Milica Rakić participated in Unprotected Witness no.1: Afrodisiac. In her work, she explores the ways in which language and culture form a personal identity. Applying a humoristic inversion on established practices of memory and forgetting in a love game placed within sequences of diplomatic, politic, collector's, traveler's - personal, and public - Rakić constructs (and deconstructs) pseudo-personification of the self and continuous variations variable in power, variable in principles, but constant in their modifications
Ivana Ivković (1979) participated in Unprotected Witness No. 1: Afrodisiac. Ivana's nomadic lifestyle has marked herpoetics, which oscillate between personal history and fickleness of memories. She uses a wide range of media, all of which stem from a solid drawing nerve, with photos, texts, light boxes, leading to site-specific interventions. Ivković repeatedly confronts us with different, but equally seductive, cultural constructs by examining codified systems of economies of exchange, selection, evaluation, valorization, market values and power, and their ephemeral representations.
Ana Vujović (1979) participated in Unprotected Witness No. 1: Afrodisiac. Her art strongly relies on drawings, objects, sculptures, installations, and paintings. By combining multimedia and digital, Ana Vujović's work explores the post-analogue experience – society’s interaction with the digital world and its relationship with the roots of traditional heritage.
Siniša Ilić (1977) participated in Unprotected Witness No. 1: Afrodisiac. His work includes drawing, painting, installations, videos, and art books. Ilić's practice deals with social phenomena and social mechanisms by exploring forms of labour, tension, social violence, and states of insecurity. The museum's site-specific installation marks the permanent exhibition as a series of relations, omitted histories, and as one of many time capsules.
photo: Vladan Milisavljević
Ana Adamović (1974) participated in Unprotected Witness No. 1: Afrodisiac. Her art deals with issues of identity and memory, personal and collective work on time consuming photographic, curatorial, and video projects. By integrating theory, literature, film, new and old technologies, she repeatedly positions the observer at he intersection of real events and constructed situations. For her, the museum occupies the same position.
photo: Mihailo Vasiljević
Saša Tkačenko (1979) participated in Unprotected Witness No. 1: Afrodisiac. Tkačenko’s art opens themes of visibility and the omission of representative, symbolic and ideological museum meanings. His artistic interventions are like minute erosions that very quickly lead to total collapse – from the careful positioning of the artwork/act, clear contextualizations relying on different time and style periods, to the purist, often brutal nakedness of reality.
Milica Josimov (1978) participated in Unprotected Witness No. 1: Afrodisiac. In her work she joins art and conservation methods of preservation, investigating spheres of historical and intimist fissures. She places in opposition the sculptural and conservationists desire for atemporality with phenomena of the ephemeral, human vulnerability, and man’s tendency to make mistakes.
Irena Kelečević (1975) participated in Unprotected Witness No. 1: Afrodisiac. She explores personal space and its connections with public space, which is not defined only by traditional architecture, but appears as a product of social practice transformed by everyday activities. Summarizing the heritage history of the museum object, she duplicates it as a modern utility object, typically found in shopping centres and cinema complexes today, and by doing so she opens a passage that leads from the sovereignty of the object with its museum aura, directly to the museum shop.
Vladimir Nikolić (1974) participated in Unprotected Witness No. 2: MMM. He works mostly with video art and explores the mechanisms of ritual submission to the authorities of religion, tradition, and art history. He deals with institutional criticism and the artist’s role within the system she/he operates. He also considers the position of the image in contemporary modes of visual perception.
Nataša Kokić (1979) participated in Unprotected Witness No. 2: MMM. Kokić maps silence by deliberately placing us in spaces of (its) absence. She suggests that escapism is possible within her drawing maps – desolate, monumentally unconquerable landscapes and cartographies of non-existent regions. She places the museum on the same level. There is no one there. One only hears the conversation about ancient attempts to understand the cosmos.
Goran Rister (1985) participated in Unprotected Witness No. 2: MMM. He is one of the founders of the Inex film and Kvaka 22 art collectives. He is also behind the project Muzej Kvaka 22. Rister investigates the limits of visual perception and blind spots in observing works of art, which he humorously links to museum practice.
Stevan Kojić (1973) participated in Unprotected Witness No. 2: MMM. Kojić’s Self-Sustaining System of Absurdity 2010-2020 is like a Moebius strip, a multitude, but one perpetual machine that continuously solves tasks in a loop. A Kafkaesque post-cybernetic bioengineering puzzle, a series of enigmatic givens, which when and if magically solved lead to error or further impossibilities. Thoughtful simulations of technological, but more human limitations.
Jelica Radovanović (1957) и Dejan Anđelković (1958) participated in Unprotected Witness No. 2: MMM. Although inspired by Agamben's observation that we are witnessing the museification of our world and everything in it, and that the museum is that dimension into which “what was once — but is no longer — felt as true and decisive has moved”, and a simple term for “the exhibition of an impossibility of using, of dwelling, of experiencing", the artists, with their work, paradoxically, offer a template for a museum with a view of life, for a museum that is alive.