Documentary footage of the artist's new wave performance at Škuc Gallery in Ljubljana in 1983.

The video documentation was recorded in real time and broadcast simultaneously through the Škuc Gallery window for visitors who couldn't fit inside. At the venue, there was a metal structure holding a stretched screen onto which the artist’s handmade slides were projected. In the first part, the artist superimposed his body onto the projected images; his figure was visible in the background as a shadow or silhouette. Positioned behind the screen, he engaged with the Constructivist and Expressionist elements displayed on it, using mechanical movements and activist gestures to create both static and moving images. (Interspersed during the performance was a text in Serbo-Croatian read aloud by Dragan Čolaković - Šiljo, which began with the words "I don’t want to boast. But I can say I punched someone in the ear..." This text is an adaptation of an absurdist short story “Vindication” by Daniil Kharms.) In the second part, he stepped out from behind the screen—or membrane—to face the audience as a vulnerable, erotic body of flesh and blood, and performed a self-destructive act: he wrapped his face in adhesive tape until he ran out of breath.

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The Casus Belli project unfolded as a series of live events and film or video recordings, manifesting as a succession of distinct artworks sharing the same title (1983). The first was a performance executed solely for the camera, resulting in a short Super 8mm film. This was followed by a public performance recorded in real time and simultaneously broadcast through the Škuc Gallery window for visitors who could not fit inside. Using documentary footage of this performance—supplemented by additional material and editing—the artist created an original video work. Next came a video performance at the 1st International Video Biennial "Video CD" in Ljubljana, where the video served as an integral component of the event: eight video cameras captured the artist’s movements from behind the screen and displayed them on monitors arranged around the venue's perimeter. The frontal, "representative" silhouette image projected onto the screen was thus counterpointed by the revelation of the artist’s flesh-and-blood body behind the screen; he eventually stepped out before the audience to perform a self-destructive act. The final iteration was a 9-channel video installation (featuring a 5-minute video loop) that the artist created for the exhibition Multimedia Practices and Production Venues at MSUM (Museum of Contemporary Art Metelkova, Ljubljana) in 2017. It was composed of earlier documentary material—recordings from the aforementioned projects sharing the same title "Casus Belli"(1983): a performance (Škuc Gallery, Disko FV), a video performance (1st International Video CD Biennial), and a Super 8 film (Škuc Production). 

(Source: Barbara Borčić: Race with Time: Performance and Video in the Rear-View Mirror, SCCA-Ljubljana, Theatre Museum/Institute, Ljubljana, 2014 – exhibition leaflet).