'Geographies of (Non-)Belonging' is a programme initiated by the Van Abbemuseum, and conceived in collaboration with artist Lana Čmajčanin, art theorist Jelena Petrović and KRAK Center for Contemporary Culture (Bihać). This second part to the public programme held at KRAK over the summer turns to the concept of ‘belonging’ within institutional spaces and the emancipatory potential of ‘non belonging’.

Departing from artistic, theoretical, and critical practices surrounding the Non-Aligned Movement (NAM) that point to both the political potential and structural nostalgia of this great historical idea widely spread during the era of the Cold War, the potential of the ideologies of (non-)belonging at its core offer new materialist and anti-colonial thoughts about the utopian, but still possible non-exploitative and non-extractivist social reproduction of the common future today even in the face of global devastation of the planet as a whole. The programme ends with a discussion of possible geographies of planetary coexistence beyond today’s politics of racial, religious, national, class and other identities that very often violently determinate what is il/legal, un/acceptable and un/sustainable in this global world.

Participants: Anastasia Kubrak, Andreja Hribernik, Ashley Maum, Charles Esche, Christian Guerematchi, Fabienne Chiang, Grace Samboh, Irfan Hošić, Jelena Petrović, Lana Čmajčanin, Lina Džuverović, Marina Otero Verzier, Nick Aikens, Steven ten Thije, Wendelien van Oldenborgh, and Yopi Abraham

'Rewinding Internationalism' is an exhibition on view at Van Abbemuseum until April 2023. The exhibition is fruit of an extended process of collaborative work between the curator of the project, Nick Aikens and AIDS Equipo re (Aimar Arriola, Nancy Garin and Linda Valdés), Paulina E. Varas, Sebastian Cichocki, Bojana Piškur, Grace Samboh and Rachel Surijata; and Carnivals Independents and Les Diables Bleus (1991-2004). Rewinding Internationalism explores developments, ideas and stories from the 1990s and how they resonate in the world today. The end of the Cold War, the AIDS pandemic and increasing globalisation brought about dramatic changes, also in the art world. What became of the questions and experiences of those days? Through visual and audio material from the past and present, archive materials and recently created work the curators, collectives and artists who have curated the exhibition invite you to ‘rewind’ to moments from the 1990s and reflect on them from the perspective of today.

During the transition in the 1990s, the region of former Yugoslavia saw a growing need to find new spaces for cultural production and establish closer international connections as well as maintain the regional ones. Changes in legislation brought about a transformation of the concept of artistic work. The utopianism of art collectives was replaced by the pragmatism and flexibility of associations and private institutes largely dependent on public funds and international donations. Artists became producers, and their survival and that of cultural workers became dependent on the duration of individual projects, which contributed to the growing number of precarious workers. Today, as the precariousness of work only increases, the significance of these changes needs to be reflected upon, also in terms of whether they precipitated the need for horizontal connections and rethinking the legacy of independent organisations of the 1990s.

Focusing on specific local and regional cases, the symposium aims to shed light on the differences in the conditions under which non-governmental organisations in the new, post-Yugoslav countries work, from (post)war conditions to changes in the way contemporary art is financed. The main point of interest is the paradigm shift that took place in the 1990s as the concept of independent culture emerged, resulting from breaking with the legacy of the 1980s and the gradual abandoning of the concept of “alternative culture.”

Participants: Ana Đikoli, Nikola Gelevski, Davor Mišković, Ana Panić, Vladimir Vidmar, Natalija Vujošević, Miha Zadnikar. Concept by Igor Španjol.

Symposium at Gothenburg City Library, 13 October 2022, at 4–8 pm.

Publishing as Repair asks what is the role of art writing and publishing and the processes of mediating, distributing, and reading as an act of repair or resistance, to create spaces of non-violent encounter of thought and creation when public spaces for culture are at threat.

Publishing as an act of community, of social connection and discussion. If we think of the book of more than the repository and a propagator, but as a set of relations, we can start to unpack our understanding of what it means to have a containing framework for knowledge, ideas, informations, and imaginations, and what it means to disseminate that, to publish it into the world – whether in print, digitally, or through a blended medium where semi-public arenas such as museums, libraries and universities can extend the knowledge production and dissemination.

Book launch at Gothenburg City Library, 12 October 2022, at 3–8 pm.

Climate: Our Right to Breathe is a book in response to vast, mutually exacerbating planetary conditions: the accelerated collapse of the biosphere under climate change and the increasingly crushing dynamics of toxic politics. But, the reactionary, divisionary politics driven by ruthless forms of authoritarianism, denialism, nationalism, and other globalized forms of oppression and dispossession are also a call to action.

Mobilized by diverse practices and backgrounds, a number of contributors to this book gather in Gothenburg to offer both speculative perspectives on and pragmatic relays from the intersectional fight for climate justice and multispecies survivance, intentionally on 12 October, the day that marks a point in the colonialism of the South Americas.

Performances, screenings and talks by Léuli Eshrāghi, Forensic Architecture, Svitlana Matviyenko, Daniela Ortiz, Ana Teixeira Pinto, and Françoise Vergès.

The early 1990s – the time of transition from socialism to capitalism in the territory of the former Yugoslavia – saw some fundamental shifts in the way artists’ work was perceived, as well as structural changes of spaces of art. And more than that: in the post-socialist world, artists’ production time changed as well.

The Art at Work exhibition looks at three different segments of the genealogy of the concept of (artistic) work in the region: first, the way work was conceived by the avant-garde artists of the 1960s, 1970s, and 1980s; next, the transformations of the concept of artistic work and art spaces in the 1990s; and lastly, the labour-related political art practices since 2000.

More than fifty artists, art collectives, and associations participate in the exhibition, which also includes an extensive programme with performances, assembly debates and workshops.

This seminar reflects on how performative artistic practices are inserted inside a collection and its institutional framework. To spark this debate, an approach is set from different perspectives – theory, practice and ethics – convening voices from inside and outside the museum as an institution and bringing together different viewpoints and reflections around working conditions with performative works of art. The lines of analysis include: a discussion on the impossibility of preserving the living, the notion of archive as an artefact for the historical documentation and interpretation of performance and the conditions offered by museums as an instrument to reactivate the strengths of these types of practices.

The 90s marked a period of major social, political, and economic shifts in Turkey as the boundaries of freedom expanded in the fields of performance and entertainment, particularly in Istanbul. It was also a time when Turkey’s arts scene foregrounded the “interdisciplinary” concept. Integrating a wide range of disciplines and performance practices, their experimental nature offered a progressive ground for artists. Examining performance works produced in this decade the exhibition presents multifaceted insights into the history of arts, culture, and entertainment.

A one-day programme with live contributions by Yann Chateigné Tytelman, Andrea Fraser, Gianni Motti and Jamie Stevens.

CHANNELS shares a focus on the practices of Andrea Fraser and Gianni Motti, both of which are currently presenting work at M HKA in the exhibition Lenin Was a Mushroom – Moving Images in the 1990s. The programme is a unique opportunity to connect with two major artistic figures, and understand how their engagements have consistently evolved through time. Both of their practices started in the late ‘80s–early ‘90s, a moment marked by the emergence and fast diversification of communication channels until the post-truth era we live in and in which our, now naturalised practice of information distribution, has complexified the lines between personal beliefs and public opinion.

Geographies of Belonging: Art, Politics and Communality is a programme initiated by the Van Abbemuseum, and conceived in collaboration with artist Lana Čmajčanin, art theorist Jelena Petrović and KRAK Center for Contemporary Culture (Bihać). The idea is to question the geographies of belonging through the politics of art and everyday life.

Taking into account the Yugoslav experience of socialist communality on the one hand, and the Dutch experience of civil society of the capitalist state on the other, especially after the Second World War, the desire is to establish a dialogical and critical platform that would provide insight into common historical events.

Participants: Adnan Dupanović, Aida Šehović, Alma Mustafić, Anna Dasović, Danijela Majstorović, Dino Dupanović, Fabienne Chiang, Faruk Šehić, Igor Bošnjak, Irfan Hošić, Jasna Pašić, Jelena Petrović, Lana Čmajčanin, Majda Piralić, Mak Hubjer, Marine Corre, Mladen Miljanović, Senadin Musabegović, Sijana Hošić, Steven ten Thije, Tarik Hodžić, and Vladimir Tomić.

With wider accessibility of both video hardware and editing software, the 1990s was a key period for the development and proliferation of film and video art. Titled after Sergey Kuryokhin and Sergey Sholokhov’s absurd 1991 mockumentary from the last days of the Soviet Union, the group exhibition Lenin Was a Mushroom – Moving Images in the 1990s will examine the 1990s – which we might define here as the period between the end of the Cold War and the beginning of the ‘War on Terror’. It will look at moving images that offered reflections of the era but also new modes and means for image-making through the technological advancements adopted by artists.

Curated by Nav Haq, with works by: AMVK, Aernout Mik, Amar Kanwar, Andrea Fraser, Artūras Raila, David Claerbout, Gianni Motti, Gillian Wearing, Hänzel & Gretzel, Johan Grimonprez, Nedko Solakov, Pipilotti Rist, Rosalind Nashashibi, Rosângela Rennó, Şener Özmen & Erkan Özgen, Sergey Kuryokhin & Sergey Sholokhov, Shilpa Gupta, and Stan Douglas. Architectural design: Samyra Moumouh.

Public keynote lecture by Bonaventure Soh Bejeng Ndikung, 7 April 2022, at 19.00 CEST. Seminar, 8–9 April 2022.

In the last Glossary of Common Knowledge seminar in the context of Our Many Europes project we will revisit the referential field of Constituencies, a notion employing L’Internationale confederation from the start, in an attempt to redefine the role of the museums and their perception of publics/audiences/users and its constituent parts with artist and museum workers alike. Museums collaborate with political agitators that use art as a vessel to communicate contested social and historical premises with a visual language that aims at making structural impact in the society.

Constituencies are plural; they grow, develop, change, mutate, hybridise, overlap, separate, cluster, recombine and re-align. Constituencies are always in flux, depending on their existence upon their relationships with one another. As such, constituencies are never givens – but always something to be struggled over and negotiated.

Participants: Nick Aikens, Zdenka Badovinac, Fran MM Cabeza de Vaca, Jesús Carrillo, Sebastian Cichocki, Fatma Çolakoğlu, Charles Esche, Nancy Garín & Antoine Silvestre, Yolande van der Heide, Vivian Heyms & Steven ten Thije, Ida Hiršenfelder, Alistair Hudson, Goran Injac, Sophie Mak Schram, Bojana Piškur, Tjaša Pureber, Mick Wilson, Joanna Zielińska

Presented within the context of SALT’s ongoing research project on performance art in Turkey, Stage, Record, Archive: Performance, a two-day international conference addressing key issues regarding research, documentation and archival practices of performance art. The participants share diverse documentation methods, necessary digital tools to capture and preserve performance art’s ephemeral nuances, as well as key approaches in sharing such archival material with the public.

SALT’s research on performing arts in Turkey, which particularly focuses on a time frame between mid-1980s until late 1990s, aims to map and visually decode critical works expressed in the form of dance, live and experimental theatre. The research outcome will be probed further through a web project and a comprehensive exhibition in September 2022.

The conference (in English) is available to watch on SALT's YouTube channel.

Part of this major collection exhibition at Museo Reina Sofía has been conceived in the framework of the OME programme: Apparatus ‘92. Can History Be Rewound? Explores many of the changes that explain today’s world occurred in the 1990s. With the collapse of the socialist bloc, free-market economic policies expanded, triggering responses from anti-globalisation and alter-globalisation movements, such as that started by the Zapatista Army of National Liberation (EZLN) in Chiapas, Mexico, on 1 January 1994, the same day the North American Free Trade Agreement came into effect. In Europe, the Maastricht Treaty, signed in 1992, gravitated to something similar in the European project, while in Spain the pomp of ’92 reflected the eagerness of an economy based partly on real estate speculation, a bubble that would burst in 2008. Expo ‘92 in Seville, an event conceived to hail the country’s categorical arrival into modernity, served to elucidate the light and darkness of Iberian colonial legacy.

For over a century debate has raged over women’s reproductive rights. Differing visions of society and the state, the role of religion, and the limits of individual freedom clash. Who should have the deciding vote on this matter? This issue can fundamentally divide people and provoke acts of aggression. The account of personal, individual experiences—and especially women’s perspective—is lost in the debate.

Who Will Write the History of Tears is an exhibition about the relations between the female body and repressive laws. The title is borrowed from a work by the American artist Barbara Kruger and underlines the arduous process of women’s pursuit of their rights. The works presented in the exhibition strive to break through the impasse that has prevailed in the debate over abortion, to transcend the crisis of verbal and visual language. The aim is to wrest the topic of abortion from the control of political clichés. The artists—from Argentina, Ireland, Poland, Portugal, Spain, the United States and other countries—draw on real stories and include in their works the entire spectrum of visual and poetic allusions, images and symbols, conveying the complexity of the experience of pregnancy and abortion.

The exhibition EURASIA − A Landscape of Mutability seeks to map innovative practices and exchanges that reflect the plurality of cultures, collaborations and conceptions of Eurasia. Inspired by the artistic imagination of artists, the exhibition will consider Eurasia as a landscape of mutability. It will explore the transformations and growing multipolarity of the supercontinent, reflecting the flux of cultural practices. It will ask: How has Eurasia inspired artists and thinkers historically, and how has this varied across the supercontinent? What can be its artistic potential, and what spaces for speculation does it offer? What new networks of exchange and mutability can be established? And what creative friction can be found at its parameters? We will look at Eurasia as a cultural and geo-political space in the making. With methodology embodying content, EURASIA will be an exhibition of mutability.

Featuring 120 pieces of art and spanning all five floors of the museum’s collection wing, Delinking and Relinking invites you to experience art differently. Sometimes in the literal sense, by touching, smelling or listening to it; other times metaphorically, by giving expression to different, lesser-known voices. Mostly inspiring and occasionally confrontational, Delinking and Relinking spans more than a century of art history, with Hommage à Apollinaire by Marc Chagall from 1913 as the earliest work and This Means Tableau from 2019 by Laure Prouvost as the most recent work. Curated by Charles Esche, Diana Franssen and Steven ten Thije.

This programme materialises and is organised around a programme of activities (workshops, screenings, debates, exhibition, performances) which seeks to put forward dialogue between the Zapatista, European and Global South experiences of self-government. The encounter sets in motion questions around institutionality, care, economies, redistribution, and radical teaching as a form of insurgent imagination decolonised from Eurocentric notions of utopia, and with the capacity to break the hegemony of present and future capitalist visions. Organized by Institute of Radical Imagination and Museo en Red (Museo Reina Sofía), in the framework of Struggles for Life Encounter.

Realize! Resist! React! focuses on political performance in the post-Yugoslav context of the 1990s, including more than 120 artworks, archival materials, and video documents from Slovenia, Croatia, Bosnia and Herzegovina, Kosovo, Serbia, Montenegro, and North Macedonia, structured around the following topics: war, nationalism, the body, new spaces, demonstrations, states, territories, new borders, the Other, feminism, and media. The exhibition explores different trajectories of political performance, especially what it brought to, meant, or changed in the broader field of art of the 1990s post-Yugoslavia, as well as the connections between performances and political and ideological structures from which these performances emerged. At the same time the exhibition is an attempt to uncover the emancipatory power of political performance of that difficult decade and a search for links with the present, a time no less trying than the 1990s. Curator: Bojana Piškur. Guest curators: Linda Gusia | Jasna Jakšić | Vida Knežević | Nita Luci | Asja Mandić | Biljana Tanurovska-Kjulavkovski | Ivana Vaseva | Rok Vevar | Jasmina Založnik. Exhibition design: Siniša Ilić.

This series of conversations discusses the emancipatory possibilities and limits of museums within the fortress of Europe: from the so-called refugee crisis to the paradigm of representation in art and its institutions; from ‘queering’ the museum to antifascist struggles; from radical pedagogies to processes of normalisation. Taking into consideration various experiences from outside the institution, while also learning from institutional practices from the 1990s, we hope to propose new ways in which to envisage a constituent museum of the future.

In May 2021, a group of narrators are invited to propose terms for the Glossary, to speak about the notion of Subjectivisation with respect to their current research and/or artistic practice and shifting cultural conditions. With this referential field we are interested in interpretations of subjectivities that are critical toward dominant ways of producing subjectivisation and the exploitation and commodification of intellect and affect by capital. This subjectivisation is produced from the rebellion and critical situatedness of both individual and collective. The referential field is drawn by the terms suggested by narrators: Nicolás Cuello, Pauliina Feodoroff, Elisa Fuenzalida, Diego Marchante “Genderhacker”, Abhijan Toto, Maja Smrekar, Jesús Carrillo, Ram Krishna Ranjan, Charles Esche, Ida Hiršenfelder, Yuji Kawasima, Pablo Martínez, Bogna Stefańska, Jakub Depczyński, Deniz Gül, Joanna Zielińska. The symposium will start on May 10 with an online radio programme, with contents produced by Radio Alhara (Betlehem) and Bridge Radio (Copenhagen) especially for this occasion.

This research project and a five-week programme of online events- discussions, conversations and performances- will examine the intersections of politics and performance in Europe in the 1990s as well as their legacies today. The Good Friday Agreement, the end of communist rule in Eastern Europe, civil war in Yugoslavia, and the rise of populist nationalism as well as campaigns for gender rights and AIDs activism shaped a turbulent period, and often formed the context for critical and creative performance practices. New affinities between artists formed across the entire continent, and new artist-led spaces and institutions were launched too.

CLIMAVORE: Seasons Made to Drift is an exhibition and public program that explores how to eat as humans change the climate. Different from carnivore, omnivore, locavore, vegetarian, or vegan diets, what defines CLIMAVORE is not the ingredients but the infrastructural responses to climatic events, as well as emerging seasons of food production and consumption. New cycles of drought, disrupted rainfall patterns or alterations of the littoral are discontinuous, disjointed, disconnected, non-sequential yet repetitive and underpin contemporary food infrastructure and eating habits. Commissioned by SALT to expand on their long-term project, CLIMAVORE: Seasons Made to Drift by London-based Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) proposes a journey into the seasons that once were, the regions that no longer are, and the shores that may be.

In the current social climate, the existence of political and cultural forces which appear to be handed down from fascism and historical extreme right movements are today a tangible reality. This activity aims to investigate the specific sources that mobilize their forces to understand where they arise, who they designate as their enemies and why, as well as to recognize the differences and similarities that they present in different political geographies and colonial histories. The program includes meetings and work sessions, and has the participation of various social and cultural agents from the new feminisms.

The event is a prologue of the coming issue of L’Internationale Online, confronting the two seemingly incompatible terms Degrowth and Progress. A conversation between artist Monica Narula and curator Nataša Petrešin-Bachelez will follow the thread of these ambiguous notions inspecting institutional cultural landscape to reveal several issues raised in their practice addressing political movements such as distribution and wealth, struggles for the commons, feminisms, ecology and sustainability to propose radical changes in cultural production, social behaviour and urban environment at large. Through their artistic and curatorial practice, they will speak about the possibility of degrowing progression in time, mobility, productivity, consumption.

L’Internationale Online and PARSE, the two research and publishing platforms placed at HDK-Valand (Gothenburg, Sweden) are launching The Practitioners Program. The Practitioners Program brings an individual artist or art collective to the research context of HDK-Valand through its associated platforms L’Internationale Online and PARSE. The aim of the program is to invite an artist to produce a body of work in relation to the current research frameworks and to follow their creative and research process. By bringing together L’Internationale Online and PARSE, we seek to trigger synergies between different strands of research, methods and vocabularies in publishing. We are thrilled to invite Aykan Safoğlu to pilot the program in the fall of 2020.

The exhibition MONOCULTURE – A Recent History begins from the principle that any understanding of ‘multiculture’, should necessitate an investigation of ‘monoculture’. The societal understanding of monoculture can be defined as the homogeneous expression of the culture of a single social or ethnic group. The project seeks to approach the notion of monoculture with an open mind. It will thus aim for an analysis of, rather than an antithesis to, monoculture, approaching it not only from historical, social, cultural and ideological perspectives, but also philosophical, linguistic and agricultural ones. MONOCULTURE will provide a tentative mapping, allowing for a comparative analysis of different manifestations of monoculture, as well as their reflections in art and propaganda, seeking to draw some conclusions that might be relevant for society and culture at large.

While in Europe the 1980s represented a return to order, to the demand for a certain formality in art and to the conventional formats of painting and sculpture widely accepted by the market, the 1990s revived a large part of the Conceptual experiences of the preceding decades, notably the sixties and seventies. In this way, practices related to the human body were recovered, which we jointly call action art. In Spain, this history has a particular relevance, with multiple initiatives that had an immense impact on art from then onwards. This art of action was frequently expressed in the form of performances – which usually occurred in very restricted or unconventional contexts such as festivals or gatherings – and their more heterogeneous expression that has come to be called performativity.

This edition of the GCK has as its referential field Commons/ Solidarity. In times of war, economic collapse, natural disasters or pandemics like the current one, calls are made for solidarity, which, however, should help us respond to the current state of emergency through the creation of alliances to face the times to come. People unite through solidarity in repressive or violent political contexts, economic conditions of exploitation, or to overcome grief after natural disasters. But calls for solidarity do not only appear as a reaction in times of exceptional difficulties. Solidarity is at the heart of our project as a society, as the labor movement, feminisms and decolonization processes have shown throughout the world. The symposium will start with an online lecture by Yayo Herrero, an anthropologist, social educator and agricultural technical engineer; and the referential field is drawn by the terms suggested by narrators Zdenka Badovinac, Miha Blažič (N’toko), Kike España, Maddalena Fragnito, Jennifer Hayashida, Gal Kirn, Javiera Manzi, Pablo Martínez, Theo Prodromidis, Natalia Sielewicz, Rasha Salti, Onur Yıldız, Joanna Zielińska and Yolande Zola Zoli van der Heide.

This two-day interdisciplinary programme will consider current and historical manifestations of monoculture as well as its implications for art, culture and its institutions. The societal understanding of monoculture can be defined as the homogeneous expression of the culture of a single social or ethnic group. In recent years, the combination of anti-globalisation sentiment, conflict, terror, mass-migration and the perceived counter-hegemony of identity politics, has created the conditions for new forms of identitarianism to emerge. Across Europe and much of the globe, a drive for national monoculture, in which societies are understood through adhering to homogenous racial, cultural, ideological or religious parameters, has entered the mainstream. For the cultural field, often considered as having a secular, elitist and socially-liberal basis, it is no longer enough simply to denounce the creep towards monoculture as an abhorrent form of neo-fascism. At the same time, how could the recent turn towards indigenous practices within contemporary art discourse, as well as the framings of art via race, ethnicity or other distinctions of identity or marginality, whether implicit or explicit, be seen as contributing towards new forms of essentialism?

In April 2020, during the lockdown for the prevention of the Covid-19 pandemic, the museum confederation L’Internationale invited a broad range of artists to share from their present working and living spaces, from their current conditions of confinement, their readings, reflections and proposals on the current pandemic situation. Their contributions suggest new perspectives on public/private space, solidarity and critique that are intrinsically connected with the present time. The artists' contributions are shared from April 21st until May the 7th on L'Internationale social media channels, @internationaleonline, and via the websites and social media channels of members of the confederation. Here you can find all the contributions together.

These three Research Residencies, selected through an open call, seek to foster research and participation in a process of reflexion by making available Museo Reina Sofía bibliographical and documentary resources, linked to other research hubs such as L’Internationale museum confederation and OME project partners, and in research communities organised around the Study Centre of Museo Reina Sofía. The three main research lines proposed for this Call are the critical activation of archives linked to artistic and activist practices carried out in the 1990s; the exploration of performance practices in the 1990s, and processes of contemporary archiving, transmission and activation; the research of artistic production related to critical culture at the heart of the 1990s taking as its framework dimensions such as the AIDS crisis, processes of transition and historial memory, post-’89 activist practices and globalisations, and others

This second PIGS Self-management encounter has the aim of continuing to share strategies, methodologies and research topics among individuals and collectives from southern Europe working on the frontiers of cultural production and the activism of sexual dissidence. For this edition we have proposed four pivotal themes based on the relationship of the body with food, technology, performativity and desire. These themes, interwoven with the politics of sexual dissidence, will be approached and explored through the workshops proposed by different individuals and collectives from the PIGS.

After the Event focuses on the progression of the social uprisings that occurred between 2010 and 2013. From Turkey to Spain, Greece, Syria and Egypt, the locations of this unrest, the movements shook existing political systems and, at times, even brought them to their knees. Yet, ultimately, they were not powerful enough to subvert the political system in its entirety, and today many of these movements appear to be enduring a crisis or regression and cannot trust political and organisational forms, or now-familiar languages and ways of doing. By way of presentations and a workshop led by Begüm Özden Fırat and Zeyno Pekünlü, this encounter seeks to discuss this historical experience by working on the multiple forms with which an event survives, and its present and possible futures.

Following the famous 11th thesis on Feuerbach, the aim of the summit is not only to reflect upon the failures of globalisation, but to revisit internationalism as an unfinished project. The summit starts off with a conference (October 25) during which a dozen speakers, academics, artists and activists from all over Europe, will share their theoretical and practical insights to prompt public discussion and prepare the ground for later sessions: the second day of the summit (October 26) is self-organized, aimed at collective strategizing on an international scale. The programme of plenary sessions and workshops will be created in situ by the gathered delegates, who will present proposals for future actions and discuss their implementation in working groups. Participants: Marco Baravalle, Joanna Bednarek, Vasyl Cherepanyn, Angela Dimitrakaki, Charles Esche, Zuzanna Hertzberg, Keep It Complex, Tomislav Medak, Keir Milburn, Zeyno Pekunlu, Ana Teixeira Pinto, Theodoros Prodromidis, Anti-Fascist Year, Yaiza Hernandez Velazquez, Sabina Sabolović (WHW). Facilitation of the self-organized sessions: Marsha Bradfield.

This seminar aims to set up thought-provoking spaces in which we can explore the present day, at a time when decolonial, antiracist and anticolonial discourses and critiques have burst into activist spaces and permeated critical thought to distort the means and meanings imposed by the West and its institutions.It would be foolish to think that we can shake these cultural foundations from within white, colonial, plundering institutions such as museums built on this very bedrock. This seminar does not aim to revert, but rather resist and repair, by opening up cracks in these white epistemologies that promote agendas and persist in setting knowledge in stone. The idea is to share practices that puncture the modern, colonialist logics of the capitalist, racist heteropatriarchy.

The post-Cold War era’s political, economic, and technological developments were manifested in the urban space endorsed by fashionable labels such as “city branding” and “global cities.” Presented at the Çankaya Municipality Nazım Hikmet Culture and Art Center of Ankara, SALT Cinema surveyed the non-uniform impacts of the 1990s on diverse geographies through various European cities, exploring Europe’s legacy of this decade with a compilation of urban stories spanning from Serbia to the UK, from Italy to Transnistria.

This exhibition was organised on the 80th anniversary of the outbreak of World War II and rests on three precisely determined focal points: Guernica and the 1930s, the “Arsenal” exhibition and the 1950s, contemporary art and (post-)fascism, presenting the singular and distinctive tradition of anti-fascist art. The show embraces today’s approaches to fascism, which ceases to be treated exclusively as a historical ideological formation responsible for genocide, and is evoked in the context of the modern-day racist, and the misogynistic and violent narratives that prepare the ground for the catastrophes of the first half of the 20th century to happen again. A series of public programmes and a conference on October 24th are organised in parallel to the exhibition view.

The second edition of this courses continues to draw on the topics related to the legacy of Eastern European avant-gardes. A particular emphasis will be placed on the major changes caused by the collapse of socialism, the end of the Cold War and the restoration of capitalism in the late 1980s to the early 1990s. The discussions will focus on the paradigm of an avant-garde artist and art that was thoroughly shaken and altered in the 1990s. A public program of lectures runs in parallel to this summer school. Speakers include: Zdenka Badovinac, Inke Arns, Sezgin Boynik, Boris Buden, Branislav Dimitrijević, Keti Chukhrov, Eda Čufer, Charles Esche, Marko Jenko, Viktor Misiano, Marko Peljhan, Bojana Piškur, Walid Raad, Igor Španjol, Anton Vidokle, Martina Vovk, Arseny Zhilyaev.

Colonisation is not an old story that ended when Latin-American countries gained independence from Spain. On the contrary, the inherited economic, social and epistemic conditions have cemented the new societies as structures with deep racial and sexual hierarchies, in which the indigenous peoples have been relegated to the condition of disposable subjects. And yet, these Indigenous Peoples, although weakened by colonial history and its constant violence, are still alive and capable of self-regulating their existence despite the State. What has kept them alive? We will try to answer this question during this three-session course with Aura Cumes, a Kaqchiquel Mayan thinker, writer, teacher and activist from Guatemala

The Geopolitics referential field is repeating from the previous edition because we feel such wide referential fields can never be fully exhausted. The first edition of the Geopolitics referential field took place in 2015.

A new group of international narrators will address their current research or artistic projects and propose terms signified by specific local environments to go beyond the dominant epistemological models in contemporary art. They will produce a multitude of voices that will explore alternative ways of making global alliances, either by drawing from historical case studies or addressing urgent sociopolitical issues.

Who writes the future? forms the re-launch of the online platform L'Internationale Online with an inquiry into a new reading of the 90s, performed in a series of textual and multimedia commissions, research and encounters. It is an evening featuring presentations and discussions focussing on history writing and decolonizing and intersectional practices. Participants: Nkule Mabaso, Curator, Editor and Artist, Pablo Martinez, Curator (Barcelona Museum of Contemporary Art) Aleksander Motturi, Writer and cultural producer, The White Pube (Gabrielle de la Puente + Zarina Muhammad), Art critics

This international conference analysed the relationship between Turkey and Russia in two key periods of the 20th century: the 1920s–1930s and the 1990s, focusing on the artistic and cultural sectors as a place for intercultural exchange and reflecting on this history of mobility between artists and cultural workers from both countries. Speakers include: Ali Akay, Faruk Alpkaya, Luchezar Boyadjiev, Cem Bölüktaş, Duygu Demir, Merve Elveren , Vasıf Kortun, Christina Lodder, Beral Madra, Agata Pyzik, Mühdan Sağlam, Zeynep Yasa Yaman, Onur Yıldız, Hatice Deniz Yükseker

This international conference examines the media, narratives and practices which have sought to make contemporary visual arts accessible to wide audiences from 1950 to the present.

This exhibition and series of public programmes organised in Barcelona tackled HIV/AIDS, not only as a medical epidemic, but also as a change in the visual, affective and economic paradigm, in parallel with the consolidation of neoliberal policies and the globalisation process during the 1990s. The project was initiated by the curators Equipo re (Aimar Arriola, Nancy Garín, Linda Valdés) and continued by students from the PEI (Programa d’Estudis Independents, MACBA), focusing on cultural activism in the 1990s in Barcelona, revisiting the physical, cultural and social heritage of archives and artworks and reflecting on neighbourhood collectives and associations who had been organising care on civil and health rights in Barcelona.

The staging of 21 Personae in Barcelona extends the curatorial pulse of the exhibition In the Open or in Stealth by activating modes of sensing – shifting grounds, dispositional sediments and the potent scenarios of life out into the city. A group of curatorial practitioners associated with MACBA's educational programme have crafted a specific Barcelona, to be expressed on the streets, in the squares, in public spaces and among public secrets.21 Personae includes the same number of encounters with people, places and collectives in Barcelona. Together, they will attempt to transform the meaning and intensity of our experience of the city. It is also an investigation into 'ways of meeting', ways of being and interacting in the city.

This exhibition, curated by Raqs Media Collective, will be a multi-layered site of discovery that explores the concept of a future in which multiple histories and geographies are placed in dialogue, giving way to a plurality of possibilities and queries by following paths that interlace, entwine and expose relations between objects, feelings and concepts, while simultaneously tracing indeterminate spaces between them.

The focus of the courses will be on artists, art collectives and the social and political contexts of the post-war avant-gardes, as well as their meaning for both contemporary art and for institutional work. Crucially central to the summer school topic is the Arteast 2000+ Collection, consisting as it does of works by such artists as Marina Abramović, Ilya Kabakov, Komar & Melamid, together with other artists from Eastern Europe. In the more than 18 years since the inception of the collection, Moderna galerija has staged some very noteworthy exhibitions in the frame of a series entitled Arteast 2000+ Exhibitions. Speakers will include Zdenka Badovinac, Boris Buden, Keti Chukhrov, Eda Čufer, Branislav Dimitrijević, Mladen Dolar, Vít Havránek, Marko Jenko, Lev Kreft, Bojana Piškur, Igor Španjol and Arseny Zhilyaev.