Fokus Grupa

Map of Revisionist Monuments is a research project managed by Gal Kirn and Fokus Grupa, initiated as a response to the public call to raise the Memorial for the Victims of Totalitarianism in Brussels which is equating communism and fascism in the "center of Europe". The aim of the project is to gather and map the data on revisionist monuments like this one that have risen across Europe, as well as build a community of leftist researchers, activists and artists around this aim in order to build upon the knowledge gained and formulate a critique.

We have contacted numerous people from various European countries to submit proposals of the revisionist monuments they think should be included, while building a repository of case studies, we are slowly developing a classification of the revisionist strategies employed by various monuments etc. We have also initiated a Newsletter to correspond with interested artists, researchers and activists. A small selection of monuments that belong to the first group of monuments we have classified as “open rehabilitation of fascism and collaborationism” have been put on a map [pdf] intended to function as an invitation of additional collaborators on the project. Map was initially made for the Neighbours exhibition in Modern Art Museum in Warsaw.

In early 2019. we were invited to exhibit another work (Invisible Matter) on the 54. Zagreb Salon. A couple of days before the opening, after the work was already installed, we found out the Croatian Association of Artists that hosted the exhibition, and of which we are members, published an open call for raising a revisionist monuments to the victims of second world war, and the post world war victims, equating and accentuating victims that were members/collaborationists with the Nazis. The reaction we could come up with in the short time span we had left, was to paste the Map of Revisionist Monuments we had made for the Warsaw exhibition across the work already installed. [with the support of curators of the Salon].

Invisible Matter is a data research project into the global contemporary art field. The project's webpage invisiblematter.xyz will be updated and further developed in order to communicate and further the research.

The goal of Invisible Matter is to locate and describe the entities that produce art events, as well as the printed matter and web sites that participate in the circulation of information and creation of the discourse about the art field. Although the motivation for this research is to observe the economical and political underpinnings of different segments of the art field, the database we are working on is looking to cover as wide a dataset as possible before making any claims toward the meaning of the data produced.

The second step of the research was to analise the overlaping data points between two networks, first — the one resulting from our database, a global map of art events published via e-flux announcements, and second — the East Art Map, an iconic mapping project about East-European art practices, a project by the slovenian collective IRWIN.

We wanted to see the relationships of the artists and art collectives listed in East Art Map, as they appear from their appearance on e-flux. We developed two visualisations, one a grid of ego networks listing all East Art Map artists according to the number of their appearances on e-flux, and the other a social graph showing relationships, and groups of artists based on their appearance on e-flux.

A small number of the most prominent datapoints (artists) were then invited to contribute the work of their choice to the exhibition.

Invisible Matter is a data research project into the global contemporary art field. The project's webpage invisiblematter.xyz will be updated and further developed in order to communicate and further the research.

The goal of Invisible Matter is to locate and describe the entities that produce art events, as well as the printed matter and web sites that participate in the circulation of information and creation of the discourse about the art field. Although the motivation for this research is to observe the economical and political underpinnings of different segments of the art field, the database we are working on is looking to cover as wide a dataset as possible before making any claims toward the meaning of the data produced.

The first step of the research was to analyse the institutions that use e-flux announcements to advertise their activities. We are developing a relational database based on the analysis of the announcements pages published on e-flux from January 2000 to date*. At this moment the database contains 2519 [institutions] that have published 18002 [events].

This research does not pertain to portray a comprehensive image of the field but its specific segment. Our long term goal is not to stick with a specific source but to use a variety of sources and try to map the "invisible matter" of the global contemporary art field, its actors and relations between them.

On the second floor of the neighboring palace attached to the south east side of the Museum of Modern and Contemporary Art, in the “Vedute Salon” there are four large and six smaller wall paintings protected with OSB boards. The building is being restored with European Union funds for industrial heritage restoration. It will house the Museum of the City of Rijeka. The palace was originally the administrative seat of Trieste-Rijeka privileged company which had the monopoly over industrial sugar processing and trade in Austro-Hungarian Monarchy. It was established by Dutch merchants in 1750 at the initiative of the Habsburg crown.

Wall paintings of the Vedute Salon were made after the great fire in 1785 during the mandate of the director Peter de Vierendeels. The salon intended for the use of clerks and administration of the sugar factory was designed according to the habits of Dutch industrialists. The paintings originate from Venetian and Trieste circles with whom the company frequently did business, and their authors are still unknown.

On the north wall of the Salon, above the door, there is a smaller, elongated panoramic view while two larger vertical ones are located on their left and right side. They depict imaginary, idealized cities, ancient monuments and architecture, sailing ships (with Austrian flag) and maritime landscapes. The characters inhabiting them are dressed according to the 18th century European fashion or, if depicted in working clothes, the details imply that they come from the Far East. On the left painting, the undifferentiated figures of “Asians” with bound hands, bare feet and bended backs under the surveillance of armed gendarmes appear as the exponents of slavery in the mercantilist city space.

Austro-Hungary did not have its own colonies, raw sugar was acquired indirectly from London, Venice, Marseilles. The scenes from the graphic prints which were the templates for the panoramas may have belonged to some other companies (we can imagine another flag on the painting), but for the director Peter de Vierendeels who was in charge of the works on the salon, they were an expression of the aspirations for global expansion. The vedute ideale are a rare depiction of slave labor, otherwise invisible in Rijeka. These paintings circuitously point to the history of colonialism as a constituent part of Rijeka’s industrialization and development while industrial heritage is elucidated as colonial heritage.

Two objects presented under the glass cover are replicas of the tools for refining sugar borrowed for the Labin Industrial Art Biennial from the Archeological Museum of Istria. Similar objects were used in the same rooms that are now exhibition spaces of the Museum of Modern and Contemporary Art in Rijeka, and which in 18th century were the facilities of the Privileged Company of Trieste and Rijeka, a sugar refinery of the Austro-Hungarian Monarchy.

As a form of politicisation of musealisation of industrial heritage objects, notions of whiteness and purity of sugar refinement process were put in relation with labour divison in the refinery on a pseudo museum signage [PDF].

Regarding sugar processing the signage states:

Sugar refineries thermally processed imported concentrate that was poured in conus ceramic molds. The molds were then settled on a clay surface which filtered and refined sugar. Thus the conus base, i.e. its widest part, contained the purest sugar and its top the least pure sugar. By breaking the conus in segments, sugar of different quality depending on its purity, was harvested. When looking at sugar from the perspective of societal status at the beginning of the 18th century, it is important to say that the labouring classes did not have sugar; they instead had molasses. It was the middle and upper classes that actually had sugar. So, not only does sugar vary in type, but that type is used as a denotation of position in society.

Stats about the labour division in the company itself reads:

On the most expert and best paid positions in the refinery foreign workers from the Netherlands and Hamburg were employed. In order to attract them to Rijeka, they were given salaries twice as high as in their countries. In 1768 the company employed 704 workers and employees. In the refinery itself a total of six masters were employed, all of them foreigners. Following them in the labor qualification came raffineurs (expert skilled workers) 34 of whom were foreigners while 18 were Croats. In the refinery pottery workshop artisans from Croatia were employed and in the boiler room artisans from Prussia, while low skilled workers were mainly Croats. Wage workers and cabmen were also mostly local people, Croats, Slovenians (from Kranj and Koruska). It is significant that all company directors were generally from Antwerpen/Anvers in Belgium.

At the beginning of 2018, tabloids barraged of the affair related to a figure similar to Morčić. It was the case of a blackamoor brooch that Princess Michael of Kent wore at the Christmas banquet organized by the Queen of England. Various media speculated that a possible reason for Princess’s choice of jewelry was a racist provocation aimed at the future British princess Meghan Merkle whose mother is Afro-American.

Tourist Office of the City of Rijeka states that Morčić is the original jewelry from Rijeka, Kvarner and Croatian Littoral. “Earrings with the bust of a black man with turban is worn even today by 70% of women from the region regardless of their social status and national identity, in multiethnic Rijeka which has as many as 22 ethnic minorities.” In multiethnic Rijeka the number of people of different races is still disproportional to the frequency of their depiction on jewelry.

The And of Art IN at FOR new*'s take on e-flux does not reproduce Triple Canopy's puritan critique of International Art English or the retaliation which followed on e-flux. It proposes a correlation of the Collection Collective's model of an art collection run by cultural producers with the e-flux model of an artist-run datab ase of art writing. Whilst Collection Collective seeks to intervene into the circulation and consumption of material art production, e-flux is a major player in the information and discourse circulation of the art-world.

In an attempt to focus on language as material rather than as representation The And of Art IN at FOR new was composed with software tools designed for text manipulation and analysis. The long line of text follows the parameters of the physical space of tranzit(dot)sk in an attempt to articulate language both as material and as measuring device, thus linking the physical space of tranzit(dot)sk with the imagined space of e-flux.

The line was composed in the following way:

1. 38 keywords were extracted from the curatorial text.
2. Those 38 keywords were used to query the entire corpus of the e-flux Journal.
3. Each keyword appeared in numerous lines of text.
4. Lines were sorted alphabetically, according to a word that precedes the keyword in a sentence.
5. A random line of text for each letter of the alphabet was selected.
6. Text adjacent to the keyword (from punctuation mark to punctuation mark) was extracted from each line.
7. Selected strings of text were reordered according to the journal number in which they appear.
8. Letter capitalisation was corrected according to punctuation rules and line-breaks were removed.

The piece takes a pseudo-documentary form by creating a fictional persona who's work equipment is a computer. We are presented with the metadata of her hand movements on the screen during one week, represented as a graph. We encounter her for a fraction of a minute as she stops in the video frame. The videos focus solely on her hand resting on the side of her body, the body part actively involved in her work. In the first video, we see her in a moment of an attempt at relaxation, indulging her leisure time and the natural landscape, while her treacherous twitching finger reveals this moment as antithetical to her daily routine. In the second video, standing at the traffic light, the rhythmical sound of the traffic lights points to the technology as the environment in which she resides, where time and movement are measured, organised, valued and traded.

A twitching finger, we can safely assume has clicked away around 8000 times that day — a worker's single movement has become minuscule, but its numbers had increased. In addition to the body transformed in contact with the machine, the third element introduces the language of body maintenance used to counter, or facilitate that transformation. The piece is an exercise in exploration of the consequences of rationality, as it is enacted on the body of the worker. It aims to locate such consequences, as the Repetitive Strain Injury (RSI), in the underlying logic of, rather then malfunctioning, of optimisation. Which is to say that “Every technology carries its own negativity, which is invented at the same time as technical progress”.

The project Existenzoptimum is an outcome of our research into architecture and design practices, at the Künstlerhaus Büchsenhausen fellowship programme, that also took a form of a seminar at the Institute of Architectural Theory for students of the Innsbruck Faculty of Architecture.

The project developed into a didactic process and an exchange with the students Audrey Morency, Anouk Muller, Pol Olk and Laura Winterberg. The exchange was initiated through a series of lectures and discussions, which explored the value systems produced and reproduced through material practices such as design, architecture and art. The intention of the seminar was to encourage the students to explore the ways in which these questions find expression in the built environment or, more importantly, to look at alternative ways in which architecture has tried and may try again to address these questions.

The outcome of the seminar simulates a conventional exhibition of architecture, consisting of a 1:1 model of a living unit and a 1:30 model of a modular system implemented at the specific site, that of the Kunstpavillon. In the exhibition space the 1:1 model allows the visitors to relate physically to the space, while the didactic 1:30 model, provided with 10 living units, is a sort of a board game that the visitors can play and experiment with, allowing them to accommodate different possible social and architectural configurations parasitizing on the Kunstpavillon. The players might try to maximize the number of units per sq. meter following the logic of a dormitory, or organize a housing and working collective that can acquire more communal space to use for social or commercial activities.

This second stage of the project Existenzoptimum is a spatial elaboration of the concept developed at the seminar with the students of Innsbruck Architekturtheorie department.

The work utilizies 5 architectural units to create spaces for life and work a small imagined community within the exhibition venue of the Harburger Kunstverein. Existenzoptimum also couples with the Library for Social Design that in this constelation serves as a space for collective education and dicussion.

Within the context of the exhibition Some Shapes of Things to Come, Existenzoptimum also figures as exhibition design, organizing the space of the exhibition and housing the video works presented. Interiors of the units are deveoted to further elaboration of the historical presedents and conceptual lineages of the Existenzoptimum presented in the form of posters/info panels.

Stories about Frames is a series of interventions throughout the exhibition space, realized as a system of labels that adapt to each particular exhibition by renewing the content of the labels. Texts on the labels focus on the years in which exhibited artworks were created in order to establish the links between artworks and selected art institutions from around the world. Instead of revealing the properties of the artworks, new texts point to the material reality of the art institutions, taking us beyond the boundaries of the exhibition space. The project thus creates a parallel history of contemporary art, based on the art institution rather then an artwork.

The basis for the Stories about Frames is a digital database in development that contains institutions of modern and contemporary art. It includes information such as when and where the institution was established, if and what kind of transformations, architectural extensions it underwent, etc. Is it privately or publicly funded? Does it have a collection? How large is the exhibition space?

The agreement reached in 1947 between MoMA and Metropolitan Museum was revoked in 1953 as MoMA decided that they no longer wanted to renounce the wealth they had acquired in the form of modern masterpieces, thus forsaking the concept of the museum developed by Alfred Barr in his 1933 “Torpedo moving through time” diagram. Since then, the collections of MoMA had grown immensely and the spaces that house them followed, starting with the acquisitions of the neighboring buildings in the years that followed.

Sponsored by the UN, Koroška galerija in Slovenj Gradec organized first in the series of international exhibitions titled “Peace, humanity and friendship among nations” in 1966. As the number of works that had arrived in the open call far surpassed the physical capacities of the gallery, the leadership of the Gallery decided that an extension to the museum should be built. Within the context of Socialist Slovenia (part of Yugoslavia), they were able to realize this with the help of the working brigades made up of the voluntary citizens of Slovenj Gradec, co-financed by the state-owned companies from the region in the course of 3 months. In the press of the time, unconcealed optimism boomed. The exhibition was to bring both the world to Slovenj Gradec and Slovenj Gradec to the world. One of the journalists states “These days our small Slovenj Gradec is the center of the world”.

If we decontextualize these events and view them as material processes the difference between MoMA and Koroška stories is only in scale. But while the growing of MoMA signifies a reactionary turn in the history of the institution the growth of Koroška signifies an emancipatory historical moment for the people of Slovenj Gradec materialized in an architectural form - a museum. Fokus Grupa revives this history of the museum and tries to increase it's visibility in the public space by realizing the neon sign based on the optimist discourse of the press from 1966. The work thus tries to both commemorate and propose that a different kind of museum is possible.

Today, e-flux announcements inform more than 90.000 subscribers about the contemporary art world. The work Perfect Structures contains all the announcements titles on e-flux website. Beginning on January 5, 2000, with the exhibition titled “Nothing”, ending in last days of 2016 Perfect Structures amount to 16.632 announcement titles, perhaps establishing the kanon of the art of today.The titles form a continuous line of words, a sentence, a poem. The uninterrupted line follows the parameters of the physical space of the venue, its exhibition and auxiliary premises, through a direct presentation of language (of contemporary art).

Prior to it's placement in space, titles are rearranged from chronological to alphabetical order with the intention to move the content from its everyday utilitarian domain of announcing and archiving events to it’s (ideological) function as language and finally from language to a measuring device. Using the language of e-flux as material – in the spirit of concrete poetry – the sentence covers the entire length of the walls. If language defines the world around us, the language in Perfect Structures points to (in)visible power-work behind art production.

Vjera Pavlovna's Fourth Dream is a site-specific intervention into the display apparatus developed by the Bauhaus Dessau to narrate the history and the ideas of the Bauhaus via images and texts. Using the pre-given apparatus as well as archives of historical documents / photographs of Bauhaus Dessau, by a way of textual re-framing, another (fictional) narrative has been established. The text is a digital collage of textual fragments of the chapter “Vera Pavlovna’s Fourth Dream” from the novel What Is To Be Done? by Nikolay Gavrilovich Chernyshevsky (1863).

In her dream Vera Pavlovna imagines a society where social relations and scientific progress find their expression in crystal palaces that are spread around the world bringing about a “radiant and beautiful” future. A variety of utopian, ideological and architectural nodes can be mentally remapped via this intervention; from Paul Sherbert’s Glass Architecture, Bruno Taus’s Glass House to Domestic Revolution’s kitchen-less houses and communal housing ideas.

Description of a Family Apartment is an installation, which represents an “ideal home”, made in order to reveal the political and ideological background used to define “the basic social unit.” The 29 plywood cubes, taking their shape from the monument Altar of the Homeland, transform the gallery space into a prototype of the family apartment as proposed by conservative politics. By building the private space using the elements of state representation, a dystopian collapse of the division of private and public is made apparent.

In Croatia, the civic initiative In the Name Of the Family initiated a referendum in 2013, in order to constitutionally define marriage as a union of a man and a woman, which had an affirmative outcome. Fokus Grupa branded the elements of their work using the logo of the organization, featuring a heterosexual couple with two children.

Altar of the Homeland, “a monument to all that have died for Croatia” was erected near the Croatian capital, Zagreb. It was inaugurated by Franjo Tuđman, first Croatian president on May 30, 1994. Sculptor Kuzma Kovačić created a peculiar kind of minimalist sculpture arranged out of stone blocks brought from all regions of the country and glass blocks in place of the sea. The monument represents total unity of the homeland in a form of a sanctuary to the nation, it’s blood and it's land.

Recent re-emergence of the far-right political organisations across Europe re-actualised the 1990’s wars in the Balkans. In the imagination of the political right old alliances can easily be to reestablished and new ones can be forged in order to fantasise about “brotherhood and unity”, but also about “ancient enemies”. In comparison to the 1990’s Serbs and Croats don’t even need to start a war, there is a ready-made conflict happening in Ukraine. This appropriation of war by extreme nationalists, is built upon the very core of imaginary nature of the concept of love-for-each-other-via-the-state, which serves as a striking reminder of perverse ways we relate to each other based on national myths.

The Altar to the Homeland gains a new urgency in this new context. Devoted to all Croatian heroes it represents a very “inclusive memorial”. Who are all the heroes that have died for Croatia? Are they also the Ustaše - WW2 collaborationists? Recently the phrase “…to all the victims“ reemerged in Serbia to deny the collaborationism with the nazis in the WW2, on the side of Chetniks.

Altar of the Homeland re-articulated by Fokus Grupa, takes it’s material from used furniture in order to create a hybrid sculpture that links fantasy and war with the very idea of a nation. In this new installation the piece becomes a “news-board” presenting a selection of articles about the trans-national links between Croatian right wing and the paramilitaries like AZOV, as well as Serbian right wing with the Russian separatists. This new “Altar of the Homeland” becomes simultaneously a utilitarian and semantical object; serving as the reading corner, a seating place, as well as the conceptual framing.

Exercising Novy Byt* consists of two pieces of reconstructed furniture made after designs by Alexandr Rodčenko and his pupil Nikolai Sobolev, paired with two sets of photo-collages made as instructions for the use of the furniture. An office table and a sofa/bed are multifunctional objects designed in the first years after the Russian Revolution as part of an attempt to redesign the everyday life and help create a new efficient human. The bourgeois separation of private and public is manifested in the object of the bed where the bed is a dedicated object for leisure or procreation set apart from daily, namely public, activity. The bed for the new human, hence, needs not to be separate but needs to change its shape and function for a new daily/public activity. The office table changes from a table for a singular practice into the practice for many, it bridges the space of privacy and a public space. Almost a century later these principles are easily recognized within the register of flexible, precarious working conditions where an individual is endlessly able to erase every distinction of private and professional. The reconstructed furniture is accompanied by photo collages that borrow the form, both from user manuals and body exercises. The instructions show how even the time needed to adapt the furniture from one type of use to another can be utilized as an exercise device to enhance body’s ability to ever greater achievement.

Paraphrasing the film theoretician Hrvoje Turković “Horses Heads” are less memorable shots, filmed before or after filming the main plot, inserted in order to bridge main shots and help the narration flow, most commonly used in interviews when the head shots are interwoven with close-ups of hands.

People Love Monuments consists of a 3D print of a part of an equestrian sculpture of Viceroy Josip Jelačić and a series of photographs documenting roughly 150 years of life on the main square in the city Zagreb.

Horse, a traditional attribute of figures of military power, when part of an equestrian sculpture, literally and metaphorically elevates the protagonist. Laid down in front of the viewer, 3D printed head implies an act of mutilation of the signifier, it also enacts a technique of omission, a standard editing method used to remove problematic, unwanted, uncanny elements in order to create seamless narration. The revolutionary potential of the cut is pitted against the final cut as the privilege of those in power.

Investigating the significance of nature for the nationalist discourse, the film There Aren't Words for What We Do or How We Feel so We Have to Make Them Up ^{[pass=fgvideo]} is both political and escapist. Trough contemplation of the narrator and the imagery of national parks, the film explores the questions of representation and the notion of the “national essence.”

Fokus Grupa is taking its language out of a variety of sources from the Croatian national anthem to nature documentaries and tourist campaigns, in order to compose the text for the narration. Through various topographies, from open plains to mountain peaks, the camera explores the notions of the sublime, establishing it’s (critical) relationship to romanticism, and making a full circle, all the way back to contemporary (Croatian) nationalism.

When exhibited as an installation, the film’s premise about the relationship of nationalism and nature extends into gallery space via the use of the work Altar of the Homeland that transforms the national monument into an auditorium for the film, serving also as its ideological framework.

Perfect Lovers is an appropriation of Felix Gonzales-Torres work with an intervention, a redesign of the front side of two clocks into pie-charts. In Torres’s work two ready-made clocks inevitably go out of sync as time passes, illustrating a painfully simple allegory of love and partnership, while at the same time making a sharp critique of the heteronormative paradigm. In the case of Fokus Grupa the work approaches both the question of time and the idea of partnership, trough an economic lens. Here, the time is less a matter of meditation and more something to be measured, divided and instrumentalized. In an attempt to represent an ideal workday, which the 19th century proletarian desired; Eight hours labor, Eight hours recreation, Eight hours rest the required time has to span two clocks. Perfect Lovers fulfil the tasks of an effective worker. The function of their union is thus one of survival, essentially an economical one. The clocks/partners fulfil this function perfectly, but they are also, and this is an important difference with the Torres’s work, out of sync from the very beginning.

The artist book Walk is comprised of all the inputs for the word (and related phrases) Walk in The Oxford English Dictionary, 1989 edition. Each input has been given a page to slow down the attention on each particular item in the way that dictionary layout doesn’t allow.

The work revolves around the idea of political and artistic potential of walking, stemming from linguistic and cultural meaning(s) of the word. Walk up (to rebel), Walking papers (to get fired) etc. Book can be used as a source-book of ideas for other artworks based around the idea of walking.

Platform is a readymade object with graphic interventions, a paperback copy of Michael Houellebecq’s novel Platform. Following the storyline, the main character Michael introduces us to different people who work in various sectors; we receive data about the time they spend at work, he tells us about their social and class background, working conditions and professional ambitions. Throughout the book, Fokus Grupa conceals the principal narrative, leaving only information about work. The method used, itself a laborious process of covering text with graphite within the span of four months, was at the same time exhausting and meditative, borrowed from a Croatian avant-garde artist Julije Knifer whose work dealt with the timelessness and abatement of progress. In an old interview Knifer gave some time before his death, he speaks about how he has acquired enough graphite to last him until the end of his life, thus, in a way, measuring time in sequences of graphite material.

Project Herbarium consists of performative walks, to which we invite people who relate to the questions of precarious work in their practice or as workers. We talk about specific themes within this field, like gender bias in regards to precarity, lack of free time, body strain in flexible working conditions... While walking and talking we pick plants to be used as documentation of event. The conversations are not recorded, but are afterwords put into short indexical textual forms within the prescribed space on the herbarium sheets where normally one would find botanical information. One image of the location of the walk is taken without protagonists in them. The project Herbarium is a sort of re-enactment of the walks described by Jean Jacques Rousseau in his book, Reveries of a Solitary Walker, a sort of praise to the slow pace, loneliness and leisure.

I Sing to Pass the Time is a series of drawings that derives its title from the work of Croatian singer-songwriter Arsen Dedić whose song expresses disbelief towards the effectiveness of political music. Alluding to this theme, the drawings explore the relations of art and political action. The imagery used in the drawings is based on historical photographs and documents, re-articulating moments of politicisation in art history, emphasising links between art and workers’ struggles in particular.

To name but a few cases: drawings referring to the German Kunstlump debate from the 1920s address the question of solidarity between artists and workers. One of the most powerful chapters in the history of artists’ labour organising originates from USA where artists employed by the state-funded Works Progress Administration projects formed the Artists' Union in 1933. A number of images featured in the series are re-articulating the visual legacy of Art Workers’ Coalition which is one of the most well-documented examples of art workers' organising in the history of contemporary art.

Less known is a case from 1979 Zagreb, where artists Sanja Iveković and Dalibor Martinis drafted a so-called Agreement [Ugovor] in the context of the Working Community of Artists with which they tried to define and protect the position of artists in socialist Yugoslavia.