Page 88 - The MoMA/ Guggenheim issue of World of Art magazine (2003)

iVAnA KESER >
genealogy 1993
ink jeT PrinT, BillBoarD
450 x 210 cM.
courTesy of The arTisT

GEORGi BOGDAnOV & BORiS MiSSiRKOV
neW My Thology 2000
> 3 lighT Boxes, 60 x 90 cM.
courTesy of The arTisT

cubes of museum logic with an extremely inventive

visual production, full of vivid, unsophisticated, and
“hot”, trueness to life, as usually contemporary
cosmopolit museums and art galleries rarely show.

Photography, installation, video and media art
dominate the exhibition, wherein from one room
to another one can meet either a phenomenology
of the banal, or a conceptual rememoration of the
secret history of the historical avant-garde (whose

artists often originated from this region), or a
situationistic approach of recent history and present-
day politics, or, at last/in fine, a critical-ironical

(re)appropriation of the Western canon of art history.
serbian body-art of the ‘70s and performance of
the ‘80s, croatian post-conceptualism of the ‘90s,
romanian neo-dadaism, slovenian “retro-avant-
gardism”, or Bulgarian “desacralism”, as well as the

virulent religious kitsch, an inventive vernacular
VL ADO MARTEK
gypsy architecture, the rich urban folklore, the post- unTiTleD, (usa - Balk an ) 1996
screen-PrinT, 22 x 30.5 cM.
communist architecture of power, or local “neo-
courTesy of The arTisT
byzantinism” – these are aspects that this exhibition
takes into account to prove that the Balkans are an
inexhaustible although not yet “sublimized” source of

86 WORLD of ART