oliver dragojevic tekstovi

#01
REMONT ART FILES, # 1
SADRŽAJ
CONTENT
06 Simptomi srpske umetničke
Scene posle dvehiljadite
Ješa Denegri
10 Symptoms of Serbian Art
Scene After Year 2000
Ješa Denegri
14 ПОП Art Živka Grozdanića
Ješa Denegri
17 POP Art by Živko Grozdanić
Ješa Denegri
19 Konstrukcije Balkana kao
Drugog u savremenoj
umetničkoj praksi
Maja Ćirić
29 Constructions of the Balkan
as the Other in
Contemporary Art Practices
Maja Ćirić
40 Zašto je Mangelos nagrada
dodeljena Katarini Zdjelar?
Maja Ćirić
41 Why did Katarina Zdjelar
Win the Mangelos Award?
Maja Ćirić
42 Pesimizam intelekta,
optimizam volje
Stevan Vuković
50 Pessimism of the Intellect,
Optimism of the Will
Stevan Vuković
59 Rad za svakoga i ni za koga –
o jednom umetničkom
eksperimentu u medijskom polju
Stevan Vuković
62 A Work for Everyone
and Noone – on an Art
Experiment in the Media Field
Stevan Vuković
66 PORTFOLIO Uroš Đurić
66 Uroš Đurić i Šejla Kamerić
76 PORTFOLIO Jamedsin
80 PORTFOLIO Jamedsin
04 REMONT ART FILES
JamesDin TAFF GUY
Mileta Prodanović
05 REMONT ART FILES
Jamedsin TAFF GUY
Mileta Prodanović
82 Uskomešanost
82 Turbulence
84 Tunel
84 Tunel
86 Darkness
on the edge of the town
86 Darkness
on the edge of the town
88 Trash
88 Trash
92 Godišnji katalog galerije
Remont za 2007. godinu
92 Remont Gallery
Anual Catlogue 2007
172 Remont +
172 Remont +
174 Remont Outside
174 Remont Outside
176 Kućni duhovi Staklenca
178 Poltergeists of
Shopping Maul “Staklenac”
180 SupermARTket
182 SupermARTket
184 documenata 12 magazine
184 documenata 12 magazine
186 “next_code:_love”
Štajerska jesen 2007.
186 “next_code:_love”
Steirische herbst 2007
REMONT ART FILES
kontekstualiizacije lokalnih artističkih praksi poslednjih deset godina, dok je u kritičarskom tekstu prokomonetarisao stvaralački angažman i jedan od
poslednjih radova umetnika Živka Grozdanića.
Kritičar i kustos Stevan Vuković u tekstu „Pesimizam
intelekta, optimizam volje- Institucionalna kritika u
Srbiji i nedostatak njenih organskih referenci“ problematizuje čitav niz aspekata složenog odnosa
društva, politike, kulture, pozicije umetnika u srpskom društvu druge polovine devedestih i nakon
demokratskih promena. Istoričarka umetnosti i kustoskinja mlađe generacije Maja Ćirić se u svom opštem tekstu pozabavila analizom i istraživanjem konstrukcije Drugog u savremenim umetničkim praksama na Balkanu, sa osvrtom na velike evropske izložbe
sa balkanskom tematikom (U potrazi za Balkanijom,
Krv i Med – budućnost je na Balkanu, U gudurama
Balkana). Za odabrani kritičarski tekst Ćirićeva se odlučila za text koji je pisan kao obrazloženje za dodelu
nagrade Mangelos mladoj beogradskoj umetnici Katarini Zdjelar, fokusirajući se na autentičan i dosledan
pristup tematici koju ova autorka istražuje.
U segmentu koji je predviđen za prezentaciju umetničkih portfolia Remont art files ovaj put predstavlja
recentnija ostvarenja umetnika mlađe i srednje generacije Aleksandra Jestrovića – Jamezdina i Uroša
Đurića. Projekti „Darkness“, „Tunel“, „Trash“ Aleksandra Jestrovića i „Paralelni život“ Uroša Đurića obrađeni kroz umetničke stejtmente, kritičarske tekstove
i reprodukcije, obezbedili su podrobniji i seriozniji
uvid u rad ovih autora.
Od objavljivanja Remont Art magazina i godišnjeg
kataloga, Remont – nezavisna umetnička asocijacja
je i u segmentu stručne periodike, kao i u svojim
ostalim aktivnostima, dala dobar primer kada je reč
o sistematičnom, doslednom, profesionalnom pristupu u praćenju, komentarisanju i dokumentovanju
rada jedne institucije i polju njenog interesovanja.
Objedinjavanjem dve publikacije u formalnom smislu se zaokružuje priča o dva najznačajnija produkta
štampane izdavačke delatnosti Remont – nezavisne
umetničke asocijacije, dok u koncepcijskom to predstavlja jedan novi, sadržajniji nivo praćenja, beleženja, dokumentovanja, promovisanja recentnih
umetničkih praksi u našoj zemlji. Period od godinu
dana će sasvim sigurno za buduća izdanja Remont
art files-a ostaviti dovoljno vremena za dobru pripremu, odabir i umetničkog materijala i stručnih tekstova koji će na najbolji mogući način dati uvid u aktuelno likovno stvaralaštvo i predstaviti one koji ga
aktivno prate i o njemu pišu.
Delovanje REMONT nezavisne umetničke asocijacije,
između ostalog, karakteriše kontinuirano preispitivanje i traganje za novim modelima rada i komunikacije sa stručnom ali i širom javnošću. U potrazi za novim formama delovanja, kao i iz potrebe za promenom uhodanog načina rada, pokušavamo da pronađemo nove oblike komunikacije i prezentacije.
Kako su dva najvažnija štampana izdanja Remonta,
REMONT ART MAGAZIN i Godišnji katalog aktivnosti,
došla do stadijuma da oba zahtevaju koncepcijske
promene, ukazala se potreba za transformacijom.
Obzirom da oba izdanja imaju toga dosta zajedničkog za cilj: popularizaciju savremene umetnosti i
kulture; glavnu ciljnu grupu kustose, umetnike, istoričare umetnosti i art profesionalce; promovisanje
savremene umetničke produkcije kroz praćenje novih kretanja na sceni, nametnula se ideja o njihovom
povezivanju u jednu publikaciju kojom bi se, iz šireg
ugla, predstavila neka od ključnih dešavanja i pojava
na savremenoj srpskoj umetničkoj sceni.
Izdanje je ove godine pored pregleda aktivnosti Remont – nezavisne umetničke asocijacije za 2007.
godinu, posvećeno i promociji umetničkih projekata i reprezentativnih kritičara različitih generacija
koji aktivno prate scenu. Fokus je na lokalnoj art sceni u prvom redu iz razloga što je evidentatn nedostatak domaćih stručnih publikacija koje ozbiljnije
tretiraju pitanja savremenog likovnog stvaralaštva i
prezentuju stavove, mišljena, viđenja o ovdašnjoj
aktuelnoj umetničkoj produkciji. U uslovima još
uvek nedovoljnog poznavanja rada naših umetnika
od strane inostranih art profesionalaca značaj takvih
štampanih izdanja leži pre svega u informisanju „izprve-ruke“, ali i jednom širem predstavljanju i pozicioniranju autora sa ovih prostora, a posebno onih
koji tek stupaju na scenu. Značaj ove publikacije za
lokalnu sredinu je isto tako važan jer promoviše savremenu umetničku praksu i informiše buduće art
profesionalce i širu publiku o novim dešavanjima na
polju domaće recentne vizuelne umetnosti, njene
produkcije i kritike.
Segment u kom su objavljeni tekstovi istaknutih
istoričara umetnosti, kustosa i kritičara profesora
Jerka Denegrija, Stevana Vukovića i Maje Ćirić, pored
opštih tekstova koji se tiču nekih aspekata prezentacije i funkcionisanja savremene srpske umetničke
scene obuhvata i odabrane tekstove posvećene radu
jednog domaćeg umetnika. Istoričar umetnosti profesor Jerko Denegri je u tekstu pod nazivom „Simptomi srpske umetničke scene posle 2000-te“ dao
svoje viđenje ključnih karakteristika, međunarodne
4
REMONT ART FILES
Engagement of REMONT independent artistic association, among other things, is marked with continuous revaluation and pursuit for new models of
work and communication with experts and the public. Searching for new forms of action, breaking out
the steady working patterns, we try to discover new
ways of communication and presentation.
Since two most important publications of Remont,
REMONT ART MAGAZINE and Annual Catalogue of
Activities, are in such a stage to demand changes in
concept, a need for transformation emerges. Since
both publications have very much the same goals in
common: popularisation of contemporary art; curators, artists, art historians and art professionals as
main target groups; promotion of contemporary art
production through surveying new tendencies on
the scene, the idea to join them in one publication
forced itself. This joint publication would, from a
wider angle, present some of the key events and
phenomena on Serbian contemporary art scene.
This year’s publication, besides the regular overview
of the activities of Remont – independent artistic
association for 2007, is dedicated to promotion of
art projects and art critics of different generations
actively watching the scene. The focus is on the local
art scene, first because of the evident lack of specialised home publications seriously dealing with questions of contemporary visual art and presenting
positions, opinions, views on existing home artistic
production. In such conditions in which work of our
artists is still lesser known by foreign art professionals, the importance of such publications is mainly in
providing “first-hand” information, but also in a
broader representation and positioning of local authors, especially those still emerging on the scene.
Importance of this publication for local scene is also
big since it promotes contemporary art praxis and
informs future art professionals and wider audience
on new developments on the local recent visual art,
its production and critic.
The segment with the published texts of well-known
art historians, curators and critics: Professor Jerko
Denegri, Stevan Vuković and Maja Ćirić, besides general writings on new aspects of presentation and
functioning of Serbian contemporary art scene, contains also selected texts dedicated to the works of
single local artists. Art historian professor Jerko
Denegri in the text „Symptoms of Serbian Art Scene
After 2000“ gives his view on key characteristics, international contextualisation of local art praxis in
the last ten years, while in his other text he commented on the artistic engagement and one of the
last works of artist Živko Grozdanić.
Art critic and curator Stevan Vuković in his text „Pessimism of Intellect, Optimism of Will – Institutional
Critic in Serbia and the Lack of its Organic References“, questions the whole set of aspects of the
complex relation of society, politics, culture, artist’s
position in Serbian society in the second half of the
nineties and after the democratic changes. In her
general text art historian and curator of younger
generation Maja Ćirić dealt with the analysis and
research of the construction of the Other in contemporary art praxis on Balkans, reviewing big European
exhibitions that took Balkans for their subject
(Searching for Balkania, Blood and Honey – Future is
on Balkans, In gorges of Balkans). For the critic part
Ćirić chose the text written as elucidation for award
giving ceremonial Mangelos when young Belgrade
artist Katarina Zdjelar won the award, focusing on
authentic and consistent approach to the thematic
this author is exploring.
In the segment dedicated to presentation of artists’
portfolios Remont art files presents recent realisations of artists of younger and middle generations
Aleksandar Jestrović – Jamezdina and Uroš Đurić.
Projects „Darkness“, „Tunnel“, „Trash“ by Aleksandar
Jestrović and „Parallel Life“ by Uroš Đurić are presented through artists’ statements, art-critical texts
and reproductions, which provide thorough and
more serious insight to the work of these artists.
Since publishing Remont Art magazine and annual
catalogue, Remont – independent artistic association set a good example in the segment of specialised periodicals as well as in other activities, especially considering systematic, consistent, professional approach to tracking, commenting and documenting the work of an institution and its realm of interest.
Merger of these two publications will formally conclude the history of two most important products of
Remont – independent artistic association’s publishing activity, while as a new concept it will achieve
more methodical way of tracking, writing down,
documenting and promoting recent artistic praxis in
our country. One year period will most certainly leave
enough time for future editions of Remont art files
to prepare and select artistic material and specialised
texts that will most efficiently provide insight in current visual art praxis and represent those who actively watch it and write about it.
5
Ješa Denegri
SIMPTOMI SRPSKE UMETNIČKE SCENE POSLE DVEHILJADITE
Na po­čet­ku no­ve pe­ri­o­di­za­ci­je
Te­o­rij­ski i kri­tič­ki apa­ra­ti
Umet­nič­ka zbi­va­nja u po­sled­njoj de­ce­ni­ji pro­šlog
ve­ka u Sr­bi­ji ob­ra­đe­na su iz­lo­žba­ma „Be­o­grad­ska
umet­nič­ka sce­na de­ve­de­se­tih“ u Ga­le­ri­ji Re­mont
2002, „O nor­ma­ln­osti“ u Mu­ze­ju sa­vre­me­ne umet­
no­sti u Be­o­gra­du, 2005. go­di­ne, za pod­ruč­je Voj­
vo­di­ne iz­lo­žbom „Fa­tal­ne de­ve­de­se­te“ u Mu­ze­ju
sa­v re­m e­n e li­k ov­n e umet­n o­s ti u No­vom Sa­d u
2001., ti­me su – raz­um
­ e se uz mo­guć­nost dru­ga­či­
jih vi­đe­nja, va­lo­ri­zo­va­nja i na­k nad­nih re­vi­zi­ja –
oba­vlje­ne pr­ve isto­ri­za­ci­je jed­nog iz­u­zet­no bur­nog
pe­ri­o­da do­ma­će umet­no­sti. Ne­du­go po­tom, pre­
la­skom u no­vi vek i no­vi mi­le­ni­jum, za­hva­lju­ju­ći
ta­da no­vo­na­sta­lim umet­nič­kim po­ja­va­ma, otva­ra
se te­ku­ća i ak­tu­el­na si­tu­a­ci­ja sa­svim uop­šte­no na­
zva­na „umet­no­šću po­sle dve­hi­lja­di­te“. Ni­je, na­rav­
no, je­di­no u (vi­zu­el­noj) umet­no­sti i je­di­no kod nas
po­če­tak ve­ka i mi­le­ni­ju­ma pre­lom­na hro­no­lo­ška
gra­ni­ca, taj je po­če­tak ujed­no i me­đaš po­li­tič­kih i
sve­ko­li­kih dru­gih zbi­va­nja na glo­bal­nom ni­vou, a
bez ob­zi­ra na to što nig­de i ni­ka­da ne­ma pre­ki­da i
za­sto­ja u od­vi­ja­nju to­ka ži­vo­ta iz ­ve­sno ipak je­ste
da ni ukup­na svet­ska si­tu­a­ci­ja po­sle nju­jor­škog je­
da­na­e­stog sep­tem­bra 2001. de­fi­ni­tiv­no vi­še ni­je
isto­vet­na pret­hod­noj. Na do­ma­ćoj pak po­li­tič­koj
sce­ni po­sle dve­hi­lja­di­te na­stu­pa raz­do­blje uslov­no
na­z va­ne post­so­ci­ja­li­stič­ke tran­zi­ci­je sa svim nje­
nim broj­nim i krup­nim kon­tra­ver­za­ma. U ta­kvim
iz­me­nje­nim pri­li­ka­ma u po­li­ti­ci, eko­no­mi­ji, kul­tu­ri
i sva­ko­dnev­noj stvar­no­sti me­nja se i sa­vre­me­na
umet­nič­ka si­tu­a­ci­ja u ko­joj je – za raz­li­ku od de­ve­
de­se­tih go­di­na pro­šlog ve­ka ka­da se mo­glo go­vo­
ri­ti o sta­nju „umet­no­sti u za­tvo­re­nom dru­štvu“ ili o
„op­stan­ku umet­no­sti u vre­me­nu kri­ze“ – da­nas i
ov­de či­ni se vr­lo te­ško utvr­di­ti ko­ji bi to zbir­ni ter­
mi­ni ade­kvat­no mo­gli da ozna­če tre­nut­no sta­nje
na do­ma­ćoj umet­nič­koj sce­ni u kli­mi glo­bal­ne pot­
pu­ne ne­pre­gled­no­sti sa­vre­me­ne umet­no­sti.
Glo­bal­noj umet­nič­koj si­tu­a­ci­ji u sta­nju pot­pu­ne
ne­pre­gled­no­sti pri­me­re­ni su od­go­va­ra­ju­ći te­o­rij­ski
i kri­tič­ki pri­stu­pi ko­ji po­re­klom vi­še ni­su iz ka­non­
skih me­to­do­lo­gi­ja isto­ri­je umet­no­sti ne­go se za­
sni­va­ju na in­ter­di­sci­pli­nar­nim i in­ter­tek­stu­la­nim
ras­pra­va­ma po­sred­stvom ko­jih se po­ja­ve sa­vre­me­
ne umet­no­sti mo­gu da či­ta­ju i tu­ma­če kao kul­tu­
ro­lo­ški fe­no­me­ni svoj­stve­ni stvar­no­sti sa­vre­me­nog
ma­sov­nog po­tro­šač­kog i me­dij­skog dru­štva. Apa­
ra­ti ta­kvih či­ta­nja i tu­ma­če­nja iz­vo­de se iz kon­cep­
ta Dan­to­o­vog „sve­ta umet­no­sti“, Bu­ri­o­o­ve „re­la­ci­o­
ne este­ti­ke“ i „umet­no­sti post­pro­duk­ci­je“, Mi­šo­o­ve
„umet­no­sti u ras­pli­nu­tom sta­nju“, „umet­no­sti u
sta­n ju po­sle po­sle“ (po­sle mo­der­ni­zma, po­sle
post­mo­der­ni­zma, po­sle post­post­mo­der­ni­zma)
Ho­la Fo­ste­ra, „kon­tek­stu­la­ne umet­no­sti“ Po­la Ar­
de­na, Groj­so­ve „umet­no­sti u do­ba bi­o­po­li­ti­ke“, Šu­
va­ko­vi­će­ve „umet­no­sti u do­ba kul­tu­re“, „di­ja­lo­ške“
i „par­ti­ci­pa­cij­ske umet­no­sti“ Kler Bi­šop, jed­no­stav­
no, „umet­no­sti po­sle dve­hi­lja­di­te“ Bo­ni­ta Oli­ve i
„sa­vre­me­ne umet­no­sti“ Ka­trin Mi­le, za sre­di­ne ne­
ka­da­šnjeg ju­go­slo­ven­skog umet­nič­kog pro­sto­ra
za­jed­no „umet­no­sti u post-so­ci­ja­li­zmu“ Ma­ri­ne Gr­
ži­nić itd. Iz ce­log kon­glo­me­ra­ta tih raz­li­či­tih uvi­da,
evi­den­ci­ja, te­ma­ti­za­ci­ja, hi­po­te­za, ar­gu­men­ta­ci­ja i
za­klju­ča­ka (a ko­je se na­ve­de­nim re­fe­ren­ca­ma ni­
po­što ne za­vr­ša­va­ju) mo­gli bi da pro­iz­i­đu in­stru­
men­ti sa­gle­da­va­nja i raz­u­me­va­nja ak­tu­el­ne umet­
nič­ke si­tu­a­ci­je, naj­pre u nje­noj glo­bal­noj ma­kro­te­
ri­to­ri­ji a po­tom znat­no de­talj­ni­je i u po­je­di­nim
nje­nim par­ci­jal­nim i lo­kal­nim mi­kro­te­ri­to­ri­ja­ma.
Me­đu­na­rod­na kon­tek­stu­a­li­za­ci­ja
srp­ske umet­no­sti po­sle dve­hi­lja­di­te
Sve vo­de­će umet­nič­ke po­ja­ve u ne­ka­da­šnjem ju­
go­slo­ven­skom kul­tur­nom pro­sto­ru u raz­do­blju
po­sle­rat­nog mo­der­ni­zma, pod­jed­na­ko one u sre­
di­šnjoj kao i one na al­ter­na­tiv­noj po­zi­ci­ji, ta­ko­đe i
6
one u raz­do­blju plu­ra­li­stič­kog post­mo­der­ni­zma,
svo­ju su me­đu­na­rod­nu kon­tek­stu­a­li­za­ci­ju pod­ra­
zu­me­va­le u am­bi­jen­tu za­pad­no­e­vrop­skog kul­tur­
nog kru­ga sma­tra­ju­ći se nje­go­vom in­te­gral­nom
kom­po­nen­tom i ka­da za to uvek ni­su po­se­do­va­le
do­volj­no fak­tič­kog po­kri­ća. U de­ve­de­se­tim go­di­
na­ma pro­šlog ve­ka u Sr­bi­ji čak se i ta­kav hi­po­te­tič­
ki kon­tekst gu­bi u pri­li­k a­ma ta­da­šnje po­li­tič­ke i
kul­tur­ne izo­la­ci­je do­ma­će sre­di­ne. A ka­da je do ob­
no­ve uče­sta­li­jih re­la­ci­ja sa me­đu­na­rod­nim umet­
nič­kim zbi­va­nji­ma po­sle dve­hi­lja­di­te naj­zad do­šlo,
ta će se kon­tek­stu­a­li­za­ci­ja po­če­ti da od­vi­ja u ra­ni­je
ne­pred­vi­đe­nim uslo­vi­ma i okvi­ri­ma. Na­i­me, po­če­
tak te kon­tek­stu­a­li­za­ci­je obe­le­žen je iz­lo­žbom „Af­
ter the Wall – Art and Cul­tu­re in post­com­mu­nist
Euro­pe“, po kon­cep­ci­ji Bo­ja­ne Pe­jić i Dej­vi­da Eli­o­ta
u Mu­ze­ju Mo­der­ne umet­no­sti u Stok­hol­mu 19992000., ne­du­go po­tom usle­di­će se­ri­ja autor­skih iz­
lo­žbi ku­ra­to­ra pre­sti­žne struč­ne me­đu­na­rod­ne
re­pu­ta­ci­je kao što su „In se­arch of Bal­ka­nia“ Pe­te­ra
Vaj­bla u Gra­cu 2002, „Blut und ho­nig – Die Zu­kunft
ist am1 Bal­kan“ Ha­ral­da Ze­ma­na u Be­ču 2003., „In­
der Schluc­hten des Bal­kans“ Re­nea Blo­ka u Ka­se­lu
2003., za ko­je je iz­lo­žbe već iz sa­mih nji­ho­vih na­zi­
va od­mah uoč­lji­vo i ka­rak­te­ri­stič­no da kao za­jed­
nič­ku od­red­ni­cu po­se­du­ju u se­bi po­jam Bal­k an.
Da­ka­ko da taj po­jam, iako op­te­re­ćen dav­nim i ne­
dav­nim ne­ga­tiv­nim ste­re­o­ti­pi­ma, ni­po­što ne bi
tre­ba­lo sma­tra­ti una­pred ne­pri­me­re­nim, pi­ta­nje je
je­di­no ot­ku­da i zbog če­ga se upra­vo sa­da, da­kle
po­čet­kom dve­hi­lja­di­tih, ja­vlja ta­kva kon­tek­stu­a­li­
za­ci­ja sa­vre­me­ne srp­ske umet­no­sti? Iz­ve­sno je­ste
da su pre ne­go pre­vas­hod­no iz umet­nič­k ih, za
upo­tre­bu ovog poj­ma u ve­zi sa po­me­nu­tim iz­lo­
žba­ma po­sto­ja­li od­re­đe­ni po­li­tič­ki raz­lo­zi i in­te­re­si
kul­tur­nih in­sti­tu­ci­ja i po­je­di­na­ca za­hva­lju­ju­ći ko­ji­
ma je taj po­jam iz­ne­na­da uve­den u op­ti­caj, da bi
pri­tom kao po­zi­tiv­nu po­sle­di­cu ovih iz­lo­žbi va­lja­lo
is­ta­ći či­nje­ni­cu da su one znat­nom bro­ju umet­ni­ka
sa ovih pro­sto­ra pru­ži­le šan­su na­stu­pa na me­đu­
na­rod­noj umet­nič­koj sce­ni ne­du­go po­sle pret­hod­
ne ne­pod­no­šlji­ve na­met­nu­te izo­la­ci­je. Po­mak u
me­đu­na­rod­noj kon­tek­stu­a­li­za­ci­ji sa­vre­me­ne srp­
ske umet­nič­ke sce­ne po­no­vo ka ši­rim evrop­skim
ko­or­di­na­ta­ma sti­gao je – mo­žda pa­ra­dok­sal­no –
ume­sto od ino­stra­nih upra­vo od do­ma­ćih or­ga­ni­
za­ci­o­nih ini­ci­ja­ti­va. Na­i­me, po­sle iz­lo­žbe „Kon­ver­
za­ci­ja“ auto­ra Bra­ni­sla­ve An­đel­ko­vić, Bra­ni­sla­va
Di­mi­tri­je­vi­ća i De­ja­na Sre­te­no­vi­ća u Mu­ze­ju sa­vre­
me­ne umet­no­sti u Be­o­gra­du 2001, re­for­mom Ok­
to­bar­skog sa­lo­na od lo­k al­ne do me­đu­na­rod­ne
ma­ni­fe­sta­ci­je, za­po­če­toj iz­lo­žbom „Kon­ti­nen­tal­ni
do­ru­čak“ An­de Ro­ten­berg i na­sta­vlje­noj sle­de­ćim
go­di­na­ma iz­lo­žba­ma „Umet­nost ko­ja ra­di“ Dar­ke
Ra­do­sa­vlje­vić, i Ne­boj­še Vi­li­ća 2005, „Umet­nost, ži­
vot i po­met­nja“ Re­nea Blo­k a i Bar­ba­re Hajn­r ih
2006. i „Mi­kro­na­ra­ti­vi“ Lo­ra­na He­đi­ja 2007., uz broj­
ne dru­ge pri­red­be me­đu­nar­do­nog ka­rak­te­ra, Be­
o­grad u me­ri sop­stve­nih ras­po­lo­ži­vih in­te­lek­tu­al­
nih i fi­nan­sij­skih mo­guć­no­sti po­sta­je po­zor­ni­com
in­ter­na­ci­o­nal­nog umet­nič­kog oku­plja­nja. Ne tre­
ba, pri to­me, za­po­sta­vi­ti ni kon­cep­cij­ski srod­ne
po­du­hva­te u voj­vo­đan­skom umet­nič­kom pro­sto­
ru. Ti­me je u prin­ci­pu us­po­sta­vljen za­pra­vo je­di­ni
stra­te­gij­ski pri­hva­tlji­vi mo­del ili pri­mer me­đu­na­
rod­ne kon­tek­stu­a­li­za­ci­je sa­vre­me­ne srp­ske umet­
no­sti po­sle dve­hi­lja­di­te ko­ji – uka­zu­ju­ći se po to­me
uzo­rom za sve osta­le ob­li­ke po­li­tič­kih, eko­nom­skih
i kul­tur­nih in­te­gra­ci­ja – uslo­vlja­va da sa­vre­me­na
srp­ska umet­nič­ka sce­na po svo­jim kre­a­tiv­nim i in­
sti­tu­ci­o­nal­nim ka­pa­ci­te­ti­ma i po­ten­ci­ja­li­ma da­nas
se či­ni sprem­nom i spo­sob­nom da usko­ro de­fi­ni­
tiv­no po­sta­ne neo­dvo­ji­vi deo re­gi­o­nal­ne i ši­re
evrop­ske te­ku­će umet­nič­ke si­tu­a­ci­je.
Ele­men­ti in­sti­tu­ci­o­nal­nog
si­ste­ma umet­no­sti
Te­ku­ći umet­nič­ki ži­vot u Sr­bi­ji po­sle dve­hi­lja­di­te
od­vi­ja se unu­tar in­sti­tu­ci­o­nal­nog umet­nič­kog si­
ste­ma uglav­nom za­te­če­nog iz pret­hod­nih raz­do­
blja, ali ta­ko­đe i sa ka­rak­te­ri­stič­nim pro­me­na­ma
pro­iz­i­šlih iz ukup­nih pro­me­na dru­štve­nih, po­li­tič­
kih i kul­tur­nih pri­li­ka po­sled­nje de­ce­ni­je. Na vr­hu
tog si­s te­m a na­l a­ze se dva Mu­ze­j a sa­v re­m e­n e
umet­no­sti, u Be­o­gra­du i No­vom Sa­du, pr­vi znat­no
re­vi­ta­li­zo­van po­sle te­ške kri­ze u vre­me pret­hod­ne
upra­ve, sa bo­ga­tim iz­la­gač­kim pro­gra­mom u stu­
dij­skim ob­ra­da­ma da­ljeg i bli­žeg isto­rij­skog na­sle­
đa (re­tro­spek­ti­ve Go­lu­bo­vi­ća, Do­bro­vi­ća, Ta­ba­ko­
vi­ća, Lu­bar­de, Ota­še­vi­ća, Iljov­skog, To­do­si­je­vi­ća,
Pa­ri­po­vi­ća re­tro­spek­ti­vom do­ma­će umet­no­sti de­
ve­de­se­tih „O nor­mal­no­sti“), ob­no­vom me­đu­na­rod­
ne sa­rad­nje (iz­lo­žbe ko­lek­ci­je Er­ste Ban­ke, sa­vre­
me­ne bri­tan­ske umet­no­sti „U ras­ko­ra­ku“ i dr.), uz
kon­stant­ne pre­zen­ta­ci­je do­ma­će i ino­stra­ne te­ku­
će pro­duk­ci­je u Sa­lo­nu. Iz­u­zet­no je in­te­ziv­na iz­la­
gač­k a i iz­da­vač­k a ak­tiv­nost Mu­ze­ja sa­vre­me­ne
umet­no­sti u No­vom Sa­du, sa za­vr­še­nim me­đu­na­
rod­n im kon­k ur­s om za po­d i­z a­n je no­ve zgra­d e
upra­vo pred po­čet­nim sta­di­ju­mom iz­grad­nje, sa
zna­čaj­nom stu­dij­skom iz­lo­žbom „Cen­tral­no­e­vrop­
ski aspek­ti voj­vo­đan­skih avan­gar­di 1920–2000“,
2002, re­tro­spek­ti­va­ma Mat­ko­vi­ća, Som­ba­ti­ja i Ko­
pic­la, te broj­nim pri­red­ba­ma ak­tu­el­ne umet­no­sti
u sop­stve­noj sre­di­ni i ši­re u re­gi­o­nu. Osta­le ne­za­
o­bi­la­zne sce­ne od­vi­ja­nja do­ma­ćeg umet­nič­kog
7
ži­vo­ta či­ne bu­džet­ske i pri­vat­ne iz­la­gač­ke in­sti­tu­
ci­je (po­red već po­me­nu­tog Ok­to­bar­skog sa­lo­na,
li­kov­ni pro­gram Be­lef-a, ga­le­ri­je Udru­že­nja li­kov­
nih i pri­me­nje­nih umet­ni­ka Sr­bi­je, Kul­tur­nog cen­
tra, Do­ma omla­di­ne, Stu­dent­skog kul­tur­nog cen­
tra, Gra­fič­kog ko­lek­ti­va, grad­ska ga­le­ri­ja Be­o­grad,
Cen­tar za kul­tur­nu de­kon­ta­mi­na­ci­ju, Re­mont, Ci­
ne­ma Rex, Ma­ga­cin, ga­le­ri­je Kon­tekst, Ozo­n, Zvo­
no, Ha­os, in­ter­na­ci­o­nal­na ra­di­o­ni­ca „Real Pre­sen­ce“
ko­ja oku­plja mla­de umet­ni­ke i stu­den­te umet­nič­
kih aka­de­mi­ja), u No­vom Sa­du Cen­tar za no­ve me­
di­je Ku­da.org i Cen­tar za vi­zu­el­nu kul­tu­ru Zlat­no
oko, re­for­mi­sa­ni Me­mo­ri­jal Na­de­žde Pe­tro­vić u
Čač­ku i dru­ge usta­no­ve i ini­ci­ja­ti­ve ko­je ovom pri­
li­kom ne­na­mer­no ne uspe­va­mo da za­be­le­ži­mo.
Ne­na­dok­na­di­vu pak pra­zni­nu osta­vlja pre­sta­nak
or­ga­ni­zo­va­nja Bi­je­na­la mla­dih u Vr­šcu i za­stoj u
de­lo­va­nju Sa­vre­me­ne ga­le­ri­je u Pan­če­vu. Osta­li
va­žni fak­to­ri si­ste­ma umet­no­sti je­su po­vre­me­ni ot­
ku­pi te­ku­će pro­duk­ci­je od stra­ne grad­ske ot­kup­ne
ko­mi­si­je, pri­vat­no ko­lek­ci­o­nar­stvo u za­čet­ku (sa iz­
u­zet­no ne­dav­no otvo­re­nom in­sti­tu­ci­jom Mu­zej
Ma­cu­ra u No­vim Ba­nov­ci­ma), a ce­lo­kup­nu ak­tiv­
nost po­sto­je­ćeg si­ste­ma umet­no­sti i ak­tu­el­nih
umet­nič­kih prak­si pra­ti ne­a­de­kvat­na pa­žnja elek­
tron­skih i štam­pa­nih me­di­ja, ne­do­stat­na ča­so­pi­sna
pro­duk­ci­ja sve­de­na na ma­ga­zin Re­mont i Art­fa­mu,
što uslo­vlja­va te­ško­će sa­da­šnjeg de­lo­va­nja i po­lo­
ža­ja li­kov­ne kri­ti­ke ko­ja do­volj­no ažur­no ne sti­že da
kon­cep­tu­al­no ar­ti­ku­li­še idej­ne i pro­blem­ske to­ko­ve
na srp­skoj umet­nič­koj sce­ni po­sle dve­hi­lja­di­te.
dr­ža­je svoj­stve­ne spe­ci­fič­nim dru­štve­no-po­li­tič­
kim pri­li­ka­ma sop­stve­nih sre­di­na. Po­jam „glo­bal­
no“ u sa­vre­me­noj so­ci­jal­noj te­o­ri­ji sve če­šće ustu­
pa me­sto poj­mu „glo­kal­no“, a taj isti po­jam mo­gu­
će je pri­me­ni­ti i na zbi­va­nja u sa­vre­me­noj umet­no­
sti. Ne sa­mo u ši­ro­kom me­đu­na­rod­nom pod­ruč­ju
ne­go čak i u po­je­di­nim užim lo­kal­nim sce­na­ma po­
put srp­ske po­sle dve­hi­lja­di­te, osnov­ni ka­rak­te­ri­
stič­ni simp­tom si­tu­a­ci­je je­ste ne­pre­gled­nost i ne­
sa­gle­di­vost umet­nič­kih zbi­va­nja u ko­ji­ma me­đu
nji­ho­vim ak­te­ri­ma iz vi­še ak­tiv­nih ge­ne­ra­ci­ja umet­
ni­ka, kri­ti­ča­ra i ku­ra­to­ra da­nas vi­še ne po­sto­ji pot­
pu­ni kon­sen­zus u ve­zi pre­po­zna­va­nja i od­re­đi­va­
nja ulo­ga, sta­tu­sa i vred­no­sti mno­go­broj­nih in­di­
vi­du­al­nih do­pri­no­sa. U ta­kvoj ha­o­tič­noj umet­nič­
koj si­tu­a­ci­ji u ko­joj su u op­ti­ca­ju vr­lo raz­li­či­te so­lu­
ci­je, sva­ko od ak­te­ra na sce­ni opre­de­lju­je se pre­ma
ne­kim sop­stve­nim me­ri­li­ma, sklo­no­sti­ma i in­te­re­
si­ma, što uslo­vlja­va da se tre­nut­na umet­nič­ka si­tu­
a­ci­ja – u svim sre­di­na­ma pa ta­ko i u Sr­bi­ji po­sle
dve­hi­lja­di­te – od­vi­ja u ra­spo­ni­ma iz­me­đu po­želj­ne
neo­gra­ni­če­ne slo­bo­de umet­no­sti s jed­ne i nje­ne
ne­po­želj­ne pre­br­ze per­ma­nent­ne po­tro­šnje mno­
gih ulo­že­nih ener­gi­ja i ostva­re­nih do­me­ta s dru­ge
stra­ne ovog kraj­nje uda­lje­nog po­la­znog ra­spo­na.
Iz­me­đu pre­o­vla­đu­ju­ćih apo­li­tič­nih umet­nič­kih in­
di­vi­du­la­nih is­po­ve­sti, po­je­di­nač­nih pri­vat­no­sti,
su­bjek­tiv­nih na­ra­ci­ja od­re­da na pret­po­stav­ka­ma
auto­no­mi­je umet­no­sti i ret­kih po­vre­me­nih po­li­tič­
kih za­o­štra­va­nja umet­nič­k ih sta­vo­va na­sta­lih u
uslo­vi­ma kraj­nje po­la­ri­zo­va­nog i kon­flikt­nog srp­
skog dru­štva u ne­pred­vi­dlji­vim uslo­vi­ma post­so­ci­
ja­li­stič­ke tran­zi­ci­je od­vi­ja se ov­da­šnji umet­nič­k i
ži­vot po­sle dve­hi­lja­di­te. Ne­ku uho­da­nu at­mos­fe­ru
tra­ja­nja do­ma­ćeg umet­nič­kog ži­vo­ta tek na tre­nu­
tak pre­ki­da­ju že­sto­ki an­ga­žma­ni po­put onog Živ­ka
Gro­zda­ni­ća i nje­go­vog oso­be­nog „ПОП Аrta“ ili
pak ekscesi po­put ne­dav­nog na­sil­nog spre­ča­va­nja
otva­ra­nja iz­lo­žbe „Od­stu­pa­nje – sa­vre­me­na umet­
nič­ka sce­na Pri­šti­ne“ u Ga­le­ri­ji Kon­tekst. Šta da­nas
i ov­de, za­pra­vo, sa­či­nja­va ukup­nu sce­nu sa­vre­me­
ne umet­nos­ti, ko­jim se cilj­nim gru­pa­ma ona obra­
ća i na ka­kvu sve re­cep­ci­ju na­i­la­zi, ka­kve se ide­je u
njoj po­ja­vlju­ju, ko­ji su vred­no­sni do­me­ti u njoj do­
stig­nu­ti, ko­ji se pro­ble­mi za­či­nju i raz­vi­ja­ju, vr­lo je
te­ško i čak ne­mo­gu­će sa­gle­da­ti sa­mo iz jed­ne je­
di­ne po­go­to­vo kao u slu­ča­ju pi­sca ovih re­do­va da­
nas uve­li­ko aut­saj­der­ske kri­tič­ke po­zi­ci­je. Jed­no bi
ipak tre­ba­lo da bu­de iz­ve­sno: sa­vre­me­noj umet­
no­sti u Sr­bi­ji, ko­joj no­vu sve­ži­nu do­no­se pri­pad­ni­
ci ge­ne­ra­ci­je umet­ni­ka for­mi­ra­nih u ob­no­vlje­nim
nor­mal­nim pri­li­ka­ma po­sle ra­zor­nih de­ve­de­se­tih
go­di­na pro­šlog ve­ka, tra­ba da je svoj­stve­no neo­
me­ta­no slo­bod­no is­po­lja­va­nje u mno­štvu rav­no­
Ka­rak­te­ri­sti­ke umet­nič­kih
prak­si po­sle dve­hi­lja­di­te
Shod­no prin­ci­pi­ma post­mo­der­ni­stič­kog plu­ra­li­
zma, sa­vre­me­ne umet­nič­ke prak­se pod­vr­ga­va­ju se
na­če­lu le­gi­tim­no­sti svih upo­tre­blji­vih je­zi­ka i sred­
sta­va me­đu ko­ji­ma ne­ma ni­ka­kvih una­pred pri­vi­
le­go­va­nih op­ci­ja, sto­ga da­nas rav­no­prav­no tra­ju
ma­nu­el­ni po­stup­ci (sli­kar­stvo, cr­tež, skulp­tu­ra) i uz
njih po­stup­ci pro­iz­i­šli iz pro­duk­ci­ja sta­tič­nih i po­
kret­nih teh­nič­kih pred­sta­va (fo­to­gra­fi­ja, film, vi­
deo). Na sa­vre­me­noj srp­skoj umet­nič­koj sce­ni de­
fi­ni­tiv­no je neo­dr­ži­va na­vod­na po­de­la na kla­sič­ne
i no­ve me­di­je, što je ustva­ri la­žna di­le­ma na ko­joj
vo­li da in­si­sti­ra je­dan deo po­vr­šno oba­ve­šte­ne do­
ma­će jav­no­sti. Jed­na­ko ta­ko vi­še ne po­sto­ji po­de­
la po so­ci­o­lo­škom i ide­o­lo­škom klju­ču pre­ma mo­
de­li­ma ma­in­stre­a­ma i al­ter­na­ti­ve. Ube­dlji­vo gla­si
Groj­so­va tvrd­nja po ko­joj se sa­vre­me­ni umet­ni­ci
po­svu­da u sve­tu ko­r i­ste isto­vet­nim iz­ra­žaj­nim
sred­stvi­ma po­sred­stvom ko­jih ob­ra­đu­ju te­me i sa­
8
prav­nih umet­nič­kih je­zi­ka i iz­ra­žaj­nih me­di­ja, kao
i nji­ho­vih plu­ra­li­stič­kih kri­tič­kih pre­po­zna­va­nja, či­
ta­nja i tu­ma­če­nja. Kao pr­vi po­ku­šaj ta­kvog pre­po­
zna­va­nja pre­ma jed­nom od mo­gu­ću­ih uzo­ra­k a
va­lja za­be­le­ži­ti for­mi­ra­nje ko­lek­ci­je sa­vre­me­ne srp­
ske umet­no­sti u vla­sni­štvu kom­pa­ni­je Te­le­nor. A
ka­da do­đe tre­nu­tak i stek­nu se za to neo­p­hod­ni
uslo­vi, oba­ve is­tra­ži­va­nja i utvr­de kri­te­ri­ju­mi, umet­
nič­k a zbi­va­nja u Sr­bi­ji u pr­voj de­ce­ni­ji XXI ve­k a
oba­ve­zno će da po­sta­nu pred­me­tom stu­dij­ske ob­
ra­de pod­jed­na­ko kao što su ta­kve va­lo­ri­za­ci­je oba­
vlje­ne po­vo­dom svih pret­hod­nih raz­do­blja nje­nog
isto­rij­skog po­sto­ja­nja.
Ješa Denegri
Rođen 5. septembra 1936. u Splitu. Diplomirao i doktorirao na Filozofskom fakultetu u Beogradu. Od 1965. do 1989. godine zaposlen
u Muzeju savremene umetnosti u Beogradu. Od 1990. godine vanredni i redovni professor Filozofskog fakulteta- Odeljenje za istoriju
umetnosti, u Beogradu. Bio član redakcija časopisa Umetnost, Spot,
Arhitektura – Urbanizam, Projekt, glavni i odgovorni urednik časopisa Moment.
Objavio sledeće knjige:
EXAT 51 (sa Ž. Koščevićem), 1979; Apstraktna umjetnost u Hrvatskoj,
1985; Teme srpske umetnosti: pedesete-devedesete (u pet knjiga),
1993-1999; Fragmenti: šezdesete-devedesete – umetnost u Vojvodini,
1994; Beograd kao međunarodna umetnička scena, 1998; EXAT 51 –
Nove tendencije: umetnost konstruktivnog pristupa, 2000; Prilozi za
drugu liniju, 2003; Studentski kulturni centar kao umetnička scena,
2003; Opstanak umetnosti u vremenu krize, 2004; Sprehodi po slovenski moderni in postmoderni umetnosti, 2004; Prilozi za drugu liniju 2,
2005; Umetnička kritika u drugoj polovini XX veka, 2006; Razlozi za
drugu liniju 2007.
9
Ješa Denegri
SYMPTOMS OF SERBIAN ART SCENE AFTER YEAR 2000
The Start of New Periodization
Theoretical and Critical Approach
Art events in the final decade of the last century
in Serbia have been elaborated on in the exhibitions “Belgrade Art Scene in the 90s” in Remont
Gallery 2002, “On normalization” in Museum of
Contemporary art museum in Belgrade 2005, in
the exhibition “Fatal nineties” in Museum of Contemporary Art in Novi Sad 2001 in Vojvodina, and
by that – with, understandably, possibility of different opinions, evaluations and supplementary
revisions – the first historization of an extremely
turbulent period of national art was published.
Soon afterwards, with the transition to the new
century and millennium, owing to the fact that
newly-founded art aspects, current and contemporary situation became open, it is generally
named as “art after year 2000”. Naturally, it is not
only that the (visual) art at the beginning of century and millennium (worldwide and locally) become a turning point in chronological border, but
also the start is a borderline of both political and
other events at the global level, that regardless of
it, the course of life has never and nowhere been
interrupted and stopped for the time being,
though yet after 9/11 in New York, the situation in
entire world is not the same and it is definitely not
like it was before. Yet in the national political
scene after 2000, the era of conditionally so-called
post-socialist transition with its numerous and
large controversies came. In that type of altered
conditions of politics, economy, culture and everyday reality, contemporary art situation has
changed – unlike the 90s when we discussed the
state of “art in closed society” or the “survival of art
in time of crisis” – today and here it seems to be
very difficult to establish the type of collective
terms that would adequately signify the contemporary state of the national art scene in the atmosphere of total global vastness of contemporary art.
Global art situation in the state of complete vastness requires appropriate theoretical and critical
approaches that do not originate any more from
canonical methodologies of art history, but are
based on interdisciplinary and inter-textual discussions that are used for reading and interpreting
the aspects of contemporary art as cultural phenomena typical for reality of contemporary mass
consumerism and the media society. These approaches to reading and interpretation are derived
from the concepts of Danto’s “art world“, Bourriaud’s “relation aesthetics“ and “art of postproduction“, Michaud “art in the state of flux“, “art in the
state after post-“ (after modernism, after postmodernism, after post-postmodernism) of Hal Foster,
Paul Arden “contextual art“, Groys “art in the age of
bio-politics“, Šuvaković “art in the age of culture“,
“dialogue“ and “participatory art“ of Claire Bishop,
simply, “art after year 2000“ by Bonito Oliva and
“contemporary art“ by Catherine Millet, from the
environment of former Yugoslav art space together in “art in post-socialism“ by Marina Gržinić etc.
From the entire conglomerate of these various insights, evidence, thematisation, hypothesis, argumentation and conclusions (that the listed references do not end at all) and could come out like
the instruments of observation and understanding
of the contemporary art situation, first in its global
macro territory and then in greater detail in separate, partial and local micro territories.
International Contextualization
of Serbian Art after 2000
All leading art movements in former Yugoslav cultural space in the age of post war modernism, including those in middle as well as in alternative
position, the ones in the age of pluralist postmodernism, implied their international contextualiza10
tion in ambience of West European cultural circle
with the belief in being its integral component
although there was no adequate factual background for that. In Serbia in the 90s that type of
hypothetical context was lost in the circumstances
of former political and cultural isolation in the local
environment. After 2000, the restoration of the
frequent relations with the international art events
finally occurred, so that contextualisation started
to unfold earlier in unexpected circumstances and
frames. Namely, the start of this contextualization
was marked with the exhibition „After the Wall –
Art and Culture in Post-communist Europe“, in the
conception of Bojana Pejić and David Elliot in Museum of Contemporary Art in Stockholm from
1999-2000, soon afterwards the series of author
exhibitions followed by curators of distinguished
professional international reputation like „In search
of Balkania“ by Peter Weibel in Graz 2002, „Blüt und
hönig – Die Zukunft ist am Balkan“ by Harald Zsemann in Vienna 2003, „In der Schluchten des Balkans“ by Rene Block in Kassel 2003; just in relation
to the titles of these exhibitions, it is characteristically obvious that the common denominator for
all of this is the notion of Balkans. It is for sure that
this notion, although burdened with ancient and
recent negative stereotypes, should, under no circumstances, be observed in advance as inappropriate, the only question is where from and why
just now, at the beginning of the 2000s, this type
of contextualisation of the contemporary Serbian
art occurred? It is obvious that the art is the reason
for that, as, regarding the exhibitions in question,
the use of this notion occurred because of the specific political reasons and interests of cultural institutions and individuals that introduced that term
suddenly, and with the positive outcome of these
exhibitions, we have to point out the fact that it
provided opportunities to a significant number of
artists from this space to participate in the international art scene not long after the former unbearable imposed isolation. Step forward in international contextualisation of contemporary Serbian
art scene towards wider European coordinates has
come again – somewhat paradoxically – instead
from foreign – from local organizations and initiatives. Namely, after the exhibition “Conversation”
by authors Branislava Anđelković, Branislav
Dimitrijević and Dejan Sretenović in Museum of
Contemporary Art in Belgrade in 2001, the reform
of October Salon from local to international manifestation, that started by the exhibition “Continental breakfast” by Anda Rottenberg and continued
in the following years by “Art that works” by Darka
Radosavljević and Nebojša Vilić in 2005, “Art, life
and confusion” by Rene Block and Barbara Heinrich in 2006 and “Micro Narratives” by Lorand Hegyi in 2007, with various other exhibitions of international type in Belgrade, in the scope of available
intellectual and financial possibilities, the local
space has become the stage of international art
congregation. We should not neglect conceptually related attempts in the art space in Vojvodina.
All these basically established the only strategically acceptable model, or an example of international contextualization of contemporary Serbian
art after year 2000 that – pointing out the role
model for all the other forms of political, economical and cultural integrations – it made contemporary Serbian art scene, by its creative and institutional capacities and potentials, seem ready and
capable of soon becoming an inseparable part of
regional and wider European contemporary art
situation.
Elements of Art Institutional System
The contemporary art life in Serbia after year 2000
is unfolded inside the institutional art system as it
is there mostly like a remnant of the previous age,
although these changes typically resulted from
total change in social, political and cultural circumstances in the last decade. On the top of the system there are two museums of Contemporary art
– in Belgrade and Novi Sad, the first significantly
revitalized after the difficult crisis in the time of
previous management, with rich exhibition program in the studio versions of closer and further
historical background (retrospectives of Golubović,
Dobrović, Tabaković, Lubarda, Otašević, Iljovski,
Todosijević, Paripović retrospective of national art
in the 90s “On normality”), renovation of international cooperation (exhibition of Erste Bank Collection, contemporary British Art “Breaking Step” and
other), with the contemporary presentation of local and foreign production in the Salon. Museum
of Contemporary Art in Novi Sad has an extremely
intensive curator and exhibition practice, with finalized international competition for erecting new
building just before the initial state of construction, with important studio exhibition “Central
European aspects of Vojvodina avant-garde 19202000” in 2002, retrospectives of Matković, Szombaty and Kopicl, numerous exhibitions of contemporary art in their personal environment and
wider in the region. Other unavoidable scenes of
local art life are budget and private exhibition in11
stitutions (besides October Salon, BELEF art program, gallery of Association of art and applied art
representatives of Serbia, Cultural centre, Dom
omladine, Student cultural centre, Graphic collective, City gallery Belgrade, Centre for cultural decontamination, Remont, Cinema Rex, Magacine,
Kontekst gallery, Ozone, Zvono, Haos, international workshop „Real Presence“ that gathers young
artists and students of art academies), in Novi Sad
Centre for new media Kuda.org and Centre for
visual culture “Zlatno oko”, reformed Memorial
Nadežda Petrović in Čačak and other institutions
and initiatives that might not have been mentioned in this article, but that is by pure accident.
Irreparable emptiness is caused by cessation in
organizing the Youth Biennale in Vršac and a pause
in work of Contemporary gallery in Pančevo. The
remaining important factors of the art system are
occasional purchase of contemporary production
by the city purchasing committee; private collections are just starting (with the exception of the
recently established institution Museum Macura
in Novi Banovci), and the total activity of the existing system of art and contemporary art practice is
followed by the inadequate attention of electronic and print media, lack of magazines and newspapers that actually boils down to Remont and Artfama, that conditions the difficulties of present
activities and positions of art critique that in significant up-to-date manner yet cannot achieve to
articulate idea conceptually and sort problematic
currents in Serbia art scene after the year 2000.
where in the world the contemporary artists use
the same methods of expression by processing the
topics and contents typical for specific socio-political conditions of their own environment. The term
“global” in contemporary social theory is often being replaced by the term “glocal”, which is also applicable to the events in the contemporary art. Not
only in wide international area but also in the specific small local scenes like the Serbian one after
2000, the basic symptom of the situation is the immenseness and immeasurability of art events and
today, among protagonists from several active
generations of artists, critics and curators there is
no complete consensus on the recognition and
specific roles, status and values in numeral individual contributions. In such a chaotic art situation
with several options and very different circumstances, the protagonists of the scene make a
choice according to some of their personal criteria,
inclinations and interests, thus creating conditions
for the contemporary art situation – in all the environments including Serbia after year 2000 – it is
unfolded in ranges between desirable unlimited
freedom of art on one hand and on the other hand
its undesirable double-quick permanent expenditure of many invested energies and accomplished
ranges as this is ultimately distant starting range.
Between prevailing apolitical art of individual confessions, individual privacies, subjective narratives
lines in the assumptions of the autonomous art
and rare occasional political intensification of art
attitudes created in the conditions of completely
polarized and conflicted Serbian society in the unpredictable conditions of post-socialist transition,
the local art life was unfolding after the year 2000.
Some established atmosphere of duration in the
local art life that was just for the moment stopped
by the furious engagements like the one of Živko
Grozdanić and his specific “ПОП Art”, the recent
violent prevention of the opening of the exhibition “Exception/Contemporary arts scene of Pristina” in Kontekst gallery. What is it that actually
here and today, creates the complete contemporary art scene, target groups is it really addressing
to and type of the reception is it inciting, the ideas
that appear in it, the range of values it achieves,
types of problems that are triggered and developed; it is very hard and even impossible to observe all this just from a single point of view especially for the author of these lines who finds himself in the position of a critical outsider. One thing
is obvious: contemporary art in Serbia, that gathers new freshness by the representatives of generations of artists formed in the renewed normal
The Characteristic of Art
practice After the Year 2000
In accordance to the principles of post-modern
pluralism, contemporary art practices are exposed
to the principle of legitimacy of all useful languages and instruments that have no privileged positions in advance, therefore today we have equal
treatment of manual procedures (painting, drawing, sculpture) and other that stem from productions of static and moving technical representations (photos, films, videos). In the contemporary
art scene it is definitely unsustainable to hold on
to the division into classical and new media, as it
is actually the false dilemma some really like to
insist on, for example one part of superficially informed public. Likewise, there is no division in sociological and ideological key according to the
models of mainstream and alternative. Groys statement is very convincing when it claims that every12
circumstances after the devastating nineties of the
last century, that should be specific for the undisturbed liberate exhibition in the majority of egalitarian art languages and media expressions, as
well as their pluralistic critical recognitions, reading and interpretation. As the first attempt of that
kind of recognition to one of the possible causes
that is worthy of recognising is starting collection
of the contemporary Serbian art in the ownership
of the Telenor Company. When that moment
comes and all the necessary conditions are fulfilled, all the research done and the criteria established, the art events in Serbia in the first decade
of 21st century will become the objects of study of
the same type as the valorisations performed in all
former periods of its historical existence.
Ješa Denegri
Born on September 5th 1936 in Split. Earned his MA and PhD at
Philosophic Faculty in Belgrade. Since 1965 till 1989 worked at Museum of Contemporary Art in Belgrade. Since 1990 taught at Philosophic Faculty – Art History Department, in Belgrade. Co-edited
magazines: Umetnost (Art), Spot (Spot), Arhitektura – Urbanizam
(Architecture – Urbanism), Projekt (Project), and was editor in chief
of magazine Moment.
Published works:
EXAT 51 (with Z. Koščević), 1979; Abstract Art in Croatia, 1985; Themes
of Serbian Art: Fifties-Nineties (in five volumes), 1993-1999; Fragments: Sixties-Nineties – Art in Vojvodina, 1994; Belgrade as an International Art Scene, 1998; EXAT 51 – New Tendencies: Art of Constructive Approach, 2000; Additions to the Other Line, 2003; Students’
Cultural Centre as an Art Scene, 2003; Survival of Art in Times of Crises,
2004; Sprehodi po slovenski moderni in postmoderni umetnosti, 2004;
Additions to the Other Line 2, 2005; Art Criticism in the Second Half of
the 20th Century, 2006; Reasons for the Other, Line 2007.
13
Ješa Denegri
ПОП Art Živka Grozdanića
Lako je predvideti da će biti ne malo onih koji kada
se suoče sa radom Živka Grozdanića Četiri Patrijarha Pavla posmatraju šest metara dugačku liniju Raše
Todosijevića odmah zaključiti da je posredi nekakva provokacija, čak i uvreda jedne u ovom društvu vrlo ugledne ličnosti. No kada je reč o delima
savremene umetnosti – a ovde je nesumnjivo reč
o takvom delu – sudove ne treba donositi naprečac i jedino na osnovu teme i prizora nekog rada.
Grozdanić će jednom prilikom reći da je „preplitanje političkih događaja u srbijanskom društvu
odredilo veličinu i karakter mojih radova“, on neće
kriti da njegovi radovi iz ciklusa Alegorija između
ostalih poseduju politički i ideološki podtekst, da
on sebe kao savremenog umetnika vidi u sprezi
uloga „preduzimača-političara-realizatora-naučnika-filozofa-zanatlije“. Dakle, da sebe kao savremenog umetnika vidi i kao „političara“, ali nipošto
prvenstveno i isključivo, nego udruženog sa nizom
drugih profila i funkcija, budući da savremena
umetnost upravo profil takvog umetnika pretpostavlja i zahteva. Naime, savremeni umetnik danas
naprosto ne može a da ne bude politički svesna i
opredeljena osoba, ali on je ipak pre svega umetnik, to što čini jeste umetnost, te stoga jedino kao
umetnost treba da bude posmatrano i prosuđivano. Jer, ma koliko to što Grozdanić danas radi jeste
vrlo udaljeno od njegovih umetničkih početaka,
ipak valja podsetiti da se na samom izvoru Grozdanićeve umetnosti nalazi iskustvo analitičkih postupaka u medijima slikarstva i crteža, a shodno tome
svaka njegova kasnija Alegorija traži da bude viđena i shvaćena kao svojevrsna mentalna jezička
operacija u internom polju konceptualizacije i realizacije njegovih umetničkih zamisli.
Ovo nije prvi put da Grozdanić u svoje umetničke
zamisli uvodi predstavu Patrijarha; to je jednom
već obavio u radu Meteorska kiša, prikazanog u
Beogradu i Novom Sadu septembra-novembra
2005. U tom radu posredi je parafraza poznate
skulpture/instalacije italijanskog umetnika Maurizija Cattelana La nona ora izložene u varšavskoj
galeriji Zaheta 1999, s tim što je u Grozdanićevoj
instalaciji došlo do zamene, u vrlo sličnom položaju figure i ukupnoj prostornoj inscenaciji, lika Pape
Jovana Pavla II s likom Patrijarha Pavla. I upravo ta
tesna relacija spram Cattelanovog motiva obezbeđuje Grozdanićevom radu status potpuno legitimne umetničke operacije. Naime, ta relacija otvara
u ovom slučaju pitanje načina i razloga upotreba
retoričkih postupaka poput citata, ponavljanja s
razlikama, replika, kopija, referencija, aproprijacija,
konfiskacija, dakle odreda umetničkog govora na
osnovama naknadnog prerađivanja postojećih
modela, kao već odavno posve legitimnih strategija umetničkog diskursa i umetničkog ponašanja.
Naravno, „višak vrednosti“ ovog Grozdanićevog
rada u odnosu na Cattelanov izvornik sastoji se u
specifičnoj autorskoj intenciji koju Grozdanićev
rad poseduje, a ta intencija jeste prepuna koliko
višesmislenih i višeznačnih umetničkih toliko i evidentnih društveno-političkih konotacija.
Principijelno istovetnu ulogu koju u funkcionisanju
prethodnog Grozdanićevog rada ima relacija spram
Cattelanovog izvornika, u ovom poslednjem radu
poseduje relacija spram poznatog autorskog projekta Raše Todosijevića Nijedan dan bez linije. Posredi je, naime, jedna od ključnih konceptualnih teza
u Todosijevićevom opusu, izvedena u više navrata
i na više lokacija u rasponu od diskretne Jedne linije u napuštenoj kući u italijanskom mestu Folonika
1976. do maksimalne javnosti u radu Dvesta hiljada
linija za Bijenale mladih u Parizu 1977. Značenje
ovog Todosijevićevog rada problematizuje pitanje
promenljivog materijalnog statusa i kulturnog konteksta umetničkog dela izvan i unutar savremenog
galerijsko-muzejskog institucionalnog „sistema
umetnosti“. A to se značenje ne može do utvrđivanja svog punog smisla razabrati jedino posmatranjem nego, naprotiv, prevashodno mentalnim
poimanjem karaktera savremenih umetničkih produkcija. I čini se da upravo otuda proizlazi udarni
učinak ovog poslednjeg Grozdanićevog rada: jer,
na takav zaključak može da nas navede fakat da
14
Meteorska kiša
Četiri patrijarha Pavla posmatraju
200.000 linija Raše Todosijevića
15
Made in China
neki lik (u ovom slučaju nebitno je da li je to baš lik
predstavljen u Grozdanićevoj instalaciji) navodno
posmatra Todosijevićev konceptualni rad koji je
kao originalno autorsko delo drugog umetnika postao integralni deo novonastale Grozdanićeve
umetničke tvorevine. Utisak začudnosti, na koji
moderna/savremena umetnost računa još od upotrebe poznatog operativnog principa jukstapozicije međusobno krajnje udaljenih znakova i njihovih
svojstava, doveden je ovde do vrlo jakog vizuelnog,
još jačeg mentalnog efekta, a to je upravo onaj retorički postupak na koji Grozdanić u svojoj umetničkoj strategiji obavezno računa.
Ovaj poslednji Grozdanićev rad valja, dakle, sagledavati unutar celine njegovog dosadašnjeg umetničkog delovanja, nipošto ga ne treba videti tek
kao neki trenutni iskorak u cilju izazivanja pažnje
izvanumetničke javnosti. To ga, naravno, ne preči
da se ponaša kao beskompromisni umetnik-aktivista, kao što je to uostalom bio i dosad tokom cele
svoje prisutnosti na domaćoj kulturnoj sceni. Jer
kada je, naime, o Grozdaniću reč nemoguće je ne
prisetiti se njegovih dosadašnjih uloga u izlagačkoj
politici vršačke Konkordije, u izdavačkim poduhvatima Košave i Artcontexta, danas u rukovođenju
novosadskim Muzejom savremene likovne umetnosti. Grozdanić inkarnira lik umetnika angažovanog ne jedino u sopstvenoj umetničkoj produkciji nego podjednako i u javnom prostoru „sistema
umetnosti“, on je kao umetnik takvog profila stasao u ovdašnjim društveno-političkim uslovima
devedesetih godina prošlog veka nastavivši tako
da se ponaša i posle dvehiljadite. Sve što umetnik
takvog profila radi jeste borba za umetnost, ali ne
za umentost kao neku izvanistorijsku i metafizičku
kategoriju nego upravo za umetnost kao konkretnu životnu egzistencijalnu realnost i za njeno dostojno mesto kao takve u savremenom demokratskom, svetovnom i civilnom društvu. Da bi takvom
bila kao područje pojedinačne slobode ličnosti
umentika, na njemu je da izgrađuje sredstva i kanale socijalne komunikativnosti umetnosti, ispoljavajući se bez ikakvog samosuzdržavanja u iskazivanju umetničkih zamisli. Svojim poslednjim radovima (koje sam naziva sopstvenim „ПОП Artom“), Grozdanić i sebe i svoju okolinu iskušava u
traženju one krajnje granične tačke do koje je moguće stići u javnom dijalogu između savremenog
umetnika i savremene umetnosti i njegovog/njenog konkretnog društvenog konteksta.
16
Ješa Denegri
POP* Art by Živko Grozdanić
ora, exhibited in Warsaw gallery Zaheta in 1999.
Grozdanić’s installation consistently copied the
Cattelan’s setup, except that he replaced the Pope
John Paul II’s sculpture with the one representing
Patriarch Pavle. This exact close relation with Cattelan’s motif makes Grozdanić’s version a valid artistic operation. As a matter of fact, this relation
questions the ways of and reasons for using the
rhetorical approaches such as quotation, altered
repetition, replica, copy, reference, appropriation,
confiscation, i.e. the artistic vocabulary based on
subsequent adaptation of the existing models, a
legitimate strategy of the artistic discourse and
behaviour. Of course, the „surplus value“ of
Grozdanić’s work, compared to Cattelan’s source,
can be found in the author’s specific intention,
loaded with ambiguous and multi-signifying artistic as well as social and political connotations..
It is rather predictable that quite a few of those
confronted with Živko Grozdanić’s work Four Patriarchs Pavle Watch Raša Todosijević’s „A Line Six Metres Long“ will jump to a conclusion that there is
some kind of provocation, even an insult to a person that is otherwise highly respected within our
society. However, when it comes to the works of
modern art – and this surely is one of those – conclusions shouldn’t be drawn hastily and based
strictly on the theme and image of the work. On an
occasion, Grozdanić stated: „Interwoven political
events in the Serbian society defined both the size
and character of my artworks“. He has never tried
to hide the fact that the works in his Allegory opus
include political and ideological aspects and that
he, as a modern artist, considers himself a „contractor-politician-maker-scientist-philosopher-craftsman“. Thus (as a modern artist) he sees himself as a
„politician“, albeit by no means firstly or exclusively,
rather in combination with the other mentioned
profiles and functions, since it is a common request
in the modern art world. A modern artist simply
cannot avoid being politically conscious and determined, but he is still an artist in the first place, art is
what he makes, so only the artistic criteria should
be employed in observing and judging his work.
However remote from his artistic beginnings
Grozdanić’s contemporary practise may seem, it is
worth reminding that his early paintings and drawings also included an analytic approach. In consequence, each of his Allegories should be perceived
and understood as a linguistic operation in the internal field of conceptualisation and contextualisation of his artistic plans.
Generally speaking, the relation between
Grozdanić’s previous work and Cattelan’s original
is the same as the relation between this latest work
and a well known project by Raša Todosijević, entitled Not a Day Without a Line. In fact, Todosijević’s
project was built around one of his key concepts,
performed on several occasions and several locations, varying from the discrete One Line in an
Abandoned House in Folonica (Italy, 1976) to the
highly public Two Hundred Thousand Lines, exhibited in the course of Paris Biennial in 1977. The
meaning of Todosijević’s work concerns the
changeable material status and cultural context of
an artwork, outside and within the contemporary
„art system“, institutionalised through galleries
and museums. Such a meaning cannot be fully
reached through observation – on the contrary, it
must be achieved through mental adoption of the
character of contemporary artistic production. This
This is not the first time that the character of Patriarch Pavle is included in Grozdanić’s work; His image has already appeared in Meteor Rain, an installation exhibited in Beograd and Novi Sad in September/November 2005. The installation actually
paraphrased the well known sculpture/installation
by Italian artist Maurizio Cattelan, entitled La nona
* an untranslatable pun: in Serbian, the word pop
denotes both popular (e.g. pop art, pop music, pop
culture, etc.) and priest.
17
Beli meda „voli” pravoslavlje
editorial policy in Concordia gallery in Vršac, involvement in publishing Košava and Artcontext
magazines, as well as his present leadership in the
Museum of Modern Art in Novi Sad. Grozdanić incarnates the image of an artist not exclusively focused on his own artistic production, but also
participating in the public space of „art system“. He
developed his artistic concept in the social and
political circumstances during the 1990’s and continued practising it after the year 2000. Such an
artist fights for the art, yet not the art as a metaphysical category beyond history, but the art as a
specific existential reality and its dignity in the
modern democratic, profane and civil society.
Keeping the art in the domain of artist’s personal
freedom is the artist’s task, and it is up to him to
build the artistic mechanisms and channels of social communication, expressing his artistic imagination without any abstinence. In his latest works
(that he calls POP art) Grozdanić temptates both
himself and his environment, while searching for
the ultimate point in the public dialogue between
the modern artist and modern art, as well as their
specific social context.
seems to where the main effect of the particular
Grozdanić’s artwork originates: we conclude this
in consequence of the fact that some character (in
this case the identity of the character is irrelevant)
allegedly observes the Todosijević’s work, which,
being another artist’s original work, has become
an integral part of the Grozdanić’s new‑made artistic creation. Astonishment, on which the modern/contemporary art has been counting ever
since the introduction of a well known practise of
juxtaposing various reciprocally remote signs and
their notions, produces a strong visual and even
stronger mental effect. Such a rhetoric approach
is immanent in Grozdanić’s artistic strategy.
The latest Grozdanić’s exhibit should therefore be
understood as a part of his artistic practise, rather
than a temporary diversion intended to attract the
attention of non‑artistic public. Of course, this
does not prevent him from acting like an uncompromising activist artist, the one he has been ever
since he had entered the local cultural scene. In
fact, when it comes to Grozdanić, it is impossible
to ignore his previous activities such as creation of
18
Maja ĆiriĆ
Konstrukcije Balkana kao Drugog
u savremenoj umetničkoj praksi1
Uvod
znanja. Zbog nepostojanja efikasne3 regionalne
kulturne politike, koja bi usmeravala kulturnu produkciju, izložbe i teorijski tekstovi koji koriste Balkan kao meta‑označitelj su više nego dragoceni.
Društveni stereotipi, predrasude i odnosi snaga
koji se obično vezuju za pojam Balkana izlaze na
površinu kroz izlagačku praksu. Izložbe koje ću
analizirati proizvele su diskurs, u fukoovskom smislu, (istorijski, materijalni) način na koji prepoznajemo Balkan i zasnovane su na mogućim pristupima razumevanja regiona. Ovaj diskurs, kao i bilo
koji drugi, regulisan je pravilima isključivanja, unutrašnjim sistemima kontrole i opisivanja, uslovima
pod kojima ga je moguće upotrebiti i filozofskim
temama koje zanemaruju realitet diskursa4. Sadržaj izložbi U potrazi za Balkanijom (P. Weibel, E.
Cufer, R. Conover; Grac, 2002), Krv i med – budućnost je na Balkanu (H. Szeemann; Klosternojburg,
2003), U gudurama Balkana – izveštaj, deo Balkanske trilogije5 (R. Block; Kasel, 2003) su znakovi čije
je tumačenje formirano i dirigovano od strane kustosa kao posrednika. Mobilizacijom regionalnog
umetničkog sveta, kao i provociranjem brojnih
teoretskih tekstova koji su usledili, ove izložbe nisu
bile transcendentalne već su materijalizovale konstrukcije Balkana kao nepoznatog Drugog.
Pretpostavite da želim da vas ubedim da je bavljenje Balkanom zapravo bavljenje krizom i da umetnost ima sposobnost, ako ne rešavanja, onda bar
učestvovanja u rešavanju te krize. U tom slučaju bi
svakako trebalo da se pozovem na koncepcije koje
su prikazane u paviljonima Grčke i Rumunije na
Venecijanskom Bijenalu 2005. Prvi primer nam pokazuje da je kriza još uvek prisutna, dok drugi ilustruje kapacitet umetnosti za hvatanje u koštac sa
krizom, ili bar davanje dubljeg uvida u nju. Rumunski paviljon je bio organizovan kao prazan prostor
praćen priručnikom sa teorijskim tekstovima. Prvi
među tim tekstovima je naslovljen Slepa tačka
nove kritičke teorije2. Instalacija Bolnica u paviljonu Grčke je izvedena kao ne‑mesto. Kustos tvrdi
da bolnice i umetnost imaju mnogo toga zajedničkog – koliko god prisutne u svakodnevnom životu,
one su istovremeno van njega. Njihovi svetovi su
u stalnom kritičnom stanju zbog svoje nesigurnosti i nepredvidivosti. U tim svetovima tragedije i
čuda se dešavaju u istoj meri. Umetnost, kao i
zdravlje, treba štititi i tretirati na određeni način.
Stoga će predmet moje analize biti upravo kustoska praksa (izraz izveden od latinskog glagola curare), koja u narednim primerima pretpostavlja
brigu o Balkanu kao kriznom području.
Povod za ovaj rad je epistemološki potencijal kustoskih praksi, tj. sposobnost da se uz pomoć njih
prikažu različita razumevanja Balkana i stvori znanje o njemu. Kako je Balkan zapravo meta‑označitelj mnogih različitih i rasparčanih označitelja ovog
regiona, nužno je da postoji balkanska kulturna
politika čiji bi glavni zadatak bio organizovanje tog
3] Marina Gržinić smatra da „Istok nije snabdeo
Zapad relevantnim teorijskim i interpretativnim
in­strumentima za prepoznavanje posebnosti, idiosinkrazija, raznovrsnosti i originalnosti umetničkih projekata Istočne Evrope”. Moje je mišljenje
da su teoretičari poput S. Žižeka, M. Todorove, V.
Golsvorti i A. Kioseva izvršili veći uticaj na Zapadnu
percepciju regiona nego na strukturisanje regionalne kulturne politike.
4] Osnivački subjekt, izvorna iskustva i univerzalna
medijacija.
5] Balkanska trilogija se sastojala od tri projekta: U
gudurama Balkana, U gradovima Balkana i Van Balkana.
1] Rad u nastajanju.
2] Andrasz, Edit. 2005. Blind spot of the new critical
theory: Notes on the theory of self colonization,
ed. Babias Marius; Romanian Pavilion, La Biennale
di Venezia, 51. Esposizione Internazionale d’arte.
Ostale tekstove potpisuju najznačajniji balkanski
teoretičari umetnosti.
19
1.
Ove izložbe nisu samo priređivane tako da prošire
polje savremenog umetničkog tržišta putem uključivanja umetnosti sa područja Balkana, već su bile
i poligoni za intervenciju i označitelji političkih stavova sa tendencijom konceptualizacije i artikulacije raznovrsnosti i kompleksnosti ovog regiona.
Ovaj tekst će se baviti istraživanjem i analizom
konstrukcija Drugog u savremenim umetničkim
praksama na Balkanu. Ovo istraživanje može biti
dvojako: ono može da ispituje konstrukcije Dru-
Biljana Đurđević, Bambi is Dead
Istraživanjem ili strukturisanjem Balkana putem
ukazivanja na demarkacione linije kustoski koncepti nam otkrivaju pozicije sa kojih je moguće
prići ovoj oblasti. Namera ovog teksta je da mapira
te pozicije sa kojih je konstruisano značenje Balkana i istraži mogućnosti za jedan obostrano zadovoljavajući odnos prema Balkanu. Razumevanje
načina na koji je Balkan konstruisan kao Drugo
kroz primere pojedinih izložbi svakako je primenljivo na bilo koji drugi diskurs u regionu.
gog u pojedinim umetničkim radovima koji veoma
često komentarišu aktuelnu društveno‑političku
situaciju. Ipak, kako primećuje Boris Buden6, balkanski umetnici znaju da Balkan ne označava sudbinsku ili kulturnu zajednicu kojoj oni nužno pripadaju, niti etiketira umetnost koju oni stvaraju.
Balkan je pre svega tehnički termin koji opisuje
njihov odnos prema globalnom umetničkom tržištu dominiranom od strane Zapada, koji postavlja
određena pravila ponašanja i prihvatljivosti. Čak i
ako mitovi o Balkanu nisu istiniti, balkanski umetnici moraju da se na ovaj ili onaj način poigravaju
njima7 ako žele da uopšte budu tumačeni. Institucionalno, oni bivaju smešteni u umetnički kontekst, ali su često prikazani u egzotičnom (političkom) kontekstu koji neki od njih smatraju
neodgovarajućim ili čak uvredljivim. Upravo stoga
ću se sada usredsrediti na pojedine inostrane kustoske koncepte konstruisane na relaciji mi/oni,
centar/periferija, pokazujući nastanak inostranog
prikazivanja Balkana kao Drugog.
2. Zapad kao Univerzalno Jedno
Život na Balkanu nikada nije bio interpoliran jednom ideologijom, niti je regionalna realnost definisana opšteprihvaćenim zamišljenim kodom koji
bi rukovodio društvenim ponašanjem subjekata.
Balkan kao meta‑označitelj, rasparčan i nestabilan
kakav jeste, nije sposoban za integrisanje svih
ovih realnosti i njihovo vidljivo smeštanje na globalni nivo. Iako postoje mnogi razlozi za rasparčanost Balkana, volela bih da naglasim neke koji su
već teoretski definisani od strane „lokalnih” intelektualaca.
6] Buden, Boris. 2003. Jebe lud zbunjenog, Zarez, no. 107.
7] Iznutra posmatrano, umetnost se češće naziva
nacionalnom (srpskom, hrvatskom, rumunskom,
bu­­garskom...) nego balkanskom, iako te nacionalne
umetnosti uglavnom ostaju neprimećene na ev­­
ropskom nivou
Po Mariji Todorovoj, balkanski identiteti su oblikovani geopolitičkim trenutkom i stoga su kratkotrajni i nestabilni. Budući lako esencijalizovani, ti po20
lovični identiteti postaju predmet intervencije
geopolitičkih supersila i subjekti krize. Drugim rečima, kriza je prouzrokovana činjenicom da na
Balkanu kao Drugom postoji inherentni autoreferentni moment koji ga čini nepotpunim8. Književni
teoretičar iz Sofije Aleksandar Kiosev9 tvrdi da je, u
odnosu na Balkan, ono Drugo (susedi, Evropa, civilizovani svet itd.) univerzalno, poseduje sve što
mi ne posedujemo, ono je sve što mi nismo.
ju12, priređenim tako da razreše krizu neprimetnosti. Ipak, kako ćemo videti, ta kriza je zamenjena
krizom pogrešnih fantazama inspirisanih predrasudama i stereotipima. Kako to Marina Gržinić konceptualizuje u svom eseju o Istočnoj Evropi, savremeni umetnički radovi, paradigmatični za
razumevanje regiona, postaju prazna mesta ukoliko nisu aktivirani fantazmičkim konstrukcijama.
Zbog svog nepotpunog identiteta, ili nedostatka
Opšte strukture, Balkanci uvek naginju nekoj identifikacionoj tački. Ovo objašnjava zašto su savremenom balkanskom umetničkom diskursu bili
potrebni inostrani akteri 13 sposobni da sačine
strukturu od inače razuđenih svetova savremene
umetnosti pojedinih zemalja. Opšte je mesto da su
orijentalni identiteti posledica upornog pogleda
Jednog Opšteg Zapadnog. U tom slučaju, balkanski umetnici su prisiljeni da se identifikuju sa kustosovim pogledom, sa čuvenim Idealnim Ja konstruisanim kroz fantastičke narative, koje nalaže
Istočnom Evropljaninu i Balkancu kako bi trebalo
da izgleda i ko bi trebalo da bude14. Više nego jednom su fantazmički narativi poslužili kao mehanizmi za ispoljavanje frustracije Balkanom. Kako je
Balkan deo Evrope, izložbe prikazuju način na koji
su ga kustosi smestili u okvir nepotpunog Drugog,
ili čak tamne strane zapadnog Bića, i kako su zastupali njegovo ispoljavanje. Jedna od mogućnosti za
prikazivanje malih umetničkih sredina poput srpske ili bilo koje druge iz balkanskog regiona mogla
bi se nazvati “stvaralački parazitskom”. To podrazumeva da će osnovni principi velikih umetničkih
sredina biti ispitivani preko malih kultura, povlačenjem linije između insajdera i autsajdera, margina
i centra. Ovaj pristup nužno uključuje instrumentalizaciju ili potčinjavanje geopolitičkom momentu, koji će potom ograničiti umetničke radove na
predstavljanje egzotičnog, etničkog ili marginalnog Drugog. Mnogi lokalni umetnici će morati da
pristanu na deteritorijalizaciju svog izraza, nužnost
Slavoj Žižek, globalno afirmisan slovenački teoretičar, ukazuje na eskapistički karakter Balkana kao
Drugog10. Po njemu, jedan od balkanskih paradoksa je činjenica da njegovo geografsko određenje
zapravo nikada nije bilo precizno. Balkan je negde
drugde, uvek malo dalje ka jugoistoku i, paradoksalno, kada stignemo do dna Balkanskog poluostrva, ono nam ponovo na magičan način izmakne.
Po njegovim rečima, Grčka više nije pravi deo Balkana već kolevka zapadne civilizacije. Stalno pomeranje granice Balkana pokazuje da nije u pitanju realna geografija, nego imaginarna kulturna
mapa. U ovom kontekstu, izložbe koje ovde analiziram mogu biti shvaćene kao fantazmička anatomija čija poruka zavisi od Onog ko je zamišlja.
U svojoj knjizi Izmišljanje Ruritanije, imperijalizam
imaginacije Vesna Golsvorti analizira kako je u britanskoj književnosti XIX veka zapadna percepcija
Balkana bila oblikovana nečim što ona naziva „narativna kolonizacija”11. Slična, iako donekle različita vizuelna kolonizacija Balkana desila se početkom XXI veka. Potreba da se Balkan, regionalni
meta‑označitelj kao slepa i nestrukturisana tačka
učini vidljivim, urodio je poslednjih godina brojnim izložbama na nemačkom govornom područ-
8] Gržinić, Marina. 2005. Estetika kibersvijeta i učinci derelalizacije. Mi2, Zagreb, www.mi2.hr
9] Kiossev, Alexander. Notes on Self–Coloni­zi­ng cultures, Bulgariaavangard, exc.cat (Co­lo­g ne:
SalonVerlag,1998) objavljeno u After the Wall: Art
and culture in Post-Communist Europe.exh.cat. Moderna Museet, (Stockholm, 1999). strane 114-117
10] Žižek, Slavoj, 1998. The Specter of Balkan,
12] „Čak i nakon najnecivilizovanijeg nasilja koje
su Nemci sprovodili tokom Holokausta, Evropa
nastavlja da posmatra Balkan kao varvarski i ratoboran. To je ono na šta reagujem i što pokušavam
da analiziram i izložim: koji mehanizam navodi
ljude da lagodno zaboravljaju i eksternalizuju
sopstvene probleme na Balkan?” Marija Todorova
u jednom intervjuu http://clasnews.clas.ufl.edu/
news/clasnotes/9610/Todorova.html
13] Ovo su osobine onoga što Lakan naziva Veliko Drugo u teoretskoj psihoanalizi.
14] Više o fantazmičkom Drugom u: Gržinic, Marina. 2005. Estetika kibersvijeta i učinci derelalizacije. Mi2. Zagreb. strane 24 i 27.
The Journal of the International Institute, University of Michigan
11] Golsvorti sugeriše da je ispitivanje britanske
„imaginativne” kolonizacije Balkana važan prilog
izučavanju “marginalnih i neodređenih oblasti u
svetu, pribežištima neokolonijalnih oblika ponašanja koji drugde više nisu prihvatljivi”
21
političke perspektive i/ili generalizaciju individualnog iskustva15. Svi ovi aspekti mogu se pronaći u
radovima umetnika koji su učestvovali na regionalnim izložbama poput U potrazi za Balkanijom
(Grac, 2002), Krv i med – budućnost je na Balkanu
(Klosternojburg/Beč, 2003) i U gudurama Balkana
(Kasel, 2003), u okviru kojih je Balkan korišćen kao
meta‑označitelj. Više puta su predstavnici balkanske umetničke scene, poput Bojane Pejić, postavljali pitanje zašto aktivno i svojevoljno učestvujemo u igrama moći ukorenjenim u romansu između
centra i periferije umesto da trajno prepoznamo
sebe kao bespomoćne objekte koje ste proizveli
vi, moćni subjekti?16 Nedefinisano područje, nedostatak lokalnih aktera sposobnih da urede rasparčan i nestabilan simbolički niz, nestalni identitet
koji ima večitu potrebu za Onim Zapadnim koje će
ga definisati i prepoznati: sve su to razlozi za naše
učestvovanje. Ali najvažniji razlog leži u potrebi da
postanemo vidljivi, da budemo priznati. Čak i kada
to nije moguće, imaginarna anatomija pruža uvid
u balkanske potisnute traume i želje: traume ponovljenog postojanja kao Drugog i želje za postojanjem u obliku samosvojnog entiteta.
lazi u stalnom procesu nastajanja19 kroz izložbe
savremene umetnosti koje ustanovljuju vlastite
zamišljene kartografije. Balkan uredno služi kao
neka vrsta platna na koje Zapadna Evropa projektuje sopstvene potisnute ideološke antagonizme
stvaranjem niza fantazmičnih slika ove oblasti tokom poslednjih sto godina. Većina do sada pomenutih teoretičara smatra da ovi antagonizmi prikazuju sopstvenu materijalnu efikasnost i pomažu pri
odlučivanju o vojnim, ekonomskim i političkim akcijama istinskog istorijskog aktera20. Mnogo puta
do sada pomenuto je da nas, kako bi se reprodukovao, centar u isto vreme i prisvaja i postavlja kao
Druge21. Vizuelna kolonizacija je najverovatnije zasnovana na tim projekcijama. Primeri izložbi koje
ću ovde predstaviti omogućiće mapiranje različitih
vrsta demarkacione linije između Zapada kao Jednog i Balkana kao Drugog. Vizuelizacija Balkana je
potpomognuta ekonomskim izvorima zapadnoevropskih zemalja i ta mogućnost je oberučke prihvaćena od strane priznatih kustosa tokom
2002‑2003. Svi su bili sa Zapada (Austrija, Nemačka,
SAD, Švajcarska, Slovenija) i preko njih je Zapad
diktirao uslove pod kojima je Balkan mogao biti
prihvaćen. Pozicija Jednog je omogućila Zapadu da
bude zacrtan kao izvor znanja i istine koji određuje
norme za percepciju Balkana22. Stoga je namera
kustosa bila da osmisle strukturu zapadnog odnosa
prema području na koje se odnosi pojam slepe tačke sa početka ovog teksta.
3. Nastajanje Balkana kao Drugog
Zapad kao Jedno nema nikakve veze sa procesom
nastajanja, on jednostavno postoji i njegovo činjenje ga iznova afirmiše kroz Drugo17. Ako postavimo
Jedno naspram Drugog, jasno je da je Jednom potrebno Drugo, pošto mu je potrebna demarkaciona
linija. Bez te demarkacione linije ne postoji ni odnos između Jednog i Drugog i stoga je Drugo uvek
negativ Jednog. Ponekad je ova demarkaciona linija radikalno doživljena kao linija između vas, slobodoljubive zapadne civilizacije i nas, necivilizovanih Neprijatelja sa Istoka18. Posmatramo li Balkan
kao Drugo u Žižekovom eskapističkom smislu ubrzo ćemo primetiti da se on, umesto da postoji, na-
Izložbu U potrazi za Balkanijom23 su priredili Peter
Vajbel (Nova galerija), Rodžer Konover (MIT press)
i Eda Čufer (pozorišni kritičar iz Slovenije) u austrijskom gradu Gracu 2002. godine. Hronološki, to je
bila prva među izložbama koje su otvorile put ka
novim područjima umetničkog sveta. Uvodeći naziv Balkanija, ponikao iz imperijalističkih strategija
zapadnoevropskih zemalja među kojima nekadašnje Austrougarsko carstvo zauzima značajno me19] Više o ovoj teoriji u: Gržinić, Marina. 2005. Estetika kibersvijeta i učinci derelalizacije. strane 59-69,
Mi2, Zagreb, www.mi2.hr.
20] Žižek, Slavoj. 1998. The Spectre of Balkan, The
Journal of the International Institute, University of
Michigan.
21] Ditchev, Ivaylo. The eros of identity. izložba Krv
i med, ibid.
22] Pejić Bojana, ibid.
23] Publikacije koje prate ovu izložbu: In Search of
Balkania: A User’s Manual, Balkania: A Non-Standard
Cultural Dictionary, ed. Roger Conover and Eda Čufer, i Balkan as Metaphor: Between Globalization
and Fragmentation. 2003. edited by Dušan I. Bjelić
and Obrad Savić: MIT Press.Cambridge/Mass.
15] G. Deleuze and F. Guattari: Kafka, 1986. Toward
a Minor Literature, Theory and History of Literaturee, Vol. 30, London/Minneapolis: Minnesota Press.
16] Pejić, Bojana. The center-periphery paradigm
once again. edited by Marius Babias; Romanian
Pavilion, La Biennale di Venezia, 51. Esposizione
Internazionale d’arte. The other texts were signed
by most prominent Balkan art theoreticians.
17] Balkan
18] Petrešin Nataša, 2005. Location of the problem:
Always a bit more to the South East.
22
sto, ova izložba je bila više od zamišljenog entiteta,
„simbolične geografije” kako su kustosi naveli u
svom obrazloženju. Namera ove izložbe je bila da
prikaže savremenu umetnost balkanskih zemalja
kao heterogeno područje raznovrsnih umetničkih
i kulturnih pozadina, generacija i izražajnih medija.
U skladu sa naslovom, većina kritičara je primetila
da je izložba osmišljena tako da pothrani sve stereotipe i predrasude o Balkanu i da je sačinjena od
neizbežnih konstrukata i klišea24. Imperijalizam
imaginacije je postignut na dva nivoa. Iako je većina balkanskih umetnika svestrana i stvara kako
egzotična tako i progresivna i univerzalna dela, kustosi su izabrali ona egzotična, čak i kada ona nisu
najbolje reprezentovala same umetnike. Takođe,
umesto da slede muzejsku logiku bele kocke koja
bi omogućila autonomiju izloženih radova, kustosi
su napravili postavku kao kompleksnu metaforu
izvedenih iz uličnih sudara i znanju o Balkanu zasnovanom na tržišnim mogućnostima. Kao rezultat,
izbor i postavka radova bili su zasnovani divljoj,
neorganizovanoj, šarenoj i romantičnoj estetici kojom je podržan kliše o balkanskoj šarenici.
Teoretski posmatrano, ova izložba je zasnovana na
metafizičkoj matrici tradicionalnog modernističkog egzoticizma. Ona je primer pronalaženja autentičnog Drugog koje se razlikuje od jednoobrazne ili, grubo rečeno, birokratizovane evropske
umetnosti, odnosno kulture. Balkanski „pačvork”,
sa naglašenom divljom, neurednom, živopisnom i
romantičnom estetikom25 koja pothranjuje njegov
varvarski imidž26.
Emir Kusturica, Bila jednom jedna zemlja
Druga izložba, naslovljena Krv i med – budućnost
je na Balkanu, je održana 2003. godine u Klosternojburgu nadomak Beča. Ovde se pak nije radilo o
egzotici, već o buđenju zapadnog senzibiliteta za
balkansko kulturno podneblje. Harald Zeman je
plasirao vlastito fantazmičko viđenje regiona i pokušao da u njega uključi idealno društvo čiji imaginarni svetovi sugerišu drugačiju istoriju ove
oblasti. Naslov evocira polove gneva i nežnosti,
katastrofe i idile nečega duboko ljudskog i unverzalnog. Iz ove perspektive bi trebalo tumačiti podnaslov Budućnost je na Balkanu. On ukazuje ne
samo na Jugoistočnu Evropu koja još nije dostigla
24] Kritičari poput Nataše Petrešin su se zadržali na
teorijskoj analizi, dok je Uroš Đurić, srpski umetnik
koji je učestvovao u većini ovih izložbi bio ljubazan
da bude moj informant prvog stepena.
25] Eva Kernbauer smatra ovu izložbu virtuelnim
susretom sa simboličkom geografijom koja će
obeležiti XXI vek: gde se Istok susreće sa Zapadom,
gde Okcident postaje Orijent i gde nijedna od starih linija i mitova o identitetu, Biću, naciji i ostalom
ne može da opstane. Zaista, ako ova izložba prikazuje ikakvu sliku različitu od prethodnih zapadnih
viđenja Balkana, onda je to ona u kojoj u Evropi ni
nema ničeg osim Balkana. Balkanija nije svet za
sebe, već ogledalo svih svetova. Prepoznati Balkan znači prepoznati osobine i sindrome od kojih
su gradovi, ratovi, eksperimenti, ideje i vizije sačinjeni. http://www.artnet.com/magazine/features/
kernbauerSCCA-Ljubljana.
26] Povodom ove izložbe MIT je objavio Rečnik
balkanske kulture kako bi bili pojašnjeni pojmovi
poput ćevapa, zlatnih zuba itd. Šuvaković, Miško.
2005. Bio-Political Interpretation of Open Potentiality of Balkan Art or A Temporary Realisation of
European Identities Through Concrete Curatorial
Tactics; What Is to Be Done with ‘Balkan Art’; Robert Alagjozovski, Barbara Borčić and Urška Jurman (editors); Center for Contemporary Arts.
23
multietničko jedinstvo, nego i na sve veze među
ovim multilingvalnim autenticitetima i religijama,
većinama i manjinama, kroz umetnost27. Iako je
uspešno izbegao egzotiku, kritičari poput Nataše
Petrešin primećuju da je Zeman osmislio ovu izložbu kao spektakl i traumu. U kontekstu Žižekovih
stavova koje sam pominjala spektakl i trauma su
jedan od mogućih ključeva za mapiranje fantazmičke anatomije Balkana. Sa druge strane, kao i
sve druge izložbe o Balkanu, i ova nameće pitanje
da li je iko ovlašćen da govori o onima koji su traumatizovani zato što ne pripadaju Jednom, o onima koji nemaju privilegije Zapada28. Uprkos činjenici da je Zemanov koncept naginjao iznalaženju
univerzalnih vrednosti, njegova izložba je otpočela radovima poput onog Marine Abramović naslovljenog Tomasove usne, inspirisanog balkanskim ideologijama. Ako se osvrnemo na ovaj
koncept iz drugog ugla, uvidećemo da postoje
razlozi da se poveruje kako je fantazija često zasnovana na činjenicama. Na samom ulazu u izložbeni prostor29 bila je izložena kočija u kojoj su
1914. godine posmrtni ostaci Franca Ferdinanda,
ubijenog u Sarajevu, proneti kroz Beč. Izlaganje
istorijskog artefakta koji referiše na Sarajevski
atentat kao povod za I svetski rat u okviru jedne
izložbe savremene umetnosti nije samo fantazmička kustoska perspektiva Balkana, to je i ozbiljan
politički stav koji povlači jasnu demarkacionu liniju između Zapada kao Jednog i Balkana kao varvarskog, traumatičnog30 Drugog.
Ipak, osmišljavajući ovu izložbu, Nemac Rene Blok
je imao mogućnost da uči na greškama svojih
prethodnika. S obzirom na moju nameru da obradim moguće umetničke pristupe Balkanu kao
evropskom Divljem Istoku i imajući u vidu činjenicu da je Blok bio direktno inspirisan radom Karla
Maja, izuzetno je važno razumeti neke prethodne
radove ovog pisca. Karl Maj je bio komercijalno
najuspešniji nemački pisac u XIX veku i njegove
knjige nam pružaju sjajan uvid u nemačku perspektivu pri posmatranju drugih zemalja. Njegova
najčuvenija knjiga Vinetu je avanturistički roman
o prijateljstvu glavnog junaka, američkog Indijanca, i njegovog prijatelja, belca koji se našao na
Divljem Zapadu. On oslikava veru u urođenu „dobrotu” ljudskog roda koja je stalno ugrožena postojanjem zlonamernih neprijatelja. Vinetu u neku
ruku simbolizuje fantazam o drugim teritorijama
kao što je Divlji Zapad i romantičnu čežnju za
istinskim prijateljstvom među ljudima različitog
porekla. U tom kontekstu nije slučajno to što je na
osnovu ovog romana snimljeno nekoliko filmova
Dragoljub Raša Todosijević, Gott Liebt die Serben
Izložba U gudurama Balkana, održana 2003. godine u Kaselu (Nemačka), nudi još jedan pogled na
nastanjanje Balkana kao Drugog i direktno je inspirisana knjigom Karla Maja Orijentalna Odiseja.
Taj roman pothranjuje sve predrasude vezane za
ovaj region krajem XIX veka, koje su nagovestile
mnoge probleme prisutne do današnjih dana31.
27] Blood and Honey – Future is in the Balkans, 2003,
catalogue, Edition Sammlung Essl, Vienna 2003.
28] Citat Linde Alklof u: Pejić, Bojana, ibid.
29] Kao i fotografija na početku štampanog kataloga.
30] neki autori poput E. Kosove i V. Kortuna smatraju su da je za osudu to što je ova komunikacija otpočela post bellum, u posttraumatskim godinama.
31] „Roman U gudurama Balkana i njegov nastavak naslovljen U zemlji Skipetara (čija se radnja odvija na teritoriji današnje Albanije) bave se konfliktima koji se protežu do današnjih dana, i njihovom
pozadinom”. Iz intervjua sa kustosom: Block, Rene.
Heinrich, Barbara (ed). 2003. In den schluchten des
Balkans, Kunsthalle Fridericianum, Kassel.
24
u kojima su planine nekadašnje Jugoslavije dublirale Divlji Zapad. Nesumnjivom referencom na
Karla Maja koji je svoje knjige nazivao putničkim
avanturama, i koje su očigledno bile inspirisane
odnosom Jedno – Drugo, Rene Blok je svojoj izložbi dodao podnaslov Izveštaj, ne stavljajući sebe
već same balkanske umetnike u položaj izveštača.
Blok nije iskoristio Balkan kao zeca iz šešira, kao
što su to činili Maj i drugi, i svesno se uzdržao od
svih interpretacija koje bi ukazivale na geopolitičke i kulturne pozicije, ne postavljajući čvrstu demarkacionu liniju. Po rečima kustosa, U gudurama
Balkana nije bila geopolitička izložba postavljena
da služi u neumetničke svrhe. U poređenju sa drugim izložbama, ovaj koncept je bio dramatično
drugačiji. Njegova namera je bila da uključi lokalne kustose i tako stvori mogućnost da stvari budu
sagledane iz lokalne perspektive. Kako on kaže,
sam naslov dovoljno objašnjava zapadnjački pogled na Balkan: divlji predeli, divlji stanovnici, partizani. Svestan teškoća pri razumevanju Balkana
kao konglomerata različitih etničkih i religijskih
grupa, Blok je priredio ovu izložbu tako da uznemiri ljude. Kustos je izbegao klasifikovanje i povlačenje granica, želeći da onemogući tumačenje
izložbe kao još jednog Zapandnog uplitanja.
Umesto klasifikovanja, što je bio slučaj sa prethodnim izložbama, Blok je imao nameru da otvori
nove perspektive, stvori mogućnost za priželjkivanu komunikaciju sa Drugima i promoviše komunikaciju među umetnicima i regionima.
subREAL,
Draculaland
Kako bih opisala različite pristupe Balkanu uporediću posmrtnu kočiju Franca Ferdinanda, koja je
poslužila kao okvir Zemanove izložbe, sa onim što
je uokvirilo izložbu Renea Bloka. Umesto posmrtne
kočije kao simbola atentata i traume prouzrokovane balkanskim Drugim, na ulazu u izložbeni prostor Blokove postavke je stajala jedna fotografija.
Bila je to fotografija spomen‑obeležja32 posvećenog Gavrilu Principu, Srbinu, anarhisti koji je izvršio atentat na nadvojvodu Franca Ferdinanda. Pitajući se da li je Gavrilo Princip bio terorista ili
borac za slobodu, Blok koristi drugačiji pristup Balkanu, kako on naglašava – pristup iz unutrašnjosti
samog regiona. U ovom drugom primeru Drugo
nije negativ Jednog, ono mu nije suprotstavljeno
već postoji paralelno sa njim. Stoga izložbu U gudurama Balkana možemo tumačiti kao primer drugačijeg pogleda na Balkan33.
Uprkos činjenici da je je i ova izložba bila zasnovana na zapadnjačkoj fikciji, ona je definisana bogatijim dijaloškim pristupom i drugačijom translacijom u odnosu na prethodne dve. Bila je to
manifestacija regionalizma u vidu diskusije među
ravnopravnim i neravnopravnim partnerima koji su
se nadmetali i sarađivali putem jezika, istorije i mogućih budućnosti. Neki akteri (Erden Kosova, Vasif
Kortun) su čak primetili pozitivne posledice poput
ubrzavanja transverzalnih energija među učesnicima i razgovora koji je usledio među njima. Posle
ove izložbe usledili su mnogi projekti koji nisu bili
izvedeni pod supervizijom Fridricianuma, već su
bili posebno prilagođeni lokalnim sredinama i željama. Više nego prethodne dve, ova izložba je pokazala potencijal za dekonstrukciju imperijalističkih
modernističkih modela zasnovanih na trajnim relacijama hegemonističkog centra i traumatizovane i
pasivne periferije. To je primer upravo one vrste
dekonstrukcije koja je dovela do formiranja imperijalnog modela tranzitne integracije hibridnih odnosa u globalnu postavku novog sveta.
32] Spomenik je prikazivao otiske cipela Gavrila
Principa i nalazio se u Sarajevu, na mestu odakle je
on pucao na Franca Ferdinanda. To je bilo skromno
obeležje, rad vajara Voja Dimitrijevića, primer rane
istočnoevropske konceptualne umetnosti koji je
uništen tokom rata u Bosni krajem XX veka.
33] Da je ova izložba donela neke promene po-
tvrđuje izjava predstavnika Turske Vasifa Kortuna da je to bilo više od izložbe: započeta je
naglašena i izuzetno pozitivna diskusija između
različitih periferija.
25
4. Od Drugog ka još jednom
ustanova36, koja je već duže vreme promovisala
alternativne oblike mišljenja i prakse, pokazala je
sposobnost da obezbedi prostor i ekonomske
izvore za paradigme koje su strane zapadnoj perspektivi. Rotor se pokazao otvorenim za tumačenje
Drugog kao Još Jednog, dozvolivši mu da postoji
kao početna tačka umesto da bude strukturisan
kao Drugi, negativni pol u okviru para. Suprotno
učestvovanju u nekim institucionalnim projektima,
nacionalni akteri u okviru Balkanskog konzulata
nisu morali da se smeštaju u šeme geopolitičkih
sponzora i uklapaju u opšte ključne reči, norme i
narative. Ovaj pristup je balkanskim kustosima
omogućio da sprovode svoju misiju koristeći Konzulat kao laboratoriju za ispitivanje onoga što bi u
drugim okolnostima bio nemoguć zadatak reprezentovanja nedostajuće reprezentacije37. Kako su
oni to postavili, osnovni zadatak nije bio pokazivanje i prenošenje onoga što se „zaista” dešavalo i
dešava u jednoj od zona koje su gotovo nevidljive
na međunarodnoj mapi savremene umetnosti, iza
„medijskog zida” oslikanog prizorima nasilja i egzotike koji se pripisuju lokalnim „Balkancima”. Njihova namera, koja je prerasla u zahtev, bila je da
se promeni kontekst mehanizama vizuelne reprezentacije fantazmičke balkanske kulturne zone.
Postoje li druge mogućnosti za artikulisanje balkanske savremene umetnosti? Moj odgovor na to
pitanje će se zasnivati na teoriji koju je razvila slovenačka teoretičarka Marina Gržinić34. Umesto demarkacione linije između Zapada i Balkana, koja
podrazumeva da je Drugo čist negativ Jednog, ova
autorka sugeriše promenu perspektive. Podsećam
da je izložba U potrazi za Balkanijom bila zasnovana na fikciji i referisala na Balkan kao egzotično
Drugo. Naredna izložba, Krv i med, je bila rezultat
imperijalizma fikcije i, iako je autor uspešno izbegao egzotičnu perspektivu, fantazije pomešane sa
izvesnim političkim stavovima su ponovo uspešno
marginalizovali region. Treća postavka, U gudurama Balkana, je bila najbliža tome da uvede Balkan
ne kao Drugo već kao Još Jedno i ilustruje upravo
onu vrstu promene koju sugeriše Marina Gržinić.
Umesto Balkana konstruisanog na fikciji, koncept
Renea Bloka omogućuje da Balkan postoji paralelno sa Zapadom, ne kao Drugo u odnosu na Jedno.
Referisanje na Balkan ne kao na Drugo već kao na
Još Jedno predstavlja potpuno novu umetničku i
kulturnu strategiju, u cilju sučeljavanja realnosti i
njenog fantazmičkog suplementa. Ovaj pristup je
koristan ukoliko želimo da osporimo fantazmičke
konstrukcije Balkana kao Drugog, koje su korišćene
u imperijalističke svrhe i koje često nisu imale mnogo toga zajedničkog sa realnom slikom regiona.
5. Od traume nastajanja
kao Drugog do žudnje za
postojanjem kao Univerzalno
Savršen primer paralelnog postojanja sa Jednim,
namesto stalnog nastajanja u vidu Drugog kao
njegove replike35 je Balkanski konzulat, projekat
koji je započet u Gracu samo dve nedelje po otvaranju izložbe U potrazi za Balkanijom. Tokom godinu ipo dana asocijacija za savremenu umetnost
<rotor> služila je kao „balkanski konzulat” i tokom
cele 2003. godine, u kojoj je Grac bio Kulturna prestonica Evrope, kustosi iz Jugoistočne Evrope bili
u mogućnosti da organizuju programe iz svoje
perspektive. Rotor je ugostio balkanske promotere
kulture koji su bili glavni pokretači razvoja savremene umetnosti u svojim sredinama i omogućio
im da se bave antikolonizacijskom praksom. Ova
Izložbe koje su konceptualizovali inostrani kustosi
bile su uglavnom fikcionalizovane oko konstitutivne balkanske traume, traume odsustva stalnog
identiteta i Univerzalnosti. Pre zaključka moram da
napomenem da ne bi trebalo isključiti mogućnost
da je sam Balkan igrao na kartu svoje partikularnosti: najveći broj lokalnih umetnika koristio je Balkan
kao meta‑označitelj samo onda kada nije mogao
drugačije da obezbedi inostrani plasman svog rada.
Neki su čak oblikovali svoje nove radove tako da
ispune zahteve zapadnih kustosa za egzotikom38.
Sa druge strane, ti kustosi su ukazivali na ozbiljne
posledice balkanske različitosti. Demarkacione lini-
36] Margareta Makovec Anton Lederer su osnivači Rotora.
37] Iz teksta Stevana Vukovića povodom izložbe BALKAN KONSULAT PROUDLY PRESENTS:
BELGRAD. Rotor, Graz.
38] Kao što su to činili Sener Özmen i Erkan Özgen, Šejla Kamerić, Cosmin Gradinaru.
34] Vidi: Zupančić, Alenka, Nietzsche in nic, Filo-
zofski Vestnik (Acta Philosophica), FI ZRC SAZU,
Ljubljana, 3/2000.
35] Marina Gržinić citira Alenku Župančić. Gržinić, Marina. 2005. Estetika kibersvijeta i učinci
derealizacije. Mi2, Zagreb, www.mi2.hr
26
Sislej Xhafa
u ideju i karakter nekadašnje Jugoslavije postala je
svetlosna instalacija40. Iako je namera ove instalacije bila da ”baci svetlo” na postojanje ove traumatične zemlje, posmatrači su bili prinuđeni da skreću pogled. Suprotno zamagljenoj fasadi, domaći
kustosi su odlučili da izlože čuvene modernističke
umetničke radove i postavku u untrašnjosti nacionalnog paviljona su nazvali Međunarodna izložba
savremene umetnosti – Muzej savremene umetnosti Alfreda Bara, Njujork41.
je njihovih koncepata su ukazivale lokalnim umetničkim akterima na traume kroz koje će Balkan
morati da prođe ukoliko želi da živi životom drugačijim od onog dirigovanog zapadnim fikcijama.
Otuđenje regiona u inostranim kustoskim konceptima nam je pokazalo kako se na Balkan gleda iz
inostranstva: traumatizovani egzotični entitet bez
odgovarajuće metastrukture i zamišljenog poretka.
To nam je pomoglo u razumevanju sopstvenih grešaka pri reprezentovanju. Bili smo traumatizovani
zato što nismo bili univerzalni i naše posebnosti su
često definisane kao negativne. Budući da smo toliko traumatizovani, kuda bi naše želje mogle da
nas odvedu? Da li postajanje subjektom znači da
ćemo trpeti posledice autokolonizacije?
40] Tomić, Milica. Nacionalni paviljon, 2003:
svetlosna instalacija na fasadi zgrade, površine
160m2. Na fasadu Paviljona Jugoslavija je na jednakoj međusobnoj udaljenosti postavljeno 400
reflektorskih sijalica koje su pokrivale površinu. Sijalice su bile povezane tako da simultano proizvode bljeskove u pravilnim vremenskim razmacima.
Zaslepljenost koja je posledica svakog bljeska
kratkotrajno “ oštećuje” posmatračev vid. Ovo privremeno slepilo traje dok se čulo vida ne oporavi,
što ne dozvoljava oku da vidi objekat/paviljon.
http://www.msub.org.yu/venice/NP.html
41] Vidi http://www.msub.org.yu/venice/IEoMA.html
Autokolonizacija je svesno nagoveštena u nacionalnom paviljonu Jugoslavije39 tokom Venecijanskog bijenala 2003. Fasada ove zgrade, nezaobilaznog simboličkog čvorišta svih fantazama uloženih
39] To je bila poslednja godina u kojoj je naziv
„Jugoslavija” upotrebljavan na međunarodnoj
političkoj sceni.
27
Kakva je budućnost
balkanske umetnosti?
Najvažnije prošlogodišnje izložbe u svetu srpske
savremene umetnosti donele su značajan pomak.
Drugačije rečeno, traume stalnog nastajanja kao
Drugog ili kao kopije Jednog sada su zamenjene
naporom da se postane nezavisni subjekt u svetu
savremene umetnosti. Umesto geopolitičkih označitelja, srpska umetnost se okrenula ka pronalaženju univerzalnih vrednosti u globalizovanom svetu
bez hijerarhije. Izložba Situirano sopstvo: zbunjeno,
saosećajno, konfliktno42 prikazala je raznovrstan
izbor radova iz evropskih zemalja, zasnovanih na
ličnim iskustvima, insistirajući na aktivnom razmatranju značenja i ispitivanju odnosa unutar Bića,
bivanja unutar sveta i bivanja među drugima.
Međunarodni Oktobarski salon43, koji je predstavio
renomirane srpske i zapadne umetnike je bio osmišljen kao čvorište sposobno da pomiri konfliktne
stavove koji nastaju iz odnosa mi/oni, centar/periferija, civilizovano/varvarsko. Način na koji je ova izložba umrežena omogućio je drugačije pozicioniranje
scene i njeno ravnopravnije uključivanje u svet.
Danas se predstavnici balkanske umetnosti trude
da strukturišu svet umetnosti na osnovama zapadnog umetničkog tržišta, kao jednog od mogućih
načina za primenu unverzalnih struktura. Ovaj proces bi se mogao protumačiti kao autokolonizacija,
neka vrsta pristajanja na kolonizaciju Balkanske
autentičnosti putem inostranih modela. Iako možda vodi homogenizaciji reprezentovanja regiona
kroz bavljenje univerzalnim umesto geopolitičkim
temama, stvaranje organizovane i jake umetničke
scene moglo bi da ima neke pozitivne implikacije.
Možda bi balkanska umetnost mogla da se oslobodi nužnosti da bude predstavljena na međunarodnim izložbama samo pod uslovom da je njena
različitost kontrolisana (spolja).
Maja Ćirić
(Beograd, 1977.) je kustoskinja i savetnica u domenu umetnosti.
Diplomirala je istoriju umetnosti na Filozofskom fakultetu u Beogradu, a poslediplomske studije iz oblasti kulture i roda završila je na
AAOM-u. Pooseduje diplomu interdisciplinarnog poslediplomskog
programa Transit Spaces, Bauhaus, Dessau, Nemačka.
Njena praksa ogleda se u nezavisnim prjektima: Becoming Minor,
KCB 2005; Offbeat:Pogledaj i vidi nasilje nad ženama, SKC, Beograd
2007; Beyond Theory, WUK, Beč, Austrija i Sushi Visual Arts and Performance Space, San Diego, California 2008:, Beware the Aftereffects,
Infernosque, Berlin, 2008. Radi i na institucionalnim projektima
poput srpskog paviljona na 52. Bijenalu u Veneciji, ali festivala novih
vizuelnih tendencija,Dom Omladine 2007. Sarađivala je sa Remontom na 46. Oktobarskom salonu 2005. i projektu Mobilni Studio
2006. Radi kao savetnica u domenu umetnosti u Dubaiu, UAE, a sarađivala je i sa Zendai Moma Muzejom, Šangaj, Kina.
Kustoskom praksom se koristi da bi otvorila mogućnost za promišljanje društvenih, političkih i estetskih transformacija. Njena polja interesovanja su društvena teorija i novomedijske prakse. Dobitinik je
nagrade Lazar Trifunović za umetničku kritiku, kao i ArtsLink Independent Projects Award.
42] Priredio srpski kustos Branko Dimitrijević.
2005. Muzej savremene umetnosti Beograd
43] Priredila srpska kustoskinja Darka Radosavljević. 2005. Kulturni centar Beograda
28
Maja ĆiriĆ
Constructions of the Balkans
as the Other in Contemporary Art Practices1
Introduction
fragmented signifiers of the region, there would
have to exist the Balkan cultural policy whose main
tasks would be to organize that knowledge. Due
to the lack of effective2 regional cultural policy that
would shape cultural products in advance, exhibitions or theoretical texts that have the Balkans as
their meta – signifier are more than valuable.
Through the exhibiting practice of contemporary
world of art the social stereotypes, prejudices and
power relations that exist in a particular way within as well as about the Balkans are signified, visualized and brought to the surface. The exhibitions I
am about the analyze produced a discourse, in
Foucault’s terms, the (historical, material) way we
know the Balkans and they are constituted by possible approaches to the region. This discourse, just
as any other is regulated by rules of exclusion, by
internal systems of control and delineation, by
conditions under which discourses can be employed, and by philosophical themes which elude
the reality of discourse3. The content of the exhibitions In Search of Balkania, P. Weibl, E. Cufer, R.
Conover, Graz 2002; Blood and Honey – Futures
in the Balkans, H. Szeemann, Klosterneuburg,
2003; In the Gorges of the Balkans – A Report, a
part of the “Balkan Trilogy”4 R. Block, Kassel,
2003) are signs whose reading has been formed,
Suppose I would like to convince you that dealing
with the Balkans means dealing with the crisis and
that art is capable of, if not healing, than at least
dealing with that crisis. Then I should certainly refer to the concepts of the Greek and Romanian
pavilion at the last year’s globally important contemporary art Biennale of Venice. First example
will show us that the crisis is still present, while the
other illustrates art’s capacity to cope with or give
us insight in that crisis. The Romanian pavilion was
conceived as an empty space that was followed by
the handbook of theoretical texts. At the beginning there was the Text entitled the blind spot of
the new critical theory1. The installation Hospital in
the Greek pavilion was conceived as a non-place.
The curator stated that Hospitals and the art world
have many things in common, although they are
a part of everyday life, they are at the same time
apart from it. Their contained worlds are in permanent critical state because of their insecurity and
unpredictability. In all of these worlds the tragedies and miracles occur in equal proportion. Art
and health all have to be protected and treated in
a particular way. This is the reason why the curatorial practice (originating from the Latin word
curare), that in the following examples presumes
taking care of the Balkans as the crisis area, will be
the object of my analysis.
2] Grzinić Marina thinks that “the East has not
provided the West with the relevant theoretical and interpretative instruments to recognize
the uniqueness, idiosyncrasies, diversity and
originality of artistic projects in Eastern Europe”. My opinion is that the theoreticians such
as S.Žižek, M. Todorova, V.Goldsworthy, Kiossev
influenced more the Western perception of the
region, than they were considered for the structuring of the regional cultural policy
3] The founding subject, originating experience, and universal mediation
4] Balkan trilogy consisted of three projects: In
the gorges of the Balkans, In the cities of the Balkans and Beyond the Balkans
The reasons for this paper are epistemic and concern different structuring of the knowledge and
comprehension of the Balkans. Given that the Balkans are a meta-signifier for many different and
1] Andrasz, Edit. 2005. Blind spot of the new
critical theory: Notes on the theory of self colonization. ed. Babias Marius.; Romanian Pavilion,
La Biennale di Venezia, 51. Esposizione Internazionale d’arte. The other texts were signed
by most prominent Balkan art theoreticians
29
conducted through curators as mediating factors.
By mobilizing the art world of the region, as well
as by provoking numerous theoretical texts that
followed them, these exhibitions were not transcendental, but are the materialization of the constructions of the Balkans as the unknown Other.
play6 with them in one way or another if they want
to be interpreted at all. They are institutionally elevated into an art context, although they are often
presented in an exotic context that some of them
find inappropriate or even offensive. That is exactly why I will now focus on the particular foreign
curatorial concepts constructed around the relation us/them, in a way that they show us how the
Balkans were becoming as the Other from
abroad.
1.
In order to give a structure to my analysis the focal
point of this paper will be the research of the constructions of the Other in the Balkan contemporary artistic practices. This research could be two-
These exhibitions were not only curated to expand
the field of contemporary art market by integrating the art from the Balkan region, but were also
Erzen Sokoli, Transition
fold: it could examine the constructions of the
Other in the particular works of art that often provide a running commentary on the current sociopolitical situation. However, As Boris Buden5 notices, the Balkan artists know that the Balkans do
not denote a fateful or cultural community to
which they necessarily belong; neither does it label the art they are making. Balkan is first of all a
technical term of their relationship towards the
global art market dominated by the west that dictates actual demands under which they have to
act or to be accepted. Even when the myths about
the Balkans are not real, the Balkan artists have to
sites for intervention and signifiers of political
statements that tended to conceptualize and articulate the versatility and the complexity of this
region. Exploring or structuring the Balkans by
pointing to the demarcation lines, curatorial concepts show us possible positions from which one
could approach this area. The aim of this paper is
to map these positions from which the meaning
of the Balkans has been constructed and see if we
can relate to the Balkans in a way that is mutually
fulfilling? The understanding of how the Balkans
as the Other has been constructed in particular
6] Looking from inside, art is more often labeled
as national (Serbian, Croatian, Romanian, Bulgarian…) than as Balkan, although national art
often remains invisible on the European scale
5] Buden, Boris, 2003. Jebe lud zbunjenog, Zarez,
no. 107
30
exhibition examples, would certainly be applicable
to any other discourse in the region.
the frontier demonstrates that, in the case of the
Balkans, we are not dealing simply with real geography, but with an imaginary cultural map. In this
context, exhibitions I am analyzing here could be
understood as phantasmic anatomy whose message depends of the One who is imagining.
2. West as the Universal One
Life in the Balkans has never been interpolated by
single ideology nor is the regional reality defined
by the mutually accepted fictional code which
would guide subjects in their social behavior. The
Balkans as a meta-signifier, fragmented and unstable as it is, is not capable of integrating all these
realities and making them visible on the global
scale. Although there are different reasons for the
fragmentation of the Balkans, I would like to underline some of those that have been already
theoretically defined by local intellectuals.
The Balkan identities following Maria Todorova, are
shaped by the geopolitics of the moment, and are
thus transient and unstable. Because they could be
easily essentialized the incomplete identities thus
fall prey to interpolated completion by geopolitical superpowers, and are therefore the subjects of
crisis. To say it differently, this crisis is caused by the
fact that in the Balkans as the Other exists an inherent auto referential moment that makes it incomplete7. Alexander Kiossev8, a theoretician of
literature and culture from Sofia. states that the
Other of the Balkans (i.e. the neighbors, Europe,
the civilized world, etc.) are universals, they posses
all that we lack; they are all we are not.
In her book Inventing Ruritania, Imperialism of the
imagination Vesna Goldsworthy analyzed how in
the 19th century British literature the Western perception of the Balkans was shaped by what she
defined as a “narrative colonization”10. Similar, but
yet different visual colonization of the Balkans
happened at the beginning of the 21st century. The
need to make the Balkans, the regional meta – signifier as the blind and unstructured spot visible,
has resulted in the recent years by the number of
exhibitions in the German11 speaking area, that
have been curated so as to heal the crisis of imperceptibility. However, as we will see further on, the
crisis of false phantasms,that was inspired by prejudices and stereotypes, filled the void. As Marina
Gržinić conceptualized it in her essay about Eastern Europe, contemporary art works, paradigmatic for the comprehension of the region, are empty
places, unless they are activated by phantasmic
constructions.
Because of their incomplete identity, or the lack of
the Universal structure, the Balkanites always incline to some identification point. That explains
why the Balkan contemporary art discourse needed foreign agents12 capable of giving a structure
to diversified contemporary art worlds of these
Žižek, a famous Slovenian theoretician pointed to
the escapist character of the Balkans as being the
“Other”9? If we are to follow his thoughts, one of
the paradoxes concerning the Balkans is that its
geographic delimitation was never precise. The
Balkans are somewhere else, always a little bit
more to the southeast, with the paradox that,
when we reach the very bottom of the Balkan Peninsula, we again magically escape it. As he sees it
Greece is no longer the Balkan proper, but the
cradle of Western civilization. Constant shifting of
10] Goldsworthy suggests that an examination
of British “imaginative” colonization of the Balkans is an important contribution to the study
of “marginal and ambiguous areas of the world
that have offered refuges to patterns of neocolonial behavior no longer acceptable elsewhere”
11] “Even after the most uncivilized violence
was perpetrated by the Germans during the
Holocaust, Europe continues to view the Balkans as barbaric and always warring. This is
something I’m reacting to and trying to analyze and expose: what is the mechanism which
leads people to forget conveniently and externalize their frustrations onto the Balkans” Maria
Todorova in an interview http://clasnews.clas.
ufl.edu/news/clasnotes/9610/Todorova.html
12] These are the characteristics of what Lacan
calls the ‘Big Other’ in theoretical psychoanalysis
7] Gržinić, Marina, 2005. Estetika kibersvijeta i
učinci derelalizacije, Mi2, Zagreb, www.mi2.hr
8] Kiossev, Alexander, Notes on Self – Colonizing cultures, in Bulgariaavangard, exc. cat (Cologne: Salon Verlag,1998) published in after
the Wall: Art and culture in Post-Communist
Europe, exh.cat. Moderna Museet, (Stockholm,
1999), pages 114-117
9] Žižek, Slavoj, (1998). “The Specter of Balkan,”
The Journal of the International Institute, University of Michigan
31
particular states. It has been commonplace to say
that Oriental identities are constructed by the gaze
of the Western universal One. In this case, the Balkan artists have to identify with the curators gaze,
with the famous Ideal I, which is constructed
through fantastic narratives and which order the
East European or Balkan subject how it should
look ad who it will be13. More than once the phantasmic narratives were mechanisms which lead
people to externalize their frustrations on the Balkans. Because the Balkans are part of Europe, exhibitions are a good example to see how curators
framed it as an incomplete Other, or even as a dark
side of the Western “self’ and how they represented
an externalization from within.
grained in our center/periphery romance instead
of constantly recognizing ourselves as powerless
objects lastingly produced by you, the powerful
subjects15? The undefined territory, the lack of the
local agents capable of giving the structure to the
cracked and unstable symbolic order, the unstable
identity always in need of Western One that will
define and recognize it: all these are the reasons
for our participation. But the most important reason lies in the need to become visible, to become
recognized. Even if it is not realistic, imaginary
anatomy provides an insight in the Balkan’s repressed traumas and desires: traumas of constantly becoming as the Other and desires to exist as an
autonomous entity.
One of the exhibiting possibilities of the minor art
worlds, such as the Serbian or any other particular
state’s of the Balkan region could be labeled as
‘creatively parasitic’. This means that generalities
about major art worlds would be tested on the
basis of minor cultures by drawing the line between insiders/outsiders, margins/center. This approach entails the instrumentalization or subordination to the geo-political which would then restrict the works of art to the representations of the
exotic, ethnic or marginal “Other”. Most of the local
artists would have to accept the deterritorialisation of their language, the necessity of a political
perspective, and/or the generalization of the individual experience14. This aspects could be all read
in the works of national artists that participated in
the regional exhibitions such as In Search of Balkania (Graz, 2002), Blood and Honey. The Future is in
the Balkans (Klosterneuburg, Vienna, 2003) and In
the Gorges of the Balkans (Kassel, 2003), that have
Balkan as their meta-signifier.
3. Becoming of the Balkans as the Other
The West as the One does not have anything to do
with the process of becoming, it exists and all it
does is constantly reaffirming itself through the
Other16. If we put the One opposite the Other, it is
clear that the One needs the Other, because it
needs the demarcation line. Without that demarcation line, there is no relation between the One
and the Other and that is why the Other is always
the negative of the One. Sometimes this demarcation line could be radically perceived as the line
between you, the western freedom-oriented civilization and us, the non civilized Enemy from the
East17.
If we refer to the Balkans as to the Other, in Žižek’s
escapist sense, we will quickly realize that instead
of being they are in the constant process of becoming18 through contemporary art exhibitions
that constitute their different imaginary cartographies. The Balkans have served regularly as a kind
of a blank screen on which Western Europe pro-
More than once, Balkan art agents such as Bojana
Pejić asked themselves how we actively and willingly participate in the power games that are in-
15] Pejić, Bojana. The center-periphery paradigm once again. Edited by Marius Babias;
Romanian Pavilion, La Biennale di Venezia, 51.
Esposizione Internazionale d’arte.The other
texts were signed by most prominent Balkan
art theoreticians
16] The Balkans
17] Petrešin. Nataša. 2005. Location of the problem: Always a bit more to the South East
18] See more about this theory in Gržinić, Marina. 2005. Estetika kibersvijeta i učinci derelalizacije. 59-69 p.
Mi2, Zagreb, www.mi2.hr
13] More on phantasmic Other-Gržinic, Marina.
2005. Estetika kibersvijeta i učinci derelalizacije.
Mi2 .Zagreb. page 24 and 27
14] G. Deleuze and F. Guattari: Kafka, 1986.
Toward a Minor Literature, Theor y and
Histor y of Literaturee,Vol. 30, London/
Minneapolis:Minnesota Press
32
jected its own repressed ideological antagonisms,
generating a series of phantasmic images of the
region in the last hundred years. Most of the above
quoted theoreticians think that these antagonisms
display a material efficiency of their own and in
turn help determine military, economic and po-
the Other. The visualization of the Balkans was
stimulated by economic resources of West European countries and this opportunity was embraced by well established curators in the year
2002. – 2003. They all came from the West (Austria,
Germany, USA, Switzerland, Slovenia), and through
Damir Nikšić, Hollywar
litical activity of a real historical agent19. It was also
mentioned many times before that in order to reproduce itself the center was both appropriating
us and setting us up as an Other20. It is most likely
that visual colonization was based on these projections.
them the West dictated actual demands under
which the Balkans have to act in order to be accepted. The positions of the One allowed the West
to be envisioned as the fount of knowledge and
truth defining the norms to be applied in the way
we perceive the Balkans21. Thus the intention of
the curators was to structure the western relation
towards the area that we referred to at the beginning of this text as the Blind Spot.
Exhibitions I am about to introduce now will help
me to map various types of the demarcation line
between the West as the One and the Balkans as
19] Žižek, Slavoj, (1998). “The Spectre of Balkan,”
The Journal of the International Institute, University of Michigan
20] Ditchev, Ivaylo. The eros of identity. Blood
and Honey exhibition ibid
21] Žižek, Slavoj, (1998). “The Spectre of Balkan,”
The Journal of the International Institute, University of Michigan
33
In Search of Balkania22 was curated by Peter
Weibel (from the Neue Galerie), Roger Conover
(MIT press) and the Slovenian theatre critic Eda
Čufer in the Austrian city Graz in 2002. and was
chronologically the first of these exhibitions that
opened new territories of the art world. Introducing the name Balkania, which has evolved out of
the imperialistic strategies of Western European
countries, not the least among them the former
Austrian-Hungarian Empire, this exhibition was
more than just an imagined entity, a “symbolic geography,” as the curators said in their statement.
The aim of this exhibition was to portray contemporary art of the Balkan countries as a heterogeneous array of diverse artistic cultural backgrounds,
generations and media. In line with the title, most
of the critics remarked that this exhibition was
conceptualized to feed all the stereotypes and
prejudices about the Balkans and comprised some
unavoidable constructs and clichés23. The imperialism of the imagination was achieved on two levels. Although most of the Balkan artists are versatile and produce exotic as well as progressive and
universal contemporary art pieces, the curators
opted for the exotic ones even if they were not the
most representative pieces of the particular artist.
Secondly, instead of following the museum logic
of the white cube, that would allow the autonomy
of the exhibited works, curators built a complex of
metaphors derived from the street collisions and
market chances of knowledge of the Balkans. As a
result the selection of works and their presentation were built upon the cliché of a Balkan “patchwork,” emphasizing a wild, disorderly, colorful and
romantic esthetic24 that enforced its Barbarian image25. Theoretically speaking, this exhibition was
based around the metaphysic matrix of the traditional modernist exoticism26. It was an example of
finding the authentic Other that is different from
uniformed or roughly speaking, bureaucratized
European art or culture.
Another exhibition named Blood and Honey: The
future is n the Balkans took place in Klostenbourg
near Vienna in 2003. This exhibition was not a matter of displaying exotica, but of awakening western sensitivity to the existence of the Balkan cultural landscape. Harald Szeemann imposed his
own phantasmic views on the region and tried to
embody an ideal society whose imaginary worlds
and ideologies suggested another history of the
region. The title evokes the poles of anger and tenderness, disaster and idyll of something deeply human and universal. It is from this perspective that the
subheading of the exhibition Future is in the Balkans
should be read. It points not only to a Southeast Europe which has not yet accomplished multi-ethnic
unity, but also to all the links between these multilingual authenticities and religions, majorities and minorities, through art27. Although he successfully
24] Eva Kernbauer thinks that this exhibition
is the virtual encounter with a symbolic geography that will be the 21st century’s most
important fold: where East meets West, where
Occident becomes Orient, and where none of
the old lines and myths about identity, self, nation, and other hold. Indeed, if this exhibition
presents a picture different from any picture
previously shown in Europe of the Balkans, it is
that there is nothing in Europe but the Balkans.
Balkania is not a world unto itself, but a mirror
onto all selves. To recognize the Balkans is to
recognize features and syndromes out of which
cities, wars, experiments, ideas and visions are
composed. In http://www.artnet.com/magazine/features/kernbauer
25] The Balkan cultural dictionary was published by MIT for the occasion of this exhibition
in order to clarify the notions such as kebabs,
golden teeth, etc
26] Šuvaković, Miško. 2005. Bio-Political Interpretation of Open Potentiality of Balkan Art or
A Temporary Realisation of European Identities
Through Concrete Curatorial Tactics ; What Is to
Be Done with ‘Balkan Art’;Robert Alagjozovski,
Barbara Borčić and Urska Jurman (editors); Center for Contemporary Arts SCCA-Ljubljana
27] Blood and Honey/ Future is in the Balkans.
2003. catalogue, Edition Sammlung Essl, Vienna
2003
22] Publications accompanying the exhibition:
In Search of Balkania: A User’s Manual, Balkania:
A Non-Standard Cultural Dictionary, ed. Roger
Conover and Eda Čufer, and Balkan as Metaphor: Between Globalization and Fragmentation. 2003. edited by Dušan I. Bjelic and Obrad
Savic: MIT Press.Cambridge/Mass
23] Petrešin, Nataša, critics were based on theory, while Uroš Đurić, famous Serbian artist who
participated in most of these exhibitions, was
kind enough to be my informant first degree
and give me his opinion
34
Biljana Đurđević, Dentist Society
hearse in which the body of Franc Ferdinand, who
was assassinated in Sarajevo, was driven through
Vienna in 1914. Rather than phantasmic curatorial
perspective of the Balkans, this historical artifact
that refers to the Franc’s Ferdinand assassination
that caused the beginning of the First World War,
in this contemporary art exhibition is a serious political statement on which the firm demarcation
line between the West as the One and the Balkans
as the Barbarian, traumatic30 Other is formed.
escaped exoticism, critics such as Nataša Petrešin
remarked that Zemman conceptualized his exhibition as spectacle and trauma. In the context of
Žižek’s thoughts that I previously mentioned, spectacle and trauma could be a possible way to map
fantasized anatomy of the Balkans. On the other
hand, this as every other exhibition about the Balkans imposes the question if anyone is entitled to
speak of those who traumatized because they are
not the One, of those who are less privileged than
the West28. Despite the fact that Szeemman’s concept inclined toward finding universal values, his
exhibition started with the works such as Marina
Abramović’s Thomas Lips that was inspired by Balkan ideologies. If we look at the concept from another angle we will realize that there are reasons
to believe that fantasy is often based on pure facts.
At the beginning of this exhibition29 stood the
The exhibition called In the Gorges of the Balkans took place in Kassel, Germany in 2003. and
shows us another version of the becoming of the
Balkans as the Other and was directly inspired by
Karl May’s book Oriental Odyssey. This novel reinforces all the prejudices against the region which
were so prevalent at the end of the 19th century
30] Some authors such as E. Kosova and V. Ko-
28] Linda Alcloff quoted in Pejić Bojana, ibid
29] Just as the photo in the beginning of the
rtun reproached the fact that the communication developed after the post bellum, post
traumatic years
catalogue
35
the Wild West. With a doubtless reference to Karl
May who used to call his books travel adventures
and obviously inspired by the One – Other relation
imposed by them, Rene Block gave a subtitle A
report, wanting to say by this exhibition that he is
not a reporter, but artists from the Balkans themselves. Block was not conjuring a vision of the Balkans, as May and others did, and has refrained
deliberately from making any interpretations
which equalized a bit the positions and made the
demarcation line less firm. As curator stated In the
gorges of the Balkans was not conceived as a geopolitical exhibition that was staged for non artistic
purpose. Comparing to the other exhibitions this
concept was dramatically different. It intended to
integrate local curators thus giving the voice to the
actual perspectives of the location itself. As he
says, the title in itself sufficiently reflects Western
view of the Balkans: wild areas, wild natives, Partisans. Aware that it is difficult to comprehend the
Balkans as the multi-layered complexity of the different ethnic and religious groups, Block has curated this exhibition in order to unsettle people.
The curator avoided classifying, defining boundaries wanting to escape that the exhibition is labeled as another famous case of Western interference. Instead of classifying, as other exhibitions
did, Block intended to open new perspectives, to
open up for the desired communication with the
Others and to promote communication between
artists and between regions.
Gulsun Karamustafa, The Settlers
and which anticipate many of the problems which
have plagued the region up to the present day31.
However, while conceptualizing this exhibition a
German Rene Block had the opportunity to learn
from the mistakes of previous curators. In my aim
to perceive possible artistic approaches to the Balkans, as the Europe’s Wild East, and giving the fact
that Block was directly inspired by Karl May, it is
essential to understand some of May’s previous
works. He was the best selling German writer in
the 19th century and his books show us a great way
to approach other countries from German perspective. His most famous book Winnetou was an
adventure novel about an American-Indian hero
and his friendship with the white man set in the
American Wild West. It portrays a belief in an innate “goodness” of mankind, albeit constantly
threatened by ill-intentioned enemies. Karl May’s
“Winnetou” novels symbolize, to some extent, a
phantasm of other territories such as Wild West
and a romantic desire for a true friendship between people of different origin. In this context it
is no coincidence that several of May’s novels were
made into films, with most being filmed with the
mountains of the former Yugoslavia doubling for
Despite the fact that this exhibition was also structured on Western fiction, it was defined by a richer
dialogue approach and different translation, than
the other two. It was the manifestation of the regionalism as a discussion between equal or unequal partners contesting and cooperating on the
tools such as language, history and possible futures and some agents (Erden Kosova Vasif Kortun)
even noticed positive consequences such as acceleration of transversal energies among the participants and the resulting conversation between
them.
Many projects followed the exhibition and they
were not supervised by the Fridricianum institution, but were exclusively adapted to suit local
requirements and wishes. More than the previous
two, this exhibition showed the potential for deconstruction of imperialistic modernist models
that are based on the stable relation of the hegemonic center and traumatic or passive margins. It
was an example of the exact kind of deconstruction that led to the establishing of the imperial
31] In the Gorges of the Balkans and the sequel
volume Through the land of Skipetars, set in what
is now the territory of Albania, both focus on the
conflicts which have persisted to the present day
and their background: interview with the curator from: Block, Rene. Heinrich, Barbara (ed).
2003. In den schluchten des Balkans, Kunsthalle
Fridericianum, Kassel
36
Other. The following exhibition Blood and Honey
was a result of the imperialism of imagination and
although the curator successfully avoided the exotic perspective, fantasy merged with some political statements which once again successfully
marginalized the region. The third exhibition In the
Gorges of the Balkans was the closest to introduce
the Balkans not as the Others, but as a number two
and illustrates directly the shift that Gržinić suggested. Instead of the Balkans that would be constructed on a fiction, Rene Block’s concept allowed
that the Balkans exist parallel with the West, not as
the Other of the First. Not referring to the Balkans
as to the Other, but treating it as number two is an
entirely different strategy of art and culture whose
aim is to confront the reality and its phantasmic
supplement face to face. This approach is useful if
we want to challenge the phantasmic constructions of the Balkans as of the Other that was used
for imperialistic aims and that often did not have
many things in common with the real image of the
region.
model of transit integration of hybrid relations into
the global scheme of the new world. To describe different approaches to the Balkans I
will compare the hearse of Franc Ferdinand that
served as a frame for Szeemann’s exhibition with
the item that outlined Rene Block’s exhibition. Instead of exhibiting the hearse as the symbol of
assassination and trauma caused by the Balkan
Others, at the beginning of Block’s exhibition
stood a photo. It was a photo of a memorial32 to
Gavrilo Princip, the Serb anarchist who shot and
killed the Archduke Franc Ferdinand. By asking
himself if Gavrilo Princip was a terrorist or a freedom fighter Block’s shows us a different approach
to the Balkans, the one that he has emphasized,
the approach from the inside of the region. In the
second example the Other is not the negative of
the One, it is not opposed, but parallel to it. That is
why we could interpret In the Gorges of the Balkans
as an example of a different perspective of the Balkans33.
Perfect example of how to exist parallel to the One,
instead of constantly becoming his Other, his double or replica35 is the Balkan consulate, the project
that took place in Graz only two weeks after the
opening of the Exhibition in Search of Balkania. For
one and a half years, < rotor >, an association for
contemporary art, became the “Balkan Consulate”
and during the whole year of “Graz 2003 - Cultural
Capital of Europe”, curators from South-Eastern
Europe had a possibility to organize the program
from their perspective. Rotor Hosted Balkan agents
who were forming the essential motors of the development of contemporary art in their environment and gave them a possibility for a countercolonizing practice. The host institution “rotor”36,
which has promoted alternative thinking and
practice for a long time showed a capability of providing the space and economic sources for paradigms that were out of the western perspective.
Rotor was open to think of the Other as of the Two,
by allowing it to be the starting point instead of
being structured as the Other negative pole of the
couple. Contrary to the participation in some institutional projects, in the Balkan consulate the na-
4 . From the Other to the two
Are there other possibilities for the articulation of
the Balkan contemporary art? My answer to this
question will be based on a theory developed by
the Slovenian theoretician Marina Gržinić34. Instead of the demarcation line between the West
and the Balkans, that would imply that the Other
is the pure negative of the One, this author suggested a perspective shift. Let me remind you that
the Exhibition In Search of Balkania was based on
fiction and referred to the Balkans as to the exotic
32] The monument that was located in Sara-
jevo shows the imprint of both shoes worn by
Princip during the assassination. It is a modest monument created by the sculptor Vojo
Dimitrijević, an example of early conceptual Art
in Eastern Europe that was destroyed during
the Bosnian war
33] That some changes did occur in this exhibition confirms a Turkish art agent Vasif Kortun
when saying that it was more than exhibition:
an after-effect that enhanced a peripeheryperipehery discussion in an extremely positive
way
34] See Zupančić, Alenka, Nietzsche in nic, in
Filozofski Vestnik (Acta Philosophica), FI ZRC
SAZU, Ljubljana, 3/2000
35] Gržinic, Marina quotes Alenka Župančić. In
Marina Gržinić 2005 Estetika kibersvijeta i učinci
derelalizacije, Mi2, Zagreb, www.mi2.hr
36] Margarethe Makovec and Anton Lederer
are the founders of the Rotor
37
tional actors did not need to fit into the schemes
of the geopolitical sponsors, abiding by general
keywords, norms and narratives. This approach allowed to Balkan curators the possibility to fulfill
their mission and use a consulate as a laboratory
for experimenting with, what would elsewhere be
considered as an impossible task of representing
the missing representation37. As Balkan curators
put it, the basic aim was not to show and convey
what is and what was ‘really’ going on in one of the
zones almost invisible on the international map of
contemporary art, behind the ‘media wall’ covered
with images of violence and exoticism referred
with to the local ‘Balkanites’. Their intension, rising
up to a demand, was to change the context of
mechanisms of visual representation from a phantasmic Balkan cultural zone.
kans are being looked at from abroad: as traumatized, exotic entity without the proper meta structure or fiction order. They helped us to perceive
where we went wrong in taking care of representations. We were traumatized because we were not
universal, and our particularities were often defined as negative. After being traumatized where
would our desires bring us? Would being the subject mean that we will suffer the consequences of
self-colonization?
Self-colonization has been already anticipated on
purpose in the “Yugoslavia”39 National Pavilion at
the Venice Art Biennale in 2003. The façade of this
building, an unavoidable symbolical knot for all
invested phantasms in the idea and character of
ex Yugoslavia, was a site of the light installation40.
Although it was conceived in order to throw some
“Light” on the existence of this traumatic country,
observers were forced to look aside. Contrary to
the blurring façade, local curators decided to exhibit the copies of the famous modernist art pieces and named the interior of the national pavilion
The International exhibition of Modern art featuring
Alfred Barr’s Museum of Modern Art, NY41.
5. From trauma of becoming
as the Other to the desire
to exist as Universal
The exhibitions conceptualized by foreign curators, were mostly fictionalized around the constitutive trauma of the Balkans, the trauma of not
having a stable identity and not being Universal.
Before I conclude from this perspective I would
not like to exclude the possibility that the Balkans
played on the card of their particularity: most of
the local artist used the Balkans as the meta-signifier only when they were not capable of promoting their art abroad. Some of them even shaped
new works to fulfill the exotic expectations of the
Western curators38.
What is the future of the Balkan art?
Most prominent exhibitions in Serbian contemporary art world last year brought a significant shift.
To put it differently, the traumas of constantly becoming as the Other or as the copy of the One are
now being substituted by the effort to fulfill the
desire and exist as independent subject of the
On the other hand, these curators pinpointed at
the serious consequences of the Balkan difference.
Their conceptual demarcation lines helped local
art agents to define of the trauma that the Balkans
had to confront if they want to live the life different
from the life that would be directed by the fictions
of the West. The alienation of the region in the foreign curatorial concepts showed us how the Bal-
39] That year was the last when the name ‘Yu-
goslavia’ was used on the international political
scene
40] Tomić, Milica, National Pavilion, 2003: (Light
installation on a building façade: surface 160m2.
On the façade of the “Yugoslavia” pavilion, 400
interconnected flashbulbs have been placed
– in equal distance from each other – to cover
the surface. The bulbs are set to flash simultaneously and in regular intervals. Consequently,
the dazzle of the flashes causes “damage” in
the scopic field of the observer. This temporary
blindness lasts until the eye recovers. This prevents the eye from seeing the object/pavilion.)
http://www.msub.org.yu/venice/NP.html
41] See more http://www.msub.org.yu/venice/
IEoMA.html
37] Text by Stevan Vuković.2002. for the occa-
sion of BALKAN KONSULAT PROUDLY PRESENTS: BELGRAD. Rotor. Graz
38] Artists such as Sener Özmen & Erkan Özgen, Šejla Kamerić, Cosmin Gradinaru; see
Šuvakovic, Miško
38
contemporary art world. Instead of on geo-political signifiers, the focus in Serbian art was on finding universal values in a globalized world without
hierarchies. The exhibition Situated Self: Confused,
Compassionate, Conflictual42 introduced a wide
range of international art pieces based on individual experience, while insisting on the active
negotiation of meaning and by examining the relations of the self, being in the world and being
with the others.
International October Art Salon43, that featured Serbian and established Western artists, was conceived as a hub capable of resolving the conflicting views arising from the opposition us/them,
center/periphery, civilized/barbaric. The networking of this exhibition has made possible a different
positioning of the scene and created an opportunity for its inclusion in the world on more equal
footing.
Today, local art agents in the Balkans are trying to
structure the art world on the basis of the Western
art market, as a possible way to implement universal structures. This process could be interpreted as
self-colonization, as a way to lovingly colonize the
Balkan authenticity through these foreign models.
Although this process could homogenize the representations of the region by raising universal
rather than geo-political issues, the creation of a
structured and powerful art scene might have
some positive implications. The Balkan art might
no longer be present at international exhibitions
only on the condition that the difference it represents is a controlled one.
Maja Ciric (b. Belgrade, 1977) is a freelance curator and art
consultant. Holds a BA in Art History from the University of Belgrade, a n MA in Cultural and Gender Studies from AAOM, Belgrade
and has a diploma of the interdisciplinary postgraduate program
Transit Spaces of the Bauhaus, Dessau, Germany. Her latest independent projects include shows such as Bcoming Minor, KCB,
2005; Offbeat:Look and See the Violece Against Women, SKC,
Belgrade, 2007; Beyond Theory, WUK, Vienna &SUSHI Visual Arts
and Performance Space, San Diego 2008; Beware the Aftereffects,
Infernosque, Berlin, 2008. She was the curator of the Serbian
Pavilion at 52. International Art Exhibition La Biennale de Venezia,
2007 and The New Visual Tendencies Festival, Dom Omladine
Belgrade 2007. She collaborated with Remont on the 46.October
Art Salon 2005; and Moble Studios Project 2006. She works in
Dubai, UAE as an art consultant and she collaborated with Shanghai Zendai Moma Museum.
She uses the curatorial practice in order to make a supplement to
the main stream discourses, and produce alternative knowledge
about social, political, and aesthetic transformations. Her areas of
interest, amongst other, are gender theory and new media practices. She received the Lazar Trifunović Award for Art Criticism and
the ArtsLink Independent Projects Award.
42] Curated by Serbian curator B. Dimitrijević.
2005. Museum of contemporary art.Belgrade
43] Curated by Serbian curator Darka Radosavljević. 2005. Cultural center of Belgrade
39
Maja ĆiriĆ
Zašto je Mangelos nagrada dodeljena Katarini Zdjelar?
nih okolnosti, njeni video radovi ispituju zakone
Simboličkog poretka i usmereni su na defekt simbolizacije čije se varijable ostvaruju u odnosu na
različite identitete, prakse ili kulturne norme interpretatora. Gotovo kao po pravilu, u Katarininim
radovima svaka označiteljska praksa, čija je svrha
reprezentacija subjekta, čini se neprimerenom, jer
Otvoreni konkurs za Manegelos nagradu već šest
godina predstavlja odličnu priliku za osvetljavanje
i posledično arhiviranje aktuelne srpske umetničke
produkcije, bez unapred definisanog vrednosnog
sistema, koji bi nametao ograničenja i na taj način
zatvorio prostor za naknadne i drugačije evaluacije. Izbor je zasnovan na pristupu dno gore (bottomup), što bi značilo da detaljna procena opusa prijavljenih umetnika uvek počinje sa analizom
osnovnih elementa koji taj opus čine. U skladu sa
takvim pristupom, prijave su prevashodno razmatrane u odnosu na pojedinačna umetnička ostvarenja, zatim u odnosu na stepen do kog je razvijen
autorski diskurs u celokupnom opusu, nakon čega
se tek promišlja i njegova moguća uklopljenost u
aktuelni, globalno afirmisani svet umetnosti. Prednost imaju opusi onih umetnika čiji su elementarni
mehanizmi koegzistentni najpre unutar pojedinačnih radova, zatim od jedne do druge serije radova,
ali koji će tu keogzistenstnost uspeti da zastupe i u
svakom sledećem liminalnom obliku, kao na primer u kompleksnoj prezentaciji. Ovakav pristup
procenjivanja daje šansu i onim autorima koji nisu
unapred uklopljeni u postojeće sisteme i čiji se
kvalitet zasniva na uverljivom diskursu i ne zavisi
samo od trenutnih okolnosti u svetu umetnosti.
Katarina Zdjelar, There Is No Is
Autentičan i precizan princip sa kojim se Katarina
Zdjelar, ovogodišnja dobitnica nagrade, izdvojila
od ostalih učesnika, realizovan je na svim gore navedenim nivoima. U većini njenih radova taj princip je ostvaren destabilizacijom značenja nekog
jezičkog sistema (veštine, ideologije, pravnog zakona), a koje nastaje kada taj sistem interpretiraju
alternativni i/ili neautoritarni izvori(stranci, deca,
amateri…). Pre nego direktno ispitivanje društve-
subjekat ne može da ovlada celim sistemom. Ali,
upravo ta neprimerenost, to klizanje, taj nesklad
između Ja i njegovih označitelja, pozitivno definiše
njene radove. Fokus dakle, nije na reprezentaciji,
već na uspešnim pokušajima da se uspostavi i
osvetli dijalektika između sistema kao celog i realnog, fragmentarnog iskustva pojedinca.
40
Maja ĆiriĆ
Why did Katarina Zdjelar win the Mangelos award?
For 6 straight years now, the open competition for
the Mangelos award has represented a remarkable
opportunity for the appreciation and archiving of
current Serbian art production, lacking a predefined value system that would limit and thus
hinder additional and alternative evaluations. The
selection is based on the bottom-up approach,
which implies that the detailed assessment of participating artists’ works starts off with the analysis
of elements that comprise those works. Accordingly, the applications were first and foremost considered in relation to individual works of art, and,
secondly, in relation to the level of maturity of artist’s discourse in the whole body of work. Its potential correspondence with the current, globally
acknowledged, world of art is considered at the
end of the process. The advantage is given to those
bodies of work whose basic mechanisms are coexistent within individual works, then also within
series of works, and which are capable of reproducing the coexistent mechanisms in every subsequent liminal form, for example, in a complex presentation.
This approach to assessment also gives chance to
those artists who do not fit into existing systems
and whose quality is based on a potent discourse
Katarina Zdjelar, Don`t Do It Wrong
and does not solely rely on current circumstances
in the world of art.
The authentic and precise principle that set this
year’s laureate, Katarina Zdjelar, apart from other
participants was realized on all the aforementioned levels. In the majority of her works this principle was realized through the destabilization of
the meaning of a linguistic system (a craft, an ideology, legal regulations) that takes place when the
system is interpreted by alternative and/or unauthorized entities (foreigners, children, laymen,
etc.). More so than directly inquiring into social
circumstances, her video works inquire into the
laws of the symbolic order and the deficiency of
symbolization whose variables are realized in relation to different identities, practices and cultural
standards of the interpreters. Almost by rule, every
signifying practice in Katarina’s work, the purpose
of which is to represent the subject, is rendered
unsuitable because the subject cannot master the
whole system. But, it is that unsuitability, that shifting, that dissonance between “I” and its signifiers
that positively defines her work. The focus is, therefore, not on the representation, but on successful
attempts in establishing and appreciating the dialectics between the system as a whole and the real
and fragmentary experience of an individual.
Katarina Zdjelar, Taking Place
41
Stevan vuković
Pesimizam intelekta, optimizam volje
(Institucionalna kritika u Srbiji i
nedostatak njenih organskih referenci)
društvene parazite i crvenu buržoaziju. Među ostalima, navedeni su i sledeći: „fabrike koje proizvode
materijale potrebne umetnicima, preduzeća koja
prodaju materijale potrebne umetnicima, njihovi
radnici , službenici, prodavci, posrednici, itd... prodajne galerije i njihovi službenici, galerije bez profita, galeristi, voditelji galerija, kustosi galerija i
njihovi lični sekretari i prijatelji, plaćeni savet galerije, neplaćeni savet galerije koji ubira novac zato
što nije plaćen... fotograf koji snima radove za katalog, izdavač kataloga, urednik kataloga, štampa-
Zatočenost u domenu kulture
– pod udarom šumareve palice
Jedan od ključnih, iako još uvek nedovoljno tumačenih radova beogradske konceptualne umetnosti
sredine sedamdesetih je bila Edinburška izjava
Raše Todosijevića, sa uporednim naslovom: Ko profitira od umetnosti, a ko pošteno zarađuje1. Objavljena je 21. aprila 1975, u vidu postera, koji je navodio sve profitere od umetnosti, uključujući i razne
na koji se ono može uspostaviti kao pokret
odozdo na gore, u smislu da radnici zaista prisvoje uslove i rezulete svog rada. Naslov knjige je
bio Radničko samoupravljanje i radnički pokret,
i sastojala se od tri vrloopsežna dela, od kojih
je prvi nosio naziv Teorijske osnove i istorijska
iskustva, drugi Revolucionarno ukidanje kapitalizma, a treći Socializam. Kao priređivač knjige,
Miloš Nikolić je i sam naglasio da je njen nastanak bio neka vrsta odgovora na studentske
pokrete 1968, i to kako na majske nemire u
Parizu, tako i junske u Beogradu. Da bi zahteve
postavljene od strane aktivne mlade levice uspeo da amortizuje, sistem je morao da dođe do
određenih ustupaka kao rešenja, a jedan od tih
ustupaka je bio upravo i samo osnivanje SKC,
nekadašnjeg policijskog kulturnog centra, kao
Studentskog kulturnot centra za eksperimente
u umetnosti, kao i u različitim oblastima kulturnih i društvenih praksi. Kao sekundarni,
ali mnogo ambicionzniji cilj, knjiga je imala i
produkciju teorijske i ideološke osnove za potpuno uključivanje svih progresivnih i emancipatorskih grupa u proces donošenja odluke u
domenu već postojećeg sistema, pa čak i ukoliko bi to proizvelo znatne promene u načinu
na koji je sistem funkcionisao. Tekstovi autora
u rasponu od Marksa to Gramšija, od Roze Luksemburg do Bakunjina, i tako dalje, trebalo je
da obezbede set alata sa kojima bi se tim zadatkom trebalo baviti, što je u jednom od svojih
govora naglasio čak je i sam Tito, doživotni
predsednik zemlje, predsednik Saveza komunista Jugoslavije i vrhovni komandant JNA.
1] U istoj seriji izdat je i rad – plakat Zorana
Popovića, umetnika iste generacije i člana iste
neformalne grupe šest eksperimentalnih umetnika, okupljenih oko Galerije SKC Gallery, pripadnih, kako je to Ješa Denegri nazvao Drugoj
liniji. Naziv tog, takođe tekstom ispunjenog
plakata je bio Za samoupravnu umentost, i on
je zagovarao politizaciju umetnosti protiv crvene buržoazije i državne birokratije, koji su, u
godinama nakon protesta 1968, bili smatrani
za „klasne neprijatelje proletarijata”. Bitno je
pomenuti da su ti plakati i ceo novi projekat
nove političke umetnosti sa eksperimentalnim
predznakom, za društvo u tranziciji ka horizontalnim modelima samoupravnih praksi u
svim regijama društvenog života , bio proizvod
SKC-a, čija direktorka je tada bila Dunja Blažević,
istoričarka umetnosti i prva kustoskinja Galerije
SKC Gallery, i ona je zapravo povezala ove umetnike i insistirala na njihovoj saradnji. Dve godine pre ovog projekta, koji je bio objavljen u
okviru izložbe Oktobar ’75 u Galeriji SKC Gallery,
pojavio se i veoma interesantna zbornik u na tu
temu, u izdanju Izdavačkog centra “Komunist”iz
Beograda, koji je predstavio kompilaciju tekstova vezanih za borbu protiv restauracije kapitalizma i birokratskih i tehnokratskih monopola, sa
namerom da prevlada činjenicu da je radničko
samoupravljanje u Jugoslaviji uvedeno odozgo,
od strane Saveza komunista, i traga za načinom
42
tanje ostaje samo kako da se on pomeri ka Adaptivnom menadžmentu kvaliteta, da bi se od svega
onoga što cirkuliše među njegovim sastavnim delovima i segmentima izvukao maksimum.
rija koja štampa katalog, pozivnicu i plakat, radnici
koji slažu, štampaju i povezuju katalog i pozivnicu... noćni čuvari galerija, muzeja, zbirki i kojekakvih kolekcija i legata, lažni čuvari galerija muzeja
i kulekcija, doušnici, tehničko osoblje muzeja, zbirki i legata, organizatori simpozijuma, susreta i festivala umetnosti... patroni i organizatori stipendija za
studiranje u inostranstvu koji se po pravilu dodeljuju: deci viših državnih činovnika, deci uglednih
bankara i deci maskirane i pritajene buržoazije u
Socijalizmu... pritajeni ideolozi, demagozi i mračnjaci sa instituta, visokih škola, muzeja i akademija
kojima je pre stalo do moći i uticaja u umetnosti, a
ne do obrazovanja i kulture koji ne nude nikakav
profit, i svi oni koji nam verbalnim liberalizmom
pokrivaju svoje dekadentne, prevaziđene, reakcionarne, šovinističke i buržoaske modele umetnosti
i kulture, da bi stekli pozicije izvan umetnosti, izvan
kulture i nad umetnošću i nad kulturom...” Na listi
se našlo oko dvesta stavki, odnosno odrednica,
uključjujući i ime samog autora, s objašnjenjem da
„je i ovaj tekst autor napisao da bi nekako profitirao
od dobrog i zlog u umetnosti”
Koristeći se rečima Roberta Smitsona, iz eseja pisanog još 1972. godine4, može se reći da je to što
se desilo radu Raše Todosijevića svojevrsno zatočeništvo u kulturi – njegova neutralizacija, kojom
postaje „neefikasan, apstraktan, bezopasan i politički lobotomiziran”, i to da bi ga bilo moguće lako
konzumirati i razumevati, ili, u ovom specifičnom
slučaju, sravniti do razine pozitivnog iskaza, gotovo pijačne liste institucionalnih segmenata koji
čine sistem umetnosti. Po Smitsonu, taj zadatak,
koji je u ovom slučaju bio ispunjen od strane instruktora kulturnog menadžmenta, obično obavlja
dežurni kustos, koji umetnost čuva na sigurnoj
razdaljini od političkog, na način na koji dežurni
šumar u Gramšijevim Zatvorskim sveskama čini sa
aktivnostima futurista, predstavljenih kao „grupa
malih školaraca koji su pobegli iz jezuitskog semeništa , napravili neku štetu pošumi, te bili sprovedeni natrag uz pomoć šumareve palice”.5
Tri decenije kasnije, isti tekst se pojavio u knjizi pod
naslovom Menadžment u turbulentnim okolnostima2, kao dodatak osnovnom tekstu autora Milene
Dragićević-Šešić i Sanjina Dragojevića, profesora
univerziteta i konsultanata Saveta Evrope, UNESKA
i Evropske kulturne fondacije, i to u oblasti kulturne
politike, menadžmenta u kulturi i unapređenja institucionalne strukture. Objavljen je u celokupnoj
dužini, što je oko deset strana, i navedeno je da
pokazuje „višestranu međuzavisnost delovanja u
kulturi kao temeljno pitanje njenog značaja, ali i
mogućnosti opstanka svih vidljivih i manje vidljivih aktera koji je sačinjavaju”3. Drugim rečima, korišćen je kao puka ilustracija holističkog poimanja
institucionalne strukture, kao i taktika za moguća
kretanja u njegovom okrilju, s tim da su umetnikovi argumenti okrenuti protiv njegove osnovne intencije, tako da se tvrdi da ukoliko svi ovi faktori
zaista zavise od simboličkog i finansijskog kapitala
koji je sakupljen u umetnosti, tada funkcionalan
sistem u ovoj oblasti zaista postoji, tako da kao pi-
Trasformismo kao lokalna
institucionalna politika
Sve to nije osobeno samo za trenutno stanje stvari. Institucionalna logika Socijalističke Federativne
Republike Jugoslavije, posebno u sektoru koji je
igrao ulogu civilnog društva (sastojeći se, u žargo4] Smithson, R: The Writings of Robert Smithson,
edited by Nancy Holt, New York: New York University Press, 1979. Taj tekst je bio korišćen i od
strane pomenutih umetnika, i kasnije je bio i objavljen u Beogradu, pod nazivom „Omeđavanje
kulture”, u Smitsonovim spisima izabranim od
strane Zorana Gavrića, i publikovanim u MSU
Beograd, 1983. Dejan Sretenović, kustos retrospektivne izložbe Raše Todosijevića, koja je
održana u istom muzeju novembra i decembra
2002,takođe citira iz ovog teksta, vezano za
Rašinu upotrebu objekata i situacija na način
koji ima za cilj da zađe s onu stranu predstave,
tvrdeći da je to vezano za Smitsonov iskaz: „Ja
sam za umetnost koja uzima u obzir neposredan uččinak elemenata onako kako oni postoje
nezavisno od predstave”. Sretenović, D: „Umetnost kao društvena praksa”, predgovor katalogu
Hvala Raši Todosijeviću, MSUB, 2. novembar – 22
decembar 2002, Beograd: MSUB, strana 10.
5] Gramsci, A: Prison Notebooks, ed. Buttigieg, 5
tomova., New York, 1992– , 1:211.
2] Dragićević-Šešić, M, and Dragojević, S:
Menadžment umetnosti u turbuletnim okolnostima, organizacioni pristup, Beograd: Clio, 2005,
strane 226 – 235. Knjiga je rezultat više godina
mentorskog rada u području kreativnih industrija u jugoistočnoj Evropi, Bliskom i Dalekom
Istoku.
3] Isto, strana 225.
43
nu socijalističkog samoupravljanja, od društvenopolitičkih organizacija i društveno-političkih zajednica) bila je zasnovana na principu koji je Gramši
(preuzimajući to od Kročea) nazvao trasformismo,
kojim se aktuelni i potencijalni lideri i inicijative
koje dolaze od potčinjenih grupa stalno bivaju inkorporisani u dominantni projekat, da bi se sprečilo formiranje kontra-hegemonog pokreta. To se
odnosilo na omladinske organizacije, studentske
organizacije, udruženja umetnika, pisaca i drugih
proizvođača u oblasti kulture, kulturne zajednice
koje se obrazuju na zajedničim etničkim, religioznim i drugim temeljima, kao i različite samoorganizovane urbane potkulturne grupe. Zapravo je i
takozvanim disidentima čak bio ponuđen način da
budu bezbedni u svojim aktivnostima (umesto
slanja u Gulag), i to zato što je upravo to pokazivalo razliku društva koje su oni dovodili u pitanje, i
pravog staljinističkog.
bjekta iskaza8, zašta bi najilustrativniji primer bio
tekst koji čini deo njegovog rada iz 1996. godine,
u okviru koga vidimo njegov autoportret u posprdno pikasoovskom stilu, u tipičnom okružju novinske ilustracije, koji kaže sledeće: „Ne, gospođo,
ja nisam srpski umetnik, ja sam samo konceptualni rad koji se zove srpski umetnik”9. Šta god da on
svojim radom radio, on to čini odustajući od suverenosti umetnika kao izvođača i kreativnog vrela
rada, postavljajući se u položaj kritičkog odražavanja želje sistema u kome je zatočen.
Upravo u tom duhu, Pavle Ćosić, jedan od Ilegalnih
poslastičara, što je grupa ciničkih društvenih i medijskih aktivista koji su počeli da deluju na lokalnoj
sceni poslednjih par godina, tvrdi da budući da
ljudi uopšteno veruju u to što žele da bude istina,
uloga njegove grupe (Ivan Tobić, Aleksandar Belčević i Miloš Trajković su ostali njeni članovi), i njega samog jeste naprosto u tome da im pruže to što
ovi žele. Naime, prva intervencija koju si izveli je
bila materijalizovana kao slika pisma skeniranog iz
Politikinog Zabavnika, iz rubrike Pisma čitalaca, u
kome dvanaestogodišnji dečak pita kako da prestane da raste, pošto je postao već previsok za svoj
uzrast. Poenta je bila u tome da je potpis ispod tog
pisma bio modifikovan u potpis Vlade Divca, srpskog košarkaša koji je tada još igrao u NBA ligi, i
koji je bio predstavljan kao rođeni košarkaš. U sledećoj intervenciji targetirali su američku ambasadu, i to putem lažnih vesti koje su globalno proširene putem medija kao što su BBC, CNN, the Independent, i Observer, Vest je tvrdila da je kafe bar
Osama, namenjen za druženje usamljenih penzionera i drugih starih lica, bio zatvoren usled intervencije zvaničnika pomenute ambasade, iz razloga
sumnje da taj naziv ima neke veze sa imenom Bin
Ladena. Sledeća vest, koja je bila veliki hit u Hrvatskoj, je bila vezana za navodno lažne hrvatske automobilske tablice, koje je neko prodavao turistima iz Srbije koji su putovali na hrvatsku obalu, na
letovanje, a koji su, navodno, ove rado pazarili da
ne bi brinuli o bezbednosti svojih vozila.
U vreme bivše Jugoslavije, nije bilo ničeg izvan sistema. Sve inicijative su, pre ili kasnije, bile preuzete od strane oficijelnih institucija, i prostori koji su
izgledali kao male autonomne zone izvan domašaja dominantnih društvenih i kulturnih paradigmi
su zapravo bili regrutni centri za buduće vođstvo
tog zajedničkog jugoslovenskog društva. U žargonu lakanovske terminologije, bilo je jasno da
„strukture institucija nisu tek nametnute inače slobodno postojećim praksama”, već da su „sve prakse uvek deo neke institucionalne strukture, bez
koje baš nikakve aktivnosti, ni kritika, pa ni govor,
ne bi bili mogući.” 6
U tom smislu, Todosijevićev čin stavljanja sebe samog na listu onih koji profitiraju od umetnosti
putem kritikovanja svih onih koji od nje profitiraju,
upućuje na veoma zanimljiv aspekt njegovog rada
koji je potom otvorio puteve za sledeće talase institucionalne kritike. Naime, njegova pozicija aktivnog cinizma, kako je to nazvao Ješa Denegri,7 stalno pravi razliku između subjekta iskazivanja i su-
8] To u stvari čini razliku spram paradigme Umetnosti u prvom licu, koju je Ješa Denegri opisao
u predgovoru katalogu izložbe Nova umetnost u
Srbiji 1970-1980, održane u MSU Beograd, MSU
Zagreb i Umetničkoj galeriji u Prištini, 1983.
9] Taj rad je bio reprodukovan u katalogu njegove retrospektive u MSU Beograd, na strani 19.
6] Kopjec, J: „Dossier on the Institutional De-
bate: An Introduction”, u Lacan, Jacques: Television: a Challenge to the Establishment, London
and New York: Norton, 1990, strane 49-50.
7] Denegri, J, neimenovan tekst u katalogu
Todosijević, R: Velike južne predstave, Beograd:
SKC, January1980, strana 7.
44
Ovakve i druge slične navodne vesti bile su širene i
sa lažnog B92 blog sajta (www.be92.mojblog.
co.yu), odnosno takvog B92 blog sajta koji je bio
unapređen u smislu odsustva kontrole donatora i
drugih vrsta cenzure. Sprečeni da na “pravom” blogu B92 postavljaju tekstove koji preispituju vrednosti civilnog društva ili legitimnosti međunarodnih institucija kao što je Haški tribunal, postavili su
novi i bolji blog.
što bi u stvari značilo zaštitu i sprovođenje u delo
vlasničkih prava, promovisanje kompetitivnog pristupa, eliminaciju korupcije, i korišćenje civilnog
sektora za podršku legitimaciji javnih institucija
koje podržavaju tržište.11
Posebno u regionu bivše Jugoslavije, veliki broj
nevladinih organizacija (NVO) i grassroots organizacija (GROs) bilo je podržavano ukoliko su pokazivali rešenost da promovišu liberalnu demokratiju i ekonomski liberalizam. Radio, a kasnije i Televizija B92, koji ne samo da je proizašao iz tog sektora, već je, u rano doba svog rada, početkom devedesetih, čak bio viđen za organskog intelektualca
urbane beogradske mladeži u protestu spram hegemone elite, kasnije je postajao sve više i više
kompromitovan u toj funkciji, u proporciji sa povećanjem finansijske podrške regionalnim elektronskim medijima, koja je kroz njega kanalisana,
postavljajući ga u položaj profitabilne kompanije,
lidera u medijskim biznisu.
Uticaj donatora na civilno društvo i
nova hegemonija
Od vremena delovanja umetnika generacije Todosijevića do Ilegalnih poslastičara napuštena je ideja
o društvu obilja, suverenom i samoodrživom. U
potonjem već dominira prisustvo različitih međunarodnih institucija koje su na sebe preuzele uloge
nekadašnjih državnih institucija u području dominacije nad civilnim sektorom. Po Koksu, hegemoni
uticaj tih međunarodnih institucija je zasnovan na
sledećem:
(1) One otelotvoruju pravila koja vode ekspanziju
hegemonih svetskih poredaka;
(2) One su same proizvod hegemonog svetskog
poretka;
(3) One ideološki legitimišu norme svetskog poretka;
(4) One u sebe uvlače i preuzimaju elite iz perifernih zemalja; i
(5) Apsorbuju kontra-hegemone ideje.10
S druge strane, to što se ranih devedesetih konstituisalo u protestu spram postojećeg institucionalnog okvira kao takozvana nezavisna beogradska
umetnička zajednica, uglavnom zasnovana na ličnim i kolektivnim ljudskim i materijalnim resursima, uskoro je potpao pod polje uticaja lokalnog
Soros centra za savremenu umetnost, kao osnovne
artikulacione snage nevladinog sektora u vizuelnim umetnostima, i radija B92, kao izvršnog producenta svih događaja izlagačkog formata koji je
SCCA realizovao u domenu vizuelnih umetnosti.
Ukoliko dodamo da je B92 zapravo takođe bio i
glavni medijski sponzor ovih umetničkih događaja, može se lako razumeti da je, kada se transformisao u privatnu kompaniju, izmenio i diskurs nezavisne umetničke scene, u potpunosti ga čisteći od
ideološki neprimerenih sadržaja i pristupa.
Naime, tokom kasnih osamdesetih i devedesetih
godina, civilno društvo se globalno postavilo u
poziciju primarne ciljne grupe za ostvarivanje politike najvećih investitora i agencija za razvoj, navodno samo da bi se omogućio politički pluralizam
i pravo na demokratski izbor, ali je to u stvari bio
način da se kontrolišu vlade pojedinih država i da
se obezbedi neometan put društava koje one vode
ka regulisanom tipu demokratije, sa neizbežnim
neoliberalnim ekonomskim politikama. Čak je, u
tom smislu, i ne tako davni Izveštaj o svetskom razvoju, za 2002. godinu, koji je Svetska banka izdala
pod nazivom Građenje institucija za tržište, bio okupiran razvijanjem institucija i ‘dobrom vladavinom’,
Pojavljujući se na sceni tek nakon povlačenja Soros
fundova i promene u kulturnoj politici u Srbiji, koja
se kretala ka inkorporiranju ranijeg NVO sektora u
domen javne administracije (gde je najupadljiviji
primer kolektivnog transfera ljudstva SCCA u Muzej
savremene umetnosti), Ilegalni poslastičari nisu svoje strategije gradili u odnosu spram (jedva postojećeg) lokalnog sistema umetnosti (kao što je to
bio slučaj sa Todosijevićem), niti u odnosu na dr-
10] Cox, R: „Gramsci, hegemony and international relations: an essay in method” u Gill S. (ed.):
Gramsci, Hegemony and International Relations,
Cambridge: Cambridge University Press, 1993,
strana 62.
11] World Bank 2002: World Development Report 2002: Building Institutions for Markets, New
York: OUP, strana 99.
45
žavnu administraciju korumpiranu etnonacionalističkom ideologijom (što su umetnici radili tokom
devedesetih). Meta njihove kritike je bila potpuna
dominacija anestezirane i u potpunosti depolitizovane urbane kulture, promovisane putem B92, koji
je trenutno, na primer, lokalni producent Big Brother emisije. Naime, B92 im se ukazivao kao to što
postavlja pravila koja nameću modele društvenog
ponašanja i interakcija u lokalnoj urbanoj strukturi, putem omogućavanja /proizvođenja „informacija o tome kako bi [akulturisani] ljudi trebalo da
se ponašaju u nekoj datoj situaciji”, strukturišući
time lokalne kulturne izbore mladih i uspostavljajući načine da se postane „priznat od strane onih
koji su članovi relevantne grupe kao pravila kojima
se drugi povinuju u tim situacijama”.12
svih osnovnih vrednosti, verovanja i društvenih
normi nekadašnjeg socijalističkog društva15. Taj
proces se odvijao kako na nivou promena u unutrašnjem organizovanju vođstva prvo nevladinih,
pa potom i vladinih organizacija, kao i na nivou
društvenih promena. Budući da nam se „društveni
svet primarno prikazuje kao nataložen skup društvenih praksi koje se prihvataju takve kakve jesu,
bez prespitivanja činova njihovog uspostavljanja”16,
ni društveni svet državnog socijalizma uglavnom
nije bio razmatran u svom uspostavljajućem aspektu. Posledica toga je da je njegov emancipatorski aspekt previđen i da nije uzeto u obzir da ukoliko se sloboda definiše kao sloboda od javnih
ograničenja, ukoliko se efikasnost definiše kao preduzetnička, ukoliko se vrednost pravednosti vezuje uglavnom za balans u rešavanju etničkih konflikta, dok se materijalni prosperitet vrednuje po
sebi i izvan društvenog konteksta, mnogi delovi
društva će biti deprivilegovani i ograničeni nižim
nivoom svojih društvenih i fizičkih sposobnosti.
Politika zbrinjavanja i reparacije
U okviru prakse koja se naziva Institucionalnom
kritikom u vizuelnim umetnostima, institucijama
se uglavnom smatraju izlagački prostori poput
muzeja i galerija, ili izlagački događaji, poput festivala i bijenala. Ali, u nešto opštijem smislu, termin
institucija se može vezati i za „sistem pravila, verovanja, normi i organizacija koje zajedno generišu
regularnost (društvenog) ponašanja”13, tako da se
ti prostori i događaji vide samo kao materijalni korelati njihovih institucionalizujućih praksi. S druge
strane, pored njihovog generativnog potencijala,
institucije takođe uključuju i „svaku formu ograničenja koje ljudi uspostavljaju da bi oblikovali međuljudsko saobraćanje”14. Konačno, videli ih mi kao
endogene i samouspostavljajuće pojave, ili kao
spolja nametnuta ograničenja ponašanju, delovale one iz javnog, privatnog ili sektora civilnog društva, one svakako određuju i nameću vladajuće
modalitete upravaljanja.
Postavljanje takvog zadatka izvršili su politikolozi
i ekonomisti iz regiona, koji su, u periodu neposredno nakon 1989, kao što to Erih V. Strajsler naglašava, bili snažno „inspirisani najranijim kritikama socijalzma, Ludviga fon Misesa i Fridriha fon
Hajeka, te koji su verovali da „socijalizam nije ni
trebao da bude uspostavljen, jer je već od nastanka bio osuđen na propast “17. Većina politikologa i
ekonomista iz regiona koji su delili sekularne i nenacionalističke stavove, bili su pozvani u savete
onih fondacija koje su počinjale da investiraju u
region, pozivajući se na viziju civilnog društva kao
autonomne oblasti za slobodno udruživanje, nezavisnog od državnog uticaja, u kojoj su se svi različiti interesi društvenih grupa koje su bile zapostavljene tokom socijalizma mogli biti zadovoljeni
na slobodan način. NVO sektor je bio zadužen da
za to obezbedi institucionalni okvir, te je postao i
privilegovan u oblasti podrške demokratiji.
Zadatak da se Srbija uspostavi kao liberalno-demokratsko društvo, koje slobodu, efikasnost, pravdu i materijalni prosperitet vidi kao svoje osnovne
vrednosti, imao je kao svoj posredni cilj i uništenje
15] One su bile najjasnije iskazane političkim
sloganima kao što su: „bratstvo-jedinstvo”,
„socijalističko samoupravljanje”, “politika nesvrstanosti”, i “suverenost i nepromenljiva priroda spoljašnjih granica zemlje”.
16] Laclau, E: “Introduction’, in Laclau, E. (ed.):
The Making of Political Identities, London: Verso,
1994, strana. 3.
17] Streissler, E.W: “What kind of economic liberalism may we expect in ‘Eastern’ Europe’?”
East European Politics and Societies, No, 5, 199 1,
strana 197.
12] Knight, J; Institutions and Social Conflict,
Cambridge: Cambridge University Press, 1992,
strana 54.
13] Avner, G: Institutions and the Path to the
Modern Economy. Cambridge University Press,
2006, strana 30.
14] North , D: Institutions, Institutional Change
and Economic Performance, Cambridge: Cambridge University Press, 1990, strana 3.
46
To je na najsnažniji način bilo prisutno u tretmanu
civilnog sektora u državama koje su bile (a neke i
dalje jesu) u procesu uspostavljanja na teritoriji
bivše Jugoslavije. Budući da se tokom prethodne
dekade tamo odvijao krvavi rat, civilni sektor, posebno onaj u domenu kulture, bio je donorski podržavan uglavnom za angažman u nizu aktivnosti
koje su sprovodile svojevrsnu politiku zbrinjavanja
i reparacije. Time je trebalo da traumatizovanima
obezbede simbolički zaklon, te da ujedno demonstriraju i nesposobnost državnih institucija za tako
nešto i promovišu vrednosti kulturalnog humanizma liberalnog Zapada. Na kraju rata, mnogi od
ovih aktera civilnog sektora su prešli u državni, ili
su se prosto pretvorili u firme.
Najlogičnija i najočekivanija institucionalizujuća
praksa usmerena ka obrazovanju organskog intelektualca za sve one koji su iskazivali otpor spram
politike novih političkih partija u Srbiji na samom
počektu rata i konačnog raspada jugoslovenske
„Balkanski rat nije uništio samo stare granice na
Balkanu,” pisao je Lav Trocki marta 1913, u vreme
kada je bio ratni izveštač sa balkanskog fronta, dodajući da je taj rat „takođe trajno uzdrmao balans
među kapitalističkim zemljama Evrope.”18 Taj balans, uzdrman početkom dvadesetog veka, u vreme u kome su se političke imperije na teritoriji
Evrope postepeno balkanizovale – raspadale na
veliki broj međusobno suprotstavljenih teritorijalnih jedinica – bio je ponovo uspostavljen kao posledica takozvanog „novog Balkanskog rata” krajem veka. Kako je sistem državnog socijalizma
postajao sve razoreniji, te nekadašnje imperije su
se u ekonomskom smislu ponovo uspostavljale,
dok se Jugoslavija balkanizovala.
URBAZONA, Katalog
Organski intelektualci
bez ikakvih organskih referenci
države je bila osnivanje Centra za antiratnu akciju.
To se desilo 15-og jula 1991, kada je više alternativnih organizacija, kako su se u to vreme lokalno
nazivale, uspostavilo institucionalni okvir koji je
trebalo da predstavlja „sve one koji nisu hteli da
uzmu učešća u ratu”20. Lista tih organizacija je sledeća: Evropski pokret u Jugoslaviji, Unija jugoslovenskih demokratskih inicijativa, Ženski parlament,
Stjuart Hol je pre nekog vremena napisao stav koji
bi se mogao uzeti i kao opis pozicije u kojoj su se
neki od činilaca u oblasti kritičke kulturne produkcije nalazili u poslednjih petnaest godina. „Pokušali smo da pronađemu neku praksu institucionalizovanja … koja bi proizvela organskog intelektualca”, pisao je on o vremenu 1970-ih, „mi smo organski intelektualci bez ikakvih organskih referenci … pripremljeni smo da zamislimo, oblikujemo
ili simuliramo takav odnos u odsustvu: ‘pesimizam
intelekta, optimizam volje”.19
19] Hall, S: “Cultural Studies and its Theoretical
Legacies,” in: Grossberg, L, Nelson, C, and Treichler, P. (eds.): Cultural Studies, London: Routledge, 1992, strana 281.
20] I blok moći koji je vodio Milošević i takozvana Ujedinjena opozicija, koju su vodili SPO i
Demokratska stranka, bili su umešani u političku
mobilizaciju za rat u bivšpj Jugoslaviji, i to je bio
razlog za druge političke snage da se klone
partijske politike.
18] Trotsky, L: The Balkan Wars 1912-13, New
York: Monad Press, 1980, strana 314.
47
Partija žena, Helsinški komitet u Jugoslaviji, Helsinški parlament građana i Forum za etničke odnose.
Novoosnovani Centar za antiratnu akciju je takođe
obezbedio prostor za kulturne aktiviste, inicirajući,
oko godinu dana nakon osnivanja, prvi od niza
antiratnih kulturnih događaja, koncert pod naslovom: Ne računajte na nas. Koproducent tog događaja je bio Nezavisni radio B92, koji je polako od
Centra preuzimao predstavničku ulogu, budući da
je bio podržan od strane urbane mladeži, kao i velikog broja studenata tokom studentskih protesta
1991. i 1992.
nalnom elektronskom brodkastingu, te, konačno i
uspešne privatne kompanije.
Budući da su se elementi novog civilnog društva u
Srbiji devedesetih formirali u okviru potpuno kontaminiranom neoliberalnom političkom imaginacijom, mnogi od kulturnih radnika koji su još uvek
delili radikalno emancipatorne ideje su se na neki
način osećali sve više izolovanim od aktuelno postojećih institucionalnih praksi. To se pokazalo
ispravnim u mnogim slučajevima, budući da su se
NVO uglavnom pretvorile u firme, kao, na primer
Beogradski krug, koji sada ima poziciju izdavačke
kuće, menjajući i način na koji, kao izdavač, potpisuje časopis kao svoje izdanje, od nekadašnjeg:
„Beogradski krug: časopis nevladine neprofitne
organizacije Beogradski krug” (broj 0/1994) pa do
današnjeg: „Beogradski krug: časopis nevladine
neprofitne nepolitičke organizacije Beogradski
krug” (broj 1-4/2003).
Za razliku, na primer, od časopisa Republika, ili časopisa Beogradski krug, kao i Beograskog kruga intelektualaca, kao osnivačkog tela za magazin i inicijatora debata o društvenim i političkim pitanjima
tog vremena, koji su bili okrenuti nenacionalističkim intelektualnim elitama koje su tokom rata
ostale u zemlji (a koje su bile brojčano gotovo beznačajne), B92 je, od samog početka, primenio
različite populističke strategije, koje su se pokazale kao više nego uspešne. U vreme kada je jedan
od ključnih članova redakcije časopisa Republika
objavio studiju pod nazivom Srpski populizam – od
marginalne do dominantne pojave, u kojoj je taj
fenomen isključivo vezivao za domen desničarske
politike i folkorne kulture (proleća 1993.), B92 je
započeo sa projektom Urbazona, koji je, koristeći
se fondovima Soros (Otvoreno društvo) Fonda, mobilisao urbanu mladež kroz različite popularne
kulturne akcije u različitim prostorima, dobijajući
pozitivan feed-back čak i od opozicionih političkih
partija, kao i mogućnost da kao namenski prostor
dobije Rex, nekadašnji prostor lolalne Jevrejske zajednice. Nešto kasnije, 1995. godine, Beogradski
krug je takođe dobio prostor za aktivnosti slične
namene, i nazvao ga Centar za kulturnu dekontaminaciju, ali, budući da je bio vezan za elitističke
kulturne programe, nije zadobio uticaj kao Rex.
Volim te kao B92
Profil proizvođača u području kulture koji je B92
favorizovao od samog početka, lako je shvatljiv
kroz opis jednog od (grupnih) učesnika serije izložbi instaliranih na zidu kancelarije koju su svojevremeno (u periodu od 1994. do 1996.) delili glavni
urednik Veran Matić i direktor Saša Mirković. Taj
opis je u katalogu priložila Darka Radosavljević,
koja je tada vodila većinu projekata vizuelne umetnosti na B92. U tekstu o grupi Klipani u pudingu,
navodi se da je reč o grupi “sačinjenoj od momaka
odraslih u samom centru grada... oni su redovni
posetioci Kinoteke, koncerata klasične muzike, odlično poznaju Kalemegdan i urbane tajne Dorćola... prave kolaže, crtaju, snimaju video filmove,
pišu prozu i poeziju.21
Drugim rečima, ovi fini urbani mladići su već svojim poreklom i društvenim navikama stekli kulturalne kompetencije koje ih kvalifikuju za polje
produkcije koje će potom biti distribuirano putem
moćne mreže B92, i to svakome ko želi da bude
akulturisan na takav način. Nema ničeg daljeg od
ransijerovskih arhiva proleterskog sna, koji sakuplja
i prikazuje snove i misli ljudi i žena koji su namerili da teorijski konceptualizuju, ili kroz književne
radove izraze moralna, intelektualna, socijalna,
U vreme masovnih građanskih protesta u Beogradu, 1996. godine, B92 je bio smatran za glas buntovničke omladine grada Beograda, koji je već par
godina bio pod upravom anti-miloševićevske koalicije takozvanih opozicionih partija. On je uspostavio i video produkciju, organizovao masovne
rejv žurke, i postao izvršni producent svih izložbenih projekata lokalnog Soros Centra za savremenu
umetnost, da bi tokom protesta mobilisao i do
700.000 ljudi istovremeno, na primer kada mu je
trećeg decembra te godine ukinuta frekvencija.
Postao je dominantan nevladin elektronski medij,
da bi vrlo skoro došao i do pozicije lidera u regio-
21] Radosavljević, D: Pogled na zid, 1994 -1996,
Umetnici i kritičari, pref cat, Belgrade: B92, 1996,
strana 21.
48
estetska i politička iskustva eksploatisanih, bivajući time i otpadnici od svoje klase i uljezi u eminetno buržoaskom području.
od oponenata bloka moći koji je vodio Milošević
usmerio ka tome da se libidinalno vežu za medije
kao što je B92: „više od infomacija koje su ovi mediji pružali, publika je želela da oseti slobodu pristupa mnoštvu izvora informisanja”25. Mnogi od
njih su prosto želeli da budu u poziciji da pokažu
svoj ukus i izbor u pitanjima muzike ili tipa medijskog pojavljivanja, i B92 je bio naprosto mnogo
više privlačan u tom smislu, prodajući savremeniji
način života. On je svojoj publici pružao osećaj različitosti, bivanja neparohijalnim, i izdvajanja od
proseka. Ali čak i tome je kraj. B92 je sada komercijalna medijska kuća koja prikazuje sapunske opere i kvizove, reality show emisije i MTV spotove.
Napredak je u tome da oni koji su učestvovali u
njegovoj privatizaciji nemaju finansijskih problema u svojim ličnim životima. S druge strane, oni i
dalje povremeno posećuju konferencije i pričaju o
starim dobrim danima građanske borbe. Tako, valjda, funkcioniše kapitalizam. Pitanje je samo da li
možemo da zamislimo drugi sistem?
Nema ničeg udaljenijeg ni od sfere iskustva radničke klase, ili sfere iskustva omladine koja nije koncentrisana u gradskim centrima od kulturne produkcije B92. Zapravo, politika B92 nije nikada ni
bila vezana za produkciju veza solidarnosti ili lanaca ekvivalencije među marginalizovanim grupama,
već za gradnju sistema paralelnog onome koji je
izgradila oligarhija oko Miloševića22, i to na način
koji je davao ogledalnu sliku njihovih strategija.
B92 je prosto ušao u blok moći koji je postao to što
se kasnije zvalo Druga Srbija23, čekajući da dati sistem upadne u organsku krizu, kojoj su potpomagala strana vojna uplitanja i ekonomski i diplomatski pritisci, pa da preuzme to sve što bi se moglo
tada preuzeti.
Stalno prisustvo i uticaj B92 produkcije u uspostavljanju kulturne paradigme je imalo i još uvek ima
učinak oruđa za kulturalizaciju i estetizaciju, pa čak
i anestetizaciju javnog neslaganja. Stoga su kasnije generacije aktivista u području umentosti i kulture, kao što su Ilegalni poslastičari, stalno napadale B92 kao nadzorni organ koji staje na put aktivnostima koje zaista stavljaju u pitanje lokalni kulturni, društveni i politički status kvo. Stoga, u
stvari, cinične rime jedne od pesama koje izvodi
Tobićtobić iz Ilegalnih poslastičara (Volim te kao
B92)24 kritički reflektuje zapovesti sistema koji uspostavlja jedan definitivan model urbane kulture
(čiji distributer je B92) uz obećanje čvrstog, neproblematičnog urbanog identiteta.
25] Gordy, E. D: The Culture of Power in Serbia,
University Park, PA: The Pennsylvania State University Press, 1996, strana 99.
Stevan Vuković
Emocionalna funkcija nezavisnih medija, što je naziv odeljka knjige Erika D. Gordija pod nazivom
Kultura moći u Srbiji, objavljenoj 1996, nenamerno
pokazuje konzervativizam emocija, koji je mnoge
1968. godina, Srbija. Studirao filozofiju i istoriju umetnosti.
Diplomirao filozofiju na Filozofskom fakultetu u Beogradu.
Postdiplomske studije iz teorije umetnosti na Jan van Eyck
Akademie u Mastrihtu, Bauhausu u Desauu, i Amsterdamskoj školi
za kulturnu analizu. Radi kao slobodan kustos, kritičar i teoretičar
umetnosti od 1992. Dobitnik je nagrade ‘Lazar Trifunović’ za najbolji
tekst o umetnosti objavljen na području Jugoslavije u 1998. godini,
kao i nagrade udruženja istoričara umetnosti za najbolju izložbu
realizovanu u Srbiji tokom 2002. godine. Član je međunarodnih
udruženja likovnih kritičara (AICA) i kustosa savremene umetnosti
(IKT), kao i lokalnog (NUNS) i međunarodnog (IAS) udruženja
novinara. Uređivao je galerijske programe u Galeriji Remont i Galeriji
O3ONE, a od 2004. godine je stalno zaposlen kao urednik likovnog
programa SKC Beograd. Realizovao je niz međunarodnih izložbi,
prezentacija umetnika, i projekcija video radova i eksperimentalnih
filmova, od kojih je najznačajnija izložba održana u zgradi Secesije u
Beču, pod nazivom Belgrade Art Inc., 2004. godine.
22] Tu oligarhiju su vodila dva od tri glavna
dnevna lista: Politika i Novosti, javna televizija
TV Beograd, kasnije RTV Srbije.
23] Druga Srbija je bila fantazmatična ideja o
ujedinjenoj opozic iji Miloševiću, i isključivala je
sva druga rešenja za otpor.
24] Dadaistička šansona koja se izvodi na
akustičnoj gitari, na mnogim spontanim skupovima u ateljeu u Zemunu, u SKC-u, u Klubu
Akademija Može se besplatno skinuti sa njihovog bloga, kao i mnogi drugi proizvodi njihovih
aktivnosti.
49
Stevan vuković
Pessimism of the Intellect, Optimism of the Will
(Institutional Critique in Serbia and
its Lack of Organic References)
on the 21st of April 1975, as a poster, listing all art
profiteers, including various social parasites and
red bourgeoisie. Among others, it listed the following: “the factories that produce materials necessary to artists, the firms that sell materials necessary to artists, their workers, clerks, sales personnel, agents, etc... sales galleries and their staff,
non-profit galleries, gallery owners, gallery administration, gallery curators and their personal secretaries and friends, the subsidized gallery council,
the voluntary gallery council which collects money
because they are not paid... the photographer who
Cultural Confinement – Under the Rod
of the Forest Warden
One of the seminal, even though still under interpreted works of the Belgrade conceptual art in mid
seventies was Raša Todosijević’s Edinburgh statement, with a parallel title: Who makes a profit on art,
and who gains from it honestly1. It was published
1] In the same series, there was also a poster by
conditions and the results of its work. The title of
the book was Self-management and the Workers
Movement, and it comprised of three very extensive parts, the first being named Theoretical
Bases and Historical Experiences, the second one
Revolutionary Abolishment of Capitalism and
the third Socialism. As the editor of the book,
Miloš Nikolić has stressed himself, that it was a
kind of a response to the students movements
of 1968, both the May unrests in Paris and the
June unrests in Belgrade. In order to accomodate those demands put forward by active
leftist youth, the system had to come up with
solutions, one of them being the very foundation of SKC, a former police cultural center, to
be a Students Cultural Center for experiments
in art, as well as in various cultural and social
practices, and another, more ambitious, to produce theoretical and ideological bases for full
inclusion of allt the progressive and emancipatory groups into the decision making process
within the range of the present social system,
even if it would take considerable changes in
the manner the system was operating. Texts
from Marx to Gramsci, from Rosa Luxemburg
to Bakunin, and so on, were to help providing
with a set of tools to cope with that task, which
Tito himself, a life long president of the country, president of the League of Communists of
Yugoslavia and the supreme commander of the
Yugoslav Peoples Army, did put forward himself
in one of his speeches
Zoran Popović, artist from the same generation
and member of the same informal group of six
experimental artists, gathered around SKC Gallery and belonging to what Ješa Denegri has
called The Other Line. The title of that, also text
based poster, was For the Self-Management Art,
and it was advocating the politization of art
against red bourgeoisie and state bureaucracy,
which he has, in the aftermath of 1968 events,
considered as „the class enemy of the proletariat”. What is important to mention is that these
posters and the whole project of new political
art with experimental premises, for the society
in transition towards more horizontal manner
of self-management practices in all areas of social life, was conducted in SKC, under the directorship of Dunja Blažević, art historian, and former curator of the SKC Gallery, who has actually
connected these artists and fostered their collaboration. Two years before this project, which
was publicised in the frame of the October ’75
exhibition in SKC Gallery, an interesting textbook has appeared, printed by the Publishing
Center “Komunist” from Belgrade, presenting
a compilation of texts related to the struggle
against capitalist restoration and bureaucratic
and technocratic monopolies, with a goal to
overcome the fact that workers self-management was instituted in Yugoslavia by the League
of Communists, and find a way in which it can
get to be a really grass-root managed, and that
the working class would really appropriate the
50
shot pictures for the catalogue, the catalogue publisher, the catalogue editor, the printing firm responsible for printing the catalogue and invitations, the workers who set the print, bind the catalogue and the invitation... the insurance companies and their personnel, the night guards of museums, galleries, collections, and this and that type
of compilations or legacies, the organizers of symposia, meetings and art festivals... organizers
granting scholarships for study abroad which are
usually granted to the children of high government officials, to the children of the masked and
hidden bourgeoisie in socialism... camouflaged
ideologists, demagogues and reactionaries in institutions, schools of higher learning, universities
and academies who have a greater interest in
power and influence in the art world than in education and culture, which don’t offer any kind of
profit, and all those who shade their decadent,
dated, reactionary chauvinist and bourgeois models of art and culture with verbal liberalism, in order that they might attain positions outside of the
art world, outside of culture, thus being both
above and beyond art and culture....” It was about
two hundred items on the list, including the very
author of the text, with the explanation that “the
author wrote this text in order to profit from the
good and bad in art”.
Three decades later, the same text has appeared
as the appendix of a book titled Management of
Art in Turbulent Circumstances2, authored by Milena
Dragićević-Šešić and Sanjin Dragojević, university
lecturers and consultants in areas of cultural politics, cultural management and institutional upgrading to Council of Europe, UNESCO and European Cultural Foundation. It was printed in full
length, which is about ten pages, and was interpreted as showing the “multifaceted interdependency of involvements into the field of culture as a
basic question of its significance and the possibility of survival of all its visible and less visible
proponents”3. In other words, it was used as a plain
illustration of the holistic notion of the institutional structure, and the tactics of moving within it,
turning the artist’s argument against itself, stating
that if all these factors really do depend on the
symbolic and financial capital gathered in the arts,
then there is a functional system, so that the point
becomes only how to push it towards the Adaptable quality management, and get the most out of
what circulates among its constituent parts and
segments.
Using the words of Robert Smithson, from his essay written back in 19724, one can state that what
4] Smithson, R: The Writings of Robert Smithson,
edited by Nancy Holt, New York: New York University Press, 1979. That very text has been used
by artists themselves, and was later on published in Belgrade, under the title: “Omeđavanje
kulture”, within his selected papers edited by
Zoran Gavrić, and published by the Museum of
Contemporary Art in Belgrade, in 1983. Dejan
Sretenović, curator of Raša Todosijević’s retrospective exhibition in the same museum in
November-December 2002, also quotes from
that text, in relation to Raša’s use of objects and
situtations in a manner that tend to go beyond
representation, seeing that as related to Smithson’s statement, saying: “I am for art that takes
into account the direct effect of elements as
they exist from day to day apart from representation”. Sretenović, D: “Art as a Social Practice”,
cat. pref. to Thank You Raša Todosijević, MSUB,
November 2 – December 22, 2002, Belgrade:
MSUB, page 115
2] Dragićević-Šešić, M, and Dragojević, S:
Menadžment umetnosti u turbuletnim okolnostima, organizacioni pristup, Beograd: Clio, 2005,
pages 226 – 235. The book came out of several
years of their couching work in the field of creative industries in South-East Europe, Near and
Far East
3] Ibid, page 225
51
has happened to Raša Todosijević is a kind of cultural confinement – neutralization, rendering the
work to become “ineffective, abstracted, safe, and
politically lobotomized”, in order to be easily consumable and understandable, or, in this specific
case, flattening it down to a simple positive statement, almost a kind of a shopping list of institutional segments that make a system of art. According to Smithson, that task, which was in this case
performed by instructors of cultural management,
is of the warden curator, keeping art on a safe distance from the political, just like the forest warden
in Gramsci’s Prison Notebooks, where historical futurists were presented as “a group of small schoolboys who escaped from a Jesuit college, created a
small ruckus in the nearby woods, and were
brought back under the rod of the forest
warden”.5
the spaces that seemed as small autonomous
zones beyond the reach of dominant social and
cultural paradigms were actually recruitment centers for future leaders of the joint Yugoslav community. In the jargon of Lacanian terminology, it
was clear that “the structures of institutions are not
merely imposed on the otherwise freely existing
practices”, but that “all practices are always part of
some institutional structure beyond which no
practice, no critique, no speech is possible.” 6
In that sense, Todosijević’s act of listing himself
among the ones profiting from art by criticizing all
those that profit from it, points to a very interesting feature of his work that did open paths for the
next waves of local institutional critique. Namely,
his standpoint of active cynicism, as it was named
by Ješa Denegri,7 always makes a difference between the narrative subject and the subject of narration8, of which the most illustrative example
could be the text that makes part of his 1996 work,
featuring his self-portrait in a mocked Picasso style,
in a typical newspaper illustration type of setting,
saying: “No, madam, I am not a Serbian artist, I am
just part of the conceptual art piece called a Serbian Artist”9. Whatever he does in his work, he does
it giving up the sovereignty of the position of artist
as producer, a sole creative source of the work,
putting himself into the position of critically reflecting the desire of the system he got caught in.
Trasformismo as the
Local Institutional Logic
The whole issue is not specific to the present state
of affairs only. The institutional logic of the Socialist
Federal Republic of Yugoslavia, especially in the
sector that was playing the role of the civil society
(consisting, in the jargon of socialist self-management, of socio-political organizations and sociopolitical communities) was based on the principle
which Gramsci (borrowing from Croce) has called
trasformismo, whereby actual and potential leaders
and initiatives coming from the subordinate
groups were constantly being incorporated into
the dominant project, in order to prevent the formation of counter-hegemony. That counted for the
youth organizations, student organizations, unions
of artists, writers and other cultural producers, cultural communities based on common ethnic, religious and other grounds, and different self-organized sub cultural groups. Even the so called dissident intellectuals were in fact provided with ways
to be safe in their activities (without being sent to
some Gulag), for that was showing the difference
between the political system they were putting in
question and the proper Stalinist system.
In that very spirit, Pavle Ćosić, one of the Illegal
Confectioners, which is a group of cynical social
and media activists that have started acting on the
local scene in the last couple of years, claims that
since people in general believe into what they desire to be true, his and his group’s (Ivan Tobić, Aleksandar Belčević and Miloš Trajković being the
other members) role is to simply provide them
6] Kopjec, J: “Dossier on the Institutional De-
bate: An Introduction”, in Lacan, Jacques: Television: a Challenge to the Establishment, London
and New York: Norton, 1990, pages 49-50
7] Denegri, J, untitled text in Todosijević, R:
Great Southern Performances, cat. pref. Belgade:
SKC, January 1980, page 7
8] Which actually makes a difference within the
paradigm of Ar tPractice in First Person, described
by Ješa Denegri in the catalogue preface to the
exhibition titled New Art in Serbia 1970-1980,
held in MSUB, Museum of Contemporary Art
Zagreb, and the Art Gallery in Priština, in 1983
9] That work was reproduced in the catalogue
of his retrospective exhibition in MCAB , on the
page 19
In the times of former Yugoslavia, there was no
outside of the system. All initiatives were appropriated, sooner or later, by official institutions, and
5] Gramsci, A: Prison Notebooks, trans. Joseph A.
Buttigieg and Antonio Callari, ed. Buttigieg, 5
vols., New York, 1992– , 1:211
52
with what they desire. Namely, their first intervention was materialized as a widely distributed image of a letter scanned from the local youth magazine with a long tradition, named Politikin Zabavnik
in which a twelve year old boy asks how he could
manage to stop growing, because he is already too
tall for his age. The point was in that the signature
under the letter was changed into the one of Vlade
Divac, basketball player of Serbian origin at the
time playing at NBA, who was publicly presented
as a kind of a natural born player. In the next intervention it was the US Embassy that was targeted,
by fake news, which got distributed via BBC, CNN,
the Independent, and Observer, to many distant
parts of the globe. The news were on the café-bar
titled Osama, which would in Serbian mean just
simply Lonesomeness, as being closed upon the
intervention of US Embassy authorities, for the
reasons of suspicion that it has to do something
with the first name of Bin Laden. Next news, a big
hit in Croatia, was about the alleged fake Croatian
car license plates, sold to Serbian tourists using
their cars to travel to Croatian costs, for keeping
their vehicles safe...
(3) They ideologically legitimate the norms of the
world order;
(4) They co-opt the elites from peripheral countries
and;
(5) They absorb counter-hegemonic ideas.10
Namely, in late 1980s and 1990s, the civil society
has in general emerged as the prime target in
policy agendas of the major lenders and development agencies, allegedly just in order to enable
pluralism and democratic political choice, but in
fact to scrutinize what was seen as errant governments, and ultimately lead to regularized type of
democracy, with inevitable neoliberal economic
policies. It is still that the recent, 2002 World Development Report of the World Bank, bearing the title
of Building Institutions for Markets, was concerned
with institution-building and ‘good governance’,
which would mean creation, protection, and enforcement of property rights, promoting competition, eliminating corruption, and using the powers
of the civil sector to support the legitimacy of the
public institutions that support markets.11
Specifically in the region of former Yugoslavia, a
vast number of nongovernmental organizations
(NGOs) and grassroots organizations (GROs) were
supported if showing commitment to the promotion of liberal democracy and economic liberalism.
Radio, and, later on Television B92, which not only
came out of that sector, but was at it’s early times,
at the beginning of 1990s, even seen by many as a
kind of an organic intellectual of the urban Belgrade youth in it’s protests against the hegemonic
elite, was later on severely compromised as levels
and proportions of financial aid to regional electronic media, channeled through it, did increase,
putting it into the position of a profitable company, and a regional leader in media business.
These and other fake news were distributed from
the fake B92 blog site (www.be92.mojblog.co.yu),
in a wishful form without donor control and without censorship such as the one existing on the
‘real’ B92 site. When prevented to act on the B92
blog, closed for messages questioning the values
of the civil society or legitimacy of international
institutions such as The Hague Tribunal, they simply made an improved one.
Donor Interventions into the
Civil Society and the New Hegemony
The difference in the context of acting of artists of
a generation of Todosijević and the one of the Illegal Confectioners is in the abandonment of the
idea of a welfare state, sovereign and self sustainable, so the situation the later were acting from
was significantly influenced by the aggressive
presence of different international institutions
which have taken upon themselves the role of the
former state institutions, in dominating the civil
sector. As Cox has argued, their hegemonic influence is based on following things:
(1) They embody the rules which facilitate the expansion of hegemonic world orders;
(2) They are themselves the product of the hegemonic world order;
On the other hand, what emerged in early 1990s,
out of protest towards the existing institutional
frame, as the so-called Belgrade independent art
community, mainly based on personal and collective human and material resourcing, was soon re10] Cox, R: “Gramsci, hegemony and interna-
tional relations: an essay in method” in Gill
S. (ed.): Gramsci, Hegemony and International
Relations, Cambridge: Cambridge University
Press, 1993, page 62
11] World Bank 2002: World Development Report 2002: Building Institutions for Markets, New
York: OUP, page 99
53
cuperated by the local Soros Center for Contemporary Art, as the major articulating force in the nongovernmental sector in visual arts, and B92, as the
executive producer of all the events in exhibition
format and publications in printed format made by
local SCCA funds in domain of the visual arts. If we
add the fact that B92 was also the major media
sponsor of those art events, one can easily understand that when it got transformed into a private
company, it took hostage the discourse of the independent art scene, cleansing it fully from the contents and approaches not fitted to its ideology.
regularity of (social) behavior”13, so that those
places and events come to be seen as only the material remains of their instituting practices. On the
other hand, besides their generative potential, the
institutions also include “any form of constraint
that human beings devise to shape human
interaction”14. But, whether they are seen more as
the endogenously-appearing and self-enforcing
or as exogenously given constraints on behavior,
and whether they operate from the public sector,
the private sector or the civil society, they determine and enforce the modality of governance.
Appearing after the slow withdrawal of the Soros
funds and the shift of the cultural policies in Serbia, mainly toward incorporation of the former
NGO sector into the public administration (the
most striking example of that being a collective
transfer of staff from SCCA to the Museum of Contemporary Art), the Illegal Confectioners did neither
build their strategies of critique in relation to the
(barely existing) local art system (as it was the case
with Todosijević), nor in relation to the state administration as corrupted by the ethno-nationalist
ideologies (as the artists from the nineties did).
Their main target of criticism was the complete
dominance of the anesthetized and fully depoliticized urban culture, as promoted by B92, which is
currently, for instance, the local producer of the Big
Brother reality show. Namely, B92 appeared to
them as setting up the rules that impose models
of social behavior and interactions in local urban
culture by providing/producing the “information
about how [acculturated] people are expected to
act in particular situations”, structuring cultural
choices of the youth and instituting the manners
of being “recognized by those who are members
of the relevant group as the rules to which others
conform in these situations”.12
The agenda for making Serbia into a liberal-democratic society, that defines freedom, efficiency,
justice and affluence as core social values, had also
as one of the transitory aims to destroy all the basic
values, beliefs, and social norms of the former socialist state15. That process went both on the level
of changes in the internal governance of first nongovernmental, then also governmental organizations, and on the level of overall societal change.
As “the social world presents itself to us, primarily,
as a sedimented ensemble of social practices accepted at face value, without questioning the
founding acts of their institution”16, the social
world of state socialism was also not considered so
much in its instituting aspect. The effect of this lack
of consideration was that it’s emancipatory aspects
were neglected and that it was not taken into account that if freedom is being defined as a freedom
from public constraints, if the notion of efficiency
is entrepreneurial, if the pursue of the value of justice is related to ethnic conflicts management
mainly, and affluence valued for itself, out of social
context, quite some parts of population will be
quite underprivileged and limited by the unbalanced level of their social and physical abilities.
That setting of that agenda was done by the po-
Politics of Repair or Redress
13] Avner, G: Institutions and the Path to the
Modern Economy. Cambridge University Press,
2006, page 30
14] North , D: Institutions, Institutional Change
and Economic Performance, Cambridge: Cambridge University Press, 1990, page 3
15] Those were exemplified in political slogans
such as: “brotherhood and unity”, “socialist selfmanagement”, “non-aligned foreign politics”,
and “sovereignty and unchangeable nature of
the external borders of the state”
16] Laclau, E: “Introduction’, in Laclau, E. (ed.):
The Making of Political Identities, London: Verso,
1994, page. 3
In what is usually called the Institutional critique in
visual arts, the institutions are mainly considered
as exhibition places such as museums and galleries, or exhibition events, such as festivals and biennials. But, in a more general field, the term institution can be associated to “a system of rules, beliefs,
norms and organizations that together generate a
12] Knight, J; Institutions and Social Conflict,
Cambridge: Cambridge University Press, 1992,
page 54
54
litical scientists and economists in the region, who
were, in the period from right after 1989, as Erich
W. Streissler stresses, strongly “inspired by the earliest critics of socialism, Ludwig von Mises and
Friedrich von Hayek, who believed that “socialism
really should never have gotten “ off the ground
for it should have failed from the start”.17 Most of
these political scientists and economists from the
region who were sharing secular, non-nationalist
viewpoints, were invited to the boards of those the
foundations which have started investing into the
region, under the flagship of a vision that presented the civil society as an autonomous realm of associational life, independent of the state influence,
in which all various interests of the social groups
neglected in the time of state socialism could be
pursued in a free manner. The major task for the
NGOs was to provide the institutional framework
for that, and so they have become the privileged
civil society actors in terms of democracy assistance.
states of Europe.”18 This equilibrium, disturbed at
the time when the political empires on the territory of Europe were getting Balkanized, was regained as the effect of the so-called “new Balkan
war” by the end of the century. As the system of
state socialism was getting destroyed these empires got re-established in the economic sense,
while the former Yugoslav state got Balkanized.
Organic Intellectuals Without
Any Organic Point of Reference
Stuart Hall wrote a while ago some lines that could
be as well used to describe the position of some
actors in the realm of critical cultural production
in Serbia in the last fifteen years. “We were trying
to find an institutional practice … that might produce an organic intellectual”, he reflected on the
time of 1970’s, “we were organic intellectuals without any organic point of reference … we were prepared to imagine or model or simulate such a relationship in its absence: ‘pessimism of the intellect, optimism of the will’.19
That was in the strongest manner present in the
handling of the civil sector in the states that were
(and some still are) in the process of formation on
the territory of former Yugoslavia. Since a bloody
war was going on there through the last decade,
the civil sector, especially the one in the domain of
culture, was supported from the international donors mainly for getting involved in the whole
range of activities that were pursuing a kind of a
politics of repair or redress. They were supposed
to provide the injured with a symbolic shelter,
demonstrating thereby both the inability of the
state institutions to do that, and also the values of
cultural humanitarianism in the liberal West. By the
end of the war, most of these agents from the
civil sector actually got merged with the state institutions, or have simply turned to be companies.
The most logical and expected instituting practice,
aimed at forming the organic intellectual for all
those who were showing dissent to policies of new
political parties in Serbia at the very beginning of
the war and the final dissolution of the Yugoslav
state was the establishment of the Center for Antiwar Action. It took place on the 15th of July 1991,
when a number of alternative organizations, as
they were locally called at the time, have established an institutional frame that was supposed to
represent “all those who did not want part in the
war”20. The list of the organizations was the following: European Movement in Yugoslavia, Union of
Yugoslav Democratic Initiatives, Women’s Parliament, Women’s Party, Helsinki Committee in Yugo-
“The Balkan war has not only destroyed the old
frontiers in the Balkans,” wrote Leon Trotsky in
March 1913, at the time a war correspondent on
the Balkan front, adding that “it has also lastingly
disturbed the equilibrium between the capitalist
18] Trotsky, L: The Balkan Wars 1912-13, New
York: Monad Press, 1980, page 314
19] Hall, S: “Cultural Studies and its Theoretical
Legacies,” in: Grossberg, L, Nelson, C, and Treichler, P. (eds.): Cultural Studies, London: Routledge, 1992, page 281
20] Both the Milošević’s power block and the
so called United Opposition, run by the Serbian
Renewal Movement and the Democratic Party,
were involved in political mobilization for the
war in former Yugoslavia, and that was the reason for other political forces to stay out of party
politics
17] Streissler, E.W: “What kind of economic lib-
eralism may we expect in ‘Eastern’ Europe’?”
East European Politics and Societies, No, 5, 199
1, page 197
55
magazine has published a booklet titled Serbian
Populism – from Marginal to Dominant Phenomenon, in which he exclusively linked that phenomenon with the domain of right wing politics and
folkloric culture (spring 1993), B92 started with the
Urbazona project, that, using funds from the Soros
(Open Society) Foundation, mobilized urban youth
through different popular cultural actions in various venues, gaining positive feed-back even from
the oppositional political parties, and getting a
chance to get Rex, a former Jewish Community
Center for actions of a kind. A bit later, in 1995, the
Belgrade Circle also got a space like that, naming it
Center for Cultural Decontamination, but, reduced
to mainly to elitist culture, it never acquires such
an influence.
By the time of the massive civic protests in Belgrade, in 1996, B92 was considered as the voice of
the rebellious urban people of the city of Belgrade,
then for several years run by the anti-Milosevic
coalition of the so called oppositional political parties. It has established a video production, organized massive rave parties, and became the executive producer for all the exhibition projects of the
local Soros Center for Contemporary Art, and, during the protest which has mobilized up to 700.000
people at the time, after being forcibly cut from
the air on December the 3rd, it became the dominant non-governmental electronic media, soon to
become a leader in the regional electronic broadcasting, and a privately owned company.
URBAZONA, Akcija No. 7
slavia, Helsinki Parliament of Citizens and the Forum
for Ethnic Relations. It also provided space for cultural activists, by initiating, in about a year after it
was founded, the first of a number of anti-war cultural events, which was a concert titled: Don’t
count on us. The event was coproduced by the Independent Radio B92, which has slowly taken over
that representative role, being supported by urban
youth, and a large number of students during the
student’s protests in 1991 and 1992.
As the elements of the new civil society in Serbia
of 1990s were getting to be formed in the framework fully contaminated by the neoliberal political
imaginary, most of the cultural workers that were
still sharing some radically emancipatory ideas
were in a way feeling more and more isolated from
the actually existing institutional practices. It has
proven right in most of the cases, for most of the
NGOs became companies, such as, for instance,
the Belgrade Circle, that now functions as a publishing house, changing the way of signing its
magazine, as a publisher, from: “The Belgrade Circle: journal of the non-governmental and nonprofit organization The Belgrade Circle” (No 0/1994)
to: “Belgrade Circle: Journal of the nongovernmental, nonprofit and nonpolitical organization The
Belgrade Circle” (No 1-4/2003).
In difference to, for instance, the Republika magazine, or the Belgrade Circle Magazine, and the Belgrade Circle of Intellectuals, as the founding body
of the magazine and the initiator of debates over
social and political questions at the time, which
were oriented mainly towards non-nationalist intellectual elites that have stayed in the country
during the war (which were almost insignificant in
numbers), B92 has, from the very start, deployed
different populist strategies, which has proven to
be more than successful. In the times when one of
the leading members of the board of the Republika
56
I Love You as I Love B92
ond Serbia23, waiting for the present system to get
into the organic crisis, quite assisted by foreign
military, economical and diplomatic preassure, to
simply take over whatever could be taken over.
The profile of cultural producers fostered by B92,
from the very beginning, is easily graspable
through the description of one of the (group) participants in a series of exhibitions installed onto
the wall of the office shared by Radio B92’s at the
time (the exhibition went on from 1994 to 1996)
editor-in-chief Veran Matić and director Saša
Mirković, by Darka Radosavljević, who run most
of the visual art projects for B92 in 1990s. In the
text on the Bumpkins in Pudding, Dark a
Radosavljević writes that they form a group “made
of young men who grew up in the very center of
the city… they are regular visitors of the Cinematheque, classical music concerts, Kalemegdan
park, and are familiar with the very urban secrets
of Dorćol”.21
The constant presence and influence of the B92
production was establishing a cultural paradigm
that was and is still used as a tool for the culturalization and aesthetization, or even the anesthetization of public dissent. Therefore, the following
generations of activists in the field of art and culture, such as the Illegal Confectioners, kept targeting B92 as the policing force which constantly
stands on the way of activities that really put into
question the local cultural, social and political status quo. Therefore, the cynical lines of one of the
songs performed by Tobićtobić from the Illegal
Confectioners (I Love You as I Love B92)24 in fact
critically reflects a commandment of the system,
prescribing a definite model of urban culture (the
one exclusively distributed by B92) carrying in itself the promise of a fix, non-problematic urban
identity.
In other words, these nice urban youngsters already, by their origin and social habits, had cultural competences to qualify them to get into the
field of production that would then be distributed
via the powerful B92 network to whoever wants
to become acculturated that way. There is nothing
further from the Rancierian emancipatory project
on the archives of the proletarian dream, putting
forward dreams and thoughts of men and women
who attempted to conceptualize in theory, or express in literary works, the moral, intellectual, social, aesthetic, and political experiences of the
exploited, being both renegades of their own proletarian class, and transgressors into occupations
which were reserved for the bourgeois.
The Emotional Function of Independent Media,
which is the title of a chapter in Eric D. Gordy’s
book The Culture of Power in Serbia, published in
1996, unintentionally shows the conservatism of
emotions, which got quite some of the opponents
to Milošević led power block to libidinally attach
to the media such as B92: “more than the information these media offered, members of the audience wanted the feeling of having access to a
variety of sources”25. Many of them simply were
striving to be in a position to show their taste in
music or preferences in media appearance, and
B92 was so much more appealing, selling a more
up to date lifestyle. It gave to its audience a sense
of distinction, of being non-local, non-parochial,
and of not belonging to the average. But even
There is also nothing as distant as the B92 cultural
production both to the sphere of experience of
the working class, or the sphere of experience of
youth not concentrated in urban city centers. In
fact, the policy of B92 was never related to the
production of solidarity links or chains of equivalences between the marginalized groups, but
building a system parallel to the one of the oligarchy around Milošević22, in a manner that was mirroring their strategies. B92 simply got into the
power block that was going for the so called Sec-
23] Second serbia was the phantasmatic idea
of the united opposition to the hegemony of
Milošević, and exclusion of all other solutions
that that
24] Dadaist chanson performed on the acoustic guitar, on many spontaneous gatherings
in a studio of a friend artist, at SKC, and at the
club of the Academy of Fine Arts. It is downloadable for free from their weblog, and also from
his weblog, as most of other products of their
activities
25] Gordy, E. D: The Culture of Power in Serbia,
University Park, PA: The Pennsylvania State University Press, 1996, page 99
21] Radosavljević, D: A Look at the Wall, 1994
-1996, Artists and Critics, pref cat, Belgrade: B92,
1996, page 22
22] That oligarchy was running two of three
major daily newspapers: Politika and Novosti,
and the public television TV Belgrade, later TV
Serbia
57
that is now gone. It is simply a commercial media
house that is showing sitcoms and quizzes, reality
shows and MTV type of music videos. It is only that
the ones who did participate in its privatization
have no financial problems in their personal lives.
On the other hand, they still, from time to time, go
to conferences to talk about the brave old days of
civic struggles. That is, probably, how capitalism
works. The question is how could we envision a
different system?
Stevan Vuković
Born in 1968, in Serbia. Studied philosophy and art history.
Graduated from the Belgrade Faculty of Philosophy. Attended
postgraduate studies in the Theory of Art at the Jan van Eyck
Akademie in Maastricht, at Bauhaus in Desau and at the Amsterdam
School for Cultural Analysis. Since 1992 has been working as a
freelance curator, critic and art theoretician. Winner of the award
“Lazar Trifunović” for the best text on art published in the territory
of Yugoslavia in 1998, as well as awards by the Association of Art
Historians for the best realized exhibition in Serbia in 2002. He is
a member of international associations of art critics (AICA) and
curators of contemporary art (IKT), as well as the local (NUNS) and
international (IAS) associations of journalists. He edited gallery
programmes in the Gallery Remont and Gallery O3ONE, and since
2004 he has been a fulltime editor of the art programme of the
Students’ Cultural Centre of Belgrade. He realized a number of
international exhibitions, presentations of artists and showings
of video works and experimental films, out of which the most
important is the exhibitions that took place in the Secession
Building in Vienna, under the title of Belgrade Art Inc., in 2004.
58
Stevan vuković
Rad za svakoga i ni za koga
– o jednom umetničkom eksperimentu u medijskom polju
gama, obećavala je nešto drugo od završetka u
samo još jednom članku, istog tipa u istom časopisu, koji je samo ukazao na i izložio ogoljeni medijski format u kome su se i sve dotadašnje informacije o ovoj saradnji i vezi pojavljivale u javnosti.
Prvog oktobra 2005, na otvaranju beogradskog
Oktobarskog salona, naznačajnijeg lokalnog mejnstrim umetničkog događaja, desio se incident, koji
je odmah ’normalizovan’ time što mu je dodeljena
specijalna nagrada žirija. Njegov učinak je amortizovan time što je sveden na inventivan način predstavljanja umetničkog rada, iako je, u stvari, dobar
deo publike, i to kako profesionalne, tako i opšte,
uključujući čak i neke od osoba koje su bile uključene u samu organizaciju Salona, bio krajnje neodlučan da li da poveruje u tako nešto, ili da prosto to
što je zatečeno na mestu rada shvati kao marketinški dobro odrađeno pokriće za propali umetnički projekat. Stvar je bila u tome da, iako je stav kustosa o principima selekcije radova bio jasno definisan kao usmeren ka onima koji deluju u „međuprostoru koji se javlja u dihotomijama tipa: auratično – kič, elitno – popularno, ti – ja, teorija – praksa...”
i insistirao je na jednostavnosti njihovog dejstva,
puki čin bacanja na pod galerije oko hiljadu primeraka lokalnog izdanja glavnog regionalnog senzacionalistički usmerenog tabloida, koji je u sebi sadržao članak o razlazu između dvoje umetnika koji
su bili uključeni u projekat, i to u prostoru, u kome
je njihova zajednička instalacija trebalo da bude
predstavljena, nije zadovoljio mnoge od njih.
Očekivana je još jedna simplifikovana ilustracija
dominantnog političkog narativa o ’istini i pomirenju’, ovog puta relizovana u formatu kvazi dokumentarnog multimedijalnog umetničkog projekta
sa dubokim introspektivnim sadržajem koji kod
posmatrača izaziva empatiju, te i napad savesti i
moralnih osećanja putem neposrednog ispovednog načina izražavanja. Drama nemogućeg odnosa između dvoje umetnika, uhvaćenih u zamke
njihovih društvenih pripadnosti i orjentacija, mogla je biti uzdignuta u metaforu žrtve politike identiteta, vođene od strane društvenih grupa kojima
oni pripadaju, usred sporog i bolnog transformativnog procesa ka integraciji u civilno društvo zasnovano na poštovanju razlika. Tako bi se katarzičan efekat postigao, i ovo dvoje umetnika bi nam
pomoglo da speremo sa sebe neke traumatske
ostatke neželjene prošlosti.
Strateško predstavljanje pripremne faze ovog projekta je čak stvorilo svojevrsnu ’narativnu nužnost’
za čisto razrešenje cele stvari, izvan polja medija u
kome je inicirana, tako da je rutinska interpretativna aktivnost posmatrača koji su imali neke osnovne informacije o ovim umetnicima i samom projektu bila prilično poremećena karakterom samog
otvaranja i činjenicom da je krajnji proizvod projekta ostao u polju medija. Posle tri članka u časopisu ‘Svet’, sledio je još jedan, istog tipa, i primerci
tog broja su činili instalaciju u galerijskom prostoru, te još jedan, već peti i konačni, u kome se izveštavalo o tom događaju na otvaranju. I to je bilo
sve. Poenta rada je bila upravo u tome da nikada
ne napusti polje medija, već da pokaže kako ono
prožima polje kulture, koje je manje ili više konstantno podložno uticaju i izloženo dejstvu diskur-
To sve baš i nije odgovaralo predstavi koja se već
stvorila o mogućim modalitetima dugo očekivanog razrešenja dramatičnog toka ’slučaja’, konstruisanog putem tri uzastopna članka u časopisu,
objavljena u formatu ’priče o poznatim ličnostima’,
i vizuelno dopunjena paparaco fotografijama. Ova
žanrovski perfektno razvijena tema šokantne ljubavne afere između već sredovečnog i oženjenog
srpskog slikara, glumca, radio voditelja i posvećenog fudbalskog navijača, koji je čak svojevremeno
bio optuživan za koketiranje sa izvesnim kulturnim
krugovima koji dele nacionalističke stavove, i mlade perspektivne bosanske umetnice, nekadašnje
manekenke, koja je svoje tinejdžerske dane provela u Sarajevu okruženom srpskim paravojnim sna59
sa, vrednosti, logike, sistema značenja i oblika kapitala koji su vezani za ili proizilaze iz polja biznisa,
politike i medija. Ovaj rad je bio konstituisan kao
čisto medijski fenomen, zahtevajući određenu medijsku pismenost da bi se razumeo, ali ta medijska
pismenost je samo praktična sposobnost, koja je
porediva sa ‘osećajem za igru’ nekoga ko se bavi
sportom, a koja mu omogućava da razlikuje različite sisteme pravila čije poznavanje nekoga kvalifikuje da se u datu igru aktivno uključi, dakle ne
samo kao pasivni posmatrač, nego kao neko ko i
sam može da tu igru igra na nekom nivou.
detalne uloge autora kao nekoga ko tu priču zapravo osmišljava.
U tom smislu, i u ovom radu je Đurić u kooperaciji
s Kamerićevom koristio format stranice tabloida na
način na koji je koristio format platna u svojim ranim radovima, kao u slučaju njegove prve široko
poznate slike nazvane „Dva najveća srpska slikara
u brišućem letu“. Naime, on te formate koristi kao
ekran na koji projektuje specifičan režim figuralnih
slika, koje potom izvode priču sa njegovim likom,
svedenim na nivo karaktera, kao protagonistom, i
ta se priča uvek vezuje za društvene pozicije i hijerarhije, kao i stereotipe identiteta onih koji te pozicije zauzimaju i ostvaruju svoje mesto u datim
hijerarhijama. Razlika dva navedena slučaja je
samo u tome da je u ovom drugom publika kojoj
je omogućen pristup radu mnogo šira i mnogo
raznovrsnija od one koja bi mogla na bilo koji način da se privuče radom galerijskog formata i u
prostoru koji je namenjen predstavljanju kulture.
U tom smislu, ovaj rad je istovremneo za svakoga
i ni za koga. On je, na neki način, neposredno izveden iz Populističkog projekta Uroša Đurića, koji se
bavio mehanizmima plasiranja ličnih fotografija u
polje javnosti i različitim medijskim formama koje
to obično omogućuju, i to je sve u isti mah bilo
čitljivo vrlo širokoj populaciji, i sasvim nečitljivo
čak i profesionalcima u polju umetnosti. Razlog za
to leži u činjenici da je vrlo lako uvideti pozicije
koje Uroš Đurić zauzima u polju kulturne i medijske produkcije, ali je potrebno mnogo više da bi se
shvatio način na koji se on sa tim pozicijama poigrava, koristeći stereotipe za koji se te pozicije, i
njega lično, vezuju da bi proizveo narative o složenoj mreži odnosa između društvenog, medijskog
i ekonomskog kapitala, da bi ponudio veoma snažne stavove o aktuelnom položaju umetnika kao
proizvođača u raljama savremenog neoliberalnog
društva, koje ga tretira kao socijalni i medijski fenomen, a ne kao autora koji proizvodi društvene
vrednosti.
Izbor tabloida u kome je rad realizovan je takođe
vrlo precizno izvršen, uzimajući u obzir njegovu
istoriju, koja reflektuje sve bitne elemente priče o
promeni uloge medija u Srbiji tokom poslednjih
par decenija. Časopis „Svet” je nasledio jedan od
značajnih studentskih časopisa iz doba državnog
socijalizma, kada su ti časopisi bili ključni akteri
obrazovanja stavova među mlađom intelektualnom populacijom. Bili su istovremeno kanali za
uvođenje raznih potkulturnih tema i političkih diskursa koji su često bili veoma radikalni u emancipatorskom smislu, a, sa druge strane, ti isti časopisi su služili za regrutovanje kadrova za buduće
mlade društvene rukovodioce. Sa kolapsom društvenih hijerarhija državnog socijalzma, i preuzimanja studentskih i omladinskih medija od strane
novih promiloševićevskih političkih struktura, ovaj
časopis se odvojio od zvanične strudentske organizacije i počeo da traži sebi mesto na medijskom
tržištu. Da bi se dobro prodao, promenio je profil i
počeo da promoviše proizvode novih kulturnih i
medijskih industrija, objavljuje paparaco fotografije i tabloidne priče o životima pop, folk i sportskih
zvezda, medijskih ličnosti, novobogataša i uticajnih političara i javnih službenika. Veoma brzo je
akumulisao neverovatan broj stalnih čitalaca i izrastao u medijski gigant, kompaniju koja sada objavljuje 84 časopisa, među kojima je i nemački tinejdžrski časopis „Bravo”, koji je u nelicenciranom,
originalnom nemačkom izdanju bio u doba postojanja gvozdene zavese osnovni kanal prodiranja
zapadne popularne kulture na istok Evrope.
Radovi Uroša Đurića i Šejle Kamerić, nastali u ovom
okviru, izvedeni su iz refleksije na objektivne istorije rada u području kulture i medija, otelotvorene
kroz sisteme, organizacije, kodove i hijerarhije koje
ih strukturišu, a koji su njima kao medijskim i kuturnim radnicima poznati, kao i na one istorije koje
su u nešto ličnijem smislu inkorporirane u habituse ljudi iz tih polja, kao lične sklonosti ka, kako je
to Burdije pisao, određenom tipu „osećanja, opažanja, mišljenja, delovanja, shodno modelima koji
su interiorizovani tokom različitih procesa socijalizacije.” Delovi ovih istorija se ponovo uvode u naraciju koja koristi sliku i karakter samog autora, kao
nosioca priče. Upotreba slike i karaktera autora
(umetnika) je pritom zasnovana krajnje pragmatičnim razlozima , to jest time da je lako moguće koristiti poverenje publike ka pričama u prvom licu,
tako da je uvek na delu neka vrsta spontane konfuzije između lika autora kao dela priče i transcen60
sanskom umetnicom, bivšom manekenkom, čija je
vidljivost u javnom i medijskom polju Sarajeva i
Bosne gotovo istovetna Đurićevoj u Srbiji.
„Svet” je ultimativni lokalni tabloid, i to ne samo u
Srbiji. On takođe ima i crnogorsko, bosansko-hercegovačko i makedonsko izdanje, koji u nekom
delu sadržaja bivaju prilagođeni i jezički izmenjeni,
ali imaju istu ulogu na lokalnom polju medija. Uroš
Đurić kao javna ličnost i njegov lik su bili prilično
prisutni na stranicama svih ovih edicija, uglavnom
zbog njegovih uloga u filmovima koji su dostigli
neverovatnu popularnost među mladim ljudima
tokom devedesetih i kasnije. Stoga, sa jedne strane, njegov lik nije bio nepoznat čitaocima, dalje,
sam način na koji je projekat bio planiran da se
realizuje je odgovarao predstavnom formatu časopisa, i, konačno, Đurić je imao otvoreni pristup
redakciji, koja je mogla da odobri tako neku stvar
kao formalu saradnju sa umetnikom i oficijelnom
umetničkom institucijom kao što je to Oktobarski
salon, u realizaciji ovog rada. Stereotipna medijska
slika o Urošu kao čvrstom urbanom momku koji
voli da se eksponira činila je sasvim prirodnim da
se priča upakuje na način na koji je bila upakovana, i zapravo, njeno objavljivanje je bilo medijski
uspešno i u vrlo uskom smislu u kome je uspelo da
privuče pažnju obične publike putem afere o srpskoj filmskoj zvezdi koja ima vezu sa mladom bo-
Sa stanovišta primerenosti mediju izvođenja, ovo
nije bio projekat koji je naprosto veštački ubačen
u prostor popularnih medija, već vrlo suptilna intervencija u tačci sažimanja predstavnih prostora
za kulturne, simboličke i ekonomske vrednosti u
svim javnim medijima, ne samo onim populističkim. Ništa tu nije razvodnjeno u moralnu pouku o
ulozi medija u našim životima. Nema tu jasnog
metanarativa koji sve razrešava, već je u igri demonstracija načina da se onaj segment javne sfere
kojim dominiraju mediji iskoristi kao medijum za
eksperimente u kontekstulano zasnovanoj umetnosti. A to je daleko od sigurnog za autore. Budući
da je u pitanju narativ u prvom licu, u kome su oni
likom bili predstavljeni na prepoznatljiv način, i
uzimajući u obzir broj primeraka časopisa, uz dodatne medijske komentare, na njih na svakom
ćošku vreba neko ko će ih tretirati shodno datoj
medijski plasiranoj priči. I tu nema načina da se
zaštite tako što bi se sakrivali iza stava da je to
samo umetnost.
61
Stevan vuković
A Work for Everyone and Noone
– On An Art Experiment in the Media Field
On the first of October 2005, at the opening of the
Belgrade October Salon, as the major local main
stream art event, there was an incident, which was
immediately ‘normalized’ by getting a special price
of the jury. It was pacified into something that was
to be perceived just as an inventive manner of presenting an artwork, yet quite some part of the audience, both professional and general, including
even some of the people involved in the very process of organizing the Salon, could not decide if
they would really go for that, or just consider what
they have encountered as a well marketed cover
up for a failed art project. The issue was in that,
even the curatorial statement did make clear that
the basis for the selection of works was grounded
in “the space in-between which occurs in the dichotomies of the following types: auratic-kitch,
elitist-popular, you-I, theory-practice… “, and has
insisted on the simplicity of their impact, the simple act of throwing about a thousand copies of the
local edition of the major regional sensationalist
tabloid, the issue containing an article on the personal and professional split between the two artists involved in the project, onto the floor of the
very room dedicated to the presentation of their
joint installation, just couldn’t satisfy quite some
of them.
ies, was promising an ending different from just
another journalistic article in the same magazine,
a pure exposure of the media format in which the
first info’s on that case did appear.
What was generally expected was another blunt
illustration of the dominant ‘truth and reconciliation’ political narrative, only this time in the format
of a quasi-documentary multimedia art project
with deep introspective content that reaches for
the viewers empathy, conscience and moral feelings through its direct confessionary mode of expression. The drama of the impossible relation
between two artists, caught in the traps of their
social belongings and affiliations, could have been
elevated into a metaphor of the victims of identity politics of the respective social groups they
belong to, in the slow and painful transformation
process towards being integrated into a civil society based on a respect of differences. In that manner, the cathartic effect would be accomplished,
and these two artists would help us washing away
some traumatic remnants of the past.
The strategic presentation of the preparatory
phase of the project has even created a specific
‘narrative necessity’ for a clear resolution of the
whole issue, outside the media field, in which it
was initiated, so that the routine interpretative
activity of the viewers in possession of some basic
info on the artists and the project was quite challenged when both the very opening event and the
final installment of the work came to be contained
within the media field. After three articles in the
‘Svet’ magazine, there was another, of the same
kind, published in the issue whose copies made
the installation in the gallery space, and then the
final, fifth one, reporting on it, after the event. That
was all. The point of the work was in fact that it
would never leave the media field, but show how
it traverses and dominates the cultural field, which
is being influenced by, and exposed to, in more or
All that did significantly diverge from the possible
modalities of the long expected resolution of the
dramatic plot of the ’case’, constructed in the
course of three consecutive magazine articles, in
the format of a ’celebrity story’ visually supplemented with paparazzo photographs. This genre
of presenting the subject of a shocking love affair
between an already middle aged and married Serbian painter, actor, DJ and dedicated football fan,
who was even at the times accused for affiliating
with the cultural circles sharing certain nationalist
attitudes, and a young upcoming Bosnian artist,
former fashion model, who has spent her teenage
years in Sarajevo, surrounded by Serb paramilitar62
less constant manner, the discourses, values, logics,
meaning systems and forms of capital associated
with or emanating from the fields of business, government and the media. The work constituted itself
just as a media phenomenon, requiring certain
media literacy, which is, in fact, a specific practical
sense, comparable to a sportsperson’s ‘feel for the
game’, that makes possible discriminating between
the various systems of rules that qualify someone
to start up an active relation of the work, deciphering it in a writerly, not just readerly mode.
narrator, reflected within the story, with his transcendental role.
In that sense, also in this work, Đurić, in cooperation
with Kamerić, was simply using the format of the
tabloid page in the same manner he would use the
format of a canvas at his early works, as in the case
of his first well known painting titled “The Two
Greatest Serbian Painters in Looping”. Namely, he
was using it as a kind of a screen upon which he
would project a specific regime of figural images,
that would tell a story with his own character as a
protagonist, and this story would always have to
deal with social positions and hierarchies, and stereotypes on the identities of the ones that take
those positions and occupy respective places within the given hierarchies. Only this time the audience
was wider and much more diverse than the one he
could ever address by the use of gallery type of
works and the media space that is usually reserved
for the presentation of actual cultural issues.
In that sense, this work is both for everyone and
for no one. It was, in a way, directly derived from
Uroš Đurić’s Populist Project, that was dealing with
mechanisms of popular placements of personal
images into the public realm, and different types
of mediatic devices that generally enable it, and
that appeared to be readable, on one level, by a
very wide audience, and, on another, almost unreadable even by the art professionals. The reason
for that lies in the fact that it is very easy to see,
judge and comment the positions Uroš Đurić takes
as an author presents both in the field of cultural
and that of media production, but it takes much
more to figure out the manner in which he then
plays with those positions, using the stereotypes
they are likely to be associated with to produce
narratives on the complex net of relations between
the social, media and economic capital, in order to
offer strong statements on the actual position of
the artist as producer in the jaws of the contemporary neoliberal society.
The choice of the tabloid in which the work was
published was very precisely made, concerning it’s
history, which reflects all the major issues on the
transformation of the role of media in Serbia in the
course of several decades. The “Svet” magazine
was the successor of one of the important student’s magazine from former state socialist times,
when these magazines were opinion-makers
among younger intellectual population. They were
both channels for introducing a range of subcultural issues and political discourses that were quite
radical in the emancipatory sense, and, on the
other side, recruitment centers for the future
young social leaders.
Works of Uroš Đurić and Šejla Kamerić, made in
this frame, are derived both from the reflection of
the objective histories of labor in the fields of culture and media, as embodied in the systems, organizations, codes and hierarchies that structure
them, which are familiar to the both authors, being media and cultural workers, and those histories, that are in more subjective manner incorporated into the habitués of the people from that
field, as personal dispositions towards, as Bourdieu
wrote, “sensing, perceiving, thinking, acting, according to models interiorized in the course of different processes of socialization.” Parts of these
histories get renarrated, using the image and the
character of the author himself, as the bearer of
the narrative. The use of the image and the character of the author are based on the pragmatic
choice capitalizing on the trust an average viewer
has towards first person narratives, confusing,
quite spontaneously, the empirical subject of the
With the collapse of state social hierarchies, and
the takeover of the student’s and youth media by
the new pro-Milosević political structures, it split
from any official student’s organizations and started looking for its place on the media market. In
order to sell well, it has changed its profile and
started promoting the products of the new cultural and media industries, publishing paparazzo
photos and tabloid type of stories on the lives of
pop, folk and sport stars, media celebrities, the
new rich and influential politicians and state officials. It has accumulated an enormous number of
readers very soon, and has grown into local a media giant, a company that is currently publishing
84 magazines, among which also the German
teenage magazine “Bravo” that had almost a
mythical role in the cold war times, when it was
63
media fields of Sarajevo and Bosnia are almost
equivalent to Đurić’s in Serbia.
smuggled through the Iron Curtain as the only
true channel for western popular culture in the
Warsaw Pact countries.
So, from the point of media specificity, it was not
just some art project artificially inserted in the
popular media, but a very subtle intervention into
the chiasmatic point of every public media, not
just the most populist ones, and that is of the intersection between the representational spaces
for the cultural, symbolic, and the economic values. Nothing in the project got watered down to a
moral tale on the role of the media in our lives. It
has provided us with no clear-cut metanarrative
that resolves all the problematic points in the
story. Instead, it has introduced a way of dealing
with the media dominated section of the public
sphere as a medium for experiments in critical
context-specific art. This way is anything but safe.
Concerning that the narrative produced was the
first person narrative, and, taking into account the
amount of copies of the magazine in case, with the
follow up of the whole story in other media, it was
literary on every corner that both participants in
the project described still have to face someone
who would relate to them in accordance with the
roles they have taken up for realizing it. And there
is no way to claim that it was and is only art.
“Svet” is the local tabloid, the one and the ultimate,
but not only in Serbia. It has also a Montenegrian,
Bosnian and Macedonian editions, which differ in
some part of the content, but have same role in
the local media field. Uroš Đurić’s character was
quite present on the pages of each of these editions, mainly for his role as an actor in the films
that had enormous popularity among local youth
in the nineties and after. So, on one hand, his face
was not unfamiliar to the readers, then, the very
manner the project was to be done did fit the presentational frame of the magazine, and, finally,
Đurić had an open access to the editors, who could
approve such a thing as a formal collaboration
with the artist and the major art institution such as
the October Salon in realizing this work. The stereotypical media image on Uroš as a tough and
ruff urban guy who likes to show off and attract
attention did make it quite natural to wrap up the
story in the manner in which it got wrapped up,
and, in fact, it’s publishing was a success in the
sense of attracting attention on a Serbian movie
celebrity dating a young Bosnian artist, former
fashion model, whose visibility in the public and
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[headline]
them. However, in the autumn of that same year, Marina
Gržinić included them both in a group exhibition she was
preparing for Styrian Autumn, the festival of contemporary
art at the prestigious Forum Stadtpark gallery in Graz.
That’s when Šejla and Uroš got to know each other better and things started to heat up, despite her reservations.
But she was far more open and friendly than during their
previous encounters, although everything stayed on the
“platonic” level. Almost two years passed, during which
time both of them made their mark on in the international
scene. Whenever they exhibited in art centres abroad, they
exchanged greetings and made enquiries about each other
among mutual friends. Uroš was disturbed to hear that
Šejla was in a serious motorway accident in Croatia, but
encouraged by the news that his muse was now divorced.
DOUBLE LIFE!
[straplines]
You little devil!
Uroš Đurić, although married, has been in love with Sarajevo artist Šejla Kamerić for the past four years
He first declared himself in 2003, when they were both
exhibiting in Germany
[photo captions]
They met at the Styrian Autumn festival of contemporary
art: Šejla Kamerić
As soon as he saw her photograph he fell in love: Uroš
Đurić
[strapline]
Sonja Damjanović – Consolation
[byline]
by Beba Dragić, photo: “Svet” archives
[body]
The fatal encounter “happened” in the summer of 2003 in
the German city of Kassel, where they both had works included in “In the Gorges of the Balkans”, a spectacular exhibition by the celebrated German curator René Block.
Before the very eyes of the 78 artists included in the exhibition, a real, intimate drama unfolded in which, for the
first time, he spoke openly about his feelings, while she
hesitated, torn between her own strong emotions and the
exposure to a curious audience.
Still depressed about her ruined marriage, Šejla resolved to
take time to think, because this was the best way for her to
discover whether Uroš was truly sincere. After one unhappy
ending, she had no energy for a new love story, and she
had never been keen on one-night stands.
She was troubled by the thought of his family situation,
and by the fact that he spoke with great respect about his
wife, thus letting her know that his marriage was on a solid
basis.
When, for the umpteenth time, Šejla turned Uroš down, the
“little angel” sought consolation in a whirlwind romance
with Novi Sad actress Sonja Damjanović who he had meet
during the shooting of “We’re No Angels, 2”.
Towards the end of the film shoot, Šejla happened to be in
Belgrade more often, travelling from there to the international centres in which she was exhibiting her work. So, at
the end of last year, they began to meet in secret and the
romance between these two artists finally got under way.
Because of this, rumour has it, Uroš slowly began to cool
off on Sonja.
The strong chemistry between Šejla and Uroš became noticeable at the premiere of the film “We’re No Angels, 2”
at the end of February this year. Although Sonja was also
there, Šejla showed up at a dinner organised by the film’s
distributors for their Belgrade guests. Immediately after
the premiere, she and Uroš vanished and it wasn’t until the
early morning hours that they turned up, to everyone’s surprise, at a party thrown for the film crew by TV Pink owner
Željko Mitrović at the the Bičakčić brothersć The Club. Uroš
tried to “explain” to Sonja that he and Šejla were just colleagues and close friends, but the cat was out of the bag.
And what will his wife have to say about all this? We can
only guess. Unless he manages to persuade her that the
story about his double life and passionate love are “nothing
but a journalistic concoction”.
[body]
Uroš Đurić appears to be happily married to Milena, the
mother of his daughter. But “Svet” recently learned some
shocking news: for the past four years this actor and painter has been living in a “parallel love” with Sarajevo artist
Šejla Kamerić. It all began in the spring of 2001, when Uroš
spotted Šejla in a photo taken at the opening of her solo
exhibition at the Rotor Gallery in Graz, which gallery owner
Anton Lederer had shown him.
Uroš spent a night at his friend Lederer’s place on his way
to Umag for the opening of his own exhibition at the
Cetina Gallery. Lederer was showing him photographs of
Rotor’s activities over the previous year and Šejla was in
one of the shots. As he told a close friend later, he was unable to sleep that night because he couldn’t get the pretty
Bosnian out of his head.
[subheader]
Chance encounter
[body]
Just one week later, as luck would have it, Uroš met the girl
who had begun to occupy his dreams. At the opening of
the Venice Biennale he spotted her with a group of female
friends in the Giardina Cafe. Among them was a mutual
acquaintance, Slovenian curator and theoretician Marina
Gržinić. He seized the opportunity and joined them at their
table. As he talked to Marina, his eyes never left Šejla.
“She is a flawless creature, like the starlets in Antonioni
movies from the sixties,” the fascinated Uroš told our
source, who asked us not to reveal his name. Throughout
the three days of the Venice Biennale, Uroš was a frequent
visiter to the Giardina Cafe, enquiring about Šejla among
her friends. But they misinterpreted this attention and one
of them put the moves on him. Đurič rebuffed her, making it clear that he was only interested in Šejla. Although
her ego was bruised, the friend answered his questions
and so he learnt that Šejla had worked as a model during
the siege of Sarajevo, and that, like him, she had married
young and was still married. But they both went their own
ways and for some time there was no contact between
67
[headline]
them were exhibiting at the Venice Biennale. Đurić
was immediately intrigued by the young artist,
partly because of her interesting work and partly
because of her looks, but it all ended in glances
“across a crowded room”. A year later they were
introduced at an exhibition in Graz. Uroš’s marriage was solid at the time and Šejla was freshly
divorced (and not ready to trust anyone). So things
stayed at a distance.
(NOT SO) STRONG UROŠ
[straplines]
As Ćana would say: I’ve got proof!
“Svet” snapper catches Uroš Đurić with his mistress
Šejla Kamerić
During various chance encounters in various cities
in which they exhibited, the “moral restraints” began to loosen. By the middle of last year, when
shooting of the film “We’re No Angels, 2” was nearly complete, Šejla happened to make several trips
to Belgrade. Although they were very cautious at
first, Uroš and Šejla soon began to worry less and
less attention about whether they’d be seen by
someone they knew or intercepted by tabloid
journalists. The relationship between the two artists became the gossip of the day. So there’s no
point denying it if the very next day you’re going
to carelessly provide proof that it’s all true.
[photo captions]
They met at the Styrian Autumn festival of contemporary art: Šejla Kamerić
As soon as he saw her photograph he fell in love:
Uroš Đurić
We got a tip that she’s in Belgrade: Šejla leaving
Hotel Palas
He’s been in Belgrade for a while: Uroš also leaves
the Palas
The two artists were caught together last week in
the heart of Belgrade! Sarajevo magazine “Gracija”
announced that Šejla was to travel to an exhibition
in Tokyo next Monday (and, along the way, mentioned her relationship with a certain Belgrade actor). So it wasn’t hard to guess that this controversial artist would meet up with her beloved in Belgrade. From there she was to fly to Cyprus and
then, from Larnaca, to the Japanese capital. Our
photographer managed to catch the lovers as they
emerged, happy and smiling, from Hotel Palas.
They were probably relying on the bad weather to
hide them as they headed arm-in-arm to an exchange office in Čika Ljubina Street. Then they
went off to Café Plato, presumably for lunch, after
which they took a stroll through Knez Mihailova
Street.
“Coffee, tea or me?”
“Coffee, tea AND you!”
“Stones are burning, waves are foaming, arm-inarm we walked through Belgrade”: Lejla [sic] and
Uroš
“No one will ever love you like me, Šeljaaaa!”: When
two people are in love, who cares what the music
is
[byline]
by Beba Dragić
photo: Budimir Ostojić
[body]
It seems that Uroš is prepared to make an appearance in the centre of Belgrade holding another
woman, cheerfully taking the chance of his wife
finding out about his adultery and thus, of course,
putting his marriage in danger. Perhaps this is just
the whim of an eccentric artist. Or perhaps the relationship with Šejla is so strong and serious that
the consequences, whatever they may be, just
don’t bother him.
It turns out that the “double life” which actor and
painter Uroš Đurić is leading with Sarajevo painter
and sculptor Šejla Kamerić isn’t just gossip and
beat-up.
We’ve already let our readers know that Uroš, who
lives in what is apparently a happy marriage, first
came across Šejla four years ago when both of
68
[column heading]
fresh information arrived in our office, backed up
with photos of this “fallen angel” from his recent
trip to the Herceg Novi Festival. Uroš took advantage of being away from home to catch up with his
attractive girlfriend. This time around Dubrovnik
was their “promised land”.
Paparazzo Report
Dubrovnik, August 5, 2005
[headline]
BIGAMIST AND RED STAR FAN
Being the eccentrics they are, they decided to
meet precisely on August 5, the tenth anniversary
of Operation Storm , celebrated in Croatia as a national holiday – Victory Day. Uroš, who hadn’t been
to Dubrovnik for nineteen years, wore a T-shirt especially for the occasion, with Red Star on the
front. He’s lucky he wasn’t stoned like Zagreb Serb
Stevan Nemanja, who recently provoked the residents of the Croatian capital with his Serbophilia.
[straplines]
love is in the air
Uroš Đurić flaunts a Red Star T-shirt with Cyrillic
lettering in Dubrovnik while his girlfriend Šejla
Kamerić gives him moral support.
[photo captions]
According to our source, Đurić escaped from the
festival and toured the city while he was waiting
for Šejla to arrive from Sarajevo. He had lunch at a
bar in Gundulićev Square and then, at Hotel Argentina, he met our renowned artist, designer and
Parisian playboy, Vuk Veličković (the former boyfriend of model Jelena Trninić) and his 16-year-old
son Arijan from his relationship with Alka Vuica.
Splashing around on the beach, and in the Jacuzzi,
with two busty American girls from Harvard Law
School, Uroš almost forgot that he was there to
meet Šejla.
Adriatic trysts: Uroš and Šejla
Hold on, you have salt in your eye: They love each
other “transparently”
As Sarma says in “The Fall of Rock’n’Roll”, you’re
either a king or a cunt!: But the stripes on the deck
chair don’t really suit him!
[byline]
by Beba Dragić
photo: Ian
When Đurić’s muse arrived she was pretty put out
by what she found and started to sulk, but Uroš
quickly “saved the day” with his tenderness and
protestations of love. They went off together to the
Villa Ursula hotel complex where they chilled out
with cocktails on the beach, smooched at the pool
and enjoyed the last rays of the sun for the day.
Then they went off to their room and didn’t
emerge until the evening, when they set off for
Herceg Novi. They turned up for the showing
“We’re No Angels, 2” at Herceg Novi’s Kana Tower,
no longer attempting to hide from the nosy press
photographers.
[body]
Painter Uroš Đurić, who is also the “heavenly messenger” in Srđan Dragojević’s movies, never stops
behaving like a devil. We recently revealed that
he’s in a passionate romance with Sarajevo artist
Šejla Kamerić and was recently snapped leaving a
hotel in Belgrade with her. But it seems that his
wife Milena believes him more than her own eyes,
so she shuts up and puts up with Đurić’s bigamy.
Just as we thought things had gone off the boil,
71
Uroš Đurić
Uroš Đurić
Rođen u Beogradu 1964. Studirao je istoriju umetnosti na Filozofskom fakultetu i slikarstvo na Fakultetu likovnih umetnosti u Beogradu. Diplomirao je 1992. i magistrirao 1998. na Fakultetu likovnih
umetnosti. Sudelovao u beogradskom pank pokretu ranih osamdesetih (Urban Guerrilla). Osnivajući Autonomistički pokret zajedno sa
Stevanom Markušem postao je aktivni učesnik na beogradskoj umetničkoj sceni 1989.„Manifest autonomizma“ su objavili. 1994. godine.
Tokom devedesetih počeo je da se pojavljuje u igranim filmovima,
grafičkom dizajnu i DJ-ing u noćnom klubu Akademija, poznatom
kao Rupa. Sarađivao na realizaciji nekoliko dokumentaraca i izdavanju underground stripova. Osnivač Remont-nezavisne umetničke
asocijacije i Remont art magazina. Od 1992. radi na beogradskom
radiju B92.
Born in Belgrade in 1964. Studied art history at the Faculty of Philosophy in Belgrade and painting at the Faculty of Fine Arts in Belgrade. BA at 1992 & MA degree from the Faculty of Fine Arts in 1998.
Took part in Belgrade punk movement in the early Eighties (Urban
Guerrilla). Became an active participant of the Belgrade art scene in
1989 by founding the Autonomist movement together with Stevan
Markuš. In 1994 they published the “Autonomism Manifesto”. During
the 90ies started to appear in feature films, graphic design & DJ-ing
at Academy night club, known as The Hole. Contributor to several
documentaries and underground comics publishing. Founder of
Remont gallery & art magazine. From 1992 works with Belgrade
radio B92.
Odabrane izložbe (2003-2008):
Selected shows (2003-2008):
2008
A Short View to the Populist Dreamland, Art Point gallery, Wien
Experimenta Folklore, Frankfurter Kunstverein, Frankfurt
Zidovi na ulici, Simens Art Program / Muzej savremene umetnosti,
Beograd
Micro-narratives: tentation des petites réalités, Musée d’Art moderne de Saint-Etienne, Saint Etienne
2008
A Short View to the Populist Dreamland, Art Point gallery, Wien
Experimenta Folklore, Frankfurter Kunstverein, Frankfurt
Walls in the Street, Siemens Art Programme / Museum of Contemporary Art, Belgrade
Micro-narratives: tentation des petites réalités, Musée d’Art moderne de Saint-Etienne, Saint Etienne
2007
Pioneers, Heroes & Other Dedicated Life-Long Decadents (with Julia
Kissina), 18m Galerie für Zahlenwerte, Berlin
7 koraka do moći, New Moment Galerija, Beograd
Land of Promises, Espace Appolonia, Strasbourg
2007
Pioneers, Heroes & Other Dedicated Life-Long Decadents (with Julia
Kissina), 18m Galerie für Zahlenwerte, Berlin
7 Steps to Power, New Moment Gallery, Belgrade
Land of Promises, Espace Appolonia, Strasbourg
2006
Povratak mrtvog slikara sa novim problemima / deo 2: 79 – 91, SKC
galerija, Beograd
Zvezda i njena senka, Muzej savremene umetnosti, Novi Sad
Mobile Studios, Public Art Lab Berlin – Remont, Beograd
2006
Return of the Dead Painter with New Problems / part 2: 79 – 91, SKC
Gallery, Belgrade
The Star & its Shadow, Museum of Contemporary Art, Novi Sad
Mobile Studios, Public Art Lab Berlin – Remont, Belgrade
2005
Previously Unreleased, Ozone Galerija, Beograd
On normalnosti – Umetnost u Serbiji 1989-2001, Muzej savremene
umetnosti, Beograd
2005
Previously Unreleased, Ozone Gallery, Belgrade
On Normality – Art in Sebia 1989-2001, Museum of Contemporary
Art, Belgrade
2004
Instructions, Kunsthalle, Wien
Belgrad Art Inc., Secession, Wien
Passage d’Europe, Museé d’Art Moderne, St. Etienne
2004
Instructions, Kunsthalle, Wien
Belgrad Art Inc., Secession, Wien
Passage d’Europe, Museé d’Art Moderne, St. Etienne
2003
Život kao narativ (with Elke Krystufek), Salon muzeja savremene
umetnosti, Beograd
Go Johnny Go – Electric Guitar in Art and Mythus, Kunsthalle, Wien
In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel
Blood & Honey, Sammlung Essl, Klosterneuburg
2003
Life as a narrative (with Elke Krystufek), Salon of Museum of Contemporary Art Gallery, Belgrade
Go Johnny Go – Electric Guitar in Art and Mythus, Kunsthalle, Wien
In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel
Blood & Honey, Sammlung Essl, Klosterneuburg
74
Šejla Kamerić
Šejla Kamerić
1976. rođena u Sarajevu
1994-1997. radila sa dizajnerskom grupom TRIO Sarajevo. 1999.
završila studije na Akademiji likovnih umetnosti u Sarajevu, odsek
grafički dizajn. 1997-2000. radila kao art direktor u krativnom timu
Fabrika u Sarajevu. 2007. DAAD stipendija, Berlin
Živi i radi u Berlinu
Born in Sarajevo, Bosnia and Herzegovina, 1976.
1994–1997 Worked with the design group TRIO Sarajevo. 1999 Completed studies at the Academy of Fine Arts in Sarajevo, Department
of Graphic Design. 1997–2000 Worked as Art Director in the creative
team FABRIKA Sarajevo. 2007 DAAD Artist in Residency Fellowship,
Berlin, Germany. Lives in Sarajevo and Berlin.
Izabrane samostalne izložbe:
2008. What Do I Know, DAAD Gallery, Berlin
2007. Bosnian Girl / Sejla Kameric, Literaturhaus, Salzburg
2006. Brand New, Contemporary Art Institute EXIT, National Art
Gallery Pristina
2005. Sejla Kameric (Another Expo – Beyond the Nation-States),
Gallery SOAP, Kitakyushu, Japan
2004. FREI, intervencija u javnom prostoru; club transmediale 0.4
– (fly utopia!), Nemacka
2003. Bosnian Girl
2002. Closing the Border (Welcome to the ancient land of freedom),
Italija
2001. Fortune Teller Sarajevo
Selected Solo Exhibitions:
2008. What Do I Know, DAAD Gallery, Berlin
2007. Bosnian Girl / Sejla Kameric, Literaturhaus, Salzburg
2006. Brand New, Contemporary Art Institute EXIT, National Art
Gallery Pristine
2005. Sejla Kameric (Another Expo – Beyond the Nation-States),
Gallery SOAP, Kitakyushu, Japan;
2004. FREI, public intervention; club transmediale 0.4 – (fly utopia!),
Germany
2003. Bosnian Girl, public project
2002. Closing the Border (Welcome to the ancient land of freedom),
Italy
2001. Fortune Teller Sarajevo
Izabrane grupne izložbe:
2008. Tales of Time and Space, I Trijenale Folkestone, Folkestone,
Velika Britanija
2008. You & Me, Sometimes..., Lehmann Maupin Gallery, Njujork
2007. L‘enfer, C‘est les Autres / ‘Hell is... other people’, Stedelijk Museum Bureau Amsterdam
2007. FREI, Galleri Susanne Ottesen, Kopenhagen
2006. Zones of Contact, 15. Bijenale u Sidneju
2006. NORMALIZATION, Rooseum Center for Contemporary Art, Malme
2006. Kontakt, Umetnička kolekcija Erste Bank-Group, Museum of
Modern Art, Beč
2005. “CONFLICT: Perspectives, Positions, Realities in Central European Art”, Slought Foundation, Filadelfija
2005. 45. Oktobarski salon, Umetnost koja radi, Beograd
2004. Passage d’Europe, Musée d’Art Moderne, Sent Etjen
2004. I am here and you are there, GALERIE FÜR ZEITGENÖSSISCHE
KUNST, Leajpcig
2003. The Gorges of the Balkans, Kunsthalle Fridericianum, Kasel
2002. Bound/less Borders, putujuća izložba bilborda
2001. The Real, The Desperate, The Absolute, Forum Stadtpark, Steirischer Herbst Festival, Grac
2000. MANIFESTA 3, Evropsko bijenale savremene umetnosti, Ljubljana
Selected Group Exhibitions:
2008. Tales of Time and Space, 1st Folkestone Triennial, Folkestone, UK
2008. You & Me, Sometimes..., Lehmann Maupin Gallery, New York, USA
2007. L‘enfer, C‘est les Autres / ‘Hell is... other people’, Stedelijk Museum Bureau Amsterdam
2007. FREI, Galleri Susanne Ottesen, Copenhagen
2006. Zones of Contact, 15th Biennale of Sydney
2006. NORMALIZATION, Rooseum Center for Contemporary Art,
Malmö, Schweden
2006. Kontakt, The Art Collection of Erste Bank-Group at the Museum
of Modern Art, Vienna
2005. “CONFLICT: Perspectives, Positions, Realities in Central European Art”, Slought Foundation, Philadelphia
2005. 45. Oktobarski salon, Umetnost koja radi, Beograd
2004. Passage d’Europe, Musée d’Art Moderne, Saint-Etienne
2004. I am here and you are there, GALERIE FÜR ZEITGENÖSSISCHE
KUNST, Leipzig
2003. The Gorges of the Balkans, Kunsthalle Fridericianum, Kassel
2002. Bound/less Borders, traveling billboard exhibition
2001. The Real, The Desperate, The Absolute, Forum Stadtpark, Steirischer Herbst Festival; Graz, 2000. MANIFESTA 3, European Biennial of Contemporary Art; Ljubljana
75
jamesdin – tuff guy
Mileta Prodanović
Celu situaciju dodatno opterećuje činjenica da je
svet oko nas postao previše komplikovan. U boljim
i spokojnijim vremenima posao slikara bio je da
iznese štafelaj u plener i na platno prenese doživljaj pejsaža, eventualno ga obogaćujući nekim
metafizičkim ili subjektivnim sadržajima.
Možda ključ za čitanje Jestrovićevih raznorodnih
postavki i radova treba, za početak, tražiti u njegovom pseudonimu. Ime je jedno od lica čoveka, ali
je nezgoda u tome što nam ime obično daju drugi,
roditelji, kumovi, svojta... Sa pseudonimom to nije
slučaj. Biramo ga sami ili, u ređem slučaju, parafiramo nadimak koji su nam prišili ljudi iz naše okoline. Šta se može kriti iza šifre Jamesdin?
U današnjem univerzumu skoro da više nema pejsaža, ali su zato tu japanski crtani filmovi, borbena
avijacija, kompjuterski virusi, žvakaće gume, elektronske igračke, preduzeća za sahranjivanje u svemiru, sredstva za poboljšanje pojedinih aspekata
ljudskog tela, virtuelni prostori video-igara, neprincipijelne koalicije političkih partija, modne
revije, povoljne ponude za pakete usluga mobilne
telefonije, surogati kućnih ljubimaca snabdeveni
sofisticiranim mikročipovima, kompeticija na tržištu kalodonata, higijenskih uložaka i kondoma,
kvizovi, karaoke, televizijski propovednici, sportske
kladionice, džambo-bilbordi, zatvoreni sistemi praćenja, besplatne akcije za penzionere, dečja pornografija na internetu, globalna teroristička pretnja, lokalna takmičenja u ispijanju šljivovice, festivali kulinarskih specijaliteta od životinjskih mošnji,
vikendice na groblju, klonirane ovce, suton epohe
sveopšte borbe za ljudska prava i početak novog
razdoblja borbe za neljudska prava, ukratko, veoma raznovrsna i bogata ponuda.
Nema sumnje da je to umetničko ime u vezi sa
američkim glumcem Džejmsom Bajronom Dinom
(1931-1955) koji se, pored uloga na brodvejskim
scenama, koje, istini za volju, niko ne pamti, proslavio ulogama u filmovima Istočno od raja, Buntovnik bez razloga i Div. Njegova smrt u saobraćajnoj nesreći u crno je zavila bezbrojne obožavateljke širom sveta i pretvorila ga u jednog od onih
idola koji nisu stigli da propadnu, puste stomake i
izobliče se od alkohola i kokaina. Džejms Din je,
dakle, do dana današnjeg ostao merna jedinica
lepote i muške privlačnosti. Ono što je posebno
profilisalo „imidž“ te „globalne ikone“ jeste priroda
uloga u filmovima u kojima je igrao – to je, po pravilu, uvek bio neprilagođeni buntovnik.
Postoji, isto tako, rasprostranjeno verovanje da je,
na talasu posmrtne slave ovog lepotana, u središnjim delovima tadašnje Jugoslavije, zajedničke
domovine različitih naroda i narodnosti, od imena
i prezimena američkog glumca, iskovano novo ime
zvukom slično tradicionalnim imenima tog kraja
(Edin, Husamedin, Izudin, Dželaludin...) – Jamesdin. Kako su iz tog regiona potekli Mujo i Haso,
nezaobilazni „drugi“ koji u nekorektnim šalama
obavezno ispadaju glupi, odabrani pseudonim
ima prizvuk vickastog, ironičnog.
Umetnik je, dakle, bačen u svet nepreglednih dimenzija u kojem treba doneti odluku i odrediti se
naspram tog haosa, treba, napornim radom, izgraditi takozvanu poetiku, opredeliti se za takozvani
medij, osmisliti takozvani diskurs kojim će opseniti kritičare i pregaoce iz medijske sfere. Aleksandar
Jestrović, u najboljoj tradiciji zemlje u kojoj je odrastao, odlučio je da ostane nesvrstan.
Stoga se kontinuitet u njegovom delovanju ne
može izvesti na nivou stila, rukopisa, pa ni medija.
Tako je, u samom temelju, Jestrović izgradio poziciju dvosmislenosti: mačo-imidž potkopan je iro76
Sonic Youth 1990-2007
Southern Comfort
ničnim i često autoironičnim pristupom. Na tom
tragu je rad „Vežbe za grbu“. Problem visokih, naglo izraslih muškaraca je deformacija kičmenog
stuba. Središnji deo rada reprodukuje sheme vežbi
iz korektivne gimnastike a bočne fotografije su
lična ispovest.
Na putu nesistematičnosti, konzistentne nekonzistentnosti (čega se najviše užasavaju oni kunsthistoričari koji su skloni razvrstavanju u pregratke-ćelije) Jamesdin kolonizuje različite slikarske i ne samo
slikarske pristupe. Dominantno ekspresionistički
rukopis (rane slike pasa) meša se sa stilizacijom grafiti-arta, sklapa u instalacije (Južnjačka uteha), ravnopravni medij umetnika su fotografije, dorađeni
objekti široke potrošnje, računarski crteži.
Jestrovićevi radovi su uvek barem dvosmisleni.
Takav je i video-poliptih, rad u nastajanju, gde se
kao podloga koristi efemerna činjenica da umetnik
stanuje u delu grada u kojem se ulice zovu po čuvenim jugoslovenskim slikarima sredine dvadesetog veka. Ovi neprenteciozni, „prljavi“ ili – ako više
volite – „ekspresionistički“ video zapisi nisu ni odavanje počasti pre(thodni)cima, niti bezrezervni
obračun sa likovima i opusima Peđe Milosavljevića,
Nedeljka Gvozdenovića, Marka Čelebonovića i
Ismeta Mujezinovića. Oni zauzimaju poziciju izme-
Fuck Forever
đu ta dva pristupa, poziciju koja uvek može biti i
jedno i drugo i samim tim otvorena i podsticajna.
Na sličan, neprenteciozan ali i dvosmislen način
Jamesdin tretira fenomen mode (kroz performansmodnu reviju koja istovremeno ima ozbiljne elemente, u liku umetnikovog brata, profesionalnog
manekena, i zaista vrhunskih odevnih predmeta i,
na drugoj strani, pomerenosti konteksta, dislokaciji celog događaja u galeriju i u uslove koji nisu
ništa drugo nego parodija modnih rituala i modnog establišmenta) ili sporta (gde se večita konfrontacija i tenzija između teoretičara umetnosti i
neposrednih izvođača umetničkih radova prenosi
na košarkaški teren). Kao da nam pozicija koju je
Aleksandar Jestrović izgradio svojim radovima i
nastupima govori da sve to što nas okružuje može
da bude, ali – kako bi to svojevremeno rekao Oliver
Mlakar – ne mora da znači. A to je u isti mah i stav
beogradskog momka odraslog i profesionalno
oformljenog u vremenima kada je srpsko društvo
obeležavala apsolutna izmeštenost uma. Jedan od
uspešnijih načina da se u takvim uslovima sačuvaju razum i integritet bilo je posmatranje iz prikrajka
uz ciničan osmeh. I to je upravo platforma Jamesdinovih radova koji nastavljaju da se fokusiraju na
društvena iskliznuća i mesto pojedinca u tim okolnostima.
Bitch
78
Narod veruje da se na kraju duge, na mestu gde je
taj nebeski luk zakucan u zemlju, nalazi ćup sa zlatom. Isto tako, postoji verovanje da osoba koja
nima, umetnik pojavljuje suočen sa kritičarima pa
to postaje evokacija tradicionalnog odnosa stvaralac-kustos.
300 kuraca
Recimo da ćemo se, ukoliko prođemo ispod Jamesdinovog luka pigmenta koji glumi polusvarenu hranu, najednom naći u sređenoj zemlji sve
samih zadovoljnih, bogatih, neostrašćenih, pametnih i lepih ljudi. Ali kako je i ispod ove duge nemoguće proći (osim ako baš niste rešili da idete glavom kroz zid) ostaje nam da se i dalje snalazimo sa
ovim u čemu smo. U tom snalaženju Jamesdinovi
radovi mogu biti ako ne putokaz, onda barem
osveženje.
prođe ispod duge promeni pol. Možda su zato
udruženja privrženika alternativne polnosti za svoje obeležje odabrala skalu duginih boja. Nije, međutim, zabeležen slučaj da je ikome pošlo za rukom da se dočepa kraja duge, a još manje da ispod
nje prođe. Oni koji čeznu za tradicijski očekivanim
efektom prolaska ispod duge danas to mnogo uspešnije postižu za hirurškim stolom.
Sastavni deo izložbe NH5 SZ1 održane u galeriji
"Remont" bila je slika/zidna instalacija na kojoj vidimo umetnika, u profilu. Naziv rada je „Egzorcist“.
Munjeviti mlaz istisnutog želudačnog sadržaja formira dugu od povraćke. U novijim verzijama ovaj
rad doživeo je i proširenje pa se, na posebnim plat79
jamesdin – tuff guy
Mileta Prodanović
The continuity of his work is not defined by style,
trademark, not even artistic media. The clue to
Jestrović’s diverse setups and works may be contained in his pseudonym in the first place. The
name is one of one’s faces, albeit reflecting others’
preferences – parents’, godparents’, whole family’s... On the other hand, we choose the pseudonym ourselves or, though quite rarely, adopt a
nickname given by our friends. What can a code
name Jamesdin reveal?
This situation is additionally burdened by the fact
that the world has become extremely complicated. Back in some better and more relaxed days the
painter’s job was to bring his easel to a vantage
point and translate his impression into a painting,
ocasionally enriching it with metaphysical or subjective content.
Landscapes are almost extinct in modern universe,
but we have Japanese animation, military aviation,
computer viruses, chewing gum, electronic toys,
deep space funeral companies, tools for improving certain aspects of human body, virtual space
of video games, ad hoc political coalitions, fashion
shows, bargain priced mobile communication services, surrogate pets equipped with sophisticated
microchips, competition within the toothpaste,
hygienic pad and condom market, quiz shows,
karaoke, TV preachers, bookmaking, billboards,
CCTV, free shares in state companies for state
pension holders, Internet child porn, global terrorist threat, local drinking competitions, culinary
festivals dedicated to animal testicles, cottages in
cemeteries, cloned sheep, decline of the global
human rights era, dawn of the age of non‑human
rights... To cut a long story short, it is a very rich
and diverse offer.
The alias straightforwardly evokes memories of
James Byron Dean (1931-1955), an American actor
who, after a number of unimportant appearances,
made huge success with major roles in Holywood
films East of Eden, Rebel Without a Cause and Giant. His death in a car accident dressed millions
of (mainly female) fans in mourning, making him
an idol who cannot grow old, fat and misshapen
by alcohol and cocaine. Therefore, James Dean
remains a standard of male beauty and attraction. Additionally, the public image of this global
icon was defined by the very nature of characters
he played in his three smash hits – all were rebel
misfits.
There is also a popular belief that, on the wave of
posthumous glory of this film star, the name of
James Dean was adapted and adopted in the central parts of the then Yugoslavia, home of many nations and nationalities, in accordance with already
existing names having the suffix din – Edin, Hussamedin, Izoudin, Jellaludin... James Dean became
Jamesdin (pronounced yamesdin). Since the same
region was also the home of Mooyo and Haasso
(fictional characters in popular politically incorrect
The artist is thrown into a world of innumerable dimensions, asked to comment upon the surrounding chaos, build some so‑called poetics, choose
between some so‑called artistic media, set up
some so‑called discourse to charm the critics and
creators of public opinion. Aleksandar Jetrović followed the best tradition of the country he grew up
in and decided to stay non‑aligned.
80
jokes, who play the roles of local wallies) the chosen pseudonym sounds rather joky and ironic.
was professionally formatted in times when Serbian society suffered a complete lack of reason. A
possible way of preserving one’s sanity and integrity in such times was peeking at the situation with
a cynical smile. This is the exact platform of Jamesdin’s work, which focuses on social slips and the
position of an individual in such circumstances.
In this way Jestrović has built his ambiguous position from the very foundation: a macho image undermined by ironic and often self‑ironic approach.
This is the case with his work entitled Exercises for
the Hump. Many tall and suddenly grown men
have a problem with deformities of the spine. The
central piece of the work depicts various corrective
exercises, while photographs on the sides present
a personal history.
Some believe that there is a pot of gold at the
end of the rainbow, others say that the one who
walks under the rainbow swaps his/her gender.
Maybe this is why colours of the rainbow became
the trademark of various alternative gender categories. Up to date nobody has managed to either reach the end of the rainbow nor to cross it.
However, those who long for the results of walking
under the rainbow can find their satisfaction on
the surgical table.
Along his unsystematic path of consistent inconsistency (to the horror of those art historians who
prefer to file the art in drawers), Jamesdin colonises
both the painter’s and non‑painter’s approaches. A
predominantly expressionist style (his early paintings of dogs) is mixed with grafitti art stylisation
and/or put into installations (Southern Comfort).
The artist equally uses photography, customised
consumer products and computer graphics in the
course of his work.
Jestrović’s works are always at least ambiguous. An
example of this is a video polyptych, currently in
progress, based on the fact that the artist lives in
a part of town where the streets are named after
famous Yugoslav painters from the middle of 20th
century. These unpretentious, “dirty”, or if you prefer – “expressionist” video clips are neither paying
tribute to predecessors nor criticising the work of
Peđa Milosavljević, Nedeljko Gvozdenović, Marko
Čelebonović or Ismet Mujezinović. The artist’s position is in‑between these two approaches, it makes
both stands possible simultaneously, thus it is both
open‑minded and stimulating.
Beograd
Jamesdin’s painting/wall installation entitled Exorcist was presented in the course of NH5 SZ1 exhibition in REMONT Gallery. The work depicts the
artist’s profile in the moment of throwing up, his
vomit forming the rainbow. In the meantime, the
work has been upgraded with additional canvases,
on which the artist is confronted with the critics,
evoking the traditional artist-curator relationship.
Jamesdin treats the phenomena of fashion and
sport in a similarly unpretentious and ambiguous
way. One of his performances included all elements of a fashion show – first‑class clothing and
models (even the artist’s brother – a professional
male model). However, placing a fashion show into
a gallery space surely parodied the fashion‑related
rituals and establishment. His other performance
ridiculed the ongoing confrontation and tension
between artists and art theorists by putting them
on a basketball court. It looks like Jestrović’s standpoint, built by his works and performances, tells
us that things around us may be what they seem,
although not necessarily. At the same time, it is a
standpoint of a Belgrade bloke, who grew up and
Let’s assume that, if we managed to walk under
Jamesdin’s pigmented arch depicting half‑digested food, we would find ourselves in an idyllic land
full of satisfied, rich, calm, smart and beautiful people. However, since this rainbow is also impossible
to be crossed (unless we are willing to bang our
heads against the wall), all we can do is try and
deal with the situation we are in. Even if Jamesdin’s
works are not the arrow signs along our way, they
surely are a good refreshment.
81
Uskomešanost, galama stilova i boja, kakofonija
tonova, silna vulgarnost, prozaični gestovi i držanje, tobožnja otmenost, stereotipi svih vrsta;
i sve to vrlo uočljivo, ne samo u međusobnom
odnosu slika, već i na svakoj pojedunačnoj slici:
ukratko, potpuno odsustvo jedinstva, što zamara oči i stvara užasnu glavobolju... (Šarl Bodler o
Eduaru Maneu)
Od ćaleta sam čuo da dečko koji je bio pripadnik neke sekte i koji je pobio svoju familiju (izbeglice) nije dobro i da ne može da se pomiri sa
time šta je uradio, odnosno da leži na VMA i da
je gotov. To me je rastužilo i radove posvećujem
njemu.
Jamesdin
Turbulence, a hubbub of styles and colors, a cacophony of tones, overwhelming vulgarity, prosaic gestures and attitudes, sham nobility, every
known variety of stereotype, and all this plain to
see, not only in pictures placed side by side, but
in one and the same picture; in short, a complete
absence of unity, which only produces eyestrain
and a frightful headache... (Charles Baudelaire
on Edouard Manet)
My old man told me that a guy who used to be
a member of a sect and slaughtered his whole
family (refugees) wasn’t doing very well and that
he couldn’t resign to what he had done, i.e. he
cracked up and was hospitalised at the Military
Medical Academy in Beograd. It made me really
sad, so I dedicate these works to him.
Jamesdin
Tunel
Tunel
U mom skromnom znanju iz biologije naučio sam
da najsposobniji spermatozoidi probijaju i oplođuju jajnu ćeliju. Kasnije sam saznao da mu u probijanju pomažu nekoliko najačih (najsposobnijih)
drugova ili suparnika. Po svoj prilici oni su u spoju
sa žutim telom nosioci vrlina koje su nas sazdale.
Ostali spermatozoidi su otpadnici, a poznata je ljubav ženskog pola u adolescenciji prema nosiocima
takvih osobina i u ovom radu, kako to ne biva najčešće u životu, oni su u centru pažnje.
Loši speramtozoidi.
Oni koji pod uticajem alkohola, nikotina, droge,
loše hrane i nedisciplinovanog života krivudaju,
zanose, vuku se ko psi i ako stignu na pravo mesto
naprave sranje.
My modest knowledge of biology includes familiarity with the fact that the most capable spermatozoon penetrates and fertilizes the egg. I have
also learned that his efforts are usually supported
by some of the toughest (most capable) of his
friends or rivals. It appears that, in conjunction
with the mentioned yellow body, they are the carriers of virtues we are made of. The other spermatozoa are renegades, and the affection of female
adolescents towards the carriers of such features
is proverbial. This work, unlike real life, puts them
into focus.
Bad spermatozoa.. Those affected by alcohol, nicotine, drugs, junk food and indiscipline, who wander
and meander with dragging feet and eventually, if
they ever reach the right place, fuck up.
Some girl they want a handsome Dan
Or some good-lokin Joe’ on their arm,
Some girls like a sweeet-talkin ‘ Romeo
Well round here baby
I learned you got what you can get
So if you re rough enough for love
Honey I’m tougher than the rest
Some girls they want a handsome Dan,
Or some good-lookin’ Joe on their arm,
Some girls like a sweet-talkin’ Romeo..
Well ‘round here baby,
I learned you get what you can get,
So if you’re rough enough for love,
Honey I’m tougher than the rest.
The road is dark
And it’s a thin thin line
But i want to knew I ll walk it for you any time
Maybe your other boyfriends
Couldn’t pass the test
Well if you re rough and ready for love
Honey I’m tougher than the rest
The road is dark,
And it’s a thin thin line,
But I want you to know I’ll walk it for you any time.
Maybe your other boyfriends,
Couldn’t pass the test,
Well if you’re rough and ready for love,
Honey I’m tougher than the rest
(Bruce Springsteen: Tougher than the rest sa albuma Tunnel of Love)
(Bruce Springsteen: Tougher Than the Rest from
Tunnel of Love)
Drugi segment rada je moja zaintersovanost za
tetovaže, za koje sam u jednom momentu
pomislio da će postati izvor mojih prihoda, ali tatoo majstor koji bio voljan da me primi za šegrta,
napustio je zemlju, i ja se sad snalazim kako znam
i umem.
Ne trebam napominjati da nema mnogo zainteresovanih za moj pravac.
Tkođe, veliki sam poštovalac scena odiseje spermatozoida u filmu V. Alena – Sve što ste hteli da
saznate o seksu a niste se usudili da pitate.
I na kraju dodao bih da u radu želim da dostignem
britkost narodnog uma mojih sunarodnika koju
sam prepoznao u vicu:
Vođa spermatozoida koji su krenuli u akciju, naglo
se zaustavlja i viče:
Stoj, izdaja,dupe! ! !
This work also shows my interest in tattoos, which
I once hoped to become my source of income, but
the tattoo artist who was willing to take me as an
apprentice has left the country, so I cope with the
situation the best I can. No need to say only a few
are interested in my style.
I’m also a great admirer of the sperm odyssey
scene in the Woody Allen film Everything You Always Wanted to Know About Sex (But Were Afraid
to Ask)..
In the end, I’d like to add that my work tries to
achieve the sharp sense of humour of my countrymen I recognised in a joke:
Leader of a sperm squad suddenly stops and
shouts:
- Halt! Treachery! Ass!
84
Darkness on
the edge of the town
Darkness on
the Edge of the Town
74, 75, 82 i odnedavno 65 su basevi kojima možete posetiti naselje Bežanijska kosa i blok ulica koje
nose imena naših slikara. Smatram da se to naselje
ističe kreativnošću zato što tu živim ja. U ulici Marka Čelebonovića u ulazu koji je znamenit po tome,
što je tu raznesen Mita direktor FK Bežanija i njegov telohranitelj, bombom aktiviranom daljinskim
upravljačem, što je naša dnevna štampa pohvalila
kao kreativni doprinos Srpskoj istoriji zločina.
74, 75, 82 and (since recently) 65 are the bus lines
that will take you to Bežanijska Kosa, a residential
area where a couple of streets are named after
our distinguished painters. In my opinion, this
part of town is distinctively creative because I live
here. My flat is in Marka Čelebonovića Street, in
the building in whose entrance Mita, manager of
Bežanija Football Club and his bodyguards were
blasted by a remote‑controlled bomb. The daily
press praised this act as a creative contribution to
the Serbian Crime History.
Sledeća ulica je ulica Peđe Milosavljevića kroz koju
imam zent da prođem jer se tu stalno šeta jedan
staford koji ne odaje utisak dobroćudnosti.
Next is Peđe Milosavljevića Street, which gives
me the creeps because of a non‑friendly‑looking
stafford terrier, who walks there on regular basis.
Treća u nizu je uspela da sačuva svoj naziv tako da
je i dalje poznata pod imenom Ismeta Mujezinovića, mada su u jednom periodu razmatrane i druge
naše umetničke veličine. Oko pijace koja se nalazi
u ovoj ulici počeli su da niču nadgrobni spomenici.
Da li je to groblje počelo da se širi van ograda ili je
to nov urbanistički trend (zakopaj gde se može),
ostaje otvoreno.
The third street is still named after Ismet
Mujezinović despite the fact that, at a point in recent past, some other artistic celebrities were considered. There is a marketplace around which lately
a number of tombstones were raised. It is unclear
whether the local cemetery started spreading
outside its fence or it is a new urban trend (bury
wherever you can).
Kvartet ulica sa imenima slikara završava se ulicom
Nedeljka Gvozdenovića, gde na fasadama zgrada,
urbana mlada populacija razmenjuje poruke sa
pripadnicima službe zaštite reda i zakona, čija se
stanica nalazi u blizini smeštena u hotel Komgrap.
Grafite tipa: smrt policiji i bolje ćerka kurva nego
sin pandur, pripadnici ove službe redovno prekrečuju i tako se brinu za izgled ove ulice.
The quartet of streets named after painters ends
with Nedeljka Gvozdenovića Street. Young population uses its façades for leaving the messages to
the members of the Organisation that protects
law and order, whose station is placed nearby, in
the Komgrap Hotel. Members of the Organisation
regularly whitewash the graffiti reading Death to
the Police or I’d rather let my daughter be a whore
then my son be a copper, thus taking care of the
tidiness of the street.
Trougao koji sklapaju tačke: Bežanijska crkva ili supermarket Idea (biraj), zatim preblizu postavljeni
dalekovodi i nedovoljno od urbanog naselja odmaknuto groblje omeđuje ove ulice i predstavlja
kretivni rezervat iz koga crpim energiju i ako moji
radovi poseduju neki kvalitet to dugujem ovom
asfaltu, betonu i ponekom fazanu koji ga preleće.
A triangle formed by the local church (or supermarket Idea, depending on your choice), longdistance power lines and the local cemetery surrounds these streets, closing a creative reserve, so
if my works are of any quality they owe it to this
asphalt, concrete and an occasional pheasant that
sometimes flies over.
Kada Blokovi plaču, Bežanija ne čuje ništa.
When the blocks of Novi Beograd cry, Bežanija
doesn’t hear a thing.
86
Darkness on the Edge of Town
TRASH
TRASH
performans
performance
Do četrdesete imate lice kakvo vam je Bog podario,
a posle toga kakvo zaslužujete.
Verica Rakočević
Until the age of forty you wear a face given by God,
after that you wear the one you deserve.
Verica Rakočević
U formi modne revije, Nikola Jestrović i Jamesdin
naizmenično pronose modele iz vlastite kolekcije.
Pre toga devojke čitaju odlomke iz knjige Larsa
Svendsena Filozofija mode. Na kraju piste su poređane flaše, koje na kraju performansa razbijaju
gađajući ih kamenjem.
In the form of a fashion show, Nikola Jestrović and
Jamesdin alternately wear fashion garments from
their own collection. Before that, some girls are
reading excerpts from Lars Svendsen’s book Fashion: A Philosophy. At the end of the runway glass
bottles are set in a row. After the performance is
over the participants stone them.
Jednom prilikom, na nekom otvaranju, moj ćale je
predložio jednom renomiranom beogradskom
umetniku (obojica potiču iz okoline Gornjeg Milanovca) da u Gornjem Milanovcu pokušamo da
napravimo neki kulturni prodor; odnosno, da spojimo talente, pošto sam ja slikar, burazer maneken,
a taj umetnik uticajan... Umetnik mu je oprezno
objasnio da to nije dobra ideja, odnosno da umetnost i moda baš ne idu zajedno. Animozitet između umetnika i manekena se pokazao u pravom
svetlu kad je umetnik Vukašin Nedeljković rekao u
,,Peščaniku” da će da seče glavu Neši Kliku*, koju će
zatim da preparira i izlaže kod Sačija. E sad, zato što
ja imam potrebu da radim stvari koje nisu dobre
– eto prilike u Smederevu (koji nije baš kulturni
centar kao Gornji Milanovac, ali nema veze)!
On one occasion, at an opening of some exhibition, my old man had a chat with a renowned Belgrade artist. As both of them were born in the area
of Gornji Milanovac, my father suggested some
kind of cultural breakthrough in their hometown;
i.e. merging the talents, since I am a painter, my
brother is a professional model and the mentioned
renowned artist is a very influential one... The artist
carefully explained to my dad that it wouldn’t be a
good idea, because art and fashion shouldn’t be
mixed. A statement of the artist Vukašin
Nedeljković, made in Peščanik radio show on Radio B92, clearly describes the animosity between
artists and fashion people – he said that he would
“chop off the head of Neša Klik*, have it stuffed and
exhibit it at Saachi & Saachi Gallery”. However,
since I have an urge to do bad things – here comes
an opportunity in Smederevo (it’s not as important
cultural environment as Gornji Milanovac, but I
don’t care)!
Drugi deo performansa potiče iz naše omiljene igre
– razbijanja flaša na ilegalnim deponijama oko Bežanije. Gađali bismo pacove iz pištolja kao što smo
gledali na filmu, ali nas mrzi da čistimo oružje.
The second part of the performance was derived
from our favourite game – stoning the bottles at
garbage heaps around Bežanija. We would have
been shooting rats, like we saw in the movies, but
we’re too lazy to clean the weapons.
* Neša Klik is the founder and manager of Belgrade Fashion Week. There are actually two
“fashion weeks” in Beograd – the other is called
Belgrade Fashion Selection, founded by Vesa
Komtrejd. Vesa used to work with Neša, but they
split because Vesa is known to be cruising, looking especially for young female models. Detailed
view into the fashion life of the capital of Serbia
is available at the TV B92 show entitled Glamurama (wagging tongues call it Trashorama), presented by Luna Lu.
* Neša Klik je osnivač i organizator Fešn vika,
odnosno Beogradske nedelje mode. Beograd
ima dve nedelje mode, druga se zove Fešn selekšn i njen je osnivač Vesa Komtrejd, koji je
nekad radio zajedno sa Nešom Klikom, ali su se
rastali, jer Vesu bije glas da je švaler i da posebnu naklonost gaji prema mladim manekenkama.
Detalje modnog života srpske prestonice možete pratiti u autorskoj emisiji Lune Lu – Glamurama, koju zli jezici zovu Šljamurama.
88
Trash
Vežbe za grbu
Duck of the dead
Atavism Fashion Collection
ANN
ANN
ANN
#
GODIŠ
JANUARY FEBRUARY MARCH APRIL MAY JUN JULY AU
GODIŠ
JANUAR FEBRUAR MART APRIL MAJ JUNI JULI AVGU
NUAL
NUAL
NUAL
07
ŠNJAK
UGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER
ŠNJAK
UST SEPTEMBAR OKTOBAR NOVEMBAR DECEMBAR
Nation of Satan
13.01.
IZVANREDNI BOB & Johnny Rackovitzch
Slikar treba da kreira samo jedno remek delo,
neprekidno – sebe samog.
Yves Klein
kaže „sveopštih demona”, i odakle će izroniti ponovo rođen. Na taj način on se namerno i svesno stavlja u poziciju da njegova telesnost bude percipirana kao vitalni i
neotuđivi deo njegovog umetničkog čina. Njegovo telo
je tu da nadomesti odsutnost objektnosti konvencionalnog umetničkog predmeta kao proizvoda namenjenog
prevashodno estetskom uživanju.
Ako ovu Kleinovu izjavu prevedemo u termine per­for­
ming arta, biće nam vrlo jednostavno da pojmimo kako
to performing artist neprestano kreira sebe samog kao
sopstveno životno delo. U tom ključu svaki pojedinačni
umetnički čin Nenada Rackovića može se čitati kao integralni deo njegovog opusa koji je opet obuhvaćen njegovom umetničkom pojavom. Svojim imidžom – cvetom
u reveru i leptir mašnom kao obaveznim modnim dodacima, ekscesnim ponašanjem u situacijama u kojima je
pristojnost i lepo vladanje imperativ – Racković parodira
boemštinu u sredini koja umetnost i umetnika još uvek
prevalentno romantičarski vezuje za sliku boema.
Performing žanrovi su počev od šezdesetih godina XX
veka izmenili familijarno lice umetnosti gotovo do neprepoznatljivosti. Nove prakse zahtevale su uvođenje novih
pravila i određena teorijska razmatranja koja bi dozvolila
da se fenomeni koji vode u pravcu dematerijalizacije
umetničkog predmeta identifikuju kao umetnost. Došlo
je do pomeranja fokusa sa gotovog predmeta ovenčanog aurom, na sam umetnički čin kome se pripisuje ritualna, gotovo magijska vrednost. Kombinujući brutalne
prizore i agresivne zvučne manipulacije, Racković dela
kao šaman koji u toku «obreda» napušta svoje biće, odnosno odbacuje individualni identitet kako bi otišao iza
ega, u limbo nesvesnog, gde će se osloboditi, kako sam
Sledeći cyber punk estetiku, Rackovic neretko kalemi
mašine na sopstvene ekstremitete kao organski produžetak tela, čime se meso i tehnologija stapaju u jednoj
fascinantnoj androidnoj strukturi. Ti mehanički produžeci su ključni u simuliranju potpuno deerotizovanog polnog čina, u kome nema seksualnog uzbuđenja i koji
funkcioniše kao refleksno pražnjenje, kao ventil – kao
eksplozija u protivteži imploziji stvarnosti (ako je ekvilibrijum uopšte moguć).
Važno je naglasiti da je cilj ovog umetnika da komunicira
pre nego da šokira. Javno samopovređivanje i samoponižavanje, brutalno, agresivno i beskompromisno ponašanje funkcioniše samo u okviru rama kulturne istorije, gde
je vezano za jasan kontekst. Da bi prevazišli fizičku nelagodnost koju Rackovićevi performansi neosporno izazivaju, da bi uopšte pokušali da razumemo, potrebno je
prići otvoreno i bez predrasuda, čak sa izvesnom dozom
simpatije. Svetu koji još uvek, u tradiciji prosvetiteljstva,
veliča racio i apolonijsko svetlo potrebna je doza dionizijskog mraka, jer bez mraka nema ni prosvetljenja.
Irena Šimić
Izvanredni Bob
Nenad Džoni Racković Rođen u Beogradu 1978. god. Video aktivista i vj. Polje u kojem najčešće
deluje je glitch art. Koristeći dropove, bugove, kracere, feedbackove,
noiseve, piksele, Bob kreira vizuelne pasaže koji su uvek u relaciji sa
muzikom/zvukom.
Rođen 1967. godine u Beogradu, Srbija. Živi i radi u Beogradu.
Samostalne izložbe:
2005. Totem Golootočkog plemena /performans/, SKC, Beograd 2003. Retrospektiva 1983–2003, galerija Doma omladine, Beograd
2000. Made in Hell, galerija Doma omladine, Beograd
Samostalne izložbe:
2007 – Flicker, Dom omladine, Beograd
2004. BELEF
2003. Globalni Seljak, SKC, Beograd
Grupne izložbe:
2007. MIKRONARATIVI, 48. oktobarski salon, Beograd
2005. O normalnosti – Umetnost u Srbiji 1989–2001,
Muzej savremene umetnosti, Beograd
2004. Mikropol, SKC, Beograd
Grupne izložbe:
2008. 3 slučaja – Kritičari su izabrali, KCB, Beograd
2006. Upgrade Belgrade, Trg Republike, Beograd
2003. NIGHT OF 1000 DRAWINGS – Artist Space, New York
Kontakt: +381 11 339 1060
Kontakt: [email protected]
94
Nation of Satan
13.01.
IZVANREDNI Bob & Johnny Rackovitzch
The painter only has to create
one masterpiece, himself, constantly.
Yves Klein
where he will emerge reborn. In that way he puts himself
intentionally and consciously in a position where his
body is perceived as a vital and inseparable part of his
artistic act. His body tends to replace the absence of materiality of conventional work of art as a product meant
prevalently for aesthetic pleasure.
If we interpret Klein’s statement in terms of performing
art it should be easy to understand how the performing
artist constantly creates his or herself as his or hers life
work. In this kea any individual artistic act of Johnny
Rackovitzch may be read as an integral part of his oeuvre
which is encompassed by his artistic appearance. His image – a flower in the button hole of his collar and a bow
as unavoidable fashion accessories, his excess behaviour
in situations when politeness and bon ton are imperative
– parodies bohemianism in the environment which still
conceives art prevalently in romantic terms attaching it
to the image of bohemian.
Performing genres, starting from the sixties, have
changed the familiar face of art making it almost unrecognizable. New praxis demanded new rules and certain
theoretical discussions which would allow identification
of new phenomena leading towards dematerialisation
of art object as art. There was a shift of focus from the art
object crowned with aura to artistic act attributed with
ritual, almost magical value. Combining brutal scenes
and aggressive manipulations of sound, Rackovitzch acts
as a shaman who during the «rite» rejects his selfness that
is he discards his individual identity in order to go beyond
ego, to the limbo of unconsciousness, where he will break
free of, in his own words, “universal demons”, and from
Fallowing cyber punk aesthetic, Rackovitzch frequently
prolongs his own extremities with machine parts that are
perceived as organic appendices, merging flash and technology in a fascinating android structure. These mechanical appendices are the kea factor in the simulation of
completely de-erotised act of copulation without sexual
arousal that functions as reflex outlet, as a valve – as an
explosion counter balancing the implosion of the reality
(if equilibrium is still possible).
It is important to emphasise that the artist’s goal is not to
shock but to communicate. Public masochism and selfdegradation, brutal, aggressive and uncompromised
behaviour works only within the framing of the cultural
history, where it is placed in the clear context. In order to
see beyond physical discomfort that Rackovitzch’s performances undoubtedly instigate, in order to understand it
we should approach it openly and without prejudice. The
world that glorifies reason and Apollonian light, consistent with the tradition of Enlightenment, needs a little
Dionysian dark; for without dark there is no illumination.
Irena Šimić
Nenad Džoni Racković Izvanredni Bob
Born in 1967 in Belgrade, Serbia. Lives and works in Belgrade, Serbia.
Born in 1978. in Belgrade. Video activist and VJ.
The area he most frequently works in is glitch art. Using drops, bugs,
cracers, feedback, noise, pixels, Bob creates visual passages that are always
related to music/sound.
Solo exhibitions:
2005. Totem Golootočkog plemena/performance/, Students’ Cultural
Center, Belgrade
2003. Retrospective 1983–2003, Belgrade Youth Cultural Center Gallery,
Belgrade
2000. Made in Hell, Belgrade Youth Cultural Center Gallery, Belgrade
Solo exhibitions:
2007. Flicker, Youth Cultural Center, Belgrade
2004. BELEF
2003. Globalni seljak, Student Cultural Center, Belgrade Group exhibitions:
2007. MICRO NARRATIVES, 48th October Salon, Belgrade
2005. On Normality – Art in Serbia 1989-2001, Museum of Contemporary
Art, Belgrade
2004. Mikropol. Students Cultural Center, Belgrade
Group exhibitions:
2008. 3 Cases – Critics Have Chosen, Belgrade Cultural Center, Belgrade
2006. Upgrade Belgrade, Belgrade
2003. NIGHT OF 1000 DRAWINGS – Artist Space, New York
Contact: +381 11 339 1060
Contact: [email protected]
96
Prvo bijenale
15.01 – 26.01.
studentskog kolaža
Akademija umetnosti BK je sa svojom katedrom slikarstva u 2006. godini bila inicijator Bijenala studentskog
kolaža. Tim povodom je održana izložba selekcionisanih
radova- kolaža studenata Fakulteta likovnih umetnosti iz
Beograda, Akademije likovnih umetnosti iz Novog Sada,
Više politehničke škole iz Beograda, Fakulteta likovnih
umjetnosti sa Cetinja i Akademije umetnosti BK iz Beograda.
Zašto kolaž?
Kao tehnika koja je svoj pun razvoj doživela u 20. veku,
kolaž danas nije više samo jedna od slikarskožgrafičkih
disciplina.
On se danas sreće gotovo svuda kao način kompleksnog
kreativnog mišljenja koji u vremenu postmoderne nalazi
najrazličitije oblike: usavremenoj fotografiji, grafici, dizajnu, novim tehnologijama i dizajnu...
Zastupljenost kolaža kao likovnog postupka na Internetu, Televiziji, u video produkciji je takodje od velike važnosti i povratno se reflektuje na sama dela iz oblasti čistih
likovnih umentosti.
Cilj manifestacije je da se kroz ovu objedinjujuću disciplinu vizuelnih- likovnih i primenjenih umetnosti napravi kvalitativni presek u stvaralaštvu mladih umetnika na
dvogodišnjem nivou, ali i da se različite poetike konfrontiraju kroz otvoren i konstruktivan dijalog i razmenu ideja medju studentima.
Partnerstvo i zajedničku viziju Bijenale studentskog kolaža deli sa galerijom Remont iz Beograda , budući da im
je misija u promocija mladih talenata. Organizovanje
izložbe radova nagradjenih studenata Ivane Kalezić (studenta FLU, Beograd), Tamare Đorđević (FLU, Beograd) i
Natalije Stanić ( Viša politehnička škola , Beograd) galerija Remont preuzela je na sebe u januaru 2007. godine.
Umetnici:
Ivana Kalezić
Natalija Stanić
Tamara Đorđević
98
First Biennale of
students collage
Art Academy BK with its painting department iniciated
Biennale of students collage in 2006. On that occasion
there was an exhibition of selected works – students collages from Faculty of fine arts Belgrade, Faculty of fine
arts from Novi Sad, High Politechnic school from Belgrade, Faculty of fine arts from Cetinje and Art Academy
BK from Belgrade.
Why collage?
As a technique which made its full development in the
20.century collage today is not just one of the painting
and graphic techniques.
Nowdays it can be seen almost everywhere as a way of
complex creative thinking that in postmodern era founds
its various forms: contemporary photograph, graphic
arts, design, new technologies and design…
Its frequent use as a visual method on the internet, television and video production is also of great importance
and reversibly it reflects on works of fine arts.
Through this popular technique in visual and applied
arts this manifestation aims to make a qualitative intersection of young artists production in two years time,
and also to confront different poetics through open and
constructive dialog of exchanging ideas.
Partnership and collective vision of Biennale of students
collage and Remont gallery from Belgrade comes
through their mutual mission in promoting young talented artists. In january 2007. Remont gallery took its
part in organizing exhibition of the awarded students
Ivana Kalezić (student at Faculty of fine arts, Belgrade),
Tamara Đorđević (Faculty of fine arts, Belgrade) i Natalija
Stanić ( High Politechnic school , Belgrade).
Artists:
Ivana Kalezić
Natalija Stanić
Tamara Đorđević
100
15.01 – 26.01.
Perspektive
26.01
Perspektive
Perspectives
Art klinika multimedijalnog centra Led Art iz Novog Sada
predstavila je beogradskoj publici projekat Perspektive,
koji u saradnji sa istoimenom školom crtanja (Petrovaradin), već nekoliko godina uspešno realizuje. Projekat je
iniciran u cilju promovisanja likovne umetnosti i kulture
uopšte i u želji da se podrže mladi stvaraoci u njihovoj
afirmaciji na art sceni. Pažnja je usmerena na studente
završnih godina likovnog odseka Akademije umetnosti
u Novom Sadu, čije radove na godišnjoj studentskoj
izložbi prati takozvani Žiri laika (ljudi različitih profesija),
i proglašava najbolje stvaraoce u kategorijama slikarstvo,
vajarstvo, grafika, novi mediji, dizajn i crtež. Jednodnevni događaj je obuhvatio prezentaciju dela studenata/
pobednika Perspektive 5 : Duška Bjeljaca (slikarstvo), Danila Prnjata (vajarstvo), Zorana Bulatovića (crtež), Jakše
Ćalasana (grafika), Nemanje Deljana (fotografija), Željka
Katanića (grafički dizajn) i Vladimira Ivaza (novi mediji).
U selekciji su se tako našli portreti Duška Bjeljca koje karakteriše hiperrealni tretman vidljivog; grafike i crteži
Jakše Ćalasana koji minimalnim i svedenim sredstvima
stvara raspričani svet lične fantazije ; objekat Danila Prnjata – odlučni iskorak iz tradicionalnih vajarskih tehnika
koji u tematskom smislu ostaje na tragu umetnikove polazne preokupacije o ispitivanju odnosa čovekovih potreba i želja u savremenom potrošačkom društvu; fotografije Nemanje Delje, kojima birano portretiše određene
pojedince na čijim se licima prelama i oslikava fizionomija određenog društva, klase i istorije i drugi…
Art Clinique of Led Art multimedia center from Novi Sad
showed its project Perspectives to belgrade public, a
project they are carrying out successfully for years with
the painting school of the same name (Petrovaradin). The
project was initiated in order to promote visual arts and
culture in general and to support young artists in their
affirmation on contemporary art scene. It is focused on
senior students of Art Academy visual department in
Novi Sad, whose works at the annual students exhibition
is viewed by the so called Jury of outsiders (people of
different proffessions) which enounces the best artists in
categories of painting, sculpture, graphic arts, new media, design and drawing. A whole day event included a
presentation of students works/the awarded ones of Perspectives 5: Duška Bjeljaca (painting), Danila Prnjata
(sculpture), Zoran Bulatović (drawing), Jakše Ćalasana
(graphics), Nemanje Deljana (photography), Željka
Katanića (graphic design) i Vladimira Ivaza (new media).
Selected works were Duško Bjeljac’s portraits characterized by hyperrealistic treatment of visible; Jakša Ćalasan’s
graphics and drawings where he uses minimum of restraint elements to create a vivid world of personal fantasy; Danilo Prnjat made an object which represents a
bold outbreak from traditional sculpture techniques and
in subject matter follows the artist’s preoccupation concerning relation to mens needs and wishes in contemporary society of consumerism; Nemanja Delja on his photographs portrays specific individuals whose faces reflect
and depict the physionomy of certain society, class, history and other…
102
FREE SPACE
29.01 – 15.02
Irena Kelečević
Radom „Free Space“ Irena Kelečević nastavlja da se bavi
problematikom prostora kroz ispitavanje odnosa između
onoga što ga određuje u arhitektonskom, koncepcijskom, ili u smislu različitiih promišljanja i doživljavanja
istog. Priču o identitetu prostora, u ovom slučaju izložbenog, umetnica naglašava davanjem mogućnosti da sami
posmatrači/publika intervencijom, tačnije crtanjem po
zidovima galerije, postanu aktivni učesnici u upotpunjavanju, kreiranju glavne premise, „misije“ jednog takvog
mesta- ekspozicije vizuelnog sadržaja. Nudeći novim
stvaraocima jedino prazne ramove koje su mogli iskoristiti da „uokvire“ svoje „mini likovne radove“, umetnica je
problematizovala pitanje formalnog aspekta prezentacije jednog umetničkog dela, njegove jasne „omeđenosti“
u interakciji između privatnog i javnog polja, ličnog i opšteg momenta. Kelečevićeva je novim radom/projektom,
zapravo, aktuelizovala pitanje galerijske situacije koja
podjednako zavisi i od umetnika i posmatrača, akcentujući ulogu izlagačkog prostora ne kroz očekivanu funkciju displeja i uobičajenu komunikaciju na relaciji umetničko delo-posmatrač, umetnik-publika, nego kroz konkretnu (re)akciju posetilaca, pa i njihovu punu slobodu ulaska
u sferu umetničkog i autorsku ravnopravnost u osmišljavanju i realizaciji jedne ideje.
Miroslav Karić
Irena Kelečević
Rođena u Rijeci, HR 1975. god. Diplomirala na Fakultetu likovnih umetnosti
u Beogradu 2002. god. Magistrirala na istom fakultetu 2006. god. Živi i radi
u Beogradu.
Samostalne izložbe:
2005. Prostori razlicitih misljenja, Galerija Zvono, Beograd
2003. Prostor I, Dom Omladine, Beograd.
Grupne izložbe:
2007. Tu i tamo je ovde, BELEF 07, Beograd
2003. Logično BELEF 03, Beograd.
2003. Pozitiv/Negativ, 44. Oktobarski salon, Beograd.
2003. Ideja ne-realizacija, Moderna galerija, Požega; Remont Galerija,
Beograd.
Kontakt: [email protected]
104
FREE SPACE
29.01 –15.02
Irena Kelečević
With her work “Free Space“ Irena Kelečević contin­ues to
deal with space issues through the examination of the
relations between its determiners in architectural, conceptual sense or in the sense of various reflections and
experience of space. The story of the space identity, in
this case – of the exhibition space, is emphasized by the
artist who gave the opportunity to the audience/viewers
themselves by intervention, (actually by drawing on the
gallery walls to be more precise) to become active participants in the creation of the basic premisis, ’mission’ of
such a place – the exposition of the visual content. By
offering to the new creators only the empty frames
which could be used to frame their ’mini visual works’,
the artist made an issue of the formal aspect of the presentation of a work of art, its clear limitation in the interaction between the private and public field, personal and
general moment. With her new work, Irena Kelecevic has
in fact raised an issue of the gallery situation which
equally depends both on the artists and the viewers. She
accomplished this by emphasizing the role of the exhibition space not through the expected function of display
and the usual communication based on the relation:
work of art – viewer, artist – audience, but through the
concrete (re)action of the visitors and their unlimited
liberty to enter the sphere of artistic and authorship
equality in the conception and realization of an idea.
Miroslav Karić
Irena Kelečević
Born in Rijeka, CRO in 1975. 1997 – 2006, BA & MA Degree Faculty of Fine
Arts Belgrade.
Solo exhibitions:
2006. Spaces of Different Meanings, Gallery “Zvono”, Belgrade
2003. Space I, Youth Cultural Center Gallery, Belgrade
Group exhibitions:
2007. Here and There is Over Here, BELEF 07, Belgrade
2003. Idea non-realization, Modern Gallery, Pozega; Remont Gallery,
Belgrade
2003. Positive/Negative, 44th October Salon, Belgrade
2003. Logical – BELEF 03, Belgrade
Contact: [email protected]
106
merci marcel
16.02
Nataša jovanović
Video „Merci Marcel” + izlozba radova
Video “Merci Marcel” + exhibition of works
Merci Marcel je središnji deo video projekta Traktat Troika. Čine ga segmenti A, B i C koji su tri varijacije jedne
ideje – otuđena svest individue sve više podložna slepoj
zakonitosti mehaničke nužnosti i „prinude ponavljanja”…
Akt (autor) koji se penje uz stepenice, akt koji silazi niz
stepenice – metafora apsurda i nemoći da se napravi
iskorak iz datog sistema (neminovno unutrašnjeg, metafizičkog – spoljašnjeg, socijalno-društvenog)… vizualizacija Sizifovskog kretanja...
Merci Marcel is the central part of video project Traktat
Troika. It consists of three segments, A, B and C which are
variations of the same idea – alienated consciousness of
individual that becomes increasingly submitted to laws
of mechanical necessity and the “compulsion repetition”… Nude (the autor) ascending a stairscase, nude
descending a staircase – metaphor of absurd and inability to step out of the system (certainly the inner one,
metaphysical – external, social)…
…visualization of Sizif`s moving…
Projekciju prati izložba radova koji su sastavni deo ovog
projekta, veoma su lepi i predstavljaju anti-reklamnu
kampanju za isti.
Kontakt: [email protected]
This projection is followed by exhibition of works which
are assembling part of this project, they look quite nice
and they represent anti-campagne for the project itself.
Contact: [email protected]
108
crteži
19.02 –09.03
Olivera parlić
Umetnica/vajarka Olivera Parlić Karajanković koja se u
svom stvaralaštvu prvenstveno bavi pitanjima potrošačkog društva, tumačenjem telesnog i erotskog, ekperimentišući sa različitim materijalima, na izložbi u galeriji
Remont predstavila se serijom crteža. Kao i u nizu objekata, skulptura, instalacija koje poslednjih nekoliko godina realizuje, autorka se i u ovim vizuelnim istraživanjima poigrava sa postojanošću, prirodom, performansama
„građe“ koju obrađuje. Tako za umetnicu inspirativni postaju oblici ljudskog tela, organa, fizička masa, konstitucija, spajanje, uvezivanje, mešanje njihovih elemenata,
različitih uloga i funkcija. Uživajući u iznenađenjima koje
pruža neprogramirana ruka, u slučajnosti poteza, Parlićeva stvara jedinstven imaginarni svet u kom neočekivane linije, uzbudljive forme, teksture i strukture postaju
sastavni deo nesvakidašnjih, bizarnih fizionomija, anatomija bića koja ga posedaju. Naglašenih kontura, jakih
boja, androgena, groteskna, „ona“ su katkad ogoljena do
rendgenskog snimka, bez ekstremiteta, gigantizovanih
ili osušenih udova, i uvek kadrirana u svoj svojoj izmeštenosti. Autorka zapravo u nizu nadrealističkih figura preispituje momenat složene, (ne)definisane celovitosti
ljudskog tela, prirode, identiteta pokazujući pritom snagu mašte i crtačke veštine u stvaranju jedne autentične
likovne celine...
Miroslav Karić
Olivera Parlić Karajanković Rođena u Beogradu 1971. god. Diplomirala vajarstvo na FLU, Beograd, u
klasi prof. Slavoljuba Radojčića-Caje 1997. godine. Magistrirala na istom
fakultetu kod profesora Mrđana Bajića 2000. god.
Samostalne izložbe:
2008. Ručni radovi, Likovna galerija Kulturnog cantra Beograd
2007. Crteži, Galerija Remont, Beograd
2004. Skulpture, Galerija Kolarčeve zadužbine, Beograd
2003. Kolaži, galerija Zvono, Beograd
Grupne izložbe:
2005. Lose Yourself, Galerija KCB-a, Beograd
2005. 46. Oktobarski salon, Kuća legata, Beograd
2005. Schratenberg, Austrija
Kontakt: +381 64 1357895
110
drawings
19.02 –09.03
Olivera parlić
The artist/sculptor Olivera Parlić who primarily deals with
issues of consumer’s society, interpretation of erotic by
experimenting with different materials, has presented
herself at the exhibition in the Remont gallery with the
series of drawings. Like with the series of objects, sculptures, installations she has realized during the last few
years, the author played with constancy, nature and the
performances of the ‘material’ she treats in these visual
explorations as well. Thus the artist finds inspiration in
the shapes of human body, organs, physical mass, constitution, connection, binding, mixing of their elements,
different roles and functions. By enjoying the surprises
coming from the unprogrammed hand, the coincidence
of movement, Olivera Parlić creates a unique imaginary
world in which the unexpected lines, exciting forms, textures and structures become the consisting part of the
extraordinary bizarre physiognomies, anatomies of the
beings which dwell in it. With emphasized contours, intense colors, androgynous, grotesque, ‘they’ are sometimes reduced to an x-ray, with no or amplified or dried
extremities and always framed in all of their displacement. In the series of surrealistic figures, the author actually reexamines the moment of the complex, (non)defined entirety of human body, nature, identity showing
at the same time the power of imagination and drawing
skill in the creation of a visual whole…
Miroslav Karić
Olivera Parlić Karajanković
Born in Belgrade in 1971. Graduated from Faculty of Fine Arts Belgrade,
Department of Sculpture, under Prof. Slavoljub Radojčić-Caja in 1997. 2000
MA from the same faculty under Prof. Mrđan Bajić.
Solo exhibitions:
2008. Handmade, Belgrade Culture Center Gallery
2007. Drawings, Remont Gallery, Beograd
2004. Sculptures, Kolarac Gallery, Belgrade
2003. Collages, Zvono Gallery, Belgrade
Group exhibitions:
2005. Lose Yourself, Belgrade Cultural Center Gallery, Belgrade
2005. 46th October Salon, Legacy House, Belgrade
2005. Hotel Pupik, Schratenberg, Austria
Contact: +381 64 1357895
112
Last Thing I Remember
05.03
viktor šekularac
Posle mnogo godina predanog, istina ponekad haotičnog i naizgled nasumičnog, fotografisanja situacija iz
svakodnevnog života sa beogradskih ulica, noćnih klubova ali i pejsaža i veduta velikih gradova, umetnik jednostavno odluči da sumira svoje utiske, donese izvesne
odluke i krene dalje.
Neposredno pre odlaska u Njujork, Viktor Šekularac je u
galeriji Remont prikazao deo od preko 1000 fotografija
koje je do tada uradio i time simblično zatvorio poglavlje
koje se zove Beograd. Nakon serije Air Struggle u kojoj je
pokušao da dočara i prikaže nemogućnost mladog autora da se kreativno izrazi i razvije u sredini koja pati od
hroničnog nedostatka kreativnog prostora i slobode,
umetnik konačno uspeva da stvori sebi uslove za odlazak
u svetsku prestonicu umetnosti – New York.
Fotografije Viktora Šekularca jesu urbani pejzaži, nastali
uglavnom u ranim jutarnjim satima, neposredno pre ili
nakon chill-a. Slike nas uvlače u atmosferu okruženja percipiranog od tehno generacije. Instinktivno, intenzivno,
brzo, segmentirano beleženje kontrastnih situacija iz
perspektive nekoga ko je tu „samo u prolazu“ (u Beogradu, Njujorku ili negde drugde), više pokazuju stanje svesti nego stanje stvari. Nema komentara ili stava, samo se
digitalno memorišu opaženi zatečeni prizori. Izbor ovih
fotografija pokušava da ukaže na način razmišljanja i dileme specifične grupacije („ekipe“) jedne generacije „u
procepu“, koja besomučno troši i prikuplja energiju od
partija do partija, brzo i svesno menja privremene poslove, ali i gradove i zemlje, u potrazi za identitetom.
Saša Janjić i Darka Radosavljević
After many years of diligent work – a sometimes chaotic
and seemingly accidental process of photographing situations from everyday life on Belgrade streets, in night
clubs, as well as landscapes and vistas of big cities – the
artist simply decided to sum up his impressions, to come
to certain conclusions and move on. Shortly before he left
to New York, Viktor Šekularac had had a part of his total
opus of over 1000 photographs exhibited in the Remont
gallery, in which way he symbolically closed the chapter
entitled Belgrade. Following his series of works called Air
Struggle, with which he aimed at recording and presenting the debacle of a young author to express himself in an
environment that suffers from a recurring shortage of freedom and creative space, the artist eventually managed to
effect conditions for his departure to the world capital of
the arts – New York City.
The photographs of Viktor Šekularac are urban landscapes,
taken, for the most part, early in the morning, immediately before and after chill. The images draw us into the
atmosphere of an environment perceived by the techno
generation. The instinctive, intense, quick, segmented recording of contrasting situations from the perspective of
someone who is “just passing by” (in Belgrade, New York
or elsewhere), is indicative more of a state of mind than of
a state of affairs. There are no comments or attitudes, just
digitally memorized perceived images. The selected photographs attempt to point to the way of thinking and to
dilemmas of a specific group (“gang”) that belong to a
generation “caught in a gap” – generation that frantically
consume and gather energy in-between parties, quickly
and deliberately change part-time jobs, as well as cities
and countries, in the search of identity.
Saša Janjić i Darka Radosavljević
Viktor Šekularac
Viktor Šekularac
Rođen 1980. u Beogradu. Fotograf i dizajner
Born in 1980 in Belgrade. Photographer and designer.
Samostalne izložbe:
2004. AIR STRUGGLE, Remont Gallery, Belgrade
Solo exhibition:
2004. AIR STRUGGLE, Remont Gallery, Belgrade
Grupne izložbe:
2005. BELGRADE – JUST VISITING, Kunstraum Walchetrum, Cirih
2005. ADRENALIN, Dizajn i aktivizam u Srbiji
2007. SUPERMARTKET, Maxi Market, Višnjićeva 8, Beograde
2007. Privatni prostor – Javni prostor, Magacin, Beograd
2008. 3 slučaja (Kritičari su izabrali), Kulturni centar Beograda
Group exhibitions:
2005. BELGRADE – JUST VISITING, Kunstraum Walchetrum, Zurich
2005. ADRENALIN, Design and Activism in Serbia
2007. SUPERMARTKET, Maxi Market, Višnjićeva 8, Belgrade
2007. Private Space – Public Space, Magacin [Warehouse], Belgrade
2008. 3 Cases (Critics Have Chosen ), Belgrade Cultural Center, Belgrade
Kontakt: [email protected]
Contact: [email protected]
114
face to face
12.03 –30.03
Milićević / Bosnić
Početkom XIX veka ponesen romantičarskim idejama o
novom odnosu čoveka i prirode nemački slikar Caspar
David Friedrich naslikao je seriju herojskih pejzaža predstavljajući omalene ljudske figure u kontrastu naspram
veličanstvene prirode, glorifikujući tako njenu lepotu i
moć, ujedno pontencirajući našu beznačajnost i bespomoćnost. Nešto kasnije, jedan od najznačajnijih umetnika XX veka Joseph Boys, ukazo je svojom ekološko-umetničkom akcijom Odbrana priprode na sve prisutnije globalne problem uništavanja čovekove okoline, i ustao u
odbranu prirode kao najznačajnijeg egzistencijalnog
resursa savremenog društva.
hovih radova je pejzaž, moderne vedute savremenih
metropola, fotografije uništene prirode, odnosno prizori
uticaja čoveka i moderne tehnologije na naš životni prostor. Odnos intimnog/privatnog i javnog prostora u prenaseljenim metropolama i nestajanje, odnosno uništavanje prirode samo su neke od tema koje se mogu isčitati iz rada umetničkog para Milićević – Bosnić. Ovaj rad
kao konceptualna celina nije samo puka kritika društva
koje uništava prirodni i javni prostor, već se može posmatrati i kao bihejviorističko istraživanje modela ponašanja
čoveka i njegovih veza sa sistemima koji ga okružuju i sa
kojima je u svakodnevnoj interakciji.
Početkom XXI veka dvoje umetnika serijom fotografija
,,Face to Face” i video radom ,,Providers” istražuju odnos
savremenog čoveka prema prirodi kao i intimni prostor
koji proističe iz Iične i umetničke zajednice ovog para,
karakterističan, po diarhičnosti ispoljenoj u udvajanju
sadržaja ali i deobi istog. Tako se, kako ističu dalje u svom
stejtmentu, ovakav, naposletku interaktivni prostor definiše dvojako: sa jedne strane kao istraživanje unutrašnjeg polja koje se tiče Iičnog odnosa, intimnog spajanja,
razlika i sličnosti, i sa druge strane kao istraživanje spoljašnjeg polja interakcije koje uključuje pozicije i Iičnog
prostora i sredine koja ga okružuje. Glavno polazište nji-
Promenljivost i zavisnost tog odnosa u kontekstu globalnih trendova reflektuje se podjednako i u mikrokosmosu
intimnog prostora ali i u hiperprostoru našeg životnog
okruženja. Strategija suprotstavljanja intimnog prostora
nasuprot javnog prostora, koja nosi u sebi specifičan
kontekst ekološkog, kulturološkog ali i ekonomskog faktora, značajna je utoliko što prezentuje umetnike kao
intelektualna bića koja ne reaguju samo na vizuelne fenomene, nego i aktivno promišljaju trenutak u kome
stvaraju.
Milan Bosnić
Milica Milićević
Diplomirao slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2001. i
magistrirao na istom fakultetu 2005.
Diplomirala slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2003.
Student postdiplomskih studija na istom fakultetu.
Samostalne izložbe:
2006. Galerija Zadužbine Ilije M. Kolarca, Beograd
2005. From the Closed Circuits Files, Raccoon Gallery, New York
Samostalne izložbe:
2005. Ambasada Kraljevine Holandije, Beograd
2005. Galerija zadužbine Ilije M. Kolarca , Beograd
Grupne izložbe:
2007. Mikronarativi, 48. oktobarski salon, Beograd
2006. Step out, Galerija O3ONE, Beograd
2005. ORTung 2005, Galerie 5020, Salzburg
Grupne izložbe:
2007. Mikronarativi, 48. oktobarski salon, Beograd
2006. Step Out, Galerija O3ONE, Beograd
2006. Nacionalna Galerija, Beograd
Kontakt: [email protected]
Kontakt: [email protected]
116
Saša Janjić
face to face
12.03 –30.03
Milićević / Bosnić
At the beginning of the 19th century, driven by romantic ideas concerning the new relationship of man and
nature, German painter Caspar David Friedrich drew a
series of heroic landscapes representing small human
figures against the magnificent nature, glorifying its
beauty and power, at the same time highlighting our
insignificance and powerlessness. Some time later, one
of the most significant artists of the 20th century Joseph
Boys, used his ecological-artistic action Defence of Nature to point out the present global problems concerning the destruction of the environment, rising in the
defence of nature as the most important existential resource of modern society.
At the beginning of the 21st century two artists in the
series of photographs “Face to Face” and in the video
“Providers” are exploring the relation of the modern man
towards nature and the intimate space emerging from
personal artistic union of this couple, characteristic in
dierarchy expressed in simultaneous duplication and division of contents. In this way, as they point out in their
statement, this interactive space is defined in two ways:
first as exploration of the inner field concerning personal relations, intimate connections, differences and
similarities, and second as exploration of the external
field of interaction that includes positions of personal
space and surrounding environment. Main departure of
their works is a landscape, a modern veduta of the metropolis, photographs of devastated nature i.e. scenes of
man’s and modern technology’s influences on our environment. Relation of intimate/private and public space
in overcrowded metropolis and vanishing and destruction of nature are some of the themes that can be read
from the work of artists’ couple Milicevic – Bosnic. This
work as conceptual whole is not merely a critique of the
society that destroys natural and public space, but also a
behavioural exploration of models of human action and
man’s relation to the systems surrounding him that he is
interacting on daily basis.
Variableness and dependability of this relation in the
context of global trends, is reflected equally in the micro-cosmos of intimate space but also in the hyperspace
of our environment. The strategy of confrontation of
personal space to public space, with its specific ecological, cultural and economic factors, is important because
it portrays artists as intellectuals who react not only to
visual phenomena but also actively contemplate the
moment in which they create.
Saša Janjić
Milan Bosnić
Milica Milićević
Graduated from the Faculty of Fine Arts in Belgrade / painting department
in 2001. MA at the same faculty in 2005.
Graduated from the Faculty of Fine Arts in Belgrade / painting department
in 2003. Postgraduate student at the same faculty.
Solo exhibitions:
2006. Gallery of Ilija M. Kolarac Fondation, Belgrade
2005. From the Closed Circuits Files, Raccoon Gallery, New York
Solo exhibitions:
2005. The Embassy of Kingdom of Netherlands, Belgrade
2005. Gallery of Ilija M. Kolarac Fondation, Belgrade
Group exhibitions:
2007. Micro Narratives, 48th October Salon, Belgrade
2006. Step Out, O3ONE Gallery, Belgrade
2006. ORTung 2005, Galerie 5020, Salzburg
Group exhibitions:
2007. Micro Narratives, 48th October Salon, Belgrade
2006. Step out, O3ONE Gallery, Belgrade
2006. National Gallery, Belgrade
Contact: [email protected]
Contact: [email protected]
118
Pregaženi
02.04 –20.04
Gabriel Glid
Gabriel Glid je vrsni vajar koji, prilagođavajući se vremenu i razvoju tehnologija, eksperimentiše i u drugim medijima. Podjednako dobar i kao crtač ili dizajner, u ovom
slučaju svoje veštine koristi da jedan model motiv transformiše od potpune apstrakcije do simbolične slike. U
okviru izložbe, svi radovi bave se istim motivom, šarom
kamionskih guma. Inspiracja je potekla od sada već arhaičnog (ali još uvek u upotrebi) procesa protektiranja
(„budženja”) kamionskih guma, kada se, u nedostatku
sredstava za kupovinu nove na istrošenu staru osnovu
lepi novi sloj kako bi se postigao upotrebni kvalitet.
čitljivi simbol koji automatski navodi na intimna preispitivanja. Naziv izložbe i čista ikonička slika predstavljenog
motiva veoma direktno pokreću emocije za toliko pregaženih života, vrednosti i snova. Ali, istovremeno, izbegavajući bilo kakve dramatične elemente i zadržavajući se
samo na čistim i geometrijskim formama umetnik je i
guru koji definiše i sublimira zakone života. Bez lažnog
optimizma kao alternativa depresivnom osećanju ništavnosti nudi se dostojanstveno shvatanje – u krajnjem
slučaju vreme će pregaziti SVE zarad svakog budućeg
trenutka.
Uz saznanje o poreklu materijala/motiva, izložba se može
čitati na više nivoa: estetski, metaforično, zanatski...vizuelno, emotivno, intelektualno...sa opterećenošću znanjem o nedavnoj istorijskoj (društvenoj) prošlosti ili
bez...
Koloristički, ovo je monohromatska izložba, osim dva
rada! Jedan bi se mogao nazvati detaljem – crveni komad uzorka gume a drugi je mnogo kompleksniji: print
na platnu gde otisci guma u tri boje formiraju zastavu
Srbije. Upravo „zastava“ prva asocira na pitanje „Šta je to
pohabano, a sada prekriveno novim?“
Neosporno zanatsko umeće, poznavanje materijala i tehnoligija kojima se on obrađuje , uz slojevitost i otvaranje
različitih načina percepcije, su karakteristike umetničke
produkcije Gabriela Glida. Druga važna činjenica je da se
Glid u svojim javnim predstavljanjima ne ponavlja i, ma
koliko svaka njegova izložba bila drugačija, uvek zadržava prepoznatljivi autorski pečat.
Obrađujući jednostavnu ornamentalnu matricu u različitim materijalima i tehnikama, umetnik stvara likovne
kvalitete kojima u galerijskom prostoru oživljava poetiku
(ponovljenog) ZNAKA. Od tragova se priča uvek raspliće
unazad. Kao tačka u vremenu posle koje više ništa nije
bilo kao pre.
Otržući jedan motiv iz nesvesne percepcije monotonih
ponavljanja svakodnevnice umetnik je izolovao jasno
Darka Radosavljević
Gabriel Glid
Rođen u Beogradu 1966. god. Diplomirao na Fakultetu likovnih umetnosti
u Beogradu1992. god. i magistrirao na vajarskom odseku istog fakulteta
1994. god. Od 1995-1996 zaposlen kao asistent za skulpturu u metalu na
FLU, Beograd.
Samostalne izložbe:
2007. Iz dana u dan, Likovna galerija Kulturnog centra Beograd
2005. Front.Room.galerija, Singapur
2003. Galerija savremene umetnosti, Pančevo
2001. Galerija savremene umetnosti, Niš
Grupne izložbe:
2003. 44. Oktobarski salon, Beograd, Srbija
2003. Lulea sommar Biennal, Lulea, Švedska
2003. ArtLink, IYA 2003, Tel Aviv, Amsterdam, Moskva
Kontakt: [email protected]
120
Over Run
02.04 –20.04
Gabriel Glid
Gabriel Glid is an exceptional sculptor who, by adjusting
to his time and the development of new technologies,
also experiments in other media. He is as good as a
draftsman or a designer, in which case he uses his talent
to transform one model motif from a complete abstraction into a symbolic image. The works presented at this
exhibition all deal with the same motif – the design of
truck tires. The inspiration has its roots in a, by now already archaic (though still in use), process of protecting
(or cobbling together) used tires, when, due to the shortage of means to purchase new ones, the old warn-out
base is being covered by a new layer in order to become
reusable.
Having in mind the origin of the material/motif, the exhibition can be interpreted on a number of levels: aesthetic, metaphoric, technical… visual, emotional, intellectual… regardless of our knowledge of the recent
historical (social) past…
By elaborating a simple ornamental matrix in different
materials and techniques, the artist creates pictorial
qualities, which, in the gallery space, he enlivens with the
poetics of a (repeated) SIGN. The story always untangles
backwards from its traces – like that point in time, after
which nothing is as it has been before.
Plucking off one motif from an unconscious perception
of monotonous repetitions of the everyday, the artist isolated a clearly decipherable system, which automatically
implies intimate revisions. The exhibition title and the
pure iconic image of the represented motif, rather directly arouse emotions as regards so many over run lives,
values and dreams. But, at the same time, by avoiding any
dramatic elements and being faithful to pure and geometric forms, the artist also becomes a Guru who defines
and sublimates the laws of life. Without false optimism as
an alternative to a gloomy feeling of nullity, a dignifying
philosophy comes up – leastways, the time will run over
EVERYTHING for the sake of any future moment.
In terms of chromatism, this is a monochromatic exhibition, with the exception of two works! One could be
called a detail – a red piece of tire sample, while the
other is far more complex: a print on canvas, on which
the imprints produced by the tires in three colors form
the Serbian flag. It is the “flag“ that first calls the question
“What is in fact warned out to be covered with something new“?
The indisputable craftsmanship, the familiarity with materials and technologies, the multifacetedness and the
introduction to diverse ways of perception, all characterize Gabriel Glid’s artistic production. The other significant
fact is that Glid, in his public presentations, never repeats
himself and, no matter how diverse all his exhibitions
may be, they always maintain their author’s signature as
recognizable.
Darka Radosavljević
Gabriel Glid
Born in Belgrade in 1966. Graduated from Faculty of Fine Arts, Belgrade
in 1992 and completed his masters in sculpture 1994 at the same faculty.
From 1995/1996 works at the Faculty of Fine Arts, as assistant professor for
sculpture in metal.
Solo exhibitions:
2007. From Day to Day, Gallery of Belgrade cultural center
2005. Front.Room.Gallery, Singapore
2003. Gallery of Contemporary Art, Pancevo, Serbia
2001. Gallery of Contemporary Art, Nis, Serbia
Group exhibitions:
2003. 44th October Salon, Belgrade, Serbia 2003. Lulea sommar Biennal, Lulea, Sweden
2003. ArtLink, IYA 2003, Tel Aviv, Amsterdam, Moscow
Contact: [email protected]
122
gradski prizori
23.04 –04.05
Aleksandar Bunčić i Nataša Kokić
Nataša Kokić (1979) i Aleksandar Bunčić (1981) predstaviće u galeriji Remont serije slika sa motivima urbanih
pejzaža. Dva mlada autora potpuno su nezavisno stvarali radove u kojima su sličnim likovnim sredstvima beležili atmosferu pustih ljudskih staništa.
*
Razmišljanje o društvu, tačnije njegovom „naličju“, o načinu kako funkcioniše, o opterećenosti masovnim medijima, urbanizaciji i velikim korporacijama koje proždiru
sve pred sobom, je dovelo do opsesije činjenicom da sve
postaje ravno, dosadno i veštačko; pokrenulo je niz emocija koje su morale da na neki način budu izbačene.
Postalo je očigledno da je prisutna neka vrsta socijalne
selekcije koja je pogrešna. Ako osoba nema izuzetno visok stepen produktivnosti, nije moguć uspeh na bilo
kom nivou.
U pokušaju da se stvori iluzija boljeg života u svetu koji
je jako daleko od savršenstva, prikrivaju se greške u sistemu koje kasnije izbijaju.
Slike nastaju po kadrovima iz dokumentarnog filma.
O slikarstvu Aleksandra Bunčića
Za razliku od prošlog ciklusa slika Aleksandra Bunčića,
nove slike poseduju elemente sa više simbolike crvene
boje tzv. alarmantnog stanja. Povezivanja između različitih kultura uspostavljena su, a mostovi stari u novom
ruhu opominju na prošla, suluda vremena. U ovom slučaju umesto obale imamo građenje slova>šablona. nemuštih reči i brojeva 1, 2, 3..., koji sugerišu ne početak.
Verovatno bolji i i zdraviji početak. Strelica oslikava pravac i komunikaciju nase energije nadanja i stremljenja.
Grafički snažno, mostovi nanovo oživljavaju svoj primarni pojam povezivanja sklada među ljudima.
Ovakva Bunčićeva opcija je otvorena u svakom smislu i
kao takva teži da označi njegov kulturološki angažman.
Ideja opšteg utiska je da za nas nepremostivo ne bi trebalo da postoji. U likovnom smislu imamo jasan izraz
obogaćen uticajem svekolike urbane nam kulture...
Danilo Vuksanović
Nataša Kokić
Nataša Kokić
Rođena u Beogradu 1979. godine. Diplomirala 2005. godine na Fakultetu
likovnih umetnosti u Beogradu u klasi profesora Gordana Nikolića i upisala
magistarske studije kod istog profesora.
Aleksandar Bunčić
Samostalne izložbe:
2007. Life Youd Like to Lead, Narodni muzej, Kruševac
2007. Target Market, Dom omladine, Beograd
2006. Hiperrealno, Nezavisna Umetnicka Asocijacija IZBA, Novi Sad
2006. Crteži, Galerija Zadužbine Ilije M. Kolarca
Rođen u Novom Sadu 1981. god. Student Više tehničke škole u Novom
Sadu, odsek grafički dizajn. Živi i radi u Novom Sadu.
Samostalne izložbe:
2006. Kulturni centar, Novi Sad
2005. B.r.d., kafe galerija Latino, Novi Sad
2003. Pas koji je našao sreću, kafe galerija Latino, Novi Sad
Grupne izložbe:
2006. Festival slobodne kulture, Dom omladine, Beograd;
2006. 47. Oktobarski salon – Umetnost, život i pometnja, Beograd
2004. XXXIII izložba crteža i skulptura malog formata studenata F.L.U.,
DOB, Beograd
Grupne izložbe:
2006. Niš Artfondacija, Niš, Beograd
2005. Stalna postavka, galerija Tableu, Novi Sad
Kontakt: [email protected]
Kontakt: [email protected]
124
cityscapes
23.04 –04.05
Aleksandar Bunčić i Nataša Kokić
Natasa Kokic (1979) and Aleksandar Buncic (1981) presented the series of paintings with urban landscape motifs in the Remont Gallery. Two young authors have created their works completely intependently of each other
but their works recorded the atmosphere of the desolate
human habitats with similar visual means.
*
Reflecting on society, its “back side” to be more precise,
the way it functions, the fact that it is burdened with
mass media, the urbanization and big corporations that
devour everything that comes in their way resulted in
obsession with the fact that everything became flat, boring and artificial; it stirred up series of emotions which
had to be expelled in some way. It became obvious that
there is a kind of social selection which is wrong. If a person does not have an extremely high level of productivity, success is impossible at every level. In attempt to
create an illusion of better life in the world which is far
from being perfect, mistakes in system are being disguised but later they come out. Paintings are created
according to the scenes from the documentary.
Aleksandar Buncic’s paintings
Unlike the previous Aleksandar Buncić’s cycle of paintings, new paintings contain elements with more red
colour symbolism, the so-called “alarming state”. The connecting between different cultures is established and the
ancient bridges with their new appearance warn on the
past crazy times. In this case, instead of a river bank, we
have building of letters / stencils, words and numbers 1,
2, 3… which suggest the beginning. Probably the better
and saner beginning. The arrow indicates the direction
and communication of our energy of hopes and aspirations. Graphically intense, the bridges revive their primary idea of connecting the harmonies among humans.
This kind of Buncić’s option is opened in every sense and
such it inclines to signify its cultural engagement. The
idea of the general impression is that the insurmountable should not exist for us. In visual sense there is a clear
expression enriched with the influence of the universal
urban culture…
Danilo Vuksanović
Nataša Kokić
Nataša Kokić
Born in Belgrade in 1979. Graduated from Faculty of Fine Arts, Belgrade in
2005. Student of postgraduate studies at the same faculty.
Aleksandar Bunčić
Solo exhibitions:
2007. Life Youd Like to Lead, National Muzeum, Kragujevac
2007. Target Market, Belgrade Youth Cultural Center, Belgrade
2006. Hyperreal, Independent Artistic Association IZBA, Novi Sad
2006. Drawings, Gallery of Fondation of Ilija M. Kolarac
Born in Novi Sad in 1981. Student of Technical School of Advanced Learning
in Novi Sad, department for graphic design. Lives and works in Novi Sad.
Solo exhibitions:
2006. Cultural Center, Novi Sad
2005. B.r.d., Caffe Gallery Latino, Novi Sad
2005. Dog which found his Happiness, Caffe Gallery Latino, Novi Sad
Group exhibitions:
2006. Art, Life and Confusion, 47th October Salon, Belgrade
2006. Free Culture Festival, Belgrade Youth Cultural Center, Belgrade
2004. XXXIII students’ exhibition of drawings and sculptures, Gallery of
Dom omladine, Belgrade
Group exhibitions:
2006. Niš Art Fondation, Niš, Belgrade
2005. Permanent Collection, Gallery Tableu, Novi Sad
Contact: [email protected]
Contact: [email protected]
126
portreti
07.05 –25.05
gordana belić
Gordana Belić je u okviru izložbe „Portreti“, u galeriji Remont izložila seriju slika (akrilik na kartonu). Umetnica
koja se do sada izražavala trodimenzionalnim radovima
stvarajući objekte koji međudejstvuju u prostornim instalacijama, ovog puta je iskoračila u medij slike tematski
se zadržavajući na kursu intimnih, humanističkih preispitivanja.
Na prvi pogled sama postavka izložbe posmatrača uvodi
u intimističku atmosferu karakterističnu za ceo dosadašnji umetnički opus Gordane Belić. Na zidovima galerije u
nizu se ređaju slike/portreti devojaka (ili samo jedne devojke), živih, ekspresivnih boja uramljenih u mazne ramove od belog veštačkog krzna. U centralnom delu, naspram ulaza u galeriju postavljeno je veliko damsko
ogledalo za šminku. Jednake dimenzije, isti način ramljenja i linearno nizanje slika odvraćaju pažnju sa pojedinačnih radova i naglašavaju da značenjske vrednosti
treba tražiti u celini i sadejstvu svih izloženih elemenata.
U tom smislu ova, naizgled, klasična izložba slika ipak
funkcioniše kao prostorna instalacija koja jeste i komunikacioni nivo sa kog se otvaraju pitanja.
Da li se radi o seriji portreta devojaka koje na zavodljiv i
upadljiv način poziraju autoru ili je u pitanju serija autoportreta u kojima je naglašena raznolikost mogućih pojavnosti ličnosti autora? Ova dilema navodi na pitanje
konzistentnosti ličnosti i problematike njene percepcije.
U čemu se ogleda stalnost crta karaktera u uvežbanom
igranju odabranih životnih uloga ili podražavanju dalekih
i atraktivnih modela ponašanja?
Marija Radoš
Gordana Belić
Rođena u Bogatiću 1966. god. Diplomirala na vajarskom odseku Fakulteta
likovnih umetnosti u Beogradu u klasi prof. Mrđana Bajića 2003. god. 2003.
god. upisala postdiplomske studije na vajarskom odseku FLU, Beograd.
Izložbe:
2007. Instalacije skulpture, Galerija Doma omladine
2006. Mobile studios, Beograd
2006. Zoom to fit, galerija Ozon, Beograd
2005. Samostalna izložba skulptura, galerija Kolarčeve zadužbine, Beograd
2005. Nelagodnost u prostoru, galerija SKC, Beograd
Kontakt: [email protected]
128
portraits
07.05 –25.05
gordana belić
On the exhibition “Portraits” in Remont Gallery, Gordana
Belic has shown a series of paintings (acrylics on cardboards). The artist who mainly expressed herself up till
now with three-dimensional works, making objects that
interact within spatial installations, this time stepped out
towards the painting medium, remaining in subject on
the course of intimate, humanistic introspections.
At first glance the setting of the show introduces the
spectator into intimate atmosphere characteristic for
Gordana Belić’s complete oeuvre. On gallery walls there
are sequences of paintings/portraits of girls (or a girl) in
lively expressive colours, enclosed by coddle frames
made out of white fake fur. In the centre of the room,
opposite to the gallery entrance, there is a lady’s toilettable with a big mirror. Same dimensions, same framing
and linear disposition of paintings, turn the attention
from individual works, emphasising that meaning is to
be found in the whole and in relations of all exhibited
elements. In a sense, this seemingly classical exhibition
after all functions as a spatial installation which works as
a communication level that poses various questions.
Is this a series of portraits of girls who pose in front of the
author in a seductive and striking way, or a series of autoportraits that underlines the variety of possible appearances of the author’s personality? This dilemma strikes a
question of consistency of an individual and the issue of
its perception. What is the indicator of the constancy of
ones nature? Trained role-playing in chosen characters
or impersonation of distant and attractive models of behaviour?
Marija Radoš
Gordana Belić
Born in Bogatić, Serbia in 1966. Graduated from the Faculty of Fine Arts,
Belgrade, Sculpture Department (class of Prof. Mrdjan Bajic) in 2003.
Postgraduate studies at the same faculty.
Exhibitions:
2007. Instalations sculptures, Gallery of Dom omladine
2006. Mobile Studios“, Belgrade
2006. Zoom to fit, O3ONE Art Space, Belgrade
2005. Solo exhibition of sculptures, Kolarčeva zadužbina Gallery, Belgrade
2005. Nelagodnost u prostoru, Gallery of Students’ Cultural Center, Belgrade
Contact: [email protected]
130
FIELD WORKS
28.05 –15.06
Kustos ZLATAN VUKOSALJEVIĆ
RAD NA TERENU
Izložba Field Works je nastala iz moga interesa za muziku,
kolekcije ploča i tajnih snimaka. Bootleg izdanja i ilegalni
snimci su se pojavili šezdesetih kao izraz opšteg neraspoloženja prema društvenom uređenju. Izraz Field WorkRad na terenu je referenca vezana za ilegalno snimanje i
takođe ima konotacije u antropološkim i arheološkim
istraživanjima.
Umetnici su se različito uključili u proces Rada na Terenu.
Politički aspekt je bio važan kao polazna tačka za jedne,
kao i formalni i konceptualni prilaz za druge.
Tokom organizovanja izložbe Field Works podjednako mi
je bila važna istorija ilegalnog snimanja i sve ono što ide
uz to, kao i iznenađenje i subverzija umetnika tokom svih
aktivnosti vezanih za izložbu.
Zlatan Vukosavljević
Umetnici:
Gilbert Bretterbauer (A)
Elisabeth Penker (A)
Julie Ryan (USA)
Walter Seidl (A)
Herwig Weiser (A)
Zlatan Vukosavljević (SRB/USA)
132
FIELD WORKS
28.05 –15.06
Curated by ZLATAN VUKOSALJEVIĆ
FIELD WORKS
The exhibition Field Works comes out of my interest in
record collecting and covert recordings. The profusion of
bootleggers and illegal recordings emerge out of the 60’s
anti-establishment zeitgeist. The term Field Works refers
to illegal recordings and also has connotations in anthropological and archeological studies.
Each artist engaged separately with the topic of Field
Works. While some of the artists bring a political aspect to
the show others engage on formal and conceptual levels.
In organizing Field Works I am both interested in the history illegal recording brings with it as well as the surprise
and subversion the artists and activity produces.
Zlatan Vukosavljević
Artists:
Gilbert Bretterbauer (A)
Elisabeth Penker (A)
Julie Ryan (USA)
Walter Seidl (A)
Herwig Weiser (A)
Zlatan Vukosavljević (SRB/USA)
134
Laugh and lie down
18.06 –22.06
jelena spaić
Superheroji su potrebni, ali superheroine su još potrebnije! Posebno nedeljom!
We need Superheroes, but what we need even more are
Super heroines! Especially on Sunday!
Katarina Mitrović
Katarina Mitrović
Samo znam da bih se sada rado vratio u devedesete. Tad
je bilo mnogo lepo. Alternativna kultura je cvetala i svuda je vrcalo od energije. I sve je nekako imalo smisla.
Pošto nemam vremeplov, ja volim da se držim ljudi koji
su ostali deset godina mlađi i ne prave kompromise sa
tzv. tranzicijom. E, pa takva vam je Spaić familija. Zato je
familija super i ja im ovim putem iskazujem svoj duboki
respekt.
For all I know I would gladly return to nineties. Back then
it was great. Alternative culture blossomed and energy
sparkled everywhere. And everything somehow made
sense to me. Since I don’t have a time machine, I like to
stick to people who remained ten years younger and
don’t make compromises with so called transition. Well,
you see, Spaić family is just like that. That is why Spaić
family is great and this way I give them my deep respect.
Tajni obožavatelj iz Zagreba
Secret admirer from Zagreb
Niko još nije video sve njene i njihove filmove tako da
ako su svi videli bar po neki onda možda ovaj ceo
zajednički tekst malo i ima smisla. Neki filmovi su zauvek
zaboravljeni, po raznim montažama većina nemontiranih
u raznim verzijama, ili već obrisana ili ako je i bekapovana (u jednom primerku) onda su u nekom formatu koji
samo taj jedan njihov kompjuter čita, već je izgrebana ili
nije kod njih više, nego su dali nekom, ali se ne sećaju
kome. O informacijama o svim ovim filmovima moćićete
da ostanete uskraćeni čitanjem ovih tekstova ili za postavljana pitanja nakon projekcije, Jeleni Spaić iz producentske kuce Spaic Family, a prisutan će biti i glavna
muška uloga Milos Spaić i ostali, tagođe glavne uloge.
Spaić Family će Vam vrlo rado narezati ove filmove, ne
sve svakako, i ne bas odmah, ali neke možete skinuti i sa
interneta ako se Jelena seća adrese a deo ćete moći
pogledati i te večeri, večeras (ovde datum, da ne bude
kasno i vreme ako saznaš ili ne zaboravis, valjda je u Remontu.)
Radovan Popović
Nobody saw yet all of her and their films so if everyone
saw just a few then maybe this whole group text would
have some sense. Some films are forgotten forever, in
various montage rooms most of them are unmontaged
in various versions, or even erased or if backuped (just
one copy) it is in format only that single computer can
read, it is already scratched or they don’t have it anymore,
they gave it to someone but they can’t remember whom
exactly. For more information on all these films you will
be denied by reading these texts or you can ask questions after projection to Jelena Spaić from production
house Spaić family, and also present will be a major male
role Milos Spaić and others, all of them major roles too,
Spaić family would gladly write these films for you, of
course not all of them, and not right away, but some of
them you can download from the internet if Jelena remembers the address and part of it you can see that
night, tonight ( date, time let it not be too late, if you
found out or don’t forget, I guess it is at Remont).
Radovan Popović
Jelena Spaić je rođena 1974. godine u Titovoj Mitrovici. Diplomirala na
Odeljenju za Istoriju umetnosti Filozofskog fakulteta u Beogradu. Osnovala
produkcijsku kuću Spaić Family. Spaić Family potpisuju neke od pionirskih
radova koji ispituju mogućnosti web cam videa, kao i specifične animacije i
eksperimentalne video radove.
Jelena Spaić is born in Titova Mitrovica in 1974. Graduated from the
Faculty of Philosophy in Belgrade, Art History department. Creator of Spaić
Family production house. Spaić Family signs some of pioneer works which
are exploring possibilities of web cam video and specific animations and
experimental video works.
Kontakt: [email protected]
Contact: [email protected]
136
SADKO’S VINYL MUSEUM
25.06 –16.07
Sadko Hadžihasanović
Umetničko sazrevanje Sadka Hadžihasanovića vezano je
za kulturni prostor bivše SFRJ. Kada se 1994. godine iz
BiH iselio za Toronto, veze sa lokalnom umetničkom scenom su prekinute. Od 2005. godine, Sadko obnavlja kontakte i tri leta uzastopno izlaže u Beogradu (Likovna galerija Kulturnog centra -2005, Galerija Grafički kolektiv –
2006, Remont galerija – 2007).
Veština i bogatstvo izraza i mašte, kao i dugo odsustvo,
dozvolile su umetniku da se ne sve tri izložbe predstavi
drugačijim a kvalitetnim i zanimljivim radovima. Ipak, u
sve tri izložbe pokazuje senzibilitet koji je Loran Heđi
označio kao „mikronarativi”. Njegova poetika koja neguje neposrednost i intimnost autora i upravo stoga lako
komunicira sa publikom, bez obzira na izgubljeni kontinuitet aktivnog prisustva.
Izložba u REMONT galeriji je specifična i po tome što se
kao predložak za crteže koriste omoti LP ploča koje su
univerzalno karakterisale jednu generciju. Intervenišući
na mnogima dobro poznatim „slikama”, indirektno se
poigravajući sa kultovima jednog drugačijeg kulturnog
modela, Sadko otkriva i svoj intimni odnos prema vremenu koje je samo sećanje.
„Moja fascinacija pop kulturom datira još iz tinejdžerskih
dana. Dok sam gledao sjajne omote LP-ijeva po izlozima
radnji Titove Jugoslavije osećao sam da sa njima mogu
imati i deo „Zapadnog sna”. U to vreme, 70-tih imao sam
u svojoj kolekciji: Faces – Oh la la, David Bowie – Diamond
Dogs, Uriah Heap – Demons and Wizards, Led Zeppelin
– Houses of Holy.
Izložbom Sadko’s Vinyl Museum na neki način odajem
poštu ranoj istoriji Rock-a i svojoj prošlosti.
Na omotima LP-ijeva sam intervenisao na isti način na
koji sam u pređašnjem radu izvodio crteže i slike na tapetama. Neke omote sam potpuno izmenio. Za druge
sam koristio citate iz istorije umetnosti i savremene
umetnosti i mešajući ih sa postojećom slikom dobijao
kao rezultat brak između readymade-a (Marcel Duchamp) i slikarstva…”
Autor o izložbi Sadko’s Vinyl Museum
Darka Radosavljević
Sadko Hadžihasanović
Rođen 1959. u Bihaću. Diplomirao slikarstvo na Akademiji likovnih umjetnosti u Sarajevu, 1982, klasa prof. Milivoja Unkovića. 1984. magistrirao na
Fakultetu likovnih umetnosti u Beogradu, klasa prof. Radenka Miševića i
prof. Čedomira Vasića.
Od 1994. živi i stvara u Torontu (Ontario), Kanada.
www.paulpetro.com/sadko/index.shtm
138
SADKO’S VINYL MUSEUM
25.06 –16.07
Sadko Hadžihasanović
Artistic maturation of Sadko Hadzihasanović was in
close relation to the cultural scene of former Yugoslavia.
When in 1994 he moved from Bosnia and Herzegovina
to Toronto, his connections with the local art scene were
broken. Since 2005 in effort to reestablish this relation,
Sadko exhibited in Belgrade during last three summers
(Art Gallery of Cultural Centre – 2005, Gallery of Graphic
Collective – 2006, Remont Gallery – 2007).
Skill and plentitude of expression and imagination,
as well as long term absence, permitted the artist to
present himself with three different exhibitions, showing quality and interesting body of work. However, all
three exhibitions have the same sensibility that may be
described with Loran Hegyi’s term “Micronarratives”. His
poetics that cherishes straightforwardness and intimate
approach is very successful in communicating with the
public, regardless of the lost continuity.
My fascination with pop culture going back to my teenage years. Seeing glossy covers of LP in local store in
Tito’s Yugoslavia I was feeling that you could own piece
of Western Dream. In that time – early 70, I had in my
collection: Faces-Oh la la, David Bowie – Diamond Dogs,
Uriah Hip – Demons and Wizards, Led Zeppelin – Houses of Holy….
Making exhibition: Sadko’s Vinyl Museum was sort
of tribute to early History of Rock and my past. Using
same method as drawing and painting on wallpaper I
have approached covers of LPs. In one group I changed
completely covers as Metric and David Sylvian. On others I used quotations from art history or contemporary
art and mixed with actual image such as Magritte on U2
and Anselmo Kiefer on Bruce Springsteen.
Exhibition in REMONT Gallery is specific in a way that
the artist uses LP vinyl covers (universal characteristic
of a generation) as inspiration for his drawings. Making interventions on the well known “images”, indirectly
playing with cults of a different cultural model, Sadko
reveals his intimate relation towards a time that is now
only a memory.
And result for me was marriage between readymade(
Marcel Duchamp) and painting album covers include
Bob Dylan, Bruce Springsteen, Joni Mitchell, Patti Smith,
U2, The Allman Brothers, The J. Geils Band, Tubular Bells,
Iron Butterfly, Metric. David Sylvian, Genesis, Iggy Pop,
Rod Stewart, T-Rex, The Band, Uriah Heap, Ten Years After, Michael Jackson, The Simple Minds, David Bowie,
America, Eagles, Elton John, Sade, The Animals and YU
grupa.
Darka Radosavljević
Author about exhibition Sadko’s Vinyl Museum
Sadko Hadžihasanović
1959. born in Bihać , Bosnia. 1982. B.F.A. Academy of Fine Arts, Sarajevo,
Bosnia. 1984. M.F.A. Faculty of Fine Arts, Belgrade, Serbia. From 1994. lives
and works in Toronto, Canada.
www.paulpetro.com/sadko/index.shtml
140
Real Presence
27.08 –29.08
Real Presence je najveća međunarodna radionica za
umetnike u usponu koja trenutno postoji na Balkanu.
Osobenost radionice je njen eksperimentalan i međukulturni pristup zahvaljujući kom je ona od 2000. godine do
danas razvila inovativne i nekonvencionalne metode
rada sa studentima umetnosti i umetnicima u usponu u
obliku alternativnog obrazovnog sistema razvijenog u
vezi sa studijama klasične umetnosti u umetničkim školama na akademijama lepih umetnosti.
Real Presence is the biggest international workshop for
emerging generation of artists currently existing in Balkan region. Particularity of workshop is in its experimental and cross-cultural approach thanks to which, from
2001 till now, it developed innovative and unconventional method of working with art students and emerging artists as alternative educational system developed
in correspondence with classical art studying at the art
schools and fine art academies.
Osnovna ideja ove manifestacije je da se stvori tačka susreta za umetike u usponu i da im se pruži mogućnost da
razmene iskustva, realizuju zajedničku saradnju i zajedničke projekte, u gradu poput Beograda koji je posle
dugog perioda ratne krize, kulturne izolacije i trnovite
tranzicije, ispoljio potrebu da otvori svoje kulturne granice.
Basic idea of this manifestation is to create a meeting
point for emerging artists giving them a possibility to
exchange experiences, realize collaborations and joint
projects, in a city like Belgrade that, after long period of
war crisis, cultural isolation and thorny transition, presented a need to open up its cultural boundaries.
Može se zaključiti da je umetnička radionica Real Presence osnovana kako bi postala svojevrsni most koji je u
stanju da se uzdigne iznad fragmenata prošlih vremena
i da izgradi nove kanale koji mogu da dopuste protok
ideja, energija i vizija za budućnost. U godinama koje su
usledile ovaj most je transformisan u moćnu građevinu,
u neku vrstu spontane i fluidne bihejvioralne arhitekture
i u komunikacionoj mreži u stalnom razvitku.
Therefore Real Presence has been conceived in a way to
become a sort of a bridge capable to rise above fragments of the past time and to construct new channels
that could permit a dynamic flux of ideas, energies and
visions for the future. In following years this bridge has
been transformed to a powerful construction, to a sort
of spontaneous and fluid behavioural architecture and
in communicational network in constant evolution.
Zahvaljujući više od 1000 učesnika, mogli bismo reći, da
se radionica Real Presences koja je prošla kroz Beograd i
kroz druga mesta i delove sveta, u periodu između 2001.
i 2007. godine, može smatrati jedinstvenom manifestacijom, trajno aktivna kada je u pitanju otvaranje granica i
razvoj novih načina obrazovnog i kulturnog angažmana.
Thanks to more than 1000 participants, of we might say,
“Real Presences” that crossed Belgrade and other territories and parts of the world, between 2001 and 2007, it is
possible to consider this manifestation as unique of its
kind, permanently engaged in opening the boundaries
and developing new modes of educational and cultural
engagement.
Umetnici:
Federica Bruni (IT)
Francesco Pellegrini (IT)
Igor Bošnjak (BIH)
Vanja Mervič (SLO)
Artists:
Federica Bruni (IT)
Francesco Pellegrini (IT)
Igor Bošnjak (BIH)
Vanja Mervič (SLO)
142
Proces
03.09 –20.09
Tamara radanović
Ranjivost tela
Fotografije Tamare Radanović navode me na pomisao da
kada je Artur Rembo izrekao svoje čuveno „Ja je neko
drugi” (Je est un autre) zapravo nije mislio na neko prošlo
ja, niti na to kako nas drugi vide, već na sopstveno telo.
Ono što nam je najbliže, ono sa čim smo najintimniji, zapravo je najudaljenije i najviše strano.
Tamara koristi foto aparat kao teleskop ili mikroskop,
odnosno kao optičku napravu koja nam pomaže da vidimo to što je daleko i nepoznato, a zapravo je uvek tu.
Viđeno na ovaj način, telo gubi zapreminu, a sa njom i
prepoznatljiv oblik. Ono dobija drugačiju izražajnost od
izražajnosti portreta. Naime, lice sa fotografije, ma kako
izobličeno, uvek donekle zadržava moć da nam uzvrati
pogled i da na taj način uspostavi neku vrstu uzajamnosti. Tamara nam pokazuje telo koje je postavljeno izvan
tog ljudskog odnosa. Ono se ne trudi da uspostavi dija-
log, već inicira jedan potpuno drugačiji odnos: prepušta
se pogledu, i u isto vreme se povlači da bi ostalo prikriveno i nepoznato. Pretvara se u naboran, izuvijan, izbrazdan teren. Promenjen mu je ne samo izgled već i sama
tekstura. Koža postaje nepoznati reljef, mesečeva površina potpuno izložena eroziji i udarcima spolja, nemoćna
da savlada eksplozije i urušavanja iznutra.
Tamarini epidermalni predeli govore o ranjivosti tela, o
njegovoj trošnosti, kojoj čudno nedostaje bol. Nameću
se kao jedno drugačije lice: nemo, slepo, gluvo. Ne više
najveći organ ljudskog tela, vec potpuno drugo, strano
biće. Ja više nije samo neko drugi, već nešto drugo.
Branislav Jakovljević
(autor je profesor teorije performansa, kritičke teorije, avangarde i eksperimentalnog teatra na Univerzitetu Stenford,
SAD)
Tamara Radanović
Rođena 1978. god. u Beogradu. Završila višu filmsku školu Dunav Film,
smer filmska/TV kamera u klasi profesora Radoslava Vladića. Kao fotograf
radila u magazinima Maxim, Playboy, Lisa, Status, net magazinu U pravu
si, izbegličkom magazinu (UNHCR) Pravi odgovor, dnevnim novinama
Danas. Fotograf na filmu Kad porastem biću Kengur. Urednik fotografije u
nedeljniku Reporter.
Samostalne izložbe:
2000. Usamljenost, Galerija Kulturnog centra, Kotor
Grupne izložbe:
2003, 2004. YU Press Photo
2002. Slobodna tema, Anderground klub, Beograd
2001. Izložba minijatura, Galerija Studentski grad, Beograd
Kontakt: [email protected]
144
ProceSs
03.09 –20.09
Tamara radanović
Body vulnerability
Photographs of Tamara Radanović remind me that when
Arthur Rembo wrote his famous “I is the other one“ (Je
est un autre) he actually wasn’t thinking of some past self,
or the way other people see us, more so the body itself.
It is something closest to us, the most intimate and indeed the most alienated one.
Tamara uses her camera as a telescope or a microscope,
as an optical tool that helps us see the distant and the
unknown which is actually always present. Seen in this
way body loses its volume and along with it even its defineable shape. It gains a quality of expression different
from portrait expression. Actually, a face on the photograph, as much it may seem diformed never loses its
power to give back a look making a kind of interaction.
Tamara shows us the body set out of human relation. It
no longer seeks to make a dialog, more so it initiates a
whole new relation to it: Opening itself to the eye and at
the same time withdrawing itself seeking to remain hidden and unknown. It turns itself into folded, curved surface. It changes not only its appearence evenmore its
texture. Skin becomes an unknown relief (ground), moon
surface completely exposed to erosion and outside kicks,
helpless to indure explosions and scaffoldings within.
Tamara’s epidermal landscapes speak of body vulnerability, its degradation that strangely discards the pain itself.
They reveal one different face: silent, blind, deaf. Not anymore the biggest human organ, more so a completely
different and strange being. I is no longer just somebody
else evenmore it is something else.
Branislav Jakovljević
(the author teaches theory of performance, critical theory,
avanguard and experimental theatre at Stanford University, USA)
Tamara Radanović
Born in Belgrade in 1978. Completed Dunav film film school, film / TV
camera department, class of Prof. Radoslav Vladić. As a photogapher
worked in magazines: Maxim, Playboy, Lisa, Status, net magazine U pravu
si, refugees’ magazine (UNHCR) Pravi odgovor; in daily newspapers Danas.
Photography for film Kad porastem biću Kengur. Photography Editor in
Reporter magazine.
Solo exhibitions:
2000. Solitude, Cultural Center Gallery, Kotor, Montenegro
Group exhibitions:
2003, 2004. YU Press Photo
2002. Free Theme, Club Anderground, Belgrade
2001. Exhibition of Miniature, Gallery of Studentski grad, Belgrade
Contact: [email protected]
146
Jubilej 50 Jubilee
21.09 –28.09
Aleksandar Rafajlović
Pozicija savremenog umetnika u sistemu društvenih
vrednosti Srbije je izuzetno nezavidna. Često se dešava
da kvalitetno umetničko delo bude prepoznato i nagrađeno od strane stručnjaka, ali se na tome sve završava. U
kulturnoj politici, ako je u našoj sredini uopšte ima, tačka
spoticanja je i nedostatak jasne podrške najznačajnijim
pojedincima, ma koliko autor u stručnim krugovima bio
podržan i proveren. Zajedno sa jedokratnim, povremenim i najčešće samo informativnim odnosom retkih medija koji prate kulturu, stvoren je zatvoreni sistem male
društvene grupe koju čine stručnjaci, umetnici i nekolicina njihovih prijatelja. Nevidljiva barijera nepoznatog
porekla koja odvaja umetnika kao socijalno biće od šire
društvene zajednice i dalje postoji.
Izložba “Jubilej 50” se upravo bavi problemom nevrednovanja umetničkog stvaralaštva i skrajnutim položajem
umetnika. Ako se kao neosporna činjenica prihvati da
postoje vrhunski umetnici kao i vrhunski sportisti koji su
reprezenti svoga naroda, pa čak i da se „prizna“ da je popularnost sportista neuporedivo veća nego umetnika
(izuzimajući glumce), disproporcija odnosa društvenog
sistema prema ove dve grupe izuzetnih pojedinaca je
zaista zabrinjavajuća.
U ovom slučaju paralela sa sportistima se nameće sama.
Nedavno je Jugomarka proizvela poštanske marke sa likovima aktivnih sportista- tenisera. Treba pomenuti da
specijalne serije maraka postoje već neko vreme a 2007.
godine Jugomarka je izdala više serija posvećenih preminulim domaćim i stranim velikanima:
„Velikani srpskog pozorišta” (Petar Dobrinović, Milka Grgurova Aleksić, Ljubiša Jovanović, Rahela Ferari, Branko
Pleša, Ljuba Tadić, Miodrag Petrović Čkalja, Danilo Bata
Stojković), „Velikani nauke“ (Đuzepe Okjalini, Vilijam Tomson Kelvin od Larga, Dmitrij Ivanovič Mendeljejev),
„Umetnost“ (Uroš Predić, Đura jakšić, Frida Kalo), specijalno izdanje sa likom Petra Lubarde.
Kada je septembra meseca, na datum rođendana Aleksandra Rafajlovića, otvorena izložba Jubilej 50, zanemarljivo malo broj poznavaoca kulturnih prilika je posumnjao u istinitost pozivne informacije:
„U ime PTT sistema Srbije, „Jugomarka”, koja je zadužena
za realizaciju godišnjih programa izdavanja poštanskih
maraka, štampala je marku sa likom Aleksandra Rafajlovića, kao prvu u seriji posvećenu savremenim likovnim
umetnicima u Srbiji, a povodom pedesetogodišnjice rođenja ovog istaknutog umetnika.“
Aleksandar Rafajlović, umetnik bez kojeg je nezamisliva
savremena umetnička scena u Srbiji, jedan od retkih potpuno posvećenih svojoj umetnosti, stvaralac koji nikada
nije pravio kompromise, autor u koga se na neviđeno
može imati poverenje i koji spada u mali broj stvaralaca
koji svojom autentičnošću stoji ravnopravno sa evrop-
148
skim umetnicima. Dobitnik „Politikine” nagrade i nagrade „Oktobarskog salona” 2005. godine. “...
No, za razliku od sportista, živi umetnici očigledno treba
nešto da sačekaju. Na izložbi „Jubilej 50“, Rafajlović, inteligentno, promišljeno i pedantno, na osnovu ličnog primera – kroz obeležavanje znamenitih događaja iz života
i pravljenjem grafičkog rešenja za potencijalnu marku
posvećenu svom liku i delu, opisuje poziciju umetnika u
Srbiji danas. Od fotografija koje beleže rođenje muškog
potomka, preko vezenih jastuka, uveličanog uzorka ptt
marke posvećene pedesetogodišnjici rođenja, do mermerne ploče sa uklesanim tekstom o umetniku, beleži
ključne životne trenutke. Istovremeno, pažljivo se opredeljujući za momenat i način predstavljanja, depersonalizuje problem koji je opšti i odnosi se na ne mali broj
srpskih umetnika značajnih u lokalnom i internacionalnom kontekstu. On opominje zajednicu koja uporno
zatvara oči pred nesumnjivim i dokazanim vrednostima
– savremenicima koji su reprezenti društva i novog stvaralaštva, pokušavajući da probije imaginarnu i paradoksalnu opnu zatvorenog sistema.
Rafajlović je umetnik bitan za našu zajednicu. Ne samo
zbog najvećih priznanja koje je dobio, već i kao osoba
čija delatnost izlazi iz ličnih okvira. Posvećen svom poslu,
osoba koja prati vreme (ili ide ispred), koja u svojim radovima uvek visoko kvalitetne (samofinasirane) produkcije,
targetira najvažnije teme i probleme percepcije umetničkog dela i položaja umetnika danas i ovde.
Darka Radosavljević
Aleksandar Rafajlović
Rođen u Beranama, Crna Gora 1957. godine. Dilomirao na Fakultetu likovnih umetnosti u Beogradu 1980. godine, odsek slikarstvo i postdiplomske
studije 1983. godine na istom fakultetu. Specijalizacija na L’Ecole Nationale
superieure des Beaux-Arts u Parizu 1983./84.
Samostalne izložbe:
2008. S M L XL, Galerija Artget Kulturni centar Beograd
2006. Memoria pintada, LM Galeria de arte, Sintra, Portugal
2004. Posao, Prodajna galerija Beograd
Grupne izložbe:
2007. Carrefour 2007, Kulturni centar Srbije, Pariz, Francuska
2005. Umetnost koja radi, 46. Oktobarski salon, Kuća legata, Beograd
2005. O normalnosti. Umetnost u Srbiji 1989-2001, Muzej savremene
umetnosti, Beograd
Kontakt: [email protected]
Jubilej 50 Jubilee
21.09 –28.09
Aleksandar Rafajlović
The position of a contemporary artist within the system of
social values in Serbia is tremendously unenviable. It often
happens that a good-quality work of art is recognized and
praised by connoisseurs, but that is how it usually ends. In
cultural politics, if something of the kind exists here, the
lack of obvious support to the most important individuals,
regardless of the encouragement they take pleasure in
within expert circles, becomes the major stumbling block.
Besides one-shot, occasional, and most often only informative treatment of innumerous media that cover cultural issues, an enclosed system of a small community was formed,
consisting of experts, artists and a tiny group of their
friends. An invisible barrier of unidentified origin still separates an artist as a social being from the general public.
The exhibition “Jubilee: 50“ attends to the very problem of
under-valuing the contemporary art production and the
marginal position of the artists. If we take it for granted
that there are exceptional artists just as well as there are
exceptional sportsmen, who represent their country, and
even if we “acknowledge” that the popularity of the latter
is incomparably greater (with an exception of actors), the
social system’s disproportion as regards these two groups
of extraordinary individuals is really upsetting. In this case,
the analogy with the sportsmen imposes itself – “Jugomarka“ has recently launched a series of postal stamps
with the portraits of active tennis players. It should be
mentioned that a restricted series of postal stamps has
existed for a while, and in 2007, “Jugomarka“ has produced
more series dedicated to the late local and international
persons of high rank:
“The Great Men of Serbian Theatre” (Petar Dobrinović, Milka
Grgurova Aleksić, Ljubiša Jovanović, Rahela Ferari, Branko
Pleša, Ljuba Tadić, Miodrag Petrović Čkalja, Danilo Bata
Stojković), “The Great Men of Science“ (Giuseppe Occhialini,
William Thomson Kelvin of Largs, Dmitri Ivanovich Mendeleiev) and “Art” (Uroš Predić, Đura Jakšić, Frida Kahlo), and
a special edition with the portrait of Petar Lubarda.
In September, on the day of Aleksandar Rafajlović’s birth,
when the exhibition “Jubilee: 50“ was opened, only a small
number of connoisseurs of cultural issues called in question
the verity of the following information:
“In the name of the PTT system of Serbia, “Jugomarka“,
which is in charge of the realization of the annual program
of postage stamps issues, launched an edition with the likeness of Aleksandar Rafajlović, as the first in the series dedicated to contemporary visual artists in Serbia, and on the
occasion of the 50th birthday of this distinguished artist.
Aleksandar Rafajlović, an artist without whom it becomes
impossible to imagine the Serbian art scene nowadays,
one of those rare artists completely dedicated to his art, a
creator who has never agreed to make compromises, an
author in whom one may have immense confidence, and
who belongs to the small group of those who, owing to
their authenticity, are on a par with their fellow European
artists. He received the “Politika” award and the “October
Salon’ award in 2005”.
150
However, unlike the sportsmen, the living artists evidently still have to wait for something. In the exhibition “Jubilee: 50”, Rafajlović intelligently, methodically and sophisticatedly, following his own example – by way of marking
some noteworthy events from his life and offering a
graphic solution for a potential postal mark dedicated to
his image and work – describes the position of artist in
Serbia nowadays. From photographs that registered the
birth of his male offspring, to embroidered pillows and an
enlarged sample of the PTT postal mark dedicated to the
50th jubilee, and the marble plaque with the incised text
about the artist, this exhibition represents the key moments in the artist’s life. At the same time, carefully choosing the right moment and the means of presentation, the
artist attempts at depersonalizing the problem shared by
a great number of Serbian artists, important both in local
and international circles. He reproaches the community,
which determinedly keep their eyes closed before indisputable and approved values – his contemporaries who
are the representatives of our society and a new creativity,
trying to break through an imaginary and paradoxical
membrane of the enclosed system.
Rafajlović is an important artist for our community. Not
only thanks to the greatest recognitions he has received,
but also as a person whose activity steps out of his personal perimeter. Committed to his vocation, hand in hand
with time (or sometimes ahead), and with the works of
high quality (self-financed) production, Rafajlović targets
the most significant themes and issues of perception of
the work of art and the position of artists here and now.
Darka Radosavljević
Aleksandar Rafajlović
Born 1957 in Berane, Montenegro. Graduated from the Faculty of Fine Arts,
Belgrade, department of painting. Holds an MA Degree from the same Faculty since 1983. Specialization at L’Ecole Nationale superieure des BeauxArts in Paris 1983/84.
Solo exhibitions:
2008. S M L XL, Artget Gallery, Belgrade cultural center
2006. Memoria pintada, LM Galeria de arte, Sintra, Portugal
2005. One One, Art Gallery “Nadežda Petrović”, Čačak
Group exhibitions:
2007. Carrefour 2007, Serbian Cultural Center, Paris
2005. Art that Works, 46th October Salon, Belgrade
2005. On Normality. Art in Serbia 1989-2001, Museum of Contemporary
Art, Belgrade
Contact: [email protected]
slični
01.10 –12.10
aleksandrija ajduković
Visibility as mobility of possibility
Šole je priznao u okružnom sudu u Gospiću da je ubio čoveka.
To je prestanak realnosti.
Ali, portretisani kao da pričaju o modi, nema emocija,
kao da je reč o vremenu, nema katarze, smeškaju se.
Nalazimo se u konzervisanoj zoni nevidljivog / ubistva.
Aleksandrija ne izražava stav, već intervjuom pakuje vizuelizovanu priču koja još uvek traje i odbranu od nje. Jer
destrukcija provocira odbranu. Intervju je artikulacija
panične svesnosti o praznini ponora koje ovakvo saznanje stvara.
Neizdrživ je taj zgusnuti prostor dvosmislene stvarnosti,
do pola humanizovane, kao kentaur.
Tu događaji nisu kratkotrajni fantomi na površini, tu oni
puštaju korenje u dubinu.2
Sve(s)t ponire u Bezdan.
Vizibilnost nam je vraća.
Jelena Spaić
2] Bruno Šulc, Republika snova, Letopis Matice
srpske, mart 2001.
Ritam zločina – ZNAO Sam, Morao je, i ranije je, po stepenistu, nije moja generacija, ne znam, niti pojma imam
– je sve sporiji i tiši, gotovo da nestaje, nema ga, nije se
desilo, ništa se nije promenilo.
Ponovo je uspostavljen puls.
Protagonisti utiču na radnju ne dozvoljavajući da radnja
utiče na njih! Intervju je TRIJALOG-Aleksandrija-meštanisvetovi.
Odbrana i poslednji dani.
Šole je priznao... crna rupa je usisala sav naš univerzum i
sada unutar nje brzo kreiramo drugi, supstituciju u kojoj
smo nekako spremni za to saznanje, prepoznali smo nagoveštaje i nismo uzdrmani.
Šole, drug iz razreda, ubica, Bog te maz’o, ne može se
živeti unutar te turbulencije!
Zato Aleksandrija sve smiruje, nema krvi, nema grimasa,
nema kjaroskura, nema teskobe, sunce je i zeleni se lišće,
kao početak Linčovog Plavog somota – tulipani u slow
motionu. To je oslobađanje od gravitacije1 unutar podsvesti. Tvrdokorna realnost gubi konzistentnost. Da bi se
lakše svarila – dezintegriše se. Beztežinsko stanje.
Sumnja se da je počinio više ubistava.
Aleksandrija Ajduković Rođena 1975. god. U Osijeku, HR. Diplomirala na Akademiji umetnosti “BK”
u Beogradu, odsek fotografija. Student poslediplomskih interdisciplinarnih
studija na Univerzitetu umetnosti u Beogradu na smeru višemedijska umetnost.
Samostalne izložbe:
2007. Slični, Galerija Remont, Beograd
2006. Werk präsentation-Artist in Residence, Galerie Artpoint, KulturKontakt, Beč, Austrija
2005. Oigiang, SKC, Kragujevac, Srbija
2004. Tigrice, Galerija Doma omladine, Beograd
Grupne izložbe:
2006. Eye 2 Eye, izložba fotografkinja sa tri kontinenta, V-Art Gallery Café,
Yogyakarta, Indonezija
2005. Aktuelle Fotografie aus Serbien, Galerija Fotohof, Salcburg, Austrija
2004. Kontinentalni doručak, 45. Oktobarski salon, Artget, Beograd
1] Gravitacija kao posledica činjenice da kontiniuum prostor – vreme nije ravan nego zakrivljen.
Kontakt: [email protected]
152
ALIKE
01.10 –12.10
aleksandrija ajduković
Visibility as mobility of possibility
Shole admitted at the Court of law in Gospic he killed a
man.
In there events are not just ephemeral phantoms on the
surface; in there they release stems very deep.2
Everything (consciousness) merges into abyss.
Visibility returns it to us.
It is the abolishment of reality.
Jelena Spaić
The ones portrayed as if they are talking about fashion,
emotionless, as in a talk about whether, no catharsis, they
are smiling. We find ourselves in a conserved zone of the
invisible/murder. Alexandria expresses no statement, letting her interview to visualize the story that is still going
and at the some time it is her defense from it.
Because destruction provokes defense. The interview is
an articulated form of panic awareness of an empty void
this kind of knowledge makes.
2] Bruno Šulc, Republika snova, Letopis Matice
srpske, mart 2001.
Rhythm of crime – I KNEW, he had to, even earlier, on the
staircase, not my generation, don’t know, don’t have a
clue – gets slower and more silent, almost disappears, it
is gone, it never happened, nothing changed.
The pulse returns again.
Protagonists had their impact on story not letting the
story affects them! Interview is TRIALOG-Alexandria-locals-worlds?
Defense and the last days.
Shole admitted… black hole sucked in our whole universe and now within it we create a new one, a substitute
where somehow we are ready to accept that knowledge,
we recognized all hints and we are not shaken.
Shole, a friend from school, a murderer, oh my God, you
can’t live inside that turbulence !
And that is why Alexandria calms down everyone, no
blood, no expressions, no chiaroscuro, no anxiety, it is
sunny and the leaves are green, like the beginning of
Lynch’s Blue Velvet – tulips in slow motion. It is a state free
of gravity1 inside subconscious. Hardcore reality loses its
consistency. To be accepted easier – it disintegrates. A
state free of gravity.
It is suspected he committed several crimes.
It is almost unbearable, that dense space of ambiguous
reality, half human, half centaur.
1] Gravity as a consequence of the fact that space–
time continuum is not flat but curved.
Aleksandrija Ajduković Born in Osijek in 1975. Graduated photography from Academy of Arts “BK”
in Belgrade. Postgraduate student of a multimedia art at the University of
Art, Belgrade.
Solo exhibitions:
2007. Similar, Remont Gallery, Belgrade
2006. Werk präsentation-Artist in Residence, Gelerie Artpoint, KulturKontakt, Vienna, Austria
2005. Oigiang, Students Cultural Center, Kragujevac, Serbia
2004. Tigresses, Gallery of Youthe Cultural Center, Belgrade, Serbia
Group exhibitions:
2006. Eye 2 Eye, collaboration exhibition of female photographers from 3
continents, V-Art Gallery Café, Yogyakarta, Indonesia
2005. New Serbian Photography, Gallery Fotohof, Salzburg, Austria
2005. Women about Women, European Bulgarian Cultural Center, Sofia,
Bulgaria
Contact: [email protected]
154
ODSLIKAVANJA
15.10 –02.11
anica vučetić
Anica Vučetić je beogradska umetnica koja već dugi niz
godina aktivno stvara na beogradskoj umetničkoj sceni,
posebno na polju eksperimentalnih višekanalnih video i
ambijentalnih instalacija.
U galeriji Remont Anica Vučetić je predstavila instalaciju
pod nazivom Odslikavanja, koja koristeći naše najmoćnije čulo, čulo vida pokušava da otkrije povezanost unutrašnjeg, duhovnog stanja i informacija koje svakodnevno primamo.
Iris oka je tačka dodira našeg unutrašnjeg prostora i
onog koji nas okružuje, tačka odraza unutrašnjeg prostora i odraza i prijema slika spoljnjeg sveta. Dvostrano ogledalo.
Tradicionalnom metodom lekar iridolog iščitava na irisu
fiziološko i funkcionalno stanje organizma i psihosomatske uslovljenosti koje dovode do promena. Ovo otkrivanje mape našeg tela‚ sadržane u krugu irisa, pokazuje
najtananiju povezanost i uticaj stanja duše na telo.
Sa druge strane ogledala, slike koje primamo iz spoljnjeg
sveta oblikuju naš duhovni svet i utiču na naša psihološka stanja, dodiruju se sa dušom.
Anica Vučetić
Anica Vučetić
Rođena 1962. godine u Zemunu. Diplomirala slikarstvo na Fakultetu likovnih umetnosti u Beogradu 1986. god. i magistrirala 1989. god. na istom
fakultetu. Član ULUS-a od 1987. godine. (Sekcija proširenih medija).
Samostalne izložbe:
2007. Odslikavanja, Galerija Remont, Beograd
2006. Sažimanje – video ambijent, Kulturni centar Beograda
2001. Ambijentalni radovi – Muzej Ludwig Forum za internacionalnu
umetnost, Ahen, Nemačka
Grupne izložbe:
2005. VALEURS, Espace Culturel François Mitterrand du Conseil général de
la Dordogne, Périgueux (Francuska)
2004. Vrednosti 11-to Bijenale vizuelnih umetnosti, Pančevo
2000. Hanging Around I – Kultur Centrum Sittard, Holandija
Kontakt: [email protected]
156
REFLECTIONS
15.10 –02.11
anica vučetić
Anica Vučetić is an artist from Belgrade who is actively
present on the Belgrade artistic scene a number of years.
Her special field of interest is experimental multi-channelled video and ambient installations. In Remont gallery
Anica presented herself with the installation named Reflections. By the means of our most powerful sense, our sight,
she tries to reveal the interconnections between our inner,
spiritual state and information we receive each day.
Eye Iris is a meeting point of man’s inner space and a
space which surrounds him. A point of inner space reflection, and reflection and reception of outer world images.
Double-sided mirror.
With traditional methods iridologist reads out from iris
physiological and functional state of organism and psychosomatic precondition which leads toward mutations. Detected map (chart) of our body which is held in iris cycle
shows us delicate correlation between soul and body.
On the other side of the mirror, images we are accepting
from outside are shaping our spiritual world and affecting our psychological state, meeting our soul.
Anica Vučetić
Anica Vučetić
Born in Zemun, Belgrade in 1962. University of Arts in Belgrade – Faculty of
Fine Arts, Graduate Studies – Bachelor of Arts, Painting (1986), Postgraduate Studies – Master of Arts, Painting (1989).
Solo exhibitions:
2007. Reflections, Remont Gallery, Belgrade
2006. Compression – video ambient, Belgrade Cultural Centre, Belgrade
2001. Environmental Works – video installations, environments’ Ludwig
Forum for International Art, Aachen, Germany
Group exhibitions:
2005. VALEURS, Espace Culturel François Mitterrand du Conseil général de
la Dordogne, Périgueux (France)
2004. 11th Biennial of Visual Arts VALUES, Pančevo, Serbia
2000/01. Hanging Around, Kunstcentrum Sittard, Nederland
Contact: [email protected]
158
Prezentacija projekata sa konkursa 2007
nenad glišić
12.11 –23.11
Video rad Nenada Glišića prikazuje usporeni snimak brutalnog treninga pitbul terijera koga vlasnik, inače gitarista popularnog pank benda, istetoviran čitavom galerijom novijih srpskih „ratnih heroja“ i svetaca, kao boksera
sprema za borbu. Mutiran i bolno pojačan zvuk u kombinaciji sa slowmotion slikom koja u krupnom kadru
prikazuje zastrašujuću njušku psa, stvara napetu i neprijatnu atmosferu. Prizor je sa druge strane toliko vizuelno
jak da posmatrača tokom čitavog trajanja rada bukvalno
drži prikovanog za mesto, sa osećajem nelagode i straha.
Ovaj naizgled bezazlen ali surov i agresivan prizor u mašti posmatrača otvara prostor za razna učitavanja i suočavanja sa sopstvenim strahovima. On je u isto vreme i
paradigmatičan primer našeg društva prepunog kontrasta, spajanja nespojivog i iznad svega okrenutog samom
sebi, bez imalo osećaja za patnje drugih.
Saša Janjić
Video by Nenad Glisic confronts us with slow motion
footage of a brutal training for a boxing mach of a pit bull
terrier taken up by its owner, a guitar player and a member of a popular punk band, covered with an entire gallery of tattoos representing new Serbian »war heroes«
and saints. Mutated and painfully amplified sound combined with this slow motion picture showing up close
the frightening snout of the dog creates tension and unpleasant atmosphere. On the other hand, this picture is
so intense visually that it literally hammers down the
observer to his seat, overwhelming him or her with feelings of unease and fear. This seemingly harmless but
cruel and aggressive image excites the viewer’s imagination creating room for all kinds of readings and confrontations with ones own fears. At the same time this image
functions as a paradigm of our society’s contrasts, ambivalences and self involvement, and the lack of empathy
for the sufferings of others.
Saša Janjić
Nenad Glišić
Nenad Glišić
Rođen 1971. u Beogradu. 1990. završio Likovnu Akademiju u Beogradu.
1997. u Diseldorfu na Kunstakademie u klasi kod prof. Jannis Kounellis.
2000. Master klas prof. Jannis Kounellis. Od 1990. godine redovno izlaže u
Srbji i inostranstvu.
Born in 1971. in Belgrade. 1990. Faculty of Fine Arts Belgrade. 1997. Kunstakademie, Düsseldorf, klass of prof. Jannis Kounellis. 2000. Master class
prof. Jannis Kounellis. From 1990. He is regulary exhibiting in Serbia and
abroad.
Izložbe:
2003. ZMS, Aprilski susreti, SKC galerija, Beograd
2003. 1/9, video instalacija, SKC galerija, Beograd
2004. Dobar pogled, video instalacija, 45. Oktobarski salon, Beograd
2005. Međunarodni festival novih medija MAF05, Bankok, Tajland
2005. Real Presence – 5th međunarodna radionica, 51 Bijenale u Veneciji,
Italija
Exhibitions:
2003. ZMS, April meeting, Gallery SKC, Belgrade
2003. 1/9, video installation, SKC Gallery, Belgrade, Serbia
2004. Video Installation Dobar pogled, 45. October Salon Belgrade
2005. International festival of new media MAF05, Bangkok, Thailand
2005. Real Presence – 5th International workshop, 51 Bienalle di Venezia,
Italy
Kontakt: [email protected]
Contact: [email protected]
160
Prezentacija projekata sa konkursa 2007
veljko zejak
15.11 –19.11
Ovaj video je nastao kao neka vrsta propagandnog materijala za moj patent Sex machine. Ideja sex mašine uzeta je kao osvrt na izmanipulisanu seksualnost današnjeg
čoveka, njegove fetiše i ulenjenost u komforu. Napravio
sam jedan umanjeni simulakrum porno filma u kom su
akteri lutke, a mašina dinamični element cele akcije. Mašina je projektovana kao krevet koji se sastoji iz dva dela
čiji je jedan deo statičan, a drugi se pokreće putem elektromotora. Na taj način praveći jednu situaciju u kojoj sve
što treba da se preduzme je da se udobno smesti u krevet i uključi mašina, koja će omogućiti zadovoljenje bazičnog čovekovog nagona. Tako je brutalno prikazana
tendencija savremenog čoveka za komfornošću, kao i
dekadencija društva pretrpanog porno sadržajima. Ovaj
video rad otvara pitanje telesnosti u tehnološkom društvu, prikazujući jednu novu situaciju mehanizovane seksualnosti, u kojoj se čovek javlja kao pasivni objekat i
mašina koja omogućava dinamičan odnos između dva
indiferentna tela.
This video has appeared like some kind of propaganda
material for my Sex machine patent. The idea of sex machine has been taken like a review on manipulated sexuality of today’s man, his fetishes and his laziness in comfort. I have made a reduced simulacrum of porno movie,
with dolls like actors, and machine like dynamic element
of whole action. This machine is constructed like a bed
composed by two components, one part is static, while
the other is set in motion by electro – motor. Making a
situation in which all that needs to be done is to comfortably accommodate into bed and turn on machine, which
enables satisfaction of basic human’s instinct. Tendency
of modern man for comfort is shown brutally, also the
decadent society overcrowded by porno contents. This
video is opening the question of body in a technological
society, performing one new situation of mechanical
sexuality appearing man like passive object and machine, that provides dynamic relation between two indifferent bodies.
Veljko Zejak
Veljko Zejak
Rođen u Postojni, SLO 1980. 2005. diplomirao na Fakultetu likovnih umetnosri u Beogradu, odsek skulptura. Student je postdiplomskih studija na
istom faklutetu kod Prof. Mrđana Bajića.
Born in Postojni, SLO 1980. 2005. graduated from Faculty of Fine Arts, Belgrade / Sculpture department. Student of the Master studies, sculptural
department, class of Professor Mrđan Bajić at the Faculty of Fine Arts, Belgrade.
Samostalne izložbe:
2007. Nucleus, Gallery O3one, Belgrade
2006. Reljef I - grafika u glini, SKC galerija, Beograd
Solo exhibitions:
2007. Nucleus, Gallery O3one, Belgrade
2006. Relief and graphics in clay, Youth Cultural Center Gallery, Belgrade
Grupne izložbe:
2007. KURZFILME AUS BELGRAD, Kommunales Kino, Freiburg
2007. Niš Art Foundation, Niš, Beograd, Novi Sad
2006. Device Art, Zagreb, Beograde, San Francisco
Group exhibitions:
2007. KURZFILME AUS BELGRAD, Kommunales Kino, Freiburg
2007. Niš Art Foundation, Niš, Beograd, Novi Sad
2006. Device Art, Zagreb, Belgrade, San Francisco
Kontakt: [email protected]
Contact: [email protected]
162
Prezentacija projekata sa konkursa 2007
ana lozica
21.11 –23.11
„Jebeno” je multimedijalni projekt Ane Lozice, koji se sastoji od publikacije i prezentacije stvarnog časopisa u
kojem je ona jedini protagonista. Rad performativnog i
prezentacijskog karaktera, ironizuje konzumerizam trivijalnih sadržaja i opšteprihvaćene modele prezentacije
instant zvezda u popularnim časopisima. Na duhovit i
nadahnuto satiričan način, u prvom licu simulira i trivijalizuje životne situacije u kojima se nalaze medijski eksponirane osobe.
„Biti dio tabloida san je svake prosječne žene u zapadnom svijetu. Koristeći originalne tekstove iz tabloida i
kombinirajući ih sa svojim „obiteljskim“ fotografijama
moj san, san prosječne žene se ostvario. Iz perspektive
umjetnice, časopis Jebeno! predstavljam kao doživljaj
komercijaliziranog svijeta, tračeva i nepotrebnih informacija kojima smo zasipani iz svih mogućih medija, a najočitije se izražava u tiskanim tabloidima.”
Ana Lozica
‘’Fuckin’ a!’’ is a multimedia project from the young
Croatian artist Ana Lozica, consisting of the publishing
and presentation of the actual magazine in which she is
the only protagonist. The work with performance and
presentation character is ironical towards the consumerism of trivial contents and the generally accepted presentation models of instant stars in popular magazines. In
the first person, in a witty and inspiring satiric way, it
simulates and trivialises the life situations encountered
by celebrities exposed in the media.
“Being a part of a tabloid magazine is a dream of every
average woman living in the western world. Using original texts from tabloids and mixing them with my ‘family’
photos my dream, an average woman dream came true.
From my perspective as an artist, I present the magazine
Fuckin a! as an experience of a commercialised world, a
world of gossip and unnecessary information we’ve been
bombarded continuously through different media. This
phenomenon is mostly expressed in the written media,
especially tabloid newspapers.”
Ana Lozica
Ana Lozica je rođena 1980. Diplomirala na Akademiji likovnih umetnosti
u Zagrebu. Pohađala je postdiplomske studije na Akademiji likovnih
umetnosti u Ljubljani, odsek grafika. Živi i radi u Zagrebu, HR.
Ana Lozica was born in 1980. Graduated from the Academy of Visual Arts in
Zagreb. She attends post-graduate studies at the Academy of Visual Arts in
Ljubljana, Department of Graphics. Ana is based in Zagreb, CRO.
Kontakt: [email protected]
Contact: [email protected]
164
lutke
26.11 –14.12
kristina pantelić
Na samostalnoj izložbi u galeriji Remont mlada umetnica,
Kristina Pantelić (1982) izložila je seriju objekata pod nazivom „Lutke”. Podstaknuta problemima svoje generacije i
vremena u kome živimo autorka je napravila opus radova
koji na neposredan i jasan način komuniciraju sa posmatračem. Razradom ideje i traženjem najadekvatnijeg izražajnog medija Kristina je uspela da sačuva svežinu podsticajnog impulsa kojima odiše serija nastalih objekata.
Instalacije „Lutke” se sastoje od elemenata koji svaki za
sebe nosi sopstvene asocijativne moći. Tapete – šareni,
nepostojani, promenjljivi mizanscen savremenog življenja, goblenski ramovi – prenaglašeno i pompezno slavljenje sumnjivih vrednosti i same modne lutke (u čije
fotografije gledamo kao u sopstveni odraz u ogledalu)
koje plastičnošću i prazninom ceo doživljaj fokusiraju na
problematizovanu temu uniformnosti identiteta. Srećnim sažimanjem pojedinačnih elemenata u promišljenu
vizuelnu celinu Kristina je prevazišla zamku banalne asocijativnosti i stvorila umetnost u kojoj uživamo i pronalazimo sebe.
Marija Radoš
Kristina Pantelić
Rođena 1982. god. u Beogradu. Diplomirala slikarstvo na Akademiji
umetnosti u Novom Sadu 2005. god.
Samostalne izložbe:
2007. Muzej Vojvodine, Novi Sad
2006. Galerija Da, Novi Sad
2006. Vukova zadužbina, Beograd
Grupne izložbe:
2008. Kolekcija Telenor, Paviljon Cvijeta Zuzorić, Beograd
Kontakt: [email protected]
166
DOLLS
26.11 –14.12
kristina pantelić
On her solo exhibition at Remont gallery young artist
Kristina Pantelić (1982) showed a serie of objects named
“Dolls”. Roused by problems of her generation and the
time we are living the author made a series of works that
directly and clearly communicate with the viewer. Elaborating the idea and seeking for the most adequate media
to express it she succeeded in maintaining the freshness
of initiate impulse her works reflects.
Installations named “Dolls” consist of different elements
and every separate element has its own associative power. Wallpapers – colorful, transient, movable scenery of
contemporary lifestyle, golden tapestry frames – overemphasized theatrical celebration of the fashion doll
questionable values ( whose photographs we see as our
own reflections in the mirror) whose plasticity and emptiness succeeds to focus the whole experience on debated subject of uniformed identity. By fortunate fusing
of separate elements into highly conceptual visual ensemble Kristina manages to go beyond the trivial associations and make art we enjoy in, recognizing ourselves
within.
Marija Radoš
Kristina Pantelić
Born in Belgrade in 1982. Graduated painting from Academy of Arts, Novi
Sad in 2005.
Solo exhibitions:
2007. Museum of Vojvodina, Novi Sad
2006. Yes Gallery, Novi Sad
2006. Vuk’s Endowment, Belgrade
Group exhibition:
2008. Telenor Collection, Pavillion Cvijeta Zuzorić
Contact: [email protected]
168
gradski prizori
17.12 –31.12
novogodišnja prodajna izložba
170
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172
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REMONT OUTSIDE
2007
Osim galerijske delatnosti, REMONT nezavisna umetnička
asocijacija svake godine realizuje projekte van galerijskog
prostora. Ove godine ostvarili smo izložbu SupermARTket u supermarketu u Višnjićevoj ulici, a u okviru manifestacije Noć muzeja u lokalima tržnog centra na Trgu
Republike izložbu „Kućni duhovi staklenca“. Održavajući
kontinuitet saradnje sa inostranstvom, na Dokumentima
12 u Kaselu smo predstavili Remont Art Magazin, a u posebnom delu programa Štajerske jeseni u Gracu, koji je
nosio naziv „next _ code: love“, učestvovali su beogradski
umetnici Isidora Fićović i Aleksandar Jestrović, Milica Milićević i Milan Bosnić. Jedna od značajnijih delatnosti u
2007. godini bila je priprema i osmišljavanje kolekcije
TELENOR koja je javnosti predstavljena 2008.
174
Every year, in addition to its gallery-based activities, the
Independent Art Association REMONT realizes projects
that step outside of the gallery space. This year we organized the exhibition called SupermARTket, based in the
supermarket in Visnjiceva Street, and, as part of the manifestation called Museum Night, there was a display of
works throughout shops in the shopping mall on the
Republic Square, called “The Poltergeists of shopping
maul Staklenac“. Keeping up the continuity of international cooperation, we presented the Remont Art Magazine at Documenta 12 in Kassel, and in a special section
of Steirischer Herbst in Graz, which bore the title “next _
code: love“, some Belgrade artists took part: Isidora
Ficovic, Aleksandar Jestrovic, Milica Milicevic and Milan
Bosnic. One of the most important activities in 2007 was
the conception and preparation of the collection TELENOR, which was presented to the public in 2008.
KUĆNI DUHOVI STAKLENCA
Verovanje da podzemni tokovi voda i magnetskih talasa
odlučujuće utiču na sudbinu nekog mesta, svih građevina koje na njemu bivaju podignute i na sve ljude koji u
tim prostorima žive ili tu dolaze nije više tako usamljeno:
drevno umeće rašljara na kraju dvadesetog veka i početkom trećeg milenijuma doživljava renesansu – i ljudi od
kojih to nikako ne biste očekivali ne useljavaju se u stan
pre no što angažuju stručnjaka da viskom ili spravicom u
obliku zmijskog jezika ispita „zračenja“.
Mesto gde je podignut montažni tržni centar u kojem se
nalazi galerija umetničke asocijacije „Remont“, kao i cela
zona centralnog Beograda, bogato je slojevima istorije.
Ali čini se da u slučaju „Staklenca“ imamo pravo da govorimo o naročito velikom ugušćenju tih slojeva.
Sudeći po slučajnim nalazima fragmentovanih žrtvenika
iz kasnog rimskog perioda na mestu današnjeg Trga Republike, može se osnovano pretpostaviti da se u vreme
kada je Singidunum bio sedište legije IV Flavije, na tom
prostoru nalazilo svetilište posvećeno Merkuru, okretnom
božanstvu koje je bilo zaštitnik svih vrsta umetnosti, zanata ali i trgovine i, u skladu sa tim, pokrovitelj lopova, što,
videćemo, nije bez značaja za potonju sudbinu mesta.
Pored merkureuma su, obično, postojali i bunari želja gde
su oni koji su verovali da će im Merkur vratiti udvostručenu svotu ubacivali bakarne, srebrne i u ređim slučajevima
zlatne novčiće. Novac je, međutim, po pravilu uzimalo
sveštenstvo koje se staralo o hramu. Činjenica da je u poslednjoj deceniji prošlog veka u „Staklencu“ delovala veoma popularna „Dafiment“ banka svakako osnažuje tezu
da su zračenja nekadašnjeg antičkog hrama posvećenog
bogu prevare itekako prisutna u temeljima.
Današnji trg je u dugom periodu bio slobodan prostor
ispred tvrđave i, samim tim, poprište zanimljivih zbivanja.
Na mestu ispred današnjeg spomenika Knezu Mihailu
nalazio se, nakon velike barokne rekonstrukcije, glavni
ulaz u utvrđenje – Stambol kapija. Središtem trga tekao
je veoma širog i dubok rov. Sa druge strane rova, u prostoru koji nije bio okovan bedemom, nalazilo se polje sa
kojeg su počinjale prolećne poklade čija se tradicija vremenom izgubila. Osim toga, u niskom rastinju i zemunicama koje su postojale na zaravni sakupljali su se ljudi
čija bi se delatnost mogla oceniti kao subverzivna, razno-
176
19. 05.
razni jurodivi tipovi, oni koji nisu mogli ni želeli da se
uklope u duh grada koji je tek krajem devetnaestog veka
izgubio svoja preovlađujuće militaristička obeležja. Da li
mislite da je slučajno što su svi karnevalski elementi protesta sa kraja devedesetih nastali na ovom delu trga, u
Kolarčevoj? Setite se da su, sa druge strane, u blizini „Čestitoga knjaza“ uglavnom izgovarane političke fraze koje
su ponekad, budimo iskreni, bile i pomalo patetične. Na
neki način, senka tog duhovnog horizonta egzistira u
prostorima „Staklenca“: u institucije koje su se u njemu
„primile“ treba ubrojati „Medija centar“ koji je tokom devedesetih bio jedan od bastiona otpora, galerije i knjižare. Naravno, ne treba zaboraviti kockarnice, slot-klubove
i kafiće. Sve u duhu Merkura i njegove okretnosti.
Privremeni objekat je, pre svega, bio zamišljen kao tržni
centar. U njemu preko dana nema vreve karakteristične
za slične asocijacije dućana podignute u centru ili na prilazima gradu. Butici puni garderobe, obuće ili elektronske
opreme posluju sa promenjivim uspehom, obično ne
traju dugo. Kada prođe radno vreme uvek umorni noćni
čuvari obiđu spratove i zaključaju dva ulaza u prizemlju.
Izbegavaju da tokom noći tumaraju zapuštenim hodnicima ili da ulaze u škripavi lift. Zašto? Zato što veruju u još
jednu urbanu legendu koju čuju od svojih prethodnika,
a koja nipošto nije u neskladu sa „karmom“ mesta. Njihov
kolega je – ime mu više niko ne pamti – sredinom devedesetih, ubrzo nakon što se iz prostorija povukla bankrotirana piramidalna štedionica, navodno prijavio da se
tokom noći predmeti u izlozima, obično odeća i tehnički
aparati, preobražavaju u bizarne skulpture. Kako te promene nisu u prvi mah uočljive teško je saznati kada su
započele. Tokom nekoliko noći posebna komisija bdela
je u „Staklencu“ ali, kao za inat, predmeti u izlozima mirno
su dremali sve do jutra. Nesrećni čuvar je svoju revnost
platio otkazom, uz preporuku za lečenje u instituciji koja
brine o mentalnom zdravlju stanovništva. Ni posle mnogo nagovaranja nije hteo da porekne ono što je napisao
u izveštaju. Od tada se legenda prenosi na sve koji dolaze
da rade kao čuvari, ali, isto tako, ostaje u tom zatvorenom
krugu. Čini se da su i posle njega drugi čuvari imali prilike
da vide ove paranormalne fenomene ali su o tome, poučeni iskustvom prethodnika, mudro ćutali.
Mileta Prodanović
POLTERGEISTS OF shopping
maul “STAKLENAC”
The belief that underground water streams and electromagnetic waves unquestionably effect the destiny of the
place right above the ground, and of all the buildings
erected at that place and all the people who live there or
come to visit, is becoming rather commonplace nowadays: the ancient wisdom of expert dowsers from the end
of the 20th and the beginning of the 21st centuries is going
through its renaissance – even people from whom you
would never expect such behaviour refuse to move into
a new flat unless they previously appoint an expert to
examine the level of “radiation“ with the plummet or a
small gadget in the shape of a snake’s tongue.
The location at which a prefabricated shopping centre
was built and which houses the gallery of the Independent Art Association “Remont“, as well as the entire zone
of central Belgrade, abounds with many layers of history.
But it seems that in the case of shopping maul “Staklenac”
we are talking about a particularly thick group of layers.
Judging by some accidental findings of a fragmented
altar from the late Roman period on the site of today’s
Republic Square, it can be reasonably assumed that, at
the time when Singidunum was the seat of IV Flavius’
legion, the site housed a sanctuary dedicated to Mercury, a dexterous deity – the protector of all the arts and
crafts, and commerce, and consequently, the patron of
thieves, which as we shall see, is not without significance
as to the subsequent destiny of the place. Besides the
Mercureum, there were, as a rule, several wishing wells
around. Those who believed that Mercury would restore
them a doubled sum, threw copper, sliver and, in some
rare cases, gold coins in the wells. But the money was in
effect collected by the clergy that took care of the temple. The fact that in the last decade of the previous century the shopping maul “Staklenac” has housed the infamous “Dafiment“ Bank definitely strengthens the assumption that the radiation of the ancient temple, dedicated to the god of deception, is no doubt present in the
foundations.
Today’s Republic Square has been for a long while an
open space in front of a fortress, and accordingly, the
battlefield of many remarkable events. On the site in
front of today’s monument to Prince Mihailo, following a
great Baroque reconstruction stood the main entrance
to the fortress – the Stambol Gate. Across the central area
of the square ran a very wide and deep trench. On the
other side of the trench, in the space that was not besieged, spread a field, a starting point of the spring carnival, the tradition of which gradually faded away. Besides, in the low vegetation and the dug-outs, which
existed on the plateau, there used to gather those people
whose occupations could be described as subversive, or
various odd characters, those who could not or did not
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19. 05.
want to adjust to the spirit of the city, which only by the
end of the 19th century lost its dominant military character. Do you consider it just incidental that all the carnival-like elements of the 1990’s protests took shape in this
part of the square, in Kolarčeva Street? Let us remember
that, just on the other side of the square, next to the
“Reputable Prince“, many political phrases were uttered,
most of which were, frankly speaking, rather pathetic. In
some way, the shadow of that spiritual horizon dwells in
the premises of shopping maul “Staklenac”: the institutions that have taken roots within it comprise, apart from
the galleries and bookshops, the Media Centre, which
during the 1990’s represented one of the bastions of political resistance. Of course, one should not overlook the
gambling-houses, slot-clubs and cafés. All in the spirit of
Mercury and his dexterity.
The temporary construction was primarily conceived as
a shopping centre. It is not however distinguished by a
daytime swarm, characteristic of similar-purpose stores,
built in the centre or in the outskirts of the city. Boutiques
full of clothes, shoes or electronic equipment trade with
variable success, and usually do not keep the business
up for too long. At the end of the working hours, the
employed night guards, tired almost as a rule, take a tour
around the building and lock the two entrances on the
ground floor. They tend to avoid walking around the
desolate corridors or entering the squeaking lift at night.
Why? Because they believe in another urban legend, of
which they heard from their predecessors, and which is
in accordance with this place’s “karma”. Their colleague
– whose name no one seems to remember anymore –
has allegedly reported in the mid 1990’s, soon after a
bankrupted pyramidal saving bank closed down, that
during the night, objects – usually clothes and technical
apparatuses, displayed in the shop windows in these
premises, were getting distorted into some bizarre sculptures. Since those changes were not apparent at first
glance, it is hard to say when they began to take place. A
special team was appointed to spend a few nights awake
in the shopping maul “Staklenac”, checking upon the
windows, but, as if out of spite, the objects were peacefully dreaming until the following morning. The unfortunate guard paid for his enthusiasm by being referred to
an institution for mental health. However, despite many
attempts of discouragement, he refused to deny what he
had initially written in his report. Ever since, the legend
haunts those who come to work there as night guards,
but remains within the same closed loop system. It seems
that his colleagues had an opportunity to witness those
paranormal phenomena, but, thanks to the experience
of their predecessor, they wisely kept quiet about it.
Mileta Prodanović
SupermARTket
10 – 20. 05.
Maxi supermarket, Višnjićeva 10
organizacija i produkcija:
REMONT – nezavisna umetnička asocijacija, B.C.A. Mosaic i Delta Maxi
Autori:
Anica Vučetić / Bojan Cvetković / Duška Stefanović / Goran Dimić / Hana Rajković / Aleksandar Jestrović –Jamesdin / Miodrag Krkobabić / Maja Josifović / Marko Crnobrnja / Marko Stojanović / Nina Todorović / Ratka Lugumerski / Veljko Onjin / Viktor Šekularac / Gabriel Glid / Žana
Poliakov / Vladimir Perić / Lana Vasiljević
Ideja o saradnji je stigla od Vojislava Žanetića, direktora
marketinške agencije Mosaic. Predlog direktora jedne
marketinške agencije pokrenuo je mnoga razmišljanja o
vezi marketinga i savremene umetnosti kod nas. Potrebni smo jedni drugima ali, niti marketing dovoljno koristi
umetničku kreativnost niti umetnici poznaju sredstva i
način funkcionisanja marketinga.
Uključivanje Delta Maxi – ja u projekat omogućilo je da
se ideja ostvari.
Ova neuobičajena akcija težila je da ukaže na potrebu
poboljšanja životnih uslova vodeći računa i o drugim
(kulturnim) potrebama građana.
Na društvenom nivou realizacija projekta takođe je otvorila niz pitanja, poput mogućnosti regulisanja i uspostavljanja tržišta savremenih umetničkih dela u Srbiji ali i
ponudila građanima da se osećaju kao građani koji sebi
mogu da priušte i nešto više od gole egzistencije.
Suština projekta-akcije SuperArtMarket jeste izložba savremene srpske umetničke produkcije u supermarketu,
u light boksovima koji prvenstveno služe za reklamiranje
proizvoda, odnosno prostoru koji nije uobičajen za promociju umetnosti, ali jeste za promociju robe. Upravo je
pitanje umetničkog dela kao robe koja ima svoju cenu i
koja u širem smislu jeste namenjena kupcima, jedno od
180
pitanja koje se javno postavlja. Ovaj izbor je istovremeno
bio apel novim kupcima (izbor- posedovanje dela savremene umetnosti kao statusni simbol, pozicioniranje) i
kritika vladajućeg sistema vrednosti.
A supermarket je nesumnjivo javni prostor koga posećuju sve društvene kategorije.
U odnosu na kritični porast i promenu opšte svesti u kontekstu nesvesne potrebe za megalomanskom potrošnjom zapadnog društva, može se postaviti pitanje zasto
ovo radimo, ili da li je moralno u ovom trenutku umetnički rad predstavljati kao robu široke potrošnje?
Odgovor je veoma jednostavan. Lokalno tržište umetničkih radova kod nas u legalnim tokovima uglavnom ne
postoji. Savremena produkcija je potisnuta na marginu,
čak je gotovo nema u medijima, pa ni u široj javnosti.
Većina građana, uključujući i one koje načelno interesuje
savremena kultura, ima neku vrstu otpora ili straha da
posećuje galerije mada ima potrebu da svoja prebivališta
ukrašava reprodukcijama istorijski prepoznatljivih dela.
Suštinski, umetnički proizvod jeste roba a savremena
tehnologija omogućava da neki autorski produkti mogu
da se realativno jeftino proizvedu u više istovetnih komada, odnosno da im konačna cena bude prihvatljiva većem broju građana. U krajnjoj liniji, fizičko približavanje
dela publici ima propagandni i edukativni karakter.
Ali, činjenica je i da je na međunarodnoj sceni antipotrošački pokret sve značajniji, pa postoje i umetnički radovi
koji kritički reaguju na ovaj fenomen ukazujući na potrošačku groznicu ali i na obezličavanje ambijenta supermarketa koji drastično liče jedan na drugi, bez obzira u
kom se delu sveta nalazili.
Koliko god privatno podržavali kritiku nove ideologije
zasnovane na konzumerizmu, moramo priznati da se
naše okruženje još nije razvilo do te tačke.
Stoga, možda je ovo bio pravi momenat da se iskoristi
nezaobilazno nadolazeća žudnja za kupovinom i ponudi
druga mogućnost: roba koja ne zadovoljava biološke
potrebe već intelektualne.
SupermARTket
10 – 20. 05.
Maxi Supermarket, 10 Višnjićeva Street
Organization and production: REMONT – the Independent Art Association, B.C.A. Mosaic and Delta Maxi
Authors:
Anica Vucetić / Bojan Cvetković / Duška Stefanović /
Goran Dimić / Hana Rajković / Aleksandar Jestrović
–Jamesdin / Miodrag Krkobabić / Maja Josifović / Marko
Crnobrnja / Marko Stojanović / Nina Todorović / Ratka
Lugumerski / Veljko Onjin / Viktor Šekularac / Gabriel Glid
/ Zana Poliakov / Vladimir Perić / Lana Vasiljević
The idea about cooperation came from Vojislav Zanetić,
director of the marketing agency Mosaic. The proposal
of a marketing agency director instigated a number of
thoughts about the relationship between marketing and
contemporary art in our country. We need each other
but, neither does marketing make a sufficient use of artistic creativity, nor do artists seem to be acquainted with
resources and means in which marketing functions.
The inclusion of Delta Maxi in the project enabled the
realization of the idea.
This unusual action aimed at pointing to a need to improve our life conditions, but not neglecting the other
(cultural) needs of the citizens.
On the social level, the realization of the project also
opened a number of questions, such as the potential of
establishing and legalizing a contemporary art market in
Serbia, but also offered the citizens a possibility to feel
like citizens, who are able to meet more than mere existential needs.
The essence of the project-action called SuperArtMarket
is the exhibition of contemporary Serbian art production
in the space of a supermarket, in light boxes, which primarily serve to advertise goods – in other words, in the
space, which is not usually intended for the promotion
of art, but the promotion of goods. One of the major
questions that arise concerns the work of art as a commodity, which has its price, and which, in a broader sense
is intended for buyers. This selection of works was at the
same time an appeal to new buyers (selection-posses-
182
sion of the works of contemporary art as a status symbol,
as positioning) and a critique addressed to the ruling
value system.
And, the supermarket is indisputably a public space visited by all social categories.
In relation to a critical growth and a change of the overall
consciousness in the context of the unconscious need
for megalomanic consumption of the Western society,
one could pose the question as to why we do this, or
whether or not it is moral at this moment to present an
artwork as a commodity.
The answer is very simple. In our country, such thing as
local art market in its legal form hardly exists at all. The
contemporary art production is eclipsed, pushed to the
margins and hardly present in the media or among the
general public. Most citizens, including those who on
principle show interest for contemporary culture, demonstrate a kind of resistance or fear of visiting galleries,
though they have a need to ornament their households
with the reproductions of historically recognizable artworks. Essentially, an artwork is a commodity, and modern technology facilitates a relatively cheep production
of some art products, which means that their final price
become acceptable to the majority of citizens. Leastwise,
the physical approachment between artworks and the
public has both an advertising and educational character.
But the fact is that the international scene is also becoming more and more anti-consumption oriented; there are
anti-consumption movements and artworks, which aim
at criticizing this phenomenon, pointing to the consumption fever, but also to the standardization of supermarket spaces that drastically look like one another, no
matter in which part of the world they are.
However, although we may tend to secretly support this
criticism of the new ideology based on consumerism, we
have to admit that our own environment has not yet
reached that point of development.
For that matter, perhaps this was the right moment to
profit from the inevitably imminent thirst for shopping
by offering another possibility: commodities that satisfy
not biological, but intellectual needs.
documenata 12 magazine
Remont Art Magazin je u proteklih 7 godina bio prezentovan na brojnim međunarodnim manifestacijama i festivalima, a svakako najznačajniji događaj u istoriji Remont Art Magazina bilo je učešće na kaselskim Dokumentima. Ovaj obiman projekat započeo je 2005 godine
dobili smo poziv da učestvujemo u projektu pod nazivom “documenata 12 magazine”, planiranom za XII kaselska Dokumenta. Pored same izložbe kao glavne atrakcije,
Dokumenta XII su ponudila i nekoliko pratećih programa,
od kojih je projekat “documenata 12 magazine” za nas bio
najzanimljiviji i najinteresatniji. Kako naša umetnička
produkcija na žalost nije bila predstavljena na samoj
izložbi, posetioci ove sada već kultne izložbe ipak su posredno preko našeg magazina bili u prilici da dobiju informacije o našoj umetničkoj sceni. Documenata 12 magazine je osmišljen sa ciljem povezivanja i umrežavanja
najrazličitijih, uglavnom nekomercijalnih umetničkih
magazina i publikacija sa svih kontinenata. Kordinatori
projekta su u protekle tri godine pozvale preko 90 magazina, online i štampanih medija da aktivno uzmu učešća u osmišljavanju programa, platforme i tri publikacije/
magazina, koje su predstavljene na samoj izložbi u Kaselu. Uz pomoć posebno kreiranog kolektivnog online
uredničkog sistema, urednici magazina su imali mogućnost da međusobno komuniciraju, šalju tekstove iz svojih
sredina i na taj način učestvuju i stvaranju 3 publikacije
koje su posetioci mogli da vide u Kaselu, ali i u svim većim svetskim knjižarama. Specifičnost projekta ogleda se
i u činjenici da su urednici magazina bili u prilici da preuzimaju tekstove iz posebno kreirane baze podataka i da
na taj način doprinose upoznavanju svojih čitalaca o dešavanjima iz svih delova sveta. Kako je uglavnom reč o
malim redakcijama i nekomercijalnim magazinima, koji
uglavnom nemaju sredstava da isprate događaje koji se
dešavaju širom sveta, informacije i tekstovi koji su se nalazili u ovoj bazi pomogli su mnogobrojnim magazinima
da dopune svoj sadržaj i pruže relevantne informacije
svojim čitaocima.
Remont Art Magazin je od samog starta uzeo učešće u
ovom zanimljivom programu i sa nekoliko svojih dvojezičnih izdanja bio predstavljen u Kaselu. Posetioci u Kaselu su mogli podrobnije da se upoznaju sa izdanjima
Remont Art Magazina ali i sa situacijom na našom umetničkoj sceni. U projekat su između ostalog bili uključeni
i neki od najpoznatijih umetničkih magazina kao što su
Afterall, Springerin, Vector, Camera Austria, Moscow Art
Magazin, Ramona i mnogi drugi. Poseban kuriozitet
predstavlja učešće publikacija iz arabskog sveta kao i
magazina iz Indije, Kine kao i mnogih drugih zemalja koja
su zapadnom svetu prilično nepoznata.
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16.06 – 23.09
Over the past 7 years Remont Art Magazine was presented at many international manifestations and festivals. Certainly the most significant event in the history of
Remont Art Magazine was participation at Documenta
exhibition in Kassel. This huge project began in 2005,
when we received the invitation to participate in the
project called “documenata 12 magazine”, planned for
12th Kassel Dokumenta. Apart from the exhibition itself
as the primary attraction, Dokumenta 12 offered several
side events, of which “documenata 12 magazine” was
most attractive and interesting for us. Since our artistic
production was unfortunately not represented at the
exhibition, visitors of this almost cult exhibition were in
position to get information concerning our art scene by
means of our Magazine. Documenata 12 magazine is conceived with the objective to connect and make a network of various mostly non-commercial art magazines
and publications from all continents. Over the past three
years coordinators of the project have summoned over
90 magazines, online and printed media to actively take
part in creating programmes, platforms and three publications/magazines which were presented at the exhibition in Kassel. By the means of especially created collective online editorial system, editors of the magazine were
able to communicate with each other, to send texts from
their resident towns and to participate in creation of
three publications which were available for visitors in
Kassel as well as in better equipped bookstores all over
the world. The special nature of this project is reflected
in the fact that magazine editors were able to draw texts
from the data base created for this purpose and in that
way contribute to enlightening their readers concerning
activities from all over the world. Since participants of
this project are mostly non-commercial magazines with
small editorial staff which are under-equipped to keep
up with most current news from all over the world, information and texts from the data base were invaluable
additions to the contents of those magazines, providing
the relevant information to their readers.
Remont Art Magazine was involved in this interesting
programme from the very beginning and it was presented in Kassel in several of its bilingual editions. Kassel
visitors were able to get familiar with Remont Art Magazine editions but also with the situation on our art scene.
The project included among others some of the most
renowned art magazines such as Afterall, Springerin,
Vector, Camera Austria, Moscow Art Magazin, Ramona
etc. Special curiosity was participation of the publications from the Arabic world and magazines from India,
China and other countries mostly unknown in the western world.
“next_code:_love”
10 – 20. 05.
Steirische herbst 2007
Štajerska jesen je jedna od najznačajnijih regionalnih
manifestacija i ove godine su se po prvi put u zvaničnoj
selekciji pojavili i umetnici iz Srbije (Aleksandar Jestrović,
Milica Milićević, Isidora Fićović i Milan Bosnić), koje je
galerija Remont predstavlja u okviru projekta „next_
code:_love“. Posmatrajući Evropu danas, uzimajući u
obzir njenu prošlost, nailazimo na ekstremno bogat kulturni prostor, prepun kontrasta, protivurečnosti, ali i nespojivosti. S tim u vezi, u ovom projektu centralno mesto
je posvećeno temi „ljubav“. Pedeset godina “istočno-zapadne” konfrotacije – godine “hladnog rata”, stoje u pozadini preko 500 godina dugog uzajamnog kulturnog
uticaja katoličanstva, pravoslavlja i islama. Pored svih
političkih i istorijskih prepreka, bitaka i ratovanja, preplitanje kultura ostaje kao jedino neuništivo iskustvo svih
ljudi sa balkanskih prostora. Projekat “next code” posmatra zajedno ta tri normativna kompleksa evropske istorije i kulture (katoličanstvo, pravoslavlje i islam) i pokušava
da, učešćem umetnika sa tih prostora (Austrija, Srbija i
Turska), prikaže generacijama stvorene razlike između
njih, prouzrokovane različitim istorijskim iskustvima.
Izložba “next_code:_love” se bavi temom ljubavi i njenim
različitim načinima kodiranja u različitim sredinama, njenoj kulturnoj, socijalnoj, medijskoj pa i političkoj uslovljenosti.
Koncept izložbe je transformacija i različito poimanje
pojma ljubavi u različitim kulturama koje su istorijski,
geografsko i ekonomski povezane. Umetnici su istraživali savremene vizuelne fenomene sa akcentom na umetničkoj produkciji koja proizilazi iz aktivnog odnosa umetnika koji zajedno žive, rade, promišljaju i stvaraju u jednom specifičnom okruženju. Platforma za rad je bila
kontinuirana komunikacija putem e-mailova koja je počela još krajem 2006. godine, u kojoj su umetnici razmenjivali radove, ideje, stavove i svoja razmišljanja na zadatu temu. Ljubav u ovom slučaju nije samo osećanje ili
tema izložbe, ona je snaga koja pokreće umetnike u procesu nastajanja umetničkog rada. Samim odabirom
umetničkih parova, želeli smo da naglasimo jedan intimniji i ličniji pogled na ovaj problem, ali i važnost ljubavi
kao osnovnog osećanja u kontekstu celog projekta. Živeći i stvarajući zajedno umetnici su u konstantnom procesu promišljanja i preispitivanja pojma ljubavi, kako u
umetnosti, tako i u svakodnevnom životu. Stvarajući zajedno, umetnici istražuju uzajamna osećanja, sopstveni
rad, ali i svet oko sebe. Svaka od selekcija je pored umetnika koji su svoje radove ostvarili na licu mesta u Gleisdorfu, uključila i prikazivanje filmova iz različitih epoha
(60-ete, 80-ete, ali i savremena ostvarenja, „Zemlja ljubavi, istine i slobode“ Milutina Petrovića) koji su sa svoje
strane reflektovali promenu koncepta pojma ljubavi kroz
medijum filma kao jednog od najpopularnijih vidova
savremenog izražavanja.
Kustosi: Mirjana Peitler, Ovul Durmusoglu i Saša Janjić
186
Steir Autumn is one of the most important regional
manifestations and this was the first year that Serbian
artists (Aleksandar Jestrović, Milica Milićević, Isidora
Fićović i Milan Bosnić), who were previously presented in
the Gallery Remont within the project „next_code:_love“,
appeared in official selection.
Watching Europe today, considering its past, we come
across extremely rich cultural space, full of contrasts, ambivalences and contradictions. Having this in mind, the
central spot in this project is dedicated to „love“. Fifty
years of “East-West” confrontation – years of the Cold
War, are in the background of over 500 years of cultural
interactions of Catholicism, Orthodoxy and Islam. In spite
of all political and historical obstacles, battles and wars,
cultural interaction is one truly indestructible experience
of all peoples from Balkans. Project “next code” examines
all three normative structures of European history and
culture (Catholicism, Orthodoxy and Islam), trying to reveal the differences between generations caused by different historical experiences, by involving artists of this
background (Austria, Serbia and Turkey) in the project.
Exhibition “next_code:_love” is about love and its various
ways of coding in different environments, its cultural,
social, media and political basis.
The concept of exhibition is transformation and different
experiences of the idea of love in different cultures which
are historically, geographically and economically related.
Artists explored contemporary visual phenomena with
the accent on the artistic production of artists who are
actively living, working, thinking and creating together in
a specific environment. The platform for the work was
continuous communication by e-mails that started in the
end of the year 2006. Artists exchanged works, ideas,
views and their own thoughts on the subject. Love in this
case is not just a feeling or the subject of the exhibition;
it is the driving force of the artists in the process of creating work of art. By choosing couples that create together,
we intended to emphasise a more intimate and personal
overlook, and also the importance of love as a central
feeling in the context of the entire project. By living and
working together artists were constantly rethinking and
re-examining the idea of love, as well as in art and in everyday life. By creating together artists explored mutual
feelings, their own works and the world around them.
Each selection, apart from artists who created in site in
Gleisdorf, included film projections from various epochs
(60’s, 80’s, but also recent productions such as “The Land
of love, truth and freedom” by Milutin Petrovic) that also
reflected a change in the concept of love through film
media as one of the most popular means of today’s expression.
Curators: Mirjana Peitler, Ovul Durmusoglu and Saša
Janjić
impresum
REMONT ART FILES, br. 1
Časopis za promociju savremene umetnosti
2007/08
Izdavač / Publisher: Remont nezavisna umetnička asocijacija
Remont Independent Artistic Association
Za izdavača / For the Publisher: Darka Radosavljević
Urednici / Editors: Saša Janjić, Darka Radosavljević, Miroslav Karić
Saradnici / Contributors: Jerko Denegri, Maja Ćirić, Stevan Vuković, Irena Šimić, Jelena Spajić, Marija Radoš, Mirjana Peitler, Ovul Durmusoglu, Mileta
Prodanović, Uroš Đurić, Aleksandar Jestrović Jamesdin, Branislav Jakovljević, Danilo Vuksanović, Radovan Popović, Katarina Mitrović
Dizajn i prelom / Design & Layout: Olivera Batajić
Fotografije / Photos: Remont dokumentacija & umetnici
Prevod / Translation: Marina Krstić, Aleksandar Vasiljević, Irena Šimić, Katarina Radović
Korerktura / Proofreading: Nataša Bokić
Štampa / Printing: Publikum, Beograd
Tiraž / Copies: 700
Izdanje / Edition: Beograd 2009.
Adresa / Address: Makedonska 5/II, 11000 Beograd, Srbija
Tel: +381 11 3223 406
Fax: +381 11 3344 171
www.remont.net
[email protected]
Savet galerije / Gallery Bord: Vladimir Perić, Milica Jovanović i Miroslav Karić
Štampanje kataloga pomogli / Printing of the catalogue suported by:
Sekretarijat za kulturu grada Beograda, Ministarstvo kulture Republike Srbije, ERSTE Fondacija
Secretariat for Culture City Assembly of Belgrade, Ministry of Culture Republik of Serbia, ERSTE Stiftung
CIP - Каталогизација у публикацији
Народна библиотека Србије, Београд
7
REMONT art files : časopis za promociju
savremene umetnosti / urednici Saša Janjić,
Darka Radosavljević, Miroslav Karić. - 2009,
br. 1- . - Beograd (Makedonska 5/II) :
Remont nezavisna umetnička asocijacija, 2009 (Beograd : Publikum). - 24 cm
Godišnje. - Tekst uporedo na srpskom i
engleskom jeziku. - Je nastavak: Remont art
magazin = ISSN 1450-9512
ISSN 1821-0511 = Remont art files
COBISS.SR-ID 155011596