Cnc maja ciric


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Cnc maja ciric

  1. 1. where: ITS, Ritopek Belgrade, Serbia 44o 44’ 0’’ N, 20o 39’ 0’’ E when: 11 of September, 2010, th at 4 PM artists: Elisabeth Penker / Eleana Louka / Freek Lomme / Danilo Prnjat / Dušica Dražić & Sam Hopkins / Ranko Travanj / Tanja Juričan / Tanja Marković & Maja Mirković / Société Réaliste / Chto Delat / Rainer Ganahl / Jenny Marketou / Self- educational group “Notions-Terms” of Deschooling Classroom project (oˆo) / Reality Check - Art and Activisms Reader (Vladan Jeremić, Madeleine Park, Rena Raedle, Katarina Popović) / Raimi Gbadamosi / Bona Park & Hyunjoo Byeon / Kaja Ćirilović & Milan Popović / Marina Gržinič, Aina Šmid & Siniša Ilić… curator: Maja Ćirić in collaboration with: David GoldenbergThis exhibition would not have been possible witout the generous input of all participants.
  2. 2. Maja Ćirić, Independent Curator and Art Criticcurator@majaciric.comWhy? Because of the “internal collapse”,something along the lines that arts initialstrategy to unhook itself from existingpowers and belief systems has failed.All narratives that have developedcontemporary art in terms of Modernismhave failed to address the negative aspectsof Modernism namely its role in colonisingothers/cultures while consolidating theNation State. And since they are unable toresolve its inherent problems, there istherefore a necessity for a fundamentallydifferent strategy and description. Onecan go so far to say that it is impossible touse the existing descriptions and models toresolve existing problems, of addressingpolitical and social problems in society, forthe very reason that the existing modelsare not only developed from within theEuro centric tradition, they also set outto maintain the existing World Order andcentres of cultural power. Further morethe shift to the scheme of PA allows for thepossibility of moving away from the burdenof concerns that exists within the currentdescriptions of art, and to locate otherconcerns and issues, or to be more precisethe existing concerns are determined
  3. 3. within the existing Euro-centric traditionframework, so there is no other choice butto locate another framework.This is an exhibition:- a zone outside the Euro-centrictradition of art, Globalization,Colonisation and Biennials- where language and debate constitutes thecore material for inhabiting and opening up- a different model, a materialization of PostAutonomy from within the existing Euro-centric tradition- an initiator of a micro-political situation,and setting off an open ended processwhich looks at gathering together amaterial form when there isn’t a clearmaterial form from the outset- a route out of a tradition of art in theservice of the nation state and colonization- a term or a label or a new category or afiction in the form of an art project- new body of thinking and practicesdistinguished from our currentunderstanding of art- a greater range of scenarios to readcontemporary art- a term, a territory, a condition, a language -new terms and taxonomies being charted
  4. 4. Tanja Marković & Maja MirkovićNOWORK 2010NOWORK is a reply to pressure which made society obsessed with producing,consuming and exchanging of goods.Elisabeth PenkerPOetics Of DeaD sPace 2 2009-2010The non-linear 8 composition “Poetics of Dead Space 2”, introduces polysyntheticlanguage morphology combined by the melody which is composed from pre-existingrecordings of extinct languages and Penker’s self-made instrument “UntitledInstrument, sonic structure” (see PDF and related essay written by E. Penker atResonance fm Magazine, upon request at Galerie nächst St. Stephan) The channelwhich is upstairs installed uses an existing wall as an acoustic filter and introducedsub-consciousness polysynthetic language morphology into the gallery space. The titlerefers to the book poetic of space within unused architectural situations of exhibitionspaces. A Blind Spot (dead angle - Toter Winkel) has a different meaning in terms ofacoustics and cannot be compared with the visual context where blind spot is usedprimarily in conversations. In music/sound production in film the visual blind spot isused very often by hearing a bike, roller, plane without seeing it. In everyday life weare used and depending by acoustic blind spots for our orientation of the situationand space we are in at the moment. Architectural acoustic issues play an importantrole during the time of the composition. “Poetic of Dead Space 2” is a context specificcomposition and deals with: polysynthetic language morphology, recordings of theuntitled instrument: Sonic structure and acoustic exhibition architecture besidesissues which are depending of the unused architecture and their acoustic.Raimi GbadamosiceRemONial aRcaDe 2010Six ceremonial flags of The Republic provide an arcade to contemplate the ambiguousmessage flags give as they represent the nation state. As symbols, flags can eitherposition themselves against the people that make up the nation (the unrelentingstandard of the state) or function as a rallying symbol that the citizen can hold up to
  5. 5. defy the hegemonic desires of national governments. Neither party in an an exchangeover The State can lay claim to the core of The State as concept. The link betweenownership and commodification is complicated with regards to The State, this will beinvestigated further.Marina Gržinič and Aina Šmid with Siniša IlićNaKeD fReeDOm 2010The video work that connects Ljubljana, Belgrade, Durham/USA presents a conceptualpolitical space of engagement that allows for rethinking what local community is.It conceptualizes the possibility of social change under the conditions of financialcapitalism and its financialization processes that permeate art, the social, politicaland the critical discourse. The collective process of making the video “Naked Freedom”is about enactment of social, political, and perfomative practices. It is a collectiveperformance for the screen that resonate with performers off screen lives.In Ljubljana 7 young activists, musicians, poets, and youth workers, members ofthe Youth Center Medvode, a village near Ljubljana, discuss capitalism, colonialism,education, and the power of art as a possibility for politics. They as well rethinkingthe possibility for a radicalization of a proper life. The work is not only about torecognize the local youth power, but as well to initiate through the making of the videowork social relations that will make visible agencies who ask for new possibilities.In Belgrade, Siniša Ilić, artist and performer, deconstructs violence (fromheteronormative to nationalistic) and is a connector between different spaces withinthe realm of culture, art, activism.The last part of the video re-questions the non-EU citizens in Europe and the statusof Africa in Europe and Africans trying to live and work in the present moment of theEuropean Union. In this part a precise historical analysis is given to the mechanisms ofinclusion and exclusion and prevention of work and life in the EU. It presents an exchangein between Marina Gržinič and Kwame Nimako. They met at the Workshop on Education,Development, Freedom, at Duke University, Durham, USA, organized by the Center forGlobal studies (25 to 27 February 2010), notably by Walter Mignolo. Kwame Nimakois theoretician from Ghana who lives in Amsterdam, The Netherlands. He is in charge ofNiNsee, Amsterdam (The National Institute for the Study of Dutch Slavery and its Legacy).The last part of the video lays a wider context in order to understand the changedconditions of lives and works for the non-EU residents in particular national states in
  6. 6. the EU. It shows that exists a history of these relations and that the new geopoliticalreality of Europe, that includes old West European and new Eastern European states, isbased onto historical hegemonic mechanisms of division that are today forgotten, butstill operational and, 19.27 min., color and b/w, soundJenny MarketouFRAGIlE 2010“FRAGILE ” is the title of a series of public performances/actions, which combine art,performance, and fashion and communication sciences by using the medium of thebody, sign and paper within the social structure of a social gathering with the consciousattempt to charge with meaning the public space. I like to call it “sociable art” whichcreates community and contexts for interaction and communication in public space .Toachieve this participants are dressed in A shaped paper wear designed and producedby the artist especially for this project which have been made out of paper, each dressbearing the word FRAGILE as a cut out. FRAGILE is designed to be worn by boys and girls;it is ephemeral, fragile, and poetic in nature. The most destructive elements are liquid,fire and violence.The idea for the title the use of the word FRAGILE along with the use of paper thinmaterial, reflect my own view of the world which stands for the mankind’s current“fragile” state that we are all part. The name FRAGILE allows us to consider the fragilestate of the art, of our city, of our social space, of our community and its functions, ofour environment and of our culture.FRAGILE calls into our mind the disposable paper fashion of the 60’s and the“parangoles” of Helio Oiticica the Brazilian artist of the 60’s which were dressesdesigned to be worn by the public during public events in order to create a space ofliberation and to provoke actions during animated walking or demonstration.FRAGILE A PUBLIC PERFORMANCEWith their seductive and colorful beauty one hundred (80) A shape (34” L X 28”W) unisex garments made out of recycle paper in red, yellow, blue, magenta, whicheach of them bears in front and back as a cut out the word FRAGILE are distributedfor free to 100 participants to be worn over their street clothes during the entireperformance. Yet their beauty is precarious leading deep and reflecting on theconditions of life.
  7. 7. FRAGILE requires conceptual and physical involvement and mediation. All participantsby wearing FRAGILE are aware that they are placing his / herself consciously in the roleof the performer and they accept the responsibility, creativity and commitment to bepart of a peaceful performative action on foot.At the end of the performance all participants will be photographed and they are freeto keep their dress and take it back home as a gift or they can discard it in a dedicatedcontainer for recycling after the end of this event.Katarina PopovićEdITIon 2010Exhibiting books in the gallery space is closely connected with the belief that the totalnumber of copies of a book by the volume shouldn’t present just a book pile; it shouldpresent an object whose structural elements pose artistical values by themselves,and transmit their characteristics to the whole body of a book installation. Beingused as material for sculpturing, books are doubling their value. Even presented as aunique entity, the basic function of each individual element of ‘sculpture’, a book as aninteractive tool, is not neglected: it can be read, leafed through, or possessed. Visitorsare expected to take part in the changing of the preview form of books installation bybooks ‘disappearing’ from the gallery space.www. katarinapopovic.blogspot.comRanko TravanjEnTRoPIc ExcESS 2010Exaggerated rhetorics actually hides the position of abandonment, exeption anddeclination of any final answer regarding the actual state of affairs. A painting as aconfused theoretical object intended to irritate the spectator. A grotesque auto- ironicsurplus, hybrid that vegetates in a system in which it is not needed and evokes forgottenand hackneyed ideas about its own inviolability. Affectation, parasitism, artificiality,stereotypia, over- identification- strategies of weakness and pure survival. Parodical andcynical questioning of impossible, traumatic art- or what art is expected to be.
  8. 8. Société RéalisteMA: culTuRE STATES - ExPoSITIon dESARTS ET TEchnIquES APPlIquéES à lAvIE ModERnE 2010The “Culture States - Exposition des arts et techniques appliquées à la vie moderne”project takes its subtitle from the historical “Exposition internationale des arts ettechniques appliquées à la vie moderne”, held in 1937 in Paris. This fair has been oneof the most spectacular example of the relation between Culture and Nation, from theconfrontation between Nazi and Soviet pavilions to the display of imperialist culturalconceptions of France or UK through their colonial pavilions. Seven decades after this key-moment, what is the relation between political and cultural entities in nowadays Europe?In its ability to inquire about the politics of the space, Ministère de l’Architecture (MA)has commissioned a research and production study in the field of territorial ergonomy.This study focuses on the multi-layered principle of spatial re-qualification, thatcontinues to affect any cultural zone. Intending to curate a world exhibition on the modelof the 1937’s one, “Culture States” is dedicated to disappeared states of the Europeanpeninsula, and examines the state as a constructed level of space representation, anthus as a deconstructable one.Scale of control in itself, the state obstructs territorial observation and restrict culturalpatterns. “Culture States” designs analyse devices aspiring to disclose the nocuousdependence of cultural constructions on the logic of states. This logic vitally calculatesthe extension, the maintenance and the lengthening of the state’s exercice of inclusivepower. The instrumentalisation of cultural forms is plainly part of this exercice. Thisinstrumentalisation is the core theme of “Culture States”.Madeleine Park, Rena Raedle & vladan JeremićREAlITY chEcK In TExT - ART AndAcTIvISM REAdER 2010Text by Madeleine ParkThis project wishes to bring attention to art concerned with social and politicalissues, art and activism and involves artists working with projects examining reality,our everyday life, the lives we lead, the society and world we live it in, whetherthese projects are in the form of dialogues with the general public, interventions,documentaries or protests. The title refers to the act of identifying.
  9. 9. Whether one’s ideas and visions are rooted in reality. The title may here also beinterpreted as art examining reality. On one level the whole process of creating theproject has been a series of ”reality checks” for all involved, as most artistic processesare, from idea to realization and meetig the public.The publication Art and Activism Reader is a collection of texts that works as anindependent part of Reality Check as they illuminate the central content; sociallyengaged art and activism. With views from different time aspects in Scandinavia and onthe Balkans, the texts give an additional dimension to the project.Anders Burman’s text gives a comprehensive picture of political engagement in Swedishart and crafts in what he calls the transboundary times of the 60’s and 70’s. MiskoSuvakovic and Ana Vilenica’s text’s describes art and activism from the 60’s until today onthe Balkans. The collective as work method and the content of the film ”Partisan Songspiel”is illuminated in an interview conducted by Prelom Kolektiv/Jelena Vesic from Belgrade,with the creators of the film, Chto Delat/Dmitry Vilensky, Vladan Jeremic&Rena Rädle.Lisa Nyberg&Johanna Gustavsson/Malmö Fria Kvinnouniversitet offers a workshop toenhance artistic integrity and to make us more politically conscious and better preparedfor today’s capitalist society. This reader also contains documentation from the “CriticalRun Trondheim”, works by Turrist/Anita Hillestad&Stig Olav Tony Fredriksson, by RachelDagnall, “The Unexpected” by Lisa Torell, a special contribution by Milica Tomic of her work“One day, instead of one night, a burst of machine-gun fire will flash, if light cannot comeotherwise” and by Nebojsa Milikic, Dragan Jovanovic, Nebojsa Kitanovic and Milan Zaricwith the work “Map of Kaludjerica Drainage Network”.REALITY CHECK also explores what happens when the artist takes the role as an activist,intermediary or the social conscience. Is it important, and can art be the room for freethought, where we can illuminate and make people more aware of injustices, discusstendencies and problems in a society, and stimulate to critical reflection? Yes, I at leastwant to continue to believe that. And I agree with how Ana Vilenica expresses this inher text “There is no alternative to life”. There is a need for a collective effort in orderto create new critical shifts. This project is a good example of such a collective effortand I will end this introduction by sending many warm thanks to all involved in makingREALITY CHECK!Eleana loukaon ThE MATERIAlITY oF ThE IMAGE 2010Trying to define and comprehend the nature of the digital and photographic Image, inrelation to the sculptural body, the found object and the live event, I am working out
  10. 10. patterns, juxtapositions and newly established entities that reflect on the potentialperception and experience, as well as the formations of meaning within the liveevent. My work considers how a mediating parallel parameter can transform theviewer’s perception and ultimately reaction and understanding of his/her part inthe realization of the work. I am initially preoccupied with the image and the digitalmedium in particular. If analogue photography provided a challenge to conceive interms of its materiality (ink, photosensitive paper, photons etc) the digital appearseven harder to comprehend, not only as pixels/code but also as a medium withvast capacities of reproduction, scaling, archiving, transmission and manipulation,decidedly changing the pictorial landscape, as we know it. The reinvigorated interestin sculpture must be read in relation to the question of materiality of the digitaland the new media, which some thinkers begin to suggest as a source of anxietyand loss. Since the antiquity, object and image have occupied the opposite poles ofexperience. In philosophy, they existed as the real and the symbolic; in religion, asthe sacred and the sacrilegious. It is clear that the image and the object appear asthe two incompatible others. But they make better sense when they are thought ofin conjunction and from the angle of their complementary properties, in relation tothe live event. The image, due to its unrivaled realism refers to an event outside of it.The minimalist object, although existing solely in itself, it consists of a projection ofthe physicality of the human body, suggesting to the viewer a consciousness of his/her own physicality. The performance in real time seeks to be an unmediated event,happening in real time, which explains the dislike of some performers towards thephotographic documentation of their work.Yet, most performative practices reach us in the form of some or other documentation.Photographs, video footage, sculptural objects and props do exactly that: they offer shellto the memory of what has once passed. I am thus proposing a series of props: rotatingprojections on suspended screens and sculptural wooden cylinders that begin to rotatewhen sitted by a member of the public. This brings to the foreground the elemente ofmediation, through its co-ordination within the space of the live event, investigating itsinvolvement in the cognitive process and sensual experience of the public.The project takes the form of a series of props that function as instruments to be usedby the public to realize a meditation on the role of the medium. This will consist of flatscreens, suspended from the ceiling and connected to a mouse, placed on nearby plints,next to wooden sculptural elements (the rotating cylinders/platforms) to punctuatethe floor in different hights and sizes, to further develop the idea the process in which awork is constructed, transmitted, received and experienced.The cylinders are three-dimensional sculptural bodies, with which the participatingaudience can interact by climbing, standing or sitting onto. They will be constructedfrom moulded sheets of Plywood, sensors and a basic, rotating mechanism at the baseof each cylinder. On the reception of a minimum amount of weight, the mechanism
  11. 11. is activated and sculpture/Viewer begin to slowly rotate, at different speeds anddirections. The aim with the cylinders is ‘for people to involve themselves with the work,become aware of their own bodies, gravity, effort, disorientation, fatigue, their bodiesunder different conditions’. The piece is revisiting Robert Morris’s ideas and is makinga direct situation where people can become more aware of themselves and their ownexperience rather than more aware of something outside themselves.’ The cylinders willvary in sizes, most of them will be for just one viewer but some of them will be larger,for whole families. The configuration and number of screens and cylinders depends onthe available venue. Ideally, there will be areas with rigid, geometric configurations andother more loose and organic clusters of cylinders.At the same time the screens will be projected still and moving images, depicting thehuman torso and the understanding of the physicality of the body in different culturalcontextes. The projection screens are crucial to the formation of a particular experienceof the public, as they are aiming to compare and relate the documented recording,seen and examined in retrospect, with the experience of the live work, evolving in realtime, with no fixed outcome. The screens will be featuring a dark image (the off-image)which ‘on the event of a click’ will be acquiring its normal light, and begin its rotatinganimation. (activation). The project requires five or six modular units of different sizes,again quantity and sizes must be decided in relation to the space, but in any case,where the scale of the cylinders reflects the human body, the screens are ‘larger thanlife’ and in a scale of two to five meters wide.Working with participation, interactivity and democratization of art, Eleana Loukaproposes a series of compositions, testing the communicative potential of old and newmedia in relation to different audiences. Her recent work has been responsive to thepractice of David Goldenberg, who uses real time and oral speach to invite participantsto conceive new ideas and definitions of contemporary art. The collaborative outcomebrings to the foreground the effects of mediation or its absence in relation to theimmediacy of real time and the live event.A selection of Louka’s projects appear at the Threads Exhibition at Tank Gallery, London,Take Away Exhibition at the Mansion of Lord Edward Davenport, Regent St, London,In Transition Russia, 2008 Yekaterinburg Museum of Fine Arts and National Centre ofContemporary Art in Moscow and the Creekside Open Exhibition at APT Gallery, selectedby Victoria Miro. She is currently participating at the online residency by Tint Arts Lab(, with a presentation coming up in October, to coincide withthe Biennial Events by Node London. ( In addition, she takes partin a series of radio discussions at Resonance FM with David Goldenberg and RaimiGbajamoshi (
  12. 12. Tanja JuričancREATIon 2010The work “Creation” should be a visual result of the verbal dialogue between twoauthors produced by the fusion of two creative entities. It mutates the creative actfrom direct into mediate action with an intention to give life and embody the mutualartwork. In this performance artist positions herself as a transartist who actsopposite to the expressive individual/author forms of creation (as an artist-performer(medium)) on the behalf of the other artist. Upon that ground she tests the creationact itself, the possibilities for exchange and cooperation between two active subjects –creators, as well as the creative potentials of speech and language and possibilities forreceiving and enhancing the experience of an artwork.danilo PrnjatWEddInG PIEcES 2009/2010The project “Wedding Pieces” comprises series of actions which allude my arrival and thepresence at the German weddings in a role of an uninvited guest/ insider. I conducted thisperformance occasionally during several months, and I chose the weddings which wereorganised for the close family members and were always held in public. After approachingthe celebrating group I was asked to leave or banished from all the weddings within ashort period of time. Several times I managed to stay long enough to pose with the groupin making the joint photo. My action was secretly recorded by a person whose functionwas to act as a paparazzo and whose task was to shoot the action in a form of videoand photo documentation from a certain distance. The goal of the action was literalmaterialisation of exclusivistic logic on which dominant models of today’s togethernessare based - starting with the marriage, the concept of national country and EU.DVD: 08’23’’, color, sound, loopProduction: Akademie Schloss Solitude, Stuttgart, Germanychto delatchTo dElAT nEWSPAPER InTERnATIonAl 2010Since 2003, the workgroup Chto delat has been publishing a newspaper. The newspaper isedited by Dmitry Vilensky and David Riff in collaboration with the workgroup Chto delat.
  13. 13. The newspaper is bilingual (Russian/English), and appears on an irregular basis(roughly once every 2 months). It varies between 16 and 24 pages (A3). Its editions(3,000- 9,000 copies) are distributed for free at cultural events and exhibitions by itsproducers. A visual documentation of the newspaper’s production and distribution canbe found in the Art Projects section here.Each newspaper addresses a theme or problem central to the search for new politicalsubjectivities, and their impact on art, activism, philosophy, and cultural theory. So far,the rubrics and sections of the paper have followed a free format, depending on themeat hand. There are no exhibition reviews. The focus is on the local Russian situation,which the newspaper tries to link to a broader international context. Contributorsinclude artists, art theorists, philosophers, activists, and writers from Russia, WesternEurope and the United States.david GoldenbergPoST AuTonoMY noW 4 work in progress 2007-2010deschooling classroom (oˆo)oPEn PRInTInG houSE 2010collEcTIvE SElF-EducATIon In ThE ARTS And culTuREPublication in Process is hardcopy version of a web site designated as an openonline registry of terms and notions from the field of contemporary arts. This websiteis the result of 10 month process of self-education of our working group withinDeschooling Classroom Project (oˆo). Everyone interested can print their own copyof this publication from the and re-organise itaccording to their own needs – re-edit it, shorten it or supplement it in a DIY manner,that in this case draws the sign of equal between the traditionally separate roles:user/reader= editor= publisher= author= printer. The print-run of this publication isindeterminate and unknown. It can be printed in an infinite number of copies, andevery self-published copy can differ from the other. Through abolished pagination,there is no right order for reading this publication. The texts can be printed on theirown or in combination with other texts, and they can also be read as single texts or incombination with other texts in any order. Therefore each text and the notion featuredin it are separate units that can be placed within the issue arbitrarily. For easier
  14. 14. assembly, within each text the numeration of its folio is kept. The layout is adapted tothe printing on regular home or office printers on regular A4 paper. For easier printingand binding all the standard printers’ marks are kept. The easiest way to bind thepublication is by perforating on the marked places and binding it in a A5 binder. Textscan also be bound with cord and covers of choice. All readers/editors/printers candesign their own covers, and add other tects, empty pages for notes or illustrations ofchoice to the publication. The first issues will be printed and bound by members of thegroup terms, within the “Open Printing House” event, where all the others can see theprocess of printing and binding and make their own copies of publication on the spot.dušica dražić & Sam hopkinsYounG SERbIAn 2006DVD, video performance, 00:05:43A young woman stands by the side of the motorway. It has been raining, the woman is wetand the road is noisy. Off camera a voice addresses her: “Take three”. She leans forwardseeming not really to hear but music starts playing and the woman starts to dance. Thesong is “Young Americans” by David Bowie. During the chorus a mail voice joins in singing“Young Serbian” instead of “Young Americans”. All elements of the video give impressionof it-almost-fits. Only exception is constant overlapping of two white lines – the full, whiteline of the highway and the white line of the woman’s shirt. The highway and the womanare bond, almost transformed into one, by that white, straight, full line.The video lasts slightly longer than the duration of the www.samhopkins.orgElISAbETh PEnKERFIRST nATIonS PAvIllon: “SPlITREPRESEnTATIon - FERdInAnd dESAuSSuRE” 2010A framed mirror from “First Nations Pavilion” is placed in the corner of the log-in space toplace the viewer physically in the space, cutting the reflection of the gaze as well mirrors aprofile view of the installed photographs. The photo-series relates to polysynthetic languagemorphology (of the Inuit, First Nations, Maori and Caduveo Indians) and translates within the
  15. 15. photographic image their structural common visual grammar. Because they would create afrontal view which was made out of 2 (split) profile views thereby creating a 4-dimensionalperspective that anticipated/parallels Cubism, who later presented multiple perspectiveswithin one image, which intended to represent movement through time and space.Freek lomme for onomatopeeREvERSEd PRoGRESSIon 2010Onomatoproduction in an era of anomia.Finally, however, there is this fundamental stake in art and academy: the preservation, inan administered, affirmative culture, of spaces for critical debate and alternative vision.Hal Foster1Onomatopee isn’t an institute and we cannot afford in-depth research... yet. Shouldwe mind, if the authority of research erodes through the current post-political, post-ideological cultural amnesia?OnomatoproductionDespite this hegemony of a fairly new, often ‘proclaimed’ leftish bourgeois, Onomatopeechallenges the parameters of our (designed) culture. We operate in the field of culturalproduction, previously known as the domain of “art”. Onomatopee derives frommotivations voiced by subjects, speaking through objects. We challenge fundamentalvalues of and motives for production. Furthermore, we debate the strategies ofprofessionals in the field, such as urban planning, visual communication and politics.Onomatopee posits itself beyond the dichotomy between art and design, beyond thedivision made between theory and praxis – aiming to mediate the in-between, not bysupplying results but by debating parameters. For if innovation truly exists, culturalproducers should generate a new form of capital from within specialist fields.Kaja Ćirilović & Milan Popović1. unIFIcATIon 1+1=1 2010What we are witnessing here is scene of Unification within the opposite sides , whichuncovers one of the possible aspects concerning eternal mystery of Creation of a1. Hal Foster (1996). The Return of the Real: Art and Theory at the end of the Century. MIT Press: Michigan. p. Xvii
  16. 16. New Entity. That new totality must liberate itself from bondage with its autonomousconstructive elements and should create a fresh quality which aims to be strongerand more BEAUTIFUL than origin. It is particularly important that the New Created aimsto nurture its own independence from intruding influences coming from differentpower positions (money, politics, religion...). The most recommendable tool for suchan accomplishment we call consciously made choice, turned exclusively towardconstruction itself, which is impossible without cooperation, which inevitably leads intothe integration, and than into development, which is, as we may know, endless.hyunjoo byeonbonA PARK, noT A buT b 2010The work is a novel project that appropriates varied ideas from different people.Commissioned by Korean curator Dae-bum Lee for his project Novel 01: in search ofJun-ho Lee, a collection of artists’ writings including an imagined character namedJun-ho Lee, Bona Park has taken as its starting point from the unrealised writingby Mikolaj Lozinski. Lozinski renounced his plan to write a novel about a personwho has the same name with a famous person. Park found Lozinski’s discardedscheme in Italian curator Cecilia Cuida’s archival project Forgotten Ideas, whichcollects abandoned ideas from diverse artists, curators, writers and other creators,and wrote about Jun-ho Lee. Jun-ho in Park’s novel named after a famous Koreanactivist who was against for the Japanese colonisation, but she has a tedious andunsatisfying life, teaching English at a small institution while being pressured tocompare her life with the activist.Not A But B is the collective ideas, which resembles Lee’s and Cuida’s associatedprojects; borrows its motive from Lozinski’s idea; and collates the narrative storycreated by Park. Additionally, the process of conceiving various ideas extends asit involves a number of participants in its project-in-progress. Originally written inKorean, it will be translated into multiple languages when the work is presented indifferent countries, including the translators as participants.Encompassing certain related ideas and blurring the boundaries of the authorityof an artwork, Park’s Not A But B is an indication of a transformation in thestate of appropriation. However, as Park’s humorous approach in her practicetakes a gesture of withdrawal, the use of appropriation in her work differs fromappropriation high-lighted in the mid 1990s, which aimed to subvert the dominantsystem in a more peremptory way. Appropriated ideas in Not A But B address not thedeath of the author, but a possible format which both an individual and collective
  17. 17. ideas coexist; it does not question to whom the work belongs; it rather seeks fora new subjectivity by mapping of where it stands in relation to the surroundingnotions. The work is a continuation of the journey in a search for a certainty in theuncertain flow of ideas.It might be early to say if the journey to search for its new subjectivism wouldsucceed or not. Instead, I would rather say that Bona Park’s playful gesture seemsto suggest new terms of approach to intervene in the pretentious rhetoric thatechoes in the dominance of Western ideas and the market power in art. Her bitterjoke, which seems at once to veer away from the positive engagement of the statusof the current circumstance, paradoxically discloses the hidden overwroughtgrandiosity, thus the withdrawal gesture located in her work very self-consciouslybecomes a gentle shout which urges the awakening. With this intriguing joke,setting up a stage for interaction with the viewer, the relationship between ideasand socio-cultural paradigms is re-contextualised. And it would be a step to findpost autonomy in contemporary art.Rainer GanahlI hATE KARl MARx 2010DVD 5 min 43 sec, photograph 20 x 24 inches, certificate of authenticityEdtion 1/10For this video playing in the year 2045 Karl Marx has reincarnated as Chinese. Hecontrols the world and the entire world is Chinese, speaks Chinese, dresses and eatsChinese (the same way it is today English/American). Marx’s specter to haunt theworld could not be stopped by any capitalist alliance. The young German lady speakingand screaming entirely in Chinese suffers a melt down in front of Marx’ statue on KarlMarx Allee expressing her discontent and opposition. IndEx >> Photo 1 Rainer Ganahl, I Hate Carl Marx, Chto Delat, Newspaper Photo 2 Tanja Marković, Maja Mirković, NOWORK Photo 3 Tanja Juričan, Creation Photo 4 Ranko Travanj, Entropic Excess Photo 5 Marina Gržinić, Aina Šmid, Siniša Ilič, Naked Freedom, Rainer Ganhal, I Hate Karl Marx Photo 6 Raimi Gbadamosi, Ceremonial Arcade Photo 7 Deschooling Classroom (0ˆ0) Open Printing House Photo 8 Eleana Louka, On The Materiality of the Image Photo 9 Raimi Gbadamosi, Ceremonial Arcade Photo 10 Jenny Marketou, Fragile Photo 11 Dušica Dražić & Sam Hopkins, Young Serbian Photo 12 Bona Park, Not A but B
  18. 18. Curator: Maja Ćirić Translation from Serbian to English: Photos: Ivan Petrović Design: Dušica Dražić Printing House: ALTA NOVA, Belgrade Print run: 200 Thanks to: