45,651 matches
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feminist groups criticize the text for its stance against men and heterosexuality, for drawing a direct line between sex and violence, for ignoring the importance of sexual education for pleasure, for becoming a massive fund-raising bandwagon, for glorifying a form of râpe în the inițial version of the text and șo on. I understand these arguments and I mostly agree with them. The Monologues have become obsolete and have been partly taken over by the mainstream, aș have many texts which
Vocea din „Monoloagele vaginului” () [Corola-website/Science/295745_a_297074]
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work. We all have the right to work to make ends meet. I wash toilets and I also teach. I’m working, not loitering! And besides, I like working with children. I’ve always loved them.” In 2007, the story of Rodica Sandu - a cleaning lady at Telec school in Bicazu Ardelean - was hyped up by the media, who emphasized the degradation of the education system. Rodica Sandu began teaching English at the school where half the teaching hours were available
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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Ardelean - was hyped up by the media, who emphasized the degradation of the education system. Rodica Sandu began teaching English at the school where half the teaching hours were available after she passed the exam and got a 7 (out of 10), which allowed her to be a substitute teacher. In 2009, Bogdan Georgescu (theater director and playwright), together with Andreea Eșanu (actress), began documenting this story and extended the debate to encompass the idea of non-differentiated education, a type of
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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of 10), which allowed her to be a substitute teacher. In 2009, Bogdan Georgescu (theater director and playwright), together with Andreea Eșanu (actress), began documenting this story and extended the debate to encompass the idea of non-differentiated education, a type of education which downplays acquired social roles and relates to actual community needs. The performance I Am Special was part of the project of active art for community education Turneu la țară (On Tour in the Countryside)<b>[1]</b></a
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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Turneu la țară (On Tour in the Countryside)<b>[1]</b></a></b>, a project with an important socio-cultural stake: the rehabilitation of community cultural centers - almost entirely abandoned after 1989 - with an emphasis on their unifying role as environments of social cohesion, participative education and artistic exchange to the benefit of communities which are nowadays removed from the circuit of “high culture.” <b>Turneu la țară </b>debated the significance of certain areas of solidarity which might reconfigure the living
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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a></b>, a project with an important socio-cultural stake: the rehabilitation of community cultural centers - almost entirely abandoned after 1989 - with an emphasis on their unifying role as environments of social cohesion, participative education and artistic exchange to the benefit of communities which are nowadays removed from the circuit of “high culture.” <b>Turneu la țară </b>debated the significance of certain areas of solidarity which might reconfigure the living culture of contemporary communities which are increasingly made vulnerable by the
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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the rehabilitation of community cultural centers - almost entirely abandoned after 1989 - with an emphasis on their unifying role as environments of social cohesion, participative education and artistic exchange to the benefit of communities which are nowadays removed from the circuit of “high culture.” <b>Turneu la țară </b>debated the significance of certain areas of solidarity which might reconfigure the living culture of contemporary communities which are increasingly made vulnerable by the lack of access to education. Throughout July and August
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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on their unifying role as environments of social cohesion, participative education and artistic exchange to the benefit of communities which are nowadays removed from the circuit of “high culture.” <b>Turneu la țară </b>debated the significance of certain areas of solidarity which might reconfigure the living culture of contemporary communities which are increasingly made vulnerable by the lack of access to education. Throughout July and August 2009, the performance <b>I Am Special </b>toured the countryside as part of
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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might reconfigure the living culture of contemporary communities which are increasingly made vulnerable by the lack of access to education. Throughout July and August 2009, the performance <b>I Am Special </b>toured the countryside as part of the project of cultural reinstatement of the community centers - a reinstatement of the right to self-representation - and was staged at the community centers in Limanu (Constanța County), </i><i>Săsarm, Chiuza (Bistrița-Năsăud County), I.L. Caragiale (Dâmbovița County), Păușești Măglași (Vâlcea County).</i><i
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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b>Monica mentions something very important. During the discussions, people showed their appreciation for the teacher. [caption id="attachment 1302" align="aligncenter" width="300"] Turneu la țară. Photo: Bogdan Paraschiv.[/caption] Interview conducted by Mihaela Michailov [1] Project team made up of: Andrei Sever Bârzan, Andreea Eșanu, Bogdan Georgescu, Alice Monica Marinescu, Sânziana Nicola; research: Vlad Georgescu, Bogdan Paraschiv.
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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are prisoners” is the premise for practices deriving from the sphere of queer, anti-racist and anti-transphobic feminist discourses. Alongside feminism, sexual revolution and LGBT activism (lesbian, gay, bisexual, transgender) become important stakes în achieving equality în contemporary societies. Issue #6 of Gazeta de Artă Politică</b><b> </b>aims to investigate artistic projects and theoretical reflections which make visible the following: - Marginal discourses on sexual orientation and gender identity, approached from a perspective which is critical of mainstream heteronormative discourse; - A
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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contemporary societies. Issue #6 of Gazeta de Artă Politică</b><b> </b>aims to investigate artistic projects and theoretical reflections which make visible the following: - Marginal discourses on sexual orientation and gender identity, approached from a perspective which is critical of mainstream heteronormative discourse; - A critique of consumerist public representations which privilege a hyper-sexualized image of a “woman-accessory”, visible only if she is manifestly sexual; - Groups oppressed due to exhibiting sexual habits different from the behavioral norm imposed by Christian morals
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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artistic projects and theoretical reflections which make visible the following: - Marginal discourses on sexual orientation and gender identity, approached from a perspective which is critical of mainstream heteronormative discourse; - A critique of consumerist public representations which privilege a hyper-sexualized image of a “woman-accessory”, visible only if she is manifestly sexual; - Groups oppressed due to exhibiting sexual habits different from the behavioral norm imposed by Christian morals and coercive social rules; - The rights of sexual and gender minorities. If part of neoliberal
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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consumerist public representations which privilege a hyper-sexualized image of a “woman-accessory”, visible only if she is manifestly sexual; - Groups oppressed due to exhibiting sexual habits different from the behavioral norm imposed by Christian morals and coercive social rules; - The rights of sexual and gender minorities. If part of neoliberal feminism hâș entered the mainstream, radical and queer feminism remains marginal both în society and the art scene. Issue #6 of Gazeta de Artă Politică</b> -<b> Art Gender and Sexuality </b
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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norm imposed by Christian morals and coercive social rules; - The rights of sexual and gender minorities. If part of neoliberal feminism hâș entered the mainstream, radical and queer feminism remains marginal both în society and the art scene. Issue #6 of Gazeta de Artă Politică</b> -<b> Art Gender and Sexuality </b>- aims to scrutinize cultural and artistic projects, queer feminist discourses and emancipatory perspectives on sexuality and gender identity. We welcome your reviews, essays, analyses or interviews on this theme
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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tema-saptamanii/articol/ce-este-un-artist-independent</a> [:en]by Ștefan Voicu În debates on art and gentrification, one often encounters the assumption that the mere presence of artists and art în an urban area with real estate potențial automatically impacts the market price of a building and/or of the land on which it is situated. În fact, such a causality is reducționist and more often than not, random. Moreover, it is seldom a strategy of real-estate investors. În România - Bucharest în particular, since
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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take place, it should focus on the hierarchies în the creative industry and the contribution of cultural workers to the organization of post-Fordist labor. The latter produce creative workspaces în urban areas with real-estate potențial, thus contributing to the removal of “indigenous” communities and to the arrival of service workers în downtown areas of the city. Cultural workers are the accidental mediators of change, but when the gentrification process starts unfolding, they have to make a choice and take sides. The
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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hierarchies în the creative industry and the contribution of cultural workers to the organization of post-Fordist labor. The latter produce creative workspaces în urban areas with real-estate potențial, thus contributing to the removal of “indigenous” communities and to the arrival of service workers în downtown areas of the city. Cultural workers are the accidental mediators of change, but when the gentrification process starts unfolding, they have to make a choice and take sides. The main work on the topic is Loft
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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post-Fordist labor. The latter produce creative workspaces în urban areas with real-estate potențial, thus contributing to the removal of “indigenous” communities and to the arrival of service workers în downtown areas of the city. Cultural workers are the accidental mediators of change, but when the gentrification process starts unfolding, they have to make a choice and take sides. The main work on the topic is Loft Living. Culture and Capital în Urban Change, published by Sharon Zukin în 1982.[1] Her
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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Chelcea published a study on the gentrification of an area în downtown Bucharest wherein he argued that “special emphasis must be placed on the role and transformations of property rights.”[2] În his study, he described this aș a process of primitive accumulation, meaning a way to obtain a profit with little or no investment. Chelcea described this accumulation în the following terms: “[...] a dynamic group of real-estate agents and private individuals appropriate the difference between the market value of centrally
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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transformations of property rights.”[2] În his study, he described this aș a process of primitive accumulation, meaning a way to obtain a profit with little or no investment. Chelcea described this accumulation în the following terms: “[...] a dynamic group of real-estate agents and private individuals appropriate the difference between the market value of centrally located property and the value for which they were șold or allocated by the state. They aim to influence the municipality and former tenants turned owners
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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tenants turned owners, especially the poor ones, to sell them such properties - and they are very persistent. These informal, non-procedural transfers of property rights are part and parcel of the reconfiguration of the class system and of the new accumulation of wealth.”[3] The similarities between the gentrification described by Zukin and that described by Chelcea reside în the transformations of the structure of social classes. However, if between 1960 and 1990, New York’s middle class was expanding through the embourgeoisement
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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wealth.”[3] The similarities between the gentrification described by Zukin and that described by Chelcea reside în the transformations of the structure of social classes. However, if between 1960 and 1990, New York’s middle class was expanding through the embourgeoisement of artists who were becoming role models of labor în the reskilling of the upper classes during deindustrialization, between 1990 and 2000 Bucharest was hit by a forced neoliberalization of the economy. This process did not produce a middle class în
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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of a creative class în post-Socialist România. However, this class does not adopt the work-model of the local artist, but rather that of the Western middle class. This local class emerges together with the intensifying of publishing activities, the development of media outlets, architecture studios or advertising agencies, art galleries and contemporary art spaces. These creative spaces came to meet the propagandă needs of the new market economy and implicitly of the “culturalization” of the working classes, aș well aș the
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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of the former upper class. By culturalization I mean the reliance of the new economy on the accumulation of capital from the production, exchange and consumption of culture; therefore, workers have to be taught how to operate with cultural means of production and they have to want to consume cultural commodities. [...] [caption id="attachment 1423" align="aligncenter" width="600"] Lipscani area în downtown Bucharest during gentrification. Source: commons.wikimedia.org[/caption] [1] Sharon Zukin, Loft Living. Culture and Capital în Urban Change
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]