Selected bibliography, 2016
Dr. Suzana Milevska
Research,
curatorial and theoretical interests:
Visual arts and postcolonial critique of hegemonic power in art;
gender difference and feminist art;
the construction of visual memory in photographic archives;
arts in postsocialist and transitional societies;
collaborative and participatory art practices.
gender difference and feminist art;
the construction of visual memory in photographic archives;
arts in postsocialist and transitional societies;
collaborative and participatory art practices.
1. Selected books,
chapters and texts in readers
“Microhistories and Internalisation of Macrohistories-A Case Study:
Liljana Gjuzelova’s
Projects Eternal Recurrence
and Woman’s Book at the Intersection between microhistories and
macrohistories,” Microhistories. Edited
by Magnus Bärtås and Andrej Slavik, Stockholm: Konstfack University College of
Arts, Crafts and Design, 2016, 190-207.
“Introduction: On Productive Shame,
Triangulations of Shame, Reconciliation, and Agency.”
On Productive Shame, Reconciliation, and Agency. Introduction and edited by Suzana
Milevska, Berlin: Sternberg Press,
2016, 10-41.
“Inside Out: Critical art practices that
challenge the art system and its institutions” (with
Alenka Gregorič), Inside Out-Not So White Cube. Edited and introduction by Alenka
Gregorič and Suzana Milevska, Ljubljana:
City Art Gallery, 2015, 9-27.
“Left outside the fame, or the
Impossibility of the Return of the Same.”
Apotheosis, Apocalypse, Apocryphon: Defied Nations,
Deified art, Edited by Jiri Priban and Katarina Rusnakova, (Jiri David, National Pavilion of
Czech Republic, 56 International Exhibition of Art Venice Biennial, National
Gallery Prague), Cologne: Verlag der Buchhandlung Walther Koenig, 2015,
105-116.
“Feminist Critique-Open and Critical Enquiry-a
Conversation between Katy Deepwell and
Suzana Milevska.“ Spaces of Criticism: Shifts in Contemporary Art Discourses. Thijs
Lijster, Suzana Milevska, Pascal
Gielen and Ruth Sonderegger (eds.), Amsterdam:
Antennae Valiz, 2015, 171-190.
“Veils/Folds/Events-Production of face in space-time”. Now/Not Now, Edited by Renate Lorenz, Berlin: Sternberg Press, 2015, 104-127.
From
Institutional Parasitism to Reverse Recuperation, Agency and Solidarity-The Art
of Tadej Pogačar, Berlin: Archive Books, 2014.
Die
Potenz und die Potenzialität der Transindividualität im Lexicon of Tanja
Ostojic, Berlin: UDK, 2014.
“Agalma: ‘The Objet Petit a’, Alexander the Great,
and other excesses of Skopje 2014”,
Visualise the Invisible. Edited by Lott Alfreds and Charlotte Aberg, Stockholm: Art Agent Press, 2014,
43-53.
“Master-Slave Dialectics in the Feminine”. Performative Gestures, Political Moves. Edited
by Katja Kobolt and Lana Zdravković, Ljubljana: City of Women,
Ljubljana and Red
Athena
University Press, 2014, 27-46.
“Dear Dirty Money, or I am Doing ‘It’
for Art and Love”. Dear Money. Bucharest:
Association Salonul de Drojecte,
Museum of Contemporary Art, 2014, 45-60.
“The Editor’s Notebook: The Inner
Perspective of the Noologist’s Mind”
Warren Neidich Berlin Works: The Noologist’s Handbook and Other Art
Experiments. Edited by Suzana Milevska. Berlin: Archive Books,
2014, 10-24.
“On History and Solidarity: Performative Reading of Women’s Book by
Liljana Gjuzelova”.
Performing the
Sentence Research and Teaching in Performative Fine Arts. Edited by
Carola Dertnig and
Felicitas Thun-Hohenstein, Berlin: Sternberg Press, 2013, 190-200.
“Becoming-Curator”. The Curatorial-A Philosophy of Curating. Edited
By Jean-Paul
Martinon, London: Bloomsbury Academic, 2013, 65-73.
“Curatorial Agency” and “Kritische Kuratorien.” Handbuch
Ausstellungstheorie und –praxis.
Edited by
ARGE schnittpunkt, Wien: Böhlau UTB, 2013, 152, 164-165.
“Pushing the Limits of Institutional Recuperation: Sanja Iveković’s
works challenging
post-Nazi context and racism”. Sanja
Iveković: Unknown Heroine-Reader, Edited by
Helena Reckitt, London: Calvert 22 Foundation, 2013, 88-110.
“With Special Thanks
to: Balkan Curator, First Person Feminine”. Curating
‘Eastern
Europe’ and Beyond:
Art Histories through the Exhibition. Edited by Maria Orišková,
Frankfurt/Bratislava: Peter Lang GmbH, 2013, 177-186.
“With Special Thanks to: Balkan Curator, First Person Feminine”. Women’s
Museum. Edited
by Elke Krasny and Frauenmuseum Meran, Löcker Verlag, 2013, 109-121.
“Gender Difference, or the ‘Silkworm Cocoon’ of Feminist art and
Curatorial Research and
Practices in the Balkans”. Politics
in a Glass Case Feminism, exhibition cultures and
curatorial transgression. Edited by Angela
Dimitrakaki and Lara Perry, Liverpool, UK: Liverpool University Press, 2013,
227-244.
“The Eternal Return of Race: Reflections on East European Racism” (with
Arun Saldanha).
Deleuze and Race. Edited by Arun Saldanha and
Jason Michael Adams, Edinburgh, UK: Edinburgh University Press, 2013,
225-247.
“Feminist Research in Visual Arts”. Art as a Thinking Process Visual
Forms of Knowledge
Production, edited by Mara Ambrožič and Angela Vettese, Sternberg Press and
Università IUAV di Venezia 2013, 162-176.
“Kunst jenseits von Gesellschaft. Subversion und
Recuperation der Zeitgenossischen Kunst”,
Kunst, Krise, Subversion Zur Politik der Asthetik. Nina Bandi, Michael. G. Kraft, Sebastian Lasinger
(eds.), Biielefeld: Transcript Verlag, 2012, 149-67.
“The Reciprocal Relationship between Art and Visual Culture in the
Balkans”. Space
(Re)solutions
Intervention and Research In Visual Culture. Edited by Peter Mörtenböck and Helge Mooshammer, New Brunswick,
USA/London, UK[transcript] 2011,101-14
The Renaming
Machine-the book. Edited
by Suzana Milevska (texts by Suzana Milevska,
Gayatri
Chakraworty Spivak, Kristine Stiles, Jean-Paul Martinon, Zhivka
Valiavicharska,
et. al.), Ljubljana, Slovenia: P.A.R.A.S.I.T.E. Institute, 2010.
Gender
Difference in the Balkans. Saarbrucken: VDM Verlag, 2010.
Art
and Globalization. Edited by James Elkins, Zhivka
Valiavicharska, and Alice Kim, Pennsylvania University Park: The Pennsylvania State University
Press, 2010, 61. 165, 176, 210.
“Zwischen zwei Visuellen
Ideologien. Geschlecht, Feminismus Visuelle Kultur Unt Kunst Im
Osten”.
Und jetzt – Kunstlerinnen aus der DDR, 2009, Nurnberg, Germany: Verlag
fur Moderne Kunst, 45-53.
“Participatory Art Practices and
their Hierarchies”. PÖPP 68. participation, objections,
anyhow texts,
dialogues and participation, Berlin: NGBK, 2009, 31-43.
“Femina Sacra: Bipower and
Paradoxes of Humanity in the Art of Tanja Ostojić”. Integration
Impossible? The
Politics of Migration in the Art Work of Tanja Ostojić, Berlin:
Argo Books, 2009,
223-9
“Cultural Translation and Agency in
SEE Cultural Policy”. New Paradigms, New Models –
Culture
in the EU External Relations, Ljubljana, Slovenia: Peace Institute,
Slovenian Academy of Arts and Sciences, 13-14 May, 2008, 21-8
“The
Hope and Potentiality of the Paradigm of Regional Identity”. ManifestaCompanion.
Edited
by Adam Budak and Nina Montmann, Milano: Silvana Editoriale, 2008, 330-
337.
“Curating as an Agency of Cultural
and Geopolitical Change.” Continuing Dialogues. Edited
by
Christa Benzer, Christine Bohler, Christiane Erkharter, Vienna: JRP/Ringier,
2008, 183-191.
“The Phantasm(s) of Belonging:
Belonging without Having Something in Common’.
Volksgarten Politics
of Belonging. Edited
by Adam Budak Petar Pakesh, Katia Schurl.
Kunsthaus Graz am
Landes Museum Joanneum, 2008, 110-119.
Curatorial
Translation, Edited
by Suzana Milevska and Biljana Tanurovska, Skopje,
Macedonia:
Euro-Balkan Press, 2008.
“Becoming
Woman from a Feminist Point of View”. New
Feminism: worlds of feminism,
queer and networking conditions. Edited by Marina
Gržinić and Rosa Reitsamer. Vienna: Löcker Verlag, 2007, 41-48.
“Resistance
that Cannot Be Recognised as Such – interview with Gayatri C. Spivak”.
Conversations with Gayatri Chakravorty Spivak, London: Seagull
Books, 2007, 57-85;
“Is
Balkan Art History Global”. Is Art
History Global? Edited by James Elkins. New York:
Routledge,
2006, 214-222.
“Macedonian Art Stories.” East
Art Map. Edited by IRWIN, London: MIT Press/Afterall,
2006, 252-260.
“Hesitations, or About Political
and Cultural Territories.” Cultural Territories. Edited by
Barbara Steiner,
Julia Schäfer and Ilina Koralova. Köln:Verlag der Buchhandlung
Walther König,
2005, 31-43.
“Sozialistische Moderne – was war
das? Heimat Moderne”, Leipzig:
Jovis Verlag, 2005,
E21-2.
“Esemeny teljesseg – csaladi
archivumok mint esemenyek/retegek/leplezesek”. Exponalt
Emlek –Csaladi
Kepek A Magan – Es Kozossegi Emlekezetben, Budapest:
Mukritikusok Nemzetkozy
Szovetsege AICA Magyar Tagozata, 2005, 112-21.
“Curatorial Labyrinths in
Macedonia” in Men in Black – Handbook of Curatorial Practice,
Edited by Christoph
Tannert/Ute Tischchler, Kűnstlerhaus Bethanien, Berlin, 2004.
“Curating Women Artists.„ CAMK.
Kumamoto, Japan: Contemporary Art Museum, 2003-
2004, 661- 671.
“The portrait of an artist as a
young strategic essentialist.‟ Tanja Ostojić - Strategies of
Success /Curators
Series 2001-2003. La
Box, Bourges and SKC, Belgrade, 2004, 33-
47.
“The Readymade and the Question of
Fabrication of Objects and Subjects.” Primary
Documents - A
Sourcebook for Eastern and Central European Art since the 1950s,
Edited by Laura
Hoptman and Tomáš Pospiszyl, New York: The MOMA, 2002, 182-
191.
“Suzana Milevska”, Die
Anthologie der Kunst 2001-2002, Köln: DuMont Verlag, 2004, 93-4.
“Anthologie der Kunst”. Kunst
Nach Ground Zero, Herausgegeben von Heinz Peter
Schwerfel, Köln:
DuMont Verlag, 2002.
„Electronic Art: Fetish or Gift.‟ The
Absolute, The Desperate, The Real. Edited by Marina
Grzinić, Celje,
Slovenia: Gallery of Contemporary Art, 2001, 47-54.
“Cinderella Syndrome”. Future
Perspective, Edited by Marina Grzinić, Umag, Croatia:
Gallery Cettina,
2001, 116-9.
“Capital and Gender: Wild Being and
Tamed Being” in Capital and Gender. Edited by
Suzana Milevska,
Skopje, 2001, 16-20.
“From the Bat's Point of View.” Eduardo
Kac. Edited by P. T. Dobrila and A. Kostić, Kibla,
Maribor, 2000,
47-58.
“Stories about the Selves”. Magnus
Bärtås, Kunstcentrum, Gävle, Sweden, 2000, 56-74.
“The Image of the Other” (preface)
in The Image of the Other (English) Edited by Suzana
Milevska) Reader
of original papers for the HESP/OSI Summer School: The Image of
the Other (1 -21
July 1999), OSI-Macedonia, 2000.
“Documenting the Aura” in What
Memories for the Contemporary Arts,( Reader) Congress
of AICA, Rennes:
University of Rennes, 1996.
“Documenting the Aura” in EAST
V2 (a reader), V2, Rotterdam, 1996.
“The Question of the Fold” in
Architecture and Film, Architecture and Film (Reader),
Skopje: SCCA, 1996.
“Interactivity: Promiscuity or
Gesamtdatenwerk” in Interactivity (Reader), SCCA, 1996.
“Postmodernism - Religion Without
God”, in Pluralia Tantum, Edited by Suzana Milevska
(A Reader of
original and translated texts on the postmodern theory) Fenix, Skopje,
1995.
Žak Derida. Mamuzi - Stilovite
na Niče. Tabernakul, Skopje, 1995. (Translation from English
and French into
Macedonian), preface by Suzana Milevska for: Jacques Derrida.
Spurs -Nietzsche's
Styles. The
University of
Chicago Press. Chicago London, 1979.
2.
Texts
in catalogues
“Spaces Without Bodies: Beyond Representation of Militant Events and
Images” (Catalogue: Sabine
Bitter and Helmut Weber), 2015 (In print).
“Tomislav Gotovac’s Embodied Violent Speech Acts as a Counterdiscourse
and Institutional
Critique.” TG - Pure Words:
Tomislav Gotovac, Vienna: Michaela Stock Gallery,
2014.
“CODE: Red-The Political and Art Economy of Sex Work”. Tadej Pogačar
&
P.A.R.A.S.I.T.E. Ljubljana: Moderna galerija, 2014, 113-124.
“Dictionary of Transition.” Places of Transition, Curated by Gülsen Bal and Walter Seidl. Freiraum
quartier21 INTERNATIONAL, 24 January – 21 March 2014, 9-17.
“Shoum Shoum Lajdi o Lau: The
Politics of False Memories Syndrome and Altered
Connections”. Altered Connections-Recent Art from Serbia. Curated
by Jeffrey Hughes. St. Louis, WA.: The
Cecille R. Gallery-Webster University, 2013, 6-9.
“Feminist Agency in Sanja Iveković’s Work- “Apophatic”
Vs. “Kataphatic” Principles”. Sanja
Iveković- Unknown Heroine. London: Calvert 22 and South London Gallery, 2012, 73-84.
“Artistic Strategies and Positions Challenging
Post-Nazi Cultural Spaces”. Sanja
Iveković Disobedient. Galerija SC,
Zagreb, 2012.
“Lunar Geological Map of Racism: on Racism and Slavery
as Addressed in Sasha Huber’s
“Rentyhorn”, Rentyhorn-Agassizhorn. Edited
by Sasha Huber. Helsinki, Finland:
KIASMA, 2011, 33-40.
What
It Feels to be a Girl. Jelena Kovačević Jureša. (Catalogue) Museum of Contemporary Art Novi Sad, Serbia, 2009, 21-31.
‘What Comes After Racism?’ Vladan Jeremic and Rena Raedle (Catalogue) Museum of Contemporary
Art, Novi Sad, Serbia, 2009, 29-35, 57-63.
Fragmented
Archive of the Artist from the Country in Transition (Catalogue
Gjorgje Jovanovik) MC Gallery, New York, USA, 2009.
“Workers’ Club” - International Prague Biennial – National
Gallery, Prague, 2005
“Cosmopolis” – Microcosmos
X Macrocosmos, Catalogue, State Museum of Contemporary Art, Thessaloniki,
Greece, 2004
“Multiplications”. Catalogue.
Museum of the City of Skopje and British Council, 2004.
“A Gaze at the Naked
Truth”. Tanja Ostojić - Venice Diary.
Museum of Contemporary Art, Zagreb, 2002
“The Body Thinks”. Catalogue. Museum of the City of Skopje, 2002
“Women Are Different Among Themselves”, Aren’t They? Liquor Amnii 1,2 (Catalogue), CAC, Skopje, 2000, 3-5
“Neighbours” (Catalogue
for Oliver Musovik) Open Graphic Art Studio, Skopje, March, 2000, 3-14
“Taking Shoes
off” (Catalogue for Oliver Musovik) CIX
Gallery, Skopje, March, 1999, 3-10
“Bodily Fluids” (Catalogue
for Violeta Capovska). CIX Gallery, Skopje, June, 1999
“Always
Already Apocalypse” (Catalogue),
IZIIS, Museum of the City of Skopje, 26 July,
1999
“Always Already Apocalypse 2” (Catalogue), Yuksel
Sabanci Art Center, Istanbul, 18.09-2.10,
1999
“Faulty Ready Made”.
After the Wall (Catalogue),
Moderna Museet, Stockholm, 16.
10. 1999
“Igor Tosevski”. After
the Wall (Catalogue), Moderna Museet, Stockholm, 16. 10. 1999
“Once Upon a
Time” in Catalogue, Little Big Stories, Rijksarchivet,
Stockholm, Sweden,
1998
“A Story with
Many Beginnings” in Catalogue Manifesta
2, Luxembourg, 28 June - 28
October, Luxemburg, 1998
“Liquor Amnii 2”,
Convergence X Festival, Providence, U.S.A., June, 1997
“The Bridge”, in Catalogue for Marina Abramovic, The
Museum of the City of Skopje,
Skopje, September, 1997
“Eavesdropping The Sites, Changing The Kilit”, in On Beauty, Translations and Other Difficulties (Catalogue) 5th International
Istanbul Biennial, Istanbul
Foundation for Culture and Arts,
Istanbul, 5 Oct.-9November,1997
“Desiring Machines”,
in Catalogue, A. Stankovski, Igor Tosevski......., Yildiz University, Istanbul, 2-16 Nov. 1997
“The
Paradoxical Effects of the Performative Artistic Act”, in Catalogue for Igor Tosevski, The
Museum of the City of Skopje, Skopje, March 1997
“Liquor Amnii”,
Skopje Summer Festival, 26,27,28 July, Skopje, 1996
“Nomadism of Signs”,
(Žaneta Vangeli), in Catalogue: Orientation - The Vision of Art in the Paradoxical World, for the 4th
International Istanbul Biennial, Istanbul Foundation for Culture and Arts, Istanbul, November, 1995
“Žaneta Vangeli”,
in Catalogue, The Ministry of Culture of Republic of Macedonia, City Museum of Skopje, SCCA, (for the 4th International
Istanbul Biennial), Skopje, 1995
“The Pragmatism of Signs”, in Catalogue for Server Demirtas, Yildiz Teknik Universitasi, Istanbul, November, 1995.
“Self and Other”,
in Catalogue for Žaneta Vangeli, Mirna Arsovska, Aneta Svetieva, Yildiz Teknik Universitasi, Istanbul, April, 1995
“Writing and Difference”, in Catalogue (Žaneta Vangeli, Bedi Ibrahim, Bogdan Grabuloski, Violeta Blazeska, Tomur Atagok, Ismet Dogan,
Server Demirtas, Helen Sear), Gallery
B, Istanbul, October, 1993
“Art and Death”, in catalogue for Ismet Dogan, City Museum
of Skopje, Skopje, September,
1993
“Order/Chaos”,
in Catalogue (Aleksandar Stankovski, Zlatko Trajkovski, Žaneta Vangeli, Ismet
Ramicevic, Suzana Milevska), City Museum of Skopje, Skopje, December, 1992
“Signature, Event, Context”, in Catalogue for S. Milevska and Robert Jankuloski, Youth Cultural Center, Skopje, June, 1992
“Chierogamy”, in
Catalogue for Bedi Ibrahim, Yildiz Teknik Universitesi.Istanbul, 8-10, 1992
“Fragment,
Montage, Context”, in: Standpunkt:
Macedonien Gruppe Zero Aus Skopje,
catalogue, Osteuropaisches Kultur und Bildungzentrum, Cologne, May-June,
1990.
3.
Selected
texts in periodicals (academic peer reviewed journals and professional art
magazines)
‘Ágalma: The ‟Objet Petit a,” Alexander the Great, and Other Excesses of Skopje 2014’, e-flux journal no. 57 (September 2014) 2014.
“Voice(s) of One’s Own: Writing a Catalogue Text as a Specific Genre of Interdisciplinary and Performative Writing”. On Curating. Issue 14, 2012: 31-35.
‘World Art in Reverse
Perspective’. World Art, Routledge:
Taylor & Francis Group. Vol. I, Nu. 2, 2011, 273-81.
‘Women Bear
Witness’, n-paradoxa, Vol. 28, 2011:
58-64.
‘Artistic and Theoretical Strategies Challenging Racism’. Red Thread.Archive / Issue 3 (2011), http://www.red-thread.org/en/article.asp?a=62
‘Bellville,
or the Return of Racism’. Exploring the
Return of Repression. Bucharest: Pavilion Unicredit, Sept. –Nov., 2009: 23.
‘The Eternal Return of Race’. Springerin. Volume XV, Number 4, Autumn,
Vienna, 2009: 25-9.
‘Is there Racism on the Moon?’ Frameworks –Finnish Art Review. No. 10,
June, Helsinki, 2009:92-5.
‘Macedonian Photo Statements on Different
Power Games and Strategies’. Eikon, 63,
Vienna, 2008: 29-33.
‘Macedonia: Rogue State or State of
Exception’. Evropa in Kapitalisticnem
A(rt) Molu, Maska. Ljubljana, No. 115-116, Summer 2008: 52-9.
‘Casting Žižek: Manliness as a
Masquerade.’ (with Katerina Kolozova). The
International Journal of the Humanities.
Volume 5, Number 8, 2007: 157-163.
‘Sodelujoči in žrtve
sodelovanja: Documenta 12’, Maska, Does
Production Dance Alone, 2007.
‘Balkan
Subjectivity as Neither.’ Third Text. THE BALKANS. Guest Editors: Louisa Avgita and
Juliet Steyn. Vol. 21, Issue 2, March 2007: 181-188.
‘Not Quite Bare Life:
Rules and Exemptions.’ springerin. Documenta 11, Volume 13, Number 1, Winter, 2007: 37-41.
‘Participatory Art: A Paradigm Shift from Objects to
Subjects.’ springerin. Volume 12, Number 2, Spring 2006:18-23.
‘Four Patches for the World Game’. PlatformaSCCA,Nu. 4, 2005: 56-65.
‘objects and bodies: objectification and
over-identification in Tanja Ostojić's art projects.’ Feminist
Review. Volume 81, Number 1,
November 2005, 112-118(7).
‘Postcommunist
Translations: Synonym, Homonym, Palindrome.’ springerin, Vienna, Vol.10 Spring Nu.1 2004:18-21.
‘Curating
Women Artists‘. CAMK. Kumamoto,
Japan: Contemporary Art Museum, 2003-2004, 661- 671.
‘The World as
the Home for the Other.’ Springerin. Vienna,
Vol. 8. Nu. 3/02, October November, 2002, 50-53.
‘Ready-made or Fabrication of Objects and Subjects’. Afterimage. Rochester, NY, Jan.-March,
2001
‘Curator in
Feminine’. Curare. Mexico, Mexico,
No. 1, Jan. 2001, 30-39.
‘Chocholatte & Papper’. Flash Art. Milan, Summer, 2000.
‘Skopje –
Macedonia’. Flash Art. Milan, Nu.
May-Juni, 1999.
‘Dr. Jekyll & Mr. Hyde Syndrome’. Springerin. Vienna, Nu. Marz-Juni,1999.
‘The First Peep-show in the City’. Flash Art. Milan, Summer, 1999.
‘Conceptual Art
Vs. Aesthetics’. Golemoto Staklo. Skopje,
Nu.7/8, 1999.
‘6th Istanbul Biennial’. Springerin. Vienna, Nu. Jully-October,
1999.
‘The Film as a Palindrome’. Macedonian Review. Skopje, 1998.
‘The Good, the Beautiful and the Stressed’. Index. Stockholm, Nu. 21, 1998.
‘The Faulty Ready Made Vs. the Perfect One’. Index. Stockholm, Nu. 22, 1998.
‘Anika Erikson’. Index.
Stockholm, Nu. 23, 1998.
‘One Story,
Many Narrators’. Krasnogruda. Sejny-Stockholm,
No.8, 1998.
‘Permanent Instability - Onufri' 98’. Springerin. Vienna, Nu. Marz-Juni,1998.
‘It’s Highness: the SCENE’. Margina. Skopje, Nu. 30, 1997.
‘Renaissance of the Black and White Film’. Kinopis. Skopje, Nu. 17, 1997.
‘The Voice and the Light of the Invisibility’, Kinopis. Skopje, Nu. 17, 1997.
‘Thou Shalt Not Kill’. Siksi. Stockholm, Summer, Nu. 2, 1997.
‘Projection of High Energy’. (interview with Marina
Abramovic), Golemoto staklo, Skopje,
Nu. 6, 1997.
‘Languages of Beauty and Ethics’. (5th International
Istanbul Biennial). Golemoto staklo, Skopje, Nu. 6, 1997.
‘Hysteroscopy or Anatomy as Destiny’. Golemoto Staklo. Skopje, No. 3, 1996.
‘The Film as a Text and Phantasm’ (the influences of
deconstruction and psychoanalysis on film theory). Kinopis, Skopje, No. 14, 1996.
‘The Photographic Representation as Appropriation’. Kinopis. Skopje, Nu.15, 1996.
‘Sayilarin
Pragmatigi’, Hurriet Gosteri. Istanbul,
March, 1995.
‘Ben Ve Digeri’, Anouns.
Istanbul, May, 1995.
‘Ismet Dogan
kavramsalci mi nominalist mi’. Hurriet
Gosteri. Istanbul, March, 1993.
‘Jazi ve Farkilik’. Anouns. Istanbul, Nov. 1993.
‘The Purloined Letter’ (Husseyn B. Alptekin and
Michael Morris). Ars ve Dekorasyon.
Istanbul, Dec. 1992.
4.
Citation
Index
a)
Texts
Included in Syllabi of Academic Courses
“Participatory Art: A Paradigm Shift from Objects to Subjects” in “New Fall Course: ARTS 105(F) Participatory Media Production” <www.williams.edu/amst/courses/105>.
“Women are Different, Aren’t They?” in “FACS 4930.06: Cultural Theory through Interactive Multimedia” <http://www.yorku.ca/caitlin/4930/reading.htm>.
“Ready-made or Fabrication of Objects and Subjects” in “Plagiarism, How not to do it”. Writing Centre at Emily Carr University of Art + Design, <http://blogs.eciad.ca/wc/all-posts/25/>.
b)
Selected texts, interviews and reviews about Milevska’s curatorial projects and
books, references, passim quotations
"Diese
Geschichte wurde noch nicht geschrieben." Interview with Suzana Milevska
by 16.
April 2014, http://derstandard.at/1397520711671/Diese-Geschichte-wurde-noch-nicht-geschrieben.
Interview With Macedonian Curator
Suzana Milevska Kris Kulakovahttp://thenewcontemporary.com/2014/03/14/interview-with-macedonian-curator-suzana-milevska/
“Continuous
Repositioning”, Interview with Suzana Milevska by Maja Ćirić, Supervizuelna
–Online magazine for contemporary art, Belgrade, 2014,
http://www.supervizuelna.com/razgovori-suzana-milevska-kontinuirano-repozicioniranje/
Crista Benzer,
‘Suzana Milevska-The Renaming Machine-the Book’, springerin, 2011, XVII/2, 70-71.
Art and Globalization, Edited by James Elkins, Zhivka
Valiavicharska, and Alice Kim, Pennsylvania University Park: The Pennsylvania
State University Press, 2010, 61. 165, 176, 210.
Valerie Da Costa,
‘Artistes Chent Identitѐ’, Mouvement, Avril-Juin
2010, 146-150.
Martina
Pachmanová, ‘The Double Life of Art in Eastern Europe’, Art
Margins, Contemporary Central and East European Art and Visual Culture, 2 November 2009
EM. ‘Contemporary
Arts in/beyond Macedonia’, Interview with Suzana Milevska, Euroart Magazine, web magazine, ISSUE09 / WINTER 2009, 2 November 2009
<http://www.euroartmagazine.com/new/?page=1&content=184>.
Dea Vidovic. ‘Interview with Suzana Milevska’, 2 November 2009 <labforculture.org/en/.../blog/interview-with-suzana-milevska>.
‘Interview with
Suzana Milevska’, Apr 30th, 2008, Skopje, Macedonia, The Balkans Project, 2 November 2009 http://balkansproject.ips-dc.org/?p=25
Соња Абаџиева. Супер(х)ерос. Скопје: Национална галерија, Скопје 2007, 54,
110
Erden Kosova. East Art Map. London:
Afterall, 2006, 500
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