m1 (turm4)
 
Friday, 1. May 2009


PROGRAM MAY 2009


1, May, 2009 Friday

FIGHT 4 SOCIAL, POLITICAL and ECONOMIC changes as today precarization is the norm, temp work, low salaries, and unemployment.
4, May, 2009 Monday

Semperdepot, M1
From 12.00 to 15.00
Reading Althusser: Ideology and Ideological state Apparatuses.
German and English texts available
Reading conducted by Ivana Marjanovic
4, May, 2009 Monday

Semperdepot, M1
At 16.00
Meeting Linz group/Dimitrova /Maiz
4, May, 2009 Monday

Semperdepot, M1
At 19.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
SCREENING
Die papierene Brücke (Paper Bridge)
Director: Ruth Beckermann
Austria 1987, 16mm, 91 min.
German with English subtitles
Paper Bridge is a journey through Ruth Beckermann's own family's history and at the same time the story of Central Europe's Jews and of a region. It takes her from Vienna, where her grandmother survived the war and the nazis in hiding and to which her mother returned from Israel, to the landscapes of her father's childhood: the Bukowina, once part of the Austro-Hungarian Empire.
www.ruthbeckermann.com
5, May 2009, TUESDAY

Semperdepot, M1
From 16.30 to 19.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
READING ROOM
Please bring books and/or texts that are related to the subject and that you consider as interesting to share among each other. Copier will be available.
5, May 2009, TUESDAY

Semperdepot, M1
At 19.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
SCREENING
Pourquoi Israel
Director: Claude Lanzmann
France/Italy 1973, 16mm, 192 min.
Multi-lingual with English subtitles
Pourquoi Israël (Israel, Why) is Shoah filmmaker Claude Lanzmann's first film. The documentary examines life in Israel twenty-five years after the birth of the state. Lanzmann spends time with, among others, German-Jewish émigrés, intellectuals, dock workers, police, prison inmates, and the newly arrived surveying life in the new homeland. The title of the film is often incorrectly given as a question "Why Israel?" however, Lanzmann intended it as an answer or an explanation from a collection of viewpoints.
www.kino-zeit.de
6, May 2009, WEDNESDAY

Semperdepot, M1
From 13.30 to 20.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
READING ROOM
Please bring books and/or texts that are related to the subject and that you consider as interesting to share among each other. Copier will be available.
6, May 2009, WEDNESDAY

Semperdepot, M1
At 20.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
SCREENING
Bil'in Habibti - Bil'in My Love
Director: Shai Carmeli Pollak
Israel 2006, Digital Beta/Beta SP, 84 min.
Arabic, Hebrew with English subtitles
BIL'IN MY LOVE (Bilin Habibti)
BIL'IN MY LOVE tells the story of a small Palestinian village trying to save itself and to break the occupation in a non-violent resistance against the Israeli Army. Under the pretext of security, the village of Bil'in is about to lose more than half of its lands to the Israeli separation fence and to the neighbouring Israeli settlement. In an attempt to stop the bulldozers, tear gas, beatings, arrests and live ammunition, the villagers confront the army in creative weekly demonstrations.
It's not an ordinary documentary, because after following the struggle, in dozens of other villages, Shai Carmeli-Pollak arrives in Bil'in first and foremost, as an activist fighting the occupation and only then as filmmaker. He stays for more than a year and accompanies the village's struggle, focusing on two people that become real friends: Mohamed, a member of the village's local committee against the fence, and Wagee, an olive tree farmer and father of ten, who is losing the majority of his land to the fence.
www.claudiusfilms.com/bilin.swf
11, May until 15, May 2009

Film seminar prof. Harun Farocki
18, May 2009, MONDAY

At 9.00 to 10.00
INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office
18, May 2009, MONDAY

Semper, M1
At 10.30 to 13.30
Reading Althusser: Ideology and Ideological state Apparatuses, German and English texts available
Reading conducted by Marina Grzinic and Ivana Marjanovic
18, May 2009, MONDAY

Semperdepot, M1
From 14.00 to 20.00
2 DIPLOMA presentations (FOR DIPLOMA EXAM JUNE 2009):
LILO NEIN
LINA DOKUZOVIC
Erasmus exchange student presentation:
Santiago Berce Doig (Barcelona)
18, May 2009, MONDAY

Semperdepot, M1
At 20.00
Debating Middle East Conflicts in Post-Nazistic Spaces?
Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?
Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".
SCREENING
Mapping the Wall
Director: Reinhard Uttenthaler
IL/PAL/A 2007, 32min
English
In 2002 the Israeli Government begins to build the so-called Security Fence along the Westbank to separate Israelis from Palestinians. The fence which became a wall in most urban locations claimes to protect Israel against terror acts as happened during the Second Intifada since 2000. Statistically, terror acts have decreased since the erection.
In 2007, equipped with small video camera and a Palestine Tourist Map we followed the traces the wall had left for people living on both sides around Jerusalem. Although one can hardly find the wall on public roadmaps, it is present in the daily life of many people using the different ways along the route. Mapping the Wall explores these conditions in a conceptual way. Story by story, the hidden protagonists describe a new path network by sketching and locating their changing ways on a presented tourist map. In its own narrative way and without the visibility of any talking heads throughout the picture the film emerges a virtual map in the head of the viewer about the run, dimension and the social-spatial consequences of the wall.
19, May 2009, TUESDAY

At 9.00 to 10.00
INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office
19, May 2009, TUESDAY

Semperdepot M1
From 11.00 to 15.00
STUDENT PRESENTATIONS
Chui Yong Jian, Cain
Majda Turkic
Miltiadis Gerothanasis
19, May 2009, TUESDAY

AT 17.00
Place to be announced or in the class M1 or at Schillerplatz 3!!!!
GUEST LECTURE /PRESENTATION by Karla Villavicencio (Lima/Vienna)
Title: IMA-R-GINAL ARCHITECTURE: STRUCTURES OF MEMORY IN CONTEMPORARY CITIES.
SUMMARY: Karla Villavicencio will talk about illegal cities in Latin America that are culturally, socially and politically marginalized. The aim of the lecture is to offer with the help of documentation a new perspective on urban development. The lecture will focus on Peru and on migration of the indigenous population from the Andes to Lima. It will try to show how immigration transforms the architecture of the city. Furthermore the lecture will propose a platform for reading visually the social impact of such transformations on the development of architecture. These architectural and urban spaces can be compared to a living skin that adapts itself to the needs of the migrants. For this reason such architecture makes clearly visible the social, economic and political dimensions of architecture.
CV: Dr. Karla Villavicencio is artist that holds PhD in architecture from the European University in Madrid, Spain. She creates projects about the evolution of different cities in multicultural societies around the globe. She tries to show the visual memory of social processes in architectural spaces within contemporary cities. Villavicencio studied in Peru and Spain. In the past she has been working as assistant professor for Architecture in The Architecture and Art School of the European University of Madrid.
LANGUGE: ENGLISH.
OPEN TO GENERAL PUBLIC.
The lecture is possibly organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Vienna and the Institute for Art and Architecture at Academy of fine Arts, Vienna
Lecture organized by Marina Grzinic, Gabu Heindl and Michael Poetschko.
Questions and answers after the lecture facilitated by Hansel Sato (Spanish-English-German).
19, May 2009, TUESDAY

Opening of the exhibition part of the Workshop City and Body, exchange Akbild, students from Istanbul, from the class 3 participants: Sarah Binder, Muzaffer Hasaltay, Dayan Ozan Özoglu.
Space will announced and time in between 19.00 to 20.00
20, May 2009, WEDNESDAY

Semperdepot M1
At 16.00 FINAL MEETING PROJECT LINZ MAIZ /Dimitrova
21. May 2009, holiday

22/23.May 2009, FRIDAY-SUNDAY

SS09 Klassenprojekt in Linz (in Zusammenarbeit mit maiz.at)
Klassenprojekt in Linz (in Zusammenarbeit mit maiz.at): kritik an diversitätspolitik und (neue)formen von “management der minderheiten”, authonomie der migration, antirassistische praxen, mögliche gemeinsamme (selbst)organisationsformen für politische arbeit (zBs im activismus-, kultur-, bildungsarbeit).
In charge: Petja Dimitrova and collaboration with Maiz, Linz
22.5.2009 Workshop, Vortrag
23.5.2009 Ausstellungsaufbau und Vernissage
25, May 2009, MONDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi Yoshioka
OPEN TO ALL THE STUDENTS OF THE ACADEMY
Semperdepot, M1
Where Akbild/ Institute of Fine Arts/Conceptual art practices department
Lehargasse 8, 1 floor
When At 17.00 until 20.00, PART 1
The workshop is from May 25th - 27th, 2009, 3 parts. It is a joint project between the Akbild, Coded cultures and Open source seminar at PCAP, Akbild, Vienna.
The workshop by Hiroshi Yoshioka at The Academy of Fine Arts in Vienna will focus on contemporary art and media art from Japan and other Asian countries in order to discuss economic, political and technological issues. The works presented will be those by Asian artists from the Ogaki Biennale in 2006 in Japan, along with experimental animation works, which are completely different from what is accepted as “Japanimation” or “Japan Cool,” and with modern computer music projects attempted by Masahiro Miwa and his students.
BIOGRAPHY: Prof. dr. Hiroshi Yoshioka was born in Kyoto, Japan. He studied philosophy and aesthetics at Kyoto University. He teaches aesthetics and art theory at Kyoto University, IAMAS. He is the author of The Present Tense of Thought: Complex Systems, Cyberspace, and Affordance Theory (1997), Information and Life: The Brain, Computers, and the Universe (with Hisashi Muroi, 1993) [both books published in Japanese], and many articles on aesthetics, arts, technology and culture. He was the editor-in-chief of the critical journal Diatxt.(vol.1-8, Kyoto Art Center, 2000-2003) and Yorobon: Diatxt./Yamaguchi (YCAM, 2008). He was the general director of Kyoto Biennale 2003, and Ogaki Biennale 2006.
Wokshop/Lecture/Presentation is part of the Seminar on Open Source in the Conceptual art practices department, developed by the students in the class: Annalisa Cannito, Chui Yong Jian, Philip Leitner, Ivette Mrova and Santiago Berce Doig.
26, May 2009, TUESDAY

10.00 to 11.00
INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office
26, May 2009, TUESDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi Yoshioka
OPEN TO ALL THE STUDENTS OF THE ACADEMY
Semperdepot, M1
Where Akbild/ Institute of Fine Arts/Conceptual art practices department
Lehargasse 8, 1 floor
At 11.00 until 15.00, PART 2
The workshop by Hiroshi Yoshioka at The Academy of Fine Arts in Vienna will focus on contemporary art and media art from Japan and other Asian countries in order to discuss economic, political and technological issues. The works presented will be those by Asian artists from the Ogaki Biennale in 2006 in Japan, along with experimental animation works, which are completely different from what is accepted as “Japanimation” or “Japan Cool,” and with modern computer music projects attempted by Masahiro Miwa and his students.
27, May 2009, WEDNESDAY

Semperdepot, M1
At 10.00 until 12.00
Annalisa Cannito, Chui Yong Jian and Santiago Berce Doig:
REPORT Liwoli project Linz with screening a documentary film on the project
Liwoli 2009 hacklab for art and open source was an event
From 23 – to 26 April 2009 in Linz. It was an open invitation to
everyone who would like to participate in an active process of learning,
producing and sharing ideas around the areas of Free/Libre Open Source
Software (FLOSS) and DIY practices in digital art and culture.
FLOSS developers, software artists such as the collective GOTO10,
activists from HAIP (Hack Act Interact Progress) and many others formed
the basis for the event and shared knowledge in the form of workshops,
presentations, installations and performances.
27, May 2009, WEDNESDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi Yoshioka
OPEN TO ALL THE STUDENTS OF THE ACADEMY
Semperdepot, M1
Where Akbild/ Institute of Fine Arts/Conceptual art practices department
Lehargasse 8, 1 floor
At 13.00 until 16.00, PART 3
The workshop by Hiroshi Yoshioka at The Academy of Fine Arts in Vienna will focus on contemporary art and media art from Japan and other Asian countries in order to discuss economic, political and technological issues. The works presented will be those by Asian artists from the Ogaki Biennale in 2006 in Japan, along with experimental animation works, which are completely different from what is accepted as “Japanimation” or “Japan Cool,” and with modern computer music projects attempted by Masahiro Miwa and his students.
SPECIAL 27, May 2009, WEDNESDAY

At 19.00 : freiraum/quartier21 / MQ
OPENING CODED CULTURES
codedcultures.com
SPECIAL 27, May 2009, WEDNESDAY

At 19.00 : art space kunsthalle exnergasse, Vienna
www.wuk.at/kunsthalle
OPENING EXHIBITION: SMELL IT!
Taking part: Katrina Daschner, Isabell Spengler, Jaan Toomik, Joyce Wieland / Hollis Frampton, Hubert Fichte / Lil Picard, G.B. Jones / Bruce LaBruce / Candy Parker, Deborah Schamoni, Karol Radziszewski, CHEAP, Paolo Mezzacapo de Cenzo, Dasen Stambuk, Marina Grzinic / Aina Smid, William E. Jones, ...
Zusammenstellung: Dietmar Schwärzler
Ausstellungsarchitektur: Robert Vörös
Freundschaften sind nicht nur in jeder einzelnen Biographie eine der wichtigsten Formen sozialen Zusammenlebens, sondern stellen auch im Kunstbetrieb eine essentielle Voraussetzung dar, sowohl was Kooperationen, Arbeits- als auch Produktionsverhältnisse betrifft. Freundschaften zeigen sich aber auch als Lebensform bzw. Teil subkultureller Community-Formen. Michael Foucault hat (als Beispiel) einmal gesagt, das Bedrohliche an der Homosexualität ist nicht der Sex, den welche miteinander haben, sondern die Lebensweisen, die sie miteinander erfinden: Freundschaften und Netzwerke.
Die Ausstellung Smell it! präsentiert vorwiegend künstlerische Arbeiten, die queere Bezüglichkeiten herstellen oder in einem offenen Dialog zu queeren Kontexten stehen. Entlang der Thematik sollen auch Produktionen aus jenen postsozialistischen Ländern integriert werden, in denen aktuell ganz unmittelbar reaktionäre und homophobe Kräfte wirken und es in der künstlerischen Produktion keine nachhaltige sichtbare queere Tradition gibt.
28, May 2009, THURSDAY

Semper depot, M1
At 10.00 until 13.30
STUDENT FROM THE CLASS PRESENTATIONS
Maria Kuschelieva, presentation of her work with some comments on reading the book by Roland Barthes' Camera Lucida—Reflections on Photography (original version in French was published in 1980, English version in 1981) and the book by Susan Sontag, On Photography, published in 1977. Camera Lucida and On Photography were important early academic books of criticism and theorization on photography.
Rozati Seyed Saleh, new works
28, May 2009, THURSDAY

At 14.00 MUMOK Lectures/symposium on CODED CULTURES
codedcultures.com
28, May 2009, THURSDAY

At 20.30
Where:Akademie der bildendenden Künste Wien /
Academy of Fine Arts, Vienna
Schillerplatz 3
A-1010 Wien
ROOM: M20
Buchpräsentation / Book Presentation
Antke Engel: Bilder von Sexualität und Ökonomie.
Queere kulturelle Politiken im Neoliberalismus
Bielefeld (transcript) 2009
Presentation moderated by Rosa Reitsamer.
PRESENTATION IN GERMAN. Discussion German and English.
Gibt es eine intime Beziehung zwischen sexueller Freiheit und Marktfreiheit? Bilder dissidenter Sexualität und geschlechtlicher Ambiguität finden sich heute nicht nur in sexueller Subkultur, sondern auch in Kunst und kommerzieller Werbung. Die entstehenden Überlappungsfelder – queere Diskurse in kommerziellen ebenso wie neoliberale Diskurse in queeren visuellen Produkten – sind Schauplätze kultureller Politiken. Antke Engel führt den Begriff der „projektiven Integration“ ein, um zu zeigen, dass dort, wo vormals Abwehr oder Assimilation propagiert wurde, heute Differenzen als kulturelles Kapital codiert und ökonomisch verwertbar werden. Es zeigt sich, dass diese affirmativen Investitionen in Differenz maßgeblich über Sexualität vermittelt sind. Genau hieraus erwachsen jedoch auch Möglichkeiten queerer Herrschaftskritik.
In acht close readings von visuellem Bildmaterial lotet Antke Engel in ihrem neuen Buch das Verhältnis von Sexualität und Ökonomie aus und entwickelt eine queere Kritik neoliberaler Entwicklungen. Die Lektüre des Coverbildes, eine Collage der Wiener Künstlerin Ines Doujak, soll vorgestellt werden. Anhand dieser Lektüre wird das Paradox als eine Figur eingeführt, die es erlaubt, die Analyse sozio-ökonomischer, psychischer und symbolisch-kultureller Prozesse miteinander zu verbinden. Der Einsatz von Paradoxien erscheint deshalb interessant, weil er einerseits dazu dient rigide binäre Geschlechter- und Sexualitätsvorstellungen in Bewegung zu versetzen, andererseits aber auch zur Durchsetzung neoliberale Transformationen beiträgt. Argumentiert werden soll, dass Paradoxien genau dann ein kritisches Potenzial entfalten, wenn sie nicht aufgelöst oder in antagonistische Widersprüche übersetzt werden.
English version
Is there an intimate relation between sexual freedom and market freedom? Images of dissident sexualities and gender ambiguity can be found in commercial advertising as well as in art and in sexual subcultures. Around the topoi of sexual diversity and the multiplicity of desire a discursive overlap develops – queer perspectives in commercial and neoliberal perspectives in queer discourses. This discursive overlap is the terrain of cultural politics.
Antke Engel introduces the concept of “projective integration” in order to show that in late modern societies, difference is now coded as cultural capital and is made usable for economic interests. While other forms of integration like assimilation and multicultural pluralism still exist, “projective integration,” Engel suggests, is the characteristic version of neoliberal governmentality. It turns out that the investment in difference relies heavily on images of sexuality. However, these are also the images that become the starting point for the queering of capitalist economy.
Reading images through the lens of projective integration is interesting because the term “projection” covers psychic, socio-political, and visual technological aspects and invites viewers to look for the productivity of their intermingling. Exemplarily, Antke Engel will introduce close readings of two art works: a collage by Ines Doujak from the series “Victory Gardens” (2007) and a drawing without title, but recently exhibited as “Kotzblatt” (vomiting sheet) by Galli (1984).
These readings show that being implicated in processes of projective integration does not necessarily mean that one has submitted to the neoliberal order. “Bilder von Sexualität und Ökonomie” points towards, and indeed strives to strengthen, those tendencies in queer theory and politics that make use of their own entangling with the discourses they want to oppose. Thus, queer cultural politics opens up the field for the critique of capitalist economy by showing how the neoliberal deployment of dissident sexualities and genders can be turned against itself.
Biographies
Antke Engel ist promovierte Philosophin, feministische Queer Theoretikerin und freiberuflich in Wissenschaft und Kulturproduktion tätig. Sie leitet das „Institut für Queer Theory“ (Berlin/Hamburg: www.queer-institut.de), das seit 2006 Projekte initiiert, die sich einer "queeren Politik der Repräsentation" verschreiben und in denen sich akademische und aktivistische, philosophische, politische und künstlerische Praxen verflechten. Sie war (zwischen 2003-2005) als Gast- und Vertretungsprofessorin für Queer Studies an der Universität Hamburg tätig und ist seit Herbst 2007 Fellow am Institute for Cultural Inquiry (ICI) in Berlin. Ihre Arbeitsschwerpunkte sind feministische und poststrukturalistische Theorie, Konzepte von Sexualität und Begehren sowie Repräsentationskritik und kulturelle Politiken.
Antke Engel is director of the Institute for Queer Theory situated in Hamburg and Berlin. She received her Ph.D. in Philosophy at Potsdam University (Germany) in 2001 and held a visiting professorship for Queer Theory at Hamburg University between 2003 and 2005. The focus of her work is on feminist and poststructuralist theory, on conceptualizations of sexuality and desire, and on the critique of representation. Since autumn 2007 she is a research fellow at the Institute for Cultural Inquiry (ICI) in Berlin, working on the relation of sexuality and economy and asking for possibilities of queering neoliberalism.
Rosa Reitsamer, Soziologin, Universität für angewandte Kunst Wien
Rosa Reitsamer, sociologist, University of Applied Arts Vienna.
The presentation is organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Vienna and the Institute of Art Theory and Cultural Studies/ Epistemology and methodology of art production / PhD in practice at the Academy of Fine Arts Vienna with galerie aRtmosphere, Vienna www.artmosphere-vienna.net
Presentation organized by Marina Grzinic, Tom Holert, Rosa Reitsamer and Johanna Schaffer.
29, May 2009, FRIDAY

Semper depot, M1
At 10.00 until 13.30
STUDENT FROM THE CLASS PRESENTATIONS
Bernadette Uttenthaler
Juana Gonzalez Vernaza
29, May 2009, FRIDAY

At 14.00 MUMOK Lectures/symposium on CODED CULTURES
codedcultures.com



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