The museums participating on the project aim at re-evaluating and rethinking their resources: archives, collections and working methods in order to develop their potentials by creating knowledge and connecting the various types of audiences. The traditional roles of the contemporary art museum are changing: its most important activities are no longer merely storage, studying and exhibiting of artworks, but also an active involvement with the museum’s audience. For this reason, the project will develop combination of exhibitions ans educational programs based on participatory approach, intended for both, the audience and the staff.
With Andreja Hribernik, Ljiljana Kolešnik, Dalibor Martinis, Aleksandra Sekulić, Barbara Steiner i Ana Dević de What, How & for Whom/WHW.
Auditorium — Free admission
Please, see the record of the lectures in our Tv channel:
What role does artistic practice play today when Utopia seems to be something of the past?
During the early years of the Cold War, the Socialist Federal Republic of Yugoslavia took an unexpected stand in relation to modern art. Artists and intellectuals embraced abstract art, while the country’s cultural policy also saw it as a possibility for educating the people and for social progress. Yugoslavia distanced itself from the Soviet Union’s condemnation of abstraction, yet was never totally behind the formalist ideas currently fashionable in North America.
The Yugoslav context has contributed to later generations of artists questioning the basis of what has been called socialist modernity. Yet it also seems that the principle of utopia that nourished this project has never ceased to be recognised and is received as an inheritance with which to challenge the amnesiac state informing museums and the cultural neoliberal policies of today.
Abstract socialism is a programme of conferences and artistic projects on the current and past uses of modern art arising from the Socialist Federal Republic of Yugoslavia. It focuses on contemporary art practices that establish alliances with this legacy, albeit in a disruptive
key, as well as historiographical accounts pointing to a critical review of the political and cultural initiatives that previously served to promote modern and progressive art.