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.

The 54th October Salon and @Galerie Kullukcu, Munich – Exhibition by Margareta Kern


Margareta Kern’s solo exhibition GUESTures | GOSTIkulacije is a series of carefully staged performative archival interventions, a kind of ‘travelling archive’ which develops in constant and complex dialogue with the gallery visitors and with the ‘subjects’ of artist’s parallel research into the mass labour migration of the women workers from the socialist Yugoslavia to West Germany in the late 1960s. Questions around the visibility of archives, of those in the shadows of official histories, are closely entwined with Kern’s questioning of the relationship of image, narrative and performance, and the position of an artist as ethnographer and historiographer.

The central work in the exhibition, a double-screen video installation GUESTures | GOSTIkulacije was filmed with actress Adna Sablyich in artist’s studio in London. Inspired by the principles of political verbatim theatre, the script was based on audio-recordings of conversations between the migrant worker women in Berlin, and the artist. The resulting work both follows and subverts the impulse of the verbatim style to achieve a certain ‘ideal’ authenticity of expression, as each part of the video becomes as much a portrait of the women interviewed, as it is an invitation to consider and question the role and relationship of voice, testimony, document/ary, performance and the historical imaginary to the screen.

In Munich, the exhibition will be accompanied by a discussion with the artist Margareta Kern, theoretician Nanna Heidenreich and curators and theoreticians Natalie Bayer and Katja Kobolt. In addition, through the Munich exhibition and the workshop with migrant women (initiatives) the archive in question will be for the first time extended, the testimonies of the Munich based migrant women will become a part of the archive. The results of the workshops will be presented in a public ‘collective reading’, which is an opportunity to activate the ‘archive’ through a collaborative act of reading. This is an invitation to perform an ‘archive’ in an intimate and informal atmosphere, and through this process to open up the questions of voice and embodiment (of memories), and the role such a mobile ‘archive’ could play in production and/or subversion of historical authority.

GUESTures |  GOSTIkulacije 

an exhibition by Margareta Kern

9 – 14.11. 2013

Galerie Kullukcu, Schillerstr. 23/ 3., Munich

Saturday, 9. November 

7 pm: exhibition opening

8 pm: 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)

10 pm: DJ Bülent

Sunday, 10. November 

4 pm – 6.30pm: workshop/collective reading with migrant women (initiatives). Apply to

7 pm: public collective reading from the archive

Tuesday, 12. November 

8 pm: a walk-through the exhibition with a curators Katja Kobolt  / Red Min(e)d

Thursday,  14. November 

8 pm: an artist talk by Margareta Kern

Produced by: Balkanet e.V.
Co-Produced by: Galerie Kullukcu; Red Min(e)d; Polycity
With the kind support by: Landeshauptstadt München Kulturreferat
The exhibition is part of the 54th October Salon, Belgrade, curated by Red Min(e)d

The 54th October Salon – Experimental workshop by Saša Kerkoš

Compassion in Design?


Interactive presentation of research reasons

17.30h – 18.20h, 1st November, Nova Iskra, Gavrila Principa 43

Interactive lecture and experimental workshop

16h – 18h, 2nd November, 
Zepter Expo, Former RK Kluz, Masarikova 4

Since 2012, Saša Kerkoš has been dealing with the research of compassion trough different forms of experimental workshops and practices. She presented her work at the World Design Capital 2012 (Finland), as the TEDex talk experiment (Slovenia), the founded research project of non-verbal communication of emotions in the multi-touch environment the Aalto Media factory Helsinki as well as creative workshops with homeless people in Portland (USA) and with the children from the orphanages in Bali.

The short hands-on experimental workshop aims to map the compassion as driving force behind creative occupations and creative work-field. Short experimental exercises will take you on a journey to experience and meet with your own understanding of compassion in relation to your work, well-being and life-style.

Saša Kerkoš is a multi-task graphic designer and illustrator, art and creative director and collaborations initiator, working on a diverse range of projects that can improve creative and innovative ideas to build more tolerant sustainable and open environments. She currently works between Ljubljana, Helsinki and Bali. She is an initiator of the Slovenian contemporary illustration platform – Independent Biennial. She works towards open knowledge exchange and collaboration. At the moment she is passionately researching emotions, compassion and empathy in visual communication. She is author of the visual identity and design of the 54th October Salon.

54th October Salon – Performance by Irena Tomažin

The Taste of Silence 

Sound performance 

Wednesday, 30th October
The Yugoslav Drama Theatre, Studio JDT, Kralja Milana 50
 Photo by Nada ŽgankIn her newest project Irena Tomažin once again uses the medium of voice and body as her tool(s) to tackle the themes of tradition, heritage and the status of voice(s) and images, which voice as a medium of oral tradition is carrying on, from one generation to the next. “In a way, we belong more to the past and to the tradition that – at first glance – seems to have faded away already; it also seems that we don’t belong to the present as much, the present that is supposed to be “the here and now.” But maybe the oral tradition that seems to have faded away with time, is only a display of its quiet, unobtrusive and ever-continuing presence. The voices, with which we speak, are the melodies of past orators. The present on the other hand – with its ubiquitous sounds – inscribes itself onto a body as a set of very different voices, with which we delineate the voices that are only to become (our) future oral traditions. Maybe this paradoxical time-loop can sometimes be caught in the duration of the voice within a single exhalation.”

In the first part of the process (2011), Irena Tomažin, Sabina Đogić and Andrej Kocan filmed five encounters with selected interpretors / authors and performers of folk music: Ljoba Jenče, Hermana Bogdan and Boštjan Narat (Slovenia), Natalka Polovynka (Ukraine) and Svetlana Spajić (Serbia). Their footage is now abundantly rich and inspirational material from which the author will derive further processes of creating the final performance.

 Irena Tomažin is a dancer, choreographer and singer/ vocal performer that performs mostly in the dance-theater plays and on the concerts. She is author of seven solo performances and she collaborates with numerous choreographers and theater directors in Slovenia and abroad. She acquired most of her dancing experience with the Intact dance studio, the Ljubljana Dance Theatre and the educational programs Laboratory, Agon and Emanat, as well as taking part in numerous workshops in Slovenia and abroad, being part of a DanceWeb in 2004 and the Atelier/Grotowsky Institute in 2007.

Museum of Non Participation: The Patriarchal Clock

Sunday, October 13
11 p.m. – 7 a.m. – 
Museum of Non Participation: The Patriarchal Clock – forum discussion 
Karen Mirza and Rachel Anderson


Scripting the body, no thought, act, move, step into, step up, freeze, hold, follow an internal movement, a twist of a wrist, the weight of the left side of the body on one hip, the pressure of skin, the reaching of a hand, half open, angled, caught. Reflecting on the pedagogy of resistance and women’s bodies, I have become obsessed by images of women being dragged across the street in the 68 (anti war movement) in Grovensor Square, London. The images of grainy black and white archival material was the start of our conversation about unattached militant feminists and the forces of oppression.

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Sunday, October 13, 6 p.m. – 8 p.m., Former Department Store KLUZ, Zepter Expo, Masarikova 4

Forum discussion with Margareta Kern (introduction and moderation) h.arta (Maria Crista, Anca Gyemant, Rodica Tache), Gözde İlkin, ff network of artists (Antje Majewski, Charlotte Cullinan), a7.außeneinsatz (Margret Schütz, Greta Hoheisel)

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Curatorial School: Exhibition as Scripted Space: Modes of Production and Production of Modes

Exhibition as Scripted Space: Modes of Production and Production of Modes, curatorial school led by Jelena Vesić 
Thursday, October 10 – Tuesday, October 15, Zepter Expo, Former Department Store KLUZ, Masarikova 4
Apply with a short bio/interests:
More at October Salon Website

Curatorial School: We (Don’t) Need (No) Education

We (Don’t) Need (No) Education, curatorial school by a7.außeneinsatz on experimental art education
Monday, October 14, 4-8 p.m., Zepter Expo, Former Department Store KLUZ, Masarikova 4, Belgrade

Art education – (usually discursive) activities in the exhibition space mediating between art works, visitors and institution – reproduces traditionally canonical and “authorized” discourses and leaves little space for experimental approaches and alternative interpretations. Instead of profiling art educators as interfaces between public, art works and institution, art educators are normally as authorized spokesmen/women of the institution.
Apply with a short bio:
More at Oktober Salon Website

Public Discussion “Living Death Camp”, Saturday – October 5


Public Discussion: Living Death Camp

Saturday, October 5, 3-6 pm


location: Zemunski put 3

Inside the former German Pavillion at the Old Fairground in Belgrade

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No One Belongs Here More Than You at the U3, the 7th Triennial of Contemporary Art in Slovenia

September 12, 2013 at 7pm, at MSMU, Museum of Contemporary Art Metelkova

On the U3, the 7th Triennial of Contemporary Art in Slovenia the Red Min(e)d is – in collaboration with the 54th October Salon in Belgrade (11 October–17 November 2013) – organizing a public debate No One Belongs Here More Than You about feminist methodologies in collective and individual art practice, and about the possible ways of thinking feminism as politics in contemporary art and society.
Participants of the debate are Ana Čigon (artist), Jasmina Cibic (artist), Red Min(e)d and the public.