The first week is set aside for an unusual lecture part: full of practical information, discussions and analytics, and dedicated to topical issues that remain outside the field of view of artists. However, in order to build your way today - in the world, in the 21st century, among colleagues, partners, events, institutions - it is necessary to understand the mechanisms working in the artistic environment. Know about the dynamics of the art market since the beginning of the XX century, about the current rules of the game on it and about its main participants. Who chooses who chooses, what works go to major exhibitions and art fairs, what collectors and museums buy?
The next two weeks at the art school are devoted to the implementation of a personal project: workshops, creative environment, informal conversations with school specialists - active participants in the current art party, discussing their own and others' projects - all this helps shape and build their own strategy.At the end of the course there is a final exhibition of projects created in the process of learning.
This practice has already been tested in previous years at Dukley Summer School. Its graduates settled in different countries of the world from Montenegro to Italy, and they say that the school opened for them "new horizons" (Albert Shinibayev), provided "freedom ... the most valuable for the artist" (Anastasia Georgievskaya), gave "a powerful impetus" (Marina Shkepner ). “The environment is incredibly important," says Zoya Falkova, comparing the school with the "greenhouse". They note a strong group of supporters and "the opportunity to do work, workarounds around the workshops and discuss projects, meet with artists" (Lana Zaitseva), also " I liked working in a unique context with good organization of professionals ”(Christina Cyan).The principal difference of the School beyond the Art School program, of the new school for artists, is in the focus on practical steps to promote their project by the artist against the background of an understanding of the situation and the mechanisms of the art market - those “secret knowledge” possessed by various types of art workers (curators, museum workers, gallery owners), and who today are needed directly by the artist himself as the manager of his project.Arthive, acting as a partner of the project, is not limited to the information function: the resource provides the artist with relevant modern tools.
“We provide infrastructure, audience, technology - all that without which the success of a modern artist is unthinkable today. The Internet and all the media in it, from social networks to mobile applications, is a very effective tool, but it is completely not mastered by artists. We are preparing a program on how and why to work with these tools, how online sales in the field of art work today, and how technology is changing the art market, "explains Vitaly Sitnitsky, head of the Arthiv project.
“We do not strive to make everyone like-minded and produce the same artists. We, on the contrary, want to work with what the artist already has: to teach him to act with his individual, particular art ”: read the Marat Gelman’s detailed story about the school in the Arthive.Arthive: read us in the Telegram and look in Instagram