The Bring In Take Out – Living Archive (LA)

Interactive Contemporary Art Exhibition
27. – 30. September 2012, Sarajevo

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.



Talk to me

Balkans Beyond Borders and Tirana Art Lab – Centre for Contemporary Art present:
Balkans Beyond Borders Short Film Festival 2012
TALK TO ME- multilingualism and communication
20-21-22 of September at Tirana Ekspres
This year the films are selected by the pre-selection Committee composed by Adela Demetja (Albania), Art Director of BBB, Violana Murataj, BBB’s Albanian Ambassador (Albania), Myra Stylianou (Greece), film director and  Stepan Altrichter (Czech Republic), film director. The Jury that will select this year’s Winner for the Best Film consists of Mr. Joni Shanaj (Albania), President, Mr. Yorgos Zois (Greece) and Mr. Idro Seferi (Kosovo).



September 6th – September 20th
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

CURATORS: Branka Vujanović, Jonathan Blackwood

The skin is faster than the word.
Brian Massumi
Intimacy is a ritual, an opening for creating a world according to your own rules. Intimacy is a space of introspection through sensory experiences and a space of sharing on the level of immediate response through skin. ..In „time of administration“(Negri) and „branded patterning of existence“ (Holmes), it 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 as the ways of living-with and changing-with. 
Branka Vujanović



Otvaranje 5. Postjugoslavenske mirovne akademije


U velikom amfiteatru Franjevačkog studentskog doma u Sarajevu u ponedjeljak 23.7. u 9:30h svečano će biti otvorena 5. Postjugoslavenska mirovna akademija (PJMA). Na otvaranju, prisutnima će se obratiti organizatori Postjugoslavenske mirovne akademije te voditelji  ovogodišnjih kurseva: Tonči Kuzmanić, voditelj kursa Politika, moć i nejednakost; Svjetlana Nedimović, voditeljica kursa Uloga historijske istine u transformaciji sukoba i Jayne Docherty, voditeljica kursa Strategic Peacebuilding (Strateška izgradnja mira).

Na istom mjestu, u četvrtak 26.7. od 16 do 18:30h, kao dio PJMA otvoren i za širu javnost, održat će se i zajednička sesija pod nazivom Angažirana umjetnost i izgradnja mira. Učesnici na sesiji su: Đorđe Balmazović, umjetnik iz Beograda, Adela Jušić, umjetnica iz Sarajeva, i Husein Oručević, umjetnik iz Mostara. Sesiju će moderirati Samra Dizdarević.




July 6th, 11.30-16.30

Invited participants: Ferida Duraković* (poet), Faruk Šehić* (writer), Andrej Nikolaidis* (writer), Bekim Sejranović* (writer), Adisa Bašić* (poet/journalist), Marko Vešović (writer/poet and commentator), Melina Kamerić* (writer), Namik Kabil* (film director), Šejla Kamerić (film director), Adela Jušić* and Lana Čmajčanin* (visual artists),Gorčin Dizdar* (art historian), Nenad Prokić* (playwright), Adis Fejzić* (sculptor/painter), Frenki (musician), Zana Marjanović (actress), and “Stari Grad”* (a rock band from Srebrenica).

Artist talk: Adela Jušić and Lana Čmajčanin



Perfect Strangers

Triple Canopy in Sarajevo with Azra Akšamija, Adela Jušić, Mladen Miljanović, Radenko Milak, and Muharem Bazdulj

Sarajevo, Bosnia and Herzegovina June 21, 2012
Between June 21 and July 6, Triple Canopy editors will work with five artists and writers from Bosnia on a series of workshops and discussions dealing with idiosyncratic sites, figures, and objects with ambivalent relationships to the region’s traumatic recent history and concurrent forging of national identities. Triple Canopy editors and participants will choose places, things, and images whose meanings have not yet congealed but instead lead in contradictory directions. Rather than turning to emblems of entrenched narratives, rather than marking or restoring parts of the landscape in order to memorialize victims, preserve memories, or reveal a path to national rejuvenation, we’ll attend to the meanings that cannot so easily be recouped and repackaged, that resist easy interpretation, much less definition. Among them: the Olympic bobsled track turned front-line barricade in the mid-90s; the popular Serbian Zastava 101 automobile; rejuvenated Bosnian black markets; the extra J that transforms a word from Serbian to Bosnian and Croatian; nascent national beverages, fashionable typefaces, suburban mosques, prominent branding campaigns.These objects of inquiry will provide the basis for installations, performances, walks, and talks around Sarajevo; public presentations and discussions with invited guests; and contributions to Triple Canopy’s online magazine. Additionally, they will be represented in a book produced under the auspices of Triple Canopy’s Volume Number series, which provides a variable space for thinking through—and collaboratively enacting—the practice of publication and instantiating the public spaces magazines purport to produce in the world. This book, Perfect Strangers: A Catalogue of Ordinary Icons, will be published in the winter and will include documentation of public programs as well as elaborations of the projects discussed and conceived in Sarajevo. The materials—artist projects, prose, poetry, fiction, photography, transcripts, documents, emails, screen shots, coupons, receipts—will be organized as alphabetical entries, resulting in a subjective, selective lexicon of the Balkan imaginary, and of an imaginary Balkans. Contributors will include the participating artists and writers, attendees from Bosnia and Serbia and abroad, Triple Canopy editors, and a number of commissioned respondents who will not be present in Sarajevo.Perfect Strangers will develop original ways of thinking about how the work and identities of artists in the region circulate among the myths, misnomers, and misunderstandings that so often mark the context of international reception—and thus inevitably shape the conditions of production, and lead to the calcification of the symbolic repertoire. Triple Canopy editors and participants will discuss how artists and writers might productively evade and intervene in these discursive systems; misuse or abuse familiar, staid symbols and adopt new and defamiliarizing ones without sacrificing the social and historical complexity of their work. These problems will be reflected in the content of the work as well as the forms of its publication.June 26 at Collegium Artisticum, 6:30 p.m.
Mladen Miljanović presents a genealogy of the Zastava 101, the stable and affordable automobile produced in Serbia from 1974 until 2008 without significant changes to its design. The Zastava, which was extremely popular throughout the former Yugoslavia, became emblematic of the region’s economic and social stagnation, and often figures into Miljanović’s artwork. Radenko Milak screens and discusses the 1958 promotional film for Novi Travnik, designed as a prototype for Yugoslavian socialist cities and promoted under the banner “new factory, new ideas of life.” Followed by a conversation moderated by Triple Canopy’s Molly Kleiman.June 27 at Collegium Artisticum, 6:30 p.m.
Muharem Bazdulj discusses Arizona Market, a sprawling complex of stalls outside Bosnia’s Brčko District, where disused, forgotten, or stolen objects acquire a currency that has as much to do with their historical resonance and the social relations facilitated by improvised capitalism as their economic value. Bazdulj will be joined by Brooklyn-based writer and Triple Canopy contributor Joshua Cohen in a conversation moderated by Triple Canopy’s Sarah Resnick.July 3 at Kriterion, 6:30 p.m.
Adela Jušić delves into Sniper Ghost Warrior 2: Sarajevo Urban Combat, a first-person shooter scheduled for release in August. The video game, set in besieged Sarajevo, features American-accented “ghost warriors” who defend the city from an attacking army—a historical corrective, or perhaps a creative diversion overwriting the collective trauma.Azra Akšamija analyzes the forms of mosques built in post-war Sarajevo, using three case studies to show how cultural memory is erased only to be reinvented. Followed by a conversation moderated by Triple Canopy’s Alexander Provan.July 4 at the Historical Museum of Bosnia and Herzegovina, 5 p.m.
Azra Akšamija, in collaboration with CultureShutdown.net and Triple Canopy, invites the public to initiate the collection of a new, portable venue for Bosnian cultural heritage, in response to the recent closure of the country’s institutions due to lack of funding. Participants are invited to bring toys, pictures, tools, keepsakes, trinkets, and other objects they wish to be part of the collection, housed in a mobile vitrine and called Model for a Future Wing of the Museum. Documentation of the collection will appear on CultureShutdown.net, an online platform created in response to the crisis facing Bosnia’s cultural institutions.Perfect Strangers is organized in collaboration with NO(W), the Sarajevo Center for Contemporary Art/pro.ba, Collegium Artisticum, Kriterion, the Historical Museum of Bosnia and Herzegovina and CultureShutdown.net, with the support of CEC Artslink. Special thanks to Pierre Courtin, Asja Hafner, Branka Vujanović, Vildana Drljević, Elma Hasimbegović, and Aida Salketić.***Azra Akšamija is a Sarajevo-born artist and architectural historian and is currently an assistant professor at MIT’s program in art, culture, and technology. Akšamija’s work investigates the ability of art and architecture to facilitate transformative mediation in cultural and political conflicts, and in so doing provide a framework for researching, analyzing, and intervening in contested situations and places. Her recent projects have focused on the representation of Islamic identities in the West, spatial mediation of identity politics, and cultural pedagogy through art and architecture.Muharem Bazdulj was born in 1977 in Travnik, Bosnia and Herzegovina (formerly Yugoslavia). He has published several novels and award-winning short story collections, including Druga knjiga (2000), which was translated into English and published as The Second Book in 2005 by Northwestern University Press. Bazdulj’s work has been featured in international anthologies such as The Wall In My Head, published on the occasion of the twentieth anniversary of the fall of the Berlin Wall, and Best European Fiction 2012, published by Dalkey Archive Press and edited by Aleksandar Hemon. His short stories and essays have appeared in World Literature TodayCreative NonfictionHabitus, and Absinthe, among other literary reviews.Adela Jušić is an artist working in video, installation, and performance and living in Sarajevo. She is a founding member of the Crvena Association for Culture and Art. In 2010 she received the Zvono Award for best young artist in Bosnia and Herzegovina. Her work has been exhibited at Manifesta 8, Kunstmuseum (Bonn, Germany), El Parqueadero (Bogotá, Colombia), Espace Appolonia (Strasbourg, France); the Goethe-Institut Los Angeles, and Gallery P74 (Ljubljana).Radenko Milak is a painter and curator based in Banja Luka. In 2005 he co-founded the Protok Centre for Visual Communications, an alternative art space in Banja Luka that is active throughout Bosnia and the region. From 2008 until 2010 he was the director of SpaPort, an annual international art exhibition. He is currently a professor at the Faculty for Information Technology and Design in Banja Luka.Mladen Miljanović is an artist working and living in Banja Luka. In 2007 he received the Zvono Award for best young artist in Bosnia and Herzegovina. He has exhibited at the National Gallery of Bosnia and Herzegovina; Museum Moderner Kunst Stiftung Ludwig Wien (Vienna), and Smack Mellon (New York). In addition to his performances, new-media productions, and research-based work, Miljanović deals with the social and therapeutic aspects of art by organizing workshops for the disabled.http://canopycanopycanopy.com/programs/64


Secondary Witness

June 27, 2012
ISCP, New York

opening reception
wednesday, june 27, 7 – 9pm
discussion between maayan sheleff and dor guez
monday, july 2
wednesday – saturday, 12 – 6pm

Participating artists: Lana Cmajcanin, Dor Guez, Adela Jusic, Juan Manuel Echavarria, Avi Mograbi and Michael Zupraner

Curated by Maayan Sheleff

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.

Some of the artists choose to blur the boundaries between documenter and documented by entering the photographic frame, or handing the camera to the subjects themselves. One prominent example of this is Mich’ael Zupraner’s Snow Tapes, in which he worked with materials shot by a Palestinian family, who documented their violent encounter with a group of neighboring Jewish settlers in Hebron. A more subtle example is Dor Guez’s (Sa)mira, in which he acts as an invisible yet heard presence, re-examining  his protagonist’s point of view by making her repeat her story, in which she recalls a traumatic moment when her Arab background is exposed, and she is asked to change her name to a Jewish one by her boss. Avi Mograbi is a prominent character in his work Z32, where he debates (and sings) about the difficulty of recording an Israeli ex-soldier recounting a war crime he has committed.

At times the artists literally take the voice of their protagonist: Lana Čmajčanin stands at a podium, reading the testimony of a Bosnian woman who was raped during the Bosnian War, while Adela Jusic reads her grandmother’s memories as she washes her hair repeatedly. These acts of over identification also externalize a mode of control and manipulation over the protagonists. Like Čmajčanin and Jusic, many of the artists search for a performative testimony that will reflect a subjective feeling. This performativity is evident in Juan Manuel Echavarria’s Mouths of Ashes, where survivors of massacres in sequestered villages in Colombia put their traumatic experiences into music and sing them in front of the camera.

The subjective, performative and poetic testimonies reflect an abandonment of the need to represent the real, and an attempt to construct a new reality, as a critical act. With many moments of humor and grace, they reject the commonly accepted notion of truth, question definitions of victim versus perpetrator, and challenge preconceptions. 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. It calls upon the viewer, as a third witness, to add their own memories and experiences, to reconsider his/her passive position in power relations, and to take a more active position in their realignment.


Download Secondary Witness Press Release 



10.06 – 16.09.12
Haus der Kunst, Munich

Artists: bureau d’études, Nin Brudermann, Harun Farocki, Omer Fast, Hans-Peter Feldmann, Téo Hernandez, Monika Huber, Alfredo Jaar, Adela Jušić, Langlands & Bell, Radenko Milak, Trevor Paglen, Thomas Ruff, Roy Samaha, Wilhelm Sasnal, Ahlam Shibli, John Smith, Sean Snyder, Thomson & Craighead, and Jasmila Žbanić.

Curators: Patrizia Dander, Leon Krempel, Julienne Lorz, and Ulrich Wilmes






Opening: Friday, June 8, 2012, 8 pm
This exhibition is open until August 30, 2012.
Venues: KIBLA at Narodni dom Maribor and KIT at Glavni trg 14, Maribor, Slovenija

Performances during the opening of the exhibition
Alma Suljević: Holy Warrioress

Artists: Lana Čmajčanin, Chto Delat?, Igor Grubić, Adela Jušić, Nikolay Oleynikov, Shadow Museum/Jaroslav Supek, Alma Suljević

Curator: Vladan Jeremić 

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, 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?

The title of the exhibition is borrowed from the video performance I Will Never Talk about the War Again, by two artists from Sarajevo, Adela Jušić and Lana Čmajčanin.Fortheir recent sound installation piece Bedtime Stories they collected stories about life during the 1395-days’ siege of Sarajevo, when people sought shelter from grenades in the small basement quarters of the city’s buildings.




Photos from the opening by Rena Radle



Photos from the opening


Presentation of works and talk
Mladen Bundalo and Adela Jušić


26th of March 2012, 16.30 h

Prof. Marina Gržinić
Academy of Fine Arts, Vienna
M1, first floor, Semper Depot, Lehargasse 8, Vienna


Past Entangled Tense


One day of video art in the framework of:
the UNESCO Forum Balkan Visions: Creativity for the Future in South-East Europe and Sofia International Film Festival

17th March 2012, Saturday
Central Army Club, Sofia
Tzar Osvoboditel Blvd 7, Sofia
the video programme runs throughout the day, from 9.30 to 18.30

ARTISTS: Marko Kovačić, Adela Jušić, kuda.org,  Hristina Ivanovska,  Calin Dan, Adrian Paci, David Maljković, Theo Prodromidis, Aleksandar Spasoski, Mariana Vassileva

SELECTED BY: Margarita Dorovska

Past Entangled Tense and Cityscapes are screening programmes, including video works from the Transitland archive. All works in the two screening programmes are by artists from South East Europe. Transitland Video Art from Central and Eastern Europen 1989 – 2009 is a collaborative research and archiving project initiated on the occasion of the 20th anniversary of the Fall of the Berlin Wall. Its main outcome is a selection of 100 single-channel video works, produced in the period 1989-2009 and reflecting the transformations in post-socialist Central and Eastern Europe. Transitland is not only the widest-spanning presentation of video art from Central and Eastern Europe but also a unique attempt to address and reflect upon an extensive period of complex transformation and changes. The project was realized by InterSpace Association Sofia, Ludwig Museum of Contemporary Art Budapest and Transmediale festival for digital culture Berlin.


Download Screening programme




Red Dawns
13th International Feminist and Queer Festival 
March 6th-11th 2012, Ljubljana, Slovenia


Exhibition opening link

Living Archive Ljubljana Second Edition back-to-back with Red Dawns!

The Red Min(e)d in collaboration with the International Feminist and Queer Festival Red Dawns (Ljubljana) and the Center for Women Studies (Zagreb) are pleased to announce the 2nd edition of The Bring In Take Out Living Archive to take place between 7th – 10th March 2012 in Ljubljana at the Alkatraz Gallery and the Kapelica Gallery.

The LA second edition will continue to work on the methodology and process of creating an interactive platform of feminist contemporary art within the postYugoslav space and beyond. During 4 days of collaborative work we will focus on the mapping of feminist practices in contemporary art, processes of generating, producing and mediating knowledge – especially from queer and feminist grass-root perspective.

Ljubljana edition features Vesna Bukovec (Ljubljana), Ida Hiršenfelder (Ljubljana), Biljana Kašić (Zagreb), Margareta Kern (London), Tanja Marković (Belgrade), Karen Mirza (London), Vahida Ramujkić (Belgrade) and Aviv Kruglansky (Barcelona), Ana Vilenica (Pančevo) and many others.

Download program here.



Opening March 7th 19h
On display: 08.03. – 05.04, Monday to Friday from 14h-18h
Gallery Art Point, Kulturkontankt
Universitätsstraße 5, 1010 Vienna

Link- Kulturkontakt website

Photos from the opening


Be realistic, demand the impossible!

An exhibition with artists from Sarajevo and Graz
Rotor, Graz

Exhibition Opening:
Friday, January 27, 2012, from 6 pm (open end!)
Official Opening: 9 pm

Participating artists:
Lana Čmajčanin / Adela Jušić, Jusuf Hadžifejzović, Andreas Heller, Amir Idrizović, Adla Isanović, ILA, Šejla Kamerić, Helmut Kaplan (tonto), Richard Kriesche, Kurt & Plasto, Mirco Marić, Damir Nikšić / Michael Blum, Edin Numankadić, Damir Šagolj, Nebojša Šerić Shoba, eva helene stern***, Edda Strobl (tonto), Markus Wilfling, zweintopf

Curated by
Lejla Hodžić, Karin Lernbeiß, Margarethe Makovec, Eva Meran

Duration: 28.01– 31.03 2012

Opening Hours: MO – FR 10 am– 6 pm, SA 12 pm – 4 pm
Closed on Sun & bank holidays

Dialogic tours through the exhibition for school classes and other groups prior appointment
rotor@mur.at, 0316/ 688306

Admission free!

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.

Film screening in the frame of the exhibition
selected by Lejla Hodžic
Saturday, 28.01.2012, 9 pm
blendend, Mariahilferstraße 24, 8020 Graz

The exhibition „Be realistic, demand the impossible!“ will be shown in Sarajevo in mid-April 2012 , in cooperation with the MESS Festival.


Radio Sarajevo link

Photos from the opening


Download catalog Henkel Art Award 2011

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