SCHOOL OF DISOBEDIENCE
Stop waiting. Start building.
School of Disobedience is an artistic project by Anna Ádám, currently taking the form of a school and a platform.
Build the practice.
Build the conditions.
Most art education prepares artists to make projects and enter existing structures. Here, we work on something else: building artistic practices, and building the conditions that allow them to continue.
[Practice-building]
[Condition-building]
[Practice-building]
[Condition-building]
From theory to practice
You may know my writing about art education, gatekeeping, artistic dependence, money, institutional language, and autonomy.
I use writing to identify the mechanisms that shape artists.
The School is where this research becomes practice: pedagogy, artistic work, public situations, relationships, structures, and new conditions for making and circulating art.
Continue reading theory → Patreon
From theory to practice ↓
I use writing to identify the mechanisms that shape artists.
The School is where this research becomes practice: pedagogy, artistic work, public situations, relationships, structures, and new conditions for making and circulating art.
Continue reading theory → Patreon
From theory to practice ↓
Two ways to enter
1. Practice-building
The problem is in the work.
You have ideas, materials, fragments, projects—but struggle with structure, coherence, artistic methods, decision-making, or understanding what connects your works.
Build the artistic practice itself.
Structure · composition · methods · artistic language · making work
→ Explore practice-building
You have ideas, materials, fragments, projects—but struggle with structure, coherence, artistic methods, decision-making, or understanding what connects your works.
Build the artistic practice itself.
Structure · composition · methods · artistic language · making work
→ Explore practice-building
2. Condition-building
The work exists. The conditions don’t.
You can make work, but your practice depends too much on grants, invitations, open calls, institutions, irregular income, or someone else deciding that it can continue.
Build the conditions around the practice.
Formats · circulation · audiences · money · autonomy
→ Explore condition-building
You can make work, but your practice depends too much on grants, invitations, open calls, institutions, irregular income, or someone else deciding that it can continue.
Build the conditions around the practice.
Formats · circulation · audiences · money · autonomy
→ Explore condition-building
We are not interested in producing better applicants.
We are interested in artists who can make, choose, organise, initiate, gather, circulate and continue.
Artists who can work with institutions when those relationships make sense, and who do not disappear from the art world when institutional recognition does.
→ Discover the school
→ Testimonies
Artists who can work with institutions when those relationships make sense, and who do not disappear from the art world when institutional recognition does.
→ Discover the school
→ Testimonies
Not just a school
Learning is only one part of the ecosystem.
Every month, the School hosts monthly Performance Nights. Every two years, Performance Now! Festival brings together practices, artists and audiences. Public sharings allow work to be tested before it is finished.
Some artists return. Some works developed here continue touring for years. Some former students come back as performers, collaborators or teachers.
The School is conceived as a parcours, not a one-time course.
→ Discover the platform
Every month, the School hosts monthly Performance Nights. Every two years, Performance Now! Festival brings together practices, artists and audiences. Public sharings allow work to be tested before it is finished.
Some artists return. Some works developed here continue touring for years. Some former students come back as performers, collaborators or teachers.
The School is conceived as a parcours, not a one-time course.
→ Discover the platform
Anna Ádám
I am an artist, choreographer and founder of the School of Disobedience.
My artistic practice moves between performance, visual arts, pedagogy, critical writing and the construction of conditions in which other artistic practices can grow.
I have been building the School of Disobedience since 2014 as a culmination of these different parts of my practice. It is several things at once:
The School is where these practices meet: choreography becomes structure, pedagogy becomes artistic material, community becomes form, and curating becomes a way of building conditions for other practices to exist.
→ About Anna's work
→ Read my texts
My artistic practice moves between performance, visual arts, pedagogy, critical writing and the construction of conditions in which other artistic practices can grow.
I have been building the School of Disobedience since 2014 as a culmination of these different parts of my practice. It is several things at once:
- A choreographic work and durational performance
I choreograph the School itself: its rhythms, structures, relationships, movements, encounters and transformations. In this sense, the School is my longest durational performance. - A community experience
I bring artists together and build spaces, experiences and temporary communities in which people can meet, exchange, create and grow together.
- A curatorial practice
I create contexts for marginal, peripheral and semi-peripheral aesthetics, voices, practices and discourses that often remain outside dominant canons and institutional categories.
The School is where these practices meet: choreography becomes structure, pedagogy becomes artistic material, community becomes form, and curating becomes a way of building conditions for other practices to exist.
→ About Anna's work
→ Read my texts