inbetweeness

Transcript

inbetweeness

INBETWEENESS
Balcani: metafore di cambiamento
INBETWEENESS
Balcani: metafore di cambiamento
22 maggio - 15 giugno 2007
Antica Casa di Correzione di Carlo
Fontana, Sala Clementina
Complesso di San Michele a Ripa
Soprintendenza per i Beni Architettonici e
per il Paesaggio per il Comune di Roma
mostra a cura di
Ludovico Pratesi e Dobrila Denegri
organizzazione generale
Olimpia Eberspacher
ufficio stampa
Novella Mirri
allestimento
Meloni Fabrizio s.r.l.
Prato Verde s.n.c.
Space Italia s.r.l.
si ringraziano
Annet Gelink Gallery, Amsterdam
Galerie Gregor Podnar, Ljubljana
Galerie Michel Rein, Paris
Galleria Alfonso Artiaco, Napoli
Galleria Francesca Kaufmann, Milano
Galleria Yvon Lambert, Paris
Galleria Lia Rumma, Napoli
Galleria T293, Napoli
Magazzino d'Arte Moderna, Roma
Orsola Mileti
Stefano e Raffaella Sciarretta
Walueurope s.r.l.
La mostra, patrocinata dalla Banca Mondiale con il sostegno del Ministero degli
Affari Esteri Cooperazione allo Sviluppo, si
inserisce all'interno della conferenza internazionale Young People in Eastern Europe
and Central Asia: From Policy to Action.
assicurazioni
Arte Assicurazioni s.r.l.
catalogo
hopefulmonster editore, Torino
a cura di
Dobrila Denegri
testi
Ludovico Pratesi e Dobrila Denegri
traduzioni
Alex Martin
fotolito
FB, Torino
ISBN 978-88-7757-216-5
© 2007 hopefulmonster editore, Torino
© 2007 per le opere gli artisti, per le foto i fotografi,
per i testi gli autori
stampa
Grabello Artegrafica, San Mauro Torinese
hopefulmonster editore
Coordinamento grafico
Grazia Gennari
Redazione
Luisa Borio
Cristina Cioppa
Ufficio stampa
Cristina Cioppa
Responsabile commerciale
Dario Salani
Si ringrazia UniCredit Group per l'impegno
nella promozione delle espressioni culturali e dei giovani talenti nella UE.
Le ragioni di una mostra
Questa mostra nasce dalla volontà di presentare una campionatura della condizione
vissuta dagli artisti delle ultime generazioni nell’area dei Balcani, che abbiamo definito
con il termine inglese Inbetweeness.
Ludovico Pratesi
I Balcani sono un ponte tra Oriente e Occidente
e questo ponte è costantemente battuto dai venti
ecco perché la sua storia è così tempestosa
Marina Abramović
Uno status che indica una condizione di perenne transito, un’identità indefinita in
continua oscillazione tra luoghi, tempi e spazi differenti, e spesso contraddittori.
Una situazione di perenne transitorietà vissuta dagli artisti sulla propria pelle, che li ha
portati ad abbandonare tradizioni millenarie per abbracciare modalità espressive più
attuali, come l’installazione, la fotografia, il video o il web, in grado di esprimere urgenze
che non potevano più essere imprigionate nella condizione statica di un dipinto o di una
scultura.
L’esigenza di interpretare i cambiamenti politici, economici, sociali e culturali di società
che vivono una continua trasformazione iniziata alla fine degli anni Ottanta e ancora in
atto ha portato gli artisti a rivolgersi naturalmente verso esperienze in grado di
esprimere, in maniera diretta o metaforica, il loro vissuto nomadico e transculturale.
I Balcani sono una terra di confine, dove da secoli si incontrano Oriente e Occidente,
impegnati in un confronto troppo spesso tinto di sangue. Oggi, nell’era della globalizzazione, i Balcani sono diventati la metafora di un cambiamento verso la definizione di
un territorio ideale dove questi due mondi possano convivere in maniera pacifica.
Per questa ragione le ex Carceri del Complesso di San Michele a Ripa costituiscono il
luogo ideale per esprimere questo cambiamento. Così, le opere dei ventiquattro artisti
presenti in mostra, collocate simbolicamente all’interno delle celle, costituiscono un
insieme di idee, concetti, messaggi e denunce in grado di annullare i confini fisici e
simbolici dello spazio per comporre un nuovo territorio, all’insegna della libertà dell’arte.
Un territorio che ha cominciato a delinearsi sulla scena internazionale con artisti come
Marina Abramović e Sislej Xhafa, per rivelarsi poi in tutta la sua drammatica e contraddittoria complessità nell’ultimo decennio, grazie alle ricerche di artisti che hanno
fatto della condizione di transitorietà la loro bandiera. Sono loro i protagonisti di questa
mostra, ideali messaggeri di una terra che, come ha dichiarato Winston Churchill,
“produce più storia di quanta non ne possa digerire”.
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The reasons for an exhibition
This exhibition wants to give you an idea of the situation experienced by recent
generations of artists in the Balkan regions; we have called it Inbetweeness.
Ludovico Pratesi
The Balkans represent a bridge between East and West,
a wind-swept bridge that explains
the region’s tempestuous past
Marina Abramović
This word represents a condition of perennial transit, an undefined identity in continuous
movement from one place to another, in different time frames and different spaces, often
in contradiction to each other.
This ongoing condition of transience is something that the artists have experienced in
person. It has prompted them to abandon their millenary traditions in order to embrace
more modern forms of expression, such as the installation, photography, video, or the
Net, all of which are instruments that can express pressing needs which could no longer
be conveyed by the static nature of a painting or sculpture.
The need to interpret the political, economic, social, and cultural upheavals in societies
that have undergone transformations since the late 1980s, and which are still underway
today, has naturally prompted the artists to turn towards experiences that can express,
directly or metaphorically, their nomadic and transcultural experiences.
The Balkans are a border region that has represented the meeting of East and West for
centuries, all too often in the form of bloody conflicts. Today, in the era of globalisation,
the Balkans actually stand for change and the definition of an ideal territory in which
these two worlds can live in peace.
For this reason the San Michele a Ripa former prison complex is the ideal venue for
expressing this change. And so the works of the twenty-four exhibiting artists,
symbolically placed inside the cells, form a melting pot of ideas, concepts, messages,
and declarations that are able to annul the physical and symbolic confines of their space
in order to create a new territory, one in which art can be freely expressed.
This territory began to make its mark on the international stage with artists such as
Marina Abramović and Sislej Xhafa. Over the last decade its dramatic and contradictory
complexity has become manifest thanks to research by artists who have used this
condition of transience as their banner. They are the protagonists of this exhibition, the
ideal messengers from a land which, in the words of Winston Churchill, "produces more
history than it can consume".
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INBETWEENESS
Dobrila Denegri
Essere tra un punto di partenza e un punto d’arrivo… tra un luogo che si lascia e un altro
a cui approdare… è come essere al contempo in movimento e in sospensione… in una
condizione densa di sensazioni contrastanti, fluttuando tra il senso di vulnerabilità e di
acutezza, tra incertezza e aspettativa, scostati da pattern comportamentali abituali e
soggetti all’imprevedibilità del caso. È la condizione che sperimenta il viaggiatore; più
che fisico è uno stato psicologico e mentale, che lo fa sentire non più cittadino di un
luogo specifico, ma di una dimensione in “divenire” in cui l’unica costante è il
cambiamento. Secondo Eraclito il divenire significa il continuo mutare e trasformarsi
delle cose da uno stato all’altro. Se si segue invece l’etimologia latina del termine, il
significato assume sfumature diverse: la provenienza è legata al verbo devenire,
composto da venire (“arrivare”) e de- (“giù”) e quindi equivale a “provenire da”. Anche
se indicano strade diverse, entrambi i significati ci riportano al punto di partenza: il
desiderio di afferrare, almeno in parte, cosa vuol dire sentirsi “tra”, dimorare in uno
spazio “in-between”, e come si rispecchia, attraverso queste riflessioni metaforiche,
quel processo che fa ridisegnare i contorni della nozione d’identità. Lasciare il luogo
d’origine e andare incontro a un’altra realtà fisica e culturale, inevitabilmente mette in
moto un processo di elaborazione della nozione d’identità, fa scattare una sorta di editing
in tempo reale, in cui come nelle dissolvenze incrociate, si susseguono e contrappongono
il passato e il presente, la memoria e il vissuto, il “bagaglio” che si porta da casa e che
talvolta bisogna alleggerire per fare carico di ciò che viene raccolto strada facendo. Più
tempo si trascorre su questo percorso, più ci si avvicina all’idea d’identità come qualcosa
di disancorato, complesso e poliedrico, ci si accosta alla nozione d’identità ibrida e
molteplice che fa confluire, coniugare o scindere codici culturali diversi.
Trovarsi in questo particolare spazio “in-between”, “in mezzo”, può essere vissuto come
un’esperienza individuale, ma anche collettiva, implica non solo spostamento tra luoghi,
ma anche essere tesi tra diverse dimensioni temporali. Può essere come trovarsi a
fluttuare in un vuoto che si crea quando la Storia si interrompe, quando un sistema
politico e sociale si disfa e tutto quello su cui si reggeva il senso d’appartenenza cessa
d’avere rilevanza. Quando il senso di discontinuità tra il passato e il presente è tale da
far sembrare tutto fuori asse. Questo accade nei momenti di rottura, come quella che ha
seguito il crollo del muro di Berlino: collasso dei sistemi socialisti, avvio dei processi di
democratizzazione in alcune parti dell’Est europeo ed esplosione dei conflitti etnici nelle
altre. Sono state le fratture che hanno segnato il passaggio al nuovo millennio cogliendo
in pieno la generazione degli artisti emersi nella prima metà degli anni Novanta toccando
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poi di riflesso anche quelli più giovani. Per alcuni di loro l’impulso iniziale era l’apertura
dei confini, per altri invece eventi drammatici e sanguinosi, ma qualsiasi fosse la molla,
durante gli anni Novanta molti artisti provenienti dai paesi ex-comunisti hanno intrapreso
una strada di nomadismo, talvolta forzato, approdando nelle capitali culturali dell’Europa
occidentale carichi di storie e testimonianze, sensazioni ed esperienze che hanno
segnato fortemente il loro modo di fare e intendere l’arte. Interrogativi sulla Storia e la
decostruzione di essa, sull’incertezza del presente o sulla mancanza di futuro,
interrogativi che toccavano il piano etico ed esistenziale, che hanno dato spinta alle
opere nelle quali, come in un caleidoscopio, si sono fuse storie personali con quelle di
risonanza universale. In uno dei suoi film d’esordio, Intervista – Finding the Words, Anri
Sala ci conduceva in un’indagine che svelava aspetti terrorizzanti di una dittatura, quella
albanese, e allo stesso tempo narrava una storia personale carica di toni intimi e toccanti
che si può trovare solo in quel rapporto che esiste tra madre e figlio. Quest’opera è come
un’escursione nel passato attraverso immagini mute di un filmato trovato per caso, che
si trasformava in un confronto tra due tempi: quello svanito insieme ai credi ideologici
che condivideva la generazione della madre e quello presente in cui si mescolavano la
melanconia e la voglia di ricominciare. È stato uno dei lavori emblematici di quel
momento iniziale, come lo è stato anche il video Women at Work – Washing up di Maja
Bajević che riprendeva le donne in un hammam di Istanbul, mentre lavavano sottili stoffe
sulle quali l’artista aveva cucito le parole riprese dalla fraseologia di Tito, slogan come
“Viva la fratellanza e l’unità armata dei nostri popoli” e simili, che già svuotate dal loro
significato si perdevano totalmente nelle pieghe dei tessuti consunti. Attraverso gesti
simbolici, immagini poetiche, contenuti drammatici e pungenti, opere come queste
hanno dato forma a quel senso di perdita che si sente quando una realtà si sgretola,
quando si dissolve in frammenti non ricomponibili. Nei primi anni Novanta lavori come
questi sono stati la testimonianza di un senso di crisi d’identità, e ora, a più di un
decennio di distanza, vediamo che la riflessione si è spostata in un’altra direzione,
elaborando una condizione in fieri, capace di assimilare elementi e codici culturali diversi
e allo stesso tempo di mantenere un acuto senso critico che rimette tutto in discussione.
Essere “tra” è allora come essere in un continuo stato di attraversamento, irrequieto ma
anche dinamico, incerto e allo stesso tempo risoluto. Significa relazionarsi con
interrogativi che riguardano il senso di appartenenza e valicare lo spazio tra le domande
“da dove si viene” e “in cosa ci si riconosce”. Non a caso si sceglie allora di riposizionare
il punto di osservazione: David Maljković colloca il suo lavoro in una ipotetica
dimensione futura, dichiarando: “Il futuro diventa come un buco nero liberato dai fatti
storici, che permette di creare nuove possibilità”. La sua trilogia Scene for New Heritage
è ambientata nel 2045, e da una dimensione che aumenta la distanza temporale, guarda
indietro, percorre luoghi fortemente connotati, come i monumenti costruiti nel territorio
croato nell’epoca del comunismo, architetture utopiche che restano come l’eco di una
realtà assente. Tobijas Putrih prende spunto dagli utopici progetti di uno tra i più visionari
architetti e inventori del Ventesimo secolo, Buckminster Fuller, in particolare dal suo
Cloud Nine che prevedeva costruzioni abitative che fluttuavano nell’aria, ricreando
strutture geodetiche malleabili e soggette alle trasformazioni che ciascuno
individualmente può provocare. Proiettandosi nelle dimensioni utopiche e futuribili,
questi artisti varcano un gap temporale dando la possibilità d’intendere lo spazio “in
mezzo” come uno spazio di ricostruzione e reinvenzione. Ma sarebbe mai possibile
demarcare questo spazio? Sarebbe possibile palpare i suoi bordi? Queste domande ci
portano verso un altro aspetto che Anri Sala con il video Missing Landscape coglie in
pieno: quello dei confini invisibili. Un’inquadratura statica, una composizione
perfettamente simmetrica, un gruppo di ragazzi che giocano a calcio in un campo
racchiuso tra le montagne. A prima vista sembrerebbe una situazione innocua. Ma il
paesaggio rappresentato allude a una dimensione di sospensione, a una realtà resa
astratta nella quale i giovani attori si muovono come in un set, tra barriere invisibili. Sono
gli indizi di quegli ostacoli che ritagliano una realtà fuori dal resto del mondo; ma i confini
invisibili sono anche quelli che si contrappongono tra contesti culturali diversi e le
mentalità di coloro che le abitano. A questo si riferisce Daniela Kostova con il video
Made In, facendo capire come la realtà delle cose cambia in relazione alla prospettiva di
colui che la guarda, e come si viene facilmente intrappolati dai condizionamenti politici
miopi; sia quelli in cui riecheggiano mitologie nazionalistiche sia quelli che rispecchiano
l’ideologia imperialista dell’economia globale. Lasciare il contesto d’origine per molti
artisti è stata un’esigenza esistenziale, ma implicitamente è stata anche una posizione
di distacco rispetto alle pulsazioni nazionalistiche e ottusamente tradizionaliste.
Assumere una posizione di distacco, però, non equivale al disimpegno, ma anzi,
sottolinea la necessità di operare con maggiore consapevolezza critica verso le
contraddizioni che si incontrano quasi a ogni passo. “Non mangio la carne di maiale. Non
bevo per Ramadan. Ma prendo ecstasy”. O “Vado in chiesa. Violento le donne”. Sono le
frasi che pronuncia Maja Bajević agendo da attrice, impersonando diversi personaggi,
nel suo video Double Bubble; parole di denuncia verso i meccanismi manipolatori e
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ipocriti che si celano dietro i diversi credi religiosi in nome dei quali sono state
commesse le più brutali atrocità in ogni periodo storico. Scontrarsi e contrapporsi a
quello che si manifesta come “confini invisibili” è un lato di questa condizione “inbetween”, oltrepassare quelli reali e fisici è l’altra. Intraprendere un’esistenza nomade,
migrante, vuol dire vivere quotidianamente, sulla propria pelle, tutto quello che possa
significare, non in senso metaforico o trasposto, ma reale, trovarsi tra luoghi diversi.
Adrian Paci nel video Klodi raccoglie la testimonianza di un uomo che narra i suoi
avventurosi spostamenti, da una città all’altra, da un paese all’altro, da un continente
all’altro: un vero e proprio passaggio tra le “stazioni”, in cui la dimensione di
dislocamento è tale che nessun posto possa essere considerato “casa”. Šejla Kamerić
invece, ci porta in una zona onirica con la sua videoinstallazione Dream House: si tratta
di una ripresa di una casa, o più che altro un rifugio, che sembra attraversi tempo e
intemperie rimanendo sempre come uno stabile riparo… sempre lì, ferma sul paesaggio
in sottofondo che cambia, quasi come un sogno per coloro che conoscono la condizione
dell’esilio involontario.
I temi che vengono affrontati in queste opere, narrazioni impregnate di un senso di
displacement in cui si intersecano storie di emarginazione e d’“invisibilità” sociale, di
proiezioni e di delusioni nel “primo” mondo, posizioni di critica e denuncia, riflettono
attitudini di quella generazione che si è trovata sotto l’urto della prima onda che ha
completamente travolto le loro realtà e i loro contesti d’origine. Le generazioni degli artisti
un po’ più giovani hanno vissuto i processi di “transizione” come una condizione data,
crescendo e formandosi in quello spazio “in-between” che equivale a ciò che si potrebbe
definire una “democrazia in divenire” (becoming democracy), una realtà che sembra avere
lo stesso peso specifico di elio e di piombo, incerta e contraddittoria, spiazzante ma
nonostante tutto piena di potenzialità. Scrutano questa realtà con leggerezza e con un
senso di humour piuttosto nero ma raramente cinico, agilmente attraversano abissi
ideologici con un’attitudine ludica mai banale, che non rinnega il passato a priori, ma lo
osserva rivalutandone aspetti positivi. Essere “tra”, più che una condizione, sembra un
imperativo, una filosofia comportamentale, un’attitudine verso la realtà. Whose Is on the
Way Is Already There dichiara Maja Beganović attraverso una serie di opere,
trasformando questo pensiero in uno slogan enigmatico da stampare su grandi cartelloni
pubblicitari che regnano nel paesaggio urbano, o semplicemente da utilizzare come titolo
delle sue opere pittoriche, oppure come indicazione per il pubblico che interagisce con
l’installazione ambientale realizzata con strisce di erba composte come un collage di
diversi percorsi da intraprendere: indica che fare il primo passo significa aver già
raggiunto l’obiettivo finale, in quanto ciò che più conta è proprio decidere di andare avanti,
vivere una condizione dinamica e attiva, e soprattutto percorrere una strada con la
consapevolezza che il processo di attraversamento, il mezzo che si usa, deve essere
coerente con la fine. Questo lavoro allude alla moltitudine di strade da prendere, proprio
come il significato di essere “tra” apre una moltitudine di interpretazioni che abbiamo
voluto esaminare in una sorta di intervista aperta, che potenzialmente potrebbe irradiarsi
all'infinito, chiedendo agli artisti che partecipano alla mostra di rispondere a cosa vuol
dire per loro inbetweeness e poi, a loro volta, inoltrare la stessa domanda a qualcuno di
loro scelta… iniziando così a comporre una rete di attitudini e d'idee, una sorta di
malleabile e dinamica architettura di significati “in divenire”.
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Artisti / Artists
Maja
Maja
Pavel
Mircea Cantor &
Nemanja
Nezaket
Nicu
Pravdoljub
Sejla
Daniela
David
Ebru
Adrian
Tobijas
Anri
Erzen
son :
Mića
Jelena
Slavica
Nikola
Vesna
Natalija
Bajević
Beganović
Braila
Gabriela Vanga
Cvijanović
Ekici
Ilfoveanu
Ivanov
Kamerić
Kostova
Maljković
Özseçen
Paci
Putrih
Sala
Shkololli
DA
Staicić
Tomasević
Tosevska
Uzunovski
Vesić
Vujosević
Maja Bajević
Sarajevo (Bosnia-Erzegovina), 1967. Vive e
lavora a Parigi.
Sarajevo (Bosnia-Herzegovina), 1967. She
lives and works in Paris.
MOSTRE PERSONALI (SELEZIONE)
SOLO EXHIBITIONS (SELECTION)
2000
Women at work – The Observers, (performance),
Château Voltaire, Ferney Voltaire, France
2001
La vie est belle, a cura di curated by J.
Hadzifejzovic, Sarajevska Zima, Sarajevo
Women at work – Washing up, (performance), VII
Biennale Istanbul, a cura di curated by Y. Hasegawa,
Istanbul
En attendant, (performance), a cura di curated by A.
Demeester, Watou, Belgium
2002
Maja Bajević, a cura di curated by A. Schindler,
Plug in, Basel
Avanti popolo, a cura di curated by G. Scardi,
Viafarini, Milano
Green, green grass of home, a cura di curated by E.
Muka, Artopia, Milano
2003
Chambre avec vue, (performance), a cura di curated
by M. Gili, Aussillon, France
The prayer, (performance), a cura di curated by A.
Bonito Oliva, Certosa di Padula (Salerno)
Sewing my wedding dress while waiting,
(performance), a cura di curated by F. Pasini, G.
Verzotti, MART Museo d’Arte Moderna e
Contemporanea di Trento e Rovereto
2005
Terrains vagues, Galerie Michel Rein, Paris
Sarajevo and London, The Foundation for Women’s
Art, London
Stockholm revisited with a haiku, a cura di curated
by M. Af Petersens, Moderna Museet, Stockholm
Be nice or leave, Peter Kilchman Gallery, Zürich
Avanti popolo, Tanzquartier, Wien
2006
Home Again, a cura di curated by M. Bobar,
National Gallery of Bosnia and Herzegovina, Ars
Aevi Contemporary Art Museum, Sarajevo
2007
Après le film, a cura di curated by A. Vettese,
Fondazione Bevilacqua La Masa, Venezia
MOSTRE COLLETTIVE (SELEZIONE)
GROUP EXHIBITIONS (SELECTION)
2000
Manifesta 3, a cura di curated by K. Rhomberg, M.
Hlavojeva, F. Bonami, Ljubljana
2001
East +, a cura di curated by C. Bertola, Fondazione
Querini Stampalia, Venezia
Rumor city, Mutations, a cura di curated by H. U.
Obrist, Tokyo
Ego fugal, selection of the VII Biennale Istanbul, a
cura di curated by Y. Hasegawa, S. Oshima, Tokyo
Opera City Gallery, Tokyo
Le Tribù dell’Arte, a cura di curated by A. Bonito
Oliva, Galleria Comunale d’Arte Moderna e
Contemporanea, Roma
Bienal de Valencia, a cura di curated by A. Bonito
Oliva, Valencia
Central, a cura di curated by L. Hegy, MuseumsQuartier, Wien
Maja Bajević
Double Bubble, 2001
video
courtesy Galerie Michel Rein, Paris
2004
Step by step, a cura di curated by J. Blazquez
Abascal, P.S.1 Contemporary Art Center, New York
Timemachine, (performance), a cura di curated by
M. Hochmuth, organizzazione organized by
Tanzquartier Wien, Centre culturel français, Wien
Good morning Belgrade, a cura di curated by B.
Andjelkovic, Museum of Contemporary Art, Belgrade
Home is what you make of it, (performance), a cura
di curated by R. Buergel, La Mina, MACBA, Barcelona
17
Maja Bajević
Milano Europa 2000, a cura di curated by Z.
Badovinac, Triennale di Milano, Milano
2002
Steirischer Herbst (con with Emanuel Licha), a cura
di curated by M. Damianovic, Graz
Printemps de Septembre, a cura di curated by M.
Gili, Toulouse
Fluxus und die Folgen, a cura di curated by R. Block,
Kunstsommer Wiesbaden
The Big Social Game, Biennale di Torino, a cura di
curated by G. Di Pietrantonio, Torino
Paradise Lost, a cura di curated by A. Stazzone, Rimini
Home, a cura di curated by D. Blazevic, SCCA,
Sarajevo
2005
Soft Target, a cura di curated by B. van der Sande,
BAK Basis Actuele Kunst, Utrecht
Eindhoven Istanbul, a cura di curated by E. MeyerHermann, C. Esche, Van Abbemuseum, Eindhoven
In/Security, International Festival of Contemporary
Arts City of Women, Ljubljana
About Disappearing, a cura di curated by I. Arns, U.
Vorkoeper, Phoenix Halle Dortmund, Dortmund
The Government, a cura di curated by R. Noack, R.
M. Buergel, Secession, Wien
Be What You Want But Stay Where You Are, a cura
di curated by R. Noack, R. M. Buergel, Witte De
With, Rotterdam
7th Sharjah Biennal, a cura di curated by J.
Persekian, Sharjah, United Arab Emirates
Biennale of Urgency, a cura di curated by E.
Jouanno, J. Castro, Grozny, Tchethcenia
Don’t Touch the White Woman - Contemporary
between diversity and liberation, a cura di curated
by F. Bonami, Castel dell’Ovo, Napoli
La Actualidad Revisida, a cura di curated by A. Pujo,
Tabacalera, San Sebastian, Spain
New Video, New Europe, a cura di curated by H.
Walker, Stedelijk Museum, Amsterdam
Next door, The Barents Art Triennial, a cura di
curated by J.-E. Lundström, Kirkenes, Norway
Sweet Taboos, Tirana Biennale 3, a cura di curated
by R. Pinto, Tirana
2006
Borders, a cura di curated by S. Cincinelli, C. Collu,
R. Pinto, MAN, Nuoro
Art, Life & Confusion, October-Art Salon 2006, a
cura di curated by R. Block, Belgrade
Wherever we go, a cura di curated by G. Scardi, H.
Hanru, Spazio Oberdan, Milano
7.Werkleitz Biennale - Happy Believers, a cura di
curated by A. Hoffman, Halle, Germany
Of the One and the Many, a cura di curated by V.
Kortun, Platform Garanti Contemporary Art Center,
Istanbul
Verstehst Du das? Neue-Medien-Kunst aus
Südosteuropa, Austellungshalle Zeitgenössische
Kunst, Münster
Paranoia, a cura di curated by P. Pajdic, Leeds City
Art Gallery, Leeds
Witnesses / Testigos, a cura di curated by J.
Blazquez, Fundación NMAC, Cádiz
La Force de l’Art, a cura di curated by L. Hegyi, H.
Hanru, Galeries Nationales du Grand Palais, Paris
Voiler dévoiler, Villa du Parc, Annemasse, France
Walker, The Kitchen Art Gallery, New York
Archéologie, le jour d’après, FRAC Franche-Comté,
Besançon
Metropolitanscape, a cura di curated by M. Di
Capua, G. Iovane, L. Mattarella, Palazzo Cavour,
Torino
Smile Machines, a cura di curated by A.-M. Duguet,
Akademie der Kunste Hanseatenweg, Berlin
Last & Lost - Bilder eines verschwindenen Europa,
Literaturhaus, München
A Picture of War is Not War, Wilkinson Gallery,
London
2007
Documenta 12, a cura di curated by R. Buergel, R.
Noack, Kassel
In Focus, a cura di curated by P. Pajdic, Tate
Liverpool, Liverpool
Airs de Paris, a cura di curated by C. Macel, D.
Birmbaum, Centre Georges Pompidou, Paris
I Moscow Biennial, a cura di curated by I.
Boubnova, H.-U. Obrist, N. Bourriaud, Moscow
Paranoia, a cura di curated by P. Pajdic, The Freud
Museum, London
Frei, a cura di curated by R. Block, Susanne Ottesen
Galerie, Copenhagen
Maja Bajević
2003
Fuori uso – Anomalie, a cura di curated by T. Macrì,
Ferrotel, Pescara
Looking Awry, a cura di curated by WHW, ApexArt,
New York
Printemps de Septembre, a cura di curated by M.
Gili, Toulouse
In den Schluchten des Balkans, a cura di curated by
R. Block, Kunsthalle Fridericianum, Kassel
The Tale of The Thread: Embroidery and Sewing in
Contemporary Art, a cura di curated by F. Pasini, G.
Tirana Biennale, a cura di curated by A. Paci, Tirana
Construction of Situations, a cura di curated by S.
Eiblmayr, Galerie im Taxispalais, Innsbruck
In Progress, a cura di curated by H. Szeemann,
Locarno Film Festival, Locarno
Fables de l’identité, a cura di curated by R. Durand,
CNP, Paris
La Biennale di Venezia, Padiglione Bosnia, a cura di
curated by A. Mandic, Venezia
Blut & Honig – Zukunft ist am Balkan, a cura di
curated by H. Szeemann, Essl Museum,
Klosterneuburg-Wien
2004
Don’t Touch the White Woman - Contemporary
between diversity and liberation, a cura di curated
by F. Bonami, Fondazione Sandretto Re Rebaudengo, Torino
Lodz Biennale, a cura di curated by A. Rottenberg,
Lodz, Poland
The Joy of My Dreams, 1˚ Bienal Internacional de
Arte Contemporáneo de Sevilla (I BIACS), a cura di
curated by H. Szeemann, Sevilla
How do we want to be governed?, a cura di curated
by R. Buergel, Miami Art Central, Miami
Love It or Leave It, V Cetinje Biennale, a cura di
curated by N. Ilic, R. Block, National Museum of
Montenegro, Cetinje, Montenegro
Delay, a cura di curated by W. Suto, Boijmans Van
Beuningen, Rotterdam
Channel Zero, a cura di curated by K. Gregos,
Netherlands Media Art Institute, Amsterdam
The government, a cura di curated by R. Buergel,
Kunstraum der Universität Lüneburg, Lüneburg; a
cura di curated by L. Hegyi, Musée de St. Etienne,
St. Etienne
The Happy Worker, a cura di curated by Y.
Raymond, CCS Museum Bard College, USA
Imagine Limerick, EV + A, a cura di curated by Z.
Badovinac, Limerick City Gallery of Art, Limerick,
Ireland
In movement - UNESCO salutes women video artists
of the world, a cura di curated by K. Airyung, Paris
Walker, The Renaissance Society, Chicago; The
Contemporary Art Museum, St. Louis, USA; Tate
Modern, London
19
2004
Fair of Arts, Atelier 212, Belgrade
What is Love, The Faculty of Fine Arts Gallery,
Belgrade
Maja Beganović
lavora a Belgrado.
lives and works in Belgrade.
2005
Real Presence - Floating Sites, a cura di curated by
D. Denegri, B. Tomic, Military Museum, Belgrade;
IUAV, LI Biennale di Venezia, Venezia
Maja Beganović
2006
White nights, Skopje
In the time of invisibility, a cura di curated by B.
Tomic, BITEF Belgrade International Theater
Festival, Belgrade
Bombart, lago di Bomba, Bomba (Chieti)
Real Presence, a cura di curated by D. Denegri, B.
Tomic, House of the Youth Gallery, Belgrade
Progressive hopes, a cura di curated by B. Tomic,
Gallery Chaos, Belgrade
Festival of free culture, House of the Youth Gallery,
Belgrade
Who Is on the Way is Already There, 2006-07
erba, intervento nello spazio / grass, intervention in the space
21
2003
Performance white or Pale Unfinished Thoughts,
Kunstbuero, Wien
2004
33 Revolutions Per Minute, Yvon Lambert, Paris
2005
Le Cadeau, Festival de Film Francophone, Namur,
Belgium
MIT List Visual Arts Center, Boston; Cambridge,
Massachusetts, USA
Shoes for Europe, Baltic Art Center, Visby
2006
Baltic Art Center, Visby
2007
Baron’s Hill, Neue Nationalgalerie, Berlin
Stedelijk Museum Schiedam, Schiedam, The Netherlands
Galerie Im Taxispalais, Innsbruck
2000
European Media Art Festival, Osnabruck, Germany
Kassel Documentary Film & Video Festival, Kassel
Pavel Braila
2001
Gedankenaufnahme, Pavel Braila, Kunstbuero, Wien
2002
Documenta 11, Kassel
Karantena, International Festival of Visual Art,
Dubrovnik, Croatia
Music in Me 1, GAK, Bremen
Video-Zone, Media-video Biennale, Tel-Aviv, Israel
Being all things to all people – Nouvelles Images,
Den Haag, The Netherlands
Pavel Braila
Chisinau (Moldavia), 1971. Vive e lavora a
Chisinau.
Chisinau (Moldova), 1971. He lives and
works in Chisinau.
2003
Cine y Casi Cine, Museo Nacional Centro de Arte
Reina Sofía, Madrid
Biennale of Moving Images, Genève
Blut & Honig - Zukunft ist am Balkans, Essl
Museum, Wien
Kulturelle Territorien #4 / Introducing Sites 2, GFZK,
Leipzig
Jan van Eyck Academie, Maastricht
2004
New Video, New Europe, The Renaissance Society,
Chicago; Tate Modern, London; Contemporary Art
Museum, St. Louis, USA
LIAF 04, Lofoten International Art Festival, Svedala,
Norway
Plug in, CCA Futura, Prague
Delay, Boijmans Van Beuningen, Rotterdam
Yvon Lambert, Paris
(EA) Stories, Galerie K&S, Berlin
2005
Project Migration, Köln
Double vision, Magazzino d’Arte Moderna, Roma
Beauty Not So Difficult, a cura di curated by M.
Robecchi, Palazzo Stelline, Milano
La Collection d’Enea Richi, Collection Lambert,
Musée d’Art Contemporain, Avignon
Do not Interrumpt your Activities, Royal College of
Art Galleries, London
2007
Transculture, Gallery of Contemporary Art Bunkier
Sztuki, Kraków
How to do things? I the Middle of (No) Where…,
Casino Bethanien, Berlin
Why Pictures Now, MUMOK Museum Moderner
Kunst, Wien
I, an exhibition in three acts, Futura, Prague
Slow Poetry of Life Performance, Galerie Jan
Dhaese, Gent
Shoes for Europe, 2002
video a colori, sonoro / color video with sound, 26’
courtesy l’artista / the artist; Yvon Lambert, Paris
23
Mircea Cantor & Gabriela Vanga
2002
The Right Man at the Right Place, Yvon Lambert, Paris
Nulle part ailleurs, Yvon Lambert, Paris
Ping Pang Pong, Entre-deux Association, Nantes
2003
Corporate identity, FRAC des Pays de la Loire,
Carquefou
(…), Yvon Lambert, Paris
In front of my eyes, Trans> Area, New York
2004
Preview, Magazzino d’Arte Moderna, Roma
2005
Dvir Gallery, Tel Aviv, Israel
Prix Ricard S.A., Centre Pompidou, Paris
Deeparture, Yvon Lambert, New York
Si tu marche plus vite, il pleut moins fort, Centro
Arte Moderna, Fundaçao Calouste Gulbenkian,
Lisboa
2006
The landscape is changing, Tel Aviv Museum of Art,
Tel Aviv, Israel
Jucãrii pentru copii / Toys for childrens (con with
Ion Grigorescu), Protokoll Studio, Cluj Napoca,
Romania
Mircea Cantor: Born to be burnt, GAMeC Galleria
d’Arte Moderna e Contemporanea, Bergamo
The Title Is the Last Thing, Philadelphia Museum of
Art, Philadelphia
Another Senseless Fight, 2000
stampa su carta fotografica / print on photo paper
20 x 30 cm
2007
FRAC Champagne Ardennes, Reims
Museo Tamayo, Mexico City
2000
Transitioland, MNAC Nacional Museum of
Contemporary Art, Bucharest
Transferatu, Ifa-Gallery, Berlin
Say What?, Eforie Gallery, Bucharest
One Night Stand, Klemens Gasser & Tanja Grunert
Gallery, New York
Voyages d’affaires (con with Gabriela Vanga),
ERBAN, Nantes
Mircea Cantor
Cluj (Romania), 1977. Vive e lavora a Parigi
e Cluj Napoca.
Cluj (Romania), 1977. He lives and works in
Paris and Cluj Napoca.
2001
Documents 11 - young photographers, New Gallery,
Bucharest
Traversées, ARC Musée d’Art Moderne de la Ville
de Paris, Paris
Heimsuchung, FRAC des Pays de la Loire, Carquefou
Context-network, Padiglione Romania, ILIX Biennale di Venezia, Venezia
Art Judgment Show, Moderna Galerija, Ljubljana
2002
Les enfants du paradis, Yvon Lambert, Paris
A9 Forum Transeuropa, MuseumsQuartier, Wien
Urban Tension, Museum in progress, Brussels;
Wien; Frankfurt; Roma
Bound/less Borders, a cura di curated by B. Tomic,
R. Balaci, I. Boubnova, D. Blazevic, P. Cukovic, J.
Krpan, E. Muka, Z. Petkovski, D. Simicic, R. Block,
Kunsthalle Fridericianum, Kassel, exhibitiontour
2003
Tirana Biennale 2, National Gallery of Arts, Tirana
Phalanstère, Centre d’art contemporain de Brétigny,
Brétigny
In the Gorges of the Balkans, a cura di curated by R.
Block, N. Ilic, Kunsthalle Fridericianum, Kassel
Poesis. The Everyday Differently, Kunsthalle
Mücsarnok, Budapest
Displaced, UCLA Hammer Museum, Los Angeles
Clandestine, a cura di curated by F. Bonami, L
Biennale di Venezia, Venezia
Unoccupied Territories, K&S gallery, Berlin
International Film Festival, Rotterdam
25
Mircea Cantor
2005
Global Tour, Art Travel and Beyond, W139, Amsterdam
May you live in interesting times, A Picture This
Moving Image Project, Cardiff Festival of Creative
Technology, Cardiff
War is over, 1945-2005. The Freedom of Art from
Picasso to Warhol and Cattelan, GAMeC Galleria
d’Arte Moderna e Contemporanea, Bergamo
Modern Times, MAN, Nuoro
Nach Rokytník - The EVN Collection, Museum
Moderner Kunst Stiftung Ludwig, Wien
Generations of art-10 years at F.A.R., Fondazione
Antonio Ratti, Como
On Difference, Württembergischer Kunstverein,
Stuttgart
Cosmopolis, State Museum for Contemporary Art,
Thessaloniki
TEXT ground, Display, Space for contemporary art,
Prague
e-flux video rental, Project room of KW Institute of
Contemporary Art, Berlin
Revolution is on hold, Isola Art Center, Milano
Theorema, une collection privée en Italie, Musée
d’art contemporain, Collection Lambert, Avignon
The need to document, Kunsthaus Baselland,
Muttenz-Basel
Works from the collection, Magasin 3 Konsthall,
Stockholm
Universal Experience: Art, Life, and the Tourist’s
Eye, Museum of Contemporary Art, Chicago
Irreducible, contemporary short form video, 19952005, CCA Wattis, San Francisco
Notre Histoire… une scène artistique française,
Palais de Tokyo, Paris
New Vidéo New Europe, The Kitchen, New York
Anagramme, Musée des Arts Contemporains,
Hornu, Belgium
Action, FRAC Provence-Alpes-Côte d’Azur, Marseille
Cluj Connection, Hauncchof venison, Zürich
Bienal de Arquitectura, Arte y Paisaje de Canarias,
Las Palmas, Gran Canaria
Voices of Silence, Herzliya Museum of Art, Israel
Mircea Cantor
2004
The works I told you about, Yvon Lambert, Paris
Stock Zero (OPERA), MNAC National Museum of
Contemporary Art, Bucharest
Prosismic, Espace Paul Ricard, Paris
I’ll be your Mirror, Special project for Frieze Art Fair,
City Inn Westminster Hotel, London
Publishing Without Limits: New Directions for Art
Magazines, Art Forum, Berlin
Berlin Talks (with Version), Berlin
Nine Points of the Law, NGBK, Berlin
Mediterraneans, a cura di curated by Z. Badovinac,
A. Barak, D. Denegri, M. Abu El Dahab, K. Gregos,
V. Kortun, G. Maraniello, S. Shapira, D. Torres,
MACRO al Mattatoio, Roma
Plug in, Futura, Prague
Quick-sand, De Appel, Amsterdam
Imagine Limerick, Limerick City Gallery of Art,
Limerick, Ireland
The Happy Worker, Center for Curatorial Studies
Museum, Bard College, Anandale-on-Hudson, New
York, USA
New Video, New Europe: A Survey of Eastern
European Video, Renaissance Society, Chicago;
Tate Modern, London
2007
Paranoia, Freud Museum, London
Power Play, Artpace, San Antonio, USA
Airs de Paris, Centre Pompidou, Paris
I want to belive, Galerie Eva Presenhuber, Zürich
2006
Dada east? The Romanians of Cabaret Voltaire,
Cabaret Voltaire, Zürich
5 Tage bis zum Ende der Kunst – fremd bin ich
eingezogen, Kunsthalle Fridericianum, Kassel
Paranoia, Leeds City Art Gallery, Leeds
2nd Bienal Internacional de Arte Contemporáneo de
Sevilla, Sevilla
La force de l’art, Grand Palais, Paris
Art, Life & Confusion, 47th October Art Salon, a cura
di curated by R. Block, Belgrade
Periferic 7: Focusing Iasi / Why Children?, Iasi,
Romania
Marcher, Maison des Arts Georges Pompidou,
Cajarc
1st Bienal de Arquitectura, Arte y Paisaje de
Canarias, Las Palmas, Gran Canaria
Busan Biennale 2006, Busan, Korea
It is hard to touch the real, Grazer Kunstverein, Graz
Printemps de septembre, Toulouse
Human Game – Winner and losers, Stazione
Leopolda, Firenze
Periferic 7, Iasi, Romania
Czeslaw Milosz “To Allen Ginsberg”, Dvir Gallery,
Tel Aviv, Israel
LESS – Strategie alternative dell’abitare, PAC
Padiglione d’Arte Contemporanea, Milano
Message Personnel, Yvon Lambert, Paris
Of Mice and Men, a cura di curated by M. Cattelan,
M. Gioni, A. Subothnick, 4. Berlin Biennale, Berlin
27
Gabriela Vanga
Tgirgu Mures (Romania), 1977. Vive e
lavora a Parigi.
Tgirgu Mures (Romania), 1977. She lives
and works in Paris.
MOSTRE PERSONALI (SELECTION)
2001
Beauty Items, Gad Photogallery, Bucharest
2003
Keep it unreal, Galerie Yvon Lambert, Project Room,
Paris
2004
m e s b n p e n u l o i s o d, Galerie Public, Paris
Keep it unreal, Miss China, Paris
2006
Every word I tell you keeps me alive, Plan B, Cuj
Napoca, Romania
2007
Dvir Gallery, Tel Aviv, Israel
2000
Say what?, Eforie Gallery, Bucharest
Voyage d’affaires (con with Mircea Cantor), Erban,
Nantes
2001
Free show, Sindan Foundation, Cluj Napoca,
Romania
Artistpoly - Context network, Padiglione Romania,
2002
00 - Une exposition qui grandit par le milieu, Palais
de Tokyo, Paris
A9 Forum, Transeuropa, MuseumsQuartier, Wien
Photographier, Collection Lambert, Avignon
Rendez-vous roumain, Espace En Cours, Paris
Documents 11 - young photographers, New Gallery,
Bucharest
2003
Prague Biennale, Prague
Stickers, Palais de Tokyo, Paris
Incomprehension, Palais de Tokyo, Paris
Preview, Kalinderu Medialab, The National Museum
of Contemporary Art, Bucharest
2004
Love It or Leave It, a cura di curated by N. Ilic, R.
Block, V Cetinje Biennial, National Museum of
The Yugoslav Biennial of Young Artist, Vrsac, Serbia
2005
Going Public, aMAZE cultural lab, Modena
Open House, IASPIS, Stockholm
Radiodays, De Appel, Amsterdam
Text ground, Display Gallery, Prague
The Storyteller (con with Mircea Cantor), Project
Room, Yvon Lambert, Paris
2006
Cluj Connection, Haunch of Venison, Zürich
Periferic 7: Focusing Iasi / Why Children?, Iasi, Romania
Message Personnel, Yvon Lambert, Paris
2007
Fairytale, Tirana Institute of Contemporary Art,
Albania
Growing Wild, Andreiana Mihail Gallery, Bucharest
I
Nemanja Cvijanović
Rijeka (Croazia), 1972. Vive e lavora a
Rijeka e Venezia.
Rijeka (Croatia), 1972. He lives and works
in Rijeka and Venice.
2002
Zamnom drugovi ura!, Gallery Juraj Klović, Rijeka,
Croatia
2003
Il volto di uno, l’eco di molti, a cura di curated by A.
Sigolo, Exhibits Art Gallery, Conegliano
One and three chairs, Memorijalni muzej NOB-e,
Punat
Uno, a cura di curated by B. Cerovac, Gallery Juraj
Klović, Rijeka, Croatia
IQBAL, O.K. Gallery, MMC Palach, Rijeka, Croatia
2004
Natura Morta, a cura di curated by A. Sigolo, T293,
Napoli
The future here begins now…, Ersteclub & Art club
Gal, Rijeka, Croatia
2006
All right, T293, Napoli
2001
Novi Hrvatski Turizam, MMC Palach, Rijeka, Croatia
2002
Novi Hrvatski Turizam, MMC Palach, Rijeka, Croatia
86.ma Collettiva, Fondazione Bevilacqua La Masa,
Venezia
2003
Emerging Artists – Rije?ka situacija, a cura di
curated by N. Ivan?evi?, Museum of Modern and
Contemporary Art, Rijeka, Croatia
Mostra di fine corso degli allievi, a cura di curated
by A. Vettese, G. Di Pietrantonio, Fondazione
Antonio Ratti, ex Chiesa di San Francesco, Como
I Care Because You Do, a cura di curated by Interno
3, Galleria Contemporaneo, Mestre
Q 13, a cura di curated by Interno 3, Centro
Culturale Candiani, Mestre
2004
Tracce, a cura di curated by A. Vettese, G. Di
Pietrantonio, Viafarini; C/O Careof, Milano
Space is the place_ 03, a cura di curated by M.
Altavilla, A. De Manincor, T.P.O., Bologna
2005
Untitled, a cura di curated by A. Ascari, E.
Bonaspetti, Ex Faema, Milano
Chalupeck?’s prize, Finalists exhibition, City Gallery,
Prague
Gemine Muse, a cura di curated by D. ?imi?i?,
Museo del Territorio Biellese, Biella
Thin Line: The Exhibition, The Movie, IJskelds
VUB&Nadine VZW, Brussels
Operacija: Grad, a cura di curated by WHW, Stara
Tvornica Badel, Zagreb
Radoslav Putar Award, Gallery Krizic Roban, Zagreb
Mars Pavillon, Giardini di Castello, Venezia
Foresti a Venezia, a cura di curated by A. Vettese,
Thin Line 3, a cura di curated by M. Farronato,
Viafarini, Milano
Nemanja Cvijanović
Natura Morta, 2004
vernice su alluminio / paint on aluminium
180 x 200 x 10 cm
31
Nemanja Cvijanović
Potapanje brodova, produzione production Drugo
More, Gallery Nova, Zagreb
2006
Dis-orders, a cura di curated by M. Barravalle,
Fondazione Bevilacqua La Masa, Palazzetto Tito,
Venezia
Every Revolution is a Throw of Dice, a cura di
curated by E. Vannini, Loggia della mercanzia,
Genova
The Sweetest Dream - Reunion Project, a cura di
curated by B+B, The Space - Triangle Gallery,
London
The Class of Maja Bajevi_. Dreams and
Nightmares, a cura di curated by G. Scardi,
Viafarini, Milano
Mine Yours Ours - ownership (con with Cesare
Pietroiusti, Paul Griffiths, Andreja Kulun_i_),
Gallery Kortil, HKD Su_ak, Rijeka, Croatia
Pino Deodato - La Torta della Sposa, Galleria Klerkx,
Milano
2007
Ironia domestica, a cura di curated by L. Ragaglia,
Museion, Bolzano
Giochi dialettici, a cura di curated by A. Gracco
Kopp, Spazio Punctum, Roma
Mine Yours Ours - transition, a cura di curated by D.
Miskovi_, N. Cvijanovi_, Galery Kortil, Rijeka,
Croatia
N
Nezaket Ekici
Kirsehir (Turchia), 1970. Vive e lavora a
Berlino e Stoccarda.
Kirsehir (Turkey), 1970. She lives and works
in Berlin and Stuttgart.
2000
Emotion in Motion, Kissperformance Kaskadenkondensator, Basel
2002
Lee(h)rstellen Beauty lies in the eye of the
Beholder, Academy Gallery, München
Werkschau, Gallery White Elephant, Berlin
Emotion in Motion, Galleria Valeria Belvedere,
Milano
2005
Orientación-Nezaket Ekici, performance, Goethe
Institut, Madrid
Gözü Kara / Fearless, Karsi Sanat Calismalari,
Istanbul
2006
Double Bind, DNA Gallery, Berlin
Emotion in Motion#7, Kunstverein Malkasten,
Düsseldorf
Self Deversity, Kasa Gallery, Istanbul
2007
Blind, Staatsgalerie Stuttgart, Stuttgart
2000
Große Kunstaustellung München, Haus der Kunst
2002, Museum of Contemporary Art, München
“Corso di Ilya Kabakov”, Fondazione Ratti, Chiesa di
San Francesco, Como
2001
Step by Step, Gallery KHG Leo 11, München
Real Presence - Generation 2001, Museum of
History of Yugoslavia, Belgrade
Marking the territory, Irish Museum of Modern Art,
Dublin
A little bit of History Repeated, Kunst-Werke, Berlin
2002
Durch die Zeit, Kunstraum 10, Hannover
Common ground#1, Landesvertr. Niedersachsen,
Berlin
No Place, ifa-Galerie, Bonn
Short Play, Centro Galego de Arte Contemporánea,
Santiago de Compostela
Braunschweiger Kulturnacht 2002, Braunschweig
Pret à perform, Viafarini, Milano
Body Power / Power Play, Würtembergisches
Kunstverein, Stuttgart
2003
Rituale in der zeitgenössischen Kunst, Akademie
der Künste, Berlin
5th International Women’s Art Festival, Aleppo
Random-Ize Film and Video festival, Taipei, Taiwan;
Malmö
As soon as possible, PAC, Milano
Recycling the future, LI Biennale di Venezia,
Venezia
4th International Performance Festival Odense,
Odense
SconfinArt, Expo d’Arte Contemporanea, Trento
20. Kasseler Dokumentar Film und Videofest, Kassel
Nezaket Ekici
Turkish Love Words, 2006
video
courtesy l’artista / the artist
35
Nezaket Ekici
2004
International Performance Festival, Boston
Cleaning the House Project, Fundación NMAC
Montenmedio Arte Contemporáneo, Cádiz
Loop Performance, P.S.1 Contemporary Art Center,
New York
Der Raum, Die Wand, Das Buch, Galerie der
Hochschule, HBK, Braunschweig
Rituale der Gesundheit, Galerie im Park,
Krankenhaus Museum, Bremen
Raumkonzepte, Marta Museum, Herford
The Retrospective, Abramovic Class, Gallery der
Hochschule, HBK, Braunschweig
Auftauchen, Tanz und Performance Festival, Hamburg
eBent 04, Festival internacional de performance de
Barcelona, Barcelona
2005
Eröffnung des Kunstmuseums, Stuttgart
1st Performance-Festival Schleswig-Holstein auf
Schloß Salzau, Kiel
Persistent and Gradual Loss of Self-Control, Van
Gogh Museum, Amsterdam
Gifted Generation, Haus Eins, Hebbel Theater, Berlin
Let Love Blossom, Galleria Civica d’Arte Contemporanea, Trento
Women and Münster, Gallerie Sotodo, Münster
MAX5 Show / Film & Video Festival, The Foundry,
London
Memento Mori, Atelierhaus Panzerhalle Groß
Glienicke, Potsdam
Vogelfrei 6- Paradiesgärten, Out-Door Biennale,
Darmstadt
Visibilty Project, Galata Perform, Istanbul
11. Künstlerintage, Museum Mobile im Audi Forum,
Ingolstadt
e_motion in motion, Kongress der Gesellschaft für
Tanzforschung und NDS Tanzkultur, Bern
Orientación, Museo Nacional Centro de Arte Reina
Sofía, Madrid; Goethe Institut, Madrid
IPG, Gallery Illy, New York
2006
Blessed are the Merciful, Galerie Feigen, New York
Foi#3, International Performance Festival, Singapore
Satu Kali Festival, Malaysia
Islam - Die Ringe der Künstler, Pasinger Fabrik,
München
EHF 2010, Konrad Adenauer stiftung, Berlin
Centrifug, Festival of Performance Art, Dansstationen,
Malmö
Into me, Out of me, P.S.1 Contemporary Art Center,
New York
Skulpturale Handlungen, Galerie der Künstler, BBK
München, München
Sinopale, I Sinop Biennale, Sinop
Depicting Action, Performance Series Festival, 18th
Street Gallery, Santa Monica
Goethe Institut, Los Angeles
Das kritische Auge, Neue Aschaffenburger
Kunstverein, Aschaffenburg
Kunst im Öffentlichen Raum. Integration, Soziale
Stadt, Mainz-Bischofsheim, Germany
All for one, One for all, Aeroplastics Contemporary,
Brussels
Paul Delvaux Das Geheimnis der Frau, Kunsthalle
Bielefeld, Bielefeld
2007
Meltem of Istanbul, Proje 4L, Elgiz Museum of
Contemporary Art, Istanbul
Radikal, Ardindan Degil Karsisina, site specific,
Istanbul
Into me out of me, a cura di curated by K. Bisenbach,
Kunst-Werke Berlin; MACRO al Mattatoio, Roma
Nezaket Ekici / Alexander Schikowski, Kunststiftung
Baden-Württemberg, Stuttgart
Sahibinden Manzarali, Ortaköy, Istanbul
Fashion Accidentally, Museum of Contemporary
Arts, Taipei, Taiwan
Body&Eros, Festival of Perofming Arts, LII Biennale
di Venezia, Venezia
Skulpturale Handlung, Moncys House Museum,
Palanga, Lituania
B
Nicu Ilfoveanu
Pitesti (Romania), 1975. Vive e lavora a
Bucarest.
Pitesti (Romania), 1975. He lives and works
in Bucharest.
2001
Marlene die Trich, Tranzit Foundation, Cluj
2002
Fotografii de cas?, ArTei Gallery, Bucharest
2004
Daguereotipuri & ace noi de gramofon, Galeria
Posibila, Bucharest
2005
Tourist You Are the Terrorist, Galeria Posibila,
Bucharest
2007
Radesti-Stefanesti Arges 1996, Galeria Posibila,
Bucharest
Chicago-loop 2006, Galeria Posibila, Bucharest
2000
Popicarie, MAD Foundation, Bucharest
2001
Hrana pentru trup si suflet, National History
Museum, Bucharest
Foto documente, Galeria Noua Gallery, Bucharest
2002
Littman & White Galleries, Portland
Artphoto – no.1, Galeria Noua Gallery, Bucharest
La physique se contente de l’instantanéité,
deINTERESE Gallery, Bucharest
NR. 1, Galeria Noua Gallery, Bucharest
2003
Bucuresti - Bucuresti via Beograd, Remont Gallery,
Belgrade
2004
Roumanie.exe, Esco Found, Paris
Young Biennial I, Bucharest
Atterissage, Romanian Cultural Centre, Paris
2005
Seconds From Disaster, Galeria Ata_, Cluj
2006
Sekunden vom der ungluck II, Centrum Gallery, Graz
Galeria Posibila, ViennaArtFair, Wien
Galeria Posibila, Bologna Arte Fiera, Bologna
2007
Galeria Posibila, Bologna Arte Fiera, Bologna
Nicu Ilfoveanu
Steampunk Autochrome_Poarta, 2005
foto / photo
60 x 90 cm
courtesy coll. Sciarretta, Roma
39
Pravdoljub Ivanov
Plovdiv (Bulgaria), 1964. Vive e lavora a
Sofia.
Plovdiv (Bulgaria), 1964. He lives and
works in Sofia.
2002
Pessimism, No More, Musée des Beaux-Arts, La
Chaux-de-Fonds, Switzerland
2003
Existing Objects, ATA Center - Institute for
Contemporary Art, Sofia
2007
Double Trouble (con with Valio Chenkov), Galerie
Steinle, München
2000
Borderline Syndrome, Manifesta 3, a cura di
curated by F. Bonami, O. Bouman, M. Hlavajova, K.
Rhomberg, Ljubljana
Blut & Honig - Zukunft ist am Balkan, a cura di
curated by H. Szeemann, Essl Museum, Wien
2004
Flipside, a cura di curated by K. Carl, Artists Space
Gallery, New York
On Reason and Emotion, a cura di curated by I.
Carlos, 14th Biennale of Sydney, Sydney
Interupted Game, a cura di curated by I. Koralova,
M. Kolecek, Galerie für Zeitgenössische Kunst, Leipzig
2005
Public Dreams, a cura di curated by M. Kolecek, I.
Koralova, Usti nad Labem, Czech Republic
Sous les ponts, le long de la rivière 2, a cura di
curated by E. Lunghi, Luxembourg
2006
Check-in Europe, a cura di curated by M. Babias,
EPO, München
Of Mice and Men, a cura di curated by M. Cattelan,
M. Gioni, A. Subothnick, 4. Berlin Biennale, Berlin
2007
LII Biennale di Venezia, Padiglione Bulgaria, a cura
di curated by V. Nozharova, Venezia
Being Here, a cura di curated by B. Klinkum, P.
Huber, Kunstraum Walcheturm, Zürich
2001
Escape, a cura di curated by G. Politi, Tirana
Biennale, Tirana
Pessimism no more, 2004-07
installazione, tavolo, formaggio / installation, table, cheese
dimensioni variabili / variable dimensions
2003
Pravdoljub Ivanov
2002
Double Bind, a cura di curated by I. Boubnova, G.
Scholhammer, ATA Center Institute for
Contemporary Art; Irida Gallery; XXL Gallery, Sofia
Radiodumb, a cura di curated by P. Zani, Zero Arte
Contemporanea, Piacenza
Belgrade
41
Šejla Kamerić
lavora a Sarajevo e Berlino.
lives and works in Sarajevo and Berlin.
2002
Closing the Border (Welcome to the ancient land of
freedom), public intervention, San Marino,
exhibitiontour
2003
Bosnian Girl, public project
WARRANT, public intervention, Schauspielhaus, Wien
2004
Others and Dreams, Portikus, Frankfurt am Main
FREI, Festival for electronic music and related visual
art, club transmediale 0.4 – (fly utopia!), Berlin
2005
Šejla Kamerić (Another Expo - Beyond the NationStates), Gallery SOAP, Kitakyushu, Japan
Untitled, Gandy Gallery, Prague
Closed, National Gallery of Bosnia and Herzegovina,
Sarajevo
2006
Sorrow, The Kosova Art Gallery – Museum Pristina
and EXIT Gallery, Pristina, Kosovo
The Final Sale, Karver, Podgorica, Montenegro
Dram House, 2003
videoinstallazione / video installation
photo Wolfgang Günzel
courtesy Portikus, Frankfurt am Main
2000
Tandem Project, DCAC, Signal 66, Washington D.C.
MANIFESTA 3, International Biennial of Contemporary
Art, Ljubljana
2001
One Hundred Years of Contemporary Art of Bosnia
and Herzegovina, National Gallery of Bosnia and
Herzegovina, Sarajevo
The Real, The Desperate, The Absolute, Forum
Stadtpark, Steirischer Herbst Festival, Graz
Rendez – Vous, Ars Aevi, Sarajevo
Freedom and Violence, Królikarnia Gallery, Warszawa
2002
Kunstexpeditionen2002/Osteuropa, Sony Center
and Art Forum, Berlin
Bound/less Borders, Belgrade, exhibitiontour
HOME, Collegium Artisticum Gallery, Sarajevo
2003
Balkan Konzulat: Sarajevo, <rotor>, Graz
The Gorges of the Balkans, Kunsthalle Fridericianum,
Kassel
Peripheries Become the Center, Prague Biennale,
Prague
Cultural Territories, Galerie Für Zeitgenössische
Kunst, Leipzig
2004
Cosmopolis1: Microcosmos x Macrocosmos, State
Museum of Contemporary Art and Macedonian
Museum of Contemporary Art, Thessaloniki
ONUFRI, National Gallery of Arts, Tirana
Passage d’Europe, Musée d’Art Moderne, SaintEtienne
I am here and you are there, Galerie für
Zeitgenössische Kunst, Leipzig
Šejla Kamerić
2007
What Do I Know, Crossing Europe - Film Festival,
O.K Center for Contemporary Art, Linz
Sometime, Never and Maybe, public project,
Sarajevo; Berlin
Dream House, Literaturhaus, Salzburg
43
Šejla Kamerić
2005
CONFLICT: Perspectives, Positions, Realities in
Central European Art, Slought Foundation,
Philadelphia, USA
TABOO, Tirana Biennale, Tirana
Displaced, NBK Neuer Berliner Kunstverein, Berlin
Another Expo - Beyond the Nation-States, Gallery
Level1, Kitakyushu, Japan; Gallery White Box, New
York
GUARDAMI. Percezioni del video, Palazzo delle
Papesse, Siena
La actualidad revisada (News Revisited), La
Tabacalera, San Sebastian
Leaps of Faith, Nicosia, Cyprus
Norway 2005 - Andre/Others, Sørlandets
KunstMuseum, Kristiansand, Norway
The Giving Person, Palazzo Roccella, Napoli
2006
Zones of Contact, 15th Biennale of Sydney, Sydney
8372 NISU DO_LI, Mimara Museum, Zagreb,
Croatia
Kontakt, The Art Collection of Erste Bank-Group,
MUMOK Museum Moderner Kunst Stiftung Ludwig
Wien, Wien; transit workshops, Bratislava
On Difference #2, Württembergischer Stuttgart
Kunstverein, Stuttgart
2007
This Is Not a Fairy Tale, Tirana Institute of
Contemporary Art, Tirana
FRAI, Galleri Susanne Ottesen, Copenhagen
Between Borders, MARCO Museo de Arte
Contemporánea de Vigo, Vigo
E
Daniela Kostova
Sofia (Bulgaria), 1974. Vive e lavora a New
York.
Sofia (Bulgaria), 1974. She lives and works
in New York.
2001
Play Black, ATA Center for Contemporary Art, Sofia
2002
I See You See, SPACES Gallery, SPACElab,
Cleveland (Ohio), USA
2006
Fixing Reality, Small Gallery, Tirana
Body Without Organs, CEC ArtsLink, New York
2000
In & Out, Onufri 2000, National Gallery of Art,
Tirana
At Room Temperature, Alternative Space, Sofia
Transfestival, Labin Art Express, Labin, Croatia
Balkan Art Generator, a cura di curated by B.
Andjelkovic, Brussels
Subjects and Shadows, ATA Center for
Contemporary Art, Sofia
Anti-Feminism/Anti-Machismo, XXL Gallery, Sofia
Paranoia Stile, ATA Center for Contemporary Art,
Sofia
2002
Beauty and the East, ISCP, New York
Works on Paper, Studio Tommaseo, Trieste
MAP. Case Study. 02, Sofia Art Gallery, Sofia
Double Bind, XXL Gallery, Sofia
Mirror of the Balkans, National Museum Gallery,
Kraljevo, Serbia
Girls and See, Varna, Bulgaria
Last Minute, Placentia Arte, Piacenza
Ostensiv, Moscow; Berlin
Side Effects, Irida Art Gallery, Sofia
Twice Upon a Time… Balkan Video, a cura di
curated by D. Denegri, Istituto Svizzero, Roma
2003
X Biennale of Moving Image, Genève
ABCity, Trafo, Budapest
In den Schluchten des Balkan. Kunst aus dem
Südosten Europas, a cura di curated by R. Block,
Kunsthalle Fridericianum, Kassel
Film Series, Kölnischer Kunstverein, Köln
Video Screening 04, Galerie Martin Janda Aktueller
Kunst, Wien
slow (e) motion, Tranzit, Prague
Klosterneuburg-Wien
Mythology… a Bet on Imagination, a Bet on Art, IX
International Cairo Biennial, Cairo
Mors Impossibilis, Irida Art Gallery, Sofia
Introducing Sites, Gallery for Contemporary Art, Leipzig
Export – Import. Contemporary Art from Bulgaria,
Sofia Art Gallery, Sofia
Daniela Kostova
Made In, 2004-05
performance, video a canale singolo / performance, single-channel video, 07’14’’
(video still)
2001
Trieste Contemporanea Video Art Presentation,
Stazione Marittima, Trieste
Looming Up, Kunsthalle Exnergasse, Wien; Aspekte
Galerie - Gasteig, München
Viafarini, Milano, presentazione di presentation by
L. Baldini
Split Reality: EAST + East, Small Power Strategies
- Video Program, Museum Moderner Kunst Stiftung
Ludwig Wien, MuseumsQartier, Wien
Tirana Biennale 1, Tirana
Shop Art. Women at (on) the market, The Saint
Sofia Underpass, Sofia
Trendification. Contemporary Art from Bulgaria,
<rotor> association for contemporary art, Graz
European Perspectives, International Art Fair,
Innsbruck
WRO 01 9th International Media Art Biennale, WRO
Center for Media Art, Wroclaw, Poland
Sculpture Time, Skopje, Macedonia
Macrovideo, National Palace of Culture, Sofia
47
Daniela Kostova
2004
Ethnic Marketing, Art, Globalization and
Intercultural Supply and Demand, Centre d’Art
Contemporain, Genève
Don’t Touch The White Woman, a cura di curated by
F. Bonami, Fondazione Sandretto Re Rebaudengo,
Torino
Time Warp, About the Gander of Time, Paris
The Post-Communist Condition, Freedom is for
Beginners, KW Institute for Contemporary Art,
Berlin
It is Hard to Touch the Real, Kunstverein, München
OOZE, a cura di curated by D. Denegri, Studio
Stefania Miscetti, Roma
Post Mythological Stories, Irida Art Gallery, Sofia
2005
FamLink, Women’s Caucus for Art International
Video Screening at the WCA National Conference,
Boston
Play Sofia, Kunsthalle Wien, Wien
Wearable Futures, Hybrid Culture in the Design and
Development of Soft Technology, SCAN, Newport,
United Kingdom
Donumenta, KunstKnoten e.V. Regensburg, Germany
Beograd nekad i sad, Belgrade
Serial Cases, Center for Digital Art, Holon, Israel
Alceday Gallery, Brussels
2006
10 Years Video Art in Bulgaria, Odeon, Sofia
Boundaries, a cura di curated by S. Cincinelli, C.
Collu, R. Pinto, MAN, Nuoro
South East Passage, a cura di curated by E. De
Cecco, Biennale Donna, Galleria d’Arte Moderna e
Contemporanea, Ferrara
PandemixFestival, Pittsburgh (PA), USA
Le Noire Blansh Festival, Skopje, Macedonia
2007
Made In, Isola Art Center, Milano
Dogs of Desire, Albany Orchestra, Albany (NY), USA
T
2000
Juraj Klovic Gallery (con with Tomislav Curkovic),
Rijeka, Croatia
2001
Transplantation, Kordic Gallery, Velika Gorica,
Croatia
Three Paintings – isn’t a Trilogy, Beck Gallery,
Zagreb, Croatia
2002
Paintings for everyday use, Miroslav Kraljevic
Gallery, Zagreb, Croatia
Your moment is your heritage, Minimal, Ljubljana
Space of painting, Moria, Stari Grad, Croatia
2005
Waiting Tomorrow, Annet Gelink Gallery,
Amsterdam
90s without 90s, MMC Palach, Rijeka, Croatia
Scene for New Heritage, Van Abbemuseum,
Eindhoven
David Maljković
2006
Salon of Museum of Contemporary Art, Belgrade,
Serbia
Museum of Modern and Contemporary Art, Rijeka,
Croatia
These days (con with Yael Bartana), Gallery Nova,
Zagreb, Croatia
It’s gonna happen (con with Rosa Barba), Croy
Nielsen, Berlin
Scene for New Heritage II, Centre de Création
Contemporaine, Tours
2007
P.S.1 Contemporary Art Center, New York
Whitechapel Art Gallery, London
CAPC Musée d’Art Contemporain, Bordeaux
The Physics Room, Christchurch, New Zealand
Art Unlimited, Art 38 Basel, Basel
Kunstverein in Hamburg, Hamburg
David Maljković
Rijeka (Croazia), 1973. Vive e lavora a
Zagabria e Berlino.
Rijeka (Croatia), 1973. He lives and works
in Zagreb and Berlin.
2000
IV International Student Biennial, Skopje, Macedonia
SC Gallery, a cura di curated by D. Maljkovic,
Zagreb, Croatia
New Beginning, a cura di curated by M. Crtalic, SC
Club, Zagreb, Croatia
Filodrammatica, a cura di curated by D. Maljkovic,
Rijeka, Croatia
Millenium, a cura di curated by Z. Jerman, Geto
Gallery, Split, Croatia
Vice - chancel prize, Vladimir Nazor Gallery, Zagreb,
Croatia
2001
XXVI Salon of Young Artists, a cura di curated by J.
Krpan, M. Kolocek, S. Tolj, Zagreb, Croatia
II Salon of Young Artists, Sisak, Croatia
2002
XXXVI Zagreb Salon, a cura di curated by A.
Medved, Zagreb, Croatia
Slow Watching, Casal Balaguer, Palma de Mallorca
Start, a cura di curated by WHW, Mestna Gallery,
Ljubljana
Filip Trade Collection of Contemporary Croatian Art,
a cura di curated by Z. Makovic, Manes Gallery,
Prague
Here Tomorrow, a cura di curated by R. Marcoci,
Museum of Contemporary Art, Zagreb, Croatia
Space and Walls, a cura di curated by B. Franceschi, Mali Salon, Rijeka, Croatia
XVI Blue Salon, Zadar, Croatia
Scene for New Heritage - New Possibilities, 2004
collage
70 x 100 cm
courtesy Annet Gelink Gallery, Amsterdam
51
2003
Emerging Artists, a cura di curated by N. Ivancevic,
Museum of Modern and Contemporary Art, Rijeka,
Croatia
Dislocation, Town Museum of Zagreb, Croatia
2004
Exhibition of Nature and Society, a cura di curated
by WHW, Exit Gallery, Peja, Kosovo
Normalisation, Nova Gallery, Zagreb, Croatia
Painting and Object, Museum of Modern Art,
Dubrovnik, Croatia
David Maljković
2005
Mixed Pickles, K3 Project Space, Zürich
Go Inside, a cura di curated by H. Hanru, Tirana
Biennale 3, Tirana
Insert, Museum of Contemporary Art, Zagreb,
Croatia
Snapshot, Museum of Modern Art, Dubrovnik,
Croatia
Istanbul Biennale 9, a cura di curated by C. Esche,
V. Kortun, Istanbul
Present Perfect, T293, Napoli
International Biennial of Contemporary Art,
National Gallery, Prague
La Plateau (con with Joan Jonas), a cura di curated
by C. Bourgeois, Paris
The Imaginary Number, a cura di curated by A.
Franke, H. Peleg, KW Institute for Contemporary
Art, Berlin
Telegram, Rosa Barba Studio, Amsterdam
Linear Structures, Riga Gallery, Riga
Annet Gelink Gallery, Amsterdam
Fin de siecle, End of Painting?, a cura di curated by
Z. Rus, The Croatian Fine Arts Centre, Zagreb,
Croatia
2006
Contemporary Surrealists, a cura di curated by B.
Franceschi, Mali Salon, Rijeka, Croatia
New Ghost Entertainment - Entitled, a cura di
curated by K. Pesch, Kunsthaus Dresden, Dresden
Art is always somewhere else, II Biennial of Young
Artists, Bucharest
Art, Life & Confusion, 47th October Art Salon, a cura
di curated by R. Block, Belgrade
Everywhere, a cura di curated by M. Park, Busan
Biennale, Busan, Korea
Ideal City-Invisible Cities, a cura di curated by S.
van der Ley, M. Richter, Potsdam; Zamoch, Poland
Downloads from Future, a cura di curated by O.
Kielmayer, Kunsthalle Winterthur, Winterthur;
Townhouse Gallery, Cairo
Phantom, a cura di curated by S. Andresen, J.
Rasmussen, Charlottenborg, Copenhagen
Modern Lovers, a cura di curated by Pil & Galia
Kollectiv, Three Colts Gallery, London
Mercury in Retrograde, De Appel, Amsterdam
Again for Tomorrow, Royal College of Art, London
Interrupted Histories, a cura di curated by Z.
Badovinec, Museum of Contemporary Art, Ljubljana
A Picture of War Is Not War, Wilkinson Gallery,
London
Wild Man in the Looking Glass, Art 2102, Los
Angeles
Synergy, 40th Zagreb Salon, Zagreb, Croatia
2007
Magellanic Cloud, a cura di curated by J.
Mytkowska, Centre Pompidou, Paris
Elephant Cemetery, a cura di curated by C.
Rattemeyer, Artist Space, New York
Ground Lost, a cura di curated by WHW, Forum
Stadtpark, Graz
Verbalno vokalno, a cura di curated by L. Rascic,
Galerija SC, Zagreb, Croatia
Artists in The Wonderland, a cura di curated by A.
Rogos, Gdansk, Poland
Kapitaler Glanz, a cura di curated by V. Joan Muller,
K. Rahn, Kunstverein Düsseldorf, Düsseldorf
W
Ebru Özseçen
Izmir (Turchia), 1971. Vive e lavora a
Monaco.
Izmir (Turkey), 1971. She lives and works in
München.
2000
City, Science and Technology Museum, Coimbra
2001
Sugar Top Girl, Henry Urbach Architecture, New
York
2000
Living The Island, Metropolitan Museum of Art,
Busan, Korea
Ex Lux, Kunsthalle Tirol, Tirol
Das Lied von Der Erde, Kunsthalle Fridericianum,
Kassel
Strange Home, Kestner Museum, Hannover
Springtime, Nikolaj Art Centre, Copenhagen
Arguments, Atatürk Cultural Centre, Istanbul
Friends and Neighbours, a cura di curated by R.
Martínez, Limerick Biennial Ev+A, Limerick
2003
In den Schluchten des Balkan. Eine Reportage, a
cura di curated by R. Block, Kunsthalle
Fridericianum, Kassel
Golgeler ve Hayaletler, Platform Garanti Contemporary
Art Center, Istanbul
2004
Les Points du Jour - Refracted Illusion, Pont de
Versailles, Paris
Fading Lace, Plantage Kerklaan 30, Amsterdam
Liste 04, Galerist, Basel
2005
o.T. [City IV], Galerie für Zeitgenössische Kunst,
Leipzig
2006
Meisterwerke der Medienkunst aus der ZKM
Sammlung, ZKM, Karlsruhe
2007
Interventions in the Landscape: Paradise Revealed,
St. Margaret’s Bay, Kent, United Kingdom
Moderns, Santral Istanbul, Istanbul
Ebru Özseçen
Presentation, 1996
stampa translucida / pearl print 1/1
2001
Metropolis Now, Borusan Art Center, Istanbul
Regrets Reveries Changing Skies, Karsi Sanat,
Istanbul
Trans Sexual Express, Trienal de Barcelona,
Barcelona
Graham, Özseçen, Trockel, Milchoff, Nürnberg
Locus Focus, Sonsbeek 9, Arnhem
The Big Blue, Tate Modern, London
Unlimited, nl-4, a cura di curated by V. Kortun, De
Appel, Amsterdam
Les Interieur du Monde, Zaanstad Museum, Zaanstad;
Sparnestaad Photo Archieve, Haarlem; Kaman Public
Library, Kaman; Stadgalerie, Osnarbruck; Photo
Institutes Mutare, Zwickau, Angers
2002
Individual Geographies Global Maps, Nisantasi,
Istanbul
Metropolis Now, a cura di curated by E. Wimmer,
Museo Nacional Centro de Arte Reína Sofia,
Madrid
Time Light, Whistable Biennale, Whistable
Latent Space, Netherlands Architecture Institute,
Rotterdam
Time: Nature, Galerie Tanya Rumpff, Haarlem
Iconografias Metropolitanas, a cura di curated by A.
Hug, Bienal de São Paulo, São Paulo
The Armory Show, Henry Urbach Architecture, New
York
3rd Anniversary Show, Henry Urbach Architecture,
New York
55
Adrian Paci
Shkoder (Albania), 1969. Vive e lavora a
Milano.
Shkoder (Albania), 1969. He lives and
works in Milan.
2001
Bildmuseet, Umeå
Fondazione Lanfranco Baldi, Firenze
Home Sweet Home, Artropia, Milano
2002
Sorella Morte, Galleria Francesca Kaufmann, Milano
Galleria Irida, Sofia
GAMeC Galleria d’Arte Moderna e Contemporanea,
Bergamo
Claudio Poleschi Arte Contemporanea, Lucca
2003
A Toll on Rituals, BAC Baltic Art Center, Gotland;
Visby, Sweden
Galerie Peter Kilchmann, Zürich
2004
Slowly, Galleria Francesca Kaufmann, Milano
Turn on, Viafarini, Milano
2005
Adrian Paci, a cura di curated by A. Smith-Stewart,
P.S.1 Contemporary Art Center, New York; MOMA,
New York; Yale University, New Haven, USA
Perspective 147: Adrian Paci, a cura di curated by P.
Morsiani, Contemporary Art Museum, Houston; MC
projects, Los Angeles
Galerie Peter Kilchmann, Zürich
First at Moderna, a cura di curated by A.-S. Noring,
Moderna Museet, Stockholm
1999
XLVIII Biennale di Venezia, Venezia
2000
BAN Exhibition, International House, Brussels
Manifesta 3, European Biennial of Contemporary
Art, Ljubljana
We Love, Loves Us, a cura di curated by E. Muka,
Museo Civico d’Arte Contemporanea Pinacoteca
Cascella, Ortona
Arteast Collection 2000+, a cura di curated by Z.
Badovinec, Museum of Modern Art, Ljubljana
Coast to Coast, a cura di curated by L. Baldini,
Placentia Arte, Piacenza
In & Out, National Gallery of Art, Tirana
2001
Short Stories, Fabbrica del Vapore, Milano
I Bienal de Valencia, Valencia
Adriatico: le due sponde, 52˚ edizione “Premio
Michetti”, a cura di curated by A. Vettese, Museo
Michetti, Francavilla a Mare (Chieti)
Escape, Tirana Biennale 1, a cura di curated by E.
Muka, Tirana
Generator, Claudio Poleschi Arte Contemporanea,
Lucca
Beautiful Strangers, a cura di curated by E. Muka,
ifa-Galerie, Berlin
Ostensiv, Kunstraum Leipzig, Leipzig
Killing me Softly, Bildmuseet Umeå, Umeå
Arteast Collection 2000+, a cura di curated by Z.
Badovinec, Innsbruck
2002
In Search of Balkania, a cura di curated by R.
Conover, E. Cufer, P. Weibel, Museum of Modern
and Contemporary Art Neue Galerie, Graz
Adrian Paci
Klodi, 2005
film su DVD / film on DVD, 40’
courtesy Galleria Francesca Kaufmann, Milano
2006
Adrian Paci, a cura di curated by A. Vettese,
Galleria Civica di Modena, Modena
Adrian Paci, a cura di curated by M. Hlavajova,
BAK, Utrecht
2007
Milton Keynes Gallery, Milton Keynes, United
Kingdom
Museum am Ostwall, Dortmund
Boonier Kunsthalle, Stockholm
57
Adrian Paci
EXIT, a cura di curated by F. Bonami, Fondazione
Sandretto Re Rebaudengo, Torino
V Werkleitz Biennial, Berlin
Nuovo Spazio Italiano, MART Museo d’Arte
Moderna e Contemporanea di Trento e Rovereto
The Horse would Know but the Horse can’t Speak,
“Premio Furla”, Fondazione Querini Stampalia, Venezia
It’s Ain’t Much But It’s Home (con with Emanuel
Licha), Binz 39, Zürich
2004
Pathos/Gefuhle, a cura di curated by F. Ruhofer,
Raumpool Rhein-Main, Frankfurt am Main
2005
Sempre un po’ più lontano, a cura di curated by R.
Martinez, LI Biennale di Venezia, Venezia
Photography Biennale, a cura di curated by J. Erik
Lundström, Martin-Gropius-Bau, Berlin
War is over – 60 anni di libertà 1945-2005, GAMeC
Galleria d’Arte Moderna e Contemporanea, Bergamo
More Than This, Biennale Visual Arts, a cura di
curated by S. Arrhenius, Göteborg
Art Film Biennale, Köln
ADAM, Smart project space, Amsterdam
Projekt Migration, Kölnischer Kunstverein, Köln
Irreducible: Contemporary Short Form Video, Miami
Art Central, Miami
Going public ’05, a cura di curated by C. Zanfi,
Contemporary Art Center, Larissa, Greece
2006
Per Speculum, Galleria Francesca Kaufmann, Milano
Wherever We Go, a cura di curated by G. Scardi, H.
Hanru, Spazio Oberdan, Milano
Confini, a cura di curated by S. Cincinelli, C. Collu,
R. Pinto, MAN, Nuoro
Six feet under – Autopsy of our Dealing with the
Dead, a cura di curated by B. Fibicher, Kunstmuseum
Bern, Bern
Fremd bin ich eingezogen, Kunsthalle Fridericianum,
Kassel
Exposed Memory, Hungarian University of Fine
Arts, Budapest
Nothing Stands Still, New Langton Arts, San
Francisco
Bin beschäftigt, GAK Gesellschaft für Aktuelle
Kunst, Bremen
Highlights from the KunstFilmBiennale Köln in
Berlin, Kunst-Werke, Berlin
On Air: video in onda dall’Italia, Galleria Comunale
d’Arte Contemporanea di Monfalcone, Monfalcone
(Gorizia)
The Grand Promenade, a cura di curated by A.
Kafetsi, EMST National Museum of Contemporary
Art, Athens
Busan Biennale 2006, Busan, Korea
Zones of Contact, Biennale of Sydney, a cura di
curated by C. Merewether, Sydney
I’m Busy. Work or Amusement, a cura di curated by
G. Mackert, Gesellschaft für aktuelle Kunst, Bremen
Venice-Istanbul, a cura di curated by R. Martinez,
Istanbul Modern, Istanbul
Mixed with Pain, Platform Garanti Contemporary
Art Center, Istanbul
Shoot the Family, a cura di curated by R. Rugoff,
USA; Canada, exhibitiontour
Painting as a Way of Living, a cura di curated by R.
Martinez, Istanbul Modern, Istanbul
Ecce Uomo (33+1 artisti contemporanei da
collezioni private), Spazio Oberdan, Milano
A scuola con gli artisti, Galleria Civica di Arte
Contemporanea di Trento
60 Minutes Well Spent, Frankfurter Kunstverein,
Frankfurt
This Is Not America, Braverman ByArtProject, Tel
Aviv
Equal and Less Equal, Museum of the Seam,
Jerusalem
Biennale cuvee, a cura di curated by M. Sturm, G.
Rückert, World Selection of Contemporary Art, O.K
Centrum, Linz
ARS 06, KIASMA Museum of Contemporary Art,
Helsinki
2007
Transculture, Bunkier Sztuki, Kraków
Adrian Paci
2003
Looking Awry, a cura di curated by WHW, Apex Art,
New York
Vacio 9, a cura di curated by P. Kilchmann, Madrid
Gestures, a cura di curated by M. Gilli, F. Fulchéri,
Printemps de Septembre, Festival of Contemporary
Images, Toulouse
In den Schluchten des Balkan. Kunst aus dem
Südosten Europas, a cura di curated by R. Block,
Kunsthalle Fridericianum, Kassel
Draft, a cura di curated by B. Ruf, Kunsthalle Zürich,
Zürich
Le Mille e una Notte, Stecca degli Artigiani, Milano
Isola (Art) Project Milano, MACMO, Genève
Blut & Honig – Zukunft ist am Balkan, a cura di curated
by H. Szeemann, Essl Museum, KlosterneuburgWien
Moltitudini-Solitudini, a cura di curated by S.
Risaliti, Museion, Bolzano
Se Bashku, Tirana Biennale 2, Tirana
Skin Deep, MART Museo d’Arte Moderna e
G2003 - Museo delle Ossessioni, a cura di curated
by H. Szeemann, Vira, Svizzera
Bitter / Sweet Harmony, a cura di curated by E.
Muka, The Israeli Center for Digital ArtLab, Holon,
Israel
Walzer, Renaissance Society, Chicago; Contemporary
Art Museum, St. Louis; Tate Modern, London
Arte Contemporáneo de Sevilla (I BIACS), a cura di
curated by H. Szeemann, Sevilla
Dimensione Follia, a cura di curated by R. Pinto,
Galleria Civica d’Arte Contemporanea di Trento
Triennale di Tallin, a cura di curated by S. Helme,
Tallin, Estonia
On air, a cura di curated by L. Facco, Galleria
Comunale di Monfalcone, Monfalcone (Gorizia)
I Nuovi Mostri, a cura di curated by M. Gioni,
Fondazione Trussardi, Milano
Exiting Europe, a cura di curated by A. Ledrer,
Galerie für Zeitgenössische Kunst, Leipzig
The Yugoslav Biennial of Young Artists, a cura di
curated by S. Midzic, J. Vesic, A. Nikitovic, S.
Mitrovic, Vrsac, Serbia
Empowerment/Cantiere Italia, a cura di curated by
M. Scotini, Museo d’Arte Contemporanea di Villa
Croce, Genova
Z.A.T. Zone Artistiche Temporanee, a cura di
curated by E. Zanella, Civica Galleria d’Arte
Moderna, Gallarate
Se Bashku, a cura di curated by E. Muka, Museum
of Contempory Art, Upsala
Who is Singing Over There, a cura di curated by D.
Blazevic, Sarajevo
Periplo del Mediterraneo, a cura di curated by M.
Calvesi, M. Vescovo, Loggia di Banchi, Genova
59
2001
Galerija SKUC, Ljubljana
2002
Bezigrajska Galerija, Ljubljana
2003
Max Protetch Gallery, New York
Mala Galerija, Museum of Contemporary Art,
Ljubljana
2004
Galerie Almine Rech, Paris
2005
Max Protetch Gallery, New York
Grazer Kunstverein, Graz
Tobijas Putrih
2006
Gallery Gregor Podnar, Ljubljana
Laumeier Museum, St. Louis, USA
Tobijas Putrih
Lubiana (Slovenia), 1972. Vive e lavora a
Lubiana.
Ljubljana (Slovenija), 1972. He lives and
works in New York and Ljubljana.
2002
Borderline Syndrome, Manifesta 3, a cura di
curated by F. Bonami, O. Bouman, M. Hlavajova, K.
Rhomberg, Ljubljana
September Horse, Kunstlerhaus Bethanien, Berlin
Kunstexpeditionen, Forum of Sony Center at
Potsdamer Platz, Berlin
2003
ArtUnlimited, Basel
In den Schluchten des Balkans, a cura di curated by
U3, a cura di curated by C. Van Assche, Moderna
Galerija, Ljubljana
2004
Collective Effort, Baltimore Museum of Art,
Baltimore
Den Haag Skulptuur, The Hague, The Netherlands
Seven Sins, a cura di curated by Z. Badovinac,
Moderna Galerija, Ljubljana
2005
Certain Tendencies in Representation, Thomas
Dane Gallery, London
Greater NY, P.S.1 Contemporary Art Center, New
York
Monuments for America, Wattis Institute for
Contemporary Arts, San Francisco
2006
Eldorado, Mudam, Luxembourg
ArtUnlimited, Basel
2007
LII Biennale di Venezia, Padiglione Slovenia, Venezia
Quasi-random, 2003
legno, plastica, clips / wood, plastic, clips
(110 x 60 x 60 cm)
collezione privata / private collection
courtesy Galerija Gregor Podnar, Ljubljana
61
Anri Sala
Tirana (Albania), 1974. Vive e lavora a
Berlino e Parigi.
Tirana (Albania), 1974. He lives and works
in Berlin and Paris.
2000
Unlimited nl-4 (con with Christian Jankowski), a
cura di curated by V. Kortun, De Appel, Amsterdam
Galerie Rüdiger Schöttle (con with Torsten Slama),
München
Galerie Johnen & Schöttle (con with Martin Boyce),
Köln
Nocturnes, Mamco Musée d’art moderne et
contemporain, Genève
2001
it has been raining here, Galerie Chantal Crousel,
Paris
Galerie Rüdiger Schöttle (con with Martin Creed),
München
2002
OPA (artist run space), Guadalajara, Mexico
Ikon Gallery, Birmingham
Amplified Absorbers, Galerie Hauser & Wirth,
Zürich
Missing Landscape and Promises, Trans-area, New
York
Concentrations, Dallas Museum of Art, Dallas
Naturalmystic (tomahawk #2), Galerie Rüdiger
Schöttle, München
Missing Landscape, 2001
video, 14’55’’
courtesy Galleria Alfonso Artiaco, Napoli; Galerie Chantal Crousel, Paris; Johnen +
Schöttle, Köln; Hauser & Wirth, Zürich-London
2005
Long Sorrow, a cura di curated by M. Gioni,
Fondazione Nicola Trussardi, Milano
Centre for Contemporary Art Ujazdowski Castle, a
cura di curated by M. Slizinska, Warszawa
Anri Sala - Artist in Focus, Museum Boijmans Van
Beuningen, Rotterdam
Anri Sala - Artist in Focus, The XXXIV International
Film Festival Rotterdam IFFR, Rotterdam
Dammi i Colori, DAAD Galerie, Berlin
Anri Sala: Dammi i colori, presented in The Mildred
S. Lee Gallery, The Rose Art Museum of Brandeis
University, Waltham, Massachusetts, USA
Anri Sala, Galeria EXIT (EXIT Contemporary Art
Institute), Pejë, Kosovo
2006
Galerie Rüdiger Schöttle, München
Galerie Chantal Crousel, Paris
2007
Thinking Architecture # 1 - Anri Sala, Extra City,
Antwerpen
Air Cushioned Ride, Johnen Galerie, Berlin
Marian Goodman Gallery, New York
Anri Sala
2003
Galerie Johnen & Schöttle, Köln
Anri Sala, a cura di curated by G. Matt, Kunsthalle
Wien, Wien
All Gone, Residence-Project Gallery at CCA,
Kitakyushu, Japan
2004
Anri Sala, Yeans, Göteborg
Anri Sala, Exit Contemporary Art Institute, Pejë,
Kosovo
Galleria Alfonso Artiaco, Napoli
Hauser & Wirth London, London
Entre chien et loup/When the Night Calls it a Day,
ARC Musée d’Art Moderne, Paris; Deichtorhallen
Hamburg, Hamburg
Now I see, The Art Institute of Chicago, Chicago
Marian Goodman Gallery, New York
63
Anri Sala
1999
After the Wall: Art and Culture in Post-Communist
Europe, a cura di curated by B. Pejic, Moderna
Museet, Stockholm; Museum Ludwig, Köln
XLVII Biennale di Venezia, Padiglione Albania,
Venezia
2000
Finale Di Partita/Endgame/Fin De Partie, Biagiotti
Progetto Arte, Firenze
Geographies: Darren Almond – Graham Gussin –
Anri Sala, Galerie Chantal Crousel, Paris
Media_City Seoul 2000, Seoul Metropolitan
Museum, Seoul, Korea
Man muss ganz schön viel lernen um hier zu
funktionieren, Frankfurter Kunstverein, Frankfurt am
Main
Coast to Coast, Placentia Arte, Piacenza
In & Out, National Gallery, Tirana
Voilà – Le Monde dans la Tête, Musée d’Art
Moderne de la Ville de Paris, Paris
Biennale Européenne de l’Art Contemporain,
Manifesta 3, Ljubljana
Wie Weg – Disappeared, Rotor Association for
Contemporary Art, Graz
Wider Bild Gegen Wart – Positions to a political
discourse, Raum aktueller Kunst, Wien
Jean-Luc Moulène et Anri Sala, XXV Bienal de São
Paulo, São Paulo
Martin Creed, Martin Boyce, Anri Sala, Wilhelm
Sasnal, Galerie Johnen & Schöttle, Köln
Un inventaire contemporain, Salle audiovisuelle du
Jeu de Paume, Paris
Le regard de l’autre, Musée des Beaux-Arts, Rouen
Objets de réflexion, Le Plateau, Paris
Manifesta 4, Frankfurt
Big Social Game, a cura di curated by M. Pistoletto,
Biennale Internazionale Arte Giovane, Torino
Ten Years Galerie Hauser & Wirth, Galerie Hauser
& Wirth, Zürich
C’est pas du cinéma, a cura di curated by M.
Nuridsany, Le Fresnoy, Tourcoing, France
Handlungsanweisungen – Kunstpfad am Karlsplatz
2002-2004, Kunsthalle Wien, Wien
2002
(hi)story, Salzburger Kunstverein, Salzburg
XXV Bienal de São Paulo, Ibirapuera Park, São
Paulo
The Mind is a Horse (Uomoduomo), Bloomberg
Space, London
Œel aire es azul-the air is blue, Casa Museo Luis
Barragàn, Mexico City
Moulène-Sala São Paulo 2002, Programma Art
Centre, Mexico City
Geographies (#2), Galerie Chantal Crousel, Paris
Superstudio, Yvon Lambert, Paris
In Search of Balkania, Neue Galerie am
Landesmuseum Joanneum, Graz
Continous Play (Nat. mystic), Luhring Augustine,
New York
Do It, Online Project, a cura di curated by H.-U.
Obrist
Slow Motion, Ludwig Forum für Internationale
Kunst, Aachen, Germany
Photographier, Collection Lambert en Avignon,
Avignon
Protest Respekt, a cura di curated by G. Jetzer,
Kunsthalle St. Gallen, St. Gallen
des goûts et des couleurs, Musée des Beaux-Arts,
Lons-Le-Saunier, France
Viewmaster, New International Cultural Center,
Antwerpen
2003
Haunted by Detail, De Appel, Amsterdam
Appel à témoins. A call for Witnesses, Le Quartier
Centre d’art contemporain de Quimper, Quimper,
France
Categories: Post-Verité, Centro Párraga, Murcia
fast forward. Media Art / Sammlung Goetz, ZKM,
Karlsruhe
Remind, Kunsthaus Bregenz, Bregenz
Moulène-Sala São Paulo 2002, Musée des BeauxArts de Nantes, Nantes
U-Topos, Tirana Biennale 2, Tirana
Poetic Justice, Istanbul Biennale, Istanbul
In den Schluchten des Balkans, Kunsthalle
Fridericianum, Kassel
Moving Pictures, Guggenheim Bilbao, Bilbao
Balkan Visions, Galerie Museum AR/GE Kunst,
Bolzano
Writing Identity. Autobiography in Art, Galerie für
zeitgenössische Kunst Leipzig, Leipzig
Utopia Station, a cura di curated by HUO, M.
Nesbitt, Biennale di Venezia, Venezia
Warum! Bilder Diesseits und Jenseits des
Menschen, Martin-Gropius-Bau, Berlin
Klosterneuburg-Wien
Manfred Pernice - Neo Rauch - Francis Alys - Anri
Sala. Die Erfindung der Vergangenheit, Pinakothek
der Moderne, München
Hardcore, Towards a New Activism, Palais de
Tokyo, Paris
Witness. Contemporary Artists document our time,
Barbican Art Gallery - The Curve, London
Anri Sala, Carl Johan Erikson, Veli Granö, Index The Swedish Contemporary Art Foundation,
Stockholm
Moltitudini-Solitudini, MUSEION, Bolzano
Les 20 ans des FRAC, FRAC - Regionen, Paris
2004
Point of view: An Anthology of the Moving Image,
UCLA Hammer Museum, Los Angeles
The Encounters in the 21st Century/PolyphonyEmerging Resonances, XX Century Museum of
Contemporary Art, Kanazawa, Japan
Down here, Bergen Kunsthall, Bergen, Norway
Onufri 2004 Prize, National Gallery of Art, Tirana
3, Schirn Kunsthalle, Frankfurt am Main
2004 Taipei Biennial, a cura di curated by E. Lu, E.
Filipovic, Taipei Fine Arts Museum, Taipei, Taiwan
Delay, Museum Boijmans Van Beuningen,
Rotterdam
MUSAC Museo de Arte Contemporáneo de Castilla
y León, León
Situations construites, Attitudes Espace d’arts
contemporains, Genève
Communauté 2, a cura di curated by D. Snauwaert,
Institut d’Art Contemporain de Villeurbanne, Lyon
Artists’ Favorites, Institute of Contemporary Arts,
London
DAK’ART, The Biennial of Contemporary African
Art, Dakar, Senegal
Time Zones, a cura di curated by J. Morgan, G.
Muir, Tate Modern, London
Privatisierungen. Zeitgenössische Kunst aus
Osteuropa, (iniziativa del initiative of the
Kulturstiftung des Bundes in collaborazione con in
cooperation with ZKM Karlsruhe), KW Institute for
Contemporary Art, Berlin
In.Progress section, LVII Locarno International Film
Festival, Locarno
NON-SECT/RADICAL. Contemporary Photography
III, Yokohama Museum of Art, Yokohama, Japan
Anri Sala
2001
Unpacking Europe, a cura di curated by S. Hassan,
I. Dadi, Museum Boijmans Van Beuningen, Rotterdam
Solos for Video, Kunstsammlung im Ständehaus,
Düsseldorf
Passwor(l)ds, Künstlerhaus Stuttgart, Stuttgart
Manon De Boer Anri Sala Xavier Veilhan, Raum
Aktueller Kunst, Wien
II Berlin Biennale für Zeitgenössische Kunst, Berlin
believe, Westfälischer Kunstverein, Münster
The Escape, National Gallery, Tirana
Tirana Biennale, Tirana
d’APERTutto, XLVIII Biennale di Venezia, a cura di
curated by H. Szeemann, Venezia
Yokohama 2001: International Triennale of
Contemporary Art, Yokohama, Japan
Arrêt sur image – zeitgenössische Kunst aus
Frankreich, Kunst-Werke, Berlin
ifa-Galerie, Berlin
The Gift, Generous Offerings, Threatening
Hospitality, Palazzo delle Papesse, Siena
Trauma, Dundee Contemporary Arts (in collaborazione con in collaboration with Hayward
Gallery), Dundee, United Kingdom; Museum of
Modern Art, Oxford
Nocturnes, Delfina Project Space, London
Unpacking Europe, Haus der Kultur der Welt, Berlin
Uniform: Order and Disorder, P.S.1 Contemporary
Art Center, New York
Neue Welt, Kunstverein Frankfurt, Frankfurt am Main
65
Anri Sala
A Fripon. Fripon et demi, Collection Lambert en
Avignon, Avignon
ev+a The Exhibition of Visual Art, Limerick City Art
Gallery, Limerick, Ireland
Faces in the Crowd, Whitechapel Art Gallery,
London
Utopia Station, Haus der Kunst, München
Paysages invisibles, Musée de Rochechouart,
Rochechouart
New Museum of Contemporary Art, New York
2006
Galerie Patrick Seguin invites HAUSER & WIRTH,
Galerie Patrick Seguin, Paris
Dedica 1986-2006. Vent’anni della Galleria Alfonso
Artiaco, Palazzo delle Arti di Napoli, Napoli
Personal Affairs, Städtisches Museum Leverkusen
Schloss Morsbroich, Leverkusen
Fremd bin ich eingezogen, Kunsthalle Fridericianum,
Kassel
Retour, Paysages d’une collection, Musée de
Rochechouart, Rochechouart, France
Slow Motion, Museum Boijmans van Beuningen,
Rotterdam
Mankind. Story of a Wound, SMAK – Stedelijk
Museum voor Actuele Kunst, Gent
L’Ombra, Palazzo delle Papesse, Siena; MAN,
Nuoro
Intouchable. L’idéal transparence, Villa Arson, Nice
Point Of View, TKG Editions, Tokyo
ZOO Logical Garden, Family Park Harry Malter,
Mechelen, Belgium
Grenzgänger, Kunstforum Ostdeutsche Galerie,
Regensburg, Germany
Vom Pferd erzählen, Kunsthalle Göppingen,
Göppingen, Germany
All Hawaii Entrees / Lunar Reggae, Irish Museum of
Modern Art, Dublin
Fussball goes Art, Kunsthalle Wien, Wien
The Waiting Place, Whitstable Biennial,
Whitstable, United Kingdom
The Secret Theory of Drawing, The Drawing Room,
London
NOCTOUR, Contour Mechelen, Mechelen, The
Netherlands
Reprocessing Reality, P.S.1 Contemporary Art
Center, New York
Sensorium Part I, MIT List Visual Art Center, Boston
XV Biennale of Sydney 2006, Sydney
Em, Eretz, Medina, The Israeli Center for Digital Art,
Holon, Israel
Badovinec, Moderna Galerija Ljubljana, Ljubljana
Of Mice and Men, IV Berlin Biennale für
zeitgenössische Kunst, a cura di curated by M.
Cattelan, M. Gioni, A. Subotnik, Berlin
Infinite Painting, a cura di curated by F. Bonami, S.
Cosulich Canarutto, Villa Manin Centro d’Arte
Contemporanea, Codroipo (Udine)
Raconte-Moi/Tell Me, Casino Luxembourg - Forum
d’Art Contemporain, Luxembourg
Altered States, Taipei Fine Art Museum, Taipei,
Taiwan
Archipeinture, Fonds Régional d’Art Contemporain
d’Ile-de-France Le Plateau, Paris
Painting Ruins, Afghan Foundation for Culture and
Civil Society, Kabul, Afghanistan
Anstoss Berlin – Kunst macht Welt, Haus am
Waldsee. Ort internationaler Gegenwartskunst,
Berlin
2007
L’oeil – écran ou la nouvelle image, Casino Luxembourg
- Forum d’Art Contemporain, Luxembourg
Airs de Paris, Centre Pompidou, Paris
Word, Tale and Motley Narration: A Video Parade
From Different Points, Atlas Gallery, Ankara
History Started Playing With My Life, Israeli Center
for Digital Art, Holon, Israel
Vokalnoverbalino / Vocal Verbal, Galeriji Studentskog
Centra, Zagreb, Croatia
War and Discontent, MFA, Boston
Between Borders, MARCO Museo de Arte
Contemporánea de Vigo, Vigo, Spain
Sensorium Part II, MIT List Visual Art Center, Boston
In the Eye of the Storm/Im Auge des Zyklons,
Kunstmuseum St. Gallen, St. Gallen
Anri Sala
2005
VII Medien und Architektur Biennale, Graz
Soft Target: War as a Daily, First Hand Reality and
Undercurrents, BAK, Basis for actuele Kunst, Utrecht
Irreducible, Miami Art Central, MAC, Miami; Bronx
Museum of the Arts, New York
Universalism at Stake, Spacex Gallery, Exeter
Anyang Public Art Project, Anyang, Korea
Something of the Night, Leeds City Gallery, Leeds
EindhovenIstanbul, a cura di curated by E. Meyer
Hermann, C. Esche, Van Abbemuseum, Eindhoven
Projekt Migration‚ Roadmap to Europe, Kölnischer
Kunstverein, Köln
Fraktale IV – Tod. 25 Positionen zeitgenössischer
Kunst zum Phänomen Tod, Palast der Republik,
Berlin
Pursuit of Happiness, Kader van Beyond, Leidsche
Rijn, The Netherlands
Preis der Nationalgalerie für Junge Kunst 2005,
Hamburger Bahnhof - Museum für Gegenwart,
Berlin
Fast Nichts – Minimalistische Werke aus der
Sammlung Flick, Hamburger Bahnhof - Museum für
Gegenwart, Berlin
Nach Rokytnik – Die Sammlung der EVN, MUMOK
Museum Moderner Kunst Stiftung Ludwig Wien,
Wien
Auf beiden Seiten des Rheins Ambiance, K1
Kunstsammlung im Ständehaus, Düsseldorf
No Manifesto, GAMeC Galleria d’Arte Moderna e
Contemporanea, Bergamo
Land Marks, Galerie Chantal Crousel, Paris
X Wohnungen Suburbs 2005, Hebbel am Ufer,
Berlin
3, CGAC Centro Galego de Arte Contemporánea,
Santiago de Compostela
Videos in Progress, a series of videos looping
continuously during museum hours. Anri Sala: Time
After Time (2003) + Gary Hill: Blind Spot 82003,
RISD Museum of Art, Rhode Island School of
Design, Providence, USA
Colour after Klein, Barbican Art Gallery, London
Bidibidobidiboo. La Collezione Sandretto Re
Rebaudengo per i dieci anni della Fondazione, a
cura di curated by F. Bonami, Fondazione Sandretto
Re Rebaudengo, Torino
Herbert F. Johnson Museum of Art, Ithaca (NY),
USA
Reprocessing Reality, Chateau de Nyon.
Filmfestival Vision du Réel, Nyon
Faces in the Crowd, a cura di curated by I. Blazwick,
C. Christov-Bakargiev, Castello di Rivoli Museo
d’Arte Contemporanea, Rivoli (Torino)
Emergency, MUSAC Museo de Arte Contemporáneo
de Castilla y León, León
Reykjavik Art Festival, Contemporary Art Center
Klink & Bank, Reykjavik
Screentests, a cura di curated by E. Carels,
Nederlands Fotomuseum, Rotterdam
Situated Self: Confused, Compassionate and
Conflictual, a cura di curated by B. Diimitrijevic, M.
Hannula, Museum of Contemporary Art, Belgrade;
Tennis Palace Art Museum, Helsinki
New Video, New Europe, Stedelijk Museum,
Amsterdam
Fast forward. Avance ràpido. Media Art de la
Colección Goetz, Centro Cultural Conde Duque,
Madrid
Irreducible: Contemporary Short Form Video, Bronx
Museum of the Arts, New York
67
Erzen Shkololli
Pejë (Kosovo), 1976. Vive e lavora a Pejë. Art, a cura di curated by I. Boubnova, N. Enguita
Pejë (Kosovë), 1976. He lives and works in Mayo, S. Moisdon Trembley, Frankfurt am Main
Money and Value the Last Taboo, Swiss National
Pejë.
2001
Beautiful Way, a cura di curated by A. Vettese,
Claudio Poleschi Arte Contemporanea, Lucca
2005
Hey You…, a cura di curated by M. Kolecek, Gallery
Raketa, Usti nad Labem
2000
Coast to Coast, a cura di curated by L. Baldini,
Placentia Arte, Piacenza
Balkan Art Generator, a cura di curated by B.
Andjelkovic, Brussels
We Love Italy, Italy Loves Us, a cura di curated by
E. Muka, Museo Civico d’Arte Contemporanea
Pinacoteca Cascella, Ortona
2001
Escape, Tirana Biennale 1, a cura di curated by E.
Muka, Tirana
ifa-Galerie, Berlin
Adriatico: le due sponde, 52˚ Premio Michetti, a
cura di curated by A. Vettese, Museo Michetti,
Francavilla a Mare (Chieti)
VideoRom, a cura di curated by C. Perrella, I Bienal
de Valencia, Valencia
2003
U-topos, Tirana Biennale 02, a cura di curated by B.
Andjelkovic, National Gallery of Art, Tirana
In Den Schluchten des Balkan, a cura di curated by
Klosterneuburg-Wien
The Tale of The Thread: Embroidery and Sewing in
Contemporary Art, a cura di curated by F. Pasini, G.
Balkan Visions, a cura di curated by E. Cufer, ARGE
Kunst, Bolzano
Bitter / Sweet Harmony, a cura di curated by E.
Muka, The Israeli Center for Digital ArtLab, Holon,
Israel
2004
Arte Contemporáneo de Sevilla, a cura di curated
by H. Szeemann, Sevilla
Troubled Times, a cura di curated by M. Campitelli,
Civico Museo della Guerra per la Pace, Trieste
M’vyn ndrim radikal / Treba mi radikalna promjena,
a cura di curated by WHW, Gallery Nova, Zagreb,
Serbia
Mobilen / Movables, a cura di curated by S.
Eiblmayr, Galerie im Taxispalais, Innsbruck
2005
Sweet Taboos, Tirana Biennale 3, a cura di curated
by J. Ljungberg, Tirana
Overcoming Past, a cura di curated by D. Blazevic,
National Gallery, Sarajevo
Double Check – The Other Space in Photography,
Parallel Histories, a cura di curated by M. Grzinic,
Erzen Shkololli
White, 2005
videoinstallazione / video installation, 10’25’’
produzione / production: Virtual Studio
2002
Speculations, a cura di curated by V. Kortun, E.
Kosova, Platform Garanti Contemporary Art Center,
Istanbul
In Search of Balkania, a cura di curated by R.
Conover, E. Cufer, P. Weibel, Museum of Modern
and Contemporary Art Neue Galerie, Graz
Manifesta 4, European Biennial of Contemporary
Exhibition expo.02, a cura di curated by H.
Szeemann, Biel, Suisse
69
Erzen Shkololli
W. Seidl, Gallery of Contemporary Art in Celje,
Slovenija; Camera Austria Galerie, Graz
Walker,
Renaissance
Society,
Chicago;
Contemporary Art Museum St. Louis; Tate Modern,
London; Stedelijk Museum, Amsterdam; The North
Dakota Museum of Art, Grand Forks, USA; Kitchen
Gallery, New York
SHAKE - ID Troubles, a cura di curated by Z. Eric, H.
Munder, B. Steinbruegge, Halle für Kunst, Lüneburg,
Gremany; NURTUREart Gallery, Brooklyn, New York
We are what we are. Aspects of Roma Life in
Contemporary Art, a cura di curated by M.
Makovec, A. Lederer, Graz; Ljubljana; Trnava; Usti
nad Labem; Bucharest; Budapest, exhibitiontour
Së Bashku-Juntos-Tillsammans, a cura di curated
by J. Ljungberg, E. Muka, R. Mallea Lira, Y.
Villalonga, National Gallery of Art, Tirana; Uppsala
Konstmuseum, Uppsala, exhibitiontour
2006
People Land State, a cura di curated by G. Eilat, The
Israeli Center for Digital Art, Holon, Israel
Badovinac, Moderna Galerija, Ljubljana
This is not America, a cura di curated by G. Eliat,
ByArt Projects Gallery, Tel Aviv
E
2002
hidden reality, Galerija Kapelica, Ljubljana
2003
A2, Porschehof & Kunstverein, Salzburg
unit.003, KIBLA, Maribor
2004
unit.241, Galerija Meduza, Koper
unit.739, KIBLA, Maribor
2005
room nr_001.psd, Mario Mauroner Contemporary
Art, Wien
mouse-computer-drawings, a cura di curated by V.
Pomery, Turner Contemporary, Margate
unit.1008, a cura di curated by N. Sivavec, Likovni
Salon Celje, Celje
son : DA
2006
PLATFORM #1. Semiconductor + son : DA, a cura di
curated by C. Agnello, C/O Careof, Milano
cityspaces. son : DA + Ziga Kariz, a cura di curated
by Z. Badovinec, SKUC gallery, ARCO-06, Madrid
son : DA, Mario Mauroner Contemporary Art, Art
Brussels, Brussels
2007
Situacija slovenska-35, a cura di curated by B.
Piskur, Mala Galerija, Ljubljana
Art-works, a cura di curated by R. Lisi, AP4-ART,
Lugano
.psd, a cura di curated by I. Spanjol, Miklova hisa,
Ribnica
son : DA
Metka Golec (Maribor, Slovenija, 1972).
Miha Horvat (Maribor, Slovenija, 1976).
Vivono e lavorano a Maribor e Vienna.
They live and work in Maribor and Vienna.
2003
U3, a cura di curated by C. Van Assche, Moderna
Galerija, Ljubljana
Klosterneuburg-Wien
Nove generacij, a cura di curated by P. Lampic,
Jakopiceva galerija, Ljubljana
2004
Seven sins, a cura di curated by Z. Badovinac, I.
Zabel, V. Misiano, Moderna Galerija, Ljubljana
Cosmopolis1: Microcosmos x Macrocosmos, a cura
di curated by M. Carneci, State Museum of
Contemporary Art and Macedonian Museum of
Contemporary Art, Thessaloniki
On sale, a cura di curated by N. Petresin, A.
Gregoric, Galerija SKUC, Ljubljana
Musikprotokoll am Steirische Herbst, Graz
Here and now, a cura di curated by K. Stoyanov,
Institute for contemporary art, Sofia
Niemandsland, a cura di curated by H. LiebhartUlm, A. Soucek, Kunstlerhaus, Wien
Walker, The Renaissance Society, Chicago; Tate
Modern, London; Contemporary Art Museum, St.
Louis; Stedelijk Museum, Amsterdam
2005
Habitat, a cura di curated by M. Lewoc, Szczecin
Trienale ekologija in umetnost, UGM, Maribor
Versus XI, a cura di curated by L. Tadorni, Velan
Center For Contemporary Art, Torino
95_05, a cura di curated by I. Zabel, I. Spanjol,
Moderna Galerija, Ljubljana
26th Biennale of Graphical Arts, Tobacna tovarna,
Ljubljana
Eye-Try, a cura di curated by A. Kostic, Cork Vision
Center, Cork
situation NR_1116.psd, 2005
stampa Lambda / Lambda print
115 x 90 cm
73
2006
Sonambiente, Berlin
Slovenian animation 96-06, a cura di curated by I.
Prassel, Likovni salon, Celje
Oscilacije-30dni zvoka, a cura di curated by B.
Piskur, Mala galerija, Ljubljana
Walker, The Kitchen Art Gallery, New York
Approaching Reality’s Borders, a cura di curated by
C. Gioia, ARCOS, Benevento
U3, a cura di curated by J. Krpan, Moderna Galerija,
Ljubljana
Crazycurators2, Bratislava
Viennabiennale, Wien
son : DA
2007
UGM’s video collection, Muzej savremene
umetnosti, Novi Sad
group, Kunstlerhaus, Graz
27th Biennale of Graphical Arts, MGLC, Ljubljana
Contemporary Slovenian Photogaphy, Museum of
Art, Lendava
Milorad Mića Staičić
Belgrado (Serbia), 1977. Vive e lavora a
Belgrado.
Belgrade (Serbia), 1977. He lives and
works in Belgrade.
2003
Annual exhibition, Faculty of Fine Arts in Belgrade,
Belgrade
2004
Belgrade
2005
Belgrade
34th exhibition of small drawings and sculptures,
FLU, Belgrade
2006
Real Presence – Generation 2006, a cura di curated by
D. Denegri, B. Tomic, Museum of City of Belgrade,
Belgrade
Progressive Hopes, a cura di curated by B. Tomic,
Gallery HAOS, Belgrade
++, art group Dez.org, Gallery Zvono, Belgrade
2007
Semester exhibition, Faculty of Fine Arts in
Belgrade, Belgrade
Milorad Mića Staičić
Street-Car, 2006-07
intervento nello spazio pubblico / intervention in the public space
77
Jelena Tomaš ević
Podgorica (Montenegro), 1974. Vive e
lavora a Podgorica.
Podgorica (Montenegro), 1974. She lives
and works in Podgorica.
2002
Jelena Tomaš ević, Budva, Montenegro
2004
Road on the Wall. Wall as a Road, Plavi dvorac,
Cetinje, Montenegro
2006
Joy of Life II, Thrust Projects, New York
2007
Buero.DC, Köln
So-Yeun Lee & Jelena Tomaš ević, Galerie
Conrads, Düsseldorf
2001
A Week of Montenegrin Culture, One View,
Barcelona
Chain of Discoveries, Montenegro
International Biennial of Drawings, Rijeka, Croatia
2002
IV Cetinje Biennale, Cetinje, Montenegro
2004
Violenta Imaginii, Imagine Violenti, I Tinteret
Biennial, Bucharest
Distant Neighborhoods - Resting Closeness, a cura
di curated by S. Racanovic, Dubrovnik; Mostar;
Cetinje, Montenegro
AriKuliranje, BELEF, Belgrade
Artiade, Olympics of Visual Arts, Athens
In the Cities of the Balkans, V Cetinje Biennale,
Cetinje, Montenegro
Orhide, a cura di curated by P. Cukovic, Cetinje,
Montenegro
Central - New Art of Central Europe, Belgrade
2005
FEM5-Video Festival, Video Drive, Spain
The Biennial Portfolios, a cura di curated by R.
Block, 9th International Istanbul Biennial, Istanbul
Montenegrin Beauty, Kunstlerhaus Bethanien
Berlin; Motorenhalle, Dresden
The Eros of Slight Offence, Padiglione Serbia e
Montenegro, a cura di curated by S. Racanovic, LI
S1 Salon, Sheffield, United Kingdom
2006
Collapsible Monuments, Thrust Projects, New York
Art, Life & Confusion, 47th October Salon, a cura di
curated by R. Block, B. Hinrich, Belgrade
Scary Tels, Filiale, Berlin
Cross the Line, Galerie Conrads, Düsseldorf
East to West, AP4-ART, Genève
ENNUI Fact, Foundation for Art and Creative
Technology, Liverpool
Non places, Roda Stein, Göteborg
Jelena Tomaš ević
Joy of Life, 2007
pittura per pareti, acrilico, garza, nastro adesivo su acciaio di 3 mm / masonry paint,
acrylic, med-gauze bandage, adhesive tape on 3 mm steel
100 x 80 cm
courtesy l'artista / the artist
2003
Block, Kunsthalle Fridericianum, Kassel
Montenegrin Beauty, a cura di curated by S.
Racanovic, Budva; Belgrade
Bound/Less Borders, a cura di curated by B. Tomic,
5th International Biennial of New Art, Vrsac, Serbia
Urbanci, a cura di curated by P. Cukovic, Sarajevo
2007
Off - Center Femininities, a cura di curated by J.
Stokic, Windows of Kimmel Center, New York
University, New York
Lollypop, Body and Consumption, Museum of
Contemporary Arts of Vojvodina, Serbia
79
Slavica Toš evska
Skopje (Macedonia), 1980. Vive e lavora a
Skopje e Atene.
Skopje (Macedonia), 1980. She lives and
works in Skopje and Athens.
2001
White Widow, Rotterdam
Azil, intervento nello spazio pubblico intervention in
the public space, Rotterdam
2003
Urban Art Guerilla Projects, Skopje, Macedonia
2004
Zooropa, Center for Contemporary Art, Skopje,
Macedonia
2005
Arbeit Macht Frei, Center for Contemporary Art,
Skopje, Macedonia
Slavica Toš evska
2002
III International Print Triennial, Istanbul
Body Art, Fashion Week, Skopje, Macedonia
2004
Youth Graphic Exhibition, Osijek, Croatia
Real Presence – Generation 2004, a cura di curated
by D. Denegri, B. Tomic, Museum of Yugoslav
History, Belgrade
2005
Real Presence-Floating sites, a cura di curated by
D. Denegri, B. Tomic, LI Biennale di Venezia,
Venezia
Biljardana, 2005-07
colori acrilici, uova, erba / acrilic color, eggs, grass
130 x 85 cm
81
Nikola Uzunovski
Venezia e Helsinki.
Belgrade (Serbia), 1979. He lives and
works in Venice and Helsinki.
2003
Drops, a cura di curated by C. Campus, Accademia
di Belle Arti di Napoli, Napoli
2004
Birthday Party, Museum of Contemporary Art,
Skopje, Macedonia
2005
Drops, Contemporary Art Center, Skopje, Macedonia
Dream on, Kuvataideakatemia, Helsinki
2003
Bozicna izlozba, a cura di curated by N. Cvijanovic,
Galerija OK, Rijeka, Croatia
Talk Show, a cura di curated by S. Boeri, H. U.
Obrist, Viafarini, Milano
Mappa mundi, a cura di curated by A. Vettese, G. Di
Pietrantonio, Chiesa di San Francesco, Como
Life is Full of Possibilities, a cura di curated by M.
Altavilla, Galleria T293, Napoli
2004
88.ma Collettiva, Fondazione Bevilacqua La Masa,
Venezia
Play 04, a cura di curated by L. Aiello, C. Casorati,
D. Landi, L. Valerio, Galleria Moncada, Roma
Q13 Building, a cura di curated by A. Zanchetta,
Contemporaneo, Mestre
Transmission, a cura di curated by Progettozero(+),
J. Kosuth, R. Tiravanija, Bassano del Grappa
Real Presence 4, a cura di curated by D. Denegri, B.
Tomic, Museum of Yugoslav History, Belgrade
QualsiasiTV, progetto di project by R. Tiravanija,
Base, Firenze
Guardarsi Intorno, a cura di curated by C.
Pietroiusti, R. Gabri, Galleria A+A, Venezia
Tracce di un seminario, a cura di curated by A.
Vettese, G. Di Pietrantonio, Viafarini, Milano
Space is the Place_03, a cura di curated by M.
Altavilla, A. de Mannincor, T.P.O., Bologna
2005
White Noise, a cura di curated by L. Vona, Artlab
Studio BK, Torino
Untitled, a cura di curated by A. Ascari, E.
Bonaspetti, VentraXV, Milano
White and other, in any case art, a cura di curated
by A. Bonito Oliva, Palazzo Cavour, Torino
Multiplo 2, a cura di curated by S. Coletto, NO
Gallery, Milano
Arhipelag, Nova Gorica; Gorizia
Real Presence-Floating sites, a cura di curated by
D. Denegri, B. Tomic, LI Biennale di Venezia,
Venezia
Nikola Uzunovski
A Change in the Air Changes Everything, 2004
movimento in aria, carta, policarbonato / movement in air, paper, Polycarbonate
83
Nikola Uzunovski
Mars Pavilion, a cura di curated by A. Morucchio,
M. Baravalle, Venezia
Plazamarket, a cura di curated by Progetto 0+,
Venezia
8 x 12, a cura di curated by S. Coletto, Fondazione
Bevilacqua La Masa, Venezia
7th Youth Biennial: Beyond the Borders, Museum of
Contemporary Art Skopje, Skopje
10, Kaiku Gallery, Helsinki
Conflitti, progetto di project by Synapser, Villa
Serena, Bologna
Foresti a Venezia, a cura di curated by S. Coletto,
Play 04, a cura di curated by L. Aiello, C. Casorati,
D. Landi, L. Valerio, C/O careof, Milano
2006
Talk to the city, Fabbrica del vapore, Milano
Videoreport Italia 2004_05, Galleria Comunale
d’Arte Contemporanea di Monfalcone
Art is Always Somewhere Else, 2nd International
Biennial of Young Artists, Bucharest
Selected Works, Palazzo Bonaguro, Bassano del
Grappa
The Sun on the Wall, a cura di curated by G. Podnar,
Pavelhaus, Laafeld
Artist in Discussion, a cura di curated by T.
Bundalevska, N. Vilic Kampnagel, Hamburg
Progressive Hopes, a cura di curated by B. Tomic,
Galleria HAOS, Belgrade
Becoming Place, a cura di curated by L. Giovinazzo,
Castello di San Terenzo, Lerici
Cric, a cura di curated by A. Fourie, R. Gutiérrez,
Sierre
Tends to Infinity, a cura di curated by S. Coletto,
Trajectory 2 - The Sun on the Wall, a cura di curated
by G. Podnar, LCCA, Arsenal, Riga
The Galleries show, Extracity Center for
Contemporary Art, Antwerpen
The artist in conversation, a cura di curated by T.
Bundalevska, N. Vilic, Cifte amam, Skopje
Off, a cura di curated by B. P. Isijanin, M. Denkov,
Press to exit gallery, Skopje, Macedonia
N
Vesna Vesić
Belgrado.
Belgrade (Serbia), 1975. She lives and
works in Belgrade.
1998
III Yugoslav Biennial of Young Artists, Vrš ac, Serbia
1999
Multimedia Festival Talin, Estonia
40th October Salon, Belgrade
World Wide Video Festival, Amsterdam
d’APERTutto, a cura di curated by H. Szeemann,
XLVIII Biennale di Venezia, Venezia
Virtual Enclosing, a cura di curated by D. Denegri, B.
Tomic, Centre for Contemporary Art, Academy of
Fine Arts, Wien
Dare Luogo, a cura di curated by D. Denegri, Studio
Stefania Miscetti, Roma
Contibution for Human Rights, German Embassy,
Belgrade
Vesna Vesić
2000
Alpe Adria Festival, Trieste
Wash Me and I Will Be Whiter than Snow / Lavami e sarò più bianco della neve, 1998
video su DVD / video on DVD
produzione / production Vladimir Zaric & CibeREX
87
Natalija Vujoš ević
Podgorica (Montenegro), 1976. Vive e
lavora a Podgorica.
Podgorica (Montenegro), 1976. She lives
and works in Podgorica.
2003
Block, Kunsthalle Fridericianum, Kassel
2004
Love It Or Leave It, V Cetinje Biennale, Cetinje,
Montenegro
Untitled (As Yet), Bijenale Mladih, Vrsac, Serbia
2005
Bienal de Jafre, Girona
Montenegrin Beauty, Kunstlerhaus Bethanien,
Berlin; Mottorenhalle, Dresden
2006
European Reflections, Charlottenborg halle, Copenhagen
FEM festival, Madrid
2007
Go With The Flow, Belgrade Cultural Center Art
Gallery, Belgrade
Natalija Vujoš ević
Now I Know You Were the One, 2003
videoinstallazione / video installation
89
INBETWEENESS
Dobrila Denegri
The state of being between a point of departure and a point of arrival, or between a
place that you leave behind and another that you arrive at, is like being in movement and
held in suspension at the same time. This condition is full of contrasting feelings that
range from vulnerability to perspicacity, uncertainty to expectation, all moved by habitual
behavioural patterns and subject to the unpredictability of the situation. Such is the
condition of the traveller. More than physical, it is a psychological and mental state that
removes him from a feeling of citizenship in a given location, and projects him into a
dimension of Becoming, in which the only constant is that of change. With Heraclitus
Becoming meant the continuous mutation and transformation of things from one state
into another. If we take a look at the etymology of the term, we see how it takes on
various nuances. The word become comes from Old English becuman, meaning ‘to
happen’, which comes from the Gothic biquiman, meaning ‘to appear suddenly’.
Although going down different roads, both meanings take us back to the starting point:
the desire to understand, at least in part, what living in a space that is ‘in-between’
really means, and how this is mirrored, through these metaphorical reflections, by the
process that redraws the contours of the notion of identity. Leaving your place of origin
for another physical and cultural reality inevitably means starting a process by which you
explore the notion of identity. It sets off a sort of real-time editing in which, as with
cinematographic cross-fades, past and present, memory and experience follow one
another and contrast with each other, as you lighten the load from the ‘store’ of your
background in order to make room for what you pick up along the way. The longer you
remain on this journey, the closer you come to the idea that identity is an unanchored,
complex, and polyhedral concept that goes with the notion of a hybrid and multiple
identity in which different cultural codes converge, combine or break up.
Finding yourself in this in-between space can be both an individual and a collective
experience, and it not only implies moving from one place to another but also being held
in different temporal dimensions. It can be likened to the idea of finding yourself floating
in the vacuum that is created when History ‘comes to an end’, when a political or social
system is undone and everything upon which your sense of belonging was created
ceases to have any relevance; when the feeling of discontinuity between past and
present is so great that everything seems out of line. This happens when there are
ruptures, such as the events that followed the dismantling of the Berlin wall: the
collapse of socialist systems, the start of democratization processes in some parts of
Eastern Europe and the outbreak of ethnic conflicts in others. It is the rifts that marked
91
the start of the new millennium, which the generation of artists coming out of the first
half of the 1990s was completely caught up in, and which as a consequence also touched
the younger generations. For some, the initial push was the opening of frontiers; for
others it meant dramatic and bloody events. But regardless of what the drive may have
been, during the 1990s many artists from ex-communist countries took to nomadism
(sometimes forced) and moved to the cultural capitals of Western Europe. They arrived
there with stories to tell, with feelings, with experiences, and this strongly influenced
their way of making and interpreting art. They had questions about history and its
deconstruction, about the uncertainty of the present and the absence of future; their
questions touched upon the ethical and existential, and were the driving force behind
works in which individual stories merged, as if in a kaleidoscope, with those of universal
interest. In one of his early films Intervista – Finding the Words, Anri Sala reveals
terrifying aspects of a dictatorship in Albania; at the same time he tells a personal story
full of the intimate and moving tones that can only be found in the rapport that exists
between mother and son. This work is like taking a trip down memory lane using the
silent images of a film found by chance, which turned into a comparison between two
periods: between the period that vanished along with the ideological beliefs that the
mother shared with her generation, and the period of the present in which there was a
mix of nostalgia and a desire to start again. It is one of the emblematic works of that
initial moment, as was the video by Maja Bajević Women at Work / Washing up, which
showed women in a hammam of Istanbul washing thin fabrics with the words of some
of Tito’s slogans sewn onto them by the artist, such as “Long live the brotherhood and
the united forces of our peoples”, and others, which having been drained of all meaning
became completely lost in the folds of the threadbare fabrics. Using symbolic gestures,
poetic images, dramatic and pungent content, works such as these have given substance
to that sense of loss that you feel when a given reality falls apart and crumbles into
fragments that will never again be pieced together. In the early 1990s, works such as
these pointed to an identity crisis, and now, more than ten years on, we see how the
thought process has moved in another direction to develop a new condition that can
assimilate different cultural elements and codes and at the same time maintain an acute
critical sense that puts everything into question. The state of being ‘in-between’ is like
that of being in continuous passage, restless but also dynamic, uncertain and at the
same time resolute. It is a state in which questions are asked about belonging, and the
gap is bridged between the questions “where do you come from?” and “what do you
identify with?” Not surprisingly, the point of observation is repositioned: David Maljković
places his work in a hypothetical future dimension, stating that “the future becomes like
a black hole freed of historical events that allows for the creation of new possibilities.”
His trilogy Scene for New Heritage is set in 2045, and it gives a dimension that increases
temporal distance, looks back, and goes to characteristic places such as monuments built
on the Croatian territory during the period of communism – Utopian architecture in which
you can hear the echo of an absent reality. Tobias Putrih picks up on the Utopian projects
of one of the most visionary architects and inventors of the twentieth century,
Buckminster Fuller, in particular from his Cloud Nine, which envisaged living units that
floated in the air, recreating geodesic structures that were malleable and subject to the
transformations that each individual can cause. By projecting themselves into Utopian
and futuristic dimensions, these artists bridge a temporal gap so that the space ‘inbetween’ can be understood as a space of reconstruction and reinvention. But would it
ever be possible to demarcate this space? Might it be possible to touch its borders?
These questions take us to another aspect that Anri Sala captures in full with the video
Missing Landscape: that of invisible borders. The framing is static and the composition
perfectly symmetrical while a group of youngsters play football in a field surrounded by
mountains. At first glance, the situation seems harmless. But the landscape represented
here alludes to a suspended dimension, a reality made abstract in which the young
actors move as if on a set, between invisible barriers. Clues that point to these obstacles
carve out a reality that is removed from the rest of the world; but invisible borders also
include the contrasts that occur between different cultural contexts and the mentality of
the people who live in those contexts. This is what Daniela Kostova refers to with the
video Made In. She makes us understand how reality changes depending on the viewer,
and how easy it is to become conditioned by short-sighted political ideas, be they echoes
of nationalistic myths or reflections of the imperialist ideology of the global economy. For
many artists, leaving their homeland was an existential necessity, but it was also - by
implication - a parting from nationalistic and obtusely traditionalist pulses. This parting
did not necessarily mean a lack of commitment; in fact it underlined the need to act with
greater critical awareness regarding the contradictions encountered with almost every
step. “I don’t eat pork. I don’t drink during Ramadan. But I do take ecstasy.” Or “I go to
church. I rape women.” These are the sentences uttered by Maja Bajević, actress,
impersonating various characters in her video Double Bubble. They are a condemnation
of the manipulative and hypocritical mechanisms that hide behind different religious
93
creeds, in the name of which some of the most brutal atrocities in every historical period
have been committed. Coming up against and opposing these ‘invisible barriers’ is one
aspect of ‘inbetweeness’; going beyond the real and physical barriers is another.
Embarking on a nomadic, migratory existence means experiencing on a daily basis
everything that ‘being between different places’ can represent, not in a metaphorical or
transposed sense, but in reality. In the video Klodi, Adrian Paci records the story of a man
who talks about his travels from city to city, country to country, and continent to
continent. It is a real passage between ‘stations’ in which the extent of the displacement
is such that no place can be called ‘home’. ?ejla Kamerić, on the other hand, takes us
into a dream-like dimension with his video-installation Dream House. It shows a house,
or rather a shelter, that travels through time and bad weather yet always provides a safe
haven… always there, motionless on a changing landscape in the background, almost
like a dream for those who understand the condition of involuntary exile.
The themes tackled with these works reflect the aptitudes of a generation which found
itself under the impact of the first political wave that completely crushed their realities
and origins. Stories are imbued with a sense of displacement. They talk about
marginalization and social invisibility, and about the projections and delusions of the
‘first’ world; they criticise and expose. The slightly younger generations of artists lived
through the ‘transition’ processes as a sort of given condition. They grew up and were
educated in that ‘in-between’ space, which could otherwise be called a ‘Becoming
democracy’, a reality that seems to have the same specific weight as helium and lead,
uncertain and contradictory, catching you off guard yet despite everything full of
potential. They study this reality with lightness and a rather dark sense of humour, albeit
seldom cynical. Nimbly they cross ideological abysses with a playful aptitude that is
never banal; and they do not repudiate the past a priori, but they observe it and revalorize
its positive aspects. ‘Inbetweeness’, more than a condition, seems to be an imperative,
a behavioural philosophy and a move towards reality. Who Is on the Way Is Already
There declares Maja Beganović in a series of works in which she transforms this thought
into an enigmatic slogan plastered on billboards all over the urban landscape, or into a
title for her paintings, or else into an instruction for the public that interacts with the
ambient installation made with strips of grass put together in the form of a collage of
various paths to take. It indicates how making the first step means having already
reached the final objective, because what is most important of all is the decision to go
on, to live in a dynamic and active condition, and above all to go down a road with an
awareness that the process of crossing, the means that you use, has to be coherent with
the end. This work alludes to the multitude of roads to take, in the same way that the
meaning of 'inbetweeness' generates a multitude of interpretations that we have tried
to examine in a sort of open interview that could potentially go on forever. We asked the
artists participating in the exhibition to explain what 'inbetweeness' meant to them, and
then, in turn, for them to ask the same question to someone of their choosing. In so
doing, a network of ideas was formed, a sort of malleable and dynamic architecture of
'Becoming' definitions.
95
E
Indice
4 Le ragioni di una mostra
Ludovico Pratesi
6 The reasons for an exhibition
Ludovico Pratesi
8 INBETWEENESS
Dobrila Denegri
14 Artisti / Artists
86 INBETWEENESS
Dobrila Denegri
SS
Finito di stampare nel maggio 2007 da Garabello Artegrafica, San Mauro Torinese

inbetweeness

Transcript

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