{"id":4656,"date":"2017-07-05T10:38:02","date_gmt":"2017-07-05T08:38:02","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?p=4656"},"modified":"2018-09-25T14:01:41","modified_gmt":"2018-09-25T12:01:41","slug":"world-of-art-public-lectures-available-online-1996-2012","status":"publish","type":"post","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/4656","title":{"rendered":"World of Art public lectures available online (1996\u20132003)"},"content":{"rendered":"<p>World of Art | School for Curatorial Practices and Critical Writing |Public lectures | Archive<\/p>\n<hr \/>\n<p>World of Art school, as an informal educational programme in the field of curatorial practices and critical writing attempts to open up spaces for specific production and distribution of knowledge. For this purpose, we made the contents of public lectures of the first years of the school available online to the wider interested public.<\/p>\n<hr \/>\n<p><strong>STRATEGIES OF PRESENTATION II and III, 2001\/03<br \/>\n<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/buden_txt.htm\">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\">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\">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\">Daniel Jewesbury:<em> Scopo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/keser_txt.htm\">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\">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\">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\">Donatella Ruttar, Moreno Miorelli: <em>Stazione di Topolo<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/sivavec_txt.htm\">Nevenka \u0160ivavec: <em>The Lure of the Local<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0203\/skart_txt.htm\">\u0160KART: <em>Pesme koje su pobegle<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0102\/whw_txt.htm\">WHW: <em>In Between: Independence and the Lures of Institutionalisation<\/em><\/a><\/li>\n<\/ul>\n<hr \/>\n<p><strong>STRATEGIES OF PRESENTATION I, 2000\/2001<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_clementine_ang.htm\">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\">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\">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\">Mike Hentz: <em>Translation<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_marko_ang.htm\">Marko Ko\u0161nik: <em>Abstraction and Action<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/0001\/tekst_oliver_ang.htm\">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\">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\">Miha Zadnikar: <em>Restructuring Subculture<\/em><\/a><\/li>\n<\/ul>\n<hr \/>\n<p><strong>GEOPOLITCS AND ART, 1999<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99charlytxang2.htm\">Charles Harrison: <em>The Merits of Incompetence<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99andeltxang.htm\">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\">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\">Borut Vogelnik: <em>The privatisation of time<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99rutartxang.htm\">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\">Edi Muka: <em>Permanent Instability<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/99\/99peljhantxang.htm\">Marko Peljhan: <em>Permanent Instability<\/em><\/a><\/li>\n<\/ul>\n<hr \/>\n<p><strong>THEORIES OF DISPLAY, 1997\/1998<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98steph2.htm\">Stephen Bann: <em>Display Across the Ages<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98ute2.htm\">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\">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\">Konstantin Akinsha: <em>Notes on the Underground<\/em><\/a><\/li>\n<li><a href=\"http:\/\/arhiv.worldofart.org\/english\/98\/98poga2.htm\">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\">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\">Vuk \u0106osi\u0107: <em>Net.Art, the Text<\/em><\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>World of Art school, as an informal educational programme in the field of curatorial practices and critical writing attempts to open up spaces for specific production and distribution of knowledge. For this purpose, we made the contents of public lectures of the first years of the school available online to the wider interested public.<\/p>\n","protected":false},"author":1,"featured_media":4657,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,10,1],"tags":[],"class_list":["post-4656","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lectures","category-news","category-woa"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/posts\/4656","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/post"}],"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=4656"}],"version-history":[{"count":2,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/posts\/4656\/revisions"}],"predecessor-version":[{"id":4659,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/posts\/4656\/revisions\/4659"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media\/4657"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=4656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=4656"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=4656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}