MG+MSUM

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[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

In the new edition of the Glossary of Common Knowledge (2018-2022) Geopolitics referential field is repeating from the previous edition (2013-2018) because we feel such wide referential fields can never be fully exhausted. The first edition[]

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[]

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[]