CONTEMPORARY ART: WORK OR PLAY? THE DIDACTIC FRAMEWORK OF TEACHING IN MODERN ARTS SCHOOLS. Round table in the Winzavod.Open program CONTEMPORARY ART: WORK OR PLAY? THE DIDACTIC FRAMEWORK OF TEACHING IN MODERN ARTS SCHOOLS. Round table in the Winzavod.Open program
CONTEMPORARY ART: WORK OR PLAY? THE DIDACTIC FRAMEWORK OF TEACHING IN MODERN ARTS SCHOOLS. Round table in the Winzavod.Open program
June 24, 2021 at 19:00 (Moscow time)
Vintage hall, Winzavod Center for Contemporary Art Winzavod, 1/8, 4th Syromyatnichesky lane, Moscow (metro “Kurskaya”)

PRO ARTE Foundation
"Winzavod" Foundation for Contemporary Art
Supported by the Mikhail Prokhorov Foundation 

CONTEMPORARY ART: WORK OR PLAY?
THE DIDACTIC FRAMEWORK OF TEACHING IN MODERN ARTS SCHOOLS
Round table in the Winzavod.Open program

June 24, 2021 at 19:00 (Moscow time)
Vintage hall, Winzavod Center for Contemporary Art Winzavod
1/8, 4th Syromyatnichesky lane, Moscow (metro “Kurskaya”)

Admission is free, by registration.
Please, wear a mask!

Moderator — Sasha Obukhova, curator of the archives of the Garage Museum of Contemporary Art Moscow, curator of the exhibition “Aesthetic Differences” of the School for Young Artists of the PRO ARTE Foundation.

Participants:
Tatiana Bykovskaya, Deputy Director of the PRO ARTE Foundation, St. Petersburg;
Anatoly Osmolovsky, Rector of the BAZA Institute of Contemporary Art, Moscow;
Stanislav Shuripa, Rector of the Institute of Contemporary Art of Joseph Bakshtein, Moscow;
ZIP group, Krasnodar Institute of Contemporary Art, Krasnodar. 

Reproduction of personnel in the context of contemporary Russian art became a "hot" topic back in the late 1990s, when the process of young authors entering the sphere of contemporary art resembled the guild principle of knowledge exchange: craft and social skills were acquired in the process of working side by side with a "master", experienced artist. Since then, it seems, a lot has changed — in many cities of the country and on the Internet there are "courses", "schools", "institutes" that teach young artists the theory and practice of contemporary art. However, as before, the question remains — what is the essence of the educational process in this area, where even the very concept of the quality of the result of artistic work is not obvious? How do contemporary schools of contemporary art build their educational strategies? What teaching model gives hope for success in such a challenging occupation as contemporary art?

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