COMMUNICATION DEPARTMENT PRESS PACK

THE PROMISES OF THE PAST, 1950-2010

A DISCONTINUOUS HISTORY OF ART IN FORMER EASTERN EUROPE 14 APRIL 19 JULY 2010

THE PROMISES OF THE PAST

director of communications Franoise Pams phone www.centrepompidou.fr project manager Micha Schischke

+ 33 (0)1 44 78 49 08 press officer Sbastien Gravier phone + 33 (0)1 44 78 48 56 fax + 33 (0)1 44 78 13 40 e-mail sebastien.gravier@centrepompidou.fr associated curator for the Espace 315 Sources, archives, documents, films Nataa Petrein-Bachelez

Communication Department 75191 Paris cedex 04

curators Christine Macel Curator, Head of the Service for the contemporary creation and prospective

Joanna Mytkowska Director of the Museum of mordern art of Warsaw

4. PRESENTATION BY CHRISTINE MACEL AND JOANNA MYTKOWSKA 5. CATALOGUE

3. PLAN OF THE EXHIBITION

1. PRESS RELEASE

2. AROUND THE EXHIBITION

A DISCONTINUOUS HISTORY OF ART IN FORMER EASTERN EUROPE 14 APRIL 19 JULY 2010

PAGE 11 PAGE 9 PAGE 12 PAGE 26

GALERIE SUD + ESPACE 315

PRESS PACK

THE PROMISES OF THE PAST, 1950-2010

PAGE 6 PAGE 8

CONTENTS

6. BIOGRAPHIES OF THE ARTISTS 10. PRATICAL INFORMATION 8. LIST OF WORKS 9. PICTURES FOR THE PRESS

PAGE 3

PAGE 37

PAGE 32

Nea Paripovic, Photographie du tournage du film NP 77, Goranka Matic, Courtesy of the artist et Belgrad Museum of Contemporary Art The film NP 77 belongs to the collections of the Centre Pompidou, Paris

associated curator for the Espace 315 Sources, archives, documents, films Nataa Petrein-Bachelez project manager Micha Schischke

Joanna Mytkowska Director of the Museum of mordern art of Warsaw

Communication Department 75191 Paris cedex 04 director of communications Franoise Pams phone www.centrepompidou.fr

curators Christine Macel Curator, Head of the Service for the contemporary creation and prospective

+ 33 (0)1 44 78 49 08 press officer Sbastien Gravier phone + 33 (0)1 44 78 48 56 fax + 33 (0)1 44 78 13 40 e-mail sebastien.gravier@centrepompidou.fr

20 January 2010

discontinuous events. The countries of Eastern Europe are conspicuous examples of this phenomenon. generation of international artists.

This exhibition examines the former opposition between Eastern and Western influence of tutelary figures from Central and Eastern Europe on the young Europe by taking a fresh look at the history of the communist bloc countries twenty years after the fall of the Berlin Wall. The aim is twofold: firstly, to show the work of artists who are not well known in France but whose work has left a mark on their native countries; secondly, to elucidate the manifest

Walter Benjamin (18921840) in his analysis of history as a succession of

The exhibition title picks up the expression used by German philosopher

GALERIE SUD + ESPACE 315

From April to July 2010, Centre Pompidou presents The Promises of the than fifty artists, many of them from Central and Eastern Europe.

PRESS RELEASE THE PROMISES OF THE PAST, 1950-2010 A DISCONTINUOUS HISTORY OF ART IN FORMER EASTERN EUROPE 14 APRIL 19 JULY 2010

Past, a transnational, transgenerational exhibition featuring works by more

well as films by artists and documentaries on their performances. to the notion of discontinuity.

The exhibition is structured around seven main themes: Beyond modernist utopias; Fantasies of Totality; performances in connection with the space and themes of the exhibition. Note: at the opening on 13 April 2010, two artists Ji Kovanda and Roman Ondk will be presenting and Nataa Petrein-Bachelez, is published by ditions du Centre Pompidou. Utopia Revisited. At the Same Time, the show strives to challenge the very notion of art history as a linear,

Anti-art; Micro-Political Gesture Poetic Gesture; Feminine feminist; Public Space Private Space;

Communist bloc are presented in an exceptional installation by Tobias Putrih (Slovenia).

There will also be documents retracing the history of artistic exchanges between Paris and Eastern Europe as continuous series of events, as it was conceived throughout the modern period, shifts the focus in the process

One hundred sixty artworks in all mediums are on view in the Galerie Sud of Centre Pompidou in an original exhibition layout by Monika Sosnowska (Poland). In Espace 315, documents from the archives of the former

the French public will be discovering a number of artists for the very first time.

documents the current state of these architectural vestiges. The exhibition highlights the work of some of the Alongside such well-known artists as Sanja Ivekovi, Dimitrije Baievi Mangelos and Edward Krasinski, most emblematic artists of the former Eastern bloc, underlining their influence on the international scene.

The catalogue Les Promesses du pass / The Promises of the Past, edited by Christine Macel, Joanna Mytkowska

for likes of David Maljkovi who breathes new life into Vojin Baki's buildings and of Cyprien Gaillard who

contemporary art scene have reinterpreted the architectural heritage of the communist period: this is the case

which are very close to the performances by Jlius Koller and Ji Kovanda in the 1970s. Many artists on the

movements and themes developed there. Witness, for instance, the discreet performances by Roman Ondk

Indeed, many contemporary artists, from former Communist countries and beyond, have picked up practices that characterized artistic currents in Central and Eastern Europe and have been significantly inspired by the

Monika Sosnowska Marina Abramovi Pawe Althamer Vojin Baki ARCHIVES Yael Bartana Tacita Dean ESPACE 315 Lutz Becker Tibor Hajas Olafur Eliasson Mikls Erdly Tobias Putrih Sanja Ivekovi Ion Grigorescu Mircea Cantor Attila Csrg Thea Djordjadze Mria Bartuszov Braco Dimitrijevi Tomislav Gotovac Cezary Bodzianowski

EXHIBITION

GALERIE SUD

LIST OF ARTISTS

Irwin, Deimantas Narkeviius Marina Abramovi Irwin

Biennale de Paris, Pierre Restany, Galerie des Locataires (Daniel Buren, Andr Cadere), Galerie 39 PROGRAMS, FILMS and VIDO elja Kameri Julije Knifer Zofia Kulik Milan Knk Przemysaw Kwiek Pawe Kwiek Laibach OHO Dra Maurer Jan Wojciechowski Dalibor Martinis Ewa Partum Renata Poljak Tams Szentjby Raa Todosijevi Adrian Paci Nea Paripovi

SOURCES, ARCHIVES, DOCUMENTS, FILMS

Julije Knifer

Daniel Knorr

Gorgona

Tomislav Gotovac Tibor Hajas Ion Grigorescu Alban Hajdinaj Sanja Ivekovi Carsten Hller

Foerster

Cyprien Gaillard Liam Gillick

Dominique Gonzalez-

David Maljkovi Mangelos Edi Rama Ewa Partum Dimitri Prigov Roman Ondk Dan Perjovschi Marjetica Potr Nea Paripovi

Edward Krasiski Ciprian Murean

Jlius Koller Ji Kovanda

Mladen Stilinovi Tams Szentjby Goran Trbuljak Endre Tt Alexander Ugay Endre Tt Rirkrit Tiravanija

Gentian Shkurti

Blint Szombathy

Alina Szapocznikow

Anri Sala

Kateina ed

Goran Trbuljak elimir ilnik

2. AROUND THE EXHIBITION

TALKS AND CONFERENCES EUROPE 14 April at 7:30 pm petite salle 3 June at 7:30 pm petite salle BRANKA STIPANI : ANTI-ART

EDI RAMA and ANRI SALA : TIRANA-CHANGING THE CITY THROUGH ART SVETLANA BOYM : PERFORMING HISTORY IN THE OFF-MODERN KEY EXHIBITION 17 June at 7:30 pm petite salle 27 May at 8 pm cinma 1 10 June at 7:30 pm auditorium of the espace 315 7 July at 7:30 pm auditorium of the espace 315 PROSPECTIF CINEMA PROGRAM 22 April at 7:30 pm auditorium of the espace 315 26 May at 7:30 pm auditorium of the espace 315 20 May at 7:30 pm auditorium of the espace 315 12 May at 7:30 pm auditorium of the espace 315 28 April at 7:30 pm auditorium of the espace 315

24 June at 8 pm cinma 1

29 April at 8 pm cinma 1

EJLA KAMERI : a young Bosnian artist, ejla Kameri portrays the hidden prejudices and the violence in his video works, whose aesthetics are strongly influenced by his training as a painter underlying social interactions in her photo and video works

THE ART OF FORMER EASTERN EUROPE

1st July at 7:30 pm auditorium of the espace 315

ZDENKA BADOVINAC and NATAA PETREIN-BACHELEZ: ARCHIVES AND DOCUMENTS INSIDE THE identity, the influence these have on human behaviour and the consequences of their loss

ANKA PTASZKOWSKA, MICHEL CLAURA and DANIEL BUREN : LA GALERIE 1-36

GROUPE WHW and ANA JANEVSKI : THE FUTURE OF THE ART INSTITUTION IN FORMER EASTERN IDA BIARD, GORAN TRBULJAK and GUY TORTOSA : LA GALERIE DES LOCATAIRES ALINA ERBAN and TOM POSPISZYL : BEYOND THE REAL, A CERTAIN TRANSCENDENTAL TENDENCY IN ADRIAN PACI: this young Albanian artist living in Italy apprehends the notions of exile and estrangement PIOTR PIOTROWSKI : ON THE SPATIAL TURN - OR A HORIZONTAL HISTORY OF ART VIT HAVRANEK : PUBLIC VS. PRIVATE SPACES IN EASTERN EUROPE AND BEYOND BOJANA PEJI and SANJA IVEKOVI : FEMINISM IN THE EASTERN EUROPEAN AVANT-GARDE

RENATA POLJAK : this Croatian video artist constructs her work around the notions of memory and

753, b/w, silent, Pustiul [Desert], 1982, 8 mm, 8 mm, 1450, b/w, silent 545, b/w, silent b/w, sound VERWOERT JUNE 23RD JUNE 30TH Triglav, 1968, colour, silent Ewa Partum : Active Poetry, 1971-1973, 8 mm, JUNE 16TH WITH THE ARTIST AND JAN 35 mm, 1040, b/w, sound 16 mm, 14, b/w, sound 605, colour, sound colour, silent OHO (Nako Krinar) : Nadstavba 1973-1980, 16 mm, 10, b/w, silent vido, 1619, colour, sound Tams Szentjby : Az Ebd (in memoriam Batu Line (Stevens Duke)], 1964, 16 mm, 721, b/w, Nea Paripovi : NP75, 1975, 8 mm, 2440, Jan Wojciechowski, Gra na twarzy aktorki Raa Todosijevi : Was ist Kunst, Marinela Milan Knk: Material Events, 1977, 16 mm, Koelj? [What is Art, Marinela Koelj?], 1978,

955, colour, sound, Pamantul [Children], 1976,

FILM PROGRAMME JUNE 9TH

Kn) [The Lunch (in memoriam Batu Khan)], 1966, 1963, 16 mm, 819, b/w, sound Count)], 1964, 16 mm, 911, b/w, sound, 8 mm, 8, b/w, silent, 3 X 8 24, 1973, 8 mm, 3, sound, Krunica (Jutkevi Count) [Circle (Jutkevi Zofia Kulik, Przemysaw Kwiek, Pawe Kwiek, [Superstructure], 1963, 8 mm, 155, b/w, silent, b/w, silent, Kentaur (Centaur), 1974, 16 mm, 39, Dra Maurer: Learned Spontaneous Movements, [Game on the ActressFace], 1971, 35 mm, 240, 1973, 16 mm, 11, b/w, sound, Idmrs [Timing]

Ion Grigorescu : Mimicry, 1976, 8 mm 108, b/w, silent, Male and Female, 1976, 8 mm 1251, b/w, silent, Dialogue with Ceauescu, 1980, 8 mm,

elimir ilnik: Crni film [Black Film], 1971,

511, b/w, silent, Beli ljudje [White People], 1970,

8 mm, 412, b/w, silent, Novi Sad II, 1969, 8 mm,

Tomislav Gotovac: Pravac (Stevens Duke) [Straight

Prije Podne jednog fauna [The Forenoon of a Faun],

3. PLAN OF THE EXHIBITION

Utopia Revisited

to make a collective work of art based on the teaching that Althamer received in Warsaw from his spiritual father and professor Grzegorz Kowalski. From this came the idea of going back a little further in time, to the emergence of many young artists after the fall of the Berlin wall. emergence of a discontinuous view of history, conceptualized in Manuel de Landa's A Thousand Years and Guattari, posits that all structures, from nature to art to institutions, are the result of historical of bifurcation and discontinuity, according to principles close to those of the physical sciences. Dean and Yael Bartana. Edi Muka, Edi Hila, Erzen Shkololli, Anka Ptaszkowska, Alina erban, Attila Tordai-S, and Walter Seidl. to bring to the fore what has been overlooked. This task, visible in the work of young artists, is also Benjamin's last text On the Concept of History, written in the spring of 1940, when the philosopher was This project was made possible thanks to an indispensable network of participants in each of the countries Janevski, Piotr Piotrowski, Toma Pospiszyl, Vt Havrnek, Boris Ondreika, Vlad Beskid, Lvia Pldi, Julia deepest gratitude to them. We also cannot thank enough all the exhibition curators and art historians who transmitted to certain young artists by such tutelary figures as Jlius Koller, Gorgona, and Edward Todosijevi, Nea Paripovi, Jlius Koller, Sanja Ivekovi, among others. At the same time, we began working on an exhibition project in connection with several desires. working on acquisitions. We acquired works by artists who emerged after 1989, on the one hand, such as Ondk, and, on the other, in collaboration with museum curators, by major artists from former Eastern incumbent upon art historians. The very notion of art history has been fundamentally challenged by the from the1950s to the 1970s who are not from East European countries, such as Cyprien Gaillard, Tacita Europe who were not represented in the collections, such as Alina Szapocznikow, Ji Kovanda, Raa of Nonlinear History. This philosophy of history, following lcole des annales and the writings of Deleuze The first was to follow up on the Au Centre Pompidou exhibition in Espace 315 by exploring the heritage after the fall of the Berlin wall, when the concept has become obsolete and when a new Europe is being Pawe Althamer, Monika Sosnowska, Anri Sala, Dan Perjovschi, Wilhelm Sasnal, Maja Bajevi and Roman processes that do not develop sequentially on a straight line of progress but that work instead on the mode The second desire was to raise the following question: What can East European art mean, twenty years helped us in our research and during our visits: Branka Stipancic, Ana Devi & WHW, Zdenka Badovinac, Ana especially for the young artists. For this reason, we invited artists who have been influenced by art practices asserted that the past requires redemption and that you have to brush history against the grain. Instead deeply shattered by the 1939 German-Soviet Pact. Challenging the concept of cultural continuum, Benjamin Krasiski and to do so in a way that would retrace it historically. The exhibition title was inspired by Walter constructed in which the divisions between East and West have ceased to exist? It seemed clear to us that

Au Centre Pompidou already expanded the usual boundaries by inviting artists from different horizons

Once our team was formed at Centre Pompidou, thanks to Alfred Pacquement, museum director, we began of a linear chain of causes and effects, the past is made up of arabesques and intertwining. Whence the need visited. Some artists, like Anri Sala and Mircea Cantor, were precious sources of information and we extend our

in connection with a common research project and action.

dedicated to Pawe Althamer in Espace 315. Out of this joint project grew our desire to pursue a dialogue

4. PRESENTATION BY CHRISTINE MACEL AND JOANNA MYTKOWSKA

In 2005, Joanna Mytkowska accepted my invitation to work together on the Au Centre Pompidou exhibition

the notion of Nation-State involving a geographical approach to art was dated now that a postcolonial global empire had emerged, which required including a variety of origins outside the former Eastern bloc countries, Klaniczay, Barnabs Bencsik, Dejan Sretenovi, Zoran Eric, Zoran Panteli, Suzana Milevska, Hristina Ivanoska,

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Poljak, ejla Kameri, Adrian Paci as well as such seminal artists as Tomislav Gotovac, OHO and Raa Todosijevic. artists now gone to the artists of today, like a promise to the past that we were intent on keeping.

a number of well-known figures whose research and thinking has been a source of ongoing inspiration, including many of the curators that we met during our own research as well as Slavoj iek, Edi Rama,

Putrih, Daniel Knorr, Roman Ondk and Ji Kovanda. This exhibition is dedicated to all of them, from the

programming will be enriched by screenings in the Prospectif cinma and Film theatres of films by Renata We also put together with the Revues parles of Centre Pompidou a programme of conferences, inviting We would like to address our heartfelt thanks to the artists who kindled our enthusiasm as much by the quality of their work as by their deep-seated commitment to their practice, and in particular to the artists Tams Szentjby, Daniel Buren, Bojana Peji, Sanja Ivekovi, Svetlana Boym, Ida Biard and Blint Szombathy.

eminently utopian work by Slovaque Stano Filko Breathing Celebration of air (1970), in memory of the the exhibition that we conceived in the Galerie sud and Tobias Putrih to design a space dedicated to

sections, whose layout was entrusted to two artists. First museumgoers will be greeted in the forum by an utopian period in the late 1960s. We chose Monika Sosnowska to make an architecture sculpture to house the curatorial content of Espace 315, in the form of sources and film programming. Indeed, documentary

sources, documents, films and conferences in Espace 315. Nataa Petrein-Bachelez was invited to design practices connected to archives and to activities like Mail Art, were particularly rich in the 1960s and 1970s

in many East European countries, as was a form of film-making often described as anti-film. The exhibition from whom works or specific perfomance projects were commissioned, such as Monika Sosnowska, Tobias

This project is presented in the Galerie sud and Espace 315, connected to form a single exhibition in two

En partenariat mdia avec

Cette exposition a bnfici du soutien de

AMBASSADE DE SLOVNIE EN FRANCE

communication department press contact velyne Poret phone + 33 (0)1 44 78 15 98 e-mail evelyne.poret@ centrepompidou.fr

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5. CATALOGUE

The catalogue has been designed to reflect these various processes and includes groundbreaking essays by authors such as Jan Verwoert, Elena Filipovic, the late Igor Zabel, Dieter Roelstrate or Luiza Nader, previously unpublished in French.

Collection: The Promises of the Past Edited by: Christine Macel, Nataa Petrein-Bachelez format: 22 x 28 cm 256 pages 200 colour illustrations 44,90 euro Bilingual (French-English)

THE PROMISES OF THE PAST A DISCONTINUOUS HISTORY OF ART IN FORMER EASTERN EUROPE

Catalogue of the exhibition

Twenty years after the fall of the Berlin Wall, when the idea of a nation state involving a geographic approach of art is out-of-date, The promises of the Past questions the former opposition between Eastern and Western Europe by reinterpreting the History of the communist block countries. The catalogue starts with thorough essays provided by art historians which offer a new sight on art from this period and the consequences it had on nowadays younger generation of artists. The 40 historical and contemporary artists are presented with bibliographical details, texts about their work and a wealth of photographs. The catalogue will also present the Espace 315, where sources, archives and documents are collected in order to put in their historical and artistic context the displayed artworks. The catalogue finally contains a demanding anthology of texts written by contemporary historians.

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Mria Bartuszov (Czech Republic) An emblematic figure of sculpture in Central Europe in the second half of the twentieth century, Maria Bartuzsov studied ceramics in Prague, where she was born in 1936, before developing organic work. She settled in Koice in 1961, creating biomorphic, organic and partly pneumatic forms, which bore a resemblance to the post-minimalist work of Eva Hesse. Based on the observation of natural forms and the laws of physics (gravity), integrating natural elements such as wood or stone, her first sculptures possess

Yael Bartana (Israel) Trained at the Belazel Academy of Arts and Design in Jerusalem, Yal Bartana took up art again after having worked in advertising and Internet for a few years, directing films about her home country, Israel, whilst always living abroad, as if the distance rendered her perception of what constitutes Israeli society more neutral, more anthropological and also more psychological the role of the army as the cement of the nation, the non-religious holidays celebrating the spirit of the first Zionist pioneers and the war victims (Trembling Time, 2001), as well as other rituals and habits that have shaped the identity of this young country over the years. With time her work has taken on a more political character, in a society where conflict is omnipresent and normalcy is an abstract concept she is interested in the technique used by IDF refusniks, filming a group of young people, in a pastoral landscape and on a floating musical score, improving their passive resistance skills in a game whose underlying tension is being revealed by the disjointed subtitles (Wild Seeds, 2005). In a similar spirit, Summer Camp (2007) documents people from various religious and ethnic backgrounds coming together to rebuild a Palestinian house destroyed by Tsahal in the West Bank the beauty of this generous gesture amplified and sublimated by the music of the video, evoking propaganda movies from the early days of Israel, enjoining the new Jew to build an ideal society in a country at last his own.

Pawe Althamer (Poland) Pawe Althamer was a student of Grzegorz Kowalski (who was himself a student of Oskar Hansen in the 1960s in Warsaw) and the director of the sculpture studio of the Warsaw Academy of Fine Arts in the mid1980s. He emerged in the early 1990s as a strong figure of Polish art. From the outset, he established his work in relation to events from his own life, his family circle or his social environment, as Kowalski had advocated. In 1991, he produced Cardinal at the Academy, a performance questioning the religious element so prevalent in Polands Catholic culture. Seated in an old bathtub filled with water and violet papier mch, he addressed the audience after smoking a number of joints, attaining a kind of amusing, visionary state, like a shaman or a medium. From then on, Althamer expressed his thoughts through performance and sculpture. He composed a self-portrait to scale, in the form of a primitive man, sporting a pair of glasses that draw attention to his gaze, characterised by his blue pupil, which often stares intensely. This portrait heralded his programme relating to primitive man, living in harmony with nature and whose visionary gaze implies a spiritual connection. With Astronaut (1991) and Astronaut 2 (performed at the Documenta in Kassel in 1997), he also represents himself as an outsider, an alien from a distant planet, discovering virgin territory.

Marina Abramovi In the new scene that emerged in Belgrade in 1971 and was based around the Students Cultural Center (SCC), Marina Abramovi and Slobodan Milijojevi joined a group of artists made up of Nea Paripovi, Zoran Popovi, Rasa Todosijevi and Gergelj Urkom, who had been friends since the 1960s. Abramovi exhibited a project for the reduction of space, The Liberation of The Horizon, a photographic project liberating art of any metaphorical form of presentation and situating it within the reality of practice. Abramovis early works were sound pieces, such as Birds Twittering in The Tree, with a speaker installed in a tree in front of the art centre in order to create an aesthetics of shock a characteristic of all of her work, notably her later corporeal actions that also integrate the dimension of sound. Following this, from 1973 to 1975, she produced her series of actions entitled Rythm, thus emerging as a major figure of Body Art, in which the body becomes the subject of the action. From 1975, she worked on her performances with Dutch artist Ulay. They travelled throughout Europe in a caravan from 1977 onwards, for their Art Vital exhibitions, with Abramovi lending an increasingly mythical aspect to these. Thanks to Abramovi, a radical change in the position of the body of the artist and that of the audience was achieved, stemming from a dramatic approach that was sometimes Baroque. Through the 1990s and up to the present day she has continued this work alone, inspired by Tibetan Buddhism. Abramovi has thus taken a new direction in her search for a state of spiritual awareness, for the secrets of the body and the mind.

6. BIOGRAPHIES OF THE ARTISTS

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Attila Csrgo (Hungary) Making art with science, using the properties of analytic geometry and creating sensible and intelligible works is at the heart of the creative process of Attila Csrg (born 1965). His artistic production is generated by his attempts to resolve mathematical problems in an analytical process producing installations, objects and photographs whose apparent, yet complex, logic conveys both aesthetics and philosophy. In the installation Untitled 1 (1 tetrahedron + 1 cube + 1 octahedron = 1 dodecahedron) (2000), a complex machinery of strings, sticks and pulleys deconstructs three of the five Platonic solids (the only regular polyhedrons found in nature) in an endless ballet, only to reconstruct the fifth, and most complex of them, with the same elements. A similar process of formal deconstruction is the base of the work How to Construct an Orange (19932003), in which he tackles the impossibility of creating a sphere from a flat surface. To underline the imperfections, and thus the originality, of the almost spherical shapes he created with a sheet of paper, he has them float on the stream of air produced by a series of small fans, in a moment when poetry and geometry meet.

Mircea Cantor (Romania) Mircea Cantor was discovered in Paris thanks to his video The Landscape is Changing (2002) in which protestors brandish placards in the form of mirrors. Born in 1977 in Romania, he often expresses his position in relation to a context in a subtle, distanciated way, through films, sculptures, drawings, interventions and publications such as Version magazine, published by two Romanian artists, Gabriela Vanga and Ciprian Murean. Cantor bases his work on social and political questions such as violence, democracy, migration, confrontations between communities, the stigmatisation of Eastern Europe or the vision of the future, producing works that balance ethics and aesthetics, with a critical sensibility that bespeaks his empathy for the state of the world. With Double Head Matches 2002), consisting of a film and 20,000 matchboxes produced by a Romanian factory, Cantor modified the factory's usual production by making the workers apply phosphorus to both ends of the matchstick, thus subverting repetitive labour and producing a poetic work that invites discussion. His work was shown in Belgium in a fractured political context between French and Flemish speaking communities. In his film Deeparture (2005), we sense a suspended violence like a minute of peaceful eternity by observing a doe locked in an empty room with a wolf. Desirous to fill in the cracks in social relations, Cantor plays on the plurivocity of signs according to the context in which these are being read, calling forth individual and collective memory.

Cezary Bodzianowski (Poland) Author of a personal theatre of events, Cezary Bodzianowski, born in 1968, was first trained at the Warsaw Academy of Fine Arts then the Royal Academy in Antwerp before settling in d, a key site of Polish modernity. Bodzianowski offers a vision of the world in which reality becomes fiction. He produces semi-private actions in the public space, based on his own presence within an environment that is sometimes discreetly rearranged and often situated in ordinary or abandoned places. His photographs represent traces of found objects or organised situations, relating microfictions that hover between inaction and spectacular performances. His interventions sometimes take the form of a hoax, as in WF/cours de gym/ (2001), where he passes himself off as a replacement gymnastics teacher in a high school in Warsaw, giving a class to a group of young girls. One of the central elements of his practice is irony, which follows the tradition of incoherent art similar to the absurd. For Rainbow, bathroom (1995), he features an improbable rainbow between his own toilets and bathtub. In another work, sporting a beret, he places his head on a blank road sign, thus creating a narrative via the image. Bodzianowski has slowly built up a petitbourgeois character, somewhere between Charlie Chaplin and Buster Keaton, with a moustache as his distinguishing feature and whose characteristic objects, such as a briefcase, are redeployed in discreet installations.

haptic qualities and use materials such as plaster, bronze and aluminium. From 1962 on, she used rubber balloons to create Cells, her first, elementary forms made out of plaster. Her sculptures invite tactile interaction and possess both maternal and erotic overtones, within the framework of spiritual research. Bartuszov also used them in the course of workshops with partially sighted children in Levoa in 1976 and 1983. She was briefly a member of the Concretists Club a Czech group with a geometrical and rational approach, who aspired to industrial concretism. Bartuszov made an exception to her own rule by creating geometrical sculptures in aluminium.

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Thea Djordjadze (Georgia) Thea Djordjadze is a Georgian artist, who was born in Tbilisi in 1974 but has been living in Germany since 1994. Her artistic practice covers different media with which she explores, on the one hand, the legacy of Modernism in contemporary society, and on the other the elements, both material and emotional, which constitute everyday life. This last aspect is perceivable in a number of performances in which she tackles mysterious subjects, such as coffee cup fortune telling ((Untitled) Kaffeesatzlesen), 2001 and 2008), and more prosaic ones like haircutting ((Untitled) Haareschneiden, 2001), in which she asked exhibition viewers to let her cut their hair) or the exhaustion one can feel from the intensity of contemporary life in (Untitled) Ich habe keine Kraft fr London (2000), where she was lying in a London gallery dressed in a shiny cocktail dress, holding up a sign which read in German I have no strength for London. She also co-wrote a play and co-directed a film as a member of the hobbypopMUSEUM group. More recently, Thea Djordjadze produced sculptures which she stages in elaborate spatial conceptions, creating total works of art in situ. Her sculptures are characterised by the variety of often simple materials she uses (air-dried clay, cardboard, wool, rubber), which she associates in fragile and delicate compositions. Their presentation is complex; the bases are integrated into the work by the plaster that overflows onto them, becoming one with the floor (Partly Departed, 2007), archive images interact with cardboard arabesques (Fr die Jugend, 2005) or oriental kilims, generating installations with an infinite amount of interpretation layers. Pampel (2006) also associates sculpture and installation: a huge, colourful and shiny polyhedron sits like a gem [Pampel is the German name for a specific diamond cut] in the city space when the viewer approaches it and slips their head inside the opening at the back of the structure, music is set off and the gaze of the beholder is transfigured by the numerous facets and the tainted glass of the Pampel, allowing them to apprehend, in the spirit of the modernist movement, another reality of space and of the cityscape.

Braco Dimitrijevic (Bosnia) The Sarajevo-born, Paris-based artist Braco Dimitrijevi entered the international conceptual art scene in the 1970s with a large number of public interventions and manifestos. In the Casual Passer-by series from the 1970s he displayed gigantic portraits of anonymous citizens on prominent buildings throughout Europe and America, and in Accidental Sculptures he transformed people into artists by exposing them to objects which had unconsciously had an impact on them, such as pieces of paper or bottles of milk. Ever since, his work has been determined by a deconstruction of undemocratic artsystems and hegemonical history writings, showing that anyone can become an artist if the conditions are favourable. For Dimitrijevi, the present needs to be constantly rediscovered, while history and future must be understood as phenomena that are present here and now. For this, the artist has to avoid the modern idea of formal evolution as well as the postmodern, oversimplistic obsession with cultural origins. Another current that Dimitrijevi is swimming against is the nostalgic fetishisation of the past that incorporates old formats without quoting or transcending them. In Dimitrijevis work the timelines are disrupted and reassembled, making the demarcation line between now and then, the eternal and the ephemeral, visible. Dimitrijevic is an artist who both wants to inscribe himself in, and escape from history.

Tacita Dean (United Kingdom) The analogue in its visual, technical and philosophical sense is at the core of the opus of Tacita Dean, one of the most visible English filmmakers and artists, born in 1965 in Canterbury. She is known for her exploration of the subtle analogies between the perception of time and the non-digitised formats that record time, space and movement, as well as act as witnesses of historic events and collective or individual memory. Her diverse body of work includes 16mm films, drawings, photographs, audio recordings and installations. During her initial studies in painting, Dean developed her distinctive approach to drawing, using erasing and over-drawing as a method with which to unravel a narrative. This multi-layering of a single imageframe prevails in her series of blackboard drawings (Disappearance at Sea, 1995, for example) that also comprise acting and stage directions, taken from the world of film and theatre. Soon after completing her studies, in 1991, the artist visited Prague and brought with her a Standard 8 camera. On this occasion she created her film Ztrta, which was not shown until 2002, when the artist rediscovered this film and 326 documentary photographs of the city undergoing change (called Czech Photos and shown in a wooden box), which originate from the very same visit to the freshly post-communist country. The black and white film, later transferred to 16mm, carries the words, which a person in a classroom in the architectural faculty is writing on a blackboard, towards their visual demonstration, as if making visible the film directions in a script. At the last word ztrta [disappearance or loss], the person-teacher wipes the word out with a cloth and throws the cloth through a window. Dean thus establishes a relationship between signifier and signified, and notes with her typically poetic gesture the fragility of memory, not only in a country that has just set an end with a totalitarian regime.

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Gorgona (Croatia) Gorgona was a group of artists and intellectuals based in Zagreb, active between 1959 and 1966. Their goal was to assemble people searching for intellectual and artistic freedom, who were eager to endanger the sacrosanct position of art in favour of the anti-art. The members of Gorgona were the painters Josip Vanita, Marijan Jevovar, Julije Knifer and uro Seder, sculptor Ivan Koari, architect Miljenko Horvat, and art historians Dimitrije Baievi-Mangelos, Matko Metrovi and Radoslav Putar. They had in common the acknowledgment of the absurd and of metaphysical irony that used emptiness and monotony as aesthetic categories.They detached themselves from the abstract expressionism that was fashionable in Croatian art during the 1960s. Their influences became oriental philosophy, Yves Kleins transcendental monochromes, John Cages all negating sound piece, and George Brechts and Robert Filious Fluxus-oriented actions. Their collective work was divided into three different sections: exhibitions at studio G, the anti-magazine Gorgona, and projects such as arranged walks, discussions and intellectual games. As predecessors of Mail Art, they aestheticised systems of communication such as mail and advertisements. One of their collective actions was an invitation sent to several addresses, containing only the text You are invited. Another radical act was Josip Vanitas Exhibition without the Exhibition from 1964, an exhibition where the artist wrote precise instructions on a painting instead of exhibiting it. The anti-magazine Gorgona (19611966) negated the discursive part of critical or theoretical texts. Each of the eleven issues was an art work and thus an artists book ante litteram. Tomislav Gotovac (Croatia) The art of Tomislav Gotovac, who recently changed his name to Antonio Gotovac Lauer, is situated at the crossroads of visual art, conceptual art, performance and film. Since the early 1960s, Gotovacs first experimental and structural films, such as the trilogy Blue Rider,

Cyprien Gaillard (France) Romanticism and vandalism are the two main characteristics of the artistic practice of Cyprien Gaillard (born in Paris in 1980). In his drawings, performances, installations, films, photographs and videos he presents his vision of the ruins of contemporary landscapes. His narration-free works are sometimes simple documentation of the state of these relics, as in the Cairns (2008) series, in which he photographed the heaps of metal and concrete produced by the destruction of large housing projects in France and Scotland. Other works are the illustration of his intervention on these relics: in La grande alle du Chteau de Oiron (2008), he recycled gravel from the destruction of a housing estate and covered the alley of a classical chateau with it, whilst for the piece Dunepark (2009) he had a huge bunker of the Atlantic Wall dug out from beneath an upscale neighbourhood of The Hague. The artists interest does not stem from his love of nature upset by the ugliness defacing it nor from an obsession with the fallen utopian promises which these ruins convey, but rather from the possibility of creating a landscape. Through his actions, which one sometimes could call adolescent (stealing a fire extinguisher and setting it of in the countryside, organising a firework in a confined space), he points his finger at a certain immaturity of mankind, refusing to accept that the towers of our social housing estates will one day be ruins decayed, and possibly romantic, relics of our civilisation.

Mikls Erdly (Hungary) The most important Hungarian artist of the post-war period, Mikls Erdly (19281986), was a filmmaker, poet, writer, conceptual artist and painter as well as a pedagogue, and was trained as an architect. Striving to undertake discussions on art and society everywhere he appeared, he enormously influenced his contemporaries on the unofficial art scene through workshops that he led either in community cultural centres or in private homes, under such names as Creativity Exercises, Fantasy Developing Exercises (often in collaboration with another remarkable Hungarian conceptual artist, Dra Maurer), and later InterDisciplinary-Thinking (around which Erdlys pupils gathered and worked in the form of a group InDiGo), but typically remained unacknowledged by the general public. He obtained his first passport to travel to the West in 1963, spending six months in Paris. He inspired the initial action to be carried out and documented in the public space, dating back to the turbulent Hungarian revolution of 1956. In this action Erdly and his colleagues from the Hungarian Writers Association irritated the communist authorities by putting in front of the damaged storefronts in Budapest boxes a note saying: Unguarded Money. The purity of our revolution allows us to collect money this way for families of the victims of the fighting. Influenced by his family's Jewish origins and related spirituality, he explored the possible synthesis between scientific knowledge and occultism, about which he wrote extensively in many of his theoretical essays on art, and which resulted in the series of actions Intuitions (19671969).

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Tibor Hajas (Hungary) A major figure in Hungarian art, Tibor Hajas, whose art and life proved equally fascinating, was born in 1946. In 1965, he was arrested during a protest on the commemoration day of the 1956 Hungarian Revolution. He spent a year in prison, then began writing lyric poems, before participating in the heyday of action and performance art. He directed experimental films while conserving his taste for literature and immersed himself in the search for a total and intense experience. His physical and spiritual experiences, similar to Pasolinian risk-taking, led him simultaneously to the total freedom that characterises him and a profound desire for annihilation. The artist, who declared himself to be mostly [interested in] cigars, belongs to an anti-art current inspired by Fluxus, typical of the underground scene in Budapest. In 1975, he started street actions, recorded by photographs and accompanying texts. Restoration Money II (1976) consisted of destroying then restoring an object, in this case a Hungarian bank note. With Self Fashion Show (1976), a work that constituted a turning point in his work, in which each individual becomes their own model, Hajas stopped producing actions to make a complex film in which the characters pass in quick succession in front of a fixed camera, to the music of Terry Riley. The years 1976-1980 marked a very rich period of maturity, with text-based works, experimental films created at Bla Balzs

Ion Grigorescu (Romania) The Romanian artist Ion Grigorescu is one of the most experimental and influential artists of his generation. Having begun working in the late 1960s with performance, video, photography, painting, drawing and writing, at a time when socialist realist painting was the only accepted visual language, and with subject matters that were controversial (the naked body) and hermetic (esoteric rituals, the spiritual search for inner truth), Grigorescus works give the impression of being both before their time and out of time. The use of rudimentary and cheap materials evokes spiritual richness as well as the economic poverty of that particular period. Living under Ceausescus climate of fear, which didnt even allow people to use cameras, let alone criticise the system, Grigorescu succeeded in doing both while restricting his practice to a small circle of friends, and lending it a humorous touch. In the Body Art Series (19721978), Grigorescu retreats to the privacy of his home, exploring his intimate body parts and functions with the help of a camera. He appears as if composed of several personalities, mixing personal and collective mythologies and creating archetypical identities such as the Shamanist artist, the enlightened Buddhist or the sexual tantrist. Related to this series are also his 8mm films from the 1970s, documenting his performances without an audience, such as Boxing (1977), where the artist boxes with himself, or Dialogue with Nicolae Ceausescu (1978), where the artist acts both the role of the negator and the negated a work which could have cost him his life had it been shown in public. American art historian Kristine Stiles, one of the authorities of Romanian performance, notes that doubling and splitting of oneself appears in many of Grigorescus works and corresponds to the Romanians own feelings of social schizophrenia, being dependent yet feeling conflictual towards the dictatorship. In the 1980s Grigorescu started to wonder whether he had isolated himself from real life, and decided to begin restoring church frescoes. The mysteries of the Orthodox religion have always been present in his photography along with pagan pre-Christian rituals, as in in the photoseries Masculine, Feminine, in which he united male and female symbols in a cosmology of human existence.

(Godard Art), Circle (Jutkevitch-Count) and Straight Line (Steven Duke) from 1964, as well as several series produced through the medium of photography (Showing the Elle magazine, 1962), could legitimately be seen as heralds of a new artistic language. He very soon became aware of the non-metaphorical and anti-narrative character of contemporary artistic expressions, thanks to his encyclopaedic knowledge of the history of film and his fascination with popular culture and music. Gotovac brought some very particular characteristics into new artistic practices the decision to put his own figure and body into the centre of most of his actions, to perform artistic action in public spaces, to emphasise the daily living relationship with the environment as well as the use of mediabased recording procedures. Film practices are at the basis of his practice, from photography-based works to performances; he writes the screenplay, directs and acts in all his works. He is the author of the first happening in Yugoslavia, Our Happ-Happening (Zagreb, 1967) and the first streaking (Belgrade, 1971). In his radical performances and provocative artistic expressions he tested the boundaries of public space within the socialist state and its mechanism, under apparently simply everyday activities, as an artist begging, cleaning city spaces, performing public haircutting and shavings. When he runs naked in the centre of Zagreb in his action Zagreb, I Love You!, performed in Zagreb in 1981, this signifies the artists confrontation with socialist petit-bourgeois morality and its immediate living urban texture.

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Jlius Koller (Slovakia) Humour merging on absurdity, use of everyday life and real objects in a ceaseless construction of alternative possibilities of living, are characteristic of the most intriguing Slovak conceptual artist, Jlius Koller (19392008). Calling himself an anti-artist, Koller's opus echoes his interest in Dadaism, Pop Art, Situationist Internationale and Fluxus. These impulses were combined as a response to the geopolitical reality that he lived in (the Prague Spring and its repression) and to the prevailing modernism of the academic circles. After finishing his studies in landscape painting at the Academy of Fine Arts in Bratislava in 1965, Koller wrote a manifesto that introduced the term anti-happening. They were invitations to a thought, rather than an action; diagrams written on postcards that he sent out to his acquaintances and with which he wanted to designate facts worthy of attention (such as Illusionism, Permanent Mystifications, etc). In 1970, Koller conceived the first Universal-Cultural Futurological Operations (U.F.O.), or cultural situations. They played with inventing new meanings of the abbreviation U.F.O. and annually documented his substantial transformations in a series of performative acts the portraits of his own head acquiring different characters. The politico-military occupation of Czechoslovakia led Koller to introduce to his U.F.O.-naut identity his emblematic sign, the question mark, as a universal sign of questioning man's relationship to the cosmos as well as the individual's relationship to the collective (Koller). His term, cultural situations, refers to situations that might form alternative channels of communication in different social environments (his long-term involvement with amateur artists during the 1970s and 1980s, for example).

Sanja Ivekovic (Croatia) Since the beginnings of her artistic activity Sanja Ivekovi has been using a wide variety of media, primarily pointing out the social and political urgency of womans place in society, particularly in the socialist context. She is one of the first explicitly feminist artists in the former Yugoslavia. Ivekovi started her artistic activity within the so-called New Art Practice in the 1970s. This was the umbrella for various critical and radical forms of new art in Yugoslavia after 1968. In her numerous collages, the artist juxtaposed the imaginary of advertisements with photos from her personal album (Double Life, 1975; Bitter Life, 19751976). Diary is a series of seven pictures composed of photographs of cosmetics advertisements and cotton make-up remover pads used by the artist herself. In most of her performances Ivekovi analyses the representation of femininity and its rituals, (Make Up, Make Down, 1976), while in her videos she exposes media images as visions of reality and reports the construction of collective memory, bringing the invisible into visibility. In Personal Cuts, 1982, the artist is slowly cutting holes into a black stocking mask pulled over her head, as images from Yugoslav state TV footage appear. The artists of this generation started to confront the ideological apparatus in the context of public space. The key example is Ivekovis performance Triangle, in which, during President Titos official visit in Zagreb, the artist simulated masturbation on her balcony as the presidential motorcade moved down the street below. After eighteen minutes a policeman from the official security force interrupted the performance, contributing to the existence of the work. As an early feminist, the artist tests and shifts the borders between the personal and the public, the erotic and the ideological.

IRWIN (Slovenia) The Slovenian group Irwin, made up of Duan Mandic , Miran Mohar, Andrej Savski, Roman Uranjek and Borut Vogelnik set itself a specific project, i.e to draw a map of Eastern Art which would make clear the evolution and sub-divisions of avant-gardes and the modern movement since 1945 in the former communist countries of Europe and give itself as a genealogical tree. This project which has influenced much of the groups artistic endeavours since its creation in 1983, when it was still part of the larger Neue Slowenishe Kunst collective, has even accelerated since the early 2000s. The texts published by the group as well as the installations it has created in the framework of this project are based on an encyclopaedic knowledge of the history of art in each and every country of the former Eastern Europe that is achieved through the joint efforts of art critics and curators who are invited to contribute to the project.

Studio and photographs transferred to canvas. In 1978 he developed a performance art for which his own body became the medium, similar to the work of Gnter Brus, in a search for transcendence that was both theatrical and ritualistic. Influenced by his reading of Tibetan Buddhist texts which state that the body allows the soul to access the one true world Hajas produced several performances related to Buddhist concepts, such as the Chd or the post-mortem Bodhi. In 1978, he wrote the text Performance. The Sex Appeal of Death (The Aesthetics of damnation). The whitened face of the artist seemed to decompose into layers in Surface torture (1978). Attracted by the wider idea of freedom associated to amorality, Hajas pursued his quest for totality in Pornographic Diary (1979). His unique and extreme trajectory, as well as his sudden death in a car accident in 1980, have propelled him to the status of mythic artist in Hungary.

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Jir Kovanda (Czech Republic) Jir Kovanda (1953) has been one of the outstanding conceptual artists of the Czech art scene. He organised his first performances in public environments in Prague in the mid-1970s. His minimal actions, all based on a detailed scenario, were all recorded through photography in black and white and instruction leaflets. In the eye of the artist, the work of art is made up of these documents, these performances having no other aim than the traces that are recorded. In his performances, those mundane actions appear slightly off-key, allowing us, through this combination of apparent simplicity and unbalance, to grasp at the individual and what remains real and human in a society under surveillance. After 1978, Kovanda staged minimalist and poetical interventions still recorded through a photograph and a text while the artist vanished completely from his interventions which deal with the very notion of traces. In the 1980s, Kovanda turned to painting before abandoning all artistic practices. His work was rediscovered only recently and Kovanda has been active again creating installations, paintings and performances as discrete still and poetical in which he strives to find beauty in everyday life and to map out a space where the individual can actually exist.

Edward Krasinski (Poland) Edward Krasiski, the most famous Polish conceptual artist, made his early objects, at the beginning of the 1960s, as gravity-defying sculptures, virtually reduced to a line. Those suspended or linear sculptures were interrupted by the occasional use of colour and found objects: books and bottles mixed with fragile common materials such as rubber, wire and string. Occasionally letters or sequences of numbers appear, like in Composition with Cylinder or Composition with a book, both from 1969. At first he experimented by pasting it on trees and people at his house outside Warsaw. Very soon after in Paris, he pasted the blue tape on the walls of the courtyard of the municipal Museum of Modern Art, with the help of Daniel Buren, and on the windows of the Rive Gauche art galleries. The strip could potentially appear everywhere, run without end. It was particularly good for defining all kinds of back rooms, recesses, and other margins of official spaces. In the early 1970s, Krasiski introduced objects that were something of an obstacle for the strip. At first, these would resemble fragments of rooms: part of a door, or a wallpapered surface. Then, around 1975, the objects gave way to abstract diagrams of spaces, their axonometric projections, Intervention (1975). This gave birth to a series Krasiski would work on and modify for the rest of his life. With irony, Edward Krasiski created a heterogeneous and complex body of works that oscillates between painting, sculpture and installation art, covering their performative and conceptual aspects.

Daniel Knorr (Romania) Daniel Knorr's deconstructive work initiates the spectator to ways of thinking about social and political problematics, in the tradition of conceptual art and the institutional critique of the 1960s and 1970s. His works combine installations and actions, evoking drug-taking and its repression, the world economy and its outcasts, Europe, those who are absent from media presentations, the environment, recycling or the contemporary obsession for security. After Knorr left the Munich Academy of Fine Arts, he produced a first work using 500 grammes of cocaine confiscated by the police and exhibited on the floor, flanked by two police officers. A drawing made by the artist in the powder was placed under glass, inviting the spectator to ponder a humorous and naive image. Some material based on anti-narcotics police work was presented around it, acting as a counterpoint. By subverting the doxa of the global economy, the work World Market (1996) allowed a Brooklyn street seller to make a long distance sale of 50 kilogrammes of his merchandise exhibited in Copenhagen, thanks to a system installed in the World Trade Center in New York, which became a surveillance site for poor peoples sales. In 2005, for the Romanian pavilion European Influenza at the Venice Biennale, he left the space accessible, opening a door for free access to the city, featuring only the remains of past exhibitions. A document containing texts criticising Europe and its extension to the East were freely distributed to visitors, at a time when Romania was making its bid for entry into the European Union. In 2010 at the Pompidou Centre, Capillaire, a tube recalling the architecture of the Piano and Rodgers building will traverse the Galerie Sud space, encapsulating a substance containing toxic gases. Knorr sets up critical subversion strategies that are always transformed by their context and contain a heightened awareness of social issues, permanently oscillating between humour and transgression.

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Ciprian Muresan (Romania) In his work, consisting mainly of drawings, photographs and videos, Ciprian Murean (born in Dej, Romania, in 1977) tackles subjects reflecting the changes that have occurred in his country since the collapse of communism, meticulously portraying the difficulty individuals encounter trying to find their place in the new society, touching on issues that often go beyond the local frame. In order to undertake this societal study, he often makes the works of other artists his own, diverting their original meaning. In the photograph Leap Into the Void Three Seconds Later (2004) he presents the scene that would have taken place three seconds after Yves Kleins Leap Into the Void (1960). Moved from the original Paris suburb to a street in a Romanian village, the artist lies flat on the floor, face against the ground while the cyclist has almost disappeared at the end of the road. In a direct opposition to the sublime gesture of the French artist, Murean illustrates the disarray of the Romanian artistic scene in the early 21st century, a time when the struggle opposing the institutional leftovers of the ancient regime and the young scene was raging. The installation Communism Never Happened (2006), consisting of letters (reading the sentence that gave the work its title) cut from vinyl records of Romanian folk music, evokes the disturbing tendency the artist perceives in his country of wanting to forget the past and refusing to learn the lessons from the dark

Mangelos (Yugoslavia) The famous art historian and curator Dimitrije Baievi, born in former Yugoslavia, worked as an artist under the fictitious name Mangelos for more than forty years before he died in 1987 the year that he correctly predicted as the year of his death. Mangelos was not only fascinated by his own death, but also by the death of art in general. In his Moscow Manifesto from 1977 he declared: Art is dead and so is the old, naive way of thinking. The negation of all determination was the motor in Mangelos entire practice. Mangelos worked in a different spirit trying to enact emptiness through the simple presence of the frame, like in Antipainting, or visualising the big nothing through black paintings such as Death Landscapes and Tabulae rasae. Most well-known are his monochromatic globes covered in calligraphically written manifestos painted in red, black or white, which bring together the obedient form of calligraphy with the rebellious content of manifestos. By painting manifestos Mangelos explored two artistic processes: transformation and reduction the geometrical transformation of readable letters into unreadable abstract forms, and the reduction of complex philosophical texts to witty oneliners. Mangelos manifestos could be seen as vehicles for learning as well as unlearning. Through these manifestos, Mangelos wanted to give birth to an art form that would bridge philosophy and art, art and anti-art, the textual and the visual, as well as the hermetical and the pedagocial. In opposition to the modernistic art practices that celebrated the arrival of the machine, Mangelos saw the technical revolution as a possible enemy of art.

David Maljkovic (Croatia) The Croatian born artist David Maljkovi lives and works mostly in Zagreb and Berlin. His primary subject matters are the architectonical leftovers of utopian times the modern ruins that need to be reactivated and recontextualised for present and future generations. For this to happen, Maljkovi investigates the relations between the past, the present and the future but also implements his personal mythologies, fears and hopes into the collective unconscious of Croatian society. He succeeds in injecting lived time into the historical, objective time by letting people interact with places and buildings that have been drained of meaning. His entire work can be seen as a constant meaning-giving process, a process that is both mourning and constructivistic. Maljkovis works also address the question of the presupposed autonomy of modernistic architecture. The series Scene for New Heritage Trilogy displays a futuristic world that has lost contact with its cultural heritage. In his three films and collages, set in the year 2045 and beyond, Maljkovi sets three more or less deliberate ways of visiting or interacting with an historical place, relating to the the artist's own memories of compulsory visits under the communist regime. The tower on Petrova Gora Mountain that people are interacting with in this series was designed by the modernist sculptor Vojin Baki, who wanted to escape socialist realism through abstract and constructivist forms. Initially part of the underground scene, Baki became in time absorbed by the system and a good friend of Tito. The tower became an obligatory pilgrimage for pioneers all over the country and a relic of hopeful times that had turned into disillusionment, and now almost oblivion. In his most recent sepia-toned 16mm film Retired Form (2009), Maljkovi evokes Bakis public monument complex in the Memorial Park Dotrina, around which a group of elderly visitors stand in silent observation. The camera rotates around them all in a syncopal way, eliminating any specific feeling of time and space. By contrast with the futuristic attempts of utopian modernism that aimed to achieve everything here and now, Maljkovis work has an anticipating aspect that suspends the time and the subject, gradually transporting the protagonists to a dimension outside of time.

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Nea Paripovic (Serbia) The work of Serbian artist Nea Paripovi, born in 1942 in Belgrade, stems from the conceptual movement of the 1970s, which was concentrated within the Belgrade Students Cultural Centre (SCC Gallery), founded in 1971. Paripovi is representative of the deconstructive current. Following a period of activity in 1970 painting coloured geometric shapes, between 1973 and 1980 he focused on deconstructing the identity of the painter. Paripovi thus represented himself as an artist through photographs, films, videos and texts. Untitled (1975) shows him at his work table contemplating a white page, in a kind of pre-written scenario or an absurd parody of the figure of the artist, similar to the work of Mladen Stilinovi. He appears rather like an introverted intellectual who no longer needs to produce work, thus relieved of consumer objects. Towards the mid-1970s, Paripovi directed three films under the generic title NP (his initials), questioning the notions of identity and everyday life. In the second film from this series, NP 77 shot with Jovan eki, in colour, without sound, on a Super - 8 camera the camera follows the artist as he wanders through the city of Belgrade. Five sequences were shot and edited consecutively, featuring Paripovi walking in Belgrade as though he were following a straight line that has been randomly traced. We thus see the artist, in a two-piece suit, take the time to light a cigarette, nonchalantly, taking long strides, jumping from one roof to another and scaling walls. NP 77 is Paripovi's most cinematographic film, due to the rhythm of the images and the plastic aspect of the moving body. Devoting himself to a postmodern eclecticism in the 1980s, Paripovi returned to a modernism after modernism in the 1990s, dedicating his energies to the deconstruction of the body, as well as to the deconstruction of painting, sound or architecture.

Roman Ondk (Slovakia) Roman Ondk lives and works in Bratislava. The humorous and often uncanny displacement of objects, people and meaning is one of Ondks main interests. His entire body of work evolves around the ethics and aesthetics of recontextualisation, seeking a different economy of time, and finding his subjects in the social rituals of everyday life. His implementations in the urban space are often so discreet that you might even miss them or take them for something other than art. For a show in 2003, he arranged for huge queues of visitors to wait half an hour each day in front of the Cologne Kunstverein. While queuing in the Western world is more associated with festive phonomena such as concerts or bargain opportunities, it usually has more negative connotations in Eastern Europe, such as the Cold War food crisis. In those times, the queues could also offer a possibility of resistance, since a lot of people chose to openly criticise the system, at the risk of being denounced and deported by the undercover police who often infiltrated those queues. The title of this work, Good Feelings in Good Times, is a bittersweet reminder of those bad feelings in bad times, but also a play on the modern meaningless waiting for Godot. Ondk is perhaps best known for Measuring the Universe (2007) an interactive piece where the museum attendants or gallery workers mark on the walls the height and name of the visitors, as well as the date on which the measurements were taken. The imaginary group portrait that is being created can also be seen as a synthesis between the monumental and the relational, the fixed and the fluid.

Deimantas Narkevicius (Lithuania) Film director and visual artist Deimantas Narkevicius (1964) interest lies in the relationship between personal stories and geopolitical and historical facts as well as in the collective imagination. He likes to mix documentary and fiction, archive materials and filmed re-creations while paying a specific attention to the soundtrack. Narkevicius has been known for his exploration of Lithuanias Soviet past. In Once in the 20th century (2004), one of his most famous videos, a historical event is played backward for the viewer. A large crowd is celebrating the reinstallation of a statue of Lenin on the pedestal from which it had been brought down. Disappearance of a Tribe (2005), is a loop of photographic portraits taken in black and white from the artists personal archives which weave together chronologically the lives of a number of persons who lived in the communist era. Narkevicius manages to evoke the submission to communist ideals and their utopian hold on the individuals through the only use of the sound that goes with the images. In order to compose this soundtrack, the artist has used recordings made on the spots where these photos were taken.

chapters of recent history. Auto-da-fe (2008), a series of slides projected in a loop, shows a new tendency in the preoccupations of the artist. The slides present graffiti and slogans tagged on the walls of different Romanian cities, illustrating the power of words and of subjectivity in the dehumanised context of urban space.

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Marjetica Potrc (Slovenia) The architect and artist Marjetica Potr (born in 1953 in Ljubljana) is known for her anthropological and field research on citizens' participation and creativity in the fabric of society and city, on self-sustainability and on urbanisation and rural phenomena in contemporary cities. For her, cities read like open books, and she refers to shanty towns and gated communities as the two most successful forms of urban habitat, which privilege the private space over the public space. She has been building case studies on exhibition spaces, which are hybrid houses consisting of various architectural fragments, coming from the artist's research undertaken in different geographical realities. For some years she has also been developing onsite projects that aim to improve the existing living or social conditions of a chosen situation. One of them is Dry Toilet (2003), a hands-on project which she created with architect Liyat Esakov, in the upper areas of the Barrios La Vega, part of the city of Caracas entirely without access to the public water supply.

Dan Perjovschi (Romania) Dan Perjovschi is one of Romanias most internationally renowned artists. His humorous drawings have become synonyms of political commentaries on political events. He became an important figure in the 1990s after the fall of the Iron Curtain. He became recognised for his drawings in the expanded field that included both installation and performance, and for his way of working specifically with site and time, always oscillating between local and global geopolitical problems, such as Romanias acceptance into the EU, or the exotic role of Eastern European art in the cultural exchange with the West. As Perjovschi declares in one of his drawings. Im not exotic, Im exhausted. Dan Perjovschi also worked as a cartoonist and caricaturist during Ceausescus political regime. He contributed with hundreds of witty and incisive observations to literary and political journals, such as Contrapunct and 22 (the date that Ceausescu was removed from power), which is the brainchild of the Group of Social Dialogue, a think-tank of dissident writers, artists and philosophers who support freedom of expression and human rights. Perjovschis humorous deconstruction of power structures has a nerve that goes all the way back to the dadaist movement. Perjovschi is also involved in activist writing and debating, always trying to get away from his cultural determination and exoticising curatorial attempts. Perjovschi performed Romania at the Performance Festival 1993, at which he emblazoned his left shoulder with the word Romania. The tattoo mocks the idea that an artist is aesthetically determined by the country he is born or living in. In 2003 Perjovschi performed Erased Romania, having his tattoo removed during Ren Blocks exhibition In the Gorges of the Balkans. Once the tattoo was removed Perjovschi declared himself healed of Romania. This declaration coincided with the moment when Dan Perjovschi and his wife Lia Perjovschi started calling themselves dizzydents from dizzy Romania, a declaration made after the artists became entangled in conflicts with Romanian curators and artists over the proposal to found the first National Museum of Contemporary Art (MNAC) in the Palace of the Parliament Ceausescus infamous castle.

Ewa Partum (Poland) Ewa Partum is a feminist Polish artist who has built up a body of work based on three practices: poetry and Mail Art, performances (photos, videos and films) and installations. From her beginnings as a student in d in 1965, Partum has used her body in her work within the public space, transferring it to scale on canvas by way of a painted outline characteristic of her early works in the 1970s. As a performer of concrete poetry as a visual form, she disperses letters of her original texts in public space, demanding that reality be introduced into art. In 1971, she placed several road signs in Freedom Square in d, with absurd indications such as "Prohibition is forbidden" or "Authorisation prohibited" the local police guarded this installation. In the 1970s, she developed an intense activity of Mail Art: the only possibility for maintaining contact with artists from the West and exhibiting them. She thus opened her own gallery of conceptual art, the Adres [address] Gallery in d. In 1971, she thus produced her famous Poems by Ewa with lipstick impressions. One of her most famous performances, Change (1974), marked a turning point towards feminist issues in art: she presented herself at the Adres Gallery with her face half made up as an old woman, and received mixed reactions from the audience she pursued this project with a full body makeover in 1979. Partum introduced television into her performances for the first time with Drawing TV in 1978, by painting lines and silhouettes on the screen until it was completely covered. In 1980, she created a work that received a lot of critical attention, Self-Identification, consisting firstly of a series of photomontages of the artist appearing naked in several places in Warsaw, followed by a series of aborted attempts to do so, that were interrupted by the police. She is critical of the role of women imposed by patriarchy and was only authorised to publish her catalogue Selbstidentification in 1981, thanks to Solidarnos arrival to power. In 1982, she obtained permission to leave Poland for the first time and eventually settled in Berlin where she continues her work, which is as provocative and politically motivated as ever. She wrote on a gallery wall in 2000: Politics are temporary, art remains.

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Tobias Putrih (Slovenia) Interested in science and alchemy ever since he quit the studies of physics for the art academy, Tobias Putrih (born 1972 in Ljubljana) researches the way the collective imaginary manifests itself and was designed within cinema architectures and through models proposed by utopian architects (Buckminster Fuller, Friedrich Kissler and Yona Friedman) throughout the 20th century. Coming from a family background of some of the most visible modernist sculptors in Slovenia, Putrih very soon questioned the objecthood of the sculpture, but did not subscribe to the neo-conceptualist trends of the late 1990s. Situating the object of observation within the cinema auditoriums and the way they developed as support structures of projections legitimised for the artist the production of the object itself. Putrih's sculptural installations consist of simple materials such as cardboard, paper, scotch tape and scaffolding, and he employs fractured forms as well as changes in floor levels and illumination to create a narrative pathway. His project for the Slovenian pavilion at the Venice Biennial (2007) re-enacted the form of an eclectic baroque theatre from the Bronx in New York, built in 1929 and originally called Venetian. The artist's interest in the mechanisms of collective experience took him into an almost parallel production of constructing so-called therapeutic object-building participatory games, which include public imagination and installations that grow throughout the duration of an exhibition (Mudam Studio, Baltimore Experiment). For the project in the Espace 315 to accompany the exhibition Promises of the Past, Putrih took as a source the decoration of two modernist architectural masterpieces from former Eastern Europe, the Kino International from former East Berlin and the Kino ika from Ljubljana, both constructed in the early 1960s. The space is organised within the entrance area, a lobby and an auditorium, thus perpetuating some of the ideas Putrih presented in his cinema project for Runa Islam's exhibition of films with the various mediated and segmented spaces (Modena and London 2008). Kater ina ed (Czech Republic) Born in Le (Czech Republic) in 1977, Kateina ed has undertaken an anthropological, social, but also personal research with her performances, for which she frequently returns to her hometown, or stages her family, always trying to apprehend the invisible (daily life, social norms, the community) in them. In There is Nothing There (2003), she asked all the residents of a Moravian village to accomplish the same chores, eat the same dishes and go to the same places, at the same time, during an entire day. Her aim was, after having tried to discover what exactly makes daily life normal, to show the villagers that this could be a good thing, that it could create connections, in a society that has lost many of its marks since the fall of communism. This notion of returning to a time of greater social cohesion and a feeling of

Dimitri Prigov (Russia) Dimitri Prigov (19402007) was one of the most complex key figures on the Russian art scene. Working as a writer, a poet and a theorist, and one of the first to experiment with sound poetry, Prigov got involved early on in Sots Art and shortly after, with Moscow conceptualism, together with Ilya Kabakov, Erik Bulatov and Andrei Monastirsky, whose group Collective Actions was at the beginning of the 1960s and throughout the 1980s a way of escaping the system by deconstructing the signs of popular culture and propaganda. Prigov was also involved in Apt-Art exhibitions that enabled artists to exhibit litigious art in the shelter of private apartments. What dissociated those actions from Western conceptual artists was that they had an almost spiritual way of perceiving language. Their primary goal was to open up the doors to the collective unconscious and create a path from the kitchen to the art space, or from the art space to the forest. Prigov quickly became a cult figure on the underground scene thanks to his fearless caricaturising of the Soviet Union from Stalins terror to Gorbachevs perestroika and to his tautological playing with cultural stereotypes and celebrities. He was a self-made artist, always following self-imposed rules such as no break, no drink, no party. One of his plans was to write 20,000 poems. He got up to 35,000. His Milizionr poem cycle belongs to one of the most read and commented of that time. Prigovs enigmatic drawings in black, red and white are the basic colours of the Russian avant-garde and icon painting, the circles symbolising providence and perfection. The Scotch Tape Drawings (19992002) which mystify the death scenes from the First World War by creating a spectral light aura around the deceased persons body with the help of scotch tape, reveal the secret formula of Prigovs work the fusion of speculative spiritism and humour.

One of the most recent onsite projects is a community garden and kitchen in one of Amsterdams youngest districts (created in collaboration with Wilde Westen, 2009). These case studies are accompanied by drawings and collages that put forward the artists statements and thesis. The series of drawings Pattern Protects (2007) belongs to the artists exploration of the Western Balkans that she thematises in several other series and installations.

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belonging to a community transcends most of the works of Kateina ed. In Over and Over (2008), she tackles another element illustrating the shift towards more isolation and individualism inherent to capitalistic societies, namely the proliferation of fences. She had a certain number of the fences that sprung up in her hometown reproduced, and invited the inhabitants of the village to visit the installation she produced with these in Berlin, again with the aim to create more connections, so that these people would get to know each other better. For her performance Raising Children (2004), the artist first copied each of her fathers gestures and then each of her mothers gestures for 24 hours, before having her parents imitate each of hers for a day. This work, documented with a complex system of cameras and different viewpoints, explores the notion of the differentiation between child and parent, and the emergence of the individual. It doesnt matter (20052007) originated from the interest Kateina ed feels, both in her origins and in the imposition of organised systems. In this work, she asked her grandmother, suffering heavy depression since the decease of her husband, to remember and to draw every object she used to sell when she was running a hardware shop. At the same time, she also made her fill out numerous questionnaires which allowed her to compile all sorts of memories and different layers of the recollections of her ancestor. Mladen Stilinovic (Croatia) Mladen Stilinovic s work is a mix of everyday life experience and a humoristic criticism of the authorities tinged with humour and absurdity. He uses objects, images and texts to create poetical combinations that oppose the very notion of power. After experimenting with film in the 1960s he joined the group of 6 in Zagreb from 1975 to 1985 producing exhibitions-actions. Marcel Duchamp is a clear reference for his series Artist at work. In his Room series which he showed in his apartment, he rearranges and instils new meaning in his own works. Stilinovic then moved on to an exploration of suffering. His Game on Pain which hovers between conceptual art and expressionist poetry is made up of a dice all sides of which have been engraved with the word pain (bol). In opposition to a trend focused on the body, Stilinovic explores the very notion of the loss and shows an obsession for the theme of pain as in his Dictionary Pain (2002-2003). In his video Potatoes Potatoes, as well as in his photography series of the bag-people in Zagrebs flea market (Cynisme du pauvre, 2001), Stilinovic keeps exploring his obsessions with his trademark caustic sense of humour and attention to pain.

Tams Szentjby (Hungary) Tams Szentjby (born in 1944 and also known as Tams St. Auby, Stjauby, Emmy (Emily) Grant, St. Aubsky and T. Taub) represents, conceptually and politically, one of the most radical positions within the Hungarian neo-avant-garde. During the 1960s he turned away from metaphysical poetry and began first translating texts related to the Fluxus movement, then creating the first Fluxus happenings in Hungarian conceptual art history, followed by actions in art venues and public spaces in Budapest. In 1966, together with fellow artist Gbor Altorjay and on the advice of Mikls Erdly, he conducted the first happening, The Lunch (In Memoriam Batu Khan) in the architect Istvn Szenes cellar in Budapest. Around the same time he also became an active member of the Mail Art movement. In 1968 Szentjby founded the International Parallel Union of Telecommunications/IPUT through which he, as the organisations superintendent, has carried out part of his activities ever since, under the motto Everything prohibited is art. Be prohibited! In the early 1970s, the notion of an artists strike (encountered in 1979 with the Serbian artist Goran Djordjevi and his attempt to organise an art strike at international level), which he has been developing alongside the so-called third method, with which he mutates or disrupts given situations, gave form to a few projects and objects that implied the idea of do-it-yourself. The

Alina Szapocznikow (Poland) When she settles in Paris back in 1963, Alina Szapocznikow (1926-1973) is already quite successful in Poland thanks to her monumental commemorative sculptures. Her later sculptures and drawings present a genuinely new fusion of fragments and traces of the female body, often with an erotic intent. The key elements of her work are casts and mouldings, together with an innovative interpretation of materials. Her exploration of the female body is not devoid of humour when she transforms the sculptural subject into an element of decoration. She had imagined a mass production of her series of Mouth-Lamps, begun in 1966 and made up of painted mouths cast in polyester, so that the intimate work could find its way in everyday life. She chooses perishable materials such as butter, chewing-gums, cigarettes etc, as materials for her sculptures in order to represent the human body with substances that usually flow through it. Deeply affected by her deportation to the concentration camp in WW2 and the later diagnosis with cancer, her representation of the female body is often complex and troubling. Her thirst for life and detached humour are always evident in her work which offers a serene perception of intimacy and eroticism.

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Endre Tt (Hungary) Endre Tt (born in 1937) followed a classical artistic education at the Budapest Arts Academy, mostly producing paintings. In the 1960s, reacting to the few Western contemporary art works he could see, he began to change genres (going from figuration to Abstract Expressionism), and to send letters to artists and institutions on the other side of the Iron Curtain, thus starting his Mail Art activity. In the same period he also realised his first performances, with a new dimension appearing in his work: the notion of nothingness, absence, the zero, both written in letters and as a number, 0. In a reaction to censorship, this invaded everything: he endlessly printed it on banners placed in the public space both East and West (Zero Banner, 1972/1993), he created his first stamps carrying the number, he photocopied it and randomly machine-typed a succession of 0s on letters and postcards, such as during his Zero Typing Action of 1975. In 1970, he quit painting. In his series Blackout Paintings (started in 1972), he covered the surface of paintings with black colour, in newspapers, photographs, catalogues and even in frames. The work disappears, such as in his artists book My Unpainted Canvases (1971) in which very precise dimensions are given for works he never carried out, illustrated with empty frames. During the same period, he staged himself, as well as other people, holding boards reading Im looking for nobody, Going nowhere, or I am glad to be doing nothing. The expression of the artists happiness thus joins the expression of absence. With quite some irony, he realises performances, sends letters, stamps and writes his Gladness Writings and his TTal JOYS: I am glad to have been here, I am glad to stamp (1976), I am glad if you dont see me (2004), and he writes on the (Western side of the) Berlin Wall: Id be glad if I could write something on the other side (1978). At the crossroads of conceptual Art, Mail Art and performance, Endre Tt explores and describes, with a healthy dose of humour, three facets of freedom: absence, nothingness and then joy. Goran Trbuljak (Croatia) Zagreb-based artist Goran Trbuljak has been active since the late 1960s, in the context of conceptual art and the so-called New Art Practice. While searching from the very beginning for alternative means of production and representation of the artwork, Trbuljak has redefined the status of artistic context, asking radical questions about the autonomy of the system of museums and galleries and about the mechanism

Blint Szombathy (Hungary) From the late 1960s until today, Blint Szombathy has in his work passed through diverse and dramatic strategies and tactics of the avant-gardes, neo-avant-gardes, conceptual art and post-avant-gardes, yet always as an artist who used the artistic languages of current affairs to react to bio-political technologies of regulation and de-regulation of the ruling politics from real and self-management socialism, via late socialism and post-socialism, to the ongoing transition in the context of globalism. Szombathy has in a critical way been exploring the artistic productions which followed that of painting: one of the important and identifiable specificities of his work is that he has never painted. Therefore, close to the artists of the Italian Arte Povera, he is an artist-nomad, one not determined by a particular medium but one operating with diverse media. Szombathy is also a political artist who has not been an artist (with)in politics or in the service of politics; he is an artist who has been using politics whether big or small, personal, local, international or global as an instrument of his own artistic, as well as real-life conflicts, quests and reactions. His work from the 1980s until today tends to present the power of art in the political and ethical confrontation with the societal power machinery. Szombathys early performance Lenin in Budapest (Budapest, 1972) is an anonymous photo-performance. In the countries of real socialism, the posters representing the portraits of Vladimir Ilyich Lenin were fetish-images or symbols of the revolutionary attitude and used to be put up at Party congresses, stateorganised rallies and parades, together with pictures of local Party officials and the classics of Marxism, Marx and Engels. Szombathy ventured to carry a poster with Lenins portrait around Budapest as an advertising poster or one containing slogans of protest. Thus, the portrait of Lenin was deprived of its fetish function. The image of the leader was placed within the mundane trivia of life in real socialism. Moreover, Lenins portrait was parodied through its connotations with a commodity advertisement. Szombathy was a citizen in a real-socialist society who failed to obtain the authorisation to carry the image of the Leader of the Revolution, giving the slip to those who controlled and governed peoples lives.

Czechoslovakian Radio, 1968 (1969) was created in solidarity with the invaded Czechoslovakia, and it involved anybody who wanted to follow Fluxus-like instructions: "Listen to a newspaper-covered brick on the street!" The Portable Trench for Three Persons (1969) similarly interbreeds the trench and the medical stretcher, where one cannot separate the component parts anymore. Strike as a creative decision was the artists response to his strict censorship by the authorities, who arrested him in 1974 due to his participation in the literature samizdat movement, and a year later he was forced to leave Hungary.

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by which something is accepted as art. He tested the accidental as the key moment of creating work mechanism, organising exhibitions in streets and hallways. For the artist a simple gesture could function as a critique of the artistic and social system. In his spontaneous action in 1969, Trbuljak, from time to time displays his finger, without the managements knowledge through a hole in the door of the Modern Gallery in Zagreb. The New Art Practice in the 1970s were mostly going on outside exhibition spaces, in galleries that were part of the Student Cultural Centres, but occasionally also in certain state galleries which presented in their programmes the local and international avant-garde scene, like the Gallery of Contemporary Art in Zagreb. In 1971, in the gallery of the Student Cultural Centre in Zagreb, Trbuljak exposed only a poster on which was written, I do not want to show anything new and original. In the same spirit, he opted for the most democratic way of finding out whether or not he was an artist, organising a Referendum in 1972 and asking passers-by to decide. In the questionnaires he distributed in the Western shopping malls and art institutions, a few years later, the artist asked whether they would expose his works. In this series of works, entitled Anonymous artist/Goran Trbuljak (19721974), he confirms his interest in the issues of authorship and anonymity, confronting the institutional critique, and pushing further his research into how the system of museums and galleries functions, accentuating the market, economic and political context. Still, there are typical traces of humour and self-irony in Trbuljaks oeuvre.

The Tirana Biennale (Albania) A number of foreign curators contributed to the 2nd Tirana Biennale held in 2003 and which presented a selection of works from more than 120 international artists. A whole section of the Biennale, curated by Hans Ulrich Obrist and Albanian artist Anri Sala, was devoted to the ongoing project launched 3 years earlier by Tirana mayor and former artist Edi Rama, consisting in the repainting of the faades of damaged buildings. The mayors project generated a strong inspiration for change which in turn inspired the two curators who decided to invite world famous artists to take part in that project. The artistic practise of these artists expressed an ambition for social change to be achieved through visual or environmental experiments that fitted quite perfectly the original intention behind the project of painting anew the buildings of Tirana, i.e to engineer a positive change in the way the inhabitants perceive their city, thus inviting them to reclaim the public space and generate feelings of belonging and civic pride. Artists such as Liam Gillick, Dominique Gonzalez-Foerster, Olafur Eliasson, Rirkrit Tiravanija and Carsten Hller came thus to transform or plan the transformation of residential buildings in downtown Tirana into works of arts. These projects are shown in the exhibition through a number of documents. This transformation of Tirana caught the attention of the international arts scene at large and a number of local artists got involved as well such as Alban Hajdinaj and Gentian Shkurti. This section of the exhibition presents videos that document the works which were either influenced by or sought to pass a comment on the social phenomena triggered by those colours.

Alexander Ugay (Kazakhstan) Alexander Ugay (born in 1978 in Kyzylorda, Kazakhstan) belongs to a generation of young artists formed in the post-Soviet period. This generation started to distance themselves from the traumatic experiences of the transitional period, which is characterised by the mythological-poetic narratives [...] on national and ethnic archetypes, such as nomadism, Sufi traditions, pagan rites (Viktor Misiano) and reflects the search for individual or national identity. Having finished his studies in Bishkek, Kyrgyzstan, where the young artistic scene was very active in the late 1990s, Ugay (at that time signing his works Alexander U) founded a group, Bronepoezd (armoured train), together with the Kyrgiz artists Roman Maskalev and Ira Dekker. Working in reaction to the conservative fine art academy norms, the group very soon became prominent on the artistic scene and developed its own signature by recording short experimental lms and performances on 16 mm lm with old Soviet lm cameras. This retro-technology required manual development and montage, which often resulted in uneven quality of production. The three-part film Mourning was made by the group in 2004 and it offers an honest and romanticised homage to the Soviet films with which the groups artists grew up, by playing with the nostalgic content and a visual language full of references and various genres of music, used as the trilogys soundtrack. Having moved to Almaty, Kazakhstan, in 2002, Ugay started working on his own photographs, digital paintings and films, but continued exploring the notions of memory and nostalgia in relation to the legacy left in his native Kazakhstan by the former Soviet Union. However, the seemingly romantic portrayal of the regions specific features (through myths, customs and nature or by documenting the lives of different social classes in the countrys urban and rural areas) are denounced by Ugays use of irony to further express his doubts in the construction of post-transitional cultural identity in the grasp of totalising globalisation.

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ywioi, d [Elements, d], 2000 Performance documentation, 2 digital prints on paper Courtesy of the artist and of Foksal Gallery Foundation, Warsaw Ion Grigorescu Balta Alb, 1980 Super8 film, 755, colour, sound Courtesy of the artist Gd, park rdliska II, d [Hunger, rdliska Park III Ld ], 1999 Performance documentation, digital print on paper Courtesy of the artist and of Foksal Gallery Foundation, Warsaw

Cezary Bodzianowski Tcza, azienka, d [Rainbow, Bathroom, d ], 1995 Performance documentation, digital print on paper Courtesy of the artist and of Foksal Gallery Foundation, Warsaw Weranda, d [Veranda, d ], 1996 Performance documentation, digital print on paper Courtesy of the artist and of Foksal Gallery Foundation, Warsaw

7. LIST OF WORKS
Marina Abramovi Airport, 1972 Sound installation Courtesy of the artist

In order of appearance in the exhibition

GALERIE SUD

Tibor Hajas Analzisdetonci 1-5 [Analytical Destruction 1-5], 1976 Five light boxes, variable size Collection Anna Kis Kovcs, Budapest

Alexander Ugay Mourning, 2004 8mm, 16mm et video transferred onto video, 955, b/w and colour, sound Collection MNAM - Centre Pompidou, Paris

Cyprien Gaillard Cairns, 2008 Colour photograph, C-Print on Diasec, 170 x 211cm Courtesy of the artist and of gallery Bugada & Cargnel, Paris

Carsten Hller 2 digital prints, 1 photograph of the faade to be repainted (photograph by Anri Sala, 2003), 1 plan of the pattern created by the artist, to be painted on this faade Courtesy Carsten Hller and Anri Sala Anri Sala Dammi i Colori [Give me colours], 2003 Video, 1524, colour, sound Collection Muse des Beaux-arts, Nantes

Rirkrit Tiravanija 2 digital prints of the faade painted according to the instructions of the artist, 2003, photographs by Anri Sala, 2003 Courtesy Rirkrit Tiravanija and Anri Sala

Liam Gillick Exterior Consultation Diagram, 2003 2 digital prints of the faade painted according to the instructions of the artist, 2003, photographs by Anri Sala 2003 Courtesy Liam Gillick, Anri Sala and Galerie Air de Paris, Paris

Dominique Gonzalez-Foerster 2 digital prints of the faade painted according to the instructions of the artist, 2003, photographs by Anri Sala 2003 and 2009 Courtesy Dominique Gonzalez-Foerster and Anri Sala

Olafur Eliasson Tirana House Painting Project, 2003 3 digital prints: 2 reprints of photographs of the faade painted according to the instructions of the artist (photographs by Anri Sala, 2008), 1 plan of the pattern painted onto the faade Courtesy Olafur Eliasson and Anri Sala

Gentian Shkurti Colour Blind, 2004 Video, 405 b/w, sound Courtesy of the artist

Edi Rama 7 digital prints, reprints of the original preparatory drawings for the repainting of Tirana faades, 2000, felt pen and pencil on photocopies Alban Hajdinaj Eye to Eye, 2003 Video, 430, colour, sound Courtesy of the artist

THE TIRANA CASE:

ARTISTS PARTICIPATION IN THE 2003 TIRANA BIENNALE, UPON INVITATION BY ANRI SALA AND HANS-ULRICH OBRIST:

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David Maljkovi Scenes for a New Heritage III, 2006 7 drawings and collages from a series of 13, charcoal, pencil, felt pen and aluminium foil on paper 24 x 32 cm, 62 x 74 cm, 42 x 29,5 cm, 50 x 70 cm, 50 x 70 cm, 50 x 70 cm, 24 x 32 cm Collection MNAM-Centre Pompidou, Paris Marjetica Potr Pattern Protects, 2007 Series of seven drawings, ink and felt pen on paper, 29 x 21 cm each Courtesy of the artist and of Galerie Nordenhake, Berlin / Stockholm Thea Djordjadze Pampel, 2006 Steel, glass, acrylic, motion detector, stereo, 300 x 750 x 300 cm Collection of the city of Munich Jlius Koller Projection (U.F.O.), 1973 B/w photograph, 8.5 x 8.5 cm Collection MNAM-Centre Pompidou, Paris Meditation (U.F.O.), 1983 B/w photograph, 29.7 x 20.4 cm Collection MNAM-Centre Pompidou, Paris Specifying Form-Capacity (U.F.O.), 1976 B/w photograph, 17.3 x 11.5 cm Collection MNAM-Centre Pompidou, Paris Flying Cultural Situation (U.F.O.), 1983 B/w photograph, 20.3 x 30 cm Collection MNAM-Centre Pompidou, Paris U.F.O.NAUT J.K.A. (U.F.O.), 1970 B/w photograph, 23 x 17 cm Collection MNAM-Centre Pompidou, Paris Receipt(Ing) (U.F.O.), 1990 B/w photograph, 17.9 x 24.4 cm Collection of the MNAM-Centre Pompidou, Paris

Vojin Baki Model of the Petrova Gora monument, 1978 Wood and aluminium 75 x 63 x 60 cm Courtesy of the Baki family, Zagreb

Pawe Althamer Kardynal, 1991-2007 Video, 38, colour, sound Courtesy of the artist, Galerie Neugerriemschneider, Berlin and Foksal Gallery Foundation, Warsaw Conceptual Cultural Situation (U.F.O.), 1988 B/w photograph, 16,5 x 20.9 cm Collection MNAM-Centre Pompidou, Paris Self Portrait, 1991 Painted wood, 62 cm (height) EVN Collection, Maria Enzersdorf, Austria Ion Grigorescu Boxing, 1977 Super 8 film, 245, b/w, silent Collection MNAM-Centre Pompidou, Paris Mikls Erdly Idutazs [Time Travel], 1976 Series of 5 b/w photographs 48,5 x 49 cm each Collection of the King St. Stephen Museum, Szkesfehrvr, Hungary

Hidden Girl, 2003 Scotch tape on b/w photograph, 40 x 33 cm, Collection of Stella A. Ahlers, Zurich

Attila Csrg Occurrence Graph II, 1998 Installation consisting of a lamp, 2 optic fibre discs, a motor, rotating elements and celluloid film, 67 x 35 x 23 cm Private collection Dimitri Prigov Couple, 2003 Scotch tape on b/w photograph, 40 x 33 cm Collection of Michael and Micaela Kemmer, Thessaloniki, Courtesy Gallery Sandmann, Berlin Girl and Soldiers, 2003 Scotch tape on b/w photograph, 40 x 33 cm Collection of Stella A. Ahlers, Zurich

Dekorekcia (Antiobraz) (De-correction (Antipicture)], 1969 Latex on canvas, 65 x 65 cm Collection of the Auction House Soga, Bratislava Rozvoj Kozmonautiky (Antiobraz), 1973 Latex on canvas, 55 x 81 cm Collection of the Auction House Soga, Bratislava Untitled, 1964-1965 Partly painted metal (iron), 165 x 20 x 10 cm Collection of Paulina Krasiska, Zalesie, Poland Idea Koncepcia, Socialistick Obraz (Antiobraz), 1972 Latex on canvas, 81,5 x 90 cm Collection of the Auction House Soga, Bratislava Objekt w przestrzeni [Object in Space], 1964-1965 8 painted wood elements, 234 x 100 x 11 cm Collection of Paulina Krasiska, Zalesie, Poland K 3, 1968 Acrylic on canvas toile, plastic cable, metal, wood, 55 x 46 x 450 cm Collection of the Muzeum Sztuki w odzi, d Edward Krasiski Intervention 12, 1975 Acrylic on wood, blue adhesive tape, 100 x 75 x 3,5 cm Collection of Paulina Krasiska, Zalesie, Poland Kompozycja z ksi k [Composition with book], 1969 Books, wood, painted rubber cables, 12 x 16 x 30 cm, cables 120 and 420 cm, Collection of the Muzeum Narodowe, Pozna

Jlius Koller Antihappening, 1965 Conceptual card, green ink on cardboard, 11,4 x 16,2 cm Collection MNAM-Centre Pompidou, Paris Kompozycja z walcem [Composition with cylinder], 1969 Painted wood, painted rubber cable, 6,5 x 16 x 470 cm Collection of the Muzeum Narodowe, Pozna

Time-Space Defining Psycho-Physical Activity of Material Tennis (Antihappening), 1968 B/w photograph, 18.7 x 18 cm Collection MNAM-Centre Pompidou, Paris

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Rimbaud n 1, 1977-1978 Acrylic on a globe made of wood, metal and papeer, 29 x 22 cm (diameter) Collection of Mladen Stilinovi, Zagreb Negation of Painting IV, 1951-1956 Gouache on glossy paper, 23,8 x 16,8 cm Collection MNAM-Centre Pompidou, Paris Rimbaud n 2, 1977-1978 Acrylic on a globe made of wood, metal and paper, 28 x 22 cm (diameter) Collection of Madam Zdravka Baievi, Zagreb Antipicture, 1951-1956 Wooden frame, 33,8 x 27,7 cm Collection of Madam Zdravka Baievi, Zagreb Manifestos on Art, 1978 Booklet of 40 pages, gouache on printed paper, 21,7 x 15, 3 cm Collection MNAM-Centre Pompidou, Paris Noart, 1981 Chalk on slate, 21 x 28 cm, Collection of Madam Zdravka Baievi, Zagreb Antihommage ( Rai Josip), 1951-1956 Tempera on paper, 20,6 x 16 cm Collection of Madam Zdravka Baievi, Zagreb Numberconcept Pitagoras (0-10), 1977-1978 Acrylic and plastic letters on a globe made of wood, metal and paper, 46 x 36 cm (diameter) Collection of Madam Zdravka Baievi, Zagreb

Mangelos Manifest Vlakovulianski [Manifesto of Vlaka Street], 1977-1978 Acrylic on globe made of wood and metal, 38 x 26 cm (diameter) Collection of the Museum of Modern Art, Ljubljana Manifesto on the Machine, 1977-1978 Acrylic and plastic letters on a globe made of wood, metal and paper, 46 x 36 cm (diameter) Collection of Madam Zdravka Baievi, Zagreb

Relations Manifesto, 1971-1977 Acryilic on globe made of wood, 37 x 26,5 cm (diameter) Collection MNAM-Centre Pompidou, Paris

Intervention, 1975 Acrylic on wood, blue adhesive tape, 100 x 70 x 3,5 cm Collection of Hanna Ptaszkowska, Paris

Gorgona Antimagazine Gorgona, 1961-1966 11 issues of the Gorgona publication 21 x 29 cm each 1 : 1961 by Josip Vanita 2 : 1961 by Julije Knifer 3 : 1962 by Marijan Jevovar 4 : 1961 by Victor Vasarly 5 : 1961 by Ivan Koari 6 : 1961 by Josip Vanita 7 : 1965 by Miljenko Horvat 8 : 1965 text by Harold Pinter 9 : 1966 by Dieter Roth 10 : 1966 by Josip Vanita 11 : 1966 by Josip Vanita Collection of the Museum of Modern Art, Ljubljana Julije Knifer 1966 K9, 1966 Oil on canvas, 89 x 116 cm Collection Muse de Grenoble

Manifesto on Functional Thinking, 1977 32 page booklet, acrylic and ink on paper, 21,5 x 15 cm Collection MNAM-Centre Pompidou, Paris

Tabula Rasa, 1951-1956 Gouache and China ink on printed silk paper, 27,4 x 21, 4 cm Collection MNAM-Centre Pompidou, Paris

G-alphabet 7, 1951-1956 Gouache on cardboard and paper, 27,4 x 18,5 cm Collection MNAM-Centre Pompidou, Paris

Manifesto o culu orijentacije n 3 [Manifesto on the sense of orientation], 1977 Gouache on newspaper, 43 x 57,4 cm Collection MNAM-Centre Pompidou, Paris

Roman Ondk Somewhere Else, 2002 Mixed media on paper, 10 separate elements each framed under glass, installed dimensions: 150.9 x 185.7 cm Collection of the FRAC Pays de la Loire, Carquefou, France

Ciprian Murean Leap into the Void After Three Seconds, 2004 B/w photograph,100 x 70 cm Courtesy of the artist and Galerie Plan B, Cluj / Berlin and Nicodim Gallery, Los Angeles

Tacita Dean Ztrata, 1992-2002 8mm film transferred onto 16mm, 330, b/w, silent Courtesy of the artist and of Galerie Marian Goodman, Paris / New York and Frith Street Gallery, London

XXX, January 23 1978, I arranged to meet a few friends we were standing in a small group on the square, talking suddenly I started running; I raced across the squareand disappeared into Melantrich Street, Starom stsk Nmst, Prague, 1978 B/w photograph and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna

Ji Kovanda XXX, 19 November 1976, Vclavske Nm st, Prague, 1976 B/w photograph and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna

Contact, 3 September Spolena Street, Vlodi kova Street, Prague, 1977 4 b/w photographs and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna Actions, waiting for someone to call me, November 18, 1976, Prague, 1976 B/w photograph and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna

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XXX, On an escalator...turning around, I look into the eyes of the person standing behind me... September 3, Vclavske Nmst, Prague, 1977, 1977 2 b/w photographs and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna Untitled, 1980, Youth Club Kenov Brno (Installation set-up in my absence), 1980 B/w photograph and type-written text mounted on paper, 29, 2 x 21 cm Collection MNAMCentre Pompidou, Paris Autumn Piece, Autumn 1980, Prague (Strelecky Island), 1980 2 b/w photographs and type-written text mounted on paper, 29,2 x 21 cm Collection MNAM Centre Pompidou, Paris One little box full of dried red rhododendron flowers, the other one full of dried white rhododendron flowers, Spring-Summer 1981, Prague (Vinohrady), 1981 B/w photograph and type-written text mounted on paper, 29,2 x 21 cm Collection MNAMCentre Pompidou, Paris Mladen Stilinovi Umjetnik radi [Artist at work], 1978 Series of 12 b/w photographs, 12 x 15 cm each Courtesy of the artist

Theater, I follow a previously written script to the letter. Gestures and Movements have been selected so that passers-by will not suspect that they are watching a performance. November 1976, Vclavske Nmst, Prague, 1976 2 b/w photographs and type-written text mounted on paper, 33,2 x 24 cm Kontakt The Art Collection of Erste Bank Group, Vienna Fur/According to L.H., Winter 1982, Prague (Strelecky Island), 1982 2 b/w photographs, pencil drawing on paper and type-written text mounted on paper, 29,2 x 21 cm Collection MNAMCentre Pompidou, Paris

Sanja Ivekovi Triangle, 1979 4 b/w photographs, 31 x 41 cm each Kontakt The Art Collection of Erste Bank Group, Vienna Diary, 1976 Ensemble of 7 collages framed under glass, magazine pages, tissues, cotton pads, paper, make-up traces, 35 x 47 cm each Collection MNAMCentre Pompidou, Paris Mria Bartuszov Untitled, 1984-1986 Plaster, 16,5 x 16 x 17 cm Courtesy Sammlung Goetz, Munich Untitled, 1984-1986 Plaster, 13 x 11 x 10 cm Private Collection Untitled, 1984-1986 Plaster, 25 x 25 x 25 cm Private Collection, Docteur Jrg Johnen, Berlin Untitled, 1985 Plaster, 44 x 28 x 30 cm Private collection Untitled, 1984-1986 Plaster, 11 x 11 x 12 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich Untitled, 1985 Plaster and strings, 32 x 27 x 29 cm Private collection Untitled, 1984-1986 Plaster, 20 x 18, 5 x 16 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich Personal Cuts, 1982 Digital betacam video, PAL, 340, colour, sound Collection MNAMCentre Pompidou, Paris

Ewa Partum Samoidentyfikacj [Self-identification], 1980 7 b/W photographic collages from a series of 14, 30 x 40 cm each Courtesy of the artist

Tomislav Gotovac Tranje gol u centru grada (Streaking) [Running naked in the centre of the city (Streaking)], 1971 2 b/w photographs, 28 x 42 cm Courtesy of the artist and of the Muzeum Sztuki Nowoczesnej, Warsaw

Nea Paripovi NP 77, 1977 8mm film, 2220, colour, silent Collection MNAM-Centre Pompidou, Paris

Tibor Hajas ndivatbemutat [Self Fashion Show], 1976 35mm film transferred onto 16mm, 1410, b/w, sound Kontakt The Art Collection of Erste Bank Group, Vienna

Untitled, 1986 Plaster and strings, 83 x 90 x 80 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich

Untitled, 1984-1986 Plaster, 15 x 13 x 11 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich

Untitled, 1985 Plaster and strings, 35 x 25 x 25 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich

Alina Szapocznikow Lamp Mouth I, 1966 Series of 12 lamps, polyester resin, light bulb, electrical cord, metal, each between 40 and 60 cm height Collection of Piotr Stanislawski, Paris

Untitled, 1985 Plaster and strings, 113 x 132 x 42 cm Courtesy of Anna and Veronika Bartuszov, Koice and Galerie Rdiger Schttle, Munich

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Slika Kreimira Klike [Painting by Kreimir Klika], 1969 3 b/w photographs mounted on a board, 92 x 73 cm Courtesy of the artist

Braco Dimitrijevi The Casual Passer-by I met at 11.09 am, Paris, September 1971, 1971 3 b/w photographs and type-written and pen-written text mounted on paper, 51 x 111 cm Collection MNAMCentre Pompidou, Paris

Felletknzs I (rzkek) [Surface Torture (Senses)], 1978 4 b/w photographs (24 x 30 cm each) mounted on cardboard (Photos: Jans Vet ), 90 x 110 cm Collection of the Hungarian National Gallery, Budapest Mircea Cantor Shadow for a While, 2007 16mm film, 247, b/w, silent Courtesy of the artist and Galerie Yvon Lambert, Paris / New York Blint Szombathy Lenin in Budapest, 1972 13 digital prints, reprints of a series of b/w photographs, 30 x 39 cm each Courtesy of the artist

Felletknzs II (Pompei) [Surface Torture (Pompi)], 1978 3 b/w photographs (24 x 36 cm each) mounted on cardboard (photos: Jans Vet ), 90 x 110 cm Collection of the Hungarian National Gallery, Budapest

Ptlsok 2. Pnz [Restoration 2. Money], 1976 Bank note and photograph mounted on cardboard, 45,8 x 33 cm Collection of the Ludwig Mzeum, Budapest

Ptlsok 5 (Restaurlt Huxley) [Restoration 5 (Restored Huxley], 1976 Book and photograph mounted on cardboard, 45,7 x 32,6 x 4,5 cm Collection of the Ludwig Mzeum, Budapest

Tibor Hajas Kijelentjk, hogy ez a fal nemltezik [We, Hereby, Declare this Wall Non-Existent], 1974 B/w photograph (photo: Jlia Veres), 35 x 50 cm Collection of Anna Kis Kovcs, Budapest

Bachelors Ashtray IV, 1972 B/w photograph, 20 x 20 cm Collection of Piotr Stanislawski, Paris

Bachelors Ashtray III, 1972 B/w photograph, 20 x 20 cm Collection of Piotr Stanislawski, Paris

Bachelors Ashtray I, 1972 Polyester resin, cigarette butts, 11,5 x 12, 5 x 11 cm Collection of Piotr Stanislawski, Paris

Self-portrait I, 1966 Marble, polyester resin, 41 x 31 x 20 cm Collection of Piotr Stanislawski, Paris

Lit-up Breast, 1966 Polyester resin, light bulb, electrical cord, metal, 46 cm in height Collection of the Muzeum Sztuki Nowoczesnej, Warsaw

Goran Trbuljak Artiste anonyme, 1972-1973 Series of 10 photo collages, each composed of a b/w photograph mounted on paper, type-written text, ink, 29,7 x 21 cm each Collection of the Generali Foundation, Vienna Sir Your work, 1971 Card, embossed printing, ed. 100, 10,5 x 14,8 cm Collection of the Generali Foundation, Vienna Tams Szentjby Czechoslovak Radio 1968, 1969 Brick, variable dimensions Courtesy of the artist

Zero Demo, Oxford, 1991 Digital print, reprint of a b/w photograph, 70 x 100 cm Courtesy of the artist Goran Trbuljak, 1973-1974 Series of 10 photo collages, each composed of a b/w photograph mounted on paper, type-written text, ink, 29,7 x 21 cm each Collection of the Generali Foundation, Vienna Galerie Anka Ptaszkowska, 1974 b/w photograph mounted on paper, type-written text, ink, 29,7 x 21 cm Collection of the Generali Foundation, Vienna

Endr Tt Zero Demo, Viersen, 1980 Digital print, reprint of a b/w photograph, 80 x 120 cm Courtesy of the artist

Dan Perjovschi Romania, 1993-2003 Performance documentation comprising: one Beat SP video, 750, b/w, sound; 2 colour photographs framed together 37 x 47cm; one type-written and signed letter, 29,5 x 21 cm Collection MNAMCentre Pompidou, Paris Yael Bartana Mary Koszmary (Nightmares), A Trilogy, Part II : Mur i Wiea, 2009 HD video transferred onto 35mm, 13, colour, sound Courtesy of the artist and of Sommer Contemporary Art, Tel Aviv Kateina ed There is Nothing There (Game for an unlimited amount of players), 2003 Performance documentation comprising : a video, 30, colour, sound and different documents (posters, booklets, schedules, leaflets, time plans), variable dimensions Collection of the Muzeum Sztuki Nowoczesnej, Warsaw Daniel Knorr Capillaire, 2010 Plexiglas tube, tear gas, nicotine smoke, approx. 500 x 30 cm Courtesy of the artist

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Ji Kovanda Bonbon, 2010 Performance traces, plank of wood, candy, variable dimensions

Deimantas Narkeviius Disappearance of a Tribe, 2005 Video Betacam SP transferred onto DVD, 10, b/w, sound Courtesy of the artist and gallery gb Agency, Paris Irwin Retroavantgarde, 1997-2005 Colour photograph, Lambda print, 157 x 266 cm, Courtesy of the artists and Kontakt The Art Collection of Erste Bank Group, Vienna

Cezary Bodzianowski, Rainbow, Bathroom, Lodz, 1995 Photograph: Monika Chojnicka Courtesy: Foksal Gallery Foundation, Warsaw, Poland Miklos Erdly, Time Travel, 1976, Photomontage, 49 x 49 cm, Courtesy Museum of King Stephen, Szkesfehrvr, Hungary

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8. PICTURES FOR THE PRESS

Cyprien Gaillard, Cairns, 2008, C-Print 170 x 211 cm Courtesy: Bugada & Cargnel (Cosmic Gallery)

Jlius Koller, U.F.O.- NAUT J.K.A (U.F.O.), 1970, Photograph BW, Collection du Centre Pompidou, Paris

Jlius Koller, Flying Cultural Situation (U.F.O.), 1983, Photograph BW, Collection du Centre Pompidou, Paris

Ion Grigorescu, Balta Alba, 1980, Photogramme, Collection de l'artiste Super 8 film transfered on DVD, colour, sound, 755 Courtesy of the artist

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Nea Paripovic, Photographie du tournage du film NP 77, Goranka Matic, Courtesy of the artist et Belgrad Museum of Contemporary Art The film NP 77 belongs to the collections of the Centre Pompidou, Paris Ewa Partum, Self-Identification, 1980, Photomontage - 40 x 50 cm, Collection of the artist Courtesy de lartiste

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Dimitri Prigov, Couple, 2006, Adhesive tapes on b/w photograph, 40 x 33 cm, Coll. Michael and Micaela Kemmer, Thessaloniki, Courtesy: Galerie Sandmann, Berlin, Germany

Anri Sala, Dammi i Colori, 2003, video, colour, sound., 1524 Collection of the Nantes Art Museum Courtesy of the artist and Galerie Crousel, Paris Mladen Stilinovic, Artist at Work, 1978, Series of 12 photographs BW Courtesy of the artist

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Blint Szombathy, Lenin in Budapest, 1972, Photo action, Series of 13 photos BW Collection of the artist Courtesy of the artist

Alexander Ugay, Mourning, 2004, Mixed technics transferred on video, Colour and BW, sound., 955 Collections of the Centre Pompidou, Paris

Endre Tt, Zero Demo, Viersen, 1980, Documentation on a performance, Photograph BW Courtesy of the artist

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37

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