After being designed and tested by the Borovo female workforce and an orthopedic surgeon, the shoe was institutionalized for Yugoslav women working in the public sector. Borosana was launched in 1969, in white and navy colors, featuring an ergonomic platform, calculated as ideal for nine hours of standing without hurting the wearer’s spine. In the declining years of Yugoslav communism the model was withdrawn from mass production and fabrication was abandoned when Vukovar became a major Yugoslav war zone in 1991.
Each time this project is exhibited Borosana becomes the official work shoe of the host institution advancing the constructivist maxim of great utilitarian design in service of the working woman. With each step, the shoe extends the architecture of labor and provides the wearers with a distinction between labor time and leisure time. Borovo remains the last public Yugoslav infrastructure. The inability to legally split and privatize the company’s public assets prevents Yugoslavia from fully formally splitting to this day. With every new step Yugoslavia persists (insists).
I set the body aside to cool down. Then, I pause a bit. I start thinking about the mortal carcass. What did he think a moment ago, yesterday, last year? Did he want me to forgive him or ease his well-deserved punishment? I imagine him in various stages of life and in ordinary situations. Then I cover him in salt, wrap him in rags, drain the fat and press him, gradually and carefully, to avoid breaking any bones, extracting all blood left in the meat. Next, I wash him repeatedly to remove the salt, and hang him in a dark, well-ventilated room. The surrounding air is paramount for the final quality of the prosciutto. I wait patiently. After he is completely dry, I slice and eat him."
The text creates a kind of serial killing spree/gang war aimed against the men of minimal and conceptual art (Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Alighiero Boetti, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Walter de Maria, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Michael Heizer, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Stephen Kaltenbach, Edward Kienholz, Yves Klein, Joseph Kosuth...) before their arrival to the opening of the first major international survey of conceptual art When Attitudes Become Form curated by Harold Szeeman for Kunsthalle Berne in 1969.
The design was etched into a black aluminium leaf and effected by a pile of amplifiers during the band's performance at Blum and Poe, Los Angeles. The sound itself and the kicks by the band members crumpled the aluminium sheet. The remainder was scanned for an LP cover with the following track names: BRAIN, BLOOD, BLOOMS.