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Table of Contents:
Performance Research/Call for Proposals
post@perfres.demon.co.uk (performance research)
betazine 6%
itch <cs@t0.or.at>
net-art00 >>> 01
atty <atty@hell.com>
next performance, etc
Surveillance Camera Players <notbored@panix.com>
Invitation
Kalina Bunevska <kalina@scca.org.mk>
Grzinic, the last futurist show, please post for the list members!
"Marina Grzinic" <margrz@zrc-sazu.si>
------------------------------
Date: Fri, 8 Dec 2000 16:06:25 +0000
From: post@perfres.demon.co.uk (performance research)
Subject: Performance Research/Call for Proposals
With Apologies for Any Cross-Postings.
CALL FOR PROPOSALS:
PERFORMANCE RESEARCH - VOL. 6/3 - 'NAVIGATIONS'
Performance Research is seeking submissions for 'Navigations' which will be
Volume 6, Issue 3 of 'Performance Research' and is to be edited by Ric
Allsopp and David Williams.
Deadlines are as follows:
Proposals 31st January, 2001
Finalised Material 16th April, 2001
Publication Date December 2001
This issue will complete our sixth year of publication and end a critical
and creative enquiry into performance, migration and travel. 'Navigations'
will be the last of three related issues which engage with the migrations
of people, performance and performance cultures, and which generate writing
around differing geographies and histories of travel and travelling
performance in a diversity of written and visual forms.
The science of navigation (like time) now sits comfortably on the wrist or
the dashboard. As new technologies enhance the ability to locate, identify
and track movement, to fix and define (and ultimately devalue) who and
where we are with global positioning sytems, cctv surveillance, remote
mapping, and credit profiles, so too it would seem there is a tendency in
contemporary performance to displace itself from the conventional fixities
of representation in time and space, and re-situate itself in the
contingent, the indeterminate, the open, the fluid, where its explorations
of instability, ephemerality and process allow us to re-situate ourselves
as value. As performance migrates across surfaces and media, through
boundaries and disciplines, moving from representation to transformation,
so the new arts of navigation are concerned less with geographical than
with informational uncertainties, less with affirmations of identity than
with negotiations of difference. Continuing the theme of performance and
its travels, 'Navigations' explores what such moves and propositions might
mean for a future of performance.
The editors are interested in contributions from scholars, writers and
artists which engage with a variety of critical and artistic points of
departure, and ways of thinking about the idea of 'Navigations' in the
widest sense of the term - both actual and metaphorical - and about
possible 'navigations' within a variety of sites and contexts -
geographical, political, theoretical and artistic.
As well as essays, interviews and documentation, we are looking for
collaborations between artists and critics, work that extends the
possibilities of the visual page, that situates critical work within a
visual context, or has links to other sites, actual and possible, such as
performances, netcasts, web sites, radio and gallery installations.
Potential writers with tentative ideas are invited to discuss them with the
issue editors Ric Allsopp and/ or David Williams, in advance of submitting
a formal proposal.
Contact: <transomatic@orange.net> or <d.williams@dartington.ac.uk>
Please note that proposed submissions do not necessarily have to relate to
issue themes. We actively welcome submissions on any area of performance
research, practice and scholarship.
Proposals and articles will be accepted on hard copy, disk or by e-mail and
should be sent to:
Clancy Pegg (Administrator)
Performance Research, Market Road, Cardiff, CF5 1QE, UK
e-mail: post@perfres.demon.co.uk
Submission of an article to the journal will be taken to imply that it
presents original, unpublished work not under consideration for publication
elsewhere. By submitting a manuscript, the authors agree that the exclusive
rights to reproduce and distribute the article have been given to the
publishers. Submission of material to 'Performance Research' does not imply
acceptance for publication on the part of the issue Editor(s).
***********************************************************
Clancy Pegg (Editorial Administrator)
Performance Research
Market Road
Cardiff CF5 1QE
UK
TEL: + 44 (0) 29 20 388 848
FAX: + 44 (0) 870 055 7873
E-MAIL: post@perfres.demon.co.uk
WEBSITES: <www.aber.ac.uk> then search for 'Performance Research'
<www.tandf.co.uk/journals>
***********************************************************
------------------------------
Date: Sat, 9 Dec 2000 23:33:39 +0100
From: itch <cs@t0.or.at>
Subject: betazine 6%
Last login: Wed Sep 20 05:21:12 +0200 (MEZ)
Betazine 7.1-RELEASE (GENERIC) #0: Sat Dec 9 23:04:37 +0200 (MEZ)
Welcome to http://betazine.org/
Enjoy dual language-mode!
We have new content.
$ sound
~*nu face: http://pilot.fm ../vis/lan:eng/
$ txt
~*uebermarkt ../txt/lan:ger/
~*viennale 2k ../txt/lan:ger/
~*reaclaim the landschaft ../txt/lan:ger/
~*29nu austrian observations ../txt/lan:dual/
$ links
~*42nu links ../txt/lan:dual/
$ index
~*quickref
~*public key
$ service
~*VIE culture as usual ../lan:dual/
Pr3f3rcmyk?
$ The Rise & Fall of an Empire.
~*feb 1, 4 & 8 2k+1.
~*k/haus passage VIE
D!2cl4m3r.
$ Sorry for crossposts.
$ Pls reply to unsubscribe if not list.
__________
_- __ \
_- /
- ( 0 )/
/ _. __ |
| / | |\
| / /´ /|
| / ( _/#|
\/_/ _---###|
`------###$&#$#|
|####$&#$&#$###|
|# p!l0t.fm $##|
|##$#$#$#$#$###|
|#$#&#$#&#$#&##|
\############$#|
:`------------.|
:| . :|
`: . /|
\ . |`.
: . | `.
| . |/):
| . |/ :
\_____|_____/.´
.####:####\
:____.`.____)............ . .
tri./*rmx:itc
- --
pionier der telearbeit - http://betazine.org/
------------------------------
Date: Sun, 10 Dec 2000 14:51:40 +0000
From: atty <atty@hell.com>
Subject: net-art00 >>> 01
Dear all,
We will be counting up votes for our web specific art arena 'net-art00'
at the end of the year, so now is the time to get your reactions to
projects from '00 fully recorded by paying on or two more visits to
http://www.net-art.org (there have been many new nominations in the last
two weeks). In addition if you want to make some last nominations of
something you feel has got overlooked - nomination form is at
http://www.net-art.org/nominate.asp.
We want to emphasize that net-art.org is not intended to be about
winning this vote. It is conceived simply as a way to gather some
elementary record of what people felt about a wide range of web specific
art projects made in a particular year (beyond relying on those who are
moved to make comments). So we would ask very strongly that you don't
get involved in any organized attempt to vote a particular site or
creator up the record.
Unfortunately at 'net-art99', it has now become apparent that the sites
that were recorded as first and third most popular did benefit
significantly from getting top scores from a small group of people
visiting net-art.org over a three day period just to register their
support for those sites. Although that result will not be changed it
will now be annotated to indicate this (apologies to all for not picking
this up earlier). In future sites that benefit from patterns of voting
that show a timing or geographical cluster of voting indicative of
having partisan and/or organized support will be eliminated. Please let
the projects listed 'speak for themselves'. http://www.net-art.org is
intended to be an open arena with open access to both well known
creators and those not so well known, those with a lot of traffic to
their existing sites and those with less.
Next year we will be reviewing the existing format, this year's list of
nominations is the longest yet, and we may have to consider some process
of elimination or 'heats' since maybe the listing becomes too unwieldy
for the visitor to net-art.org (any comments?). We hope to launch
'net-art01' from the two week Barcelona street festival, Festival
Gracia, in August '01, with display of work from top practitioners - all
welcome. The possibility exists that the creator(s) of the most popular
site of '01 will get to visit that city for that festival the following
year.
have a good one
yours
andy forbes
------------------------------
Date: Sun, 10 Dec 2000 17:20:36 -0500
From: Surveillance Camera Players <notbored@panix.com>
Subject: next performance, etc
Bonjour y'all!
1. Upcoming performance:
11:30 am New York time, 17:30 H Paris time
Thursday 14 December 2000
watch this web cam
http://www.earthcam.com/usa/newyork/timessquare/cam3.html
2. Recent performances:
God's Eyes Here on Earth 3 December 2000
http://www.notbored.org/3dec00.html
What are you doing out in public? 5 December 2000
http://www.notbored.org/5dec00.html
3. New position paper:
On paranoia
http://www.notbored.org/paranoia.html
SCP
notbored@panix.com
212 561 0106
- -----------------------------------------------------
This mail sent through IMP @ Netspace http://www.netspace.net.au/
------------------------------
Date: Mon, 11 Dec 2000 15:33:14 +0100
From: Kalina Bunevska <kalina@scca.org.mk>
Subject: Invitation
The Contemporary Art Center - Skopje, Macedonia
The University of Dundee's Visual Research Centre
and
Skopje Museum of Contemporary Art
cordially invite you to attend the opening of the international exhibition
TIK TAK TOK
Skopje Museum of Contemporary Art
Wednesday, 13.12.2000, 8 PM
Names of participants:
Lei Cox: Video-installation Artist, Musician and Lecturer
The Applause / The Conductor
Iskra Dimitrova: Installation Artist
CLOCKS AND BODIES
Paul Dignan: Painter, Video-installation Artist, Lecturer
6500macamericanwallceefaxchromeradiodiverdollfujicentralheatingimacdutchchildmicrowavenokiaseikotimexaiwawh
Dejan Spasovik: Multimedia Artist
APPROXIMATI(ME)ON
K. Henderson: Performance-orientated Artist, Writer and Lecturer.
L(cl)ocked'
'Listening-In To Skopje'
'Atlas' (Performance work)
Oliver Musovik: Graphic Artist
All Good Things Come To Those Who Wait
Steve Flack: Multimedia Artist, Producer and Lecturer
Time Piece
Aleksandar Zdravkovski: Installation artist
Time - Illusion of the Reality
Stefan Saskov: Installation and Video Artist
1h OUR Sat-chit-ananda (existance-consciousness-bliss)
Nikola Velkov: Net Artist
ROOSTER
An international inter-disciplinary collaboration between Artists,
Designers, Writers, Philosophers and Students from Dundee (Scotland) and
Skopje (Republic of Macedonia).
First Exhibition: December 13 - 20, 2000
Second Exhibition: April 2001, The University of Dundee
Organized by: Contemporary Art Center, Skopje and
The University of Dundee's Visual Research Centre
coordinator of the project: Melentie Pandilovski
original Concept: Lei Cox
co - Curators: Lei Cox & Kevin Henderson
TIK TAK TOK consists two exhibitions of artist's clocks and time machines.
In TIC TAK TOK, the artists will create an artwork around ideas associated
with counting time. The works will be mechanical, electronic, drawn,
performed, sculpted and theoretical. They may tell the time of day or they
may present their 'own' time.
The idea of a clock entails others, and other people - a gathering, a
meeting of strangers, or the desire for such: a thing (object) by which one
arranges and records arrivals and departures, by which one measures
presence and absence. Wherever anything lives, anything at all, there is
open somewhere a register in which time, its time is being inscribed.
Theoretical and contextual writing for the publication:
Branislav Sarkanjac: Philosopher, Faculty of Philosophy, University "Sts Cyrill and Metod", Skopje.
K. Henderson: Writer and Lecturer.
Babs McCool: Director, Visual Research Centre.
Melentie Pandilovski: Writer and Critic, Director of Contemporary Art Center - Skopje
John Burnside: Poet and Novelist.
Bojan Ivanov: Art Historian
David Hopkins: Writer, Curator and Lecturer: Art History; University of St. Andrew.
Ivica Dzeparovski, Aesthetician, Faculty of Philosophy, University "Sts Cyrill and Metod", Skopje.
Jane Lee: Writer and Critic.
------------------------------
Date: Tue, 12 Dec 2000 09:25:43 +0100
From: "Marina Grzinic" <margrz@zrc-sazu.si>
Subject: Grzinic, the last futurist show, please post for the list members!
Gallery Skuc, Ljubljana and Gallery of Contemporary Art Celje
in collaboration with
Gallery Kapelica, Ljubljana, Gallery Media Nox - MKC Maribor, Slovenian =
Cinematheque Ljubljana and Maska, Journal for Performing Arts], =
Ljubljana=20
invite you to take part in the project
FICTION RECONSTRUCTED
EXHIBITION/PERFORMANCE/SYMPOSIUM/SCREENINGS/BOOK/CATALOGUE
Project conceived and curated by
Marina Grzinic (FI ZRC SAZU), Ljubljana
In the 80's in Ljubljana several projects based on the idea of =
reconstruction of works of art from the avant-garde tradition took =
place. Projects such as The Last Futurist Exhibition by Kasimir Malevich =
(Belgrade), The International Exhibition of Modern Art (Armory Show) and =
the lecture Walter Benjamin: Mondrian 1963--1996 were displayed and =
enacted by the Gallery Skuc in Ljubljana in 1986. The author (authors?) =
of these projects has presented himself/herself merely through =
exhibition titles, and often by signing his/her work with the names of =
famous and deceased painters and philosophers, or by using pseudonyms. =
We can say that this research in contemporary art is parallel to trends =
and concepts on a world scale. In the 90's this same anonymous author =
(or authors?) opened in a ground-floor apartment in New York's Soho, the =
exhibition Salon de Fleurus. Salon de Fleurus is a staged repeat =
presentation of one of the most significant collections of modern art =
from the turn of this century, which was created by the American author =
and literary critic Gertrude Stein (1874--1946), a Jew of German =
descent, with the help of her brother Leo Stein, in their Paris =
apartment at 27, rue de Fleurus.=20
The collections of the projects from 1986 presented in Gallery Skuc for =
the first time in Slovenia, the lecture and the collection of the New =
York Salon de Fleurus will be deconstructed, re-enacted, and simulated =
again in Ljubljana in the year 2000. A symposium, video-film screenings =
and a book/catalogue are as well part of this complex project of =
reconstruction and fictionalization.
EXHIBITION: OBSERVING THE OBSERVED
The exhibition is a joint research project between the anonymous artist =
and Marina Grzinic.
The exhibition consists of artifacts from three contemporary art =
collections and of the re-enactment of the lecture from 1986:
1. Art Collection Salon de Fleurus. Salon de Fleurus opened to the =
public eight years ago in a small backyard apartment at 41 Spring Street =
in New York. The subject of this long-term project, whose authors remain =
anonymous, is the collection of modern art assembled by Leo and Gertrude =
Stein in Paris, in their apartment at rue de Fleurus, in the beginning =
of the 20th century. Artifacts exhibited in this collection have been an =
integral part of the Salon de Fleurus for many years. In Ljubljana, and =
subsequently in Celje and Maribor, these artifacts can be seen for the =
first time outside of their "natural" context. Meanwhile, in New York, =
Salon de Fleurus continues to exist with another set of works, but whose =
subject remains the same.=20
2. Art Collection The Last Futurist Exhibition by Kasimir Malevich =
(Belgrade)- artifacts from this collection were already exhibited in =
Gallery Skuc in Ljubljana, in the spring of 1986].=20
3. Art Collection The International Exhibition of Modern Art (Armory =
Show) -- artifacts from this collection were already exhibited in =
Gallery Skuc in Ljubljana, in the fall of 1986.=20
Walter Benjamin: Mondrian '63 - '96 is the lecture that was given by =
Walter Benjamin, a German philosopher who had been dead for almost half =
a century, while Piet Mondrian, a Dutch painter and the founder of =
abstract painting, had died four years after Benjamin (in 1944)].=20
An excerpt from the lecture: "The theme of tonight's lecture is, as was =
already announced, the work of Piet Mondrian created between 1963 and =
1996, at least as it can be concluded on the basis of the dates on the =
paintings themselves. /.../ So, you will ask, 'Why are so many of =
Mondrian's paintings gathered in one place in this city?' I believe that =
most of you will find it almost incredible. Even if we believed, just =
for a moment, that by some miracle it was possible to collect original =
Mondrian's just for this occasion, we would soon be confused by the data =
found on the paintings themselves. Whoever looks at them closely may =
notice that they really have Mondrian's signature, but the dating seems, =
to say the very least, rather strange. The paintings are dated with the =
numbers 63, 79, 83, 86, 92, 96. This means that the earliest was painted =
in 1963. And what are we to do? Since we know that Mondrian lived from =
1872 to 1944, we can simply conclude that these are not his original =
paintings. Even if we suppose that, for some unknown reason, Mondrian =
was able to date or anti-date his paintings in this way, a scientific =
analysis would soon prove that these paintings were done after his =
death. Therefore, we must pose a new question: 'Who is the real creator =
of these paintings?'"
FICTION RECONSTRUCTED
Copies contain not only all the parameters of the painting that is being =
copied, but much more: the idea itself and the act of copying. Copying =
makes repetition and reproduction intrude into the features =
characteristic of modern art, such as the new, the original and the =
authorial; it is not there to falsify and to forge the original, but to =
question the current, canonized foundations of modern art: the identity =
of the artists and their work, the meaning and significance of the work, =
and its interpretation. Questions such as the relation between the =
original and the copy, truth and falsehood, sense and non-sense are =
legitimate subjects of philosophical discussion. Therefore, the entire =
ritual of reconstruction and repetition is not an attempt to falsify, =
but rather to analyze the conceptual processes in art and culture. These =
are actually anti-historical works.=20
I can therefore, in relation to this project, re-formulate Dubuffet's =
notion that "painting can be a machine communicating philosophy" into =
"painting can be a machine which already elaborates philosophy" (H. =
Damisch). Copies do not originate from an opposition between works, and =
do not directly refer to pictorial inventions, but rather refer to the =
possibilities of their own appearance. This is a completely =
anti-historical reading which does not believe in the disappearance of =
things, in linear genealogy, or in a homogenous time without =
interruptions. The copy confronts us with forms of historicity and/or =
anti-historicity of the visual and virtual /cyber world. (From: Marina =
Grzinic, Fiction Reconstructed, Vienna 2000.)
LJUBLJANA=20
EXHIBITION, PERFORMANCE and LECTURES
Gallery Skuc, Stari trg, 21, Ljubljana
Thursday, December 7, 2000, at 8.00 p.m. -=20
INAUGURATION OF THE EXHIBITION
The exhibition will be on view until January 15, 2001.
Gallery Skuc, Stari trg, 21, Ljubljana=20
Friday, December 8, 2000, at 6.00 p.m.=20
a lecture - guidance by Goran Djordjevic will be held; Djordjevic works =
as a doorman and care-taker at the Salon de Fleurus in New York.
Friday, December 8, 2000, at 8.00 p.m. -
a re-enactment of the lecture Walter Benjamin: Mondrian '63 - '96.
Walter Benjamin is performed by the Slovenian actor Jozef Roposa.
Gallery Skuc, Stari trg, 21, Ljubljana
Tuesday, December 12, 2000, at 8.00 p.m. -=20
lecture by Marina Grzinic entitled Fiction Reconstructed - from The =
Harbingers of the Apocalypse to the Retro-avant-garde (1980-2000)].
CELJE, Slovenia=20
Gallery of Contemporary Arts: EXHIBITION, PERFORMANCE, LECTURES
>From February 1 until March 1, 2001.
MARIBOR, Slovenia
Gallery Media Nox, MKC Maribor: EXHIBITION, PERFORMANCE, LECTURES
>From May 8, 2001 until May 19, 2001.=20
The project was produced by Gallery Skuc, Ljubljana (Gregor Podnar, =
Josko Pajer) and Gallery of Contemporary Art Celje.=20
Partners in the project:
- - Gallery Kapelica, Ljubljana (Jurij Krpan) - symposium organization=20
- - Maska, Journal for Performing Arts], Ljubljana (Emil Hrvatin) - =
publisher of the book-catalogue
- - MKC, Maribor (Dragica Marinic, Joze Slacek) - exhibition and =
book-catalogue
- - Slovenian Cinematheque, Ljubljana (Koen van Daele) - video-film =
programme=20
The project was suported by
ZRC SAZU, Ljubljana, Director's Fund, dr. Oto Luthar=20
French Institute Charles Nodier, Ljubljana, dr. Christine Schell
KulturKontakt, Avstrija, dr. Annamarie T=FCrk, dr. Nicole =
Marjanovic-Zoubek
Sponsored by GOSTISCE MRAK, Ljubljana=20
We would like to express our gratitude to: Moderna galerija Ljubljana =
and Nives Zalokar, Adele Eisenstein/C3, Aleksandra Rekar.
INTERNATIONAL SYMPOSIUM WITH VIDEO-FILM SCREENINGS AND PUBLISHING OF THE =
BOOK/CATALOGUE
1. THE BOOK/CATALOGUE with a title
THE LAST FUTURIST SHOW
SALON DE FLEURUS, K. MALEVICH, ARMORY SHOW,=20
GLOBALIZATION, POLITICS, NEW MEDIA TECHNOLOGY=20
Edited by Marina Grzinic, Ljubljana
TEXTS BY
Goran Djordjevic (Belgrade-Ljubljana-New York); Timothy Druckrey (USA); =
Michael Fehr (Germany); Marina Grzinic (Ljubljana); IRWIN (Ljubljana); =
Maria Klonaris, Katerina Thomadaki (France-Greece); Lev Manovich =
(USA-Russia); Georg Sch=F6llhammer (Austria); Hito Steyerl (Germany); =
0100101110101101.ORG.
Published by Maska, Ljubljana
In collaboration with Gallery Skuc, Ljubljana, Gallery of Contemporary =
Art Celje and Gallery Media Nox - MKC, Maribor=20
2. SYMPOSIUM with screenings
FICTION, SPECTRAL HISTORY, TIME AND THE VIRTUAL: ART, POLITICS, =
GLOBALIZATION, FEMINISM AND NEW MEDIA TECHNOLOGIES
January 11 and 12, 2001 - Ljubljana
Gallery] Skuc, Ljubljana, Gallery Kapelica, Ljubljana, Slovenian =
Cinematheque Ljubljana
The central concept of the international symposium and of the video/film =
screenings is to share visions on art and media, post-politics, =
post-modernism, post-socialism and post-theory: to speak about =
perspectives in contemporary art, politics and new media technologies =
from artistic, art-historical, philosophical and theoretical points of =
view. These reflections will be articulated through several spectral =
figures such as the copy, the icon, the spectral body and the activists' =
mind, and as well as through globalism, nationalism and =
transsexual-transfigured frames and positionings. (Marina Grzinic).
PROGRAMME OF THE SYMPOSIUM AND VIDEO-FILM SCREENINGS
FIRST DAY
Thursday, January 11, 2001
Gallery Skuc, Ljubljana, Stari trg 21, Ljubljana
3.00 - 3.30 p.m. MARINA GRZINIC: Fiction Reconstructed
3.30 - 4.15 p.m. GORAN DJORDJEVIC:=20
Cubism and Abstract Art. First Ethnographic Exhibition of Modern Art.
4.15 - 5.00 p.m. IRWIN: Retro-avant-garde
5.00 - 5.30 p.m. Break
5.30 - 6.15 p.m. MARIA KLONARIS, KATERINA THOMADAKI: Poetics and =
politics: The Cinema of the Body and The Angel Cycle
6.15 - 7.00 p.m. MICHAEL FEHR: The Museum -- Living Utopias
Thursday, 11. januarja/January 11, 2001
Slovenian Cinematheque, Ljubljana
Miklosiceva 28, Ljubljana
Slovenian Cinematheque's program XPRMNTL
8.00 - 10.00 p.m.=20
Programme:
Maria Klonaris, Katerina Thomadaki (France-Greece)
Double Labyrinthe, 1976, 55', 16 mm
Maria Klonaris, Katerina Thomadaki (France-Greece)
Requiem for the XXth Century, 1994, 14', video Beta
Adrian Kovacs, Belgrade=20
Narcissus, 1989, (an excerpt of 10 minutes will be shown) video 8=20
A talk with the artists follows after the screenings.=20
2 DAN/SECOND DAY
Friday January 12, 2001
Gallery Kapelica, Ljubljana, Kersnikova 4, Ljubljana
3.00 - 3.30 p.m. MARINA GRZINIC, JURIJ KRPAN: Hybrid
3.30 - 4.15 p.m. GEORG SCH=D6 LLHAMER: Artistic Capitalism=20
4.15 - 5.00 p.m. LEV MANOVICH: Information and Form
5.00 - 5.30 p.m. Break
5.30 - 6.15 p.m. TIMOTHY DRUCKREY: Strategizing Against Globalization
6.15 - 7.00 p.m. HITO STEYERL: Expo 2000 - a bourgeois utopia
7.00 - 7.30 p.m. Break
7.30 - 8.15 p.m. 0100101110101101.ORG: CTRL C/CTRL V
8.15 - 9.00 p.m. Final discussion/Conclusion
Friday, January 12, 2001
Slovenian Cinematheque, Ljubljana
Miklosiceva 28, Ljubljana
Slovenian Cinematheque's program XPRMNTL
10.00 - 12.00 p.m.=20
Programme:
Hito Steyerl (Germany)=20
Normality 1-7, 2000, 19min, video Beta SP
Dunja Blazevic/TV Gallery (Belgrade)
Essays on Modern Art, 1987, 34' 30'', video Beta SP, produced by TV =
Belgrade=20
Marina Grzinic, Aina Smid (Ljubljana)
Retroavantgarde + Post-socialism + Irwin, 1997, 20' 5'', video Beta SP, =
produced by TV Slovenia
A talk with the artists follows after the screenings.=20
------------------------------
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