Politicization of Friendship

In the history of philosophy as well as theory of art there exists a variety of works based on the idea of friendship. The core of our present interest in friendship goes beyond friendship as mere closeness, affinity, affection or a certain consensus of opinion. It actually implies a broader political dimension and consequently even a certain tension and malaise. The exact nature of this dimension, the way it manifests itself in relation to friendship and, last but not least, the way it affects art, are questions that both this text and the exhibition seek to answer.

Politicization of Friendship – pdf

Written for the exhibition Politicization of Friendship, Moderna galerija (MG+MSUM), Ljubljana

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A short analysis of the Workers’ Inquiry investigation

WI analysis – pdf

Bojana Piškur (Radical Education Collective and a curator in Moderna galerija Ljubljana) and Djordje Balmazović (Škart) conducted a common research investigation Workers’ Inquiry in Belgrade and Novi Sad in September 2012. The research was based on Marx’ Workers Inquiry (WI), which was concerning with the positions of cultural workers in Serbia. The aim of the investigation was to disclose the modes and different levels of exploitation of the cultural workers, to better understand how social and political positions define artistic ideas and practices and to discern the positions and dynamics between the cultural/artistic and various other processes involved in the social and political production.

The Non-Aligned Movement and Cultural Politics in the Former Yugoslavia

The emancipatory potential of the non-aligned movement had its roots, speaking from the perspective of the former Yugoslavia, already in the people’s National Liberation Struggle, that is, the Partisan resistance movement of the Second World War, and later, from the fifties on, in the special, Yugoslav brand of socialism, called the self-management system. Some political philosophers speak of the so-called “politics of rupture”, the three historical sequences that enabled the beginning of a radical novum, something that was completely different from the established state politics in Yugoslavia of that time, and those three sequences were, as mentioned, the Partisan liberation struggle, self-management and the non-aligned movement.

The Non-Aligned Movement and Cultural Politics in the Former Yugoslavia – pdf

30. Nov ’93 – Pieter Brueghel in the letters of my father

In his book Images in Spite of All philosopher Didi-Huberman wrote that in order to know, we must imagine for ourselves. So, what do we imagine when watching Ibro Hasanović’s short film made in 2013? Are we watching an artistic film or a homemade video that was originally recorded on a VHS tape by Hasanović’s father Hamdija back in November 1993? There is no written explanation about this piece, except a short notice by the artist that says: Video made out of the “VHS letter” that my father sent me during the war in Bosnia.

Ibro Hasanovic – pdf

Barši

Barši – pdf

Flying across South America in 1929, Le Corbusier observed the great rivers of the Parana, the Uruguay, and the Paraguay from the air. From above, the land appeared in entirely new configurations, and the meanders of the great rivers made evident the ways in which a natural force contends with the laws of nature. Le Corbusier was so fascinated by this he applied the idea of meander also to human thinking: “Following the outlines of a meander from above, I understood the difficulties met in human affairs, the dead ends in which they get stuck and the apparently miraculous solutions that suddenly resolve apparently inextricable situations.”

Parallel models of curating

Parallel models of curating – pdf

There is a certain ambiguity linked to the concept of parallel curating, and this ambiguity has to do, above all, with the loose definition of parallel. What does parallel actually mean, especially in the light of the universal meaning of curating and the relation it bears to art production and artists? This relation has changed significantly over the last decades. There have been major changes not only in the aesthetic objectives of artworks and their function in society, but also in the conditions of art production and in the blurred division of labour between artistic work and the so-called regular work. All these transformations and mutations have had a strong impact on curating.