Living Archive as the Feminist Academic Course

Red Min(e)d together with Deuje Babe, Svetlana Maraš and students of the Fine Art Academy are inviting you for lectures, socialising, exhibition and sound performance.

at MOTA Point, Gosposvetka 12, Ljubljana,

Tuesday, May 5th – From the feminist bare life to curatorial practices

16.00 – 19.00
Jelena Petrović: Living Archive – (Non)exhibition practices and feminist principles
Katja Kobolt: Feminist curating beyond, in, against or for the canon, for the centre?
Danijela Dugandzić Živanović: Living Archive – art production in times of trouble
Dunja Kukovec: Living Archive – questions of contaminated knowledge and quantum paradigm

Wednesday, May 6th – Between individual work and collective practice

16.00 – 17.30
Jelena Petrović and Katja Kobolt: Presentation of the book No One Belongs Here More Than You
Danijela Dugandžić Živanović and Dunja Kukovec: Presentations of CRVENA and HoHo MM Lab

17.30 – 19.00
Tea Hvala and Janja Hiti: Deuje babe

Tea Hvala will together with Janja Hiti present the festival Deuje babe, which is since 2013 happening in Cerkno. The festival promotes “wild” artistic and socially engaged practices of girls and women to empower local community. The community is open for all, also for men, and by being potentially feminist is – through organizing and preparing the event, and even more through socializing and debates during the event – encouraging interpersonal relations and knowledge sharing between festival participants and general public in wider Cerkljansko area.

Thursday, May 7th – Frequencies and Waves of Communication

16.00 – 19.00
Red Min(e)d: Sound – (non)articulated spaces of social imagination, introduction

Svetlana Maraš: Where is my sound art?
participative performance and lecture

Participative performance of the piece Pendulum music (2010) is followed by the comparative analysis of this work and Pendulum music made in 1968 by Steve Reich. This introduces us to the works of conceptual artists and composers from the 1960s’s where we search for the origins of what we recognize today under the term “sound art”. Following the idea of early experimental music as an opposing force to traditional understanding of musicality at large, we are exposed to the examples from history that depict the increasing urge of introducing extra-musical elements in music, which was a driving force for the emergence of sound art.

Friday, May 8th

16.00 – 19.00
Presentations, artist talks, gathering with students of postgraduate programme Living Archive: Nika Ham, Elma Đelmo, Jasmina Grudnik, Martina Jurak, Mojca Mikolič

Svetlana Maraš: Sound performance

For years, she has been using sound as a tool for exploration of musical form, expression and meaning in the wider artistic context. She studied composition at Belgrade University of Art and Sound in New Media at Aalto University in Helsinki. Her works have been composed for and within various media. She is exploring the boundaries of musical being with realization of musical ideas through sound, text, physical object or digital technology. Her fascination with the relation of music and everyday object resulted in theoretical research Embodied composition: Treatment and meaning of physical object in experimental music and sound art that was a part of her graduate thesis at Media Lab, Helsinki.

The event is funded by Erste Foundation and WUS Austria.

Check who else supports us here and Press Release PDF here.

Red Mined’s new cosmic emanation online – in statu nascendi

RED MINED will be a webpage representing our mind occupation and work creations: Art Show uncovering our latest ideology, which simultaneously embodies collective approach and individual practices, and Living Archive showing what is and was happening with the Living Archive now and in the past. In short you could enjoy getting lost on our Living Archive archive page, and amuse yourself by watching our youtube channel, or by listening sonic thoughts on soundcloud. Join us. We have little to hide.

Yours truly

Red mined collective

red mined

Red Min(e)d at Suzanne Lacy’s International Dinner Party in feminist curatorial thought

Venue | Gallery, Toni-Areal, ZHdK Zurich University of the Arts,

Level 4 + 5, Pfingstweidstrasse 96
Time | March 21–April 13, 2015
Curated by Elke Krasny


Installation view Red Min(e)d, Gallery, Toni-Areal, ZHdK Zurich University of the Arts, Zurich, 2015.

Red Min(e)d is self-identified as a «feminist curatorial group» active with(in) and beyond the post-Yugoslav space. The four members are Jelena Petrović and Katja Kobolt, Danijela Dugandžić Živanović, and Dunja Kukovec. Starting from shared experiences of transitionality from the Socialist Federalist Republic of Yugoslavia to post-socialist globalization and based upon shared beliefs in curating feminist knowledge, friendship, and solidarity, the group started Red Min(e)d and their ongoing Living Archive project in 2011. The Living Archive produces and shares knowledge on the intersections of feminism and contemporary art in the post-Yugoslav context.


«We have been working on the basis of solidarity and consensus. We are four and we are constantly shifting power between us (…) we have been building a truly safe space of belonging. Living Archive editions took place in Zagreb, Vienna, Stockholm, Sarajevo, and Ljubljana.» The Living Archive is an exhibition laboratory and a public interactive archive with several (non)working stations such as: a Audio/Video booth that documents and presents live artists talks, discussions, and interviews, the Perpetuum Mobile with a growing collection of video and other media art, and the Reading Room where one can fill out the feminism and art Questionnaire, and since the Sarajevo edition there is also the Curatorial Forum.

«What we have known since the first edition of the Living Archive is that most artists, curators, and authors, just like each one of us, have no salaries, no health insurance, have no savings, have no studios, no security and no plans for future. They produce hungry, tired, love sick, homesick, lonely, with friends, using the equipment and skills of their friends and giving their lives, time and energy to produce art knowing that most of the people around them believe that art is just a commodity.»


In 2013, Red Min(e)d were nominated as October Salon curators. Initiated in 1960 by the City of Belgrade, the Salon is the oldest and most prestigious institution of contemporary visual art in Belgrade. «We searched for a public museum or a gallery in Belgrade that would be big enough to host over 40 artistic positions, have at its disposal an operating license to be able to welcome the public, be open and available in autumn and have heating and electricity in the whole building.» They found neither a museum nor a gallery. They decided that the 54th October Salon would take place in the former KLUZ department store and factory, originally built as a military salon, currently owned by Zepter. The exhibition No One Belongs Here More than You appropriated the precarious space of a so-called private-public partnership afforded within the conditions of neoliberal predatory capitalism. During the October Salon exhibition they made manifest «the labor of art and the labor of curating.»


For the exhibition «Suzanne Lacy’s International Dinner Party in contemporary feminist thought» Red Min(e)d contributes a new work demonstrating their curatorial methodology. Their contribution comprises the following elements: Perpetuum Mobile Screening Act of Instinct by Elin Magnusson, video documentations of the two Living Archive Forums, No One Belongs Here More Than You and Creating The Feminist Archive Means Facing The Real To The Most Extent, and a wall paper based upon Saša Krekoš original visual identity developed for the 54th October Salon: No One Belongs Here More Than You integrating quotes from The Living Archive Questionnaire.

*Photos by Elke Krasny

Red Min(e)d in Suzanne Lacy’s International Dinner Party in feminist curatorial thought

Suzanne Lacy’s International Dinner Party in feminist curatorial thought

Venue | Gallery, Toni-Areal, ZHdK Zurich University of the Arts, Level 5+6 Pfingstweidstrasse 96

Time | March 21–April 13, 2015 Opening | March 20, 2015, 7 p.m.

Organized by Eleonora Stassi, a collective dinner commemorates Lacy’s International Dinner Party on the occasion of the exhibition opening.

Opening hours | Tuesday–Thursday, 3–6 p.m.


«The International Dinner Party» was a simultaneous worldwide dinner happening created by Lacy and Pruess to publicize networks of feminist and women’s development organizations around the globe on the eve of Judy Chicago’s «The Dinner Party» exhibition at the San Francisco Museum of Modern Art.The project with its over 2000 participants om all parts of the world, demonstrated the extent of feminist organizing in a pre-Internet era. Taken together, the International Dinner Party’s messages constitute an instant archive of feminist practice and thought. The «Suzanne Lacy’s International Dinner Party in feminist curatorial thought» exhibition joins Lacy’s 1979 art project with four contemporary collectives: ‹Aktion Arkiv›, ‹Queering Yerevan›, ‹radical practices of collective care› and ‹Red Min(e)d›. These collectives use different artistic and curatorial methods to combine activism, feminism, friendship, transnational collaboration, and critically involved spatial practices. In different ways, these collectives produce emergent feminist and queer feminist archives.

Curated by Elke Krasny Postgraduate Programme in Curating,

Research Platform for Curatorial and Cross-disciplinary Cultural Studies, Practice-Based Doctoral Programme; A co-operation of the Department of Art at the University of Reading (UK) with themPostgraduate Programme in Curating at the Zurich University for the Arts, Institute Cultural Studies, Department Cultural Analysis (CH); Programme directors: Susanne Clausen and Dorothee Richter.  International Dinner Party (1979)

LA StockHolm: Dada Polis

By introducing Dada Polis – Living Archive StockHolm edition we enter into an affective space of apocalyptic distortions of today’s world existence. Dada Polis looks for post-apocalyptic emotions to disturb the (ideo)logical voices of the senseless present and turn on (en)visioning lights of a common(sense) future. Leaning on a pre-political assemblage that escapes the a materiality of possession, the exclusiveness of power-oriented rules and all kinds of social repressions, Dada Polis dissmisses the human rights and calls for subjective responsibility as the only way towards regaining personal freedom. It does (not) count who is (not) there or who is (not) with us.

From 30th October till 2nd November 2014 at with Louise Blad, Cristina Caprioli / ccap, Andreja Dugandžić, Emma-Lina Ericson, Jusuf Hadžifejzović, Nela Hasanbegović, Elin Magnusson, Svetlana Maraš, MYCKET, Ofelia Jarl Ortega, Marija Ratković, Hanna Willdow and Red Min(e)d.

The four-day LA edition will this time instead of various exhibition “stations” such as artist’s talks, discussions, educational and curatorial forums focus on Dada Polis Manifestoas an Off-station based on the feminist re-articulation of avant-garde.

Read more or download press file.

Red min(e)d meets in Budapest

Next issue of the Living Archive will take us up north, all the way to Stockholm where we will work together with on preparing of La edition.

Awards of the 54th October Salon

fotografija 2The Jury – Bojana Pejić, Dirck Möllmann and Vladimir Miladinović – decided to award 4 artists, of which the all four are given deserved honor and the forth one is getting the prize.

“We have chosen these three positions for a special award in order to relate three different artworks with each other, and by doing so we are making a slight comment on the curatorial concept we appreciate very much.

Three feminist works dealing with the women’s positioning in society are:

Flaka Haliti in her video installation ME, YOU AND EVERYONE WE KNOW/JA,TI I SVE KOJE ZNAMO has chosen a simple and convincing way to show at the same time ironically and seriously the structural violence of traditional hierarchies in the art world. It’s a strong piece of institutional critique.

Photo fljaka

Lana Čmajčanin 166987 PRICK / 166987 UBODA uses a traditional “feminine” technique of hand-crafting, the embroidery, to connect violence with desire by stitched letters, revealing a sexual meaning while reading the whole text. She creates for a moment a very intimate meeting of language and the visitors gaze.


Adela Jušić  RIDE THE RECOIL approaches  the brutal and deadly violence as a traumatic experience, which has to be re-worked again and again by the memory of an individual as well as a social collective process. She overdubs the narrative of a video game, a so-called ego-shooter with her own voice, staging a sniper-figure in his deadly profession, and combines the audio-track with a series of photographs of a little girl leaving a gate.


The prize goes to Andrea Palašti for her work BALKAN DISCO.

This installation visually and spatially explores popular culture, which is produced in a diaspora’s context which necessitates an acceptance of a “specific” or “new” life style.  This new context is heavily burdened with problems and issue ruling the context existing “back home”.  The staging of the installation with its iconic elements  (photographic portraits), and lightening criticizing  uncanny ideologies of nationalisms. “


The jury specially mentioned two collaborative and on-going projects Museum on Non-Participation by Karen Mirza and Rachel Anderson and Living Death Camp which is organized by the international team (Forensic Architecture Goldsmiths University, The Monument Group and the project Four Faces of Omarska).



The jury for the award of the Cultural Center Belgrade: Svetlana Petrović, Aleksandra Estela Bjelica Mladenović and Gordana Dobrić awarded Margareta Kern’s work: THE STATE OF/AND THE BODY from the animated video series: To Whom Does the World Belong? 


Closing days of the 54. October Salon – No One Belongs Here More Than You

54th October Salon – No One Belongs Here More Than You

Zepter Expo, Former Department Store KLUZ, Masarikova 4, Belgrade

Thursday, November 14

6 p.m. – Walk-through the exhibition

7 p.m. – Alma Suljević, Bosančica (Women’s writing), performance

Zepter Expo, Former Department Store KLUZ, Masarikova 4


Friday, November 15

7 p.m. – Lala Raščić, The Damned Dam, performance

Zepter Expo, Former Department Store KLUZ, Masarikova 4

Saturday, November 16

1 p.m. – Walk-through the exhibition

5.30 – 6.30 p.m. – CCB team walks you through the October salon, CCB team (high school and university students) organises guided tours for their peers (and other interested parties)

6.30 – 7.30 p.m. – Artedu workshop – what Artedu have we been doing? Presentation of Artedu workshop results

7 p.m. – Lala R aščić, Travel in a Box, performance

Zepter Expo, Former Department Store KLUZ, Masarikova 4

Sunday, November 17

7 p.m. – Lala Raščić, Whatever the Object, performance and closing of the 54th October Salon

Zepter Expo, Former Department Store KLUZ, Masarikova 4


Next week in Belgrade an exhibition guide No One Belongs Here More Than You will come out, offering documentation on works and artists presented at the 54. October Salon.

In 2014 an exhibition reader will follow with de-construction of the exhibition, its reception and discourse as well as contributions generated in the framework of the curatorial schools which took place at the 54. October Salon.

Read more:

Alma Suljević: Bosančica: Women’s Writing, 2013


“In this performance I will recite my poems from the collection Črni dudi moga dida, written in the 80s, in the BOSANČICA tone. The poems were published in a literary magazine (Književna revija) a few months before the beginning of the war in Yugoslavia. In medieval Bosnia, depending on the rulers, the men spoke and wrote different languages: old church, Latin, Turkish or the Arabic language and its alphabet, alhamiado, or languages brought by Jews – but women wrote in the women’s alphabet and in the Bosnian language. Thanks to women’s script and its clarity, convenience and ease, today we have a new alphabet – written Cyrillic. What is to be admired here is this phenomenon of a women’s script, in the Bosnian language, also known as Bosančica, being entirely left to women for their correspondence as their right, their secret and their code. I entirely devote this performance to our curators Red Min(e)d.” (Alma Suljević)

Alma Suljević is a contemporary artist from Bosnia and Herzegovina. She graduated from the Academy of Fine Arts in Sarajevo, the Department of Sculpture, and finished her post-graduate studies in the field of the contemporary philosophy at the University of Sarajevo. Since 1997, she has been teaching at the Academy of Fine Arts in Sarajevo, where she lives and works. Alma’s work mostly reflects on topics of war, women and feminism.


Lala Raščić:  The Damned Dam, 2010; Traveling in the Box, 2007-2009; Whatever the Object, 2013


“My work is a trans-disciplinary exploration of narrative and the means of delivering it. Rooted in the visual, I am fascinated by words, by the literary, written, spoken: performed. I am not concentrated on a single subject, more often the departure for every new project is a serendipitous find that takes me to journey of discovery through research. Very often my work takes the form of installations, videos and objects, which in correlation form a narrative thread, with the central axis of my projects being performance. My definition of performance is broad; it can be spoken text, video or live performance. My concern is with constructing worlds that communicate with fantasy and reality, but are subverted by a critical approach and contextual readings. For the 54th October Salon, I have been invited to deliver three performances on three consecutive days. I will be performing The Damned Dam, Travel in the Box and Whatever the Object. Each of these performances will be a new, unique rendition of a former project.

The Damned Dam will be the first time I perform, in English, the text from the project originally produced in 2010 as an oral storytelling performance and video performance. The new English version of The Damned Dam exists only as an audio work, produced in 2013, in which I am accompanied by a “saz”, a traditional string instrument. In this last version, the original spoken text, in my native tongue, is carefully translated into English as an epic ballad teeming with alliteration, rhyme and evocative poetic imagery. The story is set in the near future and follows two characters as they battle social injustice and environmental disaster, inspired by motifs from Bosnian oral storytelling traditions.

Travel in the Box is a work, which since its conception, in 2007, has been undergoing transformation each time it was presented. Originally developed as a video performance for a frieze of 22 monitors in foyer of the Threshold Artspace in Perth, Scotland, the work has morphed not only in the medium, but also in content. It’s most ambitious realization was for City of Women, Ljubljana in 2009 when I commissioned several poets and poetesses to write verse on the topic of travelling in a box, inspired by two stories of persons that shipped themselves in a box, in search for a better world. One refers to Henry “Box” Brown, a slave that shipped himself to freedom in 1849, and the other story is of Charles McKinley, a man that stowed away in a box because he was homesick in 2005. In Belgrade I will deliver a lecture performance that maps the versions of the project and interpret the poems I have collected.

Whatever the Object is based on a three channel video installation produced in 2013. Whatever The Object explores the notions of translation and transmutation. I will perform the script originally written for three actresses. It is based on three found pages of an unidentified book, analyzed as an object and a source of meanings. The script follows an almost forensic analysis of the found pages, their content, and their physical properties, concentrating specifically on one sentence singled out from the text because of its cryptic nature. The said sentence is translated and thus re-interpreted through translation into Croatian, English and German. Numerous versions of its translation explore it linguistically, opening the space for the speculation of its meaning, which is in turn deconstructed through the repetitive verbal interpretation of the sentence in the three languages.” (Lala Raščić)

Lala Raščić was born in Sarajevo, Bosnia and Herzegovina. She has received her art education at he Academy of Fine Arts, Zagreb. Her works spans installation, video, performance and painting. She had been an artist in residence at the Rijksakademie, Amsterdam; Platform Garanti, Istanbul; Cite des Arts, Paris and Kultur Kontakt, Vienna, amongst others. She has exhibited extensively internationally and in the region. In 2013 she was the recipient of the Future of Europe Art Award, Alpha2000 and is shortlisted for the Henkel Art.Award. Recent solo shows include No Country Other Than Liberty, SIZ, Mali Salon, Museum of Contemporary Art, Rijeka (2013); Whatever the Object, GfZK, Museum of Contemporary Art, Leipzig (2013); A Load from the Inside – Reviewed, Sigmund Freud Museum, Vienna (2011) and The Damned Dam, POGON, Jedinstvo, Zagreb (2010). Her works are a part of both private and museum collections in Sarajevo, Zagreb and New Orleans. Lala spends her time between Zagreb – where she is the member of HDLU and HZSU artists’ associations; Sarajevo – where she is the board member of the Association for Culture and Art CRVENA; and New Orleans – where she is a member the artist-run gallery Good Children.

GUESTures, a discussion (part 2): Spaces, Poetics and Politics of Counter-Stories‬

GUESTures, a discussion (part 2): Spaces, Poetics and Politics of Counter-Stories‬
a discussion on representations of migration history, with Margareta Kern, Nanna Heidenreich, Natalie Bayer / Polycity and Katja Kobolt / Red Min(e)d (in English)
Organised as part of Margareta Kern’s solo exhibition GUESTures, November, 11th 2013 at Galerie Kullukcu/Gregorian, Munich

‪GUESTures, a discussion (part 1): Spaces, Poetics and Politics of Counter-Stories

‪GUESTures, a discussion (part 1): Spaces, Poetics and Politics of Counter-Stories‬
a discussion on representations of migration history, with Margareta Kern, Nanna Heidenreich, Natalie Bayer / Polycity and Katja Kobolt / Red Min(e)d (in English)
Organised as part of Margareta Kern’s solo exhibition GUESTures, November, 11th 2013 at Galerie Kullukcu/Gregorian, Munich