https://klelija.land klelija Mon, 06 Oct 2025 20:02:40 +0000 https://klelija.land en http://klelija.land/some-call-us-balkans Mon, 06 Oct 2025 20:02:40 +0000 klelija 458082  Some Call Us Balkans (SCUB) was&nbsp; a collective effort to explore possibilities for new conceptions of the Balkans through artistic research practices. We strived to create space for Balkan artists, researchers, cultural workers and communities to claim their voices as Balkan subjects and redefine the terms on which we think and speak of the Balkans. We did this collaboratively, by fostering a community of practice along with partners from Western Europe. In formal terms, SCUB aimed to promote intercultural and cross-border cooperation within the Western Balkan region and between the region and the EU through co-created participatory and performative artistic methodologies. It built on and saught to expand the artistic methodology developed by the Ground Tour Project collective, which resulted in the scripts, multivocal open-story and interactive exhibition titled Some call them Balkans. To find out more about the project, please reach out. &nbsp;  Some Call Us Balkans (SCUB) was&nbsp; a collective effort to explore possibilities for new conceptions of the Balkans through artistic research practices. ... http://klelija.land/who-taught-you-how-to-feel-good Sun, 12 Jan 2025 18:51:25 +0000 klelija 455464  Who taught you how to feel good? Performance, 20 min, 2024 We are social animals. Our mutual bonds are our evolutionary and ecological imperative, a way for us to survive and become alive, the core of our worldbuilding. But, the world we are building is unjust, violent and lonely. What in our relationships makes it so?In her work “Uses of the erotic” Audre Lorde wrote that in order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. In this performance, the focus is on shame as a powerful instrument in numbing this energy. An affect that makes us feel like imposters in aliveness. Internalized violence which serves as our cultural and social coregulation. Means of social isolation and alienation. Shame as punishment. Shame as transgenerational trauma. Shame as tradition. Beginning in the isolated, freeze state of shame, the author follows pleasure as an directions out of that state and a language through which aliveness speaks to her. Through a series of monologues and bodily movements, the author keeps encountering the choice to become alive or deepen the isolation caused by shame. Premiered at “Post-Yugoslav legacies and bodies: performance, critique and utopia” at the Museum of Contemporary Art Skopje, curated by Slavcho Dimitrov and Biljana Tanurovska - Kjulavkovski <img width="1024" height="575" width_o="1024" height_o="575" src_o="https://cortex.persona.co/t/original/i/cf73bbff501128b89ba6d75245e5fa42093829f2f5d7ab59d774727fc11575e6/Y28A9359.jpg" data-mid="1391782" border="0" /><img width="1024" height="575" width_o="1024" height_o="575" src_o="https://cortex.persona.co/t/original/i/cfde0e7898c249d110992d3589b7c1391038818e9ef3fa04ea5fd01a5ac9980a/Y28A9360.jpg" data-mid="1391779" border="0" /><img width="1024" height="575" width_o="1024" height_o="575" src_o="https://cortex.persona.co/t/original/i/5e03657891ece56db485b743f658c6c7c9f351456eef69cd14935a0c19f8a854/Y28A9365.jpg" data-mid="1391781" border="0" /> <img width="1024" height="575" width_o="1024" height_o="575" src_o="https://cortex.persona.co/t/original/i/4c62bef33940f2f4b6a0d3797710cb0ae37fe177aaa3e2bfe7fbf46bb3ca5537/Y28A9374.jpg" data-mid="1391780" border="0" /> ^&nbsp; “Post-Yugoslav legacies and bodies: performance, critique and utopia” performance photographed by Natasha Geleva  Who taught you how to feel good? Performance, 20 min, 2024 We are social animals. Our mutual bonds are our evolutionary and ecological imperative, a way... http://klelija.land/in-the-embrace-of-the-ones-who-know-how-to-fall-apart Sun, 12 Jan 2025 18:26:14 +0000 klelija 455462  In the embrace of the ones who know how to decompose Wool, 220х270 cm, 2024 I don’t know if my ancestors ever made blankets this way. All I know is that I felt a deep desire to make one myself. I wanted to entangle my aliveness and my knowing in colours and textures which make things more beautiful than they need to be, just like our great grandmothers did. Originating withn ourselves, we can experience aliveness like a fountain, the most powerful and tender thread which streams through our entire world. Following it, I discovered a powerful aliveness in grief, care and effort. I experienced my heart breaking and opened my eyes to a new, vibrant landscape. Grief consumes all that whose time has come to change shapes. Just like fungi, bacteria and other inhabitants of soil turn dead matter into food, so can grief be an agent of decay which will transform all with which we wish to or we have to part. It will swallow it, digest it and turn it into food for resurgence. Maybe wool blankets will become a relic. The planet is heating, and the peace and safety essential to rest will become, in the best case, a rarity, and in the worst - a privilege. &nbsp; Rest is a counterweight to the arrogant belief that we can and should try to outwit nature. To rest is to admit to having no control. The author Sophie Strand says that decomposition playfully winks at humanity’s attempts for control. I wish to part with all the oppression and control that I have swallowed, packaged as care. I want to allow all bits and bobs to roll off and be swallowed by time. Exhibited at:“I am not coming home”Solo exhibition03.12.2024 - 14.12.2024Multimedia Centre “Mala Stanica” at the National Gallery of the Republic of North Macedonia &nbsp;<img width="1024" height="683" width_o="1024" height_o="683" src_o="https://cortex.persona.co/t/original/i/7f2a5ea8e9870bb5cdc38cb1a2297e0dc509a8727bc38c8d32e6002b57422aad/IMG_8912.jpg" data-mid="1391776" border="0" /> <img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/7a1be5cee059ebe5158cdb8db5a2cb1791159fb7f482e74ed8d2903dddeb0fab/IMG_8916.jpg" data-mid="1391773" border="0" />&nbsp;&nbsp;<img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/d9a958d2e802ee93afd145bf43e0bc89f379d7d895b554e3966406c56faed400/IMG_8917.jpg" data-mid="1391774" border="0" /> <img width="1024" height="683" width_o="1024" height_o="683" src_o="https://cortex.persona.co/t/original/i/6f056fa651daaf3b3d49f618052df5557e58d4af9a71f833d2ff308ea0ef2abb/IMG_8940.jpg" data-mid="1391772" border="0" /> ^ “I am not coming home” exhibition photos by Jelena Belikj  In the embrace of the ones who know how to decompose Wool, 220х270 cm, 2024 I don’t know if my ancestors ever made blankets this way. All I know is... http://klelija.land/skills-for-resurgence Sun, 12 Jan 2025 17:21:30 +0000 klelija 455458  Skills for resurgence Video, 20 minutes, 2024 Skills for resurgence is a short film created through a participatory method developed by Klelija Zhivkovikj, in collaboration with visual artists Hristina Krsteska and Krsto Gligorjadis, dancer Nikola Ignovski and fashion designer Magdalena Tanevska. It is a queer-led project that centers aliveness as an inviolable animating force which can be our strongest asset in resisting oppression and injustice. The title “Skills for resurgence” is a play on skills for survival, the knowledge encompassing the ability to adapt, endure, and thrive in the face of adversity by drawing upon instinct, ingenuity, and perseverance. According to Anna Tsing, resurgence is an inherent ability of all living beings, a life force which, when available to us, we can experience as a fountain, the most powerful and tender one streaming through our whole world.As Audre Lorde put it in her seminal work “Uses of the erotic”, in order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. Therefore, we are not simply interested in aliveness for aliveness’ sake. We are interested in how our own animating force is entangled with that of our world, how it can be liberated and channeled into fueling not just our own lives, but all the ways in which we take care of each other and the systems and technologies we create. Our starting point are all the ways in which we extinguish, disrupt, block or numb our aliveness in order to maintain the oppressive systems that we inhabit: families, religions, nations etc. By developing a method based on knowledge from performing disciplines, each artist has&nbsp; created their own skill for resurgence, which encompasses the decisions, permissions, boundaries and choices we make in service of our aliveness. Through this process, the skills for resurgence emerged as scalable and adaptable steps towards a rebellious aliveness that anyone can practice individually or collectively to mitigate the consequences of marginalization and discrimination, and prevent the further multiplication of oppressive structures. Rejecting the misconception that to be alive is to only feel good, we support ourselves and each other to feel everything, in the safety of our caring community. Exibited at:&nbsp;“Skills for resurgence” Premiere SCS Centre Jadro 31.05.2024 "In Constant Movement" Group exhibition SCS Centre Jadro21.06.2024 - 04.07.204 “I am not coming home”Solo exhibition03.12.2024 - 14.12.2024Multimedia Centre “Mala Stanica” at theNational Gallery of the Republic of North Macedonia Credits:&nbsp; Author: Klelija Zhivkovikj Participants and co-authors (in alphabetical order) Krsto Gligorjadis Nikola Ignovski Hristina Krsteska Magdalena Tanevska Director of photography and camera: Goce Lalkovski Music by: Dijana Dimitrievska Darko Stepic Edited by: Bisera Mihajlovska This project was created through the “Arts Hub” program at SCS Center Jadro, with support from Open Society Foundation North Macedonia. © Klelija Zhivkovikj Skopje, 2024 <img width="8256" height="5504" width_o="8256" height_o="5504" src_o="https://cortex.persona.co/t/original/i/7840a39e752512abf3e302e4ce16e91f263f2ceaf245cd2b7f83fe98a8688fbd/IMG_8639.JPG" data-mid="1391728" border="0" /><img width="8256" height="5504" width_o="8256" height_o="5504" src_o="https://cortex.persona.co/t/original/i/56685a48caae2a4beaf11e468df2a88b7865027a44a67ee03eff2dc5d4cdf544/IMG_8794.JPG" data-mid="1391730" border="0" /> <img width="8256" height="5504" width_o="8256" height_o="5504" src_o="https://cortex.persona.co/t/original/i/cdd28b3615e897f19470c967f47158c74faad86e99a74d8bac0d36c56221be41/IMG_9048.JPG" data-mid="1391729" border="0" /> <img width="8256" height="5504" width_o="8256" height_o="5504" src_o="https://cortex.persona.co/t/original/i/e66a2be58c84471352895c32666ed5fcaf5c2617867708dc67ab48d4175b9086/IMG_8421.JPG" data-mid="1391727" border="0" /> <img width="8256" height="5504" width_o="8256" height_o="5504" src_o="https://cortex.persona.co/t/original/i/0614be121d1e8afd2624663d7497b139c26784e0859fa89522961630d8787a1b/IMG_8692.JPG" data-mid="1391726" border="0" />  Skills for resurgence Video, 20 minutes, 2024 Skills for resurgence is a short film created through a participatory method developed by Klelija Zhivkovikj,... http://klelija.land/bio Fri, 15 Sep 2023 14:22:11 +0000 klelija 447901  Klelija Zhivkovikj, born in 1989, is a transdisciplinary artist based in Skopje, North Macedonia. Trained across several design disciplines, her work is a theoretical, material and experiential inquiry into boundaries, the physical, psychological, emotional or spiritual barriers we create to be able to connect with ourselves, other beings and ecosystems. Her introduction to the art scene in The Balkans was the project “Small Victories”, documenting small, but significant public or private interventions that stood in defiance to the oppresive political landscape of the time. From 2016 until 2023, she was a part of a community developing the project “Some Call Us Balkans”, a collective effort to explore possibilities for new conceptions of the Balkans through artistic research practices. As a part of this project, she co-authored the “SCUB Research Methodology - A Living Document” and the artistic research project “Terms of Encounter” with Hana Milenkovska and Klementina Ristovska. In 2021, Studio Private Print published her first artist book “Prototyping tenderness: a personal log of a dying world”, and hosted her solo exhibition by the same name. She was awarded the “Ladislav Barisic” award from AICA Macedonia for her research proposal “Design for resurgence” in 2022. In 2023 she received the “DENES” award for young visual artists under 35. She has participated in several group exhibitions in North Macedonia and internationally, including The Biennale of the Western Balkans in Ioannina, “It’s easier to breathe underground” in Skopje and The Biennial of Young Artists and “The event of a thread: Global narratives in textile” at the Museum of Contemporary Art - Skopje. Her latest solo exhibition opened in December 2024 at the Multimedia center of the National Gallery of North Macedonia “Mala Stanica”.  Klelija Zhivkovikj, born in 1989, is a transdisciplinary artist based in Skopje, North Macedonia. Trained across several design disciplines, her work is a... http://klelija.land/fear-of-love Fri, 15 Sep 2023 13:20:26 +0000 klelija 447899  FEAR OF LOVE Installation, 2023 We are not alone. In our bodies we carry lineages, not just in a biological sense, but in an ecological, political and spiritual sense too. Even as such, we remain sovereign beings; subjects, who are also entangled in collectives through the complexity of our shared existence. What if we could see our entanglements with the world in physical space? Would they be symbolic strings, material or digital, simply representing our bonds? Or would they be more akin to an organ, an umbilical cord housing our aliveness, distributing it around our entire being, and further into the collective? Through this work, I explore the idea of such an organ which acts as a hauntological boundary that both connects and separates us across space, but also across time and generations, fusing in our bodies that which no longer is, to what is yet to be. In this work, my body stays in these entanglements in three ways: through sound (soundscape), through visual representation (the umbilical cord), and through physical labor (weaving). As the human species moves towards gender liberation, the umbilical cord will eventually cease to be a function of female bodies alone. But, right now, it still is predominantly so, and that carries the weight of the responsibility of women as the cord weavers of this world: what kind of worlds do we weave, and where do we draw our strings from? &nbsp; The history of our civilization shows that some of our cruelest deeds have been done in the name of love and care: violence, abuse, lies, attempts to control our surrounding and those who are part of it. What are we trying to protect ourselves from? What are we afraid will happen if we give up control, and surrender to love? This work offers a possible answer through sound, a descent into the dark belly of grief and a retrieval of joy as justice that we give to ourselves. While we often consider grief an emotional state we need to escape, this work proposes that it’s a process through which we can free ourselves from the cruelty of fear that sometimes flows through our unseen bonds, masked as love. Given its practical nature, cord weaving falls under the category of “survival skills”. However, this work attempts to gauge a possible step beyond survival, through grief, and into aliveness. * this installation was produced as a part of the show of the “DENES” award, organized by “Faculty of things that can’t be learned” in Skopje, North Macedonia. Exhibited at:&nbsp; “DENES Award” Group exhibition 14.09.2023 - 23.09.2023 Chifte Hammam, National Gallery of the Republic of North Macedonia “The Event of a Thread: Global Narratives in Textile” Group exhibition 28.05.2024 - 02.09.2024 Curated by:&nbsp; Susanne Weiß, Inka Gressel, and Jovanka Popova Organized by ifa (Institut für Auslandsbeziehungen) and the Museum of Contemporary Art Skopje“I am not coming home” Solo exhibition 03.12.2024 - 14.12.2024 Multimedia Centre “Mala Stanica” at the National Gallery of the Republic of North Macedonia <img width="1024" height="679" width_o="1024" height_o="679" src_o="https://cortex.persona.co/t/original/i/075cfffaf7eae90f2d953a502e7361d99a2eabc99a19c01bfac080bdedd7cda2/DSC_6543-new-edit.jpg" data-mid="1315862" border="0" /> <img width="1024" height="637" width_o="1024" height_o="637" src_o="https://cortex.persona.co/t/original/i/da9111d19cedee69919697bfb337cdbab6bab4ec11b30990f48d3fe3e4ecea46/DSC_6597-new.jpg" data-mid="1315863" border="0" /> ^&nbsp; “DENES Award” Catalogue photos by: Dijana Dimitrievska &amp; Darko Stepic <img width="1024" height="614" width_o="1024" height_o="614" src_o="https://cortex.persona.co/t/original/i/763634219cef80cfe41095248d1d014f194ad76039cc3bed86e552b75e3dd4b2/DSC_4026.jpg" data-mid="1391766" border="0" /> <img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/333be79d9b822f29af9c05b28f36abce06ca2f8609815e6bfa12a1792d0b604d/DSC_4033.jpg" data-mid="1391765" border="0" /> ^ “DENES Award” Exhibition photos by Martina Peneva <img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/f2e3f7aa276a817ea3da64867e21360892b92070c4afc511c3d37e43e9222ae9/IMG_9008.jpg" data-mid="1391763" border="0" />&nbsp;&nbsp;<img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/84c1924cecc7e822b06d7c4b71911012bad5513566ae9faccf2fefd9d1ed8082/IMG_8994.jpg" data-mid="1391761" border="0" />&nbsp;<img width="683" height="1024" width_o="683" height_o="1024" src_o="https://cortex.persona.co/t/original/i/3bd7cc78a30477b7ae2ce85e7cb0d95c6d2b0da6e3c616ed237680c8a513a497/IMG_9000.jpg" data-mid="1391762" border="0" /><img width="1024" height="683" width_o="1024" height_o="683" src_o="https://cortex.persona.co/t/original/i/0b5b6f5403c023c1ef7309e1d3590d347d6c6255aaed369c111a6e9fb9ecc1b5/IMG_9010.jpg" data-mid="1391764" border="0" /> ^ “I am not coming home” Exhibition photos by Jelena Belikj  FEAR OF LOVE Installation, 2023 We are not alone. In our bodies we carry lineages, not just in a biological sense, but in an ecological, political and... http://klelija.land/design-for-resurgence Mon, 23 Jan 2023 17:56:31 +0000 klelija 437129  Design for resurgence is a multi-form essay detailing my research into a design discipline at whoe core is resurgence as described by Anna Tsing. The essay weaves together personal narratives, contemporary design practices and bits of theory into a pledge of coming alive in kinship with the more-than-human world. The research proposal for this essay was awarded the&nbsp;“Ladislav Barisic” award for research proposals in the field of art criticism, awarded by AICA Macedonia. Published in Macedonian in the spring of 2025. English translation will follow soon. Click here to read the essay in Macedonian.  Design for resurgence is a multi-form essay detailing my research into a design discipline at whoe core is resurgence as described by Anna Tsing. The essay... http://klelija.land/design-studio Thu, 11 Aug 2022 08:37:04 +0000 klelija 428812  Design studio Educational module, 2020 - present Design studio is an educational module tailored to design students at any stage of their education process. The goal of this module is to make visible the entanglement between our own creative process and the way the practice of design shapes the world. The module operates at three levels: Self-awareness - how do I create? What drives me in that process? What scares me? How do I hope to develop through it? How can I be more intimate with my creative process? At this stage the students experience their creative process as a resource that they can always access. They learn how to be kind to themselves through taking responsibility for their creative process and learning how to respect it without trying to control or change it. Interdependence - how do I co-create? How do I collaborate with others? What are&nbsp; my tendencies in a team environment? What can I give to the team? What do I need from the team? How does our team work ebb and flow towards our communal goals? At this stage students use their self-awareness developed in the first stage and use it to discover their tendencies in teamwork. They experience more stability in their self-awareness as they broaden it through teamwork, but more importantly through it they expand the self-awareness into their team, creating an interdependent organism.Speculative design - what world are we creating? What is the relationship between our self-awareness, our interdependence and the shape of our world? Can we imagine a world which grows out of the experience we’ve had during the workshop? What does it look like? At this stage, the teams each work on either a “design challenge” which they have to accomplish through speculation, or they are simply tasked with visualizing a world which comes out of the microcosm of their team. This module does not aim to give the participants a perfect experience, but rather to create a space in which discomfort is safe, confusion is allowed and encouraged, and connection and conversation drive the process of discovering design as more than a discipline, but rather as a way of loving the world and taking responsibility for its shape. At the end of the process, the participants are invited to reflect and share anything that has or is coming up for them in the aftermath. Developing a pedagogic practice to me is another form of research, as opposed to a mere sharing of knowledge. This module is currently taught at the Graphic design academy at Brainster Co.  Design studio Educational module, 2020 - present Design studio is an educational module tailored to design students at any stage of their education... http://klelija.land/prototyping-tenderness-a-personal-log-of-a-dying-world Thu, 11 Aug 2022 08:36:27 +0000 klelija 428811  The artist book "Prototyping tenderness: A personal log of a dying world" is an autobiographical sublimation of a transdisciplinary insight into tenderness as a quality of a boundary between beings, systems, environments etc. It is a speculative diary, set in a post-apocalyptic world, which documents the thoughts of a designer who attempts to grapple with their discipline which, while it has shaped the world, it has also participated in bringing on its end through the massive and unjust extraction, distribution and depletion of resources. The book follows the designer as they begin to develop intimacy with soil and the two beings learn to love and care for each other. Intercepted with thoughts and musings from theory, literature, art and past relationships, the book ends with a poetic description of relationships as our primary world-building tools. The reseach process aimed to offer a perspective on developing a design practice toward kinship, interdependence, and resurgence.&nbsp; The installation “prototyping tenderness” consists of several elements, which were used as instruments in the research process.&nbsp; 1. Original handwritten notes and sketches; 2. A pile of earth; 3. A hemp rope; 4. The animation “Tvojta Taga” (Your Sorrow), shown on a screen; 5. The book “Prototyping Tenderness: A Personal Log of a Dying World”. Order the book here&nbsp; <img width="2817" height="2146" width_o="2817" height_o="2146" src_o="https://cortex.persona.co/t/original/i/6fa4bc85485b652d1133c1ef8e85fac11317f0e57fad59d99af17566f6edcb1e/3-fb-web.png" data-mid="1215875" border="0" data-scale="65"/> <img width="2855" height="2175" width_o="2855" height_o="2175" src_o="https://cortex.persona.co/t/original/i/ab5e9f0a5239022fd367f53487cfa2fa06e2e9e76aa7cbd96b2474d0485199f9/6-fb-web.png" data-mid="1215878" border="0" data-scale="65"/> <img width="2855" height="2175" width_o="2855" height_o="2175" src_o="https://cortex.persona.co/t/original/i/29d18cc23472467c716d87345b6cd927f6df1fe1078632595a087c98f3e13b61/4-fb-web.png" data-mid="1215877" border="0" data-scale="65"/> <img width="2855" height="2175" width_o="2855" height_o="2175" src_o="https://cortex.persona.co/t/original/i/a392f5f5622fb3d4a4535c9e75ea116e72962d113090057c7933c45a1ffd425f/8-fb-web.png" data-mid="1215884" border="0" data-scale="65"/>  The artist book "Prototyping tenderness: A personal log of a dying world" is an autobiographical sublimation of a transdisciplinary insight into tenderness as... http://klelija.land/prototypes-for-mutual-pleasure Thu, 11 Aug 2022 08:29:34 +0000 klelija 428810  The spectacularly dystopian, self-fullfiling “end of humanity” narrative shapes our veryday life. Between the fear of the future and the paralysis of the present, we cannot seem to look away from our devices. The comfort of consumer culture, which exploits a ignificant part of the world’s human and natural resources, is within our reach whenever we face this inevitable doom. If we look closely, we might even observe how intricately connected they are. The beast is two headed: one head screams, the other eats.Sprouted by Pollan’s “Botany of Desire”, the Prototypes for mutual pleasure are a suggestion to re-examine the existing model of domination which humanity practicesover the rest of the non-human world. Since looking for an alternative to it is often dismissed as idealism, perhaps another option would be to reinvent it as a model of domination based on mutual pleasure, open communication, and intimacy. Prototypes for mutual pleasure is an installation and performance consisting of three ifferent prototypes which allow the audience to experience a consensual exchange of ower with another living or non-living subject, including the artist. All three prototypes incorporate intimacy as a platform for exchange of power and for achieving mutualpleasure. The prototypes purposefully aim to create intimacy between humans and non-human subjects to enable a framework of care that escapes the anthropocentric rap. Comissioned and exhibited by It’s easier to breathe underground in 2019; an annual groupshow which reflects on the deadly levels of air polution our country has documentedrecently. <img width="960" height="645" width_o="960" height_o="645" src_o="https://cortex.persona.co/t/original/i/83ab92b555254d6eb986125523c24bf5e600c8fe8123d5959c70f06cfb28783e/Jelena-Belikj-1.jpg" data-mid="1214240" border="0" />photo by Jelena Belikj <img width="1280" height="854" width_o="1280" height_o="854" src_o="https://cortex.persona.co/t/original/i/bbe250d3b4b97d90a3fd7fb097343ac3b4984bd441f674055a66510e167864e0/Goran-Dimov.jpg" data-mid="1214241" border="0" />photo by Goran Dimov <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/d2a8e002c24cce72150095465f94ac1398923387712d8bdf4ee6cdf66208652b/ezgif.com-resize.jpg" data-mid="1267164" border="0" /> photo by Damjan Cvetkov-Dimitrov  The spectacularly dystopian, self-fullfiling “end of humanity” narrative shapes our veryday life. Between the fear of the future and the paralysis of the...