Remake or artefactual reinterpretation of the well known works of the new media pioneers well presents nowadays an inertial principle, repeated so often that it seems it lost its “semantical power” through repeating. It is difficult to say that such a remake, dislocated from the historical, causal context of the original, can have a little more than "an aura of historical quotation", set in the new environment and working conditions.
When there is discussion on new media pioneers' works, in particular on those who, for some reason, were not actualized in the literature or distribution, (but who are acting as an important testimony of the new-media activities of middle-European demography), they acquire a whole new connotation and dynamic literary aspects, sociocentric enthusiasm and mapping processes, but also the confirmation as regional new-media pioneers.
However, the question is, what kind of connotation has a remake of the groundbreaking, newmedia works in the state structure where no such pioneering activities ever happened before? Not during the expected time frame nor through the works of enthusiasts who remained in the shadow of other art-theoretical tendencies? Presence of new media art, as an established and clear artistic strategy in Bosnia and Herzegovina can be sensed only after the 2000, and such practices are designated as carriers of the contemporary local artistic activism and not as a historical- contextual particularity. In which way can we transpose the pioneers of the new-media art in the context of Bosnia and Herzegovina. What if Remaking requires Making?
These are the problems that the net art work (Re) Write Bosnian-Herzegovinian net.art actually deals with it. [http://www.yourworldoftext.com/rewritebhnetart] An empty, in all directions observable discursive space of Bosnian-Herzegovinian net.art is the Bosnian-Herzegovinian net.art itself and any intervention on its surface means in the same time the Writing of the Bosnian-Herzegovinian net.art. Since the page allows rewriting of the already existing syntax or ASCII drawings one can speak of a simultaneous writing but also of remaking of Bosnian net-art.
This is not a remake / There are no Bosnian-Herzegovinian new-media art pioneers, is an (anti)notification that indicates the difficulty the principles of remake will meet when in the contact with the non-existence of a reference paradigm within a particular cultural-political space. It is a statement, auto-recognition that triggers avalanche of questions and dilemmas related to contemporary Bosnian-Herzegovinian “new media” cultural identity and its determination. This work relies on previous e-mail action of Tač.ka: No-exhibition / No opening.
