10 January 2018 6pm
South Street Arts
The studio bar will be open from 5pm.
In this talk Lina Džuverović explores ways in which the university could be imagined as a public arena, one which opens its life beyond the academic community, actively engaging a wider public. Could we imagine the university acting as a catalyst and creating a speculative public thinking space, erasing hierarchical (and monetary) divisions between the educational environment and wider publics? What would a model for such a public arena look like?
The talk draws on a particular historical precedent of one of the best-known university-affiliated cultural centres in Europe: Belgrade’s Students’ Cultural Centre (SKC), which remains active today (although no longer under the auspices of the University). The talk focuses on its inaugural programme of 1971, using it as a model to imagine such a space. In this talk we will imagine what it would mean to apply this model to our own local context today.
Lina Džuverović is a curator and Lecturer at the Reading School of Art, University of Reading. Previously she was Artistic Director at Calvert 22 Foundation (2011–13), Director of Electra (2003–2011), and has held curatorial roles at Momentum, the Nordic Biennial of Contemporary Art (2009), ICA London and the Lux Centre.
Selected curatorial projects include Monuments Should Not Be Trusted (Nottingham Contemporary, 2016), Insoluble Moments – Yelena Popova (Knoll Galerie, Vienna Contemprorary, 2013), Sanja Ivekovic – Unknown Heroine (South London Gallery and Calvert 22, 2012/13), Archive As Strategy: Conversations about Self-historicisation across the East (Calvert 22, 2011- 14), IRWIN – Time For A New State (Calvert 22, 2012), The Forgetting of Proper Names (Calvert 22, 2012), 27 Senses (Chisenhale Gallery, London, 2010, Kunstmuseet KUBE, Alesund, Norway, 2009), Favoured Nations, Momentum, 5th Nordic Biennial of Contemporary Art (Moss Norway, 2009), Perfect Partner by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre, London, 2005), Her Noise (South London Gallery, 2005) and Sound And The Twentieth Century Avant Garde (Tate Modern, 2004).