Изложба | Exhibition
"Архиви на насилство" | "Archives of violence"    
Чифте Амам, Национална Галерија на Македонија-Скопје | Chifte Hammam, National Gallery of Macedonia- Skopje          

22 - 30.11.2016

Моќта на архивирањето е документот, потенцијалниот иден факт. Архивите го чуваат знаењето, го превреднуваат минатото документирајќи ја сегашноста, создавајќи мемориски ресурси за иднината. Така, тие застануваат наспрема заборавот и историската ревизија. Во денешниот неизбалансиран свет, улогата на архивата е од клучно значење, како што кризата на демократијата станува поочигледна од кога и да е: прогресивните, хуманистички визии за општеството се сѐ повеќе загрозени од доминантните популистички и неолиберални наративи. Сето ова може да се согледа преку широкиот спектар на општествени и политички кризи - човекови права, родова нееднаквост, разорност и насилие врз животната средина, образование, слобода на говор, попречување на правото на домување, слобода на движење. Повторно во историјата сведочиме на поларизација на моќта, говор на омраза и растечка социјална сегрегација, како во “развиениот” така и во “неразвиениот” дел од светот.
Оваа изложба ја прикажува моќта на архивата да му се споротивстави на тоа насилство. Таа ќе се обиде да им даде облик, да направи видливи неколку истражувачки уметнички проекти, коишто обработуваат конкретни случаи на насилството. На тој начин материјалните факти / изложените дела самите по себе стануваат и документи- сведоци на тоа насилство. Публиката ќе може да ги искуси визуелните и звучните архиви кои истражуваат различни теми, од кризите со домувањето (Мишел Теран), корупција и репресија (Ѓорѓе Јовановиќ), исчезнување на знаењето (Меморија на светот), родови стереотипи, објектификација и медиумско насилство (Зејно Пекунлу), недостиг на архивите за жените (Христина Иваноска) или директно насилство врз клучни политички субјекти (Соња Шонеберг). Овој пристап на сондирање има цел да ги поттикне нашите сетила за препознавање и регистрирање на насилството кое нѐ опкружува секојдневно, она на кое сме се навикнале, но и на структурното насилство низ политичките системи. Овој документ ќе се обиде да ги визуелизира дисонантните односи помеѓу оние кои владеат и владеаните, и да го оприсутни невидливото, не толку лесно разликовно од насилството. Повеќеслојната природа на делата - обемната документација и архивските материјали, создава простор за отворање дијалог со конкретни случаи на насилство. Некои од делата ќе имаат додатен перформативен и едукациски предзнак. И така ќе направат поместување од статичко и чисто еститичко кон дискурзивно, а на тој начин стануваат дел од пообемната дискурзивна програма на Форумот за критичко мислење на фестивалот КРИК, со што ќе отворат партиципативен пристап и директно инволвирање со публиката.
The power of the archive is the document, the potential future fact. Archives guard our knowledge, help re-evaluate the past and, by documenting the present, create a memory resource for the future. In this way, archives stand against historical amnesia and revisionism. In today’s imbalanced world, the role of the archive thus is of utmost importance, as the crisis of democracy is more apparent than ever: Progressive, humanist ideas of society are threatened by oblivious new narratives, built on populist and neoliberal ideas. Their effects are visible in a wide range of social and political crises, be it human rights violation, gender inequality, and environmental destruction or impediments to the right to housing, education, free speech or freedom of movement. Again in history, we are witnessing the polarization of power, hate speech and a growing social segregation in the “developed” as well as the “undeveloped” part of the world.

This exhibition demonstrates the power of the archive to speak up against this violence. It will try to give shape, to make visible several research artistic projects, which work with concrete cases of violence. In this way, the material facts / works on display in the exhibition will serve as documents-witnesses of this violence. The audience will be able to go through visual and sound archives researching different topics, varying from the housing crisis in Spain (Michelle Teran), corruption and repression (Gjorgje Jovanovic), the disappearance of knowledge (Memory of the world), gender stereotyping, objectification and media violence (Zeyno Pekünlü), the lack of complete feminine archives (Hristina Ivanoska) or direct violence performed on key political figures (Sonya Schönberger). Thе aim is to enrich our senses for distinguishing and registering the violence that surrounds us on a daily basis, the one that we have accustomed to, the structural violence embedded in the political system. By doing so, the visual document, will try to visualize the dissonance between those who govern and those that are governed, and make tangible the non-visible, not easily distinguishable forms of violence. The collected dense archival material will be interpreted through various formats adjacent to the exhibition. Thus, some of the artworks will be accompanied by additional performative or education part, thus moving from the unidirectional representation towards a rather discursive and participatory atmosphere and becoming part of the Forum for critical culture as part of the CRIC festival.

​HRISTINA IVANOSKA
​

 "I am looking for myself through history and can’t seem to find me anywhere"

GJORGJE JOVANOVIK
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"Cracks"

MICHELLE TERAN​
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"Mortgaged lives"

ZEYNO PEKÜNLU
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"How to properly touch a girl so you don’t creep her out?"

SONYA SCHÖNBERGER
​

"The throw"

TOMISLAV MEDAK & MARCELL MARS

"Memory of the world/Public library"
Elena Veljanovska is a freelance curator. In 2006 graduates at the Art History and archaeology Faculty in Skopje, Macedonia. Her first working experience is in the Cultural Center Tocka, Skopje (2003- 2006), then in 2006 she has founded Line I+M, platform for new media art and technology which she directs until 2010. In 2009 she was a guest-curator in Stedefreund gallery in Berlin and a co-curator of the Macedonian Pavilion at the 53rd International Art exhibition in Venice. Starting in 2012 – 2014 she is actively involved in two organisations: In the creation of the Association of the Independent cultural scene JADRO, and the organization Kontrapunkt, Skopje. Currently she works and lives in Berlin, Germany. [http://veljanovskaelena.weebly.com/]
 
Hristina Ivanoska is PhD-in-Practice candidate at Academy of Fine Arts Vienna. Ivanoska works interdisciplinary investigating social and political systems and their relationship to theory and history. She has exhibited at various galleries in Macedonia and worldwide. Ivanoska and Calovski co-founded “press to exit project space” in Skopje. They were representatives of Pavilion of the Republic of Macedonia at 56th Venice Biennial, 2015.
 
Gjorgje Jovanovik graduated from the Faculty of Fine Arts in Skopje. He has realized multiple projects that focus on the issues of integration and disintegration of contemporary man. Selected solo exhibitions: Inventions for You Wonderful People!, (MOCA Skopje, 2014) Fragmented Archive of the Artist from the Country in Transition, (New York, 2010), It’s Complicated, (Graz, 2010). Selected group exhibitions Balkon zum Balkan, Baden Baden, Vienna Independent Shorts, Vienna, Balkan?, Basel, Re-locate, Istanbul, 255.804 km2, Vienna. For his practice, he has been awarded with the award for young visual artist “Denes” in 2009, Alternative Film/Video in Belgrade in 2009, Akto Festival in Bitola in 2012 and the award of the 10 Biennial of Young Artist in 2013.

Marcell Mars (Nenad Romić) is a free software advocate, cultural explorer, and social instigator. He is one of the founders of Multimedial Institute - mi2 and net.culture club MaMa in Zagreb. He is a member of Creative Commons Team Croatia. Regularly runs workshops like 'Programming for non-programmers'. Gives talks on topics like hacking, free software philosophy, gathering communities around good causes, slacking, doing nothing, stupid/smart business models of music industries, social software & semantic web. These days advocates for and works on Public library. He sings, dances, tells the stories and makes music as Nenad Romic za Novyi Byte.

Tomislav Medak earned a degree in Philosophy and German language and literature from the University of Zagreb/Croatia (1997). His theoretical interests are in contemporary political philosophy, media theory and aesthetics. He has coordinated the theory program and publishing activities of the MaMa – Multimedia Institute, Zagreb since 2000. He is a »free software« advocate and project leader of the Croatian Creative Commons team. Since 2001 he has been working with the Zagreb-based experimental theatre collective BADco. as a performer, dramaturge and director. He is also a volunteer for the urban activist initiative Right to the City Zagreb.
 
Zeyno Pekünlü is an artist/lecturer who lives in Istanbul. She has graduated from the Painting Department of Mimar Sinan University, Istanbul and continued her education with MA and PhD in the same university. She has also completed a second Master in Artistic Production and Research in University of Barcelona. Comprising a wide spectrum of material from the National Anthem to Turkish melodramas, her works traverse public and private manifestations of various forms of subordination, and problematize the technologies of power. The works invert the social functions of materials through deformation, contextual detachment and categorization of ordinary texts and images. The novel perspective offered by this method exposes the spectator to a state of temporary perplexity, disorientation and non-identification.
 
Michelle Teran is a media artist working in a networked live-art practice. She became involved in the media arts after studying art history, theatre, cultural theory, painting and drawing at Hospicio Cаbanas in Guadalajara (1986-87), Instituto de las Bellas Arts, San Miguel de Allende (1987), and the Ontario College of Art. Her works are explorations into the intersections between social and technological networks, and the physical and media space that we embody and inhabit. She currently resides in Berlin.
 
Sonya Schönberger studied Social Anthropology in Berlin and Zürich, Video art at the Rietveld Academie in Amsterdam and Experimental Media Design at the University of Arts in Berlin. For several years, she has been dealing with life stories in an artistic way. She conducted more than 100 conversations in a private setting to research about the German era of the Second World War in Germany and the USA. The material has produced numerous works, such as a theater, installations, photographs, etc.