How can we think about theory being a\u00a0territory 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\u00a0tool of colonization through information.<\/p>\n
This means that there is a\u00a0huge 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\u00a0processes, 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\u00a0whole 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\u2014always\u2014never (ever)\u2014being 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.<\/p>\n
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. \u00a0The temporization of time precisely articulates a\u00a0lifetime as a\u00a0process deeply rooted in prosthetics. \u00a0(M. Grzinic)<\/p>\n
ARTICLES<\/strong><\/span><\/p>\n Marina Gr\u017eini\u0107: Media and Body Politics (1998)\u00a0<\/a>[ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: Spectralization of History, Spectralization of the Image, Spectralization of Europe (2000) <\/a>[ENG<\/strong>]<\/p>\n Tanja Ostojic and Marina Gr\u017eini\u0107: Politics of Queer Curatorial Positions: After Rosa von Praunheim, Fassbinder and Bridge Markland (2003) http:\/\/www.brooklynmuseum.org\/eascfa\/feminist_art_base\/gallery\/tanja_ostojic.php?i=1367 <\/a>[ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: The Temporization of Theory and Time (2004) Published in ATLAS OF TRANSFORMATION <\/a>[ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107 on Martin Krenn (2004) <\/a>[ENG<\/strong>]<\/p>\n Counter-globalization Manuals interview with Oliver Ressler (2004)<\/a>\u00a0 [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: pichet klunchun and myself (2005)<\/a>[ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: NeMe: Abstraction, evacuation of resistance and sensualisation of emptiness (2005)<\/a> [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: Female Consequences: Sex and Rock\u2019n\u2019Roll Published in Discourses of Popular Music, Gender and Ethnicity edited by Maria Jos\u00e9 Belbel \/ Rosa Reitsamer. Art Centre Arteleku, Spain\/Austria (2009)<\/a> [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: Analysis of the exhibition \u201cGender Check \u2013 Femininity and Masculinity in the Art of Eastern Europe\u201d Museum of Modern Art, (MUMOK), Vienna, November 2009\/February 2010<\/a>\u00a0[ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107: Europe: Gender, Class, Race (2012) <\/a> [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107, \u010cakajo\u010d na 4. vseslovensko vstajo (2013) <\/a>[SLO<\/strong>]<\/p>\n Marina Gr\u017eini\u0107, A Refugee Protest Camp in Vienna And the European Union\u2019s Processes of Racialization, Seclusion, and Discrimination (2013)<\/a> [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107, The Emergence of the Political Subject (2013)<\/a> [ENG<\/strong>]<\/p>\n Marina Gr\u017eini\u0107, Dissident feminisms, anti-racist politics and artistic interventionist practices (2014)<\/a> [ENG<\/strong>]<\/p>\n JOURNALS<\/strong><\/span><\/p>\n Reartikulacija [#1]<\/a>, [#2]<\/a>, [#3]<\/a>, [#4]<\/a>, [#5]<\/a>, [#6]<\/a>, [#7]<\/a>, [#8]<\/a>, [#9]<\/a>, [#10-13]<\/a>\u00a0 [SLO<\/strong>] [ENG<\/strong>] BOOKS<\/strong><\/span><\/p>\n Fiction Reconstructed: Eastern Europe, Post-Socialism & the Retro-Avant-Garde.<\/a> Vienna: Selene, 2000. [ENG<\/strong>]<\/p>\n Marino Cettina Gallery, 2001 and 2007, 2 catalogues\/books, edited by Marina Gr\u017eini\u0107 Estetika kibersvijeta i u\u010dinci derealizacije<\/a>, (Basic). Zagreb: Multimedijalni institut; Sarajevo: Ko\u0161nica – centar za komunikaciju i kulturu, 2005. [CRO<\/strong>]<\/p>\n Une fiction reconstruite : Europe de l\u2019Est, post-socialisme et r\u00e9tro-avant-garde<\/a>, (Ouverture philosophique). Paris; Budapest; Torino: Harmattan, 2005. [FR<\/strong>]<\/p>\n East Art Map Mind the Map! \u2013 History is Not Given.<\/a> A critical anthology based on the Symposium, edited by Marina Gr\u017eini\u0107, G\u00fcnther Heeg<\/strong> and Veronika Darian, R<\/strong>evolver, Frankfurt am Main, 2006 [ENG<\/strong>]<\/p>\n TRENUTKI ODLO\u010cITVE. PERFORMATIVNO POLITI\u010cNO IN TEHNOLO\u0160KO.<\/a> NEW-MEDIA TECHNOLOGY, SCIENCE, AND POLITICS. The Video Art of Marina Gr\u017eini\u0107 and Aina \u0160mid. <\/a>Edited by Marina Gr\u017eini\u0107 and Tanja Velagi\u0107<\/strong>. Translated by Rawley Grau<\/strong>. L\u00f6cker, Vienna 2009. [ENG<\/strong>]<\/p>\n UTOPIA OF ALLIANCES, CONDITIONS OF IMPOSSIBILITIES AND THE VOCABULARY OF DECOLONIALITY<\/a>, Edited by the Editorial Group for Writing Insurgent Genealogies(Carolina Agredo, Sheri Avraham, Annalisa Cannito, Miltiadis Gerothanasis, Marina Gr\u017eini\u0107, Marissa L\u00f4bo and Ivana Marjanovi\u0107), L\u00f6cker, Vienna 2013.[ENG<\/strong>]<\/p>\n Necropolitics, Racialization, and Global Capitalism. Historicization of Biopolitics and Forensics of Politics, Art, and Life<\/a>, Marina Gr\u017eini\u0107 and \u0160efik Tatli\u0107, <\/strong>Lexington Books, 2014. [ENG<\/strong>]<\/p>\n Politika, estetika in demokracija<\/a>, Nina Cvar, Katja C\u030cic\u030cigoj, Marina Gr\u017eini\u0107 (ed.), Adla Isanovic\u0301, Sebastjan Leban Jovita Pristovs\u030cek S\u030cefik Tatlic\u0301, Jasmina Zaloz\u030cnik, Zaloz\u030cba ZRC, ZRC SAZU Ljubljana, 2015. [SLO<\/strong>]<\/p>\n INTERVIEWS<\/strong><\/span><\/p>\n Interview with Marina\u00a0Gr\u017eini\u0107 by Monique Langlois <\/strong>(1998) <\/a>[ENG<\/strong>]<\/p>\n “To ni rde\u010da, kri je!”, pogovor z Marino Gr\u017eini\u0107, Ana Vujanovi\u0107, Revija Borec 626\u2013629 (2005) <\/a>[SLO<\/strong>]<\/p>\n Images of Struggle\/Decoloniality + Naked Freedom. Video-interview with Marina Gr\u017eini\u0107 by kronotop.org<\/strong> (2011)<\/a> [ENG<\/strong>]<\/p>\n From Biopolitics to Necropolitics: Marina Gr\u017eini\u0107 in conversation with Maja and Reuben Fowkes<\/strong> (2012)<\/a> [ENG<\/strong>]<\/p>\n Intervju z dr. Marino Gr\u017eini\u0107, pobudnico in soavtorico filma \u00bbRazmerja. 25 let lezbi\u010dne sekcije \u0160kuc LL\u00ab (2013), Tatjana Greif <\/strong>in Marina Gr\u017eini\u0107, Lesba 2013<\/a> [SLO<\/strong>]<\/p>\n Intervju: Dr. Marina Gr\u017eini\u0107 \/ Ne vrtimo se v krogu, vrtimo se nazaj (2013)<\/a>, Revija Narobe, st 24 [SLO<\/strong>]<\/p>\n Interview within the Conference Emancipation of resistance<\/a>, organized by NGO Kontrapunkt\/Cultural Centre Tochka, Skopje and partners (2013) [MAC<\/strong>]<\/p>\n East European Feminisms: Interview with Marina Gr\u017eini\u0107 by Sally R Munt (2020) <\/a>[ENG<\/strong>]<\/p>\n LEAFLETS<\/strong><\/span><\/p>\n MARINA GR\u017dINI\u0106 \/ AINA \u0160MID: 30 YEARS: 26 WORKS IN 5 PARTS<\/a> Bogota, Columbia, 2010<\/a> RADICAL CONTEMPORANEITY – Marina Gr\u017eini\u0107 and Aina \u0160mid: 35 years of work revisited (1982-2017), <\/a>curated by Aneta Stojni\u0107, <\/strong>Leaflet<\/a>, Poster,<\/a> 2017 [ENG<\/strong>]<\/p>\n
\nDe-artikulacija [part I]<\/a> [part II]<\/a>\u00a0 [SR<\/strong>] [ENG<\/strong>]
\nPavilion #14: Biopolitics, Necropolitics and De-coloniality<\/a> [ENG<\/strong>]
\nOnCurating #18: Social Curating and Its Public<\/a> (2013) [ENG<\/strong>]
\n\u201cIDENTITIES\u201d Journal Vol 10 \/ No. 1 \u2013 2<\/a> [ENG<\/strong>]<\/p>\n
\nhttp:\/\/www.cettinagallery.com\/publications.html <\/a>[ENG<\/strong>]<\/p>\n
\nUredili Marina Gr\u017eini\u0107, Tanja Velagi\u0107<\/strong>, ZAK, Ljubljana 2006. [SLO<\/strong>]<\/p>\n
\nSCREENING OF VIDEO WORKS FROM 1982 TO 2011
\nGALLERY D.O.R., BRUSSELS, BELGIUM
\nGallery D.O.R is performed by the artist group D.O.R. (Sverre Gullesen, Steinar Haga Kristensen & Kristian \u00d8. Dahl<\/strong>)<\/p>\n
\nWUK Vienna, Austria, 2011 (Video-Screening und Gespr\u00e4ch mit Ursula Biemann<\/strong> und Marina Gr\u017eini\u0107; Moderation: Walter Seidl<\/strong>)<\/a>
\nLaznia Centre for Contemporary Arts, \u00a0Gdansk, Poland, curated by Katarzyna Kosmala, 2012<\/a>\u00a0 [POL<\/strong>] [ENG<\/strong>]
\nCCA, Glasgow, UK, curated by Katarzyna Kosmala<\/strong>, 2012<\/a><\/p>\n