GRAEAE / 2015-2016
Kompozicionu celinu čine: natpis “Treba nam laž da bismo sačuvali mir” na arapskom jeziku sa turbanom od trnja, arhitektonski prilagođene, preoblikovane dve niše u prostoru galerije i serija dokumentarnih fotografija. /Započinjem ćutanjem u znak poštovanja svih stradalih -------------------- Natpis “Treba nam laž da bismo sačuvali mir” ukazuje na potrebu da se muslimanska zajednica proglasi odgovornom za kritično stanje u društvu, radi nameskog rata, uslovljenog stagnacijom kapitala, podpomognutog stanovištem da prirodni resursi ne smeju biti nacionalizovani. Muslimanska zajednica preuzima “iskupljenje” za naše “grehe”. Zato pravim turban od trnja. Za kaznu će se moliti na kukuruzu, radi istog su u pokretu. /Migracije podstiču detaljno preispitivanje društva, poretka, koje u već oslabljenom društvu deluje suvišno, ali ne treba održavati civilizaciju na “živim mrtvacima”. Zato sam čin uklanjanja jagodica na prstima (praksa izbeglica da uklanjaju jagodice na prastima, kako bi onemogućili identifikaciju), kao odstranjivanja nepoželjnog dela sebe, nije čin “očajnika”, (produkovanje mrtvih), već inicijacija za “vaskrsenje” društva, zbog čega “Skulpturu za skidanje jagodica” smeštam u apsidu ili Mihrab (*poklapanjem smera dubine niše sa kiblom, niša postaje Mihrab)./Serija dokumentarnih fotorafija stolice sa elementima američke zastave snimljena je u parku preko puta Železničke stanice u Beogradu, privremenog boravišta migranata na Balkanskoj ruti. Stolica za kampovanje, dobijena od strane vojnika UMNIK-a i doneta sa Kosova od strane izbeglice srpskog porekla, stvara neposrednu vezu između dešavanja ova dva prostora, otkrivajući subjekat kome je događaj pripisan. Formiranje univerzalnog subjekta, iza koga sledi znak jednakosti sa državom, predstavlja istorijsku prekretnicu u razvoju takozvanog liberalizma, momenat spajanja pravne sa tržišno orijentisanom državom.//Exhibition setting contains: inscription “We need a lie in order to preserve peace” in Arabic with turban of thorns; architecturally adapted, transformed niches in the gallery; and series of documentary photographs. /I shall begin with a moment of silence to honour all the victims -------------------- Inscription “We need a lie in order to preserve peace” illustrate impulse to Muslims be singled out as responsible for the critical situation in society, in the purpose of intentional war, due to capitals movement stagnation, emphasized with the thesis that the natural resources must not be nationalized. The Muslim community takes ‘redemption’ of our ‘sins’, that is why I made turban of thorns. For the punishment they will kneel on the corn, for the same reason are in motion. /Migrations usually cause an overall introspection of a society and its established order, which seems to be redundant in already weakened society, but we should not keep on preserving our civilisation upon the living dead. Therefore, the very act of removing the finger pads (practice of refugees to cut theirs finger pads off, in purpose of making identification impossible), as a way of cutting off one’s unwanted part, is not an act of “desperate individual” (not an act of producing the dead); it is rather an initiation for “resurrection” of the society. That is why I placed “Sculpture for removing the finger pads” in the apse or Mihrab (*Direction of the niche in the gallery coincides with the direction of kiblah, therefore the niche becomes the Mihrab). /Series of documentary photographs of a chair, with the elements of the American flag, was taken in the park opposite the central train station in Belgrade, which is temporary residence of refugees on the Balkan route. This camping chair was obtained from the UNMIK soldiers and brought from Kosovo by a Serbian refugee, creates a direct connection between the events within these two spaces, forming the subject that event had been ascribed to. Once the equation sign was put between the man and the state, the history of so called liberalism began, signifying the confluence of the state based on legal justice with the state based on the market interests.

IF YOUR FUTURE IS NOT MINE / 2016-2018
Početna tačka projekta je Fidel Castro-vo (1926 - 2016) pojavljivanje na zatvaranju Kongresa Komunističke partije u Havani, 19. aprila 2016., u Adidas trenerci, koje se može tumačiti kao subverzivni akt podilaženja mlađim generacijama, nazvanim „underclass“, koji udruživanjem u različitim oblicima aktivnosti (demonstracije, nemiri), daju odgovor društvu u kome se osećaju marginalizovano od političkog procesa; a sve podržano tada aktuelnim promotivnim sloganom Adidasa “Your future is not mine”. Pomenuta Adidas kampanja iz 2016/17 je primer komodifikacije kontra kulture (primarne težnje savremenih ideoloških režima kulturne produkcije, koja ostavljaja iza sebe Homo Poseur-a koji će svojim životnim stilom dati jedan od mnogobrojnih opcija za preživljavanje), koja se pak može shvatiti kao dokaz da Adidas ne zaboravlja svoje antifašističke principe i deluje u skladu sa istim. /Analizirajući značenje Fidelove Adidas trenerke, napravila sam uniformu za novog revolucionarnog subjekta od originalnih Adidas trenerki, čime se dodaje neizbežna premisa Adidasa i uloga korporativne moći u formiranju vrline, koji koristeći ekonomsku motivaciju koju kapitalizam nadahnjuje, apsorbuje humanističke pokrete kao strategiju. /Sam čin šivenja uniforme za novog revolucionarnog subjekta pretpostavlja njegovo postojanje. Uniforma, ne u cilju uniformisanosti, već postavljanja u stanje akcije i prevazilaženje nemogućnosti političke subjektivizacije, što bi značilo prelazak iz društvene u političku sferu delovanja. Sašivena od rasparčanih delova Adidas trenerki ukazuje da novouspostavljeni sistem neizbežno nasleđuje odlike predhodnog, zbog čega njegov razvoj treba posmatrati kao proces postajanja. /Projekat pored uniforme uključuje: Mapiranje lokacija - Spomenik neznanom junaka (primer preuzimanja estetike suprostavljenih politika) i lokacije snimanja pomenute Adidas kampanje u Berlinu („mesto osvajanja moći”, za razliku od skupštine/parlamenta koji su mesta demonstracije i primene moći); Novine sa predstavljenim izabranim intervjuima iz serije susreta u potrazi za novim revolucionarnim subjektom, (razgovor sa Branimirom Stojanovićem, filozofom i psihoanalitičarom, Aleksom Milanovićem, aktivistom Trans Mreže Balkan i teoretičarom, i Anjom Ilić, aktivistkinjom Revolucionarne socijalističke organizacije Marks21), izložene (*„Romanze mit der Revolution”, ACC Galerija Vajmar) u „Čitalackoj sobi“ na čijim zidovima su posetioci bili pozvani da ostave svoja razmišljanja o revoluciji; Upitnike u „Ispitivalačkoj sobi“, koji na neposredan način, imaju za cilj sakupljanje razmišljanja posetilaca u vezi sa političkim stanjem u državi u kojoj žive i njihovim stavovima o mogućnosti formiranja novog revolucionarnog subjekta danas. //The starting point of the project is Fidel Castro’s (1926 - 2016) appearance at the closing of a Communist Party congress on 19th of April 2016 in Adidas tracksuit, which could be interpreted as a subversive act of flattering to young generations, nominated as ‘underclass’, that engage in different forms of activities (demonstrations, riots), thereby giving an answer to the society in which they feel marginalized from the political process; all supported with the promotional slogan of the Adidas “Your future is not mine”. Mentioned campaign from 2016/17 is example of commodification of counterculture (primary drive of modern ideological regimes of cultural production which reveals Homo Poseur, who will give one of the many options for survival with the lifestyle), but could be understood as an evidence that Adidas didn’t forget its anti-fascist principles and act in accordance with them. /Analysing the meaning of Fidel’s appearance, I created the uniform for the new revolutionary subject from the original Adidas tracksuits, thereby adding the unavoidable premise of Adidas and role of corporate power in forming the virtue, which by using the economic motivation that capitalism inspires, absorbs the humanistic movements as a strategy. /The very act of sewing the uniform for the new revolutionary subject assumes its existence. The uniform, not for the purpose of uniformity, but setting in the state of action and overcoming the impossibility of political subjectivization, which would mean the transition from social to the political sphere of operation. Sewed together from the fragmented parts of the Adidas tracksuits, indicates that newly established system inevitably inherits the premise of a previous one, wherefore its development should be perceived as a process of becoming. /The project also includes: Mapping of the locations - Monument to the Unknown Hero at Avala mountain (an example of appropriation of the aesthetic of the opposite politics) and location of photoshoot of Adidas campaign in Berlin ( “place of conquest of the power”, unlike the parliament/assembly which are places of demonstration and utilization of the power); Newspapers, with selected interviews from the series of encounters on the quest for the new revolutionary subject, (conversation with Branimir Stojanović, philosopher and psychoanalyst, Aleksa Milanović, activist of the Trans Network Balkan and theoretician, and Anja Ilić, activist of Revolutionary socialist organization Marks21), presented in “Reading Room” (*“Romanze mit der Revolution” ACC Gallery Weimar), visitors were invited to express their thoughts about the revolution on gallery’s walls; Questionnaires in the “Examination Room”, in an indirect way, collect the visitor’s opinions about the political situations in their native country and their viewpoint about possibility of forming the new revolutionary subject today.

Tropical POST-ANTROPOCEN / Tropical POST-ANTHROPOCENE / 2018
Ideja bekstva realizovana kroz segregacione politike elite, pronalazi svoju materijalizaciju u tedencijama planiranja izgradnje autonomnih zajednica u do sada nenaseljene prostore („Seasteding“, „Floating City", „Ocean Spiral”), koji postaju mesta sigurne budućnosti, zabave, tehnološkog i naučnog napretka. Slična tedencija bekstva je prisutna i u savremenoj kulturi, u sve više popularne sadržaje naučno fantastične disutopijske budućnosti, koja projektujući sadašnjost, nudi kritiku vladajućeg sistema, jer metafora je sigurna zona kritike u totalitarnim režimima. Kako bekstvo deluje jedino sigurno u budućnosti, sadašnjost je ostavljena da se uruši u svojim klimatskim promenama, ratnim i društvenim sukobima, istrošenim resursima... Budućnost tako više nije stvar koju stvaramo kroz sadašnje izbore, njen scenario je predodređen, i na njega se čovečanstvo već kladilo svojim rizičnim kapitalom. /S obzirom na disutopijske izglede, post-antropocen će svoju budućnost stvarati u zatvorenim sistemima, zaštićenim od spoljašnjih atmosferskih uticaja, koji će imati veliki potencijal u skladištenju, pročišćavanju vode i kontroli temperature, zagađensoti i vlažnosti vazduha, sa prostranom površinom namenjenom uzgoju biljaka i životinja – Tropical Island Resort, koji se nalazi 60km od Berlina, upravo odgovara ovom opisu. /Kroz prizmu opsesije kraja sveta, svaki strukturalni element i građevinski objekat Tropical Island Resort-a je reimenovan i prenamenjem u neophodne institucije i građevinske objekte sa specifičnom namenom, čime se stvara habitat za produžetak ljudskog postojanja u post-antropocenu. Ovim postupkom se smer tenzije od kraja sveta pomera od: Realnost disutopijske budućnosti – Zabava (popularni SF sadržaji) ka: Zabavni sadržaji (Tropical Island Resort) – realnost disutopijske budućnosti. /Projekat uključuje: centralni deo (*na prvoj fotografiji) -”Akvarijum” sa Biljkom, epruvete sa uzorcima biljaka, insekata, peska, zemlje iz Tropical Island-a, print kupole Tropical Island-a, Skulptura za klaustofobiju, Tropical Planeta, Higrometar i Termometar (simbolišući neopipljive sile krucijalne za funckionisanje biosfere); levo - Preoblikovana brošura Tropical Island Resort-a, Interaktivna mapa kompleksa Tropical Post-Antropena (preuzeta sa oficijalnog sajta Tropical Island Resort-a, kod kostruisan sa istim web plug in-om), Foto-ram sa fotografijama preimenovane strukture kompleksa Tropical Island-a (snimljene tokom posete, 2018.); desno-seme iz Tropical Island-a pod staklenim zvonom.//The idea of escape, realized through the segregation politics, is materialized in a tendency of planning the constructions of autonomous communities in so far uninhabited spaces (“Seasteding”, “Floating City”, “Ocean Spiral”), which become places of a secure future, entertainment, technological and scientific advancements. A similar tendency of escape is present in the contemporary culture, the escape into popular science fiction contents of the dystopian future, which by projecting our contemporaneity criticizes present ruling system, because metaphor is the safe zone for the critique. Since the escape is the only certainty of the future, the present is left to collapse in its climate changes, wars, social conflicts, drained resources… The future is no longer created through our present-day choices, it’s scenario is predestined, and the humanity has already bet on it with its capital. /Considering the dystopian prospects, the future of the post-Anthropocene will be developing in closed system, protected from external atmospheric influences, which will have great potential in storage and purification of water, control of air pollution, humidity and temperature control, with a spacious surface for cultivating plants and animals - features similar to the Tropical Island Resort, 60km from Berlin. /Through the lenses of the obsessiveness with the end of the world, every structural element and building construction of the Tropical Island Resort is renamed and repurposed into essential institutions and building with specific purpose, thereby creating the habitat for human existence in the post-Anthropocene. By this procedure the direction of the tension of the end of the world is shifted from: Reality of the dystopian future - Entertainment (popular SF contents) to: Entertainment contents (Tropical Island Resort) - Reality of the dystopian future. /Project includes: central part (*on the first photograph) - ”Aquarium” with the Plant, Test Tubes with samples of plants, insects, sand, soil from the Tropical Island, Tropical Island Dome print, Sculpture for claustrophobia, Tropical Planet, Hygrometer and Thermometer (representing the intangible forces that are crucial for the functioning of the biosphere); left-Reshaped Tropical Islands’ brochure, Interactive map of the Tropical Post-Anthropocene complex (the map is taken from the official website of the Tropical Island Resort, the code is done with the same web plug in), Photo frame with photographs of repurposed structure of Tropical Island complex (taken during the visit in 2018); right-Tropical Islands’ seeds under the glass bell.