Monthly Archive: September 2012

Interview with Jelena Vesić About her Show Political Practices of (post-) Yugoslav Art: Retrospective 01

In this interview we discuss the exhibition Political Practices of (Post-)Yugoslav Art: RETROSPECTIVE 01 (hereinafter referred to as PPYUart that Jelena Vesi? co-curated with a group of independent curators, theorists, researchers, artists and activists, andwhich was presented at the Museum of Yugoslav History in Belgrade in 2009. The project was initiated by four independent organizations: the new media center (Novi Sad); the curatorial collective WHW (Zagreb); Prelom kolektiv (Belgrade); and SCCA/ (Sarajevo).

Nikola Dedić/Aneta Stojni?/ARTMargins Online: I would like to start with a question about the exhibition title, which is long and difficult to remember on the one hand, … Read more

Interview with Aneta Stojnić About the Interdisciplinarity of the Arts

Nikola Dedić/ARTMargins Online: You came originally from the world of theater. Recently you have mostly worked in the field of visual arts. Why?

Aneta Stojni?: I would not say that I’m working specifically in the field of visual arts, but rather that my work is in the field of performance art. On the other hand, I did move away from theater (in the classical understanding of the discipline) at a certain point because it became too hermetic and self-referential for my practice.

Maybe someone could say that performance art is closer to the visual arts field, but I don’t really … Read more

Interview with Nikola Dedić

Aneta Stojni?/ARTMargins Online: Is it possible to talk about a “collectors’ scene” in Serbia today?

Nikola Dedić: I wouldn’t say that the word ‘scene’ is completely adequate, but I would definitely say that private collections are new phenomena within local art markets that have emerged over last decade. With this phenomenon, certain institutional changes regarding the production and presentation of contemporary art have also emerged: in the period of the socialist state, for example, centralized cultural institutions dominated in Serbia, with the Museum of Contemporary Art being a main institutional determinant. The Museum, at that time, reflected the orientation of … Read more

Interview with Miško Šuvaković about Art in Serbia in the East European Context

Nikola Dedić/Aneta Stojni?/ARTMargins Online: Recently, you have published the first volume of a book entitled The History Of Art in Serbia, XX Century. Radical Artistic Practices, which is the first detailed and historical study of Serbian art in the last century. How would you evaluate the importance of this project within both the local and the international context?

Miško Šuvakovi?: Your History Of Art In Serbia, XX century– is the first volume of a three volume series that guides the reader through the “long 20th century.” As the editor, I was lucky to gather an extraordinary team … Read more

Interview With Ana Vujanović

Nikola Dedić/Aneta Stojnić/ARTMargins Online: As someone who works in the domain of culture, and particularly in the field of performing arts, what would you designate as specific for the scene in Serbia after 2000? How do you see the scene in a wider, regional context?Nikola Dedić/Aneta Stojnić/Art Margins Online

Ana Vujanović: I’ll focus Belgrade, from a regional perspective (Belgrade-Zagreb-Ljubljana-Skopje), as I don’t feel competent enough to speak about the scene in Serbia. Firstly, I wouldn’t say there is one scene. We still have this antagonistic social force that stratifies the scene(s) into the institutional one and the one called independent … Read more

Focus Issue on Serbian Art in the 2000s

I was invited by ARTMargins editorial team to write a text and edit a special issue about the art scene that has developed in the past ten years in Serbia. For those readers who are not familiar with the local, political, artistic, and cultural context of Serbian art, I will first point out the historical circumstances that determined the development of the scene, and then I will sketch the theoretical framework that is relevant for the understanding and interpretation of contemporary Serbian art. I will also write about the institutional context in which this art is produced and, finally, I … Read more

GoEast: The 12th Festival of Central and East European Film in Wiesbaden

GoEast: The 12th Festival of Central and East European Film in Wiesbaden, held in April 2012, devoted its symposium section to a thorough and scintillating reevaluation of Lenfilm, entitled: RealAvantGarde – With Lenfilm Through the Short 20th Century.

About the Lenfilm Studio

Jeremy Hicks

Lenfilm, the first Soviet studio to be founded after the revolution, but perpetually the second studio of the USSR exerted enormous influence at crucial periods of Soviet and Russian film history: from its contribution to the 1920s avant-garde with the FEKS films and innovative animation, to its era-defining Chapaev and Maxim trilogy in the 1930s, … Read more

Tactics for the Here and Now: The 5th International Bucharest Biennial for Contemporary Art


How can an art biennale take a renewed critical stance towards its own immersion in the production of cognition, and in the effects of accelerated semiocapitalism, or the capitalization of linguistic labor (to which the critical discourse of contemporary art certainly belongs)?Franco Berardi Bifo, Precarious Rhapsody. Semiocapitalism and the Pathologies of the Post-Alpha Generation (Minor Compositions, London), 2009, pp. 44-49. Tackling the broad topic of the precariousness of contemporary living – or radical instability, loosely defined in … Read more