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4[d]SWARM INTELLIGENCES

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Visual Collegium • Medak • SrbljinoviÊ • ZlatiÊ & BoæiËeviÊ •Yugoslavia as a Biopolitical Experiment • Milat

Buergel

Schneider Good Morning, Croatia

Zagreb - Cultural Kapital of Europe 3000

Zagreb - Kulturni kapital Evrope 3000je platforma za suradnju nastala kao zajedniËki projekt Centra

za dramsku umjetnost, Multimedijalnog instituta, Platforme

9,81 i udruge za vizualnu kulturu ©to, kako i za koga/WHW.

Zagreb - Kulturni kapital Evrope 3000 se odvija u okviru

projekta relations. Projekt relations inicirala je njemaËkaSavezna zaklada za kulturu. K u l t u r n i k a p i t a l Êerazvijati one suradnje - kako meu nositeljima tako s lokalnim

i internacionalnim inicijativama - koje tematiziraju promjene

druπtvenih uvjeta kulturneproizvodnje, razvijaju strukturnipoloæaj nezavisne kulture i preispituju dominantne reæimereprezentiranja kulture. Do 2005. u sklopu K u l t u r n o g

k a p i t a l a planirane su konferencije, umjetniËki festivali,

izloæbe, radionice, predavanja, predstavljanja, publikacije,medijske produkcije i dr. Vaæan dio projekta bit Êe aktivnostiiz kulturne politike usmjerene na reforme institucionalnog

okvira nezavisne kulture - poveÊavanje njenog utjecaja i jaËanje

njenih resursa.

is a collaboration platform created as a joint project of the Center

for Drama Art, Multimedia Institute, Platforma 9,81 and What,

How and for Whom. This project takes place in the framework of

relations. relations is a project initiated by Kulturstiftung des

Bundes, Federal Cultural Foundation, Germany. Cultural

Kapital will foster those collaborations - both between the project

initiators and the local and international initiatives - that will address

changes in the social conditions of cultural production, develop

the structural position of independent culture and question the

dominant regimes of representing culture. Until 2005, Cultural

Kapital is planned to include conferences, art festivals, exhibitions,

workshops, lectures, presentations, publications, media productions,

etc. An important part of the project will be cultural policy activities

directed towards reforming the institutional setting of independent

culture - increasing its influence and strengthening its resources.

iconic turn stoga nije, ilije to ponajmanje, isk-ljuËiva stvar umjetnostii kulturalnih studija -upravo suprotno! Slika inasilje - to je danaspitanje na kojem se od-luËuje druπtvenost glo-baliziranih zajednica.Benjamin je prvi uoËionasilnost i πokantnostmasovno produciranih idifuzioniranih slika, tj.nasilnost vizualnog kojeje postalo anorgansko.SlijedeÊi njegovu intu-iciju, koja je prirodu vi-

zualnog protumaËila u konstelaciji tehnike,historije i druπtva, nas je u izradi ovog su-plementa vodio naputak da nasilnost slike

i slikovitost nasilja po-traæimo ponajprije u sa-mim stvarima/slikama irefleksiji o tome. Moæda:slika kao trag nasilnostimiπljenja, ili nasilje kaotrag slikovnosti miπljenja.

Vizualni kolegij jeodsjek projekta SwarmIntelligences kojim ot-varamo nova diskurziv-na polja s obzirom nateoriju vizualnog. Pro-gram kolegija sastoji seod: [a] kontinuiranesheme projekcija unet.kulturnom klubuMaMa (u dvotjednomritmu),[b] objavljivanja rele-vantnih tekstova iz po-druËja i[c] organizacije preda-vanja.Pored isticanja aspekta materijalnosti[pokretne, digitalne] slike, posebni naglasakleæi na delezijanskom kredu uoËavanja ipromiπljanja momenatau kojima slika zastaje, amisao otpoËinje. Kruci-jalan je dakle momentcezure vizualnog i mo-guÊe normativnostislikovnog koja iz togaproizlazi. Tekstovi kojedonosi suplement #001objavljen u oæujku 2004.u dvotjedniku Zarez izrazliËitih rakursa ispitujupovezanost vizualnog inasilja. Nije pretjeranokad se ustvrdi da je up-ravo ikonoklazam kaoklasiËni topos odnosaslike i nasilja, najadek-vatniji modus miπljenjakako druπtvenog tako ivizualnog. Proklamirani

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Suplement Vizualnog kolegija #001/ Visual Collegium Suplement #001Slika i nasilje / Image and Violenceuredili / editors: Jelena KrivokapiÊ[Beograd/Paris], Petar Milat[Zagreb]¶ Klaus Theweleit: DeutschlandFilme - Filmsko miπljenje i nasilje[German film - Film thought andviolence]¶ Jelena KrivokapiÊ: Ekonomijavidljivog Marie José Mondzain [TheEconomy of the Visible Marie JoséMondzain]¶ Marie José Mondzain: Moæe lislika da usmrti? [Can an image kill?]¶ Jelena KrivokapiÊ: “Sudbinaslika”, ili kritika idealne istorijemoderniteta [“Destiny of images”,or critique of the ideal history ofmodernity]¶ Jacques Rancière: Sudbina slika[Destiny of images]

Swarm IntelligencesVizualni kolegij / Visual Collegium

Petar MILATvoditelj projekta / projectcoordinatorzoe@mi2.hr

Tanja VRVILOvoditelj Vizualnog kolegija/ Visual Collegiumcoordinatortanjavrvilo@excite.com

Jelena KRIVOKAPI∆urednik suplementa /supplement editortura@eunet.yu

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Visual Collegium is adepartment of the SwarmIntelligences programme thatopens up new discursive fieldsin the theory of the visual. Theprogramme of the collegiumconsists of:[a] a continuous program ofscreenings at the net.cultureclub MaMa (bi-weekly)[b] publication of relevant textsfrom the field, and[c] organization of lectures.Together with the emphasis onthe aspect of materiality of the(moving, digital) image, aparticular importance rests inthe Deleuzeian credo of notingand rethinking the moments inwhich an image pauses andthought begins. The crucialmoment of caesura of the visualand the possible normativenessof the pictorial that results fromthis. The texts found insupplement #001, published inMarch 2004 in the bi-weekly

Zarez, question the relation ofthe visual and violence fromdifferent points of view. It is notan exaggeration to claim thatit is precisely iconoclasm thatholds, as a classic topos of therelation between image andviolence, the most adequatemodus of thought, both in asocial and visual sense. Theproclaimed iconic turn is thusnot, or least of all, an exclusiveobject of art and culturalstudies - but rather theopposite! Image and violence- this is the current question onwhich the sociality of globalizedcommunities is being decided.Benjamin was the ∫rst to noticethe violence and shock valueof mass-produced and diffusedimages, that is, the violence ofthe visual that becameinorganic. Following hisintuition, one which interpretedthe nature of the visual througha constellation of technology,

history and society, in themaking of this supplement wewere led by the instruction thatwe should primarily search forthe violence of the image andvisual violence in the veryobjects/images themselves andin reflections on these. Perhaps:image as the trace of violenceof thought, or violence as thetrace of visual thought.

Swarm Intelligences: BLOK,Community Art, past:forward[mi2], Platforma 9,81www. swarm-intelligences.org

program je ostvaren u suradnjis Hrvatskim filmskim savezomi realiziran kroz platformuclubture / this program wascarried out in cooperation withthe Croatian Film Clubs’Association and realizedthrough the clubture platform

The Social Grain - A Social Ontologyof the Electronic Moving ImageThrough its construction of temporality in theediting procedure and its constitution ofexperience in a collective perception, ∫lm hascrystallized the subjective structure of modernsociality in the 20th century. Starting from thepremise that mediality does not participate onlyin the external formation of social phenomena,but rather that mediality, in a privileged sense,reflects the structure of sociality, the lecture willtake electronic moving images as a possiblematrix for crystallizing the social ontology of acontemporary, post-Fordist subjectivity.

Swarm IntelligencesTomislav MEDAK: Zrno druπtvenosti / The Social Grain

Zrno druπtvenosti - socijalnaontologija elektronske pokretne slike

Konstrukcijom vremena u postupkumontaæe i konstitucijom iskustva ukolektivnom Ëinu opaæanja, ∫lm je u 20.stoljeÊu kristalizirao subjektivnu strukturumoderne druπtvenosti. PretpostavljajuÊi damedijalnost ne sudjeluje samo u izvanjskomobrazovanju druπtvenih fenomena, veÊ damedijalnost u povlaπtenom smislu odraæavastrukturu druπtvenosti, predavanje Êe uzetielektronske pokretne slike kao moguÊumatricu za kristaliziranje socijalneontologije suvremene, postfordistiËkesubjektivnosti.

23/04/2004.klub za net.kulturu MaMa / net.culture club MaMa

kontakt / contact:Tomislav MEDAK, to-me@mi2.hr

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ProuËavanje kolonija insekata, jata ptica iliriba, krda antilopa i sliËnih prirodnih kole-

ktivnih fenomena izvor je nadahnuÊa zaprouËavanje apstraktnih "rojeva" apstrakt-nijih "jedinki" u joπ apstraktnijim "prostori-ma". Jesu li takve strukture inteligentne i uËemu je njihova "inteligencija"? Kakve uvide

omoguÊuju raËunalne simulacije takvihfenomena? Koje nove moguÊnosti u prouËa-

vanju ljudskih druπtava otvara primjenasliËnih metoda? Mogu li na taj naËin steËeniuvidi posluæiti u rjeπavanju sloæenih znan-

stvenih problema? Takva i sliËna pitanjapostavlja, te na njih pokuπava odgovoriti

interdisciplinarno znanstveno, ali ne i isk-ljuËivo znanstveno, podruËje u nastajanju,nazvano "inteligencija roja". O inteligencijiroja, prema knjizi Swarm Intelligence Jame-

sa Kennedyja, Russella C. Eberharta iYuhui Shia, govori Armano SrbljinoviÊ.

The study of insect colonies, flocks of birds,schools of fish, herds of antelopes and similarnatural collective phenomena inspires theinvestigation of abstract “swarms” consistingof abstract “individuals” in even more ab-stract “spaces”. Are these structures intelli-gent, and what is their “intelligence”? Whatinsights do computer simulations of thesephenomena allow? What new possibilitiesdoes the application of similar methods inthe study of human societies open up? Caninsights gained in this manner aid in solvingcomplex scientific problems? These andsimilar questions are posed by the interdis-ciplinary scientific, but not just scientific,field in the making called “swarmintelligence”, which studies these and relatedquestions and attempts to answer them.Armano SrbljinoviÊ talks about swarm in-telligence referring to the work of the samename by James Kennedy, Russell C. Eber-hart and Yuhui Shi.

Swarm Intelligences & caterneticsArmano SRBLJINOVI∆: Inteligencija roja / Swarm Intelligence

05/03/2004.klub za net.kulturu MaMa / net.culture club MaMa

Armano SRBLJINOVI∆ jediplomirani inæenjer

matematike, smagisterijem

interdisciplinarnogposlijediplomskog studija Voenja i

upravljanja pokretnim objektimazagrebaËkog PMF-a, FER-a i FSB-a.

Bavi se istraæivanjem, razvojem iraËunalnom implementacijom modelai simulacija druπtvenih procesa. Objavio

je radove na temu raËunalnogmodeliranja etniËke mobilizacije u

Ëasopisima International Transactionsin Operational Research, Journal of

Artificial Societies and SocialSimulation i Interdisciplinary

Description of Complex Systems. Radikao istraæivaË pri Institutu za

istraæivanja i razvoj obrambenih sustavaMORH-a, a proπloga proljeÊa upisao jedoktorski studij sociologije na Odsjeku

za sociologiju Filozofskog fakultetaSveuËiliπta u Zagrebu.

Armano SRBLJINOVI∆ has a B.Sc. in Mathemat-ics, and a M.Sc. from the Conducting and Man-aging Moving Objects interdisciplinary studyprogram conducted in collaboration with Za-greb’s Science, Electrical Engineering and Com-puting, and Mechanical Engineering and NavalArchitecture faculties. He works in research,development and computer-aided implementa-tion of models and simulations of social process-es. He has published studies on the topic ofcomputer-aided modeling of ethnic mobilizationin the journals International Transactions inOperational Research, Journal of Artificial Soci-eties and Social Simulation and InterdisciplinaryDescription of Complex Systems. He is a re-searcher at the Institute for Research and De-velopment of Defense Systems, the Ministry ofDefense of the Republic of Croatia. Last Spring,he enrolled in a doctoral study program at theDepartment of Sociology at the Faculty of Phi-losophy, University of Zagreb.

kontakt / contact:armano.srbljinovic@morh.hr

www.swarm-intelligences.org

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ZahvaljujuÊi razvoju infor-macijskih tehnologija i pom-alo nepristojnom mijeπanjufiziËara i matematiËara upitanja sociologa, ekonomis-ta i biologa, tijekom posljed-njih desetljeÊa poËela su is-traæivanja nepoznatihmatematiËkih osobinasloæenih sustava. Jedan odnajplodonosnijih pristupabio je prouËavanje takoz-vanih kompleksnih mreæagdje god ih moæemo pronaÊi- mreæa poznanstava, dis-tribucije elektriËne energije,poslovne suradnje, æivËanogsustava, interneta.Neka njihova zajedniËkasvojstva pomogla su namponuditi nove odgovore ilibar bolje postaviti pitanjapoput: koliko je dug nizpoznanstava πto dijeli bilokoje dvoje ljudi na svijetu, ikako ga pronaÊi? Zaπto nekiizumi, glasine, autori brzo

steknu popularnost, a drugi,jednako dobri ili loπi, Ëameanonimni desetljeÊima pa izauvijek? Kako dolazi do pa-da træiπta ili sustava Elektre,a kako do njegova oporavka?Zaπto na moru svi cvrËcicvrËe u ritmu?

O najnovijim znanstvenimpomacima u prouËavanjumreæa, prema knjizi SixDegrees Duncana Wattsa,priËat Êe Vinko ZlatiÊ sInstituta Ruer BoπkoviÊ iMiran BoæiËeviÊ, [mi2].

Swarm Intelligences & caterneticsMreæa ili parangal? / Fishing net or setline?

Thanks to the development of informationtechnologies and the somewhat recklesstrespassing of physicists and mathematiciansinto the matters of sociologists, economists andbiologists, research of unknown mathematicaltraits of complex systems have been initiatedduring the last several decades. One of the mostfruitful approaches was the study of so-calledcomplex networks wherever they can be found- networks of acquaintances, distribution ofelectrical energy, business cooperation, thenervous system, the Internet.Some common characteristics have helped usoffer new answers or at least to better posequestions such as: How long is the line of

acquaintances that separate any two people inthe world, and how can it be found? Why dosome inventions, rumors, authors quickly gainin popularity, while others, equally as good orbad, are left to linger in anonymity for decades,even forever? How does a market or an electricalcompany’s network crash, and how do theyrecover? Why do all the crickets chirp in rhythmat the seaside?

Vinko ZLATI∆ from the Ruer BoπkoviÊ Instituteand Miran BOÆI»EVI∆ [mi2] will talk about thelatest scientific developments in the study ofnetworks based on the book Six Degrees byDuncan Watts.

15/04/2004.klub za net.kulturu MaMa / net.culture club MaMa

Watts, Duncan J.,Six Degrees: TheScience of aConnected Age[Norton, NewYork 2004]

05Swarm Intelligences: Jugoslavija kao biopolitiËki eksperiment

Yugoslavia as a Biopolitical Experiment

Izlaganje je fldio naπeg obuhvatnijegistraæivanja o Jugoslaviji kao biopolitiËkomeksperimentu. Preciznije, radi se o drugomodjeljku, u kojem Êemo govoriti o dva teksta,koja po naπem miπljenju na vrlo posebannaËin ekspliciraju socijalno-filozofskapitanja koja se veæu uz sudbinu formacije,koju se nekoÊ nazivalo “Jugoslavija”. To suNova klasa Milovana –ilasa - zasigurnonajpoznatiji disidentski tekst s podruËjabivπe Jugoslavije, pisan polovicom 50-ihgodina, te zbirka ogleda Zorana –iniÊa,Jugoslavija kao nedovrπena dræava,publicirana krajem 80-ih godina, nedugoprije samog poËetka dezintegracijejugoslavenske dræavne formacije.

Koliko god ti tekstovi markiralikrucijalne rezove u specifiËnim osobnim

22/04/2004.klub za net.kulturu MaMa / net.culture clubMaMa

Vinko ZLATI∆ roen je 1974.Diplomirao je fiziku naZagrebaËkom PMF-u, atrenutno je naposlijediplomskom na Zavoduza teorijsku fiziku pri InstitutuRuer BoπkoviÊ. Njegovo jeistraæivanje vezano za evolucijukompleksnih mreæa, dinamikuleukemije i kompleksne sustave.

Miran BOÆI»EVI∆ roen je1972. Diplomirao je matematikuna Yale-u, radio u New Yorkukao analitiËar i programer, uZagrebu kao profesor, atrenutaËno je aktivan priMultimedijalnom institutu.

Vinko ZLATI∆ [1974] has aB.Sc. in Physics from Zagreb’sFaculty of Science and iscurrently working on hispostgraduate degree at theTheoretical PhysicsDepartment of the RuerBoπkoviÊ Institute. His field ofresearch includes the evolutionof complex networks, dynamicsof leukemia and complexsystems.

Miran BOÆI»EVI∆ [1972] has aB.Sc. in Mathematics from YaleUniversity. He has worked asan analyst and softwaredeveloper in New York, ateacher in Zagreb, and iscurrently active in theMultimedia Institute.

kontakt / contact:Miran BoæiËeviÊ, miran@mi2.hr

www.swarm-intelligences.org

Tomislav MEDAK & Petar MILAT

Jugoslavija kao izvanredno stanje #1Yugoslavia as a State of Emergency #1

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The following presentation is flpart of our morecomprehensive research on Yugoslavia as abiopolitical experiment. To be more precise, itrefers to its second part, where we will discusstwo texts that, in our opinion, explicate in a veryspecial way the socio-philosophical questionsassociated with the destiny of the formationformerly called “Yugoslavia”. These are “NewClass” by Milovan –ilas - former Yugoslavia’sindisputably most prominent dissident text,written in the mid 1950s, and a collection ofessays by Zoran –iniÊ “Yugoslavia as anUnfinished State”, published at the end of the80s, not long before the disintegration of theYugoslav state formation began.

As much as these texts may mark crucialbreaks in the particular personal destinies of theauthors [–ilas, who from the “third man” positionwithin the ranks of state power turned into theleading, at least ideologically, opponent of theregime, and –iniÊ, who soon became one ofthe leaders of the Democratic Party in Serbia,de facto leaving his scientific work behind], theydo not interest us as testimonies to whatYugoslavia “was” or “might have become” butwill serve us in our effort to answer somephilosophical questions posed by the new globalorder.

Therefore, what is “Yugoslavia” then as a[socio-]philosophical question from a globalizedperspective, and not as a subject of research bycultural studies, sociology, economy, ethnology,etc? As much as the latter types of research arenecessary, valuable and needed, we cannot ridourselves of the impression that they do notreach that segment that formed the core of“Yugoslavia” as a social experiment, and onethat has perhaps [and we take this “perhaps”here in all its fragility and possibility that it mayno longer be possible] left us as its legacy adistinct emancipatory potential.«

Tomislav MEDAK & Petar MILATYugoslavia as a State of Emergency:–ilas and –iniÊ

kontakt / contact:Tomislav Medak, to-me@mi2.hrPetar Milat, zoe@mi2.hr

www.swarm-intelligences.org

Izlaganje je fldio naπeg obuhvatnijegistraæivanja o Jugoslaviji kao biopolitiËkomeksperimentu. Preciznije, radi se o drugomodjeljku, u kojem Êemo govoriti o dva teksta,koja po naπem miπljenju na vrlo posebannaËin ekspliciraju socijalno-filozofskapitanja koja se veæu uz sudbinu formacije,koju se nekoÊ nazivalo “Jugoslavija”. To suNova klasa Milovana –ilasa - zasigurnonajpoznatiji disidentski tekst s podruËjabivπe Jugoslavije, pisan polovicom 50-ihgodina, te zbirka ogleda Zorana –iniÊa,Jugoslavija kao nedovrπena dræava,publicirana krajem 80-ih godina, nedugoprije samog poËetka dezintegracijejugoslavenske dræavne formacije.

Koliko god ti tekstovi markiralikrucijalne rezove u specifiËnim osobnimsudbinama autora [–ilas koji iz pozicije defacto “treÊeg Ëovjeka” unutar dræavne vlastipostaje glavni, barem ideoloπki, oponentreæima, i –iniÊ koji Êe ubrzo postati jedanod lidera Demokratske stranke u Srbiji, defacto ostavljajuÊi znanstveni rad za sobom],oni nas ovdje ne interesiraju kaosvjedoËanstva onog πto je Jugoslavija “bila”ili je “mogla postati”, veÊ nam ovomprilikom viπe sluæe u nastojanju daodgovorimo na neka od filozofskih pitanja

a] It seems that art today, if itmeans to regain meaning orsocial relevance, has to ex-amine the concept of life.Notwithstanding the fact thatthe concept of life was alreadycrucial for the 20th century art-experience and that it is well-establ ished in aestheticthought and artistic practice,“life” as a category needs tobe rethought beyond its vi-talistic implications towards anew societal creationism.[Roberto Esposito’s thoughton that matter will indicate thismove beyond a bourgeoisconcept of life.]

b. Writer’s block in Bernhard’slate novel Beton and in Vila-Matas’s Bartleby & Companymarks that moment wherecreation, if it is to succeed, hasto go beyond both art and life.This is not a position whichwould be the position of thatof the artist or the position ofthat of the public, and it doesnot need to be confused witha specific figure of intellectu-ality - namely transient, just theprima faciae deconstructivecriticism that oscillates be-tween the different poles, fedby the unreexamined division

of labour. A Geistesprodukt in the Bernhardian sense, which isreflected primarily in writer’s block, is identified - as I will show- through contradictions of the contemporary art-system, andthat it is not redemptive in the process.

c] Finally, the Geisteprodukt as creation after art-life will bebrought into relation with the newly arisen discussion on severalof Marx’s intuitions [Nancy’s La creation du monde, Karatani’sOn Transcritique and the writings of Hardt and Negri].

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a] »ini se da umjetnost danas, ako æeli povratiti smisao ilidruπtvenu relevantnost, mora razmotriti pojam æivota.UnatoË Ëinjenici da je koncept æivota bio kljuËan veÊ zaumjetniËko iskustvo 20. stoljeÊa i da se nataloæio uestetiËkom miπljenju i umjetniËkoj praksi, "æivot" kaokategoriju valja iznova misliti dalje od njegovih vitalistiËkihimplikacija prema novom druπtvenom kreacionizmu.[Promiπljanja Roberta Esposita na tu temu posluæit Êe kaosmjerokaz u ovom nadilaæenju buræoaskog koncepta æivota].b] Blokada pisanja u kasnom Bernhardovom romanu Betoni Vila-Matasovom Bartleby & Company oznaËuje onajsluËaj gdje stvaranje, da bi uspjelo, mora nadiÊi i umjetnosti æivot. Ovo nije pozicija koja bi bila pozicija umjetnika ilipozicija publike, a ne treba je brkati ni sa specifiËnomfigurom intelektualnosti - tranzijentne, tek prima faciedekonstruktivne kritike koja oscilira izmeu razliËitihpolova, hranjena nepreispitanom podjelom rada.Geistesprodukt u Bernhardovom smislu, koji seprvenstveno odraæava u blokadi pisanja, ukazuje - kao πtoÊu pokazati - preko kontradikcija suvremenog umjetniËkogsistema, a da pritom nije iskupiteljski.c] KonaËno, Geistesprodukt kao stvaranje nakon umjetnosti-æivota bit Êe dovedeno u vezu s recentnom diskusijom onekoliko Marxovih intuicija. [Nancyevim La Creation dumonde, Karatanijevim On Transcritique i djelima Hardtai Negrija].

Swarm IntelligencesPetar MILAT: GEISTESPRODUKT

24/04/2004.klub za net.kulturu MaMa / net.culture club MaMa

kontakt / contact:Petar Milat, zoe@mi2.hrwww.swarm-intelligences.org

GEISTESPRODUKT- ili blokada pisanja kao kreacija poslije umjetnosti

Geistesprodukt, orwriter’s block ascreation after art

08Kolektivna akcija / Collective ActionRoger M. Buergel

Neπto se moæe dobiti ogoli li se moÊ od njenihantropomorfnih karakteristika. PreuzimajuÊi linijurazmiπljanja kasnog Michela Foucaulta o onome πto onnaziva “guvernmentalitet”, Roger M. Bruegel pokuπavanaznaËiti poetiku postavljanja izloæbi u kojoj se stapajuodreeni predmet - provoenje moÊi - i estetska forma.

“Ako vam je dosadila retorika aktivizama u umjetnosti,poput one koja se izlaæe u Palais de Tokio u Parizu, i akosu vam dosadne mramorne skulpture, ne vidim drugi izbornego rede∫nirati koncept estetske autonomije. No,istodobno se valja osloboditi ideje da je estetska autonomijaiskljuËivo vlasniπtvo umjetnosti. Estetsko iskustvo valja bitiprimarno iskustvo gledatelja. Nije dovoljno otvoriti izloæbute Ëekati reakcije publike, veÊ publika mora biti ukljuËenau izloæbu od samog poËetka. Posrijedi je odreena vrstapregovaranja s publikom, upravo na naËin na koji sadakreiram izloæbu u Barceloni. Takav naËin izloæbefunkcionira ako su ljudi konstruktivni. Ponekad je toizuzetno stresan posao, no za mene predstavlja zabavubuduÊi da kroz taj proces izloæba postaje bolja.”

Roger M. Buergel u razgovoru sa Leilom TopiÊ[Vjesnik, 30.03.2004.]

Roger M. Buergel je kritiËar i kustos. Predaje vizualnu teoriju naSveuËiliπtu u Lüneburgu, NjemaËka. Zavrπio je Likovnu akademijuu BeËu, te filozofiju i ekonomiju na SveuËiliπtu u BeËu. Nedavnoje pripremio grupnu izloæbu The Government, koja je postavljenau UmjetniËkoj galeriji sveuËiliπta Lüneburg, MACBA u Barceloni,Witte de With u Rotterdamu i Secesiji u BeËu. Zajedno s Buergelomkustosica te izloæbe je i Ruth Noack, s kojom je prethodnosuraivao i na Organisational Form, grupnoj izloæbi koja je odræanau galeriji Akademije likovnih umjetnosti u Leipzigu i Galeriji ©KUCu Ljubljani. 2001. bio je kustos izloæbe The Subject and Poweru CHA, Moskva, a 2000. organizirao je Governmentality. Art inconflict with the international hyperbourgeoisie and the nationalpetty-bourgeoisie u Alte Kestner Gesellschaft, Hannover. 2003.Buergel je bio prvi dobitnik Walter Hopps nagrade za kustoskaostvarenja, koju svake druge godine dodjeljuje Menil Collection,Houston, SAD. Roger M. Buergel je novoizabrani glavni kustosDocumente XII u Kasselu, NjemaËka.

Roger M. BUERGEL is a criticand curator. He teaches visual

theory at the University ofLüneburg, Germany. He has

studied arts at the Academy ofFine Arts in Vienna, and

philosophy and economy at theUniversity of Vienna. He has

recently prepared theexhibition The Government,which is on show at the ArtGallery of the University in

Lüneburg, MACBA inBarcelona, Witte de With in

Rotterdam and the Secessionin Vienna. He co-curated thisexhibition with Ruth Noack,with whom he collaborated

before on Organisational Form,a group exhibition which was

held at the Gallery of theAcademy of Visual Arts in

Leipzig and ©KUC Gallery inLjubljana. In 2001, he curated

the exhibition The Subject andPower at the CHA, Moscow,

and in 2000 he organizedGovernmentality. Art in conflict

with the international hyper-bourgeoisie and the national

petty-bourgeoisie at the AlteKestner Gesellschaft, Hannover.In 2003, Buergel was the firstrecipient of the Walter Hopps

Award for CuratorialAchievement, The Menil

Collection, Houston. Roger M.Buergel is the newly elected

chief curator of Documenta XIIin Kassel, Germany.

28/03/2004.Galerija Nova / Gallery Nova

Kako æelimo da se nama vlada? / How do we want to be governed?

09OutInOpenFlorian Schneider: wastun.org

Something can be gained bystripping power of itsanthropomorphic traits. Takingup the late Michel Foucault’sline of inquiry about what hecalled “governmentality”, RogerM. Bruegel attempts to sketchout a poetics of exhibition-making in which a particularsubject - the exercise of power- and aesthetic form areblended.

“If you are tired of the rhetoricof activism in art, like the kindon exhibit in Palais de Tokio inParis, if you are bored withmarble sculptures, I see noother choice but to redefine theconcept of aesthetic autonomy.At the same time, we mustliberate ourselves from thenotion that aesthetic autonomyis a characteristic solelypossessed by art. Aestheticexperience must be primarilythe experience of the spectator.It is not enough to open anexhibition and wait for theaudience’s reactions; theaudience must be included inthe exhibition from the verybeginning. That is a certain typeof negotiation with theaudience, and I am currentlypreparing an exhibition inBarcelona in this way. That typeof exhibition functions if peopleare constructive. Sometimes itis really stressful work, but forme it represents somethingenjoyable, because theexhibition becomes betterthrough that process.”

Roger M. Buergel inconversation with Leila TopiÊ[Vjesnik, 30.03.2004.]

Florian SCHNEIDER i Susanne LANG - wastun.orgrazvili su hibridni media æurnal na osnovu web verzijetelevizijske veËeri posveÊene novim oblicima politiËkogaktivizma s njemaËko-francuskog programa. Projekt nastojiintervenirati u stagnirajuÊu debatu oko globalizacijeobjavljujuÊi on-line publikaciju koja nudi svjeæe informacijes ciljem prezentacije, analize i diskusije o naËinu na kojiglobalizacija oblikuje stvarnost ljudi u svim djelovimasvijeta. Projekt pronalazi slike i tekstove na temu teoretske,kulturalne, socijalne i politiËke dimenzije globalnogumreæavanja i analizira ih na osnovu konkretnih i praktiËnihprimjera; dovodi u vezu sve dostupne medije, povezuje ihstvarajuÊi bazu tekstova, slika, audio priloga, video klipova,rjeËnika, linkova i referenci; te istraæuje nove naËine

udruæivanja ivizualizacije,distribuiranja znanja ikreativni razvoj kao ipermanentnu razmjenumeu jednakimpartnerima.

Florian SCHNEIDER andSusanne LANG - wastun.orghave developed a hybridmedia journal based on the

web version of the German-French television evening programmededicated to new forms of political activism. The project attemptsto intervene in the stagnating debate around globalization bypublishing an on-line publication offering the most recentinformation with the goal of presenting, analyzing, and discussingthe ways in which globalization forms the reality of people in allparts of the world. The project ∫nds images and texts relevantto the theme of the theoretical, cultural, social and politicaldimension of global networking and analyzes them on the basisof concrete and pragmatic examples; it brings all available mediainto relation, linking them to create a database of texts, images,audio clips, videos, dictionaries, links and references; it researchesnew ways of association and visualization, distribution ofknowledge and creative development as a permanent exchangeamong equal partners.

26/04/2004.klub za net.kulturu MaMa

/ net.culture club MaMa

www.wastun.org

103D Æurnal /3D Journalmedijska akcija / media action

11

Digitalizacija okoliπa i razvoj medija komuniciranja otvarajuposebno polje arhitektonskog djelovanja. Arhitektura jemedijski posredovana pa utjecaj na medijski prostor postajestrateπko mjesto arhitektonske prakse. Medijske su akcijenaziv za bilo kakav posredovan oblik komuniciranja oarhitekturi s posebnim utjecajem na medije javnoginformiranja. Akcije u medijima istraæuju nove naËineprikupljanja, proizvodnje i prezentiranja informacije.Suradnja s medijima informiranja kroz razliËite programeedukacije, istraæivanja i razmjene informacija izravno utjeËena fiziËki prostor.U proteklih 11 godina, ‘Dobro jutro, Hrvatska’ emitirana jeviπe od 5000 puta. Prilogom u ovakvom tipu emisije moguÊeje ostvariti velik utjecaj na odreene ciljane skupine.Platforma 9,81 zajedno s novinarima oblikuje temu isudjeluje u reæiranju priloga.Analiza prostornih promjena pomaknuta je iz struËnog,arhitektonsko-planerskog, u polje svakodnevnice i problemakoje osjeÊaju stanovnici ovog dijela Zagreba.

The digitalization of the environment and the development ofcommunication media open up a special field of architecturalaction. Architecture is mediated, and its influence on media spacebecomes a strategic point in architectural praxis. Media actionssignify any mediated form of communication about architecturewith a special influence on the media that inform the public.Media actions research new ways of collecting, producing andpresenting information.Collaboration with information media through various educationalprogrammes, research and exchange of information directlyinfluences physical space.In the past eleven years, “Good Morning, Croatia” has beenbroadcast on more than 5000 occasions. A segment in this typeof programme can enable a greater influence on certain targetgroups. Platforma 9,81, together with the journalists, formulatesthe topic and participates in directing the segment.The analysis of spatial changes is displaced from the professional,architectural or urban planning field, into the everyday and intothe problems experienced by the inhabitants of this part ofZagreb.

emisija: ‘Dobro jutro, Hrvatska’, prilog o divljojizgradnji na zagrebaËkoj Treπnjevci

“Good Morning, Croatia”, a feature on the wild buildingdevelopment in Zagreb’s Treπnjevka neighbourhood

12

06-09/05/2004 | Cinema LIKA | Ilica 10

13

G R O U PDYNAMICSSYMPOSIUM

14Group Dynamics symposiumThursday | 6. May, 2004

Gob Squad

Gob Squad is a group of English and German artistswho have been working collectively with performance,media and new technology since 1994. Gob Squadproduces performances, installations, films, and liveevents.The group believes that pleasure and entertainmentshould stand side by side with conceptual rigour andan uncompromising approach to artistic innovation.They instinctively work in a variety of forms, makingthe framing of each project central to its artisticconcerns.Currently based in Berlin and Nottingham, the companyhas always sought to produce and present its workoutside of arts institutions, often siting its projects inurban environments such as offices, houses, shops, carparks and railway stations, as well as producing workfor radio and internet broadcast and pieces for galleriesand theatres.

The presentation will include videos of thefollowing Gob Squad productions: “What AreYou Looking At?”, the video installation piece“where do you want to go to die” and “RoomService Help Me Make It through the Night” andfocuses on how we have learnt to devise workingstructures and a particular aesthetic which allowsa group to be an author/director/and collectiveperformance team. Presented by Sean PATTENand Simon WILL.

The internationalinterdisciplinary symposiumGroup Dynamics explores theaspects of research andpresentation connected to thephenomenon of artist groups anddifferent aspects of collectivework and collectivity. Thesymposium is conceived as acommencement of long termaddressing of the issues oforganization and self-organization, grouping,collectives and relating in a wider∫eld of cultural production. Asthis is a very heterogeneousphenomenon, we have decidedto invite a number of eminenttheatre scholars, but alsotheoreticians from the ∫elds ofphilosophy, architecture, arthistory, and artists who practicein speci∫c types of organizedgroups, to participate in thesymposium. Topics include, butare not limited to:¶ affects and relations in

group work¶ self-organization and

non-hierarchical forms of public presence

¶ group politicality¶ group as an event¶ collectivism¶ group utopias¶ production of common¶ group as a market of

interests, etc.

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Itinerant Pages is a 5-day performancewriting workshop that explores acts ofwriting as a collaborative practice in relationto the built and inscribed environment ofthe city centre through a number of relatedstrategies: writing, walking and mappingpractices; textual installation/interventionin the public domain; uses of found text andpublic inscription.The workshop draws on and refers tostrategies and procedures for generatingtexts used by artists such as RobertSmithson [site/non-site]; Janet Cardiff[sonic interventions]; Caroline Bergvall[spatial interventions]; and on thebackground of contemporary textualinstallation and intervention in spaces thatlink the page, the screen and the physicalenvironment associated with JennyHolzer, Vito Acconci, Lawrence Weiner,Fiona Templeton, Johanna Drucker andBrian Catling amongst others.The aim of the workshop is to makecollaborative textual interventions in aspecific physical environment [site] and inthe Group Dynamics symposium [non-site]through generating forms of writing [andits reading] as a collaborative practicebetween individuals [working in pairs]; pairs[working together as workshop group]; thelocal urban environment with its manylayers of public and private inscription; andreaders/enactors [local and other].

Ric Allsopp:Itinerant Pages

David WILLIAMS is Professor of Theatre atDartington College of Arts, England. He hasresearched and published widely incontemporary performance, and has compiledvolumes on Peter Brook’s CICT, ArianeMnouchkine and the Théatre du Soleil and, withDavid Bradby, on ‘directors theatre’ [Littlewood,Planchon, Grotowski, Brook, Stein, Wilson, etc].He has contributed articles and reviews tojournals including Performance Research,Writings on Dance, New Theatre Quarterly, TDR,New Theatre: Australia, Music-Theatre-DanceJournal, Contemporary Theatre Review andWritings on Dance [Australia]. He is acontributing editor on Performance Researchand Writings on Dance. Research interestsinclude: contemporary performance making andtheory; European ensemble practices; dance-theatre, new dance and physical theatre;compositional processes; site-specificity,spatiality and identity; animals and otheranomalous ‘events’ in performance.

David Williams:other/wise

other/wise - In what ways might one‘collaborate’ in a city never visited before,a city where one doesn’t know anyone, in alanguage one doesn’t speak? What kinds ofmeetings are possible? What might be madetogether? I propose to use the textualpathways generated during Ric Allsopp’swriting workshop Itinerant Pages as astarting point for drifts, unfoldings,intersections through the event ofencounters with people, animals and theweather. Using the 7-second stills functionof a video camera to register ambient soundsand voices, and fragments of the visible, Iwill share the camera with others to try toregister traces of the unmapped andephemeral: animal trajectories, secretplaces, small acts of kindness, dreams ofelse/w/here and other/wise.

Ric ALLSOPP is a Senior Research Fellow,Director of Writing, at the Dartington Collegeof Arts, Devon, UK. He is a co-founder ofPerformance Research - an international journalof contemporary performance publishedquarterly. Research fields include: contemporaryperformance, text and live work; publishing,curation and production.

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Mårten Spångberg: A half-second delay

For a number of years wehave seen an increase of theactivity called research inthe field of choreography.This so called research oc-cupies new territories inseveral ways. It is researchacross or between prac-tice/experience and theo-ry/reflection. It situates it-self between representationof research and research asan on-going process, be-tween efficiency and meth-odological stringency. Itsframe is not located withinconventional research insti-tutions but rather found intheatres or venues that nor-mally feature representa-tions such as dance per-formances.

Over the last years, Euro-pean dance has seen a devi-ation away from conceptual-ly oriented work towards

proposals emphasizing dif-ferent affective layers inchoreographic productionand representation, showingagain how choreography, indifferent ways, so to say, ismore than thinking and ar-ticulation within particularsemiotics [language].

One cannot appreciatethe creative possibilities inthinking without coming toterms with the layered playof affect within; but thoughtcannot be fitted entirely intoa closed schema of logicaldiscourse, expression, or ex-planation if you do attend tothe play of affect. It isthrough such play that thecreative element of thinkingfinds its most energetic im-petus and possibility. Hence,affect cannot be producedsince it withdraws partlyfrom thinking, but one can

only produce the possibilityfor affect to arise.

Choreography’s new in-terest in research and affectthus comes together in sucha way that research becomesstatic if there is no possibil-ity for engagement with af-fect, an engagement that canonly be produced throughmethodological transparen-cy; however, without meth-odology there can be no pro-duction of the possibility foraffect.

How can these two sidesinform each other in orderto produce critical tools andarticulation with respect toterritories outside ofthought?

This talk attempts tomake an orientation in a ma-trix formulated by: affectunderstood as influence, af-fect understood as becom-ing, on the one hand and onthe other: research under-stood as journalistic accu-racy, and research as pro-cedures steered throughmethodological transpar-ency, in order to reflect ona few issues relating tomodes of production, post-production and represen-tation.

Mårten SPÅNGBERG lives and works in Berlin. He works as anartist in the field of choreography. He is the initiator of theperformance collective Fame International and Panacea festivals.He curated Body Currence Wiener Festowochen, 1998, CAPITALSfor Gulbenkian Foundation Lisbon 2002-03, and the InternationalSummer Academy Frankfurt 2002 and 04. He collaborates as aperformer and dramaturge with Les Ballets C de la B and withXavier Le Roy. He teaches dramaturgy at P.A.R.T.S. and hasseveral other educational roles. As a choreographer, he workswith postproduction methodologies often through sampling andremixing. Performances such “i.e. All All...”, “Artists’-talk” and“Powered by Emotion” have toured extensively. His collaborationwith architect Tor Lindstrand has resulted in several performanceand exhibition proposals. They are currently preparing a newpiece for Tanz im August, Berlin.

performance

Kaja: It is so good to eliminate oneself fromthe background systems and sustainabledevelopments. Simply being beautiful likea tree or a foot with toes, never like a housethat is skilfully placed into the environment.Tiina: I do not know what is good andimportant and what is not. There are onlya few things that are for granted, such as tobe held in one’s arms.Jarmo: It is good here. I followed thestructure and reached a door. This is theplace for clarity.Tiina: Right now my hand is a bird and Yourheart a tree. This is beautiful.Kaja: I found my inner child.Jarmo: After entering I can be alone orinvite guests there, it is up to me. Mostimportant is that it is safe and cosy. Here Iam surrounded by My things and I livetogether with Love.Tiina: Do not believe anyone, remain firmto Yourself.Kaja: Not this one, who is looking at theworld with surprised eyes, but the one whois plodding and sulking and claimingconstant attention.Now I would like to introduce her to Youalso.Jarmo: This is my home and I want You toknow it too.

united dancers of ZUGA: Walking Home Solo

Idea, choreography, dance: Tiina Mölder,Kaja Kann, Jarmo KaringMusic: Respondit caritas by DicteWestergaard Madsen, Du by Frans Bak,Darling, please wake up! by Liina VahtrikDramaturgy consultant: Juhan UlfsakLighting design: Lauri SeppProduction: united dancers of ZUGACo-production: Kanuti Gildi SAAL, TallinnWith support from the Estonian NationalCulture Foundation and Cultural Endowmentof Estonia.

united dancers of ZUGA is a collective of young-active-dance-makers in Tallinn gathered aroundthe new generation of freelance choreographers-dancers Tiina MÖLDER, Kaja KANN & JarmoKARING. Tiina and Jarmo graduated from thedance department of Tallinn’s PedagogicalUniversity. Kaja has studied the technology offood preparation and has worked as a circusartist. They have continued their studies inVienna, Bucharest, Paris, Berlin, Israel, New York,Washington and Estonia.They have produced seven works for the stageand three site-specific pieces. The work processis the most important part of staging aperformance for them. The leaders of ZUGAwork together with different dancers on everyproject and they are keen on finding newperforming places. The company has worked intheatres, parks, streets & clubs at internationalfestivals in Estonia, Poland, Lithuania, Romania,Russia, Germany, Finland and Sweden. For thepiece “Walking Home Solo” they were awardedthe Philip Morris Estonia dance award 2002.Most recently, they had a successful tour in theUnited States as part of the Central StationFestival in San Diego and Global Exchange eventat Daspace in New York. Currently they areworking on a new piece “ZUGA will build a city”that will premiere on March 7, 2004 at KanutiGildi SAAL.

17

18Group Dynamics symposiumFriday | 7. May, 2004

I would like to present a paper and initiatea discussion about things that can berepresented [through performance andother means of cultural marking] and otherthings that might currently remainunmarked by such dynamics of ∫guring.Following the recent work of Bruno Latourand Isabelle Stengers I would like toconsider what might ∫nd its way into a‘parliament of things’ and ask in what waysthis expansion of political representationmight impact on our understanding ofwho/what might be counted in ourunderstanding of ‘group dynamics’ andwho/what currently lies/agitates/revolvesbeyond such dynamics. Those ‘beyond’might include those things that moves toofast or slow for our current understandingsof ‘inclusion’, or things that are too big ortoo small, or too ephemeral or too solid [aswell as the privileged categories of theoriesof difference: race, class, gender]. I wouldlike to propose performance/theatre as onesite for reimagining the ‘secret life of objects’and how these things as well as people,animals and children might be put intofruitful circulation in the interests of socialjustice. Here performance [and, moreimportantly, the conventions of theatre]recovers an attitude and a dispensationtowards representation which for 2500years has been problematised by themimetic contagion feared by Plato and theanti-theatrical prejudice summarised byJonas Barish.

Alan READ:Proxy Performance:The Politics of Props

Alan READ is Professor and Chair of Drama,Theatre and Performance Studies at theUniversity of Surrey Roehampton. His workincludes developing practice as research whichresponds to the immediate and rapidly changingneighbourhood while examining performancepractices that arise from these turbulent socialchanges and conditions, the analysis of specificlocal performances growing from streetcelebrations in Catalan cultural contexts inBarcelona and, most recently, the developmentof a research project which analyses theeveryday performances, daily rituals anddomestic theatres that proliferate within therationalist housing that borders the Universityof Surrey Roehampton site.

19

Bojana KUNST is a philosopher and theatretheoretician, specialising in the philosophy of thebody and performing arts theory. She received

her PhD in Philosophy from the University ofLjubljana. After spending a year as a joint

researcher at the University of Antwerpen, sheis currently working as a post-doctoral researcherat the University of Ljubljana, dealing with thestrategies of performing in contemporary art.

She is a member of the editorial board of MaskaMagazine and leads the International Seminar

for Contemporary Performing Arts in Ljubljana.She writes for different international publicationsand works as a dramaturge. She has publishedtwo books and many articles on contemporary

dance and theatre.

Bojana KUNST:Group Jouissance -

Organisation of Happinessand Exhaustion

ReΩecting on the 1968 student revolutionin France, Julia Kristeva disagrees thatthe demands for happiness - the intriguingkernel of jouissance, as she terms thepolitical longing of the sixties - should bebut unfortunate utopias of that time. In heropinion, the intrusion of private pleasureinto the public arena is one of the greatestachievements of the sixties revolution,which still garners political powernowadays. Confronting public life with therebelling private, and demanding arepresentative space for that private desire,this kind of revolt opens the path forindividuals and their desires, helps breakthrough old social limitations, and opensup the possibility of an impossible, yetessential connection between private andpublic activity. But how can Kristeva’sproposition be consistent with the fact that,after the revolutionary movements in thesixties, the intrusion of the private intopublic life has been experiencing itscatharsis with the global organization ofthe economy of happiness, and for morethan two decades? I refer therefore not onlyto the well-known observations that manyof the participants in the sixties movementsare now the executive engines ofcontemporary liberal capitalism, but thatthe demands for jouissance have beentransformed into commercialised longingfor the realization of pleasure in thecontemporary western society of welfare.A consequence of such commercial andeconomical organization of happiness isnamely that politicalness itself hassomewhat disappeared from contemporarypolitics. Therefore - how can we talk aboutgroup jouissance today, when thedemanding of public happiness is beingreplaced more and more with publicexhaustion?

Charles ESCHE is a curator andwriter based in Copenhagenand Edinburgh. He is Directorof the Rooseum Center forContemporary Art, Malmö andeditor of AFTERALL, an artpublisher producing books anda journal published twice yearlyby Central St. Martins Collegeof Art and Design, London andCalArts, Los Angeles. He is alsoan advisor at theRijksakademie, Amsterdam. Inthe last years he has co-curatedthe Gwangju Biennale 2002 inKorea with Hou Hanru andSong Wang Kyung and co-curated two large-scaleexhibitions: Intelligence - NewBritish Art at the Tate Gallery,London and Amateur - VariableResearch Initiatives atKonstmuseum and Konsthall,Göteborg in 2000. From 1998-

2002 he organised the international art academic research projectcalled ‘protoacademy’ at the Edinburgh College of Art.

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Aldo MILOHNI∆- introductorystatement andparticipation indiscussion

Hans-Thies LEHMANN: Spaces of ‘communitas’ inpostdramatic theatre and performance practice

Hans-Thies LEHMANN is a full professor indramatic sciences at the University of Frankfurtam Main since 1988, where he studied with PeterSzondi. Until 1978, he worked as an academicassistant at the Free University of Berlin. Asassistant professor, he played a key role in theimplementation of the course in experimentaltheatrical sciences at the University of Giessen.Author of several books, including Theatre andMyth [1991], Post-Dramatic Theatre [1999] andThe Political Text [2001].

The lecture explores the ways in whichcertain spatial structures and the symbolicuse and [re-]organization of found spacescan contribute to the creation of what canperhaps be considered to be exercises inpossible/impossible ‘communitas’ in theatre.Postdramatic performance space is oftencreated by redefining the elements of a givenplace for a certain time span. How is the‘act’ of theatre [which can never be sure ofitself] affected by the unavoidable tensionof being at the same time [a fiction of] a trulycommunal reality and an entertainmentrooted in fakery and illusion?

Charles ESCHE will talk about group practices incontemporary art relating to the Community and Artworkshops that he co-organised with others in Seoul, Korea[2002] and Yogyakarta, Indonesia [2003]. These two

workshops brought together differentartist and activist groups from acrossAsia and Europe. The idea was to seein what ways the communication ofcultural activities in very differentgeographies and polities could beuseful in thinking through theconsequences of globalisation and itscultural twin cosmopolitanism. Hewill give a short introduction to theworkshops and then talk about‘friendly enemies’ and how a groupof groups might offer somepossibilities for specific occasions ofthinking and acting transnationallywithout totally affirming the globalistsystem.

Charles ESCHE: Friendly Enemies

The multidisciplinaryproject DistributiveJustice is a work-in-progress designed bypeople with differentbackgrounds [art ,philosophy, sociology,photography, design,programming]. Theproject deals with thetopic of distribution ofgoods in a society. It consists of two parts: the part of the project in the virtual space andthe part of the project in the exhibition space, a “working space” installation - thepresentation of material that has emerged and continuously emerges as a result of therespective parts of the project: virtual [the web site], practical [∫eld research, opinion

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Georg SCHOELHAMMER -introductory statement andmoderation of discussion

Andreja KULUN»I∆ studied sculpture,graduating in 1992 from the Faculty of AppliedArts and Design in Belgrade, Yugoslavia. From1992 to 1994 she studied at the HungarianAcademy of Fine Arts in Budapest. She livesand works in Zagreb, Croatia. Web-site:http://www.andreja.org

Selected exhibitions: Documenta 11, Kassel,Germany. Manifesta 4, Frankfurt/Main. WhitneyMuseum of American Art, New York. 8thInternational Istanbul Biennial, Turkey. 4thAustrian Triennial on Photography, Graz. 10thTriennale-India, New Delhi India. Extended MediaGallery, Zagreb [solo show]. Artspace VisualArt Centre, Sydney Australia [solo show]. GalleryMiroslav KraljeviÊ, Zagreb [solo show].

Georg SCHÖLLHAMMER is Editor-in-Chief ofthe art magazine Springerin, Vienna. He studiedarchitecture, art history and philosophybetween 1988-1994; he worked as an editorfor Vienna’s daily Der Standard and from 1992as Visiting Professor for Theory ofContemporary Arts at Kunstuniversität Linz.Schöllhammer has published widely oncontemporary topics and writes on issues ofvisual arts, urban and cultural transformation,diversity and globalization, focusing on Centraland South Eastern Europe. In this context, hecurated the transnational project Translocation.New Media_Art in cooperation with magazines,cultural institutions, universities and culturalworkers of the region and co-curated theFestival du bist die welt for the WienerFestwochen [2001], and, most recently,exhibitions in Yerevan, Sofia, Bucharest, Viennaand New York. He is currently preparing apublication project for documenta 12.

Andreja KULUN»I∆: Distributive Justice

http://www.distributive-justice.com/

poll]; and theoretical [study of relevant lit-erature, open discussions, talks, lectures...].The material grows and changes its shapefrom exhibition to exhibition. Since severaldifferent countries have and will be involvedin the project, every country leaves its im-print in the work, and becomes a part of theexhibition.

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Bojana CvejiÊ & Emil Hrvatin: Collect-if

The project Collect-if started off from an experimentalset-up to investigate collectivity as a framework ofcollaboration, a mode of production and, eventually, subjectmatter. Seven performers gathered from diverse dance,theatre and performance backgrounds, almost none familiarwith one another except for the fact they had been knownas members or collaborators of renownedchoreographers/directors and companies in Europe, inorder to work and reflect on collaborating without a centralleadership and hierarchical structure, common project,concept or shared goals, tactics or a view on the mediumof production or presentation of work. The possibility ofreaching a “we” in collaboration was thus conditioned notby: “we have a meaning”, but “we are meaning” with alldifferences to be confronted and negotiated through theprocess. In the course of working together, we foundourselves in methodological situations we recognized andtook the following for objectives to be further elaboratedin the work: no decision-making, inefficiency, uncertainty,unbearable lightness/weight of freedom, “being in by beingout.” The project raises questions with which EmilHRVATIN and Bojana CVEJI∆ would like to open up adiscussion: is the openness of “everything’s possible” atotalitarian stance which only forecloses possibilities, thedesire for a third voice or desire for any affirmative position[responsibility, terror of tolerance and self-censorship]? Isevery coming-together within a performance practice todayso determined by liberal individualism that it necessarilyconfines its research to aesthetic parameters and self-referentiality?

Bojana CvejiÊ & Emil Hrvatin: Collect-if

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Bojana CVEJI∆ is amusicologist, performancetheoretician and performer,currently researchingperformative practices beyondthe concept of musical and art

work [FMU, Belgrade]. She lectures at P.A.R.T.S [Brussels],Walking Theory Center [Belgrade], Faculty of Music in Belgradeand is a member of the editorial board of Walking TheoryMagazine. She has also published in Maska, Frakcija, New Sound,Musical Wave, Teatron, Performance Research, etc. and herforthcoming book is Open Work in Music: Cage, Stockhausen,Boulez [SKC, Belgrade, June 2004]. She has directed severalindependent opera productions in Belgrade, and since 2000 incollaboration with Jan Ritsema has made and performedVerwantschappen [2000], TODAYulysses [2002] and Pipelines,a construction [2004].

Emil HRVATIN is the author and director of several theatreperformances, including: Camillo - memo 1.0: the Construction ofTheatre [Milan, 1998], Drive In Camillo [Manifesta 3, 2000], andMiss Mobile [2002] recently performed solo throughout Europeand the US. He is co-author of the international project Collect-If. Hrvatin’s work also includes visual, multimedia and performanceart works. He has curated several interdisciplinary workshops

around Europe and the US and has publishednumerous essays on contemporary theatre andart. He is the Editor-in-Chief of the performingarts journal Maska. Since 1999, he is the directorof Maska, a non-profit organization in publishing,production and education, based in Ljubljana,Slovenia.

performance

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EXPERIMENTAL FREESCENE is a non-governmental, non- pro∫tassociation whoseprimary goal is theendorsement ofcontemporary dance.Through the a≥rmationof young and talentedcreative people, primarilydancers, performers,choreographers and otherartists working in the ∫eldof performing arts, theassociation strives tocreate a new scene ofartistic production, onethat would integrate intowider social and culturalspheres. The associationhelps and supports theexisting dance populationthrough availability ofeducation and space forauthors’ work. Theassociation’s mission is tocreate a functionalnetwork of users comingfrom diµerent ∫elds ofperforming and other artsthrough the e≥cientexchange of informationwith the purpose ofcreating an archive of thecultural scene, throughinteractivity with othermedia and realization ofjoint artistic projects, andthrough internationalcommunication and thepossibility of realizationof collaboration of allinterested parties.

Concept and video: Saπa BoæiÊ, Æeljka SanËanin, AndrejVuËenoviÊ

Choreographer and performer: Æeljka SanËanin

Photography: Robert Lesac

Production: Watt+Eau

k. o. / ex OBEPYU is an alternative dance & theatre group fromZagreb, existing from 1998. At first, the group’s basic conceptof work was the confrontation of different cultural and ideologicalpatterns brought in by the members themselves. That kind ofwork created performances which were extreme treatments ofthe concept of “artist” in politically violent times and space[performances: 49 years, Kafka gegen Pound, La primavera]. Inthe subsequent period [performances The Mystery of Orgasm,Places Where..., [Hard To] Dig It], the work of the group movedmore towards dance and choreographic research; the politicalbodies of performers became transformed into “ thinking” bodiesand theatre was changed into dance. The last production, solochoreography/video installation Private in Vitro confirms thegroup’s constant interest in the visual qualities of performingmaterial and also develops previous choreographic elementswhich in Private in Vitro creates new aspects of performativityheaded towards the spectator and their process of visualperception and reproduction of the performing image. In spring2004 k. o. will start a new project based on the text Lovers’Discourse by Roland Barthes.

The solo dance performance Private in vitro is based onthe idea of using the spectator’s view of the performer’sbody as a strategic tool for critical evaluation ofpublic/private encoding of performance space. As a work-in-progress piece, Private in vitro explores its ownadaptability to new spaces, undermining the determinateconditions of a chosen performance space. By obscuringthe spectators’ direct gaze upon the performer in actionand diffusing perspective using video projection withinvideo projection and with the performer’s shadowsometimes in the way of the projector, the materiality andfunction of the body are put to question. Access is availableonly through an interface. The performer’s identity becomesmultiple/singular and the notion of reproductionoverpowers that of production.

k. o. / ex OBEPYU: Private in VitroEXPERIMENTAL FREESCENE is a non-governmental, non- pro∫tassociation whoseprimary goal is theendorsement ofcontemporary dance.Through the a≥rmationof young and talentedcreative people, primarilydancers, performers,choreographers and otherartists working in the ∫eldof performing arts, theassociation strives tocreate a new scene ofartistic production, onethat would integrate intowider social and culturalspheres. The associationhelps and supports theexisting dance populationthrough availability ofeducation and space forauthors’ work. Theassociation’s mission is tocreate a functionalnetwork of users comingfrom diµerent ∫elds ofperforming and other artsthrough the e≥cientexchange of informationwith the purpose ofcreating an archive of thecultural scene, throughinteractivity with othermedia and realization ofjoint artistic projects, andthrough internationalcommunication and thepossibility of realizationof collaboration of allinterested parties.

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OOUR: orangecut

OOUR is a co-authorship initiative established bya group of authors who wish to investigate their

own authorship predispositions and opposingconfrontations within defined performing concepts.

OOUR productions: Limb [2003], blackbox - thefirst box [2004] and orangecut [2004]

OOUR are Selma BANICH, Sandra BANI∆ and Mila»ULJAK [dancers and performers], Ivana IVKOVI∆

[dramaturge], Ana BANI∆ [industrial designer],Adam SEMIJALAC [musician] and Nenad VUKU©I∆

[video artist].

After its opening at the 20thDance Week Festival in 2003,we wanted to allow orangecutto develop its conflictingpositions within an assignedperformance concept byperforming it at differentlocations and in different timedurations. A choreographed,strictly defined unison duet is,in this way, open towards thepossibility of differentperceptions of the samephysical material, thus gaininga new perceptive space wherethe diversity is visible in theenergy the performers emit.orangecut rethinks thatpotential moment ofmodification making thepossibility of reproduction keyto the conceptualization thatprecedes the creation of liveperformance. The concept oforangecut depends on thesystem glitch to recreate liveperformance and is in line withtoday’s tendency of showingart by disclosing the process ofits making.

Concept: OOURChoreography and performance: Selma Banich and Sandra BaniÊAudio: Adam SemijalacVideo: Nenad VukuπiÊDramaturgy: Ivana IvkoviÊLighting design: Branko CvjetiËaninPromo material design: Ana BaniÊPhotography by: Nenad VukuπiÊ and Ana BaniÊProduction: OOURin co-production with the Croatian Institute for Movement and Dancewith the support of Zagreb City Office for Culture

Private in Vitro and orangecut have been realizedthrough the EkS-scena platform.

performance

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What does the phenomenon of artisticgroups or collectives appear like seenthrough psychoanalytic optics? Therelationship of psychoanalysis and art iscomplex enough as it is: although opponentsof psychoanalysis like to pare down thepsychoanalytic approach to art to routinedisclosure of the “mundane” in great worksof art, we must remind them that thepsychoanalytical approach to art cannot bereduced to just one formula or “grandnarrative” that would offer one singlesolution to the “puzzle” of art. But sinceartistic production by convention assumeswork by an individual, doesn’t the artistic

group introduce a new “turn of the screw”that further complicates the alreadycomplex relationship of psychoanalysis andart? The premise of this lecture is, in fact,the very opposite: the encounter of thephenomenon of the art group andpsychoanalysis offers a great chance todisperse with many reasonable prejudicesabout both art and psychoanalysis. Some ofthe theses on the creative dynamics ofgroups/collectives will be illustrated withthe somewhat unexpected examples fromYugoslav Partisan ∫lms by cult directorHajrudin ©iba Krvavac - Guerrillas, TheBridge, and Valter defends Sarajevo. Unlike

the standard BulajiÊ ∫lmepics based on real eventsfrom World War II, the∫lms of ©iba Krvavacbelong to a somewhatpartisan version of the“mission impossible” sub-genre, whose mainprotagonists are an almostarchetypal group ofguerrillas, an “artisticcollective” of a kind.

Adrian HEATHFIELD: Hearing Others

Group Dynamics symposiumSaturday | 8. May, 2004

Adrian HEATHFIELD is a writerand curator from the UK. He isthe editor of Live: Art andPerformance [Tate Publishing,forthcoming 2004] and haswritten numerous essays onperformance and live art. Heco-curated Live Culture a four-day performance series andtwo-day international state-of-the-artform symposium at TateModern, London, in March2003. He is Principal ResearchFellow in the School of Art andDesign at Nottingham TrentUniversity.

Nebojπa JOVANOVI∆ is a freelance theoretician, translator andactivist for support of psychoanalytic theory. He has a degree inpsychology from the University of Sarajevo. He has publishedtheoretical texts in Arkzin [Zagreb], »asopis za kritiko znanosti[Ljubljana], Zarez [Zagreb], Umelec [Prague], Æivot umjetnosti[Zagreb], Springerin [Vienna], Prelom [Belgrade], Sineast[Sarajevo] etc. His numerous translations of Lacanian theory havebeen published in Transfer [Sarajevo], Kruh i ruæe [Zagreb],Prelom [Belgrade], Dijalog [Sarajevo] etc., along with histranslations of Slavoj Æiæek’s The Sublime Object of Ideology [incollaboration with Dejan KrπiÊ and Ivan Molek] 2002, and RenataSalecl’s Against Indifference, 2002.

This talk looks at writing as a scene of enactment andexchange. Despite its frequent association with thesingularity of the author, how might writing be thought ofas a collaborative practice or a manifestation of relations?What might such thinking mean for the practice, form andethics of art criticism, and in particular for performancetheory?

Nebojπa JOVANOVI∆:Collectiv and Creativity - Diversion of Identification

Adrian HEATHFIELD’s paper will be followed by a discussionwith Ric ALLSOPP, Alan READ and David WILLIAMS.

Miran MOHAR: East Art MapMiran MOHAR: East Art Map

IRWIN, founded 1983Duπan MANDIË [Ljubljana 1954], Miran MOHAR [Novo Mesto 1958], Andrej SAVSKI [Ljubljana

1961], Roman URANJEK [Trbovlje 1961], Borut VOGELNIK [Kranj 1959]

Irwin is also a cofounder of NSK in 1984

www.irwin-retroprincip.de

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IRWIN, founded 1983Duπan MANDIË [Ljubljana 1954], Miran MOHAR [Novo Mesto 1958], Andrej SAVSKI [Ljubljana

1961], Roman URANJEK [Trbovlje 1961], Borut VOGELNIK [Kranj 1959]

Irwin is also a cofounder of NSK in 1984

www.irwin-retroprincip.de

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Tomislav MEDAK:Incommunicado

Bojana CVEJI∆ & Ana VUJANOVI∆:TkH - Walking Theory

Tomislav MEDAK studiedPhilosophy and Germanlanguage and literature at theFaculty of Philosophy inZagreb. At the focus of his workis social, biopolitical and mediatheory, in particular socio-theoretical implications of newtechnologies and new media.He is currently co-ordinatingthe theory and researchprogram and publishingactivities at the MultimediaInstitute in Zagreb. He is alsoactive as a performer andchoreographer with theinternationally present, Zagreb-based performing ensembleBADco.

The exposure combines: a] presentation ofTkH projects from 2000-2004, and b] widertheorization of collective vs. individualtheoretical-artistic work and public activities,especially in the context of the recent Belgradeart and culture scene.All of the TkH projects are realized as acollective work by several theorists and artiststhat plead for similar theoretical and artisticapproaches in the contemporary performingarts field. The presentation is to demonstratethe phenomenon of ‘group as an event’. Moreprecisely, it is to demonstrate the [external]effects of TkH’s collective work and itsconsequences [efficiencies and shortcomings]in introducing a specific critical discourse inthe discursive matrix dominant within a localcontext. The theoretical paper is linked withthe presentation, but it gives a more theoreticaloverview of the problematics of recentindividual and collective practices. The paperfocuses on the different roles of the author incontemporary artistic and theoretical frames,from stable and autonomous author-subject

as an ideal figure of modernWestern humanisticepistemology, to non-individual collectivityproclaimed within the frameof communist ideology, andthe contemporary fragile,defragmented, anddecentred author-subjectand its political ‘capabilities’,to the ‘[im]possiblesubjectivity’ of the authorsfrom post-socialist Centraland Eastern Europe on theglobal cultural and politicalmap.

Ana VUJANOVI∆ is a theoristof theatre, performing arts, andculture. Graduate of the Facultyof Dramatic Arts, Belgrade; MAin Theatre Studies; now a PhDcandidate ; graduated inCulture and Gender Studies atthe Alternative AcademicEducational Network. Editor-in-chief of TkH, journal forperforming arts theory,Belgrade. Publishes regularlyin several Serbian theatre andart magazines and also abroad;co-author and performer inmany theoretical performances,films, plays, installations, etc.

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A cross∫re live interview with screening will dealwith the temporality as a basic characteristic ofcontemporary public spaces

Alan READ & Platforma 9,81Privremeno javno / Temporarily Public- live interview and discussion

PLATFORMA 9,81 was created in 1999 as areaction to the inability of the architectural sceneto establish an interdisciplinary and open dialoguewithin the scene and externally with regards tothe problems of urban space culture, digitalisationof the environment, influences of globalisationto the perception of space and the needs of neweducational methods in architecture today. Theirprojects have a profoundly public quality andregularly draw together a large number of peoplefrom different domains of life. The relation toarchitecture and urban planning is marked byan informal approach, non-institutional strategiesof action, tendency towards research and away

from habitual practice. Platforma 9,81 hasrealized a number of media projects [1:1000,Architecture Live, Architecture to the People,Open Programme, Mobile Living Room] thatdeal with the problem of built-up environmentsand have popularized the contemporaryrelationship with architecture, participating as amember of the active art and NGO scene inCroatia, a scene incorporating a critical mass ofpeople and knowledge with the aim of realizingdevelopmental urban culture projects. Theycollaborate with numerous Croatian and foreigninstitutions that work with architecture andculture.

The commodi∫cation of culture has caused a disappearanceof traditional public spaces. New spaces of mass publictra≥c, in addition to their typological inventiveness, containa high degree of social control that prevents thedevelopment of society.The public as a primary space of culture possesses patternsthat mold that culture. Today, this performativity of publicspace cannot be predicted if it is not considered throughthe dimension of time.What forms of political inΩuence and planning of publicspace, from activism to new urban techniques, can beapplied today?Alan Read will refer to his experiences of collaborationwith architects and artists to comment on temporary publicspaces created in the framework of the project InvisibleZagreb.Platforma 9,81 is interested in the research of streetperformance and everyday practices in residentialenvironments that Alan Read conducted with his students.

A part of the Invisible Zagreb Lecture Programme.

Special guest Goran Sergej PRISTA©

more on Alan Read on page 18

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performance

BADco. Ivana SAJKO: RibCage

RibCage is a performance based on a play written by Ivana Sajko.A play with two characters and stage directions [writer’s directions], which are constructedas a character who speaks in the first person, this is a text which derives its politicalityfrom the manipulations ofreality, dramatic reality aswell as social constructionsof reality.The performance is meantto be a small performingmechanism which tries toactivate, thematicize andcontain other mechanismssuch as family, war, ter-rorism, strategies of nuclearwarfare, prison, pop musicand the like. The basicprinciple of the work process, which came out of the analyses of Ivana’s text, was to detectthe navigational mechanisms of the play instead of dealing with its interpretation, whichitself is dealt with in a radio-play made in 2002 by Goran Sergej Pristaπ. The radio-playtherefore also enters the performance as one of its constitutive elements.The performance is made as a collective authorial act in which a group of authors-performers searches for the possible relationships of self-organization by questioning theexisting hierarchical models prevailing in theatre production.

Key words: vitalism, text, family, nuclear war, terrorism, prison, surf and pop music, potentialities

Authors and performers: Pravdan DevlahoviÊ, Oliver FrljiÊ,Tomislav Medak, Goran Sergej Pristaπ, Nikolina Pristaπ, IvanaSajko, Marko SanËaninStage: Goran PetercolOriginal Music: Moon’s TripThe performance uses excerpts from the radio-play RibCageproduced by the Drama program of Croatian Radio.Performed by: Marko MakoviËiÊ, Borna BaletiÊ and IvanaSajkoDirected by: Goran Sergej PristaπDrama program editor: Hrvoje IvankoviÊThe production is supported by: the Zagreb City Office forCulture and ZagrebaËka banka [donation].

BADco. is a Zagreb-based collaborative perform-ance group: Pravdan DevlahoviÊ [dancer, chore-

ographer], Tomislav Medak [philosopher, performer],Goran Sergej Pristaπ [dramaturge, performer],Nikolina Pristaπ [dancer, choreographer] IvanaSajko [dramaturge, writer] and Una Bauer [produc-

tion manager]The artistic work of BADco. is not as marked bythe choice of subject matter as it is by the pro-duction of various problematic aspects of work-ing in/as collaboration i.e. through speci∫c waysof self-organization of the authors involved in aparticular project during the process of work.Authors see their performances as performancemachines that can enter various referential con-texts such as social, political, intimate, danceand artistic contexts in general. Instead of the-matic naming which stands closer to the tradi-tional ideas of theatre the group prefers thinkingin terms of eventuality. Some key words for their

thematic interest are: vitalism, virus material,collective, Ωesh vs. body, strategies of observing…

BAD co. was founded in 2000 while some of theauthors worked together on the project Confes-sions in Theatre &TD. It was established as anon-pro∫t organization to produce collaborativeperformance works developed by its membersfor local, national, and international audiences.The group has produced performances:Man.Chair [2000], 2tri4 [2001], Diderot's Nephewor Blood is Thicker than Water [2001], Solo Me[2002], Ribcage [2002], Walk This Way [2003],Mass (for Election Day Silence) [2004]. The groupis currently working on two projects: DeletedMessages which will open in Klaipeda in July,2004 and Fleshdance, a dance piece developedthrough several phases [re-contextualizations]each of which will be presented through 2004.

31Group Dynamics symposiumSunday | 9. May, 2004

Oda Projesi was first started in 1997 in Galata, an old neighbourhood in Istanbul, Turkey.The project is still based in Istanbul, but now with ties to other locations nationwide aswell as worldwide. The main aim of the project is to multiply the possibilities of makingart by drawing attention to ordinary ways of living. The Oda Projesi lives on the potentialof everyday life practices. It draws on the plural, complex ways of making in everyday life.It reclaims everyday life as a way of making art. It is a social sculpture in process, anunfinished everyday life performance being shaped by the relationships between peopleand spaces. Its inspiration comes from the rhetoric of everyday life shared by all.The project invites artists or people with different backgrounds to realize their projectsin Galata. The actual inhabitants of the neighbourhood are often involved in these projects,not only as an audience but also as participants.Oda Projesi shares these often hybrid processes of making art with larger audiences bydocumenting the realized projects in the form of photographs, video recordings and books.In the past, Oda Projesi has realized projects at the Istanbul Museum of ContemporaryArt - Project 4L, the 4th Gwangju Biennial in South Korea, Kunstverein München andKunstprojekte Riem in Germany and in Finland-Vaasa with Platform, at the last VeniceBiennial and at the Istanbul Biennial, in addition to the projects they have realized in theirproject space in Istanbul.The Oda Projesi team is composed of Ozge ACIKKOL, Gunes SAVAS and Secil YERSEL.

Oda Projesi

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¶ A MACHINE MANUFACTURING OTHER MACHINES = ART

¶ A MACHINE CONTAINING THE NEGATIVE OF THE PRODUCT = CULTURE

¶ PRODUCT = CULTURE

¶ PRODUCT ADVERTISEMENT = CULTURE

Dragan ÆIVADINOV: Postgravitational Art

Dragan ÆIVADINOV studied theatre directingat the Academy of Theatre, Radio, Film andTelevision, University of Ljubljana [1980-1984].He is one of the founders of Neue SlowenischeKunst [1985] During the eighties of the 20th

century he created art within the stylistic formation “Retrogardism”.In 1984, he established the Theatre Sestara Scipion Nasice [GSSN],in 1987 the Cosmokinetic Theatre “RdeËi pilot” and in 1995, hecompletely devoted himself to telecosmism, “Telelogy” and the Fifty-year project NOORDUNG. On December 15, 1999 he realizedBiomechanica Noordung, the ∫rst integral theatre productionperformed in zero gravity!

Artistic methods of the 20th century:

¶ Anything you designate as art is art!

¶ Anything you touch in the process is art!

¶ You are not allowed to touch an art object!

¶ All is potentially digital!

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Aldo MILOHNI∆ holds a Master’s degree in Sociology of Culture.He has participated as a lecturer in numerous conferences ontheatre theory and cultural politics both in Slovenia and abroad.He is a regular contributor to the theatre journals Maska andFrakcija, and has edited several thematic issues of these journals.He is the editor of two books, Along the Margins of Humanities[1996] and Europe’s Gatekeepers: The Politics of Migration andAsylum in Eastern Europe [2001]. Since 2001, he has worked asa researcher and program director at the Peace Institute inLjubljana, where, among other things, he edits the book seriesPolitike. In recent years, he has devoted himself to issuessurrounding migration, asylum, and human rights.

Marin BLAÆEVI∆ is an assistant lecturer at the Department ofDramaturgy and Theory, Academy of Dramatic Arts and teachesat the Department of Comparative Literature [Theatre Studies]at the Faculty of Philosophy, University of Zagreb. He is a memberof the editorial board of the Magazine for Performing Arts Frakcija,editor of the radio programme Theatricalities on Croatian Radio3 and editor of the Akcija [Action] Series that publishes bookson performing arts and theory. His research interests andpublications [articles, essays] include: limits of theatre semiotics,reception, analysis and interpretation of theatre performance,literature-theatre and text-performance-text relationship,iconoclasm in theatre, the national stage/state, spectacularisationof national history/tradition/policy and Branko Gavella’s theory[phenomenology] of acting/theatre.

Ivana IVKOVI∆ has a B.Sc. in structural engineering from theFaculty of Civil Engineering, University of Zagreb and is currentlystudying dramaturgy at the Academy of Dramatic Arts in Zagreb.She is the general coordinator of Zagreb - Cultural Kapital ofEurope 3000, a collaborator of the Magazine for PerformingArts Frakcija and the radio programme Theatricalities on CroatianRadio 3. She is active as a dramaturge with the co-authorshipcollective OOUR and the ensemble BADco.

Goran Sergej PRISTA© graduated from the Zagreb Academy ofDramatic Arts in 1993. From 1990 to 1992, he was the artisticdirector of SKUC theatre. Member of IETM [Informal EuropeanTheatre Meeting] since 1992. Dramaturge and member of theartistic council of &TD theatre. Dramaturge in Montaæstroj from1994-1999 - a theatre group led by choreographer and producerBorut ©eparoviÊ. Senior lecturer at the Academy of DramaticArts in Zagreb since 1994. Program director of the Zagreb Centrefor Drama Art since 1995. He is a founder [1996] and Editor-in-Chief of Frakcija Magazine for Performing Arts. He has writtenseveral short scripts for documentary films. As a dramaturge, hehas participated in numerous dance and theatre productions. In1999, he produced his first performance - Confessions. In 2002,he obtained his MA [thesis: “A Situation, An Event, A PregnantMoment”]; he is currently working on his PhD. Artistic director,producer, dramaturge and performer in BADco. One of theinitiators of the project Zagreb - Cultural Kapital of Europe 3000.

Aldo MILOHNI∆,Marin BLAÆEVI∆,Ivana IVKOVI∆,Tomislav MEDAK,Goran SergejPRISTA© - opendiscussion

Gob Squad:Room Service Help Me Make It through the Night

Room Service Help Me Make It throughthe Night is a live interactive ∫lm lastingthe duration of a night’s sleep. Two women,two men, four bedrooms, one hotel.Everything they need is delivered to theirdoors. One problem: not one of them cansleep - instead they kill time in cold bathsor by ∫nding comfort in the solace of thehotel mini bar. Free to do what they want,each is being watched by a camera as theymake up imaginary friends, rehearse danceroutines and invite the audience to ful∫ldreams and answer di≥cult questions.Room Service messes around with thereality cliché, leaping from ∫nely tunedbanality to chaotic theatricality.

In the conference room of the hotel theaudience will watch the four performers ona four-way split screen projection. In theanonymity and discretion of the hotelenvironment the performers will enactforbidden games and unlived desires at therequest of the audience.Room Service - an invitation to play withan open end. The audience will decide whowill visit who and how. What outcome willthose meetings have? A party or everybodystaying alone? Will members of the audienceleave their position as voyeurs and comeinto direct contact with the performers, willthey play a role?

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performance

more on Gob Squad on page 14

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One of Goran PETERCOL’s in-stallations from the exhibitionthat interchanged in the samespace with the performancesof the production was simplynamed Speech. The work con-sisted of digitally edited pho-tographs of all project’s partic-ipants. To obtain a final versionof the piece, Petercol first pho-tographed all of us in two ways:with a motionless expressionand talking. Those two versionsof our portrait were incorpo-rated into one head - the upperpart of the face still, and thebottom in speech. That bottompart, that smeared, deformedmouth pasted onto photo pa-per appeared as a mask. Thegrimace that rendered us un-recognizable. Speech becamethe object of a mask that hidour true identity and createdour image - not through ourappearance, but through theway we speak. We used speechinstead of a theatrical maskand an illustrative costume. Thefaces on Petercol’s installationcorresponded with the perfor-mative functions within theperformance. Lights beamingover the projections of thosephotographs, the same lightsthat will later illuminate theperformers. The positions oftheir projected heads in speech- TALKING HEADS - will be re-placed by their bodies stimu-lated and controlled by the sal-vo shooting of the words.

Ivana SAJKO, excerpt from thetext accompanying theinstallation

Goran PETERCOLSPEECH2004.

Installation: light, projections of digitally edited photographsfrom the exhibition of the project Mass for Election DaySilence [the project consisted of an exhibition, a performanceand a CD].

Group Dynamics symposiumadditional programme

Tim ETCHELLS is the artistic director and writerbehind UK-based Forced Entertainment. Etchellshas created work in a wide range of media andhas collaborated with a variety of artists, includingMeg Stuart/Damaged Goods, Franko B and AstaGroeting. He has published three books: TheDream Dictionary [for the Modern Dreamer][Duckworths, 2001], Endland Stories [Pulp Books,1999] and Certain Fragments, a collection ofessays on contemporary performance[Routledge, 1999].

Vlatka HORVAT is a New York-based artistworking in a range of media - from video andphotography to installation and works on paper.At the centre of many of her works is theexploration of a task, a landscape, or verbalstructure, which develops the status of a problemthat must be negotiated or solved. Horvat studiedtheatre at Columbia College in Chicago andholds an MA in Performance Studies fromNorthwestern University. Her work has beenshown at exhibitions and festivals throughoutEurope and the US.

Vlatka HORVAT & Tim ETCHELS: Insults & Praises

Insults & Praises is a collaboration between Tim Etchells and Vlatka Horvat [63 min].

A man and a woman sit side by side in front of a mirror and take turns insulting andpraising each other. Together they draw on an exhaustive list of abuses, derogatory terms,compliments and declarations of affection suitable for a wide variety of occasions andpurposes.The performance of this relentless verbal task is evidently live - an improvised sequenceof insults and praises which Ωow readily at times and falter at others, leaving the twosilent, struggling for a new direction. Perhaps they intend these celebrations and attacksfor each other, or invent them simply to generate an inventory of phrases that might beused at a later date. At times, they seem to be locked in a monolithic conversation, whileat others they seem to be working together, sharing the task of creating a catalogue ofemotive terms and possibilities.Insults & Praises was produced during residency at IASPIS [International Artists StudioProgram in Stockholm].

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2003.

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The project is realized through the EkS-scena platform.Supported by: Zagreb City Office for Culture

Croatian Ministry of Culture.

work-in-progressRoland BARTHES: Lovers’ discourseaudio installation - sound documentation of previousrehearsals

Authors: Selma BANICH | Saπa BOÆI∆ | Oliver FRLJI∆| Milan JASTREVSKI | Æeljka SAN»ANIN | JosipVISKOVI∆ | Andrej VUËENOVI∆ | Ognjen VU»INI∆

Production: k. o.

Although it has been produced by millionsof people, and is dispersed in TV-shows,commercials, as well as in serious literature,amorous discourse remains hidden. Literaryfragments by famous French philosopherRoland Barthes investigate disregardedlanguage, and constructing of the speci∫cobject of interest out of uttered love.Lovers’ Discourse is a multi-mediaperformance, inΩuenced by the book of therenowned French theoretician, which triesto reΩect on the possibilities of language toperform a need for the other, and thereΩection of self in the other.Contemplations about language, not as arepresentation of thoughts in theHeideggerian sense of the language as a“house of being”, but in establishingBarthes’ thesis about the dislocation oflanguage from the representational modelof reality, we try to a≥rm amorous speechas a place of creation, the space in whichthe figures are being performed bythemselves through models of simulationand something intractable.

Saπa BOÆI∆

* All participant of the symposium arewelcome to open rehearsal of RolandBarthes: Lovers’ discourse on Sundayafternoon in Cinema Lika!

38

nuspojave / side-effects

22/04-10/05/2004 | Gallery Nova

EGOBOO.bits | Felix GMELIN | Igor GRUBI∆| Vlatka HORVAT | Kristian KOÆUL | AndrejaKULUN»I∆ | Davor MIHALI∆ | AydanMURTEZAOGLU | Serkan OZKAYA | IvanPETROVI∆ | Kirsten PIEROTH | BulentSANGAR | Marko TADI∆ | VERSION

Serkan OZKAYA

“...it shouldn’t surprise us much

that at the verymoment when

everybody is tryingto capture that

elusive narrative thatsupposedly could

define the fall ofCommunism and

subsequent transitionalturbulations [After the

Wall, Aspects/Positions,The Other Europe], a small

Zagreb based art-collectiveis doing just the opposite. It

is following this fetish-laid pathto its roots: what, how andfor whom? Now, again, wheneverybody is echoing thequestion How to avoid theNew Balkanizations ofBalkans [In Search ofBalcania, Blood and Honey,In the Gorges of theBalkans] WHW is refusingto mistake culture forpolitics and to loose itself

in the ideological void.Not abstraction ofBalkans butconcretization of

World Politics, notBalkans as a World-problem

but Side Effects of GlobalCapitalism! By refusing to abstract

the Balkans, WHW focus on its role in Global Transition and thuson the troubles of the supposedly efficient liberal, laissez faire,market oriented world devoided of politics. Exhibition Side-Effects /.../ talks about Balkans just as much as it really participatesin, or is a symptom of global processes. In other words, it pullsthe very field of transition out from its forced East European orBalkan framework, and addresses it as a major global question.”

an excerpt from a text by Jelena VESI∆ & Svebor MIDÆI∆

39

VERSION

Ivan PETROVI∆ Kirsten PIEROTH Bulent SANGAR Marko TADI∆

Kristian KOÆUL Andreja KULUN»I∆ Aydan MURTEZAOGLUDavor MIHALI∆

EGOBOO.bits Felix GMELIN Igor GRUBI∆ Vlatka HORVAT

curatorial team: ©to, kako i za koga/What, How and for Whom, Zagreb

Nuspojave/Side-effects takes place in the context of In the Cities of Balkans,the 2nd part of the Balkans trilogy, a project initiated by KunsthalleFridericianum, Kassel.

Project supported by:kulturstiftung des bundes

During January/February 2004 the ∫rst version of this exhibition waspresented at the Salon of the Museum of Contemporary Art-Belgrade asthe annual exhibition of the Centre for Contemporary Arts-Belgrade

40

41

Nevidljivi Zagreb / Invisible ZagrebProgram predavanja / Lecture Programme

42

Prostorna politika grada nalazise u tranziciji. Suvremenidruπtveni fenomeni i njihovmaterijalni / prostorni otiscizahtijevaju nove interpretacijekoje uvelike mijenjajuprofesionalne standarde svihaktera u procesu upravljanjagradom. StatiËke forme ikoncepti koji su nam do sadasluæili u planiranju gradskekulture i gospodarskograzvoja, infrastrukture iarhitekture, æivota graana,ne mogu zadovoljiti potrebedinamiËnih procesa koji utjeËuna ukupnu sliku grada.Posebno je interesantan razvojnovih tipologija javnihprostora i moguÊnost njihoveekonomske odræivosti.Nevidljivi Zagreb zapoËinjeseriju javnih predavanja idiskusija koje su zamiπljenekao svojevrstan pregledsuvremenih urbanih teorija ipraksi koje tematizirajuprostorne implikacije kulturneproizvodnje.Pozvani gosti su lokalni imeunarodni struËnjacirazliËitog obrazovnog ikulturnog profila koji u svomradu dotiËu tematike projekta.

Prostorna politika grada nalazise u tranziciji. Suvremenidruπtveni fenomeni i njihovmaterijalni / prostorni otiscizahtijevaju nove interpretacijekoje uvelike mijenjajuprofesionalne standarde svihaktera u procesu upravljanjagradom. StatiËke forme ikoncepti koji su nam do sadasluæili u planiranju gradskekulture i gospodarskograzvoja, infrastrukture iarhitekture, æivota graana,ne mogu zadovoljiti potrebedinamiËnih procesa koji utjeËuna ukupnu sliku grada.Posebno je interesantan razvojnovih tipologija javnihprostora i moguÊnost njihoveekonomske odræivosti.Nevidljivi Zagreb zapoËinjeseriju javnih predavanja idiskusija koje su zamiπljenekao svojevrstan pregledsuvremenih urbanih teorija ipraksi koje tematizirajuprostorne implikacije kulturneproizvodnje.Pozvani gosti su lokalni imeunarodni struËnjacirazliËitog obrazovnog ikulturnog profila koji u svomradu dotiËu tematike projekta.

43

3LHD: Projekt ZPC

Projekt ZPC - Prezentacija i razgovor o programu iarhitektonskom projektu ZagrebaËkog Plesnog Centra.

gosti: 3LHD [arhitektonski studio - autori projekta],Vladimir STOJSAVLJEVI∆ [proËelnik Ureda za kulturuGrada Zagreba], Mirna ÆAGAR [direktorica Tjednasuvremenog plesa], Edvin LIVERI∆ [Hrvatski institut zapokret i ples], Goran Sergej PRISTA© [Centar za dramskuumjetnost]

moderator: Marko SAN»ANIN [Platforma 9,81]

Bivπe kino Lika uskoro Êe nestati s karteNevidljivog Zagreba. Tijekom dvijegodine, nakon πto je izgubilo primarnufunkciju, kino su privremeno koristilivaninstitucionalni proizvoaËi kulture.Prostor kina, u kojem Êe se dogoditiprezentacija, uskoro Êe se prenamijeniti uZagrebaËki Plesni Centar. Predstavitiprojekt u prostoru koji Êe uskoro postatinova kulturna institucija te u kontekstuprojekta Grupne dinamike koji tematizirasuvremenu kulturnu praksu znaËirazgovarati o procesu razvoja buduÊegkulturnog identiteta i arhitektonske ideje.Projekt je posebno interesantan jer sunesvakidaπnji zadatak, mjeπovit program teograniËene prostorne moguÊnosti ponukalearhitekte na razmiπljanje o stvarnimpotrebama i potencijalu zagrebaËke plesnescene. Razmiπljanje o plesu krozarhitektonski medij rezultiralo je novimprostorom.Uz arhitekte, gosti razgovora su kulturniradnici aktivni na plesnoj sceni grada iliizravno ukljuËeni u projekt ZPC-a.

06/05/2004. | 19:00

Kino Lika

U okviru simpozija Grupne dinamikeIn the frame of Group Dynamics symposium

44

The city’s spatial politics are intransition. Contemporary socialphenomena and their material- spatial imprint demand newinterpretations that significantlychange the professional stand-ards of all actors who take partin the process of running a city.The static forms and conceptsthat have been used thus far toplan urban culture and econom-ic development, infrastructureand architecture, the life of thecity’s inhabitants, can no longersatisfy the needs of dynamicprocesses that influence theimage of the city as a whole.Development of new typologiesof public space and the possi-bility of their economic sustain-ability have become especiallyinteresting.Invisible Zagreb is launching aseries of public lectures anddiscussions conceived as anoverview of contemporary ur-ban theories and practices thatthematicize the spatial implica-tions of cultural production. In-vited guests include local andinternational experts with vari-ous educational and culturalbackgrounds, whose worktouches on the project’s topic.

3LHD je arhitektonski studio u kojem trenutno radi desetak arhitekata, a vode ga partneri - arhitektiSaπa BEGOVI∆, Marko DABROVI∆, Tanja GROZDANI∆ i Silvije NOVAK.3LHD djeluje od 1994. godine i iza sebe ima mnogobrojne projekte i realizacije u Hrvatskoj iinozemstvu koje su nagraivane hrvatskim i internacionalnim nagradama, od kojih su najvaænijeAR+D award [2002.], najvaænija svjetska nagrada za mlade nadolazeÊe arhitekte, zatim ameriËkaI.D. Annual Award [2003.], hrvatske Viktor KovaËiÊ [2001.] i Vladimir Nazor [1999.], te priznanjaPiranesi i Bauwelt.NajznaËajniji projekti i realizacije [izbor]: Vila Klara, Zagreb 1999., Most hrvatskih branitelja, Rijeka,2001., DPU rijeËke luke 2002., Nogometni stadion Gradski vrt, Osijek 2002., Studija turistiËkogkompleksa Vinogradi, Pakoπtane 2002., Erste Bank HQ, Zagreb 2003., Plato Pila, Dubrovnik 2003.,preureenje kina Lika u ZagrebaËki Plesni Centar 2004., EXPO paviljon, Aichi, Japan 2005.Radovi 3LHD-a su prezentirani u najuglednijim svjetskim publikacijama u BeËu, Kopenhagenu,Münchenu, Londonu, New Yorku.Arhitekti 3LHD-a su gostujuÊi predavaËi na mnogim internacionalnim institucijama kao πto su VanAlen Institute New York [USA], RIBA London [UK], Arhitektonski Trijenale u Künstlerhaus u BeËu[A], te arhitektonskim fakultetima; u Grazu [A], BeËu, Münchenu [D]. Od 2002. Saπa BegoviÊ jegostujuÊi profesor na Arhitektonskom Fakultetu TehniËkog SveuËiliπta u Grazu, a Silvije Novakna Arhitektonskom Fakultetu u Zagrebu.

45

Project ZDC - Presentation and discussion aboutthe programme and architectural project ofZagreb’s Dance Center

The former cinema Lika will soon disappear from the map ofInvisible Zagreb. Since it lost its primary function two years ago,the building has been used on various occasions by non-institutional culture generators.

The space of Kino Lika, where this presentation will take place,will soon be converted into Zagreb’s Dance Center. To presentthe project in the space that will soon become a new culturalinstitution, in the context of the Group Dynamics project thatthematicizes contemporary cultural practices, means to discussthe process of the development of a future cultural identity andarchitectural idea. The project is of special interest because itsextraordinary task, mixed programme and unlimited spatialpossibilities have urged architects to think about the real needsand potential of Zagreb’s dance scene. Thinking about dancethrough the media of architecture has resulted in a new space.Together with the architects, other participants in the discussioninclude cultural workers active in the city’s dance scene or directlyinvolved in the ZDC project .

3LHD was founded in Zagreb, Croatia in 1994, and currently employs ten associate architects andis led by four partners - Saπa BEGOVI∆, Marko DABROVI∆, Tanja GROZDANI∆ and Silvije NOVAK.3LHD is a collaborative architectural studio, particularly interested in the integration of architecture,art and [urban] landscape, an approach which has resulted in a series of projects and realizationshere and abroad.The team uses an integrative approach and is primarily involved in thematically-driven work thattakes the form of temporary and permanent site-specific interventions, research in housing andtourism, communication between internal and external spaces, different urban processes andplanning, the appearance of new digital/electronic media, energy and the environment, implantsin historic context and the importance of user participation, as well as standard architecturalcommissions.3LHD work has been awarded with numerous local and international awards, an their work hasbeen widely published and exhibited in group exhibitions localy and internationally.3LHD architects have also been actively involved in teaching and have been visiting lecturers andcritics in numerous cities and at institutions such as the Van Alen Institute New York [USA], RIBALondon [UK], Architectural Triennale in Künstlerhaus in Vienna [Austria], as well as ArchitecturalFaculties and Universities in Vienna, Graz [Austria], Munich [Germany] and Zagreb [Croatia].

www.3LHD.com

guests: 3LHD [architectural studio - project authors], Vladimir

STOJSAVLJEVI∆ [Head of the Zagreb City Office for Culture],

Mirna ÆAGAR [director of Dance Week festival], Edvin LIVERI∆

[Croatian Institute for Movement and Dance], Goran Sergej

PRISTA© [Center for Drama Art]

moderator: Marko SAN»ANIN [Platforma 9,81]

46

Nakon πto se krajem '90-tih naπla pod pritiskom investitorai gradskih vlasti, amsterdamska je skvoterska i alter-kulturnascena potraæila nov naËin preæivljavanja. Medijskomakcijom i prjedlogom inovativnog modela kulturne

proizvodnje, pronaen je novi prostor ipokrenut sustav kulturnog i prostornogplaniranja bivπe industrijske zone. Sloæenorganizam gradskih vlasti, skvotera,financijskih struËnjaka, umjetnika, planerai malih poduzetnika zahtijevao je novi tiparhitektonskog znanja: mapiranjepotencijala i potreba kulturne scene,izmiπljanje novih alata urbanog zoninga iprivremenih arhitektonskih tipologija zarad i stanovanje.Stealth grupa [Ana DæokiÊ, MilicaTopaloviÊ i Marc Neelen] radila je narazvoju urbanih tehnika za sjeverniAmsterdam. O povijesti projekta, kulturnomkontekstu Amsterdama, transformacijiprofesije i novim znanjima govorit Êe Anai Marc.

Lecture and discussion about the project that transformedthe cultural politicsof Amsterdam into anurban code.

26/05/2004 | 19:00hDruπtvo Arhitekata Zagreba |Trg Bana JelaËiÊa 3/I

STEALTH group: Ana DÆOKI∆, Ivan KUCINA,Marc NEELEN, Milica TOPALOVI∆

Ana DÆOKI∆ je diplomirala na Arhitektonskomfakultetu u Beogradu, gdje je 1996. pokrenulaProjekt X, velik meunarodni kulturni dogaaj.2000. je magistrirala na Berlage Institutu uAmsterdamu. SuosnivaËica je STEALTH group,skupine iz Rotterdama koja se bavi istraæivanjemi praksom projektiranja.

Marc NEELEN je diplomirao na Arhitektonskomfakultetu u Delftu u Nizozemskoj. 1998. se poËeobaviti arhitekturom i medijima πto je dovelo donastanka STEALTH group, skupine koja djelujeu Rotterdamu. Radi kao urednik ArchiNed-a[Architecture internet organisation of theNetherlands] i sudjeluje u Smart Architecturemreæi.

www.stealth-g.net

STEALTH group:Privremeni Amsterdam /Temporary Amsterdam

Predavanje i razgovor o projektu kojije kulturne politike Amsterdamapreveo u urbana pravila.

Nevidljivi Zagreb / Invisible ZagrebProgram predavanja / Lecture Programme

47

Stealth group:Ana DÆOKI∆ | Ivan KUCINA | Marc NEELEN | Milica TOPALOVI∆Ana DÆOKI∆ graduated from the Faculty of Architecture Belgrade,Yugoslavia where she initiated in 1996 Projekt X, a largeinternational cultural event. In 2000 she received her Masters atthe Berlage Institute in Amsterdam. She is co-founder of researchand design practice, STEALTH group from Rotterdam.

Marc NEELEN Graduated from the Faculty of Architecture inDelft, The Netherlands. In 1998 he established his practice forarchitecture and media that evolved into STEALTH group, basedin Rotterdam. He is working as an editor of ArchiNed [architectureinternet organisation of the Netherlands] and participates in theSmart Architecture network.

After Amsterdam’s squatters’and alternative culture scenefound itself under pressure frominvestors and the citygovernment at the end of thenineties, it sought a new wayof survival. Through mediaaction and a proposal for aninnovative model of cultural

production, a new space wasfound and a system of culturaland spatial planning of theformer industrial zone wasinitiated. The complex organismof city government, squatters,financial experts, artists,planners and small scaleentrepreneurs demanded a new

type of architecturalknowledge: the mapping of thepotential and needs of thecultural scene, invention of newtools of urban zoning andtemporary architecturaltypologies for working andliving.

Stealth group [Ana DÆOKI∆, Milica TOPALOVI∆ and MarcNEELEN] has worked on the development of urban techniquesfor North Amsterdam. Ana and Marc will talk about the historyof the project, the cultural context of Amsterdam, thetransformation of the profession and new findings.

48

BLOK - lokalna baza zaosvjeæavanje kultureDobroniÊeva 16HR-10000 ZagrebCroatia

t: +385 / 1 / 613-7387t: +385 / 1 / 485-6400f: +385 / 1 / 485-5729

info@urbanfestival.hrwww.urbanfestival.hr

CDU / FrakcijaDeæeliÊev prilaz 26HR-10000 ZagrebCroatia

+385 / 1 / 48 46 180

cdu@zamir.net

Community ArtIlica 89HR-10000 ZagrebCroatia

+385 / 1 / 3707679

community.art@mail.inet.hr

Multimedijalni institut mi2PreradoviÊeva 18HR-10000 ZagrebCroatia

t: +385 / 1 / 485-6400f: +385 / 1 / 485-5729

mi2@mi2.hrwww.mi2.hr

Platforma 9,81J. Gotovca 1HR-10000 ZagrebCroatia

+385 / 1 / 463-5881

info@platforma981.hrwww.platforma981.hr

©to, kako i za koga / WHWB. Trenka 4HR-10000 ZagrebCroatia

+385 / 1 / 49 22 478

whw@mi2.hr

kontakti / contacts:

biljeπke / notes:

Zagreb - Kulturni kapital 3000 / Zagreb - Cultural Kapital 3000

svibanj 2004 / May 2004

design: Dejan KR©I∆ 4 whw

fonts: Gotham & Mercury [Hoefler Type Foundry]

tisak/printed by: Tiskara Zelina

Zagreb - Cultural Kapital 3000

takes place in the framework of relations

relations is a project initiated by Kulturstiftung des

Bundes [Federal Cultural Foundation, Germany]

www.projekt-relations.de

sve aktivnosti odræane u Galeriji NOVA podræao

Simpozij Grupne dinamike je podræao:

Group Dynamics symposium supported by:

Kontakt. The Arts and Civil Society Program of

Erste Bank Group in Central Europe.

The international interdisciplinarysymposium GROUP DYNAMICSexplores the aspects of research and presentation

connected to the phenomenon of artist groups and

different aspects of collective work and collectivity.

The symposium is conceived as a commencement of

long term addressing of the issues of organization and

self-organization, grouping, collectives and relating in

a wider ∫eld of cultural production. As this is a very

heterogeneous phenomenon, we have decided to invite

a number of eminent theatre scholars, but also

theoreticians from the ∫elds of philosophy,

architecture, art history, and artists who practice in

speci∫c types of organized groups, to participate in

the symposium. Topics include, but are not limited to:

¶ affects and relations in group work

¶ self-organization and non-hierarchical forms

of public presence

¶ group politicality

¶ group as an event

¶ collectivism

¶ group utopias

¶ production of common

¶ group as a market of interests, etc.