Latest news with #SummerSchool
Scoop
21 hours ago
- Entertainment
- Scoop
Quishile Charan To Attend Summer School In Balkans Thanks To A Grant From Tautai
Tautai Contemporary Pacific Arts Trust and the Office for Contemporary Art Aotearoa are pleased to announce that Quishile Charan will be attending the 2025 Summer School | Revolutionary Roads. Destination: Comradeship, in the Balkans in August, thanks to a grant from Tautai as part of their new Artists Across Borders initiative. Quishile Charan and Matthew Galloway have both been invited to participate in the 4th edition of the Summer School, Revolutionary Roads. Destination: Comradeship, organized jointly by the Moderna galerija (Ljubljana), the Museum of African available from Tautai through their new Artists Across Borders initiative, Quishile is now able to accept the invitation and join Matthew, who was selected by the summer school organisers to receive a travel grant from the Office for Contemporary Art Aotearoa. Dr Olivia Laita, Operations Director at Tautai said: "This is our first year launching our Artists Across Borders initiative, which is dedicated to supporting Pasifika Artists who have been invited to participate in international Contemporary Art projects. Often, artists need support from multiple sources to fulfil one project and Artist Across Borders is just that, a top up fund that can make a significant difference. To date, we are proud to have supported three exceptional recipients, including Quishile . Her international project stood out as both compelling and rare. The strength of her application, combined with her remarkable track record, made her a clear and deserving recipient of this support. We look forward to hearing all about it on her return!" Quishile and Matthew will join the 28 Summer School participants, from 21 countries, on a nomadic learning experience, traveling through three cities in the Balkans — Ljubljana (Slovenia), Belgrade (Serbia), and Podgorica (Montenegro) — while exploring the legacy of Yugoslav socialism, solidarity work actions, antifascist monuments, and the cultural connections of the Non-Aligned Movement. This journey will include lectures, workshops, discussions, and performances, with a special focus on 'locally situated knowledge.' The participants will engage with three distinctive museum collections that challenge traditional Western-centric art histories and canons. Te Whanganui-a-Tara based artist, Matthew Galloway, and Indo-Fijian, Tāmaki Makaurau based artist Quishile Charan were both selected by the Summer School organizers, from more than fifteen applicants from Aotearoa New Zealand, who the selectors noted were of a very high standard. About Quishile Charan Indo-Fijian craft and social practitioner, researcher, writer and critical theorist Quishile Charan approaches craft as a science-fiction practice of building new worlds from the seeds of reality. As a descendent of Girmit (indentured labour)— part of a history and present in which autonomy was/continues to be denied to her people—Quishile holds close a core set of anarchist—anti-colonial, anti institution, anti-authority—values. In her experimental, relational pursuits, Quishile expresses these values while seeking to form different visions of home with her own hands. Melted into Indo Fijian gardening, cooking and living, it's a family effort that prioritises the anti-colonial work of nurturing and caring for each other outside of Western hegemony. Quishile's practice cannot function without the people in her life. A lot of her work lies in these relationships—choosing her family, holding them in the fabric of community and moving beyond historical systems of harm. Quishile has an MVA from Auckland University of Technology, where she also completed a PhD in visual arts. She has exhibited at institutions including Artspace Aotearoa, Tāmaki Makaurau; SAVVY Contemporary, Berlin; and Kunsthalle Wien Museum. You can find Quishile working at her whare/ghar, which she shares with her chosen family in Aotearoa, making tarkari for loved ones, deep in talanoa while tending to her dye pots and sewing in the garage. About Matthew Galloway An interdisciplinary artist, Matthew's work operates within a documentarian and historiographic mode, engaging critically with social, political, and environmental issues through the tools and methodologies of design. Matthew commented 'Much of my recent work has centred on resource extraction and power dynamics within industrial systems, with an emphasis on questioning the colonial and capitalist frameworks that shape them. The opportunity to participate in Revolutionary Roads. Destination: Comradeship provides a deeply valuable context for expanding this research. I am excited to see how the themes of this program play out across different locations, and to learn from the participants and facilitators involved.' These research themes are seen in two of his ongoing bodies of work. Empty Vessels, produced in collaboration with Sahrawi artist, Mohamed Sleiman Labat, directly addresses Aotearoa New Zealand's ongoing reliance on phosphate rock (used for the production of fertilisers) mined from occupied Western Sahara. By tracing the movement of phosphate-carrying ships and counter-surveilling infrastructures of oppression, the project seeks to amplify subjugated voices and present alternative ways of understanding and resisting systems of extraction. This collaborative work highlights the importance of solidarity and dialogue, aligning strongly with the ethos of the Non-Aligned Movement explored by the Summer School program. Similarly, Matthew's project The Power that Flows Through Us investigates the socio-political context surrounding the Clyde Dam, a monument to the infrastructural ambitions of mid- century New Zealand politics. This research examines the hydro dam as a political site, asking what memories it holds, and considering the way such State infrastructures continue to govern everyday life. Matthew Galloway is a current doctoral candidate at Elam School of Fine Arts, and a Teaching Fellow, The School of Design Innovation, Wellington Faculty of Architecture and Design Innovation, Victoria University. He is represented in Aotearoa New Zealand by Sumer. About the Summer School The 2025 Summer School | Revolutionary Roads. Destination: Comradeship, will address three main topics: 'Other Easts': Re-examining the East through a decolonial and pluralized lens, with a focus on the Arteast 2000+ collection in Ljubljana. Monuments & Memory: Examining the post-WWII Partisan resistance monuments created in Yugoslavia, which commemorate the antifascist struggle and the socialist revolution. Many of these monuments, ranging in style from socialist realism to modernism, were damaged or destroyed after the changes in regime in the 1990s. The participants will reflect on how these monuments shape collective memory and identity. Challenging the Western Canon: Exploring three museum collections that break away from linear, traditional art-historical narratives: Arteast 2000+, the collection and archives of the Belgrade Museum of African Art, and the collection of the art of non-aligned countries in Montenegro Museum of Contemporary Art. These collections offer diverse, non-linear explorations of art, politics, and history, and will allow the participants to broaden their perspectives on the legacies of the East and the Non-Aligned Movement.
CTV News
2 days ago
- Science
- CTV News
University of Regina welcomes global carbon capture and storage event
The University of Regina hosted its 17th iteration of its Carbon Capture and Storage (CCS) Summer School. (Jacob Carr/CTV News). The International Carbon Capture and Storage Knowledge Centre, along with the University of Regina, are in the midst of hosting a weeklong program bringing together students and presenters from all around the world. Organizers of the event say that the presenters talk about current and future carbon capture technologies, economics, policies and regulations. On the student side, the event had over 200 applicants this year, of which, 50 were chosen to partake. 'We've got 50 students from 31 countries here,' explained Tim Dixon, director and general manager of the International Energy Agency Greenhouse Gas R&D Programme. 'They form teams, and they collaborate, and on the last day they have to present their results. It's actually a competition; we give an award for the best group presentation. As well as getting the knowledge on CCS for themselves, it also forms their professional peer groups that will go with them for the rest of their careers.' 2025 marks the 17th iteration of the CCS Summer School, which after the completion of this week, will have over 800 alumni.
Axios
5 days ago
- Entertainment
- Axios
Summer School Tour returns with Warped Tour ethos, emerging acts
Pop-punk fans looking to scratch their Warped Tour itch since the touring festival ended in 2019 should attend the Summer School Tour. The intrigue: The show, featuring emerging acts like Taylor Acorn, Rain City Drive and Charlotte Sands, stops at the Agora on Sunday. Summer School embodies a similar ethos to Warped by featuring up-and-coming artists while promoting advocacy through partnerships with organizations like peta2 and Save the Music Foundation. Flashback: The tour is the brainchild of longtime music manager Michael Kaminsky (3OH!3, Neck Deep) and Hopeless Records executive Eric Tobin. Fittingly, the duo brought Warped Tour founder Kevin Lyman on board to help launch Summer School last year. What they're saying:"When Warped ended, the culture and community built around it no longer had this pillar to hold it up," Kaminsky tells Axios. Tobin sees Summer School as "an opportunity to raise awareness, give back and create a functional, positive culture younger people can identify with." What's next: The tour runs through Aug. 10 and includes a stop at Lyman's revamped Warped Tour on July 26 in Long Beach, California.
Finextra
09-07-2025
- Business
- Finextra
Lloyds to run two-month Data and AI Summer School for employees
Lloyds Banking Group is expecting to play host to tens of thousands of employees at a two-month Data & AI Summer School as part of a commitment to building a digitally-confident workforce. 1 Earlier this year, the bank forged a landmark partnership with the University of Cambridge to equip senior leaders with the insight and tools to navigate the fast-evolving world of AI. The Summer School builds on this by scaling data and AI learning across the organisation. Operating across more than 250 sessions, the Summer School features a dynamic mix of formats including expert panels and keynote talks to technical workshops, hackathons and gamified sessions. Topics span the full spectrum of data and AI, including Agentic and Generative AI, data strategy, data visualisation, machine learning, and data management. To encourage engagement, the programme includes challenges and prizes. Last year, over 44,000 staff took part in the inaugural summer school. Ranil Boteju, chief data and analytics officer at Lloyds says: 'We are delighted that our Data and AI Summer School is back this year, bigger and better than ever before. This is about democratising data and AI across the Group and building confidence, capability and curiosity at every level.' The initiative is part of Lloyds Banking Group's broader transformation strategy, backed by a £4 billion investment in technology, data, people and operations. It currently has more than 100 AI use cases in pilot, testing or live, and has established a Centre of Excellence for AI to build deep in-house expertise. Sessions include: How Agentic AI is Changing Financial Services Google's 6-Hour AI Prompt Engineering in 30 Minutes The Beautiful Science of Data Visualisation Data Storytelling with Google Reinforcement Learning: What Is It?
Yahoo
09-07-2025
- Entertainment
- Yahoo
First Czech-Viet Feature ‘Summer School, 2001' and Anime Series: Duzan Duong Is Everywhere at KVIFF
The Czech Republic has the third-largest Vietnamese diaspora in Europe, only behind Germany and France. In fact, the Vietnamese make up the third-largest ethnic minority in the country after Slovaks and Ukrainians. Now, this community is buzzing about its chance to be represented and make its presence felt on the silver screen. After all, Tuesday, July 8, marks the world premiere of Dužan Duong's Summer School, 2001 in the Special Screenings program of the 59th edition of the Karlovy Vary International Film Festival (KVIFF). Or as KVIFF put it: 'The long-awaited first Czech-Viet feature is finally here! This authentic portrayal of a community that has become an organic part of modern Czech history is brought to us courtesy of Dužan Duong, a standout, exceptionally talented representative of the first Vietnamese generation to grow up in the Czech Republic.' More from The Hollywood Reporter 'When a River Becomes the Sea': An Archaeologist Digs Deep to Uncover and Confront Sexual Trauma AI Brings Neurological Problems in Near-Future Brazil in 'Future Future' (Exclusive Karlovy Vary Teaser) Agnieszka Holland on Her Kafka Film 'Franz' and Its Themes, Such as "Dangers of Totalitarian Society" Here is a synopsis of the movie: 'The third millennium has hardly begun, and 17-year-old Kien with his crazy red hair returns to his family and their market stall in Cheb after 10 years spent in Vietnam. However, instead of the warm welcome he had anticipated, he finds an estranged father, a careworn mother, and a younger brother who doesn't cut him any slack.' Prague-based Duong, 34, wrote the screenplay for his feature directorial debut with Jan Smutný and Lukáš Kokeš. Duong and Kokeš are the producers of the movie. Its cast includes Đoàn Hoàng Anh, Lê Quỳnh Lan, Tô Tiến Tài, Bùi Thế Duong, Ngô Xuân Thắng, and Nguyễn Dũng. 'Told with lightness and wit, this story about cross-generational conflict and much else besides is an affectionate and bold milestone in the debate on cultural identity,' the KVIFF website touts. Ahead of the world premiere of Summer School, 2001, Duong talked to THR about the inspiration for the film, showcasing the Vietnamese experience in the Czech Republic to a wider audience, pulling double duty in Karlovy Vary by also pitching an anime series idea, and what else he wants to do next. Can you maybe share your family's story and how your parents came to the Czech Republic? My parents met in Germany during the Cold War. They were sent from Vietnam to Germany to work. They met in a factory. And they conceived me there. When that era ended, they had to go back to Vietnam. So I was born in Vietnam. After three, four years, we went from Vietnam to the Czech Republic. And this is the story of most of the Vietnamese community in the Czech Republic. We have similar paths. In , a young man returns to his family in the Czech Republic after years back in Vietnam. Can you talk about the role identity plays in the film? When I was just a small kid, my parents had to go to this marketplace to earn money, because they had some debts in Vietnam. Because we went from Vietnam to the Czech Republic, they had to loan some money. So I had to grow up with a Czech nanny and Czech granddad, actually, and they were my substitute parents for a very long time. My parents had to work a lot during my childhood. So I was growing up with this old Czech couple. They made me the Czech person I am. They taught me the culture and everything. That's the reason I feel somehow split in my personality – being Czech or Vietnamese. It's very hard to be Vietnamese when you don't get to meet your parents in everyday situations and spend most of your time with Czech people. So that's the first step in my story about this broken relationship with one's parents. The members of the family in the film seem to experience this mix of emotions, including duty, respect, and love. Talk a bit about the many layers of these relationships in the film and how you approached them. To be honest, it's just my family and many other Vietnamese families packed into one film. We like to call it 'auto-fiction,' because it all comes from the real world of the Vietnamese community in the Czech Republic. So most of it is based on reality. But we added some drama for the film. Can I ask how difficult it was to finance the film? It actually wasn't that hard, because we have a production company, and we specialize in shorts and commercials. So we had a base of people and didn't need that much of money. We could rely on a lot of people with good intentions and good hearts who wanted to make this, I would say, milestone in Czech cinema. This kind of Vietnamese film from the Czech Republic has never been done before. So we were very lucky to be at the beginning of what will hopefully be this new wave. What feedback have you received from the Vietnamese community in the country before people have even seen the film? What do they think of the idea that there will be a feature about their experience? Oh, they love it. I really feel such huge support from the community. It's not usual for a debut film to be hyped this much. The power of community! The film hasn't premiered yet, so I'm quite nervous about it. I don't want to make anybody unhappy when they finish watching the film. The stakes are high for us. Will your family see the movie?Yeah, most of my family will see it for the first time, wow. And I'm really looking forward to seeing their faces. In our family, and in general in Vietnamese families, communication is not the biggest thing. Our Vietnamese parents don't know the Czech language that well. So this film is a way for me to tell them everything I've been through in my whole life. And I noticed during the shoot that many aspects of the film happen to be universal, because many young people from the cast were going through similar problems. Dužan Duong, Courtesy of KVIFF How long did you work on the movie? It was really encouraging for me to finish the film after eight years. We were in the writing room for quite a while – five, six years. And once we got the first funding, I didn't want to wait for anything. I went all in and persuaded the other producers that we needed to make it now, because I found a good cast, and its members were growing up. So if we had been waiting for another year, I would have had to find other actors. Who are the people in the cast? Are they professional actors, and how did you find them? The young boy in the family is from my neighborhood. I've known him since he was little. His family runs the grocery store right down from my apartment. He was always this communicative young boy who wanted to have fun. He reminded me of me a little bit, so I thought I'm going to cast him. I just went by heart. I didn't want to have many options. Once I felt he was the right person, I went for him. Most of the actors are first-time actors. I like to work this way. I'm always looking for someone who is authentic and who doesn't need to 'act.' He just needs to be reminded of his own traumas or his story. And he just needs to act it out in front of the camera. Was there any particularly big challenge in making this movie? To be honest, the biggest challenge was in the editing room. We made quite a big chunk of it happen in the editing room. Because non-professional actors don't care if they look good on camera, we had some unique takes and had to find and put together the right material. We've been in the editing room for almost 13 months. It was quite painful, but I wouldn't change that. The three men in the family each get a chapter in the film. The mother doesn't have her own chapter, but she is still always there. Can you explain that decision and the role of the mother? For me, it's a story about how to be a man, looking for manhood. And these guys are wild. Every one of them is wild. The only person who is somehow calm is the mother. She is the calm force trying to make sense of the mess that is happening. So she's very important to the story. I wanted to keep this masculine point of view, but I used the female energy to make sense of it. Tell me about your production company and the other key production firm on the film… AZN kru is my production company. I run it with my wife. So, it's a little family business. We've been doing commercials and everything, and now we are transitioning to features and fiction, and we want to make a splash in the Czech Republic. The other company is my friend's and is called nutprodukce. They're well established in the Czech Republic, so we can use their credit to get funding. All the creativity came from our side, including the Vietnamese aspect. And they provided the perfect dramaturgy and the know-how to fund a low-budget film. We brought the know-how of Vietnamese people, how to save money, and still have the production value. Where did you shoot? My biggest dream was to shoot it in Cheb, the town where I grew up, near the border with Germany. But our budget didn't allow that. So we had to fake everything in Prague. When you see Netflix and Amazon shooting these big TV shows in Prague, they can fake it. So we can fake it as well. We just faked the small town and shot 23 days in Prague and Slovakia and five days in Vietnam. Is there anything else you'd like to mention about ? In the film, Kien is sent back to Vietnam by his parents and then is reunited with them after 10 years. I would highlight that this is a very common thing in Vietnamese immigrant culture. That's the way parents have the time and their hands free to work. During the shooting process, I realized that this idea of sending kids away was weird for Czech people. But for the Vietnamese people, it's a common thing. It also happened to me when I was young, like 5 or 6 years old. But I was lucky that my Czech nanny somehow persuaded my father to bring me back after a couple of months. You are not only premiering your first feature at the festival, but also pitching , an anime series that you are working on, again via AZN and nutprodukce. You are pitching that in the . Congratulations on having the energy to present two projects in Karlovy Vary! And what can you share about and its inspiration? The work ethic, I think, I inherited from my parents, because I don't like to just stand still and do nothing. This is my next project. I have a little sister who is 18 years younger. She's Gen Z, and I would say I'm a millennial. And I noticed that these kids are so reliant on technology and social media, and it's consuming them. I think it's the biggest problem for this generation, being stuck in technology. They don't know what the offline world is. They only know the online. Lost Boys is the story of a girl who's trying to find her escape or exit from this matrix. She finds a group of boys who get into fights. They like to feel the realness of the fights. And she wants to join them, but they don't accept her, because she's a girl. 'We accept only boys, because we are the Lost Boys.' And so she changes her outfit, and she becomes a boy. She becomes Kenny and wants to join the group so she can finally be happy and feel something. I would say it's like Fight Club for Gen Z. Best of The Hollywood Reporter The 40 Best Films About the Immigrant Experience Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts
