ARTMargins is pleased to present a new work by New York City-based artist Yevgeniy Fiks: Communist Party USA Commemorative Stamps (2007-2008). In this project, Fiks produced US postal stamps featuring portraits of former leaders of the American Communist Party, such as John Reed, William Z. Foster, Benjamin Davis. For seven months the artist then used these stamps on the envelopes in which he sent his monthly payments to companies such as CITI , Verizon, T-mobile, Time Warner Cable, and others. In this project, the procedure of paying monthly bills – a crucial ritual in the capitalist world order -- becomes a ritual commemorating the repressed legacy of the American Communist movement, which has been almost totally erased from American collective memory.

Mermaid (Rusalka). Directed by Anna Melikyan. Central Partnership, 2007. 115 min/100 min (theatrical version in Russia), 35 MM.

As a result of a workshop held in Berlin in November 2008 we invited five critics and scholars to discuss Anna Melikyan’s film The Mermaid (Rusalka, 2007).

IVAN MOUDOV, TRICK OR TREAT, KUNSTVEREIN BRAUNSCHWEIG, BRAUNSCHWEIG, DECEMBER 6, 2008 – FEBRUARY 12, 2009.

In the work of Bulgarian artist Ivan Moudov there is a conscious desire to dismantle the social role and structure of the artwork and the art world. Piece by piece, art is taken apart, and in the process of deconstruction we end up with many more pieces than we initially counted. Still the artist is not content with sabotaging the way things are.

Igor Grubić, 366 Liberation Rituals, Galerija Miroslav Kraljević, Zagreb, March 20, 2009 – April 21, 2009.

In 2008 the Croatian artist Igor Grubić began a series of performances dedicated to the revolutionary movements of 1968 that ranged from personal dedications to provocative, site-specific interventions in public spaces. The meticulous exhibition of Grubić’s work at Galerija Miroslav Kraljević in Zagreb functioned as an introduction to the artist book that is to be published by the same gallery in June of this year. The show itself presented photo-documents and artist's statements with respect to twenty five of Grubić’s actions and performances, organically arranged along a red-painted strip of wall encircling the gallery space, together with short videos of several public actions.