Gusia, Jakup Ferri, Kate Fowle, Felix Gmelin, Laura J Kurgan, Thomas Keenan, Sami Khatib, Nita Luci, Meriton Maloku, Ari Benjamin Meyers, Sandhya Daemge, Miran Mohar, Remijon Pronja, Danilo Prnjat, Bernhard Rüdiger, Anri Sala, Branimir Stojanović, Milica Tomić, Zorica Zafirovska, Alenka Zupančič and Dardan Zhegrova.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool
Vi Idite, Ja Necu! (2015) Dokumentarni Film
Zasnovan na knjizi Ljetopis Novog Kosovskog Raspeća Mitropolita Amfilohija, koja nam otkriva neispričanu istinu o kosovsko-metohijskom stradanju Srpskog naroda, njegovog verskog i kulturnog nasleđa kroz celu istoriju, a posebno 1998. i 1999. godine, sa osvrtom na porodičnu dramu nestalog Miloša Ćirkovića iz Bjelog Bolja kod Peći.
Creative arts vision
The School of Communication and the Arts offers a range of specialisations in the field of Creative Arts, including visual arts, performance studies, professional and creative writing, and digital media production. VU Staff delivering these units are actively engaged in industry practice. Hear from our staff talking about their own creative practice
Alenka Zupančič: The End of Laughter. Summer School as School 2018.
Alenka Zupančič at Summer School as School 2018
August 1, 2018, 19:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce the presentation “The End of Laughter” by Alenka Zupančič, part of Summer School as School 2018 Public Program.
The talk will take as its starting point a masterpiece by Preston Sturges, Sullivan’s travels. This ingenuous screwball comedy represents a peek of the so called »old Hollywood«, and tackles the problem of if, and how, should art respond to the pressing (social) problems of its time (screwball comedy become popular during the Great depression). From this particular perspective the talk will propose some further ideas on the function, and on the functioning, of the »seriousness« in art, as well as in what is generally called “social critique”.
Alenka Zupančič is a Slovene philosopher and social theorist. She received her PhD from the University of Ljubljana and from Université Paris VIII. She works as research advisor at the Institute of Philosophy, Scientific Research Center of the Slovene Academy of Sciences. She is also professor at the Graduate School ZRC SAZU (Ljubljana) and at the European Graduate School (Saas Fee). Together with Slavoj Žižek and Mladen Dolar, Zupančič is one of the most prominent members of the Ljubljana school of psychoanalysis. She is notable for her work on the intersection of philosophy and psychoanalysis, as well as for her original philosophical theory of comedy. She has published several books and over 150 articles. Her most recent work deals with the relationship between sexuality and ontology.
Some of her authored books include What is Sex? Cambridge (Ma) & London, The MIT Press 2017; The Odd One In: On Comedy, Cambridge (Ma) & London, The MIT Press 2008; Why Psychoanalysis: Three Interventions, Uppsala, NSU Press 2008; The Shortest Shadow: Nietzsche's Philosophy of the Two, Cambridge (Ma) & London, The MIT Press 2003; and
Ethics of the Real: Kant and Lacan, London & New York, Verso 2000, 2011.
Summer School as School is an interdisciplinary education platform, based in Prishtina.
The 2018 program of Summer School as School included seminars, workshops, lectures, performances, study tours, school film program and exhibitions by artists, writers, and scholars, including: Julieta Aranda, Brigita Antoni, Zdenka Badovinac, Carolyn Christov-Bakargiev, Sezgin Boynik, Boris Buden, Mladen Dolar, Linda Gusia, Jakup Ferri, Kate Fowle, Felix Gmelin, Laura J Kurgan, Thomas Keenan, Sami Khatib, Nita Luci, Meriton Maloku, Ari Benjamin Meyers, Sandhya Daemge, Miran Mohar, Remijon Pronja, Danilo Prnjat, Bernhard Rüdiger, Anri Sala, Branimir Stojanović, Milica Tomić, Zorica Zafirovska, Alenka Zupančič and Dardan Zhegrova.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool
Helsinki, Finland - Travel Around The World | Top best places to visit in Helsinki
Top best places to visit in Helsinki, Finland
Helsinki lies on the southern shore of the Gulf of Finland. It is the capital and largest city of the country.
The most prominent buildings are in the center but Helsinki is called the Green Capital because a third of the city is covered in green areas.
The oldest part of central Helsinki is Senate Square and its surroundings.
The square is dominated by the Lutheran Cathedral a distinctive landmark in the cityscape.
In the center of the square is located a Statue of Emperor Alexander II.
He initiated several reforms increasing Finland’s autonomy.
Other important buildings are the main house of University of Helsinki.
The oldest and largest university in Finland with the widest range of disciplines available.
...and Government Palace which served as the seat of the Senate and Council, and is now the headquarter of the Prime minister.
Uspenski Cathedral is the largest orthodox church in Western Europe. With its golden domes and red brick facade is a characteristic point of the city.
Cathedral is located in the waterfront area and near Market Square.
Nearby is the main east-west street in the city, colloquially known as “Aleksi”.
Another highlight of the city is Railway Square.
The south side is formed of the Ateneum, classical art museum.
To the west side are two ornate entrances to Central Station – a bigger one for public use, and a smaller one exclusively for the President.
And to the north side features the Finnish National Theatre.
Excavated directly into solid rock, Church in The Rock is one of the most popular tourist attractions.
Helsinki offers great possibilities for outdoor activities and relaxation.
Just check out the waterfront area near Market Square.
And visit one of the many parks.
Like Kaivopuisto, a beautiful park by the sea in the southernmost part of the city.
Or Toolonlahti, a bay surrounded by a nice and dotted with attractions such as the Concert Hall and the National Opera.
Hietaniemi Beach is a good place to be on sunny days.
If you like shopping you can do the old fashioned way at Old Market Hall
or modern style in one of the many shopping malls, like Kamppi Center.
In 1952 Helsinki hosted the Summer Olympics and still holds many of the sports facilities, such as:
The Olympic Stadium with its impressive 72m high tower.
The tower is open for visitors and offers impressive views of the city.
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Intro & Outro:
アキーラさん観察①ルーマニア・ブカレストのタクシー・Bucharest,Romania
ルーマニア・ブカレストのタクシー！白タクには注意！メータータクシーでもメーター不使用、ぼったくりもありえる。2012年8月に日本語を教えるボランティアとしてルーマニアを訪れた女子大生が殺害された。深夜に空港に到着し、そこである男に話しかけられ、白タクに乗せられ、ホテルとは反対の方角に進み、殺害された。
その2週間程前に自分は旅行していた。2012年7月にルーマニアの首都のブカレストを訪問した。自分は、ハンガリーのブダペストから夜行寝台電車で、ブカレストに到着したのだが、到着後、偽警官らしき人物に話しかけられたが、うまく巻いた。駅周辺もあまり治安がいいという感じではなかった。まあ、それでも市内中心に行ったり、観光もしたが、危ない目にはあわなかった。
ルーマニアの首都で同国最大の都市である。ブカレストはルーマニア南東部にあり、ドゥンボヴィツァ川河畔の都市でルーマニアの文化、産業、金融の中心都市である。ブカレストが最初に文書に言及されたのは1459年のことで、それ以来様々な変化を経験し1862年にルーマニアの首都となった。首都になってからはマスメディアや文化、芸術の分野で着実にその地位を固めた。ブカレストの建築物には歴史的に新古典主義建築や戦間期のバウハウス、アール・デコ、共産主義時代、そして現代と様々なものが混ざり合っている。戦間期のブカレストは優雅で洗練された建築物により「小パリ」（Micul Paris)と言う愛称が付けられていた。しかしながら、これら多くの建築物や歴史的な中心部は戦争や地震、ニコラエ・チャウシェスクにより始められた1970年代半ばの体系化政策 (en) により損害を受けたり破壊された。一部は、被害を免れた建築物もある。近年では経済や文化的なブームが起こっている
2011年に行われた国勢調査の暫定値によればブカレスト市域の人口は1,677,985人で[2]、2002年に行われた国勢調査に比べ減少している。ブカレスト市域を超えた都市的地域の人口は193万人であった。 都市的地域周辺の衛星都市を加えたブカレスト都市圏とされる地域の人口は220万人である。[9] ユーロスタットによればブカレストの大都市圏の人口は2,151,880人である。非公式な統計によれば300万人を超えるとされている。ブカレストは欧州連合の市域人口で10番目に大きい都市である。
経済的にはブカレストはルーマニアではもっとも豊かな都市で、東ヨーロッパでは産業や交通要衝の中枢都市の一つである。ブカレストには様々な都市機能が集約されている。自治体としてのブカレストはブカレスト市（Municipiul București）として首都であり県と同格の特別な地位が与えられ、市内は6つの行政区（セクトール）に分けられている。
Is the largest city in the country in the capital of Romania. Bucharest is situated in the southeastern part of Romania, it is a city in the Romanian cultural center, industrial and financial city in the River Do~unbovu~itsu~a. Bucharest was first mentioned in a document that the year 1459, it became the capital of Romania in 1862 experienced many changes since then. From becoming the capital was steadily consolidating its position in the field of mass media and culture and the arts. Mixed together are a variety of contemporary and interwar Bauhaus architecture and neoclassical, Art Deco, and, historically communist era buildings in Bucharest. Bucharest the nickname of the interwar period to say Little Paris by building a sophisticated and elegant (Micul Paris) had been attached. However, the historic center and many of these buildings were destroyed or damaged by the (en) policy codified in the mid-1970s was initiated war and earthquakes, by Nicolae Ceausescu. Some buildings were also spared. In recent years, economic and cultural boom is happening
End of Course Serious Immobilities Performance. Summer School as School 2018
Ari Benjamin Meyers and Sandhya Daemgen featuring Tristan Halilaj, Liburn Jupolli, Arbnor Gashi, Marianna Feher, Mina Vučetić, Matija Milikić, Arta Konjusha and Albin Abazi at Summer School as School 2018
August 2, 2018, 17:00
Venue: Boxing Club
Summer School as School
July 16 – August 2, 2018
Stacion – Center for Contemporary Art Prishtina is pleased to announce the End of Course 10 Performance “Serious Immobilities” by Ari Benjamin Meyers and Sandhya Daemgen, featuring Tristan Halilaj, Liburn Jupolli, Arbnor Gashi, Marianna Feher, Mina Vučetić, Matija Milikić, Arta Konjusha and Albin Abazi at Summer School as School 2018, part of the Public Program.
The “Serious Immobilities” workshop uses Meyers’ durational performance Serious Immobilities (2013) and his own music compositions as a jumping off point. The process focused on both learning set vocal material and improvising as a group, moving in space and exploring relations between performer and public in a durational performative context. This workshop favours doing over discussing and deals, with durational vocal-body work, playing with set and improvised material and deconstructing the rehearsal-performance dynamic. End of Course 10 Performance is a 90 minute group installation performance, taking place at the Public Program of Summer School as School 2018, organised by Stacio - Center for Contemporary Art Prishtina.
Ari Benjamin Meyers (b. 1972, USA) lives and works in Berlin. Meyers received his training as a classical musician, composer and conductor at The Juilliard School, Yale University and Peabody Institute. His works as an artist, such as Kunsthalle for Music (2018), Symphony 80 and Solo for Ayumi (both 2017), explore structures and processes in music composition and relationships between performer and audience. His diverse practice includes creating musical performances for the stage and exhibition spaces. He has collaborated with artists such as Tino Sehgal and Dominique Gonzalez-Foerster; bands such as Einstürzende Neubauten and Chicks on Speed; and classical ensembles including the Bavarian Radio Symphony Orchestra and the Hong Kong New Music Ensemble.Recent works were shown at Witte de With (2018); 14e Biennale de Lyon, France (2017); Spring Workshop, Hong Kong (2017); Lenbachhaus München, Germany (2017); Hamburger Bahnhof, Berlin, Germany (2016); Museum of Modern Art, Warsaw, Poland (2016); and KW Institute for Contemporary Art, Berlin, Germany (2015).
Sandhya Daemgen is a performer and choreographer based in Berlin. She is interested in ideas exploring the multi-dimensional reality of the everyday, using music/voice, sci-fi and new modes of personal and societal interaction. She holds degrees in Cultural Theory from Wesleyan University, USA and in Dance, Context and Choreography from Hochschulübergreifendes Zentrum Tanz in Berlin. Her notable pieces include: Alter Ego (2014, Berlin); The Listening Party Experiment (2015, Berlin);What’s That Noise (2015, Berlin); and This is Not the Omega (2016, Amsterdam). Since 2011 she has worked closely with Tino Sehgal performing in various pieces and also has performed for Ari Benjamin Meyers, Alexandra Pirici, Kat Valastur and Arcade Fire, amongst others. Most recently she worked alongside Ari Benjamin Meyers to produce the Kunsthalle for Music at the Witte de With (2018, Rotterdam) as well as with the Hong Kong New Music Ensemble to present his new work Litany and Rapture within the context of his solo show at Spring Workshop, Hong Kong.
Summer School as School is an interdisciplinary education platform, based in Prishtina.
The 2018 program of Summer School as School included seminars, workshops, lectures, performances, study tours, school film program and exhibitions by artists, writers, and scholars, including: Julieta Aranda, Brigita Antoni, Zdenka Badovinac, Carolyn Christov-Bakargiev, Sezgin Boynik, Boris Buden, Mladen Dolar, Linda Gusia, Jakup Ferri, Kate Fowle, Felix Gmelin, Laura J Kurgan, Thomas Keenan, Sami Khatib, Nita Luci, Meriton Maloku, Ari Benjamin Meyers, Sandhya Daemge, Miran Mohar, Remijon Pronja, Danilo Prnjat, Bernhard Rüdiger, Anri Sala, Branimir Stojanović, Milica Tomić, Zorica Zafirovska, Alenka Zupančič and Dardan Zhegrova.
The Public Program organized during Summer School as School 2018 serves as a common platform for faculty, participants, and the public.
Produced by: Stacion - Center for Contemporary Art Prishtina
Music composition: Liburn Jupolli
For more info
#summerschoolasschool