Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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structures of art institutions and their agencies (curators, gallerists, critics,journalists, festivals, exhibitions etc.) situated in a particular socio-political,economic and historical context shaped by the cultural realm generatingthis art. This must be kept in mind in any in-depth analysis.Performance art of the late 2000s in Serbia is “art in the age of culture”or art in the age of its dissolution’ 32 . It is being dissolved as an autonomouspractice, authentic act, and auratic phenomenon into culture, yet remainingand materializing in its semi-autonomous realm. This partial autonomysimultaneously opens possibilities for effects of artistic practices on thesociety and culture, at the same time closing them off in producing effectsof normalization. It is about change and impossibility of change, implyingpotentiality strictly in Giorgio Agamben’s terms 33 . As opposed to potentialityin the traditional sense, which is annulled in actuality, I refer to potentialitywhich survives the actuality, actualized as such along with its absence,impossibility or impotentiality. It is an event in and from the culture – contemplating,questioning, attacking and, ultimately, affecting and having itchanged. Because, in Antonio Negri’s terms, ‘every potentiality is alwaysalready a creative moment or assertion of the forces of invention establishingwhat is to come. The transfer to the upcoming, however, always impliesa difference – a creative leap.’ 34 As all the practices addressed strive to realizetheir potentialities, it is possible to apprehend them only if the complexcultural, political, social and economic environments generating them aretaken into account.Translated by Irena Šentevska32 The Serbian translation of Guy Debord’s book The Society of the Spectaclerefers to art as being in the phase of disappearance (nestajanje). I consider theterm dissolution (rastakanje) used in the Croatian translation more appropriatein accounting for this processes. Cf. Guy Debord, Društvo spektakla i komentaridruštvu spektakla, Bastard books, Zagreb, 1999, p. 151, and Gi Debor, Društvospektakla, Anarhija / Blok 45, Belgrade, 2006, p. 50, available online: http://www.modukit.com/anarhija-blok45/.33 See Giorgio Agamben, Potentialities: Collected Essays in Philosophy, StanfordUniversity Press, Stanford Cal., 1999.34 See Antonio Negri, Time for Revolution, Continuum, London, New York,2005.r a s [31]t e r
× ana vujanovićNot Quite-Not Right EasternWestern Dance(On the contemporary dance scene inSerbia)As a prelude to discussion of the contemporary dance scene in Serbia, Imust begin by its conceptualization, and contextualization of its synchronicrelations with the neighboring countries’, and other European or ‘Western’contemporary dance scenes. Contemporary dance being a new phenomenonin Serbia, there are two points I would like to put forward, to beginwith. Firstly: there is no local contemporary dance history; therefore, thereis no need to trace diachronic ‘lineage’ of the present situation, and secondly:what is currently considered and practiced as contemporary dancein Serbia is contemporary Western dance. Hence, what I need to do here isclarify the influences, uses, transfers, and appropriations of Western danceparadigms in this not-quite-Western-but-not-really-Eastern-either context.Here, I made my starting points plain and clear, nevertheless, lacking in subtlety.But, will this suffice? I wouldn’t think so. So, where do we start?…I will try to resolve my statements, in hope that some new problems toreflect on might eventually occur. I have adopted a theoretical approach,maintaining that problems compel us to reevaluate and reconsider ourcommon beliefs and habits. Consequently, this essay does not entertainpositivist academic approaches. 1“Prehistory” of the contemporary dancein SerbiaThe claim that that there is no (modern) dance history of Serbia is notquite true. However, what we can identify as the local dance history is afringe non-teleological network of past traces of various “bodily movementpractices”. It will not lead us to the actual contemporary dance scene1 Besides, the following overview lacked full insight into the research on thedance scene in Serbia, the survey carried out by the Station on behalf of the DBMplatform not yet being completed (see: Mediterranean Dance Map athttp://www.d-b-m.org/mapping/index.php?lang=EN). Therefore, it is liable tochange as the research continues.
Page 2 and 3: Belgrade, january 2009.
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Page 45 and 46: In/Visible Cityphotography: Đorđe
Page 47 and 48: BLANKSPACE (Međuprostor)photograph
Page 49 and 50: CURVE FOR GAUSSphotography: www.haj
Page 51 and 52: knotphotography: Lidija Antonovićm
Page 53 and 54: photography: The Worstmudra theatre
Page 55 and 56: photography: Villa and Zapata in Pr
Page 57 and 58: AUDITION FOR PARADISEphotography: I
Page 59 and 60: ONE PIECE OF ADVICE - ONE BEERphoto
Page 61 and 62: TOUCHING - BREATHING - WALKINGphoto
Page 63 and 64: photography: Stanislav MilojkovićS
Page 65 and 66: photography: Srđan VeljovićtkhWAL
Page 67: I CAN NOT LEAVE, BECAUSE...photogra

Yearbook of the Independent Performing Arts Scene in Serbia - TkH

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