Czechoslovak Radio, 1968, by Tamás St. Turba.


»Catwalk«, 1987 by Sergei Borisov.

Beginning excerpt of »Plastic Jesus«, 1971 by Lazar Stojanović.

»Lithuanian Busstops« by Nicolas Grospierre.

“Marble and Blood”, 2007 by Chen Wei.

lenka clayton.jpg

»North Korean Pointing Stick(s)«, 2008 by Lenka Clayton. Original North Korean pointing stick replicated eleven times. The second image shows the original stick in use by a museum tour guide in the Museum of the Victorious Fatherland – Pyongyang, North Korea.


»Flolowing the example of Fengyang, and striving to remove the label of poverty«, 2004 by Jin Shan.

china painting now.jpg

»Painting China Now«, 2007, a collection of thirty oil paintings, depicting instances of violence inflicted by the Chinese government upon their own citizens, commissioned to a professional Chinese craftsman via the internet. By Ondrej Brody & Kristofer Paetau.

Spomenik3 Kopie.jpg

In »SPOMENIK / The End of History« Jan Kempenaers portrays monuments raised by the communist regime in former Yugoslavia.

David_Maljkovich_-_Scene_for_new_heritage_II_(1).jpg David_Maljkovich_-_Scene_for_new_heritage_II_(generation_II,_second_coming)_(1).jpg

»Scene for a New Heritage«, 2004 and »Scene for a New Heritage II«, 2006. These two films take place at a Petrova Gora Memorial Park at a monument designed by esteemed modernist sculptor Vojin Bakiç. In Croatia, 2045 a group of young travelers makes a journey to a silver monument which had been erected under the communist government of Yugoslavia to commemorate the Second World War. It is the 25th of May, Tito’s birthday anniversary, and they are on a quest to recollect the monument’s fading promise. Nearly two decades later, in 2063, Petrova Gora Memorial Park is visited for a second time. In both films the monument-museum, once idealised as an abiding testament to ideology, is now perceived as at first a moment embedded with avant-garde ciphers, and ultimately an abstraction. By David Maljković.


»Untitled Project: MARKET (GENEVA)« by Conrad Bakker.


»I do not know what union I want to belong to anymore« by Vlad Nanca.


The Miniature Long March” by Qin Ga. Long March Space: “Mao’s ‘Long March’ symbolized the deliverance of the Communist ideal to the Chinese proletariat. It is with this symbolism in mind that we now choose to march contemporary art out to China’s peripheral population.”