Starting from Pulp ́s song we will discuss forms of classism at universities, the artworld, and the everyday. We will structure the seminar in a historical overview of classism embedded in cultural discourse of the last century. Then we will define possibilities to make artwork in relation to classism and its intersectionality, ending up in a public presentation outside the university. Students with personal experience in classism more than welcome!
 

* Pulp. Common People. By Banks / Doyle / Senior / Cocker / Mackey. Different Class. Polygram, Island Records, 1995. CD, LP, MC.

Als Widerstand gegen einen neoliberalen, leistungsorientierten Performance-Begriff problematisieren künstlerische Performances  ihr eigenes Potenzial, indem sie ihre medialen Grenzen hinterfragen und dadurch sichtbar machen. Sie plädieren für Spekulation statt Spektakel, entwickeln Aufmerksamkeit für situative Spannungen zwischen Ethik und Ästhetik, untersuchen Möglichkeitsbedingungen, Orte selbst als Medium zu nützen. Künstlerische Formen wie Situationismus, Aktionismus, Postmodern Dance, Performance Art, zeitgenössischer Tanz denken – in all ihren Differenzen – Kunst in ortsspezifischen Ökonomien.

Refineries, and their petroleum products, saturate the landscape of suburban social reproduction – from gasoline-fired automobility to vinyl-sided homes and petroleum-based food commodities. Just as refineries produced their own set of discrete fractioned products distilled and cracked from crude oil, petroleum products provided the material basis for the appearance of fractionated lives, each tidily contained and controlled within the private spaces of the car, the home and the body.
 

Lifeblood, Matthew T. Huber

Artistic Practice: digital formats 1/2

Amidst public debate concerning problematic monuments, we are in urgent need of a geographically broad and historically deep understanding of monuments and memorials. We will look at the complicated relationship between monuments, history, the public, and free speech; the various endeavors by artists and activists to democratize public art, the rise of counter-monuments, living memorials, performance as a site of memory and resistance, as well as various practices of vandalism, parody, and subversion.

How do we view the city from the pasture and the pasture from the city? What will happen if we blur the borders between them as shepherds do between the states? Where can we find shepherds these days? Do they have answers to our climate troubles? This 3 day symposium of shared knowledge, cinema and music will prepare us for collective imagination about our pastoralist future on the grazelands around the city Bratislava, Slovakia.