THE HESITATING BODY
PARTICIPANTS:
The language of presentation will be German and English.
http://dhmd.de/?2134
http://www.dhmd.de/index.php?id=2118
BEDTIME STORIES
April 02 - April 06
Gallery 90-60-90
Pogon Jedinstvo, Trnjanski nasip bb
Zagreb, Croatia
Tesko je
zamisliti zivot u podrumu. Ljudi su ondje oformili specijalnu zajednicu s
vlastitim pravilima i novim sistemom opstanka. Dijelili su sve, hranu i
garderobu, sreću i jad. Kroz pisane i audio intervjue skupile smo priče o onome
sto se odvijalo u podrumima u vrijeme rata. Zvucna instalacija sadrzi sest
prica nasih prijatelja i rođaka koji su u to vrijeme imali 10 do 14
godina. /
Izlozba "Price za laku noc" dio je
programa „Biti doma“ Galerije
90-60-90 koji kroz niz pojedinacnih i zajednickih izlozbi i akcija nastoji
obuhvatiti pojam/ideju doma s aspekta pripadanja/nepripadanja nekom prostoru
ili zajednici te s aspekta stanovanja, u emotivnom i u egzistencijalnom smislu. Kustosica: Marijana
StanicAutorice
programa „Biti doma”: Irena Bekic, Marijana StanicProjekt
podrzali: Ministarstvo kulture Republike Hrvatske i Grad Zagreb, Gradski ured
za obrazovanje, kulturu i sport.
http://kulturpunkt.hr/content/zalog-za-miran-san
http://www.upogoni.org/wp/2013/price-za-laku-noc/
http://kulturpunkt.hr/content/zalog-za-miran-san
http://www.upogoni.org/wp/2013/price-za-laku-noc/
ARCHAEOLOGY OF BODY - ANTHROPOLOGY OF VIOLENCE 
Sarajevo, Bosnia and Herzegovina
ARTISTS: Jenny Holzer, Lana Cmajcanin, Sarah Vanagt
The exhibition is devoted to women. Women we lost, women
we love and the women we are.
The Exhibition Archaeology of Body/Anthropology of Violence, considers spatial, temporal, and the evident presence of war, in the absence of war, in its most representative form - the human body. Body as evidence, the still living, missing or the exhumed…
For more information, download the exhibition catalogue as pdf here
RE-ENACTMENT
AS ARTISTIC STRATEGY
Tirana, Albania
ARTISTS: Lana Cmajcanin (Bosnia & Herzegovina), Neda
Firfova (Macedonia/Germany), Ermela Teli (Albania), Anna Witt (Germany/Austria)
September 19
T.I.C.A. STUDIOS
Tirana, Albania
After the launch of the program in spring 2012, T.I.C.A. Institute for Contemporary Art is pleased to present the 2ndEdition of the AIRLAB Residency Program, running from September 3, 2012 to November 3, 2012.
In collaboration with the artists in residence* of the T.I.C.A. AIRLAB Autumn series
LANA ČMAJČANIN
(Bosnia and Herzegovina)
NEDA FIRFOVA
(Macedonia)
ERMELA TELI
(Albania)
Each artist will
introduce with a selection of works into their practice and research field. The
event gives you the opportunity to meet the artists, to gain insights into
their work and to exchange thoughts and potential networks.
Followed by
discussion and drinks, we would be happy to welcome you at the AUTUMN OPEN
STUDIO!
_______
ABOUT T.I.C.A. AIRLAB
Autumn 2012 - Residency Program (the Ladies' one)
T.I.C.A. AIRLAB is a theme-based residency program, setting out in spring 2012 with the subject-matterRE-ENACTMENT AS ARTISTIC STRATEGY. The strategy of re-enactment is an artistic approach that one encounters often in contemporary art. The idea of re-enactment one can say permeates to a certain extent the artistic operation all along the history of art, but a shift in perspective occurs in contemporary art: events are re-enacted not for the mere sake of commemoration, but for the relevance of the past event for the current situation. Furthermore, we can encounter re-enactments of not only historical events, but also of art works and actions done by other artists in the past, or even artists re-enacting their own work or actions. Thus one can say that through reaching back to historical events that have left a trace, or to historical circumstances that inspired creation of certain art works, artistic re-enactment is a way to question our present times through direct engagement not only of the artists but often of the audience as well.
The Bring In Take Out – Living Archive (LA)
The Red Min(e)d i is pleased to announce the 3rd edition of The Bring In Take Out Living Archive to take place from 27th until 30th September in Sarajevo.
Starting from the 1st edition in Zagreb – with a focus on the relational politics between feminism, contemporary art and the post/Yugoslav space, through the 2nd edition in Ljubljana – motivated by the feminist strategies of creating and processing an archive as the living knowledge of everyday life, with the 3rd edition in Sarajevo, Red Min(e)d continues to move towards a social articulation of the public space in the common field of art, theory and practice.
With Sarajevo edition, Red Min(e)d wishes to challenge the meaning of commons through the process of reflecting, articulating and building a social space using architectural, artistic and curatorial means. Inside the former army base Josip Broz Tito that was in the meantime transformed into the Sarajevo University Campus, we are setting a temporary object – the architectural artwork of Armina Pilav back to back with a playground – the collective artwork of Sarajevo based artists where and around which 3rd edition will happen. Through the sound performance by Irena Tomažin as well as the Curatorial Forum involving local and international speakers ( Antonia Majača, Valentina Pellizzer, Lala Raščić, Jelena Vesić, Amila Puzić and Anja Bogojević among others), the Living Archive, accompanied by its permanent stations – The Reading Room, Perpetuum Mobile and the LA lab – continues to work towards the creation of the common ground for voicing out emerging subjects.
Following the feminist statement of Silvia Federici on the politics of commons in which she concludes that: “this time, however, it is women who must build the new commons so that they do not remain transient spaces, temporary autonomous zones, but become the foundation of new forms of social reproduction”, we want to open up a counter-power space (FORUM) for thinking and discussing common strategies for an emancipatory process of social re/production and to move towards – by experimental and collaborative work.
INTIMACIES
September 6 – September 20
Collegium artisticum
Sarajevo, Bosnia and Herzegovina
ARTISTS: Adela Jušić, Borjana Mrđa, Emina Kujundžić, Irena Sladoje, Iva Simčić, Lala Raščić, Lana Čmajčanin, Leila Čmajčanin, Nela Hasanbegović
In „time of administration“(Negri) and „branded patterning of existence“(Holmes), intimacy opens way for productive tensions of the unexpected and the singular. It can also be seen as a critical force in society and culture, a stand against marginalization, stereotypes, ignorance, homogenization and bureaucracy. This exhibition presents the selection of artworks by younger generation of women artists in Bosnia-Herzegovina dealing with the intimate rituals.
Curators: Branka Vujanović and Jonathan Blackwood
September 03 - November 02
Tirana Institute of Contemporary Art
Tirana, Albania
The residencies will be thematic and multidisciplinary, with a different theme to be explored every year.
A yearly e-publication with artistic documentation and external text contributors to the program will accompany the program.
Political Timing Specific
July 16 - August 04
Alte Saline Hallein
Hallein, Austria
Course by Tania Bruguera
The new term Political Timing Specific describes a working method in which the piece is linked to and depends on the political circumstances existing in the moment it is made or exhibited; it is a type of artwork created to exist at a specific political moment. The term site-specific seems to need a little more "specificity" when one tries to do a political artwork. The constant changes in the political landscape and the "time" used to plan and to produce artworks do not always coincide. Planning an artistic intervention with political intentions is not always synchronized with the institutional need for an exhibition. At the same time, some artworks find themselves unexpectedly in the midst of a larger political conversation.
This workshop will be discussing and creating works that could operate in the interaction between art and politics while understanding the challenging roles of creativity in times of political operability and of artistic relevance. We will be looking at the transformation of the work’s expectations and interpretations while time passes and political situation evolves. We will focus on the value of political art as an aesthetic paradigm.
Selected by Tania Bruguera
Summer University Srebrenica
July 06
Potočari
Srebrenica, Bosnia and Herzegovina
The program integrates field research with an opportunity to participate in the annual Peace March from Nezuk to Potočari and to attend the Commemoration Ceremony in Potočari. Following this, researchers will remain in Srebrenica to conduct their projects and will be provided with working space and various resources in the facilities in Potočari. During this time, there will be guest speakers, discussion opportunities, and visits to locations relevant for research. Finally, researchers will present their projects and progress at the end of the program.
The program accepts forty researchers, selected on the basis of academic merit. The program is open to participants of every nationality, ethnicity, religion, gender, and sexual orientation. Participants will be provided with free room and board, as well as transport within Bosnia and Herzegovina (BiH). Participants must cover their own travel expenses to Srebrenica.
Through dialogue, research, and first-hand experience with the aftermath of Genocide and the obstacles in terms of Transitional Justice and Peace-building, the Summer University Srebrenica aims at understanding how such a terrible event was able to occur, discussing strategies for dealing with the post-conflict phase, and how to prevent another such atrocity from occurring in any part of the world.
June 27 - July 26
International
Studio & Curatorial Program (ISCP)
New York, USA
ARTISTS: Lana Cmajcanin, Dor Guez, Adela Jusic, Juan Manuel Echavarria, Avi Mograbi and Michael Zupraner
Secondary Witness is curated by Maayan Sheleff, recipient of ISCP’s 2012 Curator Award, which offers the opportunity for a curator or curatorial collective to present a new group exhibition. This award was established in 2009 for participants in selected curatorial studies programs, as a response to the lack of opportunities for emerging curators to present institutional exhibitions in New York City.
The video works in Secondary Witness touch upon the notion of testimony and explore the artist's position as mediator. Various personal stories are presented in the included works, which reflect societies in a constant state of conflict and trauma. The artists in Secondary Witness, natives to countries of conflict, examine their place as secondary witnesses and their relationship to protagonists and their testimonies.
Performance of Alma Suljević in front of the Nikolay Oleynikov piece, opening of the exhibition at Färgfabriken, Stockholm, September 2011.
(photo: Rena Rädle)
MMC KIBLA,
ARTISTS: Lana Čmajčanin, Chto Delat?, Igor Grubić, Adela Jušić, Nikolay Oleynikov, Shadow Museum/Jaroslav Supek, Alma Suljević
The exhibition I Will Never Talk about the War Again will be presented for the first time in Slovenia as a part of the programme created by KIBLA for the manifestation Maribor 2012: European Capital of Culture. The exhibition has been produced by KIBLA and Biro Beograd, with the support of the Ministry of Education, Science, Culture and Sport of the Republic Slovenia, Maribor 2012 Institute - European Capital of Culture and City Council of the Municipality of Maribor.
The exhibition I Will Never Talk about the War Again presents the works of artists from Bosnia and Herzegovina, Serbia, Slovenia, Croatia and Russia focused on critical social analysis and testimonies of violence and trauma connected with recent wars in the countries of the former Yugoslavia.
Under a heavy burden of wars, ethnic nationalisms and socioeconomic stratification processes, generated by neoliberal capitalism’s ideology, almost all states formed after the destruction of Yugoslavia suffer from neocolonial dependency imposed by global capital and permanent crisis at the European economic periphery. In such a constantly antagonistic social and political context there are certain requested positions in which testimonies of war trauma are represented, manifested and interpreted. That is why many representations in the field of cultural production and contemporary art don’t succeed to escape from stereotypes.
The exhibition I Will Never Talk about the War Again deals with the question can contemporary artistic practice find a language with which it would be possible to speak politically about individual and collective war and post-war experiences, without slipping into exoticization? Is it possible to find an adequate artistic formula, and is it always necessary to create empathy in the process of understanding? Silence and amnesia are the most common reactions to trauma; does art in this sense actually also remain silent by using only the symbolic language of images and sounds, staying in the field of mediation and symbolism?
Curated by Vladan Jeremić
'That Passes Between Us' revisits this ambitious curatorial project selecting some of the work exhibited in Konjic, expanding with projects that deal with reality and past of Bosnia and Herzegovina and bringing them into a dialogue with works that share mutual concerns of exploring a contemporaneity braced over the triple edge of failed political projects, utopian fictions and strategies of tomorrow. Borrowing from the bunkers pre-apocalyptic mood this exhibition focuses on terrors of military prowess - from Cold War tensions, Balkan massacres, violence, revolutions and the societies these events leave in their wake. The images offered address the past with a message of urgency that talk to the present and imagine the future, at an end of an era, in the light of our rapidly changing social and political environment.
Irit Rotgoff writes: 'In Nancy's assertion that "everything, then, passes between us" do we not also have the conditions of the exhibition? And in these conditions do we not have the possibilities to shift the gaze away from art works that might critically alert us to certain untenable states of the world, away from exhibitions that make those states of hegemonic breach and unease the subject and focal point of saturated vision, and towards everything that passes between us in the process of those confrontations. Therefore we do not necessarily undergo an experience of being informed, of being cautioned, of being forced to look at that which we might so comfortably avert our gaze from, but perhaps we recognize how deeply embedded we are in the problematic, of how mutual our disturbance and fear and that we in Nancy's words 'share this turmoil' as the very production of its meanings.'
May 16 - May 27
La Maison Folie Wazemmes,
Lille, France
Within the nation state border concept only capital can move freely without any control. It presents just one of the examples of global capitalist exclusive policy where values of social equality and equal access are mostly ignored or denied. The concern for well-being of each individual is reduced to repressive bio-politic and everyone else, except yourself, knows best what is good for you. In addition the borders between public and private, responsibilities and rights are blurred or misplaced. The next revolution will be based on empathy and sharing - we are emotional animals and we know it.
Two European cities of comparable size yet very different cultural and historical backgrounds are the starting point for this exhibition. What is on display are works created by artists from Sarajevo and Graz which refer to the respective cities and address questions pertaining to identity and (urban) life. With regard to the subject matter, the artistic contributions explore private and collective memories, hidden hi/stories, transformations and discontinuities in the present and in the past as well as positive fictions of living together.
Abb.: Nebojša Šeric Shoba, „Be realistic, demand the impossible“, 2011
ARTISTS: Lana Čmajčanin / Adela Jušić, Jusuf Hadžifejzović, Andreas Heller, Amir Idrizović, Adla Isanović, ILA, Šejla Kamerić, Helmut Kaplan (tonto), Richard Kriesche, Kurt & Plasto, Mirko Marić, Damir Nikšić / Michael Blum, Edin Numankadić, Damir Šagolj, Nebojša Šerić Shoba, eva helene stern***, Edda Strobl (tonto), Markus Wilfling, zweintopf
Two European cities of comparable size yet very different cultural and historical backgrounds are the starting point for this exhibition. What is on display are works created by artists from Sarajevo and Graz which refer to the respective cities and address questions pertaining to identity and (urban) life. With regard to the subject matter, the artistic contributions explore private and collective memories, hidden hi/stories, transformations and discontinuities in the present and in the past as well as positive fictions of living together.
Curated by Lejla Hodžić, Karin Lernbeiß, Margarethe Makovec, Eva Meran
/ / 2011 / /
Komplot,
Brussels, Belgium
Nikolay
Oleynikov (Chto Delat and more) in collaboration with Belgium-based
artists and dancers
Invited
guests: choreographer ULA SICKLE, artists Rossella Biscotti, Adela Jusic and
Lana Cmajcanin, philosopher Oxana Timofeeva, film-programme curator Ils Huygens
and more (TBA)
A learning mural curated by Elena Sorokina
TULCA - Festival of Visual Art
November
16, 2011
Live @
8, Galway, Ireland
Artists: Oliver
Ressler, Joanne Richardson, Chto Delat?, Rena Rädle, Vladan Jeremić, Saša
Barbul, Damir Nikšić, Riikka Kuoppala, Adela Jušić, Lana Čmajčanin
"The
Perspectives, Part 1 - The scope of political practices of moving images today”
A Selection of video artworks, films and video performances made
by Vladan Jeremić
Tulca is a multi-venue Visual Art festival which
takes place in Galway City & County annually since 2002. The programme
includes local and national artists as well as international artists who are
invited to showcase their work in Galway. TULCA is funded by Galway City and
County Council and the Arts Council of Ireland. Tulca is run by a voluntary
board engaging an administrator and curator.
Tulca's
vision is to be accessible to a wide-ranging audience featuring local and
international exhibitions, live art performances, talks and discussions with
admission free to all events.
For more information, download the full Programme
for Tulca festival in Galway here
Video-Salon 5
Curatorial Rebound
05 November 2011 - 15 November 2011
Gallery Duplex/10m2
Sarajevo, Bosnia and Herzegovina
Collective exhibition of video art gathering around 350 artists: this is a
fragmentary panorama of a contemporary activity whose formal multiplicity and
abundance coerce us into questioning the reality of what is “visual”, it’s
temporality and it’s mobility.
We have no other ambition here than to
open up a crack in the video-graphic universe, to give a glimpse of the
richness and multiplicity of form of the medium, with no attempt at extracting
one or several tendencies that would serve to somehow refine an act of showing
that intends to be purely “raw”. No subjects, no central questions, no
techniques, no set time limit. The curatorial work functions by ricochet.
The gallery invites numerous artistes and
several curators, as each of the artists can invite another, who in turn can
submit the work of a third artist, etc.
We present the Video-Salon Collection, a
free and empirical principle of accumulation of works, to which the spontaneity
of the presentation corresponds: cosy salons, free access to more than 400
videos, flat screens and DVD players.
Here you can find the list
of the artist represented in Video-Salon Collection
Photo
by Veronika Somnitz
Cross Border
Experience
If you’re trapped in the dream of the other,
you’re fucked
Škuc Gallery, Ljubljana,
Slovenia
Artists: Milijana
Babić (Croatia), Ozana Brković (Montenegro), Enisa
Cenaliaj (Albania), Nemanja Cvijanović (Croatia), Lana Čmajčanin
(Bosnia and Herzegovina), Igor Grubić (Croatia), Biljana
Garvanlieva (Macedonia), Gözde Ilkin (Turkey), Sebstjan
Leban and Staš Keindienst (Slovenia), Kristina
Leko(Croatia/Germany), Ivana Marjanović and Edurad
Freudmann (Serbia/Austria), Alban Muja (Kosovo) and Damir
Nikšić (Bosnia and Herzegovina), Rena Rädle and Vladan
Jeremić (Serbia/Germany)
In Europe (and
globally) we are currently facing not only an economical but also a moral
crisis, which is actually a crisis of the political. On the European periphery,
where the Cross Border Experience artists are coming from, is
this crisis far more intensified than it is at the centre. It is obvious that
politicians failed in their primary task (as defined already by Aristoteles),
which is, on one hand, the distribution of wealth, and on the other hand the
distribution of various powers. In a situation of unemployment, precarious work
and growing masses of those with no means (aporoi) it is becoming more
and more difficult to legitimize the social and political division for the
small number of those who have means as well as various political powers (euporoi).
The political is therefore changing its place. It is crossing the border from
the centre and moving to the ‘shores’. The aporoi and with
them also the arts are becoming political. The Cross Border Experience Art
Programme will present some of the arti(vi)stic positions towards
different aspects of social and political life in the Balkan region as well as
in broader Europe. By doing so it will remind us how essential is to maintain
the tension between art and politics – as politics of art and poetics of
politics can’t come together without a mutual oppression of each other (cf.
Jacques Rancière).
Cross Border
Experience is a trans-state / trans-border / trans-national project that
centres on the question as to how the idea of the European Union could be
thought of as a trans-national political project. The project searches for the
(political) subject of this utopian Europe beyond nationalism, ethnicism, and
colonialism; is the precondition for this the EU citizenship or could also “the
Others,” who are a part of Europe but not (yet) in the EU, claim political
agency? It became clear that the European unification is a challenging and
troubling process. On the one hand, we can speak about the real impossibility
of European unification as long as we operate in categories such as “us” and
“them”, “old” and “new”, “big” and “small”. At the same time, the EU proved not
only to raise borders around itself, thus constructing a permanent “EU” and
“the Other” territorial and symbolic divide, but such demarcation processes are
also at work inside the EU: i.e. the former West vs. former East, as well as
South vs. North.
The transnational and
transdisciplinary Cross Border Experience conference is a come-together of
socially and politically engaged activists, cultural workers, academics,
theoreticians, artists and non-governmental, research, cultural and artistic
organisations from all the EU and EU-to-be countries of the Balkans and from
Turkey with an aim to address pertinent issues within the EU, the EU
enlargement process and the situation of the candidate countries.
The Cross Border
Experience art programme, taking place in the framework of the above mentioned
conference, will present some of the current art positions from the Balkans and
Turkey. Through these diverse activities the project seeks to add to the critical
reflection of the current “European question,” as well as to encourage the
long-term and fruitful networking and exchange processes among all of the
involved participants, organisations, as well as the wider publics in the
broader European space.
Curated by Katja
Kobolt
October 13 – 16, 2011
Gliptoteka Gallery,
Zagreb, Croatia
Artists: Nika
Autor (Ljubljana), Milijana Babič (Rijeka), Ana Baraga (Ljubljana), Ana Čigon
(Ljubljana), Lana Čmajčanin (Sarajevo), Lina Dokuzović (Vienna, Zagreb),
Sandra Dukić (Banja Luka), Flaka Haliti (Pristina, Frankfurt), Tea Hvala
(Ljubljana), Damir Imamović (Sarajevo), Gabrijela Ivanov (Zagreb), Adela Jušić
(Sarajevo), Vlatka Primorac (Zagreb/Baška), Lidija Radojević (Ljubljana),
Svetlana Slapšak (Ljubljana/Beograd)
The
Bring In Take Out Living Archive is a collaborative art project that works on
the principals of sharing, information exchange, and ‘collective vs. individual
knowledge’. With this continuous open call we are looking for information,
documentation of art works and art works of women and feminist artists from the
(trans/post)Yugoslav space.
The still variably
named region, mostly known as the Balkans, shares the common past of the
country created/existed/destroyed during the long-lasting and turbulent 20th
century. Defined by post-socialist transitional reversals (gender, class,
nation), the newly established countries in the post-Yugoslav space have taken
different roads towards the future, which this time share novel social and
cultural frameworks of political amnesia and historical revisionism.
The la selection of
art works/exhibition presents a kind of a visual springboard of the entire la
project. In regard to the question of feminism and art, three contexts can be
extracted that go along with the intention to visualize (with contemporary art
works) the event that is formally and content wise conceived with a feminist
agenda. With the la Zagreb selection of art works, we hope to touch some of the
aspects of the way in which feminism materializes in art, with a focus on the
post/Yugoslav context. The three contexts relating to the selection are: the
institutionalization methodology; new meanings through new readings; and
geo-bio-politics of trans/post-Yugoslavia.
The first edition of
the LA will be organized in the framework of the REDacting TransYugoslav
Feminisms: Women’s Heritage Revisited conference organized by the Center for
Women’s Studies Zagreb.
The
Zagreb edition of the Bring In Take Out Living Archive will feature an
exhibition, live video/photo/audio documentation, different live working
stations, interviews, discussions, artists’ talks and a performance as well as
a concert by artists.
The RED MIN(E)D are:
Danijela Dugandžić Živanović (CRVENA, Sarajevo),
Dunja Kukovec (CRVENA, Ljubljana/ Sarajevo), Katja Kobolt PhD. (MINA, Ljubljana/Munich)
and Jelena Petrović PhD. (MINA, Belgrade/Ljubljana)
For more information, download the exhibition
booklet as pdf here
24
September – 30 October 2011
Neue Gesellschaft für Bildende Kunst, NGBK, Berlin, Germany
Artists: Adela
Jušić / Lana Čmajčanin, Alban Muja, Bojan Fajfrić, Damir Radović, Igor Grubić,
Hristina Ivanoska, Klopka za pionira, Marko Krojač (Marc Schneider), Marijan
Crtalić, Marcel Mališ, Grupa Spomenik (Damir Arsenijević, Jelena
Petrović, Branimir Stojanović, Milica Tomić / Gäste / Guests: Vjollca
Krasniqi, Dubravka Sekulić), Nina Höchtl, Peter Mlakar / Laibach, Phil Collins,
Sebastjan Leban / Staš Kleindienst, Vahida Ramujkić, Vesna Pavlović
Spaceship
Yugoslavia – The Suspension of Time seeks
to investigate the treatment of (post-) yugoslav history from a contemporary
perspective. The exhibition presents artistic projects as well as theoretical
positions that highlight political and socio-economic aspects of the
post-Yugoslav reality. It aims to strengthen and establish critical viewpoints
on the various politics of the former Yugoslav nationstates in the so-called
transition to capitalism.
Since the
transformation of the European socialist state systems after 1989, the
political positions of the postcommunist era have negated almost every facet of
the previous system as part of a totalitarian entity in an effort to legitimize
their own claims for freedom regarding ethnic identity and/or private
ownership.
By challenging such tendencies, the exhibition seeks to address the topic of a
Socialist reality – often dismissed as “historical” – which allows the
possibility of re-thinking and re-naming such reality as an alternative
construction. “Evacuated” from the sphere of the private-personal, the topic
will be analysed within the context of concrete political developments such as
the recent or future integration of the ex-Yugoslav states into the European
Union. Beyond romanticizing retrospect or established (art-)historical
positions of dissidence, the NGBK exhibition presents works predominantly by
younger artists. The show aims to serve as a platform for self-initiated
education and as a framework for reflection, within which a range of critical
perspectives on the past and the present can become manifest.
Spaceship Yugoslavia poses
the question: in what way can this past be thought of and reflected on today, a
past which for a younger generation is accessible only through the filter of an
ideologically led public denial? To what extent could a recognition of this
past possibly contribute to the conception of future realities without being
caught up in nostalgia or revisionism? This question concerns more than the
analysis of “historical reality” presented in former Yugoslavia today; it is
also the Berlin context which lends itself to a renewed investigation into the
narratives of the prevailing German unification discourse.
Spaceship Yugoslavia–The Suspension of Time invites visitors to query normative
narrations and to counter them by means of meticulous research and aesthetic
examination.
A project by: Neue Gesellschaft für Bildende
Kunst, NGBK Berlin:
Anita Šurkić, Arman Kulašić, Arnela Mujkanović,
Dejan Marković, Jovana Komnenić, Katja Sudec, Naomi Hennig
Photos from NGBK opening of Spaceship Yugoslavia/The Suspension of Time
Photo by Nihad Nino Pušija
I Will Never Talk About The War Again
September 17 – November 19, 2011
Färgfabriken - Centre for contemporary Art, Architecture, Society
Stockholm, Sweden
Artists: Marina Abramović, Lana Čmajčanin, Chto Delat?,
Igor Grubić, Živko Grozdanić Gera, Adela Jušić, Nikolay Oleynikov, Shadow
Museum, Alma Suljević, Jaroslav Supek
The show is part of Färgfabriken’s global project
Psychosis.
I Will Never Talk About the War
Again* relates the condition of society with personal experience.
Presented artists are related to the Balkans and deal with testimonies of
trauma or collective psychosis of the traumatic post-war society, yet try to
avoid stereotypes or to exoticize.
Based on the situation in the Balkans today, we
want to illustrate the relationship between individual and society. Many people
in former Yugoslavia suffer from traumatic experiences from the war in the 90s.
Nationalism, homophobia, xenophobia or non-tolerance toward any different
social group can be seen as complex post war syndromes and are hard-core
reality of such societies. The situation in the Balkans also reflects what is
happening in many other places in the world today.
This falls major exhibition at Färgfabriken is the
first part of a long-term commitment called Psychosis. A global project
intended to illuminate the human psyche, both from an individual and collective
perspective. In a series of events, we will deal with aspects of the project
theme. It touches on areas such as political extremism, alternative social
structures or the human perception. We are interested in how these phenomena
are expressed and interpreted in art, literature and science.
Subsequent events and themes within the project Psychosis will take place over
a long period, through exhibitions, publications, screenings, seminars, or
combinations thereof.
*The exhibition title is taken from two of the
participating artists', Lana Čmajcanin and Adela Jusic, video performance by
the same name.
Curated by Vladan Jeremić
For more information, download
the exhibition catalogue as pdf here
Photo by Rena Rädle & Vladan Jeremic
27 May 2011 – 27 September 2011
The Biennale of Contemporary Art D-O
Ark Underground,
Konjic, Bosnia and Herzegovina
Artists:
Hüseyin Bahri Alptekin, Caner Aslan, Maja Bajević, Blue Noses, Veronica
Brovall, Bunker Research Group, Petr Bystrov, Braco Dimitrijević, Jim Finn,
Lana Čmajčanin, Igor Grubić, Tina Gverović & Siniša Ilić, Allard Van
Der Hoek, Vlatka Horvat & Tim Etchells, Pravdoliub Ivanov, Villu Jaanisoo,
Bojan Jovanović & Smilja Ignjatović, Šejla Kamerić, Karsten Konrad,
Marko Lulić, Basim Magdy, David Maljković, Radenko Milak, Mladen Miljanović,
Museum Of American Art (Berlin), Ioana Nemes, Ahmet Öğüt, Milija Pavićević,
Marko Peljhan, Ivan Petrović, Tobias Putrih, Lisi Raskin, Lala Raščić, Römer +
Römer, Erzen Shkololli, Group Spomenik, Alma Suljević, Sz. Berlin, Nebojša Šerić
Shoba, Škart, Wolfgang Thaler, Dragoljub Raša Todosijević, Jelena Tomašević,
Alma Suljević, Natalija Vujošević, Xyz (Matej Gavula & Milan Tittel)
The
Atomic War Command in the Bosnian town of Konjic was the largest underground
facility ever built in Socialist Federal Republic of Yugoslavia and one of the
most massive construction projects in its history. Dedicated to sheltering the
Yugoslav Army headquarters along with 350 selected men and women in the event
of nuclear war, this space was built over a period of almost three decades
(from 1950s to 1970s) and cost billions of dollars. Today the ARK has all the
characteristics of a failed Cold War investment. The nuclear catastrophe it was
meant to survive never occurred and the state which had systematically worked
to defend itself in case of such a disaster, dissolved in a conventional war
fought with far less technologically advanced means.
The
historical lesson is unambiguous. Nonetheless, it should not be approached with
cold cynicism as a symbol of a failed political project. Today the bunker in
Konjic is gradually becoming a time machine that inspires us to travel as much
into the past as into the future. This journey is initiated and mediated by
innovative practices of contemporary art, in the form of some inquiries into
implications and consequences this unique place, and its historical tale.
The
ARK can be stirred, analyzed and actualized through various artistic
interventions by creating different nodes of ambiguous meanings where space and
time meet, both sensually and politically. The bunker was a place to provide
shelter and sustenance for a limited number of people during a brief period of
time during a potential catastrophe. The exhibition could therefore become a
"simulation of life" in restricted circumstances of the notion of
pure "survival", with all its accompanying political and psychological
(personal/intimate) experiences and insights. While the invited artists will be
asked to base their work contextually, they will also be asked to freely
broaden this context to include contemporary implications that can trigger the
relevant questions that we ask ourselves about the future of the entire planet.
In
the field of contemporary culture and media, the issues raised by this location
and this project are reflected in the dominant "pre-apocalyptic"
mood: climate change, environmental pollution, rapid depletion of natural
energy resources, dispersion of the nuclear arsenal (with the possibility that
not only states but also powerful individuals may possess the capacity to
develop and launch such weapons), drastic increase in population with resultant
poverty, an expanding "third world" in a global
"post-industrial" economic and political system, aggressive
privatization of public goods - including "universal knowledge"
itself, repressive political dictatorships and growing fundamentalist religious
fanaticism announcing the upcoming "end of the world", etc...
The
first edition of the Biennial will
be realized under the title NO NETWORK. The title came out of a simple observation: the
bunker is a secluded and isolated space preventing us to use the contemporary
means of individual communication, such are the mobile phones which inform us
that there is "no network connection" available there. In such a
physical and psychical isolation, this space becomes rather a space of anxious
reflection then a space of some unflappable communication. This does not imply
that an exhibition as such is not crucially a form of communication between
artists, their works and the space itself - but by stressing the ability of art
to generate knowledge end emotions mutually reflecting each other, we would
like to counter the omnipresence of the rhetoric of "networking" as
very often devoid of concentrated solitude of subjectivity from which artistic
endeavor transpires. However, artists invited to participate in the project
will primarily be those whose work is concerned with different aspects of
"artistic research" and other "non-disciplinary" modes of
production of inter-subjectivity in the field of contemporary experience which
is otherwise increasingly getting emptied of forms of reflexive communication
in a "common language".
Curated
by Branislav
Dimitrijević
For more information,
download the exhibition guide as pdf here
28 April 2011 – 23 June 2011
The Center for
Contemporary Art, Tel Aviv, Israel
Artists:
Yael Brandt, “Breaking the Silence” (with Miki Kratsman and Avi Mograbi), Lana
Čmajčanin, Juan Manuel Echavarria, Julia Meltzer and David Thorne (with rami
Farah), Avi Mograbi, Christoph Weber, Rona Yefman, Mich'ael Zuprzner
In the artistic discourse, a long exposure
is used to describe a photograph taken with slow shutter speed. During the long
exposure to light, the details are gradually revealed and deciphered. In
psychological jargon, “prolonged exposure” is a therapy technique developed recently
by Dr Edba Foa, which has gained worldwide popularity in treatment of
post-trauma patients. As part of the “prolonged exposure” therapy, the patient
is exposed to elements tied in his memory with the traumatic event.
Most of the works in Prolonged Exposure, are video pieces created as a result of long-term
documentation. The creators of these projects introduce stories which touch
upon the notion of trauma, and depict a reality of power struggles,
exploitation and manipulation, violence and chaos. Through this long
photographic process, they ask their protagonists to reveal their individual
traumatic stories. The testimonies bring to light the hidden trauma, thus
echoing the “prolonged exposure” therapy technique.
The stories originate in different parts of the world—from
Israel to the west bank, Syria, Bosnia, Colombia and Austria. Although they
deal with biographical experiences, the works don’t present direct testimonies,
but touch upon the crisis of testimony, and its inability to reflect an
all-encompassing historical truth. The performativity of the testimonies
offered by the artists of “Prolonged Exposure” represents an abandonment of the
need to represent the real in a conventional manner, and an attempt to
construct a new reality.
The artists in Prolonged Exposure — like many of their peers in film and
video-art—have ceased to present an uncritical vision of the real through the
documentary. They have instead chosen to blur the boundaries between documenter
and documented, and to undermine the author’s authority by leaving their
position behind the camera, entering the photographic frame, and by handing the
camera to the subjects themselves—either physically or by foregoing control
over the mode of documentation and the process.
The externalization and the undermining of the customary
power relations between documenter and documented, with regard for the
resulting internal contradictions and complexities, is a call to alter the
existing balance of powers between strong and weak, heard and silenced. The
shift proposed by the artists of Prolonged Exposure challenges the assumptions regarding what
truth is, and who is authorized to be the bearer and speaker of that truth. The
exhibition calls upon the viewer to reconsider her passive position in the
power relations of representation, and to take a more active position in their
realignment.
Curated
by Maayan Sheleff
http://www.midnighteast.com/mag/?p=12046
http://www.artiscontemporary.org/agenda_detail.php?id=450
http://cca.org.il/?p=3761&lang=en
Photo by Maayan Sheleff
Statement: I Advocate Feminism
12 February 2011 – 25 February 2011ArtPoint Gallery –
KulturKontakt Austria,
Vienna, Austria
Artists: Elena Kovylina, Lana Čmajčanin, Igor Grubić, Patricia Teodorescu
The
exhibition I Advocate Feminism deals with the feminist battle
against everyday discrimination, sexual oppression and patriarchal modes of
behavior, and presents feminism as a general form of political and social
commitment. It focuses not only on women-specific issues, but also on the
transformation to equal treatment of and between the sexes and the concomitant
end of patriarchy.
Curated
by Olivia Nitis
Photo by Olivia NItis
Nikolay
Oleynikov (Chto Delat and more) in collaboration with Belgium-based
artists and dancers
Invited
guests: choreographer ULA SICKLE, artists Rossella Biscotti, Adela Jusic and
Lana Cmajcanin, philosopher Oxana Timofeeva, film-programme curator Ils Huygens
and more (TBA)
A learning mural curated by Elena Sorokina
TULCA - Festival of Visual Art
November 16, 2011
Live @ 8, Galway, Ireland
Artists: Oliver Ressler, Joanne Richardson, Chto Delat?, Rena Rädle, Vladan Jeremić, Saša Barbul, Damir Nikšić, Riikka Kuoppala, Adela Jušić, Lana Čmajčanin
"The
Perspectives, Part 1 - The scope of political practices of moving images today”
A Selection of video artworks, films and video performances made
by Vladan Jeremić
Tulca is a multi-venue Visual Art festival which takes place in Galway City & County annually since 2002. The programme includes local and national artists as well as international artists who are invited to showcase their work in Galway. TULCA is funded by Galway City and County Council and the Arts Council of Ireland. Tulca is run by a voluntary board engaging an administrator and curator.
Tulca's vision is to be accessible to a wide-ranging audience featuring local and international exhibitions, live art performances, talks and discussions with admission free to all events.
For more information, download the full Programme for Tulca festival in Galway here
Video-Salon 5
Curatorial Rebound
05 November 2011 - 15 November 2011
Gallery Duplex/10m2
Sarajevo, Bosnia and Herzegovina
Collective exhibition of video art gathering around 350 artists: this is a
fragmentary panorama of a contemporary activity whose formal multiplicity and
abundance coerce us into questioning the reality of what is “visual”, it’s
temporality and it’s mobility.
We have no other ambition here than to open up a crack in the video-graphic universe, to give a glimpse of the richness and multiplicity of form of the medium, with no attempt at extracting one or several tendencies that would serve to somehow refine an act of showing that intends to be purely “raw”. No subjects, no central questions, no techniques, no set time limit. The curatorial work functions by ricochet.
The gallery invites numerous artistes and several curators, as each of the artists can invite another, who in turn can submit the work of a third artist, etc.
We present the Video-Salon Collection, a free and empirical principle of accumulation of works, to which the spontaneity of the presentation corresponds: cosy salons, free access to more than 400 videos, flat screens and DVD players.
Here you can find the list of the artist represented in Video-Salon Collection
Photo by Veronika Somnitz
Cross Border
Experience
If you’re trapped in the dream of the other,
you’re fucked
Škuc Gallery, Ljubljana, Slovenia
Artists: Milijana Babić (Croatia), Ozana Brković (Montenegro), Enisa Cenaliaj (Albania), Nemanja Cvijanović (Croatia), Lana Čmajčanin (Bosnia and Herzegovina), Igor Grubić (Croatia), Biljana Garvanlieva (Macedonia), Gözde Ilkin (Turkey), Sebstjan Leban and Staš Keindienst (Slovenia), Kristina Leko(Croatia/Germany), Ivana Marjanović and Edurad Freudmann (Serbia/Austria), Alban Muja (Kosovo) and Damir Nikšić (Bosnia and Herzegovina), Rena Rädle and Vladan Jeremić (Serbia/Germany)
In Europe (and globally) we are currently facing not only an economical but also a moral crisis, which is actually a crisis of the political. On the European periphery, where the Cross Border Experience artists are coming from, is this crisis far more intensified than it is at the centre. It is obvious that politicians failed in their primary task (as defined already by Aristoteles), which is, on one hand, the distribution of wealth, and on the other hand the distribution of various powers. In a situation of unemployment, precarious work and growing masses of those with no means (aporoi) it is becoming more and more difficult to legitimize the social and political division for the small number of those who have means as well as various political powers (euporoi). The political is therefore changing its place. It is crossing the border from the centre and moving to the ‘shores’. The aporoi and with them also the arts are becoming political. The Cross Border Experience Art Programme will present some of the arti(vi)stic positions towards different aspects of social and political life in the Balkan region as well as in broader Europe. By doing so it will remind us how essential is to maintain the tension between art and politics – as politics of art and poetics of politics can’t come together without a mutual oppression of each other (cf. Jacques Rancière).
Cross Border Experience is a trans-state / trans-border / trans-national project that centres on the question as to how the idea of the European Union could be thought of as a trans-national political project. The project searches for the (political) subject of this utopian Europe beyond nationalism, ethnicism, and colonialism; is the precondition for this the EU citizenship or could also “the Others,” who are a part of Europe but not (yet) in the EU, claim political agency? It became clear that the European unification is a challenging and troubling process. On the one hand, we can speak about the real impossibility of European unification as long as we operate in categories such as “us” and “them”, “old” and “new”, “big” and “small”. At the same time, the EU proved not only to raise borders around itself, thus constructing a permanent “EU” and “the Other” territorial and symbolic divide, but such demarcation processes are also at work inside the EU: i.e. the former West vs. former East, as well as South vs. North.
The transnational and transdisciplinary Cross Border Experience conference is a come-together of socially and politically engaged activists, cultural workers, academics, theoreticians, artists and non-governmental, research, cultural and artistic organisations from all the EU and EU-to-be countries of the Balkans and from Turkey with an aim to address pertinent issues within the EU, the EU enlargement process and the situation of the candidate countries.
The Cross Border Experience art programme, taking place in the framework of the above mentioned conference, will present some of the current art positions from the Balkans and Turkey. Through these diverse activities the project seeks to add to the critical reflection of the current “European question,” as well as to encourage the long-term and fruitful networking and exchange processes among all of the involved participants, organisations, as well as the wider publics in the broader European space.
Curated by Katja Kobolt
October 13 – 16, 2011
Gliptoteka Gallery, Zagreb, Croatia
Artists: Nika Autor (Ljubljana), Milijana Babič (Rijeka), Ana Baraga (Ljubljana), Ana Čigon (Ljubljana), Lana Čmajčanin (Sarajevo), Lina Dokuzović (Vienna, Zagreb), Sandra Dukić (Banja Luka), Flaka Haliti (Pristina, Frankfurt), Tea Hvala (Ljubljana), Damir Imamović (Sarajevo), Gabrijela Ivanov (Zagreb), Adela Jušić (Sarajevo), Vlatka Primorac (Zagreb/Baška), Lidija Radojević (Ljubljana), Svetlana Slapšak (Ljubljana/Beograd)
The Bring In Take Out Living Archive is a collaborative art project that works on the principals of sharing, information exchange, and ‘collective vs. individual knowledge’. With this continuous open call we are looking for information, documentation of art works and art works of women and feminist artists from the (trans/post)Yugoslav space.
The still variably named region, mostly known as the Balkans, shares the common past of the country created/existed/destroyed during the long-lasting and turbulent 20th century. Defined by post-socialist transitional reversals (gender, class, nation), the newly established countries in the post-Yugoslav space have taken different roads towards the future, which this time share novel social and cultural frameworks of political amnesia and historical revisionism.
The la selection of art works/exhibition presents a kind of a visual springboard of the entire la project. In regard to the question of feminism and art, three contexts can be extracted that go along with the intention to visualize (with contemporary art works) the event that is formally and content wise conceived with a feminist agenda. With the la Zagreb selection of art works, we hope to touch some of the aspects of the way in which feminism materializes in art, with a focus on the post/Yugoslav context. The three contexts relating to the selection are: the institutionalization methodology; new meanings through new readings; and geo-bio-politics of trans/post-Yugoslavia.
The first edition of the LA will be organized in the framework of the REDacting TransYugoslav Feminisms: Women’s Heritage Revisited conference organized by the Center for Women’s Studies Zagreb.
The Zagreb edition of the Bring In Take Out Living Archive will feature an exhibition, live video/photo/audio documentation, different live working stations, interviews, discussions, artists’ talks and a performance as well as a concert by artists.
The RED MIN(E)D are:
Danijela Dugandžić Živanović (CRVENA, Sarajevo), Dunja Kukovec (CRVENA, Ljubljana/ Sarajevo), Katja Kobolt PhD. (MINA, Ljubljana/Munich) and Jelena Petrović PhD. (MINA, Belgrade/Ljubljana)
For more information, download the exhibition booklet as pdf here
24
September – 30 October 2011
Neue Gesellschaft für Bildende Kunst, NGBK, Berlin, Germany
Artists: Adela Jušić / Lana Čmajčanin, Alban Muja, Bojan Fajfrić, Damir Radović, Igor Grubić, Hristina Ivanoska, Klopka za pionira, Marko Krojač (Marc Schneider), Marijan Crtalić, Marcel Mališ, Grupa Spomenik (Damir Arsenijević, Jelena Petrović, Branimir Stojanović, Milica Tomić / Gäste / Guests: Vjollca Krasniqi, Dubravka Sekulić), Nina Höchtl, Peter Mlakar / Laibach, Phil Collins, Sebastjan Leban / Staš Kleindienst, Vahida Ramujkić, Vesna Pavlović
Spaceship Yugoslavia – The Suspension of Time seeks to investigate the treatment of (post-) yugoslav history from a contemporary perspective. The exhibition presents artistic projects as well as theoretical positions that highlight political and socio-economic aspects of the post-Yugoslav reality. It aims to strengthen and establish critical viewpoints on the various politics of the former Yugoslav nationstates in the so-called transition to capitalism.
Since the transformation of the European socialist state systems after 1989, the political positions of the postcommunist era have negated almost every facet of the previous system as part of a totalitarian entity in an effort to legitimize their own claims for freedom regarding ethnic identity and/or private ownership.
By challenging such tendencies, the exhibition seeks to address the topic of a Socialist reality – often dismissed as “historical” – which allows the possibility of re-thinking and re-naming such reality as an alternative construction. “Evacuated” from the sphere of the private-personal, the topic will be analysed within the context of concrete political developments such as the recent or future integration of the ex-Yugoslav states into the European Union. Beyond romanticizing retrospect or established (art-)historical positions of dissidence, the NGBK exhibition presents works predominantly by younger artists. The show aims to serve as a platform for self-initiated education and as a framework for reflection, within which a range of critical perspectives on the past and the present can become manifest.
Spaceship Yugoslavia poses
the question: in what way can this past be thought of and reflected on today, a
past which for a younger generation is accessible only through the filter of an
ideologically led public denial? To what extent could a recognition of this
past possibly contribute to the conception of future realities without being
caught up in nostalgia or revisionism? This question concerns more than the
analysis of “historical reality” presented in former Yugoslavia today; it is
also the Berlin context which lends itself to a renewed investigation into the
narratives of the prevailing German unification discourse.
Spaceship Yugoslavia–The Suspension of Time invites visitors to query normative
narrations and to counter them by means of meticulous research and aesthetic
examination.
A project by: Neue Gesellschaft für Bildende Kunst, NGBK Berlin:
Photos from NGBK opening of Spaceship Yugoslavia/The Suspension of Time
I Will Never Talk About The War Again
September 17 – November 19, 2011
Färgfabriken - Centre for contemporary Art, Architecture, Society
Stockholm, Sweden
The show is part of Färgfabriken’s global project Psychosis.
I Will Never Talk About the War Again* relates the condition of society with personal experience. Presented artists are related to the Balkans and deal with testimonies of trauma or collective psychosis of the traumatic post-war society, yet try to avoid stereotypes or to exoticize.
Based on the situation in the Balkans today, we want to illustrate the relationship between individual and society. Many people in former Yugoslavia suffer from traumatic experiences from the war in the 90s. Nationalism, homophobia, xenophobia or non-tolerance toward any different social group can be seen as complex post war syndromes and are hard-core reality of such societies. The situation in the Balkans also reflects what is happening in many other places in the world today.
*The exhibition title is taken from two of the participating artists', Lana Čmajcanin and Adela Jusic, video performance by the same name.
Curated by Vladan Jeremić
For more information, download the exhibition catalogue as pdf here
Photo by Rena Rädle & Vladan Jeremic
27 May 2011 – 27 September 2011
The Biennale of Contemporary Art D-O Ark Underground,
Konjic, Bosnia and Herzegovina
Artists: Hüseyin Bahri Alptekin, Caner Aslan, Maja Bajević, Blue Noses, Veronica Brovall, Bunker Research Group, Petr Bystrov, Braco Dimitrijević, Jim Finn, Lana Čmajčanin, Igor Grubić, Tina Gverović & Siniša Ilić, Allard Van Der Hoek, Vlatka Horvat & Tim Etchells, Pravdoliub Ivanov, Villu Jaanisoo, Bojan Jovanović & Smilja Ignjatović, Šejla Kamerić, Karsten Konrad, Marko Lulić, Basim Magdy, David Maljković, Radenko Milak, Mladen Miljanović, Museum Of American Art (Berlin), Ioana Nemes, Ahmet Öğüt, Milija Pavićević, Marko Peljhan, Ivan Petrović, Tobias Putrih, Lisi Raskin, Lala Raščić, Römer + Römer, Erzen Shkololli, Group Spomenik, Alma Suljević, Sz. Berlin, Nebojša Šerić Shoba, Škart, Wolfgang Thaler, Dragoljub Raša Todosijević, Jelena Tomašević, Alma Suljević, Natalija Vujošević, Xyz (Matej Gavula & Milan Tittel)
The Atomic War Command in the Bosnian town of Konjic was the largest underground facility ever built in Socialist Federal Republic of Yugoslavia and one of the most massive construction projects in its history. Dedicated to sheltering the Yugoslav Army headquarters along with 350 selected men and women in the event of nuclear war, this space was built over a period of almost three decades (from 1950s to 1970s) and cost billions of dollars. Today the ARK has all the characteristics of a failed Cold War investment. The nuclear catastrophe it was meant to survive never occurred and the state which had systematically worked to defend itself in case of such a disaster, dissolved in a conventional war fought with far less technologically advanced means.
The historical lesson is unambiguous. Nonetheless, it should not be approached with cold cynicism as a symbol of a failed political project. Today the bunker in Konjic is gradually becoming a time machine that inspires us to travel as much into the past as into the future. This journey is initiated and mediated by innovative practices of contemporary art, in the form of some inquiries into implications and consequences this unique place, and its historical tale.
The ARK can be stirred, analyzed and actualized through various artistic interventions by creating different nodes of ambiguous meanings where space and time meet, both sensually and politically. The bunker was a place to provide shelter and sustenance for a limited number of people during a brief period of time during a potential catastrophe. The exhibition could therefore become a "simulation of life" in restricted circumstances of the notion of pure "survival", with all its accompanying political and psychological (personal/intimate) experiences and insights. While the invited artists will be asked to base their work contextually, they will also be asked to freely broaden this context to include contemporary implications that can trigger the relevant questions that we ask ourselves about the future of the entire planet.
In the field of contemporary culture and media, the issues raised by this location and this project are reflected in the dominant "pre-apocalyptic" mood: climate change, environmental pollution, rapid depletion of natural energy resources, dispersion of the nuclear arsenal (with the possibility that not only states but also powerful individuals may possess the capacity to develop and launch such weapons), drastic increase in population with resultant poverty, an expanding "third world" in a global "post-industrial" economic and political system, aggressive privatization of public goods - including "universal knowledge" itself, repressive political dictatorships and growing fundamentalist religious fanaticism announcing the upcoming "end of the world", etc...
The first edition of the Biennial will be realized under the title NO NETWORK. The title came out of a simple observation: the bunker is a secluded and isolated space preventing us to use the contemporary means of individual communication, such are the mobile phones which inform us that there is "no network connection" available there. In such a physical and psychical isolation, this space becomes rather a space of anxious reflection then a space of some unflappable communication. This does not imply that an exhibition as such is not crucially a form of communication between artists, their works and the space itself - but by stressing the ability of art to generate knowledge end emotions mutually reflecting each other, we would like to counter the omnipresence of the rhetoric of "networking" as very often devoid of concentrated solitude of subjectivity from which artistic endeavor transpires. However, artists invited to participate in the project will primarily be those whose work is concerned with different aspects of "artistic research" and other "non-disciplinary" modes of production of inter-subjectivity in the field of contemporary experience which is otherwise increasingly getting emptied of forms of reflexive communication in a "common language".
Curated by Branislav Dimitrijević
For more information, download the exhibition guide as pdf here
The Center for Contemporary Art, Tel Aviv, Israel
Artists: Yael Brandt, “Breaking the Silence” (with Miki Kratsman and Avi Mograbi), Lana Čmajčanin, Juan Manuel Echavarria, Julia Meltzer and David Thorne (with rami Farah), Avi Mograbi, Christoph Weber, Rona Yefman, Mich'ael Zuprzner
In the artistic discourse, a long exposure is used to describe a photograph taken with slow shutter speed. During the long exposure to light, the details are gradually revealed and deciphered. In psychological jargon, “prolonged exposure” is a therapy technique developed recently by Dr Edba Foa, which has gained worldwide popularity in treatment of post-trauma patients. As part of the “prolonged exposure” therapy, the patient is exposed to elements tied in his memory with the traumatic event.
Most of the works in Prolonged Exposure, are video pieces created as a result of long-term documentation. The creators of these projects introduce stories which touch upon the notion of trauma, and depict a reality of power struggles, exploitation and manipulation, violence and chaos. Through this long photographic process, they ask their protagonists to reveal their individual traumatic stories. The testimonies bring to light the hidden trauma, thus echoing the “prolonged exposure” therapy technique.
The stories originate in different parts of the world—from Israel to the west bank, Syria, Bosnia, Colombia and Austria. Although they deal with biographical experiences, the works don’t present direct testimonies, but touch upon the crisis of testimony, and its inability to reflect an all-encompassing historical truth. The performativity of the testimonies offered by the artists of “Prolonged Exposure” represents an abandonment of the need to represent the real in a conventional manner, and an attempt to construct a new reality.
The artists in Prolonged Exposure — like many of their peers in film and video-art—have ceased to present an uncritical vision of the real through the documentary. They have instead chosen to blur the boundaries between documenter and documented, and to undermine the author’s authority by leaving their position behind the camera, entering the photographic frame, and by handing the camera to the subjects themselves—either physically or by foregoing control over the mode of documentation and the process.
The externalization and the undermining of the customary power relations between documenter and documented, with regard for the resulting internal contradictions and complexities, is a call to alter the existing balance of powers between strong and weak, heard and silenced. The shift proposed by the artists of Prolonged Exposure challenges the assumptions regarding what truth is, and who is authorized to be the bearer and speaker of that truth. The exhibition calls upon the viewer to reconsider her passive position in the power relations of representation, and to take a more active position in their realignment.
Curated by Maayan Sheleff
http://www.midnighteast.com/mag/?p=12046
http://www.artiscontemporary.org/agenda_detail.php?id=450
http://cca.org.il/?p=3761&lang=en
Photo by Maayan Sheleff
Statement: I Advocate Feminism
12 February 2011 – 25 February 2011
ArtPoint Gallery – KulturKontakt Austria,
Vienna, Austria
Curated by Olivia Nitis
10 November 2010 – 15 December 2010
Decolonial Aesthetics, Bogotá, Colombia
Artists: Javier Romero, Alex Schlenker, Jose Alejandro Restrepo, Adela Jusic, Lana Čmajčanin, Petja Dimitrova, Tanja Ostojic, David Rych, Ana Hoffner, Zvonka T Simcic, Leila Cmajcanin, Marina Grzinic, Alina Smid
The exhibition Estéticas Descoloniales is curated by Walter Mignolo, Argentine-born literary critic and professor of literature at Duke University in the United States. Mignolo has made contributions to the field of Cultural Anthropology, Cultural Studies and Literary Theory. In recent years his work has focused on exploring concepts such as colonialism, geopolitics of knowledge, postmodernism, border thinking, among others. This exhibition is organized on the basis of seven “nodes” that are part of an international network of doing and thinking-colonial. Exposure in “knots” can be taken as a metaphor for global rhizomatic connections to the de-colonial thinking and being, the release of “thinking “, the ability and willingness to “think of us.” In turn, each of these “knots” is co-developed by national and international curators. The curators responsible for the organization of the samples are Santiago Rueda, Pedro Pablo Gómez (University District) and María Elvira Ardila (MAMBO).
Selected by Marina Gržinić
Where Everything Is Yet To Happen – Exposures – 2nd chapter
14 October 2010 – 30 November 2010
Exposures - SpaPort biennale 2009/2010, Banja Luka, Bosnia and Herzegovina
Incited by the WEIYTH's underlying concept of a prospective rethinking of the notion of community, the artistic and curatorial propositions at the exhibition opened up a set of topics, designating the course of the further development of the project: the issues of collaboration, complicity, articulation of trauma, exile and return, politics of language, politics of memory, culturalization of politics and politization of art.
These topics have developed into a basis for initiating new collaborations, gathering groups and creating temporary communities of artists, theoreticians, students and curators, in a process of creating new vocabularies that together form Exposures, the second chapter of the project. Like the first one, it is primarily based on insisting on the question: "Can you speak of this?", where an affirmative answer points first of all to an acceptance of responsibility to articulate and question one's own position in relation to the social and political context the project is set in, as well as in relation to particular topics it addresses.
Accepting the invitation to participate in the curatorial, artistic, theoretical and transformational quest, and address the invitation to others, has meant exposing oneself to a state of radical uncertainty. For all involved in the process – organizers, curators, participants, guests, the public – it has meant accepting the state (and action) of exposure without compromise: exposure to precarious financial circumstances, exposure to the gap between the public's expectations formed by dubbing the project a 'biennial' and its decision to question exactly how such a project can subvert the imperative of spectacularity and representation; where 'art' as material product is secondary to the processes of political subjectivization and articulation of relations between all who have been, and who will yet become, involved in the process – being exposed, most importantly, of one to each other.
Invited by DeLVe | Institute for Duration, Location and Variables (Ivana Bago & Antonia Majača)
For more information, download the exhibition catalogue as pdf here
International Women's Film Festival
01 September 2010 – 07 September 2010
International Women’s Film Festival | Israel - Section – Women in War Zones – Balkan, Rehovot, Israel
Artists: Eléonore Faucher, Sarah Leonor, Alice Guy Blaché, Jasmila Žbanić, Lyne Charlebois, Julia Bacha, Susanna Nicchiarelli, Chloé Mazlo, Salome Aleksi-Meskhishvili, Lana Čmajčanin, Andrea Štaka, Brie Turner-O’Banion,Stacy Sherman, Jasmila Žbanić, Adriana Maggs, Valerie Donzelli, Robin Wilby, Solveig Anspach, Urszula Antoniak, Nadejda Koseva, Anastasia Lapsui & Markku Lahmuskallio, Charlene Music, Ruxandra Zenide, Eléonore Faucher, Yonghi Yang, Teresa Fabik, Valerie Donzelli, Floria Sigismondi, Adela Jusic, Samantha Morton, Sophie Deraspe, Shirin Neshat
The 7th International Women's Film Festival will open on September 1st in Rehovot. During one week, over 50 films will be screened, out of which 24 made by Israeli women filmmakers. The festival will focus this year on women in constant conflict areas.
The International Women's Film Festival is the Association's signature project. It functions as a unique stage for the voices and perspectives of women-filmmakers from Israel and from around the world, and grants an extraordinary opportunity for direct encounters with and among filmmakers for female debate on various issues, and of course, for watching a variety of films.