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Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

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as an initiative comprised of different phases <strong>and</strong> program lines, developed with numerous<br />

collaborators from deverse areas. The Second edition of SpaPort represents the first<br />

chapter of the project <strong>and</strong> bears the subtitle Can You Speak Of This? Yes, I Can <strong>and</strong> was<br />

developed by the curators Antonia Majača <strong>and</strong> I<strong>van</strong>a Bago in collaboration with Anselm<br />

Franke, Nina Möntmann, Ana Janevski, Erden Kosova, Vit Havránek/Zbynĕk Baladrán,<br />

<strong>and</strong> Jelena Vesić.<br />

The vision of SpaPort’s Council <strong>and</strong> Protok, as the organizers of this event, is to trans<strong>for</strong>m<br />

the exhibition into a Biennial in 2010, thus converting SpaPort into a plat<strong>for</strong>m that<br />

will seek to respond to the radically changed social, geographic, cultural, <strong>and</strong> artistic<br />

circumstances, which has also been the aim of the two-year project Gdje se sve tek treba dogoditi<br />

/ Where Everything is Yet to Happen. Same as last year, SpaPort takes place at various<br />

locations in the city of Banja Luka, including several prominent exhibition venues such<br />

as the Salon of the Museum of Contemporary Art of Republika Srpska, Gallery Terzić, <strong>and</strong><br />

this year, according to the suggestion of the curators’ duo - within the Fort Kastel.<br />

SpaPort has also continued with its other activities in 2009, including networking <strong>and</strong><br />

education, which contributed to its regional <strong>and</strong> international visibility. The realities of<br />

the Bosnian-Herzegovinian society, with its absence of a clear cultural policy, has had<br />

an impact on the status <strong>and</strong> position of cultural events <strong>and</strong> artists, but also on cultural<br />

institutions. The lack of a strategic plan in the domain of culture or a cultural policy that<br />

would determine the criteria <strong>and</strong> the priorities on the level of various entities <strong>and</strong> the<br />

state as such, makes it difficult to plan anything definite <strong>for</strong> the future. In this sense, the<br />

pragmatic decision of the Council of SpaPort to proclaim the Biennial in 2010 reflects the<br />

ef<strong>for</strong>ts of the organizers to secure SpaPort’s continuity.<br />

I would like to express my gratitude to all those who generously offered their support<br />

in realizing SpaPort: the Council of SpaPort, the curating team of Antonia Majača <strong>and</strong><br />

I<strong>van</strong>a Bago, the co-curating team of Anselm Franke, Ana Janevski, Vit Havránek/Zbynĕk<br />

Baladrán, Erden Kosova, Nina Möntmann, <strong>and</strong> Jelena Vesić, as well as to all those artists<br />

who participated in any way. I likewise thank the following institutions: Swiss Cultural<br />

Programme, the Ministry of Education <strong>and</strong> Culture of Republika Srpska, City of Banja<br />

Luka, <strong>and</strong> the Ministry of Civil Affairs of Bosnia <strong>and</strong> Herzegovina.<br />

GDJE SE SVE TEK TREBA DOGODITI / WHERE EVERYTHING IS YET TO HAPPEN

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