2013

INTERNATIONAL CONFERENCE. Today, in a time when everything indicates that the crisis - economic, financial, political, environmental and social - will only intensify, when numerous artistic, cultural, political and social forms of resistance and critical assessments are bursting out globally in a search and demand for a world beyond the neoliberal order, art and the art system are again confronted with the urge to reflect upon their role and status in these challenging conditions.

EVR (e-flux video rental) is a project by artists Anton Vidokle and Julieta Aranda. It is conceived as a video archive, a projection space, and a free video rental.

You are kindly invited to the presentation of a new book by Terry Smith, Contemporary Art and Contemporaneity, edited by Professor Ales Erjavec, and published in Slovenian by the Slovenian Society of Art Critics, which will be followed by Terry Smith's lecture Thinking Contemporary Curating: Modes of Exhibitionary Meaning.

The artist and The Lovest collaborators act as a community that organizes and operates as entrepreneur, taking on financial risk to do so and searching the pursuit of change.

Drawing a line through the clouds of myth myth was an experience of resistance, observation and experimentation in the "methodical" context of a historical museum. Dressed in the pompous style of 18th-century costumes, Jaša walked through the city of Celje and occupied the rooms of the Regional Museum for five successive days.

INTERNATIONAL CONFERENCE. We will close the conference with a tour of public open spaces of Zalog,Ljubljana with urban interactive actions by PAZ!PARK, Bitnamuun, choir Pentakord, AIO.

LECTURE. In concert with the release of the book Dossier Chris Marker: The Suffering Image (Cambridge Scholars Publishing, 2012), the lecture will survey the works of the late French filmmaker Chris Marker in terms of the origins of his critical project in 1940s' and 1950s' postwar France, with special attention paid to the seminal 29-minute film La jetée (1962).

LECTURE. It is often argued that the downside of autonomous art is that it is, well... just art. Not the corrosive, perhaps dangerous, real thing. Is it not for this reason that an increasing number of practitioners are ramping up their practices to the 1:1 scale, venturing out of the safe frames of the artworld to engage with other lifeworlds?