Biographies

Kon^antin Akinsha

Born in i960 in Kiev, Ukraine. Lives and works in Washington, D.C.,

USA. • Konitantin Akinsha is an art hi^orian and contributing

editor to ARTnews magazine. He was deputy research director of the

Art and Cultural Property section of the Presidential Advisory Com­

mission on Holocau^ Assets in the United States. He is coauthor

(with Nancy H. Yeide and Amy L Walsh) of The AAM Guide to Prove­

nance Research, published by the American Association of Museums.

Sorin Antohi

Born in 1957 in Targu-Ocna, Romania. Lives and works in Buda-

pe^. • Sorin Antohi is a hi^orian of ideas and hi^orical

theori^. He teaches at the Central European University, Budape^,

where he is also Head of the School of Hi^ory and Interdisciplin­

ary Hiftorical Studies. He is Secretary General of the International

Commission for the Theory and Hi^ory of Hi^oriography, and a

member of the Board of the International Committee of Hi^orical

Sciences. • His major fields of research are intellectual hi^ory,

modern and recent Romanian hi^ory in Central and Eaftern Euro­

pean contexts, hi^orical theory and thehi^ory of hi^oriography. His

many books deal, among others, with: Utopianism {Utopica. Studii

asupra imaginarului social, 1991); modern Romanian intellectual his­

tory, focusing on Romanian-Weftern linkages and transfers {Civitas

imoginalis. l^orie si utopie in cultura ronnana, 1994); theories and meth­

ods in the humanities and the social sciences {Exercitiul di^antei. Dis-

cursuri, societati, metode, 1997); modern Romania's culture and politics

{Imaginaire culture! et realite politique dons la Roumonie moderne, 1999);

"the third discourse" {Al treileo discurs. Cultura, ideologic si politica in

Romania, with Adrian Marino, 2001), Romanian visions of the future

{Mai avem un viitor? Rorvonia la inceput de mileniu, with Mihai Sora,

2001), memory and hi^ory in Romania {Oglinzi retrovizoore. l^orie,

memorie si morala in Romania, with Alexandru Zub, 2002).

Kutlug Ataman

Born in 1961 in l^anbul, Turkey. Lives and works in Buenos Aires

and l^anbul. • Kutlug Ataman ^udied film at UCLA, where

he graduated with the short La Fuga. He has pursued a career both

as a film-maker and as an artift, continually crossing the border

between the cinema and the museum, the pa^ and the present, the

virtual and the politically relevant and, finally, between reality and

fiction. In 2004, Ataman was short-li^ed for the Turner Prize at the

Tate Britain, London, and he participated in the 54th Carnegie Inter­

national at the Carnegie Museum of Art in Pittsburgh, where he was

awarded its prestigious Carnegie Prize for his project Kiiba. •

Selected solo exhibitions: "De-Regulation with the work of Kut­

lug Ataman", Museum van Hedendaagse Kunft Antwerp, Belgium

(2006); "Perfect Strangers", Museum of Contemporary Art, Syd­

ney, Australia; "The Four Seasons of Veronica Read", Pinakothek der

Moderne, Munich, Germany (2005); "Long Streams", Serpentine Gal­

lery, London, England, and GEM, Museum Voor Actuele KunSf, The

Hague, Netherlands (both 2003); "Long Streams", Nikolaj, Copen­

hagen Contemporary Art Center, Copenhagen, Denmark; "Women

WhoWearWigs", Istanbul Contemporary Art Museum, Istanbul,Tur­

key; "A Rose Blooms in the Garden of Sorrow", BAWAG Founda­

tion, Vienna, Austria (all 2002). • Selected group exhibitions:

"Without Boundaries. Seventeen Ways of Looking", MOMA, New

York, NY, USA; "Nature Attitudes", T-B A21, Vienna, Austria; "SNAFU

- Medien, Mythen, Mind Control", KunSthalle, Hamburg, Germany

(all 2006); "FaSt Forward. Media Art de la Cole^ion Goetz", Museo

Municipal de Arte Contemporaneo de Madrid/Centro Cultural del

Conde Duque, Madrid, Spain (2005); "Documentary Fictions", Caixa-

Forum, Barcelona, Spain (2004); Neue KunSlhalle III, KunSthalle

Mannheim, Mannheim, Germany; 8th International Istanbul Bien­

nial, Istanbul, Turkey; "Witness", Barbican Art Gallery, London, Eng­

land; "Days Like These", Tate Triennial Exhibition of British Art, Tate

Britain, London, England (all 2003); Documenta 11, Kassel, Germany

(2002); The Berlin Biennial, Berlin, Germany (2001); The 48th Venice

Biennale, Venice, Italy (1999).

Mate! Bejenaru

Born in 1963 in Suceava, Romania. Lives and works in lasi, Roma­

nia. • Matei Bejenaru Studied at the Politechnical Institute

and at the Arts Academy, both in lasi, Romania. Since 1997, he is pro­

fessor of photography and video at the Art University of lasi, direc­

tor of the "Periferic" Biennial, lasi, and, since 2003, of the Vector

Gallery in the same city. As an artiSt and curator living in lasi, he

operates to construct a climate where contemporary art can be pro­

duced, experienced and sustained, in a city that he says loSt every­

thing in the laSt century. Bejenaru works tirelessly to deliver con­

temporary art on this local Stage as well as internationally. •

Selected solo exhibitions: "INTER", R O O M Gallery BriStol and Vec­

tor Gallery lasi; "Strawberry Fields Forever", Galeria Noua, Bucha­

rest (both 2005); "Salut/Ave Bachtalo", OfPspace Gallery, Vienna

(2003); "Mehr Chancen fur unsere Jugend", Kulturkontakt GaState-

lier, Vienna (2002). • Selected group exhibitions: "Situated

Self", Museum of Contemporary Art Belgrade, and Helsinki City

Art Museum (2005); "We are what we are - Aspects of Roma Life in

Contemporary Art", Minoriten Gallery Graz, Jana Koniarka Gallery

Trnava, and Skuc Gallery Ljubljana (2004/05); "Ich bin hier und du

biStdort ...",GFZK Leipzig, Germany (2004); "U-Topos",Tirana Bien­

nial 2, Albania (2003); 49th Venice Biennial; "Never Stop the Action",

ROTOR Association, Graz, AuStria (2001).

lara Boubnova

Born in Moscow, Russia. Lives and works in Sofia, Bulgaria. •

Curator and art critic lara Boubnova graduated from the State Uni­

versity in Moscow in 1986. She was junior Editor at the "Soviet Art­

iSt" Publishing House, Moscow, and, as of 1984, is working at the

National Gallery for Foreign Art in Sofia, Bulgaria. Since 2003, she

is head of the Visual Seminar multidisciplinary project dedicated to

the urban environment of neo-capitalism. lara Boubnova is found­

ing Director of the Institute of Contemporary Art Sofia. She curated

and organized Bulgarian national participations atthe 48th Biennale

diVenezia (1999), the 3rd Biennial in Cetinje, Montenegro, Yugoslavia

(1997), the 4th St. Petersburg Biennial (1996), the 4th Istanbul Bien­

nial (1995) and the 22nd Sao Paulo Biennial (1994). * Selected

projects as independent curator: "Joy", Casino Luxembourg; iSt Mos­

cow Biennial of Contemporary Art (both 2005); ManifeSta 4, Frankfurt

am Main (2002)-all in teams; "Talk with the Man on the Street", 4th

Biennial in Cetinje, Montenegro; "Double-Bind" (co-curator, 2003);

"Locally Interested"(1999), both in Sofia.

171

Sezgin Boynik

Born in 1977 in Prizren, Kosovo. Lives and works in Kosovo. •

Sezgin Boynik graduated from the Mimar Sinan Univesity in l^anbul.

He is writer and editor for contemporary art magazines like art-i^i

and Siyahi{both l^anbul), Arta (Prishtina) and Pre/om (Belgrade), his

topics focusing on the avant-garde, radical political movements, and

subversive thinking. Recently, he has been concentrating on nation­

alism and its connection with kitsch and aefthetics. He is preparing

his doctoral thesis entitled "Modernization and Nationalization of

Yugoslav Turks during the Socialist Period". Boynik teaches Sociology

at the Department of Turkology and Orientali^ic Studies at Prishtina

University and works at the "Gani Bobi" In^itute for Humanitarian

Studies, also in Prishtina.

Boris Buden

Born in 1958 in Croatia. Lives and works in Zagreb and Vienna. •

Boris Buden is a writer and cultural critic. He received his PhD in cul­

tural theory from Humboldt University in Berlin. In the 1990s, he was

editor of the magazine Arkzin, Zagreb. He has contributed regularly

to a variety of newspapers, magazines and cultural journals in for­

mer Yugoslavia, Europe and in the USA. His essays and articles cover

topics of philosophy, politics, cultural and art criticism. Among his

translations into Croatian are two books by Sigmund Freud. He has

participated in various conferences and art exhibitions in We^ern

and Eastern Europe, Asia and the USA, such as Documenta XI, Kassel,

and Wiener Fe^wochen, Vienna. Recently, he took part in the proj­

ect "The Po^-Communi^ Condition", organized byZKM, Karlsruhe.

Buden is author of "Barikade", Zagreb 1996/1997; "Kaptolski Kolod-

vor", Belgrade 2001; "Der Schacht von Babel", Berlin 2004.

Gabrielle Cram

Born in 1978 in Falkirk, Great Britain. Lives and works in Vienna,

Au^ria. • Gabrielle Cram ftudied semiotics and film theory

with a focus on po^colonial que^ions, popular culture as well as

sex-gender related issues at Vienna University, graduating in 2001.

In 2005, she graduated from the Academy of Fine Arts in Vienna,

where she ^udied conceptual art practice. • Working on

several theatre and performance productions, as dramaturge in

dietheater in Vienna, as art i^ on photographic works and documen­

tary essays such as Kung Fu Fighting (2000), The Distant Island {2001)

and X; Memory 1055(2003), exploring modes of display and represen­

tations, she seeks to combine article and cultural practice with the­

oretic approaches. She is currently working at Thyssen-Bornemisza

Art Contemporary.

Laszio Csaki

Born in 1977 in Mosonmagyarovar, Hungary. Lives and works in

Budapest. • Laszio Csaki graduated from the Hungarian

Academy of Applied Arts in Budape^, Department of Visual Commu­

nication, in 2002. He is member of the Hungarian Independent Film

and Video Association and ofthe Young Arties'Association. He won

several national as well as international awards. • Selected

works: Egersza/dk(documentary 2006); Fluxus-Tainer; Wasps, Gees and

Pear (both 2004); Day5 that Were Filled with Sense by Fear / Nopok,

melyeknek ertelmet adott afelelem; Hubertus Card; Tee / Tea (all 2003);

Deathimitator / Holottimitator {2002); The Youth Eases / Az ijjusog meg-

nyugtat; Captain Vrungel / Vrungel kapitany (both 2001).

Emanuel Danesch

Born in 1976 in Innsbruck, Au^ria. Lives and works in Vienna. *

Emanuel Danesch ^udied at the University of Applied Arts and

at the Academy of Fine Arts, both in Vienna. As a poly-media art-

i ^ in the broade^ sense, his projects and documentary films cover

issues of cultural, economical and political transformation. He col­

laborates with David Rych in many projects, but also works indepen­

dently and with other artists. In 2004, Danesch received the Austrian

National Grant for Art. • Selected solo exhibitions (all with

David Rych): "Alterity Displays", Lawrence O' Hanna Gallery, Lon­

don (2004); "Beyond the Map - Con^ructing Narratives", Gallery La

Box, Bourges, France (2003); "Utopia Travel" (award-winning inter­

national project, 2000-2004); "Das Experiment 3 - Utopia Travel",

Vienna Secession (2001). • Selected group exhibitions: "It

is hard to touch the real", Grazer Kun^verein, Graz; "ECONOMY

CLASS", Alliance Fran^aise, Nairobi, Kenya (both 2006); "Utopie Frei-

heit", Kun^halle Exnergasse, Vienna (2005); "DEAF04 V2", Dutch

Electronic Art Fe^ival, Rotterdam; "Hilchot Shchenim", The Israeli

Center for Digital Art, Holon, Israel; "It is Hard to Touch the Real",

film fe^ival, Kun^verein Munich; "Fly Utopia", Transmediale, Berlin

(all 2004). • Film Screenings: Documentary film CSR Promise

Responsibility at GREEN WAVE - 21ST CENTURY EUROPEAN ENVI­

RONMENT FESTIVAL, Dolna Banya, Sofia City Region, Bulgaria, and

Normale 06 (a)Enlazando Alternativas 2, Vienna (all 2006).

Branislav Dimitrijevic

Born in 1967 in Belgrade, Serbia and Montenegro. Lives and works

in Belgrade. * Branislav Dimitrijevic is art hi^orian, writer

and curator. He is Senior Lecturer at the School for Art and Design

(VSLPUb) in Belgrade and the Associate Curator at the Museum of

Contemporary Art, Belgrade. In 1999, he co-founded the School for

Hi^ory and Theory of Images, an independent educational proj­

ect in Belgrade. He has been publishing essays on contemporary

art and theory of art, film and visual culture. M o ^ recent publica­

tions include International Exhibition of Modern Art feat. A. Barr's

Museum of Modern Art (ed.; Belgrade, MOCAb 2003); On Normality:

Art in Serbia 1989-2001 (ed.; Belgrade, MOCAb 2005). M o ^ recent

curatorial projects include "Situated Self: Confused Compassion­

ate, Conflictual", Tennis Art Museum, Helsinki (with M. Hannula,

2005/06) and the Yugoslavian Pavilion at the Biennale di Venezia

(with B. Andjelkovic and D. Sretenovic, 2003). He has been working

on a PhD thesis on "Consumer Culture in Sociali^ Yugoslavia" with

Professor Milena Dragicevic Sesic at the University of Arts in Bel­

grade, and collaborated on the research project "Po^-Communi^

Condition" with Boris Groys.

Ivaylo Ditchev

Born 1955 in Sofia, Bulgaria. Lives and works in Sofia. • Ivaylo

Ditchev is professor of Anthropology at Sofia University. He also has

appointments abroad, moi^ly in France and in the USA. •

He is writer and columni^: for Sega, Sofia, and lettre international,

Berlin. His recent research fields focus on Balkan cities in transition,

the impact of the EU enlargement on national political cultures, the

(re-)invention of identities in the global world and on communism

and after: symbols, rituals, propaganda, power. He has published

extensively, his late^ book being Spaces of Desire, Desires of Space.

Studies in Urban Anthropology {Sof\a, LIK 2005).

www.ivayloditchev.cult.bg

172

Marina Griinic

Born in 1958 in Rijeka, Croatia. Lives in Ljubljana, Slovenia, and v^orks

in Ljubljana and Vienna. • Marina Grzinic is researcher at the

In^itute of Philosophy at the Scientific and Research Center of the

Slovenian Academy of Science and Art in Ljubljana, Slovenia, and

professor at the Academy of Fine Arts in Vienna. She also v /orks as

freelance media theori^, art critic and curator. Since 1982, Grzinic

has been involved with video art. Porno codes, thriller situations

and overtly formulated political cata^rophes are the basic elements

of her work. • Recent publications: "Une fiction recon^ru-

ite. Europe de I'Eft, po^-socialisme et retro-avant-garde [Fiction

Recon^ructed. Ea^ern Europe, Po^-Socialism and the Retro-Avant-

Garde], L'Harmattan, Paris; "AVANGARDA I POLITIKA: iftocnoevrop-

ska paradigma i rat na Balkanu" [Avant-Garde and Politics: The Ea^-

ern European Paradigm and the War in the Balkans], Beogradski

krug, Belgrade, Serbia and Montenegro; "E^etika kibersvijeta i ucinci

derealizacije" [Ae^hetics of Cyberspace and the Effects of De-Realiza­

tion], Multimedijalni inftitut mi - MaMa, Zagreb, Croatia and Kos-

nica - centar za komunikaciju i kulturu, Sarajevo, Bih (all 2005).

Francesca von Habsburg

Born in 1958 in Lugano, Switzerland. Lives and works in Vienna. •

Francesca von Habsburg was born in Switzerland and began her

^udies there. Later, in London, she ^udied at St. Martin's School of

Art and ICA, where she read Hi^ory of Modern Art. After working in

London, New York and Los Angeles, in 1989 von Habsburg became

Chief Curator of special exhibitions of theThyssen-Bornemisza col­

lection at the Villa Favorita in Lugano. In 1995, she founded ARCH

Foundation, which is dedicated to the preservation and re^oration of

cultural heritage. In 2002, she also founded T-B A21 - Thyssen-Bor-

nemisza Art Contemporary foundation in Vienna, Au^ria.

Natasa liic

Born in 1970 in Zagreb, Croatia. Lives and works in Zagreb. *

Natasa Ilic is a free-lance critic and curator. She is a founding mem­

ber of "What, How 8( for Whom / WHW", an independent curato­

rial collective that organizes different production, exhibition and

publishing projects and also directs Galerija Nova, Zagreb. She co-

curated a number of international exhibitions in Zagreb and abroad,

including "Collective Creativity", Kun^halle Fridericianum, Kassel

(2005), Cetinje Biennial 5, Montenegro (2004), "Looking Awry", apex-

art. New York (2003), "Project: Broadcafting",TheTechnical Museum,

Zagreb (2002). As an art critic, she contributed to numerous catalogs

and magazines.

Kri^ian Lukic

Lives and works in Novi Sad. • Writer, computer game

researcher, new media ar t i^ and curator Kri^ian Lukic is working

as program manager in the New Media Center kuda.org in Novi

Sad. He is gue^ lecturer at Academy of Fine Arts, Audio-visual Media

Department, also in Novi Sad. Within kuda.org, he was co-curat-

ing exhibitions and managed numerous projects such as the World-

Information.Org, exhibitions in collaboration with Public Netbase in

Novi Sad and Belgrade in 2003. • He is founder of Ea^wood

- Real Time Strategy Group with whom he has been exhibiting from

2002 onwards. Ea^wood group creates and uses computer games as

a tool for new visions of art and cultural practice. Exhibitions and pre­

sentations of Ea^wood include: Yerba Buena Center for the Arts, San

Francisco; Ars Electronica Linz, Austria; International Film Fe^ival

Rotterdam, Netherlands; Foundation for Art and Creative Technol­

ogy, Liverpool, UK; ISEA2004 Helsinki, Finland; Free Cultures Vienna,

Au^ria; Werkleitz Biennial, Halle an der Saale, Germany.

Anetta Mona Chisa

Born in 1975 in Nadlac, Romania. Lives and works in Prague and

Bratislava. • Anetta Mona Chisa ^udied at the Academy of

Fine Arts and Design in Bratislava, Slovakia. In 2001/2002, she was

curator at the Synagoge - Center of Contemporary Arts Trnava. Since

2002, she has been working as assi^ant teacher at the Academy of

Fine Arts Prague, New Media Department. Her recent article works,

based on personal Tories, play with the concept of access to dif­

ferent forms of power: professional, political, ideological, and geo­

graphical. • Selected solo exhibitions (all with Lucia Tkacova):

"Ortografio de Potenco", Futura Gallery, Prague (2006); "Nonftra-

tegic Scenarios: The Red Library", Jeleni Gallery, Prague (2005); "A

Room on Their Own", Medium Gallery, Bratislava (2003). •

Selected group exhibitions: "Office art", C2C Gallery, Prague; "Shad­

ows of Humor", BWA Awangarda, Wroclaw (2006); "The Art i^ With

Two Brains", NAB Birmingham; "Kaleidoskop. Fiktionen von Kun^

und Wissenschaft", Oktogon, Dresden; Prague Biennale 2, IBCA,

National gallery Prague; "Iconoclash", Spitz Gallery, London (2005);

"E.U. positive", Akademie der Kun^e Berlin (2004); "The La^ Ea^

European Show", Museum of Contemporary Art Belgrade; "Stadt in

Sicht. Neue Kun^ aus Bratislava", Kun^lerhaus, Vienna (2003).

Boris Ondreicka

Born in 1969 in Zlate Moravce, Slovakia. Lives and works in Bratislava

and Bernolakovo, Slovakia. * Boris Ondreicka is ar t i ^ and

leader of the art-initiative tranzit.sk. His works were exhibited at

Manife^a 2 in Luxembourg and the Venice Biennale, at PSi NYC,

Kolnischer Kun^verein, Magazin4 Bregenz, MUMOK and Secession

Vienna, BAK Utrecht, W139 and De Appel Am^erdam, Kiasma Hel­

sinki, Transmission Glasgow, Fondazione Sandretto Re Rebaudengo

Turin. He also participated in thee-flux project "Next Director of Doc-

umenta should be an Art i^" . Since 2002, tranzit.sk has organized lec­

tures and projects of/with Rene Block, Catherine David, Maria Hla-

vajova, Robert Fleck, Thomas Hirschhorn, Jun Yang, Franz PomassI,

Kathrin Rhomberg, Igor Zabel, Clemetine Deliss, Julius Koller, Stano

Filko, Martin Creed, Johanna Billing, Lise Harlev, Allan Curall, Radek

Community, Carl Michael von Hausswolff and many others.

173

Szabolcs Palfi

Born in 1974 in Budape^, Hungary. Lives and works in Buda-

pe^. • Szabolcs Palfi ^udied animation film at the Hun­

garian University of Crafiis and Design in Budape^, Department of

Visual Communication. With his diploma film The Bus he won several

national prizes and thejameson Short Film Award in 2004. Underthe

name of Hipokaloric Group, he has been working with Laszio Csaki

on several projects. • Selected works: Egerszo/olc (documen­

tary, 2006); The Bus (animation, 2004); Stone; Hubertus Core/(anima­

tion, all 2003); Sport; Tea (animation, all 2002); Mada iascar (wildlife

documentary, 1998).

Zoran Pantelic

Born in 1966 in Novi Sad, Serbia and Montenegro. Lives and works

in Novi Sad. • Zoran Pantelic studied at the Academy of

Fine Arts in Novi Sad, Serbia and Montenegro, and at the School

of Media Education, Faculty of Social Sciences, in Ljubljana, Slove­

nia. He teaches Media Communication at the Academy of Fine Arts,

Novi Sad, and is director of the New Media Center kuda.org, also in

Novi Sad, which he founded in 2000—a content providing platform

for new cultural practices, media art production and social layout,

exploring critical approaches towards (mis-)using ICT and empha­

sizing creative rethinking in the network society. In 1993, Pantelic

founded the association APSOLUTNO in Novi Sad, a collective deal­

ing with interdisciplinary artwork and media pluralism. • H i s

work has been featured, among other places, at fe^ivals and galler­

ies in Berlin, Paris, Budape^, Vienna, Frankfurt, Wroclaw, Hiroshima,

and San Francisco. In 2001, he curated the New Media Section of the

Belgrade October Exhibition, and mo^ recently co-curated the New

Media Festival in Belgrade. In 2003, he co-produced the World-Infor­

mation.Org exhibition, an international project by Public Netbase,

Vienna, in Novi Sad and Belgrade.

Renata Poljak

Born in 1974 in Split, Croatia. Lives and works between France, Vienna

and Split. • Renata Poljak ^udied at the Academy of Fine Arts

in Split and absolved a po^graduate program in Nantes, France. In

2002, she was visiting art i^ at the San Francisco Art In^itute and in

2004 artift in residence at MuseumsQuartier, Vienna. • With

a very personal approach to queflions that the artift is concerned

with, Poljak is using a fragmented poetic filmic language that is deal­

ing with essayi^ic documentari^ elements. The artift as a subject

takes an important role as a narrator within the films. The works

are translated via media mo^ly through video and recently also in

16 mm. They can be seen on film fe^ivals as well as in gallery spaces

as photographic,or in^allation works. • Selected solo exhi­

bitions: "The View", Galery SC, Zagreb, Croatia (2005); "Emergency

Tensions", Daniel Azoulay Gallery, Miami, Florida (with D.Figarella,

2003); Wonderland, Galerie Soardi, Nice, France (2002). •

Selected group exhibitions: "Normalization", Rooseum Center for

Contemporary Art, Malmo, Sweden; "Insert", Museum of Contem­

porary Art, Rijeka, Croatia (both 2006); "Landscape in Contemporary

Visual Art and Culture Between Fetishes and Ideology", 34th Split

Salon, Split, Croatia; "Binder, Milunovic, Poljak", Gallery Ernft Hil-

ger, Vienna (both 2005); "Passage d'Europe", Musee d'Art Moderne

de St-Etienne, France (2004).

Irit Rogoff

Irit Rogofl^ holds a university chair in Visual Culture at Goldsmiths

College, London University, and is directorof an AHRB-funded inter­

national research project "Cross Cultural Contemporary Arts". She

writes extensively on conjunctions of critical theory and contempo­

rary arts with particular intere^ in issues of geography, location, per-

formativity and cultural diflPerence. Rogoff is the author of "Terra

Infirma - Geography's Visual Culture" (2001) and is presently work­

ing on a ^udy of the participatory entitled "Looking Away - Partici­

pating Singularities and Ontological Communities". She is currently

curating "De-Regulation with the work of Kutlug Ataman" (Antwerp,

Herzylia, Berlin 2006/7) ^nd "Academy - Learning and Teaching"

(Hamburg, Eindhoven, Antwerp 2005/6).

David Rych

Born in 1975 in Innsbruck, Austria. Lives and works in Berlin. •

David Rych fludied at the Academy of Fine Arts in Vienna. As a poly-

media ar t i ^ in the broade^ sense, his projects and documentary

films cover issues of cultural, economical and political transforma­

tion. He collaborates with Emanuel Danesch in many projects, but

also works independently and with other arti^s. • Selected

solo exhibitions: "The War Room", Galerie 35, Berlin (2005); "Alter-

ity Displays", Lawrence O'Hanna Gallery, London (with Emanuel

Danesch, 2004); "Beyond the Map - Con^ructing Narratives", Gal­

lery La Box, Bourges, France (with Emanuel Danesch, 2003); "Utopia

Travel"(with Emanuel Danesch, award-winning international project,

2000-2004); "Das Experiment 3 - Utopia Travel", Vienna Secession

(with Emanuel Danesch, 2001). * Selected group exhibi­

tions: "e-flux Rental", KW Inftitute for Contemporary Art, Berlin; "ID

Troubles - US Visit", NURTUREart Gallery, New York (both 2005);

"DEAF04" V2, Dutch Electronic Art Fe^ival, Rotterdam; "Hilchot

Shchenim", The Israeli Center for Digital Art, Holon; "It is Hard to

Touch the Real", film fe^ival, Kun^verein Munich; "Fly Utopia"Trans-

mediale, Berlin (all 2004).

Zoltan Sebok

Born in 1958 in Subotica, Serbia and Montenegro. Lives and works in

Budapest, Hungary. • Zoltan Sebok studied literature in Novi

Sad and art hi^ory and philosophy in Belgrade. In 1991, he emigrated

to Hungary, where, as from 1997, he is professor at the Academy of

Fine Arts Budapest. Since 1976, he has worked as an editor for mag­

azines such as Uj Symposion, Novi Sad, Magyar Muhely, Vienna/Paris,

and Balkon, Budapest, for the publishing company Kijarat, Buda-

pe^, as well as for Radio Novi Sad and Radio Free Europe. Besides,

he has written extensively in the field of modern and contempo­

rary art. His publications include "A memek titokzatos elete. Nemeth

Gabor es Sebok Zoltan beszelgetese", Bratislava, 2004; "Eloskodo

kultura" [Parasitic Culture], Bratislava, 2003; "Az uj muveszet foga-

lomtara i945-t6l napjainkig" [Dictionary of New Art from 1945 to

Today], Budapest, 1996. Also, he translated books by authors such as

Vilem Fiusser and Boris Groys.

174

Nedko Solakov

Born in 1957 in Tcherven Briag, Bulgaria. Lives and works in Sofia,

Bulgaria. • Since the beginning of the 1990s, Nedko Solakov

has exhibited extensively in Europe and the United States. His v /ork

was featured in Aperto 93 (Venice Biennial); the 48th, 49th and 50th

Venice Biennial; the 3rd, 4th and 9th l^anbul Biennial; Sao Paulo 94;

Manife^a 1, Rotterdam; the 2nd and 4th Gwangju Biennial; the 5th

Lyon Biennial, Sonsbeek 9, Arnhem, the 4th and 5th Cetinje Biennial,

the 1 ^ Lodz Biennial; the 7th Sharjah Biennial, United Arab Emirates;

and the 3rd Tirana Biennial. Recently, he had solo shows at Museu

do Chiado, Lisbon; Stichting De Appel, Amfterdam; CCA Kitakyushu,

Japan; Museo Nacional Centre de Arte Reina Sofia, Madrid; The

Israel Museum, Jerusalem; Centre d'Art Santa Monica, Barcelona

and Kun^haus Zurich. In 2003-2005 an extensive mid-career "A 12

1/3 (and even more) Year Survey" was presented at Casino Luxem­

bourg, Rooseum Malmoe and O.K Centrum Linz.

Lucia Tkacova

Born in 1977 in Banska Stiavnica, Slovakia. Lives and works in

Bratislava, Slovakia. * Lucia Tkacova ftudied at the Academy

of Fine Arts and Design in Bratislava, Slovakia, where, as from 2005,

she is assi^ant teacher at the Department of Painting. In 2003 she

founded Gallery HIT in Bratislava, a space focused on the young

generation of contemporary artifts, and worked as its director for

three years. Her recent arti^ic works, based on personal Tories, play

with the concept of access to different forms of power: professional,

political, ideological, and geographical. • Selected solo exhi­

bitions: "Magical recipies for love, happiness and health". Open Gal­

lery, Bratislava; "Ortografio de Potenco", Futura Gallery, Prague (both

2006, with A. M. Chisa); "Non^rategic Scenarios: The Red Library",

Jeleni Gallery, Prague; "Videosomic: We Would Prefer to Sleep With

Roman Ondak", Space Gallery, Bratislava (both 2005, with A. M.

Chisa); "Casing", Space Gallery, Bratislava (2004); "A Room of Their

Own", Medium Gallery, Bratislava (with A. M. Chisa); "Pretty guys".

Gallery HIT, Bratislava (2003). • Selected group exhibitions:

"Re-shufFle: Notions of an Itinerant Museum", Art in General, New

York; "Les Beaux Ideals", Synagogue Centre for Contemporary Art,

Trnava; "Innenansicht Prag 06", Kun^raum NOE, Vienna; "Shades

of Humor", BWA Awangarda, Wroclaw; "My Love is Dead", Galerie

Oelfrueh, Hamburg (all 2006); "The Ar t i ^ With Two Brains", NAB -

Jewellery Quarter, Birmingham; "Iconoclash", Spitz Gallery, London;

Prague Biennale 2 (all 2005).

Zelimir Zilnik

Born in 1942 in Novi Sad, Serbia and Montenegro. Based in Novi

Sad. • From the late 1960s, his socially engaged films and doc­

umentaries in former Yugoslavia and his unique visual ^yle earned

him critical accolade (The Unemployed, i^SS,, Be^ Documentary at the

Oberhausen fe^ival, 1968; Early Works, 1969, Be^ Film at Berlin Film

Fe^ival), but also censorship in the 1970s for his unflinching criticism

of the government apparatus. Low budget filmmaking and challeng­

ing political themes markZilnik's prolific career that includes over 40

feature and documentary films and shorts. Since the 1980s, he has

been developing his unique docu-drama language, which he used

throughout 1990s to reflect on political tensions, including EU sanc­

tions, the NATO bombings, and Milosevic's regime. His power to

observe and unleash compelling narratives out of the lives of ordi­

nary people is the common thread throughout his documentary and

docu-drama work, including 1994's Tito's Second Time Among^ the

Serbs. More recently, his focus has shifted beyond the divided Balkans

to que^ion its relationship with the tightening controls of European

borders, delving into the heart of issues of refugees and migrants in

Fortress Europe (2000), and Kenedi Goes back Home (2003) and Kenedi:

Loil and Found (2005).

For more information, visit www.zelimirzilnik.com

Daniela Zyman

Born in 1964 in Vienna, Au^ria. Lives and works in Vienna. *

Daniela Zyman is currently curator of Thyssen-Bornemisza Art

Contemporary, Vienna - a foundation established in 2002 by

Francesca von Habsburg. She has been chief curator at the MAK-

Auftrian Museum of Applied Arts / Contemporary Art in Vienna

between 1995 and 2001 and was fundamental in the creation of the

MAK Center for Art and Architecture at the Schindler House in Los

Angeles, which she has directed for some years. Zyman has earned

her MA in art hiitory atthe University of Vienna and her MFAat New

York's Columbia University. She held teaching positions at the Uni­

versity of Applied Arts, Vienna, and has authored numerous essays

for catalogs and international magazines.

175

Li^ of Works

Kutlug Ataman

Kuba, 2004

40-channel video in^allation

each video approx. 50 min, color, sound

Edition 2/5

Commissioned by Artangel, London, co-produced by Carnegie

Museum of Art, Pittsburgh; Lehmann Maupin Gallery, New York;

Thyssen-Bornemisza Art Contemporary, Vienna; Theater der Welt,

Stuttgart; Museum of Contemporary Art, Sydney

Nedko Solakov

A BG Bar, 2006

In^allation

Metal, paint, oak wood, refrigerator, glasses, non-alcoholic bever­

ages, white permanent felt-tip pen, texts and drawings over black

painted metal

121 X 443 X 295,5 cm

Film production by Yalan Dunya, Istanbul

Producer: Gulen Guler

Assi^ant editors: Can Deniz Sahin, Burcu Baki

Translations: Brendan Freely, Irfan Oksuz

Subtitling: Altan Sebuktekin

OfiRce coordinator: Nukhet Karvanli

Runner: Emre Guler

Yalan Diinya would like to thank: Dogan Albayrak, Nihal

Basibuyuk, Gurel Guler, GiJray Guler, Martin Fryer, Juliet Gray,

(^igdem Goymen, Ozkan CangiJven, Bilkom

Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna

III. pp. 58/59, 60, 61, 64, 65

© Nedko Solakov, Jasper Sharp (p. 64)

Zelimir Zilnik

Soap in Danube Opera, 2006

Workshops and single-channel video projection

approx. 45 min., color, sound

III. pp. 22, 24, 25, 32, 33

(c) Artangel, London (exhibition view the Sorting Office, London);

Michael Strasser/T-B A 21 (in^allation view Negrelli barge)

Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna

Workshops held by Zelimir Zilnik in Novi Sad, January to June

2006, with the final result of the 45-min. video Soap in Danube

Opera

Matei Bejenaru

Travelling Guide, 2005/06

Public art project, brochures and billboards

Brochures di^ributed throughout Romania

Po^er 50 X 70 cm, folded

Billboards in Con^anta and Vienna

Commissioned and published by IDEA arts+society magazine,

Cluj-Napoca, Romania, in 2005

Commissioned as a public art project by Thyssen-Bornemisza

Art Contemporary, Vienna, in 2006

III. pp. 40-51

© Matei Bejenaru

Concept and artiftic director: Zelimir Zilnik

Workshop assiftance lecturing editing: Marin Malesevic and

Branislav Klasnja

Workshop assi^ance lecturing camera: Bojan Djurisic and

Pedja Radosavljevic

Camera, editing, sound: Ljiija Dinic, Sofija Petakovic, Zdravko

Pranjic, Ljubisa Stepanovic, Muhamed Eljsani, Vitomir Pucar,

Saiji Hasani.Zoran Borovac, Fjurim Eljsani, Vladimir Savcic,

Aljus Heljsani, Muhamed Maroti, Bojan Grcic, Senad Mutapi,

Milan Janic

Production manager: PetarCehov

Assi^ant production manager: Robert Radic

Production: Terra Film, Novi Sad

III. pp. 70-74, 85

© Zelimir Zilnik

176

Renata Poljak

All One Knows, 2006

2-channel film and sound in^allation

filmed on 16 mm and DV-cam, transferred to DVD

Part 1: 10 min., part 2: 9 min., color, sound

soundscape by Ramuntcho Matta

Edition 1/3

Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna

Writer/director: Renata Poljak

Parti

Director of photography: Paul Brettschuh

Voice-over: Renata Poljak, Paul Brettschuh

Voice recordings: Frederic Cousan

Developed and digitalized at Synchro Film 8(Video, Vienna

Part 2

Ca^: Sanja Vejnovic and Darko Milas

Director of photography: Goran Mecava

Editor: Vesna Biljan

Assiftant cameraman: Mario Vargovic

Gaffer: Dejan Brkic

Sound engineer: Ivica Slivalic

Color grading: Goran Rukavina, ^udio Guberovic, Zagreb

English translation: Susan Jakopec

Special thanks: Mercy Bona Pavelic, ^udio Guberovic, Zagreb

Thanks to: Vanja Hra^e, Mato llijic

III. pp. 92-95, 98

© Renata Poljak

Anetta Mona Chisa 8 Lucia Tkacova

After the Order, 2006

Performance, photograph

Freedom Square, Nameftie Slobody, Bratislava, May 14, 2006

Ca. 100 participants forming a human pyramid

Commissioned as a public art project by Thyssen-Bornemisza

Art Contemporary, Vienna

Emanuel Danesch 8?; David Rych

Minority Logbox: multiple degrees of representation

logged 0106-0506: TR-RO-BG-YU-HR-H-SK-A, 2006

Video in^allation in "Nagetusch Brillant" caravan Dresden

(built i960)

Digitalized video archive in self-service video jukebox (metal) /

variable site specific setting with one or several monitors

Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna

III. p p . 150 ,151 ,156 ,157

© Emanuel Danesch 8( David Rych

Laszio Csaki 8^ Szabolcs Palfi

Agar-The Hungarian Greyhound Project, 2006

30-channel video installation

6o-min. loop, color, sound

Edition 1/3

Commissioned by Thyssen-Bornemisza Art Contemporary, Vienna

III. p p . 1 1 6 - 1 1 9 , 1 2 3 , 1 2 4 , 1 3 0

(c) Laszio Csaki 8^ Szabolcs Palfi

177

Schedule and Venues

May 1 - 7 , 2006: Con^anta, Romania*

Mate! Bejenaru: Travelling Guide

Tomis Touri^ Harbor, Conftanta / Public space, Buchare^

May 13 - 18, 2006: Rousse, Bulgaria

Nedko Solakov: A BG Bar

Curator: lara Boubnova

Negrelli barge / Canetti House, Slavyanska Street 12, Rousse

www.ica.cult.bg

May 23 - 26, 2006: Novi Sad, Serbia 8^ Montenegro

Zelimir Zilnik: Soap in Danube Opera

Curator: Zoran Pantelic

Negrelli barge / Museum of Contemporary Art, St. Dunavska 37, Novi Sad

www.kuda.org

May 27 - 30, 2006: Vukovar, Croatia

Renata Poljak: All One Knows

Curator: Branko Franceschi

Negrelli barge /Vukovar City Museum, Eltz Ca^le, Zupanijska 2, Vukovar

www.mmsu.hr

June 2 - 11, 2006: Budape^, Hungary

Laszio Czaki 8(Szabolcs Palfi: Agar-The Hungarian Greyhound Project

Curator: Janos Szoboszlai

Negrelli barge / Ethnographic Museum, Kossuth Lajos ter 12, Budapest

www.acbgaleria.hu

June 14 - 20, 2006: Bratislava, Slovakia

Anetta Mona Chisa 8^ Lucia Tkacova: After the Order

Curator: Boris Ondreicka

Negrelli barge / Freedom Square, Nameftie Slobody, Bratislava

www.tranzit.org

June 21, 2006: Kuba arrives in Vienna, Au^ria

June 24 - Sept 9, 2006: Exhibition in Vienna

Ne^royhof, Ne^royplatz 2, and T-B A21, Himmelpfortgasse 13, Vienna

www.tba21.org

* Due to the flooding of the lower Danube region and its ensuing humanitarian crisis, the opening

launch and the presentation of Kiiba:Journey Again^ the Current had to be pofi:poned to May 13 in

Rousse, Bulgaria. I 7 8

Kiiba: Journey Again^ the Current

Thyssen-Bornemisza Art Contemporary, Vienna

Project director:

Francesca von Habsburg

T-B A21 curatorial team:

Danieia Zyman, Gabrielle Cram, Jasper Sharp

Project architect, technical coordination:

Philipp Krummel

T-B A21 project team:

Samaela Bilic-Eric, Eva Ebersberger, Barbara

Horvath, Alexandra Hennig, Mischi Pakesch,

Gioia Zwack, Catharina Coreth, Carola Annoni

Press and PR:

A^r id Bader / BSX - Bader 8^ Schmolzer GmbH, Vienna

Ben Rawlingson Plant/ Brunswick Arts Consulting, London

Sara Fitzmaurice / Fitz 8^ Co, New York

Our special thanks go to: Kutlug Ataman, the people of

Kiiba, Penka Angelova, Luchezar Boyadjiev, Emil Brix, Matei

Caltia, Cosmina Chituc, Peter Forgacs, Martin Gabriel, Gulen

Guler, Nathalie Hoyos, Klaus Hundsbichler, ICA- Sofia,

Andreas Kieninger,Timo Koe^er,James Lingwood, Boris

Marte, Sarita Matijevic, Biljana Mickov, Ruza Marie, Vladiya

Mihaylova, Michael Morris, Kiril Prashkov, Elsa Prochazka,

Walter SeidI, Manfred Seitz, Kalin Serapionov, Sava Stepanov,

Attila Tordai-S. and IDEA magazine, Elena Velikova, and to

all those silent helpers and voices who helped to realize

this voyage.

179

Thyssen-Bornemisza Art Contemporary

The language that Thyssen-Bornemisza Art Contemporary has cho­

sen to use in contextualizing the Kiiba project has a great deal in

common with the effort being made to change things for the better.

Kiiba has itself overcome the categorization of "breaking boundaries"

with the resonance of its hone^y, the infinite richness and lyricism,

which is Kutlug Ataman's signature. It is Kiiba itself that led to the

enlargement of this project from being a simple one-wayjourney up

the Danube to Vienna, to it becoming a cataly^ of parallel positions

from the whole Danube region. As enlargement of the EU is the sub­

ject of great debate among^ member nations, it is all the more rel­

evant that we remind ourselves of our common humanity.

(Francesca von Habsburg)

A new foundation for contemporary art, Thyssen-Bornemisza Art

Contemporary - T-B A21 was founded by Francesca von Habsburg

in Vienna, Au^ria. Its mission is to support through co-productions

and unique commissions the creation of new works from arti^s

that contribute important positions to the contemporary art prac­

tice. T-B A21 seeks to achieve this through multi-disciplinary projects

that break down the traditional boundaries that define and catego­

rize arti^ic expression in its different forms, wh i l ^ at the same time

empowering the audiences with a living experience of contemporary

arti^ic expression. The work of the foundation brings innovation to

the core of theThyssen-Bornemisza fourth generation's approach to

collecting and patronizing the arts.

Chairman

Francesca von Habsburg, Vienna

Truftees

Norman Rosenthal, Royal Academy, London

Peter Pakesch, Kun^haus, Graz

Advisory board

Peter Weibel, ZKM, Karlsruhe

Olafur Eliasson, art i^, Denmark/Iceland

Diana Thater, art i^, California

Simon de Pury, Phillips de Pury S Company, New York, Zurich

Curator

Daniela Zyman, Vienna

T-B A21

Himmelpfortgasse 13

1010 Vienna, Au^ria

T +43 1 513 98 56, F + 43 1 513 98 56-22

0ffice@tba21.org

www.TBA21.org

TB Thyssen-Bornemisza Art Contemporary

180

This catalog was published on occasion of the project Kuba: Journey Again^ the Current,

May 1 -June 21, 2006,

and the exhibition of the same title, June 25- September 9, 2006, Ne^roynof,

Ne^lroyplatz 1, 1020 Vienna, and T-B A21, Himmelpfortgasse 13, iO]o Vienna

Published by: Thyssen-Bornemisza Art Contemporary, Vienna

Concept and editors: Gabrielle Cram, Daniela Zyman /T-B A21, Vienna

Graphic design: Thees Dohrn, Philipp von Rohden / Zitromat, Berlin

Typesetting: Chriftian Schienerl / PixelPan Media Design, Vienna

Copyediting: Sonja Illa-Paschen

Proofreading: Elio Karamatic, Duncan Larkin, Andrew Horsfield

Translations: Ida Cerne (pp. 75, 80-84), Gabor Csillag (pp. 120-125), f~'lip Hochel (pp. 144-1.47),

Andrew Horsfield (pp. 76-78,160-169), Alex Moldovan (pp. 40-51), Goran Vujasinovic (pp. 96-101)

Printed by: REMAprint, Vienna

(c) 2006 Thyssen-Bornemisza Art Contemporary, Vienna All rights reserved. No part of this publication may be reproduced or used in any form of media,

neither technical nor electronic, including photocopies and digital storage, etc. All text copyrights I

with the authors.

(c) Images by the artists, except: p. 10 (AP, Frankfurt); p. 13 (Timo l<65ter. International Canett! Soct

Rousse); pp. 17 bottom, 32, 33 (Michael Strasser/T-B A21); p. 17 top (courtesy of via donat);

pp. 24, 25 (courtesy of Artangel, London); pp. 54, 64 (Jasper Sharp); p. 78 top fBiljana Mickov';:

p. 78 bottom (Ivan Bavcevic).

Cover: Zitromat, Berlin

T-B A 21

Himmelpfortgasse 13

1010 Vienna, Austria

T -f-43 1 513 98 56, F + 43 1 513 98 56-22

office(a)tba21.org, www.TBA21.org