External activity |  Wayside (A performance yet to happen) | Yane Calovski and Hristina Ivanoska’s exhibition  | Tobacco 001 Cultural Center, Ljubljana, Slovenia |  24. 10. 2019–22. 11. 2019

Envisioned as a choreographed installation, the project refers to a number of sources including Hansen’s Open Form theory, the composition ‘Novara’ (1962) by American composer Earle Brown and the recreation of clothing left behind in a sketchbook of Antoinette van Eyck, a young student of tailoring in Maastricht in 1935. Calovski and Ivanoska explored Vevar’s archives, preserved by the MSUM+MG in Ljubljana, focusing on the correlation between practical and conceptual usage of the open form as well as on its notion, within the context of the archives, as a form of performative action. Vevar’s archives thus become a reflection on theatricality as a way of manifesting real life.

Presentation | Jovanka Popova  | Towards a New Heritage Symposium as part of the Motel Trogir project, organized by Loose Associations |  Beton kino, Dom Mladih/ Split Youth Centre, Croatia | 17-20 October, 2019

The three-day symposium / public gathering which will take place in Split and the surrounding area from 17 to 20 October 2019 is organised by the Loose Associations, platform for contemporary artistic practices, as part of the Collective Domain of Cultural Memory (CDCM) collaborative project. The symposium is organised with the intent of fostering the critical reflection and examination of the last decade of dealing with the topic of protection of modernist architecture from the second half of the 20^th century. We intend to consider the processes, protagonists, methods and challenges in this field (of the historicization of modernity and preservation of modernist heritage).

Presentation | Hristina Ivanoska: Document Missing: The Intricate Sense of Truth in Oral Histories  | Summer School as School organized by Stacion Center Contemporary Art Prishtina |  Boxing Club, Kosovo | 12  August,  2019 

Storytelling and the notion of oral transfer of data is a tradition on which we rest the case of most of the official historical narratives in relation to women’s history. The oral/immaterial transfer carries the weight of a document that is unscientific and prone to manipulation. Political currency of certain documents lies in the potential of unlocking a change or a paradigmatic shift in how something is perceived. In the process of critically examining the selection of particulars from the authentic materials we find that synthesis of particulars that lead into a narrative and, as a result, history becomes a contested field where the linearity of stories is challenged.

External activity |  Intimate Introspection: Artist and/or Society | Hristina Ivanoska’s work at Autostrada Biennale “Revolution is us” curated by Giacinto Di Pietrantonio. | Prizren, Kosovo |  21 July 2019

Ivanoska’s work “Intimate Introspection: Artist and/or Society” is an installation located in the ground floor of Prizren Bus Station. The work is made out of used cardboard boxes collected from local small private shops, a material that signifies the economic inequality and the silenced political voice of the individuals that recycle it. I am building a platform to contextualize the brutal occupation of the public space by neoliberal capital, the ongoing privatization and exploitation of the natural resources, and the continuous degradation of human and animal conditions.

Artist in Residence Program  | Tjasa Kalkan and Antonis Pittas  | Collective Domain of Cultural Memory (CDCM) Project |  CAC Mobile Gallery | 11 June,  2019 

Presentations by the artists Tjasa Kalkan from Croatia and Antonis Pittas from the Netherlands as part of the residency research program realized in Skopje in the frame of the international project Collective Domain of Cultural Memory.

The work of Antonis Pittas is characterised by the historical awareness he holds whilst addressing contemporary social and political issues. More an observer than an activist, Pittas explores topics such safety and control, economic crises and acts of resistance, as well as violence and vandalism. He has a context sensitive practice whose focal point is directed at targeting such moments as a gesture of public discontent, unrest or simply the need for expression of ones personal creativity. Pittas usually develops mixed-media installations and spatial adaptations that provides a context for interpretation. Starting point for his residence in Skopje is his project “Hybrid 2018” he treats the issues of the public space in connection with the questions of power and responsibility in the local context of the city of Skopje.