{"id":4257,"date":"2018-06-15T17:01:41","date_gmt":"2018-06-15T15:01:41","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=4257"},"modified":"2019-11-18T16:58:27","modified_gmt":"2019-11-18T14:58:27","slug":"public-events","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/public-events","title":{"rendered":"Public Events"},"content":{"rendered":"<hr \/>\n<div class=\"scca-articles-grid\">\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/6074\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-6075\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2019\/10\/paralelni-sistem-main-cover-eng-fin-338x190.jpg\" alt=\"\" width=\"338\" height=\"190\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2019\/10\/paralelni-sistem-main-cover-eng-fin-338x190.jpg 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2019\/10\/paralelni-sistem-main-cover-eng-fin-768x432.jpg 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2019\/10\/paralelni-sistem-main-cover-eng-fin-730x411.jpg 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2019\/10\/paralelni-sistem-main-cover-eng-fin.jpg 1920w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/a><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2019<\/span><\/p>\n<h4><strong>Parallel Systems. Establishing and Forming Media Art<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/6079\">Mikl\u00f3s Petern\u00e1k: <em>CHANGING THE SYSTEM: THE INTERMEDIA MODEL. From Media Research to Intermedia 2.0 (1989\u20132019)<\/em><\/a>, lecture<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/6088\">Suzana Milevska: <em>WRITING ABOUT, WITH, AND OUTWARDS ART<\/em><\/a>, workshop<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/archives\/14850\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Media art and cutural policy<\/em><\/a>, round table (in Slovene langauge)<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/6092\">Siegfried Zielinski: <em>PRO-SPECTIVE ARCHAEOLOGIES. Travelling through DEEP TIME OF THE MEDIA into Possible Futures<\/em><\/a>, lecture<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/6137\">Amy Ireland and Mikkel Thykier: <em>Shanghai Frequencies<\/em><\/a>, talk<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"scca-articles-grid\">\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5290\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/prakse-in-pristopi-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/prakse-in-pristopi-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/prakse-in-pristopi-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/prakse-in-pristopi-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/prakse-in-pristopi-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures and workshops 2017\/2018<\/span><\/p>\n<h4><strong>Practices and Approaches<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4062\">Daniel Morgenthaler: Curating? Corating!<\/a>, lecture<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4804\">Andrej Bereta: <em>Curator vs Artist<\/em><\/a>, workshop<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4804\">Andrej Bereta: <em>Evaluation of an Exhibition<\/em><\/a>, workshop<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/5589\">Max Grau: Performing Knowledge<\/a>, workshop<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img decoding=\"async\" class=\"alignnone size-full wp-image-4374\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2016\/03\/How-critical-is-2016-1.jpg\" alt=\"\" width=\"338\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2016\/03\/How-critical-is-2016-1.jpg 1000w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2016\/03\/How-critical-is-2016-1-300x129.jpg 300w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2016\/03\/How-critical-is-2016-1-768x329.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\"><span style=\"color: #808080;\"><span style=\"color: #808080;\">Series of public lectures 2016<br \/>\nin collaboration with the <a href=\"http:\/\/www.igorzabel.org\/en\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Igor Zabel Association for Culture and Theory<\/strong><\/a><\/span><\/span><\/p>\n<h4><strong>How Critical Is The Condition of Critical Writing?<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3790\">Thijs Lijster: The Crisis of Criticism<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3790\">Thijs Lijster: Towards an \u201cEspacement\u201d of Criticism<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3800\">Ekaterina Degot: When Everybody is Critical, but Nobody is a Critic<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3992\">Maja Breznik: Presenting the Analysis \u201cWhere Has Fine-Art Criticism Gone?\u201d<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4013\">Izidor Bar\u0161i &amp; Kaja Kraner (\u0160UM): Discourses Accompanying Art<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4021\">Antonija Letini\u0107: What Do We Talk About When We Talk About Criticism?<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4032\">Fouad Asfour: Unlearning Art Writing<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5292\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/javana-predavanja-2014-15-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/javana-predavanja-2014-15-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/javana-predavanja-2014-15-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/javana-predavanja-2014-15-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/javana-predavanja-2014-15-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\"><span style=\"color: #808080;\">Series of public lectures 2014\/2015<\/span><br \/>\n<span style=\"color: #808080;\"><span style=\"color: #808080;\">In collaboration with the <a href=\"http:\/\/www.igorzabel.org\/en\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Igor Zabel Association for Culture and Theory<\/strong><\/a><\/span><\/span><\/p>\n<h4><strong>How Critical Is The Condition of Critical Writing?<\/strong><\/h4>\n<ul>\n<li class=\"rightc\"><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2539\">Boris Buden: Art and Critique in Curating the Past, lecture<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2539\">Boris Buden: A conversation with Boris Buden upon the occasion of the Slovene translation of the <em>Zone des \u00dcbergangs: Vom Ende des Postkommunismus.<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2588\">Lina D\u017euverovi\u0107: Words Are People.* Text As Art And Art As Text<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3054\">Jelena Vesi\u0107: Critique in\/or Crisis<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3380\">Jennifer Allen: The Work of Art Criticism in the Digital Era<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/3399\">Edit Andr\u00e1s: The Trajectory of Criticism in the Time of Post-Socialist Nationalism<\/a><\/li>\n<\/ul>\n<h4><strong>Reflections and Premises in Contemporary Art, Art Theory and Art History<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1641\">Suzana Milevska: The Troubled Relation Between Theory and Curatorial Practice<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1654\">Elke Krasny: Unplanned History \u2013 Writing It Down\/Writing It Up as a Critical Curatorial Practice<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1744\">Jayme McLellan: Different models of support for emerging art and artists in the U.S.\/D.C.<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1764\">Paul O\u2019Neill: Did Somebody Say Curating, Again? Recent Turns in Curatorial Practice<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2032\">Piotr Piotrowski: The Global NETwork. Approaching Comparative Art History<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2032\">Klara Kemp-Welch: Continuity and Rupture \/ Networking and Collaboration from the 70s to the 00s<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1641\">Suzana Milevska: The Troubled Relation Between Theory and Curatorial Practice<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1654\">Elke Krasny: Unplanned History \u2013 Writing It Down\/Writing It Up as a Critical Curatorial Practice<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1744\">Jayme McLellan: Different models of support for emerging art and artists in the U.S.\/D.C.<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1764\">Paul O\u2019Neill: Did Somebody Say Curating, Again? Recent Turns in Curatorial Practice<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5293\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2011-13-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2011-13-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2011-13-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2011-13-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2011-13-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2011\/13<\/span><\/p>\n<h4><strong>Curatorial and Institutional Practices<\/strong><\/h4>\n<ul>\n<li><a title=\"Igor Zabel: Contemporary Art Theory: Book presentation and discussion\" href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1341\"><em>Igor Zabel: Contemporary Art Theory:<\/em> Book presentation and discussion<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1420\">Erik Hagoort, <em>Diagonal Reciprocity. Thinking About Art Practices of Encounter<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1487\">Nata\u0161a Petre\u0161in Bachelez: Situated artistic research and self-reflexive residency programmes<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/626\">S\u00f8nke Gau and Katharina Schlieben: Work to do! Or Caught between two stools: Questioning Production Conditions \u2026<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/653\">Petra Kap\u0161: Lethe or Mnemosyne for the fu-(ture) OR as omnipresent trinity: poiesis, techn\u00e9, parrhesia<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/726\">Dorothee Richter: Artists and Curators as Authors \u2013 Competitors, Collaborators, or Teamworkers?<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/733\">Andrzej Szczerski: Curating and the importance of artwork<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/14th-year-20112013\/workshops\/misko-suvakovic-art-and-politics\">Mi\u0161ko \u0160uvakovi\u0107: Art and Politics: Contemporary Aesthetics, Philosophy, Theory and Art in the Era of Global Transition<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/14th-year-20112013\/workshops\/branislav-dimitrijevic\">Branislav Dimitrijevi\u0107: Interpreting and Situating Contemporary Art: Observation, Participation, Motivation, Research and Empathy<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/1194\">Petja Grafenauer: Workshop on Writing About Experimental Research and Exhibition Project \u201cVideo Turn\u201d<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5294\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2010-11-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2010-11-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2010-11-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2010-11-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2010-11-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2010\/11<\/span><\/p>\n<h4><strong>Curatorial and Institutional Practices<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/358\">Pau Cata (Consell Comarcal Llorenc del Penedes): An artist at the CeRCCa Residency. An auto-ethnographic perspective<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/393\">Nora Sternfeld and Luisa Ziaja: What comes after the show? On post-representational curating<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/series-of-lectures\/dreams-failures-and-achievements-navigating-through-an-institutional-desert\">Joa Ljungberg and Edi Muka: Dreams, Failures and Achievements \u2013 Navigating through an institutional desert<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/series-of-lectures\/negotiating-social-and-political-urgencies-in-the-field-of-artistic-practice\">Maria Hlavajova: Negotiating Social and Political Urgencies in the Field of Artistic Practice. BAK, basis voor actuele kunst as a Case Study<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/series-of-lectures\/negotiating-social-and-political-urgencies-in-the-field-of-artistic-practice\">Maria Hlavajova: Negotiating Social and Political Urgencies in the Field of Artistic Practice. BAK, basis voor actuele kunst as a Case Study<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/workshops\/misko-suvakovic-theory-and-practice-of-art-criticism\/\">Mi\u0161ko \u0160uvakovi\u0107: Theory and practice of art criticism<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/workshops-on-writing-about-contemporary-art\/grafenauer-writing-a-text\/\">Petja Grafenauer: Writing a text about an exhibition of contemporary art<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/13th-year-201011\/workshops-on-writing-about-contemporary-art\/suzana-milevska-text-for-the-catalogue\/\">Suzana Milevska: Text for the catalogue<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5297\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2008-09-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2008-09-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2008-09-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2008-09-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2008-09-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2008\/09<\/span><\/p>\n<h4><strong>Curatorial and Institutional Practices<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/132\">Angela Harutyunyan: Coming to You Not to Be With You<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/118\">Branislav Dimitrijevi\u0107: Everything Is Gonna Be: Katarina Zdjelar and Zoran Todorovi\u0107 at The 53rd Biennale Di Venezia<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/114\">Suzana Milevska: Negotiations: Curatorial practice in the period of globalisation<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/111\">Eda \u010cufer: Occupation dramaturge, curator, editor<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/107\">Angela Harutyunyan: Interstices of History: Collective Writing and\/as Curating<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/123\">\u017denja Leiler: Newspaper Critique<\/a><\/li>\n<li>Mi\u0161ko \u0160uvakovi\u0107: Theory and Practice of Contemporary Art<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/119\">Branislav Dimitrijevi\u0107: Interpreting and Situating Contemporary Art: Observation, Participation, Motivation, Research and Empathy<\/a><\/li>\n<li>Neven Korda, Zemira Alajbegovi\u0107 Pe\u010dovnik: Video Essay<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5295\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2007-08-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2007-08-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2007-08-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2007-08-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2007-08-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2007\/08<\/span><\/p>\n<h4><strong>Curatorial and Institutional Practices<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/72\">Manray Hsu: Informal Politics and Contemporary Arts<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/30\">Suzana Milevska: Curator as a Translator<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/73\">Julian Stallabrass: Art Incorporated: Contemporary Art in a Neoliberal Climate<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/74\">Mi\u0161ko \u0160uvakovi\u0107: Comparative Theory and History of Art: Analysis<\/a><\/li>\n<li>Eda \u010cufer: Interview as a Tool of Conceptualisation<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/75\">Suzana Milevska: Collaborative Curating<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/87\">Zemira Alajbegovi\u0107, Neven Korda: Video Essay<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5296\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2006-07-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2006-07-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2006-07-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2006-07-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/kuratorske-in-institucionalne-prakse-2006-07-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2006\/07<\/span><\/p>\n<h4><strong>Curatorial and Institutional Practices<\/strong><\/h4>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/22\">Cl\u00e9mentine Deliss: Plan for a Mobile Faculty of Arts<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/28\">Angela Harutyunyan : Importing \u201cCurator\u201d: Politics of Representation and Recognition in Contemporary Armenian Art<\/a><\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/20\">\u017denja Leiler: Newspaper &amp; Magazine article and review<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/21\">Mi\u0161ko \u0160uvakovi\u0107: Theory and Practice of Art Critique<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/22\">Cl\u00e9mentine Deliss: Plan for a Mobile Faculty of Arts<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/24\">Je\u0161a Denegri: Historicizing Contemporary Art<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/31\">Suzana Milevska: Catalogue text workshop<\/a><\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/25\">Zemira Alajbegovi\u0107, Neven Korda: Video Essay<\/a><\/li>\n<\/ul>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5298\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2005-06-predavanje-delavnice-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2005-06-predavanje-delavnice-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2005-06-predavanje-delavnice-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2005-06-predavanje-delavnice-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2005-06-predavanje-delavnice.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Public lecture 2005\/06<\/span><\/p>\n<ul>\n<li>Mike Hentz: Performance \u2026 What does it mean?<\/li>\n<\/ul>\n<p>Workshops<\/p>\n<ul>\n<li>Zemira Alajbegovi\u0107 &amp; Neven Korda: Video Essay<\/li>\n<li><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/2235\">Eda \u010cufer: Interview as a Tool for Conceptualisation<\/a><\/li>\n<li>Je\u0161a Denegri: Historicizing Contemporary Art<\/li>\n<li>Mike Hentz: Different Aspects of Performance. Practical and Theoretical Exercises<\/li>\n<li>Mi\u0161ko \u0160uvakovi\u0107: Construction of a Story of Modern Art and how to Conceptualise Critical Analysis<\/li>\n<li>Nadja Zgonik: Cataloguing Contemporaneity \u2013 A Text for a Catalogue<\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5299\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2004-05-delavnice-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2004-05-delavnice-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2004-05-delavnice-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2004-05-delavnice-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2004-05-delavnice-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Workshops 2004\/05<\/span><\/p>\n<ul>\n<li>Zemira Alajbegovi\u0107 &amp; Neven Korda: Video Essay<\/li>\n<li>Eda \u010cufer: Interview<\/li>\n<li>Je\u0161a Denegri: Historicizing Contemporary Art<\/li>\n<li>\u017denja Leiler: Newspaper Critique<\/li>\n<li>Mi\u0161ko \u0160uvakovi\u0107: Theory and Practice of Art Critique and Theory and Practice of Art Critique Part II<\/li>\n<li>Igor Zabel: Catalogue Text<\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-5300\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2003-04-delavnice-eng-338x180.png\" alt=\"\" width=\"338\" height=\"180\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2003-04-delavnice-eng-338x180.png 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2003-04-delavnice-eng-768x410.png 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2003-04-delavnice-eng-730x389.png 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/07\/2003-04-delavnice-eng.png 1500w\" sizes=\"auto, (max-width: 338px) 100vw, 338px\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Workshops 2003\/04<\/span><\/p>\n<ul>\n<li>Zemira Alajbegovi\u0107 &amp; Neven Korda: Video Essay<\/li>\n<li>Toma\u017e Brejc: Interpretation of an Art Work<\/li>\n<li>Boris Buden: Column<\/li>\n<li>Je\u0161a Denegri: Historicizing Contemporary Art<\/li>\n<li>Mi\u0161ko \u0160uvakovi\u0107: Theory and Practice of Art Critique<\/li>\n<li>Igor Zabel: Catalogue Text<\/li>\n<li>\u017denja Leiler: Newspaper Critique<\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11572\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/1999\/05\/20170530_160513-400x225.jpg\" alt=\"\" width=\"338\" height=\"190\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2001\/03<\/span><\/p>\n<h4><strong>Strategies of Presentation II &amp; III<\/strong><\/h4>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/buden_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Boris Buden: <em>Art as a Political Intervention: The Austrian Case<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/dronet_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Cartel, David Dronet:<em> Multimedia cultural centre Station Mir<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/esche_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Esche: <em>The possibility forum \u2013 institutional change and modest proposals<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/jewesbury_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Jewesbury:<em> Scopo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/keser_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Ivana Keser:<em> Author\u2019s Newspaper: The Freedom of Misinformation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/misiano_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Viktor Misiano:<em> Strategies of Exhibiting from Modernisation towards De-Modernisation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/pogacar_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tadej Poga\u010dar: <em>This Is What You Want \u2013 This Is What You Get<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/topolove_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Donatella Ruttar, Moreno Miorelli: <em>Stazione di Topolo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/sivavec_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Nevenka \u0160ivavec: <em>The Lure of the Local<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/skart_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">\u0160KART: <em>Pesme koje su pobegle<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/whw_txt.htm\" target=\"_blank\" rel=\"noopener noreferrer\">WHW: <em>In Between: Independence and the Lures of Institutionalisation<\/em><\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11570\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/1999\/05\/20170530_160330-400x222.jpg\" alt=\"\" width=\"338\" height=\"188\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 2000\/01<\/span><\/p>\n<h4><strong>Strategies of Presentation I<\/strong><\/h4>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_clementine_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Cl\u00e9mentine Deliss: <em>Metronome: Curatorial Practice and Research beyond Exhibitions<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_branko_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Branislav Dimitrijevi\u0107: <em>The Grand Compromise: On Examples of the Use of Political References in Serbian Art of the<br \/>\n90\u2019s, and its Historical Background<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_eurovision_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Marion von Osten, Peter Spillman in Susanna Perin: <em>Euro-Vision of the World of Art<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_mike_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Hentz: <em>Translation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_marko_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Marko Ko\u0161nik: <em>Abstraction and Action<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_oliver_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Marchart: <em>Political Strategies as Artistic Strategies: The Use of Multiple Names<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_olesya_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Olesya Turkina: <em>St. Petersburg\u2019s Neo-academism. Revival of the Great Story<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_miha_ang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Miha Zadnikar: <em>Restructuring Subculture<\/em><\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11571\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/1999\/05\/20170530_160346-400x225.jpg\" alt=\"\" width=\"338\" height=\"190\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 1999<\/span><\/p>\n<h4><strong>Geopolitics and Art<\/strong><\/h4>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99charlytxang2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Harrison: <em>The Merits of Incompetence<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99andeltxang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Jaroslav Andel: <em>Art\u2019s shifting Grounds: The Case of Czechoslovakia \/ Czech Republic<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99calintxtang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">C\u0103lin Dan: <em>Geography of Doom. An Estimate of Possibilities<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99borutxang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Borut Vogelnik: <em>The privatisation of time<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99rutartxang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Du\u0161an Rutar: <em>Digital Aesthetics, global Images and Ethics of New Tribalism<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99editxang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Edi Muka: <em>Permanent Instability<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99peljhantxang.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Marko Peljhan: <em>Permanent Instability<\/em><\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11573\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/1999\/05\/manjsa-400x228.jpg\" alt=\"\" width=\"338\" height=\"193\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 1998<\/span><\/p>\n<h4><strong>Theories of Display<\/strong><\/h4>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98steph2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Bann: <em>Display Across the Ages<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98ute2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Ute Meta Bauer: <em>Do-It-Yourself: Exhibitions by Artists during the 20th Century<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98zgon2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Nadja Zgonik: <em>The Role of National Identity Research in Theories of Display in Slovenia: Between Past and Present<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98konst2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Konstantin Akinsha: <em>Notes on the Underground<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98poga2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tadej Poga\u010dar: <em>P.A.R.A.S.I.T.E. Museum of Contemporary Art and New Parasitism<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98zab2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Zabel: <em>Exhibition Strategies in the Nineties: A Few Examples from Slovenia<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98vuk2.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vuk \u0106osi\u0107: <em>Net.Art, the Text<\/em><\/a><\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<hr \/>\n<div class=\"col-md-12 col-sm-12 grid\">\n<div class=\"featured-thumb col-md-4 col-sm-4\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13470\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/2018\/08\/Katalug-SU_1997-338x338.png\" alt=\"\" width=\"338\" height=\"338\" \/><\/div>\n<div class=\"out-thumb col-md-8 col-sm-8\">\n<p><span style=\"color: #808080;\">Series of public lectures 1996\/1997<\/span><\/p>\n<h4><strong>Conceptual Art in the 60\u2019s and 70\u2019s<\/strong><\/h4>\n<p>(In Slovene language only)<\/p>\n<ul>\n<li>Igor Zabel: Na\u010deli serije in programa v ohojevski umetnosti<\/li>\n<li>Lilijana Stepan\u010di\u010d: Body art in OHO<\/li>\n<li>Mi\u0161ko \u0160uvakovi\u0107: Konceptualna umetnost v Srbiji<\/li>\n<li>Antje von Graevenitz: Umetnikova osebnost kot sredstvo konceptualne umetnosti v Nem\u010diji<\/li>\n<li>Charles Harrison: Konceptualna umetnost in problem predstavitve<\/li>\n<li>L\u00e1szl\u00f3 Beke: Konceptualna umetnost v vzhodni Srednji Evropi<\/li>\n<li>Branka Stipan\u010di\u0107: Radikalna umetnost iz Hrva\u0161ke<\/li>\n<\/ul>\n<p><a href=\"http:\/\/arhiv.worldofart.org\/english\/archive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Visit World of Art Archive page<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr \/>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5018 size-large\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/02\/casovnica-II-1024x576-730x411.jpg\" alt=\"\" width=\"730\" height=\"411\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/02\/casovnica-II-1024x576-730x411.jpg 730w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/02\/casovnica-II-1024x576-338x190.jpg 338w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/02\/casovnica-II-1024x576-768x432.jpg 768w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2018\/02\/casovnica-II-1024x576.jpg 1024w\" sizes=\"auto, (max-width: 730px) 100vw, 730px\" \/><\/p>\n<p>The timeline with school\u2019s twenty-year long continuity in educational process and a review of the public lectures, seminars and workshops, produced in collaboration with local and international lecturers and institutions, was presented at the exhibition <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/16th-season-2016-2018\/re-exhibition\">re- Exhibition on the Occasion of the Twentieth Anniversary of the World of Art<\/a> at \u0160kuc Gallery in Ljubljana.<\/p>\n<p>The timeline provided a reading at three levels: through the list of guest lecturers that have prepared public lectures, workshops and seminars; through the range of citations; and through the key concepts that have contributed to the understanding of the developments and issues in the field of both, contemporary curatorial, as well as visual, practices and theories.<\/p>\n<p><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/year16-2016-2018\/re-exhibition\">More about the exhibition.<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Series of public lectures 2019 Parallel Systems. Establishing and Forming Media Art Mikl\u00f3s Petern\u00e1k: CHANGING THE SYSTEM: THE INTERMEDIA MODEL. From Media Research to Intermedia 2.0 (1989\u20132019), lecture Suzana Milevska: WRITING ABOUT, WITH, AND OUTWARDS ART, workshop Media art and cutural policy, round table (in Slovene langauge) Siegfried Zielinski: PRO-SPECTIVE ARCHAEOLOGIES. Travelling through DEEP TIME [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":6075,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[25],"tags":[],"class_list":["post-4257","page","type-page","status-publish","has-post-thumbnail","hentry","category-school-structure"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/4257","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/comments?post=4257"}],"version-history":[{"count":40,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/4257\/revisions"}],"predecessor-version":[{"id":6142,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/4257\/revisions\/6142"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media\/6075"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=4257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=4257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=4257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}