Chrystalleni Loizidou's observations on art, tech & their politics / art with no backstage / art that worries about the politics of its media / documentation art and software freedom | previously: the enactment of a deeply personal fantasy of transformation through writing, in quest of “the platform”
A circle on big and small transgressions, more or less illegal art, and other braving zones | Κύκλος για μεγάλες και μικρές παραβάσεις, περισσότερο ή λιγότερο παράνομη τέχνη, και άλλα braving zones.
Untitled draft by Sylvat Aziz (2018). Pencil on light paper print. Image of the Mammari Buffer Zone. | Άτιτλο προσχέδιο της Sylvat Aziz (2018). Μολύβι σε ελαφριά εκτύπωση σε χαρτί. Εικόνα της Νεκρής Γραμμής, Μάμμαρι.
This circle was initially conceived as a lecture entitled “Theodora’s freedom: Notes on Foucault’s governmentality, Haraway’s ‘staying with the trouble’, and borderline art in the Cyprus State Collection”. Keeping with the original impulse, the circle begins with the telling of a curator’s key moments in a personal path of unlearning and self-decolonisation, and gives space for collective reflection and informal discussion.
Facilitated by Chrystalleni Loizidou, a recovering cultural studies scholar, curator, and educator.
Saturday July 3rd, 7:30pm, Pharos beach, Paphos
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Ο κύκλος αυτός σχεδιάστηκε αρχικά ως διάλεξη με τίτλο “Η ελευθερία της Θεοδώρας: Σημειώσεις για την έννοια της κυριαρχίας του Foucault, της “παραμονής με το πρόβλημα” της Haraway, και την οριακή τέχνη στην Κρατική Συλλογή της Κύπρου”. Διατηρώντας την αρχική πρόθεση, ο κύκλος ξεκινά με μικρές αφηγήσεις γύρω από στιγμές αυτο-αποαποικιοποίησης και αναθεώρησης/απο-μάθησης μιας επιμελήτριας τέχνης, ως άνοιγμα για συλλογική σκέψη και άτυπη συζήτηση.
Εμψύχωση από τη Χρυσταλλένη Λοϊζίδου, επιμελήτρια, ερευνήτρια πολιτιστικών σπουδών, και εκπαιδευτικό, σε ανάρρωση.
Σάββατο 3 Ιουλίου, 7:30μ.μ. Φάρος, Πάφος
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Published by nee
I sought meaning in academic research about conflict transformation in relation to art and media history, and efforts for recovering the commons (PhD Cultural Studies with the London Consortium). I worked and taught with a number of universities, art-centers and internationally funded programs with increasing focus on free and open source technology, until a child reactivated my connection with a circle of heart-giving art educators in Brasil and helped me see what the Situationists' meant with their rejection of alienated labour. My child and I started mapping out and learning from the bravest and most meaningful art-educational initiatives around the world, and we've been focusing on holding space and community for free play, towards what Silvia Federici describes as a re-enchantment. Through my own learning path (including on-going training in Waldorf and Forest school teacher training, What Future for Education, London Institute of Education 2019; Hand in Hand Professional’s Intensive 2020) I have come to see learning as a state of being that is meaningfully embedded and present in its social setting, prioritising applied responses to local and community needs, and contributing to each other’s creative, practical, scientific, emotional and other developmental processes through a recognition of the abundant nature of the necessary resources, materials, information, peer-to-peer learning, and tools. | neeii.info
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