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Vlasta Delimar, Sinisa Labrovic | TO DIE OUT LAUGHING
curated by Marko Stamenkovic
19.5. - 30.9.2017
WHERE: Museum "House of Humor and Satire", Gabrovo, Bulgaria

Opening: Friday, 19 May, 7PM

Carlos AIRES, Juan Carlos BATISTA, Neno BELCHEV, Lumturi BLLOSHMI, René CASTILLO, BARBARA CLEVELAND, Vasco COSTA, Mia ĆUK, Vlasta DELIMAR, Tanya HABJOUQA, Julieta Intergalactica & Lubri, Paa JOE, Milena JOVIĆEVIĆ, Aryan KAGANOF, Šejla KAMERIĆ, Khaled KHALAFALLA, Panos KOKKINIAS, Siniša LABROVIĆ, Brian LEHMANN, Mladen MILJANOVIĆ, Urša PREMIK, Boryana ROSSA & Oleg MAVROMATTI, Sifiso SELEME, Hamid SULAIMAN, Julijonas URBONAS, Sislej XHAFA, Atfal Al-Shawarea

TO DIE OUT LAUGHING is part of the project "Curatorial Exhibition and Educational Program at the 23rd International Biennial of Humor and Satire in Art" organized by the Museum "House of Humor and Satire" and financed by the Gabrovo Municipality's Program "Culture – Priority II – Travel into the World of Comedy."


The naked truth about male presidential power is more than evident in Vlasta Delimar's photographic piece This Was I in 1980 When Comrade Tito Died. Created in 1980, immediately after Josip Broz Tito (the statesman and a long-term president of Socialist Federal Republic of Yugoslavia) passed away, this work draws upon his personality cult from an unusual perspective, rarely accounted for in iconographic terms. A young woman (the artist herself) exposes her own, completely naked, body in full view of the public; moreover, she is adding the name of the political leader next to her own image, standing upright and without any clothes. The announcement of the president's death is here combined with another revelation and disclosure, both in physical (bodily) and spiritual (mental) terms: if the liberating power of sexuality and 'naked' freedom of expression could make new humanism possible (as she believes), then her own nudity is but an invite to establish absolute communication with the rest of world.

Under 'socialism with a human face', as Yugoslav politics at the times claimed to be in contrast to some other variants of the leftist ideology, Delimar took her right to claim 'socialism with a human body' (in this case, female and naked). In her own words, "my naked body served as a provocation and reaction to the indoctrination of society, especially young people who were blindly becoming part of the regime through various youth organisations, such as the League of Communist Youth of Yugoslavia... this was actually my celebratory act and a proof that eroticism and sexuality are the most important elements of human existence: including the fact that exposing a naked-body-as-a-medium (understood as a universally convenient provocation, which is inviting for a dialogue with the Other) was indeed possible in Tito's Yugoslavia." Like her entire oeuvre, this work examines how unremittingly corporeal communication is dominated by ongoing preconceptions about sexuality and nudity nourished by social taboos. However, unlike other of her projects (including those proper to contemporary visual artists dealing with subjects of death, nudity, and political leadership within one and the same picture, together), this is –blasphemously enough– a rare, or even unique example of a naked artist's self-representation in direct and most explicit conjunction with an idea of the political and ideological father-figure and his final departure from this world.

Marko Stamenkovic

mehr Informationen:
Museum "House of Humor and Satire", Gabrovo, Bulgaria> hier

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