EE-0 @ Performance, Performativity and Document

Performance, Performativity and Document
19.11.-01.12.2018
Opening 19.11.2018 at 19h
Exhibition spaces: SULUV (The Association of Fine Artists of Vojvodina) and MSUV (Museum of Contemporary Art Vojvodina), Novi Sad, Serbia.

Curator: Dejan Vasić
Authors of concept: Andrea Palašti and Dejan Vasić

Artists and authors: Danica Bićanić, Ivana Smiljanić, Lana Čmajčanin, Lala Raščić, Olga Dimitrijević, Tanja Ostojić and Vlasta Delimar; umetničke grupe: Doplgenger (Isidora Ilić and Boško Prostran) and Femkanje (Bojana Knežević and Katarina Petrović).

Exhibition “Performance, Performativity and Document “ consists of an exhibition of video and photo documentation, performance, delegated performance, lecture-performance, and presents artists and artist groups whose works in different ways reflect the status of female identity, and point the differences of one’s own artistic experience. Their dominant artistic strategies are provocation and subversion of the existing art world and society from a gender perspective: (de) constructions of identity; questions of sexuality and love; class and political positions; relations of state, administrative and ideological apparatus towards political, economic and war migration; the role of the myth and its re-contextualization in contemporary society; cultural policies and inline in home and in arts; promises and realistic social influence of participatory art; representation of the female body and the role of women in a socialist society; solidarity and female to female relations; social changes during and after the revolution.

We have set performance as the central place of the exhibition, because it involves the use of the body as artistic means of expression. The body is a point of intersection of social organization and the subject, presented in opposition to the external (public and social) and inner (intimate and private). It is precisely the body that symbolizes articulation of the political speech and grounding point that erodes this opposition and shapes politics of liberation. Our attitude is on the line with a feminist understanding of performativity, as hosting the critique, which would result in more direct contact with the audience, an exhibition as representation that is open to mediation through its discursive programs.