Dear Readers, today is Sunday and Sunday’s in Serbia are usually very relaxed days. Too much for my taste, so I want to use this occasion to share some impressions with you. Our workshop now lasts for more than 2 weeks and that days have been very dense in terms of content. We have been introduced to the City of Pozarevac by few individuals and local active people, and have been well received here. After the first week, where we met local industrials, politicians, activists, people from various local cultural or social intitiatives, I face difficulties to find a way to relate with our workshop subject. What is somehow a burning subject here, is the disappearance of the middle class, so I walk around between castles and barracks. If you press the gallery in this post, you will find few images, from the seminar, from the first steps around the town, from our close encounter with the International Roma Union of Serbia, but also images from our visit to a local illegal settlement, inhabited IDP’s (inner displaced people) from Kosovo.

My initial motivation, to participate in that Workshop “the Return of the Gastarbajter” was to have a broader overview of that phenomena, that is also part of my own story. My parents were migrants from Yugoslavia, and I was born and raised in Austria. People in Serbia, often claim that the reasons for migration were always only economical, and that only non-educated, almost illiterate people moved towards Western Europe and further. In my case, my parents had an decent education, and they managed to somehow focus to live, where they are, and not to build castles for a imagined future, for an uncertain return to the places, where they moved from.

Here we have here loads of houses, I call them castles, built by the gastarbajters, that seem more a monument of their absence, than to serve for living. People started moving from this region, called Branicevski Okrug, from the 70ties, and their main destinations, were Austria, Germany and France. In the reagion Branicevo live about 250.000 people, and they believe that 70.000 live in Austria. Another peak of the migration was also during the violent disintegration of the Socialist Federal Republic of Yugoslavia (SFRJ), and during that time, that phenomena of building huge representational houses appeared. During the period of the hyperinflation, were people in Serbia used to work for an average loan of 10 DM (german marks, 5 Euros today), for the Gastarbajter, earning money abroad, it was quite easy to build huge houses. They believed that one day, after 20 and more years working abroad, that they will return with their families and live in that huge houses. Also, under socialist law it was impossible to invest in a kind of business, as business was part of the public affairs, and in a society which functions under a communist premise, private property in a public field was impossible. Than happened, that a kind of competition between, or about status symbols started, so everyone tried to build a house, which is bigger than the neighbors one. Although my fellow Serbs, believe that they are special with that attitude, I used to say that greediness is international.

You can for sure imagine, that building such huge houses, during a period, where people worked for almost nothing, in an hard struggle to survive, feed a lot of hate, between that different layers of societies. On one side, almost everyone in Serbia, survived or survives due to that money, sent back by people from abroad, but still resentments were fed, somehow understandable if you have to cue for hours for bread, flour, oil and sugar, while others are building palaces. On the other side, gastarbajter complained that they had to pay high bribes for the legalization of their buildings, and that they are only seen and recognized as the one who bring or have to bring expensive presents and money, when they return once a year from abroad, usually in very fancy new and big cars. A very complex situation.

To add, or to illustrate our complex situation, you will detect, that I switch sometimes from I to we, and from we to I, as I want to provide you with a subjective perspective, but as there are more people in our workshop, some of my sentences match also common perspectives… so an additional complexity was provided by the Open Forum, during the Seminar, which was open for the local community to present their perspectives on the phenomena around Gastarbajter. Their impact on the local culture, economical situation, political situation etc… This was very well attended, and the local Roma Association, the International Roma Union of Serbia responded most to our invite. Many Roma people have been or are Gastarbajters, and the phenomena of the big representative houses is widespread between them. Also the Association IRU Srbija is run by a guy, who was himself Guestworker in Austria, till he lost his residency permit, due to an change of law. That what he percieved as being kicked out from Austria, was also his initial point and entrance to the field of Activism. IRU has now around 70 members. They have an office and they organize different programs, like they remove old furniture from different household, mainly inhabited by old people, who don’t need them anymore, or can’t effort to pay these items being removed, and IRU redistributes that different stuff, to the needs of different people.

Thanks to IRU, some of us also came in close contact to people living in shanties, and tragically one baby died today in such a temporary shanty, of meningitis. Reality intrudes in a tough way. In a way, if you try to focus on migration, you can’t ignore that fact, that many people here live in such conditions, and that by disappearance of the middle-class, solidarity faded away. Next Sunday there will be the opening of our show, or the presentation of our interdisciplinary artistic workshop. It will happen in public space, so all of you near, are invited to come.

to be continued…

alex

I did such a nice interview with him few years ago, and now this.

In den letzten Jahren ist in westlichen Ausstellungen eine vermehrte Präsenz künstlerischer
Projekte zu beobachten, die sich in verschiedenster Weise dem Thema „kulturelles Vakuum“
in Krisengebieten annähern.

Diese verstärkte Beschäftigung von KunstproduzentInnen mit dem vermeintlichen „kulturellen Vakuum“ so genannter peripherer Krisengebiete, also Zonen, die durch Naturkatastrophen, Krieg oder durch die Folgen wirtschaftlicher und kultureller Globalisierung in eine kulturelle (Identitäts)Krise geraten sind, prägt nicht nur unsere Wahrnehmung dieser Kulturen mit, sondern sagt auch viel über uns und die Rolle aus, die im Westen der Kunst als vermeintliches die Gesellschaft veränderndes Phänomen zugewiesen wird.
In dieser oft klischeebehafteten Auseinandersetzung mit der Krise des „Anderen“, zu der man als westliche/r KünstlerIn/ RezipientIn sicheren Abstand haben kann, spiegelt sich auch eine (Sinn)Krise unserer Kunst und Kultur wider.

An dieser Problematik macht sich ein ganzer Fragenkatalog fest:
Wie werden KünstlerInnen bzw. künstlerische Positionen die aus einem so genannten Krisengebiet stammen, in Europa/im Westen präsentiert?
Bewirkt diese Rezeption ein Umdenken gegenüber der jeweils spezifischen Situation solcher Gebiete oder befriedigt sie nur unseren Wunsch nach Exotik?

Das Bild von Krisengebieten, das hier vorherrscht, ist ein fragiles. Die RezipientInnen sind nicht vor Ort, können also die Umstände, die Authentizität der Arbeiten nur bedingt einschätzen, zumal die Arbeiten meist kuratorisch vorgefiltert werden.

Daraus ergeben sich weitere Fragen:

Welchen Konnex gibt es zwischen wirtschaftlichen Interessen und Kunst in krisengeschüttelten Zonen der Erde und welchen Einfluss übt die (kulturelle und wirtschaftliche) Globalisierung in der betroffenen Gesellschaft aus?
Übernehmen wir im Westen gar die Aura der kulturellen Krise des „Anderen“, um unseren Wunsch nach einer eigenen gesellschaftlichen „Umwälzung“ zu befriedigen? Welche Rolle spielen die Medien in der Identitätskonstruktion von krisengeschüttelten Kulturen? Welches Bild einer Kultur wird dadurch erzeugt?

Unser Ziel ist eine kritische, intensive Auseinandersetzung mit den Fragen, die sich aus dieser vermehrten Beschäftigung von KunstproduzentInnen mit kulturellen Krisen ergeben. Das derzeitige Interesse von vor allem westlichen KünstlerInnen und KuratorInnen an der Auseinandersetzung mit dem Thema der (vermeintlichen) kulturellen Krise in anderen Kulturen und Gebieten der Erde, dient uns innerhalb unserer Ausstellung als Ausgangspunkt für eine Reflexion zu „unserer eigenen kulturellen Krise“ im „Westen“.
Die subtilen Facetten dieser Fragestellung, sollen auf künstlerischer, ebenso wie theoretischer Ebene in unterschiedlichen medialen Ausformulierungen bearbeitet werden.

Date: Tue, 14 Feb 2006 23:26:48 +0100

Subject: Re: Interview with Zampa di leone

From: alexander nikolic <an(at)eroticunion(dot)org>

To: zampa di leone

X-SpamScore: 0

Dear Zampa!

You are great, I’m very happy that you agreed to this interview-form, so

I’ll go ahead to answer, now also your question, between the lines, but

also, down below to continue with my questions.

On 11.02.2006 12:16 Uhr, “zampa di leone” <zampa(at)various-euro(dot)com> wrote:

>> Dear Zampa!

>>

>> Since few years I know your works, and now by visiting a seminar, at

>> Vienna’s Fine Art Academy, dealing with the subject “curating in a cultural

>> vacuum” I thought, it would be perfect to involve you, in form of a email -

>> based interview.

>

> hi Alex!,

> it’s no problem involving zampa by e-mail!

>

>>

>> Our seminar, which is held by Prof. Ute Meta Bauer, deals with issues like,

>> cultural first aid, the relation – center and periphere, how is it possible

>> to curate an exhibition within a cultural vacuum.

>

> it’s not possible to do such things in this age of turbo neoliberal capitalism

I find this is a crucial point, let’s talk about that, later, more inside

the interview field, which I could also pass my collegues…

>

>>

>> Now, a few words about myself. I’m a art-student with roots from jugoslavia.

>> Was born as so called gastarbajter in vienna, where I was also raised, by my

>> jugoslavian parents.

>

> cool!

Cool and difficult

>

>>

>> In the last few years, I was involved in few projects, I was also often in

>> belgrade, so maybe we met, somethere, as your identity is unknown, so too

>> say, I explored my personal vacuum, in terms of identity.

>

> what is your identity Alex?

> Only identity what zampa perfers is the one against capitalism!

My personal identity is rather boring, only my problematisized identities

were somehow interesting, for me in terms of I was politisized by my

socialization. That not so much different to other persons, but I had to

face a discrimination from tow sides, from austrians and jugoslavs. I’m sure

you know what I mean.

For sure zampa knows what you are talking about!

Zampa di Leone had got many attacs on his activites from both sides, from Balkans and from Europe!!!

>>

>> The reason why I don’t write serbian, is not only cause I never learned to

>> write serbian in a school, but more the fact, that I thought we could make

>> this interview in english, so it could be enclosed to the publication, with

>> few of your comix and be a vital and important part of the publication of

>> the Seminar.

>

> no problem!

> zampa will do it in english!!

Nema problema!

>

>>

>> What do you think?

>

> visit new zampa web site, with all zampa-links and collect some texts and

> materials,

>

> http://www.angelfire.com/psy/zampa-di-leone-zampa/

>

> also you can ask me to send you some zampa comics in printable resolution so

> you can use them as you like.

> zampa work is done under ZAMPA COPY SELF RIGHTS licence, which means, you can

> copy all zampa material and do with it what you like!

GREAT! I’ll take a look

>

>>

>> I would ask you a question, you answer and so we could go ahead…

>>

>> First question could be:

>>

>> From the view and perspective of our seminar, I had the strong feeling that

>> serbia is in a so called cultural vacuum, as the whole region, the balcans

>> or SEE, was part of numerous curatorial activities in the last years, so

>> how do you see yourself inside the vacuum, what is your vacuum, and how do

>> you percieve that last decades activities in the cultural field? Are you

>> vacuum

>

> soros realism and political corruption is very present in ex YU!

> they made vacuum in the heads of people using strong propaganda and buying

> people with money and shits!

>

> zampa di leone is fighting against cultural-fascism, art-market, and

> neocolonial managerism !!!!!!!!!!!

> Here at the balkans and everywhere around the world!!!!

>

> zampa di leone is the only one!!!

> zampa never made mistake using his body and being public!!

> Praxa must be undercover!!!

> This is only way how to win against all those arti shitheads and oportunistic

> curators!!!

I’ll continue here with the questions, right?

Dear Zampa, is SOROS realism and political corruption for you going hand in

hand together, as same part of one Side.

YES! YOU GOT THE PROBLEM RIGHT!

Of course ex Soros commissars are in fact the same corrupted people now sitting in almost every institutions of culture in Serbia, also like in the whole region of ex YU.

Very funny thing is that they are talking about their fight for freedom against dictator Milosevic and similar criminals, but if you look much better you can discovered the same people sitting on the same positions, only little metamorphosing their retoric.

All this politically correct artist and curators were making expencive ehxibitions and projects during 90ies like they are doing now also.

Their only aim is to make their careeres and to put more euros in their pockets.

You can see that Soros is today main part-owner of Serbian radio&television B92, mighty and transformed channel, which is broadcasting programms like “Big Brother”, Milosevic trial from The Hague, USA-sitcoms, Europen Fottball league or suddenly discovered archives of war crimes in Yugoslavia.

Dictator Milosevic is not in Serbia any more, but propaganda of the World Corporations and ruthless market of neoliberal capitalism made new dictatorship now.

Another brutal lobby of the capitalistic machine are fundamentalistic conservative, right wings parties and church.

Everybody who are saying something against this phenomenons is in advance charged like a terrorist or fascist!

Zampa di leone has nothing to do only with local politics!

Zampa is not figthing for some other world policy or something like that!

Zampa is one very important chanall of freedom, to spek and zampa is alarming and showing corruption and ugly processes of cultural neocolonialism.Ê

And is this the motor for your

Activism in the Cultural Field. I mean you could also go along with

Anti-Globalist Strategies…Why did you choose the field of contempory art?

Zampa di leone is doing things on funny and not on violent way!

This is very important difference between zampa-activism and other activists who are more like Anti-Global-Worriors, fighting against capitalism!

Cultur is used like a explanation for making a war! That’s very uglu!!!!

Cultural war is present all aroud us!

You can see what happend with publication of “Jyllands-Posten” cartoons!

Freedom is mediate and used in various context only to power up capital!

Zampa aim is not to put bombs or stuff like that in the museum or art galleries.

Zampa task is to make art worthlessly and to dismask fetishistic and corrupted market.

Zampa aim is to make for contemporary art less subservient public!!!

Contemporay art is very poluted, with all those politically correct ehxibitions like “Blood and Honey” or “”In den Schluchten des Balkan”, potlach festivals like Arts electronica or transmediale, all are just lower class of artist trying to reach real art market in NY or London.

The real profit on this kind of manifestations were making only main manageres and curators, others were only food and instruments for them,!

Zampa is showing those things very clear and many volonters are not more volonters in the contemporary art sector, thanks to zampa di leone actions!

Important is to open a field of non-mediate praxa,

to make everybody artist!

to stop art market and art manageres earning the money and power on art!

>

> p.s.

> zampa di leone have also first task for you !!!

> You have to visit for “Oktobarski salon” Belgrade and to make “something “

> with big Vampire Rene Block. The Vampire has to be beaten from us!!!

>

> think smart!

I was at the Oktobarski with a friend of mine. We disturbed a performance of

some german guy, who came for few hours, organizing his performance “this is

your chair” a performance to teach people how to beg. With a friend we

squatted the scene somehow…

This was very ugly performance! And Anda was colonial curator that year, but this year they have vampire Rene Block like a curator!!!!

This we have to stop!!! For the sake of freedom!!!!

Smile

a

>

> zampa di leone

> http://zampa.various-euro.com

>

grŸss

zampa di leone!

To: an(at)eroticunion(dot)org

From: zampa di leone <zampa(at)various-euro(dot)com>

Subject: dear alex

Cc:

Bcc:

X-Attachments: :rest:21:VAMPIRI_E .jpg: :rest:21:ZAMPAFACE.jpg: :rest:21:IRWIN_E.jpg: :rest:21:CANONADE.jpg: :rest:21:BRANKO_S.jpg:

dear alex,

world went crazy!

and vacumm is not only on the Balkans but in the heads of whole weste&east civilisation. Every shithead is now dealing with media and world still dont see crazy consequences which are coming soon.

zampa has to go on some other field and to do his fight completly undercover!

this is reason why this zampa e-mail adress has to be erased.

our internet conversation is over and zampa sends you zampa comics which you can published as you want, of course zampa copy self right licence has to be mentioned.

all best and zampa hopes to see you in some other space except vacumm.

zampa di leone

* Karikaturenstreit: Mehrere Tote bei Demonstration in Libyen

In der libyschen Stadt Bengasi sind bei einer gewalttŠtigen

Demonstration gegen das italienische Konsulat mindestens zehn

Menschen getštet worden. Die Proteste eskalierten, nachdem

Reformminister Calderoli provokativ in einem T-Shirt mit

Mohammed-Karikaturen im Fernsehen aufgetreten war.

mehr: http://newsletter.tagesschau.de/re?l=o1lkoI1o9rf4Ia