She Said ,,,

by Aleksandar Delibasic

HASIL ADKINS, one of the most celebrated one-man bands, PASSED AWAY last Monday. This hillbilly, who has lived in the hills of West Virginia, constructed his first toy guitar out of a washbowl and ironing board. Later on, already in the mid fifties, he got himself a vinyl press and was able to have his singles recorded and released. This, of course, meant that he had to produce all his singles one by one (there was no way of making more than one copy at a time). So, we are amazed to find out that no two identically recorded songs by this musician exist in the world (no need to mention that they are all live recordings)??
Not only was this weirdo the oldest among one-man bands, but he was also the best. Bob Log III and BBQ, who are leading figures in this form of rock music, only had good things to say about this forever-tipsy and bulky man.
When Bob Log III was in a visit to SERBIA-MONTENEGRO last year, we often talked about Hasil. Bob would describe his wild live shows with the utmost enthusiasm, adding that he was beating the cymbals with his fists („no matter how drunk he was, he could play more powerfully and much longer than any of us“). This rockabilly country’n’western weirdo left a handful of songs behind him, most of which were about things like chicken, girls whose heads he would threat to cut off on their first date, sex, hot dogs, etc.
Hasil owes a lot to Ivy and Lux from The Cramps, who prevented his work and talent from sinking into oblivion. Not only have they made a cover version of his hit single „SHE SAID“, but they also included the original version on their first compilation „Born Bad“, thus giving Hasil Adkins’s name a chance not to be unjustly obliterated from rock’n’roll history books.

Changed Times- Interview with Darko DZAMBASOV

by Vladimir Panika

DARKO is musician and a programme editor of Akademija night club in Belgrade. I MET HIM IN THE STREET:
- DARKO, who can you recommend for a new web magazine, called Art AROUND Belgrade? I want to present artists.
- I know an artist who made a huge submarine as a tribute to 20 000 Leagues Under the Sea.
- But DARKO, it sounds too attractive, are you sure it is the quality?
- It is; CONSIDERING THE CONDITIONS IN WHICH OUR ARTIST WORK and all the local problems, it is a success.
- Are there any creative artists WHO ORGANIZE PARTIES, some DJ’s or CONCERT ORGANIZERS who attract attention with their artistic work?
- NO! There are people who routinely organize concerts, bring in foreign bands, but THAT's NOT WHAT YOU' re ASKING FOR!
- And what about DJ’s who ACT AS AUTHORS in the realization of club parties?
- But DARKO, back in the nineties you used to organize CONCERTS OF DEMO-BANDS in the Catacomb!? IS THERE SOMEONE TODAY who does the same thing?
-NO! That was seven years ago, the times have changed, YOU HAVE TO UNDERSTAND! There are day by day club events AND THAT's IT. As if you and I spoke different languages, it seems we cannot understand each other!



A democratic vision which “defines language and its users by means of an activity” (and not through substance) assumes that there are INSTITUTIONS OF POWER that represent the weapons of established speech. Language becomes AN ACTIVITY. It is active, since once established, the ability to speak absorbs every sense thus making language one of the elements in enchaining the INSTITUTIONALISED SPEECH.
Accompanying bureaucracy of a multitude o peripheries establishes the newspeak of transitional society. The new language is embraced by the intellectual √©lite along with the cynicism of their political victory. It is the language of a privileged minority class. What happens to the bodies of the periphery, on the outskirts of the revolving system of government, when they are not seen from a cosmic, however never so safe distance? What happens inside these limited, yet widespread mechanisms of the groups which also have their own technology, their own memory, collective recollection, their own foundation, but are as groups exposed to, or occupied, colonised, abused, normatively or even violently, by ever growing mechanisms and types of global domination? What happens when historical hegemony of a legal entity or several of them in competition, as an authorised version which is written and developed according to the needs, and in function of sovereignty, finds itself opposed to a multitude of comparatively independent and infinitely small counter-histories? The apologetics of the Sovereign, identities formed within current political arrangements and thus totalised, make the authority revolve, usurp and erase, thus also affecting even the peripheral, capillary authority, in its most local forms and institutions, shaped in haste, stripped off all grammatical processes which could have been built up by spontaneous subjectivity of a local man. Accelerated modernism defines this strategy as a chaos of sequences of occurrence of novelty by discharging dramatised “ethics” from this utopia. Drama is always based on feigned catharsis where the unbearably banished becomes the bearably perverted. Is this the origin of the concern of minority groups that they might end up in the same situation but that in the economic sense, all other types of tolerance apart, they cannot change their current position? Constantly in reforms, the language itself becomes a reform in itself. In the light of it all, these Serbs are no longer only Serbs, they do not witness their “golden age”, they do not lament or mourn; but place themselves in the inevitability of global allocation of percentage of capital share (“nominal capital”) in the reflection on one product, one statement/thing. Are you 30 % Serb and the remaining 70% Nokia? And in these 70% how many shares will tomorrow belong to F.C.Chelsea...? Often succeeds what is least expected to succeed. Thus seen, the surface of things should not take us in with its apparency. Gaping beneath it there is an abyss the paradox of separation pre-conditions for progress are met. All successful theories are based on an error. It is not necessity that obliges, it is the outcome.We do not know of societies which, starting from the unity of “theoretical, practical and aesthetic” (J. Habermas) remained only on the aesthetic (cultural practices were denoted as the systems of signifying, as practices of representing, not as sources which produced beautiful things). But, neither we know of societies which managed to build up theory or subjectivity without art as an excess of imagination even if realities/successive paradigms keep denying it, produce and split apart the multiplying multitudes and empty meanings down to human material without attributes, abandoned and stripped down, to mere posing and helpless looking-on. A specific type of practical, as a process of disintegration of the theoretical and the aesthetic, wreaks havoc as a function of capital. A work/practice of art, indeed, communicates with disintegrations – alienations of all sorts – when it polemicizes, when it surpasses them, even when it is in error. Therefore, due to the intensity of this MONOLOGUE, the remains of elitist actions through modernist protocols tell that the most wretched creative and intellectual product, which precedes or results from it, is indeed in the ideal subject of the ideology – a new colonial comfort which is notoriously corrupted and therefore lazy and unreflexive – due to all the gifts of God in the Garden of Eden. Art as surplus and a sort of a break-up causes these repressions of unbearableness to at least disclose themselves. Thus it provokes censorship and aversion, curses and stupidity, so that it could be, at least silently, worthy of being regarded as an act of self-reflection, as the only remaining condition of freedom. Even if it is aware of the inflation of reflections on all the Others, little and big. Even if it is dealing with the subjects of its realm, overshadowed by extinct great stories whose death is still kept secret from us, like the death of distant stars. On the surface, great narratives are still valid only for the growing “grey areas”. Someone has to be the artist, the third person, to witness all this. Some have forgotten, others have forgiven, vanished, got tired...
Art is meta-production - TECHNE. Technology in its original sense is the skill which produces occurrence (of objects, of a system of signs, of concepts – symbolic articulation...), but also causes the takeover of responsibility to take place (aitia) as this occurrence also establishes a new order of things. All the components of a social group are PRACTICES. In its manifestation (of a practice) it is insignificant whether we are dealing with technology in a mechanical sense or with TECHNE as in art. This epiphany is fate which links the historical with the historic. By showing in his photographs the faces of “people without traits” (“Was not cognition first and foremost the cognition of personality, before it became the cognition of objects...?”) and belonging to these people by an affinity, Petrovic documents both their historical existence (diachronically) and their historic appearance (synchronically). A class of invisible (for whom?), but present, becomes the condition for all other manifestations of visibility. And these POTATO EATERS constitute the CENTRAL SUBJECT (U.S.A as a synonym for nominal capitalism, according to J. Habermas), outlining its outer borders. They are a living potential which, through its murmur and mutter of coming into existence sets into motion the dreams and activities of the Central Subject/a higher race about expansion.Foucault’s interpretation is that the question of race in its original form was not based on the difference in the colour of the skin. French bourgeoisie of the late 18th century considered itself a RASE. Such structural difference is a solid ground for establishing identity and for pragmatic action towards its development as a “Central Subject”. The next invention of the Western mind is the concept of CLASS, in its Marxist interpretation.
Photographer Petrovic says: “I photograph my people, the Serbs.” He archives an outward appearance and difference. By repeating one and the same picture, the selfsame view, he also establishes a floating articulation of one and the same group of people which is, naturally, divided into the neighbourhoods and small differences.Would it be different if he said “I photograph my people, invalids... gays ...feminists... artists... free people... hungry people.... detested people....”?
Yes, it would be different. The provocation is in the name and it refers exclusively to the “ultimate embodiment of political enjoyment”, which is the Nation. It is always the keyword, the password - when it is the matter of concern or when concern is wrapped into good intentions of dioxin, or indeed when there is no trace left of words and deeds. All the other places of speech are already co-opted, legalised, tamed to the good taste of the Citizen and classified for him to deal with these matters elaborately inside Offices. In this case, when Petrovic photographs his people, the Serbs, and persistently draws a borderline (and the place is almost unbearably recognizable) and installs a virus into the language by declaring, in the face of the progress of human civilization, that there is an outside, we want to believe although we are far away from it, separated, having lost the direction of our discourse; we want to believe that it suggests a feeling of open space, a rift, a yellow spot, a blind angle free from recognition... as a sign of vigilance and hope. According to Parveen Adams, it is vitally important in political and subjective sense to preserve this feeling which ought to be the guideline for a reasonable, responsible policy of concern.On his web site Petrovic wants this identity to be asserted through an interactive agreement. Wish becomes a sign. Unless you want to watch the Serbs – it is over. What exactly is this ultimatum released into the cyberspace? It is crucial to find out the standpoint for this question. Can this privilege of watching Serbs be seen in an ultranationalist-chauvinist light? Very often so, nowadays only in that sense because the ruling race, once again in the making –PRESENTS IT IN THIS VIEW ONLY. It is no longer a local process which takes place in the interaction Artist – Society - Ideology; it is a universal fact (only diminished to the level of provincial, offensive and unkempt, next-door-neighbour kind of thing), emanated in the interaction Individual – Central Subject/Higher Race, if for a moment we adopt a detached view and simplify things to a binary relation. This relation, however, does not include mythomaniac processes of art as part of the mind and typical narratives on a gifted Individual/Author as a modernistic project. When Petrovic’s Serbs are granted this position, there is no provocation any longer, since these are people who do not follow an artificial political project and do not really identify themselves with it; there is no aggressive ideological infrastructure or projection with a political aim to assert itself, to be mythologized and to draw state boundaries in war, following the ideology of blood and soil. However, this does not mean that the neighbours are of no use. It is rather an inwardly directed look into the picture which is based on the similarity of grim routines of everyday lives of the group members, which concentrates selected collective memory on life in its insignificantly different forms, without essential change, interruption or disorder. This versatile yet carefully chosen assembly, this panorama where mutual inward similarities triumph over differences, is isolated through an external historical view to a place where nothing happens; they are inserted into an interval, an illusion that they are exempt from regulation. Samples, protagonists of such a large number, who live chiefly and exclusively for themselves, guard the hierarchy of the existing structures, this anonymous and nameless power. For carefree people from a utopian future they could very well be those disfigured, monstrous phantoms of the night from a novel by H.G. Wells, who, as descendants and remnants of working class, drive them mad by running into them at night if they accidentally find themselves in the street.Hans Windisch, a socially oriented media theorist, realised at the beginning of the 20th century the political subversiveness of photography. He spoke of camera as a political weapon, of photography as “other nature”, pleading for “other conscience” and the power of photography to re-actualize conscience. A desire to see things from a different perspective is not a preparation of the intellect for its future “objectivity”, interpreted as disinterested observation; it is man’s power over his freedom of choice. By bringing out his “private” affinities (avoiding the issues of identity) especially when they describe obsession, the presence of one of a myriad possible daily routines, the artist is indeed exposed, not merely because of the danger of scandal (as scandal takes place elsewhere, in the corridors and labyrinths of institutions, not in public), but because he presents his imaginary self in its utmost consistence.
Denying us what we expect to see, or presenting the unexpected, photograph sets in motion the ACTUALITY OF GAZE (in its contours, in its phantasmagorical actualization it is a derivative of naturalism). The consequences of the occurrence of this actuality hit the senses even before their causes have presented themselves to our consciousness. It is not only our ratio that is intellectual, but our senses as well. This actuality, according to Sloterdijk, is in fact “the discovering of crises of civilization, the endeavouring of individuals to preserve themselves, as thoroughly intellectual beings, in the struggle with deviations and imperfections of their societies. This cannot be done by religion and ideology, fantasies of power and violence, the knights of utopia and the phantoms of perfection. Correct expression of this resistance, however we understand the term, is definitely PLEBEIAN INDIVIDUALISM, not some half-witted populism, pantomimic as ever, “cunning” and always at guard; it is life filled with wonder, without the monarch of the spirit, without authority or submission.”
Images: I S T I N I T I S T I

She has them AROUND her little finger

Katarina Radovic about her work

PERSONALS is a series of photographs about people who send pictures of themselves to specialized magazines or internet sites, pinning their hope on finding a decent partner. What they usually do is register under my favourite category, FRIENDSHIP, although they know it’s a blatant lie. Not many of them like to get straight to the point. It seems quite enough for a start to have a photograph, the right and most representative one, whether it was taken especially for the occasion or chosen in desperation among some long discarded family or holiday snaps.

My intention is to make a statement about this phenomenon of self-advertisement and about human nature as such, by showing a series of completely staged scenes, which refer to timeless aspects of life, rather than to some current issues. People in my photographs are non-professional actors who successfully perform the roles they are assigned, presenting various levels of self-awareness, a choice of views as to what is charming and attractive, and what tends to pass as COOL nowadays. There is something exciting in elevating the ordinary to the status of spectacular, in questioning and stripping off the contraceptive masks of ideology, and in performing the autopsy on human experience. In the end, they all look completely happy and proud of what they are, while their private traumas and excesses escape recognition.

Why do I photograph myself in the role of others? In the series of (self-)portraits called WOMEN, I am presenting various imaginary types of women that I find attractive, according to a somewhat twisted taste. I believe there is an element of extravagance in them that is capable of touching even the coldest person. That is what motivates me to get to love them after a while.

These fictional females reveal their FACES. Wandering through the stereotypical systems of representation, they eventually express their unique fantasies and madness. WOMEN is not just the result of exploring the possibilities of emancipation in a society marked by gender differences; they are fabrications of everyday life, ironic statements about authenticity, an endless obsession with seduction, with hiding and showing, as well as with questioning the hegemony of the visible and the experience of feminine principle. I have my mission and I wish to awaken the women’s charm, the way it is shown in my photographs. Whether it is all me or not, it seems that we live at each other’s expense. They change my life.

They are what they are & Layers


The daily performance of Chris Ashley's weblog is loaded by successive changes in construction that can be seen as a two-way text in space set in the unfolding now of a stream of consciousness. It is constituted by an HTML table and supplements of non-esthetic information. It is this that we introduce under the concept of layers because it is this that has resolutely been evaded in the realization (construction) of the very HTML tables – esthetic information. Layers thus refer to the date, name, text or poem-explanation added to the HTML.

It is the additions - the comments which translate, shift the work into performativity (event): Time as History. It happened!

HTML Propositions and directions are given in layers and refer to the object-HTML (“All drawings start with a small table, say 18 x 16, with each cell 20 x 20 pixels, everything is on the grid, right angles only, no diagonals; everything is hard edged; there are a limited number of colors -216 web safe colors; although one can make more than 216 colors, the number of colors actually viewable varies a lot from monitor to monitor") The act of constructing HTML tables belongs to the process of pleasure. Within the chosen framework there is a daily ritual confirmation of vitality-serializing: modules-units-cells are geometric forms mutually linked into line and surface structures (Sol LeWitt,Eva Hesse,Robert Morris) and inserted into the process of a time unfolding-weblog. The idea of serial art appears at the intersection of modernistic autonomy of the discipline of painting (sculpture) and post painterly strategies. The repetition confirms –‘the supreme principle of small differences’- a paradigm of limited supplies of units-colored squares, while the units of the paradigm, are similar as much as it is needed for the difference which separate them to be instantly be visible. For example ‘It is necessary for the squares on Mondrian’s paintings to be simultaneously corresponding square forms, but of different sizes and colors-. The supply of units-cells is limited (".... I enjoy the limitations and boundaries because I am presented with a set of solutions that I can't do anything about, that I accept") by the number of colors - colors frozen in an alternative by their size- in a frozen alternative of relations in a chosen alternative that rhetorically establishes a specific space – the way space is organized is decisive for subjectivity. Identities are partially constructed by the kind of space they exist within, which is here phallocentric, linear, ascending and affirmative in the tradition of the modernist paradigm.

LAYERS reveal the links and ways of bonding between the units-modules of visual tables and they open the access to the lateral (if for a second we have taken the position inside HTML) notes-intrusions. Ashley’s own text-layer takes on one method of criticism when it chooses one or the other place for the act-the activity-the space: fragments, German language verbs, Zen Buddhist concepts, names of places in Mexico, ‘places where I have slept’, bodhi, untitled and finally: in memoriam to Susan Zonatg who advocates (this where Ashley locates his stand) an noncritical critique based on the documental and the act, impersonal and organisational approach and procedure, in which the artist or the critique him/herself is the collaborator in the articulation.

Textual additions-layers do not break down nor deconstruct the poetic and metaphysical ideals of modernisms. Everything has already taken place and is a challenge, a debt to ‘official history’. To go back always, to confirm and add, add, add, because to stop speech means to step out into an irretrievable process.

Thus, the ‘intrusion’ or the import, most often, of a distant Other – that is sunk into history, myth or death. The beginning of conflict is located in the domain of language. The place/the time-the outer world about which the poet TU FU who lived 1000 years ago spoke, leads us and becomes the current place of concern about each part of the creativity process. This reflection on technique is put in the place of the distant Other, into the field of exceptional concern, for the very reason that the technique is the very essence of all creativity. Dating, the daily inscription into time and for time, is in the tradition of On Kawara’s ‘I’m still alive’. The edge place-the directions for looking are the titles- aggressively associative forms.

INTERTEXTUALITY The language conflict between pleasure originating from the mantric discipline which uses limitations and noises coming from outside- the rest of the world, is solved by colonization-importation-appropriation of the Outer-Other (civilizations that built their longlivety and anciency through the intuitive, meditative, htonic by which the continuation of both sides is established. Although they are imminently separated, they reveal something or somebody, which is quite illegible in the very object (HTLM) from the point of view of the outer, the transient-siginifiant.
The result of this esthetic contemplation is not new knowledge but totality of experience. The place of the paradoxes-plot-meaning-limitation has never been in the merging of the texts, visually organized compositions of tables and language commentaries (images and words). One stream of consciousness-visual information flows and fill-comply to the destiny-inertia of formal systems that are analytic and do not depend on representing the outer world. The pictorial autonomy of abstraction organizes the interior in a linear way while the plot; events and information come from the exterior. Pleasure is always with the Other and thus Ashley does not give it to the Hero (HTLM) nor to the Herald (layers), thus not to anyone or anyplace apart from that which has already been chosen-imported-appropriated to be the Other.

THE PASSIVE SPACE The procedure for taking the mantric form (“A sacred verbal formula repeated in prayer, meditation...«) is illustrated by the regularity of appearance-presence-dating, structure of the HTML and in the allocation, organization and choice of layers. In that sense it is also a passive space because it has been completed by being made into a contemplation.- They are what they are. Reconsiled. According to Heidegger the role of the artist in the creation of a work of art also becomes passive and unimportant, the important part is that the work of art has been created. Although they contribute to art becoming ‘something more’ the imported additions situate it into the middle of the syntagm ‘art as art’ (Ed Reinhart discussed the meaning of that syntagm in the 50s and 60s) not showing anything else (in a treacherous-breaking up way) but propositions in and about the work itself.

The spatial text-weblog is proposed for reception and is open to questions and answers that are situated into established knowledge and experience that are the formal consequences of art.

The performance-weblog, regardless how much it has been hidden and is closed into a visual structural autonomy, always allows for the possibility of surprise, and thus contrary to the established theatre performance, we do not known where, at what point, the text will flow out, bend, situate itself.

Chris Ashley lives in Oakland, is a former teacher still working in education, draws in his personal weblog "LookSee" everyday, and writes in his work weblog "AtWork ".


*Marija Vauda&Nikola Pilipovic

Edited by: Rob Myers