centar za nove medije_kuda.org

Old News je ne-profitna i besplatna novina koja sadrži selekciju novinskih članaka i slika isečenih iz postojećih dnevnih novina, koju koncipiraju različiti umetnici. U okviru Old News koncepta, kustosi i umetnici su pozvani da selektuju, kolažiraju i ukomponuju novinske članke na osnovu prethodno razvijenog koncepta. U prvom broju ovih novina koje su objavljene 2004. godine, 24 umetnika i umetničke grupe su pozvani da realizuju ovakvu akciju tokom perioda od jednog meseca – njihovi isečci i komentari su štampani i objavljeni u formi dnevnih novina. U četvrtom izdanju Old News-a objavljenom krajem 2007. godine, Centar_kuda.org je pozvan da realizuje svoj komentar na dnevnu štampu u Srbiji.

New Media Center_kuda.org u okviru OLD NEWS projekta:
ONE REALLY OLD NEWS - JEDNA ZAISTA STARA VEST

Decembar 2007 - Januar 2008. godine

Centar za nove medije_kuda.org najavljuje otvaranje izložbe

MEDIJSKA ONTOLOGIJA
Mapiranje društvene i umetničke istorije Novog Sada

19. april, 2008. godine u 19:00
Midway Contemporary Art, Mineapolis, SAD

http://kuda.org
http://www.midwayart.org/

Od 19. aprila do 24. maja 2008 godine, Centar za nove medije_kuda.org će predstaviti izložbu “MEDIJSKA ONTOLOGIJA - Mapiranje društvene i umetničke istorije Novog Sada” u Midway Contemporary Art, u Mineapolisu, u Sjedninjenim američkim državama.

Vođeni činjenicom da istorijat posleratne neoavangarde Istočne Evrope još uvek nije napisan, a koncentrišući se na prostor Novog Sada, Centar_kuda.org s jedne strane u okviru izložbe predstavlja umetničko delovanje grupe “Kôd”, grupe “E”, Slobodana Tišme, Miroslava Mandića, Mirka Radojičića, Bogdanke Poznanović, Vladimira Kopicla, Slavka Bogdanovića, Čedomira Drče, Tibora Varadija, Katalin Ladik, Želimira Žilnika. S druge strane, izložba predstavlja i grupu “Apsolutno”, grupu “Eastwood”, Vladana Jolera i druge savremene novosadske umetnike. Njihovim “okupljanjem” i “sučeljavanjem” napraviće se pokušaj uspostavljanja dijaloga, reinterpretacije i kontinuiteta umetničke prakse na našim prostorima.

Centar za nove medije_kuda.org, Muzej savremene umetnosti Vojvodine i Napon – Institut za fleksibilne kulture i tehnologije vas pozivaju na otvaranje izložbe i razgovor u okviru projekta:


POLITIČKE PRAKSE (POST-) JUGOSLOVENSKE UMETNOSTI

Izložba sadrži dva segmenta:
- TV GALERIJA
- PRIMIJENJENA JAVNOST


Muzej savremene umetnosti Vojvodine, Dunavska 37, Novi Sad

UTORAK, 01.04.2008.
18:00 – Razgovor povodom otvaranja izložbe
20:00 - Otvaranje izložbe

U razgovoru ucestvuju:
- Dunja Blažević, kustoskinja i istoričarka umetnosti, autorka kultne televizijske emisije “TV Galerija” na TV Beograd, od 1984 – 1991. godine, trenutno direktorica Centra za savremenu umetnost Sarajevo

- Dalibor Martinis, vizuelni i video umetnik iz Zagreba, koji je jedno od najzačajnijih imena početaka i razvoja jugoslovenske video umetnosti

- Branislav Dimitrijević, istoričar umetnosti, kurator, Beograd

- Dušan Grlja, teoretičar, glavni urednik časopisa Prelom, Beograd

- Jelena Vesić, istoričarka umetnosti, urednica časopisa PRELOM i članica Prelom kolektiva, Beograd; moderatorka razgovora

UTORAK, 25.MART u 20h
ART klinika, Grčkoškolska 5
IZLOŽBA u okviru projekta "KONKURS ZA ANGAŽOVANI STRIP"

Na izložbi će biti predstavljeno preko 60 radova koji su prispeli u okviru konkursa na teme nacionalizma, rasizma, diskriminacije, siromaštva, tranzicije, nezaposlenosti, rodnih prava, ekologije, korupcije, mobilnost mladih i drugih društvenih problema koji potresaju savremenu Srbiju. Takođe će biti i promocija strip almanaha VOLVOX koji objedinjuje sve ove radove. Tom prilikom će biti dodeljene nagrade najboljim radovima u izboru žirija u sastavu Saša Rakezić-Zograf, Jovan Gvero i Vladimir Arsenijević.

UTORAK, 25.MART u 22h
Omladinski centar CK13
strip žurka: DJ JOHN MOOSHEMA

OMLADINSKI CENTAR CK13
Vojvode Bojovića 13, Novi Sad

PONEDELJAK 24. MART 2008. u 19:00

Promocija knjige:

NACIJA KAO PROBLEM ILI REŠENJE

ISTORIJSKI REVIZIONIZAM U SRBIJI


Projekat "Nacija kao problem ili rešenje – Istorijski revizionizam u Srbiji" pokrenut je sa ciljem traženja odgovora na pitanja o ulozi nacionalizma u životu savremene Evrope, specifičnostima nacionalizma na postjugoslovenskom prostoru i perspektivama mlade generacije koja odrasta u okruženju obeleženom dominacijom predrasuda, nacionalne isključivosti i netolerancije. Namera sadržana u projektu je i otkrivanje uloge revizionističkih tendencija u savremenom srpskom društvu i uticaja koji one imaju na opšte društvene tokove; da li se uz pomoć iskrivljenih interpretacija prošlosti formira “novi srpski čovek” regrutovan iz redova omladine?

Omladinski centar CK13 i Centar za nove medije_kuda.org vas pozivaju

PONEDELJAK 10. mart,19:00
CK13, Vojvode Bojovića 13, Novi Sad

Prezentacija i diskusija
Piratbyran i Pirate Bay - aktivizam i ekonomija servisa

U razgovoru ucestvuju:
Rasmus Fleischer i Magnus Eriksson (piratbyran.org)
Milica Gudović, Vladan Jeremić, Vlidi (slobodnakultura.org)

Festival slobodne kulture 2
Creative Commons Salon
(od 7. do 10. marta 2008.)
http://creativecommons.org.yu
http://slobodnakultura.org

www.dictionaryofwar.org

Kompletna video dokumentacija REČNIKA RATA u Novom Sadu je postavljena online, na web sajt projekta! i spremna je za dalje za download-ovanje sa adresa: www.kuda.org i http://dictionaryofwar.org/en-dict/v2v

Kosovar Pavilion Venice Biennial 2005, did not confuse only those who cannot distinguish what is an Albanian and what is a Kosovar pavilion, artist or identity but seemingly also players of the great structure of the ancient contemporary art power elite that eventually accepted apologies by the used instrument of this work (e-flux) for challenging their Biennale with a tool of their own system and continued to live on in harmony as nothing had happened in the West (Sunday, color video, 3.01 min.). These works stand and mark a time and a context that is full of Bang! Bang! (Bang! Bang!, color v

Više od deset godina Muha piše stihove i pesme čija je tematika povezana sa savakodnevnim životom romske zajednice i izvodi ih kao hip-hop pesme. Snimio je prve snimke 2003. godine, na lokalnom radiju (Multiradio) koji je objavio pesmu “Crni smo mi” koja je privukla veliku pažnju publike, zbog poruke koju šalje o borbi protiv rasne i etničke diskriminacije.

Poslednja noć koju sam prespavao kod kuće bila je ona sa 29. na 30. decembar 1991. Nakon toga zanoćivao sam i osvanjivao na mnogim drugim mestima, od kojih bih barem jedno mogao, sa doživotno usađenom merom opreza, čak i da nazovem svojim domom, ali ne, nikada više nakon te noći nisam spavao kod kuće, nikada više uopšte nisam bio kod kuće, niti ću ikada više biti kod kuće, čak i kada bih otišao ponovo na to mesto, mesto na kojem je ona bila.

Kako su se ove dve teme ponovo spojile, kada je pre više od sedam godina bilo potpuno jasno da smo makar tu lekciju naučili, da ozbiljni, egzistencijalni problemi građana i njihovih porodica ne mogu biti rešeni nacionalizmom? Da smo to znali tada, pokazuje i podatak da su građani 2000. godine glasali za demokratske opcije, a da su nacionalističke stranke ostale bez podrške.

U novembru 2007 inscenirao sam roman I. Sajko Rio bar, intimnu istoriju rata u Hrvatskoj ispričanu u 8 monologa izvesne devojke u venčanici. Citirani odlomak, taj opisani proces metamorfoze u ‘ženu-trn’, bio mi je osnovna motivacija za postavku.

Prolog: nalaziš se u tami javnog prostora u novom sadu, u srbiji. početak je nečega što se naziva novim milenijumom. ZAMISLI vremensku liniju koja se pojavljuje i označava poreklo i razvoj koncepata prava o ratu kojima se određuje sudbina pojedinaca, danas ih nazivamo civilima. ZAMISLI da gledaš u vrtlog čovečanstva & civilizacije koji sondiraš viskom okačenim o tvoju mentalnu nit koja se odmotava u dubinu do nezapamćenih vremena. dve ključne reči tražiš u prošlosti: rat & civili [samo devet slova].

NSK Garda refers to the project in which the slovenian art group Irwin collaborates with various European armies. In these actions soldiers, with Malevich's cross on their sleeves, raise and guard the flag of the NSK State in Time. In that sense it is not really a performance but more some sort of tableau vivant of the real army wearing a Malevich cross. Art society and army society are social structures that are usually totally opposite to each other and very rarely mix. With this action Irwin is organizing this encounter. As an art state NSK is in fact in parasitic relation with other, normal states and in this project this is made visible.

The wall that separates 'us' from 'them', friend from enemy, organizes the opposition of imaginations. A conflict (or war) of projections, virtual placeholders, where the enemy is designed as an image that will never actualize. But the consequences of the wall are real; information which would allow us to find out whether our outrageous ideas about others hold any truth, is being managed and reduced to the level of images in emerging ‘zero friction zones’; public space, in every aspect, is being reshaped under the imagined threat from the opposite side of the wall. This lecture will describe the wall as an imaginary piece of architecture and rhetorical device from which it is possible to observe conflicts carried out through images.

Martha Rosler reads from her essay accompanying the re-emergence unchanged of her 1983 videotape A Simple Case for Torture, or How to Sleep at Night, accompanied by a screen saver of images on her computer.

In early 1991, when Croatia received the first international recognitions of its statehood, the euphoria was enormous. Such were the paradoxes of the situation. While the third of the country was yet to feel the war casualties, the state television launched a trashy song "Danke Deutschland" as a mark of gratitude to the first state that gave the recognition. The author researches how the phrase Danke Deutschland changed its meaning through the time, what does it mean today in different sets of memory. The concept consists of a video clip and narration.

The term ›terrorism‹ comes from the Latin word terrere, ›to frighten‹ via the French word terrorisme. The first use of the word ›terrorism‹ referred to state rule by terror. It was coined in the years after the French Revolution – the so-called Reign of Terror – and identified terror as an instrument of state power. Therefore, ›terrorism‹ became popular between 1793 and 1795 during the regime de la terreur. It was the French Revolution leader Robespierre who – just shortly before he himself was killed by his ›Madame Guillotine‹ – proclaimed in 1794: »Terror is nothing other than justice, prompt, severe, inflexible; it is therefore an emanation of virtue; it is not so much a special principle as it is a consequence of the general principle of democracy applied to our country's most urgent needs.«

Embeded Journalism vs. Self-organized Multitude of Observation, Hans Bernhard (A/CH/USA)
The current conflict situation in Kenya reflects once again a critical point in our retro-mass media society. The information from inside the country is not valid, the information going to the "world" is twisted to perversion through embedded journalism, dubious sources and combustion point monitoring. The conflict existed before and will exist after the mass media storm, the bloodshet happens within very limited boundaries is mapped on top of the country as a whole - and then broadcast to the world under the assumption of mass media without information.

Renaming Machine is a war concept that could be interpreted as a subtle but powerful strategy for erasing ethnic, cultural or gender identity without using any aggression or causing any direct material damage. It functions as a conceptual weapon of destruction, as a kind of wage war or a contest between the old and new identity layer. However, renaming simultaneously adds and multiplies a new layer of identity each time it erases one, because the names could be neither stolen nor completely erased: the best example of accumulation by dispossession in David Harvey’s terms. Moreover, according to Jacques Derrida giving names is also an act of love. RM attempts to point to the arbitrariness and contingency of representation that accompany the use of names and to raise the discussion about the invisible ideological patterns of “desiring renaming machine” standing behind the power regimes of representation while dispossessing and giving names.

Reconstruction will consist of screening of two videos: “A Reconstruction of an Unimportant Day in Our History” and “A Reconstruction of an Important Day in Our History”, by the artist. First video shows a day in a life of Josip Broz Tito during his stay in country side, in the castle. Castle is also known under the name of „Tito's Castle“. Tito as passionate hunter, often stayed in the Castle hunting wild animals, alone, with his wife Jovanka (who was as well passionate hunter) or with eminent foreign statesmen. Second video reconstructs the meeting of the two presidents: Croatian, Franjo Tuđman and Serbian, Slobodan Milošević.

Politics, Activism and not at least performative potentials meet in the term “Posse“ as conflictive spaces of emancipatory wars against border- and bio-regimes. In their well known analyses of “Empire“ Antonio Negri and Michael Hardt describe “Posse“ from the latin term as a verb of power, an activity, which refers to the political power and subjectivity of the multitude: Posse is what a mind and a body can do. In a wider context the word also expresses in english the branding of a gang or clique, and in german it's also the theatre-term for a scetch or form of comedy. In the spectacular fields of staged WTO/WEF/G8 Summits, many protest forms of Activism develop techniques of resistance, using Media, Theatre, and Art-tools, and lots of performative and subversive “Posse-Actors“ can be found in the last years: like the Rebel Clown Army, PublixTheatreCaravan, Tutte Bianche, Pink Block, noborder-Activism etc.

U glavama najvećeg broja ljudi rat je pojam koji izbija kao prirodna sila – lavina, orkan, poplava. Moćno i nekontrolisano ruši, ubija, ranjava i raseljava ljude. Oni koji ga tehnički vode – vojska i paravojska, se predstavljaju kao službenici tog rata, gotovo sluge, kojima obesni gospodar daje nemilosrdno krvave zadatke. A pljačka je deo tih zadataka, jer je halavost proždrljivog gospodina Rata neizmerna.
Opisana predstava rata, medjutim, skriva istinu. To je opsena nametnuta od planera i menadžera destrukcije, da bi se sakrili planovi i konzekvence užasa koje instaliraju. Da bi zapravo skrili očekivanu korist koju po pravilu realizuju od pogona pljačke i klanja koje otvaraju.

Remotely contributed concept by Jovan Divjak, former general in the Bosnian army during the 1992-1995 Bosnian War. He was the highest ranking ethnic Serb in the army and one of its most educated and experienced officers. On April 8th, 1992, Divjak became Deputy Commander of BiH's Territorial Defense forces and a month later oversaw the defence of Sarajevo from a major JNA attack. In the video, he first explains that the reason why he can not be physically present at the DICTIONARY OF WAR is that government of Republika Srpska (Serbian territory in Bosnia) finds him, among ten other people, responsible for the events on May the 3rd 1992 in Sarajevo.