What is really the main shortcoming of art today? Where is the essence of its unfulfilled promise of a better world? According to Slovenian art theoretician Bojana Kunst1, a possible answer can be formulated with regard to the paradox that the artist personifies the ideal of the post-Fordist worker who produces using cognitive and affective powers in flexible working conditions without making a distinction between work and free time. Time is the neuralgic point of general precarisation symbolised by the image of the artist, which is the focus of the exhibition A Taste for Work by the Fokus Grupa art collective. ...

At the OFF-Biennial, Fokus Grupa (Iva Kovač and Elvis Krstulović) presented different projects which, combined, made up an entirely new coherent whole. The basic premise of the gallery presentation has been to interpret public monuments in Croatia and question the power of national myths and mythical dimensions of established historical facts. Rather than representing a mere selection of the exist- ing works organised into a readable story, the exhibited projects have been brought together to form a dramaturgical arc that could be read as an exhibition with the classical elements of a Greek tragedy (the ancient Greek tragedy bore a ...

The title of this project has been adapted with reference to the disputed concept of an Existenzminimum, which was conceived as an emergency measure to regulate the provision of low-cost housing for the growing working class between the World Wars, but has been criticized for perpetuating low- standard living conditions for the underprivileged. Existenzoptimum builds upon the ideals of the Existenzminimum while developing a proposal for cooperative living in opposition to family life and its ideology, considering issues such as class, gender etc.

Politics of Feelings/Economies of Love emerged out of a reading initiative by a group of cultural workers, artists and curators, gathered under the name k.r.u.ž.o.k. (kružok stands for an intimate social circle). The publication brings about a set of reflections on the possible relation between ideology and social emotions, sexuality and nationalism, love and emotional community within nationalist and/or market fundamentalism. In attempts to find out how these issues were tackled in film, visual arts and architecture, we are trying to draw some new lines of understanding love as a tissue in which political, social, ideological and economic meanings are inscribed. This publication is ...