Papers by Marko Stamenkovic
How can unusual human behavior in ostensibly benign or trivial situations undermine customary soc... more How can unusual human behavior in ostensibly benign or trivial situations undermine customary social norms and can it thus contribute to a deeper sense of personal freedom – for the ones who only may appear to act strangely, but even more so for the ones who are able to recognize the disruption of a convention when observing the scene? On the occasion of her first solo exhibition, Blerina Muҫa [born in 1985 in Fier, Albania] presents a body of work revolving around these questions. On view from December 19, 2022 until January 30, 2023, at ZETA Contemporary Art Center, Tirana. https://qendrazeta.com/2022/12/18/blerina-mu%d2%aba-somethings-wrong/
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TO DIE OUT LAUGHING is the title of a contemporary art exhibition guest-curated by Marko Stamenko... more TO DIE OUT LAUGHING is the title of a contemporary art exhibition guest-curated by Marko Stamenkovic in the framework of the 23rd International Biennial of Humor and Satire in Art organized between 19 May – 30 September 2017 by the Museum “House of Humor and Satire” in Gabrovo, Bulgaria. The exhibition featured the following particpants: Carlos Aires, Juan Carlos Batista, Neno Belchev, Lumturi Blloshmi, René Castillo, BARBARA CLEVELAND, Vasco Costa, Mia Ćuk, Vlasta Delimar, Tanya Habjouqa, Julieta Intergalactica & Lubri, Paa Joe, Milena Jovićević, Aryan Kaganof, Šejla Kamerić, Khaled Khalafalla, Panos Kokkinias, Siniša Labrović, Brian Lehmann, Mladen Miljanović, Urša Premik, Boryana Rossa & Oleg Mavromatti, Sifiso Seleme, Hamid Sulaiman, Julijonas Urbonas, and Sislej Xhafa (the virtual participation of the group Atfal al-Shawarea was censored by the municipal authorities only a few days before the exhibition opening). TO DIE OUT LAUGHING was part of the project “Curatorial Exhibition and Educational Program at the 23rd International Biennial of Humor and Satire in Art” organized by the Museum “House of Humor and Satire” and financed by the Gabrovo Municipality’s Program “Culture – Priority II – Travel into the World of Comedy.”
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Resistance, 2021
Resistance features a selection of overtly non-conformist positions in the contemporary visual ar... more Resistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoil in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.
https://punctumbooks.com/titles/resistance/
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Mineral Policies, 2022
Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and... more Mineral Policies documents an important attempt of present-day Albanian artists to reflect on and align themselves with workers and labor activities within a political climate in which neoliberal extractivism and mafia-controlled local and national government have seriously compromised modes of solidarity and survival.
https://punctumbooks.com/titles/mineral-policies/
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ALL OTHER PASSPORTS. On Mobility of Knowledge and People. New Media Society, Tehran, 2016
Who are the ‘worthless’ human subjects? Where do they exist nowadays? Who is responsible for thei... more Who are the ‘worthless’ human subjects? Where do they exist nowadays? Who is responsible for their calamitous social status? For the ones who live their life in ‹democracy› as we know it today what does it really mean to be human—in comparison to being ‹inhuman,› for instance? What does the 1990s case of Brazilian Vita tell us about Life at the dawn of the third millennium in other parts of the world under conditions of social inclusion through dying in abandonment? This paper argues that the so-called worthless people do not exist. What exists instead is the politico-juridical system of ongoing death-production aligned with manifold forms of power.
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Extravagant Bodies: Extravagant Age. Inspiring Old Age - Body and Mind on the Fringes of Social Norms, 2013
Recording one’s own death is neither a novel nor rare practice. Videotaped digital ‘death masks’ ... more Recording one’s own death is neither a novel nor rare practice. Videotaped digital ‘death masks’ have been constitutive of farewell rituals as regards the mandatory legislative procedure in the practice of euthanasia and assisted suicide wherever the end-of-life decision making is formally allowed. The creation of images in relation to one’s own voluntary death is here twofold. On the one hand, such images can exist as private video-images, so to speak, in terms of obligatory video-recorded materials with a specific legal purpose, yet always secluded from a public view. Assistants to the euthanasia clinic are required to film each client at the moment of their drinking the lethal dose of sedatives. The purpose is to make evidence of a voluntary decision: these films function as a legally admissible proof which could be used in any possible future legal dispute concerning the nature of the non-coercive agreement. The entirely private character of those video-recorded images is intended never to be made public: though they remain concealed from the public view, they open up an interesting field of knowledge. Such knowledge is produced and accumulated around the nature of the curious act of video recording, upon which the agreement between dying clients and their host institutions is made. This ‘contract’ is made through the integrative role of images that must remain ‘invisible,’ so to say. But how about public videos and documentary movies (The Suicide Tourist [1997] by the Canadian director John Zaritsky being one of them)? What is the specificity of public video-materials that overexpose the same visual situation around assisted suicide to millions of TV and Internet viewers? How do such materials integrate (or split) those who are dying, those who provide assistance in death, those who film it and those who look at it?
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18. Dani performansa, Palača Sermage, Gradski muzej Varaždin, Hrvatska, 2019
Kako goruće ljudsko tijelo može baciti novo svjetlo na tamniju stranu demokracije? Godina 2018. o... more Kako goruće ljudsko tijelo može baciti novo svjetlo na tamniju stranu demokracije? Godina 2018. obilježila je pedesetu obljetnicu invazije na Čehoslovačku pod vodstvom Sovjetskog Saveza - kolonijalnog događaja koji je naposljetku ograničio demokratizacijske trendove tzv. Praškog proljeća. Kao odgovor na to, srednjoistočna Europa bila je svjedokom nezapamćene pojave individualnog građanskog prosvjeda iz kolektivnih pobuda, počevši od davno zaboravljenog slučaja Ryszarda Siwieca u Varšavi 1968. godine i onog poznatijeg, Jana Palacha u Pragu 1969. Od tog vremena pa sve do danas, radikalni politički prosvjed u formi samopaljenja vatrom postupno se razvio iz izoliranog oblika individualnog neslaganja sa društvenim sustavom u realnu društvenu praksu. To je, kako u komunističkoj tako i postkomunističkoj Europi, utrlo put onome što predlažem kao paradigmatski javni događaj našeg vremena, kojeg karakteriziraju elementi osebujne tanato-političke filozofije.
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Art / rat / tranzicija / MMSU / '90., '91., '92., '93., / EPK / Rijeka 2020. Katalog izložbe [urednik Slaven Tolj]. Rijeka : Muzej moderne i suvremene umjetnosti, 2020
S VISINA SVJETLOSTI parafrazira naslov slike Petra Kokušte ("Dosezanje visine svjetlosti", s poče... more S VISINA SVJETLOSTI parafrazira naslov slike Petra Kokušte ("Dosezanje visine svjetlosti", s početka 1980-ih) kao jedne od ikona albanskog socijalističkog realizma na kojoj dvojica građevinskih radnika emitiraju idealiziranu energiju enverističke rekonstrukcije društva: pravilno obučeni i vezani sigurnosnim pojasevima (ali i osjećajem "bratskog" jedinstva), oni s vrha građevinskog stroja — iznad nekog novog mosta (ili brane, ili hidroelektrane ... i na sunčanom nebu poput arhanđela u baroknim predstavama — slave ideju sličnu onoj kojom je nekada kip Vinka Matkovića dočekivao radnike na ulazu u riječko brodogradilište "3. maj" — ali bez majice i hlača ... Diskretnim dočaravanjem ideala društveno korisnog rada i društveno odgovorne radničke klase iz doba riječke "soc-realističke" brodogradnje (ali i skulpture), ovaj "igrokaz" u obliku kratkotrajnog pseudo-kazališnog monologa stavlja u prvi plan drevni ideal atletske ljepote muškog tijela.
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GODIŠNJAK ZA FILOZOFIJU II/2 (Faculty of Philosophy, University of Nis), 2014
This paper examines the collision between the historical status and the current position of ‘deat... more This paper examines the collision between the historical status and the current position of ‘death’ in the philosophy of the Western world. While the topic of death has occupied a traditionally privileged status within the philosophical discipline, inseparable from its roots, its current position is disturbed due to the dominating discourses on life. These discourses are an integral part of the ruling biopolitical rationality pertaining to the so-called advanced capitalist world at the beginning of the third millennium. Under conditions of such dominance, philosophy is separated from the question concerning the essence of human existence: in terms of the erosion of ‘death’ (or even its loss) philosophy risks losing its fundamental relationship to what makes its nature particularly philosophical. Pulling itself out of the context of thinking about the essence of existence, the Western philosophy also withdraws from the essence of its own discipline: in the ontological sense, it submits itself to self-exclusion while renouncing the reasons of its own existence. By doing so, does philosophy in some way ‘commit suicide’? Or is it being ‘killed’ due to the biopolitical coercion that makes the contemporary philosophy of death doomed to fail? Contrary to the conceptual question (what is death?), which refers to the meaning of ‘death’ and to the continuing problem of defining the term, this paper assumes the strategic reduction of discursive space in today’s West to have that question posed at all. In response to this reduction (inspired by geo-political motives, among other reasons), the question that this paper puts in the center of attention relates to the philosophical place of death: where is death in the context of global necrocapitalism?
Key words: philosophy of death, thanatology, necropolitics, necrocapitalism, Bernard N. Schumacher, Achille Mbembe, Subhabrata Banerjee.
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Ako postoji makar jedna slika ‘svete istine’ koja je mamila, i nastavlja mamiti, poglede Ivone Vl... more Ako postoji makar jedna slika ‘svete istine’ koja je mamila, i nastavlja mamiti, poglede Ivone Vlašić i Ivane Dražić Selmani, onda je to ikonička predstava pučine: one neuhvatljive horizontalne linije u kojoj nebeska sfera kao da dodiruje morsku površinu. Točno je da je ona privlačna mnogima, uključujući i turiste: ali, za razliku od privremenih posjetitelja Dubrovnika, ta predstava je i potpuno neizbježna u slučaju dviju umjetnica, budući da obje stanuju u takvom arhitektonskom ambijentu da ih pogledi upućeni s balkona njihovih domova svakodnevno i uvijek iznova suočavaju s misterioznom optičkom varkom – dalekom linijom koje, zapravo, nema u realnim fizičkim uvjetima. Iz tih pogleda, katkad nehotičnih, katkad meditativnih, rađaju se misli u kojima i Vlašić i Dražić Selmani tragaju za smislom čistog postojanja. (Izložba "Horizont(ale) sretni smo", od 26. lipnja do 09. srpnja 2021. godine, Galerija Flora, Dubrovnik).
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Kada ste poslednji put imali prilike da zaboravite pojam vremena kako bi, potpunim fokusiranjem p... more Kada ste poslednji put imali prilike da zaboravite pojam vremena kako bi, potpunim fokusiranjem pažnje, promatrali jedan umetnički rad u nekom izložbenom prostoru - neometano, opušteno i na miru? Kako izgleda kada pažljivo ‘osluškujemo’ taj posmatrani rad i iza materijalne slike koju gledamo? Drugim rečima, umemo li mi uopšte sagledati nešto i ‘ispod kamena’, pa i zatvorenih očiju ako treba? Razgovarati sa izloženim predmetom neskriveno, a bez uobičajenih, racionalnih načina komunikacije: kako je to moguće? Upravo to rade dvoje umetnika u Galeriji Flora u Dubrovniku kada nas pozivaju na zajedničko trajanje kroz jednokratno meditativno druženje nazvano „Osluškivanje“ (31. maj 2021.)
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Dok kroz otvorene prozore i vrata dubrovačke Galerije Flora cirkuliše zrak distribuirane privatno... more Dok kroz otvorene prozore i vrata dubrovačke Galerije Flora cirkuliše zrak distribuirane privatnosti, izložba AKUSTIKA U MENI (24. april - 9. maj 2021.) ukazivanje je poštovanja mestu – prostoru kojeg, između ostalog, karakteriše i izuzetan akustički kvalitet i u kojem su izloženi zvučni radovi i bili registrovani diktafonom kao neizostavnim instrumentom umetnice Ivane Pegan Baće za arhiviranje misli i osećaja. Polazeći od te činjenice, ona afirmiše utrobu kuće modelujući zvukom, svetlošću i senkama atmosferu nesvakidašnje site-specific instalacije zajedno sa ljudskim prisustvom posetilaca u njoj. Glasovna skulptoralnost, s druge strane, čini da njeno moduliranje intonacije i dikcije izgovorenih reči i otpevanih melodija evocira ne samo apstraktnost neizrečenog, nego još više figurativnost neizrecivog.
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Mogu li umetnici zameniti osećaj ličnog gubitka (hipertrofiran repetitivnim sećanjima na osobe, p... more Mogu li umetnici zameniti osećaj ličnog gubitka (hipertrofiran repetitivnim sećanjima na osobe, prostore i događaje iz najbližeg, intimnog, porodičnog okruženja) javnim izložbenim formatom: onim u kojem sama izložba postaje opredmećenim mehanizmom odbrane dok iznova, ali ovoga puta pred očima publike, umetnik nastoji da racionalizuje frustraciju osobnim gubitkom – neuspehom sopstvenog sećanja da reinkarnira i povrati nešto zauvek izgubljeno, na čije mesto sada stupa nešto drugo? Nova samostalna izložba Ivana Šukovića pod nazivom SLADAK LIMUN (maj-jul 2021, Galerija Manifesto, Beograd), motivisana upravo opisanim stanjem, tihi je i svojevrsni ‘mehanizam odbrane’ od mehanizma odbrane kojeg dovodi u pitanje i podvrgava javnom pogledu, otvoreno i bez straha od distance (ili neuspeha).
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Svaki zvuk može biti muzički. I svaka vibracija, koliko god tiha i koliko god ne podsećala na ko... more Svaki zvuk može biti muzički. I svaka vibracija, koliko god tiha i koliko god ne podsećala na kompoziciju, može biti izgovor za jedan ‘koncert’ - pa tako i za ovaj prolećni dvojice umetnika u Galeriji Flora, na kojem u subotu 27.3.2021. predstavljaju po jedan novi rad u produkciji Hrvatskog društva likovnih umjetnika Dubrovnik (HDLUDU): Pasko Burđelez akciju "Tihi govor", a Luko Piplica video "Brodom na Žitnjak". A svaka slika, koliko god izgledala prazna, može biti puna života. I bez obzira na prazninu (ili mračnu, morsku dubinu koju otkriva pogledu), ta crna slika – koje uopšte nije ni moralo biti u ‘moru’ planiranih i neplaniranih vizuelnih nadražaja, da nije nastala sticajem sasvim slučajnih okolnosti, na primer – može biti od vitalne važnosti za njenog autora ili posmatrača, opterećenog besmislom postojanja, ili postojanjem besmisla u izvanrednim okolnostima. Poput ovih sada i ovde. U Dubrovniku, godinu dana nakon proglašenja globalne pandemije do tada nepoznatog, smrtonosnog virusa.
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DANUBE DIALOGUES - FESTIVAL OF CONTEMPORARY ART. NOVI SAD, SERBIA , 2016
Text about the art installation created by Milena Jovićević and presented on the occasion of her ... more Text about the art installation created by Milena Jovićević and presented on the occasion of her participation at the fourth Festival of Contemporary Art "Danube Dialogues" organized in August and September 2016 in Novi Sad. "Fifteen individual and group displays from fourteen countries of the Danube macro-region (Germany, Austria, Slovakia, Czech Republic, Hungary, Croatia, Slovenia, Serbia, Bosnia and Herzegovina, Montenegro, Macedonia, Romania, Bulgaria and Ukraine) were featured within the Festival. The art director Sava Stepanov set the theme of this year’s Danube Dialogues „Art and Global Insecurity“. This topic was imposed in its various manifestations through which a man of our time is in constant alert, under constant stress, faced with different, mostly involuntary situations. In the beginning of 21st century, continuous source of instability arose from world’s politics. Geopolitical strategies and economic interests have introduced the world to a state of permanent instability, war and economic crisis, large migrations and terrorism. In all this, a big role is played by technologically advanced new media. Thanks to their efficiency, moments of crisis are generated with an unimaginable spread of information, which globally disturb the existential balance. As stated by Susan Sontag, “Wars are now the sights and sounds from our living rooms.” (excerpt from the catalogue’s introduction).
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PASE ME OXHAQESTE / NË OXHAK UNTIM
A Solo Exhibition by SEAD KAZANXHIU
30.10. – 11.11.2018.
ZETA ... more PASE ME OXHAQESTE / NË OXHAK UNTIM
A Solo Exhibition by SEAD KAZANXHIU
30.10. – 11.11.2018.
ZETA Contemporary Art Center - Tirana
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ħaġarna , 2019
Conceived and initially presented in 2015, during the national call for Art in Public Spaces Prog... more Conceived and initially presented in 2015, during the national call for Art in Public Spaces Program supported by the Maltese government, Victor Agius’s most recent project was launched in May 2019 in Xagħra (Gozo Island, Malta). Entitled ħaġarna (Eng. “Our Stone”), it creates an emblematic, intangible ‘arch’ out of literal, tangible ‘stones’ – physical traces and popular habits pertaining to the island’s past and present. By bringing them together, ‘stone by stone’, he makes important advances in the effort to unravel the nature of a fairly little known rural community and its environment at the ‘outskirts’ of Europe. This cognitive rather than merely material structure – or an arch, indeed – sets its sights on the ubiquitous features of the island (such as four prehistoric sites discovered in Gozo) that are, nonetheless, insufficiently addressed within the realm of visual arts, most notably from a contemporary perspective. The Maltese people’s strong bond with the clergy, both in terms of the Biblical legacy of Saint Paul the Apostle (traditionally believed to be shipwrecked in the 1st century AD on the shores of Malta) and in terms of the later legacy left by the military reign of the Knights of Malta, may give an impression that not much space has been left for any articulation and exposure of other, perhaps more secular customs and behaviors, less dedicated to religious purposes authorized by the Vatican’s laws. Aware of this overwhelming clerico-political culture and its diffusion within the social fabric on the island, the Gozitan visual artist Victor Agius reconsiders the sense of belonging, shared by members of his community, in an attempt to disclose those values of communal identity that bring the idea of their coexistence ‘down to the roots’. Unrestrained by normative visions or mainstream institutional rules, he does so from a practical, unpretentious, and more ‘realistic’ (or differently meaningful) viewpoint – of a visual artist and cultural practitioner – while creating his own cognitive arch; or, to be more precise, he invites you to take part in a multilayered, profane, process-based and interactive public event, where sculpture, painterly natural earth material, literature, dance, music, songs, costumes, cultural heritage, local history, his neighbours and the landscape itself play their role in a festive, ‘carnivalesque’ and time-based event: the procession as an art form.
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Exhibition: Fatlum Doçi, Words/Riječi, Galerija Flora, Dubrovnik, 2019
Despite the lack of local references to experiments with typewriting art and concrete poetry in h... more Despite the lack of local references to experiments with typewriting art and concrete poetry in his homeland’s history of visual arts, a month-long artist-in-residency program in Dubrovnik turned out to be ‘revolutinizing’ for Fatlum Doçi. Thanks to an old portable typewriter - namely, UNIS tbm (a brand known for its popularity in former Yugoslavia) - that Doçi discovered in Flora Jakšić’s house upon his arrival to Croatia, allowed him to enlarge the possibilities for visual communication in an unprecedented way. Unlike his earlier practice in other media (painting, drawing, sculpture and video), a new body of work created in Dubrovnik came in response to the new working tool and innovative potentials for creative expression offered by ‘old-fashioned’, pre-digital typography.
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Exhibition Catalogue: Fatlum Doçi, Signs/Znakovi, Galerija VN, Zagreb, 2019
A language of landscape - as a code for a system of values placed on Land - has been at the cente... more A language of landscape - as a code for a system of values placed on Land - has been at the center of Fatlum Doçi’s attention over the last years. Regardless of artistic medium (he is equally concerned with painting and watercolor as with jewelry, installation and video), these values - political, social and economic, but also spiritual - are articulated by a set of visually organized relations in which neither figurative nor abstract elements take center stage; instead, they enhance each other in a way that the significance ascribed to Nature restores the power of Spiritual in seemingly inanimate organic forms inhabiting his works. After his most recent solo show in Belgrade (February - March 2019, Galerija Podroom, Belgrade Cultural Center), the opening of the second edition of Fatlum Doçi's exhibition SIGNS is scheduled for Tuesday, April 9, 2019, at Gallery VN - Zagreb, Croatia.
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Papers by Marko Stamenkovic
https://punctumbooks.com/titles/resistance/
https://punctumbooks.com/titles/mineral-policies/
https://kioskngo.net/wp-content/uploads/2021/08/Lobi-kulture.pdf
Key words: philosophy of death, thanatology, necropolitics, necrocapitalism, Bernard N. Schumacher, Achille Mbembe, Subhabrata Banerjee.
A Solo Exhibition by SEAD KAZANXHIU
30.10. – 11.11.2018.
ZETA Contemporary Art Center - Tirana
https://punctumbooks.com/titles/resistance/
https://punctumbooks.com/titles/mineral-policies/
https://kioskngo.net/wp-content/uploads/2021/08/Lobi-kulture.pdf
Key words: philosophy of death, thanatology, necropolitics, necrocapitalism, Bernard N. Schumacher, Achille Mbembe, Subhabrata Banerjee.
A Solo Exhibition by SEAD KAZANXHIU
30.10. – 11.11.2018.
ZETA Contemporary Art Center - Tirana
The project takes place between 27 September and 2 November 2014 in the historical town of Canakkale at the southern edge of the Gallipoli Strait, in northwestern Turkey. The exhibition features 37 artists from Bosnia-Herzegovina, Slovenia, Russia, Serbia, Romania, Lebanon, Palestine, Armenia, USA, Italy, Greece, Ireland, UK, France, Germany, Netherlands, Austria and Turkey.
ARTISTS:
Gulcin Aksoy (Istanbul), Maja Bajevic (Paris–Sarajevo), Nigol Bezjian (Beirut), Bashir Borlakov (Istanbul), Songul Boyraz (Wien), Harold De Bree (The Hague), Klaus vom Bruch (Berlin–Munich), Ergin Cavusoglu (London–Istanbul), Ersan Deveci (Izmir), Nezaket Ekici (Berlin–Istanbul), Reha Erdem (Istanbul), Ayse Erkmen (Berlin–Istanbul), Aladdin Garunov (Moscow), Douglas Gordon (London), Murat Gok (Diyarbakır), T. Melih Gorgun (Istanbul), Guven Incirlioglu (Izmir), IRWIN (Ljubljana), Khaled Jarrar (Ramallah), Grigor Khachatryan (Yerevan), Anne Kodura (Berlin), Sitki Kosemen (Istanbul), Raziye Kubat (Istanbul), Radenko Milak (Belgrade), Jehane Noujaim (Boston), Pinar Ogrenci (Istanbul), Ahmet Oktem (Istanbul), Marilena Preda Sanc (Bucharest), Antonio Riello (Milan–London–Asiago), Anri Sala (Paris), Hans Schabus (Wien), Tunca Subasi (Istanbul), Erdal Sezer (Canakkale), Panos Tsagaris (New York–Athens), Astrid Walsh (Dublin), Viron Vert (Berlin–Istanbul), Akram Zaatari (Beirut)
BIENNIAL TEAM
General Art Director: Beral Madra
General Director: Seyhan Boztepe
CABININ Executive Director: Deniz Erbas
Consultant: Ismail Erten
Catalogue Editors: Marko Stamenkovic & Cagla Ilk
Assistant Curator: Irene Panzani
Press/PR Director: Aynur Ganiler
Production Management: Kubilay Ozmen
Coordinators: Deniz Erbas, Didem Gurdogan, Erdal Sezer, Erdinc Alniak, Gozde Robin, Ismail Erten
Biennial Management Centers: CABININ & MAHAL Art Center