Editors’ Note

The concept of cross-border collaboration has long been key to the development of both modern and contemporary art. From early 20th-century transnational avant-gardes to today’s digital cultural exchanges, artistic creation has consistently revolved around flows of ideas, practices, and bodies that go beyond national borders. The essays in this issue revisit this phenomenon from various perspectives, illustrating that collaboration is not only historically constant but also a vital lens for understanding current artistic and media practices.

Several articles revisit the avant-garde legacy, emphasizing how artistic forms enabled transnational circulation. Elena Colzi analyzes Fluxus event scores as exchange media that facilitated works to travel beyond individual artists, thus redefining authorship, collaboration, and dissemination. In a related historical context, Jelena Drobac discusses Dušan Janković’s transnational work between Paris and Belgrade, revealing how visual languages emerge through local traditions intersecting with international avant-garde frameworks.

Other contributions shift toward contemporary conditions shaped by digital technologies and global infrastructures. Hadjer Ben Salem investigates vlogging in the Global South, showing how creators navigate and challenge platform-driven cultural hierarchies. Meanwhile, Jelisaveta Blagojević reexamines responsibility in algorithmic governance, drawing on Hannah Arendt to argue that thinking becomes crucial to cross-border political and cultural collaboration.

The issue also highlights embodied, performative, and practice-based approaches to transnationality. Monica Toledo Silva offers a cartography of the body through migration, where language, image, and affect intersect in artistic practice. Marija Simojlović explores Ukrainian ballet's presence in Belgrade as a form of transnational cultural cooperation that transcends displacement narratives and fosters new professional and cultural networks.

Finally, the institutional and policy aspects of collaboration are explored through an analysis of Creative Europe projects, which show how music functions within transnational cultural frameworks—not only as art but also as a social, political, and networked activity.

Together, these contributions demonstrate that cross-border collaboration is more than mobility or exchange; it is a complex process involving translation, mediation, negotiation, and responsibility. Whether through avant-garde devices, digital platforms, embodied practices, or institutional structures, these studies reveal how artistic and cultural production influences, and is influenced by, the transnational realities of the contemporary world.

Guest Issue Editors: Tania Ørum, Professor Emerita, Department of Arts and Cultural Studies, University of Copenhagen, Denmark

Tania Ørum, Professor Emerita, at the Department of Arts and Cultural Studies (IKK), KU (1991–2015). Coordinator of the Danish research network “The Return and Actuality of the Avant-Gardes” supported by the Danish Research Council for the Humanities, 2002–2004. Director of the Nordic Network of Avant-Garde Studies (www.avantgardenet.eu) supported by the Nordic Research Council, Nordforsk 2005–2009.

Chairman of the European Network for Avant-Garde and Modernism Studies (EAM) (www.eam-europe.ugent.be) 2007–2008. Member of the Steering Committee of EAM from 2007. Main editor of the 4 volumes of A Cultural History of the Avant-Garde in the Nordic Countries published in the series of “Avant-Garde Critical Studies” at Rodopi/Brill (Leiden/Boston 2012–2022). Has been widely written on Modernism and the Avant-Garde in literature and the arts. For a list of publications, see: http://curis.ku.dk/admin/workspace.xhtml.

Reviewers: Cândida Almeida (FECAP University Center / Researcher at University of Lisbon, Portugal), Irina Cărăbaș (Department of Art history and theory, National University of Arts Bucharest, Romania), Nikola Dedić (Faculty of Music, University of Arts in Belgrade, Serbia), Delamar José Volpato Dutra (Department of Philosophy, The Federal University of Santa Catarina, Florianópolis, Santa Catarina, Brazil), Iuliia Glushneva (Art History and Communication Studies, McGill University, Montreal, Canada), Lisa Giombini (Department of Philosophy, Communication and Performing Arts, Roma Tre University, Italy), Bekhzod B. Khadjimetov (Kamoliddin Behzad Institute of Arts and Design, Tashkent, Uzbekistan), Hamed Khosravi (Architectural Association School of Architecture, London, UK), Panos Kompatsiaris (HSE University, Moscow, Russia), Stanislav Menzelevskyi (Media School, Indiana University Bloomington, USA), Angelina Milosavljević (Faculty of Media and Communication, Singidunum University, Belgrade, Serbia), Tamara Pešić (Faculty of Arts, University of Priština, temporarily seated in Kosovska Mitrovica), Maryna Pogrebnyak (Poltava National Pedagogical University named after V. G. Korolenko, Poltava, Ukraine), Felipe Raizer Moreira (Pontificia Universidade Católica de São Paulo (PUC-SP); visual Artist and member of InterLab21_CCM – Research Group in Communication and Creation in Media), Jacob Dahl Rendtorff (Department of Social Sciences and Business, Roskilde University, Roskilde, Denmark), Moritz Schuck (Department of Engineering Acoustics, Technische Universität Berlin, Germany), Myrto Veikou (University of Patras, Greece)

On the cover: Provisional Salta Ansamble: Risky Boundaries, AI drawings, 2026.