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[G]RAND MASTER – Performance by Branko Milisković

Duration: 7 hours

28th May 2017, 15:00-22:00

Roermond, The Netherlands

Curators: Edwin Becker and Laura Adams


is 7 hours long performance by Branko Miliskovic. This concept was specially designated for Cuypers-kiosk pavilion (1880) in Roermond.

Cuypers, an extraordinary person, was experimenting with historical styles in particular with Gothic. He restored many churches, such as the Munsterkerk, but also designed Central Station and Rijksmuseum in Amsterdam.

Branko Miliskovic, like Cuypers, is inspired by the notion of ‘’Gesamtkunstwerk’’ where all art disciplines are united as a whole.

Miliskovic also studied architecture and (through the studies of sculpture) he became a performance artist.

The performance by Branko Miliskovic is not a historical description of Cuypers life but rather an internal monologue of an artist himself. The performance is dominated by intense body presence and an expressive symbolical narrative.

Kiosk Munsterplein

Munsterplein 0






Open: Sun 28 May 2017 15.00 – 22.00.

Entrance free



OPEN CALL for SUMMER PROGRAM, Belgrade, Serbia

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PerformanceHUB is an education platform founded by internationally renowned, Belgrade born performance artist Marta Jovanović and Serbian curator Milica Pekić whose work and research focus on the history of performance art in former Yugoslavia. One week summer school will consist of theoretical as well as practical part. Theoretical part, lead by Milica Pekić and curator Stevan Vuković will focuse on the history of performance art in former Yugoslavia, the ways in which the scene was formed, on the main actors, artists such as Marina Abramović, Raša Todosijević, art historian and curator Ješa Denegri and others. Students will study why performance art thrived in the region in the ’60 and the ’70, and will be looking into the individual artists, their influence on the international art scene and their legacy. Practical part of the program, lead by the contemporary artists Branko Milisković and Marta Jovanović will prepare students for their individual performances that will take place at the end of the program.

June 2017 summer program

Sunday June 25 – Arrival of students to Belgrade

Monday June 26
10am – 11pm – Meet and greet, introduction with Marta Jovanović and Milica Pekić
11am – 2pm – Workshop with Branko Milisković
1pm to 2pm – Lunch offered at the premisses
2pm to 5pm – Lecture by Milica Pekić on history of performance art in former Yugoslavia
Rest of the evening free

Tuesday, June 27
10am – 1pm – Workshop with Marta Jovanović
1pm to 2pm – Lunch offered at the premisses
2pm to 5pm – Lecture by the curator Stevan Vuković on history of performance art in former Yugoslavia
Rest of the evening free

Wednesday, June 28
10am – 1pm – Workshop with Branko Milisković at the Rehearsal Space of PerformanceHUB
1pm to 2pm – Lunch offered at the premises
3pm to 6pm – Artist talk with one of the historical figures of the 70’s performance art scene

Thursday, June 29
10am – 1pm – Workshop with Marta Jovanović and preparations for ad hoc performances
1pm to 2pm – Lunch offered at the premisses
2pm to 5pm – Guided visit to the historical venues like Student Cultural Center and Museum of history of Yugoslavia
Rest of the evening free

Friday, June 30
10am – 1pm – Workshop with Branko Miliskovic
1pm to 2pm – Lunch offered at the premisses
4pm – 7pm – Guided visit to the Center galleries and cultural centers, independent spaces and exhibitions in Belgrade

Saturday, July 1
10am to noon Yoga, stretching and relaxation with Sara Kostić
Noon – 5pm – Preparations for ad hoc performances with Marta Jovanović and one on one Q&A and individual help with the performances with Marta Jovanović
6pm – Light dinner at the premisses
7pm on – Student Performances

Sunday, July 2 – Students leave Belgrade

All activities take place at the Rehearsal Space of PerformanceHUB.

TUTION of the program is EUR 800.
Tuition INCLUDES lunch each day, guided tours and museum tickets.
Tuition DOES NOT include hotel and stay in Belgrade, travel costs and other meals. We remain available to assist you with any information you might need.

Letter of Intent
Bio and portfolio for artists (maximum 5 works with short description) / Bio and CV with list of publications for researchers and curators
Please send your application as ONE SINGLE PDF FILE with your last name and first name in the file name
Maximum number of students is 12. Scholarships and discounts are not available for the summer programs. Tuitions will be fully donated to the program for its further development.
May 19 – Application deadline
May 30 – Final list of candidates will be announced
June 10 – Full payment of EUR 800 due
Applications received after the application deadline will not be considered and late payments will not be tolerated.
Please send your application to production@g12hub.com

UPCOMING! January 14, 2017 in Montreal

Photo by Gabriel Otero 4
Photo by Gabriel Otero

Branko Milisković

Cabaret of an Intruder

Performance January 14, 2017 at 3 pm

Discussion at 4:30 pm between the artist and CIRCA art
actuel’s director Émilie Granjon.

Tis some visitor…
tapping at my chamber door—
Only this and nothing more.

The Raven, Edgar Allan Poe

The performances of Branko Milisković know no boundaries—he is an ‘intruder’ par excellence. Throughout his oeuvre, in works such as Lili Marlene, Interloper, Couvre-feu, APPOINTED, Ceçi n’est pas UN garçon a la Pipe, he uses costume, make-up, song and character to break up the experience of the everyday and to create a disorienting spectacle for the audience.

In Cabaret of an Intruder he pushes the idea of a cabaret to the next level. Originally an informal form of theatre, performed in a pub or restaurant, with unconventional content, however in Milisković’s show, the artist breaks the fourth wall and forces his audience into often uncomfortable situations, singing directly to them, beckoning for them to approach him and crowd around him, imploring them to come closer than most audiences ever would.

For Milisković, the Intruder is someone who infiltrates a particular group of people with the aim of understanding and even ‘colonising’ them. In his words, the Intruder’s aim is “to adapt, assimilate as well as to become a member of certain group but somehow, sooner or later, an intruder is unable to make it all the way through, becoming very suspicious as an element that doesn’t belong to the group, clearly interfering.” In this performance, the Intruder doesn’t fit in from the beginning, appearing before the audience in gender-ambiguous stage make-up and quirky, albeit masculine clothing—a bow tie and suspenders. He invades the viewers’ personal space, singing old-timey melancholic tunes such as Irving Berlin’s 1923 ballad “What’ll I do,” while staring directly into the eyes of one of the audience members.

The performance starts with the artist reading Edgar Allen Poe’s classic poem, The Raven, which he uses as the “ultimate symbol of the Intruder, knocking on the door, bringing all possible fears, demons and anxiety to the storyteller.” As the Intruder, it gradually becomes clear that Milisković will make no attempt to adapt, but rather will continue to play on the fears and insecurities of the audience, not only putting them in awkward positions, but invoking their anxieties by providing them with a range of situations and experiences.

But what is the purpose of this Intruder in our lives? If it is through the ‘Other’ that the self is defined, then Milisković provides the perfect mirror to reflect all of our deepest and most hidden emotions. There is nowhere in the theatre to hide from this trespasser. In confronting him, we are forced to confront all of our demons. In exchange, the Intruder learns everything about us, and perhaps in this way he can ultimately fit in.

Text by Amy Bryzgel

Branko Milisković was born in the former Yugoslavia in 1982 and currently lives in Belgrade, Serbia. As a child, he was part of the last generation of Marshall Tito’s Pioneers, the Socialist Federal Republic of Yugoslavia’s political movement for 7-year-old children. In Belgrade, Serbia, Milisković pursued studies in architecture at the Architectural Engineering School, industrial design at Belgrade’s Polytechnic High School and sculpture at the Faculty of Fine Arts, University of Arts. In 2007, he was awarded the Dutch HSP Huygens scholarship and in 2009, he received a BA from the Royal Academy of Art in The Hague, the Netherlands. Three years later, Milisković completed his MA at Hochschule für bildende Künste, in Hamburg, Germany. His work and his performances have been presented in Italy, Germany, Belgium, France, Switzerland, Austria, Serbia, Israel, Russia, Poland, Finland, Norway, The Netherlands, Scotland, UK and the USA. He is represented by Les Halles in Brussels, G12Hub in Serbia and Kampnagel in Hamburg.

Dr. Amy Bryzgel is Senior Lecturer in Film and Visual Culture at the University of Aberdeen. Her research focuses on performance art in the former communist countries of Central, Eastern and Southeastern Europe. Her first book, Performing the East: Performance Art in Russia, Latvia and Poland since 1980 (IB Tauris, 2013), presented case studies of performative work from the region. Her next book, Performance Art in Eastern Europe since 1960, offers a wider picture of the development of the genre, and is forthcoming from Manchester University Press in 2017. You can follow her research on http://www.performingtheeast.com and @PerformTheEast.