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In contemporary artistic practice there is an ever-rising principle that addresses the issue of conscious and desired distance from the official-institutional, and at the same time encourages networking with artists and curators, creating a new model of sustainability. As a result of those separate engagements, platforms were created that have entered the physical environment with the aim to present and thus successfully redefine the status and the relationship between the artist and the audience, a priority to launch the idea of autonomous operation in the exhibition area.

Following a similar principle, U10 – Art Space managed to gradually profile, activate and apply the concept of multiple self-management, not wanting solely to verify, but also to put into operation a model in which the art scene can be reorganized.

Testing the critical boundaries of institutions, professional identity and self-identification have become common today for artists and curators. This is confirmed by the fact that artists largely justify the role of curators and critics and exclude the power, control and influence that an individual artist accepts within one system. Also, this role may hold a certain distance which primarily emphasizes art in front of art as a specific event. In U10’s program orientation, the curator-artist relationship is present which follows a progressive emergence of innovative models of curatorial practice.

With its subversiveness, U10 moves already established patterns and contributes to the opening of new chapters that insist on an uncompromising evaluation of art. In other words, this “collective” examines and monitors the scene mentality that encourages change of the current discourse in terms of the expansion of “all”. As an important reference, creation and intensification of cooperation are imposed which affect the future development and design of this platform, giving it a crucial role in promoting a younger scene. Local authors from the immediate region are presented, as well as international artists, whose work can contribute significantly to the understanding of new media and artistic practices.

In this sense, “permanent members” of U10 give an example in which art becomes a means of searching and changing social reality, while at the same time not losing its own autonomy. On the other hand, the works of artists behind this project to some extent affect the deconstruction of identity themselves, whose names are entered in the creation of the new millennium. Previous individual experience shows that their art was awarded changes in thinking and the formation of the role of artists, who in a short time clearly positioned themselves on the contemporary scene.

In a rather disorienting social environment, there is a continuing need for reforms in which the role of workers in culture are more or less relevant at the level of making important decisions. Therefore, we are faced with a growing number of independent organizations that support each other, striving to transform and solve a number of problems that are related to institutional frameworks. Sometimes this “pluralism” as a result offers a debate that over time give up the dispute over a definition of the role of art institutions, although the response to the key issues is necessary and inevitable. In this case, the final answer, the extent and character of contextualization that values the U10 project, as before, will be given by its representatives through their future contributions.