Abstract Within the span of only four years, two books on the same subject and with almost identical titles were published on two sides of Europe: Hans Prinzhorn's Artistry of the Mentally Ill (Berlin, 1922) and Pavel Ivanovich Karpov's Creativity of the Mentally Ill (Moscow, 1926). Whereas the first book was recognized as one of the key steps in the “discovery” of the psychotic art and its eventual mainstreaming, the second one quickly fell into obscurity. Its author perished in Stalinist purges of the 1930s, together with a number of his colleagues from the Russian Academy of Artistic Science (RAKhN, 1921-1931), in which he served as the head of the Commission for the Creativity of Mentally Ill. This article is the first in-depth study of Karpov's book and his theory of creativity, which he based on his extensive collection of the works of his patients (which was also lost in the purges). The article argues that his approach to psychotic art is completely independent from Prinzhorn's. Instead, it places this book in the context of the specific form of Kunstwissenschaft that was practiced in RAKhN, suggesting that this placement is of primary importance for understanding Karpov's methods and aims. More specifically, the article argues that in his research on the creativity of the mentally ill, Karpov engages in a productive dialogue with the philosopher and prominent RAKhN member Gustav Shpet's work on epistemology from the same period. The result is an original contribution to the clinical literature on art of the mentally ill patients.

Polyhydramnios is a condition related to an excessive accumulation of amniotic fluid in the third trimester of pregnancy and it can be acute and chronic depending on the duration. Published data suggest that during muscle development, in the stage of late histochemical differentiation decreased mechanical loading cause decreased expression of myosin heavy chain (MHC) type 1 leading to slow-to-fast transition. In the case of chronic polyhydramnios, histochemical muscle differentiation could be affected as a consequence of permanent decreased physical loading. Most affected would be muscles which are the most active i.e., spine extensor muscles and muscles of legs. Long-lasting decreased mechanical loading on muscle should cause decreased expression of MHC type 1 leading to slow-to-fast transition, decreased number of muscle fiber type I especially in extensor muscles of spine and legs. Additionally, because MHC type 1 is present in all skeletal muscles it could lead to various degrees of hypotrophy depending on constituting a percentage of MHC type 1 in affected muscles. These changes in the case of preexisting muscle disorders have the potential to deteriorate the muscle condition additionally. Given these facts, idiopathic chronic polyhydramnios is a rare opportunity to study the influence of reduced physical loading on muscle development in the human fetus. Also, it could be a medical entity to examine the influence of micro- and hypogravity conditions on the development of the fetal muscular system during the last trimester of gestation.

A review was conducted using PubMed/MEDLINE (published articles) as well as World Wide Web (video material) to determine the frequency of anterior and posterior presentation of the elephant at birth. Of 46 identified cases, 12 were in anterior and 34 in posterior presentation. The Fisher exact test (p=0.682) did not show a statistically significant difference in the distribution of presentations between the Loxodonta africana (2 anterior and 10 posterior presentation) and Elephas maximus (10 anterior and 24 posterior presentation). The ratio between anterior and posterior presentation 6:29 (18.51% versus 81.49%) at birth without knowing dystocia, is significantly different from the distribution anterior and posterior presentation 6:3 (66.7% versus 33.3%) in cases with dystocia (Fisher exact test p = 0.012). Obtained data shows that posterior presentation at birth in elephants is more often present than anterior, while anterior presentation is more often associated with dystocia.

1968 was a watershed year not only for the new left but even more so for the rise of the New Right. It turns out that, if 1968 “prepared” 1989 as the next turning point in European and world history, it was probably more through the new right’s forging of ideas that would eventually provide ideological justification for illiberal democracies in Central and Eastern Europe. Yugoslavia is an important site in this history not only because of its early exposure to the ideas of the new right through the work of the painter and publicist Dragoš Kalajić but also because in his seminal book The Philosophy of Parochialism (1969), Radomir Konstantinović anticipated the rise of the new right and offered a penetrating critique of its fundamental premises.

The election of Donald Trump to the presidency of the United States missed by a mere few weeks the 120th anniversary of the opening night of Alfred Jarry’s Ubu the King (10 December 1896). Numerous similarities between the 45th US president and the character that inaugu -rated the theatrical avantgarde didn’t go unnoticed. The poet Charles Simic wrote that the “story of his presidency and the cast of characters he has assembled in the White House would easily fit into Jarry’s play without a single word needing to be changed” (Simic 2017). British author Rosanna Hildyard had the same idea when she published her translation and adaptation of Jarry’s play under a tell-all title: Ubu Trump (2017). And early in 2018, Paula Vogel organized a “National UBU ROI Bake-Off” in which she invited playwrights to compose skits featuring key “ingredients” from Jarry’s play. So, on Presidents’ Day (19 February 2018) theatres across the country performed pieces that ranged from a farce about Trump and Anthony Scaramucci, who briefly and scandalously held the position of White House communications director, to a monologue by an actor playing Melania Trump, to Ubu’s funeral. More recently, in late February 2020, an advertisement from Verso Books for Hal Foster’s new book What Comes after Farce? landed in my inbox. The blurb is spot on:

In September 2019, Marina Abramović's exhibition, The Cleaner, billed as her “European retrospective,” opened in Belgrade. The funding for the exhibit was secured through a direct intervention that came from Serbian prime minister Ana Brnabić. The Cleaner quickly became the center of a vigorous political debate, which exposed hypocrisies of the regime of illiberal democracy currently in power in Serbia.

1Academy of Medical Sciences of Bosnia and Herzegovina, Sarajevo, Bosnia and Herzegovina 2 Clinic of Urology, University Clinical Center of Republika Srpska, Banja Luka, Banja Luka, Bosnia and Herzegovina 3 Medical Faculty, University of Banja Luka, Banja Luka, Bosnia and Herzegovina 4Primary Health Care Center, Banja Luka, Bosnia and Herzegovina 5Day Oncology Hospital ZU Estetic, Banja Luka, Bosnia and Herzegovina

Introduction: The introduction of BRAF inhibitor vemurafenib significantly improvedoverall survival (OS) in metastatic melanoma patients.Aim of the Study: The purpose of this study was to determine OS and progressionfree survival (PFS) in patients with advanced metastatic melanoma treated withvemurafenib in the Oncology Clinic, University Clinical Centre of the Republic ofSrpska (UKC RS). The secondary goal is to determine the effect of elevated serumlactate dehydrogenase (LDH) on OS.Patients and Methods: We analysed patients that received vemurafenib in theApril 2015. until March 2018. They had pathohistologically confirmed B-RAF positivemetastatic melanoma. LDH values were measured at the start of the treatment.Results: A total of 16 patients were analyzed, with an average age of 53 years(37-78). A large number of patients at the start had multiple sites of metastases.Calculated OS in patients who received vemurafenib is 11.8 months (p=0,23), withstandard deviation (SD) 9.18. The calculated PFS is 9.5, SD 7,57. OS in patients withnormal LDH is 14.4 months, SD 10.73, and with elevated LDH is 8.4 months, SD4.9 (p=0.079).Conclusion: Use of vemurafenib resulted in an improvement in PFS, with improvedOS in patients with advanced BRAF-mutated melanoma. In patients with elevatedLDH OS was reduced. This shows that LDH is a good prognostic marker and thatwe should do it routinely for all patients with melanoma. This study has indicatedthe need for new diagnostic and therapeutic options for melanoma in Republic ofSrpska.

During his time working with the Berliner Ensemble, Carl Weber observed firsthand Brecht’s techniques as he called out directions to his actors from the 10th row. Weber, groundbreaking theatre director, actor, scholar, and pedagogue, gave a series of interviews during his final years with a group of faculty, postdoctoral fellows, and graduate students at Stanford University, reflecting on the artistic processes of the Berliner Ensemble and its legacy.

The principle of participation seems to offer an infinite potential for an economy that attempts to commodify all aspects of human existence. In this environment, participatory performance loses all of its subversive potential and becomes, in fact, the epitome of normative performance for the twenty first century. Taking as its main point of reference cases of coopted factories in Argentina and Bosnia, Jakovljević argues that the only relevant forms of participatory performance today are those that decisively reject the separation between aesthetic and productive performance in order to engage full production and affective relations of all participants, thus forging a common base of solidarity, collaboration, and engagement.

Abstract Between 1974 and 1975, Zoran Popović, a conceptual artist from Belgrade, Yugoslavia, and his wife Jasna Tijardović, an art historian, spent a year in New York. During that time they engaged closely with the New York Art and Language group. This friendship and collaboration resulted in a rare instance of East-West exchange in Conceptual art: Popović and Tijardović published both co-authored and individual articles in the US journal The Fox, and members of Art and Language (Mel Ramsden, Michael Corris, and Jill Breakstone) gave a seminar in Belgrade's Student Cultural Center in the fall of 1975. One of the most important outcomes of this exchange is Zoran Popović's film Struggle in New York—Борба у Њујорку, which he made on his return visit to New York in the fall of 1976, and which features the members of New York Art and Language and other artists and activists from the downtown Manhattan art scene of the mid-1970s. This essay argues that in this film, Popović uses documentary techniques to establish a space for the display of radical artistic practices that engaged in a vigorous critique of art institutions. In so doing this film marks a limit position of institutional critique that approaches the idea of the abolishment and abandonment of art practice altogether. Further, the essay explores some differences between Conceptual art practice in Yugoslavia and the United States, arguing that Popović uses the crisis that tore the New York Art and Language group apart to address the unraveling of politicized Conceptual art practice in Belgrade's Student Cultural Center.