From conference K. A. T. Umetnost u obrazovanju: interakcije; Muzej savremene umetnosti Novi Sad, novembar 2017.

I started this conference with an excerpt from Jean Luc Godard’s film La Chinoise which discusses, among other things the problem of chopping off the idea of culture from its formal aspect which is its movement or action, culture in movement, which directly also implies teaching of culture and its presentation to people, to the masses. In Godard’s film two characters have a short dialogue on a train; one of them, the male figure declares that he would like to enable people to see the world the way it really is; he would not only like to enable them to see the world as such, but he would also like to make them able to act and react in such a world, in other words, he would like to enable the masses to contribute to the building, enlarging and improving the better world, which is , in a nutshell, the purpose of any form of school education. Godard’s character is situated in 1968 and he says right away that he would like to get away from his university job, that is, from the old notion of a university job where there is one omniscient teacher and the others are simply the “recipients” of knowledge. During their conversation the student and her philosophy teacher both conclude that there is something essentially wrong with the French university and that “something” is clearly the very system of education itself. (1:09:30, La Chinoise). The girl says that is is disgusted by the university courses as they are always presented in the manner of and following the rules of the ruling class. Thus the entire culture is seen exclusively through the eye-lense of the upper class and as such it is m ade to serve just that particular class. She suggests then to her professor to perform a terrorist action of setting the university on fire; they would bomb ank kill everyone in there, both students and teachers so that they would build a new university, some brave new world. There are few universities in the world which endorsed this Godard’s anarcho-Maoist vision of thefuture education , but quite a few had figured out that a lot of things should be changed both in education and in culture. The year was 1967 going to 1968.
However, quite recently someone hasd asked me to define culture. And to emphasize the difference between culture and savage behavioral practice. Of course, it is always hard to give answers to such complicated and vast questions, but I tried to give an answer, ad hoc. I said that anything which enlarges our
spirit, develops it and improves it, whatever opens up and widens our horizon
IS culture, and whatever makes us stupid, pushes us toward the mental straight
jacket and into the prison or an enclosure- is savage behavior and a barbaric act.
This statement could find its first and foremost application in arts; in the
institutions where people teach arts or where the arts figure as regular courses in
the yearly curriculum.
Everything that enlarges our horizons and introduces us into the very heart of
ARS-ARTIS, into its special realms/pockets, be it music, visual arts or
literature,every emancipatory movement towards ARTIS enlarges and educates
us, and all other movements are not able to do it. In fact, the problem that arises
here is that the art is TECHNE, something which we can teach to others but we
cannot teach it in the same way that we teach other scientific disciplines.
What we can teach to a group of non-initiated beginners or people interested in
an art is just history of that particular artistic discipline. We can interpret a
horizontal history of a given art, a certain geography of that history, as history
was also divided into different geographical regions- thus we can teach
“Spanish literature”, “Italian music” or some other field enhenced by the
vertical, chronological determining of that particular art (eg.we teach the Italian
Renaissance music, or Spanish Baroque literature). However, we do have
certain pretensions at informing the students of certain artistic practices which
were registered as such in certain regions in a given epoch or historic period.
What remains mostly imprinted in their mind is our effort to transmit the
knowledge which we believe corresponded to a particular epoch ; the process of
such transmission increases their artistic sensibility. Or, should I say- that is the
only work here- the teacher’s effort to heighten his students’ sensibility by
makeing them aware of the possibilities of a certain artistic practice, as we can
never be sure that our transmission would leave any other trace or result
At the Conservatory of Music- if you play samples of the Baroque music to
your students hoping that they would grasp the essence of the Baroque periodthis
practise seems the only valid one to pursue there, as, in fact, we can never
teach them how to compose a piece such as Paganini’s Cappricio. You cannot
even teach them how to perform Cappricios in the same way that their author
played them or the author’s contemporaries. The thing that they can grasp after a
long listening practise of the Baroque scores is that the Baroque scores are
always for a half tone or the entire tone lower than the scores composed in the
era of Impressionism. You can also invoke in the listeners an affection for that
music period or the awareness of the abandonment of certain compositional
norms in the Baroque compositions which follows an extensive listening
practise of Baroque music. You can also awaken their interest in Oriental scores
which are performed in the lower tonality system, in B minor, as we hear it with
Debussy or Bela Bartok. However, even if the students learn how to perform
these authors quite well, we cannot always expect their masterful interpretation
to attain the technical perfection and something that goes beyond it, an element
which soars above and beyond the technique and which people perhaps too
easily identify with “high art”.
Now I remember the day when I was preparing a poetry workshop for young
New York’s poets in mid 1980s. I asked a senior collegue, Charles Bernstein, to
give me his advice how to teach ARS POETICA to the students in the
workshop, he simply answered “You cannot really teach anyone the art of
writing; give your students the list of poets and writers who you liked to read
when you were of their age.” That was the best advice which I got from a
collegue in the domain of Art education but the advice was based on insisting
on the historic evidence of the written works of art. By insisting on the
historically oriented lists of the works of art, the beginner was able to discern
his own qualities from his insufficiences in the very act of writing (creative act
of any sort). The beginner was becoming aware not only of his own limitations
but also of his own abilities, of the necessity to imploy patience, this quality
being the foremost prerequisite to any artistic discipline. A German saying says
“Repetition (applied patience) makes the Master”, and aside from this, one can
attest the presence of extreme patience and militant discipline in all different
practises in arts, say like in the visual practises of our very own Marina
I moved all along in this discussion. I contemplated the option of a possibility
vs. impossibility of teaching arts a while ago; but today I know that is, I am
quite sure that one cannot teach art, just like that, ad hoc. Hic Rhodes his salta!
Or, as a renowened late poet Rasha Livada indicated in one of his glorious
poems “the teacher should never transmit the entire instructions to his student ,
that is- if he likes him.” Here, what he really meant was not only that he
believed in the total autonomy and ability of a human being to move on his
own, but also that a great quantity of any “transmittable”ARS-ARTIS material
is always veiled in a great Kabbalah-like initiation and secret thus it appears
more appropriate for the student to make an input and fathom the secret here by
using his proper strength. In a certain way, the teacher is there to announce the
secret and to indicate the possible paths of moving towards it, but his role
certainly does not consist of digesting the essence of the secret, handing it out
on a plate to his disciples. However, we are not talking about the matheme
formulas here, the “secrets” are beyond the formulas which we can learn by
heart. In fact, a greater part of that secret is left to an ocassional operation, a
guess or a serendipity which John Cage nicely named as chance operation.
I would like to emphasize the fact that for some good thirty-five years of
university teaching I have always avoided an opportunity to teach arts in their
creative learning outfit placed in an investigatory action. It is interesting to
notice that at the times when I was living in the so called West, that just in those
times these creative learning practices were coming into day and becoming
quite fashionable. As a former member of the Living Theater, I chose rather
teach the possible histories of Avant-garde theater(s), those European and the
American ones at the radical french university Paris 8, but I also tried some less
“avant-garde” universities where one could expect to hear teacher transmit the
legacy of Deleuze or Foucault rather than someone teach the straigth history of
the literary and theater avant-gardes.

However, for the final exam in the department of Theatrology I would persuade
my students to be extremely creative and include into their presentation of the
Avant-garde’s historical material their very own take on it. I insisted that for
their oral finals they perform an expression of their own, their personal
impression of an Avant-garde(s) by interpreting on their own the most
impressive moments which they treasured thus mastered in my course on the
Historic and the historical avant-gardes. I did not want them to recount the
stories about Antonin Artaud that we hear in special seminars devoted to his art
or the stories on Tadeuzs Kantor as I did not want- borrowing Kantor’s
expression here- to create a “dead class” neiother in theater nor in everyday life
which is the best stage indeed for any given creative action. As I was not
teaching them a specific scenic movement or acting techniques, I was retelling
them my own stage experience summerizing the historical body of theater. I
would physically illustrate my stories by performing certain examples from the
history of the avant-garde theater, thus showing them certain techniques which
would not necessarily be shown in their books. For instance, I would describe
the movements of Meyerhold’s training in Biomechanics then I would show
them how it went in practise which was something that the members of the
Living were transmitting through physical training from one generation to
another. The results accomplished at Paris 8 university were truly ipreszsive as I
often had the impression that the students were able to grasp the most subtle
meaning of my instructions just by watching me perform in their class; it
seemed to me that they were absorbing the very nuance of my Living theater
experience through basic transmissions easily and lightly “as if breathing in the
air”. I take that one has to teach writing in a similar manner- both unobtrusive
and subtle; some of these experiences in writing I had discussed in the preface
to my selected poems entitled “The Art of Catching a Boomerang” published by
Povelja in 2013.
I have realized that I have really meandered and went into a direction somewhat
different from our common theme which is “Art in Education”; my presentation
has slid into a different zone which could bear a title “The Art of Educating an
Individual” or the art of directing a potential , young artist towards his creation
in the most unobtrusive, quiet and almost invisible manner. There is so much to
say about Pedagogy in arts, as this type of pedagogy draws qualities from both
Art and science, thus it is different from other types, but it will suffice to say
that this could be discussed on some other ocassion. When I mentioned earlier
the art of teaching Art, I mentioned the bright examples of artists such as Nicolo
Paganini and Marina Abramovic, however, the idea or my wish was more
oriented towards mentioning some other names , less known to the general
public and these belong to the students sitting at their desks in classrooms and
who are certainly as important to me as the bright exemples who illustrate my
course. As I was preparing my teachings about a certain art and the artists who
perform it, I was constantly aware of the founding elements of any course or
cursus and these include the active participation in class of the students sitting
in front of me and the ability to stir their active awareness, then to keep their
presence awake- to name here only these fundamental factors which are basic
to any course. The teacher who takes on a heavy task of teaching students
classes in art, has to make them truly curious and concerned for the existence of
the given art field. We all witnessed the fact that after an initial interest that a
student has shown for a certain art- and the possession of that interest made
him/her sign in for that course to begin with- there comes a moment, a time
when we, their educators have to make a certain wizzardry of keeping that
interest alive throughout the course. In order to keep a student as an interested,
lively human participant in his class, a teacher himself/herself has to become an
artist of a sort, as his pedagogical approach, bordering on artistry and often on
real acrobacy, has to keep the disciples intellectually and spiritually awake
throughout the three-month long semester.
Whenever I call my students’ names at the beginning of my class at la Sorbonne
– and this experience lasts some good 10 minutes, I notice that this is probably
the most important part of our teaching hour, as it is exactly the time when you
either grab student’s attention so necessary for the rest of the course- or you
don’t. And when I had noticed that a student’s attention radically drops even
there if his name is not pronounced correctly, I realized that teaching any
subject in the academic cursus is an art in itself, art much higher than any art –
related subject that it has to treat. I became aware of the fact that the lecturer, no
matter what subject he’s trying to communicate to the others, has to approach
his listeners with the qualities of an artist; in fact, he has to become much of an
artist himself, or an acrobat. He has to walk that tight rope over an abbyss of
ignorance and prejudice, thus he has to be , perhaps less of a specialist/expert
who knows his subject the best and more of a communicator to transmit his
knowledge to younger collegues. An educator has to be more than just a
specialist and a high scientist – ideally, he should be a teacher-artist or an artist
of a taught matter and such experts are very few in all the schools throughout
the world. There is a long tradition at the university to not employ a teacher who
is at the same time a creative person, an artist, and this experience is especially
domesticated in the reagons of our “MittelEurope”. Here is the word of an art
historian, curator of the Museum of Contemporary Art in Budapest “what
characterizes the citizens of Mitteleurope is the permanent fear of anything new,
if there’s a creative movement forward, it backs off quickly and gives way to the
negative criticism favoring the annulment of the conceived project”. Rarely we
fully realize something which could be called a radical and thorough change in
our lands in the Balkans-however, what we often find here are the various
tactics of so called temporalization, which are, in fact Paralel Strategies
dragging along the so called deep restructuralization. New projects often get
devalorized , long before they are even presented and partially realized; they get
disqualified often for certain unknown, meaningless and personal reasons.
Perhaps this costant impossibility to realize their projects quickly is the moving
force that pushes artists, writers, philosophers musicians and poets develop their
aesthetic, political and social projects in small and intimate circles and not as
the part of the National Education program. The talated ones create their own
“private-public space “ and often live in their ‘inner exiles”. I partly discussed
the problem as well, in my study on “Eleven Women-Artists, Slavs and
Nomads” when I discussed the early Marina Abramovic’s Conceptual group in
Belgrade including Evgenia Demnievska, Nesha Paripovic, Zoran Popovic,
Rasha Todosijevic and Georgy Urkom. However, it’s never enough to discuss a
problem, examine it in a new light especially this one related to a psychological
block and so called self-shooting in the back, a phenomenon that the peoples
from Mitteleurope really got accustomed to; it really dates from feudal times
when “one new one’s place of a slave bogged down by his own destiny” and it
had to do with the unfair hierarchical system which did not allow people’s
mentality to freely develop for almost 500 years, but it Spain under the Arabs
this cultural hesitance lasted for almost 7 centuries. These cultural barriers are
being erased very slowly as we see some of them entirely disappear in the
beginning of the 21 century, however, one should give both the artists and their
instructors a bit of time to develop their learning practises and the projects that
need to be developed among them.


Otpoceli smo ovo izlaganje jednim iseckom iz poznatog Godarovog filma, Kineskinja, koji upravo govori, izmedju ostalih dtvari, o problemu odsecanja kulture od njenog pojavnog vida, akcije, koja je u izvesnom obliku i predavanje te kulture, javno predstavljanje umetnosti masama.u okviru kratkog dijaloga u vozu, muski lik izjavljuje da bi zeleo da osposobi narod da primi svet , da ga dozivi onakav kakav jeste i ne samo da ga vidi onakvim kakav on jeste vec i da se osposobi da reaguje u tom svetu da sam licno doprinese izdradnji sveta, sto je u skracenom obliku, cilj svakog obrazovanja.On kaze da bi zeleo da se udalji od univerziteta, od ustajalog pojma univerziteta kao mesta gde su svi samo primaoci znanja.U svom razgovoru ovaj par, studentkinja i njen profesor filosofije, zakljucuju da nesto strasno nije u redu sa francuskim univerzitetom a to « nesto » zove se sistem obrazovanja (1 :09 : 30, La Chinoise) ; devojka kaze da je zgadjena predavanjima, da se ona uvek izvode po zakonima i receptima odredjene klase, da je cela kultura vidjena okom jedne klase da pripada stoga odredjenoj klasi.Ona zatim predlaze profesoru teroristicki cin paljenja univerziteta, bombardovanja i ubijanja sviju postojecih, studenata i profesora, da bi  otpoceo novi univerzitet, hrabri novi svet. Malo je univerziteta u svetu koji su prihvatili ovu godarovsku anarhisticno-maoisticku viziju obrazovne buducnosti, ali mnogi jesu shvatili da u obrazovanju i kulturi dosta toga treba menjati, godina je bila 1967-8.

Nedavno me je, pak, neko pitao  « Šta je to kultura?“, zamolio da definišem razliku izmedju kulture i nekulture. Naravno, na  teška i razudjena pitanja komplikovano je odgovoriti, ali tada sam rekla da sve ono što širi naš duh i horizont, što nas unapredjuje i gradi, otvara vidike, da je TO kultura, a ono što nas sputava, oglupljuje, baca u unutrašnji mrak i zatvor, da je to nekultura. Pa tako i sa umetnošću i podučavanjem umetnosti i njenom mestu u obrazovanju.

Rekli bismo- sve što nam proširuje vidike i što nas uvodi u samo srce ARS-ARTISA, u njene posebne svetove, bilo da je to muzika, vizuelne umetnosti ili književnost, svako kretanje ka ARTISU nas obogaćuje i obrazuje, a sve ostalo…Naime, postavlja se tu problem da je umetnost TECHNE, nešto što teško možemo podučavati kao što podučavamo odredjene naučne discipline. Ono što možemo ipak podučavati grupu neiniciranih početnika, lica zainteresovana za neku umetnost jeste samo istorija te dotične umetnosti, možemo im interpretirati horizontalnu istoriju odredjene umetnosti, onu geografsku, podeljenu u geografske regione- kao „književnost Španije“, muziku Italije“ i slično…naravno, ispresecano vertikalnom, hronološkom istorijom te umetnosti- na primer, predajemo renesansnu muziku Italije, ili baroknu književnost Španije. Ono što se tada dogadja kod prisutnih koji vas slušaju i u duhu beleže umetničke prakse odredjenih regiona kroz epohalne jedinice ili vremenske periode jeste da ti učesnici ili učesnice vaše klase jedino i isključivo pooštravaju svoju osetljivost, njihov  sopstveni umetnički senzibilitet. Ako im puštate na muzičkoj akademiji, na primer, primere barokne muzike, vi ih ne možete naučiti da komponuju recimo Paganinijev Kapričo. Ne možete ih čak ni naučiti kako da ga odsviraju na način na koji ga je izvodio autor ili njegovi savremenici, ono što mogu nakon dugog slušanja baroknih partitura otkriti je …da su barokne partiture statistički uvek za pola tona ili za ceo ton niže od recimo, ičpresionističkih. Ono što sigurno možete u njima sigurno probuditi je ljubav ili svest o izvesnom odstupanju od norme u komponovanju muzike što je posledica upražnjavanja barokne muzičke prakse, ili im možete probuditi interesovanje za orijentalnu muzičku lestvicu koja se takodje izvodi u nižoj, bemolskoj skali, kao što je čujemo kod Debisija ili Bele Bartoka ali ih nikako ne možete naučiti kako da praktično izvode tu muziku ili kako da se otisnu i pomere od onog lako savladljivog do onog tehnički savršenog što olako nazivamo umetnišću.

U tom smislu, kada sam u oblasti ARS POETIKE, pre jedne pesničke radionice koju sam pripremala za mlade pesnike u Njujorku sredinom 1980ih, zapitala starijeg kolegu, pesnika Čarlsa Bernstina, kako da podučavam učesnike seminara, on mi je odgovorio „Ne možeš nikoga naučiti pisanju poezije, već im samo daj listu imena pesnika ili pisaca koje si ti kao omladinka volela i čitala“. To je bio najbolji savet koji sam dobila u domenu predavanja ili podučavanja umetnosti bilo kakve vrste, a to je upravo bilo insistiranje na istorijskom trenutku ostvarenog dela. Insistiranjem na ovoj vrsti istorijski orijentisane obuke, u novajliji ili početniku se budi svest o njegovoj vlastitoj mogućnosti ili nemogućnosti u  učešću u stvaralačkom činu. Njemu se formira horizont o njegovim vlastitim kreativnim ograničenjima i granicama, kao i o njegovim vlastitim mogućnostima istrajnosti koja je, ispostavilo se, ključna reč u stvaralačkim praksama. Nemačka poslovica glasi „ponavljanje čini majstora“, a tome nas podučavaju i najrazličitije vizuelne prakse umetnika, Marine Abramović, na primer.

Otišla sam daleko. Davno sam pomislila, a to i danas mislim i znam da je umetnost teško ili gotovo nemoguće podučavati. Kqo što reče u jednoj svojoj pesmi veliki i nedavno preminuli pesnik, Raša Livada „Učitelj nikada ne saopšti celokupno svoje znanje učeniku-ako ga voli“. U smislu da je velika količina svakog ARS-ARTISA koju treba preneti na učenika obavijena velom tajne i ostaje na učeniku da je sam dokučim na izvesan način učitelj je onaj koji je tu samo da nagovesti tajnu a ne da je sažvaće uče:s:niku Nije ovde reč,pak, o matematičkim formulama.

Volela bih da naglasim da sam za isvesnih trideset i pet  godina univerzitetskog i šire, predavačkog staža uvek izbegavala da predajem umetnost kao kreativni čin i akciju, u vreme kada sam živela na takozvanom Zapadu i to u trenutku kada su takve prakse na Zapadu bile u najvećem opticaju. Kao nekadašnja članica LIVING TEATRA predavala sam istoriju avangardnog teatra, američkog i evropskog na francuskom univerzitetu Paris 8, kao i istoriju književne usmene i pisane avangarde, ali sam uvek za završni ispit na teatrologiji nagovarala studente da pristupe lično kreativnom činu i da pri pravljenju opšteg osvrta na istorijsku avangardu takodje nama prikažu i nešto svoje da nam predstave na usmenom ispitu svoj izraz, njihovu ličnu predstavu, lični utisak i interpretaciju  onoga čime ih je istorija drame podučila. Nisam želela da mi prepričavaju, recimo, šta je sve radio Antinen Arto ili Tadeuš Kantor i da se poslužim sad Kantorovim rečima, nisam želela da stvaram „mrtvu klasu“, ni u pozorištu a ni u životu koji je pozornica svakog kreativnog čina. Pošto ih nisam podučavala pozorišnom pokretu, specifičnim glumačkim tehnikama, već im prosto prepričavala, sažimala istorijsko pozorišno tkivo, prikazujući im na odredjenim primerima iz istorije avangardne dramske tehnike kako je, na primer „Mejerhold uvodio biomehanički trening“ i pokazala im praktično kako se to odvijalo, naši rezultati na univerzitetu Paris 8 bili su veoma plodonosni. Studenti su hvatali najsuptilnija značenja mog znanja i iskustva tako reći „u vazduhu“. Mislim da tako, nenametljivo i suptilno treba predavati i pisanje, otuda moj mali traktat o poeziji, objavljena zbirka „Umetnost hvatanja bumeranga“.

Medjutim, sada primećujem da sam se donekle udaljila od zadate teme „Umetnost u Obrazovanju i vidim da sam neosetno skliznula u jednu drugu oblast koju bi možda trebalo da naslovimo „Umetnost obrazovanja“ ili kako nenametljivo, nečujno i skoro nevidljivo obrazovati potencijalnog umetnika. O umetnosti pedagogije koja je i umetnost i nauka, odista bi trebalo da se dosta toga saopšti, možda ipak neki drugi put. Kada sam se osvrnula na umetnost predavanja umetnosti, pomenula sam u ovom kontekstu Paganinija i Marinu Abramović, a želela sam da naglasim i nešto drugo, da pomenem neka druga imena koja sede u studentskim klupama a koja su takodje veoma važna . Pripremajući predavanja o umetnicima i o nekoj umetnosti, bila sam svesna činjenice da je možda najvažniji elemenat u predavanju bilo koje materije ili umetničkog predmeta- aktivna budnost studenta ili budjenje njegove pažnje, njegove zainteresovanosti za datu umetnost. U pristupu studentu i materiji koju student sluša, svaki predavač, bez obzira na predavani predmet trebalo bi da se stavi u ulogu umetnika ili da postane umetnik. Kada sam prilikom prozivanja studenata na Sorboni, a ovo iskustvo traje nekih celih pet minuta na početku svakog časa, kada sam primetila da je u ovom kvalitativno najvažnijem trenutku našeg časa koji relativno kratko traje a najvažniji je jer od njega zavisi da li će momentalno ugrabiti učenikovu pažnju, kada sam dakle primetila da studentu Hasanu radikalno opada interesovanje za predavanje ako mu ime pogrešno izgovorim kao „Asan“ a ne Hasan, shvqtilq sqm u tom trenutku da je predavanje bilo kog predmeta, a pogotovo onog umetničkog- umetnost po sebi. I da predavač treba gotovo uvek da bude mnogo više umetnik, budni akrobata koji spretno korača po zategnutom konopcu iznad ambisa svakojakog neznanja i predrasude, a manje neki izuzetno visoki specijalistam koji „najbolje na svetu“ poznaje tu naukum taj predmet koji će predavati začudjenim studentima. Predavač mora biti više od visokog naučnika i profesionalca- idealno, on bi trebalo da bude predavač-umetnik ili umetnik predavanja, a takvih stručnjaka je na svim školama u svetu relativno i nažalost, jako malo. Tradicionalno- vecina skola i dalje ne zele da angazuju predavace koji su istovremeno umetnici, kreativci, narocito u nasim oblastima, takozvane Mittelevrope. Evo sta kaze Laurend Hegyi na tu temu: „ono sto karakterise stanovnike Mitelevrope je permanentni strah prema svemu novom, kreativni istup se ubrzo povlaci i ustupa mesto kritici i odbacivanju projekta. Retko u tim zemljama mozemo ostvariti potpunu promenu, radikalnu i celovitu- cesce tu nalazimo taktike temporalizacije tkzv Paralelne Strategije koje odugovlace sa dubokom restrukturacijom. Novi projekti se cesto devalorizuju, pre no sto su iskazani i ostvareni u celosti, njih diskvalifikuju cesto iz polovicnih, beznacajnih, i licnih razloga.“ Mozda ova stalna nemogucnost ka brzom osvarivanju, kaze Hegyi, i navodi umetnike, pisce, filozofe, muzicare pesnike da ostvaruju estetske, politicke i socijalne projekte u njihovim licnim i malim krugovima a ne u javnom obrazovanju; oni stvaraju njihov „ privatan javni prostor“ i zive u nekoj vrsti unutrasnjeg egzila. O tome govorila i ja u mojoj knjizi 11 Umernica slavenki i nomadkinja, o trajanju konceptualne grupe Marine Abramovic, Evgenije Demnievske i naravno Paripovica, Popovica , Todosijevica i Urkoma.


Nina Zivancević