RhR_Laura Lima – pdf
RhR was initiated in its First Movement by Laura Lima who was, at that time, assigned as its administrator; “Laura Lima in the service of RhR”. This did not necessarily mean she was its sole author, because nomenclature did not mean much in such circumstances. Instead RhR was an “instance” which referred to both the instance of thought and the set of actions launched during that process. In the RhR instance Lima worked with the production of a collective body that continually reinvented itself in the landscape, by way of recomposing various bodies in new, experimental couplings and collectivities. So it was not so much about creating work as such but a question of leaving one’s territory and entering another. It was also about finding another language within the art language, a specific need to create barbaric words and from all that realize a new notion, a new concept, with other words, to enter a new territory – a construction, as she put it, “between poetry, reason, madness, existence and power”.
Published in: Laura Lima: On_Off, Editora de Livros Cobogo, Rio de Janeiro, 2014
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
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 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
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
Spremna beseda k slovenski izdaji knjige Claire Bishop, Založba Maska, Ljubljana 2013.
Umetni pekli, spremna beseda – pdf
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.”