1. where:
ITS, Ritopek
Belgrade, Serbia
44o 44’ 0’’ N, 20o 39’ 0’’ E
www.itsz1e.wordpress.com
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 Goldenberg
This exhibition would not have been possible witout the generous input of all participants.

4. Maja Ćirić, Independent Curator and Art Critic
curator@majaciric.com
Why? Because of the “internal collapse”,
something along the lines that arts initial
strategy to unhook itself from existing
powers and belief systems has failed.
All narratives that have developed
contemporary art in terms of Modernism
have failed to address the negative aspects
of Modernism namely its role in colonising
others/cultures while consolidating the
Nation State. And since they are unable to
resolve its inherent problems, there is
therefore a necessity for a fundamentally
different strategy and description. One
can go so far to say that it is impossible to
use the existing descriptions and models to
resolve existing problems, of addressing
political and social problems in society, for
the very reason that the existing models
are not only developed from within the
Euro centric tradition, they also set out
to maintain the existing World Order and
centres of cultural power. Further more
the shift to the scheme of PA allows for the
possibility of moving away from the burden
of concerns that exists within the current
descriptions of art, and to locate other
concerns and issues, or to be more precise
the existing concerns are determined

5. within the existing Euro-centric tradition
framework, so there is no other choice but
to locate another framework.
This is an exhibition:
- a zone outside the Euro-centric
tradition of art, Globalization,
Colonisation and Biennials
- where language and debate constitutes the
core material for inhabiting and opening up
- a different model, a materialization of Post
Autonomy from within the existing Euro-
centric tradition
- an initiator of a micro-political situation,
and setting off an open ended process
which looks at gathering together a
material form when there isn’t a clear
material form from the outset
- a route out of a tradition of art in the
service of the nation state and colonization
- a term or a label or a new category or a
fiction in the form of an art project
- new body of thinking and practices
distinguished from our current
understanding of art
- a greater range of scenarios to read
contemporary art
- a term, a territory, a condition, a language -
new terms and taxonomies being charted

7. Tanja Marković & Maja Mirković
NOWORK 2010
NOWORK is a reply to pressure which made society obsessed with producing,
consuming and exchanging of goods.
Elisabeth Penker
POetics Of DeaD sPace 2 2009-2010
The non-linear 8 composition “Poetics of Dead Space 2”, introduces polysynthetic
language morphology combined by the melody which is composed from pre-existing
recordings of extinct languages and Penker’s self-made instrument “Untitled
Instrument, sonic structure” (see PDF and related essay written by E. Penker at
Resonance fm Magazine, upon request at Galerie nächst St. Stephan) The channel
which is upstairs installed uses an existing wall as an acoustic filter and introduced
sub-consciousness polysynthetic language morphology into the gallery space. The title
refers to the book poetic of space within unused architectural situations of exhibition
spaces. A Blind Spot (dead angle - Toter Winkel) has a different meaning in terms of
acoustics and cannot be compared with the visual context where blind spot is used
primarily in conversations. In music/sound production in film the visual blind spot is
used very often by hearing a bike, roller, plane without seeing it. In everyday life we
are used and depending by acoustic blind spots for our orientation of the situation
and space we are in at the moment. Architectural acoustic issues play an important
role during the time of the composition. “Poetic of Dead Space 2” is a context specific
composition and deals with: polysynthetic language morphology, recordings of the
untitled instrument: Sonic structure and acoustic exhibition architecture besides
issues which are depending of the unused architecture and their acoustic.
Raimi Gbadamosi
ceRemONial aRcaDe 2010
Six ceremonial flags of The Republic provide an arcade to contemplate the ambiguous
message flags give as they represent the nation state. As symbols, flags can either
position themselves against the people that make up the nation (the unrelenting
standard of the state) or function as a rallying symbol that the citizen can hold up to

9. defy the hegemonic desires of national governments. Neither party in an an exchange
over The State can lay claim to the core of The State as concept. The link between
ownership and commodification is complicated with regards to The State, this will be
investigated further.
Marina Gržinič and Aina Šmid with Siniša Ilić
NaKeD fReeDOm 2010
The video work that connects Ljubljana, Belgrade, Durham/USA presents a conceptual
political space of engagement that allows for rethinking what local community is.
It conceptualizes the possibility of social change under the conditions of financial
capitalism and its financialization processes that permeate art, the social, political
and the critical discourse. The collective process of making the video “Naked Freedom”
is about enactment of social, political, and perfomative practices. It is a collective
performance for the screen that resonate with performers off screen lives.
In Ljubljana 7 young activists, musicians, poets, and youth workers, members of
the Youth Center Medvode, a village near Ljubljana, discuss capitalism, colonialism,
education, and the power of art as a possibility for politics. They as well rethinking
the possibility for a radicalization of a proper life. The work is not only about to
recognize the local youth power, but as well to initiate through the making of the video
work social relations that will make visible agencies who ask for new possibilities.
In Belgrade, Siniša Ilić, artist and performer, deconstructs violence (from
heteronormative to nationalistic) and is a connector between different spaces within
the realm of culture, art, activism.
The last part of the video re-questions the non-EU citizens in Europe and the status
of Africa in Europe and Africans trying to live and work in the present moment of the
European Union. In this part a precise historical analysis is given to the mechanisms of
inclusion and exclusion and prevention of work and life in the EU. It presents an exchange
in between Marina Gržinič and Kwame Nimako. They met at the Workshop on Education,
Development, Freedom, at Duke University, Durham, USA, organized by the Center for
Global studies (25 to 27 February 2010), notably by Walter Mignolo. Kwame Nimako
is theoretician from Ghana who lives in Amsterdam, The Netherlands. He is in charge of
NiNsee, 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 changed
conditions of lives and works for the non-EU residents in particular national states in

11. the EU. It shows that exists a history of these relations and that the new geopolitical
reality of Europe, that includes old West European and new Eastern European states, is
based onto historical hegemonic mechanisms of division that are today forgotten, but
still operational and derogative.
video, 19.27 min., color and b/w, sound
Jenny Marketou
FRAGIlE 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 the
body, sign and paper within the social structure of a social gathering with the conscious
attempt to charge with meaning the public space. I like to call it “sociable art” which
creates community and contexts for interaction and communication in public space .To
achieve this participants are dressed in A shaped paper wear designed and produced
by the artist especially for this project which have been made out of paper, each dress
bearing 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 thin
material, 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 fragile
state of the art, of our city, of our social space, of our community and its functions, of
our 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 dresses
designed to be worn by the public during public events in order to create a space of
liberation and to provoke actions during animated walking or demonstration.
FRAGILE A PUBLIC PERFORMANCE
With 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, which
each of them bears in front and back as a cut out the word FRAGILE are distributed
for free to 100 participants to be worn over their street clothes during the entire
performance. Yet their beauty is precarious leading deep and reflecting on the
conditions of life.

13. FRAGILE requires conceptual and physical involvement and mediation. All participants
by wearing FRAGILE are aware that they are placing his / herself consciously in the role
of the performer and they accept the responsibility, creativity and commitment to be
part of a peaceful performative action on foot.
At the end of the performance all participants will be photographed and they are free
to keep their dress and take it back home as a gift or they can discard it in a dedicated
container for recycling after the end of this event.
Katarina Popović
EdITIon 2010
Exhibiting books in the gallery space is closely connected with the belief that the total
number of copies of a book by the volume shouldn’t present just a book pile; it should
present an object whose structural elements pose artistical values by themselves,
and transmit their characteristics to the whole body of a book installation. Being
used as material for sculpturing, books are doubling their value. Even presented as a
unique entity, the basic function of each individual element of ‘sculpture’, a book as an
interactive tool, is not neglected: it can be read, leafed through, or possessed. Visitors
are expected to take part in the changing of the preview form of books installation by
books ‘disappearing’ from the gallery space.
www. katarinapopovic.blogspot.com
Ranko Travanj
EnTRoPIc ExcESS 2010
Exaggerated rhetorics actually hides the position of abandonment, exeption and
declination of any final answer regarding the actual state of affairs. A painting as a
confused theoretical object intended to irritate the spectator. A grotesque auto- ironic
surplus, hybrid that vegetates in a system in which it is not needed and evokes forgotten
and hackneyed ideas about its own inviolability. Affectation, parasitism, artificiality,
stereotypia, over- identification- strategies of weakness and pure survival. Parodical and
cynical questioning of impossible, traumatic art- or what art is expected to be.

14. Société Réaliste
MA: culTuRE STATES - ExPoSITIon dES
ARTS ET TEchnIquES APPlIquéES à lA
vIE ModERnE 2010
The “Culture States - Exposition des arts et techniques appliquées à la vie moderne”
project takes its subtitle from the historical “Exposition internationale des arts et
techniques appliquées à la vie moderne”, held in 1937 in Paris. This fair has been one
of the most spectacular example of the relation between Culture and Nation, from the
confrontation between Nazi and Soviet pavilions to the display of imperialist cultural
conceptions 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, that
continues to affect any cultural zone. Intending to curate a world exhibition on the model
of the 1937’s one, “Culture States” is dedicated to disappeared states of the European
peninsula, and examines the state as a constructed level of space representation, an
thus as a deconstructable one.
Scale of control in itself, the state obstructs territorial observation and restrict cultural
patterns. “Culture States” designs analyse devices aspiring to disclose the nocuous
dependence of cultural constructions on the logic of states. This logic vitally calculates
the extension, the maintenance and the lengthening of the state’s exercice of inclusive
power. The instrumentalisation of cultural forms is plainly part of this exercice. This
instrumentalisation is the core theme of “Culture States”.
Madeleine Park, Rena Raedle & vladan Jeremić
REAlITY chEcK In TExT - ART And
AcTIvISM REAdER 2010
Text by Madeleine Park
This project wishes to bring attention to art concerned with social and political
issues, 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, whether
these projects are in the form of dialogues with the general public, interventions,
documentaries or protests. The title refers to the act of identifying.

18. Whether one’s ideas and visions are rooted in reality. The title may here also be
interpreted as art examining reality. On one level the whole process of creating the
project has been a series of ”reality checks” for all involved, as most artistic processes
are, from idea to realization and meetig the public.
The publication Art and Activism Reader is a collection of texts that works as an
independent part of Reality Check as they illuminate the central content; socially
engaged art and activism. With views from different time aspects in Scandinavia and on
the Balkans, the texts give an additional dimension to the project.
Anders Burman’s text gives a comprehensive picture of political engagement in Swedish
art and crafts in what he calls the transboundary times of the 60’s and 70’s. Misko
Suvakovic and Ana Vilenica’s text’s describes art and activism from the 60’s until today on
the 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 to
enhance artistic integrity and to make us more politically conscious and better prepared
for today’s capitalist society. This reader also contains documentation from the “Critical
Run Trondheim”, works by Turrist/Anita Hillestad&Stig Olav Tony Fredriksson, by Rachel
Dagnall, “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 come
otherwise” and by Nebojsa Milikic, Dragan Jovanovic, Nebojsa Kitanovic and Milan Zaric
with 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 free
thought, where we can illuminate and make people more aware of injustices, discuss
tendencies and problems in a society, and stimulate to critical reflection? Yes, I at least
want to continue to believe that. And I agree with how Ana Vilenica expresses this in
her text “There is no alternative to life”. There is a need for a collective effort in order
to create new critical shifts. This project is a good example of such a collective effort
and I will end this introduction by sending many warm thanks to all involved in making
REALITY CHECK!
Eleana louka
on ThE MATERIAlITY oF ThE IMAGE 2010
Trying to define and comprehend the nature of the digital and photographic Image, in
relation to the sculptural body, the found object and the live event, I am working out

20. patterns, juxtapositions and newly established entities that reflect on the potential
perception and experience, as well as the formations of meaning within the live
event. My work considers how a mediating parallel parameter can transform the
viewer’s perception and ultimately reaction and understanding of his/her part in
the realization of the work. I am initially preoccupied with the image and the digital
medium in particular. If analogue photography provided a challenge to conceive in
terms of its materiality (ink, photosensitive paper, photons etc) the digital appears
even harder to comprehend, not only as pixels/code but also as a medium with
vast capacities of reproduction, scaling, archiving, transmission and manipulation,
decidedly changing the pictorial landscape, as we know it. The reinvigorated interest
in sculpture must be read in relation to the question of materiality of the digital
and the new media, which some thinkers begin to suggest as a source of anxiety
and loss. Since the antiquity, object and image have occupied the opposite poles of
experience. In philosophy, they existed as the real and the symbolic; in religion, as
the sacred and the sacrilegious. It is clear that the image and the object appear as
the two incompatible others. But they make better sense when they are thought of
in conjunction and from the angle of their complementary properties, in relation to
the 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 of
the 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 the
photographic 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 shell
to the memory of what has once passed. I am thus proposing a series of props: rotating
projections on suspended screens and sculptural wooden cylinders that begin to rotate
when sitted by a member of the public. This brings to the foreground the elemente of
mediation, through its co-ordination within the space of the live event, investigating its
involvement 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 used
by the public to realize a meditation on the role of the medium. This will consist of flat
screens, suspended from the ceiling and connected to a mouse, placed on nearby plints,
next to wooden sculptural elements (the rotating cylinders/platforms) to punctuate
the floor in different hights and sizes, to further develop the idea the process in which a
work is constructed, transmitted, received and experienced.
The cylinders are three-dimensional sculptural bodies, with which the participating
audience can interact by climbing, standing or sitting onto. They will be constructed
from moulded sheets of Plywood, sensors and a basic, rotating mechanism at the base
of each cylinder. On the reception of a minimum amount of weight, the mechanism

22. is activated and sculpture/Viewer begin to slowly rotate, at different speeds and
directions. 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 bodies
under different conditions’. The piece is revisiting Robert Morris’s ideas and is making
a direct situation where people can become more aware of themselves and their own
experience rather than more aware of something outside themselves.’ The cylinders will
vary 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 on
the available venue. Ideally, there will be areas with rigid, geometric configurations and
other more loose and organic clusters of cylinders.
At the same time the screens will be projected still and moving images, depicting the
human torso and the understanding of the physicality of the body in different cultural
contextes. The projection screens are crucial to the formation of a particular experience
of 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 real
time, 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 rotating
animation. (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 than
life’ and in a scale of two to five meters wide.
Working with participation, interactivity and democratization of art, Eleana Louka
proposes a series of compositions, testing the communicative potential of old and new
media in relation to different audiences. Her recent work has been responsive to the
practice of David Goldenberg, who uses real time and oral speach to invite participants
to conceive new ideas and definitions of contemporary art. The collaborative outcome
brings to the foreground the effects of mediation or its absence in relation to the
immediacy 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 of
Contemporary Art in Moscow and the Creekside Open Exhibition at APT Gallery, selected
by Victoria Miro. She is currently participating at the online residency by Tint Arts Lab
(http://lab.tintarts.org), with a presentation coming up in October, to coincide with
the Biennial Events by Node London. (http://nodel.org/) In addition, she takes part
in a series of radio discussions at Resonance FM with David Goldenberg and Raimi
Gbajamoshi (http://postautonomyresonance.blogspot.com)

23. Tanja Juričan
cREATIon 2010
The work “Creation” should be a visual result of the verbal dialogue between two
authors produced by the fusion of two creative entities. It mutates the creative act
from direct into mediate action with an intention to give life and embody the mutual
artwork. In this performance artist positions herself as a transartist who acts
opposite 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 creation
act itself, the possibilities for exchange and cooperation between two active subjects –
creators, as well as the creative potentials of speech and language and possibilities for
receiving and enhancing the experience of an artwork.
danilo Prnjat
WEddInG PIEcES 2009/2010
The project “Wedding Pieces” comprises series of actions which allude my arrival and the
presence at the German weddings in a role of an uninvited guest/ insider. I conducted this
performance occasionally during several months, and I chose the weddings which were
organised for the close family members and were always held in public. After approaching
the celebrating group I was asked to leave or banished from all the weddings within a
short period of time. Several times I managed to stay long enough to pose with the group
in making the joint photo. My action was secretly recorded by a person whose function
was to act as a paparazzo and whose task was to shoot the action in a form of video
and photo documentation from a certain distance. The goal of the action was literal
materialisation of exclusivistic logic on which dominant models of today’s togetherness
are based - starting with the marriage, the concept of national country and EU.
DVD: 08’23’’, color, sound, loop
Production: Akademie Schloss Solitude, Stuttgart, Germany
chto delat
chTo dElAT nEWSPAPER InTERnATIonAl 2010
Since 2003, the workgroup Chto delat has been publishing a newspaper. The newspaper is
edited by Dmitry Vilensky and David Riff in collaboration with the workgroup Chto delat.

24. 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 its
producers. A visual documentation of the newspaper’s production and distribution can
be found in the Art Projects section here.
Each newspaper addresses a theme or problem central to the search for new political
subjectivities, 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 theme
at 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. Contributors
include artists, art theorists, philosophers, activists, and writers from Russia, Western
Europe and the United States.
david Goldenberg
PoST AuTonoMY noW 4 work in progress 2007-2010
deschooling classroom (oˆo)
oPEn PRInTInG houSE 2010
collEcTIvE SElF-EducATIon In ThE ARTS And culTuRE
Publication in Process is hardcopy version of a web site designated as an open
online registry of terms and notions from the field of contemporary arts. This website
is the result of 10 month process of self-education of our working group within
Deschooling Classroom Project (oˆo). Everyone interested can print their own copy
of this publication from the www.antijargon.tkh-generator.net and re-organise it
according 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 is
indeterminate and unknown. It can be printed in an infinite number of copies, and
every 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 their
own or in combination with other texts, and they can also be read as single texts or in
combination with other texts in any order. Therefore each text and the notion featured
in it are separate units that can be placed within the issue arbitrarily. For easier

26. assembly, within each text the numeration of its folio is kept. The layout is adapted to
the printing on regular home or office printers on regular A4 paper. For easier printing
and binding all the standard printers’ marks are kept. The easiest way to bind the
publication is by perforating on the marked places and binding it in a A5 binder. Texts
can also be bound with cord and covers of choice. All readers/editors/printers can
design their own covers, and add other tects, empty pages for notes or illustrations of
choice to the publication. The first issues will be printed and bound by members of the
group terms, within the “Open Printing House” event, where all the others can see the
process of printing and binding and make their own copies of publication on the spot.
dušica dražić & Sam hopkins
YounG SERbIAn 2006
DVD, video performance, 00:05:43
A young woman stands by the side of the motorway. It has been raining, the woman is wet
and the road is noisy. Off camera a voice addresses her: “Take three”. She leans forward
seeming not really to hear but music starts playing and the woman starts to dance. The
song 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 impression
of it-almost-fits. Only exception is constant overlapping of two white lines – the full, white
line of the highway and the white line of the woman’s shirt. The highway and the woman
are bond, almost transformed into one, by that white, straight, full line.
The video lasts slightly longer than the duration of the song.
www.dusicadrazic.wordpress.com www.samhopkins.org
ElISAbETh PEnKER
FIRST nATIonS PAvIllon: “SPlIT
REPRESEnTATIon - FERdInAnd dE
SAuSSuRE” 2010
A framed mirror from “First Nations Pavilion” is placed in the corner of the log-in space to
place the viewer physically in the space, cutting the reflection of the gaze as well mirrors a
profile view of the installed photographs. The photo-series relates to polysynthetic language
morphology (of the Inuit, First Nations, Maori and Caduveo Indians) and translates within the

28. photographic image their structural common visual grammar. Because they would create a
frontal view which was made out of 2 (split) profile views thereby creating a 4-dimensional
perspective that anticipated/parallels Cubism, who later presented multiple perspectives
within one image, which intended to represent movement through time and space.
Freek lomme for onomatopee
REvERSEd PRoGRESSIon 2010
Onomatoproduction in an era of anomia.
Finally, however, there is this fundamental stake in art and academy: the preservation, in
an administered, affirmative culture, of spaces for critical debate and alternative vision.
Hal Foster1
Onomatopee isn’t an institute and we cannot afford in-depth research... yet. Should
we mind, if the authority of research erodes through the current post-political, post-
ideological cultural amnesia?
Onomatoproduction
Despite this hegemony of a fairly new, often ‘proclaimed’ leftish bourgeois, Onomatopee
challenges the parameters of our (designed) culture. We operate in the field of cultural
production, previously known as the domain of “art”. Onomatopee derives from
motivations voiced by subjects, speaking through objects. We challenge fundamental
values of and motives for production. Furthermore, we debate the strategies of
professionals in the field, such as urban planning, visual communication and politics.
Onomatopee posits itself beyond the dichotomy between art and design, beyond the
division made between theory and praxis – aiming to mediate the in-between, not by
supplying results but by debating parameters. For if innovation truly exists, cultural
producers should generate a new form of capital from within specialist fields.
Kaja Ćirilović & Milan Popović
1. unIFIcATIon 1+1=1 2010
What we are witnessing here is scene of Unification within the opposite sides , which
uncovers one of the possible aspects concerning eternal mystery of Creation of a
1. Hal Foster (1996). The Return of the Real: Art and Theory at the end of the Century. MIT Press: Michigan. p. Xvii

29. New Entity. That new totality must liberate itself from bondage with its autonomous
constructive elements and should create a fresh quality which aims to be stronger
and more BEAUTIFUL than origin. It is particularly important that the New Created aims
to nurture its own independence from intruding influences coming from different
power positions (money, politics, religion...). The most recommendable tool for such
an accomplishment we call consciously made choice, turned exclusively toward
construction itself, which is impossible without cooperation, which inevitably leads into
the integration, and than into development, which is, as we may know, endless.
hyunjoo byeon
bonA PARK, noT A buT b 2010
The 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 of
Jun-ho Lee, a collection of artists’ writings including an imagined character named
Jun-ho Lee, Bona Park has taken as its starting point from the unrealised writing
by Mikolaj Lozinski. Lozinski renounced his plan to write a novel about a person
who has the same name with a famous person. Park found Lozinski’s discarded
scheme in Italian curator Cecilia Cuida’s archival project Forgotten Ideas, which
collects 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 Korean
activist who was against for the Japanese colonisation, but she has a tedious and
unsatisfying life, teaching English at a small institution while being pressured to
compare her life with the activist.
Not A But B is the collective ideas, which resembles Lee’s and Cuida’s associated
projects; borrows its motive from Lozinski’s idea; and collates the narrative story
created by Park. Additionally, the process of conceiving various ideas extends as
it involves a number of participants in its project-in-progress. Originally written in
Korean, it will be translated into multiple languages when the work is presented in
different countries, including the translators as participants.
Encompassing certain related ideas and blurring the boundaries of the authority
of an artwork, Park’s Not A But B is an indication of a transformation in the
state of appropriation. However, as Park’s humorous approach in her practice
takes a gesture of withdrawal, the use of appropriation in her work differs from
appropriation high-lighted in the mid 1990s, which aimed to subvert the dominant
system in a more peremptory way. Appropriated ideas in Not A But B address not the
death of the author, but a possible format which both an individual and collective

31. ideas coexist; it does not question to whom the work belongs; it rather seeks for
a new subjectivity by mapping of where it stands in relation to the surrounding
notions. The work is a continuation of the journey in a search for a certainty in the
uncertain flow of ideas.
It might be early to say if the journey to search for its new subjectivism would
succeed or not. Instead, I would rather say that Bona Park’s playful gesture seems
to suggest new terms of approach to intervene in the pretentious rhetoric that
echoes in the dominance of Western ideas and the market power in art. Her bitter
joke, which seems at once to veer away from the positive engagement of the status
of the current circumstance, paradoxically discloses the hidden overwrought
grandiosity, thus the withdrawal gesture located in her work very self-consciously
becomes a gentle shout which urges the awakening. With this intriguing joke,
setting up a stage for interaction with the viewer, the relationship between ideas
and socio-cultural paradigms is re-contextualised. And it would be a step to find
post autonomy in contemporary art.
Rainer Ganahl
I hATE KARl MARx 2010
DVD 5 min 43 sec, photograph 20 x 24 inches, certificate of authenticity
Edtion 1/10
For this video playing in the year 2045 Karl Marx has reincarnated as Chinese. He
controls the world and the entire world is Chinese, speaks Chinese, dresses and eats
Chinese (the same way it is today English/American). Marx’s specter to haunt the
world could not be stopped by any capitalist alliance. The young German lady speaking
and screaming entirely in Chinese suffers a melt down in front of Marx’ statue on Karl
Marx 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

32. www.CooperationNotCorporation.wordpress.com
Curator: Maja Ćirić
Translation from Serbian to English:
Photos: Ivan Petrović
Design: Dušica Dražić
Printing House: ALTA NOVA, Belgrade
Print run: 200
Thanks to: