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I'll be your mirror, Reflect what you are, in case you don't know [1]

Jelena Spaić

     The Unprotected Witness project was conceived as a series of interventions in permanent museum displays, the interpolation of the works of contemporary artists and reinterpretation of the museum phenomenon in the widest sense. The point of departure for making such mini-meta museums was mirroring in order to transform into a palace of distortions and extensions not solely museums, but also the perceptions and receptions of artworks and relations with the museum object. Thus, the museum object was prompted leave its safety mode and automatically become an unprotected witness to all of the processes that it is subjected to. Opposing Troxler’s effect, [2] Unprotected Witnesscomes close to the total museum utopia. [3]. Unprotected Witness No. 2 was initially intended for the Postal Museum. The working title of the imagined exhibition Love Affair, or the Case of the Missing Switchboard Operator,[4] marked its fate in many ways. The exhibition was brought to a standstill over the summer due to the growing numbers of Covid-19 infections and all Postal Museum projects were stopped, frozen until further notice. Panic struck.

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Аnа Knеžеvić

     Mens sana in corpore sanoA sound mind in a sound body is an old saying we gladly turn to in everyday communication, public speaking, in writing. Without much thought of its history, we resort to it as part of what we consider general knowledge. The wordplay is clear and enticing: if your body is sound, so is your mind, and vice versa – with a healthy mind, comes a healthy body. It offers concise guidance for a happy life: exercise your body and your mind will be healthy too; and, train your mind, and your body will follow. The same could be applied to museum anatomy: keep objects in museum “intensive care” (Šola) sound and you will emanate a sound museum mind; and, contagiously disseminate a museum mind that safeguards health through intensive care and you will have a sound museum. In short, these would be the instructions for a happy life of the “museum’s museum” (Булатовић).

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Frida, Have You Hear of Lour Reed? [1]

Predrag Delibašić

Lou Reed – Metal Machine Music, double LP, RCA Records, July 1975

     One of the most popular urban legends in rock & roll music is that Lou Reed recorded MMM because he owed his record label one more album. Of course, the real truth may be different. As a fact, prior to MMM, Lou Reed enjoyed experimenting with strange sounds/noise, and in a couple of instances, close to his death, he performed all of it in concerts. Whatever the real story, the double album was released in July 1975 and included four sides, each 16 minutes long or, more precisely, until we remove the gramophone needle. I tried several times to listen to the album in digital format. At times I would get really excited about the sounds I heard, but there were also moments when I could not go on listening. I recently bought MMM on vinyl and listened to it in its entirety. The fact is that Metal Machine Music is one of the first avant-garde albums with “noise”, not real music (although, this is debatable) and the first by as famous an artist as Lou Reed. The recording technique itself has been described many times and almost always different sections have been mentioned. Maybe there is some official truth, but I prefer not to think too much about it and try to immerse in the sounds of the album. And, you react differently depending on how you listen to it. Turn up the volume and it is pure noise. Turn it low and hear thousands of crickets singing their ode to the sun, on an evening in the African savannah. The Internet offers slower versions, versions with special left and right channels, etc. This is a masterpiece coming from a character who knew how to make a load of great and a lot of utterly boring stuff. I find it is torture to listen to Walk on the Wild Side. This, is not.

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