Reports

Travelling Communiqué

The Travelling Communiqué project is informed by the idea that the collective statement articulated as a call for a new kind of internationalism by the 25 delegates of the first Conference of the Non-Aligned Movement (NAM) in Belgrade, September 1961, remains unanswered. Travelling Communiqué does not aspire to celebrate the histories and geographies of the Cold War and the NAM (Non-Aligned Movement). Instead, it enquires into the possibilities of ‘prolonging’ the formation of the NAM into the social conditions of the present. The NAM can be understood as a third space of emancipation that sought to unsettle the bipolar world order through a wide variety of anti-colonial thinking. The Travelling Communiqué is an attempt to understand the process of becoming a political subject, initiated by those without names whose voices exist despite the efforts to silence them.
Travelling Communiqué is a durational project that relies on common authorship. It is curated by Armin Linke (Italy/Germany), Doreen Mende (Germany) and Milica Tomić (born in former Yugoslavia) in permanent discussion with Yero Adugna Eticha (Ethiopia), Kader Attia (Algeria/France), and Fabian Bechtle (Germany).

www.travellingcommunique.net

curatorsMilica Tomić, Armin Linke, Doreen Mende
placeMuseum of Yugoslav History
tags
castMilica Tomić, Mirjana Dragosavljević
cameraMiloš Miletić
soundMiloš Miletić
editingMirjana Radovanović
interviewMiloš Miletić
categoryReports
published21. 9. 2014
languageČesky / English
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Travelling Communiqué
Alex constructs and, in turn, deconstructs a fluid identity that defines itself through ephemeral contributions, the power and anxiety inherent in the possibility of breaking down the boundaries between subject and object. Bold yet light-hearted, we trust the work unreservedly for its emotion and the vulnerability of the artist’s personal input.
The exhibition Happiness Is Not for Everyone is a look at the phenomenon of self-help guides that resuscitate the myth of the strong, masculine individual who has his life firmly in his own hands. However, when we focus more closely, we see a lonely man in distress. From the constructed nature of the situation—the asynchronization and denial of the source image and sound, the speaker's hesitant yet determined diction—we can guess that this is a game with authenticity, that we are witnessing the performance of a role, the fulfillment of a task, the immersion in the state of sovereignty.