In discussing Cista svoboda [Naked Freedom] by Marina GrÅ¾inic and Aina Å mid (2010); (im)possibilities of social change under the conditions of financial capitalism that permeate art production as well as politics of today are addressed.
I loosely draw on bell hooksâ€™ notion of a feminist movement; advanced in Feminism is for Everybody: Passionate Politics (2000); constructing visual representation embedded in action; merging a kind of restless criticality with a social consciousness. Such method of engagement incorporates the element of self-criticality; including reflection oneâ€™s positioning; class; race as well as an inclusive approach to gender representation and its geographies; a self-reflexive way of de-centering; contesting and problematising the ongoing ideological constructions of European subjectivity.
Current Issues in European Cultural Studies; June 15-17; NorrkÃ¶ping; Sweden 2011
Battista; Kathy (2011). â€˜Performing Feminismâ€™; Art Monthly; February.
Frazer; Nancy (2009). Feminism; Capitalism and the Cunning of History; New Left Review; 56; March-April 2009.
Marina Grzinic in conversation with Ana Vulanovic (2008). In Grzinic M and Velagic T (eds) New Media Technology; Science and Politics: The Video Art of Marina Grzinic and Aina Smid. Locker: Vienna.
Mohanty; Chandra Talpade (2003). Feminism without Borders: Decolonizing Theory; Practicing Solidarity; Duke University Press: Durham.
Mudure; Mihaela (2006). â€˜Zeugmatic spaces; East/Central European Feminismsâ€™ in Blagojevic; J. Kolozova K and Slapsak; S. (eds) Gender and Identity: Theories from and/or on South-Eastern Europe. Athena; KaktusPrint; Belgrade.
Townsend; Chris (2007). â€˜Protest Artâ€™ Art Monthly; February 2007.