Saturday, April 29, 2006


Ellen de Bruijne PROJECTS
Rozengracht 207 A
1016 LZ Amsterdam
The Netherlands

May 3-7, 2006
Ellen de Bruijne PROJECTS

In May 2005 IZA Foundation organized the first ‘Close Connections Program’ for international curators and art critics. Ellen de Bruijne started this initiative to invite foreign guests for the period of the KunstRai, Amsterdam Art Fair for Contemporary Art, to give them a close look on the contemporary art scene in the Netherlands and the particularities of cultural Amsterdam through a special program. Close Connections has the goal to stimulate and develop (more) international collaboration and exchange.

Because of the enormous success of the last program the idea is to expand the contacts and create a new and diverse program with meetings with art professionals from the Netherlands and abroad, short lectures and special presentations. During Art Amsterdam/ KunstRai, the IZA foundation organizes in collaboration with various cultural institutes the program Close Connections 2006. Over 23 international curators and critics are invited to bring a special visit to the Dutch capital. During their stay they also provide a number of public discussions and debates, among which the debate in SMBA, Maison Descartes, SMCS at 11 and De Appel.

Beside the public part of the program, the invited guest curators will visit the Art Amsterdam/KunstRai, as well as De Ateliers, Rijksakademie, Montevideo, Mediamatic, W139, SMCS, selection of Amsterdam galleries at Lijnbaansgracht and Jordaan.

On initiative of IZA foundation, international support for the arts/Ellen de Bruijne Projects and Art Amsterdam/Kunstrai

For more information:

Monday, April 10, 2006


Tracing the Limits of Artworld Internationalism
Contemporary Art Exhibition

Artspace: 13 Vanak Street & Azad Gallery, 41 Salmas Square
Conference and Screening: Shahid Avini Auditorium, University of TehranTehran, 14th – 27th of April 2006.

This project raises the question of what is expected or demanded of an artist who attempts to penetrate the “international art circuit”. What does the European market, in particular, wish to buy, and why does it wish to do so. It is now plain to see that the West is not a mere observer of globalized cultural flows, but a consumer playing a decisive role. Just as any other demanding client, it actively defines the supply. Which strategies might be useful when facing such hegemonic structures? This theme was addressed at curator Tirdad Zolghadr’s 2004 exhibition “Ethnic Marketing: Art, Globalization and Intercultural Supply and Demand” (curated with M. Anderfuhren), and is now revisited in Tehran.

The event includes:

  • April 14th, 4 PM: opening of group exhibition with seven artists at 13, Vanak Street: Shirin Aliabadi, Bilal Khbeiz, Farhad Moshiri, Erkan Özgen, Sener Özmen, Natascha Sadr-Haghighian
  • April 14th, 6 PM: opening of group exhibition with eleven artists at Azad Gallery: Atlas Group, Ursula Biemann, David Blandy, Jakup Ferri, Shahab Fotouhi, Jens Haaning, IRWIN, San Keller, Ahmet Ögüt, Sener Özmen, Michael Snow, Peter Stoffel
  • April 18th, 5:30 PM: film screening at Shahid Avini Auditorium, Tehran University, with films by: Fikret Atay, COM & COM, Dirk Herzog, Natascha Sadr Haghighian, Sener Özmen, Space Campaign, Hito Steyerl, Erik van Lieshout
  • April 19th, 4 PM: conference with Giovanni Carmine, San Keller, Farhad Moshiri, Natascha Sadr Hagighian, Solmaz Shahbazi & Tirdad Zolghadr.
  • a catalogue in Farsi and in English
  • student workshops (on invitation only)

Saturday, April 08, 2006


Simultan02 - International video/sound experimental festivalwill take place between 18-20 th of May 2006, Timisoara , Romania .

The event is open to all artists (groups) who work with video image and not only. Those interested may apply, without any thematic restrictions, with a maximum number of 3 works (movies, animations, vj loop) each having a length that must not exceed 100 seconds
[Technical details]- before the video there have to be recorded 5 blank seconds.- works must be sent in 720x576 Quicktime or Avi format with dv-pal compression and 48kh sound.- on CD/DVD (data) support or mini-dv tape.For each video separately, the participant must fill in an application form, (download pdf), which must contain a short description of the work, a CV and a photo of the artist. - 2-3 still images in jpg format must be sent from each video, 720x576 pixels dimension
[Jury]All works will be watched and selected by a jury. Only those accepted will be a part of the programme.Members of the jury: Alina SERBAN - independent curator, Stefan TIRON - curator/artist, Sorin VREME - artist
[Documentation]After the event, a catalogue with DVD will be published about the festival. A presentation will also be available on the site: of the admitted participants will receive a catalogue by the end of 2006
[Policy]The organisers reserve the right to use the works into other presentations or partner events with the aim of promoting the Simultan Festival, but not for commercial purposes
[Submission]Works will be submitted to the address below:Asociatia SimultanOP.1 - CP.532, Timisoara , Romania
Application forms will also be sent by e-mail: simultan(at)
All deliveries must be marked with the phrase“no commercial value - for cultural purposes only”.
Please include a Stamped Self-addressed Envelope, if you want your examples of work returned. (Only for Romania)
For additional information please contact:Levente Kozma – Festival directore-mail: mr_k(at)
The deadline for submission of works and applications is -April 20 th , 2006 (postmark)
The festival entry is free of charge.
The Simultan festival is a platform for the audio-video concepts and intends to spread the new movements and trends of the contemporary culture, like the digital media, the video art and the experimental electronic music.
The event follows the ideologies of other well-known similar events and aims to establish new cultural bonds on the stage of Romanian art and between those of different countries.
The event wishes to keep up with and to stimulate the creative ways of the most modern visions of perceiving and recording the cultural realities in contemporary art of those who belong to the contemporary spirit, through presenting the current processes and the most innovating and revolutionary tendencies.
Being an annual event, the festival is able to highlight the present-day experimental directions of audio-visual art, identify them in the current context and link them to the emerging innovative elements.


Received From Natasa Petresin

You are kindly invited to attend the opening of the exhibition on Saturday, April 8th at 4 p.m. at the Living Art Museum.

The exhibition was a part of the festival Steirischer Herbst 2003, Graz, Austria and was presented at the Pavelhaus in Laafeld, Austria, in October 2003, as well as in the Škuc Gallery in Ljubljana, in May 2004.

Uršula Berlot (Ljubljana)
Ilana Halperin (Glasgow)
Edi Hila (Tirana)
Tim Knowles (London)
Aydan Murtezaoğlu (Istanbul)
The Otolith Group (Kodwo Eshun, Richard Couzins & Anjalika Sagar, London)
Tobias Putrih (New York/Ljubljana)
Steven Rand (New York)
Rubedo (Vesna Petrešin & Laurent-Paul Robert, London) & The Young Gods (Geneve)
Egill Sæbjörnsson (Berlin/Reykjavik)
Einar Thorsteinn (Berlin)
Sislej Xhafa (New York)

Curator: Nataša Petrešin

About the concept of the exhibition:

»When we think of space as being measurable, divisible, and composed of points plotting possible positions that objects may occupy, we are stopping the world in thought. Grids happen. The fact is that with every move, with every change, there is something new to the world, an added reality. The world is self-augmenting.« (Brian Massumi, Parables for the Virtual. Movement, Affect, Sensation, 2002)

»The field of human activities, within which we mortals usually inhabit, is in constant movement. These changing conditions correspond to the fluid opinions that humans have and that are succumbed to the same permanent change. A philosopher sets them in opposition to the divine truth which is in its nature permanent. « (Hannah Arendt, Lying in Politics: Reflections on the Pentagon Papers, 1971)

At the beginning of the 20th century, the uncertainty principle of Werner Heisenberg and the relativity theory opened up the universe of the quantum mechanics and weakened the reference points of the Cartesian-Newtonian system, the belief in the scientific knowledge and the superiority of the mind, through which we have been describing our reality for some centuries. The uncertainty principle has showed that at the subatomic and atomic level the events do not occur with certainty in at definite place and in definite times, but rather one can indicate the ‘tendencies to occur’. In contrast to the mechanistic Cartesian view of the world, the world in the modern physics turned out to be an interactive, organic, ecological and holistic phenomenon. Parallel to these scientific researches, new theories of our perception and the perception of the body, the ‘flesh’ as Merleau-Ponty defined it, emerged. Within them the proofs were made about the mutual interaction and influence between the observer and the observed matter, and the experience of the observer at describing the system has been included. Regarding these shifts in the science, contemporary physician John Wheeler calls for omitting the old word “observer” and use instead of it the new term “participator”. Thus the participatory reality consists of basic concepts of the movement, sensation and affects through which we experience space, realities, time and consciousness. Gilles Deleuze speaks of the “smooth” space, as opposed to the “striated” space. The smooth space is the one constructed by nomadic subjects that move along the trajectory in-between two points, not from one point to another. This subject is no longer a substance fixed between the mind and the body, but a process, a becoming that is being managed by constant shifts and negotiations between various material and semiotic conditions.

The only constant in today’s world is the change in the shape of a non-linear process. The political economy of such world tends to maintain the uncertainty- and fear-management that these changes cause. We can speak of a state of constant crisis. The changes within science throughout the 20th century have proved the relativity of truth in science and how its approximations defined the traditional concepts and theories. Because of the limitations, the rational mind can never provide a complete description of reality. Science and media thus do not deal with truth, but with approximated descriptions of reality. Or as Werner Heisenberg already put it: “Every word or concept, clear as it may seem to be, has only a limited range of applicability.“

The artists within the exhibition Our House Is A House That Moves deal with the continuity of the movement, the changing and impermanence of the phenomena in us as well as in nature. Within the frame of their production they expand and draw together the borders between the disciplines like art and science (The Otolith Group, Uršula Berlot, Steven Rand, Tim Knowles), or they comment on the esoteric sciences (Einar Thorsteinn). In their projects they invent utopias or visualise “science fiction of the present” (Ilana Halperin, The Otolith Group, Einar Thorsteinn, Tobias Putrih), and open up the field of metaphoric and literal confrontation with the reality as an always-evading entity with a simulation (Egill Sæbjörnsson), processual procedures (Steven Rand), manipulated view (Aydan Murtezaoğlu), documenting (Edi Hila), ironic relationship towards the reality and the symbolic (Sislej Xhafa), and with the computer animation and sound (Rubedo&The Young Gods).

(Title is taken from the lyrics by Franz Treichler, The Young Gods, Courtesy Pas Mal Publishing.)

Nataša Petrešin is a freelance curator, living and working in Paris and Ljubljana. In 2003, she was co-curator at Kunsthalle Fridericianum in Kassel at the exhibition In the Gorges of the Balkans, curated by René Block. Among the exhibitions she has curated are Participation: Nuisance or Necessity (Iaspis, Stockholm, 2005), Haunted by Detail (as part of the Curatorial Training Programme at De Appel Foundation, Amsterdam, 2002), You Are Not Alone (Pavelhaus, Laafeld, 2002), Sound in Art (Gallery Priestor, Bratislava, 2001), and the sound event series Re-lax (together with Projekt Atol, Ljubljana, 2001–2002). She was assistant curator for the Slovene Pavilion at the Venice Biennale in 2001. Since 1999, she has been regularly publishing essays in art magazines and catalogues. In April 2004 she conceptualised, together with Gregor Podnar, an international conference Public vs Private. Cultural Policies and Art Market in the Central and South-Eastern Europe, organized by the Škuc Gallery and hosted by Museum of Modern Art in Ljubljana. She is a contributing editor of an online magazine ArtMargins as well as correspondent of the magazine Contemporary. Currently she works within the curatorial assistance of the 4. berlin biennial of contemporary art and pursuits her master studies at the EHESS in Paris.

The exhibition is co-organized with the Škuc Gallery, Ljubljana, and supported by the Ministry of Foreign Affairs of the Republic of Slovenia; British Council, London and Ministerie van de Vlaamse Gemeenschap.

Special thanks to Joško Pajer, Škuc Gallery, Ljubljana; Josie Browne, Max Protetch Gallery, New York; Helena Drnovšek Zorko, Ministry of Foreign Affairs of the Republic of Slovenia; Pétur Arason, Safn, Reykjavik.

Tuesday, April 04, 2006

Another "They should have waited for us!" photo:

Unfortunately not every body was present!
From Left to right Cedric,Galia,Anshuman,Nuno,Katarzyna, Cristiana,Richard,Ana,Clio,Amirali,Alina, Maha and Liao
Photo by

ART WORLDS: Ljubljana, April 6 - 7, 2006

Slovenian Society of Aesthetics
Gosposka 13, 1000 Ljubljana, Slovenia

The 10th Spring Colloquium for Undergraduate and Postgraduate Students

Ljubljana, April 6–7, 2006
Museum of Modern Art, Tomsiceva ul. 14, Ljubljana, SLOVENIA

With the theme “Art Worlds” we wish to open a discussion about different worlds in which art appears and develops. Questions about the institution of art and the possibility of alternative forms of artistic production are often being raised, and are related to the formation of different conceptions and definitions of what art is in different societies, cultures, times, and ages. What impact on art do galleries, publishing houses, universities, art schools, ministries of culture, the economy, mass culture, etc. have? What influence do these existing frameworks have on contents and position of art in society and culture, how do they “create” art? Do institutions dictate what will be recognized as art, or has art also developed its own alternative strategies? Can we speak about the hierarchy of art worlds? We can also ask ourselves about the significance of the globalization or of the relation to the tradition and national identity. Can art worlds also be under the hegemony of one particular culture? Contemporary art often uses new media and high technologies. It often involves other, non-artistic disciplines, for example the natural sciences (biology, medicine, physics, etc.). How can these, in the past so divided worlds, be linked with each other? From a more narrow perspective the theme “Art Worlds” can be approached as a question about different worlds within a single artwork. Can we today still assume that an artwork is a self-contained and a self-sufficient form, or is an artwork becoming an open structure and a dynamic process?

The aim of the Spring Colloquia is to stimulate original theoretic reflection on art, culture and their position in the contemporary world. The colloquium is to enable an exchange of ideas, different views, and information about art – with the presentations of papers as well as with the discussions that will follow every paper. In their papers the participants will focus on one or more aspects of the given theme. They will be based on known philosophical and/or theoretical researches in the chosen field.

For additional information please write to e-mail

Saturday, April 01, 2006


Dear friends,

As we are supposed to reflect, in different ways, our experience from
Berlin, an idea came up to my mind: what do you think about starting a
common web-presentation of artists, projects, concepts, shows, etc,
that we find interesting and/or representative in a way, so we could
share these suggestions/proposals/selections on our blog? This could
preliminary be based upon the impressions originating from our stay in
Berlin, and not necessarily connected to the Biennial itself, but
rather to the general framework of our presence there, our visits,
meetings, talks, etc. I would suggest that we open a segment within
the blog (Amirali, please let us know if this would be possible,
technically speaking), so each and everyone of us could propose one
artist/work/project/institution/venue/structure/show/etc (experienced
in Berlin) that he/she finds personally very interesting or important
enough for a possible inclusion into some future
projects/programs/shows/etc. I would name this segment "bbforward", as
it should refer both to Berlin, the Berlin Biennial in general, and
our workshop Fast Forward, but you can always correct me and suggest
something else, of course.

These proposals/selections could be posted on our blog, in a very
clear, short form: a short text describing the matter, accompanied
maybe by one little image, with a reference to the source of
information. If each of us would contribute by one simple single
suggestion concerning the topic, we would already have enough
material not for an exhibition, but at least for the articulation of
our possible future project, or for the differentiation among various
personal professional attitudes that could help us define one or
several concepts for the future. What do you think? The only criteria
would be to start with this whole process by relying on our joint
experience from Berlin in March 2006.

I would thus like to propose a Canadian artist, the one that we had a
chance to meet at Kunstlerhaus Bethanien during our studio-visit
there. His name is Michel de Broin, I believe you all remember him and
his exhibition Reversed Enthropy. I am sending a small textual
reminder about this, which we could use on the blog (all the messages
posted for this specific reason should always start with a very clear
reference to what is being referred to, for example: "bbforward:
MICHEL DE BROIN - Reverse Enthropy @ Kunstlerhaus Bethanien" or
something like that).
The one submitting the proposal is always identified in the end of the
message, so after the completion of all our proposals, we will have a
clear image of our individual preferences, which gives us a nice
possibility for collective work in the future. I really believe this
could be helpful, though very modest, way to start experiencing our
real future work together.

Please let me know what you think, and I am looking forward to all
your opinions, suggestions, critiques and advices.

Best regards from sunny Belgrade