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iz edicije “desilo se”, meni posebno važan razgovor ❤️🔥 @vogue.adria @abramovicinstitute
… Ipak, do te faze je uvek teško doći, za početak jer svaka velika ljubav, kao i revolucija, traži da damo sebe. Da bi se desile neverovatne stvari, potrebno je neverovatno im se predati, a kada najlepši i najplodniji odnos dođe u tačku u kojoj sve postane samo povređivanje, iz koje se ne može ni napred ni nazad, teško je pronaći sredinu. Posle velike ljubavi obično ne ostaje ništa, sem vraćanja na početnu tačku odakle je sve počelo -biti jedno drugom stranac. Tako je i bilo i za Marinu i Ulaya.
✨✨✨
…Yet reaching that phase is always difficult, because every great love, like a revolution, demands that we give of ourselves fully. For incredible things to happen, one must surrender to them completely, and when the most beautiful and fruitful relationship reaches the point where everything becomes only hurt, with no way forward or back, it is hard to find balance. After a great love, usually nothing remains except returning to the starting point from which it all began — being strangers to each other. It was no different for Marina and Ulay.
iz edicije “desilo se”, meni posebno važan razgovor ❤️🔥 @vogue.adria @abramovicinstitute
… Ipak, do te faze je uvek teško doći, za početak jer svaka velika ljubav, kao i revolucija, traži da damo sebe. Da bi se desile neverovatne stvari, potrebno je neverovatno im se predati, a kada najlepši i najplodniji odnos dođe u tačku u kojoj sve postane samo povređivanje, iz koje se ne može ni napred ni nazad, teško je pronaći sredinu. Posle velike ljubavi obično ne ostaje ništa, sem vraćanja na početnu tačku odakle je sve počelo -biti jedno drugom stranac. Tako je i bilo i za Marinu i Ulaya.
✨✨✨
…Yet reaching that phase is always difficult, because every great love, like a revolution, demands that we give of ourselves fully. For incredible things to happen, one must surrender to them completely, and when the most beautiful and fruitful relationship reaches the point where everything becomes only hurt, with no way forward or back, it is hard to find balance. After a great love, usually nothing remains except returning to the starting point from which it all began — being strangers to each other. It was no different for Marina and Ulay.
Finland 2024 🦨
Hortus Futuri
“Hortus Futuri” is the title of the multimedia artwork in situ that was created by direct intervention on a rock placed in the forest with the intension to slow down the visitors and invite them to notice, observe and dive into sensation of the invisible world of nature.
With text written in Braille alphabet, the artwork acquires an inclusive attribute and a performative element when the “hidden” message is read. In the absence of tactile reading artwork remains a minimal, almost invisible visual installation that draws attention to the surrounding micro world. Intense during performative reading and quiet and visually non- invasive, it opens the question of mutual coexistence and draws attention to all those who are less visible and often marginalized in a society burdened by desire for greater and faster mass production. “Hortus Futuri” gives an active role to nature and people with impaired vision, who are the only catalyst and activator of the artwork itself as the only mediators who convey the message.
This artwork is a continuation of a series of works that dealt with issues of capital as the only means of communication and interaction in today’s society and the world, the impact of mass production on the natural environment, the dominance of the Anthropocene and the Capitalocene. Writings that were intentionally left for cognition only during performative reading, warn and remind us that it is important to listen and feel nature and its messages with all senses.
The sentences are quotes from the catalog that accompanied the latest body of works “Botanica Futura, Botanica Nova” by curator Teodra Jeremić. @dazedsparkle The works reveal the complex interdependent ecologies: the social, mental and ecology of the natural environment that Gattari talks about and open the question of the legacy that our neglect of these ecologies has left us, but even more importantly, what will be the one that remains behind us?
commissioned by Hub Feenix
@culturemoveseurope
@creative.eu
@goetheinstitut
#anavujović #anavujovic #contemporaryart
Finland 2024 🦨
Hortus Futuri
“Hortus Futuri” is the title of the multimedia artwork in situ that was created by direct intervention on a rock placed in the forest with the intension to slow down the visitors and invite them to notice, observe and dive into sensation of the invisible world of nature.
With text written in Braille alphabet, the artwork acquires an inclusive attribute and a performative element when the “hidden” message is read. In the absence of tactile reading artwork remains a minimal, almost invisible visual installation that draws attention to the surrounding micro world. Intense during performative reading and quiet and visually non- invasive, it opens the question of mutual coexistence and draws attention to all those who are less visible and often marginalized in a society burdened by desire for greater and faster mass production. “Hortus Futuri” gives an active role to nature and people with impaired vision, who are the only catalyst and activator of the artwork itself as the only mediators who convey the message.
This artwork is a continuation of a series of works that dealt with issues of capital as the only means of communication and interaction in today’s society and the world, the impact of mass production on the natural environment, the dominance of the Anthropocene and the Capitalocene. Writings that were intentionally left for cognition only during performative reading, warn and remind us that it is important to listen and feel nature and its messages with all senses.
The sentences are quotes from the catalog that accompanied the latest body of works “Botanica Futura, Botanica Nova” by curator Teodra Jeremić. @dazedsparkle The works reveal the complex interdependent ecologies: the social, mental and ecology of the natural environment that Gattari talks about and open the question of the legacy that our neglect of these ecologies has left us, but even more importantly, what will be the one that remains behind us?
commissioned by Hub Feenix
@culturemoveseurope
@creative.eu
@goetheinstitut
#anavujović #anavujovic #contemporaryart
Finland 2024 🦨
Hortus Futuri
“Hortus Futuri” is the title of the multimedia artwork in situ that was created by direct intervention on a rock placed in the forest with the intension to slow down the visitors and invite them to notice, observe and dive into sensation of the invisible world of nature.
With text written in Braille alphabet, the artwork acquires an inclusive attribute and a performative element when the “hidden” message is read. In the absence of tactile reading artwork remains a minimal, almost invisible visual installation that draws attention to the surrounding micro world. Intense during performative reading and quiet and visually non- invasive, it opens the question of mutual coexistence and draws attention to all those who are less visible and often marginalized in a society burdened by desire for greater and faster mass production. “Hortus Futuri” gives an active role to nature and people with impaired vision, who are the only catalyst and activator of the artwork itself as the only mediators who convey the message.
This artwork is a continuation of a series of works that dealt with issues of capital as the only means of communication and interaction in today’s society and the world, the impact of mass production on the natural environment, the dominance of the Anthropocene and the Capitalocene. Writings that were intentionally left for cognition only during performative reading, warn and remind us that it is important to listen and feel nature and its messages with all senses.
The sentences are quotes from the catalog that accompanied the latest body of works “Botanica Futura, Botanica Nova” by curator Teodra Jeremić. @dazedsparkle The works reveal the complex interdependent ecologies: the social, mental and ecology of the natural environment that Gattari talks about and open the question of the legacy that our neglect of these ecologies has left us, but even more importantly, what will be the one that remains behind us?
commissioned by Hub Feenix
@culturemoveseurope
@creative.eu
@goetheinstitut
#anavujović #anavujovic #contemporaryart
Finland 2024 🦨
Hortus Futuri
“Hortus Futuri” is the title of the multimedia artwork in situ that was created by direct intervention on a rock placed in the forest with the intension to slow down the visitors and invite them to notice, observe and dive into sensation of the invisible world of nature.
With text written in Braille alphabet, the artwork acquires an inclusive attribute and a performative element when the “hidden” message is read. In the absence of tactile reading artwork remains a minimal, almost invisible visual installation that draws attention to the surrounding micro world. Intense during performative reading and quiet and visually non- invasive, it opens the question of mutual coexistence and draws attention to all those who are less visible and often marginalized in a society burdened by desire for greater and faster mass production. “Hortus Futuri” gives an active role to nature and people with impaired vision, who are the only catalyst and activator of the artwork itself as the only mediators who convey the message.
This artwork is a continuation of a series of works that dealt with issues of capital as the only means of communication and interaction in today’s society and the world, the impact of mass production on the natural environment, the dominance of the Anthropocene and the Capitalocene. Writings that were intentionally left for cognition only during performative reading, warn and remind us that it is important to listen and feel nature and its messages with all senses.
The sentences are quotes from the catalog that accompanied the latest body of works “Botanica Futura, Botanica Nova” by curator Teodra Jeremić. @dazedsparkle The works reveal the complex interdependent ecologies: the social, mental and ecology of the natural environment that Gattari talks about and open the question of the legacy that our neglect of these ecologies has left us, but even more importantly, what will be the one that remains behind us?
commissioned by Hub Feenix
@culturemoveseurope
@creative.eu
@goetheinstitut
#anavujović #anavujovic #contemporaryart
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
Exhibition arrangement of 𝕿𝖍𝖊 𝕬𝖗𝖗𝖆𝖓𝖌𝖊𝖒𝖊𝖓𝖙(𝖘)
by Marina Marković ~ curated by Teodora Jeremić ~
•𝐨𝐧 𝐭𝐡𝐞 𝐯𝐢𝐞𝐰 𝐮𝐧𝐭𝐢𝐥𝐥 𝐀𝐮𝐠𝐮𝐬𝐭 𝟐𝟓𝐭𝐡 @msub_mocab
theoretical texts:
@matthieu_lelievre
@lucrezia_nardi_
@danielecapra
Ješa Denegri
ORLAN
The exhibition “The Arrangement(s)” at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one’s own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
•excrept of the text The Arrangement(s) by Teodora Jeremić
photo credit @bojanikus
#marinamarkovic
𝔗𝔥𝔢 𝔄𝔯𝔯𝔞𝔫𝔤𝔢𝔪𝔢𝔫𝔱𝔰, at the Salon of the Museum of Contemporary Art in Belgrade emerges, in a way, as the final part of a series of performances focused on questions of power dynamics in the art world, within the art market, institutional policies, but above all power in relation to the female body that absorbs the viewer already through the space that takes on characteristics of a living, pulsating, and wavering body. Through an archive of previous performances and signed arrangements, as well as a new performance created in collaboration with art theorists, Marina raises the question of different positions of power that come from outside, her position within that structure, inscriptions that are inscribed on the female body, expectations of artists, truths that are imposed, meanings in the making. Just as anorexia is a form of protest against the role assigned to the female body, and contrary to common belief, not a loss of control in pursuit to fulfill the ideals of the patriarchy, but rather the maximum takeover in order to completely reject them, marking one's own body, mapping it out, is a way of establishing a relationship with the world in which one lives, creates, negotiates.
In the game of signing agreements, that she is already very familiar with, Marina invited art theorists to write texts, which were deconstructed to creat a metatext - a statement that is tattooed on her skin, like a theoretical cage that molds her and her practic, confirming the permeability of boundaries, and the dual nature of power that is constantly handed and taken over, further validated by the act of tattooing, a symbolic act of penetration of exo-reality into endoreality, according to predetermined and agreed-upon rules.
(excerpt of the text The Arrangements by Teodora Jeremić)
🎥 @andrija_rancic_central_studio
🎶 @feloneezy
#marinamarkovic
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