In another cross-national project, Bosnia and Herzegovina hosted the “University of Disaster,” an initiative of artist Radenko Milak in collaboration with the congenial crew at Paletten, the Swedish art journal fronted by writer Fredrik Svensk and curator Sinziana Ravini. On the top floor of the palazzo, Milak’s gorgeous watercolors and hand-drawn animations of events like Chernobyl and Hiroshima may have set the tone, but from there, “disaster” took on extravagant interpretations. Sidsel Meineche Hansen’s Oculus Rift animation Dickgirl 3D(X), 2016, endowed viewers with magnificent breasts and an electric-blue plasma phallus used to repeatedly penetrate a giant chortling sex potato. I tried to avert my eyes from the bobbling mass, but the goggles wouldn’t let me look away. The most effective representation of disaster may have been the most intimate: Echo, a searing performance by Nils Bech staged in a tiny makeshift bedroom covered in a quilt of Ida Ekblad paintings. Curled up beside a small effigy on the bed, Bech drizzled his limoncello vocals over the room, crooning on loop: “It’s all over now . . , It’s all over now.” There wasn’t a dry eye (or an unbroken heart) in the room.
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