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<channel>
	<title>ETC magazine</title>
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	<description>ETC magazine</description>
	<pubDate>Mon, 18 May 2026 16:50:03 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://etcmagazine.art/Home</link>

		<pubDate>Fri, 08 Oct 2021 09:54:42 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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Issue 5


	
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Issue 4



	
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Issue 3


	NEWS

	See the exhibition&#38;nbsp;around every circle another can be drawn in RAVNIKAR in Ljubljana until 22 August
	&#60;img width="2048" height="1072" width_o="2048" height_o="1072" data-src="https://freight.cargo.site/t/original/i/2238e6ceafd7c7f9dca107bf0950dd7789ca7ae6b2efabc202f25d63abf33b97/702383783_1580818544046530_544318769725450956_n.jpg" data-mid="248455481" border="0"  src="https://freight.cargo.site/w/1000/i/2238e6ceafd7c7f9dca107bf0950dd7789ca7ae6b2efabc202f25d63abf33b97/702383783_1580818544046530_544318769725450956_n.jpg" /&#62;

	
	
	
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		<pubDate>Thu, 24 Mar 2022 11:24:46 +0000</pubDate>

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HomeAboutArtists
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		<title>About</title>
				
		<link>https://etcmagazine.art/About</link>

		<pubDate>Thu, 10 Mar 2022 14:58:19 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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	ETC. Magazine is a showcase magazine dedicated to presenting emerging art from the Baltics to the Balkans.
	



	
	The international magazine ETC. is designed to bring together artists, curators, writers and publishers who work in the field of contemporary art. As the magazine is focused on a different social / environmental / political issue in each publication, it is designed to be a platform for diverse voices and opinions from all over Europe, contributing to a wider understanding of a certain issue and the recontextualisation of a border-defined narrative. Today more than ever, there is a need to start a dialogue and begin open conversations. By building a network of young critical minds from completely different backgrounds, the magazine aims to do just that.


	Our team consists of Slovenian curators and gallerists from different creative fields: Galerija Fotografija gallery, Ravnikar Gallery Space, DobraVaga and Look Back and Laugh publishing house. The magazine, published once a year, presents young emerging artists from Slovenia and abroad through a different relevant topic chosen each time. The aim of the magazine is to create a medium for showcasing current international and local artistic production and contributing to a better connection between Slovenian contemporary art and the wider international art scene, with the goal of establishing a common space in the field of emerging arts in Europe.&#38;nbsp;

	

	
	The magazine contains sections such as an Interview with an invited artist, curator or theorist who can present their perspective on the chosen topic, a Studio Visit that focuses on a selected artist whose practice is strongly informed by the theme of each magazine, an Opinion section that invites people from different fields to reflect on the chosen theme of the magazine, thus expanding the plurality of opinions; and Artist books, a section dedicated to presenting current production in the field of art publishing. The most comprehensive section, Portfolio Showcase, is presenting selected artworks and projects in detail and is based on the portfolio format, consisting of a visual presentation and short descriptions of individual projects.
	


THE TEAM


	
Editor

Hana Čeferineditor@etcmagazine.artCuratorial teamAjda Ana KocutarLara Mejačcurators@etcmagazine.art


Guest curators:&#38;nbsp;Lara Reichmann (ETC. #2)

Tīna Pētersone&#38;nbsp;(ETC. #3)Katarzyna Różniak-Szabelska (ETC. #4)
Vasil Vladimirov (ETC. #5)
Graphic designZoran Pungerčar

	
FoundersBarbara Čeferin
Hana Čeferin
Ajda Ana Kocutar
Lara Mejač
Zoran Pungerčar
Piera Ravnikar
Anja Zver


	ETC., zavod za 
kulturno dejavnostBičevje 1, 1000 Ljubljana, SloveniaDDV/VAT: 97577588TRR: SI56 6100 0002 6349 815





	POINTS OF SALE

Galerija Fotografija, LjubljanaDobraVaga, LjubljanaMSUM+, Ljubljana
Modern Art Museum, Ljubljana
Azil Bookstore, Ljubljana
City Art Gallery, Ljubljana 
Cukrarna, Ljubljana
Jakopič Gallery, Ljubljana
Beletrina, Ljubljana
Pri kamniti mizi, Ljubljana

International Centre of Graphic Arts - MGLC, LjubljanaUGM, MariborMAO, Ljubljana
MAKS, Nova Gorica
Ludwig Múzeum, Budapest
ISBN+, Budapest
Artwords Bookshop Limited, London
Athenaeum Boekhandel, Amsterdam
Basheer Graphic Books, Singapore
Frab's Magazines &#38;amp; More, Milan
Rare Mags, Stockport
Skylight Books, Los Angeles
Unitom - Universal Tomorrow Ltd, Manchester

MZIN, Leipzig
Disko Coffee, Ontario
Materia Prima, Porto
Shreeji, London
Zuzeum, Riga
Unique Magazines, Newcastle

	DISTRIBUTION

If you’d like to order ETC. magazine, please contact us at editor@etcmagazine.art or contact our distributor&#38;nbsp; kat@antennebooks.com.

SUPPORTED BY



	



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		<title>Issue 1</title>
				
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		<pubDate>Thu, 01 Feb 2024 19:26:05 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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	ETC.#1: 
Significantly Local

20€220 x 310 mm252 pagesSoft spineEnglish (booklet with Slovenian translations is included)
ABOUT&#38;nbsp;











In the first issue of the ETC. Magazine we are concerned with all things locally significant. We are interested in artistic practices that pay attention to the local environment as a point of departure of artistic expression. Practices that look into the local as opposed to the global while remaining open to the possibility that such an opposition might no longer be relevant or could even be impossible. How can we still remain locally specific and what else do we speak about when we speak about our immediate environment and its specifics? Is the local present in tradition and reviving or rethinking of forgotten practices, habits and customs? How can local environment define an individual, define one's identity and what may be the fate of this identity in a foreign land? How to talk about the local in the digital era? Even when it comes to isolated cells formed by the social media we can talk about specific localities and domestication of the internet. And why after all that must we be concerned whether or not we are eating locally produced food?




PRESENTED ARTISTS
Rufina Bazlova, Réka Bohus, Janja Kosi, Emil Kozole, Gašper Kunšič, Kvadratni Meter, Lene Lekše, Ramin Mazur, Teja Miholič, Michaela Nagyidaiova, Nik Erik Neubauer, Nonument Group, Mila Panić, Weronika Perlowska, Jozef Pilat, Lucija Rosc, Lana Stojićević, Tytus Szabelski, Y?CONTRIBUTIONS BY
Maja Bojanić, Ajda Bračič, Hana Čeferin, Aljaž Glaser, Sonja Jankov, Jasna Jernejšek, Ajda Ana Kocutar, Teja Kosi, Robert Kuret, Maximilian Lehner, Johanna Maierski, Lara Mejač, Danilo Milovanović, Domen Ograjenšek, Tommaso Parrillo, Iza Pevec, Nicolas Polli, Apolonija Šušteršič, Grega Ulen, Zala Velkavrh



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		<title>Issue 2</title>
				
		<link>https://etcmagazine.art/Issue-2-1</link>

		<pubDate>Thu, 01 Feb 2024 19:28:27 +0000</pubDate>

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	ETC.#2: Fever Dream

25€220 x 310 mm260 pagesSoft spineEnglish (booklet with Slovenian translations is included)

March 2023&#38;nbsp;


ABOUT
The second issue of ETC. magazine comes into being at a time of anxiety, disorientation, discomfort and disbelief. Under the title Fever Dream, it explores all the ways in which these feelings culminate in artistic projects, be it in visions of a dystopian future, uncanny depictions of the everyday or startling mergings of AI and humanity. Why do certain images make us uncomfortable? How can we begin to visualise the discomfort of our time? How to capture the absurdity and anxiety of media space and current events to make sense of what often feels like a feverish dream? Where do criticism and humour collide in the nonsense that surrounds us? How does aesthetics enter the discourse of horror and why does the eerie attract us? Does it make more sense to try to envision the atmosphere of the times without attempting to interpret or explain them? And if we try to explain them - where to begin? Artists are frequently employing stories and fictional narratives of dystopias/utopias to make sense of the zeitgeist. In the second issue of ETC., we are exploring whether these elements of the monstrous, weird, horrific or abject can be used to reflect the time we live in, whether we use them to respond to societal constraints and what the use of these elements tells us about the way we deal with our environment today.
PRESENTED ARTISTS
Dan Adlešič, Nikola Balberčáková &#38;amp; Markéta Slaná, Pavle Banović, Željko Beljan &#38;amp; Rebecca Merlic, Andrej Beštak &#38;amp; Anja Leko, Sara Bezovšek, Živa Božičnik Rebec, Živa Drvarič, Enej Gala, Marija Iva Gocić &#38;amp; Marko Obradović, Jakub Jansa, Simon Kocjančič, Dalea Kovačec, Andrej Lamut, Natasha Nedelkova, Øleg&#38;amp;Kaśka, Līga Spunde, StonyTellers, Maruša Uhan, Maria Vorobjova, The Witch Twins, Karolina Wojtas, Nana Wolke, Ava ZevopCONTRIBUTIONS BY
Maja Burja, Hana Čeferin, Janez Fakin Janša, Barbora Horská, Jure Kirbiš, Ajda Ana Kocutar, Kaja Kraner, Jen Kratochvil, KUĆĆA (Jurica Mlinarec, Klara Petrović, Luja Šimunović), Vesna Liponik, Lara Mejač, Iza Pevec,&#38;nbsp; Tjaša Pogačar, Domenico Quaranta, Lara Reichmann, Eva Simonič, Klaus Speidel, Ana Svetel, Dorian Šilec Petek, Kate Wagner

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		<title>Issue 3</title>
				
		<link>https://etcmagazine.art/Issue-3</link>

		<pubDate>Fri, 29 Mar 2024 09:51:23 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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	ETC.#3: Selling Out

25€220 x 310 mm252 pagesSoft spineEnglish (booklet with Slovenian translations is included)

March 2024&#38;nbsp;


ABOUT
The third issue of ETC. magazine dedicates its pages to the grind, the hustle, the hard workers and the hardly working. Under the title Selling Out, it deals with our current conditions of wage labour, precarious forms of employment, self-actualisation through work and the ever-present struggle to get that bread. Is living for work a neoliberal delusion or a triumph of capitalism? Can we truly reclaim our time and if so, where do we begin? How does our state of constant emergency manifest itself and who profits? Can art address these issues or does it perpetuate the cycle of exploitation? Is exhaustion the new normal and have we accepted self-medicating as a coping mechanism? Are we burning out or quiet quitting? Is unemployment a mode of rebellion and is there relief in boredom? Does creating a personal brand liberate or enslave – and is TikTok the new corpo? Is freelancing really “free” or should we rethink the word? Is there such a thing as having too many jobs? And why did Kim Kardashian say “It seems like nobody wants to work these days”? For this issue, we’re testing theories behind modes of working and not-working, asking whether being chronically overworked and underpaid is a point of no return or a call to action and whether selling out means beating the system or becoming its agent.

PRESENTED ARTISTS
Željka Aleksić, Arbajt Kolektiv, Bare Minimum Collective, Kemil Bekteši, Nataša Berk, Vuk Ćuk, Polina Davydenko, FaceOrFactory, Santa France, Kata Geibl, Lin Gerkman, Evgen Čopi Gorišek, Ieva Kraule-Kūna &#38;amp; Elīna Vītola, Nika Kupyrova, Pita Project, Selma Selman, Maja Simišić, Barbora Šimková, Dorijan Šiško, Andrej Škufca, Tadej Vaukman, Linda Vilka, Katarzyna Wyszkowska, Rafał ŻarskiCONTRIBUTIONS BY
Hana Čeferin, Asija Ismailovski, Maja Kač, Ajda Ana Kocutar, Miloš Kosec, Teja Miholič, Nika Mahnič, Lara Mejač, Petrică Mogoș, Laura Naum, Dino Pešut, Klara Petrović, Tīna Pētersone, Matej Sitar, Ondřej Trhoň, Kathryn Zazenski

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		<title>Issue 4</title>
				
		<link>https://etcmagazine.art/Issue-4</link>

		<pubDate>Mon, 21 Apr 2025 07:53:21 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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	ETC.#4: Comfort Zone

25€220 x 310 mm256 pagesSoft spineEnglish (booklet with Slovenian translations is included)

April 2025&#38;nbsp;


ABOUT
Under the title Comfort Zone, the fourth issue of ETC. magazine explores all the ways in which we understand comfort and safety as they translate into our ideas of family, love, friendship and community. We’re interested in the myriad ways kinship is formed in families both biological and chosen. From open relationships to throuples, how has the relationship unit changed and what kind of dilemmas does it open? Despite the effort toward body positivity, how difficult is it to feel comfortable in one’s own skin? When homes are lost and communities displaced, how can a zone of comfort be made anew? In parallel to the sphere of human relationships, comfort is packaged and sold, commodified to push products and promised to us in the forms of period pads, streaming platforms and comfort foods. Is materialism an acceptable refuge or is it paralysing us into Wall-E’s post-apocalyptic space humans? Are we not comfortable enough or too much so for our own good? In this issue, we seek to explore comfort and care as struggles for physical, sexual and emotional liberation, as well as the often dangerous consequences of retreating into our comfort zones.

PRESENTED ARTISTS
Karolina Balcer, melanie bonajo, Nikola Dimitrović, Jagoda Dobecka, Laureta Hajrullahu, Morta Jonynaitė, Petra Korent, Marie Lukáčová, Mothers Artlovers, Beatrice Moumdjian, Sangara Perhaj, Tejka Pezdirc, Jelisaveta Rapaić, Maja Smrekar, Martina Drozd Smutná, Helena Tahir, Saša Tatić, Dominika Trapp, Kaja Upelj, Dorottya Vékony, Sonja Vulpes, Konstantin Zhukov, Marijo Zupanov
CONTRIBUTIONS BY
Laura Amann, Nina Bačun, Roberta Bratović, Hana Čeferin, Tia Čiček, Katja Gorečan, Laura Györfi, Živa Hanc, Tilen Jamnik, Tereza Jindrová, Ajda Ana Kocutar, Lara Mejač, Katarzyna Różniak-Szabelska, Vida Rucli, Jaka Smerkolj Simoneti, Aljaž Škrlep, Georgia Țidorescu, Dora Trček, Liu Zakrajšek

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		<title>Exhibitions seznam</title>
				
		<link>https://etcmagazine.art/Exhibitions-seznam</link>

		<pubDate>Fri, 02 Feb 2024 11:10:12 +0000</pubDate>

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		<description>Exhibitions</description>
		
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		<title>ETC.: around every circle another can be drawn</title>
				
		<link>https://etcmagazine.art/ETC-around-every-circle-another-can-be-drawn</link>

		<pubDate>Mon, 18 May 2026 16:50:03 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

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	ETC.: around every circle another can be drawn20. 5.–22. 8. 2026RAVNIKAR, Ljubljana, Slovenia&#38;nbsp;Artists: Maja Bojanić, Rayna Teneva, Center for Peripheries, Damir Avdagić, Luka Cvetković, Indra Gleizde, Nevena Aleksovski

Photos: Marijo Zupanov

	Emerging from the framework of ETC. Magazine’s fifth issue, Full Circle, the exhibition around every circle another can be drawn, brings together artistic positions that engage with migration, displacement, borders, and the unstable construction of collective memory across the regions stretching from the Balkans to the Baltics.

History, identity, and belonging are never fixed, but continuously reshaped through movement, rupture, and return. The title of the exhibition, borrowed from Ralph Waldo Emerson’s essay Circles, reflects on the impossibility of definitive endings. Every border implies another threshold, every displacement another beginning, and every historical formation the possibility of transformation. 

	
&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/598f231dce39c19ee5ce803045dce3e56d96143d0f45d0f256e9158f034dab60/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-68.jpg" data-mid="249117985" border="0"  src="https://freight.cargo.site/w/1000/i/598f231dce39c19ee5ce803045dce3e56d96143d0f45d0f256e9158f034dab60/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-68.jpg" /&#62;
&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/9fa5bf93ed815b01c14e08334003b7b11ae33f54a3ffa9703d3b424779408a6e/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-194.jpg" data-mid="249118011" border="0"  src="https://freight.cargo.site/w/1000/i/9fa5bf93ed815b01c14e08334003b7b11ae33f54a3ffa9703d3b424779408a6e/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-194.jpg" /&#62;


	Rather than presenting a singular narrative about these processes, the exhibition unfolds through a polyphony of perspectives, methodologies, and artistic languages. The exhibited works move between personal testimony and collective history, tracing how large-scale political transformations become embedded within intimate experiences, inherited trauma, labour, language, and the material conditions of everyday life. The official histories are confronted by fragmented memories, personal narratives, overlooked testimonies, archives, and material traces that exist outside institutional frameworks. In this context, acts of remembering become inseparable from acts of resistance. 

around every circle another can be drawn does not offer a fixed or closed narrative. It holds space where multiple histories, perspectives, and temporalities intersect without collapsing into a singular conclusion. Like Emerson’s expanding circles, the works gathered here remind us that identity, memory and geography remain in constant motion, continuously unfolding, continuously renegotiated, and always capable of becoming something else.

	&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/7ec6ba1e9bdb50f14d6dea9f9a6d1bef8794aa06a418ea4185ce0dfdfcbc86e7/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-111.jpg" data-mid="249118028" border="0"  src="https://freight.cargo.site/w/1000/i/7ec6ba1e9bdb50f14d6dea9f9a6d1bef8794aa06a418ea4185ce0dfdfcbc86e7/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-111.jpg" /&#62;


	&#60;img width="1330" height="1772" width_o="1330" height_o="1772" data-src="https://freight.cargo.site/t/original/i/8cd66ef11cf87f36cf4e6a58075148bd2ae4d1ca70db1debebed586e4dc9705e/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-12.jpg" data-mid="249118071" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/8cd66ef11cf87f36cf4e6a58075148bd2ae4d1ca70db1debebed586e4dc9705e/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-12.jpg" /&#62;
	Nevena Aleksovski
Melancholy of the Abandoned Lands2022–

In the latter half of the 20th century, migration in the Balkans was shaped by post-war industrialisation, socialist modernisation and the eventual dissolution of the Yugoslav state. Rural areas experienced depopulation under the guise of progress and the creation of a working class aligned with state ideology. Mining towns provided employment and stability, but often at the cost of forced resettlement and the subordination of entire communities to extractive economies. The project by Nevena Aleksovski emerges from this context. It traces the interconnected histories of her family's migration from rural North Macedonia to a Serbian mining town. The artist situates personal narrative within broader industrial and political frameworks, demonstrating that the extraction of land and labour is inseparable from the extraction of memory, belonging and identity. The installation, incorporating archival photographs, drawings, textual fragments, and readymade objects, constructs environments that oscillate between ruin and remembrance. These materials preserve history in the absence of comprehensive records. Family images, found photographs and natural materials serve as repositories of memory, while speculation becomes a means of engaging with absence.

	&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/2b275927e24fb624d5db0a71c5099a66dcf6029164d557bac95f51bb42141757/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes.jpg" data-mid="249118078" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/2b275927e24fb624d5db0a71c5099a66dcf6029164d557bac95f51bb42141757/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes.jpg" /&#62;

	Center for PeripheriesSosedov vrt (The Neighbour’s Garden) 2025Before it became a familiar household container, the tin can was a practical solution for preserving and transporting food over long distances. As industrial production expanded, standardisation transformed the can into a symbol of modernity and middle-class aspiration. In the postwar decades, brightly printed labels proliferated and supermarket shelves became sites of perceived abundance. The can has consistently embodied more than sustenance, encapsulating trust, fear, class, empire and desire, all compressed into metal and encased in print. Center for Peripheries employ this charged object as its central narrative device. The project imagines everyday products whose labels reveal neighbourly relations across multiple scales, from fleeting solidarities and micro-conflicts to transnational movements. Rather than offering neutral branding, it uses packaging design to foreground histories of displacement, militarisation, resource extraction and resistance that underlie seemingly ordinary goods. Familiar formats such as nutritional facts, ingredient lists and brand slogans are repurposed to convey political messages and narrate entangled histories. Packaging design thus becomes a form of historiography, turning the act of browsing into an encounter with the infrastructures of power that shape everyday life.

&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/0321b92dd4730ceeca114ee5a78dcc51adb9287b7a3ceab684390c5fa22a3849/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-72.jpg" data-mid="249118085" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/0321b92dd4730ceeca114ee5a78dcc51adb9287b7a3ceab684390c5fa22a3849/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-72.jpg" /&#62;

	&#60;img width="1330" height="1772" width_o="1330" height_o="1772" data-src="https://freight.cargo.site/t/original/i/8cd9a3681f07f3fa7b2059dfe7686ec195e4964235113027b49903247364ebec/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-47.jpg" data-mid="249118087" border="0"  src="https://freight.cargo.site/w/1000/i/8cd9a3681f07f3fa7b2059dfe7686ec195e4964235113027b49903247364ebec/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-47.jpg" /&#62;
	&#60;img width="1330" height="1772" width_o="1330" height_o="1772" data-src="https://freight.cargo.site/t/original/i/0ec3945332b1a0f2e12cc385641158289da3593a11c8997a1fb81117a648f84e/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-48.jpg" data-mid="249118088" border="0"  src="https://freight.cargo.site/w/1000/i/0ec3945332b1a0f2e12cc385641158289da3593a11c8997a1fb81117a648f84e/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-48.jpg" /&#62;

	
Luka CvetkovićLAMB (History always begins with you)2021

In late March 2021, Luka Cvetković walked from Jarinje, an ethnically Serbian village in northern Kosovo, to Kaçanik, a predominantly Albanian region in the south. Over seven days and 150 kilometres, he carried and cared for a lamb, moving through checkpoints, divided towns, competing mythologies, and landscapes marked by war and memory. The journey unfolded slowly, with roadside pauses, hill crossings, stretches of asphalt and passages by KLA insignia, Serbian flags, unfinished houses and fields beginning to turn green. The performance was documented not as heroic endurance, but from the lamb’s perspective, showing terrain, borders and humans as transient elements in its perceptual field. LAMB (History Always Begins With You) displaces the human from the centre of meaning. In a time marked by climate crisis, nationalist resurgence and inherited conflicts, it offers neither moral instruction nor reconciliation. By foregrounding the lamb’s perspective, the work challenges the anthropocentric belief that reality depends on human presence. By decentring the human subject while maintaining responsibility, it proposes that history begins not in myth or territory, but in the decision to refuse their compulsive reenactment. 
&#60;img width="1330" height="1772" width_o="1330" height_o="1772" data-src="https://freight.cargo.site/t/original/i/d45cb17fddc60480800d4fb51866c888f76e8e241632ebb78625049aeda149ff/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-96.jpg" data-mid="249118160" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/d45cb17fddc60480800d4fb51866c888f76e8e241632ebb78625049aeda149ff/zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-96.jpg" /&#62;
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	Maja BojanićYours is the world in which I move uninvited2025

On 26 February 1992, Slovenian authorities carried out what is now known as the erasure – an administrative removal of 25,671 individuals, from the Register of Permanent Residents of the Republic of Slovenia. These individuals, who held dual citizenship of Yugoslavia and another Yugoslav republic but had registered permanent residence in the Socialist Republic of Slovenia, were stripped of their legal status and basic human rights. Having to navigate life without access to medical care, unable to rent an apartment, work or send their children to school, many were left at the mercy of their relatives. One of the erased people was Maja Bojanić’s great-grandmother, to whom the work is dedicated and whose warm presence the artist portrays in her video installation. The artist used an infrared camera to materialise her daily routine in a suburban apartment. In this way, her absence becomes visible, her existence traceable, felt despite the violence she experienced. While the artist acknowledges that recollection is always situated, she attempts to portray her great-grandmother beyond the trauma. The presence recorded by the thermal camera seems ghostly, and since many of the erased testified to being falsely recorded as deceased, the metaphor is not far from the lived experiences. To haunt is to remain, however, to persist, to resist. To the artist, it is an extension of witnessing. The artwork becomes a counter-archive and a way of remembering a person who died twice.

	&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/321d3a2ed8f6de37e90cee8803054c8c85b790ba252a8486654d6b1e04f83bd3/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-190.jpg" data-mid="249118164" border="0"  src="https://freight.cargo.site/w/1000/i/321d3a2ed8f6de37e90cee8803054c8c85b790ba252a8486654d6b1e04f83bd3/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-190.jpg" /&#62;
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	Indra GleizdeEternal Calendar2026
Rogovka, a small village in Latvia’s eastern Latgale region near the European Union’s outer border, occupies a peripheral geographic position and possesses a complex history of resistance, faith, language preservation and self-determination. The Latgalian language and identity have been preserved despite language bans, deportations, occupations and cultural marginalisation. Myužeygays Kalinders (Eternal Calendar) emerges from this context, grounded in a manuscript by local farmer and cultural activist Andryvs Jūrdžs, created in response to the 1865 ban on printing in the Latin script in the Russian Empire. The photographic series engages with this archival material and the broader histories of constraint and survival in Latgale. It is accompanied by an essay that traces the artist’s return to Rogovka and juxtaposes it with her family history and the village’s past. Experiences of deportation, resistance and everyday endurance inform the conceptual framework of the work, yet they represent only one thread within the region’s wider cultural memory. Ultimately, the work asserts that Rogovka is not merely a peripheral site of victimhood but a place of agency. The village’s history includes peasants who successfully challenged landlords in court, underground youth resistance movements, and farmers who hand-copied books to preserve language and beliefs. What may appear marginal becomes generative through the villagers’ assertion of their power.

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	&#60;img width="1772" height="1330" width_o="1772" height_o="1330" data-src="https://freight.cargo.site/t/original/i/fbf5e25f09ddf23eba5f240441f43a530d78390690b0fcab93b30500fa4eb80b/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-148.jpg" data-mid="249118219" border="0"  src="https://freight.cargo.site/w/1000/i/fbf5e25f09ddf23eba5f240441f43a530d78390690b0fcab93b30500fa4eb80b/0zupanov-R-X-RAZSTAVA-LJUBAW-ETC-2026-LoRes-148.jpg" /&#62;

	Damir AvdagićPrevodenje (Translation)2015 

In Prevodenje (Translation), a simultaneous translation is being performed for the camera. The performer is being listens to the conversation between his father and himself and translates it from Bosnian to English and Norwegian. The struggle with the translation process becomes apparent in the translator’s body as he searches for words, gesticulates, tries to catch up with the ongoing conversation, corrects himself, etc. The narrative deals with the history of the conflict in the former Yugoslavia, his father’s memories, and the circumstances connected to his own name, Damir. The work deals with trans-generational transmission of trauma and remembering and forgetting across generations. What occurs is a repetition of experience and memories through the words and language of a generation of children, at once rooted in and detached from their parents’ trauma. Avdagić points us to the gaps between the words heard in one language and those repeated in another, as well as the expressions and gestures that accompany the transmission. The experiences of different generations of the diaspora, of which Damir Avdagić is a part, inevitably differ. Witnessing and recounting function as a way of healing, but the nuances revealed by both spoken and embodied language show that the process is open-ended and evolving. Historical events do not happen once and remain in records; they continue to unfold in the long-term effects, recollections and interpretations.


	Rayna TenevaMahlzeit2023

When Rayna Teneva was sixteen, her mother gave up her low-paid teaching job and moved abroad, taking on work in hospitality to support her children. She had to devote her time and attention to transient hotel guests, whose fleeting presence would leave an unexpected mark. For two decades, she has been collecting the thank-you cards and notes they left behind. These messages have become a growing archive of recognition, a testament to the labour and care she provided far away from home. This archive lies at the heart of Rayna Teneva’s work Mahlzeit. Through her mother’s personal history, a glimpse into an emigrant life, she unfolds stories of migration, distance and the emotional scars carried by those who leave and those who stay. The video installation shows a performative reenactment of a mother and daughter folding napkins together, becoming an act of acceptance. Tracing a loop between departure and return, the project explores the intersection of vulnerability and geopolitics, and the emotional labour of caring for strangers and preserving family ties. It is a cycle repeated across the Balkans and beyond: people leave to provide for their families, care for strangers, and return with hardly more than traces of recognition received from those strangers. By tracing her mother’s journey, the artist considers whether returning to the past could offer the chance not only to repeat it, but also to understand, accept and potentially break the cycle.
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	Curated by: ETC. &#38;amp; Vasil Vladimirov
Exhibition design: Manca Košir &#38;amp; Jan Kozinc

Production assistant: Vida Šturm

Technical assistance:&#38;nbsp;Alen Đudarić

Thanks to Škuc Gallery, Projekt Atol, Vžigalica Gallery, and MG+MSUM for lending us technical equipment.&#38;nbsp;The exhibition is supported by the Ministry of Culture of the Republic of Slovenia and the City of Ljubljana.&#38;nbsp;&#38;nbsp;
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		<title>False Friends, Fotograf.Zone Festival, Jedna Dva Tři Gallery, Prague</title>
				
		<link>https://etcmagazine.art/False-Friends-Fotograf-Zone-Festival-Jedna-Dva-Tri-Gallery-Prague</link>

		<pubDate>Mon, 29 Sep 2025 14:15:54 +0000</pubDate>

		<dc:creator>ETC magazine</dc:creator>

		<guid isPermaLink="true">https://etcmagazine.art/False-Friends-Fotograf-Zone-Festival-Jedna-Dva-Tri-Gallery-Prague</guid>

		<description>
	
ETC.: False Friends4. 10.–12. 10. 2025Fotograf.Zone Festival, Petrohradská Kolektiv, Jedna Dva Tři Gallery, Prague, Czechia Artists: Jaka Teršek, Saša Tatić, Sara Perović, Eva Bevec

All photos by Klára Kudláček

	Language shapes our world, influences our thoughts, and reflects our societies. In the context of the Balkans, specifically former Yugoslavia, a region marked by shared histories and divergent narratives, language can both include and exclude. Through the concept of “false friends”, words that appear similar but differ in meaning, this exhibition explores how identity, politics, and cultural memory echo in the language we use, and vice versa. Simply put, we often speak of what we believe are the same notions, not realising we understand them differently. These deceptively familiar terms thus become symbols of regional complexities, miscommunications, and broader cultural and historical tensions.

	
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Eva Bevec’s projects, Yugonostalgia and In Search for Yugoslavia, explore the phenomenon of longing for a country that no longer exists. Through archival images and memorabilia, she explores both the unity it represented and the social values it embraced and promoted. For Bevec, the centre of the work revolves around the role of memory and sentimentality in understanding a political project and lived experience she herself has never had. Born in the aftermath of Yugoslavia’s disintegration and into a different political system, she and her peers find that much has been lost in the transition. Unlike their parents and grandparents, the generations born in the nineties suddenly found themselves in a new, capitalist system, where previously unalienable rights proved to be precarious and standing up for the common good is a daily struggle.
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	In the work of Saša Tatić, the wake of a new post-Yugoslav reality is reflected in migration – something she, along with many other Bosnians (both those who left and those who stayed), has personally experienced. These comings and goings make for a shared experience of impermanence, of constant returning but never remaining. The bitter-sweet ideas of home and togetherness become something that constantly changes, as well as a source for misunderstandings in communicating both sides of the migrant experience. Her series of quotes and phrases often used in the Balkans reflects these conflicting emotions and expectations, as well as comments on language as something that has the potential to both ground and uproot.

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	&#60;img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/7be3586bfc31d28fd5bddaf7859269379aada4b29c02d04885bdc5ba9bbdef33/kudlacek_petro_9.jpg" data-mid="239832856" border="0"  src="https://freight.cargo.site/w/1000/i/7be3586bfc31d28fd5bddaf7859269379aada4b29c02d04885bdc5ba9bbdef33/kudlacek_petro_9.jpg" /&#62;

	&#60;img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/b74d36778c382a7b4ac097edbac3b7cbe5034b693f56410e5990019d64799206/kudlacek_petro_12.jpg" data-mid="239833068" border="0"  src="https://freight.cargo.site/w/1000/i/b74d36778c382a7b4ac097edbac3b7cbe5034b693f56410e5990019d64799206/kudlacek_petro_12.jpg" /&#62;
	For Jaka Teršek, the meaning of home is shaped less by geography than by the cultural environment to which one belongs – or ceases to belong – to. In his project, he revisits the places tied to his childhood memories in eastern Slovenia. The photographs he takes of once familiar places are partly recollections, partly reinterpretations, connecting images with stories, superstitions and accounts of local life. By attempting to observe a once-familiar environment objectively, he creates a kind of bridge between the past and the present, weaving together a distant and more immediate perception of a personal geography, one rooted in fact as well as fiction.

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Similarly, Sara Perović connects the past and the present with a simple image of a tennis player’s legs – a personal deep-dive into a family archive that simultaneously becomes a cultural exploration. Her mother fell in love with her father because of his legs, she told her. This intimate detail made her focus on the legs of tennis players – primarily her dad’s in family photographs from the 1980s Pula, but then multiplying the motif in the present day, recreating the movements with her own partner. Repeating the memory and recreating the context becomes an obsession, an intimate ritual of reconciling the past with the present experience. In this way, the simple motif of male legs becomes a carrier of multiple meanings, exploring her heritage, her current relationships and her status as a photographer objectifying the subject. Her memory thus becomes part of a wider whole, at once personal and objective.&#38;nbsp;

&#60;img width="3543" height="2363" width_o="3543" height_o="2363" data-src="https://freight.cargo.site/t/original/i/a731e19e334238eda07263fa2f75ff4842eeebc3db23f9e18ba11f6825a89ffe/kudlacek_petro_17.jpg" data-mid="239833103" border="0"  src="https://freight.cargo.site/w/1000/i/a731e19e334238eda07263fa2f75ff4842eeebc3db23f9e18ba11f6825a89ffe/kudlacek_petro_17.jpg" /&#62;



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Through the metaphor of false friends, the exhibition investigates how language and image interact, interchange, and convey meaning on multiple levels. Whether through political discourse, everyday speech, or inherited idioms, both language and images act as mechanisms of power, while also framing and (re)shaping our innermost understanding of the world. Artists reflect on how language is internalised, how meanings shift across borders, and how the passing of time can challenge once-fixed narratives. In doing so, the exhibition is a meditation on how we speak about identity and memory, and how words and ideas – at once shared and misunderstood – shape our place within a contested past and a shifting present.


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	Curated by: ETC.
Exhibition Design: Ondřej Čech The exhibition is supported by the Ministry of Culture of the Republic of Slovenia, City of Ljubljana, Embassy of The Republic of Slovenia in Prague.&#38;nbsp;
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