“In a city on the brink of war, Škart came to life in an abandoned print workshop in 1990, founded by two students at the Faculty of Architecture in Belgrade — Dragan Protić and Dorde Balmazović, also known as Prota and Žole.
The duo decided to name themselves Škart, meaning “scrap”, “despised”, or “left over” in Serbo-Croatian. Škart’s understanding of the word has positive connotations — such as a “refusal” to remain silent in times of political unrest and rising nationalism, and an active “rejection” of passivity in confrontation with a lack of well-functioning institutions, with the aim of potentially expanding our understanding of artistic possibilities.”
Seda Yıldız, from her new book, "Building Human Relations Through Art: Belgrade art collective Škart, from 1990 to present" (2022), Onomatopee
“As an interdependent curator [1] what could my role be in mediating Škart’s practice to a broader audience? The group’s work ethics triggered me to think about the questions on how to operate in the precarious art scene, and with whom and how to work with it. In line with their motto “Building human relations through art” this book is an intimate examination of Škart’s socially-engaged practice; a form of thinking and dialoguing in depth.
Bringing together some traces from the last three decades of practice, it portrays how art, as collective action, functions socially and politically. Selected works — numerous encounters, collaborations, tangible and intangible works including posters, zines, poems, embroideries, documented or non-documented workshops, events and gatherings — revolving mainly around collectivity, community, and collaboration.
The material dates from the early 1990s to the present, and also gives hints of the changing social and political setting in the region, marked by war, nationalism, isolation and transition. It is striking to observe how these shifts have developed the means to reconsider and rethink artistic production. Škart didn’t remain indifferent to this reality, and decided to reject the position of powerless observer; their practice is not marked by such darkness but optimism.” [1] Interdependent curator, editor and writer Nataša Petrešin-Bachelez refers to the impossibility of being an ‘independent’ curator. Emphasizing the interdependence of our labor relations she points out the multilayered relations curatorial practice requires.
Seda Yıldız is an independent curator and art writer based in Hamburg / İstanbul.