I have been working on Koreta, the fictitious state apparatus since 1990. Its basic protocols and procedures were situated then, while the material created for, or as a consequence of the political processes in Koreta has been growing and is being developed. I did not begin creating Koreta as an artwork, and for many years it was not performed like one. The conceptualization of Koreta as an art practice (the process that is constantly in progress) has started during my studies in Sculpture. Having some segments exhibited at the annual and other group exhibitions of students from the Faculty of Fine Arts, the first solo exhibition of the Kingdom of Koreta was held in 2005 in Dom Omladine Gallery in Belgrade. The exhibition IX Parliamentary Elections in the Kingdom of Koreta, realized in the collaboration with CESID (Center for Free Elections and Democracy) pointed at the cross-disciplinary character of Koreta, and determined its future modes of exhibiting/performing. Together with the exhibited sculptures (wooden panels, magnets, frames/parliamentary seats with paper dolls/parliamentary cards), the gallery was organized as the voting space, and as such influenced the certain patterns of behavior. The opening event, during which the audience took part in the elections by following the usual voting procedure, was followed by the electoral reports (video works, participation of Marko Blagojević, CESID) and the first web presentation of the Kingdom of Koreta. Thus, the exhibition setting has already included art objects as well as created adequate electoral atmoshpere, mode of theirs perception, and the rhythm of the entire event.

In October 2005 I’ve started working with the theatre director, Vlatko Ilić, on the event of IX Government Constitution of the Kingdom of Koreta. Since then we have been working on live events and performances, which forms and structures vary depending upon each specific occasion.

The exhibitions and publications of Koreta include gathered (and processed) material, and the performances also the public executions of the Koreta procedures. The specific works are the final phases of certain micro-processes, that Koreta artwork consists of. The technological (art) skills, as well as the collaboration with artists from different disciplines, serve the same goal – the development of modes for processing constantly produced material, and of presenting it to the audience, as well as the re-questioning concrete conditions of creating an artwork in the always specific contextual circumstances.

Vojislav Klačar
September, 2009

As two artists coming from the different backgrounds - fine arts and theatre, since 2005 we have been developing a model of collaboration and art production that will provoke a newly articulated identification matrix. One that is more cross-disciplinary, critically orientated, context aware, pro-active.

Our artistic practice includes presentations, discussions, lectures, texts, publications, and our goal is to produce, along with our works, an atmosphere around them - the atmosphere that is theoretically, ideologically, politically ‘conscious’ and one that can potentially cluster into a platform that would enable the comprehension and recognition of contemporary artistic practices as relevant critical activities.
Thus, we intend to create works that are context-sensitive: that re-question the disciplines within which they operate, spaces in which they are performed or exhibited, the positions they are taking or intend to take in the world of arts, etc. We believe that meanings surrounding us are negotiable, and that is why we re-use already socially signified spaces (the Assembly room in Belgrade City Hall), we insist on the active role of the audience (it participates in the decision making mechanisms), we involve the experiences of new medias (the structure of Parliamentary History of Koreta was based on the Internet’s operative protocols) and mass production (public events are unique and can not be re-played), or we question present dominant grand narratives (exposing processes of creating History).

We strongly believe that art is not an innocent practice, but that it is socially, economically and politically determined, and thus, we intend to actively and transparently participate in creating, performing and constituting social reality. This is possible through re-inventing hybrid tactics and strategies that will initiate/cause constant paradigmatic shifting, in order to resist the global market and mechanisms of inclusion, which breed de-contextual, a-political, marketable art pieces.

Vojislav Klačar
Vlatko Ilić

October, 2008