In Aberdeen, Stories on August 30, 2020 at 1:45 pm

Contribution by Branko Milisković

July 2015

Two months ago I received an e-mail from Dr Amy Bryzgel, an US-American art historian and researcher, living and working in Aberdeen, Scotland, UK, whom I met in Belgrade, Serbia in July 2013, and gave an interview about my performance practice for her upcoming book Performing East. Since then, we were in occasional e-mail contacts and I have also included part of her text about my work in a catalogue for my solo exhibition ATTENTION! HERE I AM (Nov/Dec 2014, G12HUB). Amy’s invitation to participate in a conference about performance art at the University of Aberdeen in October 2015 made me surprised and flattered since I’ve never been to UK before. The entire arrangement sounded almost perfect. My travel, lodging and artist wage would be provided, so what more an artist could ask for? 

I knew there would be some obstacles regarding my UK visa, therefor instead of negotiating about the conference and performance, we had to start working through the entry clearance procedure for UK visa straight away. Amy told me that she is going to write a letter of invitation, stating the exact reason for my travel. The very first issue we faced was, what kind of visa I would need to apply for? Since I was invited to give a performance/talk and get payed for that job, I would need to choose between the variety of possible visas, and after a short period of time, we both confirmed it would definitely be so called Permitted Engagement Visa. The entire negotiation with Amy turned into an administration, passing through all possible bureaucratic requirements, constantly doubting and guessing weather some requirement would mean exactly and strictly as stated or would there be any way to avoid it and make the entire process less stressful. The main problem was not the fact that I have to apply strictly online. I am internet maniac and have no issues filling in the forms and answering even the most hideous questions. My biggest concern was how to obtain some of the paper work. I’ve already done various visa procedures and numerous applications in the past and eventually survived all of them. I used to live in the Netherlands for three years and in Germany for four and have been travelling across Europe, to Russia and Israel and have never violated any immigration rules. My passport is full of different visas and border control stamps and I never received any penalty nor restriction. While I was waiting to receive an official letter of invitation from the University of Aberdeen there was one major issue causing my anxiety to grow bigger and bigger. It was the money issue. Now everybody would think, ok what’s the problem if all expenses would be covered by the organiser, in this case, by the University of Aberdeen, right? According to the list of important requirements and documents that should be obtained, there was a requirement that each applicant should provide the bank statements for the period of last six months. My problem was the fact that being a freelance artist, I don’t have regular monthly income that could be proven via bank statements. Therefore I immediately failed to fulfil this main visa requirement, to show that I am professional artist. I also failed to show that I would have enough money on my bank account to support my trip and daily costs in Aberdeen, even though all my expenses would be covered. I would consider myself being professional artist with various engagements, but in other hand, underemployed with no regular income, no valuable possessions, no long term bank credits to insure that I will definitely return to the country of origin, no driver licence nor car, no real estate on my name, no fixed employment. I am not married and have no children. Clearly enough I am so free, like a bloody sparrow, and therefore the most suspicious applicant. Their biggest fear is that I might use this opportunity and immigrate, sucking on UK public money, residing illegally somewhere in the countryside. In order to ask for some support, Amy and I separately contacted Serbian Embassy in London and nobody ever responded to our inquiries. We didn’t ask for any particular help, just a written letter of support from the embassy, which should be supporting and representing its people, culture and politics abroad, right? I have also contacted British Council in Belgrade and asked the same question. Nobody ever responded. 

August 19, 2015

Two days ago I finally received the official letter of invitation from the University of Aberdeen, and as soon as I saw it in my post box, I went immediately to print out my application form and to finish the rest. I thought it would be no big deal just to print it out, pay an application fee by debit card and book an appointment. But it was all very confusing since the beginning. I filed in my application form, and the next step was the payment. On the official webpage of UKVI it was stated that the fee would be €121,00, but once I started my payment procedure it turned out to be €126,00. I was not sure how much money I was holding on my debit card. Once I submitted my application form online I was informed by a server that I have only three hours to complete the payment, otherwise everything will be lost and I would have to start the application procedure all over again. I rushed to the local bank to put some extra cash on my bank account, to make sure there is enough. I was cuing over an hour in the bank and returned to the office to finally complete the payment. It was so frustrating, I just couldn’t believe that UKVI was counting my time. 

On August 19, I had my UKVI appointment at Teleperformance agency at the Airport City in New Belgrade. I arrived well in advance caring with me a bag full of art books, catalogues and press material as well as the entire application documents including my passport. I got inside and there was nobody except me and some employees at the time. Soon, I was invited to come in, expecting that they are going to interview me, asking all possible questions. However, they only collected my documents, checked if everything is in order, and when I asked what am I going to do with all the books and catalogues I was advised to bring for consideration, they just told me that their job is only to collect my paperwork including my passport, take my fingerprints, scan my eyries and send everything to Warsaw where UK visa hub is based. They told me that I will be waiting for 15 working days or 21 days in total, but that period also can’t be guaranteed. It means it can take even longer depending on each case individually. I left the office totally squashed and puzzled. 

September 2, 2015

Today is the 10th business day since my UK visa application has been submitted. I just can’t explain how terrible and frustrating the entire process is. One of the most irritant things is that awful feeling that you are unable to get information regarding your visa status. Nobody knows for sure, or nobody wants to tell you. My passport has been literary confiscated since August 19 and still I don’t have any precise information when the entire process will be done and how long it will take for my passport to be delivered back. In the meantime I was invited to come to Berlin for a festival and I already booked my flight for September 12. 

This is how an automatic answer by UKVI looks like:

Dear Branko Miliskovic,

Thank you for contacting the UK Visas and Immigration International Enquiry Service. With regard to your query, please be advised, we can only provide general information as well as updates on the status of an application. We act in a non advisory capacity. We understand that you would like to know about the status of your application to come to the UK.

I have tracked the status of your application and found that it is waiting to be assessed by an Entry Clearance Officer. We will contact you once a decision has been made or, if necessary, during the consideration of your application.

Each application is subject to an individual assessment and processing times may vary, hence applicants are requested to be patient and wait for the processing to be completed. 

You can check how long you will have to wait for a decision on your visa application in your country (if you applied from outside the UK) by entering your details at the following link: ttps://www.gov.uk/government/organisations/uk-visas-and-immigration/about/about-our-services However, please note that actual processing times may vary depending on a range of factors.

We have service level standards for processing UK visa applications. We will process 90% of non-settlement applications within 3 weeks, 98% within 6 weeks and 100% within 12 weeks of the application (biometric taken) date; and 95% of settlement applications within 12 weeks of the biometric taken date and 100% within 24 weeks of the application (biometric taken) date.

Please note that we define 1 week as 5 working days. For any further details, or should you need to contact us again please refer to our website at https://ukvi-international.faq-help.com/, select appropriate country, click next and then select “E-Mail form” and complete as instructed. We will aim to come back to you within 1 day.

Kind regards,


UK Visas and Immigration International Enquiry Service

September 5, 2015

There is one thing that makes me very upset. It’s a completely impersonal system, dealing via third part agencies, such as Teleperformance, so if you go to the UK embassy they will tell you that they are not dealing with visas so you have to go through the agency to submit your documents including a passport, pay the fee in advance and hope it will be ready within three weeks time. The problem is that they give you a period of three weeks only as a statistic information but that also DOESN’T mean that your documents and passport will be returned during that period of time. All means of communication are incredibly obscure and automatically generated, even the calls. You are going to talk with an automat for as long as possible and you will be charged a fortune. I mean, to be completely honest, even if you commit a crime, you are allowed to engage a lawyer and have presumably a fair trial, right? Here, you are not allowed to complain, you can’t talk to anybody except the person working at the entrance of Teleperformance agency and that person knows nothing, or is it just a part of the game. So whatever you are going to ask, you are not going to get any precise and concrete informations. If you ask how long it will take for a passport to be delivered, she/he will tell you, it MAY take about three days. But no, that clearly doesn’t mean it will be there even the forth day. They always say, you will be contacted by your local Teleperformance office. 

My passport is out of my hands and I terribly depend on their mercy. It blows my mind! It’s my passport, my only travel document! I might be able to understand that I have to give my passport away if I am already in UK applying to extend my residence permit, but since I am not even there and I am not applying for any settlement or study visa, I DON’T WANT TO BE DETAINED IN MY OWN COUNTRY BY SOME OTHER COUNTRY! 

In the last three months I went through a number of very stressful moments. I became very anxious and now I am even facing the approaching moment which may reveal that I won’t be able to travel to Berlin because they won’t be able to return my passport back in time.

It can’t be sure whether the visa will be granted to me or not.

It can’t be sure how long it will take to process my visa request.

It can’t be sure when my passport will be returned. 

I am afraid it can’t be even sure if the passport will be returned, at all. 

The entire procedure is shameful and humiliating. It’s like a computer game. Several levels and you never know what you may expect when you finish one level. To make the entire situation even more stupid, they have stated that if for any reason one would like to request his/her passport urgently back, it would mean that the entire process will be terminated and application fee will not be refunded. But anyone is encouraged to re-apply at any time. Of course, to pay every time €126,00 or more and to wait endlessly with passport being confiscated. 

I really don’t know what to do if I don’t get my passport before Saturday…

September 8, 2015

Today, surprisingly enough, I received an e-mail stating that my visa request has been accessed giving no information whether I have been rejected or granted. 



UK Visas & Immigration has now assessed your UK visa application and made a decision. Your documents and the decision will be sent back to the either the UK Visa Application Centre where you applied, where we will contact you by e-mail over the next few days to collect them, or if you are using the courier return service, will be sent directly back to the address you provided.

Please note that TLScontact does not know the outcome of the assessment and has played no role in the decision-making process.

Kind regards,


UK Visas & Immigration

September 9, 2015

Today I received another e-mail from UKVI stating:


Your passport and any returned supporting documentation have now arrived back at the TLScontact UK. 

Visa Application Centre.

Collection in Person

I immediately went there to collect my passport as if it was the most important thing in my entire life and it was sealed in a plastic DHL bag. They asked me to sign paper that I have collected my document and they didn’t say anything else. I got out, took my keys, ripped off a plastic bag and opened my passport.

UK visa sticker was finally in my passport !

August 19, 2020

Post Scriptum: Going through this administrative diary, five years later, made me realise how much I was worried about some completely ridiculous details. However, this harsh experience eventually gave me a courage to apply for other visas, such as Canadian and US. 

Branko Milisković, Misplaced Man? performance, Aberdeen Airport, UK, October 29, 2015. “Misplaced Man?” sign, and the photo: Amy Bryzgel


Branko Milisković (b.1982, Belgrade, Serbia), Serbian performance artist, studied at the Faculty of Fine Arts, Belgrade; graduated BFA from Royal Academy of Art, The Hague and MFA from Hochschule für Bildende Künste, Hamburg. His works have been shown at prestigious performance festivals, theatres, galleries, museums and residences in Italy, France, Serbia, Poland, Israel, Croatia, Germany, The Netherlands, Norway, Finland, Austria, Belgium, Russia, Bulgaria, UK, Canada and USA. 

Photo: Blazej Marczak


ENTRY CLEARANCE by Branko Milisković is a contribution by invitation, to Tanja Ostojić’s Misplaced Women? project.

Edited (2015/2020) and first published by: Tanja Ostojić at the Misplaced Women? Project blog, August 30, 2020.

Photos: Branko Milisković, Blazej Marczak and Amy Bryzgel

Please see directly related — Misplaced Man? Performance in Aberdeen Airport – Contribution by Amy Bryzgel to the Misplaced Women? project, October 29, 2015.


love in the time of corona

In Cologne, Home, Stories on June 6, 2020 at 2:20 pm

Gabriel said

The words I am about to express:
They now have their own crowned goddess.(2)

naked soft long wheat germ tone limbs crawling over sun white bed clothes brilliant light earnestly she came over me no trace her radiance left something she must yet be under layers reverberation envisionment I’d failed to recall will have scraped deeply into body marked inside and over to find this former combined cell life replication what instinct brought me to brought her me limpid to my feet creeping on like anaesthesia energised to the centre when I why had let the juice seep out narkotisierend oder belebend beliebig oder geliebt

Hélène said

Give birth to yourself! How I’d love to! No body here for me to live in. If you are outside of the body where the blood flows, where the heart is struggling in the grasp of clutching hands, how do you get back to yourself? And all that was left of me was skin and bones. Fingers clutching at the heart as if they were clutching the breast, the wheel, the arms of your lover. Give birth to me! Pick up the pieces! Stick me together with your glue.(3)

last night awake weak nearly all night bowel cramp exhausted not as bad as spell weeks before spell curse spell words peeled to essence speed translated hurtling hurt to the absence in between when breathing without sleeping cramps stamping a clamp around standing under can’t think around about or in the gaps

rare routine repeat in day moment live no pain the feeding self cleaning regulate breath intensiveness no motion clean with reason re memorise only the moment no ail till next time inhale failn’t baled out pale indoors in rooms surround the old run of saving round the sofa and books read or embleming wood and glass shelves brought over from England ova shrunk should remove bed cover patch worked patches coming apart the quilt chloroquine the TV says will ease the disease don’t have yet will it will away the maybe words the man in the no use uses to excuse his dislocated elocution swirls of dust still from winter under table turquoise green colour from the hairy blanket on the pulled-out couch stained ripped quickly from over-use

plant life company decades dance spot in earth wear behind doors and on the balcony my share air and bird virtue half out of ear distance measure in every bit precious motion water and seed exchange cry corona like killer on insight crone’s disease monotone introspection

detritus film unmoving debasing long before clock down inside dragging dust bag heavy wrist ache alert windows keening their smear abandoned day sleep chimera quietly hallucinating why fear china removing face no death mask nothing beneath but pale skin effacement yet self-love preserve holding me in place like a sandbag masking wonder

Gabriel said

She dreamed that she was seeing Florentino Ariza again, and that he took off the face that she had always seen on him because in fact it was a mask, but his real face was identical to the false one.(4)

misplaced former maker me isolation space long before covid avoid by ill will intimates and culture cliques cast beyond id need light ID others schicksäl(5) displaced caste away me unfit no help no desire social accept distance leaving idio soliloquy strip back narrow lands no ire now nil by mind forgotten wiled life refusing malaise-ism real

effusion balcony comfort flutter wings gesture stroking ear bone sparrow spatz namesake pecking at the dish ceramic clap clap rhythmic breaking up flap jack baked in march raisins and cashew nuts a cached symposium retrieving hard facts steeped in sugar fat oat and maple syrup vibrato warbler pleasure über den tellerrand blicken

behind the curtain curtail the disbelief believe not in the structure you block built for herself or was it given killed for the sake of renewal no traces over the edge prolonged alone time age-old before corona covert when shelves of books and works and pictures moving transported 5 years ages no more gathering parting departed post distance propensity dispose sore concentration lapse where was I heading friends ended time intended no play and away a way that was an active now ineluctably unthink

Russell said

I stil aint qwite said how it wer. Not like a diffrent country. It wer mor like I wer behynt the back clof in a show. Thats how it wer. Thru the clof I cud see the other figgers moving I cud see the peopl watching only no 1 cud see me. If I wer a figger in a show what hand wer moving me then? I cudnt be bothert to think on that right then. Theres all ways some thingwl be moving you if it aint 1 thing its a nother you cant help that.(6)

let the mask of room scenery of one’s own fall self-sealed lone like immurement joint pain relief safe coven inside insidious too old to walk socially near distorted by your distance hazy memory like dirty windows left for dead before time lines taking different roads didn’t believe the covid void on air masked in aerated knows in separate the wall barrier no photo no imagined image hanging about am I an anti a gone a deep night out of nothing comes some where libidinal in the abyss miss coming from know where absence and cramp puke cramp puke and affluent effluence spurting running crap diluvial evaluations excremental utteringly vile bile episode stop breathe breath between wretched retching bile galling gaining breath breathe stupor stupid gone going solace waking in affluence alone one no one mediation inhale to hale no inner life food abyss body abscess excess puking pus swellings in awkward places own the multiple clit cunt effrontery dethroning the crowning sedentary sediments settling sitting in influence shit gold alchemy rise to risk the hospitable shift to shift the fluid ancient danaé aching so solitaire insolence

Hélène said

I wanted to run away. Before, there was a way out. No eyes. No doubt. With hesitation. I had made up my mind. Pretend you were at the door; the door opens, you step forward, you are saved! – that’s obvious – and you can’t go through. What’s stopping you? Isn’t there a door? Haven’t you got legs? Aren’t you awake? Didn’t you make the decision? Exactly. I must get out of that door. It’s a matter of life and death. I lift one foot, put out my arm, only to find that I am beside myself once again. Failed! You are doing it wrong. It’s a question of orientation. I go back. The door is there. You think. You measure yourself. It is not impossible. Physically, and from the human point of view it is necessary.(7)

verfall falle gefallen from the dead raise to an I con seclusion hermetic prisoner of crutch auto immune tedium beyond murals covid liv id fear of fury a free sun day next out door grill smell weltering dead weight under pane no assist what has become of the nonentity beast I suppose crohn not corona? kron und gedächtnis(8) the choler solitude colognial mohn memory poppy burn with propensity to forget congenial grief mildernd the hand that reached to ne me touche pas time in motion feeling words like K and Jesenská entranced when entrenched you send unbended message electronic intellect escaping in the cloud around your site in why land quiet unrequited not quite

Gabriel said

But when he began to wait for the answer to his first letter, his anguish was complicated by diarrhea and green vomit, he became disoriented and suffered from sudden fainting spells, and his mother was terrified because his condition did not resemble the turmoil of love so much as the devastation of cholera.(9)

riteing I am receptive to exchange fluidity e shuttling cocked and return fired a generated parallelism excess collecting beyond the corners of frame sharing delayed enthusiasm firming the con of reconnoitre aligned in unbound electro light liquid sheaves melting captured initials oh and ah body dis mesmerise arise back forth no score pendulum pendeln from wired to land

embroider the front of your lobe function h ear the tiara diadem half crown umbrella of head with sound hieroglyph safe in letter survival not yet lately in vital vials though untouched inviolate moving aleph bet etiquette

etikett für unfehlbare lebensquantität satz ersatz gestreichelt durch unausgeprochenen speichel platz gespeichert für die rundungen der wörter verlesen durch den virus nicht verhaftet an den rand der krankheit noch nicht erkannt

Paul said

Cologne, Am Hof
The dreamt ones stand for
The midnight numeral

Some things spoke in the silence, some things were silent,
Some things went their way
Banished and Lost
were at home

You cathedrals,
You cathedrals unseen,
you waters unlistened to
you clocks deep in us.(10)

dreamed separate by lateness because Franz and the dear one’s hand-written letters only hers in flamed type face twin beds joined at the lip emit words vomit wo mit half heart half dead poppy tears image Inge burning for Paul waiting for eau god they were young you jew oui jah veh word direction embodied dressed in internment sentences weeping letters


light caught

high thin

stream web




jolt in

wind line


no catch


water short

in february

on the bone

dry island


at the


entrance a

same dust







for low



skin at

inner elbow


trap was

silk to

touch now







or miyake

pleats a

lone goal (11)


timed travel since so wrong long unconstructed cycles becoming lines no check progress the being here denial registration dimension meaning uncontrolled when was it no more light-footed music the world breathing a staged clock away writing returning not saying saying keeping alive carrier pigeoning speaking in myth mouthing non-exemplary repeating repetition of soundless echo electric fencing keeping good faith jeux avec frontières

Russell said

Nor I wernt dreaming nor I hadnt ben smoaking I wernt acturely seeing Eusas head it wer jus there for me I cant say plainer nor that. Which it wunt stop getting bigger I cud smel the wood and the paint of it and the finger hoal so big it were over all of us as big as the roof. Such a blackness. Not jus over us and all roun it wer coming up inside me as wel. Not jus wood and paint I smelt the blood and boan the redness in the black. The thot come to me: EUSAS HEAD IS DREAMING US.(12)

take the time wave sweeping generation some tumbled in the bubbling rush on forget shore moved till next wave trippled and left you suspicious objection on shore scene by those still part landed but kindness of neighbour no longer strange assists sit in car from hospitable bringing to move the love thy self her and me the breath light sound the tickling electric harp at your meditative centre and 10 hazel seedlings growing from nutshells from the year before last clay pot balcony tryst each week strong appearing sapling plus what pistachio plant found thrown or sparrow dropped tree today in May a cherry stone like slow knowing of the plush blackbird fledged thick feathers brown speckle puffed resting among green horse chestnut leaves raised in England 30 years ago the open cage drama species disarray

how and ever now then unfolding emerging growths in colonised time association wager risk institution emergency expectation patience for sedierung sedition room kilt time sit in midday moon full seduction close enough to smell sad breath he crossed the demaskation line inpatient grab at half gone breast removing mask to osculate ich bin berührt betrayal kiss you too the dram of grazing voice breath neck tickle uncalled for ache impossible to uncanny react ever the body knowledge reminder even in evolved age a risible bait cologne colon garment for easy abscess preps for semi see the inside growths ripe infirm wrench ulceration information confirmed no commitment sedate sated irresistible for double up pain culpability refrain semi-conscious operators espied half heard conversationing until it’s time to go which home to many-walled stalling to remain strained in reputation and the theatre interval ended

reading write in lap repeat the haze of days interior



  1. love in the time of corona, concrete poem, Tanya Ury, 31.03.2020, play on the book title “Love in the Time of Cholera” by Gabriel García Márquez
  2. Introductory quotation Leandro Díaz, “Love in the Time of Cholera”, Gabriel García Márquez, translated from the Spanish by Edith Grossman, 1985, Penguin Books, 2007, ISBN 978-0-141-18920-8
  3. P. 19, Angst, Hélène Cixous, 1977, translated from French by Jo Levy. John Calder Riverrun Press 1985 ISBN 0 7145 3905 8
  4. P 115, ibid 2
  5. Word play on ‘Schicksal’ German for fate “Schäl Sick (Rhenish for „suspicious/wrong side“), in Cologne rarely written as Schälsick, is still today in the Rhineland a common expression for, from the viewpoint of the other, that is ‘bad’ or ‘wrong’ side of the Rhine, Wikipedia.org Translation from German Tanya Ury
  6. P. 173, Riddley Walker, Russell Hoban, 1980, Bloomsbury Publishing, 2002 ISBN 978 1 4088 3224 0
  7. P. 23, ibid 3
  8. Paul Celan dedicated poems, such as Corona in his volume of poetry Mohn und Gedächtnis (Poppy and Memory) to Ingeborg Bachmann; kron here, meaning crown/corona, being a wordplay on Mohn.
  9. P 71, ibid 2
  10. Köln, Am Hof, Paul Celan poem, 1957. Cologne, Am Hof, in Paul Celan’s letter to Ingeborg Bachmann, 20th October 1957, p.92, Ingeborg Bachmann Paul Celan Correspondence; and see also Celan’s letter of 31 October-1 November 1957 “Is ‘Köln, Am Hof’ not a beautiful poem? Höllerer, whom I recently gave it to print in Akzente (was I allowed to?), called it one of my most beautiful ones. Through you, Ingeborg, through you. Would it ever have happened if you had not spoken of the ‘dreamt ones’? A single word from you-and I can live. And to think that I now have your voice in my ear again!” P 103, Ingeborg Bachmann Paul Celan Correspondence, translated from German by Wieland Hoban, Seagull Books 2010 ISBN 978-0857426420
  11. pleats, poem by Tanya Ury, written in Deià, Mallorca, 4.2.2020
  12. P. 61 Ibid 5


love in the time of corona by Tanya Ury is a contribution by invitation, to Tanja Ostojić’s Misplaced Women? project. This poetic narrative, including poetry – being about isolation, but also feelings of misplacement because of age and illness even before the time of corona – incorporates quotations from Gabriel García Márquez, Hélène Cixous, Russell Hoban and Paul Celan. First published by: Tanja Ostojić at the Misplaced Women? Project blog, June 6, 2020.


Tanya Ury (1951* London) is an artist, activist and author. Since 1993 she has lived in Cologne, which is where many of her family members, including German-Jewish authors, came from. Her video, photographic and performance output deal with Jewish history in general, frequently with a more specific focus on her own Jewish familial provenance. Other themes cover such controversial matters as the Shoah, racism, sexuality and pornography.

1988 BA HONS in Fine Art, Exeter College of Art and Design (GB)

1990 Masters in Fine Art, Distinction, Reading University (GB)

2014-2018 Jury member for the Hans and Lea Grundig Prize, with the Rosa Luxemburg Foundation, Berlin (D)

Tanya Ury’s Homepage


Please see Tanya Ury’s performance contribution to the Misplaced Women? project, Fury, October 3, 2009


Our Lady of Auguststraße

In Berlin, Homes, Photos, Signs, Stories on May 1, 2020 at 5:13 pm

Our Lady of Auguststraße: A Misplaced Women? May Day 2020 Photo-Story from Berlin

Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić

Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić
Our Lady of Auguststraße: A Misplaced Women? May Day 2020, Photo-Story from Berlin by Tanja Ostojić

Documented and first published by Tanja Ostojić on the Misplaced Women? Blog, May 1, 2020


Please visit as well archive of earlier contributions and posts from Berlin, from workshops, individual and group performances: 2009-2019:

Contribution by Nati Canto 

Contribution by Rhea Ramjohn

Contribution by Mad Kate

Mapping around Kunsthalle am Hamburger Platz

Contribution by Katja Vaghi

Contribution by LADY GABY

Contribution by: Susan Merrick 

Contribution by Hoang Tran Hieu Hanh

Contribution by Jiachen Xu and Evdoxia Stafylaraki

Contribution by Ola Kozioł

Contribution by Татьяна Bogacheva

Contribution by: Luciana Damiani 

Contribution by Tanja Ostojić: Berlin, TXL Airport

and Valentina Medda: Misplaced Women?, Performa New York, 2009. Simultanious delegated perfromance with the one by Tanja Ostojic, at Berlin TXL airport.

%d bloggers like this: