{"id":37224,"date":"2025-09-19T14:52:20","date_gmt":"2025-09-19T12:52:20","guid":{"rendered":"https:\/\/institutfrancais.sk\/?post_type=podujatie&#038;p=37224"},"modified":"2025-10-27T16:50:53","modified_gmt":"2025-10-27T15:50:53","slug":"medzinarodna-konferencia-after-industry","status":"publish","type":"podujatie","link":"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/","title":{"rendered":"International Conference \/ After Industry"},"content":{"rendered":"\n<p><strong><em><strong>Work Hard, Pay Hard. Is There Political Democracy Without Economic Democracy?<\/strong><\/em><\/strong><\/p>\n\n\n\n<p><strong>29. &#8211;&nbsp;30. October 2025<\/strong> Nov\u00e1 Dubnica<br><strong>30. October 2025<\/strong> Tren\u010dianske Teplice<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\"><\/div><\/div>\n\n\n\n<div class=\"wp-block-group is-vertical is-layout-flex wp-container-core-group-is-layout-2 wp-block-group-is-layout-flex\">\n<p>Curator: <strong>Ivana Rumanov\u00e1<\/strong><\/p>\n\n\n\n<p>Film curator:&nbsp;<strong>Barbora Nem\u010dekov\u00e1<\/strong><\/p>\n\n\n\n<p>Production:&nbsp;<strong>Michaela Kacsiov\u00e1<\/strong><\/p>\n\n\n\n<p>Organisator:&nbsp;Cluster EUNIC Bratislava*,&nbsp;<strong>FFA BUT &#8211;&nbsp;Faculty of Fine Arts Brno University of Technology<br><\/strong><\/p>\n\n\n<div class=\"space xxs\"><\/div><\/div>\n\n\n\n<p><em>Conference \u201cWork Hard, Pay Hard\u201d discusses the current social, economic, and political crises as they are embedded in concrete places. It considers the historical evolutions and transformations these places have undergone, specifically in relation to&nbsp;the post-socialist transition of the 1990s.&nbsp;<\/em><\/p>\n\n\n\n<p><em>The event takes place in two cities in the Tren\u010d\u00edn region of Slovakia: Nov\u00e1 Dubnica and Tren\u010dianske Teplice. Being an example of an ideal SORELA city, Nov\u00e1 Dubnica was built on a&nbsp;green field in the 1950s to&nbsp;accommodate workers of a&nbsp;nearby arms factory. This it inspires a&nbsp;reflection on what happens with the ideal socialist city and its urbanism once the socialism is over. Tren\u010dianske Teplice, is a&nbsp;neighboring spa city that provided infrastructure for regeneration and care for hard-working bodies. However, after 1989, it was wildly privatized, leading to&nbsp;the gems of its Functionalist architecture and infrastructures of care becoming victims of real estate speculation.&nbsp;<\/em><\/p>\n\n\n\n<p>\u00ab\u00a0When asked \u201cWho owns the state enterprises?\u201d by Milton Friedman in the early 1990s during his road-trip around Central Europe, one of the present Hungarian elite economists answered: \u201cOkay, the Society as a&nbsp;whole.\u201d \u2013 \u201cNot the society, the people!\u201d<\/p>\n\n\n\n<p>Friedman\u2019s remark is rooted in the primacy of individual ownership, individual freedom and of the free market. This perspective, however, needs to&nbsp;be grounded in the European context, where traditions of public ownership, social welfare, and collective responsibility have long shaped economic and political life. Friedman\u2019s answer can nevertheless be seen as emblematic of the broader political, economic, and cultural transformations. Alongside the important processes of political democratisation, these economic changes contributed to&nbsp;weakening pre-existing mechanisms of solidarity in the name of freedom to&nbsp;compete.<\/p>\n\n\n\n<p>At the same time, it is important to&nbsp;recognize that the corruption, political populism, and the weakening of democratic institutions are phenomena present both in Eastern and Western contexts. The separation of political and economic democracy is therefore not a&nbsp;regional problem but a&nbsp;global one.&nbsp;&nbsp;Thus it creates an oportunity for new forms of mutual international&nbsp;&nbsp;and intrasectional learning, exchange of experiences and experimenting with the solidarity networks. What new possibilities arise when we insist on \u00ab\u00a0there is such a&nbsp;thing as society\u00a0\u00bb and \u00ab\u00a0there are alternatives,\u00a0\u00bb and explore their potential reactualizations together? \u00a0\u00bb &#8211;&nbsp;<strong>Ivana Rumanova, curator<\/strong><\/p>\n\n\n<div class=\"text-center\"><a href=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/WEB_ENG.docx\" class=\"btn\">Curatorial text<\/a><\/div>\n\n\n<p>The conference will facilitate an exchange on these topics across interconnected panels:<\/p>\n\n\n\n<ol>\n<li><strong>Economic and social consequences of post-1989 transformations<\/strong><\/li>\n\n\n\n<li><strong>Industrial production and the legacy of modernism revisited<\/strong><\/li>\n\n\n\n<li><strong>Economic democracy<\/strong><\/li>\n\n\n\n<li><strong>Revitalisation of utopia<\/strong><\/li>\n<\/ol>\n\n\n\n<p>The event will not be restricted to&nbsp;strictly academic formats. It will bring together various formats: lectures, commented urbanistic walks, artist talks and interventions, bathing-experiences in thermal spa, cinema screenings. The aim is to&nbsp;combine the bodily and collective experiences with the academing&nbsp;knowledge-sharing.<\/p>\n\n\n\n<p><em>* French Institute of Slovakia, Embassy of France in Slovakia, Goethe-Institut Bratislava, Czech Centre Bratislava, Embassy of Spain in Bratislava, Instituto Cervantes Bratislava, Austrian Cultural Forum Bratislava, Embassy of the Kingdom of the Netherlands in Bratislava, Polish Institute Bratislava, Contact Point \u2013 Wallonie-Bruxelles International, Embassy of the Federal Republic of Germany in Bratislava, Embassy of the Hellenic Republic in Slovakia, Embassy of the Republic of Cyprus in Slovakia, Embassy of the Republic of Slovenia in Bratislava, Bulgarian Cultural Institute Bratislava, Hungarian Cultural Institute Bratislava, Italian Cultural Institute Bratislava, \u00d6sterreich Institut Bratislava, Representation of the European Commission in Slovakia.<\/em><\/p>\n\n\n\n<p><em><strong>With the support of the EUNIC Cluster Fund and the Franco-German Cultural Fund.<\/strong><\/em><\/p>\n\n\n\n<p><strong>Participants<\/strong> (alphabetical order):&nbsp;Deutsche Wohnen &amp;&nbsp;Co. Enteignen (DE), Adam Galko (SK) &amp;&nbsp;Denis Kozerawski (SK), Kristen Ghodsee (US), Petra Hlav\u00e1\u010dkov\u00e1 (CZ), Zuzana Jakalov\u00e1 (SK), Andrea Kalinov\u00e1 (SK), Lucas Kalmus (DE), Bahar Noorizadeh (Iran \/ Can), Katja Praznik (SI), Hannah Proctor (UK), Eva Rie\u010dansk\u00e1 &amp;&nbsp;Peter Vittek (SK), Nicole Sabella (AT), Barbara Spechtl (AT), Peter Szalay (SK), Kuba Szreder (PL), S\u00e9bastien Thi\u00e9ry (FR), VARIA (NL), Ji\u0159\u00ed \u017d\u00e1k (CZ)<\/p>\n\n\n\n<p class=\"has-small-font-size\"><\/p>\n\n\n<div class=\"text-center\"><a href=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/CCBA-PROGRAM-AI-A5_WHITE-oprava-C.pdf\" class=\"btn btn-blue-invert\" target=\"blank\" rel=\"noreferrer noopener\">PROGRAM<\/a><\/div>\n\n<div class=\"text-center\"><a href=\"https:\/\/docs.google.com\/forms\/d\/e\/1FAIpQLScyYS3rGm00F_VcgNB8HdW9CeRCIu3A3T9X7HDdjfv1wL8fZQ\/viewform\" class=\"btn\">REGISTRATION &nbsp;FORM<\/a><\/div>\n\n<div class=\"accordion-menu\"><a href=\"#a1-about-the-speakers-and-their-speech\" class=\"smooth\">About the speakers and their speech<\/a> | <a href=\"#a2-about-the-curators\" class=\"smooth\">About the curators <\/a> | <a href=\"#a3-about-the-moderators\" class=\"smooth\">About the moderators <\/a> | <a href=\"#a4-about-the-movies\" class=\"smooth\">About the movies <\/a><\/div><div id=\"a1-about-the-speakers-and-their-speech\"><h3 class=\"accordion-cat\">About the speakers and their speech<\/h3><div class=\"accordion\" id=\"a624\"><div class=\"card\"><div class=\"card-header\" id=\"ha624_1\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_1\" aria-expanded=\"true\" aria-controls=\"ca624_1\">Adam Galko &#038;&nbsp;Denis Kozewarski (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_1\" class=\"collapse\" aria-labelledby=\"ha624_1\" data-parent=\"#a624\"><div class=\"card-body\"><p><b><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37651 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-350x230.png\" alt=\"\" width=\"350\" height=\"230\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-350x230.png 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-537x353.png 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-768x506.png 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1190x783.png 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0.png 1232w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/>Adam Galko<\/b><span style=\"font-weight: 400;\"> (<i>b. <\/i>1993) comes from Nov\u00e1 Dubnica and works as a&nbsp;curator at the Turiec Region Gallery in Martin. As part of his doctoral studies at Comenius University in Bratislava, he focuses on research into the acquisition program and provenance of works of Slovak visual modernism in the collections of the Slovak National Gallery. His professional interests also center on art in public space, which he explores within historical, social, and cultural contexts. As a&nbsp;curator at the Turiec Region Gallery, he develops the format of the <\/span><i><span style=\"font-weight: 400;\">Sculpture in the City<\/span><\/i><span style=\"font-weight: 400;\">\u00a0residency program, which serves as a&nbsp;tool for critical reflection on public space, collective memory, and local identity. He is the co-author of the monograph\u00a0<\/span><i><span style=\"font-weight: 400;\">Fra\u0148o \u0160tefunko \u2013 Tret\u00ed rozmer premenlivej doby (The Third Dimension of a&nbsp;Changing Era<\/span><\/i><span style=\"font-weight: 400;\">.)<\/span><\/p>\n<p><b>Denis Kozewarski<\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">b. 1990<\/span><\/i><span style=\"font-weight: 400;\">) is a&nbsp;Slovak visual artist and filmmaker. His work often focuses on the intersections between social environments, ecology, and memory.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">He graduated from the Academy of Fine Arts and Design in Bratislava (V\u0160VU) and is a&nbsp;co-founder of the APART Collective \u2013 a&nbsp;platform operating between contemporary art and social research. Denis has presented his video and film works internationally, including at MoMA PS1 (New York), E-flux Bar Laika, Kunsthalle Bratislava, Traf\u00f3 Gallery (Budapest), and the National Gallery in Prague. He is a&nbsp;laureate of the Osk\u00e1r \u010cepan Award (2021) and the V\u00daB Foundation Award for Young Visual Artists. In his moving image practice, he often works with long takes, observational rhythm, and hybrid formats between documentary and fiction.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">His recent works include the video essay <\/span><i><span style=\"font-weight: 400;\">Kambium 1492<\/span><\/i><span style=\"font-weight: 400;\"> (2021), which explores forestry, extractivism, and knowledge systems in Central Europe.<\/span><\/p>\n<p>Photo credit : Adam Galko<\/p>\n<p style=\"font-weight: 400;\"><em><strong>Neutralization of Work <\/strong><\/em><strong><i>(working title) <\/i><\/strong><i>Video essay<\/i><\/p>\n<p style=\"font-weight: 400;\">The short experimental film <em>Neutralization of Work<\/em> is set in the area of the former Z\u0164S industrial complex in Dubnica nad&nbsp;V\u00e1hom, within the premises of a&nbsp;chemical neutralization station. In the past, the chemicals processed here originated mainly from arms production. After the decline of military manufacturing in the 1990s, this technical site began to&nbsp;change gradually. Empty sedimentation tanks were filled in and transformed into gardens. Over the years, a&nbsp;living ecosystem has emerged: grapevines, fruit trees, citrus plants growing in warehouses, birdhouses, insect hotels, ponds, and even a&nbsp;stork\u2019s nest. The film traces the transformation of an environment where toxicity and regeneration, labor and leisure, industry and nature intersect. It reflects the paradox of a&nbsp;place where the chemical process of neutralization intertwines with the transformation of work itself into care, growth, and informal creativity beyond the framework of productivity and profit.<\/p>\n<p style=\"font-weight: 400;\">\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_2\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_2\" aria-expanded=\"true\" aria-controls=\"ca624_2\">Kristen Ghodsee (US)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_2\" class=\"collapse\" aria-labelledby=\"ha624_2\" data-parent=\"#a624\"><div class=\"card-body\"><p style=\"font-weight: 400;\"><strong>Kristen R.\u00a0Ghodsee<\/strong> is Professor of Russian and East European Studies and a&nbsp;member of the graduate groups in anthropology and history at the University of Pennsylvania in Philadelphia. She is the author of twelve books, which have been cumulatively translated into 19 languages.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37494 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-233x350.jpg\" alt=\"\" width=\"233\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-233x350.jpg 233w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-358x537.jpg 358w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-768x1152.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-1024x1536.jpg 1024w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-1365x2048.jpg 1365w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-667x1000.jpg 667w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/pic_credits-Elena-Hmeleva-scaled.jpg 1706w\" sizes=\"(max-width: 233px) 100vw, 233px\" \/><\/p>\n<p style=\"font-weight: 400;\">Her most recent monograph is\u00a0<em>Everyday Utopia: What 2000 Years of Wild Experiences Can <\/em><em>Teach Us about the Good Life<\/em>\u00a0with Simon &amp;&nbsp;Schuster in 2023. She has written for articles for outlets such as\u00a0<em>The New York Times<\/em>,\u00a0<em>The Washington Post<\/em>,\u00a0<em>The New Republic<\/em>,\u00a0<em>The Los Angeles Review of Books<\/em>,\u00a0<em>Jacobin<\/em>,\u00a0<em>Die Tageszeitung<\/em>, and\u00a0<em>Le Monde Diplomatique<\/em>.\u00a0Ghodsee\u00a0has held residential research fellowships at the Institute for Advanced Study;\u00a0the Radcliffe Institute for Advanced Study;&nbsp;the Woodrow Wilson International Center for Scholars;\u00a0the Freiburg Institute for Advanced Studies;\u00a0the Imre Kert\u00e9sz Kolleg at the Friedrich-Schiller-Universit\u00e4t in Jena;\u00a0the Max Planck Institute for Demographic Research;&nbsp;the Aleksanteri Institute of the University of Helsinki;&nbsp;and the Center for History at Sciences Po&nbsp;in Paris. In 2012, Ghodsee won a&nbsp;John Simon Guggenheim Fellowship<u>\u00a0<\/u>for her work in Anthropology and Cultural Studies. She has served as the president of the Society for Humanistic Anthropology and the Association of Members of the Institute for Advanced Study.<\/p>\n<p>Photo credit: Elena Hmeleva<\/p>\n<p style=\"font-weight: 400;\"><strong>\u201cThe Social Consequences of the Economic Transition\u201d<\/strong><\/p>\n<p style=\"font-weight: 400;\">After the fall of the Berlin Wall in 1989, more than 400 million people suddenly found themselves in a&nbsp;new reality, a&nbsp;dramatic transition from state socialist and centrally planned workers&rsquo;&nbsp;states to&nbsp;liberal democracy (in most cases) and free markets. Thirty years later, postsocialist citizens remain sharply divided on the legacies of transition. Was it a&nbsp;success that produced great progress after a&nbsp;short recession, or a&nbsp;socio-economic catastrophe foisted on the East by Western capitalists? Taking Stock of Shock aims to&nbsp;uncover the truth using a&nbsp;unique, interdisciplinary investigation into the social consequences of transition\u2014including the rise of authoritarian populism and xenophobia. Showing that economic, demographic, sociological, political scientific, and ethnographic research produce contradictory results based on different disciplinary methods and data, Kristen Ghodsee and Mitchell A. Orenstein triangulate the results. They find that both the J-curve model, which anticipates sustained growth after a&nbsp;sharp downturn, and the \u00ab\u00a0disaster capitalism\u00a0\u00bb perspective, which posits that neoliberalism led to&nbsp;devastating outcomes, have significant basis in fact. While substantial percentages of the populations across a&nbsp;variety of postsocialist countries enjoyed remarkable success, prosperity, and progress, many others suffered an unprecedented socio-economic catastrophe. Ghodsee and Orenstein conclude that the promise of transition still remains elusive for many and offer policy ideas for overcoming negative social and political consequences.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_3\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_3\" aria-expanded=\"true\" aria-controls=\"ca624_3\">Petra Hlav\u00e1\u010dkov\u00e1 (CZ)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_3\" class=\"collapse\" aria-labelledby=\"ha624_3\" data-parent=\"#a624\"><div class=\"card-body\"><p style=\"font-weight: 400;\"><strong>Petra Hlav\u00e1\u010dkov\u00e1<\/strong> is an author, curator, and documentary filmmaker. Together with Nicole Sabella, she runs the Gender &amp;&nbsp;Space studio at the Academy of Fine Arts in Vienna.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37501 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-263x350.jpeg\" alt=\"\" width=\"263\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-263x350.jpeg 263w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-404x537.jpeg 404w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-768x1022.jpeg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-1155x1536.jpeg 1155w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto-752x1000.jpeg 752w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/hlavackova_foto.jpeg 1202w\" sizes=\"(max-width: 263px) 100vw, 263px\" \/><\/p>\n<p style=\"font-weight: 400;\">She focuses on feminist approaches in architecture, gender politics, and the issue of women&rsquo;s&nbsp;emancipation in the context of Central and Eastern Europe. She is co-founder of the 4AM Forum for Architecture and Media, editor of the Brno Architectural Manual (<a href=\"http:\/\/www.bam.brno.cz\/\">www.bam.brno.cz<\/a>), and curator of the exhibitions Revolting People (2011), Compact City (2011), Kill Your Idol (Brno 2011, Leipzig 2013, Asking Architecture installation in the CS Pavilion at the 13th Venice Architecture Biennale in 2012).<\/p>\n<p style=\"font-weight: 400;\">She is the co-author (with Tom\u00e1\u0161 Hlav\u00e1\u010dek) of the documentary films Once You Have a&nbsp;Job, You Have Everything (2016) and Living Against Everyone (2021), and the publication Brno for Everyone: Sensitive City Planning (2022). In 2024, she completed her doctoral studies at UMPRUM in Prague and participated in the research project Women in Architecture: Architecture and Emancipation after 1945 in the Czech Republic (<a href=\"http:\/\/www.zenyvarchitekture.cz\/\">www.zenyvarchitekture.cz<\/a>). She is the curator of the international exhibition Liberated Space: Care &#8211;&nbsp;Architecture &#8211;&nbsp;Feminism (Bratislava City Gallery, 2023).<\/p>\n<p>Photo credit: Petra Hlav\u00e1\u010dkov\u00e1<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>I fell flat on my face in the evening<\/strong><br \/>\n<em>The lives of female architects in the context of gender culture of late socialism<\/em><\/p>\n<p>This paper presents the results of a&nbsp;gender narrative analysis of interviews with female architects who were active during the Czechoslovak normalization period in the 1970s and 1980s. Petra Hlav\u00e1\u010dkov\u00e1 employed sociological methods and feminist theoretical concepts from the fourth wave of feminism to&nbsp;understand the situation of female architects and its connection to&nbsp;the conservative shift in state gender policy at the time. She focuses on forms of gender discrimination within the field, the impact of the second shift on careers, and the respondents&rsquo;&nbsp;own tools of emancipation, which could also serve as a&nbsp;path to&nbsp;a&nbsp;broader perception of architecture.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_4\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_4\" aria-expanded=\"true\" aria-controls=\"ca624_4\">Zuzana Jakalov\u00e1 (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_4\" class=\"collapse\" aria-labelledby=\"ha624_4\" data-parent=\"#a624\"><div class=\"card-body\"><p><b>Zuzana Jakalov\u00e1\u00a0<\/b><span style=\"font-weight: 400;\">is a&nbsp;curator, researcher and writer. She currently works as an Assistant professor at the\u00a0<\/span><a href=\"https:\/\/www.favu.vut.cz\/en\/\"><span style=\"font-weight: 400;\">Department of Art Histories and Theories at Faculty of Fine<\/span><\/a><span style=\"font-weight: 400;\">\u00a0arts at Brno University of Technology. She worked as the Assistant Professor at\u00a0<\/span><a href=\"https:\/\/www.umprum.cz\/en\/web\/studios\/fine-arts\/fine-arts-i\"><span style=\"font-weight: 400;\">UMPRUM \u2013 Academy of Arts, Architecture and Design in Prague in the Fine Arts Studio 1<\/span><\/a><span style=\"font-weight: 400;\">.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37642 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-188x350.jpeg\" alt=\"\" width=\"188\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-188x350.jpeg 188w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-289x537.jpeg 289w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-768x1428.jpeg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-826x1536.jpeg 826w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-1101x2048.jpeg 1101w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1-538x1000.jpeg 538w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image1.jpeg 1125w\" sizes=\"(max-width: 188px) 100vw, 188px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">She worked as a&nbsp;curator, researcher and organiser\u00a0<\/span><a href=\"https:\/\/display.cz\/en\"><span style=\"font-weight: 400;\">at Display \u2013 Association for Research and Collective Practice<\/span><\/a><span style=\"font-weight: 400;\">\u00a0and as a&nbsp;curator of public programs at the\u00a0<\/span><a href=\"https:\/\/www.gmb.sk\/en\"><span style=\"font-weight: 400;\">City Gallery Bratislava<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">She worked as artists-in-residence program curator at the Center for Contemporary Art\u00a0<\/span><a href=\"http:\/\/www.meetfactory.cz\/en\"><span style=\"font-weight: 400;\">MeetFactory<\/span><\/a><span style=\"font-weight: 400;\">\u00a0in Prague. She was the curator-in-chief of\u00a0<\/span><a href=\"https:\/\/www.facebook.com\/pradelnabohnice\/\"><span style=\"font-weight: 400;\">Pr\u00e1delna Bohnice<\/span><\/a><span style=\"font-weight: 400;\">, a&nbsp;gallery and multigenre artspace in the psychiatric hospital on the outskirts of Prague. She is the author and curator of a&nbsp;long-term discoursive project\u00a0<\/span><i><span style=\"font-weight: 400;\">Multilogues on the Now\u00a0<\/span><\/i><span style=\"font-weight: 400;\">examining intersections of feminism, disability, notions of health and coallitions of care in contemporary art and society (with Hana Jane\u010dkov\u00e1). She is the author and editor of a&nbsp;thematic czecho-slovak bookseries .<\/span><i><span style=\"font-weight: 400;\">txt,\u00a0<\/span><\/i><span style=\"font-weight: 400;\">consisting of essays on socially and politically urgent yet publicly underrepresented topics (e.g.\u00a0<\/span><i><span style=\"font-weight: 400;\">Bez s\u00fahlasu.txt\u00a0<\/span><\/i><span style=\"font-weight: 400;\">on rape culture,\u00a0<\/span><i><span style=\"font-weight: 400;\">In\u00e9 tel\u00e1.txt\u00a0<\/span><\/i><span style=\"font-weight: 400;\">on disability and impairment). Along with Zbyn\u011bk Baladr\u00e1n, she is the co-author of Display\u00b4s hybrid collaborative publishing house focusing on texts between art theory and contemporary emancipatory thought. She graduated from the Faculty of Humanities at Charles University in Prague and Theory of Interactive Media at Masaryk University in Brno, completed an AKTION study fellowship at Akademie der Bildenden K\u00fcnste in Vienna. Her thesis looked at ecofeminist art practices through the lens of ethics of care. She recently finished her PhD at the Faculty of Arts at Technical University in Brno researching feminist notions of emotional labor, disability politics, ecomonies of care and dehierarchising expertise in contemporary institutional art practice. She was in residency at MuseumsQuartier in Vienna, a&nbsp;CEC ArtsLink Residency fellow at the Triangle Arts Association in NYC, Bluecoat Liverpool, Galeria Arsenal in Bialystok, Uni Wien and others. She was juror in several selection juries, including International Visegrad Fund NYC residencies, Ministry of Culture of the Czech Republic, Slovak Arts Council, and others. She publishes widely in Flash Art CZ \/ SK, A2,\u00a0<\/span><a href=\"http:\/\/artalk.cz\/\"><span style=\"font-weight: 400;\">artalk.cz<\/span><\/a><span style=\"font-weight: 400;\">, Kapit\u00e1l, Artportal.hu and others.\u00a0<\/span><\/p>\n<p>Photo credit: Zuzana Jakalov\u00e1<\/p>\n<p style=\"font-weight: 400;\"><strong>V\u00fdtvarn\u00e1 Dubnica (Dubnica Arts)<\/strong><\/p>\n<p style=\"font-weight: 400;\">Adding to&nbsp;the rich tapestry of cultural life developing in the Dubnica nad&nbsp;V\u00e1hom and Nov\u00e1 Dubnica in the 1960s (e.g. one of first panoramatic cinemas in Slovakia &#8211;&nbsp;Nov\u00e1 Dubnica\u2019s monumental Panorex Cinema \u2013 was built from 1966 till 1969), V\u00fdtvarn\u00e1 Dubnica, a\u00a0Slovakia-wide exhibition contest for non-professional visual artists was established in 1963.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37511 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Obrazok1-350x327.jpg\" alt=\"\" width=\"350\" height=\"327\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Obrazok1-350x327.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Obrazok1-537x502.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Obrazok1-768x718.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Obrazok1.jpg 828w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p style=\"font-weight: 400;\">\u00a0Shying away from traditional, in-situ or folklore cultural expressions in visual art, it focused on artists working in various media across the country, providing them with a&nbsp;professional jury and an annual exhibition in Dubnica nad&nbsp;V\u00e1hom. The event is still vividly running until today under the title V\u00fdtvarn\u00e9 spektrum, based on a&nbsp;public open call and three step selection process (regional, county wide and country wide).\u00a0Yet, there is almost no reflection of its history, origins, or connection to&nbsp;the local artistic and industrial infastructures.<\/p>\n<p style=\"font-weight: 400;\">This paper is looking at the transformations of the contest from its inception till today, paying special attention to&nbsp;the infrastructural and contextual connection to&nbsp;the regions industry and cultural life.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_5\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_5\" aria-expanded=\"true\" aria-controls=\"ca624_5\">Lucas Kalmus (DE) &#8211;&nbsp;Art resident <span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_5\" class=\"collapse\" aria-labelledby=\"ha624_5\" data-parent=\"#a624\"><div class=\"card-body\"><p><span style=\"font-weight: 400;\"><strong>Lucas Kalmus<\/strong> (*1993 Germany) current research and practice focuses on concepts of place-weaving, a&nbsp;tender mode of space-production that considers biological and non-biological lifeforms united in assemblage within contexts of cultural landscapes and land practices.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37653 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1-290x350.png\" alt=\"\" width=\"290\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1-290x350.png 290w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1-445x537.png 445w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1-768x926.png 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1-829x1000.png 829w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-1.png 848w\" sizes=\"(max-width: 290px) 100vw, 290px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0Lucas\u2019 process often incorporates public installation, drawing and writing. As well he is interested in initiating and organising excursions, workshops, exhibitions, talks or multi-day symposia in collaboration with artists, architects, activists and scientists in order to&nbsp;expand the social aspect of artistic practice and knowledge production. Based in Bremen (DE), he is currently a&nbsp;PhD Candidate in the Binational Artistic PhD Program at the University of the Arts Bremen (DE) together with the Sint Lucas School of Arts Antwerp as part of the Antwerp Research Institute of the Arts ARIA (BE).<\/span><\/p>\n<p>Photo credit : Lucas Kalmus<\/p>\n<p><b><i>Of Rivers and Work: Shapes of V\u00e1h and Paradises of Longing<\/i><\/b><\/p>\n<p><span style=\"font-weight: 400;\">To still the energy hunger of the ZTS special a.s. armsfactory factory, which was founded 1937, the first hydroelectric power station of V\u00e1h in Ladce, 7km upriver from Dubnica nad&nbsp;Vahom, was connected to&nbsp;the power grid in 1936. ZTS Strategic Location at river Waag with its new 20 Megawatt power station laid the foundation for new Urban developments and heavy industry and neighboring Hydropower stations located directly at Dubnica nad&nbsp;Vahom next to&nbsp;Ilava and Nosice between 1946 and 1957. To&nbsp;power hydroelectric Stations, former meander Waag was canalized, while the slings and islands, that made up the form of Waag, were filled in and flattened out, leaving it to&nbsp;stream in a&nbsp;dug-out shape that mimics an almost mathematical sinus curve. With barely any remnants of its past, the present image of river Vah, leaves younger generations to&nbsp;believe that this is the shape of Waag. The job-giving factories replaced the life giving-river.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nova Dubnica, the plan-city by architect Ji\u0159\u00ed Kroha built in from scratch and opened in 1957 to&nbsp;provide 13000 apartments for Workers of ZTS Special a.s. had its central plaza renovated in 2007. The role of central plazas is traditionally a&nbsp;place to&nbsp;hold fairs, markets and festivities or rituals that define and strengthen the local identity. Nova Dubnica\u2019s plaza received a&nbsp;rounded pedestal with a&nbsp;roof and a&nbsp;fountain made of three basins and a&nbsp;circumventing tiled frame that functions like a&nbsp;bench. The cladding on the inside of the basins that is visible through the lapping water is made up of an aquamarine blue foiling, resembling the swimming pools of resort hotels in holiday destinations. The very specific blue tone inside the fountain reminds those hotels complexes set up for full convenience, which serve guests that often bare their few days off work a&nbsp;year to&nbsp;spend in what presents itself as a&nbsp;paradise of longing. The concept of oliday vacation is tightly linked to&nbsp;the full-time shift-work structure brought by industrialization.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As fountains often depict mythological aspects of the local culture it almost seems a&nbsp;purposeful decision that the central fountain references holiday vacationing, as in capitalist culture, paradises of longing are being marketed as an idea of perfect joy, a&nbsp;narrated representation to&nbsp;spark mental images.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As part of my residency stay, I&nbsp;dealt with alternative references for the central plaza of Nova Dubnica.<\/span><\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_6\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_6\" aria-expanded=\"true\" aria-controls=\"ca624_6\">Bahar Noorizadeh (IR) <span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_6\" class=\"collapse\" aria-labelledby=\"ha624_6\" data-parent=\"#a624\"><div class=\"card-body\"><p class=\"MuiTypography-root MuiTypography-body1 css-ck9lsw\"><strong>Bahar Noorizadeh<\/strong> is an artist, writer and filmmaker.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-37655 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image-1.png\" alt=\"\" width=\"256\" height=\"256\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image-1.png 256w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/image-1-150x150.png 150w\" sizes=\"(max-width: 256px) 100vw, 256px\" \/><\/p>\n<p class=\"MuiTypography-root MuiTypography-body1 css-ck9lsw\">Her research examines the historical advance of speculative activity and its derivative politics in art, urban life, and finance and economics. Noorizadeh is the founder of\u00a0<em><a class=\"MuiTypography-root MuiTypography-inherit MuiLink-root MuiLink-underlineNone css-k3iusp\" href=\"https:\/\/weirdeconomies.com\/\">Weird Economies<\/a><\/em>, an online art platform that traces economic imaginaries extraordinary to&nbsp;financial arrangements of our time.<\/p>\n<p class=\"MuiTypography-root MuiTypography-body1 css-ck9lsw\">Her work has appeared at the German Pavilion, Venice Architecture Biennial (2021), Tate Modern Artists\u2019 Cinema Program in London (2018), Transmediale Festival in Berlin (2020), DIS.Art platform (2019<strong>\u2013<\/strong>ongoing), Berlinale Forum Expanded (2018), and the Biennale de l\u2019Image en Mouvement in Geneva (2016), among others. Noorizadeh has contributed essays to\u00a0<em>e-flux Architecture<\/em>, the\u00a0<em>Journal of Visual Culture<\/em>, and anthologies from Sternberg Press (2022) and Duke University Press (forthcoming). She is pursuing her work as a&nbsp;PhD candidate in Art at Goldsmiths, University of London.<\/p>\n<p class=\"MuiTypography-root MuiTypography-body1 css-ck9lsw\"><strong>[Source: VOX, 2022]<\/strong><\/p>\n<p class=\"MuiTypography-root MuiTypography-body1 css-ck9lsw\"><a class=\"MuiTypography-root MuiTypography-inherit MuiLink-root MuiLink-underlineNone css-k3iusp\" href=\"https:\/\/baharnoorizadeh.com\/\">baharnoorizadeh.com<\/a><\/p>\n<p>Photo credit : Bahar Noorizadeh<\/p>\n<p><b>Bahar Noorizadeh<\/b><span style=\"font-weight: 400;\"> looks at the relationship between art and capitalism. In her practice as an artist, writer and filmmaker, she examines the conflictual and contradictory notions of imagination and speculation as they suffuse one another. Her research investigates the histories of economics, cybernetic socialism, and activist strategies against the financialization of life and the living space, asking what redistributive historical justice might look like for the present. Noorizadeh is the founder of<\/span><a href=\"https:\/\/weirdeconomies.com\/\"> <span style=\"font-weight: 400;\">Weird Economies<\/span><\/a><span style=\"font-weight: 400;\">, a&nbsp;co-authored and socially-connected project that traces economic imaginaries extraordinary to&nbsp;financial arrangements of our time.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-37657\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-350x197.png\" alt=\"\" width=\"350\" height=\"197\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-350x197.png 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-537x302.png 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-768x432.png 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2.png 975w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">\u00ab\u00a0<em>Free to&nbsp;Choose<\/em>\u201d, Bahar Noorizadeh, 2023<\/span><\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_7\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_7\" aria-expanded=\"true\" aria-controls=\"ca624_7\">Katja Praznik (SI)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_7\" class=\"collapse\" aria-labelledby=\"ha624_7\" data-parent=\"#a624\"><div class=\"card-body\"><p><strong>Katja Praznik<\/strong> is an Associate Professor in the Arts Management Program and the Department of Global Gender and Sexuality Studies at the University at Buffalo (SUNY).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37489 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik-234x350.jpg\" alt=\"\" width=\"234\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik-234x350.jpg 234w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik-358x537.jpg 358w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik-768x1151.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik-667x1000.jpg 667w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/credit_Jaka-Babnik.jpg 854w\" sizes=\"(max-width: 234px) 100vw, 234px\" \/><\/p>\n<p>She studies labor, cultural production, and social reproduction, focusing on the invisibility and politics of artistic work. She is the author of\u00a0<em>Art Work: Invisible Labour and the Legacy of Yugoslav Socialism<\/em>\u00a0(University of Toronto Press, 2021), which examines how socialist cultural policies in Yugoslavia supported artistic labor and how its dismantling after 1989 reshaped conditions for art workers. Praznik is also a&nbsp;labor organizer and co-founder of Zasuk, a&nbsp;union for art workers in Slovenia. Her work has appeared in\u00a0<em>Social Text<\/em>,\u00a0<em>Historical Materialism<\/em>,\u00a0<em>Journal of Cultural Management and Cultural Policy<\/em>, and the co-authored IETM publication\u00a0<em>Which Side Are You On? Ideas for Reaching Fair Working Conditions in the Arts<\/em>\u00a0(2022).<\/p>\n<p style=\"text-align: left;\">Photo credit: Jaka Babnik<\/p>\n<p style=\"font-weight: 400;\"><strong>The Price of Autonomy: Labor, Disenfranchisement, and the Post-Socialist Shift<\/strong><\/p>\n<p style=\"font-weight: 400;\">What happens when artists are both workers and bearers of an idealized autonomy? In socialist Yugoslavia, cultural labor occupied this paradox: artists received pay, social security, housing, and healthcare, yet operated within an autonomous realm that framed creativity as beyond labor. From the 1970s onward, neoliberal pressures increasingly valorized autonomy while eroding material protections, a&nbsp;shift that disenfranchised art workers after 1989. Drawing on\u00a0<em>Art Work: Invisible Labour and the Legacy of Yugoslav Socialism<\/em>\u00a0(2021) and using a&nbsp;methodology grounded in early social reproduction analysis and feminist political economy, this talk examines how these tensions shaped artistic labor, sustained its invisibility, and continue to&nbsp;structure cultural production today. It also highlights contemporary strategies to&nbsp;reclaim the value of art work\u2014most notably through union organizing with Slovenia\u2019s Zasuk. By situating Yugoslav cultural policies within broader Central and Eastern European trajectories of welfare decay, labor restructuring, and resistance, it reflects on alternative solidarities capable of challenging the economic and symbolic devaluation of work.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_8\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_8\" aria-expanded=\"true\" aria-controls=\"ca624_8\">Hannah Proctor (UK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_8\" class=\"collapse\" aria-labelledby=\"ha624_8\" data-parent=\"#a624\"><div class=\"card-body\"><p><strong>Hannah Proctor<\/strong> holds a&nbsp;Wellcome Trust University Award at the University of Strathclyde in Glasgow.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37485 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-350x264.jpg\" alt=\"\" width=\"350\" height=\"264\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-350x264.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-537x405.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-768x579.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-1536x1158.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-2048x1544.jpg 2048w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-1190x897.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/10\/2024_HannahProctor_008_web-1326x1000.jpg 1326w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>She is the author of <em>Burnout: The Emotional Experience of Political Defeat\u00a0<\/em>(Verso, 2024) and is currently beginning work on three very different book projects: an academic monograph on Cold War social science, a&nbsp;theoretical pamphlet on revenge, and a&nbsp;cultural history of the end of history. She is part of the\u00a0<em>Radical Philosophy<\/em>\u00a0editorial collective and is a&nbsp;contributing editor at\u00a0<em>Parapraxis<\/em>.<\/p>\n<p>Photo credit: Matthew Arthur Williams<\/p>\n<p style=\"font-weight: 400;\"><strong>Defeat, Despair and the &lsquo;End of History&rsquo;<\/strong><\/p>\n<p style=\"font-weight: 400;\">This talk will discuss how the &lsquo;end of history&rsquo;&nbsp;figures in some influential theoretical accounts of &lsquo;left melancholia&rsquo;&nbsp;and will propose that returning to&nbsp;the history of the actually existing &lsquo;end of history&rsquo;&nbsp;complicates these arguments. The paper will also ask how it might be possible to&nbsp;think &lsquo;big&rsquo;&nbsp;geopolitical events, in relation to&nbsp;&lsquo;small&rsquo;&nbsp;interpersonal interactions and initiatives and whether the latter might be a&nbsp;source of hope in the despairing endless end times of the present.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_9\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_9\" aria-expanded=\"true\" aria-controls=\"ca624_9\">Eva Rie\u010dansk\u00e1 &#038;&nbsp;Peter Vittek (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_9\" class=\"collapse\" aria-labelledby=\"ha624_9\" data-parent=\"#a624\"><div class=\"card-body\"><p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37660 alignleft\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-350x250.jpg\" alt=\"\" width=\"350\" height=\"250\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-350x250.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-537x384.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-768x549.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2-1190x850.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-2.jpg 1218w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p style=\"text-align: right;\"><b>\u00a0Eva Rie\u010dansk\u00e1<\/b><span style=\"font-weight: 400;\"> studied social anthropology and sociology.<\/span><\/p>\n<p style=\"text-align: right;\"><span style=\"font-weight: 400;\">\u00a0She worked as a&nbsp;researcher at the Slovak Academy of Sciences, later for the UNDP regional centre for CEE countries and Central Asia and for several CSO organizations in Slovakia focusing on gender equality and women\u2019s rights. Since 2013, she has been primarily involved with the Utopia association, working on projects related to&nbsp;solidarity economy and grassroot initiatives.\u00a0<\/span><\/p>\n<p><b>Peter Vittek<\/b><span style=\"font-weight: 400;\"> studied philosophy and history.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">He worked as a&nbsp;prop master, translator, and later as a&nbsp;publicist and political affairs commentator.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37662 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-350x233.jpg\" alt=\"\" width=\"350\" height=\"233\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-350x233.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-768x512.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-1536x1024.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-1190x794.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3-1500x1000.jpg 1500w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-3.jpg 1600w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/>In 2010, he co-founded the Utopia association, where he has long been involved with topics of participatory democracy, solidarity economy, and support for grassroot initiatives. He participated in the designing and implementation of participatory budgeting processes in several Slovak municipalities. He currently works as a&nbsp;coordinator of the Human Rights Coalition for Amnesty International Slovakia.<\/p>\n<p><span style=\"font-weight: 400;\">Photos credits: Arkadiusz Wierzba\u00a0<\/span><\/p>\n<p><b>Eva Rie\u010dansk\u00e1 &amp;&nbsp;Peter Vittek:\u00a0<i>Economic Democracy in Theory and in Practice<\/i><\/b><\/p>\n<p>For a&nbsp;long time, the hegemonic ideology of liberalism has been trying to&nbsp;convince us that the real guarantor of democracy, freedom and even equality can only be economic relations based on normalized hoarding of wealth and power, economic relations that are formed and steered by just a&nbsp;handful of people while the rest can be excluded from participating in decision-making. Nowadays, it is increasingly clear that the concentration of power and wealth does not create more democracy. On the contrary, it produces more exclusion and authoritarianism. However, ideas about economic alternatives have been alive for many decades, and there are people who imagine and advocate for a&nbsp;better world for all. For a&nbsp;world in which also economic relations are democratic. Some of these people strive to&nbsp;put these ideas into practice.<\/p>\n<p><span style=\"font-weight: 400;\">One of successful strategies used by the emancipatory and anti-authoritarian movement has always been prefigurative politics: the attempt to&nbsp;create real-life utopias \u2013 as zones in which, already here and now, in the midst of an old, unjust and depressing world, a&nbsp;world without harmful hierarchies, authoritarianism and oppression, is being created and enacted in everyday practice. They stem from different traditions of thought, but they are connected by their efforts to&nbsp;democratize the economy, be it solidarity economy initiatives, cooperatives and mutual aid organizations or various forms of the food sovereignty movement.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">We will focus on exploration of some of these alternatives: what are they, and how do&nbsp;they work? It is evident that critique of the system, although important and erudite, is not enough. If we do&nbsp;not want to&nbsp;completely end up in the grip of the authoritarian dystopia, it is necessary to&nbsp;take action and (re)invent different ways of acting and living. Are we able to&nbsp;act and govern our own lives?<\/span><\/p>\n<p>&nbsp;<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_10\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_10\" aria-expanded=\"true\" aria-controls=\"ca624_10\">Nicole Sabella (AT)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_10\" class=\"collapse\" aria-labelledby=\"ha624_10\" data-parent=\"#a624\"><div class=\"card-body\"><p style=\"font-weight: 400;\"><strong>Nicole Sabella<\/strong> (she\/her;&nbsp;they\/them) is an artist, cultural worker, and educatrix.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37538 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-350x233.jpg\" alt=\"\" width=\"350\" height=\"233\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-350x233.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-768x512.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-1536x1024.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-2048x1365.jpg 2048w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-1190x793.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/eSeLat_JoannaPianka-04-Nicole-Sabella-1642-1500x1000.jpg 1500w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p style=\"font-weight: 400;\">\u00a0She works with artistic research methods and performative strategies based on queer-feminist,<\/p>\n<p style=\"font-weight: 400;\">intersectional, anti-discriminatory, participatory politics, and collaborative practices. With their help, they explore the sociopolitical connections between body, language, voice, sound, and (political) space in dynamic \u201cchoreo:spheres.\u201d<\/p>\n<p style=\"font-weight: 400;\">From 2018 to&nbsp;2024, Nicole was a&nbsp;university assistant and lecturer for performance art at the University of Art and Design Linz and a&nbsp;lecturer for digital media &amp;&nbsp;communication worlds at the University of Applied Arts Vienna.<\/p>\n<p style=\"font-weight: 400;\">Since 2024, she has held the professorship for gender &amp;&nbsp;space at the Academy of Fine Arts Vienna.<\/p>\n<p style=\"font-weight: 400;\">Their artistic and curatorial work advocates for poeto-political co-creation and \u00ab\u00a0vibrational<\/p>\n<p style=\"font-weight: 400;\">communication\u00a0\u00bb as tools for social transformation.<\/p>\n<p style=\"font-weight: 400;\"><a href=\"http:\/\/choreospheres.jimdofree.com\/\">choreospheres.jimdofree.com<\/a><\/p>\n<p>Photo credit: Joanna Pianka<\/p>\n<p style=\"font-weight: 400;\"><strong>Politicizing Abundance. <\/strong><strong>A meditation on how to&nbsp;cut the threads between austerity, fascism and gender\u00a0<\/strong><\/p>\n<p style=\"font-weight: 400;\">\u201eWhen we recognise the links between cuts, exploitation and gender, we create the possibility for deep, deep links of solidarity with people who are radically different from us.\u201c Lola Olufemi,<em> Feminism interrupted.\u00a0<\/em><\/p>\n<p style=\"font-weight: 400;\">How can we disrupt the currently dominating power dynamics between the politics of austerity, fascism and gender?<\/p>\n<p style=\"font-weight: 400;\">This contribution draws inspiration from initiatives and individuals such as the feminist direct action group \u201eSisters Uncut\u201c, Chris Smalls, the co-founder and former president of the Amazon Labor Union or interventions from the arts and culture field and guides the participants of the conference through a&nbsp;set of somatic exercises as a&nbsp;means of stimulating collective awareness, discussion and action around a&nbsp;common political practice of abundance.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_11\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_11\" aria-expanded=\"true\" aria-controls=\"ca624_11\">Barbara Spechtl (CSA Ouvertura) (AU) <span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_11\" class=\"collapse\" aria-labelledby=\"ha624_11\" data-parent=\"#a624\"><div class=\"card-body\"><p><b>Barbara Spechtl<\/b><span style=\"font-weight: 400;\"> is working at the CSA Ouvertura and is engaged in the Austrian CSA Network Solawi Leben and the Munus Stiftung \u2013 Boden f\u00fcr gutes Leben.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37664 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-4-320x350.jpg\" alt=\"\" width=\"320\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-4-320x350.jpg 320w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-4-490x537.jpg 490w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-4-768x841.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-4.jpg 808w\" sizes=\"(max-width: 320px) 100vw, 320px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">She studied Natural Resources Management and Ecological Engineering at the University of Life Sciences, Vienna, and Development Studies at the University of Vienna. Her interests lie in solidarity-based economy, agroecology, and food sovereignty.<\/span><\/p>\n<p>Photo credit : Barbara Spechtl<\/p>\n<p><strong><i>Encounter Commoning: Experiences with Lived Solidarity-Based Economy, Empowerment and Participation Processes<\/i><\/strong><\/p>\n<p><span style=\"font-weight: 400;\">The presentation uses the experience of CSA Ouvertura to&nbsp;highlight how solidarity-based economic principles can be put into practice, focusing on both the opportunities and challenges that arise. It will clarify how diverse forms of community engagement and participation drive solidarity-based agriculture, and closely examine alternative decision-making, collaboration, and economic approaches that challenge classical economic views.<\/span><\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_12\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_12\" aria-expanded=\"true\" aria-controls=\"ca624_12\">Peter Szalay (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_12\" class=\"collapse\" aria-labelledby=\"ha624_12\" data-parent=\"#a624\"><div class=\"card-body\"><div>\n<p><b>Peter Szalay<\/b><span style=\"font-weight: 400;\"> is an architectural historian.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37646 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/portret-350x234.jpg\" alt=\"\" width=\"350\" height=\"234\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/portret-350x234.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/portret-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/portret.jpg 740w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><span style=\"font-weight: 400;\">\u00a0He works at the Department of Architecture of the Institute of History of the Slovak Academy of Sciences and at the Department of Art History of the Faculty of Arts, Comenius University in Bratislava. His research focuses on 20th- and 21st-century architecture from art-historical, heritage, as well as broader social and environmental perspectives.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">He is the author of numerous scholarly publications in national and international journals and the co-author of several academic monographs, such as <\/span><i><span style=\"font-weight: 400;\">Dreaming the Capital: Architecture and Urbanism as Tools for Planning Socialist Bratislava<\/span><\/i><span style=\"font-weight: 400;\">. In <\/span><i><span style=\"font-weight: 400;\">Urban Planning During Socialism: Views from the Periphery<\/span><\/i><span style=\"font-weight: 400;\">. 1st Edition. Abingdon: Routledge;&nbsp;New York, 2024;&nbsp;<\/span><i><span style=\"font-weight: 400;\">Enlightenment, Culture, Leisure: Houses of Culture in Czechoslovakia<\/span><\/i><span style=\"font-weight: 400;\">. 1st Edition. Prague: VI PER Gallery, 2023;&nbsp;<\/span><i><span style=\"font-weight: 400;\">House of Unions \/ Istropolis<\/span><\/i><span style=\"font-weight: 400;\">. Bratislava: \u010cierne diery, 2022;&nbsp;<\/span><i><span style=\"font-weight: 400;\">Bratislava (Un)planned City<\/span><\/i><span style=\"font-weight: 400;\">. Bratislava: Slovart, 2020;&nbsp;<\/span><i><span style=\"font-weight: 400;\">Modern Bratislava<\/span><\/i><span style=\"font-weight: 400;\">. Bratislava: Maren\u010din PT, 2016;&nbsp;and <\/span><i><span style=\"font-weight: 400;\">Bratislava: Atlas of Mass Housing<\/span><\/i><span style=\"font-weight: 400;\">. Bratislava: Slovart, 2011.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Peter Szalay is the executive editor of the scholarly journal <\/span><i><span style=\"font-weight: 400;\">Architecture &amp;&nbsp;Urbanism<\/span><\/i><span style=\"font-weight: 400;\"> and a&nbsp;member of DOCOMOMO International.<\/span><\/p>\n<p>Photo credit: <span style=\"font-weight: 400;\">Peter Szalay<\/span><\/p>\n<p><strong>Nov\u00e1 Dubnica \u2013 Tren\u010dianske Teplice a&nbsp;guided tour<\/strong><\/p>\n<\/div>\n<div>\n<p>Nov\u00e1 Dubnica and Tren\u010dianske Teplice are two markedly different towns, yet they share a&nbsp;certain closeness\u2014not only in geographical terms. Each town carries within its identity a&nbsp;dominant functional purpose: Dubnica as a&nbsp;workers\u2019 town tied to&nbsp;the nearby armaments factory, and Teplice as a&nbsp;spa town intended for patient treatment and recreation. This identity\u2014or rather, the image formed by both residents and outsiders\u2014has naturally evolved over time, shaped by changing historical contexts and by who is doing the interpreting and from what perspective.<\/p>\n<\/div>\n<div>\n<p>The towns differ already in the circumstances of their origin. Tren\u010dianske Teplice developed gradually, spurred by the discovery and use of thermal springs for therapeutic purposes. Nov\u00e1 Dubnica, on the other hand, was a&nbsp;purpose-built city, with a&nbsp;clearly defined founding date and a&nbsp;ceremonial laying of its foundation stone. One town emerged in successive waves of construction tied to&nbsp;various, often conflicting visions of what a&nbsp;town should be. The other was designed and built according to&nbsp;a&nbsp;single, unified plan envisioned by one architect\u2014a kind of \u201cgenius\u201d figure\u2014and executed by the state.<\/p>\n<\/div>\n<div>\n<p>The post-socialist transformation marked a&nbsp;significant turning point for both towns. Paradoxically, Nov\u00e1 Dubnica\u2014founded as an ideal socialist city and one of the most important examples of socialist urbanism\u2014has shown a&nbsp;surprising degree of structural stability in the thirty years since the regime&rsquo;s&nbsp;fall. Despite the ideological foundations on which it was built having long been discredited, the town today thrives as a&nbsp;good place to&nbsp;live, with few major redevelopments having taken place.<br \/>\nIn contrast, Tren\u010dianske Teplice\u2014a spa town with a&nbsp;once-prestigious name\u2014has become a&nbsp;sleepy locality, marked by a&nbsp;partially constructed central spa pavilion (Kursalon) and a&nbsp;number of decaying sanatoriums, including the functionalist gem, the Machn\u00e1\u010d Sanatorium. For many of the town\u2019s residents\u2014who live and work in neighborhoods distant from the spa core\u2014its fading reputation as a&nbsp;spa destination has little relevance to&nbsp;their everyday lives.<\/p>\n<\/div>\n<div>\n<p>One way to&nbsp;approach the question of a&nbsp;town\u2019s identity, essence, or character is through its architecture\u2014its architectural heritage. Landmarks, monuments, historical buildings, and public spaces are crucial elements of the city\u2019s image, yet their recognition and value are, at their core, politically defined. The process of accepting or rejecting such heritage is deeply tied to&nbsp;expert evaluation and political endorsement.<\/p>\n<\/div>\n<div>\n<p>This guided tour through the architectural and urban heritage of Nov\u00e1 Dubnica and Tren\u010dianske Teplice aims not only to&nbsp;present the most significant sites and buildings but also to&nbsp;provoke discussion about how we perceive, talk about, and identify heritage. It seeks to&nbsp;explore how economic and ideological shifts in the post-socialist era have shaped these two towns\u2014and to&nbsp;what extent the insights gained here can inform change in today\u2019s cities.<\/p>\n<\/div>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_13\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_13\" aria-expanded=\"true\" aria-controls=\"ca624_13\">Kuba Szreder (PL)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_13\" class=\"collapse\" aria-labelledby=\"ha624_13\" data-parent=\"#a624\"><div class=\"card-body\"><p><strong>Kuba Szreder<\/strong>\u00a0is a&nbsp;researcher, curator, and lecturer at the Academy of Fine Arts in Warsaw.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37648 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-350x263.jpg\" alt=\"\" width=\"350\" height=\"263\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-350x263.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-537x403.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-768x576.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-1536x1152.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-1190x893.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006-1333x1000.jpg 1333w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/IMG-20220808-WA0006.jpg 2048w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>He collaborates with artistic unions, consortia of postartistic practitioners, clusters of art researchers, collectives, and institutions in Poland, the UK, and across Europe. Szreder has edited and authored numerous catalogues, books, readers, chapters, articles, and manifestos that examine the social, economic, and theoretical dimensions of the expanded field of art. His current research focuses on artistic labour, new models of institutions, self-organisation, artistic research, and postartistic theory and practice. His book <em>The ABC of the Projectariat: Living and Working in a&nbsp;Precarious Art World<\/em>was published in 2021 by Manchester University Press and the Whitworth.<\/p>\n<p>Photo credit: Kuba Szreder<\/p>\n<p style=\"font-weight: 400;\"><strong>From Self-Entrepreneurship to&nbsp;the Commons. The Contradictions of the Semi-Peripheral Projectariat<\/strong><\/p>\n<p style=\"font-weight: 400;\">Drawing on his research into the artistic projectariat\u2014a cohort of freelancers living and working in a&nbsp;precarious art world\u2014Kuba Szreder will examine its paradoxical class composition. On one hand, members of this group act as entrepreneurs of the self: they treat themselves as capital, investment, and source of income, and are often criticised as part of the metropolitan professional\u2013managerial class. On the other hand, they also belong to&nbsp;the impoverished urban precariat, burdened with debt, low wages, and high living costs.<\/p>\n<p style=\"font-weight: 400;\">These contradictions are sharpened by hierarchies of unevenly distributed capital. While some artists, curators, and academics rely on inherited privilege or parental support, others must juggle multiple projects at once simply to&nbsp;make a&nbsp;living. In Central and Eastern Europe, this dynamic is intensified by the neoliberal transformation, which created a&nbsp;new class of highly educated, globally connected art professionals, while simultaneously exposing them to&nbsp;the perils of constant networking and competition with the better-resourced global elite.<\/p>\n<p style=\"font-weight: 400;\">This contradictory position shapes the politics of the projectariat. Symbolic capitalists by some measures, they are often estranged from the concerns of their compatriots caught up in culture wars and identity politics. Yet they also stand at the forefront of solidarity struggles, antifascist campaigns, new cooperativism, and commons-oriented activism.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_14\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_14\" aria-expanded=\"true\" aria-controls=\"ca624_14\">S\u00e9bastien Thi\u00e9ry (FR)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_14\" class=\"collapse\" aria-labelledby=\"ha624_14\" data-parent=\"#a624\"><div class=\"card-body\"><div>\n<div>\n<p class=\"Textbody\"><strong>S\u00e9bastien Thi\u00e9ry<\/strong> is a&nbsp;political scientist and artist, founder of the <span class=\"StrongEmphasis\">PEROU \u2013 P\u00f4le d\u2019Exploration des Ressources Urbaines<\/span>, a&nbsp;transdisciplinary research and action platform based in France.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37507 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-350x233.jpg\" alt=\"\" width=\"350\" height=\"233\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-350x233.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-768x512.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-1536x1024.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-2048x1365.jpg 2048w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-1190x793.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/01_Maquette-1500x1000.jpg 1500w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p class=\"Textbody\">\u00a0His work explores the intersection of urban space, migration, and hospitality through both theoretical inquiry and direct intervention. He leads the project\u00a0<span class=\"StrongEmphasis\">Navire Avenir<\/span>, a&nbsp;floating utopia under construction that sets out to&nbsp;reimagine Europe through acts of solidarity, resistance, and repair. His current work focuses on advocating for the\u00a0<span class=\"StrongEmphasis\">recognition of hospitality as Intangible Cultural Heritage of Humanity.<\/span><\/p>\n<\/div>\n<div>Photo credit : S\u00e9bastien Thi\u00e9ry<\/div>\n<\/div>\n<div>\n<h3><span style=\"font-size: 16px;\">The Navire Avenir: Hospitality, Action and Poetics Against the Neoliberal Logic<\/span><\/h3>\n<\/div>\n<div>\n<p class=\"Textbody\">While Central and Eastern Europe have served as testing grounds for radical neoliberal policies that dismantled systems of solidarity, this intervention proposes to&nbsp;present the <span class=\"StrongEmphasis\">Navire Avenir<\/span>\u00a0as a&nbsp;political, poetic, and collective response to&nbsp;this disintegration.<\/p>\n<\/div>\n<div>\n<p class=\"Textbody\"><span lang=\"EN-US\">The\u00a0<span class=\"StrongEmphasis\">Navire Avenir<\/span>\u00a0is a&nbsp;work in progress: the construction of a&nbsp;ship that will set sail from Lampedusa to&nbsp;connect European ports, embodying a&nbsp;form of active hospitality, symbolic reparation, and direct action. Born from experiences in spaces of exclusion \u2014 Calais, camps, border zones \u2014 this ship carries a&nbsp;counter-narrative to&nbsp;the logic of generalized competition and the closure of social and political imaginaries.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Textbody\"><span lang=\"EN-US\">In a&nbsp;context marked by the rise of the far right, democratic fatigue, and the internalization of discourses of marginalization, the Navire Avenir seeks to&nbsp;become a\u00a0<span class=\"StrongEmphasis\">concrete utopia<\/span>, an\u00a0<span class=\"StrongEmphasis\">act of presence<\/span>, and a\u00a0<span class=\"StrongEmphasis\">form of sensitive democracy<\/span>. It acknowledges the symbolic defeat of modern promises, yet proposes to&nbsp;begin again \u2014 from the margins \u2014 to&nbsp;reopen the possibility of a&nbsp;shared future.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"Textbody\"><span class=\"StrongEmphasis\"><span lang=\"EN-US\">This intervention will take the form of a&nbsp;performed reading, accompanied by the projection of archival images from the project, in order to&nbsp;convey the poetic and political dimensions of the Navire Avenir through both word and image. It will explore how such a&nbsp;project can articulate a&nbsp;radical critique of neoliberalism while building tangible spaces for solidarity-based experimentation.<\/span><\/span><\/p>\n<\/div>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_15\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_15\" aria-expanded=\"true\" aria-controls=\"ca624_15\">Luke Murphy, Amy Pickles &#038;&nbsp;Alice Strete &#8211;&nbsp;VARIA (NL) <span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_15\" class=\"collapse\" aria-labelledby=\"ha624_15\" data-parent=\"#a624\"><div class=\"card-body\"><p><b>Luke Murphy, Amy Pickles &amp;&nbsp;Alice Strete (Varia): Can someone restart the server?<\/b><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37668 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-350x234.jpg\" alt=\"\" width=\"350\" height=\"234\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-350x234.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia.jpg 450w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">Three members of Varia will share stories about our collective server practices and digital infrastructures, other groups that inform us and how we try to&nbsp;activate forms of self-governance in this realm and our physical space.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><span style=\"font-weight: 400;\">Ansi art by Danny van der Kleij<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Varia experiments with creating and maintaining physical and digital infrastructures needed for collective, cultural work. This involves sharing resources amongst our network by hosting different groups in the space we rent, self-hosting digital services and developing bespoke tools.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-37666 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-197x350.jpg\" alt=\"\" width=\"192\" height=\"341\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-197x350.jpg 197w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-302x537.jpg 302w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-768x1365.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-864x1536.jpg 864w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server-563x1000.jpg 563w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/varia-server.jpg 1080w\" sizes=\"(max-width: 192px) 100vw, 192px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0Our organisational models, including decision-making processes, mediation, conflict resolution, collective administration, maintenance and and research, are intricately reflected in our infrastructures, public programme and attitude towards being and working with one another.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0We try to&nbsp;adapt social organisational models to&nbsp;our tools and administrative practices. Our collective stance opposes Big Tech;&nbsp;we do&nbsp;not use GAFAM (Google, Apple, Facebook, Amazon, and Microsoft) services nor infrastructure, instead using and developing FLOSS (Free\/Libre and Open Source Software).<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/p>\n<p style=\"text-align: right;\">Varia server<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_16\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_16\" aria-expanded=\"true\" aria-controls=\"ca624_16\">Ji\u0159\u00ed \u017d\u00e1k (CZ) &#8211;&nbsp;Art resident<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_16\" class=\"collapse\" aria-labelledby=\"ha624_16\" data-parent=\"#a624\"><div class=\"card-body\"><p data-start=\"60\" data-end=\"777\"><strong>Ji\u0159\u00ed \u017d\u00e1k<\/strong> graduated from the Academy of Fine Arts in Prague and is currently pursuing doctoral studies at the Faculty of Fine Arts, Brno University of Technology.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37487 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky-280x350.jpg\" alt=\"\" width=\"280\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky-280x350.jpg 280w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky-430x537.jpg 430w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky-768x960.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky-800x1000.jpg 800w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Jiri_Zak-ph_Jan_Kolsky.jpg 1040w\" sizes=\"(max-width: 280px) 100vw, 280px\" \/><\/p>\n<p data-start=\"60\" data-end=\"777\">He primarily works with moving images and video installations, in which research and imaginative forms of storytelling intertwine. Together with the collective 8lid\u00ed, he created the participatory theater production <em data-start=\"441\" data-end=\"459\">We Love Shooting<\/em> (2023). He has exhibited in numerous institutions in the Czech Republic and abroad, including Bangkok Kunsthalle in Thailand (2024), the Kyiv Biennale (2021), and the Warsaw Biennale (2018). In 2020, he participated in the Biennale Ve V\u011bci um\u011bn\u00ed in Prague and attended Berlinale Talents in 2024.<\/p>\n<p data-start=\"779\" data-end=\"1304\">\u017d\u00e1k is a&nbsp;co-recipient of the Jind\u0159ich Chalupeck\u00fd Award (2020) and the recipient of the EXIT Award (2015). In 2024, he, together with Mat\u011bj Pavl\u00edk, received the award for Best Czech Experimental Documentary at the Ji.hlava International Documentary Film Festival. In 2025, he was awarded the Rector\u2019s Prize at Brno University of Technology. He has participated in artist residencies in Jordan, Georgia, and Spain. He is a&nbsp;member of Arty\u010dok TV and was previously a&nbsp;member of Ateli\u00e9r bez&nbsp;Vedouc\u00edho.<\/p>\n<p data-start=\"779\" data-end=\"1304\">Photo credit : Jan Kolsky<\/p>\n<p style=\"font-weight: 400;\"><strong>The Paths of Czechoslovakian Arms: The Necropolitical Encounteurs<\/strong><\/p>\n<p style=\"font-weight: 400;\">As a&nbsp;result of his residency, artist \u00a0will try to&nbsp;contextualize the arms production in the region of Dubnica nad&nbsp;V\u00e1hom within the history of arms industry in Czechoslovakia and its geopolitical ambitions.<\/p>\n<p style=\"font-weight: 400;\">His artistic research is focused on the arms used as a&nbsp;diplomatic tool to&nbsp;establish relations with the countries of the global South during the Cold War (mostly the MENA countries during the Cold War \u2014 especially Syria, Iraq, Egypt or Libya). \u017d\u00e1k is trying to&nbsp;investigate the \u2018life\u2019 of a&nbsp;weapon. Where and why were they exported and used? What reality did weapons create in client countries? Whose lives were affected by them? Where did the products made in Dubnica end up? And should we even care?<\/p>\n<p style=\"font-weight: 400;\">When discussing the history of weapons, it is also necessary to&nbsp;take into account the archival silence that surrounds it. How can we tell their stories?<\/p>\n<p style=\"font-weight: 400;\">\u017d\u00e1k does not view the history of Czechoslovak weapons as something dead and finished, but places it in the context of the present day Slovak and Czech arms companies. These companies directly continue the famous past of the Czechoslovak arms industry and extend its legacy into current geopolitical conflicts. They thus become actors who directly participate in the necropolitical infrastructure without which these conflicts would not exist.<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha624_17\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca624_17\" aria-expanded=\"true\" aria-controls=\"ca624_17\">Deutsche Wohnen &#038;&nbsp;Co. Enteignen &#8211;&nbsp;DWE (DE)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca624_17\" class=\"collapse\" aria-labelledby=\"ha624_17\" data-parent=\"#a624\"><div class=\"card-body\"><p><b>Deutsche Wohnen &amp;&nbsp;Co. Enteignen<\/b><span style=\"font-weight: 400;\"> (DWE) is a&nbsp;citizen&rsquo;s&nbsp;initiative based in Berlin that is fighting against rapid rent increases and the city&rsquo;s&nbsp;housing crisis. DWE was founded in 2018 and brings together tenants, activists, and Berlin residents who are frustrated by the rise in housing prices and the speculative behavior of large private real estate corporations. The initiative&rsquo;s&nbsp;name refers to&nbsp;one of the largest of these companies, Deutsche Wohnen, which owns tens of thousands of apartments in Berlin. The initiative&rsquo;s&nbsp;main goal is the \u00ab\u00a0socialisation\u00a0\u00bb (German: <\/span><i><span style=\"font-weight: 400;\">Vergesellschaftung<\/span><\/i><span style=\"font-weight: 400;\">) of the housing stocks of all private companies in Berlin that own more than 3,000 apartments. This takeover is intended to&nbsp;take place on the basis of Article 15 of the German Basic Law, which allows for the socialisation of land, natural resources, and means of production for the purpose of public welfare (in exchange for fair, non-market-rate compensation).<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><div id=\"a2-about-the-curators\"><h3 class=\"accordion-cat\">About the curators <\/h3><div class=\"accordion\" id=\"a659\"><div class=\"card\"><div class=\"card-header\" id=\"ha659_1\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca659_1\" aria-expanded=\"true\" aria-controls=\"ca659_1\">Barbora Nem\u010dekov\u00e1 (SK) &#8211;&nbsp;Films curator<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca659_1\" class=\"collapse\" aria-labelledby=\"ha659_1\" data-parent=\"#a659\"><div class=\"card-body\"><p><b>Barbora Nem\u010dekov\u00e1<\/b><span style=\"font-weight: 400;\"> holds a&nbsp;master&rsquo;s&nbsp;degree from the Department of Audiovisual Studies at the Film and Television Faculty of the Academy of Performing Arts in Bratislava.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37671 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5-327x350.jpg\" alt=\"\" width=\"327\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5-327x350.jpg 327w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5-501x537.jpg 501w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5-768x823.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5-933x1000.jpg 933w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-5.jpg 1004w\" sizes=\"(max-width: 327px) 100vw, 327px\" \/><span style=\"font-weight: 400;\">She worked as editor-in-chief of the online magazine Kine\u010dko, headed the film section of the cultural monthly Kapit\u00e1l, and was an editor at Film.sk magazine. She publishes in the film studies magazine Kino-Ikon and the feminist web magazine Druh\u00e1 sm\u011bna. She is the dramaturge of the independent cinema Kino inak A4.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/p>\n<p>Photo credit : Barbora Nem\u010dekov\u00e1<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha659_2\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca659_2\" aria-expanded=\"true\" aria-controls=\"ca659_2\">Ivana Rumanov\u00e1 (SK) &#8211;&nbsp;Curator<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca659_2\" class=\"collapse\" aria-labelledby=\"ha659_2\" data-parent=\"#a659\"><div class=\"card-body\"><p><b>Ivana Rumanov\u00e1<\/b><span style=\"font-weight: 400;\"> is a&nbsp;cultural anthropologist, critic and cultural worker.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37673 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-197x350.jpg\" alt=\"\" width=\"197\" height=\"350\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-197x350.jpg 197w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-302x537.jpg 302w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-768x1365.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-864x1536.jpg 864w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6-563x1000.jpg 563w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-6.jpg 900w\" sizes=\"(max-width: 197px) 100vw, 197px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">She is currently conducting a&nbsp;post-doc research at the Faculty of Fine Arts at Brno University of Technology and is co-launching a&nbsp;new study program \u201cArt in Public Spaces\u201d at the Faculty of Architecture and Design STU in Bratislava.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Her practice is positioned at the interstice between social sciences, art and activism, experiencing both deep enthusiasm and sincere scepticism towards all of them. She worked as a&nbsp;curator at the Nov\u00e1 synag\u00f3ga \u017dilina and as a&nbsp;member of the editorial boards of the magazines Kapit\u00e1l and 3\/4. She used to&nbsp;curate solo exhibitions, but is now more interested in exploring collective practices and event- and research-based projects. She writes about art and culture and received the V\u011bra Jirousov\u00e1 Award for the contribution to&nbsp;the field of art criticism. She is the chairwoman of the art and culture workers&rsquo;&nbsp;union Kult\u00farne odbory (K.O.), was a&nbsp;founding member of the non-partisan civic initiative of the cultural community Otvoren\u00e1 Kult\u00fara (OK!), and of the Culture Strike committee.<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37675 alignnone\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/foto_Adam-Balogh-350x233.jpg\" alt=\"\" width=\"350\" height=\"233\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/foto_Adam-Balogh-350x233.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/foto_Adam-Balogh-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/foto_Adam-Balogh-768x512.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/foto_Adam-Balogh.jpg 990w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p>Photos credits : Ivana Rumanov\u00e1 &amp;&nbsp;Adam Balogh<\/p>\n<\/div><\/div><\/div><\/div><\/div><div id=\"a3-about-the-moderators\"><h3 class=\"accordion-cat\">About the moderators <\/h3><div class=\"accordion\" id=\"a605\"><div class=\"card\"><div class=\"card-header\" id=\"ha605_1\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca605_1\" aria-expanded=\"true\" aria-controls=\"ca605_1\">Zuzana Fla\u0161kov\u00e1 (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca605_1\" class=\"collapse\" aria-labelledby=\"ha605_1\" data-parent=\"#a605\"><div class=\"card-body\"><p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37677 alignleft\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-350x288.jpg\" alt=\"\" width=\"350\" height=\"288\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-350x288.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-537x441.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-768x631.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-1536x1262.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-1190x978.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7-1217x1000.jpg 1217w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-7.jpg 1600w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p style=\"text-align: right;\"><b>Zuzana Fla\u0161kov\u00e1<\/b><span style=\"font-weight: 400;\"> is the Chief Curator and Head of Collection at the Bratislava City Gallery, where she has curated Kvet Nguy\u1ec5n&rsquo;s&nbsp;extensive monographic exhibition <\/span><i><span style=\"font-weight: 400;\">Till the Water Meets the Shore. <\/span><\/i><span style=\"font-weight: 400;\">Previously, she worked at Tate Britain, London as Curator of Modern and Contemporary Art (2016-2023) on diverse range of projects and exhibitions, such as <\/span><i><span style=\"font-weight: 400;\">Women in Revolt, Art and Activism in the UK<\/span><\/i><span style=\"font-weight: 400;\"> 1970-1990 (with Linsey Young, 2023), <\/span><i><span style=\"font-weight: 400;\">Heather Phillipson Rupture no 1: blowtorching the bitten beach<\/span><\/i><span style=\"font-weight: 400;\"> (with Elsa Coustou and Linsey Young, 2021), the Paula Rego retrospective (with Elena Crippa, 2021) as well as the Art Now exhibitions of France-Lise McGurn, Joanna Piotrowska and Jesse Darling. Prior to&nbsp;that, she was the Deutsche B\u00f6rse Photography Prize Coordinator at The Photographers&rsquo;&nbsp;Gallery, London (2008 to&nbsp;2013). She holds an MA in Theory of Contemporary Art from Goldsmiths, University of London (2010) and in Theatre Studies and English from the Academy of Performing Arts (V\u0160MU) and the Comenius University, Bratislava (2000).<\/span><\/p>\n<p>\u00a0Photo credit : Zuzana Fla\u0161kov\u00e1<\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha605_2\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca605_2\" aria-expanded=\"true\" aria-controls=\"ca605_2\">Anna Reme\u0161ov\u00e1 (SK)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca605_2\" class=\"collapse\" aria-labelledby=\"ha605_2\" data-parent=\"#a605\"><div class=\"card-body\"><p><b>Anna Reme\u0161ov\u00e1<\/b><span style=\"font-weight: 400;\"> is a&nbsp;researcher and cultural journalist who studied art history and contemporary art.\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-37679 alignright\" src=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-350x234.jpg\" alt=\"\" width=\"350\" height=\"234\" srcset=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-350x234.jpg 350w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-537x358.jpg 537w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-768x513.jpg 768w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-1536x1025.jpg 1536w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-1190x794.jpg 1190w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8-1498x1000.jpg 1498w, https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/0-8.jpg 1600w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/p>\n<p><span style=\"font-weight: 400;\">She is currently a&nbsp;PhD candidate at the Academy of Fine Arts in Prague, where her research focuses on the history of the N\u00e1prstek Museum of Asian, African and American Cultures in Prague and its involvement in colonial and capitalist relations at the end of the 19th century. Anna also works as an independent curator and collaborator of contemporary artists. Her main interests lie in the institutional conditions of art and in contemporary art\u2019s relation to&nbsp;current politics and society. Since 2020, she has been collaborating with the Hrani\u010d\u00e1\u0159 Gallery in \u00dast\u00ed nad&nbsp;Labem, for which she has curated two six-month exhibitions dedicated to&nbsp;the connection between art and extractivism.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Photo credit : Tom\u00e1\u0161 Lumpe<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><div id=\"a4-about-the-movies\"><h3 class=\"accordion-cat\">About the movies <\/h3><div class=\"accordion\" id=\"a374\"><div class=\"card\"><div class=\"card-header\" id=\"ha374_1\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca374_1\" aria-expanded=\"true\" aria-controls=\"ca374_1\">After the Season (dir. Andrea Kalinov\u00e1, 2018, 35 min, digital)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca374_1\" class=\"collapse\" aria-labelledby=\"ha374_1\" data-parent=\"#a374\"><div class=\"card-body\"><p><span style=\"font-weight: 400;\">A documentary film about one of the most important buildings of the 20th century &#8211;&nbsp;the abandoned Machn\u00e1\u010d sanatorium in the spa town of Tren\u010dianske Teplice. A&nbsp;constructivist building that was a&nbsp;celebration of progress, a&nbsp;manifestation of the architect&rsquo;s&nbsp;idea of humanism. In it, the architect demonstrated his ideas of technical and social progress and built a&nbsp;symbol of modern society. Today: a&nbsp;modernist ruin of utopia. The ocean liner that was wrecked in the spa park. The owners have no interest in looking after a&nbsp;building that is not profitable. The film explores the phenomenon of this extraordinary building through the people who have not given up the fight to&nbsp;save Machn\u00e1\u010d.\u00a0<\/span><\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha374_2\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca374_2\" aria-expanded=\"true\" aria-controls=\"ca374_2\">Free to&nbsp;Choose (dir. Bahar Noorizadeh, 2023, 35&rsquo;58, digital) <span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca374_2\" class=\"collapse\" aria-labelledby=\"ha374_2\" data-parent=\"#a374\"><div class=\"card-body\"><p><b><i>Free to&nbsp;Choose<\/i><\/b><b>\u00a0(dir. Bahar Noorizadeh, 2023, 35&rsquo;58, digital) <\/b><span style=\"font-weight: 400;\">is an operatic financial sci-fi (fi-fi), narrated by Milton Friedman, in which we encounter the credit banking system as a&nbsp;time travelling machine.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In 1997, in post economic crash Hong Kong, Philip Tose, ex-race car driver and CEO of an insolvent company travels to&nbsp;the future to&nbsp;borrow a&nbsp;lump sum from his older self to&nbsp;rescue his business. Hong Kong in 2047 turns out not to&nbsp;be very different from the Hong Kong of \u201cOne Country, Two systems\u201d: centralisation has not eradicated nepotism, and activism has become rating activism: young people advocating for free time travel for everyone, including the untrustworthy and the discredited of a&nbsp;corrupt credit system.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In the background is superstar economist and real-life evangelist Milton Friedman\u2019s myth of neoliberalism as represented by Hong Kong: In his long career as a&nbsp;market ideologue and advisor to&nbsp;the conservative governments of the US and the UK, Friedman hailed the city as the modern exemplar of free markets, needless of heavy-handed government planning and control. \u201cIf you want to&nbsp;see Capitalism in action, you should go to&nbsp;Hong Kong.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Much like the economic worlds built in metaverse and gaming platforms today, Hong Kong was the testing ground for the parable of neoliberalism. Once certified in its advanced colony, neoliberalism would return to&nbsp;shape the economic policies of Western powers in the decades to&nbsp;come. In 2023, despite once claiming the highest rate of public housing in the world, Hong Kong now holds one of the deepest wealth gaps and one of the most lucrative real estate markets on the planet.<\/span><\/p>\n<\/div><\/div><\/div><div class=\"card\"><div class=\"card-header\" id=\"ha374_3\"><h3 class=\"card-opener\"><button class=\"collapsed\" type=\"button\" data-toggle=\"collapse\" data-target=\"#ca374_3\" aria-expanded=\"true\" aria-controls=\"ca374_3\">Summer Tree of Joy (dir. Ivan H\u00fa\u0161\u0165ava, 1983, 72 min, digital)<span class=\"plus\"><svg viewBox=\"0 0 29 29\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 12.9286V16.7857C28.2857 17.3214 28.0982 17.7768 27.7232 18.1518C27.3482 18.5268 26.8929 18.7143 26.3571 18.7143H18V27.0714C18 27.6071 17.8125 28.0625 17.4375 28.4375C17.0625 28.8125 16.6071 29 16.0714 29H12.2143C11.6786 29 11.2232 28.8125 10.8482 28.4375C10.4732 28.0625 10.2857 27.6071 10.2857 27.0714V18.7143H1.92857C1.39286 18.7143 0.9375 18.5268 0.5625 18.1518C0.1875 17.7768 0 17.3214 0 16.7857V12.9286C0 12.3929 0.1875 11.9375 0.5625 11.5625C0.9375 11.1875 1.39286 11 1.92857 11H10.2857V2.64286C10.2857 2.10714 10.4732 1.65178 10.8482 1.27678C11.2232 0.901784 11.6786 0.714284 12.2143 0.714284H16.0714C16.6071 0.714284 17.0625 0.901784 17.4375 1.27678C17.8125 1.65178 18 2.10714 18 2.64286V11H26.3571C26.8929 11 27.3482 11.1875 27.7232 11.5625C28.0982 11.9375 28.2857 12.3929 28.2857 12.9286Z\"><\/svg><\/span><span class=\"minus\"><svg viewBox=\"0 0 29 8\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M28.2857 1.92857V5.78571C28.2857 6.32143 28.0982 6.77679 27.7232 7.15179C27.3482 7.52679 26.8929 7.71429 26.3571 7.71429H1.92857C1.39286 7.71429 0.9375 7.52679 0.5625 7.15179C0.1875 6.77679 0 6.32143 0 5.78571V1.92857C0 1.39286 0.1875 0.937499 0.5625 0.562499C0.9375 0.1875 1.39286 0 1.92857 0H26.3571C26.8929 0 27.3482 0.1875 27.7232 0.562499C28.0982 0.937499 28.2857 1.39286 28.2857 1.92857Z\"><\/svg><\/span><\/button><\/h3><\/div><div id=\"ca374_3\" class=\"collapse\" aria-labelledby=\"ha374_3\" data-parent=\"#a374\"><div class=\"card-body\"><p><span style=\"font-weight: 400;\">The film is set in Nova Dubnica. A&nbsp;psychological story of a&nbsp;young boy who, after moving from the village to&nbsp;the city, has to&nbsp;cope with a&nbsp;new social and cultural environment. The story takes place in the early 1950s during the period of industrialisation of Slovakia.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>\n\n\n<p>&nbsp;<\/p>\n\n\n<div class=\"accordion-menu\"><a href=\"#a1-\" class=\"smooth\"><\/a><\/div><div class=\"accordion\" id=\"a942\"><\/div>","protected":false},"featured_media":37226,"template":"","typ-podujatia":[53],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>International Conference \/ After Industry - Franc\u00fazsky in\u0161tit\u00fat na Slovensku<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"International Conference \/ After Industry - Franc\u00fazsky in\u0161tit\u00fat na Slovensku\" \/>\n<meta property=\"og:description\" content=\"Work Hard, Pay Hard. Is There Political Democracy Without Economic Democracy? 29. &#8211;&nbsp;30. October 2025 Nov\u00e1 Dubnica30. October 2025 Tren\u010dianske Teplice Curator: Ivana Rumanov\u00e1 Film curator:&nbsp;Barbora Nem\u010dekov\u00e1 Production:&nbsp;Michaela Kacsiov\u00e1 Organisator:&nbsp;Cluster EUNIC Bratislava*,&nbsp;FFA BUT &#8211;&nbsp;Faculty of Fine Arts Brno University of Technology Conference \u201cWork Hard, Pay Hard\u201d discusses the current social, economic, and political crises as [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/\" \/>\n<meta property=\"og:site_name\" content=\"Franc\u00fazsky in\u0161tit\u00fat na Slovensku\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-27T15:50:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Snimka-obrazovky-2025-09-19-o-14.55.44.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1456\" \/>\n\t<meta property=\"og:image:height\" content=\"896\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/\",\"url\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/\",\"name\":\"International Conference \/ After Industry - Franc\u00fazsky in\u0161tit\u00fat na Slovensku\",\"isPartOf\":{\"@id\":\"https:\/\/institutfrancais.sk\/fr\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Snimka-obrazovky-2025-09-19-o-14.55.44.png\",\"datePublished\":\"2025-09-19T12:52:20+00:00\",\"dateModified\":\"2025-10-27T15:50:53+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/#primaryimage\",\"url\":\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Snimka-obrazovky-2025-09-19-o-14.55.44.png\",\"contentUrl\":\"https:\/\/institutfrancais.sk\/wp-content\/uploads\/2025\/09\/Snimka-obrazovky-2025-09-19-o-14.55.44.png\",\"width\":1456,\"height\":896},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/institutfrancais.sk\/fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Events\",\"item\":\"https:\/\/institutfrancais.sk\/fr\/podujatie\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"International Conference \/ After Industry\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/institutfrancais.sk\/fr\/#website\",\"url\":\"https:\/\/institutfrancais.sk\/fr\/\",\"name\":\"Franc\u00fazsky in\u0161tit\u00fat na Slovensku\",\"description\":\"Franc\u00fazsky in\u0161tit\u00fat na Slovensku\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/institutfrancais.sk\/fr\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"International Conference \/ After Industry - Franc\u00fazsky in\u0161tit\u00fat na Slovensku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/institutfrancais.sk\/fr\/podujatie\/medzinarodna-konferencia-after-industry\/","og_locale":"fr_FR","og_type":"article","og_title":"International Conference \/ After Industry - Franc\u00fazsky in\u0161tit\u00fat na Slovensku","og_description":"Work Hard, Pay Hard. 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