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Ange Risk Changerisk Change Risk Change ANGE RISK CHANGE0 RISK CHANGE3 RISK CHANGE RIS RISKCHANGE03 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.
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