Nem vagyunk egymás ellenségei, konkurenciája, sőt! Együttműködés, közösség, szolidaritás. Egymás segítése, felkarolása, támogatása, bátorítása.
Ne add fel, ez egy kegyetlen világ és egy borzasztó nehéz szakma, de gyönyörű! Bízz magadban, a munkádban, ne add fel a kezdeti lelkesedésed, ne engedd, hogy mások irányítsanak, ne dőlj be, ne hagyd, hogy baromságokkal elkáprásztassanak, hogy elvegyék az önbizalmad, kövesd a saját utad, légy önmagad, ezt csak úgy lehet! Azzal foglalkozz, ami érdekel, azt kutasd, ami szerinted releváns! Figyeljünk egymásra, támogassuk egymást, bátorítsuk egymást, segítsük egymást! Fogjunk össze, tartsunk össze, legyünk közösség!
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A “kortárs” az nem egy olyan dolog, aminek vannak kőbe vésett szabályai, és igenis bátran neki lehet menni azoknak a szellemi dinoszauruszoknak, akik elhitetik veled azt, hogy van egy recept ahhoz, hogy jó kortárs művész legyél és jó kortárs művészetet csinálj.
Szard le a trendeket, ne felhívásokra alkoss, ne akarj “teljesíteni”, ne várd a szakmai elismerést, ne számítson, hogy ki mit gondol majd! Bízz magadban, a művészetekben, kövesd a saját utad, add meg magadnak azt az alkotói szabadságot, amit sokan el akarnak venni tőled! Ne hagyd, hogy befolyásoljanak, hogy dobozba zárjanak, hogy emberek, akik ki tudja miért felhatalmazva érzik magukat ahhoz, hogy ítélkezzenek a művészeted felett elvegyék az önbizalmad, a hited! Az olyan kortárs művészet, amelynek alkotásait kizárólag közvetítéssel tudja befogadni a néző, például csak leírószöveg, tárlatvezetés vagy művészetpedagógiai foglalkozás segítségével, nem a széles közönségnek szól, csupán a társadalom egy privilegizált szegmenségnek. A népszerűsítésen és szélesebb körű befogadhatóságon fáradozó kezdeményezések helyett a kortárs művészet reformálását hiányoljuk, egy bátrabb, közvetlenebb, szélesebb rétegek számára is nyitott, elérhetőbb és érdekesebb kortárs művészetet. Egy valódi experimentális munkafolyamat az olyan, hogy elkezdesz valamit, de fogalmad sincs mi lesz belőle. Olyan eszközökhöz is nyúlsz, amikhez amúgy nem szoktál. Kipróbálsz dolgokat, amiket egyáltalán nem tudsz kontrollálni, mert vagy nincs rutinod a médiumban, vagy nem tudod hogy a dolog hogy fog elsülni, miből mi lesz. Az experimentális munkafolyamat bevállalós, nem azt keresed, hogy mi néz ki jól, mi a szép, hogy mi a hatékony, nem reprodukálod azt, amit tudsz, ami bejáratott, hanem ismeretlen vizekre evezel. Rizikó, elveszettség érzése, rengeteg kudarc, de csodálkozás, ráébredés, adrenalin, meglepetések sora, ez az experimentális munkafolyamat!
A tiny butterfly immediately evokes thoughts of "transformation," a concept often associated with the "before-after" opposition in Western thinking.
Rooted in monotheistic traditions, Western dualistic perspectives tend to divide the world into antagonistic opposites. It's a worldview where "good guys" combat "bad guys," where you're either "with us or against us," and where outcomes lead to either "heaven" or "hell." Socialization within such a dualistic system can foster an authoritarian and intolerant view of reality, where conflicts are central and there's only one acceptable approach to understanding truths about the world. Any alternative viewpoints are often marginalized, converted, or eliminated. Systems of oppression like white supremacy, patriarchy, misogyny, homophobia, xenophobia, and religious bigotry thrive on this binary "either/or" thinking, relying on comparison, opposition, and rejection. The School of Disobedience was born from a desire to co-create a world beyond these dualisms, where ambiguity, nuance, and shades of grey are embraced. We celebrate the in-betweens, the areas of uncertainty, and the spaces where doubt resides. Our aim is to take "transformation" out of its temporal "before-after" anchor and view the world through a pluralist lens, where diversity of thought and perspective are valued and celebrated. Join us as we co-dream and co-build a more inclusive and nuanced reality. Controlling time is a form of domination. One person sets a deadline, and another person adheres to it. One keeps someone waiting, while the other patiently waits. One imposes the rhythm, and the other obediently follows. Whether in a love affair or a professional relationship, the one who controls time also wields power...
In the art world, this power dynamic is even more pronounced. Artists not only navigate the schedules of others but also find themselves caught between two opposing temporalities in constant conflict: On one hand, we're thrust into a frantic world of rapid decision-making, immense pressure, and tight deadlines. We're expected to create quickly, be highly productive, innovate endlessly, and respond rapidly to local and global contexts. We must constantly stay ahead of the curve, always prepared and ready to act. On the other hand, engaging in deep research, exploring the unknown, and experimenting with the unexpected—all while listening, opening our hearts and minds, finding our artistic voice, and building connections—takes time. It's a slow, laborious process that requires patience and persistence. I created the “School of Disobedience” to disobey the dictatorship of speed:
In the "School of Disobedience," you establish your own time zone, allowing others to follow theirs. You exist in your time, and they exist in theirs—and that's perfectly fine. It’s a taboo, and we don’t often talk about it, but contemporary art is just boring as hell. It’s an exclusivist bubble, an elitist microcosm in which some people use art to solidify their social status, notoriety, influence, power… Since conceptualism became the dominant trend, artists make art that very often only educated people can understand. A socially mixed audience definitely needs the help of “riddle solvers” (descriptive text, guided tours…), translating abstract “riddles” into a language that everybody can understand. Contemporary art that can only be received through mediation are not for the general public, but for a privileged segment of society.
Museum pedagogy is a business that tries to convince you that if you don’t understand art, it’s because you are lacking something: knowledge, tools, references, taste (!)… So basically it’s your “fault”. But what if it was the “fault” of the artists who are not taught to create in a way that is directly accessible to a wider audience without the help of “riddle solvers”? If we admit this as an option, we acknowledge that there might be a problem with the system where artists learn how to make art, that there might be a problem with art education. The “School of Disobedience” is an attempt to reinvent it. My “Fight Clubs” are political soft spaces of care and empowerment, where through the practice of play fighting and self-defense, we liberate our body and voice, discover our power and challenge our strength, and develop self-confidence and resistance.
Against the intimidating and objectifying male gaze used as an instrument of women’s oppression, we regularly do eye-gazing exercises, and learn how to confront it instead of looking away. We reinforce our eyes as a muscle, and rehearse to gaze back proudly again, again, and again. Making our eye muscles stronger and stronger, we gaze back day after day with a little bit more confidence, and a little bit less of fear. For a school of tomorrow, we want to create an environment that is above all joyful and positive, where students are accepted, respected, challenged, where beyond constructive criticism they receive encouragement. Where students are neither put in boxes, nor judged. Where students can express themselves openly and simply. Where they are taught autonomy and independence without being abandoned, where they are accompanied and supported in their projects and in their dreams. Where students not only have the right to go against canons, traditions, conventions and norms, but where they are encouraged to do so. Where other forms of knowledge than theoretical are also considered and taught. Perception, empathy, emotions, intuitions.
Personal stories, life experiences. In the school of tomorrow teachers do not tell students what to think, what to believe in, but open "doors" for them and offer them a multitude of possibilities, knowledge, tools, ways of doing and ways of seeing things. Teachers do not take advantage of the young age and the extreme sensitivity of the students to influence them, to transmit to them their personal convictions and struggles. Rather they teach them critical thinking, doubt and skepticism. Open-mindedness, curiosity, empathy. This school would then be human, warm, and generous. This school is going to raise students, teach them to trust in themselves, believe in themselves, be themselves. This school will make students become authentic, sincere and courageous. That’s how they will face the world. |
Author"Born in Budapest (Hungary) in 1983, I graduated from the ENSAPC Art School (France) in 2016. As an artist, researcher, and community activist, I harness the power of art for connection, education, and activism. My practice spans various mediums, including image, object, and performance. I create full-length visual and dance performances, short-format pieces, and immersive experiences, while also creating spaces for non-formal education outside of traditional academic heritage. Over the past two decades, I've founded the School of Disobedience, established my own performance art company (Gray Box), and launched the annual Wildflowers Festival. I embrace everything unusual, unexpected, and nonconformist. I am not kind with assholes and have learned to forge my own path. I am here to guide you in thinking outside the box and achieving independence. To me, the real party is outside the confines of the established canon." Archives
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