OPEN CALL FOR OPEN INSTITUTE 2020 >

OPEN INSTITUTE 2020

Open Institute is a place of creative sensitivity and artivist practice.
Several months of collaborative creative work, education in action, exchange of techniques, tools and stories will bring the participants closer to the art based on process and involvement. Our socio-artistic programme is aimed at artists, culture animators, social workers and activists of different cultural backgrounds. During Open Institute we will go through a training process and artistic activities involving workshops with migrant communities. We will invent methods of creative work with such communities. We will discuss how to initiate artistic events for migrants, refugees and individuals seeking asylum who are not involved in the arts by engaging various fields of action. The axis for the project is the art focused on eliminating the distinction between “we” and “them” in regard to non-polish communities as well as building a common social identity by preparing an artistic performance. A collective artistic experience in a multicultural group becomes a dwelling on the social responsibility of staying together.

The working process of Open Institute will result in the creation of performative installation composed of original, often debut, pieces on the crossroad of performative and visual arts.

Strefa Wolnosłowa already for eight years has organised workshops and artistic events combining art and social actions. Both amateurs and professionals of different cultural backgrounds have been invited to collaborate. The recruitment for Open Institute is especially addressed to artists beginning their creative journey and those who want to try their hand at creative work with communities.

Everyone is invited to send their application – regardless of age, gender, cultural and religious background or the level of Polish.

The application form may be filled in Polish or English. The workshops will be bilingual (Polish and English).
LINK TO THE APPLICATION ENG

Submit your applications until September 13. The recruitment results will be announced by September 28.

Most of the events under Open Institute will take place in Jasna 10 Centre – a space co-founded by Krytyka Polityczna together with Strefa Wolnosłowa, Automatophone, Kalecki’s Foundation, Widok Magazine and KEM.


THE SCHEDULE OF OPEN INSTITUTE 2020:

Open Institute programme is a training process realized through workshops and a practical part which covers inventing a concept and realizing an artistic activity engaging a community under the care of a curatorial team: Agnieszka Róż, Alicja Borkowska and Igor Stokfiszewski.

SESSION 1
October 10-11, 2020

CREATIVE SENSITIVITY
The first meeting will serve to learn practical forms of building safe space for collaborative work. We will explore the roles of an artist, an animator and an activist as ones that  reinforce a community exposed to discrimination. We will focus on both artists creating documentary art and those producing participatory projects. By sharing thoughts and experiences, which will allow us to get to know each other and our creative practices, we will examine in what way art can build a community and influence people actively engaged in artistic activities in their community. The meeting will assume a form of an active reflection (in action) on what it means to draw inspiration from stories and biographies in order to create a piece of art and what are the possibilities and risks while creating one.
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Agnieszka Róż – a culture worker and a creative caregiver who engages in projects set to change social bases and to fight against forms of oppression. She is an originator of Open Institute. Since graduating from Polish-English School of Youth Trainers not only has she programmed and led socio-artistic projects, but also built educational spaces based on gestalt methods. A curator of socio-artistic activities i.a. Malta Generator under Malta Festival Poznań (2016-2019), academy for young creators Sąsiedztwo – boundaries of closeness (2016-2019), activities for youth: H2O The future will involve us (2020), Experiment: DIALOGUE (2017). She teaches how to design and implement social actions in institutions of culture, art and non governmental organizations. A cultural educator under the Culture Structure programme (All-Polish Very Young Culture Programme 2016, 2017), Educational Practices Centre (2016, 2017) and Culture Creators Coalition (FIO 2016, 2018).

Alicja Borkowska – a founder and co-creator of Strefa Wolnosłowa foundation, a director, a culture animator, graduate of the Theatre Studies Department at The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw and the Polish School of Reportage. She studied at DAMS department at the University in Bologna where she collaborated with Teatro dell’Argine for many years.She directs performances, runs theatrical workshops for children and adults. For years as a part of Strefa Wolnosłowa foundation she has realized intercultural performances, workshops and theatrical activities.

SESSION 2
October 24-25, 2020

Day 1
ART WITH A COMMUNITY BETWEEN A RITUAL AND ACTIVISM
The art with a community derives from two sources – the active culture and the engaged culture. It provides communities with the tools of individual and collective transformation in accordance with their existential, cultural and political background. Such tools strengthen the sense of subjectivity which allow them to effectively influence the shape of the reality around them. By reaching for examples of activities from the field of participatory, engaged and political  art as well as the one of community theatre we will examine the fundamentals of the contemporary approach to community art.
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Igor Stokfiszewski – an activist, researcher and initiator of activities related to social theatre, community theatre, and socially engaged art. He cooperated with i.a.: the Łaźnia Nowa Theatre in Kraków, the Workcentre of Jerzy Grotowski and Thomas Richards (Pontedera, Italy), the German Rimini Protokoll collective, and artists such as Artur Żmijewski, Paweł Althamer, and Jaśmina Wójcik. As a playwright, he worked on plays directed by Wojtek Klemm, Agnieszka Olsten, and Bartosz Szydłowski in the National Stary Theatre in Cracow, the Studio Theatre in Warsaw, and the Współczesny Theatre in Wrocław. A co-curator of socio-artistic undertakings in post-industrial space: Zakłady. Ursus 2014 [The Works. Ursus 2014] and Ursus – spacer w czasie [Ursus – a Walk in Time] (2015). A member of the team at the Seventh Berlin Biennale for Contemporary Art (2012). The author of the book titled Zwrot polityczny [A Political Turn] (2009), the editor of the ebook titled Culture and Development: Beyond Neoliberal Reason (2017), and a co-editor of the publications: Kultura i rozwój. Analizy, rekomendacje, studia przypadków [Culture and Development. Analyses, Recommendations, Case Studies] (2016), Built the City: Perspectives on Commons and Culture (2015), and Jerzy Grotowski. Teksty zebrane [Jerzy Grotowski. A Collection of Texts] (2012), and others. A member of the Krytyka Polityczna team.

Day 2
RELATIONS IN THE GLOBAL WORLD. INTERCULTURAL AND ANTI DISCRIMINATION TRAINING.
The base for the workshop will be the intercultural experience of participants as well as various (traditional and innovative) methods of intercultural training. We will touch upon issues of diversity, intercultural sensitivity, today’s racism, ethnocentrism and cultural daltonism. We will discuss how to shape flexibility of perspectives and acceptance of otherness within ourselves in order to discover how it can become helpful during mindful work with others. We will work with body and voice: various techniques such as emotional release, shaking or bioenergetics with elements of intuitive movement will allow us to take a glimpse into ourselves. Coming back to our roots and actual needs will give an opportunity to build and develop intercultural competences. It is extremely valuable to have a good relationship with oneself and others in the World.
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Margaret Amaka Ohia-Nowak – a linguist and culture expert, intercultural and anti discrimination trainer. In her workshops she uses the techniques of body awareness, shouting and breathing, NVC and self-awareness. She defended her doctoral thesis on racist expressions in Polish language. A graduate of specialist seminars on racism, xenophobia, communication of equality and multiculturality. She collaborates with Maria Curie-Skłodowska University, Polish Humanitarian Action, Critical Education Association, Global Learning & Education Network and “Never again” Association. She is a FRIS® certified trainer.

SESSION 3
November 7-8, 2020

FROM LITERATURE TO REALITY AND BACK AGAIN
How to combine themes and experiences of our everyday lives with literature? Workshop participants will explore methods of literary production combining written materials, topical events, and personal experiences of participants of art activities with communities. We’ll discuss thematic and morphological marriages, writing pieces of text and drawing conceptual and emotional maps based not only on literature but also on other art, visual, journalistic, and philosophical materials. We’ll use tools to enrich cultural text with analogies and different tools to deconstruct it, transform it or even rewrite it into our own experiences. The workshop will zoom in on the method of long-term work on scripts for performative events with participation of communities, developed i.a. in Italy, Morocco, Palestine, Iran, and Brazil.
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Pietro Floridia – an actor, director, and writer. In 1994, he founded Teatro dell’Argine in Bologna and was its art director for many years. A dozen or so years later, he gathered 30 performers from 14 countries living at that time in Bologna and created the Cantieri Meticci organisation as well as the MET theatre and culture centre. For years he’s been working with multicultural groups, migrants, refugees, and asylum seekers in Italy. He stages plays and organises interactive theatrical performances engaging locals of places where he creates. He worked in such countries as Germany, France, Sweden, Morocco, Palestine, Brazil, Bolivia, and Iran.

Sara Pour – a visual artist, illustrator, and graphic designer. She comes from Iran and graduated from the Academy of Fine Arts in Bologna. She cooperates with the Cantieri Meticci organisation in terms of scenography, theatrical props, and visual production. She organised art workshops for children and adolescents and worked at refugee centres. She pursues illustration projects and creates large-scale dolls, often as part of workshops with communities.

SESSION 4
November 21-22, 2020

I REMEMBER…
The workshop can be your opportunity to personally experience creative work in a multicultural group of people. It’ll be based on methods of work with the body as well as on verbal and movement improvisation, allowing for creative transformation of actual events and pieces of biographies into interesting performative materials. We’ll form a chorus of voices and bodies using such tools as animal flow, natural movement, and experimental choreography. We’ll ask questions about our place in space and the world, going down the memory lane, recalling events, movements, and actions. The workshop is inspired by Georges Perec’s works; there’ll be used methods of workshop work with multicultural groups of Strefa WolnoSłowa as well as choreographic experiences of Grupa Ruchoma (Moving Group).

Alicja Borkowska – a founder and co-creator of Strefa Wolnosłowa foundation, a director, a culture animator, graduate of the Theatre Studies Department at The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw and the Polish School of Reportage. She studied at DAMS department at the University in Bologna where she collaborated with Teatro dell’Argine for many years.She directs performances, runs theatrical workshops for children and adults. For years as a part of Strefa Wolnosłowa foundation she has realized intercultural performances, workshops and theatrical activities.

Łukasz Wójcicki – an art performer, choreographer, and dancer. In 2003, he graduated from the Academy for Theatre Practices “Gardzienice”. Since 2008, he’s been cooperating with the Komuna/Warszawa Theatre as a performer and dancer. Between 2013 and 2016, he was one of the main performers in ReqieMaszyna, the performance by Marta Górnicka and the assistant director. He’s a level 2 instructor of Animal Flow, an innovative bodyweight-dance-like training system which combines dance, yoga, capoiera, and stretching based on animal moves. Since 2016, he’s been cooperating with Strefa WolnoSłowa as an actor and choreographer as well as a dance and movement coach, leading choreography/movement workshops in Warsaw, Amsterdam, Antwerp, Paris, Bologna, Tel Aviv, Teheran, New York, Montevideo. He completed a two-year course at the Choreography In Center under the “Centrum w Ruchu” (Centre in Motion) collective of dancers, choreographers, and movement practitioners like Maria Stokłosa, Magda Ptasznik, and Renata Piotrowska-Auffret. At the beginning of 2019, he founded an informal artistic collective called “Grupa Ruchoma” (Moving Group) consisting of art performers, dancers, choreographers, actors, activists and gymnasts.

SESSION 5
December 5-6, 2020

Day 1
RESEARCH IT!
A research workshop will be dedicated to practical skills of finding data and information needed in project realization. The participants will find out: where and how to look for information; which people and institutions should one contact; which databases are reliable; how to recognize fake news or ill documented facts.
During the workshop we will learn to plan out the research and how to successfully use it in the creative process. The meeting will consist of two parts: first – lecture and practice and second – work in pairs on a mini-project.
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Agata Romaniuk – a sociologist with a doctoral diploma at Polish Academy of Science. A graduate from Polish School of Reportage and a founder of Loud Reportage Group. In 2017 she initiated a research and reportage project called Small City Lights  which depicted lives of Poles in the tiniest towns. She publishes texts in Duży Format, Przekrój, Pismo and Non/Fiction magazine. Also, in May 2019 she published a reportage book “Out of  love? Then I’m sorry. Stories from Oman”.

Day 2
ART OF DIALOGUE
The workshop will be an introduction to talking about personal stories. We will discuss how to prepare for it technically and emotionally, where to look for soft spots and how to respect boundaries – your own and the interlocutor’s. Practical exercises will be combined with critical analysis of chosen texts.
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Justyna Dąbrowska – a graduate of psychology at University of Warsaw, editor, actress, psychotherapist. A founder and editor of a month periodical “Child”. As an author she published i.a. “A mother of a young mother”, “There is nothing to worry about. Master talks” and “Love is worth trying”. As a co-author she published i.a. “What a beautiful illusion” (with Magdalena Tulli), “Responsibility talks” and “Psychotherapy today”. She considers a dialogue as the most important aspect of existence and exceeding loneliness”.

SESSION 6
January 23-24, 2021

Day 1
SOCIAL ON-LISTENING pt. I
“Those who have never worked in a factory will never know that this is pure magic” – how to listen and strengthen communities deprived of agency.

As part of the Open Institute there will be two workshops (in the form of a meeting and exchange) with the research and artistic method of Jaśmina Wójcik, on examples of her many years of artistic, activist, animation and educational activities. They have become a tool of change beginning on a micro scale (each time connecting with personal observations and cooperation to build relationships and strengthen discriminated groups). The first workshop will be devoted to eight years of creative cooperation with former employees of the bankrupt tractor factory in Ursus, which was summarized in the feature-length creative documentary Symphony of the Ursus Factory (2018).

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Jaśmina Wójcik – a visual artist, director, author of listening-focused, participatory socio-artistic actions. She deals with including and giving subjectivity to communities that lack visibility and expression. A co-editor of the book Art with the Community (2018) centered around her best known undertaking – a long-term activity with the community of former workers of the factory in Ursus crowned with the award-winning creative documentary film directed by her entitled Symphony of the Ursus Factory (2018). For several years, she has been involved in alternative education through the development of proprietary practices in the creation of children’s artistic expression. She gives agency and subjectivity to children, treating them as co-creators and inviting them to a dialogue. Currently, Wójcik focuses mainly on grassroots education practices, which will result in her new film based on the novel by Janusz Korczak, King Maciuś the First.

Day 2
LABORATORY. SOCIO-ARTISTIC PROJECT FROM THE SCRATCH / PT. I
Artistic, animation and activist work requires many managerial, production and often research competences. Often, wanting to contribute to strengthening the systemically excluded communities, to a fairer distribution of competences and goods, we confront the competitive grant award procedure, the lack of research and access to reports that help us understand the needs of given communities and cultural groups. In effect, we practice flexibility and soft competences in meetings with directors of cultural institutions, we learn after hours how to write grant applications and, often working over 8 hours a day, we try to combine our competences with a vision of a fairer world. The aim of the Laboratory is to develop hard, project skills for artists, animators and social activists by providing them with the necessary skills and knowledge in defining, building and managing socio-artistic projects so that the creation of socially responsible activities brings the assumed results and contributes to the creation of utopias in action.
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Agnieszka Róż – a culture worker and a creative caregiver who engages in projects set to change social bases and to fight against forms of oppression. She is an originator of Open Institute. Since graduating from Polish-English School of Youth Trainers not only has she programmed and led socio-artistic projects, but also built educational spaces based on the gestalt method. A curator of socio-artistic activities i.a. Malta Generator under Malta Festival Poznań (2016-2019), academy for young creators Sąsiedztwo – boundaries of closeness (2016-2019), activities for youth: H2O The future will involve us (2020), Experiment: DIALOGUE (2017). She teaches how to design and implement social actions in institutions of culture, art and non governmental organizations. A cultural educator under the Culture Structure programme (All-Polish Very Young Culture Programme 2016, 2017), Educational Practices Centre (2016, 2017) and Culture Creators Coalition (FIO 2016, 2018).

SESSION 7
February 6-7, 2021

Day 1
LABORATORY. SOCIO-ARTISTIC PROJECT FROM THE SCRATCH / PT. I
Part two of the workshop with Agnieszka Róż, the purpose of which is to develop hard, project competences for artists, animators, social activists and activists by providing them with the necessary skills and knowledge in defining, building and managing socio-artistic projects so that the creation of socially responsible activities brings the assumed results and contributed to the creation of utopia in action.

Day 2
SOCIAL ON-LISTENING pt. II
“To reform the world means to reform education” (Korczak). Intuitions of change, paths of cognition, pedagogies that unleash mental stereotypes in artistic and educational practices.

During the second meeting with participants, Jaśmina Wójcik will talk about how to draw from your own experiences, failures, mistakes, how to listen to local communities and how working with the community can translate into educational work (Alternative Education Manifesto) – similarities, differences, challenges. The workshops will be aimed at strengthening the participants’ self-esteem, their unique path, allowing themselves to err, slow building and organic growth – not assuming growth as a goal, but enjoying the pleasure of living with others, even in different experiences or views.

SESSION 8
February 20-21, 2021

DECOLONIZATION OF “THE WORLD OF ART” AND ITS PRACTICAL TOOLS.
Talking through artistic activities in public spaces.
Contrary to the “essence of artistic activity”, the “world of art” today is burdened with a multitude of dependencies and coordinate systems determined by market or etatist values, such as the positioning of artists, institutions and places. After a great global accident from 2020 (“Big accident” – a concept coined by the French philosopher Paul Virilio), can we shift some accents and, at least to some extent, deal with the return of good work ethics in audiovisual culture? Why will the Indonesian collective RUANGRUPA in 2022, in place of the former hegemonic curators, organize the largest artistic event, which is DOCUMENTA? What tools of contemporary art can be used to include “Others” in the processes that once belonged only to creators educated in art schools? When does art really become public? How and where to create artistic presentations so that they are directed to a wide audience? How do viewers change into participants?
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Krzysztof Łukomski – a researcher and a curator of artistic events. He deals with artistic education, teaches at the Intermedia Department of the University of Arts in Poznań and conducts workshops at the international design university School of Form. He focuses on new process-oriented methodologies and communication between participants. Together with Marianna Dobkowska he worked on two exhibitions and long-standing programs at The Ujazdowski Castle Centre for Contemporary Art – “Gotong Royong. Things we do together “and” Social Design for Social Living “(exhibition and program of activities at the National Gallery of Indonesia in Jakarta). For several years, he has been co-creating the cultural exchange between Poland and Indonesia. He is interested in interdisciplinary and performative experiences in contemporary art and social design, as well as community artistic practices. In educational practice, he uses travel as an art tool and creates team-works of artists, designers and activists. One of the team practices organized by him called “ART (OF) JOURNEY” was an official part of the Kathmandu Triennial program in 2017.

SESSION 9
March 6-7 2021

SHARED EXPERIENCE
We will place a viewer in the focus of the workshop in order to discover meanings and senses which can be read from the designed installation. A moment before inviting the viewers-participants we will think about coexisting in the space of the installation – its physical objects as well as its content. We will discuss the ways of building relations or crossing borders between individual works. We will take a look at connections and formal procedures.

Alicja Borkowska, Agnieszka Róż, Igor Stokfiszewski

SESSION 10
April 10-11, 2021

OPENING
The jointly prepared installation of Open Institute  will have an opening in the centre of Krytyka Polityczna Jasna 10 for the time agreed with the participants.

SESSION 10
April 21, 2021

EVALUATION
Throughout the entire duration of the Institute, we will encourage you to consult the concepts of your work as part of group and individual tutoring meetings with Agnieszka Róż, Alicja Borkowska and Igor Stokfiszewski. In the two-track process, there will also be room for deconstructing familiar work practices and reflecting its subsequent stages. At the evaluation congress, in a lively conversation about the methods learned in the Institute’s educational process, we will consider the causality of our activities, opportunities and threats of joint work, reflect our individual attitudes and exchange good practices for the future.

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