• Art couple Marina Marković and Boris Šribar are using the gallery space as their temporary place of residence. The artists are living and working in the gallery without the possibility to leave it for the duration of the exhibition; the authors ‘exhibit’ themselves, their everyday activities, art and living practices, their privacy, namely, their everyday existence. There were various examples from art history who had the utopian tendency for conjunction, synthesis of everyday life and art. Present-day artists, however, do not support this tendency towards linking of art and life any more, at least not in this conventional sense. Marković and Šribar do not insist on the synthesis but rather on the difference between the artistic and the everyday. They believe in critical potential of art, but this potential is not developed by joining art and life, as avant-garde artists believed – but by creating a difference between art and life, and in a process of documenting it. Thus, art refers to life itself, to pure activity, practice. In other words, art becomes a form of life, and a work of art is keeping records of this form of life. Marković and Šribar achieve this by evoking media and manipulative strategies of the forms such as reality shows: by moving these strategies into the artistic context, they indicate overall contamination and ‘estradization’ of public space, observing art not as a field that should be deconstructed, destroyed, but as the only space that can offer ‘protection’, namely, a space that ‘drops out’ from the relationships of power that govern the media-shaped daily life. This is how politicization of art is brought about: in the sense that art documents life as pure activity, i.e., the space of art is a place of critical analysis and questioning of the media-shaped present. In the conditions when art as a form of public communication and action is completely marginalized and made senseless, Marković and Šribar refuse to produce art in a traditional sense and display ‘life as such’, making art a sort of counter-public sphere that implies activity of marginalized groups in the space of art, that is, a (newly) formed community that comes out of the sphere of the allowed and depoliticized and acts within the capitalist public sphere with the intention to indicate its abuse by the elites. Thus, the gesture of Marina Marković and Boris Šribar consciously refers to the practices such as the Occupy Wall Street movement or increasingly important student protests – a temporary stay at and in a certain space becomes a political gesture par excellence: a certain micro political space is ‘conquered’, transformed into temporary space of ‘freedom’, a specific asylum and, in this way, a sort of symbolic visibility and visibility in the media is created; in a while, everything disappears, and then a similar action appears at some other place and in a different context. This is to indicate that the capitalist public and media space is not a homogenous, undivided whole, but that public sphere is permeated with antagonisms, that there are groups, communities and individuals within it that ‘drop out’ from the space of current neoliberal consensus – so Marković and Šribar consciously perform at the same place as all those who ’drop out’ from the machinery of capitalist redistribution of power – economic emigrants seeking for asylum in EU countries, labourers claiming the right to work, homosexuals, Roma, students, i.e., all that demand visibility in the public space, those who call for questioning of current relationships of power and redistribution of social wealth.
  • Cultural center Belgrade
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  • Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin
  • Azil Kunsthalle Berlin