Organising Hope

Medium: video, 12:01″ DVD

Description of the project: In today’s society, the mechanisms of exploitation are so powerful that the realistically achievable opportunities and visions of a different social and work organization, both in practical and ideological terms, are difficult even to imagine. Organisinig Hope is a 4-channel video installation that presents various interventions in work self-organization: Minipogon (Belgrade, Serbia) – explores alternative methods of production, cooperative relationships, self-management and develops the concept of equity with an economic foothold. It is a production plant for making objects from recycled plastic works through inclusion of marginal social groups and as a ‘resources’ uses the rejected and by-products of a modern capitalist society.; The Calafou (Valbona, Catalunya) is an off-spring of the Cooperativa Integral Catalana, an autonomous alternative economic formation uniting hundreds of people for conducting economic exchanges and reciprocal actions and using its own currency. The factory and its apartments are being collectively acquired meaning that their residents receive a-right-to-use rather than certifications of private property.; Lets (Ostende, Belgium) is a local community oriented model of time-banking based on reciprocal service exchange that uses units of time as currency. The unit of currency is always valued at an hour’s worth of any person’s labor without matter what kind of work. Communities use this as a tool to forge stronger intra-community connections.; ERREKALEOR BIZARIK (Vitoria, Basque) is a large squat occupied by over 150 adults, mostly students located on 25 acres of land. Occupation of the building was a direct response to the obvious attempt to boost real estate speculation in a city with 15,000 empty homes, and the impossibility of paying rent in an increasingly expensive market. Continue reading Organising Hope

Mini-Plant for Production of Commonness


Medium: participatory project/intervention in the field of work, 2017-19.

Description: Transformation in the work field towards the post-Fordist economy, globalization and the increasing number of privatizations of the public sphere have led to the constant enrichment of individuals in relation to society, the relations of domination and subordination, which are becoming more and more frequent, resulting in global migrations and wars unprecedented in recent history. Migrations are evident in the departure growth of the domicile population in the Balkans towards the West, and the detention of refugees in the EU’s border zones, mainly due to increased controls at the borders. The status of the intermediary zone between the center and the periphery that was once characteristic of the “buffer” zone in the Balkans, etc., is now expanding to the entire capitalist world, increasingly reproducing inequalities in almost all social strata (and especially in the middle and lower classes).

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Social Economic Theories Library

Medium: installation, 2018.

Description: The idea of the educational project “Social Economical Theories-Library” is based on a promotion of alternative economical models that go beyond the neo-liberal economic system. Field of interest is the study of economic theories that offer potential opportunities for the development and establishment of economic exchange that is not sustained by the principles of individual profit entities but is driven by the interest of the community as a whole. Alternative theories of economics that project covered for this ocasion are: 1 PARECON – Participatory Economics (Michael Albert , Chris Spannos) – a non-representational economic theory based on the idea of joint decision –making, depending on the level of influence something has on subjects, self-management model of work organization based on joint-work between producers and consumers and the equal distribution of goods; 2 Inclusive Democracy (Anthony Giddens , Jon Elster , Takis Fotopoulos , Aran Gare etc.) – form of direct democracy which implies a model of political and economic decision-making that is more open to civic participation (minimalist and maximalist democratic participation); 3 Gift Theory (Marcel Mauss) – idea of a gift as the basis of exchange – an entity that gives something from him/herself  as a subject which establishes a kind of gap in itself, but that gap then continues to circulate in the collective (unlike in capitalist societies where this kind of gap stays always with the subject)- idea of gift as a way of expanding the self to the whole community; 4 Economics of Care (Nansy Folbe) – Care Work – the role of caring for each other as a form of economic exchange (the “feminist” economy); 5 Time- banking (Edgar Cahn) – economy based on the exchange of time and skills, instead of goods and services.


(Michael Albert, Chriss Spannos)

participatory economics = anarchist economics

basic values: equity, solidarity, diversity, self-menagement

key aspects: worker and consumer councils, balansed job complexes, renumeration, participatory planning


work price: intnesity +  duration + load

product price: work price + productional costs

no added value

produced value – social output

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Supplementary/Extra Classes

Medium: intervention in public space / collaborative project, Belgrade, 2017.

Description: Supplementary/Extra Classes is conceived as a multi-layered and multifaceted project that, through its various forms, re-examines and treats the role of culture and art within contemporary production relationships. In formal terms, Supplemental/Extra Classes functions as an ad hoc institution that, with its program and policy, becomes the user of the infrastructure in which it operates by inserting additional content, reviewing the functioning models and modes of production of its host. By considering these aspects from the producers and recipients of culture, we strive to articulate the contemporary requirements of artistic production and the problems that arise in its realization.

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Cooperative – How does it work?

Medium: participatory installation, 2016.

Description: Project “How does cooperative work?” is a participatory installation-experiment consisting of simulation of co-operative work and joint production. Project participants were invited to initiate production based on restoration of old furniture according to cooperative principles. This is an experiment whose aim is to overcome today mainly theoretical concepts of self-organization, self management, economic equality, and to make the collision of these political concepts with the materiality of the process of work. The project deals with the possibility of economic democracy in the system of dominant social, political and cultural production today.

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Open School of Economics

Medium: participatory project, Belgrade, 2014.

Organiser and cordinator of the project: Danilo Prnjat

Participants: Aleksandar Elezović, Aleksandar Stojanović, Ana Milovanović, Andrea Jovanović, Branislav Dimitrijević, Danilo Prnjat, Dragan Protić Prota, Hristina Mikić, Ivan Božić, Jovana Zafirović, Luka Petrušić, Marija Ratković, Milica Mustur, Milica Popović, Mira Mulaimović, Nikoleta Marković, Nina Mudrinić, Olja Nikolić Kia, Petar Stanić, Sanja Maksimović, Sava Jokić, Uroš Matović, Vahida Ramujkić i mnogi drugi.

Production: Centre for Cultural Decontamination – CZKD, Belgrade, Serbia

Description:  The idea of the project “Open School of Economics” is based on a research and practical work in the promotion of alternative economical models that go beyond the neo-liberal economic system. Field of interest is the study of economic theories that offer potential opportunities for the development and establishment of economic exchange that is not sustained by the principles of individual profit entities but is driven by the interest of the community as a whole.

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Social Economy – Case: Čačak


Project Social economy – Case: Čačak is an experimental attempt to establish a commodity exchange model that could exist within current economic processes in our country that are ever so determined and guided by the principles of liberal economy. The project implied organizing an open workshop with initiative to contemplate on all potentialities, as well as making practical attempts to execute some real self-sustainable systems of exchange which wouldn’t be determined by predominant logic that production or labor always results (or should strive to that) in extra value, thus profit. In that sense, only premise of this project was led by reverse logic to the one that predominant political economy demands- circulating from extra value (profit) to product, trying to get it to be free (in this case the aimed product was food). In this example, we considered as extra value of all of those products which, for some reason, can’t find their place on the market, while different ways of their exchange mostly aren’t provided, or are even forbidden by law.

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Fathers and forefathers

Fathers and Forefathers, 2011-2014
Video transferred to DVD, text, color, no sound, 2’13”
Courtesy the artist

Fathers and the Forefathers is a video intervention based on the several days secret monitoring of the son of the famous Serbian politician Nenad Čanak done by artist personally. The video shows the child looking for Roman coins using a metal detector in the fields in Vojvodina (Province of Serbia) around Begeč (once a Roman city called Onagrinum). However, the only coins he finds are from the Yugoslav period.

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Wedding Pieces

Title: Wedding Pieces
Medium: Art intervention/ video transferred on DVD, 8:34.

Production: Akademie Schloss Solitude, Stuttgart, Germany, 2010.

Author: Danilo Prnjat


Description: The project Wedding Pieces comprises series of actions which allude my arrival and the presence at the German weddings in a role of an uninvited guest/ insider. I conducted this intervention occasionally during several months, and I chose the weddings which were organised for the close family members and were always held in public. After approaching the celebrating group I was asked to leave or banished from all the weddings within a short period of time. Several times I managed to stay long enough to pose with the group in making the joint photo. My action was secretly recorded by a person whose function was to act as a paparazzo and whose task was to shoot the action in a form of video and photo documentation from a certain distance. The goal of the action was literal materialisation of exclusivistic logic on which dominant models of today’s togetherness are based – starting with the marriage, the concept of national country and EU.

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Stacion, Centre for Contemporary Art, Priština, Kosovo
Interkulturalni dijalog, Rex-B92/Ministry of Culture, Belgrade, Serbia
Mangelos, Young Visual Artist Award, Gallery Kontext, Belgrade, Serbia


Danilo Prnjat

Artan Balaj, Fatmir Mustafa-Carlo


One of the principle determinants of liberal capitalism which is based on the existence of private property, within countries in transition, reflects through a process of public property selling-out and its complete privatization. This principle of privatization has been proclaimed as one of the vital strategies of Serbia’s development and one of more important conditions of her path towards European Union.

On the other hand, questions regarding the problematic status of former Serbian province Kosovo1 have shown that proclaimed values are not a mechanism of country’s acting, wherefore the ‘public property’ (Kosovo) is still one of the priorities the country is fighting for.2 This struggle is/was conducted by cultural, political, legal and military interventions while the key, economic aspect, has remained cunningly camouflaged by cultural and nationalistic interests. Namely, the discourse that was and still is produced by Serbian official authority is heading towards global mythologisation (hegemonic culturalization) of Kosovo. This region is, therefore, in Serbia most frequently presented in the form of spirituality which is essential for ‘Serbian origin’, nonmaterial goods worth fighting for and the like. Those conceptions dominant in Serbian society are most frequently substantiated by the fact that some of the oldest orthodox monasteries are located exactly in that region, so in that way, via social ideology, religious aspiration towards spiritual, which is immanent to Serbian orthodox people, has gained socially-manifested and politically desirable material form – struggle for territory of Kosovo.

Likewise, spiritual values based on a construction of the term ‘Great Serbism’ have been founded on repeated actualization of the Kosovian battle – on which Serbian national myth regarding heroism, suffering (caused by Turks, non-Christians), self-sacrifice, betrayal, and heroic death of the last Holy Serbian ruler, King Lazar, has been raised. The values based on this myth and a construction of the term ‘ Great Serbism’ are precisely what nationalistic authorities used as the worst means of manipulation during the wars in 1990s, and which effect is even today widely present.

Project ‘Ransom’ alludes the act of purchasing of three works of art from Kosovian artists and presenting of the project as a work of art in Belgrade. This act exists as:

an act of concrete highlight to specific Kosovian ‘culture’ via determination of its material value. This aspect of the work of art aims to provoke dominant cultural paradigms of Kosovo in Serbia according to which a struggle for Kosovo has never been presented via question of power and money, but as a much ‘higher’ and transcendental question regarding the ‘ very being ‘ of Serbian people. Likewise, with this act the Kosovian culture (art) is not taken over and like that, conditionally said, by being disjointed (or dispossessed) is not presented in Serbia4 , but there are methods that are used to show utter respect for its importance and value;
an act of ‘disauthorization’ of specific Kosovian culture via its transformation into private property; and vice versa,
an act of authorization via precise determination of private property and its transformation into ‘general welfare’ (the work of art produced by open competition).
Namely, this project alludes an intervention inside the official institutions of Kosovo (Ministry of Culture) in order to authorize selected artists’ works of art as private property of those artists, so that they could be taken out of the country (across the border) in a legitimate way. This insufficiently transparent status of ownership between private property – public goods in Kosovo (but also in Serbia when it comes to Kosovo) opens a field for different social and state manipulations of (somebody else’s) property. On the other hand, by offering the work of art to Serbian funds (both state and private) for production, works of art of Kosovian artists become at the same time disauthorized, turn into public goods, which provokes brutal establishment of Serbian cultural hegemony in Kosovo.

Therewith, project Ransom, as a form of deconstruction of cultural and material practices that are dominant in Serbia and Kosovo, has an aim to act as an emancipator’s social practice by witch property (culture) is determined as private and by doing so nationalistic mechanisms of both confronted sides (Serbia and Kosovo) are equally provoked.