2021

 

Carrier

Galerie Max Mayer, Schmela Haus, Mutter-Ey-Straße 3, Düsseldorf

May 21–July 3

Until further notice we kindly ask you to request a timeslot in advance of your visit by writing to info@maxmayer.net

 

ITA: Initiative for Trade Aesthetics

January 1-ongoing, itatransacts.space

 

 

2020

 

REMASTER

 

Swiss Institute, 38 St Marks Pl, New York, USA

 January 17–March 22

 

Co-comissioned with TANK Shanghai, 2380 Longteng Avenue, Shanghai, China

July 16–January 31, 2021

 

Programs at Swiss Institute:

 

January 16, 7PM


Key Issue Ceremony with Jovana Stokic
 


 

January 31, 7PM


Shadows Cast by Things and People: A Candlelit Talk with Irena Haiduk and Laura McLean-Ferris
 


 

February 6, 7PM

Models with Amanda Googe, Irena Haiduk, Monika Szewczyk 
 


 

February 13 & 14, 8PM

Cabaret Économique with Irena Haiduk, Dean Kissick, Christian Schmitz 


March 20, 7PM


Recording Session at Apartment 50 with Saim Demircan, Darby English, Vladimir Ivkovic, Marija Karan, Thomas Love, Olivia Roper-Caldbeck, Anna Shteynshleyger
 
(private due to outbreak)

 

Programs at TANK Shanghai:

 

October 5, dusk, TANK lawn

Oration of Yugorxport's Articles Of In-Corporation with Xinbo Feng

 

November 9, 4pm

Key Issue Ceremony

 

Other REMASTER credits:

Samuraj by U Škripcu is used in Yugoexport Preview

Schwule über Europa by Idoli is the march performed at the end of Lunar Interval VI

Yugoexport Logo is re-rendered by Oliver Sabin, HelloMe for Yugoexport fanfare

 

Secret studio activity

Basel, Switzerland
September 17–20

 

Visual Art Forum: Irena Haiduk, School for the Contemporary Arts, Simon Fraser University, Vancouver, Canada

October 13

 

Decapitation Index, July 18, 1968

Not Made Not Chosen Not Presented, ML Fine Art, London, UK

November 6—December 4

 

Artist Conversations: Barbara Kasten and Irena Haiduk, Aspen Art Museum, USA

December 10

 

Yugoexport Fanfare and Preview

Screening, Camden Art Centre, London, UK

December 16

 

Like every intimate Cabaret, Èconomique requires a key, musicians, a large mirror and the fact of cannibal sirens. 

 

February 13 & 14

8:00 PM 

Swiss Institute, New York

 

Credits

Writers: Irena Haiduk and Dean Kissick

Costumes: Yugoexport

Sound coordinator: Scott Kiernan

Special thanks to: Idoli & Elektricni Orgazam

 

Cast

Dani Bauer: bass

Irena Haiduk: voice, fire, warewolf Gmork

Dean Kissick: voice, witness, Atreyu

Laura McLean-Ferris: synth, Satan, narrator

Daniel Merritt: himself

Christian Schmitz: percussion, synth

Maggie Selage: cleaner, dancer

 

Produced by Yugoexport.

June 10 –16, 2019

Daily performances at 6:30 pm

Natural Order Program I: June 10, 12, 14, 16

Natural Order II: June 11, 13, 15

Free and open to the public

 

Alte Universität, Terrace

Rheinsprung 9

 CH-4051 Basel

 

On hiatus since 1991, our delegation issues its annual report. Like all declarations made on Swiss soil, this call for Natural Order is best heard in spring/summer conditions, sporting knee-high socks and minimal makeup.

 

Pablo Bannwart

Nora Gonet

Eliott Herrenschmidt-Picard

Peter Oderinde

Kevin Ogbovoh

Iden Joshua Senthil

Faye Rownes

Ciwan Tasan

Vinzenz Wyss

 

Organized by: Art Basel Parcours, Galerie Max Mayer and Yugoexport.

 

Hamburger Bahnhof, Berlin

Aktionsraum

Access via Invalidenstrasse

Thursday, March 7, 6 pm 

Free entrance, limited capacity

 

At Cabaret Économique, we record a work for a voice and an audience. This recording session is a soundtrack for a scene for REMASTER (2009-ongoing), assembling a film from one exhibition to another. 

 

Beryl Chepkirui

Tarren Johnson

Lin Qian

Lixue Lin-Siedler

Andara Shastika

Wenti Sheng

Christian Schmitz

 

Stage technicians: LICHTblick Bühnentechnik

From February 16 to May 12, Yugoexport's Tableau Économique transacts live.  Like all living things, the tableau has two modes: leisure and labor.

 

At leisure the tableau rests, sleeps and rejuvenates. In labor mode the tableau may be contacted for transactions, either in person or through a live online TV hotline.

 

The tableau is designed as an interior of a photographic camera, a studio where, over time, economic and oral transactions load an image.

Thursday, May 31, 8pm

Co-presented with 80WSE, NYU, Barney Building

34 Stuyvesant Street, New York

 

Sunday, October 14, 8 pm

Wildcard, the Renaissance Society at The University of Chicago Annual Benefit

5811 South Ellis Ave, Chicago IL 60637

 

At Lunar Interval VI, we record a work for a voice and an audience. This recording session is a soundtrack for a scene for REMASTER (2009-ongoing), assembling a film from one exhibition to another. 

 

Cast: Lin Qian, Olivia Roper-Caldbeck

Organized by: Laura McLean-Ferris, Nicola Lees, Solveig Øvstebø

A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They were frequently looted together with other valuables from Bosnian homes. The set exhibited at the Renaissance Society was seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.  

 

Published by the Renaissance Society and Sternberg Press on the occasion of Irena Haiduk's Seductive Exacting Realism, this imposter volume features contributions by Ivo Andrić, Hannah Feldman, Irena Haiduk, Monika Szewczyk, Marina Vishmidt, and Solveig Øvstebø. Gray cloth hardcover binding, black and white interior, 11.8 x 18.9 cm, 168 pages. Part of the Yugoform.

A monograph of Irena Haiduk's writing and scores, edited by Karsten Lund with an introduction by Matthew Jesse Jackson. Book design by Studio HelloMe. Published by Sternberg Press in 2015. 14 x 22.3 cm, 192 pages.

An 80 point manifesto on polite art. Like every intimate dinner party, Bon Ton Mais Non requires one symphony orchestra, a pastry chef, a large mirror, and the fact of cannibal sirens.  21.3 x 31.3 cm, 96 pages.

 

After the transaction, cross out the word “hope” printed on the book’s front and beneath it, in large black letters, write the first name of the reader. On the reverse side document the price, the date and the location of the transaction.

April 6 –July 14

Pesmazoglou 5, Athens

 

Oration of Yugoexport Articles of In-Corporation
Equivalence of word and deed
Produced for Yugoexport

 

One storefront within the Stoa tou Vivliou book arcade hosts the incorporation documents of Yugoexport, a “blind non-aligned oral corporation”. Incorporated in the United States (where corporations are people), launched in Paris and headquartered in Belgrade, her process of incorporation continues.

The in-corporation documents in Athens act as the original file. Their copies appeared at documenta 14 in Kassel and on Terazije square in Belgrade in 2017. The storefront in the book arcade is a legal document in the classical Athenian tradition, where all official tributes and laws were inscribed in papyrus and then filed in the Agora. These papyri were then copied onto marble stele and placed in public squares for oration by designated readers for the Athenian public.

 

Each Friday, as night falls, a member of the Army of Beautiful Women reads aloud in Greek from the in-corporation documents of Yugoexport, demonstrating the full use of the oral corporation’s principles:

 

April 7, 3 pm with Marina Miliou-Theocharaki
April 21, 9 pm with Klea Charitou
April 28, 9 pm with Kalliope Tsipni-Kolaza
May 5, 9 pm with Marina Miliou-Theocharaki
May 12, 9 pm with Melina Spathari
May 19, 9 pm with Klea Charitou
May 26, 9 pm with Viky Kouvaraki
June 2, 9 pm with Matoula Koutsari
June 9, 9 pm with Natalia Mavridou
June 16, 9 pm with Eleni Riga
June 23, 9 pm with Stavia Grimani
June 30, 9 pm with Nicol Nicolaou

June 10– September 17

Gießbergstraße 22, Kassel

 

SER (Seductive Exacting Realism)
Variable space for making history  
Produced for Yugoexport

Yugoexport installs a Transactional Area, a Waiting Room, and a Blind Room of Seductive Exacting Realism at Neue Neue Galerie for the duration of documenta 14.

At the heart of this space is a sound program based on an interview the artist Irena Haiduk conducted on January 14, 2015 at Harvard University’s Carpenter Center, with Srdja Popovic, co-founder of the OTPOR! student group and the consultancy CANVAS (Center for Applied Non-violent Action and Strategy). Hear this in the Blind Room, beyond the Waiting Room, on the hour, every hour. Here, voices sing the prehistory of the blind, non-aligned, oral corporation: Yugoexport. She is incorporated in the United States, where corporations are people, and headquartered in Belgrade, a capital in what used to be Yugoslavia (or South Slavia if you are speaking the language of the land).

 

Conceived on a sur-national scale, Yugoexport mobilizes an Army of Beautiful Women, who move with elegance and comfort. Irena Haiduk herself has ventured: “The import-export business of making history demands an equivalence, a loyalty, and a familial solidarity between people and things. Such skills are best honed in conditions of blindness, where we cannot immediately tell what is in the room with us and whether it is alive or dead.”

Welcome to a terrain of production from the South. Do not lose sight of Yugoexport’s founding maxim: “How to surround your self with things in the right way.”


List of Works:

 

Transactional Area

Yugoexport Articles of In-Corporation (Serbian), 2017
Marble, iron, inox, paper, charcoal, graphite, contact

Yugoexport Articles of In-Corporation (English), 2017
Marble, iron, inox, paper, charcoal, graphite, contact

Der Schalter, 2017
Paper, cardboard, plywood, inox, various fabrics, black magic, contact

Waiting Room

Waiting Objects 1-24, 2016
24 Stol Kamnik Lupina Waiting Room chairs. Procured from the former Yugoslav Agriculture Trade Center in Novi Sad
Collection of Yugoexport

Waiting Objects 25-28, 2017
3 Stol Kamnik Lupina Waiting Room chairs with marble arms. Procured from the former Yugoslav Education Ministry Headquarters in Zagreb
Collection of Yugoexport

Siren Bay Section 5, 2015
Custom Mannequin, human hair wig, Yugoform

Voice Base, 2014
Inox, botanical matter, microphone

 

Second Base, 2017

Inox bird training stand.

Means and Ends, 2017
marble, striking paper, matches, Marcel Proust’s Complete Works Vol 1-13 (Zagreb: Zora, 1965)

T.V. (Tamni Vilajet), 2017
17 panel two-sided mural, inkjet ash print with color pencil detail

Blind Room

Seductive Exacting Realism, 2015–ongoing
28 min, sound program commencing at 10:00, 11:00, 12:00, 13:00, 14:00, 15:00, 16:00, 17:00, 18:00, 19:00

Proof of Sirens, 2017
Inkjet Ash Print

Proof of Siren, 2017
Inkjet Ash Print

Siren Bay Section 4, 2015
Custom Mannequin, human hair wig, Yugoform

Throughout Kassel

Spinal Discipline, 2016–ongoing
Walking performance by up to 13 members of the Army of Beautiful Women in full Yugoform:
Julia Allnoch
Isabella Artadi

Mustafa Boğa
Annika Katja Boll
Beryl Chepkirui
Mona Eing
Ozgür Genc
Mila Gligorić
Josefine Mundri
Andara Shastika
Wenti Sheng
Alma Weber

Schedule of departures from SER Waiting Room:
June 11 – September 17, 2017, every Saturday, commencing at 17:00

  • For security reasons, YugoΞxport does not store credit card, shipping, or billing information on its servers.
  • All payments are processed by Braintree, a PayPal service. PayPal Services Privacy Policy applies.
  • Returns only in person for cash purchases.
  • Return to the museum store where the item was purchased
  • Store credit only. No payment refunds for completed transactions.

January 1st, 2021 marks the beginning of the Initiative for Trade Aesthetics (ITA), a long-term collaboration between Kunst Halle Sankt Gallen and the oral corporation Yugoexport. ITA kicks off with a publishing campaign grounded in an economic studio.

Starting in January, ITA publishes, one by one, chapters from Irena Haiduk's anthology Studio Feelings and short story collection All Classifications Will Lose Their Grip. This fall, ITA's 2021 activities culminate in a production line at Kunst Halle St Gallen.

 

To read and hear the published works please go to itatransacts.space

Initiated in Spring 2008, REMASTER is an ongoing cinematic adaptation of Mikhail Bulgakov’s The Master and Margarita. Ever since, Irena Haiduk’s exhibitions double as filmmaking studios. Hosting institutions became vital infrastructures for recording video and audio sections of the film, providing space, supporting cast and equipment.


Bulgakov called it his sunset novel. Publishers wouldn’t touch it and the author would rewrite the book four times before his death in 1940. Bulgakov sealed his life into The Master and Margarita. The titular character, the Master, writes a play about the life of Pontius Pilate. Censors ban the Master’s play about cowardice and love. Cancelled and driven to insanity, the author burns his manuscript. A satanic figure, Woland, recovers the play from the fire. 

 

He intones,“manuscripts don’t burn.”

 

In a surrealized reality where actions have no consequence, the difference between truth and lies is beside the point. Censorship is unnecessary. Here, hatred polarizes, and solidarity ends. The occlusion of empathy results in a wasteful loss: displacement and generalized warfare. The only way beyond this place is to not want what we want, to grow the organ of imagination, and to remake world. This requires extraordinary will.

 

Soviet officials banned The Master and Margarita because they knew its readers would take it to be art—an instrument to imagine another present and a means to realize it. This art demonstrates that no matter how oppressive the system, no matter how complex the problem or overwhelming the bureaucracy, ways exist to turn systems against the wills of their creators. The book embodies a model of production: how to make one infrastructure into another.

 

The Master and Margarita was finally published in Paris in 1967. At last, its will had guided it past its silencers. The Master’s world could fortify ours. It makes things that do not burn.

 

Tonight and Every Night.

 

Two scenes from the film were set and presented publicly for the first time at the Swiss Institute (SI) in 2020. SI became a production studio housing: Apartment 50 on the first floor and the Variety Theater on the ground floor.

 

The first floor of SI conjured Woland’s bedroom in Apartmet 50 where the heroine, Margarita, and Woland enter into a transaction to save the life of Master. Here, the made world became a cast of living things, full of agency and the desire to act upon their surroundings. The sound of a cat’s purr reverberated around the galleries with both comfort and threat. 

 

The ground floor hosted the locked Variety Theater. Inside, a program rendered a film without images, recorded by five separate audiences over a period of 12 years. Entitled Lunar Interval VI (2008-20), it features Woland’s black magic act, which sets the stakes for a life without imagination. Lit by the flame that set Cathédrale Notre-Dame de Paris ablaze, the variety drew on Balkan cabaret tradition. On several evenings it played host to Cabaret Économique and other live programs. 

 

In line with the conspiratorial spirit of this underground commons, 500 keys to its locked entrance will be distributed in a key issue ceremony at REMASTER’s opening reception. An economy of swapping, handing off and reserving the keys developed between those who were present at the issue and those who were not. The same key unlocks the doors to future REMASTER scenographies.

 

 

For press, exhibitions and other inquiries write to:

i@yugoexport.com

The import-export business of making history demands an equivalence, a loyalty, and a familial solidarity between people and things. Such skills are best honed in conditions of blindness, where we cannot immediately tell what is in the room with us and whether it is alive or dead.

 

Yugoexport is a blind, non-aligned, oral corporation modeled after the self-managed, autonomous, unofficial organizations and experimental clubs within the larger state infrastructure of the former Yugoslavia. Incorporated in the United States (where corporations are people), launched in Paris and headquartered in Belgrade, she is a copy or an avatar of Jugoeksport, a defunct Yugoslav apparel manufacturer and weapons exporter.

 

Since the dissolution of Yugoslavia in 2003, ‘Yug’ is a vacant space, and Yugoexport occupies it by returning to the original meaning of yug or jug which is south. The oral corporation mounts production on sur-national scale from this cardinal direction, from the Balkans and the old Roman trade and military route, the Via Militaris.

 

Yugoexport’s process of in-corporation continues. 

Yugoexport Articles of In-Corporation are etched into two horizontal marble steles: in Serbian as filed in Belgrade, Serbia; and in English, as filed in Chicago, USA. Wherever the steles are exhibited, visitors may produce graphite rubbings for a fee. The rubbings are numbered, certified and signed. The stele, mounted on two tables, were first presented in the Transactional Area of SER at documenta 14 in Kassel. 

 

In Athens, one storefront in Stoa tou Vivliou book arcade hosted one reproduction of the documents. Every Friday at dusk, a member of the Army of Beautiful Women would appear and read aloud from the in-corporation documents demonstrating the full use of this oral corporation’s principles. 

 

In classical Athens, all tributes and laws were written on papyrus and filed in the Agora. Copies of these documents were inscribed into marble steles and placed throughout the city-state, orated once weekly for the citizens of Athens. For ancient Greeks, marble had the status of a copy. Yugoexport Articles In-Corporation exist only as reproductions in the form of steles, rubbings and orations.

This posture is  fashioned by the Yugoform, composed of the Borosana labor shoe, providing the wearer with nine hours of comfortable standing, the ABW (Army of Beautiful Women) patterns #2 and #3 dress, a garment enhanced by strolling, and the book Seductive Exacting Realism by Marcel Proust 12.

 

Up to twelve participants–Sirens–wearing the Yugoform demonstrate a minimal but precise choreography, carrying books atop their heads. Spinal Discipline demonstrates freedom of movement against immobilization caused by fear, waiting and wasting to death. The Sirens, an elite force within the Army of Beautiful Women, move together with poise and comfort, making the cities into catwalks and assembly lines.

A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1965. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They were frequently looted together with other valuables from Bosnian homes.

 

The set exhibited in Seductive Exacting Realism (SER) at the Renaissance Society was seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. The set was missing volume number 12. The missing volume was reproduced as the monograph for SER. 

 

Means and Ends contains the looted set. At documenta 14 in Kassel, Means and Ends was placed in the Waiting Room of SER and used in the practice of Spinal Discipline.

After a long conquest, an emperor and his army reach the edge of the world. Not a barrier, but the border of an encompassing darkness. They enter the Dark Land. Once inside the void, the horses panic and the soldiers scatter. They wander hopelessly for days. Suddenly a voice sounds in the dark, ageless, clear, and light:

 

“If you take anything from this land, you will regret it! If you take nothing from this land, you will regret it!”

 

There is nothing in the Dark Land but pebbles under the soldiers’ feet. Some think: “If I take any, will I regret it?” Others think: “Maybe, maybe I should take just one.” The agony exhausts them, and they sleep. The next day, they awake on the fields by their home city. The soldiers who were holding pebbles are now holding diamonds. They regret taking only one or two. The rest regret not taking any.

 

T.V. (Tamni Vilajet) is an adaptation of Raoul Goldoni’s 1963 mural depicting “the life, suffering and struggle of the people in the region where President Josip Broz Tito was born, from the Middle Ages, until the liberation” at the Museum of Yugoslavia, Belgrade.

 

T.V.’s 17 panels measure 12.5m—the width of the production line of Rheinmetall, one of the largest weapons manufacturers in Europe. The individual panels measure 1.4 m—the width of Yugoexport’s production line. Initially presented at the threshold between the Waiting Room and the Blind Room at documenta 14 in Kassel, T.V. is an oral image of armies lost and people wandering the dark. 

 

Special Thanks to Museum of Yugoslavia, Belgrade and Daniel Bauer.

This sound program based on an interview Irena Haiduk conducted on January 14, 2015 at Harvard University’s Carpenter Center with Srdja Popovic, co-founder of the OTPOR! student group and the consultancy CANVAS (Center for Applied Non-violent Action and Strategy). SER consists of a Waiting Room and a Blind Room. The edited conversation, re-recorded by Jennifer Estlin and Lin Qian, forms a 28 minute program commencing every hour, on the hour, like a clock in the total dark of the Blind Room.

 

In the dark, the effects of blindness can be felt and the advantages of orality emerge. 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. At documenta 14 in Kassel, a Transactional Area preceded the Waiting Room. This economy continues to demonstrate the ongoing incorporation of Yugoexport.

 

Sound Consultant

Paul Dickinson

 

Apple Inc. IVR Voice

Lin Qian

 

Replicant Voice

Jennifer Estlin

 

Design and Art Direction

HelloMe

 

Commissioned by the Renaissance Society at The University of Chicago. Initially co-presented by the 14th Istanbul Biennial and the Renaissance Society.

“Be like a duck. Calm on the surface, but always paddling like the dickens underneath.” Michael Caine

 

We do not live our own desires. Pressing ourselves into heavy molds not made for our bodies compresses us, tears our skin, and bruises our features. It is hard to breathe. We sink.

 

Weight harbors the downward pull. It attaches itself in many ways but there are countless ways to set it down, to be free. This takes practice and skill. The common task of this class is to distinguish ourselves from the weight we carry. We shall seek out activities that contact levity: that gravity that changes our bodies, make us light of touch, aerates and propels us toward the state of buoyancy.

 

Not for the faint of heart.

The Borosana shoe was first developed over a nine-year period (1960-69) at Borovo Rubber Industry Headquarters in Vukovar, Yugoslavia. After being designed and tested by the Borovo female workforce and an orthopedic surgeon, the shoe was mandatory for Yugoslav women working in the public sector. Borosana was launched in 1969, in white and navy colors, featuring an ergonomic platform, calculated as ideal for nine hours of standing without hurting the wearer’s spine. In the declining years of Yugoslav communism the model was withdrawn from mass production. Fabrication was abandoned when Vukovar became a war zone in 1991.

 

Each time Nine Hour Delay is exhibited, Borosana becomes the official work shoe of the host institution advancing the constructivist maxim of great utilitarian design in service of the working woman. All those, regardless of gender, seduced by the prospect of wearing ergonomic women’s footwear and employed by the host institution are eligible to receive a pair of Borosana Shoes within the rubric of Nine Hour Delay. The shoe is a clock providing a distinction between labor time and leisure time; by signing form B-02, workers commit themselves to using the shoe in the context of its original making. When the shoes are on, work commences; when the shoes are off, work ends. 

Corruption

 

This class promotes corruption as an art strategy and examines its official veneers and unofficial rules. Corruption is the gravitational pull that keeps markets, like atmospheres, bound to the center of the earth.

 

Through writing, looking, and making as well as an arsenal of readings from Hegel to Ranciere, we engage weekly topics including incitement, treason, corrosion, scandal, desertion, invasion, cronies, conspirators, impostors, double agents, skimmers, bureaucrats, lobbyists, kamikaze, kidnapers, killer cadres, profiteers, moguls and thugs.*

 

*Note that the assesment format of this seminar is conversation, debate and oral defense. Written sumaries, tests and presentations are substituted with collective making and organizing assignments.

Face Your Demons

 

"From a certain point on, there is no more turning back. That is the point that must be reached."

–Franz Kafka, The Zürau Aphorisms

 

Drink from the underground well! Heal your cynical ulcers with an organ of imagination! Dismiss yourself from the forces of living well! Take a position: either or! Learn which ideas are worth extraordinary crimes.

 

Face Your Demons traces the audacity of magical thinking and the creative act. Here is where the political stakes of living reside, and artistic positions are formulated. In the company of brave allies such as Kierkegaard, Kharms, Bulgakov, Bakhtin, Toufic, and Sloterdijk, Face Your Demons asks you to stand where all your opponents can see you.

Death Drive 3000

 

"The aim of all life is death," Sigmund Freud's historic words do not appear strange today. Under siege of the perpetual breaking news cycle, the apocalypse is easy to imagine. Will it be an asteroid, a zombie virus or an all out nuclear war? Death Drive 3000 returns to the inanimate. Through a variety of reading, writing and making projects, this seminar studies the implications of our unbound and limitless death drive.

 

From de Sade to Malabou to Clausewitz, topics include: primary nature, partial objects, necrosodomy, dismemberment, omophagia, suicide pacts, plagues, holocausts, total war and other symptoms of our collective end. Not for the faint of heart.

 Yugoexport's production infrastructure,

programs and trade routes are a part of the Yugoexport Art Collection. They can be exhibited, demonstrated and loaned

on request by writing to

artcollection@yugoexport.com

In 2009, the Dark Departments assembled the Gesture Guild, an occult bureau for the recovery and acquisition of voluntary gestures. Afflicted with recession-based involuntary movement the public joined programs celebrating the moment when wages equalize in the First and Third Worlds.

 

The Gesture Guild was inaugurated by Sailors Sing Suicide Songs, a shipwreck anthem dedicated to the SS Patria II, carrying the international Congress of Modern Architecture from Marseille to Athens and back in the summer of 1933. During the last night of the sea voyage a terrible storm made the vessel lose control. The sea swamped the deck. To avoid capsizing, the ship gave up and let the gale decide its course. If it had sunk Laszlo Moholy-Nagy, Le Corbusier, Fernand Leger, Kurt Seligmann, Christian Zervos, and Cornelis van Eesteren could have drowned. Perhaps next time.

 

The Guild's Department of Applause published Decapitation Index, a Swiss Weltformat-size weekly pamphlet, re-telling the deaths of white dudes of Minimalism and Conceptual art in the guise of ongoing Serbian narco-mafia assassinations and retaliations. The texts create a tabloid killing spree/gang war, unfolding before and shortly after the artists’ arrival in Switzerland for the opening of the first major international survey of Conceptual art, “Live In Your Head: When Attitudes Become Form,” curated by Harald Szeemann for Kunsthalle Bern in 1969. 

yugoexport.com is an economy. Here, we transact items following the distribution model of the book, through an income-based flexible pricing system. If you are interested in any items not available at present kindly

contact i@yugoexport.com


Effective immediately, Yugoexport LLC enters into partnership with Galerie Max Mayer eK. The two corporations are allies in enterprise and a separate economy guided by the rules of the partnership.