14_0319 post 122
It’s hard to decide where to begin retelling how March Meeting 2014 influenced me + my attitude towards educational institution (a homework I’m doing for ruangrupa as well). But I can try several ways.
First, by chronically describing what quote from whom:
1. From Tarek Atoui‘s sound workshops’ model, done for lengthy periods several times with different participants (once he even conducted sound workshops for deaf students), I saw different strategies + values why one should consider public space as an entity to (re)activate.
2. René Gabri + Ayreen Anastas‘ speeches put so many things I’ve been thinking about during RFAOH into words with logical sequence. One that rings the loudest still: which one is more important, the doer(s), the doing(s), or the deed(s)? Rephrased: which one should an educational entity concern themselves with the most: the students, the works, or the impact?
3. From Ashkal Alwan’s Home Works educational program, I not only saw a model of a possibility of non-elitist education (at least that’s the premise), but also the underlying difference between seeing art education as a curatorial, not academic pursuit (almost identical wordings were used by Sarah Rifky in her explanation of Beirut, but with very different effect in my head).
As you can see, this format is really good for name-dropping, therefore press releases. I think I hear more + more people sound like press releases these days. A different strategy of retelling would be to try threading all of this into one paragraph, like this:
As a curatorial, not an academic pursuit, an art education initiative could visit unexplored territories, through untold narratives + erased histories (therefore usually deemed unworthy by the formal rigidity of academics), through paying most attentions towards each of the students’ biographical history, in order to shift one’s focus from creating easily objectifiable works, while also shaping independent individuals, to make the capacity for change viral in a contested public space.
Writing the paragraph above, I begin to feel like a human version of the 500 Letters or Less automated artistic biography project.
Other form possible is a lazy one (despite sounding very trendy to me), to put everything in a question mark:
Could educational art entity be a curatorial, instead of an academic pursuit? What responsibility should it keep, which ones could it forgo? Should it be responsible for spewing great works, great artists, or great discourses? Where should it position itself in a bigger crowd, aka. the public? Is it better to be an alternative, questioning alternative, or even go beyond the alternative?
Which one would you prefer as a reader to read? Darnit.