A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They were frequently looted together with other valuables from Bosnian homes. The set exhibited at the Renaissance Society was seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12.  

 

Published by the Renaissance Society and Sternberg Press on the occasion of Irena Haiduk's Seductive Exacting Realism, this imposter volume features contributions by Ivo Andrić, Hannah Feldman, Irena Haiduk, Monika Szewczyk, Marina Vishmidt, and Solveig Øvstebø. Gray cloth hardcover binding, black and white interior, 11.8 x 18.9 cm, 168 pages. Part of the Yugoform.

A monograph of Irena Haiduk's writing and scores, edited by Karsten Lund with an introduction by Matthew Jesse Jackson. Book design by Studio HelloMe. Published by Sternberg Press in 2015. 14 x 22.3 cm, 192 pages.

An 80 point manifesto on polite art. Like every intimate dinner party, Bon Ton Mais Non requires one symphony orchestra, a pastry chef, a large mirror, and the fact of cannibal sirens.  21.3 x 31.3 cm, 96 pages.

 

After the transaction, cross out the word “hope” printed on the book’s front and beneath it, in large black letters, write the first name of the reader. On the reverse side document the price, the date and the location of the transaction.

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For press, exhibitions and other inquiries write to:

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“Be like a duck. Calm on the surface, but always paddling like the dickens underneath.” Michael Caine

 

We do not live our own desires. Pressing ourselves into heavy molds not made for our bodies compresses us, tears our skin, and bruises our features. It is hard to breathe. We sink.

 

Weight harbors the downward pull. It attaches itself in many ways but there are countless ways to set it down, to be free. This takes practice and skill. The common task of this class is to distinguish ourselves from the weight we carry. We shall seek out activities that contact levity: that gravity that changes our bodies, make us light of touch, aerates and propels us toward the state of buoyancy.

 

Not for the faint of heart.

Corruption

 

This class promotes corruption as an art strategy and examines its official veneers and unofficial rules. Corruption is the gravitational pull that keeps markets, like atmospheres, bound to the center of the earth.

 

Through writing, looking, and making as well as an arsenal of readings from Hegel to Ranciere, we engage weekly topics including incitement, treason, corrosion, scandal, desertion, invasion, cronies, conspirators, impostors, double agents, skimmers, bureaucrats, lobbyists, kamikaze, kidnapers, killer cadres, profiteers, moguls and thugs.*

 

*Note that the assesment format of this seminar is conversation, debate and oral defense. Written sumaries, tests and presentations are substituted with collective making and organizing assignments.

Face Your Demons

 

"From a certain point on, there is no more turning back. That is the point that must be reached."

–Franz Kafka, The Zürau Aphorisms

 

Drink from the underground well! Heal your cynical ulcers with an organ of imagination! Dismiss yourself from the forces of living well! Take a position: either or! Learn which ideas are worth extraordinary crimes.

 

Face Your Demons traces the audacity of magical thinking and the creative act. Here is where the political stakes of living reside, and artistic positions are formulated. In the company of brave allies such as Kierkegaard, Kharms, Bulgakov, Bakhtin, Toufic, and Sloterdijk, Face Your Demons asks you to stand where all your opponents can see you.

Death Drive 3000

 

"The aim of all life is death," Sigmund Freud's historic words do not appear strange today. Under siege of the perpetual breaking news cycle, the apocalypse is easy to imagine. Will it be an asteroid, a zombie virus or an all out nuclear war? Death Drive 3000 returns to the inanimate. Through a variety of reading, writing and making projects, this seminar studies the implications of our unbound and limitless death drive.

 

From de Sade to Malabou to Clausewitz, topics include: primary nature, partial objects, necrosodomy, dismemberment, omophagia, suicide pacts, plagues, holocausts, total war and other symptoms of our collective end. Not for the faint of heart.

 Yugoexport's production infrastructure,

programs and trade routes are a part of the Yugoexport Art Collection. They can be exhibited, demonstrated and loaned

on request by writing to

artcollection@yugoexport.com

On Monday, April 14, 1930, Soviet poet Vladimir Mayakovsky killed himself. In reaction to the suicide, Stalin telephoned playwright Mikhail Bulgakov to reject his outstanding request to immigrate. The prior year, Bulgakov had petitioned to be banished. He requested to depart the USSR and take abroad his fifth play, The Run, anywhere his skill might be put to better use. His first four stage works–Days of Turbines, Zoya’s Flat, Crimson Island, and The Escape–had been banned. 

 

After calling Bulgakov, Stalin restored Days of Turbines to the Moscow Art Theater’s permanent repertoire. He saw the play over fifteen times. Stalin also appointed Bulgakov to the Bolshoi as consulting librettist. This was a punishment: rather than produce his own, Bulgakov enabled others’ works. Almost immediately, the playwright resigned and continued work on The Master and Margarita, a story of courage and love.

 

Bulgakov called it his sunset novel. Publishers wouldn’t touch it and the author would rewrite the book four times before his death in 1940. Into the novel Bulgakov sealed his life. The titular character, the Master, writes a play about the life of Pontius Pilate. Censors ban the Master’s play about cowardice. Cancelled and driven to insanity, the author burns his manuscript. A satanic figure named Woland recovers the play from the fire. He intones,

“manuscripts don’t burn.”

 

In a surrealized reality where actions have no consequence, the difference between truth and lies is beside the point. Censorship is unnecessary. Here, hatred polarizes, and solidarity ends. The occlusion of empathy results in a wasteful loss: displacement and generalized warfare. The only way beyond this place is to not want what we want, to grow the organ of imagination, and to make another world. This requires extraordinary will.

 

Soviet officials banned The Master and Margarita because they knew its readers would take it to be art—an instrument to imagine another present and a means to realize it. This art demonstrates that no matter how oppressive the system, no matter how complex the problem or overwhelming the bureaucracy, ways exist to turn systems against the wills of their creators. The book embodies a model of production: how to make one infrastructure into another.

 

The Master and Margarita was finally published in Paris in 1967.  At last, its will had guided it past its silencers.

 

The Master’s world could fortify ours. It makes things that do not burn.

 

Tonight and Every Night.

Like every intimate Cabaret, Èconomique requires a key, musicians, a large mirror and the fact of cannibal sirens. 

 

February 13 & 14, 2020

8:00 PM 

Swiss Institute, New York

 

Credits

Writers: Irena Haiduk and Dean Kissick

Costumes: Yugoexport

Sound coordinator: Scott Kiernan

Special thanks to: Idoli & Elektricni Orgazam

 

Cast

Dani Bauer: bass

Irena Haiduk: voice, fire, warewolf Gmork

Dean Kissick: voice, witness, Atreyu

Laura McLean-Ferris: synth, Satan, narrator

Daniel Merritt: himself

Christian Schmitz: percussion, synth

Maggie Selage: cleaner, dancer

 

Produced by Yugoexport

REMASTER, January 17–March 22

Swiss Institute, 38 St Marks Pl, New York, USA

 

Exhibition Hours

Wednesday, Thursday, Friday 2–8pm

Saturday 12-8pm

Sunday 12-6pm

 

 

Remaster Programs at Swiss Institute

 

January 16, 7PM


Key Issue Ceremony with Jovana Stokic
 


 

January 31, 7PM


Shadows Cast by Things and People: A Candlelit Talk with Irena Haiduk and Laura McLean-Ferris
 


 

February 6, 7PM

Models with Amanda Googe, Irena Haiduk, Monika Szewczyk 
 


 

February 13 & 14, 8PM

Cabaret Économique with Irena Haiduk, Dean Kissick, Christian Schmitz 


March 20, 7PM


Recording Session at Apartment 50 with Saim Demircan, Darby English, Vladimir Ivkovic, Marija Karan, Thomas Love, Olivia Roper-Caldbeck, Anna Shteynshleyger
 
(cancelled due to outbreak)

 

March 22, 8PM


Cabaret Économique with Saim Demircan, Irena Haiduk, Vladimir Ivkovic, Dean Kissick (cancelled due to outbreak)

 

 

Credits

Samuraj by U Škripcu is used in Yugoexport Preview

Schwule über Europa by Idoli is the march performed at the end of Lunar Interval VI

Yugoexport Logo is re-rendered by Oliver Sabin, HelloMe

 

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Effective immediately, Yugoexport LLC enters into partnership with Galerie Max Mayer eK. The two corporations are allies in enterprise and a separate economy guided by the rules of the partnership.