Bilocation

This video dance project is a sort of condensed poetical and cynical look on the situation in the ex-Yugoslav territory. Hysterical and hectic dance movements are put in juxtaposition with surrealistic artificially constructed imageries, based on Magritte's paintings and documentary shoots of the refugee camps, where Bosnian refugees lived in Ljubljana.

A story of fragility, sexuality, monstrosities and geographical confusions. Everything, everywhere is the slogan of the nineties, a confusion of bodies, concepts and strategies, a kind of out of joint situation for the subject. And we find ourselves in all the media, in all the bodies in all the possible spaces at ones, but this deadly dance is not innocent. The video consists of the main part in which wives of the so-called totalitarian leaders as of the Rumanian dictator Cauceuscu (Elena) and of the former Serbian leader Slobodan Milosevic (Mirjana Milosevic) are forced to dance. Focused on the portrait of Mirjana Milosevic (The story of Mirjana M.) a kitsch melodramatic Balkan saga of power, drama, pop-folk elements and evil/demons is constructed. The apathy of feelings is caught in the dramatic tango that is slowed down for the camera eye.

Inserts from neo-avant-garde films by Emir Kusturica, Zivojin Pavlovic and Zelimir Zilnik made in the so-called Yugoslav film period of the 1970s and 1980s are re-read, re-worked, re-coded in a video story contemplating the role of different media in the war in Bosnia and Herzegovina in the time of world internet communications, cyborg stories and world spread computer nets. If it is true that we all part of a giant hypertext, coded by adapted and shortened CD-ROM histories, then why not try to display the video picture as hypertext, as the one which will show the hidden spots of our history and present?

On the Flies of the Market Place deals with the idea of the European space, divided and sacrificed. In a visually surreal world of facts and emotions—using documents from books and magazines—the video suggests a re-reading of the European space, i.e. Eastern and Western Europe. Referencing history, philosophy (Kant), and art, the video elaborates on the idea of Eastern Europe as the indivisible residua of all European atrocities. Eastern Europe is a piece of shit and the bloody symptom of the political, cultural, and epistemological failures of the 20th century.

The Eastern house is a video that reread some key names and some keysequences from the film history: Antonioni (Blow-up), Coppola (Apocalypsenow), Don Siegel. As well it re-articulates the body and conceptual happenings performed in the Eastern European context. The video is a homageto Nesa Paripovic happenings and body actions from the 1970s in Belgrade. The text is a political intervention in the field of theory regarding the question of global capitalism and the radical position of technology in the cyberworld with a clear reference to a cyberfeminst attitude and positioning. In this respect the question of sex and empathy in the cyberworld is raised as well as the ethical and political questioning of cloning and hybrid identities. As one of the key moment in the video is the re-reading of the Bush’s USA war against Iraq, 2003.

A video based on the dance performance HI-RES by Maja Delak and Male Kline. The video poses questions and give some unexpected answers to what is to be done in contemporary art/dance today, what are the limits of representation, etc.

The video starts as a criminal story of one man chasing another, whereby the emphasis is not laid on the final outcome, but on colour surfaces that sneak into the black and white world of industrial plant. Then the colour instantly covers the entire video surface, a naked man's body appears and the camera starts revealing its details. The end of the video presents seemingly frozen bodies that, within the medium of motion pictures, endeavor once again to find the illusion of stillness offered by fine art.