Tijana Stevanovic

Main.TijanaStevanovic History

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August 25, 2013, at 04:40 PM by 82.193.118.209 -
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August 18, 2013, at 07:06 PM by 109.245.96.80 -
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[[I am too sad to dissent]][[<<]]
July 30, 2013, at 10:16 PM by 62.158.82.42 -
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(english version below)

Flutgraben e.V. lädt ein:
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(english version below)[[<<]]


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Flutgraben e.V. invites:[[<<]]
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July 30, 2013, at 10:10 PM by 62.158.82.42 -
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%blue%Thursday, August 1st, 6 – 9pm[[<<]]
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%blue%Thursday, August 1st, 6 – 9pm[[<<]]
July 30, 2013, at 10:09 PM by 62.158.82.42 -
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July 30, 2013, at 10:09 PM by 62.158.82.42 -
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'''im Grenzwachturm Schlesischer Busch''' [[<<]]
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im Grenzwachturm Schlesischer Busch [[<<]]
Puschkinallee, gegenüber Flutgraben[[<<]]
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at border watchtower Schlesischer Busch[[<<]]
Puschkinallee, opposite Flutgraben[[<<]]
July 30, 2013, at 10:08 PM by 62.158.82.42 -
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Donnerstag, 1. August, 18 bis 21 Uhr [[<<]]
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%blue%Donnerstag, 1. August, 18 bis 21 Uhr [[<<]]
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Thursday, August 1st, 6 – 9pm[[<<]]
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%blue%Thursday, August 1st, 6 – 9pm[[<<]]
July 30, 2013, at 10:03 PM by 62.158.82.42 -
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July 30, 2013, at 10:02 PM by 62.158.82.42 -
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'''I'm too sad to dissent'''[[<<]]
Working title of the second working period 2013. [[<<]]

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July 30, 2013, at 10:01 PM by 62.158.82.42 -
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I'm too sad to dissent*[[<<]]
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im Grenzwachturm Schlesischer Busch [[<<]]
Puschkinallee, gegenüber Flutgraben[[<<]]
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'''im Grenzwachturm Schlesischer Busch''' [[<<]]
'''Puschkinallee, gegenüber Flutgraben'''[[<<]]
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at border watchtower Schlesischer Busch[[<<]]
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'''at border watchtower Schlesischer Busch'''[[<<]]
'''Puschkinallee, opposite Flutgraben'''[[<<]]
July 30, 2013, at 09:56 PM by 62.158.82.42 -
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More information coming soon
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(english version below)

Flutgraben e.V. lädt ein:[[<<]][[<<]]

I'm too sad to dissent*[[<<]]
Donnerstag, 1. August, 18 bis 21 Uhr [[<<]]
Arbeitspräsentation von Tijana Stevanovic[[<<]]
im Grenzwachturm Schlesischer Busch [[<<]]
Puschkinallee, gegenüber Flutgraben[[<<]]

In ihrem zweiten Arbeitsaufenthalt im Grenzwachturm Schlesischer Busch führt Tijana Stevanovic die Frage fort, wie sich eine Widerständigkeit in der Architektur denken liesse, die nicht zugleich in eine neue Autorschaft von Kritik mündet. Wieso ist etwa das, was als oppositionell in der Architektur bezeichnet wird, so schnell auf den Namen einzelner Autorinnen und Autoren zurückzuführen? Führt unser Wunsch, uns Logiken der Autorschaft und Exzellenz zu widersetzen, nicht gerade dorthin, wo die Artikulation scheitert, weg von souveränen Sprachgesten und Durchsetzungsmomenten? Was hiesse es, mit unserem Wunsch, uns diesen Normen zu entziehen, eben gerade machtlos zu bleiben?[[<<]][[<<]]
Vor zwei Jahren befasste sich Tijana am gleichen Ort bereits mit dem architektonischen Raum des Taschentuchs, jenem, das man von gestern Abend noch zerknüllt in der Tasche findet. Im Taschentuch öffnet sich in den eigenen Händen der intime Raum des Melodramas, dessen Protagonistin man selbst ist. Unfähig, sich von der eigenen Praxis zu distanzieren, die immer auch in Apparate der Meisterschaft und des souveränen Wissens verstrickt ist, entsteht selbst eine Grenzbewegung: ein Schwanken zwischen eigenem Raum, Tröstung und eigener Praxis und deren Übertretung und Auflösung.[[<<]][[<<]]

Tijana wird eine kleine Publikation vorstellen, die auf Englisch erscheint. [[<<]][[<<]]

Der Grenzwachturm Schlesischer Busch befindet sich auf der Puschkinallee, gegenüber dem Atelierhaus Flutgraben e.V. [[<<]][[<<]]

(*etwa: Zu traurig, um mich zu widersetzen)[[<<]][[<<]][[<<]]


––

Flutgraben e.V. invites:[[<<]][[<<]]

I'm too sad to dissent[[<<]]
work presentation by Tijana Stevanovic[[<<]]
Thursday, August 1st, 6 – 9pm[[<<]]
at border watchtower Schlesischer Busch[[<<]]
Puschkinallee, opposite Flutgraben[[<<]]

In her second working period at the border watchtower Schlesischer Busch Tijana pursues the question, how a form of resistance in architecture could be thought that does not immediately result in yet another form of authorship. Why for instance is it that what we perceive as critical in architecture can easily be assigned to a single author? Does our wish to resist the logic of mastery and craftsmanship not exactly lead us to what fails to be expressed––away from sovereign acts of speech? Would a withdrawal from these norms of sovereignty not eventually mean to remain powerless?[[<<]][[<<]]
Two years ago at the same location Tijana looked at the architectural space of the tissue, the ones we find in our pockets from previous nights. With the tissue the intimate space of the melodrama unfolds in our own hands. A melodrama whose protagonist we are ourselves. Unable to fully distance ourselves from our own practices, which remain to some degree entangled in these apparatuses of mastery and sovereign knowledge, we carry out a border movement ourselves: hovering between our own space, comfort and practice and their transgression. [[<<]][[<<]]

Tijana presents a small publication which will be issued in english. [[<<]][[<<]]

The borderwatchtower Schlesischer Busch is located on Puschkinallee, opposite the artists studio complex Flutgraben e.V. [[<<]][[<<]]

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July 25, 2013, at 06:26 PM by 217.231.225.48 -
July 25, 2013, at 06:26 PM by 217.231.225.48 -
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July 25, 2013, at 06:24 PM by 217.231.225.48 -
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July 25, 2013, at 06:22 PM by 217.231.225.48 -
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July 25, 2013, at 06:18 PM by 217.231.225.48 -
July 25, 2013, at 06:16 PM by 217.231.225.48 -
July 25, 2013, at 06:14 PM by 217.231.225.48 -
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July 25, 2013, at 06:13 PM by 217.231.225.48 -
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July 25, 2013, at 06:12 PM by 217.231.225.48 -
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July 25, 2013, at 06:10 PM by 217.231.225.48 -
July 23, 2013, at 12:37 AM by 91.61.83.186 -
July 23, 2013, at 12:36 AM by 91.61.83.186 -
July 20, 2013, at 03:49 PM by 87.189.106.152 -
July 18, 2013, at 12:25 PM by 87.169.235.180 -
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July 18, 2013, at 12:24 PM by 87.169.235.180 -
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July 08, 2013, at 10:25 PM by 80.35.239.36 -
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July 08, 2013, at 10:24 PM by 80.35.239.36 -
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July 08, 2013, at 10:22 PM by 80.35.239.36 -
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previous work:
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previous:[[<<]]
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16.9.2011 / 19h
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July 08, 2013, at 10:22 PM by 80.35.239.36 -
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previous work:
'''because
I know the recurring scenario so damn well'''[[<<]]
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July 08, 2013, at 10:21 PM by 80.35.239.36 -
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Working title for the second working period 2013. [[<<]]
More information coming soon!
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Working title of the second working period 2013. [[<<]]
More information coming soon
July 08, 2013, at 10:21 PM by 80.35.239.36 -
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'''I'm too sad to dissent'''[[<<]]
July 08, 2013, at 10:20 PM by 80.35.239.36 -
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Working title for the second working period 2013. [[<<]]
More information coming soon!
[[<<]][[<<]]
July 08, 2013, at 10:19 PM by 80.35.239.36 -
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''I'm too sad to dissent''
Working title for the second working period 2013. More information coming soon!


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Please do register by email (tijana.stevanovic@gmail.com) if you would like to join the talk, as maximum twelve people may enter the watchtower at once. Have a drink with us afterwards.
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[[index|watchtower index]]
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[[index|melodramatic architecture index]]
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Flutgraben e.V. is happy to invite you to join us this Friday, 16th September at 7 pm in the watchtower Schlesischer Busch (Puschkinallee), to an incomplete talk, some kind of unfinished business. Tijana Stevanovic is a Belgrade-based architect, who has been invited to make use of the watchtower Schlesischer Busch as a working and thinking space during the last two weeks. Addressing the tissue – the ones in your pocket from previous dinners – Tijana has been concerned with a crisis of architecture that keeps on appearing as a crisis of articulation. Simultaneously covering and displaying, with the tissue the intimate space of the melodrama unfolds in one's own hands, locating oneself at the heart of the crisis, which is always bigger than to find a compromise…

Please do register by email (tijana.stevanovic@gmail.com) if you would like to join the talk, as maximum twelve people may enter the watchtower at once. Have a drink with us afterwards.
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I am holding a piece of white paper in my hand. It folds gently. I softly press it on my cheek, then squeeze it and throw it away. It's a piece of possible architecture, marking the threshold of an inside bordering an outside, it is used to wrap and to keep what is fragile. It is handed when weeping as a solacing gesture.
The desire that occurs through the tissue is perhaps both sentimental and purposeful. Maybe it is the tissue that actually comes to console me with my desire as an architect. As if the tissue kept a choir of weeping revolutionaries, who have chosen the melodrama as an appropriate form of architectural critique.
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Maybe it is the tissue that actually comes to console me with my desire as an architect. As if the tissue kept a choir of weeping revolutionaries, who have chosen the melodrama as an appropriate form of architectural critique.
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The desire that occurs through the tissue is perhaps both sentimental and purposeful. Maybe it is the tissue that actually comes to console me with my desire as an architect. As if the tissue kept a choir of weeping revolutionaries, who have chosen the melodrama as an appropriate form of architectural critique. 
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UNDER PLAIN COVER[[<<]]
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''because I know the recurring scenario so damn well''[[<<]]
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I am holding a piece of white paper in my hand. I would rather use it as a notebook, but there is no one around I should urgently communicate with through the scribbles. I softly press it on my cheek, then squeeze it and throw it away. I need some more. In the pocket of my coat I find the used ones from the night of a dinner at Inga's and Soenke's. Perhaps the gentle reminders that there will be more of these unbearable crisis unfolding that would evade intimate, still social space heavily. I need to stop it in order to go on with my life, with my tasks; with my ideas. No need to verbalize it, I am alone. The incomplete talk, the unfinished business, the impossibility to induce myself into anything else except 'this' and 'now'.... I won't be able to follow on before the whiteness brings the temporary resolution, a purpose, a halt, full-stop with this melodrama; before it absorbs all the dissolved borders...but between whom? Cut! Because it has already been too long and because I know the recurring scenario so damn well. Perhaps, a promise of surrender will come in another form...
 
to:


I am holding a piece of white paper in my hand. It folds gently. I softly press it on my cheek, then squeeze it and throw it away. It's a piece of possible architecture, marking the threshold of an inside bordering an outside, it is used to wrap and to keep what is fragile. It is handed when weeping as a solacing gesture.
Maybe it is the tissue that actually comes to console me with my desire as an architect. As if the tissue kept a choir of weeping revolutionaries
, who have chosen the melodrama as an appropriate form of architectural critique.
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[[<<]][[<<]][[<<]][[<<]][[<<]][[<<]]
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[[index|watchtower index]]
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At the beginning, my intention was not to write in first person. I thought this 'I' was too uncertain to declare what it stood for here, and therefore it could be violent to stress it.  But, perhaps, then this existing desire to open up the space for any different 'I' would be hindered.
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Let me start from this hesitation to define the border between institutional and personal part in my residency. Perhaps the cry to be absorbed, and in the same time keeping in mind to stay true to myself touches the impossibility of redemptive architecture.
to:
I am holding a piece of white paper in my hand. I would rather use it as a notebook, but there is no one around I should urgently communicate with through the scribbles. I softly press it on my cheek, then squeeze it and throw it away. I need some more. In the pocket of my coat I find the used ones from the night of a dinner at Inga's and Soenke's. Perhaps the gentle reminders that there will be more of these unbearable crisis unfolding that would evade intimate, still social space heavily. I need to stop it in order to go on with my life, with my tasks; with my ideas. No need to verbalize it, I am alone. The incomplete talk, the unfinished business, the impossibility to induce myself into anything else except 'this' and 'now'.... I won't be able to follow on before the whiteness brings the temporary resolution, a purpose, a halt, full-stop with this melodrama; before it absorbs all the dissolved borders...but between whom? Cut! Because it has already been too long and because I know the recurring scenario so damn well. Perhaps, a promise of surrender will come in another form...
 
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Let me start from this hesitation to define the border between institutional and personal part in my residency. Perhaps the desire to be absorbed, and in the same time keeping in mind to stay true to myself touches the impossibility of redemptive architecture.
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Let me start from this hesitation to define the border between institutional and personal part in my residency. Perhaps the cry to be absorbed, and in the same time keeping in mind to stay true to myself touches the impossibility of redemptive architecture.
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[[<<]][[<<]][[<<]][[<<]]
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At the beginning, my intention was not to write in first person. I thought this 'I' was too uncertain to declare what it stood for here, and therefore it could be violent to stress it.  But, perhaps, then this existing desire to open up the space for any different 'I' would be hindered.
[[<<]][[<<]]
Let me start from this hesitation to define the border between institutional and personal part in my residency. Perhaps the desire to be absorbed, and in the same time keeping in mind to stay true to myself touches the impossibility of redemptive architecture.
[[<<]][[<<]]

[[<<]][[<<]]
[[<<]][[<<]][[<<]][[<<]]
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Under Plain Cover

This whiteness contains the refusal of the borders by its very promise of the order to come. The desire for absorption that occurs through the white living tissue is perhaps both sentimental and purposeful. While nourishing this state of the structural dissolution, the intention is not to leave the architectural arrangement  of the private and public untouched. The cry that hopes to communicate the interior of the institutional and personal convergence unfolds a particular surrender. Yet, the temporal dimension of this surrender introduces the difficulty to situate the surrenderer and the surrendered. How to think through the architectural means the uncomfortable fluidity revealed by the white tissue simultaneously covering and displaying the crisis of the social?
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16.9.2011
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16.9.2011 / 19h
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Under Plain Cover

This whiteness contains the refusal of the borders by its very promise of the order to come. The desire for absorption that occurs through the white living tissue is perhaps both sentimental and purposeful. While nourishing this state of the structural dissolution, the intention is not to leave the architectural arrangement  of the private and public untouched. The cry that hopes to communicate the interior of the institutional and personal convergence unfolds a particular surrender. Yet, the temporal dimension of this surrender introduces the difficulty to situate the surrenderer and the surrendered. How to think through the architectural means the uncomfortable fluidity revealed by the white tissue simultaneously covering and displaying the crisis of the social?
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UNDER PLAIN COVER
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UNDER PLAIN COVER[[<<]]
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16.9.2011
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Tijana Stevanovic
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library test

tijana hey Inga, I knocked on the door, from the library side. Maybe you did not hear me. now in the library.I could come, if you are up for painting or wiki? t
12.09.11 21:48
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UNDER PLAIN COVER
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[[index]]




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tijana hi Inga,this is embarrassing,but couldnt find the space again.in the library now. ill try later again.im also without credit on my phone,thus skype. tijana06.09.11 20:22
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library test
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tijana hi Inga,this is embarrassing,but couldnt find the space again.in the library now. ill try later again.im also without credit on my phone,thus skype. tijana06.09.11 20:22

tijana hey Inga, I knocked on the door, from the library side. Maybe you did not hear me. now in the library.I could come, if you are up for painting or wiki? t
12.09.11 21:48
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Tijana Stevanovic
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Tijana Stevanovic

||(([[Flutgraben Projekte | Flutgraben Projekte ]][[<<]][[http://www.think-tank.nl/flutoren/index.html | Homepage Flutgraben e.V.]][[<<]][[<<]][[{$FullName}?action=edit|Edit this page]][[<<]][[<<]]))||(())||(())||
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Tijana Stevanovic

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