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Online BOOK LAUNCHES

Presentation and discussion with the editors of the three recent publications of the “Genealogy of Amnesia” project research.

All 2020 presentations are held online due to restricted mobility during the COVID-19 pandemic.

Booklaunch Sarajevo

22.12.2020, 18.00h
Association for Culture and Art, Crvena, Sarajevo / ZOOM

Presentations by:
Marina Gržinić, professor, Academy of Fine Arts Vienna
Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna

The program will be held in Bosnian/Croatian/Serbian.

Booklaunch Vienna

19.11.2020, 19.00 h
Depot Wien / ZOOM

Presentations by:
Marina Gržinić, professor, Academy of Fine Arts Vienna
Jovita Pristovšek, Šefik Tatlić, Sophie Uitz, postdoc researchers, Academy of Fine Arts Vienna

Booklaunch Zagreb

15.10.2020, 19.00 h
Multimedia Institute/MaMa, Zagreb, Croatia / ZOOM
Organized by Lina Gonan and MaMa

Presentations by:
Marina Gržinić, professor, Academy of Fine Arts Vienna
Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna

The program will be held in Bosnian/Croatian/Serbian.

Booklaunch Belgrade

29.09.2020, 19.00 h
Centre for Cultural Decontamination CZKD, Belgrade, Serbia / ZOOM
Organized by Aleksandra Sekulić and CZKD  (director: Ana Miljanić)

Presentations by:
Marina Gržinić, professor, Academy of Fine Arts Vienna
Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna

The program will be held in Bosnian/Croatian/Serbian.

Online Artist Talk Series 2021 “Stories of Traumatic Pasts”

All events will be held in English. The events will take place online!
Registration: info@weltmuseumwien.at

Adela Jušić in conversation with Marina Grzinić
Friday, February 19, 2021, 04:30 PM Amsterdam, Berlin, Rom, Stockholm, Wien

Adela Jušić was born on 1982 in Sarajevo, Bosnia and Herzegovina. Jušić has exhibited in more than 100 international exhibitions (Manifesta 8, Murcia, Spain; Videonale, Kunstmuseum Bonn, Germany; Image Counter Image, Haus der Kunst, Munich, Germany, Balkan Insight, Pompidou Center, Paris). In 2010 she won Young Visual Artist Award for the best young Bosnian artist in 2010, Henkel Young Artist Price Central and Eastern Europe in 2011, and Special award of Belgrade October Salon in 2013.

Martin Krenn in conversation with Marina Grzinić
Tuesday, March 16, 2021, 07:00 PM Amsterdam, Berlin, Rom, Stockholm, Wien

Elisabeth Bakambamba Tambwe in conversation with Marina Grzinić
Tuesday, March 30, 2021, 07:00 PM Amsterdam, Berlin, Rom, Stockholm, Wien

Book review by Saša Kesić: Towards Marina Gržinić, Jovita Pristovšek, and Sophie Uitz (Eds.), Opposing Colonialism, Antisemitism, and Turbo-Nationalism: Rethinking the Past for New Conviviality

A book review on the edited volume “Opposing Colonialism, Antisemitism, and Turbo-Nationalism” was published on May 9, 2021 by Saša Kesić in the Identities: Journal for Politics, Gender and Culture journal.

Read the full review here.

Saša Kesić is an art teacher and independent researcher from Belgrade. He received his PhD in 2016 from the Department of Theory of Arts and Media, University of Arts in Belgrade. In 2020, he published the book That’s How the Queer Grew… in Contemporary Eastern European Art and Culture, in which he connected queerness, performativity and presentation.

“This volume provides a very comprehensive analysis of what was going on in former Yugoslavia, before the 1990s, in the time of the Balkan war, and after the 1990s. This is a very brave and difficult task as it is not possible to rely solely on the historical distance, as well as on the archives and documents of the past. This is the first time that such an analysis is put in parallel with the two other genocides. Furthermore, a very detailed analysis is presented regarding the changes in Europe at the fall of the Berlin Wall and then in the 1990s until today. The post-Srebrenica genocide time showed an even more bestial situation: that the Serbian society and “the Republika Srpska,”5 instead of reflecting on what happened, pushed a new dimension of amnesia. What we learn is that in Serbia oblivion changed into the glorification of the genocide. This is supported by hyper-populist and monstrous political’ nomenclature all the way to our present day when this volume is published. In the meantime, the same glorification is central for the imperial global capitalist forces – Trump is a very good case. Former Yugoslavia, in its belatedness, is another case, as it repeats on a smaller scale the Trump model. The politicians from Serbia to Slovenia (Aleksandar Vučić and Janez Janša) are such two cases.”

Excerpt from the conclusion of Saša Kesić’ review of “Opposing Colonialism, Antisemitism, and Turbo-Nationalism: Rethinking the Past for New Conviviality” (Marina Gržinić, Jovita Pristovšek, and Sophie Uitz (Eds.), 2020); https://identitiesjournal.edu.mk/index.php/IJPGC/sasakesic.

The review was published on May 9, 2021.

Honorary Mention of the 2022 Ars Electronica Award for Digital Humanity

Marina Gržinić, Jovita Pristovšek, Sophie Uitz have received the Honorary Mention of the 2022 Ars Electronica Award for Digital Humanity for their work Digital Research Travelogues through European Archives!

Digital Research Travelogues through European Archives creates an interdisciplinary platform for art and science to explore the current politics of forgetting in relation to three traumatic events of the 20th century: Belgium (colonialism in the Congo), Austria (antisemitism in World War II and the post-war period), and the former Yugoslavia (turbo-nationalism, Srebrenica genocide). The platform departs from the research conducted as part of the FWF-PEEK project Genealogy of Amnesia: Rethinking the Past for a New Future of Conviviality (AR 439). It was presented as a digital format to promote emancipatory politics in the humanities through the 2020-2021 exhibition at the Weltmuseum Wien, Austria. It consisted of 42 interviews presented as 42 posters with QR codes. This part of the exhibition was a unique artistic-scientific and collaborative research work, presented as an interactive digital installation. The 42 QR codes were divided into three sections, each with a description and content, and accessible to the viewer via mobile phone. Each user could listen to the interviews in English. As a second level of interaction, an interactive table was presented in the exhibition space, allowing the viewer to spend hours exploring the connections between the three sections presented in parallel through images and texts, as a kind of double index, footnotes and hypertexts through European trauma histories. 

Credits: Marina Gržinić, Jovita Pristovšek, Sophie Uitz, and contributors © FWF-PEEK AR 439, Weltmuseum Wien, 2021/22. In collaboration with: Šefik Tatlić, Valerija Zabret, researchers, artists, activists. With support from: Academy of Fine Arts Vienna, various NGOs across Europe