School of Disobedience

School of Disobedience Independent artist-run school in Budapest. "Learn to unlearn. Create otherwise."

At the intersection of performance art, research, non-formal education, and community activism, the "School of Disobedience" was dreamed up and created by Anna Ádám, as part of her artistic practice. The project is divided into three main interconnected activities: non-canonical art education (Performance+Art School), women empowerment (Feminist Fight Club), and healing (Summer Camps). The “School

of Disobedience” wants to be a new form of resistance, an anti-fast art, a collective healing garden, an ode for sincerity and courage, a passionate and radical platform for simple actions and small changes.

"But when we import Western resistance culture too quickly, we risk becoming fluent in a resistance that is not ours. Th...
17/06/2026

"But when we import Western resistance culture too quickly, we risk becoming fluent in a resistance that is not ours. The vocabulary may be powerful, but it comes from other institutional histories, other activist genealogies, other economic conditions, other relationships to public speech, other experiences of democracy, other class structures, other languages of the self. We become internationally understandable, but locally disconnected. Politically correct in a language that does not always touch the reality of our wounds.

And then resistance becomes performance. That’s how artists are conditioned in Hungary. Academies condition them. Western funding systems condition them. Imported curatorial language conditions them. Peer morality conditions them. International visibility conditions them.

Artists here learn that certain forms of critique travel better. Certain pains are easier to translate. Certain positions are more fundable. Certain words open doors. And slowly, resistance becomes a script. The tragedy is that this script can look radical while being perfectly expected."
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"Some organizations today continue claiming “grassroots” status because they operate with unstable funding, unpaid board...
18/05/2026

"Some organizations today continue claiming “grassroots” status because they operate with unstable funding, unpaid boards, underpaid management, volunteers, interns, or exhausted teams. And that internal precarity is then used as moral proof of authenticity:
“We are still fragile.”
“We are still alternative.”
“We are still one of you.”
But an organization with large visibility, international partnerships, major public reach, curatorial influence, and significant production capacity does not remain grassroots simply because people inside it are underpaid. At best, it remains structurally unsustainable. At worst, it reproduces exploitation."
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OPEN CALL DETOXThis summer intensive (July 6-10, Budapest) is for artists and creative practitioners who want to stop or...
10/05/2026

OPEN CALL DETOX
This summer intensive (July 6-10, Budapest) is for artists and creative practitioners who want to stop organizing their work around open calls as the primary horizon, and begin to build conditions in which their work can exist without constantly waiting to be selected.
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When does q***r art stop being q***r?Not when it’s censored. Not when it’s attacked.But when it is welcomed, funded, pro...
07/05/2026

When does q***r art stop being q***r?
Not when it’s censored. Not when it’s attacked.
But when it is welcomed, funded, programmed.
What I observe (in Hungary, but not only): when institutions include, they also translate. Into curatorial frameworks, funding logics, audience expectations, market circulation... And translation is never neutral.
What was once illegible, excessive, relational, unstable, becomes readable, presentable, collectible.
Queerness shifts from a lived condition to an aesthetic regime.
From friction to to form. From risk to style.
At some point, it no longer needs to be q***r.
It only needs to look like it.
From here my question:
Is inclusion always a victory?
Or can it also be a form of capture?
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Full text unpacking all this (canonization, aestheticization, institutional logic, and what it might mean to refuse inclusion as a horizon...).
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19/04/2026

The institution stays stable. The artist absorbs the uncertainty. Risk is celebrated symbolically, but outsourced materially.

🔍 PERFORMANCE & CITY MASTERCLASSIn this Masterclass (Module 2: Oct. 5–30, 2026), public space is the medium. It is desig...
15/04/2026

🔍 PERFORMANCE & CITY MASTERCLASS

In this Masterclass (Module 2: Oct. 5–30, 2026), public space is the medium. It is designed for performers, movers, urban wanderers, architects, designers, and anyone who want to learn directly from the city. The city teaches through its constraints, rhythms, and invisible rules by shaping how bodies move, behave, and perceive, and by revealing what happens when those patterns are followed, resisted, or interrupted.

📚 MODULE 2: Performance & City
(architecture & urbanism) — Oct. 5–30, 2026

🌐 APPLY: Link in Bio (click: “Masterclasses”)

🧱 STRUCTURE:
Week 1 — Architecture & Performance
Week 2 — Site-specific practices
Week 3 — Urban walks & Sensorial drifting

📸 Léa Fiterman

Cím

Budapest

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