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#06
Godišnji katalog galerije Remont za 2006. godinu
Remont Gallery Annual Catalogue for 2006
Kustos galerije / Gallery Curator: Saša Janjić
Savet galerije / Gallery Bord: Miroslav Karić, Maja Ćirić i Petar Mirković
Izdavač / Publisher: Remont nezavisna umetnička asocijacija
Remont Independent Artistic Association
Za izdavača / For the publisher: Darka Radosavljević
Urednici kataloga/ Editors of catalogue: Saša Janjić, Miroslav Karić
Dizajn i prelom / Design & Layout: Viktor Šekularac ClockWorkStudio
Fotografije / Photos: Viktor Šekularac, Ivan Zupanc, Remont
dokumentacija & umetnici
Prevod / Translation: Marina Krstić, Aleksandar Vasiljević, Irena Šimić
Štampa / Printing: Publikum, Beograd
Tiraž / Copies: 700
Adresa / Address: Makedonska 5/II, 11000 Beograd, Srbija
Tel: +381 11 3223 406
Fax: +381 11 3344 171
www.remont.co.yu
[email protected]
Štampanje kataloga pomogli / Printing of the catalogue suported by:
Sekretarijat za kulturu grada Beograda, Ministarstvo za kulturu Republike Srbije
Secretariat for Culture City Assembly of Belgrade, Ministry of Culture Republik of
Serbia
2
06 Review
Sama činjenica da postojimo već sedam godina
u krajnje nepovoljnim društvenim i ekonomskim
okolnostima dovoljan je uspeh i razlog za slavlje.
Pored galerije, kao najznačajnije delatnosti, naša
izdavačka aktivnost se nije ograničila samo na Remont Art Magazin koji u kontinuitetu izlazi već 7 godina, tako da smo u toku 2006. publikovali nekoliko
veoma značajnih publikacija u štampanom i elektronskom obliku. Galerija Remont je u toku 2006
godine nastavila sa uspešnim radom, organizovali
smo 14 samostalnih i grupnih izložbi domaćih i
inostranih umetnika, 6 prezentacija i video projekcija kao i nekoliko gostovanja po Srbiji i Evropi. Pored
galerijske aktivnosti naša izdavačka aktivnost je
tekla uporedo sa ostalim delatnostima. Remont
Art Magazin se uključio u projekat “documenata
12 magazine” koji je prateći program Kaselskih
Documenta 12 i osmišljen je sa ciljem povezivanja
najrazličitijih umetničkih magazina i publikacija sa
svih kontinenata. U protekle dve godine Documenta 12 su pozvale preko 90 magazina, online
i štampanih medija da aktivno uzmu učešća u
osmišljavanju programa i tri publikacije/magazina,
koje će biti predstavljene na samoj izložbi u Kaselu
od juna do oktobra 2007.
U toku 2006. uspešno smo priveli kraju prvu fazu
projketa DOKUMENT 2000, prve srpske internet
baze podataka o savremenoj umetničkoj sceni
(www.serbiancontemporaryart.info). Od kako je otvoren javni prostor REMONT- nezavisne umetničke
asocijacije, februara 2000, paralelno sa svim aktivnostima, Remont je prikupljao dokumentaciju o
umetnicima. U našoj ad hoc formiranoj arhivi nalazi
se veliki broj kataloga, knjiga, portfolia, cd- a koji
predstavljaju vredan dokument o dešavanjima na
aktuelnoj domaćoj i regionalnoj umetničkoj sceni.
U saradnji sa katedrom za Istoriju moderne umetnosti Filozofskog fakulteta u Beogradu, angažovani
su studenti - mladi istoričari umetnosti u sređivanu
ove dokumentacije. Jedan od rezultata njihovog
rada predstavlja i postavljanje web baze podataka
sa osnovnim informacija o umetnicima (biografije,
popisi izložbi, preview-i najznačajnijih radova) koji
su aktivni od 2000. Cilj projekta je dostupnost informacija širem krugu lokalnih i internacionalnih art
profesionalaca. DOKUMENT 2000 je baza podataka o aktuelnoj savremenoj umetničkoj produkciji
u Srbiji nakon 2000. godine. Predstavljeni umetnici
su sarađivali i sarađuju sa REMONT- nezavisnom
umetničkom asocijacijom www.remont.co.yu. Na
web strani su dostupna skraćena portfolia izabranih
autora a prošireni podaci kao i portfolia većeg broja
autora u elektronskoj formi nalaze se na DVD diskovima u prostorijama REMONT-a. Baza se kontinuirano dopunjava, a podatke možete pretraživati
po ključnim rečima.
Prošla godina protekla je i u znaku dva velika
projekta koje je Remont u saradnji sa inostranim
partnerima realizovao u Beogradu i Zrenjaninu. U
aprilu smo u saradnji sa Public Art Lab-om iz Berlina organizovali Mobilni Studio na najprometnijem
mestu u gradu, Trgu Republike. U toku sedam
dana beogradskoj publici se predstavilo dvadesetak umetnika a izložbe, prezentacije, diskusije i
performanse je videlo više hiljada ljudi. Maj je protekao u znaku organizovanja prvog dela uvodne
sesije trening programa za menadžment u kulturi
- European Diploma (Srbija i Crna Gora 2006.),
koja je ostvarena u saradnji sa fondacijom Marcel
Hicter iz Brisela. Boravak grupe od dvadesetak
mladih evropskih kulturnih menadžera, operatera i
profesionalaca u našoj zemlji bio je dvostruko koristan: bila je to prilika da se nova internacionalna
generacija polaznika iz svih sektora kulture upoznaju sa radom kolega iz Srbije, ali i da ovdašnji
profesionalci kroz razgovore, predavanja razmene
iskustva i informacije kako sa njima, tako i sa vrhunskim eksperstko-predavačkim timom koji vodi ovaj
jedinstveni trening program. Pored Remonta, kao
glavnog realizatora programa za Beograd i Srbiju,
u projekat su bili uključene i partnerske organizacije
i pojedinci iz Zrenjanina, u kom je takođe bio organizovan jedan deo sesije.
Galerija je po drugi put za redom učestvovala na
VIENNAFAIR predstavljajući srpsku umetničku
scenu internacionalnoj publici. Na poziv organizatora i uz sponzorstvo Erste Bank Group publici
su se predstavili renomirani beogradski umetnic
srednje i mlađe generacije Mrđan Bajić, Uroš
Đurić, Talent Factroy, Petar Mirković i Ivan Zupanc.
Najavu o učešću galerije Remont i kraćei prikaze
srpske umetničke scne objavili su brojni elektornski i štampani mediji, između ostalog i jedan
od najpoznatijih evropskih magazina SPIKE. Na
samom sajmu podeljeno je preko 200 primeraka
dvojezičnog Remont Art Magazina. O izuzetnoj
važnosti učešća na ovom sajmu govori i podatak
da smo dobili nekoliko poziva za učešća na sličnim
sajmovima koji se organizuju širom Evrope. Brojni
ostvareni kontakti i ugovorene izložbe i gostovanja
još jedno su potvrdili neophodnost izlaska domaće
umetničke produkcije u internacionalne tokove..
Na domaćem planu fokus naših napora i dalje je
problematizovanje pitanja tržišta i profesionalizacija
celokupnog art sistema. Akcije koje kontinuirano
sprovodimo imaju za cilj podizanje nivoa svesti
kako kod nadležnih institucija tako i kod najšire
publike o neophodnosti stvranja i zakonskog regulisanja tržišta umetničkih dela.
Saša Janjić
4
06 Review
The mere fact we have survived seven years
in ultimately inconvenient social and economic
circumstances indicates a success. Moreover,
along with conducting the REMONT Gallery as our
primary task, we have succeeded in maintaining
the publishing activity. Besides the REMONT Art
Magazine, which has been continuously issued
for all these years, we have produced a number
of important printed and electronic publications in
2006. During last year REMONT has continued
its successful work – we organised 14 solo
and group exhibitions of local and international
artists, 6 presentations and video projections,
as well as several artistic presentations in Serbia
and abroad. Our publishing activity was also
successful – REMONT Art Magazine was included
in DOCUMENTA 12 MAGAZINE (a programme
of Kassel Documenta 12), which is aimed at
connecting various art magazines and publications
from all continents. During the last two years
Documenta 12 have invited over 90 printed and
online media to take part in programming the
magazine and selected three publications that will
be presented in the course of exhibition in Kassel
from June to October 2007.
During 2006, REMONT successfully finished the
first phase of DOCUMENT 2000 project – the first
Internet database of Serbian contemporary art
(www.serbiancontemporaryart.info). Ever since
the opening of its public space in February 2000,
REMONT – independent artistic association has
been gathering the documentation on artists in the
course of its everyday work. Our ad hoc archive
already includes a number of catalogues, books,
portfolios and optical media – a valuable document
on happenings on contemporary local and regional
artistic scene. In collaboration with the Department
of History of Modern Art at the Faculty of Philosophy
in Belgrade, a number of students have been
engaged in systematisation of this material. One
of the results of this work is the online database,
offering basic information on artists (biographies,
list of exhibitions and previews of most significant
works) active since 2000. Aim of the project is to
make these information available to a wider circle of
local and international professionals. DOCUMENT
2000 is a database on Serbian modern artistic
production since 2000, featuring artists that have
been collaborating with REMONT - independent
artistic association (www.remont.co.yu). The web
page contains brief portfolios of selected artists,
while detailed info and portfolios of a larger number
of artists are available on DVD’s in REMONT office.
The database, which includes a search engine, is
continuously updated.
The last year was also denoted by two major
projects that REMONT realised through
international partnership in Belgrade and Zrenjanin.
In collaboration with Public Art Lab from Berlin we
organised the MOBILE STUDIO on the busiest
spot in Belgrade downtown – Trg Republike.
During seven days in April, some twenty artists
were presented to Belgrade audience and several
thousands of spectators attended the exhibitions,
presentations and discussions. In May REMONT
co organised the first part of the opening session
of an international training programme in cultural
management – European Diploma (Serbia and
Montenegro 2006) with Foundation Marcel Hicter
from Brussels. The stay of a group of twenty
young European cultural managers, operators and
professionals in our country was of double benefit.
Firstly, it was a chance for a new generation of
international cultural managers to get familiar
with their Serbian colleagues. Secondly, the
local professionals were given an opportunity
to exchange their experience with both the
participants and the highly skilled lecturers who
lead this unique training programme. Besides
REMONT, as the chief organiser of the Belgrade/
Serbian programme, this project included partner
organisations and individuals from Zrenjanin, where
a part of the session took place.
For the second time in a row, REMONT Gallery
participated in VIENNAFAIR presenting the
Serbian art scene to the international audience.
Upon the invitation of the organisers and with a
support of Erste Bank Group, distinguished artists
of young and middle generation – Mrđan Bajić,
Uroš Đurić, Talent Factory, Petar Mirković and Ivan
Zupanc presented their works. Info on participation
of REMONT Gallery, followed by brief reviews of
Serbian artistic scene, was published in a number
of electronic and printed media including one of the
most renowned European magazines - SPIKE.
Our representatives also gave away over 200
copies of the bilingual REMONT Art Magazine to
our international colleagues. The importance of our
participation in VIENNAFAIR is best reflected in the
fact that we were invited to exhibit at a number of
other similar fairs held across Europe. Numerous
contacts and contracted exhibitions confirmed the
necessity of participation of Serbian artists and art
organisations in such events.
Back in the local field, our attempts are still focused
on the issues of art market and introduction of
professional standards in the whole system of art
production. The actions we continuously take are
aimed at alerting the institutions and the public to
the importance of establishing a factual and legal
background for the art market.
Saša Janjić
One Way Tictket - Milena Maksimović
Izložba fotografija “One Way Ticket”
predstvalja scene iz svakodnevnog života
zajednice kineskih imigranata u Srbiji, tačnije
u Beogradu i Pančevu. Imajući u vidu da
fotografija kao medij koji govori nekodiranim
jezikom, te svojom tautološkom prirodom i
prijanjanjem referenta kao njenim imanentnim
svojstvom, može upućivati i izazivati kritički
intoniran društveni komentar samo kod onih
koji su i inače skloni kritici, dakle i u stvarnosti
(Breht je gajio antipatiju prema fotografiji,
zbog njene slabe kritičke snage), umetnica
bira jednu od svima poznatih ali najmanje
javno komentarisanih društveno političkih
tema aktuelnog istorijskog trenutka Srbije.
Upravo hladno, gotovo dokumentaristički
beležeći sekvence iz života Kineza u Srbiji,
u situacijama u kojima ih najčešće srećemo,
ona provocira prevashodno posmatračevo
polje kulturnog interesa i znanja (ono što
Bart naziva studiumom), odnosno, poziva
na preispitivanje problema klasne i rasne
segregacije kineskih imigranata u jednoj
sredini duboko natopljenoj predrasudama.
U klimi gde su Kinezi de facto diskriminisani
i gde su široko rasprostranjene optužbe
koje idu od onih na račun njihovog izgleda,
higijene, pa do onih na račun njihove
navodne organizovane perfidne strategije
osvajanja ostatka sveta posredstvom
dampinga
i
misterioznog
fenomena
neumiranja u imigraciji kao trika za ilegalni
ulazak drugih pomoću papira umrlog, i gde
su veoma često i javna pominjanja Kineza
obojena manje ili više očiglednim rasističkim
tonom (pominjanje Kineza u jednoj
popularnoj pesmi kao nekoga ko dobro
plaća za fiktivni brak; senzacionalni naslovi
ogromnim slovima na prvoj strani novina
o Kinezu vinovniku saobraćajne nesreće,
iako se slične vesti inače ne nalaze na
naslovnicama), otvaraju se i opštija pitanja
mehanizama formiranja stereotipa, kao i
brojnih mistifikacija o određenoj etničkoj
grupi stvorenih na osnovu ličnog iskustva sa
procentualno veoma malom skupinom njenih
predstavnika. Koliko je prisutna potreba za
egzotizacijom drugosti, a koliko potreba
za “posrbljavanjem” domaćih Kineza kroz
nadevanje srpskih imena i pridobijanjem za
srpsku kuhinju i navike, kako se oni osećaju
u susretu sa evropskom reprezentacijom
sopstvene drugosti kroz popularne predstave
Orijenta, koliko je to za njih uvredljivo i da
li je uopšte, da li je politička korektnost tek
licemerno ruho u javnim istupima ili viši
kulturni stupanj...
Svetlana Subašić
Iz teksta Kinezi u Beogradu i Pančevu u listu
Danas.
Rođena 1976. god u Pančevu. Diplomirala
grafički dizajn na Višoj Politehničkoj Školi u
Beogradu 1998. godine.
Samostalne izožbe:
2001. „23 76“, prezentacija video rada,
Galerija Dvorište, Pančevo
2005. „Eko Pa“, izložba foto-plakata, Foaje
centra za kulturu, Pančevo
2005. „Back-up“, Artget, KCB, Beograd
Grupne izložbe:
2003. „II Internacionalno Bienale
umetnosti”, Narodni muzej, Tirana
2005. „Beograd/Belgrade-just visiting“,
Kunstraum Welcheturm, Cirih
2005. „Priče iz komšiluka“, ArtHall, Talin
Kontakt: [email protected]
6
16. 01 – 03. 02
One Way Tictket - Milena Maksimović
Photo exhibition One Way Ticket shows the
everyday life of Chinese immigrants in
Serbia, more precisely in Belgrade and
Pančevo. Having in mind that the medium
of photography, which uses an uncoded
language and through its tautological
nature and involvement of a referent as its
immanent feature invokes a critical social
commentary only in those already inclining
to criticism, i.e. in reality as well (Brecht had
an aversion to photography because of
its weak critical power), the artist chose a
well-known, yet the least commented social
issue of Serbian contemporary historical
moment. Photographing the sequences
of life of the Chinese in Serbia in a cold,
almost documentary style, she provokes
the spectator’s basic field of cultural interest
and knowledge (which Bart calls studium), i.e.
suggests the re-examination of class and
racial segregation of Chinese immigrants in
an environment burdened with prejudice.
In a social climate where the Chinese are
de facto discriminated and often offended
regarding their looks and hygiene, accused
of their so-called strategy for flooding and
conquering the rest of the world by cutprice policy and mysterious phenomenon of
“immortality” as a trick for enabling entries
of new immigrants using the passports of
the dead, where racist tone is sometimes
used even in public discourse (mention of a
Chinese as a person paying well for a fake
marriage in a popular song, sensationalist
headlines about a Chinese causing a
car accident, although such news are
not usually in the headlines), in such a
climate some general issues of creation of
stereotypes are raised, as well as issues of
myriad mystifications of an ethnical group,
derived from personal experience with a
small number of its members.
How offensive do they find it, if at all? Is
political correctness merely a hypocritical
decoration of the public discourse or it
denotes a higher cultural level...?
Svetlana Subašić
Excerpt from the article Chinese in Belgrade
and Pančevo published in Danas newspaper.
Born in Pančevo, 1976. Graduated from
Polytechnic College – Belgrade in 1998.
Solo exhibitions:
2001. Video work “23 2 76”, Dvorište
Gallery, Pančevo
2005. “ECOPA - Ecological photo
campaigned”, Cultural Center, Pančevo
2005. “Back-up”, Artget Gallery, Cultural
Center Belgrade
Group exhibitions:
2003. II International Art Biennial, l Museum,
Tirana
2005. Beograd/Belgrade-just visiting,
Kunstraum Welcheturm, Zürich
2005. „Stories from the neighborhood“,
ArtHall, Tallinn,
Contact: [email protected]
What is the amount of need for exotisation
of the other? What is the amount of need for
assimilation of others into Serbian society
by giving them Serbian nicknames and
agitating for Serbian cooking and customs?
How do they feel about being confronted
to European understanding of their own
diversity through popular images of the
Orient?
8
16. 01 – 03. 02
Les Religions Sovages & TV sekte - Les dernier Cri
Hit / Schlager - Marsel Spiler
Le dernier Cri: Les Religions Sovages & TV
sekte (120 min)
Le dernier Cri: Les Religions Sovages & TV
Cults (120 min)
Marsel Spilera: HIT/Schlager (36 minuta)
Marcel Spuehler: HIT/Schlager (36 minutes)
U okviru programa pretstavljanja inostranih
art scena, u galeriji Remont predstavljeni su
radovi francuske umetničke grupe Le dernier Cri (Les Religions Sovages & TV sekte) i
švajcarskog umetnika Marsela Spilera (HIT/
Schlager).
Works of French artistic group Le dernier
Cri (Les Religions Sovages & TV Cults) and
Swiss artist Marcel Spuehler (HIT/Schlager)
were presented in the course of a programme
dedicated to presentations of international
art scenes in Remont Gallery.
Le Dernier Cri su osnovani 1993. godine na
ruševinama pariske undergroud fanzin scene
iz osamdesetih. Publikovali su preko 140
knjiga a tokom svog, sada vec decenijskog
rada, kreirali su prostor prepoznatljiv po eksperimentisanju u grafici, filmu i izdavastvu.
Beogradskoj publici su prezentovani video
radovi Les Religions Sovages & TV sekte na
kojem je radilo trideset umetnika.
Le Dernier Cri were founded in 1993 on the
debris of Paris underground fanzine scene
of the 1980’s. They published over 140
books and throughout their work managed
to create a space easily identifiable by experimenting in the domains of graphics, film
and publishing. Belgrade public watched the
video works Les Religions Sovages & TV
Cults, made by some thirty artists.
Marsel Spiler je umetnik koji se u svom
radu ogledao u različitim vidovima kreativne
prakse i to od animiranog filma, skulpture i
crteža, pa do radova u poliesteru i kompjuterskoj grafici. Dominanta koja se provlači
kroz čitav Marselov životni opus su video
radovi akcionističke body art prakse, gde
Spiler transvestira, realizujući svoju animu,
prateći kamerom kroz decenije sve promene
na njoj. U svojim video radovima, krenuvši
u mladosti od “drag queen” tipa, on godinama razvija personifikaciju svoje anime
kroz razne transformacije u izrazito ,,trash”
i psihodeličnom duhu.
Marcel Spuehler is an artist of enormous
technological knowledge, which he uses in
various forms including animation (drawn
and puppet), sculpture and drawing, as well
as works in polyester and computer graphics.
The dominant and continuous line of his opus
consists of works in the domain of actionist
body art, a sort of transvestitism depicting
his anima through the lifetime, documenting
all changes in it with a video camera. Playing
a role of “drug queen” in his early body art
videos, he personifies his anima in the following years through transformations in the
spirit of trash and psychedelia.
10
03. 02. i 09. 02
Le dernier Cri: Les Religions Sovages & TV Cults
Marcel Spuehler: HIT/Schlager
Arts Not Dead - Branislav Jakić
Na platno velikih dimenzija Branislav Jakić
projektuje podražavan položaj raspeća
ekspresionističkim stilom . Na lice Hrista
nalepljen je transparentan lik umetnika čije
facijalne ekspresije upućuju na umirućeg
čoveka. Minimalne diferencijacije ovih
stanja, koja se mogu iščitati, nadomeštene
su velikom brzinom njihovih smenjivanja.
Ova agresivnost, ponovljena u dimenzijama
(280x280cm), na minimalnoj udaljenosti projekcije od ulaza i audio zapisu - urlajućem
glasu umetnika, remeti uobičajenu galerijsku
i muzejsku percepciju i recepciju umetnosti.
Posetiocima je pristup umetnosti ne samo
auditivno i vizuelno, već i bukvalno, fizički
onemogućen. Ipak, namera umetnika ne iscrpljuje se u izbacivanju publike iz galerijskog prostora. Ona se u potpunosti ispoljava
u konačnom isključivanju umetnosti iz prostora navodno rezervisanog za njene potrebe.
Iako naglašava da čovek treba da ubije neku
ideju kako bi ona vaskrsla (Umetnost je
mrtva! Živela umetnost!), Jakić ne elaborira
do kraja problem umetnosti danas, niti nudi
moguće projekcije. Međutim, usmeravajući
nas ka neminovnosti radikalne transformacije umetnosti, on ukazuje na neophodnost
njene definitivne smrti, kao nužnom preduslovu za usaglašavanje umetničke produkcije,
prezentacije, percepcije i recepcije sa potrebama savremenog trenutka.
Mara Prohaska Marković
10. 02 – 20. 02
On a large screen, Branislav Jakić projects
a crucifix expressionistic in style. Christ’s
face is overlapped with the transparent image of the artist himself whose facial expressions suggest the look of a dying man.
The great velocity of changes compensates
minimal differentiations of these expressions
that can be detected. This aggressiveness
– multiplied by the means of dimensions
(280x280cm), at the minimal distance of the
screen from the entrance and an audio record i.e. the screaming voice of the author
– interferes with the usual gallery and museum perception and reception of art. Not
only that visitors’ hearing and seeing are
under attack, they are physically prevented
from approaching the work of art. Still artist’s
intention is not exhausted in the plain exile
of visitors from the gallery space. His intention is fully expressed in the final banishment
of Art from the space supposedly reserved
for Art’s requirements. Although he emphasises that an idea should be killed in order to
be born again (Art is dead! Long live Art!),
Jakić does not fully elaborate the problem
of today’s Art, nor he offers plausible solutions. Still, shifting us towards the inevitability of the radical transformation of Art, he
indicates the necessity of its certain death
as the necessary precondition for the compliance of artistic production, presentation,
perception, and reception with the requirements of the present moment.
Mara Prohaska Marković
Rođen 1975. godine u Beogradu. Diplomirao 2000. na FLU u Beogradu. Imao četiri
samostalne i više grupnih izložbi. Prodaje
sirovinu za poliuretanske mase. Živi i radi u
Beogradu.
Kontakt: [email protected]
Born in Belgrade in 1975, Jakic graduated in
the class 2000 at the Fine Arts Academy in
Belgrade. Up till now he participated in more
than one group exhibitions and had four solo
exhibitions. He is engaged in the trade with
row materials for polyurethane mixture. He
lives and works in Belgrade.
Contact: [email protected]
12
Lavirint - Jelena Radović i Tanja Marković
Rad je koncipiran kao lavirint sastavljen od
površina tila, razapetih od plafona do poda
galerije, na kojima su odstampane ‘teorijske parole’ (citati i kratke refleksije filozofa,
istoričara i teoretičara kulture i umetnosti i
samih umetnika). Položaj teksta u prostoru
ukazuje na pravac kretanja kroz lavirint.
Izbor tekstova je takav da oni jedni druge
preispituju, komentarišu i osporavaju i time
dovode do “stranputica” i ponovo vraćaju
na početne premise – kao u svakom lavirintu. Osnovna namera rada je da publiku suoči sa odnosima čulne percepcije i
tekstualnih značenja. Odnosi među njima
nisu čiste opozicije, pa se publika suočava
sa materijalnom čulnošću značenja i
semantičkim potencijalnostima čulnog. S
obzirom da je rad koncipiran i kao kulturna,
a ne više čisto umetnička praksa, njegov
cilj je da publika ovim odnosima preispita
i svoje šire kulturalne pozicije, koje uvek
nastaju u previđenom ili osvešćenom prepletu čulnog i semantičkog.
Rad je zamišljen tako da posmatrač,
prolazeći kroz slepe ulice, prateći i
isčitavajući objekte, ne nađe lako najkraći
put do izlaza iz klaustrofobične situacije
lavirinta. Tumaranje i lutanje tako postaju
modeli saznavanja teorijskog konteksta,
konteksta koji u ovom radu, osim što je objekt percepcije, postaje i neki novi tekst za
širi umetničko-teorijsko-politički kontekst.
Masovni mediji i svet reklamne industrije
oblikuju strukturu i kapacitete naših sve
fragilnijih dugoročnih i kratkoročnih individualnih memorija. U takvom informatičkom
i medijskom okruženju slike sveta postaju
sve sitnije fragmentisana znanja, koja su
naizgled međusobno nepovezana, osim
uvek mogućim arbitrarnim vezama koje
proizvodi tržište. Kratka forma teorijskih
rečenica odgovara optimalnoj, podnošljivoj
količini informacije. Rečenice su birane
tako da budu razumljive i mimo konteksta
tekstova iz kojih su istrgnute. Rad postavlja sledeća pitanja: na koji način kontekstualizovati savremeni umetnički rad; gde
naći tačke oslonca za adekvatnu interpretaciju; kako teorijski umrežiti set stavova
koji rad proizvodi ili doslovno nudi čitanju;
u kojoj fazi percepcije počinje proizvodnja
značenja/znanja/moći; i sl. Instalacija La-
virint bavi se ovim pitanjima, komplikujući
probleme iz ranijih radova i nastavlja da
istražuje funkcije pogleda u/kroz/preko objekta.
Tanja Marković
Jelena Radović
Radović Jelena
Rođena u Beogradu 1970. godine. Diplomirala na Fakuletetu likovnih umetnosti u
Beogradu, gde je 1997. godine završila postdiplomske studije
Samostalne izložbe:
1997. „Magistarska izložba”, Galerija FLU,
Beograd
2000. „Reidekonstrukcija Gvire” ,Galerija
Zvono, Beograd
Grupne izložbe:
1995. „VI bijenale Milena Pavlović Barilli”,
Galerija Milena Pavlović Barilli, Požarevac
2000. „Prolećna izložba ULUS-a”, Umetnički
paviljon Cvijeta Zuzorić, Beograd
2002. „Lako-teško”, Galerija Zvono, Beograd
Kontakt: [email protected]
Tanja Marković
Rođena u Beogradu, 5. juna 1970. Završila
Filozofski fakultet u Beogradu, Odeljenje za
psihologiju. Postdiplomac Univerziteta umetnosti u Beogradu, smera Teorija umetnosti i
medija. Jedna od osnivačica TkH – Centra
za teoriju i praksu izvođačkih umetnosti.
Učestvovala u performansima u Beogradu,
Zagrebu, Ljubljani, Temišvaru, Londonu,
Pragu.
2002. Real Presence, Foto-instalacija „Your
mind – scene iz Frankfurta“ i instalacija
„Artists have to walk through theory“, koautorstvo s Anom Vujanović, Muzej 25. Maj ,
Beograd
2002. Film „Freedom is political construction“, koautorstvo s Anom Vujanović, premijerno prikazan u Zagrebu
2006. „Tragom roda-smisao angažovanja”,
Deve, O3ON galerija, Beograd
Kontakt: [email protected]
14
27. 02 – 17. 03.
The Maze - Jelena Radović i Tanja Marković
The work is conceived as a maze made of
cloths stretched between the gallery ceiling and the floor, each cloth bearing printed
“theoretical slogans” (short reflections and
quotations by philosophers, historians and
theorists of art and culture and artists themselves). The position of text in space suggests the path through the maze. The choice
of texts is such that they question, comment
and deny each other, often misleading and
bringing one back to previous points – as in
any other maze.
The basic intention of the work is to confront
the visitors with relations between sensory
perception and textual meanings. They are
not in full opposition, so the audience is
confronted with the material/sensory aspect
of semantics and semantic potential of the
senses. Since the work contains a social
aspect in addition to the artistic one, its aim
is to lead the public to questioning their own
cultural positions, which are always the result of either overlooked or conscious weave
of sensory and semantic details.
The work is conceived so that a visitor, passing through dead-end streets, following and
reading the textual objects, cannot find an
easy way out of the claustrophobic situation
of the maze. Wandering and straying thus
become the models of learning the theoretical context, a context that in this work,
besides being the object of perception, becomes a new text for a wider artistic-theoretical-political context.
Mass media and the world of advertising
industry form the structure and capacities
for our increasingly fragile long-term and
short-term individual memories. Such an
environment makes our notion of the world
fragmented into tiny pieces, which do not
seem to be interconnected, except by possible arbitrary links created by the market.
The short form of theoretical sentences fits
the optimal, bearable quantity of information. The sentences were chosen according
their comprehensibility outside the original
context.
The work raises the following questions:
How to contextualise a contemporary artwork? How to establish the foundation for
an adequate interpretation? How to make a
theoretical network of views which this work
creates and literally offers for reading? In
which phase of perception does the creation
of notion/knowledge/power start? In the installation entitled The Maze, we asked these
questions, combining problems we dealt with
in our earlier works and proceeding with investigation of the functions of view into/through/
over an object.
Tanja Marković
Jelena Radović
Radović Jelena
Born in Belgrade 1970. Graduated at Faculty
of Fine Arts in Belgrade. At the same faculty
she finished postgraduated studies in 1997.
Solo exhibitions:
1997. “MA exhibition”, Gallery of Faculty of
Fine Arts, Belgrade
2000. “Reidekonstrukcija Gvire”, Zvono Gallery, Belgrade
Group exhibitions:
1995. VI biennale “Milena Pavlović Barilli”,
“Milena Pavlovic Barilli” Gallery, Požarevac
2000. “Spring exhibition of Association of
Fine Artists of Serbia”, Art Pavillion Cvijeta
Zuzorić, Belgrade
2002. “Easy-hard”, Zvono Gallery, Belgrade
Contact: [email protected]
Tanja Marković
Born in Belgrade in 1970. He graduated Philosophical Faculty in Belgrade, deparment
for psychology. At this moment he is postgraduated student at the University of Arts
in Belgrade, department for theory of arts
and media. Tanja is one of founders of TkH
– Center for theory and oraxis of performing arts. She participated in performances
in Belgrade, Zagreb, Ljubljana, Temisioara,
London, Prague.
2002. Real Presence, Foto-instalacija “Your
mind – scenes from Frankfurth” and instalation Artists have to walk through theory,
coauthorship with Ana Vujanović, Muzej 25.
Maj , Belgrade
2002. Film “Freedom is political construction“, coauthorship with Ana Vujanović, premiere in Zagreb
2006. “Tragom roda-smisao angažovanja”,
Deve, O3ON Gallery
Contact: [email protected]
16
27. 02 – 17. 03.
Belaj - Marko Stojanović
Bele instalacije, “Belaji” kako ih je sam autor,
Marko Stojanović, nazvao, predstavljeni
ovom prilikom, segment su njegovog
opusa za koji sam tvrdi da o njemu ne bi
znao šta da kaže. Naravno, da ne bi, jer je
radom već ponudio bogato razuđen iskaz
i asocijativni kontekst. Beli materijali (so,
šećer, brašno, mleko u prahu, …kokain
…) različite granulacije, čvrstoće i ukusa
predstavljeni su najsličnijim
mogućim
prostornim pojavama – u količini i obliku. Na
razlike među njima ukazuju nijanse odsjaja
(ili emisije) i imena materija otisnuta u njima
identičnim fontom. Iza vizuelno uočljivih
razlika otkrivaju se (ili prizivaju) i poznate
i pretpostavljene različitosti njihovih
ukusa i dejstava. Tako ahromija postaje
panhromija, jer iz beline izranja bogati
spektar nijansi koje reflektuju i emituju
različiti granulati. Ako se belini kao osnovni
kvalitet pretpostavi bezličnost nastala
stapanjem različitih komponenti spektra,
onda se Stojanovićev autorski pristup
može definisati kao negiranje bezličnosti
ukazivanjem na bogatstvo identiteta i
diferencija u belom svetlu. Filozofska,
teozofska, metafizička, i/ili dijalektička
razmatranja i spekulacije, kao primarne
referade belih radova prethodnika, da
pomenemo samo Maljeviča i suprematizam,
ili konceptualiste, ipak ne zadovoljavaju u
potpunosti autorovu potrebu za definiciju
posebnih identiteta i svojstava. Stojanović
stoga uvodi i dvostruku subjektivnost svakog
od kvaliteta (identiteta): subjektivnost
materije po sebi i subjektivnost objekta
dejstva – posmatrača ili degustatora.
Tako uvodi element ugođaja odnosno
uživanja kao korektiv merljivog fizičkog
svojstva ili dejstva. To nije hedonizam u
svom negativnom (osuđujućem) vidu, već
dodatna mera subjektivnosti u kojoj se traži
istina. Uživanje dopunjava istinitost utiska,
te se do zadovoljenja dolazi otkrivanjem
subjektiviteta kroz subjektivno dejstvo i
pristup. Kada se Markova vokacija za dizajn
sagleda iz tog rakursa otkriva se njegov lični
pristup i stav prema brendizaciji - može, ali
samo uz poštovanje identiteta - diferentiae
specificae- onog što se brendira i onog
kome je brend namenjen i predstavljen.
Intelektualna i etička odgovornost moraju
biti i čulno opažljive, kako u artes minores
20. 03 – 07. 04.
tako u ARTES (MAIORES) i uopšte.
Dejan Radovanović
P.S.
U ličnom čitanju prva asocijacija koja se
javila piscu ovih redova je lik ostarelog
Kazanove /Marčela Mastrojanija u filmu
Noć u Verneu Etorea Skole. Maska i kostim
Gabriele Peskuči dale su tada tridesetak
nijansi prašinaste “bele” popadale po
ocvalom zavodniku. Izvanredna vizualizacija
poruka o nevinosti stečenoj vremenom
(možda mudrošću), odnosno prevejanoj
nevinosti. Dalji tok asocijacija doveo je do
ovog čitanja.
P.P.S.
Film je snimljen 1982!
Rođen u Negotinu 1982. godine. Diplomirao
na Akademiji likovnih umetnosti, odsek za
grafički dizajn, Novi Sad 2006. godine.
Samostalne izložbe:
2005. „Kolekcija Hamlet VS Hajduk Veljko &
1.MAY 1982”, Kulturni centar Točka, Skoplje
2005. „Art food-Eat art”, Centar za vizuelnu
kulturu Zlatno oko, Novi Sad
2005. „Novi goblen”, Galerija Izba, Novi Sad
Grupne izložbe:
2005. „Diplomska izložba crteža 4. godine
AUNS”, Galerija MSU Novi Sad
2005. „Bijenale mladih Skoplje”, Muzej
Savremene Umetnosti, Skoplje
2005. „Terminal 005 Balkan Art Festival”,
Ljubljana, Galerija Bi-Ko-Fe
Kontakt: [email protected]
18
Belaj - Marko Stojanović
White installations, WHITEYS as their
author Marko Stojanović calls them, which
were presented in Remont Gallery, are a
segment of his opus for which he claims to
be unable to say anything about. It is quite
understandable, since his work already
offers a richly diverse expression and
associative context. White materials (salt,
sugar, flour, powdered milk... cocaine...) of
different grain types and sizes, hardness
and flavour are presented in as similar
as possible shapes and quantities.
Differences between them are suggested
by nuances in the ways they reflect the
light and by names of the matters imprinted
in them using a common font. Along with
the visible differences, some known and
presumed qualities such as flavour and
effects are revealed (or evoked) as well.
Therefore, these achromatic matters
become panchromatic, because their
whiteness reflects and emits a variety of
colour nuances. If whiteness is amorphous
because it includes all segments of visual
spectrum, then Stojanović’s approach can
be defined as negation of amorphousness
through pointing to the richness of identities
and varieties inside the white light.
Philosophical, theosophical, metaphysical
and/or dialectical considerations and
speculations, which were primary topics
of white art pieces by predecessors such
as Malevich and other suprematists, as
well as conceptualists, were insufficient
to satisfy the author’s need for defining
specific identities and qualities. This is why
Stojanović introduced double subjectivity
of each quality (identity): subjectivity of
the matter itself and subjectivity of the
spectator or degustator. This is how he
introduces the element of mood, i.e.
enjoyment as a corrective to measurable
physical quality or effect. It is not hedonism
in the pejorative sense, rather an additional
touch of subjectivity in quest for the truth.
Enjoyment completes the truthfulness of the
impression, so satisfaction is achieved by
revealing the subjectivity through subjective
action and approach. If we look at Marko’s
dedication to design from such an angle we
can easily recognise his personal approach
and attitude towards branding – it is OK as
long as it includes the identity, differentia
20. 03 – 07. 04.
specifica of what is to be branded, as well
as a consumer that the brand is aimed at
and presented to. Intellectual and ethical
responsibility must be available to senses
in both artes minores and ARTES (maiores)
and in general.
Dejan Radovanović
P.S.
The first clue to my personal reading of this
work was the character of aged Casanova
(Marcello Mastroianni) in Ettore Scola’s
That Night in Varennes. The make-up and
costumes by Gabriella Pescucci cast dozens
of nuances of powdery “white” upon the
withered seducer. Exquisite visualisation
of innocence gained over time (maybe by
wisdom), i.e. cunning innocence. Further
clues and associations led to this final
reading.
P.P.S.
The film was made in 1982!
Born 1982. in Negotin, Serbia. Graduated
at the Academy of Fine Art, Graphic Design
Department in Novi Sad in 2006.
Solo exhibitions:
2005. “The Hamlet VS Hajduk Veljko collection & 1.MAY1982”, Cultural Center Točka,
Skopje, FYROM
2005. “Art food-Eat art”, Center for Visual
Culture Zlatno oko, Novi Sad
2005. “New Needlepoint”, Izba Gallery,
competition: Contemporary Art Production
Izba
Group exhibitions:
2005. “Graduation exhibition of the drawings done by final year students from the
AUNC”, Gallery MSU, Novi Sad
2005. “Youth Biennale Skopje”, special
guest from Serbia, the Museum of Contemporary Art, Skopje
2005. “Terminal 005 Balkan Art Festival”,
Ljubljana, the Gallery Bi-Ko-Fe
Contact: [email protected]
20
Geometrija nesanice - Nina Todorović
Geometrija nesanice
Konstruktivističke, iz donjeg rakursa fotografisane, vizuelno slagane geometrijske
kompozicije, proizašle iz arhitektektonskih profanih struktura čine okosnicu rada
Geometrija nesanice Nine Todorović. Ove
fotografije funkcionišu kao „originalni vizuelni predlošci ličnih nesanica“ same umetnice.
Veliki digitalni print dokumentuje kretanje
unutar jedne prostorije ka prozoru i predstavlja sukcesivno snimljene i sadržajno
vezane zamrznute kadrove sa te putanje.
Narativnost i linearnost, na koje upućuje
njihov kontinuirani raspored, pojačane
su podražavanjem filmske trake, kao i titlom-citiranim segmentom priče „Beni
hara po Dablinu“. Titl nas uvodi u priču
o anksioznom pojedincu, koji je ispunio
sve društvene standarde za postizanje
uspešnog i srećnog života, dok pitanja o
konačnim uzrocima njegovog nezadovoljstva ostaju nedovoljno saglediva.
Istovremeno, kako bi se izmestilo iz
uobičajene reprezentacije stvarnosti putem
fotografije, u nekim kadrovima uhvaćena je
neobično dinamična igra svetlosti i senke.
Na taj način, dočarane su pukotine u realnom prostoru koje uvode u subjektivni, lični,
nerealan svet, čime je postepeno, na drugoj
strani galerije, i kontinuitet u vremenu
diskretno narušen. Oštre i zamagljene
fotografije diskontinuirano u nizovima
postavljene nagoveštavaju permanentno
izmicanje realnog i rasplinjavanje subjekta
u psihološkom, mentalnom, emotivnom i
biološkom smislu.
Slično
konstruktivističkoj
fascinaciji
mašinama u vizuelnim predlošcima Nine
Todorović dominira prisustvo aparata, ali na
jedan drugačiji način. Direktno pojavljivanje
i upotreba mašina u konstruktivističkoj
umetnosti sa početka 20. veka ukazuje
na specifičan humanistički pristup mašini
kao sredstvu za menjanjem sveta i ostvarenjem utopijskih vizija o boljem životu
čoveka u svetu koji ga okružuje. U radu
Geometrija nesanice ova neposredna slika
aparata izostaje. Preovlađujuća plavičastosrebrnasta svetlost je boja noćne gradske
svetlosti koju emituju televizori, kompjuteri,
mobilni telefoni... Njihovo samo indirektno
prisustvo kroz senke i svetlost je znak odsustva u realnom i usmerenosti, aktivnosti,
uključenosti u virtuelni svet. Takođe, ova
isključiva posrednost je duplirana namerno
samo pretpostavljenim prisustvom autora/
subjekta, što govori i o njegovom izmenjenom
položaju u automatizovanom svetu aparata u
kome fundamentalna filozofska i egzistencijalna pitanja o slobodi postaju irelevantna. Istrajavanje umetnice u apostrofiranju posrednosti doprinosi stvaranju napete atmosfere
koja se ispostavlja kao simptom dolazećeg
emotivnog, duhovnog i fizičkog nestajanja.
Mara Prohaska Marković
Rođena u Beogradu, 1973. godine. Diplomirala 1999. na FLU, u Beogradu, odsek
slikarstvo, u klasi profesora Čedomira Vasića.
2002. magistrirala, u klasi istog profesora.
Samostalne izložbe:
2005. „Geometrija usamljenosti”, Dom omladine, Štip, Makedonija
2005. „Noćni program”, Galerija ULUS, Beograd
2003. „Konstruisanje tišine”, Galerija Studentski kulturni centar, Kragujevac, Srbija
Grupne izložbe:
Od 1995. godine aktivno izlaže, a do sada
učestvovala na 80 grupnih izložbi, u zemlji i inostranstvu (Kanada, Belgija, Madjarska, Makedonija, SAD, Slovenija, Estonija,
Nemačka), i 11 likovnih kolonija, (SCG, Madjarska, Makedonija,).
Kontakt: [email protected]
22
10. 04 – 28. 04.
Geometry of Insomnia - Nina Todorović
Constructivist, visually arranged geometrical compositions, photographed from the
extreme low angle, carried out from secular
architectural structures are the focal point of
the work The Geometry of Insomnia by Nina
Todorovic. These photographs function as
“the original visual patterns of personal insomnia” of the artist herself.
A large digital print documents movement
inside a room towards a window and represents frames of the course of the movement,
which are recorded in succession and internally bond by its subject matter. The narrative and linear nature of it, is amplified by the
means of imitating the film tape and by the
title – a cited fragment from the story “Benny
Forays Dublin”. The title is the foreword to the
story of an anxious individual who fulfils all
of the standards that should promise a successful and happy existence. However, the
questions on the substantial origins of his
discontent remain unanswered.
At the same time, in order to remove itself
from the domain of expected representation of reality by means of photography, an
unusually dynamic play of light and shadow
is captured in some shots. By these means
cracks in the real space become visible inviting us into a subjective, personal space
beyond reality, while on the other side of the
gallery the continuity of time is discreetly disturbed. Sharp and blurred photos arranged
in discontinuous lines suggest permanent
slipping of the reality and psychological,
mental, emotional, and biological dispersion
of the subject.
Similar to Constructivist fascination by machines in the visual patterns by Nina Todorovic presence of gadgets is dominating
though in a different manner. In Constructivist art from the beginning of the 20th century
obvious appearance of machines as subject
matters testifies of the specific humanistic
approach in which the machine is the means
for changing the World and carrying out with
the utopian vision of a better life in the existing world. This direct image of the machine is
omitted in the work The Geometry of Insomnia. A silver-blue light is the colour of the city
at night, lightened by television sets, computers, cell phones… Their indirect presence
through shadows and light is the sign of absence from the real world and steering ac-
tivities towards participation in the virtual one.
In addition, this exclusive indirect presence is
deliberately duplicated by the supposed presence of the author/subject that says a lot about
its altered position in the mechanised world of
machines in which fundamental philosophic
and existentialistic issues of freedom become
irrelevant. The perseverance of the artist in emphasising indirectness brings out the intense
atmosphere as a symptom of approaching
emotional, spiritual, and physical vanishing.
Mara Prohaska Marković
Born in Belgrade in 1973. Graduated 1999. at
the Faculty of Fine Arts in Belgrade, department for painting. In 2002. she finished M.A.
studies at the same faculty.
Solo exhibtions (selection):
2005. “Geometry of solitude“, Youth House
Center, Štip, Macedonia
2005. “Late night programming“, Gallery
ULUS, Belgrade
2003. “Constructions of silence“, Gallery of
Student culture center, Kragujevac, Serbia
Group exhibitions, colonies, workshops…
Since 1995., she participated in 98 group exhibitions and 15 art colonies/workshops, in country and abroad (Canada, Belgium, Hungary,
Macedonia, USA, Slovenia, Estonia, Germany,
Italy…
Contact: [email protected]
24
10. 04 – 28. 04.
Josip Broz Tito 1980-2006 - Dragan Srdić
Dragan Srdić je već dve decenije prisutan
na beogradskoj umetničkoj sceni ali spada
u autore koji izlažu retko, i dugo se bave
razvijanjem jednog projekta.
Po obrazovanju istoričar umetnosti,
Srdić se kao vizuelni umetnik još sredinom osamdesetih opredelio za dve linije
razvoja. Jedna, koja je posle par akcija zapostavljena, bavila se remake-om
nekih od ključnih radova jugoslovenske
umetničke scene 70 –tih (Triglav - grupe
OHO, intervencija na pešačkom prelazu
kao karakterističan motiv Julija Knifera...).
Druga, koja je prisutna i dan danas, je
rekontekstualizacija predmeta i objekata
pronađenim na otpadima ali sa jasnim
i jakim kulturološkim impilkacijama. Od
90-tih godina koristi isključivo “otpad” koji
je u vreme Titove vlasti imao značenje
društvenog statusa i pripadnosti ideologiji tog vremena - zvezde petokrake,
biste zaslužnih revolucionara i spomen
ploče koji su bili deo obaveznog mobilijara svake društvene institucije. Sredinom
90-tih postojao je i mali iskorak kao reakcija na ratno okruženje -delovi ili namerno
oštećena (neiskorišćena) municija teškog
naoružanja – bombe, rakete...
Kroz svoje dve samostalne izložbe, ČAS
ANATOMIJE u Kulturnom centru Beograda, 2000. godine i JOSIP BROZ TITO
1980 – 2006, u Remont galeriji, razvija
projekat koji je istoričar umetnosti Lidija
Merenik nazvala AUTODESTRUKCIJA
ISTORIJE (UMETNOSTI). Na ČASU
ANATOMIJE, na otvorenom stolu sličnom
operacionom, izložene su pretesterisane,
izbrušene, izbušene, oskrnavljene biste:
Tito sa skinutim skalpom, bez nosa, bez
glave.
Na izložbi u Remont galeriji slični i isti
delovi prethodne instalacije su “sahranjeni”, postavljeni u monumentalni stakleni
sarkofag pokriven teškom mermernom
nadgrobnom pločom na kojoj piše JOSIP
BROZ TITO 1980 – 2006. Grubo isečene
biste, odlivci radova poznatih i priznath
umetnika poput Antona Augustinčića,
Ota Loga, Lojze Dolinara ili Borisa Kalina (neki od istovetnih odlivaka se nalaze i u stalnim postavkama muzeja),
ukazuju na društvenu i kulturnu klimu
nakon Titove smrti, 1980. godine. Ova
kriticka refleksija na društvo posle 80 tih
prikazana u monumentalnoj providnoj kutiji
– sarkofagu pokrivenoj teškom mermernom
pločom i natpisom JOSIP BROZ TITO 1980
– 2006, direktno ukazuje na ovo vreme koje
karakteriše novo pozicionirenje prema bliskoj prošlosti, uništavanje dokumenata zarad
stvaranja nove istorije. Uništavanje i bes iskaljen na umetničkim objektima od strane
NN lica, najverovatnije samo zbog administrativnog otpisa i lakšeg transporta, odraz
su vremena i potisnutog nezadovoljstva,
destrukcije i autodestrukcije iskazane prema
vlasititoj prošlosti.
Mada su se ova izvorno umetnička dela
na otpadima našla početkom devedesetih,
danas, intervencijom umetnika, govore i
o uništavanju dokumenata, brisanja istorije, zarad stvaranja jedne nove pozadine
slike koja omogućava i novo, često lažno
predstavljanje ili “stariju i lepšu” prošlost.
Vandalizam prema nesumnjivo kvalitetnim
radovima, fizičko oštećenje i deformisanje
predmeta koji čine kulturnu tradiciju, prekida
jedan prirodan tok razvoja društva i stvara
uslove za inflaciju vrednosti.
Darka Radosavljević
Rođen 1958.godine u Beogradu. Diplomirao
na Filozofskom fakultetu, odsek istorija
umetnosti.
Samostalne izložbe:
1995. „Gernika“, Studentski kulturni centar,
Beograd
1998. „VIP“, Galerija Doma Omladine, Beograd
2000. „Čas anatomije“, Likovna galerija
KCB, Beograd
Grupne izložbe:
2004. „Kontinentalni doručak“, 45. Oktobarski salon, Beograd
2001. „Umetnici biraju“, 42. Oktobarski salon, Beograd
2000. „Art on millenium off“, 41. Oktobarski
salon, Beograd
Kontakt: 064 182 14 73
26
04. 05 – 25. 05.
Josip Broz Tito 1980-2006 - Dragan Srdić
Although present on the Belgrade art scene
for two decades now, Dragan Srdic is an artist who rarely exhibits and takes a long time
to build up a project.
An art historian by vocation, in mid eighties
Srdic oriented himself towards two lines of
development. One line, from which he turned
away after several events, was concerned
with the remakes of some crucial art works
of the Yugoslav art scene of the seventies
(Triglav – by OHO group, an intervention on
the pedestrian crossing which resembled a
characteristic motive by Julije Knifer, etc.).
The other, current line is concerned with
re-contextualisation of things and objects
found on garbage dumps bearing clear and
strong cultural implications. Since the nineties he exclusively uses “junk” that, during
Tito’s reign, represented social status symbols and implied loyalty to the ideology of the
time – five-legged stars, busts of renowned
revolutionaries and memorial plates which
were obligatory parts of the inventory of any
social institution. In mid nineties he makes
small step forward as a reaction to a war
stricken environment – parts or deliberately
damaged (unused) ammo of heavy machinery – bombs, rockets…
Through two solo exhibitions – THE ANATHOMY CLASS in Belgrade Cultural centre
in 2000 and JOSIP BROZ TITO 1980 – 2006
in Remont Gallery, Srdic pursues the project which art historian Lidija Merenik named
THE AUTHODESTRUCTION OF THE
HISTORY (OF ART). In THE ANATHOMY
CLASS on an open table similar to an operating table Srdic displays sawed, desecrated
busts: Tito with his scalp, without the nose,
without the head.
On the exhibit in Remont Gallery some similar
and some of the same parts of the previous
installation are “buried”, placed in a monumental glass sarcophagus covered with a
heavy marble tombstone inscribed with the
heading JOSIP BROZ TITO 1980 – 2006.
Roughly cut busts, casts of the sculptures of
the well-known and renowned artists as Anton
Augustincic, Oto Log, Lojze Dolinar and Boris
Kalin (some of the identical casts are in permanent museum displays), reveal the social
and cultural climate after Tito’s death in 1980.
This critical reflection of the society after the
eighties is displayed in a monumental trans-
parent box – the sarcophagus covered with
a heavy marble tombstone with inscription
JOSIP BROZ TITO 1980 – 2006 – implicitly
stand for the time characteristic for its relation towards recent past in which documents
are destroyed in order to create new history.
Destruction and rage upon objects of art
manifested by unidentified perpetrators, possibly as the result of administrators write-off
and easier transport, are reflections of the
time and suppressed discontent, destruction
and auto destruction pointed towards ones
own past.
Although these originally works of art were
found on dump yards in the beginning of the
nineties, today thanks to artist’s intervention
they speak of destroying documents, of attempts to rewrite the history in order to create a new background for the image of the
new and often false representation of “an
older and better” past.
Vandalism towards undoubtedly valuable
works, physical destruction and deformation of objects which are parts of the cultural
tradition interferes with the natural course
of development of ones society and creates
conditions for inflation of values.
Darka Radosavljević
Born 1958. in Belgrade. Graduated at
Philosophical Faculty, department for art
history
Solo exhibitions:
2000. “Anatomy class“, Gallery of KCB,
Belgrade
1998. “VIP“, Gallery of Belgrade Youth
Cultural Centre, Belgrade
1995. “Guernica“, Student cultural centre,
Belagrade
Group exhibitions:
2004. “Continental breakfest“, 45 th October
salon, Belgrade
2001. “Artist’s choice“, 42 nd October salon,
Belgrade
2000. “Art on millenium off“, 41 st October
salon, Belgrade
Contact: +381 (0) 64 182 14 73
28
04. 05 – 25. 05.
10 godina Talent Factory
Ako se dobro sećam, ja sam 1995. bio
umetnički direktor u reklamnoj agenciji “Revision”. Pored ordinarnih svakodnevnih poslova, mali tim (Filip - softver inženjer, Staša
- animator i ja), je odvajao i malo vremena
za maštanje o radu na sopstvenoj produkciji kompjuterskih igrica. Filip je krstio taj trio
imenom “Talent Factory“. Ali kratko je to trajalo, a ništa od planova nije javno realizovano.
Na desetogodišnjicu svog rada pod pseudonimom “Talent“ odlučujem da usvojim ime “Talent Factory“ za novoformirani tim. Tek pridošli
član bila je Dejana Momčilović, modni dizajner, dok su dotadašnja dva člana otišla svako
svojim putem. Tandemu se nekoliko narednih
godina pridružio Vlastimir Polić, skenerista
i operater, dok je Pavle Ćosić gostovao na
nekoliko performansa. U tom periodu, “Talent
Factory“ kako-tako funkcioniše kao kolektiv
sve do Dejaninog istupanja iz grupe 2000.
godine. Od tada pa do maja 2006. godine, ja
ću biti jedini preostali član fantomske grupe
“Talent Factory“.
29. 05 – 09. 06.
Studirao grafiku i fotografiju na Fakultetu
primenjenih umetnosti u Beogradu. 1986 1996 radi kao član grupe Talent.
1996 - 2006 pod pseudonimom Talent Factory.
Samostalne izložbe:
2006. Planeta, Galerija Ozon, Beograd
2005. Made in Yugoslavia, Galerija Haos,
Beograd
2003. Trodimenzionalni tapet, model 7,
Galerija Doma omladine, Beograd
Grupne izložbe:
2005. 46. Oktobarski salon, Umetnost koja
radi, Beograd
2005. O normalnosti. Umetnost u Srbiji od
1989. do 2001. godine, Muzej savremene
umetnosti, Beograd
2003. Veza/Connection, II Međunarodna
konferencija za umetnost i kulturu , Beograd
Kontakt: [email protected]
U euforičnom početku, delovanje grupe nije
imalo rok trajnosti, ali kako su se naslućivali
veliki nadolazeći problemi, naprosto, na toj
konzervi je morao da se utisne neki datum.
“Talent“ je trajao deceniju, toliko je trebao
trajati i “Talent Factory“. Radove sačinjene
uglavnom kombinacijom materijala biološkog
porekla i nekih otpadaka industrije, zamenili su radovi drugačijeg izgleda i filozofske
pozadine, mada su senzibilitet i neke karakteristike ranih radova neznatno evoluirali.
Ali jasno definisana linija između ideja ova
dva perioda nije povučena. Ipak, “Talent Factory“ je bio naslednik Talentovog testamenta.
Ako se danas osvrnem na taj period u cilju
traženja odgovora na pitanje da li je “Talent
Factory“ bio grupa ili projekat, nisam siguran da je moj odgovor moguće koristiti kao
relevantnu činjenicu. Za mene je to turobno
razdoblje. Zato je bolje da citiram novinarku
čijeg se imena ne sećam: “Gospodine Periću,
“Talent Factory“ je sve ove godine bio poznat
brend. Sada ga gasite. Zašto nam to radite i
šta dalje?” Kako god, u taj brend sam uložio
mnogo velikih očekivanja, vremena, sav novac, zdravlje. Na kraju sam ostao sam kao
opljačkano gnezdo.
Dosta više o “Talent Factory-ju“. The End.
30
10 years of Talent Factory
If my memory serves me well, I was employed as the art director in Revision Advertising Agency back in 1995. Besides the
ordinary daily tasks, a small team including
Filip (IT engineer), Staša (animation artist)
and I took some spare time to dream about
an independent computer game production.
Filip named the trio Talent Factory. However,
it did not last and we made no final product.
On the10th anniversary of my work under the
pseudonym Talent, I decided to adopt the
name Talent Factory for my newly formed
team. Dejana Momčilović (fashion designer) became a new member while Filip and
Staša had left in the meantime. For a couple
of years the duo collaborated with Vlastimir
Polić (computer operator), while our friend
Pavle Ćosić joined us for a couple of public
performances as a sound artist. Talent Factory functioned more or less as a collective until
Dejana left it in 2000. After that, I remained
the only member of the phantom Talent Factory group until 2006.
In the euphoric beginning, the group had no
validity date. However, as problems piled
up, some sort of “valid until...” label had to
be stuck on the can. Since Talent lasted for
a decade, Talent Factory should have lasted
for the same period. The works that mainly
combined biomaterial with industrial rejects
were replaced with those of different shape
and philosophic background. On the other
hand, the sensibility and some other characteristics of earlier works were insignificantly
altered, so there was no clear borderline between these two periods. After all, Talent Factory was the legitimate heir of Talent. Looking
back at that time trying to answer a possible a
question whether Talent Factory was a group
or a project, I am not sure if my answer would
be relevant. For me it was a gloomy and difficult period. I would rather quote a journalist
whose name I cannot remember: “Mr. Perić,
Talent Factory has been a well known brand
for all these years. Now you are cancelling
it. Why do you do this and what is next?” I
invested a lot of great expectations, time, all
my money and health in that brand. Eventually I am left alone like a robbed nest.
29. 05 – 09. 06.
Studied graphics and photography at the Faculty of Applied Arts in Belgrade. 1986 - 1996
working as a member of group Talent.
1996 - 2006 under the pseudonym Talent
Factory
Solo exhibitions:
2006 Planet, O3one Art Space, Belgrade
2005 Made in Yugoslavia, Chaos Gallery,
Belgrade
2003 Three-dimensional wallpaper, model
7, Youth Hall Gallery, Belgrade, Serbia and
Montenegro
Group exhibitions:
2005 46th October Salon, Art that Works,
Belgrade
2005 On Normality. Art in Serbia from 1989
until 2001 Museum of Contemporary Art, Belgrade
2003 Veza/Connection, II International Conference on Art and Culture, Belgrade
Contact: [email protected]
It is time to stop talking about Talent Factory.
The End.
32
Buđanje proleća - Toma Pan
05. 06 – 09. 06.
O izložbi Tome Pana u Remontu
On Toma Pan’s exhibition at Remont
Toma Pan je dugo i studiozno radio na ilustracijama za omot albuma “Buđanje proleća”
grupe Jarboli. Paralelno sa tim Jarboli su na
Popboks sajtu započeli akciju “Radio Jarboli” u kome su objavljivali jedan internet
“singl” mesečno za koji je Toma Pan pravio
crtež - omot. Dodajmo tome i plakate za
koncerte koje je Toma vredno pravio. Na taj
način, Pan je razvio poseban crtački jezik
kojim je vizuelno odredio jednu celu fazu u
radu grupe Jarboli.
Toma Pan has worked meticulously, and for
a long time, on the illustrations for the album
cover “Buđenje proleca” (“The Spring Awakening”) for the Jarboli band (The Masts).
Parallel to this, the Jarboli band started an
action “Radio Jarboli” on the Popbox website where they published one internet “single” per month and Toma Pan did a drawing
– cover for it. The concert posters Toma diligently worked on could be added to this list
too. In this way, Pan has developed specific
drawing language which visually defined a
whole phase in the work of the Jarboli band.
Izložbu u Remontu uopšte nisam video. Nalazio sam nekako, preko hiljadu kilometara
daleko (to nije ništa – Boris se, na primer,
nalazio preko 10 hiljada kilometara daleko i
time postavio svetski rekord). O izložbi su,
naravno, stizale glasine i izveštaji. Biće da
je to bila jedna odlična prezentacija kada se
setim tih nasmejanih lica sa fotografija na otvaranju ili pohvalne reči kojima su se svedoci
izražavali o postavci. Toma Pan se tako potvrdio kao jedinstven, jedan jedini takav na
celom svetu i vrlo dragocen od neprocenjive
vrednosti. Itekako…
Daniel Kovač,
Jarbol
I didn’t see the exhibition at Remont. I was
absent, about a thousand miles away, that
is nothing – Boris (one of the band members), for instance, was more than 10 thousand miles away and thus he set the new
world record. Of course, various rumours
and reports about the exhibition reached us.
When I recollect those smiling faces in the
photographs from the opening or the words
of praise about the show expressed by the
witnesses, I may conclude that it had been
an excellent presentation. Thus, Toma Pan
has confirmed himself as a unique figure, the
one and only in the whole world and quite
precious, priceless. Indeed…
Daniel Kovač,
a Jarbol
34
Imunnalimun - Aleksandar Jordačević Na početku zamišljen kao solo projekat, a
kasnije prerastao u grupu mladih kreativaca.
Imunnalimun (imun_na_limun) je nastao
kao potreba za očuvanje kreativnog, individualnog mišljenja i izražavanja u trenutku
kada je teško postati “IMUN” na svet i medije
koji nas okružuju. Deluje u obliku internet
prezentacije radova iz oblasti vizuelnih komunikacija Aleksandra Jordačevića i prijatelja (ljudi iz sveta dizajna i umetnosti) i teži
da postane arhiva kreativnosti. Kako svaka
arhiva ima tendenciju širenja tako je i ova otvorena je za sve kreativne ljude koji na svet
gledaju drugačijim očima. Imunanalimun
ima takođe za cilj da mlade autore i njihove
radove galerijski i preko interneta u vidu
različitih projekata, predstavi široj javnosti
kako u zemlji tako i inostranstvu.
U galeriji Remont je naša grupa na izložbi
nazvanoj “Exhibition with the 3 stripes” prvi
put predstavljena javnosti uz podršku jednih
od naših najznačajnih dizajnera Slavimira
Stojanovića i Vladana Srdića.
Planned as a solo project at first, Imunnalimun (imun_na_limun, Serbian expression
for immune_to_lemon) eventually developed
into a group of creative young individuals.
The project is stressing the need for preservation of creative individual thinking and expression in times when it is hard to stay IMMUNE to the world and media that surround
us. Imunnalimun is organised in the form of
a web presentation of works in the domain
of visual communication by Aleksandar
Jordačević and his friends (coming from the
world of design and art), aiming to become
an archive of creativity. Since every archive
has a tendency to grow, this one is open to
all creative people having different points of
view upon the world. Imunnalimun also aims
at presenting young authors and their works
to the local and international public in the
form of on-site and on-line projects.
The group’s first public appearance took
place in Remont Gallery and was entitled
Exhibition with the 3 Stripes. The exhibition
was supported by two distinguished Serbian
designers – Slavimir Stojanović and Vladan
Srdić.
www.imunnalimun.com
www.imunnalimun.com
Aleksandar Jordačević, Nis, SRB
[email protected]
Aleksandar Jordačević, Nis, SRB
[email protected]
Miha Bevc, Ljubljana, SLO miha.
[email protected]
Miha Bevc, Ljubljana, SLO miha.
[email protected]
Nenad Cizl, Maribor, SLO www.cizl.si
Nenad Cizl, Maribor, SLO www.cizl.si
Verica Sokanović, Beograd, SRB
[email protected]
Verica Sokanović, Beograd, SRB
[email protected]
36
12. 06 – 16. 06.
(Njujork kao) Open Market
kustos Jovana Stokić
Izložba koja bi predstavila umetnike koji su
prisutni na savremenoj njujorškoj likovnoj
sceni reflektuje specifičnu situaciju. Paradigma open marketa ukazuje na prirodu
razmene koja je prisutna u svetu umetnosti
danas.
Kada je u prolece 2005, Muzej Moderne
Umetnosti odlučio da se nađe u središtu
savremene produkcije, i organizuje svojevrsni salon umetnika koji žive na širem
području Njujorka (PS 1: Greater New York
2005) na konkurs je poslalo radove oko
2000 umetnika. Izabrano je njih 150. Prva
odlika open marketa je – postoji ponuda,
kao što postoji i potražnja. Kompeticija je,
moguće, najveća na svetu. Po otvaranju
izložbe, velika većina umetnika je već
imala svog galeristu, što znaći da im je
omogućeno da prodaju svoje radove.
Open market – pijaca na otvorenom – i
jeste i nije institucija. Institucija je utoliko
što poseduje uređenost, ali i nije, pošto je
nestalna, jedan dan je postavljena, pa se
razmontira i pređe na neko drugo mesto.
Menjaju se vlasnici tezgi, menja se roba,
menjaju se kupci. Na ovoj pijaci ima više
dobitnika - oni koji imaju prave, zvanične
tezge za prodaju, neće morati da stoje oko
tezgi i nude svoje proizvode, sa kartonskih
kutija, oni ce moći da podignu cene; oni koji
ućare tako čto kupe sa tezge pre nego što
se preseli u supermarket.
I oni koji prodaju umetnost, pre nego što
se ubajati, i tako uhvate zudnju kupaca za
određenim sezonskim proizvodom. Zgodno
je da je open market drugačiji od sterlinog
supermarketa – drčniji, bezobrazniji, prljaviji. Samo, oni koji se bune protiv uređenog
koji hoće da daju popust uprkos očiglednoj
logici prodaje.
Umetnici koji nemaju samo za cilj da se
njihova roba nađe na rafovima (art) SUPERMARKETA, oni koji uživaju u ritualu
koji prati razmenu, u hvaljenju i kuđenju,
u cenkanju i ponosnom odbijanju bedne i
nedostojne ponude, biće ovde predstavljeni. To su umetnici koji se suprotstvljaju
uravnoteženoj razmeni novca i (umetničke)
robe, koji ne nude svoju robu “budzašto”,
oni samo kritički sagledavaju ovu razmenu.
Priznajući da se tako mora delati da bi se
postajalo, ovi umetniici razmenjuju umetnost
za novac, ali pokazuju da razmena može da
19. 06 – 07. 07.
bude i znatno dinamičnija – razmena ideja,
vizuelnih jezika, načina i predstava.
Jovana Stokić
Umetnice:
Jenny Perlin
Chloe Piene
Aida Ruilova
38
(New York as) Open Market
curated by Jovana Stokić
Ironically, the continuing technological and
communicational advances in our globalized
present do not guarantee equal opportunities
for all. Instead of generating a trans-national
community with a shared set of aesthetic and
perceptual foundations, the artworld remains
structured as a set of multiple hegemonic
systems. In order to fight against marginalization of the art scenes that do not belong
to the most privileged centers, I would like
to contribute to the open exchange between
New York and Belgrade.
Firmly believing that both artist community
and general audience in Belgrade should
have the opportunity to see firsthand and
without delays the innovative art production
from the “center of the artworld, New York”
this show will present a group of leading
emerging artists of the New York art scene.
This exhibition will focus on the artists who
established themselves on the New York
art scenes, but are at the same time critical
of the art market as it is today. Paradigm of
the “open market” points to nature of the exchange in the art world. I offer a following allegorical story about the power-relationship
in the New York art scene.
When, in the Spring 2005, Museum of Modern Art decided to put itself in the epicenter
of contemporary production by organizing
an exhibition of the emerging artists from
New York City area (the exhibition “Greater
New York”) more than 2000 artists sent their
proposals. Only 150 of them were chosen
to show the works. This is how the logic of
the open market is manifested: where there
is demand, there is supply. After the show
opened, the vast majority of artists found
their own galleries, which provided them to
be able to sell their works.
Open market, literally meaning “market on
the open air,” is, and, in the same time, it is
not an institution. It is an institution because
it possesses certain regulation. But, it can be
dismantled so easily and the owners of the
“booths” in the “open-air market places” are
changing, whiles the merchandise and the
buyers also change rapidly. In this “open-air
market” there are those who posses the official stands, and those who have to be satisfied with marginally placed, improvised card
boxes. Those with official places can raise
their prices, while everybody’s in a hurry to
19. 06 – 07. 07.
sell art that is still fresh - in order to capture buyers urge to posses the new seasonal
products. It is funny that “open market” art
logic is different from the neutral supermarket - it is bolder, cheekier, and dirtier. Those
who fight against the “order of things,” those
who are ready to give a discount against the
logic of profit are causing problems.
The most interesting challenging art practices stem from the artists who don’t have as
their only goal to be found on the shelves of
(art) SUPERMARKET. This show will present artists who enjoy rituals that surround
the logic of exchange, those who enjoy
bargaining, but also refuse” indecent proposal” that would compromise their critical
stance. These artists confront the balanced
exchange of money and art-as-merchandize
by challenging the nature of power relations
within these transactions. The artists who
admit they need to trade art for money in
order to produce new art undoubtedly show
us that that the dynamic lies in exchange of
ideas, visual poetics, modes and representations.
Jovana Stokić
Artists:
Jenny Perlin
Chloe Piene
Aida Ruilova
40
Chloe Piene, Blackmouth
Aida Ruilova, Uh-Oh, Umm, OK, Aligriht, Let`s Go
Jenny Perlin, Sight Reading
Aida Ruilova, Uh-Oh, Umm, OK, Aligriht, Let`s Go
Real Presence 2006.
28. 08 – 30. 08.
Međunarodna umetnička radionica REAL
PRESENCE 6 otvorena je 21. avgusta učešćem
oko 150 internecionalnih i domaćih mladih umetnika koji su tokom deset dana trajanja realizovali
radove u brojnim izložbenim prostorima i na javnim lokacijama Beograda. U okviru radionice u
Galeriji Remont je otvorena izložba tri italijanske
umetnice: Concette Modice iz Milana, Carmen
Colibazzi iz Rima i Terese Capasso iz Napulja.
Tri umetnice koriste različite izražajne medije,
poput fotografije, instalacije, crteža, ali ih povezuje kolaborativni rad uspostavljen tokom radionice Real Presence i reference na kulturnu
sredinu u kojoj se nalaze.
Rad Concette Modice nosi naslov „Živi se samo
jedan put 2#” i odnosi se na sve one izreke koje
potenciraju činjenicu da se stavri dešavaju samo
jedan put. Svojim radom ona dovodi do paradoksa rečenice i izreke ovog tipa beskrajno ih kopirajuci i umnožavajuci. Takođe dovodi u vezu intimno i kolektivno iskustvo, istovremeno referiše
na činjenicu da je po istorijskim podacima Beograd bio bombardovan 40 puta i da svako individualno prođe kroz život veliki broj dramatičnih i
teških momenata. Drugi rad nosi naslov „Pisma”
i govori o gubljenu memorije i trajnog zapisa: to
su pisma pisana pepelom sagorelih predmeta
koji su pripadali njenoj porodici.
Rad koji je realizovala Carmen Colibazzi
je inspirisan susretom sa Beogradom kao
specifičnom kulturnom sredinom i referira na realno i simbolično kretanje kroz ambijent grada.
Ritualne akcije kretanja i šivenja čine da rad
nastane kao performans / instalacija koju je realizovala u Remontu na dan otvaranja izložbe.
Za svoje radove, pretežno objekte i instalacije,
koristi platno i niti kojima konstruiše figure i forme
koje asociraju na fragmentarne tragove postojanja i prisutnosti.
Teresa Capasso se bavi fotografijom i tokom radionice u Beogradu realizovala je seriju radova sa
Carmen Colibazzi, koja se nadovezuje na njene
predhodne serije koje naziva „Book stories”. To
su imaginarne priče koje umetnica „piše” kroz
medij fotografije, dakle u ovom slučaju radi se
o priči o devojci koja naga spava, sanja i šeta
Beogradom.
International artistic workshop REAL PRESENCE
6 was opened on 21st August and gathered around
150 international and local young artists, who realised and exhibited their works in many galleries
and other public spaces in Belgrade during next
10 days. In the course of the workshop, three
Italian artists Concetta Modica (Milan), Carmen
Colibazzi (Rome) and Terese Capasso (Naples)
exhibited in Remont Gallery. The artists used different media such as photography, installation and
drawing, yet their artworks were interlinked due to
collaboration they established during the REAL
PRESENCE workshop and references to the local
cultural environment.
The work by Concetta Modica is entitled You Only
Live Once 2# and refers to various proverbs insisting on the fact that things happen just once.
She makes paradoxes out of such proverbs by
endlessly repeating and multiplying them. She
also makes the connection between the intimate
and collective experience, referring to the fact that
Belgrade was bombed 40 times through its history
and that everyone experiences a number of hard
times personally. Her other work is entitled Letters
and deals with loss of memory and permanent records: these are letters written by ashes of burnt
objects that belonged to her family.
Carmen Colibrazzi’s work was inspired by her encounter with Belgrade and its specific cultural environment and refers to both real-life and symbolic
movement through the city ambient. Ritual actions
such as walking and sewing are used in making
of the performance/installation realised in Remont
Gallery on the exhibition’s opening day. Her works,
mainly objects and installations, are using canvas
and threads for making figures and forms evoking
fragmented trails of existence and presence.
Teresa Capasso deals with photography. During
the Belgrade workshop, she produced a series of
collaborative works with Carmen Colibrazzi as a
sequel to her previous series entitled Book Stories. These are imaginary stories “written” by the
artist through the medium of photography, in the
particular case it is a story about a girl sleeping,
dreaming and walking nude through Belgrade.
Dobrila Denegri
Concetta Modica
Carmen Colibazzi
Teresa Capasso
Concetta Modica
Carmen Colibazzi
Teresa Capasso
Dobrila Denegri
42
Teresa Capasso
Carmen Colibazzi
U
kustos Miroslav Karić
Izložba se bavi istraživanjem/vizuelizacijom odnosa u okviru fenomena unutrašnje
spoljašnje tačnije analizom/likovnim prikazivanjem različitih uodnošavanja elemenata
unutrašnjeg i spoljašnjeg prostora kroz njihove konflikte, susrete, spojeve i dijaloge.
Radovi mladih beogradskih umetnica Jovane
Stojanović, Ivane Stojaković i Ane Petrović
realizovani kroz medij objekta/skulpture/
instalacije svaki na svoj način predstavlja specifičan doživljaj/tumačenje relacija
između onoga što se najčešće definiše (ali
ne i nužno) kao realno, opipljivo, poznato, otvoreno ili kao nestvarno, nedokučivo, skriveno, zatvoreno.
Jovana Stojanović u seriji radova koji čine
simbiozu crteža i objekta, priču o odnosu
dve suprotnosti gradi na ispitivanju pre
svega njihove vizuelne konfrontiranosti koju
ostvaruju u međusobnoj komunikaciji. Ideja
suprostavljenosti »spolja – unutra« izražena
kroz likovne/skulptorske odnose/kontraste
svetlo-tamno,
transparentno-zasiceno,
glatko-izgravirano, tesno – prostrano, otvoreno-zatvoreno, organsko-neorgansko u
radu Stojanovićeve čini istovremeno i momenat njihovog zbližavanja opredmećenog u
“pregovaračkom procesu” oblika i površina
krajnosti od kojih nijednoj nije data prednost, nego su izmirene, učinjene jednakima,
dopunjujućima i neraskidivima…
Ivana Stojaković u instalaciji pod nazivom
“Kocka” istraživanje relacije spoljašnje
– unutrašnje, doživljava, kako sama ističe,
kao preispitivanje (ne)ograničenosti i
(ne)uslovljenosti čovekove slobode kako u
fizičkom tako i u duhovnom smislu. Precizno
dimenzionirana, ali neugledne, nerafinisane
spoljašnjosti Stojakovićkina kocka jasno aludira na momenat limitirajuće/sputavajuce/
trosne/propadljive vanštine koja predstavlja
dijametralnu opoziciju onome što krije njena magična unutrašnjost u koju posmtarač
može da zaviri, a njegov pogled zapravo oko
u susretu sa ogledalima bude multiplicirano,
oslobođeno i da se kreće poput Redonovog
čudesnog oka-balona prema beskonačnosti.
Takva odudarajuća/suprotstavljena izvanosti, unutrašnjost ipak ne opstaje i ne postoji
bez nje. Spoljašnost postaje bitna jer je fizički
štiti, ali i kroz intervenciju u vidu pogleda izvana, nužna jer je ispunjava i daje određena
značenja, koja kod nekog mogu da probude
18. 09 – 29. 09.
asocijacije na romantičarsko nesputano, intuitivno unutrašnje oko, a kod nekog opet na
onespokojavajući sistem kontrole Orvelovog
Velikog brata…
Ana Petrović u svom radu “Prebivališta” odnos
spoljašnje/unutrašnje doživljava/promišlja
kroz jedno postapokaliptičko viđenje/sliku
života na zemlji. Ideju o “Prebivalištima”
dobija, kako kaže, posle jednog sna u kome
je Sunce nestalo sa lica Zemlje, a svetlost
i bivstvovanje se preselile u unutrašnjost,
uzrokujući njenu vanjsku pustoš...Realizujući
je kao skulpturu/prostornu instalaciju i vizuleno je koncipirajući kao svojevrsno “drevno
stanište/arheološku iskopinu” umetnica relaciju vanjskog i unutrašnjeg istražuje kroz
njihovu kontrastnost, ali i istovremenu uslovljenost i povezanost u (ne)iznenadnoj
zameni uloga i pozicija u kojoj su se našli.
Inverzija koja je dovela u fizičkom smislu do
obrta u poretku stvari, nije označila prestanak jednog i početak drugog sveta, ona
predstavlja samo produžetak nečeg što je
ranije već postojalo, čiju bitnost, veličinu,
sjaj, formu i život će otkriti neki novi preokret
ili nečija radoznalost….
Iako različiti u pristupu, poimanju unutrašnjeg
i spoljašnjeg prostora, njihovog sučeljavanja,
interakcije i uvezivanja, radove tri umetnice
ipak ujedinjuje jedno: dovoljno su intrigantni
da kod svakog ko ih posmatra ne ostave
ravnodušnim ono sto zaprvao i najbolje
beleži i doživljava fenomen unutrašnje/
spoljašnje tačnije pogled i maštu.
Miroslav Karić
Umetnice:
Ana Petrović [email protected]
Ivana Stojaković ivana.stojakovic@gmail.
com
Jovana Stojanović [email protected]
44
In
curated by Miroslav Karić
This exhibition deals with research/visualization of relations in the frame of the innerouter phenomenon, to be precise, investigation/figurative representation of various
relationships for elements of inner and outer
space through their facing, interactions and
connections. The works of young Belgrade
artists Jovana Stojanovic, Ivana Stojakovic
and Ana Petrovic, realized through medium
of object, sculpture, installations, each in its
own way stands for a specific experience
/interpretation of relations between what is
most frequently (but not necessarily) defined
as real, tangible, familiar, open or as unreal,
intangible, obscure, closed.
Jovana Stojanovic in series of her works creates a symbiosis of drawing and object, a
story of relationship between two opposites
made on the grounds of investigation of, after all, their visual confrontation realized in
interpersonal communication. The idea of
opposites >inner-outer<, expressed by artistic/sculptural relations and light and dark
contrast, transparently-satiated, smoothengraved, narrow-wide, open-closed, organic-inorganic, in Stojanovic work you simultaneously encounter the moment of their
closeness, embodied in the “negotiating
process” of form and surface to the extremity, and none of them has an advantage, but
are reconciled, made equal, complementary
and unbreakable.
Ivana Stojakovic in installation named “Kocka” “The Cube” searches for the inner-outer
relations which she realizes as questioning
the (un)confined and (un)conditional human
freedom, both physical and spiritual. Precise dimensions, but with seamy, unrefined
appearance Stojakovic’s cube clearly alludes to the moment of limited, encumbered,
scruffy, decaying facade, which stands for
a diametrically opposite to what its magical
inside has hidden, so the observer can peek
inside, a his/her look, i.e. his eye, looking at
mirrors will be multiplied, released and will
be free and, like Radon’s magical eye, move
towards the infinity. Such differentiation/oppositeness to the outer, the inner still cannot
live and exist without it. The outer surface
becomes important since it protects it physically, and through the intervention of the
view outside, it is necessary, for it fulfills and
assigns a specific value and someone can
18. 09 – 29. 09.
associate it with romantically unhindered, intuitive inner eye, and someone may have in
mind a discomforting system of control with
Orwell’s Big Brother.
Ana Petrovic in her work “Prebivališta” “Inhabitances” experiences/conceives the inner/outer relations in one post-apocalyptic
vision/image of life on earth. She gained this
idea of “Inhabitances”, after a dream when
she saw sun disappearing from earth sky,
and light and being have moved into the
inner space, causing its outer barrenness.
Forming it as a sculpture/special installation
and transforming its visual concept into a
unique “ancient habitat/archeological excavation”, this artist researches the relation of
inner and outer by means of their contrast,
but at the same time simultaneously conditions and connects them into a (un)surprising
exchange of roles and positions where they
have found themselves. The inversion,
which physically caused the reverse process in the order of things, didn’t distinguish
between the beginning of new and the end
of an old world. It just stands for the continuation of something that has existed before,
and its importance, glory, size, form and life
will be rediscovered by some new revolution or someone’s curiosity. Though different in approach, the notion of their inner and
outer space and their relation to the conflict
situations, encounters, connections and dialogues, these three artists’ works are united
in one thing: they are intriguing in that way
so no one facing them can not be indifferent
which is the important thing when you want
to experience and remember the phenomenon of outer/inner-the spectacle and the
imagination.
Miroslav Karić
Artists:
Ana Petrović [email protected]
Ivana Stojaković ivana.stojakovic@gmail.
com
Jovana Stojanović [email protected]
46
Ana Petrović
Ivana Stojaković
Jovana Stojanović
Tajna leve ruke - Saša Petrović
Ambijentalna instalacija „Tajna leve ruke“
nastala je kao plod dugogodišnjeg istorijskog
istraživanja. Kao jednu od opcija istorijskog
isčitavanja nudi „ezoterijski misaoni tok“ (sa
precizno definisanom simbolikom), čijeg
prisustva smo svesni samo kroz njegovu
destruktivnu formu, koja po autoru i jeste
osnovno obeležje istorije.
Ovaj rad je jedna vrsta umetničke inicijacije
koja u sebi sadrži tajnu koja je dostupna
onima koji mogu da je transponuju u svome
duhu, nezavisno od društvenih, fizičkih,
političkih, kulturoloških i bilo kojih drugih
određenosti.
Saša Petrović
03. 10 -13. 10.
Rođen 1976. godine u Lazarevcu.
Diplomirao na FLU u Beogradu 2001.
godine, u klasi profesora Dragana
Jovanovića. Trenutno na master studijama
Teorija umetnosti i medija na Univerzitetu
umetnosti u Beogradu.
Samostalne izložbe:
2005. Video-instalacija u prostoru „Požarna
oluja u Drezdenu“ galerija Dom omladine
Beograd, Beograd
2005. Višemedijska instalacija
„Ekskomunikacija“ galerija Studentski
Kulturni Centar, Beograd
2006. Ambijentalna instalacija „Tajna leve
ruke“ Galerija Remont, Beograd
Grupne izložbe:
2002. Učesnik projekta studenata FLU-a
pod nazivom „Cultural Territories“, Galerie
fur Zeitgenossische Kunst, Lajpcig
Kontakt: [email protected]
48
The Secret of the Left Hand - Saša Petrović
On-site installation The Secret of the Left
Hand is an outcome of a long-term historical study. It offers a possibility of reading
the history as an “esoteric mind flow” (along
with precisely defined symbolism), of whose
presence we are being aware only in its destructive form, which, according to the author, is the main characteristic of history.
This work is a kind of artistic initiation, which
includes the secret available to those who
can transpose it in their own spirit, independent of social, physical, political, cultural and
any other determinants.
Saša Petrović
Born 1976. in Lazarevac, Serbia. Graduated at the Faculty of Fine Arts in Belgrade
in 2001. At this moment he is at the master
studies Theory of art and media at the University of Arts in Belgrade.
Solo exhibitions:
2005. Video instalation “Fire storm in Dresden“, Gallery of Belgrade Youth Cultural
center, Belgrade
2005. Multimedia instalation “Excomunication“, Gallery of Student Cultural center, Belgrade
2006. Ambiental instalation “The Secret of
the Left Hand“ Remont Gallery , Belgrade
Group exhibition:
2002. Participant in the project “Cultural Territories“, Galerie fur Zeitgenossische Kunst,
Leipzig
Contact: [email protected]
50
03. 10 -13. 10.
Ja i ti - Arno Oehri
Arno Oehri (1962), multimedijalni umetnik iz Lihtenštajna, prvi put izlaže u Beogradu, ali ne i na srpskoj umetničkoj sceni
(Međunarodna multimedijalna kolonija Tršić,
2005).
Grafičar po obrazovanju, poslednjih godina se uglavnom bavi videom i digitalnom
umetnosću, a radovi koji se predstavljaju u
okviru izložbe ”ja & ti” nastali su upravo tokom boravka u Srbiji.
„ja & ti” je mise-en-scene bazične ljudske
tragedije. Dve osobe, jedna naspram druge,
deklarativno izgovaraju „ja”, zahtevajući odgovor druge osobe „ti”. Zamagljena slika polako prelazi u oštar fokusirani lik 2 oponenta.
Između dve projekcije, izloženi intenzivnom
zvuku posetioci vide crno-bele sekvence
scenarija prirodnog amfiteatra Kulturnog
centra u Tršiću. Tenzija i unutrašnji konflikt
su prisutni u Srbiji čak i danas, mnogo godina posle krvavog balkanskog konflikta. Instalacija nije povezana sa skorašnjom istorijom
Balkana, ali stoji kao primer elementarnog i
neizbežnog konflikta “mene” sa “tobom”.
Na izložbi su bila prikazana i dva video rada
„Srpska šuma” i „Srpski rekvijem”
16. 10 – 03. 11.
Rođen 1962. u Lihtenštajnu. Obrazovan je
kao grafičar, od 1986. radi kao slobodan
umetnik. Od 1994. stvara dokumentarne
video zapise u vlastitoj režiji.
Izložbe:
2006. „The house”, videoinstalacija, Kunstraum Engländerbau, Vaduz, Lihtenštajn
2005. Multimedia Summer Colony, Fotoinstalacija, Gruppenausst., Tršić
2004. „The river (twice)”, videoinstalacija i
slike., Schichtwechsel, Triesen, Lihtenštajn
2002. „Kunst I m bad”, Instalacija, Gruppenausst., Mineralheilbad St. Margrethen,
Švajcarska
2001. „Lifeboats”, Galerie allerArt, Remise
Bludenz, Austrija
Kontakt: [email protected]
52
Ja & ti - Arno Oehri
Arno Oehri (1962) is a multimedia artist
from Lichtenstein who exhibited for the first
time in Belgrade although this was not his
debut on the Serbian art scene. In 2005, he
participated in the International Multimedia
Colony organised in Trsic.
A graphic artist by vocation during the last
years Oehri was mainly engaged in video
and digital art projects, and the works that
he showed on the exhibit “Me & You” were
created during his stay in Serbia.
“Me & You” is a mise-en-scene of the basic
human tragedy. Two persons, facing each
other, are declaring “Me” and the answer
expected from the one another is “You”. A
blurred image slowly comes into focus until it
becomes the sharp image of two opponents.
Between two projections, visitors are
exposed to a disturbing sound and what
they see are black and white sequences of
the proscenium of the natural amphitheatre
in the Cultural Centre in Trsic. Tension and
inner conflict are present in Serbia even
today many years after the gruesome
Balkan conflict. The installation has nothing
to do with recent history of Balkan’s but it
stands for an example of the elementary and
inevitable conflict between “Me” and “You”.
Two other video installations were also
shown at the exhibit – “The Serbian Forest”
and “The Serbian Requiem”
16. 10 – 03. 11.
Born 1962. in Lichtenstain. He was educated
as a grafic artist and since 1986. he works
as freelance artist. Since 1994. he creates
documnetary videos.
Exhibitions/ sellection
2006. “The house”, Video instalation,
Kunstraum Engländerbau, Vaduz,
Lichtenstein
2005. Multimedia Summer Colony 2005,
Foto instalation, Gruppenausst, Tršić, Srbija
2004. “The river (twice)”, Video instalation
and paintings, Schichtwechsel, Triesen,
Lichtenstein
2002. “Kunst I m bad”, Instalation,
Gruppenausst., Mineralheilbad St.
Margrethen, Schweiz
2001. “Lifeboats”, Galerie allerArt, Remise
Bludenz, Austria
Contact: [email protected]
54
Fotografije iz Japana - Zdravko Joksimović
Poznati beogradski vajar Zdravko Joksimović
se pozicinirao na umetničkoj sceni još
sredinom osamdestih kada je sa grupom
kolega pokrenuo talas novog odnosa prema
skulpturi. Kao hiperaktivan autor, često se
predstavljao publici pokazujući kontinuirani
razvoj i dosledno prateći inovativan odnos
pre svega prema materijalu. U poslednje
vreme, kao zreo umetnik, dozvolio je sebi
da pokaže i svoju drugu pasiju – fotografije. I
kroz fotografske radove Joksimović pokazuje
istu istrajnost i senzibilitet koji se vidi u
njegovim skulptorskim ostvarenjima.
Fotografije nastale tokom Joksimovićevog
boravka u Japanu prošle godine, izražavaju
dugogodišnju praksu i potrebu za dnevničkim
beleškama, bez pretenzija da budu vrhunsko
umetničko delo per se. Kao serijal, fotografije
jasno iskazuju specifičan savremeni
trenutak zemlje sa jakim i karakterističnim
kulturnim identitetom. Japan je danas
neobično mesto sudara tradicije i tekovina
modernog zapadnog (globalnog) društva.
Relativno kratak boravak u toj zemlji otkrio
je autoru slike rascepa i prožimanja ovih
paralelnih svetova, kao i pokušaje njihovog
usklađivanja, posebno vidljive u japanskoj
provinciji i gradu Otawara u kojoj je
Joksimović najviše i boravio.
Rodjen 1960. godine. Živi i radi u Beogradu.
1986. zavrsio Akademiju likovnih umetnosti
u Beogradu. Od 1992. godine radi na
vajarskom odseku Akademije likovnih
umetnosti.
Samostalne izložbe:
2002. „Skulpture”, Galerija Zvono , Beograd
2003. „Skulpture”, Galerija H2O, Barselona
2005. „Skulpture”, Muzej savremene
umetnosti, Beograd
Grupne izložbe:
2003. „44. Oktobarski salon”, Beograd
2004. „Mikrokosmos/Makrokosmos”,
Kozmopolis, Solun
2005. „O normalnosti. Umetnost u Srbiji
od 1989. do 2001”, Muzej savremene
umetnosti, Beograd
Kontakt: [email protected]
Iskustvo iz Japana samo je pojačalo želju
da se neke od tih simptomatičnih scena
„sudara svetova“, njihovog preplitanja i
uravnoteženja zabeleže. Kao rezultat toga
nastali su ovi fotografski zapisi koji se čuvaju
i odustaju od bilo kakvog strogog komentara
zadržavajući pravo da budu samo deo onog
( ličnog ) sveta u kojem se upisuju i skladište
osnovni likovni refleksi.
56
06. 11 – 09. 11.
Photos from Japan - Zdravko Joksimović
Well-known Belgrade sculptor Zdravko
Joksimović is positioned on the artistic scene
since the mid 1980’s, when he and a group of
his colleagues started a new wave of looking
upon sculpture. Being a hyperactive author,
he exhibits quite often, showing continuous
development, while keeping an innovative
approach to the material. In recent time,
as a mature artist, he decided to go public
with his other passion – photography.
Joksimović’s photographic works show the
same persistence and sensibility common to
his sculptures.
Photographs taken last year during
Joksimović’s stay in Japan show his long
term practise and need for making diarylike records, however not burdened with
pretensions to become superior artworks
themselves. Presented as a serial, these
photographs clearly state a specific
contemporary moment of a country with a
strong and characteristic cultural identity.
Today’s Japan is an unusual place, where
tradition collides with modern western
(global) society. A relatively short stay in that
country revealed images of both division
and overlapping of these parallel worlds to
the author, as well as attempts to harmonise
these opposites, all of which are clearly
visible in the provincial town of Otawara,
where Joksimović spent most of his time.
Born in 1960. 1986. Graduated from teh
Academy of Fine Arts, Belgrade. Appointed
senior lecturer at the Academy of Fine Arts
in Belgrade, department of sculpture since
1992.
Solo exhibitions:
2002. “Sculptures”, Zvono gallery, Belgrade
2003. “Sculptures”, H2O gallery, Barcelona
2005. “Sculptures”, Museum of
contemporary art salon, Belgrade
Group exhibitions:
2003. “Positive/Negative” 44. October
salon, Belgrade
2004. “COSMOPOLIS 1: MICROCOSMOS
X MACROCOSMOS”, Kozmopolis,
Thesalloniki
2005. “On normality. Art in Serbia 19892001”, Museum of contemporary art,
Belgrade
Contact: [email protected]
The Japanese experience has only
reinforced author’s wish to record some
of these symptomatic scenes of “clash
between the worlds”, their interweaving and
equilibrium. Such a wish resulted in these
photographic records, which abstain from
any strict commentary, holding their right
to be merely a part of a (personal) world in
which the basic visual reflexes are recorded
and stored.
58
06. 11 – 09. 11.
Majska luča Njegoševa i Koprena
Težak umetnosti (Kraljevo)
10. 11.
Majska luča Njegoševa
The May Light of Njegoš
Petar Petrović nije ime koje se slučajno nalazi u većini primera za popunjavanje obrazaca. To jeste jedan društveni obrazac.
Majska luča Njegoševa je idealna prilika da
svoje umetničke fantazije utemeljimo u delu
koje je u srcu naše narodne kulture, koje
je dovoljno žilavo da se bori sa demonima
sadašnjeg vremena. Njegoš je klasika koja
ima preteču u kamenu a grane u Bogu. Aktuelnost, borba istoka i zapada, čovek i njegove dualističke prirode, muka i teskoba do
konačne pobede - opstanak...
Petar Petrovic is a name one may find on the
most of the examples for how to fill a form
application, and that is not by pure coincidence. It is a social model. The May Light
of Njegos is an ideal opportunity to set up
our artistic fantasies in the work of literature,
which is at the hart of our national cultural
past and is tough enough to fight the demons of our present. Njegos is a classic with
precedents in stone and branches in God.
Up-to-date qualities, the battle of East and
West, the Man and His dualistic nature, the
anguish and the suffering until the final victory – the survival…
U filmu koji u podnaslovu ima odrednicu poetsko dokumentarni, zastupljene su biografske činjenice u istorijskom trenutku, sobi, ali
provučene kroz filter fantastičnog, slikovitog
doživljaja. Šest celina ili poglavlja oslikavaju
Njegoševe stvaralačke faze, koketiraju sa
sadašnjicom, profilišu višeslojnost ličnosti
koja je kadra da bude i pesnik i vladar. Žitije
u pokretnim slikama 2006.
The film, which is subtitled as a poetic documentary, contains biographic facts in a historical moment, in a room, sieved through
a fantastic, picturesque experience. Six
parts and chapters depict creative phases;
flirt with the present, presenting us with the
profile of the individual that was capable of
being a poet and a ruler. It is a biography in
moving pictures of 2006.
Realizacija:
Mateja Berbakov, Bojan Krstić
Realisation:
Mateja Berbakov, Bojan Krstić
Saradnici:
Prof. Milan Janković, Nataša Jovanović, Vojislava Latković, Milić Jovanović
Associates:
Prof. Milan Janković, Nataša Jovanović, Vojislava Latković, Milić Jovanović
Producent:
Studentski kulturni centar Kragujevac
Production:
Students’ Cultural Centre in Kragujevac
Mateja Berbakov [email protected]
Luka Tadić [email protected]
Bojan Krstić [email protected]
Mateja Berbakov [email protected]
Luka Tadić [email protected]
Bojan Krstić [email protected]
60
Home Museum - Katarina Šević, Gergely László
kustos Saša Janjić
Šta je muzej?
Muzej je vizuelizovani sistem zbirki i predmeta, i kao osnovno obeležje ima želju
za saznanjem sveta. Saznanje kao osnovna potreba čoveka i jedan od predmeta
humanističkih nauka u teoriji muzejske komunikacije proizilazi iz označenog predmeta
preko kojeg spoznajemo realnost ili prošlost
stvarajući referentne sisteme vrednosti.
Muzej - privatna/javna memorija?
Kućni muzej, kao jedna lična priča, u galerijskom prostoru postaje javni fenomen, gde
se privatno transformiše u javno, nudeći
se posmatraču na uvid u formi male intimne muzejske postavke. Fotografije
nađenih predmeta, sami predmeti i dokumenti postaju artefakti koji pored toga što
su dokumenta porodične istorije, predstavljaju svedočanstvo o jednom vremenu.
Arheološkim procesom arhiviranja predmeta
na samom objektu Katarina Šević i Gergely László rekonstruišu prošlost koristeći
privatnu istoriju porodice Šević. Sociološki i
antropološki problemi nasleđa istaknuti su u
prvi plan, sa posebnim akcentom na to kako
jedna kuća može postati svojevrstan muzej,
svedok istorijskih procesa sa slojevima
nasleđa koji na najbolji način opisuju proteklo vreme. Tri sloja nasleđa, pre-Šević, Šević
i post-Šević period su mnogo više od ličnih
memorabilija, oni su paradigma cele jedne
epohe i civilizacijskih tokova uopšte.
Dokument kao artefakt?
Savremena umetnost je već odavno inkorporirala savkodnevne predmete u umetničku
praksu kao legitimne objekte koji sa svoje
strane doprinose osećaju jačeg sintetizovanja realnosti. Predmeti iz svakodnevnog
života kao dokumenti su nosioci informacija
o sećanjima, objekti koji memorišu prošlost.
Oni nose jaka emocionalna obeležja sa
specifičnim potencijalom da u određenom
kontekstu, izloženi na uvid javnosti, budu
prepoznati kao nosioci kolektivnog sećanja.
Oni su podjednako i lični i javni u zavisnosti
od konteksta i načina na koji ih posmatramo.
Pitanje nasleđa je na Balkanu oduvek predstavljalo problematično polje, što zbog
različitih istorijskih i kulturoloških uticaja, što
zbog pogubnih ideoloških modela. Home
Museum je projekat koji se na veoma suptilan način bavi škakljivim temama kao što
su repatrijacija i restitucija. Na taj način se
na mikro planu kroz umetničku praksu refletkuju globalni procesi koje prevazialze uske
balkanske okvire i banalnu svakodnevicu.
Poseban kvalitet ovog projekta predstavlja činjenica da je urađen u saradnji dvoje
umetnika koji potiču iz različitih kultura sa
različitim iskustvima i upravo taj aspekt garantuje objektivnost.
Saša Janjić
Katarina Šević
Rođena u Novom Sadu 1979. Studirala na
Intermediajalnom smeru na Univerzitetu
Lepih Umetnosti u Budimpešti. 2003-2006
bila član borda Studija za Mlade Umetnike,
Asocijacije u Budimpešti. Od 2003., zajedno
sa Hajnalkom Somogyi vodi Dinamo –
umetnički prostor. Predstavnik Impex-a.
Izlagala internacionalno u:
Apexart
Gallery, New York, USA; Spaces Gallery,
Cleveland, USA; Loop festival, Barselona;
Studio Gallery, Budimpešta; Knoll Gallery,
Beč, Budimpešta; IG, Beč, Salon Muzeja
Savremene Umetnosti, Beograd, etc.
Kontakt: [email protected]
Gergely László
Rođen u Budimpešti 1979. Studira Engleski
jezik na Univerzitetu Humanističkih nauka
u Budimpešti. Fotograf, vodi Fondaciju za
Fotografiju – Lumen, kao is Lumen Galeriju.
Predstavnik Impex-a.
Izlaže samostalno i u saradnji sa Peter
Rákosi-jem, u Mađarskoj (Liget Gallery,
Trafo, Mai Mano, Carton Gallery itd.) i
inostranstvu (Photon Gallery Ljubljana, NBK
Berlin, SKC Belgrade, itd.)
Kontakt: [email protected]
62
13. 11 – 25. 11.
Home Museum - Katarina Šević, Gergely László
curated by Saša Janjić
What is museum?
A museum is a visualized system of collections
and objects, whose main characteristic
is a desire to comprehend the world.
Comprehension, as a basic need of human
being and one of the humanities’ subjects in
the theory of museum communication, comes
from the marked object, which enables us to
recognize reality or past that therefore creates
referent value systems.
Museum – private/public memory?
The Home Museum, as a personal story,
becomes a public phenomenon in gallery
space, where private gets transformed into
public while offering the viewer an insight to
the form of a small intimate museum display.
The photographs of the found objects, the
objects themselves and the documents, all
become the artifacts that, besides them being
the family history documents, represent the
record of one period in time. Using the private
history of the Sevic family, Katarina Sević and
Gergely László are reconstructing the past by
means of archeological process that consists
of archiving objects at the very facility. The
sociological and anthropological problems of
heritage are brought to the foreground where
special emphasis are on one house that can
become a certain kind of museum, a kind of
whiteness of the historical processes with
all the segments of inheritance, which best
describe the time that has passed by. The
three segments of heritage, pre-Sevic, Sevic
and post-Sevic period are much more than the
personal memorabilia; they are the paradigm
of one whole epoch and civilization courses
in general.
Documents as artifacts?
Contemporary art has long ago incorporated
everyday objects into the art practice, which,
as legitimate subjects, are contributing to the
stronger notion of reality synthesizing. Just
like documents, objects from everyday life
are bearers of memory information, object
that memorize the past. They carry strong
emotional marks with a specific potential and
can be recognized as carriers of collective
memory when exposed to public eye in
particular context. They are both personal and
public, which only depends on the context and
the way we look at them.
Either because of the different historical
or cultural influences, or because of the
destructive ideological models, the question of
13. 11 – 25. 11.
inheritance was always a problematic issue at
the Balkans. The Home Museum is a project
that covers delicate topics like reparation and
restitution in a very subtle way. In such a way,
global processes that surpass narrow Balkan
frames and banal daily routines are reflected
through the art practice on the micro plan.
Special quality of this project lies in the fact
that this project has been carried out by two
artists who originate from different cultures
with different experiences, and that aspect
alone guaranties objectivity.
Saša Janjić
Katarina Šević
Born in Novi Sad in 1979. Graduated on the
Intermedia department at the Hungarian
University of Fine Arts, Budapest. From 20032006 was board member of the Studio of
Young Artists Association in Budapest. Since
2003, she runs DINAMO artist-run-space
with Hajnalka Somogyi. Representative of
IMPEX, Contemporary Art Provider. Her Work
includes conceptual installation, video and
photography.
Takes part in collaborative and research
projects. She has been exhibited internationally
at: Apexart Gallery, New York, USA; Spaces
Gallery, Cleveland, USA; Loop festival,
Barcelona, Spain; Studio Gallery, Budapest;
Knoll Gallery, Vienna and Budapest; IG,
Vienna, Budapest, Salon of the Museum of
Contemporary Art, Belgrade, etc.
Contact: [email protected]
Gergely László
Born in Budapest in 1979. Studied English
Philology at the Budapest University of Social
Sciences. Photo-artist and the head of the
Lumen Photography Foundation, director of
Lumen Gallery, representative of IMPEX,
Contemporary Art Provider).
In his artwork, he has been working in
collaboration with Peter Rákosi for the past
two years. Also exhibits individually. Exhibited
in venues in Hungary (Liget Gallery, Trafo,
Mai Mano, Carton Gallery etc.) and abroad
(Photon Gallery Ljubljana, NBK Berlin, SKC
Belgrade, etc.)
Contact: [email protected]
64
inst R – 4... aaaa - Spartak Dulić
Zidovi za razbijanje
Dopuštam si igru rastvaranja prostora
provociranjem odsutnog i to me navodi na
neprekidne skokove u prazna polja i vrijeme
iza zidova. Revolucija počinje porazom
geometrije,
imaginarnim
urušavanjem
«prijetećeg grada» koji usisava u spektakl
svojih slika. Tada se moja pasivnost
odstranjuje u kaosu fraktalne žudnje,
uzvisujući ludilo nekom histeričnom gestom
kojom lomim odraze u labirintu od stakla. Sve
počinje hipertrofijom crteža, otvaranjem linije
prema crnoj rupi koja ga zavodi, poništava
i na drugoj strani izbacuje kao kretanje
koje demijurški rekreira uspavani svijet,
odstranjujući iluziju stabilnog toposa. U tim
ću točkama naseliti svoj trag, izblijedjele
znakove pisma, čija je funkcija također
poraziti Euklida i njegovu surovu arhitekturu
vidljivog.
Opipljivost prolaza u dodiru probušenog
betona iza kog se nalazi odgovori na sve
konfuzije. Znam, možda nije jasno, ali,
pogledaj bolje! Zidovi se moraju probijati i
razbijati. Počinješ bušenjem da bi ih na kraju
potpunu urušio. Sav se svijet nalazi s druge
strane, u prolazu, u procijepima gdje se
ukida mnoštvo i hijerarhija granice. Tijela će
prestati biti prozirna pozornica za okrutnu
igru disciplinirane sputanosti, pogleda koji
razara taktilnu intimnost, ostvarujući se kao
agresivno konzumiranje. Otvaramo se k
teatralnosti afekata te raskidamo s terorom
anonimnih gradova i ulica bez lica. Već
sada mogu osjetiti nihilističku svečanost
eksplodirajućeg svemira, raskoš njegove
metamorfoze u nevidljivu materiju lišenu
traume trajanja. Još samo jedan potez, jedan
nervozan okretaj bušilice i novogradnja će
se urušiti, a apatiju njezina izobilja nadvisit
će askeza praznine. Kinetikom svoje
fantazije neću pristati na poraženu gomilu
bez sjećanja. Braniti ću se tamo, u tamnoj
rupi koju nisi dao zazidati, u pukotini koja
će metastazirati kao crno sunce što guta
okoštala tijela. Da, baš tamo, u slučajnosti
poteza, u nemiru jednog duha koji se ne
odriče traganja za drugačijom anatomijom
svog prostiranja.
27. 11 – 15. 12.
Spartak Dulić rođen je 1970. u Subotici.
Diplomirao 1998. godine na Akademiji
likovnih umetnosti u Zagrebu,
grafički
odsjek.
(Su)osnivač je Udruge za audiovizualnu
suvremenu umjetnost GRADDONJI i Grupe
MEGATRON9 te sudionik njihovih izložbi,
akcija i hepeninga;
videoprojekcijama
na brodu «Negreli» sudjelovao je u
međunarodnom
projektu
«raum&
designstrategien_space&designstrategies
unit_m».
Samostalno je izlagao u Subotici, Beogradu,
Osijeku, Križevcima, Zagrebu, Ljubljani i
Vinkovcima, a u njegovoj su biografiji od
1996. do 2005. također mnoge skupne
izložbe poput Tjedna vojvođanskih Hrvata
u Klovićevim dvorima, projekta Pax
Danubia u Vukovaru, 17. i 18. slavonskog
biennala u osječkoj Galeriji likovnih
umjetnosti, budimpeštanske Galerije Lurdy,
2. međunarodnog festivala na papiru u
Ljubljani, 16. triennala hrvatskog slikarstva
u Zadru….
Kontakt: [email protected]
Andrej Mirčev
66
inst R – 4... aaaa - Spartak Dulić
Walls to Break
I let myself play the game of dissolving the
space by provoking the absent, which makes
me take repeating jumps into the empty fields
and time behind the walls. Revolution begins
with the defeat of geometry, with imaginary
fall of the “threatening city” that absorbs us
into its spectacular imagery. It is then that
my passivity vanishes in the chaos of fractal
desire, sublimating the madness with a hysterical action aimed at breaking the reflections inside a glass maze.
Everything starts with hypertrophy of a
drawing, opening the line towards a black
hole that seduces it, cancels it and ejects it
on the other side in the form of a movement
which demiurgically recreates the sleeping
world, removing the illusion of a stable spot.
In these spots I will settle my trace, paled
graphemes intended for defeating Euclid
and his cruel architecture of the visible.
Tangibility of the passage in the touch of
drilled concrete, behind which lie the answers
to all the confusion. I know it may be unclear,
but take another look! The walls must be
penetrated and demolished. You start with
drilling, eventually tearing them down. The
whole world is on the other side, in the passage, inside the cracks where multitude and
hierarchy of the border are cancelled. The
bodies will stop being a transparent stage for
a brutal game of disciplined restraint, a look
that destroys the tactile intimacy, carried
out through aggressive consuming. We are
opening ourselves towards the theatricality
of affects, discontinuing the terror of anonymous cities and faceless streets.
I can already feel a nihilist celebration of the
exploding Universe, luxury of its metamorphosis into an invisible matter deprived of the
trauma of existence. Just one more stroke,
another nervous spin of a drill and these new
buildings will be demolished, while apathy of
their plenty will be surpassed by ascesis of
the void. By kinetics of my fantasy I will not
accept the defeated lot without memories.
I shall defend myself there, in a dark hole
which you prevented from being filled, in
the crack which will metastasise as a black
27. 11 – 15. 12.
sun devouring ossificated bodies. Yes, precisely there, in the randomness of strokes, in
the restlessness of a mind unwilling to give
up searching for a different anatomy of its
spreading.
Andrej Mirčev
Spartak Dulić was born in 1970 in Subotica
(Serbia). Graduated in 1998. at the Academy pd Fine Arts in Zagreb, department of
graphics.
Dulić is a co-founder of Contemporary Audiovisual Arts Association GRADDONJI and
MEGATRON9 artistic group, participating in
their exhibitions, actions and happenings.
He also participated in creating the concept
of Academy of Fine Arts in Osijek (Croatia).
Participated in the international «raum&
designstrategien_space&designstrategies
unit_m» project with video projections on
Negreli ship. Author of solo exhibitions
in Subotica, Belgrade (Serbia), Osijek,
Križevci, Zagreb, Vinkovci (Croatia) and
Ljubljana (Slovenia). From 1999-2005 participated in many group exhibitions, such as
The Week of Croats in Vojvodina in Klovićevi
dvori, Pax Danubia project in Vukovar, 17th
and 18th Slavonia Biennial in the Gallery of
Visual Arts in Osijek, exhibition in Lurdy Gallery in Budapest, 2nd International Festival
of Works on Paper in Ljubljana, 16th Triennial of Croatian Painting in Zadar...
Contact: [email protected]
68
inst R – 4... aaaa - Spartak Dulić
19. 12 – 30. 12.
Novogodišnja prodajna izložba
18. 12 – 29. 12.
Željka Momirov, Bez naziva
Era Milivojević, Bez naziva
70
Marko Crnobrnja, Tatin kaiš
Mobilni studio
U periodu od 11. do 17. aprila, 2006. godine
u Beogradu je realizovan internacionalni
projekat Mobile Studios. Projekat, nomadskog
karaktera, pokrenula je berlinska asocijacija
Public Art Lab, a partner u Beogradu je bila
nezavisna umetnička asocijacija Remont,
koja je za ovu priliku angažovala jednog
od najperspektivnijih mladih kustosa, Maju
Ćirić.
Tokom 7 dana, Beograđani su imali priliku
da budu gosti neobičnog mesta, neutralnog
prostora za umetničke akcije, susrete i
diskusije, smeštenog na najprometnijoj
lokaciji u Beogradu, uglu Knez Mihailove i
Trga Republike.
U pomenutom periodu u tri specijalno
urađena arhitektonska objekta (kontejnera),
predstavili su se kreativci različitih generacija
i senzibiliteta, reprezenti tekućih savremenih
ideja, kustosi, teoreticari, art zurnalisti...
Mobile Studios je nakon Beograda Beogradu,
svoj put nastavio ka Bratislavi, Budimpešti i
Sofiji.
Umetnici/učesnici u projektu: Mrđan Bajić,
Žana Poliakov, Uroš Đurić, Saša Marković
Ganeša, Škart, Dorijan Kolundžija, Bogomir
Doringer, Maja Josifović i Dimitrije Tadić,
Tobić Tobić, Pavle Ćosić i Tana, Ana
Nedeljković, Mobileye, Digit group, Blink art,
DezOrg, Izvanredni Bob, Šobaja...
11 – 17. april
Drugačija ge(nea)ologija
Mobile Studios u Beogradu je bio zamišljen
kao eksperiment u javnom prostoru čiji
je glavni cilj bio da se dođe do različitih
ge(nea)ologija
savremene
srpske
umetničke produkcije. Kuratorski koncept
je bio baziran na tri osovine: 1. umesto da
proizvodi reprezentacije, sadržaj studija
je generisao iskustvo; 2. umesto da je
usmeren na gledaoca, cilj projekta je bio
da se posmatrači uključe kao učesnici;
3. umesto da bude rezultat ideološke
interpelacije, studiji su predstavljali indeks
čiste kreativnosti. Počevši prvog dana sa
instalacijom novih medija i završivši se
interaktvnim modelima spomenika koji nikad
nisu imali priliku da budu napravljeni, usled
komplikovane političke situacije tokom 90ih godina prošloga veka, Mobile Studios
su bili jednistvena intervencija u javnom
prostoru. Njena jedinstvenost se sastojala
u specifičnom obrtu koji je svojstven većini
projekata o kojima je reč. Studio za razgovor
je predstavljao scenu za kreativne dijaloške
forme kao što su projekat sećanja, skype
ispovesti i aukcija u ilegalnoj poslastičarnici.
Jednom rečju, projekat je bio baziran na
estetici dijaloga koja predstavlja izazov
ontološkoj ograničenosti konvencionalne
umetnosti koja se bazira na objektu!
Maja Ćirić
72
Gostovanja