TOO LITTLE TOO LATE – Hey Sisyphus, have we met?
Curated by:
Kirila Cvetkovska / Ivana Čavić / Ruri Kawanami / Jovana Vasić / Karen Vestergaard / Sonja Vrkatić / Vera Zalutskaya
30.11..2018, Cara Nikolaja 52, Belgrade
In the presence of works by:
Mia Ćuk / Alen Floričić / Nina Galić/ Siniša Ilić and Tina Gverović / Aleksandra Kovačević / Marija Marković / Marko Tirnanić
TOO LITTLE TOO LATE was realized within the What Could/Should Curating Do? curatorial course. This group curatorial project comprised of two stages. First stage was made as a play on the available course budget for the exhibition which did not calculate artists fees. To comment on this situation and try to raise the budget for the fees, artist and curators went together to Grand Casiono in Belgrade and gambeld together with available fonds. We finished the night with the same amount of money as in the begining. This action resulted in the later exhibited work Casino Poetry by Mia Ćuk. The second part of the project was developeed in an exhibition in a small Belgrade kafana (traditional serbian tavern), which was due to be demolished.
In outline, the story goes like this. TOO LITTLE TOO LATE – Hey Sisyphus, have we met? is an open invite for an evening of art and relief on 30th November, at Cara Nikolaja II 52 in Belgrade. Together with artists and the audience, during this transformativeevent, we would like to experience the delicate nature of a failure worthwhile.
In a flickering art world full of networking headaches, cliques and strategies, in a society that profits from fear, anguish and self-doubt, what could the light-hearted ones do? Play. This “play” is developed through the space where honesty is welcomed, doubt not frowned upon and restlessness understood. Gambling our way through (literally and metaphorically) to– gether with 7 artists, our fellows on this enterprise, we are building a safe, but alas transient spot, where our uncertainties can be set loose.
Maybe while we divert our attention and put our guards down, our worlds will fall apart, and we’ll lose what’s at stake. But in the end, everything may just stay the same as before and we may get what we bargained for.
Casino Poetry, 2018
Mia Ćuk is a Serbian artist living in Novi Sad, her interest in the materiality of “the photograph– ic” led her to work with gestures of the image focusing on its disappearance rather than its creation, hence resulting in mixed and alternative techniques of documentation.
Untitled No.1-99, Untitled No.5-00
Alen Floričić is a Croatian artist currently based in Pula/Labin. His recent works are video installations often consisting of short loops, thematizing the odd of the human body.
We will take your all and put it on, I believe in your word, 2018
Nina Galić is an artist living in Belgrade. Through her artistic practice she analyzes the pos– sibility of altering human behavior by the mediation of material objects, attributing function to her sculptures and creating objects of the real world that potentially become instruments in building a ‘new reality’.
Chameleon, 2014
Siniša Ilić is a visual artist from Belgrade working with drawing, painting, installation, video and performance art as well. His artistic practice examines diverse social phenomena and forms of labour, tension, social violence and states of uncertainty. (In collaboration with Tina Gverović, co-author of the video “Chameleon”)
Happiness 1 2 3 4, 2017 – 2018
Aleksandra Kovačević lives in Belgrade, creating in the realm of internet related art or pop culture, working with video, installation or performance. Her works question issues such as the functionality and determination of meaning, gender constructions, impacts of net culture, language in relation to social problematics.
Dokolica, 2017
Marija Marković is a Serbian artist living in NYC, creating video works and installations that explore issues of exclusion, waiting or confinement, related to the friction between socialism and capitalism.
Love is for the poor, Live stream, 2018
Marko Tirnanić is a serbian artist living in NYC, exploring socially intimate positions such as control, humiliation and self-indulgence in his experimental video works, installation and public intervention.