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art-e-conomy _ reader - marko stamenkovic

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1 Miško Šuvaković, “The Ideology of Exhibition: On the Ideologies of Manifesta”, in platformaSCCA,<br />

No. 3, Ljubljana, January 2002, SCCA, Center for Contemporary Art - Ljubljana, 2002.<br />

2 Another meaning in this direction (psychological, emotional connotation) is connected to the<br />

idea of an unhappy love affair, or love-suffering. See: Rečnik latinsko-srpsko-hrvatski (Dictionary of<br />

Latin and Serbo-Croatian terms), Jovan D. Čolić (ed.), Beograd: Dereta (1936) 1991, p. 124.<br />

3 With regard to this, the noun ‘curatorship’ is defined as either a curator’s office or position,<br />

or a body of curators collectively. See: The New International Webster’s Comprehensive Dictionary<br />

of the English Language, Deluxe Encyclopedic Edition, Chicago: Trident Press International 1996,<br />

p. 316.<br />

4 Mari Carmen Ramírez, “Brokering Identities: Art Curators and the Politics of Cultural Representation”,<br />

in Thinking About Exhibitions, R. Greenberg, B. W. Ferguson, and S. Nairne, (eds.), Routledge, London<br />

1996, pp. 21-38. This essay is a revised version of a talk given at a working seminar at the Center<br />

for Curatorial Studies, Bard College, 15-17 April 1994.<br />

5 At the times when this essay was published (1996), Ramírez was curator of Latin American<br />

Art at the Archer M. Huntington Art Gallery, and adjunct lecturer at the Dep<strong>art</strong>ment of Art at the<br />

University of Texas, Austin (USA); she was also the editor of The School of the South: El Taller Torres<br />

Garcia and its Legacy (Archer M. Huntington Art Gallery and the University of Texas Press, Austin,<br />

1992). See: Thinking About Exhibitions, Ibid., p. XVIII<br />

6 Mari Carmen Ramírez, “Brokering Identities (…)”, Ibid., p.21.<br />

7 Boris Groys, “The Complicity of Oblivion”, ARTMargins, 2003, www.<strong>art</strong>margins.com/content/<br />

moma/groys.html<br />

8 For more information refer to: “Manifesto for Cultural Cooperation with South East Europe”,<br />

adopted by the p<strong>art</strong>icipants in the first “Enlargement of Minds” seminar “Crossing Perspectives”,<br />

Amsterdam, 16-18 June 2003.<br />

9 Ješa Denegri. ‘’Savremena srpska umetnička scena u međunarodnom kontekstu”, Kontinentalni<br />

doručak - Beograd, 45. Oktobarski salon (ex. cat.), Beograd 2004, pp. 56-66<br />

10 Slavoj Žižek, The Spectre is Still Roaming Around - An Introduction to the Communist Manifesto,<br />

Bastard Books, Publisher Arkzin d.o.o.; Zagreb, 1998, p. 73<br />

11 See the official presentation of the European Union at www.europa.eu.int<br />

12 Ibid.<br />

13 Ibid.<br />

14 See: http://www.worldof<strong>art</strong>.org/ and http://www.scca-ljubljana.si/worldof<strong>art</strong>.htm<br />

15 M. Stamenković, Status of Curatorial Practices in the Post-Socialist Condition, MA Thesis under<br />

the supervision of Miško Šuvaković, PhD, University of Arts Belgrade, Oct-Nov 2005<br />

16 See: ‘Economic Systems’, in Andrew Heywood, Politics, Palgrave Macmillan 1997, 2002. Also:<br />

Endrju Hejvud, Politika, Klio: Beograd 2004, pp. 340-341.<br />

17 ‘Economic Systems’, Ibid.<br />

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