PERFORMING  THE MUSEUM The Reader

Editors:  Aleksandra Sekulić  and Dušan Grlja Contents

Dušan Grlja, Aleksandra Sekulić: Introduction ...... 7

From Dissolution of the Past to Meta-Future in the Meta-Museum Boris Buden: In the Museum of Museums...... 17 Jelena Vesić, Vladimir Jerić Vlidi: Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking...... 23

Institutional Self-Reflection Aida Sánchez de Serdio Martín: Imagining the Relational Museum: Institutional Destabilization, Pedagogies and Archives...... 45 Barbara Steiner and Anna Lena von Helldorff: Collection Reversed — Transfer, Transformation and Ruptures...... 52

Interface of Disruption Oriol Fondevila: Performativity as a Modus Operandi...... 61 Gordana Nikolić, Sanja Kojić Mladenov: Archive + Power. Performing the Archive in Art...... 72

Performing the Museum - Interpreters Performing the Museum Project...... 81 Museum of Contemporary Art Vojvodina, Novi Sad...... 82 Fundació Antoni Tàpies, Barcelona ...... 94 Museum of Contemporary Art, Zagreb...... 108 Museum of Modern and Contemporary Art Koroška, Slovenj Gradec...... 122 Appendix I: Performing the Exhibition...... 132 Appendix II: Interventionist Wager...... 137 Appendix III...... 144

Challenging Museums: Case studies Jasna Jakšić: Didactic Exhibition...... 147 Mirta Pavić: The Didactic Exhibition: The Unexpected Challenges of Conservation, Restoration and Presentation...... 151 Ana Kutleša: Culture on The Market - The Gallery of Contemporary Art in the Early 1960s...... 154 Branka Benčić: Motovun Video Meetings 1976 - 151 The First Video Art Workshop in Croatia...... 168

The Space of Antagonism Andreja Hribernik: Utopian Moments...... 177 Gal Kirn and Niloufar Tajeri: Notes on the Archive of Dissent: Monument to Sub/Urban Riots...... 185

Dušan Grlja, Aleksandra Sekulić

Introduction

Aleksandra Sekulić and Dušan Grlja _ 7 ------http://performingthemuseum.net/site/spip. Those“outsiders” – mainly invited 3 This would be achieved by establishing“an active 1 ) This publication presents an overview of those activities and the 2 The “About”The section at the project’s website ( php?rubrique1 Ibid. Ibid. artists but also curators, educators and theorists – we called “interpreters” re reflectionsits of actors, as well as presentations of similar undertakings and somegeneral reflections “outside” the common, narrowly conceivedmuseum context. The project hinged on museumsthe involved actually openingup the ir resources – material resources, like collections, archives and other museum resources,as well as their working methods and other forms of cultural capital – to “outside” actors to help them create differentmuseum projects that would “raiseawareness of institutional resources that fall outside the usual frame ofwork museum collections, permanent collections and museum exhibitions, and draw attention to museum documentation, architecture and exhibition conditions,to the context of procurementof art and of its creation, to insti history…” unwritten and written tutional dialogue with the audience through a series of presentations, productions and educational workshops, and through the presentation of artistic research to the public.” 1 2 3 The project Performing the Museum was devised by the main project partners – the Museum of Contemporary Art (Zagreb, Croatia), the Museum of Contem porary Art Vojvodina (Novi Sad, Serbia), the Fundació Antoni (Barcelo Tàpies na, Spain) and the Museum of Modern and Contemporary Art Koroška (Slovenj Gradec, Slovenia) – in order to re-evaluate and rethink their resources with the aim“to generate new thinking and open new practical possibilities on the future of such institutions.” Aleksandra Sekulić and Dušan Grlja and Dušan Sekulić Aleksandra Performing the Museum – Introduction to a Reader 8 _ Performing the Museum – Introduction to a Reader cy vis-à-vis its organization, resources, costs, expediency and profitability. profitability. and expediency costs, resources, organization, its vis-à-vis cy efficien of terms in enterprise an of success the measuring the to refers and crisis economic global the of context the in used widely it is Nowadays ums. muse for connotations unavoidable and important some carries and mension di economic explicitly an has “performance” term the of meaning Another museum. of institution the of workings and structure the in preserved be to is what and abolished be to is what question the to answers possible of aset provide to is challenge main the crisis, in been long have and are museums that premise obvious largely the from Starting circumstances. social new in institutions dated seemingly such (re)position to needed much is that knowledge acquire to order in museum of performances different with experiment and examine rethink, to is challenge The society. contemporary of context different very the in practices museum centuries-old restore to order in enact to seeks project this what precisely is difference and g(s) of the very activity that is being performed. being is that activity very g(s) the of and meanin structure the in changes produce that differences introduces not, or voluntarily whether repetition, every since same, the be never it can ment, re-enact of reiteration, of act an is performance Although role(s) museum. of the to connected activities traditional of repetition simplistic amere at being aim not does certainly most project this in performance of meaning the less, 6 museum thinking.” and production cultural with associated agents of kinds “different presenting 5 4 rehearse.” and for train people that actions performed haviours,’ be ‘twice-behaved behaviours,’ ‘restored are “Performances… feature: key its as repetition emphasizes Schechner Richard performance of definition his In manner. prescribed or expected an in role certain a to play – way a pre-defined in activity an execute to is perform to general, In efficiency. of alevel as mance perfor and behaviour, restored as performance today: with faced are seums mu contemporary challenges the illustrate to serve that word the of meanings distinct two develops “performance” term used widely the case specific this In unique.” Ibid., p. 29 p. Ibid., instance unique.” each make context and occasion specific the also but on, so and of language, tone body mood, of voice, –nuances itself behavior the only Not event. another copy no Second, exactly can event variations. endless in recombined be can behavior of bits fixed from First, other. different is every performance every but behavior, restored of bits from made are “Performances 28 p. 2013, York, New php?rubrique4 ( website project’s the at section “Interpreters” The Richard Schechner, Studies: An Introduction Performance ) 4 http://performingthemuseum.net/site/spip. (3 6 This interplay of repetition repetition of interplay This rd edition), Routledge, London and and London Routledge, edition), 5 Neverthe ------Aleksandra Sekulić and Dušan Grlja _ 9 ------Thus, better per 7 https://en.wikipedia.org/wiki/Performance_ organizations publicly-funded– instituti centuries museums were more exclusive and th public and 20 A classical definition of the purpose or function mu of th 8 ) Wikipedia article “Performance Management” ( management “About” The section at the project’s website, op. cit. hierarchical institutions rather than democratic ones, especially since they were explicitly involved in the reproduction and legitimation of the values of modern nation states.And is it this of the role museum that has seen particular 7 8 “Performance management includes activities which ensure that goals are consistently being metin an effective and efficient manner.” seumincludes theof work collecting and preserving, displaying or exhibiting, and, crucially, educatingin terms of scholarly researchas wellas of public edu cation. In the European tradition, from the French Revolution onwards, muse umsare mainly regarded as ons performing a public service of collecting, preserving and displaying public collections andall carried out byprofessional public servants. Nevertheless, during most of the 19 formance means the is job done in shorter time using fewer resources. Such connotations point to a new social and economic structure, wherein the previ ously extensive state-funded public sector is radically cut back, driving public institutions towards financial self-sustainability and so-called resource opti mization. While traditionally, under welfare-state capitalism, public instituti ons such as museums depended predominantly on the nation-state for both socio-political agendas as well as support, today they depend increasingly on their audiences to help sustain themselves. Museums are challenged to prove their very existence in the current political context of Europe, whose main in strument of cultural policythe – Creative Europe program – supports projects like this one. EU cultural policy is designed around self-sustainable models of cultural tourism and cultural industries. Museums surely take this challenge as a threat to their traditional institutional position; also butit represents a chanceconsciously treat their publics as clients in waya that would be part of a wider cultural democratization process – a chance to reshape “objectives and indicators” by openingtheir up mechanisms of knowledgeproduction inorder to involve the communities around them. The project Performing the Museum is based on an acute awareness of present day material and ideological circumstances, and of a possible direction in the museum’s future development: “The traditional roles of the contemporarymu seum are changing. Its most important activities are longer no merely storage, studying, and exhibiting of artworks, but also an active involvement with the museum’s audience.” 10 _ Performing the Museum – Introduction to a Reader approaches together with curators from the institutions participating in this this in participating institutions the from curators with together approaches critical and backgrounds various of authors invited by written texts of consists reader This access? public and accountability public education, public of terms in perform they do How circumstances? political and social cultural, existing the to relate role? they do public How their perform museums do How mance: perfor museum’s the to related questions long-standing to answers seeking at museums, situation current the of readers possible of anumber of one just is It project. this of –areader reading of agent an actually is book this museums, contemporary of practice the and structure of aspects different on texts rential refe of comprised professionals museum or museology in experts for reader a being Far from century. quarter last the over museums of subject the on ons publicati of volume sheer the mind in well keeping areader, It is project. this by initiated experiment the of continuation as a seen be can publication This process. tional institu this perform to and power, cognitive and relational operational, their collections, –archives, museums the of assets and mechanisms the examine to them, produce to but meanings, social interpret to only not invited are ject pro this in interpreters The institutions. social existing the and communities particular between but people, the and state the between no longer but ators medi actually are They individuals. or communities and institutions between exchange facilitate who – those role mediators of the perform to on called are actually, workers cultural or, rather, Now, intellectuals meaning. social of ters interpre as intellectuals postmodern to order social modern new the mated who legiti values universal of as legislators intellectuals modern from shift a is there He claims “interpreter.” of one to “legislator” of one from lectuals, intel role of changing the of terms in postmodernity to modernity from shift the of description Bauman’s evokes Zygmunt This transmit. and create to were they knowledge the of anorm establishing thus and law” the down “laid that by superior (objective) knowledge…” (objective) superior by legitimized case this in is arbitrate to The authority binding. and correct come be selected, been having which, opinions those select which and opinions of controversies in arbitrate which statements, “authoritative brand to was ons, instituti knowledge-driven modern other –like choice sanctioned museum’s The exhibiting. and collecting of process the in relations power and meaning, of production the culture, of appropriation the of questions around revolved which of – much academics from – mostly 1970s onwards the from criticism 9 Polity Press, Oxford, 1987, 4 p. Oxford, Press, Polity Zygmunt Bauman, Bauman, Zygmunt Legislators and Interpreters: On Modernity, Post-Modernity, and Intellectuals and Post-Modernity, Modernity, On Interpreters: and Legislators 9 making them a sort of body of legislators legislators of body of asort them making ------, Aleksandra Sekulić and Dušan Grlja _ 11 ------ons – interpreters’ readings of the resources of the museums involved. The map of the project consists of four cities:Novi Sad, Zagreb, Barcelona and Slovenj Gradec, where the of work the interpreters took place. In the case of the Antoni Foundation Tàpies this took the form of an exhibition in the archive: “How to Do Things With Documents”, the result of research by R Roger Bernat, LúaCoderch, Experimentem amb l’art, LaFundició, Objectologies and Pep Vi dal, and dealing with the registers of mediation from different perspectives and methods of analysis. Museum of Modern and Contemporary Art Koroška focused on the controversial political past of the gallery and the potentiality of that memory. The exhibition “Muzej v gibanju” then presented works by Nika VadimAutor, Fiškin, Pogačar, Tadej Isa Rosenberger, Barbara Steiner andAnna Lena von Helldorff, ŠKART Kolektiv (Dragan Protić and Đorđe Balmazović), as the outcome ofvarious methods and approaches to the gallery’s past: memo ry, archive, collection, and its specific connection to localthe community. The Museumof Contemporary Art Vojvodina turned to the interpretation ofarchi ving as one of the museum’s primary concerns, with the exhibition “Archive and Power”, and particular attention paid to (de)constructing memory and the museum’s relationship tothe power wields it in the construction of history, consisting of artworks exploring public and private archives, as interpreted by Jasmina Cibic, Zoran Todorović, Saša Rakezić Zograf, Isidora Todorović and Doplegenger(Isidora Ilić and Boško Prostran). MuseumThe of Contemporary Art in Zagreb invited artists Soren ThiloFunder, Fokus Group,Jasmina Cibic, Pilvi Takala, Karol Radziszewski and Dalibor Martinis to both interpret and intervene. also It extended the invitation to conservators and curators, so the historyof thismuseum, the first to embrace contemporary art itsin very name, openeditself to up new readings; conservators Mirta Pavić Horvatiand Tesa ček, as well as photographer Ana Opalić created Didactic “1957 Exhibition”, and Ana Kutleša analysed Božo Bek’s archive. Along with a presentation of the of work the interpreters, this reader also em bodies the larger process of self-reflection on the part of museumsthe inclu ded in this project, as articulated by the curators in the partnering institutions, which enables us to follow the various readings of the invitation, and the inter pretation and conclusions from both vantage points. Naturally, some aspects of the project together with the theoretical treatment of them, received more attention than others,which fact was alsotaken in consideration in the design of the chapters herein. experiment, andalso presents a part of the documentation of the project acti 12 _ Performing the Museum – Introduction to a Reader serves to perform the process and build an archive itself, revealing the pro the revealing itself, archive an build and process the perform to serves text this Again projects. research six up to archive the opening by institution” the “disrupt to designed was that project the around discourse intensive and of conceptualization the of process overall the presents Fondevilla Oriol power. technological and political social, engages that adesign represents mulation accu of methodology very the way the considering memory”, new or oblivion potential of zero ground the “as aform and resource as archive posit that es strategi artistic with dealt that exhibition an on reflect Mladenov Kojić Sanja and Nikolić Gordana Tàpies. Antoni in Fundació Documents” With Things Do to “How and Sad Novi in MSUV in Power” and “Archive projects: the of view over curators the through projects museum in resource as archives of blem pro the with deals Disruption,” of Interface “Archive: entitled chapter, next The process. learning institutional along-term constitute to come and hived arc be can museum the of future the and relations these how transformation, actual the make can museum the challenge that groups the with processes relational of activation the way the examined Martín Serdio de Sánchez Aida relevance. new(found) its of examination an in exhibition the of tualization concep the in reflected be can community immediate the and a gallery tween be relations specific and memory archive, the how show Helldorff von Lena Anna and Steiner Barbara Koroška, Art Contemporary and Modern of seum Mu the regards As critique. recent to responses museum of overview an with together production exhibition of cases particular through analysed is tions institu the of self-reflection the Self-Reflection”, “Institutional chapter the In meta-museum. – the museum afuture of possibilities the re explo they Camnitzer Luis and Benjamin Walter Bal, Mieke between dialogue of asort staging By “museing”. of system epistemological the through power of reproduction immanent the of acritique spurs that education and art seum, mu between relations the in changes the of overview aspecific develop Vlidi Jerić Vesić Vladimir and Jelena plurality. irreversible of astate into dispersed now paradigms historical previous of residues tomb-like museums the renders which dissolution, its of a symptom as here seen is past the with Obsession to. responding avoid cannot simply museums that one and challenge siderable a con present which of all museum, and past history, of notions the changed have that processes political and social wider the of overview an provides den Bu Boris art. and museums history, of questions with dealing when faced are we which with critique contemporary and paradigms changing the into sight in providing views,” “outsiders’ as framed essays two features Meta-Museum” the in Meta-Future to Past the of Dissolution “From entitled chapter opening the museum, the interpret to invitation project the extending of spirit the In ------Aleksandra Sekulić and Dušan Grlja _ 13 ------Since the French Revolution, when the Museum (Louvre)as institution 10 The “About” The section at the project’s website, op. cit.

was opened to up the general public and longer no just a privileged the few, Mu seumhas beena place forthe legitimization ofthe citizens’state, source a of knowledge and cultural memory made accessible and shaped to give structure to the very idea of culture and knowledge consistent with certain imperatives thatemerged with theage of Enlightenment. Museums taxonomically struc ture their physical objects into comprehensive knowledge systems – and this 10 duction dynamics of a project that continuously questions the modes of expo sing and researching the archive. The case studies grouped under the chapter “Challenging Museums” offer three kinds of challenges. One is the challenge of establishing aninstitution that emerges from Ana Kutleša’s research on the history of the archive ofthe Museum of Contemporary Art in Zagreb, which makes a thorough exploration of the economic, social and political conditions and context around the establishment and transformation of a pioneering in stitution of contemporary art in Yugoslavia. The other case study that emer ged from the project examines the challenge posed by calling on the museum to treat an important part of its history, and realised as “Didactic Exhibition described1957”, by curator Jasna Jakšić and invited interpreter, conservator Mirta Pavić. The third such task is the challenge imposedupon museumthe system from the emerging field newof media, more precisely by video, in this instance without the institutional infrastructure enjoyed by this production, and described by Branka Benčić using as example the Motovun Video Mee tings. The last part, “The Space ofAntagonism”, assumesrole ofthe conclusion. An drejaHribernik examines thepresent and future horizonsof the Museumof Modern and Contemporary Art Koroška by looking back the at original foun dingand early decades ofthe museum from theperspective and in the context of its position in contemporary societythrough “Utopian Moments”. Gal Kirn and Niloufar present Tajeri their research on the (im)possible archive of dis sentin the form of institutionalized memory. With their example of “confron tation with reality beyond the museum space” we hope to set the trajectory of the journey that is this project toward an exit indeed away, out of the trap that Boris Buden so illustratively calls a trap. The project Performing the Museum observes a strategic orientation towards the “creation of knowledge, based on the non-hegemonic, emancipatory princi ple.” 14 _ Performing the Museum – Introduction to a Reader Gaskell notes Gaskell is what they have in common with archives. with common in have they what is 11 13 12 production and use its ‘cognitive devices’ to envision a different future. future. adifferent envision to devices’ ‘cognitive its use and production knowledge of mechanisms the destabilize and open resources, the(ir) in and with experiment can we transformation museum’s the shaping of process the In public. the to museum the up of opening initial the of behaviour, restored of a form not if evocation, of a mode is a performance action an such makes then What Museum”. the “Performing our in choreographies own their in dies bo those use to interpreters our inviting performance, adelegated as this see also could we and perform; to we move bodies Those destabilize. to need we that elements fixed those recognize we that knowledge” of bodies the of order and “stability intended very the in it is And revision. even or alteration mental funda or radical permit readily out, points Conn as not, does knowledge”, of bodies for standing synecdoches “as function objects which in structure, That refinement. of amatter is and means, incremental exclusively almost by only occurs change that such structured epistemologically be to continues and of knowledge and to reflect and produce changes in that knowledge.” that in changes produce and reflect to and knowledge of bodies on order and “stability is museums the of founders the of ideals the of

Steven Conn., Conn., Steven 7, Bard Graduate Center, 2012, p. 18 p. 2012, Center, Graduate 7, PhilosophyII”, Bard Compass Part Things Other Many and Art, –Of Philosophy and “Museums Gaskell, Ivan 21-22 pp. 1998, Chicago, 5 Furnace p. 2015, Reproduction”, Digital of Age an in Museum the “Performing Hazan, Susan 13 that the bodies of knowledge produced by museums has been been has museums by produced knowledge of bodies the that Museums Life Intellectual and American 11 Steven Conn points out that one one that out points Conn Steven , University of Chicago Press Chicago of University , Issue 2, 2, , Issue 12 Ivan Ivan - - ,

From Dissolution of the Past

to Meta-Future in the Meta-Museum From Dissolution of the Past

to Meta-Future in the Meta-Museum

Boris Buden _ 17 - - - dasGedächtnis as the “memory of life” ( production is the historically relatively new – or more precisely, ). was He convinced that today we are worlds away from the true (“History is life’s teacher”). is It interesting that Hans-Georg Gadam The “past” a is historically changeable category.Not only does every epoch experience the past in its own particular but every way, society produces a past in its own epochal Therefore, way. the “past” notis a dimension of an al ways-already given time, but represents a constitutive segment of historical temporality that is being created with the narrational, ideological – i.e. cul tural – apparatuses of the larger overall social reproduction.One such device or source of modern – institution of the museum, which represents a place of production of historical temporality inthe form ofknowledge aboutthe past.be sure, To that produced historical temporality is itself historically specific. Once upon a time, the idea that the past can be learned was inseparable from the understanding of that past as the source of knowledge. In past centuries, school children were taught Cicero’s famous proverb: Historia est magistra vitae Boris Buden In the Museum ofMuseums er translates the Latin word historia Lebens des meaning of Cicero’s proverb. Gadamer further emphasizes that in Cicero, as well as in the usage of the ancient Greek word istoria by Thucydides and, later, bythe Roman historiographers, the meaning of the word is closely connected with the idea of testimony. One must have been present the at site of an event, experience as it an eye-witness, in order to to be tell able a story about it. In addition, the story, in order to be worth telling all at – i.e. to be the source of certainknowledge need– not necessarily have been true. Only personallya experienced history – one that was evidenced by one no other than the one witnessing the event – could be life’s teacher. 18 _ In the Museum of Museums contemporary grammar. Up until the mid-18 the Up until grammar. contemporary in even sanctioned achange change, aradical underwent history of idea very the Enlightenment, the precisely, more and, Era Modern the of advent the With past. the about knowledge of importance practical the of sense the in teach could it knowledge, of source be a could experience historical Therefore, experience. historical same the and one shared generations different fact, In parents. parents’ their or parents their of that from considerably differ not did lives people’s of time The processes. natural of rhythms cyclical the reflected that eternity” “relative of akind as experienced It was society. pre-modern self-enclosed of space transparent and unambiguous the in unfolded history Ages, Middle the through on and Rome, and Greece ancient In ago. long so not place took that temporality historical of nature very the in change radical the understand first we must here in question difference the grasp to order In lives. our live to how us teach ever it but cannot socialization, our facilitate certainly It can creativity. artistic our inspire it or can political, or academic whether acareer, build us help It can identity. national i.e. cultural, a with example, for us, provide can It purposes. different quite for but useful, is “history” of knowledge Certainly, anything. teach not does schools in today taught is that “history” the contrary, the On institutions. educational various within taught asubject as discipline, academic as history of no need in it was Likewise, effects. educational produce to order in museum of medium tional institu the of no need in was past the of notion the instances, these of all In 1 creates its own experience and its own temporality. temporality. own its and experience own its creates that subject a subject, afully-fledged becomes history Revolution French the with Finally, reality. social existing the change to willing and of capable force autonomous an it becomes contrary, the On place. take events historical which in form andabstract neutral some is no longer history new This temporalities. different respectively through articulated is history forward, point this From meanings. different have thus and rates at different developing are that events to according differentiated now is temporality Its experience. of space up anew opening busy is itself history Now past. the with connection any loses future the history new this In experience. of space unique atemporally implies longer as Reinhardt Koselleck showed – a collective singular. –acollective showed Koselleck Reinhardt as – becoming later only histories, multiple designating plural, in used always Frankfurt am Main, 2003 Main, am Frankfurt Zeiten geschichtlicher Vergangene Zur Zukunft: Semantik Koselleck, Reinhart th century, the word history was was history word the century, 1 As such, this term no term this such, As , Suhrkamp Verlag, Verlag, , Suhrkamp - Boris Buden _ 19 - - - - - , Summer 1989, p. 17 2 Francis Fukuyama, “The End of History”, The NationalInterest 2 History,which had to deposit the things old in museuma in order to create something has new, finally founditself deposited in museum.the And in that museum art and philosophy are left with their only remaining – role that of curator. They arenow in charge of the conservation and study of past events, ofselecting and presenting the best parts of the museum depository for the display of narratives that would be interesting for visitors. Bearing in mind today’s almostpathological obsession with thepast, i.e. with what istoday called culture of memory one could easily claim that Fukuyama’s prophetic visionfrom quarter a century ago is not so far from the truth. But, if the world that we inhabit had itself become just a global museum of human history, what exactly is being preserved and cultivated, i.e. produced in all those numerous museums that litter the cities, regions and national states of today? Is merely it simplea past articulated by numerous narratives and equally numerous forms of usage? One can find various things in suchmuseums: here, national art his cially, a cultural determinant, the past itself is being objectified as old some thing that can not only be preserved, cultivated and studied, but moreover, recreated. All things of importance now have their own history – language, nation, knowledge, culture, art, etc. In this way the European colonial forces have used the institution of museum as – Benedict Anderson argued – in or der to territorially demarcate their colonies abroad and to give their respective populations distinctive identities. Without museums there are “imagined no communities”, as there is modern no historical temporality. But,what if today all of that has come toan end? What if history, as the subject of modernity, has become merely a thing of past, an object that can be pre served, fostered, investigated – and, why not – enshrined in a museum? Isn’t this precisely what Francis Fukuyama had in mind when he wrote the at end of his famous essay 1989 on the end of history: “In the post historical period therewill be neither art nor philosophy, just the perpetual care taking of the museum of human history”? tory is presented as the crown jewel of national identity; there, a local archeo logical or ethnographical collection is presented as the main tourist attraction; all over larger or smaller heaps artifacts of old held together by more or less convincing stories; andtaken together, devices thatproduce and reproduce It is coincidenceIt no that the institution of museum was established precisely in the modern period, when history was enthroned as the Subject. when Now, thedifference between old the and newthe becomes a social, political and cru 20 _ In the Museum of Museums resentation was also the only model of universal representation of the whole the of representation universal of model only the also was resentation rep international its of model historical the way same the In universal. already always was been, have it might particular however state, national modern the of arena historical and cultural political, social, The Citizen. the of and Man of Rights the of 1789 the Declaration was this of example One validity. universal (their) –claimed state anational of form contingent culturally-historically and particular ageopolitically of container apolitical in placed societies by anteed guar were they extent what to –regardless which established were principles such world history of level socio-political at the time, same the At century. “culture” could be used in plural, starts to develop only at the end of the 19 the of end at the only develop to starts plural, in used be could “culture” word the that cultures, different many are there that The idea form. singular its in used only then was “culture” word the Even world of history. notion the Weltliteratur (Goethe’s world literature of idea the by only not articulated one –the spirit universal the of part aconstitutive still it was anation, of spirit untranslatable, therefore and unrepeatable, and unique the ( “spirit” the of notion the the 18 the of end the With such. as of humanity language very the manner specific their in express fact, in they, that but languages, other all into only not translatable fully be to considered were that thoughts expressing was one be, it might liar pecu how no matter society, acertain of language the speaking By humanity. of history cultural universal, the of asegment into insight provided society that of museums the of any Visiting humankind. of actions and thoughts the mirrored directly society of members the of actions and thoughts The sality. univer a certain implied society of notion the time along for For example, passed? long –has humanity of image the in history of subjectivation –the subjectivation historical its of era the if hands own into its things takes and back off its burden the shakes that ahumankind imagine we can How today? history” “cultural of and manity”; “hu of notion the of meaning the is What remain: however, questions, Certain it.” of control able take to be to order in burden this off shake to strength the provide not does history Yet cultural humanity. of back the on accumulates that treasure the of weight the enlarges sure, be to history, “Cultural Fuchs: Edward on essay famous his in stated Benjamin what Walter confirms things of state This history. cultural 3 1975, p. 36 p. 1975, Critique German New Historian”, and Collector Fuchs: “Eduard Benjamin, Walter th century German Romantic philosophers condensed all of this under under this of all condensed philosophers Romantic German century 3 Geist ). However much a national language expressed expressed language anational much However ). ), but moreover by by moreover but ), , No. 5, Spring Spring 5, , No. th - - - - -

Boris Buden _ 21 ------Biennialin when 1993, th Achille Bonito Oliva attempted to subvert the logic of national representation by asking the national selectors to host artists of other nationalities, including and particularly those that had national no pavilion of their own. Although the subversion scheme was not entirely successful, the logic of national rep resentation – and its identification with the representation of world art – found itself in crisis, one that would it not to be pull able itself out of. From then on, contemporaryart terma – thatappeared simultaneously with proclamations of the end of history on the one hand, and with the acknowledgement of glo balization processes on the other – has been articulated in and as two distinct spheres. In the sphere of global representation, is it articulated as the so-called art-sys tem – a transnational, mobile, hierarchical, market-oriented power-phenome non. has It its local hubs in Miami, New York, Brussels and London, and relies on the most prominent world’s museums, private galleries and collections, i.e. on the global infrastructure as represented and provided by more than 150 biennials the over. world Nevertheless, this art-system is not embedded in any concrete nationally defined society and in this senseit is post-social in char acter. Although lays it claim to a universal validity of its (overriding) aesthetic criteria, the art-system is culturally particular, i.e. represents it the art of the West. From the perspective of time, does it not unfold within history, is but it itself an articulation of historically a specific temporality – contemporaneity as a temporal form of global modernity. In the sphere of local articulations, contemporary art is actually socially em bedded, but only within the framework of identitarian communities –not nec essarily withinnational communities alone. Following the logic of so-called area studies, contemporary art is also articulated as a specific art of specific ar eas, like the East European, African, South American or Arab. Naturally, there is Western no contemporary art area because that which defines an area as such is precisely its difference from West.the In other words, art in this sphere rocentrism, functioned flawlessly for more than a century. The art, selected according to agreed standards of national self-representation and exhibited in separate dedicated national pavilions every other year, was nevertheless expe rienced as “art inits time”, thus acquiring a canonical status within the world history of art. That remained the case until the 54 of humankind. The International Art ExhibitionsVenice of Biennalethe are excellent examples of that very model. This model of presenting contemporary art, in spiteits of unquestionableEu 22 _ In the Museum of Museums museums. Either we break out into the light or we remain entombed in it. in entombed remain we or light the into out break we Either museums. of museum the in no future is there aresult, As more. any narrative ajoint into together stitched be not can simply that histories vernacular countless into dissolved past other’s the history, that of museum the itself declared and past the to history human relegated worlds those of one While either. past, same the share not do they but “now”, same the live not they do only Not porality. tem historical same the share no longer worlds two those importantly, Most no artist.” is English speak cannot who “An artist proclaimed that statement his in articulated Stilinović, Mladen in by 1992 back defined clearly already was chasm gaping this art, contemporary of terms In globalization. of processes advanced the with connection their lost that institutions and elites political and intellectual local their cultures, and languages old national –the vernaculars new the and articulation cultural of sphere global the between today exists that chasm the to similar It is chasm. cultural and political social, aprofound was levels two those Between languages. national modern of forerunners the were that life everyday in vernaculars different used classes social lower But the time. the of franca lingua the Latin, was elites, social the of language the cred, sa and secular both knowledge, the of regulation, legal and state the of power, political the of language The practice. linguistic of spheres two were there then Back meaning. sociolinguistic deeper a has times to medieval recourse This form. plural its in only existed history when age, pre-modern the evokes situation This rative. nar historical joint asingle form to converging ever without other each with parallel in exist that histories particular its of a multitude within but history, in unfold not it does And validity. auniversal to claim –it lays national the ple, exam –for particularity its within much how no matter particular, always is - - - - Jelena Vesić and Vladimir Jerić Vlidi _ 23

------Bitter Lake Bitter Turquoise Mountain Mountain Turquoise

, a British NGO operating in Afghanistan according to their mission continues: artist “An called Marcel Duchamp, who is very 1

(1917). She Bonyad-e Ferozkoh) ( Trust statement “Artists Transforming Afghanistan”. The teacher/aid worker we see in the film is probably an employee of important in Western art, put this toilet in an art gallery about a hundred years ago. was It a huge revolution.” Several scenes later, the art lesson comes to a conclusion: “Of course was it very provocative, people were very angry, and I thinkimportant it’s to understand when this kind of emerged work was it part ly political. was It to fight against the system and say, ‘What is art?It is what I think is.’” it 1 At first glance, this scene seems to represent an amalgamation of all the prob “So, this is, in some ways, often called the firstpiece of conceptual art. Does an yone know I don’t expectwhat is? it the ladiesto know,” says a British aid work erto groupa of bewildered schoolgirls somewhere in Afghanistan in briefa andsomewhat bizarre scene from Adam Curtis’s documentary as she displays (2015), photoa of an upside-down urinal, that is, of Duchamp’s Fountain lems that could possibly arise with respect to using art education. in (any) Besides the expected invoking ofnotions of hegemony, colonization, indoc trination and oppression, also it aims to acknowledge a certain sense of the uselessness of art, or perhaps even assume the detrimental effect that art may inflict on the young and inexperiencedobserver. After all, upuntil recently much of Europe, for example, seemed to share the sentiment. Even worse, we somehow know that the ugliest consequences are yet to come, maybe soon, maybe in some more distant future: surely those kids will misconfigure the entire cultural concept of the West; quite possibly they will now hate and fear whatever they think art is, quite possibly forever; this trauma might (will!) re sult in the psychological birth of this or that pathology. if But this image, this Jelena Vesić Vladimir and Jerić Vlidi Vesić Jelena Museum – Art – Education: of of Doing, Ways Ways Thinking of Ways Seeing, 24 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking and Art simply become “too expensive” for the needs of today? today? of needs the for expensive” “too become simply Art and School Have decades? past of achievements the of alot undoing be to seems that worldin a two the of either of use the is What exhausted? been finally um Muse of and Education of notions the Have matter. that for art all or Museums, think to how unsure are we (once again) that way, and its lost to seems again) (once future the towards flight the that us reminding telling, are crises Those meet. crises two the where centre, very the at ourselves find and storm, perfect a witness –we are humans what and world is the what of understanding the for crucial once was that apparatus ideological and –acognitive Museum of concept the of re-examinations contemporary the discussion this to add we If optimization”. “resource economic and “self-sustainability” financial as such criteria by driven management” crisis of forms “pragmatic to reduced and discourse, socio-economical and scientific from eliminated been has ture fu of idea – the utopian necessarily time same at the – and progressive Once future. the addresses demands policy such that “cuts” first the of One ic crisis. econom- ongoing of the exigencies the with accordance in system educational the “readjust” to order in backwards steps tactical taking to expansion from shifted has task primary the But today structures. economic and social new the with coping for model methodological and disciplinary adequate most the to related questions around revolves it still since unchanged, formally seems education on discussion the times”, of “worst the Now, in be. might future the of demands the –whatever exceed –even meet to order in learned, be to methods and themes subjects, of studies, of field growing the to add to what with ment, advance and expansion with concerned it was future; abetter for hopes with imbued and progress social of ideology the by underpinned was discussion That and methods. disciplines scientific improving and expanding by sionals profes adequate producing of question the around revolved that issues those as advancements technological and economy growing the to relation in cussed dis was education times,” of “best the During situation. extreme an of tomatic symp is education of discussion widespread seeing are we that fact very The Trivium and Trivium Between art. world of the and system education the between relations historical and conceptual the of examination brief a after bit later, a classroom the to return Let’s it all? about thinking be really kids the might What story? this in detail harrowing most the is work that Duchamp’s it really Is right? feel might image of kind what levels, many so on wrong feels scene, Quadrivium : Trajectories of “ of : Trajectories Useful KnowledgeUseful ” ------Jelena Vesić and Vladimir Jerić Vlidi _ 25 ------London artes lib , Continuum,, century and became the th , ‘worthy of a free person’) to know in order something that (for AncientGreece) includ 2 liberalis has been firmly embedded in Westernthe academic education ) are those subjects or skills that in classical antiquity were considered As Roy Harris describes such concept is the consequence of the fact that “fromonwards, late antiquity Western education became essentially an education based on literacy”:partition “It is this of the curriculum which reflects, unmistakably, the extentat least, to which, the arts in hadthe comeuniversities to be regarded as both applications and developments of humanrather reasonthan utilitarianpursuits of pleasurable recreations. Activitiesnumericalthat foundation, had neitherverbal or demandednor a subordination of these to extraneousinstance, objectives agriculture (as, for and architecture), fell outside universities’The Necessity educational of Artspeak. brief.” RoyThe language Harris, of the arts in Westernthe tradition and New York, 2003, p. 33-34 liberal artsliberal ever since the late antiquity, outlining the field of possibly useful knowledge deemed essential in becoming an independent person, providing the knowl edge necessary to take an active part in public life. The liberal arts ( to takean active part in civiclife, 2 Historically, the connections between art and education were established very early on, with the idea that the means of art should lie the at very core of both the learning process and becoming an autonomous individual. The concept of erales essential fora free person ( educational foundation for the schooling of the European elites, regardless of whether they were the part of the “emerging bourgeoisie, or part of the political administration, the clergy, or perhaps entering the learned professions of law and medicine.” Although the modern concept of education is today quite far from the “liberal arts worldview”, now being subsumed to the knowhow para digm and other forms of instrumentalisation of knowledge under capitalism, the academic title of Bachelor of Arts (BA) still reminds us of the connection betweenthe formally recognized academic member of society and her profi ciency in the matter of arts. As far as Art goes, however, the scepticism was there from the very start, for both the and Old the Middle Ages had their reasons to be suspicious of the concept of art in education. Plato famously feared that Art could, with its un matched power over the observer, falsely reveal what can be mistaken for Truth but is actually not, while Christianity feared any version of Truth other then the offered. one it By the time the Renaissance arrived the term Art had accumulated a lot of fear and scepticism around – its it release of tensions in ed participating in public debate, defending oneself incourt, serving on juries, and most importantly, military service. Grammar, logic, and rhetoric formed the core of the liberal arts, while arithmetic, geometry, music theory, and as tronomy also played a (somewhat lesser) part in education. This curriculum of humanism spread throughout Europe during the 16 26 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking the knowledge of Art as an indispensable means to becoming a civilized per acivilized becoming to means indispensable an as Art of knowledge the promoting while creation, and thought of freedom celebrates ideologically that profession and discipline institution, as Art to birth gave Enlightenment The Education Over Musing and Museums economy. (global-neoliberal) the of part constituent important an as well as foundations, ideological and cultural the of pillars the of one considered today is Art treacherous, and allusive as perceived being Far from creativity. entrepreneurial of vehicle primary the as education sional profes of centre the to shifted been it has time same at the while tool, trative illus or informative an as used is role and asubsidiary to reduced been largely has Today Art communication. to given is importance especial globalization (post-)of era the in for circumstances, social fluctuating constantly with cope to how learning as well as otherness, and others of tolerance fostering and ty diversi cultural appreciate to – learning skills” “people so-called on emphasis such values were accepted, liberal education in the 21 the in education liberal accepted, were values such Once civilization”. “Atlantic the of values the accept to which by vehicle main the as project this role in important an played Art systematized, and ciplined dis sufficiently Considered ideology. dominant the of demands the to sponded corre worldview that a comprehensive lack would professionals specialized new these that concern a was There skills. vocational or professional strictly to opposed as judgment) and reason (like capacities intellectual general develop to and knowledge general of alevel provide to order in times” of “best the in born was literature) language, (history, arts liberal of notion contemporary The it is. as world the comprehending rationally of task the from a distraction at best and subversive, considered always was reality given the to belong not do parently ap that worlds (imagined) other many into venture and reality of observation scientific systematic the to “slip” or to “skip” Art of faculty The thought. tional ra cold, countered that association free imaginative of form the in underside its revealed Romanticism science, and reason behind thinking” “free the as Enlightenment the by praised was abstraction of utility the Although thinking. abstract of concept the with connected be to came academic), as described ly (frequent levels higher especially and mandatory) (frequently lower its in both education, formal arts-based liberal the apprenticeship, of concept the Unlike world. the of mediation complex the in supremacy unmatched its strated demon Art and power, immense of asource was era post-Enlightenment the st century will put new new put will century ------Jelena Vesić and Vladimir Jerić Vlidi _ 27 ------But ap 5 the emerging Museum 4 , Volume 9, Issue 1990, 1, p. 25 refers to the Muses – the patron century perceived themselves as th thus separating the civilized – city dwellers, citizens or simply the 3 , 14, March, 14, 1915. (1817) by Stendhal. (1817) The book documents this condition brought on by his first visit to the The phenomenon was first explored in the book Naples and Florence: A Journey from Milan to Reggio Basilica of Santa Croce, Florence. The syndrome was diagnosed and named 1979in Italianby psychiatrist Dr. Graziella Magherini. J. Lynne Teather, “The museum keepers: The museums association and the growth of museum Museum Managementprofessionalism”, and Curatorship Ibid., p. 32. Lynne Teather quotes from E. E. Howarth, “TheMuseum and the School”, Museums Journal aration, division and re-unification, withits primary task to cultivate well-ad justed subjects for the dominant social order. The ancient Greek etymon of the word museum divinities of the arts, suggesting that the Museum is actually a temple. Never theless, is it widely considered that Plato founded the firstmuseum as an edu cational institution, one that teaches liberal arts under the patronage of the re spectable Muses in charge. This building dedicated to the study of arts, rather than simply another institution similar to school, largely resembled what we would recognize todayas a library. is It then little surprise that early discus sionsof modern museums drew parallels with libraries; as J. Lynne Teather pointed out in her research on the shaping of modern museums basedon the experiencesof 19th and early 20th century Britain, bourgeois – from the others that were too primitive to relate to the concept, or even had “no word for art” in their languages. Museums were precisely those socialinstitutions charged with maintaining and regulating this game of sep “without a history, without traditions, almost without experience”, and found the only professional connection and topic of reference in the of work well es tablished librarians. This was especially so when considering the respective roles of curator and librarian, as Teather reminds us quoting the following ar gument: “What is the function of the librarian? is It to procure good books, put them on shelves, take care of them, and have them always accessible to visi tors. is it But not the function of a librarian to teach the people who come there Greek, Latin history, geography, English literature, or anything else…” ropeans were overwhelmed and fell into hysteria faced with this new power of Art.The phenomenon, characterized by heartbeat,rapid dizziness, confusion and even hallucinations, was later named hyperkulturemia or the Stendhal syndrome, son inthe new bourgeois society. The global colonization that followed the Age ofDiscovery enabled the realization of the indisputable importance of Art in understanding both the development of the and its New origins World in the obsolete and fantastic This World. Old brought about a strange effect: Eu some 3 4 5 professionals from the second half of the 19 28 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking tial of Museums greatly, to the extent that “curators should teach the teacher”. the teach should “curators that extent the to greatly, Museums of tial poten educational the valued others and Libraries, not are Museums parently 7 6 19 late the During ways. various in beginning, very the from challenged and emphasized both was knowledge lic pub provide to and public)and professionals (both teach roleto The Museum’s their 20th century counterparts were celebrating movements; and today the the today and movements; celebrating were counterparts century 20th their their displays: while the 19 the while displays: their structuring in principles different adopted exhibitions museum time, Over spectators. for its edge-effect knowl acertain produce to order in examples edifying and stories instructive on rely still which narratives, museum and exhibition of precursors historical the are routines show-and-tell inspiring awe Those God”. of “Word the know to had still who but illiterate were who those for aimed space in book picture of akind Bible, Man’s Poor so-called the represented displays Such Bible. the from characters and scenes depicting windows glass stained and mosaics paintings, carvings, sculptures, religious with decorated were churches rule, aristocratic Christian of centuries throughout colonies, its in also later and Europe, In (narration). telling and showing for faculty great its using processes learning trigger to and artefacts of trove its in it contained knowledge the ent pres to way a find to knowledge, its for display of atype construct to attempts of history as a seen be also can the Museum of development the of history The knowledge. scientific “proper”, to subordinated instead and challenged, frequently is edge knowl of aprovider as status its today, even Still, cognition. of source imate a(near) legit as accepted be to came Art education, to detrimental possibly even and useless as viewed was time long avery for that Fortoday. something use in still systems educational formal the of most in resources central the of one becoming indeed education, public of mission their invoking by precisely collections work.”) collections and education of balance the work and museum of nature the about debates more came programming public and education museum to related pressures additional the (“...(W)ith programing. public and education to relation seum’s the Mu to shifted emphasis the systematizing, and collecting acquiring, of es Ibid., p. 32 p. Ibid., Journal Museums in Teaching”, of Museums Use “The Hoyle, Evans William from quotes Teather Lynne 32, p. Ibid., 2, February 1903 February 2, 7 During the modern era Museums were frequently “saved”, “saved”, frequently were Museums era modern the During th century museums proclaimed the era of systems, systems, of era the proclaimed museums century th to early 20 early to th century, after the earlier stag earlier the after century, 6 ------Jelena Vesić and Vladimir Jerić Vlidi _ 29 - - - - - Before we get in, 8 18, 1992, p. 557 with its climactic moment in the

century, th This points to the primary function that the 9 She illustrates an important part of this operation 11 century.” th It is It the way in which this knowledge is constructed and 10 Mieke Bal, “Telling, Showing, Showing Off”, Critical Inquiry Ibid., p. 560 Ibid., p. 561 “While the Met displays art for art’s sake, as the highest formsof human achievement,American Museum the displays artas aninstrumental cognitivetool – anonymous, natural.” necessary, Ibid., p. 559

second half of the 19 Bal reminds us that “comprehensive collecting is a form of domination,” and that “museums belong to an era of scientific and colonial ambition, from the Renaissance through the early 20 conveyed in such institutions that Bal aims to explore. According toher, the Museumof Natural History, representing the “other of the Met”, seems to be a good place to observe the way knowledge conveyed by the Museum is artic ulated and represented, as well as the way visitors “take it” as subjects of the museologicaloperation. opment. These two represent the sixth and third most visitedmuseums in the world, respectively. “Around ten o’clock most mornings yellow dominates the surroundings,as an endless streamof schoolbuses discharges noisygroups of children who come to the museum to learn about ‘life.’” sole structuralsole principle backed with up scientific claims quickly is being abandoned, with the emphasis shifting to the dynamics of criticism a and re-focusing on programmatic doubt and a mandatory re-examination of the epistemological frameworks of modernity. As exhibition execution always corresponds to the knowledge is it working to convey and instil – since the very knowledge to be passed down is itself in question – today’s exhibition displays tend to be more complex, more spectacular and less straightforward. Rethinking Museum as Colonial Project in the Post-Colonial Era At the outset of her essay, Mieke 1992 Bal is standing in Central Park, in New between York, the Metropolitan Museum of Art, which caters to “matters of art” on one side of the park, and the American Museum of Natural History, on the other, exploring and tracing the story of “life”, of “universal” human devel 8 9 10 11 um as “not the nineteenth-century colonial project but the twentieth-century educational one.” Museum draws from its own history– the ideological justificationWestern of domination over the rest of the world. Nevertheless, she aims to analyse Muse throughthe way in which the American Museum of Natural History shows “the human rise to civilization”. The OfficialGuide Book isexplicit about its ed ifying task: monument to humanity “A and nature, the Museum instructs, in it 30 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking changes to the content and procedures of its educational effort. educational its of procedures and content the to changes radical bring to and shortcomings and faults previous rectify to enough potent self-criticism to a amount strategies self-reflective existing the whether mains, and education is insisted on in its self-representations…” its in on insisted is education and research in museum the of use the Indeed, needs. pedagogical and ceptions con new to adjusted been has practices, those of out emerged having that, ject pro educational an pursue to it continues while domination of practices with “us” and “them”. and “us” between division clear less or amore in results –it inevitably development of peak historical the representing culture “our” – with development of terms in ical consciousness.” ical crit that of display the in absorption the requires object-function), (its vocation educational cognitive enduring its of as well as metafunction), (its history and status own of its display as the museum of function double “The ta-museum”. “me the calls Bal what of status the them assigns which history, and position ideological own their of self-reflection include to have museums reproaches, Romans.” and Greeks the predecessor: as ‘ancient’ to accorded importance the with contrasts Indian, to Mesopotamian from art, ‘foreign’ and ‘archaic’ of treatment marginal parallel the while declines, Europe as evolving cousin, second agood as represented is art American dominates, art European “Western where Met, at the present also is same The superiority. cultural and artistic Western justifying ideologically 12 20 late the of course the over criticized thoroughly been have culture and race of basis the on exclusions implicit Such inhabitants.” diverse its and planet our of understanding the for basis asolid it provides and spires, 15 14 13 17 16 modern disillusionment.” post and protest, postcolonial critique, postromantic by compromised tively

Ibid., p. 557 p. Ibid., 559 p. Ibid., history.” in art of status producers higher of the portion asmall only to assigns and existence static to majority large the population world’s the of relegates Manhattan of sides west and east the between ‘nature’ and of ‘culture’ division “The basis: taxonomic same the and one on grounded are museums both fact, In 557-558 p. Ibid., Ibid., p. 562 p. Ibid., 560 p. Ibid., Ibid., p. 560 p. Ibid., 13 It is precisely this taxonomic ordering that is doing the job of job of the doing is that ordering taxonomic this precisely It is 16 12 Therefore, a meta-museum “speaks to its own complicity complicity own to its “speaks a meta-museum Therefore, As human cultures are presented as higher and lower lower and higher as presented are cultures human As 14 15 As they cannot avoid coping with such obvious obvious such with coping avoid cannot they As th century, making museums “defini 17 Yet, the question re question Yet, the ------Jelena Vesić and Vladimir Jerić Vlidi _ 31 ------Thus 21 The ef 18 One of the central mechanisms 20 “This is one form of truth-speak, the 19 This puts Museum’sthe educational function question:in “By 22 Ibid., p. 561 Ibid., p. 562 Ibid., 563-564 pp. Ibid., p. 568 Ibid., p.574

seeing what one already knows one cannot see what one doesn’t know (yet). Whatis destroyed, then, is the educational function of art that is so central to the museum’s self-image,” Bal warns us in another text written a few years lat the narrative by told the display becomes indistinguishable from “reality” – it produces the “truth” of witnessing thetruth, of being to“be able there and see that”. is It precisely the effect of rhetoricthe metadataof – the way artefacts are namedand contextualized, particularly the way they are connected and jux taposedin their spatial disposition, how they are related with other artefacts, and, eventually, with the observer. Balalso finds a strange precondition for understanding the works of art or ar tefacts on displayin the Museum: one has somehow in advance to befamiliar enough with their meaning. More precisely, one has to find satisfaction in con firming the “well-known”meanings offered by the Museum: “‘[W]ellknown’ disqualifies ignorantas the surprised viewer who hesitates to willingly sus disbelief.” pend play as a narratological device: “Indeed, the space of a museum presupposesa walking tour, an order in which the exhibits and panels are to be viewed and read. Thusit addresses an implied ‘focalizer’, whose tour is the story of the production of the knowledge taken in and taken display home… [T]he is a sign system working in the realm between the visual and the verbal, and between information and persuasion, as produces it the viewer’s knowledge.” Inorder to examine this mechanism further, Bal considers the Museum’s dis 18 19 employed here is the naturalization achieved by what Bal callsthe “aesthetics of realism”, as “Realism is the truth-speak that obliterates the human hand that wrote it, and the specificallyWestern human vision that informedit.” fectiveness of this rhetoric of display is situated in the dynamic between the verbalpanels (explanatorytexts) and thevisual exhibits, specific “a exchange between verbal and visual discourse.” ing the willing suspension of disbelief that rules the power of fiction.For the visitor entering through this hall, this is the equivalent of the ‘once upon a time’ formula, the discourse of realism setting the terms of the contract between viewer or reader and museum or storyteller.” discourse that claims the truthto which the viewer is asked to submit, endors 20 21 22 32 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking lector, Stein, together with her brother Leo, created during the early decades decades early the during created Leo, brother her with together Stein, lector, col art and writer A famous Paris. in at Fleurus 27 de Rue apartment former Stein’s Gertrude memories evokes and preserves masters”, “great modernist the of paintings of copies containing room atheme as arranged space, tional para-institu This opened. Fleurus de Salon called a place Park Central from blocks several only of museums critique her writes Bal Mieke year same The order” second the of “reflection as Museum it. in position own its and construction its of framework the on also but conveyed be to knowledge of content the on only not reflect to begins turn in – who focalizer implied the of point the from perceived it was as and Museum-as-storyteller the by constructed it was as itself observing of act the mains problematic].” mains re [that stead its in discourse apologetic an of presence the and self-criticism, explicit and acute amore of absorption the of lack the it is society, today’s of issues burning the of awareness an demonstrate do panels verbal the hereas “[W] production. knowledge is its institution self-reflective as meta-museum present-day the surrounding issue main the opinion, Bal’s In West. ple the of peo “cultural” and “civilized” the to belonging her affirm her helps that ogy ideol dominant the to subjugation her of aconfirmation to amounts visitor, panicking a bit, wander amid diversity to their educational benefit.” educational their to diversity amid wander abit, panicking perhaps and, evolution through way their lose thereby would who walkers the confound and confuse and astray, visitor the lead word), the of double sense the (in self-reflection embody also but self-critique, postcolonial its and um muse colonial the of viewing simultaneous the allow only not could mirrors placed Strategically idea. abetter been have would mirrors large intended), (allusion things of order the to meaning give words which on panels the of ad “Inste situation: this of out way interesting an passing, in almost offers, She 25 23 er. en mise museal operation, this In focalizers. imaginary as themselves they des inclu that narrative museum the of construction the see also but narrative, Museum the construct can observers which from position the is outlines Bal 24

23 scène Ibid., p. 572 p. Ibid., 562 p. Off”, Showing Showing, “Telling, Bal, Mieke Exhibitions (eds.), about Thinking Nairne, S. and B.W. Ferguson Greenberg, R. in: Museum” the of Discourse “The Bal, Mieke Consequently, the knowledge thus produced and recognized by a museum amuseum by recognized and produced thus knowledge the Consequently, opens up as up as opens mise en abîme en mise 24

, New York, Routledge, 1996, p. 147 p. 1996, Routledge, York, , New , revealing another picture warns reflecting reflecting warns picture another , revealing 25 What What ------Jelena Vesić and Vladimir Jerić Vlidi _ 33 ------Quite con 27 RecentWritings (1986- , New Documents, Vancouver and Los Angeles, .

century what Rebecca Rabinowof the Metropolitan Museum of 26 th lying open somewhere there that can help us understand the critical Susan Stamberg, “For Gertrude Stein, Collecting Art a Family Was Affair”,Rebecca on NPR Rabinow, Radio http://www.npr.org/2011/11/10/141428960/for-gertrude-stein-collecting-art- quoting was-a-family-affair Walter Benjamin, Recent Writings: 1986-2013 2013, pp. 22-23

27 In its very setup, Salon the de Fleurus New York – as a recreation, a replica of Stein’s living room – is designed to confront thevisitor with the problem of copy, and in so doing raise some key questions about the seemingly indisput notionsable of art museum as well of artwork and artist. displays It only cop ies of the artworks, which, though they convey meaning as articulated within art(the) history, serve their purpose of standing as examples, specimens or ar tefactsthat illustrateand illuminate modernart history. room,The whole rep resenting the “birthplace” of the modern art narrativethat – was subsequently appropriated (in its material formof paintings) and articulated (in the form of modern art history) by the Museum of Modern Art – is a reproduction designed to be a copy, thus mirroring, redoubling and reflecting the art history quesin tion. copy could “A short-circuit the history of art. Instead of being chronologi cal, implying development and progression, art history could become a loop… If an original is a reflection of reality, thenits copy is a reflection of a reflection, or a reflection of the second purpose [T]he order. of a fake is to conceal, whereas copya proposes to reveal.A fake isessentially opportunisticdoes it – not ques tion the system: undetected, is it the original; uncovered, is it discarded as a forgery. On theother hand, a copy is out in the open, obvious and blunt; once it is incorporated into the system, starts it questioning everything.” 26 of the 20 2013) veniently, thereis alwaysa copy ofWalter Benjamin’s Art – where parts of Stein’s acquisitions are frequently displayed – describes as something “more than just a collectionwas – it really the seed that began thespread of what we consider modern art throughout Western Europe and America.” 34 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking of the art museum at the beginning of the 16 the of beginning at the museum art the of birth the He traces history. its of narrator the and art of creator the as Museum gifted individual, an almost God-like creator called an artist.” an called creator God-like almost an individual, gifted exceptionally and unique but a any more, acraftsman just not was sculptor or “A painter artist: of notion the fashioned also museum the art, of notion the in and given an elevated position above mere craft. mere above position elevated an given and system guild the from dissociated was art enough, Soon art. of adefinition ing impos or suggesting therefore be, should piece art an what of exemplary ered consid was display particular that Moreover, art. of works them made visitors its of enjoyment” “aesthetic the for organized specially aspace into artefacts important aspect of the museum was established – the institution of art his art of institution –the established was museum the of aspect important another Powers, Colonial Great of Age the to way gave Discovery of Age the As 28 Salon. this of apparatus 31 30 29 Belvedere Romanum as Romanum Belvedere

Ibid., p. 134 p. Ibid., 135-136 pp. Ibid., an of artisan.’”. instead ‘ignorant artist’ a‘learned of concept the introduced so –and hand the of because valued mastery the of something not and poetry to similar activity became reflective arather painting of Now result the standards. manufacturing have couldn’t thus and guilds, into impossible organize to activities, conducted individually and non-material be to considered all grammar. were and These arithmetic, music, astronomy, as category same the in but armors, and cabinets category of the in not were they on then From system. guild the of control the arts’ from removed so ‘liberal and the to belong to declared were sculpture and painting decision, January on this With 27, d’Ètat’ 1648. Conseil du ‘Arrêt the issued XIV] [Louis king ten-year-old the of council “[T]he 131-132pp. Ibid., art…” of museum first the as understood be could while Romanum art, of Belvedere objects the first the fact, in and, readymades first the be to statues we these terms, consider could today’s In were. narratives internal their what played, had once first they the roles in what made place, been had they why irrelevant almost It was beauty. their for primarily objects’ admired ‘aesthetic became together, displayed now landscape, urban an of parts as scattered invisible almost previously statues, Those come… to generations for world Western the on entire impact profound a have would that vision a emerge, to beginning was world different acompletely of avision Christendom of heart very the in suddenly and Torso... Laocoon, Apollo, Tiber, Cleopatra, and Venus, Nile reclining the including walls, surrounding the on niches built specially in garden the in placed were statues more several after, of long too Troy. Not characters mythical the unfortunate the writings, Pliny’s in mentioned sons, his and recognized Laocoon priest instantly the Sangallo site. the to Michelangelo and Sangallo dispatched he immediately and pope, the reached statue unusual an of excavation an about news AD, 1506 in day “One produce. Museums which that as strong of a such presence the narrative in neglected easily are insights significant how of perhaps is This illustration another self-evident. or apparent not is it truth, asimple and observation a like sounds straightforward this While 36. p. Ibid., well.” as changing keeps past the of And picture time. the the thus all change displays museum of aesthetics and design, timelessness’, technology, the since ‘temporary a just was this course, Of unchangeable. and fixed is as which history, arranged past, the see to was museum the to go “to that adds not Benjamin and change. of timeless as a subject perceived are themselves Museums represent, they history and the updating changing frequently despite that observes He illusion. an likewise is it art”, exceptional of of works repository atimeless as seen be can Museum “Art the although furthermore, Writings Recent Benjamin’s in read we as But, setup. a such to “timelessness” of sense strong is a There aproper of Museum. quality, monumental not if atmosphere, the recreates masterpieces grand of copies with covered place, original Stein’s as small as perhaps Salon, New the York of walls The , this is an illusion, since there is no such thing as a “timeless masterpiece”, and and masterpiece”, a“timeless as thing such no is there since illusion, an is , this 28 museum, Here, Benjamin’s writings revolve around the idea of of idea the around revolve writings Benjamin’s Here, 29 when the very act of transferring antique antique transferring of act very the when th century and the establishment of of establishment the and century 30 Hence, alongside ushering ushering alongside Hence, 31

- - - Jelena Vesić and Vladimir Jerić Vlidi _ 35 - - - It is It not only that the 34 ) Q , a story that constructs (art) 33 The important point that Benja 35 x=M+m storya of certaina period, nation or movement, primarily it history of art – the story of what art is, how to recognize it, how

the 32 Ibid., p. 144 “[T]he notion of the ‘artist’ belongs to the art historical narrative itself, thewhile ‘art historian’the ‘curator’ areand storytellers (narrators) of a kind. Art historiansthrough usually texts, tell while the curators story tell it through exhibitions.” Ibid., p. 34 Ibid., p. 37 Ibid., p. 185

Benjamin seems to agree with the abovementioned observation by Mieke Bal that a museum display is always a narrative history. But, while Bal focuses on the rhetorical devices employed within the museumdisplay, Benjamin radicalizes the notion of museum not only as the (hi)story teller of art but alsoas the creator of the very notion of art.is “[I]t the art narrative that gives meaning to any object (‘artefact’) incorporates, it supplying with it the legitimacy of a ‘work of art’. In fact, is it the narrative that is important, more than artefacts. like It’s branding. Art history itself is a brand. is It also a way of branding products (artworks).” For BenjaminFor “art” is an historically and socially specific category: should“We consider that art itself is not a universal category, but an invention ofWestern culture that appeared out of the Enlightenment and was gradually imposed on all epochs and all (non-Western) cultures.” artmuseum tells articulates to understand the meaning and of it how to appreciate it. On De-Artization and Meta-Museum ( 32 33 34 35 roque,neoclassicism, etc.) and own spatial distribution later, (and proposing new divisions according to national schools and international movements). Here we witness the institutionof art museum creating a story of art – a notion and practice that until up then was non-existing. “Most importantly, this is the story that defines the very nature of art;it defines what art (...)is. Art is most likely a notion defined by the story called art history, it and exists only within that story.” tory, with its own chronology (prehistory, Egypt, Antiquity, Renaissance, Ba min makes is that art as a notion existsonly within the discourse of art history and materialized in a form of museum display. Indeed, all one can possibly say about art seems already defined by the structure of the discourse of art history. As this narrative over time became embedded in academic and public disco urse and in art and educational institutions, a story of art by told the museum display became the only story of art; established it itself as a kind of sacred 36 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking 39 38 37 thinks, at least in the beginning, that the confusion and sense of being lost in in lost being of sense and confusion the that beginning, the in at least thinks, Benjamin Bal, by formulated conclusions the like again where, also is this And place where an art museum itself is the theme, the subject matter.” subject the theme, the is itself museum art an where place ameta- while (de-artization), artefacts as meta-art art of works former exhibits that be a museum would This ment. Enlighten the of out emerged that culture the Western of artefacts specific as ethnographically rather but objects ‘sacred’ of kind some as not exhibited are meta-art “[A] itself. art and tist ar artwork, of notions constitutive the on as well as history art on reflect that institutions into transformed be to have would museums art Consequently, 36 meaning.” previous its forgetting entirely not Pwhile to meaning of layer new a assigning Pby position Mrecontextualises P. position Meta-position porate incor even and recognize could time same at the that position outside an as to P relation in Mdefined aposition is “Meta-level procedure: the of summary following the proposes Benjamin displays. museum within mirrors placing by self-reflection explicit for proposal Bal’s Mieke with correspond does himself something that observing and something observing observer another both observing by something of aunderstanding better gaining observer of tegy outside.” the from history art see could we which from platform another establish to how history, art beyond move to how is question the words, other “In disciples. its of that than other perspective any to impervious becoming thus consumers, and practitioners its of convictions the on hinges that story cold, approach of an ethnographer.” an of approach cold, almost adiagnostic, is that one but art, of admirer and believer a passionate of one be not should approach This milieu. cultural/political or mind of state acertain of artefact an as specimen, ahuman-made as artwork look at an to attempt an and art of notion the from detachment “[a] be gradual would useful be would What de-artization. their in is, that artworks, of re-contextualisation the in consist largely it would outside move –to narrative history art anew hin wit them articulating by meaning “artistic” anew them assigning and another to context one from them transferring –of (or made) objects newly existing the of re-contextualization of places already are museums Benjamin for Since

Ibid., p. 193 p. Ibid., 194-195 pp. Ibid., 168 p. Ibid., 32 p. Ibid., museum would be a museum where works of art art of works where amuseum be would museum 37

(art museum) would be some kind of a of kind some be would museum) (art 38 This stra This 36

39 - - - - -

Jelena Vesić and Vladimir Jerić Vlidi _ 37 - - - - All of this together pro 42

40 (sublation). “When art history was Thus, futuremuseums, or rathermeta- 41 “You have something you call “known” as a place where you feel good and safe. And thenhave “unknown” you as some kind of dark and dangerous place on the other side of the border.The entire era of modernism could be understood as a process of pushing the boundariesbroadening and the territory of brightness by turning this “unknown” areinto dealingthe “known” with worksNow,… we that actually pursue the opposite approach. They theturn “unknown.” the “known” Thereinto are no more boundaries, and danger is no longer beyond some frontier.distant The very place where you stand and feel safe begins to look a bit strange; we recognizeit but it is not the same.” Ibid., p. 35-36 Ibid., pp. 40-41 Ibid., p. 68

suchmeta-operationa is not only necessary, but also welcome, and beneficial for future one’s awareness and understanding. 40 41 42 Although Benjamin recognizes that this process will also result in a certain amount of unlearning, of “stepping back”, so to say (“in some ways, the “new society” will have premodern characteristics, while the at same time reflecting the fact that “not forgetting modernity” is one of its important components”), he is very clear that this meta-position is not about the simpledestruction of the art narrative and the obliteration of the notion of art, but more about somet hing resembling the Hegelian Aufhebung being established, didn’t it forget the Christian narrative. just It recontextuali sedit. And these meta-artworks are not forgetting the narrative of art history they– mightbe oneway of recontextualising it”. Eventually,“what we have is recontextualisation rather than a deconstruction of the historical narrative. While deconstructing is in some way closer to ‘forgetting,’ recontextualising ‘remembering.’” to closer come might ducesa certain outlook towards the future, that is, one meta-future,which is markedby the proliferationof examiningand manipulating meta-functions, leading towards the establishment of the “meta-institutions” of the future. Of course,all of this happens in meta-history, which “would reflect upon a history itselfbut it would not be based on chronology and the uniqueness of the cha racters, objects, and events includes”. it And according to such a scheme, art as we know has it to cease to exist. museums, will be “places that change the way we establish collective memory and our understanding of the past. And the way we decide to remember the past, what kind of stories will become our memories, all that will determine what steps we are going to take towards the future.” 38 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking nitzer “science is a mere subcategory of art.” of subcategory amere is “science nitzer within a university and not be confined to a discipline.” to a confined be not and auniversity within activities academic all shape should art Consequently, knowledge. expanding and acquiring of a method but ‘art’, really not is “art a perspective such In self while it allows the play with taxonomies, the making of illegal and subver and illegal of making the taxonomies, with play the it allows while self it It creates simultaneously. modes both in It stays opposite. the plus that, of all is Art interventionist. being 2, Mode or propositional, 1, Mode being called is science in what in it is if matter It doesn’t represented. and strumentalised in be can that there out knowable something is there that it presumes Mostly results. provable and repeatable with experimentation and sequencing, logic, 44 43 world’s population” the of fraction aminute for and by industry an is art that and aPhilistine, is product art an understand doesn’t whoever that art, is does artist an anything that self-searching, therapeutic on based is art few, that achosen for reserved is art-making that idea dominating “the with wisdoms, acquired and clichés certain with do away first to wants a way, – in proposes njamin Be which that to similar Perhaps thinking.” of forms other of limits the ding expan help, to there is that ameta-discipline art: than more “much is that hing thinking art of concept the on based proposition educational his and Camnitzer Luis towards us leads of (meta-)options abundance sudden This Art of Death the After Thinking Art (of) The be linked to nurture each other.” each nurture to linked be can alphabetization and art both that being implication the here, “language” of concept the of importance the is This communicate. and express to ability the develop to exists education simply, good “Put concludes: Camnitzer ting.” communica are who those to but market, the to granted not is power case, this in and communication, of aform it of as anotion underlines language plain a as art of idea “the –then borderlines” national all transcending of capable Esperanto of –“a kind language universal some as understood is market,” art an of expansion the and colonization of interests the able “serve be to to der or in art, But if literacy. like much everyone, to available device cognitive and communicative expressive, an simply is art whereby practice everyday an is 46 45

Luis Camnitzer, “Art and Literacy”, Literacy”, and “Art Camnitzer, Luis pdf.e-flux.com/pdf/supercommunity/article_1148.pdf) Thinking Art about “Thinking Camnitzer, Luis article_888842.pdf Luis Camnitzer, “Thinking about Art Thinking” Art about “Thinking Camnitzer, Luis Ibid. ) – Camnitzer – Camnitzer closer get to order in a distance taking 44 e-flux journal e-flux

”, e-flux journal #65 journal ”, e-flux #3, 2009 ( 2009 #3, 46 “Science is generally bound by by bound generally is “Science 43 http://worker01.e-flux.com/pdf/ . He points out that there there that out . He points , 2015 (http://supercommunity- 45 Moreover, for Cam for Moreover, , somet , ------Jelena Vesić and Vladimir Jerić Vlidi _ 39 ------https://arteducatorstalk.net/

47 the of work art to find whatout con ) . He, too, findsit importantnot to focus ob on Its main premise is egalitarianism socialism – “a of 49

48 50 Ibid. Luis Camitzer: “Art Thinking”, The Art Educator’s Talk ( en/?interview=luis-camnitzer-art-thinking-2 Ibid. Ibid.

creation” – effectuated through a dialogical process. “The main aim should be to equip the public so that people become to question able and demystify, to explore the borderlines of their own knowledge and see how those borderlines maybe moved outward. That is where‘art thinking’ more is important than making.’” ‘art Museums, asinstitutions with aneducational role, are one ofthe ideal sites for Camnitzer’s practice of art thinking; but he discovered first hand how difficult ness. allows It a mix of the megalomaniacal delirium of unbound imagination with the humbleness of individual irrelevance.” sive connections, the creation of alternative systems of order, the defiance of knownsystems, and thecritical thinking and feelingof everything. Morethan any other means of speculation allowsit usto travel back and forth seamlessly fromour subjective reality to consensus and possible but unreachable whole 47 Whathappens if we observe art as way of thinking unconstrained, either thro ugh scholastic or commonsensical rationalizations, open to venturing beyond the given and open to unforeseen possibilities? Camnitzer, both a long-time artist and educator, suggests approaching artworks in a way similar to what de-artization terms Benjamin jects, buton “all conditions and interests that generated them, and to under stand the distribution of power and the interests they are serving,” in orderto “expandour knowledge andalso perceive how thesociety we areliving in is constructed.” Camnitzer sees the use of an artwork asa cognitive tool almost exclusivelyin a public situation, as an encounter of artwork, artist or curator, and audience: “Personally, I would prefer looking around 48 49 50 ditions generated its existence.” His description of the process is not unlike that of the game where by “trying to identify what question the piece is trying to answer, and to then answer the question themselves” lay viewers are, “thro ugh a process of problematisation placed on the same level with the artists”. Most importantly, this is moment when both the artist and the viewer “embark on the same research”. 40 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking cation might perhaps be an interesting discovery – or a very strange loop; but but loop; strange avery –or discovery interesting an be perhaps might cation meta-edu of principle the as art discovering of purposes the for simply seum Mu and Art from emanating meta-knowledge the follow and locate to Trying paradigm. previous the of notions constitutive the of absence the by marked and connections of afreedom by fostered be will at ameta-destination rival ar which in journey educational the describe to paraphrased be may better”), things understand me to allows that connections of freedom a certain tifying …iden is thinking (“art Camnitzer and meta-art”) of notions constitutive be not could art of notions (“constitutive Benjamin by provided insights The ry. sto a particular of apart not, or be, to ability its that, or this particular some influence to power its exist, to reason its object; the of external the is changes what is, That object. the of meaning the and purpose the but form material its of truth the or object the not is changes what nowhere, disappears and laws own its of asubject and object an remains object the As case? particular this in cient than making visual situations.” visual making than cient effi more much was situations visual of descriptions with working that vered disco “I metadata: manipulating and understanding by afforded and created opportunities the describes manner, concrete avery in and too, Camnitzer, Ways Thinking of Ways Seeing, of Ways Doing, of Metadata: of Metadata statements.” museum official as presented and Ican, as museums many as of façade the on text the get to trying I’m now and it, to more was there that alized re Ithen revenge. as him to picture the sent and museum the of façade it the on I superimposed Photoshop, Using connections.’ make to learns public the cate; communi to learns artists the School; is a Museum ‘The statement: the up with come to was resigning) (besides reaction My school.’ a not is a museum, ‘This say: to curator) the of applause (with director the prompted This exhibition. an of presentation pedagogical the for aproject proposed Ionce amuseum for curator pedagogical asa Working be quantified. cannot that effects formative trans have to trying than rather funding, for use to easy numbers circulation by shown as base consumer the expanding on is focus The offices. relations public as used and activities curatorial the from segregated are programs onal Educati hypocritical. very is it’s done way the However, program. educational an having on themselves pride “[Museums] it. do to them bring to be it can 52 51

video/luis-camnitzer-on-art-and-education-in-context) Context Ibid. Under the Same Sun: Art from Latin America Today – Luis Camnitzer on Art and Education in in Education and Art on Camnitzer Today –Luis America Latin from Art Sun: Same the Under , The Guggenheim UBS MAP Global Art Initiative, 2015 (https://www.guggenheim.org/ 2015 Initiative, Art Global MAP UBS Guggenheim , The 52 What does a metadata paradigm mean mean paradigm ametadata does What 51 ------Jelena Vesić and Vladimir Jerić Vlidi _ 41 - - - - *** 53 to “the way of thinking” points It to the trans 54 Luis Camnitzer, “Thinking about Art Thinking” Title of the well known book of 1972 (published by Penguin Books) and TV series of the same year (broadcast by BBC) wriiten by the writer and artist John Berger.

Just as havingor looking the at data does not amount to knowledge, the exi stence of meta-data itself does not automatically produce meta-knowledge. This is especially true in the case of art thinking:it requires “more”(is it (in)the famous“excess” of art?) be involved in the process of data processing. is it But precisely this “more” as the ultimate product of ideology that remains elusive onthe surface ofanalysis. That (or“more” perhaps “excessthe of art”) would be preciselythat which is perceived to be present in art but cannot be expressed with(today) the language of liberal arts. Just as importantly, there is nothing mystical or mythical connected with this “more”, or that should be involved in the explanation of this “more” but the notion of “more” itself. The trajectory traced throughout this research can be described as moving from “the ways of doing” to “the ways of seeing” would certainly produce consequences. Bal speaks of metamuseum and it’s metafunction, about the “incredible density of metarepresentational signs” and “metadiscursive implications”; Benjamin looks into the concept of “meta- history” and finds “meta-positions” and further, “meta-meta-positions” of art objects and actors in exploring the phenomena of “meta-artworks” or “Meta- Kunst”; meanwhile, Camnitzer outlines what might well be the most important function of art – that of “meta-discipline”: “Art thinking is much more than art: isit a meta-discipline that is there to help expand the limits of other forms of thinking. Thoughit’s something autonomousas logicas might be, and though canit be studied as an enclosed entity, its importance lies in what does it to the rest of the acquisition of knowledge.” 53 formation in our understanding of the nature of knowledge and the process of learning that will be based on the methods and principles implied by the paradigm of metadata. is it But important to .inspect the parameters of such a progression in order to understand the “for whom?” part of the equation. Timenow to check backwith the Afghan school kids left in that improvised classroom from the beginning of this text, if or, you like, the middle of the film. wereWe worried that they might have been confused by the lecture, by profa objectsne and complex concepts presented to them as the heights of a certa in foreign culture. “Confusion is sometimes the first step towardslearning,” 54 42 _ Museum – Art – Education: Ways of Doing, Ways of Seeing, Ways of Thinking of education.” of place the usurps necessarily indoctrination power, it distributes way the and structure this of awareness an Without place. takes education which within structure power the revealing without properly educate cannot one essence, “In agree: might investigation textual this to guests invited all which on advice advice, good up offers Camnitzer end, the In aproposition? such in surplus, or lacking, found was what And –really? they But were achance. given speaking, technically were, kids the that said be it can oceans, of existence the of reness awa the in result inevitably point at some will water of drop asolitary plating contem that possibility the suggests that anecdote philosophical the Like try. might they Perhaps claim”? “I simply than arguments no other with art is art what to as claims making around go simply anyone But can repeat. might zer Camnit better,” things understand me to allows that connections of freedom acertain …identifying is thinking “Art politics? and artworks with volutions, re with do to have galleries do What art? as it claiming and galleries in stuff everyday exhibiting the West in people are So offered. have might Benjamin 55

Luis Camnitzer, “Art and Literacy”, Literacy”, and “Art Camnitzer, Luis article_888842.pdf 55

) e-flux journal e-flux #3, 2009 ( 2009 #3, http://worker01.e-flux.com/pdf/ - - - -

Institutional Self-Reflection Institutional Self-Reflection

Aida Sánchez de Serdio Martín _ 45 ------

) . MACBA, Barce . Madrid, Akal, 2007 Still, five years later, in the context of a pur 2 http://www.fundaciotapies.org/site/spip.php?rubrique206 1 canbe seen as lucid a and anticipatoryproject that foresaw the reflecting the crisis of museumthe as institution through a series of Ideas recibidas. Un vocabulario para la cultura artística cultura la contemporánea recibidas. para vocabulario Ideas Un and Smith, N., los “¿Son museos tan solo un vehículo al servicio del desarrollo inmobiliario?”,AAVV, in: lona, 2009 Fundació Antoni Tàpies ( See: Guasch, A.M. and Zulaika, J. (eds.), Guggenheim Bilbao del Aprendiendo tions, and to highlight the way the boom in contemporary art museums that developed in Spain throughout the 1990s well suited the interests of city au thorities lookingto stimulate theireconomies through certain cultural poli ciesrelated to social pacification and gentrification (so-called “urban regener ation”), as well as by creating city brands and promoting tourism (also known as “putting the city on the map”). 1 2 Ten yearsTen later seems it became it necessary to describe more specific situa In the 1995 Fundació Antoni hosted Tàpies the exhibition of the TheEnd(s) Museum proposals artists, by 14 including Marcel Broodthaers, Ilya Kabakov, Francesc andTorres Andrea Fraser, along with an international symposium and a se ries of debates. From our present perspective, over 20 years later, TheEnd(s) ofthe Museum criticisms of museums and culturalinstitutions in generalthat would come to emerge in the new millennium. However, although this exhibition set out to conduct sustained “a theoretical and critical inquiry into the genealogy of themuseum” thatwould question “the epistemological presuppositions of this institution, which is also its social, to say […] economic and political aims”, it affirmed, on the other hand, idea the it that “aims neither to describe situations nor to prescribe solutions but rather to analyse the ways in which the museum is imagined within and without the histories and institutions that have over it.” determined Aida Sánchez de Serdio Martín de Serdio Aida Sánchez Museum:Imagining the Relational Institutional Destabilization, Destabilization, Institutional andPedagogies Archives 46 _ Imagining the Relational Museum:Institutional Destabilization, Pedagogies and Archives 4 3 people with adialogue establishing of capable be must proposals cultural and artistic their that recognising and audiences their with relationship the in achange for calling discourse, their modulated have museums Meanwhile, perspectives, feminist incorporates that culture of economy asocial and degrowth, for acall towards moved have institutions role cultural of the about proposals and criticism life), of way accepted an as instability and erishment impov gradual precariousness, of long-term the normalisation to staff in tions reduc drastic and cuts budget (from manner profound more but spectacular in a less culture worldof the in crystallised have crisis the of effects the As dependent and transparent management. in of forms establish to as well as policies, urban speculative by exploitation pectations.” ex and needs their in heterogeneous and mobile “varied, are that populations urban certain of potential” and expectations desires, the with connect “to all, above and, dynamic creative alocal nurturing strange, and foreign the with local the of negotiation the encouraging implies which environment, their to manner eco-systemic an in respond to centers art for need the is points main Carrillo’s of One differences. some with albeit museum, the of case present the to extrapolated be can author the by highlighted issues the of 1990s), some the of paradigm museum the replaced have creativity of centers that argues Carrillo fact, (in museum the with identified definitively be cannot centers these Although context. cultural and social their in creativity contemporary of role centers of possible the on speculates Carrillo Jesús 2008 from atext In reformulated. be to had museum the of aims political and economic social, the that clear it was question, into them calling than More stitutions. in of kinds other imagine and crisis the to solutions seek to need urgent an already was –there communities local from alienation and overspending on based were not, than often more that, policies cultural shameful some expose to served also –which institutions and services public of dismantling poseful well as a certain social responsibility to citizens entitled to a public culture. apublic to entitled citizens to responsibility social acertain as well 5 economía feminista de la cultura?” ( cultura?” la de feminista economía ( cat/2013/06/crisis-cultura-sector-cultural-y-desobediencia ydesobediencia” cultural sector cultura, “Crisis, J., Oliveras, See: ( contemporánea” creación de centros nuevos los sobre propuestas y “Reflexiones J., Carrillo, mia-feminista-de-la-cultura Barcelona, 2016Barcelona, cultura la de apropiar-nos per propostes Sis tensió. en Cultura (et al.), J. Oliveras, See: http://medialab-prado.es/mmedia/828 3 For this to happen, it is essential to protect art centers against against centers art protect to essential it is happen, to For this ) ) http://www.nativa.cat/2014/11/es-posible-una-econo ) and Rodrigo, J., “¿Es posible una una “¿Es J., posible Rodrigo, ) and http://www.nativa. , Raig Verd, Verd, , Raig 4 as as 5 ------Aida Sánchez de Serdio Martín _ 47 ------Elmuseo en futuro: cruces desvíos.y Actas This seems to be the result a of timely coincidence 6 , Ministerio de Cultura, Madrid, 2013 but nothing seems capable of traversing those walls and 7 The numberThe and type of subjects(in terms of ability, race, sexuality, age, class, cultural capital, etc.) entitled to question it The knowledge and forms of knowledge production considered valid in this dialogue See:Barenblit, Enguita, F., N., and Romero, (eds.), Y. encuentro ADACE 2013 Recently, we witnessed two cases that demonstrate the limits, at least in this country, of the free dom of artistic expression. In the 2014, Museo Nacional Centro de Arte Reina Sofíato respond was obliged to a complaint from the Association of Christian Lawyers over thework exhibition that alluded to of the a burning of churches. its For part, the Museu d’Art ContemporaniBarcelona de was about to cancel an exhibition in that 2015 included a sculpture in whichpossibly a figure representing King Juan Carlos I was sodomised. The episode ended with ofthe the resignation curatorsin protestover theattempted censorship and the subsequentresignation director.museum’s of the changing the institution from within. What is needed to take this requirement seriously? Probably to think about the museum from the perspective of its rela tions and not its programmes (content, activities, research). while But this may seem an attractive idea, one that could easily become an institutional slogan, hasit seemingly insurmountable implications for the organisational operation of the museum. Beyond the rhetoric, to truly conceive of the museum from the point of view of its relations would risk disrupting the very structures of the in stitution.begin To with, wouldit longer no be possible to considerits relations as an added value or an easy way to better introduce its programmes in specif targetic collectives or as a predesigned format in which the public is invited to participate in. Instead, should it be seen as the starting point of all its actions and identity. And above all, would it destabilise the nature of the institution in its many dimensions: • • enceof museums, and desirea to turn them into real agents in the public de bate on the political economy of culture; a debate, moreover, in which various artisticpractices fostered by contemporary art museumswould playan impor tant role. However, despite many claimsfor this new relationship, there appears to be an insurmountabledifficulty in realising it in practice. Museums have thecapaci ty to sustain a lot of criticism within their vitrified walls(or maybe not, judging by the conflicts that have recently arisen around exhibitions featuring highly politicised content) between the need to legitimise (waning) public funding, even the very exist 6 7 guita and Romero, 2013). within the framework of contemporary socio-political debates (Barenblit, En 48 _ Imagining the Relational Museum:Institutional Destabilization, Pedagogies and Archives knowledge and normalised subjects and bodies, and subjects normalised and knowledge normative of production the in precisely rationale and origin their have and on based are institutions such since terms, in acontradiction fact in is museum ing such deviations frustrated, occurring in prophylactically restricted spaces spaces restricted prophylactically in occurring frustrated, deviations such ing leav involved, individuals the of will the transcends that resistance structural and reproduction of the value of national or private heritage. private or national of value the of reproduction and will to venture into such an undertaking. an such into venture to will a is there where and when even task, acomplex is museum the of formation trans a such why understand to difficult not it is list at this looking by Just • • • • • • • • 10 9 8 12 11 implicit displacements. implicit necessary the with again, over and over re-actualised be it but must anteed guar never is anorm us, remind performativity of theories the as Although, reproduction. own its towards tends norm the since renewed, constantly be must happen to this for struggle The impossible. and necessary both is above described sense the in museum the of transformation the that argued be could

Granada, Granada, 2012, pp. 78–97 pp. 2012, Granada, Granada, instituyentes Pedagogías yprácticas red en Transductores. (eds.), J. Rodrigo, and A., Collados, in: feministas” de yprácticas contacto de experimentación Pedagogías emoción. la de culturales ypolíticas see: “Espacios J., institution as Vidiella, museum the of case the in relevant equally arguments and the with practices pedagogies, cultural of spaces the to relation in denormativize/denormalize to need the About to differ. relating of ways challenges and these action for scope their if even similar, are face they challenges the Never theless, model. asingle to respond they if as them about generalise to unjust is It somewhat modes. therefore institutional different have and different are museums that note to important It is The Birth of the Museum the of Birth T., The Bennett, See: 1993 J., Butler, Knowledge of Shaping the and Museums E., Hooper-Greenhill, See: Accounting procedures (what, how and to whom) to and how (what, procedures Accounting of funding forms and management Economic them in involved those and processes decision-making The ible invis visible or be should museum the of parts what defining criteria The the museum outside and inside be should what determining criteria The time and space of regulation and provision The activities of programming the and content of selection The or mind-body fective, intellectual-af rational-irrational, between established separations The Bodies that Matter: On the Discursive Limits of “Sex” of Limits Discursive the On Matter: that Bodies 12 On the other hand, deviations from the norm face face norm the from deviations hand, other the On . Granada: Centro de Arte José Guerrero, Diputación Provincial de de Provincial Diputación Guerrero, José Arte de Centro . Granada: , Routledge, London, 1995 London, , Routledge, 8 To denormativize/denormalize 10 as well as the preservation preservation the as well as , Routledge, New York and London, London, York New and , Routledge, , Routledge, London, 1999 London, , Routledge, 11 Therefore, it Therefore, 9 the the ------Aida Sánchez de Serdio Martín _ 49 ------Gallery Education in be , Diaphanes, Berlin, 2009 Nevertheless, the fact that their 13 14 or has been a concern of departments with less decision-making partly because questions it the same institution that includes 15 17 .: MNCARS Madrid, 2011 This implies that education is aimedat communicating the discourses 16 Mörsch, C., (2009), a Crossroad “At of Four Discourses” in: Documenta 12 An extraordinary case of transgression of the established functioning of the museum was car ried out by The Agencies that during the spring and summer of 2001 turned MACBA intoof a operationsbase for numerous political and artistic actions in the course of anti-globalisationtests against the various pro financial and political summits that werecelona. to takeThe place taking in the cityover of of Bar the museum acquired a level of organisational and thatsymbolic exceeded meaning the initial political commitment of the institution,defended and although the action its management of The Agencies throughout the cycle ended before the summermuseum and didthe not renew such an alliance or similar form of political action subsequently. tance as a key example in the relationship between art institutions and directexample of action. ‘taking Another over’ the museum is the Liberate movement Tate arising from a workshoporganised itself byTate in and 2010 leading tothe occupation and interventions in the museumin order to expose and put an end to the funding it receives from British Petroleum. See: Sánchez de Serdio, A., and López, E., “Políticas educativas en los museosLos departamentos de arte españoles. de educación y acción cultural” in: Zilbeti, M., al.) (et (eds.),Educación Desacuerdos 6. tween Affirmation, Reproduction, Deconstruction,Transformation and In line with the previous note, the Agencies, though ephemeral, have maintained their impor Ibid.

16 educationin subordinatea manner, i.e. without the same degree of agency and discursive prestige as the artistic or curatorial function (which may help ex plain why institutions value artists and curators over educators as agents of edge. capacity, budget and prestige, but also and above all that its function is seen largely in terms of dissemination and reproduction of institutionalized knowl 13 14 15 es, although historically these have also occupied a subaltern position in muse ums. is It not only that education has been allocated a secondary in role these institutions, 17 Leaving aside for a moment the most unpredictable outbursts and assaults on the museum, historically one of the spheres where is it possible to open spaces for the agency of relations within museums has been the educational practic within the institution or even in spite of it. ofthe museum’s curatorial practices to more or less knowledgeable audiences in a manner that is accessible but accurate. Or that its function is to facilitate access to content and artistic practices for groups of people who do not normal ly frequent museums in an educational and playful way. By contrast, the critical and transformative of education role is far less ac knowledged chances of succeeding are limitedor unlooked-for does not diminish their power and times at even the opposite can happen:burst a of unrestrained dis order or an ephemeral assault on the institution can be as powerful as a gradu al and deliberate transformation. 50 _ Imagining the Relational Museum:Institutional Destabilization, Pedagogies and Archives 20 veloped by the Fundació Antoni Tàpies Antoni Fundació the by veloped de Prototypes) Source (Open obert codi en Prototips project the sense this In information. over control institutional the of darkness of heart the been historically have archives since scrutiny, public to openness institutional and accountability to regard with implications fundamental has also this idently, Ev museum. the to attached meanings of proliferation and questioning public of knowledge, new producing of amode becomes perspective educational and arelational from conceived when power, centralised to linked closely rial” mate “classified or box” role “black of its abandons that archive An formed. trans be equally could researchers, accredited to accessible only or internal considered traditionally archives, role institutional of way, the same the In institution. the within visible and open is what and invisible and internal is what between division the transgressing by spaces, cational edu become could offices the to conservation and art of departments ment, manage from everything example, For department. aspecific of existence the beyond forms, and dimensions multiple in educationally operate can that vice de pedagogical a great as museum the imagine might one relation, this From museum. the bilize) (desta rethink to which from place relational a privileged as role education of museum archives to the interpellation of various agents. The availability of the the of availability The agents. various of interpellation the to archives museum radical pedagogy, especially if they are external). are they if especially pedagogy, radical 18 19 from those normalized by the museum. the by normalized those from removed far practices and discourses subjects, to relates which that therefore, and, institution the of zone liminal the it is all above but glamour; lack that tasks repetitive and tedious develops It also be. may they contradictory ever how once, at dimensions these all tackle to having of position in a put often is

ucation-learn-from-its-political-traditions Tradi tions?”, Political its from Learn Education Can What Tasks: “Unglamorous Nora, Sternfeld, See: que1082 http://www.fundaciotapies.org/site/spip.php?rubri consult For project, centers. the about educational and information more organizations groups, by practices artistic and cultural temporary Tàpiesni as a tool work collaborative for or developing processes autonomous on con- projects difficulties maintaining themselves in this border position. border this in themselves maintaining great experience difficulties identities hybrid context, this In authorship. any for claim to educators unusual is it museum hand, other the On participate. they which in projects move the over collaborative the of control ment and authorship of claim principal the renounce they if consoli to careers artists their date for difficult is it example, For different. are professional of type recognition and each afforded legitimacy of forms the because part in separation, traditional the to distributed according be to tend generally they overlap, or combined are roles these sometimes Although is a project that proposes the historical archives of the Fundació Anto Fundació the of archives historical the proposes that aproject is obert codi en Prototips e-flux journal e-flux and see Oriol Fontdevila’s chapter in this volume. this in chapter Fontdevila’s Oriol see and #3, 2010 #3, ( http://www.e-flux.com/journal/unglamorous-tasks-what-can-ed ) 20 19 is an example of this opening of the the of opening this of example an is It is this fact that demonstrates the the demonstrates that fact this It is 18 Education in the museum museum the in Education ------Aida Sánchez de Serdio Martín _ 51 ------also deprives those 21 , Routledge, London, 1993 proposes other forms of renegotiating the See: Phelan, Unmarked: P., The Politics of Performance

tension, theart system. As expected, decisions have had to be made aboutthe degree of access to each document to due issues of intellectual property and privacy. seems It that here wereach the limit of institutional openness: even theaccessible archive needs to continue to exercise certain forms of regula tion and relative closure of its contents, or risk becoming a massive leak in the manner of WikiLeaks, which institution no can afford it if wants to maintain its integrity, even its very existence. Inany case, closing the circle opened at the beginning of this text, Prototips boundaries of the museum beyond a critical macro-analysis of its genealogies byintervening in the less visible micro-gearsof the institutional machinery. More than a destabilisation orassault on the museum, proposes it a transfor mation of its everyday functioning, perhaps less radical but potentially more sustainable. conclude, anotherTo challenge in relation to the archive has to do with the ways in which the museum archives its future, especially when faced with flu andid ephemeral relational processes – like education, but also the arts that are based on collaborationwhose – complexityand interpersonal quality re quirespecial care in their register andthe way they are recorded.How can relations be archived? has It been argued that in these cases invisibility should be preserved in order to avoid their “spectacularization”. this But strategy, which is certainly necessary on occasion (Phelan, 1993), internal documentation of the museum to students, artists and other agents is a unique opportunity to understandthe workings of the institution and, by ex 21 adigmis how toaccount for this typeof process ina careful, complex, fragile and partial yet productive Because way. after all,no matter how many times the museum activates its relational processes with the agents around or with it groupsthat challenge it, none of that transforms the institution in the sense discussed above if does it not become part of its own nature through some thing like the construction of a memory and a long-term institutional process of learning. within the community ofcultural workers interested inthese typesof artistic oreducational relational projects of the narratives thatwould allow themto others. of experience the from learn So, one of the most exciting lines of to work emerge in this archive-related par 52 _ Collection Reversed — Transfer, Transformation and Ruptures um is “soundlessness, timelessness, airlessness, and lifelessness”. and airlessness, timelessness, “soundlessness, is um muse the him, to According “tomb”. and a“treasury” at it as looked inhardt Re Ad artist why is Which eternal. the of status institutional the maintained has museum the tested, be to supposed was quality where spaces, alternative and associations art galleries, commercial to contrast In values. universal tive, objec representing as museum of concept the replacing –thus museum the in place take also changes these that awareness agrowing is new, however, is What changing. always are relevance, social and quality aesthetic of tions no this, to connected and artworks of appreciation the that news hardly It is Ruptures and Transformation ReversedCollection — Transfer, Barbara Steiner andAnnaLena von Helldorff 1 1966/67 in Koroška Art Contemporary and Modern of Museum at the held exhibitions transformation and ruptures —transfer, reversed collection developed we background, this Against museums. of number agrowing and curators artists, by levels many on questioned been –has groups dominant it on by imposed interests the hiding fact in but values eternal universal, claiming of terms – in museum the of ideology the then, Since excluded. is who and what and values eternal of “Olympus” the in represented is who whom; for relevance and quality defines who over raised been have doubts critique, institutional and discourses nial post-colo and feminist by inspired largely simultaneously, almost and 1960s, initially conceived by India’s first prime minister, Nehru; Indonesia’s first pres first Indonesia’s Nehru; minister, prime first India’s by conceived initially 1961, was in and Belgrade in started which this, in share some had movement non-aligned The afterwards. donations made and artworks sent calls, public the world followed the over all from artists Many collection. museum’s the for Reinhardt, Ad. Art-as-art [1970], Art-as-art. The selected Writings of Ad Reinhardt, Hg. Barbara P. 1975, 54 Barbara Hg. Press, York: Viking New Reinhardt, Ad Rose, of Writings selected The [1970], Art-as-art. Art-as-art Ad. Reinhardt, , 1975 , 1979 , and 1985 , and . Our research began with the international international the with began research . Our , because they formed the point of departure departure of point the formed they , because 1 Since the the Since ------

Barbara Steiner and Anna Lena von Helldorff _53 ------from a contemporary perspective allowed us to si

but within its own specific frame, we presented henry . Henry Moore was a referential figure in museum’sthe rumah, and Yugoslavia’s president, Tito. All fiveleaders advocated a middle course between the Western and Eastern Blocs. Thenon-alignment movement changed the collection policy of many museums in Yugoslavia,and the Muse um of Modern and Contemporary Art Koroška collection is a good example, with larger bodies of artworks from Indonesia, Bolivia and South Africa next to works from the Western and Eastern blocs. being We, foreigners ourselves, not only looked into the shifts in the interna tional exhibition agenda but, in parallel, into the transformation of the works over the time they have been in the collection, in terms of the status they enjoy, what they mean, and the way they areshown. In addition to the exhibition collection reversed, back comes moore programme until up the 1980s. Despite the fact that his was work extensively shownthe at Museum of Modern and Contemporary Art Koroška, the collec tion today does not contain a single piece by the artist.On this special occasion ofour exhibition, we hoped to serve the desire to bring Henry Moore’s to work Slovenj Gradec. Ultimately,we succeeded in securing two (modest) sculptures fromthe Museum of Modern Art in Banja Luka and four works on paper from the British Council. Our efforts to temporarily accommodate works Henryof Moore Slovenj at Gradec were also documented and shown. Lookingthe at international art exhibitions of the Museum of Modern and Contemporary Art Koroška ident, Sukarno;Egypt’s second president, Nasser; Ghana’s first president Nk multaneously consider successive events of the past and to trace the changes in their agenda. However, today they are only indirectly accessible – through catalogues, photo documentation, descriptions, archival material, witnesses, current experts, and the works themselves, which were taken from the interna tionalexhibitions into the permanent collection. Our sources neither provided a complete impression nor were they entirely reliable in terms of information. In fact, they did show us something, and provided us with some information, but could not claimto be exhaustive and instead, invited speculation. Dealing with such gaps and discrepancies therefore became an intrinsic part of our presentation. related We exhibition – catalogue – collection to one another and placed artworks next to archival material and reproductions in order to tobe read able transfers, transformations and ruptures that have occurred over the course of time. 54 _ Collection Reversed — Transfer, Transformation and Ruptures bition. exhi fourth the 4for and third the 1for second, the 38 for exhibition, first the for works 99 of atotal donated artists Koroška, Art Contemporary and Modern of Museum at the place took which exhibitions, international the of occasion the On – wood. material a common by only united concept a single under and into etc.) houses family single for acompetition and sculpture, “African” ture, cul folk crafts, (art, parts diverse highly of anumber forced organisers the fact, Wood in House –One-Family tecture For Peace agendas, clear their and exhibitions three first the Unlike culture. consumer and consumerism toward positions critical and self-empowerment vocating world abetter for speculation, for room allowing and modernism functionalist from itself Distancing works. produced collectively and/or interdisciplinary wards to psychology and sociology design, architecture, art, of borders the and tion ation, ation, continu the In objects. aesthetic of prioritisation the and creation individual of questions over raised was debate critical and rejected was passive) be to considered then was (which humanism universal into retreat any time, This artists. participating the of all from engagement social demanded and art” tive cence quies to activism 1966/67, political (2) art, to from politics to art (1)headings: from following the under summarised were They curred. oc had ruptures and transformations significant analysis, our to ing accord which, in cases, exemplary six were project our to Central exhibitions. and years of expressed in the title. title. the in expressed as agenda, common strong a through differences ideological and/or ligious re national, racial, overcome to exhibition the of goal overarching the other, the on and humankind, of and in variety vast the hand one the on expressed concept This aesthetics. and values universal of umbrella an under united tions Na Among Friendship and Humanity Peace, times. respective their during midstream in were exhibitions international the that obvious it became rial, mate archive and catalogues artworks, of collection the through going When 2 When we did the exhibition we found one donation, meanwhile it is four. is it meanwhile donation, one found we exhibition the did we When , 1966/67, featured an enormous array of media and artistic approaches approaches artistic and media of array enormous an , 1966/67, featured , 1966/67, aimed, nevertheless, at contributing in practice to “a better world”, ad “a better to practice in at contributing nevertheless, aimed, for a better world abetter for 2 Obviously, willingness to donate diminished steadily over the course course the over steadily diminished donate to willingness Obviously, . Heritage in Wood, Woodcut, Small Sculpture in Wood, Archi Wood, in Sculpture Small Woodcut, Wood, in Heritage (3) (3) from a symbol of world hope to a symbol of Slovenj Slovenj of a symbol to hope world of a symbol from peace 75 – 30 uno peace , 1979, went further in transcending individual crea individual transcending in , 1979, further went , 1986, seemed conceptually adrift. In adrift. conceptually seemed , 1986, , 1975, featured “committed figura “committed , 1975, featured ------Barbara Steiner and Anna Lena von Helldorff _55

------Seen Today, the dec Today, 4 from framework (4) This transformation re 5

took Daniel blue-and-white Buren´s 1966/67, 3 (Hope), 1963. The work employs the motif of a dove, and (6) forcingand (6) techniques to the subject of the

explicitlypolitical approach. the Today reputations of

, 1979, became an iconic motif, for both the exhibition and the

, 1975, (5) from (5) the, 1975, documentation of art to artworks and , 1985. , 1985. Peace Messenger cities are cities around the world that have volunteered for a United Nationsinitiative to promote peace and understanding between nations. In 1946, a communist government was established. In 1948, Yugoslavia distancedSoviet-Union. itself fromTito thecriticised both Eastern Bloc and NATO nations and, together otherwith countries,India and started the Non-Aligned Movement in 1961. Some years later, a special edition of stamps with Makoto´s dove, including nine stampsspecial and a envelope with the date of issue – 24.10.1970 – was produced. both Vasarely and Romero have diminished considerably. was Case dedicat (3) ed to Ueno Makoto´s “Espoir”ed to Ueno Makoto´s widely popular the at time, with an olive branch representing a symbol of hope. “Espoir”Makoto’s 3 4 5 Gradec as “peace messenger city” mains,and closely corresponds to the place of its installation today: Makoto’s dove is exhibited in the mayor’s office at the town hall,and is still considered a symbolic ambassador of thecity. Case(4) stripedcoloured flag its as point of departure. Inserted a into row of nation al flags, together with the UN and the city’s flag, it was shown in front of the museum entranceFollowing in1975. Buren, the serialcoloured stripes were meantto represent “markers” that pointed to their context and in so doing, de lineated certain specific frameworks related to art. In Slovenj Gradec, his con orative qualities works enjoy of Vasarely´s the spotlight, and their once-politi cal incorporation is almost forgotten. Walter Solón Romero can be seen as an antithetical figureVasarely, to because he was interested in the political reach of artfrom thebeginning. Togetherwith other artistshe founded the Antaeus Group, a group that dealt with social issues that affected life in Bolivia. from today, Romero’s has work been largely absorbed by the museum’s aura, formerly his trivialising town’s agenda. gradually It transformed from a symbol of hope world to a symbol of Slovenj Gradec as “peace messenger city”. exhibition Case and 1 Case 2 were related and explored changes in the position of Victor Vasarely and Walter Solón Romero. In the firstVasare case to framed work back to documentation, from a collective, process-related work to a single workof one author ly was taken as an example of ostensibly depoliticised artthat in sisted on its apolitical power but was, in fact, heavily politicised. Hungarian-bornThe artist who made his career Francein was taken as evidence, if not proof,of openness and social progress – in short, of modernity, both, in the and West in Communist countries as well as in Yugoslavia. 56 _ Collection Reversed — Transfer, Transformation and Ruptures once again. Case (6) was dedicated to the exhibition exhibition the to (6) dedicated Case was again. once documentation as considered are Today they unclear. remained –long not or works art authorised be would they – whether reproductions the and boards to ular wall system developed after the renovation of the 1960s exhibition hall by hall exhibition the 1960s of renovation the after developed system wall ular mod the of part were used we elements single The hall. exhibition the of centre the throughout structure amodular on out laid literally 19851979, was and 1975, from 1966, works donated the of selection careful A presentation: The changes. the traced and the attributions in differences the reconstructed research Our artworks. the on views changed of expression the part large in were they instead, lish); Eng and French Slovenian, (into translations various the to attributable partly only is which arose, titles and dates in Discrepancies disappear. to concerns artistic and techniques different like things caused focus clear and a strong achieve to desire the 1975. 1966/67 Obviously, and in exhibitions international the in shown already works exhibition, the into integrated were collection the from works budget, limited the to Due “wood”. material the around revolved by of quarter urban the from children with case this –in collaboratively produced was however, and and Dalisi Parisi, names the under Koroška Art rary Contempo and Modern of Museum the of collection the into went work, Parisi´s of reproductions photographic with together Belgrade, in garden Ranković´s exhibition exhibition the in shown being After of authorship. the attribution in shifts with together frameworks to a (literally) framed work. framed a(literally) to frameworks in interest an from led that process the of adocument considered it its today artist; the by authorised never was framing work’s the that it emerged search re our During later. decades some museum the by recaptured was streets the into went out and museum the of confines the left literally had that painting) as stripes his saw (Buren painting the Basically, lost. was intention original its and – framed Buren´s was took place, flag exhibition the Years after cloth). ing awn used and referenced (Buren context everyday explicitly an in origins its had that flag a non-classifiable through identifications and identities national of challenging its in astatement 75 30 constituted –uno peace for tribution 6 in the status of the works by by works the of status the in occasion of the 90th anniversary of the museum director Karl Pečko. We integrated it as an an as it representation”. of “object We integrated Pečko. Karl director museum the of anniversary 90th the of the occasion on produced was board photo This entrance. museum the of front in flag the showing reproduction a opposite exactly and wall one on flag framed the presented we exhibition our In Branko Nikolić Branko for a better world abetter for Traiano in Naples, and Ranković´s garden was photographed photographed was garden Ranković´s and Naples, in Traiano photographs. the of author actual , the Ico Parisi , photo boards of Dalisi´s project “Traiano” and and “Traiano” project Dalisi´s of boards , photo , Riccardo Dalisi Dalisi Riccardo 6 Case (5) followed the many changes changes many (5) the Case followed Ranković For Peace, For Peace, and and The status of the the pho of status The Milan Ranković . Dalisi´s work, work, . Dalisi´s 1985, which 1985, which ------

Barbara Steiner and Anna Lena von Helldorff _57 ; ------– this And lastly, the panels showed or direct perspec or perspective of a reader : the laid-out or rather laid-down second, as objects in the inclined and in thesame way they are preserved in the drawers of the museum Edi Koraca They in were 2010. both reset vertically and reversed horizontally and thus reminiscent of a spine the works on paper and/or reproductions of the catalogues from the same per spective archive and/oras thespread pages ofa book when reading. The paintings were presented onthe vertical panels, directly deriving from the central spine time, referring to the storage grid system employed in the archive. In short: the main reference points for setting the up display came from the museum´s archive/storage itself. Viewing the exhibition demanded a decision: whether to start on the right- orthe left-hand side. The tour led all around the spine structureand offered front and rear views in equal measure. Entering the exhibition, the vertical panelsstood facing the visitor in shifteda (offset) perspective,superscripted with the respective year and title of each international exhibition. Assorted text and material reproduced from the catalogues and the archive emphasized themore important aspects of each exhibition. On the back side of each “case” – we looked the at international exhibitions as cases, just like we did with our six exemplary cases along the sidewalls – only paintings were shown. Graph arts,ic photographic documents and contextual information were placed on the laid-down, reversed walls, protected by glass panes. With the 1979-case, reproductions from the catalogue were shown beneath glass as the original representationof the exhibition. In contrast to the way the panes are usual ly used, i.e. to cover and protect single works and commonly framed – we ar ranged the glass panes in blocks, one against the other, without leaving any space between them. With this we again referenced the modular principles inherent to the architecture of the exhibition hall. On the surrounding walls weshowed the six exemplary cases of transfers, transformation and ruptures the artworks had undergone over the course of years. Artworks and contextual information/material were all displayed on both the gallery walls and on the modular panels exactly the same In way. addition, standardised museum ped estals of all kinds were integrated. Catalogues and archival materials were reproduced four different ways: first, they were photographed asobjects according to the straight thirdly they were scanned flat, like even, readable documentation revealing the materiality, formatting and context of the original source. texts and content were typeset in a straightforward layout in black and white inorder to convey the content withoutretaining the oflook theoriginal source. tive of a spectator; 58 _ Collection Reversed — Transfer, Transformation and Ruptures Museum Interpreters”) Museum the “Performing chapter the in appears exhibition the of documentation (Photo presence. and past its about it speak make and silence this break We to out set tions. transforma own its of speak not it did time a long for – but transformations of a place been always has museum the that wrote we herein outset the At itself. it manifested which in short, in terialised’; ‘ma visualised, was approach our which with and in itself, exhibition the and information contextual the artworks, the connected: tightly were layers three receiving and perceiving showing, of conditions the exhibit –to clear become has this hope we and – was project our for facet important most The enjoy. works the status and meaning perception, the in changes of speak to and contexts, mic econo and social their about information provide to also but artworks present to only not aduty have institutions art other and museums that convinced are 2015 its of presentation, authors the and collection the of interpreters We, the contextualizing thus comments, as walls/panels horizontal the on panes glass the out near laid were quotes The material. text reset the and reproductions photographed/scanned of aesthetic the between te media to order in background agrey-scale on printed and typeset transcribed, were however, catalogues, the from Quotes format. A3 normative in ughout, thro consistently material given the on perspectives four these We produced alongside alongside the artworks and the contextual information. Ultimately, Ultimately, information. contextual the and artworks the the artworks. the - - - - -

Interface of Disruption Interface of Disruption

Oriol Fontdevila _ 61 ------. 1 . It’s as. It’s the if . Zurich & Dijon: JRP | Ringier, . 06 2006. EIPCP European Institute for Progressive Cultural Policies. projects we’ve carried were out rendered legitimate simply because they ended up being set down on is paper, which a museum what inevitably pro duces. Roger Bernat, 2016 I’m not sure about the fact that are now you preparing a reader lation to aspects that go beyond the field of representation and were traditionallymediation. identified In relationship with to this trend, the text you have before you supposesbetween an engagement performativity theory and the discourses of institutionalHantelmann’s criticism, view, should something not arise: art “An that, that in is conscious of the efficacy of its mativityown perfor could possibly replace [critique] with a more constructive and effectiveposition attitude.” is, on the otherOur hand, closer to genealogya of feminist thought thattivity sees in performa a way of renewing the understanding of critical thought itself,actual so that it would contact result – rather from than from a distant positioning – and from matter andthan mediation, from discursivity rather or representation. As Marina Garcéswrites problem in Embody “To of critique Critique”, has “The traditionally been a problem of conscience. it is Today a problem of the body. How do we incarnate critique? How does critical thought acquire a body?” (Garcés, 2006).See: Hantelmann, Dorothea von How to (2010): Do Things with Art Les presses du réel; also see: Garcés, Marina (2006): Embody “To Critique. Some theses.Examples”, Some in: Transversal It wouldIt not be correct to refer to a “performative art” as such. As Dorothea vonpointed Hantelmann out,artistic has practice always involvesperformative a component on thewhich specific thinkers terms likein John Austin and Judith Butler have formulated the concept:capacity every for action, sign has and a by updating or displacing the conventions organisedthe aroundrealisation it can affectof what is rendered. Thus, “There is not performative artwork,no non-performative because there is artwork” (Hantelmann, Even 2010). so, in recent years thereincreasing has been an interest in this theory among artists, which has resultedquestions in attention like the being effectiveness paid to and relevance of art, as well as new perspectives emerging in re Online: http://eipcp.net/transversal/0806/garces/en Oriol Fontdevila Operandi Modus a as Performativity 1 There is a paradox that is constantly reproduced when art comes close itsto non-representationalsubstrate: this is when, stripped of its symbolic layer, it reveals an infrastructural layer that one never quite knows how to deal with. Despite the performative emphasis in works of art related to institutional crit icism since the turn of the century, is it fair to say that these are in danger of beingrelegated to mere artistic genres if they fail to achieve a minimum of impact in terms of the structural challenges they repeatedly invoke Understanding this phenomenon is made easier by arguments put forward by different theorists with regard to threenon-representational areas in which art has tried to in play a role recent years. These are thequestions of the archi val, education and material agency: 62 _ Performativity as a Modus Operandi logical challenge that a thoroughgoing realism and/or materialism presents presents materialism and/or realism athoroughgoing that challenge logical methodo and systematic the –is production artistic cultural of orthodoxies current for problem greater a much presents and – unexamined relatively left is What them. distributing and thinking perceiving, making, of ways different starkly also but production, cultural and exhibitions practices, art for themes new only not (…) anticipate should we categories ontological and temological epis modern reorganize radically to claims their on through follow to are ism material and realism “If topic, the on anthologies first the of one to troduction in the it put in Malik Suhail and Jaskey Jenny Cox, Christoph as materialism: new so-called the of arrival recent the by date up to brought is issue the Finally, 4 3 2 par excellence space sub-media the as archive the sees Groys Boris ture, multimedia, archive and macramé.” sculp painting, media: and styles certain as powerful as category taxonomic as “a it, puts as Blasco taxonomy; established the within fixture anew as place its find to tends that archive the it is end the in conventions, expositional and taxonomic its affect world and art the penetrate to archival the expected cism criti institutional though ‘form’.” Even representation, metaphor, with left are “We complexity: its all in archive” “to verb the board on taking fully without represent to artists among arisen has that trend the regretted Blasco Jorge er, daily those dominant burdens ourselves.” burdens dominant those daily dislodge and rethink to burden the away taken have aconversation of promise the or scenario, lecture or aclassroom pieces, and bits assembled of archive ing a grow bookshelves, empty of a set room, the of middle the in a table which in aesthetics’ ‘pedagogical of amode of emergence the into easily too all led it has hand, other Yet the on enterprise. creative any of nature processual chartable, un the of insistence an towards aesthetics dominant and markets and objects of structures the from away ashift signalled display contemporary of sites into principles these moving hand, one the “On art: contemporary in convention aesthetic as a new education of crystallisation the and influence disruptive as a education between Rogoff, Irit by posited tension the is well-known Also turning/ http://www.e-flux.com/journal/ online: 2008; New York, 0. no. e-flux. in: “Turning”, Irit., Rogoff, 2010 Tenerife, de yAntropología Historia de Museo MHAT Canaria, Gran de 11 Cabildo –29. archivo. del yolvidos Santa de Memorias (eds.): &Mariano Ana González Estévez Fernando in: archive’” une pas n’est “’Ceci Jorge., Blasco, 2012 Press, University Columbia Media. of APhenomenology Suspiction: Under Boris: Groys 3 4

2

. Howev . ------

Oriol Fontdevila _ 63 ------

5 . 6 structure, which are barely touched on in their work, is sidelined. Thisthe is made above-mentioned absolutely clear essayin by Dorothea von Hantelmann, How to Do Things with symptomaticArtIt is (2010). that in what is probably the most perceptive approximation so far producedtemporary to con art and the discourses of performativity, the structurearound of the the whole argument figures of revolvesfour artists – James Coleman, Daniel Buren, Tino Shegalwho are in theand Jeff end Koons almost – the only agents that Hantelmann describes with a certainview,theory a agency. or historiography In our of art based on performativity shouldpresent alongside the role of the artists capacity for the intervention of other actors, infrastructurescome into play in generating and technologies artistic that phenomena. In Hantelmann’s opinion, thethe artist only actor in is the probably artistic field with the ability to disrupt, while conventionalthe others are relegated background, to the which is also portrayed in his work as notably static. Cox,Christoph; Jaskey, Jenny;& Malik, Suhail., “Introduction”, in: CCSRealism Bard,31. SternbergMaterialism Press. Art. 2015. – 15 One explanation for this phenomenon could be that artists and curators have largelytosee representation continued and discourse as those fields where they could make a contribution,the translation while into performativity of non-representational aspects such as mediation or infra coming just another representation of contemporary art. Once again we find ourselves left withmetaphor, while performativity is hardly to be found a as modus operandi These remarks allow us to specify the paradox we pointed at out the start: approaches including clear input from performativity theory do not seem, in general, to be in a position to anticipate differential modes of production and the circulation of art and knowledge. While performativity deals with the question of representation from a pragmatic perspective and considers how a symbolic plane can havedisruptive a effect on reality, this theory seems closer today to being absorbed by a traditional system of representation than toone reconfigure able it. Performativity is therefore in the process of be vailing paradigms,” to the way that exhibitions or artworks claim to produce meaning in their pre 5 6 In this respect we feel is it important to highlight the Arts Combinatòries (Com bined Arts) project by the Antoni Foundation. Tàpies After a decade-and-a-half of a consolidated, pioneering programme of exhibitions and activities this at museum, which have generated and introduced to Spain some of the most im portant ideas related to art and institutional criticalthinking, feminisms and post-colonialism, was it only in 2007 that, with the arrival of Laurence Rassel theat helm, the possibility of transferring this critical whole baggage from the exhibition galleriesto the operation of the institution itself was considered. Thus importance wasattached questionsto and issues like: can a cultural in stitution not only represent feminist thought, but decide to be guided by ap proaches derived from cyberfeminism or queer theory? And caninstitutional criticism serve to drive the working of a museum? In short, can the structure of an institution be consistently open to critical thought? 64 _ Performativity as a Modus Operandi archive over this time the of sphere the within worked have who projects the in involved actors the of some by expressed thoughts of fragments by quoting below is attempted This exposition. same this through reverberate them make to trying and project the across running lines stress the of some out setting of but discourse, exegetic an to it according portraying of For amatter not it is performativity? of concept the with line in operandi amodus to told according be also story this can However, archive. institution’s the in research doing time spend to profiles different of people and artists of aseries inviting involved Documents with Things How Do to to as well as sphere; educational the to related agents different with together worked has that action and research for aplatform rate, Open-Source Prototypes, Open-Source project the to led sphere public the to archive the linking of process The Pérez. Sellarès Maria and Campo Eva Rosa –under education of that Valdés –and Linda by – headed activities public of that –with Solé Bardalet Núria by –run itself department natòries combi Arts name the under departments: institution’s the of three between cooperation ongoing of organisation the enabled also archive The hibitions. ex and activities work managing day-to-day its in institution the by generated documentation the public the to available made has which 2009, in opened archive, an of creation the was institution the of substrate resentational non-rep the to thought critical of transfer this effecting in raised factor key The 8 7 Rassel, Laurence., evaluation process defined by Nora Sternfeld. Unpublished document, 2015 document, Unpublished Sternfeld. Nora by defined process evaluation Laurence., Rassel, Open Source Prototypes, Performing the Museum and How to Do Do to How and Museum the Documents with Things Performing Prototypes, Source Open text: this in three discussed the between initiatives relationship the tracing Vidal Pep by Diagram III: not is Appendix See discussed available. matters the regarding testimony whose yet project, the of out carrying the to important been have who actors of voices the include not do they that and projects the exhaustive, of not is given description the that underline to important case on any in It is section the in references. consulted be can citations bibliographical corresponding The in as well as contexts. other Museum, the Performing of and Prototypes) (Open-Source obert codi of en assessments Prototips of context the within made statements includes text the of part following The know?” Laurence Rassel Laurence know?” it does what features, main its are –what worked and it works how study to itself institution the for and public, the to archives institutional the open to important it was that then Idecided asked. been never had that questions ask and publics various it to open to years, 20 in like be could institution the what consider me to invited curator) chief (then Enguita Nuria and Board) the of Tàpies (President Miquel 2007], [by “At time that (Combined Arts), the Museum began a process of linking the archive archive the linking of aprocess began Museum the Arts), (Combined Performing the Museum the Performing to contribution Museum’s , the . 7 : 8

which I had the opportunity to cu to opportunity the Ihad which , which has has , which - - - - Oriol Fontdevila _ 65 ------. This is how 9 ), people also believed 13

12 . 11 . It was. It not therefore simply a matter of democratising knowl 10 project. Seen as a knowledge tool, the opening of up the archive do “In inviting the first few groups, particularattention was paid to the fol lowing question: which kinds of partners and collaborators might be in terested in becoming involved in a project that takes as its starting point “In the a way, foundation archive is the heart of the Open Source Proto types cumentation has been and is an attempt to provide the groups participa ting in the project with a review of museum management practices from a different standpoint. Approachingmuseum practices from an archive means shifting the usual centre of research from fieldthe of art, the work of art, to the documentary generated world by the art, whether through themanagement of a museum’s collection orthrough setting exhibitiup ons.” Núria Solé Bardalet Cook, Terry., “Archival science and postmodernism: new formulations of old concepts”,chival in: Ar Science. 3-24. 1. Kluwer Academic Publishers, 2001 Ibid. Ibid. Organising team (ed.): Prototips en codi obert. Primera etapa. Fundació online: https://issuu.com/lafundicio/docs/prototipsencodiobert-1aeBarcelona, Antoni 2011; Tàpies, tapa/3?e=1625986/2699846 Ibid.

Placing the archive the at centre of a process of dialogue with the public sphere is something exceptional. Thus, while recognisesSolé that a step beyond spe cialistresearch was required(“From thebeginning anothergoal of the project had been to diversify the community of the archive,” that the framework of cooperation in Open Source Prototypes should focus on the educational sphere: sive guardian of an inherited legacy, but as an active player in shaping both collective memory and institutionaland governmental processes From a performative standpoint, the archive cannot be identified as the pas 9 10 11 12 13 Rassel saw the archive as a space from which was it possible to begin the pro posed conversationwith the public about the institution’sown configuration, withthe prospect that “the audience could become the user,an intermediary of the museum” edgeor making the institution transparent, but of approaching the archive as the interface through which the institution “would be disrupted and would so unstable”become 66 _ Performativity as a Modus Operandi Open Source Prototypes Source Open of case the “In out: pointed Studies, Gender en’s and Wom for Institute Inter-University at the researcher trainee Mariño, Marta As them. of all for tainable sus and comfortable prove would that formats presentation joint as well as places, meeting generate and groups different the between dialogue foster to harder proved it has Nevertheless, itself. museum at the interventions through as well as formats, different in initiatives different through publicly seminated dis been have these and team, organising project the and researchers dents, stu teachers, by designed jointly projects education of consisting Museum, the at processes research out carried groups 2011 20 2015, and around Between 15 14 17 16

tapa/3?e=1625986/2699846 Tàpies, 2011; Antoni Barcelona, https://issuu.com/lafundicio/docs/prototipsencodiobert-1ae online: Fundació etapa. Primera obert. codi en Prototips (ed.): team Organising Ibid. Ibid. Ibid. they be able to benefit from this?” Oriol Oriol Fontdevila this?” from able benefit be to they would conditions what under and institution an of archive historical the Fine Arts Faculty of the University of Barcelona of University the of Faculty Arts Fine at the student Jou, Mireia one.” this like institution an of archive the into go can you that day every it’s not as experience, good it but is begin!), to where know didn’t you and folders and more (folders deflated alittle felt I question the of nitty-gritty the up against I came when that high so were expectations initial my frankly, quite foundation, the to regard “With LaFundició, members of CandeL’Hart of members LaFundició, relationship.” this construct to how and why, what for rethink to cessary ne time the taking it cautiously, approaching archive, the with dealing of way up our build able gradually to been have we [so that] coexist... can processes and times different which in aspace create and respect to nity opportu the it is positive, entirely be to consider we thing one is there “If i Superior Deià d’Art Escola at the teacher Vilapuig, Joan product.” end an as exhibition the of analysis any in emerge not would that aspects financial and legal on discussions work and allow to managed, were they how of details with us provide could archive the by kept exhibitions on documentation “The 15

17

16

14

, to , to ------Oriol Fontdevila _ 67 ------20

19

18 Open Source Prototypes is to short-circuit some of these disciplinary “Despite all the on work genealogy, deconstruction and criticism that cultural institutions have done aboutthemselves, concerning their role in relation to society and the historical processes that have shaped it, it is fair tosay that they are still in debt to the enlightenment programme, and one of their main functions continues to be precisely that of bringing the light of culture to the ignorant. As we understand it, one of the goals of processes to generate anti-hierarchical new, formsof relations between practices and a variety of cultural actors is it But too (...). easy for the insti tution to repeat its habitual proselytising mechanisms with a group like CandeL’Hart. Despite any guidelines and instructions that may be issued by the institution’s management or one of its programmes, the instituti on manifests itself and works through countless small gestures and ways of going about things that have been interiorised by its staff overlong a time, and which are not easy to change,” LaFundició “I thought the institution and art could be tools, instruments, are a system.some But ofthe groups, users, wereclaiming that thesystem should as work is. it Not being users of the tools, they wanted to have the samerelationship to the institution itself: visibility, acknowledgment, butmoney, not interaction, or conversation… some But others did con verse, convert, transform the institution.” Laurence Rassel Organising team (ed.): Prototips en codi obert. Primera etapa. Fundació online: https://issuu.com/lafundicio/docs/prototipsencodiobert-1aeBarcelona, Antoni 2011; Tàpies, tapa/3?e=1625986/2699846 Ibid. Rassel, Laurence., evaluation process defined by Nora Sternfeld.Unpublished document, 2015

tween the project and the institution have taken time to fashion. As Linda Valdés, head of public activities and project coordinator, admits, some at points hasit even been necessary to separate the project from the institution in order to guarantee its efficacy: “So, trying to be flexible without asking for workmore 18 Despite Rassel’s goal of disrupting the institution, is it a fact that the links be 19 ration (…) behindration (…) the project, in practice mechanisms were not created that favoured feedback in the form of dialogue. Perhaps the foundation failed to highlight thepossible commonalities,so thatthe onlything the groupshad in common was their research of and using the archive.” this must be added the major difficulty arising from thehighly mixednature of the groups making the up project… Despite the underlying idea of collabo 20 68 _ Performativity as a Modus Operandi terms of time and processes and time of terms in confined quite was that presentation work and for aframework of structure the from arising appeared, ones new way, while adifferent in though up again, came Prototypes Source Open with arisen had that issues the of Some agents. independent more and artists invite to it possible made available budget the time this sector, educational the with identify again these of many While files. pro different of actors six for archive at the programme residency a research the Museum European the of framework the within began 2015In cooperation 23 22 21 interdependency.” an developing and Foundation the of dynamics the into work our incorporating protocols, new, out different sketching began we er, Lat project. a self-sufficient became we on, early a way, very in So, protocols. ing work the of aspects some suspended temporarily have we colleagues, our from

dalet, Jara Rocha, Isaac Sanjuan and Pep Vidal. Pep and Sanjuan Isaac Rocha, i Bar Solé Jara Núria dalet, Onsès, Judit Juárez, Dolors Fontdevila, Oriol Fenández, Mariló Bernat, conversation: the Roger in part took following The Documents. With Things Do to How of research, presentation the their of staging the after shortly project Museum the Performing the in involved collaborators the of some with held aconversation from come below shown quotes the of Many 2015 document, Unpublished Sternfeld. Nora by defined process evaluation Laurence., Rassel, 2015 document, Unpublished Sternfeld. Nora by defined process evaluation Linda., Valdés, es and students,” Laurence Rassel Laurence students,” and es communiti different including city, the of sector artistic the of ventions inter uncontrolled the to open too was them for that aprogramme with happy not were team wider the of parts Some shared… wasn’t knowledge this and archive, the with directly dealing team the concerned mainly works institution the how understanding of issue the that Irealised but archive, the inside this find degree some to can you Evidently made. are decisions andhow financed it is way the is structure institutional an in fundamental is what as naïve, somewhat was This work… they how and structures the “touch” to us enabling of away was archives the “Opening Museum the Performing of interpreter l’ART and amb Experimentem of members Sanjuan, Isaac and Juárez Dolors research,” and experimentation to tly there should be more groups within Experimentem devoted permanen whether ask to us causing it is at present fact, In things. positive many us offered experimentation and research of process this Art), with Experiment l’ART (Let’s amb Experimentem as that say to have do “We project, something that made it possible to raise funds to finance finance to funds raise to it possible made that something project,

23 . 22

Performing Performing 21

------Oriol Fontdevila _ 69 ------. Unpub 24 25 . This was envisaged as a three-week event on the . At. time no didfeelI myself to be performingthe mu “The part that maybe didn’tquite fit mefor is thetitle of the scheme, Per formingthe Museum “There waslot a autismof amongWe wereus. all linked to the archive in but some among way, us we were unable to establish dialogue... a I have the impression that wesaw the archive as a mine rather than an agora. That we is to say, all went to get what we could it, out of like the great land-grab of the American West. Everyone looked for on their gold own account – whoever found got it rich and everyone else could get lost. Perhaps there was a little of this in our minds – a piece by Mozart is still foundevery six months in some archive, isn’t it?” Roger Bernat, theatre director, interpreter of Performing the Museum seum. I felt myself getting involved in the archive, rethinking the archi ve, searching the archive, working on the archive, but I don’t think I ever performed the museum.” Pep Vidal, artist, physicist and mathematician, interpreter of Performing the Museum lished recording, 2016 recording, lished Vidal, Pep.,comments as part of the evaluationmeeting of Performing the 2016 recording, lished Museum. Unpub Bernat, Roger comments as part of the evaluation meeting of Performing the Museum

24 Whatcaused the mostdiscomfort among theinterpreters isthe joint exhibi tion that was held to present the outcomes of all six research projects, to How Do Things With Documents selvesundertook to deal with the public throughout the period. Even though the exhibition followed the initiatives each interpreter decided to present their own respective research projects; in general, the exhibition/intervention was not seen asan opportunity for the processes to reverberate through the structure. museum On the contrary, in some cases theexhibition was seen as something that con tradicted the dynamics followed by the interpreters themselves – “For our partthere was disagreement whenwas it proposedshowing the research inan exhibition format, which also conditioned certain ways of working” (Experi was – or it seenmentem as 2016) a “toll amb imposed l’ART, by the institution. This is how we initially saw and interpreted the exhibition proposal. Once we understood accepted) (and exhibitions are mandatory components for art in stitutions we longer no saw them as a burden – nor a reason to change our way premises of the archive itself, for which Núria and Solé Linda them Valdés 25 70 _ Performativity as a Modus Operandi 28 at which institutional resistance to the opening arise: opening the to resistance institutional at which points two on precisely focused This asummary. of form the it on in thoughts his provide to Mayol Lluc artist and activist cultural l’ART asked amb mentem Experi locations. at both a day of most over place took organised was that day contact The playground. school the of potentiality the rethinking of basis the on plan master its redefining of process the in school, primary Dovella the was other the project; archive the with itself, Tàpies Foundation the was these of One public. the up to opening of concept the rethinking of process the in tions the Museum of Performing framework the within l’ARTamb initiative Experimentem The institutions nor museum people” (LaFundició, 2016). (LaFundició, people” museum nor institutions neither are processes socialise to need we spaces the Nevertheless, working. of 27 26

Bernat, Roger comments as part of the evaluation meeting of Performing the Museum. Unpub Museum. the lished recording, 2016 Performing of meeting evaluation the of part as comments Roger Bernat, recording, 2016 recording, Museum the Performing of meeting evaluation the of part as comments Pep., Vidal, LaFundició comments as part of the evaluation meeting of Performing the Museum. Unpub Museum. lished recording, 2016 the Performing of meeting evaluation the of part as comments LaFundició tarily composed it ourselves.” Roger Bernat Roger it ourselves.” composed tarily volun we think Idon’t but eh, music, it’s good and come… have mates our here, people are wow, there atmosphere; anice fun, abit of beers, a few for music right the was there audience... typical the with features, typical the all with opening an up doing end to easy it’s very to... used were we formats the were they as but with, comfortable was nobody that formats performativity into slipped all we Ithink exhibition, the to regard “With an archive, and that’s something.” Pep Vidal Pep something.” that’s and archive, an in exhibition an It was interesting. was exhibition an wasn’t actually that exhibition an of mutation weird that Ithought whole thing. the invading of away –it was everywhere beer was there that great it was thought “I the school (children coming and going, surprise at coming across thirty thirty across at coming surprise going, and coming (children school the in movement by interrupted be would activity the point at some ne that imagi might you least At eaten). just have or eating be also might day of time (who at that pupils with shared aspace or room adining in meal this day. You imagine school might ordinary an on at 1.30pm school Dovella at the lunch to Weinvited were outset. very at the school, the was itself manifested opening the to resistance which in settings the of first “The consisted of generating a space for dialogue between two institu two between dialogue for aspace generating of consisted 27 28

26

. Unpublished . Unpublished ------Oriol Fontdevila _ 71 ------) and ArtsCombinatòries

29 , 2016 strange adults invading the school,etc.), but on the contrary, lunch was in a windowless classroom, cut off from allphysical and visual contact outside the room. risk No of the school’s activities interfering with our day or viceversa. Strangely enough, even when the strange adults moved around the school, from the classroom to the playground, we never came across any pupils or teachers in their daily routine. Another time when this resistancemanifested itself wasthe at end of the the at day, Foundation, Tàpies when the people from Experimentem amb suggested l’ART a picnic inside the building, together with a debate about where to have it. The few spaces proposed were rejected by the foundation staff on grounds of internal security and curating rules, or simply on sensible arguments ( not “bothering” other staffat the centre). Inany case, thepicnic ended happeningup inthe room, the space directly related to the activity hosted it (as the exhibi tion within which was it framed: to Do How Things with Documents seemed ready to host us without causing any disturbance. The founda tion was closed to the public the at time, but if had it been open our activ ity would not have interfered very much all at with its routine function ing, in terms of either visitors or work.” Lluc Mayol mentem amb l’ART’s project Fissures institucionals l’obertura de Mayol, Lluc., “Obertures controlades en trànsit”. Unpublished document related to the Experi

ance. When the background becomes the subject, hitherto a new, unseen back ground is always to be supposed.When a relationship is established, this is inevitably accompanied by exclusion. When a new displacement is generated, isit very easy for this to end becoming up the rule. isIt therefore important to point out that access to the non-representational substrate of art provided by Arts Combinatòries and the projects derived from was it not problem-free. isprecisely It in this settingthat art and its institutions see one another above all as a problem. However, for the same reason, these are the spaces where significantlearning can be generated and possible alterna tives can begin to develop, both in terms of artistic thought and in relation to the institutions themselves that make this openness possible. In fact, opening the up archive did not put an end to either opacity or resist 29 72 _ Archive + Power. sation is the introduction of the ideological or the current realpolitical current the or ideological the of introduction the is sation de-re-politici of process same the of Apart memory. of design accidental or intentional the of apart as political the of abolition the and past the of cising Performing the archive in art. in archive the Performing archive fever (Derrida). fever archive of era a new into us leading archives, with fascination of awave initiated has technology Digital power. of production the of system the in location their with mensurate com also is archives, of capital symbolic the as well as role archives, of logical epistemo The power. technological and political social, engages that design accumulation of methodology very the neutrality, by marked are that sources” “primary are archives though even that, idea the from proceed We performances. new and recontextualisation their for aresource as tices prac archive of register the in processes certain or past the from studies case use artists The history. creating in institution an of power symbolic the and museum the between relationship the analysing context the within ventions inter artistic as well as (micro)histories, new of projection the and memory of (de)construction precipitations, discursive their and wholes private) and (public archive certain of (re)interpretation the with deal who artists by tions Archive Power and exhibition The individual. and societal both structures organised other as well as institutions, of types ious archive the of notion the explore Archive exhibition group The Archive +Power. Gordana Nikolić, Sanja Kojić Mladenov 1 2 Performing the Museum the Performing project international the of a part as 2015, November in Vojvodina Art Contemporary of Museum the at presented Build were Cibic ing Desire Jasmina artist by exhibition solo the and Power and Archive exhibition group The ian_impression.pdf http://newsgrist.typepad.com/files/derrida-archive_fever_a_freud 1996. Press, Chicago of sity Impression AFreudian Fever: Archive Jacques. Derrida, exhibitions. the of concept were curatorial Mladenov the for Kojić Sanja and responsible Nikolić Gordana Zograf. Aleksandar alias Rakezić Todor Saša Zoran ović, Todorović, Isidora Cibic, Jasmina Prostran), Boško Ilić, (Isidora Doplgenger ing:

Power and as accumulated knowledge produced by var by produced knowledge accumulated as 1

2 One extreme of this trend is aromanti is trend this of extreme One presents artistic investigations that that investigations artistic presents . Trans. Eric Prenowitz. Chicago: Univer Chicago: Prenowitz. Eric . Trans. , with the following artists participat artists following the , with is made up of new produc new up of made is represents a represents as the the as ------Gordana Nikolić, Sanja Kojić Mladenov _ 73

------6 archive

(2015) rep the

by the French 5 and Germinal in society – as a po memory thereby survived as one of museum which tells forget us to) (not the , 3 4 a Starless Night, Dark and Dense as Ink

Ibid The artists and art initiatives, acting upon the invitation of theMuseum Vojvodina, of Contemporaryrealised their Art new artistic productions (with the exception of Saša Rakezić Alek– sandarZograf), which is a specific aspect of this exhibition The title of the work was taken from the opening sentence of the novel novelistÉmile Zola The (1885). novel a is harsh and realistic story about a miners’ strikeern France in north in the 1860s. The SocialistFederal Republic Yugoslaviaof (SFRY) wasYugoslav a state that existed endfrom of thethe Second until War (1945) World its disintegration in 1992. was It a socialist state en compassing the territory consisting of today’s now independent states of Bosniavina, andMontenegro, Herzego Croatia, Macedonia, Slovenia, and Serbia. was It proclaimedterritoryin 1943 of theon the Kingdom of Yugoslavia under the name of the Democratic Federaland was Yugoslavia, internationally recognised as the legal successor of the Kingdom.the official In 1946, it was givenname of the Federal People’s Republic Yugoslavia, of and on the basis of the Constitution of 1963 was given its final name, the SocialistFederal Republic Yugoslavia.of resents a post-apocalyptic vision of the future that takes us back to the past for purposes of locating the breaking point that signalled the changes in the global economy, labour relations and the domination of financial markets that constitute well-beaten track of the future “catastrophe of civilisation”. A look into the past takes us to one of the peripheral territories of today’s global econ omyformera – socialist state,the Socialist Federal Republic of Yugoslavia. 3 4 5 The artduo Doplgenger (Isidora Ilić, Boško Prostran) from Belgrade ex um as an institution that traditionally constitutes its social through role the act of accumulation and concern about artefacts and other objects possessing artistic, cultural or scientific value. Archivisation the central discourses within the framework of which the identity of the mu seum is constituted in the processes of memorisation. Theneuralgic point of the museum process of memorisation is precisely the interpretative and per formative act of the institution – performing the ploredtelevision recordings of the regional Vojvodina Television (the former Novi Sad Television) dating from the time of its founding in the early 1970s. Their video Through work Another instance explored through this exhibition is the notion of the muse wayin which we remember. The relationship between 6 is determined by the aporia of archive fever archive, so that memory should happen. tential avant-gardisation of “the past” and the political of the role institution. isIt precisely the autonomy (albeit apparent) of artistic practice that we have selected as the ground zero of potential oblivionor new memory. This exhibi tion acquaints us with explorations of and experiments with performing the archives. by preserved histories In socialist Yugoslavia, the economic reform of 1964, which advocated a shift 74 _ Performing the archive in art. important national museum-type institutions for modern and contemporary contemporary and modern for institutions museum-type national important most the of one – rivers Danube and Sava the of confluence at the Belgrade, in Art Contemporary of Museum the of building the inside a halt; to fensive of German the brought which 1943, of summer the in troops German the and Partisans Yugoslav the between fought Sutjeska, of Battle famous the of cation lo –the Park National Sutjeska at the later; and 1920s the of end the from elite cultural the of place gathering important an and a sanatorium – once Banja Vrnjačka in Aleksandar Hotel at the text: the for important locations certain in recorded were performances These authors”. said the with politics and art between relationship the in interest an “share who scene theoretical-artistic the from individuals and –groups collaborators by performed and Popović and Ristić between correspondence private and texts above-mentioned the of whole composed archival same the of “reading” acontemporary of act the on focuses scenario The later. written texts polemical of avariety did as at, hinted book the which Yugoslavia”, of history the from episodes “symptomatic certain Popović, Koča and Ristić Marko surrealists Yugoslav the by co-authored book the to fers of aPhenomenology for Panoramas Several title, whose Todorović Zoran artist The today. consequences attendant many its and system political-economic global the of disaster the of avision as memory critical anew represents and events recorded memorising of mode existing the distorts actually archive the network’s from recordings on interventions These temporality. potential and its narration the of flow the interrupt that interventions back-and-forward occasional with cuts, short edited of consists and procedure, acollage through footage of found out arose video The Europe. Western towards Yugoslavia from away force labour the of movement the and changes economic global then the to pertaining processes of recordings containing archive television the from news) programmes, interviews, reportage, of form the (in footage selected on based essay afilm produced Doplgenger migrations. economic so-called of path the into work market, temporary European the towards workers recting di by regulate to attempted state the which unemployment, in rise – agreat components repercussive darker its of one with 1960s, the of half latter the as early as faced, was economy, (proto-capitalist) apseudo-market-based towards 7 Affairs of the SFRY; and from 1966 to 1967 he was the Vice-President of the SFRY. the of Vice-President the was he to 1967 1966 from and SFRY; the of Affairs for Foreign Secretary the Federal was he to 1965 1953 from Army; People’s the Yugoslav of Staff General the of Chief was he 1953 to 1948 From Yugoslavia. of hero anational and work of socialist ahero SFRY, the in worker asocio-political Army, People’s Yugoslav the of aLieu War, Liberation tenant-General National the and War Civil Spanish the of participant poet, surrealist philosopher, communist, Yugoslav and aSerbian (1908–1992) was Popović-Koča Konstantin 7 dating back to 1930. Todorović organised the video scenario around around scenario video the 1930. organised Todorović to back dating is the author of a multi-channel video installation installation video amulti-channel of author the is the

Irrational (2015) re (2015) - - - - - Gordana Nikolić, Sanja Kojić Mladenov _ 75 ------, reviews, the explores the less . This interactive work Internet

presents a bare landscape, that 8 Saša Rakezić, alias Aleksandar Zograf Aleksandar alias Rakezić, Saša , Rakezić, exhibits selectiona of his comic strip panels wherein he locates his stories. The selected episodes repre electronic communication and the body 9 , Archive and Power Archive Except for an accidental reflection of their movements on the glasses on thesimilar. table in front and Soft circuits / E-textiles – a fabric that contains digital components (LilyPad Arduino and simi lar). is, an ambience wherein the presence of the protagonists remains unseen. In thisthe way, artist contrasted the dynamic performativity of the speech form as a discourse on art and politics, with the meditative, almost motionless shot of a panorama in the video, which is reminiscent of a traditional landscape in oil on canvas. Contrasting the audio and video forms here also acts as a kind of trigger, moving the viewer to ponder suggestivity and the manifold meanings of the “reading”, the political articulation, in the process of memorising the image and the other way round. The comic stripauthor notion of the archive in the context of the characteristic practice of self-archiv ing through the comic strip, wherein the author, who is the at same time the protagonist of the comic strip and the narrator, presents certain real or partial ly imagined situations from his own life. Within the framework of the exhibi tion createdbetween as2003 kind a and of2014 pseudo-diary and personal pseu do-history, through which the public/official history is reflected as the macro level or the zeitgeist sent Rakezić’s fascination with flea markets and forgotten archive material as the main resources for the narratives of his comic strips, in which the accumu lated archive of the “collective subconscious” from flea markets is reanimated and redesigned. In her Soft work Connections artist (2015), Isidora Todorović visible goings on in the white cube of a gallery, a museum, where is it usually the course of organising and exhibiting works of art that constitutes the main event: the visitors’ reaction to the setting or the event, and the mutual connec tions between the visitors. The artwork is ephemeral itsin final form. It is an “open work” that is realisedas an unpredictableperformance carried out by the visitors to the exhibition. The artist follows the movements of the visitors a museumat exhibition, experimenting with technology – soft computer cir cuits art. The visual language of this monumental installation is conceptualised through the relationship of the absence-presence of theprotagonists, for in two of the three segments of the installation their presence is confirmed by an audio recording, whereas the video recording 8 9 76 _ Performing the archive in art. reality that unfolds inside the theatre is accompanied by the voice of a female afemale of voice the by accompanied is theatre the inside unfolds that reality the of flow visual the video, the In stage. awhole atheatrical on form to vilion pa Yugoslav the of model ascale of parts together putting performers male of the Kingdom of Yugoslavia, of Kingdom the of Pavilion national the of building the work is this of protagonist the time, same the at and, study case The state. nation the of imaginarium the of framework the within spectacles of construction the in language visual of mentalisation 10 Pavilion installation video new her In sat. visitors which on furniture exhibition up as set were which model, architectural an of parts separate and illustrations watercolour installation, video single-channel Desire Power Jasmina Cibic Building Desire solo exhibition the is this of segment A separate impressions. recorded of “archive” network unstable an become thus Bodies network. created momentarily the through emotion, even sensation, simulate to is case this in function whose Internet), body (the bodies connected of technology the actually is gadgets) various like (just worn is that technology connected The stimuli. (light) visual and (sound) auditory (vibration), tactile of series as a sender the of impressions sensory the experiences recipient The audience. museum the of interaction senso-motoric the of points moving come uses Baker by architect Adolf Loos. The video work Pavilionvideo The Loos. Adolf architect by Baker Josephine for a villa for project the as such documented, better are that tures struc (architectural) similar seemingly of appearance the on relying method, comparative the using pavilion the of exterior the on documentation visual the in lacunae the filled Cibic past. the of memorisation the of process archival pavilion Brašovan’s consider a way, can we In incomplete. and gre mea quite is preserved been has it of that documentation scant the for today, pavilion Brašovan’s about known is enough not reputation, exceptional its and accolades international the Despite Barcelona. in World1929 at the Exposition in temporarily (1887–1965), erected Brašovan was which Dragiša architecture name of the state to “the Kingdom of Yugoslavia” on 3 October 1929. 3October on the Yugoslavia” of changed Kingdom “the to Iofficially state the of name Aleksandar King beginnings. very its from Kingdom the for colloquial the designation was “Yugoslavia” name the but Slovenes, and Croats Serbs, of Kingdom officially was the Kingdom called the existence, its of years 11 first the During union. the before parts Serbia of been had Macedonia Vardar the and Vojvodina Kosovo, of regions the whereas be that, days fore five Serbia with merged had Montenegro of Kingdom The Serbia. of inde Kingdom previously pendent the with Austria-Hungary) former the of region the in (formed Serbs and ats Cro Slovenes, of states temporary the 1918 in uniting by formed World (1939–1943). War It was Second the of half first (1918–1939) the in wars world and the between period the in which Europe, existed Central and Southeast both spanned that state a was of Yugoslavia Kingdom The soft circuits soft at the museum represents a unique Gesamtkunstwerk aunique represents museum at the Building Building exhibition The rehistorisation. of practice specific the through , Archive and Archive and exhibition the with linked conceptually is which integrated in sewn vests that visitors can put on and thus be thus and on put can visitors that vests sewn in integrated 10 a project by the pioneer of Yugoslavian modern modern Yugoslavian of pioneer the by aproject , Cibic , presents a group of fe of agroup presents

explores the instru the explores consisting of a of consisting by the artist artist the by lost in the the in ------Gordana Nikolić, Sanja Kojić Mladenov _ 77 ------presents us with a century, and actual and century, th identity inthe register of modernityduring the 20 tarist manner the methodology and process of reconstructing the lost pavil ion. Recorded from various angles and perspectives, the performance of build ingis transformed into visuallya seductive series of choreographic arabesques created by the performersin light overalls on a black stage floor. By giving a usuallyrole reserved for men (the builders working on the pavilion) to wom en, and by introducing a female narrative voice, the artist effects a conceptual inversion of the ideological imaginarium manifested through the panopticon created or suggested by the historical factography. This Cibic way, articulates her politicalintervention in the ideological imaginarium of the disappeared nation state within the framework of the contemporary recontextualisation of the memory of the periphery. Thememory of the periphery is actually a rein vention of imperial power, and the feminist perspective here plays the of role rehistorising that imaginarium. Ultimately, Pavilion Cibic’s model of artistic intervention as a corrective of history. The artwork as a rehis torisisationof casea study of spectaclea from the history of the disappeared Yugoslav state also represents a critical overview of the inscription of the Yu goslav narrator, which functions as the artist’s alterego, and describes in a documen ises the question of the discontinuity of avant-garde utopias as bearers of the political emancipation of the periphery. Performing the Museum

Interpreters Performing the Museum

Interpreters

Performing the Museum project _ 81 ------Performing the Museum the project Performing “Performingthe Museum” is aninitiative of four different museums that aims to generate new thinking and open new practical possibilities on the future of such institutions. The initiative is built on different resources of each institu tion that collaborates on the project and based on different practices, some set on tradition and thealready established working methods and others seeking practices. experimental in resulting methodology, different a museumsThe participating on the project aimat re-evaluating and rethinking their resources: archives, collections, and working methods, in order to devel op their potentials by creating knowledge and connecting to various types of audiences and social concerns. The traditional roles of the contemporarymu seum are changing. Its most important activities are longer no merely storage, studying, and exhibiting of artworks, but also an active involvement with the museum’s audience. this For reason, the project will develop combination of exhibitions and educational programmes based on the participatory approach, intended for both the audience and the staff. Creation of knowledge, based on the non-hegemonic, emancipatory principle is oneof the strategic orientations of all the participating museums. Each museum seeks to establish an active dialogue with the audience through a series of presentations, productions, educational workshops and through the presentation of artistic research to the public. The intention is, both for insti tution employees as well as for users and the wider public, to raise awareness on institutional resources that fall outside the usual framework of museum col lections,permanent collections and museum exhibitions and draw attention to museum documentation,architecture and exhibition conditions, to the context of the procurement of art and of its creation, to institutional written and unwrit ten history, to employees and associates, and, ultimately, to the audience itself. Partners: Museum of Contemporary Art Zagreb / Muzej suvremene umetnosti Zagreb Museum of Modern and Contemprary Art Koroška, Slovenj Gradec / Koroška galerija likovne umetnosti, Slovenj Gradec Fundació Antoni Tàpies, Barcelona / Fundació Antoni Tàpies, Barcelona Museum of Contemporary Art Vojvodina, Novi Sad / Muzej savremene umetnosti Vojvodine, Novi Sad 82 _ Performing the Museum project The two-year international project project international two-year The 03.11–29.11.2015 DESIRE”, “BUILDING Cibic’s Jasmina and “ARCHIVES POWER” AND Vojvodina, Novi Sad Museum of Contemporary Art can occur. can memory that so archive, the (not) forget to us tells which fever, archive of ria the apo by determined is archive the and memory between relationship The remember. we which realpolitiks current and ideological the of introduction the is extreme Another memory. of design inadvertent or erate adelib of part as political the of abolition the and past the of romanticising the is trend this of extreme One (Derrida). fever archive of era a new into us ushering archives, with fascination of awave produced has technology Digital power. of production of system the within located being their with commensurate are capital symbolic their as well as role archives of logical epistemo The powers. technological and political social, engages that design a represents accumulation of methodology very their neutrality, of mark the bear that sources” “primary are archives though Even well. as individuals by and society, of structures organised other asand well as institutions, of types various by produced knowledge accumulated the as archive the of notion the examines and Power” “Archives exhibition the explorations, artistic Through Cibic.“” Jasmina artist by Desire” “Building solo exhibition the and Power” and “Archives exhibition group the of consists (MoCAV), Vojvodina Art Contemporary of Museum at the edition PERFORMING THE MUSEUM THE PERFORMING

as determindictating the way in in way the determindictating as

, in its first first its , in - - - Museum of Contemporary Art Vojvodina, Novi Sad _ 83 ------PERFORMING THE MUSEUM came into being as a result of PERFORMING THE MUSEUM the at Museum of Contemporary turalor scientific value. Archivisation has thereby survived as one of the cen tral 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 avantgard isation of “the past” and the contemporary political of the role institution. The exhibition“Archives Power” and presentsnew productions of artists who deal with exploring and (re)interpreting certain archive (public and private) wholesand their discursive deposits, (de)constructing memory and project ing 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 from a terminological register as a resource that they recontextualise through a new performance. Jasmina exhibition solo Cibic’s “Building Desire” is conceptually connected with the “Archives and Power” exhibition through the characteristic practice of recontextualising a historical theme. The project Art Vojvodina is realised through partnership cooperation with the following institutions: the Museum of Contemporary Art Zagreb, the Museum of Modern and Contemporary Art Koroška, Slovenj Gradec and the Antoni Founda Tapies from Barcelona.tion (Fundació Antoni Tàpies) The project theinitiative of four museums to (self-)examine, revaluate and interpret the museums’ resources, archives, collections and methods work in order that these institutions could develop their potential, as a “common good”, bycreating new knowledge and liaise with various kinds of audiences. A two-year programme within the framework of the project unfolding the at international level contains various public activities of the partner institu tions: exhibitions and presentations of contemporary and historical artis ticpractices, an educational portal for childrenand young people, a joint digital archive, a collection of theoretical papers, publications accompany ing the exhibitions, expert conferences, meetings of programme editors, numerous lectures, workshops and curatorial residencies during and 2015 The realisation2016. of the project relies on the international cooperation Another instance examined by this exhibition is the notion of the museum as an institution that traditionally constitutes its socialthrough role the act of accumulation and care of artefacts and other objects possessing artistic, cul 84 _ Performing the Museum project very beginning of the process, foreign workers were accepted as a labour force force alabour as accepted were workers foreign process, the of beginning very the From workers. foreign of down settling the of character temporary the ing emphasis for force development, economic on of account its conditions labour a required countries European Western abroad. employed” “temporarily ers grants, émigrés, foreign workers, economic migrants, gastarbeiters migrants, economic workers, foreign émigrés, grants, immi as designated were process this of protagonists The migration. nomic eco – temporary migration of type a new with faced was Europe 1960s, the In fields. beet-root the intersecting length in 10road kilometres paved astraight, Montsou, to Marchiennes highway the from along alone walked aman ink, as thick and dark as sky astarless beneath plain, open the Over sound stereo video, HD channel Single 2015AS AS DARK INK, THICK AND BENEATH ASTARLESS SKY, DOPLGENGER Nikolić Gordana Mladenov Kojić Sanja concept: exhibition the of authors and Curators torial residency programme. cura the of framework the within Serbia, and Croatia Slovenia, Spain, from es, scienc social and humanities the on as well as media, new and art temporary con on experts of participation the involving November), (3rd–5th Power” and “Archive entitled symposium three-day by a accompanied are exhibitions The platform. online project’s the through public broader the of participation the on as well as museums, the in participation audience experts, education theorists, artists, curators, of 1 01 Émile Zola –Germinal Zola Émile (1885)

1 and work and ------Museum of Contemporary Art Vojvodina, Novi Sad _ 85 ------Yugoslav La Yugoslav , then, experiments experiments then, , Soft Connection continues the author’s investigations of the soft com communication and the Internet of the body itself (within the ‑ with Austria, France and Sweden, and then also with FR Germany 02 The Soft work Connections Isidora Todorović Todorović Isidora CONNECTIONS,SOFT 2015 Mixed media (sewing, Arduino, LilyPad stitching) forhire that would beengaged according to country’sa need– and when their serviceswere longer no required – they would be fired. The liberalisation of Yugoslavthe economic system its and approach to market economy created a surplus of labour force. Through the economic reform of 1965, Yugoslav state organs liberalised the migration policy and maximised workers’ going abroad, concluding the Agreement on Employing puter circuits, e context of this exhibition – the body of the audience). The work uses sewn gar ments thatcontain integrated“soft” circuits(specifically, LillyPad Arduinoand sensors), which are put on by the audience members. The garments that are put oninteract mutually through sensors, creating interactionamong the visitors. In this the way, sewn garments become points of sensomotor audience interaction, where one visitor “sends” sensory “impressions” while the others receive them in the form of a “touch” (which is manifested through the vibration of the elec tromotor) or an “auditory experience” (which is manifested by means of playing sound)a and, finally, through light. The work cal context of the exhibition/museum, with the help of wearable technology. with the sensomotor impressions of the audience within the socio-culturologi bour Force in1968. More than one-sixth of the country’slabour force lived and worked outside of Yugoslavia. In the early 1970s, under the conditions created by the oil crisis and changes in the global economic relations, there appeared new models of labour force migration. From the moment of signing the above international agreements, Yugoslav tel evision the recorded processes temporary of economic migration. 86 _ Performing the Museum project whose scenario touches upon a upon touches scenario whose camera, designed aspecially with recorded installation, a video is Irrational the of aPhenomenology for Panoramas Several installation video Multi-channel 2015 IRRATIONAL, THE OF PANORAMAS FOR APHENOMENOLOGY SEVERAL Zoran Todorović power. extraordinary an possessed forgotten or rare was that everything creating, unwittingly perhaps Iwas archive that the in speaking, Generally ures. treas untold which Iextracted from subconscious, collective the of mine gold a source, the was market flea the case, such one –in stories my into own me, to unknown mostly people, other of material and drawings the transposed I simply Sometimes books. and articles newspaper forgotten and old using by or markets, flea in scenarios my stories’ for material of alot Ifound Working strips, comic on radiance. strange a with suffused Ifelt gathered, thus artefacts atthe Looking things. of sorts all collecting for adesire with connected it that was realised I Subsequently as well. in dreams my itself manifested often which has searching, for urge myself, of aware this felt Ihave Ibecame since Ever print digital strips, comic Colour 2014. HIPNISON, DR 5. 2011. ZAJEČAR, APOSTCARD FROM 4. INUIT, 2003. FRIEND MY 3. 2003. MINE, GOLD THE 2. 2014. TIME, IN LOST 1. SKETCHES Zograf) (aliasAleksandar Rakezić Saša 04 03

- Museum of Contemporary Art Vojvodina, Novi Sad _ 87 ------, written jointly by Marko Ristić 05 tural model of the Pavilion of the Kingdom of Yugoslavia built in Barcelona for Exposition. theWorld 1929 That temporary structure was designed by the Ser bian architect Dragiša Brašovan and, according to legend, received first prize theat Exposition. Due to political intrigue, however, subsequently it lost first prize, which was then awarded to the GermanPavilion and its architect Mies derVan Rohe. In her research, Cibic attempted to retrace the building’s design through institutional and private archives, reconstructing a model of the orig inal corresponding on a scale of 1:7, to the scale of a standard 4-stud × 2-stud Lego brick as compared to the unit size of a standard house brick. In the video, a female voice-over in documentary style presents a description of the artist retracing the lost pavilion, as well as her making for up the gaps Building Desire is a new moving image by work the artist Jasmina Cibic. The video shows a group of female performers assembling a large-scale architec Single-channel HD video, stereo sound Jasmina Cibic BUILDING DESIRE, 2015 lication of this book. These texts, as well authors’the private correspondence, make the up archive material interpreted and performed by various actors, theoretical-artistic groups and individuals who sharethe same interest in the relationship between politics and art as the authors of the above-mentioned texts. The work is performed as a kind of performative reading of a group of interested persons, which is simultaneously recorded in certain locations es sential to the text in the form of video panoramas. Collaborators: Stevan Vuković, Biljana Andonovska, Branka Ćurčić, Zoran Ga jić, Ivana Momčilović, Sezgin Bojnik, Slobodan Karamanić certain number of symptomatic episodes from the history of Yugoslavia that were hinted and at that can be followed in the relationsreviewed inthe book A Sketch for a Phenomenology of the Irrational and Koča Popović, and from some polemical texts writtenafter 1930 pub the 88 _ Performing the Museum project courtesy of the artist the of courtesy Vojvodina Art Contemporary of Museum at the installation 2015 Desire, Building Cibic, Jasmina artists the Texts by: Novica Petrović Translated by: mechanisms. power soft its and control of towers of construction authoritarian of optics the to points Desire Building control, military national of avehicle be and desire exotic house to supposed was that state, anation represent to made was that abuilding confronting By Wilkinson. Norman artist the by invented camouflage fleet navy national British the and Pavilion, Brašovan the as years same the in designed Baker, Josephine for house Loos Adolf the was Such façade. striped and-white black- striking visually the Pavilion: Brašovan the of skin emblematic the share to happened also structures these spectator, the of control of tactics visual and formal same the utilising but purposes different Serving time. at the desire of visions authoritarian various represent to order in period the in designed also were that objects other upon drawing by evidence archival the in

Museum of Contemporary Art Vojvodina, Novi Sad _ 89 90 _ Performing the Museum project 04 01 single channel HD video, courtesy of the artists the of courtesy video, HD channel single 2015 Ink, as ick and Dark As Sky, aStarless Beneath Doplgenger, Irrational, 2015, multi-channel video installation, courtesy of the artist the of courtesy installation, video 2015, multi-channel Irrational, the of aPhenomenology for Panoramas Several Todorović, Zoran Museum of Contemporary Art Vojvodina, Novi Sad _ 91 Jasmina Cibic, The Pavilion, single 2015, channel HD 16:9, video, 6 min 43 sec in loop, production still: Matevž Paternoster 05 92 _ Performing the Museum project 03 colour comic strips, digital print, courtesy of the artist the of courtesy print, digital strips, comic colour 2011 Zaječar, from Postcards Zograf), Aleksandar (alias Rakezić Saša Museum of Contemporary Art Vojvodina, Novi Sad _ 93

Isidora Todorović, Soft Connections, 2015 media mixed courtesy of the artist 02 94 _ Performing the Museum project Roger Bernat Roger art? in and culture in policies other test to which in space appropriate an archive the Is alternatives? but artworks only not generate research curatorial and tique cri institutional can us? To teach extent what museums in mediation can What existence. 25-year full its throughout Fundació the of case the –in framework contextual their into incorporated have Fundació the like institutions which and art, in discourse critical the of part become have that forms emergency the of arevision for all, above and, critique tional institu for resource indispensable an becomes it Thus praxis. with face-to-face come discourses art contemporary where space is a archive The Fundació’s destination. aholiday of recommendation his for Fundació the of rector Social’ ‘Obra Haacke. Hans exhibition the during Borja-Villel Manuel and Haacke Hans between existed that relation the highlights that postcard a contains Tàpies Antoni the Fundació of archive The Documents with Do Things Fundació Antoni Tàpies, Barcelona jectologies that requires travelling to other places, such as a day of exchanges between between exchanges of aday as such places, other to travelling requires that initiatives included and Fundació the of space office the within place it took Basically institution. the of heart at the right out carried intervention an chive, in exhibition an It was critique. institutional on or archive the on based exhibition another yet therefore, not, was Documents with Things Do to How cio-cultural world. so the from agents and organisations various with collaborations in resulting analysis, of methods various using and perspectives different from mediation of registers the to approximations conducted 2015 In they archive. the work on and Lúa Coderch , Lúa Pep Vidal Pep were invited by the Fundació to carry out research research out carry to Fundació the by invited were , Experimentem amb l’ART , 1995. The artist thanks the then di then the thanks artist The , 1995. , LaFundició the ar the , Ob ------Fundació Antoni Tàpies, Barcelona _ 95 - - - - However, the crisis and the cur 1

at the at Fundació Antoni included Tàpies also took part. , a project based on the collaboration between an international museum InstitutionalAttitudes. InstitutingArt in a Flat EditedWorld by Pascal Gielen Valiz, Amsterdam, http://www.wdw.nl/wdw_publications/institutional-attitudes-2/2013, 01 seum network composed of Fundació Antoni (Barcelona); Tàpies Museum of Modern and Contemporary Art Koroška (Slovenj Gradec); Museum of Contemporary Art(Zagreb); Museum of Contemporary Art Vojvodina (Novi Sad). Museum the The team of Performing Oriol Fontdevila Núria (curator), Bardalet Solé (coordinator) and Linda Valdés (activities organiser). How to Do Things with Documents was the first part of Performing the Mu the staff of Fundacióthe and teachers from Escola Dovella(24 November) and a workshop for the creation of an archive on slums and the informal town of L’Hospitalet de Llobregat(25–28 November). Onand 2 3 November therewere twoevening sessions withlive presentations ofthe research carried out by the artists. The project’s international partners, Museum the Performing 1 Concepts such as tradition, history, values, dignity and certainty are the foun Experimentem amb l’ART amb Experimentem in Fissures Institutional Openness of Concept the dations of Western democratic institutions. rent changes in the political, social and cultural spheres make necessary it to reflectnumber on a of institutions characterised by stagnation and distance. One of the paths seen in many debates as the ideal horizon revolves around the concept of openness. why does Yet, an institution decide to become open? Whatstrategies must generate it to be considered open? What values lie be hind the notion of openness? What dangers and tensions may we find when we idealise concepts such as openness? 96 _ Performing the Museum project a dialogic Archive, a series of Activations in the territory and a nomadic Centre Centre anomadic and territory the in Activations of aseries Archive, a dialogic present: the it in activate and city informal the of memory the recover to tined work des of lines three around organised are CICdB the of processes working The reality. urban around practices constituent and knowledge of construction the for research collective and creation of processes of series is a CICdB The Archive CICdB LaFundició Sanjuan Isaac and Onesès Judit Majó, Anna Juárez, Dolors Experimentem amb l’ART debate. fertile and acritical of emergence the provoke to hope we characteristics, differential their finding By thought. of es plac traditional the from ourselves, steering also away, while them steer to but institution, each by faced challenges the and transformation institutional of es process the share to only not is aim Our institutions. two the between counter en an to us led has This etc. activities, in participation documents, of reading interviews, Tàpies: conversations, Antoni Fundació the and Dovella Escola the both to approximations several made have we mediation, of aposition From reordering. institutional an require that actions activates openness, of concept a against set being that, change of aprocess in involved consciously are tutions insti these of Both time. alimited for journey their share to intend and amples ex two Tàpies as Antoni Fundació the and Dovella Escola the We selected have citizens. of rights fundamental the as education and culture defended that project illustrated an of result the are they institutions, As museum. the and school the rethinking: need constantly that institution of types two To with worked have we so, do complexity. its all in ness open for desire this question to which from therefore, Aspace, actions. and words of meaning the around a debate create to us allowing acrossroads ate gener to wish we time, changeable and intense at an living are we that Aware 02 ------Fundació Antoni Tàpies, Barcelona _ 97 ------(The is notbased onany doc , curated by Pedro G. Romero. are showing We this docu mological devices not subjected to the hegemonic models of production of the social space? Our participationin toDo How Things with Documents umentation in the Archive of the Fundació Antoni Tàpies. Instead, we have in vitedits archivists to collaborate in the conceptualisation of the informal and subordinate archive of the CICdB. The process will be shown on 26,27 and 28 November,during three open working days to which we have invited, among others, the people who used to live in the shantytowns old of L’Hospitalet, the Centre d’Estudis of L’Hospitalet, the Grup Pas a Pas, the Centre d’Estudis of Montjuïc and Marià Hispano (archivist in charge of the exhibition archive of the Fundació Antoni Tàpies, among others). These working days are centered arround one question: what should the CICdB Archive And be? a main work ing hypothesis: should it be a dialogic device, that is, a network of related dis courses, ways of doing things, measures, tools and installations to exhibit the controversies created by its own origin and construction, and to foster a debate around this problematic. The current exhibition includes a diagram of the genesis and structure of the CICdB, as well as audiovisual documentation of the action Lachó Bají goodfortune), produced in collaboration with the Lachó Bají Calí Association and performed onMACBA, 7 November at to 2014 coincide with the event El sol cuando es de noche of Operations. Some of the questions derived from these processes might be: Can we recover the subordinate knowledge and narratives and build new ones onthe outskirts of the city? Fromthe poor areas, can we organise new episte mentation here as an example of what we think the Activations in the territory of the CICdB’s dialogic Archive should be. The action, which was created in col laboration with the members of the Lachó Bají Calí Association in the course of several meetings, consultations of domestic documentary material and in terviews with the local people, consisted of a walk round the places inhabited by the Gypsy community of the Gornal, an area in L’Hospitalet, from the early sixties to the early nineties. Here they first at lived in self-made shacks and later in prefabricated homes, constructed in the informal settlement known as La Cadena or Polígon Pedrosa, between the neighbourhoods of Can Pi and La Bomba. During the walk, the participants were given various texts and images with the testimonies of the inhabitants old of La Cadena and references to the development of the modern Economic District and the Lachó Bají School, the first official institution in the area. 98 _ Performing the Museum project 3. 2. 1. mediation: of paradigms three to sponding cuments Yet Not Know proposal The required. urgently is positions privileged and agents of adebugging institutions, cultural contemporary of practices and spaces the in condition’ ‘post-human the To understand/explore disputed. being is present the that infrastructures, world of de-subjectivised highly the in It here, is ignored. once were that technologies toward and with shifting is government) of (of enunciation, power which in world the of aconfiguration to led has institutions the by safeguarded culture anthropocentric the of unsustainability the by caused anxiety growing The cultures. present-day in subject the human of decentralisation of forms the is: That ‘Objectologies’. of functioning the verifying for useful especially is that epistemology and is prax of aform is archive the project, modern the of device aparadigmatic As 2015 Agency-Fiction, and Ontologies YetNot Surprise Know: Objetologías

03 rithms and syntactical, possibly ontological, unexpected forms. unexpected ontological, possibly syntactical, and rithms algo it with reassembles then and material institutional reconstituted the with speculates that – intelligence – artificial agent A non-human archive. the of rewriting a collective for and recomposed be to material the for allowing iteration for A surface material. the reading for categories unauthorised offering fragments archive of panel A static at the Fundació Antoni Tàpies, articulates three objectives corre objectives three articulates Tàpies, Antoni Fundació at the Do- with Things How Do to project the in , included

- - - Fundació Antoni Tàpies, Barcelona _ 99 ------04 tion. Mailings, posters and a presence in the media are the best way to attract visitors. Visitors are then registered, analysed and ultimately monitored.Audi ences are classifiedaccording age, to socio-economic status geographicaland provenance. The aim is to know identitythe of the different types audience. of do theBut public know the identity of the museum they are visiting? Do they know its socio-economic status within the particular context of the city and country in which is it located? Although museums continueto construct a representationof the by world ex clusion showing – some things and not others the –, opposite is true in regard to the audience.In this respect, only by being inclusive can the museum or ganisedevicea ofidentification and selection.Museums present themselves as integrating institutions, open to the public in general, and is it precisely this that legitimises them as powerful agents in the context of public institutions. Museums like to understate their presence so they can be seen as an instru ment the at service of artists and visitors, an innocuous tool that does not in terfere in the communication between the two. And yet, museums longer no legitimise themselves by the works they but by show, their capacity to attract different types audiencesof and encourage them to interact. The larger the participation, the larger will be the inclusion of theaudience in the democ ratisingdiscourse strongly defended by museums. participatingA citizen is an integrated citizen. Which lead us to suspect that the museum’s interest in knowing the public, in attracting and it encouraging to it participate, is no more than an integrating instrument, or an instrument of manipulation. Asking visitors to take part in a quiz is a way to reinforce the museum’s efforts in introducing the public into the logic of participation. this But time, visitors are not being asked to talk about themselves, or to give away their data, which, in any case, will beknown to themuseum bymonitoring theirtelephone number orpost al address. Neither are they being asked to participate in a democratic pantomime by voting in a referendum that wouldn’t change anything in the long term. The twelve questions in our quiz are about the institution attended by the visitor. Roger Bernat Roger QUIZ, 2015 FAT know theirTo public, museums use questionnaires and audience participa 100 _ Performing the Museum project Acknowledgements: Image, Estadella editing: Sunyol Adrià preserved. be to needs which that threaten can that remote, less or more gers, Screen Tàpies, Walls Antoni Fundació the of chive Ar the from documents on Based possibilities. other among amuseum, even or collection, a archive, an as structured be time in can butwhich at first, ered gath informally objects, and documents traces, of aseries behind leaves activity Screen Wallsproject. this for cifically Screen Walls [Dealing with the Wind and not with Gravity] with not and Wind the Walls with [Dealing Screen and failed, Lamp a Kerosene by In In technique. and time to relation our as well as it, within ourselves orientate world and the inhabit we way the on reflect to excuse an were the letters, and shelters, The institutions. the Museum project the during initiated correspondence a from came The idea about. just night, the spend could one which in architectures small or shelters build to trying locations various round going been I’ve months, few last the In 2015 Gravity], with not and Wind the with Walls [Dealing Screen Coderch Lúa perspective. own their from museum the perceive can they so, doing by and, absent be to choose visitors manipulated, be to selves them allowing consciously By emerge. to institution the allowing is visitor the quiz, the in part taking by that, rather participating, is visitor the while pears disap museum the that It’s not attention. of centre the being stop to visitor the allows questioned, being person the to than other interest no particular of operation, solitary This questions. the answers that person same the is quiz the of result the know to wanting person The up. them set who those not tions, ques the answer who people the of benefit the for aquestionnaire is A quiz 05 How to Do Things with Documents with Things How Do to , for which I periodically sent letters to different individuals and individuals different to letters sent Iperiodically which , for , two shelters constructed a few months ago and one that that one and ago months afew constructed shelters , two Andreja Hribernik, voice; Lluís Nacenta, production Nacenta, Lluís voice; Hribernik, Andreja Night in a Remote Cabin Lit Cabin aRemote in Night showing , Iam tackles the question of how any human human any how of question the tackles enumerates some of the dan the of some enumerates

Performing Performing , made spe , made ------Fundació Antoni Tàpies, Barcelona _ 101 ------. Pep Vidal González Vidal Pep DNI 6826244S

06 sentedsolely by Núria Bardalet,Solé exceptionally and in order to host the artisticproject by Pep Vidal González, IDN 6826244S,resident carrer at Mon turiol, 9è 1a, Rubí, authorises 27, the artist toconduct a residency the at head quarters of the Archive, from 20 July to 2 August from 2015, 8 am to 7 pm Mon day to Sunday. During this period, the artist will be the at Archive as a user and, as such, will be subject to the regulations attached of the in AFAT, this document. most For of the time, the artist will be on his own and will therefore be responsible for the installations and subject to the regulations of the AFAT. Equally, he is specifically bound to respect the confidentiality of the docu ments in the Archive of the Fundació and declares, under his responsibili sole ty, to respect the Intellectual Property Law of the reproduction rights of any of the documents. This research is solely for academic and educational purposes. anyFor other use of the selected and consulted documentation, previous au thorisation by the Archive of the Fundació Antoni will Tàpies be required. During the period of residency, the artist will be entitled to welcome visitors to the Fundació, but in circumstances no will they be allowed to enter the AFAT. The artist will see any visitorsat the adjacent room Arts of Combined confirmTo this, both parties sign this document in Barcelona,July 2015. Bardalet Solé Núria Archive Fundació Antoni Tàpies Pep Vidal Nailto Nailto Nail, 2015 Agreement for a Residency at the Archive ofthe Fundació Antoni Tàpies (AFAT) The department of the Archive of Fundacióthe AntonirepreTàpies (AFAT), 102 _ Performing the Museum project 03 02 01 Photo: Objetologías, 2015 Objetologías, Photo: YetNot Know Objectologías, 2015. Arroyo, Foto: Joaquín Photo: CICdB del Arxiu Museum: the Performing LaFundició, 2015. l’art, amb Experimentem Photo: Openness of Concept the in Fissures Institutional Experimentem amb l’ART , 2015 ,

, 2015. , 2015. Fundació Antoni Tàpies, Barcelona _ 103 104 _ Performing the Museum project 04 Photo: Blenda, 2015. Blenda, Photo: Roger Bernat, Quiz FAT , 2015. Fundació Antoni Tàpies, Barcelona _ 105 05 Lúa Coderch, Screen Walls [dealing with the wind and not with gravity], 2015. Photo: Adrià Sunyol, 2015.

06 Pep Vidal, Nail to Nail to Nail, 2015. Photo: Nail to Nail, 2015 Fundació Antoni Tàpies, Barcelona _ 107 108 _ Performing the Museum project (photographer) and the designer Rafaela Dražić. Rafaela designer the and (photographer) Opalić Ana relations), (public Matković Morana associate), (expert Puc hana Ti (assistants), Bedenko Ana and Rupena Bella (restorer-conservator), vatiček and Hor Pavić Tesa Mirta (curator), Jakšić Jasna comprised team project The reprinting. and bition Didactic Exhibition 1957’s Didactic prepared Opalić Ana photographer as well as and Horvatiček, Pavić Tesa Mirta 1976.conservators The in Art temporary Confrontation exhibition the in before years 40 from performance own his invoked Martinis Dalibor artist the and Archive, Bek Božo the about wrote Kutleša Ana searcher re and Curator Radisziszewski. Karol curator and artist Polish by founded was Fagazine DIK magazine the of issue aspecial of preparation the and Takala Pilvi by formance by Fokus Grupa, a video by Slovenian artist Jasmina Cibic entitled Hope entitled Cibic Jasmina artist Slovenian by avideo Grupa, Fokus by ( works included these itself: project the of part as arose that works new in resulting there, time alonger spend to invited were participants several programmes, residential for facilities provide can Museum the Since Exhibition Didactic the of apresentation and lection, Col Richter the in exhibition an residencies, research exhibition, permanent the museum’s in interventions included project the for programme public The tion. self-representa institutional in intervene to invited being by narrative own their debate to opportunity the given been have conservators and searchers re artists, name, in its of “contemporary” concept the incorporate to first the of one and history intriguing an with institution an Croatia, Zagreb, in Through Museum of ContemporaryinZagreb Art Stories about Frames about Stories Funder, Thilo Soren artist Danish the by Brady), Nicholas at the Museum of Contemporary Art (MSU) (MSU) Art Contemporary of Museum at the Museum the Performing , issued by the flying office of the Queer Archives Institute, which which Institute, Archives Queer the of office flying the by , issued , curated by Dimitrije Bašićević Mangelos in the Gallery of Con of Gallery the in Mangelos Bašićević Dimitrije by , curated 17 November 2015 201617 –31 October November in the NO Gallery of MSU. MSU. of NO Gallery the in Target Audience for exhi for , aper ------

Museum of Contemporary Art in Zagreb _ 109 ------by Josip Seissel. and the solid modernistic formations slowly revolves Target Audience (Nicholas Target the Brady), satellite takes the shape of 01 turning to the first Croatian avant-garde painting, Pa-fa-ma ed in a sort of hostage situation – the art museum is under siege and this nerv ous eerie situation plays out playfully in the museum’s permanent collection. Somewhere else, Philip K. Dick’s character Nicolas Brady is being invoked by means of a telepathic stream of hand-held video footage of a secret modern art collection concealed in a bunker in Leningrad. An endless torrent of mod ern classic artworks, disturbingly exceeding any realistic volume ofsuch pro ductions, bombards his consciousnessand ignites a new critical sight. This epiphanic video transmissionis relayed to Nicolas Brady via the godlike satel liteValis. In Josip Seissel’s Pa-fa-ma and turns on its on axis, spinning silently through space. In a playful clash between the expressive movements of the youngsters in the fixed structure of the museum space and the odd potential of new imagined art collections through fiction literature, Audience (Nicolas Target creates Brady) a tiny orbit around a modernistic satellite invested in the hidden power relations in the architecture and structure of the (art)museum and the history of the Croatian art.” avant-garde international and Soren Thilo Soren Funder Nicholas Brady 42” video, 11’ group ofteenagers “A are moving through the exhibition spaces, archives and basement hallways of the Museum of Contemporary Art Zagreb, always re Their movements recall the impulsive energy playgroundof a during recess. The strange game of hide-and-seek thatplays out among the modern artworks mightalso evoke the imagery of high school shootings.museum The is depict 110 _ Performing the Museum project 17 November 2015 201617 –31 October November Barcelona. Tàpies, Antoni Fundació Socialism”, stract Museum the Performing views: Exhibition Year: Dimensions: Technical info: bition space? exhi the is large How acollection? it have Does funded? publicly or privately it Is etc. it underwent, extensions architectural and transformations of kind what and if and established, was institution agiven where and when as such information It includes art. contemporary and modern of institutions contains that development in database digital is a Frames” about “Stories for basis The artwork. the then rather institution art the on based art, contemporary of history parallel a creates thus project The space. exhibition the of boundaries the beyond us taking institutions, art the of ality re material the to point texts new artworks, the of properties the revealing of Instead world. the around from institutions art selected and artworks between links establish to order in created were artworks exhibited which in years the on focus labels the on Texts labels. respective the of content the renewing ever by exhibition particular each to adapts that labels of asystem as realised space exhibition the throughout interventions of aseries is Frames” about “Stories Frames” about “Stories Fokus Grupa 02 2015–2016 variable variable Intervention, text-based, labels labels text-based, Intervention, , “On Resources, MSU Zagreb &Ab Zagreb MSU Resources, , “On - - - Museum of Contemporary Art in Zagreb _ 111 - - - - - André Malraux André century European museums was formed, a museological dic th Themuseum separates thework from the “undedicated” world and bringsit closer to opposing or rival works.Museum The is a collision of metaphors. , in which the exhibition curator Dimitrije Bašićević Mangelos, along with 03 Dalibor MartinisDalibor “Exhibition Guard” tate that stubbornly refused to champion any other models for presenting works of art. By dividing his time in an easy-natured way between works of varying value, Martinis emphasised the institutional value of certain works, specifically Vasarelythose by and Knifer when bearing in mind the fact thatit is usually the most valuable museum pieces that are watched over by a guard, who ensures discreetly that a safe distance is maintained between the works and the visitors. However, Martinis’ performance gesture was not discreet. Nor was invisible. it In fact, he stood or sat in front of particular works, deliberately blocking the visitors’ view of works whose value he wanted to affirm. Through um of Contemporary Art. was It performed as part of the exhibition Confronta tion works from the contemporary art collection and the Benko Horvat Collection, showed copies and reproductions of articles about art on an equal footing with original pieces of art. The innovativeness of Mangelos’ curatorial concept lied not only in the act of bringing original works of art and copies, or documents, face to face, but in his design of confronting works of modern art with works from the past. At the invitation of the curator, who wanted to prove that “only the actual relationship of the public to actual art production demonstrates the real social of art”, role Dalibor Martinis decided to – for a second time, and 40 years later – becomethe exhibition guard. So he arrived the at Gallery wear ing a uniform, cap, and an arm-band labelled “Guard”, and guarded the works of art by standing alternately in front of the works bymodern artists, then in frontcopies of Renaissance or Baroque paintings. In her essay “Postmodern Museum ism’s without Walls”, RosalindE. Krauss states that the easelpainting be more accurate,(to the oil painting) became the central axis around which the taste of 19 “Exhibition Guard” is a performance by Dalibor Martinis first carried out in in the1976 former Gallery of Contemporary Art, the predecessor of the Muse 112 _ Performing the Museum project Nadja Josimović Ljuboja, Nikolina Kovač, Mario Marinović, Nikša Cvirn, Petar Performers: 201614 April at Printers, Breakfast Bućan Boris exhibition the of opening an Performance: bait. the took they not or whether and performance the experienced had they how discuss to agreed and actors the with interacted had who public the of bers mem and artist the between conversation was a performance the of part final The another. of eyes the through oneself remodel to sibility pos the and self-image flexible amore encouraged directly context social The subject. the framed situation the way than less mattered situation the of truth the which in atmosphere an enabled Takala memories, false positive only ing us By elements. dubious more the overlook to them for enough flattering was tale initial the not or whether able choose to were they where aposition wards to them guided This off. thrown be to likely more was subject the specific so circumstance of a consisted herring’ ‘red The suspicion. arouse to order in tion, conversa the into implanted be would detail a strange exchange the of end the way. some Towards in them by helped been had and somewhere, met already had they that them persuade to tried and exhibition Bućan aBoris of opening at the visitors intercepted actors of agroup guests, as posing Whilst event. Pilvi Takala “Bait” Pilvi Takala permanent collection, 2 Zagreb, Art Contemporary of Museum Martinis: Dalibor with interview Public them.” exhibit that curators or institutions actual the by determined values artistic with artefacts being art of works about as ide fixed their shed visitors made Martinis behaviour, witty unexpected, this 04 adapted a performance given in New York in 2015 for the Zagreb York New Zagreb in 2015 in the for given a performance adapted nd floor, 17 November 2015 floor, 17 November Leila Topić Leila ------Museum of Contemporary Art in Zagreb _ 113 ------Jasna Jakšić, exhibition curator . , a historical, pioneering educational project produced created a public for art which, in fact, promoted the ZagrebCity Didactic Exhibition 05 porary, abstract art. Even assupporting a exhibition consisting of panels 92 on which photographs and reproductions from books and magazines the told storyof the emergence of abstract art, from Paul Cezanne in its very to 1957, conception, the exhibition stepped outside the format of museum education. The reason(or excuse) itsfor realisation was an exhibition of serigraphs by members of the Parisian Espace group – Edgard Pillet, Victor Vasarely and An dré – proposed Bloc to the Gallery of Contemporary Art by the critic Josip De waspolo. It probably the most visited exhibition of contemporary art in what was then Yugoslavia;after Zagreb,it went to the Gallery Fineof Arts in Rijeka, then continued its journey through Sisak, Belgrade, Skopje, Novi Sad, Bečej, Karlovac, Maribor, Sremska Mitrovica, Osijek, Bjelovar and Ljubljana, where wasit hosted in the Modern Gallery in 1966. was It exhibited again in Zagreb the andat Club in in Youth 1961, the Yugoslav National Army Hall as in 1967, Abstract Art II: Didactic Exhibition As travelled it from Zagreb, via Skopje and Maribor, to Ljubljana, the Didactic Exhibition Gallery of Contemporary Art. Seen from today’s perspective, through the ac tual selection of canonical works of art from the first half of the twentieth century,the exhibition raised the issue of the political and cultural signifi cance of the concept of modernity in the area of art, and of the relationship betweenoriginals and copies and the right to distribute copies, and inevita addressedbly, the policies of establishing a canon and a story in the history ofart. Its undisguisedbias placesin it the valuable category of a witness to the yearning to build the up institution and itspublic. Finally, theeducation al aid, which can be seen as a special “collage” and a narrative about art con tinuingon the base that hadalready been extended in theactual didactic course, perhaps points to the origin of artistic and social utopias. Conservation and Exhibition Didactic of Exhibition: Abstract Art I The by the former Zagreb City Gallery of Contemporary and Art designed in 1957, as a travelling exhibition, was intended to educate the public about contem 114 _ Performing the Museum project from undesirable external influences, and aesthetically is as faithful as possi as faithful as is aesthetically and influences, external undesirable from protected now is exhibition the equipment, and approach conservation our of result as a However, panels. the of age the of evidence are traces These glue. original the of moistness the of aresult as collage the in wrinkles tiny made or cardboard the on surfaced has which paper, of acomponent stains, lignin The Town. Upper Zagreb’s in Art Contemporary of Gallery City the in first at the glass, of sheets two between placed 1957 were April in shown originally 92 panels the that and later, added was tion Exhibition Didactic the of documentation the photographic studying Through isfactorily. sat achieved be would material fragile the of protection and aesthetics the both that so panels the exhibit to how was process decision-making the in debate greatest the aroused what However, watercolours. wood using retouching with along BKL, Eukalin glue, starch industrial pH neutral and paper tissue Japanese of alayer inserting powder, rubber and erasers conservation using cleaning dry as such procedures, conservation standard using repaired was damage the All conditions. microclimatic ideal in survive only could material of kind This stability. and durability of terms in quality poor of be to known was which background, cardboard on primarily changes, visible showed and conditions, and environments different many through been had life, of years 59 their over panels, didactic The –reversibility. conservation of principles basic the of one satisfy and implement to difficult quite it is which upon dium, me sensitive aparticularly is construction, paper any like structure, A paper Exhibition Didactic the of worthy apresentation create to how out working then one, appropriate the selecting and options exhibiting the reviewing of task complicated the master to needed we itself, tervention in the from apart tasks: main two were there procedure, conservation the In approach. tion conserva a“fetishist” assume to no need was there so artefacts, as no value had contents the intention, original the of terms way. In accessible able and understand asystematic, in visitor average the to closer design and tecture archi art, contemporary and modern bring and guidelines provide to aimed reproductions These meaning. object’s the with accordance in out carried be and artists, and theoreticians respected authors, of agroup of idea the low Exhibition Didactic the of panels the for required methodology conservation the considering In Didactic Exhibition Didactic , we discovered that the auxiliary system used for years in the exhibi the in years for used system auxiliary the that discovered , we made in 1957, it was clear that the approach should fol should approach the that 1957, in made clear it was still has some minor shortcomings, such as yellow yellow as such shortcomings, minor some has still Didactic Exhibition: Abstract Art Abstract Exhibition: Didactic in technical terms. terms. technical in ------, Museum of Contemporary Art in Zagreb _ 115 - - - - Mirta Pavić, senior conservator on display: Museum of Contemporary Art, Zagreb, 20 April 06 The central element of projectNada is Richter’s first,but unrealized design for the Yugoslav Pavilion the at EXPO 1958 in Brussels. Cibic appropriates and recreates the pavilion as a sculpture, which in turn functions as the skeleton of her new short film, around which the exhibition is centered. Inthe single-channel video installation, violinist Dejana Sekulić continually tunes the architecture according to the Miraculous Mandarin, a musical com Jasmina Cibic (Nada) Hope tion October 21 copies), – November 2016 position for ballet by Béla Bartók, which was chosen to represent Yugoslavia at the most important dates of the pavilion its – National Days – and whose role wasto maximise the attention and the number of visitors. The fact that the Yugoslav state chose the Bartók ballet as its representative moment is in itself intriguing since the ballet had been repeatedly banned by numerous political systemsto due itsexplicit subject matterthe– conflict between a prostitute and her pimp and clients. Alongside the single-channel video installation, shown in the Richter Collec tion, Jasmina installation Cibic’s also presents a series of collages. They take the form of a study for costume design and scenography for the second act of Nada, which will present a recreation of the original Mandarin 1958 ballet per formance in the Yugoslav Pavilion the at Brussels EXPO. The series presents ble to theble original presentation, 1957 thanks to an advanced aspect of museum care in accordance with the times, possibilities and circumstances. Didactic Exhibition May – 15 Museum of Contemporary Art Vojvodina, Novi Sad, 23 September October – 13 2016 Museum of Modern and Contemporary Art Koroška, Slovenj Gradec (exhibi 116 _ Performing the Museum project October 2016 October Museum. the of collection permanent the to next office temporary and intervention apop-up in Institute the of activities and search re his present will Radziszewski intersect. history art non-institutional and institutional which in history the and culture LGBT of history untold the of parts of inclusion the to contributed course of which characters, and events cal histori with also but collection, MSU the of parts certain with only not gaged en Radziszewski Zagreb, in residency his During sexuality. and art queer art, female as such offensive, or important less considered been have that stories accessing history, art of discourse dominant the of froms narrative minor and neglected discarded, the retrieve to aims Radziszewski Karol artist work, his In Zagreb Institute, Archives Queer Karol Radziszewski 2016 ber – 2 June Septem 17 Collection, Richter Vjenceslav and Richter Kareš Nada The State. of spectacle patriarchal the of maintenance and construction the securing strategies power soft as serve can architecture and art how analysing on focused especially is Cibic politics. its and environment existent an sider recon or redefine to tactics theatrical and media activity, of arange employs and nature in performative context-specific, and site- Cibic’s work is Jasmina spectacle. their of maintenance and tion concep their throughout utilise structures power that mechanisms chological psy the to alludes work the representations, allegorical these Through gories. alle State Nation female various of representations art-historical from drawn poses re-enacting whilst costumes recreated wearing adancer of portraits 07 ------Museum of Contemporary Art in Zagreb _ 117

Didactic Exhibition, 1957 118 _ Performing the Museum project 02 01 2015/16, photo Elvis Krstulovic, Iva Kovac Iva 2015/16, Krstulovic, Elvis photo collection, permanent MSU Frames, about Stories grupa, Fokus 8 video from 12’13”, Video, still HD 2016, Audience), (Target Brady Nicholas Museum of Contemporary Art in Zagreb _ 119 120 _ Performing the Museum project Didactic Exhibition, 1957 Exhibition, Didactic Museum of Contemporary Art in Zagreb _ 121 Nicholas Brady (Target Audience), 2016, HD still Video, 12’13”, from video 8 Jasmina Cibic: Hope, exhbition view, Richer Collection, Zagreb, June/September photo Ana 2016, Opalic 03 04 122 _ Performing the Museum project (educational programmes). (educational Popič Nina and (coordinator) Žvikart Monika research), collection and tation nosti includes Andreja Hribernik (curator), Katarina Hergold Germ (documen of Performing team The the Museum well. as weaknesses and vulnerabilities and its the museum, of potentialities and facets different revealing positions of akaleidoscope as conceptualised was exhibition the Consequently, methods. working different their and material the towards approaches different their on based was interpreters the of choice The ent. pres its also and past institution’s the from topic given any with engage to choice free the given was interpreters the of Each collective. ŠKART the by installation an in resulted that aworkshop and Helldorff von Lena Anna and Steiner Barbara by Back Comes Moore Henry Ruptures. and tion Transfer, Transforma Reversed: Collection exhibition acollection berger, Rosen Isa and Tadej Pogačar Fishkin, Autor, Vadim Nika by produced works, four was research the of result The the KGLUside. from staff participating the and interpreters the between exchange and collection museum’s and archives institution’s the into research on based was working of method The layers. tarian pragmatic-utili and utopian-progressive its mind in keeping time same at the while Yugoslavia of time the in museum the of context and situation political the with engaging up topics open to museum, the of situation present the to relation in past this of potentialities the research to was The idea Koroška). Art Contemporary and Modern of -KGLU (Museum umetnosti likovnih galerija Koroška the of past controversial politically and rich the of exploration the on 2016) 2015 focused – was March October 13 (23 gibanju v Muzej exhibition The Museum) the (Performing vgibanju Muzej KoroškaArt Museum of ModernandContemporary at the Koroška galerija likovnih umet likovnih galerija Koroška at the ------Museum of Modern and Contemporary Art Koroška _ 123

- -

and Nika Autor year anniver th notonly reflected 24 October 1967 October , 24 War

, 2015 , “To Those Born, “To Later”, translated by ErvinFritz juxtaposes these seemingly unrelated time fragments from the The YugoslavThe embassy in Damascus provided four works that were . What was that picture then, and what picture can we imagine now, of exhibition space in 50 days. The opening ceremony that followed was 2 01 held under the auspices of the United Nations, of which the Democratic Fed eral Yugoslavia was a founding member. being It the round 20 Nika / Obzorniška Autor : OF Fronta Newsreel 62 documentation, archival and 2015 video wallpaper, Photo In 1966, youth brigades, work the lottery fund, support of the broader local community and the construction giant Vegrad, now bankrupt, produced 2,000 m sary of the end of the war, and yet also being would (what prove a good to be) 20years away from the creation of the Declaration of Human Rights, this set the context of the exhibition entitled Peace, Humanity and Friendship among Nations. not preserved in the collection but sold. Price: and $25. Titles: $15 Family Worker almosthalf centurya after the exhibition – whenYugoslavia has been erased from the map, and Syria this at is now, very moment, being erased, as well? Firstprize was awarded to Swedisha artist whose work - Archives of the Museum of Modern and Contemporary Art Koroška - Uroš Abram, Night Watch - Bertolt Brecht, On Cities - Translation of archives: Marko Bratina Thanks for the help, encouragement and alliance with the images: Museum of Modern and Contemporary Art Koroška, Andreja Hribernik, Marko Košan, Marko Bratina, Ciril Oberstar and Jurij Meden past history but also talked about an unthinkable threat in the future. Newsreel 62 past and the present in that a world increasingly resembles “worldlessness”. Source material / Thanks to: - Ervin Kralj, documentary footage of the construction super of 8, KGLU, 1966 - Archives of RTV Slovenia, humanost Mir, in prijateljstvo 124 _ Performing the Museum project happiness on one’s own.” one’s on own.” happiness create only can One patia. nor state, the nor system, the Not being. ahuman to happiness give can one “No wrote: past recent the of ideologue influential An time. same at the semiotic and rial mate both is which network, asocial in actors as objects and materials people, institution, the It presents event. this to a tribute is Images” and “People lation instal The agenda. acommon with individuals of agroup among from impulse autopian with together audience, abroad of mobilisation successful the and vision courage, of acase event: an such just was Gradec Slovenj in gallery art the of opening The “forerunners”. its consideration into taking by only event ahistorical understand can we that us teach history new of the historians The 2015Installation, Images and People Tadej Pogačar exhibition. the of time at the season current the out pointing ly innocent while of museums future the about field up aspeculative opens also work the of title The 1983. in planted were Tito of memory in plants and trees 88 where park, the in installation the for gathered were Leaves republics. slav Yugo former by Gradec Slovenj to presented were which of most sculptures, eight contains which Štibuh, Park at Peace the is point starting The flection. re of fields many opens Fall”, Fishkin Vadim work “Museum’s poetic his By 2015 system, electromechanical leaves, Tree Museum’s Fall Vadim Fiškin 03 02 Andreja Hribernik - - - - - Museum of Modern and Contemporary Art Koroška _ 125 ------Tadej PogačarTadej

04 Isa Rosenberger Isa FRIENDSHIP AND HUMANITY PEACE, NATIONS AMONG 2-channel film, 2012/15 The film Peace, Humanity and Friendship among Nations takes its name from the title of the international exhibition of 1966, and moreover, taking not only the title but also the utopian disposition of the exhibition as a starting point from which to begin a reflection on a possible re-evaluation of these sameide als today. In the middle of the 2-channel film is an interview from with2012 the found er of the gallery, Karel Pečko, then years 92 old. The film alsoincludes some words from the gallery’s present director Andreja Hribernik as well as from her predecessor Marko Košan. The film installation focuses on the Koroška galerija likovnihumetnosti as a (both real and imaginary) space of memory and remembrance and connects questions ofpersonal andpublic engagement with the actual historyof theKoroška galerija likovnih umetnosti, the Carinthian border and the history of Yugoslavia. Can we actualise the ideals that drove the exhibition of 1966, keeping in mind the number of conflicts and wars, together with growing inequality, occurring today? The film takes its formal, central motif from the cover of the Peace, Humani ty and Friendship among Nations exhibition catalogue, with the image of ser by Victor Vasarely,igraph which CTA-102 ispart of themuseum’s collection today. This serigraph is also an inspiration for a graphic edition that will trans form the film back into paperTogether form. with a copy of the film,one exam Is not the finest manifestation of this truth in the organisation of goods and money the lotteryticket of the Lottery Committee of the Art Pavilion in Slovenj Gradec? 126 _ Performing the Museum project were temporarily housed in Slovenj Gradec. Slovenj in housed temporarily were Moore Henry by paper on works four and sculptures two exhibition, our of sion occa special For today. this artist the by piece asingle contain not does lection col the umetnosti, likovnih galerija at Koroška shown extensively work was his that fact the Despite 1970s. the up until programme museum’s the in ure fig referential a was who Moore, to Henry tribute pays exhibition This Back”. Comes Moore “Henry present we Reversed…”, “Collection of frame the Within context. their by defined is works of perception the extent what to show es cas Exemplary presented. are they way the and mean, they what enjoy, they status the of terms in collection, the in been have they time the over works the of transformations the with parallel in read is This agendas. their in shifts the into also but UN, the of patronage the under ganised or exhibitions international four the into only not looks contribution Our collection. the to donations world made the over all from artists 1985, many 1966/67, in 1975, 1979 and exhibitions, these with connection In derstanding. un international and peace-making 1945: October 24 on founded was which Nations United the of agenda leading the followed which of all exhibitions, international four of total a held has umetnosti likovnih galerija Koroška The exhibition Collection Back Comes Moore Henry Ruptures: and Reversed –Transfer, Transformation Collection Steiner,Barbara Lena von Anna Helldorff collection. international the in works the of format dominating the are works graphic that fact the other, the on and, formed was collection the which in way the hand, one the on reflecting, gallery, the to donated be will edition ple the of 05 Barbara Steiner, Anna Lena von Helldorff von Lena Anna Steiner, Barbara Isa Rosenberger ------Museum of Modern and Contemporary Art Koroška _ 127 by Borivoj Nina Popič Groom

The by theAnton In Tavern Repnik. With reference tothe selected 06 In August the 2015, ŠKART collective (Dragan Protić and Djordje Balmazović) held a special workshop for adults that focused on works from the collection. Amongthe suggested works, the participants chose two: ŠKART Kolektiva (Dragan and Balmazović): Djordje Protić Moment of Mistake Documentation of the workshops for adults, 2015 works, they developed parallel stories, thinking about the possible variations ofhow the would work if look were it done before or after the actual moment the author conceived of or created the work. They expressed their findings in a variety of media. Maksimovićand 128 _ Performing the Museum project 03 02 01 Photo: Tomo Jeseničnik, 2015 TomoPhoto: Jeseničnik, 2015 Installation, Images and People Tadej Pogačar, Photo: Tomo Jeseničnik, 2015 TomoPhoto: Jeseničnik, 2015 system, electromechanical Tree leaves, Fall Museum’s Fiškin, Vadim Photo: Tomo Jeseničnik, 2015 TomoPhoto: Jeseničnik, 62 OF, Fronta: Newsreel /Obzorniška Autor Nika

Museum of Modern and Contemporary Art Koroška _ 129 130 _ Performing the Museum project 06 04 05 Photo: Tomo Jeseničnik, 2015 TomoPhoto: Jeseničnik, Back Comes Moore Henry Transfer, Ruptures: and Transformation – Reversed Collection Helldorff, von Lena Anna and Steiner Barbara photo: KGLU photo: 82015 –28 24 workshop, Mistake of Moment Balmazović), Djordje and Protić (Dragan Kolektiva ŠKART Photo: Tomo Jeseničnik, 2015 TomoPhoto: Jeseničnik, 2012/15 film, 2-channel Isa Nations Among Rosenberger: Friendship And Humanity Peace,

Museum of Modern and Contemporary Art Koroška _ 131 132 _ Performing the Museum project As in other projects, Andreja Kulunčić Andreja projects, other in As participant. active an becomes and observe merely to ceases audience the while event, collaborative adynamic, to astatic from develops exhibition the format, workshop discursive the Taking audience. the with exhibition the “assembles” props, collapsible ART-ACT-BOX containing the using object, artist, dance contemporary a performer, The audience. the with live performed but advance, in up set is not exhibition The exist. not does itself exhibition the them without and space, exhibition the into ‘transformed’ is are already they where space the rather but space, the ‘enter’ not does audience the institution, art an in found is not space exhibition The overridden. is assumptions these of each ART-ACT-BOX, Exhibition: the Performing project art Kulunčić’s Andreja In or absence. presence their on depend not do generally duration and course form, its and 3 2 1 space.” museum or agallery in art awork of of display) (show, presentation of “form is a exhibition an of definition basic The Performing theExhibition:ART-ACT-BOX Appendix I an artistic project with research, in this case, into documentation of works of of works of documentation into case, this in research, with project artistic an exhibited works of art. The exhibition is created before the audience arrives, the audience before created is exhibition The art. of works exhibited the to observe up, set is exhibition the after space exhibition the enter visitors Irena Bekić, 2013, (Po)etika društvenih promjena: MAPA, Andreja Kulunčić: Umjetnost za društ za MAPA Zagreb: Umjetnost promjene, vene Kulunčić: Andreja MAPA, promjena: društvenih (Po)etika 2013, Bekić, Irena Press. Sternberg Berlin: Wanted Curating,* You About Always Know to 2011, Everything Obrist Ulrich Hans Obrist, Ulrich Hans by ti do exhibition an certainly is creating of process the in participation audience of examples known well Among institu art outside spaces many tions. the tests continually naturally, practice, curatorial and artistic Contemporary 132. p. Prometej, iumetnosti nauka akademija Srpska Sad: –Novi posle iteorije Beograd 1950, umetnosti likovne i postmoderne moderne Pojmovnik 1999, Šuvaković, Miško 3 begins the overall process of realising realising of process overall the begins 1 In the normal order of things, things, of order normal the In 2 - -

Performing the Exhibition: ART-ACT-BOX _ 133

------8 the Group 4 Bogdanka Poznanović, the Group 6 PinoPoggi, the Group KÔD, 5 the Group Art&Language, and Lygia Clark. These individual 7 The group was active in Zagreb from1972 1973, to and its members were Vladimir Gudac, Dubravko Budić, Davor Lončarić, Ivan Šimunović, Gustav Zechel i Darko Zubčević. The group’s members were Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović,Stilinović Sven i Fedor Vučemilović. was It active in Zagreb from to 1975 1981. The group was active in Novi Sad from1970 1971 to and its members were Slavko Bogdano vić, Janez Kocijančić July (to 1970), Miroslav Mandić, Mirko Radojičić, Slobodan Tišma,Vranešević Peđa (fromDecember and 1970) Branko Andrić, who left when the group was founded.Also associated with it were Kiš-Jovak Ferenc, Božidar Mandić and Dušan Bjelić. The group was active in Subotica from1969 1976.to Its members werer Slavko Matković, Edit Basch 1970), István (to Krekovics 1970), Zoltán (to Magyar László 1971), (to Salma, Bálint Szom bathy , Slobodan Tomanović László 1971). (to Kerekes (from Attila 1971), Csernik (from 1973), Katalin Ladik (from and 1973) Ante Vukov (from 1975). IrenaBekić, 2013, (Po)etika društvenih promjena: MAPA, Andreja Kulunčić: vene promjene,Umjetnost Zagreb: MAPA za društ 4 5 6 7 8 of Six Authors, art held in the archives of the four museums which have come together for the Performing the Museum project: the Museum of Contemporary Art in Zagreb, the Antonio Foundation Tàpies in Barcelona, the Museum of Contemporary Art Vojvodina in Novi Sad, and the Museum of Modern and Contemporary Art Koroška. From thisresearch, the concept for the performance and the ART- itselfACT-BOX has arisen, the contents of which are based on the methods, materials and techniques used in works of art by the GroupTOK, artists and groups are linked by the practice which was known as ‘New Art’ in the years of its inception – the 1960s and 1970s. The artists introducednon-art materials into the sphere of art, experimented with new media, tested out un conventional methods of exhibiting works of arts, addressed a random public, often non-artisticin spaces, paying greaterattention to the process of how a ofwork art is created than the objects themselves, and establishing communi cation the at centre of their interest. Questioning critically the sociopolitical context around them, they aimed through their activities social at transfor mation,in which each individual could be involved by activating their own creative potential. By yielding her voice to the performer dance (a artist), Andreja Kulunčić cre ates a situation in which the chosen artistic practice is made visible and acces tosible the public. Through predeveloped choreography, the performer uses movement(gestures) and words (dialogue, readings, statements, recorded ma terial)and the components togive instructions of the ART-ACT-BOX to the au dience and involve them in the process of creating the exhibition. At the same time, the actual process can be identified with the desired artistic product. Bosch+Bosch, It dependsIt primarily on trust, cooperation and communication between the 134 _ Performing the Museum project Performing the Exhibition: ART-ACT-BOX _ 135 ------but rather activating a total 9 Museum of Contemporary Art Vojvodina, Novi Sad Fundació Antoni Tàpies, Barcelona Museum of Modern and Contemporary Art Koroška, Slovenj Gradec “Movement Think I Revolution”,authors and performers: Sonja Pregrad, Zrinka Šimičić Mihanović, Zrinka Užbinec, produced by Improspekcija. “Changes”, BADco., choreography: Nikolina Pristaš, performance: San dra Banić Naumovski, Ana Kreitmeyer, Nikolina Pristaš, Zrinka Šimičić Užbinec. Zrinka Mihanović, Museum of Contemporary Art, Zagreb Philip Auslander, 2006, The Performativity of Perfomance Documentation,PAJ 84, 1-10. pp.

tive performers. By using artistic materials, theyperform works which encom pass the segments of the space (private body space, public city space, and wid er natural space) the sociopolitical context (the city, thestate, the and world) theeffects (interaction, communication, contact) desired by the selected art ists. As the performance progresses, is emptied, the ART-ACT-BOX and the art materials used disappear, becoming part of the discarded object. So each work of art is transferred live into the present. From the visual documents mostly – black-and-white photographs on which often considerably complex actions are reduced – gestures return to space and time. Documentation is performed, not with the aim of recreating the actual of work art, performerand participants, and between the participants themselves. In the space-timeevent through which the dance artist guides them, they develop gradually from recipients, mute through trying out newcreative tools, into ac 9 3. 4. Within the dance choreography, methods from the following performances were used: 1. 2. ity of interaction which the has work the potential to instigate. In this kind of interactive realisation, the active inclusion of the audience is needed and with out it, the exhibition would be impossible. By liberating the knowledge of art locked away in institutional reserves, and transferring outside it conventional institutional spaces and utterance, through new combinations of recognisable presentation and educational forms, the artist discreetly conveys it, thus open ing a space up for creative (co)operation. During the performance, materials and methods from works of art from the following collections, archives and documentation were used: 1. 2. 136 _ Performing the Museum project non-commercial purposes. purposes. non-commercial educational, for solely used are materials The galleries. and museums side out exclusively performed is and project ART-ACT-BOX educational an is Serbia. of public Re the of Information and Culture of Ministry the and Vojvodina, of Province Autonomous the of Information and Culture for Secretariat Regional the nia, Slove of Republic the of Culture of Ministry the Croatia, of Republic the of ture of Cul Ministry the by supported Commission, the European by co-financed project, Museum the Performing the of part as ART-ACT-BOX realised was Tišma Slobodan Švertasek, Bojana Poggi, Pino kuda.org, and Pantelić Zoran Milenković, Nebojša Martek, Vlado Kulić, Luka Jakšić, Jovan Gudac, do Vla Ercegović, Marko Bogdanović, Slavko Bedenko, Ana Acknowledgements: 2015 /2016Zagreb Barcelona Tàpies, Antoni Fundació Sad; Novi Vojvodina, Art Contemporary of Museum Gradec; Slovenj Koroška, Art Contemporary and Modern of Museum Partners: MAPA and Zagreb Art, Contemporary of Museum Production: Miočić Nera editing: Video Martinović Ivo Miočić, Nera Video: Slovenian translation: Marjana Mirković Berković Janet translation: English Pintarić Jadranka Matković, Morana (Croatian): Proofreading Puc Tihana Text: Ruta Design: Rupena Bella Puc, Tihana Research: Rupena Bella Assistant: Puc Tihana coordinator: Research Jakšić Jasna coordinator: project and Curator Medina Mar and Kalafatić Maja Kreitmeyer, Ana Užbinec, Zrinka Performers: Choreography: Zrinka Užbinec Kulunčić Andreja Author: production: Project - - - - -

Appendix II _ 137 ------I met Pilvi Takala on a luminous day trip to Fire Island last summer; she sub sequently invites to me attend her publicart project on Governor’s Island the following for Visitors, Tuesday a group exhibition held on the Island from June 20 to September of 27 2015. I travel to the southern tip of Manhattan for the 10-minute ferry ride to the Island in the late afternoon, dodging commuters, and waiting for my friend who was late. As I wait I pore over the splashy advertising and fold map for the Visitors project, whose friendly graphic design belies the dystopian Sci-Fi con tents, which reconfigure the Island as a kind of ruin dotted with archaeolog ical sites about urban alienation -- including piece, Takala’s Invisible Friend, where visitors to the Island are invited to ‘continue the conversation’ by tex ting a number providedby Takala. Mock-intimate dialogues with this ‘invisi friend’ble fill four pages in the catalogue. The glimmering Emirates-like skyline lowerof Manhattan squatsmute across from the high society promenade walk of theopening, where Pilvi is evasive: “Where’s your piece?” we ask. Takala gestures off into the distance vaguely, in a perfect dodge to the piece’s content. The mystery established here hasits perfect backdrop -- Castle Wil liam, with display kiosks describing the colonial history of the territory. “Prison? Barracks? What’s the difference?” I had offered Husni-Bey before. bothWe’re a little drunk on white wine. navigate We the jazz band and the concession table to a group of also-delirious friends. Appendix II Appendix and the Takala Pilvi Wager: The Interventionist Desire’ ‘Our of construction 138 _ Performing the Museum project what Takala calls ‘our desire’. desire’. ‘our calls Takala what of construction the in and recognition for needs our both in involved parallax of space uneasy the investigate to used be can altruism of a narrative how see to directly more moves Governor’s on piece the environment, particular a within conduct consensual of rules and equilibrium social the ‘hack’ or test to intervention an as staged is altruism of performance public the 2008) from The Messengers and 2006, from Rider (Easy pieces Takala’s earlier in Whereas later). this on (more identification’ ‘projective Klein, Melanie following Or, it parallax. call Let’s to. Iwanted -- swoon or delirium, of one to closer was fact the but ty, generosi believed) (and inwardly supposed my of display public this of nition recog false the into fall and goods’ up the ‘give Ididn’t that fact the on (maybe) myself pride I can strong. too was this like public in friend’ a ‘new impressing of lure the and present, also was institutions, cultural of wings outreach munity com and schools high as such sites pedagogical within collectivity political radical of possibilities the work explores own whose Husni-Bey, Adelita Artist supposedown altruism. my of moment particular the of remembering’ ‘not the Iresisted as sion) even confu radical of aspace in remain (or maybe along’ ‘play to adesire duced pro details anecdotal these of insertion The Aguess? this? of all know he could How Thomas). with share to enthusiastic too all Iwas that icon family a ‘swiftly’, for Latin, ‘Celeriter’, reads decades, for room living family’s my in hung has which (mine, crests family Irish about a conversation about a detail of inclusion spontaneous the Ilive; where instance, for Park McCarren -- tail de anecdotal surprising of me) met insertion supposedly had that boy (this Thomas’ disorienting: radically is itself effect the experience personal From remember. to Istruggle which anarrative chain, bike his fix him helped had I which in narrative a recount to begins then person This ‘Brian!’. name. my out call astranger Ihear William, Castle of structure the enter we As 01 ------The Interventionist Wager: Pilvi Takala and the construction of ‘Our Desire’ _139 - - - - - fered herself and her body to passersby while retaining a certain passivity. The offering it wereas contains an element of both generosity -- public generosity in offering body one’s to the other -- a and kind of violent exposure it wereas of the distortions that patriarchy produces in desire, both men and woman. The public staging of this, needless is to always say, political. Roughly contemporaneous (‘72-’73), Adrian Piper’s Catalysis series sees Piper testingthe boundaries of public space as well -- riding on the NYC subway with towela in her mouth,covering her body with eggs, oil, liver and walkinginto Macy’s, walking down Broadway in a t-shirt emblazoned ‘wet paint’. Whereas artists like Export and Piper, and later Andrea Fraser, staged ‘con frontational’ performance pieces investigates work Takala’s more ‘innocuous’ or altruistic forms of intervention in semi-public spaces. Spaces such as the Deloitte office in Helsinki; theentrance of the Euro-Disney resort in the ‘new-town’ of Marne-la-Vallee outside of Paris; Governor’s Island; a public tram in Amsterdam; a mall store in Amsterdam; in or, its immaterial iteration, the mediasphere of Croatian tabloids. In Croatia, Takala staged public phone-ins to the tabloid Story, with callers reporting incidents of Vlatka Pokos ‘actually being quite nice’ -- returning a phone to a passer-by who dropped it, etc., stretching a story published in the magazine reporting an incident in which Pokos helped pusha car in high heels. This piece ‘anti’-of ‘counter’-)(or journalism (maybe the closest of her works to a form of ‘hacking’) recodes the dominant sensationalist media nar rative. The public performance of generosity -- what becomes explicit in the piece ‘The Angels’from 2008, where Takala awkwardly performs gestures of public gen erosity mall-goers on?) for (or in Amsterdam -- is slyly coded as ‘what we can get away with’ in a public space saturated with surveillance or with the repres sive tolerance of corporate and capitalist decorum and wild capitalist fantasy; even so far as to imply that ‘random acts of kindness’ might be the only way to productively alter -- we could even say ‘hack’ -- the social. How does this effectmemory? InAugust in publica of square1974, in Berlin, Export’s Valie Cinema Touch reflected a certain anxiety and fascination that the artist was staging about the presence of a woman in public space; naked underneath a box, Export of 140 _ Performing the Museum project Macgee’s Village from the landmark science fiction series The Prisoner, where where Prisoner, The series fiction science landmark the from Village Macgee’s Patrick like Alienation, (‘capital-A’) of village medieval place), the took rative nar Thomas’ (where Williamsburg about talking are we that mention to Not irony. the within Takala’s to intervention, innocence of element acertain is there this, ironized Acconci Whereas altruism. public of stagings her for using is Takala that ‘material’ the to similar very is tuted (his? consti is Yours?) projection where space very the in you engages he That it’s force. piece the gives what is -- aspect durational it the call let’s -- duction se Acconci’s of aggression and persistence The camera’). the around body my (‘wrap body’, my around yourself ‘wrap to exhortations . . With come-on. ized sexual highly and elaborate an in songs pop playing -- image projected the of viewer imagined the or -- camera a ‘seduces’ literally and an apartment of floor the on sprawls artist the where from 1973, Song Theme piece Acconci’s Vito sphere. public the is confinement of space the enough, ‘ironically’ Here, norms. society’s in participate to refusal utter an through desire their constitute who recluses -- modern-day confined’) being inward, ‘pulled (literally Hikikomori call Japanese the what or Bartleby, idiot-savant the as ‘performance’ perfect the gives cameras, spy Chinese by remotely recorded Takala, thoughts”. new produces motion “the that and trains” on thoughts her liked always “she that responds she elevator the on down up on riding doing is she what asked when ‘brainwork’; in engaging is she that mutters she space into tractedly dis off staring desk at her doing is she what asked charge: comedic strong its piece the lends performativity post-Fordist of forms in engage to refusal by coy produced Takala’s frisson transgressive the 2008, from The In Trainee forces. up primal stirring hacked, ly momentari is capitalism of regime the if As disorientation? this is What lized. destabi radically and suddenly is posture defensive standard their which in -- ajacket then and acomb, then and apresentation, for acomputer borrow to asking man a young -- a situation to surprise bemused in react commuters utes: min afew for only if skin, the breaks altruism public and generosity of form aspontaneous this, Within ennui. and safety of distances segregated fectly Per Amsterdam. in line tram elevated an is site the 2008, from Rider Easy In 02 ------The Interventionist Wager: Pilvi Takala and the construction of ‘Our Desire’ _141 ------03 able through able a certain modality of transference, or projection: the ‘other’, as whole-object modelled after the mother’s embracing breast, symbolizes the integrationof heterogeneous or fragmented parts of thepsyche into single a coherent unity. ‘Our desire’. calls He ‘the it mirror stage’: i.e. developmental energies are routed through our image (imago) of theOther, as a source of po tential satisfaction, as an anchor through which weachieve a feeling of‘whole ness’or psychic integration; heemphasizes that this malleability also results in a distinct tendency for emulation we could (or even say imitation) in the developmental phase of the organism, i.e. a kind of projective ‘mirroring’. ‘Mirror Stage’ Lacan suggested that the structure of the human psyche is entirely change cape, in tothe ocean, off the island,away from the Village. (or An actnarrative) of random altruism here -- maybe in a spontaneous samaritan-like gesture of radical urban openness, helping a random dude fix his bike chain -- would only serve to break the monotonous hum of thecontemporary urban ambient of restless alienation -- in other words, is it something I want to happen. Not to mention that the recording is “staged” as were it in what was once a barracks and a prison on Governor’s Island (Castle William): the glimmering Emir ates-like skyline oflower Manhattan and the high society promenade walk of the opening where Pilvi is evasive: “Where’s your piece?” we ask. Takala gestures off into the distance vaguely, in a perfect dodge to the content of the piece. The mystery established here hasits perfect backdrop, with dis play kiosks describing the colonial history of the territory. “Prison? Barracks? What’s the difference?” I had offered Husni-Bey before. bothWe’re a little drunk on white wine. navigate We the jazz band and the concession table to a group of also-delirious friends. the surveillance risesbubble out up the pavement to claim youif you try to es 142 _ Performing the Museum project confusion even more. more. even confusion my fueled myself about ‘know’ seemingly what I of confirmation guy.” This nice He’sdid. a he course “Of that encounter the during offered had Adelita it mattered. if as Isaid, that”, remember don’t totally “I desire’. ‘our for gratitude expressing in forward so been had stranger arandom that excited incident, supposed the remember not Icould that confused and elated drunk, a little and stunned am I Thomas, with encounter the from away Iwalk and Adelita As it. with quiver They fantasy. simulated on ruminations Lacan’s from away, far not in metamorphic, perfectly is desire children’s the simulation: the in entangled infinitely becomes question White” Snow “Real the so radiant, way, gentle, the by White, Snow perfect the is Takala frisson: ironic same the offers White Snow like (and realness) purity of icon an for exuberance way, this in alienated are in Franco-Disneyand children The capitalism). of critique astandard is (which desire of projection this for screens being as icons consumerist i.e. this, for cipher perfect is White Snow her. surround children eager and itself, simulation quoffed perfect in dressed is where -- Takala white’ snow ‘real the onto desire of projection The landscape. park corporate hygienic abanal within set fantasy capitalist of simulations spectacularized the through be might here desire’ ‘our of projection the Vallee, Marne-la- in complex Euro-Disney France’s real, the of desert the of version rate elabo amore in posed is question this [2009], White Snow Real Takala’s the In possibility. of site -- a us for and her for -- becomes desire’ of ‘our transference The ‘trans-space’.) of akind with working is Takala way certain a (In this. ‘outs’ altruism of kind certain of a performance public The desire). ferential (trans projection [site?] phantasmic of a source as -- other the We through live 04 - - The Interventionist Wager: Pilvi Takala and the construction of ‘Our Desire’ _143 - - Pilvi Takala, performance (photos Borko Filip Vukosav, Beusan, Martina Kenji) ing, we miss the commuter ferry and must wait for the final one which takes the Island workers back to Manhattan. A call comes in to Adelita’s cell. Pilvi. It’s “What did you think?” She lets on finally -- Thomas was an actor, the rememberedencounter a ruse. A mix of humor, anger, confession, irony, floodsme, as if the mystery is final ly solved to this moment of ‘Missing Time’. I wonder if Pilvi is aware of the American iconography of ‘Missing Time’ as a form of alien abduction. Not so alien I think, or even more closely, human desire itself is radically alien, full of mechanics we can’t always fathom, and whose forces Takala has just artfully manipulated. Later we find a children’s jungle gym and discuss J.G. Ballard and our favorite science fiction.We realize that the last ferry is about leaveto the Island.Rush 144 _ Performing the Museum project Appendix III to Do Things with Documents. with Things Do to How and Museum the Performing Prototypes, Source Open text: this in scussed di initiatives three the between relationship the tracing Vidal Pep by Diagram -

Challenging Museums:

Case studies Challenging Museums:

Case studies

Jasna Jakšić _ 147 . ------, http:// It was It exhibited again in Zagreb the at Youth 1 group,Edgard Pillet, Victor Vasarely and An , produced in 1969. The declaration aimed at young visitors in the , held inthe self-organised art spacePodroom in 1979. See WHW Espace Espace , a historical, pioneering educational project produced 2 Lines) ( , Dojić, Zorana and Jelena Vesić (eds.), Political Practices of (post) Yugoslav Didactic Exhibition Exhibition and Women Men by (20/8/2016) tre Gallery, Želimir Koščević, called it didactic, just like Brankaof Stipančić conceptual called art the Linije exhibition Didaktička izložba Art, Belgrade: 2009, and p. 77, Bago, Ivana. Linije – exhibition curated by Branka Stipančić tranzit.org/exhibitionarchive/post_keywords/didactic-exhibition/ emptygallery conveyedthe message, “You are socialist realism”. The curator of the Student Cen http://www.msu.hr/#/hr/pretrazivanje/program/didakti%C4%8Dka+izlo%C5%BEba/ http://www.msu.hr/#/hr/pretrazivanje/program/didakti%C4%8Dka+izlo%C5%BEba/ The porary, abstract art. Even as a supporting exhibition consisting of panels 92 on which photographs and reproductions from books and magazines the told storyof the emergence of abstract art, from Paul Cezanne in its very to 1957, conception the exhibition stepped outside the format of museum education. The reason(or excuse) itsfor realisation was an exhibition of serigraphs by membersof the Parisian by the former Zagreb City Gallery of Contemporary and Art designed in 1957, as a travelling exhibition, was intended to educatethe public about contem Jasna Jakšić Jasna Didactic Exhibition 1 2 According to the minutes of a meeting of the Board of the Gallery of Contem porary Art January the dated proposal 11 1957, was accepted for an exhibition that would represent historical “a commentary of abstraction”, and Josip De Club in 1961, andClub in in 1961, the Yugoslav National Army Hall as Abstract in 1967, Art II: Didactic Exhibition. dré Bloc, proposed to the Gallery of Contemporary Art by critic Josip Depolo. It was probably the mostvisited exhibition of contemporary art in what was then Yugoslavia; after Zagreb,it went to the Gallery Fineof Arts in Rijeka, then con tinued its journey through Sisak, Belgrade, Skopje, Novi Sad, Bečej, Karlovac, Maribor,Sremska Mitrovica, Osijek,Bjelovar and Ljubljana, where wasit host ed in the Modern Gallery in 1966. 148 _ Didactic Exhibition the the down, died had voices polemical the when disbanded, was EXAT 51 after years National Museum in Belgrade, which was shown almost incognito. almost shown was which Belgrade, in Museum National the ed represent serigraphs whose Vasarely, Victor and Pillet Edgard Bloc, André and 7 6 5 4 3 leanings. personal artists’ the of some promote to used be might exhibition the that concerned was work and their of objectivity the about doubts expressed Baće Frano meeting, board next at the However, it. producing with charged were Richter Vjenceslav polo and the socialist realism doctrine of Yugoslavia. of doctrine realism socialist the artistic work. artistic of nature experimental the and forms art all of synthesis the for passionately arguing and communication, visual with relationship amutual it into bringing and art abstract advocating art”, applied so-called and pure “so-called between difference the eradicated association, artists’ the of meeting at a plenary nardi Ber Bernardo architect the by read manifesto, their status; mythical almost an 51 enjoys EXAT history, art Croatian twentieth-century 1951 In from 1954. to operated that 51 group EXAT the of members were Šegvić and Richter Picelj, found. been yet has involvement his of no confirmation hand, other the on graphs in his archive that were used in their production. their in used were that archive his in graphs for whom for team, curatorial the with interview an In catalogue. exhibition and invitation poster, the designed Picelj Ivan Art. Contemporary of Gallery the represented Kovačević Edo and Vesna Barbić while set-up, exhibition the for reproductions of choice the and texts of translation and selection the on collaborated Šegvić Neven and Richter Vjenceslav Ravlić, Tihana Putar, slav Rado Picelj, Ivan catalogue, the in stated as Finally, later. years two Seuphor Michael by Painting Abstract translate to was who Putar, Radoslav critic art Ibid, p. 78. p. Ibid, 2012. Zagreb, umjetnosti, suvremene iMuzej umjetnosti (ed.) jana in umjetnost moderna poslijeratna i moderniteta vizije Kofliktne Ljiljana. Kolešnik, Vjenc and Zaharović Richter. Vladimir eslav Bregovac, Zdravko Šegvić, Neven Bernardi, and Bernardo Rašica, Božidar and architects Srnec Aleksandar Kristl, Vlado Picelj, Ivan painters included group The 77. p. Belgrade:2009, Art, (post) of Yugoslav Practices Political (eds.), Vesić Jelena and Zorana Dojić, in Interview, Picelj: Ivan WHW. 2006. Zagreb, umjetnosti, povijest za Institut 50-ih godina. kritika i likovna umjetnosti hrvatska iZapada: istoka Između Ljiljana, Kolešnik, and 26, p. Uvod Želimir, Koščević, See Murtić. Edo pain ter the and 51 Group, EXAT the of amember then Richter, critics Vjenceslav and including artists Many involved, were general. in art abstract of nature the regarding and art, and for abstract polemics by against shaken been had scene art Zagreb the years, preceding the during fact, In Didactic Exhibition Didactic original works original , he said that he designed the panels, and there are articles and photo and articles are there and panels, the designed he that said , he Institut za povijest povijest za Institut 1950.-1974., politika kultura, Umjetnost, imodernost. , Socijalizam 5 This event is often taken to represent a symbolic departure from from departure symbolic a represent to taken often is event This at the exhibition, along with one by Mondriaan from the the from Mondriaan by one with along exhibition, at the revealed its proximity to both the ideology of EXAT 51 EXAT of ideology the both to proximity its revealed 3 A compromise was achieved by involving involving by achieved was Acompromise , in EXAT 51 1951-1956, Zagreb: Galerija Nova 1979, 1979, Nova Galerija 51 1951-1956, Zagreb: EXAT , in 6 Although it was realised several several realised it was Although 4 In Richter’s archive, What, how and and how What, 7

Kolešnik, Ljil ------Jasna Jakšić _ 149

, ------Di Didactic . The Espace Artd’ajourd’hui , , on, the final panels of the 10 group advocated artistic activity and Art d’aujourd’hui was the most ambitious project in and and, Tours, as presented in an 9 In addition, Denise René’s gallery represent 8 L’artd’aujourd’hui http://musees-nationaux-alpesmaritimes.fr/fleger/sites/musees- . , a much, lessambitious “small didactic exhibition”, Architecture d’aujourd’hui that reproduced the cultural centre of theuniversity town of , vol. 2, no. 8, October 1951. (27.8.2016.) , in, which advocated it synthesis in the arts andharmonious de nationaux-alpesmaritimes.fr/files/eve_roy_la_pre_sence_fondamentale_de_la_plastique_19_ avril_2013.pdf Essaid’intégration des arts au centre culturel de la Cité Universitaire de Caracas Roy, Eve. La présence fondamentale de la plastique: L’exposition du Groupe Espace à Biot en 1954: un essai de synthèse des arts Art d’aujourd’hui vol. 5, no. 6, September 1954.

10 9 Painting Techniques – Didactic PaintingTechniques Exhibition, was alsoproduced, accompanied by original works and printed on small pieces of cardboard. Since did it not include any reproductions, could it not have been shown without the original works. However, the didactic aim of modern art to win over and educate its public was often embedded in the works themselves.Thus, in an article by Mi plains theemergence ofone form orexpression ofart.” Apart from Exhibition:Abstract Art 1 chaelSeuphor that accompanied graphicsby Edgard Pillet,the didacticnature of his ideograms is mentioned, which “provide a wonderful instrument for practice”. was Bloc the founder, and Pillet for many years the graphics editor of the journalsL’ group, whosewas work linked to these journals andwhich broughttogether many artists and architects, published its manifesto on the in pages 1951 of Art d’aujourd’hui velopment in all human activity. Although the panels seem modest from today’s perspective, particularly if taken individually, the Didactic Exhibition terms of ‘audience development’, as we wouldsay today, in 1950s Yugoslavia, and was it meant to be only thebeginning of the Gallery’s educational work. In fact, in early the 1957 Gallery incorporated in its annual plan retrospective, guest and thematic exhibitions, including one didactic exhibition “to clarify theoretically one epoch in the history of art, like a small art encyclopaedia ex 8 essayon artistic synthesis in ed the artists the at exhibition, the same gallery where Picelj, Bakić and Srnec held their Paris exhibition, and which was advertised on the pages of these journals. As the model for EXAT, the Espace in a social context, while the basic medium for such activity, which gathered all kinds of art, was actually represented by architecture. This was evident in examples of public interventions in Biot dactic Exhibition Caracas, by a work Carlos Raul Villanueva, in which artists like Hans Arp, An dré Bloc, Alexander Calder, Antoine Pevsner, Victor Vasarely, Fernando Léger and others took part. Since some of the participants were also exceptionally 150 _ Didactic Exhibition er”, prevailed er”, consum educated “an create to intended was which set-up, didactic Barr’s why exactly was this speaking, Conditionally utopias. social and artistic of origin the to points perhaps course, didactic actual the in extended already was that base the on continuing art about anarrative and ‘collage’ aspecial as seen be can that aid educational the Finally, public. its and institution up the build to desire the to witness it avaluable makes bias undisguised Its art. of history the in astory and acanon establishing of policies the addressed inevitably, and copies, distribute to right the and copies and originals between tionship rela the of and art, of area the in of modernity concept the of significance al cultur and political the of issue the raised exhibition the century, twentieth the of half first the from art of works canonical of selection actual the through perspective, today’s from Seen Art. Contemporary of Gallery City Zagreb the Exhibition Didactic the bljana, Lju in concluding and Maribor, and Skopje via Zagreb, from it travelled As directions. and tendencies avant-garde in also but media, artistic in realised only not was synthesis this avant-gardes, historical the in active 11 12 scribed by Kolešnik, by scribed the the via and reception, and context emerging an gained art abstract 1950s, early and 1940s late the in exhibitions trade for apavilion of realisation the around formed actually was which 51 group, EXAT the by reinterpretation the through

zine, 2011, 100. p. zine, Lind, Art Maria, Mediate Why Kolešnik, op. cit. p. 138. p. cit. op. Kolešnik, Didactic Exhibition Didactic 11 in the context of a post-war European socialist country. In fact, fact, In country. socialist European apost-war of context the in 12 it gained a convincingly designed means of promotion. of means designed aconvincingly it gained , as an enlightening project of cultural activism as de as activism cultural of project enlightening an , as Ten Fundamental Questions of Curating Ten Questions , in Fundamental created a public for art that in fact promoted promoted fact in that art for apublic created 4/100, Mousse maga ------Mirta Pavić _ 151 - - - - - programme. In considering the conservation methodology re Within the extensive bodyof diverse materials that demand special technical and ethical care in the conservationof works of modern art, research for this ap parently straightforwardexhibition, executedin what we might call an ordinary medium, only confirmedits status as comprising works of art thatneeded to be approached with especial caution within a certain, specific context. whenWhy, we were simply dealing with cardboard panels, on which appliquéd, cut-out pic tures from books and magazines had been stuck using school paper glue, with short captions typed out on a typewriter? Could there be simpler techniques and humbler materials than thin sheets of cardboard andnewspaper pictures? Nonetheless,there are good reasons why this exhibition has aroused expert interest andattention, with the aim of presenting as it part of the Performing Museum the quired for objects made in (with, 1957 we might a secondary say, application – showing reproductions of original masterpieces of modern and contemporary art, kept today as a document that has adopted all the characteristics of an art object over time), was it clear that the approach should follow the idea of a group of authors, respected theoreticians and artists, and be carried out in accordance with the object’s meaning. These reproductions aimed to provide guidelines and bring modern and contemporary art, architecture and design closer tothe average visitor in a systematic,understandable and accessible Inway. terms of the original intention, the contents had value no as artefacts, so there was need no to assume a ‘fetishist’ conservation approach. Howev er, these same artefacts carry far more significance today than they whendid they were first shown, particularly as modern art has gone on to adoptplace a in modern life that is hardly negligible. So the conservation approach was log ically thought through, just as would it have been in relation to any other item from the museum’s holdings. Mirta Pavić The Didactic Exhibition: The Unexpected Challenges of Conservation, Restoration and Presentation 152 _ The Didactic Exhibition particular conservation or museum standards, since the sensitive cardboard cardboard sensitive the since standards, museum or conservation particular any to adhere not did shortcomings, aesthetic its from apart system, But this easier. far them exhibiting made that asystem wall, the in nails on hung be simply could panels didactic the meant This panel. actual the above section, fabric upper reinforced each in places two into inserted were tabs Narrow es. purpos exhibition for hung be to them allowing edges, upper the of sides both to applied been had fabric of strips thick building), new Art’s Contemporary of Museum the in exhibition permanent the in them exhibit to was plan the (since panels cardboard didactic the of review our and Exhibition Didactic first the of mounting the between period long the during point at some meantime, the In develop. would discolouration greater even no further, that so protection, UV with glass museum special lect se and positioned was glass the way the modify to had we aesthetics, original the follow to decision our implementing in so art, of works the with contact into come to glass the allow not do standards museum contemporary course, Art Abstract of Exhibition Didactic First at the glass, of sheets two between placed 1957 were April in shown originally 92 panels the that and later, added was exhibition the in years for used system auxiliary the that discovered we Exhibition, Didactic the of documentation the photographic studying Through protected. remain would material fragile the and come would qualities aesthetic the both that so panels the exhibit to how was process decision-making the in debate greatest the aroused what However, watercolours. wood using retouching and glue, starch industrial BKL Eukalin pH neutral and paper tissue Japanese of a layer inserting powder, rubber and erasers conservation using cleaning dry as such procedures, conservation standard using repaired was damage the All forces. mechanical various due to or qualities, adhesive its lost had glue the because either backing, the from away coming were collages the places, some in while found, also were paper the in tears small and soiling surface cardboard, the in deformities from Apart conditions. microclimatic ideal in survive only could al materi of kind This stable. nor and durable particularly not was which ground, back cardboard cheap the on primarily changes, visible showed and ditions, con and environments different many through been had whole 59 years, their over panels, didactic The –reversibility. conservation of principles basic the of one satisfy and implement to difficult it is which with and medium; sensitive ly aparticular is construction, paper any like structure, Apaper terms. technical in Exhibition Didactic the of worthy apresentation create to how out working then one, appropriate the selecting and options exhibiting the reviewing of task complicated the master to needed we itself, intervention the from Apart , in the City Gallery of Modern Art, in Zagreb’s Upper Town. Of Of Town. Upper Zagreb’s in Art, Modern of Gallery City the , in ------Mirta Pavić _ 153 ------programme, we had time to analyse the problems and consider a bet sion to retain later interventions, which were probably carried out in the ear ly years following the first exhibition of the didactic panels. So the panels in the permanent exhibition were exhibited by hanging them using fabric strips. Thismethod, however, resulted in visible changes – deformities in the back ingpanels. At this point, only segmenta of the Didactic Exhibition had been shown, so as we prepared the remaining panels as part of the Performing the Museum ter presentation alternative. While the conservation was work still under way, wasit decided that the cardboard needed a non-acidic backing, which raised the question of how to mount such a backing on the backs of the panels in a reversibleprocess. The best solution proved to be magnets, which were fixed tothe backsof thepanels using Gaylordneutral pH glue, immediatelyon top of the layer of Japanese tissue paper applied directly to the panel backs us ing Eukalin. Thenon-acidic backing was fixed directlyonto the wall, then the didactic panels were attached to by it magnets. The strength of the magnets helpedcorrect the earlier deformities in the cardboard panels that we had not been to correct able because of the sensitive collages on their fronts. When the exhibition is dismantled, the panels will simply be detached from the back ing and stored. Museum glass with UV protection was placed in front of each panel, on a metal frame, keeping about it a half-centimetre from the face of the panel. In this the way, surface is protected from the influence of light, to which the medium used is particularly sensitive, while the at back, non-acidic foam sheets prevent the absorption of moisture from the wall. The Didactic Exhibition still has some minor shortcomings, such as yellow lignin stains component (a of paper), which has surfaced on the cardboard or made tiny wrinkles in the collage as a result of the moistness of the original glue. These traces testify to the age of the panels.However, as a result of our conservation approach and equipment, the exhibition isnow protected from undesirable external influences; and is as aesthetically faithful as possible to the original presentation, 1957 thanks to advanced museum care applied in accordance with the times, possibilities and circumstances. came into direct contact with the wall, while the surfaces of the thin collages, already particularly prone to discoloration, fading and undesirable reactions to fluctuating relativehumidity and temperature, remained unprotected. In thefirst phase, we decided to preserve the state of the panels as we found them, although the fabric was missing from two of them, suggesting that the ‘fabric strengtheners’ had been added later. we But were guided by the deci 154 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s local artistic production. of agenerator role as akey played and Town, Upper Zagreb’s in located it was early 1960s the by in 1954; founded was Gallery The research. our of focus the which Art, Contemporary of Gallery the institution, latter the It is umjetnosti ( Art Contemporary of Gallery the and Centre, Student the crucial: been have to appeared context Zagreb the in institutions two stances circum socio-political specific even or events, international with comparisons characteristics, formal their occurrences, artistic individual on focussed have researchers the whether of Regardless 1960s. the in produced art actual the as heterogeneous as just is historization and interpretation for potential the that demonstrated have presentations other and lectures articles, hibitions, ex of body great The researchers. other and sociologists historians, art tors, New the Artisticwith Practice Newthe Tendenciesof the appearance with beginning decade, That world. the of part this in general in art in indeed and art, post-war in figures key as seen today are actors Those scene. cultural the on active particularly were actors different of ahost when art, Croatian of history the in vibrancy and heterogeneity particular of period as a seen be arguably could The 1960s 1960s Early the in Art Contemporary of Gallery Market –The the on Culture Ana Kutleša 1 and address since the 1960s, the institution still owes a great deal to that peri that to deal agreat owes still institution the 1960s, the since address and name its changed it has Although heritage. and position own its reconsidering and re-examining to aview with associates, external to resources up its opens Art, 30 years of the Gallery of Modern Art), ed. Božo Bek, MTM and Zagreb City Galleries, Zagreb Zagreb Galleries, 1986. City Zagreb and MTM Bek, Božo ed. Art), Modern of Gallery the of Modern of years 30 Museum the Art, (Encountering umjetnosti” suvremene Galerije godina 30 umjetnosti, suvremene Muzeju susret “U See: 1970s. and 1960s the in Yugoslavia in art conceptual for point the by exhibition Newthe Tendencies and 1965, in 1961, 1963 Thus, – GSU), the predecessor of today’s Museum of Modern Art (MSU). Art Modern of Museum today’s of predecessor the –GSU), New Artistic Practice Artistic New 1 Per Muse Per the through Today, museum, the , has served as a constant inspiration to cura to inspiration aconstant as served , has , curated by Marijan Susovski, became a key reference reference a key became Susovski, Marijan by , curated held exhibitions in the GSU, while in 1968, an an 1968, in while GSU, the in exhibitions held Galerija suvremeneGalerija and ending ending and represents represents project, project, - - - - Ana Kutleša _ 155 ------www. , last referenced 29.2.2016), which are also given particular importance in a monograph With this in mind, along with the fact that the decade is a favourite with 2 The historical overview on theMuseum's web pages emphasises dates from 1960sthe ( msu.hr written to mark its 30th anniversary (see note In 1). addition, during the lasthas few years, organised the MSU several exhibitions dealing with the period from the(“Socialism late 1950s to the mid-1970s and modernity”, large retrospectives of works by Vojin Bakić andothers), Julijewhile Knifer,in 2013, the andPicelj Archive Exhibition Room was opened, the contents largelyof whichare related to the 1960s. chive, artists’ archive, and personal/donated archive – documents and works works and documents – archive personal/donated and archive, artists’ chive, gifted to Museum,the directly by artists or through their heirs, by former em ployees or other relevant actors on the art scene, who considered the institu tion the appropriate guardian of their legacies. Anyone with an interest in the 1960s will also be drawn to the Ivan Picelj Archive, which was donated to the Museum by the artist’s daughter and heir in 2012, part of which is on show in a separate exhibition room. Documents relating to the New Tendencies found in the exhibition archive, according to the department’s staff, are already the most popular and sought afteritems. However, would it impossible to researchthe MSU archives without taking intoaccount Božo Bek, who became the Director of Zagreb City Galleries and the Head of the Gallery of Modern Art in late 1960, and who established archi val already work early the following year. When he left the institution 1989 in a museum(as adviser), he bequeathed his personal collection to the archive he had founded. Systematised in 80 boxes, the personal archive of Božo Bek con sists of 62 boxes arranged inalphabetical order byartist, artistic group or ex hibition, boxes and of 18 documents on the day-to-day of work the institution, arranged in chronological order, and labelled “General, expert, and account ing documents”. is It this material that we selected as the starting point for this research. The contents arenot much so means a of sketching the personality of Božo Bek and articulating his importance and contribution in the decade that curators, theoreticians and researchers, we were interested to see whether the Museum’s resources provided in this particular setting could bring about a different perspective – one that would deliberatelyignore the usual stances and attempt to provide basis a for the institution’s reflections froma different position. The archives of Zagreb’sMuseum of Contemporary Art, officially known as the Documentation and Information Department, which was established in 1961, seams the obvious place to start our research. the Department Today, consists of five extensive units: the press,photographic, audio and visual libraries, and the expert visual arts archive. The last is subdivided into the exhibition ar 2 od. 156 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s panied by instability and rising prices. rising and instability by panied accom fell, production industrial of rate the years, following the in and stalled, growth years, eight in time first the for when 1960, in evident became opment devel industrial in problems The productivity. industrial higher and growth continued ensure to industry in goods capital using of instead imports, food on currency foreign precious of spending the to led This food. import to forced was Yugoslavia that so productivity, agricultural in stagnation to led which investments, of allocation the in precedence given was Industry trialisation. indus strong of period previous the during decisions macroeconomic strategic 4 3 deficit. trade the reducing of hope the in liberalisation, trade and exports of favour in direction changed opment, devel industrial independent achieve to attempt the i.e. imports, substitute through industrialisation towards orientation the when economy, Yugoslav the in 1961 aturning-point be to considers Flaherty Diane scientist American The introduced. were loans commercial international first the IMF, while the with agreements first its signed and 1958, in organisation worldGATT trade the joined country The intensified. 1950s the in Yugoslavia in started had that liberalisation economic the 1960s, the In frame. contextual wider this of nates coordi basic the out map at least to need we answers, some sketch to order In archive? apersonal of help the with foreground the to brought be Yugoslavia, socialist of context economic and political wider the by determined it was when at atime functioned, institution an way the on story abackground Can 1960s. the of production artistic the on research the of much in lines’ the ‘between hidden remained that one picture, adifferent together piecing to aid an are office of they (1960–1972), as term his with overlapped allusions to the international links mentioned previously, writes about the the about writes previously, mentioned links international the to allusions covert only contain writings whose Bilandžić, Dušan historian The efficiency. on based rewards of concept the introducing amendments legal 1961,in i.e. passed was Act Revenues so-called the productivity, in rise technology-based Školska knjiga, Zagreb, 1985. (hereinafter: Bilandžić), p. 251.p. Bilandžić), (hereinafter: 1985. Zagreb, knjiga, Školska Bilandžić, 1918–1985), Dušan processes main Yugoslavia: of Republic Federal Histo Socialist 1918-1985“ (The the of ry procesi glavni Jugoslavije: Republike Federativne Socijalističke “Historija sphere. cultural the in conte transformation in useful xtualising extremely is and 1960s the in events political and economic of overview clear, a concise gives itself thesis graduation The 669. no. Aktiv, 1950–1970), aspects economic modernist project, Yugoslav (The -1970” 1950 aspekti –ekonomski projekt modernistički Žitko “Jugoslavenski Mislav by apaper to and 1995, Princeton Press, University Princeton Woodward, 1945–1990“, Susan Yugoslavia of economy Political unemployment. “Socialist Yugoslavia, in processes liberalisation of study key the to refers author The author. same the the from of taken is membership IMF on and GATT Information 28. p. 2015, uZagrebu, Sveučilišta fakultet Filozofski Zovak, Krešimir 1950-1974), in Yugoslavia Self-management – Workers’ Thesis (Graduation 1950-1974.” uJugoslaviji samoupravljanje –Radničko rad “Diplomski in cited 106, p. Econo 1982, of 105-142, 6(2), mics, Journal Cambridge Flaherty, Diane Yugoslavia", in trade foreign and reform “Economic 3 A negative trade balance was the result of of result the was balance trade Anegative 4 In order to compensate for the lack of a of lack the for compensate to order In ------Ana Kutleša _ 157

------7 6 Led by the 8 to Yugoslav socialist Although this might seem to be the logical continuation 5 Ibid, pp. 248-9. “Diplomski rad – Radničko samoupravljanje u Jugoslaviji 1950.-1974. (Graduation ThesisWor – kers’ Self-management in Yugoslavia Krešimir 1950–1974”, Zovak, Filozofski fakultetšta u Zagrebu, Sveučili 2015, p.30. Bilandžić, p. 112. Ibid, p. 242 ic, as shown by the fact that was 1961 the last year marking a rise in employ ment, after which unemployment rose, which ran counter ideology and became a trend that was most easily remedied by ignoring it. or extension of self-management, was it clear that the effects were problemat Revenues Act as a new way of increasing productivity. work “For the first time sincethe introduction of workers’ self-management, the amount of personal wages paid from gross income, and the amount earmarked for business funds (accumulation), increasing production, new investments in building and up extendingcompanies were not defined – this became autonomousthe right of collective.”the work 5 6 7 8 The designated liberalisation that was to be most clearly expressed in the planned social reform of 1964 was a response to the objective difficulties of post-war development, which had set itself the task of the modernisation of a devastated country, undeveloped even before the untold devastation of war. United Workers’ Union of the Federative Republic of Yugoslavia from within, and conditioned from without by international economic relations, the idea of doingaway with statismdefinitely held The sway. back door wasthus opened forthe introduction of market relations instead of planned, centralised, state economics. is It interesting that the rhetoric advancing a greater degree of self-managementand in autonomy, contrast to the federal monopoly over eco nomic policy, in fact functioned as the ideological lubricant to expand market relations. from Far being a radical about face, this transition took place within the socialist framework, yet set it an important course that we need to keep in mind when considering the 1960s, even in the artistic sphere. How were these processes reflected in artistic production? Apart fromap plying the Revenues Act to cultural institutions, the Act on Budgets and Fi In public discourse, this appeared in the form of a new developmental phase of self-management, in which this novelty post-1948 Yugoslav, key, spread to all socialspheres, along with increased decentralisation and diminisheda role for the state. As an alternative option, Statism was seen as a relic of rigid, cen tralised Stalinist bureaucracy, which needed to be abandoned in favour of the full force of “further improvements in the socioeconomic order”. 158 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s 10 9 agency. asocial by tered adminis body such any be to institution independent an considered Act new the etc.), sales, ticket fees, membership (from themselves expenses their of most or all covered which institutions, independent and budget) Committees’ People’s the of part were budgets (whose entire institutions budget-funded between differentiated 1953 Act the While model. free-market the to closer sectors these of financing the drew science, and culture education, health, in self-management extending and democratisation of aegis the under which, measure akey 1960, in passed also was Institutions Independent nancing 11 12 seeing their own positions eroding, and as a battle over “narrow professional professional “narrow over abattle as and eroding, positions own their seeing of fear as interpreted was culture of form bourgeois the restoring and relations market into it launching art, commercialising of fear apparent Their others. to relation in position unique aspecial, occupy to entitled even, autonomous sphere, social privileged as a culture understood system financing new this of opponents view, of point this From second-hand. them from position critics’ the discern only can we and us, to down come have that ones only the almost the 1960s. the ed in the Božo Bek Archive Bek Božo the in ed collect documents in debate the of evidence is There Yugoslavia. socialist in criticism without about come did not change this production, artistic of field the into relations market introducing and commodification of degree a certain vices through contracting with other institutions and individuals. and institutions other with contracting through vices ser for charging and funds, communal sources: various from income raising of favour in financing budgetary direct of deprived were but independence,

independent institutions in 1960), Museum of Modern Art, Božo Bek Archive (hereinafter MSU MSU 2-3. pp. 1, box 1, file (hereinafter BBA) Archive Bek Božo Art, Modern of Museum 1960), in of work institutions the from independent experiences (Some 1960.” u godini ustanova samostalnih u radu iskustva “Neka ple’s Municipal Committee, 25.7.1961, MSU BBA file 1, box 1, p. 3. p. 1, box 1, file 25.7.1961, BBA MSU Committee, –Peo Municipal ple’s Committee District People’s the of Culture for Council the from sphere the memorandum in culture), of institutions in revenues allocating and creating of means anew to of relating introduction issues the considering on (Recommendation culture” oblasti iz iraspodjele uustanovama dohotka ostvarivanja načina novog suvođenjem uvezi pitanja orazmatranju “Preporuka a discussion on social management or self-management in the area of culture), MSU BBA file 1, file BBA 2. box MSU culture), of area the in self-management or management social on for (Theses a discussion culture” uoblasti samoupravljanju ili upravljanju o društvenom diskusiju za “Teze or 1, box 17.1.1961,2, file Zagreb), BBA of MSU City the of for Committee People’s Council the of the of Culture (Minutes Zagreba” grada odbora Narodnog kulturu za Savjeta “Zapisnik E.g. of our cultural development), Deleon, Biljanović andGardašević, Rad, Belgrade 1963. 1963. Belgrade Rad, andGardašević, Biljanović Deleon, conditions development), social and cultural (Material our of razvoja” kulturnog našeg uslovi idruštveni “Materijalni or Belgrade 1968, Komunist, Stankov, Ljubiša ed. Yugoslavia), of so Communists of League the and self-management of ciety policies (Cultural i SKJ” društva samoupravnog politika “Kulturna E.g. 12 Unfortunately, the voices of the proponents of these changes are are changes these of proponents the of voices the Unfortunately, 9 Thus, institutions were given greater administrative administrative greater given were institutions Thus, 11 as well as in articles and debates published in in published debates and articles in as well as 10 Implying Implying - - - - - Ana Kutleša _ 159 ------Proponents of the change, on the other hand, argued that this was 13 “Resistance that has come from certain groups of cultural workers has often meant the protec tion of existing positions and relations, class and private interests, sincefrom clearly administrative freeing culture interventions has interfered with the establishedwithin order cultural of things, institutions including themselves.” “O nekim obeležjimakulturi” idejnih strujanja (On some noted ideological i previranja trends u and turmoil in culture), Latinkana politika Perović,samoupravnog in “Kultur društva i SKJ” (Cultural policies of self-managementLeague society of Communists and the of Yugoslavia) ed. Ljubiša Stankov, Komunist, Belgrade 1968, p. 43

13 interests”. phasised that the financing of institutions, it as was then, should be replaced by financing programmes, and Yugoslavthat culture should be de-institution alised. The reason for this discourse probablyleast at lay in part in the exist ing situation, which according to the protagonists of these debates gave cause for concern, to due its overwhelming passivity and distance from the wider public. However, did the new Independent Institutions Act really bring about changes that could resolve actual problems on the ground, in a way expected insocialista order, and which would really help to put into practice the much hoped for democratisation of culture? The Božo Bek Archive is valuable because it provides a possible answer, but of course a multifaceted, complex one, which raises more questions of its own. have alreadyWe noted that the articles available theat time tended to discred theit critics of the new Act in a rather offhand manner, so thepicture they provide is oversimplified and one-sided.Here, the Božo Bek Archive is again of use: for example, fresh insights into the opinions of the city’s producers of cul ture are provided inthe minutes of a session held by the Council for Culture of the Committee People’s of the City of Zagreb in January discover We 1961. that Mirjana Gušić of the Ethnographic Museum was expressly opposed to budget contributions, and her institution was already considering alternative means of financing.“All our institutions are capital, capital invested over years, dec ades, and lives, which needs to be somehow revitalised – and so we are faced with the question: how?” Zdenka Munk, the Director of the Museum of Arts and Crafts, also voiced her doubts, but withless optimism. have “We tried for the past few years, by investing in factory collectives, to give something to these collectives – our in work the form of lectures, and our knowledge. Now we will have to take a new direction; if we go to the factory collectives, we will have to seek material resources in return for this work. Personally, I find this a way of of democratising culture, since cultural and artistic institutions would longer no to be rely able on guaranteed financing for their own operations, but would haveto strengthen links with thelocal community, companies, schools and other institutions, as potential sources of funding. was It repeatedly em 160 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s ed the dual position of director of the GGZ and curator of the GSU. Since it GSU. Since the of curator and GGZ the of director of position dual the ed (NOGZ), and some 10% from sales of tickets and catalogues. and tickets of sales 10% some from and (NOGZ), Zagreb of City the of Committee the People’s from contributions by financed was expenditure its of 90% Roughly employees. part-time two and full-time ten had 1961, GGZ In the Art. Naïve of Gallery the and Atelier Meštrović the Gallery, Horvat Benko the MSU), Art, Contemporary of Museum (GSU, the now Art Contemporary of Gallery the units: four of it consisted GGSU, the Like 11 of experts. a Council by administrated institution (GGZ), an Galleries City Zagreb the by replaced was and up operations wound (GGSU) Art temporary Con of Gallery City the June, in change; administrative particular one by all of first characterised was office, in term Bek’s of year first the 1961,year The paper. this of scope the beyond far go would ade dec entire the of researching elaborated An crisis. agrowing and introduced measures the of failure obvious increasingly the by determined it was decade the of end the towards that so complicated, more situation the made 1964 of reforms social the since early 1960s, the to limited is research This time. the of demands the to adapted institution particular this which in ways the on light shedding and perspectives up new opening in important course of it is 1960s, the in production artistic of development the in Art Modern of Gallery the by role played the mind in bearing but is, example this typical how just know not can we institutions, other to research of kind this extending Without studies. 15 14 ground the on situation the of analysis any lack often art and culture of position the on research this in referenced and time at the written articles available the While something.” earn and resources material certain acquire actually Ican way this in Although here. clear that make to Iwant and strange rather direction 16

ture of the People’s Committee of the City of Zagreb, 17.1.1961, MSU BBA file 2, box 1 box 17.1.1961,2, file BBA Zagreb, of MSU City the of Cul for Committee People’s the of Council the of ture (Minutes Zagreba” grada odbora Narodnog kulturu za Savjeta “Zapisnik Yugoslavia, 1945–1972”), by Darko Suvin, Rosa Luxemburg Stiftung, Belgrade, 2014,257.p. Belgrade, Stiftung, Luxemburg Rosa Suvin, Darko by 1945–1972”), Yugoslavia, SFR of Radiography Once. Only (YouLove Jugoslavije” SFR radiografija ljubi: se jednom to “Samo (according worker awhite-collar for dinars 27,850 and worker ablue-collar for dinars 1961 was in 18,860 salary monthly average the comparison, In BBA). MSU in information to (according dinars 2,159,451 were tickets and catalogues of sales from revenues while GSU), the to went 18,639,000 which (of dinars 24,178,000 to amounted 1961 for NOGZ the of revenues total The 1968. Belgrade Komunist, ed. Stankov, Yugoslavia), of Ljubiša Communists of League the and society iSKJ“ self-management of policies društva (Cultural samoupravnog politika ”Kulturna in: cultures) and i kultura” self-management of (Society samoupravljača “Društvo Mićunović Vukašin by article so an extent some to and self-management in a ciety), activities cultural of integration (The delat društvu” u samoupravnom kulturnih nosti “Integracija Zupančič Beno by article an 1963, in written Biljanović O. Garadašević, M. Deleon, and A. by development) cultural our of conditions kulturnog našeg social and uslovi (Material idruštveni razvoja” “Materijalni analysis interesting useful, the is exception An 15 , the Beck archive provides such an opportunity at the level of case case of level at the opportunity an such provides archive Beck , the 16 Božo Bek accept Bek Božo 14 ------Ana Kutleša _ 161 ------, resulted in a situation in which 17 Although Vladimir Gojković took over the curatorship of the GSU in 1962, it is cleardocumentation from the that Bek continued to play an active role inits administration.

17 cially strongest, most active and publicly visible unit. Objective problems and unequal conditions in how the conglomerate operated, which were mitigated by internal support and Bek’s dual function already had a fairly well organised spatial infrastructure St. Katherine’s (on Square), the GSU became the “engine” of the conglomerate, and was the finan the policies and operationsof all four units were intertwined. Therefore,it is impossible to talk about the GSU without reference to the GGZ, and vice versa. The research presented here and the insights to follow refer to the GSU and GGZ as a single whole. Working in cramped premises, with insufficient space for exhibits, waiting for toup six months for the NOGZ to pay its contributions and insufficient staff, the GGZ responded to thisnewly imposed direction in democratisation with great efforts. Through its annual reports, we can trace cooperationwith the Workers’ University in Zagreb, organised exhibition tours and discussions, efforts to stage exhibitions in factories, the inclusion of art history students in its work, and other interesting initiatives that showed that the institution saw educating a broader range of social strata as an important task. However, for this research is it particularly indicative that the in 1961 GGZ acquireda new department, the opening of which was a sign of the way economic pro cesses and legislative changes would indirectly introduce market principles into cultural institutions. This was the Commercial Department(or the Prop aganda Department, as was it renamed during the official transformation of the GGSU into the GGZ). The minutes of a session of the Council of the GGSU was it (as still called) held on 9 February recorded 1961 that, “Based on earlier discussions held with individual artists and art historians, and on the basis of consultations held with comrades fromthe finance department of People’s the Committee, has it been agreed to produce a draft for the establishment of a commercial department within the GGSU. The task of the commercial depart mentwill be, in accordance withnew legislative regulations, to facilitate the creation of revenues for the Gallery. The basic function of the department will be to place high-quality artistic creations on both the domestic and foreign markets.” Further documentation showed that this last, international compo nent was in fact crucial. By way of illustration, ten works of art were in sold (by1961 painters Prica, Knifer, Večenaj, Skurjeni, and Kovačić), of which seven werepurchased by foreign buyers and three by domestic buyers. Work The ers’ University bought some graphic works. The department earned120,000 162 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s of regulations relating to organisations.” economic relating of regulations framework the within fall not did activities its since institution, our suit would that solution any provide to failed Inspectorate, Financial and Inspectorate Currency the Foreign with along Finances, and Goods in Traffic ministration, Ad General for Trade Secretariat and External for Committee Commerce, of Chamber Bank, the National of officials high-level with consultations and meetings of Aseries it. governing regulation no legal is there and precedence without is proceeding entire “this as Ebenspanger, to paid actually never was 10% insufficient contested, the that discover we Firstly, moments,. interesting some to lines, the between reading led, (and accepted) considered was request his which at year, that of December in held session Council of a minutes The 1961. September 29 on resignation his in handed and incentive, cient suffi rate this consider not did Ebenspanger that learn also we minutes, later 20 18 sales. all of 10% to net entitlement additional an with dinars, 250,000 of 1961, at asalary April in appointed was Ebenspanger Walter acertain post; this with began efficiency on based rewards GGZ, the in that interesting it is Act, Revenues new the mind in Bearing head. department the of post the for pay to dinars 4 million donated NOGZ the year the of half second the in that so funds, city public from money’ ‘seed required it nevertheless self-financing, be should Department the that minutes, the to appended was which Basis, cial aCommer on Activities Extending for Proposal the in stated it was Although dinars. 5million about to 1963 amounted by and grew revenues years, following the In dollars. 750 American and sterling pounds 33 Marks, German 700 dinars, 19 mation, did not exactly fall on fertile soil. It was supported by political organ political by supported It was soil. fertile on fall exactly not did mation, transfor economic awider from arising although step, ‘entrepreneurial’ this suggests, passage cited the As Bek. Božo by demands repeated of spite in 1966, at least until happen not did this that evidence considerable found we but account, bank currency aforeign opened GGZ the when on information any

“Zapisnik VI. sjednice Vijeća Gradske galerije suvremene umjetnosti” (Minutes of the 6 the of (Minutes umjetnosti” suvremene galerije Gradske Vijeća sjednice VI. “Zapisnik of GGZ), 21.12.1961, MSU BBA file 1, box 1. box 1, file BBA 21.12.1961, MSU GGZ), of “Zapisnik VII sjednice Savjeta Galerija grada Zagreba” (Minutes of the 7 the of (Minutes Zagreba” grada Galerija Savjeta sjednice VII “Zapisnik preparation. in still was points ordinance an scoring as on postponed, be should employees other for rewards efficiency that decided was 27.6.1961,on it held session the At 1. box 1, file BBA 21.9.1961, MSU GGSU), the of Council the of See the annual financial reports for 1961, 1962 and 1963 (MSU BBA). (MSU and 1963 1961, for 1962 reports financial annual the See 18 20 We were unable to find find to unable We were th session of the Council Council the of session 19 th session From - - - - - Ana Kutleša _ 163 ------session session nd Session of th This made 24 session of the Council th , warnings are made 23 but not, in seeminglya banal gesture, by the 21 , as well as Bek’s frustration. Although the issue of the work 22 of the Council of the GGSU), 9.2.1961, MSU BBA file1, box1. In the Minutes of the 6 the Council of the GGSU, it says that regarding the issue of Ebenspanger’s salaryeven regulation, Miroslav Krleža was consulted. Julije Knifer went furthestin his objections, at least according to written entitledrecords. “OtkazivanjeIn documenta ugovora o poslovnoj suradnji” (Cancelling a contracttion), on business dated 28.3.1062 coopera (MSU BAA, file 1),2, boxBek offers a chronological account of the conflict,which began when Knifer told the GSU’s accountant that “the academic paintershould Murtić throw said he thecheque away, given the low price for which the picture had been sold”. The price was $150. ding Operations on a Commercial Basis), MSU BBA, file1, box 1 and in “Društvo samoupravljačai kultura (Society of self-management and cultures) Vukašin Mićunović in:samoupravnog “Kulturna društva politika i SKJ” (Cultural policies of self-management societyCommunists and the League of Yugoslavia), of ed. Ljubiša Stankov, Komunist, Belgrade 1968. Seefor example “Prijedlog zaproširenje djelatnosti nakomercijalnoj bazi” (Proposal forExten “Zapisnik II sjednice Vijeća Gradske galerije suvremene umjetnosti” (Minutes of the 2 of the GGZ), MSU 21.12.1961, BBA file1, box1. “Zapisnik VII sjednice Savjeta Galerija grada Zagreba” (Minutes of the 7

22 23 24 21 isationsand cultural workers ing conditions of independent artists the at time falls outside the scope of this research and paper, should it nonetheless be said that in many places, both in the archive and in other articles written the at time over the fact that artists were unable to make a living from their work, and it was this situation that the sales department hoped to address. In this regard, should it also be mentioned that the GSU and the Gallery of Naïve Art func tioned throughoutas buyers of contemporary art as well, so that they in 1961 dinars spent7,444,747 for thispurpose was whichspent (of by 5.991,747 the GSU), a figure thatdinars18,873,747 rose to 1963.in This is also linked to another compelling topic revealed in the minutes regard ingthe discussion about Ebenspanger’sresignation, or rather the issueof how theart market functioned when the department had been established, wheth er existed it outside the institutional framework, and on what basis people at the GGZ assessed the move. Ebenspanger accused the Gallery of delegating thatwork he considered his own to previously employed curators. objected He to the decision that on trips abroad he be accompanied by “an expert, so that two people would bring together the qualities which in the current situation neither he nor the curators possessed, i.e. expert and commercial.” National Bank of Yugoslavia. proved It to be a huge problem, since in the wider contextof Yugoslavia’s reorientation towards exports, was it in the interests of the GGZ to focus onthe foreignmarket, and forartists tobe paidin foreign currency. While they were to do able this by selling their directly, work as pri vate individuals, they would have received dinars by doing business through the GGZ. In several documents, we can trace their dissatisfaction with this state of affairs 164 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s ovnih djela u zemlji” (Current situation of in-country purchases of art works) art of purchases in-country of situation (Current uzemlji” djela ovnih lik otkupa slike “Situaciona report, own Ebenspanger’s collections”. private and museums galleries, individual by purchased being already “are works that things, other among says, which Basis, aCommercial on Operations tending Ex for Proposal the in We this of read market. foreign the on art Yugoslav in interest an of aware already were they is, that Department, Propaganda the of launch the for ready were Bašičević, and Bek at least curators, the that clear it is 1950s, the work in Gallery’s the to relate not does research this Although Bašićević. was this practice, in that shows documentation The employed. already curators the of one by out ried car be work should the transactions, currency foreign in involved problems administrative already were there since and unnecessary, was post the that However, the fact remains that it could not avoid the market altogether, nor the the nor altogether, market the avoid not it could that remains fact the However, market. a ‘wild’ to order bringing regulator, public of a kind as functioned ment Depart Propaganda the that say might we context, this In etc. schemes, ment pay deferred offering factories, ceramics in sculptures ceramic placing shops, book to reproductions graphic selling measures: of aseries proposes therefore Ebenspanger class. working the of power purchasing the beyond far remain art of works However, respect. this in quality’ of a‘guarantor as places several in is identified GGZ The prices. sold at high being are value negligible of art of works that other, the on while hand, one the on collectors, private of hands the up in ending are works important that It cautions profession. the of standards quality the with aligned not and interests, private by determined ementary, el as described It is market. art existing the about information provides also 26 25 genre. naïve, the to longed sold be works the of part alarge and individuals, and galleries foreign several with contact He made market. the on works placing of terms in agile most the fact in was he that conclude can we which from Art, Naïve of Gallery the of curator Bašičević, Mića Dimitrije by made trips from archive the in reports of anumber are there that interesting It is “100% devalued”. feel Ebenspanger

art works), Walter Ebenspanger, 10.4.1961, MSU BBA, file 2, box 1. box 2, file of BBA, MSU 10.4.1961, purchases Ebenspanger, Walter works), in-country of art picture (Situational uzemlji” djela likovnih otkupa slika “Situaciona buyers. domestic to adjusted not opinion, and high their too in were set, prices the while manner”, unexplained an in be work to own “cease their of artists owners the the that so mediation, sales in transparency of alack of Art Gal the Primitive of accused lery artists the appeal, the in that mentioned be should it case, this of issue an make not will we 9.11. Although on 1963. list Večernji in published and editors APEL as several to sent Known was it 34, Zagreb?” in Art Naïve of Gallery the by served is (Who uZagrebu?” primitivne Galerija umjetnosti služi “Kome entitled appeal an to signatories artists, of agroup and Ba Mića šićević between year, that October in out broke that conflict the was this end the for at reason The 1963. of artists naïve by sold works of presentations tabular and lists many contains The archive box1. 2, file BBA, MSU 8.12.1961, dated report) (Travel izvještaj“ “Putni example, for See, 25 After Ebenspanger’s resignation, it was concluded concluded was it resignation, Ebenspanger’s After 26 ------

Ana Kutleša _ 165 - - - - -

held 28 27 Session of the Community, Work 19- th 22.3.1965, MSU BBA, file 2, box 4 “Dosadašnje stanje” (The situation so far), Božo Bek,16.6.1964, MSU BBA 1,file box 3 “Zapisnik sastanka V radne Zajednice” (Minutes of the 5

on 22 March 1965, we read that “practice has shown that the implementation of new actions and measures without securing the objective, necessary con ditions, leads to exceptional difficulties do that more harm than good to the Labour Community. This doesnot mean they should definitely be halted,with efforts to form a single working body with a systematic, organised system of placing works of art home at and abroad, a body that would be linked to the Gallery. However, for this task, is it necessary to assure a sufficient number of postsbefore any actionis taken, alongwith adequateworking and exhibition space.” This conclusion clearly shows‘deinstitutionalisation’ how had missed the mark in relation to the situation on the ground. In fact, not only were specific material conditions required for the organised sale of works of art, but the Bek archive reveals the extent to which the GGZ, in carrying out its primary tasks, was under-equipped. Many documents are dedicated to attempts relocating at the tenants in the gallery premises in the Upper Town, and raising at funds for renovation, so that the four galleries would have an adequate depot, and some of them basic exhibition space. In one document dated 1964, Bek cautions that the problem is ubiquitous: “None ofthe museums or galleries has specially built premises, they are all located in adapted buildings that are inadequate in termsof facilitating their specific tasks.Here, must we emphasise in particu lar inadequate exhibition spaces, insufficientand inadequate room to house works of art, the lack of auxiliary rooms, workshops, etc. These problems, along with the old, adapted buildings, require enormous material resources in order to maintain them, on the one hand, while on the other, make the institutions more expensive and raiseall the other costs of organising other actions.” ly shows that legislative changes, under the aegis of democratising the institu tion, resulted in the process of adaptation to the market, accompanied by the commodification of artistic production.Nonetheless, the administrativeob stacles to business faced by the Propaganda Department showed that this had more to do with a tendency marked by contradictions, rather than a complete changeof direction. In the minutes of a meeting of Community the Work treatment of artworks as goods or ornaments, all of which clearly indicated a return to the bourgeois order of art. Direct access to the business documents of the GGZ from the early 1960s clear 27 28 166 _ Culture on the Market – The Gallery of Contemporary Art in the Early 1960s clubs declined in number and activity and number in declined clubs workers’ amateur work and amateur on, 1960s the from that information the this to add we If logic. amarket and relationship amonetary-commodity duced intro it nonetheless exhibition), up an setting for GGZ the charged Zagreb of University the of Centre Student the example, (for another to institution one from funds of flow mutual the practice, in meant, probably services these for charging Although etc. seminars, courses, tours, guided lectures, organising and galleries, the outside exhibitions independent for fees galleries, the side out fund the from works exhibiting rooms, exhibition of use the as such items find we art, of works selling and buying in mediation of reintroduction the with expert tasks.” most and work, scientific their up give to staff expert – forces units expert as – exist galleries four all which under conditions specific “the while overtime, unpaid on 10 1961 (from relied in 14 to GGZ 1965), employees the in of number the in rise slight the despite either: favourable not were conditions Staffing 32 31 30 29 for the accountant on sick leave. sick on accountant the for in standing and art, of works dispatching and packing warehouse, the running acleaner, work of the doing was Vera Pavlina comrade –so aposition better 1966, the GGZ adopted the Ordinance on Services and Fees and Services on Ordinance the adopted GGZ the 1966, in Thus, efforts. these support not did aim, declared its despite 1960s, early the in liberalisation of process the that it seems hand, other the On mechanisms. of aseries through sphere cultural the and class working the linked that icies pol cultural progressive systematic, of context the in possible only work was of type this hand, one the On factories. in organised exhibitions and produced, were catalogues exhibitions, alongside held discussions and tours guided were there University, Workers’ the with cooperation regular was there stances: circum new the in GGZ the by undertaken action only the not was partment De Propaganda the of establishment the that remembered be also It should problematic. indeed were GGZ at the conditions working that conclude can we so aresponse), of lack the due to repeatedly sent re- NOGZ, the of Culture for Secretariat the to letters many by (asies evidenced bod administrative with communication slow generally the and NOGZ the by

of the Zagreb City Galleries/Fees for Services), 1966, MSU BBA file 1, box 5 box 1, file BBA MSU 1966, Services), for Galleries/Fees Services on City Zagreb (Ordinance the of usluge” za naknada /ovisini Zagreba grada Galerija ousluga “Pravilnik BBA, MSU 1961, 1 box 1, file staff), – auxiliary Report (Work službenika”(sic) – pomočnog o radu “Izvještaj 1 box 2, file 2.11.1961, ABB, -1962), MSU Report (Work –1962.” oradu “Izvještaj ons of our cultural development) Deleon, Biljanović and Gardašević, Rad, Belgrade 1963, p. 92. p. 1963, Belgrade Rad, Gardašević, and Biljanović conditi Deleon, social and development) (Material cultural our of ons razvoja” kulturnog našeg uslovi društveni i “Materijalni In that figure. half to dropped had number 1961, the by but societies, art amateur 4,071 were there 1953, In 29 At the other end of the wages ladder, office staff were in no were staff office ladder, wages the of end other the At 30 Added to this were the late payments made made payments late the were this to Added 32 , it becomes clear that democratisation democratisation that clear , it becomes 31 , in which, along along which, , in ------Ana Kutleša _ 167 - - cialism – aswell as the process or procedure of dismantling the model. In this regard, the Božo Bek Archive is a valuable basis on which to construct an anal ysis of effects, which may be of far more use to us in understanding our own positionthan would be some all too common (in the art romanticised world) perspective. only served as a kind of red carpet in the process of introducing free-market mechanisms, processes and relations into culture. In today’s capitalist mode of production, with the rise of commodification and marketisation in all social spheres, including culture and the arts, we can say that we have inherited our public cultural institutions and public support for artistic productionfrom so 168 _ Motovun Video Meeting 1976 The First Video Art Workshop in Croatia cant: cant: signifi particularly as today identified are meetings certain artists, of choice the in consistency and quality in time to time from varied Meetings Video Motovun Although others. and Viola, Luigi Trbuljak, Goran Ulay, Šutej, slav Miro Stilinović, Mladen Sambolec, Duba Sambin, Michele Morellet, François Maurer, Dora Matejčić, Ivan Diminić, Josip Milić, Zdravko Kožarić, Ivan Knifer, Julije Martinis, Dalibor Iveković, Sanja Tomislav Gotovac, Galeta, Ladislav Ivan Ambrosini, Claudio Abramović, Marina including participated, artists various years, the Over scene. art international the and art contemporary tian Croa both to acontribution constituting as Meetings Video Motovun the see can we reason, For this practice. Art New of context the up with linking spaces, exhibition alternative using and projects, site-specific realising media, new of use the highlighting photography, and video of practices emerging with marily pri associated be to came Meetings Motovun the mid-1970s onward, the From 1976. in project the joined which Zagreb, in Art) Contemporary of Museum (now the Art Contemporary of Gallery the and Pazin, in Museum Ethnographic the Venice, in Cavallino del Galleria the by organised were meetings The backgrounds. and generations poetics, ferent dif of artists for held were meetings 11 art time, this Over Istria. Motovun, in 1984 1972 and between place took that events thematic were artists, visual between encounters international as organised meetings, art The Motovun Workshop inCroatia Art Video First The 1976 Meeting Motovun Video Branka Benčić 1 Motovunski likovni susret 1981 susret likovni Motovunski Marjan., Susovski, Projekt urbane intervencije intervencije urbane Projekt emerging generation of artists. of generation emerging among happenings and situations artistic new on focus their of terms in out stood Meetings Motovun the colonies, artistic of aseries Among critics. and artists for work groups serious into grew they town, the revitalise to attempt an as conceived originally were Meetings Motovun the Although (Urban Interventions Project - 1974), Project Interventions (Urban 1 , MSU documentation. , MSU

Identitet Identitet - - - - - Branka Benčić _ 169 - - - - - 3 , Katedra Čakavskog sabora ; in: Josip Šiklić (ed.): Motovun – , and, was realised as the anthologi , INSERT- Retrospektiva hrvatske video umjetnosti, Identity Part of the 4th Motovun Meeting held in 1976 2 At the same time, interest in the history of exhibitions 4 , “The Exhibitionist”, no. 4, 2011. Muzej suvremene umjetnosti, Zagreb 2008. povijest i sadašnjost:zbornik radova sa znanstveno stručnog skupa za povijest Istre Pazin, Pazin 2012, p. 379. Milovac, Tihomir., nevidljivosti Paradoks Ivetić, Marija., Motovunski “likovni susreti” kronološki – pregled “It is now widely accepted that the art history of the second half of the twentiethlonger century a history of is artworks, no but a history of exhibitions.“ Myers, Julian., exhibitionsof On the value of history wasorganised around the theme of cal Motovun Video Meeting – the first video art workshop in Croatia. grew in artistic and curatorial research,which might be understood as a (new) form of institutional criticism, but also as a contribution to writing a (new) history of art. Fragmented, unsystematic, poorly documented and archived exhibitions, festivals, events, workshops, and other happenings, particularly outside the leading artistic institutions and centres in Croatia, still need to be researched if they are to be included. When researching their history, is it important to bear certain issues in mind and examine the ways in which these public art events were inscribed in the milieus from which they arose, how and to what extent they influenced the work and organisation of art institutions, how they contributed to the formation of cultural influences, and the position 3 2 tography and Polaroid - 1977). duction as emerging a new, medium, and the of the role Gallery Museum) (or of Contemporary Art was to assume a formative position. In addition, the Mo tovun Meetings as created a whole a territory for cooperation between Italian andYugoslav artists, continuing thetradition establishedin the 1960sby the New Tendencies, and facilitating the internationalisation of artistic space. In terestin contemporary artistic practices and recent happenings in art, room for encounters, the exchange of ideas and joint work, in a unique setting, in naturalsurroundings and amongst the architecture of Motovun and vicinity, were written into subsequent artistic, institutional and curatorial practices. In terms of political and social contexts, we can see the processes of cultural cooperation between Italy and the Socialist Federal Republic of Yugoslavia as a positive reflection of Osim1975 the Agreement. In this sense, the theme of ‘identity’ that was created throughout the meeting 1976 assumes a significant place. Julian Myers claims that we can observe the history of the late 20th century as a history of exhibitions. 1976 Motovun1976 Meeting paved the way for new opportunities in video art pro (Identity and Novi pejzaž,- 1976), fotografija i polaroid (New Landscape, Pho 4 170 _ Motovun Video Meeting 1976The First Video Art Workshop in Croatia 6 Video: resisting definition resisting in Video: claims Hatfield Jackie as 1970s, and 1960s the of process experimental the of component key as a defined was video sense, this In media. new of entry the for way the paving practice, artistic perimental ex in position aleading assumed quickly and art contemporary to approach anew encouraged Video circles. academic in acceptance and study, tematic sys definition, production, by posed challenges the of spite in artists, among enthusiasm with greeted was form as a new video of acceptance rapid The art. presenting and producing for models and forms artistic alternative innovative, of gence emer the was neo-avant-garde and avant-garde the of practices the continuing and action critical artistic, in decades those of out emerged that changes tant impor most the of One systems. artistic investigating and conventions tistic ar altering by art, of works of redefining the through art, of presentation the and production artistic of means alternative using launched 1970s were and the 1960s of practices artistic SFRY.innovative The the in also emerge to soon were activities similar and 1970s, the during scene world art the characterised practices artistic various of position critical The art. conceptual of context the of out developed which practices, Art New of shape the in scene art the on appeared – video and film – photography, media new Then, context. cial so the and art of language the to attitudes critical and analytical and speech, first-person performance, art media’, ‘extended multimedia, in interest nology, tech video of use the through cartography artistic in changes saw The 1970s ** policies. institutional and relations social to meaning reassign institutions social help might archives look at the a fresh materials, cultural of functions and histories stories, meanings, the on out carried was work active which in sphere a social representing By worldart. of the of tates dic the and frameworks economic and ideological to relation in occupied they 5 in transformation and positions and models, production context, institutional and organisational the works, artists, mapping into art, (new) of media history the into research to contributed and medium, artistic new, communicational, as a video in interest an articulated Meeting Video the Motovun of focus The Hatfeld, Jackie., Jackie., Hatfeld, Benčić, Branka., Branka., Benčić, ists’ Video in the 1970s &1980s 1970s the in Video ists’ Split, Hrvatski filmski savez, Split-Zagreb 2012. Split-Zagreb savez, filmski Hrvatski Split, 5 Video: resisting definition resisting Video: Sve je povezano je Sve , University Indiana Press, Bloomington 2012. Bloomington Press, Indiana , University : Splitska škola filma – 60 godina Kino kluba Split kluba Kino godina 60 – filma škola Splitska Rewind: British Art British Rewind: (eds): Partridge S. Cubitt, S. , in: , Kino klub klub , Kino . 6 ------Branka Benčić _ 171 - - - - For this For 7 . , Ricerche, di S/Confine, in Graz (1973), or with in Graz equip (1973), 9 8 , IV. Susret, IV. u Motovunu, Galleria del Cavallino, Motovun 1977. The Galleria del Cavallino, then the most important gallery in 10 foreign gallery organised a video meeting in Istria, in Brdo, nearUrsula Buje. was It Krinzinger the brainchild of the of Krinzinger Gallery in InnsbruckSFRY and Austria (now in Vienna), participated and artists in it. from the Dossier http://www.ricerchedisconfine.info/dossier-2/presentazione.htm 2 (2013), At almost the same time as the Motovun Video Meeting, in fact just fewa months later, another Susovski, Marjan., Katalog Beroš, Beroš., Dalibor Martinis – Javne tajne, MSU, Zagreb, 2006 (p. 66). PaoloCardazzo Giovanni. e gli incontri Bianchi, a Motovun (1972-1984)

lished, articulating and reconsidering historical narratives on the beginnings of video art in the SFRY as contemporary artistic practices. At the same time, the development ofnew media art during the was 1970s also mapped, covering artistsand their works, themes and contexts, models in the production and presentation of art, in order to link ideas, institutions, artists, works, and the new art public. Due to a lack of video equipment, most early video works by Croatian artists were made abroad, exhibitions at such as Trigon the wider social and artistic realms. Continuity in research practice was estab 7 8 9 10 In the early 1970s, Cardazzo, Paolo director of the Galleria del Cavallino, which had staged an exhibition by Croatian artists Picelj) (Šutej, in the late 1960s, established close contact with Ladislav Barišić, who was in charge of the Mo fluenced the development of video art and the exchange of experiences with foreign artists (the Student Cultural Centre in Belgrade, with Dunja Blažević and Biljana the Tomić, Gallery of Contemporary Art in Zagreb, with Radoslav Putar, Dimitri Bašićević and Marijan Susovski, and the Multimedia Centre of theStudent Centre inZagreb, with IvanLadislav Galeta), which facilitated the creation of the first video works in the region. tovun gallery. In his analysis of the social and cultural situation in the late in 1970s the Davor MatičevićSFRY, identifies precisely the institutions and people who in reason, the aspirations of a certain number of artists in Yugoslavia in terms of working with video were only sporadically realised, and onlytwo institutions monitored this development – the Gallery of Contemporary Art in Zagreb, and the Student Cultural Centre in Belgrade – in contrast to Italy, which enjoyed a far longer tradition of working with video. Venice, had already turned its attention to the language of experimentation, ment loaned them by foreign galleries, as was the case in Motovun with the Galleria del Cavallino, or even by using theneighbouring video workshop in Brdo in Istria, organised by the Krinzinger Gallery from Innsbruck. 172 _ Motovun Video Meeting 1976The First Video Art Workshop in Croatia sion, whether in the aesthetic, social, or another field.” another or social, aesthetic, the in whether sion, expres personal individual, for potential great the is that art, in video plying ap of possibility broad “the emphasises Susovski Marijan introduction, his In works. video 24 of atotal ducing pro Viola, Luigi and Trbuljak Goran Sambin, Michele Milić, Zdravko Martinis, Dalibor Kraus, Živa Iveković, Sanja Ambrosini, Claudio meeting: video the in part took which of eight participated, Italy and Croatia from 15 artists which in meeting, art all-embracing awider, of part as organised was Meeting Video Motovun the Zagreb, in Art Contemporary of Gallery the of curator Susovski, Marijan and Pazin, in Museum the Cavallino, del Galleria the from dazzo Built around the theme of of theme the around Built Identity Italy. in production art video for places important most the of one was Cavallino del Galleria the Bicocchi, Gloria Maria by ed head Florence, in Art/tapes22 and Bonore, Lola by headed Ferrari, in Diamanti dei Palazzo Videoarte, Centro with along mid-1970s on, the From form. artistic as a new art video of promotion the for context the European in places nificant awareness, consistency and continuity. and consistency awareness, critical of terms in research unparalleled saw medium the in identity and ogy technol art, between relationship the that stressed often it is literature, the in and outset; the from video with working artists occupied of identity theme The medium. as video of spontaneity the highlighting out, point to on went Susovski as author, the with identify and link emotional astronger feel we personally; more taken is and character mate inti amore has picture video the film, 8mm super amateur or photography of 11 ‘appara technological the and materials into research of out came that works were there hand, one the On overlapped. or met trajectories two the which in instances many were there though directions, two in developed video Early Bienale”. the including panorama, artistic Venetian the in crisis a“general of time at the 1970s, early the in video and performance 13 12

Video umetnost uSrbiji umetnost Video Dejan., Sretenović, Ibid. Susovski, Marjan., Katalog nost, Belgrade 1999. Belgrade nost, , IV. Susret u Motovunu, Galleria del Cavallino, Motovun Motovun Cavallino, del Galleria uMotovunu, , IV. Susret in cooperation with Paolo Car with cooperation in – Identità, Identitet , Video umetnost u Srbiji, Centar za savremenu umet savremenu za Centar uSrbiji, umetnost , Video 13 11 It became of the most sig most the of It became 12 Closer to the format format the to Closer 1977. ------Branka Benčić _ 173 ------, October, 1 (Spring, Vol. 1976), pp. 50-64, Through interest in the practice of performance 14 http://jonahsusskind.com/essays/Krauss_VideoNarcissism.pdf Krauss, Rosalind., Video: The Aesthetics of Narcissism

nis, Michele Sambin, Goran Trbuljak and Luigi Viola devoted themselves to researching the problem of identity in close correlation with video as a new means of communication and artistic medium, covering several aspects: is sues of representation and self-representation, portrait and self-portrait, the body and performance practice, i.e. identity and technology, (video) media re search, montage, time, i.e. video and photography, static and moving pictures, i.e. pictures and sound, the influence of massmedia, and the context of prob lematising female identity. Anticipation MotovunThe Meetings were art events to which we should return in order to review or assess their significance. They constituted a project thatanticipated certain production models, processes internationalisation of and internation al cooperation, which today we have simply adopted and take purely for grant ed. They were about pioneering, innovative models and formats for workshop production in art a (new) medium; they were about the of the role museum in creating conditions and supporting the process of art production, about the transfer of knowledge and facilitating connections and cooperation, and about residences as places of joint where work people learned and mastered new knowledge and skills.Motovun The VideoMeeting was important becauseit tackled the transformation of technological and production paradigms, dis coveries that were then but which new, today comprise or embody the actual potential of video as medium. and strategies of self-representation, video enables the artist to focus attention on his own so body, works are created as “performances for the camera”. In response to the theme, Claudio Ambrosini, Sanja Iveković, Dalibor Marti 14 duction processes and time/duration. Artists most often dealt with the formal properties of the medium, or with works that were built around mediaresearch and investigations into media self-awareness. On the other hand, there was the characterof video as personal,a intimate medium, which in contrast to the objective opportunities of the medium and the researching of its technical and physical properties, allowed artists a different space: a space for subjective, psychological, ideological, aesthetic research – what Rosalind Kraus calls “the aesthetics narcissism.” of tus’ of the camera, monitor track, and the new opportunities provided by the magnetic environement, concentrating specifics on like production repro and 174 _ Motovun Video Meeting 1976The First Video Art Workshop in Croatia the the of 2015, part in as Pula in Luka MMC in staged was Meeting Video Motovun 1976 the researching on based exhibition An institutions. and artists tween be cooperation traces which documentation, and significance anthological of works, video pioneer from material of archive an together’ ‘putting means This Contemporary Art. Contemporary of Museum the of history the in chapter important an writing to a contribution as and art media of history the to a supplement as serve may Meeting Motovun the 1976 on done research the to contribution a Thus, policies. institutional and presentation, and production art of processes and models formats, and means organisational the of note take should we And criticism. institutional and political cultural, and theory, media art, and history of perspectives ious var the between confrontation the in sphere, institutional and cultural cial, so wider the within transformations and positions examine may enon’; and phenom ‘discursive the of part as developed SFRY former the and Croatia in production art video in practices early which in relations technological and production cultural, social, of aseries consideration into taking framework, contextual the establish help may Meeting Video 1976 Motovun the of A view curators. and artists of generation anew for opportunities as networks transnational and art video of potentials the out pointed that space discursive ajoint mapping in apart played Meetings Motovun way, the this In Arts. Visual for Centre Documentation Milan the and Association Film Croatian the from works video of copies digital and Sambin), Michele Milić, Zdravko Martinis, (Dalibor archives personal artists’ from works of photographs Zagreb, in Art Contemporary of Museum the from documentation photographic sources: ous vari fromand works documentation broughttogether exhibition The context. research and framework presentation acommon lacking always but ments, environ own their in affirmed previously place, one in gathered were artists and Italian Croatian by works time, first the for Here, Festival. Film Pula the Cinemaniac Misliti film Misliti project (Think Film), a supporting programme of programme supporting a Film), (Think ------

The Space of Antagonism The Space of Antagonism

Andreja Hribernik _ 177 - - - - - Knjiž – nature of this particular institution and art museums in general. 1 . Laclau. defines the political as “the of world contingent articulations 2 na zbirka Psihologija vsakdanjega življenja Fakulteta za družbene vede, Založba2009, Ljubljana, FDV, p. 69 “[The]Museum is engaged in a performativity of its own, one which can never establishof presence. any form By being situated at the juncture of endings and openings, by plasticizing(moulding/dislocating), itself the museum is in a permanent “state of conjugation”, alwaysdeclined, about to be derived, or inflected.For this reason, the museum is always contestationin a state of dispute ... Theand museum is not conservative, but argumentative in the senseseeks that tochallenge it always that which enters theplastic process – that which it first rejects(site-specificity as other in 1960s,the for example) and then welcomes as the same(off-site projects to day).” Martinon, J.P., “Museums and Restlessness”, in: Genoways, H. H. (ed.), Philosophy Museum for the Twenty-first Century, Altamira Press – Rowman & Littelfield Publishers Inc.,New Lanham, York, Toronto, Oxford, 2006 p. 64, “Thus we have on the one hand policy on the ontic level, which is mainly specific regimescourses, of dis a particular social system and operation, and on the other hand,– the political, the ontological which level takes the principleof establishing the social.” Vezovnik, A., Diskurz., 1 2 The museumThe is an institution with changing social roles. it And is an inher ently contradictory concept in its performance of those roles, and challenged by many social conflicts. Due to this contradictory nature,museums are often described in contrasting terms: on the one hand as ideological institutions, as disciplinary ones; and on the other, as spaces of free imagination, creativity and emancipation. is It precisely this contradiction that brings to the fore the museum’s social and political potentiality. aim My here is to analyse the Koroš ka galerija likovnih umetnosti an art – KGLU, museum based in Slovenj Gradec in the northeast of Slovenia, in order to outline its historical background and current practices that clearly demonstrate the contradictory and conflictual – restlessor Andreja Hribernik Andreja Utopian Moments A preconditionto achieving this aim isto establisha concept of museumthat has a political dimension. Here we refer to the political ontological level, one different from politics, which can be understood as a set of social rules and practices 178 _ Utopian Moments a site of struggle for reactivation, re-articulation and counter-hegemonic acts. counter-hegemonic and re-articulation reactivation, for struggle of a site also but – antagonisms social of pacification and contradictions of resolution ideological –the consensus social of building the for asite only not is museum of a space public the Therefore order. hegemonic existing the from them lating disarticu and elements those of precariousness and contingency radical the Despite the fact that museums are predominantly ideological institutions ideological predominantly are museums that fact the Despite perspectives. of development alternative for the space a offering by order hegemonic the disrupts that aforce as function it can that demonstrates institution as of museum dimension political properly This death. The question of eliminating death is, according to Adorno to according is, death eliminating of question The death. and decay oblivion, eliminate or avoid to desire the in grounded is artworks and artefacts displaying and preserving accumulating, of function main museum’s the Firstly, them. about utopian intrinsically something is there 7 6 5 4 3 practices” social sedimented of field –the social the by limited ... stituting itself”, stituting con fully of impossibility latter’s the society, of limits the “constitute instead but contradictions, nor oppositions not are antagonisms where antagonisms, of aspace also is political But the order. social ahegemonic in articulated fully success are that elements constitutive of the identity fixing of aprocess is tion utopian thinking that is intrinsic to all people: “Every plan and every creation creation every and plan “Every people: all to intrinsic is that thinking utopian of areflection are creativity and art that asserts Bloch Ernst dimension. an utopi a certain has general in art all Secondly, utopia. about thinking when ing”, Long ing”, of Utopian Contradictions the on Adorno W. Theodor and Bloch Ernst between Missing. A Discussion T.W., “Something’s Adorno, E., Bloch, wants.” actually one which that contrary, but it, the on about is, horrible anything have not does die to have longer no people that for possibility the which a consciousness means consciousness Utopian extended. are they which social in and existing conditions the with people of identification the beyond goes which that is death identifi The with cation time. the of most consciousness utopian the opposes actually that reaction of this form precisely is it that say Iwould thing. horrible most and terrible most the be longer no would would that people if die, eliminated, were death if “Yes, states: Adorno Bloch, with interview an In See: Verso, 1984 London, Ideology, on Essays institutions. L., cultural Althusser, and culture through also transmitted is ideology sys dominating the educational tem; the is state modern the of apparatus ideological main the that states Althusser anoth Political the On C., install to as so Mouffe, order hegemony.” of form er existing the disarticulate to attempt will that practices i.e. practices, counter-hegemonic by challenged being to susceptible is order ‘hegemon hegemonic are Every fixed is practices’. ic institutions social of meaning the and established is order through acertain practices which articulatory The reactivated. be can that and repressed been have that possibil ities other always are There exclusion. of form some on based and political is order “[E]very 112 2014, York, p. New London, Books, Verso C., Mouffe, E., Laclau, 112 p. 2006, Post-Marxism”, and “Ideology E., Laclau, The MIT Press, Cambridge, 1996, p. 8 1996, Cambridge, Press, MIT The Literature. and Art of Function Utopian The 4 and for that reason are partly open, in a process of revealing revealing of a process in open, partly are reason that for and Hegemony and Socialist Strategy. Towards a Radical Democratic Politics, Politics, Democratic Towards a Radical Strategy. Socialist and Hegemony vol 1, no. 2, Routledge, Routledge, 2, 1, no. vol Ideologies, Political of Journal , Routledge, London, New York, 2005, p. 9 p. 2005, York, New London, , Routledge, 3 . Sedimenta 7 , crucial 5 6 ------

Andreja Hribernik _ 179

------9 The positive The expression 8 http://web.mit.edu/allanmc/www/

Therefore, heterotopias can be seen 11 10 ) http://www.heterotopiastudies.com/wp-content/upload , The MIT Press, Cambridge,1996, 156p. ) s/2012/05/2.2-Thoughts-on-utopia-pdf.pdf Johnson, “Thoughts P., on Utopia” ( “The specific pre-appearance which art shows is like a laboratory where events,characters figures and are driven to their typical, characteristic end,essential to an abysmal vision or a blissful of characters end; this and situations, inscribed in every workstriking of art, which form in its we may most call Shakespearean, in its most terminalized form Dantean, presuppo foucault1.pdf Bloch, E., The Principle of Hope ses possibility beyond already existing reality. At all points here prospectivetionsaim, actssubjective, and imaginabut possibly even objective dream-roads run out of the theBecome Achieved,towards towards symbolically encircled achievement. Thus of thethe concept intention of theand towards Not-Yet it that is thoroughly forming itself out no longer has its only,exhaustive indeed example in the social utopias; important though the socialaside, utopias, have leaving become for the all critical others awareness of elaborated anticipating.” Ibid., p. 15 Foucault, M., “Of Other Spaces: Utopias and Heterotopias” (

11 as enactments of radical a political imaginary that “can be used for reflection because they are manifestations of aspects of the utopian imagination that are localand real and packed with history.” 9 8 10 ence, a surplus over and above their mere ideology.” that was pushed to the limits of itsperfection touched on utopia and gave … precisely the great cultural works that had an increasingly progressive influ An historical overview of museums established in Slovenia after WWII – and elsewhere in Yugoslavia– indicates thatthey were stillfounded on bourgeois of utopia – unlike its colloquial sense of something imaginary and impossible – refers to an imaginative venturing beyond the given inspiring an intention to think through, experiment and realize an existing but latent possibility. Similarly, various post-structuralist theories emphasizethat art, likeall oth er symbolic constructions, carries a certain untameable surplus that prevents ideological closure and a fixing meaning.of Therefore, it could be said that an antagonism specific museumsto emergesat the point where utopianthe dimension of anartwork and the ideological dimension of the museum collide and clash. Consequently, in order for a political dimension to emerge, there has to be a utopian moment – a moment of the activation of the political. utopianA moment is the appearance of pointa where historical circumstances have reached a certain significant potential for a change in social relations, thus opening the up possibility of realizing the utopian dream of radical trans formation. is It precisely the moment the utopian imagination is realized as an “other” space counter-posed to the uniform institutional space of “sameness” – a heterotopia, kind “a of effectively enactedutopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted.” 180 _ Utopian Moments business and industry. The exhibitions were based on international open calls calls open international on based were exhibitions The industry. and business juries), various (e.g. for circles art international from also but area local the from people only –not activities gallery-related organizing in involved tively ac people of group alarge reveals projects the in involved people the of Lists audience. local the as well as circles political local both from support strong gained gallery the program ing far-reach and ambitious this With events. accompanying the as well as tions exhibi the organizing in involved also were public The local role. social active very a with the museum charged and identity city’s the on impact a significant made museum the of direction work and the Consequently, visibility. national inter it acquired turn in which with collection, museum’s the marked hibitions ex the of message humanist the Furthermore, alike. enthusiasts and brigades worker factories, local of help the with months three just in built was extension The exhibition. international first the accommodate properly to order in built was space museum existing the to extension anew 1966, In openings. hibition ex the with parallel in held were that celebrations (Yugoslav) national by nied accompa and UN the of founding the of anniversaries the marking UN, the of patronage the under organized were exhibitions Thus recognition. ternational in and support political broader by matched were endeavours museums’ the climate, political aparticular with together time, at the Yugoslavia of situation specific the to Owing Nations. United the of those with coincided closely that values promoting thus solidarity, and humanity peace, to related issues with engaged was programme institution’s the on 1960s the From institution. the of director the became who Pečko, Karel painter, trained aformally was One in 1957. Gradec Slovenj in intellectuals of group by a founded The was KGLU practices. new to institution the up of opening an sees that one and driven ideologically is that institution an as museum role the of traditional the between oscillates that one general, in amuseum of institution the marks that asplit discrepancy, certain a sense we Already society. socialist the new of image an them offer to and audience, traditional its not were that classes working the to out ing reach people, the for museums be to intended were they as public, wider the to openness their by characterized primarily were museums socialist-modernist of kinds These community. local the by owned publicly socially, were they as status, institutional public their of terms in socialist still were but lections, col their for works modernist acquired largely museums These culture. and art of development the promote and heritage, cultural local protect and tain main to identity, national of sense astronger to contribute to meant values ------Andreja Hribernik _ 181 ------. These. were 12 was the idea to ap 13 For example,For in 1966, six artists were declared honorary citizens: PeterHenry Lubarda, Moore, Ossip Zadkine, Božidar Jakac, Krsto Hegedušić and Werner Berg. Focused research on the collection started in with 2013 the collection exhibitiona Space of Utopia Museum and as continued within the project Performing the Museum, where we invited the interpreters to actively engage with the institution’spast, its collectionThe most extensive and its archives. research was performed for the collection exhibition Collectionin Re 2015 versed: Transfer, Transformation and Ruptures by Barbara Steiner and Anna Lena von Helldorf; from the side of the gallery most of the data was collected by the curators, Germ. especiallyHergold Katarina

allpart ofa strategy aimedcreating at an identity for the city through artin connection with advancing peace and culture. The exhibitions included works by artists fromboth East andWest, butmany artists alsocame from the non- aligned countries. The last international exhibition held under UN patronage was staged in Despite 1985. the factthat many facets of theexhibitions were politically shaped, indeed motivated, certain utopian moments emerged in the process, reflected in the fact that certain international artists decided to donate their works to the museum collection, which in turn helped the local audience identify with the museum and its political message. Central to the process of researching the archives KGLU 12 13 titions were also organized with international juries awarding prizes; some artists wereeven named honorary citizens of Slovenj Gradec andon direct invitations to some of the most renowned artists of the time, including Ossip Zadkine, Henry Moore, Victor Vasarelly and others. Compe proach this particular museum in Slovenj Gradec as a kind model of role of political activation andtransformation in its of museum role and its socialpo sition. Nevertheless, one has to keep in mind that this (much celebrated) past was not unproblematic in terms of the way art was used and in terms of certain politically orchestrated events.Here, the utopian dimension – inthe form of utopian moments – was present mainly in the form of past programmes and exhibitionsthat promoted the idea that art could change the and world con tribute to peace; world and through strategies that involved different forms of audience involvement and engagement. have identified We two main strate gies, which I will sketch out only briefly: active involvement of localthe audi encethrough organisational boards,such that the community became part of boththe programme andthe exhibitions; and a clear formulation of humanist values as the underlying motivation for the undertaking, which lent the events a sense of higher purpose. With this particular history in mind, the general idea is to try and reactivate this past under present-day conditions, though not in the same form, but in stead more in the sense of bringing to the fore theinspiring, empowering idea 182 _ Utopian Moments perpetual change, but this change does not represent real change, it is always always it is change, real represent not does change this but change, perpetual We have dimension. spatial and temporal the of homogenisation sweeping the to part large due in aloss contemporaneity, in thought utopian of loss the of issue the addresses often Jameson today? of utopia the is –what arises question the then people, a new and society anew of establishment the and world peace furthering to contributing constituted case particular this in pia uto past the in If utopia. acontemporary identifying in lie must society role in its redefining and institution the activating to key steps principal the of One spectacle. of museums not are –they tourists the attract do not they schools, neighbouring for institution educational role of their fulfil they For while system. neoliberal dominant the by applied sole not criteria if ry prima the be to seems which crowds, large attract not do they because largely roleis questioned, social larger Their audiences). local and/or professional for (at least programs exhibition intense despite avoid, of something in pended sus be to seem somehow but histories, interesting with together archives, and collections interesting with institutions now are them, KGLU among the museums, These budgets. program reduced significantly and means minimal with function periphery, the on cities smaller in located those day, especially to Slovenia in the museums of Most shifts. socio-political various and crisis financial lingering the both reflecting late, of shrinking been has support this 1989. But since municipalities, the by part in well as state, the by supported systematically are that museums art the including museums, public work of net good avery enjoys today Slovenia exhibition. international each with frequent less and smaller increasingly becoming were which donations, the in reflected clearly also is fact This 1980s. the come fade to begun already had decades previous of enthusiasm the that reveals clearly KGLU archives the of research our but gestures, political big attendant all with exhibitions, of kinds these staging continue to impossible made it the 1990s of shifts political The subjectivity. political of forms new introducing of sense the in utopia, on act should we way the informing agent active an as also but projection, utopian of bearer the as only – not anew the museum role of the defining means this ety, soci changing actively of sense the role in social active an playing of a history KGLU, case has this in museum, socialist the Since such. it as realising wards that the museum was once able to define utopia able define once to was museum the that 14

Here I am not talking about the political appropriation and utilisation of the programmes. programmes. the of utilisation and appropriation political the about talking not Iam Here 14 , and that it was working to working it was that , and ------Andreja Hribernik _ 183 . - - - - 17 . 16 . So in this sense is it more important to reformulate the 15 “The persistence of the Same through absolute Difference... discreditsthe change, only conceivable since henceforth radical change would consist in putting an end to change itself...”F., The Seeds Jameson, of Time, Columbia UniversityPress, New York, Chichester, 1994, p. 19 “The content changes, but an invariant of the direction is here psychologicallyspeak, expressed, as longing, so to completely without consideration at all for the content – a longingpervading that is the and above all only honest quality of all human beings.” Bloch, op. cit., p. 5 Ranciere defines art and politics as two forms of distribution of the sensible.Aesthetics See: Ranciere, and its Discontents, J., Polity Press, Cambridge, 2009, p. 26

question, and ask whether there is such a thing as a contemporary utopia at all. Because seems it as if we have lost our trust, our faith, our confidence in utopia, inthe belief that we can really change something. common But human aspirations havenot changed; as Ernst Bloch suggests, longing is one of our most basic feelings and cannot be erased a return of the Same 15 16 17 For thisFor reason, I think one of the most important roles of the museum – the artmuseum is– to maintain distinctlya utopian dimension through its spe cific position in relation to time and space.Museums have a special relation to history, especially through the collections and archives, and this marks their otherness. a museum But can also promote a kind of utopian awareness throughthe thematic development of utopian programs, topics and activities. In the case today of KGLU this is manifested through several activities. The basicidea is this: the political of the role museum must be emphasized, and in such terms that acts it as a political institution; works it to assume an active social role, in terms of opening the space to up political issues in the spirit ofthe connection betweenaesthetics and politicsas developedby Ranciere This is also effected through the programs that open up the museum archives, that address from a contemporary perspective the museum’s past activities and that try to see the collection of the museum as an important source of both inspiration and of topical subjects in the light of current events and the cur rent political-economic crisis. The other point is to try and function as an in stitution for the community, one that opens itself to up the various events and activities that are going on in the local town surroundings. The aim is to raise awareness – awareness of the fact that the space of the museum is the space of the common, the space of the community. The otherapproach is to actively de velop strategies that stand outside capitalist practices and to react to the needs of the environment in which the museum is based. In our case one particular problemis widespread unemployment and generala sense of powerlessness, thus the working strategy of the museum is to build on current social programs and offer people employment.We see these practices, Mouffeas formulates it, as “spaces for resistance that undermine the social imaginary necessary for a 184 _ Utopian Moments make us see things in a different way, to make us perceive new possibilities.” new perceive us way,make to adifferent in things see us make to capacity in its – lies power great “art’s states, also Mouffe as Because, tem. sys capitalist the of part a constituent are that relations social the questions that resistance for space a offer –can no exception here is museum the – and practices cultural hand other the on and system; established the to contributes capitalist reproduction” capitalist 18 19

Ibid., p. 63 p. Ibid., A C., Mouffe, Verso, London, New York, 2013, p. 88 p. 2013, York, New London, Verso, Politically, the World Thinking gonistics. 18 . And cultural production works in both directions: it directions: both in works production cultural . And 19 - Gal Kirn and Niloufar Tajeri _ 185 ------, Stanford Parallel means or 4 arché which has had 2 1 For Derrida, For is it memory has tak 3 , Suhrkamp Verlag, Frankfurt am Main, , 1989., He clearly andmeticulously present is related to archonts, that is, the political class that ruled arché This is a thoroughly revised introductory text for our exhibition “Thinkingsub/urban riots” the monument at the Academie to Solitude (January-February The 2016). project willa series continue of workshops as with political activists, architects, artists and scholars. The far-reaching and illuminating critique of the postmodernist status-quo attitude was formu latedby David Harvey inPost-Modernity Condition of over the accumulated data and knowledge, i.e. archive, and interpreted it exclusively. ed a history of aesthetic and economic transformations, moving betweenmodernist Fordist, post-Fordist, and post-modernist narratives and phenomena that continue to sharecapitalist condition. a more general See: Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory UniversityPress, Stanford. 2003. In our recent past, especially in the of historypost-socialist has beencontext, thoroughlyall revised, silenced, forgotten, or culturalisedmonstrosity as (see: a “totalitarian” Boris Buden, Untergangs des Zone 2009). Contrary to the expectedconnotations coming fromthe ancient Greekword ( igin),Derrida warned us that 1 2 Back to the Future Memory of Urban Riots 1980sThe marked the high point of the postmodern discourse, Gal Kirn and Niloufar Tajeri and Niloufar Gal Kirn Notes on theof Archive Dissent: Riots Sub/Urban to Monument to this critical approach, our also work emphasizes a need for locating system tard’s “end of the grand narratives” and the subsequent political endorsement of Fukuyama’s “end of history”, but also had an important effect on a large number of academic and artistic-museum institutionsin terms of changing their on-going foci and practices. At least since Pierre seminal Nora’s essay “Lieux de mémoire” a consistent move away from history to profound effectsnot only on philosophicalthe discussions alludingLyo to the “archive fever” that seeks for an origin based on the naive presupposition of arriving a neutral at and more transparent perspective on history. 3 4 en place, accompanied by a shift from macro-narratives to micro-perspectives and personal testimonies. Furthermore, this shift can be recognized in an ac tual boom in the interdisciplinary field of “memory studies”, which indicates that, for some authors, our age is “obsessed with memory”. 186 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots munism, com to connected anything or (revolution, forgotten and silenced been have topics Certain era. archival overarching the in absences symptomatic and atic 5 ena and explores the possibility of a more lasting encounter between alter between encounter lasting amore of possibility the explores and ena phenom urban of traits universal the of some sketches contrast, in text, Our poor. urban the of emancipation for sibilities pos the as well as poverty urban of causality deeper the ignores and violence spectacularizes that riots of representation their and media mainstream the for reserved been has which ruins, the aestheticize to not is research this of aim the However, monument. the of side flip the as seen be could –which ruins by fascinated demonstrated, clearly Huyssen as outset, very the from been, has Modernity neighbourhoods. own their in/of ruins produced rioters ments: monu own their created always have they since monuments, any require not do riots that argue might some Furthermore, order? existing the of destruction the to amonument for need this then Why violence. over monopoly and der or for respect property, private state: capitalist modern the of core traumatic the touches that union) trade movement, (party, form political particular any to ascribed be cannot which riots, of power destructive and agency trollable uncon the precisely It is destruction. total and war civil to way give or trigger might insurrection urban that namely fear, ultimate the as articulated is which masses”, the of “fear the to areaction is repression this that trope, old Spinozist of mechanisms ideological certain of ence exist the to points also but apparatuses, state repressive of presence strong the to testifies which morality, and criminality of notions with saturated been only not has riots on discourse The at work here. symptomatic something is there that demonstrates that majority moral the by reactions demonising strong, these precisely It is behaviour. “irrational” and criminal violent, ti-political, an of expressions been always allegedly have riots sub/urban that us remind leaders media and Politicians (Žižek)? rage” “impotent of outbursts rational ir these in commemorating “worth” anything really there Is remembrance? for amatter be riots the should Why ask: and object immediately could One sub/urban riots of radicalisation and emergence the practices: and discourse memorial stream main the from excluded largely been certainly has and causes, objective the “understanding” merely of premise the on analysis, sociological in even displaced, been has that atopic from proceeds research Our oblivion. or brance War and Revolution War and Losurdo Dominico See: 5 ), while others do not even emerge as potential material for remem for material potential as emerge even not do others while ), over the course of the past 50 years. 50 past the of course the over , Verso, London, 2015. London, , Verso, repression . We claim, repeating the the repeating . We claim, ------Gal Kirn and Niloufar Tajeri _ 187 ------In 6 Los An . Not so long should be taken more , Verso, London, 2012, p. 21 or reactionary progressive , Notebook 4, Hatje Cantz, Berlin, 2011. Since the conditions inwhich theriot comes 8 However, riots can become progressive, as Alain Badiou argues, 7 See: Documenta 100Notes – 100 Thoughts ing.Michel Foucault wrote extensively on this topic in his studies on urban managementjuncture at the of political power and medicine. Alain Badiou, Rebirth of History: Times of Riots and Uprisings However, after theFrench Revolution, when the riots of the underclasses evolvedwidespread into serious social revolution, the dominant classes became far more attentivewhich to urban is why the riots,nineteenth century witnessesveritable a risein the studyand practice of polic as “they stir masses up of people on the theme that things as they are must beregarded asunacceptable”. seriously. Her Benjaminian take consists of mobilizing past revolutionary ma tory moments from the past of theurban periphery, as some recent artistic approaches have realised in their experiments with the narrative forms and strategies of “progressive nostalgia” (Missiano), or with what Inke Arms and Boris Buden call the practice of “retroutopia” in late Soviet and Yugoslav art. However, now that the neoliberal utopia has progressively and finally with ered together away, with the “end of history”, we can claim that the proposal by Susan Buck-Morss from the most recent Documenta terial in order to infect the present, which should primarily serve to de-nation alize and de-privatize the archive. This process is followed by additional steps in “training the eye” to spot the emerging “communist mode of reception”. native memory and sub-urban riots. wish We to highlight the inter-sectional oppressions of those silenced and forgotten throughoutparticular histories of Western metropolises that are directly linked to the history of colonialism. Our methodological approach also attempts to mobilize certain emancipa 6 8 7 into being are so oppressive, the allegedlylegitimate and legalrepresentatives of physical force are increasingly undermined in the subaltern eyes. Those agoEric Hobsbawm claimed that urban riots had been repeated without much revolutionary potential, while actually referencing politics that defended the customs. old many respects hermethod resonates strongly with ourjourney to the future monument to the urban riot. As this is part of a more extensive research under takingwe shall present two parallel histories, and only briefly: in the first part we outline the common characteristics of different sub/urban riots ( while Paris in 2005and 1981–1990, Lyon geles London 1981/2011), 1965/1992; the following part we present a fragmentary history of alternative monuments that challenged the very institutional idea of the monument. Features common to sub/urban riots The usual dictionary definition ofriot is a “violent disturbance of the peace bycrowd”,a rendering either it blindly 188 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots are largely separated from the benefits enjoyed by the rest of society. of rest the by enjoyed benefits the from separated largely are tions. These zones are closed off from the middle-class neighbourhoods middle-class the from off closed are zones These tions. representa negative as well as walls visible less or more of geography urban an form also disadvantages, economic and political educational, carrying from apart which segregation, of logic the to subjected been have zones urban the we extended our frame of analysis to two other contexts (Britain in the 1980s 1980s the in (Britain contexts other two to analysis of frame our extended we stage, second the In not-guilty). act violent that perpetrated who policemen the found that verdict 1992 (and in the King Rodney of beating the of heels the on followed that riot the with instance early this We compare discontent. urban of eruptions sporadic and existing certain radicalised that metropolises Western the in riots sub/urban of sequence anew of beginning the represents which Angeles, Los of suburb Watts the in 1965, in begins overview historical Our society. in and cities inner from people perceives society way the just not changes or fects af This etc.). circumstances, and backgrounds cultural and religious different from come that unemployed or uneducated and barbaric (the “them” and etc.) law, of rule the to adhere that citizens respectful of majority civilised (the “us” between division of the logic enforce that affects ideological carry separations 11 10 9 state”. adespotic by alleged, or actual a misdemeanour, to response in always virtually young, the of sembly as tumultuous “a population, the of section aspecific as seen be can riot that of containing all life between the four sweating walls of privacy.” of walls sweating four the between life all containing of hope demented the in buildings, their of hallways the from finally and hoods, neighbour their then streets, “their of out people pushed has that control lice po of radicalisation the to points Committee colonies. The Invisible former from migrants and elements sub-proletarian the as well as reside, classes working er poor the where spaces the are These (mis)management. governmental and trol con police stricter to subject been already have that spaces in emerge to tend they as location, riot’s the of terms in explained easily more be can Rupture political events. veritable and ruptures as defined be should and strategy, aplanned following

Ibid., p. 23 p. Ibid., ken middle: The space of the London riots” in Cities riots” bro London the “The of space Till, The Jeremy middle: and ken look-at-englands-urban-spaces-riots-were-inevitable) ourkingdom/ owen-hatherley/ (https:/www.opendemocracy.net/ inevitable” were riots the spaces: En at “Look urban gland’s Hatherley, Owen See: area. same the occupy groups social spatial different a the than since one, rather segregation socio-economic of speak can we London, of case specific the In Coming The Insurrection Committee, Invisible The banlieues , but also, in turn, how they perceive themselves and their role their and themselves perceive they how turn, in also, , but 9 Finally, riots are more than political actions actions political than more are riots Finally, , MIT Press, Cambridge MA, 2009, p. 72 p. 2009, MA, Cambridge Press, , MIT vol. 34, 71–74, 34, 2013 vol. 10 Moreover, 11 These These , and and ------Gal Kirn and Niloufar Tajeri _ 189 ------, sub/urban , the, political Fourthly The “tragedy” of riots consists of their fac 12 , 112: 3, 2013,, 112: pp. 550-558 , sub/urban riots are a political response to acutely , if riots break out as an immediate response to police bru vs. the inner city), our contribution here aims to underline certain banlieue Paul Gilroy offered a fresh insight of this transition, which retrospectively even triggered a cer tain nostalgia for the riots of 1980s that were marked by a sense of optimism and commitmentfor deeper social change. See: Paul Gilroy, From and Social “1981 2011: Democratic to Neoliberal Rioting”, The South Atlantic Quarterly

process that marks the two cycles of riots in the cities selected herein shows the transition from social-democratic to neoliberal (1960s/1980s) policies (from the 1990s onwards) that takes and practices a tougher stance toward the preservation of “law and order”. quire an element of comparative spatial and temporal differentiation. Despite acknowledgingcertain differences in the selected case studies, it be in terms of different colonial pasts(the creation of USAthe parallel to genocide and slavery vs. French and British imperialism), the phenomenon of immigration from former colonies, the intensity of the struggle of the subaltern classes or the use of violence (injury, death, gun culture) and other urban specificities (the striking similarities. There leastat are five features common tosuburban riots. Firstly riots operate according to a logic of radical and violent disruption, which tar gets the central consensual points of a modern capitalist state essential to its reproduction: (private) property, respect for legal order and monopoly over physical violence. Secondly ism, class exploitation and police violence. Rioters often come from the body of dispossessed youth in segregated urban areas, those who have effective no access to the established alternative political organisations of dissent such as political parties, social movements or tradeunions. Hence, the political event of the riot is driven by despair and frustration, rather than by a unified politi cal strategy. Thirdly tality, then the dominant response operates on a double axis. On the one hand, even more excessive control and violence on the part of the police, sometimes accompanied by the declaration of a state of emergency and subsequent mili tary intervention; and, on the other, by a demonising representation of rioters communicated/disseminated through mainstream media, where racial and classstereotypes of theirrational are mob reproduced. oppressive living conditions, which are permeated by racism, (post)colonial and in 2011, and Franceand in in the 2011, period 1980–90s and in 2005) in order to ac 12 tual ambivalence: if a riot is contingent and opens the up urban and political spacefor theexcluded, thisvoid is immediately filled by increased militarisa tion and a more oppressive silencing of the marginalised, thus creating a neg ative spiral. Instead of tackling the immediate and deeper causes of the riots, 190 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots examples from this alternative history alternative this from examples inspiring most the of some highlight we follows, what In commemoration. of practice very the challenge to continues monuments these of radicalness the yet practices, museum and monumental of cannon historical-aesthetical the of part indisputable an become now has structures alternative of undercurrent an Such past. the towards orientation initial their despite future, the wards to and for adesire embodied they because time, their of ahead were uments to the experience of reality in contemporary society”. contemporary in reality of experience the to proper means using society, surrounding the by denied or forgotten constantly existence an as a ‘project’ or a ‘cause’ much so “not are riots poignantly, identify as the new “moral economy of the poor”. the of economy “moral new the as identify highly highly délogement the newal: re urban of logic violent the by followed is This criminalisation. swift their ensure state the by employed measures discursive-repressive whole the of the 13 15 14 show. examples following five the as oppressed, the of position the from speak would that practices and strategies spatial new inventing by memoration com mere just than more achieve to intended and narrative acomplex ticed prac and constituted they that reveals monuments alternative of history The monuments alternative to journey A fragmentary societies. own our to monuments become metaphorically, at least riots, respect this In landscapes. urban policed highly the of management urban and economic the for and in docile them make to norms, dominant its with culture dominant the into them “integrate” to attempted societies those which in ways the of failures the of speak they societies; very those of failure the of symptoms are riots Sub/urban potentiality. unarticulated still yet ademocratic up onto open instance, an for only if even dispossessed, and excluded those that fact the it reveals other the on while order, social of disruption the and war civil bespeaks fear this hand one the On masses”. the of fear “the well: so describes Spinoza that point traumatic acentral it touches society into out bursts ence

Century”, Century”, the in Twenty-First Crowd English the of Economy Moral “The Milburn, Keir and Harvie David Étienne Balibar, “Uprisings in the Banlieues”, Constellations Banlieues”, the in “Uprisings Balibar, Étienne Trott. Ben by edited issue same the in riots on exhibited, while within this text the final selection comprises 5 of the most daring monumental monumental daring most the examples.of 5 comprises selection final the text this within while we 9that exhibited, the to down narrowed been has monuments 30 than more of selection initial Our 15 Despite their differences in approach, scale and setting, all these mon these all setting, and scale in approach, differences their Despite political The South Atlantic Quarterl Atlantic South The acts of refusal, indignation, and looting, which some authors authors some which looting, and indignation, refusal, of acts of local residents and demolitions. And fifthly And demolitions. and residents local of y, vol.112: 3, 2013, pp. 559- 567. Also see the whole section section whole the see 567. Also 559- pp. 2013, y, 3, vol.112: : 13 As Étienne Balibar puts it so puts Balibar Étienne As , vol. 14: 1, 2007, pp. 47-71 14: pp. 1, 2007, , vol. 14 But when their exist their But when , riots are are , riots that is is that ------Gal Kirn and Niloufar Tajeri _ 191 ------16

. http://h8w.net/work/bs.html) ( For a recentFor attempt to realize Tatlin’s tower see the works of the art collective Henry VIII’sWives

YUGOSLAV PARTISAN MONUMENTS, DIFFERENT AUTHORS, MONUMENT TO THE THIRD INTERNATIONAL, VLADIMIR TATLIN, 1917 TATLIN, VLADIMIR 16 tral decision-making processes of the communist government and meetings of the International take place inside The monument it). breaks with the very idea of architecture as a static form. In contrast, the building is envisioned as a dynamic device and as an apparatus that regulates certain organisational activitiesand social conflicts. Tatlin’s monument is concerned with the pro cess of becoming rather than with simply being. As the name suggests is it a monument to the continuous becomingof the present, one infected by a future emancipatory horizon. represents It history as an evolving contradictory pro cess that is never limited to national issues (state) alone. is It transnational, communicates and resolves; is it capable of organising and perceiving things differently. Despitenever having been realised there were manyattempts, the oretical and artistic, to realise least at part of its initial conceptualisation. 1960-1980 From the 1960s through the 1980s a vast alternative memorial movement emerged in Yugoslavia from within the officialpolicy of socialist modernism. Socialist modernist memorials employed peculiar aesthetic strategies that reflected People’s the liberation struggleduring and Warafter World II. This process or mechanism initially commemorated the widespread common suf fering of the people and served as a remembrance of fascist terror and war. However, from the 1960s onwards, new modernist memorial sites encouraged and celebrated gestures of resistance and emancipation that pointed towards thefuture. These monuments share a certain abstract aesthetic, manifesting as a turn from a specific event to a more generalnotion, from a concrete po liticalevent to morea general optimism about present society and its future. These monuments are set in or consist of large public spaces that allowed for different social practice: they informed and educated, or they provided visitors with a place for picnicking or hiking; and they served as sites of countercultur al activities and acts of refusal. Tatlin’s monumentTatlin’s is a dynamic structure that incorporates three revolving halls supported by a skeletal, spiral framework. not only It symbolises the functioning of a political system, but also incorporates its functions (the cen 192 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots nomenon. The monument here serves as a mirror of the manifold opinions of opinions manifold the of mirror as a serves here monument The nomenon. phe aprecarious fact in is past problematic this overcome having of narrative official the how show to it served past), socialist national its of condemnation (the d’etat raison absolute of expression an as perceived was Germany in what to amonument as conceived though And consensus. social on based narrative a state of history dominant the represents that a monument of notion ditional present reactions to the past. The The (counter)monument past. the to reactions present to expression visible gives also but past, the commemorates only not that ment instru an of that dimension: another monument the lent elements unforeseen These immigrants. of denunciations and swastikas like beforehand, visioned en been not had that appeared reactions expressive some however, years, six the of course the Over responsibility. joint thus and co-authorship permanent of akind in visitor the involving by monument the visiting of experience lived short- the overcome to attempted artists The surface. the onto names their inscribe to encouraged were Visitors years. six of aperiod over ground the into sunk gradually which column, of a lead-coated consisted memorial This Fourier were ever present of radicalness political the and plinth empty the of potential radical the ment, monu a new commissioned municipality the as time such day. Up until the of battles political relevant the of reality the into expanded up and taken was meaning historic initial Its action. and appropriation radical for potential the out holding state, “unfinished” some in a monument like stood plinth empty The memorials. to relation in hijacking or “détournement” of method the use to first the were Situationists the Here Paris. in 1968 May of protests student the of clashes the to alluding Gay-Lussac”, rue the of barricaders the from Fourier, Charles to “a tribute pedestal: statue’s the on added was Aplaque plinth. its to Fourier Charles of statue the returned Situationists the that commence to scheduled was strike ageneral that moment precise at the It 1969. was March 10 until obscured and down ground plaque its with Clichy Place the on mained re plinth empty The power. occupying Nazi the of order the on government Vichy the by removed was Fourier Charles socialist the utopian of statue The 17 MEMORIAL AGAINST FASCISM, ESTHER UND JOCHEN GERZ, 1986 GERZ, JOCHEN UND ESTHER FASCISM, AGAINST MEMORIAL 1969 SITUATIONISTS, THE FOURIER, CHARLES TO MONUMENT

18.2, University of Chicago Press, Chicago, 1992, pp. pp. 1992, 267-296 Chicago, Press, Chicago of University 18.2, Inquiry Critical Today”, Germany in Itself against Memory “Counter-Monument: James. Young, see: counter-monument of notion the On . 17 problematized the tra the problematized ------Gal Kirn and Niloufar Tajeri _ 193 ------. , and was the result of a collaborative effort between the . Documenta 11 GRANBY WORKSHOP, ASSEMBLE,2015 MONUMENT TO BATAILLE, THOMAS HIRSCHHORN,2002 society. represents It the end of representation, which is rendered completed with the disappearance of the column Following the Toxteth riots many in of the 1981, houses in four of Granby’s streets were demolished. Local residents re-appropriated the remaining clus ter of dilapidated Victorian terrace houses and founded a community land trust.The design/art collective Assemble was hired and developed a project for the refurbishing of the housing, public space and the provision of new em ployment. The Granby workshop was launched as a continuation of the process of physical transformation. producesIt and sells a series of handmade items designed for the refurbished flats. Some are made from the rubble from the four streets.items The are distributed to the rest of the world as small monu ments to everyday life; they remind us of the capacity to transform the derelict spaces of injustice and ill-management (by the state) into something empower ing. The project bringsobjects from one dwellingplace into the dwellingplace of others. live with You and from the monument, which makes a reciprocal it relationship: the transformation process forms the monument and the monu mentforms thetransformation process. The social critique of gentrification The monument to Bataille was built in an immigrantneighbourhood of Kassel during artist and the community. is It conceived as an instrument for the inclusion of an otherwise marginalised neighbourhood by encouraging an encounter be tween different parts of society.It firstand foremost establishes connections, connections that were not otherwise present. As such is it divided into differ ent elements and sites, which were defined negotiationin with and run by the community: a library for knowledge transfer and discussion, a snack bar, a TV studio, and a car connecting different sites, etc. The fact it isthat temporary and fragile actually lends the monument a certain strength: can it be appro priated, is it not intimidating, and opens it spaces up where people can meet as equals. is It a confrontation with reality beyond the museum space that par ticipates in the new (art-related) trend of community monuments that are, by virtue of their form, open to external conflict and discourse. idea,The the way the monument is brought to the people, is essential; similarly, so too is the idea that without the active involvement of the people themonument itself could not have been built 194 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots stead, violence needs to be politically articulate and understood as stemming stemming as understood and articulate politically be to needs violence stead, In violence. of sake the for violence of concept[ion] the from removed far is but thought, political re-enters such as Violence necessary. is oppressors their against perpetrated colonised the of part the on violence political of amount acertain which against violence, systematic and continuous of acycle in ded embed are colonialism of presence and history the that showed he Politically, centres. colonial former in and colonies former the in both unfolding process de-colonisation aslow of twilight the in exploitation class and racism of tique acri combined that approach analytical aground-breaking developed who Fanon? with adialogue in struggles their articulated rioters the had taken have riots the would course what contrast, by and riots, sub/urban the analysed and seen 1961 in – had died Fanon – who if happened have would what question: the posing encounter, amissed of history the trace to narrative this of apart as Fanon We introduce practice. political and urban alternative an launched and society a utopian envisioned that butsomeone figure, neutral apolitically not was Fourier begin. to about was strike ageneral moment at the plinth its to of Fourier figure the returned 1969 in Situationists the whereby gesture tioned abovemen the to refers figures emancipatory past of re-appropriation The riots sub/urban and Fourier and Fanon encounter: Missed marginalisation their victimise or (romanticise) glorify in memoriam them represent merely to be would trap obvious most the then excluded, (most) the of position structural the occupy that those also are and oppression, intersectional the resist way violent some in that those are rioters the if Also, excluded? the of solidarities the on expand to attempt monument the should or conditions; oppressive of transformation and ness aware an motivate and inform permanently instead monument the should paths: different very on embarking ourselves find may we riot sub/urban the to monument the within strategies these integrating start we But if ianised. sub/proletar and excluded the of position the addressing in used be can that approaches spatial and visual different combine strategies monumental These representation ical polit alternative of expression an monument “ready-made” this makes which alternative, concrete a revealing action, affirmative an of form the in unfolds 18

Bloom, Indiana University Press, Bloomington, 2009, pp. 47-54 pp. 2009, Bloomington, Press, University Indiana Bloom, in: Banlieues” Diaspora andFrenchness the African French the in Riots the On Beast: Its and Republic “The Mbembe, Achille see: Also 18 Fanon has remained one of the most important anti-colonial thinkers, thinkers, anti-colonial important most the of one remained Fanon has . , edited by Charles Tshimanga, Ch. Didier Gondola, Peter J. J. Peter Gondola, Didier Ch. Tshimanga, Charles by , edited . , either to to , either ------Gal Kirn and Niloufar Tajeri _ 195 , ------. These dangerous 19 , Grove Press, New York, 2004, p. 15 . His. lesson should be tested through the political practice of the ur Frantz Fanon, TheWretched of the Earth

19 The conditions of the urban periphery in West the arenot identical to the colo nial condition. there Yet are strong traces of racism and colonialism projected by the majority onto the urban subaltern classes. This is why the gesture of a return to a figure of liberation should be understood as a creative re-appropri jectabout which we mayspeculate exists beyond the Westernmetropolis and dwells in the favelas, slums and ghettos of the developing countries, too; is it only a subject in the making anddoes not yet enjoy any politically constituted organisation. Furthermore, the history of the “surplus” populations of the ur ban areas can be related to descendants of the colonised, and more distantly the enslaved. They may be viewed either as second-rate citizens compared with the majority of the more affluent population, or as precariously positioned mi grants from ex-colonies inthe face of post-imperial nostalgia and xenophobia. Hence, the lesson that originally Fanon taught us about the colonised subject ought to be re-appropriated in the alternative context of the inner cities and banlieues froma sense of helplessness and related unbearable living conditions.Instead of focusing on the proletariat as the traditional revolutionary subject Fanon turned to those even more excluded: the lumpenproletariat classes paved the way towards a new understanding of (future) revolutions that could not be ascribed to a singularhistorical subject. The historical sub ban poor and marginalised. Fanon, in his famous book Wretched of the Earth which was censored offered in 1961, a clear statement against (post)colonial statues: compartmentalized,A world Manichaean and petrified, a of world statues: the statue of the general who led the conquest, the statue of the engineer who built the bridge. cocksure A world of itself, crushing with its stoniness the back bones of those scarred by the whip. That is the colonial world. colonialThe sub jectis a man penned in; apartheid is but one method of compartmentalizing the colonial world. The first thingcolonial the subject learns is to remain in his place and not overstep its limits. Hence the dreams of the colonial subject are muscular dreams, dreams of action, dreams of aggressive vitality. I dream I am jumping, swimming, running, and climbing. I dream I burst out laughing, I am leaping across a river and chased by a pack of cars that never catches up with me. During colonization the colonized subject frees himself every day be tween nine in the evening and six in the morning. 196 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots confrontation form monumental on more focus that approaches by secondly, And context. given social practices of set a launch that interventions spatial by firstly, axes: two around clustered be roughly could and monuments alternative of analysis our from taken have we that strategies of monumental array an of consists proposal preliminary The practices aesthetic and social between proposal: Speculative practices. monumental (post)colonial against and colonialism of legacy the against struggle the in useful be could which ation, - - - Building common spaces based on social ownership, be it from ruins, shuttered shuttered ruins, it from be ownership, social on based spaces common Building Breaking up spatial and social segregation with trans-community networks trans-community with segregation social and spatial up Breaking Reviving damaged residential buildings in the aftermath of riot of aftermath the in buildings residential damaged Reviving for the design of a monument that connects people. The monument could be could monument The people. connects that amonument of design the for strategy aspatial is this that recognised be it must however, foremost, and First places. different between mobility or places, common of creation the through place take either can This together. districts marginal of population Documenta to visitors the bring to was achieved Hirschhorn What laid down by the West. the by down laid patterns social the imitate simply not would that oppressed the of powers emancipatory the affirms and “decolonisation” of process on-going an called Fanon what resembles closely this respect, this In activities. leisure for space a as and struggle, the organise to negotiate, to ideas, of exchange the through community the empower to adevice as conceived be should monument the buildings emptied centres, structures? self-supporting on it), purely have would economists (as neoliberal based and apolitical increasingly becoming from approaches such prevent we do how arises: immediately aproblem However, community-building. in re-invested be later would that products into ruins turn and jobs create residents helped which collective, Assemble the work of the with combined experiment socio-political urban Fourier’s of aspect one of reminiscent It is process. on-going an as and in community the build to continues but renovation, completed a with end not does strategy This as. ide residents’ the to according structures physical the revives and munity com existing the empowers that one “renewal”, of version anew constitute political political trigger and visible make that practices aesthetic new , inventing : ; here the monument focuses on a concrete action in a in action aconcrete on focuses monument the ; here . As Hirschhorn’s monumental practice implies, implies, practice monumental Hirschhorn’s . As . This could could . This and the the and - - . Gal Kirn and Niloufar Tajeri _ 197 . ------. We draw . We . Gerz’s activist intervention into what a . Thisapproach draws inspirationTat from further elaboratedby developing trans-community solidaritynetworks that would establish ties between the rural countryside and the urban periphery. This strategy can be interpreted along the linesFourier’s of utopia, it but also concretely draws from recent practices from Greece and Spain. through new monumental form from the of work Hirschhorn and the Situationists,whose spatial interven tionswere based on the of work certain intellectualsBataille, (e.g. Gramsci, Fourier). From a different perspective Esther Jochen and Gerz created a mon ument where visitors themselves become co-authors of its alterity, and in this respect represent both figures of liberation a and mirror to the present society offering an alternative opinion to the common consensus. A process of negotiation and confrontation begins. suggest We that the monument could be materialised in an alternative educational infrastructure, in a so cially-ownedlibrary or info-shop that “arms” local residents with emanci patory and programmatic ideas, but also attempts to collectively imagine an alternative world. not supposed to be commemorated monument is and what should it be serves as an example that intervened in the physical space of a square and emphasised the standpoint of the op lin and the Yugoslav monuments to revolution, and could imagine a set of formal-aesthetic devices that execute a visual transition from riot to eman cipation. The centralquestion of thismemorial form would be to launch counter-narrativea of the oppressed and articulate the link between the no-longer-existing political movements and the most excluded sectors of thepopulation. This refers a to shift Fanonthat made from the revolutionary subject of the proletariat to the dangerous classes, i.e. the lumpenproletariat pressed and the forgotten. Similarly, the monument form could play with an aspect of trans-locality, drawing on riots from elsewhere and thus building critical awareness. Fanon, For the guerrilla struggle was pivotal in order to fight the stronger oppressor.It can be argued that a similarlesson is equally valid in the struggle occurring in the memorial landscape, which organises a dominant consensus that silences and makes the riot invisible as such. Re-appropriation of a historical figure liberationof (FrantzFanon) In searchIn of legalloopholes thatcould challenge the consensus that the riot is - - Organising politicisation of and solidarity among the excluded urban poor - 198 _ Notes on the Archive of Dissent: Monument to Sub/Urban Riots interiority. own its from riot the address can that one form, dissensual proper attendant its with dissent, of acounter-archive short in riot, sub/urban the and memory between encounter lasting amore in participate to To opt we conclude, tions. realisa and proposals future for useful prove could that strategies umental mon and counter-narratives of aset presenting time same at the while tions, representa memorial regards as regime dominant its and memory national state’s the of stance official the challenge to was research this of task second hopelessness of spaces these from disinvest to moment the not despair, to time is no this periphery, urban the on oppressed the of subjectification litical po the and potential emancipatory the between gap considerable the Despite overlooked. usually is that life contemporary of dimension a political reveal they that importantly, more and, future; the in reappear will riots that fact simple the recognise must we demonization and negation outright of Instead modalities. different of its account taking riot, of a definition very the on sus consen dominant the challenge task, first its as must, riots sub/urban future even and present for past emancipatory an mobilize to attempts –that litical po or artistic work – academic, any that herein arguments the from It clear is riot and memory of encounter alasting for Conclusion: - Find unfinished infrastructures/urban furniture infrastructures/urban unfinished Find reframed with minimal interventions. minimal with reframed and re-appropriated occupied, be can the plinth) (e.g. elements unfinished of “ of détournement ” by the Situationists to the Fourier statue, the existing and and existing the statue, Fourier the to Situationists the ” by . Similar to the intervention intervention the to . Similar . The . The ------

Performing the Museum The Reader

Published by: Muzej savremene umetnosti Vojvodine Museum of Contemporary Art Vojvodina 21 000 Novi Sad, Dunavska 37 [email protected], www.msuv.org

On behalf of the publisher: Sanja Kojić Mladenov

Editors in chief: Aleksandra Sekulić and Dušan Grlja

Coordination: Gordana Nikolić

Consultants: Núria Solé Bardalet, Oriol Fontdevila, Andreja Hribernik, Jasna Jakšić, Sanja Kojić Mladenov, Gordana Nikolić

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PERFORMING the museum : the reader / editors Aleksandra Sekulić, Dušan Grlja. - Novi Sad : Museum of Contemporary Art Vojvodina, 2016 (Beograd : Službeni glasnik). - 202 str. : ilustr. ; 24 cm

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