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Future Read in Concrete and Stone is a gaze into communist art and politics of the 20th century, a trip through the partisan forests of Yugoslavia, a picnic at Kozara, Sutjeska and Kadinjača, a voluntary labour action for building a future through temporary and contingent theatre experience. This is a performance structure made of invitations: invitation to imagine, invitation to look and decipher the society and, eventually, an invitation to physically engage collective body intelligence.
In 1917, in the wake of the October revolution, Vladimir Ilyich Lenin claims in one of his writings, that the only way to stay truthful to the revolution is to treat it as art. Following this thought, the authors of Future Read in Concrete and Stone study and read the Yugoslav monuments to the People’s Liberation Struggle as traces of revolution but also as coordinates of a new society.
Modernist monuments of the Second World War in Yugoslavia, built during the 60s and the 70s, can be understood as huge revolutionary stages which, during Yugoslavia, were used for state celebrations, school excursions or family trips. During the 90s and the breakup of Yugoslavia, their status changed – they got abandoned or destroyed while some also got arrogated by the new nationalist elites who changed their initial significance.
The revolutionary monument on the Kozara Mountain by Dušan Džamonja, as well as Miodrag Živković’s monuments on Sutjeska and Kadinjača, are all treated in the performance Future Read in Concrete and Stone as a source of mise-en-scène principles and choreography which, during the performance, get revealed, taught and performed. Does contemporary theatre offer an experimental space in which a temporary collective can interpret, translate and rehearse “social choreography” of radically new concepts?
The last decade was, in political sense, marked by a new, potentially revolutionary crowd in the streets which, since the suburban riots in Paris in 2005, keeps appearing everywhere: in Europe, in Arab countries, in South America, in Hong Kong. Could it be that this crowd portends the future alternative to the freedom promised by neoliberal capitalism? And do the abstract monuments of the Second World War in Yugoslavia - erected not to the glory of the leader or to bureaucratic socialist state, but to the glory of the communist anonymous partisan collective – do they tell us something about that crowd? When we compare that historical collective to the contemporary anonymous rebellious collective, could we draw some guidelines, some forms of rebellion, of ideology of collective spirit and the struggle for a new world?

Walking Theory - TkH is an artistic-theoretical platform founded in Belgrade in 2000. The TkH projects include research and critical education projects, publishing (TkH magazine for the theory of performing arts), artistic production in the field of performing and visual arts and film. The core of TkH is an editorial collective consisting of Ana Vujanović, Bojana Cvejić, Bojan Djordjev, Katarina Popović, Marta Popivoda and Siniša Ilić and producers Dragana Jovović and Jelena Knežević.
Their recent projects in the field of performing arts include: B. Djordjev, Not Red But Blood!, TkH and CZKD (CFCD), Belgrade, 2014; B. Djordjev, The Discreet Charm of Marxism, TkH and DasArts, Belgrade/Amsterdam, 2014; G. Ferčec/B. Djordjev/O. Dimitrijević, Flow of Lust, Centre for Drama Art and TkH, Zagreb/Belgrade, 2013/4; I. Sajko/S. Ilić/B. Djordjev, It’s Not Us, It’s Just Glass, TkH, Belgrade, 2012; A. Vujanović/S. Asentić, On Trial Together, Per Art and TkH in coproduction with the Serbian National Theatre Belgrade/Novi Sad, 2012.