NATASA TEPAVCEVIC

2011-08-28T12:40:00.000-07:00

2009-04-05T04:10:00.000-07:00

NATAŠA TEPAVCEVIC (1982 Belgrade); visual multimedia artist and theoretician.

email adress:

In 2008, Graduated painting at the Faculty of Fine Arts in Belgrade; The same year, received a scholarship granted
by Austrian Federal Ministry of Science and Research for one month visit research, April 2008 Vienna. During the
same year, I was student on exchange in Slovenia and also received an award from the American foundation

“Studenica”-for the best students in Serbia.

Regularly writing for ART FAMA (http://www.arte.rs/sr/vesti/1540-Art_Fama/- Magazine for contemporary art scene in Serbia and for American newspaper Serbia Today http://www.serbiatoday.info/index8_files/Page377.htm

Member and co-founder of theoretical-artistic platform KKH (Kritika koja Hoda/Walking Critique);
Engaged in cultural policy issues
Publish regularly theoretical texts on performing arts and culture in journals and collections in Serbia (Danas,
Teatron, Scena…)
Exhibiting at various one man and group exhibitions home and abroad.
Chosen exhibition: Exhibition of drawings and graphics in Pedagogical museum in Belgrade ( 2001), Group
Exhibition of short electronic form in gallery ‘REX’ ( 2006), Belgrade, 14. Biennale Student’s drawing-galleria of
‘’Student’s town’’,Belgrade-2007, “ Progressive Hope”, galleria “Magacin”, Belgrade-2007, installation on
“Summer Academy”- Salzburg, Austria, 2007, Video work on Summer Academy, Salzburg, 2008, Group exhibition, Moder galery Velenje, Slovenia, Salon of Revolution, Zagreb, Croatia, 2008, FLU galery Belgrade “Distribution of knowledge” 2009
Many theoretical-artistic works: theoretical performance, video/audio/photo/theoretical installation … (co-author,
text, performing…); and contributions at theoretical seminars, schools, conferences, workshops, labs…
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Published theoretical and critical texts and interviews:
· Theoretical text: Space-dimension of perception, in book: Zbornik of Methodological Examples, Beograd
2008, p 110-114
· Recension of theory book: Towards the Madness (and Revolution), Ivana Sajko, Teatron br 143, and also
on cite: http://www.tkh-generator.net/sr/openedsource/ivana-sajko-prema-ludilu-i-revoluciji-citanje
· Publisher and author of the newspaper +-1%, Belgrade 2007
· Publisher and author of fanzine “Knowledge distribution” (collaboration project with Croatian artist Iva
Kovac), published by 29th Youth Salon-Salon of the Revolution, Zagreb. Open work, Interviews and
conversation with artist who are coming from East, but they are already recognized by West, http://www.salonrevolucije.org/#/en/participants/iva-kovac-and-natasa-tepavcevic/

· “More or less infinity” theoretical text about society-institutional spectacle “Bitef”, Danas-magazine, and
also in Bitef Bilten, no 3, Belgrade 2008
· “Stifter’s dinge”, Scena Theatre Arts Review, December 2008
http://www.pozorje.org.rs/scena/scena408/17.htm
· Interviews and critiques of performance, 2008 Belgrade, http://walkingkkh.blogspot.com/
· Critique of performance, Bitef festival, http://bitefkkh.blogspot.com/

· Member of forum for performing arts, critique, interviews, publications, http://tkhforum.blogspot.com/, and member of KKH (Walking Critic) platform for theory and performing arts, Belgrade http://kkhgrupa.blogspot.com/ (find my critics: ŠTIFTEROVE STVARI Heiner Goebbels; BREHT – THE HARDCORE MASCHINE Andraš Urban, MANJAK PROSTORA Kristofera Martalera, CIE 111 Više-manje beskonačno MAD DOG...

Blog where you can find all published texts: http://natasa-publishedtexts.blogspot.com/

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BECOMING OTHER - NatašaTepavčević

Make distinction between learning and knowledge!

video instalation, 2009, Vienna

http://www.youtube.com/watch?v=YHROdeM_vGk

Education and knowledge ARE being commoditised, industrialised, economised and being made subject to free trade, competition, management and a host of other destructive, elitist and exclusionary bullshit.

Production of art or knowledge production has its socio-political consequences.

De-westernizing and de-colonizing of knowledge and transforming the university toward a non-capitalist horizon of life is what we all shall strive for: a democratic economy that will allow the plu-versality of communal organization in different parts of the world, allowing people to live and re-create languages, histories, religions, values, etc., that over the past five hundred years have been eroded by the belief (in the West and among elites in the non West) that Western life-style, industrialization, technology and the like was the point of arrival in the history of Human civilization. While Western civilization has made a great contribution to the history of the humanity, the achievement is not a good enough reason to expect that everybody else does the same. There is a global consensus, among de-westernizer and de-colonial that that cycle has been close, and that global futures will be decided by many and not by one (be that United States, European Union, China or a globally spread Islam.

2009-04-04T19:18:00.000-07:00

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WORK IN PROGRESS

2008 SALZBURG

2009 BELGRADE

Distribution

of knowledge

collaborative project:

Natasa Tepavcevic

& Iva Kovac

instead-before-alongside creation and production
· recognition of art as knowledge production (art has cognitive power; and a power
to theorize)
· articulation of methodology (terms, concepts, rules, protocols, procedures of
production – representation: to overcome homology between scientific methods
and the methods of work in art; to empower artistic knowledge production)

2008-04-14T16:55:00.001-07:00

NOWLEDGE DISTRIBUTION
Publication – KNOWLEDGE DISTRIBUTION
Participants: Gülsun Karamustafa, Dan Perjovschi, Lia Perjovschi, Nataša
Tepavcevic, Iva Kovac
Download publication: http://www.scribd.com/full/12652202?access_key=key-69lezu1syihhyukfbx5 (I part, conversation from Salzburg, exhibited in Zagreb, on Salon of Revolution, 2008)

The collaborative project Knowledge Distribution is a work in progress that changes depending on the context in which it develops or into which it is shifted. It began as a conversation between its authors, Iva Kovac and Nataša Tepavcevic, which again triggered the idea for a series of interviews - or enterviews, with artists Dan Perjovschi, Lia Perjovschi and Gülsun Karamustafa. From the 8h30min-long audio material, fragments were selected and presented here in the form of a publication - a fanzin, including also comments by the authors.

«All artists that we had interviewed are from Eastern Europe, or the «East». Initial points of our
conversations were problematising transparent strategies of insertion of artists from the «East» into the
art market of the «West». Responses that we received from the artists initiated another series of
conversations between ourselves, as well as some thoughts on future self-regulation, self-organization
and self-education. The chance to have discussions with these particular artists motivated us in our
decision for this particular methos of production/work. The content of Knowledge Distribution is an
intervention into the conversation-as-material, which serves us not in order to «educate the audience»
but search for new strategies of functioning in contemporary art, which differ from existing ones.» (I.K.
& N.T.)

2008-04-14T16:52:00.000-07:00

2008-04-14T16:50:00.001-07:00

2008-04-14T16:45:00.000-07:00

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Theoretical performance-installation, please find more here:

http://theoreticalperformace-installation.blogspot.com/

2008-04-14T16:43:00.001-07:00

2008-04-14T16:22:00.000-07:00

installation: ART IS A TRICK : http://natasa-installations.blogspot.com/

2008-04-14T16:16:00.000-07:00

Form - « Shop-window» is designed to produce exhange, consumption
and enjoyment of sense through a catalogue survey of «the act-goods».
Articles are represented by two kinds of objects: assemblages (http://natasa-assemblages.blogspot.com/)and forms
that I named « auto-reflection».
Assemblages are various objects (found in its original form), and
materials from daily life (bread, soap, glass, thread, medicine,candy...)
that are becoming spatial, sculptural pictures through the process of
assembly and intervention.
Picture-auto-reflection is a theoretical object as what it offers to an
observer is actually demystification of media, reconstruction of formal
procedure in artist's job – as an act of creating artwork. The character of importance in a piece
of art depends on context (FACULTY INSTITUTION) or surrounding conditions where it
shows itself (« Annual exhibition of students at FVA»). I am aware that communication of a
piece of art and the world truly depends on recognizing and acknowledging that «world». I am
asking a question if all students' works were ever supposed to be consumed, used up
(finished)? I react trying to find a way for a « productive moment» to be realized through «the
newspaper-work».
The goal of an exhibition is to introduce yourself as 1st,2nd or 5th year student – what you look
like, the way you think and feel...I am documenting, and cataloguing overall amount of work
done throughout the school year. Then, I am thinking about the ways for constitution of
communication. I am trying to create a mechanism, artificial limb...that is for a true observer –
a position for observing.
Rejecting a modern-formalist perceiving of things ( as is generally rigid concept of students'
exhibition) I dare to hold out a different view of perception – journalist photography (evidence)
instead of «embodiment» (framed, pedestal) work. It deals with reformed photography, one of
advertising type since work-shop-window explores and alludes to consumerism as modern
strategy of global, economic, informative and media system. Witty remarks and pleasantries are
some kind of slogans and especially price bubbles, as part of «our» region ( Serbia is becoming
a consumers' society «flooded by Chinese»). Thus I would like to emphasize some crucial
differences on « the world market map» among countries with post-capitalist economy and
countries of post-communist world. Consuming phenomena, usage and spending (of life and
especially art) are actually different forms of psychological as well as market understanding of
the world.
The fact, in other words, « the state of things» of space where I belong, is characterized with an
impossibility for production, lacking the gallery and any other space for maneuvring ( not
dealing with the audience, lack of taste, visual illiteracy), Therefore, I choose cheap (free of
finances), painless expressing by means of advertisement or newspaper; not just because of
bare consciousness about generally accepted, desirable ways for communication of consumer's
society, but also as the only way for work to «swim out» in bad conditions.
A new need requires new practices. Trying to provide a personal contact with the public, I take
the responsibilty of manager-curator. Submitting papers in a way to improve the greatest
possible overtness means a switch from perception to reading, understanding. A piece of work

is a clear message to an appropriately addressed recipient.

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assemblages: http://natasa-assemblages.blogspot.com/

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2008-04-14T16:02:00.000-07:00

self-published newspaper

Year created: 2007 Artwork Description: Work-newspaper problematize the matter of art reception (who,when, how he sees it). The name +-1% talks about the fact that it is «the art of minority», that is, the destiny of art as home entertainment of minority. Chosen form (newspaper, a document as a form of expressing, restyled art language) subsists with a root-cause, conclusion of personal and not so personal, as well as a context of institution of stuck, socially accepted relationship with art production. A feeling of incapacity for a paper to be realized as work or work as a process, maybe precisely, ends, completes (contextualizes, promotes), places ( architecturally, theoretically realized) brings a tension, a need to problematize reception itself, welcome, art consumption. Instead of materialized works are given their clear descriptions. Achieving communication is guaranteed, excluding observer's uncertainty in what he sees ahead of him. All is « serving sense' that enables closeness: photography as a medium of performing or document (a collection of practices going on in certain contexts), + concept, thinking, reason, + way of performance, technique (the confession), instruction( cancelling uncertainty of the observer asking for intentions) +order of observing the page, + page pauses (full and blank one), + signals for certain sentiments,emotions...- demystification of manual (« could happen to anyone») and ideological – « Every man is potentially capable of creating some art, to experience and interpret it» - Some kind of interview is produced, simulated – ( relating to thought) –a real word with an author by means of response. A successful interview between a consumer and author is the work (what is being produced «+1%»). There is a question about who a consumer is, AN OBSERVER OR WORK? Right from that point of view, I decide to react through different mchanisms (psychologically-sociological, managerial). Since a paper that has to complete work ( the word is about relating aesthetics) is not the content (art presentation) but a simbiosis, integration of surrounding conditions – context, ''Faculty of Fine Arts'' and the work in form of newspaper. Simbiosis causes contradiction in the only, phenomenal form of displaying practice providing cold newspaper photography instead of warm, moisty picture. What is shown and presented are collected documents, piled arguments about mental space where work is going on, as a daily action of spirit and as a phenomenon including in itself language specification. Form of newspaper is taken and posted in the world of art due to its « width» in space so as to convey a canal through which a communication is going on, a message (a relation that does mean work). How? a) Reexamining, trying to find out « the condition laws» under which historical-sociological assumptions (including also psychological-aesthetic ones) are certain artistic forms ever realized. These assumptions, as a condition in realizing artistic form imply actual dealing with parametres: 1) echo of time, environment (a specific social context where the reception is going on) that means dealing with specific structure of recepients' personality. 2) breath and structure, the position of a real author's personality b) Watching the process of communication, actually reception in two, structurally different levels: 1) in an indirect (authentic) experience of Work 2) in a direct, intellectual, reflexive attitude of sbject towards work ( productive reception) Installation with newspaper ... CRITICALLY QUESTIONING THE VENUE AND THE ARTISTIC SELF-CONCEPTION OF THE EXHIBITION…

2008-04-07T16:16:00.000-07:00