Academic Event

The lecture talks about the processes of collective communication with Earth as a form of art. In practice, this is about discovering the philo-sphere – the love sphere of individual natural and urban sites. In the same way as it has an[]

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The seemingly paradoxical abstract mixtum compositum that is prospective archaeology consists of a practice that operates in accordance with two opposing arrows of time. One of these arrows is oriented vertically into the deep time of cultures that[]

General knowledge associates the concept of transparency with glass. However, glass not only stands for transparency, but also for a lack of aura. As Walter Benjamin held in Experience and Impoverishment, “glass is at all the enemy of[]

The talk will investigate the concept of transparency in the writings of Paul Scheerbart, Sigfried Giedion, and Walter Benjamin. Transparency was debated and theorized across the intellectual field, from architecture, the visual arts, and cinema, to[]

Functionality, inventiveness and aesthetics of pure forms are only a few of the basic guidelines of the educational programme of the Bauhaus, school for architecture, art and design, which today denotes a recognisable expression – not only in[]

Bauhaus: the Imperative of Transparency was critically question the interconnection of transparency and the ideas of the famous school in the fields of architecture, art and education, and in society in general. It was also elaborate on the[]

The lecture presented a body of work and situations that have been in constant logical progression since 1992, probing the margins of technology, ecological thought, autonomy, privacy and biospheric strategies. Peljhan will use the notion of[]

Drawing from the art historic and critical apparatus of American post-WWII or Cold War criticism (specifically Jack Burnham and Rosalind Kraus), this lecture addressed the consequences of systematic exclusion of the Eastern European neo-avant-garde[]

The claim to artistic autonomy in the early modern period was never absolute. Different frames – from architecture to ideology – have always surrounded artists and shaped the idea of “free expression”. The lecture looked at[]

The most common definition of the 1990s is the “transitional period”, which means that it was a time between times. In the realms of politics and art, that time was fertile for flamboyant and megalomaniac projects, which quickly collapsed[]

 In his speech, Arseny Zhilyaev talked about the generation of the first post-Soviet shuttle businessmen through the history of the labor biography of Soviet engineer Alexander Dolgov, who after the collapse of the USSR became a private[]

When the pop-musical genre called Turbo-folk emerged in Serbia in the 1990s, it provoked a number of controversies and affective antipathies and sympathies. Even though Cultural theoreticians and public intellectuals have mostly dismissed it as the[]

With the advent of the Alt-Right there’s a new subculture on the block. Some claim that the avant-garde tactic of transgression is now exclusively to be found on the right. What used to be punk in the 1980s today is alt-right. Although there[]

In the avant-garde rhetoric internalized by contemporary art, the ideas of social involvement and artistic achievement are almost identical, claiming that after art’s self-sublation such involvement is art’s principal goal. Yet despite[]

Badovinac’s contribution reflected on the specificity of the archives built by some Eastern European artists about the 1990s, especially about the wars in the Balkans, and on the question of the impact that artists’ archives have on[]

The addressee of populism is commonly defined in cultural terms as a human embodiment of a specific way of life (culture?) considered common, average or ordinary. The avant-garde art, in contrast, epitomizes precisely the opposite: the exceptional,[]

Today the Russian philosophy known as Cosmism has been largely forgotten. Its utopian tenets – combining Western Enlightenment with Eastern philosophy, Russian Orthodox traditions with Marxism – inspired many key Soviet thinkers until[]

The conference was dedicated to the question of how to harness the historical visions of the non-alignment movement (NAM) in light of the current global geopolitical situation. Another important question was to tackle the legacy of culture in[]

The lecture Towards an Aesthetics of Southern Uprisings by a curator and film theorist Olivier Hadouchi accompanies the Southern Constellations: The Poetics of the Non-Aligned exhibition. []

The public perception of Bela krajina has been marked by the wire on the border, a subject of far more debates than the economic and social issues that this cut-off region has been grappling with for many years. A closer look reveals that it was this[]

The point of departure will be the work of the Slovene-American writer Louis Adamič, whose 120th anniversary of birth was celebrated this year; the Sophia publishing house is soon to publish his work From Many Lands translated into Slovene[]

Alenka Puhar casts light on the social climate of the 1960s, when photographer Stojan Kerbler took his first anthological portraits of children, by looking at a number of critical accounts in the press and literature of the time, portraying the[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

Introductions: []

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The symposium will attempt to present a picture of this production that is as[]

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