Marina Grz inic Livres

With essays by Pamela Allara, Manuela Bojadžijev, Adele Eisenstein, Rune Gade, Marina Gržinić, Suzana Milevska, Tanja Ostojić, Judith Surkis and Šefik Tatlić.Tanja Ostojić (*1972 Belgrade) is known for her political performances involving her own social figure. Her recent works, such as Looking for a Husband with EU-Passport, Crossing Borders Series and Naked Life, focus on various aspects of migration, but also include feminist ideas. The texts and images in this book are composed by outstanding Balkan, EU and US theorists and expand on the themes explored in this body of work, supplying additional insights. The book comprises colour images, written descriptions and commentaries on the three larger projects by the artist, as well as transcripts from discussions carried out in the framework of the actual works.

What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime 'flexible' and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness and flexibility conceal the hegemonic nature of modern hierarchies of exploitation?

This book places a focus on the regimes of in/visibility and representation in Europe and offers an innovative perspective on the topic of global capitalism in relation to questions of race, class, gender and migration, as well as historicization of biopolitics and (de)coloniality. The aim of this volume is to revisit theories of art, new media technology, and aesthetics under the weight of political processes of discrimination, racism, anti-Semitism and new forms of coloniality in order to propose a new dispositive of the ontology and epistemology of the image, of life and capitalism as well as labor and modes of life. This book is firmly embedded in the present moment, when due to rapid and major changes on all levels of political and social reality the need for rearticulation in theoretical, artistic and political practices and rethinking of historical narratives becomes almost tangible.

"Belgian colonialism in the Congo. Antisemitism in Austria. Turbo-nationalism in former Yugoslavia. Over the last two centuries, these three historic lines of violence and annihilation (re)enforced a process of oblivion that to this day prevents a processing of the genocides they caused. Today involuntary or performed amnesia again threatens to destroy what has already come to a point of possible coexistence. This exhibition catalogue goes back to these traumatic events in history and the recent past, which had such a violent impact on communities and people, states and territories, and confront them with a system of interventions. The scars that remain after atrocities, although hidden and obliterated, are recovered through artistic, scientific, and political reflections"--Publisher's website

This volume investigates current border issues in Europe, focusing on the refugee crisis as a manifestation of global Western capitalism, including modernization, nationalism, structural racism, dispossession, and various forms of violence. It connects these concepts to borders, which, while seemingly diminished in the global neoliberal economy, are resurfacing through deportations, segregation, and conflict. The text prompts readers to explore how to think about these relationships beyond traditional borders and whether a radical transformation of societal and political frameworks is achievable. It advocates for a reimagining of possibilities in social, political, artistic, and cultural realms. Contributions from various authors provide diverse perspectives on these pressing issues, encouraging a collective reconsideration of the state of affairs and the potential for revolutionary change.

Das Projekt „. What is art?.“ stellt die 1978 von Rasa Todosijevic in der gleichnamigen Performancereihe aufgeworfene Frage erneut. Wie das darin Unbeantwortetbleiben jener vor rund 35 Jahren bis zur Erschöpfung wiederholten existenziellen Frage immer auch für eine Aktivierung der Künstler-Rolle im Kunstdiskurs plädierte, ging die Ausstellung vor dem Hintergrund der massiv veränderten Territorial- und Kulturbeziehungen in Südosteuropa nach. Der Katalog dokumentiert mit Fotos von Markus Krottendorfer die Ausstellung in der Halle für Kunst und Medien in Graz. Weiterführende Essays von Suzana Milevska, Marina Grzinic und Antonia Majaca wagen kunsthistorische Rückblicke auf einstige herausragende südosteuropäische Beiträge wie der slowenischen Künstlerbewegung OHO. Auch werden die Vernetzung von Kunst- und Lebensformen auf transnationaler, kollektiver Basis à la IRWIN zu künstlerischen Praxen im ehemaligen sozialistischen Jugoslawien in Bezug gesetzt. Ein weiterer Fokus liegt auf den Herausforderungen, vor denen die aktuelle Kunstszene der im politischen Übergang befindlichen postkommunistischen Staaten in Osteuropa steht.

Die Publikation erscheint anlässlich der Ausstellung „Isa Rosenberger“ in der Secession, Wien (5.7. - 7.9.2008).

„Mind the Map! - History Is Not Given“ möchte eine Diskussionsplattform zu Kunst- und Kulturproduktionen schaffen, die an den Schnittstellen östlicher und westlicher Kunstrealitäten in Europa angesiedelt ist. Unser Ausgangspunkt ist das „East Art Map“ Projekt des slowenischen Künstlerkollektivs IRWIN. Es spürt der Geschichte der Kunstwerke und -prozesse im Territorium des östlichen Europa von den 1920ern bis heute nach. Das Ergebnis ist eine Karte mit Hunderten von Kunstwerken und künstlerischen Beziehungen in Zeit und Raum. IRWINS Impuls wiederum wurde von relations, einem Initiativprojekt der Kulturstiftung des Bundes, aufgegriffen: In einer zweiten Phase wurden acht Universitätspartner aus mehreren europäischen Städten zur Zusammenarbeit eingeladen. Sie nähern sich dem Projekt aus drei verschiedenen Perspektiven: der kunsthistorischen Perspektive, der Perspektive der Kultur- und Sozialwissenschaften, die den Diskurs um einen allgemeineren kulturellen, politischen, sozialen und medialen Hintergrund erweitert und einer performativen Perspektive, die Dramaturgie, Performance und kulturelle Interventionen umfasst.

As new capitalist global exhibition projects emerge, incorporating selected Third and Second World artists, a nuanced system of inclusion and exclusion also develops. These initiatives signal significant conceptual and technological shifts, particularly through the technique of transfer that enables reproduction. The capitalist First World establishes dominant interpretations of other cultures, revealing a dialectical relationship between writing technology and publishing politics. The hierarchy of who can publish and interpret is tightly controlled within the capitalist framework. Major symposia, seminars, and panels support global cultural projects, perpetuating the same theoretical figures and public opinion leaders who reinforce the capitalist narrative. In the realm of global contemporary art and culture, the dynamics extend beyond mere exchange and production; they involve the delineation of political boundaries within public spaces, codifying these spaces and naming their political subjects. The critical question arises: alongside this codification, do spaces of resistance exist? Dr. Marina Gržinić Mauhler, a philosopher, artist, and theoretician based in Ljubljana and Vienna, explores these themes. She is a Professor at the Academy of Fine Arts in Vienna and a researcher at the Institute of Philosophy at the ZRC SAZU in Ljubljana, while also working as a freelance media theorist, art critic, and curator.