This conversation is part of a series of interviews with artists from Eastern Europe who live and work in Berlin. The city has attracted artists from Russia and Eastern Europe for a long time: especially during the Cold War and into the 1990s, its peculiar geo-political situation gave it a unique ambience that attracted artists from all over the world, but especially from the East. How do these artists experience the city today? How do they look back on the hopes and expectations with which they once arrived? Have they settled for good, or are they considering moving elsewhere? Do … Read more
“What Matters is Revolution at the Historical Moment of Radical Contemporaneity”: Interview with Marina Gržinić
Since 1982, Marina Grzinic has collaborated with art historian Aina Šmid on over 40 video art projects, including independent video documentaries, television productions, and media installations. A new show of the duo’s work, Radical Contemporaneity (curated by Aneta Stojnić), surveys Grzinic and Šmid’s video collaborations between 1982 and 2017. The exhibition is on view at the Kunstraum Lakeside in Klagenfurt, Austria, May 11 through July 14, 2017. Marina Grzinic spoke with Raino Isto via email.
Raino Isto: First, let’s talk about the exhibition, Radical Contemporaneity. Could you say a little bit about its theme, and how the show came … Read more
Based in Ljubljana and Berlin, Marjetica Potr? deals with issues of social space and contemporary architectural practices, sustainability, and new solutions for communities. Her practice is strongly informed by her interdisciplinary collaborations in research-based, on-site projects, such as Théâtre Evolutif (Bordeaux, 2011), The Cook, the Farmer, His Wife and Their Neighbour (Stedelijk Goes West, Amsterdam, 2009), and Dry Toilet (Caracas, 2003). She translates these investigations into text-based drawings and large-scale architectural installations (“case studies”). Her work has been featured in exhibitions throughout Europe and the Americas, including the São Paulo (1996, 2006) and Venice biennials (1993, 2003, 2009). She has … Read more
I was invited to write an essay that would shed some light on the conditions of art production in Slovenia. Despite the “objective” logic that such a request implies, to somehow synthesize the views on the state and process of art production in a country, I cannot avoidapproaching the topic from a very personal point of view, as I am myself involved in many of the issues and stakes that comprise the contemporary art scene of Slovenia.
I am the editor-in-chief of Maska, a performing arts journal published by a private organization that is struggling to survive in the … Read more