Kruh in vrtnice

Bread and roses

Within the framework of Women’s Day, together with the 26th International Feminist and Queer Festival Red Dawn, we present the performance series Bread and Roses, curated by Tatiana Kocmur. From March 7 to 9, 2025, three performances by artists Lučka Centa and Urška Medved, along with artist Hristijan Nashulovski, will take place—where the body becomes a powerful vessel of political and social messages. A nonhuman confronting the void of modern exclusion mechanisms. A witch, intertwined with her environment, weaving resistance against patriarchy. A spinning wheel, turning away from feminized professions and normalized precarity. A body that embodies the resounding words of women who, since 1857 and into infinity, have fought for a better world.
Viva March 8!

Hristijan Nashulovski: NONHUMANS
March 7, 2025, 8:00 PM
Performance
Cirkulacija 2
Slovenian / English
Voluntary contributions

All visitors are kindly requested to register in advance via the following link: https://form.typeform.com/to/pfFbvHuJ. Thank you!

“NONHUMANS” explores bureaucratic mechanisms of exclusion that do not function through direct rejection but through negation—a gradual erasure of the individual from their own existence. The performance exposes how the system does not oppose but empties, does not expel but suspends, does not deny but conditions.

Through multiple phases, the artist’s body moves through processes of verification, categorization, and dehumanization—procedures familiar to those whose belonging is conditional. Documents become more real than the body, borders more tangible than movement, rules more permanent than existence itself.

Naash.x does not reject these structures but carries them to their full conclusion—until their artificial logic collapses into absurdity. Through his own body, he deconstructs bureaucracy as a tool of control, where identity is not something one possesses but something that can be revoked.

In “NONHUMANS”, there is no conflict, only gradual disintegration—not a struggle for inclusion, but a confrontation with the emptiness the system produces. The performance is not an act of resistance but an act of exposure: how one can be made absent before they ever fully exist.

“NONHUMANS” operates through negation, where erasure is not opposition but the absence of a core. Identity is not rejected but hollow—bureaucracy does not remove but suspends. The subject is not the other but non-existent within the very structure that recognizes and erases them simultaneously.

Hristijan Nashulovski (b. 2004), originally from Bitola, lives and works in Ljubljana, where he studies fashion and textile design at the Faculty of Natural Sciences and Engineering. His interests lie in the fluid intersections of visual art, textiles, movement, fashion, and performance, focusing on the exploration of bodies in all their possible forms. Until now he has worked as a costume designer  and has presented three independent collections. With his work “RUINS,” he became the youngest independent designer to showcase at Skopje Fashion Weekend. Recently, he collaborated as a performer and costume designer for “Trans(Myth) Me Baby One More Time” by artist Cat Jugravu. In 2023, he exhibited his textile installation “After All” at the Marko Cepenkov Gallery (Prilep) as part of the Below Zero group exhibition.

Lučka Centa: ved’ma
March 8, 2025, 8:00 PM
Performance
Cirkulacija 2
Voluntary contributions

ved’ma is the ancient witch of the Slavic pagans, dwelling on the fringes of civilization. She is an everyday woman, with wild hair and swollen, red eyes reflecting an inverted image of the world. She gazes into both life and death, drawing her blood directly from the earth. Trapped in the spores of patriarchy, she remains wild, untamed, and unyielding. She makes love to the untamed and belongs freely. Above all, ved’ma trusts herself—she is the embodiment of a self that knows no fear.

This performance explores the intimate self-image of a woman who feels a deep alliance and love for her environment while rejecting the outdated notion of the witch as a grotesque, mystical crone. Through an ecofeminist lens, the modern woman reimagines this archetype—not as a monstrous outcast, but as one who, through her bond with nature, weaves resistance against patriarchy. And yes, she plots revolution in meetings with the forest.

In sharp red light, a mound of earth lies before us, beneath which a woman is trapped in an erotic, translucent net. Her body slowly merges with a bundle of branches, collected from the remains of deforestation on Castle Hill. Through movement, she explores the intertwining of matter and flesh.

Lučka Centa (b. 1996) is an intermedia artist working in the intersection of performance, photography, video, and installation. In 2021, she graduated from the Academy of Fine Arts at Complutense University in Madrid, where she explored artistic production within natural, non-urban spaces to better understand the relationships between humans and nature. Her work focuses on interspecies interdependence, environmental perception, the human impact on nature, and the societal valuation of different bodies and entities. As a master’s student in sculpture at the Academy of Fine Arts and Design in Ljubljana, she explores the materialization of performative practice, guided by the idea that the body is a bridge erasing the divide between the natural and the social.

Urška Medved: Oh, my dear, spinning wheel…
March 9, 2025, 8:00 PM
Performative installation
Cirkulacija 2
Voluntary contributions

“Oh, my dear, spinning wheel…” is a performative piece by Urška Medved, created as part of her research into contemporary modes of labor and the role of women within them. It is a visual and physical exploration of the struggle to maintain balance in a world where too much has become the norm. The performance manifests spinning—spinning in circles, spinning thoughts, spinning a spinning wheel, and spinning on a stationary bicycle.

In English, the word “spinning” holds multiple meanings: it is both a trademarked term for indoor cycling, a popular guided fitness practice often paired with fast music and virtual landscapes to make time fly, and a traditional handcraft technique for extracting fibers from wool or flax, a meditative and time-consuming practice. The performance explores the paradoxical sensation of rushing forward while simultaneously standing still. Medved delves into themes of preoccupation, meditation, duration, and impermanence.

Urška Medved (b. 1996) is based in Gothenburg, where she is completing her Master’s in Contemporary Performative Arts. As part of her studies, she created the performative installation The Land of Bees – The Paradoxicality of Absence and the Execution of Vacations, presented on a farm in Skredsviks Hede. Her performative journey began at the age of four in Cultural Association Qulenium, under the guidance of Saša Lončar. Over the years, she has created numerous solo and collective works, performing on both Slovenian and international (non)stages.
Medved holds a degree in Textile and Clothing Design from the Faculty of Natural Sciences and Engineering. With her work Home Sweet Home, she won first prize at the Olga Birkefeldt Young Artists’ Competition in Bengtsfors, Sweden. In 2019, she participated in the RICF international festival in Delhi. Her first solo exhibition, Sledi, was presented at Medprostor in Kranj (2020) and later featured at the Lotny Biennale in Lithuania and the 4th Young Textile Art Triennial (YTAT) in Łódź, Poland (2022). In 2021, she showcased her work at the BIEN21 Textile Biennale in Kranj. Since 2023, she has been a member of the performance trio Gentle Pain.

Curated by: Tatiana Kocmur
Co-produced by: Cirkulacija 2, KUD Mreža
Co-financed by: Municipality of Ljubljana – Department for Culture, Ministry of Culture of the Republic of Slovenia