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2009 00 00 Videografija Regio impresum Videografija regiona/Videography of the Region Katalog projekta/Project catalogue Priređivač/Edited by: Aleksandra Sekulić Projekat realizovan uz podršku Ministarstva kulture i medija Republike Srbije Project realized with the support of the Ministry of Culture and Media of Republic of Serbia Za izdavača/Publisher: Miodrag Milošević, Dom kulture „Studentski grad“/“Students’ City“ Cultural Center Bul.Zorana Đinđića 179 Beograd/Belgrade Dizajn/Design: Nebojša Petrović Prevod i lektura/Translation and redaction: Vesna Jovanović, Milan Rakita, Aleksandra Sekulić, Nađa Leuba, Greg de Cuir, Violeta Kačakova Štamparija/Printed by: Alta Nova Tiraž/Print run: 300 Beograd, 2009 ideografija, kao i bibliografija, sugeriše postojanje autorskog entiteta. Čiju smo videografiju Vupoznavali u okviru projekta Videografija regiona? Region je jedan od termina koji omogućavaju najraznovrsnije upotrebe, igre i projektne improvizacije. Značenje reči „region“ se samo u poslednjih deset godina u dnevno-političkom diskursu zemlje u kojoj je ovaj projekat nastao promenilo toliko puta, da se od eufemizma koji je sakrivao bivšu Jugoslaviju region širio, sakupljao, granao i pomerao tako brzo i različitim pravcima, i presecao i preklapao sa toliko drugih „regionalnih“ entiteta, da bi izazov crtanja višebojnih mapa ex-Jugoslavije, Balkana, Zapadnog Balkana, Južne Evrope, Istočne Evrope, Jugoistočne Evrope, Centralne Evrope, Mittel Europe i Mediteranskih zemalja zbunio i iskusnije geografe. Zato se paradigmatičnim slučajem odustajanja od klasične geografske odrednice čini medijski izum devedesetih, kojim se opisivanje zbivanja u „regionu“, čija je geografska definicija bila isuviše zahtevan posao, rešilo uvođenjem formule „ovi prostori“. Ponavljanje ove prakse fleksibilnih pristupa u definisanju regiona ispostavilo se da je najveći doprinos ovog projekta, zahvaljujući njegovom višegodišnjem kontinuitetu. Tako smo bili u prilici da iz godine u godinu region posmatramo kroz različite projektne kombinacije punktova produkcije i prezentacije videa. Privremene godišnje mape regiona koje je ovaj projekat ucrtavao ilustrovale su aktuelnu situaciju u jednom specifičnom polju koje takođe vibrira nepostojanim kriterijumima. Tu bismo došli do druge nepoznate u ovoj formuli: videa. Video je i u ovom projektu ostao otvoren pojam, spreman da obuhvati granične i eksperimentalne oblike koji se mogu pojaviti. U metodološkom pristupu poznatom pod nazivom medijska arheologija, koji posmatra linije razvoja medijskih objekata – aparata, tačka posmatrača je vreme interneta. Upravo je iz ove tačke moguće sagledati svu kompleksnost videa kao medija u umetnosti, jer je u dinamici svog uspona u kulturnom, institucionalnom i edukativnom sistemu često bio podvrgavan istraživanjima, definisanjima i osporavanjima, ali prvi put se susreće sa opasnošću dosezanja svoje predviđene, „utopijske“ uloge, prožimanjem sa novim novim medijem. Spekulacije o najdemokratskijem mediju, koje dopiru iz šezdesetih godina prošlog veka, a koje su sezale do vizija apsolutno nezavisne i otvorene televizije, sada se suočavaju sa situacijom koja izmiče zatečenim pojmovima medija. Pojam vernakularnog videa, kako ga predstavlja Tom Šerman (Sherman)1, može ponuditi adekvatniji referentni sistem za posmatranje razvoja videa kao umetničke forme, i zato ovaj tekst, u dogovoru sa autorom, pridružujemo ovom pregledu specifične videografije. Kao prilog sledi i tekst koji koji može dati mali uvod u specifičnu istoriju videa u Jugoslaviji, i koji 1 Sherman, Tom: “Vernacular video”, Chto Delat magazine, September 2007, Special issue: “Make Film Politically” www.chtodelat. videografija org; u ovoj publikaciji objavljujemo integralnu verziju ovog teksta. regiona 4 donekle osvetljava i poziciju centra odakle je ova videografija inicirana – Akademskog filmskog centra u Domu kulture „Studentski grad“ u Beogradu. Kada sam ga započela 2006. godine, ovaj projekat sam zamislila kao deo šire strategije ovog centra izuzetne tradicije u produkciji i prezentaciji filma i videa, a koja je podrazumevala intenziviranje komunikacije i razmene u polju filma i videa, i na regionalnom i na međunarodnom nivou, realizovano u redovnim programima u Domu kulture „Studentski grad“, festivalskim projektima, filmskom i video produkcijom, radionicama. U okviru redovnih programa koje je Akademski filmski centar (AFC) imao u Domu kulture „Studentski grad“, u ciklusu Videografija regiona organizovala sam gostovanja umetnika, kustosa, urednika festivala, kolektiva i umetničkih grupa, čiji je dolazak omogućio ne samo upoznavanje sa radovima koji su na programima bili prikazani, već i upoznavanje autora okupljenih oko AFC sa relevantnim inicijativama i projektima i sa mogućnostima dugoročne saradnje, razmene i komunikacije. U pregledu ovih programa, prolazimo kroz raznovrsne projekte, inicijative, retrospektive, koji, sagledani u ovakvom nizu višegodišnjeg ciklusa, ilustruju napor da se zabeleži disperzija jednog pojma kakav je video na različite produkcijske oblike i prezentacijske modele. Tako smo u početku imali prilike da se upoznamo sa radom umetnika Davida Grasija (Davide Grassi) i Aksioma platforme iz Ljubljane. Pored projekata ovog umetnika i Aksioma centra koji su ispitivali mogućnosti povezivanja performansa, videa i interneta putem streaming eksperimenata, ovde ćemo pružiti poseban osvrt na jedan od radova realizovanih u okviru SilentCellNetwork platforme, budući da se radi o tematizovanju prve antifašističke akcije u Evropi: paljenju Rajhstaga. Beogradska publika imala je priliku da se susretne sa ovom temom u radu Fanal! March Radau, čiji je autor, Ron Slauk (Sluik) , umetnik i kustos iz Amsterdama, 2001. godine u okviru Mikrokino Festa predstavio niz svojih akcija kojima re-aktuelizuje ovaj gest. 2006. godine Davide Grassi nam je prikazao re-enactment projekat koji na drugi način ponavlja putovanje Marinusa van der Lubea u Berlin: Mare Van der Lubbe (Mare Bulc, član slovenačke umetničke grupe SilentCellNetwork, autor ovog rada pod nazivom: Ich Lubbe Berlin!) pokazuje savremenu situaciju kao vanredno stanje. U sledećem programu predstavljeno je DVD izdanje „Makedonski video 1985-2005“, čiji su priređivač Evgenija Teodosijevska i izdavač Zlatko Teodosijevski ponudili kratak istorijat razvoja video umetnosti u Makedoniji, uz selekciju radova koja je obuhvatila relevantne i raznovrsne autorske pristupe, od pionirskih radova Dragana Abjanića, do angažovanih radova Irene Paskali. Poseban značaj u ovom ciklusu imali su upravo projekti koji sistematizuju i istorizuju video produkciju, budući da je upravo time moguće ostvariti osnovu za diskusiju o svim aspektima ove tradicije i sagledati širi kontekst savremene produkcije. Neven Korda, video umetnik iz Ljubljane, predstavio je raznovrsne aktivnosti videografija regiona 5 Zavoda Zank iz Ljubljane. Jedan od najznačajnijih projekata istorizacije ili sistematizovanja video produkcije, omogućavajući uvid u kontekst i okolnosti , je projekat Bodočnici, koji je inspirisao mnoge ideje i projekte, i ovde je izdvojen i kao ilustrativan primer svesti o specifičnoj istoriji i dometu videa unutar alternativne kulture na kraju prošlog veka. Među novonastalim incijativama koje su u ovom ciklusu predstavljene izdvaja se grupa Protok iz Banja Luke, koja je 2007. prikazala svoju video produkciju (gosti: Nenad Malešević, Radenko Milak, Miodrag Manojlović, Nenad Ponjević), i opisala svojim primerom na koji način se u preseku pristupa obrazovnog sistema, NGO scene, lokalne kulturne politike pronalaze mogućnosti i potrebe za organizovanom aktivnošću i intenzivnim učešćem i inicijativom u oživljavanju lokalne umetničke scene. Sa ove distance, impresivan je uspeh koja je ova grupa postigla svojim dugoročnim projektima, izložbom Spaport, i mnogim drugim akcijama. Festival kratke video forme (sada poznat kao Avi.fest) je posle svog prvog izdanja, u ovom ciklusu u mapu video festivala upisao Podgoricu, i najavio upornu borbu za afirmaciju videa i novih medija u svojoj sredini, a projekcijom izbora radova sa festivala pokazao da je, slično nekada pokretu Low-Fi Video, otvoren za novu produkciju široko i sa naklonošću ka humoru, eksperimentu i slobodnoj interpretaciji videa. Festival Videomedeja iz Novog Sada već ima zavidnu tradiciju i ugled u međunarodnim okvirima zahvaljujući svojoj jasnoj programskoj orijentaciji i posvećenom radu na promovisanju videa, inovativnim prezentacionim modelima, podršci eksperimentalnim i graničnim formama koje prate razvoj tehnologije i teorijskog diskursa u ovom dinamičnom polju. Ivana Sremčević, direktorka Festivala, predstavila je u dva navrata selekcije sa festivalskih izdanja 2006. i 2007. godine, čime je omogućeno beogradskoj publici da se upozna sa i sa festivalskom politikom Videomedeje i aktuelnom međunarodnom produkcijom visokih standarda koja u Novom Sadu iz godine u godinu obrazuje generacije umetnika i formira dobro informisanu i zahtevnu publiku. Gostovanje Naška Križnara, nekadašnjeg člana grupe OHO, koji se bavi vizuelnom antropologijom, posebno je značajno za ovaj projekat, budući da je ovaj program pokazao značaj istraživanja samog medija, u ovom slučaju kamere u nauci i u umetnosti. Pored predavanja i projekcije radova iz vremena aktivnosti OHO grupe, održana je i radionica sa studentima, gde je Naško Križnar uspešno demonstrirao na koji način se vizuelna antropologija oslanja na znanja iz kinematografije i tehnike video produkcije, ali učinio jasnijim kako je ovaj metod primenjen u savremenoj umetnosti (vizuelna antropologija bila je tema prestižnih video festivala
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