A Strengthening North-Westerly Breeze : A Review of Art in BiH, 2013
The casual visitor to Bosnia & Hercegovina may conclude that little has changed in the visual art world in 2013. Major institutions remain closed, or subject to political interference; artists and art workers continue to look abroad for funding and exhibiting opportunites, despairing of the situation at home; art continues to fight a losing battle for any recognition domestically, with local exhibitions- no matter how ambitious- struggling to attract visitors, beyond a hard core of dedicated art enthusiasts and practitioners.
As is so often the case with culture in our country, though, the reality is much more complex and, on the whole, slightly better than a superficial look may indicate. Whilst there have undoubtedly been further setbacks, most notably in the inaccessibility of Čarlama, and some bizarre and seemingly arbitrary recent changes in the management of public galleries, these have been offset by a number of notable events and exhibitions both locally and internationally. Most prominent in the last year has been the re-appearance of a BiH pavillion at the Venice Biennale, featuring a well received exhibition by Mladen Miljanović; the vivid BiH thread running through this year’s Oktobarski Salon in Belgrade, curated by CRVENA offshoot Red Min(e)d and featuring Adela Jušić and Lana Čmajčanin amongst the commended artists; compelling shows such as Miraz / Dowry, organised by SCCA at Collegium Artisticum; the hard work of Collegium staff being rewarded with a remarkable double-show of contemporary European art in September, Europe South-East : Recorded Memories and ex-ordinary; and, most recently, the ambitious collaborative show What Can I Not Know About You, curated by Anja Bogojević and Amila Pužić, across three galleries in Sarajevo.
This roster of shows and activities indicates that whilst 2013 may not be seen as a vintage year in BiH’s art history, nonetheless it will be seen as significant after a very bleak 2011 and 2012. Future historians will have plenty of evidence that 2013 was a year when things seemed to be turning- however incrementally- in a more positive direction. What cannot be predicted is how long this apparent upturn will last.
2012 drew to a close with the threat of closure apparently lifted for the Čarlama gallery in Sarajevo’s Skenderija shopping centre. For a couple of months, it seemed that the existential threat to the space was over; however, since early summer, it has been without electricity. Although not officially closed, this lack of electricity has made it very difficult for the space to be used as it once was; as a space of artistic experiment, as a repository for Jusuf Hadžifejzović’s fascinating collection of contemporary art and ephemera from ex-Yu; and as a meeting point for the exchange of ideas and information between the city’s artists. Whilst it is possible that Čarlama may again open at some point, the prospects of that happening any time soon seem remote, and it is the loss of this exchange of ideas which has been perhaps felt most keenly. From the times of subdokumenta in 2009 to early 2013, Čarlama was the space for experimentation in the city, and if no solution can be found for it in Skenderija then surely alternative venues will have to be looked for.
Čarlama was the last institutional casualty of the year. The National Museum, scandalously, remains closed, and despite a day of protest on the first anniversary of its closure, and continual pressure from campaigns such as Culture Shutdown and Akcija Građana, there seems to be very little movement on that issue. A new commission has been formed to look into the matter of the crisis in BiH’s national institutions, but it will not move quickly. Elsewhere, new leadership, in particular at the Historical Museum of BiH, has seen fresh energy and approaches developed both to the care of national collections, and to the funding of programmes of display and education.
These positive signs at such state funded institutions have been offset by the bizarre removal of several key directors in December- including the director of Collegium Artisticum who had, by any measure, done a very good job since being appointed. The intentions of politicians in making such moves have yet to be divined, although rumours persist of a desire for a clumsy merger between Collegium, ARS AEVI and the Bosnian Cultural Centre. If this is true, it is a crude cost-cutting measure which may fatally weaken the ability of Sarajevo to mount any kind of coherent exhibiting strategy, on the threshold of the most important year, in cultural terms, since the signing of the deeply flawed Dayton agreement.
Exhibitions and Interventions
Space does not allow for a detailed blow-by-blow account of the exhibiting year, merely to note the most significant events. At the beginning of 2013, attention was focused on the National Gallery of Bosnia & Hercegovina; after the end of the show of Montenegrin artists contributing to the ARS AEVI project, Nela Hasanbegović took over the gallery’s top floor with her solo show Speech of Whiteness. The stand-out works in what was almost a retrospective of the artist’s early career, was the beautiful video installation Priča o Ribi, a childhood story of a desire to eat fish when it was completely unavailable during conditions of wartime. Perhaps the most striking work visually was the Between Light and Darkness, a spectral lancing of a dark and awkward space with strings of fluorescent thread; a geometric shattering of a familiar terrain.
Early in 2013, a show of young BiH artists was curated by Jusuf Hadžifejzović at Collegium Artisticum. Jusuf’s work as a curator, and as an encourager of emerging talent, receives less attention than his work as an artist, but it is no less significant for that. This was an engaging showcase of about a dozen artists, with the paintings of Demis Sinancević and the brightly coloured geometrical sculptures of Emir “Mute” Mutevelić perhaps sticking longest in the memory. This was a significant show, as people tend to conceive of BiH art as running in generations; it gave an idea of who from the next generation of younger artists may-with a fair wind- emerge in the coming years.
Remaining at Collegium, one of the shows of the year was undoubtedly Miraz / Dowry, a profound exhibition of video installations by mid career artists from all parts of ex-Yugoslavia, curated by Dunja Blažević. It was particularly interesting to see the public interventions of the Belgrade artist Milica Tomić, and her work focusing on the casual militarisation, barely suppressed violence, and constantly re-written and over-written histories of the contemporary age; Gordana Anđelić-Galić’s video performance, Washing, was a compelling parallel, programmatically developing her earlier Flags performance in a new way, wittily echoing the forms and paradigms of socialist realist portrayals of domestic labour, as well as drawing attention to the absurdities of the multiple emblems that have presumed to represent this part of the world in the last century.
However, it was not only in the familiar exhibiting spaces that interesting exhibitions could be found. At Atelje Figure, at the end of June, a long-overdue sampling of Danijel Ozmo’s work was mounted for one night only. This sensitively chosen selection of paintings, woodcuts and linocuts drew on collections from all over Sarajevo and reminded viewers not only of the breadth of Ozmo’s tragically short career, but also of his central place in the Sarajevo art world of the 1930s, and his instinctive sympathy with left wing perspectives and the bitter struggle of sections of the local working classes during that long and troubled decade. It was a reminder, too, of what every citizen of our country loses by not having regular or structured access to the national collections. The slow-motion collapse of the “official” institutional art world in BiH means that the very groups of people who should be inspired by works such as these- children and students- are largely unaware that they exist. The only frustration of this show was that it was on for such a short time.
Meanwhile, in Zvono, there were many such short-running shows; I particularly appreciated the chance to study Izmet Muježinović’s drawings up close, whilst the evenings devoted to the work of Ambrosia in January, and to the hugely popular humorous videos of Damir Nikšić, were amongst the busiest art events of the whole year in Sarajevo.
Historians of 2013 will acknowledge, however, that the most significant showing of BiH art took place not in this country but in Venice. At the beginning of June, the first pavillion representing BiH art, in twenty years, opened at the Palazzo Malipiero. The exhibition happened after the conclusion of long and tortuous government level negotiations; in short, the right to mount an exhibition representing BiH will alternate between the cultural authorities in Banja Luka, and in Sarajevo. For this first re-appearance, the work of Mladen Miljanović was chosen as representative, curated by Sarita Vujković and Irfan Hošić. Themes familiar to many longstanding observers of Mladen’s work- the performative, the post-conceptual, delicate carved inscription on granite- were all present. The artist’s quotation of Hieronymous Bosch’sGarden of Earthly Delights, and his re-location of that masterpiece in contemporary BiH, complete with Stojadin and fine-writing policeman in a fluorescent vest, was widely commented upon and one of the more assured national representations at this year’s Biennale. The curation, location and presentation of the work was of a very high standard, and it is to be hoped that the next pavillion, to be overseen by a team from the Federation, is already in the planning. It will need to be to maintain the standards set by this year’s exhibition.
In Banja Luka, another intriguing exhibition was the return of Mladen’s mentor- Veso Šovilj- at Dogma Arts, with a show of new work entitled And What do you Represent? This show of installation and painting opened at the end of October, by which time the Oktobarski salon was winding towards a conclusion. This event received very, very little recognition in domestic media but, arguably, was just as significant as the country’s return to the Venice Biennale. The salon, at the tricky Zepter exhibiting space, featured over fifty artists from around the world, with a very strong core from BiH. With Danijela Dugandžić-Živanović on the curatorial team, the show covered performance, installation, video, painting and sculpture. Adela Jušić’s Ride the Recoil, in development for over a year, made a remarkable debut appearance, perfectly located in a chilly, run down store room surrounded by a claustrophobic courtyard. Lana Čmajčanin’s piece 166987 Uboda was shown in a new arrangement, silver stitching on white cloth under a bright light, the stark language of the piece shocking the viewer as they try to follow it in the glare. The salon, deeply concerned with issues of inclusivity, gender, education and cultural specificities, finished with an extremely strong and memorable series of performances from Alma Šuljević and Lala Raščić.
In December, an unusual collaborative exhibition was displayed across three separate gallery spaces- the gallery of the Academy of Fine Art, Galerija Roman Petrović, and Java. The show What Can I Not Know about You, curated by Anja Bogojević and Amila Pužić, of Abart, invited fifty young artists to show work they had done whilst on a residency programme in Mostar. Some of the work- notably by Lejla Bajramović, in her piece dealing with childhood memories of Mostar’s bridges, and by Iva Kirova, in Java, dealing with the ruined architecture of the city, were sensitive responses. The methodology of the show- through widespread collaboration (with Weimar University), and the desire to show Mostar through fresh eyes and challenge a local audience to put aside their stereotypical views of a city they think they know all about- was compelling. In some ways this exhibition was the latest iteration of the strategy by which contemporary art in BiH survives- live locally, work as much as you can internationally, or with international partners.
Looking Forward to 2014
2014 will be a very atypical year in the cultural history of BiH, 100 years since Gavrilo Prinčip’s actions triggered the beginning of the first world war. As a consequence, there are comparatively vast sums of money available for local artists to make projects and collaborations reflecting on those events, whilst the city gears itself for a huge influx of both visitors, and a level of international media attention probably not seen since the middle 1990s.
It goes without saying, however, that there will be a huge disjunct between the very specific cultural circumstances of 2014, and the reality on the ground that most people active in culture in BiH have lived through in the current century, until now. It is vitally important that visitors to the city are made aware of this huge gap. Come the end of 2014, it seems likely that the sums of money made available this year will simply dry up. 2014 is not just about presenting BiH art in its best light to visitors, but in developing a strategy for how to continue the increased level of quality activity once the attention of the international media and funders has moved elsewhere. The pressing and urgent need to build a new cultural infrastructure, incrementally, is something that this global attention can help to achieve.
2014 seems set to be a big year for a few organisations and individuals. In June and July, duplex is taking a representative showing of contemporary BiH art to Paris for a two month exhibition, and will be taking a smaller show to Stockholm before then. Duplex is an absolutely vital link between the different art scenes from around BiH and other capitals; Pierre Courtin’s tireless efforts promoting artists from here may well be about to bear fruit. No less important, in keeping these channels to the outside world open, is the planned re-emergence of the Zvono Award for young artists, after two years in abeyance for lack of funding. The prize, overseen by SCCA, promises a solo show domestically to the winner, along with a fully funded six weeks in New York City, is a remarkable incentive for emerging young artists and an absolutely crucial founding block in building an international profile. The return of Zvono in 2014 is a really welcome filling of a sad absence in the Bosnian art calendar, and is probably the event we are most looking forward to in the next year. And speaking of Zvono the group, rather than the prize, their retrospective planned for Collegium Artisticum in January seems set to be the first highlight of the New year.
In terms of individual artists, it seems set to be a massive year for one or two in particular; certainly for the painter Radenko Milak, whose profile continues to grow at a rapid rate, and who is looking forward to shows in Paris and in Munich in the twelve months ahead. Expect, too, to hear much, much more of Adela Jušić, Lana Čmajčanin and Lala Raščić in the next twelve months; Adela and Lala have had prominent recent showings in Switzerland, as part of the Culturescapes Balkan festival and Bone performance festivals, and already all three artists have international showings lined up for 2014.
So, in conclusion, yes, on the surface, nothing changed and everything stayed the same in the BiH artworld. But, as this brief summary of the year has shown, we have active at the moment, in our country, 25-30 artists whom one could take anywhere in the world for an exhibition and be absolutely certain of its quality and enduring interest, alongside five or six curators. Many countries with much better resources and cultural infrastructures would be desperate to try and attract the kind of talent that is emerging- in spite of everything – from here. But, as has been observed many times, the political classes in BiH remain enduringly indifferent to the talent glittering all around them- and this is applicable to all sections of cultural life. if quick and easy money could be made from art, you could be sure that there would be much more immediate political interest.
So, in the meantime, it must be enough for the artworld that we have to be built by our own efforts, as it seems futile to expect anything like a cultural strategy or vision to emerge from the political classes anytime soon. Just like our football team, just like our film industry, just like our small number of business successes, any success and prestige in this country emerges in spite of the conditions that they emerge from, rather than because of them.
Although we may lament this state of affairs, it does not top us working or very much enjoying the successes of others. In 2014, with the world’s press turning its focus again to Sarajevo, I can see a freshening north-westerly breeze from Bosnia-Hercegovina’s art world blowing across Europe. I would like to think that, in time, this breeze will strengthen, and blow away the choking smog of political apathy and indifference once and for all. Only time will tell, and we will be there to report and reflect on what happens throughout 2014.
Izdavač/publisher: Connectum, Sarajevo
Recezenti/editors: Ješa Denegri and Sarita Vujković
Collaboration with Ailis Ni Riain
The Irish contemporary music ensemble Concorde have commissioned Ailís to compose a new work for solo violin with video and text. It will be premiered at the RHA Gallery in Dublin in January 2014 as part of Concorde’s ‘Up Close’ series. The piece is a collaboration with Bosnian video artist Adela Jušić.
Her music has been performed at London’s Purcell Room, The Royal Festival Hall, The National Concert Hall in Dublin, Carnegie Hall in New York, throughout Europe and in the USA as well as featured on BBC Radio 3, BBC 4′s The Today Programme andWoman’s Hour, RTÉ Lyric FM and RTÉ Television and as part of a Big Art Mob documentary on Channel 4.
She composes in a variety of forms including opera, music-theatre, concert music, electroacoustic and site-specific installation music for unusual historic buildings. She has won two international composition prizes including the ISCM Sound Art Prize ‘Short Cuts’ in 2007 for StreetSong.
As a writer, in 2012 she was awarded The Tom Erhardt Peggy Ramsay Award for her play Desolate Heaven which premiered at London’s Theatre503, receiving strong national reviews and is published by Methuen Drama. TILT (BEATEN) has been published by Nick Hern Books and performed in Ireland, Germany, Sweden and Scotland.
Her play The Tallest Man in the World was premiered in Cork, Ireland by Corcadorca Theatre Company as part of the Cork Midsummer Festival in June 2013 and received strong national press reviews.
Dodeljene nagrade 54. Oktobarskog salona
O Nagradi 54. Oktobarskog salona odlučivao je tročlani Žiri, koji je ove godine radio u sastavu: Bojana Pejić, istoričarka umetnosti i kustoskinja iz Beograda koja živi i radi u Berlinu (umetnička direktorka 49. Oktobarskog salona), Dirk Moleman, kustos Instituta za umetnost u javnom prostoru u Grazu (Universalmuseum Joanneum) i Vladimir Miladinović, prošlogodišnji laureat Nagrade Oktobarskog salona.
Žiri je odlučio da ove godine učini mali presedan i doneo je odluku da Nagradu podele 4 umetnice, od kojih sve 4 dobijaju zasluženu čast a četvrta dobija i čast i novac. Nagradu dele 3 feministička rada koja se bave pozicioniranjem žena u društvu:
1. Fljaka Haliti za video instalaciju Ja, ti i sve koje znamo (2010-2011)
2. Lana Čmajčanin za 166987 uboda (2012), vez
3. Adela Jušić Ride the Recoil (2013), fotografija, zvuk
Tri feministička rada koja se bave pozicioniranjem žena u društvu:
Flaka Haliti u svojoj video instalaciji JA,TI I SVE KOJE ZNAMO (2010-2011) odabrala je jednostavan i upečatljiv način da pokaže istovremeno ironično i ozbiljno strukturno nasilje tradicionalnih hijerarhija u umetničkom svetu. To je jednostavan i jak primer institucionalne kritike.
Lana Čmajčanin 166987 PRICK (Fuck me)/ UBODA (2012) koristi tradicionalnu „žensku“ tehniku ručnog rada, vez, kako bi povezala nasilje sa željom putem vezenih slova, otkrivajući seksualno značenje tokom čitanja celog teksta. Ona na trenutak stvara veoma intiman susret jezika i pogleda posetilaca.
Adela Jušić RIDE TO RECOIL (2013) prilazi brutalnom i smrtonosnom nasilju kao traumatičnom iskustvu, koje treba iznova i iznova ponovo obrađivati u sećanju pojedinca kao kolektivni društveni proces. Ona sinhronizuje narativ jedne video igrice, takozvanepucačine iz prvog lica (ego-shooter) sopstvenim glasom, postavljajući figuru snajperiste u njegovu smrtonosnu profesiju, i kombinuje audio zapis sa serijom fotografija devojčice koja izlazi kroz kapiju.
Novčana nagrada dodeljenaje umetnici Andrei Palašti iz NovogSada za prostornu instalaciju BalkanDisco, 2010-2012. Žiri je nagradu obrazložio sledećim rečima:
Ova instalacija vizuelno i prostorno istražuje popularnu kulturu koja nastaje u dijasporičnom kontekstu i iziskuje prihvatanje„specifičnog“, odnosno „novog“ životnog stila. Ovaj novi kontekst je teško opterećen problemima i nerešenim pitanjima kojima se upravlja postojeći kontekst „kod kuće“. Postavka instalacije, sa ikoničnim elementima (portretimana fotografijama) i osvetljenjem, kritikuje sablasne ideologije nacionalizama.
Awards of the 54th October Salon
The Jury – Bojana Pejić, Dirck Möllmann and Vladimir Miladinović – decided to award 4 artists, of which the all four are given deserved honor and the forth one is getting the prize.
“We have chosen these three positions for a special award in order to relate three different artworks with each other, and by doing so we are making a slight comment on the curatorial concept we appreciate very much.
Three feminist works dealing with the women’s positioning in society are:
Flaka Haliti in her video installation ME, YOU AND EVERYONE WE KNOW/JA,TI I SVE KOJE ZNAMO has chosen a simple and convincing way to show at the same time ironically and seriously the structural violence of traditional hierarchies in the art world. It’s a strong piece of institutional critique.
Lana Čmajčanin 166987 PRICK / 166987 UBODA uses a traditional “feminine” technique of hand-crafting, the embroidery, to connect violence with desire by stitched letters, revealing a sexual meaning while reading the whole text. She creates for a moment a very intimate meeting of language and the visitors gaze.
Adela Jušić RIDE THE RECOIL approaches the brutal and deadly violence as a traumatic experience, which has to be re-worked again and again by the memory of an individual as well as a social collective process. She overdubs the narrative of a video game, a so-called ego-shooter with her own voice, staging a sniper-figure in his deadly profession, and combines the audio-track with a series of photographs of a little girl leaving a gate.
The prize goes to Andrea Palašti for her work BALKAN DISCO.
This installation visually and spatially explores popular culture, which is produced in a diaspora’s context which necessitates an acceptance of a “specific” or “new” life style. This new context is heavily burdened with problems and issue ruling the context existing “back home”. The staging of the installation with its iconic elements (photographic portraits), and lightening criticizing uncanny ideologies of nationalisms. “
The jury specially mentioned two collaborative and on-going projects Museum on Non-Participation by Karen Mirza and Rachel Anderson and Living Death Camp which is organized by the international team (Forensic Architecture Goldsmiths University, The Monument Group and the project Four Faces of Omarska).
The jury for the award of the Cultural Center Belgrade: Svetlana Petrović, Aleksandra Estela Bjelica Mladenović and Gordana Dobrić awarded Margareta Kern’s work: THE STATE OF/AND THE BODY from the animated video series: To Whom Does the World Belong?
COMMEMORATIVE CULTURE – POLITICS OF MEMORY – IDENTITY
As part of Culture Scapes Festival
Why and how societies remember is the basic topic of this theme day. History is always analysed from a modern-day perspective. However, in order to master the present and the future, it often requires the instrumentalisation of the past. The way commemorative cultures change indicates that each generation asks new questions about the past and that history is always being written and re-written. The question of how this is represented from an artistic point of view or how artists deal ‹with this› is a theme that runs through the entire programme of this year’s CULTURESCAPES festival.
12.00 h: Introductory lecture, with subsequent discussion
Dr. Tanja Zimmermann (Junior Professor for Slavic literature and general linguistics), Konstanz: ‹In the nation’s service: Excesses of remembering, excesses of forgetting›
How do we remember and how do we forget? Specific examples are used to explain the difference and cross-linking of various memory models, e.g. the activation of the Kosovo myth and other national myths since 1989 as well as the suppression of all remembrance of the common partisan campaign.
13.00 h: Podium, every 20 min., with subsequent discussion. Moderation: Andreas Ernst (Journalist)
Tanja Petovar, CZKD (http://www.czkd.org), Belgrade: ‹Legal› aspects of transition and countries in transition – when does what apply and how is this accepted by society
Svjetlan Lacko Vidulic (professor for German literature), University of Zagreb: ‹Wild heritage. Family conscience in a post-Yugoslavian context›
14.00 h: Break. Film sequences from ‹whose song is this› will be shown.
15.00 h: Film lecture incl. an interview with Mila Turajlić (Director) about ‹Cinema Comunista›
16.30 h: Artist discussion / Author discussion: Miljenko Jergovic (Author), Adela Jušić (Fine Artist), Mats Staub (Dramatic adviser, Artist) and actor of Oliver Frjlićs ‹I hate the truth› (Rakan Rushaidat)
Moderation: Anja Dirks (Künstlerische Leiterin Festival Theaterformen Hannover/Braunschweig)
18.00 h: Break
19.00 h: Oliver Frjlić ‹I hate the truth›
| ART OF CHANGE
Forum on the Conclusion of the Swiss Cultural Programme in South Eastern Europe (SCP)
Friday, 6 December 2013, 9:00 to 17:00. Kornhausforum Bern
Culture and the arts are the building blocks of human existence. They make an essential contribution to the development of societies and can fulfil important roles in conflict situations and in democratic reconstruction. Acting on this conviction, Switzerland launched a long-term programme to promote the arts and culture in Southeast Europe and Ukraine in 1999. From 2008 to 2013 the programme focused on the countries of the Western Balkans and trans-border projects. The Swiss Cultural Programme in South Eastern Europe (SCP) was brought to a close in the summer of 2013. To what extent did the projects funded positively contribute to social change? How do funding programmes influence the production of culture in their target countries and cultural exchange between them and Switzerland? What lessons from the experiences in the Balkan can be used to improve cultural cooperation with other countries and regions of the world?
For one day, experts, artists and people involved in arts outreach from Albania, Bosnia and Herzegovina, Croatia, Macedonia, Serbia and Switzerland, together with the staff of the Swiss Agency for Development and Cooperation and Pro Helvetia who were responsible for the programme, will present their intentions, experiences, successes and limits for public discussion. The talks and discussion groups (English-German) will be supplemented by a selection of music, dance and art videos, short films and an exhibition.
Registration at www.artlink.ch/artofchange, no later than 2 December 2013
Attendance of the conference is free.
The forum is organised by artlink cultural cooperation
in cooperation with CULTURESCAPES and
with the support of the Swiss Agency for Development and Cooperation (SDC)
Performance Art Festival, Bern
Exhibition, Stadtgalerie, 03.-07. 12. 2013.
Opening 3.12., 18h
ART BASEL, Miami Beach
Represented by Alan Cristea Gallery, London
5. – 8. 12.
Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars. Paintings, sculptures, drawings, installations, photographs, films, and editioned works of the highest quality are on display at the main exhibition hall, while ambitious artworks and performances become part of the landscape at nearby beaches, Collins Park and SoundScape Park.
David Gryn is the founder and director of Artprojx, screening, curating, promoting and lecturing on artists’ moving image and other art projects, working with leading contemporary artists, art galleries, museums, art fairs, art schools and charities worldwide.
This Brunner has over 40 years of experience in the film industry in Switzerland and abroad. He is a member of the European Film Academy and the Swiss Film Academy, and a well informed observer of the world cinema and the international film festival scene. He has been the curator of Art Basel’s Film sector since 1992, and Film curator for Art Basel in Miami Beach since 2002.
Artist in residence program
November 09th-December 26th, Riehen, Basel
Photo by Nic Bezemer, artist talk, Basement Gallery, Basel
iaab-Projektraum ‹Basement›, Oslostrasse 10, 4023 Basel
08.11.13 – 08.12.13
We-Fr 17.00-20.00 h
Sa & Su 13.00-20.00h
ARTISTS: Zdravko Delibašić, Flaka Haliti, Gjorge Jovanovik, Milena Jovićević, Adela Jušić, Alketa Ramaj, Goran Škofić, Slobodan Stošić
CURATORS: Nic Bezemer and Annina Zimmermann
Fr 08.11., 19.00 h, OPENING
Sa 09.11., 20.00 h, DISCUSSIONS & DRINKS (within the festival focus ‹OSLO Weekend›)
We 27.11., 19.00 h, ‹FACHSIMPELN› moderated by Andrea Domesle. Participants: Almut Rembges, Mats Staub, Adela Jusic
Sa 30.11., 16.00 h, DISCUSSIONS & DRINKS (on the occasion of the opening of ‹Regionale›)
In 2013, CULTURESCAPES invited eight visual artists from Serbia, Croatia, Macedonia, Bosnia-Herzegovina, Kosovo, Montenegro and Albania to Switzerland in order to participate in artist residencies lasting several weeks. The project room ‹Basement› will showcase the works created during the summer in Nairs and in the autumn in Basel alongside existing pieces. The exhibition covers the initial impressions of our guests and provides a first insight into their work.
What does the term ‹the Balkans› mean with regard to the work of the individual artists? The question mark in the title indicates our curiosity about this cultural scene, about which very little is known in Switzerland, but also questions our expectations of a mutual identity. The individual attempt to comprehend and come to terms with the consequences of the Balkan conflict is particularly expressed in the works of Adela Jušić, who interviews older family members about the civil war in video clips. She dyes her grandmother’s hair in front of the camera, thus turning her into her younger self, and whispers the thousand memories on which her generation was nurtured: of family ties and the war, reaching far back into the 20th century.
The attempt to start all over again is more than obvious with artists such as Goran Škofić or Slobodan Stošić. In an ironic reference to country art, Slobodan Stošić uses a school map to suggest expanding the Adriatic Sea around the entire former Yugoslavia. Using this falsification of historical events, an act that is apparently commonplace in classrooms around the world, he turns the territorial claims of his homeland Serbia into an absurd farce, thus affirming art’s position as a symbol of humour and freedom. Goran Škofić, on the other hand, works in the white emptiness of the studio – in Nairs – and manipulates his acrobatically captured self portraits in post-production: he hovers in the empty space between the difficult legacy of everyday life imbued with ideology and the daily tricks of individual life.
The Macedonian artist Gjorge Jovanovic lets the polyphonic male choir in Southern Albania comment on contemporary society. What sounds like folklore to western ears, is a reckoning with post-communist realities and the distance of conceptual art to the problems of everyday life. Alketa Ramaj and Milena Jovićević on the other hand expound the problems of the gender ratio. In exuberant drawings and animations Jovićević creates an unconventional and aggressively funny version of the story of Adam and Eve. In a quiet film, Alketa Ramaj entangles two lovers in a tender power struggle: a kind of cinematic poem about the castrating effect of great intimacy.
Zdravko Delibašić’s charcoal drawings achieve an understanding of light and dark. People and interiors are just a glimmer in the light reflexes of the white paper. His poster ‹Balkan’s Perception of European Identity›, which won an EU award, shows a glowing field through a keyhole as if we were locked in the darkness. Flaka Haliti is more light-footed on her travels between Vienna, Munich and Pristina. The starting point of her performance for the camera in the studio in Nairs was the question of whether the unpopular topic of physical exercise could be approached with artistic discipline.
Some of the works of the eight guests from the Western Balkans are characterised by latent melancholy and aggression, but most of them by black humour. While some artists process their ancestry in their work in an analytical manner, others decidedly work on super-personal topics – even though we in the West may view aggressive feminism, for example, as a reaction to the traditional male image. The selection of artists who were invited to Switzerland due to the vicissitudes of various artistic networks holds numerous individual but also precise answers to the question: ‹The Balkans?›
In cooperation with various partner organisations, CULTURESCAPES additionally organised residencies for nine Swiss artists in Western Balkan countries: Julia Bodamer and Matthias Liechti (Cetinje, Montenegro), Michaela Müller (Zagreb, Croatia), Almut Rembges (Bitola, Macedonia), Susanne Schär/Peter Spillmann (Tirana, Albania), Pascal Schwaighofer (Pristina, Kosovo), Mats Staub (Belgrade, Serbia), Sébastien Verdon (Banja Luka, Bosnia-Herzegovina).
Photo by Nic Bezemer
Exhibition and artist talk / Izložba i razgovor sa umjetnicama
Ako ti ispričam priču, hoćeš li zaboraviti? If I tell you the story will you forget?
Galerija SC, Savska 25, Zagreb
16. 10. – 30. 10. 2013.
Artist talk 16.10. 2013. 19.00
Opening 16.10. 2013, 20.00
Artists : Jelena Blagović, Adela Jušić, Riikka Kuoppala
Curator : Irena Borić
Izložba Ako ti ispričam priču, hoćeš li zaboraviti? kroz radove Jelene Blagović (Zagreb), Adele Jušić (Sarajevo) i Riikke Kuoppale (Helsinki) tematizira ispreplitanje sjećanja kao intimnog, subjektivnog iskustva i povijesnog narativa. Prošireno polje povijesti ovdje obuhvaća opća mjesta kao i sasvim osobne povijesti, skrivene od javnosti. Ispričati priču isto je što i izgraditi narativ jedne moguće povijesti koja je uvijek samo mogućnost, a nikad siguran slučaj. Stoga, povijest ne podrazumijeva objektivno, opće znanje, već ostaje fragmentarna, dekonstruirana i interpretirana, uz neprestano propitivanje u čije ime je pisana. Jer pisati je, opću ili osobnu, znači stvarati nacrte budućnosti. Jedan od pristupa razgradnje službenog narativa, bliskog povjesničarkama feministicama, istraživanje je zasnovano na osobnom pristupu gdje je najveća pažnja posvećena osobnoj priči sudionice događaja, a ne arhivskoj dokumentaciji. Sjećanje se upisuje u mjesta, u vrijeme, u predmete i prenosi se drugim generacijama. Ono s vremenom blijedi, postaje isprekidano, kolažirano, mutno. Iako ponekad posve u opreci sa službenim narativom povijesti, postoje dodirne točke koje ih isprepliću i uvjetuju. Ispričane priče u radovima Jelene Blagović, Adele Jušić i Riikke Kuoppale oblikovane su šaptom ili tišinom, a sve kako bi ostale dijelom sjećanja.
54th October Salon
No One Belongs Here More Than You
Thursday, October 10 – Tuesday, October 15
Former Department Store KLUZ, Zepter Expo, Masarikova 4
Milijana Babić (Rijeka), Jože Barši (Ljubljana), Nina Bunjevac (Toronto), Jasmina Cibic (Ljubljana/London), Lana Čmajčanin (Sarajevo), Ines Doujak (Vienna), Ephemerki (Skopje, Bremen), Adrijana Gvozdenović (Podgorica), Flaka Haliti (Prishtina/Munich/Vienna), Róza El-Hassan (Budapest), Endy Hupperich (Munich), Gözde İlkin (Istanbul), Adela Jušić (Sarajevo), Margareta Kern (London), Angela Melitopoulos and Maurizio Lazzarato (Berlin, Paris), Living Death Camp (Prijedor, Amsterdam, London, Belgrade, New York), Museum of Non Participation (London), Nandipha Mntambo (Johannesburg), Alexis O’Hara (Montreal), Andrea Palašti (Novi Sad), Marko Peljhan and Matthew Biederman (Ljubljana/Los Angeles, Montreal), Lorena Herrera Rashid (Mexico City/Munich), Lala Raščić (New Orleans/Sarajevo), Dina Rončević (Zagreb), Ivana Smiljanić (Belgrade), Tejal Shah (Mumbai), Jelena Sokić (Split), Hito Steyerl (Berlin), Alma Suljević (Sarajevo), Boris Šribar (Belgrade), Nataša Teofilović (Pančevo), Slaven Tolj (Rijeka/Dubrovnik), Milica Tomić (Belgrade)
Forum, Curatorial School and Music Spot
a7.außeneinsatz (Berlin/Kassel/Freiburg/Munich), h.arta (Timișoara), ƒƒ (Berlin), Jelena Vesić (Belgrade/Maastricht), DJane Ma Faiza (Mumbai), Black Water and Her Daughter (Sarajevo), DJane Ellem (Sarajevo), Irena Tomažin (Ljubljana) of the exhibition, collaborators and the public
Living archive of video works by Adela Jušić, Lana Čmajčanin, Ana Hušman, Dina Rončević, Emina Kujundžić, Flaka Haiti, Lala Raščić, Marko Tadić, Milica Tomić, Monika Ponjavić, Marina Radulj, Nataša Davis, Nataša Teofilović, Nela Hasanbegović, Nika Autor, Renata Poljak, Tina Smrekar, Vahida Ramujkić, Bojana Jelenić, Evelin Stermitz, Nada Prlja, Sarah Vanagt, Ivana Smiljanić and photo, video, PDF and text documentation by Alenka Spacal, Ana Baraga, Ana Čigon, Ana Hoffner, Andreja Kulunčić, Armina Pilav, Dragana Mladenović, Media Archeology, Dunja Blažević, Emina Kujundžić, Gordana Anđelić Galić, Jelena Jureša, Jovana Komnenić, Lina Dokuzović, Marina Gržinić, Aina Šmid, Natasha Davis, Nela Milić, Nikoleta Marković, Vanja Bucan
Exhibition as Scripted Space: Modes of Production and Production of Modes
Curatorial School led by Jelena Vesić
Number of participants is limited. Apply by October 5 with a short bio/interests to:
Free of charge
Friday, October 11
Former Department Store KLUZ, Zepter Expo, Masarikova 4
Opening of the 54th October Salon
Coping Mechanisms for Endangered Species
Performance by Alexis O’Hara
Saturday, October 12
Former Department Store KLUZ, Zepter Expo, Masarikova 4
3 p.m. – 6 p.m.
Exhibition walk-through with artists and curators
I Dreamed a Dream: Politics in the Age of Mass Art Production
Lecture performance by Hito Steyerl
I’m Dangerous, Kill Me In Front of My Children’s Eyes
Performance by Slaven Tolj
Saturday, October 12
KC Drugstore, Bulevar Vojvode Bojovića
11 p.m. – 5 a.m.
Black Water and Her Daughter, DJane Ma Faiza and Djane Ellem
Sunday, October 13
Former Department Store KLUZ, Zepter Expo, Masarikova 4
6 p.m. – 8 p.m.
No One Belongs Here More Than You
Forum discussion with collectives: h.arta (Maria Crista, Anca Gyemant, Rodica Tache), ff (Antje Majewski, Charlotte Cullinan), a7.außeneinsatz (Margret Schütz, Greta Hoheisel), and artists Gözde İlkin and Margareta Kern (moderator)
11 p.m. – 7 a.m.
Museum of Non Participation: The Patriarchal Clock
Forum discussion with Karen Mirza and Rachel Anderson
Number of participants is limited. Check in by October 10:
Monday, October 14
Former Department Store KLUZ, Zepter Expo, Masarikova 4
4 p.m. – 8 p.m.
We (Don’t) Need (No) Education
Curatorial School by a7.außeneinsatz on experimental art education
Number of participants is limited. Apply by October 5 with a short bio/interests to:
8 p.m. – 9.p.m.
Administration of Aesthetics or Undercurrents of Negotiating Artistic Jobs – Between Love and Money, Between Money and Love
Forum lecture by Jelena Vesić
Thursday, November 14
Former Department Store KLUZ, Zepter Expo, Masarikova 4
Bosančica (Women’s script)
Performance by Alma Suljević
Friday, November 15
Former Department Store KLUZ, Zepter Expo, Masarikova 4
The Damned Dam
Performance by Lala Raščić
Saturday, November 16
Former Department Store KLUZ, Zepter Expo, Masarikova 4
Travel in a Box
Performance by Lala Raščić
Sunday, November 17
Former Department Store KLUZ, Zepter Expo, Masarikova 4
Whatever the Object
Performance by Lala Raščić
EXHIBITION … Was ist Kunst? … Resuming Fragmented Histories
Halle für Kunst & Medien, Graz, Austria
21 09 2013 — 21 11 2013
Artists: Mrđan Bajić, Vojin Bakić, Mladen Bizumić, Braco Dimitrijević, Aleksandra Domanović, Bojan Fajfric, Tomislav Gotovac, Marina Gržinić / Aina Šmid, Ibro Hasanović, Ana Hoffner, IRWIN, Hristina Ivanoska, Sanja Iveković, Adela Jušić / Lana Čmajčanin, Šejla Kamerić, Marko Krojač, Laibach, Marko Lulić, David Maljković, Luiza Margan, Dalibor Martinis, OHO, Tanja Ostojić, Marko Pogaćnik, Renata Poljak, Marta Popivoda, Sašo Sedlaček, Raša Todosijević, Goran Trbuljak
Curator: Christian Egger and Sandro Drosch
The exhibition … Was ist Kunst? … Resuming Fragmented Histories pursues the question that artist Raša Todosijević—and Serbian representative at the 2011 Venice Biennale—relentlessly posed in his series of performances from the late 1970s: “What is art?” After almost forty years of repetition to the point of exhaustion, the eternal question remains unanswered, even while it has consistently made the case for artists taking an active role in art discourse. This exhibition, set against the backdrop of Central Europe’s severely altered territorial and cultural relations, poses it with a new urgency. Artistic practice in the countries of the former socialist Yugoslavia, the challenges of current artistic practice in post-communist states, and the neocolonialist reality of Eastern Europe will be shown within the art historical context of outstanding earlier contributions from southeastern Europe—for example the avant-garde Slovenian OHO Group (1966–71) and the approaches put forward by the artists collective IRWIN, whose analyses of transnational, collective networks of life and art in the absence of any physical territory were trailblazing. The exhibition’s focus is on how a younger generation of artists is closely examining geopolitical determinants and locally connoted production through gender and political differences. Not only does the show inquire into the understanding at the heart of these new examinations. It also questions—and makes a plea on behalf of—the social role of the art institution.
The “fragmentary histories” described in the subtitle provide ample opportunity for the exhibition to enter into dialogue with the multi-disciplinary festival steirischer herbst, whose leitmotif this year is “Liasons Dangereuses.” Historical precursors and positions from more recent art history will be re-examined in light of their erstwhile confrontational effect. A piece by the Vienna-based artist Luiza Margan, for example, invites us to travel back to 1972 Graz, when protagonists of the Zagreb art group TOK staged a happening to protest the increasing commodification of art. In place of political slogans, their signs were emblazoned with geometrical shapes.
The exhibition also includes video artist Renata Poljak’s homage to the Yugoslavian actor Slavko Štimac. A celebrated child star during the Tito era, admired as a role model across generations, his role(s) diminished after the collapse of Yugoslavia and he was forgotten. When seen singularly, little stories such as these are almost microscopic. Viewed collectively, however, they allow a social atmosphere to remain open to explanations and interpretations—even after former dominant ideologies have collapsed. This is particularly apt in light of the fact that, as Igor Zabel has observed, “the communist system was never only a matter of general historical events and of global geopolitics. It functioned essentially on the micro level of every-day life and its details, from the choice of objects that surrounded people at home, at work and in the city to the way the passengers were communicating on a city bus. Politics, the structure of society and the most banal as well as the most intimate details of daily life were inseparably connected.”1 This is evident in the work of Bojan Fajfric, who seeks alternative possibilities and outcomes in moments viewed as historical turning points, even presenting his father in a less than heroic role in the film Theta Rhythm.
Within the context of the exhibition, Marta Popivodas’s film Yugoslavia: How Ideology Moved our Collective Body—by using footage from state parades and mass demonstrations to scrutinize the way ideology operates within public space—cogently illustrates the social change involved in the transition from socialist Yugoslavia to neoliberal Serbia. The exhibition… Was ist Kunst? … Resuming Fragmented Histories furthermore attempts to present the reactions of a younger generation to the sculpture and architecture of the once intact Yugoslavia, works fraught with mythology. Documentary (Marko Krojač) and performative (Marko Lulić) pieces engage in an active dialogue with the oeuvre of prominent Croatian sculptor Vojin Bakić (1915–1992). The exhibition underlines the fact that, even 24 years after the break up of Yugoslavia, and well beyond the context of art, Raša Todosijević’s question most certainly cannot be answered by falling back on the reductive narrative of successful eastward expansion.
(1) Igor Zabel, “Intimacy and Society: Post-Communist or Eastern Art?” in Contemporary Art Theory (Zürich and Dijon: JRP|Ringier / Les presses du réel, 2012), p. 107
Dalibor Martinis, Eternal Flame of Rage, 2008
Zagreb (Croatia), Photo: Boris Cvjetanović
OPENING 6TH SEPTEMBER 2013 AT 7 P.M.
EXHIBITION IS OPEN UNTIL 10TH OCTOBER 2013
TUESDAYS – SUNDAYS 11 AM – 7 PM
ZAMEK CULTURE CENTER, POZNAN, POLAND
Artists: Kuba Bąkowski, Yane Calovski, Lana Čmajčanin, Nemanja Cvijanović , Dani Gal, Douglas Gordon & Philippe Parreno, Assaf Gruber, Igor Grubić, Filip Jovanovski, Adela Jusić, Christine Laquet, Dominik Lejman, Alban Muja, Ahmet Öğüt, Obsessive Possessive Aggresion, Igor Toshevski, Nikola Uzunovski, Sislej Xhafa, Mai Yamashita + Naoto Kobayashi
Curator: Agata Rogoś
The spectacle is without a doubt more powerful than before, but how does it use the extra power? What new areas mastered? In a word, which way to proceed at the moment of its operating lines? Is now a widespread feeling that there is a rapid invasion, forcing people to abandon their former way of life, a feeling, however, is extremely vague, and the same phenomenon is regarded as a sort of inexplicable problems of climate or other natural balance, so for a change, which exposes the fragility of human knowledge, and condemns the ignorant for helpless silence.
(Guy Debord, Society of spectacle)
RIDE THE RECOIL, Adela Jušić, photo by Ervin Prašljivić
The main idea of this show is to explore the notion of the sport as the public and politicized ritual of the masses and theatralized scene of the public space. The sport will be used as a kind of metaphor for unveiling the hidden power and social systems.
The exhibition is unleashing the philosophy of victory. Obsession of victory or being successful at least is crucial part of public sphere and ritualizing of spectacle. The deepest layer of striving to power and victory might be referred to dreams of excellence. Experiencing of exultation of victory is lasting just like an eye twinkle and is spreading away immediately after a second. The aim of this particular project is making impossible possible – to analyze this very special and imponderable moment. The production of happiness and all-embracing joy in the public space is mostly visible in the public rituals and spectacles of the body and sports. Sport is as a matter of fact an attempt to extend the feeling of happiness forever.
The exhibition will be focused on the issue of sport (taken as a philosophy and the way of expressing ideology), struggle and rivalry and also as a very important component of those issues – failure. In this structure: STRUGGLE, RIVALRY and FAILURE will become a trap creating ritualized spectacles of the public sphere. We are all part of this spectacle in it is very difficult to exclude oneself from the rituals. Social system imposes individual some forms of behavior and makes us the actors of one spectacle where it is equally important to be a part performative act of struggle and rivalry and short moment either of victory or of failure.
Is it possible to get out of these firm frames of ritualized spectacle? What can be discovered on the other side?
‘Zamek’ Culture Center
‘Zamek’ Culture Centre in Poznań is one of the largest institutions of its kind in Poland. Each year, over 200 thousand people take part in several hundred different cultural events: exhibitions, concerts, film shows, theatrical performances, meetings, or educational workshops.
‘Zamek’ Culture Centre is located in the last European imperial residence built for a ruling monarch. The interiors of this almost one-hundred-year old building – rooms, hallways and yards – provide space for varied projects. The ‘Zamek’ is at the same time a gallery, a cinema, a concert hall, and a theatre house. There is, however, a certain methodology behind this variety: the ‘Zamek’ specializes in interdisciplinary events which employ almost all spaces for exhibitions, concerts, film reviews and meetings. These are presentations of particular artistsb’ work: ‘Dali na Zamku’ [Dali at the Castle], or other nations’ cultures: ‘Dania na Zamku’ [Denmark at the Castle], ‘Brit Fest’, ‘Dekada Kultury Belgii Francuskojezycznej’ [A Decade of Francophone Belgian Culture].
Every other year we organize ‘Poznan Poetow’ [Poet’s Poznan] Festival, every two year we are a guest place for Mediations Biennale, every three years – International Sculpture Triennial.
The ‘Zamek’ also prepares outdoor events: St Martin Day celebrations to promote the street bearing his name, St. John’s Fair, municipal New Year’s celebrations, as well as the Poznań regional finale of Wielka Orkiestra Swiątecznej Pomocy [Great Festival Aid Orchestra] action. With our programme intended for a wide variety of audiences, we collaborate with numerous local, national and international cultural centres and organizations.
For more information please see our web page: www.zamek.poznan.pl
SHOW ROOM 2
August, Tuesday 20th 2013 at 18:30 pm.
Duplex Gallery, Sarajevo
Ibro Hasanović, Adela Jušić, Nina Knežević, Milomir Kovačević,
Radenko Milak, Mladen Miljanović, Damir Nikšić, Renata Papišta,
Daniel Premec, Damir Radović, Edo Vejselović
RIDE THE RECOIL
by Adela Jušić
Scenes from the siege of virtual Sarajevo, a “new target-rich environment.”
“Ride the Recoil” was developed with technical support by Ervin Prašljivić and Ognjen Šavija, and published as part of Triple Canopy’s Internet as Material project area, which receives support from the Andy Warhol Foundation for the Visual Arts, the Brown Foundation, Inc., of Houston, the Lambent Foundation Fund of Tides Foundation, the National Endowment for the Arts, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts. “Ride the Recoil” developed as an outgrowth of Perfect Strangers, a series of public programs Triple Canopy organized in Sarajevo, Bosnia and Herzegovina, in June, 2012, with support from CEC Artslink.
Triple Canopy is an online magazine, workspace, and platform for editorial and curatorial activities. Working collaboratively with writers, artists, and researchers, Triple Canopy facilitates projects that engage the Internet’s specific characteristics as a public forum and as a medium, one with its own evolving practices of reading and viewing, economies of attention, and modes of interaction. In doing so, Triple Canopy is charting an expanded field of publication, drawing on the history of print culture while acting as a hub for the exploration of emerging forms and the public spaces constituted around them. Triple Canopy is a nonprofit 501(c)3 organization.
LINK to project
Artist talk and discussion
Institute for Social Sciences and Humanities, Skopje, Macedonia
|ИОХН-С со задоволство ве поканува во вторник (09.07) со почеток во 19.30 на настанот „Јавајќи на одвраќањето“, визуелно искуство и соочување со уметникот Адела Јушиќ.ЈАВАЈЌИ НА ОДВРАЌАЊЕТО
Визуелно искуство и соочување со уметникотПисателот и научник Жан Фишер во книгата „Кон метафизиката на срањето“ (Towards a Metaphysics of Shit) го поставува прашањето: Може ли уметноста да функционира како ефикасен медијатор на промена или отпор кон хегемонистичката моќ или е осудена да биде декоративна и ирелевантна фуснота на силите кои се помоќни од нејзиниот капацитет да се соочи со нив?
Преку презентација на некои од нејзините дела, Адела Јушиќ ќе ни даде увид во своите ставови за улогата на уметноста и нејзините капацитети да отвори нови дискурси и да ги реосмислува преовладувачките. Главните прашања кои ќе бидат анализирани ќе бидат поврзани главно со уметноста и со конфликтот, издржливоста, отпорот, личните и колективни наративи и мемории, како и реосмислување (пре-пишување) на историјата.Адела Јушиќ е родена во Сараево, Босна и Херцеговина.
Основата на нејзиниот општествен ангажман е лоцирана во личното искуство и меморија. Работејќи во различни медиуми, ги опфаќа прашањата за војната во Босна, позициите на жените за време на војната и постконфликтната транзициска атмосфера во која растела.Јушиќ дипломирала на Академијата за ликовни уметности при Универзитетот во Сараево. Таа е ко-основач на Здружението за уметност и култура – Црвена. Има изложувано на многу интернационални изложби, вклучувајќи ги: Manifesta 8, Murcia, Spain; Videonale Kunstmuseum Bonn, Germany; Image Counter Image, Haus der Kunst, Munich, Germany; I will never talk about the war again, Färgfabriken, Stockholm, Sweden и други. Како уметник, има учествувано и во резиденцијални програми (ISCP, New York, Kulturkontakt Vienna) и ја има добиено наградата за најдобар млад ликовен уметник од Босна (Young visual artist award for the best young Bosnian artist) и CEE Henkel Art Award . Во моментот е дел од истражувачкиот тим на Институтот за општествени и хуманистички науки – СкопјеНастанот е во рамки на серијата „Јавни предавања во ИОХН-С “ која ќе трае во текот на првиот и вториот уписен рок за прием на студенти на еднодишни магистерски студии од областите родови студии и студии на културата. Па така, овој настан ќе претставува можност освен за темата да поразговараме и за магистерските студиски програми што ги нуди Институтот.Настанот ќе се одржи во просториите на Институтот на ул. „20-ти октомври“ бр.8, 2 кат, 1000 Скопје. Мапа за полесно да не најдете:http://tinyurl.com/kdb6p7e
ART AND CONFLICT
Art and memory
Royal College of Art, Postgraduate Art and Design, London
A research inquiry funded by the Arts and Humanities Research Council
National Museum of Contemporary Art (MNAC), Bucharest
Date: 20 June – 29 September, 2013
Curator: Bojana Pejić (Berlin)
Co-Curator: Olivia Nitis (Bucharest)
Good Girls is an international exhibition offering a broad perspective on contemporary women’s art practices. The prosaic heading “Good Girls” is inspired by two earlier curatorial projects: it echoes the phrasing “bad girls” coined by Marcia Tucker in the 1990s, when it basically related to those American women artists and curators influenced by feminism; the other reference is to the exhibition No More Bad Girls? (curated by Marion Stemberger and Kathrin Becker), held Vienna in 2010, which investigated alternative geographies and multiple cultural identities central to the age of globalization. But today, in 2013, let’s talk about “good girls”! Since the early 1990s, Romanian women artists and curators initiated a number of smaller exhibitions focusing on women and feminist art. This exhibition is a major international museum representation of women’s art in this country and it will focus on aspects regarding women’s art production around three nuclei: memory, desire and power. The participant artists are primarily living and working in Europe, half of them coming from Romania.
Artists: Milica Tomić (Sbr), Regina José Galindo (Gtm), Sanja Iveković (Hrv), Martha Wilson (USA), Elke Krystufek (Aut), Katrazyna Kozyra (Pol), Pauline Boudry & Renate Lorenz (De), Nina Arbore (Ro), Jurga Barilaitė (Ltu), Ana Bănică (Ro), Ethel Băiaș (Ro), Lucia Dem Bălăcescu (Ro), Biroul Melodramatic (Ro), Geta Brătescu (Ro), Irina Broboană (Ro), Filipa Cezar (Prt), Anetta Mona Chișa & Lucia Trackova (Ro), Ioana Ciocan (Ro), CHIRKLI Collective (Can), Alexandra Croitoru (Ro), Suzana Dan (Ro), Anna Daučikova (Svk), Cristina David (Ro), Bianka Dobo (Hun), Simona Dobrescu (Ro), Sandra Dukić & Boris Glamočanin (BiH), Elian (Ro), Suzana Fântânariu (Ro), Aniela Firon (Ro), Mariela Gemisheva (Bul), Iraida Icaza (Pan), Corina Ilea (Ro), Chengyao He (Chi), Hristina Ivanoska (MCD), Orit Ishay (Isr), Anna Jermolaewa (Rus), Gülsün Karamustafa (Tur), Mihaela Kavdanska (Ro), Aurora Kiraly (Ro), Ana Lupaș (Ro), Flavia Lupu (Ro), Lesya Khomenko (Ukr), Romana Mateiaș (Ro), Olivia Mihălțianu (Ro), Larisa Crunțeanu (Ro), Adina Paula – Moscu (Ro), Anca Munteanu – Rimnic (Ro), Ilona Németh (Svk), Ioana Nemeș (Ro), Alexandra Pirici (Ro), Delia Popa (Ro), Liina Siib (Est), Renee Renard (Ro), Necla Ruzgar (Tur), Dominique Sapin (Fra), Marilena Preda – Sânc (Ro), Hito Steyerl (De), Maria Ciurdea Steurer (Ro), Cecilia Cuțescu – Storck (Ro), Patricia Teodorescu (Ro) , Roxana Trestioreanu (Ro), Adela Jušić (BiH) Anna Jermolaewa (Rus), Mina Byck-Wepper (Ro).
Bodies Without Organs: The Voice
Hackney Picturehouse, London, UK May 16th
Curated by: Joseph Constable, Yuval Etgar, Huma Kabakci, Tarini Malik, Zsuzsanna Stánitz, Aisha Stoby, and Angelica Sule
Organised in partnership with LUX, London
Students from the Curating Contemporary Art MA programme at the Royal College of Art present a series of screenings entitled Bodies without Organs. Taking its title from Gilles Deleuze and Félix Guattari’s idea, the ‘body without organs’, this series of four film programmes refers to sensory structures, rhythms or logics that underlie surface level appearances.
The screenings will explore how the experimental camera can have a deterritorialising function that suggests worlds, forms, and meanings that are otherwise invisible. For the viewer of these films, literal bodies (people, buildings, nature) – those that we see everywhere and are part of – are destabilised and deconstructed so that they might lead their audience to consider new subjectivities and interpretations.
Featuring work by Shirin Neshat, Beatrice Gibson, Laure Prouvost and Adrian Paci, this programme considers how sound becomes a protagonist – how it moves beyond the camera’s visual field and into a different realm of meaning. Here, voices resonate beyond their source, adhering to a new logic and narrative by deconstructing and disrupting the linear.
Film in this programme are
// Turbulent, Shirin Neshat, 1998, 10mins
// Owt, Laure Prouvost, 2007, 3mins
// The Tiger’s Mind, Beatrice Gibson, 2012, 23mins
// The Sniper, Adela Jušić, 2008, 4mins
// Turn On, Adrian Paci, 2004, 4mins
// Veronique Doisneau, Jérôme Bel, 2004, 37mins
Conflicted Societies, Memory and the Visual Arts
Conflict Research Group and LSE Arts panel discussion
Date: Monday 29 April 2013 Time: 6.00-8.30pm
Venue: Hong Kong Theatre, Clement House, LSE, London
Speakers: Miriam de Búrca, Ruth Goddard, Adela Jušić, Jonathan Watkins
Discussant: Dr Gwendolyn Sasse Chair: Dr Bill Kissane
Artists from Northern Ireland, South Africa and Bosnia will reflect upon the impact of violent conflict on their work. The event includes screenings of Dogs have no religion by Miriam de Búrca, and The Sniper by Adela Jušić, as well as images from Ruth Goddard’s work The/My persistent past/history. Miriam de Búrca is a visual artist from Belfast, Northern Ireland. Ruth Goddard is a London-based artist from South Africa. Adela Jušić is an artist from Sarajevo, Bosnia and Herzegovina. Dr Gwendolyn Sasse is a professorial fellow at Nuffield College, Oxford and co-curator of the exhibition. Jonathan Watkins is director of Ikon Gallery, Birmingham and curator of the 2013 Iraq Pavilion for the Venice Biennale.
This event is in association with the Alan Cristea Gallery. Miriam de Búrca, Ruth Goddard and Adela Jušić are three of the artists included in the exhibition Conflicted Memory being held at the Alan Cristea Gallery, 29 April – 1 June 2013, 31 Cork Street, London.
Suggested hashtag for this event for Twitter users: #LSEconflictart
This event is free and open to all with no ticket required. Entry is on a first come, first served basis.
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Alan Cristea Gallery 31 & 34 Cork Street, London
26th Apr 2013 – 1st Jun 2013
Conflicted Memory at the Alan Cristea Gallery brings together an international group of eight acclaimed female artists whose experiences living within conflict zones have led them to address the issues that surround the concept of recollection. Against a backdrop of nationalism, apartheid, civil war, and social and political change, Conflicted Memory also looks at the role of the artist in areas of conflict, where artists are often amongst the few that can carve out an alternative space for reflection, imagination and discussion beyond the entrenched fault lines. As part of the exhibition programme, the London School of Economics in collaboration with the Alan Cristea Gallery will host a panel discussion between three of the artists and the co-curator of the exhibition. The construction of memories and the related processes of recalling, rewriting, commemorating and forgetting, ultimately stem from a personal or collective move that defines how history is written.
Conflicted Memory reflects upon the prolonged nature of this process and, by accepting competing narratives, presents a view which is more nuanced than the absolute terms of truth and reconciliation which are characteristic of the political discourse that takes place in the aftermath of conflict. Between them the artists explore the scope of memory, considering its personal, collective, subjective and selective forms. Some memories are held within a particular landscape, or are inscribed into texts, objects, national symbols and media images. Although exhibiting in various media- including print, drawing, painting and video- the artists share a contemplative approach to the emotionally-charged themes with which they deal. Also sharing a common method of creation through destruction, each work in some way involves either a blurring, layering or distortion of an image to make visible what was once hidden from view; and translating a momentary flashback into a lingering presence.
Artists: Rita Donagh’s work is an important precursor to the work by the young artists represented in this show. Fusing architectural drawings, cartography and newspaper images, her collages map key moments of the conflict in Northern Ireland, which she experienced first-hand in the 1970s. By visualising what was not seen publicly- like the H-Block prison, the site of the Republican ‘dirty protest’ and hunger strikes- her work points to the ultimately futile attempts to edit uncomfortable truths out of the British media coverage and consciousness. The controlled and precise nature of Donagh’s works contrasts with the intention to obfuscate the reality of conflict.
Miriam de Búrca engages with her own experience of the persisting divisions in Northern Ireland. The quiet and lyrical mood of her video My Home is His Castle(2011), shot in the grounds of a former Anglo-Irish estate in Northern Ireland where she now lives, ponders the legacy of conflict associated with particular places. A set of accompanying drawings documents the wildlife and plants inhabiting the estate, accentuating the transformation of a place with a fractious history, and the conscious effort it takes to recall and understand its former contours .
Ruth Goddard reflects on her childhood memories of the end of apartheid in South Africa, crystallised in the day when the old history schoolbooks at her primary school were exchanged for new ones. In A Persistent History (2012), she traces the process of rewriting history through a series of detailed pencil drawings, copying individual pages of a range of textbooks in use in South African schools before and after the apartheid. Each drawing is partly erased, highlighting the fragmentary and unstable character of historical narratives.
Adela Jušić tackles the memory of war in a very direct and personal way. Her workThe Sniper (2007) is the expression of the artist’s own attempt to come to terms with her father’s involvement in the war. As a member of the Bosnian army, trying to defend the besieged Sarajevo against the Serbs, he kept a notebook in which he diligently recorded the number of Serbs he killed- before he himself was killed by a sniper’s bullet, which struck him in the eye. Jušić’s video installation narrates the entries from her father’s notebook, with the artist’s hand drawing a red circle from which the image of her father gradually appears.
Christiane Baumgartner’s work Klassenkameraden is a screen-printed triptych based on one of her old school photographs. The piece triggers her ambivalent memories of a childhood in the socialist GDR and locates her in a place and time relegated to history, where individuality was shunned. Superimposing their friends’ faces on top of one other, Baumgartner protects the identity of her friends, rendering them unrecognisable, and instead producing a generic, anonymous face of the masses.
Nadia Kaabi-Linke’s multi-media work revolves around her memory of, and on-going engagement with, Tunisia and the Middle East more generally. In Stigmata of the Medina of Tunis (2009), an installation made up of transfer prints of the writings on the old walls of Tunis, Kaabi-Linke returns to the city where she was born, intrigued by its societal divisions. The tension between ‘traditional’ and ‘modern’ social and political values- expressed in the wall inscriptions and reinforced by the fragmentary nature of the installation- conveys a sense of living in several time zones at once.
Ninar Esber’s work deconstructs symbols of national identity. In Les Couleurs(2003-09) she mixes the colours composing a national flag and puts the resulting and often strange colour in cans of paint labelled by country. A selection of alternative flags based on these colours are visualised as wall paintings. Thus, the certainty at the heart of nationalism, projected by the display of national flags, is destabilised and transformed into something unrecognisable.
K. Yoland collects, creates and layers images in her multi-media work. In her videoX-Steps Removed, a photographic image of the conflict in Gaza in 2008-09 flashes in front of our eyes like the countdown to an explosion. The image gradually blurs into abstraction until only a nondescript grey square remains. The work replaces the certainty of a news item with a lingering sense of ambiguity about the images used to report conflicts and the way in which we see or do not see them and the story from which they first originated.
In collaboration with Lana Čmajčanin
Curated by Marijana Stanić
Gallery 60-90-60, Pogon JEDINSTVO, Zagreb
Exhibition opened till 06.04.2013.
Photo by Jasenko Rasol
Gallery website link