Jelena VesićIn the first in the series of Red Thread Issue 5 interviews we present you with the extensive discussion with the issue editors Jelena Vesić and Vladimir Jerić Vlidi. Run by the artist and Red Thread Editorial Board member Zeyno Pekünlü, the interview covers the current global media context, particular geopolitical positions, and provides the connections with the texts selected for the Red Thread issue 5.
This text examines an attempt by the alt-right to bring their techniques and technologies to ‘old’ media, such as the exhibition. It is about the travelling display titled Uncensored Lies, organised in Serbia in 2016 by the then prime-ministerial, now presidential press service of the Serbian Progressive Party (SNS).
Dispossession is a complex term, and we would like to try to break it down to particular fields of operation and use cases. You are among the rare people we know able to simultaneously analyze in depth three of the most prominent domains of the operation of the term – political economy, sociology, and psychoanalysis.
A conversation with Chto Delat (Dmitry Vilensky) and Biro Belgrade (Vladan Jeremić & Rena Rädle), the authors of the video Partisan Songspiel. Belgrade Story where we discuss contemporary anti-fascist struggles, particularist politics and historical consciousness.
One of the main motives for this exhibition to happen maybe lies in the local interest of Belgrade’s contemporary art circles in the young and vibrant Kosovo art scene, which “officially” emerged after the year 2000. Another interesting aspect is that this sudden ‘flourishing’ of local contemporary art scenes in “Western Balkans” was and still is, in most of the cases, connected to the significant influx of money from the various foreign foundations.
This section deals with ‘the case’ of the exhibition Exception – Contemporary art scene of Prishtina and its violent (non)opening in Belgrade, happened during February of 2008. This event, overshadowed by the massive political turmoil before and after the local political leadership of Kosovo declared its independence from Serbia around the same time, in the circles of what could be described as ‘critical art and activist scene’ of Belgrade gained somewhat mythical connotations.
