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Tadej Pogacar & the P.A.R.A.S.I.T.E. Museum of Contemporary Art: The SP Files
São Paulo Documents take us to the heart of the problem of the discontinued history of truth. On the basis of the “failed” exhibition prepared for the 1969 São Paulo Biennial by the MIT Centre of Advanced Visual Studies (CAVS) under the leadership of the eclectic figure of György Kepes, artist, art theorist and teacher, we land in the classic scenery of the Cold War, in which the domains of art and politics are constantly cross-contaminated. As the leader of the CAVS, Kepes, the artist who systematised his Bauhaus experience at a young age into a modernist teaching methodology, prepared for the American pavilion at the São Paulo Biennial an exhibition that presented works of art anonymously in the experience of a synergic non-authorial system, akin to nature. The exhibition was largely based on the biomorphic qualities of works and Kepes himself described it gracefully as a “celebration of light, warmth, cold, air, electricity, magnetism – the forces that are so ubiquitous around us that we forget to stand in awe of their beauty”. The exhibition in fact landed in an extremely “electrified” context, yet, far from the context of bucolic beauty celebrated by Kepes. The electrified context of the international art community, whose consequence was the boycott of the 1969 São Paulo Biennial, was a result of the radicalisation of the already dire political situation in Brazil, which deepened with the establishment of the repressive military junta in 1969. Protest actions, such as Restany’s manifesto Non à la Biennale or the publication of Contrabienal iniciative by the Museo Latinoamericano, made the cracks in the weary and compromised cultural politics of modernism even deeper.
How to think this obvious short circuit? “Error” here becomes a symptom of change in a reality discourse, which announces that we must start speaking the truth of art differently. That the modernist story of autonomous, self-centred art as resistance to the filthy world of (everyday) politics does not withstand the test of reality. In the light of modernism’s production conditions and dissemination mechanisms, the thesis about its non-ideological nature turns out to be ideology par excellence; the discourse of modern art as a space of freedom (from politics) collapses under the weight of its instrumentalisation in cultural colonialism, with which the US, using strategies of soft power, complemented their politics of power. Kepes’ predicament is precisely the subject of Pogačar’s interest: as the promoter of the universalist narrative of modernism, he found himself in a situation in which modernism turned out to be anything but a universal phenomenon. And Kepes, the benevolent believer in the emancipatory mission of art, found himself in conflict with his colleagues who were ready to accept this contamination of the discourse of modernism with political interest and turn it into an advantage, to take political responsibility and act. The international spirit of (modern) art that knows no boundaries came up against its own boundary and thus opened a field of research into the relationship between universalist discourse and colonialism which is important to Pogačar. The non-event of Kepes’ exhibition falls within the line of Pogačar’s history of discontinuities, which forces us to look for new outlets.
The cartographies of blocked paths, dead ends and short circuits are Tadej Pogačar’s characteristic gesture. Instead of systematising some positive knowledge, Pogačar’s gesture traces the missing, it explores the error. Instead of offering or indicating solutions, he keeps confronting us with examples of failure, complication and distortion. Why? To Pogačar, the power and emancipatory potential of art is not an act of normalisation striving for a certain kind of normativity, but rather a manoeuvre against such normalisation. Hence, the fascination of his practice with the phenomenon of error: namely, error is not something that could be eliminated by the sheer power of truth rising slowly from the shadow, but rather through the formation of a new mode of “recounting the truth”. For this reason, Pogačar’s studies of the history of rationality are formed around such disruptions, which reveal how successive transformations of reality discourses keep re-creating their own history. “What used to be a dead end can become a solution.” And, in fact, we are witnessing precisely such a reversal: a new generation of artists will assume full responsibility for the contamination of art with politics and redefine the field of their activity on this basis. Hence, I believe that Pogačar’s returns to this moment are ultimately an allusion to the present-day context, in which the clinch of neoliberal logic and the paradigm of contemporary art shows that we have reached the end of a mode of speaking the truth of art. It is time for a new one.
The Second Explosion – the '90s
The Second Explosion – the '90s (2014-2017) is an educational and research project that spans several years. It is a joint effort between the P.A.R.A.S.I.T.E. Institute and the Museum of Modern and Contemporary Art Koroška, Slovenj Gradec. It includes a series of public lectures and two exhibitions at the P74 Gallery (2014, 2015), which were focused on the wider cultural and social context of the 1990s. The project has a twofold nature – its two perspectives of the 'centre' and the 'periphery' are crucial for understanding and showcasing a more complex, comprehensive image.
After the explosion of the Neo-avant-garde in the '60s, primarily heralded in Slovenia by the OHO group, the '90s brought a second explosion of artistic production, which was, in its own way, a continuation of the radical art practices from the '60s and '70s. The exhibitions in Ljubljana showcase a segment of artistic production that we might label as 'art after post-modernism'. The exhibition The Second Explosion – the '90s will feature a first look at the radical practices in Slovenian visual art in the 1990s. It will present works and projects by Jože Barši, Vuk Ćosić, Maja Licul, Marko Peljhan, Alenka Pirman, Tadej Pogačar, Marjetica Potrč, Marija Mojca Pungerčar, Franc Purg, Anja Šmajdek, Nika Špan, Apolonija Šušteršič and Janja Žvegelj. The exhibition will feature concepts, objects, sculptures, installations, video projects, web projects, photos, audio projects, artists' books and newspapers, print and original documentation.
A joint exhibition catalogue will be published, with texts by Božo Repe, Andreja Hribernik, Barbara Sterle Vurnik, Nina Popovič, Polona Poberžnik, Dejan Habicht, Tadej Pogačar, Tjaša Pogačar Podgornik and Vladimir Vidmar. The project was supported by the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana and the Erste Foundation.
The questioning of the institution of the system of art and the subversion of its inner hierarchy on the one hand, and using art as a channel for social change i.e. tool for intervention into the existing socio-economic set of relationships on the other, both serve to represent characteristics of the artistic practice of Tadej Pogačar. This is, in fact, a selection of different artistic strategies, from situationist dérive and détournement and up to the concrete aspects of support for the improvement of life conditions and the equalisation of rights of marginalised groups which, like sexual workers or the homeless, have been stigmatised by not being able to fit into the existing social patterns of usefulness or normative behaviour.
The work conceived for the Prozori Gallery, Thought for the Day, does not have pronounced subjects for which the artist advocates directly, does not include characteristic interdisciplinarity and participativity, and does not emerge in complex variations as is the case with other works, e.g. CODE:RED that problematizes sexual work in the wide spectre of geographically and socially marked manifestations. This work, however – minimalistic in terms of expression and purified in terms of concept, with methodology appropriated from other communication systems, and directed toward the questioning of aspects of culture and positioning of art within it – is deeply rooted in author’s artistic ethics and aesthetics.
Specifically, the sentence used has been appropriated from Slovene politician Edvard Kardelj, chief strategist and author of all Yugoslav constitutions, spoken at the Congress of the Communist League in Serbia in 1954. It was supposed to signify the willingness of the new socialist state to turn from the course of Soviet socialism toward own, more liberal model, and appeal more to the West by following Tito’s remark of the ingratiating lamb that gets to suck on two mother sheep.
Mimicrically inserted in form of graffiti written on a wall i.e. in one of the newspapers in the reading hall, this sentence directly addresses its readers by confusing them with the content that is marginally nonsensical, as well as with the unclear and extensive timeframe between its emergence and reproduction. The permeation – or, rather, elusion – of sense and nonsense, contemporaneity and obsolescence, topicality and history, and the possibility of multiple, even contrasted interpretation, is coincidental to the contemporary, fragmented cultural field and promotes the long-ago uttered provocation into a topical one.
Kardelj’s sentence reads as follows: “Gangster literature and Hollywood films represent the first step toward higher culture.” Relocated from history, from class and political context, it is a stake in the game of risqué denotation. As an inscription above the windows of the gallery/library, it suggests that the content of higher culture – undoubtedly represented by library and art – is trivial and commercial, and also morally dubious (gangster). On the other hand, if that is not the case, if the contents in the library and the works in the gallery are not trivial, then a question is posed whether these indeed are places of (higher) culture. The chiasmus arising from this merging is merely a starting point of the potential discussion, as the extent and meaning of Pogačar’s intervention are significantly more complex than the asymmetric balance of the rhetorical figure. First of all, the notion of culture is by itself quite complex. It refers more to the different discursive constructions that are being configured under specific dispositions of power, than to a fixedly defined area of human activity. Furthermore, Kardelj’s sentence is contradictory within itself. The socialist idea of culture is based on the democratic principle: public funding and the accessibility of the institutions of culture and art. When wishing for higher culture, however, Kardelj speaks of a group of universally valuable products of human spirit, made serious in the works of classical literature and art which, by definition, is rounded off in the elitist autonomous tone of artistic creation. Moreover, it seeks assistance from the paradigmatic forms of popular market culture that befuddled higher culture precisely in those years, and would go on to crosslink it in the following decades, to the extent of the weakening of field and the loss of terms. Also, culture would be dominantly understood as a fragmented field of human activity – from everyday life, upbringing of children, dog walking, education or tram rides, to different practical and discursive processing of the world in which we live. Therefore Kardelj’s sentence in Pogačar’s interpretation shifts its branch to the broader cultural field and indicates new topoi of culture in which Hollywood films and gangster ethics represent a normative of the desirable cultural image.
Pogačar uses the sentence as a ready-made in a double transformation. In the first variant, he printed it in the newspaper of the artist. From the same medium he also appropriated the title of the work by referring to the usual section in daily newspapers, in which the reader is served a corresponding cursory reflection. In the second variant, he wrote it by hand on the façade, thus giving it the semantics of graffiti. He marks public space, appropriates it, balances between concurrent anonymity and authorship, constative and performative. Let us recall here Austin’s theory that would denote Kardelj’s statement as a constative. However, it would also immediately distance itself from the representational nature of such statement as there is no speech that is addressed to nobody, as stated by Austin himself, and therefore each constative is an implicit performative, which includes an implicit establishment of relations of power.
The hegemonic culture suggests the existence of consensus, and narrows public space by replacing it with interest zones. In such conditions, the artistic interventions and provocations in situ represent strategies of creation of micro-policies capable of forming the necessary new political spaces.
Hills and Valleys and Mineral Resources
Museum of Modern Art, Ljubljana, Tuesday, 4 November 2014 at 8 pm
The exhibition Hills and Valleys and Mineral Resources is the first comprehensive overview of the artistic activity of Tadej Pogačar and The P.A.R.A.S.I.T.E. Museum of Contemporary Arts. The exhibition comprises a selection of most important projects created in the last few decades which have significantly marked contemporary artistic production. The exhibition will present texts, objects, artefacts, documents, installations and video works from the second half of the 1970s (the series called No Events Actions) to the public projects and actions of the 1990s – among them, the pioneer project “Kings of the Street” (1994–1995), which first set out a collaboration with the social minority of Ljubljana’s homeless people, and the long term collaborative project CODE:RED (1999/2000–present), which researches models of self-organising among marginalised urban minorities, parallel economic practices, etc.
Tadej Pogačar examines indeterminacy and transformation within social systems. He engages in interventionist logic, institutional critique and critical research on social and political issues as well as participatory and collaborative projects.
Tadej Pogačar is also the founder and managing director of the P.A.R.A.S.I.T.E. Institute (established in 1998), a non-profit cultural institution that operates the P74 Gallery and the KAPSULA artist book bookshop/project space. The P74 Gallery is the leading independent space for contemporary art in Ljubljana. Its mission is to foster the exchange and promote innovative and challenging models in contemporary art and culture both locally and internationally. In the last fifteen years its programmes have focused on the support, presentation, study and promotion of contemporary visual art, performance, time-based art, and publishing. Since its founding, P74 has organised numerous discursive research projects and workshops, which serve as the basis of its programme. These include Art in the Public Space, Parallel Economies, Public Phenomena, Ready to Change, Local Cartographies, Reality Log / Environmental Scan and The Renaming Machine.
Pogačar has exhibited widely, most recently at the Visor Gallery, Valencia (2014); Gallery for Contemporary Art in Leipzig (2012), the ZKM – Centre for Art and Media in Karlsruhe (2011–2012), the Vojvodina Museum of Contemporary Art in Novi Sad (2011), and the Museum of Contemporary Art Metelkova in Ljubljana (2011), as well as at biennials in São Paulo, Venice, Istanbul, Prague and Tirana and at Manifesta 1 in Rotterdam. He has also had exhibitions at the MUMOK in Vienna (2009), the San Francisco Art Institute (2007), the NGBK in Berlin (2007), the Stedelijk Museum (2004), the Central House of Artists in Moscow and the Museo de Arte Carillo Gil in Mexico City.
This retrospective was organised by the Museum of Modern Art, Ljubljana in collaboration with P74 Center and Gallery and the Museum of Contemporary Arts Zagreb. The curator of the exhibition is Igor Španjol. Accompanying the exhibition, an extensive exhibition catalogue will be published, edited by Igor Španjol, providing in-depth documentation of the last 25 years of Tadej Pogačar’s artistic activity. It includes essays by Cristina Freire, Suzana Milevska, Miško Šuvaković, Vladimir Vidmar and Igor Zabel. Project was kindly supported by Erste Foundation.
A modified version of the exhibition will travel to the Museum of Contemporary Art Zagreb (December 1 2015 – February 1 2016).
Ed Ruscha, Books & Co.
Although Ruscha’s books cannot be attributed to any conventional genre such as documentation, reportage or art book, the response to them was quite extraordinary. The artist advanced to a kind of leading figure, especially in connection with ‘appropriation art’ in which other works are cited. This is reflected in the plethora of books. These range from satirising imitations and the ironic continuation of a particular topic, to copies of typography and design. Ruscha’s indifference and demonstrative neutrality with regard to the selection of subjects has, however, occasionally been replaced by demonstrations of political awareness and commitment by a younger generation of artists. This still leaves the question unanswered as to what motivated this lasting reception to Ruscha’s epochal books. One of the extensive publications that accompanies the exhibition attempts to provide an answer.
Tadej Pogacar & P.A.R.A.S.I.T.E. Museum of Contemporary Art
6 – 19 May 2013
“Systems work because they do not work.”
The Big Archive is a retrospective exhibition covering two decades of the creation and operation of Tadej Pogačar and P.A.R.A.S.I.T.E. Museum of Contemporary Arts. It represents the largest and most comprehensive presentation of his work ever seen in Croatia. The exhibition includes video works, objects, photography, works on paper, artist books and installations.
Pogačar’s parasitism is a subtle deconstruction of the horizont of the everyday and a ruthless challenging of the social systems used to establish the center, dominance, and power in everyday life, art, and society. In his transdisciplinary research based projects, among other things, he references the theory of French intellectual and philosopher Michel Serres who developed the concept of the parasite, of the so-called third person as a personification of the third space. This concept carries a revised consideration about the basic categories in social sciences. According to Serres, humans are universal parasites who feed off of nature and other people.
Tadej Pogačar has exhibited widely, most recently at the Museum of Contemporary Art Metelkova (MSUM), Ljubljana; the Gallery for Contemporary Art, Leipzig (2012); the ZKM – Centre for Art and Media, Karlsruhe (2011–2012); the Vojvodina Museum of Contemporary Art, Novi Sad (2011); as well as at Manifesta 1 in Rotterdam and at biennials in São Paulo, Venice, Istanbul, Prague, and Tirana. He has also had exhibitions at the MUMOK, Vienna (2009); the San Francisco Art Institute (2007); the NGBK, Berlin (2007); the Stedelijk Museum (2004); the Central House of Artists, Moscow; and the Museo de Arte Carillo Gil, Mexico City.
Pogačar is also the founding and managing director of the P.A.R.A.S.I.T.E. Institute, a non-profit cultural institution that operates the P74 Centre and Gallery and the KAPSULA bookshop and project space in Ljubljana.
He is the recipient of many awards, grants, and residencies, including György Kepes Fellowship Grant for Advanced Studies and Transdisciplinary Research in Art, Culture and Technology (MIT, Boston, 2012–2013), the TREND Award for visual art (Ljubljana, 2007), the Jakopič Prize, Slovenia’s main national award for visual art (2009), the Shrinking Cities grant (Leipzig, 2004), the Franklin Furnace Grant for Performance Art (New York, 2001), the AIR_port residential program Forum Stadtpark in Graz (2003), and an Austrian Cultural Forum residency in London (2003).
The exhibition has been prepared in cooperation with P.A.R.A.S.I.T.E. Institute and was supported by funding from the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana, Department for Culture.
ASYMMETRIC EUROPE: POTENTIALITY, COMPLEXITY, AND COMPLICITY
The exhibition Asymmetric Europe is part of a complex project. Scenarios about Europe was done at the Museum of Contemporary Art in Leipzig in 2011 and 2012. The Novi Sad exhibition within the frame of Europe n is the realisation of a concept by one of the curators, Dr Miško Šuvaković, directly or indirectly related to the scenarios. The other curators have realised or will realise exhibitions in their own local environments (Minsk, Łodź, London, Oslo, Beijing, San Sebastian, etc.) In the context of the project Scenarios about Europe the project curator addressed issues of contemporary art on the margins of the great ‘discourses’ and ‘spectacularisations’ of a contemporary European identity. He wanted to show ‘what is now’ part of the European identity on the border lines of Southeast Europe and former Eastern Europe vis-a-vis other potential, real and fictional Europes. In this project, contemporary European politics is posed as a reflexive discourse on the ‘sensory regimes’ of the universal European identity as opposed to hybrid European identities. It treats the relationship between symmetric and asymmetric cultural/social identities in contemporary Europe, by means of aesthetic and artistic media and post-media representations. This would be the basic stance that the exhibition conveys and that the Novi Sad project will test under the real conditions and circumstances of contemporary Vojvodina and Serbia.
Europe n is a transnational project of the Excellence Initiative of the Goethe-Institut. It is a collaboration of the Goethe-Institut in Munich and the Regional Goethe-Institutes in Central and East Europe, South-East Europe, North-West and South-West Europe and East Europe/Central Asia, in Belgrade, Brussels, Istanbul, Warsaw, London, Minsk, Vilnius, Oslo, Beijing and Madrid with institutions in and outside the European Union. Europe n is coordinated by Sabine Hentzsch, Goethe-Institut in London. Artistic Director is Barbara Steiner. The external partners are: Co-Organisers: Curating Contemporary Art Programme / Royal College of Art, London; Muzeum Sztuki, Łodź; Henie Onstad Kunstsenter, Hovikodden / Oslo; Associated Partners: Contemporary Art Study Centre / European Humanities University, Vilnius; Novaja Europa Magazine, Minsk; Galerie Y, Minsk; SALT, Istanbul; Muzej savremene umetnosti Vojvodine, Novi Sad; Sint-Lukasgalerie, Brussels; Taipei Contemporary Art Centre, Taipei; Vitamin Creative Space, Beijing / Guangzhou; San Telmo Museoa, Office for European Capital of Culture 2016, both Donostia-San Sebastian.
Curated by: Julieta González
The exhibition takes its name and thematic approach from Parque Industrial Patricio Galvão’s 1933 proletarian novel, but is equally constucted as a "theater of objects" referencing Georges Perec's structural use of the object in his novel Les Choses, une histoire des annees soixante (1965), and Jean-Luc Godard and Jan Pierre Gorin's recourse to Brechtian strategies in the film Tout Va Bien (1972). The exhibition addresses examines how contemporary artists address the labour relations inscribed in the commodity, the intricate relation between production and consumption that are embodded in it, and the "commodity status" of art.
Borrowing Brechtian stage strategies, such as defamiliarization, repetition and a recourse to the uncanny, the exhibition is structured like a play in five acts; each one, except the first, takes the title of some of the chapters in Galvão’s novel, and functions as an autonomous smaller exhibition. These sections address a range of subjects: commodification, production, alienation and de-alienation, consumption, and education.
The exhibition includes works by the following artists:
DAILY LIFE AS PUBLIC PRACTICE IN THE FIELD OF MULTIPLICITY
The Museum of Contemporary Art Vojvodina, Novi Sad
Curated by: Miško Šuvaković
We are pleased to announce the upcoming retrospective exhibition DAILY LIFE AS PUBLIC PRACTICE IN THE FIELD OF MULTIPLICITY: The Productions and Interventions of Tadej Pogačar at the end of the First Decade of the New Millennium, organized by the Vojvodina Museum of Contemporary Art in Novi Sad and curated by Miško Šuvaković; the exhibition will be on view in Novi Sad, Serbia, from June 15 to July 15, 2011.
Tadej Pogačar is one of the most important artists and curators on the Slovenian art scene of past twenty years. His artistic and curatorial production developed as an open and socially critical art based on appropriational and parasitical strategies and employing the tactics and strategies of the contemporary curator-activist.
The artist Tadej Pogačar (b. 1960) lives in Ljubljana, Slovenia. In 1984, he graduated with a degree in ethnology and the history of art from the University of Ljubljana. In 1988, he received a degree in painting from the Academy of Fine Arts, University of Ljubljana, where he also completed his postgraduate studies in 1990. He is the founder and director of the P.A.R.A.S.I.T.E. Museum of Contemporary Art (www.parasite-pogacar.si), a virtual organization and a critical model he established in 1993.
To accompany the exhibition, the Museum of Contemporary Art Vojvodina is publishing a 100-page, fully illustrated bilingual (Serbian/English) catalogue with texts by Miško Šuvaković and Ana Vilenica.
The exhibition is organized in collaboration with the Zavod P.A.R.A.S.I.T.E. and the SCCA Centre for Contemporary Arts – Ljubljana.
CODE:RED – The Book
We are pleased to announce the publication of the book CODE:RED. The book includes theoretical essays and previously unpublished documentary material relating to the long-term collaborative art project CODE:RED, which was initiated in 1999/2000 by the P.A.R.A.S.I.T.E.Museum of Contemporary Art. At the same time, the book’s publication also serves as an introduction to the retrospective exhibition project Crisis or Expansion of Public/Private Forms of Life: Tadej Pogačar 1990–2011, organized by the Vojvodina Museum of Contemporary Art in Novi Sad, Serbia, which will be on view in Novi Sad from 15 June to 15 July 2011.
The book CODE:RED includes a series of theoretical essays from the fields of gender studies and feminism, the history of the struggle of sex workers, their political actions, their fight for human and social rights, their cultural work, their inclusion in labor syndicates, and so on. The publication pays tribute to the extraordinary individuals who through their courage and boldness have managed to escape the vicious circle of ignorance and stigmatization. The book also presents essential information about the CODE:RED project – its beginnings, structure, strategies, actions, networks, and collaborations. Also included are visual documents from projects in São Paulo, Venice, Madrid, and New York, as well as three issues of the Sex Worker newspaper.
The publication of CODE:RED was made possible by the financial support of the Erste Foundation, the Ministry of Culture of the Republic of Slovenia, and the Department of Culture of the Municipality of Ljubljana. The publisher of the book is the P.A.R.A.S.I.T.E. Institute.
CODE:RED is available for purchase at KAPSULA bookshop of artist books (in the Ajdovščina underpass in Ljubljana), Gallery P74, and other specialized bookshops. The price is 30.00 EUR. The book may also be ordered by email at firstname.lastname@example.org.
CODE:RED, 236 pages, 17.5 cm x 24.5 cm, semi-hard binding, 240 illus., English edition, ISBN 978-961-6807-03-6, P.A.R.A.S.I.T.E. Institute.
Collector’s edition: 100 copies, leather cover, signed and numbered.
An Idea for Living - Realism and Reality in Contemporary Slovenian Art
P.A.R.A.S.I.T.E. Public Sculpture (1999-2009)
At particular times of the year on the streets of various city centers, certain mound-like forms appear overnight and then after only a few days are gone. After documenting, analyzing and investigating this phenomenon more carefully, we have come to the following conclusions:
Gender Check is the first comprehensive exhibition featuring art from Eastern Europe since the 1960s based on the theme of gender roles. 20 years after the fall of the Berlin Wall, the curator Bojana Pejic, along with a team of experts from 24 different countries, has put together a selection of over 400 works including paintings, sculpture, installations, photography, posters, films and videos. With over 200 artists, the exhibition paints an exceptionally diverse picture of a chapter in art history that until recently had been largely unknown and that could also act as an important addition to contemporary gender discourse.
This is not America
10 – 31 January 2009
OPENING & CELEBRATION
Monday, 12 January 2009 at 7 p.m.
At the end of 1993, the institution Museum of Contemporary Arts – which had been founded in 1990 by artist Tadej Pogačar – officially adopted the resolution to change its name to P.A.R.A.S.I.T.E. Museum of Contemporary Arts (PMCA). PMCA functions as a virtual institution which "exists without its own space and employees, but rather merely settles into territories, locations and networks and feeds off the juices of institutions" and operates according to the principles of "new parasitism".
Reflecting on this, Miško Šuvaković has written:
In fifteen years of operation, P.A.R.A.S.I.T.E. Museum of Contemporary Arts has created, organised and coordinated numerous events, actions, public interventions, performances, exhibitions, projections, roundtables, etc. It has been a "guest" of museum collections, galleries, schools, universities, personal homes, public spaces, streets.
Critical interventions in museum collections during the first years of operation problematised the accumulation of science and knowledge: How is science/knowledge created, structured and arranged? Who claims it, expands it and puts it to use? How is "truth" structured? The second related question is a question of social visibility: what is visible and what is invisible in society, what do we understand as a "natural" condition of society and what is "unnatural"? The installation for the fifteenth anniversary returns to these questions, as well as exposes the theme of historical narration and its methods, such as reconstruction, repetition and appropriation.
PMCA has cooperated on a number of international manifestations on the Venice Biennale (2001), Tirana Biennale (2005), International Biennale of Contemporary Art Prague (2005), São Paulo Art Biennial (2006), International Istanbul Biennial (2007), and the Biennial of the Canary Islands (forthcoming in 2009). PMCA has also intervened in a number of museum collections and museum: collection of Moderna Galerija, Ljubljana; Tretjak’s African Collection at Gallery of Fine Arts, Slovenj Gradec; the collection of the National Museum of Contemporary History, Ljubljana; Museum Boijmans Van Beuningen, Rotterdam; Naturmeuseum, Rotterdam; Mucsarnok, Budapest; Moderna Museet, Stockholm; Max Liebermann Haus, Berlin.
PMCA prepared "Kings of the Street" (1995), one of the first artistic street actions with Ljubljana’s homeless people and in 2001 publicly declared the on-going collaborative transdisciplinary project CODE:RED (1999/2000-2010).
P.A.R.A.S.I.T.E. Museum of Contemporaray Art has published six thematic editions of the review "Journal for Anthropology and New Parasitism", two editions of the thematic newspaper "Sex Worker2 and the book "The Best is Yet to Come".
Another City, Another Life
10. Istanbul Biennial
From the Street
Treuhand Puzzle, 2005
BIENNIAL 3: SWEET TABOOS / (EPISODE 5)
Overcoming Past / Deconstruction of Monument
1. EXHIBITION / PRESENTATIONS
CitySellingCityTelling, Urban Art Stories
Sparwasser HQ presents:
Tadej Pogaar & P.A.R.A.S.I.T.E. Museum are presenting part of the CODE:RED archive on exhibition MARX UPDATE in Ojo Atomico in Madrid. CODE:RED is a long term interdisciplinary and collaborative work on sex work, activism and global trafficking. MARX UPDATE exhibition is focused on documentation of political engaged art and theory. Other participants: Republicart.net, Social Impakt Projekt, RTMark, La Fiambrera Obrera, The Center for Land Use Interpretation, Reclaim the Streets, Critical Art Ensemble, and B+B.
Coalesce: With all due intent,
Tadej Pogaar & P.A.R.A.S.I.T.E. Museum is participating in the show COALESCE: WITH ALL DUE INTENT with video work Code:Red, Sex Worker, Documents, 2001. COALESCE: WITH ALL DUE INTENT is the working title of an exhibition of on-going artist's works that are brought together to create one coalescent, environment. Coalesceis an exhibition about spatial-cohabitation. Mixing together on-going projects by a selecton of artists, the works are fused together and co-habit the same space as the exhibition takes the form of one and many works at the same time. By exploring and articulating formal and conceptual similarities, COALESCE: WITH ALL DUE INTENT will literally be an overlapping of individual works. With: Ursula Biemann, Phil Collins, Esra Ersen, Jakup Ferri, Jaime Gili, Adla Isanovic, Sejla Kameric, Helmut and Johanna Kandl, Alexander Mir, Isabel Nolan, Marko Raat, Lawrence Weiner and others.
Seven Sins: Ljubljana-Moscow,
The exhibition Seven Sins: Ljubljana - Moscow proposes
to explore the various dimensions of contacts between the two cities and
to underscore the continuity of cooperation between them and their shared
interest in similar aesthetic concepts. Both cities and cultures essentially
belong to a common context that has been described as the Eastern European
culture. Geographical position, particular traditions and character of
both Moscow and Ljubljana, however, indicate how wide the range of issues
and contents of such a culture actually is. Since Moscow and Ljubljana
both belong to a common cultural (and social) context of Eastern Europe,
the exhibition addresses the very issue of this context. What exactly
is "Eastern European culture", which are its basic characteristics,
its identity? The issue of identity has proved to be a highly controversial
one, and the exhibition deliberately deals with its ambiguous nature.
It presents "seven sins" that are, supposedly, typical for Eastern
Europe, and thus common to Russian and Slovenian artists. These "sins"
are Collectivism, Utopism, Masochism, Cynicism, Laziness, Unprofessionalism,
and Love for the West. They can be from an outside, presumably Western
point of view - understood as weaknesses and imperfections, but they are
also "virtues", qualities that Eastern, Slavic countries can
contribute to European culture to make it more diverse and rich. For example,
utopianism is an antidote to pragmatism, stressing the dimension of hope
and future perspectives. Laziness gives artists time to concentrate on
themselves and the questions that obsess them. Since eastern artists often
are not real "professionals", they can really love what they
do, etc. The seven "sins" ("virtues") have, in fact,
been strongly present in the cultural production of Eastern Europe in
the last decades.
Tales of Two Cities, 2000 - 2004
Unbalanced Allocation of Space
Lampadedromia, Puerto Rico
Zeigam Azizov, Big Hope, Ursula Biemann, Phil Collins,
MONAPOLY - a new global board game
25th International Biennial
A PERFECT PLACE
CODE:RED, Sex Worker 2001
CODE:RED Sector Graz is an interdisciplinary
URBAN UTOPIAS, URBAN REALITIES
RECONSTRUCTIONS - Documents II
The second of two exhibitions comprehensively
ARTEAST Collection 2000+
CODE:RED USA, Operative