Summer School as School 2019 Conference
7 August, 2019, 18:00 
Venue: Boxing Club

Summer School as School
5 - 21 August, 2019

Stacion - Center Contemporary Art Prishtina has the pleasure to announce Summer School as School 2019 Conference with Patricia Falguières, Zdenka Badovinac, Tone Hansen, Albert Heta, Tatiana Tarrago, Marina Otero Versiez, Miran Mohar and Yll Rugova, part of Summer School as School 2019 Public Program.

Keynote by Patricia Falguières
Presentations by Zdenka Badovinac, Tone Hansen and Albert Heta

Keynote by Tatiana Tarrago.
Presentations by Marina Otero Versiez, Miran Mohar and Yll Rugova

On 3 May 2019, at an official press conference held in Pristina, the Director of Manifesta, Hedwig Fijen, the Mayor of Pristina, Shpend Ahmeti, the Director of Culture City of Pristina, Blerta Bosholli, and the Minister of Culture, Youth and Sport of the Republic of Kosovo, Kujtim Gashi; officially announced Pristina as the host city of Manifesta 14.

The information published by Manifesta Foundation contains meaningful statements and positions, such as “Manifesta aims to support the citizens of Kosovo in their ambition to reclaim public space and to rewrite the future of their city as an open-minded metropolis in the heart of the Balkans”, “Our city is proud and honored to host Manifesta in 2022. In a place where 50 percent of its hospitable population are younger than 25, where Ottoman architecture is mixed with postwar neoliberal philosophy, there is a lot to discuss, there is a lot to do and there is a lot of public space to reclaim.”, or “I wish Manifesta can provide Pristina the means to reconstruct, redefine and reclaim a radicalised and diverse public space, which still seems to be today regarded as a cultural subversive act, which can become a call for change.”
On 25 July 2019, Koha Ditore, a Kosovar daily newspaper, published an article titled “The project for the Museum of Contemporary Art – 12 years forgotten”.
From the same article one could read that 12 years ago the Ministry of Culture, Youth and Sports of the Republic of Kosovo had selected a proposal and at the time it had planned to spend 5 million euro in the ‘concretization” of the project.

This year, the same institution has planned to spend 50,000 euro in this project, but with no clear idea what to do.
The attention to the forgotten project was recently brought back to the public sphere in the heat of a civil struggle to protect a modernist building from governmental demolition.

On October 10, 2018, the Ministry of Culture, Youth and Sports of the Republic of Kosovo approved the formal application of a number of organizations working in cultural heritage protection, to include the former shopping center “Germija” in the List of Cultural Heritage Assets under Temporary Protection, marking a moment for a pause and “a victory for those wishing to prevent the demolition of what they felt was an identifiable icon in the landscape of the city center”, and those who see the building to be the future “public space to reclaim” for a new museum of contemporary art in Prishtina.

Stacion – Center for Contemporary Art Prishtina for the Summer School as School 2019 Conference has invited Patricia Falguières to present a keynote titled the THE MUSEUM PROJECT, followed by presentations by Zdenka Badovinac, Tone Hansen and Albert Heta.

Falguières in her presentation asks: Can the museum still play an emancipatory role today? Whereas almost all the texts devoted to the museum by Institutional Critique in the 1980s and 2000s identified it as a vector of cultural, social and political domination, does the acceleration of neo-liberal commodification allow us to place our hopes of emancipation in an institution that has proved so fragile?

Tatiana Tarrago, in the keynote presentation of the second panel, representing Manifesta Foundation, will explain the transformation of Manifesta from and art biennial to an interdisciplinary event through the case of Manifesta 12, focusing on legacy examples from part editions, and the plan to research and set the structure for Manifesta 14. Presentations by Marina Otero Versiez, Miran Mohar and Yll Rugova will add some insight about Manifiesta 13, and as well as Manifesta 3, organized in Ljubljana, Slovenia from 23 June – 24 September 2000, the process that lead to the selection of Pristina as the host city of Manifesta 14, and the aftermath.

Biographies
Patricia Falguières is Professor at the School for Advanced Studies in Social Sciences (EHESS), Paris. She has published work on Renaissance philosophy and art, classifications, encyclopaedias and the birth of the museum, including Les Chambres des merveilles, (Bayard, 2002). She was the editor for the French publication of Julius von Schlosser’s classic book Die Kunst – und Wunderkammern der Spätrenaissance (Paris, Macula, 2012), and published a critical edition of Inside the White Cube by Brian O’Doherty (Paris, Zurich, 2008), as well as numerous studies on the history of museums and collections. In 2014, she published Carlo Scarpa, l’art d’exposer, a book by Philippe Duboy, within the collection she created for the Maison Rouge Foundation in Paris, France.
She is currently working on Renaissance Technè, an approach to art as a mode of production, through Aristotelian ontology. Alongside Caroline Van Eck (Leyden University), she led the Arts, invention, industrie seminar at the Institut National d’Histoire de l’Art, Paris, France and the Gottfried Semperconference. She has published extensively on Contemporary Art (monographs on Thomas Hirschhorn, Cristina Iglesias, Anri Sala, Mona Hatoum, Bernard Frize, Allora & Calzadilla, Abraham Cruzvillegas, Philippe Thomas, Julie Ault, Danh Vo… or essays on conceptual art, the relationship between art and theatre, etc). Together with Elisabeth Lebovici and Natasa Petresin, she runs the international seminar Something you should know at the EHESS. She is currently Chair of the French National Center for Visual Arts (CNAP)

Zdenka Badovinac is a curator and writer, who has served since 1993 as Director of the Moderna galerija in Ljubljana, comprised since 2011 of two locations: the Museum of Modern Art and the Museum of Contemporary Art Metelkova. In her work, Badovinac highlights the difficult processes of redefining history alongside different avant-garde traditions within contemporary art. Badovinac’s first exhibition to address these issues was Body and the East—From the 1960s to the Present (1998). She also initiated the first Eastern European art collection, Arteast 2000+. One her most important recent projects is NSK from Kapital to Capital: Neue Slowenische Kunst – The Event of the Final Decade of Yugoslavia, Moderna galerija, 2015 (Traveled to Van Abbe Museum , Eindhoven, (2016), Garage Museum of Contemporary Art, Moscow (2016) and the Museo Reina Sofía Madrid (2017)); NSK State Pavilion, 5tth Venice Biennale, 2017, co-curated with Charles Esche; The Heritage of 1989. Case Study: The Second Yugoslav Documents Exhibition, Modena galerija, Ljubljana, 2017, co-curated with Bojana Piškur; Sites of Sustainability Pavilions, Manifestos and Crypts, Hello World. Revising a Collection, Hamburger Bahnhof – Museum für Gegenwart – Berlin; Heavenly Beings: Neither Human nor Animal, Museum of Contemporary Art Metelkova, Ljubljana, co-curated with Bojan Piškur, 2018;
Her most recent book is Comradeship: Curating, Art, and Politics in Post-Socialist Europe (Independent Curators International (ICI), New York, 2019.
Founding member of L'Internationale, a confederation of six modern and contemporary art institutions. Badovinac was Slovenian Commissioner at the Venice Biennale from 1993 to 1997 and 2005. and Austrian Commissioner at the Sao Paulo Biennial in 2002 and is the President of CIMAM, International Committee for Museums and Collections of Modern Art, 2010–13.

Tone Hansen is the Director of the Henie Onstad Kunstsenter (HOK) since August 2011, and appointed Council leader for the Arts Council Norway -2016-2019.
Hansen was educated at the Academy of Fine Art in Oslo (1994-98) and worked as an artist, freelance curator and writers for several years. Hansen held a research fellowship position (PhD) at Oslo National Academy of the Arts (2003 – 2009) and completed the thesis “Megamonstermuseum: How to Imagine a Museum today”. From 2003-2005, Hansen was chairman of Young Artists Society.
In her theoretical and curatorial work, Hansen has focused on various implications of what public means, the role of art museums and how history is written and presented. A particular area of focus has been alternative forms of organizing strategies, as well as the function of governmental structures in determining museum.
She is the author of several monographies, and readers such as How to Imagine a Museum today? (2008, Torpedo press) and has edited several anthologies such as Looters, Smugglers and Collectors: Provenance Research and the Market (2015, Walter Koenig) Phantom of Liberty: Contemporary Art and the pedagogical paradox (2014, Sternberg Press); We are Living on a Star (2014, Sternberg Press); Modernity in Northern Europe – 1917-31: Electromagnetic (2013, Hatje Cantz); Entering a Site of Production (2012); ( Re) Staging the Art Museum (2011, Revolver); The New Administration of Aesthetics (2007, Torpedo), and What does Public Mean? Art as a Participant in the Public Arena (Torpedo 2007). Hansen contributes regularly to public debate in National newspapers, and lectures internationally.
Hansen was born in 1970 in Kirkenes and is based in Oslo.

Albert Heta is an artist, curator, designer, PhD researcher and social critic. Heta’s works in contemporary art are often simple acts of intervention in an existing social condition, responses to a given situation, or rethinking of existing objects. His notable works It’s time to go visiting: No visa required, a public intervention on British Airways billboards in Prishtina (2003); Embassy of the Republic of Kosova in Cetinje, SCG (2004) for the Cetinje Biennale, curated by Bene Block and Nataša Ilić; and his Kosovar Pavilion Venice Biennial 2005 (2005); distributed in collaboration with e-flux, are not merely the installations or acts of appropriation, but also acts of engagement with the conditions under which the works were accepted by the curators, media, politicians, and the public.
Since 2006, his work is also channeled through a collaborative intervention, project institution Stacion – Center for Contemporary Art Prishtina.
In 2015, Stacion – Center for Contemporary Art Prishtina initiated Summer School as a School, a collaborative interdisciplinary educational program. Originally inspired by the case of Kosovo, where the education system was structured in the mid-1970s, Summer School as School is designed to unite and disseminate critical knowledge and address relevant challenges of today, implementing new models and possibilities in art education and artistic collaboration.

Tatiana Tarragó is a designer from the Elisava Design School of Barcelona and holds a postgraduate degree on exhibition and museum elements and scenography Architecture, Art and Ephemeral Space: from Public Space to Museums from the Faculty of Architecture at the University of Barcelona. She combines her position as Head of Production and Programming at the permanent team of Manifesta with other projects. Tatiana collaborates with the Institut de Cultura de Barcelona as a project manager, with Museo Centro de Arte Reina Sofía in Madrid as designer of temporary exhibitions and produces art projects for artists and independent production companies.
She works and lives between Barcelona and Manifesta’s host cities for now close to 11 years. In her position as Head of Production and Programing at Manifesta she sets the strategies for the execution of the artistic program and selection of venues, manages the artistic and production budget and supervises the production, design and implementation of the biennial.

Marina Otero Verzier is an architect and the director of research at Het Nieuwe Instituut in Rotterdam. She leads research initiatives such as “Automated Landscapes,” focusing on the emerging architectures of automated labor and “Architecture of Appropriation,” on squatting as spatial practice. Recently, she curated the exhibition Steve Bannon: A Propaganda Retrospective by Jonas Staal (2018), and co-curated the exhibition “I See That I See What You Don’t See” at La XXII Triennale Di Milano (2019).
Otero is part of the Artistic Team for Manifesta 13 in Marseille (2020). Previously, she was the curator of “Work, Body, Leisure,” the Dutch Pavilion at the 16th Venice Architecture Biennale (2018), Chief Curator of the 2016 Oslo Architecture Triennale together with the After Belonging Agency and the director of Global Network Programming at Studio-X- Columbia University GSAPP (New York). Otero is a co-editor of Unmanned: Architecture and Security Series (2016), After Belonging: The Objects, Spaces, and Territories of the Ways We Stay In Transit (2016) and editor of Work, Body, Leisure (2018).
Otero studied at TU Delft, Columbia GSAPP and ETSA Madrid, where she completed her PhD. Her thesis 'Evanescent Institutions' examined the emergence of new paradigms for cultural institutions. She teaches architecture at RCA in London.

Miran Mohar (born 1958 in Novo Mesto, Slovenia) is an artist based in Ljubljana.
He is a member of the Irwin artists group and a co-founder of the Neue Slovenishe Kunst art collective, the graphic design studio New Collectivism and the Scipion Nasice Sisters Theatre.
Together with four other members of Irwin (Dušan Mandič, Andrej Savski, Roman Uranjek and Borut Vogelnik) he has participated in all Irwin projects and exhibitions since 1984. Here are some of them: From Kapital to Capital, Reina Sofia, Madrid, 2017; Planting Seeds, Laznia Centre for Contemporary Art, Gdansk, 2016; From Kapital to Capital, Moderna galerija Ljubljana, 2015; Hans in Luck - Art and Capital, Lehmbruck Museum, Duisburg, 2014; Former West, HKW, Berlin, Art Turning Left, Tate Liverpool, Liverpool, 2013; A Bigger Splash, Tate Modern, London; NSK Passport Office, Museum of Modern Art (MOMA), Manifesta, Genk, 2012, The Global Contemporary. The Art Worlds after 1989, ZKM /Centre for Art and Media Karlsruhe, Karlsruhe; Impossible Communities, State Museum of Modern Art, Moscow; The International, MACBA, Barcelona, 2011 / Paris, The Promises of the Past, Centre Pompidou, 2010 / Moscow,Third Moscow Biennial, New Old Cold War, 2009 / Krems, Kunsthalle Krems, State in Time, 2009 / Taipei, Taipei Biennial, 2008 / New York, Museum of Modern Art, Eye on Europe: Prints, Books & Multiples, 1960 to Now, 2006 / Istanbul, Istanbul Biennial , 2005 / Venice, Venice Biennial, Personal Systems, 2003 / Berlin, Kunstlerhaus Bethanien, Retroprincip, 2003 / Berlin, Gropius Bau, Berlin-Moscow /Moscow-Berlin, 2003 / Hagen, Karl Ernst Osthaus Museum, Museotopia, 2002 / Rome, Galeria Moderna e Contemporanea, Le Tribu' del'arte, 2002 / Vienna, Museum of 20th Century, Aspects and positions, 1999 / Istanbul, Istanbul Biennial, 1997 / Rotterdam, Boyman Museum, Manifesta, 1996 / Ljubljana, Moscow, Apt Art and Ridzina Gallery, NSK Embassy – Moscow, 1992, Moderna galerija, Slovenske Atene, 1991 / Düsseldorf, Städtische Kunsthalle Düsseldorf, 1988, London, Riverside Gallery, 1887.
As a member of the New Collectivism graphic design team he co-designed numerous books, posters and other graphic design products for the following institutions: P.S.1/ MOMA New York, Museum of Modern Art Ljubljana, Kunst Werke Berlin, Irwin, Laibach, Scipion Nasice Sisters Theatre, En Knap Dance Company, Castello Di Rivoli, Kampnagel, and others.
Since 1983 he has made several set designs for the following theatre and dance companies: Randy Warshaw Dance Company, Scipion Nasice Sisters Theatre, Red Pilot and En Knap Dance Company.
He is also a co-funder and member of architectural movement Maja Farol and a member of European Cultural Parliament since 2001. From 2008 he is also an associate professor and vice-dean at AVA, Academy of Visual Arts in Ljubljana. He is also a tutor at the SCCA World of Art curatorial school.

Yll Rugova (1984) is a graphic designer, typographer and social activist. An dedicated information architect. In 2015 he founded Trembelat, a graphic design group. Yll served on the board of REDO Design Conference in Prishtina, an annual international conference dealing with graphic design until 2018. As a political and social activist, he is known as one of the founders of the Strong Party in 2013, a devoted advocate for secularism, creative commons, feminism and political reform in Kosovo. In 2018 has been appointed as Director for Culture at the Municipality of Prishtina, where he initiated and developed the winning bid for Manifesta 2022.

Summer School as School 2019 is supported by The Trust for Mutual Understating, US Embassy in Kosovo, Ministry of Education, Science and Technology of the Republic of Kosovo, Office of the President of Kosovo, Friedrich-Ebert-Stiftung Foundation in Kosovo, ERSTE Foundation, Manifesta Foundation, The National Arts Council, Singapore, National Gallery of Singapore, Ministry of Culture, Youth and Sports of the Republic of Kosovo, Embassy of the Republic of Slovenia in Prishtina, Municipality of Prishtina, Culture for Change - EU funded project implemented by the Multimedia Center and Goethe-Institut, Network of Independent Institutions of Art and Culture - RRIPAK, Sabaja, X-Print and DZG.