How can we think about theory being a territory as well? Today theory is first and foremost perfectly integrated within the new informational mode that governs capitalist societies. Theory is not connected with knowledge in the old, humanist sense of the word, but with information. And the efficiency of information is again connected to time; the speed of the distribution of information is what ultimately produces its surplus value. Theory is first and foremost a tool of colonization through information.

This means that there is a huge battle going on within the field of theory. This battle consists of setting clear limits as to who, when, and what will be interpreted. It is of crucial importance who will give the first interpretation of a processes, which processes will be taken as pioneering ones, and in what way the process of understanding will be applied. To be even clearer: there is a whole new colonization going on in the world, mostly through processes of language translation and understandability. Many interpretations that do not come from the West European and North American context have no access to primal theoretical readings; most of the writings are brought into question with constant remarks that the text is not clear enough. Furthermore, never ending clarifications are requested from the writers of these interpretations who come from other Worlds than the First, capitalist one, being subjected to strange police methods and their time consumed and manipulated without limits, with constant requests for the readjustment of the thesis displayed in their texts. In most cases, manuscripts, essays, texts, papers, etc., are not published at all in the end; already—always—never (ever)—being clear or convincing enough! If they are indeed published, then one can see editorial censorship in the way that the dates when the theses were originally established are changed, or modifications added to the facts in the texts.

Furthermore, it is important to grasp that without technical devices today we cannot recapture the experience of time: the dimension of remembering and the dimension of anticipating time. Without memory support techniques, from photography to CD-ROMs, or the Internet and DVD archives, the experience of the past would also not be possible.  The temporization of time precisely articulates a lifetime as a process deeply rooted in prosthetics.  (M. Grzinic)


Marina Gržinić: Media and Body Politics (1998) [ENG]

Marina Gržinić: Spectralization of History, Spectralization of the Image, Spectralization of Europe (2000) [ENG]

Tanja Ostojic and Marina Gržinić: Politics of Queer Curatorial Positions: After Rosa von Praunheim, Fassbinder and Bridge Markland (2003) [ENG]

Marina Gržinić: The Temporization of Theory and Time (2004) Published in ATLAS OF TRANSFORMATION [ENG]

Marina Gržinić on Martin Krenn (2004) [ENG]

Counter-globalization Manuals interview with Oliver Ressler (2004)  [ENG]

Marina Gržinić: pichet klunchun and myself (2005)[ENG]

Marina Gržinić: NeMe: Abstraction, evacuation of resistance and sensualisation of emptiness (2005) [ENG]

Marina Gržinić: Female Consequences: Sex and Rock’n’Roll Published in Discourses of Popular Music, Gender and Ethnicity edited by Maria José Belbel / Rosa Reitsamer. Art Centre Arteleku, Spain/Austria (2009) [ENG]

Marina Gržinić: Analysis of the exhibition “Gender Check – Femininity and Masculinity in the Art of Eastern Europe” Museum of Modern Art, (MUMOK), Vienna, November 2009/February 2010 [ENG]

Marina Gržinić: Europe: Gender, Class, Race (2012) [ENG]

Marina Gržinić, Čakajoč na 4. vseslovensko vstajo (2013) [SLO]

Marina Gržinić, A Refugee Protest Camp in Vienna And the European Union’s Processes of Racialization, Seclusion, and Discrimination (2013) [ENG]

Marina Gržinić, The Emergence of the Political Subject (2013) [ENG]

Marina Gržinić, Dissident feminisms, anti-racist politics and artistic interventionist practices (2014) [ENG]


Reartikulacija [#1], [#2], [#3], [#4], [#5], [#6], [#7], [#8], [#9], [#10-13]  [SLO] [ENG]
De-artikulacija [part I] [part II]  [SR] [ENG]
Pavilion #14: Biopolitics, Necropolitics and De-coloniality [ENG]
OnCurating #18: Social Curating and Its Public (2013) [ENG]
“IDENTITIES” Journal Vol 10 / No. 1 – 2 [ENG]


Fiction Reconstructed: Eastern Europe, Post-Socialism & the Retro-Avant-Garde. Vienna: Selene, 2000. [ENG]

Marino Cettina Gallery, 2001 and 2007, 2 catalogues/books, edited by Marina Gržinić [ENG]

Estetika kibersvijeta i učinci derealizacije, (Basic). Zagreb: Multimedijalni institut; Sarajevo: Košnica – centar za komunikaciju i kulturu, 2005. [CRO]

Une fiction reconstruite : Europe de l’Est, post-socialisme et rétro-avant-garde, (Ouverture philosophique). Paris; Budapest; Torino: Harmattan, 2005. [FR]

East Art Map Mind the Map! – History is Not Given. A critical anthology based on the Symposium, edited by Marina Gržinić, Günther Heeg and Veronika Darian, Revolver, Frankfurt am Main, 2006 [ENG]

Uredili Marina Gržinić, Tanja Velagić, ZAK, Ljubljana 2006. [SLO]

NEW-MEDIA TECHNOLOGY, SCIENCE, AND POLITICS. The Video Art of Marina Gržinić and Aina Šmid. Edited by Marina Gržinić and Tanja Velagić. Translated by Rawley Grau. Löcker, Vienna 2009. [ENG]

UTOPIA OF ALLIANCES, CONDITIONS OF IMPOSSIBILITIES AND THE VOCABULARY OF DECOLONIALITY, Edited by the Editorial Group for Writing Insurgent Genealogies(Carolina Agredo, Sheri Avraham, Annalisa Cannito, Miltiadis Gerothanasis, Marina Gržinić, Marissa Lôbo and Ivana Marjanović), Löcker, Vienna 2013.[ENG]

Necropolitics, Racialization, and Global Capitalism. Historicization of Biopolitics and Forensics of Politics, Art, and Life, Marina Gržinić and Šefik Tatlić, Lexington Books, 2014. [ENG]

Politika, estetika in demokracija, Nina Cvar, Katja Čičigoj, Marina Gržinić (ed.), Adla Isanović, Sebastjan Leban Jovita Pristovšek Šefik Tatlić, Jasmina Založnik, Založba ZRC, ZRC SAZU Ljubljana, 2015. [SLO]


Interview with Marina Gržinić by Monique Langlois (1998) [ENG]

“To ni rdeča, kri je!”, pogovor z Marino Gržinić, Ana Vujanović, Revija Borec 626–629 (2005) [SLO]

Images of Struggle/Decoloniality + Naked Freedom. Video-interview with Marina Gržinić by (2011) [ENG]

From Biopolitics to Necropolitics: Marina Gržinić in conversation with Maja and Reuben Fowkes (2012) [ENG]

Intervju z dr. Marino Gržinić, pobudnico in soavtorico filma »Razmerja. 25 let lezbične sekcije Škuc LL« (2013), Tatjana Greif in Marina Gržinić, Lesba 2013 [SLO]

Intervju: Dr. Marina Gržinić / Ne vrtimo se v krogu, vrtimo se nazaj (2013), Revija Narobe, st 24 [SLO]

Interview within the Conference Emancipation of resistance, organized by NGO Kontrapunkt/Cultural Centre Tochka, Skopje and partners (2013) [MAC]

East European Feminisms: Interview with Marina Gržinić by Sally R Munt (2020) [ENG]


Gallery D.O.R is performed by the artist group D.O.R. (Sverre Gullesen, Steinar Haga Kristensen & Kristian Ø. Dahl)

Bogota, Columbia, 2010
WUK Vienna, Austria, 2011 (Video-Screening und Gespräch mit Ursula Biemann und Marina Gržinić; Moderation: Walter Seidl)
Laznia Centre for Contemporary Arts,  Gdansk, Poland, curated by Katarzyna Kosmala, 2012  [POL] [ENG]
CCA, Glasgow, UK, curated by Katarzyna Kosmala, 2012

RADICAL CONTEMPORANEITY – Marina Gržinić and Aina Šmid: 35 years of work revisited (1982-2017), curated by Aneta Stojnić, Leaflet, Poster, 2017 [ENG]

Trouble Diaries: A Political Statement, curated by  Dermis P. León (Curatorial Bureau), leaflet/catalogue, 2017 [Chinese] [ENG]

By Marina Gržinić, n.paradoxa, UK, 1998 [ENG]
By Katarzyna Kosmala, Variant, UK, 2011 [ENG]
By Ivan Jurica, Open space/Open system, Vienna, Austria, 2010 [ENG]
By Nina Cvar, Radio Študent, Ljubljana, Slovenia, 2013, [SLO]

By Katarzyna Kosmala, Me and You Without Border, at ACSIS) in Norrköping 15-17 June 2011. Conference Proceedings published by Linköping University Electronic Press, Sweden, 2011 [ENG]

By Katarzyna Kosmala, Performing practice: Gržinić and Šmid’s narration of (non)belonging to Europe, UK, July 2012 [ENG]

By Katarzyna Kosmala, Artistic Tactics of the Everyday: Ideology Reframings in Gržinić and Šmid’s Practice, published in Media, Margins and Popular Culture, Edited by Heather Savigny, Jenny Alexander, Daniel Jackson and Einar Thorsen, Palgrave Macmillan, UK, 2015 (excerpt) [ENG]

By Tjaša Kancler, East: bodies, borders and zonification, Barcelona, May 2016  [ENG] [SPA]

By Mika Maruyama, Marina Gržinić and Aina Šmid: Radical Contemporaneity, 2017 [ENG]
Kunstraum Lakeside, Klagenfurt, 12. 5. – 14. 7. 2017, Camera Austria International 139 | 2017

Bilokacija (Bilocation) (1990)

Post-socialism + Retroavant garde + Irwin, video, 1997

Deklica z oranžo (The Girl With Orange) (1987)

Moscow Portraits (1990)

Cindy Sherman or Hysteria Production Presents a Reconstruction of Sherman’s Photographs (1984)

Trenutki odločitve (Moments of Decision) (1985)

Labirint (Labyrinth) (1993)