Prior to the project description and the analysis of its salient theoretical speculations, I will define my position as a migrant artist, currently residing in Australia. The cross-cultural dialogues appear on a multiplicity of levels in artistic approaches in this country.
I immigrated to Perth, in the West of the continent in 1995, from Subotica, a town situated on the Serbian-Hungarian border. This region belongs to the geopolitical formation that was known as Socialist Federative Republic of Yugoslavia (SFRY) until 1991. The country has undergone a series of violent fragmentations since then due to a multiplicity of armed multiethnic conflicts. Subotica is situated in Vojvodina, Serbia’s northern provenance, and sits between the Central European region and the South East, which is generally known as the Balkans. The Balkans, and more specifically Yugoslavia, has undergone a series of redefinitions of its political boundaries and its related terminologies. In order to avoid the confusion of how to exercise political correctness of the definition of the geopolitics of former Yugoslavia, I will quote Slavoj Zizek where he wittily explained that: