smba-nieuwsbrief-140.pdf (602 Kb)
8 February - 29 March 2015
Opening: Sunday 8 February, 4:00 p.m. – 6:00 p.m. with an address by Joshua Simon, director of Museums of Bat Yam
*The exhibition can be visited from February 7
By means of video documentation and through intense personal involvement in various real-life situations, Ruti Sela investigates issues with authority, sexuality and nationality in front of and through the possession of a handheld video camera. With this strategy, she explores the complexities of power in human relations. In her work the camera is both a recording device to document these relations as well as a commanding instrument that mediates individual struggles for recognition and domination. The exhibition, the first retrospective of Sela’s work, is produced in collaboration with Museums of Bat Yam (MoBY) in Israel. The Exterritory Project will be discussed in an annex to the exhibition. This ongoing project was initiated by Sela in collaboration with Maayan Amir in the form of an alternative platform for artistic exchange outside the confines of nation-states. The Stedelijk Museum Amsterdam will host a symposium on extraterritoriality on 15 March 2015.
18 April 2015 – 31 May 2015
Opening: Saturday, 18 April, 5:00 p.m. - 7:00 p.m.
With: Kristina Benjocki, Lana Cmajcanin and Adela Jušic, Anna Dasovic, Dolgenger, Saša Karalic, Vladimir Miladinovic, Quenton Miller, Charles van Otterdijk, Nikola Radic Lucati
*Before the opening, at 3.30 p.m., SMBA will stage a panel discussion with most of the contributing artists and the curators.
“Resolution 827" is the outcome of collaboration between Stedelijk Museum Bureau Amsterdam and the Museum of Contemporary Art, Belgrade. For this exhibition in SMBA, it seemed logical to foreground some taboo topics that Serbia and the Netherlands share. The title, “Resolution 827”, refers to the UN resolution that established the International Court of Justice following the atrocities in the former Yugoslavia. The exhibition addresses the afterlife of these atrocities, which are hardly discussed in Serbian society and have largely been ignored or simply forgotten by the rest of the world. The artists evoke a sense of a violent history. Without passing judgment, they turn themselves into analyzers of the ghosts and traumas that haunt contemporary life and direct our attention to the topics that do matter, but which remain unresolved in today’s society as it struggles to cope with the pressures of neoliberal globalism.