Yugoexport’s
Articles
Of
In–Corporation 

Article I 

The Western relation to art comes from its treatment of all things, including humans, as expendable raw material.  This is why the West sucks the life out of things to waste them away. To become art, things must be drained of utility and life. Only then, the West can step back and look at a thing made solely for contemplation.
 
After laying claim to it, the West seizes and packages an import. It needs the lives of imports because it is in decline.  

The West nourishes itself on the lives it takes, especially when that lifetaking assumes the form of an artwork. 

This kind of nourishment must be withheld. In this way, the entire Western tradition can waste to death.  

Finally, after life leaves it completely, the West can die and become for itself an object of contemplation, an artwork  in its own right. 

Article II

Sucking the life out of things accumulates. What can we do with all this life in our lungs?  

We can blow life back into things and give them the usefulness of life.  

We can learn how to surround ourselves with things in the right way. 


Article III 

In the West, history is forged primarily through images. The image is weightless, infinitely thin, hovering above everything. It is reproducible on all channels, allows simultaneous viewing and recall by everyone at all times.  

It endures despite everything that has happened (wars, genocides, market crashes, austerity measures)  and despite everything that will happen (wars, genocides, market crashes, austerity measures). 

The image fixes history; it scans the same for most people, requiring no elaborate narrative or explanation, a perfect and permanent citation. 

If we render all history through man’s relationship with things, then the desire created by the thing called the Western image requires clitoral amputation on a hemispheric scale. 

In the East and Far East, the South and Deep South, the other side of North and the Far West, history is mostly an oral technique. History is a contact sport. It is told and retold, ever-changeable, interpretable. It can be misunderstood, or disputed, or dismissed.  

Orality does provide a unified image, but this image has duration: telling takes time.  

A longer erotic. 

Now we can turn out the lights. 

Article IV 

In the dark, the advantages of orality emerge. In blindness we cannot immediately tell what is in the room with us and whether it is alive or dead. We come into contact with the features of a thing by testing it before seeing it. The dark establishes an equivalence, a loyalty, and a familial solidarity between people and things. Being equal with things denies the mastering powers the right to draw the line between what is a human and  what is a thing. This administration must be refused. 

Oral relation is contact, building a bond between people and things.  

The corporation must be inducted into this solidarity. 

Article V 

Yugoexport: incorporated in the United States where corporations are people and trade deals guarantee her survival but not her life. Launched in Paris, France and  Headquartered in New York, United States.

Incorporation, corporation (CO) and cooperation in a non-western sense call for a new aestheconomic regime. 

CO becomes OC 

Yugoexport is an oral corporation (OC) modeled after the  self-managed unofficial organizations and experimental clubs that operated freely within the larger state infrastructures of the former Yugoslavia. 

Since such non-aligned infrastructures have fallen into ruin of abandonment or privatization, the first oral corporation assumes the posture of a copy – a new managing force mobilizing production. 

Since 2003, yug is an unoccupied domain allowing a reloading of the original meaning of the word which is “south”. Yugoexport is a platform mounting production from that cardinal direction. She mobilizes on a sur-national scale and extends the Via Militaris, the war and trade path through the Balkans. 


Article VI

Yugoexport returns under this canon. She is blind and non-aligned in custom and trade, a living artwork, adorned with everyday use. 


Article VII

Yugoexport’s re-launch in 2016 is dedicated to Yugoslav fashion designer Aleksandar Joksimović who premiered a collection titled Prokleta Jerina in Paris in 1969. The same year, he rejected an appointment at Christian Dior in order to continue his work at Centrotextil, Belgrade.

Yugoexport’s
Articles
Of
In–Corporation 

Article I 

The Western relation to art comes from its treatment of all things, including humans, as expendable raw material.  This is why the West sucks the life out of things to waste them away. To become art, things must be drained of utility and life. Only then, the West can step back and look at a thing made solely for contemplation.
 
After laying claim to it, the West seizes and packages an import. It needs the lives of imports because it is in decline.  

The West nourishes itself on the lives it takes, especially when that lifetaking assumes the form of an artwork. 

This kind of nourishment must be withheld. In this way, the entire Western tradition can waste to death.  

Finally, after life leaves it completely, the West can die and become for itself an object of contemplation, an artwork  in its own right. 

Article II

Sucking the life out of things accumulates. What can we do with all this life in our lungs?  

We can blow life back into things and give them the usefulness of life.  

We can learn how to surround ourselves with things in the right way. 


Article III 

In the West, history is forged primarily through images. The image is weightless, infinitely thin, hovering above everything. It is reproducible on all channels, allows simultaneous viewing and recall by everyone at all times.  

It endures despite everything that has happened (wars, genocides, market crashes, austerity measures)  and despite everything that will happen (wars, genocides, market crashes, austerity measures). 

The image fixes history; it scans the same for most people, requiring no elaborate narrative or explanation, a perfect and permanent citation. 

If we render all history through man’s relationship with things, then the desire created by the thing called the Western image requires clitoral amputation on a hemispheric scale. 

In the East and Far East, the South and Deep South, the other side of North and the Far West, history is mostly an oral technique. History is a contact sport. It is told and retold, ever-changeable, interpretable. It can be misunderstood, or disputed, or dismissed.  

Orality does provide a unified image, but this image has duration: telling takes time.  

A longer erotic. 

Now we can turn out the lights. 

Article IV 

In the dark, the advantages of orality emerge. In blindness we cannot immediately tell what is in the room with us and whether it is alive or dead. We come into contact with the features of a thing by testing it before seeing it. The dark establishes an equivalence, a loyalty, and a familial solidarity between people and things. Being equal with things denies the mastering powers the right to draw the line between what is a human and  what is a thing. This administration must be refused. 

Oral relation is contact, building a bond between people and things.  

The corporation must be inducted into this solidarity. 

Article V 

Yugoexport: incorporated in the United States where corporations are people and trade deals guarantee her survival but not her life. Launched in Paris, France and  Headquartered in New York, United States.

Incorporation, corporation (CO) and cooperation in a non-western sense call for a new aestheconomic regime. 

CO becomes OC 

Yugoexport is an oral corporation (OC) modeled after the  self-managed unofficial organizations and experimental clubs that operated freely within the larger state infrastructures of the former Yugoslavia. 

Since such non-aligned infrastructures have fallen into ruin of abandonment or privatization, the first oral corporation assumes the posture of a copy – a new managing force mobilizing production. 

Since 2003, yug is an unoccupied domain allowing a reloading of the original meaning of the word which is “south”. Yugoexport is a platform mounting production from that cardinal direction. She mobilizes on a sur-national scale and extends the Via Militaris, the war and trade path through the Balkans. 


Article VI

Yugoexport returns under this canon. She is blind and non-aligned in custom and trade, a living artwork, adorned with everyday use. 


Article VII

Yugoexport’s re-launch in 2016 is dedicated to Yugoslav fashion designer Aleksandar Joksimović who premiered a collection titled Prokleta Jerina in Paris in 1969. The same year, he rejected an appointment at Christian Dior in order to continue his work at Centrotextil, Belgrade.