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MUZEJ SAVREMENE UMETNOSTI VOJVODINE Novi Sad, 2020 I CONTENTS

4 SKOK I ZARON / LEAP AND DIVE Sanja Kojić Mladenov SKOK I ZARON_Identitet umetnica u (novo)medijskoj praksi / LEAP AND DIVE_ Identity of female artists in (new)media practice

Nela Tonković Kako u muzeju govoriti o identitetu: Jedan pogled na izložbu Skok i zaron / How to Talk About Identity in a Museum: One View of the Exhibition Leap and Dive

Radovi / Works 88 SO-CALLED REALITY Sanja Kojić Mladenov SO-CALLED REALITY

Radovi / Works 130 OLEG KULIK: MERRY-GO-ROUND Sanja Kojić Mladenov MERRY-GO-ROUND

Teodora Jeremić UJESTI ILI LIZATI: U razgovoru sa Olegom Kulikom / BITE OR LICK: In a conversation with Oleg Kulik

DRAGAN VOJVODIĆ: PORTRET MIGRANTA U MLADOSTI / 158 A PORTRAIT OF THE MIGRANT AS A YOUNG MAN

Sanja Kojić Mladenov Portret migranta u mladosti / A Portrait of the Migrant as a Young Man

Sanja Kojić Mladenov Intervju / Interview 184 NENAD ŠOŠKIĆ: TRANSFORMACIJA / TRANSFORMATION Sanja Kojić Mladenov Procesuiranje, tranzicija i transformacija / Processing, transition and transformation

198

Sanja Anđelković

Adrijan Klajo

%e Tropen Collective

Đejmi Hadrović

228

Nataša Čiča THINKtent Human Culture

Oleg Kulik Master klas performans / Master class performance

Dragan Vojvodić Bez reči / Speechless

Vesna Gerić Položaj žene u marokanskom društvu u XXI veku / $e Position of Women in Moroccan Society in the 21st Century

SO-CALLED REALITY Video-izjave umetnika / Arists`s video statements

228 4 I

5 6 7

Prelazak graničnih polja različitih naučnih i umetničkih disciplina oduvek je privlačio pažnju svojom inovativnošću i smelošću na iskorak, ali su takva iskustva istovremeno bila predmet kritike i osporavanja, kao i ignorisanja. Pojava novih medija u umetnosti istovremeno je izazvala sukob sa zastupnicima klasičnih likovnih medija, odnosno dotadašnjom istorijom umetnosti (teorijom i praksom), kao i sa tradicionalnim pristupom naučnika koji su, do tada, koristili istu tehnologiju, ali za naučna istraživanja i napredovanja. Novi vizuelni mediji su se razvili u procepu između ovih polja koristeći znanja i metodologiju i jednih i drugih, ali proizvodeći drugačije pristupe i rešenja. Ovakva istraživanja nisu težila otkrivanju velikih naučnih ideja i istina, na kojima insistiraju prave naučne laboratorije, već omogućavanju slobodnog umetničkog delovanja, eksperimentisanja i dekonstrukcije postojećih, tradicionalnih umetničko-institucionalnih sistema. Ukrštаnje jezika likovne umetnosti sa znanjima prirodnih nаukа, rezultаtima naučnih istrаživаnjа i mogućnostima sаvremene tehnologije, a kroz novomedijsku, intermedijsku i postmedijsku umetničku prаksu, predstavlja jedan od aktuelnih umetničkih procesa u međunarodnom kulturnom prostoru, uz značajno učešće umetnica čije mesto u istoriji umetnosti i kulturnoj javnosti još uvek nije dovoljno istraženo i vrednovano.

Istorijski gledano, novi mediji u umetnosti nemaju jasno de(nisanu oblast delovanja, već je ona )uidno- efemerna, nemaju precizne odrednice ko se njima sve može baviti (likovni umetnici/ce, ostali umetnici/ce, naučnici/ce...), takođe nemaju ni jasne početke svog umetničkog razvoja1. Da li su oni među rezultatima rada umetnika/ca koji su prvi koristili određena tehnička pomagala ili kombinovali znanja drugih umetničkih disciplina ili znanja programera/ki, korisnika/ca ranog interneta? Istorija novih medija „tek treba da bude napisana, uglavnom zato što se uvek razvija. To ne znači da ne možemo pokušati ili barem sintetizovati različite pristupe istoriji” (Rush, 1999: 9). Kako je poznato da su istoriju umetnosti, uglavnom, de(nisali muški autoriteti, postavlja se i pitanje mesta i uloge žene u ovim procesima, te doprinosa koji ne bi smeo biti ignorisan ili zapostavljen.

1 Istovremeno se pod medijima pojavljuje i široko polje mas-medija, različitih teorija i praksi povezanih sa žurnalizmom, a sa druge strane internet kulturom i tehnologijom.

8

Crossing the border (elds of di*erent scienti(c and artistic disciplines has always attracted attention with its innovative and daring ability to step forward, but such experiences have, at the same time, been the subject to criticism and challenge, as well as ignoring. $e emergence of new media in art simultaneously caused a con)ict with both, the supporters of classical artistic media, i.e. the previous history of art (theory and practice), as well as with the scientists of the traditional approach, who had, until then, used the same technology, but for scienti(c research and progress. New visual media have developed in the gap between these (elds, using the knowledge and methodology of both, but producing di*erent approaches and solutions. Such research has not strived to discover great scienti(c ideas and truths, which are insisted upon by real scienti(c laboratories, but, rather, to enable free artistic activity, experimentation and deconstruction of existing, traditional artistic-institutional systems. Hybridization of the language of (ne arts with the knowledge of natural sciences, results of scienti(c research and possibilities of modern technology through new-media, inter-media and post-media art practice, presents one of the current artistic processes in the international cultural space, with signi(cant participation of women artists whose position in art history and cultural public has not yet been su+ciently researched and evaluated.

Historically observed, new media in art do not have a clearly de(ned area of activity due to its )uid-ephemeral character, and they do not have precise guidelines of who can deal with them (visual artists, other artists, scientists ...), nor do they have the clear beginnings of the artistic development1. Can they be found among the results of the work of artists who were the (rst to use certain technical aids, or combine knowledge of other artistic disciplines, or knowledge of programmers, users of the early Internet? $e history of new media, “is yet to be written, mostly because it is still being developed. $at does not mean that we cannot try or, at least, synthetize the di*erent approaches to history” (Rush, 1999: 9). As it is a common knowledge that the history of art has mainly been de(ned by male authorities, there is the issue of the place and role of women as well as of their contribution in these processes that must not be ignored or neglected.

1 At the same time, under the phenomenon of media, a wide (eld of mass media appears with various theories and practices related to journalism on one, and internet culture and technology on the other hand,

9 Posle viševekovne dominacije slikarstva, tehnološke inovacije, naučna dostignuća, kao i brzina života u 20. veku podstakli su preispitivanje prirode i mogućnosti slike kao likovnog medija u okviru novog društvenog sistema. Avangardni umetnici/ce koji su zastupali ideje apstrakcije, nadrealizma, futurizma, konstruktivizma i konceptualizma uvode svakodnevne materijale (novine, tekstil, kanap...) u svoja slikarska dela. Skulptura se takođe preobražava i proširuje uvođenjem netradicionalnih materijala i redimejd (readymade) objekata. Korišćenjem novih tehnologija, predmet interesovanja umetnika/ca se proširuje kao i mogućnosti njihovog istraživanja i predstavljanja. Umetnost postaje intermedijski eksperiment bez de(nisanih granica. Umetničko delo se iz osnova menja, ono više nije slika stvarnosti viđena očima umetnika/ca, već predstavlja njegovu/njenu slobodu izražavanja kroz intelektualni koncept.

Pojedinci/ke se okreću upotrebi novih tehnologija što dovodi do korišćenja mašina i znanja prirodnih nauka, naročito matematike i (zike u umetnosti. Sprega umetnosti i tehnologije zahtevala je rušenje barijera tradicionalnih medija slikarstva, skulpture, gra(ke i crteža, te njihovo širenje na nova umetnička polja. U izvornom obliku, nove, netradicionalne medije čine: performans, video-umetnost, (video/foto/audio/medijske...) instalacije i digitalna umetnost koja uključuje animaciju, kompjutersku gra(ku, veb umetnost, video-igre i sl. Današnja vizuelna umetnost se razvija između različitih polja umetnosti, nauke i tehnologije, gde se mogu još izdvojiti: bioart, sound art, device art (DIY i DIWO praksa), net art, VR art (umetnost virtuelne realnosti), lumino-kinetička, interaktivna, haptička, robotska, kibernetska, hibridna umetnost i slično, bez jasno postavljenih granica i međusobnih podela, te uz ostavljanje prostora za dalji razvoj i međusobne relacije.

Od šezdesetih godina 20. veka vođeno je mnogo debata o onome što danas nazivamo ‘novim medijima’ u umetnosti. Pojedini izvori, zbog nekoliko važnih događaja, navode 1965. godinu kao godinu njihovog nastanka. Jedan od ključnih je da je te godine korporacija Sony izbacila na američko tržište prvu portabl video-opremu koja je postala novi alat mnogim umetnicima/cama. Drugi važnost daju naučnim i inženjerskim laboratorijama koje su u to vreme jedine raspolagale kompjuterima i potrebnim znanjima programiranja i korišćenja algoritama. „Prve izložbe kompjuterske umetnosti (Wise Gallery, Njujork, SAD i Technishe Hochschule, Štutgart, Nemačka) organizovali su naučnici 1965. godine” (Teo(lović, 2011: 19). Istoričar umetnosti Grant D. Tejlor (Grant D. Taylor ) (2013) sugeriše da su još 1963. godine neimenovane žene, koje su radile na ENIAC-u (Electronic Numerical Integrator and Computer), kroz svoje zajedničke napore na naučnim vizualizacijama u Istraživačkoj balističkoj laboratoriji (!e Ballistic Research Laboratory) u Aberdinu (Merilend), napravile prva dela kompjuterske umetnosti. „Ove programerke su nazivali ljudskim ‘računarima’. Tehnološka dostignuća takvih žena se sve više prepoznaju kroz inicijative, poput projekta Ejda2.” (Lenz, 2014: 2). Na osnovu novih saznanja, koja još uvek nisu postala deo o(cijalne istorije umetnosti, vidljivo je da su u razvoju nove medijske prakse u umetnosti važno mesto imale žene3. Istovremeno, umetnička scena

2 Nazvanom po Ejdi Lavlejns (Ada Lovelance, 1815-1852), prvoj poznatoj kompjuterskoj programerki.

3 Rani kompjuterski umetnički rad Vere Molnar (Vera Molnár) iz 1969. u kolekciji Viktorija i Albert Londonu svedoči o tome (Lenz, 2014).

10 : SKOK I ZARON A-er the centuries-long domination of painting, technological innovations, scienti(c achievements, as well as the speed of life in the 20th century, encouraged the re-examination of the nature and possibilities of painting as art medium within the context of the new social system. Avant-garde artists who advocated the ideas of abstraction, surrealism, futurism, constructivism and conceptualism introduced everyday materials (newspapers, textiles, rope...) into their paintings. $e sculpture has also been transformed and expanded with the introduction of non-traditional materials and readymade objects. With the use of new technologies, the subject of interest of artists, as well as the possibilities of their research and presentation, have expanded. Art becomes an intermedia experiment without de(ned boundaries. $e work of art is fundamentally changing, it is no longer a picture of reality seen through the eyes of an artist, but represents his / her freedom of expression through an intellectual concept.

Certain artists are turning to the use of new technologies, which has led to the use of machines and knowledge of natural sciences, especially mathematics and physics in art. $e combination of art and technology required breaking down the barriers of traditional media of painting, sculpture, graphics and drawings, and expanding them onto the new artistic (elds. In their original form, new, non-traditional media include: performance, video art, (video / photo / audio / media...) installations and digital art that includes animation, computer graphics, web art, video games, etc. Today’s visual art develops among di*erent (elds of art, science and technology, where we can also single out: bioart, sound art, device art (DIY and DIWO practice), net art, VR art (virtual reality art), lumino - kinetic, interactive , haptic, robotic, cybernetic, hybrid art, etc., without clearly set boundaries and mutual divisions, and with leaving space for further development and mutual relations.

Since the 1960s, there has been much debate about what we now call ‘new media’ in art. Some sources take 1965 as the year of their creation, due to several events important for its development. One of the key events of that time was the American-market-launching of the Sony’s (rst portable video equipment, which became a challenging tool for many artists. Others attach importance to scienti(c and engineering laboratories, which at that time were the only ones with computers and the necessary knowledge of programming and the use of algorithms. “$e (rst exhibitions of computer art (Wise Gallery, New York and Technishe Hochschule, Stuttgart, Germany) were organized by scientists in 1965.” (Teo(lović, 2011: 19). Art historian Grant D. Taylor (2013) suggests that back in 1963, unnamed women who worked at ENIAC (Electronic Numerical Integrator and Computer) made the (rst works of computer art through their joint e*orts at scienti(c visualizations at Ballistic Research Laboratories, Aberdeen, Maryland. “$ese women programmers were called human ‘computers.’ $e technological achievements of such women have increasingly been recognized through initiatives, such as the Ada project2.” (Lenz, 2014: 2). Based on new knowledge that has not yet become part of the o+cial history of art, it is evident that women played an important role in the development of

2 Named a-er Ada Lovelace (1815-52), the (rst known computer programmer.

: LEAP AND DIVE 11 nije bila spremna za ovakvu promenu i odbijala je da prihvati umetnost nastalu upotrebom novih tehnologija kao vrednu bilo kakvog pominjanja ili a(rmacije.

Tokom 1968. godine, na Institutu za savremenu umetnost u Londonu, britanska kustoskinja poljskog porekla Jaša Rajhard (Jasia Reichardt) je organizovala izložbu pod nazivom Cybernetic Serendipity: !e Computer and the Arts koja se bavila istraživanjem i prezentacijom relacija između kreativnosti i tehnologije (posebno sajbernetike), što je ujedno bila i rana prezentacija novomedijske prakse u renomiranoj umetničkoj instituciji, ali takođe i pokazatelj značajne uloge kustoskinja i teoretičarki u uočavanju inovativnih umetničkih pojava i njihovoj institucionalizaciji. Iste godine su, u prestižnim muzejima Berlina, Njujorka i Los Anđelesa, organizovane i druge izložbe posvećene umetnosti i tehnologiji4 u kojima su, takođe, značajnu ulogu imale žene.

To je bio period hladnog rata, ratnih sukoba u Vijetnamu, studentskih pobuna 1968. godine, te vreme jačanja ženskog pokreta i formiranja ženskih organizacija (drugi talas feminizma), koje su se zasnivale na borbi za ljudska prava, protiv diskriminacije žena i rasne segregacije (Art Workers Coalition, Natonal Organization of Women (1966), Women Artists in Revolution (1969), Black Panthers). Paralelno sa drugim pokretima za ljudska prava, antiratnim pokretima u SAD-u i studentskim demonstracijama u Francuskoj dolazi do sve značajnijeg učešća žena u umetnosti i povezivanja ženskog pokreta i umetnosti na teorijskom i praktičnom planu. Pod uticajem društveno-političke klime i oslobodilačkih pokreta nastaju krupne promene u savremenoj umetnosti koja se sve više okreće ka ispitivanju i uključivanju društvenih pojava i odnosa.

De(niše se konceptualna umetnička praksa za koju su najbitnija bila društvena i politička pitanja. Ona je umetnicama omogućila da se bave ideologijom feminističkih pokreta, da istražuju socijalni položaj žene u društvu, da analiziraju status umetnice u politici i kulturi, seksualnost žene, njene želje i fantazije, da se udružuju, imaju kolektivne akcije, performanse, da dekonstruišu tradicionalne umetničke forme prikazivanja i delovanja, reaguju na društvenu stvarnost i intervenišu na javnim mestima, ulici, elektronskim i štampanim medijima. To je dovelo do pojave novih tema i motiva u umetničkim delima, kao što su: predmeti iz svakodnevnog života žene i njihova simbolika, ženska seksualnost, ženski odnosi, ženski aktivizam i sl. Osnažena je kritika tradicionalne reprezentacije žene u medijima i umetnosti, te istaknuta promena u poziciji ženskog tela u likovnoj umetnosti koje se više nije koristilo samo kao nemi objekat, već i kao subjekat umetničkog rada u delima žena umetnica, koje postaju akterke umetničkog dela o čemu je više pisano u tekstu Rod i umetnost (Kojić Mladenov, 2011: 425-426).

4 On the Path to Computer Art, Berlin, u saradnji sa konferencijom, MIT i Tehničkim univerzitetom, Berlin; Some More Beginnings: An Exhibition of Submitted Works Involving Technical Materials and Processes, (autori Džulija Martin i Robert Raušenberg (Julie Martin, Robert Rauschenberg), Brooklyn Museum, Njujork; !e Machine, as Seen at the End of the Mechanical Age, autor: Pontus Hulten (Pontus Hultén), kustoskinja: Dženifer Liht (Jennifer Licht) i dr.

12 : SKOK I ZARON new media practice in art3. At the same time, the art scene was not ready for such a change and refused to accept art created by the use of new technologies as worthy of any mention or a+rmation.

During 1968, Jasia Reichardt, a British curator of Polish descent, organized the exhibition Cybernetic Serendipity: !e Computer and the Arts, at the Institute of Contemporary Art, London, which researched and presented the relationship between creativity and technology (especially cybernetics) and which was also an early presentation of new media practice in a renowned art institution, but also an indicator of the important role of women curators and theorists in noticing the innovative artistic phenomena and their institutionalization. $at same year, more exhibitions dedicated to art and technology4 were organized in the prestigious museums of Berlin, New York and Los Angeles, in which women also played a signi(cant role.

It was the period of the Cold War, the Vietnam War, the student uprisings of 1968, and the time of the strengthening of the women’s movements and the formation of women’s organizations (Second Wave of Feminism), based on the struggle for human rights, against the discrimination of women and racial segregation (Art Workers Coalition, National Organization of Women (1966), Women Artists in Revolution (1969), Black Panthers). Parallel to other human rights movements, anti-war movements in the United States and student demonstrations in France, there was an increasing participation of women in the (eld of arts and connection between the women’s movement and the arts, both on the theoretical and practical plane. Under the in)uence of the socio-political climate and liberation movements, major changes were taking place in contemporary art, which was increasingly turning towards the examination and inclusion of social phenomena and relations.

Conceptual artistic practice, for which social and political issues were most important, was de(ned. It enabled women artists to deal with the ideology of feminist movements, to explore the social position of women in society, to analyse the status of artists in politics and culture, women’s sexuality, her desires and fantasies, to unite, to have collective actions and performances, to deconstruct traditional artistic forms of presentation and action, to react to social reality and intervene in public places, in the streets, and electronic and print media. $is led to the emergence of new themes and motifs in works of art, such as: objects from the everyday life of women and their symbolism, female sexuality, female relationships, female activism, etc. $e critique of the traditional representation of women in the media and art was strengthened, and the change in the position of the female body in (ne arts was emphasized so that it was no longer used only as a silent object, but also as a subject of artistic work in the works of women artists, what was more extensively written about in the text Rod i umetnost (Gender and Art) (Kojić Mladenov, 2011: 425- 426).

3 $e early computer artwork of Vera Molnar from 1969 at the Victoria and Albert Collection in London testi(es to this (Lenz, 2014).

4 On the Path to Computer Art, Berlin, in collaboration with the Conference, MIT and Technical University, Berlin; Some More Beginnings: An Exhibition of Submitted Works Involving Technical Materials and Processes, (authors Julia Martin and Robert Rauschenberg), Brooklyn Museum, New York; !e Machine, as Seen at the End of the Mechanical Age, (author Pontus Hultén, curator Jennifer Licht and others).

: LEAP AND DIVE 13 Vremenom postaju sve uočljivije razlike između feminističke umetničke prakse i ženske umetnosti, odnosno umetničkih radova koji nastaju kao rezultat identi(kacije sa ideologijom feminističkog pokreta uz težnju za kritikom postojećeg stanja i onih koja označavaju radove žena, bez obzira da li zastupaju feminističke vrednosti ili ne, ali se kulturološki mogu čitati kao speci(čno ženski. Ne znači da svaki rad koji je izvela umetnica ima feministički pristup, ali svaki speci(čno ženski rad može postati bitan za istraživanje kategorija roda.

Profesionalni identitet umetnica je u prvi plan postavio pitanje ‘ženskog autorstva’ za čije je razumevanje važan konstitutivan pojam roda, te njegova istorijska povezanost sa vizuelnom umetnošću, uz uključivanje svih promena nastalim sve do današnjih dana. „Umetnik više nije shvaćen kao privilegovana i nezavisna pozicija s koje se umetnost ili ‘božanska iskra’ oglašavaju, nego kao pozicija koja je višestruko društveno, kulturno i umetnički određena“ (Dražić, 2012: 247) što potvrđuje da se rod, kao društveni konstrukt, primenjuje i na umetnost, te da je izvođenje ženskog identiteta u umetnosti otvorilo prostor za konstituisanje adekvatnog diskursa za njegovo razumevanje.

Od 60-ih godina 20. veka do danas u umetnosti su sve bitnija intermedijalna istraživanja kojima su se granična područja tradicionalnih likovnih disciplina izlagala međusobnim uticajima, formalnim i idejnim preplitanjima, a pod uticajem različitih društvenih, naučnih i tehnoloških praksi. Umetnice su se, sa svojim kolegama, upustile u eksperimente kojima su rušile granice istorijskih medija, kao što su npr. slikarstvo ili skulptura. Okrenule su se istraživanjima svog tela, slobode i seksualnosti kroz nove medije kao što su: performans, body art, umetnička akcija, instalacija, intervencija u prostoru, foto-tekst, video-art i sl. koji su za ove umetničke koncepte bili adekvatniji. Kako se mnogi od novih medija baziraju na predstavljanju tela koje je uglavnom žensko, oni postaju izazov za umetnice koje su kroz njih mogle da se bave politikom tela i ideologijom predstavljanja, kao što je to slučaj sa performansom i body artom koji postaju gotovo ženski mediji. Rezultat su speci(čne vrste intervencije unutar značenja i metoda, analize politike reprezentacije i kritike konvencionalnog shvatanja umetnosti.

Kroz istoriju umetnosti, ovakvom praksom su se bavile mnoge umetnice u svetu5, uglavnom u ekonomski razvijenim zemljama Zapada. Pojedine su vidljivost ostvarile paralelno sa razvojem svoje umetničke prakse, te se i pominju u opštim istorijama savremene medijske umetnosti, a neke su dugo činile nevidljivo polje ženskog delovanja, te se o njima danas više zna na osnovu novijih istorija ženske savremene umetnosti 20. veka. One su dale svoj doprinos razvoju umetnosti bavljenjem različitim novim vidovima vizuelne umetnosti.

5 Među njima su: Rebeka Alen (Rebecca Allen), Lori Anderson (Laurie Anderson), Dara Birnbaum, Vali Eksport (VALIE EXPORT), Monika Flajšman (Monika Fleischmann), Grejs Hertlein (Grace Hertlein), Dženi Holcer (Jenny Holzer), Džoan Džons (Joan Jonas), Šigeko Kubota (Shigeko Kubota), Brenda Lorel (Brenda Laurel), Lin Heršmam Lison (Lynn Hershman Leeson), Vera Molnar (Vera Molnár), Mariko Mori, Širin Nešat (Shirin Neshat), Polin Oliveros (Pauline Oliveros), Joko Ono (Yoko Ono), Pamela Z, Sonja Rapoport (Sonya Rapoport), Pipiloti Rist (Pipilotti, Rist) Marta Razler (Martha Rosler), Lilijan Švarc (Lillian Schwartz), Nel Tenkaf (Nell Tenhaaf), Doris Toten Čeze (Doris Totten Chase) i druge.

14 : SKOK I ZARON Over time, the di*erences between feminist art practice and women’s art have become more and more evident, i.e. works of art that emerge as a result of identi(cation with the ideology of the feminist movement, with a tendency to criticize the current situation and those that denote women’s works regardless of whether they represent the feminist values or not, but, can be, culturally, read as speci(cally female. It does not mean that every work performed by a woman artist has a feminist approach, but every speci(cally female work can become important for researching gender categories.

$e professional identity of the women artists highlighted the issue of “female authorship”, for comprehension of which, the constitutive notion of gender, as well as its historical connection with visual art, including all changes that have occurred over time to the present day is important. “$e artist is no longer understood as a privileged and independent position from which art or the ‘divine spark’ is advertised, but, rather, as a position that is socially, culturally and artistically determined in many ways.” (Dražić, 2012: 247). $at con(rms that gender, as a social construct, is also applied to art, and that the derivation of female identity in art has opened space for the constitution of an adequate discourse for its understanding.

From the 1960s until today, what has become increasingly important in art is intermedia research that has exposed the border areas of traditional art disciplines to mutual in)uences, and formal and ideological intertwining, all under the in)uence of various social, scienti(c and technological practices. Together with their colleagues, the women artists embarked on experiments that broke the boundaries of historical media, such as, for example, painting or sculpture. $ey turned to researching their body, freedom and sexuality through new media that were better for the artistic concepts, such as: performance, body art, artistic action, installation, intervention in space, photo text, video art, etc. As many of the new media are based on the representation of a body that is mostly female, it become challenging for women artists who, through them, could deal with body politics and the ideology of representation, as is the case with performance and body art, which almost become the female-only media. $e result is a number of speci(c types of intervention within meanings and methods, of analysis of representation policies, and of criticism of conventional understanding of art.

$roughout the history of art, this practice has been dealt with by many women artists in the world5, mainly in the economically developed countries of the West. Some of them achieved visibility parallel to the development of their artistic practice, and are mentioned in the general histories of contemporary media art, and some have long been part of an invisible (eld of women’s activity, hence, today, more is known about them due to the recent histories of 20th century women’s contemporary art. $ey have contributed to the development of art by dealing with various new forms of visual art.

5 Among them are: Rebecca Allen, Laurie Anderson, Dara Birnbaum, Valie Export, Monica Fleischmann, Grace Hertlein, Jenny Holzer, Joan Jones, Shigeko Kubota, Brenda Laurel, Lynn Hershman Leeson, Vera Molnár, Mariko Mori, Shirin Neshat, Pauline Oliveros, Yoko Ono, Pamela Z, Sonya Rapoport, Pipilotti Rist, Martha Rosler, Lillian Schwartz, Nell Tenhaaf, Doris Totten Chase and others.

: LEAP AND DIVE 15 Uočljivo je da je početni razvoj novih medija bio gotovo isključivo vezan za zapadne demokratske zemlje, sa vidljivim uticajem na Japan. Navodi se više razloga za ovakvu pojavu. „Jedan je svakako da su se vlade u zemljama sa autoritativnim režimima bojale, sa dobrim razlogom, snage pokretnih slika i trudile se da one budu strogo kontrolisane.“ (Lucie-Smith, 2001: 237-238). Zato je uočljivo da ima malo eksperimenata sa videom u SSSR-u i drugim ‘zemljama istočnog bloka’, uprkos tome što je taj region imao veoma bogatu tradiciju dokumentarnog i eksperimentalnog (lma. Drugi razlog Lusi-Smit vidi u snažnoj ekonomiji kapitalističkog Zapada, koja je omogućila napredak novih tehnologija, te olakšala put razvoju video-umetnosti, za razliku od drugih zemalja sveta gde je ona „od početka i još uvek skup medij” (Isto). Da razvoj novih medija u umetnosti nije bio istovremeno dostupan svima uvideli su i drugi autori/ke. “Kada je Platon de(nisao umetnost, kao jedinstvo tehnike ili veštine i znanja, tehnika je imala pozitivno značenje. Međutim, posle industrijske revolucije, ‘tehnologija’ se sve više vezuje za kapitalizam i za Ameriku” (Dragojlov, 2007: 2).

Istovremeno, u oblasti novih tehnologija, a naročito u ekonomski i tehnološki razvijenim zemljama izražena je muška dominacija i kontrola moći. „Tradicionalno govoreći, svet tehnologije je oduvek bio označen kao svet muškarca, svet u kome on razvija svoje fantazije o tome kako da stavi pod svoju kontrolu kulturne tvorevine, posebno kada se radi o inovacijama u tehnologiji“ (Dragojlov, 2007: 1). Međutim, istraživanja kiberfeministkinja, među kojima su: Dona Haravej (Donna Haraway), Sedi Plant (Sadie Plant), Linda Dement i Zoja Sofulis ukazuju na važnost ove sporne teritorije i pomake postignute u polju informacionih i komunikacionih tehnologija (IKT). Naime, njihov napredak je podstakao interdisciplinarne rodne studije da pokrenu nova propitivanja odnosa roda i moći u ekonomski i tehnološki razvijenim zemljama, ali i kod nas, kao i važeće stereotipe u vezi sa navodnom prirodnom (biološkom) superiornosti muškaraca u poznavanju prirodnih nauka i korišćenju IKT-a.

Istaknuti stavovi, kod nas i u svetu, ukazuju na postojanje rodnih stereotipa o sposobnostima i zanimanjima koja su određena rodnim razlikama. Primetni su drugačiji pristupi u obrazovanju dečaka i devojčica svuda gde postoji snažni patrijarhalni sistem vaspitanja. „Ženski rod se, još u ranom dobu, u obrazovnom procesu, odvraća od matematike i u društvenom i u kulturnom smislu, što dovodi do situacije da ima manje žena na fakultetima kompjuterskih nauka i inženjerstva, pa tako i manje žena u visoko tehnološkim industrijama” (Dragojlov, 2017: 3). Tokom obrazovanja i izbora zanimanja su još uvek snažno vidljive rodne podele uloga, dok je sa druge strane uočljiv visok stepen učešća žena u korišćenju novih tehnologija.

Novija istraživanja, međutim, ukazuju na povezanost žene i tehnologije u zemljama ‘poluperiferije’, što je u suprotnosti sa odnosima u centru, odnosno zapadnim razvijenijim državama. Ovi podaci iznose da su u srpskoj matrici rodnih dihotomija kultura, tehnologija, modernost, urbanost i sl. odlike ženskosti, dok su priroda, tradicija i ruralnost odlike muškosti (Blagojević Hughson, 2015: 91), što je znatno drugačije od ranijih pretpostavki6, ali takođe

6 Ranije pretpostavke su koristile modele poznate u zemljama centra, koje su sa muškarcima povezivale kulturu i tehnologiju, a sa ženama prirodu.

16 : SKOK I ZARON It is evident that the initial development of the new media was almost exclusively related to Western democracies, with a visible in)uence on Japan. $ere are several reasons for this phenomenon. “One is certainly that governments in countries with authoritarian regimes feared, for good reason, the power of moving images and sought to keep them strictly controlled.” (Lucie-Smith, 2001: 237-238) $erefore, it is noticeable that there are few experiments with video in the USSR and other countries of the Eastern Bloc, despite the fact that that region had a very rich tradition of documentary and experimental (lm. Lucy-Smith sees another reason in the strong economy of the capitalist West, which enabled the advancement of new technologies and facilitated the development of video art, unlike other countries in the world where it was “from the beginning and still is an expensive medium” (Ibid.). Other authors also realized that the development of new media in art was not available to everyone at the same time. “When Plato de(ned art as the unity of technique or skill and knowledge, technique had a positive meaning. However, a-er the Industrial Revolution, “technology” became increasingly attached to capitalism and to America.” (Dragojlov, 2007: 2)

At the same time, in the (eld of new technologies, especially in economically and technologically developed countries, male domination and power control is dominant. “Traditionally speaking, the world of technology has always been labelled as the world of man, the world in which he develops his fantasies about how to bring cultural creation under his control, especially when it comes to innovation in technology.” (Dragojlov, 2007: 1) However, research by cyber feminists, including Donna Haraway, Sadie Plant, Linda Dement and Zoya Sofulis, points to the importance of this disputed territory and the progress made in the (eld of information and computer technology (ICT). Namely, their progress has incited the interdisciplinary gender studies to initiate new questioning of the gender – power relation in the economically and technologically developed countries, but in our country too, and new questioning of the current stereotypes related to the allegedly natural (biological) superiority of men in the knowledge of natural sciences and the usage of ICT.

Prominent opinion in our country and in the world indicate the existence of gender stereotypes concerning abilities and occupations that are determined by gender di*erences. Di*erent approaches to the education of boys and girls are noticeable wherever there is a strong patriarchal education system. “$e female gender is distracted from mathematics at an early age in the educational process, both socially and culturally, which leads to a situation where there are fewer women in the faculties of computer science and engineering, and thus fewer women in high-tech industries.” (Dragojlov, 2017: 3) During education and choice of occupation, gender based role divisions are still strongly visible, while on the other hand, a high degree of women’s participation in the use of new technologies is evident.

Recent research, however, indicates the connection between women and technology in the countries of the “semi- periphery”, which is in contrast to the relations in the centre, i.e. the western, more developed countries. $ese data state that the Serbian matrix of gender dichotomies includes cultural, technological, modern, urban, etc. characteristics of femininity, while nature, tradition and rurality are characteristics of masculinity (Blagojević

: LEAP AND DIVE 17 govori o zainteresovanosti žena za korišćenjem novih tehnologija u obrazovanju i profesionalnom napredovanju. „U Srbiji danas ima ukupno malo visokooobrazovanih osoba, ali je manje žena od muškaraca (8% muškaraca: 6% žena), sa tendencijom povećanja broja diplomiranih žena naročito u onim naučnim disciplinama koje su do sada bile dominantno muške“ (Savić, 2015: 9). Nedavno sprovedeno istraživanje o profesionalnom identitetu umetnica koje se bave novim medijima u Srbiji je, takođe, potvrdilo navedene podatke (Kojić Mladenov, 2018).

Početak razvoja novomedijske umetnosti kod nas je obeležen zainteresovanošću umetnika i umetnica za korišćenje novih tehnoloških mogućnosti, upotrebu novih alata (kamera, kompjuter, projektor i sl.), „često zaokupljenih fascinantnim efektima koji se kroz takvu praksu mogu proizvesti, sa jedne strane, a sa druge potrebom za beleženjem privremenih umetničkih događaja i procesualnih situacija, u cilju arhiviranja umetničkih aktivnosti“ (Kojić Mladenov, 2015: 3) i pravljenja dokumentarnih i eksperimentalnih kratkih (lmova. Ovakav vid pristupa je karakterističan za kraj 60-tih, 70-te, pa čak i 80-te godine 20. veka kod nas, te mnoge konceptualne umetnike/ ce regiona Jugoslavije, koji su u to vreme, među prvima, počeli da koriste savremenu tehnologiju u umetnosti na domaćoj umetničkoj sceni. Među njima su: Bogdanka Poznanović, Katalin Ladik, Marina Abramović, Raša Todosijević, Predrag Šiđanin, Radomir Damjanović Damjan, Zoran Popović, Neša Paripović, grupa KÔD, grupa Bosh & Bosh, i drugi/e, uglavnom umetnici/ce najčešće vezani za beogradsku, novosadsku i subotičku konceptualnu scenu. Njihove rane izložbe ujedno su predstavljale i prve novomedijske događaje na umetničkoj sceni, kao što su bile aktivnosti u SKC-u u Beogradu ili na Tribini mladih u Novom Sadu.

„Umetnici su bili limitirani materijalnim mogućnostima, te su prilike u kojima su mogli da koriste potrebnu tehničku opremu bile male, ograničene na pozajmice stranih umetnika prilikom njihovih gostovanja kod nas, u Beogradu ili Novom Sadu ili na primenu savremene tehnike na povremenim putovanjima naših umetnika na izložbe u inostranstvu” (Denegri, 1996: 166). Nedostatak tehničke opreme i prilike da se umetnici/ce obuče da rukuju njom, politički sistem države, njeno uređenje i društvena svest, kao i nerazvijenost bliskih medija, naročito televizije, učinili su da novi mediji kod nas ostanu na margini umetničkih eksperimenata u vremenu kada su uveliko korišćeni u razvijenom svetu.

Zato su za rani razvoj novih medija od izuzetnog značaja bile aktivnosti Bogdanke Poznanović, multimedijalne umetnice, kustoskinje i profesorke koja je, od početka svog rada na Akademiji umetnosti Univerziteta u Novom Sadu, bila otvorena za intermedijska istraživanja i rad u proširenom polju umetnosti, a osnivanjem Vizuelnog studija za intermedijalna istraživanja (1979), sa tehnički opremljenim kabinetom, omogućena je dostupnost

18 : SKOK I ZARON Hughson, 2015: 91), which is signi(cantly di*erent from previous assumptions6, but also speaks of women’s interest in using new technologies in education and professional advancement. “$ere is a small number of highly educated people in Serbia today, but there are fewer women than men (8% men: 6% women), with a tendency to increase the number of women graduates, especially in those scienti(c disciplines that have been predominantly male.” (Savić, 2015: 9) A recent survey on the professional identity of women artists dealing with new media in Serbia also con(rmed the above data (Kojić Mladenov, 2018).

$e beginning of the development of new media art in our country is marked by the interest of both, male and female artists to use new technological possibilities, use new tools (camera, computer, projector, etc.), “o-en preoccupied with fascinating e*ects that can be produced through such practice, on one hand, and on the other hand, with the need to record temporary artistic events and procedural situations, in order to archive the artistic activities” (Kojić Mladenov, 2015: 3) and to make documentary and experimental short (lms. $is type of approach is characteristic for the late 60’s, 70’s, and even 80’s of the 20th century in our country, and for many conceptual artists of the region of Yugoslavia, who at that time were among the (rst to use modern technology in art on the domestic art scene. Among them are: Bogdanka Poznanović, Katalin Ladik, Marina Abramović, Raša Todosijević, Predrag Šidjanin, Radomir Damjanović Damjan, Zoran Popović, Neša Paripović, KÔD group, Bosh & Bosh group, and others, mostly artists related mainly to Belgrade , Novi Sad and Subotica conceptual art scene. $eir early exhibitions also represented the (rst new media events in the art scene, such as activities at the SKC (Students’ Cultural Centre) in Belgrade or the Tribina mladih (Youth Forum) in Novi Sad.

“Artists were limited by material possibilities, and the opportunities in which they could use the necessary technical equipment were few, limited to loans from foreign artists during their visits to us, in Belgrade or Novi Sad or to the application of modern techniques on occasional trips of our artists to exhibitions abroad.” (Denegri, 1996: 166) $e lack of technical equipment and the opportunity for artists to be trained to handle it, the political system of the state, its organization and social consciousness, as well as the underdevelopment of available media, especially television, have in)uenced new media to remain on the margins of artistic experiments used in the developed world.

$e activities of Bogdanka Poznanović, a multimedia artist, curator and professor who has been open to intermedia research and work in the extended (eld of art since the beginning of her work at the Academy of Arts of the University of Novi Sad, were of great importance for the early development of new media in our country. Also, the opening of the Visual Studio for Intermedia Research (1979), with a technically equipped cabinet, enabled

6 Earlier assumptions used models known in the countries of the centre, which connected culture and technology with men, and nature with women.

: LEAP AND DIVE 19 savremene aparature neophodne za realizaciju medijske umetnosti studentima/kinjama, što je bila prva mogućnost novomedijske edukacije u nekadašnjoj Jugoslaviji, a retka i u evropskom kontekstu7.

Za razvoj edukacije u oblasti digitalne umetnosti i istraživanjima umetnosti, nauke i tehnologije važnu ulogu je imala i Marica Radojčić koja je kao profesorka na Matematičkom fakultetu u Beogradu osnovala Matematičku umetničku radionicu (1993), a zatim učestvovala u osnivanju Interdisciplinarnih postdiplomskih studija Univerziteta umetnosti u Beogradu i Grupi za digitalnu umetnost (2000), što je bio prvi program za digitalnu umetnost kod nas.

Tokom vremena, a naročito razvojem televizije, sve više se razvija kritička medijska praksa u umetnosti, naročito tokom 90-ih godina, usmerena najviše na analizu mas-medijske kulture i aktuelnih političkih događaja koji su u to vreme razarali poznati geopolitički i socijalni kontekst Jugoistočne Evrope. Tokom 21. veka se postepeno stvara nova generacija umetnika/ca koji sa lakoćom koriste savremene tehnologije, eksperimentišu sa njima istovremeno kritikujući njihove sisteme, zakonitosti i posledice koje njihova upotreba proizvodi. Nova generacija umetnika/ ca odrastala je kroz upotrebu tehničkih pomagala, pratila je njihovu ekspanziju tokom godina „koja je dovela do promena u načinu rada, međusobnoj komunikaciji, te niza novih situacija koje sve više utiču na svakodnevni život pojedinaca menjajući ustaljene navike, obrasce ponašanja i vrednosni sistem društva” (Kojić Mladenov, 2015: 3-4).

Razvijaju se umetnički video-radovi koji su bili samostalni ili deo prvih video-instalacija, kasnije eksperimenata sa zvukom, prostorom i prvim kompjuterima. Neki od umetnika/ca koji su se bavili ovakvom vrstom radova su: Breda Beban, Dragana Žarevac, Lidija Srebotnjak Prišić, Vesna Tokin, Milica Tomić, Zoran Naskovski, grupa Artteror, Anica Vučetić i kasnije Jelena Jureša i Katarina Zdjelar i dr. Oni/e su učinili pomake u razvoju videa i video- instalacijama, a Dejan Grba u generativnom videu. Vladan Radovanović, Katalin Ladik, Miša Savić, Robert Pravda i, kasnije, Manja Ristić i Fantastični Bob okrenuli su se zvučnim eksperimentima; Marica Radojčić i Predrag Šiđanin digitalnoj umetnosti, kasnije i Vesna Gerić; Dragan Ilić robotskoj umetnosti; asocijacija Apsolutno, Vuk Ćosić i Andreja Kulunčić net artu; Andrej Tišma internet umetnosti; Zoran Todorović bioartu i biopolitičkoj umetnosti; Stevan Kojić, Tanja Vujinović i Mirko Lazović medijskim instalacijama i device artu (DIY); Nataša Teo(lović 3D animaciji; stop-motion animacijama Lea Vidaković, Vladan Joler i Isidora Todorović video-igrama, medijskim identitetima Bojana S. Knežević i dr. Uočljivo je da je u oblasti novomedijske umetničke prakse u Srbiji uloga žena primetna, ali do sada nedovoljno istražena.

7 U Vizuelnom studiju za intermedijalna istraživanja Akademije umetnosti realizovani su mnogi individualni i kolektivni projekti. Tu je nastao rad Katalin Ladik i Bogdanke Poznanović Poemim (1979/1980), koji je svojom poetikom i načinom snimanja umnogome uticao na kasnije radove studenata/kinja Akademije. U istom studiju je stvoren i rad Line Busov Venus (1983), koji se bavi ispitivanjem ženske senzualnosti i rodnog identiteta. Iako studentski, bio je to jedan od prvih video-radova kod nas sa feminističkom problematikom, nastao u kontekstu tadašnje liberalizacije društvenog života i pitanja rodne ravnopravnosti. Većina radova je nastala u periodu od 1979. do 1992. godine. Međutim, bilo je otpora od strane profesora/ki, kolega i koleginica, ponekad i državnih organa. Razloge treba tražiti u ideološkim neslaganjima, nepoznavanju novih likovnih medija i internacionalne umetničke prakse, tradicionalnom i konzervativnom shvatanju umetnosti i ličnoj netrpeljivosti.

20 : SKOK I ZARON the availability of modern equipment necessary for the realization of media art to students, which was the (rst opportunity for new media education in the former Yugoslavia, and rare one in the European context.7

Marica Radojčić also played an important role in the development of education in the (eld of digital art and research in art, science and technology. As a professor at the Faculty of Mathematics in Belgrade, she founded the Mathematical Art Workshop (1993) and later, also, participated in founding the Digital Art Group (2000), which was the (rst digital art programme in our country.

Over time, and especially with the development of television, media practice of art critique increasingly developed, especially during the 90’s, and was mostly focused on the analysis of mass media culture and current political events that destroyed the well-known geopolitical and social context of Southeast Europe. During the 21st century, a new generation of artists has gradually been created, artists who use with ease the possibilities of modern technology, experimenting with them while criticizing their systems, laws and the consequences produced by their use. A new generation of artists grew up through the use of technical aids, following their expansion over the years “which led to changes in the way they worked, communicated with each other, and to a series of new situations that increasingly a*ected the daily lives of individuals by changing established habits, patterns of behaviour and the value system of society”. (Kojić Mladenov, 2015: 3-4)

Artistic video works whether independent or as part of the (rst video installations, later experiments with sound, space and the (rst computers were being developed. Some of the artists who did this type of work are: Breda Beban, Dragana Žarevac, Lidija Srebotnjak Prišić, Vesna Tokin, Milica Tomić, Zoran Naskovski, the Artteror group, Anica Vučetić and later Jelena Jureša and Katarina Zdjelar and others. $ey made progress in the development of video art and video installations, and Dejan Grba in generative video. Vladan Radovanović, Katalin Ladik, Miša Savić, Robert Pravda and later Manja Ristić and Fantastični Bob (Fantastic Bob) turned to sound experiments; Marica Radojčić and Predrag Šidjanin to digital art, later Vesna Gerić; Dragan Ilić to robotic art; association Absolutely, Vuk Ćosić and Andreja Kulunčić net art; Andrej Tišma internet art; Zoran Todorović bioart and biopolitical art; Stevan Kojić, Tanja Vujinović and Mirko Lazović media installations and device art (DIY); Natasa Teo(lovic 3D animation; stop motion animations; Lea Vidaković, Vladan Joler and Isidora Todorović video games, media identities - Bojana S. Knežević etc. It is apparent that in the (eld of new media artistic practice in Serbia, the role of women is signi(cant, but so far insu+ciently researched.

7 Many individual and collective projects have been realized in the Visual Studio for Intermedia Research of the Academy of Arts. $is is where the work of Katalin Ladik and Bogdanka Poznanović, Poemim (1979/1980), was created, which, with his poetics and way of recording, greatly in)uenced the later works of the students of the Academy. $e work of Line Busov Venus (1983) was created in the same studio. $e work deals with the research of female sensuality and gender identity. Although a student’s work, it was one of the (rst video works in our country with feminist issues, created in the context of the liberalization of social life and the issue of gender equality. Most of the works were created in the period 1979-1992. However, there was resistance from professors, colleagues, and sometimes government agencies. $e reasons should be sought in ideological disagreements, ignorance of new art media and international artistic practice of traditional and conservative conceptions of art and personal intolerance.

: LEAP AND DIVE 21 Međutim, novi vizuelni mediji su sporo bili prihvaćeni u institucionalnom sistemu Srbije. Iako su se razvijali još od eksperimenata konceptualnih umetnika i umetnica, te kroz rad Vizuelnog studija Akademije umetnosti u Novom Sadu ušli i u akademski sistem, trebalo je vremena da muzeji prihvate ovakav vid umetničke prakse. U Srbiji je mali broj publikacija i istraživanja koja se bave novomedijskom umetničkom teorijom i praksom ili se to tako čini na prvi pogled zbog rasutosti materijala i izvora8.

Zbog svega navedenog je sprovedeno istraživanje Diskursi o rodu u umetnosti: Konstrukcija profesionalnog identiteta umetnica koje se bave novim medijima u Vojvodini krajem 20. i početkom 21. veka (Kojić Mladenov, 2018). Novomedijska praksa umetnica u Vojvodini objedinjena je ovom objavljenom doktorskom disertacijom. Cilj istraživanja je bio konstrukcija profesionalnog identiteta vizuelnih umetnica koje stvaraju u Vojvodini krajem 20. i početkom 21. veka, analiza njihovog umetničkog rada i života, ukazivanje na mogućnosti njihovog povoljnijeg položaja. U istraživanju su primenjene analize: svedočenja (intervjui) umetnica, analize tekstova o umetnicama i analize njihovih umetničkih radova. Osnovni korpus istraživanja činili su razgovori autorke sa 12 umetnica vezanih za Vojvodinu, tekstovi o njima i njihovi umetnički radovi. U pitanju su: Bogdanka Poznanović, multimedijalna umetnica i profesorka, Marica Radojčić (Prešić), matematičarka i umetnica; profesorke novih likovnih medija i umetnice: Breda Beban, Vesna (Dragojlov) Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak Prišić, Nataša Teo(lović, Isidora Todorović, Vesna Tokin i Lea Vidaković.

Rezultati istraživanja su ukazali da je u oblasti medijske umetničke prakse u Srbiji uloga žena značajna, naročito u domenu video i digitalne umetnosti, međutim one su i dalje nedovoljno vidljive i valorizovane u stručnoj i široj javnosti, odnosno o njima je pisan veći broj tekstova, ali se oni nalaze po različitim izvorima, na mnogim jezicima i mestima (lokalno, regionalno, internacionalno), te ih je teže pronaći i koristiti. Politika institucija kulture im nije posvetila dovoljno pažnje kada su u pitanju monografske publikacije i retrospektivne izložbe, otkupi umetničkih radova i sl. Njihov doprinos nije dovoljno istaknut u sistemu visokog obrazovanja, a značaj njihovog umetničkog rada ne prate u potrebnoj meri mas-mediji.

8 Neke od autorki koje su dale teorijski doprinos razvoju novih medija u Srbiji su: Irina Subotić, Gordana Dobrić, Jasna Tijardović, Svetlana Mladenov, Vera Kopicl, Vesna Dragojlov, Ivana Inđin, Silvia Dražić, Jelena Vesić, Una Popović, Gordana Nikolić, Nataša Teo(lović, Sanja Kojić Mladenov i dr. Značajni su radovi teoretičarki i teoretičara koji se bave odnosom umetnosti i nauke kroz interdisciplinarni pristup, kao i tekstovi samih umetnica (Nataša Teo(lović, Bojana S. Knežević, Isidora Todorović... ) kojima one ostvaruju povezanost naučnih tema sa umetničkom ekspresijom.

22 : SKOK I ZARON However, the institutional system of Serbia was slow in accepting new visual media, although they had developed from the experiments of conceptual artists, and entered the academic system through the work of the Visual Studio of the Academy of Arts in Novi Sad, it took time for museums to accept this type of art practice. $ere is small amount of publications and research that deal with new media art theory and practice in Serbia, or, so it seems at (rst glance, due to the fact that the materials and sources are scattered.8

$e research Diskursi o rodu u umetnosti: Konstrukcija profesionalnog identiteta umetnica koje se bave novim medijima u Vojvodini krajem 20. i početkom 21. veka (Discourses on Gender in Art: Construction of the Professional Identity of Women Artists Dealing with New Media in Vojvodina at the End of the 20th and the Beginning of the 21st Century) was conducted due to the previously mentioned (Kojić Mladenov, 2018). $e new media practice of women artists in Vojvodina was consolidated by this published doctoral dissertation. $e aim of the research was to construct the professional identity of women visual artists who created in Vojvodina at the end of the 20th and the beginning of the 21st century, to analyze their artistic work and life, to point out the possibilities of their more favourable position. $e following analyzes were used in the research: testimonies (interviews) of artists; analysis of texts about artists and analysis of their works of art. $e basic corpus of the research consisted of the author’s conversations with 12 women artists related to Vojvodina, texts about them and their works of art. $e research included the following women artists: Bogdanka Poznanović, multimedia artist and professor, Marica Radojčić (Prešić), mathematician and artist; then, professors of new art media and artists, such as: Breda Beban, Vesna (Dragojlov) Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak Prišić, Nataša Teo(lović, Isidora Todorović, Vesna Tokin and Lea Vidaković.

$e results of the research have indicated that the role of women in the (eld of media art practice in Serbia is important, especially in the (eld of video and digital art, but they are still insu+ciently visible and valorised in the professional and general public, i.e. more texts have been written about them, but they are scattered in di*erent sources, in many languages and places (locally, regionally, internationally), and are di+cult to (nd and use. $e policy of cultural institutions did not pay enough attention to them when it comes to monographic publications and retrospective exhibitions, purchases of works of art, etc. $eir contribution is not su+ciently highlighted in the system of higher education, and the importance of their artistic work is not followed to the necessary extent by the mass media.

8 Some of the authors who made a theoretical contribution to the development of new media in Serbia are: Irina Subotić, Gordana Dobrić, Jasna Tijardović, Svetlana Mladenov, Vera Kopicl, Vesna Dragojlov, Ivana Inđin, Silvia Dražić, Jelena Vesić, Una Popović, Gordana Nikolić, Nataša Teo(lović, Sanja Kojić Mladenov, etc. $e works of theorists who deal with the relationship between art and science through an interdisciplinary approach, as well as the texts of the artists themselves (Nataša Teo(lović, Bojana S. Knežević, Isidora Todorović...), with whom they connect scienti(c topics with artistic expression. are also important

: LEAP AND DIVE 23 I pored toga, istraživanje je pokazalo da je umetnicama profesionalni identitet najistaknutiji, ostalim pristupaju kao promenljivim ()eksibilnim) kategorijama zavisnim u najvećoj meri od speci(čnih društveno-političkih okolnosti o čemu danas govore teoretičarke feminizma, domaći autori/ke, ali i empirijski podaci o profesijama žena u Srbiji9.

Što se tiče privatnog života, umetnice su tokom svog odrastanja, u umetničkom razvoju, uglavnom, imale podršku porodice, koje su najčešće brojčano male. Bliske porodične odnose, iz svog detinjstva i odrastanja, su najčešće nastavile da neguju, razvijajući ravnopravne bračne odnose ili partnerske umetničke zajednice. Kroz nove medije su se uglavnom razvijale samostalno, savladavajući sve aspekte upotrebe novih tehnologija, uz mnogo problema u nabavci i korišćenju adekvatne opreme.

Umetnice koje stvaraju i unapređuju nove vizuelne umetnosti u Srbiji profesionalni identitet izgrađuju u polju između edukacije i stvaralaštva, te međusobnog udruživanja i javnog delovanja. Većina ih se bavi profesurom ili nezavisnim vidovima edukacije. Pridaju važnost prenošenju znanja, otvaranju i inoviranju novih predmeta, formiranju novih kadrova, timskom radu i umrežavanju, što je vidljivo u njihovoj aktivnosti na fakultetima i akademijama u Srbiji i inostranstvu. Naročito su zainteresovane za inovacije u polju pristupa i metodama rada.

Istovremeno, u okviru sopstvene umetničke prakse, uvode ženski identitet u umetnost, bave se sopstvenim telom i identitetom, seksualnošću, ženskim aktivizmom, ženskom istorijom i arhivima, u polju realnih i digitalnih prostora. Imaju potrebu za osvajanjem alternativnih prostora i kreiranjem umetničkih intervencija u njima, korišćenjem virtuelnih identiteta i virtuelnih prostora, te feminističkim intervencijama u polju video-igara. Ističu da im nedostaje (nansijska sigurnost u profesiji, te da rešenje vide u udruživanju i izgradnji mreže saradnica (međugeneracijskih, umetničkih, interdisciplinarnih, lokalnih, regionalnih i internacionalnih).

9 Kada je reč o identitetima drugih umetnica (muzičarki, kompozitorki) u Srbiji, podaci ranijih istraživanja pokazuju da je profesionalni identitet taj koji je umetnicama najvažniji i koji žele da bude najvidljiviji u javnosti. Više ovakvih istraživanja je sprovedeno pri Univerzitetu u Novom Sadu, ACIMSI − Centru za Rodne studije s ciljem da se ukaže na poziciju žene u savremenom društvu i pojedinim profesijama − takva su istraživanja posvećena akademkinjama Univerziteta u Novom Sadu (Slobodanka Markov, 2006, Gender Inequalities within the Academic Elite. Temišvar: Gender Studies, vol 1, no 5, 254-268.), ženama sa invaliditetom (Milica Bracić, Mima Ružičić-Novković, Svenka Savić, 2009, Životne priče žena sa invaliditetom. Novi Sad: Centar živeti uspravno − Zavod za ravnopravnost polova Ženske studije i istraživanja − Futura Publikacije), političarkama u Vojvodini i Srbiji (Dijana Subotički, 2012, Životne priče političarki, Novo Miloševo: Banatski kulturni centar − Kikinda: Postpesimisti; Dijana Subotički, 2013, Tiha većina. Životne priče političarki iz Srbije. Kikinda: Nikasso − NM – Manatski kulturni centar i Postpesimisti Kikinde), kompozitorkama (Nataša Kostadinović, 2014, Rodna analiza tekstova u pisanim medijima o kompozitorkama Srbije krajem 20. i početkom 21. veka, doktorska disertacija), profesorkama UNS (Svenka Savić, 2015, Profesorke Univerziteta u Novom Sadu: životne priče, Novi Sad: Ženske studije i istraživanja i Futura publikacije), izvođačicama na gudačkim instrumentima (Ana Klem Aksentijević, 2015, Rod i profesija u umetnosti: diplomirane izvođačice na gudačkim instrumentima na Akademijama umetnosti u Novo Sadu, Banja Luci i Zagrebu (1990-2014), doktorska disertacija), profesorkama u dijaspori (Maja Sedlarević, 2016, Diskursi o rodu, identitet i profesija: životne priče žena iz Srbije u akademskoj dijaspori, doktorska disertacija), novinarkama (Smiljana Milinkov, 2016, Formalno i neformalno obrazovanje i profesionalni status novinarki u Vojvodini – rodna perspektiva, doktorska disertacija), kao i ženama iz različitih grupa u Boki Kotorskoj (Ervina Dabižinović, 2017, Diskursi o ženama Boke Kotorske: rodni identiteti (1815-2015), doktorska disertacija). Ovi naučni radovi pružaju bogatu građu neophodnu za poređenje situacije u različitim profesijama sa onom u vizuelnoj umetnosti.

24 : SKOK I ZARON Nevertheless, the research has shown that women artists consider their professional identity as the most prominent one; they approach other identities as changing ()exible) categories that depend largely on speci(c socio-political circumstances; it is what feminist theorists, domestic authors, but also empirical data on women’s professions in Serbia are showing today.9

As far as private life is concerned, during their growing up, women artists mostly had support for their artistic development from their families, which are usually small in number. $ey most o-en continued close family relations from their childhood and growing up, developing equal marital relations or artistic partner unions. $rough new media, they have mostly developed independently, mastering all aspects of the use of new technologies, with many problems in the procurement and use of adequate equipment.

$e professional identity of women artists who create and promote new visual arts in Serbia is built in the (eld between education and creativity, and mutual association and public action. Most of them are engaged in professorship or independent forms of education. $ey attach importance to the transfer of knowledge, to opening and innovating new subjects, forming new sta*, to teamwork and networking, which is all visible in their activities at faculties and academies in Serbia and abroad. $ey are particularly interested in innovations in the (eld of approaches and methods of work.

9 When it comes to the identities of other women artists (musicians, composers) in Serbia, data from previous research show that the professional identity is the one that is most important to artists and that they want to be most visible to the public. Several such studies have been conducted at the University of Novi Sad, ACIMSI - Centre for Gender Studies, which indicate the position of women in modern society and certain professions, such as the research dedicated to women academics of the University of Novi Sad (Slobodanka Markov, 2006, Gender Inequalities within the Academic Elite. Timisoara: Gender Studies, vol 1, no 5, 254-268.), women with disabilities ((Milica Bracić, Mima Ružičić-Novković, Svenka Savić, 2009, Životne priče žena sa invaliditetom (Life stories of women with disabilities). Novi Sad: Centar živeti uspravno - Zavod za ravnopravnost polova - Ženske studije i istraživanja - Futura Publikacije (Centre for Living Upright - Institute for Gender Equality - Women’s Studies and Research - Futura Publications)), women politicians in Vojvodini and Serbia (Dijana Subotički, 2012, Životne priče političarki (Life stories of women politicians), Novo Miloševo: Banatski kulturni centar (the Banat Cultural Centre) - Kikinda: Postpesimisti (Postpesimists); Dijana Subotički, 2013, Tiha većina (Silent Majority). Životne priče političarki iz Srbije (Life stories of women politicians from Serbia). Kikinda: Nikasso-NM – Banatski kulturni centar (Banat Cultural Centre) and Postpesimisti (Postpesimists) Kikinda), women composers (Nataša Kostadinović, 2014, Rodna analiza tekstova u pisanim medijima o kompozitorkama Srbije krajem 20. i početkom 21. veka (Gender analysis of texts in the written media about Serbian composers at the end of the 20th and the beginning of the 21st century), PhD thesis), women professors at UNS (Svenka Savić, 2015, Profesorke Univerziteta u Novom Sadu: životne priče (Women Professors of the University of Novi Sad: life stories), Novi Sad: Ženske studije i istraživanja i Futura publikacije (Women’s Studies and Research and Futura Publications)), performers on string instruments (Ana Klem Aksentijević, 2015, Rod i profesija u umetnosti: diplomirane izvođačice na gudačkim instrumentima na Akademijama umetnosti u Novo Sadu, Banja Luci i Zagrebu (Gender and profession in art: graduate performers on string instruments at the Academies of Arts in Novi Sad, Banja Luka and Zagreb) (1990-2014), PhD thesis)), women professors in the diaspora (Maja Sedlarević, 2016, Diskursi o rodu, identitet i profesija: životne priče žena iz Srbije u akademskoj dijaspori (Discourses on Gender, Identity and Profession: Life Stories of Serbian Women in the Academic Diaspora) PhD thesis), women journalists (Smiljana Milinkov, 2016, Formalno i neformalno obrazovanje i profesionalni status novinarki u Vojvodini – rodna perspektiva (Formal and non-formal education and professional status of women journalists in Vojvodina - gender perspective) PhD thesis), as well as about women from various groups in Boka Kotorska (Ervina Dabižinović, 2017, Diskursi o ženama Boke Kotorske: rodni identiteti (1815-2015)(Discourses on the Women of Boka Kotorska: Gender Identities (1815-2015)), PhD thesis). $ese scienti(c papers provide the rich material necessary to compare the situation in di*erent professions with that in the visual arts.

: LEAP AND DIVE 25 Kao i u ostalim istraživanjima, rezultati rada (Kojić Mladenov, 2018) su, takođe, pokazali da je period 90-tih godina značajno uticao na privatni i profesionalni život umetnica. Pojedine su, zbog društveno-političke i ekonomske situacije u zemlji, te potrebe za edukacijom i profesionalnim razvojem, emigrirale u inostranstvo, uglavnom, odbijajući da pripadaju ijednom čistom nacionalnom identitetu. Nastavile su svoj umetnički rad u međuprostoru različitih identiteta, u prostoru bez granica gde su postizale uspehe svojom umetničkom i edukativnom praksom usmerenom i na teme političkog aktivizma.

Uopšte, svi oni koji se bave ovom savremenom umetničkom praksom teško dobijaju (nansijsku podršku, nije im omogućena tržišna isplativost njihovog rada i istraživanja, te zbog loše ekonomske situacije imaju malo mogućnosti za praćenje svakodnevnog napretka savremene tehnologije, što je neophodno za njihov dalji razvoj. Uočljivo je postojanje neravnopravne politike razvoja savremene umetnosti, kulturne politike – istorije umetnosti, izložbene prakse, politike otkupa, stručnog usavršavanja, produkcijskih grantova i sl. Mnogi od njih su zato primorani da prestanu da se bave umetnošću te se odlučuju za komercijalno isplativije poslove, napuštaju sredinu u kojoj su se obrazovali i ponikli, traže bolje uslove za rad u ekonomski i tehnološki razvijenijim zemljama. Takođe, oblast novomedijske savremene umetnosti, kojom se oni bave, kod nas se još uvek smatra alternativnom i nailaze na otpore konzervativne sredine. Savremena umetnička teorija i kritika nedovoljno prati rad ovih umetnika i umetnica, pa oni nisu pravovremeno primećeni, analizirani i stručno prezentovani javnosti. Tek se poslednjih godina pojavljuju istraživanja o ovoj umetničkoj oblasti te je, u ovom momentu, važno ukazati na umetnice koje se bave medijskom praksom u Srbiji, istaći njihove speci(čnosti u pristupu, temama i motivima i valorizovati značaj koji u razvoju imaju žene kako bi se smanjila mogućnost da njihovo mesto u budućim razmatranjima bude zanemareno i ignorisano.

Otuda je značajno da se, u okviru speci(čnih interdisciplinarnih istraživanja, pokažu različite prakse i to tako da se sučeljavaju ocene o njihovom radu sa svedočenjem samih umetnica o sopstvenim radovima i dilemama. Analizom različitog empirijskog materijala mogu da se pokažu mnoge nijanse života i rada ovih umetnica, različiti pogledi na njihov kompleksni profesionalni identitet. Posebno se to vidi u analizi njihove društvene angažovanosti u okviru strukovnih, nevladinih udruživanja, odnosno u prijateljsko − profesionalnim udruživanjima koje su same formirale. U tome vidimo putanju njihovog budućeg udruživanja. Povezivanje umetnica je vidljivo u različitim pravcima u okviru iste struke, ali i kroz interdisciplinarne, regionalne i internacionalne relacije, što ukazuje na postojanje nezavisne ženske mreže formirane generacijskim zalaganjima. Izgrađivanje profesionalnog identiteta, kao bogatstva različitosti, najvažnije je za umetnice, ali je on uklopljen u mnogostruke ženske mreže i povezanosti jer je to jedan od načina njegovog razvoja i opstanka.

Preporuka je da se uspostavi sistem čuvanja ne samo radova, već arhiviranja dokumentacije o umetnicama novih medija budući da su podaci rasuti po različitim izvorima i privatnim kolekcijama, slabo dostupni javnosti; da se u galerijama i muzejima koji nemaju posebno izdvojena sredstva za mlade umetnike/ce, za produkciju umetničkih radova i sl. uvede slična praksa; takođe nedovoljno je kritičara i kritičarki koji prate nove medije što predstavlja

26 : SKOK I ZARON At the same time, within their own artistic practice, they introduce women’s identity into art, deal with their own body and identity, sexuality, women’s activism, women’s history and archives, in the (eld of real and digital spaces. $ey possess a need to conquer alternative spaces and create artistic interventions in them, to use the virtual identities and virtual spaces, and feminist interventions in the (eld of video games. $ey point out that they lack (nancial security in the profession, and that they see the solution in associating and building a network of associates (intergenerational, artistic, interdisciplinary, local, regional and international).

As in other research, the results of the work (Kojić Mladenov, 2018) also showed that the period of the 90s signi(cantly in)uenced the private and professional life of women artists. Some have emigrated abroad due to the socio-political and economic situation in the country, as well as due to the need for education and professional development, mostly refusing to belong to any single national identity. $ey continued their artistic work in the interspace of di*erent identities, in a space without boundaries, where they achieved success with their artistic and educational practice focused, also, on the themes of political activism.

In general, all those who deal with this contemporary art practice (nd it di+cult to get (nancial support, they do not have the possibility of market pro(tability of their work and research, and due to the bad economic situation they have little opportunity to follow the daily progress of modern technology that is essential for their further development. $e existence of an unequal policy for the development of contemporary art, cultural policy - art history, exhibition practice, purchase policy, professional development, production grants, etc. is evident. Many of them are therefore forced to stop doing art, dedicate themselves to some more commercial jobs, or leave the environment they were educated in and originated from, and look for better working conditions in economically and technologically developed countries. Also, in our country, the (eld of new media contemporary art that they deal with is still considered as an alternative one and encounters resistance from the conservative environment. Contemporary art theory and critique follow the work of small number of these artists, which means that they are not noticed, analysed and professionally presented to the public in a timely manner. Research in this artistic (eld has only appeared in recent years, hence, it is important, at this point, to draw attention to the women artists who deal with media practice in Serbia, highlight their speci(cs in approach, themes and motives, valorise the importance of women in the development, and reduce the possibility of their place in future considerations being neglected and ignored.

$erefore, it is important to show di*erent practices within speci(c interdisciplinary research, by comparing the evaluations of their art work with the women artists own testimony of their own works and dilemmas. $e analysis of di*erent empirical material can show many nuances of the life and work of these women artists, as well as di*erent views on their complex professional identity. $is is especially evident in the analysis of their social engagement within professional, non-governmental associations, i.e. friendly - professional associations that they have formed themselves. $at is where we see the path of the future association of women artists. $e connection of artists is evident in di*erent directions within the same profession, but also through interdisciplinary, regional and international relations, which indicates the existence of an independent women’s network formed by generational e*orts. Building

: LEAP AND DIVE 27 problem; kritičarke i teoretičarke bi trebalo da vode računa da u leksikonima i enciklopedijama budu zastupljene i vizuelne umetnice novih medija i da, na taj način, i one postanu deo vrednosti ukupne umetničke scene; da se u komisijama za nagrade i otkupnoj politici javnih institucija kulture pažnja više obrati na radove umetnica.

Rezultati istraživanja čine osnovu izložbe SKOK I ZARON u MSUV-u, na kojoj su prezentovani istorijski i aktuelni medijski umetnički radovi čije su autorke umetnice: Bogdanka Poznanović, Marica Radojčić, Breda Beban, Vesna Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak Prišić, Nataša Teo,lović, Isidora Todorović, Vesna Tokin i Lea Vidaković.

Naziv SKON I ZARON aludira na pesmu Diving into the Wreck (1973) američke feministkinje i antiratne aktivistkinje Adrien Rič (Adrienne Rich) koja govori o slobodama i pravima žena kroz uvođenje motiva simboličnog ronioca koji istražuje podvodni svet (koji retko ko može da vidi), aludirajući i na samosvesni pogled žene upućen ka sistemu moći i nametnutom patrijarhatu, kao i slobodi i hrabrosti da se krene u istraživanje nepristupačnih, nekonvencionalnih i netradicionalnih svetova.

Izložba polazi od ispitivanja pozicije žene na umetničkoj sceni koja je, tokom istorije, uglavnom, imala marginalnu ulogu, te su umetnice, kritičarke i teoretičarke činile usamljenu pojavu. Danas se sve više žena opredeljuje za umetničke struke, a samim tim i likovnu umetnost, što pokazuju rezultati različitih istraživanja sprovedenih u Srbiji. Veće prisustvo žena u javnom, umetničkom prostoru dovodi do novina u umetničkoj sceni, do dekonstrukcije postojećih sistema i uvođenja novih rešenja. Promene su najvidljivije u prisustvu novih tema i motiva u umetničkim delima, u kritici tradicionalne reprezentacije žene u medijima i umetnosti, a najviše u novom položaju žene u umetnosti koja više nije nemi objekat, već akterka umetničkog dela, inicijatorka promena i novina.

Istraživanjem, doktoratom i izložbom su umetnice s kraja 20. i početkom 21. veka, koje se bave novim medijima, a koje su na različite načine vezane za Vojvodinu, prvi put okupljene u jednu celinu. Izneti podaci o njihovoj generacijskoj, medijskoj, umetničkoj i drugoj povezanosti predstavljaju samo početak budućih istraživanja u okviru istorije i teorije umetnosti koja uključuje i druge značajne umetnice.

Takođe, u sklopu izložbe je, u saradnji sa izdavačkom kućom ProArtOrg iz Beograda, objavljena i istoimena knjiga Skok i zaron (2020) sa celokupnim istraživačkim podacima i njihovim analizama.

28 : SKOK I ZARON up a professional identity as a wealth of diversity is most important for women artists, but it is embedded in multiple women’s networks and connections because it is one of the ways of its development and survival.

It is recommended to establish a system of safekeeping of not only works, but also archives of documentation on new media women artists, since the data are scattered across various sources and private collections, poorly accessible to the public; to introduce a similar practice in galleries and museums that do not have special funds for young artists, for the production of works of art, etc. Also, there is a lack of critics who follow new media, which is a problem. Women critics and theorists should take care that women visual artists of new media be represented in lexicons and encyclopaedias and, in that way, become part of the value of the overall art scene. It is recommended to pay more attention to the works of women artists in the awards committees and in the procurement policy of public cultural institutions.

$e results of the research form the basis of the exhibition LEAP AND DIVE at MSUV (Museum of Contemporary Art Vojvodina), which presents historical and current media art works by the following artists: Bogdanka Poznanović, Marica Radojčić, Breda Beban, Vesna Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak- Prišić, Nataša Teo,lović, Isidora Todorović, Vesna Tokin and Lea Vidaković.

$e title LEAP AND DIVE alludes to the poem Diving into the Wreck (1973) by American feminist and anti-war activist Adrienne Rich, which tells about the freedoms and rights of women through introduction of the motif of a symbolic diver who explores the underwater world which few can see, alluding to the self-conscious view of a woman directed towards the system of power and imposed patriarchate, as well as the freedom and courage to start exploring the inaccessible, unconventional and non-traditional worlds.

$e exhibition starts from examining the position of women in the art scene, who have, throughout history, mostly had a marginal role, hence, women artists, critics and theorists have been a lonely phenomenon. Today, more and more women are opting for arts, thus (ne arts too, as shown by the results of various studies conducted in Serbia. $e greater presence of women in the public, artistic space leads to innovations in the art scene, to the deconstruction of existing systems and the introduction of new solutions. $e changes are most visible in the presence of new themes and motives in works of art, in the critique of the traditional representation of women in media and art, and mostly in the new position of woman in art who is no longer a silent object, but creator of art work, and initiator of changes and novelties.

$is research, doctorate and the exhibition have for the (rst time gathered in one place the artists dealing with new media, at the end of the 20th and the beginning of the 21st century, and who are in some way related to Vojvodina. $e presented data on their generational, media, artistic and other connections represent only the beginning of future research within the history and theory of art, which includes other important women artists. Also, as part of the exhibition, a book of the same name, Leap and Dive, (2020) with the entire research data and their analysis was published in cooperation with the publishing house ProArtOrg from Belgrade.

: LEAP AND DIVE 29 Literatura (citirana): Blagojević Hughson, Marina. (2015). Poluperiferija i rod: pobuna konteksta. Beograd: Institut za kriminološka i sociološka istraživanja. Copper, Giloth i Lynn Pocock-Williams. (1990). A selected Chronology of Computer Art: Exibitions, Pblications, and Techology. Art Jurnal, Vol. 49, No. 3, Computers and Art: Issues of Content. College Art Association, 283-297. Denegri, Ješa. (1996). Tehničke slike:’ Fotogra(ja, (lm i video u novoj umetnosti sedamdesetih’, u Sedamdesete: teme srpske umetnosti. Novi Sad: Svetovi. Dragojlov, Vesna. (2007). Stvaranje identiteta na internetu, MUDs i igre na internetu. NoviSad: www.zenskestudije.org.rs/, 21.06.2013. Dražić, Sivia. (2012). Judita Šalgo: Identitet i strategija identi(kacije, u Zbornik za jezike i književnosti Filozofskog fakulteta u Novom Sadu. Knjiga II, 245 -157. Grant, D. Taylor. (2013). Humanizing the Machine: Women Artists and the Shi-ing Praxis and Criticism in Computer Art, Journal of the International Digital Media and Arts Association, volume 4, br. 2. http://idmaa.org/?post_type=journalarticle&p=2138, 21.08.2015. Kojić Mladenov, Sanja. (2011). Rod i umetnost, u Ivana Milojević i Slobodanka Markov (ur.), Uvod u rodne teorije. Novi Sad: ACIMSI - Centar za rodne studije i Mediteran, 425-437. Kojić Mladenov, Sanja. (2015). OpenLab_WonderLab. umetnost, priroda, nauka i tehnologija, [katalog izložbe]. Novi Sad: MSUV. Kojić Mladenov, Sanja. (2018). Diskursi o rodu u umetnosti: Konstrukcija profesionalnog identiteta umetnica koje se bave novim medijima u Vojvodini krajem 20. i početkom 21. veka. (doktorska disertacija). Novi Sad: ACIMSI − Centar za rodne studije Univerziteta u Novom Sadu. Lenz, Melanie. (2014). Cataloguing Change: Women, Art and Technology, V&A Online Journal, Issue No. 6, Summer 2014, http://www. vam.ac.uk/content/journals/research-journal/issue-no.-6-summer-2014/cataloguing-change-women,-art-and-technology, 20.08.2015. Lucie-Smith, Edward. (2001). Movements in Art Since 1945. London: $ames & Hudson World of Art. Reichardt, Jasia. (1971). Cybernetics, Art and Ideas,[katalog izložbe]. New York: Graphic Society, 11-17. Reichardt, Jasia. (ur.) (1968). Cybernetic Serendipity: !e Computer and the Arts. Special Issue. London: Studio International. Rush, Michael. (1999). New Media in Late 20th-Century Art, London: $ames & Hudson. Savić, Svenka. (2015). Profesorke Univerziteta u Novom Sadu: životne priče. Novi Sad: Ženske studije i istraživanja i Futura publikacije. Teo(lović, Nataša. (2011). Umetnost pokreta u prostoru praznine (tehnologija i praksa digitalnih karaktera). Beograd: Arhitektonski fakultet univerziteta u Beogradu.

30 : SKOK I ZARON References (quoted): Blagojević Hughson, Marina. (2015). Poluperiferija i rod: pobuna konteksta (Semi-periphery and gender: a rebellion of context). Beograd: Institut za kriminološka i sociološka istraživanja. (Belgrade: Institute for Criminological and Sociological Research). Copper, Giloth i Lynn Pocock-Williams. (1990). A selected Chronology of Computer Art: Exhibitions, Publications, and Technology. Art Journal, Vol. 49, No. 3, Computers and Art: Issues of Content. College Art Association, 283-297. Denegri, Ješa. (1996). Tehničke slike:’ Fotogra(ja, (lm i video u novoj umetnosti sedamdesetih’, u Sedamdesete: teme srpske umetnosti. Novi Sad: Svetovi. (Technical paintings: ‘Photography, (lm and video in the new art of the seventies’, in the Seventies: themes of Serbian art. Novi Sad: Worlds) Dragojlov, Vesna. (2007). Stvaranje identiteta na internetu, MUDs i igre na internetu. (Creating online identities, MUDs and online games) Novi Sad: www.zenskestudije.org.rs/, 21st June.2013. Dražić, Silvia. (2012). Judita Šalgo: Identitet i strategija identi(kacije, u Zbornik za jezike i književnosti Filozofskog fakulteta u Novom Sadu. Knjiga II, 245 -157. (Identity and identi'cation strategy, in Proceedings of the Faculty of Philosophy in Novi Sad. Vol. II, 245 -157) Grant, D. Taylor. (2013). Humanizing the Machine: Women Artists and the Shi-ing Praxis and Criticism in Computer Art, Journal of the International Digital Media and Arts Association, volume 4, br. 2. http://idmaa.org/?post_type=journalarticle&p=2138, 21.08.2015. Kojić Mladenov, Sanja. (2011). Rod i umetnost (Gender and Art), u Ivana Milojević i Slobodanka Markov (ur.), Uvod u rodne teorije (Introduction to gender theories), Novi Sad: ACIMSI - Centar za rodne studije i Mediteran (Center for Gender Studies and the Mediterranean), 425-437. Kojić Mladenov, Sanja. (2015). OpenLab_WonderLab. umetnost, priroda, nauka i tehnologija, [katalog izložbe] (art, nature, science and technology, [exhibition catalogue]). Novi Sad: MSUV. Kojić Mladenov, Sanja. (2018). Diskursi o rodu u umetnosti: Konstrukcija profesionalnog identiteta umetnica koje se bave novim medijima u Vojvodini krajem 20. i početkom 21. veka. (doktorska disertacija) (Discourses on gender in art: !e construction of the professional identity of women artists dealing with new media in Vojvodina at the end of the 20th and the beginning of the 21st century) (PhD thesis). Novi Sad: ACIMSI- Centar za rodne studije Univerziteta u Novom Sadu (Centre for Gender Studies, University of Novi Sad). Lenz, Melanie. (2014). Cataloguing Change: Women, Art and Technology, V&A Online Journal, Issue No. 6, Summer 2014, http://www. vam.ac.uk/content/journals/research-journal/issue-no.-6-summer-2014/cataloguing-change-women,-art-and-technology, 20.08.2015. Lucie-Smith, Edward. (2001). Movements in Art since 1945. London: $ames & Hudson World of Art. Reichardt, Jasia. (1971). Cybernetics, Art and Ideas, [exhibition catalogue]. New York: Graphic Society, 11-17. Reichardt, Jasia. (ur.) (1968). Cybernetic Serendipity: !e Computer and the Arts. Special Issue. London: Studio International. Rush, Michael. (1999). New Media in Late 20th-Century Art, London: $ames & Hudson. Savić, Svenka. (2015). Profesorke Univerziteta u Novom Sadu: životne priče (Professors of the University of Novi Sad: life stories). Novi Sad: Ženske studije i istraživanja i Futura publikacije (Women’s Studies and Research and Futura Publications). Teo(lović, Nataša. (2011). Umetnost pokreta u prostoru praznine (tehnologija i praksa digitalnih karaktera). Beograd (!e art of movement in the space of emptiness (technology and practice of digital characters, Belgrade): Arhitektonski fakultet univerziteta u Beogradu. (Faculty of Architecture, University of Belgrade)...

: LEAP AND DIVE 31 32 33 SKOK I ZARON

Izložba Skok i zaron: identitet umetnica u novomedijskoj praksi, kustoskinje dr Sanje Kojić Mladenov, održana u periodu od novembra 2019. do januara 2020. godine u Muzeju savremene umetnosti Vojvodine u Novom Sadu, ponudila je nekolikim institucijama veoma visoko postavljene ciljeve: muzej, publika i sistem umetnosti dobili su priliku da, odgovorima na pitanja koja izložba pokreće, dođu do razumevanja svoje pozicije u odnosu na tako važnu temu kao što je osvetljavanje identiteta žena u umetničkoj produkciji. Muzej je trebalo da pokaže da li je spreman da prihvati autentični narativ ove izložbe i da, na osnovu njega, preispita svoje politike kolekcionisanja, kao i izlagačke politike, publika je mogla da vrednuje svoja znanja o području predstavljene teme i pojedinačnih opusa umetnica, dok je sistem umetnosti trebalo, još jednom, da razmotri neke od svojih temeljnih postavki koje se tiču njegove dostupnosti i otvorenosti prema ženama koje stvaraju – i koje stvaraju sasvim drugačiju „sliku“ od one koja bi se, možda, podrazumevala. Tako je ova izložba, zapravo, mogla da bude povod za jedno dublje promišljanje velike teme, teme koja zavređuje odavno da se njome bave sve tri institucije koje smo naveli. No, njihovi odgovori na izložbu i njeni efekti u odnosu na muzej, publiku i sistem umetnosti tek treba da postanu vidljivi u budućem ponašanju i delovanju svake od ovih institucija.

Sama izložba je plod temeljnog istraživanja koje je dr Kojić Mladenov sprovela u nameri da dođe do relevantnih zaključaka u vezi sa određenjem i samoodređenjem identiteta dvanaest umetnica poreklom i delovanjem vezanih (i) za Vojvodinu, i to upravo onih koje su ili začetnice novomedijskih praksi u ovom regionu – kao što je to Bogdanka Poznanović – ili su neke od njenih najmlađih protagonstkinja – kao što je to Lea Vidaković. Istraživanjem su, dakle, obuhvaćene: Bogdanka Poznanović, Marica Radojčić, Breda Beban, Vesna Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak Prišić, Nataša Teo(lović, Isidora Todorović, Vesna Tokin i Lea Vidaković, što su i autorke čiji su radovi predstavljeni na izložbi. Odmah treba da primetimo da se kustoskinja opredelila za složeniji put formiranja narativa izložbe: izložba je nastala „izlaskom“ iz prostora vrlo jasno ustrojene akademske forme istraživanja, odnosno odabirom i grupisanjem umetničkih radova autorki koje su njime obuhvaćene, te nije bilo moguće da se izložba „dopuni“ bilo čime – zaključcima, autorkama ili delima, svejedno – što nije bilo prethodno podvrgnuto preciznim metodama ispitivanja i detekcije pravilnosti. Sadržaj izložbe je, prema tome, uslovljen sadržajem i rezultatima istraživanja. U pogledu onog dela muzejskog posla koji se tiče komunikacije, metod koji je primenila kustoskinja pokazao se kao sasvim adekvatan – izborom izložbe kao oblika komunikacije saznanja, istraživanje je, u stvari, dobilo svoju formu i tako „opredmećeno“ prikazalo je jasnu idejnu strukturu koja

34 LEAP AND DIVE

$e exhibition Leap and Dive: !e Identity of Women Artists in New Media Practice, curated by Ms. Sanja Kojić Mladenov PhD, held at the Museum of Contemporary Art of Vojvodina in Novi Sad in the period from November 2019 to January 2020 o*ered very high goals to several institutions: the museum, the audience and the art system were given the opportunity to understand their position in relation to such an important topic as highlighting the identity of women in art production by answering the questions raised by the exhibition. $e museum had to show whether it was ready to accept the authentic narrative of this exhibition and, based on it, reconsider its collecting, as well as exhibition policies, the audience could evaluate their knowledge of the presented topic and individual works of women artists, while the art system should, once again, consider some of its fundamental postulates regarding its accessibility and openness to women who create - and who create a very di*erent “picture” than the one that might be implied. $us, this exhibition could actually be an occasion for a deeper re)ection on the great topic, a topic that has long deserved to be dealt with by all three institutions that we have mentioned. However, their reactions to the exhibition and its e*ects in relation to the museum, the audience and the art system need yet to become evident in the future behaviour and activities of each of these institutions.

$e exhibition itself is the result of a thorough research conducted by Kojić Mladenov, PhD, in order to reach relevant conclusions regarding the determination and self-determination of the identity of twelve women artists by origin and activities related to Vojvodina, and especially those who are either the founders of new media practices in this region - such as Bogdanka Poznanović - or some of its youngest protagonists - such as Lea Vidaković. $e research, thus, includes: Bogdanka Poznanović, Marica Radojčić, Breda Beban, Vesna Gerić, Jelena Jureša, Bojana S. Knežević, Andreja Kulunčić, Lidija Srebotnjak Prišić, Nataša Teo(lović, Isidora Todorović, Vesna Tokin and Lea Vidaković, who are also the women authors whose works were presented at the exhibition. We should immediately notice that the curator opted for a more complex way of forming the narrative of the exhibition: the exhibition was created by “coming out” of the area of a very strictly organized academic form of research, i.e. by selecting and grouping art works according to the authors presented in this exhibition, hence it was impossible to “add” anything to this exhibition - conclusions, authors or works, whatever - that has not previously been subjected to precise methods of examination and detection of regularity. $e content of the exhibition is, therefore, conditioned by the content and results of the research. Regarding the part of the museum work related to communication, the method applied by the curator proved to be quite adequate - by choosing the exhibition as a form of communicating the knowledge, the research actually got its form and thus “materialized”, it showed a clear conceptual structure that is a necessary part of the narrative of the exhibition. However, it is important to emphasize that the passage through the exhibition was

35 je neophodni deo narativa izložbe. Ipak, važno je naglasiti da je prohodnost kroz izložbu bila omogućena i onim njenim posetiocima koji nisu bili svesni postojanja bilo kakvog istraživanja jer je izborom radova postignut utisak pregledne celine. Činjenica da je kustoskinja pažljivom selekcijom radova obezbedila da svaki može da se nadoveže, da postane uvod ili protivteža sledećem, svedoči o dubokom poznavanju pojedinačnih opusa i o njihovom razumevanju. Sklad ideje i njenog predmetnog ispoljavanja mogao je da nastane samo zahvaljujući tome. Muzejska publika tako je mogla da prati i osnovnu narativnu nit ove izložbe, a to je fenomen identiteta, njegove višestrukosti i načina njenog ispoljavanja u delima zastupljenih umetnica, i da se upozna sa nekim od gotovo antologijskih radova unutar opusa pojedinih umetnica – ali i unutar novije istorije vizuelne umetnosti na ovdašnjem prostoru.

Onima koji su upoznati sa izlagačkim prostorom MSUV-a i sa tokom posmatranja izložbi koje se u njemu prezentuju, odmah će biti jasno da je delo kojim se postavka otvara istovremeno i delo koje stoji na samom njenom kraju: spratni prostor MSUV-a ne dopušta kružno kretanje publike, već je potrebno da, nakon što je izložbu pogledao, posetilac prođe istu putanju, samo unatrag, kako bi našao izlaz. Zbog toga je izbor prvog umetničkog rada sa kojim će posetilac biti suočen presudno važan – taj rad ima snagu autorske izjave jer će se naći i na početku i na kraju hoda kroz postavku. Izložba, tako, započinje monumentalnim, a opet veoma suptilnim poliptihom Marice Radojčić, Crni horizontalni limes. Rečima same autorke, beskonačnost je nedodirljiva u stvarnosti; najbliže što joj se Marica Radojčić približila u svom radu sigurno je ovo delo – kao instalacija dugo fantastičnih petnaest metara! Sasvim odgovarajuće, ono se našlo skoro kao prolog priče o identitetima umetnica jer se i ti identiteti, upravo kao Crni horizontalni limes, iz početne kompleksnosti postepeno redukuju u jednu temeljnu nit. Ovo delo posetioca podstiče da u odnos sa eksponatima stupi potpuno spreman za iščitavanje kompleksne priče o mnoštvu identiteta koji se stiču u jednoj tački.

U daljem toku izložbe, posetilac se kreće između eksponata koji ga uvode u autonomni prostor unutar kojeg emituju svoja značenja – upravo obezbeđivanjem dovoljno (zičkog prostora svakom radu sačuvano je njegovo polje samostalnosti koje onda može da se poveže sa drugim radom, no ne i da se sa njime „preklapa“. Na taj način, ostvaren je kontinuitet narativnog toka, zamišljen kao horizontalan/nadovezivanje, a ne vertikalan/nadograđivanje. Ovom metodom postignuta je ravnopravnost različitih pristupa i postupaka koje umetnice koriste u svojim delima, dok je istovremeno ustanovljen i krajnje nehijerarhijski poredak među autorkama jer nijedno delo nije istaknuto kao značajnije od drugog – što je, inače, postupak u slučajevima kada želi da se pokaže da je određeno delo osnova za jedan način razmišljanja ili rada, od kojeg započinju svi drugi, makar to bila i zamišljena osnova. Izbegavši ovu, toliko čestu, zamku potrebe da se sadržaj nehronoloških izložbi po nekoj liniji ipak „čvršće sistematizuje“ i doslovno uredi kako bi posetioci bili suočeni sa jasno struktuiranom idejom, kustoskinja je primenila jedno od osnovnih saznanja o identitetu: on nije apsolutna, već relativna vrednost. Upravo zbog takvog pristupa moguće je da svaki eksponat ravnopravno učestvuje u građenju slike o višestrukostima identiteta umetnica.

Od Srca Bogdanke Poznanović, akcije izvedene 1970. godine i prikazane u formi videa, već spomenutog poliptiha Crni horizontalni limes Marice Radojčić, preko Kali Vesne Tokin i Hoda tri stolice Brede Beban, video-radova iz iste

36 : also made possible for those of its visitors who were not aware of the existence of any research, because the selection of works achieved the impression of a clear whole. $e fact that the curator, through a careful selection of works, ensured that each can be continued hence becoming an introduction or a counterweight to the next one, testi(es to a deep knowledge of individual opuses and their understanding. $e harmony of the idea and its objective manifestation could only be created thanks to that. . $us, the museum audience could follow the basic narrative thread of this exhibition, and that is the phenomenon of identity, its multiplicity and the way it manifests itself in the works of represented women artists, and, further the audience could get acquainted with some of the almost anthological works within the opuses of individual women artists – but, also, within the recent history of visual art in the local area.

$ose who are familiar with the MSUV exhibition space and with the course of observing the exhibitions presented in it, will immediately understand that the work that opens the exhibition is at the same time the work that stands at its very end: the MSUV )oor space does not allow circular movement of the audience, in fact, it is necessary that, a-er having seen the exhibition, the visitor goes through the same space, only backwards, in order to (nd the way out. $at is why the choice of the (rst art work that the visitor will face is crucial - that work has the power of the author’s statement because it will be found both at the beginning and at the end of the stroll through the exhibition. $e exhibition thus begins with a monumental, yet very subtle polyptych by Marica Radojčić, !e Black Horizontal Limes. In the words of the author herself, in(nity is untouchable in reality; the closest that Marica Radojčić approached it in her work is certainly this piece - as an installation of a fantastic, long (-een meters! Quite appropriately, it is comprehended almost as a prologue to the story of the identities of women artists, because these identities, just like the Black Horizontal Limes, are gradually reduced from the initial complexity to one fundamental thread. $is work encourages the visitor to enter into a relation with the exhibits completely ready to read a complex story about the multitude of identities that all come together in one point.

In the further course of the exhibition, the visitor moves between the exhibits that introduce her/him to the autonomous space within which the exhibits broadcast their meanings - by providing enough physical space for each work, its (eld of independence is preserved, which can then be connected with next work, without “overlaps”. In this way, the continuity of the narrative )ow was achieved, conceived as horizontal / extension, and not vertical / upgrading. $is method achieves equality of di*erent approaches and procedures that the women artists use in their works, while at the same time establishing an extremely non-hierarchical order among the authors because no work is highlighted as more important than the other - which is a procedure in cases when wanting to show that a certain work is the basis for one way of thinking or working, from which all others begin, even if it were an imaginary basis. Avoiding this, so common, trap of the need to “systematize” the content of non-chronological exhibitions in some way and literally arrange it so that visitors are confronted with a clearly structured idea, this curator applied one of the basic cognitions about identity: it is not an absolute, but a relative value. Precisely due to such an approach, it is possible for each exhibit to equally participate in building an image of the multiple identities of women artists.

From the Heart of Bogdanka Poznanović, the action performed in 1970 and shown in the form of a video; the already mentioned polyptych Black Horizontal Limes by Marica Radojčić; over Kali by Vesna Tokin and Walk of !ree Chairs

: 37 2003, zatim instalacije Izdaleka izbliza Lidije Srebotnjak Prišić iz 2004, interaktivnog projekta Index žene Andreje Kulunčić započetog 2007. u Splitu, a realizovanog u još tri navrata i tri različita grada, animiranog triptiha Sisters Lee Vidaković iz 2012, igre i aplikacije Jedan dobar dan Isidore Todorović iz 2013, video-rada Jelene Jureše Song iz 2018, iste godine kada je nastao i video A Queen of Montenegro Bojane S. Knežević, sve do radova Uputstvo za predaju Isidore Todorović, Autobiogra'ja/tišina Nataše Teo(lović i Uzorak jednog unutrašnjeg mira Vesne Gerić, nastalih iste godine kada je producirana i izložba Skok i zaron, izložba posetiocu nudi pogled u neke od fenomena koji su okupirali pažnju i angažman umetnica – poput potrebe za aktivizmom, slike intimnog sveta, neophodnosti razumevanja položaja žena u društvu, nedostatka osećanja pripadnosti ili intenzivnog osećanja nevidljivosti. U društvu u kojem su slične teme dugo bile potiskivane i prilično skrajnute kako bi se izbeglo i priznavanje postojanja bilo kakvog problema koji one simbolišu, ipak u proteklih deceniju do dve možemo da pratimo i učestaliji i nešto glasniji govor o njihovom postojanju. Međutim, izložba Skok i zaron ne progovara samo o identitetima umetnica, već to čini analizirajući jednu sasvim posebnu grupu žena – onih koje su svoj rad u potpunosti bazirale na novomedijskim praksama i koje su, već i samim tim činom, svrstale sebe u jednu još manju grupu u okvirima već dovoljno male i slabije zastupljene kako u istraživačkim radovima tako i u medijima, a konačno – i u narativima muzejskih izložbi.

Odluka da se ovakva izložba prikaže u (javnom) muzeju ipak nije identična i ne nosi isto značenje kao izložba sa istom temom koja bi bila smeštena u bilo koju galeriju. Muzeji se, čak i kada se bave savremenošću (a svaki se bavi i time), doživljavaju, pre svega, kao mesta koja u potpunosti poznaju prošlost jer jedino tako mogu da kompetentno kolekcionišu, izlažu i tako ponude viđenje sadašnjosti. Dakle, ako jedan muzej koji baštini ranija znanja o ženama uključenim u produkciju vizuelne umetnosti odluči da se upusti u poduhvat istraživanja identiteta savremenih umetnica i da njegove rezultate predstavi kroz ovu izložbu – onda taj muzej preuzima ulogu konstrukcije određenog narativa o ženama umetnicama danas. Želeći da svoj izbor usmeri u pravcu umetnica koje se izražavaju jezikom novih medija, a ne recimo slike, kustoskinja izložbe sigurno pozicionira svoj odabir unutar niza najprogresivnije linije vizuelne umetnosti koju je iznedrila ovdašnja scena i na taj način pokazuje da ove umetnice pripadaju istoj „tradiciji progresa“. Prema tome, njihov glas je važan i unutar okvira već muzealizovane umetnosti, dok su njihovi iskazi/dela neophodni kako bi se bolje shvatila savremenost. Muzeji imaju sasvim precizne mehanizme pamćenja, te će i izložba Skok i zaron, bez sumnje, doprineti boljem razumevanju tako složene teme kao što je identitet i još složenije: kako se to ispoljavaju različiti oblici identiteta unutar jednog umetničkog rada.

Vraćajući se na pitanje o one tri institucije koje bi mogle da preispitaju svoje pozicije u vezi sa identitetom žena u umetničkoj produkciji – muzejima, publici i sistemu umetnosti – čini se da je izložba Skok i zaron ponudila dovoljno široki okvir za razmatranje brojnih pitanja, dok je istraživanje čiji je ona rezultat odgovorilo na jedan deo njih. Ipak, zadatak za te tri institucije sa početka teksta je da neka od ovih saznanja usvoji i nastavi da govori o ovoj temi, stalno razumevajući da je ona univerzalna, a iskazana kroz dela umetnica koje su osetile potrebu da u svoju potragu za smislom uključe i lična iskustva, kako bi se povezala sa opštim.

38 : by Breda Beban, video works from the 2003; then installations From afar up close by Lidija Srebotnjak Prišić from 2004; the interactive project Index of a Woman by Andreja Kulunčić started in 2007 in Split, and realized on three more occasions and in three di*erent cities; the animated triptych Sisters Lee Vidaković from 2012; games and applications One Good Day by Isidora Todorović from 2013; video by Jelena Jureša Song from 2018, the same year when the video A Queen of Montenegro by Bojana S. Knežević was created; all the way to the works Instructions for the submission of Isidora Todorović; Autobiography / silence by Nataša Teo(lović and Sample of an inner peace by Vesna Gerić, created in the same year when the exhibition Leap and Dive was produced, the exhibition o*ers the visitor a view into some of the phenomena that occupied the attention and engagement of artists - such as the need for activism, image of the intimate world, the need to understand the position of women in society, lack of sense of belonging or intense sense of invisibility. In the society in which similar topics have long been suppressed or pushed aside in order to avoid acknowledging the existence of any problem they symbolize, in the past decade or two we can now see a bit more frequent and somewhat louder talk about their existence. However, the exhibition Leap and Dive does not talk only about the identities of women artists, but does so by analysing a very special group of women - those who have based their work entirely on new media practices and who, by that very act, have classi(ed themselves into one, even smaller group within the frame of already rather small and less represented one, both in research works as well as in the media, and (nally - in the narratives of museum exhibitions too.

$e decision to display such an exhibition in a (public) museum, however, is not identical and does not carry the same meaning as an exhibition with the same theme that would be placed in any gallery. Museums, even when dealing with the modernity (and each deals with it as well), are understood primarily as places with extensive knowledge of the past, because only in that way can they competently collect, exhibit and thus o*er a vision of the present. So, if a museum that inherits previous knowledge about women involved in the production of visual art, decides to embark on an endeavour to explore the identity of contemporary women artists and present its results through an exhibition - then that museum takes on the role of constructing a narrative about women artists of today. Wanting to direct her choice in the direction of women artists who express themselves in the language of new media, and not, say, paintings, the curator of the exhibition certainly positions her choice within the string of the most progressive line of visual art generated by the local scene and thus shows that these women artists belong to the same “tradition of progress”. $erefore, their voice is important within the framework of already musealized art, while their statements / works are necessary in order to better understand modernity. Museums have very precise mechanisms of memory, and the exhibition Leap and Dive will undoubtedly contribute to a better understanding of such a complex topic as identity and even more complex one: how di*erent forms of identity are manifested within one work of art.

Returning to the question of those three institutions that could reconsider their positions regarding the identity of women in the production of art - museums, audiences and the art system - it seems that the exhibition Leap and Dive o*ered a broad enough framework for consideration of a number of questions, while the research that resulted in the exhibition answered one part of them. However, the task for these three institutions from the beginning of this text is to adopt some of this knowledge and continue to deal with this topic keeping in mind that it is universal, and expressed through the works of women artists who felt the need to include, in the search for meaning, their personal experiences in order to relate to the general ones.

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40 HOD TRI STOLICE | WALK OF THREE CHAIRS, 2003 video, 8’27’’ Ljubaznošću zadužbine umetnice i Kalfayan galerije (Atina−Solun)

Produkcija i režija: Breda Beban / Fotogra(ja: Robi Miler / Montaža: Stiv Sprang / Zvuk: Dejan Pejović / Muzika: tradicionalna balkanska pesma Ko ne zna da pati taj ne zna da voli / Uloge: grupa Jova, Breda Beban / Snimano na lokaciji u Beogradu, u Srbiji / U boji / Trajanje: desetominutni segment koji se ponavlja / Naručeno od strane: Film & Video Umbrella / Podržano sredstvima Umetničkog saveta Engleske / Izdanje: 3

Hod tri stolice prikazuje Bredu Beban na plutajućem splavu postavljenom između dve obale Dunava u Beogradu, na mestu za koje mnogi veruju da predstavlja tačku na kojoj prestaje Balkan i počinje Evropa. Jedna obala nam otkriva industrijski pejzaž, dok je druga pokrivena drvećem i vikendicama od drveta. Film je nazvan po tradicionalnom balkanskom, paganskom ritualu koji je, po sećanju umetnice, njen deda izvodio posle svakog kockarskog dobitka. Rizičan, ali slavljenički čin, koji izvodi Bebanova na podlozi koja menja nagib, predstavlja za nju izraz ,,složene vrste radosti, radosti koja zna za tugu’’. Ova ideja o „medu i žuči“ je sadržana u pesmi Ko ne zna da pati, taj ne zna da voli koju Bebanova pokušava da otpeva dok se kreće.

41 42 HOD TRI STOLICE | WALK OF THREE CHAIRS, 2003 video, 8’27’’ Courtesy of the artist’s estate and Kalfayan Galleries (Athens-$essaloniki)

Production & Direction: Breda Beban / Photography: Robby Muller / Editing: Steve Sprung / Sound: Dejan Pejovic / Music: traditional Balkan song ‘Who Doesn’t Know How To Su*er Doesn’t Know How to Love’ / Cast: ‘Jova’ band, Breda Beban / Filmed on location in Belgrade, Serbia / Colour / Minimum 10-minute segment looped Commissioned by: Film & Video Umbrella / Funding: $e Arts Council of England / Editions: 3

Walk of !ree Chairs shows Breda Beban )oating on a ra- between two banks of the Danube in Belgrade, believed by some to be the point at which the Balkans end and Europe begins. One bank reveals an industrial landscape whilst trees and wooden dachas populate the other. $e movie takes its title from a traditional Balkan pagan ritual, one that the artist recalls her grandfather performing a-er winning at gambling. $e precarious yet celebratory act performed by Beban against the shi-ing backdrop, is for her an expression of ‘a complex kind of joy, joy informed by sadness’. $is idea of ‘bitter sweet’ is encapsulated in the love song Beban attempts to sing as she travels: ‘Who Doesn’t Know How to Su*er Doesn’t Know How to Love’.

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44 UZORAK JEDNOG UNUTRAŠNJEG MIRA | THE SAMPLE OF ONE INTERNAL PEACE, 2019 animacije, digitalni print | animations, digital print

„Život jednog emigranta oscilira između nametnute i poželjne usamljenosti. Svaka za sebe podrazumeva analitička pitanja koja se onda granaju u bezbroj odgovora, prespitivanja koja često donose unutrašnji haos i tenziju. Traženje unutrašnjeg mira kome svi težimo je proces, unutrašnje putovanje koje svesno pokušavamo da nađemo. Međutim, često se taj dugo traženi trenutak na mukotrpnom putu preispitivanja tek desi, a da uzrok ne znamo. Podsvesna reakcija na podneblje, nova iskustva, nove percepcije. Svoj unutrašnji mir nalazim u beskrajnim predelima pustinje Sahare – u njenoj tišini i slobodi. Taj put sam pokušala da ilustrujem kao unutrašnji proces postepenog odbacivanja elemenata koji svakodnevno vrše invaziju na naša čula do njegovog potpunog eliminisanja. Makar taj doživljaj trajao samo tek koji trenutak, on nam donosi spokoj duše koji se pamti i kome se vraćamo.’’

45 46 UZORAK JEDNOG UNUTRAŠNJEG MIRA | THE SAMPLE OF ONE INTERNAL PEACE, 2019 animacije, digitalni print | animations, digital print

A life of an emigrant oscillates between the imposed loneliness and the desirable one. Each entails analytical questions that then branch out into innumerable answers, questionings that o-en bring about internal chaos and tension. $e search for inner peace that we all strive for is a process, an inner journey that we consciously try to (nd. However, o-en the long-sought moment on the painstaking path of questioning just happens and we do not know the cause. $e subconscious reaction to the region, new experience, new perceptions. I (nd my inner peace in the endless landscapes of the Sahara Desert – in its silence and freedom. It is this path that I tried to illustrate as an internal process of the gradual rejection of the elements that daily invade our senses until they are completely eliminated. Even though this experience may last but a brief moment, it brings us serenity of soul that stays remembered and that we return to.

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48 SONG, 2018 video, 27’55’’

Song čine četiri poglavlja koja se bave različitim konotacijama pesme Tebi majko misli lete. U fokusu je kompleksna problematika egzila i nepripadanja gde pesma služi kao vodilja. Video je baziran na tekstu pisca Miljenka Jergovića, objavljenom u Jutarnjem listu, 3. septembra 2013, kao i na prepisci Jureše i Jergovića. Istraživanje i vizuelna koncepcija rada ujedno je i posveta Specijalnim vlakovima (1972), (lmu Krste Papića, te rezultat saradnje sa profesorom Sidnijem R. Najdželom i njegovom Nagel Group Lab sa Univerziteta u Čikagu.

49 50 SONG, 2018 video, 27’55’’

Song consists of four chapters, each exploring the di*erent connotations of the song ‘To You, Dear Mother’. $ey thematise the complex problematics of exile and place(lessness), with the song as the video’s lifeline.$e video is based on a newspaper article by novelist Miljenko Jergovic, published in the Croatian daily Jutarnji list (September 3, 2013), and on Juresa’s correspondence with the writer. $e research and the visual conception of the installation have been developed as a particular re)ection on Special Trains (Specijalni vlakovi, 1972), a (lm by Croatian (lmmaker Krsto Papic, in collaboration with the U.S scientist and professor Sidney R. Nagel and his Nagel Group Lab at the University of Chicago.

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52 A QUEEN OF MONTENEGRO / NE POSTOJIM, DAKLE NE MISLIM A QUEEN OF MONTENEGRO / I AM NOT, THEREFORE I DON’T THINK, 2018 video, 5’53’’

A Queen of Montenegro je projekat u kome Bojana S. Knežević istražuje svoje crnogorsko poreklo, iz speci(čne pozicije nevidljivosti koja je uzrokovana njenim rodnim identitetom. Polazna tačka projekta je veliko porodično stablo, sačinjeno samo od muških članova, koje postaje nova platforma za intervenciju. Subvertirajući ustaljenu reprezentaciju crnogorskog ženskog identiteta, umetnica koristi svoju poziciju nevidljivosti da bude bilo šta... Projekat se realizuje kroz seriju radova u različitim medijima, uz konstantnu performativnu i repetitivnu rekonstrukciju porodičnog stabla.

Do sada realizovani radovi u okviru projekta: Autoportret (kolor fotogra(ja); Ne postojim, dakle ne mislim (video/performans); Razgovori (4-kanalna audio instalacija); Tamo gde nisam rođena (performans rekonstrukcije porodičnog stabla/serija crteža).

53 54 A QUEEN OF MONTENEGRO / NE POSTOJIM, DAKLE NE MISLIM A QUEEN OF MONTENEGRO / I AM NOT, THEREFORE I DON’T THINK, 2018 video, 5’53’’

A Queen of Montenegro is a project in which Bojana S. Knežević – as the only daughter of a Montenegrin father, explores her origin and heritage, from the speci(c position of invisibility - which is caused by her gender identity. $e starting point is a huge family tree made up just of male members, which now becomes a new platform for intervention. By subverting the established (under)representation of Montenegrin female identity, the artist uses her position of invisibility to be anything... $is project is realized through a series of artworks in various media and constant performative and repetitive reconstruction of the family tree. List of the artworks released within the project: Self-portrait (color photograph); I am not, therefore I don’t think (video, performance); Conversations (4-channel audio installation); Where I was not born (performance, intervention / reconstruction of the family tree, drawings).

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56 INDEX.ŽENE | INDEX.WOMEN, 2007 interaktivni projekat | interactive project

index.žene je participativni projekat koji se realizovao u saradnji sa ženama, prvenstveno slučajnim prolaznicama na ulicama gradova gde je projekat postavljen (2007. godine u Splitu, 2011. u Napulju, 2013. u Beogradu i 2014. u Ljubljani). Cilj projekta je podsticaj ženama da osveste i de(nišu svoje individualne pozicije, u porodičnom i širem društvenom kontekstu, odgovorom na pitanje: ,,Kako se osećam?’’. Pitanje je postavljeno na city lights plakatnim mestima, na raznim gradskim lokacijama, kao poziv ženama da ostave anonimnu poruku na besplatnom telefonu. Telefonska poruka uključuje odabir između tri opcije: zadovoljna, diskriminisana ili zlostavljana. Drugi deo projekta odnosi se na praćenje statističkih podataka koji nastaju uživo telefonskim pozivima i prikazuju se na digitalnom ekranu u javnom prostoru gradova učesnika (glavni trg, železnička stanica i sl.), na internetu i unutar same galerije. Tokom trajanja izložbe u galeriji su organizuju radionice i diskusije koje temu razmatraju s teorijskog aspekta.

57 58 INDEX.ŽENE | INDEX.WOMEN, 2007 interaktivni projekat | interactive project

index.žene (index.women) is a participatory project realized in cooperation with women, primarily random passers-by, in the streets of towns where the project was executed (2007 in Split; 2011 in Naples; 2013 in Belgrade, and 2014 in Ljubljana). $e aim of the project was to encourage women to become aware of and de(ne their own individual positions in the family and wider social context by answering the question: ‘’How do I feel?’’. $e question was posted at the city lights posters in various locations around the towns, inviting women to leave an anonimous message at the free phonelines. $e phone message included choice among three options: satis"ed, discriminated against or abused. $e other part of the project is to monitor the statistical data resulting from live phone calls and to display this data on a digital screen in the public space of the participating towns (main square, railway station, etc.), on the Internet and within the galleries. For the duration of the exhibition, the gallery organizes workshops and discussions that consider the topic from a theoretical point of view.

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60 SRCE | HEART, 1970 akcija / video | action / video, 02’33’’ Ljubaznošću porodice Filipović, za potrebe prikazivanja na izložbi

„Bio je to objekat u obliku srca od stiropora, obloženog crvenom plastičnom folijom 2 x 2 m, unutra je inkorporiran metronom podešen na puls (76 otkucaja).’’ Tokom akcije prijatelji Bogdanke Poznanović su nosili srce od Varadinskog mosta, kroz grad, do galerije Tribine mladih, s idejom da se formira povorka, kojoj će se priključivati građani, stvarajući svojevrsnu karnevalsku atmosferu. ,,Bila je to komunikacija sa gradom, ljudi su komentarisali, učestvovali...’’ Srce je u galeriju uneto preko bele tkanine, kojom je bio prekriven pod, a u centru prostora je bila postavljena četvrtasta ploča s tanjirima, noževima, viljuškama, kašikama i čašama. Svi kuhinjski predmeti su bili prazni, (ksirani i beli. ,,Prišla sam, otkačila metronom... bila je potpuna tišina, mi smo bili živi okvir i ‘čuli’ vlastite pulseve... Taj projekat je povezan i s našim običajima: kad nevesta ulazi u kuću, korača preko belog platna.’’

61 62 SRCE | HEART, 1970 akcija / video | action / video, 02’33’’ Courtesy of the Filipović family for the purpose of being shown at the exhibition

‘’It was a heart shaped object made of Styrofoam, coated with red plastic foil, 2 x 2m, with a metronome incorporated within and set at the pulse rate (76 beats).’’ During the action, Bogdanka’s friends carried the heart from the Varadin Bridge, through the city, to the gallery of the Tribina mladih (Youth Tribune), with the idea of forming a procession which citizens would join creating a kind of carnival atmosphere. ’’It was communication with the city, people commented, participated ...’’. In the gallery, the heart was carried in over a white cloth that covered the )oor and in the centre of the space a square plate with plates, knives, forks, spoons and glasses was placed. All kitchen items were empty, (xed and white. ‘’I approached, set the metronome in motion ... the silence was complete, we were a living frame and ’’heard’’ our own pulses... $at project is also related to our customs: when a bride enters the house, she walks over a white cloth’’.

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64 TEKST–TEKST–TEKST | TEXT–TEXT–TEXT, 1992/1993 kompjuterska animacija | computer animation, loop 0’07’’ Kolekcija MSUV | $e MoCAV collection

„Beskonačnost je nešto čime se matematika i matematičari bave kao bilo kojim konačnim objektima ili pojmovima. Uvek me je zanimala paradoksalna situacija da se u matematici tako lako bavimo beskonačnošću, a u stvarnosti je ne možemo ni dodirnuti. Osim potencijalne beskonačnosti, jedine koja nam je data. Ideja beskonačnosti bila je u centru pažnje u nekoliko mojih radova. Jedna od njih je i velika poliptih instalacija Black Horizontal Limes (Crni horizontalni limes), dugačka 15 metara, u kojoj sam do vrhunca razvila korišćenje mog rukopisa kao glavnog vizualnog medija.’’

65 66 CRNI HORIZONTALNI LIMES | BLACK HORIZONTAL LIMES, 1986/87 poliptih, akrilik na platnu/panelu | polyptich, acrilic on canvas/panel 160 x 120 cm, 160 x 95 cm, 160 x 67 cm, 160 x 41 cm, 160 x 26 cm, 160 x 12 cm, 160 x 6 cm Kolekcija MSUV | $e MoCAV collection

In(nity is something that mathematics and mathematicians deals with as with any other (nite objects or notions. I always was intrigued with the paradoxical situation that in mathematics we deal with in(nity so easily and in reality we cannot even touch it. Except potential in(nity the only one given to us. $e idea of in(nity was in focus in several works of mine. One of them is Black Horizontal Limes big poliptichinstallation 15 meters long in which I developed usage of my hand writing as the main visual media to its high light.

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68 IZDALEKA IZBLIZA | CLOSE UP FROM AFAR, 2004 instalacija | installation digitalni print, peskirano staklo | digital print, sandblasted glass IZA POGLEDA ZATVORENO | CLOSED BEHIND THE VIEW NA RUBU IZDALEKA | ON THE EDGE OF FAR IZBLIZA | CLOSEUP ODVOJITI | SEPARATE UČINILO MI SE | IT SEEMED TO ME

IZDALEKA IZBLIZA SAMO NA RUBU IZA POGLEDA ZATVORENO ODNEKUD PRISUTNO UNAZAD SLUŠAM PO BAŠTI U VRTU UKRUG UVUČENO UVEĆANO NAĐENO ODVOJITI UČINILO MI SE MISLIM DA JE TO DIVLJI LUK NA POLA PUTA IZMEĐU SAMO ZA SEBE NEVAŽNO IZRONILO I OTPLOVILO UHVAĆENO OČIŠĆENO U NEDOGLED POREDITI JEDNO UZ DRUGO je serija zapisa nastala pretraživanjem privatne fotogra(je snimljene početkom šezdesetih godina. Skenirana i uvećana (pod interpolacijom) otvorila je prostor prisustva segmenata „iz drugog plana“ koji u realizaciji „nove“ fotogra(je dobijaju dominantnu poziciju. Lično, emotivno kadriranje efemernih predmeta i prostora prati tekst koji podražava stanje promene.

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IZDALEKA IZBLIZA | CLOSE UP FROM AFAR, 2004 instalacija | installation digitalni print, peskirano staklo | digital print, sandblasted glass IZA POGLEDA ZATVORENO | CLOSED BEHIND THE VIEW NA RUBU IZDALEKA | ON THE EDGE OF FAR IZBLIZA | CLOSEUP ODVOJITI | SEPARATE UČINILO MI SE | IT SEEMED TO ME

CLOSE UP FROM AFAR ON THE EDGE ONLY CLOSED BEHIND THE VIEW PRESENT FROM SOMEWHERE LISTENING BACKWARDS AROUND THE GARDEN IN THE GARDEN IN A CIRCLE INDRAWN INCREASED SEPARATE THE FOUND IT SEEMED TO ME I THINK IT IS WILD ONION HALF WAY BETWEEN FOR ONESELF ONLY UNIMPORTANT DIVED OUT AND SAILED AWAY CAUGHT CLEANED ENDLESSLY COMPARE SIDE BY SIDE is a series of records created by searching a private photograph taken in the early 1960s. Scanned and magni(ed (under interpolation) it opened the space for the presence of segments from the ‘’background’’ to take a dominant position in the realization of the ‘’new’’ photograph. Personal, emotional framing of ephemeral objects and spaces is accompanied by a text that imitates a state of change.

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72 AUTOBIOGRAFIJA | TIŠINA AUTOBIOGRAPHY | SILENCE, 2019 3D animacija | 3D animation, 02’28’’

„Kada sam počela da živim sama, odlučila sam da rekonstruišem staru porodičnu kuću. Prostor u kome se generacijama živelo nosi u sebi tragove nekadašnjih ukućana, nekadašnjeg života. Memorija je subjektivna i može se rekonstruisati samo u fragmentima i svako od nekadašnjih ukućana opisao bi i prošao kroz ovaj prostor na drugačiji način i drugim putem. Odatle je i ovaj virtuelni prostor fragmentaran kao da u isto vreme imamo viđenje više različitih ljudi. Poslednjih 15 godina negujem ruže i bosiljak koje su stare oko 40 godina. Nedostajući fragmenti kuće u animaciji zamenjeni su biljkama iz bašte. Prostor se rekonstruiše, život se obnavlja. autobiogra'ja | tišina je 3D animacija urađena tehnologijom VR animacije, odnosno 360 videa, ali se prikazuje kao klasična animacija jer 360 video daje celinu prostora u svakom frejmu animacije i prostor se, metaforički rečeno, obavija oko nas mada i dalje ostajemo u 2D slici. Iz belog u belo.“

73 74 AUTOBIOGRAFIJA | TIŠINA AUTOBIOGRAPHY | SILENCE, 2019 3D animacija | 3D animation, 02’28’’

When I started to live on my own, I decided to renovate my old family house. $e space in which generations have lived carries the traces of the former household members, the former life. Memory is subjective and can only be reconstructed in fragments, and, each of the former household members would describe and roam through this space in a di*erent way and along di*erent path. Hence this virtual space is fragmented as if we have the vision of several di*erent people at the same time. For the last 15 years I have grown roses and basil that are about 40 years old. $e missing fragments of the house have been replaced in the animation by the plants from the garden. Space is being reconstructed, life is being restored. autobiogra'ja | tišina (autobiography | silence) is a 3D animation done in VR animation technology, i.e. 360 videos, but is shown as a classic animation because the 360 video creates the whole space in each frame of the animation, and the space is metaphorically wrapped around us though we still remain in 2D image. From white to white.

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76 JEDAN DOBAR DAN | ONE GOOD DAY, 2013 lokativna igra napravljena za Android platforme koja se igra u Novom Sadu| location game created for Android platform and is played in Novi Sad Aplikacija se besplatno može skinuti na sledećoj adresi | $e application can be downloaded free of charge at the following address: https://play.google.com/store/apps/details?id=com.hmc.onegoodday&hl=en

JEDAN DOBAR DAN je lokativna politička igra za Android platforme. Igra sadrži speci(čne geolokativne i političke informacije o gradu. Cilj igre je da se opstane jedan dan u Novom Sadu; vaš lik pokušava da upotrebi sva sredstva da preživi. Igra je koncipirana kao šetnja kroz Novi Sad gde se iskustva korupcije paralelno dešavaju u dve realnosti, u istom trenutku u narativu igre i u stvarnom životu na realnim lokacijama. Igra je čvrsto povezana sa pitanjima korupcije, političke ili verske zloupotrebe moći i kao takva predstavlja pokazatelj prethodnih i sadašnjih problema i političkih borbi u Novom Sadu. JEDAN DOBAR DAN je svojevrsni alternativni vodič za Novi Sad, jer šetajući kroz najupečatljivije objekte u Novom Sadu možete naučiti priče o korupciji, političkim i ličnim borbama unutar njih. Igra je nagrađena na festivalu Videomedeja nagradom ,,Bogdanka Poznanović’’ za najbolju interaktivnu instalaciju.

ONE GOOD DAY is a location political game for the Android platform. $e game contains speci(c geo-location and political information about the city. $e goal of the game is to survive one day in Novi Sad; your character is trying to use all means to survive. $e game is designed as a walk through Novi Sad where the experiences of corruption occur simultaneously in two realities, in the narrative of the game, and in real life in real locations at the same time. $e game is (rmly linked to issues of corruption, political or religious abuse of power, and, as such, is an indicator of past and present problems and political struggles in Novi Sad. ONE GOOD DAY is a kind of an alternative guide to Novi Sad, because, while walking through the most signi(cant buildings in Novi Sad, you can learn about stories of corruption, political struggles and personal struggles within them. $e game was awarded at the Videomedeja Festival with the ‘’Bogdanka Poznanović Award’’ for Best Interactive Installation.

77 UPUTSTVO ZA PREDAJU

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2. GLAVA NEKA JE BLAGO POGNUTA

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78 UPUTSTVO ZA PREDAJU | INSTRUCTION FOR SURRENDER, 2019 multimedijalna instalacija koja se sastoji od printa i interaktivnog dela napravljenog uz pomoć Arduino mikrokontrolera i senzora za pokret | a multimedia installation which consists of a print and an interactive part created using the Arduino microcontroller and motion sensor

Glavni fokus interaktivne instalacije je bela zastava koja se ,,predaje’’/,,maše’’ kad publika prođe pored nje (uz pomoć senzora i Arduino mikrokontrolera). Rad je sociokulturološka kritika društva i umetnosti koje se „predalo“. U radu se, konstruisanjem bele zastave koja maše publici, ironično poziva na predaju. Rad skreće pažnju na društvenu apatiju koja nas sve više obuzima i programirano/uslovljeno ponašanje, usađeno u našoj svakodnevici, dok smo mi psihološki programirani na apatiju, servilnost i predaju od strane protagonista na poziciji moći.

$e main focus of the interactive installation is the white )ag that ‘’surrenders / waves’’ as the audience passes by (with the help of the sensors and the Arduino microcontroller). $e work is a sociocultural critique of society and art which, both, have ‘’surrendered’’. $e work ironically calls for surrender by constructing a white )ag which waves to the audience. $e work draws attention to the social apathy that is increasingly engul(ng us and draws attention to programmed / conditioned behaviours ingrained in our everyday lives, while we are psychologically programmed into apathy, servility and submission by the protagonists in positions of power.

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80 KALI, 2003/4 video, 08’09’’ Kali: Mirjana Vuković Produkcija | Production: Vesna Tokin

Video je inspirisan hinduističkom boginjom Kali u njenom razornom obličju, sa ogrlicom od ljudskih glava. Kali simbolizuje nebesku Majku koja štiti i neguje, a istovremeno i moć raspadanja i destrukcije, razornu moć vremena i prolaznosti. Da bi nastalo nešto dobro i lepo, prvo mora da se uništi sve što je loše... U video-radu se pojavljuje Kali sa ogrlicom. Postepeno, u svakom zrnu njene ogrlice pojavljuju se delovi TV šoua popularnih folk zvezda, ljudske lobanje i dokumentarne scene iz rata. Koncept ovog rada je ,,arheološki’’, njime se stapaju slojevi nepovezanog iskustva u jednu sliku na kojoj detalj dezintegriše celinu, a celina ostaje tek splet tragova koji nestaju, koji se naziru i talože jedan preko i pored drugog kao zapis razorenog iskustva.

81 82 KALI, 2003/4 video, 08’09’’ Kali: Mirjana Vuković Produkcija | Production: Vesna Tokin

$is video is inspired by the Hindu goddess Kali, represented in her destructive form, with the necklace made of human heads. On one hand, Kali symbolizes the heavenly Mother who protects and nurtures, but on the other hand, she is the symbol of decay and destruction, and also the devastating power of time and and its transience. In order to create something good and beautiful, everything bad has to be destroyed (rst. Kali is wearing a necklace in this video. $e popular folk-stars’ TV shows inserts, human skulls and documentary war scenes gradually appear in each of her beads. $e concept of the video is ‘’archeological’’, merging the layers of incoherent experience gathered into an image where the details disintegrate totality, and totality remains just a patchwork of disappearing tracks and trails, coming into sight as a testament of broken experience.

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84 SISTERS, 2012 animirani triptih | animated triptych, 7’ 48’’ objekat, kombinovana tehnika | object, mixed media, 60 x 50 x 50 cm Link za pregled triptiha |Triptych Review Link: https://vimeo.com/59157123 Rad je nastao na MA studijama audio-vizuelne umetnosti, KASK, Belgija | $e work was created at MA Studies in Audio-Visual Arts, KASK, Belgium

Animirani triptih Sisters pobuđuje atmosferu starih )amanskih slika, gde se sestre, zatočene u melanholiji, suočavaju sa prazninom i tugom koja proizilazi zbog one koja nedostaje. Kroz istančan, taktilan opis minijaturnog sveta i njegove krhke atmosfere, koristeći se vizuelnim metaforama i nizom raznovrsnih tehnika montaže, ovaj triptih predstavlja strukturu otvorenog narativa. Rad se koristi prostorom kao narativnim mehanizmom i kao pozornicom na kojoj se različiti narativni elementi preklapaju, spajaju i uporedo razvijaju. Rad istražuje alternativne mogućnosti konstrukcije narativa, vizuelnog kazivanja priče u polju proširene animacije, gde se vizuelni i audio-zapis koriste u svrhu proširivanja narativa na prostor izvan kradra, izvan onoga vidljivog.

Rad se sastoji iz tri sinhronizovana video-zapisa u tehnici lutka animacije. Pored animacija, u prostoru se nalazi i objekat, minijatura napuštene sobe. Ovaj prostor ostaje nevidljiv u animacijama jer upravo ta soba predstavlja tabu, prostor pred kojim se sestre zaustavljaju, ali nikada u njega ne ulaze. Jedino posetilac izložbe može proviriti kroz prozor ove minijaturne diorame i čitati je kao ključ sva tri (lma.

85 86 SISTERS, 2012 animirani triptih | animated triptych, 7’ 48’’ objekat, kombinovana tehnika | object, mixed media, 60 x 50 x 50 cm Link za pregled triptiha |Triptych Review Link: https://vimeo.com/59157123 Rad je nastao na MA studijama audio-vizuelne umetnosti, KASK, Belgija | $e work was created at MA Studies in Audio-Visual Arts, KASK, Belgium

$e animated triptych Sisters evokes the atmosphere of the old Flemish paintings, where the sisters, imprisoned in melancholy, face the emptiness and sadness that arises because of the missing one. $rough a subtle, tactile description of the miniature world and its fragile atmosphere, using visual metaphors and a variety of editing techniques, this triptych represents the structure of an open narrative. $e work uses space as a narrative mechanism and as a stage on which di*erent narrative elements overlap, merge and develop in parallel. $e work explores alternative possibilities of constructing narratives, the visual telling of a story in the (eld of extended animation, where the visual and audio recordings are used for the purpose of extending the narrative to the space beyond the frame, beyond the visible. $e work consists of three synchronized videos in the doll animation technique. In addition to the animation, there is an object in the space, a miniature of an abandoned room. $is space remains invisible in the animations, because this very room is a taboo, a space in front of which the sisters stop but never enter. Only the exhibition visitor can peek through the window of this miniature diorama, and read it as the key to all three (lms.

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Izložba SO-CALLED REALITY realizovana je u saradnji Centra za savremenu umjetnost Crne Gore i Muzeja savremene umetnosti Vojvodine, a u okviru međunarodnog projekta RISK CHANGE (2016-2020), podržanog od strane programa Evropske unije „Kreativna Evropa”. Koncipirana je kao presek celokupnog projekta i njegova svojevrsna završnica, uz izbor učesnika i učesnica koji su učestvovali u različitim aktivnostima tokom trajanja projekta (samostalne i grupne izložbe, rezidencijalni programi, predavanja, diskusije i radionice).

Projekat RISK CHANGE je započet kroz istraživanje savremenih procesa migracija i kontinuiranih socijalnih i kulturoloških promena u 21. veku, sa geopolitičkim fokusom na Evropu. Cilj je usmeren ka istraživanju, kreiranju, povezivanju, upoređivanju, diseminaciji i promociji savremene interdisciplinarne umetnosti povezane s kulturom, društvenim i prirodnim naukama, te informaciono-komunikacionim tehnologijama. Tokom četvorogodišnjih aktivnosti ukazao je na neophodnost umrežavanja i saradnje institucionalnih i nezavisnih aktera savremene umetničke scene, lokalnih inicijativa usmerenih na probleme mikro zajednica, univerzitetskih centara i njihovih akademskih mehanizama, iz drugačijih evropskih, kulturnih i ekonomskih sistema.

Podstaknut je izbegličkom krizom 2015-2016. godine i talasom migracija stanovništva jugozapadne Azije, a potom i severne Afrike ka razvijenim zemljama Evrope, što je izazvalo mnoge nestabilne procese kako u tranzitnim tako i u zemljama njihovog konačnog izbora. Pitanje evropskog „bogatstva suživota različitosti” postalo je diskutabilno u izazovima konzervatizma i ksenofobije, što je dovelo do ispitivanja ne samo procesa integracije izazvane aktuelnom migracijom već i propitivanja postojećih problematičnih manjinskih i identitetskih politika u evropskom društvu, prisutnom u savremenoj umetničkoj produkciji, kao dela šireg, ali povezanog diskursa rizičnih praksi i odnosa.

Izložba SO-CALLED REALITY u Podgorici je rezultat procesa istraživanja, selekcije i produkcije umetničkih radova tokom višegodišnjih aktivnosti projekta RISK CHANGE, a realizovanih u MSUV-u u Novom Sadu, kroz saradnju sa preostalih devet organizacija iz Evrope koje su učestvovale u projektu. Učesnici izložbe su: Breda Beban, Igor Bošnjak, diSTRUKTURA, Robert Jankuloski, Romeo Kodra, Oleg Kulik, Monika Moteska, Branislav Nikolić, Vesna Perunović, Nina Todorović, Selman Trtovac, Božo Vasić, Dragan Vojvodić, Selma Selman, Dragoljub Raša Todosijević, Lidija Srebotnjak-Prišić, Nataša Teo(lović.

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$e exhibition SO-CALLED REALITY has been realised in collaboration of the Centre of Contemporary Art of Montenegro and the Museum of Contemporary Art Vojvodina in the scope of the international project RISK CHANGE (2016-2020) supported by the European Union programme “Creative Europe”. It is conceived as a cross- section of the entire project and is a kind of a (nale, composed of a selection of participants in various activities that were realized during the project (solo and group exhibitions, residency programs, lectures, discussions and workshops).

$e RISK CHANGE project was initiated through the research of contemporary processes of migration and continuous social and cultural changes in the 21st century, with the geopolitical focus on Europe. $e goal is aimed at researching, creating, connecting, comparing, disseminating and promoting contemporary interdisciplinary art related to culture, social and natural sciences, and information and communication technologies. In the course of the four-year-long activities, the project pointed out the necessity of networking and cooperation of institutional and independent actors of the contemporary art scene, local initiatives focused on the problems of micro communities, university centres and their academic mechanisms from di*erent European, cultural and economic systems.

It was instigated by the refugee crisis of 2015-2016, and the wave of migration of the population of Southwest Asia, and the North Africa towards developed European countries, which has caused many unstable processes, both in transit as well as in the countries of destination. $e issue of European “richness of coexistence of diversity” has become debatable in the face of challenges of conservatism and xenophobia, which has, not only, led to the examination of the integration process caused by current migration, but also to the evaluation of the existing, problematic minority and identity policies in European society, present in the contemporary artistic production as part of a broader but related discourse of risky practices and relations.

$e exhibition SO-CALLED REALITY in Podgorica is the result of the process of research, selection and production of art works during the years-long activities of the RISK CHANGE project, realized in MSUV in Novi Sad through cooperation with the additional nine organizations from Europe that participated in the project. $e participants of the exhibition are: Breda Beban, Igor Bošnjak, diSTRUKTURA, Robert Jankuloski, Romeo Kodra, Oleg Kulik, Monika Moteska, Branislav Nikolić, Vessna Perunovich, Nina Todorović, Selman Trtovac, Boja Vasic, Dragan Vojvodić, Selma Selman, Dragoljub Raša Todosijević, Lidija Srebotnjak-Prišić, Nataša Teo(lović.

93 Polazeći iz različitih umetničkih pozicija, medija istraživanja, geografskih lokacija i kulturnih obrazaca, umetnici, umetnice i umetničke grupe okupljene na izložbi SO-CALLED REALITY kroz savremeni umetnički pristup se uključuju u analiziranje različitih migracijskih procesa, marginalnih pozicija i rizičnih promena. Usmereni su ka razumevanju i komunikaciji u vezi sa mnogim aktuelnim i problematičnim temama, potiskivanim i bolnim istorijama, traumatičnim nasleđima i zatvorenim odnosima, kao i ka savremenim društvenim, ekonomskim i kulturnim sistemima koji menjaju kako identitetske pozicije prostora tako i mesta pojedinca u njima.

Takođe, nedavna pandemija korona virusa ukazala je na mogućnost iznenadne i neočekivane globalne promene, koja je učinila vidljivijim potisnute probleme prisutne u upravljanju, vrednosnom sistemu i odnosu moći kako u međunarodnim i lokalnim politikama tako i u umetnosti i kulturi na koje su se ovi procesi direktno odrazili. Razlike u pozicijama, (nansijskoj i institucionalnoj sigurnosti umetnosti u različitim društvenim sistemima postale su uočljivije, kao i stepen društvene osvešćenosti, solidarnosti i slobode. Nasuprot (zičke zatvorenosti, izolovanosti i (ne) dostupnosti umetnosti, nastupilo je doba pojačane digitalne kuminikacije, prezentacije i populističke/pluralističke otvorenosti, kao i povratka na svakodnevicu, osnovne životne teme i probleme pojedinca, pitanje zdravlja, prirode i suživota sa sopstvenim okruženjem. Dok je marginalizacija nezavisne umetničke scene vidljivija u regionalnim kulturnim politikama, pojačana politizacija, nezadovoljstvo i komparacija su opšteprisutni, te se postavlja pitanje budućeg razvoja, povezivanja i očuvanja prostora kulture.

U renomiranom prostoru Dvorca Petrovića, Centra za savremenu umjetnost Crne Gore, prezentovani su radovi umetnika i umetnica koji su svojim životom i radom vezani za različite sredine, uglavnom Jugoistočne Evrope, ali i razvijene umetničke centre Zapadne Evrope i Severne Amerike u koje su tokom svoje umetničke karijere emigrirali, boravili ili prezentovali umetničke radove. Umetnici su iz: Albanije, Bosne i Hercegovine, Rusije, Severne Makedonije, Srbije i Hrvatske, od kojih pojedini žive u Italiji, Kanadi, Nemačkoj i SAD.

Na aktuelnoj izložbi se mogu izdvojiti određene tematske celine prezentovanih umetničkih radova, kao što su: migracija kao lično iskustvo, geopolitičke strategije promene, diskriminacija drugosti i identitetske politike. Iskustvo migracije poznato je mnogima od njih, kao i propitivanje geopolitičkih odnosa moći, osećaja drugosti, stereotipa i rodnih odnosa. U periodu kontekstualnosti umetnosti, njene zavisnosti od međuljudskih relacija i polemičkog povezivanja umetničkog dela i stvarnosti, selektovani umetnički radovi u mnogim aspektima sadrže reference na pojedina geografska ili/i istorijska kretanja i društvene pojave. Istovremeno su usmereni na mnoge raznolike egzistencijalne uslove multikulturalnog i globalnog sveta. Transgresija granica, ideja probijanja formalnih, medijskih i prostornih okvira, te naglašena interdisciplinarnost u umetnosti uočljiva je i na izložbi. Prezentovani umetnički radovi su realizovani u različitim medijima savremene umetnosti, među kojima su: crtež, skulptura, instalacija, fotogra(ja, video i 3D animacija. Ovakvi umetnički pristupi danas čine umetničku scenu dinamičnom i diverzitetnom, zahtevnijom i otvorenijom za usvajanje novih znanja i pojava, uz naglašenu potrebu za komunikacijom i umrežavanjem sa međunarodnim protagonistima kako iz umetničke tako i naučne i tehnološke oblasti.

94 : Starting from di*erent artistic positions, media research, geographical locations and cultural patterns, artists and art groups gathered in the exhibition SO-CALLED REALITY are involved in analysing various migration processes, marginal positions and risky changes through a contemporary artistic approach. $ey are focused on understanding and communicating on many current and problematic topics, repressed and painful histories, traumatic legacies and closed relationships, as well as modern social, economic and cultural systems that change both the identity positions of space and the position of an individual in them.

Also, the recent corona virus pandemic has pointed out the possibility of sudden and unexpected global change, which has made visible the repressed problems, present in governance, value systems and power relations, both in international and local politics and in arts and culture, which were directly a*ected by these processes. Di*erences in the positions, (nancial and institutional security of art in di*erent social systems have become more evident and so have the degree of social awareness, solidarity and freedom. In contrast to the physical lockdown, isolation and (in)accessibility of art, what happened was a period of increased digital communication, presentation and populist / pluralistic openness, as well as a return to everyday life, basic life topics, problems of an individual, and issues of health, nature and coexistence with the environment. While the marginalization of the independent art scene is more evident in regional cultural policies, increased politicization, dissatisfaction and comparison are generally present, and the question of future development, connection and preservation of cultural space is raised.

$e works of artists, whose lives and work are related to di*erent environments, mainly in Southeast Europe, but also to developed art centres in Western Europe and North America, where they, in the course of their careers, emigrated, resided or presented their art works are presented at the renowned space of the Petrović Palace, the Centre for Contemporary Art of Montenegro. $e artists are from: Albania, Bosnia and Herzegovina, Russia, Northern Macedonia, Serbia and Croatia, some of whom live in Italy, Canada, Germany and the United States.

Certain thematic units of the presented works of art can be singled out at the current exhibition, such as: migration as a personal experience, geopolitical strategies of change, discrimination of otherness and identity politics. $e experience of migration is known to many of them, as well as the questioning of geopolitical power relations, feelings of otherness, stereotypes and gender relations. In the period of contextualisation of art, its dependence on interpersonal relations and polemical connection of the art work and reality, the selected art works contain references, in many aspects, to certain geographical and/or historical movements and social phenomena. At the same time, they are focused on many diverse existential conditions of the multicultural and global world. $e transgression of borders, the idea of breaking through formal, media and spatial frameworks, and the emphasized interdisciplinary character in art are also noticeable in the exhibition. $e presented works of art were realized in various media of contemporary art, including: drawing, sculpture, installation, photography, video and 3D animation. Such artistic approaches today make the art scene dynamic and diverse, more demanding and open to the adoption of new knowledge and phenomena, with an emphasized need for communication and networking with international protagonists, both in the artistic, as well as the scienti(c and technological (elds.

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96 HOD TRI STOLICE | WALK OF THREE CHAIRS 2003 video, 8’27’’

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98 EUtopia 2015-2016 video, 20’30’’

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100 Iz projekta | From the project: We are Living in a beautiful wOURld 2018 digitalni printovai kaširani na peni digital prints laminated on foam 20 x (40 x 60 cm)

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102 Iz ciklusa RANJENI PEJZAŽI | From the series WOUNDED LANDSCAPES 2019 digitalne fotogra(je, pigmentni otisak na arhivskom papiru digital photographs, pigment print on archival paper 3 x (60 x 80 cm)

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104 TIHI PERFORMANS, ILI GETOIZACIJA GRADA SILENT PERFORMANCES, OR THE GHETTIZATION OF A CITY 2018 fotodokumentacija performansa | photo documentation of the performance 12 x (29,7 x 42 cm)

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106 PERFORMANS FONTANA | FOUNTAIN PERFORMANCE 27/10/2017 Muzej savremene umetnosti Vojvodine | Museum of Contemporary Art Vojvodina, Novi Sad dokumentovanje performansa | Performance documentation crno-beli printovi | Black and white prints 90 x 130 cm Arhiva MSUV | $e MoCAV archive

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108 ZAUVEK TVOJA, ELVIRA | FOREVER YOURS, ELVIRA 2001-2018 fotogra(je | photographs 60 x 90 cm, 90 x 60 cm, 90 x 60 cm

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110 CONVERTIBLE 2019 obekat, drvo | object, wood 160 x 80 x 73 cm

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112 EXITING 2018 Video, 11’ 18’’

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NEMOJ DA BUDEŠ KAO JA | DO NOT BE LIKE ME 2019 digitalni print | Digital print foto | Photo by Hamza Kulenović 230 x 187 cm

114 VI NEMATE POJMA | YOU HAVE NO IDEA 2016 performans | Performans Kunstquartier Bethanien, Berlin foto | Photo by Saša Tatić video, 29’33’’

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116 IZDALEKA IZBLIZA | FROM AFAR FROM UP CLOSE 2005 digitalni print na transparentnoj foliji digital print on transparent foil 240 x 200 cm Kolekcija MSUV | $e MoCAV collection

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118 AUTOBIOGRAFIJA | TIŠINA AUTOBIOGRAPHY | SILENCE 2019 3D animacija | 3D animation, 02’28’’

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120 DEKODIRANJE SEĆANJA | DECODING MEMORIES 2017 instalacija | installation

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SEKS, ISTORIJA I UMETNOST SEX, HISTORY AND ART 2015 digitalni print, triptih | digital print, tryptih 3 x (70 x 85 cm) Kolekcija MSUV | $e MoCAV collection

122 WELTSCHMERZ IS MY BUSINESS 2013 akril na kartonu | acrylic on cardboard 71 x 51 cm Kolekcija MSUV | $e MoCAV collection

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124 RIJEČKA LINIJA | RIJEKA’S LINE 2018 crtež (gra(t i krv na papiru), video drawing (graphite and blood on paper), video 160 x 70 cm, 12’

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126 ILEGALNI IMIGRANTI NJUJORKA ILLEGAL IMIGRANTS OF NEW YORK 2012-2013 fotogra(je | photographs 20 x (50 x 76 cm)

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BEZ ZVUKA | SOUNDLESS 2015 instalacija (vinil ploče) installation (vinyl records)

128 NEPRILAGOĐENI | MISFITS 2015 instalacija (10 fotogra(ja, vinil ploče) installation (10 photos, vinyl records) Kolekcija MSUV | $e MoCAV collection

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Muzej savremene umetnosti Vojvodine je, u okviru međunarodnog programa po imenu RISK CHANGE, predstavio samostalnu retrospektivnu izložbu Merry-go-round Olega Kulika (april−maj 2019), umetnika internacionalno poznatog po svom )uidnom identitetu čoveka – psa ili ‘ruskog psa’. U pitanju je jedan od začetnika akcionizma u postsovjetskoj Rusiji i radikalnih performansa u Evropi i svetu, koji svojim upečatljivim i rizičnim performansima problematizuje geopolitičke odnose moći, naročito relaciju Istoka i Zapada, vladajući antropocentrizam, emocionalne i (zičke aspekte odnosa između ljudi i životinja, normalnost i devijaciju, kič i umetnost. Kultna ličnost savremene međunarodne umetničke scene o kojoj se pripovedaju legende, po kojoj se kreiraju (lmski likovi, kao što je umetnik – zver – majmun u švedskom satiričnom (lmu Kvadrat (!e Square, 2017) Rubena Ostlunda (Ruben Östlund); takođe, vajar, performer, slikar, fotograf i kustos; angažovani, interdisciplinarni umetnik i intelektualac.

Izložba je rezultat i nastavak saradnje započete 2017. godine, učešćem Olega Kulika na međunarodnoj izložbi MIG21 u MSUV-u, organizovanoj u okviru međunarodnog RISK CHANGE projekta, a koncipiranoj od strane KID-a Kibla iz Maribora, kustosa Aleksandre Kostič, Nine Jeze i Petera Tomaža Dobrile. Izložba je, najpre, prikazana u Kibla Portalu u Mariboru, a zatim, u modi(kovanom izdanju, uz saradnju sa kustoskinjom Sanjom Kojić Mladenov, i u MSUV-u, u Novom Sadu. Tada je Oleg Kulik u Srbiji prvi put izložio manji broj radova, poput serije novijih foto- kolaža Lolita vs. Alice (1999−2000), Dan Raspeća i Noć Raspeća (2005). Takođe je, premijerno, izveo performans Fontana. Slikanje na vodi u Atrijumu Muzeja1.

Oleg Kulik, kao jedan od ključnih međunarodnih umetnika koji problematizuje marginalizaciju istočnoevropskog konteksta od strane zapadne umetničke scene, tranzicijske društvene promene komunističkih režima i kritiku socrealizma u umetnosti, važan takođe i za razmatranje i dekonstrukciju savremene umetnosti našeg regiona, nije imao priliku da prikaže svoje karakteristične radove značajnijom postavkom, što je bio povod da se inicira izložba u Novom Sadu. Merry-go-round je zamišljena kao retrospektiva, na kojoj su zastupljeni rani Kulikovi radovi, kao što je Duboko u Rusiju, njegovi antologijski performasi iz 1990-ih poput: Besni pas, Deitch projekat, Ja ujedam Ameriku, a Amerika ujeda mene..., izbor foto-kolaža iz 2000-ih, sve do dokumentacije novijih performansa: Oklopnik za vaš šou i Fontana. Slikanje na vodi, kao i nov rad Merry-go-round koncipiran za izložbu u Novom Sadu, koji je kao glavnu temu izložbe naglasio ideju vrteške – cikličnog životnog kretanja, velike dinamike i pokreta koji se odvija u mestu.

1 uz performans Marka Brecelja.

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$e Museum of Contemporary Art Vojvodina, within the scope of the international programme RISK CHANGE, presented the solo, retrospective exhibition Merry-go-round by Oleg Kulik, (April–May 2019), an artist internationally known for his )uid human - dog identity, or ’’Russian dog’’. He is one of the founders of actionism in the post-Soviet Russia and the radical performances in Europe and worldwide, who problematizes, by his striking and risky performances, the geo-political balance of power, especially between the East and the West, the on-going anthropocentrism, emotional and physical aspects of relationship between human beings and animals, normality and deviance, kitsch and art. He is a cult (gure of contemporary international art scene whom legends are told about and (lm characters are created a-er, such as artist-beast-monkey in the satiric (lm !e Square (2017) by Ruben Östlund; he is also a sculptor, performer, painter, photographer and curator and an engaged, interdisciplinary artist and intellectual.

$e exhibition is the result of continued cooperation initiated in 2017, by the participation of Oleg Kulik at the international exhibition MIG21 at MSUV, organized within the scope of the international project RISK CHANGE, conceived by KID Kibla from Maribor, curated by Aleksandra Kostič, Nina Jeze and Peter Tomaž Dobrila, exhibited (rst at Kibla Portal in Maribor, and then, in the modi(ed version curated by Sanja Kojić Mladenov, at MSUV in Novi Sad. It was then that Oleg Kulik (rst exhibited a small number of works in Serbia, such as series of recent photo collages Lolita vs. Alice (1999-2000), Cruci'xion Day and Cruci'xion Night (2005). He also executed a performance of Fountain, Painting on Water at the Museum Atrium.1

Oleg Kulik, as one of the key international artists who problematizes the marginalization of the Eastern European context by the Western European art scene, the transitional social changes of communist regimes and critique of social realism in art, important also for consideration and deconstruction of contemporary art in our region, did not have the opportunity to present his characteristic works in a more signi(cant exhibition, which was the reason for initiating the exhibition in Novi Sad. Merry-Go-Round was conceived as a retrospective, starting from Kulik’s early works such as Deep into Russia, his anthology performances from the 1990s such as: Mad Dog, Deitch project, I Bite America and America Bites Me, etc., a choice of his photo-collages from 2000s, all the way to the documentation of his newer performances - Armadillo for Your Show and Fountain, Painting on Water, as well as his new work Merry-

1 Together with Marko Brecelj’s performance.

135 Nakon Novog Sada, materijal sa izložbe je u proširenom izdanju, i u okviru novog koncepta, prikazan u Kibla Portalu u Mariboru, pod nazivom Golden Fleece, a u planu je i postavka u Nacionalnoj galeriji u Skoplju2 čime bi ključni opus ovog autora postao dostupniji i vidljiviji u regionu ex-Jugoslavije.

Počeci umetničkog rada Olega Kulika, njegova netipična kustoska praksa, zainteresovanost za skulpturu i radikalni performansi, povezani su sa konceptom izložbe Merry-go-round. Naime, izložba preispituje ideju kružnog kretanja kako kroz vreme, društvenu istoriju Rusije i Evrope tako i kroz umetničku praksu autora, od početaka do njegovih aktuelnih radova, kroz opus prožet promenama u formi i mediju izražavanja, kao i percepciji pozicije tela u prostoru. Takođe, cikličnost je akcentovana kako realizacijom novog rada, karusel objekta, tako i samom postavkom izložbe koja pruža utisak (lmske trake koja se može sagledati samo kružnim kretanjem kroz galerijski prostor i povezivanjem niza fotogra(ja kao izdvojenih kadrova u jednu celinu. Koncept aludira na prikaz sopstvene životne petlje koja se razvija nepregledno kroz ponavljanja (Loop).

U pitanju je predstava autorovog golog tela koje se ponavlja tokom vremena u različitim prostorima, bliska antičkim reljefnim prikazima istorije u epizodama i ciklusima. Slikovni način kazivanja priče, poznat od rane istorije umetnosti do danas – istorijska vrteška u koju nije uključen samo autor, već i njegovo okruženje, odnosno čitav svet, kako navodi. Ispitujući razliku između akcija koje se izvode u jednom dahu i skulptura koje se tradicionalno realizuju sporo, autor koncipira jedinstveni postupak – brzu, trenutnu skulpturu, primenjenu na izložbama u Novom Sadu i Mariboru. Ovakvim speci(čnim pristupom Oleg Kulik spaja akciju, kao privremenu, nestabilnu tvorevinu koja ima izraženu trenutnu radnju, ali koja ne ostavlja za sobom vidljive materijalne tragove, sa skulpturom koja ostaje kao trajna beleška o nekom događaju, stabilno i zauvek. Koncept problematizuje prisustvo i postojanost tela (ksiranog u prošlosti kako u dokumentaciji performansa (fotogra(ja, video) tako i u skulpturi.

Ovo je retrospektivna izložba mojih performansa, ALI sa stanovišta mog novog perioda − perioda vajara (u stvari, ovo je povratak na moje poreklo, pošto sam počeo kao vajar početkom 1980-ih). Zato posmatram svoje performanse kao vajar i mogu da sagledam nove aspekte tela. Danas me interesuje telo kao skulptura. Ranije mi je bilo zanimljivo telo u situacijama. (Oleg Kulik)3

Izložba razmatra poziciju sećanja, odnos žive akcije, realnog događaja sa fotogra(jom ili video-zapisom istog, kao i odnos javnih institucija, muzeja i kustosa prema mediju performansa u kontekstu njegovog istraživanja, prikazivanja i arhiviranja. Sam autor ukazuje na pristup kustosa sa Zapada muzealizaciji dokumentacije kao legalizovanju polukriminalne radnje kojom se izbegava potencijalni skandal, realni zvuci, mogući ugrizi, agresivnost i sl., povezujući takav stav sa dvadesetogodišnjim odsustvom sa zapadne umetničke scene sa kojim se suočio jer

2 Planirana za 2020, zbog pandemije korona virusa pomerena na 2021. godinu.

3 Oleg Kulik povodom izložbe.

136 : OLEG KULIK Go-Round (2017-2019) conceived for the exhibition in Novi Sad, which emphasised the idea of a carousel – cyclical life motion of great dynamics and movement that happens in one place. A-er Novi Sad, the exhibition material, in an expanded edition and within a new concept, titled Golden Fleece, was presented in Kibla Portal in Maribor, and , additionally, an exhibition in the National Gallery in Skopje2 is planned, which would make this author’s key oeuvre more accessible and visible in the ex-Yugoslavia region.

$e beginnings of Oleg Kulik’s artistic work, his atypical curatorial practice, his interest in sculpture and radical performances, are all related to the concept of the Merry-go-round exhibition. Namely, the exhibition examines the idea of circular movement, both through time and social history of Russia and Europe, as well as through the artistic practice of the author, from its beginnings to the current works - an opus imbued with changes in form and medium of expression, as well as the perception of the position of a body in space. Also, the cyclicality is accentuated both by the realization of the new work, the carousel - object, as well as by the very setting of the exhibition, which gives the impression of a (lm tape that can only be seen by circular movement through the gallery space and by connecting the series of photographs as separate frames into one whole. $e concept alludes to the representation of one’s own life loop that unfolds endlessly through repetitions (Loop).

It is a representation of the author’s naked body which is repeated over time in di*erent spaces, similar to ancient relief depictions of history shown in episodes and cycles. It is the pictorial way of telling a story, known from the early history of art until today - a historical carousel in which not only the author is included, but also his environment, that is, the whole world, as he states. Examining the di*erence between actions performed in one breath and sculptures that are traditionally realized at a slow pace, the author conceives a unique procedure - instant, momentary sculpture, applied at exhibitions in Novi Sad and Maribor. With this speci(c approach, Oleg Kulik combines action, as a temporary, unstable creation that has a pronounced current action, but which does not leave visible material traces, with sculpture that remains as a permanent record of an event, stable and forever. $e concept problematizes the presence and permanence of a body (xed in the past, both in the documentation of the performance (photography, video) and in the sculpture.

!is is a retrospective exhibition of my performances, BUT from the point of view of my new period - the period of sculptor (but in fact this is a return to my origins, as I had started as sculptor in the beginning of 1980s). So I take a look at my performances as a sculptor and can see new aspects of a body. !is body is as sculpture which is interesting for me now. Earlier it was the body in the action which was interesting for me. (Oleg Kulik)3

$e exhibition considers the position of memory, the relationship of live action, of a real event, with a photograph or video recording of the same, as well as the relationship of public institutions, museums and curators towards the

2 Planned for 2020, due to the coronary virus pandemic, the exhibition is postponed to 2021.

3 Oleg Kulik on the occasion of the exhibition.

: OLEG KULIK 137 je prestao da dobija pozive za javno izvođenje svojih dela. Izložba u MSUV-u analizira relacije umetničkog rada i dokumentacije bez nastojanja da marginalizuje arhivski sadržaj kao manje vredan, ali i bez težnje za njegovim uzdizanjem i izjednačavanjem sa vrednošću živih performansa. Dokumentacija se uvažava kao sećanje, uspomena na važne istorijske događaje. Razmatra u kontekstu društvenog okruženja i momenta u kojem je kreirana, uz uspostavljanje vremenske distance i pogleda izvan. Ukoliko analiziramo prateće događaje i opštu atmosferu umetničke scene na kojoj je autor delovao u periodu svojih radikalnih performansa, uočavamo hapšenja, sukobe, zabrane i spekulacije, što ovoj speci(čnoj arhivi daje obeležje mitskog ili antičkog. Na izložbi se propituje moć koju arhivi imaju u čuvanju istorije i selekciji sadržaja, kao i njihovo povezivanje sa ideološkim pozadinama koje utiču na njihovo kreiranje, jer ni jedan arhiv nije neutralan, već zavisi od odnosa sredine prema njemu. Nije pitanje da li je performans bio dobar ili loš, već u kakvoj se atmosferi i sredini akcija odvija. Mogu te spaliti na lomači ili možeš dobiti Zlatnog lava u Veneciji za istu stvar. Prosto, reč je o odnosu prema određenoj ličnosti4.

Na izložbi koju je Oleg Kulik realizovao u MSUV-u predstavljena su njegova dva nova rada. Prvi je dokumentacija performansa Fontana. Slikanje na vodi (2017), izvedenog u Atrijumu Muzeja, zaštićenoj unutrašnjoj bašti čiji je centralni, plitak bazen postao speci(čna pozornica ovog participativnog dela. Umetnik je prvo prolio slikarske boje u vodu, a zatim započeo spontani ples sa devojkama obučenim u belo, aludirajući na proces slikanja, odnos umetnika i publike, ali i potencijalnih ljubavnika. Boje su ostavljale trag na odeći učesnika tokom trajanja performansa, a osvetljenje, muzika, kiša i gusti dim su granice između umetnosti i života činile nejasnim. Iz međusobne spontane igre dijalog se, tokom akcije, pretvorio u agresivnu borbu, nasilno telo u pokretu, a zatim se smirio i vratio na početnu emociju – ljubav. Performans je spojio osnovne elemente: vatru, vodu, zemlju i glavni element – ljudsko biće. Nastao je iz tradicije crtanja (gura u vazduhu, pravljenja skulptura od peska, pisanja poruka na vodi − poetičnog i romantičnog stvaralaštva koje aludira na važnost nematerijalnosti kreativnog čina kao čovekovog početnog impulsa i unutrašnje potrebe, povezanog sa konceptom nematerijalne umetnosti, performasom i akcijom, kao ključnim u umetničkom opusu autora.

Drugi rad je nastao kroz Master klas – performans, koji je prethodio otvaranju izložbe. U njemu su učestvovali novosadski srednjoškolci i studenti vajarstva sa Akademije umetnosti, realizujući svoje imaginarne portrete od brzosušeće gline za 90 minuta. Umetničko delo je nastalo kao participativni događaj zajedničkog vajanja volontera i umetnika, kroz strategiju improvizacije kao ključne za stvaranje kolektivnog rezultata. Realizovani portreti su postali deo veće metalne konstrukcije, vrteške koja se rotirala oko svoje ose, sačinjene, u osnovi, od povezanih točkova bicikala. Svakom portretu je dodata crvena pionirska marama, jedan od simbola socijalističkih sistema, kolektivizma i lojalnosti državi. Oleg Kulik je u centar postavio svoju (guru Lenjina, koji balansira sa mačem na glavi, okruženu mnogim glavama pratilaca i podržavalaca. Instalacija je povezala celokupnu postavku izložbe, govoreći o istoriji Rusije, njenim društvenopolitičkim kretanjima i odnosu ka Zapadu, razlikama između kolektivne

4 Jeremić, Teodora (2019). Ujesti ili lizati: U razgovoru sa Olegom Kulikom, BURO. 9.5.2019.

138 : OLEG KULIK performance medium in the context of its research, display and archiving. $e author himself points to the approach of the curators from the West to the musealization of documentation, as legalization of semi-criminal activity that avoids possible scandal, real sounds, possible bites, aggression, etc., associating such an attitude to the twenty-year absence of invitations for public performance in the West that he has faced. $e exhibition at MSUV analyzes the relations between artwork and documentation, without trying to marginalize archival content as less valuable, but without striving to exalt it and equate it with the value of live performances. Documentation is valued as memory, a memory of important historical events. It is considered in the context of the social environment and the moment in which it is created, with the establishing of time distance and view from outside. If we analyze the accompanying events and the general atmosphere of the art scene in which the author acted in the period of his radical performances, we notice arrests, con)icts, bans and speculations, which gives this speci(c archive the character of the mythical or the ancient. $e exhibition questions the power that archives have in preserving history and selecting content, as well as their relation to the ideological backgrounds that in)uence their creation, because no archive is neutral, but depends on the attitude of the environment towards it. !e question is not whether the performance was good or bad, but in what atmosphere and environment the action took place. You can be burned at the stake or you can get the Golden Lion in Venice for the same thing. It is simply a matter of attitude towards a certain person.4

Two Kulik’s new works were presented at the exhibition realized by Oleg Kulik at MSUV. $e (rst one is the documentation of the performance Fountain, Painting on Water (2017), set at the atrium of the Museum, the protected inner garden with a central, shallow pool that became a speci(c stage of this participatory work. $e artist (rst poured the paints into the water, and then started a spontaneous dance with young girls dressed in white, which alluded to the painting process, the relationship between the artist and the audience, but, also, the potential lovers. During the performance the paints were leaving marks on the participants’ clothing, while lighting, music, rain and thick smoke made the boundaries between art and life blurry. From spontaneous mutual play, during the action, the dialogue transformed into aggressive (ghting, a violent body in motion, and then calmed down and returned to the initial emotion - love. $e performance combined the basic elements: (re, water, earth and the main element - the human being. It originated from the tradition of drawing (gures in the air, making sand sculptures, writing messages on water – a poetic and romantic creation that alludes to the importance of the immateriality of the creative act as man’s initial impulse and inner need, associated with the concept of non-material art, performance and action, as the key forms in the author’s artistic opus.

$e other work resulted from the Master class – performance which preceded the opening of the exhibition. High school students and students of Sculpture at the Academy of Arts participated, realizing their own imaginary portraits using quick-drying clay during a time-span of 90 minutes. $e work of art was created as a participatory

4 Jeremić, Teodora (2019). Ujesti ili lizati: U razgovoru sa Olegom Kulikom (Bite or lick: In conversation with Oleg Kulik), BURO. 9.5.2019.

: OLEG KULIK 139 i individualne prakse, promenama u umetničkom interesovanju i opusu samog autora, istraživanjima tela kao ‘žive skulpture’. Figura Lenjina je shvaćena kao svojevrsni mit koji se vrti kao i Kulikovo telo u prostoru izložbe, dok se brzo prolazi kroz čitavu istoriju 20. veka, nauku, tehniku, socijalne utopije, surovost, lepotu... sve ono što je ostalo od komunizma kao projekta, navodi autor5. Prelepa umetnost, prelepa ideja, ali potpuno neprilagođena životu, neupotrebljiva6.

Oleg Kulik razbija tradicionalne norme prihvatljivog ponašanja, konvencije onogo što je poželjno i dozvoljeno u umetnosti, teži interaktivnom i otvorenom pristupu, razbija stereotipe i uobičajene načine predstavljanja umetničkog dela. Propituje umetnički sistem, mesta moći i vrednosti u njima, a izložbama u Novom Sadu i Mariboru zaokružuje svoje ranije pristupe i odnose postavljajući pitanje koncipiranja istorije i sagledavanja sećanja kao osetljive kategorije znanja i istine u umetnosti i društvenoj stvarnosti podložne različitim tumačenjima i interpretacijama. Postavlja pitanje šta nam smeta i što nas izaziva i nagoni da sebe preispitamo i sagledamo iz nekog novog, mogućeg ugla.

5Video-intervju sa Olegom Kulikom na otvaranju izložbe, arhiva MSUV, produkcija Alfa Media Plus (Senka Tomić).

6 Ibid.

140 : OLEG KULIK event of the joint sculpting of volunteers and artists, using the strategy of improvisation as the key to creating a collective result. $e realized portraits became part of a larger metal construction, a carousel that rotated around its axis, constructed basically of connected bicycle wheels. A red pioneer scarf was added to each portrait, one of the symbols of socialist systems, collectivism and loyalty to the state. In the centre, Oleg Kulik placed his own (gure of Lenin, balancing with a sword on his head, surrounded by many heads of followers and supporters. $is installation connected the entire exhibition, telling about the history of Russia, its socio-political movements and attitude towards the West, about the di*erences between collective and individual practice, changes in the artistic interest and opus of the author himself, and exploration of the body as a “living sculpture”. $e (gure of Lenin is understood as a kind of myth that revolves, just like Kulik’s body, in the exhibition space, as one quickly goes through the entire history of the 20th century, science, technology, social utopias, cruelty, beauty ... all that is le* of communism as project, the author states5. Beautiful art, beautiful idea, but completely un-adapted to life, unusable.6

Oleg Kulik breaks the traditional norms of acceptable behaviour, the convention of what is desirable and allowed in art, strives for an interactive and open approach, and breaks stereotypes and the usual ways of presenting art work. He questions the art system, places of power and values in them, and with exhibitions in Novi Sad and Maribor he completes his earlier approaches and relations, questioning the issue of conceiving history and perceiving memory, as sensitive categories of knowledge and truth in art and social reality, susceptible to di*erent explications and interpretations. He raises the question of what bothers us and what challenges us and drives us to re-examine ourselves and look at ourselves from a new possible angle.

5Video interview with Oleg Kulik at the Vernissage, MSUV archives, production: Alfa Media Plus (Senka Tomić).

6 Ibid.

: OLEG KULIK 141 142 143

Provala oblaka, pogrešni autobusi i nikada duži put do Novog Sada u koji idem da se sastanem sa Olegom Kulikom, legendom ruskog akcionizma. Ne znam koliko ću imati vremena, da li ću uspeti da ga pitam sve što želim, da li ćemo se razumeti... Znam samo da imam tremu koja me obično ne muči.

Stižem pred kraj radionice performansa. Oleg je u majici sa psihodeličnim hipi printom, velikim osmehom; toliko je ljubavi, mira i razumevanja u svakom pokretu kroz koji komunicira sa publikom, mahom studentima, da me taj prizor odmah umiruje. Primećuje da sam stigla, mahne mi i, iskreno, kasnije potpuno razumem na šta misli kada kaže da sve zavisi od prvog osećaja.

Sve je u redu, sve je energija.

Pa da počnemo od početka, od razloga zbog kog sam danas u Novom Sadu. Nova izložba „Merry-go-round” u MSUV-u je, u suštini, rekapitulacija Vašeg dosadašnjeg rada kroz dokumentaciju performansa, fotogra$je i video-zapise. Boris Grojs se u svom tekstu „Umetnost u doba biopolitike – od umetničkog dela ka umetničkoj dokumentaciji” osvrće na taj speci$čni odnos dokumentacije i samog performansa. Kakav je Vaš odnos prema tome?

Performans je takva vrsta umetnosti koja postoji samo u trenutku u kom se dešava. Sama dokumentacija nema nikakve veze sa performansom. Možda je i besmisleno govoriti o tome koliko u njoj ima performansa. Dokumentacija je uspomena, sećanje. Najsurovija, naturalistička dokumentacija, to je već beletristika. Ali, beletristika je sama po sebi mit, podstiče na dela one koji žive. I zato je potrebno da primeri koji nas nadahnjuju budu snažni, upečatljivi. Nije pitanje da li je performans bio dobar ili loš, već u kakvoj se atmosferi i sredini akcija odvija. Mogu te spaliti na lomači ili možeš dobiti Zlatnog lava u Veneciji za istu stvar. Prosto, reč je o odnosu prema određenoj ličnosti.

Da, i kao da rad dobija drugi život?

Upravo, u tom smislu se sad udaljavamo od bilo kog akcionizma i govorimo o tome kako funkcioniše živo sećanje. Šta je to živo sećanje? To je ono sećanje koje budi i pokreće ljude na akciju. Moguće da je čovek bio nesrećan i živeo veoma teško, ali je otkrio takve stvari da njegov nesrećan život nadahnjuje i inspiriše mnoge ljude na rizik.

144

Pouring rain, missed buses, and an interminable trip to Novi Sad, where I am headed to meet with Oleg Kulik, a legend of Russian Actionism. I don’t know how much time I’ll have, whether I’ll get the chance to ask him everything I planned, will we understand each other… All I know is that I’m nervous, which I’m usually not.

I arrive a little before the end of his performance workshop. Oleg is wearing a T-shirt with a psychedelic hippie print, big smile, and so much love, peace, and understanding, apparent in every move he uses to communicate with the audience, mostly students, that I am appeased immediately. He notices I arrived, waves, and I honestly completely understand what he means when he tells me later that everything is known by the initial feeling.

Everything is OK, everything is energy.

Well, let’s start from the beginning, and the reason I am in Novi Sad today. New exhibition “Merry-Go-Round” at MSUV is, basically, a recapitulation of your past work through documented performances, photographs, and video recordings. Boris Groys analyzes this particular relationship between documentation and performance in his article “Art in the Age of Biopolitics: From Artwork to Art Documentation.” What are your feelings on this subject?

Performance is the kind of artistic expression which exists only at the exact moment it takes place. Documentation as such has nothing to do with performance. It might even be absurd talking about how much of the performance exists in the documentation. Documentation is a recollection, memory of something. $e most brutal, naturalistic documentation, that’s (ction. But (ction is in itself a myth, inciting to action those who are living. And this is why examples that inspire us need to be powerful, remarkable. $e issue is not whether the performance was good or bad, that depends on the atmosphere and the environment in which the action takes place. You could be burned at the stake for it or receive a Golden Lion in Venice. And the process might be the same in either case. $ere is simply a culture of preserving someone’s personality.

To o+er it another life, just like with art work?

Precisely. In that sense, we are moving further away from any sort of actionism and are talking about the functioning of live memory. What exactly is live memory? It’s the memory which awakens and inspires people to action. It is possible that a man is unhappy and has had a very di+cult life but has made such discoveries that his life, such as it was, inspired and stimulated other people to take chances and risk something.

145 Veoma mi je zanimljivo što ste pomenuli reč rizik, s obzirom na to da ova zložba i jeste deo projekta pod naslovom „Rizikuj promene” („Risk Change”). Šta za Vas danas znače te dve reči? I rizik i promena?

Rizikovati se može na razne načine, ali rizikovati i menjati se istovremeno je veoma složena stvar. Da bi nešto promenio moraš vrlo dobro da ga poznaješ. Zato postoje negativne i pozitivne promene. Negativne su kada se od nečeg kreće, a pozitivne kada se jedno menja za nešto drugo. Ako su nekoga uvredili i on je kao odgovor uvredio nekog drugog, to je negativna akcija. Ali, ako je umetnik, poput Pavlenskog, video sistem u celini i dobro razmislio šta može umetnik da uradi, da pokrene sredinu i sistem, to je nešto sasvim drugačije.

Kad smo već kod Pavlenskog, on je jedna od vodećih $gura savremene ruske scene performansa... Kako vidite performans i akcionizam danas, ako imamo na umu da smo u 2019. godini, virutelno prisustvo i digitalna realnost u značajnoj meri zaokupljaju našu pažnju? Meni se čini da je performans danas možda značajniji nego ikada, jer nam je potrebno telo od kojeg smo se otuđili.

Da, zato što se sve brzo dešava. Svako se oseća kao deo performansa. Godine1989, kada sam izveo prvi performans, imao sam osećaj da je tih 7 minuta, koliko je perfomans trajao, trajalo sigurno više od sat vremena. U tom drastičnom sažimanju vremena, bio sam bio toliko uvučen u proces da nisam video sebe. Sada osećam da na taj način živim skoro svaki dan. Mislim da je bilo dobro što sam imao to iskustvo stresnog uranjaja u zgusnuto vreme. Volim brzinu, brzo vozim svoj motor, ali mnogi moji prijatelji, oni koji su moja generacija, pate jer su navikli na sporiji ritam. Sasvim je jasno da je umetnost u starom obliku umrla. Spora umetnost sa velikim repom tradicije. Savremenost, Fejsbuk, Gugl- Gorgona odsecaju rep toj tradiciji. Ali, stara kultura će nam pomoći da preživimo katastrofu. Jer, ona je zasnovana na ideji smrti i ponovnog rođenja, vaskrsenja. Ako smo pobedili zmaja, pobedićemo i Fejsbuk.

I šta ćemo onda? Kako da pobedimo svet u koji smo toliko uronili? Pre nekoliko dana su pali Instagram, Fejsbuk i Vocap na samo nekoliko sati i nastala je opšta drama. Šta je za nas takve vaskrsenje?

Osmišljena smrt. Tvoja lična smrt, ako je pažljivo osmisliš, biće umiranje za prostor umetnosti, a ne za život, i ako je dobro osmišljena imaće velik odjek i uticaće na druge ljude. Nekada su ljudi umirali za svoje ideje. Za savremenog čoveka to je smrt u medijima. Dobar umetnik može da se žrtvuje jer će svejedno posle pobediti. To će biti uskrsnuće.

Vi uvek imate anarhistički, subverzivni i pristup i prizvuk... Međutim, zanimljivo je da nikada niste zapravo bili subverzivni prema sistemu nego prema sopstvu, prema ličnom sistemu.

Apsolutno. To su duboko individualni radovi, toliko duboko intimni da prestaješ da se plašiš sredine i ljudi koji te okružuju i da ih voliš. Prosto shvataš da su oni isto tako usamljeni i jedinstveni kao ti. Kao tantra. Ljudi nisu povezani,

146 : It is interesting that you mentioned the word risk, considering that this exhibition is a part of the Risk Change project. What do those two words mean to you, risk and change?

One could take risks in many ways, but to risk and change at the same time is a very complex thing. In order to change something, you need to understand it well. $is is why there are positive and negative changes. Negative implies starting from something, and positive when something is exchanged for something else. If someone is insulted and as a result o*ends someone else, that is a negative reaction. But if an artist like Pavlensky understands the system as a whole and thinks about what he can do as an artist, and his potential to motivate the community and the system, that is something completely di*erent.

Speaking of Pavlensky, he is one of the leading 'gures in the contemporary Russian performance scene... How do you see performance and actionism today, in 2019, when virtual presence and digital reality loom rather large. I feel that today they might be more signi'cant than ever, as we need the living body, from which we alienated ourselves, now more than ever.

Yes, because everything happens so quickly today. Everyone feels a part of the performance. In 1989, when I carried out my (rst performance, I had the feeling that those 7 minutes, the duration of the performance, had lasted for over an hour. In this drastic compression of time, I was drawn into this process to such an extent that I couldn’t see myself. Now I feel that I live like this almost every day. I think it was good that I had the experience of a stressful immersion into this compressed time. I like speed, I like riding my motorcycle, but many of my friends from my generation su*er, because they are used to a slower pace. It is completely clear that art, in its old form, died. Slow art, with its long tail of tradition. Modernity, Facebook, Google-Gorgon, are cutting the tail o* on this tradition. But old culture will help us live through that catastrophe. $is is because the old culture is conceptualized on the idea of death, rebirth, and resurrection. If we managed to conquer the dragon, we can conquer Facebook.

And then what? How do we conquer the world in which we are so involved? Several days ago, Instagram, Facebook, and WhatsApp all crashed for only a few hours and everyone became hysterical. What does Resurrection even represent for us?

A designed death. Your personal death, if you design it carefully, will be dying for the territory of art, and not for life, and if it’s carefully thought through will have great repercussions and will in)uence others. Just like other people died for their ideas in the past. For a contemporary man, this is death in the media. And a good artist can sacri(ce this, because he or she will win ultimately anyway. $is will represent Resurrection.

Your approach and attitude always seem anarchistic, subversive... Nevertheless, it is interesting that you have never actually been subversive towards the system but yourself, your personal system.

: 147 međusobno ne zavise jedni od drugih, svi su drugačiji, samo postoji taj neki unutrašnji osećaj da svi plivamo u istom moru blaženstva. Kvržice patnje ili svesti.

Jeste li po svom unutrašnjem osećaju birali kako ćete se ophoditi prema kojoj osobi, koja je ušla u kavez tokom performansa „Ja ujedam Ameriku, a Amerika ujeda mene”? Prema nekome ste bili agresivni prema nekome blagonakloni...

Zavisi. Mada, moram priznati da nisam očekivao da će doći toliko lepih, mladih devojaka. Dolazili su i neki nabildovani, krupni likovi. Zato sam i mogao da napravim performans, zbog različitosti. Bilo je tih elegantnih, (nih, suptilnih žena sa decom. Kada bi se pojavilo neko takvo nežno, blago biće, čekao sam njihove postupke, prilagođavao sam se. Kada su me mazili, obraćali mi se, lepo sam im uzvraćao, publika je to znala da prepozna.

Kad govorimo o reakciji publike, ne mogu, a da ne pitam šta mislite o $lmu „Kvadrat”. Vaš performans je očigledno i danas, 30 godina kasnije, toliko upečatljiv, da je njegova $lmska reinterpretacija još uvek jednako šokantna. Kako Vam se generalno čini taj $lm, kakav je Vaš odnos prema njemu? Da li se slažete da je to $lm o umetniku?

Da i o umetniku i o umetničkom sistemu, izvrtanju sistema iznutra. Mnogo (lmova o umetnicima i sistemu su loši, narativni, dosadni, govore o patnji umetnika, već viđenom. A ovde je reč o sasvim drugačijem kon)iktu. Sam (lm je gest savremene umetnosti. Poput školjke, otkriva sistem i pokazuje kako je lep, bogat, ali mrtav. I samo je ono najživlje, što se pokreće, što je ostalo, zapravo ono ljudsko u njemu. Upravo ono zbog čega sistem i postoji i što ga, u isto vreme, čuva.

Sistem... značajna reč za Vaše stvaralaštvo. Nakon performansa „ Ja ujedam Ameriku, a Amerika ujeda mene” ljudi su bili zatečeni i iako je muzej dobio jasne najave i instrukcije kakav je Vaš performans, ipak su bili šokirani, čak i revoltirani.

Ljudi su stizali autobusima iz drugih država. To više nije bila savremena umetnost nego nešto poput cirkusa, atrakcija, znamenitost Njujorka, „dovedeni Rus”. Najzanimljivije je bilo što su svi pokušavali da me pogledaju u oči. To je bilo mnogo pre Marininog performansa u muzeju MoMA. Dolazili su ljudi, zagledali me i govorili: „On je čovek, on razume, neće me ujesti. Rusi su dobri, ne ujedaju.” Donosili su mi bombone. Performans je bio o čoveku i životinji, kao da su to dve potpuno različite stvari.

Jesu li? Pošto ne znam više.

Pa, ti si u svom kavezu, agresivan, želiš svoju teritoriju i svoj mir, ne treba ti niko, a ljudi dolaze sa ljubavlju i nežnošću.

148 : Absolutely. $ese are deeply personal works, so profoundly intimate that you’re no longer afraid of the surroundings or people around you but you start loving them. You simply begin to understand that they are as unique and lonely as you are. Just like tantra. People are in no way connected or mutually dependable. $ey are all separate and di*erent, only this internal feeling exists that we all swim in the same sea of bliss. Lumps of su*ering or awareness.

Had this, then, your internal feeling, guided you in your demeanor toward each person entering the cage during the performance “I Bite America and America Bites Me”? You were aggressive toward some, and benevolent toward others...

It depended. $rough I have to admit I didn’t expect so many beautiful young women to show up. Some large bu*ed up maniacs also came. It is because of this diversity that I was able to fully implement the performance. $ere were also these elegant, nice, subtle women, with children. When such gentle, tender beings show up, I wait to see what will happen, what they’ll do, I adjust. $ey caressed me, talked to me, and I reacted benevolently. $e audience recognized and reacted to this.

Speaking of audiences and reactions, I cannot but ask about your opinion about the movie “!e Square.” 30 years later, your performance is obviously still powerful enough that its cinematic interpretation remains equally shocking even today. How do you feel about this 'lm in general? Do you agree that it is a 'lm about an artist?

Yes, about an artist and art system, about distorting the system from within. Majority of (lms about artists and the system are poorly done, narrative, boring, showing the su*ering of the artist, something we have seen so many times before. $ere is a whole di*erent con)ict described here. $e (lm itself represents a gesture of contemporary art. Just like a shell, it discloses the system and shows how beautiful and rich it is, but also dead. And the liveliest thing in it, the thing that rattles, that’s le- over, is actually the humane in it. Precisely what the system exists for and what protects it at the same time.

System... A rather signi'cant word for your work. A*er the performance “I Bite America and America Bites Me,” people were somewhat caught o+ guard, and even though the museum was prepared and received clear instructions what your performance would be like, they were shocked, and even revolted. People came by bus from other countries. !is was no longer contemporary art, but more like a circus, attraction, New York landmark, they brought Russians. !e most interesting part was the fact that everyone tried to look me in the eye. !is was long before Marina’s performance at MoMA. People came to me, ogled me and said: “He’s a man, he understands, he isn’t gonna bite me. Russians are ok, they don’t bite.” !ey brought candy. Performance was about a man and an animal, as if those two are completely di+erent things. Are they? I don’t even know any more.

Well, you are in your cage, aggressive, you want your territory and your peace, you don’t need anybody, and people keep coming with love and a*ection. And you tear up that love.

!is reminds me of some people I know, but never mind...

: 149 A ti kidaš tu ljubav.

Meni to liči i na neke ljude koje poznajem, ali dobro...

Tačno. Ali, to je bio iskren postupak.

Posle tog performansa, bilo je mnogo polemika i onih koji su govorili kako bi Vas trebalo izbaciti sa međunarodne umetničke scene, ali Vi tada na njoj, zapravo, niste ni bili prisutni. Na neki način, potpuno paradoksalno, ta pozicija autsajdera zapravo Vas je „ubacila” na međunarodnu scenu. Kako se sve obrnulo u Vašu korist?

Sporo. Prošlo je 20 godina kako niko nije izlagao moje radove. Bio sam prisutan na svim bijenalima i odjednom kao da sam odsečen od svega. Kao da je pas pregrizao lanac. Ali, ja sam odrastao u sovjetskom sistemu i uvek sam bio u nekoj vrsti andergraunda − KGB, prisluškivanje, tako da sam navikao na poziciju autsajdera. Mnogo mojih prijatelja je bilo u zatvoru, u vojsci, u ludnici. Što liči na stokholmski sindrom, navikao si na zatvor i postaješ mirniji. Više ne mogu da te kazne. Neće te više poslati u Sibir, nema dalje. Zato sam se 10 god bavio samo skulpturom. Razvio sam majstorsvo brzog vajanja i nadam se da će to postati trenutno vajanje, ne samo brzo nego instant. I to je sve zahvaljujući iskustvu tela koje ne napuštaš. Umetnik je zanimljiviji od svog dela i stalno traži novo otkriće. Vaša jugoslovenska umetnica, Marina Abramović, je preteča onoga što ja radim. Ona se sad zaglavila negde između akcionizma, superstar pozicije i Lejdi Gage, ali je tako upečatljiva (gura. I danas kad me vidi zagrli me i dugo me tako drži. Snažna je i lepo miriše i ima toliko ljubavi što liči na neki bes, aposlutni bes.

Da li primećujete razliku između Istoka i Zapada? Nemamo Berlinski zid, ali margine i centri su još uvek tu.

Ima mnogo razlika u ovom svetu i razlike treba osnaživati. Neće pobediti onaj ko želi u centar − tamo već ima i previše istih i jednakih. Pobediće onaj ko se udalji od centra, što dalje, i pronađe ono jedinstveno, taj će zasvetleti kao zvezda. I svi će opet doći kod njega. A tražiti tuđi svet, tuđu svetlost, to možeš ceo život, a da je ne nađeš.

U svom eseju iz 1998. godine „Ujesti ili lizati”kažete: „Za mene danas, kao i za Rusiju uopšte, ne postoji važnije i ozbiljnije pitanje od toga da li ujesti ili lizati”. Čini se da je danas to pitanje možda umesnije nego ikad?

Ova dilema je postala duboko lična. Ne odnosi se više ni na religiju, politiku, ideologiju. Nije reč o banalnosti. Ili o našem kolektivnom biću. Kad vam neka osoba priđe vi istog trenutka, po mirisu, osetite da li želite da je ugrizete ili liznete. Komunikacija je još uvek na tom nivou. Čak iako neko ima rogove, još uvek ga prepoznajete po tom primarnom mirisu. Ljudi mogu biti svetli i sijati, a da im smrde noge. Naravno, treba imati na umu da, ako ste spremni da nekog ugrizete, možete očekivati da će vam on uzvratiti. Ako ugrizete Ameriku, budite spremni da će i ona ugristi vas. Ja sam spreman.

150 : Exactly. But it was an honest process.

A*er that performance, the museum sent letters to many people advocating for your expulsion from the international scene, but you were not actually present on it at the time to begin with. In a way, completely paradoxically, this position of an outsider actually ‘launched’ you on the international scene. How did this process happen, how did this situation turned into an advantageous one for you?

Very slowly. For 20 years nobody wanted to exhibit my work. I was present at every biennial and I was suddenly cut o*. As if a dog bit o* its chain. But I grew up in the Soviet system and I’ve always been functioning in some sort of an underground - KGB, wiretapping, so I was used to the position of an outsider. Many of my friends spent time in prison, in the army, at the mental asylum. It’s a bit like a Stockholm syndrome, you’re used to jail, and you become more peaceful. $ey can no longer punish you. Nobody will send you to Siberia, because that’s as far as it goes. $is is why, for 10 years, I only sculpted. I’ve developed a cra-smanship of fast sculpting and I hope it will eventually become a momentary sculpting, not only fast but instant. And all of that thanks to the experience related to the body which you don’t leave. An artist is always more interesting than their work and he/she is always looking for a new discovery. Yugoslav artist Marina Abramovic is an antecedent of what I am doing. She is currently stuck somewhere in between actionism, superstar position, and Lady Gaga, but she is such a remarkable (gure. Even when she sees me today she hugs me and holds me for a long time. She is strong and smells nice and has so much love that it almost seems like an absolute anger of sorts.

Do you see any di+erence between the East and the West? Berlin Wall no longer exists, but margins and centers are still here.

$ere is still so much variety in this world and those di*erences should be reinforced. $e winner won’t be the one who strives for the center - there are too many of both the same and the equal. $e winner will be the one who moves farthest away from the center and (nds something unique, that person will shine like a star. And everyone will come back to him. Searching for someone else’s world, someone else’s light, you can do that all your life, and not (nd it.

In your 1998 essay “Biting or Licking” you say: “For me today, and also for Russia in general, there isn’t a more important and serious question than the one whether to bite or to lick.” It seems to me that this question is today perhaps more timely than ever?

$is issue has become deeply personal. It is no longer about religion, or politics, or ideology. Not about banality. Or a collective us. When a person approaches you, you can immediately decide and feel whether you want to bite or lick them by the way they smell. $e communication is still on that level. Even if they had horns, you can recognize them by that initial sense. And they can seem shiny and bright, but their feet might smell. Of course, one should keep in mind that, if you’re getting ready to bite someone, be sure they will bite back. If you bite America, be prepared to be bitten in return. I’m ready.

: 151 152 153 154 155 156 157 158 I

159 160 161

Izložbom „Portret migranta u mladosti“ koncipiranom za prostor Muzeja savremene umetnosti Vojvodine u Novom Sadu, Dragan Vojvodić nastavlja da se bavi pitanjima slobode umetničkog istraživanja, fenomenima memorije, ličnog i kolektivnog identiteta, te odnosom umetnosti i postojećih društvenih vrednosti. Jedna od ključnih karakteristika njegove umetničke prakse, istraživanje konteksta speci(čnog mesta kroz postupak stvaralačkog, umetničkog nomadizma, prisutna je u njegovom delu suštinski, kao povod, podstrek i način procesualnog rada.

Naziv izložbe upućuje na roman „Portret umetnika u mladosti“ Džejmsa Džojsa, kojim ukazuje na važnost autobiografskog diskursa za svoju umetničku identi(kaciju, proces intelektualnog razvoja, formiranja i duhovne emancipacije umetnika u odnosu na vladajuće idejne klišee i predrasude sredine koja ga okružuje, zaokupljene malograđanskim, patrijarhalnim i nacionalnim stegama. Narativ o lavirintu samospoznaje i speci(čnostima razvoja umetnika praćenog revoltom, pobunom prema postojećim dogmama i odbijanjem da bude u službi drugih, ali i o usamljenosti, otuđenosti i hipersenzitivnosti stvaralaca na putu ka dostizanju vlastite umetničke slobode, prisutan u navedenom bildungsromanu, ali i romanima o umetnicima uopšte, bitan je za Dragana Vojvodića. Naime, na angažovana promišljanja autora uticao je njegov speci(čni životni put, promene mesta boravka i proces prilagođavanja novim situacijama i okolnostima.

Kao umetnik koji je tokom 90-ih godina 20. veka bio primoran da napusti Sarajevo, multinacionalnu sredinu svog odrastanja i mladosti, prekine planirani umetnički put i tek započete studije na Akademiji likovnih umetnosti u istom gradu, prihvata egzil kao neminovnost vremena, istovremeno neraskidivu osobenost sopstvenog bića i pravac za kojim traga u svojoj umetničkoj praksi. Momenat odlaska je za njega bio čin prekida sa tačkom uporišta, trenutak akumulacije, ali i oslobađanja od lokalnog i kolektivnog identiteta, početak prisilnog, ali istovremeno i samostalnog kreiranja putanja. Studije je nastavio i završio na Akademiji umetnosti u Novom Sadu, za njega novoj sredini na koju se vremenom adaptirao, pritom nastavljajući da traži utemeljenje u stalnom kretanju, putovanju i nomadizmu. Čini se, kao da su otuđenje, izolacija, prekid i trauma, ostali obeležje njegovog novog života i važan segment umetničkog stvaralaštva.

162

With the exhibition “A Portrait of a Migrant as a Young Man” conceived for the Museum of Contemporary Art Vojvodina in Novi Sad, Dragan Vojvodić continues to deal with issues of freedom of artistic research, phenomena of memory, personal and collective identity, and the relationship between art and existing social values. One of the key characteristics of his artistic practice, researching the context of a speci(c place through the process of creative, artistic nomadism, is present in his work essentially, as a motive, an encouragement and a kind of processual work.

$e title of the exhibition refers to the novel “A Portrait of an Artist as a Young Man” by James Joyce, which he uses to indicate the importance of the autobiographical discourse for his artistic identi(cation, the process of intellectual development, formation and spiritual emancipation of the artist in relation to the prevailing ideological clichés and prejudices of the environment that surrounds him and which is wrapped up in the patriarchal and national constrains. $e narrative of the labyrinth of self-recognition and the speci(cs of the artist’s development, accompanied by revolt, rebellion against existing dogmas and refusal to be in the service of others, but also about the loneliness, alienation and hypersensitivity of creators on the path to achieving their own artistic freedom, present in the above mentioned Bildungsroman, but also, generally, in novels about artists, is important for Dragan Vojvodić. Namely, the engaged re)ections of the author were in)uenced by his speci(c life path, changes of residence and the process of adapting to new situations and circumstances.

As the artist who, during the 90s of the 20th century, was forced to leave Sarajevo, the multinational environment of his growing up and youth, to interrupt his planned artistic path and recently started studies at the Academy of Fine Arts in the same city, he accepted exile as an inevitability of that period, and at the same time, as an inseparable feature of his own being and as the direction he seeks in his artistic practice. For him, the moment of departure was an act of breaking up with the fulcrum, a moment of accumulation of, but also of liberation from local and collective identity, the beginning of forced, but at the same time independent creation of paths. He continued and completed his studies at the Academy of Arts in Novi Sad, a new environment for him, to which he eventually adapted, while continuing to seek a foundation in constant movement, travel and nomadism. It seems that alienation, isolation, interruption and trauma stay as features of his new life and an important segment of his artistic creation.

163 Tokom putovanja većinom je pribegavao privremenim, site speci'c konceptima, umetničkim sredstvima koja su mu bila dostupna, potrebna ili izazovna u izmenjenim pozicijama, što je dovelo do kretanja u pristupu, metodu i medijima rada. Slikar po osnovnom umetničkom obrazovanju, ubrzo je napustio očekivani umetnički diskurs i oslobodio se nametnutih okvira stvaralaštva, te se okrenuo medijskoj, kontekstualnoj i neokonceptualnoj savremenoj umetničkoj praksi, koju danas razvija na različitim mestima. Tokom svojih umetničkih rezidencijalnih boravaka u novim sredinama, posvećuje veliku pažnju istraživanju savremene kulturne i alternativne scene, naročito književnosti, muzici, stripu, (lmu, vizuelnim umetnostima, te istoriji avangarde. U svom umetničkom diskursu razvija interdisciplinarni pristup kroz delovanje u proširenom polju umetnosti koristeći performans, umetničke akcije, fotogra(ju, instalacije, objekte, video, sound art i intervencije u prostoru, ali uvek imajući u vidu širu umetničku scenu i njihove međusobne relacije.

Ciklus umetničkih akcija pod nazivom „Suprematistička transmisija“, kao i video-rad „Suprematistička tranzicija“ (2015-2018) inspirisani su stogodišnjicom suprematističkih slika Kazimira Maljeviča. U navedenim radovima Vojvodić preuzima geometrijske suprematističke forme kvadrata i kruga i aplicira ih u prostore muzeja i galerija ili ih stavlja u vanumetnički kontekst prostora koje pohodi u svom migranstkom iskustvu, kao što su ulice gradova koje posećuje tokom putovanja, a kroz koje nosi monohromne slike−objekte kvadratne forme, dimenzija 200x200 cm, crne, crvene ili bele boje. Potreba da se istakne značaj istorijske umetničke prakse, ali i uspostavi relacija sa savremenim aspektima, kao i sopstvenim stvaralaštvom, proistekla je iz želje za rekontekstualizacijom, prisvajanjem i transponovanjem radikalnog umetničkog dela u savremeni kontekst. Autor istovremeno preispituje vlastitu umetničku poziciju unutar savremene umetničke scene i istorijsko-umetničkih tokova. Dok nosi slike−objekte kroz urbane sredine različitih evropskih gradova (Bergen/Norveška, Rijeka/Hrvatska, Kronštat u oblasti Sankt Peterburga/Rusija), izvodi svojevrsno performativno kretanje čime dekonstruiše shvatanje medija u umetnosti, transponovanjem slikarstva u uličnu akciju kroz uspostavljanje direktne interakcije sa ljudskom svakodnevicom i posmatračima. Ovakvim i sličnim performativnim gestama preispituje povezanost umetnosti i života, tematizuje pitanje pozicije umetničkog dela izvan sveta umetnosti i nastoji da artikuliše odnos umetnika prema publici i konzumentima.

Autobiografski diskurs je prisutan i u ovom radu kroz uspostavljanje speci(čnog ličnog odnosa sa drugim umetnicima, važnim za njegov razvoj i razmišljanja, sa npr. Kazimirom Maljevičem, Marselom Dišanom ili Džonom Kejdžom. Kao i u ovom, u mnogim drugim radovima primenjuje stvaralačke postupke kao što su: citatnost, kolaž, montaža, fragmentacija, te strategiju aproprijacije. Jedan od takvih radova, sastavljen od niza masivnih školskih tabli presvučenih crnom folijom, ukazuje na logo američke alternativne grupe „Black Flag“, poziv edukatora mladim umetnicima koji čini njegovu svakodnevicu i takođe, monohromni geometrijski element blizak suprematističkim tendencijama. Realizujući ih tokom rezidencijalnih i istraživačkih projekata, radovima problematizuje potencijalne uzore, rede(niše ih u odnosu na savremenu društveno-istorijsku situaciju i vlastiti umetnički diskurs.

164 : Over the course of his travels he mostly resorted to temporary, site speci(c concepts, artistic means that were available to him, necessary or challenging in the reversed positions, which led to movement in his approach, method and medium of work. A painter by his basic art education, he soon le- the expected artistic discourse and liberated himself from the imposed frameworks of creation, and turned to media, contextual and neo-conceptual contemporary art practice, which he is developing in di*erent places today. During his art residencies in new environments, he dedicated signi(cant amount of attention to the research of the contemporary cultural and alternative scene, especially in literature, music, comic strip, (lm, visual arts and history of the avant-garde. In his artistic discourse he develops the interdisciplinary approach through acting in an expanded (eld of art using performance, artistic actions, photography, installations, objects, video, sound art and spatial interventions, but always keeping in sight the wider art scene and its inner interrelations.

$e cycle of artistic actions called “Suprematist Transmission”, as well as the video work “Suprematist Transition” (2015-2018) are inspired by the centennial of Suprematist paintings by Kazimir Malevich. In these works, Vojvodić takes the geometric suprematist forms of squares and circles and applies them to the spaces of museums and galleries or puts them in the non-artistic context of the spaces he visits in his migrant experience, such as the streets of cities he visits during his travels and through which he carries monochrome paintings-square objects, measuring 200x200 cm, black, red or white. $e need to emphasize the importance of historical artistic practice, but also to establish relations with contemporary aspects, as well as one’s own creativity, arose from the desire to recontextualize, appropriate and transpose a radical work of art into a contemporary context. At the same time, the author re- examines his own artistic position within the contemporary art scene and historical-artistic trends. While carrying paintings-objects through urban environments of di*erent European cities (Bergen / Norway, Rijeka / Croatia, Kroonstad in the area of St. Petersburg / Russia), he performs a kind of performative movement which deconstructs the understanding of media in art, transposing painting into street action by establishing direct interaction with human everyday life and observers. With such and similar performative gestures, he re-examines the connection between art and life, thematises the question of the position of the art work outside the world of art and tries to articulate the artist’s relationship to the audience and consumers.

Autobiographical discourse is also present in this work through the establishment of a speci(c personal relationship with other artists, important for his development and thinking, with e.g. Kazimir Malevich, Marcel Duchamp or John Cage. Just as in this one, in many other works he applies creative procedures such as: citation, collage, montage, fragmentation, and the strategy of appropriation. One such work, composed of a series of massive blackfoil-covered, school blackboards, points to the logo of the American alternative group “Black Flag”, an educator’s invitation to young artists that makes up his everyday life, and also to a monochrome geometric element close to Suprematist tendencies. Realizing his works during residential and research projects, he problematizes potential role models in them, rede(nes them in relation to the contemporary socio-historical situation and his own artistic discourse.

: 165 Problemima nasleđa, sećanja i identiteta Dragan Vojvodić se bavi kroz instalacije „Mis(ts“ („Neprilagođeni“) i „Portret migranta u mladosti“, kao i kroz video-radove „U potrazi za izgubljenim vremenom“ i „Dead Land“ („Mrtva zemlja“). Preispituje uzroke i posledice nasilne tranzicije, individualne i kolektivne traume, te uništeni vrednosni i društveni sistem u kojem je živeo, istovremeno ukazujući na vlastita, neposredna iskustva. U navedenim radovima uglavnom koristi porodičnu arhivu, fotogra(je i video-zapise nastale tokom detinjstva, letovanja i praznika u nekadašnjoj Jugoslaviji, kao neku vrstu dnevnika ispunjenog personalnim iskustvima i pogledima koji iznosi u javnost, kroz proces ponovnog preživljavanja turbulentnog vremena na putu sopstvenog određenja i mogućeg prevazilaženja. Navodi da su problemi slobode, (samo)izolacije, granica, migracije i problematika Drugog dugi niz godina u fokusu njegove umetničke prakse i inkorporirani u stvaralačko iskustvo.

Postavku povezuju instalacije: „Mis(ts“ („Neprilagođeni“) iz 2015. godine, danas u vlasništvu MSUV-a, koja je sastavljena od Vojvodićevih dečijih portreta nastalih tokom vremena u različitim, neretko svečanim prilikama i gramofonskih ploča implementiranim preko njegovog prikaza lica, potom „Soundless“ („Bez zvuka“) – kružno poređane stare ploče na podu i „Black hole“ („Crna rupa“) – crni krug sačinjem od samolepljivih traka na uglu suprotnog zida. Masivni pravougaoni blok fotogra(ja „Mis(ts“ („Neprilagođeni”) postavljen je u prostornom dijalogu sa kružnim strukturama na podu i zidu. Navedene instalacije su upotpunjene video-radom „U potrazi za izgubljenim vremenom“ baziranim na pronađenim snimcima iz autorovog detinjstva, porodičnim putovanjima koje je snimao njegov otac, a koje pružaju pogled na ležerni porodični život u Jugoslaviji, neočekivano i iznenada prekinut građanskim ratom 90-ih godina 20. veka. Upotreba gramofonskih ploča za samog autora je pitanje ličnog identiteta i sećanja na odrastanje u Sarajevu, na alternativnu muzičku scenu koju je pratio i obimnu kolekciju audio materijala koju je prilikom prisilne migracije ostavio iza sebe. Kružno postavljena crna struktura na podu sačinjena od ovog, za njega važnog simboličkog sadržaja, direktno se nadovezuje na kružnu, crnu -eku na zidu, istovremeno ukazujući na suprematističku praksu negacije, prisustva i odsustva – praznine materijalnog ili nove sadržajnosti. Muzika čini važan segment njegovog života kojem je posvećen i danas – kada stvara novu kolekciju i kada, tokom umetničke rezidencije u Typa muzeju u Estoniji (2020), snima „Soundless“, svoju prvu ploču tišine (odsustva).

Video-performans „Dead Land“ („Mrtva zemlja“) Dragan Vojvodić je realizovao na Grenlandu, za vreme rezidencijalnog boravka. Koncipiran je kroz performativno kretanje autora dok nosi zastavu države koja ne postoji (Jugoslavije), a koja bi trebalo da obeležava njegov identitet. Video beleži autorovo lutanje po nenaseljenim, udaljenim i izolovanim delovima Grenlanda, pustim pejzažima prekrivenim snegom i ledom, kao potragu za samim sobom, izgubljenim vremenom ili utopijom. Svojim kretanjem naglašava probleme kolektivnih identiteta (nacije, vere, jezika...), kritički posmatra sebe kroz proces samoizolacije i otuđenja kako u odnosu na sredinu u koju je došao tako i u onu iz koje je krenuo. Relativizacija pitanja porekla i pripadnosti, te uspostavljanje socijalnih kontakata i povezanost sa novim i drugačijim mestima, osobama i situacijama, učinili su da Dragan Vojvodić sebe formira kao građanina sveta, zastupnika nadnacionalnih vrednosti, korisnika zajedničkog jezika koji je tokom procesa odbacio sistemski nametnute društvene stege. Do promene u razmišljanju dolazi postepeno, zahvaljujući internacionalnoj

166 : Dragan Vojvodić deals with the problems of heritage, memory and identity through the installations “Mis(ts” and “A Portrait of a Migrant as a Young Man”, as well as through the video works “In Search of Lost Time” and “Dead Land”. He examines the causes and consequences of the violent transition, individual and collective trauma, and the destroyed value and social system in which he lived, while pointing out at his own, immediate experiences. In these works, he mainly uses his family archives, photographs and videos taken during his childhood, summer vacations and holidays in the former Yugoslavia, as a kind of diary (lled with personal experiences and views that he shares with the public, through the process of reliving the turbulent times on the path of self-determination and possible overcoming. He states that the problems of freedom, (self)isolation, borders, migration and the problems of the Other have been in the focus of his artistic practice for many years and have been incorporated into his creative experience.

$e exhibition is connected by the installations: “Mis(ts” from 2015, today owned by MSUV, which is composed of portraits of Vojvodić as a child created over a period of time in various, o-en festive occasions and gramophone records implemented over the image of his face, then “Soundless” - old gramophone records placed in circles on the )oor and “Black hole” - a black circle made of self-adhesive strips on the corner of the opposite wall. A massive rectangular block of photographs “Mis(ts” is placed in a spatial dialogue with the circular structures on the )oor and wall. $ese installations are complemented by a video work “In Search of Lost Time” based on the found photographs from the author’s childhood, from the family trips, (lmed by his father, which provide a view of leisurely family life in Yugoslavia, unexpectedly and abruptly interrupted by the civil war in the 90s of the 20th century. $e use of gramophone records for the author himself is a question of personal identity and memory of growing up in Sarajevo, of the alternative music scene he followed and the extensive collection of audio material he le- behind during the forced migration. $e circular black structure on the )oor, made up of this, for him important, symbolic content, is directly connected to the circular, black stain on the wall, at the same time indicating the Suprematist practice of negation, presence and absence - void of the material or the new content. Music is an important segment of his life to which he is still today dedicated - when he created a new collection and when, during his artistic residency at the Typa Museum in Estonia (2020), he recorded “Soundless”, his (rst record of silence (absence).

$e video performance “Dead Land” by Dragan Vojvodić was realized in Greenland, during his residency. It is conceived as the performative movement of the author while carrying the )ag of the not-existing state (Yugoslavia) which should mark his identity. $e video records the author’s wandering through the uninhabited, remote and isolated parts of Greenland, deserted landscapes covered with snow and ice, as a search for oneself, lost time or utopia. With his movement, he emphasizes the problems of collective identities (nation, religion, language...), critically observes himself through the process of self-isolation and alienation both in relation to the environment he came to and the one he started from. $e relativization of the issue of origin and a+liation, and the establishment of social contacts and connections with new and di*erent places, persons and situations, made Dragan Vojvodić form himself as a citizen of the world, advocate of supranational values, and user of a common language who rejected systemically imposed social constrains in the course of this process. $e change in thinking comes gradually,

: 167 mreži rezidencijalnih boravaka, kolaborativnim projektima i putovanjima, na kojima je učestvovao zajedno sa suprugom Ljiljanom Maletin Vojvodić, autorkom književnih dela, kao i fotogra(ja i video-zapisa njegovih performativnih projekata i akcija. Do sada su zajedno boravili i realizovali projekte u Japanu, Islandu, Grenlandu, Francuskoj, Rusiji, Norveškoj, Finskoj, Švedskoj, Estoniji, Latviji, Portugaliji, Španiji, Češkoj, Hrvatskoj... Takođe, u okviru privatne inicijative, Kreativno-edukativnog centra Art Boks, od 2013. godine razvijaju rezidencijalni centar nadomak Novog Sada otvoren za kustose, vizuelne umetnike, muzičare i pisce, kako bi ukazali na važnost razmene i interdisciplinarnog dijaloga.

„Dead Land” se, takođe, bavi i relacijom čoveka i prirode, fenomenima globalnog zagrevanja, iskorišćavanjem prirodnih resursa zarad bogaćenja pojedinaca, te pitanjima odgovornosti i budućnosti, posebno aktuelnim tokom poslednjih godina i od početka pandemije korona virusa. Beleženje vlastitog prisustva na pojedinim mestima, svedočenja o boravku, markiranje tačaka na karti sveta kao zabeležaka o kretanju i dnevnički zapisi sopstvenog delovanja vremenom su, za Dragana Vojvodića, postali novi izazov. Jedan od segmenata postavke je tako činilo istraživanje kartografskih elemenata, upotrebe državnih granica Grenlanda i Jugoslavije, kao mogućih mesta odlaska i dolaska, te njihove depolitizacije i simplici(kacije na linijsko gra(čko rešenje, odnosno dekonstrukcije uvreženog kolektivnog značenja na personalni čin, kao važnog segmenta njegove nomadske strategije.

Umetnička praksa Dragana Vojvodića svoje uporište ima u identitetskim politikama Drugosti, migraciji, egzilu, konstantnom nomadizmu, potrazi za slobodom i samospoznajom, te propitivanju aktuelne društvene ksenofobije i zatvorenosti. Pitanje slobode umetničkog istraživanja, mogućnosti )uidnog kretanja kroz medije, istorijsku praksu i savremene umetničke pozicije, van uvreženih kulturnih tokova i ustoličenih autoriteta, bez potrebe za nametanjem i dominacijom, jedan je od ključnih koncepata njegove umetničke prakse.

168 : thanks to the international network of residential stays, collaborative projects and travels, in which he participated together with his wife, Ljiljana Maletin Vojvodić, author of literary works, as well as photographs and videos of his performative projects and actions. So far, they have stayed together and realized projects in Japan, Iceland, Greenland, France, Russia, Norway, Finland, Sweden, Estonia, Latvia, Portugal, Spain, the Czech Republic, Croatia... Also, since 2013, as part of a private initiative of the Art Box Creative and Educational Centre, they have been developing a residential centre near Novi Sad, open to curators, visual artists, musicians and writers, in order to point out the importance of exchange and interdisciplinary dialogue.

“Dead Land” also deals with the relationship between man and nature, the phenomena of global warming, the use of natural resources for the enrichment of individuals, and issues of responsibility and the future, especially present in recent years and since the beginning of the corona virus pandemic. Recording his own presence in certain places, testimonies about his stay, marking points on the world map as notes on movement and diary entries of his own activities have, over time, become a new challenge for Dragan Vojvodić. $us, one of the segments of the exhibition was the research of cartographic elements, the use of the state borders of Greenland and Yugoslavia, as possible places of departure and arrival, and their depoliticization and simpli(cation to a linear graphic solution, i.e. deconstruction of ingrained collective meaning into a personal act, as an important segment of his nomadic strategy.

$e artistic practice of Dragan Vojvodić has its stronghold in the identity policies of the Otherness, migration, exile, constant nomadism, search for freedom and self-recognition and the questioning of the current social xenophobia and closedness. $e issue of freedom of the artistic research, possibility of )uid movement through media, historical practice and contemporary artistic positions, outside of the established cultural trends and enthroned authorities, without the need for imposition and domination, is one of the key concepts of his artistic practice.

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Sanja Kojić Mladenov: Na izložbi Portret migranta u mladosti baviš se fenomenima nasleđa, memorije, ličnog i kolektivnog identiteta, te odnosom umetnosti i društva. Naziv izložbe upućuje na roman o razvojnom putu umetnika − Portret umetnika u mladosti Džejmsa Džojsa. Koliko je autobiografski diskurs umetnika, od odrastanja i duhovne emancipacije, prisutan na izložbi?

Dragan Vojvodić: Autobiografski diskurs je primaran u mom radu, čak i u onom delu koji, naizgled, sa njim nije u vezi, poput dijaloga sa umetnicima i umetničkim pojavama u istoriji umetnosti, kakav je, recimo, moj odnos prema delu Kazimira Maljeviča koji je, takođe, iako ne eksplicitno, prožet ličnim, životnim i umetničko-performativnim iskustvom u kojem ta relacija prema Drugom egzistira, između ostalog, i kao potvrda tog iskustva.

Naziv izložbe Portret migranta u mladosti jeste referenca na Džojsov roman koji mi je, poput nekih drugih bildungsromana i romana o umetnicima, bitan za ličnu identi(kaciju, kao i za imenovanje vlastitog migrantskog iskustva koje će, vremenom, evoluirati u potragu za umetničkim egzilom i prostorom za delovanje i stvaranje van uobičajenih umetničkih tokova što će se pokazati kao presudno za formiranje moje umetničke individualnosti.

Sanja Kojić Mladenov: U tvojoj umetničkoj praksi je vidljiva povezanost i isprepletenost životnih priča prožetih nasilnom promenom mesta boravka – egzilom kao neminovnošću, otuđenjem, izolacijom i novim životom obeleženim odsustvom, prekidom i traumom. Koliko su turbulentne društvene promene u prošlosti uticale na tvoju umetničku praksu, naročito na migrantsko iskustvo?

Dragan Vojvodić: Neminovno je bilo da se u potrazi za samim sobom i za novim (zičkim, duhovnim i umetničkim prostorima suočavam sa vlastitom i kolektivnom memorijom kao i sa nasleđem društva u kom sam odrastao i stasavao, a čije su vrednosti uništile novonastale političke i društvene elite, da preispitujem uzroke i posledice te nasilne tranzicije. Problemi slobode, (samo)izolacije, granica, migracije i problematika Drugog su dugi niz godina u fokusu moje umetničke prakse i inkorporirani su u moje stvaralačko iskustvo.

Vremenom sam shvatio da me je prisilno izmeštanje iz grada u kojem sam odrastao i započeo studije na Akademiji umetnosti oslobodilo tačke uporišta, ali i vezanosti za lokalno i nacionalno, te sam se, najviše zahvaljujući mreži internacionalnih umetničkih rezidencija, počeo kretati i oblikovati vlastiti egzil. Ta mesta novog boravka su postajala

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Sanja Kojić Mladenov: Your exhibition A Portrait of the Migrant as a Young Man deals with the phenomena of heritage, memory, personal and collective identity, and the relationship between art and society. $e name of the exhibition refers to a novel about the development of the artist, A Portrait of the Artist as a Young Man by James Joyce. How much is the artist’s autobiographical discourse of growing up and of spiritual emancipation present in the exhibition?

Dragan Vojvodić: Autobiographical discourse is primary in my work, even in the part of it which, apparently, is not related to it, such as the dialogue with the artists and artistic phenomena in the history of art, such as, for example, my relation to the work of Kazimir Malevich, which is, also, though not explicitly, permeated by personal, life and artistic – performative experience, in which that relation towards the Other exists, among other things, as the con(rmation of that very experience.

$e title of the exhibition A Portrait of the Migrant as a Young Man is a reference to Joyce’s novel, which, like some other bildungsroman and novels about artists, is important for my personal identi(cation, as well as for the naming of my own migrant experience which will, over time, evolve into a quest for artistic exile and space for working and creating outside the usual artistic streams, which will later prove to be crucial for the formation of my artistic individuality.

Sanja Kojić Mladenov: Your artistic practice shows the connection and intertwining of life stories pervaded by a violent change of place of residence - exile as inevitability, alienation, isolation and a new life marked by absence, disruption and trauma. How much have the turbulent social changes from the past, especially the migrant experience, in)uenced your artistic practice?

Dragan Vojvodić: It was inevitable for me, in the search for myself and for the new physical, spiritual and artistic spaces, to be confronted with my own and collective memory as well as with the legacy of the society in which I grew up and matured and whose values were destroyed by the newly emerging political and social elites, and to examine the causes and consequences of this violent transition. $e problems of freedom, (self)isolation, borders, migration and the problems of the Other have been the focus of my artistic practice for many years and have been incorporated into my creative experience.

173 mesta kreativnosti, ali i samoizolacije i otuđenja kako u odnosu na tu novu sredinu tako i u odnosu na sredinu iz koje sam privremeno emigrirao. Bez obzira da li se radilo o mestima unutar ili van urbanih sredina, osećaj samoizolacije je bio stvaran, zbog redukovanih socijalnih relacija, dolaska u nepoznatu sredinu, kao i zbog prirode privremenosti takvih boravaka.

Takav kontekst mi je nametao suočavanje sa individualnim i kolektivnim traumama koje su rezultirale ambijentalnim i performativnim situacijama (Distorzija organizma, Dead land) kroz koje sam, ponovo, u jednom mentalnom diskursu, prolazio proživljavajući negativna iskustva iz prošlosti, nakon čega su nastali radovi koji su eksplicitno postajali nosioci te iskustvene matrice. U tim performativnim radovima bio sam ne samo (zički akter već i svedok trauma i reperkusija nasilne tranzicije čiji smo svedoci.

Sanja Kojić Mladenov: U svojoj umetničkoj praksi baviš se istraživanjem konteksta speci(čnog mesta kroz proces stvaralačkog, umetničkog nomadizma vidljivog kako u težnji za promenom, stalnim izmeštanjem iz svog mesta boravka, te uspostavljanjem relacija sa različitim sredinama i akterima umetničke scene tako i u potrebi za interdisciplinarnim istraživanjem i primenom raznovrsnih formi medijskog jezika kao reakcija na različite situacije, kao što su: performans, umetnička akcija, video, fotogra(ja, objekat, instalacija i intervencija u prostoru. Možeš li nam objasniti svoju strategiju umetničkog nomadizma?

Dragan Vojvodić: Mesta u kojima sam, kao što sam prethodno napomenuo, upravo zahvaljujući rezidencijalnim umetničkim programima, imao priliku da neko vreme živim i stvaram, oslobađala su me svih lokalnih, nametnutih društvenih i profesionalnih stega i nesmetano sam, intuitivno ostvarivao dijalog kako sa samim sobom tako i sa datim okruženjem. Tako je, kroz praksu pribegavanja različitim umetničkim sredstvima, medijima i postupcima koja su mi bila dostupna, došlo do promene medija u mojoj umetničkoj praksi, od slikarstva sam se okrenuo ka novim medijima i istraživanju vlastitog identiteta tj. tačnije ka nekoj vrsti pokušaja oslobađanja od istog (kao građanin sveta, nasuprot nacionalnim, verskim i državnim atributima). Na taj način sam počeo da stvaram radove u kojima su zahtevi speci(čnog mesta, dijalog sa istim i improvizacija u postupcima postali imperativ emancipacije od akademskog, tradicionalnog i ustaljenog u umetničkoj praksi. U uslovima slobode stvaranja sebi nisam nametao određene umetničke zahteve, nego sam dopuštao da se u relaciji umetnik – mesto ideje )uidno kreću i formiraju, a mediji i postupci sami nameću. Svaka strana u tom odnosu je nosila svoje datosti, a kao rezultat takvog odnosa realizovani su radovi koje je, između ostalog, karakterisala privremenost kao što je bila i priroda samog egzila. Putovanje i stalno kretanje kao životna i umetnička praksa nomadizma postalo je, u isto vreme, bekstvo od vlastite sredine i potraga za Utopijom. Konstantna promena se nužno re)ektovala na samu umetničku praksu, prožimala je i de(nisala; u njoj više nema dominacije u tematskom, medijskom smislu ili u smislu upotrebe određenih umetničkih sredstava i postupaka.

Sanja Kojić Mladenov: Decenijska zloupotreba prirode zarad bogaćenja neoliberalnog tržišta produbila je socio- ekonomske probleme, dovela do raslojavanja stanovništva, migracije, licemerja i ogromnih nepravdi, kao i do nove krize izazvane pandemijom korona virusa. Nismo obraćali pažnju na mnoge predznake koje nam je priroda davala sa ranijim epidemijama, požarima, otopljavanjima i sl. Možeš li nam reći nešto više o svojim radovima koje si realizovao tokom

174 : Over time, I realized that being forced to move out of the city where I had grown up and started my studies at the Academy of Arts freed me from the foothold, but also from the attachment to the local and national, and, thanks to, above all, a network of international artistic residencies, I began to move and shape my own exile. $ese places of new residence became the places of creativity, but also of self-isolation and alienation, both in relation to this new environment, as well as in relation to the environment from which I had currently emigrated. Regardless of whether they were places inside or outside urban areas, the sense of self-isolation was real, due to the reduced social relations, coming to an unfamiliar environment, and the temporary character of such stays.

Such a context forced me to cope with the individual and collective traumas that resulted in the ambient and performative situations (Distortion of the organism, Dead land) which, in a certain mental sense, I went through, reliving the negative experiences from the past, and which created the works that became explicit carriers of that experiential matrix. In these performative works I was not only the physical actor, but also the witness of the traumas and repercussions of the violent transition we were witnessing.

Sanja Kojić Mladenov: $rough your artistic practice, you also explore the context of a speci(c place through a process of creative, artistic nomadism visible both, in the pursuit of change, the constant displacement from your own place of residence, and establishing relationships with di*erent environments and actors in the artistic scene and in the need for interdisciplinary research and application of various forms of media language as a reaction to di*erent situations, such as: performance, artistic action, video, photography, object, installation and intervention in space. Can you explain your strategy of artistic nomadism?

Dragan Vojvodić: $e places, where, as I mentioned above, I had the opportunity to work and create for some time thanks to the very phenomenon of artistic residences, as I have already mentioned, freed me from all the imposed local social and professional constraints, and I was undisturbed to engage intuitively in a dialogue with myself and the given environment. $us, through the practice of resorting to di*erent artistic means, media and procedures that were available to me, there came a change of media in my artistic practice; from painting I turned to new media and exploration of my own identity, i.e. more precisely, towards some sort of attempt at liberation from it (as a citizen of the world, as opposed to national, religious and state attributes). In this way, I began to create works in which the demands of a speci(c place, dialogue with it and improvisation in procedures became the imperative of emancipation from the academic, traditional and established in the artistic practice. In the conditions of freedom of creation, I did not impose certain artistic requirements on myself, but rather allowed the ideas in the relation artist – place to move and form )uidly, and the media and actions to impose themselves freely. Each party in this relationship bore its own reality, and as a result of such a relationship, what was realized were the works, which, among other things, were characterized by a temporary character, such as the exile itself. Traveling and constant moving as the life and artistic practice of nomadism became, at the same time, the escape from my own environment and the pursuit of Utopia. Constant change necessarily re)ected on the artistic practice itself, it permeated and de(ned it, and there was no longer any dominance in it in the sense of themes, media or in terms of the use of certain artistic means and procedures.

: 175 nomadskog procesa samospoznaje i samoizolacije u udaljenim i gotovo nenaseljenim delovima sveta, u kojima vladaju zakoni prirode?

Dragan Vojvodić: Umetnička dela koja sam realizovao u udaljenim i izolovanim delovima sveta tematizovala su pitanja odnosa prema prirodi, okruženju, čoveku i inicirala procese samospoznaje. Radovi nastali na mojim prvim umetničkim rezidencijama, na rubnim delovima evropskog kontinenta (Island, Portugal), kao i kasnije na Grenlandu (Dead Land) bave se odnosom čoveka i prirode, tiču se iskustva prisustva, odsustva i memorije, propituju fenomene globalnog otopljavanja i kolektivne odgovornosti.

Iskustvo osvajanja novih prostora re)ektovalo se i na karakter samih radova. In situ instalacije (Hiperborejci) koje sam stvarao od pronađenih prirodnih materijala predstavljaju kreiranje nove memorije, ostavljanje tragova. Beležio sam vlastito prisustvo kao svedočanstvo boravka na nekom udaljenom, osvojenom mestu, markirao tačke na karti sveta do kojih sam dospeo i povlačio nevidljive crteže koji su spajali te iste tačke. Ta vrsta delovanja postala je kreativni izazov koji iznova ispostavlja nove zahteve.

Sanja Kojić Mladenov: Pojedini ciklusi tvojih intermedijskih radova bave se dijalogom, aproprijacijom i rekontektualizacijom ključnih umetnika i dela istorije savremene umetnosti, pogotovo avangardih istraživanja. Koliko je za tebe važno problematizovanje potencijalnih uzora ili/i njihovo dekonstruisanje u odnosu na savremenu društveno- istorijsku situaciju i lični umetnički diskurs?

Dragan Vojvodić: Dijalog sa prirodom sam, kasnije, zamenio odnosom prema alternativnoj kulturi i umetnosti, muzici, stripu, (lmu, prema pojedinim umetničkim tendencijama, umetnosti i umetnicima. Na osnovu tih relacija i lične biogra(je, primenjujući postupke aproprijacije i nove kontekstualizacije, nastale su instalacije (No Hope No Fear, Heavy Words) u kojima sam tuđe citate plasirao u nov konteks kao lične, što je otvorilo nova pitanja i pozivalo na razgovor.

Proteklih godina sam realizovao i radove koji uspostavljaju komunikaciju sa umetnicima kao što su: Kazimir Maljevič, Marsel Dišan i Džon Kejdž, s ciljem ponovnog aktuelizovanja istorijske avangarde, preispitivanja njenog uticaja na savremenu umetnost, kao i ostvarivanja vlastite relacije u odnosu na njih.

U periodu od 2015. do 2018. godine, na stogodišnjicu nastanka čuvene serije Maljevičevih monohromnih slika (Crni, Crveni i Beli kvadrat) izveo sam seriju umetničkih akcija. Monohromne kvadratne slike−platna dimenzija 200x200 cm sam nosio kroz urbane sredine različitih evropskih gradova (Bergen/ Norveška, Rijeka/ Hrvatska, Kronštat u oblasti Sankt Peterburga/ Rusija). Sa željom da se umetnost, u svakom momentu, emituje i inkorporira u sam život, kroz postupak prisvajanja i rekontekstualizacije Maljevičevog dela, potom njegovog transponovanja u drugi medij, od slikarstva ka umetničkoj akciji – performansu, uspostavljao sam vezu između Maljevičeve slikarske tranzicije i svoje potrebe za stalnim kretanjem i prolaženjem kroz različita umetnička iskustva.

Sanja Kojić Mladenov: Jedan si od retkih umetnika umetničke scene u Srbiji koji kontinuirano učestvuje u internacionalnim rezidencijalnim programima. Do sada si bio u SAD-u, Japanu, Islandu, Grenlandu, Francuskoj, Rusiji,

176 : Sanja Kojić Mladenov: Decades long abuse of nature for the purpose of enriching the neoliberal market has deepened the socio-economic problems, has led to strati(cation of population, to migration, hypocrisy and enormous injustices, as well as to a new crisis caused by the corona virus pandemic. We did not pay attention to the many omens nature had been giving us with the earlier epidemics, (res, thaws, etc.

Can you tell us more about your works which you realised during the nomadic process of self-discovery and self- isolation in remote and almost uninhabited parts of the world governed by the laws of nature?

Dragan Vojvodić: $e works I realized in the distant parts of the world thematised issues of relation to nature, environment and man, and initiated the processes of self-realization.

$e works created at my (rst artistic residences, on the outskirts of the European continent (Iceland, Portugal), as well as later in Greenland (Dead Land) deal with the relationship between man and nature, and are concerned with the experience of presence, absence and memory, and question the phenomena of global warming and collective responsibility.

$e experience of conquering new spaces also re)ected in the character of the works themselves. $e in situ installations (Hyperboreans) that I created from the randomly found natural materials present the creation of new memory and leaving traces. I recorded my own presence as the testimony of being present in a remote, “conquered” place; I marked places I had reached on the map of the world, and I drew invisible drawings that connected those same points. $is type of activity has become a creative challenge that is making new demands again and again.

Sanja Kojić Mladenov: Certain cycles of your intermedia works deal with the dialogue, appropriation and recontextualization of key artists and works of contemporary art history, especially from avant-garde research. How important is it for you to problematize potential role models or / and to deconstruct them in relation to the contemporary social and historical situation and personal artistic discourse?

Dragan Vojvodić: Later, I replace the relation to nature with the relation to alternative culture and art, music, comic strip, (lm, relation to individual artistic tendencies, arts and artists. Based on these relations and personal biography, applying appropriation and new contextualization procedures, I create installations (No Hope No Fear, Heavy Words) in which I place other people’s quotes in a new context as my own, which will open questions and invite dialogue.

In recent years, I have realized works that establish a dialogue with artists such as: Kazimir Malevich, Marcel Duchamp and John Cage in order to re-actualize the historical avant-garde, to review its in)uence on contemporary art, as well as to establish my own relation to them.

: 177 Norveškoj, Finskoj, Švedskoj, Portugalu, Španiji, Češkoj, Hrvatskoj... Takođe, zajedno sa suprugom, književnicom Ljiljanom Maletin Vojvodić, razvijaš rezidencijalni program u Novom Sadu. Koliko su iskustva putovanja i boravka na novim lokacijama važna i značajna za razvoj umetničke prakse, kao i za mogućnost prezentacije rada i napredovanja?

Dragan Vojvodić: Umetnički opus koji sam realizovao u različitim umetničkim rezidencijalnim centrima ne bi bio moguć bez organizacionih sposobnosti moje supruge, Ljiljane Maletin Vojvodić, koja je zaslužna i za foto i video-zapise mojih umetničkih akcija i performansa. Ona je pisac, što nam omogućava jednu vrstu interdisciplinarnog dijaloga, iz kojeg su nastali i neki zajednički projekti (Meaning of home). S namerom da iskustvo boravka i delovanja u različitim umetničkim rezidencijama u inostranstvu prenesemo i u lokalnu sredinu, 2013. godine smo osnovali umetnički rezidencijalni centar Art Box. Želeći da putem rezidencijalnog programa uspostavimo dijalog internacionlnih i domaćih umetnika i da predstavimo inostrane umetnike na domaćoj sceni, do sada smo realizovali saradnju sa kustosima, vizuelnim umetnicima, muzičarima i slem-pesnicima iz Norveške, Holandije, Švedske, Velike Britanije, Hrvatske, sa Islanda i iz Japana.

Sanja Kojić Mladenov: Nova situacija sa krizom izazvanom pandemijom korona virusa, nameće rekontekstualizaciju i kritičku dekonstrukciju trenutnog stanja, kao i problematizaciju razmišljanja o toku i smeru budućeg razvoja. Šta misliš o tome kakve promene se očekuju u društvu i savremenoj umetnosti u narednom periodu?

Dragan Vojvodić: Svet se, nenadano, manje ili više (ne)spremno suočio sa problemima koji se već re)ektuju na društvo, ali i na svakog pojedinca. U novoj istorijskoj situaciji izazvanoj pandemijom, tek ćemo biti svedoci novonastalih odnosa kako u prirodi i društvu, tako i u umetnosti. Velika ekonomska kriza, koja će neminovno uslediti nakon ove zdravstvene, svakako će se odraziti i na umetnost.

Ovo je vreme prilagođavanja i promena. Pretpostavljam da će uslediti preoblikovanje svih paradigmi, kako ideoloških, socijalnih, tako i umetničkih. Ili bi bar tako trebalo da bude. Ali, svedoci smo i da se istorija ponavlja, a da se iz grešaka ne uči.

Verovatno će i moja umetnička praksa pretrpeti promene koje, za sada, ne mogu preciznije da predvidim.

178 : From 2015 to 2018, on the centenary of the creation of the famous series of Malevich’s monochrome paintings (Black, Red and White Square), I performed a series of artistic acts. I carried monochrome square paintings - canvases 200x200 cm in size - through the urban areas of di*erent European cities (Bergen / Norway, Rijeka / Croatia, Kroonstad in the San Petersburg area / Russia). With the desire to broadcast and incorporate art into life at any moment, through the process of appropriation and recontextualization of Malevich’s work, then the process of its transposition into another medium, from painting to artistic action - performance, I established a connection between Malevich’s painterly transition and my own need for constant movement and going through di*erent artistic experiences.

Sanja Kojić Mladenov: You are one of the few artists of the Serbian art scene who continuously participate in international residency programs. So far you have been to the USA, Japan, Iceland, Greenland, France, Russia, Norway, Finland, Sweden, Portugal, Spain, Czech Republic, Croatia... Also, together with your wife, a writer, Ljiljana Maletin Vojvodić, you are developing a residency program in Novi Sad. How important are the experiences of traveling and staying in new locations for the development of artistic practice, as well as for presenting work and advancement?

Dragan Vojvodić: $e artistic opus that I have realized at various artist residences would not be possible without the organizational skills of my wife, Ljiljana Maletin Vojvodić, who is also responsible for the photos and videos of all my artistic activities and performances. She is a writer, which allows us a kind of interdisciplinary dialogue, from which some joint (Meaning of home) projects have emerged. With the intention of bringing the experience of living and working in di*erent artistic residences abroad to our own environment, in 2013 we established the Art Box Art Residential Centre. Wanting to establish, through the residency program, a dialogue between international and local artists and present foreign artists in the domestic scene, we have so far collaborated with visual artists, musicians and slam-poets from Norway, the Netherlands, Sweden, the United Kingdom, Croatia, Iceland and Japan.

Sanja Kojić Mladenov: $e new situation with the crisis caused by the pandemic of the corona virus imposes a re-contextualisation and critical deconstruction of the current state of a*airs as well as the problematizing of the contemplating the course and direction of the future development. What do you think about the changes that are to be expected in the society and the contemporary art in the coming period?

Dragan Vojvodić: In the new historic situation caused by the pandemic, we are yet to witness the new relations in nature and society, as well as in art. $e world is suddenly faced with the problems that are already re)ecting on societies, which have, more or less unpreparedly, met this civilizational challenge, but are also re)ecting on each individual.

$e great economic crisis, which will inevitably follow this health crisis, will certainly a*ect the arts as well. $is is a time of adjustment and change.

I suspect that there will be changes in all paradigms, ideological, social, and artistic. Or so it should be. But we are witnessing that history repeats itself without anyone learning from mistakes.

Also I feel that my artistic practice will also undergo changes that I cannot precisely de(ne for the time being.

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185 186 187

Nenad Šoškić, vajar po svom umetničkom obrazovanju, usmeren je na istraživanje graničnih formi ovog vizuelnog medija i delovanje u proširenom medijskom polju prostornih instalacija i ambijenata, uz uvođenje kontekstualnosti i dijaloga sa aktuelnim društvenim temama i odnosima, pogotovo mas-medijima, informacijama i vestima.

Razvijajući koncept sa stanovištem u analizi i propitivanju uloge mas-medijske kulture danas, brzine protoka informacija, njihovog neselektivnog plasiranja i konzumerskog vrednovanja, otvara niz pitanja o savremenom društvu i načinu njegovog funkcionisanja. Seriju radova posvećenih ovoj temi razvija prvo u SAD-u, u galeriji MANA u Njujorku, u organizaciji „Mana Contemporary“, a zatim na prestižnoj manifestaciji “Art Basel“ u Majamiju, izložbom pod nazivom „Transformation“. Podstaknut na istraživanje društvenopolitičke i kulturne uloge koju imaju svakodnevne vesti, njihove frekventnosti i, istovremeno, prolaznosti u SAD-u, nastavlja serijom pojedinačnih radova i samostalnih izložbi u Crnoj Gori, prostoru sopstvenog okruženja, kao i regionu (Novi Sad, Sarajevo, Zagreb...).

Izložbu u Novom Sadu koncipira kroz site-speci'c instalaciju sastavljenu iz tri segmenta koji se međusobno nadopunjuju, kreirajući idejno jedinstvenu postavku. Pojedinačni elementi umetničkog dela vode aktivni dijalog sa prostorom postavke, menjajuću očekivani odnos prostorija i uobičajeni način kretanja posetilaca kroz njega, uključujući ih aktivno u komunikaciju i interakciju sa izmenjenim ambijentom. Ovaj speci(čni odnos publike i umetničkog dela, čini važan segment savremene umetničke prakse, koja ističe značaj hipermedija, odnosno komunikacije, kontakta, prenošenja, transmisije, recepcije i povezanosti posetioca i umetničkog dela, kroz senzorska iskustva koja prevazilaze osnovni vizuelni doživljaj drugim čulnim saznanjima.

Kako izložbeni prostor Galerije S Muzeja savremene umetnosti Vojvodine, u svojoj osnovi ima geometrijsku formu meandra, te zahteva speci(čno cik-cak kretanje u okviru tri, donekle, odvojene prostorne celine, autor je postavio pitanje mogućih načina komunikacije unutar njega, istražujući šta je tipično i očekivano, a šta bi bio izazov, prekid i prepreka u njemu, neophodna promena koja bi otvorila nove putanje i situacije. U duhu situacionističke teorije neočekivanog zaokreta, prostor je animirao u obrnutom poretku od uobičajenog kreirajući vertikalni koridor od zidova-novina u prvom, ulaznom prostoru. Svojevrsna zavesa od papirnih zastora se prilikom kretanja publike unutar njene konstrukcije blago pomera pri čemu proizvodi suptilni zvuk šuštanja. Prostor je poprimio utisak

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Nenad Šoškić, a sculptor by art education, is focused on researching the border forms of this visual medium and acting in the expanded (eld of spatial installations and ambiences medium, with the introduction of contextuality and the dialogue with current social topics and relations, especially the mass-media, information and news.

Developing a concept with a standpoint in the analysis and questioning of the role of mass media culture today, the speed of information )ow, their non-selective placement and consumeristic evaluation, he opens up a number of questions about modern society and the way it functions. He (rst developed a series of works dedicated to this topic in USA, at the MANA Gallery in New York, organized by “Mana Contemporary”, and then at the prestigious manifestation “Art Basel” in Miami, with an exhibition titled “Transformation”. Inspired to research the socio- political and cultural role that the everyday news, their frequency and, at the same time, their transiency have in the United States, he, then, continues with a series of single works and solo exhibitions in Montenegro, the space of his personal environment, as well as in the region (Novi Sad, Sarajevo, Zagreb, etc.)

He conceives the exhibition in Novi Sad as a site-speci(c installation composed of three segments which complement each other, thus creating a conceptually unique setting. $e individual elements of the art work lead an active dialogue with the space of the exhibition, changing the expected relation of the rooms and the usual way of moving of the visitors through it, including them actively in communication and interaction with the changed ambience. $is speci(c relation between the audience and the work of art is an important segment of contemporary art practice which emphasizes the importance of hypermedia, i.e. communication, contact, transfer, transmission, reception and connection between the visitor and the art work through perceptual experiences that exceed the basic visual experience through other sensory cognitions.

As the exhibition space of the Gallery S of the Museum of Contemporary Art Vojvodina has a geometric form of a meander at its base and requires a speci(c zig-zag movement within three, somewhat separate spatial units, the author posed the question of possible ways of communication within it, exploring what is typical and expected, and what would be the challenge, interruption and obstacle in it, the necessary change that would open new paths and situations. In the spirit of the situationist theory of the unexpected turn, he animated the space in order reverse from the usual, creating, thus, a vertical corridor of newspaper-walls in the (rst, entrance space.

189 zatvorenog hodnika, lavirinta kroz koji se mora proći kako bi se stiglo do narednog segmenta, iz kojeg dopire novi zvuk. U pitanju je proces traženja... potrage za istinom u zbrci informacija i podataka. Novinski listovi su spojeni u trake i prefarbani belom bojom, vidljivost sadržaja je smanjena i gubi se u efemernom prostoru, nalik imaginarnom svetu virtuelnog belog prostora – void-a, u kojem se susreću realnost i (kcija. Autor postavlja pitanje iracionalnog, mesta susreta sa samim sobom, verodostojnosti sadržaja i njegovog kritičnog sagledavanja.

U drugom segmentu izložbe pozicionirani su formalno masivniji elementi od prethodnih, takođe postavljeni kroz dijaloški odnos sa publikom, kao i međusobni. Inicirajući kretanje vazduha ventilatorom, jedan od objekata na zidu formira zvuk od oscilirajućih pokreta, na prvi pogled nepomičnih metalnih fragmenata pričvršćenih za monumentalnu tablu. U pitanju su implementirana slova izrezana od otpadnog metalnog materijala, različitih limenki sakupljenih duž puteva u Crnoj Gori kojima se autor svakodnevno kreće. Prikazi sopstvenog okruženja čiju prirodu pojedinci shvataju olako bezobzirno je zagađujući. I dok ventilator pokreće slova koja svojim treptajima kreiraju speci(čan šum, posetilac može da iščitava novinske naslove i reklamne slogane, spojene u jedinstven, kontinuirani tekst, bez prekida i pauze, koji naglašava kakofoniju i agresivnost urbane svakodnevice kojoj smo izloženi. Mnogostrukost informacija, zbrka događaja i poruka koji nam se nameću sa „malih ekrana“, novina i bilborda, koji nas zaokupljaju, a koji ukazuju na prolaznost podcrtanu rekontekstualizacijom odbačenih limenki.

Objekat postavljen na suprotnom zidu konstruisan je od spojenih masivnih, ravnih metalnih ploča, ispoliranih toliko da asociraju na ogledala. U njihovom gornjem polju, nanizane su ishabane zaštitne rukavice koje je autor koristio tokom manuelnog izvođenja, realizacije radova prisutnih na izložbi. Uvođenje sopstvenog predmeta (iskustva) ukazuje na element ličnog prisustva umetnika, koji signalizira i na povremeni autobiografski katakter umetničke prakse Nenada Šoškiće, vidljiviji u nekim drugim umetničkim celinama, kao što je njegov nedavni koncept sastavljen od (gura i fotogra(ja istorijskih uzora, osobnih prijatelja i porodice. Čini se kao da u haotičnosti gradskih impulsa i informacija, autor želi da naglasi važnost personalnog prostora, sopstvenog slojevitog identiteta nagoveštenog i odrazom posetilaca ili mogućom samospoznajom u izloženom „ogledalu“.

Poslednji segment rada, može istovremeno biti i početni impuls postavke. U pitanju je spoj starijih i novih radova, iz serije nastale u SAD-u od dnevnih novina New York Times i novijih realizovanih u Crnoj Gori od Pobjede. Sastavljeni su od poprečnog preseka presovanih novinskih listova postavljenih kao masivne ploče na zidu ili u novijoj formi manjih i većih spiralnih objekata, koji kao da naglašavaju kontinuirano kretanje i cikličnost pojava i odnosa od kojih su konstituisani. Blaga odstupanja u tonalitetu papira, kreiraju dinamičnost kompozicije i u formalnom, likovnom smislu, generišući međusobni dijalog svetlijih i tamnijih površina (lejera). Slojevite strukture „remete“ istaknuta slova i brojevi postavljeni na njima, sa statističkim podacima o brojčanoj zastupljenosti određenih reči, kao što su: love, art, kunst, ljubav, sreća, emocija, umjetnost, dobro, lijepo, riječ i sl. korišćene u novinskim tekstovima. Akcentovani znakovi naglašavaju važnost sadržaja umetničkog dela, kubusa (mase) informacija od kojih su strukture sačinjene, a čija percepcija zavisi od načina prenošenja i samog posmatrača. U pitanju su egzaktni podaci koji čine rezultat

190 : A speci(c curtain made of paper drapes moves slightly producing a subtle sound of rustling when the audience walk inside its construction. $e space takes on the impression of a closed corridor, a labyrinth through which one must pass in order to reach the next segment, from which a new sound is coming. It is a process of searching... seeking for the truth in the confusion of information and data. Newspaper sheets are glued into strips and painted white, the visibility of the content is reduced and lost in the ephemeral space, similar to the imaginary world of virtual white space - void, in which reality and (ction meet. $e author raises the question of the irrational, the place of encounter with oneself, the credibility of the content and its critical perception.

In the second segment of the exhibition, formally more massive elements than the previous ones are positioned, also placed through mutual, as well as dialogical relation with the audience. Initiating the movement of air with a fan, one of the objects on the wall makes a sound of rhythmic movements, gentle strokes of, at (rst glance, motionless metal fragments, against the monumental board, the base to which they are attached. $ese are applied letters cut from scrap metal material, various cans, collected along the roads in Montenegro along which the author drives every day, depicting the own environment, the nature that individuals do not take seriously and recklessly pollute. And while a fen moves the letters that create a speci(c hum by their oscillations, a visitor can read the newspaper headlines and advertising slogans, joined into a single, continuous text, without breaks and pauses, which emphasizes the cacophony and aggressiveness of the urban everyday life we are exposed to. $e multiplicity of information, the confusion of events and messages that are imposed on us from the screen, newspapers and billboards, and which overwhelm us, indicate the transience underlined by the re-contextualization of discarded cans.

$e object placed on the opposite wall is constructed of joined massive, )at metal plates, polished enough to resemble mirrors. In their upper (eld, there are strings of worn-out protective gloves used by the author during the manual production, the realization of the works present at the exhibition. $e introduction of one’s own object (experience) points to an element of the artist’s personal presence, which also signals the occasional autobiographical character of Nenad Šoškić’s artistic practice, more evident in some other art units, such as his recent concept composed of (gures and photographs of the historical role models, personal friends and family. It seems that in the chaos of city impulses and information, the author wants to emphasize the importance of personal space, own layered identity hinted at by the re)ection of visitors or possible self-recognition in the displayed “mirror”.

$e (nal segment of the art work can also be the initial impulse of the display. It is a mix of older and new works, combined of a series created in the USA using the daily newspaper New York Times and newer ones realized in Montenegro using Pobjeda (newspaper from Montenegro). $ey are composed of a cross section of pressed newspaper sheets placed as massive plates on the wall or, in the newer form, of smaller and larger spiral objects, which seem to emphasize the continuous movement and cyclical nature of the phenomena and relations from which they are created. Slight deviations in the tonality of the paper create the dynamism of the composition in the formal, artistic sense, generating a mutual dialogue of lighter and darker surfaces (layers). Layered structures “are disturbed”

: 191 prethodnog istraživanja autora, da reči koje je izdvojio kao značajne za dobrobit jednog društva čine ukupno jedva dva posto teksta, čime propituje narativ našeg socijalnog okruženja i kulture življenja.

Koliko su danas informacije istinite, koliko relativne, kako se i sa kojim ciljevima formiraju, kolika je njihova manipulacija i zloupotreba, pitanja su koja postavlja Nenad Šoškić, kao i kako se i na koji način od njih odbraniti, kako ih kritički sagledati i humanistički shvatiti. Svojim koceptom Transformacija nastavio je sa razvojem umetničke prakse zasnovane na primeni aspekata iz sopstvenog socijalnog okruženja, autobiografskog konstrukta i aktuelnog društvenopolitičkog diskursa, korišćenjem univerzalno razumljivog jezika savremene umetnosti, uz upotrebu fragmentacije, repeticije i svedenosti estetskog izraza.

192 : by accentuated letters and numbers placed on them, containing statistical data on the numerical representation of certain words, such as: love, art, kunst, ljubav, sreća, emocija, umjetnost, dobro, lijepo, riječ, etc. used in the newspaper articles. Accented signs emphasize the importance of the content of the art work, the cubus (mass) of information from which the structures are made, and the perception of which depends on the way of transfer and the observer her/himself. $ese are exact data that are the result of the author’s previous research showing that the words he singled out as important for the well-being of a society make up only two percent of the text, which questions the narrative of our social environment and culture of living.

How true information is today, how relative, in what way and with what goals it is formed, how big its manipulation and misuse is, are the questions asked by Nenad Šoškić, as well as how and in what way to defend oneself from it, how to look at it critically and understand it humanistically. With his concept Transformation, he continued to develop artistic practice based on the application of aspects from his own social environment, autobiographical construct and current socio-political discourse, using the universally understandable language of contemporary art, using fragmentation, repetition and reduction of aesthetic expression.

: 193 194 195 196 197 198 REZIDENCIJALNI PROGRAM

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200 Uvek mi se dopadala ideja produžetaka. Ili bilo koje vrste hipertekstualnih referenci tokom čitanja. Kakve veze ova konkretna ideja ima sa onom na kojoj sam radila pre i posle rezidencijalnog programa?

Vrlo je jednostavno. Sve je u međusobnoj vezi. Kao ogromna površina gde su svi ekosistemi okupljeni u jednom odnosu. Da bi ih izdvojili iz prostranstva, ljudi vole da stvari stave u odeljke. Potreban im je detalj kako bi bolje mogli da se prošire i integrišu.

Na taj način razmišljam o svom radu koji je povezan sa mnogo različitih ekosistema, sa opipljivom notom etičnosti, koja ih integriše. Njiše se između kazivanja priča o marginalizovanim, a ipak važnim „pitanjima“ naših društava kao što su: povezivanje fantastike sa stvarnošću, nauke sa pozorištem, instalacija i semiotike. Istraživanje uvek polazi od svakodnevne priče koja se transformiše kroz različita polja – u formalnom smislu me veoma zanima transdisciplinarnost.

Znala sam da će moj odlazak u Budimpeštu, odmah nakon rezidencijalnog programa Britanskog saveta, biti produžetak rada koji sam tamo već pokušala da razvijem. Ali, saznanje da dolazim među grupu umetnika sa kojima sam prethodnih godina već sarađivala, učinio ga je još posebnijim. Povezivanje mog prethodnog istraživanja sa razigranošću mojih mađarskih kolega rezultiralo je poluimprovizovanim performansom koji je zaživeo za samo nedelju dana. Bio je usko povezan sa ekologijom karcinoma i upoređivanjem ćelija karcinoma koje migriraju sa migracijom među državama.

Sarađivala sam sa mađarskim umetnikom Mečom Miklošem. Provodila sam dane u biblioteci MOME, Univerziteta za umetnosti i dizajn Mohoi-Nađ, (!e Moholy-Nagy University of Art and Design/) čitajući Prizmatičnu ekologiju (Prismatic Ecology), sastavljajući tekst za performans. Istovremeno, Miki je zamislio da napravi još jedan performans koji bi se nastavljao na rad koji je razvijao. Radilo se o nizu javnih, participativnih randevua (sastanaka) na kojima smo kuvali za sebe i ljude koji bi nam se pridružili. Sledeći sloj tog rada bio je aspekt matrijarhata gde je on kao muškarac nekoliko dana bio u „mojoj službi“, dok sam ja, kao žena, imala sve privilegije u kojima totalitarni patrijarhalni muškarci obično „uživaju“. Mečov rad se bavi stalnim testiranjem sopstvene pohlepe. Veoma predano ostavlja za sobom svoje najsnažnije ideje, voli da „dangubi, ali samo na minut” i „troši mnogo energije da pokaže svoju ravnodušnost”. „Žvaće usta iznutra da bi mu lice bilo manje”, sistematski pokušava „da ne radi ništa (uostalom, ionako se sve dešava samo od sebe)“, „da živi bez novca (štedi za stadion)” i „da potpuno izbriše budućnost“.

Dva performansa su realizovana u različito vreme, jedan događaj se, zapravo, nadovezao na drugi. Za performans ekologije raka postajali smo dve razvijene ćelije raka koje su razgovarale, (zički isprepletene jedna s drugom, na engleskom i na mađarskom jeziku; bile su odjek jedna drugoj tokom čitanja i vrtenja u krug u tunelu za bebe u koji smo jedva stali.

Bilo je zadovoljstvo sarađivati. Tokom rezidencijalng programa RC i saradnje koja je iz njega proizašla, pojedina pitanja i tekstovi su razvijeni, kao i prijateljstva i saradnja. U vezi sa temama koje nas nagone da preispitujemo sopstveno postojanje, još uvek nismo pronašli rešenje. Ali, možda, postoji nada da će se to desiti u budućnosti.

201 202 I’ve always liked the idea of extensions. Or any kind of hypertext references while reading articles. What does this particular idea have to do with the idea that I’ve been working on pre and post this residency?

-It’s quite simple. Everything is connected to everything. Somehow, it is like a vast surface where all the ecosystems come together in one relation. To break it down from vastness, people like to compartmentalize things. We need a detail in order to be able to expand and integrate better.

$is is how I think about work. It is connected to many di*erent ecosystems with a tangible note of ethicality that is connecting them all. It always sways between telling stories about marginalized yet important “issues” of our societies: connecting (ction with reality, science with theatre, installations and semiotics. $e research always starts from an everyday story that transforms through di*erent (elds. Formally I am very interested in transdisciplinarity.

I knew that going to Budapest right a-er a residency with the British Council would be just a small extension of the work I had already been trying to develop there. But also knowing I was coming to a group of artists I had already collaborated with in previous years, made it even more special. Connecting my own previous research with the playfulness of my Hungarian counterparts resulted in a semi improvised performance that came to life in just a week’s time. It was closely connected to a cancer ecology and comparison of migrating cancer cells with the cross state migration. A collaboration between myself and a Hungarian artist Mécs Miklós.

I would spend my days at the MOME ($e Moholy-Nagy University of Art and Design) library reading Prismatic Ecology and putting together a text for the performance. Simultaneously, Miki had an idea to do one more performance that extended to the work that he was developing. It was about a series of public participatory randez-vous (dates) where we were cooking for ourselves and other people who joined our date. Another layer of the work was the matriarchy aspect where he as a man was in “my service” for a few days where I, as a woman, had all the privileges that the totalitarian patriarchal men usually tend to “enjoy”. Mécs’s work is about constantly testing his own greed. He is very dedicatedly leaving his strongest ideas behind, he loves to “potter about, but only for a minute” and “waste a lot of energy to demonstrate his indi*erence”. “He chews his mouth from the inside to make his face smaller.” He is systematically trying “not to do anything (a-er all, everything happens anyways)”, “to live without money” (he is saving up for a stadium) and “to completely erase the future”.

$e two performances took place at di*erent dates, where one of them actually extended onto an event of someone else. For the performance of cancer ecology we were becoming two grown cancer cells who talked, physically intertwined with one another in English and Hungarian, being each other’s echo at times of reading and spinning into circles in a tunnel for babies in which we barely (t. It was a pleasure.

Concluding the time I’d shared with people in situations at the RC residency, some questions and texts got extended as well as friendships and collaborations. As for all the subjects that are boggling our minds, making us question our existence, we still haven’t found the right solutions. But, perhaps, there is some hope for the future.

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204 Tokom rezidencijalnih programa umetnici obično odlaze u daleke, strane zemlje kako bi mapirali manje poznate, različite kulture. Takođe posmatraju i upoznaju se sa drugačijim oblicima funkcionisanja od onoga što su doživeli i na šta su navikli u sopstvenim zemljama. Pa, u mom slučaju, desilo se malo drugačije. Proveo sam deset dana u RC rezidencijalnom programu u svojoj otadžbini, Mađarskoj, u Budimpešti. Nisam siguran mogu li je tako zvati? Pre bih rekao da je to zemlja „očuha” … pa, tu priča započinje. Da li sam od kuće otišao kući? Gde, zapravo, pripadam?

Ova vrsta identitetske krize nije nepoznata vojvođanskim Mađarima. Šetajući Budimpeštom, kao Mađar, čovek oseća da mu sve pomalo pripada. Natpisi na ulicama su prepoznatljivi, razume se svaka reč u autobusu ili u metrou. Ipak, sve je nekako dvosmisleno i strano. Za kratko vreme oseća se kao turista.

Moja umetnička praksa zapravo je približavanje/konvergencija postojanja na rubu i tematizuje probleme otuđenja i istočnoevropskog, seoskog načina života izvan centara. Između ostalog, ona pokreće pitanja kao što su: Šta znači biti stranac u svojoj zemlji? Da li je blagoslov ili prokletstvo biti multinacionalan? Kako je to živeti kao Evropljanin u neevropskoj zemlji i kao ne-Evropljanin u evropskoj zemlji?

Element, koji se već nekoliko godina iznova i iznova pojavljuje u mom radu je Ograda, koji se prvobitno pojavio kao posmatranje seoskih ograda, a koji je tokom godina sa migrantskom situacijom postajao sve značajniji i važniji. Postao je simbol.

Između Mađarske i Srbije je „tvrda” granica, ne samo u (zičkom smislu, već i mentalno. U slučaju migranata, Mađarska je ojačala svoje granice u ime neinkluzivnosti i isključivanja. Homogena država, poput Mađarske, ne zna ili ne želi da zna kako da živi sa drugim narodima, distancira se i teži etničkoj čistoći. Vojvodina, u kojoj je mađarska nacionalna manjina najbrojnija, zauzima potpuno drugačiji stav u vezi sa ovim pitanjem. Vojvodina ima 25 etničkih grupa i šest službenih jezika (hrvatski, mađarski, rumunski, srpski, slovački, rusinski). Mogli bismo reći da je ona mini- Evropa.

Tokom svog boravka u rezidencijalnom programu, analizirao sam čuveno mađarsko „gostoprimstvo“. Moje iskustvo tokom godina se nije promenilo, rekao bih da je postalo još intenzivnije.

205 206 During residency programs artists usually go to foreign, distant countries to map out lesser-known, di*erent cultures. $ey also observe and get familiar with other forms of functioning from what they have experienced and got accustomed to in their own countries. Well, in my case, it happened a little di*erently. I spent ten days in the RC residency program in my mother country, in Hungary (Budapest). I’m not sure if I can call it that. I’d rather say that it’s a stepfather country... well, that’s where the story begins. Did I go home from home? Where do I belong?

$is type of identity crisis is not an unknown concept to Hungarians from Vojvodina. Walking in Budapest as a Hungarian one feels that everything belongs to him a little bit. $e inscriptions in the streets are familiar, one understands every word on the bus or metro. Still, somehow everything is ambiguous and foreign. In a short time you feel like a tourist.

My artistic practice is actually the convergence of existing on the verge, alienation and out-of-centre, Eastern-European, rural life. Among other things, it raises issues such as: What does it mean to be a foreigner in your home country? Is it a blessing or a curse to be multinational? What is it like to live as a European in a non-European country and as a non-European in a European country?

An element that has appeared again and again in my work for several years is the Fence, which initially started from the observation of village fences, which has become even more meaningful and important over the years with the migrant situation. It became a symbol.

$ere is a strong border between Hungary and Serbia, not only in a physical sense, but also mentally. In the case of immigrants, Hungary has strengthened its borders in the name of non-inclusion and exclusion. A homogeneous country like Hungary does not know or does not want to know how to live with other nations, abstains from it and strives for ethnic purity. Vojvodina, where the largest minority is Hungarian, takes a completely di*erent position on this issue. Vojvodina has 25 ethnic groups and six o+cial languages (Croatian, Hungarian, Romanian, Serbian, Slovak, Ruthenian). We could say that it is a mini Europe.

During my stay on the program, I made an attempt to observe the famous Hungarian “hospitality”. My experience over the years has not changed, I would say it has become even stronger.

207

208 !e Tropen collective koji čine umetnici Ivan Sirov (Ivan Syrov), Fabijan Vidukind Penckofer (Fabian Widukind Penzkofer) i Moric Cemš (Moritz Zemsch) započinju zajednički rad početkom 2019. godine. Njihove pojedinačne prakse se kreću od kustoskog rada do performativnih intervencija i događaja, kao i istraživanja zvuka i jezika.

Glavna praksa kolektiva fokusira se na interdisciplinarnom i projektno orijentisanom radu, koristeći pritom kvalitete različitosti i njenih konfrontacijskih aspekata. Ovaj pristup podrazumeva hibrid između istraživanja, umetničkog angažmana i kustoskih izazova, što rezultira intuitivnim i spontanim rešenjima. Tokom boravka u Novom Sadu, pokušali su da implementiraju održivu međunarodnu mrežu različitih umetničkih polja organizovanjem intervencija u javnim prostorima. Mreža se manifestovala kroz umetnički rad realizovan, upravo, ispred zgrade MSUV-a.

DA, PRISTAJEM / JA ICH WILL / YES, I WILL, 2020 intervencija | intervention učesnici | participants: Adrienn Újházi, Dejan Krstić, Izabela Mašić, Ružica Anja Tadić i Nemanja Milenković

209 210 $e Tropen collective consisting of the artists Ivan Syrov, Fabian Widukind Penzkofer and Moritz Zemsch have started working together since the beginning of 2019. $eir individual practices reach from curatorial work to performative interventions and happenings, as well as exploring sound and language.

Tropen’s main practice focuses on interdisciplinary and project-oriented work thus using the qualities of diversity and its confrontational aspects. $is approach implies a hybrid between research, artistic engagement and curatorial challenges resulting in intuitive and spontaneous solutions. During their residential stay in Novi Sad they tried to implement a sustainable international network of various artistic (elds by organizing interventions in public spaces. $e network itself manifests in an artistic work, which can be viewed in front of the MSUV.

DA, PRISTAJEM / JA ICH WILL / YES, I WILL, 2020 intervencija | intervention učesnici | participants: Adrienn Újházi, Dejan Krstić, Izabela Mašić, Ružica Anja Tadić i Nemanja Milenković

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212 ČIŠĆENJE DIMNJAKA, 2020 Izvođenje performansa i prezentacija umetnice u rezidencijalnom programu

Producent: Muzej savremene umetnosti Vojvodine Performer: Nenad Ignjatević Fotograf: Marko Ercegović Video-dokumentacija: Alpha Media Plus Kustoskinje: Sanja Kojić Mladenov, Tijana Filipov Mezei

Histerična Berta Papenhajm (Bertha Pappenheim), koja se lečila kod Brojera (Josef Breuera) i koja se u studijama pojavljuje kao Ana O. (Anna O.), razvila je kompletan katalog histeričnih simptoma povezanih sa neizlečivom bolešću svog oca. Ana O. je postala Brojerova pacijentkinja 1880. godine kada je imala dvadeset i jednu godinu. Pokazala je dve ličnosti − normalnu i infantilnu, padajući u trans tokom tranzicije. Brojer je sprovodio lečenje tako što je Ani O. pomagao da uđe u stanje samohipnoze u kojem se prisećala događaja iz prošlosti. Histerični fenomen bi nestao onog trenutka kada bi mu ispričala događaj koji je bio uzrok simptoma. Tako su razvili posebnu tehniku koju je ona nazvala „lek za razgovor”, terapija za razgovor i „čišćenje dimnjaka”.

Za svoj performans umetnica pronalazi inspiraciju u gorepomenutom događaju primenjujući metodu „lečenja” i „čišćenja dimnjaka”, pripovedajući o porodičnom nasilju na Balkanu. Dok parafrazira jedan od pravnih aktova Republike Srbije i de(niše šta je to nasilje u porodici, Đejmi inkorporira lične anegdote kako bi ilustrovala emocionalni uticaj koji popunjava prazninu krutog birokratskog sistema državnog aparata.

213 214 CHIMNEY SWEEPING Performance and presentation of the artist in the residency program

Producer: Museum of Contemporary Art Vojvodina, Serbia. Performer: Nenad Ignjatević Photographer: Marko Ercegović Video Documentation: Alpha Media Plus Curated by: Sanja Kojić Mladenov, Tijana Filipov Mezei

$e hysteric Bertha Pappenheim, who was treated at Breuer and who appeared in his studies as Anna O. has developed a complete catalogue of hysterical symptoms related to her father’s incurable disease. Anna O. became a Breuer patient in 1880 at the age of twenty-one. She showed two personalities, normal and infantile, falling into a trance during the transition. She once told Breuer in detail how a symptom appeared to her, and how that very symptom disappeared a-er simply talking about it. Together, they developed a special technique that she called “the talking cure,” a talking therapy, and “chimney sweeping,” cleaning the chimney.

With this performance, the artist was inspired by the above mentioned historical moment and decided to appropriate the same method of talking cure and chimney sweeping by implementing the narrative of domestic violence treated in the Balkans. While paraphrasing the national Serbian law and de(nition of what domestic violence is, Đejmi will intervene with personal anecdotes in order to illustrate the emotional impact to (ll the void of a rigid bureaucratic system of state apparatus.

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THINKtent Human Culture, 2019 umetnički razgovor | artist talks Muzej savremene umetnosti Vojvodine | Museum of Contemporary Art Vojvodina

218 THINKtent je inovativno iskustvo angažovanja koje publici pruža dr Nataša Čiča, srpsko-australijska liderka u kulturi. Nataša je direktorka Kapacity.org, organizacije za strateški konsalting, bivša je direktorka Hajd muzeja moderne umetnosti u Australiji i jedna je od 100 najuticajnijih žena Australije.

THINKtent je prenosivi platneni šator u kome se održavaju dinamični, humani i kreativni razgovori, odnosno otvoreni prostor za RISK CHANGE simpozijum.

THINKtent je predstavljen kao deo EU projekta Human Cities na Beogradskoj nedelji dizajna u Muzeju savremene umetnosti u Beogradu, u TransformArt galeriji i restoranu Radost 'na kuhinjica, takođe u Beogradu, na Tesla Global Forumu na Fruškoj Gori i na Festivalu Dunavski dijalozi u Novom Sadu. THINKtent je prikazan i u Sidnejskoj operi, Muzeju stare i nove umetnosti (Museum of Old + New Art) u Tasmaniji, Audencia Nantes School of Management u Francuskoj, kao i na nizu festivala i pop-up intervencija.

Obuhvatio je tri sesije razgovora, svaka je trajala sat vremena i bavila se istraživanjem ljudske kulture.

18-19h: Muzeji + Ljudi – Šta bi danas muzeji trebalo da rade i da budu? 19-20h: Kultura + Novac – Kako kultura može pokrenuti novu ekonomiju? 20-21h: Raznolikost + Neslaganje – Šta je budućnost multikulturnih društava?

THINKtent is an innovative engagement experience o*ered to the audience by Serbian-Australian cultural leader Dr Nataša Čiča. Nataša is the director of Kapacity.org, the change consultancy organization, former CEO of Heide Museum of Modern Art in Australia, and one of Australia’s 100 Women of In)uence.

THINKtent is a portable canvas tent that hosts lively, humane and playful conversations, i.e. it is an open space for RISK CHANGE symposium.

THINKtent has been presented as part of the EU’s Human Cities project at the Belgrade Design Week at the Museum of Contemporary Art Belgrade, at TransformArt Gallery in Belgrade, at Radost Fina Kuhinjica restaurant in Belgrade, at the Tesla Global Forum in Fruška Gora, and at the Danube Dialogues in Novi Sad. THINKtent has also been featured at the Sydney Opera House, at the Museum of Old + New Art in Tasmania, at the Audencia Nantes School of Management in France, and in a range of festivals and pop-up interventions.

It included three sessions of conversations, each running for one hour, and each dealing with exploring the human culture.

18-19h: Museums + People – What should museums do and be today? 19-20h: Culture + Money – How can culture trigger/drive a new economy? 20-21h: Diversity + Disagreement – What is the future of multicultural societies?

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220 MASTER KLAS - PERFORMANS | MASTER CLASS - PERFORMANCE, 2019 Muzej savremene umetnosti Vojvodine | Museum of Contemporary Art Vojvodina

U okviru izložbe Olega Kulika Merry-go-round, dan pre otvaranja, održan je Master klas performans. Studenti/kinje vajarstva i ostali zainteresovani za saradnju sa umetnikom učestvovali su u radionici „brzog” modelovanja, tokom kratkog, limitiranog perioda kreiranja skulpture, zajedno sa Olegom Kulikom.

U trajanju od dva sata, u izložbenom prostoru MSUV-a, realizovan je kolektivni umetnički rad koji je činio deo izložbene postavke.

Oleg Kulik je u pozivu naveo: „Moći ćete da u svoje prste unesete svu energiju – pozitivnu ili negativnu, da je utisnete u glinu i pečete. Spontano oblikovanje će otkriti lične bolne tačke i prikazati granice žanra”.

As part of Oleg Kulik’s exhibition “Merry-go-round”, a Master class - Performance was held the day before the opening. Students of sculpture and others interested in collaborating with the author were invited to participate in a workshop of “quick” modelling, during a short, limited period of creating the sculpture together with Oleg Kulik.

In the period of two hours, a collective art work which became part of the exhibition was realized in the MSUV exhibition space.

Oleg Kulik stated in the invitation: “You will be able to bring all the energy, positive or negative, into your (ngers, to press it into the clay and bake it. Spontaneous shaping will reveal personal pain points and show the boundaries of the genre.”

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222 BEZ REČI | SPEECHLESS, 2019 performans | performance, 4’15’’ Muzej savremene umetnosti Vojvodine | Museum of Contemporary Art Vojvodina

Performans je zasnovan na (auto)re)eksiji i vizuelnoj komunikaciji sa publikom. Jedini rekvizit koji umetnik koristi jeste ogledalo kao transfer te komunikacije – „nosilac bogate simbolike u poretku znanja, simbol stvaralačkog intelekta”. Umetnik tokom akcije zauzima vertikalne skulptoralne pozicije kojima, u isto vreme, sugeriše i snagu i ranjivost. Po teoriji da je „mikrokosmos slika makrokosmosa, čovek i univerzum su u uzajamnom položaju dvaju ogledala”. Ogledalo pored toga što pruža mogućnost re)eksije u smeru umetnik−publika, umetnik−umetnik i publika−publika, postaje pretnja ne samo (samo)spoznaje nesavršenosti i kraja već i (zička pretnja uništenja.

U poslednjem položaju koji zauzima, umetnik dozvoljava mogućnost loma ogledala i različitih konotacija koje epilog implicira, prepuštajući kraj performansa čistoj slučajnosti, uništenju ili opstanku, na šta on više ne utiče niti kontroliše.

$e performance is based on (self)re)ection and visual communication with the audience. As a transfer of that communication the only prop that the artist uses is a mirror - “the bearer of rich symbolism in the order of knowledge; the symbol of the creative intellect”. During the action, the artist occupies vertical sculptural positions through which he suggests strength and vulnerability at the same time. According to the theory that “the microcosm is the re)ection of the macrocosm, man and the universe are in the mutual position of two mirrors”. $e mirror, in addition to providing the possibility of re)ection in the direction of artist-audience, artist-artist and audience-audience, becomes a threat not only to (self)cognition of imperfections and end, but also a physical threat of destruction.

In the last position he occupies, the artist allows the possibility of breaking the mirror with the various connotations that the epilogue implies, leaving the end of the performance to pure coincidence, destruction or survival, which he no longer in)uences or controls.

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224 POLOŽAJ ŽENE U MAROKANSKOM DRUŠTVU U XXI VEKU | THE POSITION OF WOMEN IN MOROCCAN SOCIETY IN THE 21st CENTURY, 2020 Predavanje | Lecture Muzej savremene umetnosti Vojvodine | Museum of Contemporary Art Vojvodina

Vesna Gerić, učesnica izložbe SKOK I ZARON_IDENTITET UMETNICA U (NOVO)MEDIJSKOJ PRAKSI, predstavila je svoje iskustvo rada kao profesorke na Univerzitetu Al Akhawayn u Maroku i radove studenata i studentkinja sa fokusom na analizi položaja žena u marokanskom društvu danas.

„Mada su se zakoni o položaju žene u marokanskom društvu promenili u poslednjih nekoliko godina, stotinama godina ukorenjeni stereotipi još uvek preovlađuju, naročito u krajevima Maroka sa većinskim berberskim stanovništvom, na jugu zemlje. Počev od sklapanja brakova, glasa žene danas u društvu, imovinskih nepisanih pravila na štetu žene, silovanja, zlostavljanja u porodici i van nje ((zičko, seksualno, verbalno), do položaja manjina (homoseksualaca, lezbejki, transseksualaca). Žene su ućutkivane, lišene prava i snose svu odgovornost za zlostavljanje. Kroz prizmu studenata i studentkinja na univerzitetu ilustrovani su neki od ovih problema, i od strane mladića i od strane devojaka. Mada su studentkinje obrazovane, vrlo slobodnih pogleda na svet i društvo, spremne da diskutuju o problemima sa kojima su suočene i za promene ustoličenih stereotipa, van okvira kampusa imaju malo prava i osećaju se bespomoćno.” (Vesna Gerić)

Vesna Gerić, participant of the exhibition SKOK I ZARON_IDENTITET ARTISTS IN (NEW) MEDIA PRACTICE, presented her experience as a professor at Al Akhawayn University in Morocco and the work of students with a focus on analyzing the position of women in Moroccan society today.

“Although the laws on the position of women in Moroccan society have changed in the last few years, ingrained stereotypes still prevail for hundreds of years, especially in parts of Morocco with a majority Berber population in the south of the country. Starting from marriages, the voice of women today in society, property unwritten rules to the detriment of women, rape, abuse in the family and outside (physical, sexual, verbal), to the position of minorities (homosexuals, lesbians, transsexuals). Women are silenced, deprived of their rights and bear all responsibility for the abuse. $rough the prism of male and female students at the university, some of these problems are illustrated, both by boys and girls. Although the students are educated, with very free views of the world and society, ready to discuss the problems they face and to change the established stereotypes, outside the campus they have few rights and feel helpless. “ (Vesna Gerić)

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Video-izjave umetnika | Arists`s video statements, 2020

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229 studirala na Akademiji likovnih umjetnosti u Zagrebu. Karijeru je započela kao slikarka i umetnica performansa, a sredinom Sanja Andjelković se bavi vizuelnim i tekstualnim osamdesetih, kada je srela svog životnog i umetničkog partnera, istraživanjima u domenu dokumentarnih praksi u kojima Hrvoja Horvatića, počela je da radi na (lmu, videu i fotogra(ji. razmatra svoju poziciju u sistemu rodnih, političkih i Nakon izbijanja rata u bivšoj Jugoslaviji, 1991. godine, izbegli su društvenih uloga ili traumatičnih momenata lične biogra(je. zajedno i putovali od mesta do mesta da bi se konačno skrasili u Ispitujući kako se ideja doma menja sa istorijskim, geografskim, Londonu, gde su nastavili da rade zajedno do Horvatićeve smrti socijalnim, ali i različitim prirodnim katastrofama, pokušava 1997. godine. Radeći samostalno i/ili u saradnji sa drugim da razume skraćenice međusobnog povezivanja različitih umetnicima i sineastima, napravila je brojne radove koji su ekologija. Sanja nema „omiljeni“ medij i, ako je to moguće, više izlagani u najznačajnijim muzejima savremene umetnosti u voli da uključi humor. Oktobra 2019. godine je imala priliku da Evropi i Sjedinjenim Američkim Državama. Breda Beban je istraži ekologiju raka na umetničkoj rezidenciji u organizaciji živela u Londonu i Še(ldu, gde je predavala medijske umetnosti Britanskog saveta u Beogradu, dok je u Košicama (Slovačka) na Univerzitetu Še(ld Halam. Umrla je 2012. godine ostavivši od marta do juna 2020. radila na (lmu koji se bavi temom razne nezavršene projekte. ekoloških problema i „nežno prolazi kroz period tehnokratije smeštene u prostor kompjuterski generisanih slika/animacija”. Breda Beban was an artist, (lmmaker and curator/creative producer whose work deals with contemporary notions of Sanja Anđelković is engaged in visual and textual research subjectivity and emotion that occur on the margins of big in the domain of documentary practices in which she stories about geography, politics and love. Breda Beban’s (lms contemplates her position in the system of gender, political, and and photographs are recognized as unique expressions of social roles or traumatic moments of her personal biography. intimacy, vulnerability and authenticity. Born in Novi Sad, ex- Examining how the idea of home changes with historical, Yugoslavia in 1952, Breda Beban was raised in Macedonia and geographical, social, but also various natural disasters, she Croatia. She studied painting at the Academy of Fine Arts in tries to understand the shortcuts of the interconnection of Zagreb. Starting her career as a painter and performance artist, di*erent ecologies. Sanja does not have a favourite medium she began to work with (lm, video, and photography a-er and prefers to include humour if possible. In October 2019, meeting her partner and collaborator Hrvoje Horvatić in the she had the opportunity to explore the ecology of cancer at the mideighties. Exiled together in 1991 a-er outbreak of the war Art Residence held by the British Council in Belgrade while in former Yugoslavia, they travelled from place to place before in Košice (Slovakia), from March to June 2020, she worked on eventually settling in London, where they continued their a (lm that touches on the topic of environmental issues and collaboration until Horvatić’s untimely death in 1997. Working ‘gently goes through a period of technocracy placed in the space independently and/or in collaboration with other artists or of computer-generated images / animations’. (lmmaker, she has fashioned a range of productions that have been exhibited at major museums of contemporary art in Europe and the U.S. Breda Beban lived in London and She+eld, where she was Professor of Media Arts at She+eld Hallam Breda Beban je bila likovna umetnica, sineasta i kustos/ University. She passed away in 2012, leaving various projects krBreda Beban je bila likovna umetnica, sineasta i kustoskinja/ uncompleted. kreativni producent čiji rad se bavi savremenim pojmovima subjektivnosti i emocija koje se javljaju na marginama velikih priča o geogra(ji, politici i ljubavi. Filmovi i fotogra(je Brede Beban smatraju se jedinstvenim izrazom intimnosti, ranjivosti i Igor Bošnjak je rođen u Sarajevu, živi i radi u Trebinju (BIH). autentičnosti. Rođena u Novom Sadu, u nekadašnjoj Jugoslaviji, Najčešće se bavi (lmom, videom, instalacijom i fotogra(jom. Breda Beban je odrasla u Makedoniji i Hrvatskoj. Slikarstvo je Trenutno radi kao docent na Akademiji likovnih umjetnosti u

230 Trebinju. Završio je Akademiju likovnih umjetnosti u Trebinju Klagenfurt; Spazio Monitor, Museum of Contemporary Art, 2005. godine, a magistrirao na odseku za slikarstvo. Od 2006. Rome; 2nd Project Biennial D-0 ARK Underground, Konjic & godine je osnivač i kustos međunarodnog projekta − bijenala etc. namaTREba. Od 2007. do 2008. završio je interdisciplinarne In 2010 Igor Bošnjak was a (nalist of ZVONO Young Visual master studije na Teoriji umetnosti i medija na Univerzitetu Artist Award, organised by Sarajevo Center for Contemporary umetnosti u Beogradu. Njegovi radovi su prikazivani u: Art & in 2018 he was awarded with Zvono Award, organised by Whitechapel Gallery (London); Kunsthalle (Beč), New Cinema SKLOP. From 2009 to 2011 he was a (nalist for B&H Henkel & Contemporary Art, Rencontres Internationales, Gaîté Art Award organised in Zegreb; 2007 was awarded with 1st Lyrique & Palais de Tokyo (Pariz), Kunsthal Charlottenborg prize for video art on 4th Salon Clovek Spomenik in Velenje. (Kopenhagen), Atopia Film & VideoKunst Gallery (Oslo), Moscow Museum of Modern Art (Moskva), Hong Kong Art Hall (Hongkong), CAM Casoria, Contemporary Art Museum (Napulj), Kunst Museum (Bon), Agnes B. Foundation, Galerie Dr Nataša Čiča (Nataša Cica), Australijanka srpskog porekla, du Jour (Pariz), Galleria d’ Arte Moderna Palazzo Forti po zanimanju je korporativni advokat i politički savetnik. (Verona), Charinthian Museum of Modern Art (Klagenfurt), Trenutno je direktorka Kapacity.org i nekadašnja direktorka Spazio Monitor, Museum of Contemporary Art (Rim), 2nd Heide muzeja moderne umetnosti u Melburnu. Priznata Project Biennial D-0 ARK Underground (Konjic), itd. je kao jedna od 100 najuticajnijih žena u Australiji. Njene Igor Bošnjak je 2010. godine bio (nalista za nagradu Zvono za publikacije uključuju Pedder Dreaming: Olegas Truchanas and mlade likovne umetnike koju organizuje Centar za savremenu a Lost Tasmanian Wilderness (2011) i Gri/th REVIEW 39: umjetnost Sarajevo, a 2018. godine je nagrađen tom nagradom Tasmania – !e Tipping Point (2013). Nakon višegodišnjeg od strane udruženja SKLOP; od 2009. do 2011. bio je (nalista iskustva u poslu i oblasti u kojoj je komunikacija vrlo agresivna, B&H Henkel takmičenja za nagradu za mlade umetnike osniva umetnički projekat THINKtent, mesto gde među organizovanog u Zagrebu; 2007. je nagrađen prvom nagradom ljudima postoji dijalog i slušanje, daleko od izazova moderne za video-rad na 4. salonu Čovek–spomenik (Človek–Spomenik) civilizacije. THINKtent je prezentovan u Sidnejskoj operi u Velenju (Slovenija). u Sidneju, Muzeju starih i novih umetnosti u Tasmaniji, Muzeju savremene umetnosti u Beogradu, Muzeju savremene Igor Bošnjak (Sarajevo) lives and work in Trebinje (Bosnia & umetnosti Vojvodine u Novom Sadu, na festivalima i u Herzegovina). He is mainly working within the (elds of (lm, privatnim galerijama i kao deo EU Human Cities projekta. video, installation & photography. Curently works as a asistant professor at Academy of Visual Arts in Trebinje. In 2005 he Dr Nataša Cica is a Serbian-Australian cultural leader. She (nished Academy of Visual Arts (BA) in Trebinje, Department is the founding director of change consultancy Kapacity.org. of Painting. From 2006 he is a founder and the curator of the She is a former CEO of Heide Museum of Modern Art in international namaTREba project biennial. From 2007 to Melbourne and has been recognised as one of Australia’s 100 2008 he (nished (MA) Interdisciplinary studies, $eory of Art Women of In)uence. Nataša’s publications include Pedder & Media Department at the University of Arts in Belgrade, Dreaming: Olegas Truchanas and a Lost Tasmanian Wilderness Serbia. His works have been shown at: Whitechapel Gallery, (2011) and Gri+thREVIEW 39: Tasmania – $e Tipping Point London; Kunsthalle Wien; New Cinema & Contemporary Art, (2013). Her performance projects include the engagement Rencontres Internationales, Gaîté Lyrique & Palais de Tokyo, space THINKtent, which has been presented in the Sydney Paris; Kunsthal Charlottenborg, Copenhagen; Atopia Film & Opera House, the Museum of Old and New Art in Tasmania, VideoKunst Gallery, Oslo; Moscow Museum of Modern Art, the Museum of Contemporary Art Belgrade, the Museum of Moscow; Hong Kong Art Hall; CAM Casoria, Contemporary Contemporary Art Vojvodina, in festivals and private galleries, Art Museum, Naples; Kunst Museum, Bonn; Agnes B. and as part of the EU’s Human Cities project. Foundation, Galerie du Jour, Paris; Galleria d’ Arte Moderna Palazzo Forti, Verona; Charinthian Museum of Modern Art

231 media but mostly photography, painting, drawing and video. diSTRUKTURA took part in over 30 individual and more than 70 group exhibitions such as: Risk Change (Museum Milica Milićević i Milan Bosnić su diplomirali i magistrirali of Contemporary Art Vojvodina, 2018), !e New Archive na Fakultetu likovnih umetnosti u Beogradu, na odseku za (NN Contemporary Art, Northampton, UK, 2017), From slikarstvo. Od 2005. godine rade na zajedničkim projektima Diaspora to Diversities (Remont Gallery, Belgrade, 2016), kao umetnički par pod nazivom diSTRUKTURA. Mediji u Memory of Violence – Dreams of the Future 1914 – 1918/2014 kojima rade su, uglavnom, fotogra(ja, slika, crtež i video. Nji- in Museum of Contemporary Art Vojvodina (2015); Subdued hov rad je prezentovan kako u zemlji tako i u inostranstvu na Existence in Taichung Taiwan, distURBANces in Luxembourg preko 30 samostalnih i više od 70 grupnih izložbi, kao što su: (2013), in Vienna and Bratislava (2012), TINA B festival in Risk Change (Muzej savremene umetnosti Vojvodine, 2018), Prague (2012), Police the Police/ Biennial of young artists in !e New Archive (NN Contemporary Art, Northampton, UK, Bucharest (2010), Belgrade Non-Places in Salon of Museum 2017), From Diaspora to Diversities (Galerija Remont, Beograd, of Contemporary Art Belgrade (2009), Hotel Mariakapel: a 2016), Memorija nasilja i snovi o budućnosti (Muzej savremene portrait by Katie Jane in Hoornu, Netherlands (2008), Micro umetnosti Vojvodine, 2014), Prigušena egzistencija u Tajčun- gu na Tajvanu, distURBANces u Luxemburgu (2013), u Beču Narratives in Museum of Modern Art Saint Etienne (2008), i Bratislavi (2012), TINA B festival u Pragu (2012), Police the 48th Octobar Salon in Belgrade (2007) and Steirischer Herbst Police/ Bijenale mladih umetnika u Bukureštu (2010), Beograd 2007 – next code: love in Graz (2007). $ey exhibited solo Ne-Mesta u Salonu muzeja savremene umetnosti u Beogradu in Serbia, Austria, Netherlands, Germany, Japan, Czech (2009), Hotel Mariakapel: a portrait by Katie Jane u Hoornu u Republic, Slovenia and Finland. $eir activities were supported Holandiji (2008), Mikro Narativi u Muzeju moderne umetnosti by Pollock-Krasner Foundation (2015), European Cultural u Sent Etjenu (2008), 48. Oktobarski salon u Beogradu (2007) Foundation, KulturKontakt, Kingdom of Norway, ProHelvetia, i Štajerske jesenje svečanosti 2007− next code: love u Gracu Serbian Ministry of Culture, Belgrade City Municipality, (2007). Samostalno su izlagali u Srbiji, Austriji, Holandiji, Okolje Consulting and others. $eir works are now part Nemačkoj, Češkoj, Sloveniji, Japanu i Finskoj. Njihove aktiv- of many private, public and corporate collections such as nosti su podržali: Fondacija Polok-Krasner (2015), Evropska H2 Center for Contemporary Art Collection, Collection of kulturna fondacija, KulturKontakt, Kraljevina Norveške, Pro- Museum of Contemporary Art Vojvodina, Cultural Center Helvetia, Ministarstvo Republike Srbije i drugi. Radovi im se Belgrade Collection, Wiener Stadtische collection, Belgrade nalaze u privatnim, javnim i korporativnim kolekcijama u zem- City Museum, Telenor collection as well as Okolje Consulting lji i inostranstvu, uključujući kolekcije H2 Centra za savremenu Art Collection from Ljubljana. For the past (-een years, they umetnost, Muzeja savremene umetnosti Vojvodine, Kulturnog participated in artist in residence programs and workshops in centra Beograda, Wiener Stadtische osiguranja, Muzeja grada Spain, Germany, Switzerland, Austria, Netherlands, Slovenia, Beograda, Telenora, Okolje Consulting Art kolekcije iz Lju- Italy, Finland, Egypt and Serbia. bljane kao i u mnogim drugim. Tokom proteklih godina učest- vovali su u raznim rezidencijalnim programima, simpozijumi- ma i radionicama u Španiji, Nemačkoj, Francuskoj, Švajcarskoj, Holandiji, Austriji, Italiji, Sloveniji, Egiptu, Srbiji i Finskoj. Vesna Gerić, profesorka lingvistike i fonetike na Katedri za engleski jezik i književnost na Filozofskom fakultetu u Milica Milicević and Milan Bosnić are both MA’s of Novom Sadu, emigrira početkom devedesetih u Ameriku gde Departments of Painting, Faculty of Fine Arts, University of se usmerava na dizajn i digitalnu umetnost. Magistrira na Arts in Belgrade, Serbia and although in diverse individual studijama dizajna/digitalnih medija u Denveru (Kolorado) i artistic ventures in group and solo exhibitions, they have počinje ponovo da predaje, prvo u Americi, a od 2016. godine u been working on joint projects for the past (-een years under Maroku, na Univerzitetu Al Akhawayn, predmete: Fotogra(ja i name diSTRUKTURA. $eir ideas are expressed in di*erent Umetnost i dizajn.

232 Vesna Gerić, professor of linguistics and phonetics at the umetnosti ESRA Pariz–Skoplje–Njujork u Skoplju, na odseku za Department of English Language and Literature at the Faculty kameru (2011). Osnivač je Makedonskog centra za fotogra(ju. of Philosophy in Novi Sad, emigrated to America in the early Trenutno radi kao profesor na Univerzitetu audiovizuelnih 1990s, where she focused on design and digital art. He holds a umetnosti ESRA Pariz–Skoplje–Njujork u Skoplju. Samostalno master’s degree in design / digital media studies from Denver, je izlagao u Skoplju, Beogradu, Novom Sadu, Pančevu, Colorado and is starting to teach again, (rst in America, Podgorici, kao i u Njujorku, Briselu, Budimpešti, Beču, and since 2016 in Morocco, at Al Akhawayn University, in Istanbulu, Plovdivu, Strazburu i mnogim drugim mestima. Photography and Art and Design. Dobitnik je nekoliko nagrada u zemlji i inostranstvu.

Born in Prilep, Macedonia. He graduated from the Faculty of Dramatic Arts – Department of Camera, in Skopje (1996) Đejmi Hadrović, medijska umetnica, rođena je u Trbovlju (BA), and (nished his Master’s at the Camera Department of University of Audio-Visual Arts “ESRA Paris-Skopje-New (Slovenija). Nominovana je za nagradu OHO za mlade likovne York”, Skopje (2011). He is the founder of the Macedonian umetnike 2018. godine. Bila je deo nekoliko međunarodnih Centre for Photography. He currently works as a professor at rezidencija i izlagala je svoje umetničke radove u inostranstvu. the University of Audio-visual Arts - “ESRA Paris-Skopje-New Dobitnica je stipendije Austrijske kancelarije. Nagrađena je York” in Skopje. He had solo exhibitions in Skopje, Belgrade, u Beču (Förderungspreise der Stadt Wien) 2018. godine gde Novi Sad, Pančevo, Podgorica, New York, Brussels, Budapest, se trenutno nalazi na doktorskim studijama na Akademiji Vienna, Istanbul, Plovdiv, Strasbourg and many other places. likovnih umetnosti pod mentorstvom prof. dr Gržinić. He has received several awards at home and abroad. Propituje feminizam, seksualnost i problematiku roda u postjugoslovenskom prostoru. Njen rad je zasnovan na teorijskom okviru koji je primenjen u savremenoj umetničkoj praksi kao što su: video, fotogra(ja, performans i instalacija. Teodora Jeremić, istoričarka umetnosti i kustoskinja. Završila je istoriju umetnosti na Filozofskom fakultetu u Beogradu, Đejmi Hadrović, born in Trbovlje, Slovenia, is a Time-Based a trenutno je na master studijama gde istražuje pojam Media artist who was nominated for OHO – young visual artist „abjektnog” u lokalnim i regionalnim umetničkim praksama award in 2018. She was part of several international residencies u postjugoslovenskoj umetnosti. Do sada je bila kustoskinja na and she has exhibited her artwork internationally. Đejmi was nekoliko grupnih i solo izložbi poput: As If a Monsoon Suddenly a holder of Austrian chancellery scholarship. She got awarded Became Silent Slavice Obradović u galeriji U10 u Beogradu by Förderungspreise der Stadt Wien 2018. Currently, she is (2020), It’s ok, I know what I’m doing u galeriji Re)ektor (Užice, a PhD scholar at the Academy of Fine Arts Vienna under 2019), You will make sense when you 'nd a horizon Branislava the mentorship of prof. Dr. Marina Gržinić. Đejmi tries to Nikolića i Domingosa Oktaviana u galeriji Hestija (2019), elaborate on de(ning feminism, sexuality and gender in post- IScream u galeriji U10 (2017.)… Trenutno radi kao menadžerka Yugoslav space. Her work is based on a theoretical framework projekata i kustoskinja u Hestia Art Residency & Exhibitions that is applied to contemporary art practice such as video, Bureau, prostoru koji promoviše i ohrabruje dijalog između photography, performance and installation. istočne i jugoistočne Evrope i Južne Amerike, i kao na poziciji urednice kulture u magazinu BURO.247. Živi i radi u Beogradu. Teodora Jeremić is an art historian and curator. She completed her undergraduate studies of Art History at the Faculty of Robert Jankuloski je rođen u Prilepu (Makedonija). Diplomirao Philosophy in Belgrade, and is currently pursuing a master’s je na Fakultetu dramskih umetnosti – odsek kamera, u Skoplju degree in research on the phenomenon of the ‘abject’ in the (1996), a magistrirao je na Univerzitetu za audio-vizuelne local and regional art practices in the post-Yugoslav art. So

233 far, she has curated several group and solo exhibitions: As If a društvima, dok se umetničko i kustosko istraživanje fokusira na Monsoon Suddenly Became Silent by Slavica Obradović at the izo-polifoniji objekta i organizaciji prostora. U10 Gallery in Belgrade (2020), ‘It’s ok, I know what I’m doing’ at the Re)ektor Gallery, Užice (2019), You will make sense Romeo Kodra is born, lives and works in Tirana (Albania). His when you (nd a horizon by Branislav Nikolić and Domingos theoretical research focuses on challenged spaces between arts Octavian at the Hestia Gallery (2019), IScream at the U10 and political powers in transitional and contemporary societies, Gallery (2017)… Currently she works as a project manager and while the artistic and curatorial research on iso-polyphony of curator at the Hestia Art Residency & Exhibitions Bureau, a the object/s and of the organization of space/s. space that promotes and encourages dialogue between Eastern and South-Eastern Europe and South America, and as a cultural editor at BURO.247. Magazine. She lives and works in Belgrade. Dr Sanja Kojić Mladenov, viša kustoskinja i istoričarka umetnosti, usmerena ka istraživanju savremene umetničke prakse, medija i roda. Završila istoriju umetnosti na Filozofskom fakultetu Univerziteta u Beogradu, master i doktorske Rodne studije na interdisciplinarnim studijama Jelena Jureša je vizuelna je umetnica koja se bavi pitanjima Univerziteta u Novom Sadu – ACIMSI. Direktorka Muzeja identiteta, politikama sećanja i zaborava, roda, odnosom savremene umetnosti Vojvodine od 2013. do 2016. godine. promatrača i promatranog, reprezentacijskih (ne)moći slike. Kustoskinja istog Muzeja od 2006. godine, Odeljenja za Radove najčešće realizuje u medijima fotogra(je i (lma/videa. izložbe aktuelne umetnosti, te Centra za intermedijsku i Izlagala je na samostalnim i grupnim izložbama u Belgiji, Sr- digitalnu umetnost. Kustoskinja Paviljona Srbije na 54. biji, Austriji, Hrvatskoj, Sloveniji, Grčkoj, Italiji, Francuskoj Bijenalu savremene umetnosti u Veneciji (2011), izložbe pod i SAD-u, te u poslednje vreme na Contour Biennale i Argos nazivom Svetlost i tama simbola, Dragoljuba Raše Todosijevića, center for audiovisual arts u Briselu. Boravila je u umetničkim nagrađene internacionalnim priznanjem – Uni Credit Venice rezidencijama u Parizu, Hyde Park Art Center u Čikagu i Q21 Award. Dobitnica prestižne nagrade „Lazar Trifunović” za u Beču. Doktorirala je na Univerzitetu u Gentu i KASK konzer- najbolju likovnu kritiku i kritičko razmatranje savremene scene vatorijumu. 2016. godine, kao i priznanja Društva istoričara umetnosti Jelena Jureša has been extensively working with the questions Srbije (DIUS) za najbolju autorsku izložbu u 2013. godini. of cultural identity, gender, politics of memory and oblivion Autorka je, kustoskinja i selektorka mnogih izložbi i projekata through the media of photography, video and text. She has u zemlji i inostranstvu, kao i međunarodnih i EU projekata participated in solo and group exhibitions internationally, in (Performing the Museum, Risk Change, Missing Stories, Belgium, Serbia, Austria, Croatia, Slovenia, Greece, Italy, France EUROVIZION). Autorka knjige SKOK I ZARON − Diskursi o and USA, and recently at Contour Biennial and Argos center rodu u umetnosti: Identitet umetnica u (novo)medijskoj praksi for audiovisual arts in Brussels. She was artist in residence in (2020). Paris, Hyde Park Art Center in Chicago, Q 21 in Vienna. She obtained her PhD degree at Ghent University, Faculty of Arts Sanja Kojić Mladenov, PhD, senior curator, art historian and and Philosophy, and KASK Conservatorium. researcher in the (eld of recent artistic practice, media and gender. Graduate of the Department of Art History at the Faculty of Philosophy at the University of Belgrade and master’s and PhD in Interdisciplinary Gender Studies at the University of Novi Sad (ACIMSI). Director (2013–2016) and senior Romeo Kodra je rođen, živi i radi u Tirani (Albanija). Njegovo curator at the Museum of Contemporary Art Vojvodina, Novi teorijsko istraživanje fokusira se na izazvane prostore između Sad since 2016, where she heads the Department of Current umetnosti i političkih sila u tranzicijskim i savremenim

234 Art Exhibitions and the Center for Intermedial and Digital Art. Summer Academy in Salzburg, led by Mark Van Yetter. In 2018, Curator of the Serbian Pavilion at the 54th Venice Biennial as an Erasmus + scholarship holder, he spent half a year at the of Contemporary Art in 2011 and of the exhibition Light and Faculty of Arts of the University of Pécs, Hungary. In 2018/19, Darkness of Symbols: Dragoljub Raša Todosijević, which was he was a second-generation intern at the Budapest Art Mentor the winner of the UniCredit Venice Award. Winner of the program. He has seven solo exhibitions and participated in prestigious Lazar Trifunović Prize for best critical art practice more than (-y group exhibitions both at his home country in 2016, as well as the award of the Society of Art Historians of and abroad (Austria, Italy, Slovakia, Hungary, Croatia, Serbia). Serbia for the best author exhibition in 2013. She is the author He is a member of several art associations, the Budapest FKSE and curator of many thematic exhibitions and research projects (Studio of Young Artists’ Association), the Novi Sad SULUV, in Serbia and abroad, as well as international and EU projects etc. He is a regular visitor to domestic and foreign art colonies (EUROVIZION, Performing the Museum, Risk Change, and artist residencies. He has received several awards. Missing Stories). She has published the book LEAP AND DIVE – Discourses on Gender in Art. Identity of Artists in (New) Media Practice. Bojana S. Knežević je multimedijalna umetnica aktivna u domenu performansa, videa, audio-vizuelne instalacije, radijske i zvučne umetnosti. Njeni angažovani i participativni Adrian Klajo je rođen u Senti (Srbija). On je srpsko-mađarski umetnički projekti teže rede(nisanju mnogostrukih društvenih likovni umetnik sa sedištem u Subotici. Po završetku Srednje stereotipa sa fokusom na marginalizovanim ili skrivenim škole za dizajn u Novom Sadu diplomirao je na Akademiji individualnim i kolektivnim identitetima. Osnovne i master umetnosti u Novom Sadu (odsek slikarstvo) u klasi prof. studije završila je na Akademiji umetnosti u Novom Sadu, Bosiljke Z. Lečić. Trenutno je na magistarskim studijama na studijskom programu Novi likovni mediji. Doktorirala na istom odseku. Godine 2017. završio je kurs „Oblik kao je na Interdisciplinarnim studijama Univerziteta umetnosti osnova“ na Međunarodnoj letnjoj akademiji u Salcburgu, u Beogradu. Suosnivačica je organizacije i koautorka koji je vodio Mark Van Jeter. 2018. godine, kao „Erasmus radio emisije/podkasta i umetničkog i medijskog projekta +” stipendista, proveo je pola godine na Fakultetu umetnosti FEMKANJE posvećenog savremenoj umetnosti, kulturi i Univerziteta u Pečuju, u Mađarskoj. Godine 2018/19. je bio feminizmu u Srbiji, ex-YU regionu i Evropi. pripravnik druge generacije na programu Budimpeštanski umetnički mentor. Ima 7 samostalnih izložbi i učestvovao je na više od 50 grupnih izložbi u zemlji i inostranstvu (Austrija, Bojana S. Knežević is a multimedia artist working in the Italija, Slovačka, Mađarska, Hrvatska, Srbija). Član je nekoliko (elds of performance, video, audio-visual installation, umetničkih udruženja, budimpeštanskog FKSE (Udruženje radio art and sound art. In her socially engaged and partic- mladih umetnika), novosadskog SULUV-a, itd. Redovni je ipatory art projects she aims to rede(ne manifold stereo- učesnik domaćih i stranih umetničkih kolonija i umetničkih types, with a focus on unheard voices of marginalized or rezidencija, a dobitnik je i nekoliko nagrada. hidden individual and collective identities. She holds BA and MFA degree (New Media Arts) from the Department Adrian Klajo was born in 1993 in Senta (Serbia). He is a of Fine Arts, Academy of Arts Novi Sad, and doctoral de- Serbian-Hungarian visual artist based in Subotica. A-er gree (Interdisciplinary doctoral art studies - Digital Art), (nishing Secondary school for Design in Novi Sad he from the University of Arts in Belgrade. She is co-founder graduated from the Academy of Arts in Novi Sad, Department of the association and co-author of radio show/podcast, art of Painting in the class of Prof. Bosiljka Z. Lečić. He is currently and media project FEMKANJE dedicated to contemporary doing his master’s degree at the same department. In 2017, he art, culture and feminism in Serbia, ex-YU region and completed the course “Form as foundation” at the International Europe.

235 Oleg Kulik je rođen u Kijevu i smatra se jednim od osnivača Andreja Kulunčić u svojim radovima ispituje različite aspekte akcionizma u postsovjetskoj Rusiji. Kroz svoj rad istražuje društvenih odnosa i društvene prakse, zanimajući se za odnos politike i moći, emocionalne i (zičke aspekte odnosa društveno angažovane teme, suočavanje s različitim publikom između ljudi i životinja, normalnosti i devijacije, kiča i i saradnju na kolektivnim projektima. Uspostavlja vlastite umetnosti. Diplomirao je na Kraljevskoj umetničkoj školi interdisciplinarne mreže, doživljavajući umetnički rad kao 1979. godine. Karijeru je počeo kao kustos u galeriji Regina istraživanje, proces saradnje, sukreiranja i samoorganizacije. u Moskvi, gde su njegove nekonvencionalne izložbe i pristupi Često zahteva od publike aktivnu saradnju i „dovršavanje” dela. odmah privukli pažnju javnosti. Od 2000-ih godina, pretežno Deo procesa u nastajanju rada često je multidisciplinarnost, se bavi tehnikama kao što su: foto-kolaž, vajarske instalacije, u kojoj se speci(čne umetničke veštine nadopunjuju pikturalna umetnost i performans. Učestvovao je na mnogim komplementarnim veštinama iz drugih područja. Živi u međunarodnim projektima i bijenalima, uključujući i Zagrebu, gde predaje na Akademiji likovnih umetnosti, na Venecijansko bijenale umetnosti, kao i na festivalu Manifesta, smeru Novi mediji. a njegova dela se čuvaju u kolekcijama širom sveta, u nekim od Njen rad je predstavljen na međunarodnim izložbama, najznačajnijih muzeja kao što su: Tejt Modern, Žorž Pompidu, uključujući: Dokumenta11 (Kasel), Manifesta 4 (Frankfurt JRT i dr. Dobitnik je stipendije Fondacije Polok-Krasner na Majni), 8. Bijenale u Istambulu (Istanbul), Bijenale 04 u (1990) i stipendije Berlinskog senata (1995). Osim brojnih Liverpulu (Liverpul), 3. Bijenale u Tiranu (Tirana), 10. Trijenale međunarodnih nagrada, Kulik je nagrađen i medaljom Zaslužni Indije (Nju Delhi), te na grupnim izložbama u muzejima ($e Worthy) koju dodeljuje Ruska akademije umetnosti. Živi i uključujući: Vitni muzej (Njujork), PS1 (Njujork), Muzej radi u Moskvi. MUAC (Meksiko siti), Pale di Tokio (Pariz), Kumu muzej umetnosti (Talin), MSU Zagreb (Zagreb), Garaža − centar Oleg Kulik was born in Kiev (Ukraine) in 1961 and is moderne umetnosti (Moskva), Lentos umetnički muzej (Lins), considered to be one of the founders of actionism in the post- Muzej moderne umetnosti (Sent-Etjen), MSU (Ljubljana), Soviet Russia. $rough his work, he examines the relation Ludvig muzej (Budimpešta), MSUV (Novi Sad), MMSU between politics and power, emotional and physical aspects (Rijeka). of the relations between people and animals, normality and deviations, kitsch and art. He graduated from the Royal Art Andreja Kulunčić’s art practice is based on exploration of new School in 1979 and began his career as a curator at the Regina models of sociability and communication situations, an interest Gallery in Moscow, where his unconventional exhibitions and for socially engaged themes, confrontation with di*erent approaches immediately attracted public attention. Since the audiences, and collaboration on collective projects. She sets 2000s he has mainly dealt with the techniques such as photo- up her own interdisciplinary networks, seeing artistic work as collage sculptural installations, pictorial art and performance. a research, process of cooperation and self-organization. She o-en asks the audience actively to participate and “(nish” the He has participated in many international projects and work. $e multidisciplinary in which speci(c artistic skills are biennials, including the Venice Biennial, as well as Manifesta complemented by complementary skills from other areas is an Festival, and his works are kept in collections all over the important element of Andreja Kuluncic’s artistic practice. She world in some of the most important museums, such as Tate lives in Croatia, where she teaches at the Academy of Fine Arts Modern, Pompidou, JRT, etc. He received the Pollock-Krasner in Zagreb, Department of New Media. Foundation Grant (1990) and the Berlin Senate Grant (1995). In addition to numerous international awards, Kulik was also Her work has been presented at international exhibitions, awarded Заслуженный ($e Worthy) medal by the Russian including: Documenta11 (Kassel), Manifesta 4 (Frankfurt/ Academy of Arts. He lives and works in Moscow. Main), 8. Istanbul Biennial (Istanbul), Liverpool Biennial 04 (Liverpool), 3. Tirana biennial (Tirana), 10.Triennial-India

236 (New Delhi) among others. At collective shows in museums, od 2002. godine. Bavi se skulpturom, slikarstvom, videom, including: Whitney Museum of American Art (New York), PS1 dizajnom i kustoskim radom. Izlagao na brojnim grupnim i (New York), Museum MUAC (Mexico City), Palais de Tokyo samostalnim izložbama u zemlji i inostranstvu. Živi i radi u (Paris), Kumu Art Museum (Tallin), MSU (Zagreb), Garage Beogradu. Museum (Moskva), Lentos kunstmuseum (Linz), Museum of Modern Art (Saint-Etienne), MSU(Ljubljana), Ludwig Museum Born in Šabac, Serbia. He graduated from the Academy of Fine (Budapest), MSUV (Novi Sad), MMSU (Rijeka). Arts in Novi Sad, Serbia, the Department of Painting, in 1996. He received postgraduate degrees from the Dutch Art Institute, Enschede, the Netherlands in 2001 and from the Academy of Fine Arts in Novi Sad, Serbia in 2002. He is a member of the Monika Moteska je rođena u Prilepu (Makedonija). Association of Fine Artists of Serbia since 1995 and a selector Diplomirala na Fakultetu za likovne umetnosti Skoplje, na for the Jalovik Art Colony since 2002. He works in sculpture, odseku za slikarstvo (1996). Svoj umetnički koncept razvija painting, video, design and as a curator. Branislav Nikolić kroz različite medije: slikarstvo, fotogra(ju, video i instalaciju. has exhibited his works independently and together with Bavi se i dizajniranjem izložbi i pratećeg promotivnog other artists, both at home and abroad. He lives and works in materijala u području stare fotogra(je (fotografske baštine). Belgrade, Serbia. Izlagala je na brojnim samostalnim i grupnim izložbama u Makedoniji, Srbiji, Nemačkoj, Austriji, Švedskoj, Bugarskoj, Grčkoj, Francuskoj, Mađarskoj, SAD-u, Japanu itd. Njeni radovi se nalaze u kolekcijama Muzeja savremene umetnosti u Skoplju, Nacionalne galerije Makedonije i u privatnim zbirkama. Vesna Perunović (Vessna Perunovich) je međunarodno priznata interdisciplinarna umetnica iz Toronta, čiji rad obuhvata performans, video, skulpturu, slikarstvo i crtež. Born in Prilep, Macedonia. She graduated from the Faculty of Izlagala je na međunarodnim bijenalima na Kubi, u Albaniji, Fine Arts Skopje, Department of Painting (1996). She develops Engleskoj, Veneciji, Portugaliji, Jugoslaviji i Grčkoj i učestvovala her artistic concept in various media: painting, photography, je u rezidencijalnim programima u Berlinu (Nemačka), Banfu video and installation. She is also involved in designing of (Kanada), Bursi i Istanbulu (Turska), Njujorku (SAD), Pekingu exhibitions and accompanying promotional materials in the (Kina), Zejtunu (Malta), u Mileševi i Ečkoj (Srbija). Njene (eld of traditional photography (photographic heritage). She retrospektivne izložbe Borderless i Emblems of Enigma obišle su has exhibited at many solo and group exhibitions in Macedonia, prestižne galerije i muzeje širom Kanade i Europe. Rad Vesne Serbia, Germany, Austria, Sweden, Bulgaria, Greece, France, Perunović je prikazan u brojnim časopisima i publikacijama. Hungary, USA, Japan, etc. Her works are part of the collections Dobitnica je T.F.V.A. (Toronto Friends of Visual Arts) nagrade of the Museum of Contemporary Art, Skopje, the National za 2005. godinu te stipendije Chalmers Development u 2011. Gallery of Macedonia and private collections. godini, kao i brojnih stipendija Kanadskog veća za umetnost, Veća umetnosti u Ontariju i stipendija Veća za umetnost u Torontu.

Branislav Nikolić je rođen u Šapcu. Diplomirao je na Akademiji Vessna Perunovich is a Serbian-born, Toronto-based umetnosti u Novom Sadu, na odseku za slikarstvo, 1996. internationally acclaimed interdisciplinary artist whose godine. Magistrirao je na akademiji Dutch Art Institute u work embraces performance, video, sculpture, painting and Holandiji, 2001. i na Akademiji umetnosti u Novom Sadu, drawing. Perunovich has exhibited at International biennials 2002. godine. Član je Udruženja likovnih umetnika Srbije in Cuba, Albania, England, Venice, Portugal, Yugoslavia, and (ULUS) od 1995. godine. Selektor je Jalovičke likovne kolonije Greece and attended residencies in Berlin (Germany), Ban*

237 (Canada), Bursa and Istanbul (Turkey), New York (USA) and in Novi Sad where she founded the Visual Studio for Intermedia Beijing (China) and Zejtun (Malta). Her survey exhibitions Research (1979) – the (rst subject dedicated to new media in Borderless and Emblems of Enigma toured prestigious galleries former Yugoslavia which introduced video art into the teaching and museums across Canada and Europe. Her work has been process. She graduated painting at the Academy of Fine Arts reviewed in numerous magazines and periodicals. Vessna in Belgrade (1956). She was a member of the editorial board of Perunovich is a recipient of T.F.V.A. (Toronto Friends of Visual the Tribina Mladih (Youth Tribune) and Polje (Field) magazine, Arts) award in 2005, and a Chalmers Development Grant editor of the Salon tribine mladih (Youth Tribune Salon) and art in 2011, as well as numerous, Canada Council for the Arts, critic during the period of the introduction and a+rmation of Ontario Arts Council and Toronto Arts Council Grants for her new artistic tendencies. Together with her husband Dejan, she projects. founded the Atelje DT20 (DT20 Atelier) - a meeting place for many local and foreign artists for over more than three decades. Simultaneously, she developed her own artistic practice, initially turned to an enformel painting expression, to eventually move Bogdanka Poznanović (1930–2013), avangardna višemedijska towards a new artistic practice, an interdisciplinary approach umetnica i nekadašnja profesorka Akademije umetnosti u and new media. She was one of the (rst artists in our region to Novom Sadu, gde je osnovala Vizuelni studio za intermedijalna deal with action, public space art, email art, installations and istraživanja (1979) – prvi predmet posvećen novim medijima video art as new, conceptual categories. She has perfected her u bivšoj Jugoslaviji, čime je u nastavni proces uvela video- work on numerous specialist trips and residencies in various umetnost. Završila je slikarstvo na Akademiji likovnih foreign institutions. She gave lectures with video projections in umetnosti u Beogradu (1956). Bila je članica uredništva Ferrara (1984) and was a visiting professor at the University of Tribine Mladih i časopisa Polja, urednica Salona Tribine Contemporary Art (DAMS) in Bologna (1985). She exhibited at mladih i likovna kritičarka u periodu uvođenja i a(rmacije a number of group exhibitions in the country and abroad since novih umetničkih tendencija. Zajedno sa suprugom Dejanom 1956, and repeatedly presented her work at solo exhibitions. Poznanovićem osnovala je Atelje DT20 − mesto susreta She was the recipient of several awards, and the award given by mnogih lokalnih i inostranih umetnika tokom više od tri the Videomedeja International Video Art Festival in Novi Sad is decenije. Uporedo je razvijala sopstvenu umetničku praksu, named a-er her. koja je na početku bila okrenuta slikarskom izrazu enformela, da bi se vremenom usmerila ka novoj umetničkoj praksi, interdisciplinarnom pristupu i novim medijima. Jedna je od prvih umetnika kod nas koja se bavila akcijama, umetnošću Marica Radojčić, matematičarka i umetnica, rođena u Novim u javnom prostoru, mejl-artom, instalacijama i video- Karlovcima (1943−2018), u Srbiji. Diplomirala i doktorirala umetnošću kao novim, konceptualnim kategorijama. Svoj matematiku na Prirodno-matematičkom fakultetu u Beogradu. rad je usavršavala na brojnim specijalističkim putovanjima i Živela i radila u Beogradu. Dobitnica je Fulbrajtove nagrade boravcima u različitim inostranim institucijama. Predavanja za matematiku 1985/86. Bila je članica udruženja ULUS i IKG uz video-projekcije držala je u Ferari (1984) i bila gostujuća (Internationales Künstler Gremium). Osnivač i predsednica profesorka na Univerzitetu za savremenu umetnost (DAMS) udruženja UMNA – Umetnost i nauka, 1998. i Grupe za u Bolonji (1985). Izlagala je od 1956. godine na velikom broju digitalnu umetnost na Interdisciplinarnim magistarskim grupnih izložbi u zemlji i inostranstvu, a više puta se predstavila studijama Univerziteta umetnosti u Beogradu. Izlagala i i samostalno. Dobitnica je više nagrada, a njenim imenom stvarala u Nemačkoj, Austriji, Belgiji, Francuskoj, zemljama nazvana je nagrada koju dodeljuje međunarodni festival video- Skandinavije, Južnoafričkoj Uniji, SAD-u (najviše u Njujorku: umetnosti Videomedeja u Novom Sadu. 5 samostalnih i 20 grupnih izložbi). Razvijajući ideje iz Bogdanka Poznanović (1930–2013), is an avant-garde matematike i )ozo(je eksperimentsala je u raznim medijima. multimedia artist and former professor at the Academy of Arts Bavila se i organizacijom i produkcijom. Producirala i

238 organizovala više projekata, skupova, simpozijuma (domaćih (ITA), 2018). Selma Selman je osnivačica organizacije Get !e i međunarodnih). Sarađivala sa brojnim umetnicima i Heck To School čiji je cilj da ohrabri i osnaži romske devojčice naučnicima širom sveta. širom sveta koje se suočavaju sa siromaštvom i društvenim isključivanjem. Živi i radi u SAD-u i u Evropi. Mathematician and artist, she was born in Novi Karlovci, Serbia. She graduated and obtained her PhD in Mathematics at the Faculty of Mathematics in Belgrade. She lived and Selma Selman, artist and activist, born in 1991 in Bihac, Bosnia. worked in Belgrade. She received Fulbright Mathematics She earned her Bachelor of Fine Arts in 2014 from Banja Luka Award in 1985/86. She is a member of ULUS (Association University’s Department of Painting and in 2018 she graduated of Fine Artists of Serbia) and IKG (Internationales Künstler from Syracuse University, Master of Fine Arts – Transmedia, Gremium –International Artists Committee). Also, she is the Visual and Performing Arts, Syracuse, NY. She was a fellow founder and president of the association UMNA – Umetnost for the Roma Graduate Preparation Program at the Central i nauka (Arts and Sciences Association), 1998, Founder of European University in Budapest. Selman was the recipient of the Digital Arts Group at the Interdisciplinary Master Studies the prestigious “Zvono Award”, given to the best young artist at the University of Arts in Belgrade. She has exhibited and in Bosnia and Herzegovina, winning a residency in New York produced in Germany, Austria, Belgium, France, Scandinavia, City. Selman participated in Tania Bruguera’s International South Africa, and USA (mainly in New York: 5 solo and 20 Summer Academy in Salzburg, Arte Util, in 2013. In 2018 group exhibitions). Developing into the ideas in mathematics Selman was awarded as the best Young European Artist “Trieste and philosophy she experiments in various media. She was Contemporanea Award”, Trieste (ITA). Her works were shown also involved in organization and production. She produced internationally, Hero Mother at Kunstquartier Bethanie, Berlin and organized several projects, conferences and symposia (2016), Identi(cation – Field exercises a-er Katalin Ladik, (both domestic and international). She has collaborated with acb Gallery, Budapest (2017). Solo shows You Have No Idea, numerous artists and scholars around the world. agnès b. Galerie Boutique, New York (2017), 2018, I Will buy my freedom when, Studio Tommaseo, Trieste (ITA). Selma is a founder of the organization ”Get $e Heck To School” whose aim is to empower Roma girls all around the world who face Selma Selman, umetnica i aktivistkinja, rođena u Bihaću (BIH). the ostracization from the society and poverty. Selma lives and Diplomirala je 2014. godine, na Akademiji likovnih umetnosti works in the USA and Europe. u Banjaluci, na odseku slikarstva. Godine 2018. je magistrirala na Univerzitetu Sirakuza u saveznoj državi Njujork, u oblasti transmedija, vizuelne umetnosti i performansa. Radila je kao saradnica na Romskom pripremnom diplomskom programu Lidija Srebotnjak-Prišić je rođena u Novom Sadu gde je na Srednjoevropskom univerzitetu u Budimpešti. Dobitnica je završila Akademiju umetnosti na odseku slikarstva, 1984. nagrade Zvono, koja se dodeljuje najboljem mladom umetniku/ godine. Postdiplomske studije, slikarsku specijalku (mentor ici u Bosni i Hercegovini, čime je osvojila i rezidencijalni prof. Andrej Jemec) završila 1987. godine na Akademiji boravak u Njujorku. Učestvovala je na Međunarodnoj letnjoj likovnih umetnosti u Ljubljani. Studirala je istoriju umetnosti akademiji Asociación de Arte Util, umetnice Tanie Bruguere na Filozofskom fakultetu u Beogradu u periodu 1979/81. 2013, u Salcburgu. Godine 2018. dodeljena joj je nagrada za godine. Od 1986. godine zaposlena na Akademiji umetnosti u mladu evropsku umetnicu (Trieste Contemporanea Award). zvanju asistenta, 2003. izabrana u zvanje redovnog profesora. Njeni radovi su prikazani na internacionalnoj sceni: Hero Zajedno sa saradnicima 2002. godine osnovala je studijski Mother (Kunstquartier Bethanie, Berlin, 2016), Identi'cation program Novi likovni mediji. U okviru univerzitetske saradnje – Field exercises a*er Katalin Ladik (acb Gallery, Budapest, i profesionalnog umetničkog rada realizovala je studijske 2017), You have no idea (agnès b. Galerie Boutique, New York, boravke u Regenzburgu, Parizu, Napulju, Granadi... Radove 2017), I will buy my freedom when (Studio Tommaseo, Trieste iz oblasti crteža, slikarstva, fotogra(je i novih medija (objekti,

239 instalacije, ambijenti, video, digitalna gra(ka) izlagala je na throughout Germany, Italy, Netherlands and Serbia. His samostalnim (Beograd, Ljubljana, Subotica, Kikinda, Novi work revolves around psychological manipulation and social Sad, Kastav...) i grupnim izložbama (Holandija, SAD, Litvanija, structures that are shaped by technology. Češka, Francuska, Nemačka, Italija, Grčka, na prostorima Jugoslavije, Srbija, Hrvatska, Slovenija...) Objavljivala je tekstove iz oblasti likovnih umetnosti i novih medija u stručnim časopisima i publikacijama, kao i prevode sa slovenačkog jezika. Nenad Šoškić je rođen Baru (Crna Gora). Diplomirao je na Fakultetu likovnih umjetnosti na Cetinju 1994. godine, a She was born in 1961 in Novi Sad. She graduated from the postdiplomske studije je završio 1996. godine na Fakultetu Academy of Arts in Novi Sad, Department of Painting in 1984 likovnih umetnosti u Beogradu, u Srbiji. Profesor je na and in 1987 she (nished her postgraduate studies, special studies studijskom programu Vajarstvo, Fakulteta likovnih umjetnosti of painting, with mentor prof. Andrej Jemec, at the Academy na Cetinju. Od 2008. do 2014. godine je bio dekan Fakulteta of Fine Arts in Ljubljana. Also, she studied art history at the likovnih umjetnosti na Cetinju. Od 2014. godine obavlja Faculty of Philosophy in Belgrade in 1979/81. From 1986 she has funkciju poslovnog direktora Centra savremene umjetnosti been employed at the Academy of Arts in the rank of Assistant Crne Gore u Podgorici. Svoju umetničku aktivnost započeo je Professor and in 2003 she has been elected to the rank of full učešćem na značajnim vizuelnim manifestacijama kao što su: I professor. Together with her associates, in 2002, she founded Bijenale mladih, Vršac (1994), Cetinjsko bijenale, Cetinje (1994, the study program New Fine Media. She has undertaken study 1997), Trijenale skulpture, Pančevo (1997), kao i na izložbama visits within the framework of university cooperation and u umetničkim institucijama nekadašnje Jugoslavije. Učesnik je professional artistic work in Regensburg, Paris, Naples, Granada mnogih izložbi savremene umetnosti Crne Gore u inostranstvu, ... Her works in the (eld of drawing, painting, photography and a poslednjih godina beleži značajne umetničke projekte u SAD-u new media (objects, installations, environments, video, digital i Italiji. U javnom prostoru Crne Gore postavljeno je nekoliko graphics) have been exhibited at solo (Belgrade, Ljubljana, njegovih skulptura. Dobitnik je nagrade Crnogorske akademije Subotica, Kikinda, Novi Sad, Kastav ...) and group exhibitions nauka i umjetnosti (2004), nagrade Milunović – Stijović – ($e Netherlands, USA , Lithuania, Czech Republic, France, Lubarda, Tradicionalna izložba ULUCG, Podgorica (2000) i dr. Germany, Italy, Greece, former Yugoslavia, Serbia, Croatia, Nenad Šoškić was born in 1970 in Bar, Montenegro. He Slovenia …). She has published texts in the (eld of visual arts graduated from the Faculty of Fine Arts in Cetinje in 1994, and new media in professional magazines and publications as and completed his postgraduate studies in 1996 at the Faculty well as the translations from Slovenian language. of Fine Arts in Belgrade, Serbia. He is a professor at the study programme Sculpture, Faculty of Fine Arts in Cetinje. From 2008 – 2014 he was the dean of the Faculty of Fine Arts in Cetinje. From 2014 he has held the position of business Ivan Sirov (Ivan Syrov), rođen u Moskvi (Rusija), umetnik je iz director of the Centre of Contemporary Art of Montenegro in Štutgarta koji se bavi zvučnim, instalacijskim i performativnim Podgorica. He started his artistic activity by participating in the metodama. Trenutno studira na Državnoj akademiji likovnih important visual events, such as: Youth Biennale, Vršac (1994), umetnosti, a učestvovao je i u nekoliko kustoskih projekata, $e Cetinje Biennale, Cetinje (1994, 1997), Sculpture Triennial, kao i na izložbama širom Nemačke, Italije, Nizozemske i Srbije. Pančevo (1997), as well as exhibitions at the art institutions of Njegov se rad bazira na psihološkoj manipulaciji i društvenim the former Yugoslavia. He is a participant of many exhibitions strukturama koje oblikuje tehnologija. of contemporary art of Montenegro held abroad and, in recent Ivan Syrov (Moscow, Russia) is a Stuttgart based artist working years, he has done signi(cant art projects in the USA and Italy. with sound, installation and performative methods. Currently Several of his sculptures are displayed in the public spaces in studying at the State Academy of Fine Arts, he is also involved Montenegro. He is the winner of the Montenegro Academy of in several curatorial projects and took part in exhibitions Science and Art Award (2004), Milunović – Stijović – Lubarda

240 Award, the Award of the Traditional Exhibition of ULUCG, Podgorica (2000), etc. Isidora Todorović je osnovne i master studije završila na Katedri za nove medije na Akademiji umetnosti u Novom Sadu gde je trenutno i zaposlena u zvanju docenta i u funkciji Nataša Teo(lović je vizuelna umetnica koja kroz novomedijsku šefa katedre. U svom radu istražuje tehnološki, kulturološki i i kompjutersku umetnost istražuje pojavnost i identitet ženskog politički kontekst umetnosti, dok kao izražajna sredstva često i čulnog u virtuelnom prostoru. Radi u različitim medijima, koristi format političke društvene igre, interaktivne instalacije od eksperimentalnog videa i performansa do 3D karakter i društveno angažovanog projekta. Izlagala na festivalima animacije, digitalnih ambijenata i generativne umetnosti. elektronske umetnosti u zemlji i svetu. Kroz nagrađenu igru Od brojnih domaćih i međunarodnih priznanja izdvajaju One Good Day / Jedan dobar dan artikuliše lokalne novosadske se: počasna nagrada na međunarodnom festivalu digitalne probleme gde igrajući igru na android telefonima i obilazeći umetnosti Ars Electronica, Linc 2016. godine (Honorary u realnom prostoru najznačajnije novosadske lokacije igrač mention Ars Electronica Festival), počasna nagrada na saznaje pozadinu političkih borbi koje se dešavaju u njima. međunarodnom konkursu iz digitalne umetnosti Evropskog Ljubiteljka biopolitičkih teorija, postfeminizma i uradi sam instituta za (ziku čestica – CERN i festivala digitalne umetnosti kulture. Trenutno se bavi pedagoškim radom u okviru predmeta Ars Electronica 2011. godine (Honorary mention at the (rst Digitalna umetnost, piše tekstove o političkom kontekstu Prix Ars Electronica Collide@CERN), rad u izboru žirija 15-og tehnologije, bavi se organizacijom kulturnih manifestacija međunarodnog festivala medijske umetnosti u Tokiju 2011. koje slave spoj umetnosti i tehnologije i upoznaju publiku sa godine (Jury Sellection at 15th Japan Media Arts Festival). lokalnom scenom novomedijske umetnosti, ali se ujedno i bavi Nataša Teo(lović je doktorirala i magistrirala Digitalnu aktivnom samostalnom umetnčkom delatnošću. umetnost na Interdisciplinarnim studijama Univerziteta umetnosti u Beogradu. Diplomirala je arhitekturu na Isidora Todorović completed her basic and Master studies at the Arhitektonskom fakultetu Univerziteta u Beogradu. Vanredna je Department of New Media at the Academy of Arts in Novi Sad profesorka na Fakultetu za medije i komunikacije Univerziteta where she is currently employed as an Assistant Professor and Singidunum u Beogradu. as the Head of the Department. In her work she explores the technological, cultural and political context of art, while, as a Nataša Teo(lović is a visual artist who explores the incidence means of expression, she o-en uses the format of political social and identity of the feminine and the sensual in virtual space game, interactive installation and socially engaged project. through new media and computer art. She works in a variety She has exhibited at electronic art festivals in the country and of media from experimental video and performance to 3D abroad. $rough the award-winning game “One Good Day,” character animation, digital ambiences and generative art. she articulates local problems in Novi Sad, where, by playing Among the numerous domestic and international awards the the game on android phones and visiting the most important locations in Novi Sad, the player learns the background of the following stand out: Honorary mention Ars Electronica Festival, political struggles that take place in them. She is a fan of bio- Linz 2016; Honorary mention at the (rst Prix Ars Electronica political theories, post-feminism and do-it-yourself culture. Collide@CERN and the festival of digital art Ars Electronica She is currently involved in teaching the Digital Art course; she 2011; Jury Selection at 15th Japan Media Arts Festival in Tokyo writes texts on the political context of technology, is engaged in 2011. Nataša Teo(lović obtained her PhD and MA degrees in organization of cultural manifestations which celebrate the in Digital Art at the Interdisciplinary Studies of the University blend of art and technology and introduce the audience to of Arts in Belgrade. She graduated architecture at the Faculty the local scene of the new media art, but is, at the same time, of Architecture of the Belgrade University. She is an Associate actively engaged in the independent artistic practice. Professor at the Faculty of Media and Communication of the Singidunum University in Belgrade.

241 mladi umetnici (Marina Abramović, Era Milivojević, Neša Paripović, Zoran Popović, Gergelj Urkom) okupljeni oko Nina Todorović je rođena u Beogradu. Diplomirala 1999. beogradskog Studentskog kulturnog centra začeli su nove godine na FLU, na odseku slikarstva, u klasi profesora forme umetničkog izražavanja, koja su kasnije de(nisane kao Čedomira Vasića. Od 2000. je član ULUS-a, sa statusom Nove umetničke prakse. Radovi Raše Todosijevića su politički samostalnog umetnika. Godine 2002. je magistrirala, u klasi i društveno kritički; kroz stalno preispitivanje tradicionalnih istog profesora, a 2014. je doktorirala na FLU u Beogradu umetničkih strujanja i društva u celini, njegova umetnička (mentor: redovni profesor dr Mileta Prodanović). Od 1995. praksa se fokusira na istraživanje raznih medija i tehnika, godine aktivno izlaže, a do sada je imala 46 samostalnih i od performansa, intervencija, video-radova, instalacija, učestvovala je na preko 200 grupnih izložbi, kao i na brojnim ambijentalnih postavki do problematizovanja slikarskog likovnim kolonijama, radionicama i veb projektima, u zemlji medijuma i čak i slikarske tehnike kao takve. Samostalno je i inostranstvu. Dobitnica je više domaćih i međunarodnih izlagao u Paviljonu Srbije na 54. Bijenalu savremene umetnosti nagrada. Radovi joj se nalaze u stranim i domaćim muzejima i u Veneciji (2011), izložbom pod nazivom Svetlost i tama kolekcijama. simbola, za šta je nagrađen internacionalnim priznanjem – Uni Credit Venice Award. Born in Belgrade, in 1973. In 1999, she graduated from the Faculty of Fine Arts, Department of Painting, class of professor Dragoljub Raša Todosijević (Beograd) graduated from the Čedomir Vasić, and continued with the post- graduate studies Academy of Fine Arts in 1964. He lives and works in Belgrade in the same class. In 2000, she became a member of the Serbian as a freelance artist. Sme of his most appreciated series are Association of Artists (ULUS), as a freelance artist. In 2002 – “What is art?” (“Was ist Kunst?”), “God loves the Serbs” Post-graduate studies, Master’s Degree. In 2014 she obtained (“Gott liebt die Serben”) and “My Fluxus Pianos” (“Moji Fuxus her doctoral degree in art, at the Faculty of Fine Arts, Belgrade klaviri”). Raša Todosijević is one of the main protagonists (Mentor professor Mileta Prodanović, DA). Since 1995 she of the Belgrade group of conceptual artists. In the early has had 46 solo shows and participated in more than 200 seventies, during the dominance of traditional media and group exhibitions and numerous art colonies, workshops and uncritical modernism, this group began to use new media, web related projects in Serbia and abroad. Winner of several video, performance, actions, etc., to provoke and question the national and international awards. Her works are present in structure and functioning of current art practice, and society museums, public and private collections in the country and in general. Young artists (Marina Abramović, Era Milivojević, abroad. Neša Paripović, Zoran Popović, Gergelj Urkom) gathered in Belgrade’s Student Center, where a new form of artistic expression was conceived, later called Nova umjetnička praksa ($e New Artistic Practice). His works are politically and socially critical; through a constant re-questioning of traditional Dragoljub Raša Todosijević je rođen u Beogradu gde je i art currents, and the society in general, the artistic practice of diplomirao na Akademiji likovnih umetnosti 1964. godine. Dragoljub Raša Todosijević focuses on exploring various media Živi i radi u Beogradu kao slobodni umetnik. Neke od njegovih and techniques, from performances, interventions, video works, najcenjenijih serija umetničkih radova su: Šta je umetnost?, installations, ambient set-ups, to problematizing the painting Bog voli Srbe i Moji Fuxus klaviri. Raša Todosijević je jedan medium, and even the painting technique as such. He had od glavnih protagonista beogradske grupe konceptualnih the solo exhibition in the Serbian Pavilion at the 54th Venice umetnika. Ranih sedamdesetih godina XX veka, u vreme Biennial of Contemporary Art in 2011, “Light and Darkness dominacije tradicionalnih medija i nekritičkog modernizma, of Symbols”, for which he was awarded the international ova grupa je počela da koristi nove medije, video, performans UniCredit Venice Award. i umetničke akcije kako bi provocirala i preispitivala strukturu i funkcionisanje tekuće prakse, kao i društvo u celini. Tada

242 is actively researching the policy of collecting and exhibiting of contemporary art in public institutions in Serbia, while her Vesna Tokin je diplomirala na Akademiji umetnosti u Novom professional practice is focused on strategic management of Sadu, na odseku slikarstva. Članica ULUS-a postala je 1999. the institutions of protection and sustainable use of heritage, godine. Pored aktivnog bavljenja slikarstvom i istraživanjima management in the (eld of visual art production, and mediation u oblasti (lma i videa, od 2003. godine proširuje svoja of contemporary art. interesovanja ka istraživanju u polju razvoja svesti i duhovnosti. Njeni radovi su prikazivani ili izlagani na više od 70 festivala i izložbi u zemlji i inostranstvu. Dobitnica je više nagrada za umetnost. U statusu je samostalnog umetnika od 2004. godine. Selman Trtovac je rođen u Zadru (SFRJ). Od 1990. do 1993. She graduated from the Academy of Art in Novi Sad, godine je studirao slikarstvo na Fakultetu likovnih umetnosti Department of Painting. She became a member of ULUS ($e u Beogradu. U vajarsku klasu Klausa Rinkea na Umetničkoj Association of Visual Artists of Serbia) in 1999. In addition akademiji u Dizeldorfu prešao je 1993. godine, gdje je 1997. i to her active involvement in painting and research in the magistrirao. Član IKG-a (Internationales Künstler Gremium) (eld of (lm and video, since 2003 she has expanded her postao je 2003. godine. Osnivač je Umetničkog centra interests towards the research in the (eld of development of Univerzitetske biblioteke u Beogradu i osnivač Nezavisne consciousness and spirituality. Her works have been displayed umetničke asocijacije Treći Beograd. Doktorirao je 2012. and exhibited at more than 70 festivals and exhibitions in the godine na odseku za skulpturu Fakulteta likovnih umetnosti u country and abroad. She has received multiple art awards. He Beogradu. Živi i radi u Beogradu. has been a freelance artist since 2004. Born in Zadar, SFRJ. From 1990 to 1993 he studied painting at the Faculty of Fine Arts in Belgrade. In 1993 he joined the sculpting class of professor Klauss Rinke at the Arts Nela Tonković je istoričarka umetnosti, sa master diplomom Academy of Düsseldorf, earning his master’s degree in 1997. kulturne politike i menadžmenta, i doktorand muzeologije He became a member of the International Artists Forum i heritologije. U periodu od 2010. do 2013. radila je kao (IKG − Internationales Künstler Gremium) in 2003. Trtovac kustoskinja Savremene galerije Subotica, a od 2013. do 2018. is the founder of the Arts Center of the Belgrade University bila je direktorka te galerije. U februaru 2019. izabrana je na Library and the founder of Independent Art Association mesto vršioca dužnosti direktorke Narodnog muzeja Šabac, ‘$ird Belgrade’. He earned his doctor’s degree in 2012, at the gde radi i danas. Aktivno se bavi istraživanjem politike Department of Sculpture of the Faculty of Fine Arts in Belgrade. kolekcionisanja i izlaganja savremene umetnosti u javnim He lives and works in Belgrade. ustanovama u Srbiji, dok je njena profesionalna praksa usmerena ka strateškom menadžmentu institucija zaštite i održivog korišćenja baštine, upravljanju u polju produkcije vizuelne umetnosti, kao i medijaciji savremene umetnosti. Božo Vasić (Воја Vasić) је video-umetnik i fotograf koji od Nela Tonković is an art historian, with a master’s degree in 1988. živi i radi u Torontu, u Kanadi. Vasić је diplomirao cultural policy and management, and a doctoral student of (lmsku režiju na Fakultetu dramskih umetnosti u Beogradu. museology and heritology. In the period from 2010 to 2013, Njegovi umetnički radovi su bili izloženi na 8. Havana bijenalu she worked as the curator of the Gallery of Contemporary Art u Kubi, 4. Bijenalu mladih umetnika u Vršcu u Srbiji, 13. Subotica, and from 2013 to 2018 she was the director of that i 14. Internacionalnom bijenalu umetnosti (Vila Nova de gallery. In February 2019, she was elected acting director of Cerveira) u Portugalu, 3. Internacionalnom bijenalu umetnosti the National Museum Šabac, where she still works today. She u Тirani, u Albaniji, na Liverpulskom bijenalu nezavisnih

243 umetnika u Engleskoj. Vasićevi dokumentarni (lmovi i and E:vent Gallery (London, UK), Werkstatt der Kulturen video-radovi su prikazivani na festivalima u Kopenhagenu, Gallery (Berlin, Germany), etc... Amsterdamu, Karlovim Varima, Čikagu, Denveru, Torontu, Njujorku i Dalasu. Vasić је osvojio nekoliko internacionalnih nagrada za svoje (lmove − Kris statuetu na internacionalnom (lmskom i video-festivalu u Kolumbusu, bronzanu medalju Lea Vidaković je multimedijalna umetnica koja radi na na Internacionalnom (lmskom i medija festivalu u Njujorku, području animiranih instalacija, primenjujući tradicionalnu kao i zlatnu medalju na HeSCA medijskom festivalu u Dalasu, tehniku lutka (lma. Završila je studije animacije na HVO u u Americi. Vasić је izlagao svoje video-instalacije i fotogra(je Norveškoj, gra(čki smer na Akademiji likovnih umjetnosti u Muzeju savremene umetnosti Vojvodine (Novi Sad, Srbija), u Zagrebu i master audio-vizuelne umetnosti na KASK-u, u De(nitely Superior galeriji ($under Вау, Kanada), VU Center Belgiji. Doktorand je na smeru animacije u Školi umentosti, for Photography (Quebec City, Kanada), Centre D’Exposition dizajna i medija pri Nanyang tehnološkom univerzitetu u (Mont-Laurier, Kanada), Alternator galeriji (Kelowna, Kanada), Singapuru. Tema istraživanja su joj fragmentirani narativi А Space, Mercer Union, YYZ and Glendon galeriji (Toronto, i alternativne metode storitelinga za animarane instalacije i Kanada), La Galerie de Nouvel Ontario (Sudbury, Kanada), proširene medije. Izlagala je na brojnim grupnim i samostalnim Language Plus (Aima, Kanada), Espace Virtuel (Chicoutimi, izložbama, festivalima animiranog (lma i konferencijama. Kanada), Occurrence galeriji (Montreal, Kanada), Modern Fuel Dobitnica je više umetničkih i (lmskih nagrada. Pored galeriji (Кingston, Kanada), E:vent galeriji (London, Engleska), produkcije animiranih (lmova i instalacija bavi se i edukacijom Werkstatt der Kulturen galeriji (Berlin, Nemačka), itd... studenata i dece u oblasti animiranog (lma. Član je Saveza udruženja likovnih umetnika Vojvodine (SULUV), Hrvatskog Boja (Božo) Vasić is a media artist and photographer who društva likovnih umjetnika (HDLU) i Society for animation lives and works in Toronto since 1988. Vasic graduated (lm studies (SAS). directing at the Faculty of Dramatic Arts in Belgrade, Serbia. Lea Vidakovic is a multimedia artist who works in the area His work has been shown at the 8th Havana Biennial in of animated insatllations, using traditional puppet animation Cuba, VI Yugoslav Biennial of Youth Vrsac in Serbia, XIII technique. She graduated in the animation department at HVO and XIV International Art Biennial of Vila Nova de Cerveira in Norway, as a greaphic artist at the Academy of Art in Zagreb, in Portugal, $ird Tirana Biennial in Albania, and at the and (nished a master in audio-visual arts at KASK in Belgium. Liverpool Biennial, Independents in England. His video works She is a PhD candidate in animation studies in the School of were shown at festivals in Copenhagen, Amsterdam, Chicago, Art, Design and Media, Nanyang Technological Univeristy in Denver, Toronto, and he has won several international awards Singapore. Her research is concerned with exploring fragmente including the Chris Award at the Columbus International Film dnarratives and novel storytelling approaches for animated and Video Festival, a Bronze Medal at New York Festivals, installations and expanded media. She exhibited her works in a and the Gold Award at Dallas HeSCA Media Festival. Vasic’s number of group and individual exhibitions, animation festivals video installations and photo based works were exhibited at and conferences. She is a winner of several art and (lm awards. the Museum of Contemporary Art of Vojvodina (Novi Sad, Besides creating animated (lms and installations, she also Serbia), Artget Gallery (Belgrade, Serbia) Museum Gallery City teaches animation for kids and students. od Budva (Budva, Montenegro), De(nitely Superior Gallery ($under Bay, Canada), VU Center for Photography (Quebec City, Canada), Centre D’Exposition (Mont- Laurier), Alternator Gallery (Kelowna, Canada), A Space, Mercer Union, YYZ and Glendon Gallery (Toronto, Canada), La Galerie de Nouvel Dragan Vojvodić studije započinje na Likovnoj akademiji u Ontario (Sudbury, Canada), Language Plus (Aima, Canada), Sarajevu, a diplomira 1995. godine na Akademiji umetnosti Espace Virtuel (Chicoutimi, Canada), Occurrence Gallery u Novom Sadu, gde živi i radi. Izražavajući se kroz različite (Montreal, Canada), Modern Fuel Gallery (Kingston, Canada)

244 medije (performans, umetničke akcije, instalacije, in situ, video, fotogra(ja), vlastitu umetničku praksu zasniva na različitim egzistencijalnim situacijama, kao i komunikaciji sa Fabian Vidukind Penckofer (Fabian Widukind Penzkofer) različitim akterima i pojavama u svetu savremene umetnosti. rođen u Šorndorfu (Nemačka), bavi se likovnom umetnošću i Značajan deo svoje umetničke prakse realizuje u Skandinaviji, pisanjem. Od 2017. studira na Akademiji likovnih umetnosti gde i samostalno izlaže. Učestvovao je u internacionalnim u Štutgartu. Rad u okviru različitih vrsta saradnji veoma je rezidencijalnim programima u Norveškoj, Finskoj, Švedskoj, važan element njegove poetike. Učestvovao je na izložbama u Estoniji, Portugaliji, Španiji, Rusiji, Hrvatskoj, Češkoj, Nemačkoj, Srbiji, Austriji i Bugarskoj. Francuskoj, na Islandu, SAD-u i u Japanu. Predstavljao je srpsku i vojvođansku umetnost u okviru različitih izložbi u Fabian Widukind Penzkofer (Schorndorf, Germany) is zemlji i inostranstvu (Francuska, Island, Nemačka, Rumunija, practicing visual arts and writing. Since 2017 he studies at the Mađarska, Hrvatska, BIH, Makedonija, Slovenija, Crna Gora, State Academy of Fine Arts Stuttgart. Collaborating work is Japan). Učestvovao na međunarodnim festivalima performansa constantly a very important element of his work. He took part in u Hrvatskoj, Mađarskoj i Italiji. Radovi mu se nalaze u exhibitions in Germany, Serbia, Austria and Bulgaria. kolekcijama muzeja i fondacija (Muzej savremene umetnosti Vojvodine u Novom Sadu, Muzej Ero Nelimarka u Finskoj, Kolekcija Pjera Kurtena u Sarajevu, 700 IS video festival u Rejkjaviku, Galerija Matice srpske u Novom Sadu, Terra u Moric Cemš (Moritz Zemsch), rođen u Karlsrueu (Nemačka), je Kikindi, Fondacija Obras u Portugalu, DEPO 2015 u Pilsenu, u vizuelni umetnik koji živi i stvara u Štutgartu. Nakon studiranja Češkoj, Savremena galerija u Zrenjaninu i dr.) lingvistike i nemačkog jezika u Potsdamu, pridružio se Akademiji likovnih umetnosti u Štutgartu 2017. godine. U svom Dragan Vojvodić started his studies at the Academy of Fine radu, pored različitih projekata saradnje, istražuje društvene Arts in Sarajevo, and graduated in 1995. at the Academy odnose u okvirima svakodnevnog života. of Arts in Novi Sad. Expressing himself through various media (performance, art actions, installations, in situ, video, Moritz Zemsch (Karlsruhe) is a practicing visual artist based photography) he bases his own art practice on various in Stuttgart, Germany. A-er a period of studying Linguistics existential situations as well as on communication with di*erent and German in Potsdam he joined the Sate Academy of Fine actors and phenomena in the world of contemporary art. He Arts Stuttgart in 2017. In his work he mostly examines social realised a large part of his artistic practice in Scandinavia where relations in everyday life, next to various collaborative projects. he also had solo exhibitions. He participated in international residency projects in Norway, Finland, Sweden, Island, Estonia, Portugal, Spain, Russia, Croatia, France, $e Czech Republic, Iceland, USA and Japan. Also, he represented Serbian and Vojvodina art within various exhibitions in the country and abroad (France, Germany, Hungary, Croatia, Bosnia and Herzegovina, Japan). He participated in international festivals of performance in Croatia, Hungary and Italy. His works are part of the collections of the Museum of Contemporary Art of Vojvodina, Novi Sad (Serbia), Pierre Courtin Collection, Sarajevo (BiH), Regional Art Museum of Southern Ostrobothnia Erró Nelimarkka (Finland), 700 IS Video Art Festival (Iceland), Gallery of Matica srpska, Novi Sad (Serbia), DEPO 2015, Pilsen (CZ), Terra, Kikinda (Serbia), Foundation Obras (Portugal), Contemporary gallery, Zrenjanin (Serbia), etc.

245 Publikacija je deo projekta Rizikuj promenu %e publication is part of the project Risk Change

Partneri na projektu: Muzej savremene umetnosti Vojvodine Project partners: Museum of Contemporary Art Vojvodina (Novi (Novi Sad, Srbija), ACE KIBLA (Maribor, Slovenija), ACAX Sad, Serbia), ACE KIBLA Association for Culture and Education - Agency for Contemporary Art Exchange (Budimpešta, (Maribor, Slovenia), ACAX - Agency for Contemporary Art Mađarska), FOPSIM Foundation for the Promotion of Social Exchange (Budapest, Hungary), FOPSIM Foundation for the Inclusion in Malta (Zejtun, Malta), Muzej moderne i suvremene Promotion of Social Inclusion in Malta (Zejtun, Malta), Muzej umjetnosti (Rijeka, Hrvatska), RIXC $e Center for New Media moderne i suvremene umjetnosti (Museum of Modern and Culture (Riga, Litvanija), ZINC Arts et Cultures Numériques Contemporary Art) (Rijeka, Croatia) , RIXC $e Center for (Marsej, Francuska), National and Kapodistrian University New Media Culture (Riga, Lithuania), ZINC Arts et Cultures of Athens (Atina, Grčka), Takomat Games Germany (Keln, Numériques (Marseille, France), National and Kapodistrian Nemačka), X-OP (Maribor, Slovenija) University of Athens (Athens, Greece), Takomat Games Germany (Cologne, Germany), X-OP (Maribor, Slovenia) Projekat je podržan od strane Evropske unije kroz program Kreativna Evropa, Pokrajinskog sekretarijata za kulturu, javno Project is co-(nanced by the European Union through the informisanje i odnose s verskim zajednicama, Ministarstva Creative Europe program, the Provincial Secreteriat for Culture, kulture i informisanja Republike Srbije, Grada Novog Sada i Public Information and Relations with Religious Communities, Fondacije ’’Novi Sad 2021 - Evropska prestonica kulture’’. Ministry of Culture and Information of Republic of Serbia, City of Novi Sad, Foundation ’’Novi Sad 2021-European Capital of * Podrška Evropske komisije za izradu ove publikacije ne Culture’’. predstavlja podršku sadržaju koji odražava samo stavove autora, a Komisija se ne može smatrati odgovornom za bilo * $e European Commission support for the production of this koju upotrebu koja se može sastojati od informacija sadržanih publication does not constitute an endorsement of the contents u njemu. which re)ects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

SEKRETARIJAT ZA KULTURU, JAVNO INFORMISANJE MINISTARSTVO KULTURE I ODNOSE SA VERSKIM ZAJEDNICAMA I INFORMISANJA AP VOJVODINA REPUBLIKA SRBIJA

246 Izdavač I Published by Prevod I Translation Muzej savremene umetnosti Vojvodine Snežana Ciganović Museum of Contemporary Art Vojvodina 21000 Novi Sad, Dunavska 37 Lektura I Proofreading [email protected], www.msuv.org Ljiljana Maletin Vojvodić

Za izdavača I Executive Publisher Dizajn I Design Radovan Jokić Mirjana Dušić

Umetnička direktorka projekta i urednica kataloga Fotogra(je I Photographs by I Art Director of the Project and Editor Marko Ercegović (MSUV) Sanja Kojić Mladenov Duško Miljanić (CentarCG) umetnici I artists Menadžerka projekta I Project Manager Tijana Filipov Mezei Producent I Producer Jovan Jakšić Tekstovi I Texts Teodora Jeremić, Sanja Kojić Mladenov, Nela Tonković, Stručni saradnik na postavci umetnici I artists I Exhibition Installation Associate Marko Ercegović Kustosi I Curatos Stručni saradnici/ce pratećih aktivnosti projekta Sanja Kojić Mladenov I Professional Associates for Accompanying Project Activities Skok i zaron / Leap and Dive, So-Called Reality, Oleg Kulik: Zorana Ružičić, Borka Stojić, Katarina Nemet, Neda Merry-go-round, Dragan Vojvodić: Portret migranta u mladosti Novaković, Marina Tkalčić, Senka Tomić - Alfa Video / A Portrait of the Migrant as a Young Man, Nenad Šoškić: Transformacija / Transformation Štampa I Print Birograf, Zemun Tijana Filipov Mezei Sanja Anđelković, Adrijan Klajo, $e Tropen Collective Tiraž I Run 400

Sanja Kojić Mladenov, Tijana Filipov Mezei Pokrovitelj muzeja I Museum Patronage Đejmi Hadrović Pokrajinski sekretarijat za kulturu, javno informisanje i odnose s verskim zajednicama / Provincial Secretariat for Stručne saradnice projekta I Professional Associates of Project Culture, Public Information and Relations with Religuous Mirjana Dušić, Gordana Nikolić Communities

247 CIP - Каталогизација у публикацији Библиотеке Матице српске, Нови Сад

7.038.53(100)”20”(083.824)

RISK change 03 / [umetnička direktorka projekta i urednica kataloga Sanja Kojić Mladenov ; tekstovi Teodora Jeremić, Sanja Kojić Mladenov, Nela Tonković ; prevod Snežana Ciganović]. - Novi Sad : Muzej savremene umetnosti Vojvodine, 2020 (Zemun : Birograf). - 247 str. : ilustr. ; 21 x 26 cm

Uporedo srp. tekst i engl. prevod. - Tiraž 400. - Biografski podaci o umetnicima.

ISBN 978-86-6333-067-2

а) Мултимедијална уметност -- Свет -- 21. в. -- Изложбени каталози

COBISS.SR-ID 26596873 RISK CHANGE RISK CHANGE RISK CHANGE RISK CHANGE

MUZEJ SAVREMENE UMETNOSTI VOJVODINE