gender-wise

Collaborative Curating

2008-02-02T21:42:00.001Z

11-12 February, Ljubljana
World of Art Workshop
SCCA - Ljubljana

CURATORIAL TRANSLATION

2007-09-12T23:46:00.000+01:00

CURATORIAL TRANSLATION
24-30 September, 2007, Skopje

23.09. (Sunday)
Arrival of the participants
19:30 Dinner

24. 09. (Monday)
10:00-13:00 Curatorial Translation Lab *
Welcoming the participants and introductory workshop session led by the workshop leaders: Suzana Milevska, Nat Muller and Luchezar Boyadjiev.
Workshop leaders introduce the themes, the structure and the objectives of the workshops.
Participants will be divided in three different groups:
-Translating theory into curatorial practice (leader: Suzana Milevska)
-Intercultural curatorial translation (leader: Nat Muller)
-Translating artistic practice into curatorial projects (leader: Luchezar Boyadjiev)
Visual and Cultural Research Centre (address: Partizanski odredi 63)
13:00-14:00 Lunch Break

Afternoon session
14:00-16:00 Visits to local art and cultural institutions *
Informal meetings with curators working in local institutions who will introduce the history and programmes, as well as the problems of the visited museums, galleries and cultural centres exhibiting local and international artists.
National Gallery "Daut Pasha Amam" (address: Old Skopje Bazaar) and National Gallery "Cifte Amam" (address: Bitpazarska Street, Old Skopje Bazaar)
16:00-17:00 Tea Break in Gallery 7 *
A break in Gallery 7 - a tea shop in the Old Skopje Bazaar that used to be an important alternative hangout of artists and intellectuals in Skopje that hosted some public art events during the 80s and 90s.
17:30 –19:00 Meetings with artists *
- studio visits and research interviews with artists.
The participants of each of the three groups meet different local artists.
I group: Liljana Gjuzelova
II group: Zaneta Vangeli
III group: Yane Calovski
19:30-21:30 Reception at press to exit project space *
Yane Calovski, artist and Artistic Director of press to exit project space will introduce the programme of press to exit project space and the exhibition: "Oskar Hansen’s Museum of Modern Art” (Hristina Ivanoska and Yane Calovski)
press to exit project space (address: Maksim Gorki, 19)

25.09. (Tuesday)
10:00-13:00 Curatorial Translation Labs *
Workshops devoted to the three major topics.
Participants are divided in three different groups in three spaces:
-Translating theory into curatorial practice (leader: Suzana Milevska, venue: Visual and Cultural Research Centre, address: Partizanski odredi 63)
- Intercultural curatorial translation (leader: Nat Muller, venue: press to exit project space, address: Maksim Gorki 19)
-Translating artistic practice into curatorial projects (leader: Luchezar Boyadjiev, venue: Cultural Centre “Tocka”, Kliment Ohridski 15)
13:00-14:00 Lunch Break

Afternoon session
14:00-17:30 Visits to local art and cultural institutions *
informal meetings with curators working in local institutions: Museum of Contemporary Art (address: Samoilova bb) and Cultural Centre "Mala Stanica" (address: Zeleznicka 18)17:30 – 19:30 Meetings with artists *
- studio visits and research interviews with artists
The participants of each of the three groups meet different local artists:
I group: Aleksandar Stankoski (18:00-19:30)
II group: Tihomir Topuzovski (17:30-19:00)
III group: Dejan Spasovik (17:30-19:00)
19.30 Dinner

26. 09. (Wednesday)
10:00-13:00 Curatorial Translation Labs *
Workshops devoted to the three major topics and groups:
-Translating theory into curatorial practice (workshop leader: Suzana Milevska, venue: Visual and Cultural Research Centre, address: Partizanski odredi 63)
- Intercultural curatorial translation (workshop leader: Nat Muller, venue: press to exit project space, venue: address: Maksim Gorki, 19)
-Translating artistic practice into curatorial projects (workshop leader: Luchezar Boyadjiev, venue: Cultural Centre: “Tocka,” address: Kliment Ohridski 15)
13:00-15:00 Lunch Break

Afternoon session
15:00-16:00 Visits to local art and cultural institutions *
Cultural Centre: “Tocka”
16:00 – 18:00 Curatorship and Media *
Katerina Bogoeva, "Utrinski vesnik" - daily newspaper, Aleksandra Bubevska, A1 TV, Ivana Tasev "TEA" - weekly magazine A panel discussion with journalists from art and culture departments in local media. Curators often claim that they mediate the artistic concepts to the audience. This workshop will address the problems of mediating curatorial concepts to the audience through public media. Some of the questions to be tackled are: how to publicise and communicate curatorial projects to the press, what are the expectations of curators from different media, and how the journalists respond to these expectations? What is there for the art audience?
Cultural Centre: “Tocka”
19:00 Dinner
27.09. (Thursday)
10:00 – 13:00 Preparation of the public presentations *
This is when the three groups work on their own, without the leaders of the workshops. The participants try to self-organise, delegate a leader among themselves and/or delegate the work (research on internet, writing, make a ppt) among themselves. This session is to start putting together the public presentations (15 min each group) in order to complete the task given by the leaders (summarise the group work, come up with an idea for a new model and strategy of cross-cultural curating or new model of an institution).
13:00-14:00 Lunch Break

Afternoon session
14:00 – 16:00 Preparation of the public presentations *
17:00 – 20:00 Workshop in Second Life - led by Ilias Marmaris *
Introduction to Second Life and its potentialities for art and curatorial projects. The workshop is going to be led by the Greek artist Ilias Marmaris who will discuss the potentialities and downfalls of Second Life and will offer the new arguments of the debate on SL. The participants will hear more on the advantages of creating an avatar, meeting the avatars of the other participants and “flying” in the Second Life's virtual space.
Visual and Cultural Research Centre (address: Partizanski odredi 63)
20:00 Dinner
21:00 Ballettikka Internettikka - guerrilla net ballet *
Presentation of Igor Stromajerorganised by CAC-Skopje in partnership with press to exit project space press to exit project space (optional programme)
28.09. (Friday)
11:00-13:30 Curatorial Line-Up (individual presentations) *
All participants get together and introduce their previous individual ideas/projects (audience: free-lance curators, journalists, cultural managers, artists and curators from local institutions, by invitation only).
Cultural Centre "Mala Stanica"
13:30-14:30 Lunch Break
14:30-15:30 Curatorial Line-Up (group presentations) *
Presentations of the work in groups. Each group’s presentation lasts up to 15 min followed by a short discussion at the end.
15:30-16:00 Break
16:00-18:00 Curatorial Translation in Theory, Culture and Art *
A conference challenging curatorial translation as a discursive concept of curating and questioning the ways in which curating intervenes into contemporary socio-political processes through translation of various theoretical, cultural or artistic concepts into exhibitions, public art projects and other events.
- Barbara Borcic: Aspects of Curating
- Maria Lind: Working with Others: The Cases of Moderna Museet Projekt and Totally Motivated - A Sociocultural Maneouver
- Nat Muller: Introduction to the Beginning of an Argument
- Louisa Avgita: Periphery and Contemporary Curatorial Practices18:00-18:30 Break18:30- 20:00 Curatorial Black *
A panel discussion dealing with various models of curatorial theories and practices and their institutional and non-institutional representations.Moderator: Suzana MilevskaParticipants: Louisa Avgita, Barbara Borcic, Ilias Marmaris, Maria Lind, Nat Muller
20:00 Entangled Fragments: ABC of Curatorial Black *
A project by Nikola Eftimov, featuring Iskra Sukarova
Curator: Suzana MilevskaCultural Centre "Mala Stanica" (address: Zeleznicka 18)
20:30 Dinner

29.09. (Saturday)
10:00-18:00 Optional visit to Matka/Nerezi (Lunch) *
18:00-19:30 Taking Part: Participating Singularities - Ontological Communities *
A public lecture by Prof. Dr. Irit Rogoff Cultural Centre "Mala Stanica" (address: Zeleznicka 18)20:00 Dinner
30.09. Departure

Stars' description:* public event * participants only, divided in groups* all participants, no audience* all participants, audience by invitation* optional event

Curator: Dr. Suzana Milevska
Director, Visual and Cultural Research Centre

Assitent Curator: Biljana Tanurovska
Younger Research Assistent, Visual and Cultural Research Centre

Curatorial Translation Participants:
Louisa Avgita, Ivana Bago, Gulsen Bal, Katerina Bogoeva, Barbara Borčić, Luchezar Boyadjiev, Aleksandra Bubevska, Yane Calovski, Slavčo Dimitrov, Nikola Eftimov, Liljana Gjuzelova, Nora Halimi, Hristina Ivanoska, Vladimir Jančevski, Petra Kapš, Vida Knezević, Svetlana Kuymdjieva, Suzana Milevska, Maria Lind, Tevz Logar, Ilias Marmaris, Vladiya Michaylova, Nat Muller, Irit Rogoff, Dejan Spasoviќ, Aleksandar Stankoski, Iskra Šukarova, Ivana Tasev, Tihomir Topuzovski, Žaneta Vangeli, Ivana Vaseva, Elena Veljanovska, Jelena Vesić, Maja Vuković, Velimir Žernovski

Address:Visual and Cultural Research Centre- "Euro-Balkan" Institute
Partizanski odredi 63
Skopje 1000
Macedonia
Tel./Fax: +38923075570
E-mail: visualculturalresearchcentre@gmail.com

Partners:
SCCA-Ljubljana, press to exit project space, EXIT - Peja, Belgrade Circle,
Minsitry of Culture of Republic Macedonia

Venue partners:
press to exit project space
National Gallery of Macedonia - "Mala Stanica"
Cultural Centre "Tocka"

The project was supported by European Cultural Foundation
and the Ministry of Culture of the Republic of Macedonia

World of Art

2007-03-30T23:46:00.000+01:00

Workshop No. 5 - Suzana Milevska: Catalogue text workshop

13-14 April 2007
Project room SCCA, Metelkova 6, Ljubljana
Deadline for submitting applications: April 3, 2007

12 April (Thursday) at 8 pm
Curator as a Translator
Public lecture
Project room SCCA
Metelkova 6, Ljubljana

13 April (Friday)
10.00 -11.30
A Voice of One’s Own:
catalogue text as an example of performative writing
Introductory lecture

Catalogue text is a piece of interdisciplinary and performative writing. Most importantly each exhibition has a certain concept that needs to be clarified with the catalogue essay. However, there are other requirements that a thorough catalogue essay needs to fulfil. On the one hand, many relevant data need to be clearly presented throughout the text so often takes a long research to collect and select the necessary information. On the other hand, the catalogue text is a text after all so each writer has to find his/her own voice through the process of writing.
Therefore the writing of the catalogue text happens by a performative entanglement of these three radically different aspects: the extrapolation of the concept, collecting and analysis of necessary information (about the works, or issues related to the exhibition) and the personal quest for one’s own unique voice (of the writer/curator).
Theoretical concepts, literature and certain creative writing methods can help the writer in finding the appropriate writing approach for each exhibition and catalogue text. However, I want to argue that the catalogue text is a unique genre that is neither only theoretical text, nor just another literature genre. It is also far from pure description or retrieval of the artistic concepts and expressions. Therefore even though it is open to experiments and variability there are certain specific rules of this genre and only by following these rules it can justify its existence.

Suggested literature:
Kemal, Salim and Ivan Gaskell. Eds. The Language of Art History. Cambridge, UK: Cambridge University Press, 1991.
Austin. J.L., How to do things with Words. Ed. by J. O. Urmson and Marina Sbisa. Second Edition. Cambridge, MA: Harvard University Press, 1999.
Wollheim, Richard. Art and its Objects. Second edition. Cambridge, UK: Cambridge University Press, 1980

12.00-13.30
Sub-genres of Catalogue Texts

The already existing different exhibition models (individual, monographic, retrospective, thematic, historicised, or biennial international exhibitions), as well as the recent development of different exhibition models (on-line, collaborative, participatory, etc.) require re-thinking of the genre itself.
The main questions of this session are how should one adapt and change the writing methods, forms, vocabulary, etc., when writing different texts and how this affects “one’s own voice.”

13.30 – 15.00 Break

15.00 - 15.30
Preparation of the close reading workshop
Organisation of the order of reading of different textual samples, forming groups of participants according to the chosen texts, etc.

15.30 – 17.30
Close reading workshop
The questions that in the previous session had been tackled generally and theoretically during this session will be exemplified on some samples of the proposed texts. The texts for the session of close reading will be available to the participants in advance and they are asked to choose one text each for the close reading session.

Samples of catalogue texts available for reading and selection:
Marina Abramovic, Oxford: Museum of Modern Art – Oxford, 1995 (monographic exhibition).
Archipelago, Stockholm: Cultural Capital of Europe, 1998 (group international project).
Manifesta 2 and 4, Luxembourg, 1998 and Frankfurt, 2002 (International Biennial).
Capital and Gender, Skopje: Museum of the City of Skopje, 2001.
Eternal Recurrence 4, Skopje: Press to Exit project space, 2006 (individual project).
Interrupted Histories, Ljubljana: Moderna Galerija, 2006 (research project and exhibition).
Correspondences, IFA – Berlin, Bonne, Stuttgart, 2001 (curatorial exhibition).

18.00-19.00
Q/A session about the assignment
Discussion about the specific issues related to the writing of the text required for the last day of the workshop.

14 April (Saturday)
10.00 – 14.00
Presentation of the written texts

14.00 – 15.30 Break

15.30 – 17.30
Division in groups and discussion of the written texts

17.30 – 19.00
Groups get together and present their remarks and conclusions

General requirements:
With each application the candidates should submit a CV with bibliography, a motivation letter, an older written and/or published text and an idea (abstract of 150 words) of what they would write and present in the workshop.
Preparation:
All participants should get familiar with all catalogues (available at SCCA library) and should select at least one text each for discussion (during the session of close reading). In addition, a week before the commencement of the course the selected participants are invited to discuss the workshop structure (http://www.gender-wise.blogspot.com), in order to enrich its content and facilitate its success.

The applications and supporting materials send to:
svetumetnosti@scca-ljubljana.si
The deadline for submitting applications is April 3, 2007.

Suzana Milevska (1961) is a visual culture theorist and curator and currently works as a Director and Lecturer in Visual Culture at the Visual and Cultural Research Centre “Euro-Balkan” Institute in Skopje. She received her PhD at the Visual Culture Department at Goldsmiths College in London. In 2004 she was a Fulbright Senior Research Scholar at Library of Congress and she also received P. Getty Curatorial Research Fellowship (2001) and ArtsLink Grant (1999). Since 1992 she curated over 70 art projects in Skopje, Istanbul, Stockholm, Berlin, Bonn, Stuttgart, Leipzig, etc. She was one of the curators of the Cosmopolis Balkan Biennial in Thessalonica (2004) and of the International Biennale of Contemporary Art 2005 – National Gallery in Prague. Her publications include “From a Bat’s Point of View” in Eduardo Kac, edited by Peter Tomaz Dobrila and Aleksandra Kostić (Maribor, 2000), 47-58; Capital and Gender, edited by Suzana Milevska (Skopje, 2001); “The Readymade and the Question of Fabrication of Objects and Subjects” in Primary Documents - A Sourcebook for Eastern and Central European Art since the 1950s (New York, 2002), 182-191; “The portrait of an artist as a young ‘strategic essentialist’” in Tanja Ostojić - Strategies of Success / Curators Series 2001-2003, (Belgrade, 2004), 33-43; “Curatorial Labyrinths in Macedonia”, Men in Black – Handbook of Curatorial Practice, Ed. Christoph Tannert/Ute Tischchler, Kűnstlerhaus Bethanien (Berlin, 2004). “Hesitations, or About Political and Cultural Territories” in Cultural Territories, edited by Barbara Steiner, Julia Schäfer and Ilina Koralova (Köln, 2005), 31-43; “Is Balkan Art History Global” in Is Art History Global, edited by James Elkins, (New York, 2006), “Resistance that Cannot Be Recognised as Such – interview with Gayatri C. Spivak” in New Feminism: worlds of feminism, queer and networking conditions, Löcker Verlag (Vienna, in print) and in Conversations with Gayatri Chakravorty Spivak, London: Seagull Books, 2007.

Marina Abramovic, The Bridge, 1997

2006-03-06T02:16:00.000Z

Marina Abramovic, The Bridge, 1997
installation view

solo exhibition with 17 video installations
and the interactive project: In-between

Lecture: Performative Body

Museum of the City of Skopje - Museum of the Revolution

Curator: Suzana Milevska

The Body as a Bridge

The graphic and topographic symbol of a bridge consists of two parallel lines placed normally to two other horisontal lines that designates two opposite banks of a river. The bridge is also an architectural object over the shortest way that enables us to overcome the natural obstacles for communication. Marina Abramovic's project is related to her understanding of her own body as a bridge, put in a function of connecting different cultures and overbridging the gap between Western rationalism and the intuitive and contemplative Eastern tradition. In her view the Balkans is where these two different cultural traditions meet.
In the work of Marina Abramovic the relation between the body and the mind is treated as a dialectical process through which the discipline of the body leads to establishing the discipline of the mind.

The project 'The Bridge' although applies the ancient symbolic and rituals engraved in the collective memory, has an imprint of a more personal, intimate experience along with questioning of the limits of her own power to control the body and make a leap in another mental state. The exhibition consisting of 17 video installations put in the space of the Museum of the Revolution before its closure was hommage to Abramovic's mother who used to be a director of such a museum in Belgrade. The main installation consisted of two videos, the two 'stars' incised in her belly installed in front of the monument devoted to the revolution victims in made of 60.000 red light bulbs signifying blood drops.

Talk-Show, 2002

2006-03-05T14:06:00.000Z

Talk-Show: Der geteilte Himmel / The Re-unified Territory

a project for Introducing Site II, GFZK, Leipzig and Leipzig TV
talk show with Tanja Ostojic and Anne Koenig and 30 participants
Curator: Suzana Milevska

The issue of integration of Europe, the re-unification of East and West Germany, as well the integration of the emigrants that enormously proliferated after the fall of the Berlin Wall and the dissolution of the USSR and Yugoslavia, were the first associations that came to my mind when I received the concept of the larger framework of the project Cultural Territories.
The remapping of Europe and the other geo-political transformations that rapidly took place and converted the seemingly stable structure into territorial rhizomes and multiplicities (what Irit Rogoff formulated as ‘terra infirma’) opened inevitably the question of integration of the newly developed units, either geographical and societal, or individual. Deterritorializations that according to Deleuze and Guattari necessarily inflicts complementary reterritorializations, take place both on macropolitical and micropolitical level, and usually derive from conflicts and contradistinctions of these both levels. Since the macropolitical level, the politics and ideology of the re-unification of both German states and the constitution of the European Union are very complex issues that need extrapolation in more appropriate political context in order to be discussed properly, in the project Der geteilte Himmel/Re-unified Territory I chose to take on the micropolitical level that nevertheless is interwoven and always reflects the issues decided on macropolitical level.
Therefore the title that obviously refers to Krista Wolf’s novel Divided Sky from 1963, a very straight forward narrative that discusses the love story of the woman torn between the man and the system that she feels for. Actually the novel was my first encounter with the problem of divided sky in Germany back in late seventies (it was translated in Macedonian). After realizing that the writer herself got involved in some debates about the re-unification that came later I felt it reflects the best the ambiguity of the integration process.
The exhibition Introducing Sites II provided me with a very appropriate context for the idea that I had already: to ‘curate’, or better to direct a talk show for a local TV station. This concept cropped up as a kind of attempt to break the vicious circle of many projects addressing social and cultural issues that usually have no impact on the absent subjects that some of those projects were supposedly aimed and created for at first place. The talk show seemed to be a very appropriate medium for discussing integration, taking into account the assumption of the enormous heterogeneity of the TV audience in contrast to the fact that the galleries and the museums are not visited frequently enough by the audiences that do not belong to culturally and artistically informed middle class communities (Alan Read’s statement ‘You cannot address the absence’, uttered recently when he discussed the partial failure of his theatre project, formulates the best this paradox).
To address the issue of integration through a talk show, presumably one of the most populist television genres, that was to be shown both on local Leipzig TV, and in the Gallery for Contemporary Arts, also aimed to mutually and reciprocically introduce the three different sites to each other: the gallery, the TV channel and the private homes of the TV viewers.
The artists Tanja Ostojic and Anne Koenig were invited to discuss the delicate topic of integration throughout a recorded conversation held in the presence of an audience of about thirty people. Instead of asking the artists to create works for the exhibition they were invited to activate their memory, to reveal as much information as possible about the way that the integration affected their professional and private lives, and also to try not to influence the opinion of the audience with already convincingly packed theoretical context, or with aesthetically created objects.
The issue of integration is with me for quite a long time. The country of my origin, Macedonia, one of the ex-Yugoslav republics and the only one that was forced to keep the historic reference to now non-existing country is not and it is not going to be a part of the European Community in near future: once deterritorialized and still not reterritorialized. However the conditions under which it can be integrated are already being discussed and prescribed during each single meeting between the local politicians and the European authorities. The issues that bother all of us non-members of EU are mostly dealing with the privileges and advantages of being integrated in order to estimate if it is worth the trouble to meet the required conditions and to sacrifice the previously established cultural, economic and social routines in order to enter the European Union. Obviously to discuss culturally different territories and local sites is difficult without touching on the political differences.
However, instead to dwell and cling on the discourse of inclusion and exclusion, unequal exchange, globalisation and other general political issues I chose to discuss the issue of integration with the invited artists from their different subjective positions that are also reflected within their art practices.
Anne Koenig, an artist from Leipzig who experienced the re-unification of East and West Germany while in her twenties, and thus was ‘integrated’ in another cultural and political constellation without making any substantial geographical and territorial movements, works on sound based projects. She has developed a very specific procedure of ‘aural cartography’. Her archival project that turned into an urban sound map of Leipzig can be also treated as a kind of machinery device for memory retrieval. Her answer to the question ‘what did she lack the most about the period before the re-unification’ was ‘the silence’. To retrieve the very specific silence of the past suddenly revealed as so important.
Tanja Ostojic’s life was directly affected by the integration process from the position of a foreigner who came to live in Düsseldorf as a wife of the artist Klemens Golf whom she married in 2002 trough her interactive internet project ‘Looking for a Husband with EU passport’. With miming the procedures used by some ‘personal contacts agencies’ on internet her project simultaneously became a critique of the cyber prostitution with East European women. In order to acquire ‘the obscure object of desire’: the EU passport, as a citizen of Yugoslavia, she had to go through many different social, cultural and legal procedures that entailed the other side of the integration process. The most important reason for her participation at the talk show was her recently developed ‘Integration Project’, consisting of series workshops, dinners and other social activities.
Both artists are obviously not creators of object based art so that it was easy to negotiate this unusual format of co-operation. The assumption that there must be some similarities between the positions of a foreigner who faces the new cultural context of the ‘host’ country, and the position of a ‘becoming foreigner’ - when you are caught in a situation when your country changes overnight, proved to be relevant but also problematic. The questions and answers about the language, law, money, work, etc., revealed a very complex ‘map’ of delicate terrains, and the doubt in the success of the integration project expressed by both guests was probably the only obvious similarity that at the end of the conversation made the comparison plausible and translatable.
The message that was emitted through our conversation was full of ‘noise’, to use the language of information theory, simply because there is no one univocal message in regard to the problem of integration. To grasp and define its complexity was impossible task to be completed in only forty minutes. I am also aware that we did not make the problem any clearer, that we did not offer any recipes for ‘easy integration’, and, finally, that we were not amusing, sensational or anything else that rates as a successful TV programme.
Still, the fact that four times during prime TV time the local viewers had the possibility to recall (either them being foreigners or native citizens of Leipzig) their own experience of the process of integration, and also the several profound questions that came from the audience in the improvised studio, when recording the talk show, were prove of the awareness for the urgency of such discussions.

Little Big Stories, 1998

2006-03-05T13:11:00.000Z

Workers' Club, 2005

2006-03-04T16:44:00.000Z

Suzana Milevska

WELCOME TO THE WORKERS’ CLUB

Conference Time-Work-Organisation, Prague
International Contemporary Art Biennial - National Gallery Prague
14, 06, 2005

The project Workers’ Club is imagined as a kind of ironic re-staging of a workers’ club show (Mac: ‘priredba’). Such shows used to be organised in most of the communist countries on the occasions such as anniversaries, public holidays and other celebrations. During the shows various sections of the local workers’ clubs used to present their activities in a form of poetry readings, drama and sketch performances, concerts, exhibitions, quiz shows, chess and sport tournaments.
By miming the format of workers’ clubs’ shows (but not their content) the project Workers’ Club at the International Contemporary Art Biennale 2005 offers an informal ‘stage’ for interaction between art and cultural ‘workers’, and members of the audience (in a way ‘workers’ themselves). The art projects by Zdenko Bužek, Susan Kelly & Stephen Morton, Tanja Ostojić & Fahim Amir, Tadej Pogačar, Dan Perjovschi’s and Mladen Stilinović are put together in a kind of loose ‘art workers’ club’, retaining the original conceptual framework of each project. The main aim of the Worker’s Club project is not any kind of call for revival of the original concept of workers’ clubs but it rather intends to enable a ‘second sight’, a kind of framework for revisiting and critical re-evaluation of this extinct phenomenon of self-organisation and social ‘design’. The visitors are invited to mingle and communicate with the project’s participants and through various art concepts to re-consider the relevance of the issues of work and organisation of work, self-organisation, measurement of working time, and also the issues of idleness and organisation of leisure time in the cultural and art context.
Workers’ clubs emerged during Soviet communist era (in the 20s and 30s of 20th century) and originally were imagined as sites for socialising and recreation of the workers and their families. The activities exercised in such clubs ranged from amateurish leisure and hobby programmes of drama, music, photo, art and literature sections, or chess and sport clubs, to theoretical educational programmes: political courses and schools. These social environments intended to provide common space for conceiving the leisure time as active and collective, and for negotiating and consenting over the ways in which the culture and public sphere could merge with private life - a kind of platforms for “culturalisation of the masses” (Trotsky). Thus, seemingly simple socialising goals were challenged by higher and patronising aims of the ‘intelligentsia’ to provide a context where workers and their families could improve themselves by appropriating the propagated communist values.
However, besides this very important but problematic role of commitment to establish communist ethical values and better societal relations between the workers, the workers’ clubs idea inevitably challenged and affected the aesthetical values and principles. The constructivist architects and designers were provoked to social aesthetic experiments that led to modern architectural and interior design projects. The most renowned projects of workers’ clubs are the ones created by the architect Konstantin Mel'nikov (e.g. his Soviet pavilion for the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925 at Grand Palais in Paris), and the unrealised geometric design of the Lenin Corner in a form of Workers’ club by Alexander Rodchenko.
The artists invited to the Workers’ Club project are to elaborate and express what they think should be the questions that one needs to engage with in an imaginary ‘art workers’ club’ today. The project will inevitably reflect on the differences between the working ethics in capitalist, transitional and post-transitional societies by putting the emphasis on the urgency of supporting the self-organisation and self-management. The issues of measurement of paid and not paid work, the productivity and consumption in the context of trans-national flux of capital and the viability of the established dichotomy between work and leisure (read: idleness) are also to be tackled.
In a way Susan Kelly’s and Stephen Morton’s project What is to be Done? has triggered the whole Workers’ Club idea: the design of their on-going archive, where the audience is invited to sit and contemplate relevant up-to-date answers to the historic Lenin’s question what is to be done? [1] once asked in a different moment in the past and its projection in the future when asked today, was in fact inspired by Rodchenko’s ‘Workers’ Club’ design. An additional historic contextual reference is the fact that the All-Russia Conference of RSDLP held in January 1912 was organised in People´s House in Prague. [2] Some of the main themes discussed at the conference concerned the issues of self-organisation of the party and the relation between theory and revolutionary practice to which Lenin devoted several speeches and resolutions. [3]
The issue of self-organisation and self-management can be a relevant starting point for making theoretical distinctions between different models of socialism and its revolutionary change. The decentralised and participatory unique model of workers’ self-management of socially owned resources and the social planning not excluding the market (formulated as ‘self-management’ by the Yugoslav socialist theorist Edward Kardelj in 50s) were once thought as fundamental alternatives to the model of central command and planning in Soviet Union. In practice the concept of self-management and social ownership in which the distinction between individual and society was expected to vanish did not prove as impeccable and resistant to the economic contradictions as it sounded in theory. [4]
Yet, how can all these social, economic and political questions apply to art and culture when taking into account the fact that the issues of work and self-organisation are not seriously embedded when discussing art? To call the artists - art workers is not very common and socially acceptable: in contrary, art is usually treated as a kind of escape from any ‘work’ entailing endeavor and labour. Also, the immaterial work involved in the creation of works of art is not measured according to the accepted economic standards, either according to production ‘per piece’ or ‘per hour'. Such a dichotomic relation between work and art has been long challenged as problematic by many artists (e.g. Bert Thies, Dialectical Leap, 1998, Manifesta 2) and philosophers. Namely, Bertrand Russell called for ‘organised diminution of work’ since he believed that people would then have more time for art: ‘I want to say, in all seriousness, that a great deal of harm is being done in the modern world by belief in the virtuousness of work, and that the road to happiness and prosperity lies in an organized diminution of work.’ [5] In 1839, almost a century before Russell, Paul Lafargue (Marx’s son in law) in his treatise The Right to Be Lazy dubbed work ‘a disastrous dogma’ and he spoke critically about the results of the acceleration force of early industry: ‘All individual and social misery comes from a passion for work’. [6]
When today a contemporary anarchist Bob Black exclaims: ‘No one should ever work’ [7] it seems that he follows this radical philosophical tradition of resistance towards the obsessive compulsive workaholic-osis of the contemporary society that is probably still supported only by anarchists and artists. Mladen Stilinović has questioned the ‘work dogma’ and launched his own witty take on this issue in his work The Praise of Laziness (1993). Actually it was a performed text referring to Duchamp and Malevich (‘Laziness – the real truth of mankind’, 1921) that ends with the slogan ‘Work is a Disease’ misleadingly attributed to Marx, but in fact coined by Stilinović back in 1979.
The phenomena of workaholic-ism, over-working (e.g. the endless prolongation of the working time on internet), and unequal exchange inevitably pop up as more urgent. Is there any kind of possibility for a radical social change, or should these phenomena be included within the established economic systems and regimes of measurement of labour? In a seminar entitled 'Time - Work - Organisation' to take place at the beginning of the exhibition, Susan Kelly and Stephen Morton have invited Leena Kakko (curator at the Lenin Museum, Tampere), other participants in the project, and the audience to discuss the original context of the project What is to be Done? (2002) and to expand on Lenin's question with reference to questions of work, social change and possible future revolutions. ‘Antonio Negri has argued that under post-fordist production, capitalism can no longer measure the working day, and that there are ‘no time clocks to punch on the terrain of bio-political production’ (Empire, p.403). Given that the Czech Republic (like much of the developed ‘North’) has moved from being an old industrial centre to a post-fordist economy where over 50% of workers are employed in the service industry, we invite the public to consider what does the worker ‘do’ today?’ (S. Kelly and S. Morton)
The co-operative project European Capitalism and the Need for Metapolitics by Tanja Ostojić and Fahim Amir will question the institutions and organisations of revolutionary movements and will deal with the importance of the role that contemporary artists have in the interpretation of the continually changing capitalist society. Tadej Pogačar’s interactive board game MonApoly – A Human Trade Game is his ironic take of the renowned Monopoly game. It explores the paradoxes of sex work as a specific form of trade and parallel economy and the exploitation of immigrant sex workers as a result of the globalisation and the ‘unequal exchange’ in the ‘sex-market’. Zdenko Bužek in his joke-telling performance Bužek Comedy Club will address the work issue in a humorous but not always laughable and entertaining way. Dan Perjovschi’s Working & Clubbing: The Prague Report will create a mural/‘wall newspaper’ as a site-specific interface for communication between the artist and the other art workers at the Second Sight Biennial.

Notes:
1. The question What is to be Done? was first used in 1863 by N. G. Chernyshevsky as a title of his novel about the ‘new people’. V. I. Lenin used it again in 1902 to entitle his notorious pamphlet.
2. Lidový dùm in Hybernská Street, 7, Prague, former Lenin Museum (1948-1990).
3. The resolutions and other documents from 1912 conference are on display at The Lenin Museum in Moscow - collection A New Rise of the Revolutionary Tide (1910-1914).
4. David L. Prychitko. “Did Horvat Answer Hayek? The Crisis of Yugoslav Serf-Management” in The Freeman: Ideas on Liberty, February, 1991, http://www.fee.org/vnews.php?nid=2353).
5. Bertrand Russell. In Praise of Idleness. 1932. http://www.zpub.com/notes/idle.html
6. Paul Lafargue. The Right to Be Lazy. Written in a French prison, translated into English by Charles H Kerr, 1907, Charles H. Kerr Publishing, 1989. http://www.marxists.org/archive/lafargue/
7. Bob Black. The Abolition of Work. http://www.zpub.com/notes/black-work.html

Mladen Stilinović, Work is a Disease – Karl Marx, 1979 (2004)
text / silk, T-shirt
The Praise of Laziness, 1993
text

If work has created the man, then the idleness must have created the artist.
M. Stilinović

The fact that Mladen Stilinović never wrote this is a mere coincidence. Stilinović has similarly addressed the relations between art, work and idleness through many of his conceptual works. In his photographs, performances, installations, slogans or other texts that he performs, writes or prints over various objects with bright humour and wittiness he often challenges the catachrestic truisms and received dogmas inhabiting our language and culture (work certainly being one of them). When presenting the photographs of himself taken while sleeping under the title Artist at Work (photo-book, 1978), or when misleadingly signing his own slogan ‘Work is a Disease’ with ‘Karl Marx’, Stilinović creates a kind of ambiguity, an artistic alternative to the never questioned Marxian ideology authorities praising work. The slogan Work is a Disease first appeared in 1979, and it was also mentioned at the end of Stilinović’s text The Praise of Laziness that was read as a part of his performance in the Gallery Opus Operandi in Gent. The text expresses Stilinović’s concerns about the future of art in conditions of erased borders between West and East: according to the artist the capitalistic intolerance of laziness, mainly based on the need for production, is putting in jeopardy the Eastern ‘use’ of it for making art. In order to back up his provocative thesis, in addition to Marx’s bogus reference, Stilinović also quotes Duchamp’s and Malevich’s statements pro laziness and against work. Finally, in order to dispute the Western pragmatic attitude towards the importance of work he proposes the paradoxical programmatic claim ‘there is no art without laziness’. Among other infamous works by Stilinović is the slogan An Artist who cannot Speak English is no Artist, 1984 - a statement that has been quoted so many times as a kind of cultural critique of the hegemonic power in the period of disappointment with the unfulfilled promises of the processes of transition and globalisation of culture.

Dan Perjovschi, Working&Clubbing: The Prague Report, 2005
wall-newspaper

The project Working&Clubbing: The Prague Report, 2005, by Dan Perjovschi is conceived as a printed and a wall-newspaper. It is in a way a new edition of his long term project Landing that was first launched in 1998 (Manifesta 2, Luxembourg). His previous newspapers and other low-key publications created in different contexts reflect Perjovschi’s ability to quickly catch and sketch the relevant problematic that bothers people around him, as a kind of his illustrated journal given the specific situations. Each time he publishes such a newspaper with drawings, cartoons and texts (in ‘balloons’) he creates and commits to his own ‘editorial policy’ concerning the troubled social, cultural, political and economical conditions in his environment. ‘What I am right now is partly due to my newspaper activity - I have 14 years of weekly work (http://www.revista22.ro/). Even when I was for half a year in the States I kept sending the drawings. Since 4 years ago I have a weekly political column, 150-500 signs, ultra-short and ultra-tough.’ (D. Perjovschi)
In the context of Workers’ Club the wall-newspaper provides Perjovschi with a personal space for expressing and summarising the comments on the breaking news and rumours that will get spread among the biennial workers - in a way it is also reminiscent to the medium of wall-newspaper used in the workers’ clubs as internal information means for facilitating the communication and self-organisation of the workers (an imagined space for a wall-newspaper can be also spotted in Rodchenko’s design for a workers’ club). In some previous projects Perjovschi created similar site-specific murals that allowed him to express the actual relation between the space and the context in which he created/performed his work. Especially renowned are his floor mural for the Romanian Pavilion in Venice Biennial (1999) which got erased underneath foot steps of the visitors and thus referred to the fragility of national identity, and the mural from 2002 drawn all over the abandoned coke plant in Essen.

Susan Kelly and Stephen Morton
What is to be Done? Time-Work-Organisation, 2002-2005
installation, on-going archive and conference

For Workers’ Club project we propose to build a workers’ study environment for the ongoing archive of responses to ‘What is to be Done?’ The space is designed to facilitate reading of previous responses to the question, the composition and exhibition of public responses to the question in Prague, and a public discussion. The basic wooden study environment will be loosely modelled on the design of Aleksander Rodchenko’s ‘Workers Club’, exhibited at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris in 1925. It will contain racks to display the archive (and extra copies of responses), a small library of books and essays, an old factory time clock that can date and time stamp new responses, and a rack into which new responses can be added.
What is to be Done? began at the Lenin Museum in Finland in 2002. This project is an on-going archive that maps the network of people that responded to Lenin’s question, re-posed 100 years after the publication of the original book. The Prague archive will retain the central aim of generating and documenting ideas for social change and possible futures. Over 150 responses were received during the initial phase of project including some from Michael Hardt, Alain Badiou, Jeremy Gilbert, Nell McCafferty, members of the Finnish Parliament and an array of artists of artists, visitors to the museum, friends and colleagues.
By asking this question during the conference ‘Time – Work – Organisation’ at the International Biennial of Contemporary Art in 2005, we seek to explore how art can address different workers and forms of work, and where intellectual and research-based artwork as immaterial labour fits into contemporary regimes of labour.
S. Kelly and S. Morton

Tadej Pogačar, MonApoly - A Human Trade Game, 2004
interactive board game, edition of 100
produced by GFZK, Leipzig and P.A.R.A.S.I.T.E. Museum of Contemporary Art, Ljubljana

‘MonApoly board game is a new cartography of global sex work and trade with humans. Instead of accumulating capital, it explains the geopolitics of sex work in the period of global capitalism and new economy. MonApoly visually follows Monopoly and the basic scheme of the most famous capitalist game, but the contents are completely new. While playing the players obtain new information on the global sex work, activist organisations, crime gangs that organise slave trade, etc. The players can finance the construction of a safe house, support operations of groups that are fighting for the sex workers rights or save a sex slave from Moldova etc.’ (T.P.) The visitors of the Worker’s Club space are invited to play this board game that is a kind of logical continuation of Pogačar’s long-term project ‘Code:Red : ‘CODE:RED is an ongoing collaborative, interdisciplinary platform for investigation and discussion selected aspects of prostitution and sexual work as a specific form of parallel economy. It researches analogue economic models such as the ones of isolated groups and social minorities. The project uses real and virtual spaces and takes the form of an open dialogue between artists, sex workers and the public in selected urban environments and local contexts. The CODE:RED project takes advantage of different forms of public activity and activism, subversions in the urban, media and virtual environments. Its first public presentation took place at the Venice Biennial in 2001, when it organized – in collaboration with the Committee for the Civil Rights of Prostitutes from Pordenone, Italy – the ‘First World Congress of Sex Workers and the New Parasitism’, which brought together in Venice sex worker organizations from Europe, Asia, America, and Australia. In collaboration with a number of the leading activists and organizations in New York, Washington, Boston, and Baltimore, conference "The Ultimate Sex Worker Conspiracy Soiree: Conference and Party" was held in 2002 in New York.’ (T. Pogačar)

Tanja Ostojić and Fahim Amir, European Capitalism and the Need for Metapolitics, 2005
a speech and discussion, co-operative project by Tanja Ostojić and Fahim Amir

The project European Capitalism and the Need for Metapolitics is a co-operation between Tanja Ostojić and Fahim Amir. It will consist of a speech to be performed by Fahim Amir at the opening night, and a discussion with the audience. This project comes as a continuation to Tanja Ostojić’s previous engagements in cultural critique of the international art institutions and her disagreement with the way in which certain relevant political and economical topics are getting introduced in the context of exhibitions and art conferences. In her opinion visual arts and political activism should continuously inform each other about different models and strategies of actions. In the context of Workers’ Club project she has invited Fahim Amir (Marxist theorist of Afghan origin, teaching social politics in Vienna) to give the opening speech. Amir’s speech is going to point to the urgency of the problematic relation between art and politics and to the importance that contemporary artists keep on trying to ‘understand the current processes with all their contradictions as expressions of and means to the reconfiguration of forces in a continually changing capitalism.’ (F. Amir) Tanja Ostojić is an cross-disciplinary artist and cultural activist of Yugoslav origin. In her performances and other relational projects she usually engages in cultural, social, and political critique of the institutional and individual centres of power. Often playing dangerously with various authorities such as immigration officials, prisons, museums, or curators, she exposes herself to possible counter-effects from these power centres. Thus she has deconstructed the border between her private and her public life as an artist, especially when crossing borders illegally in her on-going series of performances, or when in the context of her on-going project Looking for a Husband with EU Passport she got married via internet add and subjected herself to many tedious procedures and discussions with various authorities).

Zdenko Bužek, Bužek Comedy Club, 2005
performance

The so called ‘black’ jokes, not always politically correct and often told in a kind of self-defence of certain communities undergoing deep economic or political crisis, are in the core of Zdenko Bužek’s performance Bužek Comedy Club, 2005. Bužek will ‘entertain’ the issue of work by telling some funny and some less funny jokes about workers, employment and payment in capitalist, communist or transitional societies. ‘The selected jokes used to be popular in Ex Yugoslavia, from 60s until the beginning of 90s, or are jokes that were re-told during and after the war that started 1991 in Croatia and had spread to the territory of Bosnia and Hercegovina and Kosovo. All during that time the ritual of telling jokes had a very important role in preserving the mental health and the social functioning of the population. The specific narrative of telling jokes had a long tradition in all countries of Ex-Yugoslavia, as an important medium of socialising that is still retained in these societies. By the way, the jokes reflect very well the people's destiny in this small part of the world during the second half of the last century. This performance is a kind of exercise which aims to enable a spontaneous communication and create a mutual pleasant time between the guests/visitors and the artist.’ (Bužek)
Zdenko Bužek’s previous performances included telling ‘black’ jokes about earthquakes by phoning the exhibition space, or creating S.O.S. line for people affected by the Istanbul earthquake in 1999. After inheriting his late aunt Blaga’s house in Skopje, Bužek dedicated few projects to her past. He engaged in re-creating real and imaginary itineraries that were based on her amazing archive of fake identity cards and other documents revealing her cryptic double identity as an ex-Yugoslav secret intelligence leader.

WORKERS' CLUB CONFERENCE

14 June 2005, 10 am – 6.00 pm, at the Workers’ Club

10.00 – 10.15 Welcome to the Workers’ Club - Short Introduction by Suzana Milevska to the Workers’ Club Project and the schedule of the conference

10.15 – 11.00 ‘What is to be Done?’
Susan Kelly: History of the Project WITBD
Leena Kakko: On Lenin Museum Tampere, Krasnoyarsk and the connection to Prague, including the 1912 conference
Stephen Morton: On Lenin’s Question ‘What is to be Done?’ and its links to the question of political organisation
Susan Kelly and Stephen Morton to read and comment on some of the responses that were sent in that relate to question of political organisation: Michael Hardt, Imre Szeman and Maurizio Lazzarato
Questions and Comments

11.00 – 11.15 break

11.15 – 12.45 ‘Time-Work-Organisation’. Seminar around set Readings, lead by Susan Kelly and Stephen Morton.
Susan Kelly and Stephen Morton will discuss connections between questions of work and time in the project and links to the texts. References will be made to the time clock, Rodchenko’s Reading Room, the impossibility of retaining a clear identity for ‘the worker’ in the post-fordist era and the question of cultural/ artistic and intellectual labour. Questions/Responses
Stephen Morton: On Marx’s ‘Working Day’ text + Questions/ Responses
Stephen Morton: On Negri’s ‘Time as Measure’ + Questions/ Responses
Susan Kelly: On Paulo Virno’s 4th and 5th Thesis on the Postfordist Multutude, + Questions/ Responses
Overall wrap up/ issues

12.45 – 1.00 break

1.00 – 1.45 ‘Architecture of Working Space’. Seminar lead by Inge Manka with the students of the course "Methods of Implementation" - Vienna University of Technology, Faculty of architecture and regional planning -Institute for Art and Design

1.45 – 2.45 lunch

2.45 – 3.15 ‘European Capitalism and The Need for MetaPolitics’: Discussion about
the collaborative project by Tanja Ostojić and Fahim Amir (the opening speech, 13 June, 6.30 pm)

3.15 – 4.30 Round Table Discussion
Participants: Suzana Milevska, Susan Kelly, Stephen Morton, Fahim Amir, Zdenko Bužek, Tanja Ostojić, Dan Perjovschi, Tadej Pogačar, and Mladen Stilinović

4.30 – 5.00 Break

5.00 – 6.00 Labour Party (Bužek Comedy Club)

THE IBCA 2005 -NATIONAL GALLERY IN PRAGUE WAS HELD UNDER THE AUSPICES OF
VÁCLAV KLAUS, PRESIDENT OF THE CZECH REPUBLIC, PAVEL DOSTÁL, MINISTER OF
CULTURE OF THE CZECH REPUBLIC, AND PAVEL BÉM, LORD MAYOR OF THE CAPITAL
CITY OF PRAGUE.

PRESIDENT OF IBCA: MILAN KNÍZÁK, GENERAL DIRECTOR, NATIONAL GALLERY IN PRAGUE

MAIN CURATOR OF IBCA: TOMÁS VLČEK, DIRECTOR OF THE COLLECTION OF
MODERN AND CONTEMPORARY ART, NATIONAL GALLERY IN PRAGUE

http://www.ngprague.cz/biennale/projects.php?lng=en&cat=c&id=13

Correspondences - Always Already Apocalypse, 2001

2006-03-04T16:17:00.000Z

http://www.ifa.de/a/a2/da2korre.htm
http://www.ifa.de/a/a2/ea2korre.htm

Capital and Gender, 2001

2006-03-04T15:59:00.000Z

CV

2006-03-04T13:13:00.002Z

SUZANA MILEVSKA
PhD, Goldsmiths College

Born 1961, Bitola, Macedonia
Address: Ruzveltova 46 A I-5, Skopje 1000, Macedonia
Tel. +389(0)2 3228 198
E-mail: suzanamilevska@yahoo.com

Research and curatorial interests:
representation of gender difference, feminism and psychoanalysis, gender theory and photography (Eastern Europe and the Balkans), socially and politically engaged art by women artists, participatory and collaborative art

EDUCATION:

2006 Ph.D. Goldsmiths College – University of London, London
1993-1994 MA at CEU College - Prague, in Art History, History and Philosophy of Art and Architecture
1989-1992 Postgraduate studies at Faculty of Philosophy University of Belgrade - Art History Dept. - Modern Art.
1992 Intensive course on "Comparative Cultural Studies" at Center of Comparative Studies, European Culture and Art, Bogasici, University of Istanbul
1985-1986 Graduate studies at Classical Studies Dept. -University "Cyrillo and Methodius" - Skopje
1979-1984 B.A. at The Faculty of Philosophy, Art History Dept. at University
"Cyril and Methodius" – Skopje

CURRENT AND PREVIOUS TEACHING POSITIONS:

2010- present Art History and Theory, Faculty of Fine Arts –
University of Ss. Cyril and Methodius - Skopje

2010 –present Visiting Professor in Gender, Art and Media, New York University –
Skopje (MA level)

2009 – 2010 Visiting Professor in Digital Arts, New York University –
Skopje(MA level)

2008 – 2009 Visiting Professor in Fine Arts, New York University – Skopje
(undergraduate)

2008 – 2010 Professor in Art History and Analysis of Styles, Accademia
Italiana - Skopje (undergraduate)

2006 - 2008 Lecturer in Visual Culture and Gender, Social Sciences
and Humanities Research Institute “Euro-Balkan”, Skopje(MA,Ph.D.)
Lecturer in Academic Writing, Social Sciences and Humanities
Research Institute “Euro-Balkan”, Skopje (MA, Ph.D.)

2003/2005 Visiting Tutor, Goldsmiths College, University of London, Visual
Cultures, (BA/Diploma/MA)
Courses: Framing Art: Museum and Galleries, Curatorial Knowledge
Techniques and Technologies-History and Theory of Photography

EMPLOYMENT AND POSITIONS AS CURATOR

2010 Chief Curator of the 2nd Roma Pavilion, Venice Biennale 2011

2006-2008 Director of the Center for Visual and Cultural Research at the
Social Sciences and Humanities Research Institute “Euro-Balkan”
Skopje

2005 International Curator, ‘Workers’ Club Project’ – one of the co-
curators of the International Contemporary Art Biennale - Prague,
Czech Republic

2004 National Curator, Cosmopolis: Microcosmos X Macrocosmos – Balkan
Biennial, Thessalonica, Greece

1997/2005 Curator at the Museum of the City of Skopje, Macedonia

1995-1999 National Curator for Macedonia, Istanbul International Art
Biennial, Istanbul, Turkey

INDIVIDUAL RESEARCH GRANTS:

2004 Fulbright Senior Research Scholarship, Library of Congress,
Washington D.C. Women Immigrants from the Balkans in the Early
American Photography

2002-2004 Overseas Research Studentship, PhD: Gender Difference in the
Balkans

2001 P. Getty Curatorial Research Grant, Representation of Women in
the Early Balkan Photography

1999 Arts Link Grant – curatorial research, The School of the Art
Institute of Chicago, IL

Membership in Professional Associations, Boards and Juries:

From 2009 World Art, Journal, Rutledge, Advisory Board’s Member
From 2005 IKT (International Association of Curators), member
From 2005 Feminist Review, Collective Member (2005-06), and International
Correspondent, London (2005-present)

2005 SIGGRAPH, Electronic Art Festival, L.A. USA, jury member,
West Balkan Artist in residence programme, NIFCA, Helsinki, jury
member

2004 / 2006 International Advisory Board of Contemporary Art Museum
Kumamoto, Japan

From 1994 A.I.C.A. (International Association of Art Critic), member

From 2002 IFUW (International Federation of University Women), member

1998 Exhibition "Permanent Instability" - First International
Exhibition, "ONUFRI'98" Festival,Tirana, Jury member,

1997 Exhibition "Murder One," Second Annual Exhibition of SCCA –
Belgrade, Jury member

1996 Exhibition "Icon on Silver" - Second Annual Exhibition of SCCA-
Skopje, Jury member

I. INTERNATIONAL CONFERENCES AND INVITED LECTURES (SELECTED):

2009 ‘Can the Subaltern Speak East’, Workshop at the Gender Check, curated by
Bojana Pejic, MUMOK, Vienna
‘What can transnational feminist theory learn from regional feminism’,
Feminist Review Conference: Feminist Theory and Activism in Global
Perspective, SOAS, University of London, London (UK)
‘Internalisation of Institutional Critique’, Evaluating and Formative
Goals of Art Criticism in Recent (De)territorialized Contexts, AICA
Seminar, participant and curator, Cultural Centre “Mala Stanica”,
National Gallery, Skopje (Macedonia)
The Importance of Gendered Interpretation of Contemporary Art’, CEI
Curatorial Forum, Palazzo Zorzi, Venice (Italy)
‘Internalisation of the Institutional Critique’, Conference: The Next
Step, Curated by Zdenka Badovinac, Moderna Galeria, Ljubljana
(Slovenia)
‘Whatever Belonging’, IKT (International Association of Curators)
Congress, Kiazma Museum, Helsinki
2008 World Art Forum, Sainsbury Centre for Visual Arts, University of East
Anglia, Norwich, UK
‘Participatory Art and its Hierarchies’. On Participation – POPP’68
Conference, Academy of Visual Arts, Berlin
2007 ‘Casting Žižek: Manliness as a Masquerade’ (workshop with Katerina
Kolozova), Humanities
Symposium: New Directions for the Humanities, Columbia University, New
York (USA)
Globalization of Art, Stone Summer Theory Institute, Director: James
Elkins, SAIC, Chicago, IL
‘Phantasms of Belonging Vs. Participation’, Kunsthaus, Graz, Austria
2006 ‘Non-Schengen Art: The Phantasm of Belonging’, SSEES,
Inclusion/Exclusion, London
‘An-archiving Gender Difference in the Balkans’, ESC, Graz, Austria
‘Balkan Subjectivity as Neither’, Balkans Exhibited: A Debate: “Art under
Construction,” City University -London
‘Non-Schengen Art: The Phantasms of Belonging’, Performance Rights, Queen
Mary University London
‘Not Quite Bare Life: Rules and Exemption’, Documenta 12 Conference,
Goethe Insstitute, New Delhi

2005 ‘Staged Invisibility’, Conference Strategies of (In)visibility,
Republicart project, eipcp, Vienna and Goldsmiths College, Camden Art
Centre, London
‘Political and Gender Troubles – Art in Eastern Europe’, Contemporary Art
Museum, Kumamoto, Japan
Workers’ Club Conference, (curator and participant) International
Biennial - National Gallery Prague
2003 ‘Photography and Transgression of Identities in the Balkans,’
Conference “Crossing the Borders in the Balkans,” Oxford University
Balkan Society, Oxford (UK)
‘Of Balkan Hospitality in the Age of Ultimate Postcolonial’ Conference
with Gayatri C. Spivak, MOCA, Skopje
2002 ‘Objects and Subjects: Politically Engaged Art’, Conference “Cultural
Territories,” GfCA, Leipzig (Germany)
‘The Question of Ready-made and Fabrication of Objects and Subjects’,
Badischer Kunstwerein, Karlsruhe
‘Correspondences and Privileges’, Manifesta 4, Frankfurt (Germany)
‘The Home of the Other’, CATH Conference on Hospitality, University of
Leeds, Leeds (UK)
‘Ready-Made in Macedonian Contemporary Art’, Moderna Museet, Stockholm
2000 Summer Institute in World Art Studies – Getty Foundation Program,
University of East Anglia - SCVA (GB)
‘Self-referentialism Vs. Criticism’, AICA Congress, Tate Modern Museum,
London
1999 ‘DAS CAPITAL: Spectacle or Screen,’ symposium "After the Wall," Moderna
Museet, Stockholm
‘Fluids, Desires, Stories’, The School of the Art Institute of Chicago,
Chicago (USA)
1998 ‘Cinderella Syndrome’, Europe: Cluster for New Peripheries (AICA),
Manifesta 2, Casino Luxembourg

links

2006-03-04T13:00:00.000Z

http://www.ifa.de/a/a2/ea2korre.htm
http://www.scca.org.mk/capital/
http://www.ngprague.cz/biennale/projects.php?lng=en&cat=c&id=13
http://www.findarticles.com/p/articles/mi_m1248/is_8_93/ai_n15370715#continue
www.findarticles.com/p/articles/mi_m2479/is_4_28/ai_76560787 http://www.ljudmila.org/scca/platforma3/milevskaint.htm
http://www.buzek.org/tito-buzek.htm
www.ekac.org/milevska.html
http://web.ukonline.co.uk/n.paradoxa/milev.htm
http://new.heimat.de/home/suicide/artists/tanja/power.htm
www.loc.gov/loc/kluge/kluge-residential-past.html
http://www.psu.ru/news/99/04/17-2.html