The simultaneous emergence of the serial killer and the assembly line as expressions of the rationality of modern production methods.

Today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how is a particular artwork selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant?

This publication offers an overview of how creative practices are modifying the ways we think about both knowledge production and research in the cultural sector and in academia. This exploration enquires the invention of manifold research methodologies and contributes to think of strategies to de-universalize and de-neutralize the rigid epistemic schemata of inherited disciplines.

As the Cold War gained momentum in Europe, Tito’s break with Stalin led to Yugoslavia being expelled from the Eastern bloc in 1948. Confronted with this new reality, the Yugoslav government decided to bridge the indeterminacy of its cultural politics through a creative strategy: it commissioned young artists and architects to draft the aesthetics of a non-Soviet form of socialism.

Igor Grubić has been active as a multimedia artist from the beginning of the 1990s. His work includes site-specific interventions in public spaces, photography, and film. Grubić’s project for the 58th Venice Biennale, Traces of Disappearing in Three Acts (2006–19), is already thirteen years in the making. It consists of three interrelated photo essays and an animated film, set in a specially designed mise-en-scène.