reenacting moments 2007

Museum for Contemporary Art, Vojvodina and Institute for flexible cultures and technologies - Napon : Gordana Nikolic, Novi Sad and Kristian Lukic, Novi Sad

Theatre Centre: Jeton Neziraj, Prishtina

Stacion Center for Contemporary Art, Prishtina: Albert Heta

The Kosova Art Gallery, Prishtina: Luan Mulliqi

artists: Ana Adamovic (Belgrade), Milica Ruzicic (Belgrade), Marta Popivoda, (Belgrade) Ana Vujanovic (Belgrade), Nikoleta Markovic (Belgrade) Natasa Kokic, (Belgrade), Nebojsa Pjevic (Belgrade), Srdjan Vukajlovic (Belgrade), Milica Tomic (Belgrade), Nebojsa Milikic (Belgrade), Art Szombathy (Novi Sad), Albert Heta (Prishtina), Fitore Isufi, (Prishtina), Driton Hajredini, (Prishtina) Alban Muja (Prishtina), Flaka Haliti (Prishtina), Alketa Xhafa (Prishtina), Dren Maliqi (Prishtina), Lulzim Zeqiri (Prishtina), Rroni, (Prishtina), Bekim Gllogu (Prishtina) Tomislav Stanko Vukic, (Novi Sad, Frankfurt | Main) and with students from the Faculty of Fine Arts in Prishtina

Supported and in cooperation with the Goethe Institute in Belgrade

In collaboration with The Kosova Art Gallery, Prishtina.

With many thanks for the help and cooperation: KONTEKST galerija, Belgrade; urban fm, Prishtina; Stacion Center for Contemporary Art, Prishtina.

Kosovo and Serbia are in a difficult position, because they have not come to terms with the past and the present political situation is uncertain. Both governments, together with Europe, need to find a solution that will not give rise to new conflicts. Curators, activists, and artists in Belgrade and Prishtina are already participating in joint projects and attempting to reach a better understanding of each others’ viewpoints.

They are thus taking the first steps on a new path of understanding and cooperation, and supporting the peace process in civil society. This could be understood as a reappropriation of culture by means of reflection on a new, shared culture.

In the workmeeting in Prishtina, we have been asking a number of questions:

What could a shared cultural experience consist of? How can this be effective in a new way? How do artists approach the question of memory in their works? Could this contribute to the clarification of a situation that is currently described as confused and unclear? How have artistic forms of expression changed as a result of the war, and now as a result of possible reconciliation? How can regions be appropriated and activated by cultural actors? What historical, economic, sociopolitical, and cultural questions are raised by the discussion about the reappropriation of culture? Curating as reenacting? Do curators possibly activate the reappropriation of a shared culture in a post conflict area like Kosova and Serbia?