Question Bank made with Francis Deck following the experience in the School Store
Sophie Lapalu François Deck
What position adopted in a school without teachers or students?
A society of equals can it be due to a natural order?
Self-education is it the last excuse of political restrictions of budgets?
The absence of master and pupil in a school she meets a philosophy and a teaching method?
- How to work
group? What is a collective? Collaboration? Cooperation?
A group whose members have not chosen can form a group?
How to work in a group whose members have not chosen?
The distinction between groups, group and network implies she collaborative methods radically different?
_ How to enable a debate? Must be convinced?
A debate can happen protocols?
forms of debate are they natural or cultural?
The issue of debate Is it to advance knowledge, to weld a community, to establish a public or impart beliefs?
_
Can we (should we) force individualities to train together?
The common is it a problem or solution?
What kind of joint authority can she train?
What qualities give a joint that is not the result of free choice of those who are?
_
The consensus is it the best alternative to democracy? Can I work in a dissent?
Democracy Is an art?
Democracy Is the alternative to consensus or consensus?
Democracy Is the dynamic tension between consensus and dissent?
_
Why and how the art world he grows up to competition and the affirmation of individuality? Can you lead a working group in this context?
Portrait of the Artist as a model of the individual and competitive competitor?
World of Art or plurality of worlds of art style differences vis-à-vis the value and values?
The working group will give he means to reflect the values of each with those of the context in which it operates?
_
The school, as vocational training, she intended to prepare the working world? If not, why not play some of its patterns of organization?
What is the role of art in a professional training in art?
The art is particularly favorable to the accumulation of value makes it a critical value?
Can we talk about vocational training in art without reproducing patterns that deny any possibility Art?
_ * _
What do we expect from art?
What is it we who would be waiting for art?
Art is he able to respond to the devastation of the public sphere?
The existence of a public sphere implies she contrasted conceptions of art?
_
art can have a real impact on the real?
Beyond the art history discipline analyzing the impact of art on the real-thinkable?
The question "Can art have a real impact on the real? "She refers to artistic conceptions opposite?
The question "Can art have a real impact on the real? "She evokes the need for extra mile?
_
fiction can it be a tactic of infiltration into the real, to think?
How did the idea of fiction can "take shape", having "real effects, rather than reflections of reality"?
The contention Is the real drama that governs Uncountable approaches to reality?
actions by the Yes Men, for example, do they have real effects or just the depiction of reality?
Can we say that art does not always obvious with a remote handling techniques of advertising?
_
These practices are they crossed by the policy?
How the political strategies they incorporate strategies of fiction?
fiction artistic strategies did they model for economic strategies and political (storytelling. ..)?
Can we generalize a priori the political significance of a particular artistic practice using strategies of fiction?
_
Why choose the field of art to act?
Art is there a place of effectiveness of micro political gestures?
Art as autonomous activity is, by itself, a political model?
The field of art he conceals processing capacity inaccessible to other fields?
_
A work she can "run" if it is not seen as such?
The "operation" of a work is it independent of its quality of work?
The "operation" of a work can benefit from being perceived as a work?
The "operation" of a work can benefit from not being perceived as a work?
_
Where is the "work"? What does work?
Why do we prefer the term given to a work thing rather than a social relationship?
The work she is a "thing" or material agent or aesthetic heritage of a community at work?
Making it work is determining the point of application of a force field involving ethics and aesthetics?
_
Can we still speak of a spectator?
The task of art is it to undo the viewer?
At which verifies that the "spectacle" is "the historical moment that contains us" how to escape the viewer?
How to defeat the viewer while the arts institutions establish the viewer in terms of visitor statistics?
_
What relationship do they maintain the artists to the concepts of post-Fordism, immateriality of labor, separation of the intellectual design and hardware implementation?
An art education can do without instruction on changing patterns of production value?
Redundancy formats artistic Is the dual effect of administration systems and the economics of art?
Why and how modes of artistic production, they evade the new conditions of autonomy allowed by the technique?
_
Artists who are part of a gift economy they question the subordination economics / art? Giving inducing cons gift, what do they expect in return?
Can we globalize the artists who are part of a gift economy?
The economy of art can it be thought otherwise than in the dominant forms of value?
How to think that the argument could be free Simultaneous capital strategies and empowerment strategies?
_
Artists critics do not they fear the recovery?
Should we fear the recovery and the recovery like?
Criticism artist without social criticism can really be critical?
Fear of recovery can it inform positively positioning and artistic method?
_ * _
Can we be part of the institution practices "senior executive" without distorting them?
The institutional critique she returns fashionable (Foucault, Buren young, etc..)?
interesting artists who are they roam on the boundaries or cancel?
Explaining the low resistance of artists, even at the cost of a loss of meaning of the work?
_
How to "expose" these processes, these actions, these postures? How to relay these practices? A traditional exhibition is feasible?
These practices do they need to display or production budgets?
institutions "more contemporary" Are Possible (documentation, information, research, public debate ...)?
exhibit, show, present, risk, play, chance, face, look, analyze, describe, outline, relate, locate, orient, submit, commit ... ?
_
What is an exhibition? Is this still the right shape for art Contemporary?
This systemic condition is it open to the aesthetic transformation or is it the scene of an aesthetic conservatism?
The scaling of the work (exposure = work) is it necessary effect of the development of the art system?
aesthetic conservatism is it to think "aesthetic" or sociologically (conquest of space, connivance, corporatism of religion peer ...)?
_
That means a non-exposure Today / Grenoble / final project as a curatorial school?
Without going to the negation of negation (Hegel), can we really change anything?
Conditions school curatorial adequate to construct a position that is not overdetermined by these conditions?
What, in terms of format, the scope of the curatorial project of a school located in a place characterized by monoform (Peter Watkins) exposure?
_
Why name the negative? Do we not invent new terminology for new practices?
Transformation can do without a negative moment?
Any intention transforming it should not transform the negative moment into a proposal?
Sculpting language and therefore change our awareness of things, is not the most difficult?
_
Where is art in a non-exposure? And the public?
Should we change everything?
The notion of public is to reinvent it?
Word Art does it sometimes included bulky?
_
The Trustee is a mediator between artist and audience? How to define the curatorial practice?
Should we predefine the curatorial practice before it was invented?
The setting in motion of roles does not make it any more interesting?
Must meet one role or the role he invented from emerging skills?
_
How to acquire new skills as a "future committee"? How to accept our incompetence?
Should we think of his activity as part of a more or less established?
Can we develop new skills without reconfiguring its own role?
The term jurisdiction has an additional implicit logic, what effects a subtractive logic is it carrying?
_
How to reevaluate what we thought for granted?
How to identify emotionally and identity of what we can do?
What can trigger a reflexive vis-à-vis what we think we know?
Can we admit the power of movement of the pooling of expertise and incompetence?
_
How rotate our skills?
Rotate skills or to pirouette?
Should we retain a pivot to change the point of view?
Why are they more training on competence than on the decision?
_
Can we adopt the tactics of fiction as developed by the artists as an alternative method of work?
Any hypothesis has it not in itself an experimental value?
Is it certain that the curators have deprived themselves of these tactics of fiction so far?
Tactics fiction is the "coal" of the society of the spectacle they can be the fuel of the criticism of the society of the spectacle?
_
What were we to an experimental school? What we think we have learned?
What is the definition of an experimental school?
How did the experiment evolved from the first session at 19?
How The School Store Can meet its quality experimental school?
_
Why did we come? How do we start?
The work of art is it not to go to the original intentions of the production plans?
The gap between expectations and what actually occurred is necessarily deceptive?
Can you believe that some failures can be more interesting than some expected successes?
_
Are we more competent ? For whom?
What type are acquired from this experience?
The training of art should it be an art?
The requirement of competence is inversely proportional to it the power to grant autonomy of decision?
_
Sophie Lapalu and François Deck
Sophie Lapalu François Deck
What position adopted in a school without teachers or students?
A society of equals can it be due to a natural order?
Self-education is it the last excuse of political restrictions of budgets?
The absence of master and pupil in a school she meets a philosophy and a teaching method?
- How to work
group? What is a collective? Collaboration? Cooperation?
A group whose members have not chosen can form a group?
How to work in a group whose members have not chosen?
The distinction between groups, group and network implies she collaborative methods radically different?
_ How to enable a debate? Must be convinced?
A debate can happen protocols?
forms of debate are they natural or cultural?
The issue of debate Is it to advance knowledge, to weld a community, to establish a public or impart beliefs?
_
Can we (should we) force individualities to train together?
The common is it a problem or solution?
What kind of joint authority can she train?
What qualities give a joint that is not the result of free choice of those who are?
_
The consensus is it the best alternative to democracy? Can I work in a dissent?
Democracy Is an art?
Democracy Is the alternative to consensus or consensus?
Democracy Is the dynamic tension between consensus and dissent?
_
Why and how the art world he grows up to competition and the affirmation of individuality? Can you lead a working group in this context?
Portrait of the Artist as a model of the individual and competitive competitor?
World of Art or plurality of worlds of art style differences vis-à-vis the value and values?
The working group will give he means to reflect the values of each with those of the context in which it operates?
_
The school, as vocational training, she intended to prepare the working world? If not, why not play some of its patterns of organization?
What is the role of art in a professional training in art?
The art is particularly favorable to the accumulation of value makes it a critical value?
Can we talk about vocational training in art without reproducing patterns that deny any possibility Art?
_ * _
What do we expect from art?
What is it we who would be waiting for art?
Art is he able to respond to the devastation of the public sphere?
The existence of a public sphere implies she contrasted conceptions of art?
_
art can have a real impact on the real?
Beyond the art history discipline analyzing the impact of art on the real-thinkable?
The question "Can art have a real impact on the real? "She refers to artistic conceptions opposite?
The question "Can art have a real impact on the real? "She evokes the need for extra mile?
_
fiction can it be a tactic of infiltration into the real, to think?
How did the idea of fiction can "take shape", having "real effects, rather than reflections of reality"?
The contention Is the real drama that governs Uncountable approaches to reality?
actions by the Yes Men, for example, do they have real effects or just the depiction of reality?
Can we say that art does not always obvious with a remote handling techniques of advertising?
_
These practices are they crossed by the policy?
How the political strategies they incorporate strategies of fiction?
fiction artistic strategies did they model for economic strategies and political (storytelling. ..)?
Can we generalize a priori the political significance of a particular artistic practice using strategies of fiction?
_
Why choose the field of art to act?
Art is there a place of effectiveness of micro political gestures?
Art as autonomous activity is, by itself, a political model?
The field of art he conceals processing capacity inaccessible to other fields?
_
A work she can "run" if it is not seen as such?
The "operation" of a work is it independent of its quality of work?
The "operation" of a work can benefit from being perceived as a work?
The "operation" of a work can benefit from not being perceived as a work?
_
Where is the "work"? What does work?
Why do we prefer the term given to a work thing rather than a social relationship?
The work she is a "thing" or material agent or aesthetic heritage of a community at work?
Making it work is determining the point of application of a force field involving ethics and aesthetics?
_
Can we still speak of a spectator?
The task of art is it to undo the viewer?
At which verifies that the "spectacle" is "the historical moment that contains us" how to escape the viewer?
How to defeat the viewer while the arts institutions establish the viewer in terms of visitor statistics?
_
What relationship do they maintain the artists to the concepts of post-Fordism, immateriality of labor, separation of the intellectual design and hardware implementation?
An art education can do without instruction on changing patterns of production value?
Redundancy formats artistic Is the dual effect of administration systems and the economics of art?
Why and how modes of artistic production, they evade the new conditions of autonomy allowed by the technique?
_
Artists who are part of a gift economy they question the subordination economics / art? Giving inducing cons gift, what do they expect in return?
Can we globalize the artists who are part of a gift economy?
The economy of art can it be thought otherwise than in the dominant forms of value?
How to think that the argument could be free Simultaneous capital strategies and empowerment strategies?
_
Artists critics do not they fear the recovery?
Should we fear the recovery and the recovery like?
Criticism artist without social criticism can really be critical?
Fear of recovery can it inform positively positioning and artistic method?
_ * _
Can we be part of the institution practices "senior executive" without distorting them?
The institutional critique she returns fashionable (Foucault, Buren young, etc..)?
interesting artists who are they roam on the boundaries or cancel?
Explaining the low resistance of artists, even at the cost of a loss of meaning of the work?
_
How to "expose" these processes, these actions, these postures? How to relay these practices? A traditional exhibition is feasible?
These practices do they need to display or production budgets?
institutions "more contemporary" Are Possible (documentation, information, research, public debate ...)?
exhibit, show, present, risk, play, chance, face, look, analyze, describe, outline, relate, locate, orient, submit, commit ... ?
_
What is an exhibition? Is this still the right shape for art Contemporary?
This systemic condition is it open to the aesthetic transformation or is it the scene of an aesthetic conservatism?
The scaling of the work (exposure = work) is it necessary effect of the development of the art system?
aesthetic conservatism is it to think "aesthetic" or sociologically (conquest of space, connivance, corporatism of religion peer ...)?
_
That means a non-exposure Today / Grenoble / final project as a curatorial school?
Without going to the negation of negation (Hegel), can we really change anything?
Conditions school curatorial adequate to construct a position that is not overdetermined by these conditions?
What, in terms of format, the scope of the curatorial project of a school located in a place characterized by monoform (Peter Watkins) exposure?
_
Why name the negative? Do we not invent new terminology for new practices?
Transformation can do without a negative moment?
Any intention transforming it should not transform the negative moment into a proposal?
Sculpting language and therefore change our awareness of things, is not the most difficult?
_
Where is art in a non-exposure? And the public?
Should we change everything?
The notion of public is to reinvent it?
Word Art does it sometimes included bulky?
_
The Trustee is a mediator between artist and audience? How to define the curatorial practice?
Should we predefine the curatorial practice before it was invented?
The setting in motion of roles does not make it any more interesting?
Must meet one role or the role he invented from emerging skills?
_
How to acquire new skills as a "future committee"? How to accept our incompetence?
Should we think of his activity as part of a more or less established?
Can we develop new skills without reconfiguring its own role?
The term jurisdiction has an additional implicit logic, what effects a subtractive logic is it carrying?
_
How to reevaluate what we thought for granted?
How to identify emotionally and identity of what we can do?
What can trigger a reflexive vis-à-vis what we think we know?
Can we admit the power of movement of the pooling of expertise and incompetence?
_
How rotate our skills?
Rotate skills or to pirouette?
Should we retain a pivot to change the point of view?
Why are they more training on competence than on the decision?
_
Can we adopt the tactics of fiction as developed by the artists as an alternative method of work?
Any hypothesis has it not in itself an experimental value?
Is it certain that the curators have deprived themselves of these tactics of fiction so far?
Tactics fiction is the "coal" of the society of the spectacle they can be the fuel of the criticism of the society of the spectacle?
_
What were we to an experimental school? What we think we have learned?
What is the definition of an experimental school?
How did the experiment evolved from the first session at 19?
How The School Store Can meet its quality experimental school?
_
Why did we come? How do we start?
The work of art is it not to go to the original intentions of the production plans?
The gap between expectations and what actually occurred is necessarily deceptive?
Can you believe that some failures can be more interesting than some expected successes?
_
Are we more competent ? For whom?
What type are acquired from this experience?
The training of art should it be an art?
The requirement of competence is inversely proportional to it the power to grant autonomy of decision?
_
Sophie Lapalu and François Deck
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