M undus vadit retro 14 Novem ber 2014 at 7pm , Kibla Portal

N E W WS O R KT SE X TC SV C O N T AL IC NT K S
4102
M u n d u s v a d it re t ro
14 N ovem ber 2014 at 7pm ,
K ib la P o rt a l, V a lv a s o rje v a 4 0 , M a rib o r
The exhibition will be opened by the Slovene Minister of Culture, mag. Julijana Bizjak Mlakar.
Will be showing until January 31st 2015.
Open from Tuesday to Saturday between 4pm and 8pm
The sixth large-scale exhibition at KIBLA PORTAL Mundus vadit retro opens, remaps and re-contextualizes memory and history, upon which the present and the future are
substantiated. The exhibition delves into the cultural-political conglomeration of contemporaneity, into the incessant search for identity, into the perpetuum mobile of political
and cultural changes. The artworks confront the tensions that kindle across Europe, both on the collective as well as the individual level. The artists and authors exhibiting in
Mundus vadit retro present more than just their commentaries and reflections, but also their micro-visions and strategies of survival in the modern-day Babylon.
Curators: Aleksandra Kostič and Žiga Dobnikar
Artists: Tina Gverović (HR), Siniša Ilić (RS), Bojan Đorđev (RS), Eszter Szabó (HU), Tehnica Schweiz (HU), Katarina Šević (RS/HU), Maja Hodošček (SI), Adela Jušić (BiH), Andreja
Dugandžić (BiH), Lana Čmajčanin (BiH), Boris Pramatarov (BG), Marcel Mališ (SK), Ana Pečar (SI), Bogdan Girbovan (RO), Anca Benera (RO), Arnold Estefan (RO), Visualizing
Palestine (LB), Jure Cvitan (SI), Rena Rädle (RS/DE), Vladan Jeremić (RS/DE), Tanja Lažetić (SI), Stojan Knežević (SI), Mariusz Waras (PL), Mykola Ridnyi (UKR), Jure Zrimšek (SI),
Nika Autor (SI), Marko Jakše (SI), Mitja Ficko (SI), Tadej Vindiš (SI), Matija Bobičić (SI), Gábor Fülöp (HU), Libuše Jarcovjáková (CZ), Max Sudhues (DE), Martina Grlić (HR), Magda
Tothova (SK), Chto Delat (RU), María Elínardóttir (IS), Dino Zrnec (HR), drMáriás (HU)
Image: Boris Pramatarov, Competition, 2013
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Perso nal W ays o f Untangling the Po litical
By S usan H o dara, The N ew Yo rk Tim es article, N o vem ber 8, 2014
Hair care takes another form in Adela Jusic’s “When I Die, You Can Do What You Want,” in which Ms. Jusic, her face cropped out of the composition, tenderly applies dye to the
hair of her grandmother, who has since died. On the soundtrack, Ms. Jusic whispers in Bosnian, retelling the stories her grandmother shared about her difficult life. “Back then it
was hundred times worse,” the subtitles read, and, “Death is a pretty relief.”
Read the full article HERE.
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Thro w yo ur bo dy into the battle
Perfo rm ance Art F estival
L e Co m m un Batim ent D ’Art Co ntem po rain, G eneva
05-08 N o vem ber 2014
Curator: Maya Bosch
Artists: Adela Jušić (Bosnie-Herzégovine), Vlasta Delimar (Croatie), Sachiko Abe (Japon), Guillaume Cayet (France), Bojan Djordjev du Collectif TkH (Serbie), Laetitia Dosch
(Suisse) et Anne Steffens (France), Nezaket Ekici (Turquie, Allemagne), Esther Ferrer (Espagne, France), Yvonne Harder et Alice Dunoyer (Suisse, Allemagne), Anne Sylvie Henchoz
(Suisse), Zofia Klyta-Lacombe (Pologne, Canada, Suisse), M.Lamar (Etats-Unis), Barbara Manzetti (Italie, France), Marina Markovic (Serbie), Manolo Michelucci (Italie, Suisse), Nagi
Gianni Naegeli (Suisse), Romain Nicolas (France), Gregory Pluym (France), Luigia Riva (Italie, France) et Daniele Derossi (IT, GB), Dorothea Schürch (Suisse), Renée Van Trier
(Pays-Bas)
http://www.jetersoncorps.ch/
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F R E S T A S T R IE N A L D E S A R T E S
O ctober 23, 2014 – M ay 8, 2015
S E S C , S o ro c a b a , S a o P a o lo , B ra z il
O QU E S E RIA D O M U N D O S E M A S C OIS A S QU E N Ã O E XIS TE M ?
W H A T W OU L D TH E W ORL D BE W ITH OU T TH E TH IN G S TH A T D O N OT E XIS T?
What is the potential role of gaps in an urban surface, in social political or symbolic contexts? At first sight, their schisms redefine the experience of space. They divide,
reconfigure, rename the things and the places circumscribed within their borders. On the other hand, there are gaps which not only cleave a determined surface and block its
fluidity and the way it is perceived, filled and experienced, but also, by their breaking of spatiotemporal paradigms, give rise to the “invention of memories,” as well as actions
with the power to interrogate the norm, potentize the disorder, redefine obsolescence and ruin. The gaps can also redraw the lines that enlarge or restrict citizenship, subjective
activity and the resulting emancipation of the subject in light of unforeseen situations. Because, how can we deal with the unexpected, with the unforeseen and with the unknown,
except by going through them, which is the same as constructing gaps in their truths? Gaps also appear in human relations when they arise to split masks or to tear away the
crystallized values related to failure and to success in the contemporary world; to profit and loss; and to order and disorder in the collectivity.
But the gaps in the context of the Trienal de Artes also arise as a way to live with and translate the broad meaning of the name given to this land by its original inhabitants, the
indigenous Tupiniquins. In their language of Tupi-Guarani the name of this land consisted of the root word sorok, “land,” together with the substantivizing suffix -aba, “torn,” for
an overall meaning of “torn land,” or in Portuguese, “terra rasgada,” the name of the project carried out in the 1990s, which Frestas – Trienal de Artes seeks to reinvent, this
time in open dialogue with the world. The suffix -aba of Sorocaba is what qualifies this land as the “place of tearing.” And since the abrupt act of tearing, which can also be seen
as a rupture or as an interval between two moments of existence, is what generates borderline areas, which draws the margins and the center, which constructs boundaries,
imposes specific meanings for neighboring territories – which, in turn, distances them conceptually – this Trienal de Artes aims to become a platform for art to become,
effectively, a legitimate interlocutor in the process of forming the symbolic image of the city and region and, consequently, of citizenship, of the construction of subjectivity and of
the poetic-collaborative actions able to activate unusual readings of the world.
Throughout the months from October 2014 to May, 2015, we will bring together artists from different parts of the world in Sorocaba, where exhibitions will be held along with
theater and music shows, interventions in different places and museums in the city, projections of feature-length films in our cinema room constructed on the SESC parking
ramp, as well as performances in transdisciplinary artistic actions. It will generally occupy the buildings of SESC Sorocaba, the main hall of the Palacete Scarpa, the Museu da
Estrada de Ferro Sorocabana, the Barracão Cultural and a store at Pátio Cianê Shopping, finding gaps in these spaces intended for different practices. Which means considering
art as it infiltrates different contexts, whether involving sports, politics or history, or with a social, educational, economic, charitable, mythic or fictitious nature. As an apparently
anonymous character, art produces its gaps in contemporary day-to-day life and valorizes the free formation and production of meanings for the world through interchange and
transdisciplinarity. Through actions and exhibition segments that bring artists together with professionals active in different areas of knowledge, with meetings for dialogs or
centers for research in visual poetics, the Frestas project can, with the gradual engagement of the entire city, participate in the construction of a scene for contemporary art
worldwide. The first edition of any project is given the license to dream, because history has not yet imposed its limits and its lacks. We therefore dream about this project being
a real alternative for the configuration of other designs able to circulate the transdisciplinary values that art bears, and which it desires to move to different places, producing
eruptions in the real, in order to ensure that the subject does not emerge unscathed from this “place of tearing” which, on another scale, is the world in which we live.
Josué Mattos, curator
http://frestas.sescsp.org.br/artistas.aspx
Photos making of and opening on Google +
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Kuća kao svakodnevni front borbe
P iš e : M a s ha D ur k a lić
R a d iz lj ub a v i
Adela Jušić i Andreja Dugandžić u okviru izložbe su predstavile veliki mural Rad ljubavi na vanjskom zidu muzeja koji gleda na ulicu, kroz koji ukazuju na zataškavanje
eksploatacije ženskog rada i njegovu transformaciju u „rad iz ljubavi“. Dok su predstavljale rad, umjetnice su istaknule da se često govori da domaćice ništa ne rade. „To nije
tačno, jer je to posao materijalne vrijednosti koja se može izračunati. Pored toga, kućni rad se smatra prirodnom uslugom žene društvu. Mi se s tim ne slažemo, jer znamo da
obavljanje tog posla zahtijeva jako puno vještine i znanja. Taj rad ne možemo pripisivati nikakvoj prirodnosti“, rekla je Andreja Dugandžić. Teorijski su se oslanjale na radove
Marija della Coste, Silvije Federici i pokreta Nadnice za kućni rad, a koristile su vizuale iz Knjige za svaku ženu , priručnika za žene iz 60-tih godina 20. stoljeća.
Link na ONLINE TEXT
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K ućni rad je po litičk o pitanje
Tekst Mirjana Dragoslavljević
O Radu ljubavi koji se bavi pitanjem neplaćenog kućnog rada razgovaramo sa autorkama A d e lo m J uš ić i A nd r e j o m D uga nd ž ić koje nam na početku daju opis njihvog rada.
Rad se oslanja na tekstove Mariarose Dalla Coste, Selme James, Silvie Federicci i delovanje pokreta Nadnice za kućni rad . S obzirom da je problem neplaćenog kućnog
rada sveprisutan i tiče se svih nas, potražile smo uporište u njihovom radu. Odrasle smo gledajući svoje majke i bake kako svakodnevno obavljaju posao koji nikada ne
završava, kako su uvijek na dužnosti. To je još uvijek naša stvarnost. Posao domaćice se ne promatra kao posao koji ima vrijednost, on je zamaskiran u prirodnost i
dobrovoljnost žene da ga obavlja bez ikakve naknade. Kapitalizam tu ima najveću korist, jer žena besplatno reproducira ono što je kapitalizmu najvažnije, a to je radna
snaga. Kućni rad nadalje oduzima vrijeme koje bi žene trebale posvetiti društveno političkoj organiziranosti i izgradnji vlastitih kapaciteta. Upravo je to poruka koju naš
rad šalje, po kući smo radile dovoljno!
Link na online tekst
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T h e W o m e n ’ s R o o m : F e m a le P e rs p e c t iv e s o n M e n , W o m e n , F a m ily a n d N a t io n
O p e n in g O c t o b e r 1 2 t h a t 1 7 h
H u d s o n V a lle y C e n t e r f o r C o n t e m p o ra ry A rt , P e e k s k ill, N e w Y o rk
O ctober 12th – Decem ber 7th
C ur a te d b y M a r c y B . Fr e e d m a n a nd Liv ia Str a us
HVCCA is proud to present video artworks by women who use the medium to explore the intricacies and dilemmas of gender, human relationships, and nation-centric politics.
Each of the selected artists has endowed her video with a very personal point of view and simultaneously, created a video that is meaningful to a larger audience.
K a te H a m p e l ’s video Casual Encounters – A Month of Sundays features the artist in a long, dark wig, reading selections from a Craigslist website for “women seeking men.” The
video suggests the ways in which men are objectified and reduced to a set of physical traits and broad personality types by certain women.
A m y J e nk ins addresses the shifting terrain of gender identity in a pair of interconnected videos. Audrey Superhero documents the desire of her six-year old daughter to be a
boy. Becoming , memorializes her son’s first haircut at the age of three. His long, blond tresses are cut off in this ancient ritual of change, relinquishing his gender neutrality.
A d e la J uš ić ’s When I die, You Can Do What You Want reveals the challenging personal and political history of an elderly woman, as well as the touching bond between a
grandmother and her granddaughter.
A le x M c Q uilk in suggests a powerful connection between herself and the 15th century French heroine in her video Joan of Arc. In Magic Moments (Preliminary Materials for a
Theory of the Young-Girl) McQuilkin addresses the sexualization of young women in contemporary media.
Sa r a Sha o ul ’s Erin Mahoney (Activist, Friend) explores a seemingly simple interchange that belies a sophisticated exploration of female bonding and contemporary politics in
the United States.
R o na Ye fm a n a nd T a nj a Sc hla nd e r ’s, Pippi Longstocking, The Strongest Girl in the World, at Abu Dis , is a collaboration that places a classic children’s heroine in the midst
of the troubling contemporary politics of the Israeli Palestinian conflict, while addressing the power of women to make changes in the world.
M a r ia M a r s ha ll ’ s President Bill Clinton Memphis, Memphis, November 13, 1993 , shows the artist’s children in the frenzied act of constructing and deconstructing their
environment, all to the rhythm of a child reading a text of President Clinton addressing the importance of human productivity.
LINK to HVVCA WEBSITE
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LABOUR OF LOVE IN COLLABORATION WITH ANDREJA DUGANDŽIĆ
MAKING OF PHOTOS
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Balco ny to the Balk ans
19. – 21.9.2014
K unsthalle Baden-Baden
The contemporary art festival B a lc o ny to the B a lk a ns is showing emerging art from the Balkan region from 19 to 21 of September in the public space around the Marktplatz
in Baden-Baden. Fourteen artists from Bosnia-Herzegovina, Bulgaria, Croatia, Kosovo, Macedonia, Serbia and Germany are presenting their personal image of this region
entwined by so many myths.
The Image of the Balkans in Germany is usually associated with either the collapse of Yugoslavia and the subsequent wars on its territory, or with the problematic communistic
past, such as in Bulgaria, Albania and Romania. B a lc o ny to the B a lk a ns is trying to focus on current topics and is confronting the visitors with the local art scene.
Within this context B a lc o ny to the B a lk a ns deals with questions such as: How is the cultural scene and in particular the art scene developing and presenting itself? Is there a
thread running through all the artistic creation? Does the burden of history influence the artistic creation? Is the young generation able to develop and maintain a unique artistic
practice and an international career independently from this burden?
Many countries on the Balkans, have a problem with lacking exhibition spaces and opportunities for artists to present their works. Therefore new initiatives occupy the public
space in order to raise their voice with the means of art. Baden-Baden is a town in which mainly the established high culture is being on show. The opportunities for young artists
to exhibit in the recognized institutions in the city are rather low. At the end, this project is also an attempt to show how artists can deal creatively with the missing space.
Participating artists: Shota Bukoshi, Stefanie Busch, Yane Calovski, Hristina Ivanoska, Jana Jakimovska, Gjorgje Jovanovik, Adela Jušić, Božidar Katić, Vikenti Komitski, Mladen
Miljanović, Alban Muja, Marta Popivoda, Boba Mirjana Stojadinović, Nenad Tonkin
Program:
Fr id a y, 1 9 . 9 . 2 0 1 4
6.30 PM Performance: Adela Jušić, Bismarck Memorial
7.00 PM Guided tour to all art works of the festival. Meeting point: Bismarck Memorial
8.00 PM Official welcome by Johan Holten, director of the Staatliche Kunsthalle Baden-Baden, and Ksenija Čočkova, curator of the project, Courtyard of the Town hall
8.15 PM Film screening: Marta Popivoda, “Yugoslavia, How Ideology Moved Our Collective Body“ (2013), Location: Courtyard of the Town hall (In case of rain the movie will be
shown at Café Kunsthalle.)
10.00 PM Balkan Party with Nenad Tonkin in Café Kunsthalle
Sa tur d a y, 2 0 . 9 . 2 0 1 4
2.00 PM Guided tour to all art works of the festival. Meeting point: Bismarck Memorial
5.00 PM Boba Mirjana Stojadinović shows invisible places on the Marktplatz and the surroundings. The guided tour is in English. Meeting point: Bismarck Memorial
Sund a y, 2 1 . 9 . 2 0 1 4
2.00 PM Guided tour to all art works of the festival. Meeting point: Bismarck Memorial
8.00 PM Film screening: Shota Bukoshi “Lost Shoes” (2012); “Two Love Stories” (2008). The films will be shown with English subtitles, Café Kunsthalle
Free admission to all events.
Link to the photos on Google +
Link to work Greetings from Baden-Baden by Adela Jušić
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Download exhibition guide HERE
Video reportage HERE German
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V o y a g e t o E u ro p e / I w a n t t o s p e a k a b o u t t h e w a r
Otvaranje u četvrtak 4. septembra u 20 sati
Opening on Thursday, September 4 at 8pm
Galerija Klovićevi dvoriJezuitski trg 4, Zagreb
4 – 26. 9. 2014.
Artists: Radoš Antonijević, Janko Baljak, Boogie , Ivan Grubanov, Uroš Djurić, Siniša Ilić, Aleksandar Jestrović Jamesdin, Dejan Kaludjerović, Srđan Keča, Marko Lulić, Vladimir
Miladinović, Mladen Miljanović, Ana Nedeljković & Nikola Majdak Jr, Darinka Pop-Mitić, Reflektor-knjige za slušanje, Milica Tomić, Ibro Hasanović, Vlatka Horvat, Nemanja
Cvijanović, Lana Čmajčanin i Adela Jušić
Curators: Mia David and Zorana Đaković
U organizaciji Kulturnog centra Beograda
Organized by the Cultural Centre of Belgrade
Projekat je posvećen obeležavanju stogodišnjice Prvog svetskog rata
The project is dedicated to 100th anniversary of the WWI
Photos on Google +
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D E K O D IR A N J A
S a v r e m e n a u m je t n o s t B o s n e i H e r c e g o v i n e , N a r o d n i m u z e j C r n e G o r e , C e t i n je
7 . 8 .- 3 1 . 8 . 2 0 1 4
D E C O D IN G
C o n t e m p o r a r y a r t i n B o s n i a - H e r z e g o v i n a , N a t i o n a l M u s e u m o f M o n t e n e g r o , C e t i n je
A u g u st 8-31, 2014
Artists: Maja Bajević, Saša Bukvić, Danica Dakić, Gordana Anđelić-Galić, Nela Hasanbegović, Jusuf Hadžifejzović, Ivan Hrkaš, Taida Jašarević, Adela Jušić, Šejla Kamerić, Emir
Kapetanović, Muhamed Kafedžić, Damir Nikšić, Renata Papišta, Daniel Premec, Jasmina Gavrankapetanović-Redžić, Iva Simčić, Alma Suljević (Sarajevo) | Slobodan Vidović,
Ninoslav Kovačević, Nenad Malešević, Miodrag Manojlović, Radenko Milak, Mladen Miljanović, Borjana Mrđa, Veso Sovilj (Banja Luka) | Nada Arnaut, Igor Bošnjak, Nebojša
Bumba, Miljan Vuković, Ratko Vučinić, Miloš Vučićević, Mirjana Kodžo, Marko Musović, Bogdan Radović, Bojana Tamindžija (Trebinje)
Kustoski tim/Curatorial team: Branka Vujanović, Jon Blackwood (Sarajevo), Predrag Terzić, Slobodan Vidović (Banja Luka), Igor Bošnjak (Trebinje)
Organizator: Narodni muzej Crne Gore, Cetinje
Text about exhibition by Branka Vujanović.
Photos from the opening on Google +
Photos on Facebook
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STATE ABED
Z a d a r s no v a , 0 2 - 0 8 . 2 0 1 4 .
N a ko n m e đ u n a ro d n e izlo žb e i m a n ife sta cije D R ŽA V A U K R E V E T U // S T A T E A BE D , ko ja je u ve lja či 2 0 1 4 . u G a le riji u m je tn in a u S p litu p re d sta vila 2 4
re ce n tn a u m je tn ička ra d a n a o vu te m u , p o p ra će n a m n o štvo m d o d a tn o g p ro g ra m a , d io izlo žb e p re d sta vit će se za d a rsko j p u b lici, o d 2 . d o 8 .
ko lo vo za , u sklo p u 1 8 . fe stiva la su vre m e n o g ka za lišta ZA D A R S N O V A , u fo a je u G ra d sko g ka za lišta lu ta ka i u ja vn im g ra d skim p ro sto rim a g ra d a
Za d ra .
Kustosica izložbe N a ta s ha K a d in za ovu priliku odabrala je umjetničke radove šest mladih umjetnica, A d e le J uš ić , Iv a ne K e v o , M a r ij e K o ta r a c , G lo r ij e Liz d e , D ine
R o nč e v ić i P e tr e Z lo no ge , koje na različite načine i kroz različite medije umjetničkog istraživanja problematiziraju upliv sistema i države u naše intimne prostore.
Photos from opening on Google +
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AW ARE
S yro s Internatio nal F ilm F estival
2 6 o f J uly – 1 A ugus t 2 0 1 4
2 nd E le m e nta r y Sc ho o l o f H e r m o up o lis Syr o s , G r e e c e
P r e v ie w : 2 6 J uly 2 0 1 4 , 6 - 8 p m
O p e ning ho ur s : 4 - 8 p m
Exhibiting artists:
Mona Hatoum, Adela Jušić, Silvia Kolbowski, Paky Vlassopoulou
Curated by Kostas Stasinopoulos
A WAR E presents works by women artists in which wars of different kinds are examined and deployed. By tracing the war phenomenon to the unconscious, where the personal
dimensions of war are no longer denied, these works complicate the frequently and authoritatively bordered territories of the personal and the political, the individual and the
social, the psychic and the cultural, the public and the private.
A WAR E explores a state of being that is suspended yet actively charged. It recalls a moment in which the subject is faced with the influx of new information before it is
processed, categorized and transformed to knowledge. The viewer in the exhibition is arrested between what can and cannot be attained as an object of knowledge, between
conscious and unconscious and before responsibility towards critical thought and enquiry.
The exhibition takes place at the Second Elementary School of Hermoupolis, an active and vibrant centre of the community and a space that reflects personal experience and
collective memory. The works of the exhibition create an immersive environment for the viewers, who are invited to explore multifaceted subject positions and identity politics.
Situated at the intersection of art history, psychoanalysis, political and feminist theory, conflicts of times past are brought to the fore in an effort to create a historical image of the
contemporary. Implicating the consequences of the conventional split between the psychic and the social, the works in the exhibition illuminate art as protest and intervention to
dominant and patriarchic historical narratives, war discourse and political resistance.
Download catalog A WAR E
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O UT O F THE BLUE
a s e n s e o f p u b lic - m in d e d n e s s
T he Inte r na tio na l E x hib itio n M us lim M ulliq i / 1 0 th e d itio n
C ur a te d b y C o r inne D is e r e ns
0 9 .0 7 .2 0 1 4 – 0 3 .0 9 .2 0 1 4
N a tio na l G a lle r y K o s o v o
The National Gallery of Kosovo invites you to attend the opening ceremony of tenth edition of the International Exhibition Muslim Mulliqi Prize on Wednesday 9th of July 2014.
The opening ceremony will take place at the National Gallery of Kosovo at 20:00h.
The exhibition and accompanying film program include works by: Masao Adachi and Eric Baudelaire, Sven Augustijnen, Rossella Biscotti, Thea Djordjadze, Willie Doherty, Zgjim
Elshani, Jakup Ferri, Peter Friedl, Yervant Gianikian and Angela Ricci Lucchi, Uran Hajdari, Flaka Haliti, Ibro Hasanovic, Pierre Huyghe, Astrit Ismaili, Adela Jusic, Genc Kadriu,
Bahman Kiarostami, Faik Krasniqi, Sharon Lockart, Gordon Matta-Clark, Santu Mofokeng, Alban Muja, Anri Sala, Hannah Ryggen, Kimiavi Parviz, Melanie Smith, Nasrin Tabatabai
and Babak Afrassiabi, Rosemarie Trockel, Paola Yacoub.
DOWNLOAD MMX EXHIBITION GUIDE
Photos opening
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S H A R E – T o o M u c h H is t o ry , M o re F u t u re
M u s e u m o f C o n t e m p o ra ry A rt , Z a g re b 2 0 . 0 6 . , 1 9 . 3 0
Projekcija i razgovor, petak, 20. lipnja u 19.30 sati, Dvorana Gorgona Odjel za kulturu Austrijske savezne vlade i Muzej suvremene umjetnosti predstavljaju program SHARE –
Too Much History, More Future (Previše povijesti, više budućnosti) uz razgovor s kustosima i umjetnicima. Projekt SHARE predstavlja izbor video radova suvremenih umjetnika
koji se bave različitim aspektima i posljedicama rata te je posvećen obilježavanju stogodišnjice Prvog svjetskog rata.
Pozdravni govor – Karin Zimmer
Program Adela Jušić: When I die, you can do, what you want
Gordana Andjelić-Galić: Original sin
Mladen Miljanović: Do you intend to lie to me ?
Hermann Peseckas & Tommy Schneider: Comment.
http://www.msu.hr/#/hr/20306/
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Performative Gestures Political Moves book launch
a nd p r e s e nta tio n o f the R e d A the na U niv e r s ity P r e s s
Thursday, June 19, 5pm Trubar Literature House, Ribji trg 2, Ljubljana
The publication Performative Gestures Political Moves has aimed to foster a reflection on research positions and theoretical considerations of performativity, performance art,
feminism, historisation and, above all, their political implications in/and/for the “continental Post-Socialist” condition. The Performative Gestures Political Moves has been
published by the Red Athena University Press, a collaborative publishing project by the Centre for Women’s Studies Zagreb and trans-Yugoslav feminist scholars.
With contributions by Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratković, Marina Gržinić, Martina Pachmanová, Milijana
Babić, Suzana Milevska, Tea Hvala, Waldemar Tatarczuk
Edited by Katja Kobolt and Lana Zdravković
For orders and purchase contact: [email protected] / Sandra Prlenda, Centre for Women’s Studies, Zagreb Book price: 16 Eur Language of the book: English
Publishers City of Women – Association for the Promotion of Women in Culture Kersnikova 4, 1000 Ljubljana, Slovenia www.cityofwomen.org Red Athena University Press Centre
for Women’s Studies Dolac 8, 10000 Zagreb, Croatia www.zenstud.hr
Co-production of the presentation Trubar Literature House
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A tim e for dream s IV M o sco w Internatio nal Biennale fo r Yo ung Art
Founders: The Ministry of Culture of the Russian Federation, the Department of Culture of the City of Moscow, National Centre for Contemporary Arts (NCCA), Moscow Museum
of Modern Art (MMOMA) Organizers: National Centre for Contemporary Arts (NCCA), Moscow Museum of Modern Art (MMOMA) Co-organiser of the Main Project: The Museum
of Moscow Artistic Director of the Biennale: David Elliott Event Dates: 26 June 2014 — 10 August 2014 Main Project Venue: The Museum of Moscow Venues for Strategic
Projects National Centre for Contemporary Arts (NCCA), Moscow Museum of Modern Art (MMOMA) Curator of the Educational Program: Antonio Geusa
The Moscow International Biennale for Young Art, one of the largest and most ambitious projects in the field of contemporary art, will be take place this summer for the fourth
time. The Biennale combines the creative initiatives of artists of the new generation from Russia and abroad. Leading Moscow museums and centers of contemporary art,
in collaboration with regional and foreign partners, have participated in the preparations for this event.
More info can be found on Biennale WEBSITE
Photos from the opening can be seen here.
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A the m o m e nt o n d is p la y “M e m o r y La ne ” galerie du jour Agnes.B Curated by Pierre Courtin June 7th – July 26th, 30.05. 2014, 20h 44 rue Quincampoix, Paris 42 Photos
from the opening can be seen here. Text about “Memory Lane” by Jonathan Blackwood cab be found here.
V id e o in p r o gr e s s 5 : R e fle c tio ns o f the P a s t Curated by Vesna Bukovec and Metka Zupanič and organised by Zavod Kolektiva in collaboration with Photon – Centre for
Contemporary Photography, Ljubljana has finished on 7th of May Photos can be seen here.
Sto r yte lling a s a r tis tic p r a c tic e T.I.C.A. residency program ended up with exhibition at the Pyramid in Tirana. Photos from the opening can be seen here.
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M E M O RY L AN E S jećanje je rezervna do m o vina
Članak preuzet sa http://dnevni-list.ba
Izložba suvremene umjetnosti Bosne i Hercegovine, pod nazivom Memory Lane, otvorena je od jučer u galeriji Galerie du jour – agnès b. u Parizu, Francuska, a autorski postav
potpisuje Pierre Courtin. Izlažu Gordana Anđelić-Galić, Maja Bajević, Igor Bošnjak, Lana Čmajčanin, Andrej Ðerković, Jusuf Hadžifejzović, Nela Hasanbegović, Ibro Hasanović,
Adela Jušić, Šejla Kamerić, Milomir Kovačević, Nina Knežević, Radenko Milak, Mladen Miljanović, Damir Radović, Lala Raščić, Nebojša Šerić-Shoba, Irena Sladoje, Alma Suljević i
Edo Vejselović. Tekst povodom ove izložbe Pierre Courtin i Alexis Argyroglo počinju citatom Paula Gardea: “Narod bez sjećanja je narod bez budućnosti”. U tekstu objašnjavaju
da je ovo izložba koja okuplja umjetnike koji žive ili su živjeli u Bosni i Hercegovini. Većina njih živi u Sarajevu, neki od njih su iz Banje Luke, Trebinja, Prištine, New Yorka,
Pariza, Berlina i New Orleansa.
P ita nj e s j e ć a nj a
Izložba pod imenom rada Adele Jušić okuplja umjetnike koji se na različite načine bave pitanjem individualnog ili kolektivnog sjećanja. Memory Lane nas poziva da uronimo u
sjećanja Balkana, a posebno BiH, zemlje izgrađene i rekonstruirane na ruševinama zajedničke povijesti i odvojenim sjećanjima, da citiramo Borgesa, idemo po razgranatim
stazama. To je izložba sjećanja, kontradiktornih staza i putova, stvarnih mjesta i pasaža između fikcije i dokumentarnog; kolektivna izložba koja predstavlja neobične putanje
značajnih umjetnika “bosanske scene”, umjetničke postscene čije se samo postojanje dovodi u pitanje. Ovo pitanje okuplja umjetnike čija pripadnost jednoj zemlji, Bosni,
predstavlja drugo pitanje – emigracija za njih predstavlja uspjeh (u fizičkom i mentalnom smislu), a Bosna kao nacija za njih ostaje još uvijek neriješeno pitanje. Sjećanje,
individualno ili kolektivno, mjesto je na kojem se postavljaju ova pitanja, gdje se nalaze neki odgovori, gdje se rađaju neke riječi i neke slike, neke ideje, gdje se pročišćava
smisao sjećanja, gdje se manifestira smisao materijalnih dokumenata, i preuzima oblik trenutačnog stanja. Sjećanje je rezervna domovina, ono multiplicira stvarnu domovinu i
reflektira ju na više načina.
Sj e ć a nj e i s a d a š nj o s t
U tekstu također navode kako je rat koji je poharao Bosnu i Hercegovinu od ’92. do ’95. godine zatekao umjetnike ove izložbe u njihovom djetinjstvu ili mladosti. Njemu se
vraćaju putem rememorijalizacije i projekcije: sjećanje daje smjernice sadašnjosti, a ujedno uvjetuje budućnost, kako to i Paul Garde navodi u rečenici koja je citirana u uvodu.
Radi se, dakle, o višestrukom i heterogenom “radu na sjećanju”, koje proizvodi djela u poslijeratnom vremenu u kojem državne institucije nisu u mogućnosti stvarati povijest,
provesti pravdu, pomiriti sjećanja i na taj način kreirati zajedničku budućnost. Kada umjetnici sudjeluju u ovoj avangardi civilnog društva, koje je odlučno u svom djelovanju i
nadmašuje upravljačke i izvršne strukture vlasti, oni to čine sredstvima koja nadilaze politiku. Oni predlažu nove percepcije stvarnosti istražujući ono što ju nagriza: sjećanja,
slike koje se iznova vraćaju, a i one potisnute. U jednom drugom ratnom kontekstu, a svi su oni različiti, umjetnici koji imaju malo toga zajedničkog su se okupili i izjavili: “Novi
realisti postali su svjesni svoje kolektivne neobičnosti. Novi realizam = novi pristupi u percepciji stvarnosti”. Rad na sjećanju koji se izložbom želi prikazati dolazi od iste
kolektivne neobičnosti i istog mozaičkog “realizma”. Izloženi radovi ne predstavljaju ni osuđivanja, ni spomenike mrtvima niti ustaljene diskurse o sjećanju. Oni svjedoče svojim
jasnim oblicima, udruživanjem značajnih i osjetljivih elemenata, od procesa stvaranja do djela. Ovi radovi istražuju mjesta sjećanja koja su ujedno i mjesta projekcije: javne i
privatne prostore, arhetipske i medijske slike, tijela umjetnika, pronađene predmete te fantome i simbole bliske prošlosti. Na ovoj izložbi bit će i djelo iz zbirke Muzeja
suvremene umjetnosti Republike Srpske iz Banje Luke “Služim umjetnosti”, dio izložbenog postava IZ/UZETNOSTI – Suvremene vizure kulturne baštine/Nove smjernice buduće
stalne postavke, autora Mladena Miljanovića. Ove 274 crno-bijele fotografije, nastale 2006./2007. godine kao fotodokumentacija istoimene performanse ovog autora, jednog
od najznačajnijih predstavnika bh. suvremene scene, za izložbu Memory Lane, autorski postav Pierrea Courtina, odabrane su kao važan primjer suvremene umjetničke
produkcije nastale u Bosni i Hercegovini u prethodnih deset godina.
U r o nim o u s j e ć a nj e
Postav autora koncepcije izložbe Pierrea Courtina zamišljena je kao presjek suvremene scene u Bosni i Hercegovini i okuplja umjetnike koji žive ili su živjeli u Bosni i
Hercegovini i na različite načine se bave pitanjem individualnog ili kolektivnog sjećanja. Memory Lane nas poziva da uronimo u sjećanja Balkana, a posebno Bosne, zemlje
izgrađene i rekonstruirane na ruševinama zajedničke povijesti i odvojenim sjećanjima. Izložba će biti otvorena do 26. srpnja.
P iš e : A nd r ij a na C o p f
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Title Track “M em o ry L ane” by Adela Jušić
Article written by Jonathan Blackwood about exhibition Memory Lane, curated by Pierre Courtin, Galerie du Jour, Agnes B, Paris 06th of June
So, after all the months of preparation, opening day of “Memory Lane” is finally upon us. The artists who are coming tonight have all arrived, and I am writing this article against
the whine of an industrial vaccuum cleaner, preparing the space for the opening.
Today, for the final article before the opening, I decided to concentrate on what we might call the “title track” of the whole exhibition; Adela Jušić’s photographic
installation Memory Lane . Longstanding observers of Adela’s work will recognise the biographical theme as one of her signatures, but these four photographic prints, together
with a rather moving text written by her sister, responding to the images, marks a new departure.
Amidst the intense trauma of the 1992-95 war in Bosnia and Herzegovina, the loss of small personal items seems almost trivial by comparison with the human suffering and the
colossal damage to the built environment and infrastructure. However, the near-total destruction of a family’s photographs, the loss of the physical evidence of collective
experience and memory, built up over several decades, is in a micro-parallel to the attempted erasure of the collective memory of BiH (for example, with the shelling and
destruction of Vijećnica in 1992). The four photographic prints, therefore, act as documentation of a vanished pre-war world, an attempt to re-enagage with the past and to reconstruct it, having survived that trauma. They mark a similar painstaking and slow process of re-construction and re-evaluation; the frustration of broken links and black holes
in the records; the photographs had to be gathered where they had survived, from relatives and friends.
In this show, the prints are cleverly placed next to Adela’s video When I Die, You Can Do What You Want of 2011. As such, the viewer can see the life of her grandmother
bookended; a beautiful young woman, about to marry a handsome soldier; a daughter and mother with a growing brood of small children; her son, and Adela’s father, posing
with his sniper’s rifle (an image seared onto the viewer’s memory by Adela’s The Sniper of 2007- shown elsewhere in this exhibition); a group of kids standing together in a
group of six, staring with the fierce curiosity of small children at the camera, an image made poignant by our fragmentary knowledge of their subsequent transition into
adulthood. In this sense the video marks a full stop at the end of these life events; an old lady looking back on her rich and complicated life story which we can see like the
fragments of a broken mirror, in these photographs.
Memory Lane holds together, in confessional tension, the main animating forces in Adela’s work from the last three or four years. The impact of the war on her childhood and
development; the role and contribution of women in the history of war in the former Yugoslavia, and contemporary Bosnia-Herzegovina; an evolving personal evaluation of
gender and the role of women in contemporary society; an engagement with family and family narratives, as validating of personal experience and development; and, a desire
to work in series, to expand and develop this material in new formats and new presentations. All of these factors come together in an intimate revelation of the roots of the
artist’s personality and set of interests, in a frank self-revelation which avoids much of the narcissism and trivia of contemporary artistic “biographical” and “confessional”
strategies.
Between the grey-silver tones of a past long faded, and the pixelated life story of Adela’s grandmother, lies a handwritten testament by her sister, a verbal link between the two
works. Part of the extract from the text reads:
I know very little about my father, and the little I know, I am not sure whether it is my own memory or a memory created based on other people’s stories. I know that thanks to
him I am left handed and I am glad. My mother wanted to convert me to being right handed, but he wouldn’t allow that. I know I have only three photographs of him. This one is
my favorite. I also know that to a great extent I amnow a soldier, because he was one too, and that I have the same name on the uniform as he did – „A Jušić”
It will be interesting to see where Adela’s work goes next. She has been developing a new body of work in a residency in Tirana on the experiences of women in the Hoxha
period in Albania. It may be that Memory Lane will continue to develop as new stories are uncovered, or it could be that this powerful piece will draw a line under the work of the
last few years, and clear the ground for new pieces in different but related discourses. Whatever the outcome will be, the gripping tension between candour and intimacy, the
scrupulous avoidance of sentimentality and nostalgia, in this work, will keep visitors to this show coming back to look again.
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Work “Ride the Recoil” is published in the issue of magazine that will be presented at this event. Rad “Ride the Recoil je objavljen u broju magazina koji će biti prezentiran na
ovom događaju.
“Zajednička prezentacija umjetnosti iz Bosne i Hercegovine i Austrije jasno pokazuje koliko se jako razlikuju ishodišta i njihove umjetničke izvedbe. Ne može se zanemariti da
je u instalacijama, objektima, fotografskim slikama ili u redoslijedima elektronskih medija vidljiva uvijek određena društvenopolitička i kulturna klima. Osim toga se na temelju
djela može provjeriti uvijek iznova u diskusiju uvođeno pravo na autonomiju nasuprot kontekstualnog ponašanja umjetnosti. Katastrofa jugoslovenskog rata u fragmentarnim se
susretima sa stvaralaštvom Adele Jušić i Radenka Milaka može shvatiti kao povijest koja je komentirana u različitim formama i djelomično prerađena.
Jušićeva Ride the Recoil – instalacija slike i sounda – s jedne strane se putem video igrica bavi slijedom stvarnih zbivanja. Nevjerovatno “kuliranje” protagonista ispred nas
djeluje kao formalna transformacija a istovremeno i kao odraz nemilosrdnih ratnih mehanizama. S druge strane posebnu zaoštrenost rad doživljava uvodom druge medijalne
razine: figure za igru i stvarne figure, kao što su likovi snajperiste i djevojčice, izmjenjuju se da bi prekrili različite stupnjeve stvarnosti. Na ovaj način se predočava brutalnost
prisjećanog i recepcija dvaju formata realnosti, kako onog fotografije tako i po uzoru izgrađenog mjesta radnje…
Text Werner Fenz (extract) See more Lichtungen 137 -kunstteil
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T he e x hib itio n title is b o r r o w e d fr o m the w o r k o f A d e la J uš ić ” M e m o r y La ne ”
http://www.galeriedujour.com/
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Video in Progress 5: Reflections of the Past
Sc r e e nings J une 5 – 7 , 2 0 1 4 C U K K ino Šiš k a , Lj ub lj a na
Video in Progress is an international video festival, directed by artists and curators Vesna Bukovec and Metka Zupanič and organised by Zavod Kolektiva in collaboration with
Photon – Centre for Contemporary Photography, Ljubljana. In 2014, the festival joined with Photonic Moments – Month of Photography festival.
Participating artists in main festival selection: A na B ila nk o v (HR/DE), La na Č m a j č a nin & A d e la J uš ić (BA), A le k s a nd r a D o m a no v ić (RS/DE),M a r ina G r ž inić & A ina
Šm id (SI), V la d is la v K ne ž e v ić (HR), Iv a K o ntić (RS)
More info: http://www.kolektiva.org/curating/video-in-progress-5
In 2014 the Video in Progress festival has joined with the Photonic Moments – Month of Photography festival. Video in Progress 5: Reflections of the Past brings forth a variety of
contemporary international video art addressing the issues of past times and memories. In this edition we took up the research of time and transitoriness. As selectors we were
interested in how the common historical narratives intertwines with personal memories and how they both affect our identity and our sense of being in the world. At a time of
multimedia culture, saturated with numerous events and information quickly sliding into oblivion, memories become fragile and evasive. Because of that there is a need to
constantly interpret or reinterpret past events in order to make sense out of our present society and our actions as individuals. In the previous edition of the festival we explored
the topic of pain from a personal perspective and we thought it was important to expand our research on the presence of pain in everyday life to include a wider socio-political
context marked by turbulent historical events of the past century leading up to the present moment. The selected videos each address pain from a particular historical moment
in a specific way. The main festival selection A p p r o p r ia ting H is to r y deals with traumatic events from the territory of ex-Yugoslavia. The selected works take a different
approach to the interpretation of past wars and their impact upon our identities. Through the legacy of a country that no longer exists they reveal how the ideological and
economical shift from communism to capitalism shaped the perception of reality of life today. Vesna Bukovec & Metka Zupanič
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Tirana Institute of Contemporary Art has the pleasure to invite you to the final event of spring period AIRLAB 2014 residency program.
30.05. 2014, 20h Piramida Boulevard “Deshmoret e Kombit” Tirana
T ir a n a In s titu te o f C o n te m p o r a r y A r t
E x hib itio n s e t up p ho to s
http://www.abcnews.al/lajme/kulture/4/42953
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STORYTELLING as artistic practice
T ir a n a In s titu te o f C o n te m p o r a r y A r t
Presentation of Artist in residence program AIRLAB 2014 AirLab studios, Rr. Luigj Gurakuqi, Pall 89, Sh. A, Kati 11, Tirana 30.04.2014. 19h
T.I.C.A has the pleasure to invite you at the presentation event of the spring period of AIRLAB 2014 residency program.
The artists in residency:
Adela Jušić / Bosnia & Herzegovina
Enton Kaca / Albania
HAVEIT – Alketa Sylaj, Hana Qena, Lola Sylaj, Vesa Qena/ Kosovo
Keto Logua /Gjorgjia
The artists will present for the public their artistic practice and previous projects in an open and informal event.
The AIRLAB program is made possible through the generous support of the Network Partnership 3 – year grant of Princ Claus Culturfund.
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SHARE – Too Much History, MORE Future
V ID E O E D IT IO N SC R E E N IN G A N D O P E N T A LK
Museum of Contemporary Art M e te lk o v a 2 2 , Lj ub lj a na
2 4 .0 4 .2 0 1 4 . 1 9 h
The project is dedicated to 100th anniversary of the First World War.
Austrian Federal Chancellery is inviting you to the video screening event and open talk with Karin Zimmer – Austrian Federal Chancellery, curator Annemarie Türk, and artist
Adela Jušić.
Artists whose work is a part of video edition that will be screened are: Gordana Anđelić-Galić, Maja Bajević, Igor Bošnjak, Mladen Bundalo, Marina Gržinić & Aina Šmid, Ana
Hoffner, Adnan Jasika, Anna Jermolaewa, Adela Jušić, Šejla Kamerić, Ernst Logar, Mladen Miljanović, Hermann Peseckas & Tommy Schneide, and Irena Sladoje.
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RID E TH E RE CO IL in m agazine L ichtungen
“Zajednička prezentacija umjetnosti iz Bosne i Hercegovine i Austrije jasno pokazuje koliko se jako razlikuju ishodišta i njihove umjetničke izvedbe. Ne može se zanemariti da
je u instalacijama, objektima, fotografskim slikama ili u redoslijedima elektronskih medija vidljiva uvijek određena društvenopolitička i kulturna klima. Osim toga se na temelju
djela može provjeriti uvijek iznova u diskusiju uvođeno pravo na autonomiju nasuprot kontekstualnog ponašanja umjetnosti. Katastrofa jugoslovenskog rata u fragmentarnim se
susretima sa stvaralaštvom Adele Jušić i Radenka Milaka može shvatiti kao povijest koja je komentirana u različitim formama i djelomično prerađena.
Jušićeva Ride the Recoil – instalacija slike i sounda – s jedne strane se putem video igrica bavi slijedom stvarnih zbivanja. Nevjerovatno “kuliranje” protagonista ispred nas
djeluje kao formalna transformacija a istovremeno i kao odraz nemilosrdnih ratnih mehanizama. S druge strane posebnu zaoštrenost rad doživljava uvodom druge medijalne
razine: figure za igru i stvarne figure, kao što su likovi snajperiste i djevojčice, izmjenjuju se da bi prekrili različite stupnjeve stvarnosti. Na ovaj način se predočava brutalnost
prisjećanog i recepcija dvaju formata realnosti, kako onog fotografije tako i po uzoru izgrađenog mjesta radnje…
Text Werner Fenz (extract) See more Lichtungen 137 -kunstteil
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CO N F L ICT: Art and W ar
C o nte m po rary A rt S o cie ty 59 C e ntral S tre e t, L o ndo n
4 A pril 2014— 27 June 2014
PROJECTS is a series of exhibitions within the Contemporary Art Society space at 59 Central Street that transform and use the architecture of the building, drawing into focus
questions around modes of display and the encounter between contemporary art and architecture.
CONFLICT: Art and War brings together internationally renowned contemporary artists for the first time, with works spanning different media including photography, works on
paper, moving image and sculpture. Featured artists include P io A b a d , B r o o m b e r g a nd C ha na r in, A d e la J us ic , G o nc a lo M a b und a , R ic ha r d M o s s e , Shir in N e s ha t,
M a r k N e v ille a nd A lfr e d T a r a z i . Investigating the political, geographical and social aspects of war, the works on display respond to the theme from various outlooks,
presenting direct testimonials, personal experiences or references to historical moments.
Curated by Collections Patron M id ge P a lle y .
Collector Members and Patrons are invited to join a special VIP Preview and seminar of PROJECT 06 CONFLICT: Art and War on Thursday 3 April ,17.30, when Midge Palley will
be in conversation with Contemporary Art Society Director C a r o line D o ugla s and featured artists P io A b a d and M a r k N e v ille .
This is a rare opportunity to hear from a long-time proponent of modern and contemporary British art, our Director Caroline Douglas, and featured contemporary artists
including M a r k N e v ille andP io A b a d , who will each offer a unique perspective on this timely subject.
Contemporary Art Society is ncouraging an appreciation and understanding of contemporary art by a wide audience and donating works by important and new artists to
museums and public galleries across the UK.
http://www.contemporaryartsociety.org/event/project-06-conflict-art-and-war/ Photos from opening
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Z O O M S a ra je v o . P o s it io n e n z e it g e n ö s s is c h e r K u n s t
KünstlerInnen: Azra Akšamija, Igor Bošnjak, Adela Jušić, Nihad Nino Pušija und Damir Radović Kuratorin: Andrea Naica-Loebell. Künstlerische Beratung: Nihad Nino Pušija
Sarajevo ist ein Mikrokosmos des Balkans und beeinflusste immer wieder ganz Europa. ZOOM Sarejevo holt die bosnische Hauptstadt ganz nah heran und zeigt ihre Bewohner
als unsere direkten Nachbarn. Vorstellungen und Realität überlagern sich im Wechsel von Näherkommen (Zoom-In) und Entfernen (Zoom-Out). Die Ausstellung präsentiert
Videoarbeiten, Fotoserien und Installationen von Künstlerinnen und Künstler, die – alle in Sarajevo geboren – heute Kosmopoliten und in der internationalen Kunstszene zu Hause
sind. Die Arbeiten fordern die Auseinandersetzung mit Vorurteilen und Klischees ein, bilden die Vielschichtigkeit der Realität ab. Azra Akšamija lädt zu einem Besuch in einen
islamischen Schilderwald ein, und entwirft Kleidung, die eine tragbare Moschee darstellt. Igor Bošnjak entziffert in seinen Videos die futuristischen Aspekte, die sich in Titos
Atombunker offenbaren, und hinterfragt die Free Hugs Campaign. Adela Jušićs Videos erzählen intime Familiengeschichten, die den Zeitgeist und die politische
Rahmenbedingungen in Erinnerung rufen. Nihad Nino Pušija setzt sich in seinen Fotoinstallationen mit dem kollektiven Erinnern an das Attentat von Sarajevo 1914 auseinander,
indem er den Alltag vor den Denkmälern (was heute noch von ihnen übrig ist) einfängt. Damir Radovićs Banner künden vor den Türen des Gasteigs als eine Art Leitmotiv der
Ausstellung vom Verschwinden (nicht nur) Jugoslawiens, und fragen in der Stadtbibliothek nach dem Wesen der Dinge und der Kunst. Er ist als Artist in Residence in der Villa
Waldberta zu Gast und wird ZOOM Sarajevo zusätzlich mit einer Performance ergänzen.
24. März bis 10. April 2014 24. März, 20.30 Uhr, Ausstellungseröffnung und Empfang, Stadtbibliothek Am Gasteig 26. März, 18.00 Uhr und 3. April, 18.00 Uhr,
Kuratorenführung ZOOM Sarajevo, Andrea Naica-Loebell, Münchner Stadtbibliothek Am Gasteig, Ebene 1.1 Ausstellung im Rahmen des Festivals ŠT A IM A ! ? Lite r a tur , K uns t
und K ultur a us Sa r a j e v o und E x - J ugo s la w ie n der Münchner Stadtbibliothek und der Münchner Volkshochschule Festivalblog mit Interviews, Rezensionen, Musik,
Hintergrundmaterial und Veranstaltungskalender unter www.literatur-debatten.org
Download Zoom Sarajevo – Sta Ima catalogue
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‘When I die, you can do what you want’ (2014) in collaboration with composer Ailis Ni Riain and violinist Elaine Clarke was included as part of the AV installation work at the New
Music Dublin Festival in March 2014 at The National Concert Hall of Ireland. The piece was commissioned by Concorde Ensemble and premiered in Dublin earlier in 2014.
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http://issuu.com/casopis.hr/docs/slobodna_bosna_20.03.2014/50
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Tačno prije 104 godine, na konferenciji socijalistkinja u Kopenhagenu, prihvaćen je prijedlog Klare Cetkin “da se 8.mart zavede kao dan borbene solidarnosti žena, kao dan
koji će povezati sve žene svijeta u borbi za svoja prava i punu slobodu čitavog naroda”. Tri godine nakon ove konferencije, 1913. godine u Sarajevu, žene Bosne i Hercegovine
su održale prvu “Proslavu ženskog dana” na kojoj je učestvovalo oko 2.000 žena.
Od tog dana, pa sve do danas, borba za politička, socijalna i ekonomska prava žena traje, a svaka pobjeda predstavlja novi korak na putu ka jednakosti. Često se te pobjede
osporavaju i zanemaruju. Prava koja su jednom ostvarena ponovo se dovode u pitanje, a na svom borbenom putu žene su iznova susreću sa novim starim preprekama. Ove
godine po drugi put zaredom, na svoj četvrti rođendan, pitamo se: Šta je nama naša borba dala?
N e k a ž ivi O s m i m a r t, m e đ una r od ni p r a z nik ž e na !
Exactly 104 years ago, at the Copenhagen conference of women socialists, Klara Cetkin’s proposal “to claim the 8th of March as a day of active solidarity of women, the day that
will connect all women of the world in the struggle for their rights and full freedom of all peoples.” Three years after this conference, in 1913 in Sarajevo, women of Bosnia and
Herzegovina held the first “celebration of women’s day” which was attended by about 2,000 women.
From that day until today, the struggle for political, social and economic rights of women continues, and every victory represents another step on the road to equality. Often these
victories are challenged and neglected. The rights that were once achieved are again being questioned, and through their struggle women are again faced with new/old
obstacles. This year, for the second time in a row, on our fourth birthday, we ask ourselves: What has our struggle given us?
Long live the 8 th of M a r c h, a n inte r na tiona l w om e n’ s d a y!
Exhibition photos 8th of March 2014, photos by Lana Milušić and Haris Sahačić
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E K S T R A V A G A N T N A T E L A / E K S T R A V A G A N T N E G O D IN E
K ultur ni c e nta r B e o gr a d a 0 6 . d o 2 7 . fe b r ua r a 2 0 1 4 O tv a r a nj e 0 6 . Fe b r ua r u 1 8 h
U m e tnic i: Andrea Palašti (RS), Ana Adamović (RS), Adela Jušić (BiH), Goran Trbuljak (HR), Hrvoslava Brkušić (HR), Ivan Kožarić (HR), Lada Cerar (SLO), Maja Bekan (RS), Marko
Jeftić (RS), Pilvi Takala (FIN), Sanja Iveković (HR), Siniša Labrović (HR), Suzanne Lacy (SAD), ŠKART (RS), Anja Strelec i Tomislava Jukić (HR), Tomislav Gotovac (HR)
„Svi žele dug život, ali niko ne bi hteo biti star!“, poznata je m is a o Jonathana Swifta. Iako predstavlja sasvim p r ir o d a n sled života, starost često doživljavamo kroz averziju ili
čak kao uv r e d u – gotovo kao da smo njome postavili dijagnozu ili ukazali na neku vrstu poremećaja. Zbog fizičkih i psihičkih p r o m e na koje sa sobom donosi ali i same
činjenice da vodi ka smrti,s ta r o s t i njeni znakovi izazivaju zazor up o r e d iv s onim koji izaziva telo ili um smešteno van društvenih normi. Upravo se tim procepom unutar
norme, kroz s a v r e m e nu umetnost, bavi izložba Ekstravagantna tela: Ekstravagantne godine.Ekstravagantna tela: Ekstravagantne godine predstavljaju uz b ud lj iv u ,
inspirativnu, senzualnu starost čijim tabuima savremena umetnost m e nj a negativan predznak I time ih izmešta iz područja stereotipa, marginalizacije i
diskriminacije, o tk r iv a j uć i istovremeno puno više od pukih načina na koje seniori mogu p o b o lj š a ti kvalitet sopstvenog života. Ekstravagantne godine predstavljaju starost
kroz ne k o nv e nc io na lne , drugačije i podsticajne perspektive naspram tela i uma u stalnoj tr a ns fo r m a c ij i – ekstatičnu i oslobođenu starost u punoći svih svojih mogućnosti
i p o te nc ij a la .K us to s k i tim : Milica Pekić, KIOSK, Beograd (RS); Ivana Bago, Olga Majcen Linn, Sunčica Ostoić, KONTEJNER, Zagreb (HR); Lois Keidan, Live Art Development
Agency, London (UK); Slaven Tolj, Muzej moderne i savremene umetnosti, Rijeka (HR)
Projekat osmislio KONTEJNER biro savremene umetničke prakse (Zagreb)
P a r tne r i : KIOSK platforma za savremenu umetnost (Beograd), Muzej moderne i savremene umetnosti, Rijaka; Live Art Development Agency, London; Kulturni Centar Beograda,
Beograd, Ustanova Gerontološki centar Beograd Dom Bežanijska kosa
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S TATE ABE D / D RŽ AV A U K RE V E TU
O p e ning : February 1st Gallery of Fine Arts, Split
K U ST O SIC A // C U R A T O R : Natasha Kadin
SU R A D N IC E // A SSO C IA T E S: Eni Buljubašić, Ivana Čagalj, Lovorka Kalebić, Ivana Kevo, Glorija Lizde, Jelena Novaković, Mia Raos, Neli Ružić, Maja Stojić
M E N T O R IC E // M E N T O R S: Ivana Bago, Sandra Sterle
G O ST U J U Ć E P R E D A V A Č IC E // G U E ST LE C T U R E R S: dr.sc. Valerija Barada, Kathy Rae Huffman, Sanja Iveković, Tanja Ostojić
Ova izložba završni je događaj kolegija “Feminizmi i društvene promjene u suvremenim umjetničkim praksama”, održanog na Umjetničkoj akademiji u Splitu 2012/2013., kao
dio projekta PATTERNS Lectures, iniciranog od Zaklade ERSTE I provedenog od strane WUS Austria.
www.patternslectures.org.
This exhibition is final event of the course “Feminisms and social changes in contemporary art practices”, held on University of Arts in Split 2012/2013 as a part of PATTERNS
Lectures, initiated by ERSTE Foundation and implemented by WUS Austria.
www.patternslectures.org.
D O N A T O R I // D O N O R S: E R ST E Foundation, Ministry of Culture Croatia, Kultura nova Foundation, Croatian Audiovisual Centre, City of Split
SP O N Z O R I // SP O N SO R S: Hostel Goli Bosi, UZOR
P R IJ E V O D // T R A N SLA T IO N : Eni Buljubašić, Ivana Čagalj, Jelena Novaković
T E H N IK A // T E C H N IC IA N S: Gildo Bavčević, Tihana Mandušić
D IZ A J N // D E SIG N : Rafaela Dražić
H V A LA // T H A N K S T O : Gallery of Fine Arts Split, Faculty of Humanities and Social Sciences and Academy of Arts at the University of Split, HULU, KUM
OSNOVNI KONCEPT // BASIC CONCEPT:
Slijedeći feminističku maksimu OSOBNO JE POLITIČKO, kao i svoje razloge zašto se bavimo feminizmima, što nas navodi da se javno deklariramo feministkinjama, došli smo do
naziva izložbe DRŽAVA U KREVETU. Želimo znati koliko duboko i na koje načine sustav, država, vlast i politika upravljaju našim životima te u kojoj mjeri i zašto imaju potrebu
ulaziti u naše živote, ložnice, tijela i glave i upravljati njima. Posebno želimo razotkriti načine na koje prihvaćamo ili ne prihvaćamo njihova zavođenja, poljupce, naloge i nasilja.
Želimo ogoliti sustav kao što on ogoljava nas. Želimo mu uzvratiti udarac, ili poljubac. Tražimo vaše ideje, koncepte, radove, načine i priče da rasvijetlimo ovu priču i saznamo
zašto imamo osjećaj da je to vođenje ljubavi zapravo silovanje i kakve sve posljedice ostavlja na naše osobno. Koje jest političko. Koje jest osobno. Following a feminist maxim
THE PERSONAL IS POLITICAL, as well as relying upon our reasons why we deal with feminisms, what makes us publicly declare ourselves feminists, we have come up with the
exhibition title STATE ABED. We would like to know how deep and in what ways the system, the state, the authorities and politics govern our life as well as to what extent and for
what reasons they have the urge to enter and control our lives, bedrooms, bodies and minds. We would especially like to reveal the ways we accept or do not accept their
seductions, kisses, orders and violences. We would like to strip off the system the way the system strips us off. We would like to hit the system back, or kiss it back. We ask for
your ideas, concepts, works, your ways and your stories which will help us unravel this story and find out why we have the feeling that this lovemaking is actually an act of rape
and what consequences it has on the personal. Which is political. Which is personal.
U M J E T N IC I // A R T IST S: Mez Breeze (Australia) and Andy Campbell (UK), Melanie Bonajo (Netherlands), Jay Critchley (USA), Ivana Čagalj (Croatia), Doplgenger (Serbia), Maria
Ezcurra (Mexico, Canada), Francine Flandrin (France), Faith Holland (USA), IRWIN (Slovenia), Marta Ivanova (Russia), Adela Jušić (BiH), Natasha Kadin (Croatia), Ivana Kevo
(Croatia), Marija Kotarac (Croatia), Glorija Lizde (Croatia), Joan Oh (USA), Roberta Orlando (Italy), Dina Rončević (Croatia, Netherlands), Sandra Sterle (Croatia), Svitogora &
Serpent (Croatia), Leslie Wilson (USA), Jing Zhou (China, USA), Petra Zlonoga (Croatia).
http://pogledaj.to/drugestvari/kljucne-rijeci-danasnjice-suradnja-i-tolerancija/
http://sinisajovic.com/2014/01/31/natasha-kadin-sto-je-uopce-brak-ugovor-s-vragom/
OPENING PHOTOS by Natasha Kadin
TEXT ABOUT EXHIBITION BY VALERIJA KARADA HERE
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