aksioma, Author at Aksioma

BURDEN

Directed by Timothy Marrinan and Richard Dewey

Single screening / Slovenian premiere
23 January 2018 at 8 pm

Kino Šiška, Ljubljana

Ticket price: 5eur / 3eur (presale)
Language: English with Slovenian subtitles

With the screening of BURDEN, an experimental documentary about Chris Burden by Timothy Marrinan and Richard Dewey, Aksioma continues and upgrades a support activity we have been investing on along the last five years: the screening of art films with a strong educational and documentary character, presented in Slovenia for the first time, and focused on the foundational processes, art groups, artists and projects that have marked and/or shifted the currents in world art. BURDEN fits perfectly within this tradition.

Chris Burden (1946–2015) is one of the greatest icons of post-war performance art – named for instance by Marina Abramović as a key reference for her own art practice. Burden guaranteed his place in art history in early 1970s with a series of controversial and often dangerous performances. After having himself shot, locked up in a locker for five days, electrocuted, and crucified on the back of a VW bug, he reinvented himself as the creator of truly mesmerizing installations and sculptures. Burden understood his performances as sculptures, whose key “sculpting” material was his own body, which he subjected to various tests and experiments. The body and corporeality in contemporary performance art have never been the same ever since. Burden became an inspiration for many artists of subsequent generations, spanning from Laurie Anderson to David Bowie.

In BURDEN, Marrinan and Dewey look at the artist’s works and private life with an innovative mix of still-potent videos of his 70s performances, personal videos and audio recordings, interviews with friends, fellows students and colleagues, critics’ comments and latter day footage at his studio, all peppered with his thoughts and musings through the years.The film also reveals the backstage of the Los Angeles art scene, which in the early 1970s was somehow distanced and neglected compared to New York or some of Europe’s capitals. Precisely because of this marginality, the West Coast of the United States became the centre of experimental art, which later on shifted the boundaries of self-articulation and self-organisation of art throughout the world.

BURDEN is the first feature documentary exploring the life and work of pioneering artist Chris Burden. In the early 1970s, Burden’s provocative, often dangerous, performance pieces shook the conventional art world. He had himself shot, crawled through a field of broken glass, and attempted to breathe water. He was dubbed “The Evel Knievel of the art world” by the press – a label he would struggle to overcome for most of his career. Burden quit performance in the late 70s and artistically reinvented himself. He went on to create a multitude of installations and sculptures. His work has influenced a generation of artists and been exhibited around the world. Using unprecedented access to Burden’s archive as well as candid footage filmed with the artist in the final years of his life, this film documents Burden’s shifting motivations and his transition away from the spotlight of performance towards a quieter and more civic minded art-making practice.

Directed by: Tim Marrinan, Richard Dewey
Editors: Aaron Wickenden, Michael Aaglund
Producers / Sales Agent: Submarine Entertainment, Dogwoof Films

Featuring: Chris Burden, Marina Abramovic, Ed Ruscha, Ed Moses, Larry Bell, Larry Gagosian, Robert Irwin, Alexis Smith, Frank Gehry, John McEnroe, Vito Acconci, Peter Schjeldahl, Christopher Knight, Jonathan Gold, Paul Schimmel, Billy Al Bengston, Barbara Smith, Brian Sewell, David Neuman, Peter Plagens and Stanley Grinstein.

Full Cast & Crew.

THE FILMMAKERS

Tim Marrinan is a documentary filmmaker based in the UK. His past work has often focussed on aspects of art and culture and he’s drawn to stories with compelling characters and strong visual appeal. ‘Burden’ is his first feature documentary. He studied film and social theory at Harvard University.

Richard Dewey is a writer and filmmaker based in Los Angeles. His student film, The Leisure Class, was recently turned into a feature film produced by Matt Damon and Ben Affleck as part of Project Greenlight, which was won by Rich’s classmate Jason Mann. Rich has worked as a freelance writer for RollingStone.com, Ralph Lauren Magazine, Whitewall Modern Painters and also spent six months as the Marjorie Dean correspondent writing for The Economist at their London headquarters. Rich has an MFA in Film from Columbia University.

CREDITS

Production of the event:
Aksioma – Institute for Contemporary Art, Ljubljana, and the Center for Urban Culture Kino Šiška, 2017

Supported by:
the Municipality of Ljubljana

The New Collaborators | Reinventing Critical Art Practice

Ruth Catlow and Marc Garrett

WED, 11 January 2018
Aksioma | Project Space, Ljubljana

This lecture reflects on new practices, processes, collaborations and partners developed by Furtherfield with the curation of the exhibition New World Order and the publication of the blook Artists Re:Thinking the Blockchain. Classed by funders as a high-risk arts organisation because of the political topics and engagement with newly emerging techno-social conditions, Furtherfield constantly adopts new contexts and styles of dialogue across different practices and cultures: new media arts, fine art, permaculture, migration topics, critical engineering, start-up culture & hactivism, etc. Driven by issues of survival and artistic compulsion Furtherfield explores world contexts in relationship to local and international communities cannon breaking & category shifting.

Expoitation Forensics

Vladan Joler (SHARE Lab)

WED, 29 November 2017
Aksioma | Project Space, Ljubljana

In this talk, Vladan Joler dives into the landscapes shaped by the algorithmic factories of the surveillance economy, and the associated exploitation of material and immaterial labour and natural resources. He explores maps of the Facebook Empire and investigates the deep anatomy of machine learning systems and the hidden human labour behind them.

Prospective Collectives: Animating the Shared Self

Natalie Bookchin

TUE, 18 October 2017
Kino Šiška Centre for Urban Culture, Ljubljana

Natalie Bookchin’s presentation will explore the notion of condividuality through an aesthetic analysis of the current status of the networked image. In recent years, Bookchin’s work has focused on the creation of online and offline video installations that combine hundreds of YouTube video clips in which ordinary people present themselves before an audience. From teenage girls who dance alone in their rooms to minority groups who reflect upon racial segregation and poverty, these individuals are simultaneously isolated from each other and connected to each other. Yet it is only when Bookchin aligns these personal video diaries in a matrix that emphasizes the recurrence of bodily and linguistic expressions that their connectedness comes to the fore. In this respect, Bookchin’s presentation will allow participants to discuss condividuality as a form of connection and concatenation that proceeds from individual to individual without necessarily passing through a shared narrative or communitarian mythology.

We Want the Asteroid! — Psychic Warfare and the Wu Ming Foundation

Wu Ming 1

TUE, 18 October 2017
Kino Šiška Centre for Urban Culture, Ljubljana

The conference is inspired by Marco Deseriis’ book Improper Names: Collective Pseudonyms from the Luddites to Anonymous. Deseriis will introduce the conference by offering a genealogy of the “improper name,” which he defines as the adoption of the same pseudonym by organized collectives, affinity groups, and individual authors. Examples of collective pseudonyms include Ned Ludd, the fictional leader of the English Luddites; Alan Smithee, a shared signature used by Hollywood film directors to disown movies that have been re-cut against their will; Luther Blissett, a fictional media prankster, collective author, and anti-copyright activist; and the hacktivist group Anonymous. Deseriis’s central argument is that an improper name is a form of symbolic power that destabilizes the boundaries between the We and the I as the original creators of the alias lose control of its intended function to unforeseen uses. To express this tension between practices that are neither collective nor individual, Deseriis uses the notion of “condividuality”, a form of association that does not presuppose a community or a common intentionality, but only a concatenation of parts.

Improper Names, Con-Dividual Subjectivities

Marco Deseriis

TUE, 17 October 2017
Kino Šiška Centre for Urban Culture, Ljubljana

The Other Nefertiti

Nora Al-Badri & Jan Nikolai Nelles

WED, 4 October 2017
Aksioma | Project Space, Ljubljana

In this talk Nora Al-Badri & Jan Nikolai Nelles discuss the role and relevance of the museums as a space of constant negotiation, their inherent fiction and colonial patina and the aspects of the digital in decolonization. They also talk about their work and its implications of the so called Nefertiti Hack and lay out why the discussion about the politics of representation, originality and truth of data is necessary and why there is such an institutional Angst to open up the collections as cultural commons and on a public domain…

“…” an archeology of silence in the digital age

Daphne Dragona

Curator introduction to the exhibition
WED, 30 August 2017
Aksioma | Project Space, Ljubljana

“…” an archeology of silence in the digital age

Christoph Watcher & Mathias Jud

WED, 30 August 2017
Aksioma | Project Space, Ljubljana

“What does the war in Syria have to do with the privacy debate in Europe? What does NSA mass surveillance have to do with a Chinese Internet café? On the one hand, we have our own specific views. On the other hand, the forms of expression are subject to a collective political, cultural, governmental and linguistic regime. In order to overcome the forms of attribution, exclusion and paternalism in our own views and expressions, we specifically address the social and cultural mechanisms of exclusion in our art projects. Our projects, such as picidae (since 2007), New Nations (since 2009) and qaul.net (since 2012), have gained worldwide interest by revolutionizing communication conditions. As open-source projects these works uncover forms of censorship of the Internet, undermine the concentration of political power and even resolve the dependency on infrastructure. The tools we provide are used by communities and activists in the USA, Europe, Australia and in countries such as Syria, Tunisia, Egypt, Iran, India, China and Thailand. Even North Korean activists participate.
This talk is a tour d’horizont to the isolated and hidden depths. Particularly in the digital age we usually forget about the exclusion and the gaps because they don’t appear in our worldview. By looking into our communication conditions, we can realize new strategies and ways to reach out to eachother.”
– Christoph Wachter in Mathias Jud

From alien matter to The World Without Us

Inke Arns

TUE, 27 June 2017
City Museum Ljubljana, Slovenia

In this talk Inke Arns speaks about two exhibitions she recently curated: The World Without Us (HMKV Dortmund, 2016/17) and alien matter (transmediale festival, HKW Berlin, 2017). Alien matter refers to man-made, and at the same time, radically different, potentially intelligent matter. It is the outcome of a naturalization of technological artifacts. Environments shaped by technology result in new relationships between man and machine. Technological objects, previously defined merely as objects of utility, have become autonomous agents. Their capacity to learn and network throws into question the previously clear and dominant division between active subject and passive object. Within the alien matter exhibition 30 artists presented works about shifts within such power structures, raising questions about the state of our current environment and whether it has already passed a tipping point and is in the process of becoming “alien matter”. Content-wise, the works clustered around four thematic focal points: artificial intelligence, plastics, infrastructure, and the Internet of Things – subcategories that are deemed to merge into the nascent great machine and thereby, in the words of Günther Anders, are “future obsolete”.

Computer Vision, Surveillance, and Camouflage

Adam Harvey

TUE, 20 June 2017
City Art Gallery, Ljubljana, Slovenia

This talk explored new ways of appearing and disappearing in a machine readable world including strategies for blocking face detection and thermal imaging, and tools for advanced visual-metadata analysis.

Jennifer Lyn Morone™ Inc

Jennifer Lyn Morone

WED, 17 May 2017
Aksioma | Project Space, Ljubljana

IT HURTS – Art, performance and pain

Dominic Johnson

WED, 15 March 2017
Aksioma | Project Space, Ljubljana

We are all familiar with pain, from that of the minor twinge to devastating injury or illness, to emotional pain. Yet we struggle to articulate the particularity of our hurt. Making an object of one’s pain has been a frequent project for historical and contemporary art, from paintings depicting great duress, to performances that harness self-injury as a formal technique. This lecture introduces key works in art and performance and asks how artists deal with the constitutive manner in which pain evades representation and communication.

Tactics and Poetics of Invisibility

Amy Suo Wu

TUE, 17 January 2017
The Academy of Fine Arts and Design of the University of Ljubljana
Part of the ALUO uho events.

Porn to Be Free

A documentary about the generation who fought for sexual freedom

Written and directed by Carmine Amoroso

Single screening / Slovenian premiere
13 January 2017 at 8 pm
Kino Šiška, Ljubljana

Language: English with Slovenian subtitles

In the framework of Akcija!, a cycle of screening events

“Pornography is vital to freedom and a free and civilised society should be judged by its willingness to accept it.”
Salman Rushdie

Porn to Be Free is a film documentary about the generation who fought against puritanism and censorship to defend freedom of speech and sexual freedom. From Italy, Denmark and France through to California, the film follows a group of rebels who started a battle against censorship through pornography. Together they shook the church, the politics and the institutions. Through uncensored exclusive footage and archive material, the film explores the story and the fights of a group of pioneers: from film director and porn pioneer, Lasse Braun, to Riccardo Schicchi, master of transgression such as the election of porn star Cicciolina in the Italian Parliament. The documentary features numerous other protagonists such as feminist porn director Giuliana Gamba, author Lidia Ravera and a short animation by Charlie Hebdo’s veteran Siné. Through their utopia and shocking dreams, they made the world a freer place and paved the way for forward-thinking debates today, such as neo-feminism, or the LGBT rights movement. Porn to Be Free is an opportunity to reflect on a period of great changes and transformations in which pornography, with its deconsecrating power, became a means of struggle and liberation and grew into a true language: from literature to cinema, from comics to visual arts. Writers, intellectuals, philosophers, feminists, pornographers and porn stars reveal to us how pornography was a means of change and a weapon of social and political struggle, putting Italy at the forefront of one of the most important and pervasive phenomena of contemporary culture, so much so to make turn pale even Larry Flynt and Linda Lovelace from overseas.

DIRECTOR’S NOTES

The film is shot in different formats — from Iphone to Canon C300 — and features dozens of interviews and unseen archive materials ranging across different eras aEnd different technologies — 35mm, private and amateur super 8, hundreds of photographs and sound recordings — the fruit of over two and a half years of research.

Looking at the normalized porn industry today, it appears that we have shifted back in time when opinion and rights movements rised up slightly but can’t break through moralism. We are almost inclined to say that we are lacking of a new Riccardo Schicchi or a new Ilona Staller, with the ingenuity and genuineness, the abstraction and the folly to make inroads into an increasingly monolithic society.

The film has been made and financed in an entirely independent way. No institution, public or private body has agreed to finance the project. The word “porn” in the title was enough to stop any support for production or distribution.

THE DIRECTOR

Carmine Amoroso: director and screenwriter of Porn to Be Free. In 1996, Amoroso wrote and directed Come Mi Vuoi (Embrasse-moi Pasqualino), the first Italian film to have a focus on a transgender character, featuring Monica Bellucci and Vincent Cassel. The film has been sold worldwide and has since become an essential milestone in queer cinema. In 2007 he directed his second feature Cover Boy. The film was selected in over 90 festivals worldwide and won 40 awards. It was also shortlisted to represent Italy at the Academy Awards alongside Gomorra and Il Divo.

FEATURING

Riccardo Schicchi: Photographer, producer and manager, he was the number one protagonist of Italian pornography in the 70’s and 80’s. He turned porn into a major consumption good. Because of his numerous court cases and prison sentences, he was nominated the Che Guevara of porn. He launched several key media icons such as Cicciolina, Moana Pozzi and Rocco Siffredi.

Ilona Staller: Known under the name of Cicciolina, she is the most famous and the most controversial porn star of all times. After a childhood in Hungary, she moved to Italy in the early 70’s and was key in redefining the limits of what can and can’t be shown publicly. Her fight for sexual freedom gave her an iconic status in the eyes of a whole generation. Ilona Staller was also the first porn star to be elected into a national parliament in 1987. In 1991 she married American artist Jeff Koons with whom she has a son, Ludwig. After putting an end to her porn career but without any regrets, she has kept fighting for sexual freedom in prison, for decriminalisation of drugs and against any form of censorship.

Lasse Braun: Braun is the king of Sex Revolution in the 60’s and 70’s. He fought his whole life for the diffusion of pornography in Europe and the United States. At the end of the 70’s he created in Stockholm the company AB Film and produced and directed dozens of films that became porn classics. In 1971 he met Reuben Sturman, the American inventor of the peep show, who became his business partner. in 1974 he was the first director to bring a porn film to the Cannes Film Festival. In 1977, after years of legal actions and successes, he retired from political activism to focus purely on directing and writing.

Giuliana Gamba: In the early 70’s Gamba became the first European female porn director under the name of Therese Dunn. That gave her an immediate cult status in the world of feminist pornography. She then chose to work in the field of erotic films before completely changing career as a documentary filmmaker and creating TV series for the Italian public broadcaster.

Helena Velena: writer, philosopher and record producer is one of the most interesting voices of Italian counter-culture. She defines herself as a “semiotic-psychedelic guerrilla”. She has been active since the Bologna Movimento del ‘77 movement, working as an announcer and DJ for Radio Alice. She was one of the main protagonists of the Italian punk movement, forming first the RAF Punk group and then establishing the Attack Punk Records label, which published fundamental bands of the Italian punk and hardcore scene, among others the first albums by CCCP Fedeli alla linea. In the late 1980’s her research radicalized around themes such as cyberpunk, transgender and the relationship between sexuality and new the communication technologies.

CREDITS

Written and Directed by Carmine Amoroso
Cinematography: Paolo Ferrari (aic-imago)
Produced by Patrizia Zoratti, Carmine Amoroso, Paolo Ferrari, Patrizio La Bella
Associate producer: Francesco Costabile
Editing: Luca Manes, Fabio Nunziata
Music: Fabrizio Fornaci
Sound: Alessio Costantino, Angelo Galeano, Paolo Testa
Sound editor: Stefano Di Fiore

With Riccardo Schicchi, Lasse Braun, Ilona Staller, Judith Malina, Giuliana Gamba, Lidia Ravera, Marco Pannella, Helena Velena, Marco Giusti, Achille Bonito Oliva

Visual Effects: Vincenzo di Natale
Colorist: Emanuele Pasquet
Production Management: Martina Spadano
Production: ZutFilm
In collaboration with Dana Stable and Patroclo Film

International distribution: WideHouse

Production of the event:
Aksioma – Institute for Contemporary Art, Ljubljana, and the Center for Urban Culture Kino Šiška, 2017

Manifold Triptych

Lev Kreft

TUE, 28 June 2016
Tobacco 001 Cultural Centre, Ljubljana

The Slovenian philosopher, sociologist and politician Lev Kreft ascribes All About You, the new work by Janez Janša, Janez Janša and Janez Janša, to the tradition of the Readymade and Self-portrait. But very peculiar ones: the ordinary objects turned into an artwork are IDs and personalized bank cards, the self-portrait is the ID card itself, but also all data about the account and money transfers a given bank card holds. How far can a card owner make his own personal credit card? As well as a citizen has to respect some limitations when changing his name, a bank customer has to respect the bank’s guidelines in “personalizing” his card.

Art of the Prank

Joey Skaggs

Art of the Prank

Directed by: Andrea Marini

Single screening / Slovenian premiere
TUE, 10 May 2016 at 8 pm
Center for urban culture Kino Šiška, Ljubljana

Language: English with Slovenian subtitles

In the framework of the cycle of screening events Akcija! and programme Masters & Servers

Art of the Prank is an emotional journey following the evolution of artist Joey Skaggs-a fierce proponent of independent thinking and the man who has turned the media hoax into an art form. With unprecedented access to the man and his archives, the 82-minute documentary interweaves a current unfolding hoax with a look behind-the-scenes at some classic performance pieces (all reported as fact by a wide range of prestigious journalists) plus commentary from co-conspirators and others. The resulting twists and turns provide unprecedented insight into Joey’s work as an artist, activist and social satirist.

Back in the Sixties, people belonging to the American countercultures realized that elaborate media pranks could be an effective form of social activism. What they have done in the last decades has been of great importance for the new generations of artists and activists that learned from these pioneers how to challenge the system by using the disruptive potential of jokes: a practice that, as the design collective Metahaven argues in the book Can Jokes Bring Down Governments?, is especially effective in times of austerity.

Artist, social activist, educator and prankster Joey Skaggs was one of these people. For decades, mass media have been the main stage for his performances. His work incorporates guerrilla tactics and traditional advertising and public relations techniques to promote his staged performances. Throughout his career, Skaggs has used several aliases such as Kim Yung Soo, Joe Bones, Joseph Bonuso, Giuseppe Scaggioli, Dr. Joseph Gregor, and the Rev. Anthony Joseph. He has been a doctor, a lawyer, an Indian chief. He ran a bordello for dogs, directed a celebrity sperm bank, and was the capo de capo of the Fat Squad, a paramilitary organization dedicated to wiping out obesity. His cockroach extract vitamin was invented to cure the world’s ailments, and he was the only man ever to windsurf from Hawaii to California.These and many other performances have been diligently reported as fact by domestic and international news media for over fifty years. Yet every one of these so-called news stories was the creation of conceptual artist and performer Joey Skaggs. His elaborately staged media hoaxes, which brilliantly satirize socio-political and cultural issues, have two overriding goals: to expose hypocrisy and effect social change.

In Slovenia, he is most notorious for the Stop BioPEEP hoax and the one related to Matjaz Rogelj, a young law student who back in 2001 announced that he, representing all of Europe, had won the first prize in a world competition in computer programming in Rio de Janeiro.

THE AUTHOR

Joey Skaggs is a painter, sculptor and social activist. Beginning in the Sixties, with his iconoclastic and controversial performance art protests, Skaggs realized he could use art to challenge the status quo. Appalled at the cultural hypocrisy he saw around him, especially how it was blindly supported and propagated by the media, he began to satirize social issues with public performances that were elaborately contrived media hoaxes. For each one, he portrayed a fabricated character frequently adopting a pseudonym. He incorporated guerrilla tactics, traditional advertising, public relations techniques and social media to promote the staged performances. The mass media, not recognizing the many clues to his identity, became an unwitting collaborator, reporting his satires as news. Few media outlets over the last five decades have not fallen for one or another of his hoaxes. He has been covered in newspapers, magazines, and on radio and television around the world, in some cases many times as different people.He is a graduate of New York’s High School of Art & Design and received a BFA from the School of Visual Arts where he also taught Media Communications for many years. He currently lectures on divergent approaches to addressing social issues through art. His paintings and sculptures have been exhibited internationally. He also designs satirical products and publishes the “Art of the Prank” blog.

ACCOMPANYING PROGRAMME

Joey Skaggs
Making a Difference: Art & Media Activism
Lecture
MON, 9 May 2016 at 10:30 am
Faculty of Social Sciences, University of Ljubljana

For: Journalists, Artists, Activists, Educators, Students, and all Media Consumers

Abandon any preconceived ideas about news media. Your mouth will drop open and your eyes will pop with disbelief as you see Skaggs in various disguises and personas repeatedly fooling the people whose job it is not to be fooled.
Using extensive video documentation, Skaggs reveals the stories behind his most provocative and successful work. In hilarious detail, he chronicles fifty years of manipulating the media to address such issues as cultural intolerance and racism; scientific cure-alls that exploit people’s weaknesses and vanities; inequities in the American judicial system; and the misuse of power and authority by government, big business, people with an agenda and the media itself.
As a committed and passionate advocate of media literacy, independent thinking, and creative activism, he always reveals the truth behind his hoaxes and explains his intent.
Skaggs teaches how to analyze and extract the underlying messages in the news; question authority in all its forms; not give up critical analysis for wishful thinking; look to more than one source for information; and not trust everything you read, see and hear. The experience will profoundly change your own relationship to mass media.

Joey Skaggs
Social Activism Through Media Manipulation
Workshop
TUE 10 May 2016, 11 am–6 pm
Center for urban culture Kino Šiška, Ljubljana

For: Artists, Activists, Educators, Students

The workshop is based on the Culture Jamming and Media Activism course that Joey Skaggs developed and taught for the Media Communications Department of New York’s School of Visual Arts.
With the advent of online social networks and Twitter, new opportunities abound for social activism. Skaggs explores the field of new technologies to communicate ideas and grab attention, and also shows how performance art, video, theatre, graphic design, advertising and public relations can be used to manipulate media in order to advance a cause. Participants in the workshop will identify the social issues that concern them, analyze their target audience, and conceive and/or initiate a plan for social action by manipulating the media.

CREDITS

Author: Joey Skaggs

Production:
Aksioma – Institute for Contemporary Art, Ljubljana, 2016

in collaboration with Kino Šiška and the Faculty of Social Sciences, University of Ljubljana, Department of Media and Communication Studies

Partners:
Drugo more (HR), FH Joanneum (AT)

The event is realized in the framework of Masters & Servers, a joint project by Aksioma (SI), Drugo more (HR), AND (UK), Link Art Center (IT) and d-i-n-a / The Influencers (ES).

Supported by:
the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.

Döppelgängers, Collaborations and other Insinuations

Eve Sussman and Simon Lee

THU, 5 May 2016
Academy of Fine Arts and Design – University of Ljubljana
Part of the ALUO uho events.

Artists Eve Sussman and Simon Lee gave as an insight into their work, among other as producers for Jack and Leigh Ruby’s Car Wash Incident installation, Simon’s work MOTHER IS PASSING. COME AT ONCE., Eve’s film whiteonwhite:algorithmicnoir and their new joint collaboration No food No money No jewels.

Citizen K

Ztohoven

The Media Reality / Citizen K / The Moral Reform

Ztohoven

WED, 30 March 2016
Aksioma | Project Space, Ljubljana