 Hello, so my name is Milica Tomic and I will do some short introduction into my name and also my background. So I was born in the Socialistic Federative Republic of Yugoslavia. This is a country in southeastern Europe which was constituted during the Second World War. In 1943 and during which is quite important for also some works that I will show you later in the Antifascist struggle during the Revolutionary War. And today I live in the same, so I was born in 1960 and I've been born in Belgrade and I still live in Belgrade but my country, the name of my country is Serbia today. And in a country, I mean, which is a product of ethnic and racist wars waged in the territory of former Yugoslavia, so the country that was constituted in the Second World War. And so during the racist war waged in on the Balkans during the 90s, I'm now living in just in Serbia. So there will be few works referring on this team and this is quite important for the works you will see. I'm sorry because of the resolution of the images but this is the work that you can see here on the exhibition and this work reflects the paradoxes of an act of making a statement and this statement attached to the individual to the ethnicity. At the same time, this work reveals the absolute and let's say reveals the retroactive necessity of belonging to a fictional reality of an ethnic group. This also has to say reveals to an experience being born in a country which is multinational and then a wake up one morning in the country that you can recognize as just being an ethnically a clean country. In this works there are 64 languages so I'm making this statement in 64 languages stating different ethnical and national identities. So this work is also about the almost commonly accepted fact that linguistic experience that linguistic experience governs our inner structure and therefore to state or just to pronounce one's identity it creates this one's identity. The other work I would like to show you is the title of this work is the reconstruction of the crime. And it is a title of a German contact TV show called Act and Citation, which dealt with the reconstruction of the crimes. So the viewers were trying to solve the crimes through this TV contact show and they were trying to help to solve this crime. So this work is very much about a crime and the personal responsibility of the artists who is a citizen of a country enacting repression. So it is about raising the memory but it is also an attempt to save the memory of this crime. A private memory which avoids the traps of virtualization and mediatization. It is a self-analytical and introduced fellow artist who were invited to take part in this show, to take part in this video, the artists and the participants of the Serbian culture and also to discuss about then one very particular crime that this work is reflecting on and this is the killings of ethnic Albanians on Kosovo during the demonstration in 1998. So these colleagues and artists, they were invited to take part in the show but for the first time this video was shown, they just faced themselves in the position of the victims of those demonstrations because on the killing of those demonstrations, it was never announced in a public. So it was the first time that we discussed this and we were talking about this. So the series of slides under the title you will see now but this is actually a serial of work calling Remembering which I started in Erlov. This is an Austrian city where two armies after the Second World War in 1405 met and this was, so the two armies, the Soviet and the American, they met in Erlov and this was the end of the war. So I invited citizens of this small place, village, to take part in a work that I developed there. But I will show you the part of the work and this is this serial called Remembering. That what you can see here, there are two bronze statues. One is American soldier, another one is a Soviet soldier and in between that you can't see is the Austrian girl hugging both of them. But I took this place between those two armies as a political par excellence. What meant, what does it mean today in 2000, 2001, in the 2000s stepping within those two in this political space par excellence, was it the victory over fascism, was it in this, what was it then in 45, what does it meant then and what does it mean today? So I was inviting different people to step into this space but when I was stepping there I thought how should I step there? So for me the only possibilities to step there, to have some let's say emancipatory, let's say politics, referring on emancipatory politics was for me the only possibility was this anti-fascistic struggle during the Second World War, especially because at that time we still were in the wars and very complicated political situation. So this series of slides under title remembering is dedicated actually to the rediscovering of the emancipating politics of socialism as well. So today's simplification of the history of socialism and the reduction of the entire corpse of socialist modernism to totalitarianism, English is quite complicated for me, sorry, erases and pushes into oblivion and emancipatory politics of socialism by reducing socialism to totalitarianism, annuals the politics of anti-colonialism and anti-fascism, gender equality, industrial democracy and introduces instead politics which negate the outcome of the Second World War, anti-fascistic movement. In other words, in the former socialist countries, ultra-racist gender politics are restored reducing women and all her politics surrounding her into one not so well positioned. So what is especially worrying actually is that the women themselves have taken part in this promoting politics which excluded them. So by the works Erlov Remembers and Belgrade Remembers, I reminded to the emancipating potential of people liberation struggle by confronting it with today's politics of restoration which redefined the outcome of the Second World War in Europe. So dressed like a member of the partisan movement here, I walked between these two armies and walking between, because it was a performance, so between the two armies, it was for me an act of establishing continuity with the people's liberation struggle and anti-fascist liberation movement in the territory of Yugoslavia during the Second World War. But actualization through this is also the actualization of these politics and how does it function today in these circumstances. So it is also about the role of the women during the Second World War in former Yugoslavia where they equally took part at least because there were a million of people who lost their life but half of them were women at that time and they just took part in this struggle. So here I'm also dressed actually not as a real partisan woman because I'm somebody but as an actress in the post-war movies that served as teaching tool about the history of a liberation struggle for my generation showing actually our meditated relation to the Second World War. This one is also referring to the Second World War. So because in August, in 1941, the Nazis hanged five members of the People Liberation Movement in the central of Belgrade and five people were hanged in retribution for sabotage on the German Army personnel. So their reenactment of this event was an act of establishing continuity with the People Liberation Movement, a movement that made radical act of rebellion when rebellion itself was not possible. So actually, I tried, this was the gaze, I tried to reconstruct the last, so the gaze of a dying patriot, member of the Liberation Movement, seen through the time loop, eye to eye what we see today when this performance took place. So I was hanged there and then this was the photo that we made from the eyes because this was the same place where this woman during the Second World War was hanged. And there is no monument, for example, for those people who were hanged in this moment. And this was very important for me because this was also referring on the local situation, in one hand, very local situation concerning Belgrade and Yugoslavia, but at the same time as it was in, it was referring on the very global tendencies of the neo-fascism coming all over contemporary, let's say. This was one, on the secession, one billboard called Milica Tomica Roselhausen driving in the Porsche and thinking about overpopulation. Okay, so this is a work called Portrait of My Mother and I made this work in 1999, actually during, in the time, I started to do it in the time of the Nato bombing of Belgrade and then I just wanted to, I didn't plan to do it in this moment but somehow it came so, and we, so this is a slide and video installation and it was an attempt to reconstruct, to analyze a very intimate conversation between my mother and me. So by subjectively filming with a subjective camera the way from the place to my mother's, from my place to my mother's home in just, in 64 minutes, but in just one sequence and separating the unit of the tone and sound. She will speak about three important men of her life, these are three sequences. This is the third man, so third relation. So this intimate conversation between me and my mother speaks of the breakdown, the defeat of the modernist politics and it's text reveals the neurologic points of the newborn rightist female discourse because my mother, she was an actress living a very modern life and then somehow she turned into very religious. And so, or I could say also rightist religious feminism, which is them. So I think I have a very little time but I don't want to answer there so I will just use, to show one work more. Okay, I will be very fast. So these are two projections of two sides of the Serbian public and female and male representation. One side is a female turbo folk star, which is a certain genre of music and the other side are three anonymous men playing cards and the stakes are high. So the men's playing card, they reflect the way in which the dominant power is reproduced on a micro-social level. All political, business and social decisions are made in exactly the same way as during the game of cards between one guy's lawyer, other is a smuggled cigarette dealer and the other is a landlord. So this male community is never represented in the public and media space and on the other side, this female turbo folk star, she's never present in their community as a real person. She does not have the right to participate in the social, political and political life. She exists only in the media and in the public space. These two words never get in contact. Her song is entitled Alone and the media constructed female body is the man's construction in which it is just a surface, a screen of their defense against reality outside their community. I was too much.