MoCA Guide and Matinée – Saturday, February 22
Join us this Saturday, February 22, at 12:00 at MoCA – Skopje for a special MoCA Guide and Matinée event.
At 12h, our curator Bojana Janeva will guide you through three remarkable international exhibitions:
• “Broken Time. And the world is re-created from what it forgets.”
• “War of the Senses / War on the Senses.”
• “Calder: Liquid Modernism” – opening exclusively on the day of the matinée.
This exhibition will feature the work of Alexander Calder from the museum’s collection, accompanied by a sound composition by Austrian composer Dorit Chrysler. Chrysler is an Austrian composer who created a sound piece in interaction with the movements of Alexander Calder’s mobile at the Museum of Modern Art (MoMA) in New York.
From 13:00 onwards, we invite you to enjoy a matinée gathering with a DJ set.
For our youngest visitors, we are once again setting up a Children’s Corner, where kids can create their own drawings inspired by the exhibitions.
A special thanks to our sponsor Tikveš, and to the students from NOVA International Schools for their invaluable help in setting up the new exhibition.
The Museum of Contemporary Art has signed a memorandum of agreement with the Goethe Institute. The aim of this agreement is to encourage a partnership between these prestigious institutions in the field of culture, enabling the implementation of research activities, lectures, publications, and collaborative projects in contemporary art.
As a result of this agreement the program “Let’s talk: Urban areas, Countryside, Culture” has been created, which in 2025, will include a series of presentations and lectures at the Museum of Contemporary Art Skopje. The first session of this program begins on February 20 (Thursday) at 7 p.m., with a presentation by the director of the Goethe Institute, Katrin Ostwald-Richter, and the visual artist Nikola Uzunovski.
Revisiting Histories: Specters in Images, Archives, and Public Spaces
Film Program in the framework of the exhibition BROKEN TIME: and the World is Made Again by What It Forgets
Cinema hall
The screening will be in English
Maria Christoforidou, ΜΑΛΘΑ: The Thrice Burnt Archives of Unreliable Prophecies (2021), 15’
The ΜΑΛΘΑ Archive is a video essay that tampers with and speculates on cultural memory. By creating temporary truths and promoting new myths that engage social, technical, and linguistic networks, the work refuses a stereotyped perception of Greek identity and instead seeks to expand it. Departing from mainstream Greek imagery and the subsequent hegemonic subjugation of those who do not fit a ‘Greek imaginary’, the ΜΑΛΘΑ Archive works to affirm the presence of people with African descent in Greece, and demonstrates how a fluid identity is shaped by the ‘afterlife of antiquity’. The archive draws from a collection of images assembled with photo organising software by Christoforidou–who borrows ideas from feminist collage practices. Poignant links are created from museum artifact photography, tourist souvenirs, postcards, popular cultural images, and AfroGreek family albums, that are then combined in slippery, glitchy, failed panels. The outcome remaps layers of Greek history, antiquity, and image-culture to decolonise the relationships between the African diaspora in Greece.
Maria Christoforidou (b.1979) is a Zambian Greek artist, writer, and Fine Art lecturer at Falmouth University, UK. Listening to the body, ‘speaking nearby’ archives, Maria is motivated by a hope to create pauses that allow minor stories, ghost voices, more than human comrades to evade classification, come to rest, undoing unspeakable knots of otherness. Maria was born in Zambia, grew up in Greece and has spent most of her adult life in the UK. The insoluble differences of these environments are powerful incentives toward theory. She combines research and collaboration in different formats – lectures, workshops, events, written and visual essays, publishing – to explore the political, physical and performative implications of writing and photography. Maria uses fiction and metaphor as tools that interrogate archives, peeling back intersectional legacies of colonialism to revaluate the images that direct attitudes towards the ‘more than human world’, national and personal identities.
Diego Crux and Gian Spina, Calabouço and the Rrazing When I Die/Hill [morro], 19’
The essay-film departs from the first public space in Latin America (Passeio Público) constructed by an enslaved population that was kept imprisoned inside the Calabouços (dungeons) in Colonial Rio de Janeiro. By analyzing how the word/place Calabouço became normalized in the urban fabric along with the city’s reforms to keep parts of its population outside of specific areas, the film constructs an abstract narrative which unveils silenced pasts and histories. The overlapping of meanings contained in the word Calabouço are multiple: from a student restaurant, the scene of the murder of a racialized young man during the military dictatorship, to an airport, a beach and primarily a place for torturing the enslaved population in Rio de Janeiro. The filmmakers juxtapose old document texts, historic images and voice notes to address the complex character of the subject and its fundamental relation with contemporary and ancient Brazilian society.
A quasi-artist born and raised on the edge, in Parada de Taipas, Diego Crux now lives São Paulo’s downtown area. He works with arts among others in different places. He is the grandson of Rosa and Esmeraldo; it’s the color that reminds one of memory. He researches intimate and personal summons, collective experiences, representations, identity and its limits, unknowns and contradictions in these intersections. Imagine and build; question and review. He uses a variety of means in his processes, such as appropriation, photography, video, design, visual samples, words. He participated in exhibitions in São Paulo, Curitiba, Copenhagen (DK) and Accra (GH), and in the Pivô residencies (2020) accompanied by Thiago de Paula Souza and MAM Rio (2021), coordinated by Camilla Rocha Campos.
Born in São Paulo, Brazil, Gian Spina is a writer, researcher, sometimes an artist. He has worked and taught in pedagogical experiments, such as International Art Academy Palestine, Escola da Cidade (São Paulo), the Ionion Center for Arts and Culture (Greece), as well as CILAS (Cairo). Today he is learning Arabic, speaks five other languages and is constructing an interdisciplinary body of work on the materialization of power in history, narrative and the public sphere. He was part of residency programs as Capacete and documenta 14 in Athens (2017), MMAG Foundation in Amman (2018), as well as GEGENWARTE/PRESENCES in Chemnitz, Germany (2020). Lately, he participated on the Sheffield Film Festival, Les Rencontre d’Arles and the Museum of Modern Art in Rio de Janeiro. He has written articles for Mada Masr, Folha de São Paulo, Arts Everywhere, World Policy Institute, and several other independent publications. His work can be seen at http://gianspina.com
Curated by Zoran Erić
Panel discussion:
About the project
“Why the hell does everybody want to succeed?I’d like to meet somebody who wanted to fail. That’s the only sublime thing.”—John Dos Passos, Manhattan Transfer, 1925
The transnational project if walls could tell, by artist Mischa Kuball, questions art institutions with regard to their permeability to broader social groups within a community. Three symbolic museum walls will be installed in public spaces in various cities across Southeastern Europe, where they will act as an accessible and temporary stage for local inhabitants. Like a filter, these walls will collect all “traces” of cultural and urban expressions amid people’s urban lives, away from the cultural institutions to which they refer. Once marked by the environment and the people, the stage then returns to its institutional context; securing the traces left behind or for further inscription.
With the story of Dos Passos resonating in the background, the analog museum_transfer—the transitory, almost dystopian change of place with its many inscriptions—concentrates on the traces left behind on the walls, seen as a temporary space for the open and limitless expression of citizens in a participatory artistic project within public space. if walls could tell poses current social questions: Can civil society live without museums, and does this dissolve or break the cultural promise to future generations? What are the interactions between society, museums, citizens, artists, and curators?
Acting as a catalyst in this context, Mischa Kuball opens up the space to all citizens, who in turn become direct content producers, participants, and co-authors in the production of a collaborative artwork. They are thus regarded as political subjects who should be able to appropriate all available instruments that turn them into active users and not passive consumers, raising the question: What happens when citizens, potential museum public, and artists get “freedom of expression” in public space, uncommon to museum exhibition politics and practice?
Once the walls are returned to the museum, an important aspect of the project includes orchestrating a public debate with artists, art historians, theorists, and curators, among others. The discussion will be based on the previously observed social issues and problems in each of the local contexts and inspired by the interventions, statements, and imprints left behind on the walls. The context specific discursive programs will be developed together with partner institutions and with speakers well acquainted with local socio-political and art contexts.
The Museum of Contemporary Art in Skopje is the final venue this year, following the launch of the project in Sarajevo and Bucharest this summer. The process will be replicated in 2025 at all partner cities/venues: Chișinău, Kraljevica, Ljubljana, Bihać, Čačak, and Cetinje. In each of the partner cities, after being installed in public spaces, the walls will be returned to the museum or gallery, where panel discussions will be held to explore the impact of participatory art in public space within each specific context. The project will end at the WELTKUNSTZIMMER in Düsseldorf, where the final discussion with all partners will take place.
Curator: Zoran Erić
Institute for Philosophy and Social Theory, Belgrade
About the artistConceptual artist Mischa Kuball has been working in the public and institutional sphere since 1977. From 2007 onwards Kuball has been a professor of public art at the Academy of Media Arts, Cologne, and from 2006 to 2008 professor of media art at Hochschule für Gestaltung/ZKM, Karlsruhe. Since 2015 he has been a member of the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts, Düsseldorf. In 2016 he was honored with the German Light Award. Since the spring of 2024, he has been an associate member of the Cluster of Excellence ‘Matters of Activity. Image Space Material’ at the Humboldt-Universität zu Berlin.
Two-way alley – Melting down the museum fortification
(Panel discussion) MoCA-Skopje 21/12/2024 8pm
Skopje is widely recognized as a “city of monuments,” yet it lacks adequate public spaces for civic engagement. A decade after the launch of the “Skopje 2014” project, this raises a critical question: What is the potential role of participatory art in public spaces designed to engage citizens?
In this context, the Museum of Contemporary Art, positioned like an “island” or fort, continues to focus on cutting-edge regional and international programs and exhibitions. The central question for this panel discussion is: How can participatory public art catalyze debates that symbolically mark the beginning of the process of creating a “monument” (Jochen Gerz)? Furthermore, how might this form of artistic practice be perceived in a city saturated with “bronze sculptures” that reinforce a mythology-based narrative, rather than reflecting the social realities of an ethnically divided city and country?
Speakers:
Sofia Grigoriadou, visual artist & social anthropologist, PhD
Vladimir Janchevski, curator, Museum of Contemporary Art, Skopje
Slobodanka Stevceska, MA visual artist – OPA (Obsessive Possessive Aggression), and Faculty of FineArts, ‘SS. Cyril and Methodius’ University in Skopje
Prof. Nebojsa Vilic, art historian, Faculty of Dramatic Arts, ‘SS. Cyril and Methodius’ University in Skopje
Moderator: Zoran Eric, curator, PhD
SupportThe project is organized in cooperation with the Goethe Institute network in all
respective partner countries and supported by Bundeszentrale für politische Bildung bpb and Kunststiftung NRW.
All partners:
Ars Aevi Museum of Contemporary Art, Sarajevo
The National Museum of the Romanian Peasant, Bucharest
Museum of Contemporary Art, Skopje
Center for Contemporary Art, KSA:K & PLAI Gallery, Chișinău
RIZOM [ K ] – Frankopan Castle, Kraljevica
Art Gallery “Nadežda Petrović”, Čačak
MGML – Vžigalica Gallery, Ljubljana
Center for Contemporary Culture KRAK, Bihać
Faculty of Fine Arts Cetinje, University of Montenegro
Weltkunstzimmer, Düsseldorf
This workshop will put into practice the artist’s multi-year research “Design for resurgence” into practice. The goal will be to sense new ways to design and act, which will be a direct and equal response to the world we live in, in the direction of the world we wish to create.
At the centre of this practice is the process of prototyping, developing models for embodiment and speculation, looking for insight into the ways in which humanity relates with the more-than-human world. The format of prototyping allows unformed ideas to be tested, putting the focus on their organizing principles as an attempt for a productive departure from anthropocentrism.
The question “How do we imagine the future?” is entangled with our choices as we create the present. This entanglement makes for a fertile soil for the field of speculative design to take root. But, what are these speculations? Do they contain any meaningful insight into possible ways to abandon our self-destructive trajectory, or are they simply palliative lullabies preparing us for an extinction event which seems more and more likely?
The participants will be split into teams. Each team will create speculative scenarios and prototypes, which can range from abstract ideas to detailed concepts.
The workshop is intended for everyone who is interested, regardless of their previous knowledge of design. The participants are encouraged to use their favourite tools: photography, video, drawing, digital illustration, text, performance etc, to articulate their vision for a resurgent world.
Everyone who is interested can apply until December 9th. https://forms.gle/e6FSsfBGa2GHBUL6A
Talk: Can a museum be a table, or a tree?
Daniela Berger Prado, Curator at the Museo de la Solidaridad Salvador Allende (MSSA) Santiago, Chile
Moderator: Ivana Vaseva, curator, MoCA – Skopje
As an announcement of the collectively curated exhibition of works from the collection of the Museum of Contemporary Art – Skopje and contemporary artists, scheduled for 28 November, 2024
The talk titled Can a museum be a table, or a tree? is a presentation in a form of a dialogue about Museo de la Solidaridad Salvador Allende, Chile, its origin and collection, and its focus on contemporary arts and community practices.
Daniela Berger Prado (b. Santiago, Chile) is a Mother, Curator and Researcher based in Santiago de Chile, of Croatian and Slovenian descent. She works both independently and as Curator and Head of the Exhibitions Programme at Museo de la Solidaridad Salvador Allende, since 2016, with a particular interest on political/female artistic practices. She is a Professor of contemporary art and exhibition practices at Universidad Alberto Hurtado, Santiago, Chile.
The Museo de la Solidaridad Salvador Allende – MSSA – is a museum of modern and contemporary art with one of the most important collections in Latin America, with more than 3,100 works of art – a number that continues to grow thanks to constant donations of works by prominent contemporary artists.
Its origins date back to 1971 in Santiago de Chile, when a project was launched to encourage artists from America and Europe to donate works to the Unidad Popular (Popular Unity) government in order to create a museum for the Chilean people. The conviction and support of President Salvador Allende was essential, and his understanding of the historical importance of the project enabled the institutional conditions to be created for the development of this museological project, which is still relevant today.
The educational program within MoCA Skopje continues the educational discourse with a series of lectures and workshops titled “MoCA School” under the mentorship of the artist Nikola Uzunovski. The program starts on October 17rd, with lectures every Tuesday and Thursday beginning at 8 PM (except, instead on Tuesday 5th November the lecture will be held on Wednesday 6th of November).
The lectures are free, but regular attending of the sessions and prior registration of the participants are recommended. All those interested can register by October 16th through the link: https://forms.gle/cR3KQajxJZasGApM9, with first and last name, profession and announcement whether they will follow the whole course or individual lectures.
The program aims to sharpen general education, knowledge and interest in visual, especially contemporary visual art. The program of “MoCA School” is aimed, first of all, at the students of the Faculty of Fine Arts, the students of History of Art and Archeology, the Faculty of Architecture, as well as the students who study design, fashion and anyone interested in the contemporary and have an affinity to get a sharper picture of art.
hematic lectures according to dates:
17/10/ 8 pm / Presentation of MоCA School – Introduction to the program, with brief presentation of the all the eight lectures that will be covered in the MoCA School;
22/10/ 8 pm/ “Flight through time” – In order to better understand contemporary art, a general knowledge of art history is needed, but this should be presented through the prism of contemporary art. For example: what impact did Michelangelo’s work have on the audience at the time it was created;
24/10/ 8 pm / “Art in the 20th century” – Better acquaintance with the art of the last century, through more examples and directions. In the last century there have been great changes in art, the influence of which is still present today. (Marcel Duchamp, Andy Warhol, Joseph Kossuth, Jeff Koons, Bruce Nauman, Jenny Holzer);
29/10/ 8 pm/ “The Transition Between the 20th and 21st Centuries” – The main artists and changes in the period in the 90s and the beginning of the 2000s. (Damien Hirst, Matthew Barney, Felix Gonzalez Torres, Tracey Emin);
31/10/ 8 pm/ “Art in the 21st Century” – Introduction to the main changes in 21st century art, presentation of the main themes, curators and selection of 20 of the most important artists from this period. (Olafur Eliasson, Rirkrit Tiravanija, Ai Wei Wei, Maurizio Cattelan, Tania Bruguera);
06/11/ 8 pm/ “Art Today” – Representation of the most current artists and works produced in the last 5 years that reflect the current issues of society today. (Tino Sehgal, Hito Steyerl, Forensic Architecture, Thomas Saraceno, Hiva K.);
07/11/ 8 pm/ “Contemporary Art in the Balkans” – Review of a selection of the most important artists from the territory of the Balkans present on the international scene. (Marina Avramović, Mladen Stilinović, N.S.K., Nemanja Cvijanović, Dan Perjovschi, Daniel Knorr, Adrian Paci, Selman Selma);
12/11/ 8 pm/ “Art in Macedonia” – Presentation of some of the most important artists from Macedonia active on the local or international scene. (O.P.A., Igor Toshevski, Nada Prlja, Jane Chalovski and Hristina Ivanoska, Velimir Zernovski);
14/11/ 8 pm/ “Systems of Art Production in the 21st Century” – Representation of culture production systems, the formal institutional and informal system, the most important institutions, exhibitions, curators, schools. (Venice Biennale, Documenta, Manifesta, Berlin Biennale, Tate Modern, Guggenheim, Prada Foundation. Independent Scene).
As part of the project Long-Term Cultural Partnerships for Western Balkans – Europe Dialogue
(Culture.EUBalkans)
Museum of Contemporary Art – Skopje
03-06 October 2024
MoCA – Skopje Performance Festival is an event we aim to organize annually, which will allow for experimentation and sharing of artistic practice of residents and artists from the region, the EU and the international scenes. Through partnerships with cultural institutions as well as organizations, associations, schools, universities, research centres, the festival will engage in wider collaborations and may be extended to other public as well as open spaces.
MoCA – Skopje Performance Festival in 2024 consists of two programs. One derives from the residencies, as well as the pedagogic and research activities conducted through the Art Explora Foundation (France/Albania) partnership and its Villa 31 residency program in Tirana, as well as from collaboration with alumnus from the École nationale supérieure d’arts de Paris-Cergy (ENSAPC) and the artists-collaborators of the Oral History Initiative (OHI) ‒ Prishtina. The other program is a three-day event titled (Post)Yugoslav Legacies and Bodies: Performance, Critique and Utopia curated by Biljana Tanurovska – Kjulavkovski and Slavcho Dimitrov, and consists of screenings, lectures and performances.
The general idea behind the festival is to invent various modi operandi to deal with the transmission of artistic heritage in the enlarged context of the history of modernity, and the amplification of reception of ideas and gestures related to constantly evolving acts and forms searching for emancipation.
This performance festival is the second chapter of the European program Culture.EUBalkans (2022‒2024) whose aim is to encourage the circulation of artists, researchers and cultural actors between the Western Balkans and the European Union, and to promote the dissemination of their practices and their research. The NAM Choreolab performance is presented in collaboration with the PPFestival by Lokomotiva, and the (Non)Aligned Movements project, supported by the Creative Europe/European Cooperation Western Balkans Program and the Ministry of Culture of the Republic of North Macedonia.
A short review by the curators Biljana Tanurovska-Kjulavkovski and Slavcho Dimitrov on the (Post)Yugoslav Legacies and Bodies: Performance, Critique and Utopia program
The histories and politics of memory related to the legacies of Yugoslav socialism are a persistent and restless source of debates and disputes. The battles over collective memory symptomatically disclose the ongoing affective charge of Yugoslav legacies. These battles range from the nationalist historical revisionisms dictated by the provincial state-building process in the post-Yugoslav space that phantasmatically reset temporality as starting from a zero point, while being dictated by forces of local and international capital, up to the fetishism of freeze-frame backwards looks towards an idealized past that betrays the present disenchantment and incapacity for imagining different political futures nested in the nostalgic dehistoricization.
Somewhere between these processes, one can find the multiple and nuanced practices and politics of remembrance that acknowledge both the hurts and failings of history, as much as the “not yet voiced, undischarged element” (Bloch) of the utopian potentiality of the past Yugoslav materials, practices and longings.
It is precisely these cracks, openings, contradictions, ambivalences, potentials and memories that our performative festival programme (Post)Yugoslav Legacies and Bodies: Performance, Critique and Utopiacritically engages with, related to the multiple legacies of Yugoslav political, art and cultural practices and histories. Our program presents artists and scholars whose practices re-assemble, refer to, deconstruct or refract actions or perspectives which are reading historical or political positions, actions or relations of the (post) Yugoslavian context.
Our focus on performance arts derives not only from our commitment to understanding and engaging the problematics of the political and culture as an iterative performative and embodied and affective practice that brings into being collective subjectivities and worlds-in-common, values and orientations, ways of life and shared dispositions, as much as a performative staging of antagonism, disputes and dissensus. Rather, specifically, we would like to tackle the various ideological orientations and apparatuses, key political and collective signifiers and value investments of the Yugoslav legacies, as themselves being historically enacted through multiple art performances, cultural performatives, material-discursive apparatuses, and changing social choreographies. These include practices and affective anchors related to solidarity, anti-fascism, brotherhood and unity, Titoism, non-aligned decolonial politics, women’s and feminist perspectives, collectivism, utopian and emancipatory ideals, supranational Yugoslav identity, (gender) equality, the new socialist man and the working people, self-management, subcultural practices of resistance etc.
Our curatorial perspective is not historical nor genealogical but is creating a space where dialogue between discursive points and artistic practices is performed through certain dilemmas, questions, observations, ideologies, archives or perspectives related to those Yugoslav legacies.
We can point to the mass social choreographies of Sletovi (Flock of Birds) as the most paradigmatic examples of Yugoslav legacies which have both performative and pedagogic functions, overlapping and reinforcing each other. Here, thousands of bodies display, visualize and inscribe the nation, the state symbols, Yugoslav history, the communist party and the Leader (inscribing his signature with their bodies, his name, or other symbols associatively related to his name), resulting in the production of regulated and disciplined bodies.
One should also consider the various choreographies of the working body and labor, embodied in working brigades and the compositions of collective bodies in shared efforts towards (re)building the country, as well as the unruly and resisting bodies of the students’ protests in 1968 or the alternative cultural practices of the 1980s, most saliently, the punk cultural formations and their artistic offshoots. Building up new infrastructures, platforms, sensibility, theories, magazines, fanzines, and aesthetics, punk introduced a world within the world, precisely through its political impropriety, that is to say, by meshing, reconfiguring, redistributing, and playing with and within the existing horizon of the sensible, on the one hand, and doing politics at its allegedly improper site, which is to say mass culture, culture, and arts.
In this bundle of historical performatives, of special interest for us are the rich, contextually and historically specific, and conceptually diverse performance art practices in ex-Yugoslavia of individual artists, and the self-organized and collective structures of production and organization of art. To mention a few, one cannot overlook the importance of art groups such as Zenith, Gorgona, Mediala, OHO, Bosch+Bosch, KÔD, The Group of Six Artists, as well as the performances and programs presented and produced within the infrastructures of the various Student and Youth Cultural Centers in Ljubljana, Belgrade, Zagreb, Skopje, and many other.
Even more importantly, our joint effort to support, curate and enhance the creation of performative practices is grounded also in the conviction that the backward glance towards the past and the contradictory legacies of Yugoslavia – especially those related to the reflection and critique of capitalism, solidarity, utopia, emancipation, collectivism, gender equality, the struggle against class exploitation and inequality, supranational identity – can help us enact a critique (not only of the past but) of the prison house of the present, and stage desires and visions of futurity charged with indeterminate and open potentiality beyond the devastating logic of the world of capitalist realism, nationalism, sexism, homophobia, and colonialism. Beyond the epistemic, cultural and political auto-colonisation that has deemed us all as political infants, we would like to explore the potentials of the “no-longer-conscious” as a methodology of critical hermeneutics and reparative reading that mobilizes the performative force of the unfinished past, serving the utopian “not-yet-here” and reflecting the affective dynamics and necessities of hope (as argued by Bloch and Muñoz). In the spirit of Mark Fisher, we would like to awaken the specters of lost futures, the ghosts of failed promises and unfinished utopias as anticipatory illuminations of other possible worlds.
Finally, the selection and presentation of contemporary performance art practices is determined by our appreciation of the “utopian performative” force (Dolan) of these performances, bringing forward different temporalities, space-times, and making them affectively sensed, while critically mobilizing part of the legacies of Yugoslav emancipatory ideals, or addressing the post-Yugoslav turbo-fascism (Papić), that is the entrenched in the patriarchal politics (which persisted within everyday socialist life despite the proclaimed egalitarianism), homophobia, and violent practices towards cultural and religious others.
PROGRAM
PDF
3rd of October 2024 (Thursday)/partner program
18:30
Presentation of the partners from the Culture.EUBalkans initiative and discussion: Jeta Rexha, Director of the Oral History Initiative–OHI, Prishtina; Joséphine Dauphin, in charge of the residency programmes at Art Explora, Paris/Tirana; Camille Kingué, Head of International Affairs and Career Development at École nationale supérieure d’arts de Paris-Cergy (ENSAPC), Paris. Moderation: Ivana Vaseva, curator at MoCA – Skopje.
20:00
Performance A Hacker’s Guide to the Forest: Museum Edition by Collective Tree.0 (Elisabeth Banom, Kathryn Marshall, Martijn Van Elferen), alumni of École nationale supérieure d’arts de Paris-Cergy (ENSAPC).
21:00
Screening of three video artworks: Trans’nistria (11’ 50’’) and Abkhazia After (13’ 44’’) by Vangjush Vellahu, The Goldfinch (4’ 25’’) and How Stars Are Born? (4’ 03’’) by Olson Lamaj and Bitches on Their Deen (50’) by Anna Ehrenstein, residents of Villa 31, residency programme in Tirana run by the Art Explora Foundation (France/Albania).
04-06.10.2024 /main program
(Post)Yugoslav Legacies and Bodies: Performance, Critique and Utopia
Curated event
Curators: Biljana Tanurovska – Kjulavkovski and Slavcho Dimitrov
4th October, 2024 (Friday)
18.30 – 19:15
Hristina Ivanoska/ Document Missing: On Methodology (text, voice, and body) (2014-) /performance, 40 min.
19:30-20:30
Jovana Karaulić/ Staging the State: Cultural Performances of Yugoslavism/ lecture
20:45
Marta Popivoda, in collaboration with Ana Vujanović/ SURFACES THAT MATTER: Youth Day 1988 (2022)/ video installation, 20 min., loop
Marta Popivoda/ YUGOSLAVIA, HOW IDEOLOGY MOVED OUR COLLECTIVE BODY (2013) / Serbia, France Germany, film, 62 min.
5th October, 2024, (Saturday)
19:00 – 20:00
Klelija Zhivkovikj/ Who Taught You How to Feel Good? (2024)/ performance, 20 min.
Milica Rakić and Vladimir Bjeličić/ Investigative Procedure: The File of a Yugoslav Woman (2024)/ performance, 15-20 min.
Olja Grubić/ IKEBANA (2018)/ performance, 25 min.
20:30 – 21.30
Dražen Dragojević/ Such as Partisans with Non /a performance lecture
6th October, 2024 (Sunday)
18:00 – 19:00
Jasmina Založnik/ Claiming of Space. New Performative Art Practices in Yugoslavia/ lecture
19:30
NAM ChoreoLab: Sonja Pregrad, Ana Dubljević, Viktorija Ilioska, Dražen Dragojević/ SUCH AS RHYMES WITH NON Non does not repeat. But it does rhyme. (2024) / performance
In memory of the catastrophic 1963 earthquake in Skopje, and as part of the MoCA – Skopje Summertime Open Air Cinema programme, we will be screening the experimental documentary “Screen for Skopje” (1988, 31′) by Polish director, actress and producer Małgorzata Potocka.
The screening will take place on 26 July at 9pm at MoCA under the sky.
Admission is free.
The MoCA Summertime Cinema programme is curated by Sofia Grigoriadou.
The film follows artists active in the 1980s as they present performances, actions and public interventions. Some of them, such as Christo, Simon Šemov, Petar Mazev and Jerzy Treliński, donated their works to the art collection of MoCA – Skopje. Others such as Józef Robakowski, Ivan Ladislav Galeta and Joan Jonas are also featured in the film. Meanwhile, two figures hidden behind a white canvas playfully guide the viewers through modernist Skopje.
The screening will be followed by a get-together with music and drinks.
The documentary was part of the exhibition “No Feeling is Final. The Skopje Solidarity Collection”, featuring works from MoCA’s art collection. The exhibition was opened at the Kunsthalle Vienna and is currently on display at the National Gallery in Prague.
Thanks to Filip Dimevski and Živko Grozdanoski for translating the film into Macedonian.
