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„Architektura Betonowa 2024”. Poznaliśmy wyniki XXV edycji konkursu
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- Z kolei podwójnym brązowym medalistą wśród politechnik na dystansach 100 m i 200 m został inż.
- Z kolei miś o imieniu „PeKuś” zawiera w sobie urządzenie emitujące szum.
- 21 października 2024 roku w Międzynarodowym Centrum Edukacyjno-Badawczym “Działownia” prof. dr hab.
- Przy ministerstwie działa Komitet Sterujący ds.
- Przy każdej okazji podkreślam, że uczelnia wraz z KU AZS PK zachęca studentów do uprawiania sportu.
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Politechnika Krakowska i Ministerstwo Infrastruktury wspólnie dla zrównoważonej mobilności w miastach
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Wydział Mechaniczny zrealizuje wspólne projekty z firmą Glaze Prosthetics
Obszar objęty procedowaniem to w ponad 53 proc. Własność Politechniki Krakowskiej, dlatego uczelnia aktywnie uczestniczy w procedurach w ramach magic plinko opinie prac nad planem, prowadzonych przez Prezydenta M. Krakowa i właściwe jednostki merytoryczne Urzędu M. Krakowa. Jednocześnie trwa postępowanie przed Naczelnym Sądem Administracyjnym dotyczące części terenu objętego procedowanym planem. Wojewódzki Sąd Administracyjny uchylił bowiem decyzję Ministerstwa Kultury, Dziedzictwa Narodowego i Sportu oraz poprzedzającą ją decyzję Wojewódzkiego Konserwatora Zabytków o wpisie tzw. Pola wzlotów po zachodniej stronie części pasa startowego dawnego lotniska w Krakowie do rejestru zabytków. Ostateczne rozstrzygnięcia NSA w tej sprawie mają zapaść w drugim kwartale 2024 r.
Na pierwszym etapie działań uczelnia zabezpieczyła środki na ogłoszony właśnie, wspólny z SARP, konkurs na koncepcję architektoniczną budynku oraz wykonanie projektu na podstawie zwycięskiej koncepcji konkursowej. Termin rozpoczęcia prac budowlanych i zakończenia inwestycji uzależniony będzie od dalszych postępów w budowaniu finansowania dla tak poważnego przedsięwzięcia. Dynamika zmian we współczesnym świecie generuje potrzebę kształcenia specjalistów z całkiem nowych dziedzin, którzy – oprócz wiedzy – posiadają także praktyczne umiejętności. Będą nimi bez wątpienia absolwenci nowych politechnicznych kierunków. Są one bowiem interdyscyplinarne, a ich programy zakładają wiele godzin praktycznych zajęć. Studenci będą mogli czerpać z doświadczenia, które przez lata zdobyła kadra naukowa Politechniki Krakowskiej.
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15.04.2021 – 30.04.2021
İstanbul’un kar amacı gütmeyen en önemli çağdaş sanat mekanlarından biri olan Merdiven Art Space, Türkiye çapında 15-30 Nisan 2021 arasında gerçekleştirilecek kapsamlı video festivali “SENKRON” çerçevesinde, Ferhat Özgür’ün “Türk Gerçeği Üzerine” başlıklı kişisel video gösterimine ev sahipliği yapmaktan mutluluk duyar.
Video gösterimi, sanatçının neredeyse yirmi yıldır uğraştığı, kimlik, göç, milliyetçilik, anti-militarizm, kültürel farklılıklar ve ötekilik ikilemleri gibi özellikle Türkiye gerçeğine özgü ve siyasi açıdan tartışmalı konulara odaklanan yapıtlarından bir seçkiyi sunuyor. Çalışmalarında hem kurgusal gerçeklere hem de kaydedilmiş gözlemlere odaklanan sanatçı, video grameri oluşturmada kişisel gözlemlerin etkisini yeniden düşünmeye davet ediyor.
Özgür’e göre kamera, sahibinin arzusu ne olursa olsun, öyküleme, belgeleme ve yorumlamaya pencere açan bir cihaz. Kamera öznel görsel deneyimler oluşturmamızı destekler. Kamera, yaşam ile belgesel temsil arasındaki ilişkiyi incelememizi sağlayan alternatif bir anlatım aracıdır.
Özgür, kamerasıyla, hem mevcut-verili imgelerin kullanımı hem de kendi oluşturduğu görsellik aracılığıyla gerçeği kavramaya ve değerlendirmeye çalışıyor. İmgelerin müphemliğinden hareket eden sanatçı video sanatını, kişisel yorumlamanın gerçekliğin içinde serimlendiği bir algı olarak ifşa ediyor.
Sanatçının son dönemden geriye doğru bir izlek halinde yer alacak bu gösteriminde; “Duvar” (22dk., 2020), “O Şimdi Asker” (15 dk., 2016), “Aşık Kadınlar” (11.50 dk., 2013) ve “Metamorfoz Muhabbet” (9.50 dk., 2009) adlı videoları yer alacak.
Sanatçı hakkında: Ferhat Özgür İstanbul’da yaşıyor ve çalışıyor. 10. İstanbul Bienali, 6. Berlin Bienali ve 9. Busan Bienali’ne katılmış olan Özgür’ün yapıtları, MoMA PS1, Michigan University Museum of Art, Pompidou Center-Paris, Marabouparken-Stockholm, IMMA-Dublin, MUMOK-Vienna, Moderna Musset-Malmö, Salzburg Modern ve Seul Museum of Modern Art gibi kurumlarda sergilenmiştir.
Performans: 10.03.2020 – 03.04.2020
Sergi: 04.04.2020 – 25.04.2020
Kitap Lansmanı & Söyleşi: 24.04.2020
Merdiven Art Space, TUNCA’nın son dönem üretimi olan “64.000” başlıklı performans/sergi projesini izleyiciyle buluşturuyor. Galeri duvarlarının serginin ana unsuru olarak kullanılacağı ve uygulamanın hem ziyarete açık olup hem de haftanın 4 günü instagram üzerinden canlı yayınlanacağı performans, 3,5 haftanın sonunda mekâna özgü bir enstalasyona evrilecek. Fikirsel alt yapısını uzun zaman önce inşa ettiği bu çok katmanlı projesiyle TUNCA; devlet, birey, temsiliyet, yaşam ve ölüm arasında kurulmuş sıkı ilişkilere bir tartışma kanalı daha açıyor.
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“64.000” başlıklı sergi/performans projesiyle ile bu coğrafyadaki milliyetçi ideolojinin kendisine temel aldığı yöntem ve eğilimleri tartışmaya açan sanatçı, o döneme hâkim fiziki antropoloji algısıyla yürütülen bir çabanın izlerini gün ışığına çıkartıyor. Sosyal bilimsel bir çalışmayı hem biçimsel hem de ideolojik açıdan yapıbozuma uğratan TUNCA; konunun, tarihsel bellek ışığında analizini izleyiciye bırakıyor. Performans bitiminde, tüm duvarları kaplayacak anket verilerinin sergi formatında ziyaretçilere açılacağı proje, 1937 tarihli kitabın replika baskısının sunulacağı lansman ve söyleşi ile tamamlanacak.
“64.000” başlıklı performans/sergi; 10 Mart – 25 Nisan arasında, Salı’dan Cumartesi’ye, 11:00 – 18:00 saatlerinde ziyaret edilebilir.
09.01.2020 – 15.02.2020
Merdiven Art Space, yeni yılı Fatih Temiz’in “Karambol” başlıklı kişisel sergisiyle karşılıyor. Base İstanbul, Simbart Project gibi kariyerinin başındaki sanatçılara görünürlük kazandıran proje ve etkinliklerle ismini duyurmuş olan Temiz ilk solo sergisinde; futbolun küreselleşme, neo-emperyalizm ve toplumsal direniş ile ilişkisini mercek altına alıyor. İsmiyle yine bir oyun terimine atıf yapan “Karambol”, evrensel oyun pratiği üzerinden bugün de tıpkı 100 sene öncesinde olduğu gibi karmaşık dengelerin ve güç mücadelelerinin merkezinde konumlanmasına dair kaotik açılımı irdeliyor.
Ulusal kurtuluş mücadelesinde ayrıcalıklı bir yeri olan “General Harrington Kupası”nın tarihi fonuna ışık tutan Fatih Temiz; izleyiciyi, futbolun, doğduğu günden beri sembolik bir hakimiyet göstergesi sağlayan politik zeminine davet ediyor. Birleşik Krallık işgal kuvvetleri komutanı General Charles Harrington; İstanbul’dan ayrılmadan önce kendi adına düzenlediği bir müsabakayla, milli mücadeleye silah desteğinde bulunan Fenerbahçe’yi ve bu vasıtayla Türkleri moralman hezimete uğratmayı amaçlamıştı. 29 Haziran 1923 tarihinde bugün Gezi Parkı’nın bulunduğu alandaki Taksim Stadyumu’nda, büyük bir taraftar topluluğu önünde gerçekleşen maç; General Harrington’ın şahsi kindarlığının üstü kapalı yansıması sonucu, farklı yerlerden getirilen profesyonel futbolcu karmasıyla fiziken işgal altında olan ülkeyi her anlamda kuşatma altına alma denemesiydi. Büyük bir çekişmeye sahne olan ve muazzam bir zaferle taçlanan müsabaka neticesinde meşhur kupayı kazanan taraf Fenerbahçe ve emperyalizme karşı temsil ettiği milli mücadele ruhu olmuştu. Günümüzde futbolun küreselleşme ve global ekonomiye hükmeden bir sektör haline gelme sürecinde kazandığı ve kaybettiği alt anlamlara odaklanan sanatçı; gücünü naifliğinden alan bir direniş hikayesi ile emperyalizmin evrimini gözler önüne seriyor.
Fatih Temiz’in pratiğinin yapıtaşı niteliğindeki büyük boyutlu desenlerine eşlik eden video ve veri temelli duvar işi; serginin tarihi arka planıyla uyumlu bir nostaljik duruş ve arşivsel yaklaşım dengesi sunuyor. Kişilerin kendisine çıkar sağlama fırsatı bulduğu spekülatif durumların teşvik edilmesine karşılık kullanılan “karambol” yakıştırmasıyla ise Temiz; günümüzde eğlenceden ziyade neredeyse tamamen piyonlarla yürütülen güç ve iktidar mücadelesi sahasına dönüşmüş olan futbol endüstrisine eleştirel bir bakış getiriyor.