The project under the title „No Exhibition“ , started by the activists of the group of visual artists Tač.ka, aims to publish (anti)posters, which inform the spectators as to where and when Tač.ka will not be having an exhibition. The true attraction of a conception like this does not come to bearing until the antiposters are circulated via the web to the public institution which is listed as the location at which Tač.ka will not be having an exhibition. An outstanding example which takes to the true idea of such an action, i.e. to reexamine the power of the effects of virtual (nonreal) onto the real existence, and more broadly, to find-destruct the sense of such a dualism, and finding an answer to the antiposter of the Museum of Contemporary Art in Detroit. MOCA in Detroit received an email with an antiposter a few days before the date on which the exibition would not be taking place. The administration of the museum was provoked by two things. First, the understood the „poster“ to be giving information about an event which would be taking place, rather than not taking place, i.e. of one which is not even imaginary. Thus the poster loses its information-giving function and becomes an antiposter. Second, the information to be found on the poster, which were explicitly telling the event would not be taking place were misinterpereted and accepted as malinformation, creating a poster out of the antiposter.
The answer to our email with the question how it would be possible for a group of artists from Bosnia & Herzegovina to have an exhibition, while the name of the group was never mentioned in the museum's program was instant. We were asked to further the name of the person we had agreed on the exhibition with.
“No Exhibition“, which was marked on the antiposter, in the everyday business of the contemporary galleries may evoke the title of a true exhibition, which as existant in the eyes of the gallerists thus creates a poster out of the antiposter. In that moment, the poster begins to imply an exhibtion which further becons „real“ people with „real“ works, which have created the virtual antiposter in the first place.
Even thought the antiposter remained in a virtual, and for the MOCA in Detroit a non-existent form, it kick-started through a system of misinterpertation a complex series of mutually causative situations which perpetually move through the virtual and the real world.
