Documentation

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 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 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 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 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 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 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[]

Participating speakers: Aleksander Bassin (curator and art critic), Andreja Hribernik (exhibitions between 1965 and 1985 at the Art Pavilion Slovenj Gradec), Teja Merhar (SFR Yugoslavia’s International Collaborations in Culture with Developing[]

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 international exhibition of the visual arts in the Kingdom of Yugoslavia, this year's main event in Moderna galerija, provides an overview of painting, sculpture, printmaking, drawing, photography, and film from the time the king's[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

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[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

During the duration of Time Without Innocence. Recent Painting in Slovenia exhibition that posed the question of "What is the status of painting today?" the exhibited painters presented their work in short 20 minutes-long artist[]

Nika Ham’s creative practice presents the special relation between her artistic work and her “day job”. Her creative impulse stems from her specific situation as a young artist working part-time as a museum attendant at the Museum[]

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[]

Teaser for a single channel HD video, 23 min 43 sec, stereo.

On such varied topics as political representatives, the labor force, or the national basketball team, the public discourse in Slovenia is seeing a resurgent emphasis on the “national extraction” of the citizens of Slovenia. Frequently[]

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 Igor Zabel Award for Culture and Theory acknowledges the exceptional achievements of cultural protagonists whose work supports, develops or investigates visual art and culture in Central, Eastern and South-Eastern Europe. Named in honour of the[]

In today’s Europe, arts institutions have to recognise their role in creating and maintaining sheltering structures for artists and students to meet, exchange and develop self-engineered and trans-border forms of collectivization. Faced with[]

Although contemporary art frequently describes the future as dystopian, there are many art projects that do not describe time, but merge with it, last in it, develop with it, and thus, in their own way, co-create the future. The present has become[]

The conference focuses on the concept of contemporary art, especially on the question of how much it is able to shape ideas for the future. If modernism was to a large extent oriented towards the future and postmodernism towards the past, then we[]

A few key interpretations of the concept of contemporaneity were in Socialist Yugoslavia considered as formative for the construction of the model of self-management in socialist society, most notably in its cultural sphere. In the artistic practice,[]

How can ideas of the incomplete and strange serve to think through contemporary art, its temporality and narratives? What is the place of intimacy and scale in framing what is said and unsaid across the platforms of contemporary art?

This paper departs from the experience of the current Shanghai Biennale to make an apology of biennial art and globalized art, in relation to the way they represent the experience of particulars involved in global synecdoches without the mediation of[]

The Soweto Project: Socially engaged practice in a real-world situation creates a new vocabulary centred on people. Participatory practice in action to construct a hopeful future against the neoliberal present.

Globalism-“fin-de-siècle”-global museum-global discourse-global art? Did it happen this way, the promise of the brighter days to come? However, as the philosopher Louis Althusser is always reminding us, the future lasts forever.

We can imagine a multitude of communal futures and pluriversal knowledge, instead of thinking in singular – however progressively global this singularity should become. The seemingly-real, well-received terms of[]

Fokianaki will explore how institutional and curatorial practices respond to the current economic and socio-political shifts in the West as well as the shift of liberal democracies towards what Nicos Poulantzas has named authoritarian statism. She[]

We invite you to the presentation of the thematic section of the new Šum journal issue entitled “/…/ gradually the idea of ‘contemporary art’ was formed”, dedicated to the establishment of the concept of[]

A guided tour of The Unmaking of Art – Revisited at the Sites of Sustainability. Manifestos, Pavilions and Crypts exhibition, by the Technical Assistant of the Museum of Modernity. []

The lecture was a part of the opening program of  Sites of Sustainability. Pavilions, Manifestos, and Crypts exhibition. []

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: []