Victoire DUBRUEL

Director of the École Supérieure d’Arts de Rueil Malmaison (France) As a participant of the creation of Le Magasin (1985), she explained its history, and how and why the École du Magasin was created.


R. Malasauskas, during a workshop

Raimundas Malasauskas, Curator, Lives in Paris

Introduction to his curatorial voice

Presentation of some his projects, related to our interest for fiction

Brainstorming on our own projects

“Exposure”: you get an impact on people and on things when you expose them to something.

“Obsessions”:  he prefers not to work with things he likes too much, otherwise it makes you blind: obsession is blinding. He has been working on things which are fascinating him, but it is more interesting to challenge your work and research with something you don’t know. It is a question of beeing self critical: he doesn’t do enough things which are not related to his own fascination.

“Curatorial voice”: We need to invent our own voice: an independent curatorial voice independent from our personality, our history, our fascinations. Creating a voice, a source, not an entirely other person, a narrow person.

“Exhibition”: He is more interested in structure than subject.


Curator, Grenoble

We have been working on Internet related issues, and he introduced some “docufiction” to our group.

Lots of Mocumentaries are produced as so, in order to criticise the “true reality”.


WHW, Natasa ILIC & Yvet CURLIN

N. Ilic & Y. Petresin, during a workshop

Natasa Ilic and Yvet Curlin, during a workshop, ©S.Fuentes

WHW, Collective of curators, Zagreb

Three days seminary with Natasa Ilic and Yvet Curlin of the curatorial group WHW, and the students from the Post Diplôme of the Fines arts school of Lyon, at the artistic residency Moly Sabata.

HWH introduced their practice, their artistic concept, and political engagement.

We introduced our own practice and relation to collective work.

We attended the presentaiton of the students from Post Diplôme, Ecole Nationale Supérieure d’Art Lyon.

“Collective”: WHW is a collective of five people: Yvet, Natasa, Anna, Sabina who are curators, educated in art history and comparative literature, and a designer-publicist who is responsible for visual identity and publishing material. They didn’t start as a collective. The political orientation is the shared ground of their collective; moreover they don’t have any disagreement with which type of art interest them. Publishing is really important, it helps to filling the gap between the art scene and the institutional art world.

There is a need to work on collectiv, because you don’t join in a group just to make something. A collective is based on interest, and has a political stand: public statement is the strongest.

To survive in time: How to sustain collaboration? What is the politic of the shared work? Because working together is not being a collective.

“Curating”: In 2003 they opened the gallery Nova in Zagreb; it is a non profit space. They wanted to create a space for a new knowledge, and to put together older and younger artistic generations to fill the gap in art history. Croatia always had a strong conceptual scene, it’s important now to build a transgeneration dialogue. One goal is to help living artist by producing new works. But artists from abroad, they exhibit old work because they never had been seen in Zagreb. In their gallery they question institutions because they bring a different lecture of history.

Moly-Sabata residency (Isère)

A side effect project: they often come back to their project with different angles, points of view.

“Modernism”: in Yugoslavia there was no socialist realism, because after 1948 Yugoslavia was not aligned to URSS. They want to interpret the modernisms, and introduce a new reading of those works. They want to question the modernism as dominated by occident because in Yugoslavia its going hand in hand with socialism. The modernism has been instrumentalised during Cold War.

Human social emancipation is the true nature of modernism.

“Politic”: Their name is coming from basics questions of economy: what do you produce? How do produce? And for whom you distribute? They apply to questions they have in the art scene. In the context of their country and region of the world, they want to problematise: what is socialism? How to problematise the political and social situation? How to think capitalism? And the crumbling of the whole system?

One goal is to discuss socialism past, in order to know what do we lost/gain in transition. There is a true need to speak again of utopia, because the rise of capitalism is not discuss in its bad aspects.

They don’t believe in “free art”: for them, art is propagandistic. The idea that art is intellectual and liberated is very new, and occidental. In ExYougoslavia dissident artists were leftist, and they were taking the system more seriously than the system itself… Now the Croatian desire/need is to enter UE, and becoming a normal society as occidental. They want question “normality” as occidental: the ideological construction which would lead to democracy and peace. Waht is the price to go throw capitalism? It is not a natural passage for humanity, it is a construction, and those remarks are central in the Croatian context.

Money really need to be questioned in the art world, also because you need to integrate the system, otherwise you stay in a small circle.