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02 Background information.......................... 03
What, how & for whom - Zagreb .............. 09
What, how & for whom - Vienna ............. 15
Project: Broadcasting ............................. 23
Project proposal Getting Together ...... 40
contents:
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The sense of time has been rather disturbedin Croatia during the last decade. On the one hand,it was a long decade that started in the processesdeeply rooted in the Eighties. But on the otherhand, the war and intellectual repression that hadbeen following it had shortened the decade to shortperiods of nightmarish awakenings from theautistic and mute dream of fulfillment of 1000years of nations longings.
Sure enough, the lines when things had startedand ended are especially hard to draw when one isdealing with a war that was never officiallyannounced or proclaimed over.
The lack of any intellectual contextualizationhas disabled the reflection on things that have beenhappening to us, therefore hitting us likesleepwalkers. Short acts of awakenings had barelyleft traces in the self-assured, non-communi-cative dream that the nation had been dreamingout with brutal energy. Those performing thesocial function of intellectuals have mobilizedextreme right-wing ideologies that were tostrengthen the big sleep from which historyalways starts anew with sick optimism.
It is the decade in which the Croatian versionof the democratic revolution (or better to say,contra-revolution) has been finalized with thetriumph of the capital and rediscovery of marketeconomy as the tool of resource distribution.
The pathos of the human rights revolutionreached broader society through the filter ofnationalistic ideologies, maybe because therevolution in the Yugoslav version was verypolitically correct and decently enlightening. Thelack of revolutionary pathos on which enjoyment-in-the-process is based, enjoyment in the wastingof revolutionary activity that necessarily by faroutreaches its instrumentality and purpose1, has beencompensated by encompassing passionatenationalism. The struggle for uniqueness ofnational culture fought by right-wing intellectualshas been realized as the struggle against leftcultural hegemony, interpreted as the foreign,external element that threatens the purity ofnational culture/national identity.
An important part of the project of cleaning thenational culture has been removing the importantpart of the history and producing silent collectiveamnesia.
Background information
1] Slavoj iek,
Znak/oznaitelj/pismo (prilog
materijalistikoj
teoriji oznaiteljske
prakse, NIPmladost, Beograd,1976.
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ljiljana bunjevac,
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What, How and for Whomon the occasion of 150th anniversary ofCommunist Manifesto
If it were a single, it would be SatisfactionMark SIMPSON, Independent on Sunday
Constant revolutionizing of productions, uninterrupted
disturbance of all social conditions, everlasting uncertainty and
agitation distinguish the bourgeois epoch from all earlier ones. All
fixed, fast-frozen relations, with their train of ancient and
venerable prejudices and opinions, are swept away, all new-
formed ones become antiquated before they can ossify. All that is
solid melts into air, all that is holy is profaned, and man is at last
compelled to face with sober senses, his real conditions of life,
and his relations with his kind
Karl Marx & Frederick Engels
The Communist Manifesto - A Modern Edition
verso 1998, page 38-39.
Croatian Television Prime News, 16/06/2000
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The Communist Manifesto is still alive,
perhaps more than ever, since the
predicament it describes is heightened
today to a new level of unbearable tension.[Slavoj IEK, Spectre is Still Roaming Around]
w06
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Many years ago, in some other times, Communist
Manifesto used to be a very dangerous book. The world was
at that time divided into those who trusted the words of this
book and followed its revolutionary spirit, and those who,
equally fascinated by the book, hated it and feared itsrebellious cry. But nobody dared to ignore the significance of
the Communist Manifesto. Its historical impact was obvious
and its practical political effects were changing the world. It
seemed for the moment that this book could even decide the
destiny of the mankind. These were the times when the world
was still young and has not only its history going on but also
an open future.
Everything has changed since than. Today is the
Manifesto nothing but a small booklet among other books of
the worlds cultural heritage, which provokes no political
action and of which nobody is afraid any more. Once a wild
political pamphlet, theManifesto seems to be finally
domesticated and turned into a harmless cultural artifact.
Not a revolutionary politics, but culture is today the only
message of this medium. /.../
Boris BUDENIt is about the society that mistook culture for politics, catalogue
of the exhibition, forthcoming
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The difference between capitalism andCommunism is that Communism was
perceived as an Idea that then failed in its
realization, while capitalism functionedspontaneously. There is no Capitalist
Manifesto.Slavoj IEK
[Spectre is Still Roaming Around- An introduction to the 150th anniversary edition
of the Communist Manifesto, arkzin, Zagreb, 1998.]
The difference between capitalism andCommunism is that Communism was
perceived as an Idea that then failed in its
realization, while capitalism functionedspontaneously. There is no Capitalist
Manifesto.Slavoj IEK
[Spectre is Still Roaming Around- An introduction to the 150th anniversary edition
of the Communist Manifesto, arkzin, Zagreb, 1998.]
08
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What, How and for Whom is non-governmental organization for visual arts, whoseprimarily goals are to promote and support rea-lization of innovative contemporary art projects,
to encourage and protect the freedom of artisticexpression, to foster international theoretical andpractical collaboration in the field of visual culture,to collaborate with other artistic, civil and culturalgroups in Croatia and abroad, and to promoteinnovative collaborative methods of realization ofmore demanding artistic projects.
WHWwas initiated in Zagreb in late 90s asthe informal network between activist organiza-tion/publishing house Arkzin, net.cultural clubMamaand the team of independent curators [AnaDevi, Nataa Ili, Sabina Sabolovi] that startedto work on the international exhibition on theoccasion of 150th anniversary ofCommunist Mani-
festo. Since this model of collaboration betweencultural organizations of different backgroundsand know-how proved very successful, at thebeginning of 2001 we became a legal subject,registering as non-for-profit non-governmentalinstitution, which is presently the only availablelegislative model in Croatia that enables us tointervene in cultural scene the way we do.
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The three basic questions of every economicorganization - what, howandfor whom- areoperative in almost all segments of life. What, theproblem how many of every possible goods andservices will be produced with limited resourcesand social input, how, the choice of certaintechnology according to which each good, chosenby answering the question what, will be produced,
and question for whom , that concernsdistribution of goods among members of thesociety - these are the questions that also concern
the planning, concept and realization of theexhibition, as well as the production anddistribution of artworks or artists position at thelabor market. The circumstances surroundingdevelopment of What, How and for Whom
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project, which has been developing since 1998when the republishing of Marxs CommunistManifestoon the occasion of books 150th anni-versary served as the impetus, have beenimposing the concept whose logic developedtogether with increased ambitions and wishes ofthe organizers. The answer to the question how todeal with anniversary of the book of such powerful
ideological and political potential in the societythat has imposed collective mystification andoblivion to the archive of politics, economy andstyle of the failed project of socialist society, tookits shape in the area in which the considerationsabout possibilities of political and artisticengagement were interlocked with issues oflocal daily politics.
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Economy studies how soci-eties utilize scarce resources in
order to produce valuable com-modities and distribute them
among people. Therefore, scar-
city lies within the very essenceof the economy. Scarcity lawsays: resorces and goods arelimited, while wishes seem to be
unlimited. Economizing as theleading motto of contemporary
life implicates optimization asthe way of doing business - how
with smallest input the greatesteconomic results are achieved.
As What, How & for Whomproject has been planned within
extremely limited production
resources, optimization prin-ciple has become the leit-motiveof exhibition concept andmethod. In other words, thebasic what and how of theproject were getting closer and
closer to each other and finallyhave overlapped.
artists who have been forming the
strong current of socially engagedart since the late 60s, the exhi-bition had attempted to inter-
vene in contemporary art scenestressing continuity ratherthan breaks. On the other hand,the exhibition established in-ternational context for local artproduction, greatly missing dur-ing the last decade. It is important
to stress that Communist Manifestoas exhibitions starting point does
not operate as a visual leit-motiveof the exhibition, but as the referential point in
which different approaches, opinions and visua-lizations are intersecting. The exhibition does not
aspire to shape the complete image on the subject
of communism as ideology, political regime orutopian endeavor. Rather, by encouraging indi-
vidual approaches and personal points of view, theexhibition has been attempting to break down
monolith, unified perception ofart scenes, so-cialist praxis or present transitional situa-tion.
Instrumentality of social
capital in constituting the socialpost-socialist reality becomes a
scheme, a matrix for the exhibi-
tion development and its inter-nal and external operations.
By facing the recent produc-
tion of artists who emerged onthe Croatian art scene in the late
80s, at the time of rapid deterio-ration of socialist regime, with
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TheManifesto has lost its political meaning asa consequence of so-called democratic revolutionsof 1989. It felt down together with the fall ofCommunism in the Eastern Europe that has beencelebrated as the final victory of the moderndemocracy over its totalitarian enemies.
Ac co rd ing to the unders tandin g of th ecommunist totalitarianism that has becomedominant within the political mind of theliberal democratic West, the communistpolitical movement was first of all a conservativereaction against modernity, particularly againstthe modern Western culture as culture of humanrights and freedoms, i.e., an intrinsically anti-modern political phenomenon. In that respect, thepolitical process of transition from communismto democracy, which has started after 1989 in theEast European post-communist countries, isnothing but some sort of a cultural reconquista, there-westernization of Eastern Europe. That is thereason why culture and civil society are soclosely allied in the strategies of transition intodays Eastern Europe, or in the ongoingprocess of the so called enlargement of theEuropean Union. It is mainly culture, as the truecontent of civil society - and not politics! - that
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content in his hands. The Manifesto today is thecultural Other of the West.
Vienna project What, How and for Whom,dedicated to 153rd anniversary of Communist
Manifesto opposes the view that equals EasternEurope with communism or identifies culturalwith political identity. Today, the Manifesto is notan issue more on the East, than it is on the West,and its message is global, just as the functioningof the capital, as described byMarx, is global.
has to do the job of democratization.Becoming ultimately a cultural artifact,
Communist Manifesto had been deprived of its lastcritical capacity and of all its political meaning andimportance. Once an expression of the deepest
historical contradictions of the Western industrialsociety, the book has finally become a culturalsymbol of the East. Anyone who still tries to graspits political meaning will find nothing but anobscure, intrinsically non-European cultural
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Focus on economy, capital andcapitalism seeks to return to theWest its own mess age /ontransition from so called tota-litarism to so clled democracy/
in its reversed, i.e. true meaning- as the return into the realcapitalism.
***
In its heroic period of 1970sand 1980s, the alternative
cultural movements in Yugo-slavia acted against officialinstitutions or at least apart fromthem. Self-organizing and acti-vism were politically engaged,but not as battle against thedarkness of Communist tota-litarianism, but, paradoxically
for the state whose official ide-ology was self-management,as the fight for complete self-realization of individuals andculture, against real bureaucratic
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limitations. Alternative cultural movement wasindeed taking socialist ideology more seriouslythan the cynical political lite in power did.Paradoxically, deeply politicized, alternative, sub-cultural movements of 1970s and 1980s in the Eastactually disintegrated at the moment of theirsupposed triumph - with the introduction ofparliamentary democracy and the return ofcapitalism.
***
In regard to cultural production, the termalternative is usually linked to notions such asanti-art, avant-garde, neo-avant-garde,contra-culture, to that which is different in formand content, progressive, radical, that which getsout of the mainstream and opposes establishment,traditional high culture that is generally bourgeois.But in todays circumstances of culturalization ofeverything, in situation when every avant-gardeor subversive act is immediately absorbed as afashion, exclusively cultural and temporary alter-native, there is no alternative culture.Alternativeculture existed when there still werealternative ideas about order of society, ideas
Ola Pehrson, Marxist suit, 1997
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of alternative politics. Or better to say, thealternative culture is to be articulated only if thereis a politics that articulates the alternative toreally existent capitalism. Cultural and artisticproduction in current situation can still bealternative not by virtues of its new, different,unusual form or way of expression, but exclusivelyin a political sense.
***
2] Projects likeAnti-warCampaign Croatia,pop-politicalmagazineArkzin,Zagreb Anarchisticmovement,AutonomousCultural Factory -Attack, festival ofalternative streettheater FAKI, andmany otherfeminist,ecological, anti-war, anarchisticorganizations,groups, initiativesand movements.
Within independent Cro-atian civil scene in the 90s,
often called the alternativescene2, the notion of alternativewas used differently in two broadperiods.
The first one, in accordanceto general regression, ascharacteristic of the period ofCroatian Democratic Commu-
nity partys rule, is actually acontinuation of 70s ideologythat perceives alternative cultureas the low opposition to high,lite, institutional culture. That
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scene, roughly identified with eco/punk/hardcore/anarcho groups and movements, really wasmarginal and marginalized, completely out offunding system, which it had slowly entered onlyafter the establishment of the Open SocietyInstitute [Soros] in Croatia in 1994.
In that second period, the alternative ceasedto be synonymous with the marginal and the sub-cultural and it developed specific politicalmeanings, regularly strongly based in ethicaldemands for non-violence, equality, multi-ethnicity, non-hierarchical structures etc. Thealternative in the culture was perceived as a system
of parallel institutions that were not nationalisticor statehood-oriented, but their activities werelimited to fill in the gaps left open by state and itsconservative institutions. As a result, the realinstitutions of alternative and sub/cultural scene,that should guarantee its continuity anddevelopment, had been formed only in the late90s3. But in the new democratic situation that
followed the last elections at the beginning of 2000- that resulted in withdrawal and downsizing offoreign funds - their future is very insecureindeed. There is a dominant tendency tocommercial, market-oriented culture, state
3] AutonomousCultural FactoryAttack, Zagreb;Arkzin DTP & Pre-press studio,
Zagreb; Movaraclub, Zagreb;net.cultural klubMAMA, Zagreb; ArtWorkshop Lazareti,Dubrovnik
funding is still insufficient and often dependenton personal whims, conditions for culturalprojects funding have not been set (legislation oftaxes), nor the space open for non-commercialculture and media production.
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Tomislav GOTOVAC, Rocks in my bed,performance at the opening, 20/06/01
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According to the old slogan, art is not a mirror,art is a hammer! Present situation should not bemerely mirrored or represented. The aim is tocreate new conditions, not to act within therealm of possible, but to actually change that whatis possible. It is a significant shift of the status of
the intellectuals. It is no longer enough to becritical intellectual [as were old communist
dissidents or intellectual emigres duringnationalist rule] now the most important arecreative intellectuals, that would in the sametime keep critical mind and be activelly engaged
in change of existing situation.
Everybody is an intellectual,
but not all people in societyperform the social function ofthe intellectual
Antonio GRAMSCI
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PROJECT: BROADCASTING[dedicated to Nikola Tesla]
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BROADCASTING PROJECT, dedicated to
Nikola Tesla is organized in cooperation ofvisual arts NGO What, How and for Whom,publishing houseArkzin, net-cultural clubMAMAand Technical Museum in Zagreb. It isconceived as the series of cultural events thatquestion the social and artistic implications ofbroadcast media in relation to the concept ofpolitics and specific political developmentsin Croatia, issues of information andtechnology accessibility as well as concepts ofintellectual property and copyrights.
The project started as series of lectures by
curators and art and cultural theorists in June2001 and developed as internationalcontemporary exhibition in the Technicalmuseum in Zagreb, scheduled for January/February 2002. After the exhibition, the project
will continue throughout the 2002 indifferent formats of contemporary artpublishing edition, art interventions,
situations and researches, publications,radio, TV and internet interventions andbroadcasts, public lectures, screenings,forums etc.
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participants:
Marina ABRAMOVI
Robert ADRIAN X & Norbert MATH
Joe BARI & Apolonija UTERI
Marianne BRAMSENDiedrich DIEDERICHSEN
Braco DIMITRIJEVI
Branislav DIMITRIJEVI
Tomislav GOTOVAC
Brian HOLMES
Aleksandar Battista ILI
Sanja IVEKOVIIvana KESER
Yuri LEIDERMAN
Dalibor MARTINIS
Viktor MISIANO
Hans ULRICH OBRIST
Marko PELJHAN
Bojana PEJI
Tomo SAVI-GECANSCANNER
Keiko SEI
STATION ROSE
Mladen STILINOVI
SUPERFLEXfeaturing:
Marijan CRTALIAndreja KULUNI
Ivan MARUI KLIF, Magdalena PEDERIN &
Lala RAI
Kristina LEKO
David TOOP
Stephen WRIGHT
Igor ZABELZVUK BRODA
The project deals with issues of broadcasting in reference to
Nikola Teslas biography and inventions. The basic concept is
close to Brechts writing on radio as two-sided apparatus ofcommunication and the whole project has strong educationalemphasis.
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10/06/01 Brian HOLMES lecture
12/06/01 Hans ULRICH OBRISTlecture
5/07/01 first supplement
dedicated to
Broadcasting Project inthe cultural magazine
Zarez
28/09/01 ing. Renato FILIPINdemonstration of Teslas
experiments
Keiko SEI lecture
05/10/01 Bojana PEJI lecture
11/11/01 live streaming dinner/discussion go_home
Zagreb: Nada Bero, eljko Blae,Ljiljana Filipovi, BrankoFranceshi, Sanja Ivekovi, KatarinaPeovi, Joanne Richardson, MladenStilinovi, Ana Devi, Nataa Ili,Sabina Sabolovi, Tea koki
New York: Ammiel Alcalay,
Katherine Carl, Elizabeth Cohen,Danica Daki, Slavko Kaunko, BekaNani, Atsushi Ogata, Shelly Silver,Sandra Sterle, George Yudice,Martha Wilson
timeline: 27/11/01 Viktor MISIANO lecture
04/12/01 Igor ZABEL lecture
06/12/01 second supplement in the
cultural magazine Zarez
13/12/01 Diedrich DIEDERICHSENlecture
04/01/02 first radio show
dedicated to
Broadcasting project at
the 3 program of
Croatian National Radio
13:00 CET, following
broadcasts: 18/01., 01/
02,15/02, 01/03, 15/03,
29/03, 12/04, 26/04, 03/
05, 17/05, 31/05
26/01/02 opening of the exhibition
in the Technical Museum
perfomances: TomislavGOTOVAC, MarkoPELJHAN
27/01/02 David TOOP lecture;live broadcast of NorbertMATH & Robert ADRIANsinstallation at
Kunstradio Vienna 23:00
CET
28/01 - 01/02, daily radio shows by
Joe BARI andApolonija UTERI atRadio Student, 13:00
CET, following
broadcasts 04/02 - 08/
02, 11/02 - 15/02
28/01-28/02/02 series of
broadcasts by MarianneBRAMSEN at RadioStudent
07/02/02 Branislav DIMITRIJEVIlecture
14/02/02 STATION ROSE webcast-broadcast, ZVUK BRODAlive performance, KSET
club
21/02/02 Stephen WRIGHT lecture
28/02/02 closing of the exhibition,
Marko PELJHAN lecture
Februray - June 2002, books by
Hans ULRICH OBRIST,Brian HOLMES, DiedrichDIEDERICHSEN
further supplements in Zarez...
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The traditionally strong role of artists has beenin discovering new ways to use media, inventingnew and contradictory meanings for existingorganizations and systems, and in subverting self-serving power-structures. Due to the specific
political and economic context (such as stateownership of the still only one national TV) andruling structures inertia, the access of Croatianartists to media has been extremely limited.Croatian public discourse is ignorant of potentialsof electronic media as two-way communicationtools that are not necessarily just distributed andbased exclusively on commercial and ideological
grounds. The new digital technologies havefundamentally changed methodologies andstrategies of documenting, producing anddisplaying contemporary art, as well as socialcircumstances of its creation and accessibility. Atthe same time, educational institutions in Croatia(Art History Studies, Philosophy Studies, Schoolof Fine Arts) almost completely failed in following
current international developments. Museumsstay noticeably unvisited, with virtually nooutreach aimed at increasing audiences. Thisproblem is perpetuated by the fact that in Croatia,there is no formal or informal education in
Radio is one-sided when it should betwo-. It is purely an apparatus fordistribution, for mere sharing out. So here is
a positive suggestion: change thisapparatus over from distribution tocommunication. The radio would be the
finest possible communication apparatusin public life, a vast network of pipes. Thatis to say, it would be if it knew how to
receive as well as transmit, how to let thelistener speak as well as hear, how to bringhim into a relationship instead of isolatinghim.
Bertolt BRECHT
The Radio as an Apparatus of Communication, 1932
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curatorial practice. Additionally, one of the side-effects of the transition period in the field of visualarts is ten years long hiatus in publishing ofcontemporary art theory.
***
BROADCASTING PROJECTmoves in oppo-sition to the oppression of monologue andcentralized patriarchal infotainment. Crucialquestions are communication and mediation.Success of mediated communication dependson the conditions under which the exchange
takes place - those conditions are not primarytechnological but also social, economical,cultural, political...
***
The project aims to continue discussionstarted with What, How and For Whom
exhibition project about arts and economy, that is,to explore issues of economical/political intereststhat prevent full realization of the democraticpotentials of new technologies. Every advent ofnew technology has been marked with great
enthusiasm about new democratic potentials ofnew medium that will allow everybody tocommunicate, be informed, creative andparticipate in social dialogue or decision making,and yet those potentials are always repressed for
the purely commercial form and content just as forthe creation of new passive audience.
It is a pertinent for cultural activists/artists/theoreticians to consider how new technologiesmay significantly change what is meant byperformance, art, live, broadcasting,wide/mass public... Yet, we believe that thequestion of new and still developing digital media
replays narrative strain of anxiety very familiar tothe historic avant-garde (innovation, potentialrevolution, incorporation, recuperation,commodification). But the question is still open,not predetermined or decided in advance, but verymuch depends on our own action, work onpractical, artistic, media and theoretical work.
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Brechts reflection on the radio comes home today with
not one but two jolts of recognition. The first has to do with the
prescient glimpse it seems to offer of the Internet, that
inconceivably vast network of pipes which permits two-way
communication, which receives just as well as it transmits. But
the second jolt comes from the realization that radio in the
1930s, particularly if used in combination with the telephone,
could easily have functioned in the two-way channels that
Brecht describesif the social and political will had not been
lacking. The implication for today is that the Internet,
despite its evident technical advantages, could easily
cease functioning in a communicational mode, that it
could rapidly give way or regress to new forms ofcentral-broadcast content (masked by the push-button
charms of interactivity). /.../
If radio became predominantly a vehicle for state
propaganda during the age of total mobilization from the First
to the Second World War, if television in its turn became the
indispensable device for training in the reflexes of mass
consumerism, what then will the emblematic medium of
globalization become? What will be its dominant uses, andabove all, what kind of society will they articulate?
Brian HOLMES
Kosov@: Futures of the Transatlantic Carnival
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The project aims to negotiate the intersection between therealm of broadcast as a medium that disseminates viatelecommunications, and the metaphorical surplusesspreading from visions of universal energytransmission, left over when broadcast is translated
into Croatian. Nikola Tesla [1856 - 1943] is a Serbfrom Croatia who died as American citizen, eccentric,ascetic with visions, claimed and disowned byCroats, Serbs, Yugoslavs and Americans; whoinvented more than 800 patents and laid theoreticalground for development ofradio, radar, satellites,electronic microscope, microwave, fluorescenttube etc. Today, the cultural image ofNikola Tesla,
the Man Who Invented Future, is permeated withstories ranging from conspiracy theory involvingFBI and American government to mysticalworshipping of his exploration of energy and originof life. Exploration of his life and inventions leads intobroader questioning of issues of broadcasting media,copyrights, intellectual property, science and art funding,distribution and utilization, politics of science and
descriptions of artistic and scientific working process andoutcomes. At the same time, Teslas explorations in the realmof telecommunications and defense systems seem ever morerelevant in relation to recent reactivation of Cold War discourse bynew American administration.
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... The world system makes possible not only theinstantaneous and precise wireless transmission of any kind ofsignals, messages or characters, to all parts of the world, but alsothe inter- connection of the existing telegraph, telephone, and othersignal stations without any change in their present equipment.
31
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By its means, for instance, a telephonesubscriber here may call up and talk to any othersubscriber on the Earth. An inexpensivereceiver, not bigger than a watch, will enablehim to listen anywhere, on land or sea, to a
speech delivered or music played in someother place, however distant. Theseexamples are cited merely to give an idea ofthe possibilities of this great scientific advance,which annihilates distance and makes that perfectnatural conductor, the Earth, available for all theinnumerable purposes which human ingenuityhas found for a line-wire. One far-reaching
result of this is that any device capable of beingoperated through one or more wires (at adistance obviously restricted) can likewise beactuated, without artificial conductors andwith the same facility and accuracy, atdistances to which there are no limits otherthan those imposed by the physicaldimensions of the earth. Thus, not only
will entirely new fields for commercialexploitation be opened up by this idealmethod of transmission, but the oldones vastly extended. The World Systemis based on the application of the
following import and inventions anddiscoveries:
1] The Tesla Transformer: This apparatusis in the production of electrical vibrationsas revolutionary as gunpowder was in
warfare. Currents many times strongerthan any ever generated in the usual ways
and sparks over one hundred feet long, havebeen produced by the inventor with aninstrument of this kind.
2] The Magnifying Transmitter: This is Teslasbest invention, a peculiar transformerspecially adapted to excite the earth, which is
in the transmission of electrical energy whenthe telescope is in astronomical observation.By the use of this marvellous device, he hasalready set up electrical movements ofgreater intensity than those of lighteningand passed a current, sufficient to lightmore than two hundred incandescentlamps, around the Earth.
3] The Tesla Wireless System: Thissystem comprises a number ofimprovements and is the only meansknown for transmitting economicallyelectrical energy to a distance without
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wires. Careful tests and measurements inconnection with an experimental station ofgreat activity, erected by the inventor inColorado, have demonstrated that power inany desired amount can be conveyed, clear
across the Globe if necessary, with a loss notexceeding a few per cent.
4] The Art of Individualisation: This inventionof Tesla is to primitive Tuning, what refinedlanguage is to unarticulated expression. Itmakes possible the transmission of signals ormessages absolutely secret and exclusive bothin the active and passive aspect, that is, non-
interfering as well as non-interferable. Eachsignal is like an individual of unmistakableidentity and there is virtually no limit to thenumber of stations or instruments which canbe simultaneously operated without theslightest mutual disturbance.
5] The Terrestrial Stationary Waves: Thiswonderful discovery, popularly explained,
means that the Earth is responsive to electricalvibrations of definite pitch, just as a tuningfork to certain waves of sound. Theseparticular electrical vibrations, capable ofpowerfully exciting the Globe, lend themselves
to innumerable uses of great importancecommercially and in many other respects. Thefirst World System power plant can be putin operation in nine months. With this powerplant, it will be practicable to attain electrical
activities up to ten million horse-power and itis designed to serve for as many technicalachievements as are possible without dueexpense. Among these are the following:
6] The inter-connection of existing telegraphexchanges or offices all over the world;
7] The establishment of a secret and non-interferable government telegraph service;
8] The inter-connection of all present telephoneexchanges or offices around the Globe;
9] The universal distribution of general news bytelegraph or telephone, in conjunction withthe Press;
10] The establishment of such a World Systemof intelligence transmission for exclusiveprivate use;
11] The inter-connection and operation of all stocktickers of the world;
12] The establishment of a World system ofmusical distribution, etc.;
13] The universal registration of time by cheap
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clocks indicating the hour with astronomicalprecision and requiring no attentionwhatever;
14] The world transmission of typed or hand-written characters, letters, checks, etc.;
15] The establishment of a universal marineservice enabling the navigators of all ships tosteer perfectly without compass, to determine
the exact location, hour and speak; to preventcollisions and disasters, etc.;
16] The inauguration of a system of world printingon land and sea;
17) The world reproduction of photographic
pictures and all kinds of drawings orrecords...
NIKOLA TESLA,Autobiography, 1919
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Brian HOLMES
Hans Ulrich OBRIST
36
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Scanner
Diedrich DIEDERICHSEN
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Viktor MISIANO
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Technical Museumis located in thebuilding that is one of the most beautiful examplesof Croatian 1950s modernism and human-facesocialism. The major part of the exhibition will beheld in the separate space in the Technical
museum [black box], but there will also be anumber of works incorporated into the museumspermanent collection.
In todays context, evokingTeslas work offersnumerous interpretations, parallels and wondrousparadoxes of meaning. Our intention is not tomake closed illustrative museum exhibition or tofocus exclusively on biographical references of this
charismatic legend. Instead, our goal is to open thespace for interaction and exchange of information,and encourage artists to utilize in-situ installationsand projects with space-visual-audio elements inexploring and emphasizing important elements ofexperience, movement and continuance in re-defined conditions of contemporary technologic,post-information time.
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January 3, 2001
Dear Ms. Jaulin,Following please find the project proposal for Getting
Together.
The project Getting Together is based on the utopian
idea of togetherness and it treats the subject of
phenomenon of artists groups and its relations to
other contemporary forms of social groups with the
method equaled to its subject. The project consists of
two layers that overlap temporally and spatially. The
first one puts emphasis on the researches whose
outcome should establish models of collaborationbetween different artists and social groups, while the
second combines further researches with series of
presentations in numerous permutations of different
formats of magazines, projects in public spaces and
exhibitions in alternative, non-gallery spaces.
The project operates at the intersections between the
model of artists group and the model of variousgroups developed within, for example, anti-
globalization movements, thus also intersections
between artistic work and social movements in a
broader sense. The project will include different
artistic groups but also different cultural groups that
work with the procedures similar to artistic models
and it will provide a platform for various groups to
redefine its positions. Our starting position is that anartistic group is a result of certain social conflict that
a group is trying to solve, and that is a location of a
very direct political relevancy of a collective work. On
the other hand, we would like to explore the moment
of enjoyment that often binds a group together.
There is always a possibility of a sudden break of
initiated chain of reactions and this project istherefore open to tests and shifts in the limits
imposed on mutual influences, communication,
engagements and creativity.
Please feel free to contact us should you require any
additional information. Thank you for your
consideration of this request.
Sincerely,
Ana Devi, Nataa Ili, Sabina Saboloviwhw
WHW
[What, How
& for Whom]
c/o Arkzin
Ilica 176
10000 ZagrebCroatia
phone: +385 1
370 5374
3777 866
e-mail:
for whom:
Germana Jaulinfondation
Evens
14, rue Lincoln
75008 Paris
France
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GETTING TOGETHER
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From the moment that artists started to sign
their works, the artworks had been granted
authorship and emerged out of collective
anonymity. Since then they have been treated as
unrepeatable individual creations.
Man is a social creature and in certain way
every work is a collective work, made possible by
the work of others, those that worked before, those
who formed frameworks of communication and
meanings, those who invest their work in our work
by interpreting it... But the ideology of modernity
insists on individual, artist genius, and
exceptional authorial personalities. Of course,today we understand that it is not about some
essence of art, some essential category that defines
artistic practice, but about needs of capital and
markets demands.
Phenomenon of artists group occurred in the
second half of 19th century, coinciding with new
styles and movements in visual arts. The beginning
of 20th century has been marked with intensive
activities of artists collectives linked to avant-
garde movements and schools, starting from
Futurists, Dadaists and Surrealists to various
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artistic movements including conceptual and
post-conceptual art. Mass media and technological
progress had enabled mechanic reproduction and
initiated the lost of aura [w. benjamin], which
indirectly influenced increased number of artists
groups during the 20 th century. The work ofdifferent historical artists groups and movements
was often based on the idea of achieving total art-
work, perceived as multi-disciplinary unit whose
realization should directly influence the society by
improving the quality of life and initiating a kind
of social revolution. The idea that art could
influence and change complex social relations hadpersistently proved untenable, especially in the
periods when these claims culminated - during
1920s and 1930s, in the post-war 1950s and
especially in the late 1960s and early 1970s.
Nevertheless, continual efforts of different artists
groups prove relevancy of this basically utopian
wish.
In that context it is interesting to note that
numerous artists groups of the second half of the
20th century questioned the very essence of artistic
production, negating it or shifting it closer to other
fields, such as architecture, design, theater or
science, in order to multi-disciplinary enlarge its
own field of activity.
The phenomenon of artists group is
paradoxical and dynamic. On the one side it is the
ver y negatio n of romantic idea of individ ualgenius, but on the other side the concept of the art
group is not based exclusively on the summation
of individuals, but draws its character from
multidirectional creative possibilities of different
interactions and synergic actions.
First of all, the phenomenon of artists group
indicates toward certain more or less prominentsocial conflict realized as the reaction of minority
of isolated individuals organized in a collective that
explores alternative models of powerredistribution. This social conflict is a prioripolitical gesture based on the oppositions that
reflect inability of an individual to confront the
system of restrictions and act within it.
Collective is a micro-system, bothsmall society and parallel society. Since the
possibility to act socially also means to partly fit
into the system, dynamics of artistic groups is
d ll b d b l h ll l bl h d d l k
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paradoxically based on balancing these parallel
identities. As a system the group is always fragile,
from one side threatened by ossification and
complete integration into the system, from the
other by its own disintegration. Balancing these
unstable factors and tensions functions as the veryvitality of artists group.
Creating the sense of closeness and making
some kind of a barrier, a membrane against
outside world, a group might be compared to a
family and thus indirectly points toward total crisis
of a family concept.
is inevitable that individuals working in a group
give up part of their identity and acquire certain
exclusive collective identity. Therefore, tobelong to a group inevitably expresses artisticand political attitude.
There is a constant fear of Western man oftotalitarian loss of freedom and accordingly the
need to express identity, autonomy and rights of
the subject, including hypertrophied forms of
political correctness, culture of complaints andharassment. Its flip side is hysteric search for
rules, subjection to various disciplinarian rituals
ranging from cults and masochism toBody radicals,subjection of free will, depersonalization,drowning in anonymous crowd and/or collective...
When is collective work truly productive and when
is it just a promotional tool or a mask for personal
weaknesses?
After sixties and seven ties personal ispolitical and eightiesyuppie individualism,in the nineties mass usage of digital commu-
nications networks and ideology of multi-culturalism shifted the focus toward virtua-lization of the body, fragmentary and fluid subject
Are couples a group?There are numerous models of constitutionsof artists groups. Dialogue and work distribution
are always parts of the model /even when the
opposite is claimed/. The sense of a shared secret
/even when the opposite is claimed/.
***
A group is creative laboratory, voluntary and
temporary think-tank isolation that enables
results of interactions to become socially active. It
d id h f l h d lid it b fli t
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and idea that everyone can freely choose and
change identity and social role. Behind this
permissiveness there is obsessive search for the
rules of behavior that would norm and order
unstable and fragile social life and alsopassionate
attachments to different types of fundamentalism.Parallel to it, especially in the Eastern Europe,
weve witnessed the collapse of state andnational identities, political systems and socialchanges brought about by so called transition- privatization, bankruptcy cases, unemployment,
loss of social stability, armed conflicts, wars and
destruction of whole cities. In the transitionprocess, the state lost its status as the political-
administrative representative of solidaritybased on work, and the new civil-social formof power based on private propertyhad beenestablished. In this new context, the state acquired
the function to regulate the conflicts resulting
from unsolvable contradictions of the new system,
which be comes repressive whenever these
conflicts can not be funneled by procedures of
parliamentary democracy or some negotiable
solution. Sociability is no longer based on
solidarity, but on conflicts.In this situation the question of the subject and
its relations to collective are necessarily raised.
What is it today to be subject and what is the
relation of the subject toward community? What
are his/her responsibilities to broader communityand how is a collective, community responsible to
individual? How is it possible to work together?
***
In many Eastern European countries there is
rich history of artists groups, whose work had beenalmost always performed at the social margins. In
Croatia, where this tradition dates from 1950s,
exactly those marginal artists groups changed
conservative visual language and offered strong
counterpoint to the production supported by
institutions of dominant cultural politics. In the
wider local context of ex-Yugoslavia, it is possible
to trace continual activities of artistic groups that
shared utopian ideas of out-of-system, critical
political activities in the public, redefined notion
and context of artwork, affirmation of category of
What is it
today to be
subject and
what is the
relation of the
subject
toward
community?
What are his/
herresponsibilities
to broader
community
and how is a
collective,
community
responsible to
individual?
h d h d t i li ti f t t d h tti i t bli dTh
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ephemera and chance, dematerialization of art
work and inclination to alternative spaces and
formats. The activities of groups like EXAT 51[1951 - 1956, Zagreb] Gorgona [1959 - 1966,Zagreb], Crveni Peristil [1968/69, Split], OHO[1966 - 1971, Ljubljana], Bosh + Bosh, [Subotica],Penzioner Tihomir Simi [1969, Zagreb], TheGroup of Six Artists [1975 - 1984, Zagreb] lefttraces whose echoes and modifications we can
discern in the activities of contemporary groups
like IRWIN, Ljubljana, Weekend Art Projekt,Zagreb, Crni Peristil, Zagreb, Ego East, Zagreb,
kart, Beograd...The ideas of group work culminated in latesixties and during the seventies, and 1968 idea of
collectivism initiated interaction with the public
and art getting out of galleries to public spaces of
squares and streets, universities, factories,
apartments, nature... For the Eastern European
groups it was often the only possible model of
working and essential feeling of belonging to the
group formed resistance to power structures and
flee from them. How general are these general
characteristics? What is the role of the group work
today when getting into public space and
interaction with the public are common means of
artistic expression? If in that context one can still
talk of critical art and its impact on the public, how
is it realized? What are the restrictions and
repression of recent global or transitionalsociety? Do we still perceive the public ascritical mass or as uninterested crowd? Theseare just some of the few questions that arisesfrom analysis of collective artistic work.
***
The experience of collective work within the
WHWmotivated the planed research that aims toexplore the issues and models of artistic
collaboration and groups in the light of broader
context of networks and groups that operate on
shifting grounds of life-styles and politics.
Invitation to collaboration to different artists
and cultural groups and simulations of collectiveshould result in temporary networks and
applications in formats characteristic for late
sixties and seventies artistic collectives:
The
experience
of collective
work within
the WHW
motivated
the planed
research
that aims to
explore theissues and
models of
artistic
collaboration
and groups
magazines project in public spaces and Disregarding the model of group activities and h
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magazines, project in public spaces and
exhibitions in alternative, non-gallery spaces.
Apart from classic model of artists groupsas closed unity, today there are many differentmodels of collective work. Possibilities opened
by new technologies and fast informationexchange enabled different networks andcollective work based on the network modelsis no longer dependant on the context of realtime and space. While classic group organizationwas based on the belonging, networks enableformation of temporary groups and possibility of
simultaneous participation in many differentgroups. Also, groups today very often appropriate
or simulate certain social forms or templates
present in the society. So a group canappropriate the form or identity of differentinstitutions: commercial companies, culturalinstitutions like museum or researchlaboratory. Often behind these appropriations of
forms there is and individual that by appropriatingframework or a form creates contra-culture and
actualizes own existence within the present system
or at its margins.
Disregarding the model of group activities and
their common goals, contemporary artists groups
and collectives are still characterized by enjoyment
of togetherness and more than ever are the groups
interested in the possibilities of communication
and limitations imposed on it in the broadest socialcontext.
***
The art object is no longer the most important
- exhibition as social event and relations it enables
or art projects as social projects are in the focus ofcontemporary art. This dematerialization of art
coincides with domination of financial capitalthat does not produce new values primarily in the
field ofmaterial production, but in the field offinancial speculations and stock-exchange games.
This, of course, enhances the role of a curator
who is no longer the one who just selects from the
catalogue of artworks, but who creates values andcontext. And the question is nowadays how toovercome this dominant but also almostexhausted paradigm of collective/group show
...the
question is
nowadays
how to
overcome
this
dominant
but also
almost
exhaustedparadigm of
collective/
group show
that simply gathers under common denominator The form of /anti/magazine as alternative way
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that simply gathers under common denominator
work s by di fferent artists, how to ac hi eve
cooperation, collaboration, truly collective work.
There are three levels - material level of
production of the object, the very process of work
production and its documentation, and socialrelation between artist and viewer/consumer,
including media and market mediation and
commentaries on that mediation. In all the periods
some of this aspects was central to the art
production. The question is now how to connect
them, how to bring back into artistic production
the very process of material production while notlosing sight of symbolic production and its special
aspects.
***
Actualization of the project would be preceded
by exchange of information, ideas and proposals
in the form of mail forum and work on themagazine. The process of communication is
equally important element as the very realization
of the project.
The form of /anti/magazine as alternative way
to distribute ideas and realize works has a long
tradition in the local and international context /
Gorgona, Maj 75.../.It would be a certain form of mail art that
gathers different material, documentation,programs, projects, artworks, manifestos,questionnaires...
By its very nature media are collective - theyappear due to the minimal feeling of connection
between creator/sender and receiver/consumer
and this relation is further strengthened by
participation in certain lifestyle. While the mediawere huge, dinosaurs, slaw, heavy, immobile and
centralized and thus unable to react fast enough to
the signals sent by body so huge, due to their
financial sustainability they were dependant on
mass audience. But these relations are nowadays
changed. Against broadcasting evennarrowcasting becomes possible, interestingand even financially lucrative. This also bring upthe issue of collectivity - of creative collective of
media creators, but also of possible models of
collective created by media - new tribes no longer
connected to space proximity and immediate framework ofthe projects developedby individual replacing
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connected to space proximity and immediate
contacts but drawn together by common interests,
communication codes and information
exchange...
***
The project Getting Together does notoffer participants strict spatial and temporal form
of the group show. Project is conceived as a series
of consequential and coordinated parallel actions
that should take place at different locations within
the city of Zagreb, but also in other cities in Croatiaand abroad. Abandoning the idea of the exhibition
as more or less monolith unit, in Zagreb we would
like to utilize vacant ex-socialist youth cultural
center at the very outskirts of the city, offered by
the City of Zagreb to the curators collectiveWHW.
It should be mostly used as the archive and working
space where documentation on the events initiated
in other cities would be displayed. Artists invitedto work in Zagreb could realize their projects at the
same location or at other public urban structures.
At the same time it would be presentational
framework of the projects developed by individual
artists who appropriate/simulate collective
framework of presentational models of museum,
company, institute etc /PARASITE, Slovenia,
Museo de Telenovella, Mexico/US, Rambutan
Society, Thailand, Salon des Fleures, USA/Yugoslavia, Museo della Calle, Columbia.../
Within this context we wou ld also like to
explore the possibilities of collaborating with the
artists collectives also nominated for evens award,
replacing exclusiveness of competitive concept by
explorations of cooperation within the broader
framework.The project of actions in the public space
initiates collaboration between artists collectives
that deal with related issues and with groups of
different cultural backgrounds. Interventions and
situations in public spaces might range from
palpable impact, redistribution of knowledge-
power or resources all to the subtle realizations of
utopian ideas and functions in the space that couldbe quite ephemeral, at the very limit of attention,
but at the same time could initiate some new
quality or indirectly function as temporary
...replacing
exclusiveness
of
competitive
concept by
explorations
of
cooperation
within the
broaderframework
subversion within the routine going on. It should area. During the acute conflict in ex-Yugoslavia,The project
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subversion within the routine going on. It should
be affirmation of the idea of possible network
collaboration of different collectives, subgroups,
and parallel networks /IRWIN, Superflex, Marko
Peljhans projects, Andr eja Kuluni s
Distributive Justice project.../
***
The project will explore not only the
relationships in and among artists groups and
collectives, but also the concept of a group as such.
The last decade in Balkans, that had becameterrifying European Other that embodies all that
is wrong in the eyes of Brussels bureaucracys
dream of the smooth functioning, has been
characterized by an inflation of groups and
associations, from dozens of almost daily emerging
new political parties, humanitarian organizations,
non-profits and citizens associations, to scary but
ever more present mafia groups. The aim of theproject is to explore these new groups that have
replaced our old solidarity and one for all, all
for one concepts that prevailed at this geographic
area. During the acute conflict in ex Yugoslavia,
the huge number of humanitarian and human-
rights organizations emerged, dealing with issues
from providing help in crisis, trauma prevention
and recovery, peace building, reconciliation, and
reconstruction to sophisticated media andmanagement training. In the early nineties, the so
called NGO scene, non-governmental scene,
acquired a certain pop quality of the freedom
fighters and trouble makers. However, in a short
time period of few years, the whole scene became
completely professionalized and dependent on
large influx of foreign donations and programpriorities, at times even adopting an almost cynical
approach to its work.
Although they still remained burning issues of
our societies, questions like return of refugee
populations to their homes, including their
peaceful reintegration to old communities,
building the relationships with neighboring
countries, suppressing xenophobia and includingnational minorities into society processes and
structures have somehow drifted away from our
collective consciousness. The conflict is over and
The project
will explore
not only the
relationships
in and
among
artists
groups and
collectives,
but also theconcept of a
group as
such
things are better swept under the carpet. Instead Utopias possess a
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g p p
of switching their priorities along with media and
donor attention, some of the organizations have
nonetheless continued to work on difficult issues.
The project would like to investigate the possi-
bilities of communication and structured dialogueamong artists collectives and these collectives on
reevaluating the content and context of our peace.
These cross-border collaborations would be
initiated through our already established network
with organizations from Belgrade, Sarajevo and
Ljubljana.
Utopias possess akind of modestywhich repels people.
Elias CANETTI
WHAT, HOW AND FOR WHOM The projects organized by WHWwere realized
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on the occasion of 152nd anniversary
of the Communist Manifesto
Zagreb, 16/06 - 28/07/2000
budget 23,255
WHAT, HOW AND FOR WHOMon the occasion of 153rd anniversary
of the Communist Manifesto
Vienna, 21/06-28/07/2001
budget 20,451
PROJECT: BROADCASTINGdedicated to Nikola Tesla
Zagreb, June 2001 - ....
budget 46,016
p j g y
with minimal financial means and with the support of
various national and international agencies. We
repeatedly received grants from the Ministry of
Culture of Republic Croatia, The City of Zagreb
Cultural department, European Cultural Fondation,KulturKontakt Austria, Open Society Arts and
Culture Network, OSI Cultural Link Program, Pro
Helvetia... In all the project we also collaborated with
the national agencies which support the participation
of their local artists in international programs: The
British Council, The Flemish Institute, The Swedish
Institute, Danish Contemporary Art Institute,Goethe Institute, Austrian cultural institute, Institut
Franaise...
We are especially glad that all WHW projects
received a number of small sponsorships from local
firms and private offices. Although the Croatian
legislation does not grant benefits for culture
sponsoring, WHWtries to develop models of
collaboration between non-profit sector and
economically powerful companies.
This is indeed the very meaning of the commodityThis is indeed the very meaning of the commodity
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This is indeed the very meaning of the commodityas a form, to obliterate the signs of work onthe product in order to make it easier for us to forget
the class structure which its organizationalframework. It would indeed be surprising if such anoccultation of workdid not leave its mark uponartistic production as well, both in the form andin the content...
[Fredric JAMESON]
This is indeed the very meaning of the commodityas a form, to obliterate the signs of work on
the product in order to make it easier for us to forget
the class structure which its organizationalframework. It would indeed be surprising if such anoccultation of workdid not leave its mark uponartistic production as well, both in the form andin the content...
[Fredric JAMESON]
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54 WHAT, HOW AND FOR WHOM
curators:Ana DEVI, Nataa ILI, Sabina SABOLOVI
consultant:Ivet URLIN
design:Dejan Kri & Rutta [arkzin]
fonts: Filosofia [emigre]
Eunuverse [Barry Deck]
Bliss [Jeremy Tankard]digital print:PagiGraf
Zagreb 2002