Emancipation, Memory, and the Revolutionary Subject of Art

Cilj je ovoga teksta preispitati pojam umjetnosti kao emancipacijske prakse kakav se pojavljuje danas u svjetlu umjetničkih djelatnosti kojima se u lokalnom, glokalnom i globalnom stanju stvari – možemo ga na tragu Badiouove estetike i teorije umjetnosti nazvati jednim imenom estetikom nerazlike – dodjeljuje ovaj atribut. Rad nastoji ponuditi moguću klasifikaciju takvih umjetničkih praksi – praksi koje su u opreci s modernističkim načinom mišljenja pojma umjetničkog djela, s fokusom na problemu emancipacijske potencije (umjetnosti) memorije. U tekstu prvo nudimo generalni osvrt na problematiku suvremene konstelacije angažirane umjetnosti, zatim prelazimo na kritiku zbroja dominirajućih kulturalno-umjetničkih koncepcija koje se pojavljuju pod raznim, premda bliskim imenima: umjetnost memorije, kultura sjećanja, umjetnost partikularnosti koja afirmira idealitet komunikacije i mikropolitiku drugosti, suprotstavljanjem pojmova umjetnosti kao emancipacijske prakse i umjetnosti memorije i afirmacijom propozicije o mogućem novom revolucionarnom subjektu umjetnosti. Teza je ovoga rada da emancipacijska praksa umjetnosti uvijek proizvodi estetsko-političku distancu u odnosu na postojeće. Ta estetsko-politička distanca nije ništa drugo nego podsjetnik koji konstituira nagon etičkog subjekta.The aim of this text is to examine the notion of Art as an emancipatory practice, as it has emerged recently in the light of artistic activities to which this attribute in the local, glocal, and global state of affairs has been prescribed. Following Badiou’s theory of art, one may mark this state of affairs as an aesthetics of non-difference. This essay seeks to propose a possible classification of such art practices – practices that oppose the modernist mode of thinking the term “artwork”, focusing on the issue of the emancipatory potency of (the art of) memory. First we intend to propose a general overview of the problem of the contemporary constellation of engaged art, then proceed to a critique of the sum of dominating cultural and artistic concepts that appear under various, yet affiliated terms: the art of memory, the culture of remembrance, the art of particularity that affirms the ideal of communication and the micro-politics of otherness, by juxtaposing the terms of Art as an emancipatory practice on the one hand, and the art of memory on the other, and by affirming the proposition of the possible, new revolutionary subject of Art. The hypothesis is here that the emancipatory practice of Art always produces an aestheticopolitical distance with regard to the existing situation. The aesthetico-political distance is nothing other than a reminder which constitutes the drive of the ethical subject

"October": An Examination of Heterological Posits

Ovim se tekstom ispituje antiesencijalistička usmjerenost motiva postavljanja heterologije u teorijskom postmarksističkom diskursu američkog časopisa Oktobar (October), reviji za suvremenu teoriju i politiku umjetnosti, umjetničku kritiku i (vizualnu) umjetnost. Primjenom i interpretacijom pojmovnog aparata Georgesa Bataillea (1897.–1962.), usmjerenom prema marksističko-materijalističkoj analizi teorijskih implikacija heterologije, u tekstu se izvodi kritika hermeneutičke moći, hegemonističkog, normativnog, zapadnog modernizma i postmodernizma. Teza rada je da motiv postavljanja Batailleova (anti)filozofskog pojmovnog okvira u projektu Oktobar „počiva“ na dispozitivu kritike marksističko-materijalističkog idealizma. Pisanje nove zapadne hibridne povijesti umjetnosti možemo, po tome, označiti i odrediti (novom) utopijskom povijesnom heterologijom.The aim of this text is to explore the anti-essentialist orientation of the motif of heterology positing in the theoretical, post-Marxist discourse of the American journal October, dedicated to the contemporary theory and politics of art, art criticism, and the (visual) arts. By applying and interpreting the terminological apparatus of Georges Bataille (1897-1962), directed at a Marxistmaterialist analysis of the theoretical implications of heterology, this text aims at offering a critique of hermeneutical power, of the hegemonic, normative, and Western modernism and postmodernism. The leading hypothesis is that the motif of positing of Bataille’s (anti-)philosophical terminological framework in the October project can be traced back to the dispositive of a critique of Marxistmaterialist idealism. The writing of a new, Western and hybrid art history can thus be defined and determined by a (new) utopian historical heterology

Postmedijski svet umetnosti: od optičkog nesvesnog do teorije afekta / Postmedia Art World: From an Optical Unconscious toward Theory of Affect

The thesis of this paper implies two assumptions: Although the term visual culture theory has been often used as a synonym for domain of new visual studies in the wider literature today, it is unusually important to consider and underscore the limits of their methodological approach. While the visual culture theory is based on the application of visual cultural representation theory’s methods – the theory of ideology, discursive analysis, critical theory, semiology, sign theory, art history, anthropology, etc., the plane of new visual studies examines the problems of change aspects of the human perception, visual observation and ontology of the (new) media in relation to transformation of the nature of (new) technologies. Such approach relies in part on contemporary researches and hypotheses in the field of natural sciences (biology, physiology, neuro-science, optics, etc.) The conceptualization of the optical unconscious to/beyond formless indicates Krauss’s theoretical shift towards the new visual studies, where the notion affect occupies a key place. Accordingly, this text presents polemical critique of pure perception in relation to the discourse of post/(new)-media art world

Emancipacijske prakse u savremenoj teoriji umetnosti

Primarni cilj doktorske disertacije Emancipacijske prakse u savremenoj teoriji umetnosti jeste ispitivanje mogućnosti ljudske emancipacije u uslovima savremenog teorijskog antihumanizma (to će reći, u teorijsko-estetičkim polazištima Alena Badjua (Alain Badiou) i Žaka Ransijera (Jacques Rancière) sa stanovišta mladog Marksa (Karl Heinrich Marx), uz oslanjanje na određene premise Žaka Lakana (Jacques Lacan), Arentove (Hannah Arendt), Zupančićeve (Alenka Zupančić), Platona, Aristotela, Kanta (Immanuel Kant), Šilera (Friedrich Schiller), Fukoa (Michael Foucault), Adorna (Theodor Adorno), Brehta (Bertolt Brecht) i Deride (Jacques Derrida). U ovom istraživanju pokušavam da naznačim paradoks mišljenja i praktične indikacije mogućnosti ljudske emancipacije u uslovima savremenog teorijskog antihumanizma. Ono što nalazim zajedničkim u Badjuovoj i Ransijerovoj terijsko-estetičko-filozofskim perspektivama jeste potraga za antihumanističkom estetikom, u teorijskim kretanjima između radikalnog humanizma i antihumanizma. Pokazaću, međutim, da je u Ransijerovoj filozofskoj orijentaciji gotovo nemoguće govoriti o (novom) subjektu umetnosti, budući da Ransijer okleva da ontologizuje eksces (demos, anonyme itd.), u pokušaju da politiku utemelji u njenoj sopstvenoj logici. Prema mom viđenju, kako ću braniti u ovom radu u izvesnim segmentima, Ransijerov radikalni koncept antizasnivanja u određenom smislu parališe mišljenje i mogućnost praktične indikacije ljudske emancipacije (u polju umetnosti / estetske sfere). Ipak, u njegovoj optici, moguće je govoriti još uvek o političkoj umetnosti, ili bolje o politici u čulnom. U Badjuovom pristupu, tvrdim da je moguće govoriti o (novom) subjektu umetnosti, pogotovu, u meri u kojoj se njegove pretpostavke oslanjaju na Lakanove teorijske elaboracije. To će reći, u slučaju Badjuove teorijske perspektive politička i kritička umetnost pod određenim uslovima jesu moguće. Uzimajući u obzir sve konceptualne nedostatke, ali i u isti mah prednosti ovih pozicija, što ću detaljno pokazati i elaborirati, postavljam tezu o mogućnosti antihumanističke estetike sa stanovišta Lakanove koncepcije lepote, u interferenciji sa, prevashodno, Badjuovim polazištima i delimično Ransijerovim teorijskim zamislima. Na tragu Lakana, odbranom teze o neuspehu utemeljenja na temelju etičko-političkog estetskog ostatka kao polazišta za ljudsku emancipaciju, moguće je misliti emancipacijski umetnički čin (postajanje umetnosti životom) kao ono što stoji između dve smrti: između smrti u imaginarnoj relaciji ego-ideala, i smrti kao čiste i slepe odanosti zakonu Drugog (ono što Badju na jednom mestu naziva „opskurnim subjektom”). Ljudska emancipacija u polju umetnosti podrazumeva mesto bez mesta (antiesencijalizam) koje evakuira Volju za zadovoljstvom, a potom i uživanjem (jouissance). Pokušaću da konceptualizujem mogućnost mišljenja ljudske emancipacije u polju umetnosti kao egalitarni, agonalni emancipacijski čin, ne toliko zavistan od fizičkih aspekata dela budući da motivacija i rezultat u ovom procesu nisu presudni – u kome su poiesis i praxis sabrani, i čiji kvalitet i kakvoća ne mogu biti procenjivani u etičkim kategorijama dobrog i lošeg, već u sasvim preciznom određenju pojma veličine (gr. megethos) koja (se) probija (kroz) istoriju/e, verifikujući aksiom jednakosti. Takva umetnička praksa izražava univerzalizujući (ne univerzalni) zahtev za obraćanjem svima u transistorijskoj i transvetovnoj konstelaciji/ama. Osnovna pitanja od kojih polazim u ovom tekstu jesu sledeća: 1. šta je osnovna pretpostavka ljudske emancipacije u Badjuovim i Ransijerovim estetičko-filozofskim pristupima? Kakav ontološki i epistemološki status ima mesto bez mesta (ne-ljudskog) kome ljudska životinja treba da se vrati? Da li je reč o ljudskom totalitetu, esenciji, generičkom utemeljenju? 2. Koji su uslovi kritičke dimenzije umetnosti i teorije u ovim opcijama? Da li postoji razlika između kritičke i političke umetnosti? 3. Da li je moguće misliti i praktički indicirati ljudsku emancipaciju u polju umetnosti u uslovima teorijskog antihumanizma? Da li je moguće govoriti o antihumanističkoj estetici? Šta je, onda, uslov i polazište za njenu afirmaciju?The primary aim of the doctoral dissertation Emancipatory Practices in Contemporary Theory of Art is to examine the possibility of human emancipation under the conditions of contemporary theoretical anti-humanism – that is to say, from the theoretico-aesthetic points of departure of both Alain Badiou and Jacques Rancière – from the standpoint of early Marx, while also drawing upon some of the theoretical elaborations of Lacan, Arendt, Zupančić, Plato, Aristotle, Kant, Schiller, Foucault, Adorno, Brecht and Derrida. In this examination, I am trying to indicate the paradoxicality of thinking the possibility of the (new) subjective universality of art in the conditions of contemporary theoretical anti-humanism. Both Badiou and Rancière are searching for an anti-humanist aesthetics somewhere between a radical humanism and an anti-humanism trying to think a subjectivity and agency in anti-humanist conditions. I will demonstrate, however, that in Rancière’s philosophical orientation it is almost impossible to speak of any (new) subjectivity, since Rancière hesitates to “ontologize” excess (demos, anonyme, etc.), in an attempt to ground politics on its own logic. In my view, Rancière's radical anti-foundationalist position in a certain sense paralyzes the rethinking and practical indication of human emancipation (in art). Nonetheless, it is still possible to speak of a “political” act in his theoretical assumptions. In Badiou's account, I argue that it is possible to speak of a (new) subjectivity, especially, to the extent that he relies primarily on Lacan's theoretical elaborations. As a consequence of the shortcomings of these positions, which I will elaborate in detail, I advocate for the possibility of an anti-humanist aesthetics on the grounds of Lacan's conception of beauty, with the help of some of the theoretical assumptions of Badiou and Rancière. In the wake of Lacan, proposing a „failure of the foundation“ on account of an ethico-political aesthetic remainder as point of departure, it may become possible to think of an emancipatory act as that which stands between two deaths: between the death in the imaginary relation of ego-ideal (self-closing) and the death as a pure and blind commitment to the law of the Other. Human emancipation in art would imply a place without place which evacuates the will for both pleasure and enjoyment (jouissance). I will try to conceptualize it as an egalitarian, agonal emancipatory act, regardless of any physical aspects of an artwork, in which the motivation and the result do not play much of a role – wherein the poiesis and praxis are “collected” in artistic emancipatory act(s), and whose “quality” cannot be judged in ethical terms of “good” and “bad”, but only as a “magnitude” (Gr. megethos) breaking through history/ies, verifying the axiom of equality. Such an art demands the addressing of everyone in plural transhistorical and transworldly dimensions. Therefore, my primary questions are as follows: 1. What is the fundamental presupposition of human emancipation in both Badiou’s and Rancière’s account? What is the ontological and epistemological status of the (“in-human”) “place” to which a human animal in the process of emancipation should be “returned back”? Is it some human totality, essence, generic foundation? 2. Where does the conception of a critical dimension of art in such options derive from? What are the conditions of the critic and/in relation to a critical art? Is there a difference between critical and political art? 3. Is it possible to think and practically indicate human emancipation in art in the conditions of theoretical anti-humanism? Is it possible to speak of an anti-humanist aesthetic? Then, what is the condition and point of departure for its affirmation

Nemogućnosti metajezičkog položaja u tekstualnom procesu: kritičko-komparativna analiza psihoanalitičkog i poststrukturalističkog diskursa / The Impossibility of Metalanguage Position in Textual Process: Critical -comparative Analysis of Deconstruction and Psychoanalytic Discourse

In this article I have dealt with critical comparation between Lacanian psychoanalytic and Derrida’s poststructuralist thesis on the impossibility of metalanguage in the textual production. The aim of the article is to show that the potentiality of their political intervention quality may be effective successfully both with aspect of the ideological theory, based on the psychoanalytic model, and from the positon of the deconstruction theory, depending on the mode and context in which the given process is taking place. The thesis of this paper is that the procedure of deconstruction does not necessarily exclude, but only pushes the critical potentialities of political and ideological theories to the margins

"October": An Examination of Heterological Posits

Ovim se tekstom ispituje antiesencijalistička usmjerenost motiva postavljanja heterologije u teorijskom postmarksističkom diskursu američkog časopisa Oktobar (October), reviji za suvremenu teoriju i politiku umjetnosti, umjetničku kritiku i (vizualnu) umjetnost. Primjenom i interpretacijom pojmovnog aparata Georgesa Bataillea (1897.–1962.), usmjerenom prema marksističko-materijalističkoj analizi teorijskih implikacija heterologije, u tekstu se izvodi kritika hermeneutičke moći, hegemonističkog, normativnog, zapadnog modernizma i postmodernizma. Teza rada je da motiv postavljanja Batailleova (anti)filozofskog pojmovnog okvira u projektu Oktobar „počiva“ na dispozitivu kritike marksističko-materijalističkog idealizma. Pisanje nove zapadne hibridne povijesti umjetnosti možemo, po tome, označiti i odrediti (novom) utopijskom povijesnom heterologijom.The aim of this text is to explore the anti-essentialist orientation of the motif of heterology positing in the theoretical, post-Marxist discourse of the American journal October, dedicated to the contemporary theory and politics of art, art criticism, and the (visual) arts. By applying and interpreting the terminological apparatus of Georges Bataille (1897-1962), directed at a Marxistmaterialist analysis of the theoretical implications of heterology, this text aims at offering a critique of hermeneutical power, of the hegemonic, normative, and Western modernism and postmodernism. The leading hypothesis is that the motif of positing of Bataille’s (anti-)philosophical terminological framework in the October project can be traced back to the dispositive of a critique of Marxistmaterialist idealism. The writing of a new, Western and hybrid art history can thus be defined and determined by a (new) utopian historical heterology

Emancipacijske prakse u savremenoj teoriji umetnosti

Primarni cilj doktorske disertacije Emancipacijske prakse u savremenoj teoriji umetnosti jeste ispitivanje mogućnosti ljudske emancipacije u uslovima savremenog teorijskog antihumanizma (to će reći, u teorijsko-estetičkim polazištima Alena Badjua (Alain Badiou) i Žaka Ransijera (Jacques Rancière) sa stanovišta mladog Marksa (Karl Heinrich Marx), uz oslanjanje na određene premise Žaka Lakana (Jacques Lacan), Arentove (Hannah Arendt), Zupančićeve (Alenka Zupančić), Platona, Aristotela, Kanta (Immanuel Kant), Šilera (Friedrich Schiller), Fukoa (Michael Foucault), Adorna (Theodor Adorno), Brehta (Bertolt Brecht) i Deride (Jacques Derrida). U ovom istraživanju pokušavam da naznačim paradoks mišljenja i praktične indikacije mogućnosti ljudske emancipacije u uslovima savremenog teorijskog antihumanizma. Ono što nalazim zajedničkim u Badjuovoj i Ransijerovoj terijsko-estetičko-filozofskim perspektivama jeste potraga za antihumanističkom estetikom, u teorijskim kretanjima između radikalnog humanizma i antihumanizma. Pokazaću, međutim, da je u Ransijerovoj filozofskoj orijentaciji gotovo nemoguće govoriti o (novom) subjektu umetnosti, budući da Ransijer okleva da ontologizuje eksces (demos, anonyme itd.), u pokušaju da politiku utemelji u njenoj sopstvenoj logici. Prema mom viđenju, kako ću braniti u ovom radu u izvesnim segmentima, Ransijerov radikalni koncept antizasnivanja u određenom smislu parališe mišljenje i mogućnost praktične indikacije ljudske emancipacije (u polju umetnosti / estetske sfere). Ipak, u njegovoj optici, moguće je govoriti još uvek o političkoj umetnosti, ili bolje o politici u čulnom. U Badjuovom pristupu, tvrdim da je moguće govoriti o (novom) subjektu umetnosti, pogotovu, u meri u kojoj se njegove pretpostavke oslanjaju na Lakanove teorijske elaboracije. To će reći, u slučaju Badjuove teorijske perspektive politička i kritička umetnost pod određenim uslovima jesu moguće. Uzimajući u obzir sve konceptualne nedostatke, ali i u isti mah prednosti ovih pozicija, što ću detaljno pokazati i elaborirati, postavljam tezu o mogućnosti antihumanističke estetike sa stanovišta Lakanove koncepcije lepote, u interferenciji sa, prevashodno, Badjuovim polazištima i delimično Ransijerovim teorijskim zamislima. Na tragu Lakana, odbranom teze o neuspehu utemeljenja na temelju etičko-političkog estetskog ostatka kao polazišta za ljudsku emancipaciju, moguće je misliti emancipacijski umetnički čin (postajanje umetnosti životom) kao ono što stoji između dve smrti: između smrti u imaginarnoj relaciji ego-ideala, i smrti kao čiste i slepe odanosti zakonu Drugog (ono što Badju na jednom mestu naziva „opskurnim subjektom”). Ljudska emancipacija u polju umetnosti podrazumeva mesto bez mesta (antiesencijalizam) koje evakuira Volju za zadovoljstvom, a potom i uživanjem (jouissance). Pokušaću da konceptualizujem mogućnost mišljenja ljudske emancipacije u polju umetnosti kao egalitarni, agonalni emancipacijski čin, ne toliko zavistan od fizičkih aspekata dela budući da motivacija i rezultat u ovom procesu nisu presudni – u kome su poiesis i praxis sabrani, i čiji kvalitet i kakvoća ne mogu biti procenjivani u etičkim kategorijama dobrog i lošeg, već u sasvim preciznom određenju pojma veličine (gr. megethos) koja (se) probija (kroz) istoriju/e, verifikujući aksiom jednakosti. Takva umetnička praksa izražava univerzalizujući (ne univerzalni) zahtev za obraćanjem svima u transistorijskoj i transvetovnoj konstelaciji/ama. Osnovna pitanja od kojih polazim u ovom tekstu jesu sledeća: 1. šta je osnovna pretpostavka ljudske emancipacije u Badjuovim i Ransijerovim estetičko-filozofskim pristupima? Kakav ontološki i epistemološki status ima mesto bez mesta (ne-ljudskog) kome ljudska životinja treba da se vrati? Da li je reč o ljudskom totalitetu, esenciji, generičkom utemeljenju? 2. Koji su uslovi kritičke dimenzije umetnosti i teorije u ovim opcijama? Da li postoji razlika između kritičke i političke umetnosti? 3. Da li je moguće misliti i praktički indicirati ljudsku emancipaciju u polju umetnosti u uslovima teorijskog antihumanizma? Da li je moguće govoriti o antihumanističkoj estetici? Šta je, onda, uslov i polazište za njenu afirmaciju?The primary aim of the doctoral dissertation Emancipatory Practices in Contemporary Theory of Art is to examine the possibility of human emancipation under the conditions of contemporary theoretical anti-humanism – that is to say, from the theoretico-aesthetic points of departure of both Alain Badiou and Jacques Rancière – from the standpoint of early Marx, while also drawing upon some of the theoretical elaborations of Lacan, Arendt, Zupančić, Plato, Aristotle, Kant, Schiller, Foucault, Adorno, Brecht and Derrida. In this examination, I am trying to indicate the paradoxicality of thinking the possibility of the (new) subjective universality of art in the conditions of contemporary theoretical anti-humanism. Both Badiou and Rancière are searching for an anti-humanist aesthetics somewhere between a radical humanism and an anti-humanism trying to think a subjectivity and agency in anti-humanist conditions. I will demonstrate, however, that in Rancière’s philosophical orientation it is almost impossible to speak of any (new) subjectivity, since Rancière hesitates to “ontologize” excess (demos, anonyme, etc.), in an attempt to ground politics on its own logic. In my view, Rancière's radical anti-foundationalist position in a certain sense paralyzes the rethinking and practical indication of human emancipation (in art). Nonetheless, it is still possible to speak of a “political” act in his theoretical assumptions. In Badiou's account, I argue that it is possible to speak of a (new) subjectivity, especially, to the extent that he relies primarily on Lacan's theoretical elaborations. As a consequence of the shortcomings of these positions, which I will elaborate in detail, I advocate for the possibility of an anti-humanist aesthetics on the grounds of Lacan's conception of beauty, with the help of some of the theoretical assumptions of Badiou and Rancière. In the wake of Lacan, proposing a „failure of the foundation“ on account of an ethico-political aesthetic remainder as point of departure, it may become possible to think of an emancipatory act as that which stands between two deaths: between the death in the imaginary relation of ego-ideal (self-closing) and the death as a pure and blind commitment to the law of the Other. Human emancipation in art would imply a place without place which evacuates the will for both pleasure and enjoyment (jouissance). I will try to conceptualize it as an egalitarian, agonal emancipatory act, regardless of any physical aspects of an artwork, in which the motivation and the result do not play much of a role – wherein the poiesis and praxis are “collected” in artistic emancipatory act(s), and whose “quality” cannot be judged in ethical terms of “good” and “bad”, but only as a “magnitude” (Gr. megethos) breaking through history/ies, verifying the axiom of equality. Such an art demands the addressing of everyone in plural transhistorical and transworldly dimensions. Therefore, my primary questions are as follows: 1. What is the fundamental presupposition of human emancipation in both Badiou’s and Rancière’s account? What is the ontological and epistemological status of the (“in-human”) “place” to which a human animal in the process of emancipation should be “returned back”? Is it some human totality, essence, generic foundation? 2. Where does the conception of a critical dimension of art in such options derive from? What are the conditions of the critic and/in relation to a critical art? Is there a difference between critical and political art? 3. Is it possible to think and practically indicate human emancipation in art in the conditions of theoretical anti-humanism? Is it possible to speak of an anti-humanist aesthetic? Then, what is the condition and point of departure for its affirmation

Physicians’ Attitudes toward Adolescent Confidentiality Services: Scale Development and Validation

Confidentiality is one of the oldest ethical principles in healthcare. However, confidentiality in adolescent healthcare is not a universally-accepted doctrine among scholars. The ethical acceptability of confidential services in adolescents’ healthcare is based on perceptions of adolescent maturity and an appreciation of its importance to adolescents’ access and utilization of healthcare services. Despite legal policies that promote adolescents’ rights, physicians’ attitudes toward adolescent confidentiality can be a determining factor in their ultimate decision to protect adolescents’ confidentiality

Assessment of required resources for implementation of national breast cancer screening program in Serbia

Introduction. High values of standardized mortality and morbidity rates of standardized cancer mortality in Serbia, especially colorectal, cervical and breast cancer led to creation of national programs for their early detection and engagement of the international support for their implementation. Objective. Assessment of required resources (time, personnel, financial) to implement the National program for screening of breast cancer in the Republic of Serbia. Methods. Three possible scenarios have been prepared (optimistic, realistic and pessimistic) based on the expected coverage by screening of women aged 45 to 69 years, and time, personnel and financial feasibility estimates were made for a two-year screening cycle. Results. Time aspect of feasibility even under conditions of “relaxation” of the assumption on the number of working days during the year did not question feasibility of any of the scenarios. Personnel feasibility is only possible in the pessimistic scenario, while the financial feasibility only makes sense in optimistic scenario as the least unfavorable solution due to economies of scale. Conclusion. Establishment of the initial base of skilled radiologists and radiology technicians and the system for their continuous medical education as well as allocation of specific MoH budget line for screening program expenditures, along with donated mammographs and good organization and coordination, may provide unobstructed implementation of the National program for early detection of breast cancer in the Republic of Serbia