Izdavač/Publisher Javna ustanova Zavičajni muzej i Umjetnička galerija “Josip-Bepo Benković” Herceg-Novi Marka Vojnovića 4, 85340 Herceg-Novi [email protected] Odgovorni urednik/Editor-in-Chief Radmila Ćapin Urednik izdanja/Editor Đorđe Ćapin Predgovor i postavka/Preface and exhibition display Ana Ivanović Prevod/Translation Olivera Kusovac, Ana Ivanović Dizajn/Design Voislav Bulatović Štampa/Print Biro Konto Sutorina bb, Herceg-Novi Tiraž/Circulation 700

Copyright © Javna ustanova Zavičajni muzej i Umjetnička galerija “Josip-Bepo Benković” Herceg-Novi, 2013. All rights reserved

Održavanje 46. hercegnovskog zimskog salona omogućili su Organization of the 46th Winter Salon was supported by Opština Herceg Novi | Municipality of Herceg Novi Ministarstvo kulture Crne Gore | Ministry of Culture of Montenegro Galerija „Josip-Bepo Benković” Marka Vojnovića 4, 85340 Herceg-Novi

februar – mart 2013. february – march 2013 4

Selektorka 46. hercegnovskog zimskog salona i JU Zavičajni muzej i Umjetnička galerija „Josip-Bepo Benković” ljubazno se zahvaljuju na pomoći: Selector of 46th Winter Salon in Herceg Novi and Homeland Museum and Art Gallery “Josip-Bepo Benković” would like to thank to:

Njegovoj ekselenciji Aleksandru Vasilevskom, Majdi Zorko Gasparič, Aleksandri Prlinčević-Milović – Atelje „Otklon” u Beogradu, Ljiljani Karadžić, Danijeli Mršulji-Vasić i Milenku Vasiću, Ljiljani Zeković, Mirjani Dabović-Pejović, Branki Vujović, Jeleni Pavlović i Selmanu Trtovcu. SELEKTORKA | SELEctor Ana Ivanović istoričarka umjetnosti, Budva | Art Historian, Budva

umjetnici • ARTISTS

• Đorđije Bato Boljević • Marijan Crtalić • diSTRUKTURA • Leo Duff • Olivera Inđić • Slavica Janešlieva • Andrijana Mlinarević-Cvetković • Borjana Mrđa • Danijela Mršulja- Vasić • Ivan Pejović • Ivanka Vana Prelević • Adin Rastoder • Žiga Rehar • Željko Reljić • Davor Sanvincenti • Brane Širca • Maja Šofranac • Selman Trtovac • Anica Vučetić • Antonio Živković

ŽIRI ZA DODJELU NAGRADA | JURY FOR THE WINTER SALON AWARDS

Veseljka Salatić istoričarka umjetnosti, muzejski savjetnik, Trebinje Art Historian, museum consultant, Trebinje Radojka Abramović istoričarka umjetnosti, muzejski savjetnik, Kotor Art Historian, museum consultant, Kotor Slavko Timotijević istoričar umjetnosti Beograd Art Historian,

5 Ko gleda spolja – sanja, ko gleda unutra – budi se. Karl Gustav Jung

Oduvijek sam vjerovala u snagu umjetnosti. I uvijek sam se pitala odakle ta snaga dolazi. Da li je ona objektivno prisutna u jednom umjetničkom djelu, ili je to nešto što mu se pripisuje u skladu sa ukusom ili senzibilitetom, a u određenom socio-kulturnom okviru? To je pitanje koje svakako ostaje otvoreno, ali jedno je sigurno – ukoliko je je- dan umjetnički rad moćan u tolikoj mjeri da može da „probudi” svijest posmatrača, onda je vjera u snagu umjetnosti opravdana. Tema Buđenje koju sam odabrala za ovogodišnji Zimski salon, s obzirom na fleksibilni karakter koji posjeduje, ima za cilj da, u širem smislu, pruži uvid u aktuelna kretanja u umjetnosti u regionu. U užem smislu, učinila mi se pogodnom za ispitivanje interaktivnosti odnosa umjetnik – posmatrač. Kada kažem interaktivnost mislim na trenutak poveziva- nja i preklapanja stavova, razmišljanja, osjećanja koja se rađaju u umjetniku prilikom stvaranja rada s jedne, i reakcije

6 koja se rađa kod posmatrača prilikom susreta sa djelom, s druge strane. Izložba je multimedijalnog karaktera, a višeslojnost značenja pojma buđenja pružila je širok dijapazon odgovora na više problemskih pitanja – od buđenja koje može biti izazvano čistom likovnošću djela, preko angažovanosti u pravcu ekološkog osvješćivanja, do onih koji su proizvod introspektivnog procesa i zapitanosti nad egzistencijalističkim nedoumicama današnjeg čovjeka. Kao jedan od preduslova da određeni rad pronađe svoj put do posmatrača jeste da on bude iskren, da poriv zbog kojeg nastaje ima karakter obračunavanja sa ravnodušnošću koja je, po mom skromnom mišljenju, veoma opasna pogotovo u vrijeme kada je sve relativizovano, kada vlada sumnjiv sistem vrijednosti i opšta mentalna nehigijena, a proizvoljnost je prisutna u gotovo svim porama života. S obzirom na izraženi senzibilitet i delikatnost umjetniko- vog bića, istinska posvećenost u razmatranju određenih pojava i tema je nediskutabilna. Takođe, svrha postavljanja teme oko koje su okupljeni umjetnici svakako nije u nametanju rigidne vizure već humana potreba da oživimo čula, da se pokrenemo, da zavirimo u sebe... Na kraju, ne mogu a da se ne osvrnem na prošlogodišnji Salon i napor uložen da manifestacija visoke reputacije i dugogodišnje tradicije u Crnoj Gori, okupljanjem umjetnika iz svih zemalja bivše Jugoslavije, poprimi razmjere po- željne regionalne umjetničke smotre. S tim u vezi, istakla bih važnost ponovnog ujedinjavanja nekad jedinstvenog duhovnog prostora, kao događaja koji može imati dalekosežan značaj. Ana Ivanović, istoričarka umjetnosti Who looks outside, dreams; who looks inside, awakes. Karl Gustav Jung

I have always believed in the power of art. And I have always wondered where that power comes from. Is it objecti- vely present in a work of art or is it something ascribed to an artwork in accordance with taste or sensibility in a cer- tain socio-cultural framework? Even though this question undoubtedly remains open, one thing is certain: if a work of art is so powerful that it can ‘awaken’ the viewer’s consciousness, then the belief in the power of art is justified. Given its flexible nature, the theme Awakening that I have chosen for this year’s Winter Salon, in the broader sense is aimed at providing an insight into the current art trends in the region. In the narrow sense, the theme seemed suitable for examining interaction in the artist-viewer relations. When I say interaction, I mean the moment when the attitudes, thoughts and feelings born in the artist during the creation connect or overlap with the reaction trig- gered in the viewer during his or her encounter with the work of art. This exhibition has a multi-media character, while the multi-layered meanings of the term awakening offer a wide spectrum of answers to a number of problem questions – from awakening which can be prompted by the pure visual aspect of work, through activity towards ecological awareness, to questions which are the product of an introspective process and existentialist dilemmas of modern man. One of the preconditions for an artwork to find its way to the viewer is for it to be sincere, while its driving force has to have the character of squaring accounts with indifference which, in my humble opinion, is very dangerous particularly in a time when everything has been relativized, when a dubious value system is in operation accompanied by overall lack of mental hygiene, and when arbitrariness permeates almost all spheres of life. Considering the high sensibility and subtleness of the artist’s being, the genuine commitment in the explora- tion of certain phenomena and themes is undisputable. Furthermore, the purpose of setting the theme which has brought the artists together is by no means to impose a rigid vision but rather a human need to revive our senses, to make a move, to peep into ourselves... Finally, I cannot but make reference to the last year’s Winter Salon and the efforts made for this reputable Monte- negrin event with long tradition to grow into a notable regional exhibition by gathering together artists from all former Yugoslav republics. In this context, I would like to stress the importance of reunification of the once unified spiritual space as an event which may have far-reaching significance. Ana Ivanović, art historian

7 Iz ciklusa Akt 2012, kombinovana tehnika, 170 x 130 cm From the Act cycle 2012, mixed media, 170 x 130 cm

Iz ciklusa Akt Bato Boljević je slikar nerva, trenutka, njegov potez je gestualan, silovit, on beleži brzo kako bi očuvao nadahnuće u samoj njegovoj izvornosti. Inspiraciju pronalazi u tijelu žene koje, neretko svedeno samo na asocijativan znak, postaje medijum za saopštavanje složenih simboličkih značenja i generator snažnih osjećanja. unutrašnja borba umjetnika, potreba da se pronađe Bato je ličan, iskren, on posmatra, preispituje, otkriva sebe. duhovna ravnoteža; snažno je prisutan muško-ženski Svaka pojedinačna linija, svaki potez i forma zapravo su princip, ambivalentnost čovekove prirode i autorefleksivna intimni zapisi umjetnikove duše. stanja koja nam on tako smelo otkriva. U svemu tome nema Akt za Boljevića ne predstavlja samo likovni motiv već ga on, raspričavanja, rasplinjavanja, njemu je važna esencijalnost pokrenut čulnošću ženskog tijela, pretvara u kontemplativno stvaralačkog nagona koju materijalizuje tako da se gotovo polje u kojem je izatkana mreža najtananijih misli i osećanja, može opipati. A.I.

8 Bato Boljević

From the Act cycle Bato Boljevic is a painter of the strong presence of the male and female principle, nerves, of the moment, his stroke is gestural and forcible, ambivalence of the human nature and self-reflexive states he is painting quickly in order to save his inspiration in its which he is so bold to reveal. All things considered, there is authenticity. no fading away, no melting, what is important to him is the very essence of the impulse to create which he materializes The inspiring template in his works is a female body that, to the point where it becomes almost tangible. A.I. reduced to the associative sign, becomes a medium for transference of complex symbolic meanings and a generator of strong emotions. Boljevic executes his painting almost ritually, very often an anutonomous paint brush or pencil draw launches an avalanche of acumulated, deep inner contents that are acquainted directly and without embellishment. Bato is personal, honest, observant, inquistive and revealing. Each line, brush stroke and form is actually the most intimate inscription of the author’s soul. For Boljevic, the act is not a mere painting motif. Inspired by the sensuality of the female body he converts it in a contemplating field where he weaves the net of his most sensitive thoughts and feelings, inner struggle. There is a necessity to detect the spiritual equilibrium showing 9 Sadašnjost povijesti 2011, kaširani printovi, 50 x 35 cm Present Moment of the History 2011, prints mounted on forex, 50 x 35 cm

Sadašnjost povijesti Sadašnjost povijesti, vizualizacija je danas uobičajenog pogleda na radnika i njegova prava u spoju s ponudom načina života koji mu se nudi od strane državnog aparata. Slobodnije rečeno, navedeni aparat doživljavam kao dotrajali i pokvareni birokratski mehanizam, zabilježen na crno-bijelim fotografijama, a radnik je postao a radnike kao hipereksploatiranu tržišnu živu vagu bez prava duh odnosno sjećanje na čovjeka koji je „nekad“ izgradio sve i identiteta. Od nekadašnjeg društveno-političkog brenda, što mu je „danas“ oduzeto u stvarnom svijetu izgrađenom po radnička klasa je pretvorena u ismijani relikt socijalizma lokalnom kriminalnom modelu privatizacije i pretvorbe.

10 MARIJAN CRTALIĆ

Present Moment of the History Present Moment photos, and the Worker became a ghost, or shall I say, he of the History is a visualization of the common manner of became the memory of a man who has been building in the looking at the Worker and his rights in relation to the way of past everything that is taken away from him today, in this real living offered by the state aparatus. Speaking more openly, world... a world made by a criminal model of privatization I see that aparatus as a worn-out and broken birocratic and simulation. mechanism, and I see workers as hyper-exploited liveweight without any rights or identity. Once being social and political brand, working class nowadays is being transformed into a ridiculed relict of socialism, recorded on the black and white 11 Not so far away I Licem u liceCiklus fotografija Face to Face doslovno replicira 2007, lambda print, 80 x 120 cm romantičarsku topografiju posmatrača neposredno konfrontiranog sa The best of leisure (Zmajeviti) uzvišenim i zadivljujućim prizorima jednog postindustrijskog predela i primer 2011, lambda print, 80 x 120 cm je jedne nove socijalne i mentalne ekologije. To je rad u nastajanju (work in progress project) koji izvodimo na svakom mestu koje posetimo i sastoji se stvenu suprotnost. Jedan od razloga može biti i to što prirodu ne možemo od radova u različitim medijima, mada je najzastupljeniji medij fotografije. više uzimati zdravo za gotovo. Bilo da se koristi kao simbol moći, bega ili kao Tako su motivi pejsaža i gradova širom sveta postali objekt naše izolovane mesto za sanjarenje i kontemplaciju, moramo se zapitati da li bi trebali ovoj kontemplacije pozivajući i posmatrača da se toj kontemplaciji pridruži. temi prići sa posebnom pažnjom i svesnijim stavom. Sama pozicija današ- njeg čoveka, kao istovremenog aktera i posmatrača sveta u kome živi, nameće Iskustvo postajati-deo-prirode ili biti-deo-prirode preuzeto je iz tradicije ro- potrebu osmišljavanja logike kojom bi on sam mogao ova dva stanovišta da mantičarskog pejsažnog slikarstva, a posebno iz radova nemačkog slikara poveže i da ih sebi objasni. Kaspara Fridriha Davida (Caspar Friedrich David). U pitanju su slike pejsaža ispunjenih usamljenim figurama, beznačajnih u odnosu na prirodu koja ih Koristeći duh romantičarskih ideja kao slika koje teže lepoti, mi predstavljamo okružuje. Sledeći svoje unutrašnje impulse on je glorifikovao snagu i lepotu pejsaže oblikovane ljudskom aktivnošću i često sa prilično brutalnom indu- prirode obezbeđujući joj spiritualni karakter. Na taj način stvorio je novi tip strijskom eksploatacijom kao što je prikazano u Not so far away seriji fotogra- slike „pejsaž kao ikona prirode“, gde pejsaž prestaje da biva samo dekoracija, fija gde portretišemo prirodu kao izolovani objekat koga treba zaštititi. U ovoj refleksija našeg okruženja, već počinje da opisuje naš unutrašnji život i nudi podseriji se Face to Face projekat susreće sa određenim ekološkim pitanjima nova značenja kao što su čovekovo shvatanje prirode i veza između čoveka koje tema o pejsažu i uticaju čoveka na njega neminovno povlači. i prirode. Pitanje koje pokušavamo da postavimo je, od kog momenta ove promene I Kao žanr, pejsaž ponovo privlači pažnju i interesovanje. Istorija je pokazala da uticaji dovode do promena u načinu mišljenja? Nama nije samo pogled po- se čovek vraća prirodi i traži prekinute veze sa njom, naročito u vremenima smatrača važan, nego i način gledanja, a to će omogućiti recipientu da posta- naglog tehničkog razvoja, kada se početna euforija počinje pretvarati u sop- ne svestan kako današnjice, tako i prošlosti i svog kulturnog nasleđa.

12 distruktura

Face to Face Face to Face cycle of photographs literally replicates phoria starts to convert into its opposite. One of the reasons might be the the Romantic topography of the viewer directly faced with the sublime fact that nature can no longer be taken for granted. Whether it is used as and stunning scenes of a post-industrial landscape and it is an example a symbol of power or escape, or as a place for daydreaming or contempla- of a new social and mental ecology. It is a work in progress project tion, we must ask ourselves whether we should approach this theme with which we carry out in every place we visit and which includes works in a special attention and more conscious attitude. The position of modern different mediums, photography in the first place. In this way, the motifs man, both as an actor and an observer of the world he lives in, imposes of landscapes and cities around the globe have become objects of our the need to conceive the logic with which he himself could establish a link isolated contemplation inviting the viewer to join the contemplation. between the two standpoints and explain them to himself. The experience of becoming-part-of-nature or being-part-of-nature has Using the spirit of Romantic ideas as pictures striving for beauty, we rep- been taken from the tradition of Romantic landscape painting, especially resent landscapes shaped by human activity and often by rather brutal in- from works by German painter Caspar David Friedrich. They are landscapes dustrial exploitation, as shown in the Not so far away series of photographs filled with solitary figures, insignificant compared to the natural environ- where we portray nature as an isolated object in need of protection. In ment surrounding them. Following his inner impulses, Friedrich glorified this sub-series, the Face to Face project addresses certain ecological issues the power and beauty of nature giving it a spiritual character. In this man- which the themes of landscape and the impact of man on it unavoidably ner, he created a new type of painting – “landscape as an icon of nature”, bring up. where landscape ceases to be mere decoration, a reflection of our environ- The question we are trying to ask is how long it takes for the changes in our ment, but begins to depict our inner lives and to offer new meanings such environment to change the way we think. It is not just observing that we as man’s view of nature and connection between man and nature. care about, but the manner of observing, too, which will enable the recipi- As a genre, landscape attracts attention and interest again. History has ent to become conscious both of the present day and of the historical and shown that man returns to nature attempting to re-establish bonds with cultural heritage. Translation by: Olivera Kusovac it, particularly in times of rapid technical development, when the initial eu- 13 Iz ciklusa Peking: Oblik stvari koje će doći, 2011. Jungnani (Dvorište vlade), 67 x 68 cm Peking: Oblik stvari koje će doći Zbog čega postoji Trg Tjenanmen (Turistička atrakcija), 66 x 58,5 cm toliko plastike u Kini, zbog čega tako prekomjerna upotreba, Oblici Pekinga: Katalog I, 76 x 56 cm zašto je toliko loše napravljeno, zašto je tako lomljivo, Kuhinjska polica 76 x 57 cm otkud tako žive boje, loš dizajn i nedostatak ujednačenosti, From the cycle Beijing: stabilnosti i estetike? Koliko je štete naneto prilikom The Shape of Things to Come, 2011 proizvodnje ovih plastičnih predmeta? Jungnanhi (Government Compound) Ljudi nikada ne saznaju ono što Vlada želi da sakrije od njih. Tianamen Sq (Tourist Attraction) Shapes Of Beijing: Catalogue I Kada će ljudi naučiti nešto o svojoj prošlosti i imati kontrolu Kitchen Shelf nad svojom sudbinom? Kada će postati svjesni postojanja nepotrebnog otpada i opasnog zagađenja, najvećim dijelom izazvanih masovnom proizvodnjom u kojoj se koristi otrovna plastika? u Pekingu: turizam, Vladu i obična zaduženja iz domaćinstava, kao što su prostiranje veša, kuvanje nekog jednostavnog jela, Radovi odabrani za Zimski salon preuzjeti su iz serije Peking: prikazujući smisao prostora – duh prostora. Nepomičnost Oblik stvari koje će doći. predmeta i njihova dvodimenzionalnost daju nam vremena Moj pristup je bio da upotrijebim plastične predmete za da posmatramo i mislimo, vremena za ličnu interpretaciju i svakodnevnu upotrebu, koje sam pronašla u svom stanu, kako promišljanje. Prepoznatljivi oblici posmatraču postaju veza od bih pomoću njih pokušala da prikažem različite vidove života jednog predmeta ka drugom, i novi put spoznaje države Kine.

14 LEO DUFF gost salona | honourable guest

Beijing: The Shape of Things to ComeWhy is there so use the plastic everyday objects found in my apartment, much plastic in China, why such excessive use, why so badly using the shapes to suggest commentary on different made, why so breakable, why such vibrant colours, why such aspects of life in Beijing; tourism, government and domestic bad designs that lack balance, stability or aesthetic? How household tasks such as hanging up washing, cooking a much damage is done in the production of these plastic simple meal, dressing thus reflecting the sense of the place objects? - the genius loci. The stillness of the objects and their two dimensions create time to look and think, time for individual People do not find out what the government wishes to keep reflection and personal interpretation, recognisable shapes hidden. When will people learn about their past and have providing links from one object to another for the viewer and control over their own destiny? When will the become aware a new journey of reflection on the state of China. of unnecessary waste and dangerous pollution, much caused by mass manufacturing using toxic plastics. The works selected for the Winter Salon are from the series Beijing:The Shape of Things To Come. My approach was to 15 L’Esprit nomade (Nomadski duh) 2011, analogna fotografija, 30 x 20 cm Nomadic Spirit 2011, analogous photography, 30 x 20 cm

L'Espirit nomade Umetnost. Mnogo je onih koji neizrecivo bolje koriste reči. Moje tlo je vizuelno. Zapravo, ono koje mi najmanje izmiče. Mali kolaž fotografija koji sam izabrala za Salon, L’esprit Nomade (Nomadski duh) najbolje opisuju upravo reči nekoga drugog. Suzan Sontag. Sakupljati fotografije znači sakupljati svet. Isecanjem ovog trenutka i njegovim zamrzavanjem sve foto- grafije svedoče o neumoljivom topljenju vremena. Fotografija je i pseudoprisustvo i znak odsutnosti. Kao vatra u kaminu koja Bunjuel pravi filmove da bi pokazao da ovo nije najbolji od svih gori u sobi, fotografije – naročito fotografije ljudi, ili dalekih kra- mogućih svetova. Taj drugi svet, nalazi se unutar ovog sveta... A jeva i gradova, iz iščezle prošlosti – podstiču na sanjarenje. to je upravo umetnost.

16 Olivera Inđić

Nomadic Spirit The Art. There are many people who use especially the ones with people, distant landscapes and words better than I do. My field is visual. Actually, the one towns from the past, inspire dreaming. that doesn’t slip away from me. Little collage of photographs Buñuel made movies to show how this world is not the best that I have chosen to exhibit in Winter Salon entitled L’Esprit one of all. The other world is deep inside the existing one... Nomade describes in the most suitable manner someone And that’s exactly what art is. else’s words. Susan Sontag’s. Collecting photographs means collecting the world itself. Photographs testify about the implacable passage of time by cutting out the particular moment and then freezing it. Pho- tography represents both pseudo-presence and the sign of absence. Like a fire burning in the fireplace, photographies, 17 Narativi i cvetanje Simbola...Iako zasnovane na potpuno  Iz ciklusa Narativi: Misli i sapati, različitim stilskim i tematskim konceptima, serija grafika Narativi i kombinovana tehnika, 43 x 77cm simboli Slavice Janešlieve imaju zajedničku tačku koja na vrlo suptilan Thoughts and whispers, način izražava opsesivno prisustvo tragova prošlosti. mixed media, 43 x 77cm  Kult, Nakon početnog poimanja ovih različito modelovanih grafika, mi, kombinovana tehnika, 43 x 77cm kao posmatrači, počinjemo da tragamo za detaljima. Naslovi grafika The Cult, ukazuju na ono što se manifestuje kao njihova uzajamna razlika, mixed media, 43 x 77cm prisutnost i odsutnost (auto) referencijalnosti, (auto)citata, a ukazuju i na autorkinu strast i zadovoljstvo prilikom eksperimentisanja sa različitim s crtežima iz autorkinog najranijeg djetinjstva, kao i u njenim vrstama grafike. Prilikom finog kombinovanja, odnosno, sjenčenjem i ličnim i porodičnim fotografijama, u simulaciji starog premaza, ne usaglašavanjem tehnika, osjećamo zračenje autorkinog zadovoljstva prepoznajemo samo svjetlinu njenog ličnog mita o djetinjstvu, već ishodom njene alhemijske igre. /.../ Sinhronizovano prihvatanje grafika i radost i nostalgiju za našim, možda pohabanim i intenzivnim, ali Slavice Janešlieve, s magijom njihove liričnosti, njihovih mekih, toplih sveprisutnim mitom./.../ linija koje još od njenog djetinjstva nastavljaju svoje kreativno sanjarenje Retrospektivno projektujući, pišući i sanjajući sebe kroz citate i lebdeći iznad papira, fascinira nas a priori. Putem njenih snova i auto citate, Janešlieva predlaže nježan dijalog o ljubavi, koji od nas fantazija, ili da citiramo Pola Klea – putem “sanjanja linije”, u različitim očekuje da odgovorimo istom emotivnošću i identifikovanjem njenih hronološkim kontekstima pratimo postepeni razvoj, to jest, rast i želja sa našim željama. Magija autorkinog liričnog tkanja osigurava forimiranje kreativnog identiteta ove umjetnice. dalje cvjetanje, polisemiju naracije koja neizbježno širi nestabilnu i Na njenom putu po ličnim i porodičnim trasama, u njenim konstantno novu, promjenljivu sliku interpretacije. (odlomak iz kataloga interpretacijama priča izvezenih u rukopisima, i u njihovoj povezanosti samostalne izložbe Narativi i simboli, Skopje) Konca Pirkoska

18 Slavica Janešlieva

Narratives and the Blooming of Symbols…Although formation, of the artist’s creative identity. conceived on entirely different stylistic and thematic concepts Slavica In her journey along the intimate family and personal routes, in Janeslieva’s series of prints entitled Narratives and Symbols share a her readings and interpretations of the stories embroidered in the common feature which, in a very subtle way, manifests an obsessive manuscripts and their association with the fragmentary drawings from presence of traces of time past. early childhood, as well as in her personal and family photo graphics, After the initial reception of the differently modeled and performed in their simulated old coating we do not only recognize the brightness series we as recipients start to look for details. The titles of the prints of her own personal myth about childhood, but also the joy in and themselves refer to what manifests itself as their mutual distinction, i.e. the nostalgia for our own, although shabby and intense, nevertheless the presence and the absence of (auto) referentiality, (auto) citation, constantly existing myth./…/ narratives as well as to the artist’s passion and pleasure in the act of Retrospectively projecting, writing and dreaming herself through the experimenting with different kinds of graphic techniques. In the subtle play of citations and auto citations, Janeslieva suggests a subtle dialog combining, i.e. in the shading and harmonization of techniques, we on love, which expects from us a response with an identical emotion sense the emanation of the artist’s pleasure in the outcomes of her and identification of her desires with those of our own. The magic alchemy play. /…/ of Janeslieva’s lyric textual weaving secures a further flourishing, a The synchronized reception of Janeslieva’s prints, with the magic of polysemy of the narration which inevitably emanates an unstable and their lyricism, their soft, warm lines, which since her early childhood constantly new, a changeable image of interpretation. (Excerpt form the continue their creative dreaming and hovering over the surface of the catalogue of the exhibition Narratives and Symbols, Skopje)  Konca paper, fascinates us a priori. Through her dreaming and fantasies, or to Pirkoska use Klee’s expression, by her “dreaming the line”, in various chronological contexts we follow the gradual development, i.e. the growth and 19 Igra 2011, kombinovana tehnika dimenzije promjenljive The Game 2011, mixed media variable dimensions IgraAndrijana Mlinarević-Cvetković umjetnica je izuzetne osobnosti. Iako po vokaciji slikarica, svoju neobuzdanu kreativnost usmjeravala je i prema trodimenzionalnoj formi, kao i prema prostornim konstrukcijama od žice i lima, po čemu je i prepoznatljiva. Stvaralaštvo ove autorice je bajkovito, ono je oda djetinjstvu, bezbrižnom odrastanju, igri i dječjim maštanjima. Poetika dječ- poneke čak i groteskne, preobražavaju zidne plohe igrom sjena jeg likovnog izražavanja je njen izbor, a ne tek prolazna faza i materijala, one „lebde“, izvrću se naglavačke, a njihovom po- ili trend. Svojim recentnim ciklusom žičanih prostornih crteža stavkom izbjegavaju se pravila normalne perspektive. jednostavno nazvanih „Igra“, Andrijana je poput zaigranog dje- teta otpočela svoju stvaralačku igru sa žicom, žičanom mrežom, Sretni su svi koji su poput Andrijane proživjeli bezbrižno djetinj- gipsom i limovima kojima je maštovito komponirala svoje dav- stvo, a sretni su i ukoliko ga uspiju zadržati živim u sebi, jer dječji no proživljene slike djetinjstva. Razigrane kompozicije njenih svijet je neiskvaren i iskreniji je od svijeta odraslih. To je esencija igara su nadasve osobne i unatoč hladnom materijalu tople. ovog stvaralaštva, esencija koja ga čini vitalnim, osebujnim i Nježne dječje figurice širom otvorenih očiju, izdužene, lelujave, uvijek privlačnim.Dragana Nuić-Vučković

20 Andrijana Mlinarević-Cvetković

The Game Andrijana Mlinarević-Cvetković is an artist of an sometimes even grotesque, transform walls with the game of exquisite personality. Although a painter by a vocation, she shadows and materials, they “float”, turn upside-down, and the directed her intractable creativity toward three-dimensional rules of narmal perpective are avoided with their proposition. form, as well as toward spatial constructions made of wire and All those people who have had a happy childhood, like our An- sheet metal, which make her recognizable. drijana, are happy, they are even happier if they have succeeded The work of this artist is like something out of a storybook, it is to keep it in themselves because children’s world is unspoiled an ode to childhood, care- free growing up, children’s games and more honest than the world of adults.It is the essence of and dreaming. Poetics of childish art style is the artist’s choice, this work, The essence which keeps it vital, original and always not just a temporary phase or a trend. With her recent cycle of attractive.Dragana Nuić-Vučković wire spatial drawings, simply called “ The Game” Andrijana , in a manner of an engaged child, has started her creative game with wire, wire net, plaster and sheet metal. She used these ma- terials to compose her long-time- gone childhood experien- ces. Vivid compositions of her games are above all personal and warm, despite the cold material they were made of. Gentle chil- dish statuettes with their wide-open eyes, elongated, waving, 21 Preobraženje 2009, video, trajanje 7 min.10 sek. Transfiguration Preobraženje Preobraženje kao promjena oblika i 2009, video, duration 7 min. 10 sec. mentalnog stanja, evolucija ličnosti. Rasplitanje kose kao akt neprihvatanja ograničenja i konvencija individualne sudbine, opšte usvojenog načina života i društvenog poretka kroz ličnost umjetnice ili žene. Rad se sastoji od dva video zapisa. U prvom video zapisu moja majka formira pletenicu od moje kose. Navlačim rukavicu-češalj, koju sam napravila od radnič- ke rukavice i prirodnih bodlji bagremovog drveta (drveta koje ne trune, drveta od čijih bodlji je napravljena Hristova kruna) i planini Kozari na kojoj sam rođena i gdje se moja ličnost počela raščešljavam pletenicu dok moja kosa ne postane potpuno slo- formirati, što je iznenada prekinuto 1991. godine. Trudim se da bodna od bilo kakvog oblika. odvojim kosu od grane. Pokušavam da se krećem, što je bolno U odnosu na svakodnevni ritual češljanja radi „uljepšavanja“ i skoro nemoguće budući da mi grana bora čupa kosu kada i ovakav način češljanja je prije svega raščešljavanje radi osloba- najmanje pomjerim glavu. đanja tradicionalne forme ženske frizure (pletenice). Voljom, upornim pokušajima i pomjeranjem granice bola ipak U drugom video zapisu moja kosa je zapletena u granu bora, na uspijevam da se oslobodim vezanosti za negativnosti prošlosti.

22 Borjana Mrđa

Transfiguration Transfiguration as a form and mental ssible because the branch plucks my hair every time I move transformation, the evolution of personality. The undoing of my head. By strong will, persistent efforts and crossing the bo- the tress is an act of not excepting the constraints and conven- undaries of pain I manage somehow to free myself from the tions of individual destiny, generally excepted way of life and addiction to the negativity of past. social order through the personality of artist and a woman. The work is constitution of two videos. In the first video my mother forms the tress from my hair. I put the brush-glove on, which I made from working glove and na- tural thorns from acacia wood (wood that doesn’t decompose, wood whose thorns were used to make the crown of Christ) and comb my tress until my hair becomes free from any form. In relation to the daily ritual of combing to be “beautiful” this way of combing the hair is done primarily to release the hair of any traditional form of women’s hairstyle (tress). In the second video my hair is entwined with the branch of Pine tree, on the mountain Kozara where I was born and where my identity started to take form, which was suddenly interrup- ted in 1991. I am trying to separate the hair from the Pine tree branch. I’m trying to move, which is painful and almost impo- 23 Ukradeno od sna 2012, kamenina, liveni mermer, boja 11 x 20 x 10 cm Stolen from a Dream 2012, stoneware, casted marble, color 11 x 20 x 10 cm Taktilna slika sna 2012, kombinovana tehnika 64 x 64 x 4 cm Tactile Painting of a Dream 2012, mixed media 64 x 64 x 4 cm

Ukradeno od sna Često nam trenutak buđenja donese tek jednu sliku kao refleks cijelog sna. Pokušala sam da jednu takvu sliku koja je ukradena od sna prikažem kao skulptoralnu kompoziciju svoje šake na kojoj se nalazi zreli nar, dok je koloplet sna ostao zarobljen u podsvijesti, u bijeloj taktilnoj slici.

24 Danijela Mršulja-Vasić

Stolen from a Dream Awakening moment often brings only a single image as a reflection of the whole dream. I tried to materialize one such picture that was stolen from a dream as sculptural composition of my hand holding ripe pomegranate, and the whirlpool of dreams remained trapped in the subconscious, trapped in white tactile painting. 25 Sunčana strana mog brda 2007, akrilik na platnu, 190 x 150 cm Sunny Side of my Hill 2007, acrylic on canvas, 190 x 150 cm

Sunčana strana mog brda Slike Ivana Pejovića posjedu- ju snažnu likovnost, one su tonski i koloristički kompleksne i kao takve, otkrivaju svijet nabujalih emocija, jer njegove boje imaju najpre psihološku vrijednost. Kroz motivski krug pejzaža i figuracije, Pejović nam otkriva bogat duhovni sadržaj. Predio za koji je umjetnik intimno vezan postaje svjedok i prenosilac svih njegovih traganja, patnje, radosti, bola... Zapravo, on nosi duh vremena i prostora koji za umjetnika ima osobnu važnost, sklada…kao kakav zadržani ili nečujni vapaj. Stoga njegove međutim, ono što se prenosi na posmatrača jeste emocija koja slike imaju karakter oslobađanja jer primaju ono zadržano i vibrira kroz njegov potez i bojeni nanos. Evidentan je osjećaj skriveno u umjetniku, a koje se može naslutiti „osluškivanjem“ tjeskobe i uzburkanosti, kao traga potrebe za pronalaženjem njegovih boja. A. I.

26 Ivan Pejović

Sunny Side of my Hill Ivan Pejovic’s paintings have a et cry. His paintings have the liberating character because they strong pictorial value. They are coloristically complexe and have absorb what is long kept hidden inside artist’s soul, something a power to reveal the world of the swollen emotions becau- that could be sensed by “listening” to his colours. A. I. se of the psychological characteristics of the colours he uses. Through the motifs such as landscape and figuration, Pejovic reveals rich spiritual content. Landscape that the artist is inti- mately connected to now becomes the witness of the artist’s suffering, longings, happiness and pain. Actually, it is a spirit of the place and time that the artist is strongly bounded to, but what is essential to this matter is the emotion which vibrates through his strokes and colour fields and is being transferred onto observer. Feeling of anxiety and disturbance as a trace of his need to find balance is also evident... like some kind of a qui- 27 Eko-san 2013, kombinovana tehnika (vatelin, grančice, papirići u obliku listova) 100 x 150 x 25 cm Eco-Dream 2013, mixed media (lining, sprigs, leaf-like sheets) 100 x 150 x 25cm

Eko-san  Rad pod nazivom Eko-san nadovezuje se na ra- dove koje sam izlagala na izložbama pod nazivom Paralaktički pejzaži 2008. u Ateljeu DADO na Cetinju i Recikliranje s(a)vje- sti 2010. u Paviljonu ULUCG u Podgorici, kao i 2012. u Galeriji O3ONE u Beogradu. Izložba se sastojala iz više cjelina koje su se međusobno vezale osvrtanjem na društvena dešavanja – po- trošačko društvo i društvo spektakla. U današnje vrijeme čovjeku je teško biti potpuno ekološki osvi- Instalacija je oblikovana od bijelog vatelina, meke, vazdušaste ješten zato što bi to značilo da se trebamo „vratiti u pećine“, forme. Ovako oblikovana instalacija asocira na komad oblaka odnosno da odbacujemo savremen način života. Eko-san je kroz koji izviru listići i grančice simbolizujući plodnost, napredak težnja ka promjeni stvarnosti, ka preobražaju, nastojanju da se i obnovu, jer je drvo izvor života, koji u svom neprestanom ra- postigne uravnotežen odnos između zaštite prirodnih temelja zvoju i uspinjanju uspostavlja vezu između neba i zemlje. života i ljudskih potreba.

28 Ivanka Vana Prelević

Eco-Dream Eco-Dream is a continuation of the artworks contemporary way of living. exhibited as a part of Parallactic landscapes exhibition in 2008, Eco-Dream strives for changing reality, transfiguration, to at Atelier DADO, Cetinje and Recycling of conscience/consciou- achieve balance between preservation of the natural basis of sness in 2010, at Art Pavilion in Podgorica, as well as at Gallery life and human needs. O3ONE in Belgrade in 2012. The project consisted of several parts which refer to the social circumstances – particularly to the both spectacle and consu- mer society. The installation is made of white lining and has soft, airy form. This way it resembles a piece of cloud from which small leaves and branches appear as a symbol of fertility, improvement and revival, because the tree as a spring of life, connects the earth and the sky by its constant growth and ascending. Today, it is hard for a man to be ecologically aware because it could refer to “returning to the caves ”state of mind, or rejecting 29 Napuštena glava 2011, poliester, 58 x 28 x 31 cm Abandoned Head 2011, polyester 58 x 28 x 31 cm

Napuštena glava Umjetnost Adina Rastodera tjera nas na razmišljanje koje nije optimistično. Kroz ljudske figure on pruža ogledalo čovjeku, kako bi vidio koliko je prazan, koliko je tu- poglav, koliko je podložan mržnji koja mu život ruži, koja ga sprečava da se približi drugom čovjeku, da ga voli. Branka Bogavac

30 Adin Rastoder

Abandoned Head Adin Rastoder’s art provides a thought which is not optimistic. Using human figures he gives a man the mirror to see how shallow he could be, and how he could be able to feel hatred which makes his life miserable, disabling him to get closer to other human being, to appreciate him. Branka Bogavac 31 IDP5.2 High Resolution Is No Solution U ciklusu slika High Resolution Is No 2011, kombinovana tehnika, 9:13, dijagonala 133 cm Solution (Visoka rezolucija nije rješenje), Žiga Rehar pokušava da skrene pažnju IDP5.2 na ravnodušnog posmatrača koji je utonuo u konzumentsko društvo i nije zain- 2011, mixed media, 9:13, diagonal 133 cm teresovan za umjetnost, koristeći jednu „smicalicu“. Trik je simbolizovan ramom slike koji podsjeća na televizijski ekran i saopštava dublju poruku posmatraču. izlagali na istim grupnim izložbama, ali uvijek kao individualni umjetnici. Odu- Rehar slika na karakterističan način koji je razvio u saradnji sa prirodom. Kada vijek su željeli da zajedno naprave nešto, ali nikad nisu to ostvarili. Projekat slika, on koristi prednost uobičajenog zgušnjavanja koje se javlja kada prolije na temu Buđenje pružio je priliku da konačno urade tako nešto. Ova tema ih boju i vodu preko glatke površine. Na određenim mjestima ti zgusnuti djelovi je podsjetila na njihovu želju da stvore umjetnički rad zasnovan na sličnom ostaju, dok na drugim mjestima interveniše i transformiše ih koristeći svoj je- načinu razmišljanja. Rad je komponovan u dva različita medija i u okviru razli- dinstveni vizuelni jezik. Rehar je kritičan prema ljudskoj zaokupljenosti samima čitih pristupa, ali prezentovan je kao cjelina pod jednim nazivom. To je rezultat sobom i pita se da li će posmatrači skrenuti pogled sa sopstvene refleksije na poziva na buđenje. ramu (ekranu) i utonuti u sliku; da li će napustiti egocentričnu poziciju u kojoj Zajednički projekat Braneta Širce i Žige Rehara sastoji se od nečujnih portre- njihove oči traže samo sopstveni odraz. U donjem dijelu rama, ime umjetnika ta koji zure u ekrane, gubeći jasnu sliku zbog prebukiranosti informacijama. je ispisano slovima koja sugerišu ime nekog brenda ili logotipa kompanije. Na Pažnja je usmjerena ka pogrešnom putu kojim je krenulo moderno društvo taj način umjetnik direktno iskazuje kritiku statusa umjetnika danas. i činjenici da je ono, zapravo, izgubilo kontakt sa realnošću zbog vjere u ne- Poziv za učestvovanje na Zimskom salonu u Herceg Novom na temu Buđe- ograničenu moć progresa, i sada je u paničnoj potrazi za rješenjima koja bi nje, dalo je podstrek za ispunjenje davnašnje želje, ili, bolje rečeno, izvođenje omogućila dalji razvoj. Promišljena igra riječima u naslovu Solution is HD Wi(re)- logičnog poduhvata koji će vjerovatno trajati i u budućnosti (ili možda neće). Fi(re) ®Evolution ističe važnost dijaloga i uloge koju on ima u društvu; istovre- Ovaj projekat je povezao i nadgradio vrijednost rada dva vizuelna umjetnika, meno, ironija naslova ispunjuje optimizmom koji još uvijek nije u potpunosti Braneta Širce i Žige Rehara, koji su godinama zajedno radili u istom studiju i izgubljen.Janez Svarovski, likovni kritičar i pisac

32 Žiga Rehar

High Resolution Is No Solution  In his High Resolution Is No Solution That is to say, the project has connected and added additional value to the series of paintings, Ziga Rehar tries to draw the attention of an indifferent work of two visual artists, namely Brane Širca and Žiga Rehar, who have been viewer who is immersed in consumer society and has no interest in art by working in the same studio for years and have exhibited in the same group using a trick. The trick is symbolized by a painting frame which reminds the exhibitions, but always as individual artists. They have often wished to do viewers of a television screen and conveys a more profound message to something together, but never really got round to it. The Awakening project them. Rehar has a characteristic style of painting which he has developed presented them with a perfect opportunity to finally do that. It reminded in cooperation with nature. When he paints, he takes advantage of random them of their wish to create an artwork based on similar way of thinking to- thickening that occurs when he spills paint and water over a smooth surface. gether. The project is composed of two different approaches in two different Only the thickening the artist chooses to leave remains, in other places he media, however, it is presented as a whole under one common title. It is the improves and transforms it using his unique visual language. Rehar is critical result of the call to awakening. of human self-absorption and wonders whether the viewers will avert their The joint project of Brane Širca and Žiga Rehar consists of silent portraits sta- eyes from their own reflections in the frame – screen and immerse themse- ring into screens losing a clear picture because of the information overload. lves into the painting, whether they will abandon their own egocentric po- It draws attention to the wrong direction contemporary society has taken, sition in which their eyes search only for a reflection of their own selves. On and the fact it lost touch with reality because of its belief in the unlimited the bottom part of the frame the name of the artist is written in font type power of progress, and is now in panic searching for solutions that would like a trademark or a company logo. There the artist directly expresses his enable further development. The clever play on words in the title Solution critique of the status of the artist today.The invitation to participate in the is HD Wi(re)-Fi(re) ®Evolution points out the importance of dialogue, and the Awakening project gave the decisive impulse to carrying out a long-standing role the dialogue holds in society; at the same time, its irony fills us with opti- wish, or rather, a logical step which would probably take place in the future, mism that all is not yet lost.Janez Svarovsky, Fine Arts Critic, Writer or maybe not. 33 Buđenje 2013, vareno željezo, 24 x 23 cm Awakening 2013, welded iron, 24 x 23 cm

Buđenje  Upoznavanje sa samim sobom ne nalazi se u veli- kim riječima, već u ulaganju napora i sagledavanju svega onog što nas čini. Osjećaj da si prisutan, da si živ, osjećaj postojanja i novih početaka – sve je to buđenje.

34 Željko Reljić

Awakening Introspection does not come out of the big words but from taking an effort to create something, to get to look deeply inside and see what we are consisted of. Knowing to be alive, to be present and knowing that there is possibility of the new beginning is what awakening actually is. 35 Blue arpeggios (Plavi arpeđato) 2012, video (trajanje 5 min. 20 sek.) Blue arpeggios 2012, video (duration 5 min. 20 sec.)

Blue arpeggios  Plavi arpeđato predstavlja vremenski rad koji izbjegava strukturalni narativ i može se posmatrati kao me- tafora za svjesnost, percepciju ili kao osvrt na individualnu pozi- ciju u prirodi. Fiksirani pogled postaje istraživanje za subjektivni svijet percepcije, saznanje i imaginaciju. ma on je na trenutke u ravnoteži sa akcijom koja se u njemu Muzika koju je komponovao Fransisko Lopez budi i ojačava odigrava. Međutim, energija predjela je uvijek prisutna i osje- unutrašnje predjele asocijacija. ćamo je zbog onoga što jeste – prirodni, sirovi materijal ljudske „Ponekad je predio predmet posmatranja; u drugim slučajevi- psihe.˝ (Bil Viola)

36 Davor Sanvincenti

Blue arpeggios Blue arpeggios is a time work which avoids “Sometimes the landscape is the subject; other times it shares the structural narrative and can be grasped as a metaphor for the moment in balance with an action taking place within it; consciousness, perception or as a reflection on the individual yet always its energy is present and felt for what it is – the natu- position in nature. The fixed gaze becomes an exploration for ral raw material of the human psyche.” (Bill Viola) subjective world of perception, cognition and imagination. The music composed by Francisco López evokes and stren- gthens the inner landscape of associations. 37 Žičana lica, Žičana lica  U radu Žičana lica, Brane Širca se bavi ulogom mo- 2011, žica, 30 x 30 x170 cm dernog čovjeka i žene u društvu koje je u stalnom tehnološkom Wire faces, razvoju. Ciklus se sastoji od ironičnih portreta ljudi napravljenih od 2011, wire, 30 x 30 x 170 cm žice, koju on vidi kao važan element modernog društva u oblikova- nju današnjeg vremena. Žice su svuda, u svakom električnom pred- zajedno naprave nešto, ali nikad nisu to ostvarili. Projekat na temu metu, kroz njih putuju vodeće sile društva – informacija i energija Buđenje pružio je priliku da konačno urade tako nešto. Ova tema (struja). Žičana lica su portreti običnih ljudi uhvaćenih u žičane mre- ih je podsjetila na njihovu želju da stvore umjetnički rad zasnovan že. Oni su prazna polja u mnoštvu žica. Ovo je važna tema danas, ne na sličnom načinu razmišljanja. Rad je komponovan u dva različita samo među umjetnicima već i u cijeloj Zapadnoj civilizaciji gdje ljudi medija i u okviru različitih pristupa, ali prezentovan je kao cjelina pod počinju da preispituju svrhu stalnog tehnološkog i informacijskog jednim nazivom. To je rezultat poziva na buđenje. progresa. Upravo ove sumnje predstavljaju glavnu poruku nečujnih Zajednički projekat Braneta Širce i Žige Rehara sastoji se od nečujnih portreta napravljenih od isprepletane žice koji gledaju u nas, tražeći portreta koji zure u ekrane, gubeći jasnu sliku zbog prebukiranosti spas. informacijama. Pažnja je usmjerena ka pogrešnom putu kojim je kre- Poziv za učestvovanje na Zimskom salonu u Herceg Novom na temu nulo moderno društvo i činjenici da je ono, zapravo, izgubilo kontakt Buđenje, dalo je podstrek za ispunjenje davnašnje želje, ili, bolje re- sa realnošću zbog vjere u neograničenu moć progresa, i sada je u čeno, izvođenje logičnog poduhvata koji će vjerovatno trajati i u bu- paničnoj potrazi za rješenjima koja bi omogućila dalji razvoj. Promi- dućnosti (ili možda neće). Ovaj projekat je povezao i nadgradio vri- šljena igra riječima u naslovu Solution is HD Wi(re)-Fi(re) ®Evolution jednost rada dva vizuelna umjetnika, Braneta Širce i Žige Rehara, koji ističe važnost dijaloga i uloge koju on ima u društvu; istovremeno, su godinama zajedno radili u istom studiju i izlagali na istim grupnim ironija naslova ispunjuje optimizmom koji još uvijek nije u potpuno- izložbama, ali uvijek kao individualni umjetnici. Oduvijek su željeli da sti izgubljen.Janez Svarovski, likovni kritičar i pisac

38 Brane Širca

Wire faces In his Wire Faces series, Brane Sirca considers modern tists. They have often wished to do something together, but never man and woman and their role in the society of continuous techno- really got round to it. The Awakening project presented them with logical progress. The series consists of ironic portraits of people made a perfect opportunity to finally do that. It reminded them of their of wire which he sees as an important element in modern society wish to create an artwork based on similar way of thinking together. shaping present times. Wires are everywhere, in every electronic de- The project is composed of two different approaches in two different vice, along them information and energy – the driving force of soci- media, however, it is presented as a whole under one common title. ety – travel. Wire faces portray ordinary people caught up in these It is the result of the call to Awakening. wire networks. They are empty spaces surrounded by massive crowd The joint project of Brane Sirca and Ziga Rehar consists of silent por- of wires. This is a very important subject today not only among artists, traits staring into screens losing a clear picture because of the infor- but also in the western civilization as a whole where people have mation overload. It draws attention to the wrong direction contem- started to question the purpose of continuous technological and in- porary society has taken, and the fact it lost touch with reality because formational progress. It is precisely these doubts that are the main of its belief in the unlimited power of progress, and is now in panic message of the silent portraits made of intertwined wire looking at searching for solutions that would enable further development. The us and seek for salvation. clever play on words in the title Solution is HD Wi(re)-Fi(re) ®Evolution The invitation to participate in the Awakening project gave the deci- points out the importance of a dialogue, and the role the dialogue sive impulse for carrying out a long-standing wish, or rather, a logical holds in society; at the same time, its irony fills us with optimism that step which would probably take place in the future, or maybe will all is not yet lost.Janez Svarovsky, Fine Arts Critic, Writer not. That is to say, the project has connected and added additional value to the work of two visual artists, namely Brane Sirca and Ziga Rehar, who have been working in the same studio for years and have exhibited in the same group exhibitions, but always as individual ar- 39 Iz ciklusa Siilicon man 2012, kombinovana tehnika (monoprint, linorez i crtež) 50 x 60 cm From the cycle Siilicon Man 2012, mixed media (monoprint, linocut, drawing) 50 x 60 cm

Silikonski čovjek  Siilicon Man je ciklus monoprinta kombino- vanih sa linorezom na papiru, inspirisanih životom u svijetu visoke tehnologije današnjice. Svaki čovjek u većoj ili manjoj mjeri prolazi kroz iskustvo individuacije koje podrazumijeva duhovno sazrijevanje i postizanje duhovne cjelovitosti, a po mom viđenju transformaciju šćivanja) kroz život, okružen ne samo drugim ljudima i odnosima sa iz bezličnog čovjeka iz mase u samosvjesnog i ostvarenog čovjeka. njima nego i tehnologijom kao zgusnutim iskustvom čovječanstva Stoga je prizor na mojim radovima čovjek u procesu hodanja (osvje- koja je postala nerazdvojni dio današnjeg čovjeka.

40 Maja Šofranac

Siilicon Man  Siilicon Man is cycle of mono-prints combined a man walking through his life, surrounded not only with other with linocuts on paper, inspired by living in the high technology people and relationships with them, but also with technology as world of today. Every man, in greater or lesser extent, goes through a condensed experience of humanity which has become part of a the experience of individuation – a spiritual maturation and atta- today’s man. inment of spiritual wholeness, and in my vision it is the transforma- tion of an impersonal man from the crowd into the self-conscious and realised man. Therefore, the scene in my works is a scene of 41 Iz ciklusa Stop making sense Stop making sense  Crtanje je u radu umetnika Selmana Trtovca pri- Doppelgänger/Dvojnik, marni oblik izražavanja, prvi impuls u razvoju neke forme ili akcije. Kada go- 2012, grafit na papiru, 190 x 133 cm vori o crtanju, on pod crtanjem podrazumeva univerzalni princip vizuelnog From the cycle Stop making sense komponovanja. Crtanje, kako sam umetnik kaže, predstavlja mogućnost da Doppelgänger/A Double goer, se uđe u naročito, reklo bi se, povišeno stanje svesti. U takvim situacijama 2012, graphite on paper, 190 x 133 cm mobilišu se svi resursi svesti. Crteži iz serije Stop making sense nastali su tokom leta 2012. godine, odno- sno tokom autorovog boravka u ateljeu Rondo u Gracu. Veoma jednostavna sredstva kao što su olovka i papir, bez tehnološke nad- gradnje svojstvene današnjim vizuelnim praksama, prisiljavaju autora da se trašnja strategija može biti supstitut za umetničko samoljublje. usredsredi na ono što je zaista bitno u umetnosti. Crtež ne trpi mistifikova- U tom smislu, metoda supstitucije samoljublja nekim drugim strateškim ele- nje, niti varku, znanje tu veoma malo znači, jer znanje se može naučiti, dobiti mentom, učinila mi se svrsishodnom. Commedia dell’arte je pozorišna forma ili dalje proslediti, ali istina ne. Ona se mora spoznati! koja bi na ovom mestu bila dobro poređenje sa onim što želim da definišem kao Tema Doppelgänger je u direktnoj vezi sa umetničkom strategijom umet- supstitut za samoljublje. Umetnik može da igra jednu određenu ulogu u umet- nika, odnosno sa onim delom strategije koja je usmerena ka dekonstrukciji nosti i životu, ili više uloga, u zavisnosti od sklonosti i karaktera samog umet- samoljublja. nika. Kako ta forma teatra implicira, umetnik ulogu u potpunosti improvizuje, što znači da ne postoji neki unapred utvrđeni scenario već postoji samo opšta Samoljublje ima takođe osobinu da nam daje određenu prepoznatljivost, profil predstava, odnosno tema kao baza za improvizaciju. Bitno je reći da umetnik pri i čak elemente karaktera. Puka dekonstrukcija samoljublja nas dovodi u opa- tom nije neko drugi do on sam, niti umetnik lažira svoju istinsku prirodu i karak- snost da budemo suviše rasplinuti, konfuzni, amorfni, bez jasnog umetničkog ter, već je to jedna metoda, odnosno strategija kojom se samoljublje zamenjuje profila, karaktera i pozicije. Zato bi taj proces dekonstrukcije samoljublja morao nečim drugim. Kroz tu tehniku umetnik gradi određeni otklon prema samom biti istovremen sa osmišljavanjem jedne tehnike koja bi služila kao substitut sa- sebi i time osvaja najmanje dve perspektive u vezi sa predmetom interesovanja moljublju. Iz takvog toka mišljenja došao sam do konačnog zaključka da unu- i razmišljanja! (Odlomak iz teksta „O istini u umetnosti”, Selman Trtovac)

42 Selman Trtovac

Stop making sense  Drawing is the primary form of expression in the strategy can be a substitute for the self-love. work of artist Selman Trtovac, the first impulse in developing a form or an Therefore, the substitution of self-love with another strategic element seems to action. When he talks about drawing, he has got universal principle of visual be very useful. composition on his mind. Drawing, as the artist says, is an opportunity to get into the particular, elevated state of mind. The artist mobilizes the entire Commedia dell’ arte is a form of theatre, with which I could compare my defini- consciousness in such situations. tion of a substitute for self-love. An artist can play a certain role in art and life, or many other different roles, depending on the preferences and the character of the Drawings entitled Stop making sense were made during the summer of 2012 particular artist. The form of this kind of theatre implies that the role the artist is at the time of the author’s stay at the Rondo studio in Graz. playing is completely improvised, which means there is no predetermined script Very simple drawing tools, such as pencil and paper, without the technolo- as a basis for improvisation, but just a general idea of the theme. It is essential to gical upgrading inherent in current visual practices, is forcing the author to say that the artist is not anyone else than himself, the artist does not fake his true focus on what really matters in art. Drawing does not tolerate any mystifi- nature and character. The point is that this represents a method or strategy that cation or illusion, knowledge means very little, because knowledge can be replaces self-love with something else. Using this technique, artist builds a certain learned or forwarded, but the truth cannot be. The truth must be recognized! shift in relation to himself and thereby he gets at least two perspectives regarding the subject of his interests and thinking! (Extract from the article: "The truth The topic Doppelgänger is directly related to the artist’s strategy in Art, or to in art” by Selman Trtovac) the part of the strategy which is focused on the deconstruction of self-love. Self-love also has a characteristic that gives someone recognition, profile and even elements of the character. Simple deconstruction of self-love leads us to the risk of being too fuzzy, confused and amorphous, without clear artistic profile, character and position. Therefore, this process of deconstruction of self-love has to be simultaneous devising a technique that would serve as a substitute for self- love. According to this kind of thinking the final conclusion is that the internal 43 Uočavanje 2008, video (trajanje 43 sek.) Observing 2008, video (duration 43 sec.)

Uočavanje  Rad se nalazi u kolekciji Međunarodnog bijenala umetnosti minijature u Gornjem Milanovcu, osvojio je gran pri Bi- jenala 2008. godine. Rad Uočavanje je nastao spajanjem restlova materijala korišćenog u montaži video instalacije pod nazivom Višnja (u trajanju od 13 se- kundi), izloženoj u okviru izložbe Odslikavanja u galeriji Remont u Beogradu, oktobra 2007. godine. Dok se u Odslikavanjima bavim irisom oka kao tačkom dodira i odra- za našeg unutrašnjeg prostora i prostora koji nas okružuje, Uočava- nje ukazuje na napor u mentalnom i vizuelnom procesu prilikom prijema informacija iz spoljašnjeg sveta i njihovog smeštanja u lo- gičan poredak. drvo i pejzaž. Ovo bi mogao biti iskaz o vremenu u kome živimo, Odslikano u irisu oka, drvo višnje od golih grana cveta do pune vremenu koje nas razoružava brzinom promene, iskušava našu krošnje. Period od nekoliko meseci sažet je u samo trideset sekundi, snagu i sposobnost prilagođavanja i stavlja nas u poziciju budnog u nekoliko treptaja oka. Posmatrač ostaje nepomičan, zagledan u posmatrača.

44 Anica Vučetić

Observing  This artwork is a part of the International biennale This could be the statement of a time we live in, disarming us by its of Miniature Art Collection, in Gornji Milanovac (Serbia). It won the speed of change; the time which is testing our strength and ability biennale Grand Prix in 2008. to adjust, and gives us a role of the awakened observer. Observing is the artwork made of offcuts of the material used in montage of a video installation entitled Visnja (The Cherry, duration 13 seconds) that was displayed at the exhibition named Reflection, in the Remont Gallery, Belgrade, October 2007. While installation Reflection examines the iris of an eye as a point of touch and reflex of our inner spaces and the external ones, Ob- serving emphasizes the effort of the mental and visual process of absorbing the outward information and them being set in a logical order. Reflexed in an iris, out of naked branches cherry tree blooms into the rich treetop. Several months period has been reduced to not more than 30 seconds, reduced to several blinks of an eye, while the observer remains motionless, staring at the tree and the landscape. 45 Iz ciklusa Odsjaj sjećanja crno-bijela srebro-želatinska fotografija (tonirana) From the cycle Reflection of Memory black and white silver gelatine photography (toned)

Odsjaj sjećanja  Trbovlje je mjesto mog djetinjstva, mje- sto gdje se formirala moja mentalna percepcija. Iako ne živim više tamo, ovo mjesto je još uvijek moj „duhovni dom”. U ciklu- su fotografija Odsjaj sjećanja, fokusiran sam na lokacije veza- ne za moju ličnu prošlost, gdje su događaji iz mog djetinjstva „zaključani” (stan, škola, dječja igrališta, industrijske zgrade…). Pratio sam svoje sjećanje, duševne slike, ističući svijetle, tamne nosti i nostalgije. Ali priča se ovdje ne završava! Svaki pažljivi i mutne površine na fotografijama i na taj način pokušao da posmatrač može povezati ove fotografije sa sopstvenim osje- ova mjesta nadahnem svjetlom i sjenkom, sjenom raznježe- ćanjima ili sličnim mjestima u svom sjećanju.

46 Antonio ŽivkoviČ

Reflection of Memory  Trbovlje is the place of my child- gia. But the story does not end here! Every observer who is hood, the place where my mental perception was moulded. watching it attentively could connect these photos to his own Although I don’t live there anymore, this place is still my “spiri- feelings of similar places in his memory. tual home”. At this series of photos I am focused on the locati- ons connected with my personal past where events from my childhood have been “locked” (apartment, school, playgroun- ds, industrial buildings…). I have followed my reminiscence, mental images by emphasizing bright, dark and unsharp surfaces on photos and have thus tried to inspire this place with different light and shade, a shade of softness and nostal- 47 Đorđije Bato Boljević “Introspective”, Prsten Gallery, Hdlu, , Croatia. Rođen 1971. godine u Podgorici. Diplomirao je 1996. godine na Fakultetu Izabrani performansi/Selected performances: | 2000.“Osveta”/ likovnih umjetnosti na Cetinju, na odsjeku za grafiku, u klasi profesorice Anke “Revenge”, Lazareti Art Workshop, Dubrovnik, Croatia | “Obezrazumljenje” / Burić. “Losing One`S Senses”, Gavella Theatre, Zagreb, Croatia | “Obezrazumljenje” Član je Udruženja likovnih umjetnosti Crne Gore od 1997. godine. Pored / “Losing One`S Senses”, Palach Club, Rijeka, Croatia | 2001. “VIRUS”, Kaptol likovne grafike bavi se slikarstvom i crtežom. Samostalne izložbe imao je u Centar, Zagreb, Croatia | 2002. «Ronjenje»/ «Diving», Break 21, Kinoteka, Lju- Budvi, Kotoru, Podgorici, Beogradu, Petrovcu, Nikšiću. Izlagao je na mnogim bljana, Slovenia | 2006. «Komunikacijske Igre» / “Games Of Communication” kolektivnim izložbama u zemlji i inostranstvu, od kojih su najznačajnije u (live streaming) , Device art, Zagreb(Croatia) / Beograd (Serbia) | 2009. „U Budvi, Tivtu, Kotoru, Podgorici, Beogradu, u Mađarskoj, Bugarskoj, Španiji, Društvu Poznatog Hrvatskog Umjetnika“ / “In The Company Of Famous Cro- Belgiji. atian Artist”, “Perforations” / “Perforacije”, Cvjetni trg, Zagreb, Croatia | 2011. Živi i radi u Budvi. «Pogreb» / «Funeral», Dopust festival, Stradun, Dubrovnik, Croatia | «Moguć- nost Otpora» / «Possibility Of Resistance», Ve. Sch Gallery, Vienna, Austria | Born in 1971 in Podgorica, Montenegro. He graduated in 1996 from the 2012. „Političko Disanje“/Political Breathing“ (Revolution now and forever), Faculty of Fine Arts, Cetinje, graphics department, in the class of the professor SC Gallery, Zagreb, Croatia | „Reci Svijetu Da Svoj Narod Hrvat Ljubi“/ “Go Tell Anka Buric. He is a member of the Fine Artists Association of Montenegro The Whole World That A Croat Loves His Homeland” (Performance Days), Osi- (ULUCG) since 1997. jek, Croatia | „Mogućnost Izlaza“/ „Exit Option“ (Perforations), Hdlu, Zagreb, Apart from the graphic arts he is also engaged in painting and drawing. Croatia | “Mogućnost Ulaza”/ “Enter Option” (NUS festival), MKC Gallery, Split, Solo exhibitions: Budva, Kotor, Podgorica, Belgrade, Petrovac, Niksic. Croatia His artwork was exhibited at many group exhibitions in Montenegro and Izabrane grupne izložbe/Selected group exibitions: 2000. „Što, abroad: Budva, Tivat, Kotor, Podgorica, Belgrade, Hungary, Bulgaria, Spain, Kako i Za Koga“ / “What, How, For Whom?”, Hdlu, Zagreb, Croatia | “Balkan Belgium, etc. Video Federation”, Contemporary Art Centre, Belgrade, Serbia | „26. Salon Lives and works in Budva. Mladih“ / „26th Salon Of Youth“, Zagrebacki Velesajam, Zagreb, Croatia | 48 kontakt / contact: [email protected] 2001. „Što, Kako i Za Koga“ / “What, How And For Whom”, Wuk Kunsthalle Egsnergasse, Wienna, Austria | “Tirana Biennale 1 - Escape”, National Gallery Marijan Crtalić & Chinese Pavillion, Tirana, Albania | “I Touch Myself Ii”, P74 Gallery, Ljubljana, Slovenia | 2002. “Here Tomorrow”, Gliptoteka , Zagreb, Croatia, | “My Body Is Rođen 1968. godine u Sisku. Diplomirao slikarstvo na Akademiji likovnih My Business”, Baltimore, USA | 2003. „Posljednja Istočnoeuropska Izložba“ / umjetnosti u Zagrebu 1992. godine. Multimedijski umjetnik. Živi i radi u Za- “The Last East European Show“, Museum of contemporary art, Belgrade, Ser- grebu i Sisku. bia | “re-SOLUTION”, Home gallery, Prague, Czech Republic | “Homemade:a”, Kunstlerhaus Mounsonturm, Frankfurt, Germany | 2004. „Recentni Hrvatski Born in1968 in Sisak, Croatia. 1992 graduated painting from The Academy Video“ / “Recent Croatian Video”, Millennium Film Workshop, New York, USA | of Fine Arts, Zagreb, Croatia. Multimedia artist. Lives and works in Zagreb „U Prvom licu“ / “First- Person Singular”, HDLU, Zagreb, Croatia | 2005. “Insert”, and Sisak. Retrospective of Croatian Video Art, Museum of Contemporary Art, Zagreb, Izabrane samostalne izložbe/Selected solo exibitions: 1999. „Tran- Croatia | 2009. „Acto“, Bitola, Makedonija | “The Orange Dog and Other Tales“ scendentalna teleportacija“ / “Transcendental teleportation”, SC Gallery, Za- Re-Enactment Performances, Sc (Mm Centar), Zagreb, Croatia | 2010. “Tht- greb, Croatia | 2000. „Crkva“ / “The Church”, Miroslav Kraljevic Gallery, Zagreb, Msu“, Museum of Contemporary Art, Zagreb, Croatia | “2 or 3 Things We’re Croatia | 2007. “Videoinstalacije” / “Videoinstallations”, (with Zlatko Kopljar), Learned”, Galerija Ig Bildende Kunst, Vienna, Austria | “E-Motion to Cohabit“, Alter- Native 15 International short film festival, B5 studio Gallery, Targu Palazzo Forti, Verona, Italy | 2011. „Svemirski Brod Jugoslavija” / “Spaceship Mures, Romania | 2009. „Nevidljivi Sisak- Fenomen Željezara“ / “Invisible si- Yugoslavia”, Ngbk Gallery, Berlin, Germany | 2012 „Prizivanje Prošlosti”/ “Re- sak- the ironworks phenomenon”, Miroslav Kraljevic Gallery, Zagreb, Croatia | Calling The Past”, Istarska Sabornica, Poreč, Croatia 2010. „Nevidljivi Sisak- Podvodni Grad (Ribe, Bombe i kulturna baština)“/ „The Nagrade/Awards: 2000. Nagrada 1. Salona mladih Siska / Award of the Invisible Sisak – Underwater City (Fish, Bombs and the Cultural Heritage)”, youth salon - Sisak , CZK, Sisak, Croatia | 2001. Nagrada 26. salona mladih / The Gallery of Extended Media, Zagreb, Croatia | 2011. “Sadašnjost Povijesti” Award of the 26th Zagreb salon of Youth, Zagreb, Croatia | Nagrada AICA- / “Present Moment of The History”, Siz Gallery, Rijeka, Croatia | 2012 “Razine i e, AICA Award of the 36th Zagreb salon, Zagreb, Croatia | 2009. Nagrada mete”/ “Levels and Targets”, St. Toma Gallery, Rovinj, Croatia | “Introspektiva”/ publike/ Audience Award, Fibula film festival, Sisak, Croatia | 2010. Nagrada THT-MSU natječaja i izložbe, Award of the THT-MSU art’s competition and residency programmes, symposia, workshops and summer academies in exhibition, Zagreb, Croatia Austria, Italy, Slovenia, Finland, Egypt, Macedonia and Serbia in the last se- kontakt / contact: [email protected] veral years. Blog: http://marijancrtalic.blogspot.com The artists live and work in Belgrade and Brussels.

Samostalne izložbe / Solo exhibitions: 2012. Avgust, Third Nature, Ga- diSTRUKTURA lerija KiK AiR programa, Nijeveen, Holandija | 2012. Januar, Not so far away, Milica Milićević i Milan Bosnić su diplomirali i magistrirali na Fakultetu likov- Galerija Savremene Umetosti, Pančevo, Srbija | 2011. Decembar, O izvesno- nih umetnosti u Beogradu, na Odseku za slikarstvo. Od 2005. rade na zajed- sti, Galerija Treceg Beograda, Beograd | 2011. Novembar, Not so far away, ničkim projektima kao umetnički par pod nazivom diSTRUKTURA. Njihov rad Muzej Savremene Umetnosti Vojvodine, Novi Sad, Srbija | 2011. Oktobar, Not je prezentovan kako u zemlji tako i u inostranstvu na samostalnim i grupnim so far away, Galerija Savremene Umetnosti, Zrenjanin, Srbija | 2011. Septem- izložbama kao što su distURBANces u Beču i Bratislavi (2012), TINA B festi- bar, Not so far away, Galerija ArtGet, KCB, Beograd | 2011. Jun, Treći Pejsaž, val u Pragu (2012), Police the Police/ Bijenale mladih umetnika u Bukureštu Galerija 73, Beograd | 2011. Mart, Ekozofija Trećeg Pejsaža, Galerija Kolarčeve (2010), Beograd Ne-Mesta u Salonu muzeja savremene umetnosti u Beo- Zadužbine, Beograd | 2010. Jun, Uvod u Treći pejsaž, Nova Galerija, Beograd | gradu (2009), Hotel Mariakapel: a portrait by Katie Jane u Hoornu u Holan- 2010. April, Raum fur Kunst und Natur, Bon, Nemačka | 2009. Jun, Urban Uto- diji (2008), Mikro Narativi u muzeju modern umetnosti u Sent Etjenu (Saint pia, Prodajna Galerija Beograd, Beograd | 2009. April, Face to Face, Photon Etienne) (2008), 48. Oktobarski Salon u Beogradu (2007) i Štajerske jesenje Galerija, Ljubljana, Slovenija | 2009. April, Urban Utopia, Plevnik-Kronkowska svečanosti 2007- next code: love u Gracu (2007). Samostalno su izlagali u Gallery, Celje, Slovenija | 2008. Novembar, Facing Finland, KultuuriKauppila Beogradu, Nijeveen-u (Holandija), Bonu, Ljubljani, Ii (Finska) i Celju. Njihove Art Center, Ii, Finska | 2007. Maj, Face to Face, Likovni Salon Celje, Celje, Slove- aktivnosti su podržali Evropska kulturna fondacija, KulturKontakt, Kraljevina nija | 2007. Mart, Significant Other – Joint Venture, Galerija Remont, Beograd. Norveška, ProHelvetia, Sekretarijat za kulturu grada Beograda i drugi. Rado- Grupne izložbe/Group exhibitions: 2012. November, Deviant Mytho- vi im se nalaze u privatnim, javnim i korporativnim kolekcijama u Austriji, logy, Magacin u Kraljevića Marka, Beograd | 2012. Novembar, ULTRA005, My Sloveniji i Srbiji, uključujući Wiener Stadtische collection, muzej grada Be- Foreign Affairs vol.1, Sajam umetnosti, Tokio, Japan | 2012. Oktobar, distUR- ograda, Telenor kolekciju kao i Okolje Consulting Art Collection iz Ljubljane. BANses Evropski Mesec Fotografije, Beč, Austrija | 2012. Oktobar, distURBAN- Tokom proteklih godina učestvovali su u raznim rezidens programima, sim- ces Evropski Mesec Fotografije, Bratislava, Slovacka | 2012. Oktobar, Tina B pozijumima i radionicama u Holandiji, Austriji, Italiji, Sloveniji, Egiptu i Fin- Festival Savremene Umetnosti, Prag, Češka | 2011. Novembar, Young Artists skoj. Project 2011 – Digital Nomad, Expo hall, Daegu, Južna Koreja | 2011. No- Žive i rade u Beogradu i Briselu. vembar, Sićevo 2011, Galerija SLU, Niš, Srbija | 2011. Jul, Census and the art of capturing data, Galerija FishMarket, Northampton, Velika Britanija | 2010. Milica Milićević and Milan Bosnić hold their BA and MA degrees from the Decembar, Through drawing, Galerija Magacina u Kraljevića Marka, Beograd Department of Painting, the Faculty of Fine Arts in Belgrade. They have been | 2010. Novembar, Slika 2010 – Still Life, umetnička kolonija Ečka, Savremena working together as an artistic couple diSTRUKTURA since 2005. Galerija Zrenjanin | 2010. Oktobar, Police the Police, Bijenale mladih umetni- Their works have been presented on solo and group exhibitions held in Ser- ka, Bukurešt, Rumunija | 2010. Oktobar, Bele Noki, Dom Omladine, Skoplje, bia and abroad: distURBANces , Wienna and Bratislava (2012), TINA B festival, Makedonija | 2010. Jul, Close to Nature u nacionalnom parku „Pöllauer Tal”, Prague (2012), Census at Fishmarket Gallery, Northampton, Great Britain Austrija | 2010. Maj, Okolje Consulting kolekcija, Galerija Sodobne Umetnosti (2011), Biennial of Young Artists, Bucharest, Romania (2010), Non-Places, sa- Celje, Slovenija | 2010. Maj, SerbiArt, Magacin u Kraljevića Marka, Beograd lon of the Museum of Contemporary Art, Belgrade (2009), Hotel MariaKapel: | 2009. Decembar, Inauguraciona izlozba, Nova Galerija, Beograd | 2009. a portrait by Katie Jane in the Netherlands (2008), Micro-Narratives in the Avgust, Beograd Ne-Mesta, Salon Muzeja Savremene Umetnosti, Beograd Museum of Modern Art, Saint Etienne (2008), 48th October Salon in Belgra- | 2009. Mart, Photonic Moments IV, Magacin u Kraljevića Marka, Beograd | de (2007) and Steirischer Herbst 2007 – next code:love in Graz. 2009. Februar, Telenor Kolekcija savremene srpske umetnosti, Kulturni Centar, Their activities have been supported by European Cultural Foundation, Kul- Vršac | 2009. Januar, Telenor Kolekcija, Muzej Savremene umetnosti Vojvodi- turKontakt from Austria, the Kingdom of Norway, ProHelvetia from Switzer- ne, Novi Sad | 2008. Oktobar, Photonic Moments IV, Mala Galerija, Cankarjev land, the Secretariat for Culture of the City of Belgrade, etc. diSTRUKTURA’s Dom, Ljubljana, Slovenija | 2008. Septembar, Hotel Mariakape: a portrait by artworks are part of various private, public and company collections in Slo- Katie Jane, Hoorn, Holandija | 2008 Jul-Avgust, Sistem Binario – BELEF `08, venia, Austria, Italy and Serbia. DiSTRUKTURA has participated in different Beograd | 2008. Jun, Rondo – internacionalni umetnici, Galerija Rondo stu-

49 dija, Grac, Austrija | 2008. Maj, Mikro Narativi, Muzej Moderne umetnosti, međunarodnu osnovu za povremeni rad u istočnoj Aziji, Srednjem Istoku, Saint Etienne, Francuska | 2007. Decembar, Urbane Mitologije, Prodajna Ga- Indiji i u zemljama bliže Velikoj Britaniji. lerija ’Beograd’, Beograd | 2007. Decembar, Belgrade Beauty, New Moment Poslednjih godina akademsko istraživanje Leo Daf o globalnim aspektima Ideas Galerija, Beograd | 2007. Novembar, Break festival, Ljubljana, Slovenija višeg obrazovanja iz oblasti umjetnosti i dizajna takođe je uticalo na njen | 2007. Oktobar, 48. Oktobarski Salon, Beograd | 2007. Oktobar, Equal Oppor- rad. Poslednjih godina teme kojima se bavi inspirisane su posmatranjem tunities, C2C Galerija, Prag | 2007. Septembar, Steirischer Herbst 2007- next različitih pojava tokom posjeta Koreji, Tajvanu i Kini. Kroz svoj rad stalno ispi- code: love, Grac, Austrija | 2007. Septembar, Equal Opportunities, Galerija tuje medije i proces stvaranja, a materijal koji je uključila u skorašnji rad čine Stanica, Zilina, Slovačka | 2007. Avgust, Equal Opportunities, Galerija OPEN, kredu, kremen i industrijske boje u spreju. Bratislava, Slovačka | 2007. Jun, Privatni Prostor - Javni Prostor, Magacin u Kraljevića Marka, Beograd | 2007. Maj, Nobody wants to be nobody, Grac, Leo Duff works as a maker of drawn images to do with A Sense of Place. Austrija | 2007. April, ViennAfair 2007, Beč, Austrija | 2006. Novembar, Izložba Heritage, history and investigation of place and object have developed from internacionalne radionice, Atelier of Alexandria, Aleksandrija, Egipat | 2006. interpretations of the built environment. The environments of various forms April, Step Out, Galerija O3ONE, Beograd | 2006. April, ViennAfair 2006, Beč, of architecture from the vernacular to the grandiose, from pre-history to the Austrija | 2006. Januar, ORTung 2005, Galerija 5020, Salcburg, Austrija. most contemporary constructions have taken her over the world on commi- Radionice, air programi, kolonije/Workshops, Air Programmes, ssioned work and to develop themes for exhibition in the UK, Ireland, Por- Colonies: Artists in Residence program, KiK – Kunst in Kolderveen, Nije- tugal, USA, Korea, China and Taiwan. She is co-director of art+archaeology veen, Holandija, jul-avgust 2012. | Umetnička koonija Sićevo 2011, Sićevo, and has been on four residencies with the Stonehenge Riverside Project on Srbija, septembar 2011. | Umetnička kolonija Ečka Slika 2010 - Still Life, Ečka, excavations and at Salisbury Museum. More recently a residency at China Srbija, avgust 2010. | Simpozijum, Close to Nature, Štajerski letnji festival, Women’s University looked at plastic objects in the domestic environment. Pollau, Austrija, Jul 2010. | Artists in Residence program, KultuuriKauppila, Ii, Born in Belfast, Leo Duff studied at Brighton then the Royal College of Art, Finska, Novembar 2008 – Januar 2009. | Artists in Residence program, Rondo London. Her association with the tradition of British Illustration led to in- Studio, Grac, Austrija, Maj/Jul 2008. | Artists in Residens program, Zavod Ce- volvement with many educational establishments, her academic career 50 lea Celje, Slovenija | Mart/April 2007. Aleksandrijski Ateljei | radionica 2006, developing alongside her everlasting interest in drawing. Leadership and Aleksandrija, Egipat | Simpozijum u Strobl am Wolfgangsee ORTung 2005, innovation in the arena of Drawing Research, pedagogy and practice in a Salcburg, Austrija broad range of disciplines holds an international footing working frequently Radovi u kolekcijama/Artworks in collections: Telenor kolekcija | in East Asia, Middle East, India as well as closer to home. Muzej Grada Beograda | Okolje Consulting kolekcija | Wienner Stadtische. In recent years Leo Duff’s academic expertise on global aspects of Art and kontakt/contact: [email protected] Design higher education has also influenced her work. In recent years the www.distruktura.com subjects she has tackled have been inspired by observations made on visits to Korea, Taiwan and China. Media and process are always under scrutiny in Leo Duff Leo Duff’s work, materials recently integrated include chalk, flint and indu- Leo Daf pravi crteže koji su u vezi sa konceptom genius loci. Naslijeđe, istorija strial spray paints. i ispitivanje mjesta i objekta razvili su se iz interpretacija izgrađenog okruže- nja. Različite forme arhitekture od kolokvijalnih do grandioznih, od preisto- Izabrane izložbe/Selected exhibitions: 2013 Leo Duff Platform, King- rije do najsavremenijih konstrukcija vodili su je ka organizovanju tematskih ston University, London | 2010 Monuments and Marks, Tom Caldwell Gallery, izložbi u Velikoj Britaniji, Irskoj, Portugalu, SAD, Koreji, Kini i Tajvanu. Jedan Belfast, Ireland (with Christine Bowen) | 2008 Standing Stones, Tom Caldwell je od direktora projekta umjetnost+arheologija a učestvovala je na četiri re- Gallery, Belfast, Ireland | 2006 Stone Upon Broken, Samwon Gallery, Seoul zidencije u vezi sa projektom Stonehenge Riverside kako na iskopavanjima National University, Korea | 2006 The Precipitous Edge, National Taiwan Uni- tako i u Muzeju Salzburi. U skorašnjem boravku na Ženskom Univerzitetu u versity of the Arts, Taipei | 2000 Port and the Douro, Solar do Porto, Musee Kini bavila se plastičnim objektima u domaćem okruženju. Romantico, Oporto Portugal Rođena u Belfastu, Leo Daf se školovala na Brajtonu, a potom na Kraljevskom Grupne izložbe/Group exhibitions: 2009 Seven Artists respond to Ce- koledžu umjetnosti u Londonu. Vezanost za tradiciju britanske ilustracije do- zanne The Brindley Arts Centre, Runcorn | 2008 Drawing Stonehenge, The vela ju je do saradnje sa mnogim edukativnim ustanovama, razvijajući nje- Whitworth Art Gallery, Manchester | 2008 Abhar agus Meon (Materials and nu karijeru zajedno sa interesovanjem za crtež. Vođstvo i inovacija na polju Mentalities), World Archaeological Congress, Dublin | 2007,06,05 Kingston istraživanja crteža, pedagogije i prakse u brojnim disciplinama predstavljaju Open, Stanley Picker Gallery, Kingston Upon Thames, London | 2006 Seven Artist-Seven Days. Williums Art Foundation, Mas Des Graviers, Provence, Kulturnog centra Beograd | 2011. Kyoto 2012, Water sign – fotografije i grafi- France | 2005 Four Now (Arts Councils of Ireland and Northern Ireland) Lewis ke, galerija Bogić, Beograd | Mladi, NBGD kulturna mreža, Beograd | Noć mu- Glucksman Gallery Cork | 2004 Brill Collection, Kingston Museum Surrey | zeja („Gradovi i njihove tajne“), Muzej savremene umetnosti Vojvodine, Novi 2004 Ambit International Chelsea Arts Club London Sad | 2010. Kalendar 2010_februar, Akademija-Art kafe “Fleka”, Beograd | Silk- Radovi u kolekcijama/Collections include: Victoria and Albert Muse- skrin-svilena mušema, evropski centar za kulturu i debatu GRAD Nevidljivi um, Ulster Museum, Insurance Corporation of Ireland, London Lighthouse, grad, Kulturni centar Beograda, galerija Artget | 2009. Moduli vizuelne na- Dept of the Environment, Arts Council (NI), Arts Council Ireland, Ulster Tele- racije, Kulturni centar Srbije, Pariz | Aprilski susreti 2009, Studentski kulturni vision, Earl of Antrim, Paul de Savary, President Mary Robinson, Sir Terence centar, Beograd | Jesenja izložba 2009, Umetnički paviljon „Cvijeta Zuzorić“, Conran, Royal Borough of Kingston Framlington Trusts, MMG. Beograd | 2008. Prolećna izložba 2008, Umetnički paviljon “Cvijeta Zuzorić”, kontakt/contact: www.leoduff.com Beograd | Izložba malog formata, Centar za kulturu Grocka, Beograd | 30 x 30, Savremena galerija, Zrenjanin | fotografije, Crteži na struju, izložba u sastavu 5. evropskog festivala animiranog filma BALKANIMA 2008, DKSG, Beograd Olivera Inđić | 2007. Novi članovi 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Rođena je 1981. godine u Beogradu. Na Fakultetu likovnih umetnosti u Be- Prolećna izložba 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Me- ogradu diplomirala je 2006. gorine, smer slikarstvo, u klasi prof. Čedomira đunarodna izložba mladih autora Brainstorming, SKC, Beograd | N.A.F. (Nis Vasića. Član je ULUS-a od 2007. godine. Art Foundation), Niš, Beograd, Novi Sad | Osmi beogradski bijenale crteža i Od 2008 do 2011. radila je kao fotograf za časopise „The Men“, „Sport United“, male plastike, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | Jesenja izložba „Yachting & sailing world“ i „The Best Shop“. Trenutno u statusu samostal- 2007, Umetnički paviljon „Cvijeta Zuzorić“, Beograd | 30 x 30, Savremena ga- nog umetnika. Fotografije je objavljivala u dnevnim novinama „Politika“, „24 lerija, Zrenjanin | 2005/04/02 -XXXIV, XXXIII, XXXI izložba crteža, skulptura i sata“,u „ReFoto“ magazinu i na različitim sajtovima u vezi sa graffiti i street art objekata malog formata studenata FLU, galerija Doma omladine, Beograd | kulturom. Organizovala je nekoliko radionica za decu, u Beogradu i Velikoj 2003. izložba radova međunarodne studentske letnje likovne kolonije „Tršić“, Hoči (Kosovo i Metohija). Takođe, bila je jedan od organizatora radionice za | DKSG, Beograd | 2002. Izložba crteža studenata FLU, Solun | 2000. crteži, batik u Ljubljani, Slovenija. DKSG, Beograd. Od maja 2009 u sastavu Grupe IDE realizuje radionice, različite projekte, mu- She was born in 1981, in Belgrade. In 2006 she graduated from the Faculty of rale: 2009. predstava „Čudesno putovanje“, projekat ‘JA KAŽEM DA...’ Grupe Fine Arts in Belgrade, Painting department, professor Cedomir Vasic. In 2007 IDE i POD Teatra, namenjen je deci oštećenog sluha, polaznika Odeljenja za she became a member of the Serbian Artists Association ULUS. 2008–2011 audiološku rehabilitaciju, Instituta za ORL i MFH, Kliničkog Centra Srbije, fi- worked for ‘The Men’, ‘Sport United’, ‘Yachting & Sailing World’, and ‘The Best nansiran od strane BCIF-a, Balkanskog fonda za lokalne inicijative. Shop’ magazines. Murali/Murals: 2004. vrtić u Velikoj Hoči, Kosovo i Metohija | 2004-2005. u dvorištu i na ogradi osnovne škole za decu oštećenog sluha i govora „Radivoj Samostalne izložbe/Solo exhibitions: 2012. ..la bicyclette.., fotografije, Popović”, Zemun | 2005. prostorije bivše Dečije ambasade, Obilićev venac, galerija „Bogić“, Beograd | 2010. fotografije, Studentski kulturni centar, Beo- Beograd | 2007. dvorište, Zemun | 2009. internat pri Osnovnoj školi za decu grad | 2008. crteži_stene, galerija DKSG, Beograd. oštećenog sluha i govora „Radivoj Popović” u Zemunu, uz podršku Evrop- Izbor grupnih izložbi/Selected group exhibitions: 2012. Foto knji- skog pokreta u Srbiji | 2011. u Zvečanskoj, Centar za zaštitu odojčadi, dece i ga, Fotodokumenti 02, Salon MSUB, Beograd | Periskop 016-fotografije, omladine (grupa IDE). .. Priština.. Beograd, Podmornica (http://oliveraindjic.com/photos/ Studijski, rezidencijalni programi, stipendije/Study, residential sarajevo-pristina-beograd/) | EuroXibition-fotografije, Evropski parlament u programmes, scholarships: 2003. International Art Camp Tršić, Srbija | Briselu, Belgija | EuroXibition, fotografije, Kongresni centar Alpbach, Austrija 2004. School of Fine Arts of the Aristotle University of Thessaloniki | 2005. | Water sign- fotografije, Univerzitet Saga u Kjotu, Japan | Noć muzeja (U Outside Project, SACI (Studio Art Centers International), Firenca | 2008. Cité ritmu sreće-fotografije), Novi Sad | Filmografija – jedna scena, rečito puto- internationale des Arts, Pariz | 2012. International Summer Art Camp Jabuka, vanje, fotografije, XIII Festival studentskog filma, UK Parobrod, Beograd | Pe- Prijepolje | 2012. European Forum Alpbach, Expectations – The future of the riskop 008-fotografije, Postcards from the Netherlands, Podmornica (http:// young, Austria. oliveraindjic.com/photos/postcards/) | Papergirl Street Art Project, Novi Sad, Radionice/Workshops: 2009. Howard Katz, Technique from a fresh per- Zagreb, Beograd, Calgary, Toowoomba | EuroXibition, fotografije, Nacionalna spective, CZKD, Beograd | Paul Murray, Lab for new dance, physical theatre i univerzitetska biblioteka, Priština | EuroXibition, fotografije, foaje Dvorane and contemporary movement, Magacin, Beograd | 2010. Melissa Passut, ra-

51 dionica kontaktne improvizacije, KC Pančevo | 2011. Julia C Gorosito, Contact stern Neighbours, Cultural Center “Babel”, Utrecht, The Netherlands | 2005 Improvisation Workshop, Magacin, Belgrade. - Global Fusion Close Up, urban art, Vienna | Melbourne | Tokyo Internati- kontakt/contact: [email protected] onal Mini-Print Triennial, Tama Art University, Tokyo | New Art, Museum of http://oliveraindjic.com/ (under construction) Contemporary Art in collaboration with the British Embassy in Macedonia, Skopje | 2004 - Cosmopolis 1 - Microcosmos x Macrocosmos, State Muse- Slavica Janešlieva um of Contemporary Art, Thessalonika | Macedonian Artists, Lincoln Center, Rođena je 1973. godine u Skoplju, Makedonija. 1996. Diplomirala na Uni- New York City | Woterworks Visual Arts Center, Salisbury, North Carolina | 4th verzitetu Ćirilo i Metodije u Skoplju, Fakultet likovnih umjetnosti, odjelje- International Print Biennial, National Gallery, Sofia | Prints from the Balkans nje za grafiku. 1998. Magistrirala na istom fakultetu. 2000–2006. Slobodni – International Print Triennial, Dalarnas Museum, Falun, Sweden | 2003 - The umjetnik. 2006–2011. Radila kao asistent na Fakultetu likovnih umjetnosti u Conceptual Discourse in Macedonia, Museum of Contemporary Art, Skopje Skoplju. 2011. Profesor-saradnik na Fakultetu likovnih umjetnosti u Skoplju. | We Are The Weather - Second Biennial of Contemporary Visual Arts By Bal- 2008–2010. Prodekan na Fakultetu likovnih umjetnosti u Skoplju. kan Female Artists, National Art Gallery, Sofia | The Masters of Graphic Arts Born in Skopje, Macedonia, in 1973. BFA 1996, Ss. Cyril and Methodius Uni- – 7th International Biennial of Drawing and Graphics, Municipal Museum of versity in Skopje, Faculty of Fine Arts in Skopje, Printmaking Department. Arts, Györ, Hungary | 6th Mondial Triennial of Small Sized Prints, Association MFA 1998, Ss. Cyril and Methodius University in Skopje, Faculty of Fine Arts Mouvement Art Contemporain, Chamalières, France | Dialogues-Macedoni- in Skopje. 2000-2006, freelance visual artist. 2006 -2011– assistant professor an Art Today, Unesco Gallery, Paris | Ministry of Culture, Rome | 2002 -22nd at the Faculty of Fine Arts, Ss. Cyril and Methodius University in Skopje. 2011- Nadezda Petrovic Memorial, Art Gallery “Nadezda Petrovic”, Cacak, Yugosla- associate professor at the Faculty of Fine Arts, Ss. Cyril and Methodius Uni- via | Bound/less Borders, Goethe Institute Inter Nationes, public art project versity in Skopje. 2008-2010 – Vice Dean at the Faculty of Fine Arts, Ss. Cyril with billboards, Belgrade, Yugoslavia, (travelled to Skopje, Sofia, Bucharest, and Methodius University in Skopje. Saraevo, Kassel) | Links, Graphica Creativa - 10th Triennial, Jyväskylä Art Muse- um, Jyväskylä, Finland | Small Graphic Forms, City Art Gallery, Łódź, Poland | Odabrane samostalne izložbe/Selected solo exhibitions: 2001 - Small Talks, Museum of Contemporary Art, Skopje | 5 Contemporary 52 2012 - Impressions, Multimedia Center “Mala Stanica”, National Gallery, Macedonian Printmakers, Gallery Cvadrato di Omega, Rome | Perfect Match, Skopje | 2011 - Shadow, Gallery MC, New York | 2009 - Brrrmmm, Mala Ga- exhibition of public art projects, City Shopping Mall, Skopje | 2000 - 6th In- lerija, Skopje; Filantropic Urges 1&2, Skopje City Museum | 2007 - Grafting, ternational Biennial of Miniature Prints, Moderna Gallery, Gornji Milanovac, Multimedia Center “Mala Stanica”, National Gallery, Skopje | 2006 -Utrecht, Srbia | Communication. Experience of interaction., Almaty Buisiness Center, The Netherlands, Cultural Center “Babel” | 2005 -Stories, New York City, USA, Almaty, Kazahstan | 1st Cheju International Print Art Festival, Gallery of Cheju Gallery MC | 2004 -Narratives and Symbols, Skopje, National Gallery | 2002 and Sogwipo Kidang, Cheju, Seoul, Korea; Artist(s) in Residence (participa- - A Cry, Skopje, Museum of Contemporary Art | 2001 - Remembering an tion in the project of Luchezar Boyadziev), part 2 “Social Reality/Existence/ Idealist, Skopje, Gallery “Stepen”, Cultural Location “Mesto” | Story Telling and Politics”, L’autre moitie de l’Europe, Jeu de Paume, Paris | 1999 - Matrix, Trieste video performance All My Bicycles, Bratislava, Slovakia, Open Gallery | 2000 Contemporanea, Trieste | 4th International Triennial Exhibition of Prints, Ino- -Story Telling, Boswil, Switzerland, Artists’ House Faundation | 1999 -Reading cho Paper Museum, Kochi-shi, Japan | 12th German International Exhibition the Clouds, Skopje, CIX Gallery | 1998 - Graphic Installation Letters, Skopje, of Graphic Art, Stadtsaal, Frechen, Germany etc. Open Graphic Studio | 1997 - Exhibition of prints - with the project Sheep Nagrade/Awards: 2007 - Purchase Award, “Telma”, 37th Exhibition of Fold, Skopje, MKC | 1996 - Exhibition of prints, Bitola, Art Gallery Bitola. Prints-DLUM, Skopje | 2004 - Purchase Award, 35th Exhibition of prints-DLUM, Izabrane grupne izložbe / Selected group exhibitions: 2012 - 7th Skopje | 2003 - Atanas Muchev Award, Selection 2002, Strumica | DENES International Print Triennial, Bitola, Macedonia | 16th International Biennial Award, Nominated Artists Exhibition, Annual Award by the Civil Society Fo- of Small Works on Paper, Musee du Petit Format, Viroinval, Belgium; Inter- undarion in New York, Trust for Mutual Understanding and the Contempo- national Saloon of small print (14th edition), Florean Museum, Maramures, rary Art Center in Macedonia, Skopje | 2001 - First Prize, 1st International Mini Romania | 2011 - Fragments (Macedonian Art Scene 1991-2011), Museum Print Triennial, Tetovo | Grand Prix, 5th Biennial of the youth artists, Skopje of Contemporary Art, Skopje | 10th International Biennial – Dry Point, City | 2000 - Purchase Award, 3rd International Print Triennial, Bitola | Ratko Ne- Gallery, Uzice, Serbia | 1st International Print Triennial – ULUS, Art Pavilion storovski - Kines Award, Revijalna exhibition-DLUM, Skopje | 1998 - Purcha- “Cvjeta Zuzorik”, Belgrade | 2007 - Contemporary Arts Festival, Varna, Bul- se Award, 28th Exhibition of prints, Skopje | 1997 - Second prize, SIAB ‘97, garia | 2006 - Inkladia, Rueff Galleries, Purdue University, West Lafayette, Skopje. Indiana, USA; Artists in Conversation, Kampanagel Hamburg, Germany | Ea- Radovi u kolekcijama/Works purchased for collections: Museum of Contemporary Art, Skopje, Macedonia | National Gallery, Skopje, Mace- Award for preliminary design of monuments to the fallen soldiers in Grude donia | Jyvaskyla Art Museum, Juvaskyla, Finland | World Bank, Washington | 2007 Award ‘’Privately and publicly’’ at the homonymous exibition in Siroki D.C., USA Brijeg | 2007 2nd Award ‘’Annals of the drawings’’ ULUBiH in Mostar | 2008 1st Boravci/Residencies: Award ‘’Annals of the drawings’’ ULUBiH in Mostar | 2009 Award for installati- 2003 New York, International House – Columbia University Campus, Con- on, ‘’Salon of Young Artists’’ in Sarajevo | 2009 Award ‘’Collegium Artisticum’’ temporary Art Center Skopje and Civil Society Foundation New York Grant- for spatial drawing on exibition ‘’April sixth’’ in Sarajevo | 2010 Award „Colle- award | 2000 Paris, Jeu de Paume, art project of Luchezar Boyadziev (Pro gium Artisticum“ painting award on exibition „ April sixth“ in Sarajevo | 2010 Helvetia and APEX grants) | Boswil, Switzerland, Artists’ House Foundation „Cest is the best“ special award for artistic flag in Zagreb. (Pro Helvetia grant). Her work is also included in the collection of National gallery of Bosnia and kontakt/contact: [email protected] Herzegovina. kontakt/contact: [email protected] Andrijana Mlinarević-Cvetković Rođena je 1980. u Širokom Brijegu u Bosni i Hercegovini. Osnovnu školu i Borjana Mrđa gimnaziju završila je u Grudama. Diplomirala je na Akademiji likovnih um- Rođena je u Banjaluci 1982. godine, gdje živi i radi. Diplomirala na Akade- jetnosti u Širokom Brijegu 2004. godine u klasi profesora Ante Kajinića, sli- miji umjetnosti Univerziteta u Banjaluci, gdje je i magistrirala 2010. godine. karski odjel. Dvije godine kasnije završila je poslijediplomski studij Ars Sacra Zaposlena je kao asistent na predmetima Slikanje i Crtanje, na Akademiji na istoimenoj akademiji. Autorica je nekoliko javnih djela, ilustrirala je više umjetnosti Univerziteta u Banjaluci. knjiga za djecu. Članica je HDLU-a iz Zagreba, ULUBiH-a, ULU En Face-a i Točka. Izlagala je na 11 samostalnih i preko sto skupnih izložbi u zemlji i Born in 1982 in Banjaluka, where she lives and works. Graduated from the inozemstvu. Academy of Fine Arts, University in Banjaluka. MA degree at the same Uni- Dobitnica je više nagrada, među kojima su: 2000. Rektorova nagrada za naj- versity 2010. Works as an assistant professor at the Painting and Drawing boljeg studenta akademske godine 1999/2000. | 2006. Nagrada „Miroslav departments, Academy of Fine Arts, Banjaluka. Šutej“ ALU Široki Brijeg, za slikarsko ostvarenje na poslijediplomskom studiju Ars Sacra | 2006. II Nagrada za idejno rješenje spomenika poginulim brani- Samostalne izložbe/Solo exhibitions: 2012 Blic Jackpot slike, Bring In teljima u Grudama | 2007. Nagrada „Privatno i javno“ na istoimenoj izložbi u Take Out Living Archive, Open Systems / Open Space, Vienna | 2012 Micro- Širokom Brijegu | 2007. II Nagrada „Anale crteža“ ULUBiH-a u Mostaru | 2008. story, Muzej savremene umjetnosti, Banjaluka | 2012 Promjenljivo tijelo, Mu- I Nagrada „Anale crteža“ ULUBiH-a u Mostaru | 2009. Nagrada za instalaciju, zej savremene umjetnosti, Banjaluka | 2010 Intrada/načini pripovijedanja, Salon mladih, Sarajevo | 2009. Nagrada „Collegium Artisticum“ za prostorni Galerija Terzić, Banjaluka | 2008 Izložba slika, Banski Dvor, Banjaluka | 2007 crtež na Šestoaprilskoj izložbi u Sarajevu | 2010. II. Nagrada „Anale crteža“, Reanimacija, Akademija umjetnosti, Banjaluka | 2007 Izložba crteža, Galerija ULUBiH-a, Mostar | 2010. Nagrada „Collegium Artisticum“ za slikarstvo na Narodne skupštine, Banjaluka. Šestoaprilskoj izložbi u Sarajevu | 2010. „Cest is the best“, posebno priznanje, Grupne izložbe/Group exhibitions: 2012 Time stood still / Multimeri- Zagreb; dijan, Galerija Anex, Galerija Luka, Pula | 2012 Bring In Take Out Living Arc- Rad joj se nalazi u kolekciji Umjetničke galerije Bosne i Hercegovine. hive, The Austrian Association of Women Artists VBKÖ, Beč | 2012 Pichwise, Galerija Mak, Sarajevo | 2012 Intime/Intimacies, Collegium Artisticum, Sara- Born in 1980 in Široki Brijeg, Bosnia and Herzegovina. She finished elemen- jevo | 2012 Arrivi e partenze, Mole Vanvitelliana, Ankona | 2012 Individual- tary school and high school in Grude. She graduated from the Academy ne strategije, Collegium Artisticum, Sarajevo | 2011 Not so distant memory, of Fine Arts in Široki Brijeg, Bosnia and Herzegovina in 2004 in the class of Delaware Center for the Contemporary Arts, Delaware | 2011 Cyberfest, professor Ante Kajinic, painting department. Two years later she completed Kuryokhin Modern Art Center, St. Peterburg | 2011 Urban Maps, Festival sa- postgraduate studies ,,Ars Sacra“, at the same academy. She is a member vremene umjetnosti, Prag | 2011 Open City, aMAZElab Art&Culture, Sarajevo of ULUBiH (Bosnia and Herzegovina Association of Visual Artists) and ULU | 2011 Granica/performans, Ms Dockville festival, Hamburg | 2011 Open City, En Face (Association of Visual Artists En Face) and Tocka. She presented her aMAZElab Art&Culture, Tirana | 2011 Cut-out momenti, Marin galerija, Umag works on 11 solo and more than 100 group exibitions at home and abroad. | 2011 Odjeca kao simbol identiteta, Gradska galerija, Bihać | 2011 Open City, She recieved several awards, including: | 2000 Dean’s Award for best student aMAZElab Art&Culture, Skoplje | 2011 Algebra/ Life path number, ITS-Z1 ga- of the academic year 1999/2000 | 2006 Award ‘’Miroslav Sutej’’ ALU Siroki lerija, Beograd | 2011 Not So Distant Memory, The Big Screen Project, Nju- Brijeg, for painting achievement of postgraduate study Ars Sacra | 2006 2nd jork | 2010 #5 Neunundneunzig, Freunde Imnamendesraumes, Berlin | 2010

53 Open City, aMAZElab Art&Culture, Milano | 2010 Žensko pismo, Remont ga- kat, SKC, Francuski kulturni centar i Cvijeta Zuzorić, Beograd | Eko festival, lerija, Beograd | 2010 BiH video umjetnost, Photon Gallery, Ljubljana | 2009 Tvrđava Španjola, Herceg Novi | Noć kulture, Herceg Novi | Hibridni objekat, Emyan 2/Artifice, online internacionalni festival umjetnosti | 2009 NamaTRE. Muzej premoderne umetnosti, Spodnji Hotič, Slovenija | 2009 Tim koji po- ba 3 projekat, B&H Videoart, Akademija umjetnosti, Trebinje | 2009 NamaTRE. bjeđuje, Galerija Zvono, Beograd | BJCEM – XIV Bijenale Mladih Umjetnika ba 3 projekat, B&H Videoart, Visual TV Container, Milano | 2009 Zvono (na- Evrope i Mediterana 7 kapija, Skoplje, Makedonija | Premio nazionale delle grada za najboljeg BiH umjetnika/cu), Muzej savremene umjetnosti, Banja- arti 08, Galleria Arte Contemporanea - Le Ciminiere, Catania, Italija | Mladi luka | 2008 Spa Port, Međunarodna godišnja izložba savremene umjetnosti, srpski umjetnici, Galerija Zvono, Nacionalni muzej književnosti Ukrajine, Ki- Banjaluka | 2008 Terminal 00, Ada Street Gallery, London | 2008 Moja zemlja jev | Sopoćanska viđenja 08, kustos Gordana Vasiljević, Galerija Zvono, Beo- Štaglinec, Koprivnica | 2007 Sarajevska zima, Galerija Mak, Sarajevo. grad | I Multimedijalni centar, Novi Pazar | 42. zimski salon, kustos Anastazija Nagrade/Awards: 2009 Finalista za nagradu ZVONO (nagrada za najbo- Miranović, Herceg Novi | 2008 Novogodišnja izložba, Prodajna galerija „Beo- ljeg BiH umjetnika/cu)/ZVONO Award finalist | 2004 Nagrada Akademije za grad“, Beograd | Kotorski likovni umjetnici 2008, Gradska galerija Kotor, Kotor najbolju sliku/Best Painting Award, Academy of Fine Arts, Banjaluka | 2002 | Renesansa-san o lijepom, kustos izložbe Milica Radulović, Santa Marija in Nagrada Akademije umjetnosti za najbolji crtež/Best Drawing Award, Aca- Punta, Budva | Terratorija, BELEF 08, Beograd | Izložba skulptura u kamenu, demy of Fine Arts, Banjaluka | 2002 Nagrada Banskog dvora za najbolju gra- Gradska galerija, Kotor | Izložba novih članova ULUCG-a, Podgorica | 41. zim- fiku/Banski dvor Best Graphics Award ski salon, kustos Bogdan Musović, Herceg Novi. kontakt/contact: borjanamrdja.com Skulpture izvedene u javnom prostoru: 2011 Tre sorelle, Porto Mon- [email protected] tenegro, Tivat | Regina Elena, San Benedetto del Tronto, Italija | 2010 The Circle, Porto Montenegro, Tivat | 2008 Prayer for parents, Gmund, Austrija | Danijela Mršulja-Vasić The Seed, Kotor, Crna Gora | 2007 Gumno, Gorizia, Italija | 2006 Božanstvena Danijela Mršulja Vasić rođena je u Kotoru 1979. godine. Diplomirala je 2005. majka, Otzenhauzen, Njemačka. i magistrirala 2009. godine na Fakultetu likovnih umjetnosti u Beogradu, Artist in residence: 2011 Cite Internationale des Arts, Pariz | 2009 - Medi- na odsjeku vajarstvo. Trenutno je na Umjetničkim doktorskim studijama na terranean workshop, Galleria Arte Contemporanea – Le Ciminiere, Catania, 54 istom fakultetu. Iza sebe ima dvanaest samostalnih i veliki broj grupnih izlož- Italija | 2008 Kunstzentrum Bosener Muhle, St.Wendel, Njemačka | Stipendija bi, kao i sedam skulptura/instalacija izvedenih u javnom prostoru, u Njemač- KulturKontakt, Gmund, Austrija. koj, Austriji, Italiji i Crnoj Gori. Njeni radovi se nalaze u privatnim kolekcijama Sajmovi umjetnosti / Galerija Zvono | 2010 / Moscow, Moskva | 2009 u Švajcarskoj, Austriji, Italiji, Kanadi, Srbiji i Crnoj Gori. Učesnik je velikog broja Art Miami, Art Moscow | 2008 Kunstart Bolcano, Art Moscow i Viennfair Beč grupnih izložbi, radionica i artist-in-residence programa. Živi i radi u Beogra- Nagrade: 2009 42. zimskog salona, Herceg Novi | 2008 41. zimskog salona, du i Kotoru. Herceg Novi | 2007 otorski likovni umjetnici 2007, Kotor | 2001 Nagrada za crtež, Fakultet Likovnih Umetnosti, Beograd. Samostalne izložbe: 2012 Interaktivno i ambivalentno u vizuelnoj umjet- Kolekcije: 2012, Privatna kolekcija, Ženeva | 2011, Radix kolekcija, Beograd nosti, Galerija FLU, Beograd | 2011 100% Art recyclable, Galerija Cite, Hotel | 2010, Porto Montenegro, Tivat | Privatna kolekcija, Podgorica | 2008, Privat- de Ville 18, Pariz | Simulakrum, Galerija Zvono, Beograd | 2010 Katena, Gale- na kolekcija, Gmund, Austrija | Privatna kolekcija, Tirol | 2001, Privatna kolek- rija Josip Bepo Benković, Herceg Novi | 2009 Između, Galerija Centar, Podgo- cija, Toronto, Kanada. rica | In Medias Res, Prodajna galerija „Beograd“, Beograd | 2008 Hands, Kun- stzentrum Bosener Muhle, St.Wendel, Njemačka | Prayer for parents, Gotički 1979 Born in Kotor, Montenegro. 2005, B.A, Sculpture, Faculty of Fine Arts, Karner/International Gastatelier im Maltator, Gmund, Austrija | Skulpture, Belgrade. 2009, M.A, Sculpture department, Faculty of Fine Arts, Belgrade. At Gradska galerija, Kotor | Skulpture, Galerija Zvono, Beograd | 2002 Skulpture, the moment finishing PhD. at Faculty of Fine Arts, Belgrade. Lives and works Galerija Stari grad, Kotor | Skulpture, Galerija Vitomir Srbljanović, Pljevlja. in Belgrade and Kotor. Grupne izložbe (selekcija): 2012 Novembarski likovni salon, kustos Ana- Solo exhibitions: 2012, Interactive and ambivalent in visual art, PhD. Exhi- stazija Miranović, MKCG, Cetinje | Istok – Zapad, Muzej Pino Paskali, Polinjano bition, Gallery FLU, Belgrade | 2011, 100% art recyclable, Hotel de Ville 18, a Mare, Bari | Savremena crnogorska umjetnost, Galerija Miodrag Dado Đu- Paris | Simulacrum, Zvono gallery, Belgrade | 2010, Catena, J. B. Benković rić, Cetinje | 2011 XXIV Čukarički likovni salon, Galerija 73, Beograd | Studio gallery, Herceg Novi, Montenegro | 2009, In between, Gallery Center, Pod- Romance, La Vitrine, Pariz | Savremena Crnogorska likovna scena, Galerija gorica, Montenegro | In Medias Res, Gallery “Belgrade“, Belgrade | 2008, Kun- Pizana, Porto Montenegro, Tivat | Body of digital, Nova galerija, Budva | 2010 stzentrum Bosener Muhle, St. Wendel, Germany | Prayer for parents, Gothic Kotorski likovni umjetnici 2010, Gradska galerija Kotor, Kotor | Hibridni obje- Carner / International Gastatelier im Maltator, Gmund, Austria | Of Sculptu- res, City gallery, Kotor | Of Sculptures, Zvono gallery, Belgrade, Serbia | 2002 Ivan Pejović Of Sculptures, Gallery Stari grad, Kotor, Montenegro | Of Sculptures, Gallery Rođen 1978. godine u Nikšiću. Dilomirao na Fakultetu likovnih umjetnosti na Vitomir Srbljanovic, Pljevlja, Montenegro. Cetinju, u klasi profesora Branislava Sekulića. Postdiplomske studije završio Group exhibitions (selection out of forty): 2012, November art salon, na FLU Cetinje 2010. godine. Radi kao saradnik u nastavi na odsjeku slikar- curator Anastazija Miranovic, MCM, Cetinje | East – West, Museum Pino Pas- stva. Član je Udruženja likovnih umjetnika Crne Gore od 2004. Dobitnik je cali, Polignano a mare, Bari, Italy | Contemporary art in Montenegro, Gallery godišnje nagrade za slikarstvo, FLU, Cetinje. 2010. Prva samostalna izložba Miodrag Dado Djuric, Cetinje, Montenegro | 2011 XXIV Belgrade art salon, u Paviljonu ULUCG-a. Galery 73, Belgrade | Studio romance, La Vitrine, Paris | Contemporary art 2011. Osvojio Grand Prix Likovnog salona 13. Novembar. scene of Montenegro, Porto Montenegro, Tivat | Body of digital, New gallery, 2012. Likovni salon Petar Lubarda, Cetinje. Budva, Montenegro | 2010, Hybrid object, SKC, French cultural center and Učestvovao je na mnogobrojnim grupnim izložbama u zemlji i inostranstvu. Cvijeta Zuzorić gallery, Belgrade | Eco festival, Fortress Spanjola, Herceg Novi Živi i radi u Podgorici. | Night of culture, Herceg Novi | Hybrid object, Museum of too moderna art, Spodnji Hotič, Slovenia | 2009, Winning team, Zvono gallery, Belgrade Born in 1978, in Niksic. Graduated from the Faculty of Fine Arts, Cetinje, pain- | BJCEM – XIV Skopje Biennal, Macedonia | Premio nazionale delle arti 08, ting department, professor Branislav Sekulic’ class. Finished his postgraduate Galleria Arte Contemporanea – Le Ciminiere, Catania, Italy | Young serbian studies in 2010, same Faculty. Works as an associate lecturer at the painting artists, Zvono gallery, National museum of literature of Ukraine, Kiev | Sopo- department at the Faculty of Fine Arts, Cetinje. Member of the Montenegrin cani Gatherings 08, Curated by Gordana Vasiljavic, Zvono gallery, Belgrade Fine Artists Association from 2004. and Multimedia center, Novi Pazar | 42. winter salon, curated by Anastasija Winner of the Faculty of Fine Arts’ Annual Award for painting. Miranovic, J. B. Benkovic gallery, Herceg Novi | 2008, New Year’s exhibition, 2010. First solo exhibition in Art Pavilion, Podorica. Gallery “Belgrade“, Belgrade | Kotor’s fine art artists 2008, City gallery, Kotor, 2011 Grand Prix Winner of the Art Salon 13th November, Cetinje. Montenegro | The renaissance-dream of beauty, Curated by Milica Radulo- 2012 Art Salon Petar Lubarda, Cetinje. vic, Saint Maria in Punta church, Budva, Montenegro | Terratory, BELEF 08, Participated in many group exhibitions in Montenegro and abroad. Belgrade | Stone sculptures, Kotor | 41. winter salon, curated by Bogdan Mu- Lives and works in Podgorica. sovic, J. B. Benkovic gallery, Herceg Novi. kontakt/contact: [email protected] Realized outdoor projects: 2011 / Tre sorelle, Porto Montenegro, Tivat, Montenegro | Regina Elena, Scultura Viva, San Benedetto del Tronto, Italy | Ivanka Vana Prelević 2010 / The circle, Porto Montenegro, Tivat, Montenegro | 2008 / Prayer for Diplomirala 1990. i magistrirala 1995. godine na Fakultetu primenjenih parents, Gothic Karner, Gmund, Austria | The seed, Grbalj, Kotor, Montenegro umetnosti i dizajna u Beogradu, na odsjeku vajarstva, u klasi prof. Miodraga | 2007 / Gumno, Scultura 2001, Gorizia, Italy | 2006 / Divine mother, Cerda & Živkovića. Na istom fakultetu magistrirala 2006. godine na odsjeku sceno- Celtoi (Art & Celts), Otzenhausen, Germany. grafije u klasi prof. Geroslava Zarića. Član ULUCG-a od 1992. godine. Artist in Residence: 2011 / Cite Internationale des Arts, Paris, France | Stalno zaposlena u Crnogorskom narodnom pozorištu kao vajar od 1995, a 2009 / Mediterranean workshop, Galleria Arte Contemporanea – Le Ciminie- od 2006. do 2010. godine bila angažovana na Atlas TV kao scenograf. Dobit- re, Catania, Italy | 2008 / Kunstzentrum Bosener Muhle, St.Wendel, Germany nik je stipendije „Velibor-Bucko Radonjić“ Crnogorskog narodnog pozorišta | KulturKontakt Austria grant, Gmund, Austria. za scenografiju. Art fairs: Zvono gallery, Belgrade: | 2010 / Art Moscow | 2009 / Art Miami Graduated from the Faculty of Applied Arts and Design in Belgrade, scul- and Art Moscow | 2008 / Kunstart Bolcano, Art Moscow and Viennafair . pture department in 1990 and MFA in 1995, same department under the Collections: 2012 / Private collection, Geneva, Switzerland | 2011 / Radix mentorship of professor Miodrag Zivkovic. MFA in 2006, scenography depar- Collection, Belgrade, Serbia | 2010 / Porto Montenegro, Tivat, Montene- tment under the mentorship of professor Geroslav Zaric. gro | Private collection, Podgorica, Montenegro | 2008 / Private collection, Member of Montenegrin Fine Artists Association from 1992. Gmund, Austria | Private collection, Tirol, Austria | 2001 / Private collection, Employed in Montenegrin National Theatre as a sculptor from 1995, and Toronto, Canada from 2006 to 2010 worked as a scenograph at the Montenegrin television kontakt/contact: [email protected] studio Atlas. She is the „Velibor-Bucko Radonjić“ stipendist of Montenegrin www.danijelamrsuljavasic.com National Theatre for scenography.

55 Nagrade/Awards: 1995 / II Podgorički likovni salon | 1996 / 29. Zimski Žiga Rehar salon u Herceg Novom | 2002 / 35. Zimski salon u Herceg Novom | 2002 / Rođen 1977. godine u Ljubljani. Diplomirao je na Koledžu za vizuelne um- VI Podgorički likovni salon | 2004 / VIII Podgorički likovni salon | 2006 / Pivo jetnosti Arthouse u Ljubljani 2003. godine. Postdiplomske specijalističke Karamatijević | 2012 / Nagrada Centra savremene umjetnosti Crne Gore. studije završio je 2006. godine u klasi profesora Darka Slaveca. Izlagao je na Samostalne izložbe/Solo exhibitions: 1993 / NUBS, Beograd; ULUCG, više grupnih izložbi i u inostranstvu (Nantong, Kina; Beč, Austrija; Zagreb, Hr- Podgorica; KIc, Kotor; Buća, Tivat; Hotel Plaža, Herceg Novi | 1996 / SULUJ, vatska; Beograd, Subotica, Novi Sad, Srbija) i u Sloveniji. Živi i radi u Ljubljani. Beograd; Centar savremene umjetnosti CG, Podgorica; Josip B. Benković, Herceg Novi; galerija Stari grad, Kotor; Galerija Nikola I, Nikšić | 1998 / Ju- Born in 1977 in Ljubljana. In 2003, he graduated from the Arthouse – College goslovenski kulturni centar Pariz | “Ritual”, Crnogorsko Narodno Pozorište – of Visual Art. In 2006, he completed his postgraduate specialist studies under na ul. Stanka Dragojevića (u okviru Međunarodnog dana pozorišta) | 2003 the mentorship of Prof. Darko Slavec. He has exhibited his work in many / “Objekti” Muzej, galerija I biblioteka Budva; Centar savremene umjetnosti group exhibitions both abroad (Nantong – China, Vienna – Austria, Zagreb CG, Podgorica | 2008 / Paralaktički pejzaži Narodni muzej Crne Gore – Atelje – Croatia, Belgrade, Subotica, Novi Sad – Serbia) and in Slovenia. Rehar lives Dado, Cetinje (u okviru manifestacije Noć muzeja) | 2010 / Recikliranje s(a) and works in Ljubljana. vjesti Paviljon ULUCG, Podgorica | 2012 / Recikliranje s(a)vjesti Galerija O3O- kontakt/contact: [email protected] NE, Beograd. kontakt/contact: [email protected] Željko Reljić Rođen je 1976. godine u Bazelu, u Švajcarskoj. Diplomirao je vajarstvo na Adin Rastoder Fakultetu likovnih umjetnosti na Cetinju, u klasi prof. mr Pavla Pejovića. Rođen je 1985. godine u Titogradu. Diplomirao je na Fakultetu likovnih um- Magistrirao je na istom fakultetu u klasi prof. mr Milivoja Babovića. Član je jetnosti na Cetinju 2010. godine, u klasi profesora Pavla Pejovića. ULUCG, radi kao stručni saradnik u nastavi (skulptura u materijalu i vajanje) 2009. Nagrada „Velibor Bucko Radonjić“ Crnogorsko narodno pozorište. na FLU Cetinje. 2009. Nagrada Ekonomskog fakulteta „Susreti“, Podgorica. 56 2010. Član je Udruženja likovnih umjetnika Crne Gore. Samostalne izložbe: 2002. Od znaka ka skulpturi, Rusko poslanstvo, Ceti- 2011. Predstavljao Crnu Goru na Bijenalu mladih umjetnika Evrope i Medite- nje | 2006. Tra L’Europa e Mediterraneo, Rim, ITALIJA | 2007. Figuralna forma rana, Solun, Grčka 2012. Rad u stalnoj postavci Narodnog muzeja Crne Gore, kao simbolička prostorna predstava, FLU Cetinje | 2007. Skulpture, reljefi, Cetinje. Kulturni centar Buća, Tivat | 2007. Slike, Yellow Moon, Cetinje | 2009. Skul- 2012. Studijski boravio u Nansiju – Francuska. pture, galerija Marko K. Gregović, Petrovac | 2010. Djetinstvo, Umjetnička 2012. Boravak u Cite des Arts i samostalna izložba u galeriji Cite-a, Pariz, Fran- kolonija Danilovgrad | 2011. Djetinjstvo, Kotorski festival pozorišta za djecu, cuska Učestvovao na više od šezdeset grupnih izložbi i projekata. Kotor | 2011. Djetinjstvo, Galerija „Centar“, Podgorica. Born in 1985 in Titograd. He graduated from the Faculty of Fine Arts, Cetinje, Kolektivne izložbe: 2001. Trijenale mladih (selektor Dragan Radovano- 2010, under the mentorship of professor Pavle Pejovic. vić), Podgorica | 2003. Zvuci novog vremena, Plavi dvorac, Cetinje | 2005. 2009 He won the “Velibor Bucko Radonjic“ Montenrgrin National Theatre Crnogorska moderna skulptura, Danilovgrad/Niksić/Bar | 2006. Galerija „Ko- Award. larac“, Beograd, Srbija | 2006. Crnogorska moderna skulptura, Danilovgrad/ 2009 “Susreti” Award, Faculty of Economy, Podgorica. Tivat/Podgorica | 2007. Crnogorska moderna skulptura, Danilovgrad/Kotor 2010 Member of ULUCG (Fine Arists Association of Montenegro) | 2008. Tradicionalna izložba ULUCG, Podgorica | 2008. Noć Muzeja, Pod- 2011 Biennal of Young Artists in Europe and the Mediterranean region, The- gorica | 2008. 13. bijenale Evrope i Mediterana, Puglia/Bari, Italija | 2008. ssaloniki, Greece. Kancelarija za EU integracije, Podgorica | 2008. Crnogorska moderna skul- 2012 His artwork is placed as part of the Permanent Exhibition in National ptura, Danilovgrad | 2008. Bijenale akta, Petrovac | 2008. ULUCG, Zagreb, Museum of Montenegro, Cetinje. Hrvatska | 2009. Likovni salon Petar Lubarda, Cetinje | 2009. Tradicionalna 2012 Study sojourn, Nancy, France. izložba ULUCG, Podgorica | 2009. Elenart, Stari Grad, Budva | 2009. Crno- 2012 Solo Exhibition at the Gallery of Cite des Arts, Paris, France gorska moderna skulptura, Danilovgrad | 2009. Odraz umjetnosti u javnim Participated in more than sixty group exhibitions and projects. prostorima Cetinja | 2009. Izložba saradnika FLU, galerija ULUCG, Podgorica kontakt/contact: [email protected] | 2009. Izložba profesora i saradnika, Gintaš, Podgorica | 2009. Likovni salon 13. novembar (selector Aleksandar Čilikov), Cetinje | 2010. Zimski likovni sa- lon (selector Lj. Zekovic), Herceg Novi | 2010. Tradicionalna izložba ULUCG, 2009 Sculptures, Gallery Marko K. Gregovic, Petrovac | 2010 Childhood, Art Podgorica/Budva | 2010. Evropska komisija, Podgorica | 2010. ART STA- Gallery, Danilovgrad | 2011 Childhood, Art Gallery, Kotor | 2011 Childhood, ZA, Smokovci | 2010. Crnogorska moderna skulptura, Danilovgrad | 2010. Art Gallery Centar, Podgorica. ULUCG Zagreb Hrvatska | 2011. Tradicionalna izložba ULUCG, Podgorica, Group exhibitions:1997–2000 Annual exhibition of Faculty of Fine Arts, Budva | 2011. ULUCG Skoplje, Makedonija | 2011. Imanje KNJAZ, Podgorica | Cetinje | 2001 Triennial of the Young (selected by Dragan Radovanović), 2011. Art Expo, Budva | 2011. Savremena crnogorska skulptura, Danilovgrad Podgorica | 2003 The Sounds of New Time, Blue Castle, Cetinje | 2005 Mo- | 2011. Porto Montenegro, Pizana, Tivat | 2011. Pet autora, Petrovac | 2011. dern Montenegrin Sculpture, Danilovgrad/Niksic/Bar | 2006 Gallery Kolarac, Izložba saradnika FLU Cetinje, Galerija 42°, Cetinje | 2011. Montenegro Fa- Belgrade | 2006 Modern Montenegrin sculpture, Danilovgrad/Tivat/Podgo- mily, Ministarstvo Kulture CG, Cetinje | 2011. Mogući izbor – FLU Cetinje, rica | 2007 Modern Montenegrin sculpture, Danilovgrad/Kotor | 2008 Annual Dvorac kralja Nikole, Bar | 2011. Crnogorski Likovni Salon (selektor Milica exhibition of ULUCG, Podgorica | 2008 Museum Night, Podgorica | 2008 13th Radulovic), Cetinje | 2011. Cafe NERO...mali formati, Podgorica | 2012. Tradi- biennale Puglia, Bari, Italy | 2008 Office for EU Integrations, Podgorica | 2008 cionalna izlozba ULUCG, Podgorica | 2012. Crnogorska galerija umjetnosti Modern Montenegrin sculpture, Danilovgrad | 2008 ULUCG, Zagreb, Croatia Miodrag DADO Đurić, Cetinje | 2012. Savremena crnogorska skulptura, Da- | 2008 Biennale of Nude, Petrovac | 2008 ULUCG, Zagreb, Croatia | 2009 Petar nilovgrad | 2012. Galerija Pizana, Podgorica i Tivat | 2012. URBAN CLEANER, Lubarda Salon, Cetinje | 2009 ULUCG Podgorica, Budva | 2009 Elenart gallery, Bijenale arhitekture, Venecija (IT) | 2012. Cafe NERO, Mali formati, Podgorica Budva | 2009 Modern Montenegrin sculpture, Danilovgrad | 2009 Art Re- | 2012. Mladi umjetnici, ULUCG, Podgorica | 2012. Likovni salon Petar Lu- flection, Cetinje | 2010 Montenegrin Art Salon 13. Novembar, Cetinje | 2010 barda, Cetinje. Winter Art Salon of Herceg Novi | 2010 Traditional Annual Exhibition of the Skulpture izvedene na otvorenom prostoru: 2009. Totem, Kraljev National Association of visual artists of Montenegro | 2010 – European Com- park, Cetinje | 2010. Ikar i sunce, Tivat | 2010. Kišobran, Smokovci | 2010. mission, Podgorica | 2010 Art Way Smokovci | 2010 Modern Montenegrin Little man on the big stone, Danilovgad | 2011. Točak, Skadar, Albanija. sculpture, Danilovgrad | 2010 Exhibiton of the national association of visual Projekti: Realizacija skulpture (mermer), idejno rješenje arhit. Cvetko Boš- art of Montenegro, Zagreb 2011 Traditional Annual Exhibition of the national kovic, Stara maslina Bar. | Asistiranje pri realizaciji spomeničke skulpture association of visual artists of Montenegro | 2011 / N.A. of visual artist of MNE, Petar I Petrović Njegoš autor vajar N. Šoškic, Podgorica | 2010. Festival Te- Skopje Macedonia | 2011 Prince Estate, Podgorica | 2011 Art Expo, Budva | uta – novi antički teatar Kraljica Teuta (statua za dodjelu nagrade) | 2011. 2011 Modern Montenegrin sculpture, Danilovgrad | 2011 Porto Montenegro Spomen-ploča civilnim žrtvama ratova 1991–2001, Pobrežje – Podgorica | Pizana, Tivat | 2011 Five Authors, Petrovac | 2011 Exhibition assistants FLU 2012. Idejno rješenje i realizacija instalacije URBAN CLEANER (Arhitektonski Cetinje,42° Cetinje | 2011 Montenegro Family, min. cultural, Cetinje | 2011 fakultet, Podgorica) BIJENALE ARHITEKTURE – Venecija, Italija. Possible choice, Castle King Nikola, Bar | 2011 November Art Salon, Cetinje | Radionice: 2009. Stručni saradnik, predmet slobodno crtanje, Arhitekton- 2011 café NERO, small format, Podgorica | 2012 Traditional Annual Exhibition ski fakultet, Podgorica | 2009. Odraz umjetnosti u javnim prostorima, Ceti- of the National Association of visual artists of Montenegro | 2012 Montene- nje | 2010. ART STAZA, Smokovci. grin Gallery of Contemporary Art Miodrag Dado Djuric, Cetinje | 2012 Mo- Simpozijumi: 2010. Internacionalni simpozijum skulpture, Danilovgrad | dern Montenegrin sculpture, Danilovgrad | 2012 Porto Montenegro PIZANA, 2011. Internacionalni simpozijum skulpture, Skadar, Albanija. Tivat | 2012 URBAN CLEANER, Biennale of Architecture, VENICE (IT) | 2012 Nagrade: 1999. Nagrada za analitički crtež, FLU, Cetinje | 2008. Lubarda- café NERO, small format, Podgorica | 2012 Young Artists,ULUCG, Podgorica | Stijović-Milunović ULUCG | 2010. Lubarda-Stijović-Milunović ULUCG | 2011. 2012 Art Salon Petar Lubarda, Cetinje Prva nagrada konkursa Ministarstva za zaštitu manjinskih i ljudskih prava, Open space sculptures: 2009 Totem, Kings Park, Cetinje | 2010 Icarus and izrada spomen-ploče. the Sun, Tivat | 2010 Kisobran Smokovci | 2010 Little Man on The Big Stone, Born in 1976 in Basel, Switzerland. He graduated from the Faculty of Fine Danilovgrad | 2011 Wheel, Skadar, AL. Arts in Cetinje, department of sculpture, class of Professor Pavle Pejovic. He Symposium: 2010 International Sculpture Symposium, Danilovgrad | 2011 took his master degree in the class of Professor Milivoje Babovic. Reljic works International Sculpture Symposium, Skadar AL as an assistant professor at the Department of Sculpture at the Faculty of Projects & workshops: Lectures at the Architecture Faculty, drawing cla- Fine Arts in Cetinje, Montenegro. sses | Fountain (marble), concept architect Cvetko Boskovic, Old olive, Bar Individual exhibitions: 2002 From a sign towards sculpture, Russian Em- | Assistant in the project of the monument of Petar I Petrovic Njegos, au- bassy, Cetinje | 2006 Tra L’Europa e Mediterraneo, Rome, Italy | 2007 Figural tor sculptor Nenad Soskic, Podgorica | Festival Teuta- New Ancient Theater Form as a Symbolic Spatial Representation, Faculty of Fine Arts, Cetinje | (statue for the award) | Reflection of art, Cetinje | Art Trail, Smokovci | 2011 2007 Sculptures, Gallery Buca,Tivat | 2007 Paintings, Yellow Moon, Cetinje | Commemorative plaques of civil victims of wars 1991–2001, Podgorica |

57 2012 Conceptual design and production installations URBAN CLEANER. Bi- His work has been exhibited and presented internationally, including fe- ennale of architecture, Venice. stivals Rencontres Internationales Paris/Berlin/Madrid, LOOP/Barcelona, Awards: 1999 Award for analytic drawing, Faculty Fine Arts Faculty, Cetinje. 25FPS /Zagreb, World Fim Festival /Bangkok, VideoEX /Zurich, CineMed/ | 2008 Award for sculpture, Lubarda-Stijovic-Milunovic, ULUCG | 2010 Award Montpellier and venues including Centre Georges Pompidou, Paris; HfG/ for sculpture, Lubarda-Stijovic-Milunovic, ULUCG | 2011 First prize competi- ZKM, Karlsruhe; Joanneum Museum, Graz; Lincoln Center, New York; Mu- tion for the Ministry of Human Rights Montenegro. seo de Arte Contemporaneo, Oaxaca; FRAC Pays de la Loire, Nantes; MoCA, kontakt/contact: [email protected] Zagreb; NIU, Barcelona; La Triennale, Milano; MoCA Vojvodina, Novi Sad; HB Galerie, Rotterdam; Filmoteca Española, Madrid; Art Pavilion, Zagreb; Haus Davor Sanvincenti der Kulturen der Welt, Berlin. In 2010, he was the recipient of the Radoslav Rođen 1979. godine, međunarodni multimedijalni umjetnik iz Hrvatske, ta- Putar Award for the best Croatian artist under 35. His physical video insta- kođe poznat pod nadimcima Messmatik i Gurtjo Ningmor. llation 1001 takes part of the AV collection of the Museum of Contemporary Posebno je zainteresovan za audiovizuelno istraživanje i antropologiju Art in Zagreb. vizuelne kulture, fokusiran naročito na stanja i oblike ljudskih osjećanja i percepcije. Posmatranja i istraživanja koja prevazilaze naučne i umjetničke Obrazovanje / Education/residences: 2012 | CEC ArtsLink residency sfere, uspostavljaju strukturu njegovog rada. Njegova umjetnost iskazana - Spaces Gallery, Cleveland, US | XXVIe Ateliers Internationaux - FRAC Pays je kroz različite medije – film i video-zapise, fotografiju, svjetlosne i zvučne de la Loire, Nantes, FR | LKS – Lithuanian Composers Union, Druskininkai, instalacije i performanse. Njegov rad se poigrava sa konceptom iluzije, istra- LT | 2011 / ISCP - International Studio & Curatorial Program, New York, žujući moguće granice percepcije i strukture iskustva. Sanvinčenti istražuje US | 2009 / 5 Senses project, Vilnius - Capital of Culture 2009, Vilnius, LT | estetske i kvalitativne mogućnosti različitih medija kroz direktnu komunika- 2005 / Masterclass - Multimedia Programming and Sound engineering, | ciju sa posmatračem, koji postaje nužni dio tog rada. Agon - electroacoustic center, Milan, IT | 2004 / Academy of Fine Arts Brera, Njegovi radovi su izlagani širom svijeta, uključujući festivale Rencontres In- Multimedia alternative, Milan, IT | 2003 / BA Visual Arts, European Institute ternationales Pariz/Berlin/Madrid, LOOP /Barselona, 25FPS /Zagreb, World of Design, Milan, IT | 1997 - 2000 / Faculty of Philosophy, Department of 58 Film Festival /Bangkok, VideoEX /Cirih, CineMed/Monpelje i prostore kao Psycology, Rijeka, HR. što su Centre Georges Pompidou, Pariz; HfG/ZKM, Karlsrue; Joanneum Nagrade / Awards / grants: 2012 | Residency grant, National En- Museum, Grac; Lincoln Center, Njujork; Museo de Arte Contemporaneo, dowment for the Arts, New York, US | Second Prize, public intervention for Oahaka; FRAC Pays de la Loire, Nant; MoCA, Zagreb; NIU, Barselona; La Tri- Vodotoranj Gredelj, Zagreb, HR | 2011 / First Prize, Vizura Aperta - Festival of ennale, Milano; MoCA Vojvodina, Novi Sad; HB Galerie, Roterdam; Filmoteca Visual and Audio Media, Momjan, HR | Residency grant, Foundation for Civil Española, Madrid; Art Pavilion, Zagreb; Haus der Kulturen der Welt, Berlin. Society, New York, US | 2010 / Winner, Radoslav Putar Award, Zagreb, HR | Dobitnik je nagrade „Radoslav Putar“ za najboljeg hrvatskog umjetnika u Finalist, Photodays, Rovinj, HR | 2009 / Second Prize, 41. Review of Croati- kategoriji mlađih od 35 godina. Njegova video-instalacija 1001 nalazi se u an Independent Film, Split, HR | Finalist, Celeste Prize 09, Berlin, DE | 2008 audio-vizuelnoj kolekciji Muzeja savremene umjetnosti u Zagrebu. / Third Prize, [email protected], Zagreb, HR | Second Prize, Photodays, Rovinj, HR | Winner, Granangular short documentary prize, Barcelona, ES | Born in 1979. He is a International multimedia artist from Croa- 2005 / Third Prize, MOL - permanent installation for Trg Slobode, Poreč, HR | tia, also known by monikers such as Messmatik and Gurtjo Ningmor. Finalist, Diesel Wall - Temporary Art Award, Milan, IT | 2003 / Grant, final year He is specifically interested in a field of audiovisual research and anthropo- at European Institute of Design, Milan, IT. logy of visual culture, particularly focused on the conditions and forms of Predavanja / Lectures / artist talks: 2012 / Film studies, Cleveland In- human senses and perceptions. Notices, observations and research that per- stitute of Art, Cleveland, US | Blue arpeggios, Čiurlonius Museum, Druski- vade scientific and artistic spheres constitute the structure for his work. His ninkai, LT | 2011 / Invisible landscapes, Miroslav Kraljević Gallery, Zagreb, artistic practice takes shape in the variety of media - film and video, photo- HR | Salon, ISCP - International Studio & Curatorial Program, New York, US graphy, physical light and sound installations and live media performances. | CroArtScia2011, Museum of Contemporary Art, Zagreb, HR | 2010 / Ren- His work plays with the concept of illusion, exploring the possible bo- contres Internationales, Centre George Pompidou, Paris, FR | 2008 / Video in undaries of perception and the construction of experience. Sanvincen- real time, Media Mediterranea Festival, Pula, HR | 2007 / Visual intervention ti explores aesthetical and qualitative capabilities of different media as in public spaces and landscapes, 7 Days of Creation Festival, Pazin, HR | direct communication with the spectator which becomes an inevitable Crossover avangard video artist, European Institute of Design, Milan, IT | part of the work, the reflecting contemplative and physical structure. 2006 / Visual intervention in public spaces and landscapes, 7 Days of Cre- ation Festival, Pazin, HR | 2005 / Urban art application, European Institute rija Josip – Bepo Benković, Herceg Novi | 2010. Galerija Buća, Tivat |Southe- of Design, Milan, IT | 2003 / Open Day Video Design, European Institute of astern Europe Contemporary Art Exhibition Looking Forward, Umjetnički Design, Milan, IT. muzej, Cetinje | 2012. Galerija Stone Griffin – Campbell, Kalifornija, SAD. kontakt/contact: www.messmatik.net www.vimeo.com/user1765355 Maja Sofranac was born in 1981, in Podgorica, Montenegro. Graduated from the Faculty of Fine Arts, Cetinje, 2005, painting department. Master’s degree Brane Širca in painting 2009, same faculty. Rođen je 1971. godine u Ljubljani. Diplomirao je 2003. godine na Koledžu za 2006 / 2007. Study visiting of University Mark Block, department UFR Arts, vizuelne umjetnosti Arthouse u Ljubljani, u klasi profesora Tanje Mastnak i Strasbourg, France | 2007. Study visiting School of Contemporary Art Pont- Darka Slaveca. Širca je suosnivač i predsjednik KUD VIČ Udruženja umjetnosti Aven, France | 2012. Lived and worked in the USA, California as an art assi- i kulture, kao i suosnivač i vođa Umjetničke grupe S.K.U.P. Živi i radi u Ljublja- stant to American muralist John Pugh. ni, izlaže u Sloveniji i u inostranstvu. Takođe, vodi radionice grafike i vizuelne umjetnosti za djecu i odrasle, a načinio je i umjetničke radove za nekoliko Awards: 2003 Faculty of Fine Art’s annual Award for drawing | 2005 Faculty publikacija. Glavnu temu njegovog rada predstavljaju brojevi koje dizajni- of Fine Art’s annual Award for painting | 2009 Winter Salon Award, Herceg ra i kombinuje na različite načine na svojim platnima, grafičkim radovima i Novi. asamblažima. U poslednje vrijeme vraća se ženskom aktu i ljudskoj figuri, a Exhibitions: Graduating exhibition From Matter to Spirit, FLU Cetinje | oprobao se i kao skulptor. 2005 Modern Gallery, Budva | 2007 CIAC Gallery Pont Aven, France | 2009 Master Exhibition Everyone, Gallery ULUCG, Podgorica | Gallery Josip – Bepo Born in 1971 in Ljubljana. In 2003, he graduated from the Arthouse – Colle- Benković, Herceg Novi | 2010 Gallery Buća, Tivat | Southeastern Europe Con- ge of Visual Arts in Ljubljana under the mentorship of Prof. Darko Slavec temporary Art exhibition Looking Forward, Art Museum, Cetinje | 2012 Sto- and Prof. Tanja Mastnak. Sirca is co-founder and president of the KUD VIČ ne Griffin Gallery – Campbell – California, USA. Arts and Culture Association, and co-founder and leader of the S.K.U.P. Art kontakt/contact: [email protected] Group. He lives and works in Ljubljana, and exhibits regularly in Slovenia and abroad. He also runs graphic and visual art workshops for children and Selman Trtovac adults, and has provided artwork for several publications. The main subject Rođen je 1970. u Zadru, SFRJ in his work are numbers, which he designs and combines in different ways 1990–1993. Studije na Fakultetu likovnih umetnosti, Beograd | 1993–1997. in his canvases as well as in his graphic and assemblage works. Recently he Studije na Umetničkoj akademji u Dizeldorfu, u klasi profesora Klausa Rin- has returned to the female nude and human figure, and has also tried his kea | 1997. Proglašenje za studenta majstora | 2003. Prijem u Internacionalni hand at sculpture. umetnički gremijum – IKG | 2008. Doktorske studije na Fakultetu likovnih kontakt/contact: [email protected] umetnosti (vajarstvo, mentor prof. Veljko Lalić) u Beogradu | 2010. Idejni tvorac i jedan od osnivača Slobodne umetničke zadruge „Treći Beograd“ | Maja Šofranac 2012. Doktorirao na Fakultetu likovnih umetnosti u Beogradu. | Živi i radi u Rođena je 1981. godine u Podgorici, Crna Gora. Diplomirala je na odsjeku Beogradu. za slikarstvo na Fakultetu likovnih umjetnosti, Cetinje 2005. godine, a 2009. magistrirala na istom fakultetu. Born in 1970, in Zadar, Former Republic of Yugoslavia. 2006/2007. Studijski boravila na Univerzitetu Mark Blok u Strazburu, odsjek 1990–1993 Studies at the Faculty of Fine Arts, Belgrade | 1994–1997 Studies UFR Arts – Francuska. 2007 | Studijski boravila u Pont Avenu, Francuska, at the Art Academy, Düsseldorf, Professor Klaus Rinke, sculpture department School of Contemporary Art – Pont Aven. | 2012. Boravila u SAD, Kalifornija, | 1999 Master of Arts degree | 2002 Serbian Fine Artists Association (ULUS) kao asistent na projektima američkog muraliste Džona Pjua. Membership | 2003 International Arts committee (IKG) Membership | 2008 Nagrade: 2003. Nagrada za slobodni crtež FLU Cetinje | 2005. Nagrada za Doctoral studies at the Faculty of Fine Arts in Belgrade (sculpture, mentor slikarstvo FLU Cetinje | 2009. Nagrada Hercegnovskog zimskog salona. professor Veljko Lalic) | 2010 Notional creator and one of the founders of the Izložbe: 2005. Diplomska izložba na temu Od materije do duha, FLU Cetinje Treci Beograd (The Third Belgrade) | 2012. DFA at the Faculty of Fine Arts in | Samostalna izložba nagrađenih studenata FLU u Modernoj galeriji, Budva | Belgrade. 2007. Izložba grafika u CIAC galeriji u Pont Avenu | Galerija CIAC, Pont Aven, Lives and works in Belgrade. Francuska | 2009. Magistarska izložba na temu Svi, ULUCG Podgorica | Gale-

59 Samostalne izložbe (izbor)/Selected solo exhibitions: 2012. Izložba Ministarstvo kulture Štajerske, Austrija | 2009. Raskršće – Festival umetnosti Stop making sense, crteži, galerija Otklon, Beograd | 2011. Izložba 12 Soba / mladih u Valjevu, umetnička radionica | 2002. Umetnost-stvarnost-akcija, Art Market, Kuća kralja Petra I, Beograd | 2010. Izložba State of Mind, Galerija letnja umetnička škola Univerziteta umetnosti u Beogradu, Subotica 2002, ULUS, Beograd | 2009. Izložba Dijalektika (zajedno sa umetnikom Radošem (u svojstvu predavača) | 1997. Nagrada konkursa Connection (otkup rada, Antonijevićem), Galerija Magacin, Beograd | Izložba Ruka umjetnika – Crna kolekcija Neurohiruške klinike u Dizeldorfu). ruka/Ruka ubice (zajedno sa Ilijom Šoškićem), Galerija Arte, Beograd | 2008. kontakt/contact: www.selmantrtovac.com Izložba Ex nihilo nihil fit, Galerija Osmica (MKM) u Beogradu | 2007. Izlož- ba “...što traže ekstremnosti da bi znali gde je sredina!”, | Galerija savremene Anica Vučetić umetnosti u Smederevu | 2001. Izložba Omnibus, Rekapitulacija, galerija Rođena je 1962. u Beogradu. Diplomirala i magistrirala slikarstvo na Fakulte- SKC-a, Beograd | 1994. Future, crteži, skulpture i objekti, galerija Kulturgut, tu likovnih umetnosti u Beogradu. Bavi se video instalacijama i ambijentima. Gelzenkirhen | 1993. Led, objekat, galerija SKC-a, Beograd | Vatreni cvetovi, Slobodan umetnik od 1986, član Umetničke zadruge Treći Beograd. galerija SKC-a, Beograd | On the road, crteži, skulpture i objekti, akademi- Realizovala dvadeset devet samostalnih izložbi u Beogradu, Sarajevu, Čačku, ja umetnosti, Dizeldorf | 1992. Stalaktiti - Stalagmiti, objekti, galerija SKC- Vršcu, Novom Sadu, Požegi, Raškoj, Mariboru, Muzeju savremene umetnosti a, Beograd | 1991. Prostorna pukotina, instalacija, galerija SKC-a, Beograd | Univerziteta u Sao Paulu (1995), Muzeju Ludwig Forum za internacionalnu Grupne izložbe (izbor)/Selected group exhibitions: | 2012. Izložba Deviant umetnost u Ahenu (1999, 2001), Galeriji „23 y 10“ Kubanskog istituta za mythology (as a riot on an empty street), galerija Magacin, Beograd | Izlož- umetnost i kinematografsku industriju u Havani (2002), Muzeju savremene ba 26. Memorijal Nadežde Petrović – BIG SLEEP (u okviru Trećeg Beograda), umetnosti Republike Srpske u Banja Luci (2010). Izlagala na više od sto gru- galerija Nadežda Petrović, Čačak | Izložba Ja volim i umetnost drugih (3BGD), pnih izložbi u zemlji i svetu. Galerija savremene umetnosti, Smederevo | 2011. Izložba STUDIO ROMAN- CE, galerija La Vetrine - École Nationale Supérieure d’arts Paris-Cergy, Pariz | Nagrade: Memorijal Nadežde Petrović u Čačku – Nagrada Memorijala i Na- Izložba Treći Beograd, Salon Muzeja savremene umetnosti, Beograd | Izložba grada publike (2005), Grand Prix na 9. Međunarodnom bijenalu umetnosti Hibridni objekat, Muzej premoderne umetnosti, Litija, Slovenija | 2010. Izlož- minijature u Gornjem Milanovcu (2008), Politikina nagrada (2009). 60 ba Umetnici o krizi slikarstva, Paviljon Cvijeta Zuzorić, Beograd | 2009. Izložba Real life presence, Künstlerhaus u Gracu | Izložba OUT, Institut für Kunst im Born in 1962, in Belgrade, Serbia. Works on video installations and video öffentlichen Raum Steiermark, Grac | 2006. Izložba Osvetliću tamnu stranu environments. meseca, povodom 150. rođendana Nikole Tesle, (u okviru grupe Faust-Mani- Education: University of Arts in Belgrade – Faculty of Fine Arts: Graduate fest), prostor Javnog kupatila, Beograd | 2005. Izložba i kongres IKG-a, OHNE Studies – Bachelor of Arts, Painting (1986); Postgraduate Studies – Master of GRENZEN - WITHOUT BORDERS - PIIRIDETA, Muzej Arhitekture Tallin, Esto- Arts, Painting (1989). nija | 2004. Izložba Ideja ne realizacija, galerija Remont | Izložba 10 godina Selected one-man shows: Exhibition Room of the Museum of Contem- Konkordije, Muzej savremene Umetnosti, Beograd | IKG Kongres, Lodz i Nie- porary Art Belgrade (1997); Museum of Contemporary Art of the University borow, Poljska | 2003. Izložba Re-discovered, Muzej istorije Jugoslavije, Be- of Sao Paulo, Sao Paulo, Brazil (1995); Museum Ludwig Forum for Internati- ograd | Izložba Real presence 3, Muzej istorije Jugoslavije, Beograd | Izložba onal Art, Aachen, Germany (1999, 2001); Galeria 23 y 10, ICAIC – Instituto Ideja ne realizacija, Gradska galerija Požega (putujuća izložba) | 2002. Kodovi Cubano del Arte y la Industria Cinematograficos, Havana, Cuba (2002); Mu- vremena, Peto internacionalno bijenale mladih, Vršac | 1999. Objekat Ruka seum of Contemporary Art of Republic of Srpska, (2010). jednog ubice-Mano negra, u okviru grupne izložbe, galerija Stefanija Miše- Group Exhibitions: Collegium Artisticum, Sarajevo, Bosnia and Herzego- ti, Rim | 1998. Gost izložbe klase Janisa Kunelisa, Salon muzeja savremene vina; Menhengladbah, Germany; Kultur Centrum Sittard, Holland; Emersive umetnosti, Beograd | Izložba Contemporaneo, muzej Pinacoteca Molaioli di New Media, Toronto; Espace Culturel François Mitterrand du Conseil général Fabriano, Italija | Izložba Saldo, muzej Kunstpalast, Dizeldorf | 1997. Izlož- de la Dordogne, Périgueux, France; Leksands Kulturhaus, Sweden; Art Muse- ba Lebensterbenleben, galerija crkve Sv. Petra, Ahen | 1996. Prolećni salon um of Togliatti, Togliatti, Russia; Musee d’ Art Moderne, Saint-Etienne, France; 96., Galeriija Theatre Municipal, Luksenburg | 1995. Quick step, zajednička Museum of Contemporary Art of Republic of Srpska, Banja Luka; National izložba sa umetnikom Jostom Višnevskim, galerija SKC-a, Beograd | 1994. Mi Gallery, Skopje, Macedonia; The Museum of Byzantine Culture, Thessaloniki, volimo i umetnost drugih, Akademija likovnih umetnosti, Dizeldorf | 1992. Greece; Nicolas Salmeron Cultural Centre Gallery, Madrid, Spain; Eskilstuna Izložba Majski susreti, Happy New Gallery, Beograd | 1991. 16 bijenale mla- konstmuseum, Eskilstuna, Švedska; TOKI Art Space, Tokyo, Japan; Contem- dih umjetnika, Muzej moderne umjetnosti, Rijeka. porary Art Museum of Istra, Pula, Croatia. Ostale aktivnosti/Other activities: 2012. Stipendija AiR Rondo, Grac, kontakt/contact: [email protected] Antonio Živković vanje republike, Muzej za arhitekturo in oblikovanje, Ljubljana | Fokus v pre- Rođen je 1962. u Novom mestu u Sloveniji. Odrastao je u Trbovlji, gdje je i rezu, Galerija Plevnik-Kronkowska, Celje | Novi rock 3.0, Katedrala kino Šiška, završio srednju školu. U Ljubljani je završio Elektrotehnički fakultet. Za foto- Ljubljana | Dobrodelna dražba za varovance Cirius-a, Atrij Mestne hiše, Lju- grafiju je počeo da se zanima 1986. godine. Jedan je od članova Zavoda za bljana | 2010 / Gesamtkunst Laibach (Temelji 1980-1990), MGLC,Ljubljana | razvoj fotografije FAIR/WYP i član je društva Photon. Od 2001. godine radi Dobr Fokus (Dobrodelna fotografska razstava), Stari grajski stolp, Celje | Pho- kao samostalni umjetnik. Njegova djela se mogu naći u javnim zbirkama tonic moments 2010 (Mesec fotografije), Cankarjev dom, Ljubljana | 2008 (Kabinet slovenske fotografije, Gorenjski muzej, Kranj; Moderna galerija, / Skrito.si, Galerija Photon,Ljubljana | Emzin-ov natečaj za fotografijo leta Ljubljana; Železnički muzej SŽ, Gradska galerija Nova Gorica...) i u mnogim 2007, Cankarjev dom, Ljubljana | multimeridijan 08, Stara tiskara Sv. Ivana, privatnim zbirkama. Živi i radi u Škofljici kao samostalni fotograf. Pula (Hrvaška/Croatia) | Nuova Fotografia Slovena 2^ edizione, Triestefoto- grafia 2008, Trst/Trieste (Italija/Italy) | Fotografija, ki je ni, Mestna galerija, Pi- Born in 1962, in Novo mesto, Slovenia. He grew up in Trbovlja where he fi- ran | 2007 / Sodobna fotografija na slovenskem, Galerija-Muzej Lendava | The nished high school. Graduated form the Electrotechnic faculty in Ljubljana. Mediterranean landscape, Lazio tra Europa e Mediterraneo, Viterbo (Italija/ He started doing photogaphy in 1986. He is one of the members of Insti- Italy) | Vsak človek je svoj kustos, Moderna galerija, Ljubljana | 2006 / Pho- tution for development of photography FAIR/WYP and also a member of tonic moment, Grazer Rathaus, Graz (Avstrija/Austria) | Odprti Rog, Galerija Association Photon. Works as a freelance artist since 2001. His artworks are ŠKUC, Ljubljana | Sodobna fotografija na slovenskem, Umetnostna galerija, part of many public collections (Cabinet of Slovenian photogaphy, Gorenjski Maribor | Nova fotografija-dokument, Savinov likovni salon, Žalec | 2005 / Aj- Museum, Kranj, Modern Gallery Ljubljana, Rail Museum, City Gallery Nova dovski stari mlin, Pilonova galerija, Ajdovščina | Ajdovski stari mlin, KUD Fran- Gorica, etc.) and in many private collections. He lives and works in Skofljica ce Prešeren, Ljubljana | Hypegallery, Rencontres de la Photographie, Arles as a freelance photographer. (Francija/France) | Photonic moment, Galerija Photon, Ljubljana | Slovenska umetnost 1995-2005, Moderna galerija, Ljubljana | Kabinet slovenske foto- Samostalne izložbe / Personal exhibitions: 2011/ O industriji, Fakul- grafije-Izbor iz zbirke, Prešernova galerija, Kranj | Laibach focus, Galerija stu- teta za družbene vede, Ljubljana | Zadnja izmena, Delavski dom, Hrastnik | dentskog kulturnog centra, Zagreb (Hrvaška/Croatia) | 2004 / Immagini dalla 2010 / Sledi preteklosti, Atelje galerija Mikado, Ljubljana | 2009 / Fotografije nuova Europa, Mercati Traiani, Roma (Italija/Italy) | Podobe Slovenije, Galerija 1998-2008, Mestna galerija Ljubljana | 2008 / Photographs 2001-2007, Fo- Kresija, Ljubljana | 6.Fotoincontro, Kulturni dom, Gorica/Gorizia (Italija/Italy) togalerie im Grazer Rathaus, Gradec/Graz (Avstrija/Austria) | Vrata rudniških | Laibach focus, Galerija S, Ljubljanski grad | Laibach focus, Akademie der objektov, Delavski dom, Trbovlje | 2007 / Vrata/Zadnja izmena, Cankarjev Bildenden Kunste, Dunaj/Wien (Avstrija/Austria) | 2003 / Salon sodobne slo- dom, Ljubljana | Vrata/Zadnja izmena, Vašhava, Zagorje | Fotografije 2003- venske fotografije, Gospodarsko razstavišče, Ljubljana | Original, dobrodelna 2006, Galerija Mat Kultra, Zagorje | Rekonstrukcije, Galerija Photon, Ljublja- dražba fotografij, Galerija Photon, Ljubljana | 2002 / Rock, Galerija Ivana Gro- na | 2006 / Prostori tišine, Galerija Simulaker, Novo mesto | 2005 / Odsev harja, Škofja Loka | 2001 / Oko in njegova resnica, Moderna galerija, Ljubljana spomina, Fotogalerija Stolp, Maribor | Dimniki, Galerija Photon, Ljubljana | | 1999 / Fénykép által homályosan, Ernst Múzeum, Budimpešta/Budapest ( Industrijski interieri 2005, Železniški muzej, Ljubljana | 2004 / Prostori tišine, Madžarska/Hungary) | La imagen que se escapa, Teatro San Martin, Buenos Delavski dom, Trbovlje | On-Fas, Galerija Luwigana, Ljubljana | Vodni stolpi, Aires, Argentina | 1998 / Emzin-ov natečaj za fotografijo leta 1998, Cankarjev Galerija Photon, Ljubljana | 2003 / Prostori tišine, salon Rotovž, Umetnos- dom, Ljubljana | Fotografi Posočju, Ars Cafe pri Črnem orlu, Idrija | 1997 / tna galerija Maribor | Prostori tišine, Loški muzej, Škofja Loka | Prostori tišine, Zmuzljivost podobe fotografije, Mestna galerija, Ljubljana | Collective eye, KUD France Prešeren, Ljubljana | 2002 / Odsevi, Mestna galerija, Nova gorica Arhitekturni muzej, Grad Fužine, Ljubljana | Another Connection, Mediawa- | 2001 / Odsev spomina, Cankarjev dom, Ljubljana | 2000 / Schwarzes Tal, ve, Gjör (Madžarska/Hungary) | Collective eye, Galeria BPA, Sofia, Bulgaria | Fotogalerie Palais Jalta, Frankfurt am Main (Nemčija/Germany) | Črna dolina, 1996 / 34. slovenska razstava fotografij, Fotogalerija Stolp, Maribor | Collec- Zasavski muzej, Trbovlje | 1998 / Črna dolina, KUD France Prešeren, Ljublja- tive eye, Musée de l’Elysée, Lausanne (Švica/Switzerland) | Collective eye, na | Črna dolina, Fotogalerija Stolp, Maribor | 1996 / Narava Beso, Cankarjev Narodni technicke muzeum, Praga/Praha ( Češka/Czech Republik) | 1995 / dom, Ljubljana | Movimento, Galerija Avla NLB, Ljubljana | Ujetniki pogleda, Emzin-ov natečaj za fotografijo leta 1994, Cankarjev dom, Ljubljana | Cash & Cafe galerija Skica, Koper | 1995 / Berlin-Görlitzer Park, KUD France Prešeren, Carry, Galerija ŠKUC, Ljubljana | 1994 / 32. slovenska razstava fotografij, Loški Ljubljana | 1992 / Rock koncert, Klub K4, Ljubljana | 1991 / Ujetniki pogleda, muzej, Škofja Loka | 1993 / 31. slovenska razstava fotografij, KUD Španski Galerija Prešernove hiše, Kranj borci, Ljubljana | 1989 / Mlada generacija fotografov na Slovenskem, Gorenj- Grupne izložbe - izbor/Selected group exhibitions: 2011 / Obliko- ski muzej, Kranj. Izbrana bibliografija / Selected bibliography: Primož Lampič, Zavest

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ISBN 978-9940-628-01-7 COBISS.CG-ID 21606160 Општина Херцег Нови