20 investigation in the field. In such a way, it has managed to reach largely diversified audience: local and international <strong>art</strong>ists, theorists, curators, architects, designers, public administrators, economists, businessmen, managers, members of foundations, representatives of cultural and business companies, students, researchers and professors at economic, social, and <strong>art</strong> academic dep<strong>art</strong>ments. Since the beginning of 2006, a series of public lectures, exhibitions, <strong>art</strong>icles, presentations, site-specific projects, research-oriented initiatives and collaborative structures have been organized and developed, both in Belgrade and abroad, in the same framework. Cooperative links have been established with individual cultural protagonists and <strong>art</strong> organizations in the region (Skopje, Sofia, Budapest, Pecs, Novi Sad, Bucharest, Zagreb, Osijek, Rijeka, Ljubljana, Sarajevo, Tirana, Istanbul, Venice, Graz, Vienna, etc.) as well as with their counterp<strong>art</strong>s in the larger European context (Lisbon, Geneva, Rotterdam, Brussels, Antwerp, Amsterdam, Dresden, Berlin, Paris, Copenhagen, London, Leeds, etc.). The exhibition PRIVATE DANCERS (February 2007), for example, opened up the issue of Labour, while the current problematics revolving around the new work-conditions, as well as the impact of transformed work-concepts on a general value-system and social psychology, were observed from the perspective of immaterial labour, flexibility, temporariness of job-engagement today, (un)employment, work-ethics, social security, economic migrations, etc. Quite alike, the emergence of sharing as a modality of economic production was explored in another exhibition, entitled CONTRASTED WORKING WORLD (May 2007), realized in cooperation with the Critical Curatorial Cybermedia (CCC) team of professors and <strong>art</strong>ists from Geneva University of Art and Design. As a result of previous activities, and a first step towards the research-oriented future efforts, this publication acts as a theoretical <strong>reader</strong> focused on concepts, themes and issues related to the intersection between contemporary <strong>art</strong> and economics, with contributions by: Félix Guattari, Ulrich Beck, Tatjana Đurić Kuzmanović, Arun Kumar (Angelika Fitz & Michael Wörgötter), Nick Dyer-Witheford, Marion von Osten, Brett Neilson & Ned Rossiter, Jacek Tomkiewicz, Kiss Endre, Sanjin Dragojević, Jim McGuigan, Sandra Braman, Wolfgang Ullrich, Saskia Sassen, Julian Stallabrass, M<strong>art</strong>in Ferro-Thomsen, Julie Vandenbroucke & Michel Espeel (Charlotte Bonduel), Elena Filipovic, Nina Möntmann, Pier Luigi Sacco & Marco Senaldi, Žarko Paić, Marina Gržinić, Susanne Altmann, Walter Seidl, Suzana Milevska, Marina Sorbello (Ivan Mečl, Mihnea Mircan, Viktor Misiano, Gregor Podnar, Zsolt Somlói, Aneta Szylak), and Doris Rothauer. After almost two years of existence, the main goals of the curatorial platform <strong>art</strong>-e-<strong>conomy</strong> remain the same: to promote the value of discourses at the point of intersection between <strong>art</strong>, e<strong>conomy</strong>, and society, within the intercultural regional p<strong>art</strong>ner initiatives in South East Europe and beyond; to support the strategic development of cultural and economic institutions in the region, through long-term educational and productive initiatives which could positively contribute to the integration of South East Europe into the contemporary European space; and to support the processes of re-defining the image of the region - while taking p<strong>art</strong> in global actions and applying the methods of such cooperation into a permanent and dynamic stimulation of local cultural reconstruction and development. In Belgrade, July – August 2007
1 Miško Šuvaković, “The Ideology of Exhibition: On the Ideologies of Manifesta”, in platformaSCCA, No. 3, Ljubljana, January 2002, SCCA, Center for Contemporary Art - Ljubljana, 2002. 2 Another meaning in this direction (psychological, emotional connotation) is connected to the idea of an unhappy love affair, or love-suffering. See: Rečnik latinsko-srpsko-hrvatski (Dictionary of Latin and Serbo-Croatian terms), Jovan D. Čolić (ed.), Beograd: Dereta (1936) 1991, p. 124. 3 With regard to this, the noun ‘curatorship’ is defined as either a curator’s office or position, or a body of curators collectively. See: The New International Webster’s Comprehensive Dictionary of the English Language, Deluxe Encyclopedic Edition, Chicago: Trident Press International 1996, p. 316. 4 Mari Carmen Ramírez, “Brokering Identities: Art Curators and the Politics of Cultural Representation”, in Thinking About Exhibitions, R. Greenberg, B. W. Ferguson, and S. Nairne, (eds.), Routledge, London 1996, pp. 21-38. This essay is a revised version of a talk given at a working seminar at the Center for Curatorial Studies, Bard College, 15-17 April 1994. 5 At the times when this essay was published (1996), Ramírez was curator of Latin American Art at the Archer M. Huntington Art Gallery, and adjunct lecturer at the Dep<strong>art</strong>ment of Art at the University of Texas, Austin (USA); she was also the editor of The School of the South: El Taller Torres Garcia and its Legacy (Archer M. Huntington Art Gallery and the University of Texas Press, Austin, 1992). See: Thinking About Exhibitions, Ibid., p. XVIII 6 Mari Carmen Ramírez, “Brokering Identities (…)”, Ibid., p.21. 7 Boris Groys, “The Complicity of Oblivion”, ARTMargins, 2003, www.<strong>art</strong>margins.com/content/ moma/groys.html 8 For more information refer to: “Manifesto for Cultural Cooperation with South East Europe”, adopted by the p<strong>art</strong>icipants in the first “Enlargement of Minds” seminar “Crossing Perspectives”, Amsterdam, 16-18 June 2003. 9 Ješa Denegri. ‘’Savremena srpska umetnička scena u međunarodnom kontekstu”, Kontinentalni doručak - Beograd, 45. Oktobarski salon (ex. cat.), Beograd 2004, pp. 56-66 10 Slavoj Žižek, The Spectre is Still Roaming Around - An Introduction to the Communist Manifesto, Bastard Books, Publisher Arkzin d.o.o.; Zagreb, 1998, p. 73 11 See the official presentation of the European Union at www.europa.eu.int 12 Ibid. 13 Ibid. 14 See: http://www.worldof<strong>art</strong>.org/ and http://www.scca-ljubljana.si/worldof<strong>art</strong>.htm 15 M. Stamenković, Status of Curatorial Practices in the Post-Socialist Condition, MA Thesis under the supervision of Miško Šuvaković, PhD, University of Arts Belgrade, Oct-Nov 2005 16 See: ‘Economic Systems’, in Andrew Heywood, Politics, Palgrave Macmillan 1997, 2002. Also: Endrju Hejvud, Politika, Klio: Beograd 2004, pp. 340-341. 17 ‘Economic Systems’, Ibid. 21
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134 Sandra BRAMAN Art in the Inform
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146 works of art and those who may
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148 Ewen, S. (1988). All consuming
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162 Saskia SASSEN Economy and Art T
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292 CIP - Каталогизаци