The main aim of the project OUT OF THE BOX is to enable conditions for a stable long-term cooperation between Serbian and Norwegian contemporary cultural scene. Idea is to activate and bring closer the richness and diversity of the artistic scenes of Norway and Serbia, since no initiative has been launched so far. In recent years, several programs have been held in different cultural segments in Serbia, whereas modern Norwegian culture was represented. However, in the area of contemporary visual art, individual artists and curatorial roles were often, only randomly included in regular gallery programs and already existing manifestations.
Merging two art scenes on all levels of professional collaboration is creating precedence thus further exploring possibilities, even once the project is finished. Creating a favorable conditions for artistic and theoretical activities, such as: research, studies, presentations, lectures, exhibitions, etc.
Essence of this project is to create new connections which after the project is completed should function in their own directions which won’t and can’t be controlled and instructed by the project from which it grew out. Project will contribute to learning from both Norwegian and Serbian side, about the issues concerning the socio-economic betterment of art makers. Theoretical and methodological choices in the case of discussions recognizing the socio-economic issues will be strictly speaking within the presented framework of the project OUT OF THE BOX.
Antonio Cataldo is a curator and since August 2018 the Artistic Director of Fotogalleriet, Oslo, an institution dedicated to the exhibition and investigation of photography as a critical art practice. He came to Fotogalleriet from a Curator position at OCA, Oslo, where he was employed in various roles since 2010. Whilst working at OCA, Cataldo was involved curatorially, in research and production of a number of prestigious projects at OCA's premises in Oslo and at institutions in Norway and abroad. Some of the notable projects Cataldo was involved with are: Let the River Flow. The Sovereign Will and the Making of a New Worldliness (2018); Thinking at the Edge of the World. Perspectives from the North (2015–); and Camille Norment's Rapture at the Venice Biennale (2015), among others. Previously Cataldo worked at Iuav, Venice; at Fondazione March in Padua; and cofounded the experimental collective Intorno Group.
Professor at the Department of Philosophy, Classics, History of Art and Ideas at the University of Oslo (since 2001) and Wigeland Visiting Professor at the Dept. of Art History, University of Chicago (since 2015). Senior Curator at the National Museum of Contemporary Art, Norway (2000), and Research Fellow at the Department of Archeology, Art History and Conservation, University of Oslo (1994-98), where she got her PhD Between 1988 and 1994, she was engaged by the Henie Onstad Art Center, Oslo as a project based curator to organize their Fluxus collection. Her fields of research are modernism/avant-garde studies and contemporary art with a particular focus on media aesthetics and the relationship between art, technology, media and politics. She is a frequent contributor to the journals Artforum, Afterall, Parkett, and Texte zur Kunst and have also contributed to numerous exhibitions catalogues for museums and art institutions around the world. She have curated a number of exhibitions focusing on media and technology-related issues in avant-garde and contemporary art and also worked as a music critic and radio DJ. In 2016, she completed a monograph named The Autobiography of Video.
Sara Eliassen is an artist and filmmaker, based in Oslo. She is currently a Phd candidate in artistic research at the Oslo National Academy of the Arts - the Art Academy. Eliassen holds an MFA in film from San Francisco Art Institute and was a studio fellow at The Whitney Museum’s Independent Study Program in 2010/ 2011. Her films Still Birds and A Blank Slate have played extensively at international film festivals, amongst them Venice Film Festival, International Film Festival Rotterdam and Sundance. In 2018, Eliassen executed The Feedback Loop, a year-long project commissioned by The Munch Museum - Munchmuseet on the Move, an exploration on how moving images, screens and screen technologies take part in the production of our memories and actions, looking at parallels between ideological material from 1920 and 30s cinema and political history and the moving image material surrounding us today. The project consisted of a public screen intervention, the programming of a screening series and a solo exhibition with guests at Munchmuseet on the Move - Kunsthall Oslo.
Bull.Miletic are visual artists Synne T. Bull (Norway) and Dragan Miletic (USA, b. Yugoslavia). Operating at the intersection of art and new technologies, Bull.Miletic's digital media and installation works take the notion of expanded cinema further trough the history and innovation of mobility and travel, foregrounding the spatial individuation with related fields such as architecture, cartography and space exploration. With a media archeological interest in technologies of the moving image and the specificity of their operation, Bull.Miletic frequently invents new recording techniques and projection mechanisms. Through this practice, predominant visual regimes are scrutinized at the intersection of aesthetics, technology and contemporary art.
AUTHORS: Darka Radosavljević
ORGANIZER: Remont - Independent Art Association, Belgrade, Serbia
SUPPORT : Royal Norwegian Embassy in Serbia
First Event 13-17th May, Belgrade
Artist talk, public debate, lectures and meeting with Serbian art community.
- professor Ina Blom (Ina Blom presents La Monte Young’s groundbreaking 1960 composition Draw A Straight Line And Follow It) from the University of Oslo.
By working together with a group of selected experienced art professionals from Norway and Serbia the main idea of the project is to intensify and dynamize communication between art scenes in respective countries, bringing them together through identifying common themes as well as research for innovative models of cooperation. Cultural exchange between Norway and Serbia has lately prompted the need for reflection on projects of contemporary art in the context of merging art scenes of Norway and Serbia in a rather, sui-generis way.
Opening the box
“Opening the box” is conceived as carefully reasoned the set of encounters of artists, curators, theoreticians, lecturers, institution representatives with the goal to create favorable conditions for the more substantiated approach in the transnational co-actions. In that sense intention of the project is to review the postulate of a molded, managerial, predictable, measurable approach to culture and art. The project assumes a role of some kind of precursor for the future possible initiatives that will grow out from specific fields of professional interests. Insufficient knowledge about the scenes, the possibility of creating a link between them through open and experimental forms of cooperation, has become the prerogative of this project.
Get out of the box
The project is developmental in its core structure providing conditions and impulses for long-term cultural cooperation. The intention is to overcome usual project limitations, strict formal frames and expectations in order to create intellectual accumulation needed for aftermath possible ideas and actions. So, the essence of this project is to start new connections and threading which after the project is completed will continue to function independently on its own directions.