Radovi Na Sceni

SAMO(IZ)GRADNJA: SRBIJA NA PRAŠKOM KVADRIJENALU SCENSKOG DIZAJNA I SCENSKOG PROSTORA 2019. SELF(UP)BRINGING: SERBIA AT THE PRAGUE QUADRENNIAL OF PERFORMANCE DESIGN AND SPACE 2019 Samo(iz)gradnja: Republika Srbija na Praškom kvadrijenalu scenskog dizajna i scenskog prostora 2019. Katalog

Self(up)bringing: Republic of Serbia at the Prague Quadrennial of Performance Design and Space 2019 Exhibition Catalogue

Urednici / Editors: Ljiljana Miletić Abramović i/and Tatjana Dadić Dinulović

Izdavači / Publishers: Muzej primenjene umetnosti, Beograd / Museum of Applied Art, Belgrade Scen – Centar za scenski dizajn, arhitekturu i tehnologiju (Oistat Centar za Srbiju) Fakulteta tehničkih nauka Univerziteta u Novom Sadu, Novi Sad / Scen – Centre for Scene Design, Architecture and Technology (OISTAT Centre for Serbia), Faculty of Technical Sciences, University of Novi Sad

Za izdavača / For the publisher: mr Ljiljana Miletić Abramović, direktor Muzeja primenjene umetnosti / Ljiljana Miletić Abramović (MSc), Director, Museum of Applied Art prof. dr Rade Doroslovački, dekan Fakulteta tehničkih nauka / Prof. Rade Doroslovački (PhD), Dean, Faculty of Technical Sciences

Grafičko oblikovanje i tehnička obrada / Graphic design and pre-press: Mia David

Prevod na engleski / Translation into English: Dragana Rašić Vuković

Lektura i korektura za srpski jezik / Proofreading for the Serbian language: Milica Ševkušić

Recenzije / Reviews: dr Jelena Atanacković Jeličić i dr Slađana Milićević / Jelena Atanacković Jeličić, PhD and Slađana Milićević, PhD

Stručna redakcija Pojmovne mape i hronologije na srpskom jeziku / Expert’s review of the Conceptual Map and Chronology in the Serbian language: SCEN tim / SCEN team

Štampa / Printing: Grafički centar „Grid“ Fakulteta tehničkih nauka u Novom Sadu / Graphic centre “Grid”, Faculty of Technical Sciences, Novi Sad septembar 2019 / September 2019

Tiraž / Circulation: 300

ISBN 978-86-6022-205-5

Štampanje kataloga omogućilo je Ministarstvo kulture i informisanja Republike Srbije. / Printing of the catalogue was supported by the Ministry of Culture and Information of the Republic of Serbia.

2 3 SADRŽAJ / CONTENTS 1.1.3 CONCEPTUAL MAP AND CHRONOLOGY 110 Collective work of the Scene Work Ahead team Milutin Dapčević, Mirjana Dragosavljević. Dušica 10 SAMO(IZ)GRADNJA: Dražić, Selena Orb, Vladimir Pejković, Katarina SRBIJA NA PRAŠKOM KVADRIJENALU SCENSKOG Popović, Igor Vasiljev and Tanja Šljivar DIZAJNA I SCENSKOG PROSTORA 2019. Ljiljana Miletić Abramović i 1.1.4 PESMARICA DRUGI DEO - AUTORSKI SONGOVI 164 Tatjana Dadić Dinulović, komesari Kolektivni rad tima Radovi na sceni

16 SELF(UP)BRINGING: 1.1.4 SONGBOOK PART TWO - ORIGINAL SONGS 173 SERBIA AT THE PRAGUE QUADRENNIAL OF Collective work of the Scene Work Ahead team PERFORMANCE DESIGN AND SPACE 2019 Ljiljana Miletić Abramović and 1.1.5 RADOVI NA SCENI - ILUSTRACIJE / 184 Tatjana Dadić Dinulović, Commissioners SCENE WORK AHEAD - ILLUSTRATIONS

23 1. NACIONALNA POSTAVKA / NATIONAL EXHIBITION 1.1.6 RADOVI NA SCENI - PRAG 2019 / 200 SCENE WORK AHEAD - PRAGUE 2019 26 1.1 RADOVI NA SCENI Bojan Đorđev, Siniša Ilić i Maja Mirković, kustosi 1.2 PROLAZAK KROZ POGLED NA SCENU 208 Institucije kulture – nezavisne produkcije 30 1.1 SCENE WORK AHEAD – javni prostor – ad hoc akcije Bojan Djordjev, Siniša Ilić and Maja Mirković, Curators Bojan Đorđev, Siniša Ilić i Maja Mirković

34 1.1.1 PROLAZAK KROZ POSTAVKU RADOVI NA SCENI 1.2 A VIEW OF THE SCENE – A WALK-THROUGH 209 Rad – umetnost – prekarnost – polje borbe Cultural Institutions – Independent Productions Bojan Đorđev, Siniša Ilić i Maja Mirković – Public Space – Ad Hoc Actions Bojan Djordjev, Siniša Ilić and Maja Mirković 36 1.1.1 SCENE WORK AHEAD – A WALK THROUGH Labour – Art – Precarity – Battlefield 1.2.1 Broken Light 210 Bojan Djordjev, Siniša Ilić and Maja Mirković 1.2.2 Mia David 212 1.2.3 Granična lepota/Borderline Beauty 214 38 1.1.2 PESMARICA PRVI DEO - ISTORIJSKI SONGOVI 1.2.4 Nikola Isaković 216 1.2.5-7 Institut za aplauz/The Applause Institute 218 47 1.1.2 SONGBOOK PART ONE - HISTORICAL SONGS 1.2.8-9 Jelena Janković 224 1.2.10 Karkatag kolektiv/Karkatag Collective 228 56 1.1.3 POJMOVNA MAPA I HRONOLOGIJA 1.2.11 Igor Koruga i/and Maja Pelević 230 Kolektivni rad tima Radovi na sceni 1.2.12 Marko Milić 232 Milutin Dapčević, Mirjana Dragosavljević, Dušica 1.2.13 Sofija Mitrović 234 Dražić, Selena Orb, Vladimir Pejković, Katarina 1.2.14-16 Zorana Petrov 236 Popović, Igor Vasiljev i Tanja Šljivar 1.2.17 Marta Popivoda i/and Ana Vujanović 242 1.2.18 Jovana Rakić 244

4 5 246 1.2.19 Aleksandar Ramadanović 2.4 UMETNIČKI RAD RAVNOTEŽA 290 248 1.2.20-21 Andreja Rondović 252 1.2.22 Branislava Stefanović 2.4 SEE/SAW ARTWORK 292 254 1.2.23 Veljko Stojanović 256 1.2.24 Natalija Bogdanović, Marija Simović, Aleksa Đurić, 2.4.1 IGRALIŠTE 294 Petar Simović, Ana Zorić, Miloš Kostić, Dezire Tilinger Autorski tim studenata (Desirée Tilinger), Jovana Vidaković (Urbanium) 258 1.2.25 Natalija Bogdanović, Marija Simović, Aleksa Đurić, 2.4.1 PLAYGROUND 296 Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić Team of student authors (Urbanium) 260 1.2.26 Srđan Veljović 2.4.2 LIČNI NARATIVI STUDENATA / 262 1.2.27-28 Nikola Zavišić STUDENTS’ PERSONAL NARRATIVES

267 2. STUDENTSKA POSTAVKA / STUDENTS’ EXHIBITION 2.4.2.1 Kutija/Box 1: Bojan Kaurin, Filip Šćekić, 298 Katarina Šijačić i/and Lara Bunčić 270 2.1 STVARANJE KUĆA I GRAĐENJE LJUDI 2.4.2.2 Maja Ivanović i/and Aleksandra Vučković 306 Romana Bošković Živanović, Programski 2.4.2.3 Kutija/Box 3: Lara Popović 310 koordinator Kustoskog tima 2.4.2.4 Kutija/Box 4: Ema Pavlović 312 2.4.2.5 Kutija/Box 5: Marija Šumarac i/and Nikola Isaković 314 275 2.1 CREATION OF HOUSES AND CONSTRUCTION OF PEOPLE 2.4.2.6 Kutija/Box 6: Jovana Matić i/and Đorđe Nešović 318 Romana Bošković Živanović, Programme Coordinator of the Curatorial Team 2.4.3 RAVNOTEŽA - ILUSTRACIJE / 322 SEE/SAW - ILLUSTRATIONS 280 2.2 UMETNIČKO TRAGANJE ZA SAKRIVENIM VREDNOSTIMA Selena Orb (alias Darinka Mihajlović), 3. KO JE KO? / WHO’S WHO? 347 Dragana Vilotić i Draško Adžić 4. IMPRESUM PROJEKTA / PROJECT IMPRESSUM 386 283 2.2 ARTISTIC PURSUIT OF HIDDEN VALUES Selena Orb (alias Darinka Mihajlović), Dragana Vilotić and Draško Adžić

286 2.3 IGRA KOJA NIKADA NE PRESTAJE I KOJA NAS MENJA Lara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac i Aleksandra Vučković

288 2.3 NEVER-ENDING PLAY THAT CHANGES US Lara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac and Aleksandra Vučković

6 7 SAMO(IZ) GRADNJA / SELF(UP) BRINGING

8 9 SAMO(IZ)GRADNJA: jeste, niti šta je njegova uloga, pa ne možemo da govorimo ni o tome šta je institucija društva. Današnji kontekst SRBIJA NA PRAŠKOM KVADRIJENALU izražene fragmentarnosti, jedino izvesno, podrazumeva in- SCENSKOG DIZAJNA I teres tržišta (ili novca) i interes države (ili partije). U SCENSKOG PROSTORA 2019. tom i takvom okruženju pozicija pojedinca znatno je izmen- jena – on više nije neko ko može da prihvati da ga društvo Ljiljana Miletić Abramović i podstiče, gradi ili oblikuje. Naprotiv, on (pojedinac) mora Tatjana Dadić Dinulović, komesari da oblikuje društvo, oblikujući sebe. Ovakav odnos pojedinca i društva nameće veliku odgovornost svakome, jer, budući da smo kolektivna bića, moramo da uspostavimo zajednicu, tj. društvo. Tako, umesto jednog dominantnog, nastaje mnogo O TEMI malih društava, sa dalekom i neizvesnom težnjom da ta mala Samo(iz)gradnja: društva formiraju novo, veće, snažnije i značajnije, unutar koga će nastati nove ideje i vrednosti. Tako su se energi- (je) pravljenje, (po)dizanje, ja, interesovanje i motivacija preselili u male kolektive zidanje, konstruisanje, izrađivanje, i radna okruženja u gotovo svim oblastima savremenog živo- stvaranje, smišljanje... ta, pa i u umetnosti. Neprekidne promene i nepredvidljivi uslovi rada doneli su nesigurnost, neizvesnost i nepoveren- (vlastitim snagama, ili za je, ali, istovremeno, i mogućnost za kreiranje novih modela vlastite potrebe); – u profesiji, u radnom okruženju, unutar konzervativnih zajednice, kolektiva, okruženja, institucija ili na nezavisnoj umetničkoj sceni. Izuzimanje profesije, društva, pojedinca, sebe... iz tekućeg sistema vrednosti i zalaganje za sopstvene ide- 1 je umetničkim činom, koristeći upravo sredstva na kojima Pojam samo(iz)gradnja potiče iz spe- društvo počiva, nema samo ideološke vrednosti i potencijale cifičnog ideološkog, društvenog, političkog, ekonomskog i već omogućava, ponovo, prostor za pravljenje, zidanje, kon- kulturnog konteksta socijalističkog društva druge polovine struisanje... zajednice, kolektiva, pojedinca, sebe... – za XX veka, sa prostora i iz vremena u kom je rad pojednica na samo(iz)gradnju. sebi smatran društveno potrebnim i društveno opravdanim. Tako postavljeno društvo videlo je sopstveni razvoj kroz razvoj pojedinca, njegovo obrazovanje, vaspitanje, una- O KONCEPTU pređenje uslova života i rada. U tom cilju je, intenziv- no i sveobuhvatno, podsticalo razvoj amaterskih klubova i Mi gradimo prugu, pruga gradi nas.2 udruženja, kreiralo institucije i manifestacije, negovalo pozorište i druge umetnosti i činilo ih dostupnim gotovo Oslonac za promišljanje nastupa Srbije svima. na Praškom kvadrijenalu našli smo, ponovo, u problemskom Danas živimo u radikalno drugačijem kon- 2 Parola „Mi gradimo prugu pruga gradi nas“ nasta- tekstu, u okruženju u kome nije sasvim jasno ni šta društvo la je tokom omladinske radne akcije 1947. godine, na kojoj je više od 200.000 mladih ljudi iz čitave 1 Nije bilo jednostavno prevesti ovaj pojam na en- Jugoslavije gradilo i izgradilo prugu Bosanski Ša- gleski jezik. Tako su se tokom prevođenja pojavile mac – Sarajevo. Savezne omladinske radne akcije, po sledeće mogućnosti: self-construction; self-building; self(up)building; self-development; self(up) svojoj prirodi dobrovoljne, bile su ključan oslonac obnove i ponovne izgradnje zemlje, razorene tokom bringing; itd. Na kraju, opredelile smo se za pojam Drugog svetskog rata. Na ovaj način izgrađeni su self(up)bringing, smatrajući da najbolje odražava mnogi putevi i objekti, a posebno je negovan kult ideju rada. udarništva.

10 11 pristupu i tematizaciji rada pod nazivom Samo(iz)gradnja, u oblasti scenskog dizajna i scenskog prostora u Srbiji. zajedničkim za dve kategorije – Nacionalnu postavku Očekivali smo, takođe, da dalje stvaralački razvijaju au- (Section of Countries and Regions) i Studentsku postavku torski pogled na umetnički koncept Kvadrijenala i posve- (Student Exhibition – Students, Young Designers and Young te pažnju prostornim aspektima izlaganja, konkretno se Designer’s Studios). određujući prema ideji o deljenju zajedničkog prostora.

U istorijskom i geografskom smislu, osno- Nacionalna postavka pod nazivom Radovi vu za nastanak ovog rada čini pogled na relativno kratak na sceni, koncipirana je kroz dva ravnopravna segmen- vremenski period koji obuhvata formiranje Jugoslavije nata. Jedan je zasnovan na istraživanju i realizaciji no- kon Drugog svetskog rata, njen raspad devedesetih godina vog kolektivno strukturiranog umetničkog rada u kome uče- XX veka, te uticaj ove dve ključne tačke na Srbiju, tj. stvuju umetnici po pozivu. Drugi, pod nazivom Pogled na društveno, političko i kulturno okruženje u kom radimo scenu, predstavlja radove odabrane na javnom konkursu, sa i živimo danas. Posebno, ovaj pogled tiče se potrebe za zadatkom da omogući pregled scenskog dizajna na teritori- (ponovnim) razmatranjem, kritičkom analizom i vrednovanjem ji Srbije, kao i prakse domaćih umetnika ostvarene izvan kulture i kulturne politike, naročito u oblasti pozorišta granica naše zemlje. i izvođačkih umetnosti, pa zatim i njihovog izlaganja van prostora pozorišta, a sve u kontekstu savremenog društva Pozorišna scena, kao i sveukupna dru- u Srbiji. štvena, danas i ovde postoji u stanju fluksa koji se neprekidno menja i evoluira, zbog čega su svi akteri is- Osim na Samo(iz)gradnju kao kontekst, tovremeno u inverznoj ulozi – i kreatori i gledaoci. U nastup Srbije oslonjen je na one autorske pristupe scen- tom kontekstu, kustoski projekat Radovi na sceni formiran skom dizajnu u pozorištu i izvođačkim umetnostima koji ovu je od niza mikro sekvenci koje su odraz ličnih i opštih oblast stvaralaštva vide i razvijaju kao snažan sastavni stanja nepostojanosti ne samo umetničkog stila života. deo ukupne umetničke ideje, a ne kao podređenu ili prateću Glavna ideja projekta odražava snažnu potrebu za formi- disciplinu. U tom smislu, nastup Srbije posvećen je iden- ranjem novog kritičkog umetničko-scenskog prostora u ha- tifikaciji, mapiranju i predstavljanju autora, događaja, otičnom aktuelnom društvenom poretku – zastalom između manifestacija i institucija koje u svom radu neguju ovakav nepovratno izgubljenog modernističkog totaliteta i no- pristup scenskom dizajnu i scenskom prostoru. Poseban na- vonastale fragmentacije postmodernističkih simulakruma. U glasak stavljen je na delovanje onih umetnika (profesio- cilju neophodne refleksijesamo(iz)gradnje sopstvenog puta, nalaca i studenata) koji svojim radom objedinjuju pojedi- u sadašnjem postsocijalističkom jugoslovensko-srpskom dru- načne discipline i proširiju polja delovanja, gradeći time štvenom i teatarskom kontekstu, pravi je izazov istražiti razvijene ili nove umetničke forme. poruke i pouke nedavnog, zapostavljenog i iščezlog, soci- jalističkog nasleđa. Procesi teoretizacije i istorizacije tog nasleđa mogu inspirisati umetnike na kolektivnu an- O NAČINU RADA I ISHODU, ILI O TRAGANJU ZA gažovanu akciju i nuditi osnovu za nove umetničke izbore. NOVOM SCENOM/TEATROM Osim toga, Radovi na sceni odražavaju i umetničku vizuru u novom generacijskom ključu koji nosi iskustvo savremenog U odnosu na postupak i proces rada, bilo sveta preopterećenog informacijama i opštom fragmentacijom nam je važno da kustosi obe postavke stvaralački razvi- značenja, smisla i vrednosti. Na taj način, samozastupanje ju temu i problemski pristup nastupa Srbije u celini, sa i Samo(iz)gradnja postali su projekat po sebi, čin čiste idejom da pronađu, zabeleže i prikažu savremene trendove egzistencije za sve umetnike uključene u proces kreiranja

12 13 Radova na sceni. Tako postavljene koordinate ukazuju da je Treći, integrativni segment rada Samo(iz) neophodno, danas i ovde, baviti se pozorištem kao društve- gradnja, jeste ovaj katalog, značajan za ukupno razumevanje nom praksom, zasnovanom na zajedničkom radu grupa umet- ideja, narativa i umetničkog postupka u oblasti scenskog nika, u znaku alternativnih oblika teatarskog angažmana, dizajna. stvarajući nove umetničke strukture koje mogu oblikovati, u srpskoj pozorišnoj sredini, nova iskustva sa jasnom ide- Katalog zaokružuje i objedinjuje celokupno jom da je istinska uloga scenskog prostora i teatra uvek predstavljanje u obe selekcije, nacionalnoj i studentskoj, u katarzi. i dokumentuje nastojanje jedne generacije umetnika i studenata, uključenih u projekat, da sagledaju i iznesu Studentska sekcija, pod nazivom Rav- ideju o svom razumevanju pozorišta, u vidu zajedničkih i noteža, koncipirana je kao zajednički umetnički rad dva- ličnih iskaza, plasirajući nezavisan autorski koncept koji naest studenata različitih fakulteta u Srbiji, izabranih je osnovni i prvi nivo svakog umetničkog delanja. Osim što putem javnog konkursa. Ovaj rad, u formi performativne in- ima vrednost kao dokument o nastupu Republike Srbije na stalacije, nastao je tokom višemesečnog kreativnog procesa Praškom kvadrijenalu scenskog dizajna i scenskog prostora u kome su studenti istraživali temu konstruisanja zajed- 2019. katalog ima i komunikacijski značaj jer uspostavlja nice i društva kroz građenje pojedinca. neophodnu vezu između javnosti i struke.

Studenti ujedinjeni na zajedničkom za- datku, a sa iskustvom različitih nastavnih planova i programa, bili su pred ozbiljnim izazovom da učestvuju u procesu kreiranja jedinstvenog i konkretnog umetničkog narativa. Prvobitna motivacija kristalizovala se oko ideje da se u potrazi za samo(iz)gradnjom uspostavi ravnotežno polje igre protumačeno kao kreativni i emotivni rezer- voar. Ovo na prvi pogled jednostavno polazište zahtevalo je sistemski rad kroz niz kreativnih radionica, uz samo- stalne činove koje su studenti pojedinačno formulisali, a sve u skladu sa timskim radom drugih studenata – učesni- ka, i uz koordinaciju sa mentorima. U suštini, rad je zasnovan na primarnom tumačenju igre kao kreativnog čina po sebi, a samim tim prisutna je i avantura doživljaja sopstvene stvaralačke slobode u potrazi za ravnotežnim stanjem. Učestvujući u zajedničkom stvaranju i otkrivanju kreativnog toka, studenti su bili u mogucnosti da sagledaju privlačnost profesije i da istraže stvarne okolnosti formiranja umetničkog dela. Na određeni način, čitav rad se može posmatrati i kao pripremni skok u potrazi za svojim mestom u profesiji, dok ostvareni nivoi znatiželje čine ovo putovanje kroz vreme u polje igre dodatno uzbudljivim i otvaraju mnogobrojne prilike u procesu samo(iz)gradnje umetničkog puta i mesta za mladog umetnika u društvu.

14 15 SELF(UP)BRINGING: nurtured theatre and other arts, and made them accessible to almost everyone... SERBIA AT THE PRAGUE Today, we live in a radically different QUADRENNIAL OF PERFORMANCE context, in the environment where it is neither quite clear DESIGN AND SPACE 2019 what society is, nor what its role is, so we cannot talk Ljiljana Miletić - Abramović and about what society, as institution, represents. It is only Tatjana Dadić Dinulović, Commissioners certain that today’s context of pronounced fragmentation implies the interest of the market (or money) and the interest of the state (or the party). In this and such an environment, the position of an individual is considerably ON THE THEME changed – one is no longer someone who can accept to be encouraged, built or shaped by society. On the contrary, one Self(up)bringing: (an individual) must shape society by shaping oneself. Such a relationship between the individual and society imposes (means) making, building, great responsibility on everyone, because, as collective constructing, designing, producing, beings, we need to establish a community, that is, society. creating, conceiving... Thus, instead of one dominant society, many small socie- (by one’s own powers or ties arise. There is a distant and uncertain tendency for for one’s own needs); these small societies to form a new, larger, stronger and of a community, collective, more significant one, within which new ideas and valueswill environment, profession, society, develop. Therefore, energy, interests and motivation have individual, oneself...; moved into small collectives and working environments in almost all areas of contemporary life, even in art. Constant changes and unpredictable working conditions have brought 1 The term self(up)bringing came from the insecurity, uncertainty and mistrust, but at the same time, specific ideological, social, political, economic and cul- they have brought the opportunity to create new models – tural context of the socialist society of the second half in profession, in working environment, within conservative of the 20th century, from the region and time in which an institutions or in an independent art scene. Not only does individual’s self-development was considered socially nec- diverting from the existing set of values and advocating essary and socially justified. Society, thus established, your own ideas through an artistic act, using exactly the viewed its own development through the development of an means on which society is founded, have ideological values individual, his education, upbringing, improvement of his and potentials, but it also provides, once again, the space for making, building, constructing... a community, collec- living and working conditions. To this end, it intensely self(up)bringing. and comprehensively encouraged the development of amateur tive, individual, oneself… for clubs and associations, created institutions and events, 1 It was not easy to translate the term samo(iz) gradnja into the English language. There were several options: self-construction; self-building; self(up)building; self-development; self(up)bringing; etc. At the end, we (Commissioners) decided to use the term self(up)bringing, believing that it reflects all meanings relevant to the main idea of the artwork.

16 17 ON THE CONCEPT tion, mapping and presentation of authors, events , man- ifestations and institutions that foster such an approach We’re constructing the railway, to the scene design and performing space in their work. 2 the railway’s constructing us. Special emphasis is placed on the work of those artists (professionals and students) who, in their work, unify Once again, the basis for conceiving individual disciplines and expand fields of their action, Serbia’s performance at the Prague Quadrennial was found thereby creating developed or new art forms. in a problem-based approach and thematisation of the work entitled Self(up)bringing, common for the following two categories – National Exhibition (Section of Countries and ON THE METHOD OF WORK AND THE OUTCOME, Regions) and Student Section (Student Exhibition – Stu- OR ON THE PURSUIT OF A NEW SCENE/THEATRE dents, Young Designers and Young Designer’s Studios). Regarding the procedure and process of In the historical and geographical sense, work, it was important to us that the curators of both ex- the basis for this work is the view of a relatively short hibitions creatively develop the theme and problem-based period of time which includes the formation of Yugoslavia approach of Serbia’s performance as a whole, with the idea after World War II, its disintegration in the 1990s, and of finding, recording and presenting contemporary trends the impact that these two key moments had on Serbia, that in the field of scene design and performing space in Ser- is, on the social, political and cultural environment in bia. Furthermore, we expected that they further creatively which we work and live today. In particular, this view per- develop artistic concept of the Quadrennial and pay at- tains to the need for (re)consideration, critical analysis tention to the spatial aspects of the presentation, being and evaluation of culture and cultural policy, especially specifically determined through the idea of sharing common in the field of theatre and performing arts, and further to space. their display outside the theatre space, and all this,in Scene the context of Serbian contemporary society. The National Exhibition, entitled Work Ahead, is conceived through two equal segments. One In addition to Self(up)bringing as a is based on research and realisation of a new, collective- context, Serbia’s performance relies on those authorial ly structured artwork in which artists are invited to par- A View of the Scene, approaches to the scene design in the theatre and perform- ticipate. The second, entitled rep- ing arts that see and develop this field of creativity as resents the works selected through a public competition, a strong integral part of the overall artistic idea, and with the aim of providing a review of scene design in the not as a subordinate or accompanying discipline. In that territory of Serbia, and practice of national artists re- sense, Serbia’s performance is dedicated to the identifica- alised outside our country. 2 The slogan We’re Constructing the Railway, the Railway’s Constructing Us was created during the The theatre scene, as well as the over- youth work action in 1947, when more than 200,000 all social scene, today and here, exists in a state of young people from the whole Yugoslavia were buil- flux that is constantly changing and evolving, causing all ding and, finally, constructed the railway Bosanski Šamac-Sarajevo. Federal youth work actions, volun- actors to play inverse roles – being, at the same time, tary by nature, were the essential support for the both creators and viewers. In this context, the curato- reconstruction and rebuilding of the country, de- rial project Scene Work Ahead is composed of a series of vastated during World War II. Thus, many roads and facilities were built, and the cult of ‘shock work’ micro sequences reflecting the personal and general state was particularly fostered. of non-stability of not only the artistic lifestyle. The

18 19 main idea of the project reflects the strong need to form The original motivation crystallized around the idea to a new, critical, artistic and performing space in the create the balance field of play, interpreted as a creative currently chaotic social order – stagnating between the and emotional reservoir, in pursuit of self(up)bringing. irreversibly lost modernist totality and the newly formed This, at first sight, a simple starting point required sys- fragmentation of postmodernist simulacra. In order to nec- tematic work through a series of creative workshops with essarily reflect the self(up)bringing of one’s own path, independent acts that students formulated individually, in the current post-socialist Yugoslav/Serbian, social and and all in line with the team work of other students-par- theatrical context, it is a real challenge to explore the ticipants, and in coordination with mentors. Essentially, messages and morals of the recent, neglected and vanished, the work is based on the primary interpretation of play as socialist heritage. The processes of theorization and his- a creative act by itself, and therefore, present is also torization of this heritage can inspire artists to get the adventure of experience of one’s own creative freedom engaged in collective action, and provide the basis for in pursuit of the state of balance. By participating in new artistic choices. Moreover, Scene Work Ahead reflects joint creation and discovering the creative flow, students an artistic vision of the new generation model, bearing were able to perceive the attractiveness of the profes- the experience of the contemporary world overloaded with sion, and to explore the real circumstances under which an information and general fragmentation of meanings, sense artwork is formed. In a certain way, the entire work can be and values. Thus, self-representation and Self(up)bringing seen as a preparatory leap in pursuit of one’s own place in became a project of its own, an act of pure existence for the profession. And the achieved levels of curiosity make all the artists involved in the process of creating Scene this journey, through time into the field of play, extra Work Ahead. The coordinates, thus set, indicate that it exciting, and open up numerous opportunities in the pro- is necessary, today and here, to get engaged in theatre cess of self(up)bringing an artistic path and a place for as social practice, based on the joint work of groups of a young artist in society. artists. This could be done through alternative forms of theatre engagement, creating new artistic structures that The third, integrative segment of the can shape new experiences, in the Serbian theatrical envi- work Self(up)bringing, is this catalogue – important for a ronment, with a clear idea that the true role of performing complete understanding of ideas, narratives and artistic space and theatre is always in catharsis. practice in the field of scene design.

The Students Section, entitled Coun- The catalogue encompasses and consoli- terweight (SEE/SAW), is conceived as a joint artwork of dates the entire presentation, in both national and stu- twelve students from various faculties in Serbia, selected dent selections, and documents the efforts of a generation through a public competition. This work, in the form of a of artists and students, involved in the project, to con- performative installation, was designed during a creative sider and express the idea of their understanding of the process that lasted for several months. In this process, theatre, in the form of joint and personal statements, by students researched the theme of constructing a community advocating an independent author’s concept which is the and society through the construction of an individual. basic and first level of every artistic work. In addition to being valuable as a document about the Republic of Serbia’s The students who gathered around a common presentation at the Prague Quadrennial of Performance De- task, and who experienced different syllabuses and curricu- sign and Space 2019, the catalogue also has communicative la, faced a serious challenge of participating in the pro- significance because it establishes a necessary connection cess of creating a unique and concrete artistic narrative. between the public and the profession.

20 21 1. NACIONALNA POSTAVKA / NATIONAL EXHIBITION

22 23 RADOVI NA SCENI SCENE WORK AHEAD

Kustosi/Curators: Bojan Đorđev, Siniša Ilić i/and Maja Mirković

Radovi na sceni / Scene Work Ahead Autorke i autori / Authors: Milutin Dapčević, Mirjana Dragosavljević, Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Tanja Šljivar i/and Igor Vasiljev

Pogled na scenu / View of the Scene Umetnice, umetnici i umetnički kolektivi / Artists and collectives: Mia David, Granična lepota / Borderline Beauty (Izvanredni Bob / the Exceptional Bob, Stevan Bodroža, Goran Milenković, Željko Maksimović, Tamara Pjević, Petar Mirković), Nikola Isaković, IZA – Institut za aplauz / The Applause Institute (Stevan Beljić, Luka Cvetković, Stefan Knežević, Katarina Kostandinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić, Dušan Savić, Vanja Seferović, Tamara Spalajković), Jelena Janković, Karkatag Kolektiv / Karkatag Collective, Marko Milić, Broken Light (Sonja Jankov, Đina Prnjat, Janž Omrezu i/and Nemanja Mitrović), Sofija Mitrović, Igor Koruga i/and Maja Pelević, Zorana Petrov, Jovana Rakić, Aleksandar Ramadanović, Andreja Rondović, Branislava Stefanović, Veljko Stojanović, Urbanium – Centar za istraživanje i održivi razvoj arhitekture i urbanizma / Centre for Research and Sustainable Development of Architecture and Urban Planning (Natalija Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Bogdan Đokić, Ana Zorić, Miloš Kostić, Dezire Tilinger / Desirée Tilinger, Jovana Vidaković), Srđan Veljović, Marta Popivoda i/and Ana Vujanović, Nikola Zavišić

24 25 1.1 Pojam samo(iz)gradnje, koji su komesar- ke odredile kao temu ovogodišnjeg nastupa Srbije na Praš- RADOVI NA SCENI kom kvadrijenalu, proširili smo kroz pitanja položaja i Bojan Đorđev, Siniša Ilić i značenja individue i individualnog, u kontekstu kolektivnog Maja Mirković, kustosi rada i samoizgradnje kroz kolektivnu praksu. Samo(iz)gradnju ne shvatamo kroz izolaciju, rad na sebi i nadmetanje su- bjekata karakteristično za neoliberalno društveno uređe- nje, već kao razvoj potencijala svih jedinki u društvu koje to omogućava i zagovara ne bi li i samo napredovalo. Kada smo pozvani da bez prethodne kustoske prakse predložimo koncept postavke nastupa Srbije Kako govoriti o scenskom dizajnu, ako na Praškom kvadrijenalu, pošli smo od odluke da scenski ne govorimo o uslovima u kojima se on događa – to posta- dizajn promišljamo kroz analizu sopstvenih pojedinačnih i je ključno pitanje kojim se bavimo u konceptu postavke zajedničkih umetničkih praksi i radnih iskustava, koja se Radovi na sceni. Koristeći pojam dizajn scene, analiziramo sreću na raskršću dizajna kostima i scene, režije, poezije, kulturne politike koje oblikuju – dizajniraju – prostor izvođačkih i likovnih umetnosti. Razmatranjem problema sa u kom se razvijaju umetničke prakse. Promišljamo politike kojima smo se sretali u institucionalnom pozorištu i na institucija kulture, nezavisne ili samoorganizovane sce- nezavisnoj sceni, shvatili smo da su naše putanje određe- ne, uslove u kojima umetnost nastaje, kao i proizvodnju ne/omeđene uslovima pod kojima se konkretan rad odvija. fizičkog prostora za umetnost u funkciji resursa- iotvo Izvođačke umetnosti posmatramo kao renog koda (open source). Predmet kolektivnog istraživanja čvorište u kom se pojedinačne prakse sreću u različitim ob- jesu značajni događaji iz istorije kulturne politike Jugo- licima zajedničkog rada, komunikacije i koautorstva. Rela- slavije i Srbije (od 1945. do danas) i načini na koje su cioni karakter izvođačkih umetnosti podrazumeva pregovore oni oblikovali, i na koje i danas oblikuju, uslove rada i redefinisanje granica idejnih, ideoloških i autorskih pona umetničkoj sceni. Rezultati istraživanja ponuđeni su zicija vezanih za praksu svih uključenih u projekat. Okvir pozvanim autorkama i autorima kako bi ih interpretirali i u kom se odvija ova interakcija, kao sastavni deo svake prostorno inscenirali alatima scenskog dizajna, pri čemu umetničke prakse, jesu političke i ideološke konstelacije se podjednaka važnost pridaje i samoj postavci, i procesu datog istorijskog trenutka. Uz pomoć svojih regulacionih njenog nastajanja kroz kolektivni umetničko-istraživački aparata, one oblikuju društvo u kom se realizuje prostor rad. Tokom tog procesa, pozicija prekarnosti prepoznaje se za umetničko delovanje, počev od obrazovnog sistema, pa do kao zajedničko iskustvo i savremeno ujedinjujuće stanje broja aktuelnih radnih mesta, institucija i manifestacija, rada i života, ali i kao potencijalno novo polje borbe. kao realne slike prilika i mogućnosti da se stečena znanja Istraživanje se ne fokusira na specifičan istorijski period, primenjuju i predstave. već na dva koncepta koji dizajniraju opstanak umetnosti na Uslovi rada i pitanje kako društvene sceni: njenu produkciju i regulaciju kroz državne insti- okolnosti, politika i ideologija oblikuju naše prakse, po- tucije kulture i produkciju vezanu za nezavisnu, samo- staju tako ključni pojmovi koncipiranja postavke Radovi na organizovanu umetničku scenu. Istraživanje obuhvata periode sceni. Ideja o kolektivnom interdisciplinarnom radu ovde socijalizma i restauracije kapitalizma, kao dva različita funkcioniše i kao parafraza rada na pozorišnoj predstavi; društvena modela proizvodnje – u ovom slučaju umetničke. preispituje odnos autonomije pojedinačnih praksi i dinami- ke njihove komunikacije unutar scenskog dizajna koji ih u Postavka Radovi na sceni realizovana je radu na Postavci objedinjuje. kroz dve celine: istoimeni kolektivni rad je prostorno-

26 27 arhitektonsko-tekstualni objekat koji se tokom Kvadrijenala vić), Nikola Isaković, Institut za aplauz (Stevan Beljić, aktivira izvedbenim intervencijama i interakcijom sa Luka Cvetković, Stefan Knežević, Katarina Kostandinović, publikom. Ta otvorena i performativna instalacija obliko- Milan Nasković, Kristina Nikolić, Jakov Ponjavić, Dušan vana je i strukturirana kao kolaž različitih elemenata. Ona Savić, Vanja Seferović, Tamara Spalajković), Jelena Janko- je kompleksan sistem definisanja i prikazivanja: kolektiv- vić, Karkatag kolektiv, Igor Koruga i Maja Pelević, Marko nog rada karakterističnog za izvođačke umetnosti, efemerne Milić, Sofija Mitrović, Zorana Petrov, Marta Popivoda i Ana prirode scenske izvedbe i odnosa različitih umetničkih Vujanović, Jovana Rakić, Aleksandar Ramadanović, Andreja praksi unutar okvira Postavke. Rondović, Branislava Stefanović, Veljko Stojanović, Ur- banium – centar za istraživanja i održivi razvoj u arhi- Pogled na scenu, kao druga celina, tekturi i urbanizmu (Natalija Bogdanović, Marija Simović, jeste dokumentacija radova iz oblasti scenskog dizajna, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, koji su odabrani na javnom konkursu, a realizovani u pro- Bogdan Đokić, Ana Zorić, Miloš Kostić, Dezire Tilinger, tekle četiri godine. Uže shvaćeno, scenski dizajn podra- Jovana Vidaković), Srđan Veljović, Nikola Zavišić. zumeva scenografiju i dizajn kostima, svetla, zvuka i upotrebu medijske umetnosti u dizajnu scene, dok ovaj izbor obuhvata i javne prostore, kao i one koji nisu nužno namenjeni izvedbi, shvatajući ih kao poligone, prostorne script-ove moguće izvedbe i primere korišćenja prostora kao scene za performativnu akciju i polje supradiscipli- narne kritičke prakse. Posebnu pažnju pri izboru posvetili smo kolektivnim i koautorskim radovima, grupama i indivi- dualnim praksama, koji dolaze iz drugih polja umetnosti a prepoznaju svoju praksu i kao umetnost scenskog prostora. Smatramo, takođe, da je važno da pored radova nastalih u institucionalnom pozorištu ukažemo i na prekarnu praksu scenskog dizajna koji nastaje u materijalnim uslovima vaninstitucionalne scene.

Pozvani da koncipiraju kolektivni rad su: Milutin Dapčević, glumac; Mirjana Dragosavljević, istori- čarka umetnosti i kustoskinja; Dušica Dražić, vizuelna umetnica; Selena Orb, kostimografkinja i scenografkinja; Vladimir Pejković, kompozitor; Katarina Popović, grafička dizajnerka i dizajnerka procesa; Igor Vasiljev, scenograf, i Tanja Šljivar, dramska spisateljica.

Dokumentaciju radova prikazuju: projekat Broken Light (Sonja Jankov, Đina Prnjat, Janž Ormezu i Nemanja Mitrović), Mia David, autorski tim predstave Granična lepota (Izvanredni Bob, Stevan Bodroža, Goran Mi- lenković, Željko Maksimović, Tamara Pjević i Petar Mirko-

28 29 1.1 the autonomy of individual practices and the dynamics of their communication within scene design that unifies them SCENE WORK AHEAD in the process of setting up this work. self-construction Bojan Djordjev, Siniša Ilić and The concept of , defined Maja Mirković, Curators by the commissioners as the theme of this year’s national exhibition of Serbia at the Prague Quadrennial, has been extended through the questions of the position and significance of an individuum and individual in the context of collective work and self-construction through collective When the three of us, as artists having practice. Self-construction is not understood as isola- no prior curatorial practice, were invited to propose the tion, self-development and competition among each other, concept of Serbia’s performance at the Prague Quadrennial, which is characteristic of neoliberal social order, but we decided to scrutinise the notion of scene design by as the development of potential of all individuals in the analysing our own individual and joint artistic practices, society that enables and advocates such a viewpoint so as and work experiences that meet at the crossroads of costume to progress by itself as well. and stage design, directing, poetry, performance and fine arts. By considering the issues that we were facing within How is it possible to discuss scene design the institutional theatre and on the independent scene, and not to discuss the conditions under which it occurs at we realised that our paths are determined/bounded by the the same time? This becomes the key issue that we address conditions under which a particular work is carried out. when conceptualising the exhibition Scene Work Ahead. By We perceive performing arts as a nexus utilising the notion of scene design, we analyse the where individual practices meet in various forms of joint cultural policies that shape these conditions – they work, communication and co-authorship. The relational design the space in which artistic practices develop. We character of performing arts implies artistic negotia- are pondering the policies of cultural institutions, an tions and re-definition of the boundaries of conceptual, independent or self-organised scene, conditions in which ideological and authorial positions related to the spe- art is created as well as the production of physical art cific practice of each co-author. The framework in which space as a resource and open source. The subject matter such interaction, being integral part of every artistic of collective research includes important events from the practice, takes place, includes the political and ideo- history of cultural policy of Yugoslavia and Serbia (from logical constellations of the given historical moment. 1945 to present day), and manners in which they shaped and Through their regulatory apparatus, they shape the society are still shaping the working conditions on the art scene. in which space for such artistic actions exists – ranging The research results were offered to the invited authors from the educational system to the actual number of work to interpret and stage, using the tools of scene design, positions, institutions and cultural events, as a real- thereby giving equal importance to both the exhibition istic picture of opportunities and possibilities for the setup itself and the process of its creation through acquired knowledge to be presented and applied. collective, artistic and research work. During this Working conditions and the way in which social circumstances, politics and ideology shape our prac- process, the position of precarity was recognised not only as a shared experience and a contemporary unifying state tices thus become the key concepts of conceiving the exhi- of working and living, but also as a potentially new bition Scene Work Ahead. The idea of a collective inter- battlefield. The research was not primarily focused ona disciplinary work functions here as a paraphrase of work specific period of history, but on two concepts that design on a theatre piece; it reconsiders the relation between the survival of art on stage: its production and regula-

30 31 tion through state cultural institutions, and its produc- Invited authors are as follows: Milutin tion related to an independent, self-organised art scene. Dapčević, actor; Mirjana Dragosavljević, art historian and This research includes the periods of socialism and curator; Dušica Dražić, visual artist; Selena Orb, costume restoration of capitalism, as two different social models and stage designer; Vladimir Pejković, composer; Katari- of production – in this case, artistic production. na Popović, graphic and process designer; Igor Vasiljev, stage designer and Tanja Šljivar, playwright. The exhibition Scene Work Ahead is realised in two parts. One is a result of collective work The artists and collectives who pres- – a spatial, architectural and textual object which is ent their works through the documentation of the real- activated by performing interventions and interacting with ised productions are as follows: group of authors Broken the audience in the course of the Quadrennial. This open Light (Sonja Jankov, Đina Prnjat, Janž Ormezu and Nemanja and performative installation is designed and structured Mitrović), Mia David, authors of the performance Border- as a collage of various elements. It is a complex system line Beauty (The Exceptional Bob, Stevan Bodroža, Goran varying in definition and presentation – of collective work Milenković, Željko Maksimović, Tamara Pjević and Petar characteristic of performing arts, of stage performance Mirković), Nikola Isaković, The Applause Institute (Stevan ephemeral nature and of relations established between Beljić, Luka Cvetković, Stefan Knežević, Katarina Kostan- different artistic practices within the exhibition’s unique dinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić, framework. Dušan Savić, Vanja Seferović, Tamara Spalajković), Jelena Janković, Karkatag Collective, Igor Koruga and Maja Pele- The second part, entitled A View of the vić, Marko Milić, Sofija Mitrović, Zorana Petrov, Marta Scene, presents the artists whose practice is displayed Popivoda and Ana Vujanović, Jovana Rakić, Aleksandar Rama- through the documentation of the scene design works, real- danović, Andreja Rondović, Branislava Stefanović, Veljko ised in the past four years and selected through an open Stojanović, Urbanium – Centre for Research and Sustainable call. The concept of scene design implies scenography and Development in Architecture and Urban Planning (Natalija costume design, light and sound design, and the use of Bogdanović, Marija Simović, Aleksa Đurić, Petar Simović, media art in the design of the stage. Broadly speaking, it Tihomir Dičić, Fedor Jurić, Bogdan Đokić, Ana Zorić, Miloš also includes the contemplation of the performing space, Kostić, Desirée Tilinger, Jovana Vidaković), Srđan Veljo- including public spaces and spaces not necessarily intended vić, Nikola Zavišić. for performance, perceiving them as testing grounds, spatial scripts of possible performance and examples of utilisation of space as a scene for performative action and field of super-disciplinary critical practice. In the selection process, special attention was paid to collective and co-authored works, groups and individuals coming from other fields of art and recognising their practice as the art of performing space as well. Furthermore, we consider that, in addition to the works created in the institutional theatre, it is also important to draw attention to the precarious practice of scene design that is created under material conditions of the non-institutional art scene.

32 33 1.1.1 rada se problematizuje u odnosu na politički i istorijski okvir: polazeći od rada u polju kulture i umetnosti, a za- PROLAZAK KROZ POSTAVKU RADOVI NA SCENI tim i rada kao (samo)izgradnje i razvoja, rada kao ropstva i eksploatacije i, konačno, rada u manipulativnom polju Rad – umetnost – prekarnost savremene prekarnosti, u kojoj, teško i u strahu za egzi- – polje borbe stenciju, prepoznajemo granice između slobodnog i radnog vremena, željenog i nametnutog radnog zadatka i njegovog Bojan Đorđev, Siniša Ilić obima. Prostor koji povezuje podlogu i masivni kvadar je- i Maja Mirković ste mreža drvenih stubova koji se prepliću i formiraju ne- predvidive odnose između baze i nadgradnje postavke. Crna spaljena struktura masivnog kvadra je materija koja u isto vreme plaši svojom sagorelošću i privlači idejom ponovnog Mreža referenci postavke Radovi na Sceni po- rađanja, potencijalno pružajući olakšanje kroz misao o od- činje na stranicama ove publikacije i razvija se kroz poj- sustvu imperativa napretka. Monolitnost strukture rastva- move, hronologiju, istorijske i druge ilustracije, da bi ra se rotacijom drvenih modula od kojih je napravljena. svoj materijalni oblik dobila u izloženom objektu i perfor- Struktura postupno izlaže svoju drugu stranu, presvučenu mativnim intervencijama. Autorke i autori biraju prekar- refleksivnom površinom ogledala. Metamorfoza objekta izvodi nost (privremenost, nesigurnost, neizvesnost) kao poziciju se jednostavnom fizičkom radnjom, uz pomoć drvenih motki, i prizmu kroz koju se prelama i razume struktura postavke. paralelno i u sadržajnom dosluhu sa izvedbom i prisustvom O kakvoj je prekarnosti reč? Današnjoj, onoj koja se širi teksta. Tako se zatvoreni, spaljeni monolit postepeno, rane poznajući granice, zahvatajući sve slojeve društva. Reč dom, menja u „razlistalu“ strukturu mnoštva ogledala, čija je o prekarnosti čije se ivice zamagljuju kontinuitetom površina reflektuje okolinu. osećanja pregorelosti (burnout) – stanja na koje se na- Finalna masa, kolaž teksta, zvuka, gla- vikavamo, sa kojim se svakodnevno borimo, pokušavamo da sova, radnji, objekta briše prostorne granice, uvlači i ga ignorišemo ili tolerišemo. Takvu prekarnu poziciju oni suočava nas, publiku, sa umnoženim slikama i oblicima pre- prepoznaju kao realnost i problem, koji različim umetnič- karnosti, koja, tako kompleksna, ukazuje na potencijalno kim postupcima kritički seciraju kroz koncept postavke. područje borbe svih nas, ujedinjenih u neizvesnosti. Objekat pred nama, publikom, u čijem se podnožju nalazimo i koji pratimo kroz ovu publikaciju, apstraktna je konstrukcija otvorena za interpretaciju. Iz podloge od betona i gume dižu se drveni potporni stubovi koji nose masivan kvadar od ugljenisanog drveta. Na prvi pogled, ovi elementi se nalaze u odnosu rizične stabilno- sti baze i nadgradnje. Donji deo objekta je zona događaja. Prolazna i propustljiva, ona je inscenacija trga, javnog prostora koji poziva da mu se pristupi, da bude penetriran i okupiran; mesto za odmor, predah i polje sinteze ključnih tačaka i perspektiva koje rad artikuliše. Tekstovi koje izvodi glumac, u vidu muzičkih numera i vođenja kroz objekat, uzmaju kao tematsku osovinu pojam rada i ispunjavaju središnji prostor postavke – bilo kroz povremenu izvedbu uživo ili publici stalno dostupan audio zapis. Pojam

34 35 numbers or guidance through the object, take the concept of 1.1.1 labour SCENE WORK AHEAD as a thematic axis. They occupy the central area of – A WALK-THROUGH the exhibition set-up – either by being occasionally per- Labour – Art – Precarity – formed live or heard through an audio recording available Battlefield to the audience. The concept of labour is problematized in relation to the political and historical framework: start- Bojan Djordjev, Siniša Ilić and ing from work in the field of culture and art, followed by Maja Mirković work in the meaning of (self)development and advancement, work as slavery and exploitation, and finally, work in the manipulative field of contemporary precarity. In such precarity, frightened for our own existence, we hardly rec- Scene Work A network of references to the ognise the boundaries between free time and working hours, Ahead exhibition begins and further develops on the pages between desired and imposed work tasks and their scope. of this publication through concepts, chronology, histor- The space connecting the base and the massive cuboid is ical and other illustrations to get its material form in a network of wooden pillars that intersect and thus form the exhibited object and performative interventions. The unpredictable relations between the set-up base and its precarity authors have chosen (temporality, insecurity, superstructure. The black burned structure of a massive uncertainty) as the position and prism through which the cuboid is a matter that, at the same time, frightens with set-up structure is refracted and understood. What sort its own burnout and attracts with the idea of rebirth, of precarity is it? It is today’s precarity, the one that providing potential relief at the thought of the absence expands without recognising the boundaries, affecting all of the imperative of progress. The monolithic nature of layers of society. It is the precarity whose edges are the structure is dissolved by the rotation of the wooden burn- blurred by the continuity of the feeling known as modules from which it is made. The structure gradually ex- out – the state that we are becoming accustomed to, that poses its other side, coated with the reflective surface of we struggle with on a daily basis, that we try to ignore mirrors. The metamorphosis of the object is carried out by or tolerate. Such a precarity position is recognised by simple physical action, with the aid of wooden poles, si- the authors as a reality and an issue that they critical- multaneously and in content-based collusion with the per- ly dissect through various artistic processes in the very formance and presence of the text. The closed, burnt mono- concept of the exhibition. lith is thus, gradually and through action, turned into The object in front of us, the audience, leafed out, “sliced” structure of a multitude of mirrors at the foot of which we stand and which we follow through the surface of which reflects the surroundings. this publication, is an abstract construction open to in- The final mass – collage of text, sound, terpretation. The wooden supporting pillars rising from a voices, actions and objects erases spatial boundaries, base made of concrete and rubber carry a massive charred pulls us in and confronts us, the audience, with multi- the base cuboid. At first sight, the relation between and plied images and forms of precarity which, being so com- superstructure its seems to be the one of risky stability. plex, indicates the potential area of struggle of all of The lower part of the object is a zone of events. Pass- us, united in our uncertainty. able and permeable, it is a staged square – public space that invites visitors to access, penetrate and occupy it; a place for rest or break, and a field of synthesis of key points and perspectives that the work articulates. The texts performed by an actor, in the form of either music

36 37 što to vredi kad ne spadam 1.1.2 bila ironizirana i podrivena: u taj soj / jer život traži bolje ljude. U poslednja tri PESMARICA PRVI DEO – autorska songa mapiraju se sveprožimajući savremeni feno- ISTORIJSKI SONGOVI meni burnout-a i prekarnosti. Prvi, Šta smo(samo)izgradili? Radovi na Kolektivni rad tima Radovi na sceni , referiše na sam objekat koji je deo postavke sceni, umetnički rad nastao kroz intenzivnu saradnju, koja Milutin Dapčević, Mirjana Dragosavlje- je danas, zbog nedostatka vremena, viđena kao luksuz i vić, Dušica Dražić, Selena Orb, Vladi- privilegija. Drugi, Oni hoće u planine, kao lajtmotiv uzi- mir Pejković, Katarina Popović, Igor ma opasku iskusne direktorke brojnih evropskih pozorišnih Vasiljev i Tanja Šljivar institucija i festivala, da su glumci koji imaju ugovore na 80% radnog vremena lenjivci koji preostalih 20% provode odlazeći u planine. Treći song pokušava da kroz horsko, kolektivno, zajedničko pevanje, ponovi iskustvo prve pe- Pesme radu Osam pesama u ciklusu Radovi na sceni sme, , iskustvo sa početka dvadesetog veka – da deo su postavke i kao snimljena zvučna instalacija, stalno afirmiše dostojanstven rad, kao deo života koji možda može dostupna publici, i kao tekstualni predložak za povremenu da ponovo počne da nam donosi radost. izvedbu uživo. Upravo broj od osam pesama odabran je kao slobodna referenca na osam dekada razvoja kulturnih politika Jugoslavije i Srbije (od pete decenije XX veka do dru- 1. PESMA RADU ge decenije XXI veka), osam dekada pop-kulturnih i umet- Pesma je izvorno napisana na bugarskom ničkih odjeka na fenomene rada i radništva kroz pevanje, pod nazivom Дружна песен 1898. Tekst je te na podelu dana na osmočasovni rad, osam sati spavanja i napisao bugarski komunista, glumac i pu- osam sati za rekreaciju, slobodno vreme i aktivnosti. Prve blicista Georgi Kirkov, a onda ga je za Pesma radu Pesma 10.000 štrajkača dve, horske pesme, i , verziju koja se peva preradio Metodije pokazuju radikalan zaokret u doživljaju rada unutar samog Grigorov, a muziku je komponovao Georgi radničkog pokreta u rasponu od samo 25 godina – od emanci- Goranov. Prvi put je otpevana u obliku u patornog, oslobađajućeg činioca koji (samo)izgrađuje dru- kom su je posle preuzele generacije bu- štvo i svest, rad se pretvara u životnu okolnost i neminov- garskih radnika, 1903. godine u Ćusten- nost koja vodi u kuluk, ropstvo i smrt. Hronološki i isto- dilu, da bi vremenom postala i zvanična Moj radnik Es kamen rijski, naredne dve pesme, (1975) i prvomajska himna u Bugarskoj. Od četiri Menschen an (1984), iz razičitih pozicija obrađuju teme strofe u bugarskoj verziji, tri su pre- slobodnog vremena i radničke kulture – prekovremeni rad, uzete za jugoslovenski prepev na srp- eksploatacija i predrasude onemogućavaju ljubavni susret skohrvatskom, a četvrta strofa, kako su Moj radnik Es ( ) i kulturološku integraciju gastarbajtera ( je jugoslovenski radnici pevali, glasi- kamen Menschen an Bolji život ). U pesmi sa špice serije , la je: Od Vardara do Triglava / slobode prikazivane neposredno pred ratove u kojima se raspala Ju- nam sunce sja / Takva biće zemlja cela / Ja hoću više hoću bolje još goslavija, stihovima poput / / Da nam živi, živi rad. Ono što je 1903. hoću sve, pa kako bude , anticipira se dobar život koji će godine potencijalno bio emancipatoran doći kada se kapitalizam posle tranzicije konačno restau- stih U divljaka luk i strela / Železni- rira, da bi sledećim stihom mogućnost takvog pobedničkog ca, selo i grad (ili u tačnom prevodu bu- ishoda za određeni „soj“, ili bolje rečeno sloj ljudi, garskog originala От стрелата на дивака

38 39 до железний път – od strele divljaka do ili autorka teksta pesme je nepoznat(a), žezničke pruge), koji je eventualno afir- muziku je napisao kompozitor, marksista misao sve vrste manuelnog rada i izgrad- i pripadnik pokreta otpora u okupiranom nje i razvoja, i pokazivao napredak teh- Beogradu Vojislav Vučković, koji je 1934. nologije i industrije savremeni trenutak godine doktorirao na Karlovom univerzi- prepoznaje kao, u najmanju ruku, poli- tetu u Pragu s tezom Muzika kao propa- tički nekorektan i neadekvatan, pa ga, gandno sredstvo, i koji je 1941. godine na primer, antifašistički amaterski hor umro od prebijanja u nacističkom zatvoru Naša pjesma iz Beograda peva kao: U rad- u trideset drugoj godini života. Pesma je nika stroj i skela / Železnica, selo, u aranžmanu Goce Dimitrovskog, a u izvo- grad, iako bi se neki drugi savremenici đenju hora AKUD „Veljko Vlahović“ sni- izjasnili da je ovaj stih bio svojevr- mljena za ploču Festival radničke pesme sna referenca balkanskih naroda na nji- Niš ‘85, u izdanju Diskosa iz Aleksan- hovo pretpostavljeno plemensko nasleđe, drovca. Danas je, nažalost, aktuelnija kao istovremeno divlje i ono koje hrabro neko ikad, jer je samo tokom 2018. godine usvaja moderni život. u Srbiji poginulo najmanje 30 radnika, od kojih 17 radeći na gradilištima. Na Drugarska se pesma ori, protestu inicijative Ne davimo Beograd pesma koja slavi rad. održanom povodom smrti dvojice radnika Srce gromko nek nam zbori, na gradilištima Beograda na vodi, hor da nam živi, živi rad!!! Naša pjesma otpevao ju je u javnom prostoru, ispred Vlade Srbije i u septembru Podignimo uvis čela 2018. godine, više od osamdeset godina mi – junaci rada svog, nakon što je prvi put otpevana. naša biće zemlja cela, da nam živi, živi rad! Žandarski kundak nam je plata, pokop – kom trpi glad! U divljaka luk i strela, S užetom oko vrata željeznica, selo i grad, teraju nas na rad. to su naših ruku dela, da nam živi, živi rad!!! Čuvaj se, skela je pala! – mrtav leži mi brat! Gazdina ruka tu je 2. PESMA 10.000 ŠTRAJKAČA slomila njegov vrat. – GRAĐEVINSKIH RADNIKA IZ BEOGRADA Na brdu puška se čula! – nećeš preživet’ slom! Pesma je nastala povodom velikog štraj- Na grobu kapitala ka građevinskih radnika u Beogradu u zidaćemo svima dom. maju 1936. godine, u kome je učestvovalo 10.000 radnika, a koji je organizovala Komunistička partija Jugoslavije. Autor

40 41 3. MOJ RADNIK Kad mi dođeš doma garav I umoran nakon rada, Tekst pesme Moj radnik, izvođačice i au- Kad ti vidim oči blage, torke Mire Vasiljević, pronašli su na Najlepši si meni tada. internetu kustosi i autori Radova na sceni, pretražujući pesme s temom rada i radništva, ali audio-video zapis pe- 4. ES KAMEN MENSCHEN AN sme na internetu ne postoji, ili do danas nije otkriven. Pesma je objavljena Muziku i tekst pesme napisao je tur- 1975. godine za diskografsku kuću PGP sko-nemački kantautor Džem Karadža (Cem RTB (Radio-televizija Beograd), kao A Karaca), predstavnik muzičkog pravca strana istoimene ploče Moj radnik. Mu- anadolijski rok, koji je nemačku pop-muziku na ploči izvodi instrumentalni an- ziku inovirao pisanjem pesama na miksu sambl Đerdan (sestre Janković), a na B jezika, i time dao poseban, ironičan, strani snimljena je numera pod naslovom ali i melanholičan ton svojim tekstovi- Bolna leži Anđelija mlada, obe pod od- ma. Pesma je prvi put objavljena na nje- Die Kana- govornim uredništvom Vojislava Đonovića. govom jedinom nemačkom albumu ken, Nakon što smo ovu raritetnu ploču kupili 1984. godine, u izdanju diskograf- Pläne na kupindo.rs, i na njoj pronašli pome- ske kuće iz Dortmunda. Naslov, kao Es wurden Arbeiter nute neodređene informacije o autorstvu, i prvi stihovi pesme gerufen / Doch es kamen Menschen an još uvek (15. 5. 2019) pokušavamo da ču- , pri- jemo snimak pesme, jer smo u potrazi za pisuje se književniku Maksu Frišu (Max Ab in ispravnom gramofonskom iglom. Frisch), a pojavljuje se i u drami den Orient-Express autora Martina Bur- Sad izranja dan iz noći, keta (Martin Burkert) i Harija Bosekea

Al’ do zore ima dosta. (Harry Bösecke). Pesma je 2013. godi- Otkad ode ti u smenu, ne ponovo objavljenja na disku i ploči Songs of Gastarbeiter Vol. 1, Ja od tada budna osta. u izdanju Trikonta iz Minhena, kompilaciji pesa- Jednom me je pit’o neko, ma prve generacije turskih gastarbajtera Što te volim kad lep nisi, koje su, kopajući po internetu, arhiva- A ja pesmom kažem svima ma i roditeljskim i rođačkim kolekcijama Najdraži mi čovek ti si. kaseta i ploča, odabrali berlinski pisac Garavo lice, garave ruke, Imran Ajata(Imran Ayata) i minhenski re- Garave i poštene i tvoje, ditelj i umetnik Buljent Kulukču(Bülent Toplo srce osvojiše mene. Kullukcu).

Od kada sam tebe srela, Es wurden Arbeiter gerufen Pozvani su radnici Shvatila sam mnoge stvari. Doch es kamen Menschen an A ipak su došli ljudi Lepota je u čoveku, Es wurden Arbeiter gerufen Pozvani su radnici A ona nam dušu zari. Doch es kamen Menschen an A ipak su došli ljudi

42 43 Man brauchte unsere Bila je potrebna naša radna i 1991. godine. Scenarista serije Sini- Arbeitskraft snaga ša Pavić gotovo da je u realnom vremenu Die Kraft, die was am Snaga za pokretnu traku pratio ekonomska i društvena zbivanja u Fließband schafft Mi, ljudi, nismo bili zemlji u raspadanju, pa serija iz epizo- Wir Menschen waren nicht interesantni de u epizodu između ostalog nudi i prikaz interessant Zato smo vam ostali nepoznati radničkih štrajkova zbog nametnutih mera Darum blieben wir euch štednje, korupcije u javnom sektoru kroz unbekannt Aman aman aman aman aaa različite etape njegovog rastakanja, te Gastarbajteri uspon nacionalizma. Istorijsko vreme se, Aman aman aman aman aaa Aman aman aman aman aaa međutim, pred sam raspad zemlje toliko Gastarbeiter Gastarbajteri komprimiralo i ubrzalo, da je Pavić mo- Aman aman aman aman aaa Pozvani su radnici rao da promeni metod pisanja, i isporuči Gastarbeiter A ipak su došli ljudi epizode mnogo unapred, jer su se, pre- Es wurden Arbeiter gerufen Pozvani su radnici ma njegovim rečima: „društveno-politička Doch es kamen Menschen an A ipak su došli ljudi zbivanja u tom trenutku toliko ubrzala Es wurden Arbeiter gerufen da bi svaka epizoda već do emitiranja Doch es kamen Menschen an Dok god je bilo mnogo posla postala vijest iz zastarjelih novina.“ Nama ste davali najprljavije (citirano prema: Boris Postnikov Ima li Solange es viel Arbeit gab A čim je došla velika kriza „Boljeg života“ nakon smrti Jugoslavi- Gab man die Drecksarbeit uns Rekli ste da je to naša je?, preuzeto sa https://www.bilten.or- ab krivica g/?p=21618). Tekst pesme napisao je Lju- Doch dann als die große Krise biša Bačić, a muziku je komponovao Voki kam Ne želite našu kulturu Kostić, dok je vokale otpevao Dado Topić, Sagte man, wir sind schuld Ne želite da imate ništa frontmen jugoslovenske grupe Time, čime daran zajedničko sa nama – želite je, anegdotalno, zapravo obavio bespla- da nas tan rad, jer nikad, ni tokom tri naredne Ihr wollt nicht unsere Kultur Gledate kao strance – pa tako decenije repriziranja serije, nije dobio Nicht mit uns sein – Ihr mi ostajemo novčanu naknadu za interpretatorski po- wollt uns nur Nepoznati tamo kao što smo sao. Pesma je, kao noseća numera, prvi Als Fremde sehn – so bleiben ovde put objavljena 1987. godine, na ploči wir s muzikom iz serije, a za diskografsku Unbekannte dort wie hier kuću PGP RTB (Radio-televizija Beograd), uz još 11 drugih pesama, između ostalog: Ima posla - nema posla, Mladost, mladost, e pa šta je, Život nije loto, Brigo 5. JA HOĆU ŽIVOT moja, Dajte mi nasledstvo. Pesma Ja hoću život je uvodna špica popularne jugoslovenske TV-serije Bolji ži- Ja hoću život, bolji život, vot, takozvane „socijalističke sapunice“ da ga zgrabim poput tigra. od 82 epizode, snimljene u produkciji Život nije dečija igra. TV Beograda, te emitovane između 1987.

44 45 Ja hoću više, hoću bolje, 1.1.2 još hoću sve, pa kako bude. Što to vredi kad ne spadam u taj soj, SONGBOOK PART ONE – jer život traži bolje ljude. HISTORICAL SONGS Collective work of the Scene Work Ahead Ja hoću život, sve il’ ništa, team hoću glavni zgoditak, to moj je moto, ali šipak, Milutin Dapčević, Mirjana Dragosav- nešto ipak tu ne štima. ljević, Dušica Dražić, Selena Orb, Život nije loto. Vladimir Pejković, Katarina Popović, Igor Vasiljev and Tanja Šljivar Ja hoću život, bolji život, lupam glavu posred zida, gde je tanko tu se kida. Eight songs from the cycle Scene Work Ja hoću ipak da ostvarim san, Ahead are part of the exhibition of the same name and they želje sve, pa kako bude. serve as a libretto for the occasional live performance. Šta to vredi kad ne spadam u taj soj, The number of eight songs has been chosen as a loose refer- jer život traži bolje ljude. ence to the eight decades of the development of the cultural policies of Yugoslavia and Serbia (from the 1940s to the 2010s), eight decades of pop-cultural and artistic com- ments on phenomena of work and work force through singing, then on the division of a day into eight hours of work, eight hours of sleep and eight hours of leisure, spare time and activities. The first two choral songs,The Labour Song and A Song of 10,000 Strikers, show a radical change in the perception of work within the workers’ movement itself over the period of only 25 years – namely, from the emancipatory, liberating element which enables the (self)construction of society and consciousness, labour turns into a life circumstance leading inevitably into corvée labour, slavery and death. The following two songs, My Worker (1975) and Es kamen Menschen an (1984) chronologically and historically describe spare time and workers’ culture from different positions – namely, overtime, exploitation and prejudices do not allow love encounter to happen (My Work- er) and prevent cultural integration of gastarbeiters (Es kamen Menschen an). The verses of the theme song of the TV series A Better Life (Bolji život), broadcasted just before the wars in which Yugoslavia fell apart: I want more/ I want better/ I want it all/ come what may, anticipate

46 47 good life that will come once when the capitalism is finally nal, and the fourth strophe sang by the From restored after transition. However, in the next verse, the Yugoslav workers read as follows: the Vardar to Triglav/The sun of freedom prospect of such a victorious outcome for the particular shines/The whole country will be free/ “sort” or, better say, class of people, is ironized and Long live the labour undermined: but try as I may, I’m not one of them, because . The verse which life seeks better people. The last three songs, written was potentially emancipatory in 1903: Savages had bows and arrows/ We’ve got originally for the purpose of the exhibition, explore the railways, cities, towns pervading modern phenomena, such as burnout and precarity. (or in precise The first, What Have We Built (Ourselves)? refers to the translation from the Bulgarian original very object which is a part of the Scene Work Ahead exhi- От стрелата на дивака до железний път – from the savage’s arrow to the railroad bition, in other words, the artwork created by intensive track , cooperation, which is today, due to lack of time, consid- ) probably supported all types of ered as luxury and privilege. The second, They Want to Go manual labour, construction and develop- into the Mountains, takes as a leitmotif the remark of an ment demonstrating technology and indus- experienced director of numerous European theatre institu- try progress. However,in the contempo- tions and festivals, who states that actors with 80% work rary moment, this verse is perceived as time contracts are in fact sluggards who spend the remain- politically incorrect and inadequate at ing 20% in the mountains. Using choral, collective, mutual the very least, and therefore, by exam- singing, the third song strives to repeat the experience ple, the anti-fascist amateur choir from Naša pjesma Our Song from the beginning of the 20th century described in The La- Belgrade, ( ), sings A worker uses machine and scaffold/ bour Song, in fact it strives to affirm dignified labour as it as: Railway, village and town. part of a life that could bring joy back to us. Nevertheless, some other contemporaries say that this verse represents a distinctive reference 1. THE LABOUR SONG of the Balkan peoples to their own pre- sumed tribal heritage, which is, at the The original version of the song was writ- same time, savage and bold when it comes ten in Bulgarian under the name Дружна to accepting modern life. песен 1898. The lyrics were written by the Bulgarian communist, actor and pub- Song of comrades heard around us licist Georgi Kirkov. Methodius Grigorov Song that glorifies our work then adapted the lyrics for the song, Our hearts of joys are singing and Georgi Goranov composed the music. Praise our work, our work, our work!!! The song, in the form appropriated by the generations of Bulgarian workers, Let’s raise foreheads to the skies was sung for the first time in Kyustendil We – the heroes of our work, in 1903. Over time, it became an official Soon whole country will be ours, anthem of May Day in Bulgaria. For the Praise our work, our work, our work! Yugoslav adaptation in Serbo-Croatian, three out of four strophes were taken Savages had bows and arrows, over directly from the Bulgarian origi- We’ve got railways, cities, towns,

48 49 All of these our hands created, September 2018, more than 80 years after Praise our work, our work, our work!!! 1 it was first sung.

Gendarmes’ gunstock is our wage, 2. A SONG OF 10,000 STRIKERS burial to us the hungry ones! – CONSTRUCTION WORKERS FROM With a rope around our necks BELGRADE We are forced to work.

The song was written for the occasion of Beware, the scaffolding has fallen! the great construction workers’ strike – my brother lies dead! organised in Belgrade, in May 1936, by Look, the boss’s hand the Communist Party of Yugoslavia, in has broken his neck. which 10,000 workers took part. The author or authoress of the lyrics is un- On the hill the gun has fired! known, and the music was composed by Vo- – you will not survive this strike! jislav Vučković, a composer, a Marxist On the grave of capital and a member of the resistance movement Home for all we’ll build. in the occupied Belgrade. He earned a PhD from the Charles University in Prague in Music as a Propa- 1934 with the thesis 3. MY WORKER ganda Apparatus. He died from beating in My Worker, a Nazi prison in 1941, at the age of 32. The lyrics of the song per- The song was recorded on the album Labour formed and written by Mira Vasiljević, Song Festival Niš ‘85 by Diskos from Al- were found on the Internet by the cura- eksandrovac, in the arrangement by Goce tors and authors of the Exhibition when Dimitrovski, and (as) performed by the searching for songs on work and work choir of the Academic Cultural-artistic force. However, there is no audio and/ Society AKUD “Veljko Vlahović”. Unfortu- or video recording of the song available nately, the song is nowadays more rele- on the Internet or it has not yet been PGP RTB vant than ever before, since at least 30 found. The song was released by Radio Television Belgrade workers died in Serbia only in 2018, out ( ) label record of which 17 at the construction sites. in 1975, as the A side of the record of My Worker. During the protest of the initiative Ne the same name The music on the davimo Beograd (Do not Drown Belgrade) record is performed by the instrumental held on the occasion of the death of two ensemble Djerdan – by the Janković sis- workers who died at Belgrade Waterfront ters, while on the B side there is a song The Young Andjelija is Lying Sick construction site, the choir Naša pjes- named . ma (Our Song) sang the song in public, Editor-in-chief of both released songs in front of the Government of Serbia in was Vojislav Djonović. We have bought this rare record at kupindo.rs and got 1 English translation by Ognjen Miljanić, http:// to know the mentioned unreliable infor- horkestar.org/tekstovi/the-labor-song.php [accessed on 1st May, 2019] mation on authorship, but we haven’t yet

50 51 (as of May 15, 2019) heard the song as are attributed to Max Frisch, playwright we are still looking for a functioning and novelist, and also appear in the play Ab in den Orient-Express gramophone needle. , written by Mar- tin Burkert and Harry Bösecke. The song Trikont Day breaks from the night was re-released by , the record Songs of But it’s still not dawn label from Munich, on the LP Gastarbeiter Vol. 1, Ever since your shift started which is a compila- I have been awake tion of the songs of the first generation of the Turkish gastarbeiters. The songs Someone once asked me: were selected by Imran Ayata, a novel- How can I love such a man ist from Berlin, and by Bülent Kullukcu, And this song is my answer: a director and artist from Munich, who You are my dearest man browsed the Internet, various archives, Sooty face, sooty hands and music collections of cassettes and Sooty and honest and yours records of their parents and cousins. Warm heart won me over Es wurden Arbeiter gerufen Workers were summoned Since I’ve met you Doch es kamen Menschen an And yet, people came I can see clearly Es wurden Arbeiter gerufen Workers were summoned Beauty is within a man Doch es kamen Menschen an And yet, people came And it ignites our souls Man brauchte unsere Our work force was needed When you come home to me, Arbeitskraft To power the assembly line Sooty and tired after work Die Kraft, die was am Fließband We, the people, were never of When I see your gentle eyes schafft any interest You’re my most handsome man Wir Menschen waren nicht That’s why you’ve never heard interessant of us Darum blieben wir euch 4. ES KAMEN MENSCHEN AN unbekannt Alas alas alas alas aaa The music and lyrics of the song have been Gastarbeiters written by Cem Karaca, singer-songwriter Aman aman aman aman aaa Alas alas alas alas aaa of Turkish-German origin. As a repre- Gastarbeiter Gastarbeiters sentative of the Anatolian rock move- Aman aman aman aman aaa Workers were summoned ment, he innovated German pop-music by Gastarbeiter And yet, people came writing in mixed languages, which gave a Es wurden Arbeiter gerufen special, ironic and melancholic tone to Doch es kamen Menschen an As long as there was plenty his lyrics. The song was first released on Es wurden Arbeiter gerufen of work his album Die Kanaken, (the only German Doch es kamen Menschen an You gave us the filthiest album) in 1984, by the record label Pläne But as soon as the great from Dortmund. The title, as well as the Solange es viel Arbeit gab crisis came first verses of the song:Es wurden Arbe- Gab man die Drecksarbeit uns ab You said that it was our iter gerufen/ Doch es kamen Menschen an, fault

52 53

) Doch dann als die große Krise You don’t want our culture org/?p=21618 . The song was written by kam You don’t want to be with us Ljubiša Bačić, composed by Voki Kostić Sagte man, wir sind schuld – you only want and sung by Dado Topić, the lead singer daran To see us as strangers – so of Time, a rock band from Yugoslavia. we remain It is anecdotal that in fact by singing Ihr wollt nicht unsere Kultur Unknown there just as here he performed non-paid work because he Nicht mit uns sein – Ihr wollt has never, not even during the reruns uns nur of the series in the next three decades, Als Fremde sehn – so bleiben received any fee for his performance. wir The theme song was first released by PGP Unbekannte dort wie hier RTB (Radio Television Belgrade) record label in 1987, together with 11 other songs from the series, among which were: 5. I WANT A LIFE There’s job – there’s no job, Youth, The song I Want a Life is the opening youth, so what, Life is not a lottery, theme of the popular Yugoslav TV series My only concern, I want my inheritance. A Better Life, the so-called “socialist soap opera” which had 82 episodes, I want a life, a better life and which was produced by TV Belgrade. to grab it like a tiger The series was aired between 1987 and life’s not a children’s game 1991. It was written by Siniša Pavić, who, almost in a real-time manner, docu- I want more, I want better mented the economic and social events in I want it all, come what may the country in dissolution. Accordingly, What’s the use when I’m not of the from episode to episode, the series offers sort, an overview of workers’ strikes caused because life seeks better people. by the imposed austerity measures, corruption in the public sector represent- I want life, all or nothing ing various stages in its disintegration I want the main prize process, and the rise of nationalism. That’s my motto, but none of it However, just before the country broke Something’s still missing apart, the historical time was compressed Life’s not a Loto and accelerated to such an extent that Pavić had to adjust the method of writ- I want life, a better life ing and to deliver the episodes much more I bang my head against the wall in advance since, according to him, “the Where it is thin there it breaks socio-political events were at the moment so accelerated that each episode I still want to fulfil my dream was already obsolete when broadcasted” all my wishes, come what may (quoted from Boris Postnikov’s Is there What’s the use when I’m not of the “A Better Life” after the Death of Yu- sort, goslavia? taken from https://www.bilten. because life seeks better people.

54 55 zapošljavanja.“1 - Usvajaju se izmene i 1.1.3 dopune Zakona o doprino- POJMOVNA MAPA I HRONOLOGIJA sima za obavezno socijalno „Izraz ‘prekarizacija’ sa stajališta osiguranje. kolektivni rad tima Radovi na sceni radnica i radnika odnosi se na ono čemu - Usvaja se Zakon o dualnom se iz perspektive kapitala kaže ‘fleksi- obrazovanju. - Usvaja se Zakon o zapo- bilizacija tržišta radne snage, fleksi- slenima u javnim službama. bilnost, elastičnost radne snage’. ‘Pre- - Formira se Odsek za Kolaž pojmova, istorijskih amblema, razli- karni radni odnosi’ su nesigurni i ne- umetnost i dizajn na De- čitih vrsta scenografija (scenografija samoizgradnje, krize, stalni radni odnosi, odnosi po mi- partmanu za arhitekturu i urbanizam Fakulteta teh- sećanja, samoupravljanja, grad kao scenografija, scenogra- losti poslodavaca, privremeni i obično bez ničkih nauka Univerziteta fija diskontinuiteta, rata, anti-rata, nesigurnosti, (ne) prava iz rada. – Prekarizacija je novija u Novom Sadu. zavisnosti, samoorganizovanosti...) vodi nas od današnjeg novinarska izvedenica iz pridjeva ‘preka- - Osniva se udruženje trenutka i reči prekarnost, unazad, sve do tačke kada se ran, prekeren’; taj je došao iz latin- Koncept 9 (Beograd). precarius završava Drugi svetski rat i počinje formiranje zvanične skog pridjeva (izvorno značenje kulturne politike Jugoslavije. Ovaj kolaž predlaže jedan je specifično: ‘izmoljen, isprošen, milošću 2016. izbor istorijske i teorijske građe, organizovane tako da dobiven’; izvedeno značenje je poopćeno: - Novi Sad je proglašen za Evropsku prestonicu kulture angažuje čitaoca da istražuje, čita, analizira dokumente, ‘nesiguran, nestalan’); iz ablativa je za 2021. godinu. precario izvore, literaturu. Umesto udobonosti gotovih i jednostav- nastao prilog , koji ima također - Usvojene su izmene Zako- nih interpretacija o izuzetno kompleksnom istorijskom pe- dva značenja – specifično ‘po milosti, na o kulturi. riodu, ova građa nudi seriju argumentacija, fusnota, hro- na molbu’ i poopćeno, u tehničko-pravnom - Otvara se Dorćol Platz, nologija. Ovo nije istorijski pregled i ne pretenduje na jeziku ‘do opoziva’. Izraz je u moderne multidisciplinarna umet- nička komuna. sveobuhvatnost, već pojmovnik nastao kao rezultat kolektivnog jezike stigao najprije upravo u tehni- rada koji poziva na dalja čitanja. čkom pravnom značenju (1336), te je tek u 2015. XVI stoljeću dobio opće značenje, koje je - Otvara se Alternativni sada u upotrebi (‘nesiguran, nestalan’). umetnički prostor Kvaka 22 2018. 2010-e Verbinčev Slovar tujk [Riječnik stranih (Beograd). - Osniva se Savet za krea- riječi] pod natuknicom ‘prekeren’ daje - Osniva se udruženje tivne industrije. Opservatorijum kako pravno-tehničko, tako i poopćeno (Beograd). - Donesen je novi Zakon o Prekarnost, nesigurnost, neizvesnost, od značenje: isprošen, na molbu ili odobren - Osniva se Udruženje Art finansijskoj podršci porodici danas do sutra, stres, diskontinuitet, Aparat (Beograd). s decom. do opoziva; ovisan o tuđoj volji ili okol- fleksibilizacija, nedostojanstveni uslovi - Osniva se Praktikabl, - Usvaja se nacrt Zakona o rada i života... „Prekarnost je ugrađena nosti. Verbinc donosi i pravni izraz pre- platforma za savremenu agencijskom zapošljavanju. u neoliberalni kapitalizam, u kojem rast karij: privremena upotreba ili uživanje umetnost i kulturu (Novi počiva na financijskome riziku i zaduže- tuđeg vlasništva. Imenica ‘prekarnost’ Sad). 2017. - Osniva se Udruženje nosti, u kojem su tržišta rada oslablje- (opozivost; nesigurnost, nestalnost, Alineja - Otvara se Dorćolsko na- kustosa (Beograd). riskantnost, neizvjesnost, delikatnost) rodno pozorište. na, a socijalne zaštite povučene, u kojem - Osniva se Knjigoskop - Mikser House se seli u Sa- države podižu barijere kako bi određene nastala je tek u XIX stoljeću (natukni- (Beograd), inicijativa name- rajevo i postaje regionalni skupine radnika lišile građanskih prava, njena popularizaciji i razvoju centar; ubrzo se i zatvara. savremene književne produ- i u kojem poriv za pronalaženjem novih 1 Richard Seymour, „Svi smo - Otvara se alternativni mi prekarni – o konceptu kcije za decu i mlade. umetnički prostor Garaža. područja akumulacije rezultira ograđiva- prekarijata i njegovim pogre- Slobodni - Usvaja se Strategija ra- njima, izvlaštenjima i urbanizacijom bez šnim uporabama“, 2014. filozofski, 12. svibnja 2014, zvoja kulture Republike Sr- - Počinje izgradnja „Beo- http://slobodnifilozofski. bije od 2017. do 2027. grada na vodi“ u Savamali com/2014/05/richard-seymo- - Usvajaju se izmene i dopu- (Beograd). ne Zakona o porezu na dohodak ur-svi-smo-mi-prekarni-o. - Pokrenut je REZ – Festival građana. html [pristupljeno 28. marta 2019]. savremenog eksperimentalnog 56 57 2 filma, TkH, u saradnji sa ca u Rječniku stranih riječi Bratoljuba podčinjenosti.“ - Pokrenut je prvi krea- Domom omladine (Beograd). Klaića gotovo je identična Verbinčevoj, tivni hab u Srbiji – Nova - Usvajaju se izmene i dopune Iskra u Beogradu. Zakona o radu. op. p.). Latinski pridjev u vezi je sa Prekarijat „U doba mjera štednje redovi glagolom precor, ‘moliti, prositi; že- onih koji su podložni […] prekarnosti 2011. 2013. ljeti kome nešto (dobro ili zlo)’ i sa dramatično se šire. U svim europskim prex - Osniva se Omladinski - Osniva se udruženje Beo- imenicom * , koja se gotovo isključi- državama koje prolaze dugoročne struktur- centar CK13 (Novi Sad). gradska Umetnička Nova Te- preces vo upotrebljava u množini , ‘mo- ne prilagodbe prekarnost se nameće ne - Osniva se Hleb teatar ritorija – BUNT. litva, prošnja; kleveta, preklinjanje’. samo migrantskim radnicima i najsiroma- (Beograd), umetnički projekat - Otvara se Ciglana – Klub prex i trupa. ljubitelja teške industri- U latinskom * je indoevropski kori- šnijima, ne samo radnicama koje osta- - Grupa Hajde da pokreće je i umetnosti u nekadaš- ju u drugome stanju, ne samo studenti- jen *perk- /*prek- (ili: *perek-.), koji Festival društveno angažo- njem preduzeću „Trudbenik“ prositi imamo i u slovenskome . (Bezlaj, ma i mladima, ne samo sve malobrojnijoj vanog teatra Van okvira / (Beograd). Etimološkli slovar slovenskega jezika manualnoj radnoj snazi nego i radnicima Off Frameu Beogradu. - Osniva se Gifest – Regi- - Osniva se Udruženje Tačka onalni festival gifova [Etimološki rječnik slovenskog jezika], u javnom sektoru, od smetlara do jav- komunikacije (Beograd). (Subotica). izvodi prositi iz *prok’-, pod prašati nih službenika, od čistača na ugovor do - Osniva se udruženje - Osniva se udruženje prok prek zdravstvenih djelatnika. Ovakva ofenziva navodi da je * ’ preglas iz * ’.) Satibara (Beograd). Valjevska kulturna mreža Benveniste, Le Vocabularie des institu- vladajuće klase udara na najorganizira- (Valjevo). tions indo-europeennes - Ministarstvo za infra- , II, [hrvatsko nije centre otpora radničke klase, […] strukturu i energetiku, izdanje: Benveniste, Riječi indoevropskih a posljedice će snositi tržište rada u na zahtev Saveta za borbu 2012. protiv korupcije, donosi institucija, Disput, Zagreb, 2005] kaže cjelini. Prekarnost u navedenim zanimanjima - Otvara se Mikser House u prex odluku o iseljenju umetnika Savamali (Beograd). sljedeće: „...* je osnovan zahtjev ne doživljavaju svi u jednakom razmjeru iz ateljea Soho u Beogradu, - Osniva se Kolektiv za koji je isključivo verbalan i upućen i na isti način. Međutim restrukturi- zbog nepravilnosti poslo- vanja Luke Beograd. promociju savremene muzike bogovima s namjerom da od njih dobije- ranje gospodarstva i popratna dugoroč- - U Luci Beograd otvara se „Studio 6” (Novi Sad). mo ono što očekujemo. Razlikovna crta na ekspanzija ‘rezervne vojske rada’ izvr- atelje Soho. - Osniva se Transformator *prek- je da je to usmeni zahtjev koji šit će svoje disciplinske učinke do samo- - Osniva se magazin LiceUlice – Platforma za transformaciju ga vrha klasne strate, i samo će manjina (Beograd). stvarnosti putem umetnosti se naslovljava na viši autoritet i oslanja (Beograd). se samo na riječ.“ – Sadašnja upotreba – segmenti srednje klase, te vladajuća - Održana je osnivačka skupština asocijacije Neza- - Pokrenut je program toga rječnika tako je proizašla iz spo- klasa – ostati relativno zaštićena. […] visna kulturna scena Srbije. Kreativno mentorstvo (Be- rednoga poopćenog značenja, da bi preu- Prekarijat nije opasna, egzotična, strana ograd). zela niz specifičnih pravnih reguliranja stvar, to nije klasa u nastajanju kojoj - Osniva se udruženje 2010. KulturKick Creative Pro- i prakse koje se uzdaju u ‘viši auto- treba zaštitnički pomoći pri uspostav- - Osniva se umetničko-teo- ductions (Zrenjanin). ritet’ vlasništva, te tako obnavljaju ljanju. To smo svi mi, svatko od nas tko rijsko-politička platforma The Confederation of uz)bu))na))) kolektiv - Osniva se Centar za kulturu kako instituciju vlasništva, tako i njen nije član CBI-a ( (Beo- British Industry grad). i ekologiju „PanArt” (Panče- ‘autoritet’ ideološki se odijevajući u , krovna udruga britan- vo). hipotetičku ‘milost’ vlasnika kapitala. skih poslovnih lobista; op. prev.), nije - Osniva se Ustanova kulture Parobrod u prostoru Centra - Osniva se neformalna Sadašnja upotreba tako – primjereno duhu financijski kapitalist, nije državni ministar za kulturu „Stari grad“ grupa mladih šabačkih (Beograd). umetnika Kombinart. vremena – u uzvratnom kretanju ponovo ili stariji javni službenik, nije visoko- - Osniva se Centar za - Otvara se Umetnički prostor oživljava povijesno putovanje riječi: od rangirani policajac ili gost na večeri empirijske studije kulture U10 (Beograd). opće nesigurnosti k njenome pravnom kod Ruperta Murdocha, nije sudac ni me- Jugoistočne Evrope (CESK) - Osniva se fotografski kosturu, od pravne tehnike k njenome dijski magnat – drugim riječima, nije u Beogradu. kolektiv Kamerades (Beo- mističnom jezgru i sve to nazad, k istini član ‘bloka moći’ – kapitalističke klase - Osniva se pozorište PATOS grad). odnosa: k nejednakosti, gospodstvu i u njezinim frakcijama, te vela buržujskih (Pokretni Alternativni Te- - Osniva se nezavisna atar Omladine Smederevo). umetnička akcija AGORA ART 2 Rastko Močnik, Spisi o suvremenom kapitalizmu, - Pokreće se projekat Beo- ACTION (Bela Crkva). Zagreb: grad 2020 SNV/Aktiv/Arkzin, 2016. – kandidatura

58 59 Grada Beograda za Evrop- nosti kod dece i mladih. sku prestonicu kulture za akademika i profesionalaca koji je okru- zajedno uspostavljajući novi urbani režim. 3 2020. godinu. žuju. Svi smo mi prekarijat.“ U pitanju je zaokret od centralizovanog - Osniva se Udruženje građana ARTIKAL – Društvo modela urbanog upravljanja ka tržišno za negovanje i promovisa- 2009. Kulturno-kreativne industrije u posled- orijentisanom neoliberalnom režimu. nje savremenog i slobod- njih desetak godina sve više dobijaju na Režim koji je na delu u gradovima odli- nog umetničkog izražava- - Usvaja se Zakon o kulturi. nja (Beograd). - Teorija koja Hoda iz značaju u kreiranju i sprovođenju držav- kuje zamena ideje centralizovanog urba- Cirkusfera Kontrapunkt - Osniva se , Beograda i iz ne kulturne politike kod nas. To je sasvim nističkog planiranja idejom projektnog orgаnizаcijа zа rаzvoj Skoplja pokreću projekat u skladu sa strategijom kulture koja favo- planiranja, koje je vođeno servilnošću sаvremenog cirkusа, umet- Raškolovano znanje. rizuje projekte komercijalne sadržine, nau- gradske urbane administracije prema inve- ničke аnimаcije, sаvremenog - Izložba Političke prakse i uličnog teаtrа (Beograd). post-jugoslovenske umet- štrb neprofitnih kulturno-umetničkih praksi. stitorima. Urbanistički režim je deo kapi- nosti - Osniva se Međunarodni u Muzeju istorije Jedan od glavnih razloga zbog kojih se talističkih proizvodnih odnosa koji se festival dokumentarnog filma Jugoslavije; projekat su podstiču i podržavaju kulturno-kreativne zasnivaju na konstantnoj potrazi za pro- – BELDOCS u Beogradu. inicirali Prelom kolektiv industrije jeste njihova uloga u proce- fitabilnim terenom na kome se ostvaruje - Dolazi do prekidanja iz Beograda, WHW iz Zagreba, Odstupanje – savre- kuda.org iz Novog Sada i sima urbane regeneracije gradova, čiji višak vrednosti (profit) koji kontroliše izložbe SCCA/pro.ba mena umetnička scena Pri- iz Sarajeva. je cilj kompetitivnost grada na tržištu, elita. Takve ‘preduzetničke strategije’ štine Prostor u Galeriji Kontekst u - Osniva se udruženje zarad privlačenja investicija i ostvari- urbanog razvoja zaoštravaju društvene i Beogradu i osniva se grupa (Beograd). Radnici u kulturi. Arteq vanja profita za mali broj privilegovanih ekonomske nejednakosti kroz institucio- - Osniva se udruženje , - Održan je prvi festival čija je strategija inklu- aktera, dok većinsko stanovništvo nema nalne prakse kontrole i čišćenja urbanog Pesničenje 4 poezije , trening zivno povezivanje poje- mogućnost da učestvuje u odlučivanju o prostora od klasno nepoželjnih.“ aktivnog čitanja poezije u dinaca i grupa u oblasti sopstvenim uslovima i pravima stanovanja. javnim prostorima, na ini- kulture i umetnosti, u cijativu grupe Škart. cilju promovisanja novih „U poslednjih dvadesetak godina, u loka- Umetnost i kultura na različite načine umetničkih praksi i borbe lnom kontekstu, procesi urbanih regene- postaju deo ovih procesa. S jedne strane, za poboljšanje položaja racija sprovode se u okvirima sveopšte postoje prakse solidarnih aktivističkih 2007. manjinskih ili marginali- Europa Nostra ‘tranzicije’ ka neoliberalnom kapitalizmu. i umetničkih intervencija na terenu, kao - Osniva se zovanih grupa. Srbija, predstavnik Srbije - Osniva se Međunarodni U pitanju je agresivan proces, započet i produkcija teorija i znanja koja doprinose u evropskoj mreži za kulturno pozorišni festival za decu krvavim ratom, koji je omogućio kriminali- podizanju svesti o posledicama urbanih nasleđe Europa Nostra. „ZajeČAR“ (Zaječar). zovanu ‘prvobitnu akumulaciju kapitala’ regeneracija na kvalitet života većine - Osniva se Udruženje građana Le Studio - Osniva se Teatar i promenu društvenog i državnog vlasniš- stanovnika. S druge strane, umetnici i FIRMA u Novom Pazaru. (Beograd). tva u privatno. Taj proces je sprovođen kulturni radnici često su saučesnici, na - Počinje da deluje Magacin - Osniva se umetnički kolektiv u Ulici Kraljevića Marka u Karkatag (Beograd). (i još uvek se sprovodi) devalorizacijom različite načine, na različitim nivoima Beogradu, kao kulturni cen- - Osniva se Udruženje Kulturis prethodne gradnje i funkcije prostora i i iz različitih razloga, najčešće bez tar vaninstitucionalne pro- (Beograd). prodajom zemljišta ispod realne cene, na dovoljno znanja i svesti o dugoročnim dukcije u oblasti kulture i savremene umetnosti. - Osniva Fotografski kolektiv kome dolazi do promene upotrebe određene posledicama koje za ovim procesima osta- Belgrade Raw (Beograd). - Osniva se pozorišna grupa generalnim urbanističkim planom. ju. „Umetnici i kulturnjaci su poznati Ansambl Miraž (Beograd). - Osniva se Kulturni centar U socijalizmu je pokretač urbanih promena kao pioniri u pokretanju procesa urbane - Osniva se Udruženje za „Grad” – Evropski centar Elektrika za kulturu (Beograd). bila država, koja je bila glavni investi- revitalizacije deindustrijalizacijom gra- razvoj kulture dova u Americi još od sedamdesetih godina (Pančevo). - Prvi Mikser festival u tor, a sve odluke o investiranju donošene Novi „Žitomlinu“ (Beograd). XX veka. Kultura, kreativne industrije i - Osniva se pokret su na državnom nivou. Danas su novi optimizam (Pančevo). akteri urbanog razvoja privatni investi- 4 Ana Vilenica & kuda.org, - Pokreće se Festival savre- 2008. tori i korporacije, koji rade u bliskoj menog plesa i performansa „Uvodnik: „Prendiamoci la ci- Kondenz Sta- - Osniva se organizacija saradnji sa državnom upravom i razli- tta“ (Preuzmimo grad)! Kako?“, , u organizaciji PhotoExpo (Zrenjanin) – Na ruševinama kreativnog nice – Servisa za savremeni čitim organizacijama civilnog društva, u: ples organizacija za razvoj i grada, urednici: kuda.org, u Beogradu. promociju urbane kulture, 3 Seymour, Svi smo mi pre- Ana Vilenica, Novi Sad: kuda. kao i podsticanje kreativ- karni. org, 2012.

60 61 2006. umetnost su stvarale uslove za privla- proizvodnji grada kao ‘totalnog umetni- - Osniva se Organizacija - Počinje sa radom Galerija čkog dela’. U pitanju je polje političkih za promociju aktivizma – Kontekst čenje investitora, rast cena nekretni- OPA (Beograd). u Centru za kulturu vizija kojim se želi postići privlačenje „Stari grad“ u Beogradu. na u kvartovima u kojima su se nalazile - Osniva se Centar za umetničke galerije i umetnički ateljei, novih investicija, redukovanje troškova istraživanje u politici rada i socijalnih davanja, maksimiranje Argument (Prijepolje). 2005. čime je pokretala klasni rat – nasil- profita, privatizacija kulture i podsti- - Osniva se Udruženje - Osniva se Ustanova kulture no iseljavanje najsiromašnijeg stanov- canje preduzetničkog modela rada.“5 multimedijalnih umetnika „Vuk Karadžić“ u Beogradu, ništva i beskućnika, a kasnije i samih Auropolis (Beograd). u zgradi istoimenog Doma umetnika. Neretko se dešavalo da su po- kulture izgrađenog pedesetih godina. stavljali sopstvene potrebe za prosto- 2003. - Osniva se grupa umetnika rom iznad potreba stanovništva koje ne 2000-e - Osniva se portal za Hop.la (Beograd). može da bira gde će živeti, izmeštali kulturu Jugoistočne Evrope Seecult.org. - Osniva se Teatar Projekat siromašne i nezaposlene ili prihvatali Nezavisna scena „U post-jugoslovenskom Prozaonline Objektivna Drama – POD ulogu onih koji normalizuju potencijal- kontekstu, ideja o nezavisnoj kulturnoj - Osniva se , Teatar u Beogradu. neformalno udruženje proznih no konfliktne zone u gradu. Umetnici i sceni donosi i različite vrste nelagode. - Osniva se Druga scena, pisaca sa prostora bivše kulturnjaci su na taj način preuzeli Neke se podrazumevaju već zbog samog odre- Jugoslavije. inicijativa beogradske nezavisna nezavisne samoorganizovane, ulogu ‘mekih policajaca’ koji rade na đenja , ali istovremeno proističu - Prvo izdanje Bele knjige - Predloga za poboljšanje tj. autonomne scene savre- frontovima tzv. društvene (ali ne i ra- iz, kao što ću pokazati, tekućeg rasko- mene umetnosti, teorije, poslovnog okruženja u Srbiji. dikalne!) inkluzije i podizanja vrednosti raka između nominalnog i stvarnog pozi- kulture, medija i akti- - Izložba Blood and Honey: vizma, koja okuplja for- određenih prostora za kapitalističku ek- cioniranja u širokom prostoru kulture. The Future's in the Balkans, malne organizacije, nefor- sploataciju. Odnos između kapitala, dr- Kulturne sisteme u zemljama bivše Jugo- Sammlung Essl, Beč, Austrija. malne grupe i pojedince. žave, kulture i umetnosti vidljiv je i u slavije obeležili su tokom devedesetih - Izložba In the Gorges - Usvaja se Zakon o radu. of the Balkans Kunsthalle kreiranju globalnih i lokalnih policyja i kasnije retrogradni procesi kulturne , - Osniva se Centar za razvoj Fridericianum, Kasel (Kassel), civilnih resursa u Nišu. o kreativnim gradovima. U stvari, mo- renacionalizacije, s jedne strane, i uvo- Nemačka. - Privatizovana je Luka glo bi se reći da je kreativnost vezana đenje tržišnih principa s druge. Atomiza- Beograd. za tradiciju estetskog genija umetnika ciju modernističke javne sfere pratila je 2002. - Pokreće se regionalna danas dobila nove društvene funkcije i atomizacija rada u institucijama kulture, Primary Do- Nomad - Publikacija platforma i mreža kao i sve veći broj slobodnih aktera bez cuments: A Sourcebook for Dance Academy. prerasla u kreativni imperativ. Pojmovi Eastern and Central Eu- stalnog zaposlenja.“6 - Osniva se Stanica – Servis kao što su ‘kulturno-kreativne industri- ropean Art since the 1950s, za savremeni ples (Beograd). je’ deo su metanarativa neoliberalizma u izdanju Muzeja moderne - Osniva se Univerzitet kao političko-ideološkog projekta do- Samoorganizovanje „Samoorganizovanje se umetnosti u Njujorku. Singidunum (Beograd). minantne ekonomske elite. Akteri kre- javlja kao sve raširenija metoda, ali i - Osniva se Udruženje za - Osniva se Univerzitet ativno-kulturnih industrija i njihovi kao praksa kreiranja umetničkih scena i promociju kulture i nau- Union (Beograd). ke „Tačka susretanja” (Vr- proizvodni tokovi predstavljaju osnovu kulturnih politika ‘odozdo’. Njegov po- šac). - Osniva se ZMUC – Zemunski tencijal leži u uspostavljanju fleksibilnih mali umetnički centar za popularnu integraciju u optimističke - Ustanovljena je Nagrada (Beograd). gradske planove urbanih regeneracija, brzu mreža u svetu umetnosti u vremenu u kom „Dimitrije Bašičević Mangelos“ zvanične kulturne politike (‘odozgo’) i od strane Centra za savre- - Osniva se UA – Umetnička zaradu na polju nekretnina i površne tran- menu umetnost u Beogradu i asocijacija (Zrenjanin). sformacije gradova. Policy o kreativno-kul- postojeći institucionalni protokoli više The Foundation for a Civil O normalnosti. Society - Izložba turnim industrijama i kreativnim gra- 5 Ibid. (FCS) iz Njujorka, Umetnost u Srbiji 1989–2001, kao deo projekta Young Visual Muzej savremene umetnosti dovima govore o programskoj upotrebi 6 Jelena Vesić, „Post-Resear- Artists Awards (YVAA). u Beogradu. umetnosti i kulture od strane države, ch Notes: (Re)Search for the True Self-Managed Art“, Revi- - Pokreće se Forum za novi pri čemu se umetnost i kultura svode na sed from a text originaly pub- ples u okviru Baleta Srpskog 2004. ekonomsku funkciju. U projektima krea- lished in Curatorial Research narodnog pozorišta u Novom Reader. Sadu. - Osniva se Centar za pozo- tivnih gradova, sve kreativne i inven- Edited by Paul O ’Ne- rišna istraživanja ApsArt ill and Mick Wilson. London: - Izložba In Search of (Beograd). tivne prakse su uposlene u stvaranju i Open Editions, 2014. Balkania, Neue Galerie u 62 63 Teorija koja Gracu (Graz), Austrija. ne uspevaju da zadovolje veliki broj pro- triti, istražiti i promeniti. S jedne strane, - Osniva se Hoda, kao istraživačka - Osniva se KIOSK – platforma tagonista na likovnoj i kulturnoj sceni. brojni postupci koji tvore društvo u kom za savremenu umetnost (Beograd). teorijsko-umetnička gru- Glavna ‘prednost’ samoorganizovanja je u se umetnost stvara vrlo brutalno nasrću pa, a godinu dana kasnije - Osniva se poslovno udruženje izlazi i prvi broj TkH Ča- Savet stranih investitora. tome što ono dolazi odozdo, iz potreba na sferu umetnosti, a s druge, umetnost sopisa za teoriju izvođač- - Osniva se udruženje građana onih protagonista na likovnoj i kulturnoj je relativno privilegovan prostor u okvi- kih umetnosti (Beograd). Fet Fektori (Zrenjanin). sceni koji se radije ne bi uključi- ru javne sfere u kom se mogu istraživa- - Osniva se Udruženje „Kul- - Osniva se BAZAART, orga- vali u projekte, mreže i institucije koje ti granice analize i stvaranja, kao i turni front” (Beograd). nizacija umetnika iz Srbije se pokoravaju pravilima rada, učešća, i projekcije novog društva. Zato tvrdim da i regiona Zapadnog Balkana, - Počinje sa radom TV B92. sa sedištem u Beogradu, koja potrebama nametnutim odozgo (od strane je umetnost, na kraju krajeva, politička - Takozvane Petooktobarske 7 ima za cilj razvoj savreme- ministarstava i sekretarijata za kulturu, aktivnost.“ promene. nih izvođačkih umetnosti i fondova, kreatora programa u velikim uspostavljanje dijaloga sa društvom. institucijama i slično). Inicijative Druga scena „Druga scena je bila među 1999. usmerene ka samoorganizovanju (mreže, prvim samoorganizovanim platformama - Izložba After the Wall: Art and Culture in platforme, pokreti, zajednice, grupe, organizacija i pojedinaca koji su delo- 2001. Post-Communist Europe, - Usvaja se Zakon o radu. udruženja…) predstavljaju optimističan vali u oblastima savremenih umetnosti Moderna Museet, Stokholm, - Osniva se Multimedijalni pokušaj da se preispitaju mesto, status Švedska centar Led art – Art klinika i funkcije umetnosti i kulture u javnoj - Osniva se Asocijacija (Novi Sad). sferi ovog restrukturiranog ‘globalnog’ nezavisnih teatara (ANET) u Beogradu, a čine je DAH - Osniva se Centar za nove društva. Podrazumeva se da kontekst nije medije_kuda.org (Novi Sad) teatar, Omen teatar, Plavo homogen, nije ‘jedan’; upravo suprotno, pozorište, Ister teatar, - Osniva se udruženje Zaje- čarska inicijativa insistiram na mnogostrukosti oblika koji ERGstatus, KMP Ogledalo i (Zaječar). Svan teatar. - Osniva se Asocijacija proističu iz tog ‘opšteg mesta’, na Remont Kulturanova - Osniva se – neza- (Novi Sad). razlikama koje pokrivaju spektar od neo- visna umetnička asocijacija - Osniva se Centar za vizuelna liberalnog kapitalističkog Prvog sveta do (Beograd). istraživanja i razvoj vizuelne tranzicionih društava postsocijalističke - Osniva se umetnička grupa Hajde da kulture „Krug” (Čačak). Evrope, do njihovih specifičnih mikrokon- (Beograd). - Osniva se Udruženje građa- - Osniva se Udruženje „Šta teksta. U ovim kontekstima, različite MillenniuM hoćeš” (Beograd). na (Kragujevac). forme samoorganizovanja služe se razli- - Premijera predstave O - Premijera prve predstave Nemačkoj o raspadu Jugoslavije Bor- čitim taktikama i imaju donekle različite u režiji Ane del ratnika u režiji Ane Mi- ciljeve, ali njihova početna namera u svim Miljanić i produkciji Centra ljanić i produkciji Centra ovim kontekstima jeste da – nekako i u za kulturnu dekontaminaciju za kulturnu dekontaminaci- – prvo gostovanje u Hrvatskoj ju iz Beograda; predsta- izvesnoj meri – sačuvaju umetnost od posle rata. va je prikazana i na XXXV direktnog uplitanja bilo tržišta, bilo - Osniva se Forum civilne BITEF-u. države. U svetlu te polazne tačke, sa- akcije – FORCA (Požega). - Prvi broj časopisa Prelom. - Osniva se Centar za moorganizovanje podupire preobražavajući Perpetuum radovi na renoviranju kulturnog centra Magacin u umetnost (prvo- - Osniva se Grupa za scen- potencijal umetnosti da utiče da društvene Madlenium ski dizajn interdiscipli- Kraljevića Marka, 2018. / renovation of Cultural bitno ) u Beogradu. narnih postdiplomskih stu- odnose. Nadam se da je jasno da fokusi- Centre Magacin in Kraljevića Marka street, 2018 - Osniva se CEDEUM – Centar dija na Univerzitetu umet- ranje na samoorganizovanje ne podrazumeva za dramu u edukaciji i fotografija / photo: Luka Knežević Strika nosti u Beogradu. podršku autonomiji umetnosti u odnosu na umetnosti (Beograd). društvenu stvarnost na način na koji su 7 Ana Vujanović, „Self-orga- - Pokrenuta je Škola za 2000. nization: Notes on the subje- istoriju i teoriju umetno- modernisti to izričito zahtevali. Upravo ct-matter of the conference“, - Osniva se Centar za kre- sti kao projekat beogradskog u: TkH, Journal for Perfor- ativno odrastanje i multi- suprotno, naglasak je na činjenici da je ming Arts Theory: Self-organi- Centra za savremenu umet- kulturalnu saradnju – CEKOM nost (bivšeg Soros centra sama umetnost oblik društvene prakse i zation, issue No 11, Beograd: (Zrenjanin). za savremenu umetnost). da se zato mora temeljno i ozbiljno razmo- TkH i Bitef teatar, 2006

64 65 na sredinom devedesetih: 1998. i aktivizma nakon 2000. godine. Njeno drugi.“8 ERGstatus aspekti jedne nove gene- - Osniva se , kao stvaranje bilo je odgovor na tada uteme- racije edukativni projekat savre- , SKC (Studentski menog plesa. ljivane kulturne politike post-miloševi- kulturni centar) Beograd i ćevskih vlada i njihovu jasnu liberalnu 1990-e Centar za vizuelnu kulturu - Osniva se Studio za multi- „Zlatno oko“ u Novom Sadu. medijalnu umetnost u Odžacima. orijentaciju. Druga scena se u Beogradu - Osniva se Kraljevačko - Izgrađene su Univerzalna okupljala oko redovnih kritičkih debata Institucija kao scenografija rata „Na pozorište. i mala sala u zgradi NIS-a o aktuelnim politikama i procesima, za- ovom mestu treba se osvrnuti na činje- (Novi Sad). - Spajanjem Memorijalnog lažući se za vidljivost takve nezavisne nicu da je u Miloševićevoj Srbiji domi- centra „Josip Broz Tito“ - Osniva se opera i tea- Madlenianum scene u javnom životu Srbije, ali i za nirala tendencija da se umetnost pri- i Muzeja Revolucije naroda tar (Beograd), i narodnosti Jugoslavije prva privatna opera u Sr- drugačije principe organizacije, rada i bliži svim drugim populističkim tokovima osniva se Muzej istorije biji, u zgradi nekadašnje povezivanja unutar kulturne scene. Na- u društvu koji su konstituisali Milo- Jugoslavije (Beograd). zemunske scene Narodnog pozorišta, izgrađene 1969. stala je 2005. godine od organizacija ne- ševićev režim. Ovakva umetnička praksa - Ustanovljena je nagrada formalnih inicijativa i pojedinaca koji biva ozvaničena u trenutku kada dolazi „Grifon“ za najbolji gra- fički dizajn (Grafički ko- 1997. su dolazili iz različitih oblasti sa- do promene u rukovođenju najznačajnije lektiv i Quadra Graphics). - Osniva se projekat Low- vremene umetnosti, kulture i aktivizma. institucije u polju savremene umetnosti - Dejan Milićević režira Fi Video. Ta samoorganizovana i neformalna grupa u Srbiji, beogradskom Muzeju savremene spot za pesmu Ivana Ga- vrilovića Hoću s tobom da - Osniva se beogradski pose tokom nepunih osam godina povreme- umetnosti. Godine 1993. nasilno je sme- đuskam. zorišni letnji festival no širila i na svoje plenumske sastanke njen dotadašnji direktor Zoran Gavrić i BELEF. primala učesnike koji su prihvatali os- imenovan slikar Radslav Trkulja kao re- - Održava se Prvi festival 1995. novna načela, principe samoorganizacije prezent nacional-populističke kulturne koreografskih minijatura - Yustat postaje Nacional- u Beogradu, u organizaciji i načine odlučivanja i delovanja. Gru- matrice, koji je, doduše skoro bez uspe- ni centar OISTAT-a za YU, Udruženja baletskih umet- pa se okupljala oko ideje povezivanja ha, pokušao da u potpunosti promeni kul- te preuzima odgovornost za nika Srbije (UBUS). kulturno-umetničkog rada sa aktivizmom i turni kod na kome se zasnivala delatnost predstavljanje Srbije na - Osniva se Akademija le- Praškom kvadrijenalu. političkim delovanjem u kontekstu jača- ovog muzeja. Među članovima tadašnjeg pih umetnosti (danas Fa- - Formirana je grupa Ma- kultet savremenih umet- nja i institucionalizovanja liberalnih i upravnog odbora MSU nalazio se i umetnik gnet u Beogradu. nosti) u Beogradu, prvi kapitalističkih postulata, te je njeno, Dragoš Kalajić, ključna ličnost antimo- - Objavljen je tekst Danas privatni fakultet umetno- je rat sti u regionu. kroz debate i zajedničku samorefleksiju, dernističkog „pogleda na svet“, koji je Balinta Sombatija levo pozicioniranje na kulturnoj sceni bez zadrške prihvatio i gromoglasno pro- (Balint Szombathy) u časo- pisu Projeka®t (Novi Sad), 1996. postalo prva tako artikulisana pojava u movisao ideologiju srpskog nacionalnog br.5. - (1997) Osniva se grupa našoj sredini nakon 2000. godine. programa uz faštističke stavove koje je - Osniva se Plavo pozori- Žene na delu. Članice su bile sledeće organizacije i zastupao u medijima, što ga je učini- šte – pozorišna laborato- - (1997) Prvo Bijenale inicijative, u promenljivom sastavu: Te- lo poznatim i izvan umetničkog konteksta rija (Beograd). scenskog dizajna i uvo- orija koja hoda, Stanica – Servis za sa- koji će ga inače upamtiti kao prvog „srp- - Počinje da radi Centar đenje pojma scenskog di- vremeni ples Kontekst kolektiv Žene na za kulturnu dekontaminaci- zajna (autorima pojma se , , skog slikara postmodernistu“. Kalajić će ju (Beograd). delu Nova drama Hop.la Mimart Uz- smatraju Radivoje Dinu- , , , , biti koautor izložbe koja je trebalo da - Izlazi prvi broj Pro Fe- lović, Milosav Marinović buna, stanipanikolektiv, HyperMedia In- inauguriše novu orijentaciju MSU, izlož- mina: časopisa za žensku i Irena Šentevska). Prvo stitut – Techne Prelom kolektiv Dez. Balkanski istočnici književnost i kulturu. Bijenale je održano 1997. , , be , koja je bila re- godine, nakon odlaganja org Queer Beograd Bazaart zultat ideološke strategije da se stvori - Osniva se festival , , , ali i po- INFANT u Novom Sadu. zbog studentskih protesta istorijska perspektiva srpske umetnosti 1996/1997. jedinci: Jelena Vesić, Tanja Marković, - Televizija BK počinje da u XX veku, koja svoj identitet ne formu- - Održava se Prvi jugoslo- Aneta Stojnić, Vladimir Jerić Vlidi, Ne- emituje program. venski pozorišni festival nad Jeremić, Rena Raedle, Ana Vilenica i Druga - Počinje sa radom Akade- Bez prevoda 8 Marijana Cvetković, . scena. Beogradska samoorga- mija umetnosti u Beogradu. Dej- - Izložba Beogradska sce- nizovana scena, Belgrade: - Izgrađena je pumpa tonka Actopolis, 2016. (Beograd).

66 67 1994. liše u odnosu na postojeće modernističke nacionalističke euforije i u odnosu na osniva Asocijaciju nezavisnih medija (ANEM), koja - Prvi jugoslovenski li- narative.“9 odbijanje da se formuliše kritički stav kovni bijenale mladih u ubrzo postaje član Svetske Vršcu. u jednom otupelom i zatvorenom društvu federacije nezavisnih iz- davača. - Osniva se Soros centar Ulica kao scenografija anti-rata „Grupa kroz skoro zaboravljene osećaje empatije za savremenu umetnost u ŠKART (koju čine Dragan Protić i Đor- i solidarnosti. Tako je, na primer, pesma - Osniva se Studentski kul- Tuga potencijalnog putnika turni centar Novog Sada. Beogradu. đe Balzamović, uz tadašnju saradnju sa distribuirana Tuga potencijal- - Osniva se Nezavisno fotografom Vesnom Pavlović) krenula je na železničkoj stanici, udruženje novinara Srbije nog povrća Tuga potencijal- 1992. 1992. u akciju Tuge, u okviru koje su na na pijaci, a - NUNS. nog povratka - Premijerno izvođenje - Osniva se Kulturni cen- različitim lokacijama prolaznicima de- je slata poštom poznanicima predstave Đeneral Milan tar REX (Beograd). ljene pesme štampane na kartonskim ta- koji su bili među stotinama hiljada onih Nedić u Zvezdara teatru - Osniva se BK TV. blicama. Pesme koje su uvek bile na pola koji su od početka rata napustili Srbi- (Beograd). - Ministarstvo kulture po- puta između precizne opservacije i du- ju. Ovaj dvogodišnji projekat imao je - Predsednik srpske vla- kreće kampanju Lepše je sa de, Radoman Božović, traži kulturom. hovite patetike, označile su stav ak- jaku senzibilnu crtu, koja je nedostaja- od parlamenta da na prvoj tivne rezignacije u odnosu na recidive la kako u društvu, tako i na umetničkoj narednoj sednici razre- - Otvoren je Buvljak – sceni. Pojednostavljeno rečeno, ukazao ši ministra kulture, a u tržni centar za prodaju obrazloženju ovog zahteva neprehrambene robe u bloku je na mogućnost otvorenosti i iskrenosti se kaže da Đukićevo mini- 10 43 na Novom Beogradu. osećaja tuge u tako tužnim vremenima.“ starstvo nije uspelo da - Počinje sa radom Televi- obezbedi sprovođenje po- zija Pink. litike vlade u ustanovama - Izložba Balkanski isto- kulture. čnici srpskog slikarstva 1980-e - Oformljena je samoorga- XX veka u Muzeju savremene nizovana grupa kompjuter- umetnosti u Beogradu. Uloga ozna- skih entuzijasta Corrosi- Alternativna kultura U tekstu on - Prvi Festival autorskog ke „totalitarizma“ u konstituisanju po- , koja se nakon deset filma - FAF u Beogradu. godina postojanja udru- lja „istočne umetnosti“, Miklavž Komelj, žuje sa članovima strip - Počinje sa emitovanjem projekta Striper, pa za- TV Palma. između ostalog, analizira tvrdnju iz ma- Laibach Kunst Umetnost i jedno formiraju novu grupu nifesta grupe Kosmoplovci. totalitarizam Umetnost in totalitari- 1993. ( - Ministar kulture Đukić zem - Led art, Zamrznuta umet- ) da je čitava umetnost „podvrgnuta smenjuje direktora Muzeja nost, izložba u hladnjači ideološkoj manipulaciji, osim one koja savremene umetnosti, Zora- na Gavrića, i na njegovo postavljenoj ispred Doma govori jezikom te manipulacije. Kori- omladine (Beograd). mesto postavlja slikara stiti jezik manipulacije kao subverziju, Radoslava Trkulju. - Počinje da izlazi časo- Privatno-Javno pis New Moment. znači prihvatiti pretpostavku da umet- - , promo- cija predloga osnivanja - Osniva se Asocijacija nost ima posledice, i ponašati se u skla- Tuga potencijalnih saputnika Tuge Muzeja međunarodne umet- APSOLUTNO u Novom Sadu. , (1992-1993), Grupa Škart (1990-) / Sadness of Potential Trave- du sa njom. Međutim, kakve su posledice, nosti. - Osniva se Univerzitet lers , Sorrows (1992-1993), Škart group (1990-) kada kao jezik manipulacije subverzivno - Opština Subotica osniva „Braća Karić“. upotrebljavamo jezik koji definišemo kao filmski festival na Paliću. - Osniva se grupa Superna- fotografija / photo: Vesna Pavlović jezik totalitarizma ut u Beogradu. ? Subvertiramo ‘tota- 1991. - Registrovan je Centar za litarizam’ – međutim, zar taj ‘totali- 9 Branislava Anđelković i Bra- ženske studije u Beogradu tarizam’ nije upravo neka fantazma koju - Poslednje, XVI jugoslo- nislav Dimitrijević, „Posled- (radi od 1991). proizvodimo svojim ‘subverzivnim’ dis- vensko bijenale mladih, nja decenija: Umetnost, druš- Rijeka. - Deset nezavisnih javnih tvo, trauma i normalnost“, kursom? Ponavljam pitanje koje sam već glasila sa područja SRJ u: O normalnosti. Umetnost - Zbog otkazivanja niza Borba, Vreme, NIN, postavio: a šta ako je situacija osamde- ( NTV u Srbiji 1989–2001, Beograd: izložbi iz inostranstva i Studio Beograd, Radio B92, Muzej savremene umetnosti, zbog nepristajanja na po- Republika Nezavisnost Ibid i ) 2005. 10 . stojeću situaciju u kultu-

68 69 Umjetnost za i ri, direktor Muzeja savre- setih godina bila takva, da se umetnost, vanje nove strategije klasnog razvoja, - Izložba mene umetnosti u Beogradu, protiv, XIV jesenji salon, Zoran Gavrić, obustavlja dok je prikazivala svoju subverziju u formulisano u okviru Dugoročnog programa Umjetnička galerija, Banja dalji rad muzeja. odnosu prema monstrumu ‘totalitarizma’, ekonomske stabilizacije, koji je Vlada Luka. - Osniva se Yustat, Yugo- pre svega prilagođavala nekoj novoj, Milke Planinc koristila tokom prvih pre- - Poslednja izložba Jugo- slav Society for Theatre slovenska dokumenta, Olim- Art & Technology tada nastupajućoj društvenoj realnosti govora sa MMF-om, manje-više se poklapa- , grupa 11 pijski centar „Skenderi- profesionalaca okupljenih prelaska u kapitalizam?“ U navedenom lo sa odlukom SSOJ da odstupi od svoje ja“, Sarajevo. oko Ateljea 212. eseju, Komelj govori o tome kako se te- pozicije transimisionog sredstva. Daleko - Masovni radnički štraj- - U Srbiji se usvaja Zakon oretizacije „istočne umetnosti“ događaju od toga da je institucionalizovana omla- kovi u Jugoslaviji. o uslovima i postupku pre- u trenutku kada socijalistički koncept u dina predstavljala bilo kakvu istinsku - Retrospektivna izložba tvaranja društvene svojine Jugoslaviji sve više slabi, restauracija opoziciju koja je u stanju da formuliše Emerika Bernarda u Muze- u druge oblike svojine. ju savremene umetnosti u - Osniva se DAH teatar, kapitalizma je u toku, i kako zbog toga neku alternativu agendu dominantnim ne- Beogradu. centar za pozorišna istra- alternativna kultura nije bila subver- oliberalnim reformama; no, barem u Slo- - Retrospektivna izložba živanja. zivna u meri u kojoj je želela da bude, veniji, njena je uloga bila od ključnog Petra Omčikusa u Muzeju - U Beogradu se osniva već se kroz konstruiranje priče o „to- značaja za njihovo (delimično) realizo- savremene umetnosti u Be- ženska mirovna grupa fe- ogradu. talitarnoj“ prošlosti pozicionirala na vanje. Neoliberalno rešenje za jugoslo- minističko-antimilitari- - Autoportret ili telo u stičke orijentacije Žene zapadnom tržištu umetnosti. vensku krizu pronađeno je u kombinaciji umetnosti, Salon Muzeja u crnom. ekonomske liberalizacije, dalje ekonom- savremene umetnosti, Be- - Raspad Socijalisticke U tekstu Slovenačka omladina i neolibe- ske i političke integracije u evropske ograd. Federativne Republike Ju- ralizacija Jugoslavije: od alternativ- - Studio B osniva žiri za goslavije. Oružani sukobi strukture, kao i preobražaja aparata sa- nih pokreta do liberalnog trećeg bloka najbolje izložbe meseca i i ratovi 1991. Slovenija , vezne države, koji bi bio u stanju da za- godine. i Hrvatska, 1992. Bosna i Lidija K. Radojević i Ana Podvršič pišu vede fiskalnu štednju i čvrstu monetarnu - Izložba Tri moskovska Hercegovina sve do 1995; umetnika – Kircova, Ser- sukob na Kosovu i NATO o ulozi Saveza socijalističke omladine politiku, nasuprot pritiscima odozdo da 12 brjakova, Žurovljev bombardovanje 1999. Slovenije (SSOS) u formiranju antisoci- se poveća javna potrošnja.“ , SKC, Beograd. jalističke koalicije u Sloveniji tokom Mlada umetnost iz SR Administracija klasnog su- - 1990. dužničke krize u Jugoslaviji osamdesetih U intervjuu Nemačke, Muzej savremene koba - Srpski nacionalisti pre- godina XX veka: „Institucionalizovana Lidija K. Radojević, govori o tome umetnosti, Beograd. kidaju izvođenje predstave omladina imala je ključnu ulogu ne samo kako je civilno društvo osamdesetih u - Akile Bonito Oliva (Ac- Sveti Sava u Jugosloven- u reprodukovanju jugoslovenskog socija- Sloveniji bilo formirano upravo preko hille Bonito Oliva) drži skom dramskom pozorištu u predavanje povodom promo- Beogradu. lizma, već i u njegovom raspadu. Sa iz- infrastrukture uspostavljene u socija- cije knjige Ideologija iz- - Izgrađen je hotel Hyatt bijanjem dužničke krize, Jugoslavija je lizmu: „Solidarni moment kojega često dajnika u Muzeju savremene Regency na Novom Beogradu. ušla u novu fazu, koju su karakterisala glorificiramo i danas za njim čeznemo, umetnosti u Beogradu. - Osniva se grupa Škart. višegodišnja nastojanja da se reformiše odnosno činjenica da se među raznolikim - Osniva se umetnička grupa FIA (Beograd). - Prvi višestranački iz- inicijativama – feminističkim, LGBT, mi- bori. postojeći sistem u skladu sa agendom Va- - Ekonomski program novog šingtonskog konsenzusa. Zvanično prizna- rovnim pokretom, alternativnim kultur- predsednika Saveznog iz- vršnog veća, Ante Marko- 1989. 11 Miklavž Komelj, „Ulo- 12 Lidija K. Radojević i Ana vića. - Osniva se Univerzitet ga označitelja ‘totalitari- Podvršić, „Slovenačka omladina - Deveti samit Pokreta ne- Megatrend. zam’ u konstituisanju polja i neoliberalizacija Jugoslavi- svrstanih u Beogradu. je: od alternativnih pokreta - Srušen je Berlinski zid. ‘istočne umetnosti’ (I deo)“, - Izložba 70 godina film- DeMaterijalizacija umetno- do liberalnog trećeg bloka“, skog plakata u Hrvatskoj - Obeležavanje 600 godina sti, u: Gradove smo vam podigli. O , Kosovske bitke na Gazime- 2015, http://demate- protivrečnostima jugosloven- Kabinet grafike JAZU, Za- stanu. rijalizacijaumetnosti.com/ skog socijalizma greb. uloga-oznacitelja-totalita- , CZKD, Be- - Osniva se Radio B92. rizam-u-konstituisanju-po- ograd, 2018. (https://www. - Pokreće se interfakul- - Osniva se Bitef teatar lja-istocne-umetnosti-i-deo/ czkd.org/meta-content/uplo- tetski Studij dizajna pri (Beograd). [pristupljeno 28. marta ads/2018/06/Publikacija-Gra- Arhitektonskom fakultetu 2019]. dove-smo-vam-podigli.pdf) Sveučilišta u Zagrebu.

70 71 1988. nim produkcijama – uspostavila suradnja / Novog kolektivizma za - U Beogradu se otvara i formirala zajednička politička linija, Dan mladosti. prvi Mekdonalds (McDo- - U Zagrebu je održana nald's) restoran u Srbiji bio je izvediv zbog specifičnog institu- Univerzijada '87, svetske i SFRJ. cionalnog aranžmana koji je omogućio taj sportske studentske igre. - Dovršen je spomen-park tip organiziranja kroz strukture samou- - Prvi Eurokaz – međuna- posvećen žrtvama fašizma u pravnog socijalizma, primjerice, Saveza rodni festival novog ka- Jajincima. zališta. omladine Slovenije. Potonji je brojnim - Izložba VI beogradsko - Štrajk rudara u Labinu, trijenale jugoslovenske inicijativama na raspolaganje dao svo- jedan od najdužih štrajko- likovne umetnosti, Beo- ju fizičku i financijsku infrastrukturu. U va u socijalističkoj Jugo- gradski sajam. Ljubljani su to bili ŠKUC i Forum, kao slaviji. - Izložba Milete Prodano- prostori za aktivističko i umjetničko - Održana je VIII sedni- vića u Salonu Muzeja sa- ca CK SKS; smenjen je Ivan vremene umetnosti u Beo- djelovanje, te prostori omladinskih cen- Stambolić. gradu. tara u kojima su se održavale različite - Retrospektivna izložba produkcije, ali i artikulirale neke nove 1986. Predraga Neškovića u Mu- cross-over teme. Primjerice, značajni - Izložba Nova austrijska zeju savremene umetnosti u umetnost, Muzej savremene Beogradu. događaj tzv. ljubljanske alternative, umetnosti, Beograd. - Izložba Mrđana Bajića naslova ‘Kaj je alternativa?’, događa se - Izložba FLUXUS, Legat u Salonu Muzeja savremene pod okriljem omladinskih organizacija i Rodoljuba Čolakovića i Mi- umetnosti u Beogradu. u njihovim prostorima, a rezultirao je lice Zorić, Muzej savreme- - Izložba Olge Jevrić artikulacijom aktualnih društveno-poli- ne umetnosti, Beograd. Skulpture 1948–1988, Ga- Jugoslovenski tičkih tema.“13 - Izložba lerija SKC, Beograd. strip 1935–1985, Salon Mu- - Izložba Slikarstvo kon- zeja savremene umetnosti, trolirane geste, prema en- Rečnik tehnologije objavljen je u ča- Beograd. formelu i apstraktnom ek- sopisu Vidici 1981. godine. Autori su - Objavljen je Memorandum spresionizmu, Sarajevo. SANU bili anonimni. Pisan je ručno, kaligraf- u Večernjim novosti- - Izložba Mlada jugoslo- ma. venska umetnost skim pismom, što je trebalo da simboli- , Muzej - Izložba Ivan Picelj – savremene umetnosti, Be- zuje „odbranu slobodne ruke“, „slobodnih grafički dizajn 1946/86, ograd. misli“. Smatra se da je njime označeno XXI zagrebački salon, Mlada jugoslo- - Izložba napuštanje marksizma i okretanje razli- Umjetnički paviljon Za- venska umetnost prikazana greb. je u Gracu, Austrija. čitim oblicima postmodernističke refe- - Izložba Umjetnost, kri- rencijalnosti (hrišćanske, lingvističke tika usrijed osamdesetih, Colegium Artisticum, Sara- 1987. itd.) jevo. - Izložba Slobodana – Ere - Izložba Umetnost usred Milivojevića u Salonu Mu- „Broj časopisa Vidici, pod imenom Reč- osamdesetih – beogradski zeja savremene umetnosti u nik tehnologije, iz 1981. godine, pred- učesnici, Umetnički pa- Beogradu stavlja krunski dokument novotalasnog viljon „Cvijeta Zuzorić“, - Izložba Klausa Kumrova Beograd. total-art koncepta razvijanog unutar (Klaus Kumrow) u Galeriji - Izložba Georga Bazelica Rečnik tehnologije 1981. Dictionary of Techno- SKC, Beograd. , / (Georg Baselitz) u Muzeju logy - Predavanje Stefana Šmita 13 Lidija Krienzer Radojević, , 1981 savremene umetnosti u Be- Vulfena (Stephan Schmidt „Administracija klasnog su- ogradu. Slobodni filozofski preuzeto sa / taken from: https://recniktehnologi- Wulffen), SKC, Beograd. koba“, , 9. - Izložba International je.wordpress.com/ Exibition of Modern Art - Premijera TV filma Šuma- studenoga 2017, http://slo- , nović: komedija umetnika bodnifilozofski.com/2017/11/ Salon Muzeja savremene na Televiziji Beograd. administracija-klasnog-su- pomenutog časopisa u periodu od 1979. umetnosti, Beograd. koba.html [pristupljeno 29. - U Rimu se održava izlož- - „Afera“ oko plakata NSK marta 2019]. do 1982 godine. ‘Totalno’ ove znameni-

72 73 Maljčiki ba beogradskih umetnika te umetničke zamisli ogleda se u sadej- zicija (rus. dečaci), kojim je - Održane su XIV zimske Spazio Belgrado, Sala Uno. olimpijske igre u Sara- stvu različitih ‘taktičkih’ izraza, ar- zvanično oglašena jedna od najzanimlji- jevu, najveći sportski tističkih provokacija onovremenog soci- vijih potkulturnih (i)storija nekadašnje događaj u istoriji Soci- 1985. jalističkog režima, i to u periodu na- zajedničke južnoslovenske države. Uti- jalističke Federativne Re- - Live Aid YU Rock misija. Gesamtkunstwerk publike Jugoslavije. kon smrti doživotnog predsednika SFRJ, caj ovog vagnerijanskog - Izložba Poslednja futu- Vidicima - Izlazi prvi broj časo- ristička izložba slika Josipa Broza Tita (maj, 1980). U samoj projekta nastalog pri merljiv , virtuelne pisa za vizuelne medije privatni prostor, Beograd. osnovi koncepta nalazila se diskurzivna je i internacionalnim uspehom Moment. umetničke države Neue Slowenische Kunst - U Sarajevu se osniva bi- platforma kojom se insistiralo na ‘an- , - Izložba Anahronisti ili Jugoslo- Sestre Scipion Nasice Novi slikari memorije, itali- jenalna izložba ti-tehnološkim’, tačnije anti-ideološkim (grupe IRWIN, , venska dokumenta. kolektivizam jansko slikarstvo anahro- stavovima koji su pretežno dolazili iz ) i posebno uspehom multime- nizma, - Udruženje likovnih umet- SKC, Beograd. nika primenjenih umet- mističke i ranohrišćanske tradicije. Na dijalne grupe Laibach, čiji protagonisti - Izložba Nova figuracija: nosti i dizajnera Srbije taj način temeljeno je mišljenje koje je ni danas ne propuštaju priliku da ista- šezdesete i kontinuitet, (ULUPUDS) osniva Trijenale bilo sasvim suprotstavljeno vladajućem knu vezu između dva projekta. Sudeći po Umetnički paviljon „Cvije- svetske arhitekture. Rečnika tehnologije ta Zuzorić“, Beograd. negativnodijalektičkom modelu. Ta ‘iz- njima, značaj ogle- - Izložba Jana Dibetsa - Izložba Arhitektura u (Jan Dibbets) u Muzeju sa- montirana’ filozofija koju je artikulisao da se i u tome što ‘prvi put omladin- Francuskoj: modernost i vremene umetnosti u Beo- Aleksandar Petrović, jedan od tadašnjih ska kultura Beograda dobija jedan kanal, postmodernost, Muzej sa- gradu. urednika Vidika, dobila je svoj odgova- prostor, počinje teorijski prostor da se vremene umetnosti, Beo- Francusko sli- grad. - Izložba rajući izraz u pesništvu Slobodana Ške- otvara sa intervencijom novih teorija, karstvo 1960–1985, Muzej - Izložba grupe IRWIN, Was savremene umetnosti, Be- rovića (takođe jednog od urednika ono- novih političkih teorija koje oni [Ške- ist Kunst, Pivara u Ska- 14 ograd. vremenih Vidika), zatim u ranoj poeziji rović i Petrović] ubacuju u igru’.” darliji, Beograd. - Ljubiša Ristić dolazi u i potonjoj prozi Svetislava Basare, kao subotičko Narodno pozori- i u izvođačkoj umetnosti Živojina Stoj- KPGT „Svojim paralelnim rediteljskim 1983. šte i tokom deset godina, Laughin Coyote Zenit i avangar- zajedno s Nadom Kokotović, kovića ( ’ ) i njegovog Sa- angažmanima u pozorišnim institucijama - Izložba spiritus movens da dvadesetih godina, Na- okuplja veliku grupu redi- tirsko-gerilskog pozorišta. U predstoje- širom Jugoslavije kul- rodni muzej, Beograd. telja i glumaca iz mnogih ćim godinama i nakon sleganja podignute turno-političkog pokreta KPGT (Kazalište jugoslovenskih centara; - Izložba Nova umetnost u KPGT počinje da deluje u prašine, Petrovićeva ‘filozofija tehnolo- Pozorište Gledališče Teatar) Ljubiša Ri- Srbiji 1970–1980, Muzej bioskopu „Jadran“. gije’ još uvek se mogla jasno očitova- stić, na jugoslovenskoj pozorišnoj sce- savremene umetnosti, Be- - Izložba radova slovenač- ti u književnim ostvarenjima Tomislava ni sedamdesetih godina, inaugurisao je ograd. Umetnost osam- kog dizajnera Matjaža Vi- Longinovića i Sretena Ugrinovića, pa čak jedinstvenu mešavinu institucionalnog i - Izložba potnika u Novom Sadu. desetih, Muzej savremene ‘alternativnog’, dotiranog i samofinansi- - Izložba Oblikovanje knji- i u esejistici Vladimira Đurića Đure. U umetnosti, Beograd. ge u Jugoslaviji, XXIII li- ovom uvodnom predstavljanju naznačenog rajućeg, građanskog i socijalističkog, - Izložba Novi evropski i kovni susret u Subotici. koncepta ne zaboravimo ipak ono najvaž- tradicionalnog i avangardnog, elitnog i američki crtež, Galerija - Počinje da izlazi časo- Rečnika tehnologije masovnog… U predstavama KPGT-a, u pozo- Doma omladine, Beograd. Quorum nije: od neodvojiv pis . rišnim kućama i nekonvencionalnim ambi- - Temat broja „Era postmo- je i multimedijalni projekat Dragana Pa- dernizma“, Polja, br. 289. pića, Dečaci, koji je bio realizovan u jentima nastupaju prvaci repertoarskih 1984. - Osniva se Društvo dizaj- nekoliko faza i uz korišćenje različitih teatara uporedo s neafirmisanim ‘slobod- nera Hrvatske. - Osniva se Odsek za di- njacima’. Ristićev ‘novi barok’ podrazu- zajn na ljubljanskoj Aka- medija: fotografije, grafita i konačno po- - Usvaja se Zakon o samo- demiji likovnih umetnosti. pularne muzike. Prva singl-ploča njego- meva eklektičko poigravanje sa istorijom stalnom obavljanju umet- vih Dečaka Retko te viđam sa devojkama ničke ili druge delatnosti - Osniva se Teatar Mimart , u oblasti kulture. (Beograd). Pomoć, pomoć Vidicima 14 Dragan Đorđević, „Grobni- / , objavljena pri , ce postmoderne (I deo)“, De- - Umetnici Raša Todosije- smatra se prvim samostalnim muzičkim iz- Materijalizacija umetnosti, vić i Breda Beban učestvu- 1982. danjem nekadašnje jugoslovenske kulture, 2016, http://dematerijali- ju na Bijenalu u Sidneju. zacijaumetnosti.com/grobni- - Izgrađen je Centar za - Otvara se Zvezdara tea- a za njim je došlo još nekoliko jednako ce-postmoderne-i-deo/ [pri- kulturu u Smederevu. tar u Beogradu. uspešnih singlova, među kojima i kompo- stupljeno 29. marta 2019]. - Osniva se Festival ama-

74 75 terskog filma „Život šume“ pozorišta, političkom i društvenom isto- - Demonstracije albanskih u Sremskoj Mitrovici (or- 1970-e studenata u Prištini. rijom – uz eksperimente s raznorodnim ganizatori: Lovno-šumsko - Ustanovljena je Panče- gazdinstvo Sremska Mitro- umetničkim i medijskim formama: operom, Gastarbajteri vačka izložba jugosloven- vica i Kino savez Vojvo- baletom, popularnom muzikom, televizi- ske skulpture, bijenalnog dine). jom, filmom… Silvana Armenulić karaktera, u Pančevu. - Umetnik Raša Todosijević - Izložba o Bauhausu u Mu- učestvuje na XVI bijenalu Jugo moja, Jugo zeju savremene umetnosti u u Sao Paulu, Brazil. KPGT se ‘nediskriminativno’ obraćao Beogradu - Ustanovljen je Međuna- pripadnicima veoma različitih društve- Zemljo moja, puna, svega dosta, Terra - Izložba osam mladih ita- rodni simpozijum u nih grupacija u tadašnjoj SFRJ: kultur- lijanskih umetnika Le vo- Kikindi. u tebi sve najdraže osta, cazioni della pittura ni establišment Jugoslavije sedeo je na u - Počinje da se održava muž i deca i rodbina cela Beogradu. Alternative Film Festival improvizovanim sedištima Radničkog sve- i svi drugi koje sam volela. - Objavljen je Rečnik teh- (organizator: Akademski učilišta ‘Moša Pijade’ u Zagrebu ili nologije u časopisu Vidi- filmski centar Doma kultu- Studentskog kulturnog centra u Beogradu ci. re „Studentski grad“, Be- Jugo, Jugo, rodni zavičaju, - Fabrika „Zastava“ iz ograd). (dva ‘najuigranija’ KPGT prostora) rame ja za tobom večno ću da žalim. uz rame s tipičnim predstavnicima ‘pot- Kragujevca pokreće proi- - Predsednica SIV-a, Milka Još da mi je grumen rodne grude, zvodnju automobila Yugo Planinc, donosi paket mera kultura’. da mi srce puno sreće bude. 45. za stabilizaciju privrede Jugo, Jugo, rodni zavičaju, - Izložba Grafički dizajn u u krizi. Saveznoj Republici Nemač- Unutar jugoslovenske umetničke scene, ja za tobom večno ću da žalim. - Najveća stopa nezaposle- koj u Salonu Muzeja savre- nosti u razvijenom kapita- KPGT predstavlja jedan od retkih poku- mene umetnosti u Beogradu. lističkom svetu od vremena šaja da se ‘pakt između republičkih bi- Plačem, plačem i srce me boli, Velike depresije tridese- rokratija i nacionalnih inteligencija, tih godina. daleko je sve što tamo volim. 1980. sklopljen tokom sedamdesetih godina, ne - Vojin Bakić, Spomenik Imam para i sve je bogato, - Đermano Čelant (Germano ustanku naroda Banije i samo razobliči, već i dovede u pitanje’, al’, je Juga moje pravo zlato. Celant) drži predavanje u Korduna, Petrova gora. ističući u prvi plan multinacionalnost SKC-u u Beogradu. - Bogdan Bogdanović, Mau- - Vojin Stojić, Spomenik i multikulturalnost ‘zamišljene jugoslo- Moji dani tužni su i dugi, borcima Kosmajskog parti- zolej borbe i pobede, Ča- zanskog odreda, Kosmaj. venske zajednice’. Zahvaljujući pažljivo dok se vratim mojoj dragoj Jugi. čak. - Pokrenut je nedeljnik vođenim medijskim kampanjama i izrazitoj Jugo moja, moj najdraži cvetu, - Međunarodna izložba li- Beograd Danas. mobilnosti trupe, veoma posećene pred- najlepša si ti zemlja na svetu. kovnih umetnosti 80, Muzej savremene umet- - Muzej moderne umetnosti stave KPGT-a (igrane u prostorima kao nosti, Beograd. u Njujorku otkupio je je- što su školska dvorišta, domovi kulture „Ako želimo reći nešto smisleno o feno- danaest plakata Borisa Bu- - Tokom osamdesetih, odr- ćana. i sportske dvorane) smišljeno dovode u menu jugoslavenskih gastarbajtera, mo- žavao se Festival amater- ske filmske kamere u Bi- - Ferenc Barat dizajnira pitanje republičke (nacionalne) kulturne ramo izaći iz ideološkog okvira postko- 15 tolju (organizator: Kino plakat za monodramu Bayer i političke barijere.“ munizma u kojemu danas politički potpu- Aspirin klub „Manaki“, Bitolj). umetnice perfor- no bespredmetna kritika komunizma služi mansa Katalin Ladik, po - Smrt Josipa Broza Tita. tekstu Ota Tolnaija (Ottó samo kako bi se njome ušutkala prijeko - Osniva se Laibach Kunst Tolnai), u Novosadskom po- potrebna kritika kapitalizma. u Trbovlju. zorištu / Újvidéki Szín- - Zbornik tekstova Dizajn ház. i kultura (Urednik: Jerko Kako je dakle uopće moguće da su gastar- Denegri, izdavač SKC Be- 1981. bajteri iz jedne socijalističke zemlje ograd). Paket došli na Zapad? Pitanje je to koje se - Izložba Dizajn u Srbiji - Objavljen je album 15 Irena Šentevska, „KPGT '80 aranžman, prva ploča gru- ili pozorište kao ‘oslobođe- ne postavlja na Zapadu, odnosno u rana Beogradskom sajmu. JugoLink. pa Idoli, Šarlo akrobata na teritorija’“ u: spravama o komunističkoj prošlosti koji- - Izložba projekta anima- i Električni orgazam, čime Pregled postjugoslovenskih cije špice za TV Dnevnik započinje tzv. beogradski istraživanja, br. 1, god. 3, ma dominira zapadna ideologija. Odgovor RTB u Salonu Muzeja savre- novi talas u muzici. 2013. na njega je ipak sasvim jednostavan: tu mene umetnosti u Beogradu.

76 77 - Gostovanje Umetničke mogućnost možemo zahvaliti kapitalizmu. nije nalazilo rješenja. Zato su otvorene - Miodrag Živković, Spo- akademije iz Diseldorfa men-park Ustanka i Revo- (Düsseldorf) u SKC-u u Be- Kao što je poznato, nekadašnja Jugoslavi- granice. Dakle, ne kako bi se socijalizmu lucije, spomenik Savi Ko- ogradu. ja je nakon raskida sa Staljinom 1948. dalo ljudsko lice, nego kako bi se suzbi- vačeviću, Grahovo, Nikšić. - Osniva se grupa Alter pošla vlastitim putem daljnjeg razvoja lo masovnu nezaposlenost, i to tako što - Danilo Kiš, Čas anato- Imago mije. u Beogradu (Lušić, socijalizma na kojemu je ubrzo učinila se višak radne snage prebacilo na međun- Alavanja, Nikolić, Proda- presudni korak – uvela je tržište. Ne arodno tržište rada. Otvaranje zemlje i - Osniva se prva femini- nović). stička grupa Žene i druš- samo da poduzeća više nisu dobivala nika- pojava jugoslavenskih gastarbajtera na tvo. 1979. kve direktive od države o količinama i Zapadu bile su tako logične posljedice - Na mestu starog Doma - Davorin Savnik dizajni- cijenama svojih proizvoda, nego su se svjesnog uvođenja kapitalističkih odnosa omladine gradi se Dom mla- ra popularan i višestru- počela međusobno natjecati. Posljedica u ekonomski život socijalističke zemlje. dosti, koji 1998. postaje Kulturni centar Zrenjanin. ko nagrađivan telefon ETA je bio ekstremno ubrzan rast (do tri- Time je započela i nezaustavljiva inte- 85 (proizvođač: Iskra, - Osniva se Festival ama- Kranj). naest posto godišnje), opće poboljšanje gracija Jugoslavije u svjetsko tržište, terske filmske komedije u - Miodrag Živković, Spo- životnog standarda, među ostalim i stva- odnosno u svijet jednog već onomad glo- Zaječaru (organizator: Fo- men-kompleks Kadinjača, ranje moćne kulturne industrije, otva- balizirajućeg kapitalizma, čija su ti- to-kino klub „Timok“, Za- ječar). Užice. ranje prema svjetskom tržištu itd. Ta- pična proturječja od tog trena presudno - Zvanično je osnovan Dom - Krajem sedamdesetih po- kulture Bečej (od 1988. kođer je nastalo i tržište rada, a s utjecala kako na socijalni i politički činje da se održava Fe- Centar za kulturu „Vuk Ka- njime i sve veća mobilnost radne snage. život u samoj zemlji, tako i na nje- stival amaterskog etno- radžić“ u Bečeju). No, jaz između razvijenog Sjevera i jed- zin međunarodni položaj. Ne samo da su grafskog filma u Prevalju Američko slikar- (organizator: Kino klub - Izložba va industrijaliziranog, siromašnog Juga središta financijske moći koncentrirana stvo sedamdesetih godina, „Prevalje“). Beograd. postajao je sve dublji, što je dovelo do u bankama, osiguravajućim društvima i - Prvi međunarodni femi- migracije jeftine, loše obrazovane radne velikim trgovačkim poduzećima postajala nistički skup u Beogradu - Animacija čuvene špice Drug-ca žena za TV Dnevnik (sa tačkica- snage u sjeverne dijelove zemlje. Tako sve neovisnija u političkom životu zem- . ma) na TV Beograd (dizajn: su i gastarbajter, odnosno gastarbajteri lje, nego je cijela zemlja postajala sve - Prvi Konkurs za mladi Nenad Čonkić). jugoslovenski strip časo- America ca, rođeni iz logike tržišnog socijaliz- ovisnija o središtima moći međunarodnog pisa Mladost i izložba u - Putujuća izložba 16 now u Zagrebu. ma i to unutar sâme zemlje, što je, po- financijskog kapitala.“ Galeriji SKC, Beograd. - Izložba radova Miltona jačano ekstremnom kulturnom raznolikošću Glejzera (Milton Glaser) u nekadašnje Jugoslavije, sa sobom nuž- Sava Centar „Osim vodeće uloge u pokretu 1977. Galeriji suvremene umjet- - Osniva se KPGT (Kazali- nosti u Zagrebu. no donijelo socijalne, kulturne, egzi- nesvrstanih, jedan od simboličnih vrhu- stencijalne i najzad političke poslje- naca Titove politike miroljubive koeg- šte Pozorište Gledališče - Početak „novog talasa“. Teatar) u Zagrebu. dice. Mijenjalo se ne samo mjesto, nego zistencije bio je uspešan ishod napora - Izrada vizuelnog identi- - Izgrađen je Sava Centar, teta Gradskog saobraćajnog u isti mah i jezik, kulturu, odnosno tada se drugi veliki skup Konferencije o reprezentativni kongresni preduzeća „Beograd“ (di- kozvani way of life. Socijalna, kultur- bezbednosti i saradnji u Evropi održi centar na Novom Beogradu. zajner: Nenad Novakov). na kao i politička diskriminacija unutar u Beogradu 1977–1978. godine. Prvi skup - Osniva se Muzej Afričke - Knjiga Od kiča do vječ- nosti jugoslavenskih gastarbajtera još je jed- Konferencije, koja je bila preteča sa- umetnosti u Beogradu (di- Vere Horvat Pinta- zajn postavke: Slobodan i rić, CKD, Zagreb. no prešućeno poglavlje povijesti u među- dašnje Organizacije za evropsku bezbed- Saveta Mašić). - Izložba radova dizajnera vremenu propale zemlje, koja se onomad, nost i saradnju, održan je u Helsinkiju i - Izgrađeno je Pozorište SKC-a Dragana Stojanovskog lutaka u Nišu. 1974–1979, Galerija Doma nošena utopijom industrijskog moderniz- Ženevi 1973–1975, a u cilju smanjivanja omladine, Beograd. ma, odvažila na nezamislivo – mirenje - Održan je koncert Bi- tržišta sa socijalizmom. 16 Boris Buden, „Gastarbaj- jelog dugmeta kod Hajdu- teri, glasnici budućnosti“, čke česme u Beogradu pred 1978. Slobodni filozofski, 4. ko- 100.000 posetilaca. - Osniva se Centar za Prvi nedvosmisleni simptom buduće pro- lovoza 2012, http://slobod- - Uvedeno je usmereno ob- kulturu Požarevca; godi- pasti tog eksperimenta bila je nezau- nifilozofski.com/2012/08/bo- razovanje. ne 1982. izgrađen je nov ris-buden-gastarbajteri-gla- Jugoslovenski objekat po projektu arhi- stavljiva nezaposlenost, za koju partij- - Izložba snici.html [pristupljeno 29. kulturni plakat u Salonu tekte Miloša Bojovića. sko vođstvo zemlje – unutar same zemlje – marta 2019].

78 79 Muzeja savremene umetnosti političkih tenzija na podeljenom konti- ferencije, projektantski tim, na čijem voda za kulturu Hrvatske, u Beogradu. Zagreb. nentu i podsticanja ekonomske i huma- je čelu bio arhitekta Stojan Maksimović, Grobnica za - Izložba stripova Mirka - Danilo Kiš, poslat je u inostranstvo da prouči slič- Borisa Davidoviča Ilića u Galeriji SC u Za- nitarne saradnje. Takav program je bio . grebu; na otvaranju svira- u potpunom skladu sa spoljnom politikom ne zgrade. U izgrađeni objekat, nazvan ju Pankrti i Rock'n'roll Sava centar Jugoslavije i zbog toga je ova zemlja zbog toga što se nalazi pored 1975. iz šume Striborove. bila odgovarajuće mesto za održavanje reke, inkorporirane su najnovije arhi- - Dizajnerka Vesna Popović - Osniva se Sabor alter- tektonske tendencije – kako tehnološke, izrađuje model prenosi- nativnog filma u Splitu sastanka Konferencije, koja je tokom prvog kontejnera za pružanje (organizator: Kino klub vih godina nastojala da sastanke održava tako i estetske – uključujući i nagove- Hi-Tech hitne medicinske pomoći u Split). u neutralnim državama, kao što su Fin- štaj tzv. arhitekture, koja je studiju Dizajn za elemen- - Osniva se grupa Novi ska i Švajcarska. U nedostatku modernog je tek počela da stiče međunarodnu slavu tarne katastrofe, u orga- kvadrat. zahvaljujući centru „Pompidu“ u Parizu. nizaciji ICSID i Međuna- kongresnog centra koji bi bio domaćin rodnog Crvenog krsta. - Objavljen je prvi album Sava centar, koji su u potpunosti izvele alternativnog stripa u Ju- takvog međunarodnog skupa, Grad Beograd - Na inicijativu Alfreda goslaviji Danes in nikdar je uzeo inostrani kredit kako bi finan- domaće firme, nije predstavljao nespret- Pala pokrenut je ZGRAF, več Kostje Gatnika (pod nu tehnološku adaptaciju stranih modela, međunarodno trijenale vi- pseudonimom Magna Purga). kao što je to bio slučaj sa Centralnim zuelnih komunikacija; - Boris Kobeta, Spomenik prva izložba održana je Dražgoškoj bitki (autor komitetom; taj objekat je bio sasvim u u Umjetničkom paviljonu u skulptura boraca: Stojan rangu sličnih građevina koje su se u to Zagrebu. Batič), Dražgoše. vreme podizale u drugim delovima sveta. - (do 1977) Gligor Čemer- - Knjiga Tipografija Emila Građevina je predstavljala nedvosmisle- ski, Spomenik slobode, Ko- Rudera, Partizanska knji- čani. ga, Ljubljana. ni iskaz, namenjen čitavoj Evropi, uspe- - Pokrenut je časopis Film ha Jugoslavije na polju modernizacije. (prvi izdavač: Centar za Tokom naredne dve godine, kompleks je film i filmsku kulturu „Ki- 1976. noteka“). - Izložba ISKRA Design proširen dvoranom za različite manife- održana je u Dizajn centru stacije sa 4000 sedišta i luksuznim ho- 1974. u Beogradu. telom, čime je postao glavna lokacija za - Matjaž Vipotnik reali- - Jordan Grabulovski i međunarodne skupove u Beogradu. Kao do- Iskra Grabulovska, Spome- zuje projekat celokupnog Makedonium vizuelnog identiteta no- maćin skupova visokog profila, kao što su nik , Kruševo. vosadskog Sterijinog po- godišnji sastanci Svetske banke, Međuna- - Donosi se novi Ustav So- zorja. rodnog monetarnog fonda i UNESCO-a, te cijalističke Federativne Republike Jugoslavije. - Objavljen je nulti broj deveti samit nesvrstanih zemalja (1989), nove serije Poleta (Mirko - Osniva se Novosadsko po- Ilić je urednik stripa i Sava centar je postao prestižno mesto na zorište / Újvidéki színház ilustracije); zajednički kom se svet upoznavao sa Jugoslavijom; s u Novom Sadu. nastup grupe mladih autora - Gostovanje Jozefa Bojsa koji će ubrzo rezultirati druge strane, to je bilo mesto na kom su (Joseph Beuys) u SKC-u na brendom Novi kvadrat. se Jugosloveni upoznavali sa svetom kroz Sava Centar, enterijer, 1977. / Centre Sava, inte- Četvrtim aprilskim susre- - U naredne tri godine, rior, 1977 nastupe čitavog niza inostranih umetni- tima. Tim za vizuelne komunika- ka, od Majlsa Dejvisa [Miles Davis] do - Izgrađen je Dom kulture cije CIO realizuje proje- fotografija / photo: Slobodan Pikula 17 „Studentski grad“ u Beo- kat celokupnog vizuelnog Moskovske filharmonije.“ gradu (osnovan 1971). identiteta Mediteranskih (Foto arhiva: Srpska filmska asocijacija / Photo Ar- chive: Serbian Film Association) - Svetlana Radević, Spo- igara u Splitu; tom pri- održan je od 28. likom je prvi put u Hrvat- Kongres kulturne akcije menik palim borcima Lje- skoj urađen pravi priruč- sirao izgradnju novog luksuznog objekta do 30. oktobra 1971. godine u Kragujevcu šanske nahije, Barutana, nik grafičkih standarda. Podgorica. na Novom Beogradu, projektovanog i iz- 17 Vladimir Kulić, National, Radnici, - Publikacija građenog za samo godinu dana da bi se u supranational, international: - Osniva se Salon arhitek- kultura, revolucija. Raz- New Belgrade and the symbolic ture u Muzeju primenjenih govori s radnicima Ivana njemu održali prvi preliminarni sastan- construction of a socialist umetnosti u Beogradu. Jakopovića, u izdanju Za- ci KEBS-a u junu 1977. godine. Pre kon- capital, Routledge, 2013. - Dizajner Oskar Kogoj

80 81 oblikuje 14 modela didak- i okupio je preko 1000 delegata. Kongre- Republici, iskorenjivanje nepismenosti, unapređenje dizajna na tičkih igračaka za decu za inicijativu Miroslava „Ciciban“ u Novoj Gorici. som je predsedavala tadašnja sekretarka stvaranje velikih funkcionalnih sistema Fruhta i Dizajn centra. - Izložba Glazbena grafika republičkog Saveza komunista Srbije, La- delovanja u kulturi i kulturnom životu, - Svetska ekonomska kriza iz kolekcije Erharda Kar- tinka Perović. Nakon održavanja Kongresa, pojačanu međurepubličku i međunarodnu zbog „naftnog šoka“. koške (Erhard Karkoschka) objavljena je knjiga koja sadrži refera- kulturnu aktivnost, stvaranje uslova za u Galeriji SC u Zagrebu. Beogradski poli- te izlagača. U uvodnim napomenama nave- kulturni preobražaj nerazvijenih područ- 1972. - Izložba ja (elektrifikacija, izgradnja puteva i tički plakat 1944–1974 u deni su sledeći ciljevi i svrha Kongresa - Dopunjen je Zakon o po- Muzeju primenjene umetno- kulturne akcije: „Kongres je zamišljen domova kulture, kinofikacija, širenje ra- rezu na promet, popular- no nazivan Zakon o kiču i sti u Beogradu. kao permanentni niz raznovrsnih akcija dio i TV mreže i rasturanje štampe, otva- šundu. - U Novom Sadu počinje da u kulturi u čijem bi izvođenju učestova- ranje čitaonica i biblioteka) itd. Ovo su izlazi Pegaz: revija za - Osniva se Dom kulture istoriju i teoriju stripa le sve progresivne snage društva. Misli samo neki od ciljeva i zadataka obimnog „Tihomir Rakić Veljko“ u i ostalih vizuelnih medija se na kulturno buđenje svih sredina, na Kongresnog programa akcija. Kongres nije Leskovcu. koji se izražavaju grafič- imao zadatak da propiše i odredi sadrži- - Izložba Total Design, kim putem. povećanje kulturnog nivoa najširih slo- Amsterdam ne i način angažovanja društvenih snaga održana je u Ga- jeva stanovništva, na stvarne uslove za leriji SC u Zagrebu. - Boris Bućan osvaja bron- već da samoupravnim dogovorom pozove da zanu plaketu na Internaci- zasnivanje širokog demokratskog koncepta - Održana je izložba 100YU onalnom bijenalu plakata u kulturne politike kao stalnog aktivizma svako sebi odredi zadatke prema uslovi- kojom se jugoslovenski Varšavi. i prevazilaženja postojećih nezadovolja- ma i zahtevima sredine i da ih sprovede plakat predstavio svetu, u život. Zamišlja se da kulturne akcije u organizaciji Komisije vajućih stanja u kulturi. Na pokretanju za kulturne veze s inozem- 1973. i organizovanju petogodišnjih kulturnih traju do 1975, kada bi se na ponovnom stvom Izvršnog vijeća SRH; - Osniva se Radnički uni- akcija radile bi sve organizovane druš- skupu izvršio uvid u ostvareno i odredi- Ivan Picelj oblikuje pla- verzitet „Oslobođenje“ li novi zadaci i poslovi u kulturi. Jed- kat za izložbu. u Novom Pazaru, koji od tvene snage i pojedinci zainteresovani Specijalni vlako- nom rečju, ambicija Kongresa je da se što - Film 1983. deluje kao dom kul- i spremni da daju svoj doprinos opštem vi Krste Papića o odlasku ture. kulturnom preobražaju Republike Srbije. pre Srbija oslobodi kulturne zaostalosti jugoslovenskih radnika na - Prvo jugoslovensko sa- Kongres treba da znači umnožavanje sna- i da se svrsta u red kulturno razvijenih privremeni rad u inostran- vetovanje na temu Radnička društava. Da bi se potvrdila široka kon- stvo. klasa i kultura. ga i sredstava za kulturu, mobilizator- Peščanik cepcija Kongresa i njegov opštedruštveni - Danilo Kiš, . Xerox ski poziv svim progresivnim snagama da Vreme - Izložba u Gale- karakter, Kongres su sazvali: Republič- - Dobrica Ćosić, riji SC u Zagrebu promo- uvećaju svoje napore za opšti napredak smrti. više tehnološke, estetske ka konferencija Socijalističkog saveza kulture i buđenje novih kulturnih potre- - Pokrenut je časopis i konceptualne mogućnosti radnog naroda Srbije, Srpska akademija Književna reč. fotokopije. ba radničke klase, da omogući efikasni- nauka i umetnosti, Univerzitet u Beogra- - Osniva se Dizajn centar - Izložba Viktora Papane- ji međusobni uticaj privrede i kulture, du, Nišu, Novom Sadu i Prištini, Kultur- u Beogradu. ka Dizajn za stvarni svi- kao i uticaj radničke klase na ukupni jet no-prosvetna zajednica Srbije, Republič- - U Galeriji SC u Zagrebu , Biblioteka „Marko Ma- kulturni život, da poboljša materijal- rulić“, Edicija „Vidici“, ka zajednica kulture, Kulturno-prosvetno održana je izložba plakata nu osnovu kulture, omogući intenzivnije Mihajla Arsovskog. Split. veće Skupštine Socijalističke Republike stimulisanje stvaralaštva i stvaralaca, - Smenjeni su „liberali“ u - Izložba Deana Jokanovića Srbije, Republičko izvršno veće, Cen- Toumina i Slobodana Mašića stvaranje povoljnih uslova za kulturni- Srbiji – Latinka Perović, tralni komitet Saveza komunista Srbije, Marko Nikezić, Mirko Ča- u Galeriji „4 slike“ Tea- ji život sela, veću dostupnost kulturnih tra &TD. Veće Saveza sindikata Srbije, Republič- nadanović, Mirko Tepavac; vrednosti mladoj generaciji, radničkoj ostavka Koče Popovića. - Novosadsko Sterijino po- ka konferencija Saveza omladine Srbije, klasi i svim građanima, izmenjenu ulogu - Osniva se Omladinski zorje pokreće Trijenale Privredna komora Srbije, Radio-televizi- pozorišnog plakata i gra- škole, pri čemu bi škola postajala sve filmski forum „Film i akci- fičkog oblikovanja. ja Beograd i Novinsko-izdavačko preduze- ja mladih“ u Pančevu (or- veći kulturni faktor i žarište kulturnog će ‘Politika’.“18 ganizator: Dom omladine - Osniva se Univerzitet života, povećanu ulogu štampe, radija i „Pančevo“). umetnosti u Beogradu. televizije u širenju kulture, slobod- - Počinje da izlazi ča- - Otvara se nova zgrada Teka 18 Kongres kulturne akcije u sopis (izdavač: Stu- Narodne biblioteke Srbije. ni razvitak kultura naroda i narodno- SR Srbiji, Uredio: Milorad dentski centar Sveučilišta - Osniva se Zajednica za sti, stvaranje novih kulturnih centara u Gončin, RK SSRN SRBIJE, 1971. u Zagrebu, OOUR Kulturne

82 83 djelatnosti). Kongres je obeležila akcija kragujevačkih žava nove, eksperimentalne i inovativ- turne akcije u Kragujevcu. - Osnovani su Aprilski su- gimnazijalaca koja je izazvala skandal. ne prakse na pozorišnoj sceni i pred- - Osniva se Festival stu- sreti (Beograd). dentskog amaterskog filma Gimnazijalci su sa ispisanim parolama stavlja ih domaćoj publici. U početku je u Skoplju (organizator: prošli kroz grad, došli ispred zgrade u programski bio usmeren pre svega na ri- Akademski kino klub „Sko- 1971. kojoj se kongres održavao i tamo spalili skantno otkrivanje nastajućih teatarskih plje“). - Osniva se Festival ŽISEL (Život sela) u Omoljici časopise i novine za koje je procenjeno praksi, da bi se vremenom preusmerio na (organizatori: Kino klub da predstavljaju kič i šund. Usledile su predstavljanje istaknutih aktuelnih dela 1970. „Žisel“ i Dom kulture Omo- mnogobrojne reakcije, od odobravanja do na svetskoj sceni. Brojni umetnici čiji - Studio B počinje s emi- ljica). tovanjem programa. oštrog osuđivanja. je rad upisan u istoriju teatra dvadese- - Marko Ristić, Popis je - Objavljena je knjiga završen, pismo objavljeno tog veka su gostovali na Bitefu: Jerzy Mixed media Bore Ćosi- u dnevnim novinama Politi- Grotowski [Ježi Grotovski], Living Thea- ća (grafičko oblikovanje: ka povodom popisa stanov- ter, Richard Schechner [Ričard Šehner], Branko Vučićević). nika u Jugoslaviji i naci- 1960-e Eugenio Barba [Euđenio Barba], La Mama, - Izložba plakata Borisa onalističkih tendencija. Bućana u Galeriji SC u Za- - Izložba Primeri kon- Ariane Mnouchkine [Arijana Mnuškin], Jo- grebu. ceptualne umetnosti u Ju- seph Chaikin [Džozef Čajkin], Peter Bro- goslaviji. - Tokom sedamdesetih i ok [Piter Bruk], Robert Wilson [Robert osamdesetih, održava se - Osniva se neformalna Vilson], Philip Glass [Filip Glas], Sa- Festival amaterskog filma grupa šestoro umetnika u Kumanovu (organizator: (Marina Abramović, Era Mi- muel Beckett [Semjuel Beket], Tadeusz Kino klub „Kozjak“, Kuma- livojević, Neša Paripović, Kantor [Tadeuš Kantor], Jurij Ljubimov novo). Raša Todosijević, Gergelj [Юрий Любимов], Pina Bausch [Pina Bauš], - Tokom sedamdesetih, odr- Urkom, Zoran Popović). Jan Fabre, Meredith Monk [Meredit Monk], žava se Festival amater- - Dizajnerka Vesna Popo- skog filma „Kamera 200“ u vić oblikuje za Industri- Wim Vandekeybus [Vim Vandekejbus], Mic- Skoplju (organizator: Kino ju poljoprivrednih mašina hael Nyman [Majkl Najman] i dr. Tokom pe- klub „Kamera 300“). „Zmaj“ u Zemunu. rioda Hladnog rata – zbog posebnog sta- - Tokom sedamdesetih, - Preduzeće „Digitron“, tusa SFRJ kao nesvrstane socijalističke održava se Festival ama- Buje, proizvodi prvi dže- terskog filma „Film su- pni kalkulator u Evropi države i otvorenosti selektora za nove trašnjice“ u Leskovcu (or- (dizajn: Davorin Savnik). prakse – Bitef je bio važno mesto susreta ganizator: Foto-kino klub - Maspok u Hrvatskoj, tzv. eksperimentalnih i kritičkih teatarskih „Aca Stojanović“, Lesko- vac). Hrvatsko proljeće i tzv. umetnika sa Istoka i Zapada. Kasnije, „kadrovske promene“ u me- - Početkom sedamdesetih, dijima i visokoškolskim nakon pada Berlinskog zida i građanskih osniva se Festival ama- ustanovama. ratova u SFRJ, on gubi taj internaci- terskog igranog filma „Nai- - Franjo Mesaroš, Grafič- Dionis 69 Dyonisus 69 onalni značaj, ali i menja programsku ssus“ u Nišu (organizator: ka enciklopedija , Ričard Šekner / , Richard Kino-foto klub „Film novo- u izdanju Schechner, BITEF festival, 1969 orijentaciju. […] Bitef je inicirala Tehničke knjige (Zagreb). sti“, Niš). fotografija: Bitef foto arhiva / photo: Bitef Photo Mira Trailović u okviru pozorišta Atelje - U Grafičkom kolektivu - Bogdanka Poznanović Archive 212. Zvanično je osnovan odlukom Skup- oblikuje knjigu poezi- (Beograd) održava se prva Jaje u čeličnoj ljus- izložba KONTAKT – pregled štine grada Beograda od 26. 12. 1966. je ci novosadskog pesnika i aktuelnog grafičkog dizajna Festival BITEF „Bitef je osnovan 1967. godine, prema kojoj je definisan kao sa- u Jugoslaviji, autora Slo- konceptualnog umetnika Vu- bodana Mašića. godine i pored raznih makro i mikrodruš- mostalna organizacija, čiji je zadatak jice Rešin Tucića; knjiga tvenih promena i prepreka opstao [je] do da svake godine organizuje internacio- izlazi u izdanju Tribine - Održava se prvi FEST mladih. (Beograd). sad, te se ubraja u jedan od najstarijih nalni festival ‘sa osnovnom koncepcijom - Osniva se festival BEOS - Slobodan i Saveta Mašić teatarskih festivala u Evropi i svetu. da prikazuje nove tendencije u oblasti (Beogradska osmica), ka- počinju da kreiraju vizu- Sa stalnim podnaslovom Nove pozorišne scenskog izraza i dramskog stvaralaš- snije BAFF (Beogradski elni identitet festivala tendencije (od 1970), Bitef je pokrenut tva’. Organizacija Bitefa dodeljena je amaterski filmski festi- BITEF. val) (organizacija: Kino - Održava se Kongres kul- kao internacionalni festival koji podr- 1967. Ateljeu 212, a od 1989. ga orga- klub 8).

84 85 Typeozia – Inter- - Festival If STAFF (or- nizuje Bitef teatar. U aprilu 1967. Mira ‘U posleratnoj istori- izložba ganizacija: Akademski kino nacionalna izložba vizuel- klub „Beograd“). Trailović je pozvala na saradnju Jova- ji evropskog avangar- ne poezije. - Osniva se Dom kulture na Ćirilova, dramaturga u Jugoslovenskom dnog teatra, Beograd - Održava se prvi BEMUS (Beo- „Studenica“ u Ušću. dramskom pozorištu, i on se priključu- je od sedamdesetih go- gradske muzičke svečanosti). - Osniva se kulturni cen- je kao koselektor već prvog festivala, dina bio smatran ka- - Film Rani radovi Želimi- tar „Bunjevačko kolo“ u održanog u septembru 1967. Kako su Mira nonskim mestom – izme- ra Žilnika dobija Zlatnog Subotici. medveda na filmskom festi- Trailović i Jovan Ćirilov već raspola- đu ostalog zbog Bitefa, - Izložba Produkt Design valu u Berlinu. u Umjetničkom paviljonu u gali informacijama o aktuelnim pozoriš- koji je, počev od 1967. - Premijera mjuzikla Kosa Zagrebu, u organizaiciji nim umetnicima, grupama i pristupima, a godine bio jedan od u Ateljeu 212, u režiji ID sekcije ULUPUH-a. umetnički afinitet im je bio u skladu sa najznačajnijih ekspe- Mire Trailovć i Zorna Rat- Kiosk K-67 kovića. - Saše J. zvaničnim zadatkom festivala, Bitef je i rimentalnih prostora Mehtiga (Saša J. Mächtig) - Katastrofalni zemljotres uvršten je u kolekciju di- zaista pokrenut s namerom da se publi- međunarodne scene. ... u Banjaluci. zajna Muzeja moderne umet- ci u Jugoslaviji predstave pozorišne i Sredinom sedamdesede- - Bora Ćosić, Uloga moje nosti u Njujorku. druge izvođačke prakse sa raznih strana tih godina, Jugosla- porodice u svetskoj revo- luciji. - Izgrađen je Dom kulture sveta koje su inovativne, eksperimental- vija je bila pozorišna u Čačku. - Filip David, Zapisi o ne, istraživačke, radikalne i aktuelne. meka, laboratorija ka- stvarnom i nestvarnom. Prema Ćirilovu, to je značilo: snomodernističke arhi- 1969. - Počinje da izlazi časo- ‘Od svih premijernih tekture, tačka krista- Treći program - Izložba slika Van Goga pis . (Van Gogh) u Narodnom mu- predstava svetskih po- lizacije neortodoksnog zeju u Beogradu. zorišta izabrati i do- marksizma i jedan od 1968. - Počinje da izlazi ROK: vesti u Beograd ono internacionalno naj- časopis za književnost, - Krajem šezdesetih poči- umetnost i estetičko is- što mi smatramo najbo- umreženijih punktova nje da se održava Festival pitivanje. ljim, ono što označava avangardne umetnosti u amaterskog dokumentarnog 19 filma u Mariboru (organiza- - U okviru Hrvatske udru- početke, to što nam Evropi.’“ tor: Kino klub „Maribor“). ge likovnih umjetnika uliva poverenje, ali i - Krajem šezdestih poči- primijenjenih umjetnosti to što bi istovremeno Prva konferencija Pokreta nesvrstanih nje da se održava Festival (ULUPUH) osniva se sekcija amaterskog filma u Osije- ID – Industrijski dizajn. moglo razbesneti čak i održana je u Beogradu od 1. do 6. septem- ku (organizator: Kino klub - Oskar Kogoj oblikuje naše istomišljenike, a bra 1961. godine i na njoj je prisustvo- „Mursa“, Osijek). Gondola plastičnu stolicu valo 25 zemalja: Avganistan, Alžir, Bur- - Počinje sa radom Galeri- A 011 da ne pominjem protiv- , za Meblo (Sloveni- nike, ono što će se doma, Cejlon, Kipar, Etiopija, Gana, Gvi- ja SANU (Srpska akademija ja). nauka i umetnosti). pasti intelektualcima neja, Indija, Indonezija, Irak, Jemen, - Pokrenut je magazin - Potpisan je sporazum sa Start . i što će onespokojiti Jugoslavija, Kambodža, Kongo, Kuba, Li- SR Nemačkom kojim se re- - Zenit tzv. crnog talasa konzervativce, a u ne- ban, Mali, Maroko, Nepal, Saudijska Ara- guliše zapošljavanje jugo- u jugoslovenskom filmu: sa kim slučajevima čak i slovenskih radnika u toj filmom Rani radovi, Žilnik 19 Ana Vujanović, Nove pozo- zemlji. Grand-prix suprotno od toga...’ rišne tendencije: BITEF (Be- osvaja u Zapad- - Osniva se Studentski ogradski internacionalni tenom Berlinu; u isto vreme, U to doba, to su pretežno bile neoavan- kulturni centar (SKC) u atarski festival), u: Isto- film je u Jugoslaviji povu- gardne prakse, koje su se pojavljivale rija umetnosti u Srbiji XX Beogradu. čen iz distribucije, kao i veka - Osniva se Kultura: ča- filmoviBiće uskoro propast u različitim vidovima, od formalnih ek- , dr Miško Šuvaković (gl. sopis za teoriju i socio- sveta i Maestro i Margari- sperimenata do angažovanog teatra, i na ur.; vizuelne umetnosti), logiju kulture i kulturnu ta Aleksandra Petrovića, i Istoku i na Zapadu. Austrijski teoreti- dr Nevena Daković (film), dr politiku. Zaseda Žike Pavlovića. Springe- Aleksandar Ignjatović (arhi- čar, kustos i urednik časopisa tektura), dr Ana Vujanović - Prva velika obnova zgra- - Veljko Bulajić snima film rin Bitka na Neretvi , Georg Schöllhammer [Georg Šelhamer] (izvođačke umetnosti), dr de Narodnog pozorišta u . Vesna Mikić i mr Jelena No- Nišu. - U okviru izložbe Novih Bitef tog vremena u internacionalnim vak (muzika), Beograd: Orion tendencija - Narodni muzej iz Beogra- , održava se okvirima vidi ovako: art, 2010. da gostuje u Drezdenu sa 86 87 izložbom Srpsko slikarstvo bija, Somalija, Sudan, Tunis, Ujedinje- mušku ulogu na Venecijan- između dva svetska rata. skom filmskom festivalu. na Arapska Republika, i tri posmatrača: Ra- - Studentski protesti. - Aleksandar Popović, Bolivija, Brazil i Ekvador. Usvojena su zvojni put Bore Šnajdera. - Vojin Bakić, Spomenik tri dokumenta: Deklaracija šefova drža- palim žrtvama na Dotr- - Dragoslav Mihajlović, Frede, laku noć ščini, Zagreb, i Spomenik va ili vlada, Opasnost od rata i Apel za . pobjedi revolucije naro- mir, pismo predsedniku SAD Kenediju [J. - Vladan Radovanović, Pu- stolina da Slavonije, Kamenska, F. Kennedy] i premijeru SSSR-a Hruščo- (verbo-voko-vizu- najveća slobodnostojeća elni eksperiment). apstraktna skulptura na vu. „U najvažnijem dokumentu – Dekla- - Dušan Džamonja, Spomenik svetu; srušen je 1992. di- raciji – odmah u prvom poglavlju iznosi revolucije naroda Moslavi- namitom, iz devetog poku- se ocjena o cijelom nizu aktualnih mene, Podgarić, Berek. šaja. đunarodnih problema koji ugrožavaju mir - Namenski je izgrađena - Osniva se Festival „No- u svijetu – hladni rat, podjela na blo- zgrada Narodnog pozorišta vosadska 8“ u Novom Sadu u Užicu, arhitekte Stanka (organizator: Kino klub kove i imperijalističke pretenzije ši- Mandića. „Novi Sad“). rom svijeta. Tu se npr. kaže: ‘Učesnici - Počinje da izlazi Bit International: časopis za konferencije podvlače... da politika ko- 1966. estetiku i teoriju medija. egzistencije znači aktivan napor za eli- - Održana je prva Beograd- - Počinje da izlazi časo- miniranje historijskih nepravdi i likvi- ska gitarijada. pis Pop express. daciju nacionalnog ugnjetavanja, jamčeći - Održano je Prvo međuna- - Film Nevinost bez zašti- istodobno svakom narodu njegov nezavisni rodno trijenale pozorišne te Dušana Makavejeva dobi- scenografije i kostimogra- razvoj... Svjesni da su ideološke ra- fije (Novi Sad). ja Zlatnog medveda na Ber- linskom filmskom festivalu. zlike nužni sastavni dio razvoja ljud- Prva konferencija Pokreta nesvrstanih, Beograd, za - Osniva se Galerija sa- skog društva, zemlje učesnice smatraju vreme govora predsednice vlade Cejlona Sirimavo vremene umetnosti u Novom In- da narodi i vlade treba da se uzdrže od Bandaranaike; u pozadini slika Petra Lubarde Sadu. 1967. dustrijalizacija, 1961. / First conference of the bilo kakvog korištenja ideologija u svr- - Kamerna pozornica SC u - Održava se prvo Praško Non-aligned Movement, Belgrade, during president Zagrebu prerasta u Teatar kvadrijenale, na kom Jugo- hu vođenja hladnog rata, vršenja priti- of Ceylon Sirimavo Bandaranaike’s speech; in the Industrialisa- &TD. slavija nastupa kao jedna background Petar Lubarda’s painting ska ili nametanja volje.’ U Deklaraciji tion - Izložba Jugoslavija – od dvadeset zemalja uče- , 1961 savremeni pravci u Galeri- snica. također stoji da svaki pokušaj nametanja izvana narodima ovog ili onog društve- ljubaznošću Muzeja Jugoslavije / courtesy of the ji „Korkoran“ (Corcoran) u - Održava se prvi BITEF Museum of Yugoslavia Vašingtonu, u organizaciji (Beogradski internacio- no-političkog sistema neprestano ugroža- Muzeja savremene umetnosti nalni teatarski festival) va svjetski mir. U drugom poglavlju do- zaoštrenih odnosa velikih sila oko Kube, u Beogradu. u Beogradu. miniraju društveni problemi svijeta koji u 12. i 13. točki se osuđuje nametanje - Izložba Nova figuracija - Počinje da izlazi časo- vojnih baza bilo kojoj državi koja se Beogradskog kruga u gale- Industrijsko obliko- se koriste kao osnova za sukobljavanje i pis riji Kulturnog centra Be- vanje tome protivi. U slijedećim točkama obra- , u izdanju Zavoda dominaciju. U trećem su poglavlju obra- ograda, na kojoj je pro- za ekonomiku domaćinstva đeni specifični problemi. Tu se izričito đuju se pitanja razoružanja i očuvanja movisano slikarstvo nove SR Srbije (kasnije Dizajn kaže da nesvrstane zemlje ‘ne žele da mira u svijetu, pozivaju se sve zemlje na predmetnosti. centra „Beograd“). formiraju novi blok i ne mogu da budu zaključenje sporazuma o tome da se sve- - Osniva se Festival ama- - Izložba i simpozijum o mirski prostor neće koristiti za ratne terskog filma u Ljutomeru britanskom dizajnu u Be- blok’, ali da smatraju prijeko potrebnim (organizator: lokalni kino ogradu. da sudjeluju ‘u rješavanju svih nerije- svrhe i traži zaključenje općeg sporazu- klub). - Film Skupljači perja šenih međunarodnih pitanja koja se odno- ma o razoružanju. Potom se traži saziva- - Osniva se MAFAF (Među- Aleksandra Petrovića dobi- se na mir i sigurnost u svijetu’. Treći nje svjetske konferencije na kojoj će se klupski i autorski festi- ja nagradu žirija na Kan- razmotriti problemi razvoja. U pretpo- val amaterskog filma) u Puli skom filmskom festivalu i dio deklaracije sastoji se od 27 točaka, (organizatori: Kino klub Zlatnu arenu u Puli. od kojih je prvih deset posvećeno pro- sljednoj se govori o tada veoma zaoštre- „Jelen“, Pula, i Festival - Film Jutro Puriše Đor- blemima antikolonijalne borbe i ukidanja nom njemačkom pitanju i skreće pažnja na jugoslovenskog filma). đevića dobija nagradu za kolonijalnog sistema. Zbog tada veoma napetost oko Berlina. U Deklaraciji je - Na Brionskom plenumu

88 89 smenjen je Aleksandar Ran- istaknuto kako ‘zemlje učesnice smatra- Vijeće sigurnosti i Ekonomsko-socijalno ujedno i prva izložba u ković i isključen iz Save- Galeriji Doma omladine. za komunista Jugoslavije. ju da su... načela miroljubive koegzi- vijeće UN kako bi veći broj nesvrstanih stencije jedina alternativa hladnom ratu i drugih zemalja u razvoju dobio mjesto u - Osnivaju se Susreti ama- 1965. tera „Abrašević“ u Valjevu i mogućnosti opće nuklearne katastrofe, tim organima svjetske organizacije. Iz- - Potpisani su sporazumi (organizatori: Savez ama- zato ta načela – koja uključuju pravo ravni rezultat Beogradske konferencije tera Srbije i Dom kulture sa Austrijom, Francuskom, u Valjevu). na samopredjeljenje, na nezavisnost i bilo je održavanje Kairske konferenci- Švedskom kojima se regu- na slobodno određivanje oblika i puto- je o ekonomskim pitanjima, u julu 1962, liše zapošljavanje jugo- - Gostovanje Mikelanđela slovenskih radnika u ino- Antoninija (Michelangelo va ekonomskog društvenog i kulturnog rate stvaranje Platforme 75 zemalja koja stranstvu. Antonioni) u Dvorani Kul- zvitka – moraju biti jedina osnova svih će kasnije postati poznatija pod nazivom turnog centra Beograda. - Počinje da se održava međunarodnih odnosa.’ U Deklaraciji su Platforma Grupe 77, jer su joj se nakon Međunarodni festival ama- - Završena je izgradnja tako sadržani osnovni principi politike sazivanja Konferencije UNCTAD-a, u Žene- terskog filma (organizato- tornja na Avali. ri: Kino klub „Beograd“ i - Miloš Crnjanski, Kod Hi- nesvrstanosti koji daju osnovu za cijeli vi, pridružile još dvije zemlje. Grupa Dom omladine Beograda). perborejaca. dalji programatski rad nesvrstanih zema- 77 postaje značajan faktor u rješavanju - Pokreće se časopis Umet- - Bora Ćosić, Priče o za- lja. U izjavi o opasnosti od rata i apelu problema nejednakosti ekonomskog razvoja nost (grafičko oblikovanje: natima. za mir izražava se zabrinutost zbog na- u svijetu. Poseban je uspjeh Beogradske Slobodan Mašić). Derviš - Meša Selimović, rasle zategnutosti u odnosima između SAD konferencije u tome što se njome nesvr- - Osniva se festival Su- i smrt. sreti profesionalnih pozo- i SSSR-a, apelira se na te dvije sile da stanost nametnula kao krupan faktor me- - Aleksandar Popović, Smr- rišta Srbije „Joakim Vu- tonosna motoristika i Kr- neodložno obustave svoje ratne pripreme đunarodne politike time što se toliki jić“. meći kas. i da pristupe međusobnim razgovorima o broj zemalja sastao i suglasio o najvaž- - Otvara se Muzej savre- 20 - Škola za likovne teh- svim spornim pitanjima. Na kraju se po- nijim pitanjima.“ mene umetnosti u Beogra- du; arhitekte: Ivan Antić ničare postaje Škola za zivaju i sve druge zemlje koje nisu bile industrijsko oblikovanje i Ivanka Raspopović. (Beograd). na konferenciji da upute slične apele. Spomenici „Dovodeći u pitanje uvriježe- - Danilo Kiš, Bašta, pe- peo - Održana je ICOGRADA – Pismo predsjedniku Kenediju i premijeru nu tvrdnju da, kada je riječ o sjeća- . International Council of Hruščovu po sadržaju je slično Izjavi. nju na Drugi svjetski rat, tek pojavom - Borislav Pekić, Vreme Graphic Design Associati- čuda. Beogradska konferencija je – kako se mo- antispomenika započinje svjestan proces ons (Bled). Ča- glo i očekivati – naišla uglavnom na dvo- aktivacije njegove društvene funkcije i - Aleksandar Popović, - Film Tri Aleksandra Po- rapa od sto petlji. deklarativnog odbacivanja tradicional- povića nagrađen je prvom vrstan odjek u svijetu. Blokovi, a oso- - Pero Zubac, Mostarske nagradom na festivalu u bito zemlje predvodnice blokova, nisu, nih spomeničkih tipova, želimo uputiti kiše. Karlovim Varima. naravno, pokazale razumijevanje niti su na znakovite otklone u smjeru novih na- - Dovršena je Jadranska - Završena je rekonstruk- čina promišljanja i upisivanja sjećanja magistrala. cija Narodnog muzeja u Be- podržale konferenciju. [...] Pod izrav- ogradu. nim ili neizravnim utjecajem skupa u Be- u prostor koji se u Jugoslaviji javlja- - Miroslav Fruht uvodi ju već sredinom 1950-ih godina. Jedan predmet Teorija dizajna u - U okviru Omladinskog po- ogradu došlo je do osnivanja niza međuna- nastavu Škole za likovne zorišta „Dadov“ nastao je rodnih tijela i organizacija u kojima se od njihovih uzroka bila je potreba za tehničare u Beogradu. pozorišni festival BRAMS uspostavom novih semantičkih veza izme- (Beogradska revija amater- raspravlja i odlučuje o zahtjevima i pri- skih malih scena). jedlozima formiranim na Beogradskoj kon- đu spomenika kao označitelja fiksiranog u 1964. - Osniva se prva privat- ferenciji. Sazvana je tako konferencija jedinstvenu prostornu točku, njime ozna- - Održan je prvi BIO – Bi- na izdavačka kuća u Jugo- o prenošenju rezultata nauke i tehničkog čenoga autentičnog teritorija kao osno- jenale industrijskog dizajna u Ljubljani. slaviji Nezavisna izdanja iskustva u manje razvijene zemlje, osno- ve sjećanja, te mjesta apsorpcije ovih (Slobodan Mašić, Saveta - Zavod za ekonomiku do- Mašić, Leonid Šejka, Mari- van je centar za izučavanje tih pitanja u dvaju elemenata koja se nalazi u indi- maćinstva SR Srbije prvi ja Čudina). okviru svjetske organizacije, stvara se put u Jugoslaviji otvara - Slobodan Mašić dizajni- UNIDO – Organizacija Ujedinjenih naroda 20 Nesvrstanost u suvremenom prodajni Salon nameštaja. ra svoj prvi plakat, i to za industrijski razvoj, osnovan je UNCTAD svijetu, urednici: Tomislav - Osniva se CIO – Centar povodom izložbe Radomira Butorac, dr Ranko Petković, za industrijsko oblikova- Damjanovića Damjana u Domu – Konferencija UN za trgovinu i razvoj, Zagreb: Vjesnikova press nje. omladine Beograda; to je poslije izvjesnog otpora prošireni su agencija, 1979. - Nastaje Zagrebački salon. 90 91 - Zagrebačka grupa filozo- vremenu kao osnovnim parametrima spome- - Donosi se novi Ustav So- fa, koja je organizovala cijalističke Federativne Korčulansku letnju školu, nika bio je zasnovan na ideološkim pre- Republike Jugoslavije i pokreće filozofski časopis misama jugoslavenskoga socijalističkog novi Ustav Socijalističke Praxis . društvenog uređenja koje se zasnivalo, Republike Srbije, a naziv - Na Kolarčevom narodnom između ostalog, na idejama društvenog države Federativna Narod- univezitetu gostuje Dmi- na Republika Jugoslavija trij Šostakovič (Дмитрий vlasništva, samoupravnih odnosa, plani- menja se u Socijalistička Шостакович). rane ekonomije i društvenog razvoja. Te- Federativna Republika Ju- goslavija. - Royal Shakespeare Com- ritorij, kao jedno od centralnih mjesta pany gostuje u Narodnom sjećanja na rat, u bivšoj Jugoslaviji - Katastrofalni zemljotres pozorištu u Beogradu. u Skoplju. shvaćen je kao autentična prostorna cje- Genre - Osniva se Udruženje li- - Osniva se GEFF ( film festival kovnih umetnika primenje- lina obilježena ratnim iskustvom (bitka- ) u Zagrebu nih umetnosti i dizajnera ma, stratištima, logorima, tajnim vojnim (organizator: Kino klub „Zagreb“). Vojvodine (UPIDIV). bazama) koju valja sačuvati i korište- - Sredinom šezdesetih, sve - Otvara se galerija Ko- njem različitih oblikovnih strategija larčevog narodnog univer- više ljudi odlazi na pri- ziteta (Beograd). trajno označiti te na taj način ratno vremni rad u inostranstvo. Susret - Bogdan Bogdanović, Spo- sjećanje prenijeti na buduće generaci- - Počinje da izlazi menik žrtvama fašističkog je. [...] Termin spomeničkih ili memo- – list omladine Beograda (grafičko oblikovanje: Slo- terora, Jasenovac. rijalnih područja, koji u upotrebu ulazi - Otvara se Dom omladine bodan Mašić). Memorijalni kompleks na Kadinjači / Kadinjača Memo- Beograda. sredinom 1960-ih godina, podrazumijevao - Osniva se škola za in- rial, Miodrag Živković i/and Aleksandar Đokić, 1979 - Marko Ristić, Odbrana je prelazak na aktivnu zaštitu spomenika dustrijsko oblikovanje na poezije. fotografija / photo: Ivan Hrkaš, 2015 kulture i predstavljao inovaciju ne samo Dedinju. Bunar u ta- - Miloš Crnjanski, Seobe - Filip David, u jugoslavenskom nego i u međunarodnom (2), Lament nad Beogradom. mnoj šumi. vidualnoj imaginaciji korisnika. Moguć- kontekstu. Iako srodni kategoriji naci- Mansarda - Jovan Hristić, Poezija i nost recepcije transferiranog sadržaja - Danilo Kiš, i filozofija. onalnih parkova, memorijalni prirodni Psalm 44. i aktivacije društvenog sjećanja pritom spomenici javljaju se znatno kasnije, a Pa- - Miodrag Pavlović, An- - Antonije Isaković, tologija srpskog pesništva ovisi o postojanju i jačini veze izme- određivanje njihove namjene, održavanja, prat i vatra. XIII–XIX v. đu označenog (teritorija) i označitelja zaštite i oblikovanja uslijedilo je tek - Mirko Kovač, Gubilište. - Izgrađena je zgrada po- (spomenika). Ovakav trijadni odnos bio nakon Drugog svjetskog rata. Najznačaj- zorišta Atelje 212 po proje uvjetovan, s jedne strane, zahtjevno- niji rezultati ovog pristupa memorija- 1962. jektu Bojana Stupice; re- šću postavljenog zadatka koji je podra- konstruisana je od 1988. lizaciji bile su integralne, interdis- - U Muzeju za umjetnost do 1992. po projektu Ranka zumijevao obilježavanje većih prostornih i obrt u Zagrebu otvara ciplinarne analize zadanih geografskih se stalna postavka; to je Radovića i Radivoja Dinu- cjelina te teško pristupačnih ili geo- područja koje su podrazumijevale blisku lovića. prva postavka koja sadr- grafski raspršenih lokacija, a na koji suradnju prostornih planera, povjesniča- ži deo za industrijski di- repertoar dotad poznatih spomeničkih ti- zajn i odsek za industrij- ra, ekonomskih stručnjaka, konzervatora sko oblikovanje, na čelu 1963. pova nije mogao adekvatno odgovoriti. S - (do 1971) Miodrag Živ- i drugih stručnjaka. Pritom je plani- sa Radomirom Putarom. ković, Spomenik pobjede na druge strane, on proizlazi iz zahtje- ranje i uređenje bilo obuhvaćeno zako- - Dušan Vukotić osvaja Sutjesci, Tjentište. va ili potrebe umjetnika, arhitekata i nom o prostornom uređenju i korištenju Oskara za animirani film Surogat. - Osniva se Škola za li- ostalih činitelja koji su sudjelovali u građevinskog zemljišta kao tzv. područje kovne tehnike, koja potom procesu obilježavanja, za iznalaženjem - Orson Vels (Orson menja naziv u Škola za li- posebne namjene. Prvu takvu studiju ra- Welles) u Zagrebu snima Proces kovne tehničare u Beogra- formalnih rješenja kojima bi se, kroz dio je tim stručnjaka na čelu s prof. film . du. bilježenje sjećanja na rat i stradanje, dr Antom Marinovićem Uzelcem od 1965. - Međuklupski festival - Izložba Savremeno fran- istodobno izrazila optimistična vizija amaterskog filma u Bačkoj cusko slikarstvo do 1969. godine na memorijalnom području u Pavi- socijalističkog društva. Konačno, odnos Topoli (organizator: Kino ljonu „Cvijeta Zuzorić“ u Petrova gora, obuhvaćajući površinu od klub „Prizma“, Bačka To- Beogradu. pojedinaca i kolektiva prema prostoru i 17 800 ha. [...] pola).

92 93 - U Zagrebu je pokrenut Smisao uređenja memorijalnih područja i turnog centra Beograda. Internacionalni festival 1950-e njihovu temeljnu poruku arhitekt Fedor - Herbert Rid (Herbert studentskih kazališta. Read), književnik i isto- - Otvoren je Muzej „25. Wenzler opisuje kao ‘pravo na slobodu i Samoupravljanje „Ovaj pojam se u prak- ričar umetnosti, gostuje u maj“ u Beogradu. borba da se ta sloboda očuva ili izbori. si široko i različito koristi i označa- Beogradu. - Rajko Radović, Spomenik Ta temeljna poruka ima bezbroj modaliteta va kako samoupravljanje u osnovnim or- - U Beogradu je održana posvećen osnivanju Jugo- i njihovo prenošenje budućim generacija- ganizacijama i u drugim organizacijama Prva konferencija Pokreta slovenske ratne mornarice, nesvrstanih. ma predstavlja ujedno i najteži zadatak udruženog rada, tako i samoupravljanje Podgora kod Makarske. - Arhitekta Bernardo Ber- - Na Radio Beogradu prvi za planere, projektante i povjesničare. u mesnoj zajednici i opštini, (kao i u nardi realizuje dizajn put je emitovana pesma [...] Spomen-područja najviše karakte- organima društveno-političkih zajedni- enterijera Radničkog sve- Love Bitlsa (The Beatles) rizira dinamično doživljavanje prostora ca na svim ostalim nivoima (pokrajina, učilišta „Moša Pijade“ u me do. Zagrebu. s nizom pojedinačnih spomen-lokaliteta republika itd.). Termin samoupravljanje - Izložba Mladi slikari, - Miodrag Živković, Spo- kojom je promovisan enfor- smještenih u autentičan ambijent. Omo- znači istovremeno radikalni preobražaj menik streljanim đacima, mel, održana je u Galeriji gućiti posjetiteljima taj dinamičan do- klasičnog administrativnog i državnog Kragujevac. Kulturnog centra Beograda. življaj spomen-područja kao cjeline i u prava i time određenu kategoriju novog - Arhitekta Edvard Ravni- - Arhitekta Vjenceslav svim njegovim specifičnostima, stvoriti prava, prava društvenog samoupravljanja kar osniva B kurs – studije Rihter osmislio je Muzej dizajna na Arhitektonskom Revolucije naroda i narod- iluziju prošloga bez imitacije bivših fi- kao izraza reorganizacije političke vla- fakultetu u Ljubljani. nosti Jugoslavije u Beo- zičkih struktura, to je najvažniji ali sti i socijalizacije tzv. državnih funk- - Prvo trijenale jugoslo- gradu. i najteži zadatak prostornog uređenja.’ cija upravljanja. U nas se, prema tome, venske likovne umetnosti - Osniva se Dom omladine Važan aspekt u osmišljavanju ovih prona Beogradskom sajmu. Šabac (od 1991. Kulturni samoupravljanje izražava kao vršenje centar Šabac). stornih spomenika bilo je višenamjensko društvenih i državnih poslova od strane 1960. - Osniva se Moderna gale- korištenje zaštićenog teritorija što je samih radnika i ostalih radnih ljudi, - (1961) Bogdan Budimirov, rija „Likovni susret“ u podrazumijevalo razvoj turizma ali i po- neposredno i preko svojih predstavnika, Subotici. Željko Solar i Dragutin stojećih i novih privrednih aktivnosti. odnosno delegata. Reč je o pravu na osno- Stilinović kreiraju si- - Osniva se Udruženje ba- Naglasak je stavljan na primarno edu- steme JU 60 i JU 61, tzv. letskih umetnika Srbije vu koga svaki radni čovek, ravnoprav- kativnu funkciju turizma i njegovu ra- limenke, za prefabrikovanu (UBUS). no s drugim radnim ljudima, odlučuje o gradnju stambenih objeka- zvojnu komponentu koja je, zapošljava- svom radu, uslovima i rezultatima rada, ta. 1961. njem stanovništva iz okolnih, najčešće o sopstvenim i zajedničkim interesima i - U Zagrebu se organizuju 22 - Ivi Andriću je u Stok- nerazvijenih mjesta, trebala doprinosi- o usmeravanju društvenog razvitka.“ manifestacije kao što su holmu uručena Nobelova na- ti ekonomskoj samoodrživosti spomen-po- pozorišni i filmski festivali IFSK-a i GEFF-a, na grada za književnost, za dručja. Za razliku od ranije opisanih roman Na Drini ćuprija. EXPO 58 Koncept organizatora Svetske kojima se promoviše ekspe- pristupa obilježavanju teritorija koji izložbe EXPO 58 u Briselu naglašavao je rimentalni pristup izvo- - Otvara se Spomen zbirka đačkim umetnostima i filmu. Pavla Beljanskog u Novom su se temeljili na uspostavljanju novih saradnju i toleranciju, svetski mir i - U okviru preduzeća Sadu; arhitekta Ivo Kur- veza između specifičnih spomeničkih obje- državni i ekonomski progres. Učestvova- tović. „Iskra“, Kranj, osniva se kata i povijesno značajnog krajolika, u nje Jugoslavije na izložbi EXPO 58 bio grupa za projektovanje i - Otvara se Galerija „Mi- ovim je projektima osnovni naglasak na razvoj proizvoda. lena Pavlović Barili“ u je projekat od velike državne važnosti. autentičnosti cjelokupnog doživljaja. S - Započinje izložbena de- Požarevcu. Arhitekta i ključna ličnost u konceptu- 5 minuta poslije 8 obzirom na to da su izvorni objekti često latnost - U Zagrebu se održa- alizaciji jugoslovenskog paviljona bio koja će prerasti u Galeri- va prvi Muzički bijenale uništeni, jedinu konstantu čini morfolo- je Vjenceslav Rihter, a radio je u sa- ju SC u Zagrebu. Zagreb, osnovan na ini- gija samog pejzaža čime ona predstavlja radnji sa Aleksandrom Srnecom i Emilom - U Zagrebu se uspostavlja cijativu avangardnog kom- 21 jedini autentični prostorni oblik.“ Međunarodna manifestacija pozitora Milka Kelemena; Veberom [Emil Weber]. Rihter je bio uče- Nove tendencije gostuju vodeće ličnosti , koja oku- 21 Sanja Horvatinčić, Spomenik, svetske avangarde, poput Mali leksikon samouprav- plja umetnike neokonstruk- teritorij i medijacija ratnog 22 Igora Stravinskog i Džona ljača tivističkog usmerenja i sjećanja u socijalističkoj Ju- , Beograd: „Savremena Kejdža (John Cage). koja prerasta u pokret. goslaviji, Život umjetnosti, administracija“ OOUR „Savre- - Otvara se Prodajna gale- - Otvara se Galerija Kul- br. 96, Zagreb, 2015. mena knjiga“, 1976.

94 95 rija „Beograd“ na Kosanči- organizacija, Savremena umetnost, Ekono- - Počinje izgradnja Muzeja ćevom vencu. mija i Turizam. Galerije su bile fizički savremene umetnosti na No- - Održan je prvi Oktobar- vom Beogradu. ski salon u Beogradu. i vizuelno povezane, između njih se lako cirkulisalo, a čitav paviljon su karak- - TV Zagreb počinje da 1958. emituje obrazovni program. terisale transparetnost, osvetljenost, - Jugoslovenski paviljon - (do 1964) Ivan Sabolić, odmerenost, jednostavnost, otvorenost. U na Svetskoj izložbi EXPO Spomenik palim borcima i prizemlju nisu postojala vrata, već se u 58 u Briselu. žrtvama fašizma, Bubanj, - Održan je prvi Festival Niš. paviljon ulazilo kroz osam otvora, a či- tava zgrada se sastojala od međuspratova dečjih pozorišta „Majske - Žan Pol Sartr (Jean-Paul igre“ u Zrenjaninu, a od Sartre) gostuje u Beogradu. koji čine prostornu artikulaciju četiri 1960, Bečej postaje doma- - Osniva se Zavod za za- galerije. Ekonomija je bila postavljena u ćin ove manifestacije. štitu spomenika kulture prizemlje, što je u skladu sa marksistič- - Televizija Beograd po- Beograda. kom idejom o bazi i nadgradnji, jer je čela je da emituje redovan - U Tejt (Tate) galeri- TV program. Emitovanje za- ji u Londonu prikazana je ekonomija čvrsto postavljena na tlo, a jedničkog jugoslovenskog izložba savremene jugoslo- iz nje se uzdižu ostale oblasti. Cen- programa počelo je na Dan venske umetnosti u organi- tralni pojam ukupne koncepcije paviljona Republike. zaciji Moderne galerije iz samoupravljanje - Atelje 4 iz Beograda i Beograda, Galerije suvre- bilo je . U paviljonu su arhitekte Đorđe Krekić, mene umjetnosti iz Zagreba izložena brojna modernistička umetnička Branko Babić i Zvonimir i Moderne galerije u Lju- dela, politički slogani su bili preve- Babić projektuju jedno- bljani, a potom je prika- sobne i dvosobne stanove, zana i u Parizu, Stokhol- deni u poetične poruke, fotografije su uključujući njihovu opremu mu, Rimu i Atini. pažljivo odabrane i integrisane u arhi- i nameštaj. Jugoslovenska izložba na EXPO58 u Briselu / Yugo- Ljubav i - Premijera filma slav exhibition at EXPO58 in Brussels, arch. Vjen- tekturu paviljona, a korišćena je i mo- - Izgradnja puta Ljublja- moda , Ljube Radičevića. ceslav Richter, 1958 derna tipografija. Čak i izložene mašine na–Zagreb. foto album ljubaznošću Muzeja Jugoslavije / photo i radna oprema vizuelno su uklopljeni u 1959. album courtesy of the Museum of Yugoslavia ukupnu estetiku postavke. Ispred pavi- 1957. - Počinje izgradnja zgrade ljona je bio postavljen čelični kabl sa- - Osniva se Međuklupski Centralnog komiteta Komu- snik Narodnooslobodilačke borbe i veli- festival amaterskog filma u nističke partije Jugosla- stavljen od šest vertikalnih lukova koji Somboru (organizator: Fo- vije na Novom Beogradu. ki uticaj na njegov rad imali su ru- simbolizuju šest konstitutivnih republi- to-kino klub „Bošnjak Er- - Osniva se umetnička gru- ski konstruktivizam, Bauhaus, međuratne ka Jugoslavije, a spoljašnjost paviljona nest“, Sombor). pa Gorgona (Zagreb). avangarde; verovao je da arhitektura i - Apstraktna umjetnost – je bila sastavljena od skulptura, re- didaktička izložba - U Beogradu je održana likovne umetnosti mogu bili aktivni uče- (po- ljefa i murala i bazena sa vodom, živopi- stavka: Ivan Picelj), odr- Savezna konferencija Sa- snici u društvenim i političkim promena- veza likovnih umetnika snih mermernih staza i zelenila koje je žana je u Zagrebu, Novom primenjenih umetnosti Ju- ma, ali je istovremeno verovao u njihovu doprinosilo estetici atmosfere.23 Sadu, Subotici, Beogradu, goslavije. estetsku autonomiju, koju je video kao Skoplju itd. - (do 1961) Ana Bešlić i preduslov za ostvarivanje njihovog po- Jovanka Jeftanović, Spome- tencijala u tranformisanju društva. Sto- 1956. nik streljanim partizani- ga je razumljivo da je Rihterov pavi- - Osniva se pozorište Ate- ma, Zlatibor (Partizanske lje 212 u Beogradu. vode). ljon imao revolucionarne konotacije, da 23 Literatura: Vladimir Ku- - Osniva se Dom kulture lić, Between Wars, Between - Prvi radio-aparat name- je odisao avangardnom estetikom, koja je Valjevo. njen masovnoj proizvod- Blocks: Yugoslavia at EXPO trebalo da stvori sliku ubrzane moderni- Architecture of Great - Osniva se festival „Ste- nji u Jugoslaviji, model 58, u: Expositions 1937–1959, Me- rijino pozorje“ u Novom RR330/RR331, po Filipsovoj zacije, progresa, otvorenosti, i da re- ssages of Peace, Images of Sadu, smotra najboljih ju- (Philips) licenci, proi- feriše na društveno angažovane avangarde Wars goslovenskih dramskih tek- zveden je u Ei Niš (Elek- , Edited by Rika Devos, međuratnog perioda. Paviljon se sastojao stova i pozorišnih pred- tronska industrija Niš). Alexander Ortenberg and Vla- od četiri galerije: Državna i društvena dimir Paperny, ASHGATE, 2015. stava nastalih po domaćim

96 97 dramskim tekstovima. 1940-e kom Umjetničkom paviljonu. - Osniva se Studentsko ek- - Počinje s radom Studio sperimentalno kazalište - za industrijsko oblikova- SEK (Zagreb). Letnja pozornica Topčider „Podizanje nje (SIO). - Osniva se je profesio- Letnje pozornice u Topčideru bilo je - Počinje primena si- nalno lutkarsko pozorište jedna od prvih aktivnosti javnog karak- to-štampe u Jugoslaviji. u Zrenjaninu, a integraci- tera u Beogradu. Prema navodima savreme- - Prva međunarodna izlož- jom dramskog i lutkarskog ba ambalaže u Ljubljani. pozorišta, 1975. godine, nika, građena je u čast Petog kongresa formira se Narodno pozori- KPJ. Poput mnogih objekata širom zemlje, šte „Toša Jovanović“. podignuta je dobrovoljnim radom, a kamen 1954. - Narodno pozorište u Pan- za izgradnju donesen je iz razrušenog - (do 1957) Izgrađena je čevu transformiše se u Dom Hala 1 Beogradskog sajma, kulture (današnji Kulturni Beograda. Izgradnju prve letnje pozorni- pokrivena najvećom kupo- centar Pančevo). ce u prestonici pomno je pratila i dnevna lom na svetu napravljenom od prednapregnutog betona - Osniva se Kulturno-pro- štampa. Projektovanje objekta povereno (građ. inž. Branko Žeželj, svetna zajednica Kruševac. je arhitekti Rajku Tatiću. [...] Pro- Letnja pozornica Topčider / Summer Stage Topči- arh. Milorad Pantović). - Osniva se Savezni festi- jektovanje Letnje pozornice u Topčide- der, arch. Rajko Tatić, 1947 - Osniva se ustanova Omla- val amaterskog filma (or- Nasleđe Nasleđe dinska katedra, koja je ganizator: Kino savez Ju- ru predstavljalo je nov arhitektonski i ljubaznošću časopisa / courtesy of [Heritage] ubrzo promenila naziv u goslavije, kasnije Savez Magazine urbanistički problem, kako u odnosu na Tribina mladih u Novom organizacija amaterskog ambijent u kojem je trebalo da se gradi, Sadu, kao prva institucija filma Jugoslavije, u sarad- Program izgradnje je obuhvatao: izgrad- posvećena kulturi omladine nji sa republičkim save- tako i po obliku, programskoj sadržini i u Jugoslaviji; kasnije je zima i klubovima domaći- nju letnjeg pozorišta za oko 2000 mesta značaju. Njena izgradnja počela je u maju transformisana u Kulturni nima). za gledaoce, s pozornicom površine 800 1947. godine, po programu koji je, po- centar Novog Sada. - Osniva se Republički metara kvadratnih; izgradnju hotela za red pozorišta, obuhvatao čitav kompleks - Novosadskim dogovorom festival amaterskog filma gostujuće umetnike, sa restoranom za pu- utvrđena je zvanična upo- (organizator: Foto-kino zgrada neophodnih za pravilno funkcioni- treba srpskohrvatskog, od- savez Srbije u saradnji sa bliku, bifeom i terasama za igru; uprav- sanje ove specifične ustanove. Projekat nosno hrvatskosrpskog knji- klubom domaćinom). nu zgradu za smeštaj magacina rekvizi- koji je započet kao rejonska pozornica ževnog jezika. - Raspisan je drugi kon- ta i garderobe glumaca; otvorene perone tokom svog razvoja dobio je veći i širi - Pokrenut je časopis Čo- kurs za Spomenik žrtvama za čekaonice, biletarnice i nadstrešnice vjek i prostor – ČIP. fašizma u Jajincima (Be- značaj. Pozornica je morala da zadovo- ograd). lji uslov da se na njoj mogu prikaza- za sklanjanje publike za vreme iznenadne - U Zagrebu je pokrenut Plavi vjesnik, nedeljnik - Umetnost i industri- kiše sa stepeništem i prelaznim rampama; ti sva pozorišna, i operska i dramska, na čijim se stranicama, ja – prva savezna izložba dela, dakle, da se može smestiti simfo- posebnu zgradu za toalete; mlečni re- uz uvozni strip, negova- primenjene umetnosti u Be- storan sa poslastičarnicom; tramvajske, lo i domaće stvaralaštvo u ogradu, u organizaciji Sa- nijski orkestar i da se mogu izvesti ba- oblasti stripa. veza umetnika primenjenih let i folklorne igre. Namera je bila da trolejbuske i autobuske čekaonice, pro- - Osniva se Galerija su- umetnosti Jugoslaviije i se prikazivanje scena odvija jednako kao store za razonodu sa veštačkim jezerom, Muzeja primenjene umetno- vodopadom i vodoskocima; uređenje tera- vremene umjetnosti u Za- sti u Beogradu. u zatvorenoj pozorišnoj dvorani. Topči- grebu. derska letnja pozornica podignuta je u se, prolaza, parkova i mesta za dečija - Salon 54 – izložba su- i sportska igrališta. Jedan od važnih vremenog slikarstva i ki- 1955. starom napuštenom majdanu koji se nala- urbanističkih i arhitektonskih proble- parstva Federativne Narod- - TV Zagreb emituje prvu zi između Topčiderskog parka na jugu i ne Republike Jugoslavije. eksperimentalnu emisiju, a rezidencijalne četvrti na severu. Oblik ma tokom izrade projekta pozornice bio potom i redovni program, je potpuno očuvanje ambijenta. Ovo se konhe sa orijentacijom severozapad-ju- prvi u Jugoslaviji. postiglo izbegavanjem nametljivih arhi- 1953. goistok dobijen je vađenjem kamena to- - (1954) Formiran je prvi - Održano je Prvo zagre- tektonskih formi. Takođe, cilj je bio da bačko trijenale primije- kom više decenija. Obronci na periferiji profesionalni ansambl Deč- njene umjetnosti. udubljenja konhe visine su od 15 do 30m. se uz očuvanje originalnog ambijenta za- jeg pozorišta / Gyermek- színház u Subotici. - Izložba Henrija Mura Okvir celog ovog prostora jeste kamen tečeni oblik kamenoloma prilagodi name- - Osniva se Udruženje li- (Henry Moore) u zagrebač- koji dominira živopisnošću svojih boja. ni. Na prvim akustičkim probama pokazalo

98 99 kovnih umetnika primenje- se da je prirodna akustika konhe ostala vodi sudski spor protiv vlasnika resto- 1950. nih umetnosti i dizajnera nedirnuta. Taj momenat je bio odlučuju- rana koji se nalazi u neposrednoj bli- - Tokom pedesetih i šez- Srbije (ULUPUDS). desetih održava se Klupski - U Beogradu počinje da ći za oblikovanje gledališta, širine i zini pozornice i koji je 2014. godine festival Kino kluba „Be- izlazi časopis Mozaik, dubine pozornice. Zbog toga su predmet rekonstruisao deo gledališta za potrebe ograd“ (organizator: Kino koji daje pregled jugoslo- naročite pažnje bili scena sa orkestrom, bašte. Stene u koje je uklesana pozor- klub „Beograd“). venske teorije i prakse u koja je postavljena u izdubljenoj ste- nica koriste alpinistička udruženja za - Jugoslovenski paviljon u oblasti dizajna. Hanoveru (projekat: Ivan - Izložba Le Korbizijea ni, i izbor osovine gledališta, u odnosu vežbanje. Opština želi da sprovede re- Picelj i Aleksandar Sr- (Le Corbusiera) u Zagrebu na relativno asimetrične obronke stena vitalizaciju, ali to će biti moguće tek nec). i Splitu. između kojih je postavljena letnja po- nakon okončanja sudskog spora. - Počinje da izlazi Po- let: omladinski časopis - Prvi Pulski filmski fe- zornica. Izabran je položaj glavne oso- stival. za književnost i kulturu vine tako da je ona istovremeno postala Bojan Stupica Takozvani „fenomen Bojan - (do 1960) Vojin Bakić, (Zagreb). Spomenik Stjepanu Filipo- osa arhitektonskog komponovanja i mesto Stupica“ (1910–1970), jugoslovenski po- - Počinje da izlazi časo- viću, Valjevo. niza akustičkih žiža s kojih zvuk dopi- zorišni umetnik, bavio se pozorišnim pis Student (Beograd). - Otvaranje Zagrebačkog re ravnomerno i podjednakim intenzitetom stvaralaštvom širom Jugoslavije, ali i u - Osniva se Narodno ama- dramskog kazališta (kasni- do svih mesta u gledalištu. Pozornica je inostranstvu: u Ljubljani, Skoplju, Ma- tersko pozorište u Kikin- je DK „Gavela“). di, koje 1992. dobija svoj tako dobila svoj karakter: omogućeno je riboru, Splitu, Beogradu, Zagrebu, Osi- profesionalni status. 1952. da se na otvorenom mogu prikazivati mu- jeku, Trstu, Pragu, Budimpešti, Lođu - Osniva se Muzej pozoriš- - Govor Miroslava Krleže zička i dramska dela pod uslovima koje [Łódź], Moskvi, Bazelu, Beču. Ostvario je ne umetnosti u Beogradu. na Kongresu književnika u pružaju dobre dvorane. Veliki repertoar 116 predstava u zemlji i 14 u inostran- - Ustanovljena je manife- Ljubljani i kraj sukoba na predviđen za prikazivanje na letnjoj po- stvu. Osim režije, scenografije i kosti- stacija Dubrovačke ljetne književnoj levici. igre u Dubrovniku. zornici zahtevao je da tehnički i scen- mografije, bavio se glumom i recitovanjem. - Osniva se Dečji kulturni - Osniva se Udruženje film- centar Beograd (pod nazi- ski problem bude posebno i u potpunosti Pisao je scenarija za filmove i snimio dva skih radnika Jugoslavije i vom Dom pionira Beograda), rešen. U te svrhe je projektovan tunel igrana filma. Radio je predstave za tele- Udruženje filmskih radnika za koji je 1968. izgrađen za smeštaj scenografije da bi u isto vre- viziju i prevodio je pozorišne tekstove Narodne republike Srbije, nov objekat u Takovskoj a potom dolazi do osniva- ulici; arhitekte: Ivan An- me služio kao pomoćna bina. Orkestar je koje je sam režirao ilisu izvođeni u renja prvih amaterskih ki- tić i Ivanka Raspopović. postavljen u udubljenje ispod nivoa po- žiji drugih reditelja. Učestvovao je na no-klubova. - Počinju da izlaze časo- - Osniva se Udruženje Krugovi Literatura zornice i gledališta. […] Početkom ovog pozorišnim festivalima u zemlji i ino- pisi , , dramskih umetnika Srbije Galerija, Tribina veka pokrenuta je inicijativa za rekon- stranstvu. Njegove predstave prikazane i drugi. (UDUS). strukciju i revitalizaciju Topčiderske su na otvaranju dva jugoslovenska pozo- - Objavljena je knjiga Mi- - Osniva se Pozorište lovana Đilasa Legenda o letnje pozornice. Na osnovu sačuvane rišta: Slovenskog narodnog gledališča u Njegošu „Boško Buha“ u Beogradu. (oblikovanje: Bo- projektne dokumentacije arhitekte Rajka Ljubljani (1945) i Jugoslovenskog dram- jan Stupica, pozorišni re- - Izgrađena je letnja po- ditelj). Tatića, napravljen je predlog restaura- skog pozorišta u Beogradu (1948). Bojan zornica na Paliću. - Niko Kralj oblikuje sto- cije koja pruža velike mogućnosti ovoj Stupica je prvi jugoslovenski reditelj - Osnivački kongres Saveza Rex licu u fabrici „Stol“ specifičnoj sceni, istovremeno je prila- koji je posle Drugog svetskog rata vodio filmskih radnika Srbije u Kamniku, koja postaje gođavajući savremenim zahtevima.“24 jugoslovensko pozorište na gostovanje u - Uvodi se model radnič- zaštitni znak jugosloven- Dundo Maroje kog samoupravljanja u Ju- skog dizajna nameštaja. instranstvo (predstava ). goslaviji i usvaja Zakon o Do revitalizacije Topčiderske pozornice Bio je profesor na tri visoke pozorišne predaji fabrika radnicima. 1951. još uvek nije došlo zbog neregulisanih škole – u Ljubljani, Beogradu i Zagrebu. - Manifest grupe EXAT 51 vlasničkih odnosa. Opština Savski venac Pored režije, umetničko rukovođenje po- 1949. (Zagreb). - Doneto je Uputstvo o 24 Saša Mihajlov, Letnja po- zorištima smatra se njegovim najznačaj- osnivanju i radu radničkih - Objavljen je prvi broj zornica na Topčideru, u: Na- nijim stvaralačkim radom: vršio je duž- časopisa Arhitekt u Lju- sleđe saveta. , br. VIII (Beograd: Za- nost direktora drame Slovenskog narod- bljani. vod za zaštitu spomenika kul- - Treći plenum Komunistič- - Počelo sa radom Pozori- ture grada Beograda) 2006, nog gledališča u Ljubljani (1945), bio ke partije Jugoslavije i šte lutaka u Nišu. 119-127. je umetnički rukovodilac Jugoslovenskog napuštanje socijalistič-

100 101 26 kog realizma. dramskog pozorišta (1947–1949), umet- ulicu, trg.“ - Osniva se Gradski muzej u Subotici. - Govor Edvarda Kardelja u nički rukovodilac pozorišta Atelje 212 Slovenskoj akademiji zna- - Počela je izgradnja Au- nosti i napuštanje socija- (1959–1962) i direktor Drame Narodnog Prvi tip domova kulture / društvenih do- toputa bratstva i jedin- lističkog realizma. pozorišta u Beogradu (1961). Dobio je mova u Jugoslaviji, koji se javljaju ne- stva. - Osniva se Pozorište na Te- brojne nagrade i priznanja. Projektovao posredno nakon Drugog svetskog rata, bio - Osniva se Kulturni cen- razijama (Beograd), (najpre je dva pozorišta: Atelje 212 i Teatar je vezan za poljoprivredne radne zadru- tar „Ribnica“ u Kraljevu. kao Humorističko pozorište, - Sondiranje terena na kasnije Beogradska komedija „Bojan Stupica“, oba u Beogradu. Izvršio ge, pa su ove ustanove često nazivali Novom Beogradu, ulje na i Savremeno pozorište, sce- je adaptaciju Ateljea 212 u zgradi „Bor- i „zadružnim domovima“. Postojala je i platnu, Boža Ilić. na na Terazijama). be“, a po njegovim projektima adaptirana podela na specijalne domove kulture: do- - Osniva se Akademija pri- - Osniva se galerija Gra- 25 je zgrada Manježa. movi omladine, domovi nacionalnih grupa, menjenih umetnosti (danas fički kolektiv (Beograd). domovi boraca, spomen-domovi, domovi re- Fakultet primenjenih umet- - Izdat je Normativ za do- nosti) u Beogradu. move kulture radi reguli- Društveni domovi / Domovi kulture / Cen- volucije itd. Način finansiranja je bio - Osniva se Akademija za sanja njihove dotadašnje tri za kulturu „Etimološka definicija doma različit i zavisio je od njihovog statu- pozorišnu umetnost (da- stihijske izgradnje. kulture objašnjava da je dom kulture koc- sa; neke domove su finansirale mesne za- našnji Fakultet dramskih - Jugoslovenski paviljon jednice, neke narodni odobri, neke opšti- umetnosti) u Beogradu. na međunarodnom sajmu u ka, najviši vrh, visoki krov građevine. Beču i Stokholmu (projekat Dom kulture predstavlja ‘kuću’ susreta- ne, a neki su u nedostatku drugog oblika i realizacija: Vjenceslav nja umetnika, njihovih dela i publike. finansiranja morali da organizuju komer- 1947 Rihter, Ivan Picelj, Alek- Dom kulture predstavlja i mesto komuni- cijalne sadržaje, poput raznih kurseva i - (1958) Ministarstvo pro- sandar Srnec). svete raspisalo je prvi kacije, mesto sticanja kontakata između tečajeva, igranki, filmskih projekcija, konkurs za uređenje Spo- - Jugoslovenski paviljon 27 na međunarodnom sajmu u raznolikih kulturnih sadržaja i formi i predstava, itd. Uglavnom su građeni ma- men-parka „Jajinci“, za- Parizu (projekat i reali- onih koji bi želeli da ‘steknu kulturu’ sovnim radnim akcijama stanovnika, a če- jedno sa konkursom za spomenike borcima NOR-a zacija: Ivan Picelj i Zvo- sto su nadmašivali privredne mogućnosti nimir Radić). ili učestvuju u istoj. Domovi kulture su i žrtvama fašizma na ne- lokalne zajednice. Zbog nemogućnosti da koliko drugih lokacija u - Počinje da izlazi časo- institucije kulture polivalentnog tipa Srbiji. pis za kulturu Jugoslavija u kojima se sjedinjuju umetnosti i sa- se obezbedi adekvatno održavanjae veli- (Beograd). vremeni umetnički žanrovi: slikarstvo, ki broj je vrlo brzo počeo da propada; - Osniva se Omladinsko kulturno-umetničko druš- - Uvedeno je osmogodišnje predstavljačke umetnosti, performansi, neki su se pretvarali u kombinaciju po- tvo „Mladost“ u Subotici. osnovno školovanje. filmska i video umetnost sa edukativnim slovnog, skladišnog i javnog prostora za - Izgrađena je zgrada Na- - Osniva se Jugoslovenska različite skupove; u nekima je došlo do rodnog pozorišta u Panče- kinoteka u Beogradu. programima: tribine, radionice, programi zamene funkcije, pa su prostori iskori- vu. - Kampanje Turizam širokim animacije publike. Domovi kulture pred- narodnim masama, Turizam stavljaju i način komunikacije lokalne - Počinje izgradnja Pala- izvršiocima petogodišnjeg te Federacije ili Saveznog 26 Dr Maja Ristić, Promena plana. zajednice sa stanovništvom, ali su oni i izvršnog veća (SIV) na No- najbolji instrument za ‘iznošenje’ spek- civilizacije ili samo jedna vom Beogradu. - U Zagrebu je osnovana utopija (Programska orijen- - Osniva se Beogradsko Akademija za primijenjenu takla iz ‘kuće’, zatvorenog prostora na tacija i koncept Domova kul- dramsko pozorište pod na- umjetnost. ture u Republici Srbiji), u: Arhitektura objekata Domova zivom Gradsko pozorište kulture u Republici Srbiji, (Beograd). 1948. Tematski zbornik, uredili: - Izgrađena je Letnja po- - Osniva se Malo pozori- dr Radivoje Dinulović, dr zornica u Topčideru (Be- šte (kasnije Malo pozo- Dragana Konstantinović, Mi- ograd). rište „Duško Radović“) u ljana Zeković, Novi Sad: De- - Snimljena su prva dva Beogradu. Godine 1968. ono partman za arhitekturu i ur- igrana filma u Jugoslaviji: dobija svoju zgradu – prvu banizam, Fakultet tehničkih Živjeće ovaj narod Nikole namenski građenu zgradu 25 Literatura: Mr Ksenija nauka, 2014. Popovića i Slavica Vjeko- dečjeg pozorišta u Jugo- Šukuljević, Bojan Stupica – Domovi kultu- Zbornik 27 Literatura: slava Afrića. slaviji; arhitekte: Ivan put u umetnost, u: re u SR Srbiji Bojan Stupica , Beograd: Za- - Neposredno nakon rata Antić i Ivanka Raspopović. , Beograd: Muzej vod za proučavanje kulturnog pozorišne umetnosti, 1985. započinju omladinske radne razvitka, Beograd, 1969. akcije - ORA.

102 103 - Donesen je prvi petogo- šćeni za mesne kancelarije, ambulante, centri usmerenog obrazovanja, obrazovni tije Jugoslavije, Palatu dišnji plan – plan indu- centri za opštenarodnu odbranu i dr. Do- društveno-političkih or- strijalizacije i elektri- prodavnice, stanove. Situacija se znatno ganizacija i Palatu Fede- fikacije. promenila sa jačanjem mesnih zajednica, gađalo se, takođe, da se transformišu u racije ili Savezno izvršno koje su se razvijale kao zakonski ele- opštinski bioskop, biblioteku, galeriju, veće (SIV). 28 30 - Osniva se Udruženje mu- 1946. menti strukture samoupravnog društva. centar za kulturu i slično. zičkih umetnika Srbije - Osniva se Udruženje li- „Organizovani u mesne zajednice radni (UMUS). kovnih umetnika Vojvodine, ljudi učestvuju u upravljanju i odluči- Centri za kulturu vezani su za opštinu - Žene su dobile pravo današnji Savez udruženja i objedinjuju različite programske pro- glasa u Jugoslaviji, Bel- likovnih umetnika Vojvo- vanju o društvenim poslovima u opštini i giji, Rumuniji i Argenti- dine (SULUV). drugim društveno-političkim zajednicama, store, poput bioskopa, opštinske galeri- ni. - Osniva se Savez udruže- kao i samoupravnim interesnim zajednica- je, radio-stanice, doma kulture i slič- - Uvedeno je obavezno sed- nja likovnih umetnika Ju- ma. Oni to čine neposredno i preko svojih no. Za razliku od domova kulture, centri mogodišnje osnovno obrazo- goslavije (SULUJ). delegacija i delegata. Odnosi, organi, za kulturu su infrastrukturno bili orga- vanje. - (1947) Postojeća zgra- - Donesen je prvi Ustav da pozorišta Manjež rekon- prava i dužnosti mesne zajednice uređuju nizovani tako da su imali svoje budže- Federativne Narodne Repu- struisana je za potrebe se statutom. Mesna zajednica ima svoj- te, zaposlene saradnike, tehničku opre- blike Jugoslavije i usvo- Jugoslovenskog dramskog 29 stvo pravnog lica.“ mu. Razvijali su se uglavnom u malim ili jen je Zakon o nacionali- pozorišta, po projektu zaciji. Momčila Belobrka, uz uče- srednjim opštinama u kojima je postojala šće Bojana Stupice. Drugi tip su narodni i radnički univer- odgovarajuća ekonomska podloga, a u ko- - Pozorište u Somboru postaje stalno profesionalno - Osniva se Narodno pozo- ziteti, nastali iz potrebe za novim zna- jima su nedostajale ustanove koje centri pozorište, a 1952. prera- rište u Kruševcu. njima i veštinama i, generalno, podi- za kulturu objedinjuju. Oni se finansira- sta u Narodno pozorište. - Osniva se Komitet za ki- zanjem stepena obrazovanja radničke kla- ju na opštinskom nivou i sa kapacitetima nematografiju Vlade Fede- rativne Narodne Republike se, čime bi se olakšao razvoj samouprav- koji treba da zadovolje potrebe lokalnih 1945. 31 Jugoslavije. ljanja, jer veliki deo potrebnih veština korisnika. - Od 1945, u Bečeju su - (do 1950) Broj kulturnih nije se sticao u školama, ili je veći deo osnovana kulturna udru- centara u SR Srbiji dosti- radništva prešao životnu dob za polazak Sondiranje terena na Novom Beogradu Pre- ženja Diletantska sekcija gao je 1450. Mesnog sindikalnog veća u redovnu školu. Oni su nastajali u ur- ma domaćoj istoriografiji, socijalistički (od 1947. Amatersko pozo- - Osniva se Oblasno narod- rište Mesnog sindikalnog no pozorište u Zaječaru, banim sredinama i za cilj su imali što realizam je prvi umetnički model u po- veća, a od 1950. Sresko današnje Pozorište Timoč- uspešniju integraciju pojedinca u radni amatersko pozorište), Ma- ke krajine „Zoran Radmi- proces i u politički proces samouprav- đarsko kulturno udruženje lović“. ljanja. Vremenom su se razvijali, pa su „Donji grad“ (kasnije Kul- - Doneta je odluka o osni- postajali ustanove za sticanje određenih turno-prosvetno društvo vanju Okružnog narodnog „Petefi Šandor“), Mađarsko pozorišta u Vranju; godine specijalizovanih znanja, npr. postaju kulturno udruženje „Gornji 1954. pozorište se gasi, mesta za učenje stranih jezika, večernji grad“ (Kulturno-prosvetno a 1997. ponovo se osniva društvo „Jožef Atila“), Narodno pozorište „Bora Hor kulturno-umetničkog Stanković“ u Vranju. 28 Literatura: Ivan Rogić, društva sindikalnog veća - Formira se Okružno na- Obilježja razvoja žarišta „Đura Jakšić“. rodno pozorište u Sremskoj elementarne difuzije kultu- en- 30 Literatura: Ivan Rogić, - Osniva se Oblasno na- Mitrovici, današnje Pozo- re (i produkcije), u: C tri kulture, domovi kulture i Obilježja razvoja žarišta rodno pozorište u Užicu, rište „Dobrica Milutino- društveni domovi u SR Hrvat- elementarne difuzije kultu- današnje Narodno pozorište vić“. Cen- Užice. skoj, uredili: Ivan Rogić, re (i produkcije), u: - Urađeni su prvi idejni tri kulture, domovi kulture i Andrija Mutnjaković, Zagreb: - Osniva se Narodno pozo- projekti izgradnje Novog društveni domovi u SR Hrvat- Zavod za kulturu Hrvatske, rište „Sterija“ u Vršcu. Beograda (arhitekta Nikola skoj 1984. , uredili: Ivan Rogić, Dobrović) na osnovu kojih - U sastavu Centralnog ko- Mali leksikon samouprav- Andrija Mutnjaković, Zagreb: je 1948. izrađen plan No- 29 miteta Komunističke parti- ljača Zavod za kulturu Hrvatske, je Jugoslavije osniva se vog Beograda koji je obu- , Beograd: „Savremena 1984. hvatao zgradu Centralnog administracija“ OOUR „Savre- Odeljenje za agitaciju i 31 Isto. komiteta Komunističke par- mena knjiga“, 1976. propagandu – Agitprop.

104 105 - Predsedništvo AP Vojvo- sleratnoj Jugoslaviji.32 Jedna od najpo- Ilića (1948), ikone jugoslovenskog so- dine donosi odluku o osni- znatijih slika je Sondiranje terena na cijalističkog realizma, na kojoj je za- vanju dva ansambla – Hr- Novom Beogradu vatskog narodnog kazališta Bože Ilića – „neumereno beležena izgradnja Predsedništva savezne i Mađarskog narodnog pozo- veličana, a zatim brzopleto potcenjiva- vlade. Slika prikazuje entuzijazam koji rišta, koji se 1951. gona“33. U svom tekstu National, Suprana- je pratio masovni fizički rad u najpri- dine spajaju i formiraju tional, International: New Belgrade and jedinstvenu kuću Narodno mitivnijim i najbrutalnijim uslovima, a pozorište / Narodno kaza- the symbolic construction of a socialist u cilju izgradnje projektovanog modernog lište / Népszínház u Su- capital, Vladimir Kulić, opisujući tri grada, što je živa ilustracija onoga što botici. faze njegove izgradnje, analizira kako je Maršal Berman [Marshall Berman] na- - Ustavotvorna skupština 34 donosi Deklaraciju o pro- su Novi Beograd i njegove najvažnije zvao ‘modernizmom nerazvijenosti’. glašenju Federativne Na- zgrade pratili promene kako unutrašnje, rodne Republike Jugosla- tako i spoljašnje politike Jugoslavije. vije. Kao ilustraciju prve faze izgradnje, Ku- - Obnova, početak ubrzane Sondiranje terena na modernizacije zemlje, od- lić koristi sliku vajanje crkve i države. Novom Beogradu iz 1948. godine: „Upo- treba dobrovoljnog rada imala je snaž- 1944. nu simboličku dimenziju, ali istovremeno 34 Vladimir Kulić, National, - Održana je prva pred- proistekla iz čiste potrebe. To je bio supranational, international: stava Pozorišta narodnog zastrašujuć zadatak praćen uznemirujućim New Belgrade and the symbolic oslobođenja u Kragujevcu construction of a socialist nedostatkom materijalnih resursa. Čak i (nekadašnjeg Pozorišta Du- capital, Routledge, 2013. navske banovine, a današ- pre nego što se započelo sa izgradnjom, njeg Knjaževsko-srpskog planirano je da se iz Dunava iskopa skoro teatra u Kragujevcu). devedeset miliona kubnih metara peska i - Formira se Narodno pozo- * LITERATURA: Pažnja – Kritika!?. Kako i šta je pi- rište u Šapcu. šljunka kako bi se zatrpale poplavlje- sano o beogradskim Oktobarskim salonima, priredili: - Osniva se dramska sekci- ne površine. Kako je mašina bilo malo, Aleksandra Mirčić, Gordana Dobrić, Aleksandra Este- ja, koja kasnije prerasta veći deo radova obavljao se ručno, što je la Bjelica Mladenović, Radonja Leposavić, Kultur- ni centar Beograda, Beograd, 2009; Atlas pozorišta, u Narodno pozorište u Le- ovekovečeno u monumentalnoj slici Son- Arhitektura skovcu. http://www.scen.uns.ac.rs/?page_id=53; diranje terena na Novom Beogradu Bože objekata domova kulture u Republici Srbiji, uredili: - Srpsko narodno pozorište dr Radivoje Dinulović, dr Dragana Konstantinović, (SNP) u Novom Sadu dobija 32 Ješa Denegri, Srpska umet- Mi- ljana Zeković, Departman za arhitekturu i ur- status državne ustanove; nost u uslovima Hladnog rata: banizam, Fakultet tehničkih nauka, Novi Sad, 2014; godine 1947. osniva Ope- Arhitektura scenskih objekata u Republici Srbiji Od socijalističkog realizma , ru, a 1950. Balet; današ- ka socijalističkom moderniz- uredili: dr Radivoje Dinulović, dr Dragana Konstan- nja zgrada SNP izgrađena mu, u: Miško Šuvaković, Ješa tinović, Miljana Zeković, Departman za arhitekturu je 1981; arhitekta Viktor Denegri, Nikola Dedić, Tri- i urbanizam, Fakultet tehničkih nauka, Novi Sad, Jackijević. jumf savremene umetnosti. Ma- 2011; Nezavisna kulturna scena Srbije, http://ne- - Osniva se Okružno dile- piranja diskontinuiteta opse- zavisnakultura.net/clanovi/; ID: Ideologija diza- tantsko pozorište u Piro- sija, uživanja, posedovanja, jna, urednik: kuda.org, Muzej savremene umetnosti tu, koje je 1945. preime- fantazija i subverzija unutar Vojvodine, Novi Sad, 2009; Miroslav Bata Petrović, novano u Okružno narodno materijalnih umetničkih prak- Alternativni film u Beogradu od 1950. do 1990. go- pozorište (današnje Na- si u Srbiji tokom dvadesetog dine, DKSG Beograd, 2008; O normalnosti. Umetnost u Srbiji 1989-2001 rodno pozorište Pirot); od veka, Novi Sad: Muzej savre- , urednici: Branislava Anđelkov- 1981. nalazi se u namenski mene umetnosti Vojvodine; ić, Branislav Dimitrijević, Dejan Sretenović, Borut Šta izgrađenoj zgradi.* Beograd: Fond Vujičić kolek- Vild, Muzej savremene umetnosti Beograd, 2005; je to savremeni ples (u Srbiji) cija, 2010. , autorski tim: Jo- 33 Lazar Trifunović, Srpsko vana Rakić, Igor Koruga, Marko Milić, Marijana Cv- slikarstvo 1900–1950, Beo- etković; Stanica Servis za savremeni ples, Beograd, grad: Nolit, 1973. 2017; i drugi izvori.

106 107 Sondiranje terena na Novom Beogradu / Sounding of the Terrain in New Belgrade, Boža Ilić, 1948 ljubazošću Narodnog muzeja Beograd / courtesy of the National Museum in Begrade 108 109 in putting up fences, dispossession, and - Opening of the alterna- 1.1.3 tive space Garaža. urbanization without employment.”1 CONCEPTUAL MAP AND CHRONOLOGY - Adoption of the Cultur- al Development Strategy Collective work of the “From the workers’ point of view, the of the Republic of Serbia Scene Work Ahead team term ‘precarization’ relates to what 2017-2027. is, from the point of view of the capi- - Adoption of the amend- ments to the Law on Person- tal, worded as ‘flexibilization of labour al Income Tax. markets, flexibility, elasticity of the - Adoption of the amend- workforce’. ‘Precarious work relations’ ments to the Law on Com- A collage of concepts, historical em- are insecure and unstable work rela- pulsory Social Insurance. blems, and different types of scenography (scenography of tions, relations at the employers’ dis- - Adoption of the Law on self-construction, crisis, recollections, self-manage- Dual Education. cretion, temporary, and usually involv- ment, the city as scenography, scenography of discontinu- - Adoption of the Law on ing no labour rights. – Precarization is ity, war, anti-war, insecurity, (in)dependence, self-or- Employees in Public Ser- a recent journalistic word derived from vices. ganisation, etc.) takes us from this moment and the word the adjective ‘precarious’, which orig- - Establishment of the Art precarity back in time, all the way to the point when inates from the Latin adjective precar- and Design Unit at the De- World War II ended and Yugoslavia started forming its offi- partment of Architecture ius (the original meaning was a specific cial cultural policy. This collage suggests a selection of and Urban Planning, Facul- one: ‘obtained by entreaty, begged for, ty of Technical Sciences, historical and theoretical material organised in a manner obtained by favour’; the derived mean- University of Novi Sad. to encourage readers to do research, reading, and analy- ing was generalized: ‘insecure, unsta- - Founding of the associ- sis of documentation, sources, and literature. Instead of ation Koncept 9 in Bel- ble’); the adverb precario was derived the comfort provided by the ready-made and simple inter- grade. from the ablative case and it also has pretations of an exceptionally complex historical peri- two meanings – a specific one ‘at some- od, this material offers a series of arguments, footnotes, 2016 one’s discretion, at someone’s request’ - Novi Sad is named 2021 and chronologies. This is not a historical survey with no and a generalized one, used in the legal/ European Capital of Cul- pretense to comprehensiveness. It is rather a glossary of technical language, ‘until cancelled’. ture. concepts created as a result of collective work, which in- - Adoption of the amend- The initial use of the term by the modern vites for further reading. ments to the Law on Cul- languages actually involved its legal/ ture. technical meaning (1336), whereas its - Opening of Dorćol Platz, general meaning (‘insecure, unstable’), a multidisciplinary art commune. 2018 which is currently being used, did not 2010s th - Founding of the Council appear before the 16 century. Under the for Creative Industries. entry ‘prekeren’, Verbinc’s Slovar tujk 2015 Precarity, insecurity, uncertainty, liv- - Opening of Catch 22, an - Passing of the new Law on [Dictionary of Foreign Words] provides Financial Support for Fam- ing from one day to the next, stress, alternative art space. ilies with Children. discontinuity, flexibilization, undig- both the legal/technical and the gener- - Founding of the asso- Opservatorijum - Adoption of the draft of nified working and living conditions... alized meaning: begged for, at someone’s ciation in Belgrade. the Agency Employment Law. “Precarity is built into the neoliber- request or approved until cancelled; de- - Founding of the associ- al capitalism, where growth is based on 1 Richard Seymour, “Svi smo mi ation Art Aparat in Bel- 2017 financial risk and indebtedness, where prekarni – o konceptu prekari- grade. jata i njegovim pogrešnim upo- - Opening of the Dorćol Na- labour markets are weakened and social Slobodni filozofski - Founding of Praktikabl tional Theatre. rabama”, , – a platform for contem- care withheld, where states raise barri- 12th May, 2014, http://slobod- - Mikser House moves to porary art and culture in ers to deprive certain groups of workers nifilozofski.com/2014/05/ric- Sarajevo and becomes a hard-seymour-svi-smo-mi-pre- Novi Sad. regional centre; closed of their civil rights, and where the urge karni-o.html, [accessed on - Founding of the Associ- shortly thereafter. to find new areas of accumulation results 28th March, 2019]. ation of Curators Alineja 110 111 in Belgrade. pendant on someone else’s will or on the logically clad in the hypothetical ‘mer- - Founding of the Cultural Knjigoskop - Founding of , circumstances. Verbinc also provides a cy’ of the owner of the capital. Thus, and Environmental Centre an initiative intended to prekarij PanArt in Pančevo. popularize and develop legal term : temporary use or in line with the tenor of the times and - Founding of Kombinart, contemporary literary pro- enjoying someone else’s property. The through the reverse movement, its pres- an informal group of young ductions for children and noun ‘precarity’ (revocability; insecu- ent use once again revives the histori- artists from Šabac. youth, Belgrade. rity, uncertainty, riskiness, unpredict- cal journey of the word: from general un- - Opening of U10 Art Space in Belgrade. ability, difficulty) did not appear uncertainty towards its legal frame, from 2014 th - Founding of a photo col- til the 19 century (the entry provid- legal technicality towards its mystical - Construction of Belgrade Rječnik stranih riječi lective Kamerades in Bel- Waterfront begins in Sa- ed in [Diction- core and back all over again, towards grade. vamala. ary of Foreign Words] by Bratoljub Klaić the relational truth: towards inequali- - Founding of an indepen- 2 - Launching of REZ, a fes- is almost identical to that provided by ty, authority, and subordination.” dent art action AGORA ART ACTION in Bela Crkva. tival of contemporary ex- Verbinc, op.p.). The Latin adjective is perimental film, TkH in precor - Launching of the first cooperation with Belgrade related to the verb , ‘to plead, The Precariat “In the age of austeri- creative hub in Serbia, Youth Centre. to beg; to wish someone something (good ty, the ranks of those suffering from […] Nova Iskra in Belgrade. - Adoption of the amend- or bad)’ and to the noun *prex, which is this precarity are expanding dramatical- ments to the Labour Law. almost exclusively used in its plural ly. In all the European states under- 2011 form preces, ‘plea, begging; slander, going long-term structural adjustment, - Founding of Youth Centre 2013 imploring’. In Latin, *prex is an In- precarity is being thrust not just on mi- CK13 in Novi Sad. - Founding of the associa- do-European root of *perk- /*prek- (or: grants and the poorest, not just on wom- - Founding of the Hleb The- tion Belgrade New Art Ter- atre in Belgrade, an art ritory – BUNT. *perek-.), which we also find in the Slav- en workers who become pregnant, not just project and troupe. Etimološkli - Opening of Ciglana, a ic word prositi. (Bezlaj, on students and the young, not just on - Group Let’s launched the club for the fans of heavy slovar slovenskega jezika [Etymological a shrinking manual workforce, but also Festival of Socially En- industry and art in the gaged Theatre Van okvira/ Dictionary of the Slavic Languages], de- on public sector workers, from the bin Off Frame former industrial enter- prositi in Belgrade. prise “Trudbenik”. rives the word from *prok’-, and men to the civil servants, from contract prok - Founding of the asso- - Founding of Gifest – a under prašati he states that * ’ is an cleaners to health professionals. This ciation The Communication regional festival of gif umlaut of *prek’.) Benveniste, Le Vocabu- ruling class offensive is striking at the Point in Belgrade. in Subotica. larie des institutions indo-europeennes, most organised centres of working class - Founding of the associa- Satibara - Founding of the associa- II, [Croatian edition: Benveniste, Words resistance, […] and this will have ef- tion in Belgrade. tion Valjevo Cultural Net- of the Indo-European Institutions, Dis- fects throughout the whole labour mar- - At the request of the An- work in Valjevo. ti-Corruption Council, the put, Zagreb, 2005] quotes as follows: ket. Precarity is not experienced to the Ministry of Infrastructure prex 2012 “...* is a justified petition which same extent and in the same way by all and Energy reached a de- is exclusively verbal and sent to gods in these aforementioned occupations. But cision on eviction of the - Opening of Mikser House artists from the premises in Savamala. in order to get what we expect from them. the restructuring of the economy, and of the Soho atelier due to - Collective for promotion The root *prek- differs in being an oral the long-term expansion of the ‘reserve irregularities in the op- of contemporary music Stu- petition addressed to a higher authority army of labour’ that comes with it, will eration of the Port of Bel- dio 6 in Novi Sad. grade. and grounded on nothing else but some- exert its disciplinary effects right up - Founding of Transforma- - Opening of Soho in Bel- tor – a platform for trans- one’s word.”– Thus, the contemporary use the chain of class strata, leaving only a grade, the Port of Bel- forming reality through of this vocabulary has originated from minority – segments of the middle class, grade. arts, in Belgrade. its secondary, generalized meaning and the ruling class – relatively secure. - Founding of the magazine - Initiation of the Cre- LiceUlice in Belgrade. ative Mentorship Pro- incorporated a series of specific legal […] The precariat is not a dangerous, regulations and practices which rely upon exotic, alien thing, not an incipient - Foundation conference of gramme. the Association Indepen- - Founding of the associ- a ‘higher authority’ of possession, thus Spisi o su- dent Culture Scene of Ser- ation KulturKick Creative 2 Rastko Močnik, restoring both the institution of pos- vremenom kapitalizmu bia. Productions in Zrenjanin. , Zagreb: session and its ‘authority’, being ideo- SNV/Aktiv/Arkzin, 2016.

112 113 2010 class to be patronised into existence. tion of capital” and transformation of - Founding of the Inter- national Children’s Theat- - Founding of an artis- It is all of us. Every one of us who is the public-owned and state-owned prop- ZajeČAR tic-theoretical-politi- The Confedera- rical Festival in uz)bu))na))) not a member of the CBI ( erty into the private one. This process Zaječar. cal platform tion of British Industry kolektiv in Belgrade. , op.prev.), not has been executed by devalorization of - Founding of the theatre Le Studio - Founding of the Cultur- a financial capitalist, not a government the previous construction and function in Belgrade. al Centre Parobrod in the minister or senior civil servant, not a of the space as well as by selling the - Founding of the artis- premises of the Cultural tic collective Karkatag in Centre of the municipality top cop or guest at a Murdoch dinner par- construction ground below the real val- Belgrade. of Stari grad. ty, not a judge or news broadcaster – not ue, along with the change of its usage - Founding of the associa- - Founding of the Centre a member, in other words, of the ‘power determined by the General Urban Plan. tion Kulturis in Belgrade. for Empirical Cultural bloc’, the capitalist class in its frac- In the socialism, the initiator of ur- - Founding of the photo Studies of South-East Eu- Belgrade Raw tions, and the penumbra of bourgeois ac- ban changes was the state, as the main collective in rope (CECS) in Belgrade. Belgrade. - Founding of the PATOS ademics and professionals that surrounds investor, and all investment-related de- 3 - Founding of the Cultur- theatre (abbreviation for it. We are all the precariat.“ cisions were reached at the state level. al Centre Grad – European Mobile Alternative Theatre Today’s new actors of urban development Centre for Culture in Bel- of the Youth of Smederevo) grade. in Smederevo. The cultural and creative industries are private investors and corporations, have, over the course of the past decade, working in close cooperation with the - First Mikser Festival in - Launching of the project Žitomlin, Belgrade. Belgrade 2020, the City of been gaining significance in creation and state government and different civil so- Belgrade’s candidacy for implementation of our national cultural ciety organisations, jointly creating 2020 European Capital of 2008 Culture policy. This is completely in line with the new urban regime. This is a departure . - Founding of PhotoExpo in the cultural strategy according to which from the centralized urban management Zrenjanin, an organization 2009 commercial projects are favoured at the model in favour of the market-oriented for development and promo- expense of non-profit cultural and artis- neoliberal regime. The regime currently tion of urban culture and - Adoption of the Law on for creativity stimulation Culture. tic practices. One of the main reasons operating in the cities is characterized in children and youth. - TkH-Walking Theory from for stimulation and support of the cul- by replacement of the concept of cen- Kontrapunkt - Founding of the Civil As- Belgrade and tural and creative industries involves tralized urban planning with the concept sociation ARTIKAL – Asso- from Skopje launch a proj- Deschooling Classroom. their role in the processes of urban re- of design planning governed by servility ciation devoted to curat- ect ing and promoting contem- - The exhibition Political generation of the cities, which aim at of the city urban administration to in- porary and free artistic Practices of Post-Yugoslav achieving their market competitiveness vestors. The urban regime is an element expression in Belgrade. Art in the Museum of Yu- for the sake of investment attraction of the capitalist production relations - Founding of Cirkusfera, goslav History; the proj- an organization for de- ect is launched by Prelom and profit generation for a small num- based on continual search for a profitable kolektiv velopment of contempo- from Belgrade, ber of privileged actors, while the ma- terrain where a surplus of value (prof- rary circus, artistic an- WHW from Zagreb, kuda.org jor part of population has no means to it) can be achieved, which is controlled imation, contemporary and from Novi Sad, SCCA/pro.ba street theatre, Belgrade. Sarajevo. take part in decision-making that in- by particular elites. These “entrepre- volves their own housing conditions and neurial strategies” in urban development - Founding of the Inter- - Founding of the associ- national Documentary Film ation Prostor in Belgrade. rights. “Within the last twenty years, sharpen the line between the social and Festival BELDOCS in Bel- - Founding of the associ- in the local context, the processes of economic inequality through institution- grade. Arteq ation , whose strat- urban regenerations are being executed al practices that involve urban space - Forced closing of the egy is aimed at inclusive exhibition Exception - The connection and involvement in the framework of all embracing “tran- control and cleansing from those unwel- Contemporary Art Scene of of individuals and groups sition” towards the neoliberal capital- Priština at the Kontekst in the field of culture and ism. This has been an aggressive process, Gallery and foundation of art with a view to promot- that started with the bloody war, that the group Workers in Cul- ing new artistic practic- ture. es and striving to improve enabled criminalized “primary accumula- - The first poetry festi- the position of minority/ Pesničenje marginalized groups. val , a training 3 Seymour, op. cit.

114 115 in active poetry reading come in terms of their class.”4 and cultural workers assumed the role of - Founding of the Theatre at public spaces, initia- Project Objective Drama – tive launched by the group “good cops” working on the front lines POD Theatre in Belgrade. Škart. In a variety of ways, art and culture of the so-called social (but not radi- - Founding of Other Stage, have become a part of these processes. cal!) inclusion and of increase in value an initiative of Belgrade independent, self-orga- 2007 On one hand, there are practices involv- of certain spaces for their capitalist nized, i.e. autonomous - Founding of Europa Nos- ing solidary activist and artistic in- exploitation. The relation between capi- tra scene involving contempo- Serbia, a Serbian rep- terventions in the field as well as pro- tal, state, culture, and art is visible rary art, theory, culture, resentative in Europa Nos- policies tra duction of theories and knowledge which in creation of global and local media, and activism, and , the European heritage gathering formal organiza- network. contribute to raising awareness of the on creative cities. Actually, it could tions, informal groups and - Founding of the Civil consequences of urban regenerations on be said that creativity associated with individuals. Association FIRMA in Novi the quality of life of the major part the tradition of artist’s aesthetic ge- - Adoption of the Labour Pazar. of the population. On the other hand, nius has nowadays acquired new social Law. - Magacin in Kraljevića artists and cultural workers often be- functions and developed into a creative - Founding of the Centre Marka Street in Belgrade for Development of Civil begins its operation as a come accomplices, in various manners, at imperative. The terms like “cultural and Resources in Niš. cultural centre of non-in- various levels, and for various reasons, creative industries” are a part of the - Privatization of the stitutional production in Port of Belgrade. culture and contemporary usually owing to lack of sufficient knowl- metanarrative of neoliberalism as a po- Nomad Dance art. edge and awareness regarding the long- litical and ideological project run by - Launching of Academy, a regional plat- - Founding of Ensemble Mi- term consequences left by these process- the dominant economic elite. The actors form and network. rage, a theatre company es. “Ever since the 1970s, artists and of the creative and cultural industries Station – from Belgrade. - Launching of cultural workers have been known as pio- and their production flows provide a foun- Service for Contemporary - Founding of the Asso- Dance, Belgrade. ciation for improvement neers in initiation of urban revitaliza- dation for the popular integration into of culture Elektrika in tion processes by deindustrialization of the optimistic urban designs involving - Founding of the Singidu- Pančevo. the American cities. Culture, creative urban regenerations, quick profit in the num University. - Founding of the movement industries, and art produced conditions sphere of real estate, and superficial - Founding of the Union New Optimism in Pančevo. poli- University. Kondenz for attraction of investors, rise in real transformation of the cities. The - Launching of cies - Founding of the ZMUC - Festival of Contemporary estate prices in the quarters with art on creative and cultural industries Zemun Art Centre in Bel- Dance and Performance, or- galleries and art studios, which started and on creative cities deal with the grade. Station - Ser- ganized by the class war – the forced eviction of programmatic use of art and culture by - Founding of UA – Asso- vice for Contemporary Dance the poorest part of the population and the state, thereby restricting art and ciation of Artists, Zren- in Belgrade. janin. the homeless, and later on of artists culture to their economic function. The - The exhibition On Nor- mality – Art in Serbia, 2006 themselves. It frequently happened that creative cities projects employ all cre- 1989-2001, Museum of Con- - Kontekst Gallery begins they put their own needs for space over ative and inventive practices in crea- temporary Art, Belgrade. its operation in the prem- the needs of the population who could tion and production of a city as a “total ises of the Cultural Cen- not choose where they would live, they work of art”. It is a sphere of political tre of the municipality of 2004 Stari grad in Belgrade. dislocated the poor and the unemployed visions aiming at attraction of new in- - Founding of ApsArt – Cen- or took the role of the ones in charge vestments, reduction in labour costs and tre for Theatre Research 2005 of normalization of the zones of poten- social expenditures, profit maximization, in Belgrade. - Founding of the Cultural tial conflict in the city. Thus, artists culture privatization, and stimulation - Founding of the Associ- Institution Vuk Karadžić, of the entrepreneurial model of work.”5 ation for Promotion of Ac- Belgrade, in the premis- 4 Ana Vilenica & kuda.org, tivism APA in Belgrade. “Prendiamoci es of the house of culture Introduction: - Founding of the Centre la citta bearing the same name, (Preuzmimo grad)! for Research in Politics Na ruševinama which was constructed in Kako?”, in: Argument in Prijepolje. the 1950s. kreativnog grada, editors: - Founding of the Associa- kuda.org, Ana Vilenica, Novi - Founding of the artistic tion of Multimedia Artists Hop.la Sad: kuda.org, 2012. 5 Ibid. group in Belgrade. AUROPOLIS in Belgrade. 116 117 of Balkania 2003 protagonists themselves who would rather , Neue Galerie, Seecult.org 2000s Graz. - Founding of , not be included in projects, networks, a portal for South-East - Founding of KIOSK, a European culture. Independent Scene “In the post-Yugosla- and institutions meting out the rules platform for contemporary - Founding of Prozaonline, vian context, the idea of an independent of work, participation and needs from art, Belgrade. an informal association cultural scene brings with it numerous above (from ministries and secretariats - Founding of the business of prose writers from the kinds of unease. Some are implied by the of culture, funds, programmers of large association Foreign Inves- former Yugoslavia. tors Council. very name – independent – but also stem institutions and the like). Self-organ- - The first edition of the - Founding of the Civil White Paper – Suggestions from, as I will show, ongoing discrep- ized initiatives (networks, platforms, Association Фет Фектори in for Improvement of Ser- ancies between nominal and actual posi- movements, communities, groups, associ- Zrenjanin. bia’s Business Environ- ment. tioning in the broad space of culture. ations…) are an optimistic attempt to - Founding of BAZAART, an Cultural systems in the countries of the organization of artists - The exhibition Blood and from Serbia and the West- Honey: The Future’s in the former Yugoslavia, during the 1990s and ern Balkans region, based Balkans, Sammlung Essl, later, were characterised by retrograde in Belgrade, whose goal Vienna. processes of the cultural renationalisa- involves development of - The exhibition In the contemporary performing Gorges of the Balkans, tion, on the one hand, and the introduc- arts and their dialogue Kunsthalle Fridericianum, tion of market principles on the other. with the society. Kassel, Germany. The atomisation of the modernist public sphere has been followed by the atomi- 2001 2002 sation of labour in the institutions of - Adoption of the Labour - The publication of Pri- culture as well as in the ever-increas- Law. mary Documents. A Source- - Founding of theMulti- book for Eastern and Cen- ing numbers of free actors without permedia Centre Led Art-Art 6 tral European Art since manent employment.” Clinic in Novi Sad. the 1950s , issued by the - Founding of New Media Museum of Modern Art in New Self-organisation “The self-organisation Centre_kuda.org in Novi York. Sad. emerges as an expanding method and also - Founding of the Associ- - Founding of the associa- ation for the Promotion of as the practice of creation of artistic Zaječar Initiative Meet- tion in Culture and Science scenes and cultural policies “from be- Zaječar. ing Point in Vršac. low”. Its potential rests with the estab- - Founding of Association - Establishment of Dimi- Kulturanova Renovation of Cultural Centre Magacin in Kraljevića in Novi Sad. trije Bašičević Mangelos lishment of flexible networks in the Art- Marka street, 2018 / radovi na renoviranju kultur- Award by the Centre for world at a time when the official cultural - Founding of the Centre nog centra Magacin u Kraljevića Marka, 2018. Contemporary Art in Bel- for Visual Research and The Foundation policies (“from above”) and the existing Visual Culture Development grade and photo / fotografija: Luka Knežević Strika KRUG for a Civil Society (FCS) institutional protocols no longer satisfy in Čačak. from New York, as a part a large number of art and culture protag- - Founding of the associ- What Do You Want of the project Young Visu- onists. The chief “asset” of the self-or- rethink the place, the status, and the ation in al Artists Awards (YVAA). Belgrade. ganisation is that it emerges from be- functions of art and culture in the pub- - Premiere of the first the- - Launching of the Forum lic sphere of this restructured “global” for New Dance of the Serbi- low, from the need of the art and culture atre piece on the disinte- an National Theatre Ballet society. Needless to say, the context is gration of Yugoslavia, The Brothel of the Warriors in Novi Sad. 6 Jelena Vesić, “Post-Rese- not homogenous, it is not “one”; quite produced by the Centre for - (until 2011) Little The- arch Notes: (Re)Search for the reverse, I insist precisely on the atre “Duško Radović” un- the True Self-Managed Art”, Cultural Decontamination multiplicity of forms arising from that and performed also on the der the leadership of Anja revised from a text origi- th Suša, inaugurates a pro- nally published in Curato- ‘common place’, on the differences rang- 35 Bitef, directed by Ana rial Research Reader Miljanić, Belgrade. gramme dedicated to Youth . Edited ing from the neoliberal capitalist First Theatre. by Paul O’Neill and Mick Wil- - The first number of the World to the transitional societies of Prelom - The exhibition In Search son. London: Open Editions, magazine . 2014.

118 119 - Founding of the Scene the post-socialist Europe to their spe- as a response to the then articulated - Founding of Forum of civ- Design Group as a part il action – FORCA in Pože- of the interdisciplinary cific micro-contexts. In these contexts cultural policies of the post-Milošević ga. postgraduate studies at self-organisations pursue different tac- governments and their clear liberal ori- - Founding of the Cen- the University of Arts in tics and partly different objectives, but entation. Other scene, based in Bel- tre for the Art PERPETUUM MADLENIUM Belgrade. their starting intent within all these grade, was gathered around regular crit- (initially ) in contexts is to – somehow and to a cer- ical discussions on the current policies Belgrade. - Founding of CEDEUM - Cen- 2000 tain degree – preserve the art from the and processes, supporting the visibility - Founding of the Centre tre for Drama in Education for Creative Growth and direct interference of either the market of the independent scene in the Serbian and Art in Belgrade. Multiculturalism - CEKOM or the state. In the light of that point public life as well as different organi- - Launching of the School in Zrenjanin. of departure, the self-organisation sup- sation, labour, and association princi- for History and Theory of TkH-Walking Art as a project of the - Founding of ports the art’s transforming potential ples within the cultural scene. It was Theory, a research theo- Belgrade Contemporary Arts retical-artistic group in to intervene in social relations. I hope established in 2005 by the non-formal Centre – former Soros Cen- Belgrade and a year later that it is clear that by focusing on the initiative organisations and individuals tre for Contemporary Arts. TkH Journal for Performing self-organisation I do not mean support coming from different fields of contempo- Arts Theory. to art’s autonomy from the social real- rary art, culture, and activism. Dur- 1998 - Founding of the asso- ERGstatus Cultural Front ity such as the modernist imperatively ing almost 8 years, this self-organised - Founding of , ciation in an educational contempo- Belgrade. requested. Quite the contrary: the em- and informal group occasionally expand- rary dance project. - TV B92 begins its oper- phasis is on the fact that art itself is ed, welcoming the participants who ac- - Founding of the Multime- ation. a form of the social practice and it thus cepted its basic principles, the princi- dia Art Studio in Odžaci. th - The so-called 5 October must be thoroughly and seriously consid- ples of self-organisation, and the man- - The Universal and Small Overthrow. ered, explored, and changed. On the one ners of decision-making and action, to Hall were built in the building of NIS (Novi Sad) hand, numerous procedures constituting its plenums. The group gathered around 1999 - Founding of the Madle- the society in which art is created make the concept that involved connecting nianum - The exhibition After Opera and Theatre the Wall: Art and Culture very brutal incursions in the province cultural and artistic work with activ- in Belgrade, the first pri- in Post-Communist Europe, of art, but on the other, art is that ism and political action in the context vately owned opera in Ser- Moderna Museet, Stockholm. bia, located in the build- relatively privileged space of the pub- of strengthening and institutionalisa- ing that initially housed - Founding of the Associ- lic sphere in which one can explore how tion of the liberal and capitalist pos- the Zemun Stage of the Na- ation of Independent The- far one can go in the analysis, creation, tulates. Therefore, its left positioning tional Theatre, construct- atres (ANET) in Belgrade, ed in 1969. including Dah, Omen, Pla- and projection of a new society. That is in the cultural scene, achieved through vo Theatre, Ister Theatre, why I assert that art is ultimately a debates and joint self-reflection, became ERGstatus, KMP Ogledalo, 1997 political activity.”7 the first thus articulated phenomenon in and Svan Theatre. - Founding of the Low-Fi - Founding of Remont – In- our environment after 2000. Video project. dependent Artistic Associ- Other Scene “Other Scene was among the Its members included the following or- - Founding of the Belgrade ation in Belgrade. first self-organised networks of organi- ganisations and initiatives, varying Summer Festival BELEF. - Founding of the art group sations and individuals who were active in structure: Teorija koja Hoda [Walk- - Holding of the first Fes- Let’s in Belgrade. in the fields of contemporary arts and ing Theory], Stanica Servis za savremeni tival of Choreographic - Founding of the Civil Miniatures in Belgrade, Association MillenniuM in activism after 2000. Its creation came ples [Station – Service for contemporary organized by the Associa- Kragujevac. dance], Kontekst kolektiv [Kontekst Col- tion of the Ballet Artists - Premiere of the theatre 7 Ana Vujanović, “Self-orga- lective], Žene na delu [Women at Work], of Serbia. On Germany, nisation: Notes on the su- piece directed Nova drama [New Drama], Hop.la, Mimart, - Founding of the Academy by Ana Miljanić, produced bject-matter of the confe- of Fine Arts (today Fac- rence”, in: TkH, Journal for Uzbuna [Alarm], stanipanikolektiv, Hy- by the Centre for Cultural Performing Arts Theory: Se- ulty of Contemporary Arts) Decontamination, the first perMedia Institut-Techne, Prelom kolek- in Belgrade, the first pri- lf-organisation, issue No. post-war guest performance tiv [Prelom Collective], Dez.org, Queer vately owned art faculty in Croatia. 11, Belgrade: TkH and Bitef in the region. Theatre, 2006. Beograd [Queer Belgrade], Bazaart, as

120 121 1996 by: Balint Sombaty, Pro- well as the following individuals: Jele- supposed to inaugurate the new orien- jeka®t - (1997) Founding of the na Vesić, Tanja Marković, Aneta Stojnić, tation of MCA, entitled Balkan Sources, magazine, No. 5, group Women at Work. Novi Sad. Vladimir Jerić Vlidi, Nenad Jeremić, which was the result of the ideologi- - Founding of the PLA- - The first Biennial of 8 Scene Design introducing Rena Raedle, Ana Vilenica, and others.” cal strategy aiming to create a histor- VO Theatre – a theatrical the term “scene design“ ical perspective of Serbian art in the laboratory in Belgrade. (Radivoje Dinulović, Mi- 20th century that would not formulate - The Centre for Cultural losav Marinović, and Irena Decontamination begins its Šentevska are considered 1990s its identity in relation to the existing operation. 9 the authors of the term). modernist narratives.” - The first number of Pro The first Biennial was held Institution as Scenography of War “What Femina: Magazine for Wom- in 1997 because it was en’s Literature and Cul- postponed due to student’s we should consider here is the fact that Street as Scenography of Anti-war “In ture. protests in 1996/97. there existed a tendency in Milošević’s 1992, the ŠKART group (made up of Dragan st - Founding of the INFANT - Holding of the 1 Yu- Serbia to bring art closer to all the Protić and Đorđe Balzamović, collaborat- Festival in Novi Sad. goslav Theatre Festival other populist trends in society con- ing at the time with the photographer Without Translation in - BK Television starts Užice. stituting the Milošević regime. This ar- Vesna Pavlović), initiated the campaign broadcasting its programme. - The exhibition Mid 1990s tistic practice became official when there “Sorrows”, within the framework of which Belgrade Scene: Aspects of occurred a change in the management of passers-by in various locations were - The Academy of Arts in a New Generation Belgrade begins its oper- , SKC Bel- the most important institution in the handed poems printed on pieces of card- grade and Centre for Vi- ation. sual Culture Zlatno oko, sphere of contemporary art in Serbia – board. The poems, invariably half-way - The construction of the Novi Sad. the Museum of Contemporary Art in Bel- between precise observation and witty Dayton Fuel Station. - Founding of the Kraljevo grade. In 1993, the then Director Zoran pathos, marked the attitude of the so- Theatre. Gavrić was forcibly removed from office called “active resignation” in relation 1994 - Founding of the Museum of and his post was taken over by the paint- to the residual nationalist euphoria and - The first Yugoslav Bien- Yugoslav History in Bel- er Radislav Trkulja, a representative to the refusal to formulate a criti- nial of Young Artists in grade by merging the Me- Vršac. morial Centre Josip Broz of the national-populist cultural ma- cal attitude in a society gone numb and - Founding of the Soros Tito and the Museum of the trix who, albeit with little success, closed in on itself through the almost Centre for Contemporary Revolution of Yugoslav Na- Arts in Belgrade. tions and Ethnic Minori- tried to change entirely the cultural forgotten feelings of empathy and soli- ties. code upon which the activities of the darity. Thus, for example, the poem The - Founding of the Indepen- dent Journalists’ Associa- - Establishment of the Museum were based. Among the members of Sorrow of a Potential Traveller was dis- tion of Serbia. Gryphon Award for the best the Board of MCA at the time was the art- tributed at a railway station, The Sorrow graphic design (Graph- of a Potential Vegetable - Founding of the Cultural ic Collective and Quadra ist Dragoš Kalajić, the key figure of the was distributed Centre REX in Belgrade. Graphics The Sorrow of ). anti-modernist world-view, who accepted in the green market, while - Founding of BK TV. Potential Return - Dejan Milićević directs without any reservations and very loud- was sent by post to ac- - The Ministry of Culture I a video for the song ly promoted the ideology of the Serbian quaintances who were among the hundreds launches the campaign It’s Wanna Dance With You, per- Better with Culture. national programme to the accompaniment of thousands of those who had left Serbia formed by Ivan Gavrilović. Flea Market of fascist-like views that he advocated since the beginning of the war. This two- - Opening of – a trade centre for sale of 1995 in the media, which also made him famous year project had a very strong note of non-food items in Block 43 in New Belgrade. - Yustat becomes the Na- outside the artistic context in which he sensitivity, which was lacking both in tional Centre of OISTAT for would be remembered as the first “Ser- - Pink Television begins YU and becomes in charge of 9 Branislava Anđelković and its operation. bian postmodern painter”. Kalajić would The Bal- the presentation of Serbia Branislav Dimitrijević, “Po- - The exhibition also co-author the exhibition that was kan Sources of the Serbian at the PQ. slednja decenija: Umetnost, Painting of the 20th Cen- - Establishment of Magnet društvo, trauma i normalnost”, tury Group in Belgrade. 8 Marijana Cvetković, Druga in: O normalnosti. Umetnost u in the Museum of Con- scena. Beogradska samoorgani- Srbiji 1989–2001, Belgrade: temporary Art in Belgrade. - Publication of the text zovana scena It’s War Today, authored , Belgrade: Acto- Museum of Contemporary Art, - The first Auteur Film Fes- polis, 2016. 2005. tival in Belgrade. 122 123 - TV Palma begins its op- society and on the art scene; put quite italism?”11 In the quoted essay, Komelj self-organized group of eration. computer enthusiasts Cor- simply, the project pointed to the pos- speaks about how theorizations of the rosion, who, a decade lat- sibility of openness and the sincerity “Eastern art” took place at the moment er, join forces with the 1993 of feeling sad in such sad times.”10 when the socialist concept in Yugoslavia people from the Striper - Led art, Frozen Art, The strip project and create a exhibition held in a cold grew weaker, restoration of capitalism new group Kosmoplovci. storage container placed was underway, and how, consequently, the - The Minister of Culture in front of the Belgrade 1980s alternative culture was not as subver- Đukić removes the Director Youth Centre. sive as it desired to be. Instead, by of the Museum of Contempo- - Launching of New Moment rary Art Zoran Gavrić from magazine. Alternative Culture Miklavž Komelj in constructing a story of the “totalitar- The Function of the Signifier office and gives his post - Founding of the asso- his text ian” past, it built its position in the to the painter Radislav ciation APSOLUTNO in Novi ‘Totalitarianism’ in the Constitution of Western art market. Trkulja. Private-Public Sad. the ‘East Art’ Field, among other things, - , a promotion of the proposal to - Founding of the Braća analyses the statement contained in the In their text The Slovenian Youth and Karić University. Laibach Kunst Art and the Neoliberalisation of Yugoslavia: establish Museum of Inter- Su- manifesto entitled national Art. - Founding of the group Totalitarianism From Alternative Movements to the Lib- pernaut in Belgrade. that all art is “subject - Founding of the Film Fes- eral Third Bloc tival Palić by the munici- - Registration of the Wom- to political manipulation, except that , Lidija K. Radojević and pality of Subotica. en’s Studies Centre in which speaks with the language of that Ana Podvršič write about the role of the Belgrade (operative since same manipulation. To use the language League of Socialist Youth of Slovenia 1991). 1991 of manipulation as subversion means to (LSYS) in the formation of an anti-so- - Ten independent public - The last 16th Biennial media from the FRY (Bor- accept the assumption that art creates cialist coalition in Slovenia during the of Young Yugoslav Artists, ba, Vreme, NIN, NTV Studio consequences and to act accordingly. 1980s debt crisis in Yugoslavia. “The Rijeka. Beograd, Radio B92, Re- publika, Nezavisnost But,what are the consequences when what institutionalised youth had a key role - Owing to the cancella- and ) language of totalitar- tion of a number of ex- establish the Association is defined as the not only in the reproduction of the Yugo- ianism hibitions from abroad and of Independent Electronic is subversively used as the lan- slav socialism, but also in its demise. to his refusal to accept Media (ANEM), soon to be- guage of manipulation? We subvert ‘to- With the onset of the debt crisis, Yugo- the existing cultural sit- come a member of the World talitarianism’ – but, isn’t this ‘total- slavia entered a new stage characterized uation, the Director of Federation of Independent the Museum of Contemporary Publishers. itarianism’ exactly a phantasm that we by the years-long efforts to reform the Art, Zoran Gavrić, discon- - Founding of the Student produce by our ‘subversive’ discourse? I existing system in line with the Wash- tinues further work of the Cultural Centre in Novi repeat the question I have already posed: ington Consensus Agenda. The official rec- museum. Sad. - Founding of Yustat – Yu- but what if the situation in the 1980s ognition of the new class development goslav Society for Theatre was such that art, while displaying its strategy, formulated in the Long-Term Art & Technology 1992 – a group subversion in relation to the monster Economic Stabilization Programme used by of professionals gathered - Premiere of the play adapted around the Atelje 212. General Milan Nedić in of ‘totalitarianism’, primarily the Government of Milka Planinc during the Zvezdara Theatre (Bel- to a new, back then only emerging so- the first negotiation talks with the IMF, - Serbia adopts the Law on grade). Conditions and Procedures cial reality of transition into the cap- more or less coincided with the decision for the Conversion of So- - The Serbian Prime Min- cial Property into Other ister Radoman Božović asks 11 Miklavž Komelj, “Uloga Forms of Property. the Parliament to dismiss označitelja „totalitarizam“ u - Founding of the DAH The- the Minister of Culture konstituisanju polja „istočne at the very next session, DeMate- atre Centre for Theatre umetnosti“ ” (I deo), Research. justifying his request by rijalizacija umetnosti, 2015, the statement that the http://dematerijalizacijau- - Founding of a women’s Đukić’s Ministry failed to metnosti.com/uloga-oznacite- peace group with a femi- secure implementation of lja-totalitarizam-u-konstitu- nist-antimilitarist orien- the Government’s policy in isanju-polja-istocne-umetno- tation, Women in Black, in the cultural institutions. sti-i-deo/ [accessed on 28th Belgrade. - Establishment of a 10 Ibid. March, 2019].

124 125 - Breakup of the Social- of the League of Socialist Youth of Yu- e.g. the League of Youth of Slovenia. The Art, the Salon of the Mu- ist Federative Republic of seum of Contemporary Art, Yugoslavia. Armed conflicts goslavia (LSYY) to abandon its role of a latter made its physical and financial Belgrade. and wars: 1991 Slovenia transmission vehicle. The institutional- infrastructure available to numerous in- - Studio B establishes a and Croatia, 1992 Bos- ised youth was far from posing any real itiatives. In Ljubljana, these involved jury for the exhibition of nia and Herzegovina until the month and of the year. 1995; conflict in Kosovo opposition able to formulate an alterna- ŠKUC and Forum, as the spaces for activ- - The exhibition Three and Nato bombing 1999. tive agenda to the dominant neoliberal ist and artistic action, and the spaces Moscow Artists – Kirtzova, reforms; however, at least in Slovenia, of youth centres where various produc- Serebriakova, Zhurovlev, 1990 it had a key role in their (partial) re- tions took place and also certain new SKC, Belgrade. - Construction of Hyatt alization. A neoliberal solution to the topics were articulated. For example, an - Young Art from German Regency Democratic Republic in New Belgrade. Yugoslav crisis was found in the combi- important cross-over event of the so- , Mu- seum of Contemporary Art, - Founding of the group nation of economic liberalization, fur- called Ljubljana alternative, entitled Škart. Belgrade. ther economic and political integration ‘Kaj je alternativa?’ [What is alter- - The first multiparty - Achille Bonito Oliva, into the European structures, and trans- native?], took place under the protec- lecture and promotion of elections. The Ideology of the Trai- formation of the federal state appara- tion of youth organisations and in their tor, Museum of Contempo- 1989 tus, that would be able to introduce fis- spaces, resulting in articulation of the rary Art, Belgrade. 13 - Serbian nationalists in- cal austerity and strict monetary policy current socio-political topics.” - Founding of FIA Art terrupt the performance of in spite of the pressures from below to Group. Saint Sava 12 the play at the increase public expenditures.” Dictionary of Technology was published - Economic programme by Yugoslav Drama Theatre in Vidici the new President of the Belgrade in the magazine in 1981. Its au- Administration of Class Federal Executive Council, - Founding of the Mega- In the interview thors were anonymous. It was handwrit- Ante Marković. Conflict trend University. , Lidija K. Radojević speaks ten in calligraphic letters, which was - The ninth summit of the - The fall of the Berlin about how Slovenian civil society of the supposed to symbolise “defence of free Non-Aligned Movement in Wall. 1980s was formed through the very infra- hand” “of free thoughts”. It is believed Belgrade. th 70 years - Marking of the 600 an- structure established in the socialism: to signify abandonment of Marxism and - The exhibition niversary of the Battle of of Movie Posters in Cro- Kosovo in Gazimestan. “The solidary aspect that we often glo- turning to different forms of postmodern atia, JAZU Cabinet of - Founding of Radio B92. rify and yearn for nowadays, i.e. the referentiality (Christian, linguistic, Graphics, Zagreb. - Founding of the Bitef fact that different initiatives – femi- etc.). - Launching of the Inter- Theatre (Belgrade). nist, LGBT, peace movement, alternative faculty Study of Design at the Faculty of Archi- - The exhibition Art Pro Vidici cultural productions – established co- “The number of the magazine enti- tecture, University of Za- and Contra, 14th Autumn Sa- operation and formed a joint political tled Dictionary of Technology, published greb. lon, National Art Gallery Banja Luka. line, was achievable owing to a specific in 1981, represents a crown document of - The last exhibition Yu- institutional arrangement which enabled the New Wave total-art concept, devel- 1988 goslav Documents, the this type of organisation through struc- oped by this magazine in the period from - The first McDonald’s in Olympic Skenderija Centre, tures of the self-management socialism, 1979 to 1982. The ‘total’ of this famous Serbia and the SFRY opens Sarajevo. in Belgrade. artistic idea manifests itself through - Mass workers‘ protests 12 Lidija K. Radojević and Ana - Completion of the Memo- in Yugoslavia. Podvršić, “Slovenačka omladina collaboration of different “tactical” ex- rial Park Jajinci. th - Emerik Bernard’s retro- i neoliberalizacija Jugoslavi- pressions, artistic provocations of the - The exhibition 6 Bel- spective exhibition, Mu- je: od alternativnih pokreta grade Triennial of Yugo- seum of Contemporary Art, do liberalnog trećeg bloka”, 13 Lidija Krienzer Radojević, slav Visual Arts, Belgrade Gradove smo vam podigli. Belgrade. in: “Administracija klasnog suko- Fair. O protivrečnostima jugoslo- Slobodni filozofski th - Petar Omčikus retrospec- ba”, , 9 - Mileta Prodanović’s ex- venskog socijalizma, CZKD, tive exhibition, Museum November 2017, http://slobod- hibition, the Salon of the Beograd, 2018. (https://www. of Contemporary Art, Bel- nifilozofski.com/2017/11/ad- Museum of Contemporary czkd.org/meta-content/uplo- grade. ministracija-klasnog-sukoba. Art, Belgrade. ads/2018/06/Publikacija-Gra- html [accessed on 29th March, - Self-portrait or Body in dove-smo-vam-podigli.pdf). 2019]. - Predrag Nešković’s ret-

126 127 rospective exhibition, Mu- socialist regime at the time, in the Maljčiki (Rus. boys), which officially an- of Serbia; Ivan Stambolić seum of Contemporary Art, removed from office. Belgrade. very period following the death of the nounced one of the most interesting sub- lifelong president of the SFRY, Josip cultural (hi)stories of the former unit- - Mrđan Bajić’s exhibi- 1986 tion, the Salon of the Mu- Broz Tito (May, 1980). In the very core ed South Slavic country. The influence of Gesamtkunstwerk - The exhibition New Aus- seum of Contemporary Art, of the concept, there was a discursive this Wagneresque project trian Art Belgrade. Vidici , Museum of Con- platform that insisted on ‘anti-techno- developed at is also measurable by temporary Art, Belgrade. - Olga Jevrić’s exhibition, virtual Sculptures 1948-1988 logical”, or more precisely anti-ideo- the international success of the - The exhibition FLUXUS, , SKC art state, Neue Slowenische Kunst Gallery, Belgrade. logical standpoints predominantly orig- (the Gallery-Legacy of Rodol- Sestre Scipion Nasice [Sci- jub Čolaković and Milica - The exhibition Con- inating from mystical and early Chris- groups IRWIN, trolled Gestural Abstrac- Zorić, Museum of Contempo- tian tradition. This was the foundation pion Nasice Sisters], Novi kolektivizem rary Art, Belgrade. tion vs. Informalism and [New Collectivism] Abstract Expressionism for the opinion completely opposed to ), and particularly by - The exhibition Yugoslav , Comics 1935-1985 Sarajevo. the ruling negative dialectic model. the success of the multimedia group Lai- , the Sa- lon of the Museum of Con- - The exhibition Young Yu- This ‘assumed’ philosophy, articulated bach, whose protagonists still use every goslav Art, temporary Art, Belgrade. Museum of Con- by Aleksandar Petrović, one of the edi- opportunity to stress the link between temporary Art, Belgrade. - The Memorandum of the tors of Vidici at the time, got its cor- the two projects. According to them, the Serbian Academy of Scienc- - The exhibition Young Yu- goslav Art responding expression in the poetry of importance of Dictionary of Technology es and Arts published by displayed in daily Večernje novosti. Graz, Austria. Slobodan Škerović (also an editor of the lies in the fact that ‘for the first time, - The exhibition Ivan then Vidici) and in the early poetry and the Belgrade youth culture gets a chan- Picelj – Graphic Design 1987 subsequent prose of Svetislav Basara as nel, a space – a new theoretical space 1946/86, 21st Zagreb Salon, - Slobodan – Era Milivoje- well as in the performing art of Živo- starts to open up with the intervention Art Pavilion Zagreb. Art, vić’s exhibition, the Sa- jin Stojković (Laughin’ Coyote) and his of new theories, new political theories - The exhibition lon of the Museum of Con- Criticism amid the 1980s, temporary Art, Belgrade. Satirsko-gerilsko pozorište [Satirical that they [Škerović and Petrović] bring Colegium Artisticum, Sara- 14 - Klaus Kumrow’s exhibi- Guerilla Theatre]. In the years to come, into game’.” jevo. tion, SKC Gallery, Bel- after the things had settled, Petrović’s - The exhibition Art amid grade. the 1980s – Belgrade Par- ‘philosophy of technology’ could still KPGT “Through his simultaneous produc- ticipants - Lecture by Stephan , Cvijeta Zuzorić be clearly distinguished in the literary tion engagements in the theatres across Art Pavilion, Belgrade. Schmidt Wulffen, SKC, Bel- spiritus movens grade. work of Tomislav Longinović and Sret- Yugoslavia, the of the - Georg Baselitz’s exhibi- - Premiere of the TV film en Ugrinović, and even in the essays of cultural and political movement KPGT (Ka- tion, Museum of Contempo- Šumanović – A Comedy of an Vladimir Đurić Đura. As a part of this zalište Pozorište Gledališče Teatar [the rary Art, Belgrade. Artist, TVB 1987. theatre - International Exhibition introduction to the indicated concept, word in the four languages spo- of Modern Art - “Scandal” surrounding translator’s note , the Salon of yet let us not forget to mention the most ken in Yugoslavia, ]) the Museum of Contemporary the Youth Day poster by Dictionary of Technol- NSK/Novi kolektivizem. important matter: Ljubiša Ristić inaugurated a unique com- Art, Belgrade. ogy is inseparable from Dragan Papić’s bination of the institutional and ‘al- - The Belgrade artists’ - The 1987 Universiade, Spazio Belgrad International University multimedia project Boys that was exe- ternative’, subsidized and self-financed, exhibition o in Sala Uno, Rome. Sports Games, held in Za- cuted in several phases, using different civil and socialist, traditional and greb. media: photography, graffiti, and, last- avant-garde, elite and massive in the - The first Eurokaz – Inter- 1985 ly, popular music. The first vinyl single Yugoslav theatre scene of the 1970s… KPGT national Festival of New - Live Aid YU Rock Mission. Theatre, Zagreb. by his Boys, Retko te viđam sa devojka- shows were performed in theatre hous- - The exhibition The Last - Miners’ strike in Labin, ma/Pomoć, pomoć [I Rarely See You with Futurist Exhibition of one of the longest strikes Girls/Help, Help] Vidici 14 Dragan Đorđević, “Grobnice Paintings , published by , DeMate- , private space, in the Socialist Yugosla- postmoderne” (I deo), Belgrade. via. is considered the first independent music rijalizacija umetnosti, 2016, - Founding of the biennial th http://dematerijalizacijau- - The 8 Plenary Session of release of the former Yugoslav culture exhibition Yugoslav Docu- the Central Committee of metnosti.com/grobnice-postmo- ments and was followed by several more equally th in Sarajevo. the League of Communists derne-i-deo/ [accessed on 29 successful singles, including the song March, 2019]. - ULUPUDS establishes Tri-

128 129 ennial of World Architec- es and unconventional settings, by the - The exhibition The New ture. 1970s Figuration: 1960s and the leading actors of the repertory theatres Continuity - Jan Dibbets’s exhibi- , Cvijeta Zu- tion, Museum of Contempo- alongside unrecognised ‘freelancers’. Gastarbeiters zorić Art Pavilion, Bel- rary Art, Belgrade. Ristić’s ‘new Baroque’ involved eclec- grade. Architec- - The exhibition French tic trifling with the history of theatre Silvana Armenulić - The exhibition Painting 1960-1985 ture in France: Modernity , Museum and with political and social history – Juga, My Juga and Postmodernity of Contemporary Art, Bel- , Museum grade. accompanied by experiments with various of Contemporary Art, Bel- grade. - Ljubiša Ristić comes to art and media forms like opera, ballet, My country, full of everything the National Theatre in popular music, television, film... I left all my dearest in you - The exhibition by the IR- WIN group, Was ist Kunst, Subotica and, during a a husband, children, the whole family decade’s work with Nada Pivara, Skadarlija. Kokotović, gathers a large KPGT addressed ‘non-discriminatively’ to and everyone else that I loved group of directors and ac- members of very different social groups 1983 tors from a number of Yugo- in the contemporary SFRY: the Yugoslav Juga, Juga, my homeland - The exhibition Zenith and slav centres – the KPGT be- Avant-garde of the 1920s gins its operation in the cultural establishment sat on improvised I’ll be longing for you forever , „Jadran“ cinema. seats in the Workers’ University “Moša National Museum, Belgrade. if only I could take a clod of native New Art - The Novi Sad exhibition Pijade” in Zagreb or in the Student Cul- - The exhibition soil in Serbia 1970-1980, Mu- of the works of Matjaž Vi- tural Centre in Belgrade (the two of my heart would be filled with joy potnik, a Slovenian de- seum of Contemporary Art, signer. the ‘best tuned’ KPGT spaces) alongside Juga, Juga, my homeland Belgrade. Book Design the typical representatives of ‘subcul- - The exhibition Art in the - The exhibition I’ll be longing for you forever 1980s in Yugoslavia, 23rd Artists tures’. , Museum of Contempo- Encounters in Subotica. rary Art, Belgrade. I cry, I cry and my heart hurts New European and Ameri- - Launching of Quorum Mag- - azine. Within the Yugoslav art scene, KPGT stands everything I love is faraway can Drawing, Youth Centre for one of the rare attempts to “not I have money and all the riches here Gallery, Belgrade. only unmask, but also call into question - The topic of the issue 1984 but Juga is my real gold the pact between the republic bureau- “The Postmodernist Era“, - Founding of the design Polja, No. 289. cracies and national intelligence, made department at the Academy My days are sad and long - Founding of the Croatian of Fine Arts in Ljubljana. in the course of the 1970s”, by putting until I return to my dear Juga Designers Association. - Founding of the Theatre into the limelight the multi-nationali- My Juga, my dearest flower, - Adoption of the Law on Mimart (Belgrade). ty and multiculturality of the ‘imagined you are the most beautiful country in the Independent Operation - The artists Raša To- Yugoslav community’. Owing to carefully of Artistic and Other Ac- dosijević and Breda Beban the world tivities in the Field of take part in the Bienniale orchestrated media campaigns and marked Culture. of Sydney. mobility of the troupe, the well-at- “If we want to say something meaningful - The Zvezdara Theatre in tended KPGT plays (performed in spaces on the phenomenon of Yugoslav gastarbeit- 1982 Belgrade begins its oper- like schoolyards, community centres, and translator’s note ation. ers [guest workers, ], - Construction of the Smederevo Centre for Cul- th sports halls) deliberately called into we have to step out of the post-commu- - Holding of the 14 Win- ture. ter Olympics in Sarajevo, question the republic (national) cultur- nist ideological framework in which the 15 - Founding of the Amateur the largest sports event al and political barriers.” contemporary criticism of communism, ab- Život šume in the history of the SFRY. Film Festival solutely pointless in terms of politics, in Sremska Mitrovica, or- - The first number of Mo- ment serves only to silence the much needed ganized by: Hunting and , the visual media Forestry Estate Sremska magazine. critique of capitalism. Mitrovica and Cinema Asso- - The exhibition Anachro- 15 Irena Šentevska, “KPGT ili So, how in the world did gastarbeiters ciation of Vojvodina. nists or Painters of the pozorište kao ‘oslobođena te- JugoLink. Pre- from a socialist country happen to come - The artist Raša Todosije- Memory, Italian Anachro- ritorija’” in: th nism Painting gled postjugoslovenskih istra- to the West? This question is not raised vić takes part in the 16 , SKC in Bel- živanja Sao Paulo Biennal. grade. , no. 1, year 3, 2013.

130 131 - Establishing of the In- in the West, that is in discussions on unthinkable – to reconcile the market - Establishment of the bi- ternational Symposium TER- ennial Pančevo Exhibition RA in Kikinda. communist past dominated by Western ide- with socialism. of Yugoslav Sculpture in - Launching of the Alter- ology. However, the answer is quite sim- The first clear symptom of the future de- Pančevo. native Film Festival, or- ple: we owe it all to capitalism. mise of this experiment was an unstop- - The exhibition on the ganized by: Academic Film As it is well known, after the break-up pable unemployment for which the party Bauhaus in the Museum of Centre at the House of Cul- with Stalin in 1948, the former Yugo- Contemporary Art in Bel- ture Studentski grad, Bel- leadership of the country – within the grade. slavia followed its own path of further grade. country itself – was unable to find any - The exhibition Le Voca- - The President of the socialist development and quickly took solution. This was the reason for open- zioni Della Pittura, Eight Federal Executive Coun- a decisive step – introducing the mar- ing the borders. Hence, the aim was not Young Italian Artists in cil, Milka Planinc, passes ket. Not only did the enterprises stop Belgrade. a package of measures for to put a human face on socialism, but The Dic- receiving any directives from the state - Publication of the stabilization of the to suppress mass unemployment by trans- tionary of Technology in economy in crisis. regarding quantities and prices of their ferring the surplus of workforce to the the magazine Vidici. - The highest unemployment products, they even started competing international labour market. The opening - Zastava from Kragujevac rate in the developed cap- among themselves. The consequences in- of the country and the emergence of the starts the production of italist world since the the car YUGO 45. 1930s Great Depression. cluded extremely accelerated growth (up Yugoslav gastarbeiters in the West thus - The exhibition Graphic - Vojin Bakić, Monument to to thirteen percent annually), generally became logical consequences of a delib- Design in the Federal Re- the Uprising of the Peo- improved standard of living, and, among public of Germany ple of Banija and Kordun erate introduction of capitalist rela- in the , other things, establishment of a power- Salon of the Museum of Con- Petrova gora. tions into the economic life of a so- ful culture industry, opening up to the temporary Art, Belgrade. - Vojin Stojić, Monument cialist country. It also started an un- to the Fighters of the Kos- global market, etc. Labour market, ac- stoppable integration of Yugoslavia into maj Partizan Detachment 1980 , companied by the ever-growing mobility the global market, i.e. into the world Kosmaj. - Germano Celant holds a of the workforce, was also established. of a not-long-ago globalizing capital- - Launching of the news- However, the gap between the developed lecture in SKC in Bel- Danas ism, whose typical contradictions from grade. weekly . North and the barely industrialised, that point on had a decisive impact on - Bogdan Bogdanović, Mau- - Museum of Modern Art poor South grew ever wider, leading to soleum of Struggle and in New York purchases 11 social and political life of the very Victory, Čačak. posters by Boris Bućan. migrations of the cheap, poorly educat- country as well as on its international ed workforce to the northern parts of - The International Visual - Ferenc Barat designs a position. Not only did the centres of Belgrade poster for the monodra- the country. Thus, both male and female Arts Exhibition Bayer Aspirin financial power, concentrated in banks, 80, Museum of Contemporary ma with the gastarbeiters developed within the very performance artist Katalin insurance companies, and large trade en- Art, Belgrade. country, out of the logic of market so- Ladik, based on the text of terprises, grow more and more independ- - The Festival of the Am- Tolnai Ottó, for the Novi cialism, which, stressed by the extreme ateur Filming Camera held ent from the political life of the coun- Sad Theatre/Újvidéki Szín- cultural variety of the former Yugosla- in Bitola during the 1980s, ház. try, but the entire country grew more organized by: Manaki Cine- via, necessarily created social, cultur- and more dependent on the power centres ma Club, Bitola. al, existential, and, finally, political 16 1981 of the international financial capital.” - Death of Josip Broz Tito. consequences. Not only was the location - Release of the album - Founding of Laibach Kunst Paket aranžman (Package subject to change, but language and cul- in Trbovlje. Sava Centre “Apart from the leading role Tour), the first record of ture, i.e. the so-called way of life, - Anthology of the texts in the non-aligned movement, one of the Design and Culture the bands Idoli, Šarlo ak- were instantly changed as well. Social, , edit- robata, and Električni or- ed by: Jerko Denegri, pub- gazam, marking the begin- cultural as well as political discrimi- 16 Boris Buden, “Gastarbaj- lished by SKC Belgrade. teri, glasnici budućnosti”, ning of the so-called new nation among the Yugoslav gastarbeiters - The exhibition Design in Slobodni filozofski, 4. ko- wave music scene in Bel- is another silent chapter in the history Serbia in the 1980s at the lovoza 2012, http://slobod- grade. Belgrade Fair. of the country ruined in the meantime, nifilozofski.com/2012/08/bo- - Protests organized by Al- which, not long ago, driven by utopia of ris-buden-gastarbajteri-gla- - The exhibition of the banian students in Prišti- th snici.html [accessed on 29 animation project for the na. industrial modernism, dared to do the March, 2019]. RTB TV Journal intro in the

132 133 Salon of the Museum of Con- symbolic pinnacles of Tito’s policy of Europe an emphatic statement of Yugo- 1978 temporary Art, Belgrade. peaceful coexistence was his success at slavia’s success at modernization. Over - Founding of the Centre of - Guest appearance of the Culture Požarevac, a new Arts Academy from Dussel- bringing the second major gathering of the following two years, the complex was building constructed in dorf in SKC in Belgrade. the Conference on Security and Co-oper- expanded to include a 4,000 seat perfor- 1982 according to a design - Founding of the group ation in Europe to Belgrade in 1977–78. mance hall and a luxury hotel, becoming by the architect Miloš Bo- Alter Imago in Belgrade A precursor to the current Organisation Belgrade’s prime locus of international jović. (Lušić, Alavanja, Nikolić, - Miodrag Živković, Memo- Prodanović). for Security and Cooperation in Europe, encounter. Hosting further high-profile rial Park to the Uprising the Conference first convened in Helsinki gatherings, such as the annual meetings and the Revolution, Sava Kovačević Monument, Graho- 1979 and Geneva 1973–75 in order to reduce the of the World Bank, the International political tensions in the divided conti- Monetary Fund, and the UNESCO, as well vo, Nikšić. - Davorin Savnik designs - Danilo Kiš, The Anatomy a popular and multi-award nent and to foster economic and human- as the ninth Summit of the Non-Aligned Lesson. winning ETA 85 telephone itarian collaboration. Such agenda was Countries in 1989, the Sava Centre became produced by Iskra, Kranj. - Founding of the first femi- precisely along the lines of Yugosla- a prestigious spot at which the world was nist group Women and Society. - Miodrag Živković, Kadin- jača Memorial Complex, via’s professed foreign policy; this, in introduced to Yugoslavia; in return, it - Construction of the new Užice turn, also made the country an appropri- was also a place where the Yugoslavs met Youth Centre at the location of the former Youth - Formal establishment ate place for the conference, which in the world through the performances of a Centre, which is to become of the House of Culture its first years sought to meet in neutral long line of international artists, from the Cultural Centre of Bečej, which is to be- Zrenjanin in 1998. come the Centre for Cul- states, like Finland and Switzerland. Miles Davis to the Moscow Philharmon- 17 ture “Vuk Karadžić” Bečej Lacking a modern congress centre to host ic.” - Founding of the Ama- in 1988. teur Comedy Film Festival an international gathering of such scale, in Zaječar, organized by: - The exhibition Ameri- can Painting of the 1970s the City of Belgrade took a foreign loan The Congress of Cultural Action took Photo-Cinema Club Timok, , Zaječar. Belgrade. to fund the construction of a new high- place in Kragujevac between 28th and 30th end facility in New Belgrade, which was October, 1971, and gathered over 1,000 - Launching of the Festi- - Animation of the famous val of Amateur Ethnolog- TV Journal intro (with designed and erected in one single year delegates. The Congress was chaired by ical Film in Prevalje by dots) broadcast by the to welcome the first preliminary meet- Latinka Perović, Secretary of the Re- the end of the 1970s, orga- TV Belgrade, designed by ings of CSCE in June 1977. Before the public League of Communists of Serbia at nized by: Prevalje Cinema Nenad Čonkić. Club. America Now conference, the team of designers, led the time. The Congress was followed by a - touring ex- - The first organization hibition in Zagreb. by the architect Stojan Maksimović, was publication containing participants’ re- of an international femi- - The exhibition of Milton sent around the world to study similar ports. In the Introductory Remarks, the nist gathering in Belgrade Drug-ca žena Glaser’s work, Gallery of buildings. The resultant facility, named following were cited as goals and mis- . Contemporary Art, Zagreb. the Sava Centre for its location adja- sion of the congress of cultural action: - The first Yugoslav Youth - The beginning of new Comic Competition or- wave. cent to the river, incorporated the lat- “The Congress is devised as a permanent ganized by the magazine Mladost - Creation of the visual est architectural trends – both techno- series of diverse cultural activities and the subsequent identity of the City Pub- logical and aesthetic – including a nod the staging of which would involve all exhibition in the SKC Gal- lery in Belgrade. lic Transport Company Bel- to the so-called Hi-Tech architecture, progressive forces of society. It re- grade, designed by: Nenad which was just gaining international no- fers to cultural awakening of all en- Novakov. 1977 From Kitsch to Eternity toriety thanks to the Pompidou Centre in vironments, the rise of cultural level - , - Founding of the KPGT Vera Horvat Pintarić, CKD, Paris. Fully realized by domestic com- of the broadest layers of society, real (Kazalište pozorište gle- Zagreb. panies, however, the Sava Centre showed conditions for establishing wide dem- dališče teatar) in Zagreb. - The exhibition of the no awkward technological adaptations of - Completed construction work by the SKC designer National, of the Sava Centre – a rep- Dragan Stojanovski 1974- foreign models, as was the case with the 17 Vladimir Kulić, Supranational, International: resentative congress cen- 1979, Belgrade Youth Cen- Central Committee; it was perfectly on New Belgrade and the Symbolic tre in New Belgrade. tre Gallery. par with its contemporaries elsewhere. Construction of a Socialist - Founding of the Museum of The building thus presented to all of Capital, Routledge, 2013. African Art in Belgrade,

134 135 exhibition design by Slo- ocratic concept of cultural policy as reading rooms and libraries), etc. These thors soon to develop into bodan and Saveta Mašić. perpetual activism, and overcoming the are only some of the aims and tasks stat- a brand New Square. - Construction of the Pup- existing inadequate conditions in cul- ed in the extensive Congress Action Pro- - The CIO visual commu- pet Theatre of Niš. nication team spends the ture. Initiation and arrangement of the gramme. The Congress does not aim at reg- following three years car- - The Bijelo Dugme concert rying out the project that held before 100,000 at- five-year-long cultural actions would in- ulating and determining the content or involves overall visual tendees at Hajdučka česma volve all organised social forces and the manner in which social forces are to identity of the Mediterra- in Belgrade. individuals interested in and ready to act, but at appealing, thorough autono- nean Games in Split, which - Introduction of voca- contribute to general cultural transfor- mous arrangement, for every individual results in the compilation tional education. mation of the Republic of Serbia. The to set their own tasks according to con- of the first real handbook - The exhibition The Yu- of graphic standards in goslav Cultural Poster in Congress should stand for multiplication ditions and requirements of their spe- Croatia. the Salon of the Museum of of forces and funds for culture; a mo- cific environments, and to bring them to - Workers, Culture, Rev- olution. Interviews with Contemporary Art in Bel- bilising call for all progressive forces life. The cultural actions are envis- grade. Workers, Ivan Jakopović, - The Mirko Ilić comics to intensify their efforts aimed at gen- aged to take place until 1975, when par- published by the Institute exhibition in the SC Gal- eral cultural progress and at awaken- ticipants would regather to inspect the for Culture of Croatia, lery in Zagreb. The bands ing of new cultural needs of the working accomplished work and set new cultural Zagreb. Pankrti and Rock’n’roll iz - Danilo Kiš, A Tomb for šume Striborove play at class; assurance of a more efficient in- tasks and work. In a nutshell, the ambi- Boris Davidovich. the opening. teraction between economy and culture as tion of the Congress is to liberate Ser- - Founding of the Alter- well as influence of the working class on bia from cultural backwardness as soon 1975 native Film Meeting in the overall cultural life; improvement as possible and to rank it among the cul- Split, organized by: Split - Designer Vesna Popović Cinema Club. of the material basis of culture; assur- turally developed societies. As an ac- constructs a model of por- table container for urgent - Founding of the New ance that authors and their work get more knowledgement of the broad conception of medical care in the Ele- Square group. intense stimulation; creation of favour- the Congress and of its general social mentary Catastrophe Design - Publication of the first able conditions for cultural life in the character, the Congress has been con- Studio, organized by ICSID alternative comic book in Danes in nik- countryside; increased availability of vened by: The Republic Conference of the and the International Red Yugoslavia, Cross. dar več by Kostja Gatnik cultural values to the young generation, Socialist Alliance of Working People of - Launching of ZGRAF, the under the pseudonym of to the working class and to all citizens; Serbia, the Serbian Academy of Sciences international triennial of Magna Purga. changed role of school, with school be- and Arts, the Universities of Belgrade, visual communications, on - Boris Kobeta, Monument to the Battle of Dražgoše; coming a growing cultural factor and fo- Niš, Novi Sad and Priština, the Cultural the initiative of Alfred cus of cultural life; increased role of and Educational Community of Serbia, the Pal. The first exhibition the warrior sculptures by is held in the Art Pavil- Stojan Batič, Dražgoše. press, radio and television in spreading Cultural Community of the Republic, the ion, Zagreb. Typography - , Emil Ruder, culture; free development of the cul- Cultural and Educational Council of the - (/1977) Gligor Čemerski, Partizanska knjiga, Lju- ture of peoples and ethnicities; estab- Assembly of the Socialist Republic of Freedom Monument, Kočani. bljana. lishment of new cultural centres in the Serbia, the Republic Executive Council, - Launching of the maga- FILM Republic; eradication of illiteracy; es- the Central Committee of the League of zine , the first pub- 1976 lisher is the Centre for tablishment of large functional systems Communists of Serbia, the Council of the - The exhibition ISKRA De- Film and Film Culture – the sign held at the Design of action in culture and cultural life; Trade Union Alliance of Serbia, the Re- Film Archive. Centre in Belgrade. increased inter-Republic and interna- public Conference of the Youth Alliance - Matjaž Vipotnik shapes tional cultural activity; creation of of Serbia, the Serbian Chamber of Com- 1974 the total-design of Steri- environment for cultural transformation merce, Radio Television of Belgrade, and - Jordan Grabulovski and jino pozorje in Novi Sad. Makedo- of underdeveloped regions (electrifica- Newspaper Publishing Company Politika.”18 Iskra Grabulovska, - Publication of the zero nium, Kruševo. Polet tion, construction of roads and commu- The Congress was marked by the act of the number of the new se- - Adoption of the new Con- ries, with Mirko Ilić as nity centres, cinemafication, spreading stitution of the Socialist the comic book editor and 18 Milorad Gončin (editor), of radio and television network and de- Kongres kulturne akcije u SR Federative Republic of Yu- illustrator. A joint work goslavia. of a group of young au- livery of newspapers, establishment of Srbiji, RK SSRN SRBIJE, 1971.

136 137 - Founding of the Novi Sad Kragujevac high-school students, which gramme was primarily directed to risky potential of a photocopy. Theatre - Újvidéki színház created scandal. Carrying handwritten - The exhibition Victor in Novi Sad. uncovering of the emerging theatre prac- Papanek: Design for the banners, the high-school students passed - Guest appearance of Jo- tices, but in time it has been redirect- Real World, Marko Marulić seph Beuys in the SKC, at through the city, approached the build- ed to presenting eminent current works Library, Vidici Edition, th the 4 April Meetings. ing in which the congress took place, on global stage. Numerous artists, whose Split. - Construction of the House and burnt down the magazines and news- work marked the history of the 20th cen- - The exhibition by Dean of Culture Studentski grad Jokanović Toumin and Slo- in Belgrade (founded in papers marked as kitsch and trash. This tury theatre, appeared as guest artists Living Theat- bodan Mašić in the Gallery 1971). provoked numerous reactions ranging from of Bitef: Jerzy Grotowski, 4 slike of the Teatar &TD. er, La - Svetlana Radević, Memo- approval to harsh criticism. Richard Schechner, Eugenio Barba, - Sterijino pozorje in Novi rial to the Fallen War- Mama, Arianne Mnouchkine, Joseph Chai- Sad launches the Trienni- riors of the Lješanska al Exhibition of Theatre Nahija Region, Barutana, kin, Peter Brook, Robert Wilson, Philip Poster and Graphic Design. Podgorica 1960s Glass, Samuel Beckett, Tadeusz Kantor, - Founding of the Univer- - Founding of the Salon of Jurij Ljubimov, Pina Bausch, Jan Fabre, sity of Arts in Belgrade. Architecture at the Muse- Meredith Monk, Wim Vandekeybus, Michael - Opening of a new building um of Applied Art in Bel- of the National Library of grade. Nyman, etc. During the period of Cold War Serbia. - Designer Oskar Kogoj cre- – owing to the special status the SFRY - Founding of the Communi- ates 14 models of children had as a non-aligned socialist country ty for Design Improvement didactic toys for Ciciban, and to the openness of the sector to new on the initiative of Miro- Nova Gorica. slav Fruht and the Design Musical practices – Bitef was an important meet- - The exhibition Centre. Graphics from the Erhard ing place of experimental and critical - Global economic crisis Karkoschka collection in theatre artists from both east and west. caused by the “oil shock”. the SC Gallery in Zagreb Later on, following the fall of the Ber- Belgrade - The exhibition lin Wall and the civil wars in the SFRY, Political Poster 1944-1974 1972 in the Museum of Applied it lost its international significance, - Amendment to the Law on Art in Belgrade. but it also changed its programme orien- Sales Tax, colloquially Law on Kitsch. - Launching of Pegaz – a tation. […] Bitef was initiated by Mira known as the magazine of history and Trailović within the theatre Atelje 212. - Founding of the House theory of comics and other of Culture “Tihomir Rakić media expressed in graph- It was officially founded by the decision Veljko” in Leskovac A Letter to Queen Victoria / Pismo za kraljicu ics in Novi Sad. th Total De- Viktoriju, Robert Wilson, BITEF festival, 1974. of the Belgrade City Council of 26 De- - The exhibition - Boris Bućan is awarded cember 1966, which defined it as an in- sign, Amsterdam held in photo: Bitef Photo Archives / fotografija: Bitef bronze plaque at the In- dependent organisation with the task to the SC Gallery in Zagreb. ternational Poster Bien- foto arhiva 100YU organise, on an annual basis, an inter- - The exhibition , nale in Warsaw. presenting Yugoslav post- The BITEF Festival “Bitef was established national festival “with the basic con- ers to the world, orga- 1973 in 1967 and has survived to this day in cept of presenting new tendencies in the nized by the Committee of Cultural Contacts with - Founding of the Labour spite of various macro- and micro-so- stage expression and theatrical creativ- Abroad of the Executive University “Oslobođenje” cial changes and obstacles, which makes ity”. In 1967, the Atelje 212 became in Council of the Socialist in Novi Pazar, which has it one of the oldest theatre festivals Republic of Croatia, Ivan acted as the House of Cul- charge of organisation of Bitef, whereas Picelj designs the exhibi- ture ever since 1983. in Europe and around the world. With the in 1989 the task was passed to the Bitef New Theatre Tendencies tion poster. - The first Yugoslav coun- constant subtitle Theatre. In April 1967, Mira Trailović - Special Trains, film by selling on the subject The (since 1970), Bitef was initiated as an asked Jovan Ćirilov, a dramaturge of the Krsto Papić. Working Class and Culture. international festival supporting new, Yugoslav Drama Theatre, for cooperation - Danilo Kiš, Hourglass. - The exhibition Xerox in experimental, and innovative practices and he took part as a co-selector of - Dobrica Ćosić, A Time of the SC Gallery in Zagreb, Death. promoting technological, on theatre stage, and presenting them the very first festival held in September aesthetic, and conceptual to local audience. Initially, it’s pro- 1967. As Mira Trailović and Jovan Ćirilov - Launching of Književna reč.

138 139 - Founding of the Design had already been well-informed about the avant-garde theatre, Davorin Savnik. Centre in Belgrade. contemporary theatre artists, groups and ever since the 1970s, - The Maspok in Croatia, - The Mihajlo Arsovski the so-called Croatian poster exhibition in the approaches, and as their artistic affinity Belgrade has been con- Spring and the so-called SC Gallery in Zagreb. had complied with the official mission of sidered a canonical “personnel changes” in me- - The Serbian “liberals” the festival, Bitef was truly initiated place – among other dia and higher education institutions. removed from office: Latin- with the intention to present innova- things, owing to Bitef ka Perović, Marko Nikezić, - Franjo Mesaroš, Encyclo- Mirko Čanadanović, Mirko tive, experimental, investigative, radi- which, starting from pedia of Graphic Arts pub- Tepavac; Resignation: Koča cal, and current theatre and other per- 1967, was one of the lished by Tehnička knjiga, Popović. forming practices from different parts of most significant exper- Zagreb. KON- - Founding of the Youth the world to the audience in Yugoslavia. imental spaces on the - The first exhibition Film Forum – The Youth Film TAKT – an overview of the and Action in Pančevo, or- According to Ćirilov, this involved the international stage. contemporary graphic de- ganized by: Pančevo Youth following: ... By the mid-1970s, sign in Yugoslavia, in Centre. ‘Choosing among all Yugoslavia was a the- Graphic Collective Bel- grade, authored by Slo- - Launching of the maga- the world theatre pre- atrical mecca, a lab- zine Teka, published by bodan Mašić. the Student Centre of the mieres and bringing to oratory of Late Modern - Holding of the first FEST. University of Zagreb/Cul- Belgrade the plays we architecture, a point - Slobodan and Saveta Mašić tural Activity BOAL. consider the best, of crystallisation of start designing visual - Founding of the April those that mark the the neo-orthodox Marx- identity of the Bitef Fes- Meetings. tival. beginnings, that in- ism, and internation- - The Congress of Cultural spire confidence in ally one of the most 1971 Action held in Kragujevac. us, but also the plays interconnected points - Founding of the Festi- - Founding of the Stu- val ŽISEL (Village Life) that could, at the same of the avant-garde art dents’ Festival of Amateur 19 in Omoljica, organized time, infuriate even in Europe.’” Film in Skopje, organized by: Academic Cinema Club – by: Žisel Cinema Club and the people who think House of Culture Omoljica. Skopje. like we do, not to men- The First Summit Conference of the Non- - Marko Ristić, “The Cen- sus is Completed”, a let- tion our opponents, the Aligned Movement took place in Belgrade 1970 st th ter published in the daily plays that would find between 1 and 6 September, 1961, and Politika - Studio B begins broad- regarding the Yu- favour with the intel- was attended by the following 25 coun- casting its programme. goslavia population census tries: Afghanistan, Algeria, Burma, Cey- - Publication of the MIXED and nationalist tenden- lectuals and upset the MEDIA cies. lon, Cyprus, Ethiopia, Ghana, Guinea, by Bora Ćosić, conservatives, and in graphic design by Branko - The exhibition Examples some cases even do the India, Indonesia, Iraq, Yemen, Yugo- of Conceptual Art in Yu- Vučićević. goslavia. opposite...’ slavia, Cambodia, Congo, Cuba, Lebanon, - The Boris Bućan poster At the time, these were predominantly exhibition in the SC Gal- - Founding of an informal lery in Zagreb. group of six artists (Mari- the neo-avant-garde practices that took 19 Ana Vujanović, “Nove pona Abramović, Era Milivo- various forms, from formal experiments zorišne tendencije: BITEF - The Amateur Film Festi- jević, Neša Paripović, (Beogradski internacional- val held in Kumanovo during Raša Todosijević, Gergelj to the engaged theatre, in both east and ni teatarski festival)”, in: the 1970s and 1980s, or- Urkom, Zoran Popović). west. This is how Georg Schöllhammer, an Istorija umetnosti u Srbi- ganized by: Kozjak Cinema ji XX veka, Miško Šuvaković Club, Kumanovo. - Designer Vesna Popović Austrian theoretician, curator, and edi- PhD (editor in chief, visu- designs for the Agricul- Springerin - The Kamera 200 Amateur tor of the magazine , saw the al arts), Nevena Daković PhD Film Festival held in Sko- tural Machinery Industry (film), Aleksandar Ignjatović Zmaj, Zemun. contemporary Bitef in the international pje during the 1970s, or- framework: PhD (architecture), Ana Vuja- ganized by: Kamera 300 - The company Digitron, nović PhD (performing arts), Cinema Club. Buje, manufactures the ‘In the postwar his- Vesna Mikić PhD and Jelena - The Film of Tomorrow Ama- first pocket calculator tory of the European Novak MA (music), Beograd: in Europe, designed by: Orion art, 2010. teur Film Festival held in

140 141 Leskovac during the 1970s, Mali, Morocco, Nepal, Saudi Arabia, So- Department founded within organized by: Aca Sto- malia, Sudan, Tunisia, UAR, and the fol- ULUPUH. janović Photo-Cinema Club, - Oskar Kogoj designs the Leskovac. lowing three observers: Bolivia, Brazil, Gondola A 011 plastic chair - Founding of the Naissus and Ecuador. The following three docu- for Meblo, Slovenia. Amateur Live-action Film ments were adopted: Declaration of the - Launching of the maga- Festival in Niš in the be- zine Start. ginning of the 1970s, or- Heads of State or Government, Statement ganized by: Film novosti on Danger of War and Appeal for Peace, a - Zenith of the so-called Cinema-Photo Club, Niš. Black Wave in Yugoslav message to the US President Kennedy and film: Žilnik wins the Grand - Bogdanka Poznanović de- to the USSR Prime Minister Khrushchev. Prix in West Berlin with signs a poetry book Egg in Early Works a Steel Shell “In the very first chapter of the prin- his film , which by the Novi stops being distributed in Sad-based poet and concep- cipal document – the Declaration – a Yugoslavia along with The tual artist Vujica Rešin whole series of the current internation- End of the World Is Nigh Tucić, published by Trib- The Master and Marga- al problems posing threat to world peace and ina mladih. ret by Aleksandar Petro- - Founding of the BEOS Fes- are assessed, namely the cold war, divi- vić, and The Ambush by Žika tival (Beogradska osmica), sion into blocs, and imperialist preten- Pavlović. later to become BAFF (Bel- sions across the world. For instance, it - Veljko Bulajić films The grade Amateur Film Festi- Battle of Neretva. is said: “Participants to the Conference val), organized by: Cinema Typeozia Club 8. point out... that the policy of co-exist- - The exhibition - International Exhibition - The If STAFF Festival, ence involves active effort to eliminate of Visual Poetry organized by: Academic held as a historical injustice and liquidate na- part of the exhibition New Cinema Club Belgrade. Tendencies tional oppression, simultaneously guar- First conference of the Non-aligned Movement, Bel- . - Founding of the House of grade, 1961 / Prva konferencija Pokreta nesvrsta- Culture “Studenica”, Ušće, anteeing independent development to all - Holding of the first BEMUS nih, Beograd, 1961. Kraljevo. people... Being aware that ideological - Early Works by Želim- - Founding of the House of differences constitute a necessary inte- courtesy of the Museum of Yugoslavia / ljubaznošću ir Žilnik wins the Golden Bear in Berlin. Culture “Bunjevačko Kolo” gral part of the development of human Muzeja Jugoslavije in Subotica. - Premiere of the musical society, the participating countries be- Hair - The exhibition Produkt peace and security in the world”. The in the Atelje 212, Design in the Art Pavil- lieve that peoples and governments should third section of the Declaration consists directed by Mira Trailović and Zoran Ratković. ion in Zagreb, organized refrain from any use of ideologies as a of 27 items, out of which the first ten by the ID Department of means of conducting the cold war, apply- - Catastrophic earthquake ULUPUH. treat the issues involving anti-colonial in Banjaluka. ing pressure or imposing will.” It is - The Kiosk K-67 by Saša J. struggle and elimination of the colo- - Bora Ćosić, My Family’s Mächtig becomes a part of also stated in the Declaration that every Role in the World Revolu- nial system. Due to acutely aggravated tion. the design collection of attempt of foreign imposition of one or relations between the Great Powers con- the Museum of Modern Art another social and political system to - Filip David, Notes of the in New York. cerning Cuba, the cases of imposition of Real and the Unreal. any people is continuously threatening - Completed construction military bases to any objecting country world peace. The second chapter is domi- - Launching of the maga- of the House of Culture are condemned in the items 12 and 13. The zine The Third Programme. Čačak. nated by global social issues used as the items that follow deal with the issues cause for conflict and domination. The of disarmament and preservation of world 1968 1969 third chapter deals with specific issues. peace, calling upon all the countries to - Launching of the Festi- - The exhibition of Van It is expressly stated that the non- sign an agreement on not using the outer val of Amateur Documentary Gogh paintings in the Na- aligned countries “do not wish to form a Film in Maribor by the end tional Museum in Belgrade. space for military purposes and demand- new bloc and cannot be a bloc”; howev- of the 1960s, organized - Launching of ROK – a mag- ing the signing of a general treaty for by: Maribor Cinema Club. azine on literature, art, er, they consider it essential that the disarmament. Next, it is demanded that a and aesthetic studies. - Launching of the Amateur they should participate “in solving out- world conference be convened to consid- Film Festival in Osijek by - The ID (Industry Design) standing international issues concerning er development issues. The penultimate the end of the 1960s, or- 142 143 ganized by: Mursa Cinema item deals with the acutely aggravated tific results and technical experience to - The first Prague Qua- Club, Osijek. German issue, drawing attention to the less developed countries was convened; drennial, with Yugoslavia - The SASA Gallery (Ser- among the twenty partici- bian Academy of Sciences tension over Berlin. It is stressed in a centre for study of such issues with- pating countries. and Arts) begins its op- the Declaration that “the participating in the world organisation was founded; - The first BITEF (Belgrade eration. countries believe that... the princi- the UNIDO – United Nations Industrial International Theatre Fes- - Signing of an agreement ples of peaceful coexistence offer the Development Organisation was created; tival) Festival in Bel- with the FR Germany on cold war grade. only alternative to the and the the UNCTAD – United Nations Conference regulation of the Yugoslav - Launching of the maga- workers’ employment. potential general nuclear catastrophe, on Trade and Development was founded; zine Industrial Design, - Founding of the Student which is why the above mentioned princi- after a certain amount of resistance, published by the Institute Cultural Centre in Bel- ples – including the right to self-de- the UN Security Council and Economic and for Household Economics of grade. the SR Serbia (later to be- termination, independence, and free de- Social Council were expanded to let a come Belgrade Design Cen- - Founding of Kultura, a review for the theory and termination of the forms and methods of larger number of non-aligned and other tre). sociology of culture and economic, social, and cultural develop- countries take their places in the above - The exhibition and sym- for the cultural policy. ments – must be the sole basis of all in- mentioned institutions of the world or- posium on the British design in Belgrade. - The first large-scale re- ternational relations.” Thus, the Decla- ganisation. The Belgrade Conference di- I Even Met Happy Gyp- construction of the Na- - ration includes the basic principles of sies tional Theatre building in rectly resulted in the Cairo Conference, by Aleksandar Petro- Niš. the non-aligned policy, which create the held in July 1962, that dealt with eco- vić wins the Grand Prix of the Jury in Cannes and the - The National Museum’s basis for the entire further programmat- nomic issues as well as in creation of Golden Arena in Pula. guest appearance in Dres- ic work of the non-aligned countries. the Platform of 75 countries, which has The Morning den with the exhibition The Statement on Danger of War and Ap- - by Puriša Serbian Painting Between become better known as the Group 77 Plat- Đorđević wins the Best the Two World Wars. peal for Peace expresses concern regard- form, since another two countries joined Male Actor Award at the ing the growing tension in relationship Venice Film Festival. - Student protests. it after the UNCTAD Conference held in between the USA and the USSR, appeal- - Aleksandar Popović, The - Vojin Bakić, Monument Geneva. The Group 77 became an important Development Path of Bora to the Fallen at Dotršči- ing to both powers to immediately stop factor in dealing with the problem of in- Šnajder. na, Zagreb and Monument of their war preparations and initiate mu- the Revolutionary Victory equality in global economic development. - Dragoslav Mihajlović, tual talks regarding all matters of dis- Good Night, Fred of the People of Slavo- A particular accomplishment of the Bel- . pute. Finally, all other countries that Pus- nia, Kamenska, the larg- grade Conference involves the emergence - Vladan Radovanović, est free-standing abstract did not attend the conference are urged tolina (Verbi-Voco-Visual of the non-alignment as a major factor Exploration) structure in the world, to make similar appeals. The content of . demolished on the ninth of the international politics, backed by - Dušan Džamonja, Monument attempt using dynamite in the message to President Kennedy and the mere fact that such a large number to the Revolution of the 1992. to Prime Minister Khrushchev resembles of countries convened and agreed on the people of Moslavina, Pod- - Founding of the Novosads- a Statement. As expected, the Belgrade 20 garić, Berek. ka 8 Festival in Novi Sad, most important issues.” Conference was mostly met with mixed re- - A purpose-built building organized by: Novi Sad of the National Theatre Cinema Club. sponse on the global level. Of course, Monuments “Challenging the established Užice, architect Stanko the blocs, particularly their leading - Launching of the maga- claim that, in regard to the memory of Mandić. zine of aesthetics and countries, showed no understanding and Bit In- World War II, it was only with the emer- theory of media, gave no support to the Conference. [...] ternational. gence of counter-memorials that the con- 1966 “As either direct or indirect result of - Launching of the maga- scious process of activating its social - The first Belgrade Guitar Pop Express. the Belgrade Summit, a series of interna- Fest in Belgrade. zine role began, as well as the declarative - Innocence Unprotected, tional bodies and organisations discuss- - The first International a film by Dušan Makavejev ing about and deciding on the requests Triennial Exhibition of wins the Golden Bear at the 20 Tomislav Butorac, Ranko Theatre Set and Costume and suggestions formulated during the Petković PhD (editors), Nesvr- Design, Novi Sad. Berlin Festival. stanost u suvremenom svijetu Belgrade Conference were established. , - Founding of the Gallery Thus, a conference on transfer of scien- Zagreb: Vjesnikova press agen- of Contemporary Art in 1967 cija, 1979. Novi Sad.

144 145 - The Chamber Stage of the of Graphic Design Associa- rejection of traditional monument types, tions Zagreb SC turns into the I would like to indicate that in Yu- , Bled. Teatar &TD. - Three by Aleksandar - The exhibition Yugosla- goslavia some significant divergences in Popović awarded the first via - Contemporary Trends terms of new ways of thinking and in- prize at the Festival in at the Corcoran Gallery scribing memory in space started to ap- Karlovy Vary. in Washington, organized pear as early as in the mid-1950s. One of - Completed reconstruction of by the Museum of Contem- the National Museum in Belgrade. porary Art in Belgrade. the reasons was the need of establishing - The BRAMS Theatre Fes- - The exhibition New Fig- new semantic links between monuments as uration of the Belgrade signfiers tival (Belgrade Review of fixed in a unique spatial point, Amateur Little Scenes) is Circle at the Belgrade signified created as a part of the Cultural Centre Gallery, the authentic territory as the DADOV Theatre. promoting painting dealing foundation of memory, and the place of with new topics. - Foundation of the first absorption of these two elements, which privately owned publish- - Founding of the Amateur is located in the individual imagination ing company in Yugoslavia, Film Festival in Ljutomer, Independent Edition (Slo- organized by: local Cinema of the user. The possibility of recep- bodan Mašić, Saveta Mašić, Club. tion of the transferred context and the Leonid Šejka, Marija Čudi- - Founding of the MAFAF activation of social memory thereby de- na). (Interclub Amateur and - Slobodan Mašić creates Artist Film Festival) in pended on the existence and strength of signified his first poster on the oc- Pula, organized by: Jelen the link between the (the ter- casion of the exhibition Cinema Club in Pula and the signifier ritory) and the (the monument). by Radomir Damjanović Dam- Yugoslav Film Festival. This tripartite relationship was deter- jan in the Belgrade Youth - Aleksandar Ranković re- mined, on the one hand, by the high de- Centre, actually the first moved from office and ex- exhibition in the Youth pelled from the LCY at the mands of the task, which included signi- Centre Gallery. Brioni Plenum. fying larger areas and hardly accessible Youth Labour Action - building the Kadinjača memo- - Founding of the Abrašević rial, 1979 / Omladinska radna akcija - izgradnja or geographically dispersed localities, 1965 Amateur Meetings in Valje- memorijalnog kompleksa na Kadinjači, 1979. vo, organized by: Serbian to which the repertoire of the hitherto - Signing of the agreements Amateurs Association and known monument types could not be ade- photo album courtesy of the Museum of Yugoslavia / with Austria, France, and foto album ljubaznošću Muzeja Jugoslavije Cultural Centre Valjevo. quately applied. On the other hand, it Sweden on regulation of the Yugoslav workers’ em- - Guest attendance of Mi- resulted from the demands or needs of chelangelo Antonioni at as an authentic spatial unit marked by ployment. the Hall of the Cultural artists, architects, and other subjects the experience of war (battles, execu- - Launching of the Inter- Centre of Belgrade. who participated in the signifying pro- tion sites, concentration camps, secret national Amateur Film Fes- tival, organized by: Bel- - Completed construction cess and who strove to find formal solu- military bases) that had to be preserved of the Avala Tower. grade Cinema club, Bel- tions that could, while documenting war and permanently marked by using various grade Youth Centre. - Miloš Crnjanski, At the Hyperboreans. and suffering, also express an optimistic strategies of design, which would help - Launching of the magazine Art, graphic design - Bora Ćosić, Stories about vision of the socialist society. After transfer the memory of war to the future by Slobodan Mašić. Crafts. all, the attitude of the individual and generations. [...]The term memorial ter- - Founding of the festival - Meša Selimović, Death the collective towards space and time as ritories, which started to be used in the and the Dervish. Meetings of Professional the essential parameters of the monument mid-1960s, implied being listed among Theatres of Serbia “Joakim - Aleksandar Popović, Vujić”. Deadly Motorcycling and was based on the ideological premises of the areas enjoying active protection as Hog’s Trot. Yugoslav socialism as a political regime cultural monuments and was an innova- - Opening of the Museum of founded, among other things, on the ide- Contemporary Art in Bel- - The School for Art Tech- tion not only in Yugoslavia, but also grade; architects Ivan An- nicians becomes the School as of common property, self-management, internationally. Even though related to tić and Ivanka Raspopović. for Industrial Design, planned economy, and social progress. the category of national parks, memorial - Danilo Kiš, Garden, Ashes. Belgrade. places of Territory as one of the central natural monuments emerged much later and - Borislav Pekić, The Time - Holding of the ICOGRA- war memory of Miracles. DA – International Council in Yugoslavia was understood the definition of their purpose, mainte-

146 147 Poetry - Aleksandar Popović, A between landscape architects, histori- - Jovan Hristić, Stocking of a Hundred and Philosophy. Loops. ans, economists, conservators, and other - Miodrag Pavlović, An- experts. Planning and designing was reg- thology of Serbian Poetry - Pero Zubac, Mostar Rains. ulated by the law on landscape planning from the 13th to the 19th - Completion of the Adri- Century. atic Highway. and the use of construction land as the area of special purpose - Completed construction - Miroslav Fruht introduc- so-called . The of the Atelje 212 building es the Theory of Design as earliest study of this kind was produced according to Bojan Stu- the subject at the School pica’s design and subse- for Art Technicians in by a team of experts led by Prof. Ante quently reconstructed ac- Belgrade. Marinović Uzelac, PhD. It was done from cording the the design by 1965-1969 at the memorial site of Petro- Ranko Radović and Radivo- 1964 va Gora and included an area surface of je Dinulović from 1988 to 1992. - The first BIO – Bienni- 17,800 ha.[...] al of Industrial Design in Ljubljana. Memorial sites are primarily character- 1963 - The Institute for House- ized by a dynamic experience of space, - (/1971) Miodrag Živkov- hold Economics of the SR ić, Monument to the Battle Serbia opens the first Yu- with a series of individual memorial lo- of Sutjeska, Tjentište. goslav Furniture Showroom. calities situated in an authentic set- - Founding of the School of - Founding of the CIO – Cen- ting. Making it possible for the visi- Art Techniques and subse- tre for Industrial Design. tors to experience that dynamics of the quently the School for Art - Launching of the Zagreb Technicians in Belgrade. Salon. memorial site as a whole, as well as in - The exhibition Contem- porary French Painting - Launching of the phil- all its specificities, creating an illu- in osophical journal Praxis sion of the past without imitating the the Pavilion Cvijeta Zuzo- rić in Belgrade. by a group of philosophers former physical structures, that is the from Zagreb, who organized - Adoption of the new Korčula Summer School. most important and also the most difficult SFRY Constitution and the - Dmitri Shostakovich’s task of landscape planning.” An important new Socialist Republic of guest appearance at the aspect in conceptualizing these spatial Serbia Constitution, the country changes the name Kolarac People’s Univer- monuments was the multifunctional use of sity. from the FPRY into the So- cialist Federative Repub- - Royal Shakespeare Com- the protected territory, which implied lic of Yugoslavia. pany’s guest appearance the development of tourism as well as at the National Theatre in encouraging the existing and new eco- - Catastrophic earthquake in Skopje. Belgrade. nomic enterprises. The accent was placed - Founding of the GEFF - Founding of the Associa- (Genre Film Festival) tion of Artists of Applied on the primarily educational function of in Arts and Designers of Vo- tourism and its developmental component, Zagreb, organized by: Za- jvodina (UPIDIV). Youth Labour Action - building the Kadinjača memo- which was to contribute to the econom- greb Cinema Club. - Opening of the Gallery of rial, 1979 / Omladinska radna akcija - izgradnja ic self-sustainability of the memorial - By mid 1960s, a grow- the Kolarac People’s Uni- memorijalnog kompleksa na Kadinjači, 1979. ing number of people leave versity, Belgrade. site by employing the local population the country to work abroad photo album courtesy of the Museum of Yugoslavia / from the surrounding, mostly underdevel- temporarily. - Bogdan Bogdanović, Monu- foto album ljubaznošću Muzeja Jugoslavije SUSRET ment to the Victims of Fas- oped villages. Unlike the previously de- - Launching of – a cist Terror, Jasenovac. magazine for the Belgrade nance, protection, and design was created scribed approaches in signifying terri- youth, graphic design by - Opening of the Belgrade only after World War II. The most impor- tories, which were based on establishing Slobodan Mašić. Youth Centre. tant results of this approach to memori- new links between the specific memorial - Founding of the School - Marko Ristić, The Proc- lamation of Poetry. alization were the integral, interdisci- structures and the historically signif- for Industrial Design in Dedinje. A Well in a plinary analyses of the given geographic icant landscape, these projects placed - Filip David, - Miloš Crnjanski, Migrations Dark Forrest. areas, which implied close cooperation the main accent on the authenticity of (2), Lament Over Belgrade.

148 149 - Danilo Kiš, Mansard and 22 - Founding of the Associa- Psalm 44. experience in its totality. Regarding social development.” the fact that the original structures tion of the Ballet Artists - Antonije Isaković, Fern of Serbia (UBUS). and Fire. had largely been demolished, the only EXPO 58 The concept the organisers of

- Mirko Kovač, Scaffold. constant element was the morphology of EXPO 58, the Brussels World’s Fair, had 1961 landscape as the only authentic spatial was to stress cooperation and tolerance, - Ivo Andrić receives a 21 1962 form.” world peace, and national and economic Nobel Prize for Literature in Stockholm. - Opening of the permanent progress. Yugoslavia’s participation in exhibition in the Museum EXPO 58 was a project of great national - Opening of the Memorial Collection Pavle Beljanski of Arts and Crafts in Za- importance. The architect and the key greb, which for the first 1950s in Novi Sad; architect Ivo time includes an indus- person behind conceptualization of the Kurtović. trial design section and Self-management “The practical use of Yugoslav Pavilion was Vjenceslav Richter, - Opening of the Milena department for industrial this term is broad and diverse, denot- who cooperated with Aleksandar Srnec and Pavlović Barili Gallery in design managed by Radomir Požarevac. ing self-management in basic organisa- Emil Weber. Richter participated in the Putar. - The first Music Bienni- - Dušan Vukotić wins an Os- tions and other organisations of asso- People’s Liberation War and his work was al Zagreb, established car for the animated film ciated labour as well as self-management largely influenced by Russian Construc- on the initiative of the The Substitute. in local communities and municipalities tivism, the Bauhaus, and the interwar avant-garde composer Milko The Kelemen, featuring guest - Orson Welles films (also in the institutions of socio-po- avant-gardes. He believed that architec- Trial in Zagreb. appearances of the lead- litical communities on all other lev- ture and fine arts could take an active ing names in the world - Interclub Amateur Film els (province, republic, etc.). The term part in social and political changes, avant-garde like Igor Festival in Bačka Topola, Stravinsky and John Cage. organized by: Prizma Cine- self-management simultaneously implies a but he also believed in their aesthet- ma Club, Bačka Topola. - Opening of the Belgrade radical transformation of the classical ic autonomy, which he saw as a precon- Cultural Centre Gallery. - Launching of the Inter- administrative and state law, and condition for reaching their potential in national Student Theatre - Guest appearance of Her- Festival in Zagreb. sequently a certain category of the new transformation of society. Therefore, bert Read, a writer and law, the right to social self-management it goes without saying that Richter’s an art historian, in Bel- - Opening of the Museum grade. 25th of May in Belgrade. as an expression of reorganisation of Pavilion had revolutionary connotations - The first conference of - Rajko Radović, Monument the political government and socialisa- and avant-garde aesthetic that was sup- the Non-Aligned Movement Celebrating the Establish- tion of the so-called state management posed to project an image of accelerated held in Belgrade. ment of the Yugoslav Navy, Podgora, Makarska. functions. Therefore, self-management in modernization, progress, openness, and - Architect Bernardo Ber- nardi implements the in- - The first broadcast of the our country takes the form of performance to refer to the socially engaged inter- Love Me Do terior design of the Moša Beatles song by of the social and state work by the very war avant-garde. The Pavilion consisted Pijade Workers’ University Radio Belgrade. workers and other working people, both of four galleries: National and Social in Zagreb. Young - The exhibition directly and through their representa- Organisation, Contemporary Art, Economy, - Miodrag Živković, Monu- Painters in the Belgrade tives, i.e. delegates. It is the right and Tourism. The galleries were physi- ment to the Executed Pu- Cultural Centre Gallery, pils, Kragujevac. promoting the Informalism. according to which every working indi- cally and visually connected, easy to - Architect Edvard Ravnikar - Architect Vjenceslav Ri- vidual, along with other working people, circulate through, and the entire Pavil- establishes the B Course – hter designs the Museum of makes decision about their work, working ion was characterized by transparency, Design studies at the Fac- the Revolution of the Na- conditions and results, their personal illumination, moderateness, simplicity, ulty of Architecture in tions and Nationalites of Ljubljana. Yugoslavia in Belgrade. and common interests, and direction of openness. The ground floor had no doors - The first Triennial of Yu- - Founding of the Youth and the Pavilion could be approached goslav Visual Arts at the Centre Šabac, renamed the through eight openings, whereas the en- Belgrade Fair. Cultural Centre Šabac in 21 Sanja Horvatinčić, “Spo- 1991. menik, teritorij i medijaci- Mali leksikon samoupravlja- - Founding of modern gal- ja ratnog sjećanja u socija- 22 1960 lističkoj Jugoslaviji”, Život ča, Beograd: “Savremena admi- lery Artists Encounters in umjetnosti - (/1961) Bogdan Budi- Subotica. , no. 96, Zagreb, nistracija” OOUR “Savremena mirov, Željko Solar, and 2015. knjiga”, 1976.

150 151 Dragutin Stilinović create and work equipment. A steel cable that in Paris, Stockholm, Rome, JU 60 and JU 61 prefabri- consisted of six vertical arches sym- and Athens. cated construction systems - Premiere of Love and for residential buildings, bolizing the six constitutive republics Fashion by Ljuba Radičević. the so-called cans. of Yugoslavia was installed in front of - At the time, the events the Pavilion, whereas the exterior of involving theatre and film 1959 festivals like IFSK and the Pavilion consisted of sculptures, - Beginning of the con- GEFF take place in Zagreb, reliefs, and murals combined with water struction of the Central promoting experimental ap- pools, vivid marble paths, and greenery, Committee of the Communist proach to performing arts Party of Yugoslavia build- and film. which contributed to the entire aesthet- ing in New Belgrade. 23 - The group for product ic atmosphere. - The Gorgona Art Group. design and development es- - Holding of the Federal tablished within the com- Conference of the Associa- pany ISKRA Kranj. 1940s tion of Applied Arts Art- - Beginning of the exhibi- ists of Yugoslavia in Bel- tion activities 5 minutes grade. past 8 , subsequently to The Summer Theatre Stage in Topčider - (/1961) Ana Bešlić and develop into the SC Gal- “The construction of the Summer Theatre Jovanka Jeftanović, Monu- lery in Zagreb. Stage in Topčider was one of the first ment to the Executed Par- - Establishment of an in- tisans, Zlatibor (Parti- ternational event New Ten- public activities in Belgrade. According zanske vode). dencies in Zagreb, which to the statements of the contemporar- - The first mass-produced gathers the artists with ies, it was erected to honour the Fifth device in Yugoslavia, the neoconstructivistic ten- model RR330/RR331 based on dencies and develops into Congress of the CPY. Like a number of Yugoslav exhibition at EXPO58 in Brussels / Jugo- the Philips license, Ei a movement. structures across the entire country, it slovenska izložba na EXPO58 u Briselu, architect/ Niš. - Opening of the Commer- arhitekta: Vjenceslav Richter, 1958. was built through voluntary labour, and - Beginning of the con- cial Gallery Belgrade in struction of the Museum photo album courtesy of the Museum of Yugoslavia / the stones used in its construction were Kosančićev venac. of Contemporary Art in New foto album ljubaznošću Muzeja Jugoslavije brought from the destroyed Belgrade. The - The first October Salon in Belgrade. Belgrade. construction of the first summer stage in tire building consisted of the mezza- the capital was closely watched by the - TV Zagreb starts broad- 1958 casting educational pro- nines which created spatial articula- dailies. The architect Rajko Tatić was Economy - Yugoslav Pavilion at EXPO gramme. tion of the four galleries. The entrusted with designing the structure. 58, the Brussels World’s - (/1964) Ivan Sabolić, occupied the ground floor, which was in [...] The process of designing the Summer Fair. Monument to Fallen Sol- line with the Marxist idea of the foun- - The first Children’s diers and Victims of Fas- Theatre Stage in Topčider posed a new ar- Theatre Festival Majske cism, Bubanj, Niš. dation and superstructure, since economy chitectural and town-planning problem in was built on solid ground whereas other igre in Zrenjanin; start- - Sartre’s guest appear- terms of its future construction setting ing from 1960, the event ance in Belgrade. domains rise from it. The conception of as well as its shape, thematic content, is hosted by the city of - Founding of the Belgrade the entire Pavilion revolved around the and importance. Its construction was in- Bečej. Institute for the Protec- term self-management. Numerous modern- - Television Belgrade be- tion of Cultural Monu- itiated in May, 1947, following the plan ist pieces of art were exhibited in the gins broadcasting its reg- ments. ular TV programme. The - The London Tate Gallery Pavilion, political slogans were trans- 23 Literature: Vladimir Kulić, broadcasting of the pro- features the exhibition lated into poetic messages, photos were “Between Wars, Between Blocks: gramme for the entire Yu- Yugoslavia at EXPO 58”, in: of contemporary Yugoslav chosen with care and integrated into the Architecture of Great Exposi- goslavia begins on the Re- art organized by the Mod- tions 1937-1959, Messages of public Day. ern Gallery from Belgrade, architecture of the Pavilion, modern ty- Peace, Images of Wars, edited - Atelje 4 from Belgrade Gallery of Contemporary pography was used. The aesthetic of the and the architects Đorđe Art from Zagreb, and Mod- by Rika Devos, Alexander Or- exhibit was organised to visually in- tenberg, and Vladimir Paperny, Krekić, Branko Babić, and ern Gallery from Ljublja- Zvonimir Babić design one- na, subsequently presented corporate even the exhibited machinery ASHGATE, 2015.

152 153 and two-room flats, includ- took on a higher and broader importance. tion with the Republic as- ing the accessories and The stage had to meet the condition that sociations and host clubs. the furniture. involved the potential for staging all - Founding of the Repub- - Construction of the Lju- lic Amateur Film Festival, bljana-Zagreb road. theatrical pieces, including opera and organized by: Photo-Cinema drama, actually, for hosting a symphony Association of Serbia in cooperation with the host 1957 orchestra and for performing ballet and club. - Founding of the Inter- folk dancing. It was conceived that per- - Announcing of the second club Amateur Film Festival formances should follow the usual prac- competition for the Monu- in Sombor, organized by: tice of closed space stages. The Summer ment to the Victims of Fas- Bošnjak Ernest Photo-Cin- cism in Jajinci, Belgrade. ema Club, Sombor Theatre Stage in Topčider was built in - Art and Industry – the Abstract Art – Didactic - an old, abandoned quarry located between first federal applied art Exhibition , exhibition by: Topčider Park to the south and a residen- exhibition in Belgrade, Ivan Picelj, held in Za- tial quarter to the north. The shape of organized by the Associa- greb, Novi Sad, Subotica, tion of Applied Arts Art- Belgrade, Skopje... the north-west-south-east-oriented conch ists of Yugoslavia and the was the result of the decades-long quar- Museum of Applied Art, 1956 rying. The slopes on the periphery of the Belgrade. - Founding of the Atelje conch-shaped recess are 15 to 30 m high. 212 in Belgrade. The entire space is framed by the stone 1955 - Founding of the Valjevo which dominates with the vividness of its - TV Zagreb broadcasts the Cultural Centre. first experimental pro- colours. The construction plan included - Founding of the Steri- gramme, followed by the jino pozorje Festival in the following: construction of a sum- regular programme, the Novi Sad, a parade of the mer theatre with around 2,000 spectator first in Yugoslavia. best Yugoslav drama texts seats and a stage occupying 800 square - The first Zagreb Trienni- and theatre shows featur- al of Applied Arts. metres; construction of a hotel for guest ing domestic drama. - The exhibition by Henry - Founding of the Stu- artists, with a restaurant for the audi- Moore in Zagreb Art Pavil- dent Experimental Theatre ence, a bar, and terraces for dancing; an ion. (SEK). administration building for storage of - The Studio for Industri- - Founding of the profes- equipment and wardrobe for actors; open- al Design (SIO) begins its sional puppet theatre in operation. space waiting platforms, ticket offices, Zrenjanin; in 1975, the - The beginnings of drama theatre and the pup- and shelters with staircases and cross- screen-printing in our pet theatre integrate into ing ramps for audience to hide under dur- country. the Toša Jovanović Nation- al Theatre. ing sudden rainfalls; a separate toilet - The first International building; a milk bar with a confection- Exhibition of Package in - The National Theatre Ljubljana. in Pančevo is transformed ery; tram, trolleybus, and bus shelters, into the House of Culture, leisure areas with an artificial lake, the present-day Pančevo 3rd International Triennial of Scenography and Co- 1954 waterfall, and fountains; construction Cultural Centre. stumography / Treće međunarodno trijenale pozoriš- - (until 1957) Completed - Founding of the Cultural ne scenografije i kostimografije, Novi Sad, 1972. of a terrace, passages, parks, and areas construction of the Bel- and Educational Community grade Fair Hall 1, covered Catalogue cover / Korica kataloga: Milan Rakić for children and sports playgrounds. One of Kruševac. of the key town-planning and architec- by the world’s largest - Founding of the Federal prestressed concrete dome, Amateur Film Festival, or- that, apart from the theatre, included tural problems that arose during elab- Branko Žeželj, BScCE, Mi- ganized by: Cinema Associ- an entire complex of buildings needed for oration of the theatre design involved lorad Pantović, B.Arch. ation of Yugoslavia (later normal operation of this specific insti- full preservation of the setting. This - Founding of Omladinska to become Yugoslav Associ- tution. During its development, the pro- was achieved by avoidance of intrusive katedra, soon to be renamed ation of Amateur Film Or- Youth Forum, in Novi Sad, ganizations) in coopera- ject that was initiated as a local stage architectural forms. Furthermore, the the first Yugoslav insti-

154 155 tution dedicated to youth aim was to adjust the existing form of the contemporary requirements.”24 gress in Ljubljana and the culture (later transformed end of the conflict on the into the Cultural Centre the quarry to its purpose with preserva- literary left. of Novi Sad). tion of the original setting. The first The revitalisation of the Topčider stage - Founding of the Chil- - Official use of the Ser- acoustical tests showed that the natural has not taken place yet due to unregulat- dren’s Belgrade Cultur- bo-Croatian/Croat-Serbian acoustics of the conch had remained ined ownership relations. The Municipali- al Centre under the name standard language defined Pioneer Centre Belgrade, in the Novi Sad Agreement. tact. This factor was critical in shap- ty of Savski Venac has pressed charges which gets a new build- - Launching of the maga- ing the auditorium and in determining the against the owners of a restaurant in ing in Takovska Street in zine Man and Space – ČIP. width and length of the stage. Therefore, the close vicinity of the stage, who re- 1968; architects Ivan An- tić and Ivanka Raspopović. - Launching of the Blue special attention was given to the stage constructed a part of the auditorium in Herald in Zagreb, a weekly - Launching of the maga- with orchestra, located in the carved 2014, turning it into the outdoor seat- zines Circles, Literature, that, along with the in- Gallery, Forum. ternational comics, nur- rock, and to the choice of the audito- ing area. The rocks into which the stage .. tured the national com- rium axis in relation to the relatively was carved have been used by rock-climb- - Publication of Milo- The Legend of ic-making. asymmetric rock slopes flanking the sum- ing associations for training purposes. van Đilas’ Njegoš, design: Bojan Stu- - Founding of the Contem- mer stage. The position of the principal The Municipality wishes to perform the porary Art Gallery in Za- pica, stage director. greb. axis was chosen to unite the axis of ar- revitalisation process. However, this - Niko Kralj designs for Salon 54 chitectural composition and the point of will not be possible until the end of the factory Stol at Kamnik - – Exhibition of Rex Contemporary FPRY Painting a series of acoustic axes from which the the judicial proceedings. the chair, which be- and Sculpting. comes the trademark of the sound was evenly and with equal intensi- Yugoslav furniture design. ty distributed to all auditorium seats. Bojan Stupica The so-called “Bojan Stu- 1953 Thus, the stage got its character: it al- pica Phenomenon” (1910-1970), a Yugo- 1951 - (/1954) Establishment of lowed performance of music and dramatic slav theatre artist whose theatrical the first professional en- - EXAT 51 Manifesto. semble of the Children’s works out in the open, but in conditions opus involved projects across Yugosla- - The first issue of the Theatre Gyermekszínház in offered by quality halls. The large rep- via and abroad, namely in Ljubljana, magazine Architect pub- Subotica. ertoire planned to be performed on the Skopje, Maribor, Split, Belgrade, Za- lished in Ljubljana. - Founding of the Associ- summer stage demanded a specific and com- greb, Osijek, Trieste, Prague, Budapest, - The Puppet Theatre in Niš ation of Applied Arts Art- begins its operation. ists and Designers of Ser- plete solution to the technical and stage Łódź, Moscow, Basel, Vienna. He realised bia (ULUPUDS). problems. A tunnel for storage of scenic 116 performances in the country and 14 1950 - Launching of the maga- elements, simultaneously used as a sec- abroad. Apart from direction, stage de- Mosaic - Holding of the Club Fes- zine , Belgrade, ondary stage, had been designed for the sign, and costume design, he also engaged dedicated to reviewing the tival of the Belgrade Cin- Yugoslav design theory and purpose. The orchestra was located in a in acting and recitation. He wrote movie ema Club during the 1950s practice. pit below the stage and auditorium lev- scripts and shot two live-action films. and 1960s, organized by: Belgrade Cinema Club. - Le Corbusier’s exhibi- el. […] In the beginning of the current He produced television and radio plays, tion in Zagreb and Split. - Yugoslav Pavilion in century, an initiative was launched for and translated plays that were staged Hannover, designed by: - The first Pula Film Fes- reconstruction and revitalisation of the either by himself or by other directors. Ivan Picelj and Aleksandar tival. Summer Theatre Stage in Topčider. Based He took part in national and interna- Srnec. - (until 1960) Vojin Bakić, Polet on the preserved design documentation tional theatre festivals. The following - Launching of – Monument to Stjepan Fili- Youth Literature and Cul- pović, Valjevo. prepared by the architect Rajko Tatić, a two Yugoslav theatres began their work ture Magazine, Zagreb. - Opening of the Zagreb restoration proposal was formulated, of- with his pieces: The Slovene National - Launching of the maga- Drama Theatre (later to fering many possibilities to this specific Theatre in Ljubljana, in 1945, and the zine Student in Belgrade. become Gavella Drama The- atre). stage and adapting it at the same time to - Founding of the National 24 Saša Mihajlov, “Letnja Amateur Theatre in Kikin- pozornica na Topčideru”, in: Nasleđe da; in 1992, it acquires 1952 , no. VIII (Beograd: its professional status. Zavod za zaštitu spomeni- - Miroslav Krleža’s ad- ka kulture grada Beograda) - Founding of the Museum of dress at the Writer’s Con- 2006, p. 119-127. Theatrical Arts in Belgrade.

156 157 - Establishment of Du- Yugoslav Drama Theatre in Belgrade, in culture are polyvalent cultural institu- - Yugoslav Pavilions at brovnik Summer Festival in the international fair in Dubrovnik. 1948. Bojan Stupica was the first Yugo- tions that unite arts and contemporary Vienna and Stockholm, de- - Founding of the Union of slav director to take a Yugoslav theatre artistic genres: painting, representa- signed and implemented by: Film Workers of Yugoslavia on an international tour (with the piece tive arts, performances, film and vid- Vjenceslav Rihter, Ivan and The Association of Film Dundo Maroje) after World War II. He was eo art with educative programmes, like Picelj, Aleksandar Srnec. Workers of People’s Repub- - Yugoslav Pavilion at the lic of Serbia, followed by a professor at three theatre arts col- forums, workshops, audience engagement international fair in Par- the founding of the first leges, those in Ljubljana, Belgrade, and programmes. Houses of culture stand for is, designed and imple- amateur cinema clubs. Zagreb. Apart from direction, theatre the manner in which local community com- mented by: Ivan Picelj and - Founding of the Associ- artistic management is considered to be municates with the population, but they Zvonimir Radić. ation of Drama Artists of - Launching of the culture Serbia (UDUS). the most important segment of his crea- are also the best tool for “carrying out” magazine Yugoslavia, Bel- - Founding of the Boško tive work: he acted as a head of Drama in the spectacle from a “house”, a closed grade. 26 Buha Theatre in Belgrade. the Slovene National Theatre in Ljublja- space, into a street, a square.” - Introduction of the - Completed construction na in 1945, was an artistic manager of eight-year primary schooling. of the Summer Stage Palić. the Yugoslav Drama Theatre from 1947 to The first type of community/social centres - Founding of the Yugoslav - The founding congress 1949, an artistic manager of the Atelje in Yugoslavia, which emerged immediately of the Association of Film Film Archive in Belgrade. Workers of Serbia. 212 from 1959 to 1962, and a head of Dra- after World War II, was connected with - Campaigns Tourism to the ma in the National Theatre in Belgrade agricultural cooperatives and was often Masses, Tourism to the Im- - The Labour Self-Manage- plementers of the Five- ment model implemented in in 1961. He received numerous awards and called “cooperative centre”. There was year Plan. Yugoslavia, the Law on the honours. He designed the following two also a division into special community Transfer of Factories to - Establishing of the Acad- Workers. theatres: the Atelje 212 and the Bojan centres, namely youth centres, national emy of Applied Arts in Za- Stupica Theatre, both in Belgrade. He group centres, veterans centres, memo- greb. Borba 1949 adapted a section of the build- rial centres, revolution centres, etc. - Adoption of the Instruc- ing to house the Atelje 212, whereas the Financing methods depended on their re- 1948 tion for the Formation Manjež building was adapted according to spective statuses. Some were financed by - Founding of the Lit- and Operation of Worker’s his design.25 local communities, others by national tle Theatre (later Little Councils. Theatre “Duško Radović”) committees or municipalities, whereas - Third plenary session of in Belgrade; in 1968, it the Communist Party of Yu- Social Centres / Houses of Culture / Cul- some had no forms of financing whatsoever obtains its own building, goslavia and abandonment tural Centres “Etymological definition of and were forced to organise commercial the first purpose-built of the socialist realism. building for a children’s the term a house of culture provides an contents, like various training cours- theatre in Yugoslavia; ar- - Edvard Kardelj’s speech explanation that house of culture is a es and lectures, dancing parties, film chitects Ivan Antić and at the Slovenian Academy Ivanka Raspopović. of Sciences and abandon- cube, a pinnacle, a high roof of a build- projections, plays, etc. in their prem- ment of the socialist re- ing. A house of culture represents a - Founding of the City Mu- seum in Subotica. alism. meeting “house” of artists, their works, - Beginning of construc- - Founding of the Terazi- and the audience. A house of culture is je Theatre (first as a Hu- 26 Maja Ristić, PhD, “Prome- tion of the Brotherhood moristical Theatre, later also a place of communication, a point na civilizacije ili samo jedna and Unity Highway. Belgrade Comedy and Con- of contact between different culture con- utopija (Programska orijenta- - Founding of Ribnica Cul- temporary Theatre, Terazi- tents and forms, on one hand, and those cija i koncept Domova kultu- tural Centre in Kraljevo. je Scene). re u Republici Srbiji)”, in: - Sounding of the Terrain who wish to “acquire culture” or take Arhitektura objekata Domova in New Belgrade - Founding of Graphic Col- kulture u Republici Srbiji , Boža Ilić. lective. part in it, on the other hand. Houses of , Tematski zbornik, editors: Ra- - Founding of the Acade- - Issuance of the Cul- divoje Dinulović PhD, Draga- my of Applied Arts (today ture Centre Normative for 25 Literature: Mr Ksenija na Konstantinović PhD, Miljana Faculty of Applied Arts) the purpose of regulating Šukuljević, “Bojan Stupica – Zeković, Novi Sad: Departman in Belgrade. the earlier disorganized put u umetnost”, in: Zbornik za arhitekturu i urbanizam, - Founding of the Academy of construction of houses of Bojan Stupica, Beograd: Muzej Fakultet tehničkih nauka, Theatre Arts, the present-day culture. pozorišne umetnosti, 1985. 2014. Faculty of Dramatic Arts.

158 159 1947 ises.27 They were mostly built through developed out of necessity for gain- needs of Yugoslav Drama - (/1948) The Ministry of massive labour actions organised by the ing new knowledge and skills, and for Theatre, project by Momči- Education announces the lo Belobrk, with partici- first competition for de- citizens. However, they often surpassed improvement of education level of the pation of Bojan Stupica. signing of the Memorial the economic potential of their local working class in general. The aim was to - Founding of the National Park Jajinci, along with communities. Owing to inability to per- enhance development of the self-manage- Theatre in Kruševac. the competion for the mon- form their adequate maintenance, a large ment system since many of the required - Founding of the Commit- uments to soldiers fallen tee for Cinema in the Gov- during the National Liber- number of them pretty quickly started skills could not be acquired in schools ernment of the FPRY. ation War and victims of falling into disrepair, some became a and a major part of the working class fascism at several other - (until 1950) the number locations in Serbia. combination of business, warehouse, and was above the age for regular schooling. of houses of culture in the SR Serbia reaches 1450. - Founding of the Youth public space for different types of gath- Such institutions were created in urban Cultural Artistic Society erings, whereas other changed their pur- environments and their aim was to ena- - Founding of the Terri- Mladost in Subotica. torial National Theatre in pose and became community offices, outpa- ble an individual to integrate with as Zaječar, the present-day - Completed construction tient facilities, shops, apartments. The much success as possible into the work Zoran Radmilović Theater of the National Theatre of Timočka Krajina. building in Pančevo. situation significantly changed with the and political self-management process- strengthening of the local communities, es. In time, they developed to become - Decision on founding of - Beginning of the con- the Regional National The- struction of the Federa- which developed as lawful structural el- institutions for acquiring certain spe- atre in Vranje; in 1954, 28 tion Palace or the Federal ements of the self-management society. cialized types of knowledge, e.g. places the theatre shuts down; in Executive Council (SIV) in “Organised around local communities, the where one could learn a foreign language, 1997, the Bora Stanković New Belgrade. National Theatre is re-es- - Founding of the Belgrade working people take part in the manage- evening vocational educational centres, tablished in Vranje. Drama Theatre under the ment process and in decision-making re- educational centres for total national - Establishment of the Re- name of the City Theatre. garding the social affairs within a spe- defence, etc. Occasionally, they also gional National Theatre - Completed construction cific municipality and other socio-polit- transformed into municipal cinemas, li- in Sremska Mitrovica, the of the Summer Stage in present-day Dobrica Milu- Topčider. ical communities as well as within the braries, galleries, cultural centres and tinović Theatre. 30 - Shooting of two live-ac- self-management interest groups. This is the like. - The first Conceptual De- tion films in Yugoslavia: done directly, through their delegations sign of New Belgrade was This People Must Live by and delegates. Relations, institutions, Cultural centres were related to munic- made (architect Nikola Do- Nikola Popović and Slavica brović) on the basis of by Vjekoslav Afrić. rights, and duties of a local community ipality and united different thematic which a plan of New Bel- - Youth labour actions. are regulated by its statute. Local com- spaces like cinemas, municipal galler- grade was drafted in 1948, munity acts as a legal entity.”29 ies, radio stations, community centres, which included the build- - Adoption of the first ing of the Central Commit- Five-year Plan – industri- etc. Unlike houses of culture, cultural tee of the Communist Party alization and electrifica- The second type involved adult education centres had infrastructural organisation of Yugoslavia, the Palace tion plan. centres and labour universities that had that involved their own budget, employ- of Social-Political Orga- nizations and the Palace Domovi kulture ees, and technical equipment. They were 1946 27 Literature: of the Federation or the u SR Srbiji, Beograd: Zavod za mostly developed in small or medium mu- Federal Executive Council - Founding of the Associ- proučavanje kulturnog razvit- nicipalities with appropriate economic (SIV). ation of Fine Artists of ka, Beograd, 1969. Vojvodina, the present-day support, but without the institutions en- - Founding of the Associa- 28 Literature: Ivan Rogić, tion of Musical Artists of Union of Associations of compassed by cultural centres. They were Fine Artists of Vojvodina “Obilježja razvoja žarišta Serbia. (SULUV). elementarne difuzije kultu- financed at the municipal level, with the - Women obtain the right re (i produkcije)”, in: Cen- - Founding of the Union of tri kulture, domovi kulture i capacities that were to meet the needs of to vote in Yugoslavia, Associations of Fine Art- društveni domovi u SR Hrvat- the local users.31 Belgium, Romania, and Ar- gentina. ists of Yugoslavia (SU- skoj, editors: Ivan Rogić, An- LUJ). drija Mutnjaković, Zagreb: Za- - Introduction of the man- - (1947) The existing vod za kulturu Hrvatske, 1984. datory seven-year primary op. cit schooling. building of Manjež Theatre 29 Mali leksikon samouprav- 30 Ivan Rogić, . is reconstructed for the ljača, op. cit. 31 Ibid. - Adoption of the first Con-

160 161 stitution of the Federa- Sounding of the Terrain in New Belgrade in the monumental painting Sounding of ration on the Proclamation tive People’s Republic of the Terrain in New Belgrade of the Federative People’s Yugoslavia and the Law on According to local historiography, So- by Boža Ilić Republic of Yugoslavia. Nationalization. cialist Realism was the first artistic (1948), an icon of Yugoslav Socialist - Reconstruction, initia- 32 - The Theatre in Sombor model in the postwar Yugoslavia. One of Realism, which recorded the construction tion of a rapid moderniza- becomes a permanent pro- the most famous paintings is Sounding of of the Presidency of the Federal Govern- tion of the country, sep- fessional theatre and de- the Terrain in New Belgrade aration of the church and velops into the National by Boža Ilić, ment. The painting captures the enthusi- the state. Theatre in 1952. which was “excessively glorified and then asm of mass manual labour, done in the hastily undervalued”33. In his text Na- most primitive and brutal conditions, tional, Supranational, International: 1944 1945 to produce the projected modern city, a - The first piece of the Na- - The cultural associations New Belgrade and the Symbolic Construc- vivid illustration of what Marshall Ber- tional Liberation Theatre including the Dilettante tion of a Socialist Capital, Vladimir man called the ‘modernism of underdevel- in Kragujevac, the former Section of the Municipal 34 Danube Banovina Theatre, Union Council (the Ama- Kulić, describing the three stages of opment’” (Berman, 1982). the present-day Knjaževs- teur Theatre of the Munic- its construction, analyzes how New Bel- ko-srpski (Prince’s Serbi- ipal Union Council start- grade and its most important buildings an) Theatre in Kragujevac. ing from 1947, the County reflected changes in Yugoslav domestic as - Establishment of the Na- Amateur Theatre starting tional Theatre in Šabac. from 1950), Hungarian Cul- well as foreign policy. To illustrate tural Association “Lower - Founding of a drama club, the first stage of construction, Kulić later to develop into the Town” (later to become the Sounding of the Ter- Cultural and Educational uses the painting National Theatre in Lesko- Association “Petefi Šan- rain in New Belgrade from 1948: “The use vac. dor”), Hungarian Cultural of volunteer labour had a highly symbol- - The Serbian National The- Association “Upper Town” atre in Novi Sad acquires (Cultural and Educational ic dimension, but it was also the result the status of national in- Association “Jožef Ati- of pure need. The task at hand was daunt- 34 Vladimir Kulić, op.cit. 2013. stitution; the Opera was la”), and the Choir of the ing and the lack of material resources established in 1947 and Cultural Artistic Associa- the Ballet in 1950; the tion of the Union Council dire. Even before any construction could * LITERATURE: “Pažnja – Kritika!?. Kako i šta je pi- present-day building of “Đura Jakšić” are founded begin, almost 90 million cubic meters of sano o beogradskim Oktobarskim salonima“, editors: the Theatre was construct- in Bečej. sand and gravel were planned to be dug out Aleksandra Mirčić, Gordana Dobrić, Aleksandra Este- ed in 1981; architect Vik- tor Jackijević. - Founding of the Terri- of the Danube to fill in the floodplains. la Bjelica Mladenović, Radonja Leposavić, Kultur- torial National Theatre ni centar Beograda, Beograd, 2009; Atlas pozorišta - Founding of the Region- Arhitektura Užice, the present-day Na- With few machines available, most of the http://www.scen.uns.ac.rs/?page_id=53; al Dilettante Theatre in objekata domova kulture u Republici Srbiji tional Theatre Užice. work was done manually, as celebrated , edi- Pirot, inaugurated as the tors: Dr Radivoje Dinulović, Dr Dragana Konstanti- - Founding of the National Regional National Theatre nović, Miljana Zeković, Departman za arhitekturu i Theatre Sterija in Vršac. in 1945; the present-day 32 Ješa Denegri, “Srpska umet- urbanizam, Fakultet tehničkih nauka, Novi Sad, 2014; National Theatre Pirot Arhitektura scenskih objekata u Republici Srbiji - Founding of the Depart- nost u uslovima Hladnog rata: , has been located in a pur- ment for Agitation and Pro- Od socijalističkog realizma ka editors: Dr Radivoje Dinulović, Dr Dragana Konstan- pose-built building since paganda – Agitprop within socijalističkom modernizmu”, tinović, Miljana Zeković, Departman za arhitekturu 1981.* the Central Committee of in: Miško Šuvaković, Ješa De- i urbanizam, Fakultet tehničkih nauka, Novi Sad, Nezavisna kulturna scena Srbije the CPY. negri, Nikola Dedić, Trijumf 2011; http://ne- ID: Ideologija diza- - Presidency of the AP savremene umetnosti. Mapiranja zavisnakultura.net/clanovi/; jna Vojvodina decides on es- diskontinuiteta opsesija, uži- , editors: kuda.org, Muzej savremene umetnosti tablishing two ensembles, vanja, posedovanja, fantazija Vojvodine, Novi Sad, 2009; Miroslav Bata Petrović Alternativni film u Beogradu od 1950. do 1990. go- namely the Croatian Na- i subverzija unutar materijal- dine O normalnosti. Umetnost tional Theatre and the Hun- nih umetničkih praksi u Srbi- , DKSG Beograd, 2008.; u Srbiji 1989-2001 garian National Theatre, ji tokom dvadesetog veka, Novi , editors: Branislava Anđelkov- which become one institu- Sad: Muzej savremene umetnosti ić, Branislav Dimitrijević, Dejan Sretenović, Borut tion, namely the National Vojvodine; Beograd: Fond Vuji- Vild, Muzej savremene umetnosti Beograd, 2005; Šta Theatre in Subotica. čić kolekcija, 2010. je to savremeni ples (u Srbiji), team of authors: Jovana Rakić, Igor Koruga, Marko Milić, Marijana - The Constitutional As- 33 Lazar Trifunović, Serbian Cvetković; Stanica Servis za savremeni ples, Beo- sembly adopts the Decla- Painting 1900-1950, Belgrade: Nolit, 1973. grad, 2017; and other sources.

162 163 1.1.4 Što više ideš na javna mesta ispod naše crne kocke PESMARICA DRUGI DEO – Veće postaje tvoje blago (koje je AUTORSKI SONGOVI zarada nekog drugog) Kolektivni rad tima Radovi na sceni Drugim rečima: što više bivaš manje imaš

Ref 2 Dimenzije kocke su 5x5x5 6. ŠTA SMO (SAMO)IZGRADILI? ILI A naš dan nije podeljen sad ŠTO MANJE BIVAŠ VIŠE IMAŠ na sanjanih 8:8:8 (Autoreferencijalni ili programski song) jer sve naše vreme izjeda preplavljujući rad U songu su korišteni delovi pesme Antoni- (ili što manje bivaš više imaš) ja Niviler (Antonio Neiwiller) Che senso ha se solo tu ti salvi, teksta Kati Viks Stubovi su veza između gore i dole Imagining non-work, (Kathi Weeks) kao i Stubovi čine „trg“ unutar objekta Radovi izjave autora i autorki postavke Kuću dom igraonicu i školu pričaonicu na sceni, o tome šta je za njih obje- mesto samospaljivanja samoizgradnje i kat koji su zajedno konceptualizovali, susreta izradili i izložili, te delovi tehničke specifikacije o istom objektu koji je, uz Što manje odlaziš na agoru osam pesama i performans, deo postavke. Što manje misliš voliš teoretišeš pevaš Tekst, muzika i izvedba: autori i autor- slikaš ke, kustosi i kustoskinja Postavke. Što više štediš postaje veći tvoj Ref 1 kapital Dimenzije kocke su 5x5x5 A tuplja tvoja oštrica A naš dan nije podeljen sad (Drugim rečima: Što manje bivaš više na sanjanih 8:8:8 imaš) jer sve naše vreme izjeda Ref 3 preplavljujući rad (ili što manje bivaš više imaš) Dimenzije kocke su 5x5x5 A naš dan nije podeljen sad Gore je interaktivno, mobilno i stalno na sanjanih 8:8:8 se transformiše jer sve naše vreme izjeda nije zatvoreno ni odozgo ni odozdo preplavljujući rad Takva promenjiva priroda (ili što manje bivaš više imaš) Podrazumeva radoznalost i otvorenost ka drugosti Baza je od crne reciklirane gume Takva blaga mekoća menja osećaj pri Jer što više jedeš piješ čitaš družiš hodu se

164 165 Zbunjuje i izbacuje telo iz balansa Oni to vreme ne koriste za radionice Polje igre i nestabilno tlo tezge snimanja estetske operacije objekat i događaj koji sublimiše ili neku drugu vrstu korisnog sva prošla iskustva jednog društva profesionalnog usavršavanja ili unapređivanja sopstvenog glumačkog aparata Što više spavaš manje proizvodiš Oni to vreme koriste Vreme je da umetnost pronađe druge DA ODU U PLANINE!!!! forme Da bi komunicirala u svetu gde je sve (Domaća intendantica je rekla: komunikacija Nećeš da radiš? Ima ko će doći na tvoje (Drugim rečima: što manje bivaš više mesto. imaš) Žena ti se porađa? To je lepo, ali je pozorište lepše. Dobro, dobro, neko ostaje u pozorištu, 7. BURNOUT (ONI HOĆE U PLANINE) a neko ide na jogu Neko ostaje u pozorištu, a neko subotom Burnout (sagorevanje) je prvi put defini- uveče ide na rođendane sao 1974. godine psiholog Herbert Frej- Neko ostaje u pozorištu po celu noć a denberger (Herbert Freudenberger) kao neko drugi stanje fizičkog i mentalnog kolapsa usled IDE U PLANINE!!!!) prekovremenog rada i s njim povezanog stresa. U songu su korišteni delovi tek- Jedan inostrani milenijalac zaposlen sta Ričarda Sejmura (Richard Seymor) Svi smo mi prekarni - o konceptu prekarijata kao asistent reditelja kaže: Organizovati sam taj put u planine i njegovim pogrešnim uporabama i inter- zahtevan je posao vjua pod naslovom Administracija klasnih On stoji na mojoj to-do listi već sukoba koji su s Lidijom Krienzer Ra- nekoliko nedelja a ja nisam u stanju dojević vodili Martin Beroš i Karolina jednostavno nisam u stanju Hrga. Oba teksta mogu da se pronađu na Da nađem najjeftiniji let najudobniji www.slobodnifilozofski.com. Tekst, muzika hotel napravim raspored tako da uklopim i izvedba: autori i autorke, kustosi i vreme sopstvenog godišnjeg odmora kustoskinja Postavke. sa vremenom godišnjeg odmora mojih prijatelja da nađem najbolje ski-staze Inostrana intendantica je rekla: najbolje pozicije za spustove skokove i Ali raditi u pozorištu s ugovorom na vožnju bob običnih sanki snowboarding 80% i karling te najvišim ocenama ocenjene To ne ide to je nemoguće to podriva restorane sistem Imao sam na umu odmor koji bi na I sve nas koji radimo na 100% a i preko fotkama na Instagramu izgledao kao toga perfektno izbalansiran A ovi glumci na ugovorima od 80%

166 167 i zavidan miks: slobodnog vremena Rad na pristaništu uvek je neizvestan i avanture zabave holističkog oporavka nesiguran način života putovanja i gastronomskog užitka I da hoću da radim na 100% ja to nikako Prešao sam na ugovor od 80% misleći da ne mogu ću ići u planine tokom tih preostalih Jer ponuda radne snage u Liverpulu uvek 20% vremena premašuje njenu potražnju Rekao sam sebi: odrasti, bukiranje Te moja prosečna zarada ne prelazi odmora nije tako težak zadatak, ipak ja četiri (radna) dana odnosno 18 šilinga U PLANINAMA JOŠ UVEK NISAM BIO sedmično U ta preostala tri dana u sedmici voleo Zaposleni u pozorištu kažu: bih i ja otići u planine, ali mi se U pozorištu ćemo napraviti važnu nešto čini da ipak ni ovaj put to neću predstavu o političkim pitanjima moći Prosto zato jer u kapitalizmu Jer sam okružen vojskom nezaposlenih prevladavaju zahtevi za političkim i zasebnom skupinom društveno pravima neprilagođenih bolesnika koji Dok se ekonomska i socijalna prava u preživljavaju na otpacima društva i potpunosti zanemaruju čekaju da rade moj posao dok sam ja u Zaradili smo burnout radeći neprestano tim planinama na toj važnoj predstavi Znam da svaki od njih čeka da radi ono Zato i mi hoćemo da idemo u planine što ja radim da bude lučki radnik u Jer u planinama se zbog niskih Liverpulu umjesto mene drugog lučkog temperatura smanjuje mogućnost radnika u Liverpulu kolektivnog izgaranja To od čega mi patimo ne može se Na kolektivnom godišnjem odmoru tom izlečiti jednom nedeljom šetnje po poslednjem recidivu socijalizma snegu i udisanja svežeg vazduha te sklonićemo se od pretnje kolektivnog stoga: burnout-a JA U PLANINE NE IDEM Tog fenomena koji čini da repertoar decenijama održavamo na isti način: Iscrpimo apsolutno sve sopstvene 8. HOR PREKARNIH RADNIKA U resurse i ipak ne prestajemo s radom KULTURI jer se ne možemo osloboditi nervozne Prethodnih sedam pesama pratilo je isto- kompulzije da proizvedemo još jednu i rijsko putovanje naših reči, pratilo je još jednu i još jednu predstavu umetničke, kulturne i pop-kulturne odje- Tiho se pečemo na lomači a nikako da ke uslova rada i života radnika i radnica izgorimo Jugoslavije, Srbije, Turske i Nemačke, TO SU NAMA NAŠE PLANINE DALE od početka dvadesetog veka do danas. Pe- sme su opisivale naše uslove sopstvene Jedan lučki radnik u Liverpulu 1882. proizvodnje, naše modele (samo)organiza- godine rekao je: cije, otpora, stremljenja i razočarenja

168 169 i dovele nas do ove, poslednje pesme. To Naš je zahtev isključivo verbalan – je horska, zajednička pesma, poput prve upućen višem autoritetu i oslanja se dve, poput Pesme 10.000 štrajkača i Pe- samo na reč sme radu, kao jedan od mogućih odgovora u Naša reč putuje od opšte nesigurnosti zadatim okolnostima, a u jedinoj za nje- ka sopstvenom pravnom kosturu ga mogućoj – deljenoj formi. Pevanje ove Od pravno-tehničkih okolnosti do horske deonice vidimo kao udruživanje u sopstvenog mističnog jezgra i nazad poduhvatu koji nije moguće realizovati Ona putuje ka istini odnosa: vlasnicima u samoći, kao grupu reči koju je nemo- kapitala i radnicima i radnicama guće otpevati mimo grupe. Tekst, muzika Ona putuje ka istini odnosa: i izvedba: autori i autorke, kustosi i nejednakosti i potčinjenosti kustoskinja Postavke. Ref 2 Naša reč putuje kroz istoriju Iznurena potplaćena otpuštena Naši verbalni zahevi su prešli svoj neispavana put od formulisanja, preko njihovog Zaboravna neodgovorna na prekovremenom upućivanja radu Prvo božanstvu onda uvek nekom Pod stresom u diskontinuitetu u autoritetu poput našeg poslodavca, hiperproizvodnji poput vlasnika sredstava za proizvodnju Opasan egzotičan organ stranog tela naših objekata izvedbenih i teorijskih Alergičan (sa papirnatim maramicama, tekstova naših izvedbi, poput naših kijanjem i očima koje peku i svrbe) šefica i šefova, hronično bolestan povređen na radu a onda i konstantnog upućivanja tih istih verbalnih zahteva nama samima Naša reč putuje ne znajući ko kada kako Naša reč putuje od Sondiranja terena na gde će je čuti Novom Beogradu Onda zastane pa se zagleda ispred sebe preko Balkanskih Istočnika do sadašnjeg pa onda gleda i sluša još malo trenutka Onda zamisli nad pitanjem: A ko sluša? Do ovde i sada (do kulturnih industrija Naše reči gde ima – ima i mita a gde i prekarijata) ima mita i vatra i zgarište postoje Naša reč nas uči govoriti je a ne samo Ref 1 izgovarati je Izmoljen isprošen milošću dobijen Ref 3 Po milosti na molbu do opoziva dobijen Nesiguran neizvestan od danas do sutra Umorna zamenjiva rezignirana uplašena Fleksibilna pod stresom bespomoćna Skoro nikad nisam van dometa uvek sam oslabljena online Ovisna o tuđoj volji ili okolnostima Mali iritantan nekoristan Riskantna delikatna Društveno slabo prihvatljiv neprihvatljiv antipatičan

170 171 Našu reč guramo, osećamo se obično 1.1.4 Naša reč je oslobođena krivice nerada i prisile zabave SONGBOOK PART TWO – Ali ona ne govori o postupcima ORIGINAL SONGS osmišljenim u samoći: Collective work of the Scene Work Ahead Kakvog smisla ima ako se samo ti spasiš team Raduje nas kad se naše reči reči reči reči reči puno reči Naših i tuđih pretvore u nešto Opipljivo veliko tvrdo crno kao Povećanje budžeta za kulturu 6. WHAT HAVE WE BUILT transparentan rad komisija nezavisno (OURSELVES)? OR THE LESS YOU novinarstvo ARE, THE MORE YOU HAVE Zabrana upliva privatnih interesa u (A self-referential or a programme raspodelu javnog novca song) Ref 4 The song quotes parts of the song by Inspirisana sigurna izvesne budućnosti Antonio Neiwiller Che senso ha se solo Zadovoljen osiguran podstaknut opipljiv tu ti salvi and the text by Kathie Weeks Izvan logike tržišta profitabilnosti Imagining Non-work, as well as the answers potrošnje i proizvodnje of the authors and curators of the Scene Bez gneva i pohlepe uljuljkan a ne Work Ahead exhibition on what the object, anesteziran which they mutually conceptualised, Lako ulazim još lakše iskoračujem created and exhibited, represents to I bivam sve što mi srce ište them. The song also uses parts of the technical specification of the same object which is, along with the eight songs and performance, a part of the exhibition. Text, music and interpretation: authors and curators of the Exhibition.

Chorus 1 The dimensions of the cube are 5x5x5 But now our day is not divided into the dreamed – of 8:8:8 because all the time we have on our hands is consumed by overwhelming work (or the less you are the more you have)

It is interactive, mobile and ever transforming up here

172 173 It is not closed from either above or But now our day is not divided from below into the dreamed – of 8:8:8 Such a volatile nature because all the time we have on our Implies curiosity and open-mindedness hands is consumed by overwhelming work towards otherness (or the less you are the more you have)

Because the more you eat drink read so- The base is made of black recycled rub- cialize ber The more you go to public places under Such tender softness changes the sensa- our black cube tion when walking The greater becomes your treasure Confuses and throws the body off balance (which is someone else’s profit) A playground and unstable ground In other words: the more you are the the object and the happening that sub- less you have limes all past experiences of a society Chorus 2

The dimensions of the cube are 5x5x5 The more you sleep the less you produce But now our day is not divided It’s time for art to find its other into the dreamed – of 8:8:8 forms because all the time we have on our In order to communicate in a world hands is consumed by overwhelming work where communication is everything (or the less you are the more you have) (In other words: the less you are the more you have) Pillars are links between up and down Pillars make the “square” inside the object House home playground school chat room 7. BURNOUT (THEY WANT TO GO the place of self-immolation self-up- INTO THE MOUNTAINS) bringing and encounters Burnout was first defined by the psycholo- gist Herbert Freudenberger in 1974 as a The less you visit the agora state of physical and mental collapse The less you think love theorize sing caused by overtime work and correlat- paint ed stress. The song uses fragments of The more you save the greater becomes the text written by Richard Seymour We your treasure Are All Precarious – about the Concept And your blade becomes duller of Precariat and its Incorrect Usage, (In other words: The less you are the as well as of the interview with Lidija more you have) Krienzer Radojević titled Administration of Class Conflict conducted by Martin Chorus 3 Beroš and Karolina Hrga. Both texts are The dimensions of a cube are 5x5x5 available on www.slobodnifilozofski.com.

174 175 Text, music and interpretation: authors, mountains is a demanding task and curators of the Exhibition. It’s on my to-do list for a couple of weeks now, and I can’t, I simply can’t An international female theatre manager bring myself to do it, to find: the said: cheapest flight the cosiest hotel to make a schedule so to fit the time of my But to work in a theatre with a part- own annual holiday leave into the time time contract of my friends’ annual holiday leave That can’t be that’s impossible it to find the best ski slopes the best undermines the system positions for downhill jumps and bob And all of us that work full-time and sleigh riding and regular sleigh riding beyond snowboarding and carling and the best And these actors with part-time rated restaurants contracts I had a holiday in my mind that would They don’t use that spare time for look on Instagram photos as a perfectly workshops gigs shooting plastic balanced surgeries or any other type of and enviable mix of: spare time useful professional specialisation adventure fun holistic recovery travel or improvement of their own acting and gastronomic pleasure apparatus I switched to the part-time contract They use that time thinking I will be going to the TO GO INTO THE MOUNTAINS!!!! mountains during my spare time I said to myself: grow up, booking a A national female theatre manager said: holiday is not such a big deal, yet You don’t want to work? There’s always I STILL HAVEN’T BEEN TO THE MOUNTAINS someone to take your place. Your wife is in labour? That’s nice, The theatre employees say: but the theatre is nicer. We will make an important play on Well, well, someone stays in the political topics in the theatre theatre, and someone goes to a yoga Simply because demands for political class rights are predominant in capitalism Someone stays in the theatre, and While the economic and social rights someone goes to birthday parties on are being completely ignored Saturday nights We earned ourselves burnout by Someone stays in the theatre all night constantly working on that important long while someone else play GOES INTO THE MOUNTAINS!!!! That’s why we want to go to the mountains A German millennial employed as an Because the low temperatures in the assistant director in a state theatre mountains reduce the potential for a says: collective spontaneous combustion Organising that very trip to the

176 177 On a collective annual vacation that What we suffer from cannot be cured last relapse of socialism we will hide by one week’s walk in the snow and from the threat of a collective burnout breathing in of fresh air so on that This phenomenon makes us maintain the note: repertoire in the same manner for I AM NOT GOING TO THE MOUNTAINS decades: We exploit absolutely all of our resources and yet we still don’t stop 8. CHOIR OF PRECARIOUS CULTURAL working because we can’t get rid of WORKERS the nervous compulsion to produce yet another and another and another play The previous seven songs have been try- We are slowly flaming on a bonfire and ing to detect and document a historical yet it seems that we simply cannot burn journey expressed by (our) words, words down of work force. The songs also tried to THAT IS WHAT OUR MOUNTAINS GAVE TO US tackle artistic, cultural and pop-cultural treatment of working conditions A dock worker in Liverpool in 1882 and lives of workers, both male and female in Yugoslavia, Serbia, Turkey and said: th Working on a dock is always uncertain Germany, from the beginning of the 20 and an insecure lifestyle century until today. The songs described So even if I wanted to work full-time I our conditions of production, our mod- definitely couldn’t els of (self)organisation, resistance, Because the supply of workforce in aspirations and disappointments. Conse- Liverpool always exceeds demand quently, they led us to this, last song. So my average income does not exceed This is a choral, common song which, like the first two, A Song of 10,000 Strikers four (working) days or 18 shillings per The Labour Song week and , represents one of the possible answers in the given cir- During the remaining three days I would shared also like to go to the mountains, but cumstances in the form – which it seems to me that I won’t be going seems to be its only possible form in this time either this case. Singing of this choral piece Because I am surrounded by an army of is considered as aligning in the venture unemployed and a separate group of sick which cannot be realised in solitude; we social outcasts who survive on scarps see it as a group of words which cannot of the society and are only waiting be sung outside of the group. Text, music to have my job while I’m in those and interpretation: authors, and cura- mountains tors of the Exhibition. I know that every single one of them is waiting to do what I do to be a Our word travels through history dock worker in Liverpool instead of me Our verbal demands have passed their another dock worker in Liverpool way from being formulated, over being addressed

178 179 First to the deity and then always to overtime some authority like our employer, Under pressure in discontinuity in Like the owner of the means of hyperproduction production of our objects, of our Dangerous exotic an organ of a foreign performative and theoretical texts of body our performances, like our female and Allergic (with tissues, sneezing, and male bosses, eyes burning and itching) And then to being constantly addressed Chronically ill injured at work to ourselves Our word travels from the painting Our word travels not knowing who when Sounding of the Terrain in New Belgrade how where it will be heard Over the Balkan Sources exhibition to Then it stops and stares in front of the present moment itself and then looks and listens a To here and now (to cultural industries little more and the precariat) Then it ponders over the question: And who is listening? Chorus 1 Where there is our word there is also Implored besought with mercy received myth and where there is myth fire and By grace upon pleading until revocation scorched earth exist received Our word teaches us to speak it not Insecure uncertain hand to mouth only to pronounce it Flexible stressed helpless weakened Chorus 3 Dependent on someone else’s will or circumstances Tired replaceable indifferent scared Risky delicate I’m almost never offline I’m always online Our request is strictly verbal – Small irritating useless addressed to a higher authority and Socially poorly acceptable unacceptable relying solely on the word unlikeable Our word travels from general uncertainty to its own legal framework We push our word, we feel ordinary From legal and technical circumstances Our word is relieved from guilt of non- to its own mystical core and backwards work and imperative of entertainment It travels to the truth of relations: But it does not speak about actions to the owners of capital and female and devised in solitude: male workers What sense does it make if only you It travels to the truth of relations: save yourself? to inequality and subordination We are delighted when our words words words words words abundance of words Chorus 2 Ours and someone else’s are turned into Exhausted underpaid fired sleepless something Forgetful irresponsible working

180 181 Tangible huge hard black like Increase in the budget for culture transparent work of juries independent journalism Prohibition of private interest influence on distribution of public funds

Chorus 4 Inspired assured of certain future Satisfied secured encouraged palpable Beyond the logic of market profit consumption and production Relieved from anger and greed lulled but not sedated I easily step inside and even easier step outside And I become whatever my heart desires

182 183 Poseta zgradi Saveznog izvršnog veća i napuštenim temeljima Muzeja revo- U pozadini mozaici Marija Pregelja Sutjeska i Mladena Srbinovića Stvaranje lucije naroda Jugoslavije, mart 2019. / Visit to the Federal Executive nove Jugoslavije / In the background mosaics Sutjeska by Mario Pregelj and Council building and foundations of the abandoned Museum of the Revolution Creation of New Yugoslavia by Mladen Srbinović of the People of Yugoslavia, March 2019 fotografije / photos: Nenad Porobić i/and Katarina Popović 184 185 Radovi na sceni - proces, Muzej primenjene umetnosti, januar 2019. / fotografije / photos: Siniša Ilić Scene Work Ahead - process, Museum of Applied Art, January 2019

186 187 Radovi na sceni - proces, Muzej primenjene umetnosti, januar 2019. / fotografije / photos: Siniša Ilić Scene Work Ahead - process, Museum of Applied Art, January 2019

188 189 Poseta zgradi Saveznog izvršnog veća. U pozadini slika Lazara Vujaklije fotografija / photo: Nenad Porobić Putevima Jugoslavije, mart 2019. / Visit to the Federal Executive Coun- cil building. In the background painting by Lazar Vujaklija On the Roads of Yugoslavia, March 2019 190 191 skice za kostim / sketches for costume

192 193 Radovi na sceni, objekat, ilustracija / Scene Work Ahead, object, illustration

194 195 Radovi na sceni, objekat, ilustracija / Scene Work Ahead, object, illustration

196 197 Radovi na sceni, objekat, ilustracija / Scene Work Ahead, object, illustration

198 199 Radovi na sceni - Prag 2019. / Scene Work Ahead - Prague 2019 fotografije / photos: Nemanja Knežević

200 201 Radovi na sceni - Prag 2019. / Scene Work Ahead - Prague 2019 fotografije / photos: Nemanja Knežević

202 203 Radovi na sceni - Prag 2019. / Scene Work Ahead - Prague 2019 fotografije / photos: Nemanja Knežević

204 205 Radovi na sceni - Prag 2019. / Scene Work Ahead - Prague 2019 fotografije / photos: Nemanja Knežević

206 207 1.2 1.2 PROLAZAK KROZ POGLED NA SCENU A VIEW OF THE SCENE – A WALK-THROUGH INSTITUCIJE KULTURE – NEZAVISNE PRODUKCIJE – JAVNI CULTURAL INSTITUTIONS – PROSTOR – AD HOC AKCIJE INDEPENDENT PRODUCTIONS – AD HOC Bojan Đorđev, Siniša Ilić i Maja Mirković PUBLIC SPACE – ACTIONS Bojan Djordjev, Siniša Ilić and Maja Mirković

Kao osnovnu smernicu pri izboru radova pristiglih na konkurs imali smo ideju o prikazivanju materijala nastalih u različitim uslovima i oblicima rada When selecting the works received through na sceni izvođačkih umetnosti. Odabrani radovi proširu- an open call we were guided by the idea to present the maju i preispituju ponuđene kategorije (scenografija, kosti- terial created in different working conditions and forms on mografija, korišćenje medija, total dizajn scene, fotografi- the scene of performing arts. The selected works expand ja scenskog događaja, dizajn svetla, upotreba prostora za and examine the offered categories (stage design, costume scenski događaj), različite modele produkcijskih uslova i design, media use in performance design, total performance pristupa proizvodnji umetničkog materijala. Instucionalne design, performing arts photography, light design, use of produkcije predstavljene su kroz radove Jelene Janković, space for performance), different models of production con- Zorane Petrov, Ane Vujanović i Marte Popivode, Aleksan- ditions and approaches to the production of art material. dra Ramadanovića, Andreje Rondović, Veljka Stojanovića i Institutional productions are presented through the works Nikole Zavišića. Različiti oblici radova nastalih na ne- by Jelena Janković, Zorana Petrov, Ana Vujanović and Marta zavisnoj ili samooganizovanoj sceni predstavljeni su kroz Popivoda, Aleksandar Ramadanović, Andreja Rondović, Veljko produkcije Karkatag kolektiva, Srđana Veljovića, Mie Da- Stojanović and Nikola Zavišić. Various forms of works cre- vid, te autorske pozicije okupljene oko Stanice – Servi- ated on an independent or self-organised scene are present- sa za savremeni ples: Igor Koruga i Maja Pelević, Jovana ed through the productions by Karkatag Collective, Srđan Rakić, Marko Milić. Site-specific prostorima prenamenjenim Veljović, Mia David, and team of authors gathered around u izvedbene bavio se autorski tim projekta Granična lepota Station – Service for Contemporary Dance: Igor Koruga and (Nikola Isaković, Branislava Stefanović, Sofija Mitrović). Maja Pelević, Jovana Rakić, and Marko Milić. The site spe- Korišćenje lokacija u javnom prostoru i njihovo preoznača- cific spaces that are being repurposed to performative ones vanje putem kritičke intervencije, uspostavljanjem novih are the subject matter of the project Borderline Beauty by relacija i prenamenom u scenu ili scenski ambijent, donose the team of authors and works by Nikola Isaković, Bran- kolektivi Institut za aplauz, Urbanium i instalacija Bro- islava Stefanović and Sofija Mitrović. The use of locations ken Light. in public space and their redefinition through critical in- Ovakav pristup odabiru radova uvodi tervention, by establishing new relations and transforming razmišljanje o modelima rada u umetnosti i usmerava paž- them into the stage or scenic environment, is the subject nju na raznolikost pristupa scenskom dizajnu uslovljenom matter of the works by the collectives The Applause Insti- društvenom realnošću. tute and Urbanium, and of the installation Broken Light. Such an approach to the selection process introduces contemplation on the models of work in art, and draws attention to the diversity of approaches to the scene design conditioned by social reality.

208 209 1.2.1 SONJA JANKOV, ĐINA PRNJAT, JANŽ ORMEZU, NEMANJA MITROVIĆ /// BROKEN LIGHT

01 Imena autora i autorki / Name of dinamizovana je promenom pozicije svetla an Austrian prison dating back to the author: i kretanjem posetioca. 19th century, 2017 Autorski tim / Team of authors: Sonja Jan- /// kov (Serbia), Đina Prnjat (Montenegro), A hundred and fifty metres of rope is de- 06 Fotografija / Photography: Janž Ormezu (Slovenia), Nemanja Mitrović signed so as to “radiate light” from the Luka Bošković (Montenegro) bars of each of the six detached prison cells. These 25 lines composing a system 02 Kategorija / Category: meet at one point on the wall – the only Intervencija u javnom prostoru “view” that each of the cells have, /// symbolising otherwise impossible ex- Intervention in public space change of the prisoners and the entry of sunlight into the cell space. The sharp 03 Naziv projekta / Project title: and precise geometry of the installation Broken Light is dynamised by changing the light position and by the visitor’s movement. 04 Opis / Description: Sto pedeset metara užeta projektovano je 05 Impresum (produkcija, mesto, godina, da „zrači“ sa šipki svake od šest razdvo- ostatak autorskog tima) / Impressum jenih zatvorskih celija. Sistem od po 25 (production, place, year, other authors linija spaja se u tački na zidu – jedinom of the team): „pogledu“ svake od ćelija, simbolizujući Kotor Architecture Prison School, Kotor, inače nemoguću razmenu zatvorenika i austrijski zatvor iz XIX veka, 2017. ulaz sunčeve svetlosti u prostor ćelije. /// Oštra i precizna geometrija instalacije Kotor Architecture Prison School, Kotor,

210 211 1.2.2 MIA DAVID /// JULIJA

01 Ime autorke / Name of author: lation that serves as a performing space scenography: Mia David; costume design: Mia David in the authorial project JuliJa by Zora Mojsilović; music: Draško Adžić; Mirjana Karanović, based on the motives light design: DjuraLight 02 Kategorija / Category: from the play Miss Julie. The space is a Dizajn scene house/cage, a safe place and a prison, 06 Fotografija / Photography: /// a place of physical and psychological Mia David Stage design confrontation with oneself as well as with social and cultural contexts. 03 Naziv projekta / Project title: JuliJa, Nina Džuver, po drami Gospođica 05 Impresum (produkcija, mesto, godina, Julija Augusta Strindberga ostatak autorskog tima) / Impressum /// (production, place, year, other authors JuliJa, Nina Džuver, inspired by the of the team): play Miss Julie by August Strindberg Fond „Heartefact“, Bitef teatar, Beo- grad, 2017; režija: Mirjana Karanović; 04 Opis / Description: koreografija: Sonja Vukićević; asistent Rad je prostorna instalacija koja služi režije: Damjan Kecojević; scenografija: kao prostor igre u autorskom projektu Mia David; dizajn kostima: Zora Mojsilo- JuliJa Mirjane Karanović, rađenom po mo- vić; muzika: Draško Adžić; dizajn sve- tivima drame Gospođica Julija. Prostor tla: DjuraLight je kuća/kavez, sigurno mesto i zatvor, /// mesto fizičkog i psihičkog obračuna sa Heartefact Foundation, Bitef Theatre, sobom, društvenim i kulturnim kontekstom. Belgrade, 2017; directed by: Mirjana /// Karanović; choreography: Sonja Vukićević; The work represents a spatial instal- assistant director: Damjan Kecojević;

212 213 1.2.3 GRANIČNA LEPOTA / BORDERLINE BEAUTY

01 Ime autora / Name of author: pozorišni rejv i oda klabingu. Granična lepota elni identitet i organizacija: Autorski tim /// Andrea Tešanović; promo-materijal: /// Borderline Beauty is a procession Borderline Beauty Aleksa Vitorović; tehnička podrška: Team of authors performance at a “techno cathedral”, Nemanja Rašović the former slaughterhouse where club /// 02 Kategorija / Category: “Dragstor” is located. By linking the clubbing Club “Dragstor” and Citizens’ Asso- Upotreba prostora za scenski događaj “high culture” with as a rit- ciation “Publika”; costume design: /// ual through contemporary dance, dramat- Dragana Dobrić; poster design: Marko Use of space for performance ic text, sculpture, techno music, light Vuleta-Đukanov; producer: Ana Konjo- effects and multi-channel video instal- vić; production: Aleksandra Pavlo- 03 Naziv projekta / Project title: lations, and by combining archaic and Granična lepota vić; visual identity and organisa- modern technologies in the design of tion: Andrea Tešanović; promotional /// performing space, Borderline Beauty rep- Borderline Beauty club- material: Aleksa Vitorović; technical resents a theatre rave and ode to support: Nemanja Rašović bing. 04 Opis / Description: Granična lepota 06 Fotografija / Photography: je procesijska predstava 05 Impresum (produkcija, mesto, godina, Aleksandar Crnogorac u „tehno katedrali“, bivšoj klanici, u ko- ostatak autorskog tima) / Impressum joj se nalazi klub „Dragstor“. Povezujući (production, place, year, other authors „visoku kulturu“ sa klabingom kao ritua- of the team): lom kroz savremeni ples, dramski tekst, Klub „Dragstor“ i udruženje građana skulpturu, tehno muziku, svetlosne efekte „Publika“; dizajn kostima: Dragana Do- i višekanalne videoinstalacije, spajajući brić; dizajn plakata: Marko Vuleta-Đu- arhaične i savremene tehnologije u diza- kanov; producentkinja: Ana Konjović; jnu scenskog prostora, Granična lepota je produkcija: Aleksandra Pavlović; vizu-

214 215 1.2.4 NIKOLA ISAKOVIĆ /// POKUŠAJ OPISA JEDNOG RADNOG DANA / AN ATTEMPT TO DESCRIBE A WORKING DAY

01 Ime autora / Name of author: stare fabrike šećera u kojoj je, u jednom Vukasović; PR: Sara Arsenović i Marina atre enthusiasts, students of art from Nikola Isaković delu, smešteno Pozorište „KPGT“. Zec; glumački ansambl: Aleksandra Jan- different academies and thirty pupils of /// ković, Sofija Juričan, Čarni Đerić, Luka the Legal and Administration Secondary 02 Kategorija / Category: The performance is conceived as a museum Piljagić, Milan Pjević, Gorica Regodić, School “Dimitrije Davidović” and Elementary Upotreba prostora za scenski događaj walk through the class differences of a Jovana Nikolić, Magdi El Asrag, Dejana School “Gornja Varoš” from Zemun) /// city environment described in the se- Džinić itd. (i još pedesetoro glumaca Use of space for performance lected Jacques Prévert’s poetry, where amatera, pozorišnih entuzijasta, stu- 06 Fotografija / Photography: each exhibit, i.e. scene represents the denata glume sa različitih akademija i Ksenija Ćuk 03 Naziv projekta / Project title: city’s everyday life whose atmosphere is tridesetoro učenika Pravno-birotehničke Predstava Pokušaj opisa jednog radnog conjured up by more than eighty actors, škole „Dimitrije Davidović“ i OŠ „Gornja dana, po motivima poezije Žaka Prevera students, amateurs and children. It is Varoš“ iz Zemuna) /// realised in the space of the old sugar /// Performance An Attempt to Describe a factory in part of which the KPGT Theatre Independent production in cooperation Working Day, inspired by the poetry of is located. with the “KPGT” Theatre and “The New Jacques Prévert Academy of Arts”, Belgrade, 2018; men- 05 Impresum (produkcija, mesto, godina, tor: Prof. Ljubiša Ristić; production 04 Opis / Description: ostatak autorskog tima) / Impressum and organisation: Tara Drašković and Mi- Predstava je koncipirana kao muzejska (production, place, year, other authors lan Alivojvodić; associates in organi- šetnja kroz klasne razlike jedne gradske of the team): sation: Anika Lehki and Nina Vukasović; sredine opisane u odabranoj Preverovoj Nezavisna produkcija u saradnji sa Pozo- PR: Sara Arsenović and Marina Zec; ac- (Jacques Prévert) poeziji, u kojoj svaki rištem „KPGT“ i Novom akademijom umetno- tresses and actors: Aleksandra Janković, eksponat, odnosno scena, predstavlja grad- sti, Beograd, 2018; mentor: Ljubiša Ris- Sofija Juričan, Čarni Đerić, Luka Piljagić, sku svakodnevicu, čiju atmosferu dočarava tić; produkcija i organizacija: Tara Milan Pjević, Gorica Regodić, Jovana Niko- više od osamdesetoro glumaca, studenata, Drašković i Milan Alivojvodić; sarad- lić, Magdi El Asrag, Dejana Džinić, etc. amatera i dece. Realizovana je u prostoru nice u organizaciji: Anika Lehki i Nina (and additional 50 amateur actors, the-

216 217 1.2.5 INSTITUT ZA APLAUZ (THE APPLAUSE INSTITUTE) /// PESMA / SONG

01 Ime autora / Name of author: vremenskom okviru koji određuje promena 06 Fotografija / Photography: Institut za aplauz / IZA svetla na semaforu. Institut za aplauz /// /// /// The Applause Institute The work Song represents site-specific The Applause Institute poetry created in response to the 02 Kategorija / Category: restriction of movement and standing in Intervencija u javnom prostoru a particular urban context in which such /// poetry was later performed. The objec- Intervention in public space tive of this work was to present poetry as a performative experience. Poetry is 03 Naziv projekta / Project title: performed by a member of the collec- Pesma tive on a pedestrian crossing within /// a specific time frame which is defined by Song the change of light at the traffic light.

04 Opis / Description: 05 Impresum (produkcija, mesto, godina, Rad Pesma predstavlja site-specific ostatak autorskog tima) / Impressum poeziju nastalu kao odgovor na ogranice- (production, place, year, other authors nje kretanja i zadrzavanja u određenom of the team): urbanom kontekstu, u kome je potom i Institut za aplauz, javni prostor, izvedena. Cilj rada bio je da prika- Beograd, 2018. ze poeziju kao performativno iskustvo: /// poeziju izvodi jedan od clanova kole- The Applause Institute, public space, ktiva na pesackom prelazu u specificnom Belgrade, 2018

218 219 1.2.6 INSTITUT ZA APLAUZ (THE APPLAUSE INSTITUTE) /// PROTEST

01 Ime autora / Name of author: 6. Nosi transparent tako da svi mogu da 05 Impresum (produkcija, mesto, godina, Institut za aplauz / IZA ga vide. ostatak autorskog tima) / Impressum /// 7. Protestovao si (zbog svega, osim „neče- (production, place, year, other authors The Applause Institute ga“). of the team): 8. Protiv subverzivno-opresivnog sistema Institut za aplauz, javni prostor, 02 Kategorija / Category: borio si se subverzivnim metodom. Beograd, 2018. Intervencija u javnom prostoru 9. Pobedio si / Izgubio si. /// /// 10. (smeh) The Applause Institute, public space, Intervention in public space /// Belgrade, 2018 1. Surface of a protest sign is a gallery. 03 Naziv projekta / Project title: 2. Take a blank cardboard and attach it 06 Fotografija / Photography: Protest (o svemu, osim o „necemu“) to a handle. Institut za aplauz /// 3. Use anything you have in hand to write /// Protest (about Everything, except about a statement. The Applause Institute “Something”) 4. Be sure to make it unusual. 5. Hit the streets, go to a supermarket, 04 Opis / Description: catch a bus. 1. Površina transparenta je galerija. 6. Carry a sign in such a way that 2. Uzmi čist komad kartona i postavi ga everybody can see it. na držač. 7. You made a protest (a protest about 3. Bilo čime što ti se nađe pri ruci everything, except about “something”). napiši neki iskaz. 8. You fought the subversive-oppressive 4. Potrudi se da bude neobičan. system using subversive method. 5. Izađi na ulice, idi u supermarket, 9. You won/You lost. uhvati autobus. 10. (laughter)

220 221 1.2.7 INSTITUT ZA APLAUZ (THE APPLAUSE INSTITUTE) /// SLIKA / IMAGE

01 Ime autora / Name of author: The work Image consists of five instruc- Institut za aplauz / IZA tional units, i.e. performances. Image /// is created and exists solely in its in- The Applause Institute teraction with the viewer, and it represents the study of the image and its 02 Kategorija / Category: synthesis in the textual form. With its Intervencija u javnom prostoru clear instructions, the Image creates a /// personalised and unique mental percep- Intervention in public space tion.

03 Naziv projekta / Project title: 05 Impresum (produkcija, mesto, godina, Slika ostatak autorskog tima) / Impressum /// (production, place, year, other authors Image of the team): Institut za aplauz, javni prostor, 04 Opis / Description: Beograd, 2018. Rad Slika sastoji se od pet instrukcio- /// nih celina, odnosno predstava. Slika na- The Applause Institute, public space, staje i postoji iskljucivo u interakciji Belgrade, 2018 sa posmatracem i predstavlja istrazivanje slike i njene sinteze u tekstualnu 06 Fotografija / Photography: formu, koja svojim jasnim instrukcija- Institut za aplauz ma stvara personalizovanu i jedinstvenu /// mentalnu predstavu. The Applause Institute ///

222 223 1.2.8 JELENA JANKOVIĆ /// MOUNT OLYMPUS

01 Ime autorke / Name of author: audience and performers to establish (André Schneider); svetlo: Helmut Van 06 Fotografija / Photography: Jelena Janković a live, emotional connection with each den Mejrskhaut (Helmut Van den Meersschaut); Jelena Janković other. The outside world is blocked out zvuk i video: Tom Bous (Tom Buys); teh- 02 Kategorija / Category: and time plays a major role. The nika: Vaut Jansens (Wout Janssens), Vik Fotografija scenskog događaja performers are sleeping and waking up Grevendonk (Vic Grevendonk), Kevin De- /// on stage, while the audience spends the kers (Kevin Deckers); dizajn kostima: Kaša Performing arts photography entire day in the theatre. Long-expo- Mjelčarek (Kasia Mielczarek); rekvizita: sure photographs capture the actors’ Roksana Žir (Roxane Gire), Alesandra 03 Naziv projekta / Project title: portraits in the course of 24 hours, Fereri (Alessandra Ferreri) Mount Olympus and display their energy and character /// strength. Mount Olympus, New York City, USA, 2018; 04 Opis / Description: concept, direction and scenography: Mount Olympus je performans koji se izvodi 05 Impresum (produkcija, mesto, godina, Jan Fabre; choreography: Jan Fabre and neprekidno tokom 24 sata, omogućavajući ostatak autorskog tima) / Impressum dancers; text: Jeroen Olyslaegers, Jan publici i izvođačima živu, emocionalnu (production, place, year, other authors Fabre; music: Dag Taeldeman; dramatur- vezu. Spoljni svet je isključen, a vre- of the team): gy: Miet Martens; production manager: me igra glavnu ulogu. Izvođači se bude Mount Olympus, Njujork, SAD, 2018; Sebastiaan Peeters; technical director: i spavaju na pozornici, a publika čitav koncept, režija i scenografija: Jan Fabre; André Schneider; light: Helmut Van den dan provodi u teatru. Fotografije beleže koreografija: Jan Fabre i plesači; tekst: Meersschaut; sound and video: Tom Buys; portrete glumaca tokom 24 časa, u dugoj Jerun Olislagers (Jeroen Olyslaegers), technicians: Wout Janssens, Vic Greven- ekspoziciji, i prikazuju njihovu energi- Jan Fabre; muzika: Dag Tadelman (Dag donk, Kevin Deckers; costume design: ju i snagu karaktera. Taeldeman); dramaturgija: Met Martens Kasia Mielczarek; props: Roxane Gire, /// (Miet Martens); direktor produkcije: Alessandra Ferreri Mount Olympus is a performance that runs Sebastijan Pejters (Sebastiaan Peeters); continuously for 24 hours, enabling tehnički direktor: Andre Šnajder

224 225 1.2.9 JELENA JANKOVIĆ /// TERRA INCOGNITA

01 Ime autorke / Name of author: The photographs were not made with the 06 Fotografija / Photography: Jelena Janković intention of documenting the moment on Jelena Janković stage, but of illustrating the relation- 02 Kategorija / Category: ship and hallucinations of the two men Fotografija scenskog događaja who together set out on the road. These /// photographs visualise a production Performing arts photography concept.

03 Naziv projekta / Project title: 05 Impresum (produkcija, mesto, godina, Terra Incognita ostatak autorskog tima) / Impressum (production, place, year, other authors 04 Opis / Description: of the team): Terra incognita je fizički i interdisci- Terra incognita, Korzo Theatre, Hag, Ho- plinarni duet, utemeljen na istoimenoj landija, 2017; koreografija: Dunja Jocić; kratkoj priči Vladimira Nabokova. Foto- igračice: Luka Kačiti (Luca Cacitti), grafije nisu rađene sa idejom da dokumen- Šaj Partuš (Shay Partush); dizajn sve- tuju momenat na sceni, nego da dočaraju tla: Pavla Beranova; muzika: Hugo Mo- odnos i halucinacije dva muškarca koji rales su zajedno krenuli na put. Fotografije /// vizuelno dočaravaju koncept produkcije. Terra Incognita, Korzo Theatre, The /// Hague, The Netherlands, 2017; choreog- Terra Incognita is a physical and inter- raphy: Dunja Jocić; dancers: Luca Cac- disciplinary duet, based on the short itti, Shay Partush; light design: Pavla story of the same name by Vladimir Nabokov. Beranova; composition: Hugo Morales

226 227 1.2.10 KARKATAG KOLEKTIV (KARKATAG COLLECTIVE) /// THE MACHINE

01 Ime autora / Name of author: lation where much of the content view- N'Duhirahe) i Karkatag kolektiv – Alek- – Aleksandar Popović, Ana Dimitrijević, Karkatag kolektiv / Karkatag Collective ers produce by themselves guided by the sandar Popović, Ana Dimitrijević, Mar- Marko Dimitrijević; performance: Lucie programmed instructions they receive ko Dimitrijević; izvedba: Lusi Nduirae, N'Duhirahe, Francesca Hyde and Natalie 02 Kategorija / Category: on the ticket machines incorporated on Frančeska Hajd i Natali Rekert (Nata- Reckert; interactive stage design: Kar- Dizajn scenskog događaja u celini the stage, along with eleven large ma- lie Reckert); interaktivni dizajn scene: katag Collective; dramaturgy support: /// chines and installations that simulate Karkatag kolektiv; dramaturška podrška: William Drew; project mentor: Tassos Total performance design the working process. The Machine is try- Vilijam Dru (William Drew); mentor pro- Stevens; light design: Claire Terrien; ing to encourage the audience to take jekta: Tasos Stivens (Tassos Stevens); sound design: Liam Quinn; stage manager: 03 Naziv projekta / Project title: responsibility for the experience they dizajn svetla: Kler Terijen (Claire Beatrice Galloway; photography: Milica The Machine will receive, as well as encourage their Terrien); dizajn zvuka: Lajam Kvin (Liam Mitrović; production and project manage- search for satisfaction that comes from Quinn); inspicijent: Beatris Galovej ment: Clare Fitzsimons; co-production: 04 Opis / Description: the experience of physical work, soli- (Beatrice Galloway); fotografija: Milica Zoe Munn; programming and co-production: The Machine je interaktivna instalacija darity and collective authorship. Mitrović; produkcija i menadžment pro- “Barbican”; support: Arts Council En- u kojoj većinu sadržaja kreira publi- jekta: Kler Ficsajmons (Clare Fitzsi- gland ka vođena programiranim instrukcijama iz 05 Impresum (produkcija, mesto, godina, mons); koprodukcija: Zoi Man (Zoe Munn); automata koji se nalaze na sceni uz je- ostatak autorskog tima) / Impressum programacija i koprodukcija: Centar 06 Fotografija / Photography: danaest velikih mašina i instalacija koje (production, place, year, other authors „Barbikan“; podrška: Savet za umetnost Milica Mitrović simuliraju radni proces. The Machine po- of the team): Engleske (Arts Council England) kušava da podstakne kod publike odgovor- Dobitnici Nagrade „Semjuel Beket“ /// nost prema iskustvu koje će doživeti, kao (Oxford Samuel Beckett Theatre Trust Recipients of the Oxford Samuel Beckett i pronalaženje zadovoljstva u iskustvu fi- Award), Centar „Barbikan“ (Barbican Cen- Theatre Trust Award, Barbican Centre, zičkog rada, solidarnosti i kolektivnom ter), London, Ujedinjeno Kraljevstvo, London, the United Kingdom, 2016; con- autorstvu. 2016; koncept, režija i dramaturgija: cept, direction and dramaturgy: Collec- /// Collectif and then... – Frančeska Hajd tif and then... – Francesca Hyde, Luc- The Machine is an interactive instal- (Francesca Hyde), Lusi Nduirae (Lucie ie N'Duhirahe and Karkatag Collective

228 229 1.2.11 IGOR KORUGA I/AND MAJA PELEVIĆ /// NEMA NADE / HOPELESSNESS

01 Imena autora i autorke / Name of Šta ako je beznadežnost jedina konstanta 05 Impresum (produkcija, mesto, godina, Vuković and Ana Fotev; technical real- author: savremenog sistema? Postoji li, između ostatak autorskog tima) / Impressum isation: Ljubomir Radivojević, Dragan Igor Koruga i/and Maja Pelević (autori i očajavanja i odustajanja, treći put za (production, place, year, other authors Đurković and Miroljub Vladić izvođači)/(authors and performers) suočavanje s njom? I šta kada se ona na- of the team): pokon iscrpi? Stanica – Servis za savremeni ples i 06 Fotografija / Photography: 02 Kategorija / Category: /// Hopelessness Bitef teatar, uz podršku Ministarstva Vladimir Opsenica Dizajn scenskog događaja u celini deals with personal and kulture i informisanja Republike Srbije, /// media narratives that are forming our Beograd, Srbija; dramaturgija: Ana Du- Total performance design relationship with the world, in which bljević i Jasna Jasna Žmak; zvuk: Darja all perspectives for struggle and change Janošević; muzika: Rihard Vagner (Rich- 03 Naziv projekta / Project title: have been consumed. Instead of fabricat- Nema nade Hopelessness ard Wagner); realizacija scenografije: / ing false possibilities of choice and Ljubomir Radivojević; produkcija: Kseni- simulating utopian perspectives, the ja Đurović, Ana Vuković i Ana Fotev; 04 Opis / Description: authors are asking whether it is pos- Nema nade tehnička realizacija: Ljubomir Radivo- se bavi ličnim i medijskim sible to affirmatively accept the state jević, Dragan Đurković i Miroljub Vladić narativima koji oblikuju naše ophođe- of hopelessness in which all chances /// nje sa svetom u kom su iscrpljene sve for collective emancipation have been Station – Service for Contemporary Dance mogućnosti za borbu i promenu. Umesto abolished. How to approach the contin- and Bitef Theatre, with the support of fabrikovanja lažnih mogućnosti izbora i ued ironizing of historical revolutions the Ministry of Culture and Informa- simuliranja utopijskih perspektiva, au- and the constant annihilation of the new tion of the Republic of Serbia, Bel- tori postavljaju pitanje kako afirmativno ones? What if hopelessness is the only grade, Serbia; dramaturgy: Ana Dublje- prihvatiti stanje beznadežnosti u kom su stable fact of the contemporary system? vić and Jasna Jasna Žmak; sound: Darja ukinute sve prilike za kolektivnu eman- Is there a third way to face it, between Janošević; music: Richard Wagner; sce- cipaciju. Kako se obračunati sa kontinu- utter despair and total surrender? And nography realisation: Ljubomir Radivo- iranom ironizacijom istorijskih revolu- what happens when we finally run out of jević; production: Ksenija Đurović, Ana cija i neprestanim sprečavanjem novih? it?

230 231 1.2.12 MARKO MILIĆ /// LUMI

01 Ime autora / Name of author: bi sprečili pristup svom nepodnošljivom (production, place, year, other authors Morrow; animation: Milisav Banković Marko Milić saznanju?“ – Besel van der Kolk: Telo of the team): pamti. Mozak, um i telo u lečenju tra- Stanica – Servis za savremeni ples (Be- 06 Fotografija / Photography: Schloss Solitude 02 Kategorija / Category: ume, 2015. ograd), (Štutgart, Ne- Marko Milić Upotreba medija u dizajnu scene /// mačka), Ministarstvo kulture i infor- /// The performer and author, Marko Milić, misanja Republike Srbije, 2016; izvo- Use of media in performance design researches how traumatic events shape đači: Marko Milić, Predrag Mladenović, our capability to observe the world u saradnji sa Marselom Švaldom (Marcel 03 Naziv projekta / Project title: around us. LUMI serves as a catalyst Schwald), Andrejom Široki, Kanom Bal- LUMI to our tendency to superimpose our own tadžijem (Kaan Baltaci), Leifom Preso- traumas on everything we see. nom (Leif Persson), Milicom Urić, Anom 04 Opis / Description: “It is hard enough for observers to Dubljević, Jelenom Vuksanović; muzika: Izvođač i autor, Marko Milić, istražuje bear witness to pain. Is it any wonder, Dejvid Morou (David Morrow); animacija: kako traumatični događaji oblikuju našu then, that the traumatized individuals Milisav Banković sposobnost da posmatramo svet oko nas. themselves cannot tolerate remembering /// Station – Service for Contemporary Dance LUMI služi kao katalizator tendencije it and that they often resort to using Schloss Solitude da sopstvene traume projektujemo na sve drugs, alcohol, or self-mutilation to (Belgrade), (Stutt- što vidimo. block out their unbearable knowledge?” gart, Germany), Ministry of Culture and „Posmatračima je dosta teško da budu – Bessel van der Kolk: The Body Keeps Information of the Republic of Serbia, svedoci bola. Stoga, treba li uopšte the Score. Brain, Mind, and Body in the 2016; performers: Marko Milić, Predrag da čudi što sami traumirani pojedinci Healing of Trauma, 2015. Mladenović, in cooperation with Marcel ne mogu da podnesu sećanje na traumu i Schwald, Andrej Široki, Kaan Baltaci, što često pribegavaju korišćenju dro- 05 Impresum (produkcija, mesto, godina, Leif Persson, Milica Urić, Ana Dublje- ga, alkohola i samopovređivanju kako ostatak autorskog tima) / Impressum vić, Jelena Vuksanović; music: David

232 233 1.2.13 SOFIJA MITROVIĆ /// KOSMIČKA FRULA / COSMIC FLUTE

01 Ime autorke / Name of author: artefacts typical for traditional inti- /// tronožac Sofija Mitrović mate spaces – of (a tradition- Sofija Mitrović, the International Multi- trans- al Serbian three-legged stool, media Art Colony Tršić, 2018; Art Direc- lator's note 02 Kategorija / Category: ) and flute, is located in tor of the International Multimedia Art Saborište Intervencija u javnom prostoru the public space known as (a Colony Tršić: Marko Lađušić; realisation /// traditional place of ceremonial gath- collaborator: Bojan Lukić; photo models: Intervention in public space erings, and later a place of organised Zmaj Lađušić and Bojan Lukić resistance against invaders). By merging 03 Naziv projekta these two forms, developing their com- 06 Fotografija / Photography: kOSMIČkA frula / cOSMIc flute positional relationships and by moving Sofija Mitrović from the intimate space into the public 04 Opis / Description: one, the final form is being augmented U javni prostor Saborišta (tradicio- using the multiplication principle. nalnog svečarskog mesta okupljanja, a kasnije i mesta organizovanog otpora 05 Impresum (produkcija, mesto, godina, protiv okupatora), smešten je objekat ostatak autorskog tima) / Impressum nastao razradom artefakata tipičnih za (production, place, year, other authors tradicionalne intimne prostore – tro- of the team): nošca i frule. Spajanjem ova dva oblika, Sofija Mitrović, Međunarodna multimedi- razradom njihovih kompozicionih odnosa i jalna likovna kolonija Tršić, 2018; prelaskom iz intimnog prostora u javni, umetnički direktor Međunarodne multi- dolazi do uvećanja konačne forme princi- medijalne likovne kolonije Tršić: Marko pom multiplikacije. Lađušić; saradnik u realizaciji: Bojan /// Lukić; fotomodeli: Zmaj Lađušić i Bojan An object created by the elaboration of Lukić

234 235 1.2.14 ZORANA PETROV /// WIR SIND DIE GUTEN

01 Ime autorke / Name of author: 05 Impresum (produkcija, mesto, godina, Zorana Petrov ostatak autorskog tima) / Impressum (production, place, year, other authors 02 Kategorija / Category: of the team): Dizajn scene Theater Freiburg, Frajburg, Nemačka; /// režija: Bojana Lazić; dizajn kostima: Stage design Gertruda Rindler-Šantl (Gertrud Rind- ler-Schantl); muzika: Vladimir Pejko- 03 Naziv projekta / Project title: vić; pokret: Damjan Kecojević; svetlo: Wir sind die guten Mario Bubić; dramaturgija: Mihael Bilen- kamp (Michael Billenkamp), 2018. 04 Opis / Description: /// Delo je inspirisano infracrvenom fo- Theatre Freiburg, Freiburg, Germany; di- tografijom. Infracrvena fotografija beleži rection: Bojana Lazić; costume design: svetlo koje naše oči ne vide. U zatvore- Gertrud Rindler-Schantl; music: Vlad- nom društvu ksenofoba dobro se vidi ono imir Pejković; movement: Damjan Keco- čega nema. Ono što postoji i jeste, ne jević; light: Mario Bubić; dramaturgy: vidi se. Michael Billenkamp, 2018 /// The work is inspired by infrared photog- 06 Fotografija / Photography: raphy. An infrared photograph records Zorana Petrov, Branislav Stanković light that our eyes cannot perceive. In a closed society of xenophobes, one can easily see the things that do not exist. What exists and is, cannot be seen.

236 237 1.2.15 ZORANA PETROV /// PREDSEDNICE / WOMEN PRESIDENTS

01 Ime autorke / Name of author: main. We’re fine without shit. We’re so Zorana Petrov fine it hurts.

02 Kategorija / Category: 05 Impresum (produkcija, mesto, godina, Dizajn scene ostatak autorskog tima) / Impressum /// (production, place, year, other authors Stage design of the team): Hrvatsko narodno kazalište Ivana pl. 03 Naziv projekta / Project title: Zajca, Rijeka, Hrvatska, 2018; režija: Predsednice / Women Presidents Bojana Lazić; dizajn kostima: Manuela Paladin Šabanović; muzika: Vladimir Pe- 04 Opis / Description: jković; pokret: Damjan Kecojević; sve- Ta užasna govna u nama, i užasna govna tlo: Boris Blidar; dramaturgija: Olga oko nas – sklonile smo. Naša kuća je Dimitrijević čista. Govna nemaju veze sa nama. Ako se /// pojave, mi ćemo ih oprati, oprati, opra- The Croatian National Theatre Ivan pl. ti, oprati, tako da nikakvog traga neće Zajc, Rijeka, Croatia, 2018; direction: ostati. Nama je dobro bez govana. Dobro Bojana Lazić; costume design: Manue- nam je do bola. la Paladin Šabanović; music: Vladimir /// Pejković; movement: Damjan Kecojević; We’ve removed that horrible shit in us, light: Boris Blidar; dramaturgy: Olga and horrible shit around us. Our house Dimitrijević is clean. Shit has nothing to do with us. If it appears, we’ll wash it, wash, 06 Fotografija / Photography: wash, wash, so that no trace will re- Karlo Čargonja

238 239 1.2.16 ZORANA PETROV /// DOM BERNARDE ALBE / THE HOUSE OF BERNARDA ALBA

01 Ime autorke / Name of author: of the team): Zorana Petrov Puls teatar, Lazarevac, Srbija, 2017; režija: Bojana Lazić; dizajn kostima: 02 Kategorija / Category: Zorana Petrov; muzika: Vladimir Pejko- Dizajn scene vić; pokret: Damjan Kecojević; svetlo: /// Radomir Stamenković Stage design /// Puls Theatre, Lazarevac, Serbia, 2017; 03 Naziv projekta / Project title: direction: Bojana Lazić; costume design: Dom Bernarde Albe Zorana Petrov; music: Vladimir Pejković; /// movement: Damjan Kecojević; light: Ra- The House of Bernarda Alba domir Stamenković

04 Opis / Description: 06 Fotografija / Photography: Nezaustavljivost bujanja prirode i na- Branislav Stanković gona – sputana. I što više pritiskaš, sokovi sve više cure… /// The unstoppable character of nature and desire going wild – inhibited. The more you squeeze, the more juice gets out...

05 Impresum (produkcija, mesto, godina, ostatak autorskog tima) / Impressum (production, place, year, other authors

240 241 1.2.17 MARTA POPIVODA I/AND ANA VUJANOVIĆ /// PEJZAŽI SLOBODE / FREEDOM LANDSCAPES

01 Imena autorki / Name of author: ical journey through the landscapes of Sonja Vujanović, Zdenka Kidrič; dodat- na engleski / translation to English: Marta Popivoda i/and Ana Vujanović anti-fascist and communist memories – a ni tekstovi / additional texts: Damja- Vid Ropoša, Sandra Lukič, Žarko Cvejić; poetic and affective contribution to the na Černe, Katarina Stegnar; dramaturgi- konsultant za engleski jezik / English 02 Kategorija / Category: struggle against erasing these memories ja / dramaturgy: Ana Vujanović; video: language consultant: Jana Rene Vilkok- Upotreba medija u dizajnu scene from the European history. Diaries and Marta Popivoda; asistentkinja režije i sen (Jana Renée Wilcoxen); dizajn svetla /// interviews of women Partisans and Com- dramaturgije / direction and dramatur- / light design: David Cvelbar; dizajn Use of media in performance design munists represent the starting point of gy assistant: Teri Žeželj (Tery Žeželj); zvuka / sound design: Silvo Zupančič; this feminist landscape performance in koreografija / choreography: Šina Mak- video inženjering i mapiranje / video 03 Naziv projekta / Project title: which audience creates 'shared views' on grendls (Sheena McGrandles); scenografija engineering and mapping: Dušan Ojdanič; Pejzaži slobode Freedom Landscapes / Fascism today through a Cubist approach / set design: Matej Stupica; saradnica inspicijent / stage manager: Liam Hlede; to space-time. za dizajn kostima / costume design col- hor / choir: Amila Adrović, Teja Bitenc, 04 Opis / Description: laborator: Slavica Janošević; direktor Urška Cocej, Sabina Črnila, Polona Gla- Pejzaži slobode je umetničko-političko 05 Impresum (produkcija, mesto, godina, fotografije / director of photography: van, Anja Kocman, Mateja Kuntarič, Mojca putovanje kroz pejzaže antifašističkih i ostatak autorskog tima) / Impressum Lev Predan Kovarski (Lev Predan Kowar- Peternel, Ana Smerdu, Tanja Urek, Silvia komunističkih sećanja – poetičan i afek- (production, place, year, other authors ski); konsultant za montažu / editing Viviani, Gaja Vudrag, Anamarija Žagar tivan prilog borbi protiv brisanja tih of the team): consultant: Rene Frelke (René Frölke); sećanja iz evropske istorije. Dnevnici i Slovensko mladinsko gledališče, Lju- lektorka / language consultant: Mate- razgovori sa partizankama i komunistki- bljana, Slovenija, 2018 / The Slove- ja Dermelj; stručni saradnici / expert 06 Fotografija / Photography: njama čine polazište ovog feminističkog nian Youth Theatre, Ljubljana, Slo- consultants: dr Ana Hofman (PhD), dr Ivian Kan Mujezinović pejzažnog performansa, u kom publika, venia, 2018; autorke / authors: Ana Gal Kirn (PhD); asistent dramaturgije kroz kubistički pristup prostoru-vreme- Vujanović i/and Marta Popivoda; iz- (praktikant) / dramaturgy assistant (in- nu, kreaira „zajedničke poglede“ na fa- vođačice / performers: Damjana Černe, ternship): Jernej Potočan; asistentkin- šizam danas. Vida Rucli, Katarina Stegnar; zasnovano ja kamere / camera assistant: Gaja Naja /// na svedočenjima koja su dale / based Rojec; prevod na slovenački / transla- Freedom Landscapes is an artistic-polit- on the testimonies by: Zora Konjajev, tion to Slovenian: Sonja Dolžan; prevod

242 243 1.2.18 JOVANA RAKIĆ /// SCRAPE

Scrape 01 Ime autorke / Name of author: is a research and creative project Kraljevića Marka; 2017; koncept, kore- support, head of lighting: Igor Milen- Jovana Rakić dealing with the idea of producing bod- ografija, dizajn svetla: Jovana Rakić; ković; costume design: Boris Čakširan; ies in a social context. It is inspired dramaturgija: Marko Pejović; izvođenje graphic design: Katarina Popović; public 02 Kategorija / Category: by actions in which the human body is i umetnička saradnja: Jana Milenković, relations: Sanja Ljumović; production: Dizajn svetla inhabited by a variety of cultural pat- Milica Pisić, Nataša Šmelc (Natascha Ksenija Đurović /// terns, social relations and needs; it Schmelz); dizajn zvuka: Bojan Palikuća; Light design examines the functions and meanings that tehnička podrška, vođstvo svetla: Igor 06 Fotografija / Photography: the body thus obtains. On the light lev- Milenković; dizajn kostima: Boris Ča- Nebojša Babić 03 Naziv projekta / Project title: el, the project raises the question of Scrape what can be seen/known about the other kširan; grafički dizajn: Katarina Popo- , vić; odnosi s javnošću: Sanja Ljumović; introducing the topic of (im)possibility produkcija: Ksenija Đurović 04 Opis / Description: of interrupting the continuous movement /// Istraživačko-kreativni projekat bavi se as a subversion of the constant pressure Production: Station – Service for Con- idejom proizvodnje tela u društvenom for production and progress. temporary Dance with the support of kontekstu. Inspirisan je postupcima koji Departures and Arrivals (DNA) network u telo upisuju različite kulturološke 05 Impresum (produkcija, mesto, godina, through the Creative Europe programme, reference, socijalne odnose i potrebe; ostatak autorskog tima) / Impressum Ministry of Culture and Information of ispituje funkcije i značenja koje ono (production, place, year, other authors the Republic of Serbia; Bitef Theatre, time dobija. Na planu svetla, projekat of the team): Cultural Centre “Magacin” in Kralje- postavlja pitanje šta se može videti/sa- Produkcija: Stanica – Servis za savre- znati o drugom meni ples Departures vića Marka Street; 2017; concept, cho- , uvodeći temu (ne)moguć- uz podršku mreže reography, light design: Jovana Rakić; nosti prekida kontinuiranog kretanja, and Arrivals (DNA) kroz program Krea- tivna Evropa dramaturgy: Marko Pejović; performance kao subverzije stalnog pritiska proi- , Ministarstva kulture i in- and artistic collaboration: Jana Milen- zvodnje i progresa. formisanja Republike Srbije; Bitef tea- ković, Milica Pisić, Natascha Schmelz; /// tar, Kulturni centar „Magacin“ u Ulici sound design: Bojan Palikuća; technical

244 245 1.2.19 ALEKSANDAR RAMADANOVIĆ /// VEŠTICE IZ SALEMA / THE CRUCIBLE

01 Ime autora / Name of author: group/society. Through space, and ac- Aleksandar Ramadanović tors' gestures and mime, these photographs show the atmosphere of distortion 02 Kategorija / Category: and terror that society, due to its fear, Fotografija scenskog događaja is able to impose on an individual. /// Performing arts photography 05 Impresum (produkcija, mesto, godina, ostatak autorskog tima) / Impressum 03 Naziv projekta / Project title: (production, place, year, other authors Fotografije predstave Veštice iz Salema of the team): /// Srpsko narodno pozorište, novembar 2018. Photographs of The Crucible godine, scena „Pera Dobrinović“; reži- ja: Nikita Milivojević; scenski pokret: 04 Opis / Description: Amalija Benet Fotografije predstave imaju za cilj da /// otkriju i prikažu odnose pojedinca The Serbian National Theatre, November, naspram grupe/društva i da kroz prostor, 2018, stage “Pera Dobrinović”; direc- gestikulaciju i mimiku glumaca prikažu tion: Nikita Milivojević; stage move- atmosferu izopačenosti i terora koji je ment: Amalija Benet društvo, zbog straha, u stanju da izvrši nad pojednicem. 06 Fotografija / Photography: /// Aleksandar Ramadanović The photographs of the performance are aimed at discovering and displaying the relations between an individual and a

246 247 1.2.20 ANDREJA RONDOVIĆ /// ŽAK I NJEGOV GOSPODAR / JACQUES AND HIS MASTER

01 Ime autorke / Name of author: proizilazi iz teme sećanja, prepričavan- scaffold which will continue to grow. Andreja Rondović ja događaja prilikom kog otvaramo razne „fioke“ u našoj glavi, kako bi se događaj 05 Impresum (produkcija, mesto, godina, 02 Kategorija / Category: što jasnije prepričao. Prostor sećanja ostatak autorskog tima) / Impressum Dizajn scene viđen je kao ogoljena, sirova građevin- (production, place, year, other authors /// ska skela, koja će nastaviti da raste. of the team): Stage design /// Regionalno pozorište u Novom Pazaru, Jacques and his Master is a performance 2018; režija: David Alić; dizajn kosti- 03 Naziv projekta / Project title: that, in an interesting way, re-examines ma: Selena Tomašević; dramaturgija: Žak i njegov gospodar the theme of predestination, but also Kristina Bojanić; koreografija: Irina /// answers the question of what the worst Mitrović Jacques and his Master possible ending of human stories can be. /// In the play's very text, the renowned The Regional Theatre of Novi Pazar, 2018; 04 Opis / Description: Prague writer Milan Kundera offers his direction: David Alić; costume design: Žak i njegov gospodar je predstava koja version of the novel Jacques the Fatal- Selena Tomašević; dramaturgy: Kristina na zanimljiv način preispituje temu pre- ist by Denis Diderot, a philosopher from Bojanić; choreography: Irina Mitrović dodređenosti, ali i odgovara na pitanje the 18th century. Therefore, the existing koji je najgori moguć završetak ljud- characters are ascribed with a new at- 06 Fotografija / Photography: skih priča. U samom tekstu drame, čuve- titude towards their destiny. The idea Samir Delić ni praški pisac Milan Kundera daje svo- for a scene design is derived from the ju verziju romana Fatalista Žak Deni- theme of memory – retelling of an event ja Didroa (Denis Diderot), filozofa iz when we open a variety of “drawers” in XVIII veka. Samim tim, postojećim liko- our head so that we can retell the event vima pripisuje novi odnos prema njihovoj as clearly as possible. The memory space sudbini. Ideja za scenografsko rešenje is perceived as a bare, raw construction

248 249 1.2.21 ANDREJA RONDOVIĆ /// PISMA SLOBODI / LETTERS TO FREEDOM

01 Ime autorke / Name of author: za scenski dizajn, scenografiju, proi- 05 Impresum (produkcija, mesto, godina, Andreja Rondović zilazi upravo iz razmišljanja kako da ostatak autorskog tima) / Impressum više istorijskih perioda obuhvatimo u (production, place, year, other authors 02 Kategorija / Category: jedno – atmosferom. U ovom projektu se of the team): Dizajn svetla kroz svetlo ispituje atmosfera koja će Kulturni centar Novog Sada, 2018; reži- /// gledaoce uvući u priče. ja: Ivana Janošev; majstor svetla: Zden- Light design /// ko Medveđ; zvuk: Vladimir Zima The backbone of this play are letters /// 03 Naziv projekta / Project title: written in the period between the be- Cultural Centre of Novi Sad, 2018; di- Pisma slobodi ginning of the First World War and 1918. rection: Ivana Janošev; light board op- /// Some of the letters were written by well- erator: Zdenko Medveđ; sound: Vladimir Letters to Freedom known persons of our history, and some Zima by soldiers we have never heard of, or by 04 Opis / Description: mothers who have never managed to send 06 Fotografija / Photography: Okosnica ove predstave su pisma, pisa- them; some letters have never arrived at Andreja Rondović na u periodu od početka Prvog svetskog the desired address. The life of a small rata do 1918. godine. Neka od pisama human being, an individual, is what con- pisale su veoma poznate ličnosti naše structs changes and historical events. istorije, a neka vojnici za koje nikada As this is a historical theme, the idea nismo čuli, majke koje nikada nisu us- for scene design, scenography arose from pele da ih pošalju; neka pisma nisu ni- the process of thinking on how to inte- kada ni stigla na željenu adresu. Život grate several historical periods into a malog čoveka, pojedinca, jeste ono čime single whole – by atmosphere. This proj- se grade promene i istorijski događaji. ect uses light to examine the atmosphere Kako se radi o istorijskoj temi, ideja that will draw the viewers into stories.

250 251 1.2.22 BRANISLAVA STEFANOVIĆ /// ŠKLOVSKI / SHKLOVSKY

Not about Love 01 Ime autorke / Name of author: , the formalistic, travel- deo snimak: David Jovanović; zastave, Teams Design and Žarko Bubalo; expert Shklovsky Branislava Stefanović ling performance is placed in slova, plakati i program: Vasilije Pe- consultant for Russian literature and the area of the former slaughterhouse of trović; projektovanje i izrada zvučnika, formalism: Zorislav Paunković; poster: 02 Kategorija / Category: the Belgrade meat industry “Slavija”, in megafona: Teams Design i Žarko Bubalo; Uglješa Vrcelj and Aleksandra Filipović Upotreba prostora za scenski događaj which audience gets the role of “emigra- stručni konsultant za rusku književnost – SuperDOT; the Acoustics Laboratory of /// tion”, and the female choir the role of i formalizam: Zorislav Paunković; pla- the Faculty of Electrical Engineering: Russian language Use of space for performance the . The principles of kat: Uglješa Vrcelj i Aleksandra Filipo- Miomir Mijić and Dragana Šumarac Pavlov- the formal method by Viktor Borisovich vić – superDOT; Laboratorija za akustiku ić; the Sound Experience Laboratory of 03 Naziv projekta / Project title: Shklovsky (Виктор Борисович Шкловский) Elektrotehničkog fakulteta: Miomir Mi- the Faculty of Dramatic Arts – Room 64 Šklovski / Shklovsky are materialised and become visible as jić i Dragana Šumarac Pavlović; Labo- Cymatics installations make visible the ratorija za doživljaj zvuka Fakulteta 06 Fotografija / Photography: 04 Opis / Description: sound waves of different frequencies. dramskih umetnosti – soba 64 Ana Damnjanović Inspirisan romanom ZOO ili pisma ne /// o ljubavi, formalistički panoptikum 05 Impresum (produkcija, mesto, godina, The Heartefact Foundation and “Fabrika” Šklovski postavljen je u prostor nekada- ostatak autorskog tima) / Impressum Club, Belgrade, 2018; ensemble of ac- šnje klanice Beogradske industrije mesa (production, place, year, other authors tors: Sonja Isailović; Kristina Savkov, „Slavija“, u kojoj publika dobija ulogu of the team): Paul Murray; “Collegium Musicum” Aca- „emigracije“, a ženski hor ulogu Ruskog Fond „Heartefact“ i klub „Fabrika“, Beo- demic Female Choir, conductor: Dragana jezika. Principi formalne metode Viktora grad, 2018; glumački ansambl: Sonja Isa- Jovanović; dramaturg and assistant di- Šklovskog (Виктор Борисович Шкловский) ilović; Kristina Savkov, Pol Mari (Paul rector: Đorđe Kosić; sound recording: materijalizuju se i postaju vidljivi kao Murray); Akademski ženski hor „Collegi- Jakov Munižaba; sound realisation: La- što Cymatics instalacije čine vidljivim um Musicum“, dirigent: Dragana Jovano- zar Milošević; video recording: David zvučne talase različitih frekvencija. vić; dramaturg i asistent režije: Đorđe Jovanović; flags, letters, posters and /// Kosić; snimanje zvuka: Jakov Munižaba; programme: Vasilije Petrović; design and Inspired by the novel ZOO or Letters realizacija zvuka: Lazar Milošević; vi- production of loudspeakers, megaphones:

252 253 1.2.23 VELJKO STOJANOVIĆ /// VOLVO KAMIONI / VOLVO TRUCKS

01 Ime autora / Name of author: other's only friends. Although coming Veljko Stojanović from two different sides, they belong to the same coordinate system. Their common 02 Kategorija / Category: history is what divides them. In an ide- Dizajn kostima al world they might not be in conflict. /// Their fanaticism, contrast and loneli- Costume design ness are key points of caricatural costume design. 03 Naziv projekta / Project title: Volvo kamioni, Erlend Lu (Erlend Lou) 05 Impresum (produkcija, mesto, godina, /// ostatak autorskog tima) / Impressum Volvo Trucks, by Erlend Loe (production, place, year, other authors of the team): 04 Opis / Description: Režija: Maja Maletković; scenografija: Likovi ove priče su neprijatelji, a ujed- Ada Mrda; muzika: Danica Vujošević i Ana no i jedini prijatelji. Iako su sa dve Bunjak; Atelje 212, Beograd, 2015. različite strane, oni su u istom koordi- /// natnom sistemu. Zajednička istorija je Direction: Maja Maletković; scenogra- ono što ih deli. U idealnom svetu možda phy: Ada Mrda; music: Danica Vujošević ne bi bili u sukobu. Njihovi fanatizmi, and Ana Bunjak; Atelje 212, Belgrade, suprotnosti, usamljenosti ključne su 2015 stavke za karikaturalan dizajn kostima. /// 06 Fotografija / Photography: The characters of this story are enemies Atelje 212 and, at the same time, they are each

254 255 1.2.24 NATALIJA BOGDANOVIĆ, MARIJA SIMOVIĆ, ALEKSA ĐURIĆ, PETAR SIMOVIĆ, (URBANIUM) /// KONEKTOR – KOLEKTIVNI PRODOR / CONNECTOR – COLLECTIVE ANA ZORIĆ, MILOŠ KOSTIĆ, DESIRÉE TILINGER, JOVANA VIDAKOVIĆ BREAKTHROUGH

01 Imena autora i autorki / Name of finisanom zelenom zonom. Intervencija, of the team): author: bioskop na otvorenom, jeste programska Produkcija: udruženje Urbanium – Autorski tim / Team of authors: Natali- transformacija kroz „povratak“ prvobit- Centar za istraživanje i održivi ja Bogdanović, Marija Simović, Aleksa no zamišljenoj kolektivnoj upotrebi pro- razvoj arhitekture i urbanizma, Đurić, Petar Simović, Ana Zorić, Mi- stora. Za projekciju je odabran film iz Dani arhitekture u Kragujevcu, loš Kostić, Dezire Tilinger (Desirée socijalističke epohe Prvi građanin male varoši. 2018. Tilinger), Jovana Vidaković /// /// Production: association Urbanium – 02 Kategorija / Category: Designed in the period of socialist con- centre for research and sustainable Intervencija u javnom prostoru struction, the square with greenery that development in architecture and ur- /// served for organising events in Kragu- ban planning, Days of Architecture Intervention in public space jevac has undergone many changes over in Kragujevac, 2018 time. It is divided in two wholes, and 03 Naziv projekta / Project title: then fragmented by the parking area and Konek- 06 Fotografija / Photography: Prostorno-umetnička intervencija an undefined green zone. The interven- Miloš Kostić, Neda Gavrilović tor – kolektivni prodor tion – an open-air cinema – represents a /// programme transformation, i.e. “return” Spatial/artistic intervention Connector to the originally conceived collective – Collective Breakthrough use of space. The film selected for projection comes from the socialist epoch 04 Opis / Description: and that is The First Citizen of a Small Projektovan u doba socijalističke iz- Town. gradnje, manifestacioni trg sa zeleni- lom u Kragujevcu vremenom je pretrpeo 05 Impresum (produkcija, mesto, godina, mnoge izmene. Podeljen je na dve celine, ostatak autorskog tima) / Impressum a zatim fragmentisan parkingom i nede- (production, place, year, other authors

256 257 1.2.25 NATALIJA BOGDANOVIĆ, MARIJA SIMOVIĆ, ALEKSA ĐURIĆ, (URBANIUM) /// PROSTORNE RECEPTURE / SPATIAL PRESCRIPTIONS PETAR SIMOVIĆ, TIHOMIR DIČIĆ, FEDOR JURIĆ, BOGDAN ĐOKIĆ

Krvava bajka 01 Imena autora i autorki / Name of pesme Desanke Maksimović u (production, place, year, other authors author: rad intervencija postaje omaž stradali- of the team): Autorski tim / Team of authors: Natali- ma. Konceptom predložena parcelacija du- Produkcija: udruženje Urbanium – Centar ja Bogdanović, Marija Simović, Aleksa gačke transverzale (na svakih stotinu za istraživanje i održivi razvoj arhi- Đurić, Petar Simović, Tihomir Dičić, Fe- koraka, crvena linija i par stubića), tekture i urbanizma, Dani arhitekture u dor Jurić, Bogdan Đokić otvorila je mogućnost različitog pro- Kragujevcu, 2018. gramiranja. /// 02 Kategorija / Category: /// Production: association Urbanium – cen- Intervencija u javnom prostoru The city park and Šumarice Memorial Park tre for research and sustainable devel- /// share the same thematic framework, that opment in architecture and urban plan- Intervention in public space is the memory of the Second World War ning, Days of Architecture in Kraguje- as a connecting narrative of Yugoslav vac, 2018 03 Naziv projekta / Project title: society. By engraving a quotation of the Prostorne A Bloody Fairy-tale Prostorno-umetnička intervencija poem by Desanka Mak- 06 Fotografija / Photography: recepture simović into the work, the intervention Jovan Vukomanović /// becomes homage to the victims. The divi- Spatial Spatial/artistic intervention sion of a long transversal (the red line 07 Ilustracija / Illustration: Prescriptions and a couple of posts at every hundred Tihomir Dičić, Fedor Jurić, Bogdan Đokić steps) proposed by the concept, opened 04 Opis / Description: up the possibility of different program- Gradski park i Spomen-park „Šumarice“ ming. dele tematski okvir sećanja na Drugi svetski rat kao povezujućeg narativa ju- 05 Impresum (produkcija, mesto, godina, goslovenskog društva. Upisivanjem citata ostatak autorskog tima) / Impressum

258 259 1.2.26 SRĐAN VELJOVIĆ /// ENCIKLOPEDIJA ŽIVIH 2015 / ENCYCLOPEDIA OF THE LIVING 2015

01 Ime autora / Name of author: izvode naizmenično na srpskom i alban- Paković; tekst: Jeton Neziraj, Zlatko 06 Fotografija / Photography: Srđan Veljović skom jeziku. Pakovic; dramatrugija: Borka Pavice- Srđan Veljović /// vic, Skeljzen Malici (Shkëlzen Maliqi); The play Encyclopedia of the Living in- 02 Kategorija / Category: igraju: Adrian Morina, Sengilj Ismajli Fotografija scenskog događaja vites the Serbian and Albanian peoples (Shengyl Ismaili), Spetim Selmani (Shpe- /// to take responsibility for their cohab- tim Selmani), Igor Filipovic, Faris Be- Performing arts photography itation in the region, and sees their risa (Faris Berisha) i Zlatko Pakovic; nationalism as a result of class strati- muzicari: Bozidar Obradinovic (kompozi- fication for the purpose of gaining profit 03 Naziv projekta / Project title: tor), Vladimir Pejkovic i Zoran Tegel- Enciklopedija živih 2015 and strengthening the power of the elite tija; koreografija: Đerđ Prevazi (Gjergi /// on both ends. Imagined as an art inter- Prevazi); scenografija: Krste Dzidrov; Encyclopedia of the Living 2015 vention in the Serbian and Kosovo reali- dizajn kostima: Marija Pupucevska ty, this play illustrates the turbulent /// Serbian-Albanian relations through the 04 Opis / Description: Production: Centre for Cultural Decon- Predstava Enciklopedija živih poziva na collage of scenes, including about forty tamination, 2015; concept and direc- odgovornost srpskog i albanskog naroda characters from a century-long history, tion: Zlatko Paković; text: Jeton Ne- za suživot na ovim prostorima, a njiho- that actors perform in the Serbian and ziraj, Zlatko Pakovic; dramaturgy: Borka ve nacionalizme vidi kao posledicu kla- Albanian language alternately. Pavicevic, Shkëlzen Maliqi; cast: Adrian snog raslojavanja zarad profita i jača- Morina, Shengyl Ismaili, Shpetim Selma- nja moći elita na obe strane. Zamišlje- 05 Impresum (produkcija, mesto, godina, ni, Igor Filipovic, Faris Berisha and na kao umetnička intervencija u srpskoj ostatak autorskog tima) / Impressum Zlatko Pakovic; musicians: Bozidar Obra- i kosovskoj stvarnosti, ova predstava (production, place, year, other authors dinovic (composer), Vladimir Pejkovic prikazuje burne srpsko-albanske odnose of the team): and Zoran Tegeltija; choreography: Gjer- kroz kolaž scena sa četrdesetak likova Produkcija: Centar za kulturnu dekonta- gi Prevazi; stage design: Krste Dzidrov; iz jednovekovne istorije, koje glumci minaciju, 2015; koncept i režija: Zlatko costume design: Marija Pupucevska

260 261 1.2.27 NIKOLA ZAVIŠIĆ /// TRANSFORMACIЯ / TRANSFORMATION

01 Ime autora / Name of author: jezika specifičnog estetskog, značenjskog scenario: Nikola Zavišić i Natalija Nikola Zavišić i narativnog potencijala. Burnos; izbor muzike, dizajn svetla i /// režija: Nikola Zavišić; izvođači: svi 02 Kategorija / Category: TransformatioN is an experimental pup- članovi ansambla pozorišta. Dizajn svetla pet performance for youth and adult au- /// /// dience. Its genre is difficult to define Krasnoyarsk Puppet Theatre (Красноярский Light design since it functions on the borderline театр кукол), Siberia, Russia, 2018; between theatre of objects, theatre of puppet, costume and stage design: Na- 03 Naziv projekta / Project title: movement, figural theatre, Grand Guignol talia Burnos (Наталия Бурнос); script: TransformaciЯ and audio-visual experimental spectacle. Nikola Zavišić and Natalia Burnos; music /// A director-designer duo establishes play choice, light design and directing: Ni- TransformatioN as a method of their joint research work kola Zavišić; performers: all members of with a twenty-member performing ensemble the theatre ensemble. 04 Opis / Description: in order to map new territories of the TransformaciЯ je eksperimentalna lutkar- theatre language specific in its aesthet- 06 Fotografija / Photography: ska predstava za mladu i odraslu pu- ic, semantic and narrative potential. Julija Lisk bliku. Žanrovski ju je teško odrediti, a funkcioniše na granicama teatra pred- 05 Impresum (produkcija, mesto, godi- meta, pokreta, figuralnog teatra, grand na, ostatak autorskog tima) / Impressum ginjola i audio-vizuelnog eksperimen- (production, place, year, other authors talnog spektakla. Rediteljsko-dizajner- of the team): ski dvojac uspostavlja igru kao metod Lutkarsko pozorište Krasnojarska zajedničkog istraživačkog rada sa dvade- (Красноярский театр кукол), Sibir, setočlanim ansamblom predstave, u cilju Rusija, 2018; dizajn lutaka, kostima i mapiranja novih teritorija pozorišnog scene: Natalija Burnos (Наталия Бурнос);

262 263 1.2.28 NIKOLA ZAVIŠIĆ /// DŽONATANOV LET / THE FLIGHT OF JONATHAN

01 Ime autora / Name of author: Seagull by Richard Bach. The light func- Osijek (Osijek, Croatia, 2015); stage Nikola Zavišić tions as a dramatic element and element design: Irena Kraljić; costume design: of the performance atmosphere. On the Maja Mirković, choreography: Dunja Jo- 02 Kategorija / Category: costume and stage design level, light cić, music: Willem Miličević (composer), Dizajn svetla / Light design points to their materiality. It func- Edi Ćelić, Lidija Kraljić, Đorđe Dukić, tions as an indispensable part of the Areta Ćurković, Snježana Ivković, Mirel 03 Naziv projekta / Project title: atmosphere, irrespective of whether it Huskić (performers) Džonatanov let reflects off surfaces, or plays with them /// alchemically by means of three overhead 06 Fotografija / Photography: The Flight of Jonathan projectors, lasers or lamps. Marin Franov

04 Opis / Description: 05 Impresum (produkcija, mesto, godina, Predstava je autorski odgovor na čuveni ostatak autorskog tima) / Impressum roman Ričarda Baha (Richard Bach) Galeb (production, place, year, other authors Džonatan Livingston. Svetlo funkcioni- of the team): še kao dramaturški i element atmosfere Dječje kazalište Branka Mihaljevića u predstave, a na planu kostima i sceno- Osijeku (Osijek, Hrvatska 2015); dizajn grafije ukazuje na njihovu materijalnost. scene: Irena Kraljić; dizajn kostima: Funkcioniše kao nezamenjiv deo atmosfe- Maja Mirković, koreografija: Dunja Jocić, re, bilo da se reflektuje o površine, ili muzika: Vilem Miličević (Willem Miliče- se njima alhemijski igra posredstvom tri vić; kompozitor), Edi Ćelić, Lidija Kra- grafoskopa, lasera ili lampi. ljić, Đorđe Dukić, Areta Ćurković, Snje- /// žana Ivković, Mirel Huskić (izvođači) The performance is the author's response /// to the famous novel Jonathan Livingston Branko Mihaljević Children's Theatre in

264 265 2. STUDENTSKA POSTAVKA / STUDENTS’ EXHIBITION

266 267 RAVNOTEŽA SEE/SAW

Kustoski tim/Curators: Romana Bošković Živanović, Mirko Stojković, Zora Mojsilović, Deneš Debrei, Milena Kordić i/and Andrija Pavlović

Mentori/Mentors: Selena Orb (alias Darinka Mihajlović), Dragana Vilotić i/and Draško Adžić

Autorski tim studenata/Team of student authors: Lara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Marija Šumarac i/and Aleksandra Vučković

268 269 2.1 Романа Бошковић STVARANJE KUĆA I GRAĐENJE LJUDI Студентски дом „Слободан Бајић“ Лиман 1 Romana Bošković Živanović, 21 000 Нови Сад Programski koordinator Kustoskog tima Србија и Црна Гора

Романа Бошковић Студентски дом „Нови Б“ Romana Bošković Булевар Деспота Стефана 7 Agana Bostandžića 51 21 000 Нови Сад Tasovčići Србија и Црна Гора 81 300 Čapljina Socijalistička Federativna Republika Jugoslavija Романа Бошковић Др Драгослава Поповића 7 Romana Bošković 11 000 Београд Maršala Tita 125 Република Србија 25 230 Kula Socijalistička Federativna Republika Jugoslavija Романа Бошковић Булевар Зорана Ђинђића Романа Бошковић 11 000 Београд село Доња Бијења Република Србија Невесиње Социјалистичка Федеративна Република Југославија Романа Бошковић Косовска 32 Романа Бошковић 11 000 Београд Станка Пауновића Република Србија 11 000 Београд Савезна Република Југославија Romana Bošković Frejagatan 20 Романа Бошковић 15241 Södertälje Кикиндска 43 Sverige 23 274 Бочар Савезна Република Југославија Romana Bošković Pilotgatan 5E Романа Бошковић 128 32 Skarpnäck Маршала Тита 54 Stockholm 21 220 Бечеј Sverige Савезна Република Југославија Романа Бошковић Романа Бошковић Браће Недића 8 Ференца Сепа 3 11 000 Београд 24 000 Суботица Република Србија Савезна Република Југославија Романа Бошковић Живановић Романа Бошковић Војислава Илића 133 Тургењева 11 000 Bеоград 21 000 Нови Сад Република Србија Савезна Република Југославија

270 271 Nastup Srbije u Studentskoj sekciji Pra- artikulacija i izvođenje scenskog događaja i scenskog pro- škog kvadrijenala 2019. godine inspirisan je temom sa- stora, neguje kao zajedničko profesionalno delovanje, kao mo(iz)gradnje, to jest vrednostima i potencijalima tog fe- suigra;2 a potom i konstruisanje kreativnog okruženja od nomena u savremenom društvu, ali i u kontekstu različitih pojedinaca koji čine studentski tim, dvanaestoro studena- prošlosti koje su nas odredile. ta, koji dolaze iz različitih škola, disciplina i geografskih prostora. Razgovarajući, deleći iskustva, mišljenja, Jedna prošlost odnosi se na prostor u kom ideje i probleme, mi smo se upoznavali, sticali međusob- živimo, u kom je, ne tako davno, postojalo društvo, veli- no poverenje i, konačno, razumeli. Istovremeno, studenti ka zajednica koju su činili različiti narodi i kulture, a su u kreativnom i stvaralačkom procesu, kroz potragu za koju je povezivala prilično jasna i čvrsta ideologija. Kao vrednostima, istraživali situacije i događaje iz prošlosti i svaka ideologija, ni ta naša, nije bila savršena, ali je koji su ih izgradili. U novostvorenom kolektivu, došli su u okviru nje postojao organizovani sistem vrednosti koji do spoznaje da su upravo odnosi i razumevanje sa drugim se negovao i smatrao važnim. Kroz samo(iz)gradnju stvorena ljudima iz neposredne okoline i mikrozajednica kojima su je zajednica koja nije bila samo skupina konstitutivnih pripadali bili ono što ih je oblikovalo i motivisalo. Kao kultura, već je uspela da stvori jedan nadnacionalni, za- važni, zajednički pojmovi u svim ličnim pričama, izdvojili jednički kulturni sloj1 i nove vrednosti i značenja. Dru- su se igra i igralište: igra, dobrovoljna i željena aktiv- štvene i kulturne granice su bile nevidljive, iako jasno nost koja ima jednog ili više učesnika, definisana ciljem postavljene. Ova drugačija prošlost je, za studente rođene ili skupom pravila, upravo zbog svoje nekorisnosti i izme- devedesetih godina, predstavljala narativ sa kojim nisu štanja iz realnosti uvek predstavlja polje slobode i omo- imali lični kontakt, već su u dodir sa njom dolazili kroz gućava susret i ostvarivanje društvenih veza; i igralište, posredne lične odnose i društvene refleksije. Oni su rođe- javni prostor u kom se susreću nepoznati i različiti akte- ni i žive u društvu bez jasno određenog sistema vrednosti ri i svaki put iznova uspostavljaju zajednicu. Iz ovoga je i svetu prepunom granica, vidljivih i nevidljivih. Stoga potekla ideja rada, a to je stvaranje performativnog okru- je samo(iz)gradnja, kao rad na sebi i građenje pojedinca, ženja – igrališta koje je ishod zajedničkog, ali i ličnih, postala pitanje ličnih (moralnih) odluka i potreba. Ona je intimnih promišljanja teme, to jest pozornica na kojoj se moguća samo kroz odnose unutar malih zajednica: porodicu, kroz igru mogu ispričati priče. razred u školi, tim sa košarke, ekipu sa sekcije, društvo Studenti su u početku lične priče gradi- iz kraja, klasu sa fakulteta. Okupljajući se oko zajednič- li isključivo sredstvima iz sopstvenih disciplina (arhi- kih ciljeva, vrednosti i problema, nastaju sigurna mesta i tektura, režija, scenografija, kostimografija, dizajn zvuka, afirmativna okruženja. performans,...), da bi vremenom prelazili i brisali te Rad Studentske sekcije podrazumevao je granice, shvatajući važnost, neophodnost i, što je naj- dva podjednako važna procesa samo(iz)gradnje. Prvi se od- važnije, ravnopravnost, svih učesnika u stvaranju jednog nosio na stvaranje jednog kolektiva i uspostavljanje za- scenskog događaja. jednice povodom jednog zadatka. Za mene je to značilo li- Čitav višemesečni radionički proces i čno i profesionalno promišljanje vrednosti, načina i meto- način rada podrazumevali su istraživačko i stvaralačko da rada, odnosa i mehanizama koji postoje u kolektivu čiji bavljenje temom samo(iz)gradnje, ali i stvaranje jednog sam deo – škole scenskog dizajna u kojoj se promišljanje, novog kolektiva koji će to omogućiti. Važno je naglasiti

1 Milutinovic, Zoran, What Common Yugoslav Culture 2 Dinulović Radivoje, Bošković Romana, Proširena Was, and How Everybody Benefited from It, u: Radmila scenografija ili šta je scenski dizajn, Zbornik Fa- Gorup (ur.), After Yugoslavia – The Cultural Spaces kulteta dramskih umetnosti br.17, Beograd: Institut of a Vanished Land, Stanford: Stanford University za pozorište, film, radio i televiziju, FDU, 2010, Press, 2013, str. 75. str. 47.

272 273 da su svi učesnici u ovom procesu prelazili granice sop- 2.1 stvenih disciplina, profesija i komfora, čineći ih nevid- ljivim i sinkretički gradeći prostor koji, u fizičkom i CREATION OF HOUSES AND značenjskom smislu, poziva i omogućava stvaranje neke nove CONSTRUCTION OF PEOPLE zajednice i, kroz uspostavljanje odnosa s drugim ljudima, građenje Romana Bošković Živanović, pojedinca. Programme Coordinator of the Curatorial Team

Romana Bošković Agana Bostandžića 51 Tasovčići 81 300 Čapljina Socialist Federal Republic of Yugoslavia

Romana Bošković Maršala Tita 125 25 230 Kula Socialist Federal Republic of Yugoslavia

Romana Bošković Donja Bijenja Village Nevesinje Socialist Federal Republic of Yugoslavia

Romana Bošković Stanka Paunovića 11 000 Belgrade Federal Republic of Yugoslavia

Romana Bošković Kikindska 43 23 274 Bočar Federal Republic of Yugoslavia

Romana Bošković Maršala Tita 54 21 220 Bečej Federal Republic of Yugoslavia

Romana Bošković Ferenca Sepa 3 24 000 Subotica Federal Republic of Yugoslavia

Romana Bošković Turgenjeva

274 275 21 000 Novi Sad Serbia’s presentation in the Student Federal Republic of Yugoslavia Section of the Prague Quadrennial 2019 is inspired by the self-construction Romana Bošković theme of , that is, the values and poten- “Slobodan Bajić” Student Dormitory tials of this phenomenon in modern society, but also in the Liman 1 context of different pasts that have defined us. 21 000 Novi Sad Serbia and Montenegro One past refers to the space in which we

Romana Bošković live, in which, not long ago, there existed a society – a “Novi B” Student Dormitory great community composed of different peoples and cultures Bulevar Despota Stefana 7 that were connected by a rather clear and solid ideology. 21 000 Novi Sad Like any ideology, neither was that one of ours so perfect, Serbia and Montenegro and yet it encompassed an organised system of values that Self-construction Romana Bošković was nurtured and considered important. Dr Dragoslava Popovića 7 served for creation of a community that was not merely an 11 000 Belgrade agglomeration of constituent national cultures, but it Republic of Serbia managed to create a supra-national, common cultural layer1, as well as new values and meanings. Social and cultural Romana Bošković boundaries were invisible, albeit clearly established. For Bulevar Zorana Djindjića this different past 11 000 Belgrade students born in the 1990s, represented Republic of Serbia a narrative with which they had no personal contact, but they came in contact with it through indirect personal re- Romana Bošković lationships and social reflections. They were born and live Kosovska 32 11 000 Belgrade in a society without a clearly defined system of values and Republic of Serbia in a world full of borders, both visible and invisible. Therefore, self-construction, as self-development and con- Romana Bošković struction of an individual, has become a matter of person- Frejagatan 20 al (moral) decisions and needs. Moreover, it is possible 15241 Södertälje Sverige solely through relations within small communities, such as: family, school class, basketball team, hobby group, Romana Bošković neighbourhood friends, or faculty class. Thus, such gath- Pilotgatan 5E ering around common goals, values and issues, creates safe 128 32 Skarpnäck places and affirmative environments. Stockholm Sverige The Student Section work implied two equally important processes of self-construction. The first Romana Bošković referred to the creation of a collective and establish- Braće Nedića 8 ment of a community aimed at fulfilling a specific task. 11 000 Belgrade For me, this meant personal and professional reflection on Republic of Serbia

1 Milutinovic, Zoran, What Common Yugoslav Culture Romana Bošković Živanović Was and How Everybody Benefited from It, in: Radmila Vojislava Ilića 133 Gorup (ed.), After Yugoslavia – The Cultural Spaces 11 000 Belgrade of a Vanished Land, Stanford: Stanford University Republic of Serbia Press, 2013, p. 75.

276 277 the values, modes and methods of work, the relations and realising the significance, necessity and, most important- mechanisms existing in the collective of which I am a part ly, equality of all participants in the creation of a per- – the school of scene design in which reflection on, artic- forming event. ulation and realisation of a performing event and perform- The entire workshop process that last- ing space are fostered as a joint professional activity, ed for several months and the method of work encompassed as a coplay2. Furthermore, it implied the construction research-based and creative dealing with the topic of of a creative environment from individuals who made up a self-construction, and the formation of a new collective student team – twelve students from various art schools, that would enable it all. It is important to emphasize disciplines and geographic areas. By communicating with that all participants in this process crossed the borders each other, by exchanging experiences, opinions, ideas and of their own disciplines, professions and comfort zones. problems, we got to know each other, we gained mutual trust They made these borders invisible and syncretically built and, finally, understood one another. At the same time, a space that, in a physical and meaningful sense, calls for while searching for values through their creative process, and enables the creation of a new community and, through the students explored the situations and events from the the establishment of relationships with other people, the past that constructed them. In the newly formed collec- construction of an individual. tive, they came to the realisation that the very relationships and understanding with other people from their immediate environment and micro-communities they belonged to were what moulded and motivated them. Play and playground stood out as significant, common concepts in all personal stories: play – a voluntary and desired activity including one or more participants, defined by a goal or set of rules, precisely due to its uselessness and displacement from reality, always represents the field of freedom and enables the meeting and achievement of social connections; and playground – public space in which unknown and different participants meet, re-establishing a community over and over again. This is where the idea for the work was born, and that is the creation of a performative environment – a playground that is the outcome of a common, but also personal, intimate reflections on the theme, that is, a stage on which stories can be told through play. At the beginning, students constructed their personal stories exclusively using means belonging to their own disciplines (architecture, direction, stage design, costume design, sound design, performance, etc.), so as to overcome and erase those boundaries over time,

2 Dinulović Radivoje, Bošković Romana, Scenograp- hy Expanded or What is Scene Design?, Anthology of Essays by the Faculty of Dramatic Arts, No.17, Belgrade: Institute for Theatre, Film, Radio and Television, Faculty of Dramatic Arts, 2010, p. 47.

278 279 2.2 da je u bilo kom kolektivu negovanje međuzavisnosti i ra- zumevanja među ljudima najvrednije, što smo usvojili kao UMETNIČKO TRAGANJE ZA osnovnu temu njihovog rada. SAKRIVENIM VREDNOSTIMA Scenski dizajn, kao umetničko polje sa Selena Orb (alias Darinka Mihajlović), izraženom društvenom dimenzijom, teži kreiranju idealnog Dragana Vilotić i Draško Adžić prostora u kome će se na najbolji moguć način ostvariti komunikacija između umetničkog čina i publike. U procesu osmišljavanja ovog dela, ujedinila su se znanja i spo- sobnosti svih članova Studentske sekcije, koji dolaze sa Svesni činjenice da smo u svakodnevnom različitih fakulteta i studiraju režiju, scenski dizajn, životu, u okvirima naše države, svedoci razmimoilaženja arhitekturu, kostimografiju i dizajn zvuka, što ih je pod- između postupaka društva i vrednosti za koje se ono zala- staklo na kreiranje jednog novog kolektiva. Tokom rada sa že, smatrali smo da studente, kao mlade ljude čija se lična studentima, naša pozicija mentora je podrazumevala pažlji- uverenja i stavovi još uvek formiraju, treba podržati u vo osluškivanje i podršku njihovim idejama i razmišlja- delikatnom procesu sazrevanja. Dominantna pozicija mate- njima, jer u dugačkom, iskričavom procesu preispitivanja, rijalizma i individualizma koji prerasta u narcisoidnost traganja za smislom i idejom, bilo je potrebno da prepo- podstakla nas je da studente usmerimo ka potrazi za sop- znamo i osvestimo dodirne tačke mišljenja i osećanja dva- stvenim vrednostima koje su skrajnute ili čak nevidljive u naest ljudi. društvu i njihovom prepoznavanju. U sledećem koraku, tragali smo za nači- Mladi ljudi su često zbunjeni i dezo- nima izražavanja teme međuzavisnosti i ispitivali uslove rijentisani i smatraju da ništa ne mogu da promene, te koje pružaju objekat i prostor studentske postavke Kva- se prepuštaju stanju izolovanosti i pasivnosti. Međutim, drijenala. Istovremeno smo u markiranom prostoru ekspe- upravo stvaralački čin i umetnost daju priliku za potpuno rimentisali sa mogućnostima kretanja, sagledavanja i ko- lično suočavanje pojedinca (umetnika) sa svim onim što do- munikacije unutar njega. Studenti su tokom rada iskazali življava kao opšteprihvaćeno i nametnuto, kao i onim što potrebu da stvore mesto na kom ljudi instinktivno reaguju se podrazumeva. Zbog toga smo se u prvoj fazi rada bavili i komuniciraju, pa je iz tog procesa kao rešenje proizašlo potragom za ličnim vrednostima i osećanjima kroz pregled igralište – prepoznatljiv urbani toponim, ali i vremenska raznovrsnih umetničkih dela i fenomena iz popularne ku- mašina koja nas vraća u detinjstvo. Igralište je okidač za lture i umetnosti, pozorišta, književnosti i arhitekture. lepe, ružne i, iznad svega, nezaboravne trenutke koje sva- Uporedo sa ovim procesom, studente smo usmeravali ka so- ko nosi u sebi. Sećanje na njih je sklopljeno od osećanja pstvenom biću i neizbežnoj introspekciji koju sobom nosi vezanih za blizinu druge dece, poglede, zvuke, izmišljene bavljenje umetnošću. Pre otkrivanja odgovora na pitanje igre, neobične priče i događaje. Upravo ta osećanja su nas „Šta hoću da kažem?“, morali su da se suoče sa pitanjem usmerila na razmišljanje o univerzalnosti takvog prosto- „Ko sam ja i šta me je izgradilo?“, uspostavljajući, isto- rnog polja bez granica i prepoznavanje potencijala njego- vremeno, i vezu sa zajedničkom temom nastupa Srbije – Sa- vog funkcionisanja u okviru postavke. mo(iz)gradnjom. U tom procesu su ustanovili da je znača- Ideja o konstruisanju zajednice i dru- jan deo njihovog bića oblikovan kroz društvene zajednice štva kroz građenje pojedinca imala je ključnu ulogu u de- kojima pripadaju, a kao najvažnije su izdvojili porodicu, finisanju igrališta uz pomoć klackalice, kao elementa za prijatelje, profesionalnu sredinu, državu. Unutar toga su čije je funkcionisanje potrebno učešće najmanje dve osobe, prepoznali i probleme koje te zajednice ne primećuju ili smeštene u odnos snažne zavisnosti i kontrateže, koji za ignorišu. Iz te pozicije su osnažili svoje pravo da kažu posledicu ima akciju. Nadalje, studente smo podsticali da

280 281 ožive sopstveno sećanje na događaje koji su ih „izgradili“ 2.2 na igralištima iz njihovog detinjstva i time smo dobili dodatan i dragocen značenjski sloj postavke. Iz usposta- ARTISTIC PURSUIT OF vljenog odnosa između prostora igrališta koji su osmislili HIDDEN VALUES i priča iz detinjstva proizašlo je skoro petnaest razli- Selena Orb (alias Darinka Mihajlović), čitih verzija narativa u prostoru postavke. U širem ko- Dragana Vilotić and Draško Adžić ntekstu, želeli smo da osmislimo rad čija su arhitektura i pojavnost poziv na učešće, a ono bi u okviru prostora zamišljenog igrališta počelo već samim stupanjem na njegovu površinu. Being aware of the fact that in everyday Tokom procesa osmišljavanja i kreiranja life, in Serbia, we are witnessing the disharmony between Ravnoteža/(SEE/SAW) dela pod nazivom , podsticali smo stu- actions taken by society and the values it advocates, we dente na traganje za umetničkim činom koji ne bi bio inte- considered that we should support students, as young peo- lektualizovan. Stoga je ideja igrališta i igre bio legiti- ple whose personal beliefs and attitudes are still being man način da se osvrtom na detinjstvo ostvari kontakt sa formed, in a delicate process of their maturation. The nevinom iskrenošću koju odrastanjem počinjemo da zakopava- dominant position of materialism and individualism that mo. Igra, kao istraživački element, već je dugo nepravedno gradually evolves into narcissism prompted us to direct prognana iz procesa stvaranja u brojnim umetničkim praksa- students’ attention towards the pursuit of their own val- ma. Ta pojava je, sa jedne strane, kontraintuitivna, ako ues, among those that are currently marginalized or even uzmemo u obzir da je veliki postotak umetničke produkcije invisible in society, and towards the recognition of these danas čisto intelektualna tvorevina – a kod svih istraži- values. vanja, pa samim tim i intelektualnih, igra je nezamenlji- Young people are often confused and dis- vo polazište za otkrića. U svim sferama rada, a posebno u oriented and they think that they cannot introduce any umetnosti, najsnažniji rezultati dolaze iz potpunog prepu- sort of change. Consequently, they resign themselves to štanja. Kada se granica između „ozbiljnog“ rada i detinje the state of isolation and passivity. However, it is ex- zaigranosti sasvim poništava. U krajnjem ishodu, posledica actly the creative act and art that give opportunity to an ovog procesa je potpuno brisanje strukovnih, jezičkih i individual (an artist) to fully and personally face with kulturnih granica između studenata koji su zajedno radili all that he/she feels to be generally accepted and im- u ovom procesu i stvorili kolektiv u kojem je razvijen ose- posed, as well as with what is implied. Therefore, in the ćaj poverenja, pripadnosti i međuzavisnosti, što je isto- first phase of our work, we dealt with the pursuit of per- vremeno i vrednost koju žele da prenesu posetiocima našeg sonal values and feelings through review of various art- paviljona u Pragu. works and phenomena of popular culture and art, theatre, literature and architecture. Along with this process, students were directed towards their own being and inevitable introspection that engagement in art brings with itself. Before finding an answer to the question “What do I want to say?”, they had to deal with the question “Who am I and what has constructed me?”, at the same time, establishing a connection with the common theme of Serbia’s performance – Self-construction. In this process, they found out that a significant part of their being is formed through the social communities they belong to, and they singled out

282 283 their families, friends, professional environment, and the The idea of constructing a community and state as the most important factors of influence. Further- society through the construction of an individual played a more, they recognised the issues that these communities do key role in defining a playground with the help of a seesaw, not notice or yet ignore. From this point of view, they as an element the functioning of which requires participa- strengthened their right to say that fostering interde- tion of at least two persons, placed in a relationship of pendence and understanding among people in any collective strong dependence and counterweight which results in ac- is most valuable, which we adopted as the basic theme of tion. Moreover, we encouraged our students to revive their their work. own memory of the events that “constructed” them on the Scene design, as an artistic field with a playgrounds of their childhood, and thus, we obtained an pronounced social dimension, aims to create an ideal space additional and precious meaningful layer of the set-up. The in which communication between the artistic act and the established relationship between the playground space that audience will be realised in the best possible way. In the students designed and their childhood stories resulted in process of conceptualising this work, the knowledge and almost fifteen different versions of the narrative inthe capacities of all members of the Student Section, who come exhibiting space. Broadly speaking, we wanted to create a from various faculties and who study directing, scene de- work whose architecture and realisation call for partic- sign, architecture, costume design or sound design, were ipation that would begin immediately upon the visitor’s united and that inspired them to create a new collective. stepping onto the surface of the imaginary playground. While working with the students, our position as mentors In the process of conceptualising and implied attentive listening and support to their ideas and creating the work entitled SEE/SAW, we encouraged our stu- reflections since, in the long, sparkling process of re-ex- dents to search for an artistic act that would not be in- amination and search for meaning and idea, it was neces- tellectualized. Therefore, the idea of a playground and sary to recognise and bring awareness to the common ground play, and thus, referral to the students’ childhood, was a among opinions and feelings of twelve people. legitimate way to make contact with the innocent sincerity In the following step, we searched for that we are burying within us while growing up. Play, as a ways of expressing the theme of interdependence and exam- research element, has long been unfairly expelled from the ined the conditions provided by the facility and space of process of creation in numerous artistic practices. On the the Quadrennial Student Exhibition. At the same time, we one hand, this phenomenon is counterintuitive, considering experimented with the possibilities of moving, observing that a large percentage of today’s art production is purely and communicating within the marked space. While working, an intellectual creation. Yet, in all sorts of research, the students expressed their need to create a place where and so, in intellectual one as well, play is an irreplacea- people would instinctively react and communicate. Thus, a ble starting point for discoveries. In all spheres of work, playground – a recognisable urban toponym, but also a time and especially in art, the most powerful results arise from machine that brings us back to our childhood, emerged as complete surrender – when the borderline between “serious” a solution from this process. The playground is a trigger work and childlike playfulness is completely erased. In the for beautiful, ugly and, above all, unforgettable moments end, the result of this process is the complete deletion of that everyone carries within them. The memories of play- professional, linguistic and cultural boundaries between grounds are composed of feelings related to the closeness the students who worked together in this process and who of other children, looks, sounds, imaginary games, ex- created a collective in which a sense of trust, affiliation traordinary stories and events. Exactly these feelings led and interdependence was developed, which is, at the same us to think about the universality of such a spatial field time, the value that they want to convey to the visitors without boundaries and to identify the potential of its of the Serbian pavilion in Prague. functioning within the exhibition setting.

284 285 stepenog stvaranja naše zajednice. Posmatrajući sopstveni 2.3 razvoj, očitavali smo i činjenice teme kojom se bavimo, ali i poetičnost i značaj detinjeg pristupa istoj. U trenutku IGRA KOJA NIKADA NE PRESTAJE kada smo se potpuno oformili kao grupa, promenio se doži- I KOJA NAS MENJA vljaj rada, ali i naš međusoban odnos. Svatili smo da je ovo Lara Bunčić, Nikola Isaković, Maja Iva- cikličan proces građenja poverenja, prihvatanja nedostataka nović, Bojan Kaurin, Jovana Matić, Đorđe i utapanja u nešto veće od nas samih. Nešović, Ema Pavlović, Lara Popović, Filip Uzimajući u obzir današnje standarde ko- Šćekić, Katarina Šijajić, Marija Šumarac i lektiva, njihovu mnogobrojnost, kao i fenomene i vrednosti Aleksandra Vučković oko kojih nastaju, za nas je, generacijski, svaka vrsta grupisanja postala sinonim za gubljenje individualnosti, za bezobzirnost prema drugima, i nešto što nas sve češće raz- dvaja, umesto da nas zbližava. Vođeni emocijama kojima preti Pokušavajući da svoju svakodnevicu, navi- formalnost, gradimo zajednicu koja nema nijedan predodređen ke i postupke opiše i objasni raznim teorijama, čovek često oblik. Svesni nametnutih pravila i vrednosti u društvu, mi zaboravi da osvesti fragmente prošlosti koji možda sadr- uspostavljamo svoja, znajući da zajednica ne može biti savr- že odgovore. Sećanja svedoče o tome od čega je čovek danas šena, iako tome težimo. Međuzavisnost članova pretvara se u satkan. Njegove lične priče su ga izgradile i one postoje hrabrost, zajednica se menja, kolektiv prilagođava i poten- kao razlog strahova i težnji. Njegovo (čovekovo) detinjstvo cijalno opet dekonstruiše. je temelj i uporište sećanja, početna tačka svakog unutra- Samoizgradnja ostaje kao otisak vremena u šnjeg istraživanja, svedočanstvo da smo svi, koliko god bili kom je samo igra bila važna, igra koja nikada ne prestaje i različiti, deo onog istog društva u kome sada živimo. Upra- koja nas menja. vo su ta uporišta od suštinskog značaja za individualnu i kolektivnu izgradnju. Suočavajući sebe sa svim neugodnim i neizbežnim činjenicama perioda odrastanja, čovek se upušta u potragu za ravnotežom, kako sa samim sobom, tako i sa drugim ljudima. Kroz introspekciju, vođenu pitanjima „Ko sam sada? Ko sam bio? Kako se transformišem i kako se svet oko mene menja?“, započinje proces traganja. Taj proces podrazumeva odbacivanje usvojenih pravila ponašanja, promenu uglova posmatranja, ponovno vraćanje na naivno razmišljanje i radoznalost u svojoj prvobitnoj formi. Sličnim pitanjima i mi započinjemo svoje istraživanje: „Zašto sam nesiguran, šta me plaši, zašto ne verujem nikome ili zašto bezuslovno verujem svakome? Odakle nam optimizam, odakle hrabrost i za čim žudimo?“ Samoizgradnja je neizvesna borba u kojoj se ne možemo ostvariti van kolektiva i uzajamne podrške. U našem slučaju, ona se sastoji iz dva neraskidiva dela: umetničkog projekta, kao rezultata zajedničkog rada, i po-

286 287 2.3 it consists of two inseparable parts: an art project, as a result of joint work, and the gradual formation of our NEVER-ENDING PLAY community. While observing our own development, not only THAT CHANGES US did we read the facts of the topic we dealt with, but we Lara Bunčić, Nikola Isaković, Maja Iva- also read the poetic quality and significance of a child- nović, Bojan Kaurin, Jovana Matić, Đorđe like approach to the topic mentioned. At the moment when Nešović, Ema Pavlović, Lara Popović, Filip we were completely formed as a group, our experience of Šćekić, Katarina Šijajić, Marija Šumarac work changed, as well as our mutual relationships. We re- and Aleksandra Vučković alised that this was a cyclical process of building trust, accepting flaws and drowning into something greater than ourselves. Taking into consideration today’s stan- In an attempt to describe and explain dards of a collective, their numerousness, as well as our everyday life, habits and acts with various theories, phenomena and values around which they are established, we often forget to revive the fragments of our past that we, as a generation, perceive any sort of gathering into may contain possible answers. Memories testify to what groups as a synonym for the loss of individuality, for in- sort of material we are created from today. Our personal considerate behaviour towards others, and something that stories have constructed us, and they exist as a reason much more frequently separates us from one another infor our fears and aspirations. Our (one’s) childhood is stead of bringing us together. Guided by emotions that are the foundation and bastion of memories, a starting point threatened by formality, we are constructing a community of each and every inner research, a testimony that all that has no any predetermined form. Being aware of the im- of us, irrespective of our differences, are part of the posed rules and values in society, we establish our own. same society in which we live now. Exactly these bastions And, albeit we know that the community cannot be perfect, are of essential importance for individual and collective we still strive for it. The interdependence of members is construction. Facing oneself with all the unpleasant and turning into courage, the community is changing, the col- inevitable facts of growing up, one starts the search for lective is adapting and potentially deconstructing again. balance, both with oneself and with other people. Self(up)bringing remains as the imprint The searching process begins with intro- of time in which only play is important – a never-ending spection led by the questions “Who am I now? Who was I? How play that changes us. do I transform and how is the world around me changing?”. This process implies the rejection of accepted rules of behaviour, the change of viewpoints, the return to naive thinking and curiosity in its original form. Our research begins with similar questions, that is: “Why am I insecure, what frightens me, why do not I trust anyone or why do I unconditionally trust everyone? Where does our optimism come from, where does our courage come from and what do we yearn for?” Self(up)bringing is an unpredictable struggle in which we cannot become accomplished outside the collective and without mutual support. In our case,

288 289 2.4 U njihovim ličnim pričama, kao važni, zajednički pojmovi, izdvojili su se igra, polje slobode u kom ne postoje grani- UMETNIČKI RAD RAVNOTEŽA ce, i igralište, javni prostor u kom se susreću nepoznati i različiti akteri i svaki put iznova uspostavljaju odnose i zajednicu. Iz ovoga je potekla ideja rada, a to je stvaranje performativnog okruženja – igrališta definisanog Ravnoteža klackalicom kao elementom za čije je funkcionisanje po- Ravno + težina. trebno učešće najmanje dve osobe, smeštene u odnos snažne Ujednačen odnos. Usklađenost. zavisnosti, tj. prostora koji omogućava da se kroz igru i Odnos snaga koji onemogućava nadmoć jed- susret ispričaju priče. nih nad drugima. Prostornu postavku čini platforma čiji Sklad između duhovnih osobina, duhovne glavni element predstavlja klackalica. Sama platforma sa- angažovanosti i delatnosti. stavljena je od različitih (skrivenih) delova i celina – Stanje organizma u kom suprostavljene re- mikroprostora, koji se mogu otvoriti i izložiti, a u kojima akcije stoje u najpovoljnijem odnosu. Eg- su izgrađene i u kojima se pričaju, različitim sredstvima zistencijalna psihomotorička sposobnost. i u različitim medijima i formatima, lične priče stude- Traženje ravnoteže između pojedinca i nata. Na ovaj način, prostor od 5×5 metara se promišlja društva, ličnog i zajedničkog, i artikuliše kao promenjiva i interaktivna platforma koja intimnog i javnog, mene i drugih, sada- omogućava susret učesnika i publike, uspostavljanje razli- šnjosti i prošlosti, poverenja i nepove- čitih odnosa i stvaranje privremenih kolektiva. renja, U daljem radu, studenti će se baviti ar- vidljivog i nevidljivog, straha i hrabro- tikulacijom svojih ličnih priča i mikro (scenskih) prosto- sti, sigurnosti i nesigurnosti. ra, u kontekstu razrade inscenacije i dramaturgije ukupne Klackalica prostorne postavke i izrade projekta prostornog rešenja. Element dečijeg igrališta za čije je fun- cionisanje potrebno učešće najmanje dve osobe, smeštene u odnos snažne zavisnosti i kontrateže, koji za posledicu ima akciju. Ustaljena izmena odnosa među ljudima.

Umetnički rad Ravnoteža je performativna instalacija koja govori o samo(iz)gradnji kao procesu uspostavljanja različitih odnosa i stalnom traženju ravnote- že sa neposrednim okruženjem. Kroz potragu za vrednostima, događajima i situacijama koje su ih izgradile, dvanaestoro studenata iz različitih škola, disciplina i gradova, došlo je do spoznaje da su upravo odnosi i razumevanje sa drugim ljudima iz neposredne okoline i mikrozajednica kojima su pripadali bili ono što ih je oblikovalo i motivisalo.

290 291 2.4 micro-communities they belonged to were what moulded and SEE/SAW motivated them. Two terms singled out as important, com- * ARTWORK mon concepts of their personal stories. These were play – the field of freedom which does not recognise boundaries, and playground – public space where unknown and different actors meet each other, every time re-establishing their Counterweight mutual relationships and the community. This is where the Counter + weight. idea for the work was born, and it implied the creation of Well-balanced relation. Alignment. a performative environment – a playground defined by a see- The relationship of forces disabling the saw as an element the functioning of which requires par- superiority of one force over the other. ticipation of at least two persons, placed in a relation- Harmony between spiritual characteris- ship of strong dependence, i.e. space that enables stories tics, spiritual engagement and activity. to be told through play and contact. The organism’s state in which opposing A spatial setting is composed of a plat- reactions are in the most favourable reform the main element of which is a seesaw. The platform lation. Existential psychomotor ability. itself is made up of different (hidden) parts and wholes Finding balance between an individual – microspace. These parts and wholes can be opened and and society, personal and common, exposed, and they are the place where students’ personal intimate and public, between myself and stories are constructed and told using various means, me- others, the present and the past, trust dia and formats. In this manner, the space of 5×5 meters and distrust, is perceived and articulated as a variable and interactive visible and invisible, fear and courage, platform enabling the meeting of the participants and the security and insecurity. audience, the establishment of various relationships and See/saw formation of temporary collectives. An element of children’s playground the In their further work, the students will functioning of which requires participa- deal with the articulation of their own individual stories tion of at least two persons, placed in and micro (scenic) spaces while developing the inscenation a relationship of strong dependence and and dramaturgy of the overall spatial setting and realis- counterweight, which results in action. ing the space design project. An ordinary change in people’s relationships.

The SEE/SAW artwork is a performative installation dealing with self(up)bringing as an establishment process of different relationships and as a continuous search for balance with the immediate surroundings. While searching for the values, events and situations that constructed them, the twelve students from * English translation of the artwork title is SEE/ SAW – literally meaning ‘a seesaw’. The play of various art schools, disciplines and towns came to the words “See” (the present tense) and “Saw” (the past realisation that the very relations and understanding with tense) signifies the relationship between different other people from their immediate environment and from the experiences and situations that influence the process of self(up)bringing.

292 293 2.4.1 Prostornu formu, do koje smo tokom is- traživanja došli, shvatamo kao jedno polje na kom, kada IGRALIŠTE se na njega stupi, važe drugačija pravila. Želimo da od- Lara Bunčić, Nikola Isaković, Maja Iva- bacimo ustaljena pravila ponašanja i posmatrače dovedemo nović, Bojan Kaurin, Jovana Matić, Đorđe u stanje prepuštanja igri i istraživanju. Promenu ugla Nešović, Ema Pavlović, Lara Popović, Filip posmatranja i perspektive nudimo im kroz poglede u kutije, Šćekić, Katarina Šijačić, Marija Šumarac i tj. taktilne odaje naših ličnih sećanja. U tim kutijama Aleksandra Vučković se nalaze minijaturne prostorne intervencije inspirisane ličnim narativima. Aktivnosti/radnje koje se odigravaju na igralištu podstiču uspostavljanje balansa i međusobnog poverenja (klackanjem), a zatim i građenje zajednice i Igralište se u ovom radu posmatra kao uzajamne podrške. Vođeni shvatanjem da je igra proces koji polje samoizgradnje, ali istovremeno i kao prostorna celi- konstantno traje i koji nas menja, igru na našem igralištu na koja generiše naša sećanja. Prostorne celine sa kakvima uspostavljamo kao proces koji traje tokom čitavog termina se naša generacija susretala uglavnom su izgrađene od be- izložbe. tona ili su pokrivene asfaltom. Beton vidimo kao pretežno sirov i jednostavan materijal, koji je pritom i prirodan. Upravo takav materijal opisuje naš odnos prema temama kojima se u radu bavimo. Neka od igrališta na kojima smo se igrali zaobišao je proces renoviranja i postavljanja bezbed- nih podloga. Njihove betonske površine su ispucale, a u pukotinama raste trava, i razne druge biljke. Taj prizor simbioze betona i biljaka za nas i dalje znači isto - to je prirodan proces koji se odvija, kao i odrastanje. Sve iznikle travke vidimo kao nove narative i pouke koje iznova istražujemo vraćanjem u detinjstvo. Postavljanjem igrališta, onakvog kakvim ga pamtimo, u savremeni kontekst predstavlja se neminovna međuzavisnost prošlosti, sadašnjosti i budućnosti kao osnovni odnos koji utiče na samoizgradnju. Shvatajući zajednicu kao nesavršenu po- javu koja teži savršenstvu, ovo ispucalo betonsko polje doživljavamo kao savršenu sliku procesa odrastanja, koju čine istrajnost i upornost, iz kojih niču nova iskustva i nade. Takođe, trava koja se nalazi u radu predstavlja predmet naše konstantne nege – kao nege zajedničkih vrednosti koje smo izgradili kao grupa, kao negovanja naših odnosa unutar grupe, ali i odnosa prema drugima, nege deč- jeg duha i razigranosti, sećanja i iskustava koje nam je detinjstvo donelo.

294 295 2.4.1 children’s spirit and exuberance, memories, and experiences that our childhood brought to us. PLAYGROUND We perceive the spatial form that we dis- Lara Bunčić, Nikola Isaković, Maja Iva- covered in the course of our research as a field where dif- nović, Bojan Kaurin, Jovana Matić, Đorđe ferent rules should be obeyed once you step in. We want Nešović, Ema Pavlović, Lara Popović, Filip to discard the established rules of behaviour and get the Šćekić, Katarina Šijačić, Marija Šumarac viewers into the state of surrendering to play and explo- and Aleksandra Vučković ration. We offer them to change their points of view and their perspectives by looking into the boxes, i.e. tactile chambers of our personal memories. These boxes contain miniature spatial interventions inspired by our personal This work presents the playground as a narratives. Activities/actions that take place at the play- field of self(up)bringing, which simultaneously operates as ground stimulate the creation of balance and mutual trust a spatial unit generating our memories. Our generation has (by seesawing), as well as subsequent community-building encountered the spatial units that are predominantly made and mutual support. Led by the realisation that play is a of concrete or covered with asphalt. never-ending process that keeps changing us, we establish We see concrete as a predominantly raw the play at our playground as a process that lasts during and simple, yet natural material. This very material de- the entire exhibition. scribes our attitude towards the subjects that we deal with in our work. Some of the playgrounds we played at were circumvented by the renovation process and the laying of safety matting. Their concrete surfaces are cracked, with grass and various other plants growing through the cracks. This symbiosis of concrete and plants still bears the same meaning for us – it is a natural, evolving process, just like growing up. We see all those emerging plants as new narratives and morals we keep exploring by revisiting our childhood. Placing the playground, as we recall it, into the contemporary context helps represent the inevitable interdependence between the past, the present, and the future as a basic relation affecting self(up)bringing. By perceiving community as an imperfect phenomenon striving for perfection, we see this cracked concrete field as a perfect illustration of the growing-up process, comprised of persistence and perseverance, with new experiences and hopes growing out of them. Further- more, the grass in the work represents the subject of our constant care – the care for common values that we, as a group, built, the care for our relationships within the group, as well as attitude towards others, the care for

296 297 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.1 KUTIJA 1 / BOX 1 /// BOJAN KAURIN

Uvijek sam imao problema sa dokaziva- perceived on others. I feel that this is NASLOV: Aksiome o bijesu TITLE: Axioms of Anger njem meni bitnih uvjerenja. Valjda zato supposed to scare me. što su samo moja, imam osjećaj da se I refuse searching for who is to blame. KLJUČNA REČ: iživljavanje KEY WORDS: outrageous ne mogu razumijeti ... što uklopljeno u I feel that people do not last forever, OSEĆANJE: nerazumijevanje behaviour veću sliku životnih kontradiktornosti i and yet, I myself could be the one to FEELING: lack of nije tako strašno. Svaka priča bi treba- try. It is intoxicating to believe that la imati glavnog negativca i nekakvu vr- you are the most specific, and to indulge understanding stu konflikta - ovdje sam uvijek samo ja. in haughtiness. I cannot deny that it Kao mlađem, bijes mi je djelovao kao feels good – a carelessly fearless look oružje pravde, koje svi pogrešno kori- that doesn’t stop in front of anyone. ste. Manjak ličnosti bi nadoknadili ga- I’m capable of hurting, ready to hit, lamom, udaranjem, trganjem, a ja sam to squint, pause and understand. riješavao smijehom. I taught myself that every situation Najteže je u sebi pronaći krivca. sounds better in a song, and I taught Ne mislim da sam druga osoba, niti da me myself to play. It might be that lit- vrijeme mijenja, bar ne ovako kao što se tle boy who made a decision so that I na ostalima primjeti. Osjećam da bi me would not need to. It might be that he to trebalo plašiti. just wanted to act widely, light-heart- Odbijam tražiti krivca. edly, combatively and confidently, but he Osjećam da ljudi ne traju zauvijek, a didn’t know how. I just don’t know what baš ja bih mogao. Opojno je vjerovati da I want, and I’m not angry. si najposebniji i prepustiti se oholo- sti. Ne mogu reći da nije dobar osjećaj, neobazrivo neustrašiv pogled koji se ne zaustavlja ni pred kim. Sposoban da po- vrijedim, spreman da udarim, zažmirim, zastanem i razumijem. Naučio sam se da svaka situacija bolje zvuči u pjesmi i naučio sam se igrati. Možda je taj dječak donio odluku da ja ne bih morao, možda je samo htio divlja- ti, bezbrižno, borbeno i samouvjereno, a nije znao kako. Ja samo ne znam šta želim i nisam bijesan.

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I have always had trouble proving the beliefs that were very important to me. I guess, as they are only mine, I have a feeling that people cannot understand them. All this, fitted into a larger picture of life contradictions, is not so horrible. Every story should have a major bad guy and some sort of conflict. But here, there has always been only me. When I was younger, anger seemed to me like a weapon of justice, misused by all of us. The lack of personality would be compensated by making noise, kicking, or jerking, whereas I solved all this with laughter. The hardest thing is to blame yourself. I neither think that I am a different person, nor that time is changing me – at least not in the way as it can be

298 299 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.1 KUTIJA 1 / BOX 1 /// FILIP ŠĆEKIĆ

Imam osećaj da je kroz moj život prošlo life, and I have just joined the race. hiljade i hiljade ljudi, stadioni, marato- I analyse every encounter, I believe in NASLOV: Kako sam poslao TITLE: How I Sent an ni, Tour de France, a tek sam se priklju- every one of them, it does not bother me mejl prodavnici „Uradi E-mail to the Store “Do It čio trci. Svaki susret analiziram, u svaki to try, I am searching, actually, I think sam“ da promene ime u Yourself” to Change Its Name verujem, ne zamara me da probam, tražim, that I will never stop, because I have mislim da zapravo nikada neću stati, jer nothing to lose. I do not regret a hand- „Uradimo za nas“ to “Let’s Do It for Us” verujem da nemam šta da izgubim. Ne žalim ful of energy, and, please, do not talk KLJUČNA REČ: međuzavisnost, KEY WORDS: interdependence, za šakom energije, i nemoj da mi pričaš o to me about hungry kids in Africa, I am kolektiv, poverenje collective, trust gladnoj deci u Africi – poješću ostatak. going to eat the rest. I like to find an Volim da nađem sagovornika, nekog ko želi interlocutor, someone who wants to listen, OSEĆANJE: ljubav, verovanje FEELING: love, faith da sluša, nekog koga interesuje. Odsustvo someone who is interested. The absence of empatije kod ljudi za mene je paradoks, empathy in people is a paradox to me. It to je kao da imaš dva metra, fizički si is like you are two-metre tall, physically spreman, brz, okretan i glup, a konstan- ready, fast, agile and stupid, and you are tno pokušavaš da igraš šah, učestvuješ na constantly trying to play chess; you par- takmičenjima, uvek prvi krug i nikad dalje ticipate in competitions, always the first od toga. Čitava ta potraga pretvara se u round and never further than that. All nekakvu igru koja možda najviše podseća that quest turns into a kind of game that na nešto između žmurke i ćorave bake: svi mostly resembles something between hide- se kriju, a ti, zavezanih očiju, tražiš. and-seek and blind man’s buff – everyone is Sve ovo me je podsetilo na priču iz de- hiding, and you, with your eyes blindfold- tinjstva. Naime, ja sam odrastao pored ed, are trying to find them. doma zdravlja. Jedno od glavnih mesta na All this reminded me of a childhood story. kojim se moja ekipa sastajala bila je be- Namely, I grew up next to a healthcare tonska rampa koja vodi u suteren – „spu- centre. One of the main meeting points of šta“, kako smo je zvali. Jednoga dana, me and my mates was a concrete ramp lead- izašao sam napolje, sam, misleći da je ing to the basement – “descending”, as we društvo već tamo. Nije bilo nikoga, osim used to refer to it. One day I went out, vozača ambulatnih kola, koji je u tom tre- alone, thinking that a bunch of my pals nutku popravljao ta kola. Ušao sam u priču had already been there. There was no one sa njim, ne znam kako, ne sećam se, ali there, except for a driver of an ambulance jedino čega se sećam je da sam mu ispričao car, who was repairing it at the moment. priču o svom životu, i životu svog brata I started speaking with him, and I don’t i svojih roditelja. Bio je živo zaintere- know how, I don’t remember, but the only sovan. Par dana kasnije, prolazio je taj thing I know is that I told him the story vozač. Očekujući da smo sada drugari, ja of my life, life of my brother and my par- mu se ozareno javim; on me pogleda, onako ents. He seemed quite interested. A couple kao da mu nije jasno ni ko sam ja, a ni of days later, that driver was passing by. gde je on. Čovek je samo prošao, nije se Considering him my buddy, I said hello to ni javio. Tek tada mi je sve bilo jasno. him beaming with joy. He looked at me as Možda moja priča podseća na oglas iz no- if it was not clear to him either who I was vina u kom tražim srodnu dušu, ali zar or where he was. A guy just passed by, not nije svakoga dana tako: svi nešto znamo, even saying hi. Only then did everything nudimo, tražimo, želimo, gomila hodaju- become clear to me. ćih oglasa, kupujem prodajem,...? U ovoj My story might remind you of a newspaper naizgled negativnoj konstataciji zapravo advertisement in which I look for a soul- prepoznajem prednost današnjeg društva i mate, but isn’t it the same every single vremena – ako ništa, bar kroz prozor chata day? We all know something, we all offer, prođe neka osoba koja zna stihove Prevera look for, want – a bunch of walking ad- i razume zašto te danas nervira crvena verts, buying and selling, etc. In this, boja. seemingly negative statement, I actually recognise the advantage of today’s society /// and time – at least, from time to time, a person appears in a chat window who knows I have a feeling that thousands and thou- Prévert’s poetry and understands why you sands of people, stadiums, marathons, are irritated by the red colour today. Tours de France, have passed through my

300 301 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.1 KUTIJA 1 / BOX 1 /// KATARINA ŠIJAČIĆ

preSpuštanja from her elbow down. Nor her fingers. I don’t wanna wear a plaster cast, Draga- NASLOV: preSpuštanja TITLE: windDOWNsliding Pesak mi je u patikama, ne volim to. na says KLJUČNA REČ: prepuštanje KEY WORDS: surrender Kuda taj pesak uopšte uđe?! it makes your skin feel itchy. OSEĆANJE: strah, FEELING:fear, insecurity, Milan nije napolju, starijima tek u 12 daju da idu u dvorište. Concern that carefreeness can disappear nesigurnost, neizvesnost uncertainty Vrisak. Vaspitačica vrišti. quite accidentally – behind or right be- Nemanja je propao kroz penjalicu. Nije fore you. strašno, ne znam zašto vaspitačica pla- Don’t surrender. You relax, and you can če. fall. Or you can stop feeling something. Izbio je tri zuba. Možda zato. Penjalica mi izgleda viša nego ranije. Strma je.

Bojim se da iskačem iz ljuljaške. Svaki put mislim da cu pasti i izbiti zube. Moram – svi to rade. Zadirkivaće me. Za- boravim poneki put na strah, pa mi bude zanimljivo. Pala je. Dragana je pala i ne može da pomera ruku. Ona od lakta nadole ne može da pomera ruku. Ni prste. Ne želim nikada da nosim gips, kaže Dragana da mnogo svrbi.

Bojazan da bezbrižnost može da nestane sasvim slučajno – iza ili tik ispred tebe. Ne prepuštati se. Opustiš se, i možeš da propadneš. Ili da nešto ne osećaš.

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I feel sand in my trainers, I don’t like it. How on earth does all that sand get in? Milan isn’t outside, older kids are allowed to the yard only at noon. Screaming. A teacher’s screaming. Nemanja’s fallen through a jungle gym. It’s not so bad, I don’t know why the teacher’s crying. He’s got three of his teeth knocked out. Perhaps, that’s why. The jungle gym seems to be higher than before. It’s steep.

I’m afraid of jumping out of the swing. Every time I think I’m gonna fall and break my teeth. I have to – they all do it. They’re gonna tease me. Sometimes I forget about my fear and it’s fun. She’s fallen. Dragana’s fallen and she can’t move her hand. She can’t move it

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Veruj, NASLOV: Pre svega TITLE: First of All upoznaj, igraj se, KLJUČNA REČ: poverenje KEY WORDS: belief veruj! OSEĆANJE: ljubav, vera, nada FEELING: love, faith, hope Slušaj, upijaj, i veruj! Veruj, seti se mirisa, oseti, i veruj! Maštaj, zagrli, oprosti, voli, opet veruj! Stvaraj, nastavi da veruješ! Veruj, raduj se što veruješ. Veruj! Poštuj, reci hvala zato što veruješ.

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Believe get to know play believe. Listen absorb and believe. Believe remember smell feel and believe. Dream hug forgive love believe again. Create keep believing. Believe rejoice because you believe. Believe. Respect Say thank you Because you believe.

304 305 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.2 MAJA IVANOVIĆ

Deca se spuštaju niz tobogan, igraju se u pesku, klackaju se i trče unaoko- NASLOV: O(ne)sposob- TITLE: (In)Capable of Playing lo. Graja i smeh. A u zgradi pored su ljeni za igru KEY WORDS: boundaries deca koja uče da hodaju, nožnim prstima KLJUČNA REČ: granice FEELING: inhibition and podižu klikere; u šakama su im lopte koje stiskaju ali se njima ne dobacuju. OSEĆANJE: sputanost liberation „Jeeedan, dvaa, trii, čeetirii...“. i oslobađanje Oni su vršnjaci. Znaju jedni za druge, ali se, iz nekog razloga, nikada ne igraju zajedno. Uprkos obostranoj znati- želji, susret njihovih pogleda uvek biva naglo prekinut. Za decu sa igrališta postoje nepisana pravila: da ne smeju da se ljuljaju pre- jako, ne smeju da ostaju dugo i da ne smeju da budu glasna. Jednoga dana će i jedni i drugi shvatiti da pravila i fizičke prepreke nisu ono što ih je onesposobljavalo za igru.

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Children are getting down the slide, playing in the sandpit, seesawing and running around. Noise and laughter everywhere. And in the nearby building children are learning to walk; they are raising marbles with their toes. They are holding balls in their hands, but they aren’t throwing them to each other. They are just squeezing them. “Oooone, twwwooo, thrrreee, foooour...”. They are peers. They know of each other’s existence, but, for some reason, they never play together. Despite their mutual curiosity, when their eyes meet, that look is always suddenly interrupt- ed. There are unwritten rules for the children at the playground: they can’t swing too hard, they can’t stay out late and they can’t be loud. One day, both will realise that the rules and physical barriers are not what has made them incapable of playing.

306 307 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.2 ALEKSANDRA VUČKOVIĆ

Kada sam bila dete, često smo se se- lili. Međutim, gde god da smo živeli, NASLOV: Skrovište TITLE: A Hiding Place igrališta su se uvek gradila i uvek su KLJUČNA REČ: igra KEY WORDS: play bila ista. Okupirana, prljava, i hlad- OSEĆANJE: sigurnost FEELING: safety na. Drugari i ja nikada nismo stizali na red za klackanje zbog druge dece i njihovih majki, koje su nas uvek terale u stranu. Smatrali smo da nam je učinjena velika nepravda – nismo želeli tako da se igramo. Pa ipak smo uvek uživali u posmatranju gradnje svih tih igrališta. Pobegli bismo na livadu i tamo izgradili nešto naše. Skrovište. Beg. Bazu. Gradili smo naše klackalice, ljuljaške i zamkove. U našem svetu je sve bilo moguće. Naše igrali- šte, naše utočište – ono nas je gradilo. U njemu smo stvarali i životarili, u našem beskrajno velikom, udaljenom od sveta, prostoru igre.

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When I was a kid, we often moved. Howev- er, wherever we lived, playgrounds were always being built around, and they always looked the same. Crowded, filthy, and cold. My friends and I had never managed to take our turns on the seesaw because of other kids and their mums, who always pushed us aside. We felt that they were doing a great injustice to us. We didn’t want to play that way. Nevertheless, we always enjoyed watching the construction of all these playgrounds. We would run away to the meadow and there we would build something of our own. A hiding place. A shelter. A base. We were building our seesaws, swings and castles. In our world, everything was possible. Our playground, our haven – that’s what was constructing us. That’s where we created and hung out, in our eternally huge playground space – far away from the real world.

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Nisam volela igrališta. Plašila sam se ship and the pontoon, the lift and the visine (pa makar ona bila smešno mala, a floor. And I fear spraining my ankle for NASLOV: Klackanje TITLE: Seesawing ja naspram nje povelika). Nije mi se baš the umpteenth time. KLJUČNA REČ: preispitivanje KEY WORDS: self-examination dopadalo da neko drugi ima kontrolu nad OSEĆANJE: strah FEELING: fear mojim vremenom i prostorom. Volela sam taj kratak trenutak apsolutne slobode dok lebdim i gledam u nebo. I to što mi se opažanje sveta svakim trenom menja. Nedostaje mi to. Hrabrim se. Mislim da sam uglavnom u miru sa svojom savešću, postupcima i emocijama, ali se povremeno pitam ima li sve ono što radim i cime se bavim smisla. Pitam se koliko sam kori- sna, pomažem li ikome svojim angažmanom. Naizmenicno se prepuštam i sputavam. Učim se strpljenju, dopustim sebi poneki rizik, želim neku drugu vrstu (ne) odgovornosti. Volela bih da sam otvorenija ka svetu. Odugovlacim i vagam. Bežim od sebe i obaveza, i vracam se sebi i obavezama. Oprezno i jako volim. Plašim se proto- ka vremena i onog malog procepa između voza i platforme, broda i ponte, lifta i sprata, i da ne uganem skocni zglob šestoti put.

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I did not like playgrounds. I was afraid of height (even if it was ridiculously small, and I fairly tall in comparison with it). I did not quite like the idea that someone else had control over my time and space. I loved that brief moment of absolute freedom while I was floating and watching the sky. And I liked the fact that my perception of the world was changing with every single moment. I miss this. I encourage myself. I think that I am mostly at peace with my con- science, actions and emotions, though, from time to time, I wonder if everything I do and am engaged in makes sense. I wonder how useful I am, whether my engagement is helpful to anyone. I alternately surrender and restrain myself. I practice patience, I allow myself a risk here and there, I wish for some other kind of (ir)responsibility. I would love to be more open to the world. I procrastinate and balance. I run away from myself and my commitments, and come back to myself and my commitments again. I love cautiously and strongly. I fear the flow of time and that little gap between the train and the platform, the

310 311 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.4 KUTIJA 4 / BOX 4 /// PAVLOVIĆ EMA

Ti, koja si mi večita podrška, oslonac, be better that way. But when I pause uzor. Nekada se pitam šta znači odrasta- and think about it a little more, I feel NASLOV: TITLE: ti? Kako nam se putevi razdvajaju? Menjaš happy. I’m happy because I know you’re KLJUČNA REČ: odrastanje, KEY WORDS:growing up, se. Ja se menjam. Moj odraz, tvoj odraz. here, living your life to the fullest, podrška, odvajanje support, separation Čovek bi rekao, ista je osoba. A ja vi- enjoying, working, creating. I also know dim svoje mane upotpunjene tvojim vrli- that it makes me feel proud, just as you OSEĆANJE: bezbrižnost, FEELING: carelessness, nama, moju nesigurnost ohrabrenu tvojim are probably proud of me. The truth is, ljubav, sigurnost love, security rečima. Odrastanje kao period života, I don’t see much of you, but you must prihvatanja, suočavanja, sagledavanja, know, and you probably feel that I’m promena. Sve smo to prošle zajedno. Do here. You’re always in my thoughts. I’m sada. Nema veće podrške u životu od oso- always proud. be koja razmišlja slično kao ti. Sestru bliznakinju nema svako i zato smatram da je moja sreća najveća. Ako se ikada za- pitaš kako je sada meni, kada ovo pišem ili kada razmišljam o tome, neću ti reći da se mnogo stvari promenilo, jer, u suštini, i nije. Tu sam gde jesam. Ista ja, možda malo starija i previše zauzeta da bih se često osvrtala na to pitanje. I ko zna, možda je tako i bolje. Ali kada zastanem i razmislim malo o tome, onda se osećam srećno. Srećna sam jer znam da si tu i da živiš život punim plućima, da uživaš, radiš, stvaraš. Znaš, takođe, da sam ja ponosna zbog toga, kao i ti zbog mene, verovatno. Istina je da te ne viđam često ali ti moraš da znaš, i verovatno to i osećaš – ja sam tu. Uvek mislim o tebi. Uvek se ponosim.

///

You, my eternal assistance, support, role model. Sometimes I wonder what it means to be growing up. How do our paths go separate ways? You are changing. I am changing. My reflection, your reflection. It’s the same person, one would say. But I see my own flaws complemented by your virtues, my own insecurity encouraged by your words. Growing up as a period of acceptance, confrontation, perception, change in life. We’ve gone through it all together. Up to now. There is no greater support in life than the one coming from a person who thinks simi- larly. Not everyone has a twin sister and that’s why I consider my happiness the greatest of all. If you ever wonder how I feel now, while I’m writing this or thinking about it, I won’t tell you that many things have changed, because, actually, they haven’t. I am where I am. The same me, a bit older, perhaps, and too occupied to keep getting back to that matter. And, who knows, it might

312 313 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.5 KUTIJA 5 / BOX 5 /// MARIJA ŠUMARAC

EKST. Beograd. Igraonica puna dece, po- be when you grow up? sle podne. Animatorka (35). prilazi jed- Girl: I don’t know NASLOV: (Ne)biti TITLE: (Not) To Be noj maloj devojčici Devojčica (6). Female entertainer: How come you don’t KLJUČNA REČ: dvoumljenje KEY WORDS: dilemma Animatorka: A šta ćeš ti da budeš kad know? All your friends know what they OSEĆANJE: neizvesnost FEELING: uncertainty porasteš? wanna be when they grow up. Marko wants Devojčica: Ne znam. to become a pilot. You must know. i nesigurnost and insecurity Animatorka: Kako ne znaš, svi tvoji drugari znaju šta će biti kad porastu?. EXT. Belgrade. A park full of kids be- Marko hoće da bude pilot. Moraš da znaš. hind a building. Sunday afternoon. A girl (9) is with her two younger sisters EKST. Beograd. Park prepun dece iza (Ružica (7) and Milica (4)) zgrade. Nedelja posle podne. Devojčica Girl: Let’s get on a seesaw? (9) je sa dve mlađe sestre – Ružicom (7) Ružica and Milica (as one): Alright, but i Milicom (4). you’re sitting on the other end ‘cause Devojčica: Hoćemo li na klackalicu? you’re elder. And the two of us are sit- Ružica i Milica (uglas): Hoćemo, ali ti ting here. ideš na ovaj drugi kraj, jer si starija, Girl: But, it’s not fair, the two of you a nas dve ćemo na ovaj. are heavier than me! Devojčica: Ali to nije fer, vas dve ste Ružica: You promised you’ll sit on the teže od mene! other end today! That’s how we play to- Ružica: Obećala si da ćeš ti biti danas day. na drugoj strani! Danas se tako igramo. EXT. Smederevo. Jugovo. A park on the EKST. Smederevo. Jugovo. Park koji se Danube River bank. A girl (18) and her nalazi na obali Dunava. Devojka (18) female friend Jelena (18) are sitting i njena drugarica Jelena (18) sede na on a seesaw. The girl’s holding a shep- klackalici. Devojka drži u ruci biljku herd’s purse in her hand. hoću-neću. Girl: Jeca, what d’you think? Should I Devojka: Jeco, šta ti misliš? Da li da apply for the Faculty of Electrical En- upišem ETF ili Muzičku akademiju? gineering or the Faculty of Music? Jelena: I ja sam u dilemi da li da idem Jelena: I’m also in dilemma whether to na FON ili da studiram grafički dizajn. apply for the Faculty of Organisation- A da i ja uberem hoću-neću, pa da tako al Sciences or to study graphic design. otkrijemo? (kroz smeh) Should I also pick a shepherd’s purse Devojka: Može! Neka nam hoću bude umet- and find out that way? (through laughter) nički fakultet, a neću tehnički. Girl: Yes! Let’s pick its leaves. If the game ends with I will, it’ll be an art ENT. Beograd. Soba u studentskom domu. faculty, and if it ends with I won’t, Veče. Devojka (23) sedi za računarom. it’ll be a technical one. Devojka (voiceover): Sedeći i pišući o svom odrastanju, shvatam da se život sa- INT. Belgrade. A room in the student stoji od niza činova donošenja odluke. dormitory. Evening. A girl (23) is sit- Nijedan put nije savršen. Mora postojati ting at the computer. kompromis. Taj kompromis nam omogućava Girl (voiceover): While I’m sitting and balans. Balans nikada nije konstantan, writing about my growing up, I realise uvek se nekako poremeti. To je kao jed- that life consists of a whole load of na igra koja nikada ne prestaje, već se decision-making. Neither of the paths we iznova dešava. Stoga, postavlja se pita- take is perfect. There must be a compro- nje: Koju igru igraš? mise. This compromise enables our balance. The balance is never constant; it /// is always somehow disturbed. It is like a never-ending game, it happens again EXT. Belgrade. A soft play centre full and again. The real question that we of kids, afternoon, a female entertainer need to ask ourselves, while growing up, (35) approaches a little girl (6) is “What kind of game do I wanna play?” Female entertainer: What are you gonna

314 315 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.5 KUTIJA 5 / BOX 5 /// NIKOLA ISAKOVIĆ

Pitao sam ih da se i ja sa njima igram I asked them if I could play pirates gusara. with them. NASLOV: Verujem da može TITLE: I Believe I Can Rekli su: – Ne može! They said “No, you can’t!”. KLJUČNA REČ: nesputanost KEY WORDS: uninhibitedness Pitao sam ih zašto, kažu: – Jer si mali. I asked them why, they said “’Cause you’re small”. OSEĆANJE: zadovoljstvo FEELING: contentment Pitao sam njega da se igramo gusara. Rekao je da ne može. I asked him to play pirates with me. Boli ga glava. Mora da spava. He said he couldn’t. Pitao sam ga da li mogu na neki sport. He’s got a headache. He needs to sleep. Rekao je da ne može. I asked him if I could take up a sport. – Nemamo para! He said no. Upisao sam se na glumu. - We have no money! To je bilo najjeftinije. I took up acting. – Mogu li da budem gusar? That was the cheapest. Profesor je rekao: – Može. - Can I be a pirate? – A sportista? The teacher said “Yes, you can”. – Može. - And a sportsman? Pitao sam njega da dođe na moju prvu - You can. predstavu. I asked him to come to my first perfor- Rekao je da ne može. mance. Pitao sam i S. He said he couldn’t. Rekla je da je gluma za pedere, I asked S. too i da ne može. She said acting’s for fagots Upisao sam srednju školu punu devojaka. And she couldn’t. Pitao sam ih da dođu na predstavu. I enrolled at the secondary school full Rekle su: – Može! of girls. Pitao sam i T. da prošetamo po Kališu. I asked them to come to my performance. Rekla je: – Može! They said “Yes, we can!”. Pitao sam ih da studiram režiju. I also asked T. to take a walk around Rekli su: – Ne može! Kališ with me. She said “We can! “. Pitao sam je da upišem privatni fakultet. I asked them to study directing. Rekla je: –Ne može! . They said “No, you can’t!”. Nemamo para ni za državni, a kamoli pri- I asked her if I could enrol at a privatni. vate faculty. Rekao sam svima da ću i raditi i stu- She said “No, you can’t!”. dirati. - We have no money for the state one, let Rekli su mi da to ne može. alone private. I told them I’d work and study. Pitao sam ih da li mogu ponekad da izo- They said no. stanem zbog posla. Rekli su: – Može. I asked them if I could sometimes be ab- Pitao sam i njih da li mogu ponekad da sent because of my job. izostanem zbog fakulteta. They said “Yes, you can”. Rekli su: – Može. I asked them, too, if I could sometimes be absent because of my faculty. Pitao sam je da odem preko. They said “You can”. Rekla mi je: – Može. Pitao sam je: – A kako ćeš ti? I asked her if I could go abroad. Rekla je: – Snaći ću se. She said “Yes, you can”. Plašim se. I asked her “And, what you’re gonna do?”. Ali verujem da može. She said “I’ll manage”. I’m afraid. /// But I believe I can.

316 317 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.6 KUTIJA 6 / BOX 6 /// JOVANA MATIĆ

Brišem ruke o pantalone, počinjem blago cold, chills run through my body. da se tresem. Mokre su i hladne, jeza mi All eyes are fixed on me. I swallow down NASLOV: Lepljive oči TITLE: Sticky Eyes prolazi telom. lumps in my throat – one by one. I think KLJUČNA REČ: strah, KEY WORDS: fear, excitement, Sve oči su uprte u mene. Gutam knedlu they expect me to say something. I hate za knedlom. Mislim da očekuju nesto da when people expect something from me. uzbudjenje, anksioznost, anxiety, pride (due to kažem – mrzim kada ljudi od mene nešto The moment has come when I should open ponos (zbog prebrođene overcame obstacles) očekuju. Došao je trenutak kada treba da up, I am supposed to say something that prepreke) FEELING: anxiety, fear, se otvorim, treba da kažem nešto što bi would be expected. Oh! I hope I will not se očekivalo. Joj, ... nadam se da neću say anything stupid! OSEĆANJE: anksioznost, excitement, pride izreći neku glupost! In such situations, I often imagine my- strah, uzbuđenje, ponos U ovakvim situacijma često zamišljam self standing at the very centre of a sebe kako stojim na samom središtu klac- seesaw while I am trying to decide which kalice dok pokušavam da se odlučim na direction to take. On one end, there is koju stranu da krenem. Na jednoj je zona the comfort zone that I have created, my komfora koju sam stvorila – moj mali little world, and, on the other, yet, svet, na dugoj, pak, potpuno nepoznat. another – completely unknown.

Kada sam bila mlađa, provodila bih sate When I was younger, I used to spend u kupatilu razgovarajući sama sa sobom o hours and hours in the bathroom talk- dešavanjima na igralištu. Tada sam poput ing to myself about what had happened neke potpuno luckaste klinke gledala u at the playground. Back then, like a ogledalo i pripovedala svom odrazu sve silly little girl, I looked at the mir- situacije u kojima se mogu naći, vežbala ror describing to my reflection all the sam odgovore. Koliko god detinjasto da possible situations in which I could find zvuči, često mi se dešava da mi ti raz- myself, and I practiced answering. No govori, kada ih se prisetim, pomognu u matter how childish it sounds, it of- najneugodnijim situacijama. ten happens that, when I recall these conversations, they help me in the most Sećam se svog odraza i otpočinjem raz- unpleasant situations. govor sa sobom. Nakon izvesnog vremena, čitave večnosti, podižem pogled. Fik- I remember my reflection in the mirror siraju me. Pitam se koliko dugo me već and I start talking to myself. After posmatraju. a while, a whole eternity, I raise my Moram im odati priznanje – strpljivi su. eyes. They are staring at me. I wonder Srećom, i dalje su to dobronamerni po- how long they have been watching me like gledi. this? Nasmejem se. Mislim da me sada sigurno I have to confess – they are patient. svi gledaju kao neku vrlo čudnu devojku. Luckily, their looks are still kind. „Samo čekaju da kažeš to što imaš!“, I smile. I think that now all of them reče poprilično nestrpljiv glas – kaže must think I am a very strange girl. mi odraz. “They’re only waiting for you to say Gutam poslednju knedlu. I još jednu. what you have to say!”, said a pretty Sada gledam ljude, savršeno prisutna, impatient voice – my reflection. svesna sebe. Pokušavam da progovorim. Finally, I swallow down a lump in my Znam da ću biti „gola voda“ kada zavr- throat once again. And again. Now I am šim svoje izlaganje, ali pre svega moram watching the people, fully present, početi. aware of myself. I am trying to speak up. I know I will be “soaked in sweat” „Nemaš šta da izgubiš, samo reci to što once I finish my story, but, first of all, misliš!“ I have to begin. I onda zakoračim u nepoznato... “You have nothing to lose, just say what /// you think!” And then I step into the unknown... I am wiping my hands on my trousers, I start shaking slightly. They are wet and

318 319 2.4.2 LIČNI NARATIVI STUDENATA / STUDENTS’ PERSONAL NARRATIVES 2.4.2.6 KUTIJA 6 / BOX 6 /// ĐORĐE NEŠOVIĆ

Gledam more, vidim odsjaj sebe, vidim NASLOV: Oklevanje TITLE: Hesitation dubinu, vidim svetlucanje vode, oklevam. Pada kiša, mrak je, oko mene je drveće, KLJUČNA REČ: želje, KEY WORDS: desires, čekam. nesigurnost, svetlost, insecurity, light, Vruće je, gledam u more, moram da sko- dubina, pripadanje depth, belonging čim, izgoreću. Nervira me kiša, mokar sam, imam tremu, OSEĆANJE: uzbuđenje, strah FEELING: excitement, fear znojim se. Izgoreću, skačem, moram, čekaju me, samo ja nisam skočio. Hodamo kroz šumu, pričam gluposti, jako mi je neprijatno. Skupljam snagu, ne mogu više da stojim ovde, oni opet skaču. Sedimo na klupici pored igrališta, tu sam se igrao kao mali. Vruće je, spuštam se do vode da se po- kvasim, vraćam se na liticu, gledam u more. Pričamo, mračno je, kiša je dosadna. I dalje oklevam, sušim se, bodre me, ne mogu više da čekam. Ćutimo. Šta da pitam? Skačem.

///

I’m looking at the sea, I see my own reflection, I see depth, I see shimmering of water, I’m hesitating. It’s raining, it’s dark, I’m surrounded by trees, I’m waiting. It’s hot, I’m looking at the sea, I must jump, I’ll burn. The rain bothers me, I’m wet, I’m getting the jitters, I’m sweating. I’ll burn, I’m jumping, I have to, they’re waiting for me, I’m the only one who hasn’t jumped. We’re walking through the forest, I’m talking nonsense, I’m extremely uncom- fortable. I’m gathering my strength, I cannot stand here anymore, they’re jumping again. We’re sitting on a bench by a playground, I used to play there as a child. It’s hot, I’m going down to the water to get wet, I’m going back to the cliff, I’m looking at the sea. We’re talking, it’s dark, the rain is annoying. I’m still hesitating, I’m getting dry, they’re encouraging me, I cannot wait any longer. We’re silent, what to ask? I’m jumping.

320 321 Ravnoteža - proces: Fakultet tehničkih nauka u Novom Sadu, Muzej primenje- fotografije / photos: Nemanja Knežević, Ivanino DaVillano Đukić, Dragana ne umetnosti u Beogradu / SeeSaw - process: Faculty of Technical Sciences Vilotić, Stanislava Vučetić in Novi Sad, Museum of Applied Art in Belgrade

322 323 Ravnoteža - proces: Fakultet tehničkih nauka u Novom Sadu, Muzej primenjene fotografije / photos: Nemanja Knežević, Ivanino DaVillano Đukić, Dragana umetnosti u Beogradu / SeeSaw - process: Faculty of Technical Sciences in Vilotić, Stanislava Vučetić Novi Sad, Museum of Applied Art in Belgrade

324 325 Ravnoteža - proces: Fakultet tehničkih nauka u Novom Sadu, Muzej primenjene fotografije / photos: Nemanja Knežević, Ivanino DaVillano Đukić, Dragana umetnosti u Beogradu / SeeSaw - process: Faculty of Technical Sciences in Vilotić, Stanislava Vučetić Novi Sad, Museum of Applied Art in Belgrade

326 327 Ravnoteža - proces: dečje igralište, Liman II, Novi Sad / SeeSaw - process: fotografije / photos: Nemanja Knežević, Ivanino DaVillano Đukić, Dragana children’s playground Liman II, Novi Sad Vilotić, Stanislava Vučetić

328 329 Prostorna istraživanja postavke (autorski tim studenata) / Spatial research of the exhibition (team of student authors)

330 331 Ravnoteža - tehnička razrada (Tehnički tim nastupa Srbije) / See/saw - technical elaboration (Technical team of Serbia)

332 333 Ravnoteža - tehnička razrada (Tehnički tim nastupa Srbije) / See/saw - technical elaboration (Technical team of Serbia)

334 335 Ravnoteža - tehnička razrada (Tehnički tim nastupa Srbije) / See/saw - technical elaboration (Technical team of Serbia)

336 337 Ravnoteža - Prag 2019. / See/saw - Prague 2019 fotografije / photos: Nemanja Knežević

338 339 Ravnoteža - Prag 2019. / See/saw - Prague 2019 fotografije / photos: Nemanja Knežević

340 341 Ravnoteža - Prag 2019. / See/saw - Prague 2019 fotografije / photos: Nemanja Knežević

342 343 Ravnoteža - Prag 2019. / See/saw - Prague 2019 fotografije / photos: Nemanja Knežević

344 345 3. KO JE KO?/ WHO’S WHO?

346 347 Draško Adžić (Beograd, SFRJ, 1979) je kompozitor. Doktorirao je kompoziciju Florence) and Dina Radoman (Katalogizacija strahova ili strah od poletanja na Fakultetu muzičke umetnosti Univerziteta umetnosti u Beogradu, u klasi – A Catalogue of Fears or Fear from Taking off in SKCNS Fabrika). She akademika Isidore Žebeljan. Njegova dela su izvođena u Srbiji i širom sveta, published a series of expert texts in various publications. She is an na festivalima kao što su Berlinale, Praški kvadrenijale, Maifestspiele Associate Professor at the Faculty of Technical Sciences in Novi Sad, Wiesbaden, Raindance, Gaudeamus Amsterdam, ISA PragWienBudapest, Biennale where she is the Head of the basic academic studies of Scene Architecture, Zagreb, BITEF, BEMUS itd. Često komponuje za pozorište, film i televiziju Technique and Design. In the period between 2014 and 2019, she was the i do sada je učestvovao u više od 40 produkcija u Srbiji i inostranstvu. Chair of the OISTAT Technology Commission (International Organization of Pohađao je majstorske kurseve kod Hajnera Gebelsa (Heiner Goebbels), Scenographers, Theatre Architects and Technicians). Student Exhibition Najdžela Ozborna (Nigel Osborne) i Luke Frančeskonija (Luca Francesconi). (programme coordinator of the curatorial team) Angažovan je kao docent na Fakultetu muzičke umetnosti u Beogradu i kao saradnik u nastavi na Fakultetu dramskih umetnosti u Beogradu. Studentska Autorski tim rada Broken Light čine Sonja Jankov, Đina Prnjat, Janž Or- postavka (Mentor) mezu i Nemanja Mitrović. Sonja Jankov deluje kao samostalna umetnica, /// istraživač, kustos i tehničar dizajna enterijera. Izlagala je na devet Draško Adžić (Belgrade, SFRY, 1979) is a composer. He holds a PhD from samostalnih izložbi u Srbiji, Hrvatskoj i Rumuniji i tri autorske/kustoske the Belgrade Faculty of Music, in the class led by Isidora Žebeljan, ac- izložbe (Muzej moderne i suvremene umjetnosti, Rijeka; Kulturni centar, ademician. His music has been performed in Serbia and in different coun- Beograd; Remont, Beograd). Učesnica je projekta Future Architecture Plat- tries throughout the world, as well as at festivals such as the Berlina- form (2016). Objavila je brojne likovne kritike, naučne radove u oblasti le, Prague Quadrennial, Maifestspiele Wiesbaden, Raindance, Gaudeamus savremene umetnosti i arhitekture, kao i tekstove za izložbene kataloge. Amsterdam, ISA PragWienBudapest, Music Biennale Zagreb, Bitef and BEMUS. Đina Prnjat i Nemanja Mitrović su završili master studije arhitekture u He often composes music for theatre, film and television, and has so far Crnoj Gori. Učestvovali su na nekoliko arhitektonskih konkursa i interna- participated in more than 40 productions in Serbia and abroad. He has cionalnih radionica. Janž Ormezu je arhitekta iz Slovenije. Bio je sarad- attended masterclasses with Heiner Goebbels, Nigel Osborne and Luca Fran- nik nekoliko autorskih timova i arhitektonskih studija. Pogled na scenu cesconi. He works as an assistant lecturer at the Faculty of Music in (autorski tim konkursnog rada) Belgrade and as an associate at the Faculty of Dramatic Arts in Belgrade. /// Student Exhibition (mentor) Broken Light team of authors are Sonja Jankov, Đina Prnjat, Janž Ormezu and Nemanja Mitrović. Sonja Jankov works as an independent artist, re- Romana Bošković Živanović (Čapljina, SFRJ, 1981) je arhitekta. Diplomira- searcher, curator and interior design technician. She has exhibited her la je na Departmanu za arhitekturu i urbanizam Fakulteta tehničkih nauka works at nine solo exhibitions in Serbia, Croatia and Romania, and three Univerziteta u Novom Sadu, a scenski dizajn je doktorirala na Univerzitetu authorial/curatorial exhibitions (Museum of Modern and Contemporary Art umetnosti u Beogradu. Deluje u oblasti scenskog dizajna i tehničke pro- (MMSU), Rijeka; Cultural Centre, Belgrade; Remont, Belgrade). She partic- dukcije, s posebnim fokusom na scensku tehniku i tehnologiju. Umetničke ipated in the project entitled Future Architecture Platform (2016). She radove izlagala je na nacionalnim i međunarodnim manifestacijama (BELEF, authored numerous art critiques, research papers in the field of contem- Mikser, INFANT, BINA), a kao tehnički producent učestvovala je na festi- porary art and architecture, as well as texts for exhibition catalogues. valima BITEF i BELEF. Kao autor i kustos, izvela je izložbe Kod kuće: Đina Prnjat and Nemanja Mitrović have received their Master’s Degree in konstrukcija događaja (BELEF, 2011.) i Unutra (INFANT, 2012.). Kao član Architecture in Montenegro. They participated in a number of architectural autorskog tima sarađivala je sa rediteljima Tomijem Janežičem (Obrana So- competitions and international workshops. Janž Ormezu is an architect from kratova na LXIV Dubrovačkim ljetnim igrama, Ujka Vanja u Teatro dela Per- Slovenia. He collaborated with several teams of authors and architecture gola u Firenci) i Dinom Radoman (Katalogizacija strahova ili strah od po- studios. A View of the Scene (team of authors of the work submitted at letanja u SKCNS Fabrika). Objavila je više stručnih tekstova u različitim the open call) publikacijama. Vanredni je profesor na Fakultetu tehničkih nauka u Novom Sadu, gde vodi osnovne akademske studije u oblasti scenske arhitekture, Anđa Brstina (Beograd, SRJ, 1995) je menadžer u kulturi. Završila je tehnike i dizajna. Od 2014. do 2019. godine bila je predsednik Komisije osnovne studije na Katedri za mendžment i produkciju pozorišta, radija i za tehnologiju OISTAT-a, Međunarodne asocijacije scenografa, pozorišnih kulture, na Fakultetu dramskih umetnosti Univerziteta umetnosti u Beogra- arhitekata i tehničara. Studentska postavka (Glavni kustos) du. Student je master studija Scenske arhitekture i dizajna na Fakultetu /// tehničkih nauka u Novom Sadu. Kao volonter i saradnik učestvovala je u Romana Bošković Živanović (Čapljina, SFRY, 1981) is an architect. She organizaciji nekoliko festivala, poput BITEF-a, Festivala studentskog in- graduated from the Department of Architecture and Urban Planning, Faculty ternacionalnog teatra – FIST, Međunarodnog festivala dokumentarnog filma of Technical Sciences in Novi Sad, and holds a PhD in Scene Design from – BELDOCS. Učestvovala je u više profesionalnih i studentskih pozorišnih the University of Arts in Belgrade. She works in the field of scene design i filmskih projekata. Zanima je pozorišna umetnost koja korespondira sa ar- and technical production, and the scene technics and technology are the hitekturom, vizuelnim umetnostima i tehnologijom. Produkcijski tim (član) focus of her interest. She exhibited her artistic works at national and /// international events (BELEF, Mikser, INFANT, BINA), and participated as a Anđa Brstina (Belgrade, SRY, 1995) is a cultural manager. She graduated technical producer in BITEF and BELEF festivals. As an author and curator, from the basic studies at the Department of Management and Production in she organised her exhibitions Kod kuće – konstrukcija događaja (At Home Theatre, Radio and Culture, Faculty of Dramatic Arts in Belgrade. She is – the Structure of Events) (BELEF, 2011) and Unutra (Within) (INFANT, a student at the master study course in Scene Architecture and Design, 2012). As a member of the team of authors, she worked with directors Tomi Faculty of Technical Sciences in Novi Sad. She volunteered and worked at Janežič (Odbrana Sokratova – The Apology of Socrates at the 64th Dubrovnik several festivals, such as Bitef, FIST – Festival of International Student Summer Festival, Ujka Vanja – Uncle Vanya in Teatro della Pergola in Theatre, BELDOCS – International Documentary Film Festival. She took part

348 349 in several professional and student theatre and film projects. She is in- njima su i radovi prikazani na Bijenalu arhitekture u Veneciji (2004) i terested in theatrical art which corresponds to architecture, visual arts Kvadrijenalu u Pragu (2007). Kao mentor i kustos, izvela je sa studentima and technology. production team (member) veliki broj umetničkih radova i izložbi iz oblasti scenskog dizajna, među kojima su projekat Granica (sa D. Konstantinović, 2014) izložba Scenska Lara Bunčić (Novi Sad, SRJ, 1994) je apsolvent na osnovnim studijama Scen- laboratorija i rad Sedam glasnika (oba sa D. Dimitrovskom i V. Ilićem, ske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerzi- 2016) i Mali rečnik nestajanja (2019). Vodila je kustoski tim Studentske teta u Novom Sadu. Bavi se scenskim pokretom. Ravnoteža (student autor) sekcije Srbije, čiji je nastup na Praškom kvadrijenalu 2015. nagrađen /// Zlatnom medaljom za uspostavljanje dijaloga. Redovni je profesor scenskog Lara Bunčić (Novi Sad, SRY, 1994) is a graduate student at the basic dizajna na Fakultetu tehničkih nauka u Novom Sadu, gde vodi niz umetnič- studies of Scene Architecture, Technique and Design at the Faculty of kih i teorijskih predmeta, kao i studijski program doktorskih umetničkih Technical Sciences, University of Novi Sad. She works on scenic movement. studija scenskog dizajna. Šef je Odseka za umetnost i dizajn Departmana SeeSaw (student author) za arhitekturu. Komesar nastupa Srbije na PQ19 /// Milica Cukić (Beograd, SFRJ, 1962) je muzejska savetnica u Odseku za obra- Tatjana Dadić Dinulović (Belgrade, SFRY, 1963) is a scene design theorist. zovanje i komunikaciju Muzeja primenjene umetnosti u Beogradu i načelnica She deals with theoretical, curatorial and artistic work in the field of Odeljenja za specijalizovane poslove. Diplomirala je na Odeljenju za isto- scene design. She graduated in English Language and Literature from the riju umetnosti Filozofskog fakulteta Univerziteta u Beogradu, a magistri- Faculty of Philology in Belgrade, and received her MA degree in Scene rala na studijama teatrologije Fakulteta dramskih umetnosti Univerziteta Design, and Theory of Arts and Media from the University of Arts in Bel- umetnosti u Beogradu. Organizovala je preko stotinu izložbi u Muzeju pri- grade. She defended her PhD thesis in the field of arts in scene design menjene umetnosti i učestvovala je na više stručnih i naučnih konferencija, at the University of Arts in Belgrade, and her PhD thesis in the field of među kojima se izdvajaju Treća svetska konferencija o menadžmentu u umet- science at the University of Novi Sad. She is an author of two books: nosti, City University, Barbican, London i Treća regionalna konferencija o Srbija: moj slučaj: nova evropska generacija (Serbia: My Case: A New Eu- obrazovanju i marketingu u Bukureštu. Tokom 2004. i 2005. bila je gostujući ropean Generation) (2008) and Scenski dizajn kao umetnost (Scene Design predavač na Fakultetu za menadžment Evropskog univerziteta u Beogradu. Od as Art) (2017). She published a large number of articles in scientific and 1996. godine aktivno učestvuje u projektima istraživanja muzejske publi- professional journals, and translated more than a hundred expert articles ke i autor je više priloga u stručnim časopisima. Redovno objavljuje u in the fields of scene design, theatre and architecture. She exhibited her Zborniku, stručnom časopisu Muzeja primenjene umetnosti. Programski savet own scene design art works in Serbia, Montenegro, Bosnia and Herzegovina, nastupa Srbije na PQ19 (član) Italy, the Czech Republic and China, including the works exhibited at the /// Venice Biennial of Architecture (2004) and Prague Quadrennial (2007). As Milica Cukić (Belgrade, SFRY, 1962) is a museum advisor with the Education a mentor and curator, she performed a large number of artistic works and and Communications Department of the Museum of Applied Art in Belgrade, exhibitions with her students in the field of scene design, among which and Head of the Specialised Department. She graduated from the Department is the project Granica (Border) (with D. Konstantinović, 2014), exhibi- of History of Art at the Faculty of Philosophy in Belgrade, and received tion Scenska laboratorija (Scene Laboratory) and the work Sedam glasnika her MA degree at the study course of Theatrology at the Faculty of Dramat- (Seven Messengers) (both with D. Dimitrovska and V. Ilić, 2016) and Mali ic Arts in Belgrade. She has organised more than a hundred exhibitions at rečnik nestajanja (A Small Dictionary of Disappearance) (2019). She led the Museum of Applied Art and participated in several expert and scientific the curatorial team of Serbia’s Student Section that was awarded the Gold conferences, among which are the Third World Conference on Management in Medal at the Prague Quadrennial 2015 for Provoking a Dialogue. She is a Arts, the City University, Barbican, London and the Third Regional Confer- Full Professor of scene design at the Faculty of Technical Sciences in ence on Education and Marketing in Bucharest. In 2004 and 2005, she was a Novi Sad, where she is in charge of a series of artistic and theoretical visiting lecturer at the Faculty of Management of the European Universi- subjects, as well as of the study programme of PhD Artistic Studies of ty in Belgrade. She actively participates in research projects on museum Scene Design. She is the Head of the Art and Design Unit at the Department visitors in Serbia since 1996 and she is the author of several contribu- of Architecture. Commissioner of Serbia’s Performance at PQ19 tions to expert journals. She regularly publishes her articles in Zbornik, professional magazine of the Museum of Applied Art. Programme Council of Milutin Dapćević (Kotor, SRFJ, 1972) je glumac. Trenutno igra u predstavi Serbia’s Performance at PQ19 (member) Autentična tumačenja 68 u režiji Ane Miljanić. Tumačio je jednu od glavnih uloga u filmuTito i ja u režiji Gorana Markovića. Nakon Beograda, studije Tatjana Dadić Dinulović (Beograd, SFRJ, 1963) je teoretičar scenskog di- je nastavio u Piccolo Teatro Paolo Grassi u Milanu, i započeo je sarad- zajna. Bavi se teorijskim, kustoskim i umetničkim radom u oblasti scen- nju sa državnim pozorištima. Sarađivao je sa režiserima poput Ljubomira skog dizajna. Diplomirala je engleski jezik i književnost na Filološkom Draškića, Vide Ognjenović, Kokana Mladenovića, Vladimira Andrića, Radmile fakultetu u Beogradu, a magistrirala Scenski dizajn i Teoriju umetnosti i Vojvodić, Gorana Golovka, Masima Kastrija (Massimo Castri) i Luke Ronko- medija na Univerzitetu umetnosti u Beogradu. Umetnički doktorat iz scen- nija (Luca Ronconi) igrajući u klasičnim delima, od Goldonija, Pirande- skog dizajna odbranila je na Univerzitetu umetnosti u Beogradu, a naučni la, Euripida, Seneke, Šekspira, Čehova i Pazolinija, pa sve do Sare Kejn na Univerzitetu u Novom Sadu. Autor je dve knjige: Srbija: moj slučaj: (Sarah Kane) i savremenih italijanskih pisaca. Komad Semjuela Beketa Kraj nova evropska generacija (2008.) i Scenski dizajn kao umetnost (2017.). partije, u kom je igrao glavnu ulogu, proglašen je za predstavu decenije Objavila je veliki broj tekstova u naučnim i stručnim časopisima i preve- u Italiji. Radovi na sceni (autor) la više od sto stručnih tekstova iz oblasti scenskog dizajna, pozorišta /// i arhitekture. Autorske radove iz oblasti scenskog dizajna izlagala je u Milutin Dapčević (Kotor, SFRY, 1972) is an actor currently on stage in Srbiji, Crnoj Gori, Bosni i Hercegovini, Italiji, Češkoj i Kini, a među the performance “Authentic Interpretations 68” by director Ana Miljanić.

350 351 He played one of the leading roles in the movie “Tito and Me” by Goran tecture in 2011; in 2015, as a curator of the National Section, she took Marković. After Belgrade he continues his studies at “Piccolo Teatro part in the performance that won the Gold Medal of the Quadrennial for Paolo Grassi”, and begins his cooperation with state theatres. He worked Provoking a Dialogue. She was a member of the Commission for Architecture with directors such as Muci Draškić, Vida Ognjenović, Kokan Mladenović, of the International Organization of Scenographers, Theatre Architects and Vladimir Andrić, Radmila Vojvodić, Goran Golovko, Massimo Castri and Luca Technicians (OISTAT) and the Chair of the Commission for Architecture of Ronconi on classics from Goldoni to Pirandello, Euripides, Seneca, Shake- the OISTAT Centre for Serbia. She was an acting director of the Cultural speare, Chekov and Pasolini, to Sarah Kane and other contemporary Italian Centre of Belgrade. She manages the Navigator Art Gallery. She is an As- writers. Samuel Beckett’s “Endgame” in which he played the leading role sistant Professor at the Faculty of Technical Sciences, University of Novi was proclaimed the show of the decade in Italy. Scene Work Ahead (author) Sad. A View of the Scene (author of the work submitted at the open call); catalogue design (author) Mia David (Beograd, SFRJ, 1974) je arhitekta. Bavi se dizajnom (scenskim, izložbenim, arhitektonskim i grafičkim), kao i kustoskim praksama usa- Ivanino DaVillano Đukić (Prijedor, RS, BiH, 1996) je student osnovnih stu- vremenoj vizuelnoj umetnosti. Diplomirala je na Arhitektonskom fakultetu dija scenske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerziteta u Beogradu, a magistrirala i doktorirala na Grupi za scenski Univerziteta u Novom Sadu. Pre i tokom studija učestvovao je i volontirao dizajn Interdisciplinarnih umetničkih studija Univerziteta umetnosti u u više radionica, festivala i izložbi u Bosni i Hercegovini, Srbiji, Ita- Beogradu. Autor je velikog broja izvedenih projekata u oblasti izvođač- liji i Austriji u oblasti fotografije, filma, pozorišta, zvuka, arhitektu- kih umetnosti, vizuelne umetnosti i arhitekture, kao i novinskih tekstova re i građanskog aktivizma, među kojima se ističu radionica letnje škole objavljenih u različitim medijima. Svoje radove izlagala je i prikazivala Re-Create the City u Sankt Peltenu (Sankt Pölten) povodom kandidature za u Nemačkoj, Austriji, Francuskoj, SAD, Rusiji, Italiji, Republici Češ- evropsku prestonicu kulture 2024, Pravo Ljudski Film Festival u Sarajevu, koj, Hrvatskoj, Bosni i Hercegovini, Slovenji i drugim zemljama. U okviru te filmski festival u Trentu (Trento Film Festival). Od početka studija projekta SD 02 – Mesto: Krstac, učestvovala je na Bijenalu arhitekture u član je ScenLab foto tima, a njegova trenutna oblast zanimanja je 3D mo- Veneciji 2004. godine, a sa predstavama Sluga dvaju gospodara i Zimske ba- delovanje. Digitalnom i analognom fotografijom bavi se deset godina. Foto šte na pozorišnom Venecijanskom bijenalu 2007. i 2009. godine. Dobitnik je tim (član) više nagrada na arhitektonskim konkursima, kao i nagrade „Joakim Vujuć“ za /// scenografiju predstaveUmetnost i dokolica i Specijalne nagrade VI bijenala Ivanino DaVillano Đukić (Prijedor, RS, B&H, 1996) is a student at the scenskog dizajna za dizajn scene, videa i promotivnih materijala predstave basic studies of Scene Architecture, Technique and Design at the Faculty Pilad, obe u produkciji Narodnog pozorišta u Užicu. Bila je kustos i jedan of Technical Sciences in Novi Sad. Before and during his studies, he par- od autora predstavljanja Srbije na Praškom kvadrijenalu u oblasti arhitek- ticipated and volunteered in several workshops, festivals and exhibitions ture 2011. godine, a 2015. je, kao kustos Nacionalne sekcije, učestvovala in Bosnia and Herzegovina, Serbia, Italy and Austria, in the fields of u nastupu koji je nagrađen Zlatnom medaljom Kvadrijenala za pokretanje photography, film, theatre, sound, architecture and civic activism. Among dijaloga. Bila je član Komisije za arhitekturu Međunarodne asocijacije these, the most important is the workshop of the “Re-Create the City” za scenografiju, pozorišnu arhitekturu i tehnologiju (OISTAT) i predsednik summer school in St. Polten on the occasion of candidacy for the European Komisije za arhitekturu OISTAT centra za Srbiju. Bila je vršilac dužnosti Capital of Culture in 2024, “Pravo Ljudski Film Festival” in Sarajevo and direktora Kulturnog centra Beograda. Vodi galeriju „Navigator“. Docent je “Trento Film Festival”. He is a member of the ScenLab photo team since the na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Pogled na scenu beginning of his studies, and his current field of interest is 3D model- (autor konkursnog rada); Dizajn kataloga (autor) ling. He has been dealing with digital and analogue photography for ten /// years now. photo team (member) Mia David (Belgrade, SFRY, 1974) is an architect. She deals with design (scene design, exhibition, architectural and graphic design), as well as Deneš Debrei (Horgoš, SFRJ, 1961) je glumac, plesač i koreograf. Diplomi- curatorial practices in contemporary visual arts. She graduated from the rao je glumu na Akademiji umetnosti u Novom Sadu. Bavi se glumom, režijom, Faculty of Architecture in Belgrade, and received her MA and PhD degrees koreografijom i plesom. Radio je u Narodnom pozorištu u Subotici, gde je in the Group for Scene Design of the Interdisciplinary Artistic Studies at sarađivao sa Ljubišom Ristićem, Nadom Kokotović, Radetom Šerbedžijom, La- the University of Arts in Belgrade. She is the author of numerous projects zarom Stojanovićem, Harisom Pašovićem, Janezom Pipanom i dr. Godine 1986. realised in the field of performing arts, visual arts and architecture, sa Ištvanom Lalićem osnovao je u Subotici pozorišno udruzenje „Letnji as well as a large number of newspaper articles published in various me- bioskop“, koje je i danas aktivno i izvodi pozorišne predstave i orga- dia. She exhibited and displayed her works in Germany, Austria, France, nizuje međunarodne plesne i pozorišne radionice. U Orleanu, u Francuskoj, USA, Russia, Italy, the Czech Republic, Croatia, Bosnia and Herzegovina, sarađivao je sa Jožefom Nađem u Nacionalnom centru za koreografiju (Centre Slovenia and in other countries. Within the scope of project SD 02 – Mes- Chorégraphique National), radeći na predstavama La Mort de L’empereur, to: Krstac (SD 02 – Site: Krstac), she took part in Venice Biennale of Comédie Tempio, Les Echelles d’Orphée, Anatomie d’un Fauve, Les Commentai- Architecture in 2004, and with Sluga dvaju gospodara (The Servant of Two res d’Habacuc, kao i na predstavi Le vent dans le sac za koju je, 1998. na Masters) and Zimske baste (Winter Gardens) plays in the Venice Theatre sarajevskom festivalu MESS, dobio Zlatnu masku za glavnu ulogu. Sarađivao Biennale in 2007 and 2009. She received several awards in architectural je i sa japanskim koreografom Minom Tanakom u izvođenju predstave Smiling competitions, as well as the awards “Joakim Vujić” for scene design of the in the Forest, u Tokiju. Bio je i saradnik Tomija Janežiča u predstavama play Umetnost i dokolica (Arts and Leisure) and the Special Award of the Galeb i Smrt Ivana Iljiča (Srpsko narodno pozorište). Redovni je profesor 6th Biennale of Scene Design for the design of scene, video and promotional na Akademiji umetnosti u Novom Sadu, gde na master studijama predaje pred- materials for the play Pilad (Pylades); both the plays were produced by met Telo i glas, dok na osnovnim studijama scenske arhitekture, tehnike i the National Theatre in Užice. She was a curator and one of the authors dizajna na Fakultetu tehničkih nauka u Novom Sadu predaje Scenski pokret. of Serbia’s presentation at the Prague Quadrennial in the fields of archi- Studentska postavka (Kustos) /// 352 353 Deneš Debrei (Horgoš, SFRY, 1961) is an actor, dancer and choreographer. ji različitih projekata i događaja, kao što su festivali B-tour, MAD in He graduated acting from the Academy of Arts in Novi Sad. He deals with Belgrade, Festival internacionalnog studentskog teatra (FIST), Final four acting, directing, choreography and dance. He worked with the National 2018 – Finalni turnir Evrolige u Beogradu, i nastup Srbije na Praškom Theatre in Subotica and he then collaborated with Ljubiša Ristić, Nada kvadrijenalu 2015. godine, gde je rukovodio timom izvršne produkcije. Dve Kokotović, Rade Šerbedžija, Lazar Stojanović, Haris Pašović, Janez Pipan, godine je bio angažovan u udruženju Kolektiv arhitekata, u okviru kojeg etc. In 1986 in Subotica, jointly with Istvan Lalić, he founded a theatri- je radio kao menadžer produkcije galerije „Kolektiv“ i internet radija cal association called Letnji Bioskop (Summer Cinema), which has remained radioAparat. Tokom ovog perioda, realizovao je brojne projekte od kojih su active to this day and which organises theatrical performances and inter- najznačajniji izložbe arhitekte Alvara Size (Álvaro Siza) i Marije Anto- national dance and theatrical workshops. In Orleans, in France, he collab- nije Siza (Maria Antónia Siza), arhitektonskih kolektiva Vora i Unulaunu, orated with Jožef Nađ in Centre Chorégraphique National, when they worked arhitekte i scenografkinje Mete Hočevar, kao i izložba Kolektiva arhite- on the following performances: La Mort de L’empereur, Comédie Tempio, Les kata na temu studija Candilis, Josic, Woods, koja je organizovana u Kul- Echelles d’Orphée, Anatomie d’un Fauve, Les Commentaires d’Habacuc, as turnom centru Srbije u Parizu. Direktor produkcije nastupa Srbije na PQ19 well as on the performance entitled Le vent dans le sac for which he was /// awarded the Golden Mask for the actor in the leading role at the Sarajevo Andrija Dinulović (Belgrade, SRY, 1993) is a cultural manager. He grad- MESS Festival in 1998. He collaborated with the Japanese choreographer uated from the Faculty of Dramatic Arts in Belgrade, Department of Man- Min Tanak on the performance of Smiling in the Forest, in Tokyo. He was agement and Production in Theatre, Radio and Culture, and after that, he also a collaborator of Tomi Janežič in the cult performances Galeb (The graduated from the Master Studies of Scene Architecture and Design at the Seagull) and Smrt Ivana Iljiča (The Death of Ivan Ilyich) (in the Serbian Faculty of Technical Sciences in Novi Sad. So far, he took part in the National Theatre). He is a full-time professor at the Academy of Arts in production of various projects and events, such as the B_tour Festival, Novi Sad, where he teaches the subject of Body and Voice at the master MADinBelgrade Festival, Festival of International Student Theatre (FIST), study course; he also teaches Scenic Movement at the basic study course Final Four 2018 – the Final Euroleague Tournament in Belgrade and in Ser- of Scene Architecture, Technique and Design at the Faculty of Technical bia’s participation at the Prague Quadrennial in 2015, when he managed Sciences in Novi Sad. Student Exhibition (curator) the executive production team. He was hired by the association Kolektiv Arhitekata for two years, where he worked as a production manager in the Janko Dimitrijević (Beograd, SRJ, 1992) je menadžer u kulturi. Diplomirao Kolektiv art gallery and on the Internet radio radioAparat. During this na Fakuletu dramskih umetnosti, na Katedri za menadžment i produkciju po- period, he realised numerous projects, the most important of which include zorišta, radija i kulture. Od 2014. do 2018. godine radio je kao izvršni the exhibitions of architects Alvaro Siza and Maria Antonia Siza, archi- producent u Heartefact fondu iz Beograda. Tokom svoje profesionalne kari- tectural collectives Vora and Unulaunu, architect and scenographer Meta jere radio je na različitim projektima u oblasti produkcije – od pozori- Hočevar and the exhibition of the Kolektiv Arhitekata on the topic of the šta, umetnosti, medija, festivala do kongresnih, poslovnih i tribinskih studies Candilis, Josic, Woods which was organised in the Cultural Centre događaja. Sarađivao je, kao organizator i producent na predstavama kao of Serbia in Paris. Production Director of Serbia’s Performance at PQ19 što su Glad, Verter: ili imaš nade ili nade nemaš, Hinkeman: šta mora neka bude, Mali mi je ovaj grob, Grobnica za Borisa Davidoviča, Zmajeubice, Šta Pavle Dinulovic (Beograd, SFRJ, 1990) je dizajner zvuka. Osnovne i master je ona kriva nije ništa ona kriva, Aveti, Ostaci, Stranac, Prst, JuliJA, studije završio je na Katedri za snimanje i dizajn zvuka, na Fakultetu Šklovski: energija zablude, Jami Distrik. Produkcijski tim (član) dramskih umetnosti Univerziteta u Beogradu. Student je doktorskih umet- /// nickih studija dramskih i audiovizuelnih umetnosti na istom fakultetu, u Janko Dimitrijević (Belgrade, SRY, 1992) is a cultural manager. He gradu- okviru kojih se bavi umetnickom artikulacijom zvucnog modela prostor-vre- ated at the Faculty of Dramatic Arts, Department of Management and Produc- mena Godine 2018. deo umetnicko-istraživackog procesa obavio je u CERN-u, tion in Theatre, Radio and Culture. From 2014 until 2018, he worked as the u Ženevi. Član je Laboratorije interaktivnih umetnosti pri Fakultetu dram- executive producer in Hartefakt Fund in Belgrade. During his professional skih umetnosti, kao i tima gostujućih predavaca na Fakultetu tehnickih career, he worked on different projects in the field of production – from nauka Univerziteta u Novom Sadu. Bio je clan autorskog tima Studentske the theatre, to arts, media and festivals and to the congress, business sekcije Srbije na Praškom kvadrijenalu scenskog dizajna i scenskog pro- and public debate events. As an organiser and producer, he worked on the stora 2015. godine koji je predstavio rad Proces ili Šta je stvarno VAŽNO theatre plays of various authors, such as Glad (Hunger), Verter: ili imaš za mene koji je nagrađen Zlatnom medaljom za uspostavljanje dijaloga PQ nade ili nade nemaš (Werther: Either You Have Hope or You Don’t Have Hope), 2015. Trostruki je dobitnik nagrade „Neda Depolo“ za kreativni doprinos Hinkeman: šta mora neka bude (Hinkemann: Come What May), Mali mi je ovaj radio izrazu, koju dodeljuje Radio Beograd 2. Bavi se dizajnom zvuka i grob (This Grave is Too Small for Me), Grobnica za Borisa Davidoviča (A komponovanjem originalne muzike za videoigre, scenske događaje, film, i Tomb for Boris Davidovich), Zmajeubice (The Dragonslayers), Šta je ona televiziju. Kao clan tima Level 8, u aprilu 2018. dobio je prvu nagradu na kriva, nije ništa ona kriva (What’s Her Fault, It’s Not Her Fault), Aveti prvom svetskom hakatonu iz oblasti nadstvarnosti (eng. hyperreality) za (Ghosts), Ostaci (Remains), Stranac (The Foreigner), Prst (The Finger), rad Stroganj. Od 2016. godine radi kao asistent na Katedri za snimanje i JuliJA (Juliea), Šklovski: energija zablude (Shklovsky: Energy of Delu- dizajn zvuka, na predmetima koji se ticu dizajna zvuka za scenske događa- sion), Jami Distrikt (Jami District). production team (member) je, dizajna zvuka za videoigre, primenjene muzike, osnova teorije muzike i notografije i muzickih instrumenata. Studentska postavka (konsultant) Andrija Dinulović (Beograd, SRJ, 1993) je menadžer u kulturi. Diplomirao /// je na Fakultetu dramskih umetnosti u Beogradu, na Katedri za menadžment Pavle Dinulovic (Belgrade, SFRY, 1990) is a sound designer. He received i produkciju u pozorištu, radiju i kulturi, nakon čega je završio master his degree from the Bachelor and Master studies at the Department of Sound studije Scenske arhitekture i dizajna na Fakultetu tehničkih nauka Uni- Recording and Design, Faculty of Dramatic Arts in Belgrade. He is a PhD verziteta u Novom Sadu. U dosadašnjoj karijeri učestvovao je u produkci- student at the artistic doctoral studies of dramatic and audio-visual

354 355 arts at the same Faculty, where he works on artistic articulation of the the city, their mutual support and protectiveness, but also their isola- sound model of space-time, completing in 2018 a part of the artistic and tion and destruction. Dražić searches for spaces of irregularity, differ- research process in CERN, in Geneva. He is a member of the Interactive ence and flexibility, rethinking them at the level of cultural continuity, Arts Laboratory at the Faculty of Dramatic Arts, as well as of the team symbolic irregularities and individual actions. She looks for traces that of visiting lecturers at the Faculty of Technical Sciences, University of show how culture is constantly being negotiated, redefined and transformed. Novi Sad. He was a member of the team of authors of the Serbian Student She exhibits internationally, and initiates and curates collaborative Section at the Prague Quadrennial of Performance Design and Space in 2015, projects and exhibitions. In 2018 she founded Daleko od očiju_mesto za Proces ili Šta je stvarno VAŽNO za mene (Process or What DOES with his work savremenu umetnost (Out of Sight_ A venue for contemporary art) in Ant- Matter to Me) which was awarded the Gold Medal for Provoking a Dialogue werp, together with Wim Janssen. Scene Work Ahead (author) at PQ 2015. He won the “Neda Depolo” award for three times for creative contribution to radio expression, which is awarded by Radio Beograd 2. Bojan Đorđev (Beograd, SFRJ, 1977) je pozorišni umetnik, obrazovan u He deals with the sound design and is composing original music for video oblasti pozorišta i teorije umetnosti u Beogradu, na Fakultetu dramskih games, performing arts events, film and television. As a member of the Lev- umetnosti Univerzitetu umetnosti u Beogradu, kao i na Akademiji za el 8 team, in April 2018, he won the first prize in the first world hackathon pozorište i ples Univerziteta umetnosti u Amsterdamu. Pored Beograda, Stroganj (Stroganj) in the field of hyperreality, with his work entitled . njegovi radovi su prikazivani u Berlinu, Briselu, Amsterdamu, Njujorku, Since 2016, he has been working as an assistant at the Department of Sound Šangaju, Beču, Cirihu, Lisabonu, Zagrebu, Rijeci, Ljubljani itd. Inscenirao Recording and Design in the subjects relating to the sound design for per- je tekstove Ervea Gibera (Hervé Guibert), Elfride Jelinek, Džejmsa Džojsa forming arts events, sound design for video games, applied music, basics (James Joyce), Tanje Šljivar, Gorana Ferčeca, Ivane Sajko; tri opere, in the theory of music, music note graphics and music instruments. Student uključujući i Dečurlija (Les enfants terribles) Žana Koktoa (Jean Cocteau) Exhibition (consultant) i Filipa Glasa (Philip Glass). Jedan je od osnivača TkH – Teorija koja hoda (2001–2017), umetničko-teorijske platforme iz Beograda. U umetničkoj Mirjana Dragosavljević (Koprivnica, SFRJ, 1984) je kustoskinja i teore- praksi se bavi istraživanjem potencijalnih javnih, performativnih formata tičarka umetnosti. Učestvovala je na grupnim izložbama i konferencijama marksističke misli i nasleđa levice. Nacionalna postavka (Kustos) u oblasti savremene umetničke produkcije u regionu i šire. Pored toga, /// objavljivala je radove u umetničkim časopisima, publikacijama i na onlajn Bojan Djordjev (Belgrade, SFRY, 1977) is a theatre maker, educated in the portalima. Deluje u oblasti savremene umetničke prakse fokusirajući se na field of theatre and theory of art in Belgrade, at the Faculty of Dramatic teme kao što su kolektivni rad, uslovi produkcije u savremenoj umetnosti Arts, University of Arts in Belgrade, as well as at the Academy of Theatre Umetnost je važna. Ali i kulturi, javni prostor, itd. Kustos je izložbe and Dance, University of Arts (DasArts) in Amsterdam. Apart from Belgrade, nije dovoljna Centra za savremenu umetnost u Celju, Slovenija. Radi na his works have also been shown in Berlin, Brussels, Amsterdam, New York, Mašina Stanici – Servisu za savremeni ples Radovi portalu i u u Beogradu. Shanghai, Vienna, Zurich, Lisbon, Zagreb, Rijeka, Ljubljana, etc. He has na sceni (autor) staged the texts by Hervé Guibert, Elfriede Jelinek, James Joyce, Tanja /// Šljivar, Goran Ferčec, Ivana Sajko, as well as three operas, including Les Mirjana Dragosavljević (Koprivnica, SFRY, 1984) is a curator and art the- Enfants Terribles by Jean Cocteau and Philip Glass. He is a co-founder oretician. She participated in group exhibitions and conferences in the of TkH-Walking Theory (2001-2017), an artistic and theoretical platform field of contemporary art production in the region and wider. Shealso founded in Belgrade. Within his artistic practice, he explores potential publishes in art magazines, publications and online portals. She works in public, performative formats of Marxist thought and the left-wing heri- the field of contemporary art practice with the focus on subjects such as tage. National Exhibition (curator) collective work, production conditions in contemporary art and culture, Umetnost je važna. Ali nije public space, etc. Curator of the exhibition Fakultet tehničkih nauka u Novom Sadu (FNRJ, 1960) je visokoškolska i dovoljna (Art Matters, but Art is Not Enough) , Centre for Contemporary Art naučnoistraživačka ustanova čija misija je realizacija visokokvalitetnih STATION – Service for in Celje, Slovenia. Works at portal “Mašina” and obrazovnih procesa, razvoj naučnih disciplina i transfer stečenih znanja Contemporary Dance Scene Work Ahead in Belgrade. (author) u privredu i društvo. Jedna je od najsavremenije organizovanih visoko- obrazovnih institucija u regionu, poznat i priznat u čitavom svetu. Danas Dušica Dražić (Beograd, SFRJ, 1979) se u okviru svoje umetničke prak- ima devedeset akreditovanih studijskih programa svih nivoa, koji pokrivaju se bavi istraživanjima ambivalentnih međusobnih odnosa građana i grada, tehničko-tehnološko polje, prirodno-matematičko polje, umetničko polje i njihovom uzajamnom podrškom i zaštitom, ali i njihovom izolacijom i de- medicinsko polje kroz interdisciplinarne studije. Svi studijski progra- strukcijom. Ona traga za prostorima nepravilnosti, različitosti i fleksi- mi osnovnih, master i doktorskih akademskih studija su akreditovani za bilnosti, preispitujući ih na nivou kulturnog kontinuiteta, simboličnih izvođenje nastave na engleskom jeziku. Organizator nastupa Srbije na PQ19 nepravilnosti i pojedinačnih delovanja. U potrazi je za tragovima koji /// pokazuju kako se o kulturi konstantno pregovara, kako se ona redefiniše i Faculty of Technical Sciences in Novi Sad (FPRY, 1960) is an establish- transformiše. Učestvovala je na međunarodnim izložbama kao inicijator i ment of higher education, and a scientific and research institution with kustos zajedničkih projekata i izložbi. Zajedno sa Vimom Jansenom (Wim a mission to realise high quality educational processes, development of Daleko od očiju_mesto za Jansen), u Antverpenu je 2018. godine osnovala scientific disciplines and transfer of acquired knowledge to economy and savremenu umetnost (Out of Sight_ A venue for contemporary art). Radovi society. Among the establishments of higher education with the modern or- na sceni (autor) ganisation in this region, it is well-known and recognised throughout the /// world. Today, it has ninety accredited study programmes on all study lev- The issues that Dušica Dražić (Belgrade, SFRY, 1979) explores within her els, which cover the fields of engineering and technology, sciences, math- art practice deal with the ambivalent interrelationship of the citizen and ematics, arts and medicine through interdisciplinary study programmes.

356 357 All study programmes of the basic, master and doctoral academic studies The Applause Institute (IZA) is a collective that uses an experimental are accredited to provide teaching and lectures in English. Organiser of approach in order to re-examine the ways of artistic (re)presentation, Serbia’s Performance at PQ19 comprehension of art, communication with the audience and their potential participation. It was established in March, 2018, in response to the need Autorski tim rada Granična lepota čine Izvanredni Bob, medijski umetnik of young artists, curators and cultural workers to gather around certain i dizajner svetla; Stevan Bodroža, pozorišni reditelj; Goran Milenković, association. The IZA members are: Stevan Beljic, Luka Cvetkovic, Stefan dramski pisac i scenarista; Tamara Pjević, plesačica; Željko Maksimović, Knezevic, Katarina Kostandinovic, Milan Naskovic, Kristina Nikolic, Jakov glumac i prevodilac; Petar Mirković, dizajner zvuka, kompozitor savremene Ponjavic, Dusan Savic, Vanja Seferovic and Tamara Spalajkovic. The IZA’s elektronske i primenjene muzike. Pogled na scenu (autorski tim konkursnog current research deals with the field of art in public space, and is aimed rada) at examining the role that art has in the public sphere, and exploring the /// temporality of the artwork, the character of ephemeral artistic event/ The team of authors of the work Borderline Beauty is made up of the Excep- action and the public space as a specific factor. A View of the Scene (team tional Bob, a media artist and light designer; Stevan Bodroža, a theatre of authors of the work submitted at the open call) director; Goran Milenković, a playwright and scriptwriter; Tamara Pjević, a dancer; Željko Maksimović, an actor and translator; Petar Mirković, a Siniša Ilić (Beograd, 1977) je likovni umetnik koji se kroz različite sound designer, composer of contemporary electronic and applied music. A medije bavi društvenim fenomenima i mehanizmima, istražujući forme rada, View of the Scene (team of authors of the work submitted at the open call) tenzija u društvu, nasilja i nestabilnih situacija. Jedan je od osnivača je TkH – Teorija koja hoda (2001–2017), umetničko-teorijske platforme iz Milena Grošin (Beograd, SRJ, 1994) je student osnovnih akademskih studija Beograda. Izlagao je u Muzeju savremene umetnosti, Kulturnom centru i na Scenske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Uni- Oktobarskom salonu u Beogradu; galeriji Nova u Zagrebu; Centru „Žorž Po- verziteta u Novom Sadu. Član je tehničkog tima, zaduženog za realizaciju mpidu“ (Georges Pompidou) i Fondaciji „Kadist“ u Parizu; galerijama Tejt vannastavnih programa u prostoru Scenske laboratorije „Borislav Gvojić“ i Modern (Tate Modern) i Kalvert 22 (Calvert 22) u Londonu; na Uralskom bi- drugih događaja u organizaciji Odseka za umetnost i dizajn, Fakulteta teh- jenalu u Jekaterinburgu (Екатеринбург); i galerijama WUK (Werkstätten- und ničkih nauka. Član je sekcije za dizajn svetla. Školske 2018/2019. godine Kulturhaus) i Open Space u Beču. Istražuje forme kolektivnog rada i bavi angažovana je kao demonstrator na osnovnim studijama scenske arhitekture se scenografijom i dizajnom scenskog i izvođačkog prostora. Diplomirao je tehnike i dizajna. Autor je kostima i scenografije za nekoliko predstava i i magistrirao na Fakultetu likovnih umetnosti Univerziteta umetnosti u studentskih filmova. Učestvovala je u radionici dizajna svetlaRethink the Beogradu. Nacionalna postavka (Kustos) Night, u Grčkoj 2018. godine. Volontirala je na kongresu IFTR-a (Interna- /// tional Federation for Theatre Research) u Beogradu, iste godine. Tehnički Siniša Ilić (Belgrade, SFRY, 1977) is a visual artist who, using var- tim (član) ious media, addresses social phenomena and mechanisms, exploring forms /// of labour, social tension, violence and states of uncertainty. He is a Milena Grošin (Belgrade, SRY, 1994) is a student at the basic academic co-founder of TkH-Walking Theory (2001-2017), an artistic and theoreti- studies of Scene Architecture, Technique and Design at the Faculty of cal platform founded in Belgrade. He exhibited his works at the Museum of Technical Sciences in Novi Sad. She is a member of the technical team, Contemporary Art, Belgrade Cultural Centre and October Salon in Belgrade; which is in charge of the realisation of extra-curriculum programmes in Gallery Nova in Zagreb; Centre Georges Pompidou, Kadist Art Foundation the premises of the Scene Laboratory Borislav Gvojić and other events or- in Paris; Tate Modern and Calvert 22 Galleries in London; Ural Industrial ganised by the Art and Design Unit of the Faculty of Technical Sciences. Biennale in Yekaterinburg, WUK and Open Space galleries in Vienna. He ex- In addition, she is a member of the light design section. In the school plores the forms of collective work, scenography and design of stage and year of 2018/19, she has been hired to work as a student assistant (demon- performing space. He graduated from and obtained his Master’s Degree at strator) in the basic studies of Scene Architecture, Technique and Design. the Faculty of Fine Arts, University of Arts in Belgrade. National Exhi- As a costume designer and scenographer, she worked on a number of theatre bition (curator) plays and student films. In addition to taking part in the workshop on light design entitled Rethink the Night in Greece in 2018, she sets out Vladimir Ilić (Beograd, SFRJ, 1964) je arhitekta. Bavi se teorijom i her work as a volunteer in the IFTR (International Federation for Theatre praksom primene savremenih tehnologija i materijala u izvođenju arhitek- Research) Congress in Belgrade, in the same year. technical team (member) tonskih objekata i enterijera. Diplomirao je na Arhitektonskom fakultetu u Beogradu. U saradnji sa prof. dr Rankom Radovićem i prof. dr Đurom Ko- Institut za Aplauz (IZA) je kolektiv koji svojim eksperimentalnim pristu- jićem, na Departmanu za arhitekturu i urbanizam Fakulteta tehničkih nauka pom preispituje nacine umetnicke (re)prezentacije, razumevanje umetnosti, Univerziteta u Novom Sadu, učestvovao je u osnivanju predmeta Unutrašnja komunikaciju s publikom i njeno potencijalno uceše. Osnovan je u martu arhitektura i dizajn, Arhitektonske konstrukcije 1, kao i u nastavi u ovim 2018. godine kao odgovor na potrebu za udruzivanjem mladih umetnika, ku- oblastima. Pored nastavnih aktivnosti, koncipira i organizuje konkurse, stosa i kulturnih radnika. IZA cine: Stevan Beljic, Luka Cvetkovic, Stefan seminare i umetničko-prostorne instalacije, zajedno sa Marijom Dorić i Knezevic, Katarina Kostandinovic, Milan Naskovic, Kristina Nikolic, Jakov studentskom grupom RestART, realizuje projekte: Zid, Arhitektonski rasad- Ponjavic, Dusan Savic, Vanja Seferovic i Tamara Spalajkovic. Trenutno nik, MAKETIME, Bajkolodži, Bajkiraj se i nedovršeni koncept Igraonica-Pro- istrazivanje IZA vezano je za polje umetnosti u javnom prostoru i ima za stor za kreativne tehnologije. U arhitektonskoj praksi, autor je poslovnih cilj da ispita ulogu umetnosti u javnoj sferi i temporalnost umetnickog industrijskih i privatnih objekata, najrazličitijih funkcija, tehnologija dela, karakter efemernog umetnickog događaja/akcije i javni prostor, koji i namena i prilikom njihovog izvođenja vrši nadzor. Projektant je više de- je specifican cinilac. Pogled na scenu (autorski tim konkursnog rada) setina javnih i privatnih enterijera. Docent je na Fakultetu tehničkih na- /// uka u Novom Sadu. Supervizor tehničke realizacije nastupa Srbije na PQ19.

358 359 /// of Novi Sad, where she also graduated from the basic study programme. She Vladimir Ilić (Belgrade, SFRY, 1964) is an architect. He works in the is one of the founders of the student festival IMPULS, which was initiated fields of theory and practice in application of modern technologies and in 2017 at the same Faculty. In addition to pursuing her formal educa- materials in construction of architectural structures and interior spac- tion, she is actively working in the fields of scenography and film.SeeSaw es. He graduated from the Faculty of Architecture in Belgrade. At the (student author) Department of Architecture and Urban Planning of the Faculty of Technical Sciences in Novi Sad, he participated with Prof. Ranko Radović, PhD, and Jelena Janković (Beograd, SFRJ, 1985) se bavi umetničkom fotografijom, a Prof. Đura Kojić, PhD, in establishing and since then teaches the subjects specijalizovana je za plesnu i pozorišnu fotografiju. Aktivno se bavi i of “Interior Architecture and Design” and “Architectural Structures 1”. dokumentarnom, konceptualnom i eksperimentalnom fotografijom. Pored Beo- In addition to teaching, he designs and organises competitions, seminars, grada, svoje radove je izlagala u Moskvi, Meksiko Sitiju, Istanbulu, To- and artistic and spatial installations, together with Marija Dorić and kiju, Kuala Lumpuru, Sijeni, Zagrebu itd. Dobitnica je nekoliko značajnih students’ group RestART; he has realised the following projects: Zid (The internacionalnih nagrada. Fotografijama je dokumentovala više od četrdeset Wall), Arhitektonski rasadnik (Architectural Nursery), MAKETIME (MAKE- pozorišnih predstava. Godine 2018. objavila je svoju prvu fotomonografiju TIME), Bajkolodzi (Fairytaleology), Bajkiraj se (Bike Yourself) and an Kolo – 70 godina kasnije, u kojoj je kroz umetničku fotografiju predstavila unfinished concept of Igraonica – Prostor za kreativne tehnologije (Play- tradicionalni ples Srbije. Njene fotografije su objavljene i u renomiranim ground – Space for Creative Technologies). In the field of practical work časopisima: Rolling Stone, National Geographic, Elle, Vice, LensCulture, in architecture, he is an author and a supervisor of the realisation of Lürzer’s Archive, Kosmos, Geo itd. Pogled na scenu (autor konkursnog rada) commercial, industrial and privately owned buildings, characterised by /// different functions, technologies used and intended purposes. He has de- Jelena Janković (Belgrade, SFRY, 1985) is an art photographer, specialised signed several dozens of public and private interior spaces. He works as in dance and theatre photography. She is actively engaged in documentary, an Assistant Professor at the Faculty of Technical Sciences in Novi Sad. conceptual and experimental photography. Apart from Belgrade, her works Supervisor of the technical realisation of Serbia’s Performance at PQ19. have also been exhibited in Moscow, Mexico City, Istanbul, Tokyo, Kua- la Lumpur, Siena, Zagreb, etc. She has received a number of prestigious Nikola Isaković (Beograd, SFRJ, 1991) je diplomirao na Novoj akademi- international awards. In her photographs she documented more than forty ji umetnosti u Beogradu, u klasi prof. Ljubiše Ristića, 2008. godine, theatre performances. In 2018, she published her first photo monograph na odseku Dramska umetnost – režija. Njegova studentska predstava (Ne) Kolo – 70 godina kasnije (Kolo – 70 Years Later), in which she presented Radno vreme igrala se u okviru propratnih programa nekoliko pozorišnih the traditional dance of Serbia through art photography. Her photos have festivala u Srbiji, među kojima su najznačajniji Pozorje mladih i Bitef also been published in the following magazines: Rolling Stone, National Polifonija. Radio je i kao asistent režije na predstavama Režim ljubavi, Geographic, Elle, Vice, LensCulture, Lürzer’s Archive, Kosmos, Geo, etc. Stvaranje čoveka i Odlazni terminal. U svom pozorišnom radu često se bavi A View of the Scene (author of the work submitted at the open call) istraživanjem različitih oblika ambijentalnog, imerzivnog i interaktivnog teatra, što se u njegovim predstavama najčešće ogleda već u samom izboru Dragana Jovović (Niš, SFRJ, 1983) je diplomirala francuski jezik i knji- specifičnih prostora i formi Pogled na scenu (autor konkursnog rada); Rav- ževnost na Filološkom fakultetu Univerziteta u Beogradu i završila master noteža (student autor) studije menadžmenta u kulturi i kulturne politike na Balkanu. Bavi se pro- /// dukcijom u polju umetnosti i kulture, najčešće u izvođačkim umetnostima, Nikola Isaković (Belgrade, SFRY, 1991) graduated from the New Academy of pozorištu i filmu. Dokumentarni filmovi Yugoslavija – kako je ideologija Arts in Belgrade, in the class of Prof. Ljubiša Ristić, the Department of pokrenula naše kolektivno telo i Dubina 2, koje je producirala, premijerno Drama Arts – Directing, in 2018. His student production (Ne)Radno vreme su prikazani na Berlinskom međunarodnom filmskom festivalu, dok je igra- ((Non)Working Hours) was performed as part of accompanying programmes of a ni film Teret prikazan na LXX filmskom festivalu u Kanu u okviru selekcije number of theatre festivals in Serbia, among which the most important are Petnaest dana autora. Produkcijski tim (Izvršni producent nacionalne po- Pozorje of the Young and Bitef Polyphony. He also worked as an assistant stavke, sa UUR) director of the performances Režim ljubavi (Regime of Love), Stvaranje /// čoveka (Creation of Man) and Odlazni terminal (Departure Terminal). In his Dragana Jovović (Niš, SFRY, 1983) a graduate of French Language and Lit- theatre work, he is often engaged in researching various forms of ambient, erature at the Faculty of Philology in Belgrade, and completed her master immersive and interactive theatre, which is most frequently reflected in studies in Cultural Management and Cultural Policy in the Balkans. She the very selection of specific spaces and forms for his performances. A actively works as a producer in the field of arts and culture, predomi- View of the Scene (author of the work submitted at the open call); SeeSaw nantly in performing arts, theatre and film. She was the producer of the (student author) documentaries Yugoslavija kako je ideologija pokrenula naše kolektivno telo (Yugoslavia, How Ideology Moved Our Collective Body) and Dubina 2 Maja Ivanović (Loznica, SRJ, 1995) je student master studija Scenske ar- (Depth Two) that were premiered at the Berlin International Film Festival, hitekture i dizajna na Fakultetu tehničkih nauka Univerziteta u Novom and the feature film Teret (The Load) premiered at the 70th Film Festival Sadu, gde je završila i osnovne studije. Jedan je od osnivača studentskog in Cannes within the selection Fifteen Days of the Authors (Quinzaine des festivala IMPULS, pokrenutog 2017. godine pri istom fakultetu. Pored for- Réalisateurs). production team (executive producer of the National Exhi- malnog obrazovanja, aktivno radi u oblasti scenografije i filma. Ravnoteža bition, with UUR) (student autor) /// Karkatag, umetnički kolektiv iz Beograda, formiran je 2009. godine. Deluje Maja Ivanović (Loznica, SRY, 1995) is a student at master studies of Scene u polju interaktivne umetnosti i novih medija, na granici sa performativ- Architecture and Design at the Faculty of Technical Sciences, University nim, proizvodeći svojevrsne mašine, koje, izložene ili podmetnute na kori-

360 361 šćenje, dovode publiku u situaciju da postane aktivni učesnik, performer, mestic and foreign magazines. With his photographs, he documented Serbia’s a događaj koji se generiše kroz njihov rad, odnosno upotrebu predstavlja preparations and participation at the Prague Quadrennial in 2015, when neodvojiv i suštinski deo samog ostvarenja. Karkatag je do sada učestvo- the representatives of Serbia were awarded the Gold Medal for Provoking vao i osvajao nagrade na brojnim izložbama, festivalima, performansima a Dialogue. During his professional work as a freelance photographer, he širom Evrope, uključujući i Praški kvadrijenale 2015. godine, u nagrađe- was hired to work on projects realised by some large organisations, such nom nastupu Srbije. Od 2015, Karkatag aktivno učestvuje u radu nezavisnog as the United Nations and the International Federation of Red Cross. photo Kulturnog centra „Magacin“ u Ulici Kraljevića Marka, gde pokreće projekat team (team manager) Praksa mejkerspejs Beograd. Pogled na scenu (autorski tim konkursnog rada) /// Milena Kordić (Zrenjanin, SFRJ, 1975) je arhitekta. Diplomirala je, ma- Karkatag, is a Belgrade-based art collective, founded in 2009. Producing gistrirala i doktorirala na Arhitektonskom fakultetu Univerziteta u Be- specific machines, the collective works in the field of interactive art and ogradu, gde radi kao docent na Departmanu za arhitekturu. Njen naučni i new media, on the borderline with performative. Being exhibited and set up istraživački rad fokusira se na oblasti teorije arhitekture i enterijera, for use, these machines provoke the audience to become an active partak- metodologije projektovanja i filozofije arhitekture sa posebnim interesova- er, performer, while the event generated through their operation and use njem za probleme arhitektonskog delovanja u unutrašnjem prostoru. Autor represents an inseparable and essential part of the very project. Karkatag je monografijeMeđuprostor (2012), više poglavlja u monografijama i naučnih has so far participated and won awards at numerous exhibitions, festivals, radova koji su objavljivani u naučnim časopisima i izlagani na međuna- performances across Europe, including the Prague Quadrennial in 2015, in rodnim naučnim konferencijama. Pored naučnog i pedagoškog rada, bavi se the award-winning national exhibition of Serbia. Since 2015, Karkatag has stručnim radom u oblasti arhitektonsko-urbanističkog projektovanja. Re- been actively participating in the work of the independent Cultural Centre dovno učestvuje na nacionalnim i internacionalnim konkursima, na kojima “Magacin”, in Kraljevića Marka Street, where it started the project enti- dobija više nagrada i priznanja, među kojima su prva nagrada na otvorenom tled Praksa mejkerspejs Beograd (Praksa Makerspace Belgrade). A View of arhitektonskourbanističkom konkursu za šire područje Hipodroma u Beogra- the Scene (team of authors of the work submitted at the open call) du, druga nagrada na arhitektonskom konkursu za idejno rešenje diplomat- sko-konzularnog predstavništva Republike Srbije u Kanberi, druga nagrada Bojan Kaurin (Prijedor, RS, BiH, 1996) je student osnovnih studija Scenske na Otvorenom konkursu za tri centralna trga u Beogradu, kao i druga nagra- arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerziteta da na međunarodnom konkursu za rekonstrukciju i dogradnju Narodnog muzeja u Novom Sadu. Bavi se pisanjem i fotografijom. Ravnoteža (student autor) u Beogradu. Autor je nekoliko izvedenih objekata i većeg broja javnih i /// stambenih enterijera. Stručne radove izlagala je na više nacionalnih i Bojan Kaurin (Prijedor, RS, B&H, 1996) is a student at the basic studies internacionalnih arhitektonskih izložbi, a koautor je nekoliko nacional- of Scene Architecture, Technique and Design at the Faculty of Technical nih i dve međunarodne izložbe studentskih radova. Profesionalno iskustvo Sciences, University of Novi Sad. He writes and deals with photography. sticala je u arhitektonskim studijima u Beogradu i Brazilu, a od 2004. SeeSaw (student author) godine vodi samostalnu projektantsku praksu. Studentska postavka (Kustos) /// Nemanja Knežević (Beograd, SFRJ, 1985) je završio osnovne studije filma na Milena Kordić (Zrenjanin, SFRY, 1975) is an architect. She got her BA, MA SAE Institutu u Beogradu. Fotografijom se profesionalno bavi više od deset and PhD degrees at the Faculty of Architecture, University of Belgrade, godina. Vodio je timove fotografa na festivalima Share Conference, Reso- where she works as an Assistant Professor at the Department of Architec- nate, Exit Festival, MAD in Belgrade, NODE. Osnivač je i član fotograf- ture. Her scientific and research work is focused on the fields of the the- skog kolektiva BelgradeRaw sa kojim je izlagao u zemlji i inostranstvu, ory of architecture and interior, methodology of design and philosophy of realizovao veliki broj edukativnih radionica, i sa kojim je izdao dve architecture, and she is particularly interested in the issues of archi- knjige. Učestvovao je na mnogobrojnim kolektivnim izložbama, a 2017. je u tectural activities in interior spaces. She is an author of the monograph okviru festivala Printemps Culturel imao samostalnu izložbu pod nazivom A entitled Međuprostor (Interspace) (2012), of several chapters in mono- Blank Map u Šo de Fon (Chaux-de-Fonds) u Švajcarskoj. Njegove fotografije graphs and of the scientific works that were published in scientific papers su objavljivane u domaćim i stranim časopisima. Dokumentovao je pripreme and exhibited in international scientific conferences. In addition to the i nastup Srbije na Praškom kvadrijenalu 2015. godine, na kojem su pred- scientific and educational work, she works in the field of architectural stavnici Srbije nagrađeni Zlatnom medaljom za pokretanje dijaloga. Dok and urban design. She regularly takes part in national and international je radio kao samostalni fotograf, bio je angažovan na projektima velikih competitions, where she has won several prizes and awards, among which are međunarodnih organizacija, poput Ujedinjenih nacija i Međunarodne federa- the first prize in the open arh-urb. competition for the broader area of cije Crvenog krsta. Foto tim (Rukovodilac) Belgrade Hippodrome, the second prize in the architectural competition for /// conceptual design of the diplomatic and consular mission of the Republic Nemanja Knežević (Belgrade, SFRY, 1985) completed the basic studies of film of Serbia in Canberra, the second prize in the Open Competition for Three at the SAE Institute in Belgrade. He has been working as a professional Central Squares in Belgrade, as well as the second prize in the interna- photograph for more than ten years now. He was a leader of the photo teams tional competition for Reconstruction and Extension of the National Muse- in the Share Conference, Resonate, Exit Festival, Mad in Belgrade, NODE um in Belgrade. She is the author of a number of completed buildings and festivals. He is a founder and a member of the photographers’ collective numerous public and residential spaces. She exhibited her expert works in BelgradeRaw, and he exhibited his works with them in the country and numerous national and international architectural exhibitions, and she is abroad, realised numerous educational workshops and published two books. a co-author of a number of national and of two international exhibitions He took part in numerous collective exhibitions, and in 2017, in the Prin- of students’ works. She built her professional experience in architectural temps Culturel festival, he had his solo exhibition entitled A Blank Map studios in Belgrade and in Brazil, and she has been managing her own in- in La Chaux-de-Fonds in Switzerland. His photographs were published in do- dependent designer studio since 2004. Student Exhibition (curator)

362 363 Igor Koruga (Beograd, SFRJ, 1985) bavi se izvođačkim umetnostima (ples Prague Quadrennial in 2015, when the Gold Medal for Provoking a Dialogue i koreografija). Član je organizacije Stanica – Servis za savremeni ples was awarded to Serbian representatives. She works as an assistant at the u Beogradu. Diplomirao je na Filozofskom fakultetu Univerziteta u Beo- Art and Design Unit of the Faculty of Technical Sciences. In her free time, gradu, kao i na odseku Solo/Dance/Authorship na Univerzitetu umetnosti i she pursues her musical interest. production team (executive producer of edukativnom plesnom centru (Hochschulübergreifende Zentrum Tanz – HZT) u the Student Exhibition) Berlinu. Dobitnik je nagrada Festivala koreografskih minijatura, Infanta, Evropske asocijacije za obrazovanje mladih i Nacionalne organizacije za Igor Ljubić (Novi Sad, SRJ, 1996) je student osnovnih studija Scenske ar- retke bolesti. hitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerziteta u Maja Pelević (Beograd, SFRJ, 1981) je diplomirala na Fakultetu dramskih Novom Sadu. Član je tehničkog tima Scenske laboratorije „Borislav Gvojić“, umetnosti i doktorirala na Interdisciplinarnim studijama na Univerzitetu zadužen za realizaciju vannastavnih programa i drugih događaja u organiza- umetnosti u Beogradu. Učestvuje u projektu Nova drama. Njeni tekstovi su ciji Odseka za umetnost i dizajn. Član je i sekcije svetla. Učestvovao je u izvođeni na scenama u zemlji i inostranstvu, a pored pisanja se bavi i realizaciji i postavci različitih događaja. Tehnički tim (član) režijom i performansom. Dobitnica je nagrada „Borislav Mihajlović Mihiz“, /// „Slobodan Selenić“ i Sterijine nagrade. Igor Ljubić (Novi Sad, SRY, 1996) is a student at the basic studies of Pogled na scenu (autorski tim konkursnog rada) Scene Architecture, Technique and Design at the Faculty of Technical Sci- /// ences in Novi Sad. He is a member of the technical team of the Scene Lab- Igor Koruga (Belgrade, SFRY, 1985) deals with performing arts (dance and oratory Borislav Gvojić, in charge of the realisation of extra-curriculum choreography). He is a member of the organisation STATION – Service for programmes and other events organised by the Art and Design Unit. He is a Contemporary Dance from Belgrade. He graduated from the Faculty of Philos- member of the light section, through which he took part in realisation and ophy, University of Belgrade, and from Solo/Dance/Authorship Department, organisation of various events. technical team (member) University of Arts and HZT (Hochschulübergreifende Zentrum Tanz) Dance Education Centre in Berlin. He has received the award of the Festival of Jovana Matić (Kragujevac, SRJ, 1997) je student osnovnih studija Scenskog Choreographic Miniatures, International Festival of Alternative and New kostima na Fakultetu primenjenih umetnosti u Beogradu. Bavi se mogućnostima Theatre (INFANT), European Association for the Education of Adults and scenskog kostima na filmu i u pozorištu, kao i crtežom i akvarelom. Ravno- National Organisation for Rare Diseases. teža (student autor) Maja Pelević (Belgrade, SFRY, 1981) graduated from the Faculty of Dramat- /// ic Arts and obtained her PhD Degree in Interdisciplinary Studies at the Jovana Matić (Kragujevac, SRY, 1997) is a student at the basic studies of University of Arts in Belgrade. She is a member of the project Nova drama Stage Costume at the Faculty of Applied Arts in Belgrade. She deals with (New Drama). Her texts have been staged in the country and abroad. Apart the possibilities and potentials of stage costume in film and in theatre, from writing, she deals with direction and performance. She has received and pursues her interest in drawing and aquarelle. SeeSaw (student author) “Borislav Mihajlović Mihiz” Award, “Slobodan Selenić” Award and Sterija Award. Ljiljana Miletić Abramović (Beograd, SFRJ) je istoričar arhitekture i umet- A View of the Scene (team of authors of the work submitted at the open call) nosti, kustos (muzejski savetnik), i direktor Muzeja primenjene umetnosti u Beogradu. Bavi se istorijom arhitekture XX veka. Diplomirala je i magi- Aleksandra Lozanović (Beograd, SRJ, 1993) je menadžer u kulturi. Diplomi- strirala istoriju umetnosti na Filozofskom fakultetu u Beogradu. Od 2002. rala je na Katedri za menadžment i produkciju pozorišta, radija i kultu- godine, kao kustos Odseka za arhitekturu Muzeja primenjene umetnosti u Be- re, na Fakultetu dramskih umetnosti Univerziteta u Beogradu. Nakon toga ogradu, rukovodi i uređuje Salon arhitekture. Autor je, između ostalog, i završila je master studije Scenske arhitekture i dizajna na Fakultetu dve studijske izložbe: Paralele i kontrasti: srpska arhitektura 1980–2005 tehničkih nauka u Novom Sadu, gde je trenutno student doktorskih studi- i Mapiranje identiteta: arhitektura Beograda 1919–2015 u Muzeju primenjene ja. Volontirala je i radila na nekoliko festivala, poput BITEF-a, FIST-a umetnosti (2007. i 2015). U svojstvu predsednika Stručnog saveta / Žiri- (Festival studentskog internacionalnog teatra), Mikser festivala, MAD in ja učestvuje u organizaciji nacionalnog nastupa Republike Srbije na XIV Belgrade. Učestvovala je u više studentskih pozorišnih i filmskih proje- (2014), XV (2016) i XVI (2018) bijenalu arhitekture u Veneciji. U svoj- kata. Bila je član produkcijskog tima koji je realizovao nastup Srbije stvu komesara učestvovala je u organizaciji nastupa Republike Srbije na na Praškom kvadrijenalu 2015. godine, na kojem su predstavnici Srbije Praškom kvadrijenalu 2015. Sarađivala je na projektima koji se bave isto- nagrađeni Zlatnom medaljom za pokretanje dijaloga. Asistent je na Odseku rijom srpske arhitekture XX veka a koji se realizuju u Institutu za isto- za umetnost i dizajn Fakulteta tehničkih nauka. U slobodno vreme bavi se riju umetnosti Filozofskog fakulteta u Beogradu, Institutu za arhitekturu muzikom. Produkcijski tim (Izvršni producent studentske postavke) i urbanizam Srbije i Urbanističkom zavodu grada Beograda. Učestvovala je /// na međunarodnim naučnim konferencijama i održala je veći broj javnih pre- Aleksandra Lozanović (Belgrade, SRY, 1993) is a cultural manager. She davanja iz oblasti srpske arhitekture novijeg doba. Autor je većeg broja graduated from the Department of Management and Production in Theatre, naučnih i stručnih radova iz istorije arhitekture XX veka, između ostalog Radio and Culture at the Faculty of Dramatic Arts in Belgrade. After grad- i zapaženih monografija (na srpskom i engleskom):Arhitektura rezidencija i uation, she got her degree in the master studies of Scene Architecture vila Beograda 1830–2000, Beograd 2002. i Paralele i kontrasti: srpska ar- and Design at the Faculty of Technical Sciences in Novi Sad, where she is hitektura 1980–2005, Beograd 2007. Član je stručnih i strukovnih udruženja currently a student at doctoral studies. She has volunteered and worked (Docomomo, ICOM, ULUPUDS). Dobitnik je više nagrada i priznanja. Komesar in a number of festivals, such as Bitef, FIST – Festival of Internation- nastupa Srbije na PQ19 al Student Theatre, Mikser Festival, MADinBelgrade Festival. She worked /// on several student theatrical and cinematographic projects. She was a Ljiljana Miletić Abramović (Belgrade, SFRY) is historian of architecture member of the production team that realised Serbia’s performance at the and art, curator – museum adviser and director of the Museum of Applied Art in Belgrade. She got her BA and MA degrees in art history at the Faculty of 364 365 Philosophy in Belgrade. She deals with the history of architecture of the žiji Dina Mustafića (Heartefact / BITEF, 2014); tehno-industrijski projekat 20th century, and since 2002, working as a curator of the Department of raum.null u saradnji s Krisom Brukmajerom (Chris Bruckmayr; 2012–2015); Architecture of the Museum of Applied Art in Belgrade, organizing and reg- interaktivnu zvučnu skulpturu Fonosinteza: zvučni buket (2010–2014); di- ulating the Salon of Architecture. She is the author of the architecture zajn zvuka za pozorišnu predstavu Radnici umiru pevajući u režiji Anđelke exhibitions Paralele i kontrasti – srpska arhitektura 1980-2005 (Parallels Nikolić (Heartefact / BITEF, 2011); dizajn zvuka za koncerte Sevdah Takhta and Contrasts – Modern Serbian Architecture 1980-2005) at the Museum of Damira Imamovića (2011–2013); dizajn zvuka za pozorišnu predstavu Kneginja Applied Art (2007) and Mapiranje identiteta – arhitektura Beograda 1919- Jelena Balšić u režiji Branislave Stefanović (Kruševačko pozorište, 2009). 2015 (Mapping the Identity – Belgrade Architecture 1919-2015) (2015). As a Programski savet nastupa Srbije na PQ19 (član) President of the Expert Council/Jury, she was engaged in the organization /// of the national exhibition of the Republic of Serbia at the 14th (2014), Dobrivoje Milijanović was born in 1981 in Belgrade, where he grew up, at- 15th (2016) and 16th (2018) International Architecture Biennale in Venice. tended school and played handball. He is now an Assistant Professor at the As a Commissioner, participated in the organization of the national exhi- Faculty of Dramatic Arts in Belgrade, at the Department of Sound Recording bition of the Republic of Serbia at the Prague Quadrennial 2015. Worked and Design. He works as a sound designer for performing events, and deals on projects related to history of Serbian architecture of 20th century at with electronic music and interactive sound sculptures. He considers his the Institute of Art History at the Faculty of Philosophy in Belgrade, the following works to be successful: sound design for the theatre play Mali Institute for Architecture and Urban Planning of Serbia, Institute of Ur- mi je ovaj grob (This Grave is Too Small for Me), directed by Dino Mustafić ban Planning of the City of Belgrade. She participated in numerous inter- (Heartefact/Bitef, 2014); techno-industrial project raum.null realised in national scientific conferences and held a large number of public lectures cooperation with Chris Bruckmayr (2012-2015); interactive sound sculp- on the topics of modern Serbian architecture. Author of numerous scientific ture Fonosinteza: Zvučni buket (Phonosynthesis: Sound Bouquet) (2010– papers on 20th century architecture, including the notable monographs (in 2014); sound design for the theatre play Radnici umiru pevajući (Work- Serbian and English): Arhitektura rezidencija i vila Beograda 1830-2000 ers Die Singing), directed by Anđelka Nikolić (Heartefact/Bitef, 2011); (Belgrade Residential and Villa Architecture 1830-2000), Belgrade 2002 sound design for the concerts of Damir Imamović Sevdah Takht (2011–2013); and Paralele i kontrasti – srpska arhitektura 1980-2005 (Parallels and sound design for the theatre play Kneginja Jelena Balšić (Princess Jelena Contrasts – Modern Serbian Architecture 1980-2005), Belgrade 2007. Member Balšić), directed by Branislava Stefanović (National Theatre in Kruševac, of professional associations (Docomomo, ICOM, ULUPUDS). She won several 2009). Programme Council of Serbia’s Performance at PQ19 (member) prizes and awards. Commissioner of Serbia’s Performance at PQ19 Maja Mirković (Šabac, SFRJ, 1977) deluje na polju kostimografije i sceno- Marko Milić (Beograd, SRFJ, 1981). Od 1996. učestvuje u radionicama Centra grafije, teorije izvođačkih umetnosti i poezije. Sarađuje sa umetnicima za kulturu „Stari grad“, a od 2002. započinje rad pod uticajem nezavi- različitih stvaralačkih profila u zemlji i inostranstvu na više od od sto snih pozorišta iz Beograda. Najzapaženije radove (SERIJE, anymore, Kejv, pozorišnih predstava u profesionalnim pozorištima Srbije i regiona, Polj- Fizički Doživljaj Zadovoljstva i LUMI), prikazuje na festivalima kao što ske, Skandinavije i Ujedinjenog Kraljevstva. Diplomirala je i završila su ImpulsTanz u Beču; TanzImAugust u Berlinu; Perforacije u Dubrovniku i master studije na Fakultetu primenjenih umetnosti (odsek Scenski kostim), Zagrebu; FIDQU u Montevideu; Festival koreografskih minijatura u Beogradu; a magistrirala na Grupi za scenski dizajn Univerziteta umetnosti u Beo- Kondenz u Beogradu; Il faut brûler pour briller u Luksemburgu; CoFestival gradu. Dobitnica je nekoliko nagrada za najbolju pozorišnu kostimografiju u Ljubljani. Jedan je od osnivača Stanice – Servisa za savremeni ples, u na Festivalu „Joakim Vujić“, dva puta je nagrađena Sterijinom nagradom kojoj sarađuje sa umetnicima i kulturnim radnicima na unapređivanju sa- i Nacionalnom nagradom Srbije u oblasti primenjene umetnosti. Nacionalna vremenog plesa i izvođačkih umetnosti u Srbiji. Pogled na scenu (autor postavka (Kustos) konkursnog rada) /// /// Maja Mirković (Šabac, SFRY, 1977) works in the field of costume and stage Since 1996 Marko Milić (Belgrade, SFRY, 1981) has been attending workshops design, theory of performing arts and poetry. She has been collaborating at the “Stari grad” Cultural Centre, and in 2002, he started working under with the various artists on more than a hundred theatre performances in the influence of independent theatres from Belgrade. His most prominent professional theatres of Serbia and the region, Poland, Scandinavia and works SERIJE, anymore (SERIES, anymore), Kejv (Kejv), Fizički doživljaj the United Kingdom. She graduated from and obtained her Master’s Degree at zadovoljstva (Physical Experience of Satisfaction) and LUMI (LUMI) were the Faculty of Applied Arts (Department of Stage Costume), and obtained shown at festivals, such as ImpulsTanz in Vienna; TanzImAugust in Berlin; her second Master’s Degree at the Department of Stage Design, University Perforations in Dubrovnik and Zagreb; FIDQU in Montevideo; Festival of of Arts in Belgrade. She received a number of awards for the best theatre Choreographic Miniatures in Belgrade; Kondenz in Belgrade; Il faut brûler costume design at “Joakim Vujić” Festival, two Sterija Awards and the pour briller in Luxembourg; CoFestival in Ljubljana. He is a co-founder of Serbian National Award in the field of applied arts. National Exhibition STATION – Service for Contemporary Dance, where he cooperates with artists (curator) and cultural workers on promotion of contemporary dance and performing arts in Serbia. A View of the Scene (author of the work submitted at the Sofija Mitrović (Beograd, SFRJ, 1991) je arhitekta. Završila je diplomske i open call) master studije na Arhitektonskom fakultetu Univerziteta u Beogradu. Član je timova koji organizuju radionice i grupa izlagača na nekoliko izložbi Dobrivoje Milijanović (Beograd, SFRJ, 1981) je docent na Fakultetu dram- u oblasti arhitekture ustanova kulture, održanih u Crnoj Gori i Srbiji. skih umetnosti Univerziteta umetnosti u Beogradu, na Katedri za snimanje i Učestvuje kao izlagač u validacionom procesu Kraljevskog instituta britan- dizajn zvuka. Bavi se dizajnom zvuka za scenske događaje, elektronskom mu- skih arhitekata (Royal Institute of British Architects – RIBA) na Arhitek- zikom i interaktivnim zvučnim instalacijama. Među njegovim radovima ističu tonskom fakultetu u Beogradu, gde stiče diplomu RIBA II stepena. Kao član se sledeći: dizajn zvuka za pozorišnu predstavu Mali mi je ovaj grob u re- Studentske sekcije, učestvovala je na Praškom kvadrijenalu 2015. godine,

366 367 gde su predstavnici Srbije nagrađeni Zlatnom medaljom za uspostavljanje There), Darko Lungulov (Tribeca 2009, Award); Guča! (Gucha!), Dušan Milic dijaloga. Iste godine upisuje doktorske umetničke studije scenskog dizaj- (Berlin, 2006); Travelator (Travelator), Dušan Milic (Montreal, 2014). na na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Oblasti njenog She is also a fashion designer and makes unique garments. She is a full- interesovanja su čovek, prostor, umetnost i arhitektura, kao i njihovi time professor at the Faculty of Applied Arts in Belgrade, Department of međusobni odnosi Pogled na scenu (autor konkursnog rada) Costume. Student Exhibition (curator) /// Sofija Mitrović (Belgrade, SFRY, 1991) graduated from and obtained her Muzej primenjene umetnosti u Beogradu (FNRJ, 1950) pripada kategoriji Master’s Degree at the Faculty of Architecture, University of Belgrade. umetničkih muzeja. Osnovna delatnost Muzeja je sistematsko prikupljanje She was a member of the teams that organised workshops and an exhibitor at zaštita, čuvanje, proučavavanje, izlaganje, afirmisanje i publikovanje several exhibitions held in Montenegro and Serbia about the architecture predmeta primenjene umetnosti i dizajna. Osim dela nacionalne primenjene of cultural institutions. She also participated as an exhibitor within umetnosti, Muzej prikuplja i istorodni materijal iz drugih evropskih i RIBA (the Royal Institute of British Architects) validation process at vanevropskih zemalja koji je preko kulturnih i privrednih veza dospeo u the Faculty of Architecture in Belgrade, where she obtained a RIBA Part naše krajeve. Muzej ima veoma živu izložbenu aktivnost, kao i sopstvenu 2 Degree. As a member of Student Section, she took part at Prague Qua- izdavačku delatnost. Tradicionalne muzejske manifestacije su Salon arhi- drennial 2015, when Serbian representatives were awarded the Gold Medal tekture, Salon savremene primenjene umetnosti i Dečji salon primenjene for Provoking a Dialogue. In the same year, she started doctoral academic umetnosti. Svakog šestog novembra, na dan osnivanja Muzeja, priređuje se studies of Scene Design at the Faculty of Technical Sciences, University studijska ili tematska izložba iz oblasti primenjene umetnosti i dizajna. of Novi Sad. Her fields of interest are human beings in relation to space, Muzej ima nadležnost na celoj teritoriji Republike Srbije za predmete pri- art and architecture. A View of the Scene (author of the work submitted menjene umetnosti i dizajna. Organizator nastupa Srbije na PQ19 at the open call) /// Museum of Applied Art in Belgrade (FPRY, 1950) belongs to the category of Zora Mojsilović (Beograd, SFRJ, 1962) jedna je od najistaknutijih filmskih art museums. The main activity of The Museum of Applied Art is system- i pozorišnih kostimografkinja u Srbiji. Autor je kostima za veliki broj atic collecting, protecting, keeping, studying, exhibiting, affirming and igranih filmova, pozorišnih predstava i TV reklama. Sarađivala je sa film- publishing works of applied art and design. In addition to the works of skim autorima kao što su Emir Kusturica, Goran Paskaljevic, Dušan Milic national applied arts, related material from other European countries and i Darko Lungulov na filmovima koji su osvojili nagrade na vodecim filmskim the world, which came to our country through cultural and economic rela- festivalima (Kan, Venecija, Tribeca, Berlin). Radila je i sa najznačajni- tions, is also collected in the Museum. The Museum is engaged in organ- jim pozorišnim rediteljima u Srbiji (Dejan Mijač, Jagoš Markovic, Alisa ising exhibitions, as well as in publishing activities. The traditional Stojanovic, Miki Manojlovic, Nikita Milivojević, Mirjana Karanović), kao cultural and artistic events of the Museum include Salon of Architecture, i u svim najznačajnijim pozorištima. Na polju marketinga, sarađivala je Salon of Contemporary Applied Art and Children’s Salon of Applied Art. sa velikim brojem agencija i rediteljima kao što su Miljenko Dereta, Bo- Comprehensive study or thematic exhibition, presenting applied art and ris Miljković, Miloš Pavlović, Miroslav Terzić, Raša Andrić, Blaz Svent i design in Serbia up to the moment, is opened on every 6th of November, on Srđan Goubović. Dobitnica je najprestižnijih pozorišnih nagrada u Srbiji the day of the Museum’s anniversary. The Museum of Applied Art is compe- (Sterijina nagrada, „Zlatni ćuran“, Ardalion). Izabrana filmografija uklju- tent for all objects of applied art and design at the entire territory of čuje: Život je čudo, Emir Kusturica (Kan 2004); Powder Keg, Goran Paska- the Republic of Serbia. Organiser of Serbia’s Performance at PQ19 ljevic (Venecija – Evropska filmska nagrada – FIPRESCI; Here and There, Darko Lungulov (Tribeca 2009 Award); Guča!, Dušan Milic (Berlin 2006.); Đorđe Nešović (Kragujevac, SRJ, 1995) je student pozorišne i radio reži- Travelator, Dušan Milic (Montreal 2014). Bavi se i modnim dizajnom unikat- je na Fakultetu dramskih umetnosti Univerziteta umetnosti u Beogradu, u ne odeće. Redovni je profesor na Fakultetu primenjenih umetnosti Univer- klasi profesorke Ivane Vujić i asistentkinje Snežane Trišić. Učestvuje u ziteta u Beogradu na odseku Kostim. Studentska postavka (Kustos) radionicama iz oblasti režije, dramaturgije i scenskog dizajna. Ravnoteža /// (student autor) Zora Mojsilović (Belgrade, SFRY, 1962) is among the most famous film and /// theatre costume designers in Serbia. She designed costumes for numerous Đorđe Nešović (Kragujevac, SRY, 1995) is a student at the Faculty of feature films, theatre performances and TV commercials. She worked with Dramatic Arts, University of Arts in Belgrade, Department of Theatre and numerous cinematographic authors, among which are Emir Kusturica, Goran Radio Directing, class led by Professor Ivana Vujić and assistant Snežana Paskaljevic, Dušan Milic and Darko Lungulov, on films that won prizes and Trišić. He takes part in workshops in the field of direction, dramaturgy awards of the leading film festivals (Cannes, Venice, Tribeca, Berlin). and scene design. SeeSaw (student author) In addition, she worked with the leading theatrical directors in Serbia (Dejan Mijač, Jagoš Markovic, Alisa Stojanovic, Miki Manojlovic, Nikita Bojana Nikolić (Novi Sad, SRJ, 1994) je završila osnovne studije Scen- Milivojević, Mirjana Karanović), as well as in all the leading theatres. ske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka u Novom In the field of marketing, she worked with a large number of marketing Sadu, nakon čega je upisala master studije Scenske arhitekture i dizajna agencies and cooperated with directors such as Miljenko Dereta, Boris na istom fakultetu. Volontirala je i izlagala na nekoliko studentskih i Miljković, Miloš Pavlović, Miroslav Terzić, Raša Andrić, Blaz Svent and profesionalnih festivala, poput Sterijinog pozorja, BITEF-a, FIST-a (Fe- Srdan Golubović. She has won the prestigious theatrical awards in Serbia stivala studentskog internacionalnog teatra), Bijenala arhitekture u Ve- (Sterija Award, Zlatni Ćuran (Golden Turkey), Ardalion). Selected filmog- neciji, Pekinškog internacionalnog bijenala – BIB. Jedan je od osnivača raphy includes: Život je čudo (Life is a Miracle), Emir Kusturica (Cannes, festivala IMPULS, koji predstavlja dobre prakse i ima za cilj okupljanje 2004); Bure baruta (The Powder Keg), Goran Paskaljevic (Venice – Fipresci studenata i mladih profesionalaca iz oblasti scenskog dizajna i disciplina Award, the European Film Award – FIPRESCI Award; Tamo i ovde (Here and usko povezanih sa ovom oblašću. Pored produkcije i organizacije festiva-

368 369 la, interesuje se i za filmsku produkciju. U Berlinu je završila Erasmus+ Odsek za umetnost i dizajn (RS, 2017) je organizaciona jedinica Departma- kurs Održivost: alati za osnaživanje samoorganizovanih grupa mladih i kona za arhitekturu i urbanizam Fakulteta tehničkih nauka Univerziteta u lektiva, a bila je i polaznik NEP, jednogodišnjeg edukativnog programa u Novom Sadu. Čine ga dve katedre: Katedra za umetnost i Katedra za scenski Beogradu, realizovanog u saradnji Nove Iskre, Galerije „Hub12“ i kompanije dizajn. Formiran je kako bi preuzeo realizaciju svih studijskih programa Nelt. Stručnu praksu u oblasti organizacije i tehničke produkcije stekla iz oblasti scenskog dizajna: osnovne studije Scenske arhitekture, tehnike je u pozorištu Teatar „Le Studio“ u Beogradu. Kao student, bila je aktivna i dizajna, master studije Scenske arhitekture i dizajna kao i doktorske u ulozi demonstratora u nastavi (od 2015), a 2018. je izabrana u zvanje studije Scenskog dizajna. Organizator nastupa Srbije na PQ19 saradnika u nastavi na Fakultetu tehničkih nauka. Pomoćnik direktora na- /// stupa Srbije na PQ19; Katalog (Izvršni producent) Division for Arts and Design (RS, 2017) is an organisational unit of the /// Department of Architecture and Urban Planning of the Faculty of Technical Bojana Nikolić (Novi Sad, SRY, 1994) graduated from the basic studies Sciences, University of Novi Sad. It includes two Sub-units: The Art Sub- in Scene Architecture, Technique and Design at the Faculty of Technical unit and The Scene Design Sub-unit. It was established in order to take Sciences in Novi Sad, upon which she took up the master studies in Scene over the realisation of all study programmes in the field of scene design: Architecture and Design at the same Faculty. She has volunteered and ex- the basic studies in Scene Architecture, Technique and Design, the master hibited her works in several students’ and professional festivals, such studies of Scene Architecture and Design, as well as the doctoral studies as Sterijino pozorje, Bitef, FIST – Festival of International Student of Scene Design. Organiser of Serbia’s Performance at PQ19 Theatre, Venice Biennale of Architecture, BIB – Beijing International Biennale. She is among the founders of the IMPULS Festival, a festival SCEN - OISTAT centar za Srbiju (RS, 2010) je centar za scenski dizajn, of good practices, with the goal to be the meeting place of students and arhitekturu i tehnologiju, koji svojim naučnim, umetničkim i strukovnim young professionals in the field of scene design and other disciplines projektima iz oblasti scenskog dizajna, pozorišne arhitekture i tehnolo- closely related to this field. In addition to production and organisation gije, kao i pozorišta u najširem smislu te reči, želi da doprinese unap- of the Festival, she is interested in film production. She attended Eras- ređenju ovih oblasti u Srbiji. Zadatak centra je da, u saradnji sa drugim mus+ training course Sustainability: Tools for Strengthening Self-organ- obrazovnim ustanovama, institucijama kulture, kao i društvenim zajednica- ised Groups of the Young and Collectives in Berlin and attended the NEP ma razvija profesionalno i javno delovanje u oblasti scenske arhitekture, one-year educational programme in Belgrade which was realised in cooper- tehnike i dizajna. Organizator nastupa Srbije na PQ19 ation with Nova Iskra, Hub12 Gallery and the Nelt Company. She completed /// her internship in the field of organisation and technical production inLe SCEN – OISTAT Centre for Serbia (RS, 2010) is a centre for scene design, Studio Theatre in Belgrade. As a student, she has been working as a stu- architecture and technology that aims to contribute, through its scientif- dent demonstrator since 2015; in 2018, she was promoted to the rank of a ic, artistic and vocational projects in the fields of scene design, theatri- Teaching Associate at the Faculty of Technical Sciences. Assistant to the cal architecture and technology, as well as in the field of theatre in the Director of Serbia’s Performance at PQ19; catalogue (executive producer) broadest sense of the word, to the promotion of these fields in Serbia. The task of the Centre is to, in cooperation with other educational institu- Object Constructors je dizajn studio iz Beograda. Njihov pristup radu za- tions, cultural institutions and social communities, develop professional sniva se na zanatu i primeni zanatskih veština u savremenom dizajnu. Rade and public activities in the field of scene architecture, technique and na različitim tipovima projekata, kao što su dizajn i izrada konceptual- design. Organiser of Serbia’s Performance at PQ19 nih proizvoda, nameštaja, kuhinja i celokupnih enterijera. Osim rada na projektima koje sami dizajniraju i saradnje sa drugim umetnicima, bave Selena Orb alias Darinka Mihajlović Diplomirala je na Fakultetu primenje- se i uslužnim radom za klijente. Takođe, rade na produkciji izložbi, nih umetnosti Univerziteta u Beogradu, Odsek za scenski kostim. Autor je instalacija i drugih umetničkih projekata. Andreja Georgievski je dizaj- kostima i scenografije za veliki broj predstava u Srbiji i regionu. Pored ner nameštaja i osnivač studija Object Constructors. Diplomirao je dizajn toga, autor je kostima u dramskim i operskim predstavama koje je režirala enterijera na Akademiji lepih umetnosti u Beogradu, nakon čega je počeo Beka Savić u Kelnu i Visbadenu. Osim pozorišnog kostima, bavi se filmskom da se bavi zanatom i izradom sopstvenog dizajna. Miloje Topisrović je za- kostimografijom. Polje njenih interesovanaja uključuje i oblast vizuelnih i vršio dizajn nameštaja na Fakultetu primenjene umetnosti u Beogradu. Bavi drugih izvođačkih umetnosti, kao i saradnju sa različitim stvaraocima, pose dizajnom i proizvodnjom nameštaja. Tehnički tim (Tehnička produkcija put kompozitora, vajara, fotografa. Od 2017. godine angažovana je u zvanju nacionalne postavke) asistenta na Odseku za umetnost i dizajn Fakulteta tehničkih nauka Univer- /// ziteta u Novom Sadu Radovi na sceni (autor); Studentska postavka (Mentor) Object Constructors is a multi-functional design studio located in Bel- /// grade. They have an artisan approach to design, but with a contemporary Selena Orb alias Darinka Mihajlović (Aleksandrovac, SFRY, 1988) graduated design style. They have worked on projects from furniture, kitchens and from the Faculty of Applied Arts in Belgrade – theatre costume design. She interiors to conceptual pieces. Aside from working on their own pieces works as a costume and set designer in Serbia and the region, but also and collaborating with other designers and artists, they do custom work for opera in Cologne and Wiesbaden in collaboration with director Beka projects. They also work on exhibitions, installations and other art and Savić. Additionally, her design credits include costume design for films. culture projects. Andreja Georgievski is a furniture designer and found- Besides design work, she is also active in different fields of the visual er of Object Constructors studio. He has received his bachelor degree in art, which sometimes includes collaboration with the different artist, such interior design from the Faculty of Fine Arts in Belgrade, after which he as composers, sculptors, photographers. From 2017 she has been working as started to work in constructing his own designs. Miloje Topisrović re- an Assistant Teacher at the Faculty of Technical Sciences, Art and Design ceived his bachelor degree in interior design from the Faculty of Applied Unit, Department of Architecture and Urban Planning in Novi Sad. Scene Arts in Belgrade. He works in furniture design and processing. technical Work Ahead (author); Student Exhibition (mentor) team (technical production of the National Exhibition) Andrija Pavlović (Beograd, SFRJ, 1980) je muzički umetnik. Završio je 370 371 osnovne studije klavira i specijalističke-postdiplomske studije savremene University of Novi Sad. She pursues piano playing and photography. SeeSaw kamerne muzike (klavirski duo) na Fakultetu muzičke umetnosti Univerziteta (student author) u Beogradu, a zatim i master studije na Visokoj školi za muziku i pozorište u Roštoku (Rostock, Nemačka). Doktorirao je na Fakultetu muzičke umetnosti Vladimir Pejković (Beograd, SFRJ, 1976) je kompozitor/muzičar. U njegovom u Beogradu, na projektu Kvantna muzika. Suosnivač je klavirskog dua „LP radu, pored kamerne muzike, značajno mesto zauzima komponovanje muzike Duo“, jednog od osam najboljih na svetu, koji je izveo više od 300 konce- za pozorište i film. Sarađuje s muzičkim grupama, radi u pozorištu kao rata u Evropi, Aziji i SAD. U najznačajnije projekte ovog dua ubrajaju se muzički direktor, dizajner zvuka i izvođač. Učestvovao je u produkcijama nastupi u dvorani Karnegi hol (Carnegie Hall) u Njujorku, Centar izvođač- u Srbiji i u inostranstvu. Dobitnik je brojnih priznanja, kao i međuna- kih umetnosti „Dž. F. Kenedi“ (John F. Kennedy Center for the Performing rodne nagrade za muziku za TV film. Njegov svestran pristup komponovanju Arts) u Vašingtonu, Nacionalnom univerzitetu u Singapuru, pet recitala u za pozorište ogleda se u različitim stilovima muzike i svim vidovima va- Majamiju (Miami, SAD), izvođenje opere Filipa Glasa (Philip Glass) Deri- rijacija – savremenoj, klasičnoj i elektronskoj muzici, vokalnoj muzici, šta (Les Enfants Terribles), Mantra za dva ring-modulisana klavira, mu- muzici za muzičke grupe, kao i muzici za pozorište za decu, itd. Radovi zičko-scensko delo You Nikola Tesla, kao realizacija pionirskog projekta na sceni (autor) Kvantna muzika u saradnji sa Univerzitetima u Oksfordu, Singapuru i Orhusu /// (Aarhus) i dr. Bio je osnivač i član alternativne pop grupe „Ola Horhe“ Vladimir Pejković (Belgrade, SFRY, 1976) is a composer/musician. In his sa kojom je nastupao širom regiona. Komponovao je muziku za nekoliko po- work, besides chamber music, significant place takes writing music for zorišnih predstava, TV emisija, animiranih filmova i plesnih koreografija. theatre and film. He collaborates with bands, works in theatre as a mu- Aktivno se bavio muzičkim performansom nastupajući samostalno i grupno na sical director, sound designer and a performer. He has been involved in različitim festivalima i izložbama. Suosnivač je manifestacije Festival productions in Serbia and internationally, and has received many awards Belgrade Keyboard Days (2014), u organizaciji udruženja Centar za novu and an international award for composing score for TV film. The versatility umetnost, koje se bavi umetničkom produkcijom i izdavaštvom. Objavio je of his scoring for theatre is represented through the range of different sedam CD izdanja, dva vinilna izdanja i nekoliko digitalnih. Profesor je styles of music and all sorts of variations – contemporary classical and na Novoj akademiji umetnosti u Beogradu i predavač po pozivu širom sveta. electronica, vocal music, band music, music for children theatre, etc. Studentska postavka (Kustos) Scene Work Ahead (author) /// Andrija Pavlović (Belgrade, SFRY, 1980) is a musical artist. He graduat- Aleksandra Pešterac (Bečej, SFRJ, 1984) je arhitekta. Diplomirala je i ed from the basic studies of piano and from the specialist postgraduate doktorirala na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Pomoć- studies of contemporary chamber music (piano duos) at the Faculty of Music nik je rukovodioca Odseka za umetnost i dizajn na Departmanu za arhitek- in Belgrade, and from the master studies at the University of Music and turu, i sekretar Katedre za scenski dizajn. Direktor je Centra za scenski Theatre in Rostock (Germany). He received his PhD degree at the Faculty of dizajn, arhitekturu i tehnologiju - SCEN (OISTAT Centar za Srbiju). Obja- Music in Belgrade, for the project Kvantna muzika (Quantum Music). He is vila je nekoliko radova na međunarodnim konferencijama, kao i u domaćim a co-founder and a pianist of the piano duo “LP Duo” which is among eight časopisima. Koautor je nekoliko nagrađenih projekata iz oblasti arhitek- top piano duos in the world, with more than 300 concerts played in Europe, tonskog projektovanja. Aktivno učestvuje kao autor ili mentor u brojnim Asia and the USA. The most important projects of this duo include perfor- grupnim izložbama i radionicama. Dobitnik je Nagrade „Ranko Radović” 2013. mances in Carnegie Hall in New York, in Kennedy Centre in Washington, NUS godine, kao jedan od autora za projekat Nevidljivi gradovi, u kategoriji University in Singapore, 5 recitals in Miami, the performance of Philip televizijske emisije, izložbe ili multimedijalne prezentcije. Rukovodila Glass’ Opera Les Enfants Terribles, Mantra for two ring-modulated pianos, je pripremom i realizacijom nastupa Srbije na Praškom kvadrijenalu 2015. a musical and performing arts piece You Nikola Tesla, as well as the re- godine, koji je nagrađen Zlatnom medaljom za uspostavljanje dijaloga. Do- alisation of a pioneering project entitled Kvantna muzika (Quantum Music) cent je na Fakultetu tehničkih nauka u Novom Sadu, gde je angažovana na in cooperation with the Oxford, Singapore and Aarhus Universities, etc. He predmetima iz oblasti scenske arhitekture. Direktor nastupa Srbije na PQ19 was a founder and a member of the alternative pop group “Ola Horhe”, with /// which he performed throughout the region. He composed music for several Aleksandra Pešterac (Bečej, SFRY, 1984) is an architect. She received theatre plays, TV programmes, animated films and dance choreographies. He her BA and PhD degrees at the Faculty of Technical Sciences, University actively pursued music performance, when he performed independently and of Novi Sad. She is an assistant to the Head of The Art and Design Unit in groups, at various festivals and exhibitions. He is a co-founder of at the Department of Architecture, and the Secretary of the Scene Design Festival Belgrade Keyboard Days 2014 of the “Centre for New Art” associ- Sub-unit. She is the Director of the Centre for Scene Design, Architecture ation that deals with artistic production and publishing. He published 7 and Technology – SCEN (OISTAT Centre for Serbia). She published several CDs, two records and several digital recordings. He is a professor at the works at international conferences, as well as in domestic papers. She is New Academy of Arts in Belgrade and he gives lectures upon invitations a co-author of several award-winning projects in the field of architectural throughout the world. Student Exhibition (curator) design. She has actively participated as the author or mentor in numerous group exhibitions and workshops. She was awarded the “Ranko Radović” Ema Pavlović (Šabac, SRJ, 1999) je student osnovnih studija Scenske ar- Prize in 2013, as one of the authors of the Nevidljivi gradovi (Invisible hitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerziteta u Cities) project, in the category of television programmes, exhibitions Novom Sadu. Bavi se sviranjem klavira i fotografijom. Ravnoteža (student or multimedia presentations. She managed preparations and realisation of autor) Serbia’s performance at the Prague Quadrennial in 2015 that was awarded /// the Gold Medal for Provoking a Dialogue. She is an Assistant Professor Ema Pavlović (Šabac, SRY, 1999) is a student at the basic studies of Scene at the Faculty of Technical Sciences in Novi Sad, where she works on the Architecture, Technique and Design at the Faculty of Technical Sciences, subjects in the field of scene architecture. Director of Serbia’s Perfor- mance at PQ19 372 373 Zorana Petrov (Beograd, SFRJ, 1976) je diplomirala pozorišnu i filmsku TkH Journal. She presented her work at exhibitions at various galleries scenografiju na Fakultetu primenjenih umetnosti Univerziteta umetnosti u and institutions, and collaborates with many authors and initiatives on Beogradu. Autor je scenografije za brojne pozorišne predstave, filmove, se- artistic, activist and performance art projects. Scene Work Ahead (author) rije, reklame. Pogled na scenu (autor konkursnog rada) /// Lara Popović (Beograd, SFRJ, 1991) se bavi kostimografijom i vizuelnim Zorana Petrov (Belgrade, SFRY, 1976) graduated from the Faculty of Applied umetnostima. Trenutno je student doktorskih naučnih studija Teorije dram- Arts – Department of Theatre and Film Scenography, University of Arts in skih umetnosti, medija i kulture na Fakultetu dramskih umetnosti Univer- Belgrade. She was a set designer of numerous theatre performances, films, ziteta u Beogradu Ravnoteža (student autor) TV series, commercials. A View of the Scene (author of the work submitted /// at the open call) Lara Popović (Belgrade, SFRY, 1991) is a costume designer and a visual artist. She is currently a student at the doctoral scientific studies in Marta Popivoda (Beograd, SFRJ, 1982) je filmska autorka, video umetnica i the Theory of Dramatic Arts, Media and Culture at the Faculty of Dramatic istraživačica. Izlagala u galerijama kao što su Tejt modern (Tate Modern) Arts in Belgrade. SeeSaw (student author) u Londonu i MoMa u Njujorku. Dobitnica je nagrade Berlin Art Prize (AdK) za vizuelne umetnosti. Jovana Rakić (Novi Sad, SFRJ, 1981) je slobodna umetnica koja se bavi ko- Ana Vujanović (Beograd, SRFJ, 1975) je doktorirala teatrologiju, a bavi se reografijom i aktivna je na nezavisnoj sceni (Beograd / Novi Sad). Dobit- istraživanjem, pisanjem, dramaturgijom i edukacijom, s posebnim fokusom nica je stipendija Dance Web, Nomad Dance Academy i Enparts Open Campus, na spajanju kritičke teorije i savremene umetnosti. Mentorka je u Školi za kao i Specijalne nagrade Udruženja baletskih umetnika Srbije za inova- razvoj novog plesa (School for New Dance Development – SNDO) u Amsterdamu. tivnost u savremenom plesu (2015/2016). Koautor je i urednik publikacije Objavila je brojne članke i četiri knjige, od kojih je najnovija Public Šta je to savremeni ples u Srbiji?. Članica je grupe umetnica iz oblasti Sphere by Performance (u koautorstvu sa B. Cvejić). savremenog plesa Pokretnica, jedan od inicijatora festivala Van okvira i Autorke neguju saradničke prakse u umetnosti i istraživanju, između osta- deo tima organizacije Stanica – Servis za savremeni ples. Osim saradnje log i kroz aktivnosti u uredničkom kolektivu Teorija koja hoda. Često sasa društveno marginalizovanim umetnicima, grupama i pojedincima u Srbiji, rađuju u produkciji filmova, video instalacija i predstava. njeni noviji projekti fokusiraju se na stvaralaštvo za decu i rad sa de- Pogled na scenu (autorski tim konkursnog rada) com u kontekstu izvođačkih umetnosti i savremenog plesa. Pogled na scenu /// (autor konkursnog rada) Marta Popivoda (Belgrade, SFRY, 1982) is a filmmaker, video artist and /// researcher. Her works have been exhibited in the galleries such as Tate Jovana Rakić (Novi Sad, SFRY, 1981), a choreographer and a freelance Modern in London and MoMA in New York. She received Berlin Art Prize (AdK) artist, is active on the independent scene (Belgrade/Novi Sad). She has for visual arts. received Dance Web, Nomad Dance Academy and Enparts Open Campus scholar- Ana Vujanović (Belgrade, SRFY, 1975) holds PhD Degree in Humanities – The- ships, and a Special Award for Innovation in Contemporary Dance by the atre Studies, and she is a researcher, writer, dramaturge and lecturer, Association of Ballet Artists of Serbia (2015/2016). She is a co-author focused on bringing together critical theory and contemporary art. She is and editor of the publication Šta je to savremeni ples u Srbiji? (What does a mentor at the School for New Dance Development – SNDO in Amsterdam. She Contemporary Dance Stand for in Serbia?). She is a member of the group of published a number of articles and four books, most recently Pomračenje artists Pokretnica dealing with the field of contemporary dance, one of the javne sfere (Public Sphere by Performance) (with B. Cvejić). initiators of the festival Van okvira (Off Frame) and part of the team of Both authors foster their collaborative practices in art and research, the STATION – Service for Contemporary Dance organisation. In addition to among other things, through the activities in the editorial collective her collaboration with socially marginalised artists, groups and individ- ThK-Walking Theory. They often collaborate in the production of films, vid- uals in Serbia, her recent projects are focused on creativity for children eo installations and performances. and work with children in the context of performing arts and contemporary A View of the Scene (team of authors of the work submitted at the open call) dance. A View of the Scene (author of the work submitted at the open call)

Katarina Popović (Beograd, SFRJ, 1974) deluje u oblasti vizuelnih i izvo- Aleksandar Ramadanović (Valjevo, SFRJ, 1979) je završio studije kamere na đačkih umetnosti, i grafičkog dizajna u kulturi i aktivizmu. Njena praksa Odseku za audio-vizuelne medije Akademije umetnosti u Novom Sadu. Radi kao obuhvata: reinterpretaciju, preispitivanje i proširenje osnovne sintakse direktor fotografije i fotograf; izlaže i sarađuje sa različitim umetnici- štampanih medija, procesni dizajn, interdisciplinarne projekte i kolek- ma, umetničkim kolektivima i inicijativama. Na festivalu Cinema City dobio tivno autorstvo. Bila je član uredničkog kolektiva TkH (Teorija koja Hoda) je nagradu za kameru za film Jesen u mojoj ulici. U svojoj fotografskoj – platforme za umetnost i teoriju (2012-2017), i grafički dizajner časopisa praksi, bavi se istraživanjem prostora fotografije i različitim pristupi- TkH Journal. Predstavljala je svoj rad na izložbama u raznim galerijama ma mediju, stavljajući naglasak na potencijal dokumentarnog zapisa putem i institucijama. Sarađuje sa brojnim autorima i inicijativamana na umet- kojeg tumači svoju neposrednu okolinu. Trenutno je zaposlen kao asistent ničkim, aktivističkim i izvođačkim projektima. Radovi na sceni (autor) na Odseku za nove likovne medije Akademije umetnosti u Novom Sadu. Pogled /// na scenu (autor konkursnog rada) Katarina Popović (Belgrade, SFRY, 1974) works in the fields of visual and /// performing arts and graphic design in culture and activism. Her practice Aleksandar Ramadanović (Valjevo, SFRY, 1979) studied camera at the Depart- includes: re-interpretation, re-examination and expansion of the basic ment of Audio-Visual Media, Academy of Arts in Novi Sad. He works as a pho- syntax of printed media, process design, interdisciplinary projects, col- tography director and photographer; exhibits and cooperates with various lective authorship. She was a member of editorial collective of TkH-Walk- artists, artist collectives and initiatives. At the Cinema City festival, ing Theory – art and theory platform (2012-2017), and graphic designer of he received the camera award for the filmJesen u mojoj ulici (Autumn in My

374 375 Street). In his photography practice, he researches the space of photog- most notably in the Prague Quadrennial of Performance Design and Space in raphy and various approaches to the medium, emphasising the potential of 2015, when he was awarded the Gold Medal for Provoking a Dialogue, as a a documentary record by which he interprets his immediate surroundings. member of the Student Section of the Republic of Serbia. technical team He is currently employed as an assistant at the Department of New Media (team manager; technical production manager of the Student Exhibition) Art, Academy of Arts in Novi Sad. A View of the Scene (author of the work submitted at the open call) Slobodan Danko Selinkić (Beograd, FNRJ, 1952) je arhitekta. Bavi se istra- živanjem arhitekture na tlu Jugoslavije od 1918. do 1990. godine, i Srbije Andreja Rondović (Podgorica, SRJ, 1994) je diplomirala na Fakultetu teh- od 1990. do danas. Predsednik je umetničkog saveta Salona arhitekture u ničkih nauka Univerziteta u Novom Sadu, na Odseku za arhitekturu i urba- Beogradu, kao i mnogih drugih profesionalnih udruženja u Srbiji i Italiji. nizam, smer Scenska arhitektura, tehnika i dizajn, a master studije je Autor je otvorenog projekta My Identity. Bio je komesar Srbije i Crne Gore završila na istom fakultetu, na Odseku za arhitekturu i urbanizam, smer na Bijenalu arhitekture u Veneciji 2004. godine, s projektom ECO-Logic Scenska arhitektura i dizajn (2017). Profesionalno angažovanje na polju Montenegrin lab. Autor je antologije Jedinstvena vizija arhitekture Paola scenografije započinje u januaru 2018. godine radom na predstaviŽak i nje- Portogezija, kao i mnogih izložbi posvećenih arhitekturi u zemlji i regio- gov gospodar u Novom Pazaru, uoči Festivala „Joakim Vujić“. Usledio je rad nu. Objavljivao je u domaćim i svetskim časopisima posvećenim arhitekturi. na predstavama Plavi zec slavi rođendan u Pirotu i Pisma slobodi u Novom Bio je gostujući predavač na univerzitetima u Rimu, Parmi, Ređo Kalabriji Sadu. Njen najnoviji autorski rad je scenografija za predstavu rađenu po i Beogradu. Redovni je profesor Fakulteta tehničkih nauka Univerziteta motivima iz drame Tartif (Sombor), u režiji Igora Vuka Torbice. Pogled na u Novom Sadu, u penziji. Programski savet nastupa Srbije na PQ19 (član) scenu (autor konkursnog rada) /// /// Slobodan Danko Selinkić (Belgrade, FPRY, 1952) is an architect. He deals Andreja Rondović (Podgorica, SRY, 1994) graduated in Scene Architecture, with the research of architecture in the territory of Yugoslavia from 1918 Technique and Design from the Faculty of Technical Sciences, University until 1990, and Serbia from 1990 until today. He is the President of the of Novi Sad. She is currently working on her MA in Scene Architecture and Artistic Council of the Salon of Architecture in Belgrade, as well as of Design at the same Faculty. She began her professional engagement in the many other professional associations in Serbia and Italy. He is the au- field of scenography in January 2018 while working on the playŽak i njegov thor of an open project “MY IDENTITY“. He was the Commissioner of Serbia gospodar (Jacques and his Master) in Novi Pazar, on the eve of “Joakim and Montenegro at the Venice Biennial of Architecture in 2004 with the Vujić” Festival. Then, she worked on the plays Plavi zec slavi rođendan “ECO-Logic Montenegrin Lab” project. He is the author of the anthology (Bunny Blue Celebrates his Birthday) in Pirot and Pisma slobodi (Letters entitled Jedinstevna vizija arhitekture Paola Portogezija (A Unique Vi- to Freedom) in Novi Sad. Her latest authorial work is the stage design for sion of Architecture of Paolo Portoghesi), and of numerous architectural a play based on Moliere’s Tartif (Tartuffe) (the Sombor National Theatre exhibitions in the country and the region. He published his works in do- and Serbian National Theatre in Novi Sad), directed by Igor Vuk Torbica. mestic and international architectural magazines. As a guest lecturer, he A View of the Scene (author of the work submitted at the open call) lectured in Rome, Parma, Reggio Calabria and Belgrade. He is a full-time Professor at the Faculty of Technical Sciences in Novi Sad, in retirement. Vladimir Savić (Novi Sad, SFRJ, 1988) je arhitekta i scenski dizajner. Di- Programme Council of Serbia’s Performance at PQ19 (member) plomirao je arhitekturu na Fakultetu tehničkih nauka Univerziteta u Novom Sadu, gde je završio master studije iz oblasti arhitektonskog i urbani- Branislava Stefanović (Niš, FNRJ, 1958) je rediteljka (pozorište, vi- stičkog projektovanja, a zatim i scenske arhitekture i dizajna. Student deo, zvuk), redovna profesorka i predsedavajuća Umetničkog veća Fakulteta je doktorskih studija scenskog dizajna. Radi kao saradnik na Odseku za dramskih umetnosti Univerziteta umetnosti u Beogradu. Osnovala je i vodi umetnost i dizajn, gde je zadužen za tehničku realizaciju svih nastavnih Laboratoriju za doživljaj zvuka FDU „soba64“. Kao autor i reditelj potpi- i vannastavnih programa. U praksi se bavi pozorišnom i operskom scenogra- suje brojne pozorišne predstave, interdisciplinarne akcije, performanse, fijom. Do sada je sarađivao sa rediteljima Anom Tomović, Nikolom Zaviši- radio-drame, sound art instalacije, kao i pet televizijskih serija i te- ćem, Borisom Liješevićem, Dušanom Mamulom, kao i sa scenografom Željkom levizijski film My voice. Sarađivala je sa većinom profesionalnih pozori- Piškorićem. Svoj rad je predstavio na brojnim izložbama i radionicama, od šta u Srbiji, kao i sa trupom Kugla glumište iz Zagreba. Učestvovala je kojih je najznačajnije učešće na Praškom kvadrijenalu scenskog dizajna i na Dubrovačkim ljetnim igrama, Bitefu, Oktobarskom salonu, festivalima scenskog prostora 2015. godine, gde je kao član studentske sekcije Repu- Mixer, Resonate, Tribini kompozitora i u Galeriji HUB12 Pogled na scenu blike Srbije nagrađen Zlatnom medaljom za pokretanje dijaloga. Tehnički (autor konkursnog rada) tim (Rukovodilac tima; menadžer tehničke produkcije studentske postavke) /// /// Branislava Stefanović (Niš, FPRY, 1958), a director (theatre, video, Vladimir Savić (Novi Sad, SFRY, 1988) is an architect and scene designer. sound), is a full-time Professor and Chair of the Arts Council of the Fac- He graduated in architecture from the Faculty of Technical Sciences in ulty of Dramatic Arts, University of Arts in Belgrade. She has founded and Novi Sad, where he completed the master studies in the field of Architec- manages the Sound Experience Laboratory of the Faculty of Dramatic Arts – tural and Urban Design, and also in Scene Architecture and Design. He is a Room 64. She authored and directed numerous theatre plays, interdisciplin- student at the doctoral study programme of Scene Design. He works as an as- ary actions, performances, radio-dramas, sound art installations, as well sociate at the Art and Design Unit, where he is in charge of the technical as five TV series and TV filmMoj glas (My Voice). She cooperated with most aspect of realisation of all the study and extra-curriculum programmes. of the professional theatres in Serbia, and with the troupe Kugla glumište He works in the field of theatre and opera scenography. So far, hehas (The Sphere Theatre) from Zagreb. She participated in the Dubrovnik Sum- worked with the following directors: Ana Tomović, Nikola Zavišić, Boris mer Festival, Bitef, October Salon, Mixer and Resonate festivals, Review Liješević, Dušan Mamula, as well as with Željko Piškorić, set designer. He of Composers and in the HUB12 Gallery. A View of the Scene (author of the exhibited his works and took part in numerous exhibitions and workshops, work submitted at the open call)

376 377 Veljko Stojanović (Beograd, SFRJ, 1989) je diplomirao na Fakultetu prime- Council (2018); screenwriter and director of the scientific and educational njenih umetnosti u Beogradu na odseku Scenografija. Kao autor scenografije i television series on new technologies entitled U mreži (In the Network), kostima, učestvovao je u mnogobrojnim projektima različitih vrsta izvođač- ten 30 minutes’ episodes that were broadcast in Serbia, Bosnia and Herze- kih umetnosti (pozorište, site specific, ulični performans), kao i u film- govina, and Montenegro (in 2017-2018) and many others. Student Exhibition skim projektima u Srbiji i inostranstvu. Inicijator je nekoliko kulturnih (Curator) akcija i humanitarnih događaja u Beogradu i drugim gradovima u Srbiji. Dobitnik je nagrade Raiffeisen club za mlade umetnike i nagrade ULUPUDS-a Filip Šćekić (Sombor, SRJ, 1994) je student scenske arhitekture, tehnike za izuzetan umetnički doprinos. Pogled na scenu (autor konkursnog rada) i dizajna na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Bavi /// se pozorišnom i filmskom scenografijom, član je DJ duaDve Čađave i osnivač Veljko Stojanović (Belgrade, SFRY, 1989) graduated from the Faculty of brenda Revolver Pullover. Voli dadaizam. Ravnoteža (student autor) Applied Arts, University of Arts in Belgrade, the Scenography study pro- /// gramme. As a stage and costume designer, he participated in numerous proj- Filip Šćekić (Sombor, SRY, 1994) is a student of Scene Architecture, Tech- ects of various types of performing arts (theatre, site specific, street nique and Design at the Faculty of Technical Sciences, University of Novi performance), as well as in film projects in Serbia and abroad. He is an Sad. He deals with scenography in theatre and film, and he is a member of initiator of several cultural actions and humanitarian events in Belgrade the DJ duo Dve Čađave (Two Smoking) and the founder of Revolver Pullover and other towns across Serbia. He received a Raiffeisen Club Reward for brand. He likes Dadaism. SeeSaw (student author) Young Artists and Association of Applied Arts Artists and Designers of Serbia (ULUPUDS) Award for exceptional contribution to art. A View of the Katarina Šijačić (Novi Sad, SRJ, 1995) je apsolvent na studijama arhi- Scene (author of the work submitted at the open call) tekture na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Bavi se fotografijom, a interesuje se za scenografiju na filmu i u pozorištu.Ravno - Mirko Stojković (Beograd, SFRJ, 1971) je diplomirao dramaturgiju na Fakul- teža (student autor) tetu dramskih umetnosti Univerziteta umetnosti u Beogradu, a doktorirao /// audio-vizuelne umetnosti na istom fakultetu. Šef je katedre Dramaturgije Katarina Šijačić (Novi Sad, SRY, 1995) is a graduate student of Architec- i rukovodilac Laboratorije interaktivnih umetnosti Fakulteta dramskih ture at the Faculty of Technical Sciences, University of Novi Sad. She umetnosti u Beogradu. Redovni je profesor Filmske i TV dramaturgije, Dra- pursues photography and is interested in set design in film and theatre. maturgije video igara i Kopirajtinga na osnovnim studijama, kao i Drama- SeeSaw (student author) turgije 3 na doktorskim umetničkim studijama FDU. Predaje i Dizajn scene 5 na Fakultetu tehničkih nauka u Novom Sadu. Redovan je učesnik međunarodnih Tanja Šljivar (Banjaluka, SFRJ, 1988). Diplomirala je i stekla master di- konferencija, gde govori o novim tehnologijama. Član je SRN (Screenwriting plomu iz dramaturgije na Fakultetu dramskih umetnosti u Beogradu, kao i Research Network) i IETM (International network for contemporary perfor- master diplomu iz primenjenih pozorišnih studija na Univerzitetu u Gisenu ming arts). Ima više od 20 godina profesionalnog iskustva u starim i novim (Justus-Liebig-Universität, Geisen) u Nemačkoj. Uglavnom radi kao dramska medijima u Srbiji, Crnoj Gori, Republici Srpskoj, Makedoniji, Mađarskoj, spisateljica, a njene predstave se igraju u pozorištima u Bosni i Hercego- Engleskoj i SAD. Odabrane reference: koautor VR projekta FDU u virtuelnoj vini, Srbiji i Nemačkoj. Pored toga, piše i tekstove za različite formate, stvarnosti (2018); koautor VR iskustva Stroganj, nagrađen prvim mestom na medije, i kontekste, kao što su film, radio, teoretske publikacije, a radi hiperrealističkom hakatonu održanom u Startit centru u Beogradu u orga- i kao dramaturg. Direktor je Drame Narodnog pozorišta u Beogradu Radovi nizaciji Bristol VR Lab i Britanskog saveta (2018); scenarista i režiser na sceni (autor) naučno-obrazovne televizijske serije o novim tehnologijama U mreži, deset /// polučasovnih epizoda emitovanih u Srbiji, Bosni i Hercegovini i Crnoj Gori Tanja Šljivar (Banja Luka, SFRY, 1988) holds both BA and MA degree in (2017–2018), i mnoge druge. Studentska postavka (Kustos) dramaturgy at the Faculty of Dramatic Arts in Belgrade, as well as MA in /// applied theatre science at JLU, Giessen, Germany. She mostly works as a Mirko Stojković (Belgrade, SFRY, 1971) received the BA degree in drama- playwright, with her plays being staged in theatres in Bosnia and Herze- turgy at the Faculty of Dramatic Arts in Belgrade and the PhD degree in govina, Serbia and Germany, but also produces texts for different formats, audio-visual arts at the same Faculty. He is the Head of Dramaturgy De- media, and contexts such as film, radio, theoretical publications and works partment and head of the Interactive Arts Laboratory of the Faculty of as a dramaturge. She works as a director of the Drama Department in the Dramatic Arts in Belgrade. He is a full-time Professor of Film and TV National Theatre in Belgrade. Scene Work Ahead (author) Dramaturgy, Dramaturgy of Video Games and Copywriting in the basic studies, as well as of Dramaturgy 3 at the artistic doctoral studies at the Neda Šorak Krndija (Beograd, SFRJ, 1988) se bavi menadžmentom komunika- Faculty of Dramatic Arts. He also teaches Stage Design 5 at the Faculty cĳa i digitalnom produkcijom I ima pet godina iskustva u marketinškoj i of Technical Sciences in Novi Sad. He is a regular participant of inter- digitalnoj industrĳi. Završila je Univerzitet umetnosti u Beogradu, smer national conferences, as a speaker on new technologies. He is a member of Menadžment i produkcija na radiju, pozorištu i kulturi na Fakultetu dram- the SRN (Screenwriting Research Network) and IETM (International Network skih umetnosti. Aktivna je u nekoliko organizacija i najčešće radi na for Contemporary Performing Arts). He has gained more than 20 years of poziciji komunikacijske menadžerke i izvršne producentkinje na projektima professional experience in traditional and new media in Serbia, Montene- kulturnih događaja, istraživanja, izložbi i festivala. Učestvovala je u gro, Republic of Srpska, Macedonia, Hungary, England and the USA. Selected mnogim projektima i programima u Srbiji, Bosni i Hercegovini, Hrvatskoj, references: co-author of VR project FDU u virtuelnoj stvarnosti (Faculty Nemačkoj, Švajcarskoj i Austriji. Fokusirana je na rad u domenu razvoja of Dramatic Arts in Virtual Reality) (2018); co-author of the VR experi- društveno odgovornih, marketinških i digitalnih strategĳa. Produkcijski ence Stroganj (Stroganj), that won the first place in the Hyper-reality tim (član) hackathon in Startit Beograd, organised by Bristol VR Lab and British ///

378 379 Neda Šorak Krndija (Belgrade, SFRY, 1988) is a communications manager and – kolektivni prodor (Ana Zorić, Miloš Kostić, Desirée Tilinger i Jovana digital producer with 5 years of professional experience in marketing and Vidaković) i Prostorne recapture (Tihimor Dičić, Fedor Jurić i Bogdan digital industry. She graduated from the University of Arts in Belgrade, Đokić). Zorić, Kostić, Tilinger, Vidaković, Dičić, Jurić i Đokić, di- Department of Management and Production in Theatre, Radio and Culture at plomci su i studenti na daljem usavršavanju na Arhitektonskom fakultetu the Faculty of Dramatic Arts. She is an active member of several organi- Univerziteta u Beogradu s bogatim izlagačkim iskustvom i priznanjima, a sations, and most often works as a communications manager and executive učestvovali su i na konkursima i radionicama. Pogled na scenu (autorski producer on projects relating to cultural events, research, exhibitions tim konkursnog rada) and festivals. She worked on numerous projects and programmes in Serbia, /// Bosnia and Herzegovina, Croatia, Germany, Switzerland and Austria. She is Urbanium is a team of architects (Natalija Bogdanović, Marija Simović, focused on the work in the domain of development of socially responsible, Aleksa Đurić and Petar Simović) who deal with architecture from different marketing and digital strategies. production team (member) perspectives – from the perspective of architectural practice, design production, education in higher education institutions, and who treat archi- Marija Šumarac (Beograd, SRJ, 1995) je dizajnerka zvuka, trombonistkinja i tecture as an activist practice. This team is joined by the authors of the kompozitorka. Završila je osnovne studije na Fakultetu dramskih umetnosti work Konektor – kolektivni prodor (Connector – Collective Breakthrough) Univerziteta umetnosti u Beogradu, na Katedri za snimanje i dizajn zvuka, (Ana Zorić, Miloš Kostić, Desirée Tilinger and Jovana Vidaković) and O gde je trenutno na master studijama. Bavi se dizajnom zvuka za film, tele- javnim prostorima ispočetka (About Public Spaces – from the Beginning) viziju, pozorište i video igre. Ravnoteža (student autor) (Tihomir Dičić, Fedor Jurić and Bogdan Đokić). Zorić, Kostić, Tilinger /// and Vidaković are graduates from the Faculty of Architecture, University Marija Šumarac (Belgrade, SRY, 1995) is a sound designer, a trombone play- of Belgrade, who currently attend their post-graduate studies at the same er and a composer. She graduated from the basic studies at the Faculty Faculty. They have rich exhibiting experience and have earned recognition, of Dramatic Arts, Department of Sound Recording and Design, and she is and they also participated in many competitions and workshops. A View of currently attending the master studies at the same Department. She works the Scene (team of authors of the work submitted at the open call) as a sound designer for film, television, theatre and video games. SeeSaw (student author) Igor Vasiljev (Pula, SFRJ, 1973) je diplomirao i stekao master diplomu iz scenografije na Fakultetu primenjenih umetnosti u Beogradu. Radio je Aleksandra Tatić (Novi Sad, SRJ, 1993) je studentkinja Fakulteta tehničkih kao scenograf na više od sedamdeset pozorišnih predstava u Srbiji, Hr- nauka Univerziteta u Novom Sadu na smeru Scenska arhitektura, tehnika i vatskoj, Crnoj Gori, Bosni i Hercegovini, Sloveniji, Velikoj Britaniji i dizajn. Članica je tehničkog tima od školske 2016/2017. godine, u okviru Danskoj. Na nekima od njih radio je i video dizajn i/ili dizajn kostima. čega se bavi dizajnom prostora za različite događaje u Scenskoj labora- Scenografije za predstaveUjka Vanja i U znaku vage objavljene su u knjizi toriji „Borislav Gvojić“. Učestvovala je i volontirala na projektima i Spektakularne scenografije (SendPoints, 2015). Izlagao je na Praškom kva- radionicama Rethink the night, Fluid dizajn forum i Impuls festival, kao i drijenalu 1999. godine. Zajedno sa režiserkom Petrom Berg predvodi ABER izložbama Prostorni mehanizmi, Aida, Sedam glasnika, Grad od peska, Koja DABEI – međunarodni kolektiv izvođačkih umetnosti sa sedištem u Danskoj. je tvoja (s)cena. Bila je selektorka i producentkinja glavnog pozorišnog Bavi se istraživanjima u oblasti digitalnih umetnosti, fotografije i elek- programa IMPULS festivala 2019. godine i deo studentskog tima koji je troakustične muzike. Radovi na sceni (autor) osmislio i realizovao dizajn svetla za novogodišnji program 2018. godi- /// ne na Trgu slobode u Novom Sadu. Učestvuje u nastavi kao demonstrator od Igor Vasiljev (Pula, SFRY, 1973) holds MA in Scenography from the Faculty 2017. godine. Nacionalna postavka (istraživač) of Applied Arts in Belgrade. Worked as a scenographer on more than seventy /// theatre performances, produced in Serbia, Croatia, Montenegro, Bosnia and Aleksandra Tatić (Novi Sad, SRY, 1993) is a student at the Faculty of Hercegovina, Slovenia, Great Britain and Denmark, some of which include Technical Sciences, Department of Scene Architecture, Technique and Design video and/or costume design. Designs for Ujka Vanja (Uncle Vanya) and U in Novi Sad. She is a member of the Technical Team since the school year znaku vage (In the Sign of Libra) published in the book Spektakularne sce- of 2016/2017, where she works on spatial design in the Scene Laborato- nografije (Spectacular! Stage Design) (SendPoints, 2015). Exhibited at the ry Borislav Gvojić for various events. She took part and volunteered in Prague Quadrennial 1999. Together with director Petra Berg he heads ABER projects and workshops Rethink the Night, Fluid Design Forum and Impuls DABEI – an international performing arts collective based in Denmark. He Festival, as well as in the exhibitions Prostorni mehanizmi (Spatial Mech- is exploring in the field of digital arts, photography and electroacoustic anisms), Aida (Aida), Sedam glasnika (Seven Messengers), Grad od peska music. Scene Work Ahead (author) (The City of Sand), Koja je tvoja (s)cena (What is Your Scene/Price). She was the selector and the producer of the main theatrical programme of the Jelena Veljković (Niš, SFRJ, 1990) završila je osnovne studije ahitek- Impuls Festival in 2019. She was a member of the students’ team that con- ture na Građevinsko-arhitektonskom fakultetu Univerziteta u Nišu. Master ceived and realised light design for the New Year’s programme in 2018 in diplomu inženjera arhitekture stekla je na Fakultetu tehničkih nauka u Trg slobode (Liberty Square) in Novi Sad. She has been working as a student Novom Sadu, na smeru Dizajn enterijera, gde sada pohađa doktorske studije demonstrator since 2017. National Exhibition (researcher) arhitekture. Trenutno je angažovana na naučno-istraživačkom projektu Teh- ničko-tehnološko stanje i potencijali objekata domova kulture u Republici Urbanium čini tim arhitekata (Natalija Bogdanović, Marija Simović, Aleksa Srbiji na Departmanu za arhitekturu i urbanizam, Fakulteta tehničkih nauka Đurić i Petar Simović) koji se arhitekturom bave sa različitih stanovi- Univerziteta u Novom Sadu. U toku svog dosadašnjeg školovanja istakla se šta: iz ugla arhitektonske prakse, projektantske produkcije, edukacije nagradom za grupni rad na konkursu u oblasti urbanizma u Dimitrovgradu, u institucijama visokog obrazovanja, a koji arhitekturu tretiraju i kao kao i pohvalama na godišnjoj izložbi studentskih radova Društva arhitekata aktivističku praksu.. Ovom timu pridružili su se i autori radova Konektor iz Niša i izlaganjem timskog rada na XXII međunarodnom salonu urbanizma. Nacionalna postavka (istraživač) 380 381 /// Dragana Vilotić (Novi Sad, SFRJ, 1980) je arhitekta i scenski dizajner. Od Jelena Veljković (Niš, SFRY, 1990) graduated from the basic studies in 2006. do 2014. godine radila je kao projektant u arhitektonsko-građevin- architecture at the Faculty of Civil Engineering and Architecture in Niš. skim projektima i vršila je nadzor tokom njihovog izvođenja. Godine 2016, She got her master degree of an architectural engineer at the Faculty of sa grupom studenata je izradila idejni projekat Mobilnog kulturnog centra Technical Sciences in Novi Sad, Department of Interior Design; she is now za udruženje „Novo kulturno naselje“. Autor je dizajna prostora za dva no- attending the doctoral studies in architecture at the same Department. vogodišnja koncerta na Trgu slobode u Novom Sadu u organizaciji Fondacije She is currently working as an internship researcher on the scientific „Novi Sad 2021”. Bila je saradnik na scenografiji za nekoliko predstava and research project Tehničko-tehnološko stanje i potencijali objekata u nacionalnim teatrima. Jedan je od urednika rubrike „Scenski dizajn” u domova kulture u Republici Srbiji (Technical and Technological Condition okviru nacionalnog časopisa za pozorišnu umetnost Scena. Bila je generalni and Potentials of Community Cultural Centre Buildings in the Republic of direktor projekta Nacionalnog nastupa Srbije na Praškom kvadrijenalu 2015. Serbia) at the Department of Architecture and Urban Planning of the Fac- godine. Doktorant je na studijama scenskog dizajna u okviru kojih istra- ulty of Technical Sciences in Novi Sad. During her schooling so far, her žuje temu prikazivanja Adama i Eve u umetnosti na prelazu iz treće u če- most notable successes include the prize for the group work submitted in tvrtu industrijsku revoluciju. Od 2014. godine radi kao asistent na Odseku the competition in the field of urban planning in Dimitrovgrad, as well as za umetnost i dizajn, na Departmanu za arhitekturu i urbanizam Fakulteta commendations in the annual exhibition of student works awarded by the tehničkih nauka Univerziteta u Novom Sadu Studentska postavka (Mentor) Association of Niš Architects and exhibiting of the team work at the 22nd /// International Salon of Urban Planning. National Exhibition (researcher) Dragana Vilotić (Novi Sad, SFRY, 1980) is an architect and scene designer. In 2006-2014, she worked as a designer and supervisor of architectural Srđan Veljović (Beograd, SFRJ, 1968) je fotograf i konceptualni dokumenta- and construction projects. In 2016, with a group of students, she prepared rista. Završio je Elektrotehnički fakultet Univerziteta u Beogradu. Član the conceptual design for the Mobile Cultural Centre for Association Novo je ULUS-a. Bavi se problemom identiteta i njegovog uspostavljanja kao kulturno naselje. She is the author of the exterior design for two New polja konstituisanog izvana, istražujući mesta prelaženja granice koja Year’s concerts in Trg slobode (Liberty Square) in Novi Sad, organised by ga definiše. Realizovao je projekte Arhitektura i fašizam, Lep život kao Foundation “Novi Sad 2021”. She was a collaborator on the set design for eksces, Nebo, Granice roda, Ekonomija moći heteroseksualne veze, Koliko several plays in national theatres. She is one of the editors of the Scene visoko je bezbedno, Nož žica, Umeće tranzicije, Transponovanje – Džoni Design column of the national magazine for theatrical arts called Scena Racković, Mnoštva, Tehno – pozicije potkulture, Moguća mesta solidarno- (Scene). She was the General Manager of the Serbian National Participation sti, Muzeji i još poneko mesto sećanja, Jarboli, Industrija, Fotografije, Project at the Prague Quadrennial in 2015. She is a student at the PhD portreti, Bioskopi u kulturi sećanja, 20-25-29, Das Unheimliche koncept studies in arts of scene design, where she explores the topic of repre- kao praktična alatka, Devedesete, Kultivacija komodofikacija, Migracije sentations of Adam and Eve in arts during the transitional period between destinacije. Izlagao je svoje radove na grupnim i samostalnim izložbama u the third and the fourth industrial revolutions. Since 2014, she has been Srbiji, Makedoniji, Hrvatskoj, Bosni, Sloveniji, Rumuniji, Albaniji, Au- working as an Assistant at the Art and Design Unit at the Department of striji, Nemačkoj i Sjedinjenim Američkim Državama. Pogled na scenu (autor Architecture and Urban Planning of the Faculty of Technical Sciences in konkursnog rada) Novi Sad. Student Exhibition (mentor) /// Srđan Veljović (Belgrade, SFRY, 1968), a photographer and conceptual doc- Stanislava Vučetić (Sombor, SRJ, 1995) je odrasla u Apatinu. Diplomirala umentarist, graduated from the Faculty of Electrical Engineering, Univer- je arhitekturu na Fakultetu tehničkih nauka Univerziteta u Novom Sadu sa sity of Belgrade. He is a member of ULUS (The Association of Fine Artists temom Centar za fotografiju: transformacija prostora i programa vile Ajken of Serbia). He deals with the problem of identity and its establishment u Novom Sadu, pod mentorstvom dr Tatjane Babić. U radu je objedinila neko- as a field constituted from the outside, exploring the limits of trans- liko aktuelnih disciplina/tema: arhitektonsko projektovanje, graditeljsko gression that defines him. He realised the following projects:Arhitektura nasleđe, umetnost i fotografiju. Nakon završetka osnovnih studija, upisa- i fašizam (Architecture and Fascism), Lep život kao eksces (A Good Life la je master studije na istom fakultetu, smer Digitalne tehnike, dizajn as an Excess), Nebo (Heaven), Granice roda (The Boundaries of Gender), i produkcija u arhitekturi i urbanizmu. Interesovanje za arhitekturu, Ekonomija moći heteroseksualne veze (Economy of Power within Heterosexual umetnost i fotografiju razvila je još u dečjim danima, dok se fotografijom Relationships), Koliko visoko je bezbedno (What is a Safe Altitude), Nož aktivnije bavi tek tokom studija. Od oktobra 2018. godine saradnik je na žica (Blade Wire), Umeće tranzicije (Arts of Transition), Transponovanje – predmetima Uvod u arhitektonski dizajn 1 i Uvod u studije scenske arhitek- Džoni Racković (Transposing – Johnny Racković), Mnoštva (Multitude), Tehno ture, a od 2017. godine je i aktivni član Foto tima Scenske laboratorije – pozicije potkulture (Techno – Positions of Subculture), Moguća mesta „Borislav Gvojić“. Foto tim (član) solidarnosti (Chance of Solidarity), Muzeji i još po neko mesto sećanja /// (Museums and More by a Place of Memories), Jarboli (Jarboli), Industrija Stanislava Vučetić (Sombor, SRY, 1995) grew up in Apatin, Serbia. She re- (Industria), Fotografije (Photographs), Portreti (Portraits), Bioskopi u ceived her BA degree in architecture at the Faculty of Technical Sciences kulturi sećanja (Cinemas in the Culture of Memory), 20-25-29 (20-25-29), in Novi Sad, with the thesis Centar za fotografiju: Transformacija prostora Das Unheimliche koncept kao praktična alatka (Das Unheimliche Concept i programa vile Ajken u Novom Sadu (Centre for Photography: Transformation as a Practical Tool), Devedesete (The 1990s), Kultivacija komodofikacija of Space and Programme of Ajken Villa in Novi Sad), mentor Tatjana Babić, (Cultivation/Commodification), Migracije destinacije (Migrations/Destina- PhD. In her work, she unites several contemporary disciplines/topics – tions). He exhibited his works at group and solo exhibitions in Serbia, architectural design, structural heritage, arts and photography. When she Macedonia, Croatia, Bosnia, Slovenia, Romania, Albania, Austria, Germany graduated from her basic studies, she took up a master study course at the and the United States of America. A View of the Scene (author of the work same Faculty – Digital Techniques, Design and Production in Architecture submitted at the open call) and Urban Planning. She developed her interests in architecture, arts and

382 383 photography when she was a child, and took up photography more actively atia), Meetings of Professional Theatres of Vojvodina, Meetings of Pro- when she was a student. Since October 2018, she has worked as an assistant fessional Puppet Theatres of Serbia, TIBA (Theatre International Belgrade teaching staff member for the Introduction to Architectural Design 1 and Adventure) Festival, Festival of Theatre for Children (Kotor, Montene- Introduction to the Studies of Scene Architecture; since 2017, she has gro), ASSITEJ (International Association of Theatre for Children and Young been an active member of the photo team of the Scene Laboratory Borislav People) Festival in Croatia (Čakovec, Croatia), “Stobi” Antique Drama Gvojić. photo team (member) Festival (Macedonia), Theatre Fest “Petar Kočić” (Banja Luka, Bosnia and Herzegovina) and Days of Comedy (Jagodina). A View of the Scene (author Aleksandra Vučković (Novi Sad, SRJ, 1997) je student osnovnih studija of the work submitted at the open call) Scenske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Uni- verziteta u Novom Sadu. Bavi se dizajnom svetla, poezijom i muzikom. Rav- noteža (student autor) /// Aleksandra Vučković (Novi Sad, SRY, 1997) is a student at the basic studies of Scene Architecture, Technique and Design at the Faculty of Techni- cal Sciences, University of Novi Sad. She pursues her interests in light design, poetry and music. SeeSaw (student author)

Nađa Vukorep (Novi Sad, SRJ, 1997) je student osnovnih studija Scenske arhitekture, tehnike i dizajna na Fakultetu tehničkih nauka Univerziteta u Novom Sadu. Od druge godine studija postala je član studentskog tehnič- kog tima, zaduženog za realizaciju svih programa u Scenskoj laboratoriji „Borislav Gvojić“. Aktivno učestvuje u sekciji za dizajn svetla. Bila je učesnik projekta BITI (Ljubljana, Slovenija), radionica za glumu i video, kao i projekta Rethink the Night (Makrinitza, Grčka). Tehnički tim (član) /// Nađa Vukorep (Novi Sad, SRY, 1997) is a student at the basic studies of Scene Architecture, Technique and Design at the Faculty of Technical Sci- ences. When she was a second year student, she became a member of the student technical team, which is in charge of the realisation of all the programmes in the Scene Laboratory Borislav Gvojić. In addition, she is actively participating in the activities of the light design section. She took part in the realisation of project BITI (Ljubljana, Slovenia), of the workshops for acting and video, as well as of the project Rethink the Night (Makrinitsa, Greece). technical team (a member)

Nikola Zavišić (Bela Crkva, SFRJ, 1975) je reditelj, dramaturg i dizajner svetla. Iskustvo asistenture A. J. Vajsbardu (A. J. Weissbard), dizajneru svetla na predstavama reditelja Roberta Vilsona (Robert Wilson; opera Osud Leoša Janačeka, Narodno pozorište, Prag), trajno ga usmerava ka istraži- vanju upotrebe svetla u pozorištu. Režirao je u Srbiji, Sloveniji, Crnoj Gori, Bosni i Hercegovini, Hrvatskoj, Rusiji, Češkoj, Nemačkoj i Holan- diji. Pozorišna priznanja za svoj rad dobija i na sledećim festivalima: Zlatni lav (Umag, Hrvatska), Susreti profesionalnih pozorišta Vojvodine, Susreti profesionalnih lutkarskih pozorišta Srbije, TIBA festival, Festi- val pozorišta za djecu (Kotor, Crna Gora), Festival ASSITEJ-a (Association Internationale du Théâtre de l’Enfance et la Jeunesse) Hrvatske (Čakovec, Hrvatska), Festival antičke drame „Stobi“ (Makedonija), Teatar fest „Pe- tar Kočić“ (Banja Luka, Bosna i Hercegovina) i Dani komedije (Jagodina). Pogled na scenu (autor konkursnog rada) /// Nikola Zavišić (Bela Crkva, SFRY, 1975) is a director, dramaturge and light designer. His experience of assisting A. J. Weissbard, a light designer, on the performances directed by Robert Wilson (opera Destiny by Leoš Janáček, The National Theatre, Prague), has permanently directed him towards researching the use of light in the theatre. He directed in Ser- bia, Slovenia, Montenegro, Bosnia and Herzegovina, Croatia, Russia, the Czech Republic, Germany and the Netherlands. He also received theatrical awards for his work at the following festivals: Golden Lion (Umag, Cro-

384 385 Dušan Savić, Vanja Seferović, Tamara Spalajković; Jelena Janković; Samo(iz)gradnja: Karkatag Kolektiv Republika Srbija na Praškom kvadrijenalu scenskog dizajna i scenskog / Karkatag Collective; Marko Milić; grupa autora / group prostora 2019. of authors Sonja Jankov, Đina Prnjat, Janž Ormezu i/and Nemanja Mitrović; Sofija Mitrović; Igor Koruga i/and Maja Pelević; Zorana Petrov; Jovana Rakić; Aleksandar Ramadanović; Andreja Rondović; Branislava Stefanović; Self(up)bringing: Urbanium Republic of Serbia at the Prague Quadrennial of Performance Design and Veljko Stojanović; – centar za istraživanja i održivi razvoj u Space 2019 arhitekturi i urbanizmu / Urbanium – centre for research and sustainable development in architecture and urban planning: Natalija Bogdanović, Organizatori nastupa / Organisers: Marija Simović, Aleksa Đurić, Petar Simović, Tihomir Dičić, Fedor Jurić, Muzej primenjene umetnosti, Beograd/Museum of Applied Art, Belgrade i/and Bogdan Đokić, Ana Zorić, Miloš Kostić, Desirée Tilinger, Jovana Vidaković; Scen – Centar za scenski dizajn, arhitekturu i tehnologiju (OISTAT Centar Srđan Veljović; Marta Popivoda i/and Ana Vujanović; Nikola Zavišić. za Srbiju), Fakultet tehničkih nauka Univerziteta u Novom Sadu, Novi Sad/ Scen – Centre for Scene Design, Architecture and Technology (OISTAT Centre Istaživači na projektu nacionalne postavke / for Serbia), Faculty of Technical Sciences, University of Novi Sad Researchers for the National Exhibition: Aleksandra Tatić i/and Jelena Veljković Pokrovitelj / Supported by: (Pogled na scenu) Ministarstvo kulture i informisanja Republike Srbije / Video montaža radova sa konkursa / (A View of the Scene) Ministry of Culture and Information of the Republic of Serbia Video editing of competition works : Jelena Maksimović Programski savet / Programme Council: Ljiljana Miletić Abramović, Tatjana Dadić Dinulović, Slobodan Danko Mentorski tim studentske postavke / Mentoring team of the Student Exhibition: Selinkić, Milica Cukić i/and Dobrivoje Milijanović Selena Orb (alias Darinka Mihajlović), Draško Adžić i/and Dragana Vilotić

Komesari nastupa / Commissioners: Autorski tim studentske postavke / Student authors: Ljiljana Miletić Abramović i/and Tatjana Dadić Dinulović Lara Bunčić, Nikola Isaković, Maja Ivanović, Bojan Kaurin, Jovana Matić, Đorđe Nešović, Ema Pavlović, Lara Popović, Filip Šćekić, Katarina Šijačić, Kustosi nacionalne postavke / Curators of the National Exhibition: Marija Šumarac i/and Aleksandra Vučković Bojan Đorđev, Siniša Ilić i/and Maja Mirković Konsultant za studentsku postavku / Student Exhibition consultant: Kustoski tim studentske postavke / Pavle Dinulović Curatorial Team of the Student Exhibition: Romana Bošković Živanović, Mirko Stojković, Zora Mojsilović, Deneš Debrei, Produkcijski tim / Production team: Milena Kordić i/and Andrija Pavlović Dragana Jovović i/and Udruženje Umetnički rad, Beograd / UAL United Artist Labor, Belgrade (izvršna produkcija nacionalne postavke / National Direktor nastupa / Project Manager: Exhibition executive production); Aleksandra Lozanović (izvršna produkcija Aleksandra Pešterac studentske postavke / Student Exhibition executive production); Janko Dimitrijević, Neda Šorak Krndija i/and Anđa Brstina Pomoćnik direktora nastupa / Assistant Project Manager: Bojana Nikolić Tehnički tim / Technical team: Object Constructors (tehnička produkcija nacionalne postavke / National Direktor produkcije nastupa / Production Manager: Exhibition technical production); Srpsko narodno pozorište u Novom Sadu Andrija Dinulović / Serbian National Theatre, Novi Sad (tehnička produkcija studentske postavke / Student Exhibition technical production); Vladimir Savić Radovi na sceni, autori / Scene Work Ahead, authors: (menadžer tehničke produkcije studentske postavke / Student Exhibition Milutin Dapčević, Mirjana Dragosavljević, Dušica Dražić, Selena Orb, technical production manager); Igor Ljubić, Milena Grošin i/and Nađa Vladimir Pejković, Katarina Popović, Igor Vasiljev i/and Tanja Šljivar Vukorep

Pogled na scenu, umetnici i umetnički kolektivi / Supervizor tehničke realizacije nastupa / Technical production supervisor: A View of the Scene, artists and artistic collectives: Vladimir Ilić Mia David; Granična lepota / Borderline Beauty: Izvanredni Bob / The Exceptional Bob, Stevan Bodroža, Goran Milenković, Željko Maksimović, Statički proračun nacionalne postavke / Tamara Pjević i/and Petar Mirković; Nikola Isaković; Institut za aplauz / National Exhibition static analysis and report: The Applause Institute: Stevan Beljić, Luka Cvetković, Stefan Knežević, Milomir Mitrović Katarina Kostandinović, Milan Nasković, Kristina Nikolić, Jakov Ponjavić,

386 387 Tehnička razrada nacionalne postavke / National Exhibition technical elaboration: Jelena Veljković

Tehnička razrada studentske postavke / Student Exhibition technical elaboration: Vladimir Savić, Igor Ljubić, Milena Grošin i/and Nađa Vukorep

Produkcija kataloga / Catalogue production: Bojana Nikolić

Fotografije u katalogu / Photographs in the catalogue: Ivanino DaVillano Đukić, Ivan Hrkaš, Siniša Ilić, Luka Knežević Strika, Nemanja Knežević, Andreja Leko, Katarina Popović, Nenad Porobić, Muzej Jugoslavije / Museum of Yugoslavia, BITEF, Narodni muzej u Beogradu / National Museum Belgrade, Foto arhiva Srpske filmske asocijacije / Photo archive of Serbia Film Commission, Slobodan Pikula, Vesna Pavlović, časopis Nasleđe / Nasleđe (Heritage) Magazine, Sterijino pozorje, Stanislava Vučetić, Dragana Vilotić. i fotografi potpisani u okviru prikaza radova sa konkursa Pogled na scenu / and photographers signed for the works selected at the open call A View of the Scene.

Foto-tim nastupa / Photo team: Nemanja Knežević (rukovodilac / manager), Ivanino DaVillano Đukić i/and Stanislava Vučetić

Zahvaljujemo se / Acknowledgements: Srđan Atanasovski, Vesna Bogunović, Goran Ferčec, Miloš Jovanović, istraživačka grupa / research group Empires of Memory, Jelena Knežević, Jelena Kovačević, Bojan Lukić, Mauzolej moderne umetnosti / Mausoleum of Modern Art, Spomenka i/and Aleksandar Milošević, Sofija i/and Dora Mitrović, Jovana Nedeljković, Lovro Rumiha i/and Ana Salopek, Saša Senković, Vladimir Paunović, Jasmina Petković, Kulturni centar Beograda / Cultural Centre of Belgrade, kao i institucijama kulture koje su omogućile pristup svojim arhivama / as well as all cultural institutions which allowed access to their archives.

Posebno hvala / Special thanks to:

388 CIP - Каталогизација у публикацији Библиотека Матице српске, Нови Сад

792.021(497.11)”2019” 7.038.53:792(497.11)”2019”

SAMO(IZ)GRADNJA : Republika Srbija na Praškom kvadrijenalu scenskog dizajna i scenskog prostora 2019. = Self(up)bringing : Republic of Serbia at the Prague Quadrennial of Performance Design and Space 2019 / [urednice Ljiljana Miletić Abramović, Tatjana Dadić Dinulović ; prevod na engleski jezik Dragana Rašić Vuković]. - Beograd : Muzej primenjene umetnosti ; Novi Sad : SCEN - Centar za scenski dizajn, arhitekturu i tehnologiju, 2019. - 390 str. : ilustr. ; 16 x 23 cm

Sistemski zahtevi: Nisu navedeni. - Dostupno i na: http://www.scen.uns.ac.rs/. - Uporedo srp. tekst i engl. prevod. - Nasl. sa naslovnog ekrana

ISBN 978-86-6022-205-5

1. Уп. ств. насл. a) Сценски дизајн - Србија - 2019 COBISS.SR-ID 330667015