DOPLGENGER (ISIDORA ILIĆ i BOŠKO PROSTRAN)
SAŠA RAKEZIĆ alias ALEKSANDAR ZOGRAF
Curators and authors of the exhibition concept
Sanja Kojić Mladenov
The international two-year project Performing the Museum,in its first edition at the Museum of Contemporary Art of Vojvodina (MoCAV), consists of the group exhibition Archives and Power and the solo exhibition by the artist Jasmina Cibic entitled Building Desire.
Through artistic explorations, the exhibition Archives and Powerexamines the notion of archive as accumulated knowledge produced by various types of institutions, as well as other organised structures of society or individuals. Even though archives are “primary sources” that bear the mark of neutrality, the very methodology of accumulation represents a design which engages social, political and technological powers. The epistemological role of archives, as well their symbolic capital, are commensurate with their being located in the system of production of power. Digital technology has produced a wave of fascination with archives, leading us into a new era of archive fever (Derrida). One extreme of this trend is the romanticising of the past and the abolition of the political as part of a deliberate or inadvertent design of memory. Another extreme is the introduction of the ideological and the current realpolitical as a way in which we remember. The relationship between memory and the archive is determined by the aporia of archive fever,which tells us (not) to forget the archive, so that memory can occur.
Another instance examined by this exhibition is the notion of museum as an institution which traditionally constitutes its social role through the act of accumulation and care of artefacts and other objects possessing artistic, cultural or scientific value. Archivisation has thereby survived as one of the central discourses within the framework of which the identity of the museum is constituted in the processes of memorisation. A neuralgic spot of the museum process of memorisation is precisely the interpretive and performative act of the institution – performing the museum in society – as a potential avangardisation of “the past” and the contemporary political role of the institution.
The exhibition Archives and Powerpresents new productions of artists who deal with exploring and (re)interpreting certain archive (public and private) wholes and their discursive deposits, (de)constructing memory and projecting new (micro)histories, and with artistic interventions within the context of analysing the relationship between the museum and its symbolic power (in the creation of history). Artists proceed from selected case histories from the past or a terminological register as a resource which they recontextualise through a new performance. Jasmina Cibic’s solo exhibition Building Desire is conceptually connected with the exhibition Archives and Power through the characteristic practice of recontextualising a historical theme.
The project Performing the Museum of the Museum of Contemporary Art of Vojvodina is realised through partnership cooperation with the following institutions: the Museum of Contemporary Art in Zagreb, the Carinthian Gallery of Fine Arts in Slovenj Gradec and the Antoni Tàpies Foundation (Fundació Antoni Tàpies) from Barcelona.
The project Performing the Museum has come into being as a result of the initiative of four museums to (self-)examine, revaluate and interpret the museums’ resources, archives, collections and work methods so that these institutions could develop their potential, as a “common good”, by creating new knowledge and liaise with various kinds of audiences. A two-year programme within the framework of the project unfolding at the international level contains various public activities of the partner institutions: exhibitions and presentations of contemporary and historical artistic practices, an educational portal for children and young people, a joint digital archive, a collection of theoretical papers, publications accompanying the exhibitions, expert conferences, meetings of programme editors, numerous lectures, workshops and curatorial residencies during 2015 and 2016. The realisation of the project relies on the international cooperation of curators, artists, theorists, education experts, audience participation in the museums, as well as the participation of the broader public through the online platform.
The exhibitions are accompanied by a three-day symposium entitled Archive and Power (3rd–5th November), involving the participation of experts on contemporary art and new media, the humanities and social sciences from Spain, Slovenia, Croatia and Serbia within the framework of the curatorial residency programme.
Working between London and Ljubljana, Jasmina Cibic is one of a new generation of Slovenian artists whose practice, although acutely conscious of a specific national political, cultural and artistic lineage creates a very distinctive language of its own. Her work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibic’s artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer: She tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Because of their traversal of different structures and systems, her projects often feel like Gesamtkunstwerke and include variations of delegated creations of artistic objects and spaces and combine the work of architects, scientists, other specialists and craftsmen, as well as factory- made products, all chosen for some specific contextual or historical significance.
Jasmina Cibic represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”.
Her recent projects and exhibitions include “Spielraum – The Nation Loves It”, solo exhibition, Ludwig Museum Budapest, group exhibition at “Fruits of Our Land”, solo exhibition, SAW Gallery Ottawa, Capa Contemporary Photography Center, Budapest; Musée national d’histoire et d’art, Luxembourg; 3oth International Graphics Biennial Ljubljana; “October Salon”, Belgrade; “U3 – 7th Triennial of Contemporary Art”, MSUM, Ljubljana; Dokfest – Kulturbahfhof, Kassel; Joanneum Museum Graz; California College of the Arts, San Francisco; Museum of Modern Art Ljubljana; Galerija Škuc, Ljubljana. Her films have recently been screened at Haus der Kulturen der Welt, Berlin; KORO Oslo; Les Rencontres Internationales, Palais de Tokyo et à la Gaîté Lyrique, Paris, Copenhagen International Documentary Festival and the Cinema Program at Art Brussels.
She completed her Bachelor and Master studies at the Department of New Visual Media at the Academy of Arts in Novi Sad. She is employed as an associate at the Department of New Visual Media at the Academy of Arts in Novi Sad. A fan of biopolitical theories, post-feminism and DIY culture. Currently writing articles on anonymity on the Internet and creating political games.
2013 - Play again, game studies seminar, Košice, Slovakia
2013 - Autonomies, Museum of Contemporary Art Vojvodina
2013 - Video Art festival Videomedeja, Cultural Center of Novi Sad
2013 - Residence Nida, Lithuania.
2013 - Bogdanka Poznanović Award for One good day, Videomedeja, Cultural Center of Novi Sad
2014 - Fields exhibition, Riga, Latvia
Zoran Todorović (born 1965, lives in Belgrade, Serbia) is a representative of biopolitical performance, radical body art, interhuman performance art and politicised postmedia art. He works with affective individual and collective situations and representations of the borders of “human conditions”. He was the representative of Serbia at the 53rd Biennale di Venezia (2009). He is Assistant Professor at the Faculty of Fine Arts, Belgrade, Serbia.
Doplgenger is an artist duo Isidora Ilić and Boško Prostran, film/video artists from Belgrade (ex-Yugoslavia). The work of Doplgenger deals with relation between art and politics through exploring the regimes of moving images and modes of its reception. They deconstruct the film medium, language, structure and notions of text in order to discover the ways in which art/moving images participate in creating political reality. They rely on the tradition of experimental film and video and through some of the actions of these traditions intervene on the existing media products or produce in the film essay form. Although their main media is moving image, their work is realized through the text, installations, performances, lectures and discussions.
Their work has been presented in Serbia and internationally both in group or solo exhibitions and film/video festivals: Seattle International Film Festival (USA, 2015), Anya and Andrew Shiva Art Gallery (New York, 2015), Trieste Contemporanea (Italy, 2015), Resolution 827 (Stedelijk Museum Bureau Amsterdam, 2015), South by Southeast (Osage Gallery, Hong Kong, 2015), Cairo Video Festival (Cairo, 2014), Festival des cinémas différents et expérimentaux de Paris (2014), 55th October Salon (Belgrade, 2014), STATE ABED (Gallery of Fine Arts Split, 2014), Open Systems (GPL Contemporary, Vienna 2014), Salon Video (Romania, 2013), VIDEOEX – International Experimental Film & Video Festival Zurich (2013), VIDEFORMES - Art vidéo et cultures numériques (Clermont-Ferrand, 2013), Art Biennale Pančevo (2012), Gallery ArtPoint (Vienna, 2011), TINA B. – The Prague Contemporary Art Festival (2011), Belgrade Summer Festival (BELEF, 2010), This Is Not A Gateway (London, 2009), Video in progress (Photon gallery, Ljubljana 2009), performIC (Innsbruck, 2009), Remont Gallery (Beograd, 2009), O3one Gallery (Belgrade, 2008), Alternative Film-Video Festival (Belgrade, 2008), International Belgrade Documentary & Short Film Festival (2007), etc.
They were granted with Artist-in-Residence Programs at KulturKontakt Austria (Vienna, 2011), Fringe MK (Milton Keynes, 2010), Künstlerhaus Büchsenhausen Art and Theory Programme (Innsbruck, 2009), Braziers International Artists Workshop (Oxford, 2007). In recent years they have been participating in symposiums and panels, leading workshops, presenting lectures and screening programs in Austria, Germany, Great Britain, France, Russia, Croatia, Serbia.
Saša Rakezić, alijas Aleksandar Zograf
Saša Rakezić alias Aleksandar Zograf is a cartoonist from Pančevo (across the Danube from Belgrade). Aside from Serbia, his comics were published in a book form in US, UK, France, Italy, Spain, Portugal, Germany and several other countries. His comics are refering to his travels, his musings, and the books that he collects at the flea markets.
Statement: « In the 90s, I was experimenting with drawing comics which were either speaking about the reality of life in the Balkans, or reflecting my dream explorations. In 2003, I was invited by Vreme, Belgrade’s independent weekly, to create 2 pages of comics every week. Past years, I created a large body of work, with stories that are depicting the places where I travel, the people that I meet, and the ever interesting forgotten books and articles found on the flea market. By capturing the little, intimate realities, I am trying to get the bigger picture, to understand this life « .
Solo exhibition show
3–29. 11. 2015.
Project Performing the Museum
(Per Muse): Archives and Power
The Project Performing the Museum
(Per Muse): Archives and Power
3. novembar 2015.
3. novembar 2015.
3. novembar 2015.
3. novembar 2015.
Archives and Power
and Bios - eng