Èisto umazano / Pretty Dirty

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About the exhibition / Texts / Artists / Curators / Acknowledgments / Press / Photo-documentation


Tadej Pogaèar: Golden Shoes of Times Square, video, 4:24 min, 2002

Selected (E)xhibition (A)ction (P)erformance (PR)esentation

Seven Sinns, Museum of Modern Art, Ljubljana, Slovenia (E)
Marx Update, Ojo Atomico, Madrid, Spain (E)
The Future is Not What it Used to Be, Galerie für Zeitgenössische Kunst, Leipzig (E)
Coalesce: With all due intent, Model Arts and Nilland Gallery, Sligo, Ireland (E)
To Think Space, P74 Center and Gallery, Ljubljana (E)
Who if not we..., Time and Again, Stedelijk Museum, Amsterdam, Netherland (E)
Travelling Magazine Table, Art in General, New York, U.S.A. (E)
Sapecmakers, Lothringer dreizehn, München (E)
Unballanced Alocation of Space, Galerie für Zeitgenössische Kunst, Leipzig (E)
PR 04, Tribute to the Messenger, San Juan, Rincon, Puerto Rico, U.S.A. (P)
Trading Places, Pump House Gallery, London (PR) Windows, Kresija Gallery, Ljubljana (E)
Venture, Gallery Gregor Podnar Kranj, Slovenia (E)
ARTEAST COLLECTION 2000+, Moderna galerija (Museum of Modern Art), Ljubljana (E)

e_shop II, http //www.parasite-pogacar.si/
CODE:RED Sector Zagreb - Working Unite Z01, Gallery NOVA, Zagreb (with A. Planiscek) (E)
A perfect Place, Austrian Cultural Forum, London (A),(PR)
Reconstructions - Documents II / Rekonstrukcije- Dokumenti II,
Gallery for Contemporary Art Celje, Slovenia (E)
AIR_port, take OFF 2, Into the city. Towards the borders, Forum Stadtpark, Graz (E)
Siete gia li - L'arte contemporanea in Slovenia, Loggia dei banchi, Genova (E)
Brand New Letchworth, The Place, Letchworth Garden City, London (E)
Autonomous Territory II, Mexico City (A)
Museum of Modern Art, Constructed City II, Ljubljana (E)
The PLACE,The Artist as Entrepreneur, Letchwort Garden City,UK (E)
25.International Biennial of Graphic Arts, a book, Ljubljana (E)
ACF London, The Perfect Place (E)
3rd San Francisco SW Film and Video Festival, San Francisco (E)
Forum Stadpark, Graz (PR)
A+A, Venice, Intermedial (E)
Fundazione Ado Furlan, Pordenone, CODE:RED Italy (E)
ARCO Forum (PR)
City Gallery Nova Gorica, Slovenia, Urban Utopias, Urban Realities (E)

Contemporary Art Gallery, Celje, Reconstructions - Document(E)
Museum of Modern Art, Ljubljana, Olympia from Moderna (E)
University of Maryland Baltimore, My Body is My Business, USA (PR)
Space 2 - Cifte Amam, Skopje, Macedonia (E)
Humboldt University, OSTENSIV, Berlin (E,P)
Künstlerhaus Klagenfurt, LINE.AT (E)
Apex Art, NYC (PR)
16 Beaver, NYC (PR)
Jyvaeskylae Art Museum, Jyvaeskylae, Finland (E)
Central House of Artist, Moscow; OSTENSIV (E)
S.M.A.C.K., Sofia, CODE:RED, Sex Worker (E)
Museo de Arte Carrillo Gil, Mexico City, Mexico; Do it ! (E)
International Centre of Graphic Art, Ljubljana; Agent of Change - Documents I (E)
49. Biennale di Venezia; CODE:RED, Sex Worker (cat.) (A,E)
Steirischer Herbst, Graz; Autonomous Territory /with KAVN/ (P,E)
Neuer Berliner Kunstverein, Berlin; VULGATA (cat) (E)
WUK, Kunsthalle Exnergasse, Vienna; What, How & for Whom? (E)
Galleria NEON, Bologna; Slovene Way (A, E)
Orangerie Congress, Innsbruck; ARTEAST COLLECTION 2000+ (E)
Slavonski Brod, Croatia; BORDERS 2001:SUSPENSE (A)
B2, Leipzig; OSTENSIV (P)
Neuer Berliner Kunstverein, Berlin; VULGATA (cat) (E)
Museum of Modern Art, Ljubljana (E)
Museum of Modern Art, Ljubljana; U3 (cat) (E)
Contemporary Museum, Baltimore, USA; SNAPSHOT (cat) (E)
Hamburger Bahnhof, Berlin; After the Wall (P,E)
City Hall Gallery, Limerick, Ireland; Friends and Neighbours (P,E)
Museum of Modern Art, Ljubljana; Worthless (Invaluable) (E)
Casa des Artes, Vigo, Spain; New Paths (cat) (E)
Art Gallery, Slovenj Gradec; Tales of Two Cities (cat.) (E)
Art Gallery, Ravne na Koro¹kem, Slovenia; Tales of Two Cities (cat.) (E)
Appartment Nicklas - Spanke, Cologne, Germany; project: Home Stories (cat) (E)
Gallery ©kuc, Ljubljana; The Taste of City (E)
Moderna Museet, Stockholm; After the Wall - Art and Culture
in Post-Communist Europe (cat.) (P,E)
Gallery ©kuc, Ljubljana; It´s Comfy (A)
ZMNK Adlershof, Berlin; Observer/Secret Services (cat.) (A)
Buechenhausen Ausstellungsraum, Innnsbruck; Private (Praxis) (cat.) (A)
Gallery ©kuc, Ljubljana; Do It ! (cat.) (E)
Ujazdowski Castle, Warshaw; Cartographers (E)
Ernst Museum, Budapest; Cartographers (cat.) (E)
Art Pavilion, Zagreb; Cartographers (cat.) (E)
Museum of Modern Art, Ljubljana; U3 (A,E)
Manifesta 1, Rotterdam (cat.) (E)
Museum Bochum, Bochum; The Collection of the P.A.R.A.S.I.T.E. Museum,
Slovene Art of the 90´s (cat.) (E)
Mucsarnok, Budapest; The Collection of the P.A.R.A.S.I.T.E. Museum,
Slovene Art of the 90´s (cat.) (E)
Contact information:
The P.A.R.A.S.I.T.E. Museum of Contemporary Art
Hru¹evska 66, 1000 Ljubljana
e-mail: tpogacar@yahoo.com

Tadej Pogaèar and P.A.R.A.S.I.T.E. Museum of Contemporary Art is represented here with the video Golden Shoes of Times Square, as part of a broadly conceived project CODE:RED: it is a multidisciplinary, multimedia, collaborative project, that problematizes and explores the informal models of economy, self-organization, global sex work and trafficking. Many activities, developed between 1999 and 2004, are represented in different ways. Golden Shoes of Times Square, realized on May 1st, 2002, is one among many public manifestations in the frame of this complex project (with the March of Red Umbrellas, Venice, 2001, Stripping With Marx, Berlin, 2002). The act of walking was chosen, in the form of an intimate act, visible only to the very careful passer-by, as the main protagonist (the artist) was merged within the numerous visitors and tourists. He circled the whole square, dragging behind him a pair of women's golden shoes, tied to a rope. The location of Times Square was not an accidental choice. It is an important symbolof New York sex industry, which transformed in the second half of the eighties into a symbol of its criminalization and in the beginning of the nineties into a symbol of its erasure5.
Tadej Pogaèar has dealt with similar issues in many other projects, mostly realized as actions in the public space. One of the most visible was surely the Kings of the Street project (1995), where he dealt with the issue of the homeless and society's attitude towards them; like prostitutes, they a completely marginalzed social group, dettached and fully criminalized.