On the WOK.radar

Do czego mógłby się przydać pluralizm polityczny, skoro nie oferuje rozwiązania fundamentalnych konfliktów społecznych, a wydaje się wręcz je afirmować? W dzisiejszych różnorodnych społeczeństwach, w których żyją obok siebie ludzie o różnych preferencjach seksualnych, odmiennego wyznania i o zniuansowanym stosunku do religii w ogóle, z doświadczeniem wielokulturowości czy mówiący w domu różnymi językami, nie mamy właściwie dla niego żadnej alternatywy.

When I came to Turkey to study for my PhD, I imagined a very different future for myself. In 2017, mass arrests of Uyghurs took place in my hometown, and this changed the course of my dreams. (...) On 3 September 2024, I finished the eight-year stage of my life in Turkey and flew to Warsaw.

2025 is another year in which digital technology occupies a prominent place in publicdiscourse, capturing imaginations and challenging long-held beliefs and behaviors. The emergence of Large Language Models (LLMs), such as Gemini and ChatGPT, means people now have access to tools that can support their work and creativity. However, these tools can also stifle creativity and take over difficult and often tedioustasks that require reflection, patience and time.

How does the experience of motherhood change people working in artistic professions? How does it affect their professional situation and daily work? What kind of challenge is the attempt to combine the professional sphere with caregiving responsibilities?

The first meetings of the Co-thinking project, which were networking sessions for people involved in artistic research, paved the way for self-examination and self-organisation activities that we intend to develop as an informal group. This text is, therefore not a summary of a completed project, but an account of an ongoing process. It is also a snippet of a heterogeneous, polyphonic archive of cooperation and a preview of our future activities. We plan to gradually share other parts of this archive, starting with a story about the facilitation experience from the perspective of the people responsible for supporting the group process.
We plan to gradually share other parts of this archive, starting with a story about the facilitation experience from the perspective of the persons responsible for supporting the group process.

Does the arts sector in Europe have a collective responsibility for artists who have been
relocated or displaced due to persecution or abuse of their human rights? I would say yes, the
arts sector everywhere is vulnerable and often marginal, relative to other sectors.

The text examines the fleeting nature of space, cultural memory and identity, giving the transnational examples on the complexity of the phenomenon of belonging.