Artists: Lana Čmajčanin, Marina Gržinić & Aina Šmid, Flaka Haliti, Ana Hoffner *ex-Prvulovic, Margareta Kern, Katalin Ladik, Svetlana Maraš, Red Mined, Milica Tomić

Curated by Jelena Petrović

The T-Errors Un-Classified 00-xx exhibition deals with art geographies and politics of non/belonging created through contemporary systems of classifying and curating art within the geopolitically shaped archives.

The VBKÖ space exhibits a part of the documentary material of the selected artworks which challenge geopolitical and other identification methods of classification, regardless of whether the archiving of art is local or international, institutional or non-institutional, universal or particular. Documentary interventions coming from different art practices of the post-Yugoslav space are exhibited in the form of annotated artography. At the same time, these interventions enable the creation of a temporary counter-archive but not its lasting identification within this or any other present geopolitical determination. The artistic positions within this exhibition point to geopolitical zones of discomfort, either in terms of one’s own non/belonging to given geopolitical determinants or in the context of artworks which problematise the diversifying politics of forced, entrenched or chosen identities. Dedicated to art practices which originate in interconnected processes of becoming and erroring, the exhibition questions the ways of recognising different art geographies through archiving, exhibiting, and producing knowledge about them.

In search of the new meanings of non-aligned geographies that resist historical and social power relations established through the network of geopolitical identities, the exhibition’s focus is on those singular/unique art practices which transgress the borders of already established cartographies. In other words, the exhibition materialises as a counter-turn or error-turn in the geopolitical process of identification and classification within archiving and curatorial practices of today’s art. As such, it represents a particular kind of exhibition research into art geographies through the politics of error.

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