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scenaŠejla Kamerić Dream House, video installation, 2002, credit: < rotor >Who would consider Prague, St. Petersburg or Istanbul part of theBalkans? In Žižek’s sense, the curators saw it necessary to understandthe project rather as an “investigation into the borders of theBalkans” because “on the part of the Balkan Konsulat nobody claimsthat the invited guests were inhabitants of the Balkans”. 4From a historical perspective, the links between the Balkanic andthe Central European development seem to center on commonground. This, for example, led to the presentation of Belgrade artistRaša Todosijevic’’s piece, Homage to Eduardo Spoletti, an installationconsisting of two rows of tables arranged in the form of a swastika.Serving Serbian bean soup on the occasion of the openinginvited to a cheerful gathering on the one hand, but opened thediscussion about everyday fascism and war-inflicted atrocities on theother. In the same room, Tanja Ostojic’’s Crossing Over bridged thegap to the present reality of fusing a European identity. The videodocumented her long-time project Looking for a husband with a EUpassport, which problematizes the legal choice of one’s partner aswell as the place of residence on European territory.To avoid a concentration on nation-based identities and thus anotherstigmatization of Eastern European art, the representation of artscenes from selected cities promoted an open, discursive fieldof interaction, which has been shown several times. In his Praguecuratorii consideræ necesar sæ înfleleagæ proiectul mai curînd ca o „investigaflie în cadrulgraniflelor Balcanilor“, deoarece, „din partea Balkan Konsulat, nimeni nu pretindeacæ invitaflii erau locuitori ai Balcanilor“. 4Dintr-o perspectivæ istoricæ, legæturile dintre dezvoltarea balcanicæ øi cea centraleuropeanæpar sæ se afle în centrul unei sfere comune. Aceasta a determinat, deexemplu, prezentarea lucrærii Omagiu lui Eduardo Spoletti [Homage to Eduardo Spoletti],a artistei din Belgrad Raša Todosijević, o instalaflie ce constæ în douæ rînduride mese aranjate sub forma unei svastici. Servirea unei supe sîrbeøti de fasole cuocazia deschiderii a provocat, pe de o parte, o veselæ adunare, dar a deschis, pede altæ parte, discuflia despre fascismul cotidian øi atrocitæflile cauzate de ræzboi. Înaceeaøi încæpere, lucrarea Traversare [Crossing Over] a Tanjei Ostojić a fæcut trecereaspre realitatea actualæ a forjærii unei identitæfli europene. Instalaflia video documentaproiectul ei pe termen lung Cæutînd un sofl cu un paøaport european [Looking fora husband with a EU passport], care problematizeazæ alegerea legalæ a unui partener,precum øi rezidenfla pe teritoriul european.Pentru a evita concentrarea asupra identitæflilor fundamentate naflional øi, astfel, onouæ stigmatizare a artei est-europene, reprezentanflii scenelor artistice din oraøeleselectate promoveazæ un cîmp deschis de interacfliune discursivæ, care s-a fæcut manifestîn repetate rînduri. În secfliunea sa dedicatæ oraøului Praga, curatorul MichalKoleček a inclus grupuri ca Reinigungsgesellschaft din Germania, cu o lucrare videodocumentînd numeroasele traversæri ale graniflei germano-cehe de cætre unbærbat sau trecerea fictivæ printr-un zid a artistului polonez Oskar Dawicki, pentrua relaxa rigidele idei despre granifle ca limitæri mentale øi geografice ale existenfleinoastre cotidiene. La nivel formal, echipa < rotor > a extins limitele spafliale alegaleriei cætre ramificaflii exterioare, pentru a prezenta proiecflii video speciale sauconcerte nocturne cu DJ øi, de asemenea, un forum pentru confruntarea directæcu publicul. Aceastæ ultimæ idee poate fi væzutæ prin cîteva intervenflii, cum ar fi ceaa lui Ján Mančuška privind alterærile, pe mesele unui bar sau pe douæ panouri publicitaredintr-o piaflæ publicæ, a structurilor de suprafaflæ, care au fost produse în colaborarecu museum in progress, dînd artiøtilor øansa de a-øi avea lucrærile expuse nu doarla Graz, ci øi în respectivele oraøe ale consulatului, ca øi în ziare øi reviste, precumdesenele lui Dan Perjovschi din cotidianul austriac Der Standard øi din sæptæmînalulceh Respekt (ca parte a secfliunii maghiare).Uroš DjurićFrom: The Populist Project. God Save the Dreams of Serbian Artists,Grazer Athletiksport Klub, 2002, inkjet print, credit: < rotor >section, curator Michal Koleček included groups like the GermanReinigungsgesellschaft with a video piece documenting a man’sfrequent travels across the German-Czech border, or Polish artistOskar Dawicki’s fictitious breaking through a wall, to loosen up therigid notions of borders as mental and geographical limitations ofour daily existence. On a formal level, the < rotor > team extendedthe spatial limitations of the gallery to exterior branches in orderto present special video or DJ nights as well as a forum of directconfrontation with the public. The latter can be seen through severalinterventions, such as Ján Mančuška’s alterations of surface structureson the tables of a bar or two billboards in a public square,which were produced in cooperation with museum in progress,giving artists the chance to have their works shown not only in Graz,but also in the respective cities of the consulate as well as in newspapersand magazines such as Dan Perjovschi’s drawings in theAustrian daily Der Standard and the Czech weekly Respekt (as partof the Hungarian section).Thus, the Balkan Konsulat became visible in various medial distributionchannels, focusing on the changing experiences with time and81