common heritage

Common heritage presents various materials in which the language either originates, is related to, or may be referenced to. The materials are individual artworks by artists of different localities. Term related documents, which may be a part of public or personal archives. They may refer to exhibitions, which gave impetous to specific ideas. Oral histories was initially a part of archive-in-becoming, which enabled mapping of the past from the point of view of artists and individuals working at a certain time and in a certain context. At the beginning, the project initiated by curator Andreja Hribernik included interviews with conceptual artists such as Marko Pogačnik, Vlado Martek, Zofija Kulik, and Bálint Szombathy, who either individually or in collaboration with other like-minded artists, left their distinctive marks on the artistic practices in Central and Eastern Europe in the late 1960s and in the 1970s. More about: Oral Histories. A specific quality of oral histories is also the introduction of polyphonic vocabulary used by each individual narrator. It results in redefining terms used in culture, art, and politics, according to specific spatial and time context, defying the notion of universally applicable ideas. Narrators of the glossary of common knowledge provided pieces for this puzzle in the documentation of seminar recordings.

Sources map for A Promised Exhibition []
type work on paper
dimensions A3
year of production 2013
courtesy of SALT
[]
type exhibition
dimensions online tag cloud
year of production 2013
courtesy of SALT
[]
type lecture
dimensions 750x450 pixeles
year of production 2014
courtesy of MG+MSUM
[]
type film
year of production 2014
courtesy of Museo Nacional Centro de Arte Reina Sofía
[]
type lecture
year of production Museu de la ruïna, in "Quaderns d'arquitectura i urbanisme", Col·legi d'Arquitectes de Catalunya, Barcelona, 2011: No.: 263, (pages 81-83)
A possible glossary of the poetic-political practices of the 1980s in Latin America []
type lecture
year of production 14 February 2013, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
[]
type performance
year of production 2010
[]
type sculpture
[]
type lecture
dimensions 1250 x 800 mm
year of production 2015
courtesy of MG+MSUM
presentation []
type lecture
dimensions PDF format
year of production 2015
presentation []
type lecture
dimensions PDF format
year of production 2015
presentation []
type lecture
dimensions PDF format
year of production 2015
courtesy of M HKA, Christine Clinckx
[]
type exhibition
year of production 2015
courtesy of Museo del Barro. Photo: Fernando Allen
[]
type exhibition
year of production 2015
courtesy of Museo del Barro. Photo: Fernando Allen
[]
type lecture
year of production 2008
courtesy of Museo del Barro, Photo: Rocío Ortega
[]
type lecture
year of production 2012
courtesy of Museo del Barro, Photo: Gabriela Ramos
Todas somos Jeanneth. Performance in memoriam of Jeanneth de los Ángeles Beltrán Martínez, who died because of the decree-law excluding migrants from the national healthcare system. A performance of carezenship. July 2014. []
type video
year of production July 2014
Rhodes Must Fall Movement []
type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
[]
type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
[]
type photography
year of production 2015
courtesy of Rhodes Must Fall Movement
Some of the progressive socialist cultural policies, museum models and directions as well as their emancipatory utopias, may be linked to today's deliberations on the new prototypes of art institution – “museum of the commons”. []
type work on paper
year of production 1950s, 1960s, 1970s
courtesy of MG+MSUM, Archives department