SADRŽAJ CONTENT SMRT UETNOSTI, ŽIVELA UETNOST DEATH TO ART, LONG LIVE ART SMRT UMETNOSTI ŽIVELA UMETNOST 11 A B I - is interpretacije, polju na Najzad, 1 dgovor na pitanje šta je okupilo kustosko-selektorski tim 19.og Bijenala tim 19.og Bijenala kustosko-selektorski šta je okupilo pitanje na dgovor Bijenala. ovog koncepta je i definicija istovremeno u Pančevu, umetnosti i odbaciti, zaboraviti sme ne je ideja nas da se prošlost okupila Naime, postavlja se da vera tih autora u snagu umetnosti poziva na drugačiju interpretaciju interpretaciju drugačiju na poziva umetnosti u snagu se tih dapostavlja vera autora tih umetnika. radova iako je to, čini se, globalna težnja učesnika današnje umetničke scene. Mladih scene. - umet umetničke učesnika današnje čini se, globalna težnja jeiako to, i jepitanje složeno naravno, pamćenja, vredno u prošlosti jeto Šta nika posebno. ka vodili bi Različiti kriterijumi jedan od je samo izbor naš niz mogućih odgovora. umetnika vera iskrena bio je vodeći a naš izborima, sasvim kriterijum različitim je pojedince vodila koja vera uopšte, sa vezu životom i njenu umetnosti u snagu iz brisanju ka nezasluženom često vrlo i okruženjem sasvojim borbama teškim ka jer iz lokalnih pregleda uglavnom je zanimljivo, što tom, Pri pregleda. istorijskih bile pojave te su scene upravo umetničke odnosno međunarodne u očima svetske - stalnim pre su prakseoznačene umetničke nastale Tako pamćenja. jedinevredne jer u očima tih je sa životom spajajući umetnosti, i smisla značenja ispitivanjem osnovu Na bilo. nikad umetnosti nije i domena između ličnih granice života autora tragajući produkcije umetnika izbor savremene smo napravili kriterija navedenih Za nas generacija. prethodnih sa dijalogu u dostignućima su koji autorima za onim je ono nego vremenima, prošlim za nekim tugu potencira ne ka istoriji okretanje i da na osnovu se sadašnjost da se rekonfiguriše za načinom traganju na zasnovano iskoraci. novi načine prethodnog poznavanja , nastao u , nastao Consequences Its Has Always Art pod nazivom: projekat opsežan sproveden je cilju 1 U ovom (Lodz) Sztuki i What, Muzeum (Budapest), Sad), tranzit.hu (Novi new media center_kuda.org saradnji (Zagreb). Whom/WHW & for How Moguća putanja radikalnih umetničkih praksi regionu u našem O ▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶ Art Always Has Its Consequences Consequences Its Has Always Art ...vodeći kriterijum bio je je bio ...vodeći kriterijum umetnika vera iskrena vezu i njenu umetnosti snagu u sa životom vera uopšte, koja je pojedince vodila ka teškim okruženjem sa svojim borbama ka nezasluženom često i vrlo pregleda. iz istorijskih brisanju

Ivana BašičevićIvana Antić

Ljubomir Micić, 1925. Micić, Ljubomir SRT UETNOSTI. ŽIVELA ŽIVELA SRT UETNOSTI. UETNOST SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 10 12

SMRT UMETNOSTI ŽIVELA UMETNOST Foundation Photo: Courtesy of Ilija&Mangelos , 1951-1956, acrylic-wood Mangelos, Glagolitic letter C,m.5, Fondacije Foto: ljubaznošću Ilija&Mangelos tabla, 1951-1956, akril-drvena Mangelos, Glagoljsko slovo C,m.5,

Od AvangardeOd do Arkadije , Clio, 2000,str.3,4 Beograd, religioznim,sa građanskim imalograđanskim vrednostima.” Irina Subotić, izrazitom kritikom društvene ipolitičke situacije, nemilosrdnim obračunom dokraja avangardističkim početka od obeleženog ali nika, raspoloženjem, merenja, različite tipografije ilikovnih rešenja, neujednačenogsastava sarad - Objavljeno raznorodnog Zenita, boja četrdesetitri idejnog je istilskog us- zabranjen teksta zbog drM.Rasinova Zenitizam kroz prizmu marksizma. aprila od 1924.dodecembrau Beogradu 1926.godine, definitivno je kada problema,nih izlazio sudskih ipolicijskih Zagreba osuda, kaoizbog posle 2 “Zenit, koji povremenim je, sa zastojima organizacionih zbog imaterijal- Vladimir Tatljin (Tatlin), Kazimir Maljevič, Moholji-Nađ Laslo priznanje: Lisitski, El Aleksandar Arhipenko (Archipenko), čija umetnostniza umetnika je vremenom doživela vrhunsko (Marinetti), Kazimira Maljeviča, kao ireprodukcije radova Kandinskog,ja Lizitskog El Lissitzky), (El F.T. Marinetija u širem smislu, koji prenosio je tekstove autora poput Vasili informatora onajnovijim zbivanjima uumetnosti idruštvu umetničkog dela uopšte. kao Izuzetno Zenita važna iuloga je njegovih udomenu saradnika tumačenja pojma umetnosti i kunstwerk, te kaotakav iskorak je činioradikalan Micića i predstavljao umetničko delo, avangardni određeni Gesamt lioteke “Svetozar Marković” koji sebi sam po je izBeograda, izlažemo uoriginalu zahvaljujući Univerzitetske podršci bib nosti. Živela umetnost” potencira. Najpre, časopis koji Zenit su aspektaMicića. ove Dva pojave koja izložba “Smrt umet vija za umetnost i kulturu, koji nastaje inicijativom Ljubomira časopisa Zenit Istorijski, linija kojom krećemo pojavom se počinje 2 -zamišljenog internacionalna kaomesečna re - - - - - biblioteke Srbije. njegovu zaostavštinu izmedju ipodeljeno Narodnog muzeja iNarodne njegoveposle pošto nisu smrti, nađeni naslednici, sve to je proglašeno za 4 Ljubomir Micić svoju je vrednu kolekciju ustanu sačuvao godina adeset , 2008,str.63 Beograd, Narodna biblioteka Srbije, Institut zaknjiževnost iumetnost, SKD Prosvjeta 3 Monografija Zenit 1921-1926,Vidosava Golubović iIrina Subotić, i države koja konstantno gaje ponižavala. legatu društva društva, koji vredan na posletku je postao posed ju Srbije, o neverovatnoj viziji Ljubomira Micića i ogromnom govore koji uNarodnom ostalih nalaze uime svih se muze 1921, A.Černigoj, Nacrt scenografiju za Papa Eccelenza III rope kako važan moment uukupnoj zenitističkoj praksi. Irina Subotić, ističe upravo dela iznjegove kolekcije kaoite Jedan najvećih od poznavaoca dela Ljubomira Micića, prof dr a kojaZenit, danas je Narodnog u vlasništvu muzeja Srbije. radovaničkih koju Micić je stvorio iprezentovao kroz časopis Micića koji smo pokušali prikažemo, da jeste kolekcija umet aspekat Drugi er (Biller). postojanja Ljubomira irada Zenita hailo S.Petrov, Vilko Jo Gecan, (Josip Klek iVjera Seissel) Bil ski idr, iprogresivnih ali domaćih autora kojima među Mi Pablo(Schiele), Pikaso, Aleksandar Rodčenko, Vasilij Kandin Moholy-Nagy),(László Georg Gros (George Grosz), Egon Šile Bijenale. Utom smislu ovde četiri izložena: B.V. Poljanski, Eu u stalnoj muzejskoj postavci, nismo donesemo uspeliih da na upravo visoke radova vrednosti zbog tih ičinjenice su da neki , Jo Nacrt Klek, Zeniteum za II,M.Petrov, Zenitu upočast 4

I 3 Međutim, B ------A

13 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT SMRT UMETNOSTI ŽIVELA UMETNOST 15 A B I - Za pravil 5 - koji ukazuje da određeno umetničko umetničko da ukazuje određeno - koji 6 Kako će se izmeniti civilizacija pojavom moćne mašine moćnemašine pojavom civilizacija seće izmeniti Kako delo predviđa neku idealnu budućnost koja će doći. Projekat doći.će Projekat koja budućnost idealnu neku predviđa delo Obrist) Ulrich (Hans Ulriha Obrista Hansa Station” “Utopia pokazao je 2003. godine da je taj bijenalu Venecijanskom na - umet pojave usled prisutan ponovo vreme poslednje u motiv - da umet autora vere kao rezultat nastaju koje ničkih praksi njome da se te zato promene određene na uticati može nost baviti. smisla ima koja menja prirodu ljudskog rada i tokove radnih procesa, radnih procesa, rada i tokove ljudskog prirodu menja koja radija, aeroplana, brzinu se oduševljeno prizivajući Micić pita pedese- tokom kasnije, Nešto otkrića i svih novina. Teslinih - proizvod mašinskom motivisan tih veka, dvadesetog godina Bašičević umetnik Dimitrije ručnu, je zamenila koja njom - umet nova da je potrebna saopštava manifestom Mangelos i meta - emocijom stvarati anahrono jer jenost u potpunosti - zame uveliko civililizacija kada je mašinska u vreme forom da stvaranju zahtev čoveka i postavila pred nila ‘ručno-radnu’ emocijom. a ne raciom svojim pristupi umetnosti manifest o psihičkom životu picassa i picassa životu o psihičkom rad manifest izložen ovde govori 5 O tome 1978. , D.B.Mangelos, altamirskog panthe pretpostavljenog 57. 2012, str. Press, University Art, Princeton After Joselit, 6 David i konstruktivizma ruskog predstavnike na primenjuje model autor Ovaj De Stijla. holandskog nije razumevanje obe ove prakse, i zenitističke i Mangelosove, i Mangelosove, i zenitističke prakse, obe ove razumevanje nije se nal - “značenje - model tumačenja je primeniti potrebno objekta” azi ispred Micićev fokus interesovanja je književnost ali svoje ali svoje je književnost interesovanja Micićev fokus zaključke primenjuje i u domenu plastičkih umetnosti, slike slike umetnosti, plastičkih i u domenu primenjuje zaključke - konstruktiv ekspresionizma, podržava pojave te i skulpture, predmet postaje dadaizam Međutim dade futurizma. i izma, i poezija, proza sintetička tako da njegova kritike, Micićeve osnovu na nastaje zapravo dade, duhu naizgled pripada koja - nadrealiz pojavama Odnos prema sa futurizmom. analogije je podrazumevala koja kritike je tema česte kompleksna ma sa ta neslaganja Upravo Micića. rad na upućene nadrealista se i formira “moderna” postaje koja umetnosti principima - nepomirl njegove su ili dokaz stil, pravac prihvaćen u neki i želja umetnosti svetu u izmena površnih borbe protiv jive ka čoveka povede i sa životom spoji daiskreno se umetnost sa činjenicom je nepomirljiv Micić budućnosti. boljoj nekoj a šta loše šta je dobro određuju nosioci moćida postoje koji i često Micić reagovaće je zanimljivo, vrlo a što u umetnosti navodim – kao primer događaja van-umetničkih povodom Beogradu.u Neiskrenost Tagorea Rabindranat predavanje demonstrira to i Micića uznemiruje govornika i organizatora i akcijom nego god.1926) (br.43, u Zenitu tekstom samo ne nedo - povodom Ili predavanja. u okviru samog sprovedenom Tesle. Nikole dela značaja i poštovanja razumevanja voljnog čoveka ka nekoj boljoj budućnosti. Upravo ta neslaganja sa principima sa principima ta neslaganja Upravo izmena u svetu umetnosti i želja da se i želja umetnosti u svetu izmena → u neki prihvaćen pravac ili stil, dokaz su su dokaz ili stil, pravac prihvaćen u neki

umetnost iskreno spoji sa životom i povede i povede sa spoji životom iskreno umetnost njegove nepomirljive borbe protiv površnih

umetnosti koja postaje “moderna” i formira se “moderna” umetnosti koja postaje SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 14 16

SMRT UMETNOSTI ŽIVELA UMETNOST 7 Katalog izložbe –akcije, CEFFT, Zagreb, 1977 ‘složenog’ karaktera, nego idoslednosti principi određenim - razočarenjata iosipanja nisu saradnika samo Micićevog plod govornikom ispostavlja njegov brat Branko Ve Poljanski. Da zočarenjima ineslaganjima, negde te se najdoslednijim- sa Micića, nalaženje često bilo te je grupe ispunjeno male ra- pronaći razumevanje i potporu za svoje stavove. U slučaju autorse odabranom okruži grupom ljudi koje uokviru će tačkakojušto sledeća je ova izložba želi potencira, da da dominantnih sredina? umetničkih Ispostavlja vrlo važnim, se poznaje samo istaknutije odjeke proslavljenih tekovina iz teze”). naglašava neformalni karakter grupe.” “Aprilske (M.Bašičević, danas uvelike prihvatamo kaoumetnički izraz. će uslediti, novih praksi isvega umetničkih 1970ih onog što teoretska postaće performansa) dakle osnova svega onog što umetnosti (poput fotografije, videa, kompjutera uumetnosti, će “Aprilskejer teze ” biti snažna odbrana prva novih pojava u tekstu “Aprilske teze” tendencija”) aonda finalno razraditisad ih u istorijskomveć umetnosti”, 1965,objavljenog ukatalogu treće “Novih izložbe nosti najpre svog uokviru teksta “Aktuelnost funkcionalne Kako načiniti iskorak u sredini koja kao progres pre- “Tamo gde formirana, jegrupa ili formira, se unapred se Kritičar Bašičević ćedefinisatipostulateKritičar Bašičević nove umet - U metničke gr 7 koji prezentujemo na izložbi ucelini, upe međunarodno, do ovog te je da razgovora uopšte doći. moglo neverovatnotako koliko je cenjen je utom Zenit momentu neslaganje međunarodno jednog vođi priznatog pokreta, isto našnje perspektive gledano, zaista deluje hrabro svoje izneti 1925. 8 Dialog Marineti –Poljanski, Pariz, 28.Oktobra br. 1925,Zenit, 37,godina je. Protiv takvoga Marinetija dižemo svoj protest.” ne ceni. Ali, Vi kao propagator fašizma gubite simpati naše - ma idirektor “Zenita”, nema Vas razloga,da takođe takvoga zenitizma uParizu, svojoj po dužnosti. Apokretač zenitiz - zastavu na mladost bunu. ipozvao To činimkaopredstavnik jam futurizma kaopokretača ikaočoveka digao koji prvi je podržavao. “Poljanski: Marineti! Ja Gospodin vas pozdravl- zuju neslaganje fašističkom sa politikom koju Marineti je futurista, Marinetijem kojem Micić i Poljanski otvoreno iska - osukobuma, ilustruje ipodatak predvodnikom sa italijanskih 8 Iz da Iz - aktivnost, najviše kao utočište institucija postojećih od - i sa umetnosti okupila članove je Gorgone uprivremenu grupnu za dostavljanjeza misli, MSU Zagreb, 2002,str.9 9 Josip Vaništa, 13uputa čitanje za nacrta, Marija Gattin,Gorgona/Protokol ’. i t s o n i oskudna’, koja zapravo ‘ne djelo traži nirezultat uumjet- psihološkog isimboličkog značenja’ čija ‘misao je ozbiljna bi estetske negirala osobine umetničkog dela, ‘oslobođena umetnost, drugačiju svega radikalno postojećeg. Ona od ma, članovi Gorgone neku traže drugačiju sasvim novanih na principima umerenog- moderniz dominantnihod pravaca umetničkih zas- stvarni napredak uumetnosti. Kao otklon ka umetnosti bili prepreka zabilo kakav želela skameniti onih lica čiji su pogledi teoretičara,dividua pak ili -umetnika mapi “Eulalija”, ova in- snažnih grupa je gona” objavljenoj 1959.godine ugrafičkoj Uzevši Mangelosovoj ime po “Gor pesmi umetnosti Evrope svetskog Drugog posle rata. postojanja idefinišuGorgonu tačku kao progresa u zapadneti Evrope iAmerike zainteresuju zatragove njenog na kustosi kasnije se kada dominantnih institucija umetnos- onaje zapravo- godi pedeset se otkriće značila, je išta činila najintenzivnije 1959.–1966.godine. ono Ali uperiodu što Đuro Seder, Ivan Kožarić i Matko Meštrović, Gorgona deluje Mangelos,Dimitrije Bašičević Radoslav Putar, , na Kao neformalna usastavu umetnička grupa Josip Vaništa, 9 Težnja ka“nultoj tački”, tišini, ništavilu kaosadržaju U slučaju Mangelosa Bašičevića bila Gorgo grupa je ta - - vodeći dematerijalizacijuvodeći dokrajnje granice. Mangelosov, onaj broj koji uopšte nije bio štampan, spro- delo. Izašlo 11brojeva je dvanaesti časopisa je da stim broj, Svaki broj časopisa zapravo originalno umetničko jedno je macije, te on ne donosi informacije niti bilo kakve tekstove. van’ usmislu njegove osnovne funkcije ato pružanje je infor Časopis međutim postaje uslučaju Gorgone ‘dematerijalizo- umetničkog slično rada, onom koji nam ostavio je Zenit. 10 B. Stipančić, Mangelos no. 1-91/2,DAF, Zagreb, 2007,str.22 novom realizmu, fluxusu i hepeningu,jednako kaoi prema gajilatih zanimanje prema egzistencijalizmu, neodadaizmu, “Gorgona- šezdese uduhu je godina ipočetka kraja pedesetih i zato delovanje Gorgonaša ostaje zadugo misterija zadruge. prakse, bilo neshvatljivo je uto doba(ne samo utoj sredini), pismima prazan pak sadržaj ili izlogkaojedini te umetničke vidljivog umetničkog dela kaoidefinisatišetnju, prepisku držaja umetnosti. Međutim, zamišljati fizički umetnost bez redukcionizmu ifilozofskoj misli Istoka –zenu.” nama dakle opetnama ukazuje časopis dakle oblik kao jedan kle, uvremekle, Jugoslavija se kada sigur ali polako dostignuća ove Utom grupe. smislu se pred no okreće ka zapadnom sistemu, prvenstveno se ispostavlja najznačajnijihse od kao jedno obeleženom potrošačkim društvom, mo- radom, nastaće iantičasopis “Gorgona” koji dom, komforom ireklamama, Gorgonaši težnji zadematerijalizovanim umetničkim trošnji stvari. U svemu i u umetnosti. pa U okreću Istokuse kaminimalnoj težeći - po I 10 Da B - - - A

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SMRT UMETNOSTI ŽIVELA UMETNOST Photo: Courtesy of Ilija&Mangelos Foundation notebook, 1941,book, paysage mort, la de Mangelos,Dimitrije Basicevic Foto: ljubaznošću Ilija&Mangelos Fondacije 1941,knjiga,paysage mort, la de Mangelos,Dimitrije Bašičević

Photo: Courtesy of Ilija&Mangelos Foundation (pages),notebook, 1941,book, paysage mort, la de Mangelos,Dimitrije Basicevic Foto: ljubaznošću Ilija&Mangelos Fondacije 1941,knjigapaysage (strane), mort, la de Mangelos,Dimitrije Bašičević

stručnjaka primeri kao najranijih monohroma uumetnosti uopšte. paysages mort, de la koji ispostavljaju se savremenih uočima radovima, tokom kada 1941. i1942. godine stvara crna polja, → Sve prethodne sadržaje briše iMangelos unajranijim isto guljenje platna primećuje koje tokom Bašičević 1970ih štafelaju.” Mangelos, (Bašičević “Aprilske teze”) To te jedno vijeka pola jednoteistog još sa zakašnjelog ‘guljenja’ platna na vijeka, praktične tog račićevskog posledice kulta, plaćene su vremenu, ne računajući relaciju zakašnjenja cirka pola od na dimenzijeru: skromne želje zapribližavanjem vlastitom račićevsko-krležijanska revolucija svedena na pravu je mje- danas usvijetu recentnih stavova najmlađe generacije, ta krležom ibabićem, u dimenzije revolucionarnih razmjera, je, usvijestila naših slikarskih ideologa ikritičara na čelu s izražena račića s‘manetmladog hat nicht gemalt’, so preras- starimi dalje veličinama: “zakašnjela romantičarska pobuna izadugoto tada sam taj posle region nije znao. Klanjao se zapravo postavio ovaj region na mapu svetske umetnosti iako progresivnosti njenih najzad ideja, o činjenici njen je da rad stranih autoratih na saradnju Gorgonom sa govorio o je zoni) iEnca Marija (EnzoMari) Pristanak ostalih. između će nerealizovani ostati brojevi Manconija Pjera (Piero Man- (Victor Vasarely), Harolda Pintera, Rota (), dok nekolikoće tako brojeva časopisa zaautore imati Vazarelija šire međunarodne poput scene iAzimuth, Zero grupa te naši stupaju u komunikaciju predstavnicima vodećim sa iGorgone.srodnim Zenita svom, odlika važna je Gorgo- Komunikacija stranim sa autorima čiji radosećaju gradu djelovali Micić Šumanović Aleksić (dada), (Zenit), padamo ovoj sredini, apri tom zaboravljalo se su da uovom slikarstva, ponavljanih stalno od jedan bio mine da pri je - “Pored inemogućih mogućih argumenata svih protiv našeg šnjava uduhu linije koju ova izložba danas postavlja pred vas: apstrakcije regionu, unašem svoju umetnost obja- tačku kontinuiteta prethodnicima. sa pojave prve Uokviru umetnosti uopšte. savremenih stručnjaka kaoprimeri najranijih monohroma u polja,crna “paysages mort”, de la koji ispostavljaju se u očima najranijim radovima, tokom kada 1941.i1942.godine stvara umetničkom polju. Sve prethodne sadržaje briše iMangelos u ‘šokantnih’ kabareima, intervencijama uknjiževnom pak ili estetski primamljivo buržoaziji sprovodila unjenim dada je tova. Izbrisati slike sa sve ono prepoznatljivo, mimetičko, umetnostšta može treba) (ili biti nakon svetskih užasa ra- odgovori da umetnika na pitanje to je šta umetnost. I dalje, veka donosile su značajne promene kaorezultat napora niza sredini. Ašto ne razumemo to napadamo! okruženju, umnogome je ostalo nerazumljivo idanašnjoj čak kasnije, ono jer što ispostavilo se nerazumljivim njegovom godina, možemo nažalost primetiti idanas, gotovo veka pola Nakon svetskog Drugog rata, jednu još važnu beležimo godine prošlog išezdesete pedesetih kasnih Doba I B i A

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SMRT UMETNOSTI ŽIVELA UMETNOST Dva manifesta:12 Dva 1951.i1953. 11 van Picelj, Apstrakcija Oko, naša, prva! 199,Zagreb, 15.11.1979. tom ikroz prošlost ikroz sadašnjost. (postkubizam), (Bauhaus). Seissel Međutim, njihovo proizvodnji ioblike umetničkogpri se krećući rada, djelovanje zatrla je građanska kultura.” Photo: Courtesy of Ilija&Mangelos Foundation K Mangelos,Dimitrije Basicevic Foto: ljubaznošću Ilija&Mangelos Fondacije K Mangelos,Dimitrije Bašičević kroz svoju umetnost proučava uumetničkoj odnose erleja I,IIIII1977,globe, erleja I,IIIII1977,globus,erleja tali članovitali EXAT grupe umanifestu Mangelos nagrade za2006.godinu, autora koji svoje ciljeve izapravo nastavljaju se vidimo da (2017-2019) umetnika Siniše Ilića, dobitnika Siniše Ilića, (2017-2019) umetnika na prethodnike kodkojih su istoričari umet- izloženi rad“Collaged View on Abstraction” nosti uočili težnjunosti uočili spoje ono da što dota je - jev radipojavujev apstrakcije, referira ovde da biloda strogo odvojeno: umetnost ipros- umetnosti ali i društvu uopšte. idruštvu umetnosti ali Na Picel- torno oblikovanje životne sredine (što- vi izražavanja Mangelosovih zaključaka o dimo uradovima Stijla De iBauhausa, u gog svetskog rata postaje glavni oblik Zenitu uarhitektonskim projektima Jo svoj program, dok manifest- Dru posle ManifestomKleka). su zenitisti saopštili 11 12 Picelj i os- saopštavaju

(Bašičevića) vratili samome(Bašičevića) slikarstvu Bosiljevom.” mo čitav onaj kompleksni razgovor oslikarstvu Ilije Bosilja kataloga stoji: “Priređujemo ovu izložbu isključivo, bis da - Studentskog centra iizlozba ILIJA Zagreb , 1965,uuvodu organizuje izložbu u svom prostoru. U pitanju galerija je ni kasnije viđene) afere “Afera Bosilj” upravo tom autoru erovatno hrabrom ipreuzela ujeku da ranije nikad rizik (a slikarstva, institucija jedna vrlo rano ispostavila gotovo- nev sukobu koji na umetničkoj je pojava izazvala sceni Ilijinog Galerije SC-ajesteGalerije upravo godinama utim (sredina 1960ih) čijem mišljenjupo ozbiljnog početak irevolucionarnog rada teposle izložbe, voditelj Koščević te postaje galerije Želimir Ilija Bašičević Bosilj. Ilija Bašičević pojava.drugačijih Jedna pojava takva bio je isamouki slikar pobune dominantnih protiv novih, avangardnih, radikalno prema odredi se sti da novim pojavama, uvek je vodilo do današnjeg dana. Nemogućnost mehanizama sveta umetno- tave potragu zanovom nastavlja Micića umetnošću do od se Studentskog centra, Izložbeni salon Studentskog centra, Zagreb, 1965. 14 Uvod kataloga “ILIJA”, izložbe upotpisu: Redakcija Galerije 13 Inače, slučajno, Mangelosov otac. sve do O d Sal Nastojanja autora retkih, doduše određenih, nas da - o Trećeg na Šira prek d ra Beog 13 Ovaj slučaj spominjem ovde u se jer o Trib a d ine Mla ih 14 Ubrzo gde iorganizovana je samostalna izložba Mangelosa prva (u mesta: “Tribina mladih” u Novom Sadu 1968-1972, u periodu spektive kaozapravo vrlo vizionarski ispostavljaju dva još dentskih centara, moramo spomenuti izdanašnje se da per (Gergely Urkom) (takozvana autora). šest grupa Pored stu- Milivojević, Zoran Popović, Neša Paripović iGergelj Urkom jpoznatija Marina je Abramović, Todosijević, zatim Raša Era činilo njihovočinilo postojanje neizvesnim. iGorgona– Zenit -koji su samofinasirali svoje prostore delovanja štoje finansiraniki je time i njihovopostojanje izvesno.bilo od ranijihZa razliku prvenstveno16 Ovde mislim činjenicu da su da studentski centri budžets- 1975.: str.153 dentskog centra Zagreb Studentski, Zagreb: centar Sveučilišta uZagrebu, Košćevićem, Studentski list 1971.U:Košćević Ž.,ur., jesen Galerija Stu- 15 Maković Z.,“Od Šuteja doakcije Total”, razgovor Želimirom sa ter koji začetsIlijom je Bosiljem.” biti karakteristična zaGSC–topolemički karak određeni - je Galerije. Iste sezone dolazi doizražaja ikomponenta koja će usmjerenaje na mladu generaciju. stvara se i fundus tada Od „jedan profesionalan SCzapočeo je kada rad, aorijentacija Novom Sadu iLjubljani). profesionalno (studentski vode Zagrebu, centri uBeogradu, ipak poseduju sada da svoj prostor iljude koji taj prostor kritiku dominantnih pozicija stim uumetnosti (idruštvu) to nastanka Novih praksi koje umetničkih 70ih, nastavljaju dentskih centara nakon 1968. godine oni kada postaju mes- Današnja struka pogled usmeravaDanašnja pogled stu na galerije struka - 16 Među umetnicima na svakako - 15

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SMRT UMETNOSTI ŽIVELA UMETNOST ne. Liniju samo-organizacije autora grupa izvan zvaničnih linijom uodnosu na dominantne umetničke trendove sredi- ranju nove generacije koji umetnika ovom kreću se “drugom” tu aizkog može izlagali značaj se videti tog mesta uformi- Zagrebu –čiji plakat popisom izlažemo sa koji umetnika su Grupa deluje tokom 1970te godine. Tišma,jičić, Slobodan Janez Kocijančić, Branko Andrić iKiš-Jovak Ferenc. 18 Članovi su Slavko grupe Bogdanović, Miroslav Mandić, Mirko- Rado (poster upravo zato izlažemo na ovoj izložbi). i sav prateći materijal poput postera, pozivnice kataloga odnosno izložbe 17 Umetnik čitavu izložbu postavlja kaoumetnički radte on sam kreira organizaciji Biljane Tomić) luje novosadska Kōd grupa 17 18 aoko Tribine formira se ide- , i drugi, galerija “Podroom” galerija , i drugi, u mentalno nadovezuje na tezu Alana Badjua (Alain Badiou) ponašanja Ona se savremenih grupe iz Beograda. umetnika ipraktičnaka zadruga implementacija određene strategije rečima: “Treći misaoni je ifizički prostor, Beograd - umetnič osnivača, Selman Trtovacje definisao sledećim Beograd Treći nović, Marko Marković iSelman Trtovac. Kasnije članstvo se promenilo. grupe Parlić, Marina Marković, Sanja Antonijević, Latinović, Radoš Milorad Mlade 19 Članovi umetničke Treći zadruge su: AnicaVučetić, Beograd Olivera Dunava. definisanom na Beograd, obali treći kao Trećigrupe koja okuplja se Beograd upredelu urbanistički prostora sveta umetnosti, primećujemo tokom uradu 2000ih 19 Jedan od - Photo: Courtesy of Ilija&Mangelos Foundation Podroom, Zagreb, 1978 while preparing the exhibition Shid-Theory, Mangelos,Dimitrije Basicevic Foto: ljubaznošću Ilija&Mangelos Fondacije na izložbi Shid-Theory, Podroom,Zagreb, 1978. Mangelos,Dimitrije Bašičević ilic-likovni-umetnik-galerija-je-sastavni-deo-drustvene-realnosti/ društvene realnosti”, 17.10.2016.,www.domomladine.org/intervju-sinisa- 21 (Intervju) Siniša Ilić,likovni “Galerija umetnik: sastavni je deo Umetnička strategija 20 S.Trtovac, Treći Beograd kao fizički prostor umetnosti, iz:Selman Trtovac, odnosno kao prakse umrežavanja kaoprakse odnosno savremenosti.” o događaju kaodefiniciji autonomnog utopijskog prostora, nik prostornik kao“prostor vidi galerije društvene realnosti” namdoči “Paviljon” radSiniše Ilića učijem tumačenju umet- og prostora, te institucije odnosa ipak došlo iumetnika, sve- uzaludan nego doznačajnih je da promena prirode galerijsk- moraju stvarati ponovo taj sami. svaki da iskorak Ali nije bio tor nije stvorio nikada te gakojimaumetnici da potreban je tucijama, taj aonda, se mividimo da pros 2000ih početkom - koja bitineće u dosluhu tržištem sa niti akademskim insti sa - ikustosanika morala boriti prostor zaodređen zaumetnost umet- osme grupa oko opet jedna u periodu šezdeset se ali i GorgonašaZenit neposredno Svetskog Drugog posle rata, Micića iokupljanja od počev je istomišljenika oko časopisa njihov rad. potreba Zanimljivo ta registrumeđutim- se je da postizanja te bar privremene utopijske sredine neophodne za okupe uodređenom vremenu iodređenom prostoru radi deluju kao individue zasebnim sa umetničkim karijerama, ponavljase koji umetnika grupacije potreba se da zapravo Uočavamo iovom izložbom potenciramo činjenicu da

, Proartorg, 2012,str.49 Beograd,

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SMRT UMETNOSTI ŽIVELA UMETNOST masovnih posetilaca... profita, muzeji postaju namenjena mesta spektakla prikupljanju uticajem sveprisutnog principa sve da mora postojati radi nekog → Svedoci smo veliki promena usvetu umetnosti gde pod međunardnom festivalu uAngulemu (Angoulême, Francuska). Komikaze, nedavno proglašen je najboljim alternativnim stripom na 23 “Komikaze#18” autorke Ivane Armanini injenog strip kolektiva povodomodržao u organizaciji izložbe 1924. Beograd, Zenita, 22 Manifest “Nova Umetnost”, objavljen uzpredavanje koje Micić je sa likomsa idelom Mangelosa. Dimitrija Bašičevića vol. I”, koji na ovaj specifičan način upoznaje nove generacije autoromsa teksta Markom Golubom, stvara strip “Mangelos autorka Ivana Armanini (usaradnji MSU sa zajedno Zagreb), (2016) a zatim na Akademiji umjetnosti (2016). Stripu Rijeci “Planetarij” najpre ulabinskoj Galeriji KuC-a “Lamparna” izložbu posvećenu Mangelosovim nazivom globusima, pod ženi radovi Damira Stojnića, izRijeke, koji postavlja čitavu utiskompod ovih antiumetničkih skulptura govore ovde izlo- godina dvadesetog70ih veka. su isavremeni Da umetnici eracije kaošto “Šestorica” umetnika bila grupa je uZagrebu a Injegove umetnosti uopšte, jeste njihov uticaj na gen malđe - izložimo.ih No, aspekat jedan značaja Mangelosovih globusa postaju dragoceni artefakti našim mogućnostima i izmiču da govoresa, Mangelosove skulpture –globusi koji vremenom zatim 1952.godine, primerak nastaje od kada globu- prvi na umetnost se uopšte,odnose govori gore navedeni citat, a Da su stremljenjaDa ove umetnika linije uvek i globalna sferskom koje ostrvu zovemo globus.” “Nova umetnost mora postati novi život na starom 22 23

nara zauzimaju prostor društvenih. problem. Isto nizprivatnih tako ikolekcio grupacija, galerija - java nije svakako vezana samo zanaš region nego globalni je zauzmu mesto stožera dešavanja na umetničkoj Ta sceni. - po ni radovi uprivatnim nalaze kolekcijama koje pretenduju da ograničenja javnih institucija ponajpre muzeja, vred mnogi - ju pojavu usavremenoj usled finansijskih umetnosti se da Pominjem ovde privatne kolekcije misleći na sve zastupljeni- mo interese (privatnih) drugih institucija kolekcija. odnosno ušli uzodluku ne da promovišemo ine pojedince zastupa- živela umetnost” činiiistorijskom analizom. Utaj smo posao cijom razvoja tzv. linije, druge što izložbu “Smrt umetnosti, na Bijenalu, ujednom njegovom delu bavimo rekonstruk- prezentovanje materijala. određenih Upravo zato ovde, mise njihova osnovna –prostora uloga tumačenje zastručno i prikupljanjujena samim slabi time se masovnih posetilaca, radi nekog profita, postajumuzeji namen mesta spektakla - uticajempod sveprisutnog principa sve da mora postojati b učak iliZaklj z avi muzejs Svedoci smo promena velikih usvetu umetnosti gde kim a pos š t o l s om? e Bijenale Photo: Courtesy of Ilija&Mangelos Foundation of Mangelos's firstsolo exhibition, 1971 Picasso Phenomenon, exhibition poster Mangelos,Dimitrije Bašičević Foto: ljubaznošću Ilija&Mangelos Fondacije samostalnu izložbu, 1971. Fenomen Picasso, poster Mangelosovu za prvu Mangelos,Dimitrije Bašičević I B A

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SMRT UMETNOSTI ŽIVELA UMETNOST itd.). rim, new york, sanfrancisco, saopaulo, honkong, shangai ju ulogufilijala(london,, münchen,moskva, sidney, svjetske metropole. nacionalne metropole ubrzopreuzima jetnosti, koji postepeno iščezavaju podpritiskom koncepata prvi pogled–ideprotiv glavne teze ouloziindustrijalizacije.) dustrijalizacije. (ovaj argument, naprvipogled–alisamo dina, već prema vremenu ulaska dotičnezemljeufazuin obrazaca. vrši seuporno, paiuzzakašnjenja čak ido sto go- postaju apsolutniarbitriumjetnosti. jalne moći. pariz, njegove galerije, izložbe, muzeji, časopisi elemenata. ne tako danijemogućeizlučitineke odnjegovih osnovnih sa drugih kontinenata. sam proces je veoma kompliciran, no hodočastili ijošhodočaste izsvih zemaljaevrope, apotom i cuskoj. parizjepostaomeka umjetnička zastrance koji su posledica francuske revolucije, najjasnije očitavao ufran cija upovijesti rada uopće. koje sunaknadnookarakterizirane kao najodlučnijarevolu obuhvatili sve one zemlje što su preživljavale one promjene simptomi procesa primjećenisuuengleskoj, dabi,uskoro, danas više nemasumnjedajeto bio smjer odumiranja. prvi naglo ubrzava, krećući smjerom koji sedugočinionejasnim. sporog razvojnog toka, proces se, nakon francuske revolucije, je najburnijiučitavoj povijesti umjetnosti.nakon relativno 3. odumiranje nacionalnihilokalnih obrazaca um 2. kozmopolitizacija umjetnostipreko pariskih 1. centralizacija instrumenata ideološke ikomerci iako su se prvi znaci javili u engleskoj, proces se, radi period odindustrijske revolucije dodanasbezsumnje uvod prikraju posljednjegstoljeća Dimitrije Bašičević Mangelos APRILSKE TEZE umjetnosti ------vanja djela,napoziciju vrednovanja rada”. macija opolaznimpretpostavkama: kao program, onismatraju nekom vrstom neizbežnihinfor okvirnog izajedničkog programa. onošto bimoglozvučiti generacija, ponovo kategorički, odbija formuliranje nekog zaobilazno. nasuprot tradicijama prethodnih grupacija,ova bilo kakvih okvira, painaziv grupi,što jenekada bilone- nastupaju zajednički,onikategorički odbijaju nametanje tek, m.stilinović, s.stilinović, f. vučemilović). iako najčešće godina, manifestira uobliku„izložbi–akcija” (demur, mar ničkoj deklaraciji grupekoja svoje djelovanje, već nekoliko akcentuirano naindividualnosti” –uvodni jestavak uzajed grupe. ,,nepovezanost u deklarativnom smislu. djelovanje prošlosti. tamo gdjejegrupaformirana, ilise grupacija odstupaodprofla grupaizmanjei više nedavne bilo pojedinačno, bilo ugrupnimnastupima.profilacija tih u javnosti posljednjih nekoliko godina, javili suseidjeluju, venog sektora, koji sejošuvijek zove ,,umjetnost”, javili suse ------odigrala ulogujednaskoro institucijanazvana avangardom. prisutna u tom procesu, pa je uovom slučaju izvanredno novu renesansu umjetnosti.žeđzaobnovom stalnoćebiti ničkih kreacija na novom nivou. i za obnovu, za preporod, za se upotreba činilaupravo podesnomzakonstruiranje umjet jaza izmeđuumjetnostiipublike, odnosnodruštva. nastupima itd. borbama grupa,skandalima, svađama uštampi, protestnim terističnim borbamaizmeđunosilacapojedinihkoncepata, trijske revolucije uengleskoj ifrancuskoj. praćeno jekarak srazmjerno je vremenskom udaljavanju oddatuma indus esa likovne forme. to ubrzanjesmjenalikovnih koncepata ,,izložbe –akcije sunekompaktne cjeline”. „karakter kriterija jepromijenjen sapozicija vredno- formira, unaprijedsenaglašava neformalni karakter predstavnici najmlađe generacije istraživača društ 6. paralelni razvoj proizvoda mašinske civilizacije, čija 5. paralelno nastajanjeiprodubljivanje povijesnog 4. progresivno ubrzanjetakozvanog razvojnog proc ------neznanog broja vijekova, revolucija ljudskog ponašanja. pre- druge jošnijedovoljno utvrđeno darevolucija bijahu.nakon stavovi. iponašanje.prve nijepotrebno objašnjavati. aliza stavnika vlasti, išišalikao ovce. išišanje„čupavljenje” su još nedavno, našipošteni građani lovili, preko svojih pred sedamdeset godinanakon račića. oniističupavci koje su, platna naštafelaju. su sajošpola vijeka jednogte istog zakašnjelog „guljenja” vijeka, praktične posljedice tog račićevskog kulta,plaćene vremenu, ne računajući relaciju zakašnjenja od cirka pola ru: nadimenzijeskromne željezapribližavanjem vlastitom račićevsko-krležijanska revolucija svedena je na pravu mje- danas usvijetu recentnih stavova najmlađegeneracije, ta s krležom ibabićem,udimenzijerevolucionarnih razmjera, rasla je, usvijesti našihslikarskih ideologaikritičara načelu mladog račića izražena s„manethat nichtsogemalt”, pre- pola vijeka poslijeračića. zakašnjela romantičarska pobuna nom razvoju našeumjetnosti, odkarasa doračiča idaljih pomak svijesti kakav se nije mogao konstatirati u cjelokup- stavova najmlađegeneracije, uodnosunaprošle, ukazuje na danas sepokazuje najmanjetakvim.stupanjpromjenjenih ------ovaj ilionajnačinmanifestiraju). i izvjesnenejasnosti,manjesu važni odstavova koji sena rad), toliko o(ne)homogenosti. (izvjesna proturječja, kao u beogradu). te iz kataloga nedavne izložbeugalerijistudentskog centra gramski principi” (iz uvodne informacije uovom katalogu, još uvijek „umjetnosti”. koliko zajedničkihodlučujućihzanovi pristupproblematici intervencije, padjelomičnoisamedeklaracije, uključujune- sti, njihovi radovi, njihove izložbe, njihove akcije, njihove naše sudjelovanje”, ipak,pored deklarirane antihomogeno- ispalo jedasurevoluciju doneli„čupavci” ito tek ono što seobičnonaziva generacijskim problemom „način prezentacije uključujenašupraksu (direktan „takvim djelovanjem isključeni su teoretski i pro- „informacije o individualnom radu daje sam rad i - interview). „u timradovima težište jenaradnom postupku” demur, (b. demur,(b. interview) slika se više inezove slika. zove serad. 20 minuta trljao sliku bojom tušem pocrnio 20 papira itd.” no bojom. „gotove slike trljao sam pijeskom, prao sapunom, jente,” kaže borisdemur, ukojima jenaknadno intervenira historije. slika se više neslika... ,,te slike sustvorile ambi toji. slika svijeta jedokinuta. defnitivno. barem što setiče prakse. novim medijima.akod njihakcent nafotografji ilmu. acije uključujepraksu (direktan rad). komunikacija izmeđuumjetnika imedija–anačinprezent više metaforičkih posrednika komuniciranja, već izravna ničkog govora, iluzioniranje isimboliziranje. nema dakle mišljenja. utoliko što seodbacujuosnovni principiumjet pritom jeakcenat upravo naprocesu, naakciji. izložba je istovremeno akcija u čijem procesu nastaju radovi. ba radova koja jeprezentacija neke robe zaprodaju. naprotiv, rada. ji, jeste odnosprema radu. svi seakcenti svode naproces dijela. cijelosti, zajedno s „duhovnim” vrijednostima umjetničkog civanje slike, kao umjetničke slike. estetika seizgubilau uvođenje kriterija procesa rada. to praktično značiodba ma sumirati njihove osnovne principe: mlade, jošuvijek umjetnosti.pokušajmounajkraćim potezi revoluciji mišljenja.ali vratimo sepraktičnim stavovima za veliki pomak koji ćeseizraziti u(skoroj ilinetako skoroj) ma tome ipomak svijesti, pamoždaijedanodpreduslova slika koja je važila ujedno kao slika svijeta više nepos 7. krajnja konzekvenca –poistovećivanje mišljenjai 6. principidentifkacije. 5. s tim stavom je povezan stav otvorenosti prema 4. (djelomično) odustajanjeodumjetničkog načina 3. odbacujeseunapred pripremljena ismišljenaizlož 2. najodlučnijiučitavom stavu generacije, ai najnovi 1. odbacivanje sistema estetskog vrednovanja i ------

27 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT SMRT UMETNOSTI ŽIVELA UMETNOST 29 između društva i umjetnosti koja ali nije njegova. moderne umjetnosti historija samo historija najprije otpora društva industrijskog se razvija koje u uslovima razvijenije sve mehanizacije i industrijalizacije protiv ručne tehnologije. primitivne moderne umjetnosti historija ujedno je otpora historija novog funkcionalnog načina mišljenja umjetničkog starog protiv konzekvenci. i njegovih objasniti pokušavajući nastalog jaza uzroke i umjetnosti između društva su historičari činjenicu previdili da su proizvođači umjetničkih slika ostali pri tehnologiji ručne proizvodnje se pokazala koja historijski zaostalom. za sve to vrijeme to za sve je uslovljavao način mišljenja odgovarajući emocija sistemu na formiran milenijima proizvođena bazi na toj umjetnost je bila podložna samo uslovno promjenama u odnosu na bazu. je umjetnost kada vijeka nakon srednjeg naslijedila religiju područje kao najvišeg mogućeg dometa „duha” samo bila je to revolucija sekularizacije emocija duše mjesto zauzeo je duh. komunikacije 4. teza – o prekidu moderne umjetnosti historija ne bi bila ništa drugo jaza do historija vijeka) (19. i 20. između društva umjetnosti i njegove bi ta umjetnost kada bila njegova. bio bi apsurd ali nije. moderne umjetnosti historija jaza jest historija između umjetnosti i društva – o umjetničkom i 2. teza – o umjetničkom određen proizvodnje (načinom historijska pojava mašine je izazvala najodlučnije promjene najprije mehanizirajući i proizvodnju rad a potom s tim ili paralelno i način mišljenja se počeo formirati koji funkcioniranja. na sistemu nivoima na svim mašine od pojedinačnog rada upotrebe do društvene mehanizacije i industrijalizacije. kvalitet 3. teza – osnovni proizvođenja slika umjetnička je proizvođena milenijima tehnologijom ručnog rada. vrijeme to za sve cjelokupna je proizvodnja proizvođena tehnologiji u istoj ručni način proizvođenja funkcionalnom načinu mišljenja načinu funkcionalnom je način mišljenja) je ručni rad slike umjetničke – ručni i mašinski rad su mašinski rad 1. teza – ručni i historija ljudska poznaje različite dvije faze rada. ručni rad i mašinski rad ručni rad karakteriše proizvodnju društvenu od prahistorije revolucije. do industrijske manuelni rad je također uslov osnovni ili naivnog umjetničkog načina mišljenja. mašina je revolucionirala ljudski rad ga. mehanizirajući mašine pojava rada u procesu je prouzročila konzekvence mnogobrojne samog rada od nivoa svijesti. do nivoa dvije historijske faze ljudskog rada rada faze ljudskog historijske dvije ------na jednom drugom mestu istog interviewa, demur demur interviewa, drugom mestu istog na jednom cjeli katalog svoje samostalne izložbe u galeriji stu samostalne svoje cjeli katalog za „akcijaše” diskutabilno, je to koliko na to bez obzira za sve a relevantan demura, sledeći principijelni stav da ta pjesma o poistovećivan reći možda će neko

drugim rečima informira o svojoj metodi: „likovnost nemi „likovnost metodi: o svojoj informira drugim rečima novno rezultira estetskim objektom, a ja inzistiram na a ja inzistiram objektom, estetskim rezultira novno me dok karaktera, je analitičkog koji izvedbe samom toku je rada izvedbe tok objekt ne interesira. estetski kao rezultat samo djelovanje.” je akcentirano i na njemu u radu angažiran infor kao je upotrebio demur u beogradu centra dentskog ug- stavove te su pošto radu. prema odnosu svom o maciju vučemilović, i f. stilinović ž. jerman, braća prihvatili lavnom je radu prema zajednički. stav kao možda se mogu citirati „duhovni” neki izrazito više nije rad primijenjen što utoliko najvišeg je koji rezultatu po tek vrijedan ali reda, višeg napor jedan od kandida sancta umjetnost. svijeta. slike slika reda: za i kandidat religija dio mnogih sastavni ta buduće religije. budućnosti. samu religiju i „analiza rada proces sam rad, upravo mjestu stoji na prvom mišljenja i prakse”. poistovjećenje kao rada „sedamdeset i sedam”, i umjetničku generaciju „akcijaše” sim i iluzioniranja pretpostavki isključivanja princip jeste pretpostavke sve isključene su radom ,,ovim boliziranja: ili materijala”. pomoću ideje ili simboliziranja iluzioniranja da je da bude) treba (a i nije svjesna generacija možda nova mišljenje. možda nije za umjetničko kolac” „glogov taj stav idu na stava tog konzekvence da bude jer a treba svjesna, iz i izlazak prave oni još uvek sa umjetnošću koju obračun - „de radu svom po još uvek oni ili kojoj elite kruga društvene prilaze. tek stažu, pripadaju, ili po svom belo” solo i u zboru i da se pjeva nije nova ju mišljenja i prakse bi bila bez ta ograda do „praxisa”. materijalizma od klasika stili m. do courbeta g. od branše, iz iko je da točna, sumnje i „mišljenje mislio. ali nije. stav uopće valu na tom novića liniju društvenog osnovnu implicira su poistovjećeni” rad vidljivi već mišljenja načinu umjetničkom a uopće, razvoja konac. SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 28 30

SMRT UMETNOSTI ŽIVELA UMETNOST funkcionalnog načinamišljenja principima funkcionalnog mišljenja u umjetnostiioko nje. otvorila jenovu problematiku mašinski proizvedena slika mašina zaprodukciju slika. među ostalimjeproizvedena nove mašine. započeše proizvoditi mašine na planudruštvenih zbivanja. izazvala jenizpromjena u procesu rada društvenu upotrebu mašine koja jeinaugurirala industrijska revolucija 6. teza–ofotografji kao modelu (percepcije). gledanja i funkcionalnog objektivnoga prvi model je prva (fotografja) fotomašina mišljenja. i funkcionalnog objektivnog model prvi je prva mašina 5. teza–uvodna teza o fenomena je jedanodprvihindikatora fotografja koja suihuslovila. u načinimamišljenja na različita porekla istovremeno ukazuju civilizacijama. različitim koji pripadaju da seradi odva različita ukazuju nato fotografje iumjetničke slike i funkcija tehnologija njihovu srodnost stavljaju podznak pitanja međutim razlike međunjima obje suslike dodirnu tačku. imaju jednujedinu i rukom proizvedena slika fotografja civilizacije nove sasvim indicirajući konture takozvanog kulturnogživota i drukčije strukturiranje kulture za nove de fnicije postavila jekao zahtjev društvu mašinski proizvedena slika zahtjevajući nove defnicije mišljenja samo usadašnjosti. ona jepraktično ni budućnost ne dodirujućiprošlost vremenu. prema odnos specifčan fotografja pokazuje (gledanja) već instrumentmišljenja ni samorezultat ne samoizraz funkcionalnog fotografja je a to svako vidi. što jest ništa drugoosimonoga fotografja ne„predstavlja” u svrhu komunikacije. potrebu zaposrednikom ne postavlja nitipretpostavlja čitljiva za svakog fotografja je odsustva emocija. totalnog rezultat je fotografja kao slika objektivne percepcije. novog načina gledanja. jedan odprvihfenomena fotografja jeistovremeno funkcionalnog mišljenja. neumjetnički i iskrivljujući mijenjajući masovnim medijima umjetnost sesluži točna jeobrnutapostavka služe umjetnošću. da semass-media netočna jetvrdnja i funkcionalnog mišljenja strojne tehnologije oni surezultat umjetnosti. nisu mediji i televizija film fotografija 7. teza–karakter mass-media je prelaznog perioda. je zabluda fotografje kao iflma TV umjetnička upotreba ne funkcionira kao umjetnik. kao što nifotostroj kao umjetnička slika ona nefunkcionira nije fenomen umjetnosti fotografija još neregistrirane dimenzije proizilaze neke iz tog aspekta zagreb, 1977. katalog. izložbe–akcije, cęfft, kompjutor. te fotografju filmteleviziju rada ruku strojeve koji supreuzeli funkciju od koje društvo poznajetek drugoj civilizaciji namjenjeno je masovnih medija odgovarajuće funkcioniranje u ovom prelaznom periodu njihove funkcije Photo: Courtesy of Ilija&Mangelos Foundation actions, cefft, Zagreb, 1977 century of art, catalogue of the exhibitions - April -introduction Theses at the end of the last Mangelos,Dimitrije Basicevic Foto: ljubaznošću Ilija&Mangelos Fondacije umjetnosti, katalog izložbe -akcije, cefft, Zagreb, 1977. teze Aprilske MangelosDimitrije Bašičević , -uvod pri kraju poslednjeg stoljeća

31 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 33 A B I ...our guiding criterium criterium guiding ...our belief sincere was the of power the in artist the life to relation of its art and a belief which in general, into drew individuals difficult struggles with verytheir milieu and their meant frequently undeserved erasure from historical overviews.

1 - - conceived conceived - 2 Historically, the line along which along the line Historically, Lastly, in the field of interpretation, it of interpretation, in the field Lastly, thesethe belief artists of that transpired a different art calls for of in the power their works. of interpretation begins the appear with willwe move Zenit themagazine of ance 1 The comprehensive project entitled: Art entitled: project comprehensive 1 The to carried was out Consequences Its Has Always the with a collaboration from arising this end, Sad), tranzit. (Novi new media center_kuda.org (Lodz) Sztuki What, and Muzeum (Budapest), hu (Zagreb). Whom/WHW & for How interruptions temporary which with 2 “Zenit, problems, financial and organizational to due after the police, the and courts with as well as Belgrade in from publish to Zagreb continued finally December was 1924 to 1926, when it April entitled dr Rasinova by the text because of banned 43 issues prism”. the Marxist through “Zenitizam in terms heterogeneous published, Zenit were of differing stylistic orientation, and concept of uneven visual identities, and typographies characterized but collaborators, of compositions avant-garde an by the end the start to from the social of mood, political criticism severe and religion, with confrontation a merciless situation, values”. bourgeois and civic , Clio, Arkadije do Od Avangarde Subotić, Irina Belgrade, 2000, pgs.3,4 as a monthly international review of review of international a monthly as - the initia of born out culture, art and exhibition The Micić. Ljubomir of tive - empha art” live art.“Theof Long death sise aspects this phenomenon. two of are Zenit whichwe the magazine First, - empha history does to not turning us times, but past some for sise a mourning a way for based a search is on it rather to take and present the reconfigure to - based a knowl forward on a new step breakthroughs. theprevious of edge - - - Art Bi th he answer to the question of of the question to answer he - the curatorial-se brought what the 19 of lection team ennial in Pančevo together serves the together at ennial in Pančevo Bien- of this a definition time as same the idea was it Namely, concept. nial’s the discard nor forget not must we that be to the appears that even though past, art those today’s in of global aspiration What artists. young Particularly scene. is the past from remembering worth is our and question a complex course of possible many of one selection only is lead can criteria Different it. to answers our but choices, different entirely to belief the sincere was criterium guiding its art and of the in the artist power of beliefa which general, in life to relation struggles difficult into individuals drew very their milieuwith and frequently their undeserved from meant erasure is that overviews.historical Thereby, a local from per primarily interesting, thespective global because in the eyes of - pre is art scene it the international or only are that thesecisely phenomena practicesart Thus remembering. worth a constant by characterised emerged sense and the meaning of questioning because in life with it art,merging of never had these there the artists eyes of boundary between beentheir per any art.Based of the domain and lives sonal a selec made - we criteria the above on in contemporary engaged artists of tion in seeking those who are production dialogue- the sort achieve with of some For generations. the preceding of ments T

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BY IVANA BAŠIČEVIĆ ANTIĆ DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 32 DEATH TO ART LONG LIVE ART 35 A - - - - - B I ps ou t gr t s Arti How does one make a breakthrough a breakthrough make does one How “Wherever a group has formed, or or formed, has a group “Wherever is forming, the informal character of of character informal the is forming, advance.” in isaccentuated group the teze”) (M.Bašičević, “Aprilske recognises as in a milieu which only echoes the whichclearly that progress the of accomplishments well-celebrated also is very im art scenes? It dominant portant, and this is the next point which point this the next is and portant, that emphasise, to wishes this exhibition a with him/herself the surrounds artist whosein people compa of select group and will understanding he/she find ny the case In stance. his/her for support that finding the experience Micić, of of filledwithdisap often was small group so some disagreement, and pointment brother his was it the line along where to out who turned Poljanski Ve Branko interlocutors. his of be constant the most dropping and disappointment this That the only wasn’t collaborators of away character, ‘complex’ Micić’s of product certain to strict a of adherence rather but clash his by illustrated is there principles, Futurists, the Italian the leader with of Poljan and Micić whom with Marinetti their disagreement expressed ski openly which Marinetti politics the Fascist over I Marinetti! Mr “Poljanski: supported. of the initiator as you support raised flag the who first the man as and thisdo I rise to up. called and the youth in Paris, of a representative as the initiator And duty. my to according ------7 – 5 which we are presenting in full presenting are which we 6 The critic critic The Bašičević willthe define which indicates that a particular artwork particulara artwork that whichindicates whichwill ideal an future anticipates Station” “Utopia project The come. surely the 2003 Ven at Obrist Ulrich Hans of understanding of both these of practices, understanding nec is it Mangelos, Zenitism is and that interpreta the model of essary apply to the object” before lies “meaning - tion ses will be the first serious defense of ses the will defense beserious the first photog as in art (such new phenomena art, performance) computer video, raphy, will the become theoreti therefore and everything of else which cal foundation the the new art of practices of will follow, on everything today we 1970s and that be takethe to whole artistic expression. University Art, Princeton After Joselit, 5 David model this applies author 2012, pg. 57. The Press, Constructivism Russian of the representatives to De Stijl. the Dutch and 197 Zagreb, , CEFFT, – akcije 6 Catalogue izložbe ice Biennale shows how this motivation this motivation how shows Biennale ice in recent present again once become has art of the appearance of a result times as the belief of of whichpractices arise out a certain about bring in artthe to artist justi is it why is that and type change of it. to do fied text in his a new art first of postulates 1965, art”, “Theof functional actuality the third of in the catalogue published Tendencies”, the “New of exhibition in them their full give elaboration and April “The text historic already thenow Theses” at the exhibition, because the April the because the April the exhibition, at a better future. These disagreements These disagreements → and to lead man towards towards lead man to and of his irreconcilable fight fight of irreconcilable his is formed in an acceptable acceptable an in formed is with the principles of art an principles the with way or style are indeed proof are style or way against superficial changes in changes superficial against which becomes “modern” and “modern” which becomes for art to truly merge with life life with truly art to merge for the art world and of the desire of and desire the art world the ------For a more correct correct a more For 4 , D.B.Mangelos, 1978 1978 , D.B.Mangelos, How will civilisation change with with change will civilisation How festo on the mental life of Picasso and the assumed assumed the and Picasso of life mental the on festo Altamira pantha 4 About this see the here exhibited work mani work this exhibited see the here 4 About ple I give here being the lecture by Ra by being the lecture here I give ple in Belgrade. dis The Tagore bindranath speakers and the organisers of honesty this demonstrated is and Micić disturbs 1926) in Zenit (nr.43, in the text only not in the also in the action carried out but an by caused is Or it itself. lecture Tagore the signifi of understanding inadequate well as Tesla Nikola of the work of cance it. respect towards inadequate as a powerful machine of the appearance work human of the nature which alters processes, working of the flows and in himself asks enthusiastically Micić radio, the speed the airplane, of voking all nov the other and discoveries Tesla’s the fifties during later, Somewhat elties. by motivated Century, the Twentieth of which replac production the machinic the Dimitrije artist labour, es manual in a man announces Bašičević Mangelos a new needed type art is be that of ifesto to anachronistic completely is it cause metaphors and emotions artwith create civilization in a time when a machinic “manual-labour” replaced largely has approach he that man of demands and and rational his art with of the creation side. emotional not and to lead man towards a better future. future. a better towards lead to man and the with himself reconcile cannot Micić thepowerful who of the existence fact of bad good in art is and what determine that is also very is what interesting and to critically the respond willMicić often – the exam event a non-art of occasion - - - - -

Nacrt za Zen Klek, Nacrt , Jo Europe However, exactly because of the exactly because of However, 3 The focus of Micić’s interest is liter interest Micić’s focus of The practice. ficial changes in the art world and of and artworld in the ficialchanges life with truly art to merge for the desire 1921-1926, Vidosava Zenit 3 Monograph Library National Subotić, Irina and Golubović art, SKD and literature for , Institute of Belgrade, 2008, pg.63 Zagreb, Prosvjeta Zenitu u počast 1921, u počast Zenitu II, M. Petrov, iteum Papa za scenografiju Nacrt A. Černigoj, in all III speak the others for Eccellenza about Serbia, and of Museum the National Micić Ljubomir of vision theincredible eventualy legacythat enormous his and museum the state-owned, became part of which the state of collection. A property him. humiliated constantly also conclusions his applies he but ature arts,painting the plastic of thein domain phenomena supports and sculpture, and Constructiv Expressionism, as such However, Futurism. and Dadaism ism, Micić’s the objectof becomes Dadaism and prose synthetic his so criticism, that is in appearance first which on poetry, an Dada, actually arises of from the spirit towards analogy Relation futurism. with which subject complex a is Surrealism subject was the often Micić that implied These disagree criticism. harshest his of art which an of the principles with ments in an formed is and “modern” becomes indeed proof style are or way acceptable super against fight irreconcilable his of high value of these works and the fact that the fact that and these works of high value the permanent part a of them are of some unable were we in the museum, exhibit this In the Biennial. them for borrow to B.V. here: exhibited works sense the four Poljanski, ------ist iting in the original owing to the to in the original owing iting

phasises the importance of the works in the works of the importance phasises an this was how as well collection as his Zenit in the overall moment important azine, and which today is owned by the by owned is which today and azine, the Serbia. of One of Museum National Ljubomir of experts the work on greatest em Subotić, dr Irina professor Micić, exander Rodchenko, Wassily Kandinsky Kandinsky Wassily Rodchenko, exander local also progressive but others, and S. Mihailo were whom amongst artists Vjera Klek and Gecan, Jo Vilko Petrov, aspect of exist the The second Biller. Ljubomir of the work Zenit and of ence is tried present to have whichwe Micić which Micić art works the collection of via the Zenit mag presented and created tions of the works of many artists whose artists many of the works of tions time of in the course enjoyed had works Aleksand ElLissitzky, recognition: great Kazimir Tatlin, Vladimir er Archipenko, George LászlóMalevich, Moholy-Nagy, Al Picasso, Pablo Schiele, Egon Grosz, ty in a broader sense, which is conveyed conveyed sense, whichis tybroader a in Wassily as such artists from essays in Marinetti, F.T. El Lissitzky, Kandinsky, reproduc as well as Malevich, Kazimir main of the interpretation of the idea of the idea of of the interpretation of main There in general. theart work art and role important alsois the exceptionally information of a source as Zenit plays socie in art and events the newest about exhib kind support of the University library the University of kind support Belgrade, in which Marković” “Svetozar art, a particular of type a work is in itself so , and Gesamtkunstwerk avant-garde of forward a radical step constitutes such as in the do collaborators his and Micić by DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 34 DEATH TO ART LONG LIVE ART 37 A ------B pay I and we actually see that these actually see we that and 11 After the Second World War, we note note we War, World the After Second Picelj and the other members of the of members the other and Picelj 10 bourgeoisie was carried out by Dada with by carried was out bourgeoisie interventions cabarets, “shocking” its arts. visual and of literature in the field con all also deletes previous Mangelos when in 1941 works, earliest in his tent fields, the black creates he 1942 and con mortwhich, the in of eyes la de sages the of examples expertstemporary are in art in general. monochromes earliest continuity of point important more one part of As predecessors. to regard with abstraction of manifestations the first his explains Picelj Ivan region, in our the line of the spirit to belonging art as places today in art which the exhibition all and possible from “Aside us: before against brought arguments impossible those con which is of one painting, our belong do not we that is repeated stantly is all it above and this environment, to (Dada), (Ze Aleksić Micić that forgotten Seissel (Post-Cubism), Šumanović nit), How in this city. active were (Bauhaus) their activi suppressed culture civic ever, t y.” have art historians as whom, with cessors which observed, that join to they desire i.e. strictlythen been separate until kept the environ design theof spatial art and De of see (which we in the works ment Zenitin thein archi Bauhaus, and Stijl 199, prva! naša, Oko, Apstrakcija Picelj, 10 Ivan 15.11.1979 Zagreb, 1953 1951 and manifestos: 11 Two group EXAT announced their aims in a their aims announced EXAT group manifesto artists continue the work of their prede of the work continue artists ------) This one and the same and the same one ) This April Theses The period of the late fifties and fifties The period of late the gelos, gelos, attack! we derstand signifi century bore the last sixties of of the efforts of a result as changes cant to answer an find to artists of a number Furthermore, art is. what of thequestion hor bethe after should) (or art can what from erasure The Wars. the World of rors mi recognisable, is all that of the picture the to aesthetically appealing metic, and wards this region knew nothing about about knew nothing this region wards the old worship to continued this art. It rebellion romantic belated “the masters: ‘Manet by expressed shrimp the young of paint didn’t (Manet so gemalt’ nicht hat in the con into, overgrows way), that of critics and ideologues our of sciousness his whose and Krleža head is at painting a revolutionary of dimensions midwives, the latest of in the world today scale, and that generation, the youngest of attitudes reduced is revolution shrimplike-Krleža the dimen to proportions: correct its to be to closer the desire modest of sions a delay on relying not time, own one’s to the practical on half a century, about of cult, they thisshrimp of consequences half century still with paid another are of ‘stripping’ belated and monotheistic of (Bašičević Man the easel.” on the canvas which Bašičević the canvas of stripping observes unfortunately in the can 1970s turned be because seen what time, in our milieu, his to be to incomprehensible out even incomprehensible largely remained un don’t we what And milieu. today’s to map even though then and long after long then and though even map ------Communication with foreign art foreign with Communication sues of the magazine were published and and published were the magazine of sues Mangelos the issue, the twelfth that with the all, bringing at printed not was issue, limit. ultimate its to dematerialisation they sensed whose with a re work ists of characteristic important an is lation artists The Gorgona Gorgona. Zenit and the with communication into entered a wide inter of representatives leading the Zero as Group scene such national the of several so issues that Azimuth, and Vic their authors as willmagazine have Roth, Dieter Pinter, Harold Vasarely, tor and Manzoni Piero by whilst the issues will remain others amongst Enzo Mari of for these willingness The unrealized. Gorgona with collaborate eign to artists the group’s of bespeaks the progressivity work its the fact that about ideas, lastly art the world on this region actually put na artists turn to the East striving for the for the East striving to turn artists na all In things. of expenditure minimalistic the de of the pursuit in art. In and things the anti-magazine artwork, materialised out which turns will appear “Gorgona” achieve important the most of beto one this sense thus we In this group. of ments situation the ourselves before again find a form as to being referred a magazine of us to left one to similar artistic work, of Gor in the case of Zenit. However, by ‘demateri becomes the magazine gona basic function its thein sense of alised’ so information, disseminate to which is texts any nor information bears no it that the magazine of Every issue whatsoever. is 11 originalartwork. actually an was

9 ------The aspiration for the for aspiration The 8 , MoCA Zagreb, 2002, pg.9 Zagreb, , MoCA wards the Western system, primarily primarily system, the Western wards fash society, a consumer as characterised the Gorgo advertising, and comfort ion, , nacrta za čitanje 13 uputa Vaništa, 8 Josip za dostavljanje Gorgona/Protokol Gattin, Marija misli 1-9 1/2, DAF, no. Mangelos Stipančić, 9 B. 2007, pg.22 Zagreb, tuary away from the prevailing insti the prevailing from tuary away to art. However, of content and tutions vis a physically art without of conceive walking, define letter to and artwork ible show empty even an or correspondences art practice an of the content as window in only (not age in that unacceptable was the activ this reason for milieu), and that a remained long artists Gorgona of ities in nurtured “Gorgona others. to mystery andthe the fifties beginning of the spirit in Existentialism, interest the sixties an of Sa Realism (Neue New Neo-Dadaism, and happenings, and chlichkeit), the phil and equally in reductionism the East – Zen.” of thought osophical modernism, the Gorgona members pur members modernism, the Gorgona art, of type different sued a completely existed. that radically unlike anything characteristics aesthetic the Theynegated from ‘liberated which was the artwork of significance’ symbolic and psychological whose sparse’, ‘ideaand serious and is a work neither which actually “seeks one in art’. a result nor Therefore, in the time when Yugoslavia Yugoslavia in the time when Therefore, to itself turning surely but slowly was “zero-point”, for silence, nothingness as as nothingness silence, for “zero-point”, the members art brought of the content a momentary into together Gorgona of a sanc as frequently most activity, group ------Seen from today’s perspective, it perspective, it Seen today’s from 7 In the case of Bašičević’s Mangelos Mangelos Bašičević’s the caseof In dividuals – artists and even theoreticians, theoreticians, even and artists – dividuals petrify to sought those whose the faces of any to obstacle an artview presented on from deviation a art.As in progress real based artistic orientations the dominant of form a moderate of the principles on 28th , Paris, – Poljanski Marineti 7 Dialog 1925 37, year October 1925, Zenit, nr. ment, just as it is also incredible how how also is incredible it as just ment, mo Zenit respected in that was much this con that and internationally, ment all take place. at could versation infor an As group. this the Gorgona was Vaništa, Josip comprising mal art group Radoslav Bašičević Dimitrije Mangelos, Ivan Seder, Đuro Knifer, Julije Putar, Gorgona Meštrović, Matko and Kožarić in the period active most was – 1959 it what did and really it what 1966. But later fifty years will be discovered meant art the insti leading from when curators America and Europe Western of tutions in unearthing traces of interested become key as a define Gorgona and existence its art in Europe of in the progress moment Taking the War. World the after Second poem “Gorgona” Mangelos’ from name map in 1959 in the graphic published in strongminded of this group “Eulalia”, and director of “Zenit”, also has no reason reason also no has “Zenit”, of director and a as you But, such. as respect you to not sympa lose our Fascism of propagator in stand we a Marinetti such Against thy. protest.” really appears to be a courageous move to to move be to a courageous appears really the leader with disagreement assertone’s recognised move internationally an of lija and Dimitrije Bašičević Dimitrije and Ilija

Photo: Courtesy of Ilija&Mangelos Foundation Foundation Ilija&Mangelos of Courtesy Photo: DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 36 DEATH TO ART LONG LIVE ART 39 A - - - - B I . 20 21 “The new art must become the new the become art must “Thenew That the aspirations of the artists of artists of the aspirations the That life on this old spherical island we call the the we call island spherical old this on life globe.” this line in art are always global and relate relate global and always in artthis are line the above to attested is art in general to the 1952 then by from and quotation, Man the of globes,namely example first na immediately after the Second World World the after Second immediately na in the period also again and around War, and artists of whengroup a sixty-eight a for space a for fight to had curators particular art con type which will of not academic with nor the market with nive the beginning then, at and institutions, space was that see the we 2000s how of whom the to artists so that created never it create again once to necessary is it have these steps of each that But themselves. a signifi led to rather but in vain wasn’t in the gallery those change of space, cant tes is practices, artist and institutions “Paviljon” work Siniša Ilića’s by tified to which the artist of in the interpretation views the gallery the space of a “space as socialof reality” – globes which become sculptures gelos our elude thus artefacts and precious the of one but them here exhibit to ability “Galerija artist: Ilić, fine Siniša 20 (Interview) 17.10.2016, realnosti”, deo društvene je sastavni www.domomladine.org/intervju-sinisa-ilic- likovni-umetnik-galerija-je-sastavni-deo- drustvene-realnosti/ published Umetnost”, “Nova 21 Manifesto which the conference of the occasion on Zenit, by organized the exhibition accompanied Belgrade 1924 ------One of its founders, founders, its of One 18

19 Umetnička Umetnička Trtovac, Selman , from: , Proartorg, Belgrade, 2012, pg.49 , Proartorg, We observe and stress with this with ex observe stress and We hibition the fact that the need recurs for the for need the recurs fact that hibition indi as active already artists, of groups artistic their own pursuing and viduals in a particular together come to careers, particulara timeorder in at and space utopic the least temporary at attain to interest is It their work. for conditions as this need be can registered how ing of the gathering and Micić with starting around theorists and artists likeminded then the Gorgo Zenit and the magazine Treći artistassociation of the members 18 The Parlić, Olivera Beograd Anica Vučetić, are: Radoš Latinović, Sanja Marković, Marina Marko Mladenović, Milorad Antonijević, membership The Trtovac. Selman and Marković changes. underwent later prostor fizički kao Beograd Treći 19 S. Trtovac, umetnosti strategija tion to the dominant artistic trends of the of artistic trends the dominant to tion self-organ see can of the line We milieu. the official outside artists of ised groups in the continuing the artworld spaces of Beograd which Treći 2000s in the group by urbanists defined area in an assembled Beograd treći as Belgrade), (third the on the Dunav. banks of behaviour particular a of strategic tation from artists contemporary of a group of on constructed mentally is Belgrade. It the event about Badiou Alan the of thesis utopic autonomous an as defined which is of the networking for a practice as space, contemporaneity.” Selman Trtovac defined Treći Treći Beograd in defined Trtovac Selman Beograd a is “Treći words: the following artist an space, physical and conceptual thepractical implemen and association intended to pull pull to intended places of spectacle We are witnesses of witnesses a are We in masses ofin visitors... the museums become become museums the → that everything must exist exist everythingthat must the omnipresent principle principle omnipresent the in order to produce profit, great change in the artworld where under the influence of the influence under where ------is formed and and formed is 17 and around which the around and 16 Amongst the artists active in active the artists Amongst 15 vić, Zoran Popović, Neša Paripović and and Paripović Neša Popović, vić, Zoran of (the so-calledgroup Urkom Gergely the student to addition In artists). Six other two mention should we centres, perspective can today’s from that places being highly as visionary:be regarded thein Sad pe Novi in mladih” “Tribina ex riodsolo the first where 1968-1972, (by organized was Mangelos of hibition Tomić) Biljana in rela line the “other” up who took ists the fact thinking about primarily I am 15 Here by the financed were centres the student that was their existence thus and budget government their predecessors of the situation secured.Unlike –whotheir self-financed Gorgona – Zenit and uncertain. their existence spaces which made an itselfas exhibition the artist treats 16 The all the necessary creates himself and artwork the posters, as such it, for material supporting the (hence catalogue exhibition and invitations in this exhibition). exhibiting are we that poster Slavko are of the group members 17 The Radojičić, Mirko Mandić, Miroslav Bogdanović, Branko Kocijančić, Janez Slobodan Tišma, is active The group Ferenc. Kiš-Jovak and Andrić in the 1970s. that they now own a space and people people and a space own they now that centres (thespace student whorun that Lju Sad and Novi in Belgrade, Zagreb, bljana). is active, and the second is the gallery is the second and active, is Zagrebin whose– poster “Podroom” of the signatures with exhibiting are we thus and there whothe artists exhibited place in of this the significance showing art of a new generation of the formation Novi Sad art group Kōd Sad art group Novi the student centres in this time Marina thisin time Marina centres thestudent certainly is the best-known, Abramović Era Milivoje thenRaša Todosijević, - - -

14 Soon after Soonthis after 13 Today’s experts turn their attention experts their attention turn Today’s Galerija Galerija Ž., ed. Košćević 1971. In: , autumn to the galleries of the student centres in centres the galleries the student to of the period 1968 when they after became Art practices the New where the place the These continued the 70s emerged. of in positions the dominant of criticism the difference with society)art (and but 13 Introduction in the exhibition catalogue catalogue in the exhibition 13 Introduction signed by:of GalleryRedaction The the ILIJA, the space of Exhibition Centre, the Student’s of 1965. Zagreb, centre, cultural student Total”, do akcije Šuteja Z., “Od 14 Maković Želimir with Studentski Košćević, conversation list , Zagreb: Student Zagreb centra Studentskog 1975: pg.153 Zagreb, of the University of Centre tion solely in order to return this entirely thisentirely return to in order solely tion Ilija of the painting about debate complex Bosilj Bosilj’s (Bašičević)of thesubject to themselves”. paintings the holdings then onwards From ation. same that the Gallery In of created. is also become season the components key which will the GSC characterise manifest a certain is polemical character – that Bosilj.” Ilija with conceived which is hibition for this artist in its space at the at space thisits in artist for hibition seen such later or peak before a never of The gal ‘BosiljAffair’. the namely affair, in Centre lery the Student is in question is the particularZagreb and exhibition catalogue the exhibition In 1965. , ILIJA this exhibi organising are “We states: it exhibition, Želimir becomes Koščević exhibition, the gallery to of thedirector according revolutionary the and serious whom the SC Gallery of work begins really in (the mid-1960s) when the those SC years undertaking, professional “a commences gener the young towards orientation an ------h h oug ih all the the all ih n Šira thr Šira n o This case is mentioned mentioned caseThis is 12 ina Mlad ina og Be Treći rad o the Sal the The endeavours of certain, a albeit endeavours The

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Fr t way the Trib the here because in the conflict which the ap because thein conflict the which here pearance of Ilija’s paintings caused in the caused paintings Ilija’s of pearance which institution one was art scene there of courage incredible the quite displayed ex an organising the of risk taking on father. Mangelos’s chance, by 12 Also, sulted in the rising up of the mainstream the mainstream of up in the rising sulted radicallydif avant-garde, new, against instance such One phenomena. ferent Ilija painter the self-taught of that was BašičevićBosilj. anism of the art world to define itself ac define to the art world of anism re always new manifestations to cording work, thereby traversing the past and the and the past traversing thereby work, present. a for the search continue to artists few, the to Micić art runs from of new form mech of the incapacity The day. present ist Siniša Ilić, recipient of the Mangelos the Mangelos of Ilić, recipient Siniša ist who artist through an in 2006, and award artis in inherent the relations artstudies the art of the forms and ticproduction ists announced their programme using a using their programme announced ists World the whilst after Second manifesto, the main becomes the manifesto War ob Mangelos’s for expression of form societyart and in gen servations about in exhibition this refers which That eral. of the appearance and work Picelj’s to View “Collaged the work is abstraction the art (2017-2019) by Abstraction” on tectural projects of Jo Klek). The Zenit Jo of tectural projects DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 38 DEATH TO ART LONG LIVE ART 41 - - No stories 2, 1964. 2, 1964. stories No Photo: Museum of Avantgarde Avantgarde of Museum Photo: Dimitrije Basicevic Mangelos, BasicevicDimitrije Mangelos, tempera, print, paper, 192x144mm 192x144mm paper, print, tempera, groups, galleries and collectors galleries collectors and groups, are taking over the space which belongs the space which belongs taking over are sphere. the public to olution not to promote individuals nor nor individuals promote to not olution (private) other of the interests represent here I mention collections. or institutions in keeping mostly collections private phenomenon present the evermore mind the to due art whereby contemporary in public on imposed constraints financial many museums, on mostly institutions, a part becoming are artworks important take to which aspire collections private of the art of in the events place a central on is certainlynot phenomenon This scene. rather is but region our to restricted only many way the same In globala problem. private presentation of a particularof ma type of presentation why exactly is the reason terial. Which partsare its of in the in one Biennial we the of thedevelopment reconstructing so-called the which Second makes Line, live art, “Theof long death exhibition We analysis. historical of kind a into art” this undertaking the res with entered ------

22

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o C Biennial is Biennial of in the artworld where under the influ under where in the artworld of the artist Ivana Armanini Armanini Ivana the artist of 22 Komikaze#18 were Komikaze, collective comic her and the at comic the best alternative voted recently in Angoulême. festival international sential role is weakened – that of being of – that weakened is sential role and the expert interpretation a space for ence of the omnipresent principle that that principle the omnipresent of ence produce to order in exist everything must of places museums become the profit, of in masses pull to spectacleintended so their es doing by thus and visitors, ated the comic “Mangelos vol. I”, which I”, vol. “Mangelos the comic ated willin this specific familiarize the way and the personality with newgenerations Bašičević Dimitrije Mangelos. of work ic artist Ivana Armanini (in cooperation (in cooperation Armanini Ivana ic artist the with Zagreb), together MoCA with cre has Golub, Marko the text of author fluence on the contemporary generation generation on contemporary the fluence exhib the works by bespoken is artists of Rijeka, from Stojnić, Damir of here ited exhibition entire an who installing is globes, entitled Mangelos´s to dedicated “Planetarium” important features of Mangelos’s globes, Mangelos’s of features important othe their influence is art in general, his the like artist of generations younger in Zagrebin This 1970s. in “Six” group then in 2016 and in Labin “Lamparna” com The in Rijeka. in the Art Academy DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 40 DEATH TO ART LONG LIVE ART 43 ------it transpired that the revolution was brought about by by about brought was revolution the that transpired it 1. the rejection of the system of aesthetic evaluation of aesthetic evaluation of the system 1. the rejection of attitude in the entire is most decisive which 2. that art of exhibition pre-prepared and preconceived the 3. think of way artistic the of (partial) abandonment the 4. of open the attitude is connected with this attitude 5. 6. the principle of identifcation the „men with messy hair“ and that this only happened sev happened only this that and hair“ messy with „men the enty years after račić. those same “men with messy hair” who who hair” with messy same “men those račić. after years enty through honest citizens, our by hunted until recently, still were, a is cut like hair whose and representatives, government their attitudes. hair” are messy and “having both a hair-cut sheep’s. explanation. need any the frst don’t of behaviour. and a form that determined not suffciently the second it is still but for of centu number an unknown after the revolution. were they to comes. according of human behaviour the revolution ries, also one of the pre maybe this the change in consciousness, by will be expressed which the signifcant shift conditions for return of thought. but let’s revolution not so near) or the (near sum to try still art. let’s young, of the attitudes the practical to basic principles: their strokes up in the briefest in this procedure. work the of criteria of introduction the and the artistic of the painting, means the rejection terms practical “spir with lost, together been totally painting. aesthetics have of art. work of the value itual” is the the most novel, as also being well as this generation, process. work placed on the all accents are work. to relation sale of goods for of some kind is a presentation which works the same is at the exhibition contrary, on the has been rejected. made. are works the art which of time an action in the process action. on the process, in doing so the accent is put precisely artistic speech, of il ing. inasmuch as the basic principles of no therefore are there discarded. are lusionism and symbolism communica a direct rather metaphorical intermediaries, more of presen artists and the media – and the means tion between work). direct (the includes the practice tation media. and in these the accent is put on pho the new ness to and flm. tography ------to problem, called a generational is usually which that „this type of action excludes theoretical and program theoretical type of action excludes „this (direct practice include our presentation of forms „the „the character of the criteria is changed from a position a is changed from of the criteria character „the entities“. incompact actions are – ,,exhibitions the by is given work about the individual „information tions, as well as certain ambiguities are not as important as the as certain ambiguities are well as tions, way). that in this or manifested are which attitudes of the changes degree the issue. be such to appear does not day previ to in relation generation youngest of the in the attitudes a shift in the consciousness such as points to ous generations art, from of our development whole has not been seen in the second half of the century and in the following račič to karas young of the rebellion romantic the late-arriving račić. after into grown has gemalt“, so nicht in „manet hat expressed račić ideologists and critics of painting at the consciousness of our dimensions of a and babić, into krleža are which the head of of the attitudes in the new today present scale, revolutionary reduced is revolution račić-krleža’a this generation, youngest draw wish to the dimensions of the humble the right size: to to things to relation a on relying not time, own one’s to closer consequences the practical before, about a half century from delay the additional half century by cult, paid for of this račić’s on the the canvas “peeling” of the same type of in the arrival easel. tion to the proclaimed anti-homogeneity, their works, their ex their works, their anti-homogeneity, proclaimed the to tion a de to and even interventions, their actions, their hibitions, and some collective include themselves, the declarations gree the problematic to approach a new for determinants decisive is still “art”: what of in this information the introductory (from principles” matic exhibi of the recent the catalogue as from well as catalogue, in belgrade). of the student center tion in the gallery contradic (certain as much about (non)homogeneity. work), of the evaluation of the work, to the position of the evaluation evaluation the position of the to work, of the of the evaluation “. working of the act of although, in addi participation“ our as by well as itself work ------4. the progressive acceleration of the so-called develop of the so-called acceleration 4. the progressive 5. the parallel appearance and deepening of the histori appearance 5. the parallel of machine of the products development 6. the parallel ------of explorers generation youngest of the representatives lation of any collective and general program. that, which could which that, program. general and collective any of lation unavoidable some kind of as view they a program, like sound about the initial assumptions: information c concepts, battles between between battles concepts, specifc of protagonists the tween perfor protest press, the in quarrels scandals, groups, the mances etc. public, i.e. society. art and the cal gap between be suitable for to seemed exactly which the use of civilization, and for level. on a new artistic creations the construction of art. of renaissance the new for the revival, for the renovation, in this present will be constantly renovation for the appetite institution called the borderline so in this case one process, role. an exceptional has played avant-garde ap have is still being called “art”, which of the social domain, and appeared have years, in public in the past several peared performances. in group or individually, either been active, fle of the the pro from differs fling of these groupings the pro the where past. in cases less recent or the more from groups char the informal is being formed, or has been formed, group incoherence ,,an advance. in emphasized is group the of acter – is individuality.” by sense. action accented in the declarative of the group declaration line in the collective the introductory been man have years, several for already which, the actions of martek, (demur, - actions“ of „exhibitions in the form ifested most although they f.vučemilović). s.stilinović, m. stilinović, the imposition reject categorically they together, perform often was which naming of the group, the even type of frame, of any of the preceding the traditions to contrary once unavoidable, formu the rejects again categorically, this generation, groups, mental process of the visual form. this acceleration of the re this acceleration visual form. of the mental process the temporal to is proportionate visual concepts of placement in england the industrial revolution of the date distance from be battles the characteristic by it is accompanied and france. ------last century of art of last century APRIL THESES APRIL introduction at the end of the the at introduction Dimitrije Bašičević Mangelos Bašičević Dimitrije 3. the dying off of national and local models of art of national off 3. the dying 2. the cosmopolization of art through parisian models. of art through 2. the cosmopolization rst signs appeared in england, the pro although the frst signs appeared of the instruments of ideological 1. the centralization the period from the industrial revolution until today, until today, the industrial revolution the period from

es are quickly taking on the role of branches (london, berlin, (london, berlin, of branches taking on the role quickly es are sao san francisco, york, new rome, sidney, münchen, moscow, shanghai etc.). hong kong, paulo, rst sight – but only on frst sight – runs against the ment, on frst sight – but only of industrialization). main thesis about the role the pressure disappearing under been gradually have which metropolis national of the concept of the global metropolis. ums, magazines, are becoming the absolute arbitrators of art. arbitrators becoming the absolute are magazines, ums, happening as much as a even this is being done consistently, the respective when the time to according later, years hundred argu (this the phase of industrialization. has entered country olution in the history of art in general. of art in general. olution in the history of effects the to due in france visible clearly most was cess which to mecca artistic an become had paris revolution. french all the the pilgrimage and still do from make used to foreigners the process well. continents as other and from parts of europe, possible it isn’t but not so much that complicated very is se, per single out some of its basic elements. to muse exhibitions, its galleries, paris, power. and commercial ing in a direction which for a long time has seemed obscure, a long time has seemed obscure, for which ing in a direction of in the direction was this is no doubt that there and today noticed in were of this process the frst symptoms its dying. went which countries those other soon encompass england, to rev defned as the most decisive later those changes, through without doubt is the most turbulent in the whole history of art. history whole most turbulent in the without doubt is the the process, development, slow a phase of relatively following mov accelerated, has suddenly revolution, the French after DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 42 DEATH TO ART LONG LIVE ART 45

but the history of the gap but the history the 19th and (of society between and its art art that when been its own. have would been absurd have would it but it isn’t. of modern art the history of the gap is the history wouldn’t have been anything else been anything have wouldn’t the appropriate way of thinking of way the appropriate of the system on formed millennia the over produced on this basis art was subject conditionally changes only to the basis. to with regard art when the middle ages after religion inherited as a space of the highest possible point of the „spirit “ than no more was this the revolution of the secularization of emotion the place of the soul of the spirit. that by taken was in – about the break 4. thesis of modern art the history 20th centuries) emotions art and between the communication society the historical appearance of the machine about has brought changes the most decisive mechanizing frstly and production labour and then this to parallel or well as of thinking way the its shape take to started which of based on the system on all levels of the work the individual from the social use to of mechanization and industrialization. – the essential quality 3. thesis of production the artistic painting has been produced millennia for the technology by of manual labour. time all that for the whole production has been produced with the same technology of production way the manual time all that has for helped condition functioning. machine of artistic painting is the manual labour – manual and machine – manual 1. thesis of humankind the history of knows different two phases of labour. manual labour and machine labour. manual labour characterized social production prehistory from until the industrial revolution. manual labour is also the basic condition naive of the artistic or of thinking. way the machine has revolutionized human labour mechanizing it. by of the machine the appearance of labour in the process has had consequences numerous itself work of the the level from of consciousness. the level to - about the artistic and 2. thesis the of production way the (from labour are the two historical phases of phases historical the two are labour human work of thinking way functional of thinking is defned) way - - - - - the following principled attitude of demur, relevant for for relevant demur, of attitude principled the following maybe someone will say that this song about the iden that will say someone maybe all the “men of action” and the generation of artists of “seventy artists of “seventy of and the generation action” of all the “men illu of of the premises the exclusion is the principle of seven” lusionism and symbolism via the idea and material are exclud are the idea and material via lusionism and symbolism aware it should be) is not (and generation the new maybe ed”. the artistic into driven stake” hawthorn is “a this attitude that be and it should of this, not aware it’s thinking. maybe of way a showdown lead to of this attitude because the consequences the from and an departure still produce they which with the art their to still according they whom to of the social elite circle according come close they which to or belong, “wholly” work work. spent in this type of have they years of number to it has and that not new is of thinking and practice tifcation the time of the classics of from in a choir been sung solo or doubt would this bracketing „praxis“. up till the materialism courbet g. from running branch the from anyone if be true less no one did. the all. but at had been thinking until m. stilinović a basic implies identifed” are work and “thinking that attitude of way the artistic to and in general, line of social development visible end. thinking an already sionism and symbolism: “with this work all the premises of il of all the premises work this “with symbolism: sionism and ------no matter how questionable it is, for “the men of action” men of action” “the for it is, questionable how no matter demur has used the whole catalogue of his solo show in show his solo of catalogue whole has used the demur at another place in the same interview, demur, provides provides demur, in the same interview, place another at cation of identifcation –the fnal consequence 7. and the world of the as a picture existed that - the painting

gion itself of the future. gion itself of the future. and process work the itself stands in the frst place, work the with thinking of identifcation the as work of “analysis the practice…” sential part of numerous religions and a candidate for the reli for and a candidate religions sential part of numerous mation about his relation towards work. since those attitudes since those attitudes work. towards about his relation mation stili the jerman, ž. by accepted been part most the for have could be cited they maybe vučemilovića, and f. brothers nović is applied work toward as something communal. the attitude “spiritual” some intensely is no longer work inasmuch as the which in its result only valuable but order, of a higher effort world. of the of the picture the picture is of the highest order: an es religion. a future for sanctus art. one of the candidates riality inevitably results in an aesthetic object, but I insist on in an aesthetic results inevitably riality character, has an analytic which itself of execution the process me. object does not interest as an aesthetic result the while and the execution work’s of the engages the process work the work.” in the action itself is accented infor provide to in belgrade of the student center the gallery nitely. at least that which concerns history. the concerns history. which least that at defnitely. inated. ,,... those paintings more… any painted painting is not being inter further which in said, boris demur ambients, created rub the fnished to made. I used were with colour ventions to I used with soap, them down wash with sand, paintings then blacken and 20 minutes for with colour rub the painting the interview) (b. demur, …” etc with ink 20 sheets of paper work. called (the) a painting. it’s called painting is no longer (b. procedure...“ working is put on the the focus works these “in interview). demur, „picto words: about his method using different information thinking and practice, practice, thinking and been elim has world the of the picture more. any exist doesn’t DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 44 DEATH TO ART LONG LIVE ART 47 the corresponding functioning the corresponding of the mass-media for is intended civilization the second only knows society which from the over took the machines that of manual labour film is photography that computer. . izložbe – akcije catalogue Dimitrije Basicevic Mangelos, BasicevicDimitrije Mangelos, end the at Theses - introduction April the of catalogue art, of century last the of 1977 Zagreb, cefft, - actions, exhibitions Ilija&Mangelos of Courtesy Photo: Foundation function television 1977. cęfft, zagreb, (exhibitions-actions), the artistic use from this point of view of this point from some emerge dimensions still unregistered photography of art is not a phenomenon function it doesn’t as artistic painting as a photo-machine similar function as artist. doesn’t as flm well as of photography is a delusion period. of the transitional of mass- – the character thesis 7. photography film and television not media are of art. the result are they of machine technology and functional thinking the claim is untrue mass-media that use art. claim is true the opposite art uses (that) the mass-media changing and distorting functions their period in this transitional and TV media is non-artistic photography is photography photography frst indicators is one of the thinking. of functional the same time is at photography one of the frst phenomena of looking. way of the new perception. objective as painting photography is a result of the total absence of emotions. readable everyone for assume nor for ask it doesn’t of an intermediary the necessity the purposes of for „represent“ doesn’t photography else but that anything it is which can see that. and everyone is photography of the expression not only the result only nor but the instrument of thinking (looking) shows photography a specifc relation towards time. the past not touching future the nor speaking it is practically in the present. only communication. functional thinking has opened up a new problematic problematic up a new has opened it. around in art and defnitions new demanding painting machine-produced society has demanded from defnitions new of culture structuring and a different life of so-called cultural the contours indicating of a completely new civilization photography painting produced and manually one one and only have point of contact. paintings both are them between the differences however question put into relatedness their the technology and function and artistic of photography that indicate at phenomena are different two belong which different to civilizations. the same time pointing at origins different towards of thinking ways the for shaped them. which the machine-produced painting the machine-produced painting here stake – the introductory – the introductory 5. thesis the frst machine is the frst model of objective and functional thinking. photo- the frst (photography) is the frst model of an objective and functional of looking way (perception). - about photography 6. thesis the industrial revolution inaugurated which the social use of machine process work in the about a series of has brought in the feld of social phenomena. machines began producing machines. new things a machine amongst other of paintings the production for thesis about principles of functional principles of functional thesis about thinking machine of way as a model of a functional thinking changes has been produced. the history of modern art the history between society society between and art which isn’t however, its own. modern art is of the history the history only of the resistance foremost of industrial society is developing which the conditions under developed more of ever and mechanization against manual technology. primitive the same time is at of the resistance the history of the new functional of thinking way against the old artistic (way) and its consequences. explain to in an attempt the causes of the gap that and art society between have historians the fact overlooked producers that of artistic paintings with the technology stuck have of manual production be to proved which historically outdated.

industrialization appeared DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 46 48

SMRT UMETNOSTI ŽIVELA UMETNOST UETNIČKO PROSTORU PRETPOSTAVKEPOJA IKARAKTERISTIKE U „ JUGOSLOVENSKO „ DRUGA LINIJA Jerko Ješa Denegri Ješa Jerko ” ”

Z Seissel (Bauhaus).Seissel Međutim, njihovo djelovanje zatrla je građanska kultura”. A na su u ovom gradu djelovali Micić Šumanović (Zenit), Aleksić (Dada), (postkubizam), no ponavljanih bio mine da pripadamo je ovoj sredini, apri tome zaboravljalo se da „Pored inemogućih mogućih argumenata svih protiv- slikarstva, našeg stal od jedan kojom prilikom članova od jedan pomenute Grupe, Ivan Picelj, sledeće: svedoči povodom monografije EXAT-51,grupe uizdanju Galerije ZagrebuNova u 1979, posleratnom „jugoslovenskom umetničkom prostoru” došli su doizražaja na skupu istorijskih, ikulturnih društvenih prilika. modifikacijamapojma toga uzavisnostiod brojnih, u međuvremenu izmenjenih, godina proteklog dokraja dvadesetih sedamdesetih etka veka, mnogobrojnim sa pokreta istorijskih avangardi iposleratnih ipostavangardi, neo- - poč od uperiodu svojevremeno bio predložen pojam linija”, „druga koji na kontinuitet odnosio se obeležavanja takvih od unutar nekadašnjeg „jugoslovenskog umetničkog prostora” valorizacije upravo pojava. umetničkih istih tih Tako zajedno je, ostalih, između konstrukcije zahvaljujući kojima obave se su da mogle subjektivne valorizacije ire- području području „između Istoka iZapada”. jedinstvenomu društvenom kulturno-političkom i celog niza uzastopnih generacija, nastali su godina prošlogsedamdesetih veka, doprinosi kao do dvadesetih početka „novih umetničkih praksi” u vremenskom rasponu istorijskih od avangardi sa prostoru”, umetničkom u „jugoslovenskom Fenomeni okupljeni terminom pod linija”„druga Prvi evidentni nagoveštajiPrvi postojanja „druge pozicije” i„druge tradicije” u cije konkretnih pojava umetničkih nego dozvoljavaju teorijske ikritičke i korišteni različiti terminikoji ne obuhvataju objektivne jedino rekonstruk- a obeležavanje poglavlja u istoriji pojedinih umetnosti uvedeni moderne su + J D

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SMRT UMETNOSTI ŽIVELA UMETNOST u njemu afirmisana svest o modernoj slici kao autonomnoj izvesneposedovao pozitivne konotacije, pre svega zato je jer ju Protića, „estetizam” usrpskom slikarstvu šeste decenije Miodrag B. Protić Trifunović. iLazar prema Dok je mišljen- li su ga različitim i prilagodili sopstvenim interpretacijama likovnih Sveti umetnosti obavii kritičaru Lukiću,- upodručje duguje tvorcu književnosti estetičaru toga pojma upodručju izam”. Prenos estetizam”, pojma „socijalistički koji izvorno se estetizam”pojmovima „socijalistički - modern i „socijalistički ovog poslednjeg u srpskom kulturnom kontekstu nazvanog i nasleđu predratnog iposleratnog umerenog modernizma, nasuprotni ili središnjih formacija zasnovanih na praksama itipološkim svojstvima jezičkim po odvajaju, stoje stra- po jave unutar „jugoslovenskog umetničkog prostora” koje se obojen, negoi socijalistički bilo kakvuavangardu”. opći ukus toga vremena, prihvaćali lakše ’realizam’, makar pa shvaćanjima slikarstva ikako su tradicionalni akademizam, kazati koliko estetika bliža socrealistička tradicionalnim ta je ovdje o socijalističkom realizmu, no trebalo bi- jednom po nalna shvaćanja slikarstva iumjetnosti uopće. Govorilo se shvaćanja. Međutim, umakroklimi prevladavala su- tradicio mikroklimatojala izvjesna koja je rastu pogodovala je novih istom skupu istoričar umetnosti Milan Prelog izjavljuje: „Pos- Pod pojmom linija” „druga one podrazumevaju- se po zadovolji nov građanski ukus izrastao iz društvenog nalan –preobličena estetika intimizma decenije –da četvrte u opšti kompleks otvorenosti prema svetu, dovoljno- tradicio godina” toga što zbog „bio je dovoljno uklopi moderan se da tetizam” zvanična „postao je umetnička ideologija pedesetih plastičkoj tvorevini, prema Trifunovićevom mišljenju, „es- jenju odvijanju idaljem domaćeg umetničkog života. indirektnim ili tnim uinstitucionalnom posledicama utemel godina prošlogumetnosti pedesetih veka, potonjim sa direk nazvao L.Trifunović, je ih su vladajuće postali formacije srpske estetizam” i „socijalistički umetnika Decembarske kako grupe, tradicionalizam”ističkog realizma, „moderni Grupe šestorice formizma...”. nakon Uperiodu prethodnog socijal iodbačenog setih, nastalimudruštvenomsetih, i duhovnom i okrilju šezdeset pom „nove umetnosti” „nove ili umetničke prakse”- sedamde ernizma” biće tek izvršen naredne početkom decenije nastu- estetizma”nasleđem „socijalističkog - mod i„socijalističkog godinama. koreniti Ali šezdesetim prekid platformama sa i objektima kaoiukinetičkim ri iambijentima i upedesetim nekolicina iskoraka radikalnih nosilaca uslikarstvu, skulptu- će postati njegova suštinska negacija, koju ćenajaviti iobaviti niza simptoma, pre uklopiti u lokalni jio fenomen enformela, beogradskog koji uskoro, će se zbog Kao prvu reakcijuKao prvu na takvo stanje, Trifunović izdvo je - mainstream umesto što kom - - - - sipa Seissela/Jo obavljena Kleka, autorskom je izložbom Irine tagonista uvizuelnim umetnostima Mihaila S.Petrova iJo- istorijskih avangardi treće decenije i njegovih početka pro- umetnost uMuzeju, 1929–1950,takođe 1969.godine. decenija:katalogu Četvrta izložbe nadrealizam –socijalna nadrealizmabeogradskog ustudiji izvršena istog autora u nosti 1967, dok revalorizacija je likovne eksperimentacije decenija: konstruktivno slikarstvo u Muzeju savremene umet- su u uvodnoj studiji M. B. Protića u katalogu Treća izložbe revalorizacijerealizma. Prve zenitizma idadaizma obavljene dadaizma, slovenačkog konstruktivizma nad ibeogradskog - istorijskih avangardi, poput likovnog zenitizma ogranka i godina prošlog itridesetih nađu veka unasleđu se tih da mogli koji su unutar „jugoslovenskog kulturnog prostora”- dvadese tanje njenih duhovnih umesto iidejnih, prethodnika stilskih, mi što donosi ih pi nova postavilo se - umetnost sedamdesetih izacije umetničkog dela. sve dokrajnjih konsekvencija dematerijalizacije ikonceptual- igrafike, crteža usmeru uvođenja novih tehničkih medija, disciplina umetničkih izvan slikarstva, klasičnih skulpture, teristike ioperativnih izražajnih jezika postupaka, glavninom same temeljne po posledicama osme, dalekosežnim sa karak- Detaljna istudioznaDetaljna obrada zenitizma kaofenomena Pred krupnom tako promenom problemskih paradig- → prethodnika... duhovnih iidejnih, umesto stilskih, pitanjepostavilo se njenih sedamdesetih umetnost nova donosi problemskih što paradigmi ih Pred tako krupnom promenom promenom krupnom tako Pred + J D

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SMRT UMETNOSTI ŽIVELA UMETNOST se uvodi otvoreni kao se irelativno programske interdisciplinarne i neodređeni naziv zavanstilske, → eksperimentalne, projektivne,eksperimentalne, prakse uumetnostiprakse ikulturi. radikalne, ekscesne, kritičke, Opšti pojam avangardnosti avangardnosti pojam Opšti Joseph 12-Hour Beuys, Lecture, Melville College Edinburgh,College 20August 1973. Photo: Gera Urkom obuhvata zagrebačke početne godine izlaženja časopisa Zenit 1997. godine. Predlog liniju” za„drugu uhrvatskoj umetnosti autoraperioda Vladimira Bužančića iMarijana Susovskog iz crtačkom opusu ranog zenitističkog ipoznog nadrealističkog im njegovom slikarskom, arhitektonskom, dizajnerskom i Vere Horvat Pintarić, te dvema monografijamaposvećen- ji Nova u Zagrebu uvodnom 1978, sa studijom u katalogu obavljene su retrospektivom Josipa- Seissela/Jo uGaleri Kleka Krečiča, objavljenoj 1980.UHrvatskoj ove pak revalorizacije u Idriji 1978,injemu posvećenoj monografiji autora Petra iarhitekatanika uTrstu Avgusta uMestnoj Černigoja, galeriji Bauhausanika ipredvodnika konstruktivističke umet- grupe avangardijskih uSloveniji retrospektivom je izvršena - polaz 1983.godine. Beogradu tekstova ukatalogu Vide Golubović, uNarodnom muzeju u Subotić Dada Tank Dada na obimna kritička, teorijska iistoriografska literatura. Gorgona, akojim pojavama je uproteklom- posveće periodu Nove tendencije, predstavnike enformela radikalnog igrupu grupu EXAT-51, domaće učesnike međunarodnih izložbi nom, svetskog Drugog posle te uperiodu rata podrazumeva Bauhausaeri, polaznicu Ivanu Tomljenović Meller upredrat- Revalorizacija potisnutihRevalorizacija izapostavljenih pojava istori - Zenit iavangarda ’20-ih godina uvodnih od , uzjedan , Dada Jok Dada Jazz iDada , zajedno grupom Travel sa - , prakse: Bosch+Bosch, Grupa Kôd iGrupa Ǝ),SKC Bosch+Bosch, prakse: - obeo ili „Konceptualna umetnost uJugoslaviji iSrbiji”, „Nomadske što su „Autorefleksijavišemedijskog: Radovanović”, Vladan udrugojsocijalističkog modernizma, polovini 20.veka, kao kao itekstova ubloku Neoavangarda &transgresija –kritika produkcije”, na koji pojave odnose se međuratnog perioda, postdada” i„Nadrealizam: nesvesno udobamehaničke re- no i pisca tekstova avangardizam: „Eklektički i Dada Zenit, I vek torija umetnosti uSrbiji XX vek –radikalne umetničke prakse u srpskoj poglavljima su umetnosti sa podudarni knjige Is Retroavangarda ikoristeuvode se izričito antiavangardni pojmovi koji glase pojava IRWIN, grupe a za čiju ideološku i tipološku poziciju umetničke formacije, kojih tipični je eksponent uSloveniji aktuelnetada javljaju nove se teorijske formulacije ipraktične neoavangardi postaju postepeno potvrđene iprihvaćene. Kao tekovineumetnička klima, istorijskih avangardi iposleratnih grebu. Početkom menja osamdesetih ukupna se duhovna i uSplitui članovima peristil - Crveni iŠestoricauZa grupa uŠempasu,Družini uHrvatskoj brojnim pak pojedincima veka uSloveniji predvodnička pripada uloga grupi OHO i , autora trotomnog projekta Miška Šuvakovića, ujed- Pojedini fenomeni obuhvaćeni pojmom linija” „druga U intenzivnoj atmosferi godina prošlog sedamdesetih (prema Peteru Vajbelu) Retrogarda ili . - je” uodnosuna nasleđe međuratnog iposleratnog umerenog postsocijalizma”.periodu naernosti kraju rata hladnog svetskog rata, odnosno, razgradnje ubrzavanja ili, čak, - mod rata hladnog uepohi modernosti socijalističkih buržoaske pre modernosti svetskog Drugog rata iizvođenja složenimjenih kontradikcijama uspostavljanja nacionalne sti, već pre kaomnoštvo događaja kulturalnih praksi uslovl- autonomni fenomen ekscesni unutar sameumetno- moderne nosti ikulturi. Pri tome, ’avangardnost’ ne posmatra se kao projektivne, programske iinterdisciplinarne uumet prakse - vanstilske, radikalne, ekscesne, kritičke, eksperimentalne, uvodinosti kaootvoreni se irelativno naziv neodređeni za umetnostima, muzici i arhitekturi. pojam Opšti avangard- vizuelnim tehničkim medijima, filmu, teatru, izvođačkim imodernizama uslikarstvu,modernosti skulpturi, grafici, su na velike narative iinternacionalnih lokalnih iglobalnih transgresivna, kaokritična, odnosno ili drugačija) - uodno metaforičnom smislu, kaoodstupajuća ukazuje se (druga, torija ’avangardnosti’, taj se da pojam upotrebi u najopštijem 2010.Prema autoru Beograd Orion Art, projekta, „Ova is - nasaradnika ovom vrlo značajnom izdavačkom projektu, gradskom postkonceptualizmu”, uzbrojne priloge ostale niza „Odstupajuće” umetničke pojave, „druge”- i„drugači iudramatičnom ientropijskom + posle Drugog Drugog posle J D

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SMRT UMETNOSTI ŽIVELA UMETNOST vaju različite ljudske duhovne potrebe, poistovećujući pojam nim postupcima umetnosti okriljem ispolja ukojima- pod se suočavaju domaću sredinu fleksibilnim sa i nekonvencional- linije” znatno dopunjuju raspone praksi umetničkih i time glavlja posleratne srpske umetnosti, pomenute pojave „druge ovljivog istorijskog trenutka. osme ukulturi kaonjenih posledica iumetnosti ovog nepon- venoj iduhovnoj atmosferi „velikog odbijanja” i šezdeset umetničkogje objekta”, sve usijanoj to nastaloutada - društ shodno simptomima potpune delimične ili „dematerijalizaci- analitičkih svojstava nazvanog elementarnim iprimarnim, intervencija uizvangalerijskim prostorima, islikarstva čak ali tekstualnihvidea, ikonceptualnih radova, knjige umetnika, cija, korištenja tehničkih medija fotografije,kratkog filma i uvedenimtada postupcima poput performansa, telesnih- ak likovnih disciplinaklasičnih slikarstva iskulpture, baveći se Sve su ove pojave „druge” i„drugačije” zato odstupaju jer od kulturnog centra, zajednica. iumetničkih uznizpojedinaca prvobitnoumetnika, okupljenih oko Studentskog Galerije subotičkigrupe, Bosch+Bosch jmom podrazumevaju uSrbiji novosadske konceptualističke stavlja formacija „nove umetničke prakse”, kojim- po pod se godinama prošlog usedamdesetim modernizma, veka pred- Manjinske ialternativne uodnosu na središnja- po Art Always Has Its Consequences , neformalna Grupa šestorice ▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶ jigama, jeste spoznaja pojavamameđu - se da po okriljem pod izložbama, kaoiobradama ukatalozima,- zbornicima ikn priznanja, tih od je dokazanih njihovim na brojnim učešćima arodnih razmera. ono Ali što dragocenije- još je idalekosežni u njima odgovarajućim problemskim kontekstima- međun jmom uposlednje vreme stekli znatnu prisutnost ividljivost „jugoslovenskog umetničkog prostora” obuhvaćeni- po tim u vidu su da upravo nekadašnjeg sa igrupe pojedinci mnogi dovršeni istorijski fenomeni potvrđeni pre tim ima se kada pojmom linija”pod „druga danas mogu razumevati se kao moguće”„sve dopušteno”. i„sve uumetnosti usavremenom jedino još svetu treba bude da nim sadašnjim umetničkim poimanjima, zahvaljujući kojima umetničkog izražavanja ostaju na snazi iukrajnje raznorod- linija”.jma „druga prethodno Ali osvojene tekovine slobode čime definitivno prestajeda važi ekstremna ekskluzivnostpo- brojnim tada sa jedno novonastalim umetničkim pojavama, situaciju nastupajućeg ukoju postmodernizma, za - uklapa se na, na globalnom planu, u pluralističnu kulturnu i umetničku narednei početkom decenije stišana privede ipostepeno je - jekta na individualnu slobodu „govora uprvom licu”. načelnoumetnosti sa ipraktično pravima bezgraničnim sub - Dometi i nasleđa pojava umetničkih podrazumevanih ovaAli kratkotrajna uzavrela atmosfera krajem osme problemska poglavlja. procese predstavljajući unjima ujedno integralna izasebna pravovremeno,jčešće one uključuju se umetničke uglobalne nima, kulturne sredine ukojima su ovi fenomeni nastali, na- umetnosti usopstvenim sredinama. Upravo ovim sa fenome- ravnopravnih središnjim ivrhunskim dometima moderne vrednostima dometa, specifičnim na drugačiji po način ali izvornih, neponovljivih i glavninom umetničkih visokih Istoka „između iZapada”.području Stoga poseduju oznake su u jedinstvenomtali društvenom ikulturno-političkom veka, kao doprinosi celog niza uzastopnih generacija, nas- praksi” umetničkih „novih godina prošlog sedamdesetih rasponu istorijskih od avangardi do dvadesetih početka sa „jugoslovenskom umetničkom prostoru”, uvremenskom pitanjanih iodgovora. tivanje ipreispitivanje njenih samih temeljnih egzistencijal- krajnje neizvesno poimanje umetnosti kaoneprekidno ispi- linija”jma „druga najavilo, razvijalo idefinitivnose učvrstilo Fenomeni okupljeni terminom linija” „druga pod u „druga linija”„druga mogu danas razumevati se → Dometi inasleđa umetničkih pojava kao dovršenikao istorijski fenomeni... podrazumevanih pod pojmom pod podrazumevanih + J D

55 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 57 D J + By the „other line“ we mean thosemean we line“ the „other By of comprehending art. However, in the art. However, comprehending of conceptions traditional macro-climate prevail. art in general and painting of about SocialistThey Realism,talk here close how shown last be at should it but thisSocialist-Realist tra - to aesthetic is and painting of conceptions ditional academicism, easily the traditional how accepted this time, of taste the general even if socialistically painted, ’realism’, avant-garde“. type of any than rather art the „Yugoslav within phenomena their lin- to which according space“ detach typological and guistic features to opposed or from apart stand from, which are formations the mainstream legacy based the and practices of on mod- moderate post-war and pre-war in named last the concepts ernism, of „Socialist context, cultural the Serbian „Socialist and Modernism“. Realism“ The first clear indications ofthe indications clear first The existence of the „other position“ and and position“ the „other of existence the in post-war tradition“ „other an became apparent art space“ „Yugoslav the of the occasion for in the gathering the of the monograph of publication the Galerije Nova by EXAT-51 group - mem which one in Zagreb in 1979, at Ivan group, the aforementioned ber of statement: the following gave Picelj, im- all and to the possible addition „In against brought arguments possible constantly which is one painting, our to belong do not we that was repeated forgotten is all it above this and milieu, - (Dada), Aleksić (Zenit), Šu Micić that - Seissel (Bau (Post-cubism), manović However, this in active city. were haus) - the civ by suppressed their was activity the gathering the same At ic culture.“ „A declares: Prelog Milan art historian which existed particularmicro-climate new ways of the development favoured ------ern art various terms are introduced introduced are terms ern art various n order to be able to record individ record to be to able n order mod in the history of ual chapters tic phenomena but also permit theoret but tic phenomena to owing criticalical constructions and a subjective conduct to able is which one pre of revalorisation and valorisation So these artistic phenomena. cisely same such one for things, other amongst that, „Yugoslav the former within instance the of time the concept in my art space“ which related proposed was line“ „other of the movements of the continuity to post- and avante-gardes the historical in the Post-avant-gardes, and Neo- war periodthe twen the beginning of from the last of the seventies of theties end to of that modifications many with century in the numerous, on depending term social historical, changed the meantime, conditions. cultural and and used which not only encapsulate the encapsulate only used which not and actual artis of reconstruction objective I

The phenomena gathered under theterm span a time in artspace“, „Yugoslav the in line“ „other the of twenties early the avant-gardes historical the from of of seventies the century, last the „new art practices“ the to as the contributions of a long sequence of generations, space social culturo-political unique the in and emerged West“. the „between East the and DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 56 DEATH TO ART LONG LIVE ART 59 D - J (The (Electri Nomadske Nomadske , Konceptualna Konceptualna + , by the author of of the author by . - i Gru Kôd Grupa (according to Peter Peter to (according Nadrealizam: nesvesno u nesvesno i Nadrealizam: - & trans – kritika Neoavangarda Some phenomena encapsulated encapsulated phenomena Some Retroavangarda - postkon o beogradskom ili Ǝ), SKC Weibel) or Retrogarda or Weibel) in Serbian line“ the term the „other by of the chapters with consistent art are XX u Srbiji umetnosti the book Istorija prakse umetničke vek– radikalne Century 20th in Serbia art in of history art– radical practices) - Šu Miško project, thisthree-volume the essays of also the author vaković, Dada Zenit, avangardizam: Eklektički i postdada reprodukcije mehaničke doba and Dada Zenit, avant-gardism: cal Unconscious Surrealism: and Post-Dada ), reproduction mechanical of age the in the from phenomena to which relate in the the essays of and years, interwar book (The modernizma socijalističkog gresija and criticism the – avant-garde Neo modernism, socialist of transgression the 20th century, halfin theof second - višemedijsk Autorefleksija as well as Radovanović og: Vladan umetnost u Jugoslaviji i Srbiji , Bosch+Bosch prakse: pa historical avant-garde and post-war post-war and avant-garde historical and validated become avant-garde Neo formulations theoretical New accepted. appear practical artistic formations and exponent whichtypical a of this time, at the for IRWIN, the group is in Slovenia whose ty ideological- of and building anti-avant pological extremely position such introduced are concepts garde as - - Jazz Dada , in Zagrebu. At the At in Zagrebu. Dada Tank - whose, to manifesta , , together with the group the group with , together , repre Tendencies New The Šestorica Zenit , the Bauhaus student Ivana Ivana student , the Bauhaus Gorgona Dada Jok In the intense atmosphere of the of atmosphere the intense In occupied the leading role, in in Croatia the role, leading occupied and Traveleri pe - thein pre-war Meller Tomljenović War World in the periodriod, and after the EXAT-51, the group includes Two in the international local participants exhibition sentatives of radical enformel and the and radical enformel of sentatives group - critical, theoret of abundance an tions has literature historiographic ical and been period. in the past dedicated in Slovenia century the last of seventies - u Šempa Družina and group the OHO su members and individuals the numerous and in Split peristil Crveni the group of thegroup the spiritual the eighties beginningof under a whole as artistic climate and the of the achievements goes a change, Krečič dedicated to him and published published him and to dedicated Krečič these revalorisations Croatia in 1980. In - ex the in retrospective conducted were Klek in the Seissel/Jo Josip of hibition in Zagreb in 1978, with Galerija Nova Horvat Vera by study introductory an in two and in the catalogue, Pintarić Bužančić Vladimir by monographies 1997 dedi- from Susovski Marijan and - archi painting, Seissel/Klek’s to cated from opus drawing design and tectural, pe- Surrealist late Zenitist and the early in line“ „other an of proposal riod. The the initialZa - artencompasses Croatian - pub the magazine of greb-based years lications forerunners... and conceptual, The question asked asked question The rather than stylistic, a major paradigmatic paradigmatic a major → of the problem of such change brought about by was who were its spiritual spiritual its were was who the newthe art of seventies the (The fourth decade – (The social Treća decenija: konstruktivno konstruktivno decenija: Treća - decade: construc (The third (Zenit and the avant-garde of the of the avant-garde (Zenit and A detailed and meticulous analysis analysis meticulous A detailed and suppressed of the revalorisation The ism and Belgrade Surrealism. The first Belgrade first The and ism Surrealism. Dadaism Zenitism and of revalorisation in the in- Protić M. B. by conducted is the of the catalogue for troductory study exhibition slikarstvo Con- of in the Museum painting) tive Art in 1967, whilsttemporary the reval- the visual experimentation of orisation Belgrade performed was of Surrealism in the author the same by in a study Četvrta- de the exhibition for catalogue umetnost – socijalna nadrealizam cenija: 1929-1950 but art, 1929-1950), also in the Museum in 1969. - the his of Zenitism a phenomenon as of decade the third of avant-gardes torial protagonists its century and the last of and S. Petrov in the visual arts, Mihailo Klek, conducted was Seissel/Jo i Josip - Sub Irina by curated thein exhibition go- 20ih i avangarda Zenit entitled otić dina the of one with accompanied twenties), in Golubović Vida by texts introductory museum in the National the catalogue, in Belgrade in 1983. - the his of phenomena overlooked and - con was in Slovenia avant-garde torical of exhibition in the retrospective ducted the lead- and the Bauhaus of the student artists of group the constructivist er of Avgust namely in Trieste, architects and gallery Černigoj in the Mestna in Idrija Peter by in the monograph in 1978 and The question asked of the problem problem of the asked question The which will soon, because of a number which will number a soon, because of the itself into fit factors, undesirable of its become than rather local mainstream will be latter The negation. fundamental sev practice by - into put and announced - the radical break of eralprotagonists well as sculpture, in painting, throughs in environments kinetic as objectsand But athorough and sixties. the fifties legacy and of the platforms from break „socialist and mod- „socialist realism“ the begin will- at be only made ernism“ decade the with thefollowing of ning the „new of the „new art“ or emergence - emerg the seventies, of art practice“ the social of the wings under from ing with mood Sixty-eight, of spiritual and the funda- for implications far-reaching the languages of characteristics mental - work the methods of and expression of these coming of in art, the majority ing artistic the disci classical - outside from drawing sculpture, painting, of plines the towards moving and graphics, and new technical media, as of introduction - concep and the dematerialisation as far the artwork. of tualisation change paradigmatic a major such of the the new artof by about brought and spiritual its who were was seventies - stylistic, fore than rather conceptual, cul - the „Yugoslav who runners inside thirties and the twenties of space“ tural in be century could the found last of avant-garde thelegacy the historical of Zenitism in art of the branches as such Constructiv- Slovenian Dadaism, and - (the Trifunović marks out as the first the first as out marks Trifunović

Decembarska grupa (the DecemberDecembarska

The transfer of the concept of „socialof concept - the The transfer originally which was aestheticism“, ist by the of literature in the field conceived to Lukić, Sveta critic and aesthetician brought artsof visual was the the field inter individual the various by about pretations and adaptations of Miodrag Miodrag of adaptations and pretations Whilst Lazar Trifunović. and Protić B. „aestheticism“ Protić M. B. to according the sixties pos of - painting in Serbian sessed particular connotations, positive itself within all affirms because it above as modern painting of a consciousness L. for creation, plastic autonomous an „become had „aestheticism“ Trifunović artistic ideologytheofficial ofthe fifties“ „sufficiently was it that the reason for general complex the into modern fit to sufficiently theworld, to openness an of aesthetic the – reformulated traditional - satis – to the forties of the intimism of a social of out fy grown taste the civic the period the In after conformism…“. phenomenon discarded and preceding socialist theof „modern realism, tra- Šestorica the group of ditionalism“ of the „socialist and Six) aestheticism“ the - calledTri L. they as by were group), - forma became the prevailing funović, of the fifties art of the Serbian of tions direct subsequent with century, the last - the insti for consequences indirect and further and - devel foundations tutional local of artistic life. opment the affairs of a state such to reaction Belgrade of ’Enformel’ phenomenon DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 58 DEATH TO ART LONG LIVE ART 61 D J + the historical avant-gardes of the early the early of avant-gardes the historical of the „new to arttwenties practices“ the as century, the last of the seventies - gen of sequence a long of contributions social in the unique emerged erations, „between space culturo-political and this reason For the West“. the East and authentic, they an possess of the signs high the whole on and unrepeatable but from artistic different scope, quality the specific with values also according major and the equally valid central of modern theirartin of achievements - these with phe Together environment. in environments the cultural nomena, in a become often which they emerge in the globalartis - included way timely both they represent where ticprocesses in the particular and chapter integral an art. of problem Joseph Beuys, 12-Hour Lecture, Melville Melville Lecture, Beuys, 12-Hour Joseph 1973. 20 August College Edinburgh, Popović Zoran Photo: - The phenomena gathered under under gathered phenomena The - indi many that considers when one the former from groups and viduals this by covered art space“ „Yugoslav a sig- times gained in recent term have in the visibility and presence nificance the with in line contexts international they address. art problems paradigmatic and valuable still is more what But as this recognition, than far-reaching in numer their participation by proven - being the sub as well as exhibitions, ous catalogues, in texts and jectsessays of books, the knowledge is and journals under the phenomena amongst that an line” the term “other the umbrella a art as of notion ambiguous extremely - re-question and questioning constant very existential its fundamental of ing de- declared, is responses and concerns consolidated. definitively and veloped - in the „Yu line“ the term the „other from in a time span art space“, goslav - - at heated and this shortlived But ar of the legacies and ranges The mosphere at the end of the eighth and and the eighth of the end at mosphere decade the following thebeginning of at a drawn, pacifiedand gradually is cultural the pluralistic globalinto level, Postmodernism of artistic situation and aligns itself in which it then appearing, artistic newly emerged the many with the whereby the time, of phenomena line“ the „other of exclusivity extreme the ceases to But be valid. definitely accomplishments adopted previously in force stay free artistic expression of artis- current diverse in the extremely the fact to that owing tic conceptions the modern in the arts of world only and „everythingshould be possible“ „everything permitted“. tistic phenomena encapsulated by the by encapsulated tisticphenomena be un- today can line“ term the „other historically and finite a now derstood as especially phenomenon acknowledged - Minority-based and alternative alternative and Minority-based - the Sub groups, Sad conceptualist Novi otica-based Bosch+Bosch, the informal Six) which (The artists of group Šestoro Student the around together came first many as well as Gallery, Centre Cultural All these artistic groups. and individual “different” or “other” are phenomena the classic becausefrom they deviate sculpture and painting of art disciplines - intro the then with recently engage and body performance, as media such duced in books, artist actions, interventions non-gallery even also in an and spaces, primary the and elementary of analysis - ana namely painting, of characteristics the with in accordance lytical painting, partial and “dematerialisation complete in the all this emerging the art object”; of social spiritual then and incandescent of rejection” the “great of atmosphere for consequences its as well the 1968 as unrepeatable that art of and the culture moment. historical - phe the aforementioned phenomena, in relation line“, the „other of nomena Ser postwar of chapters the central to bia art significantly widen the scope artsignificantly bia confront thus artistic practices and of - the local uncon and scene elastic with methods in which various ventional the under expressed needs are spiritual the art, identifying idea of of auspices in practice and theart in principle with the to the subject of rights unbounded „speaking of freedom in the individual person“. first in the dramatic and and the in dramatic War Cold „This history of ’avant-gardism’, to ’avant-gardism’, of history „This artistic phenomena, „Deviating“ use this concept in the most general general in the most use this concept de- as itself sense, shows metaphorical different or (being other from viating of transgressive, being critical, or or to) - local interna of and narratives the great global mod- modernity and and tional graphic sculpture, ernism in painting, art, visual technical media, film, theatre, - architec and arts, music the performing avant-gardism of general idea The ture. relatively and open an as introduced is extra-stylistic, rad- for name undefined critical, experimental, ical, excessive, - interdis and programmatic projective, culture. in art practices and ciplinary be cannot ’avant-gardism’ Thereby, excessive and autonomous viewed an as occurring modern within phenomenon of a multiplicity as rather but art itself, practices conditioned cultural of events - estab contradictions the complex by modernity bourgeois national by lished the and War the Second World before socialist of practice modernism thein the after Second War theepoch Cold of or, the disintegration is that War, World the modernity at of even, acceleration the of end period post-socialism“. of entropic to the regard with „different“ „other“ or mod postwar - and legacy interwar of in represented modernism, were erate the by century the last of the seventies a the „new of art practice“, formation the term which in Serbia encompasses The ranges → phenomenon... Multi-media self-reflection: self-reflection: (Multi-media as a now finite and and finite as a now - contribu other numerous with ),

can today be understood understood be today can phenomena encapsulated and legacies of legacies artistic the and

historically acknowledged acknowledged historically Vladan Radovanović, Conceptual art in Conceptual Radovanović, Vladan - practic Nomadic Serbia, and Yugoslavia Grupa and Kôd Grupa Bosch+Bosch, es: - post-conceptu Belgrade about or Ǝ, SKC alism in this very im- authors many by tions Art, Orion project, publishing portant - the proj to Belgrade According 2010. author:ect’s ceptualizmu ceptualizmu by the term the „other line“ line“ „other the term the by DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 60 SMRT UMETNOSTI ŽIVELA UMETNOST 63 R ------S + . U prvom planu pritom su jedna su pritom planu prvom U . 1 oja knjiga bavi se performansom i konceptualnom i konceptualnom se performansom bavi knjiga oja se su sedamdesetihumetnošću koji prošlog godina u Be centru kulturnom razvili u Studentskom veka München: Verlag Silke Schreiber, 170−185. ili 170−185. prvo poglavlje u Schreiber, Silke Verlag München: Osnovu za istraživanje obezbedili su arhivski materijal i obezbedili materijal arhivski su za istraživanje Osnovu koje je da se bio utvrdi Drugi istraživanja mog zadatak ogradu. Tekst ima tri cilja, a prvi od njih je rekonstrukcija vrlo vrlo tri ima a prvi cilja, je rekonstrukcija od njih Tekst ogradu. perifernom kulturno jednom u umetničkih događaja toka živog među perifernosti, ubrajaju toj se, uprkos koji Evrope, delu performansa doba vrhunce i Ger Raše Todosijevića Popovića, Zorana Paripovića, ća, Neše Urkoma. gelja Denegri izmeđuostalih, sa Ješom sa savremenicima, intervjui i Biljanom Rašom Todosijevićem Šuvakovićem, jem, Miškom ni za jedno do delo Abramović, Marine dela Izuzimajući Tomić. Literatura tumačenja. kamoli a opisa, preciznog sada bilo nije na česte i na dela opise sažete na ograničavala sepo pravilu Beogradu,u centra kulturnog Studentskog značaju o pomene Upravo tačno sastojao. značaj se taj u čemu ali bez objašnjenja ozbiljno dela dazbog umetnička izuzetno važno mi je bilo toga inter za njihovu kao takva i da obezbedim preduslove shvatim pretaciju. − i i mehanizmi kategorije vrednosti, umetničko-istorijske su ili budu ne prakse da budu određene do toga − dovele zašto u tražiti treba ne da razlog tome Smatrajući u kanon. uvrštene zašto razloge konkretne sam navela hendikepu, „geografskom” se sam izuzimajući opet bavila, kojima ostvarenja umetnička Zapadu. na da uspela kanon u uđu nisu Abramović, Marine dela Das (2007). Einmal mehr. B. Pejić, npr. periferije v. 1 O problematici R.Die Balkan- . U: Block, M. & Babias, Zentrum-Peripherie-Paradigma Triologie. in Avant-garde the and Art Yalta. of Shadow the (2009). In P. Piotrowski, Books. Reaktion 1945−1889. London: Europe Eastern kulturna institucija, niz izložbi, ali pre svega konkretni radovi radovi konkretni svega ali pre niz izložbi, institucija, kulturna Milivojevi Ere Abramović, Marine umetnicaumetnikai poput M

filozofiji, s jedne strane, s jednefilozofiji, strane, kao središnje kategorije... kao središnje tendencija u jugoslovenskoji u jugoslovenskoji tendencija od čoveka i njegovog delanja delanja i njegovog od čoveka doduše ne odustajući pritom pritom odustajući ne doduše u humanističku sliku čoveka, čoveka, sliku u humanističku strane. Baš naprotiv, umetnička Baš naprotiv, strane. i umetničke produkcije, s druge s druge produkcije, i umetničke između tadašnjih humanističkih humanističkih tadašnjih između ...ne postoji jednostavna paralela paralela jednostavna postoji ...ne dela izražavaju radikalnu sumnju sumnju radikalnu izražavaju dela

Seraina Renz Seraina POVODO POVODO BIJENALA 19. U PANČEVU

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SMRT UMETNOSTI ŽIVELA UMETNOST rad inaftna u po kriza, te napredak). veru posledice njene cija kaoopozicija ina međunarodnom ali sleva), nivou (Hladni nja. Bilasu to previranja uunutrašnjoj genera politici (mlada suda delovali iumetnici previra umetnice snažnih uperiodu političkih nemira istudentskih protesta 1968. godine, što znači Samo postojanje SKC-a pritom bilo je neposredna posledica stima moje knjige, bogatog jednog deo bila je kulturnog života. otvarajući pitanje uopšte je šta čovek odgovor itražeći na njega. uopšte umetnost, ne definišući ali je analitičkim metodama, već kao oblikčila umetničkog izrazakoji bavi se problemom je šta ziciju prema njima. Iz te perspektive performanse sam protuma neposredno posredno uokviruju, ili zauzela sam specifičnupo diskursima koji usavremenoj ih umetničkoj ifilozofiji kritici lozofsko-istorijske prirode. Posmatrajući dela ukombinaciji sa strane, Sdruge Denegri). (Ješa okvir zainterpretaciju bio fi je nost umetnost kaogovorni kao„umetnost činili uprvom licu” kao subjekt,umetnika kao i jezičku, komunikativnu utemelj u umetničkim delima prepoznala pre svega koncentraciju na ponudila strane, je, sjedne tadašnja koja umetnička kritika, je formansa koji bi potpuno odgovarao mestu ivremenu. Taj okvir u Beogradu, institucijiu Beogradu, koja isama je glavnim među protagoni Umetnička produkcija uStudentskom kulturnom centru Treći cilj bio ponudim da je okvir zainterpretaciju per ------filozofija tog vremena, npr. MišelFuko. dišnje kategorije, čemu antihumanistička težila je francuska ne odustajući pritom čoveka od injegovog delanja kaosre- vaju radikalnu sumnju uhumanističku sliku čoveka, doduše dukcije, strane. sdruge naprotiv, Baš umetnička dela izraža- u jugoslovenskoji filozofiji,jednestrane, s i umetničke pro- nostavna tadašnjih paralela između humanističkih tendencija središnje mesto. posmatrač publike kao deo prirodi −po stvari uvek zauzima performansa. Uperformansu čovek kaosubjekt −iumetnik i teleološkeumetnika, slike sveta ikonkretnih oblika iizvedbi usku vezu razmišljanja između očoveku iodruštvenoj ulozi pre svega dela taj slede umetničkih samih ukazujući trag, na upravose na tu filozofsku školu. kojima su pripadale i same i umetnice umetnici, supozivali Jugoslaviji oblikovali praksisovci. Studenti šezdesetosmaši, su performansi preuzeli humanističko mišljenje kakvo su u moja knjiga veliki prostor, posvećuje hipoteze od da polazeći ske debate koja iuJugoslaviji je bila vrlo intenzivna. Zato joj političke sfere uužemsmislu, stupajući filozof jedne na tle - Analiza dela pokazala je, međutim, ne da Analiza postoji dela pokazala - jed readings Close Govoreći overi unapredak već, međutim, izlazimo iz facing and thecamera leaning against of theS thewall P ortret protagonista N izložbi, komentara umetničke kritike i P rotagonists of N u liniju, iokrenutih zidu galerije ka S ew A ew ovih umetničkih praksi poređanih umetničkih ovih rt P rt ractices portrayed inaline portrayed ractices Photo: Milan Jozic 1972. Foto: Milan Jozić 1972. K C gallery K C da organizujeda jednonedeljna studijska putovanja uneku od novi,jedan profesor mladi gotovo je počeo svakog semestra u socijalističkoj Srednjoj iIstočnoj Evropi. Tek 2006.godine vropskom univerzitetu, oumetnosti ništa nisam nikada čula maju čovek injegovo delanje. nerešenog pitanja kakvo mesto treba mogu zauzi −ili −da - i filozofijekulture „antropocenom”, naziva još kao i do uvek dašnjosti, koju nizistaknutih predstavnika prirodnih nauka nu. Naprotiv, složena izuzetno je slika nas i vodi sve- do sa nemogućnost dela potpuno se da svrstaju na bilo koju stra- Studirajući istoriju umetnosti na jednom zapadnoe- Specifičan, diferencirani pristupkraju na pokazao je ko-istorijskim kartama. godina prošlog veka konačno nađe mesto iunašim- umetnič doprinesem tome jugoslovenska da umetnost sedamdesetih limično popunim uvlastitom rupe znanju, pre ali svega da −upoznala potpuno sam jedan oči novi svet. ljanja) isavremenom Ta umetnošću. putovanja su miotvorila mom, spomenicima (kao mestima kulturnog samopredstav- Albaniju i Rumuniju, gde intenzivno smo se bavili urbaniz- Rusiju,đu 2006.i2010.posetila Poljsku, Makedoniju, Srbiju, zemalja. Zahvaljujućipostsocijalističkih njemu, sam ja izme- Pišući knjigu iistražujući zanju, želela sambar da de- + S R

65 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 67 R S + The second task of my research research my of task The second aoffer frame goalto was The third - which artisto-histo establish to to was mechanisms and rical categories values, particular – led to practices why - and the art by not or being taken up either Observing for the reason canon. that the in „geo be sought not - this should I specified- con the handicap, graphical“ the artistic creations why reasons crete with dealing,which which I was again Marina of the works of the exception the art into it make not did Abramović, the West. of canon the performances for interpretation of their to corresponded which completely on the was, This frame place. time and of art by criticism the offered hand, one in recognisable most which is thetime, - in their being concentra the art works - a su the as artist the of person on ted - - -

Precisely Precisely - provi was research of the The basis because of this it was for me extremely extremely me for was this it because of serio take these to artworks important jević, Neša Paripović, Zoran Popović, Popović, Zoran Paripović, jević,Neša Urkom. Gergelj and Raša Todosijević interviews and material archival dedby the time , of the contemporaries with Šuvaković, Denegri, Miško Ješa with Tomić Biljana and Raša Todosijević of the exception With others. amongst not Abramović, Marina of the works this periodfrom has work single one been described inter let alone in detail, a as rule literature relevant The preted. the of descriptions brief to itself limits the- si mentions frequently and works Cultural Cen- Student of the gnificance the into going in Belgrade,tre without . this significance for reasons the con assure to and in themselves usly interpretation. their proper for ditions . - 1 y book deals the per with art conceptual and formance in thewhich developed se- In the foreground of this stands one cul- one this stands of the foreground In a series exhibitions, of institution, tural artists of all the actual works above and - Era Milivo Abramović, Marina as such 1 On the problematics of the periphery of see 1 On the problematics Das (2007). Einmal mehr. B. Pejić, example for R.. U: Block, & Zentrum-Peripherie-Paradigma Verlag München: M. Die Balkan-Triologie. Babias, in chapter the first 170−185. or Schreiber, Silke Art Yalta. of Shadow the (2009). In P. Piotrowski, 1945−1889. Europe Eastern in Avant-garde the and Books. Reaktion London: venties of the last decade in the Student decade the last in the Student of venties in Belgrade.text Centre The Cultural is of the which the goals, first three has course the very of lively reconstruction the cultural of one in artistic events of which despite Europe, of peripheries the of one as counts this peripherality performance the of era of high points M

...here is no simple parallel between the then humanist between parallel humanist then the simple no is ...here on the one hand, philosophy, Yugoslav tendencies in opposite, the Quite other. the on production artistic and the in of a radical degree doubt express art works the and man abandoning not albeit of image man, humanist category... a central as activities his DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 66 DEATH TO ART LONG LIVE ART 69 R S + Whilst studying the history of art the history of studying Whilst - condu the book writing and In - I ne university, European West one at art in socialist about anything heard ver in Only Europe. Southern Central and professor young new and 2006 did one - beginevery almost organi to semester the of some to trips study week seone to him, post-socialist Thanks countries. - Po Russia, 2010 I visited to 2006 from Serbia, and Albania Macedonia, land, intensively engaged we where Romania, places (as monuments urbanism, with - con and self-representation) cultural of my opened art. Those temporary trips entirely an to me eyes – they introduced newworld. at to I wanted it for cting the research own my partiallythe least fill in hole the contribute to foremost but knowledge, of the seventies art of the Yugoslav to on place a finding last at century the last maps. artistico-historical our An analysis of the works showed showed the works of analysis An - appro specific, The differentiated that, however, there is no simple pa - simple no is there however, that, - ten rallel between the then humanist the on philosophy, Yugoslav in dencies the on artistic production and hand, one the art works the opposite, Quite other. in the doubt a radical of degree express - aban not albeit man, of image humanist cen- a activities as his and man doning whichthe antihumanist to tralcategory, the timeaspired, of philosophy French Foucault. Michel i.e. - revealed thein the impossibi end ach either into classifying the works of lity the picture . On the contrary, category and complex extremely is emerges that whi- moment, the present to us brings representatives eminent of a number ch philosophy sciences and the natural of the to as well as call the „anthropocene“, and place type of what of issue unsolved – take. should – and can man actions of the exhibition, the exhibition, of Close readings - phi the very of intense the ground onto - taking in Yugo place debate losophical big part a is why That the time. at slavia this debate, to book dedicated is my of the that the hypothesis from embarking way humanist a adopted performances by in Yugoslavia thinking shaped as of The philosophy. Praxis of thefollowers which the to the seventies, of students in- directly belonged, themselves artists philosophy. this of school voked artcriticism of thecomment(aries) the follow very art works foremost and the close relation to this pointing lead, and humanity between thinking about the the of artist, the social of about role the and the world of teleological picture In the performances. and actual forms a the as artist – and man performance of member thea viewer as and subject of the nature to – according the public place. a central occupies always things The artistic production in the Student Student in the artisticproduction The the belief in progress talking about In - in Belgrade, instituti Centre in an Cultural - protagoni the main of one itself which is on a rich part of one book, constituted my of sts of SCCthe alone existence The life. cultural the political- un of consequence a direct was - 1968, which me of protests student and rest perioda in active of were the artists that ans in turmoil was There turmoil. considerable the as generation (the young politics interior on in- the also thebut Left), from opposition the Oil and (the Cold level War ternational the these on of the consequences Crisis, and belief in progress). the of out moved already have however, we, sense, stepping in the narrow political sphere

- commu in their linguistic, as bject, well as a speech – art as as act or grounding nicative Denegri). (Ješa in theperson“ first artist „the - interpreta of the frame hand, On the other I nature. a philosophico-historical of is tion to the relation in specifica position adopted with viewing them in combination by works them directly which frame the discourses art criticism contemporary in indirectly or this perspective I in- . From philosophy and artistic of a form as performance terpreted which dealsthe problem with expression it defining not but is, art in general what of - ope rather methods analytical and using - be to hu it is what of the question up ning this. to answer seeking an and man DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 68 70

SMRT UMETNOSTI ŽIVELA UMETNOST Art Always Has Its Consequences ▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶▶ UETNOST! … ŽIVELA Estetika bezetikeje Selman TrtovacSelman kozmetika. Ulay P ter, kaomehanizam poslužila je da odnosno uklasnoj borbi uokolnostima rata. hladnog promena paradigme, sredinom godina prošlog ’70-ih veka, ukulturi politički imala karak- kom buntu 1968.širom Evrope, oni ili koji su taj bunt doživljavali pozitivno, veruju je da instrument političkih strategija. određenih Mnogi koji umetnici su učestvovali ustudents- prisiljena u ekonomsko-društvene uklapa je se da poznog kapitalizma, odnose često kao kliranja zapotrebe ideja interesa starih koji su izvan umetnosti ihumanizma. Umetnost određuje važno uumetnosti je šta ne. ašta Na neki način, sve to ukazuje na princip reci- samo kaodiskurzivna umetnost. Teorija cinično otuđila umetnosti se umetnosti. od Ona praksa kulture, uokviru postoji da samo određenog uokviru konteksta, moguća je da ili nemoguće stvoriti nešto novo, ona je da umetnost je samo da mrtva, označiteljska no umetničkog mišljenja, dugo već je dominantna. Govori i otome se kako je teza odiskontinuitetuostmodernistička uistorijskom toku umetnosti,- odnos Na taj način promene da svet! stvoreda i, novi jezik shodno tome, nove forme iznanja. imajujedine potencijal spoznaju da nove istine, koristibili od čitavom čovečanstvu. Umetnost inauka toga, od više ima zadatak stvori da nove modele, koji bi označiteljska unutar praksa kulture, mnogo je već da ...umetnost, zakoju duboko verujem nije da samo + S T

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SMRT UMETNOSTI ŽIVELA UMETNOST datak stvori da nove modele, koji bi koristi bili od čitavom praksa unutar kulture, toga, mnogo ima od za- već je da više za koju duboko verujem nije da samo označiteljska nog sveta. Pod okolnostima, tim umetnost, incident kao naivno ili bežanje stvar od prostora. zato One se često kao vide unutar može reći, malih, se mikro- utopijske su ideje moguće samo ljudi? između boljih odnosa ziju nekog boljeg mesta zaživot i utopijske modele, drugačiju- vi liumetnostDa može generiše da ga, koji potencijal umetnost ima. sti, kakvo njeno je mesto i, pre sve- razmisliti umetnoje - uloga kakva je itd. okolnostima Utakvim neophodno ke ekološke krize, pandemije, krize, ratovа dovela –ekonoms različitih kriza doserije je - vrste. Predominantna kapitala, logika profita, odnosno ugroze egzistenciju života na zemlji, ičoveka asamim tim kao tacija ljudi iprirodnih resursa. Ekološki problemi prete da problemima koje prouzrokovala je beskrupulozna eksploa- Kako stvari stoje, sada Danas, nego možda ranije, više ikad smo suočeni sa - to definisao Denegri, onaJeša umetnička kojapraksa je bila mišljenja. Posebno nas zanimala tzv. je linija”, „druga kako je ikarakteruloga umetnosti inauke imaju snažne političke nove forme iznanja. Na taj načinpromene da svet! Takva spoznaju nove istine, stvore da novi i, shodno tome, jezik čovečanstvu. Umetnost inauka imaju jedine potencijal da implikacije. vezama unutar lokalnog iglobalnog, umetničkog mišljenja. Okompleksnim procesima i osnovnim ljudskim potrebama istreml- nuitetu u istorijskom toku umetničkog Da bi umetnostDa se ponovo povezala sa jenjima, vreme neophodno se setiti - je da je neophodno je da razmisliti okonti- na kada je umetnost snagu,na je kada imala izložbi, pretpostavke smo od pošli kada sukada ljudi verovali uumetnost, van Vuković razmišljajući ija, o u njene spoznaje i ideje. Osnov- Antić, Sanja Latinović, Ste- Pančevu 2020,Ivana Bašičević pitanje:no je to je bilo Zašto tako, adanas možda nije? Autorski Bijenala tim u promenjenih okolnosti, koje ineprekidno stalno se menjaju. ve nekad ponavljaju, aistovremeno su različite. Možda usled u umetnosti kompleksniji, su da veze- poja unakrsne, se da ravnu vremensku liniju, već smo smatrali kontinuitet je da i došli do danas. Tajdevedesetih nismosled posmatrali kao preko pojave Gorgona, grupe nove umetnosti sedamdesetih, hom vremena. do Kalemegdana, već one pojave koje su bile du uskladu sa - Todosijevićkako Raša šaljivo voli kaže, da slavne Slavije od živeli kroz Nisu umetnički jezik. nas zanimale pojave koje su, potrebu pojavama sa suoče se da iokolnostima ukojima su otpora,jeg već su verovali umetnosti duboku iimali umoć kojiumetnici usvom radu imišljenju nisu išli linijom man- umetnike predstavljala pitanje životasu nas Zanimali i smrti. na margini, nepoželjna i neudobna. Kritička! Ona koja za je Pošli smo, uhronološkom smislu, časopisa od Zenit , kao gotov recept. kao predlog i povod za zajedničko promišljanje i dijalog, nego izazov.veliki je Zato bi Irizik! ovu izložbu pre trebalo videti mogao pripadati takvom pristupu života iumetničkom radu, nosi liniju” na „drugu iumetničke radove današnjice, koji bi dešavase ipovezano procesima. globalnim sa je umetničkog mišljenja, koje vremenom uskladu sa je ukome zato je pa bilo dobro jednom još naglasiti važnost posvećenog veoma niskom nivou, apolitička svest shodno tome takođe, stima ekstremne hipokrizije. Vrednosni sistem na je udruštvu neobično važan je udanašnjim društveno-političkim okolno- temaje „druge linije” ranije obrađivana na različite načine, koje ilustruju ono što smo hteli naglasimo. da liniju! Drugu Pokušali smo identifikujemo da neke ličnosti i njihove radove Razmišljanje autorskog o kontinuitetu tima koji- od se Takav pristup koncipiranju Bijenala u Pančevu, iako + S T

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- - - S + - How things now stand, utopian utopian stand, now things How again connect art to for order In with fundamental human needs and as needs and human fundamental with ly new forms and knowledge. To change change To knowledge. and new forms ly sci art and For in this way! the world character and a role such have to ence powerfulbears political implications. necessary is it recall the to time pirations, when people when art possessed force, and knowledge believed in art,its in it was Why is: question ideas. The basic anymore? not maybe today and that, like ideas are possible only within small, so within only possible ideas are often seen are They micro-spaces. say to the from flight a naive as or incidental as art these conditions, Under world. real one be to only believe not which I deeply but signifying culture, practice within new creating the of task has more, much which willmodels be useful the whole to science possess Art the and mankind. of new truths, to comprehend to potential consequent and a new language create - Today, maybe more so be ever than - more maybe Today, digmatic change, in the mid-seventies of of thein mid-seventies change, digmatic political was in culture century, the last served it - that a mech as in character, - thein circum war thein class anism the Cold War. of stances caused faced problems with are we fore, of exploitation the unscrupulous by Ecological resources. natural and people - the exis endanger to threaten problems also earth, therefore on and life of tence overridingly species. a as The man of profit, namely capital, logic of dominant cri- in a series different of resulted has ecological, pandemics, ses: economic, is it circumstances such In etc. wars the role necessary what think to about all above and place its is what artis, of gener to art able Is potential. its is what of a vision a different models, utopic ate relations better and life for place better between people. - discon of thesis Postmodern he of course in the historical tinuity artistic thinking, of has is art, that been dominant already for some time. It It time. some for already been dominant creating of the impossibility talks about is it that dead, art is how new, something a signifying a larger only within practice - contex a in exists only it that culture, a as possible only is it that or way, tual art). The theoryof (of form discursive cynicallyart has from itself distanced in important is what determines art. It all this way some In isn’t. what art, and old recycling of the principle to points outside of interests the benefit ideasto fit to Art forced is humanism. artand of the economico-social relations into as instrument the often capitalism, late Many particularof political strategies. in the who the artists participated of Europe, 1968 across of protests student those whoor experienced these protests - the para believe that light, in a positive T

...art which I deeply believe not to be only one signifying one be only to believe not I deeply ...art which task of the has creat more, much but culture, within practice will which new be models of usefuling whole the to mankind. new comprehend to science possess potential the Art and new forms consequently and a newlanguage create to truths, this way! in world the change To knowledge. and DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 74 DEATH TO ART LONG LIVE ART 77 T S + It is a great challenge for the cu- for challenge a great is It is unusually important in today’s so - today’s in important unusually is extreme of cio-political circumstances in society system value The hypocrisy. consequently and a verylevel, at low sits it why which is also political awareness, the im- more once emphasising worth is artistic thought, committed of portance oc- its the time of with in line which is tied global to and processes. currence - the conti think to about team ratorial Line“ the „Other to which relates nuity day, the present from artistic works and approach an such to belong which could artistic working. of the way and life to thisexhibition why is Which risk! And reason be and seenshould a proposal as dia - and contemplation a shared for recipe. a ready-made than rather logue, - - We began, in a chronological way, way, chronological in a began, We the conception to approach an Such from the magazine Zenit, through the Zenit, through the magazine from the Gorgona, the group of phenomenon ar nineties and the seventies, new art of see didn’t We day. the in present rived line, temporal this seqeunce a straight as in continuity that thought we rather but the relations that complex, more art is sometimes phenomena that crisscross, time differ the same at are but recur the changed of a result as Maybe ent. and which constantly circumstances, We triedto identify shift. continuously who their works and individuals some emphasise. to want we what illustrate The Other Line! even though Biennial, the Pančevo of been has Line“ the „Other of the topic ways, different in before with dealt phenomena which, as Raša Todosijević Raša which, as Todosijević phenomena celebrated were say, to likes jokingly Kalemegdan. to Slavija from - - - - That which represented for artists a for represented which That The curatorial team of the Biennialof the team The curatorial

stances in which they lived using artistic using whichtheyin lived stances in the interested not were We language. terested in the artists who in their work who in the artists in their work terested of the line follow didn’t thoughts and believed in the pow but resistance, least the deep need harboured art and er of circum and the phenomena confront to question of life and death. We were in were We death. and life of question in Pančevo 2020: Ivana Bašićević Antić, Bašićević Antić, 2020: Ivana in Pančevo and Vuković Stevan Latinović, Sanja - the exhibi in thinking about myself, is it that the premise started from tion - in the his continuity necessary about to About artistic thought. of course torical relations and processes the complex between the local ar global, inside and of was „Other Line“ tisticthinking. The defined was it as us, to particular interest artistic practice Denegri, that Ješa by unwanted the margins, on which was - Crit uncomfortable. feel one made and ical! DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 76 78

SMRT UMETNOSTI ŽIVELA UMETNOST O GATANJU POPEPELU NOVE UETNOSTI U PRORICANJU Stevan Vuković , društvenih pokreta pokreta društvenih i dati život zanju, bio je ultimativni preneo iu polje ideal kojiideal iz se ...sagoreti za umetnosti... svoju ideju, svoju P Mladen Stilinović,Mladen tekstualni sadržaj istog rada naziva, 1977. ” upomoć! ubiti hoće netko mene smrt umjetnosti jesmrt umjetnika „Čujem da govori se osmrti umjetnosti kona okulturi Republike Srbije, februara ove godine, realan izanas, kulturne da će me ta ista ćemekulturada ta ubiti” mogućnost on da stupi na snagu rekla „Ja je: kaoiStilinović jednako se bojim asačuvatinika, kulturu”. Kao izrazsvojeg dominantnog osećanja vezanog za va, izjavila „ovaj da može Zakon biti manifest otome kako maknuti umjet- kona oobavljanju umjetničke djelatnosti ipoticanju umjetničkog stvaralašt - komentaru motivâ zarealizaciju te akcije ukontekstu sporova- oko Za nacrta eksplicitno potvrdila iautorka te akcije, Lucija Žuti. zaVečernji Ona je list, u vešanje, kaoreferenca mnogima je na pamet pao upravo njegov rad. Nju je sloboda/ kulturi grebačkoj Savskoj cesti osvanuli transparenti porukom sa radu. Naime, su kada tokom februara na željezničkom nadvožnjaku na za- Stilinović, Mladen umetnik koji motivom tim se ironično poigravao usvom načine obrazlagali kompleksnim setovima argumenata. referenca Prva bio je Hegela, Artura Dantoa Donalda Kaspita, ili koji umetnosti na su različite smrt Sa grafita Situacionističke Internacionale Umetnost jemrtva, oslobodimo naš svakodnevni život.” Umetnost jemrtva, ne hranite njenim se lešom. Zadati umetnosti smrt varaju. Međutim, nije tu bilo očekivanog pozivanja na filozofepoput kao onih umetnika, koji umetnosti,vest smrti odnosno st je - osmrti očetkom ove 2020.godine, uregionalnoj štampi ponovo se pronela iImene će moja mati mrtvom zvati , uzomču spremnu za 2 . Taj koji strah, nakon je donošenja novog- Za , maj 1968. 1

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SMRT UMETNOSTI ŽIVELA UMETNOST va iubijem umjetnika u ime kulture”? onda preostaje drugo nego slijedim da Ministarst vrijednosti - ma!” i, sve ako se konsekvence prihvate, tog nacrta mi „što jno vrijeme, idemo kada gore skulturom, adolje sumjetnici- koji unjemu je primenila, obrazložila govoreći: „Ovo ozbil je - do krajnosti. Novinarima svoj je rad, diskursom uskladu sa java može imati na život zajednice, ili doteranih pojedinca ali naime, ovizualizaciji negativnih koje- posledica određena po gijom preterane identifikacije radnike koji deluju uSrbiji, ona adresirala je iispoljila strate- istoriji zapadne misli zvaopra dotadašnje umetničke prakse, primenila postupak koji u se donelo samostalnim umetnicima, ona je, svoje shodno logici stataka Nacrta, koje nepogodnosti isvih bi njegovo usvajanje umetnički rad. Tim radom, umesto racionalne analize- nedo Republike Hrvatske, Nine Obuljen Koržinek, ona uradila je durama, te su formalno zatražili ostavku ministarke kulture postupali demokratskim legalistički i svim u skladu sa proce- poput Hrvatske zajednice umjetnika samostalnih (HZSU), simboličku činom radikalnim tim dopunio smrt ifizičkom integrisano ukulturni pogon koji prezirao, je samo svoju je roprijacijom njegovo delo, ujedno i umetničko i aktivističko, upravose tumačiti. tako Kada shvatio je potpunom je da ap- ista Gi francuskog Deborusamoći 1994.godine, sela, mogla Smrt kojuSmrt kuršumom je sebi uglavu naneo situacion- 3

. Dok su drugi akteri na. Dok su sceni, drugi emeditatio malorum emeditatio 5 4 . Radi se, se, . Radi u školama iporodicama”. ljudi,mladih koja počinje prirodan nastavak imbecilizacije Pritom, „ova predstavlja druga (romana, filmova)”, s druge. industrijska proizvodnja antikulturna,i „namerno vrednosti”,novih strane, jedne s To su „delimična kooptacija taktike”.kontrarevolucionarne ...u kulturi postoje „dve paralelne kraju umetnosti ikraju kulture, su kakvi postojali uburžoas apokaliptički ton mišljenja, i na njemu zasnovan fantazam o koje su izvele pobunu ’68. imale, i negde u sebitaj održale, može se reći su da generacijeČak koje su pripremale ione To čitati moglo se na grafitima iz’68. I tu on nije jedini. bio primarnoje ona promene usmeru pokretala ikulture. društva života” njihove radove nakon njihove tokom čak ili smrti, njihovih „iskoristi ida subverzivne čak peva individue –falsifikujući ma”. Prvom taktikom, koja manje još je kultura bezazlena, us- ljudi, mladih becilizacije koja u školama počinje i porodica- druge. Pritom, „ova predstavlja druga prirodan nastavak im- tikulturna, industrijska proizvodnja (romana, filmova)”, s kooptacija novih vrednosti”, strane, sjedne an i„namerno - paralelne kontrarevolucionarne taktike”. To su „delimična tičkom 1957, on periodu, tvrdio je u kulturi da postoje „dve revoluciju. iskupi.može se da To, naravno, njegova nije bila prva za žrtva nisugirao nikakve imale veze, uverili žrtvom su jedino ga da kulturnih manifestacijai drugih koje što tim on sa je propa- kao iprimena situacionističkih parola ulegitimaciji izložbi smrću koji supripremali je iunjenom izvođenju aktivno učestvovali. revolucija stvarno bila moguća, makar ona progutala isve one kom društvu. Taj kraj zanjih je bio nužan pre kasnije ili bi da 6 7 . Naime, utekstu još koji pisao je upredsituacionis- . Ekstenzivna produkcija literature o situacionizmu, Znatno pre toga, on odrekao se umetnosti, iako ga - ument, spomenik. uostalom pre toga, znak istorije (istorijski znak), mon- skulpture, razliku za od Segalovih, Potom, crne. kao i trenutkaDo smrti (19.januar), neka vrsta konkretne fizioloških, bioloških i onih drugih, moralno-filozofskih. Melanž, naprava, kolaž od elemenata ‘egzistencijalnih’, umire, misli igovori. Legura gareži (85%)ikože (15%). Sledeća četiri dana: ljudska mixed-tvorevina koja potrčao „Pustite jevičući: me, jamoram da izgorim!”). Zapaljeni pokretan predmet (pri pokušaju da gaugase, prolivenim benzinom, kao i varničenjem glave šibice). cija načinjena od čoveka (još živog) ivatre (izazvane zapaljeni predmet na Vaclavskim namjestima, konstruk- vatra sveproždiruća Simptomalna zasmrću želje – slika Jan Palah (21),zapaljeni student filozofije, samo- Bora Ćosić, 1970. Ćosić, Bora + S 8 V

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SMRT UMETNOSTI ŽIVELA UMETNOST praksama tog vremena primeri ukonkretnim realizacije takvog ideala umetničkim činova,umetničkih jasna su refleksijatraže potrebese da u kategorije svesno ijasno izvedenih unapred koncipiranih izte Paveumetnika grupe, iTome Dulčića svrstavali Čalete, Peristil,pripadnicima Crveni koji grupe dvojice i smrti su čak je tuje epohu nazvao Ješa Denegri pokreta preneodruštvenih iupolje umetnosti oko ‘68, kako ju ideju, idati život zanju, bio ultimativni je koji ideal iz se koji tradiciju baštini avangardi) studentskih kulturnih centara uRijeci, eksperimentalnihnazvan od ijedan Palaha (čijim imenom već bio tada je opisani činstudenta radikalni Jana Tiš Kuang bila upacifičkom Duka samospaljivanja vijetnamskog budističkog što decenije ranije pola je protestnog slika lantskom regionu tog doba,upravo kao lizovanih uevroat igrupa pojedinaca - predmet identifikacije- radika mnogih epohe. Stvorio sliku je koja postala je kao umetnički. Naime, stvorio simbol je tretiratise ne samo kaopolitički, već i Prema mišljenju Bore Ćosića, 12 . Takvu agonističku težnju razvijenu 9 , može 11 10 . Mnogi lokalni mitovi o . Naime, sagoreti zasvo- monaha Venecije!” i „Ubijmo mesečinu!” način, muzeje!”, usklicima: „Spalimo sledeći „Isušimo kanale ju umetnosti moderne uvodni tekst kataloga velike retrospektive futurizma uMuze- dire institucije koje zarobljene su ostale uprošlosti. Stoga i tog veka prenose usedmu iosmu, upravo vatra je koja prož- turističkog agonizma, koji dekade idruge - dvadese izprve se koja dolaze” radova koji Džon je kasnije Baldezari, poznat od kaojedna decenije može tumačiti se i čin spaljivanja dotadašnjih svih stavovatakvih futurista na američku neoavangardu kraja te vovanja slavu, ne zaposmrtnu već zaslavu vremena 15 . Kao jedan od ključnih. Kao elemenata od jedan simbolike- fu u epohi „kojomu epohi dominira anksioznost ili patnja, strana svakom metafizičkomili mističkom spasenju”, nata Pođolija, lokalno prilič- od jednog no uticajnih teoretičara avangarde tog vremena, moramo „pre svega shvatiti kao žrtvu Molohukao žrtvu istorizma”. u Njujorku na 1961.godine počinje istorijsku dimenziju novim pokreti- ma tog doba, preko tumačenja is - torijskih avangardi, Pođoli evo- je cirao iinterpetirao „agonističku varijantu futurizma kaosamožrt- 16 . Kao manifestacija uticaja 13 po mišljenju po - Re 14 Dajući u krematorijum groblja u San Dijegu, gde su spaljeni u peći 1966,tedo marta njihovog lomljenja ukomade iodnošenja majanačinio od diplomirao je 1953,kada slikarstvo, sve pa simboličkim činom fotografisanja svojih svih radova kojeje umetnike iztog doba. je, uspostavilo bila mit, je ipak da delovala je ali heuristički za terijalizaciji umetničkog predmeta koju su vezani, popularnom tada uskladu sa tezom odema ma umetnosti koji su bili nezavisni materijalne od za podloge u Njujorku. metamorfozama Utim zaonim tragao je aspekti i praviolača, kolače koji kasnije je izlagao uMOMA muzeju neke nove, sasvim mešajući smesom sa zapravljenje ih ko „Projekat kremacije”. radova stvorio tih je posle pepela Od ma u kojima inače spaljuju se ljudski To leševi. sve nazvao je na dine. tada Onje ključnih figura konceptualne umetnosti, sproveo 1970. go- odanost ...svakog trena novalis ibajka ...svakog trena hel- og trena podavanje ...svakog trena čednost ...svakog trena „ ... svakog trena istina ... svakog trena neopiranje- ... svak tokom njegovih projekata hodanja ilutanja, čitamo isledeće: U jednom od mnogih zabeležaka Miroslava zabeležaka mnogih U jednom od Mandića, P epeo umetn pustio svoju dotadašnju slikarsku praksu os ti 17 , zakoju kasni doduše se, - - - - - Lusi Lipard Lusi eksploatisalo svet ...” sveposedovao što je pohlepnog sektora koji je proda se kupi ili da strane od može ne koja umetnošću „alternativnom”)(ili za nezavisnom umetnosti, potrebu na dekomodifikacijui fokusiralo na demitologizaciju se establišmenta šezdesetih „Opšte raspoloženje protiv + S V

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SMRT UMETNOSTI ŽIVELA UMETNOST Photo: Charles Wilp Y Foto: Charles Wilp I v K ves K lajn lein u saradnji privatnim sa izPariza galeristima iMinhena. Ne- na njoj bili izlagani klasičniji dosta Klajnovi radovi, ito još naziv izložbe va (koji ibio tada član Kod). je grupe Iako su, kaošto pun upravolegitimiše takve lokalne kao što prakse Mandiće je - OHO, grupa: umetničkih Kod i(E.Imala zacilj da je, dakle, Goranco Dimitrijević, Trbuljak, Nuša iSrečo Dragan, te i 1971.prikazani 2.do22.marta suod radovi Bra umetnika: - Tomić, iuSalonu Muzeju savremene umetnosti uperiodu nu istog muzeja . izložbe liniji Drugoj praksama umetničkim teza oNovim kasnije iDenegrijevih u legitimaciji primera lokalnih konceptualne umetnosti, a savremene umetnosti tekstova ukatalogu koji pratio je izložbu Iva Klajna uMuzeju pominje tokom tog hodanja, preuzet iznaslova je od jednog 40.076,569kilometara. od „PepeoZemlje umetnosti”, koji hodajući 13kilometara 10godina obiđe posle dnevno obim kojeg (2010–2020),uokviru ja stavio je sebi zazadatak da na2001), on kraju sada je desetogodišnjeg drugog hodan- 1990), kao i desetogodišnjeg hodanja nosti...” derlin ispasonosno ...svakog trena Iv umet- Klajn ipepeo 18 Primeri konceptualne Jugoslaviji umetnosti u Primeri Nakon Četiri hodanja poeziju za Nakon (1984,1987,1988, . Ona je bila. Ona otvorena je neposredno pre otvaranja Yves Klein, Slike, reljefi, skulpture rečito govori, Njeni su kustosi bili Ješa iBiljana Denegri u Beogradu, iuvelikoju Beogradu, poslužio je meri Ruža lutanj Ruža a (1991– u - Salo i tokova avangarde injihovo uvođenje umuzejski kanon. Na posluži da zainstitucionalizaciju pogodnim ga činiizuzetno u svojoj osnovnoj oznaci teži radikalizaciji pojma umetnosti, bi nasuprot se koje tome zasnovalo posebno područje jedno no odvajaju utoj nekih od sredini preovlađujućih tokova, da Gorgona, Exat „zbivanja isvadruga koja odudaraju sves se ili ceptualne’ ukategoriju ‘nove umetničke prakse’ pojavili Zenit, vrlo brzo redefinisana,odnosno prevedena izkategorije ‘kon na lokalnom planu. Ubrzo kaopreteče su se umetnosti koja je linije druge nešto što ima preteče. započeto traganje Atada zakonceptom donekle prepoznatljiva unjenom istorijskom kontekstu, kao teorijskom elaboracijom, ikonceptualna umetnost postala je kon što publika se Klajnovim upoznala sa opusom injegovom tetsko u artističko, a transgresivno u institucionalno” i dematerijalizovanu umetnost, onu ali koja pretvara „anti-es Klajn upravo pripada toj koji vrsti umetnika radeneretinalnu kasnijihod kustosa drugomsasvim kontekstu, tumačio DejanSretenović, jedan nosti. Ali, zašto Iv baš je Klajn uzetzatu Kako ulogu? to, je u zavisno generacije konceptualnih uborbi umetnika protiv stare umet život„Dug Imaterijalnom!”, što mogao biti je poklič borbeni Klajnovogzbog teksta ukatalogu koji završavao se parolom od postavke,od ona jeste bila prekretna, i to možda baš jeste upravo bilo traganje pretečama zatakvim i Muzeja savremene umetnosti uBeogradu, 19 , što - - - - - naslova poslednjeg poglavlja teksta Katrin Mije „Konceptual ‘novih samih se praksi’ umetničkih preuzet tiče, terminje iz isti način poveže Nove umetničke prakse mom, kaopretečom, što Denegriju kasnije pruža da model na pri čemu siromašnu umetnost istorizuje preko futuriz veze sa i govori okonceptualnoj isiromašnoj umetnosti iland art-u, iIrinomjem Subotić. Đermano Ćelant na njemu gostuje 1970, godine, uređuje Biljana Tomić, u saradnji Ješom sa Denegri je. Naime, likovni program Bitefa, 1968.do1973. od uperiodu kritičar Đermano Ćelant, koga su ugostili godinu dana kasni Tomić i Ješom upravo Denegrijem, kao i italijanski kustos i kulturniki centar itesno sarađuje Biljanom uBeogradu sa fa, donosi dve uParizu Bijenala sa izložbe mladih uStudents Katrin Mije te godine gostuje i na likovnom programu V Bite umetnost, zaperformans, akcije itd. Bitno napomenuti je da juči i telesnu umetnost, kao i one koje vezuju se za siromašnu nešto širakategorija, koja pored konceptualne može ukl da nije ipreveden iobjavljen učasopisu Polja na umetnost umetnosti”, kaosemiotika koji ćebiti nešto kas poziciju uodnosu na publiku. značenje ine do kraja definisanu upravo zato što ima nestabilno zadržava svoju političku prirodu, ...svako umetničko delo a u skladu s tim radikalizacijia uskladu umetničkog stim ponašanja.” sa Zenitom. sa (1972).Uzet kao je +

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SMRT UMETNOSTI ŽIVELA UMETNOST umjetničkog djela, društveni te specifični angažman” promjena načina umjetničkog djelovanja ishvaćanja pojma mentacija ove publikacije jeste: korištenje novim medijima, umjetnosti,odvaja ostale od iodvodi ašto pokazuje idoku- si, te ukatalogu je naveo „Ono sledeće: novo što tu praksu na tomeje to da nisu objekti predstave, ili već prikazi prak- predstavljeni, njen glavni kustos, Marjan Susovski, insistirao tipologije radova koji su na izložbi Nova umjetnička praksa uvodno u poglavlje katalogu pomenute izložbe. Što tiče se „Problemi umjetničke poslednjeg prakse decenija”, što bilo je umjetnosti put uZagrebu obrazlaže 1978,iprvi se utekstu bi nička praksa obuhvata značenja: sledeća svoje sa gri, strane, kasnije ćenavesti kovanica da umet Nova Nova umjetnička praksa 1966–1978,uGaleriji suvremene Termin ‘Nove umetničke prakse’ uvodi se tekuvodi se na izlož- 21 - . Dene - sedamdesetih godina sedamdesetih java ukorist naziva: Inovacije sledećih uhrvatskoj umetnosti priređene retrospektivne prve - ovih izložbe po umetničkih kasnije, biti napušten, ito su kada „u Hrvatskoj iSrbiji bile njegove reference, prakse. kaofetišizirani pepeo mesto novoj vrsti objektivizacije kroz rada, dokumentaciju i obavljanja, odvijanja”, stavljeni u sekundarni plan i ustupili su To „procesi,znači su da ti svi operacije, činjenja, vršenja, Ali, nažalost, taj pojam ćevrlo brzo, godina svega pet disciplinama.” ma i rodovima u dotadašnjim vladajućim umetničkim (slikama, skulpturama) kaoneprikosnovenim tehnika ili završenim ane ja, ofinalnim estetskim objektima odvijanjima radnji umetničkih iumetnikovih ponašan ima, operacijama, činjenjima, vršenjima, obavljanjima, enformel, nova figuracija, neokonstruktivizam idr.); u domaćoj struje thodne sredini (umereni modernizam, gardnoj pojavi bitno drugačijoj uodnosuna sve pre često usuprotstavljanju toj pojavi govorilo); tada izvanumetnosti, neumetnosti antiumetnosti, ili kako se ovde je da legitimno sasvim reč o umetnosti (nipošto o 3. 2. nova 1. umetnička praksa –govori reč je da oinovativnoj neoavan 22 iNova umetnost uSrbiji 1970–1980.”

–izričito naglašava reč je da oproces –želi otkloni da svaku sumnju uto 23 - - - - - umetničko delo samo dok traju”? kojima može se manipulisati”, koje već predstavljaju „akcije on u tekstu proizvodi iz 1970. godine pisao „ne da predmete nove vrste materijalizacije one umetničke za prakse koju je litoDa znači borbu protiv referencijalnog pozicioniranja kao raspršen sadržati sav bezvremeninesupstancijalni potencijal”. (raskomadanodbačen kao Oziris), pretvoren koji će u pepeo perativ zadavanja „referentnom smrti Feniksu koji mora biti tinuitet prošlošću? sa Unastavku stoji to da sve im- povlači nas na Džona Kejdža. to diskon lije poziv na Da radikalni - prevod prezimena itranskripcija upućuje celog imena osobe ubilo korene naše prošlošću”, veze naše sa iiseklo apovratni zato „da bi nas to ustvari svesnim učinilo smo da živi, bi da nam da tako govori odbacivanje se da svake reference odvija uopšte znači? Prevod te rečenice bi formuliše mogao se da past”, potpisan “John Kavez, 1956”. Na to šta upućuje? to Išta that we are alive, our to roots kill and cut off with our links engleskom, “to sadržine: sledeće make actually us aware tom, međutim, oksimoronski, sasvim dodaje icitat, ito na svojuti instalaciju izloženu na izložbi uPančevu 2020.Po - biti odbačena”, piše Slavko Bogdanović uizjavi kojom pra- „U nekom trenutku, međutim, referenca svaka mora Feniks je mrtav, živeo 24 pepeo! Da lito Da znači povratak vo iskulptura) to tradicionalni činili načini proizvodnje umetnosti (slikarst - nantne društvenopolitičke – ekonomske ideologije, kao što su zavisnojednako izražava ijednako karakter institucija domi- hipostaziranjekao „formalno kulturnog mesečarenja, koje je ka konceptualna umetnost”, koju vrlo brutalno je odredio prošlog inešto veka sadrži - da što uočio nazvao „stilistič je njuZa Džozef je Košut već sredinom godina sedamdesetih kar ono bilo svrstavanje i u rubriku ‘konceptualne umetnosti’. nekom konkretnom umetničkom delu, svrstavanja, bez ma- na proizvode nove umjetnosti” iprimjenilaruho principe stare formalističke metodologije teoretičara,sta, organizatora) jednostavno odenula unovo je na publike, aiprofesionalno uključenih promatrača- (galeri dogmatizma, premise bazične konceptualne ideologije, veći- zaključila: „Nikada ne prihvativši ili zaista, inertnosti zbog nom kontekstu, istoričarka umetnosti Nena već Dimitrijević jradikalniji utakvoj kritici. Pre njega regional je, unašem - ‘dematerijalizacije umjetničkog objekta.’” nički zahtjevi našli tržišta u kontradikciji su se spokušajima rješenja”, što dovelo je dostanja ukome zapaža- se „posjed da trgovaca) s povratnim djelovanjem na uspjelost kreativnog „konstitutivnipostao djela deo samog samo (ane posao više om mišljenju, već sam „oblik prodaje konceptualnog djela” 25 . Pritom, Košut nije nina- bio čak pa jedini, 26 . Pritom je, prema njen- 27 Acela priča o‘de - + S V

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SMRT UMETNOSTI ŽIVELA UMETNOST je eksploatisaloje svet ikoji promovisao je rat uVijetnamu”. kupi strane od pohlepnog sektora koji sve posedovao što je „alternativnom”)(ili koja umetnošću ne možeproda se da ili ju idekomodifikaciju umetnosti,potrebu na za nezavisnom tiv establišmenta fokusiralo na demitologizaci se šezdesetih - način: na „Opšte sledeći taj termin,počela raspoloženje pro- materijalizaciji’ je, prema mišljenju Lusi Lipard, koja iuvela je svetu umetnosti nisu bile potpuno prekinute”. ence spram umetnosti, iniekonomske ni estetske veze prema bili buntovnički,bega većina radova svoje zadržala je refer ji bega”, iunjemu napisala je supokušaji da „koliko god ti da knjige koje poglavlje „Pokuša nazvala je 1997.godine dodala - tržištu ipolitičkim Ona moćnicima? sama zareizdanje je te Lusi Lipard piše sveo na svoju suprotnost, to jest na služenje Kako rad onih autorase koji su bili primer za ono o čemu za koje se kaže da su početak ovih promena,za koje su kažeda početak se ianticipaciju samoali indirektno, kroz rekonstrukciju prošlih trenutaka, promenama koje dešavaju se utrenutku njene sadašnjosti, ju ipak odbaci? stvarno rešenje u tome referenca svaka se da koju radovi ima- Prema mišljenju Hala Fostera, teorija govori „svaka o Gatanje po pepel u 29 Da li je onda lije Da 28 - sve isve prakse prostore reprezentacije”. Buhloh Benjamin ideoloških aparata kulturnih industrija okupiraju da ikontrolišu strategija kontradelovanja irazvoja otpora protiv tendencija zaotkrivanje ireprezentaciju nove publike irazvoja novih „...neprekidno obnavlja se borbazadefiniciju značenja kulture, i kontrolišu sve i prakse sve prostore reprezentacije”. dencija aparata ideoloških kulturnih industrija okupiraju da novih strategija kontradelovanja irazvoja otpora protiv ten- kulture, zaotkrivanje ireprezentaciju nove publike irazvoja pokretima „neprekidno obnavlja zadefiniciju borba značenja garde, kojoj utome smisao novim nalazi stalnim se da takvim Benjamin Buhloh u svom komentaru Birgerove teorije avan- Tuli iŠantal Muf. Na njega na neki je način navodio već i kom smislu koji uteoriji zastupaju Vilijam Konoli, Džejms spoznaje. pre Ono je predmet zaznačenje, borbe uagonistič- sti –ne izvede može iznekog se da nikako neutralnog objekta značenje –bilo prošlih bilo budućih kretanja upolju umetno- jnom smislu, verovatno gatanje je Na izlaz. jedini svusreću, tumačese kaobilo dogatanje drugo šta U spozna pepelu? - po sti, lionda da procesi ti rekonstrukcije ianticipacije mogu da u potpuni antagonizam, koji opstaje samo uraskolu strana u fiksna stanja stvari,ali istovremeno se izbegavada pretvori va vrsta agonizma ne pristaje na racionalne konsenzuse niti vršene” budućih trenutaka, smatra se kada ćeove da promene biti za- 30 . Ako ona je uvek isamo upućena umetno- na pepeo 31 Tak - na na granici život borbe ismrt. sukobu, kojih između potpuno vlada međusobno negiranje, sferu u sferu kojoj odigrava agonistička se konfrontacija”. sobne razlike, samo bi da došli dokonsenzusa, već upravo na koja bi u njoj da bila takva ljudi ostavljaju strani po sve- među je, Šantal Muf pokušava misli na javne model „ne da sfere otrebu institucija postojećih umetnosti kaosredstava zaos- stvorio koncept ‘Devijantne institucije’, kojim označava up- Čarls direktor Eše, Muzeja Van Abe uAjndhovenu čak je metode u društvu prisutnometode udruštvu znanje idelovanje ujavnoj sferi”. iščitavanje tradicije koje moderne, ujedinjuje umetničke muzej kaoprostor zadebate ikonflikte,kritičko i ponovno agonistički pluralizam delovanja kao model koji „konstituiše javnih programašef uMACBA muzeju uBarseloni, odredila svojih programskih shema. Tako je, na primer, Horhe Ribata, težnjomlici sa proizvedu da vrstu takvu javne sfere unutar usmereni ikritički se muzeji današnjice otvaraju prema pub- ne dokraja definisanupoziciju odnosu u na publiku. Pritom političku prirodu, upravo zato što ima nestabilno značenje i shvaćenoj javnoj sferi, svako umetničko delo zadržava svoju 32 Kako ona to sama- određu + 33 U tako U tako S 34

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SMRT UMETNOSTI ŽIVELA UMETNOST već ponovno treba ih da izumemo iznutra”. u načelnom smislu”, njih treba od odustanemo, da „ne da ali nim i usocijaldemokratskim su društvima institucije u krizi, navodeći kaoreferencu Ungera, Roberta - uneoliberal „i da muzejskih institucija, Marija utom Lind, zaključila je smislu, na Bard Koledžu nekada direktorka doktorskih programa izkustoskih praksi zumerska kultura”. različiti vrednosni sistemi onih koje od nam pruža kon- zamišljanje budućnosti, drugačijih ukojima važe„radikalno načinimativnim mišljenja politike iotvaranja mogućnosti za tvarivanje komunikacije različitim sa zajednicama oalterna- više neposredno komunicirajuviše publikom, sa bitno se da je i koliko njih od god pravili prostorne narative koji manje ili Koliko na izložbi se da god fokusirali na radove pojedinačne u logične,nekle adonekle veze začudne dovedenih činjenica. mora svutu uračuna da masu uovom tekstu nabacanih ido- imaju element refleksije isistemjezik umetnosti,na nužno pozivaju aktuelnim na njih, drugim kaoisa radovima koji sekvencamasa radova ukojima aktivni neki autori sada se različitijom se segmenti da avangardne prošlosti pomešaju lnog bijenala, regionalnim sa opsegom autora, pretenzi isa - Rad na ovakvojRad izložbi koja uformu uklapa se loka- u Njujorku, kaoikustoskinja bijenala više i 35 I,konačno, kustoskinja, slobodna sada 36 mena umetnost, posebno ona predstavljena na ovoj izložbi, može na kraju izreći neki njegov opšti stav, savre je to da je - sadržaje u polje koje obično je mapirano pojmovima. Ako se stualizacijama različitog tipa, vukućineke čak metaforičke izjavama referencama apo umetnika, usmeren je kakontek- eksplanatornu snagu, ovaj tekst tonu po je sa usklađen više institucionalnoveći deo vidljivim. Računajući na baš njegovu koji pojava lokalnih neke je tih uopšte od učinio mogućim, a no pisanog teksta koji objašnjava poziciju aktivnog kritičara pojava izloženih umetničkih od nekada nastajale,- inaknad same postavke, kaoaktivan atmosfere činilac ukojoj su neke na čudnoj ivici artefakta između koji bi bude trebalo da deo toliko koliko koncept to podrazumeva ‘druge linije’. imaju ipak da vođenoje računa neki element drugosti, makar regionalnih ili lnih kanona, umetničkih pri njihovom izboru prethodnihnekih decenija, radovi ove sa loka deo - izložbe Iakoračunali. su najvećim delom, aposebno oni koji su iz ambivalentan na to jer su odnos, iautori koji su gastvarali na izložbi prikazano, aprema kome prirodno sasvim je imati su na razgovor ina polemiku ostatusu tog nasleđa koje je U tom smislu, iovaj tekstovi idrugi uovom katalogu, poziv ipozicijepokažu kustosa izkojih uovakav se projekat ušlo. Tekst Ješe koji Denegrija, ovde se objavljuje, stoga je nevinošću inaivnošću. nevinošću držajima prošlosti kojima sa svako baš poigrava može se da sa novihtulane praksi, umetničkih idrugih kaoneutralnim- sa svelo na puko koketiranje formalnim sa aspektima koncep- izvlačimo,da tekstovima iizložbama, ne bi se da sve na kraju iz koga neke osnovne pretpostavke tog moramo obrta stalno vanje konceptualnom sa druge, taj a sa umetnošću, zaborav obrta’‘jezičkog koji ulokalnu je umetnost donelo upozna- ‘post’ ina ‘konceptualno’. strane, Sjedne ona nosi tragove tog u velikoj post-konceptualna, meri akcentom jednakim sa na Anthology- and Revised Expanded Edition, Berkeley, CA:Bu Žižek koristioŽižek uanalizi različitih filmova iliterarnih narativa. psihoanalize J. videti: iz polisa, XISeminar Lacan, –Četiri temeljna pojma rti’ (simboličke istvarne) nakon što Kreont je ekskomunicira u analizi Sofoklove Antigone Aurelije, sebi Samom Luciliju RaspravaL. A.Seneka, oblaženom životu iodabrana pisma i dočekati nespremne. Najčešće vezuje se zaSeneku (videti: tencijalno susrećemo, ništa nasne da bi više iznenaditi moglo premanja na najgore po čime se sa nečega moguće posledice Episode Publishers, 2007. Activism Today. The Over-Identificationof Art , Rotterdam: (Gideon &Matthias Boie Pauwels) (priređivač), Cultural uranjanja unjegov fantazmatski okvir. Otome BAVO videti: što denunciraju, već garazotkrivaju iznepodnošljive blizine na razne koje prakse nemaju kritičku distancu prema tome u tumačenju bi da Laibach, kasnije se primenjivala grupe umetničkaje strategija koju obrazložio prvi Slavoj je Žižek ime kulture”. vom „Ovo su ozbiljna vremena, umjetnik mora u umrijeti Večernjeg 9.februara lista od 2020,objavljenog naslo pod reau of Public 1995,str. Secrets, 451. 1 6 5 4 3 2 , Beograd: Grafos 1978)iMarka, Beograd: Aurelija M. (videti K.Knabb (priređivač), International: Situationist OodnosusimboličkeLakan ifizičke je pisao smrti Večernji 9.februara list od 2020,isti članak. ‘Praemeditatio malorum’ bila stoička je tehnika pri Preterana identifikacijaili subverzivna afirmacija Citati su intervjua integrisanog uredakcijski tekst , Naprijed, Zagreb, 1986.Kasnije tu je razliku , Beograd, Dereta, 2019). , Beograd, , koja ‘između-dve-sm nalazi se + - S - - - - V

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SMRT UMETNOSTI ŽIVELA UMETNOST globalnu mrežu časopisa tog doba. za nju dobio Pulicerovu nagradu, pronela taj je prizor kroz budizma”. Fotografija koju tada načinio je Malkolm Braun, i organizuju se da u solidarnosti kako bi žrtvovali za zaštituse (budističke monaške zajednice; prim. nov.) ilaičke budiste snagu otadžbine” i „Pozivam poštovane, časne članove sange narodu iprimeni religijsku jednakost kako bi zanavek održao predsednika Ngoa Dina Dijema postane da samilostan prema kavizijisvoje ipomerim se Bude, oči spoštovanjem molim dvaostavio poziva: sledeća „Pre sadrži nego što zatvorim sveštenik postaje mučenik”. Poruka koju upisanoj je formi „budistički sveštenik spaljuje budistički nasmrt, samog sebe i monahinja, monaha od dok jedan ponavljao je umikrofon uSajgonu,spalio nakon protestnog marša oko 350monaha namski budistički monah koji 11.juna se 1963.godine samo svijetu iz tadašnje Čehoslovačke ipriredio izložbu nazvanu Agresija u fakulteta Željka Morovića, koji vratio studentske se sa razmene nakondao što susreo se fotografijama sa studenta mašinskog Izvršnog Saveza odbora sednika studenata, koji taj je predlog Jan Palach 5.februara 1969,na predlog Igora Mrduljaša, pred 1970,str.Beograd, 31. Edition Situationist International: Anthology and –Revised Expanded ditions of Organization and Action”, uK.Knabb (priređivač) tions and on International the Situationist Tendency’s Con , te iste je fotografije objavio iu Novom listu. 7 10 9 8 , str. 26. G.Debord: “Report on of Construction the Situa Tiš Kuang Van rođen kaoLam Duk, Tuk, bio vijet je Studentski klub Index promijenio uRijeci naziv je u B. Media Mixed Ćosić: , nezavisno autorsko izdanje, - - - - - Džonom Čandlerom napisala tekst zavodljivog inadahnju 1961, str. 9. grad, 1975,str. 98. ukoristodmak privida”. ‘stvarnost’ ne može dovesti upitanje, ne ostavljajući mjesta za Alain mogućim Badiou,tiče događajem kaojedinim čija se u povijesti hrvatske suvremene umjetnosti, smrću, sa kako is djela, što svrstava ih ultimativne među performanse art body nik 1972. skočivši zgrade, navodno sa natpis držeći Ja sam umjet (Tomo adrugi (Pave vlak, 1974.pod bacivši se Dulčić) Čaleta) splitske samoubojstvo, Peristil Crveni počinila grupe jedan mitova:važnosti tih „Postoje priče otome kako su dva člana iSunčica Linn jcen Ostoić), veoma je izvukao jasnu poentu vremene umjetničke Kontejnerprakse (Ivana Bago, Olga Ma stvarnosti)”,od koji 2009.uZagrebu je realizovao Biro su prakse, 1970–1980,Svetovi, Novi Sad, 1995,str. 10. okolna ipolitička socijalna zbivanja?” pretežnokle umetnost, uključuje imlada umetnost u mladih umetnost pitadu, se koja se nastaje, „kako Denegri tada da njegovo kritičarsko zalaganje zanovu umetnost utom perio i1968.”,tih svoje knjige koja donosi skup tekstova koji sabiraju . Oba se čina prema se . Oba ovoj predaji navode kaoumjetnička 17 16 Ibid. 15 14 13 12 nove umetnosti, srpske J. teme Sedamdesete: Denegri, 11 Revolucionarne 1968.Luci Lipard usaradnji je sa J. Taylor, Futurism Pođoli, R. op. cit, str. 99–100. Pođoli, R. Teorija umetnosti avangardne Projekat „Narančasti priče bolje idruge pas (još U poglavlju pod naslovom Upoglavlju pod „Nova umetnost šezdese , cat. pref, New York: MOMA, , Nolit, Beo ------katalogu), suvremene Galerija umjetnosti, Zagreb, 1973. MIT Press, 1991,str. 129. and After:Collected Writings, 1966-1990,Cambridge, Mass: tela: Izabrani radovi 1967–1997,n.d., str. 143. prakse (1970–1980),Novi Sad:Svetovi, 1996,strane 22–23. 1978, str. 3. praksa suvremene Galerija 1966–1978,Zagreb: umjetnosti, 1966–1978,uM.Susovskisa (priređivač), Nova umjetnička MSUV, 2007,str. 97. on 2013,str. Art, 71. name/hodanje/ stenziju, preuzet je ovaj odakle zapis, http://miroslavmandic. jem iposlednjem poglavljujem ovog teksta. Otomedonekle ogradila. nešto reči više biće upretposledn mostalno napisala, teza i decenija bi kasnije tih da više od se umetnosti. Kasnije tu je tezu proširila na knjigu koju sa je jućeg imena, koji obećavao je napuštanje objektne prirode Ibid. 27 26 25 24 23 22 21 20 19 18 N. Dimitrijević, „Platno”, N.Dimitrijević, Tendencije 5(predgovor J. Kosuth, “1975”, uJ. Kosuth, Art After Philosophy Tekst ucelosti objavljen je uS.Bogdanović, Politika Ibid, str. 24. umetnosti nove srpske J. teme Sedamdesete: Denegri, M.Susovski, uvodni tekst uNova umjetnička prak J. Razlozi Denegri, drugu za liniju, Novi Sad, D. Sretenović, Umetnost prisvajanja Ovaj projekat Miroslava Mandića ima iweb ek , Beograd: Ori , Beograd: - - - - - O’Neill, Curating uOn in years”, Maria uintervjuu Lind koji njom sa je Paul vodio Lissabon, Lisbon, 2010,str.15.thalle Institutional the Mourão &L.Silva Performing (Eds.) tions, Barcelona, 2010,str. 226. Objects: MACBA Collection 2002–2007,MACBA Publica in Jorge and Ribalta Manuel Borja-Villel Relational (eds.), Room, No. 2(Winter, 2001),str. 125. sche, Branden W. Joseph iThomas Source,Keenan Grey mension”, uintervjuu koji njom su sa Deut Rosalyn vodili Ostfeldern-Ruit, Hatje-Cantz, Germany: 2002,str. 90. Okwui Enwezor etal. (priređivači), Democracy Unrealized, America 2012, str. 219. Art Object from 1966to 1972,str. xvii. 1973), str. XIV. Berkeley, Angeles, Los put London, 1997,(prvi objavljeno Art Object From 1966to 1972,University of Press, California 36 35 34 33 32 31 30 29 28 , New York, Novembar 1984,str. 19–21. “Going Display Beyond –The Munich Kunstvere Deviant Charles Art Esche,Institution”, “The u J. J. “Experiments Ribalta, inaNew Institutionality” C.Mouffe, “Every Form of Art Has a Political Di C.Mouffe, “For an Agonistic Public Sphere”, u B.the Buchloh, “Theorizing Avant-Garde” uArt in H.Foster, realnog Povratak L.Lippard, Six Years: TheDematerialization of the L.Lippard, Six Years: the Dematerialisation of the , Issue 9,2011,str. 40–41. , Orion Art, Beograd Beograd , Orion Art, + , Kuns - - - S - - V

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- dis art, was who creates he/she is that - How press. the regional by seminated the expected not refer were there ever, ences to philosophers like Hegel, Arthur Arthur Hegel, like philosophers to ences - who expound Kuspit, Donald or Danto with ways art in different of ed the death first The arguments. sets of complex the Mlad artist - was reference of point with ironically who played en Stilinović, when Namely, work. this in his theme the which was on a banner in February the / freedom artist to “Death messages will call mother me “my and culture” to - hang alongwith an a dead too” person, the overhead on noose appeared man’s in Za road - the Savska above trainline A DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 94 DEATH TO ART LONG LIVE ART 97 V - S - a mani . As 16 + . One of the key elements of the of the elements key of . One 15 ietnamese Buddhist monk humous glory, but to the glory to pos- of but glory, humous terity” festation of the influence of the futurist of the futurist the influence of festation avant-gar the American on attitudes decade, the act of that of the end de at be can in- works all previous of burning V Đức Thích Quảng Browne Photo: Malcolm symbolism of the futuristic agonism agonism the futuristic of symbolism and sec - the first carriedwhich is from eighth and the seventh decades into ond - precise century was the twentieth of institutions devours which the fire ly the past. to enslaved stayed which have in text the introductory this reason, For retrospective the great of the catalogue Modern of in the Museum Futurism of in 1961 begins the in York New in Art the ‘Burn way: “Exclamations: following Venice!’ of the canals ‘Drain museum!’, the moonlight!’” ‘Kill and - - ac- 13 By giv 14 - devel aspiration agonistic an . Such 12 ing a historical dimension to the new to dimension a historical ing in- an through age, that of movements avant-gar the historical of terpretation “the interpreted and evoked Poggioli de, of variant the agonistic variant agonistic to - self-sacrifice a post as not futurism cording to Renato Poggioli, one of the of one Poggioli, Renato to cording of theoreticians locally influential most must and time, that of the avant-garde all a sacrifice as be “above understood historicism.“ of the Moloch to ceived and consciously carried out and and carried out consciously and ceived need reflect to the artistic acts, clearly actual art- practic casesfromthe look for - ide an time which realise such that es of al. oped in an epoch “dominated by anxiety anxiety by epochopedan in “dominated is to party every suffering, metaand - salvation” mystical and physical - . The many local myths myths local many . The . Namely, to burn for for burn to . Namely, 11 10 ed one of the symbols of the epoch, that the epoch, of that the symbols of ed one which became the object of a picture is radicalised- indi many for identification the in Euro-Atlantic groups and viduals period,that exactly the like of region the of the self-immolation of picture monk Buddhist Vietnamese protesting Pacific half a Đức in the Quảng Thích decade earlier about the members of the group Crve the group of the members about two of even the deaths , and Peristil ni Dulčić and Pave the group, from artists been Čaleta, classified whichhave Tomo - pre-con clearly of the category into one’s idea, to give one’s life for it, was the was it, for life one’s idea, give to one’s from ideal conveyed which was ultimate the art field into the social movements epoch called was that as ‘68’”, “around Denegri Ješa by , 8 9 January) re cture h –the –the h th fire pi g c Bora Ćosić, 1970. s wi eath ati om in nsum mpt „Jan Palach, a philosophy a philosophy Palach, „Jan y d the s A of coall- student (21), immolated, the (21), immolated, student - Wenc object on self-immolated made a construction square, eslas fire and (still alive) a man from in pet- a dousing by (ignited a match from the spark and rol - mov and burning head). The - at tothe object (in response ing ran he him, extinguish to tempts I go, me ‘Let shouting: around next days: four The burn’) must which mixed-creation a human speaks.dies, thinks alloy and An A (15%). skin soot and (85%) of of a device, a collage mélange, - biolog physiological, ‘existential’, - moral-phil thoseical others, and the to Up elements. osophical (19 death of moment some kind of actual sculpture, actual sculpture, kind of some Segal. unlike those- black, of Af before moreover and terwards, - sign, a monu this, a historical a memorial”. ment, According to Bora to Ćosić the above According cannot only be treated as a political but a political but as be treated only cannot - creat he artisticalso act. an Namely, as described radical act of the student Jan Jan described radical the student act of of experithe one - whom (after Palach - in Rije centres cultural Student mental then beenka had called, already which tradition) the avant-garde inherited . The extensive extensive . The 7

. - Situa about literature of production - Situation the use as of well as tionism, and exhibitions legitimize to slogans ist whichhad manifestations cultural other propagated he what do with to nothing sacri- own his only him that convinced That, redeem situation. this fice could of the been the first hadn’t course, of revolution. the for sacrificesmade he rejected art, had he this notably Before pushed primarily had it even though society and change to wanting him to - the graf read This can be from culture. in one only the he wasn’t And of ’68. fiti the even be can that said this respect. It for the way which prepared generations the revolution about which brought and maintained and ’68 also contained of that themselves within somewhere which thinking, on of way apocalyptic of art and of the end of thephantasm based, of is beinga part such as culture this later Sooner or society. bourgeois - a rev necessary them, for was end for it although be possible, to really olution all those up the way who swallowed laid - participat those even actively and it for ed carrying about it films)” on the other. Thereby, “the latter latter “the Thereby, other. on the films)” young of imbecilization being a natural - fam begunpeople and in their schools tactic, the first is less which With ilies”. make to manages “even culture naïve, fal- – by individuals subversive useof or, deaths, their after sifying their works while still alive” they are - - in 4 ? 5 .Namely, he still claimed still he claimed .Namely, 6 The death by a bulletheadto the a by death The

vantages it would bring for independent independent for bring would it vantages thelogic to sticking applied she artists, art practicea method previous her of premeditatio as malorum known the history of Western thought. This is is This thought. Western thehistory of the negative of the visualisation namely a particular phenomenon consequences the individual of the life for have might that one but the community, of that and explained She the extreme. taken to is - the dis within journalists, to work her saying: by in it, applied had she course - up go serious times, when we are “these with downwards and culture with wards the thatall in the situation and, artists!”, “what accepted, are aspects the draft of the to adopt but to do us for left else is the Ministry kill to of artists values and culture” of in the name which the situationist Guy Debord in- Debord Guy which the situationist of a isolation in himself on the flicted be village could 1994 in inter French - re he When this way. just in preted artistic and work,both his alised that through beenactivist,had integrated the cultural into appropriation total its themachinery only despised, which he be could fully death symbolic his way the radical his act by of was completed death. physical - in the pre-Sit wrote which he in a text there period in culture that uationist parallel counterrevolutionary “two are “the par are These tactics”. confusionist tial co-option of new values” on the one the one on new values” of tial co-option in- anticultural, deliberate “a and hand, (novels, production facilitated dustrially DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 96 DEATH TO ART LONG LIVE ART 99 V S + art practices’ themselves, this term was this was term themselves, artpractices’ chapter the last the of title taken from - Millet “Concep Catherine by a text of which art”, the semiotics art as of tual published and willbe both translated in Polja in the magazine later somewhat broad a somewhat as treated is 1972. It - concep to addition whichin category, body in itself also art can tual include associated those as art well forms art, as action performance, Arte Povera, with With regard to the ‘new the ‘new to regard With 20 - the cate into category the ‘conceptual’ Zenit, were art practice’, the ‘new gory of - all „de the other and Exat Gorgona, - or conscious which differ velopments the those of from detach themselves ly in in the environment trends prevailing - a dis found these, to to contrary order, the is whosebasic character tinctregion radicaliseto art, the idea of aspiration radicalise this, to with in line artis- and tic behaviour.” begun , which makes it it , which makes 19 Yves Klein, Paintings, Reliefs, Reliefs, Paintings, Klein, Yves , eloquently puts it, to many of of many to it, puts , eloquently - instrumen tothe well-suited incredibly for and trends, avant-garde of talisation the museum into theirincorporation ac- had become public the After canon. the - his and opus Klein’s with quainted art conceptual elaboration(s), oretical its to recognisable became somewhat a with something as context, historical the search But predecessors. of lineage line the Other of the concept for for the actually time a search was at the local from level. predecessors such of art field the from predecessors Those speedily very recalledwhich were and from or translated redefined, quickly exposed, as the full title of the Museum exposed, the full as the Museum of title exhibition: Sculptures this- in a coop and work, classic Klein’s Paris gallerists from private with eration - the exhib from Apart Munich. and point, a turning was the exhibition its, Klein’s because of precisely maybe and with which ends in the catalogue text the immaterial!“, live „Long the slogan cry be a battle as which could construed artists conceptual of the generation for why arts.But old the against in the fight As this role? Klein for chosen Yves was the Museum of curators the later of one art in Belgrade, Dejan contemporary of - in a complete it, interpreted Sretenović really Klein be- context, different ly who makes artist type of that to longs art, but dematerialised and non-retinal - anti-asethet „the which transforms that thetransgressive the artistic,and into ic the institutional“ into - Četi a (1991- Examples After After 18 March 1971. The works works 1971. The March nd to 22 to nd of the same museum. The latter’s latter’s The museum. the same of (1984, 1987, 1988, za poeziju rihodanja as well ), as poetry for walks 1990) (Four Ruža work the ten-year lutanj in the Yugoslavia art in conceptual of Salon Biljana Denegri and Ješa were curators MoCAB of thein Salon ran Tomićand from 2 ), he is now now is ), he wandering of 2001) (Rose work ten-year the second of the end at set has him- whichin he (2010-2020), a walking kilometres 13 selfby the task - circum the covering years 10 after day, Earth, a distance the entire of ference The 40,076,569 kilometers. „Ashes of this during mentions which he art“, of of one the of titles from walk, comes the exhi- of in the catalogue the texts of Klein in the Museum Yves of bition contemporary art in Belgrade, which to served degree a great a legitimation as art, conceptual of the localof instances the theses about Denegri’s of later and . line the and Other art practices New opened immedi- was exhibition The of the opening before ately - Bra shown: were artists the following of Nuša Trbuljak, co Dimitrijević, Goran the art groups: and Dragan, Srečo and - goal, there Their (E. and Kod OHO, legitimise those to precisely was fore, (who local Mandić’s as such practices the time been also of had a member at they been had Kod).However, the group loyalty… every moment of Novalis and and Novalis of every moment loyalty… fairytales… Hölderlin of every moment Yves of every salvation… moment and art…” of the ashes Kleinand - - -

, which, moreover, , which, moreover, art 17 of hes s he a The - Miro of notes the many of one In

later transpired to be a myth but which but be to a myth transpired later influence exerted a heuristic nevertheless age. that the of artists on and baking cookies which were later ex later baking cookies which were and in New museum in the MOMA hibited sought he these metamorphoses In York. in artwere thoseaspects of after which base which to the material of dependent the popular tied, with in line they were the dematerializa the timeon of thesis the art object of tion terpreted as such which John Baldessari which John such as terpreted becoming on in 1970, later carried out - con in thefigures key of one as famous abandoned the timehe art. At ceptual the with practice painting previous his all the photographing actsymbolic of 1953 May from made had he works to up in painting graduated when he the works of 1966, the breaking March carrying and the pieces them to into cemetery Diego in San crematorium - the in ov incinerated theywhere were - hu burning for intended usually ens called this corpses. “Cremation He man he the works of the ashes From project”. new, completely something then created a cookie mixture into the ashes mixing slav Mandić, taken during his walking his taken during Mandić, slav the read can we projects, wandering and truth… of moment “…every following: ev- non-resistance… of every moment every acquiescence… of ery moment of every virtue… of moment moment DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 98 DEATH TO ART LONG LIVE ART 101 V S .In doing so doing .In 26 + - “Anti-establish 27 .At the same time, Kosuth Kosuth time, the same .At 25 - called whichhe something “sty tains - brutal which he art”, conceptual listic of hypostasis “formal as the defines ly equally whichis sleepwalking; cultural equally expresses and upon, dependent the of the institutions of the character socio-politico – economic dominant - the tradition by ideology done was as and art (painting producing of al ways sculpture) the of form “the was it her to according which artwork” thesale conceptual of the part of constitutive became “the the the job of only not (and itself work on the effect dealer)retroactive a with which decision”, the creative of success - not is it in which affairs of astate led to the of demands the “ultimate ed that position a in themselves found market - ‘demate to the attempts contradicting rialize the art object’”. ment fervor in the 1960s focused the on ment - de-commodl and de- mythologization - an inde needfor on art, the of fication wasn’t the only, nor even the most rad- even themost nor the only, wasn’t him there Before a critique. ical in such the art context, regional our from was, Dimitrijević who al had - Nena historian due accepting, concluded:„never ready the truely inertia dogmatism, its and to the ideology of of premise fundamental - the pub of the majority conceptualism, engaged the professionally as well lic, as observers (gallerists, theoreticians, new into changed simply organisers) of the principles applied and clothes methodology formalistic the the old to the new art” of production , , hes! ead s Is this a return this a return Is d 24 enix is enix o live the a the live g n o l he ph The “At some point, alas, every reference alas, every point, some reference “At to some type of actual artwork, one one actual type artwork, some of to notin at least or a classification, without had This art”? “conceptual the of rubric Kosuth Joseph been by noticed already century the last of in the mid-seventies who observed this rubricalso- con that has to be discarded“, Slavko Bogdanović Bogdanović Slavko be to discarded“, has installa his - for sin the statement write Then, 2020. in Pančevo in exhibited tion and adds, he way, oxymoronic in a totally quotation the following too, in English aware us actuallymake “to whichreads: cut and kill roots to our alive, are we that Ka- “John signed linksour past”, with off of the reverse translation The 1956”. vez, and Serbian to English from surname of the name the first of the transcription this a call Is Cage. John refersto person the past, with a radical discontinuity for of the rest In Cage? to the ferebbce with all- this with that says it the statement inflicting death of the imperative draws which must phoenix the referential “on like pieces into up be (cut aside cast be to scattered ashes into turned Osiris), po - all insubstantial with their timeless against Does a fight this mean tential”. produce to as positioningso referential that of newa the typematerialization of produce not art practice which “does manipulated” can which it objects by art - an whichpresent “actions rather but a taken from while they only last”, work in 1970? wrote he text “Anti-establishment “Anti-establishment → of art, on the need for an an need the for on of art, and de-commodlfication and was exploiting the world...” the was exploiting on the de-mythologization de-mythologization the on that owned everything that that everything owned that fervor in the 1960s focused the in fervor art that could not be bought be bought not could artthat and sold by the greedy sector sector greedy the sold by and independent (or “alternative”) independent “alternative”) (or

------23 22 3. lastly, the term practice 3. lastly, New art in Serbia 1970-1980.“ Serbia art in New tures) nor the inviolable tech the inviolable nor tures) in the previous genera and niques artistic disciplines.” prevailing ly ferred to in that time by those who time by in that to ferred it). opposed this about is how states explicitly the doings, operations, processes, carrying the performances, outs, artpractices of out the playings artistic behaviour, of forms and or finished the final about not and sculp aesthetic objects (paintings, imacy of this art (by no means means no imacy this art (by of how anti-art, or extra-art, non-art re often was this phenomenon any doubt about the total legit the total about doubt any But, unfortunately, this concept this concept unfortunately, But, and This means that all these „processes, op- all „processes, these that means This carrying perfor doings, outs, erations, mances, playings out”, are pushed into into pushed are out”, playings mances, their relinquish and the background a new type the to objectificaplaces - of based on one is that the work, of tion as their references, and documentation the practice. of the ashes fetishised will very quickly, only five years later, later, years five only will very quickly, when happens that and be abandoned, - retrospec in Serbia two and „in Croatia these artphenomena of exhibitions tive titles: the following under organised are Seven - the art of Croatian in Innovation ties - - - - - communi seeks erase to New art practice art practice New its its art practices, New . Denegri, for his part, his . Denegri, for 21 1. The term new 1. The 2. The term art 2. The cates how this concerns an inno an this concerns how cates phenome avant-garde Neo vative to all the different essentially non in the local trends envi preceding modernism, (moderate ronment Neo Figuration, New Enformel, others) and constructivism is only only is art practices term New The New art practices 1966-1978 in the art practices New which provides the model to Denegrithe model to which provides the way in the same on later connect to Zenit. with artpractices New - at exhibiti the in 1978 introduced first on , Zagreb art in contemporary Gallery of in time the the first for expounded and prakse pos- umjetničke “Problemi text of the problems (The decenija” lednjeg decade) the last which art of practices in the ca- chapter the introductory was Regarding this exhibition. talogue for presented the typology the works of thein exhibition insists Susovski, Marjan curator, main objects or not they the fact are that on presentations rather but performances in the catalogue so the practice, that of this makes „what the following: states he previously the from different practice new the art use is of of forms existing artistic activi to - media, a new approach the work of a new understanding ty and of a specific as social well art,kind as of commitment“ will later state that the that state willlater significations: the following contains

art etc. It is important to mention that that mention to important is It art etc. year that guest a Milletwas Catherine the fifth of in the visual arts programme exhibitions two brings and (V)Bitef, in artists young of the Biennale from in centre cultural the Student to Paris with collaborates Belgrade, closely and like Denegri, just Ješa and Tomić Biljana Germano critic and curator the Italian who they the following hosted Celant, - visual arts pro the Bitef Namely, year. 1973 1968 to from organised is gramme Ješa with cooperating Tomić, Biljana by Germano Subotić. Irina Denegri and in the 1970 edition, a guest is Celant art, conceptual a talk gives about and he Land art, whereby and Arte Povera - con its through Arte Povera historicises predecessor, its as Futurism nection to DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 100 DEATH TO ART LONG LIVE ART 103 V - - - S + which should be a part of the exhibit be the exhibit a part which should of which helped factor active an as itself, in which some the atmosphere produce artistic phenomena the exhibited of - writ retrospectively beinga and arose, the position which explains account ten of some who critic made active an of a and possible, these local phenomena visi- them institutionally part of large of powers his on precisely Relying ble. more is tone in its this text explanation, statements, the artist with consistent oriented references its to according and a differ of conceptualizations towards metaphor some type, pulling even ent mapped usually a field into ical content in the possible is it If concepts. by out attitude,this general his express to end art, especially that contemporary that is a large to is this exhibition, at shown the accent with post-conceptual, degree On ‘conceptual’. and ‘post’ equally on the this art traces bears of hand, the one - con which introduced turn’ ‘linguistic the local on art to and ceptual art scene, which we from amnesia that the other, and texts extract to throughsuch have thebasic premises of some exhibitions everything so turn, that in the that of flir a mere to reduced get doesend not - aspects con the of formal with tation new art- practic the other and ceptual the past of content neutral some es,like in an with play to which everyone able is way. naïve and innocent - The work in this exhibition, which in exhibition, this work The Ješa Denegri, which by text The fits the form of a localof a biennial, with form the fits the with and artists, of range regional the of segments various that pretension with mixed are the past of avant-garde active whichin now works of sequences - oth with as well them, as to refer artists on the which reflect works er current - necessi art,by of system and language the whole account take into ty needs to partly logical, partly of wondrous mass into facts crammed of constellations the been focus as has much As this text. in this exhibition, works individual on which narratives spatial as much as and with directlycommunicate less or more from been that made have the public the also to show important is these, it which from the curators, of positions this In a project. such into they entered - in this cat texts the other sense, this and a call take part to in a discusalogue are - the status in a polemicabout and sion, this exhibition, at this legacyof shown - nat absolutely is which it towards and because this is ambivalent, feel ural to were it who the artists produced what the though greatest Even on. counting especiallypart, the ear and those from - this exhibi from works lier decades, of the local a part regional of and are tion was them care in choosing art canons, of element an they contain taken that by understood is it as least at otherness, line’. the ‘other of the concept in the is therefore, here, published is between artefact place being an strange - 36 are valid. are 35 ”. Charles Esche, the director the director Esche, Charles ”. 34 And finally, the currently freelance cu- freelance the currently finally, And the doctoral of director the former rator, York, in New College Bard at programme - bienni many of the curator as well as Lind, Maria institutions, museal als and - a ref as Robert citing Unger concluded, “both the neo-liberal that soci- erence, the socialeties and societies democratic in general” in crisis are the institutions we them up, give shouldn’t “we that but the inside”. them from reinvent should ing and not fully defined position with fullywith defined not position and ing time the same At the public. to regard - the pres of museums critically oriented the public to openthemselves day ent a such producing of the aspiration with - their pro within sphere type public of Ribal- Jorge example for grammes.Thus of programme theta, public the head of agonistic defined Museum theMACBA which operation a mode as of pluralism space a as the museum “constitutes critical a and conflict, and debate for that the modern of tradition re-reading artistic methods, so together - brings the in action public and cialknowledge sphere in Eindhoven in Eindhoven Museum Abe the Van of - in “Deviant the concept even created the use of whichdesignates stitutions”, to a means as art institutions existing differ with a communication generate ent communities about alternative ways ways alternative about communities ent about and politics thinking about of imagine to the possibility up opening dif- in which“radically futures, different those who from systems value ferent culture” us consumer offer In such a conception → of the public sphere, its retains art work each precisely nature, political because of unstable its meaning and not fully defined with position public. the to regard - - - In 33 How 32 Such a type of agonism agonism typea of Such 31 such a conception of the public sphere, sphere, the public of a conception such political nature, its retains each art work - mean unstable its because of precisely - move The cognition. object of a neutral the struggle the object of rather is ment terms agonistic in the meaning, find to William by the theoryof represented Chantal and Tulley James Connolly, - cit already Buchloh Benjamin Mouffe. on commentary in his way in some ed it theory the avant-gar Bürger´s of Peter found is which meaning to de according - new move constantly through in how, this a “continually type, exist of ments the struggle definition renewed over the discovery meaning, and cultural of the and new audiences of representation - coun to new strategies of development the against resistance develop teract and the ideologicaltendency of apparatuses and industry the occupy cultural to of all all spaces of practices and control representation”. does not agree with rational consensus, consensus, rational with agree doesnot atthe but affairs, of state fixed a with nor into turning avoid to able time is same sur only which can antagonism, a total - in the between schism conflict two vive ruled sides, betweening those who- are the border at negation, mutual total by death. and the struggle life of for she herself defines it, Chantal Mouffe Mouffe it, Chantal defines herself she the public a model of of tries “think to people that be such would that sphere differ all aside theirmutual put didn’t - a consen reach to in order only ences - in which agonis sphere rathera but sus, outed.” play are tic confrontations hes s .Is the only solution solution the only .Is n in the a the in n 29 “.How did the work of of did the work “.How o 28 .If the theory always and only only the theory and .If always 30 Divinati According to Hal Foster, „ Instead „ Instead Foster, Hal to According

those artists which were an example of of example an those which were artists up end about writing was Lippard what in is that antithesis, its to being reduced - the politi theservice and the market of in a chapter adds herself cal powers?She called 1997 book from the republished wrote in which she attempts”, “Escape the escape rebellious “However that remained thework of most attempts, economic neither and art-referential, were esthetlcthe ties art world to nor ” fullysevered” pendent (or “alternative1 art that could could art that “alternative1 (or pendent the greedy sold by and be bought not everything was owned sector that that the promoting and the world exploiting war. Vietnam - pro that art, can of the ashes to refers anticipation and reconstruction of cess one else than anything as be interpreted cognitive In in the ashes? divination of the only probably is divination terms, of the meaning Fortunately, out. way in the field movements future and past be from derived in anyway art cannot of then to discard every reference which every discard then to reference still contain? might these works in its each theory speaks changes of - in recon indirectly, only but present, when these moments past struction of in begun, and have to said are changes when moments future of anticipation - be to com projected are these changes “ plete DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 102 DEATH TO ART LONG LIVE ART 105 V - S + - Lissab , Kunsthalle , Issue 9, 2011, pg. 41 , Issue - The Demateri Years: Six 29 L. Lippard, , Real the of Return The 30 H. Foster, “Theorizing Buchloh, the 31 B. Public Agonistic an ‘For 32 C. Mouffe, a Has Art of Form “Every Mouffe, C. 33 Ribalta, ”Experiments in a New 34 J. “TheIn- Esche, Art 35 Charles Deviant Mu- – The Beyond Display 36 “Going alization of the Art Object from 1966 to 1972, 1966 to from Object Art the of alization pg. xvi 1996, London, and Cambridge MIT Press, pg. 209. York, in Art in America, New Avant-Garde” 1984, pg. 19-21. November (editors), et al. Enwezor in Okwui Sphere’, Ostfeldern-Ruit, Democracy Unrealized, 2002, pg. 90. Germany: Hatje-Cantz, interview an with from Dimension”, Political - Bran Rosalyn Deutsche, by conducted her Keenan Source, Thomas and Joseph den W. 2001), pg. 125. 2 (Winter, No. Room, Grey - Man Ribalta and in Jorge Institutionality” Objects: (eds.), Relational Borja-Villel uel Collection 2002-2007, MACBA MACBA 2010, pg. 226 Barcelona, Publications, (Eds.) Per & L. Silva Mourão in J. stitution”, forming the Institutional Lisbon, 2010, pg.15. on, Lind in an Maria years”, Kunstverein nich in On O’Neill, Paul by interview conducted Curating , - , liniju za drugu Razlozi Politika tela: Izabrani radovi radovi Izabrani tela: Politika 18 There is a website for this project of project this for website is a 18 There prisvajanja Umetnost Sretenović, 19 D. - Tendenci 26 N. Dimitrijević, “Platno”, 27 Ibid. - Demateri the Years: Six 28 L. Lippard, 20 J. Denegri, J. 20 in text introductory 21 M. Susovski’s srps- teme Denegri, Sedamdesete: 22 J. pg. 24. 23 Ibid, inS. published is text 24 The whole Art Kosuth, in J. Af ‘1975’, Kosuth, 25 J. Miroslav Mandić, from which this note is is which this note from Mandić, Miroslav - taken,http://miroslavmandic.name/hodan je/ Writings, Collected After: and Philosophy ter MIT Press, Mass: 1966-1990, Cambridge, 1991, pg 129. Gallery in the catalogue), of je 5 (foreword 1973 art, Zagreb, contemporary 1972, to 1966 From Object Art the of alisation Los Berkeley, California Press, of University in published (first 1997 London, Angeles, 1973), pg: XIV. Belgrade: Art, Orion 2013, pg. 71. 2007, pg. 97. MoCAV, Sad, Novi 1966-1978, in M. praksa umjetnička Nova praksa umjetnička Nova (editor), Susovski 1966-1978, Zagreb: Gallery contemporary of art, 1978, pg: 3. (1970-1980), Novi prakse nove umetnosti ke 22-23 1996, pages Sad: Svetovi, Bogdanović, pg: 143. 1967-1997, n.d., - - , cat. pref, New New pref, , cat. Teorija avangardne umet Teorija 13 R. Pođoli, pgs. 99-100. cit, op. 14 R. Pođoli, 15 Ibid. Futurism Taylor, 16 J. 1968, of year the revolutionary In 17 , Nolit, Belgrade, 1975, pg. 98. , Nolit, - Sunči Linn and Majcen Olga Bago, (Ivana about a very made point clear ca Ostoić), are There these myths: of the importance the of members two how about the stories Crveni peristil group committed Split-based Dulčić) in 1974 throwing (Pave one suicide, (Tomo the other and a train under himself a building from Čaleta) jumping in 1972 - writ which was a sign on allegedly holding Both surrender acts of artist”. an am “I ten them which classifies art works, as cited are body art of examples the ultimate amongst - contempo in the historyof performances Alain by out rary pointed as death, art, with - which “re event possible being one Badiou, leaving not question, into put cannot ality” illusion”. into withdraw to room any nosti 1961, pg. 9. MOMA, York: John with in collaboration Lippard, Lucy inspir and the seductively wrote Chandler, - the aban which promised titled text, ingly art… She of nature the objective of donment a book which this into thesis expanded later to on decades later so many alone, wrote she these the- from somewhat herself dissociate will be in the said which more ses… about text. of this chapters final and penultimate - - Sedam 11 In the chapter “The New art of of art Newthe “The the chapter 11 In druge i pas “Narančasti project The 12 - re the monks of whilst one nuns, and monks priest Buddhist “A a microphone into peated priest Buddhist A death. to himself burns he message written The a martyr”. becomes requests: two following the left contained towards moving eyes and my closing “Before I respectfully the Buddha, of plead the vision take Đình a mind Diệm to Ngô President to the of the people towards compassion of to equality religious implement and nation eter the homeland of the strength maintain reverends, call the venerables, “I and nally”, - mo (the Buddhist the sangha of members and novices) and monks community; nastic to solidarity in organize to Buddhists the lay The Buddhism”. protect sacrificesto make Malcolm which then taken by photograph the Pu- received which he for and Browne, the through disseminated was prize, litzer time. that of magazines of global network book his which brings of 1968” sixtiesand - commit his up which sum the texts together period, the new to art in that a critic as ment art, the then emerging Denegri “how asks young and the young the art of mostly is that so- the in surrounding itself engage art,can Denegri, political J. events?” cialand prakse, nove umetnosti, srpske teme desete: 1995, pg. 10. Sad, Novi 1970-1980, Svetovi, Orange (The od (još bolje priče stvarnosti)” - re than better (Much stories other Dog and realized which in 2009 in Zagreb was ality) Kontejner prakse umjetničke suvremene Biro - - - - Febru th , Napri in Rijeka in Rijeka on 5 , independent , independent . June 1963 set himself on fire in fire 1963 set on himself June th , pg. 26 7 G. Debord: “Report on the Con- on “Report 7 G. Debord: Ćosić: Mixed Media 8 B. Indexclub Student 9 The 10 Thích Quảng Đức, born as Đức, born Quảng Lâm 10 Thích tween symbolic and physical death in his in his death physical and tween symbolic who finds Antigone, Sophocles’ of analysis (symbolic “between-two-deaths” herself her excommunicates Creon after real) and XI Seminar the see:polis, J.Lacan, from - Četiri psihoanalize pojma temeljna used this 1986. Žižek dif- later jed, Zagreb, and films various of analysis in his ference literary narratives. - the Interna on and Situations struction of Conditions Tendency’s Situationist tional in K. Knabb Action”, and Organization of Situationist Interna translator) and (editor Expanded - Revised and Anthology tional: Edition , Belgrade 1970, pg. 31. publication artist Janto name its Palachchanged Saigon, after a protest march of about 350 about of march protest a after Saigon, - Mrdul Igor of ary the suggestion 1969, on of board the Executive of jaš, the president this name whoproposed Union, the Student photography the across coming after change the fac- from Morović Željko the student of - who re engineering, had mechanical of ulty in the then exchange a student from turned exhibition an organised and Czechoslovakia in “Aggression entitled the photographs of also and published the same pho the world”, in the Novi listtographs monk Buddhist a Vietnamese was Túc, Văn 11 who on - February 2020, February February 2020, February th th ). , Rotterdam: Episode Episode , Rotterdam: Himself) and Marcus a Stoic from Letters and - a sto was malorum’ 4 ‘Premeditatio 3 Over-identification or subversive subversive or 3 Over-identification 5 Večernji list from 9 from list 5 Večernji 6 Lacan wrote about the relation be- the relation about 6 Lacan wrote 1 K. Knabb (editor and translator), Sit translator), and (editor 1 K. Knabb - interview an inte from 2 Quotation

icist technique of preparation for the worst the worst for preparation of technique icist which with something of result possible so confronted, be could potentially one un- us catch surprise or can nothing that associated frequently most is It prepared. Seneca.with (see: L. A. Seneca, Moral Epistles To Aurelius affirmation is an an artistic strategy which is affirmation his in Žižek Slavoj by defined first was be Laibach, to the group of interpretation which practices the various to applied later the thing from critical no distance have expose it rather but denouncing, they are intimate unbearably an of the position from See: frame. phantasmal its in immersion Pauwels) Boie & Matthias (Gideon BAVO Art The Today. Activism Cultural (editor), Over-Identification of 2007. Publishers, published under the caption “These se- are the caption under published die in the name times, must the artist rious of culture.” same article. same grated in the editorial text of the Evening the Evening of text in the editorial grated 9 from list), post (Večernji uationist International: Anthology- Revised Anthology- International: uationist - Bu CA: , Berkeley, Edition Expanded and Secrets, pg. 1995, 451. Public of reau DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 104 ANGELOS GORGONA ZENIT ANGELOS GORGONA ZENIT 108

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SMRT UMETNOSTI ŽIVELA UMETNOST Foundation Photo: Courtesy of Ilija &Mangelos panthe, 1978. P Manifesto on themental life of Ilija &Mangelos Fotografija: ljubaznošću Fondacije Altamirskog, 1978. P Manifest opsihičkom životu icasso and Altamira theassumed icasso ipretpostavljenogicassa panthe prakse, koju razvijao je paralelno kritičarskim sa radom. Prvi iskorakeprve upravcu javnog prikazivanja svoje umetničke 1959–1966.Uokviru Gorgone čini na uZagrebu uperiodu aktiv je Jedan- osnivača i članova od je grupe Gorgona, koja niz novih teorijskih oblasti ujugoslovenskoj rada umetnosti. Svojim iteorijskim kritičkim izuzetnim radom anticipirao je ma ujugoslovenskoj likovnoj 1950.godine. umetnosti posle teoretičaraposlednje vreme vodećih - kaojedan od moderniz nuti istoričar je umetnosti, kritičar i teoretičar, prepoznat u grebu, gde diplomirao je azatim idoktorirao (1957).Istak- Studije azavršio- istorije uZa uBeču umetnosti započeo DIITRIJE BAŠIČEVIĆANGELOS Dimitrije Bašičević Dimitrije Bašičević Mangelos (Šid 1987). 1921–Zagreb www.mangelos.org na umetničkoj kao definiše preteča sceni konceptualizma. Abteibergseum Mönchengladbach…), anjegova pozicija se Pompidou, Paris; Museu Contemporânea, deArte Porto; Mu- nim kolekcijama (MoMA, Njujork; Tate, London; George međunarodnim uvodećim danas nalaze javnim se iprivat- koji podrazumevaju rađene knjige, ručno skulpture islike, nine biti ispunjene novim sadržajem. Mangelosovi radovi, budućih nastaju 1940–1941. godine monohroma, uformi crnih malih umetnički radovi koje potpisuje pseudonimom Mangelos Tabula vremenom ćepak rasa na mestu, koje praz-

111 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 113 whose empty surfaces would be filled surfaces would with whose empty rasa Tabula www.mangelos.org to his work as a critic. The first works of his his artistic of oeuvre works first The a critic. as work his to made were Mangelos signed the pseudonym whichhe with the monochromes, small black of thein 41 form – 1940 in future handmade which includes work His time. over new content in the lead- today found is paintings, and books, sculptures New (MoMA collections public and private international ing - de Arte Contem Museu Paris, Pompidou London, Tate York, …) Mönchengladbach, Abteiberg Museum Porto, poranea artgeneral. in of conceptual forerunner as a defined is he and

- pre public the towards steps first his took , Mangelos Dimitrije Bašičević Mangelos (Šid 1921 - Zagreb1921 1987). (Šid Bašičević Dimitrije Mangelos Began his art history studies in and completed them completed and in Vienna Began art history his studies in thesis PhD his also he wrote where Croatia, in Zagreb, theorist, and critic art historian, a prominent is 1957. He the the leading - of be to one recognized as coming recently 1950. visual arts after modernism in the Yugoslav of orists in work of theoretical new fields numerous anticipated He art and a critic as work exceptional his art through Yugoslav Gorgona the group of member a founding was and theorist of a member 1959-1966. As in Zagreb from active which was Gorgona parallel developing was art which practice he his of sentation odroom, Zagreb, 1978. Zagreb, odroom, Mangelos while preparing the exhibition the exhibition while preparing Mangelos P Shid-Theory, Ilija&Mangelos of Courtesy Photo: Foundation

odroom, Zagreb, 1978. Zagreb, odroom, Mangelos na izložbi Shid-Theory, Shid-Theory, na izložbi Mangelos P Fondacije ljubaznošću Fotografija: & Mangelos Ilija DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 112 114

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SMRT UMETNOSTI ŽIVELA UMETNOST Foto: Branko Balić kolektivni 242 x299mm, rad, Gorgona, unebo, Gorgona 1961. gleda Photo: Branko Balić work, 242x299mm, collective , Gorgona isL ooking atooking the Sky, 1961, Svaki broj predstavljao je umetničko jedno delo aunjegovom objavila je grupa jedanaest brojeva antičasopisa Gorgona igre, okupljanja 1961.do1966.godine od išetnje. Uperiodu Gorgona interesovala se zaproces stvaranja pre nego rezultat, hitekta Miljenko Horvat iteoretičar Matko Meštrović. Grupa Knifer, iMarijan Đuro Seder Jevšovar, vajar Ivan Kožarić, ar MangelosDimitrije Bašičević iRadoslav Putar, slikari Julije novi su bili: Josip grupe umetnik Vaništa, istoričari umetnosti usvomgodine se krećući radu linijom antiumetnosti.- Čla koja delovala je 1959.i1966. između uZagrebu uperiodu GORGONA Gorgona (Zagreb, 1959–1966). Neoavangardna grupa - . kolekcija idr. greb; Muzej savremene Marinko umetnosti, Sudac Beograd; poput: MoMA, Njujork; Muzej suvremene umjetnosti,- Za prisutnaje uistaknutim muzejskim iprivatnim kolekcijama gorija, sklonost kanihilizmu imetafizičkoj ironiji.Gorgona vanje apsurda, praznine imonotonije kao estetskih kate- dividue bio kome duh je modernizma su pripadali, prizna- Manconija idr. Ono što ugrupu je okupilo inače snažne in- poput Ditera Rota, Viktora Vazarelija, Harolda Pintera, Pjera stvaranju učestvovali su, pored članova i strani grupe, autori,

117 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 119 in addition to the members of the group, foreign artists such such artists foreign the group, of the members to in addition - Man Piero Vasarely, Victor Pinter, Harold Roth, Dieter as - unit What issue. each of part took the in creation etc. zoni the spirit was a group into individuals ed the strong-minded of a part, the recognition which they modernism were of of a aesthetic categories, as monotony and emptiness absurdity, Gorgona irony. metaphysical nihilism and tendency toward collec - private and museum in prominent present are works - Contempo of the Museum York, New MoMA as such tions Art Belgrade, Contemporary of the raryMuseum Art Zagreb, Collection Sudac etc. the Marinko . Each issue presented one art work and and art work one presented . Each issue documentary, Croatia (2012), documentary, Gorgona Habjan Marija Ana editor: and Director National Radiotelevision documentaryCrotian The byrealised the was film Art Contemporary of the Museum with in collaboration documentary program, Collection. Sudac the Marinko Zagreb and Hrvatska film, (2012), dokumentarni Gorgona Habjan Marija Ana Reditelj: uz HTV-a, programa Dokumentarnog produkciji filmnastao je u Dokumentarni Sudca. Marinka Zbirke te u Zagrebu umjetnosti suvremene Muzeja suradnju Gorgona Gorgona (Zagreb, 1959-1966) was a neo-avant-garde neo-avant-garde a 1959-1966) was (Zagreb, Gorgona group operating along the anti-art line in Zagreb between line the anti-art along operating group artist the were: of the group members The 1966. 1959 and - Bašičević Dimitrije Mange the art historians Vaništa, Josip Seder Đuro Knifer, Julije the painters Putar, Radoslav los and - the archi Kožarić, Ivan the sculptor Jevšovar, Marijan and Meštrović. Matko the art theorist and Horvat tect Miljenko of creation process in the interested was group The Gorgona walks. From and gatherings in games, results, its than rather - the “an of issues eleven also published 1966 Gorgona 1961 to ti-magazine” A collective event at the opening of Julije Knifer’s Knifer’s Julije of the opening at event A collective with a hat, laying Gorgona, na otvaranju izložbe Julija Knifera, Knifera, izložbe Julija otvaranju na Gorgona, gra sa šeširom,

doration, P doration, I doracija, A in the Gallery Art in Zagreb in 1966 Contemporary exhibition of 2007. Zagreb, Daf, Stipančić, Branka 1 - 9 1/2, ed. no. From: Mangelos A 1966. Zagreb, GSU 2007. Zagreb, Daf, Stipančić, Branka 1 - 9 1/2, ur no. iz Mangelos preuzeto DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 118 120

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SMRT UMETNOSTI ŽIVELA UMETNOST Ljubomir Micić, Ivan Goll, Boško Tokin Zenitism manifesto, 1921. Ljubomir Micić, Ivan Goll, Boško Tokin Manifest zenitizma, 1921. doprineti stvaranju novog čoveka veka. XX jasno opredeljen zanovu umetnost, zakoju verovalo se će da iJužnesredina, iSeverne ali Amerike, iJapana. pa Zenit iLjubljane, Zagreba Beograda, iizgotovo tako evropskih svih leveorijentacije,glasilo svelikim brojem kako saradnika, iz pokreta injegovih programskih Bio ideja. međunarodno je izašla 43broja. krozMicića), „Zenitizam prizmu marksizma”. Ukupno su nepoznatogsta autora drM.Rasinova (verovatno samoga do definitivnepolicijske zabrane decembra tek 1926,zbog - maja –sve 1923.godine uBeogradu redakcija nalazila se godine uZagrebu ikritičar književnik Ljubomir Micić. Od 1895 –Kačarevo kodPančeva 1971). ZENIT, LJUBOIR ICIĆ ZENIT, LJUBOIR Zenit Časopis Zenit je bio je osnovni forum avangardnog zenitističkog (1921–1926),Ljubomir Jastrebarsko Micić (Sošice, Zenit osnovao je i prvi broj osnovao iprvi je februara izdao 1921. je bio je priznat uEvropi. aktivizam.borbeni reprodukcije, tipografska igrafička odražavalirešenja – taj su vizuelni efekti –dizajn zenitističkih izdanja, časopisa idrugih manifeste, prozu broja. prvog već ipoeziju od Upečatljivi institucija, izražavao kroz je polemičke iprogramske tekstove, toriteta političke icrkve, vlasti nepravde socijalne iokoštalih vativne (malo)građanske svesti i kapitalističkog au društva, - tendencija.jalnih kritičku Oštru orijentaciju protiv konzer kubizma, futurizma idadaizma, doruske avangarde- isoci tava ekspresionizma, evropskih pokreta, od umetničkih - post pokreta prisutna aktivna je razmena irecepcija iiskus ideja - Zenitizam je prvi umetnički pokret sa Balkana koji umetnički pokret Balkana sa bio je prvi Zenitizam je U različitim fazama postojanja časopisa Zenit isamog -

123 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 125 An active exchange and reception of the ideas and ex- the ideas and of reception and exchange active An to the Balkans from artmovement Zenitism the first was - expression from art movements, theperiences European of the Russian to Dadaism, and futurism post-cubism, ism, in the different social present was and tendencies avant-garde A itself. in the movement and the Zenit magazine of phases - provincial conservative against critical orientation severely the political rulers of the authority society, capitalist and ism a found institutions, ossified and social injustice church, and po- through onwards issue the first from expression of means po- and prose manifestos, essays, programmatic lemical and and magazine visualof Striking effects – the designthe etry. typographic reproductions, Zenitist publications, the other of activism. that – mirrored solutions graphic and in Europe. be acknowledged - - century. century. th Zenit was the basic forum of the avant-garde Zenitist the avant-garde of Zenit the basic was forum Zenit (1921-1926), Ljubomir Micić (Sošice, Micić Jastrebar Zenit (1921-1926), Ljubomir movement and its ideas. It was an international left-oriented left-oriented international an was ideas. It its and movement Lju Belgrade, Zagreb, from contributors numerous with revue, bljana but also from almost the whole of Europe, as well as both as well as Europe, of the whole almost also from but bljana Zenit clearly was even Japan. America, and South and North believed, was it as whichwould, the new art,one for conceived the 20 of a new man of the creation to contribute - Panče near 1895 - Kačarevo Empire, Austro-Hungarian sko, and founded was magazine 1971). The Zenit Yugoslavia, vo, in Zagreb critic, in and a writer Micić, Ljubomir by edited was basedmagazine of in the - Bel board 1921. The editorial was the magazine the moment until 1923 May grade from “Zenitism theessay publishing its to thepolice due by banned dr M. author the unknown by prism” the Marxist through himself).Micić 43 issues probably total (most Rasinov In published. were 01

Beograd Belgrade № Foto: arhiva arhiva Foto: , 1921–1926, digital library Photo: archive of the the of archive Photo: of Svetozar Marković, Marković, Svetozar of iz digitalne biblioteke iz digitalne biblioteke of the University library library University the of from the digital the libraryfrom of the University library the University of asopis Zenitasopis Univerzitetske biblioteke biblioteke Univerzitetske Č

Zenit Magazine, 1921-1926, Zenit Magazine, biblioteke „Svetozar Marković”,

„Svetozar Marković”, Beograd. Marković”, „Svetozar of Svetozar Marković, Belgrade Marković, Svetozar of digitalne biblioteke Univerzitetske Univerzitetske biblioteke digitalne DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 124 126

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06 1921.

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09 07 № №

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11 1922.

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12 1922. № №

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20 19 1922. № №

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24 22 1923.

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25 № №

34 33 26 1924. №

35 1924.

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36 №

37 1925. № №

40 38 №

39 1926.

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41 №

42 1926. №

43 1926.

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SMRT UMETNOSTI ŽIVELA UMETNOST Photo: M. P Foto: arhiva Narodnog muzeja, Beograd M. P etrov, Zenitu 1921.inv.gr.35_2086 upočast, etrov, Zenitu 1921.inv.gr.35_2086 upočast, archive of the National museum, Belgrade Photo: M. P Foto: arhiva Narodnog muzeja, Beograd M. P etrov, Self-portrait ,1921.inv.gr.35_2086 etrov, A archive of the National museum, Belgrade utoportret, 1921.c35_2083 Belgrade Photo: gr.35_2879 M. P Foto: arhiva Narodnog muzeja, Beograd inv.gr.35_2879 M. P etrov, Zenit exibition 1924,poster, inv. etrov, Zenitova 1924,plakat, izložba archive of the National museum,

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SMRT UMETNOSTI ŽIVELA UMETNOST Photo: J Foto: arhiva Narodnog muzeja, Beograd J o K o K lek, Draft Zeniteumfor II,35_2890 lek, N archive of the National museum, Belgrade acrt zaZeniteum II,35_2890 acrt Photo: B Foto: arhiva Narodnog muzeja, Beograd B.V V P . P oljanski, E archive of the National museum, Belgrade oljanski, E urope, 35_4055 vropa, 35_4055 A. Č Foto: arhiva Narodnog muzeja, Beograd A. Č Photo: ernigoj, OS ernigoj, OS archive of the National museum, Belgrade P P , 35_2865 , 35_2865 Photo: A. Č Foto: arhiva Narodnog muzeja, Beograd A. Č ernigoj, Draft forscenography the of P ernigoj, N archive of the National museum, Belgrade acrt zascenografiju P acrt apa E ccelenza III,35_2867 ope E ope ccelenza III,35_2867

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SMRT UMETNOSTI ŽIVELA UMETNOST Branko V Micić . P oljanski L jubomir A Micić, nuška P Micić, avle iOto Bihalji Boško T Boško Zagreb, 1921. okin iL okin jubomir Micić, stalne postavke Narodnog muzeja, nije bilo moguće possible to exhibit the entire legacy at the Biennial. Ljubomira Micića. Zbog velike istorijske vrednosti i činjenice da su mnogi radovi izovog legata deo display of the National museum, it has not been izložiti ceo legat na Bijenalu. Izabrani radovi su Theselected works are thus representative of the the works from this legacy are in the permanent stoga predstavnici celine koja govori oizuzetnoj their great historical value and the fact many of koji su izloženi na ovom Bijenalu deo su legata whole which attests to the exceptional vision of Serbia which are exhibited at this Biennial are a part of the legacy of Ljubomir Micić. Dueto Radovi izkolekcije Narodnog muzeja Srbije The worksfrom the National museum of viziji Ljubomira Micića. Ljubomir Micić.

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SMRT UMETNOSTI ŽIVELA UMETNOST UETNICI ARTISTS

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SMRT UMETNOSTI ŽIVELA UMETNOST IVANA ARANINI pokreće KOMIKAZE ivodi , mrežu zaprodukciju, promociju na 2017.; Scott Glorije strip-izdanja (albumi, fanzini, Pustolovine art-books): Zagrebu (Mag. Rektorova Art, nagrada).Ima 7samostalnih ne umjetnosti idizajna iAkademiju likovnih umjetnosti u Školu je umjetnika.nice samostalnih Završila primijenje- aktivizma idruštvenog konteksta. Hrvatske Član je zajed- She must be mad be must , 2018.;She Strip-autorica iilustratorica. Njezin neodvojiv radje od , 2005, po pričama2005, po Mime Simić; Mangelos , 2017,scenarij: Marko Golub; concerti Blue , 2018,iNini zine Katalog , 2019. Od 2002. , 2019.Od , 2016.;FMCX, - [email protected] munjska, Poljska, Portugal, Portland, NY). ska, Njemačka, Švedska, Švicarska, Mađarska, Austrija, Ru- no imeđunarodno (Hrvatska, Srbija, Italija, Bosna, Francu- 235 događanja (izložbe, radionice, sajmovi ifestivali), lokal- 52 webzina, 30fanzina, ni, koje uokviru objavljuje (18strip-antologija Komikaze, i distribuciju autorskog stripa sfokusom na nezavisnoj- sce Femicomix mapu itd.), na iizlaže I I Museum of Contemporary and Zagreb Art Komikaze Association. * The exhibited work was produced incooperationwith and is owned by Wacom pen on atablet and computer. 66X(297x 420mm) MANGELOS COMIC, 2017, Digital print on tinplate of the work drawn with a * olovkom na tabletu ikompjuteru, 66x(297420mm) MANGELOS STRIP, 2017,digitalni print na limu rada crtanog Wacom umjetnosti uZagrebu iKOMIKAZE udruge. vana A vana A Izloženi uzajedničkoj radje produkciji Muzeja ivlasništvu suvremene rmanini (script: Marko Golub) rmanini (scenarij: Marko Golub)

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https://ivanarmanini.net web: https://komikaze.hr/author/mangelosstrip/ link/comic: - book:link/comic https://komikaze.hr/print_issue/mange los-vol-1/ https://ivanaarmanini.net/mangelos-comic- link/info: book/ mocalink/ show zg (2017-2019): https://ivanaarmanini.net/comic-exhibition-comments- mangelos/ https://ivanaarmanini.net/reviews-mangelos- link/ press: comic/ [email protected] - (18 anthologies, 52 (18 anthologies, , Hungary, Austria, Poland, Poland, Austria, , Hungary,

Comic artist and illustrator. Her work is cannot be sepa cannot - is work Her illustrator. Comic and artist

- dis and promotion the production, for , a network MIKAZE the independent a focus with on comics authorial of tribution been publishing has scene in which she and exhibiting at etc) map FEMICOMIX zines, 30 webzines, locally in - festivals) and fairs, workshops, (shows, 235 events France, Serbia, Bosnia, Slovenia, Italy, ternationally: Croatia, Switzerland Sweden, Germany, NY. Portland, Romania, Portugal, rated from activism and its social context. She is a member of of a member is social its activism context. She and from rated the at studied and Artists Association Freelance theCroatian Arts of Arts the Academy & Design and Applied School of solo 7 comic has She Award). Art, Rector’s Zagrebin (Mag. Gloria of Adventures (books, art-books): zines, The editions Katalog, Simić); Mima of (based 2005 the stories Scott, on Comic Book, 2017 (script: 2017; Mangelos 2016; FMCX, 2018 be mad, must 2018; She concertina, Blue Golub); Marko KO manages and founds 2002 she 2019. From zine, Nini and DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 150 152

SMRT UMETNOSTI ŽIVELA UMETNOST nedostatka inspiracije. bavim iuovakvimse umjetnošću, čak momentima sumnje i vam dokažem ubijedim nastaviti da ili ću da sama sebe da ni radodvija najviše na unutrašnjem nivou, ukom pokuša- krizom mišljenja, stvaranja idjelovanja. Stoga moj se trenut- inspiracijavlastita ivolja zadjelovanjem. stane, sobzirom na glavni to je pogon da stvaranja radova racije. Umjetničko djelovanje može usvakom momentu da tite umjetničke prakse, nedostatkom sam suočena sa inspi- izjugoistočnejetnica Evrope treba biti? moru 2018,gdje sam odgovoriti trebala na pitanje: Kakva um - Suočivši se sa ovimSuočivši sa problemom, se našla isa suočena sam se Kao umjetnica, kojoj mlada tek prethodi stvaranje- vlas Ovaj radnastaokaorezultat je projekta Umjetnik na od- kao što identitet, su seksualni kaoiulogom jezik, stereotipa. radovima bavi društveno se predodređenim konstruktima, vanja, kojima ukazuje na problem ideju. ili U dosadašnjim navodijeru na razmišljanje je osavremenim formama izraža- profesorau klasi Zorana Todorovića. Studiranje na ovom sm- Fakultetu likovnih smjer umetnosti uBeogradu, Novi mediji, naredni radnapravim uformi obećanja. nametnuta, koja ili samsvoj samada odlučujem sebi zadala, obavezujem nastaviti ću da konstruišem da umjetničku praksu. ničkom djelovanju. To obećanje je koje javno izvodim ikojim se Rođena je 1997.uTuzli, je Rođena iHercegovina. Bosna Studira na uKolekciji nalazi se Rad Marinko Sudac. predstavljaRad anticipaciju stanovišta vlastitih oumjet U pokušaju očekivanja ne da iznevjerim koja su mi - Fotografije – videa skrinšotovi iz 2019,P Obećanje, 2020. Skupinska razstava /K+,Multimedjiski centar KiD Kibla, Maribor 2019. Potkanje 2019. Obećavam da neću odustati od bavljenja umetnošću! institute,, Goethe Beograd mesto 2019. Drugo umjetnost, Zagreb 2019. Umjetnik na odmoru 2018.by Valamar, Institut zaistraživanje avangarde, Kolekcija Marinko Sudac, Muzej suvremene 2019. “I’M NOT YOUR Barbie GIRL” –usklopu MUK-a–festivala aktivizma iženskih prava, Pula 2018. učestvuje uLjetnoj školi umjetnosti iaktivizma uGrožnjanu –Fund4Others 2018. Umjetnik odmoru na 2018. Umetnost 1000dinara za , Ostavinska Beograd galerija, 2018. Umetnost udoba klasnog rata, Ostavinska Beograd galerija, 2018. Napuštanje bezbednog režima institute,, Goethe Beograd [email protected] Pored izložbi usklopu Fakulteta, učestvuje: erformans 4min17s –video-dokument, , Muzej primenjene umetnosti, Beograd , performans, Promaja, Stara Beograd šećerana, , učešće uprogramu, učešće koji pokrenuo je Marinko Sudac zajedno Institutom sa za istraživanje avangarde ILICA BILANOVIĆ

153 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 155 In addition to the exhibitions within the faculty she has has the faculty within she the exhibitions to addition In participated in: participated Bel- 2018, Goethe institute bezbednog režima”, “Napuštanje 2018; grade, - Ma galerija, KC Ostavinska klasnogu doba rata”, “Umetnost gacin, Belgrade, 2018; Magacin galerija, KC Ostavinska za 1000 dinara”, “Umetnost Belgrade, 2018; od na - Umjetnik in the programme participated 2018 she In the for the Institute with Sudac Marinko by initiated moru the avant-garde; of research activ - art and of school part took the in summer she 2018 In - Fund4Others; in Grožnjan ism - the– MUK festi part as of GIRL”- Barbie YOUR NOT “I’M Pula, rights, 2019; women’s activism and val for the for Institute Valamar- odmoru 2018” by na ”Umjetnik – Sudac Collection Marinko of garde, the avant of research 2019; art, Zagreb, contemporary of Museum in the “Promaja” in the event a participant was 2019 she In “Drugo the performance with mesto”; factory, sugar old umetnošću!” od da bavljenja neću odustati “Obećavam Belgrade, 2019; Goethe institute, art, Belgrade, 2019; applied of Museum “Potkanje” Kibla, KiD center / K+” -multimedia razstava “Skupinska 2020 Maribor, [email protected] This work came about as a result of the project Umjetnik Umjetnik project of the result a as about came work This thecreation on embarking just who artist, is young a As of in a crisis myself I found this problem, with Faced me, of expectations others’ trying disappoint to In not own view one’s of anticipation the represents work The Sudac collection. Marinko of the is a part work The has She Bosnia Herzegovina. and Born in 1997 in Tuzla, na odmoru/The Artist on Holiday 2018 where I was required required I was 2018 where Holiday on Artist odmoru/The na Eastern from artist an should What the question answer to be like? Europe a lack by be I can confronted artistic practice, own my of any at standstill a to Artistic come can action inspiration. of one’s is works create to drive the main that given moment, act. to desire and inspiration works current my here From action. and creation thought, prove to attempt an in level, the internal on mostly takesplace - mo art, even in such make to continue to myself convince or inspiration. of a lack and doubt of ments the in work my make I decide to set myself, which I have or form of a promise. - which I pub the promise is artistic action, that about point to continue to myself in which I oblige carry and licly out, art practice. an construe Arts Fine in of the Faculty Arts in Fine at BA with graduated Professor of in the class Media in New Belgrade, majoring - consid to her prompts in this branch Study Todorović. Zoran a partic - which indicate expression of forms er contemporary socially with dealt has she works, her idea. In or problem ular as language, sexual as such identity, determined constructs stereotypes. of the role as well erformance – video, 4’17’’ erformance romise, 2019, P romise,

hotography- screenshots from the video from screenshots hotography- The P P DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 154 156

SMRT UMETNOSTI ŽIVELA UMETNOST SLAVKO BOGDANOVIĆ Knjige GRUPA KÔD (1970—1971) INDEX (1968—1970) Novosadski tekstualizam Jugoslovenska ivojvođanska konceptualna umetnost Slavko Bogdanović (1948) INTER VIVOS (2018) INVENTAR DISCERNACIJE (2018) Gerom Grozdanićem) (2008) SRBSTVA SIMPTOMI SINGULARIZACIJE— VAE VICTIS (2008) FINAL SHOT—FINAL CUT(2007) DINGO VOLI DINGAČ (1998) POLITIKA (1997) TELA MOČVARA (1970) SLUČAJ: BIĆE ILJUDI (ko-autor sa (MacCamera), Photo Thermal 2019 Booth, Slavko A Bogdanović: [email protected] U običnoj stvarnosti: Pravo ipravne nauke. Objekti, instalacije, drugo SMRT FENIKSU –ŽIVEOPEPEO! (2020) HORIZONT DOGAĐAJA (2008) VAE VICTIS (audio-vizelni koncept) (2008) FINAL SHOT—FINAL CUT(kratki (2007) film) (14objekata, XXI instalacija)BIZANTINE (2006) LIVING TREEOF LIFE(mapa (1983) grafika) ZAKOVANA KNJIGA (1971) OTVORENA KNJIGA /ZATVORENA KNJIGA (1970) Serija IV(FORMIDABLESerija KÔD, 2017);I—XXXIII] III(24printanaSerija panela) II(34printanaSerija panela) I(35printanih[Serija panela) U T O PO TRET , umetnosti bez /van kontekstaumetnosti bez (kaoda) umetnost fenomen je ukontekstu u nekom trenutku medjutim referenca svaka mora biti odbačena ipak konstrukt umetnika arte-fakti bida mogao izgraditi svoj se kontekst [John Kavez, 1956] […] to actually make aware us that we are alive, to kill our roots and cut off our linkswith past nekome (Nekome) ko na svom putu tragajući jeziku/jezicima po ruje zasvojom definicijom teškonisu (ili više mogu da biti inspirativne od više) edukativne reference individualni umetnički konstrukti mogu bitiali važniidrugima mogu (aine moraju) biti jesu važni(uvek ili važni)Tragaču (Umetniku) za (sopstvenim jezikom iskazanom) manifestacijom Umetnosti [materijalni individualnog ostaci traganja [za kojim tragaoMegalit je Malj Kazimirovič] Severinovič (svojim jezikom) u svom jeziku iz kojeg izrastao kontekstualni je poznaju(ili supstrat) (koji razumeju pokušavaju ili razumeju da kontekst) samo ideja postoji samo Potencijal nema SMRT FENIKSU —ŽIVEOPEPEO! slavko bogdanović ma koliko konzistentnim iautentičnim jezikom bili izraženi ma koliko (jedinstveno) koherentni imonumentalni bili individualne stvarnosti slike ili svog individualnog konteksta] u nekakvom/bilo kakvom kontekstu –ukontekstu sopstvene I koji susupstrata deo

157 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 158

SMRT UMETNOSTI ŽIVELA UMETNOST u najboljem slučaju udovoljavanje nekakvom [(kao svog sopstvenog umetničkog konteksta) reprodukovanje bida mogao izgraditi svoj sopstveni kontekst koji jednom ćeje morati odbaciti tako isto koji (uvek-na-službu-spremnom) edukativne reference (ma kako zavodljive kaovečnost/ ili neće bitineće inspirativne od više edukativne refrence možda kompetitivnom sa željom nije lito narativ o /zahtevu otome kakva umetnost (Umetnost) treba biti [(nečijem) priznatom nepriznatom] ili pretekstu aksiomatski izgledajuće) da se referenca se da nadmaši/ propagandi o agitaciji strahu(ili života) od dogmatizmu II

ili odizajnuili o artizantstvu napravi bolja istorija)] napiše bolji roman/ naslika bolja se (da slika/ (Nekome Drugom) ŽIVELA UMETNOST!ŽIVELA SMRT KONTEKSTU! [ma koliko to paradoksalno bilo nije lionda opravdano reći (nikad-ranije-vidjeni) (tla) supstrata novih nebrojenih (savršen/apsolutan nesupstancijalni potencijal (Potencijal) po Sebi) referentnomsmrt Feniksu i koji umetnički konstrukti iz kojih(eg) ćeizrasti urbi et orbi et urbi III koji mora biti odbačen tako] samoili zvučalo/izgledalo koji će(raspršen) sadržati rasplamsalog plodovi novog entuzijazma u novom životu sav bezvremeni pretvoren upepeo (raskomadan kaoOziris) koji radja se obznanjuje ali kojiali će(ipak) omogućiti definisanje moćnim krilima Feniksa krilima moćnim pod

159 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 161 OPEN BOOK BOOKOPEN / CLOSED / ZATVORENA KNJIGA [OTVORENA (1970) KNJIGA] BOOK [ZAKOVANA NAILED (1971) KNJIGA] of LIFE (a map TREE OF LIVING (1983) graphics) BIZANTINE XXI (14 objects, (2006) installation) CUT (short SHOT—FINAL FINAL (2007) movie) concept) (audio-visual VICTIS VAE (2008) [HORIZONT HORISON EVENT (2008) DOGAĐAJA] pannels) [Serijal I (35 printed pannels) Serijal II (34 printed pannels) Serija III (24 printed CODE Serijal IV (FORMIDABLE , 2017); I—XXXIII] [KÔD] LIVE – LONG PHONIX TO DEATH – ŽIVEO FENIKSU [SMRT THE ASH! (2020) PEPEO!] Objects, Installations, Other Installations, Objects, Ordinary Reality:In Sciences Law and Law [email protected] April 2007 April th Slavko Bogdanovic: FINAL SHOT – FINAL CUT – FINAL SHOT FINAL Bogdanovic: Slavko varijante minimalističke redukovane (Praizvedba 2007. 29. april u Vojvodini, lokacija tajna performansa), CUT – FINAL SHOT FINAL Bogdanovic: Slavko the of variant minimalistic reduced an of (Premiere 29 in Vojvodina, location Undisclosed performance, (1970) [MOČVARA] SWAMP [POLITIKA BODY OF POLITICS TELA] (1997) [DINGO DINGACH LIKES DINGO (1998) DINGAČ] VOLI CUT (2007) SHOT—FINAL FINAL (2008) VICTIS VAE OF SYMPTOMS CASE SINGULARISATION—THE AND HUMANS BEING SERBS: OF Gera with Grozdanic) (co-author SINGULARIZACIJE— [SIMPTOMI (ko- I LJUDI BIĆE SLUČAJ: SRBSTVA (2008) Grozdanićem)] sa Gerom autor DISCERNATION OF INVENTORY (2018) DISCERNACIJE] [INVENTAR (2018) INTER VIVOS

Slavko Bogdanović (1948) Bogdanović Slavko Vojvodina and Yugoslavia art of Conceptual Sad Novi of Textualism (1968—1970) INDEX KÔD] [GRUPA CODE GROUP (1970—1971) Books DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 160 DEATH TO ART LONG LIVE ART 163 I there is only the Potential only is there idea an only slavko bogdanovic slavko or in spite of their (unique) coherence and monumentality and coherence their (unique) of in spite in the language of authenticity and consistency the evidence of notwithstanding expressed which they are reference any abandon Artist must an in the context of an individual’s own reality or or reality own individual’s an of in the context context] own individual’s an of in the image DEATH TO PHOENIX – LONG LIVE THE ASH! LIVE – LONG PHOENIX TO DEATH the context) does not exist does not (to those(to who understand who seek understand to the substratum part of who are it) with been acquainted have (or grown has construct contextual Artist’s in which an they might be important to others as well as others to bethey important might [which the Megalit Malj Severinovič Kazimirovič had searched for] searched had Severinovič Kazimirovič Malj [which the Megalit quest individual an of residues [the material Art)of manifestation as the (in a specific language expressed context of kind in any the Artist) the Quest (to on a Human to important) (always important are be to) or have do not (but may however ... to actually make us aware that we are alive, to kill our roots and cut off our links with past... – , 1956] Cage, John – past... with links our off cut and roots our kill to alive, are we that us aware make actually [... to are no more (or hardly more) than inspiring educative references educative inspiring than more) hardly (or more no are definition own her/his for in the quest (Somebody somebody Else)to language(s) a body mining who of is art is a phenomenon in context a phenomenon art is (seems) a context art without artifacts yet artistic constructs individual however certain moments at E, ÔD,

NAILED BOOK (cover page), 1971 BOOK page), (cover NAILED ZAKOVANA KNJIGA (lice), 1971. KNJIGA ZAKOVANA COD Bogdanović, Slavko Group Slavko Bogdanović, Slavko Grupa K DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 162 DEATH TO ART LONG LIVE ART 165 constructs] (perfect/absolute in and of Itself) of in and (perfect/absolute in a new life III urbi et orbi (dismembered like Osiris) like (dismembered ash into transformed (never-before-seen) art (never-before-seen) which [despite a paradoxical look or only the sound of it] of the sound only look or a paradoxical [despite under the mighty wings of a of wings the mighty under death to the referent Phoenix the referent to death be abandoned which must which (dispersed) shall carry on and will (yet) enable the defining will enable (yet) and innumerable new substrata a new enthusiasm fruits of for all the timeless or (Potential) design the potential then all to say be justifiable it wouldn’t insubstantial CONTEXT! TO DEATH [the soil for of soil rattles [the Phoenix ignited newborn LIVE ART! LONG once (to paint a better picture/ a better paint (to novel a better write to history)] a better construct /to in their own language in their own language) their own (by looks) it that about a narrative II that shall have to be to abandoned shall have that context own its of construction enable to life) of the angst (or best at to enable the construction of their own context their own of the construction enable to than bewill more not reference educational inspiring an Somebody Else)(to seductive/vampy how or eternal/axiomatic how it top to desire a competitive with appear may it (no matter (no reference educational an which way n the same about be a narrative it wouldn’t

the reproduction of the reproduction context) own Artist’s an a part[(as of on unrecognized] pretext/request recognized or [(anybody’s) any indulging on-the-service-always-poised) be the art (Art) to at/seen) (looked has how (an dogmatism agitation propaganda artisanship DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 164 166

SMRT UMETNOSTI ŽIVELA UMETNOST pokazalo da se jeto bilo naivno. parlamentima irepublike ifederacije, a država rekonstruiše uslobodno izabranim da postoji neka mogućnost da zajednička se SVE NAS PREDSEDNIKOV S.O.S. POJAS –PUJSPAS ZA 1. su prepušteni topljenju, kafe Šmaug performansu POTOP objekti ledeni pregrađenaje ledom, auvečernjem ening realizovali smo multimedijalni hep- uNovom Art, Mi grupacija Led Sadu hladnjaču gde nastao je SOSPOJAS. na dopustu za metamedije –Plasy, Umjetnik Češka; Južna – Seul, Labin Art Koreja; Centar februar 1997. Nismo imali viziju katastrofe, verovali smo Gradska mlekara nam ustupila je 18. oktobar 1993.Novi Sad Deponija Vinča; Srbija Galerija – Niš; Pojasevi su nastavili pojavljuju: se da Javni rad Javni –Poreč, Hrvatska. , Zmaj Jovina ulica

1993, Photograph Vesna Pavlović Deluge, The Book documents of of time, a fotografija: Vesna Pavlović P otop, K njiga dokumenti vremena, 1993, da umetnostda može menja da 2013, posle svet. i leči Godine ci Grčkoškolska kliniku, 5, pokreće s utopijskomArt idejom uNovom Аrt Led Sadu (2000).Iste- godine, uuli upodrumu kontaminaciju (1995)iMultimedijalnog uBeogradu centra projekata. trideset od više Suosnivač zakulturnu Centra de- (1993),skojom Art Led kreirarac ipokretač grupe irealizuje borbi zadruštvene vrednosti iumetnički dignitet. Idejni tvo- pasivizira bavlјenje slikarstvom aktivan imaksimalno je u Udruženja likovnih Srbije umetnika i Vojvodine. 1990. Od slikarstvo na Fakultetu likovnih Član umetnosti uBeogradu. Nikola Džafo, (1950,Novi Sad)Diplomirao i magistrirao izložbu slikanjem, vajanjem, crtanjem, zanatima koje izučavao. je Za i prethodna umetnička udruženja. 2013.ponovo Od bavi se stane na noge ifunkcioniše na istim principima etičkim kao upokretanjuje iformiranju zadruge, koja Šok pokušava da eutanazije klinike, unovom Art radnom prostoru učestvu- www.zeckojijepojeomuzej.com www.dzafo.com [email protected] vodine, dobio 2012.godine Politikinu je nagradu. Lepus in fabula in Lepus , uMuzeju savremene umetnosti Voj- NIKOLA DŽAFO

167 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 169 and the Multimedia centre “Led art” in Novi Sad (2000). In the Sad (2000). In in Novi art” “Led centre the Multimedia and Grčkoškolska Art Klinik at cellar in a initiated he year same heal the world. and change art can idea that the utopic 5, with Art of Klinik,he participated euthanisation the 2013, after In in a cooperative the Shock of formation and up in the setting the function with and feet’ its on stay to which ’tries new space, artistic associations. the preceding as ethicalsame principles - draw sculpture, painting, with again engaged 2013, he From in fabula“ „Lepus exhibition the For studied. he the crafts ing, the received he art Vojvodina contemporary of in the Museum 2012. of award Politika [email protected] www.dzafo.com www.zeckojijepojeomuzej.com - Nikola Džafo, (1950, Novi Sad) He completed his under his completed Sad) He (1950, Novi Džafo, Nikola graduate and postgraduate studies at the Faculty of Fine Art Fine of the Faculty at studies postgraduate and graduate Artists Fine of the Association of a member is Belgrade. He pacifically engaged is 1990 he From Vojvodina. Serbia and of in the struggle the maximum for to active is and in painting founder the conceptual is He social artistic dignity. and values which he (1993), with group the LED ART of instigator and co-founder is He thirty realised projects. over and created has in Belgrade (1995) Decontamination Cultural for the Centre of ojas, ojas, rotest P rotest rotest, a Book 2003. time , documents of of rotest, ifebelt P ifebelt njiga dokumenti vremena, 2003, vremena, dokumenti njiga K Krnajski Dragoslav fotografija: the president, for us - SOS lifebelt of the rest saving on Spit the L Krnajski Dragoslav Photograph uj spas za sve nas – SOS pojas za predsednika, spas za sve Puj P - 18th October 1993, Novi Sad, Sad, 18th October 1993, Novi stor its cold of usedairyus city the The has given 11th 1997 February appear:to continued The belts Labin -Niš; Srbija Galerija dump; Vinča rubbish The

,,We didn’t have a vision of catastrophe, we believed in the the in believed we catastrophe, of a vision have didn’t ,,We freely in itself reconstituting state a common of possibility this but federations, and republics and parliaments elected naive.” be to out turned PRESIDENT’S SOS LIFEBELT – SPIT, FOR THE FOR – SPIT, SOS LIFEBELT PRESIDENT’S US OF THE REST OF SALVATION Our existence. into came „SOS where LIFEBELT“ age - happen Art) Led realised the multi-media Art (Ice group is street Jovina the Zmaj Sad, in Novi work“ „Public ing entitled performance in the evening and ice, with blocked Šmaug cafe melt, to left the ice is (POTOP) THE DELUGE - Plasy, Metamedia for Centre Art - Seoul, Korea; South Croatia. Poreč, - on vacation” artist „The Republic; Czech DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 168 170

SMRT UMETNOSTI ŽIVELA UMETNOST VLADIIR FRELIH nih zbirkinih ifondacija suvremene umjetnosti (Kunstmuseum rad. Njegovi javnih iprivat uviše radovi nalaze se također - koj Dobitnik sceni. nekoliko je nagrada zasvoj umjetnički tivno djeluje na suvremenoj domaćoj i inozemnoj umjetnič- of Meisterschüler. Art/ Kroz samostalne iskupne- ak izložbe prof. Magralene Jetelove, a2002.godine stiče naziv Master zaproširenuDüsseldorf uklasi skulpturu iinstalaciju kod Rođen je uOsijeku. je Rođen Magistrira 2000. na Kunstakademie kao gostujući profesor. Video i i film Multimediju. sora na Umjetničkoj akademiji uOsijeku predaje Fotografiju, 2012. godine StadtBonn, Düsseldorf, MSU Pokreće Zagreb). isuosniva [email protected] Na Akademiji umetnosti uNovom Sadu 2010.predaje od POPUP umj. org. Uzvanju izvanrednog profe- K Photograph: Davorin Palijan Czech Republic, developed inFOTOPRÁCE PANDA EXPRESS PRAG, 18.07.2014. N Catalogue Fotografija:Davorin Palijan Republika izrađeno uFOTOPRÁCE Češka, PANDA EXPRESS PRAG, 18.7.2014. atalog N o 13041664,2014,c-print 189komada), (141.od 31x40cm, o. 13041664,2014,c-print, (141st of 189works), 31x40cm,

171 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 172

SMRT UMETNOSTI ŽIVELA UMETNOST 33. FOTO CENTAR, SKENDERIJA, , 07.2007. 32. ROSSMANN, MÖNCHENGLADBACH, D, MŐNCHENGLADBACH, D, 06.2007. 31. BLITZ FOTOLABOR, 30. FNAC, LIEGE,B, 26.11.2006. 29. PROMARKT, LIEGE, B, 26.11.2006. 28. FOTO WEST, DÜSSELDORF, D, 11.2006. 27. FOTO DÜSSELDORF, GELLER, D, 11.2006. 26. SATURN, DÜSELDORF, D, 11.2006. 25. FOTO KOCH, DÜSSELDORF, D, 11.2006. 11.2006. 24. DPC DIGITAL PRINT, DÜSSELDORF, D, 23. OLAFOTO, DÜSSELDORF, D, 11.2006. D, 11.2006 DÜSSELDORF,FOTOLABOR&FOTOGRAFIE, SCHÄEFER22. EXPR. 21. TOP FOTO, DÜSSELDORF, D, 11.2006. 20. REAL,DÜSSELDORF, D, 10.2006. 19. FOTO PETRIĆ 10.2006. OSIJEK, BR.2, HR, 18. FOTO PETRIĆ 10.2006. OSIJEK, BR.1, HR, 09.2006 17. ENGELS BILD SERVICE, DÜSSELDORF, D, D, 09.2006. 16. TOP-FOTO (LAB.MUSTER) DÜSSELDORF, 04.2006. 15. FOTO STUDIO MCOLOR, OSIJEK, HR, 12.2005. 14. PHOTO SERVICE, LOUSANNE, CH, ZAGREB,13. FOTO FOCUS, 10.2005. HR, 12. FOTO BADROV, ZAGREB, 10.2005. HR, 11. FOTO REX,ZAGREB, 10.2005. HR, 10.2005. 10. FOTO STUDIO EXPRESS, ZAGREB, HR, 07.2005. 9. FOTO VIDEO STUDIO C,OSIJEK, HR, 8. PROMARKT, DÜSSELDORF, D, 01.2005. 7. DELHAIZE, LONGDOZ, LIEGE,B, 12.2004. 6. KIPSIDVAT FIVALE, LIEGE,B, 12.2004. 5. MEDIMAX, DÜSSELDORF, D, 11.2004. DÜSSELDORF,4. SCHLECKER, D, 10.2004. 3. FOTO ART, 08.2004. OSIJEK, HR, 2. FOTOREKLAM, 08.2004. OSIJEK, HR, 1. A&KCOLOR FOTO, 08.2004. OSIJEK, HR, Katalog br. 13041,189komada POPIS foto-radnji 63. FOTO SUNCE, VUKOVAR, 22.10.2008. HR, 05.09.2008. 62. FOTO ANDREA IDINKO, ŠIBENIK, HR, 61. COLOR 24,SARAJEVO, BiH, 18.08.2008. 60. FOTO JUSUF, SARAJEVO, BIH, 18.08.2008. BiH,15.09.2008. 59. FOTO MONTENO, SARAJEVO, 14.09.2008. 58. FOTO BEGANOVIĆ, SARAJEVO, BiH, 57. FOTO 08.2008. JUGII,OSIJEK, HR, 05.2008. MAROC, 56. PHOTO KAWKAB, LABO ESSAOUIRA, 05.2008. MAROC, PHOTO55. LABO FLASH, ESSAOUIRA, MAROC,05.2008. MARRAKECH, PHOTO54. LABO ART NOUVAU, 05.2008. MAROC, ISLANE, MARRAKECH, 53. LABO 05.2008. MAROC, 52. PHOTO KOUTOUBIA, MARRAKECH, 05.2008. MAROC, 51. PHOTO ZRIKEM,MARRAKECH, LABO 50. FOTO EXPRESS, VUKOVAR, 05.2007. HR, 49. MINICOLORS, LIEGE,B, 03.2008. HOBRTY, LUXEMBOURG, L,03.2008. 48. PHOTO-CINE-STUDIO, MIRGAIN & 03.2008. 47. EVLF SPECIALISTE PHOTO, LIEGE,B, 02.2008. 46. FOTO STUDIO KREŠO, OSIJEK, HR, 02.2008. 45. FOTO STUDIO ĐUMIŠIĆ, SARAJEVO, BIH, 44. FOTO PLUS 01.2008. II,OSIJEK, HR, 43. PHOTO WORLD, SARAJEVO, BIH, 01.2008. 42. EXP, PARIS, F, 12.2007. 41. PHOTO SERVICE, PARIS, F, 12.2007. D, 12.2007. 40. FOTO SEFFERN, KAARST-BUTTGENID, LIEGE,B,39. CARREFOUR, 11.2007. 38. FOTO PLUS, 11.2007. OSIJEK, HR, 37. STUDIO FEY, LUXEMBOURG, L,10.2007. MÖNCHENGLADBACH, D, 08.2007. 36. FOTO EXPRESS SERVICE, D, 08.2007. 35. FOTO PROSTI, MÖNCHENGLADBACH, 08.2007. 34. FO-VI-COM, MÖNCHENGLADBACH, D, BIH, 08.2007. 96. PAGI FOTO, ODŽACI, SRB, 22.12.2010. 28,06,2010. 95. FOTO TONI, SLAVONSKI BROD, HR, 94. FOTO NENA, SPLIT, 06.05.2010. HR, 93. FOTO IVO, SPLIT, 06.05.2010. HR, 92. FOTO KARIOKA, SPLIT, 05.05.2010. HR, 91. FOTOPLUS, PECS, H,05.02.2010. 90. PRO-FOTO, SARAJEVO, BIH, 31.12.2009. SARAJEVO,89. ZOOM, BIH, 31.12.2009. 25.08.2009. 88. FOTO PETROVIĆ, BAČKA PALANKA, SRB, 87. ALLABORO, 12.08.2009. HR, PULA, 12.08.2009. HR, 86. FOTO PULA, BORIS, 85. FOTO ROVINJ, CARERA, 14.08.2009. HR, 84. FOTO DUGA, ROVINJ, 14.08.2009. HR, 83. FOTO KOVAČIĆ, 10.08.2009. HR, PULA, 10.08.2009. 82. FOTO STUDIO CENTAR, HR, PULA, 81. FOTO KURTI, 10.08.2009. HR, PULA, 27.07.2009. 80. DIGITALNI FOTO STUDIO, SPLIT, HR, 79. STUDIO O, SPLIT, 27.07.2009. HR, 24.07.2009. 78. FOTO ANTESTOJAN, ŠIBENIK, HR, RADNJA, SORAJA, SARAJEVO, BiH 02.01.2009. 77. SAMOSTALNA ZANATSKA FOTO. BiH, 29.12.2008. 76. PHOTO SHOP ITATA, EDO SARAJEVO, 29.12.2008. 75. FOTO STUDIO SARAJEVO, AZRA, BiH, 29.12.2008. 74. FOTO OTOKA, SARAJEVO, BIH, 73. FOTO STAR, NOVI SAD, SRB, 13.12.2008. 13.12.2008. 72. FOTO STUDIO CANON, NOVI SAD, SRB, 13.12.2008. 71. FOTO COLOR 36,NOVI SAD, SRB, 70. FOTO QUICK, NOVI SAD, SRB 13.12.2008. SRB, 13.12.2008. 69. FOTO STUDIO COLOR 24,NOVI SAD, SAD, SRB, 13.12.2008. 68. DIGITAL CANON IIPHOTO LAB, NOVI 13.12.2008. 67. MISSPHOTO LAB, NOVI SAD, SRB, MAJA, VUKOVAR, 12.12.2008. HR, 66. FOTO-RAČUNOVODSTVENI SERVIS 65. FOTO MISS2,NOVI SAD, SRB, 22.11.2008. 64. BAČKA PALANKA, SRB, 21.11.2008. B, 05.03.2013. 127. ERNOPRINT 300,BRUSSEL/BRUXELLES, 10.12.2012. HR, 126. MÜLLERDROGERIJA OSIJEK II,OSIJEK, 125. FOTOGENIC, NOVI SAD, SRB, 05.12.2012. 25.10.2012. 124. FOTO KLIK,VIROVITICA, HR, 25.10.2012. 123. FOTO STUDIO A,NAŠICE, HR, 122. FOTO CENTAR, NAŠICE, 25.10.2012. HR, 121. FOTO KURTI, OPATIJA, 13.09.2012. HR, 24.07.2012. 120. KORČA-KOMPANI, STRUGA, MAK, 119. FOTO STRUGA, ZRAK, MAK,24.07.2012. 118. FOTOMONDO, TIRANA, AL,24.07.2012. 20.07.2012. 117. FOTO STUDIO MM,NIKŠIĆ, MNE, 116. FOTO PLUS, SPLIT, 02.03.2012. HR, ZAGREB, 12.01.2012. HR, 115. FOTO BADROV FOTO STUDIO B, 114. FLAVIO SOLVA, ZAGREB, 11.01.2012. HR, 03.01.2012. 113. FOTO COLOR EXPRES, ĐAKOVO, HR, 03.01.2012. 112. FOTO-VIDEO ILIJA, ĐAKOVO, HR, 111. NIEDERMEYER, A,09.11.2011. GRAZ, 110. OPERA FOTO, A,03.11.2011. GRAZ, 02.11.2011. A, GRAZ, 109. FOTO EXPRESS LABOR, 108. LICUL, 08.08.2011. POREČ, HR, 06.08.2011. 107. FOTO COLOR BRUNA, POREČ, HR, 28.07.2011. 106. FOTO STUDIO FRK,KRAPINA, HR, 27.07.2011. HR, 105. FOTO DIGITAL KORANA, KARLOVAC, 104. FOTO PLUS, ZAGREB, 27.07.2011. HR, 103. FOTO ŠUNJO, 26.07.2011. POŽEGA,HR, 102. FOTO GENC, NOVI SAD, SRB, 27.05.2011. 101. FOTO AS, NOVI SAD, SRB, 03.2011. 25.02.2011. 100. FOTO STUDIO CENTAR, ZAGREB, HR, 25.02.2011. 99. FOTO PLUS, (Kranjčevićeva), ZAGREB, HR, 25.02.2011. 98. FOTO PLUS, ZAGREB, (Ilica), HR, 25.02.2011. 97. FOTO STUDIO ZAGREB, ZAGREB, HR, 23.05.2015 158. SPOT COOP, SOC TEMIŠVAR, RO, 157. PAGI FOTO, ODŽACI, SRB, 14.02.2015 156. FOTO RRECI,TIRANA, AL,04.01.2015 155. 300M,OHRID, MAK,03.01.2015. 154. FOTO IDA, OHRID, MAK,03,01.2015. 153. FOTO BATO, OHRID, MAK,03.01.2015 28.11.2014. 152. FOTO METROMARKET, RIJEKA, HR, 20.11.2014. 151. PHOTO PLANET, STUTTGART, D, 22.08.2014. 150. FOTO KLIK,BANJA LUKA, BIH, 149. FOTO LIK,BANJA LUKA, BIH, 22.08.2014. 22.08.2014. 148. FOTO JAPAN, GRADIŠKA, BOS. BIH, GRADIŠKA,BOS. BIH, 22.08.2014. 147. DIGITAL FOTO STUDIO ABRAMOVIĆ, 21.08.2014. 146. FOTO STUDIO MIRIĆ, APATIN, SRB, 01.08.2014. 145. PLAVEC &FIKET, VARAŽDIN, HR, 144. FOTO IVICA, VARAŽDIN, 01.08.2014. HR, 143. MERLIĆ, VARAŽDIN, 01.08.2014. HR, 31.07.2014. 142. RINGFOTO GONERA, LIMBURG, D, CS, 18.07.2014. 141. FOTOPRÁCE, PANDA EXPRESS, PRAG, 140. AARON, PRAG, CS,18.07.2014. STUTTGART, D, 16.07.2014. 139. FOTOHAUS KERSTIN SÄNGER e.K., 12.07.2014. 138. FOTO-VIDEO-KLEIN, ULM,D, 137. FOTO ČEDA, SOPOT, SRB, 30.08.2013. 05.08.2013. 136. ZUM PRODUKCIJA, BITOLA, MK, 135. FOTO LIDIJA, BITOLA, MK,05.08.2013. 134. FOTO KONIKA, BITOLA, MK,03.08.2013. 03.08.2013. 133. FOTO TEHNIKA DUŠKO, VELES,MK, 132. FOTO SRB, VENUS,ZAJEČAR, 31.07.2013. 31.07.2013. 131. PROFI COLOR SRB, 202,ZAJEČAR, KANAL, SRB, ZAJEČAR, 31.07.2013. 130. D.O.O. RADIO ZA ITELEVIZIJU, F 29.07.2013. 129. FOTO MILANOVAC, 354,DONJI SRB, 128. FOTO FRENZEL,ULM,D, 17.04.2013. NASTAVLJA SE 189. FOTO ILIĆ, BEOGRAD, SRB, 09.11.2018. 25.09.2018. GR, 188. LARISA, 187. FOTO METEORA, METEORA, 25.09.2018. 20.09.2018. MILENIUM, SKOPJE,186. BIMBO MAK, 14.09.2018 185. FOTO STUDIO KOKI, SKOPJE, MAK, 184. FOTO BRUNO, ULCINJ, MNE,25.09.2017. 183. ROZAFA, ULCINJ, MNE,25.09.2017. 182. FOTO IMAGE, BEOGRAD, SRB, 24.08.2017 22.06.2017 181. FOTO PODGORICA, BONI, MNE, 21.06.2017. 180. FOTO PARTELI, KOTOR, MNE, 179. FOTO BLIC, BEOGRAD, SRB, 21.09.2016 SMEDEREVO, SRB, 20.09.2016. 178. STUDIO CENTAR (Karađorđeva), SMEDEREVO, SRB, 20.09.2016. 177. STUDIO CENTAR (Ul. Slobode), 06.08.2016. 176. F. STOP EDEN, GEVGELIA, MAK, 06.08.2016. 175. FOTO SPORT, GEVGELIA, MAK, 174. HB-020,BREMEN, D, 12.07.2016. 173. FOTO BISCHOFF, BREMEN, D, 11.07.2016. BROD, 21.06.2016. HR, 172. FOTO-VIDEO STUDIO SLAVONSKI OGI, 11.03.2016. 171. DER BERLIN, FOTOLADEN D, MITTE, 170. FOTO NINO, ZENICA, BIH, 18.02.2016 169. FOTO SAVA, PANČEVO, SRB, 04.09.2015. 11.08.2015. 168. FOTO MIKAN, VLADIMIRCI, SRB, 167. FOTO VOJKAN, ŠABAC, SRB, 03.08.2015. 166. FOTO LJUBA, ŠABAC, SRB, 03.08.2015. SUBOTICA, SRB,165. FOCUS, 31.07.2015. 31.07.2015 STUDIO,164. ZOOM SUBOTICA, SRB, 163. QUICK-B, SUBOTICA, SRB, 31.07.2015. 162. F.M.I. STUDIO, GOSPIĆ, 25.07.2015. HR, 161. FOTO ART 06.2015. (2),OSIJEK, HR, 25.05.2015. TEMIŠVAR,160. SPOT COOP2, SOC RO, 25.05.2015. 159. AGFA IMAGE TEMIŠVAR, CENTER, RO,

173 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 175 , 2005-2017, c-print, 182 works 30 x 40 cm, 182 works 13 041 664, 2005-2017, c-print, o. , 2005–2017, c-print, 182 komada 30 x 40 cm, 182 komada o 13 041 664, 2005–2017, c-print, atalog N atalog K Beograd, 2017. MSU septembar Salon Petrović Ana Fotografija: Catalogue N 2017. art Belgrade, Septembar contemporary of the Museum of Salon Petrović Ana Photograph: He is a guest professor in photography, video and film, video and photography, in professor guest a is He Through solo and group exhibitions, he is active in is active he the exhibitions, and group solo Through contemporary art scene in Croatia and abroad. Vladimir has has Vladimir abroad. and art scene in Croatia contemporary also a are artworks art. His his for severalalso awards won - contempo and collections private and severalpart of public Düsseldorf, Bonn, Stadt (Kunstmuseum rary art foundations umj. POPUP co-founded and initiated Zagreb). He MSU and org. From in Osijek. the Art Academy at classes Multimedia and Sad, in Novi the Art Academy at professor a guest is 2010, he of Methods Art Practice and Contemporary teaches he where classes. Artistic Research [email protected] Born in Osijek, Vladimir Frelih graduated from the from graduated Frelih Vladimir BornOsijek, in

Kunstakademie Düsseldorf in 2000 where he gained his MA his gained he in 2000 where Düsseldorf Kunstakademie of in the class installation and sculpture in expanded degree the explores Vladimir artwork, his In Jetelova. Magralena - ana digital and of limits the outer visualizing of concepts - translatabil their communication, as well as logue mediums an often is artwork, an outcome, The compatibility. and ity, video installation, video, whether it’s aesthetic by-product in painting object, or program, computer web, photography, and societyare community individual, The variations. all its pedagogical artistic and his thinking. of elements inseparable DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 174 176

SMRT UMETNOSTI ŽIVELA UMETNOST 33. FOTO CENTAR, SKENDERIJA, SARAJEVO, 07.2007. 32. ROSSMANN, MÖNCHENGLADBACH, D, MŐNCHENGLADBACH, D, 06.2007. 31. BLITZ FOTOLABOR, 30. FNAC, LIÈGE,B, 26.11.2006. 29. PROMARKT, LIÈGE, B, 26.11.2006. 28. FOTO WEST, DÜSSELDORF, D, 11.2006. 27. FOTO DÜSSELDORF, GELLER, D, 11.2006. 26. SATURN, DÜSELDORF, D, 11.2006. 25. FOTO KOCH, DÜSSELDORF, D, 11.2006. 11.2006. 24. DPC DIGITAL PRINT, DÜSSELDORF, D, 23. OLAFOTO, DÜSSELDORF, D, 11.2006. 11.2006. DÜSSELD.,FOTOLABOR&FOTOGRAFIE, D, SCHÄEFER22. EXPR. 21. TOP FOTO, DÜSSELDORF, D, 11.2006. 20. REAL,DÜSSELDORF, D, 10.2006. 19. FOTO PETRIĆ 10.2006. OSIJEK, BR.2, HR, 18. FOTO PETRIĆ 10.2006. OSIJEK, BR.1, HR, 09.2006 17. ENGELS BILD SERVICE, DÜSSELDORF, D, D, 09.2006. 16. TOP-FOTO (LAB.MUSTER) DÜSSELDORF, 04.2006. 15. FOTO STUDIO MCOLOR, OSIJEK, HR, 12.2005. 14. PHOTO SERVICE, LAUSANNE, CH, ZAGREB,13. FOTO FOCUS, 10.2005. HR, 12. FOTO BADROV, ZAGREB, 10.2005. HR, 11. FOTO REX,ZAGREB, 10.2005. HR, 10.2005. 10. FOTO STUDIO EXPRESS, ZAGREB, HR, 07.2005. 9. FOTO VIDEO STUDIO C,OSIJEK, HR, 8. PROMARKT, DÜSSELDORF, D, 01.2005. 7. DELHAIZE, LONGDOZ, LIÈGE,B, 12.2004. 6. KIPSIDVAT FIVALE, LIÈGE,B, 12.2004. 5. MEDIMAX, DÜSSELDORF, D, 11.2004. DÜSSELDORF,4. SCHLECKER, D, 10.2004. 3. FOTO ART, 08.2004. OSIJEK, HR, 2. FOTOREKLAM, 08.2004. OSIJEK, HR, 1. A&KCOLOR FOTO, 08.2004. OSIJEK, HR, 041, 189pieces LIST Photo works No. Catalogue 13 63. FOTO SUNCE,VUKOVAR, 22.10.2008. HR, 05.09.2008. 62. FOTO ANDREA IDINKO,ŠIBENIK, HR, 61. COLOR 24,SARAJEVO, BiH, 18.08.2008. 60. FOTO JUSUF, SARAJEVO, BIH, 18.08.2008. BiH,15.09.2008. 59. FOTO MONTENO, SARAJEVO, 14.09.2008. 58. FOTO BEGANOVIĆ, SARAJEVO, BiH, 57. FOTO 08.2008. JUGII,OSIJEK, HR, MOROCCO, 05.2008. 56. PHOTO KAWKAB, LABO ESSAOUIRA, MOROCCO, 05.2008. PHOTO55. LABO FLASH, ESSAOUIRA, MARRAKESH, MOROCCO,05.2008. PHOTO54. LABO ART NOUVAU, 05.2008. ISLANE, MARRAKESH, MOROCCO,53. LABO MOROCCO, 05.2008. 52. PHOTO KOUTOUBIA, MARRAKESH, MOROCCO, 05.2008. 51. PHOTO ZRIKEM,MARRAKESH, LABO 50. FOTO EXPRESS, VUKOVAR, 05.2007. HR, 49. MINICOLORS, LIÈGE,B, 03.2008. HOBRTY, LUXEMBOURG, L,03.2008. 48. PHOTO-CINE-STUDIO, MIRGAIN & 03.2008. 47. EVLF SPECIALISTE PHOTO, LIÈGE,B, 02.2008. 46. FOTO STUDIO KREŠO, OSIJEK, HR, 02.2008. 45. FOTO STUDIO ĐUMIŠIĆ, SARAJEVO, BIH, 44. FOTO PLUS 01.2008. II,OSIJEK, HR, 43. PHOTO WORLD, SARAJEVO, BIH, 01.2008. 42. EXP, PARIS, F, 12.2007. 41. PHOTO SERVICE, PARIS, F, 12.2007. D, 12.2007. 40. FOTO SEFFERN, KAARST-BUTTGENID, LIÈGE,B,39. CARREFOUR, 11.2007. 38. FOTO PLUS, 11.2007. OSIJEK, HR, 37. STUDIO FEY, LUXEMBOURG, L,10.2007. MÖNCHENGLADBACU, D, 08.2007. 36. FOTO EXPRESS SERVICE, D, 08.2007. 35. FOTO PROSTI, MÖNCHENGLADBACH, 08.2007. 34. FO-VI-COM, MÖNCHENGLADBACH, D, BIH, 08.2007. 97. FOTO STUDIO ZAGREB, ZAGREB, HR, 96. PAGI FOTO, OĐACI, SRB, 22.12.2010. 28,06,2010. 95. FOTO TONI, SLAVONSKI BROD, HR, 94. FOTO NENA, SPLIT, 06.05.2010. HR, 93. FOTO IVO, SPLIT, 06.05.2010. HR, 92. FOTO KARIOKA, SPLIT, 05.05.2010. HR, 91. FOTOPLUS, PECS, H,05.02.2010. 90. PRO-FOTO, SARAJEVO, BIH, 31.12.2009. SARAJEVO,89. ZOOM, BIH, 31.12.2009. 25.08.2009. 88. FOTO PETROVIĆ, BAČKA PALANKA, SRB, 87. ALLABORO, 12.08.2009. HR, PULA, 12.08.2009. HR, 86. FOTO PULA, BORIS, 85. FOTO ROVINJ, CARERA, 14.08.2009. HR, 84. FOTO DUGA, ROVINJ, 14.08.2009. HR, 83. FOTO KOVAČIĆ, 10.08.2009. HR, PULA, 10.08.2009. 82. FOTO STUDIO CENTAR, HR, PULA, 81. FOTO KURTI, 10.08.2009. HR, PULA, 27.07.2009. 80. DIGITALNI FOTO STUDIO, SPLIT, HR, 79. STUDIO O, SPLIT, 27.07.2009. HR, 24.07.2009. 78. FOTO ANTESTOJAN, ŠIBENIK, HR, RADNJA, SORAJA, SA.,BiH 02.01.2009. 77. SAMOSTALNA ZANATSKA FOTO. BiH 29.12.2008. 76. PHOTO SHOP ITATA, EDO SARAJEVO, 29.12.2008. 75. FOTO STUDIO SARAJEVO, AZRA, BiH 74. FOTO OTOKA, SARAJEVO, BIH 29.12.2008. 73. FOTO STAR, NOVI SAD, SRB 13.12.2008. 13.12.2008. 72. FOTO STUDIO CANON, NOVI SAD, SRB, 13.12.2008. 71. FOTO COLOR 36,NOVI SAD, SRB, 70. FOTO QUICK, NOVI SAD, SRB 13.12.2008. SRB, 13.12.2008. 69. FOTO STUDIO COLOR 24,NOVI SAD, SAD, SRB, 13.12.2008. 68. DIGITAL CANON IIPHOTO LAB, NOVI 13.12.2008. 67. MISSPHOTO LAB, NOVI SAD, SRB, MAJA VUKOVAR, 12.12.2008. HR, 66. FOTO.-RACUNOVOTSTVENI SERVIS 65. FOTO MISS2,NOVI SAD, SRB, 22.11.2008. 64. BAČKA PALANKA, SRB, 21.11.2008. 128. FOTO FRENZEL,ULM,D, 17.04.2013. B, 05.03.2013. 127. ERNOPRINT 300,BRUSSEL/BRUXELLES, 10.12.2012. HR, 126. MÜLLERDROGERIJA OSIJEK II,OSIJEK, 125. FOTOGENIC, NOVI SAD, SRB, 05.12.2012. 25.10.2012. 124. FOTO KLIK,VIROVITICA, HR, 25.10.2012. 123. FOTO STUDIO A,NAŠICE, HR, 122. FOTO CENTAR, NAŠICE, 25.10.2012. HR, 121. FOTO KURTI, OPATIJA, 13.09.2012. HR, 24.07.2012. 120. KORČA-KOMPANI, STRUGA, MK, 119. FOTO STRUGA, ZRAK, MK,24.07.2012. 118. FOTOMONDO. TIRANA, AL,24.07.2012. 20.07.2012. 117. FOTO STUDIO MM,NIKŠIĆ, MN, 116. FOTO PLUS, SPLIT, 02.03.2012. HR, ZAGREB, 12.01.2012. HR, 115. FOTO BADROV FOTO STUDIO B, 114. FLAVIO SOLVA, ZAGREB, 11.01.2012. HR, 03.01.2012. 113. FOTO COLOR EXPRES, ĐAKOVO, HR, 03.01.2012. 112. FOTO-VIDEO ILIJA, ĐAKOVO, HR, 111. NIEDERMEYER, A,09.11.2011. GRAZ, 110. OPERA FOTO, A,03.11.2011. GRAZ, 02.11.2011. A, GRAZ, 109. FOTO EXPRESS LABOR, 108. LICUL, 08.08.2011. POREĆ, HR, 06.08.2011. 107. FOTO COLOR BRUNA, POREĆ, HR, 28.07.2011. 106. FOTO STUDIO FRK,KRAPINA, HR, 27.07.2011. HR, 105. FOTO DIGITAL KORANA, KARLOVAC, 104. FOTO PLUS, ZAGREB, 27.07.2011. HR, 103. FOTO ŠUNJO, 26.07.2011. POŽEGA,HR, 102. FOTO GENC, NOVI SAD, SRB, 27.05.2011. 101. FOTO AS, NOVI SAD, SRB, 03.2011. 25.02.2011. 100. FOTO STUDIO CENTAR, ZAGREB, HR, 25.02.2011. 99. FOTO PLUS, (Kranjčevićeva), ZAGREB, HR, 25.02.2011. 98. FOTO PLUS, ZAGREB, (Ilica), HR, 25.02.2011. 159. AGFA IMAGE TIMISOARA CENTER, , 23.05.2015 158. SPOT COOP, SOC TIMISOARA ,RO, 157. PAGI FOTO, ODŽACI, SRB, 14.02.2015 156. FOTO RRECI,TIRANA, AL,04.01.2015 155. 300M,OHRID, MK,03.01.2015. 154. FOTO IDA, OHRID, MK,03,01.2015. 153. FOTO BATO, OHRID, MK,03.01.2015 28.11.2014. 152. FOTO METROMARKET, RIJEKA, HR, 20.11.2014. 151. PHOTO PLANET, STUTTGART, D, 22.08.2014. 150. FOTO KLIK,BANJA LUKA, BIH, 149. FOTO LIK,BANJA LUKA, BIH, 22.08.2014. 22.08.2014. 148. FOTO JAPAN, GRADIŠKA, BOS. BIH, GRADIŠKA,BOS. BIH, 22.08.2014. 147. DIGITAL FOTO STUDIO ABRAMOVIĆ, 21.08.2014. 146. FOTO STUDIO MIRIĆ, APATIN, SRB, 01.08.2014. 145. PLAVEC &FIKET, VARAŽDIN, HR, 144. FOTO IVICA, VARAŽDIN, 01.08.2014. HR, 143. MERLIĆ, VARAŽDIN, 01.08.2014. HR, 31.07.2014. 142. RINGFOTO GONERA, LIMBURG, D, CS, 18.07.2014. 141. FOTOPRÁCE, PANDA EXPRESS, PRAG, 140. AARON, PRAG, CS,18.07.2014. STUTTGART, D, 16.07.2014. 139. FOTOHAUS KERSTIN SÄNGER e.K., 12.07.2014. 138. FOTO-VIDEO-KLEIN, ULM,D, 137. FOTO ČEDA, SOPOT, SRB, 30.08.2013. 05.08.2013. 136. ZUM PRODUKCIJA, BITOLA, MK, 135. FOTO LIDIJA, BITOLA, MK,05.08.2013. 134. FOTO KONIKA, BITOLA, MK,03.08.2013. 03.08.2013. 133. FOTO TEHNIKA DUŠKO, VELES,MK, 132. FOTO SRB, VENUS,ZAJEČAR, 31.07.2013. 31.07.2013. 131. PROFI COLOR SRB, 202,ZAJEČAR, KANAL, SRB, ZAJEČAR, 31.07.2013. 130. D.O.O. RADIO ZA ITELEVIZIJU, F 29.07.2013. 129. FOTO MILANOVAC, 354,DONJI SRB, CONTINUES 189. FOTO ILIĆ, BELGRADE, SRB, 09.11.2018. 25.09.2018. GR, 188. LARISA, 187. FOTO METEORA, METEORA, 25.09.2018. 20.09.2018. MILENIUM, SKOPJE,186. BIMBO MK, 14.09.2018 185. FOTO STUDIO KOKI, SKOPJE, MK, 184. FOTO BRUNO, ULCINJ, MNE,25.09.2017. 183. ROZAFA, ULCINJ, MNE,25.09.2017. 24.08.2017 182. FOTO IMAGE, BELGRADE, SRB, 22.06.2017 181. FOTO PODGORICA, BONI, MNE, 21.06.2017. 180. FOTO PARTELI, KOTOR, MNE, 179. FOTO BLIC, BELGRADE, SRB, 21.09.2016 SMEDEREVO, SRB, 20.09.2016. 178. STUDIO CENTAR (Karađorđeva), SMEDEREVO, SRB, 20.09.2016. 177. STUDIO CENTAR (Ul. Slobode), 06.08.2016. 176. F. STOP EDEN, GEVGELIA, MK, 175. FOTO SPORT, GEVGELIA, MK,06.08.2016. 174. HB-020,BREMEN, D, 12.07.2016. 173. FOTO BISCHOFF, BREMEN, D, 11.07.2016. BROD, 21.06.2016. HR, 172. FOTO-VIDEO STUDIO SLAVONSKI OGI, 11.03.2016. 171. DER BERLIN, FOTOLADEN D, MITTE, 170. FOTO NINO, ZENICA, BIH, 18.02.2016 169. FOTO SAVA, PANČEVO, SRB, 04.09.2015. 11.08.2015. 168. FOTO MIKAN, VLADIMIRCI, SRB, 167. FOTO VOJKAN, ŠABAC, SRB, 03.08.2015. 166. FOTO LJUBA, ŠABAC, SRB, 03.08.2015. SUBOTICA, SRB,165. FOCUS, 31.07.2015. 31.07.2015 STUDIO,164. ZOOM SUBOTICA, SRB, 163. QUICK-B, SUBOTICA, SRB, 31.07.2015. 162. F.M.I. STUDIO, GOSPIĆ, 25.07.2015. HR, 161. FOTO ART 06.2015. (2),OSIJEK, HR, 25.05.2015. TIMISOARA160. SPOT COOP2, ,RO, SOC RO, 25.05.2015.

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SMRT UMETNOSTI ŽIVELA UMETNOST SINIŠA ILIĆ Ostavinska salon vizuelnih Zagrebački uBeogradu; galerija turni centar, Oktobarski salon, Muzej savremene umetnosti, TkH-Teorije kul koja- (2000–2017).Izlagao: hoda Beogradski žbi na baziranih kolekciji Oktobarskog salona. Suosnivač je niti) –istraživanje pozicije umetničke kolekcije izlo- iserija performansa (2019), Kolekcija decenija Z.Đaković (sa Mi- Srbije na Praškom kvadrijenalu dizajna scenskog prostora i na sceni (ko-kustos M.Mirković sa iB. Đorđevim) –nastup nizme intstitucija. Među recentnijim projektima su Radovi oblike napetosti, rada, nasilјe, stanja neizvesnosti imeha- i uoblasti umetnosti, izvođačkih usvojoj praksi istražuje je Rođen 1977. u Beogradu. Vizuelni1977. uBeogradu. aktivan umetnik, [email protected] Više oradu na sinisailic.blogspot.com uBialistoku;ji Arsenal Tenis Palas muzeju uHelsinkiju... u Ljublјani; DEPO-u uIstanbulu; spejsu uBeču; Open - Galeri Norveškoj; Muzeju savremene umetnosti iMestnom muzeju gu, Galeriji „Nadežda Petrović” u Čačku, Lofoten festivalu u 22 iFordam uLondonu; Uralskom bijenalu uJekaterinbur dist fondaciji art uParizu; Tejt galerijama Kalvert modern, u Zagrebu iApoteka uVodnjanu; Pompidu Žorž centru iKa- umetnosti, II Industrijski bijenale u galerijama u Rijeci; Nova - vidimo bi biti moglo idrugačije)’, Zagreb, 2017. from exhibition the ’Janje moje (sve malo što Fotografija:Damir Žižić i StanSoftić K Photo: Damir Žižić and Stan Softić olaži sa auto-putaolaži sa , Zagreb, 2017. Collages from thehighway,Collages Collage series 2017-2019. series Collage From exhibition. of on acollage thedidactic themotorway view to acollaged kolažaSerija 2017–2019. KolažaOd naauto-putu nadidaktičku izložbu Kolažnog do pogleda Photo: Jelena Mijić Ostavinska 2019. Belgrade, of abstraction, view A collaged Fotografija: Jelena Mijić Ostavinska 2019. Beograd, galerija, K olažni pogled naapstrakcijuolažni pogled ,

179 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 181 - Istan in DEPO Vienna; in Open space More about the work at sinisailic.blogspot.com at the work about More [email protected] Belgrade cultural centre, the October Salon, the Museum of of the October the Museum Salon, Belgrade centre, cultural Gallery art Belgrade, the Ostavinska in Belcontemporary - Art visualIndustrial arts,thegrade; 2nd the Zagreb of salon in Apoteka in Zagreb and Galerija Nova in Rijeka; Biennial - Art Founda Kadist and Pompidou Georges Centre Vodnjan; Fordham the Calvert 22 and Modern, theTate in Paris; tion - in Ekaterin Biennial Industrial the Ural galleries in London; festival in Čačak, the Lofoten Petrović galerija Nadežda burg, the City art and contemporary of in Norway; the Museum ; in museum in Museum Palace Tennis Galeriabul; ArsenalBialystok; in Helsinki…... Siniša Ilić. BornSiniša 1977 in Belgrade, ac- a visual and artist - research of practiceart in his of performance in the field tive un- of the state and violence, tension, work, of the forms ing recent Amongst institutions. of mechanisms and certainty M. Mirković with (co-curator sceni na Radovi are projects Quadrennial the thePrague at appearance Đorđević) B. and decenija Kolekcija (2019), Space Design and Performance of the of the position of investigation – Miniti) Đaković Z. (with based the Octo- on a series exhibitions art collection and of koja TkH-Teorija of co-founder is collection. He ber Salon’s in: the exhibited has He Theory (2000-2017). hoda/Walking

, Performativna instalacija, instalacija, olažni pogled, Performativna izložbu na didaktičku K Beograd, umetnosti, 2019. savremene Muzej Jin Hu / Yun Hy Fotografija: installation, A collaged view Performative the didactic of exhibition, art, Belgrade, 2019. contemporary of Museum Jin / Hu Yun Hy Photo: DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 180 182

SMRT UMETNOSTI ŽIVELA UMETNOST SANJA IVEKOVIĆ Centralnoj Evropi nakon Berlinskog 1989.godine, zida pada tičkog do postkomunističkog političkog sistema u Istočnoj i medija dotransformacije 1970-ih stvarnostikomunis od - SanjeRad Iveković bavi nizom se tema, „slatkog od nasilja” alternativnog pokreta poznatog kaoNove umetničke prakse. varanje opozicije zvaničnoj modernističkoj kulturi u obliku institucionalnihosloboditi stega, postavljajući teren zast- 1968. godine, uJugoslaviji umetnici su kada se pokušavali umetnički radpresudno neposredno posle uticao period je pionira od ijedan ja iperformans video umetnosti. Na njen Sanja Iveković (Zagreb, 1949).Fotografkinja,aktivistkin - Centar Pompidu, Pariz. MACBA, Barselona; Muzej suvremene umjetnosti, Zagreb; muzejskim usledećim nalaze kolekcijama: MoMA, Njujork; dovodila upitanje kvo status skulptura, poster, crtež, performans konstantno je – umetnica medijima –konceptualni foto-kolaži, video-radovi, socijalna složenimdrugačijim. Baveći takvim pitanjima se urazličitim utranzicijidruštvima iudemokratijama koje prikazuju se sve do nepoštovanja prava žena, koje preovladava danas i u [email protected] Photo: Archive of the Museum of the Museum of contemporary art Fotografije: Arhiva savremene Muzeja umetnostiBeogradu u Collection of Museum the Collection of contemporary Belgrade art Vlasništvo Muzeja savremene umetnosti uBeogradu INTER N INTER N ipolitiku moći. Njeni radovi se 1978, crno-beli video,OS, 1978,crno-beli trajanje 30min OS, 1978,c.b. video, trajanje 30min Belgrade Belgrade

183 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 185 Sanja Iveković is a photographer, activist, and one of the of one and activist, a photographer, is Iveković Sanja [email protected] pioneers of video and performance art. The art. The post–1968 peri- performance video and of pioneers her on influence decisive of was Yugoslavia od in the former - re institutional free from breaking when were artists work opposition an create to the ground down laying and straints alternative an of form inthe the official modernistto culture work Art Iveković’s Practice. the New as known movement of violence” the “sweet from subjects, of a range with engages a from reality of the the media transformation the 1970s, to in East Cen political system - post-communist to communist Wall- to dis in 1989, the of fall the the after Berlin tral Europe - both transi in today prevails that rights women’s for regard - otherwise. Ad pretend societiestional democracies that and mediums— of a variety with matters complex such dressing drawing, social video, sculpture, photomontage, conceptual challenged continually —the has artist performance posters, in the is work Her power. of the politics and quo the status Barcelona, MACBA York, New MoMA collections: following Paris. Pompidou Center Zagreb, MoCA 1978, crno-beli video, trajanje 30 min trajanje OS, 1978, crno-beli video, 30 min trajanje video, OS, 1978, c.b.

INTER N u Beogradu umetnosti savremene Muzeja Vlasništvo u Beogradu umetnosti Muzeja savremene Arhiva Fotografije: INTER N art Belgrade contemporary of Collection the Museum of art contemporary of Museum the of Museum the of Archive Photo: Belgrade DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 184 186

SMRT UMETNOSTI ŽIVELA UMETNOST “Theatar networking“Theatar talents”. profesora uklasi Beogradu, Mrđana Bajića. školu uBeogradu. slabovide. Tišinatom . je sexy mans „Zauzdavanje” uselekciji Sanje- segmen Latinović pod Pored vajarstva bavi performansom se i medijskim radom. 2017. dobitnica nagrade zascenografiju idizajnscene 2017. dobitnica nagrade zaradukamenu. 2016. dobitnica nagrade zakolekciju FLU. Diplomirala vajarstvo na Fakultetu likovnih umetnosti u Srbija. 1995. u Beogradu, Rođena Dizajnersku Završila 2019. izvela performans na inkluzivnoj izložbi i zaslepe Na Trijenalu proširenih perfor je medija 2019.izvodila KATARINA JOVANOVIĆALLFA -

jstvo u društeno-političkim paradigmama. radionica kaošto Invisible je kostimom. Učestvovala na nekoliko je kolonija umetničkih i izložbama širom drugim mnogim Srbije. du), umetnošću ja Izlagala na izložbama: Obećavam da neću odustati od bavljen- Tomić. projekta Član je “Triology”, predstavljan izložbe. na tri kao ina radionici-izložbi Real Presenceu organizaciji Biljane du (radukolekciji muzeja). [email protected] U svom radu najviše obazire se na kolektivno nezadovol- ima iradupozorištu,Iza sebe scenografijom bavila se i Više puta na izložbama izlagala Intervencije (2016/17/18), „U sa” dodiru u Muzeju savremene- umetnosti u Beogra Izložba minijatura kaoina (Dom omladine uBeogradu), (Galerija Menjačnica (Galerija institut iGete - uBeogra Yana Duyvendaka. Pojedinac stavlja taj teret na sebe. teret– svakodnevni kapitalističkog sistema danas, koji nesigurnosti balansira odricanja između zbog iodržavanja istog. – sukob samoosvešćivanja iprimoravanja prisvajanja; Sugeriše na dva gledišta: Performans ukome izgovara umetnica iznuđuje ili popularnu autosugestivnu, najzastupljeniju psihologije. rečenicu moderne Stilovi izvideo-zapisa performansa/fotografija: ljubaznošću autorke MENI JESVEBO LJE, 2019,performans

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DEATH TO ART LONG LIVE ART sa…” (In touch with…) Museum inthe of contemporary art exhibition for blind and poor-sighted people for “U dodiru (Silence is sexy” sexy). je made by selection the Sanja Latinovic for segment the “Tišina formed work the “ Zazidavanje” of is(Embeddeding), a part and multi-media. for “Theatre ofnetworkingsign scenery the talents”. class inthe ofBelgrade, Mrđan Bajić. „Design“ schoolinBelgrade. 2019 She carried out 2019She carried performance the inan inclusive At “Triennial the of expanded media” 2019she per In addition to sculpture, she works with performance 2017 recipient of award the for scenography and de- the 2017 recipient of award the for work instone. 2016 recipient of award the for of collection the FLU. Graduated insculpture from Faculty the of Visual in Arts Studied Serbia. at 1995inBelgrade, Born secondary the - faction in socio-political paradigms. faction insocio-political such as “Invisible” organised by Yana Duyvendaka. She has participated artist colonies inseveral and workshops bitions across Serbia. tures) as well inDom as omladine many Belgrade other exhi- “Izložbain Belgrade, minijatura” (The exhibition - of minia stop Menjačnica making art” institut gallery –Goethe in the exhibitions. She exhibition inthe took part “I promise not to project “Trilogy” and represented has been at three of their Presence” organised by Biljana Tomić. She is amember of the (2016-17-18) as well as workshop-exhibition in the “Real hibited anumber of exhibitions inthe times “Interventions” work (the Belgrade is Museum in the She collection). has ex- [email protected] In her work, she primarily addresses collective dissatis- She works also intheatre, on scenography and costumes. the same.the The individualthat places burden on himself. burden everyday – the of capitalist the system today for which, uncertainty, renunciation balances between and maintenance of – conflict self-awarenessof and coercion of appropriation; Suggest two points of view: A performance artist the utters inwhich or extorts apopular autosuggestive, most the common sentence of psychology. modern Stills from video documentation of the performance, photograph: courtesy of the artist FO R MEIT ’S GETTIN ’S G B ANDB ETTER ETTER , 2019,Performance

189 THE DEATH OF ART LONG LIVE ART LIVE LONG ART OF DEATH THE 190

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MEDIJSKA ONTOLOGIJA MEDIA ONTOLOGY Mapiranje društvene i umetničke istorije Novog Sada The mapping of the social and art history of Novi Sad Trajni čas umetnosti The Continuous Art Class Radikalna praksa, fleksibilna umetnost, dogmatski okvir Radical practice, flexible art, dogmatic framework KUDA.ORG ralne demokratijeralne upostjugoslovenska tržišta islobodnog Promene društva. unovosadskim institucijama kulture pozicijama koje negirajući na opštem nivou upravo ovo nasleđe uspešno put utiru tzv. „ne-ideološkom” uplivu- libe nakon političkih previranja godina ukinuli 1970-ih su početkom ideju o„javnoj instituciji” kaorelevantnom okviru na nasleđemenim jugoslovenskog pogledom kaoisključivo socijalizma negativnim, etnonacionalističkim kaoisa za diskusiju tekućih ipolitičkih društvenih pitanja. Štaviše, skoro možemo da zaključiti nakon se da ukidanja Tribine kaoekscesne, 1970-ih, cenzurisane inemoguće, polovinedruge raskidajući godina dopočetka 1960-ih savre sa - Projekat Trajni umetnosti čas mladih stvara nekamladih vrsta vakuuma ukritičkom diskursu umetnosti ikulture, barem ukoliko govorimo oterenu No- miji umetnosti, alternativnim oblicima organizovanja društvenog ipolitičkog života.------→ vog Posledice Sada. toga su vidljive idanas iogledaju ukontinuiranom se nedostatku javne kritike fašizma 1990- umrežavanja kulturnom sa iintelektualnom scenom Ljubljane, izZagreba, prema diskusiji Beograda, oautono- ih godina, desnogih ekstremizma godina ineoliberalnog kapitalizma 2000-ih početkom danas. Institucionalne institucijama kulture (Tribina istudentski mladih iknjiževni časopisi), prema modelima samoorganizacije, prakse umetnostiprakse ikulture danas razvijaju se kreativnih okriljem industrija pod iumirnoj su koegzistenciji umetničkih praksi umetničkih sa vladajućimsa režimom, te svoj zadatak ne upokretanju vide gorućih pitanja društvenih javnosti, kritici ili preokrete utadašnjoj Jugoslaviji. Uodnosu na kontekst, Trajni čas umetnosti prikazuje tzv. odnos novih kao što to je npr. bio slučaj Tribinom sa skraja godina. Projekat 1960-ih mladih ovim postavlja pitanja: ženje, koje značajno je određivalo ove prakse, gde pre se svega misli na glavne ekonomske ipolitičke Kako uobičajene zaštite prakse kulturnog ikonzervacije iintelektualnog nasleđa mogu biti transcen- vane umetničke uNovom prakse Sadu na kompleksno iukazuje se društveno ipolitičko- okru dovane ipostati aktivni politički agenti današnjice?bavljenja lispecifičan način Da kulturnim Projektom TrajniProjektom čas umetnosti daje kontekstualni se uvid uistorijske progresivne iangažo- nasleđem može postati alat za analizu savremene kulturne kreacije?------→ ne neoavangarde, sve pa dosavremene umetničke produkcije.------→ Dugoročni projekat Trajni čas umetnosti u svojoj strukturi nosi različite formate – pokriva polje istorijskih avangardi dvadesetog veka, preko početka sa poslerat- izložbe, publikacije, DVD izdanja, kataloge ikoprodukcije, koji detektuju širok novosadsku neoavangardu veka. Mapa godina XX isedamdesetih šezdesetih Trajni spektar uticaja itransmisije ovakvih praksi usavremenom trenutku. Trajni prema kulturnom establišmentu idominantnom diskursu prema socrealizma, zvaničnim umetničke, društvene ipolitičke teorije iprakse, koja na uticala je čas umetnosti čas nosti pravi uobičajenog otklon od romantičarskog na umetničke perioda prakse pogleda tenciji promene stanja.------→ . Mapa predstavlja mrežu protagonista ireferenci istraživanja projekta uokviru Trajni čas umet- Centar_kuda.org, Novi Sad je uspostavljen je kaotrpno stanje upermanentoj in- zana mapa proistekla je iz Prika -

191 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 193 - - The project „The Continuous Art Continuous „The project The cultural Sad thein Novi Changes - the usu from takes a deviation Class“ the art at looking of way al romantic the 1960s half the of second of practices be the as 1970s the - beginning of and impossible, and censored excessive, ing view the contemporary from breaking socialism as Yugoslav of the heritage of the from as well as negative exclusively which, in positions ethno-nationalistic gener a more on this heritage negating the so-called for the way pave al level, of liber influence „non-ideological“ in al democracy the free market and society. post-Yugoslav ferment the political after institutions the 1970s dispelled the beginning of of a as institution“ the „public the idea of - -called New art practices towards -called art practices towards New which significantly determined these which significantly the is it where revealed, is practices political turning and economic main which Yugoslavia in the former points consideration. all taken into above are - Con „The the context, to regard With of the relation shows Art Class“ tinuous the so - domi and establishment the cultural soc-realism, of towards discourse nant - (Tribi institutions the official cultural literary and mladih the student na and self-or of models towards magazines), between the networking and ganisation scenes from intellectual and cultural the Belgrade, towards Ljubljana, Zagreb, al- and autonomy, art’s about discussion of the organisation of forms ternative social political life. and – kuda.org of result is the map exhibited The Continuous „The by given is Insight - the proj during conducted the research The Art Class“. Continuous ect „The - protag of the network presents map art, social to and references and onists political theory practice which in- and garde neo-avant Sad Novi the fluenced the 20th of seventies in the sixties and of reveals fields the map The Century. the be- from gardes avant the historical via the century, the twentieth of ginning all the way garde, neo-avant post-war art production. contemporary to up of the context into project ArtClass“ engaged and progressive the historically - the com Sad and art in Novi practices socialplex political environment and

praksi, praksi, vanja i kritič- vanja je - - višego ranije na se oslanja , koji - i istra interesovanja fokus Poseban itd.). Profil www.kuda.org , Lost & Found kolektiva_kuda.org Centar za nove medije_kuda.org je neza- medije_kuda.org za nove Centar gmenti za studije o umetničkim organizacijama. o umetničkim za studije gmenti visna organizacija posvećena umetnosti, aktivizmu i aktivizmu posvećena umetnosti, organizacija visna , Medijska ontologija Fra je publikacija prvog ciklusa istraživanja rezultat politici. U okviru svojih programa, okuplja, pre svega, ljude ljude svega, pre okuplja, programa, U okviru svojih politici. nje dinamike između umetnika i drugih učesnika u njima. Kao između umetnika i drugih Kao dinamike učesnikanje u njima. otvorenog uma i duha: umetnike, teoretičare, medijske i društvene i društvene medijske teoretičare, umetnike, i duha: uma otvorenog - i unutraš stvaralaštva procesima i kolektivnim ka grupnim usmereno ------→ i širu politikâ javnost. kreatore istraživače, aktiviste, Umetnička organizacija Umetnička u okviru projekta pedesetih Istraživanje godina. - savre tehnologije, medijske nove umetnost, su i istraživanja delovanja Polje cije untar umetničkih grupa i kolektiva u postjugoslovenskoj regiji u poslednjih u poslednjih regiji u postjugoslovenskoj umetničkih grupa i kolektiva untar cije mene umetničke teorije i prakse, sa stalnom analogijom na društvene i političke i političke na društvene analogijom sa i prakse, stalnom teorije umetničke mene - i rela (samo)organizovanja umetničkog fenomen analizira organizacija Umetnička implikacije. Sve aktivnosti Centra_kuda.org usmerene su ka emancipaciji društva kroz društva kroz emancipaciji ka su Centra_kuda.org usmerene aktivnosti Sve implikacije. ------→ Peraicom. i Anom Medić Darijom Vilenicom, Anom Vukovićem, javne debate kao sredstva njihovog izražavanja, sticanja različitog znanja i veština. Akcije i Akcije i veština. znanja različitog sticanja izražavanja, njihovog kao sredstva debate javne

sa teoretičarima i istoričarima umetnosti Milicom Pekić, Stevanom Stevanom Pekić, Milicom umetnosti i istoričarima sa teoretičarima tim kuda.org živački u društvu. mišljenja i kreiranju kritičkog dijalogu posvećeni su javnom snažno projekti - istra realizuje koji projekat istraživački međunarodni je dugoročan organizacija Umetnička

- obli analizira i mrežno delovanje kroz koja organizaciju kao bismo definisali Centar_kuda.org rada – o grupnom radu, o liderstvu, o ravnopravnosti i zajedničkim odlukama kolektiva itd. kolektiva odlukama i zajedničkim o ravnopravnosti o liderstvu, radu, rada – o grupnom kuje društvo kao socijalnu skulpturu, kroz produkciju, edukaciju, afirmaciju progresivnih progresivnih afirmaciju edukaciju, kroz produkciju, skulpturu, socijalnu kao društvo kuje živanja usmeren je na analizu kroz propitivanje istorijskog nasleđa organizovanja i kolektivnog i kolektivnog organizovanja nasleđa istorijskog propitivanje kroz je analizu na usmeren živanja koprodukciju i ohrabrenje građana na udruživanje u oblasti samoorganizovanog delo samoorganizovanog u oblasti udruživanje na građana i ohrabrenje koprodukciju ------→ u društvu. mišljenja kog čas umetnosti (Trajni Umetnička organizacija Umetnička projekat razvija trenutno Centar_kuda.org neoavangarde novosadske istorije nedavne praksama umetničkim o istorijskim istraživanje dišnje SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 192 DEATH TO ART LONG LIVE ART 195 is Fragments for for Fragments - the phe analyses Art Organisation Art www.kuda.org Art Organisation Art nomenon of artistic (self)organisation of nomenon and artistic groups within relations and region in thecollectives post-Yugoslav Research fifty years. the last during the project within - process collective and group at aimed dynamics internal and creation es of participants other between and artists of them. Asin the first cycle of result a the publication research, Studies on Art Organizations. Art on Studies - researchkuda.org team is a long-term a long-term is organization Art - devel currently is Centar_kuga.org The oping a project of the Art Association, the Art Association, of a project oping - re many-year basedwhich is earlier on artistic practic- the historical into search Sad the Novi history of the recent es of Art (The Continuous garde neo-avant Lost Found, & ontology, Media Class, and interest A special of etc). focal point by conducted the analysis is research the historical questioning of a process collective of the organisation of heritage leader works, the group – about works of decisions the joint and equality ship, etc. collectives - imple project research international the by mented Milica art historians and theorists with Vilenica, Ana Vuković, Stevan Pekić, Peraica. Ana and Medić Darija We would define Centar_kuga.org define Centar_kuga.org would We political implications. All the activities political implications. the to directed are Centar_kuda.org of society public of through emancipation the and expression, of means a as debate - of knowl types different of stimulation projects and skills. actions The and edge dialogue public to firmly dedicated are critical thinking of in the creation and society. its which through organisation an as models and analyses actions networked society through a social like sculpture, affirmation education, the production, practices, co-production progressive of - to come to citizens encouraging and ac- of self-organised thein field gether critical thinking and in society. tivity - move ovi Sad rofile of the collective_kuda.or rofile Centar_kuda.org, N Centar_kuda.org, P new media_kuda.org for centre The research and of activity fields The tinuous Art Class is established with the with Art established is Class tinuous the changing of intention permanent quo. status - commit organisation independent an is - pro Its politics. art, activism and to ted open-minded together bring grammes theo artists, people: - open-spirited and social media- and re activists, reticians, policy political public searchers, the wider public. and ments - con art, new media technologies, are art theory with temporary practice, and their social of analogue and the constant - Various formats are borne by the by borne are formats Various critique of the public as for example had had example for as the public of critique Mladih at beenthe case the Tribina with project poses the This 1960s. of the end the customary can How the questions: conser and the protection of practice intellectual and the cultural of vation an become be and transcended heritage day? the current of political agent active of dealing the with Can a specific way - ana to a tool become heritage cultural creations? cultural lyse contemporary „The project this long-term of structure the ex- from Art Class“, Continuous releases, DVD publications, hibitions, which co-productions and catalogues detect the wide spectrum influence of in practices such of transmission and - The Con moment. the contemporary -

relevant framework for the discussion thediscussion for framework relevant social political issues. current and of that also conclude might one Moreover, Mla- Tribina of the abolition the after in the- criti vacuum kind of dihsome was culture art and cal about discourse Novi speak if we least about at created, - visi are of this consequences The Sad. in reflected the are and even today ble of critique a public of absence continued right-wing the of 1990s, the fascism of the 2000s the beginning of at extremism - to of the neo-liberal of capitalism and artpracticesof institutional The day. under developing are today culture and and industries the creative of the wings in a peaceful the cur with coexistence see they their so do not that regime, rent a or questions in posingtask burning DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 194 196

SMRT UMETNOSTI ŽIVELA UMETNOST izvođače osimautora,izvođače ipubliku. čak pa i mesta, institucionalnog sklopa), ineretko uključuje i druge odnosuspecifičnom spram konkretnog konteksta (vremena ponenata u izvodi koji Session se Art rada. ustrukturu ulaze kao najprimereniji ispoljavanju celokupnog spleta kom- u medijumu koji u datom se konkretnom slučaju pokaże konteksta ukome odigrava injihova sešn se se artikulacija togje kondenzovanog materijala kroz neposredno iskustvo kao ikomunikacija iinformacija. Nju nadograđuju filtriran- svest, mašta, intuicija iakumulirano znanje, te ireč, misao produkuje konceptualno polazište to rada, zatim jestideja, ru”. Osnova tog procesa sażimanje je mnoštva impulsa koje različitih medija irazličitih vidova uvremenu slika iprosto- uveo radiimenovanja procesa “stvaranja iispoljavanja unutar Art Session’Art sintagma je sešn) (art koju EraMilivojević je SLOBODAN ERAILIVOJEVIĆ mnogim privаtnimmnogim kolekcijаmа. MuzejuBeogrаdа, sаvremene umetnosti uBаnjаluci, kаoiu u Muzeju sаvremene Muzeju umetnosti uBeogrаdu, grаdа subjekta’. Njegovi Dobitniknаgrаdа. više je rаdovi nаlаzese materijalizacija umetničkog dela’ i‘ponašanje umetnikovog umetničkeualne definisane prakse najčešće terminima ‘de- nove umetničke uopšte, scene dovela vrlo individ do jedne je - ničkoj Njegova sceni. pozicija iunutar iizvan ove i ali grupe, konceptualnezačetnika umetnosti na beogradskoj umet- nove umetničke scene, a kasnije ga teorija često kao definiše pokazuje kaopionirse generacije prve iučesnik beogradske Iunutarih. te isvojim grupe, zasebnim radom, Milivojević Studentskog kulturnog 1970- početkom centra uBeogradu formalne Grupe šestorice koja umetnika, formirala oko se prof. Stojаnа pripadnika Milivojević ne od - jedan Ćelićа. je 1971,nаOdseku zаslikаrstvo,umetnosti uBeogrаdu uklаsi umetnost u Novom Sаdu, a zatim na Akаdemiji likovnih Diplomirаo 1965.godine nаŠkoli je zаprimenjenu E Slobodan ra Milivojević (Užice, Milivojević ra 1944) negirajući bilo kakvu ikoničnost. mejd, usvojoj objektnoj prirodi, materijal. Koriste kaoredi se nanosi bilo ili niboja kakav drugi predstava, čak na njih se ne platnima ne nikakva izvodi se autor naziva ‘art sešnom’. Na tim neprekidnog performansa koji otvara novi segment njegovog telesnih akumulacija kojom se aktivira mnoštvo mentalnih i rekvizit zaizvođenje kojim se su razapeta slikarska platna, biće osam blind ramova na kojima nazivompod ‘Antislika’. Paket od Era Milivojević ćeizvesti rad photo: Srđan Veljović A fotografija: Srđan Veljović A rt Session, rt Session’rt sešn), (art

197 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 199 him as a founder of conceptual artthe in practice Belgrade conceptual of a founder him as of the group outside and both inside position His artscene. high in a - also in the new and resulted art sceneSix in general ofthe terms in often most art defined practice individual ly the of the behaviour the art object and of dematerialisation his for several awards received has Milivojević artistic subject. the Museum in collection of present is work His artistic work. Bel of - the city of Art in Belgrade, Museum Contemporary of as well as Luka Art in Banja Contemporary of Museum grade, collections. private in numerous Slobodan Era Milivojević 1944) (Užice ArtsNovi in Applied theSchool of from graduated He artistic group the informal of a member was Milivojević Sad and from the Academy of the Fine Arts the Fine in Belgrade of in the Academy from Sad and Ćelić. Stojan professor of 1971, in the class Center Cultural the Student around which formed the Six of in and this group Within 1970s. Belgradein the early during be to a himself showed Milivojević work individual own his of the - Bel generation the first of member a key and pioneer art theory defines grade new Contemporary later art scene. .

Era Milivojević will perform a work titled Antiimage willEra Milivojević a work perform ortret, P Portrait, Art Session is performed in a specific relationship to a specificto a relationship Art performed in a specific is Session includes often set) and institutional place, (timeand context the even audience. and the author, than other performers Bulk set of eight pre streched kanvases will serve kanvases a prop streched as pre eight Bulk set of and mental of a bulk activats action that the performative for his of a new segment which opens accumulations, corporeal On those session’. calles which he ‘art performance, constant other any or colour, no made, is representation no canvases mades, in ready used as are them. They on pasted is matherial iconicity. type of any negating their nature, objectual - photo:courtesy of the artist fotografija: ljubaznošću autora ljubaznošću fotografija: Art Session is a phrase introduced by Era Milivojević to to Milivojević Era by introduced phrase a Art is Session

name the process of “creating and manifesting within differ within manifesting and “creating of the process name ent media and different types of images in time and space”. space”. and in time of images types different media and ent - multi of the summarization is the process of this The basis of point starting the conceptual by produced impulses of tude - imagina consciousness, by the idea, is followed that the work, thought and knowledge, the accumulated and intuition tion, is It information. and communication as well as word, and di- the through material condensed that filtering by upgraded takes place which in thesession the experience context rect of in the medium the impulses of the articulation through and the of the manifestation to case best is suited in a given that the work. of the structure enter that components set whole of DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 198 200

SMRT UMETNOSTI ŽIVELA UMETNOST je toje pratio. Topeuta. problem je nedostatka inspiracije zaradistres koji problem, koji rešenje tražio je bar savet ili različitih tera- od jvioristička terapija. Na svakoj ovih terapija od isti iznet je merenja. Upitanju su: geštalt terapija, psihoanaliza ibihe- Tri prikazuju videa terapije tri kodterapeuta različitih us- treba bude?” umetnica da pitanje,no je predlog zaradna temu „Kakva istočnoevropska Umjetnik odmoru na manâ psihoterapije.Tokom boravka uPoreču na projektu trokanalna instalacija je koja sučeljava video-zapisa tri tret - Ovaj radpredstavlja rezultat mukotrpnog razmišljanja. „Kakva istočnoevropskaRad treba bude?” umetnica da , koji organizuje kolekcionar, postavlje- TIJANA PETROVIĆ u Beogradu. godine Fakulteta iradi likovnih Živi umetnosti uBeogradu. ju uodnosu na umetnice očekivanja kolekcionara. problematizujeprikazuje u krizi, umetnicu i kritikuje- pozici odgovor. na psihoterapije, Sam činodlazaka pored toga što kaoistočnoevropske sebe jem umetnice, autorka daje mogući zatim, terapeuti su davali svoja mišljenja i, na kraju, izlagan- strane, na terapijama su stavovi izneti na umetnice ovu temu, trebaka umetnica bude?”, da to nivoa. ali radi na više S jedne Rođena 1997,Moskva,Rođena Rusija. Trenutno student četvrte Ovaj raddaje odgovor na pitanje „Kakva istočnoevrops- Photo: Tijana Petrović The workbelongs the to Marinko collection Sudac 2019, video/three-channel installation, 1920x1080pixels W Fotografija: Tijana Petrović pripada KolekcijiRad Marinko Sudac /trokanalna2019, video instalacija, 1920x1080,piksel K akva istočnoevropska umetnica treba bude? da umetnica istočnoevropska akva hat shouldan E ast E uropean artist be like? uropean be artist podrške mladim umetnicima Goethe-Instituta, podrške mladim Beograd Beograd umetnošću! umjetnosti, Zagreb umetnosti Beograd Beograd studenata FLU Dom оmladine, Beograd uBeogradu, umetnosti umetnosti MarkaKraljevića [email protected] 2019. Umjetnik nagradu radi ne za 2019/20. Potkanje 2019. Obećavam da neću odustati od bavljenja 2019. Umjetnik na odmoru 2018,Muzej suvremene 2019. Završna izložba studenata Fakulteta likovnih 2018. Umetnost udoba klasnog rata, Ostavinska galerija, 2018. Napuštanje bezbednog režima, Goethe-Institute, 2018. 47.Izložba iskulptura crteža malog formata 2018. Završna izložba studenata Fakulteta likovnih 2017. Završna izložba studenata Fakulteta likovnih 2016. Foto-impresija izlagačkih prostora, Magacin u Izložbe: , Beograd , Beograd , Beograd , Goethe-Institute, Beograd , Muzej primenjene umetnosti, , Prva nagrada , Prva

201 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 203 uropean artist beuropean like? ast E ast hat should an E should an hat akva istočnoevropska umetnica da bude? treba K 1920 x 1080, piksel instalacija, 2019, video / trokanalna Sudac Marinko Rad Kolekciji pripada Petrović Tijana Fotografija: W pixels 1920 x 1080 installation, 2019, video/three-channel Sudac collection Marinko to the belongs work The Petrović Tijana Photo: - (2018); Osta u doba klasnog rata» «Umetnost Exhibition Visual of the Faculty of exhibition student year of End - odmoru 2018.» (2019); Mu na «Umjetnik Exhibition od da bavljenja neću «Obećavam odustati Exhibition art, applied of (2019/20); Museum „Potkanje“ Exhibition Goethe-Institut artists young to assistance for prize First vinska galerija, Belgradevinska Arts (2019) art, Zagreb contemporary seum of Belgrade umetnošću!» (2019); Goethe-Institute, Belgrade (2019) awards receive to Belgrade:work artist does not The 47th Exhibition of small-scale drawing and sculpture of the of sculpture and small-scale of drawing 47th Exhibition bezbednog (2018); režima» «Napuštanje Exhibition Exhibitions: (2016); izlagačkih prostora” “Foto-impresija Exhibition Visual of the Faculty of exhibition student year of End Visual of the Faculty of exhibition student year of End students of FLU in Belgrade Belgrade Omladine, (2018); Dom FLU of students Goethe-Institute, Belgrade Goethe-Institute, Magacin in Kraljevića Marka Magacin Arts (2017) Arts (2018) This work is not an answer to the question “What should should “What question to the answer an not is work This in the fourth Currently Russia. Born in 1997 in Moscow, The artwork “What should an East European artist be European an East should “What artwork The

an East European artist be like?” but works on a highera lev - on works be artist like?” but East European an about attitudes her the expresses artist hand, On the one el. the therapist the other, on and the sessions this during subject as herself exhibiting by thein end, and opinion, his/her gives The answer. a possible provides she artist, East European an the fact that from aside psychotherapy, into going of act itself - criti and problematises crisis, of the in a state artist shows it the expectations to regard the with artist of cises the position the art collector. of Arts lives in Belgrade, she where Visual of the Faculty at year works. and like?” is a three-channel installation which brings together together which brings installation like?” a three-channel is taking part in Whilst sessions. psychotherapy videosthree of na odmoru“) (“Umjetnik holiday“ on artist „The theproject the Sudac, Marinko the art collector by organised in Poreč be artist East European an should „What asked: was question This the work. of the subject as also was proposed and like?“ of consideration a painstaking of the results presents work with sessions therapy three videosshow Three this subject. psy- therapy, Gestalt orientations: different from therapists raised was problem This therapy. behavioural and choanalysis the least at or a solution and sessions these therapy each of at - prob the concerns This sought. was the therapist of opinion which the stress and work make to inspiration of a lack lem of it. accompanies DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 202 204

SMRT UMETNOSTI ŽIVELA UMETNOST ILICA RAKIĆ istorijskih revizija ičine osnovom subjektiviteta. cipatorskim događajima koji umetničkim činom se štite od osnovna referenca, upravo kaošto to nije nivernost eman- kojima spoljašnji, društveno istorijski kontekst nije očigledno heroj”, “na ili treba strah trošiti snagu, sam aja lenja žena”, u Otud islogani poputživot. “ako nisam ja heroj, onda je šta lucionarizuje svoje stavove isvoje činove, svoj svakodnevni ko usvojoj same, borbi ipokušava sebe od polazi revo da - poništavase ličnost iinsistira samo na kolektivitetu, već neko kojoj pripisuju se neke eshatološke karakteristike, iučije ime društvo ucelini. Ona nije vojnik mali neke velike revolucije pretim ne pošteđuju autorku kritike koju od ima iza zadruge toironični, počivaju ili na nekom temeljnom paradoksu, ali kojih licemjednine,od supočinju ikrajnje mnogi prvim au- vacije. To potvrđuje i veliki broj njenih slogana-parola koji tematizuju frontove političkih borbi. raznih cionarne prošlosti koje oživljava radovima koji neposrednije ona snažno jednako uporište nalazi kao iutragovima revolu- kojimi na one jezik se posreduju. I tu, u samoj materiji jezika, luciju ikaoizvor kaoideal, smisla iznačenja, nego fokusira se tematizaciju emancipatorskih raznih borbi koje imaju revo- životnom opredeljenju, stoga ne limitira svoje aktivnosti na revolucionarkabilizuje simbolički poredak. Rakić, Milica po koji ustaljenujezika podriva koherentnost značenja- idesta kao revolucija”. sprovela Rakić Milica je na projektu dok radila je “Lepa sam tok umetničkog istraživanja, uglavnom arhivskog tipa, koje identiteta kaodela jugoslovenske istorije inasleđa. u prošlosti. Čini to kroz preispitivanje ličnog i kolektivnog pobija tvrdnju žene da nisu svoju imale istoriju ivažno mesto va stvara, kroz potpuno novu originalnu autorke, misao koja gledanjaili ičitanja. Istorija uradu se ne prepravlјa, već izno- nastaje na preseku vizuelnosti ijezika, umetnosti ipoezije, struisanog sopstvenog iskustva s druge, čiji vizuelni sadržaj arhivskihjem dokumenata iteksta strane, sjedne ikon- Za Milicu Rakić jezik je sredstvo je jezik inviduacije Rakić Milicu i subjektiZa - Ona je, naime, insistirala na revolucionarnom dejstvu Poreklo slogana “Vazduh na ludilo”, miriše vezuje za se Umetnički rad Samoupravlјanje nastao kombinovan je - Stevan Vuković

ka, Egipat, Iran, Italija, Japan, Kina, Mađarska, Makedonija, iHercegovina,(Albanija, Bosna Amerika, Bugarska, Grč - mostalnoj izložbi i preko 400 grupnih, u zemlji i inostranstvu Predstavilaumetnosti uBeogradu. svoje je radove- na 31sa Republici Jugoslaviji. Doktorirala na Fakultetu je likovnih Rođena je 1972. godine uSocijalističkoj je FederativnojRođena kuju lični identitet. iradiuBeogradu. Živi Srbije. U svom radu ispituje način na koji i kultura jezik obli- Saveza komunista Jugoslavije iUdruženja likovnih umetnika Turska, Francuska, Hrvatska, Gora, Crna Španija). Član je Meksiko, Nemačka, Portugal, Rumunija, Rusija, Slovenija, [email protected] 100 x80cm paint on canvas,acrylic (Self-management), 2020, Samoupravlјanje na platnu,akril 100x80cm Samoupravlјanje, 2020,

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Stevan Vuković Stevan which start in the first person, and and which startperson, in the first For Milica Rakić language is a means of individuation individuation of Milica a means Rakić is language For self of language, she finds an equally strong foothold foothold powerful strong an equally finds she language, self of she which past revolutionary by the in the traces as left well as thema immediately which most in works life to back brings struggles. political various of fronts tise the different and subjectivisation. This fact is confirmed by the great num- great bythe fact This confirmed is subjectivisation. and parole slogans- her berof based on are or self-ironic, alsoextremely which are of many from the author spare not do but paradox, fundamental some society and a whole. as others against levels she the criticism whichhas to revolution great smalla soldersome in not She in the name and character, eschatological an been attributed - insist in the exclusive destroyed is which the individual of who in her someone is she rather the , but collective on ence her seeks revolutionise to and struggle herself, starts from the slogans Hence acts, everyday her life. and very attitudes ex- should “one or a hero”, then is what a hero, not “if I am in a lazy woman”, I am but fear, against pend their strength not obviously is socialwhich the external, context historical to a fidelity not is it as just reference, of the primarypoint - revi historical from shielded which are events emancipatory subjectivity. the of basis form the artistic act and by sion ------on the one hand came came hand the one on Specifically, with regard to this she insisted on the revo on the insisted she to this regard with Specifically, The origin of the slogan “The air smells of madness” re madness” of smells slogan of origin air the “The The The art work Samoupravlјanjeartwork The lates to the course taken by the artistic research, mostly of an an of mostly the artistic research, taken by the course to lates the project Milica Rakić on of whilst working nature, archival the revolution). like beautiful (I’m kao revolucija” sam “Lepa undermines established the which of language effect lutionary order. the symbolic destabilises and meaning of coherency does not revolutionary, committed Milica Rakić, a lifelong strug emancipatory of the thematization to activity her limit their of both the source as gles revolution, the which is ideal of focuses on language the rather but significance, and meaning in the very it there, material And mediated. which they are by ing and reading. History is not reconstructed in the work but but in the work reconstructed not is History reading. and ing original new and the totally through renewed rather is rather that the claim the which refutes artist, of thought of process impor of place history or possess their own did not women both per questioning through is done This in the past. tance history and Yugoslav a part as of identity, collective and sonal heritage. its of about through the combination of archival documentation documentation archival of the combination through about experience is own one’s how from the other on and text with the meeting at both arising of the visual content constructed, look or language and visuality poetry, between art and point - - [email protected] - Yu Born of in 1972 in the Socialist Republic Federal - Mace China, Hungary, Japan, Italy, Egypt, Iran, ia,Greece, - Slove Russia, Romania, Portugal, Germany, Mexico, donia, is She Spain). and Croatia, France, nia, Turkey, and Yugoslavia of Communists the League of of a member - re she work her Serbia. In Artists Fine of of the Association per shape culture and in which language the way searches in Belgrade. works and lives She identity. sonal goslavia. She completed her doctoral thesis at the Faculty the Faculty doctoral at thesis her completed She goslavia. in 31 works her Arts Fine presented in Belgrade. has of She and home at exhibitions 400 group over and solo exhibitions Bulgar America, Bosnia (Albania, Hercegovina, and abroad

2019, Beograd (Bioskop „Balkan“) 2019, Beogradugovizija, (Bioskop „Balkan“) 2019, Belgradeugovizija, (Bioskop J Marčeta Saša Fondacija fotografija: ludilo lično svoje rada: Svakom opisa J Foundation Saša Marčeta Photo: madness own each his To work: of Description DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 206 208

SMRT UMETNOSTI ŽIVELA UMETNOST radova kaošto su prvi U tom kontekstu Popović autor je nizapionirskih iključnih i postupke ideje uvodi u Beograd tzv. umetničke nove prakse godina prošlog kojaumetnika sedamdesetih početkom veka zbivanjima. Jedan članova od je neformalne šestoro grupe nom ulogom iuodgovarajućim međunarodnim umetničkim na srpskoj inekadašnjoj jugoslovenskoj vrlo primet sa sceni, - mansa mansa sistemi ceo fotografija, crteža, postera, perfor instalacija i Struggle in New York-Борба, 1976.koji уЊујорку prika- je dokumentuje autorskim društveno-angažovanim filmom, manifestacijama Fox isarađuje učasopisu The ka američke konceptualne umetnosti, učestvuje u njihovim stupa uličniiradnikontakt najužim sa centrom predvodni - Zoran Popović (1944) Aksiomi , 1971-73.Uvreme boravka uNjujorku 1974. film film umetnika je više od četrdeset godina prisutan od više je , film Glava/Krug, film , 1975,što , 1968. - . ZORAN POPOVIĆ Kolarčeva 2019. zadužbina Beograd Brankoda Vučićević 31.Oktobarskoggrada 1990.Nagra Beograd salona zacrtež, enskog značaja kojima nagradameđu uglednih inagradajugoslov više je nik - 1983, otvara novu fazusvog koja rada traje dodanas. Dobit- ikonodulija Nova uParizukao i Bijenala mladih 1977. Samostalnom izložbom Dortmund, Brisel, Luksemburg, Berlin, Đenova Rim, idr), umetnosti uinostranstvu Varšava, (Edinburg, Beč, Modena, MoMA Museum of Modern New Art, York, April 27,2019. zan institucija unizvažnih umetnosti usvetu zaključno sa [email protected] Učesnik brojnih je prezentacija savremene jugoslovenske Sedam sekretara SKOJ-a u Zagrebu 1973. i na- uSalonu Muzeja savremene umetnosti, na 4.Festivalu na Meta filma bioskop,, Art 26.11.2019 curator of Rima, Galerije the Photo: Marija Stanković, Zoran Popović, 26.11.2019. kustos Rima, galerije Fotografija: Marija Stanković, Zoran Popović, -

Photo: Zoran Popović TheRichard Demarco Gallery,Edinburgh ’73. Arts Monday 20 J bini, Urkom, Gera uuglu, Irina Subotić. Popović,Radoje Todosijević, Raša Jasna Tijardović, Marina Abramović, sagnut, Tom Marioni, na leži Putanjom kazaljke sata, okrenuta sleđa profilom, Biljana Tomić, Bojs, u Jozef prugastom džemperu, Fotograf: Zoran Popović Richard Demarco Gallery, Melvil koledž, 20.avgust 1973. J oseph Beuys, T Beuys, oseph predavanje: Dvanest-časovno Bojs, ozef omaž A th August 1973, Midday to Midnight, inMelville College, welve-H our L ecture: AH omage to A naharsis K nacharsis Cloots, loc-u,

209 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 210

DEATH TO ART LONG LIVE ART Gestural Speech of J Speech Gestural Gestural Speech of J Speech Gestural Fotografije:Zoran Popović Vlasništvo Muzeja savremene umetnosti Vojvodine kopijaDigitalna 8mmfilm, kolor, 15’50” zvuk, Melville College-Richard Demarco Gallery, Edinburgh, 20.avgust, 1973. Photo: Zoran Popović ofCourtesy Contemporary Museum Art of Vojvodina copyDigital color, 8mmfilm, sound, 15’50” Melville College-Richard Demarco Gallery, Edinburgh, August 20,1973. oseph Beuys ( Beuys oseph oseph Beuys ( Beuys oseph J J oseph Beuys T Beuys oseph oseph Beuys T Beuys oseph welve-H welve-H our L our L ecture: H ecture: H omage to A omage to A nacharsis Cloots), nacharsis Cloots), nacharsis Cloots), nacharsis Cloots), ern Art, New Art, ern York, April 27,2019. institutions world inthe including MoMA Museum of Mod- shown has which been Њујорку inanumber of important art engagedby Struggle film, in his socially New York-Борба у Fox magazinein the The participatingart, manifestations intheir and collaborating with most the central protagonists of American conceptual 73. When staying inNew York in1974he was contact inclose lations and performances on Aksiomi based and a whole system of drawings, photographs, posters, instal- nika of pioneeringseries and key works such as first the practice introduced New and ideas the of methods art so-called the ists at who of beginning the seventies the of last the century events. He was amember of informal the group of- sixart noticeable rolevery inits corresponding international artistic years Serbian inthe and former Yugoslav scene, art with a Zoran Popović (1944) (Artist film), the film Glava/Krugthe film), (Artist to Belgrade. Into context Belgrade. this Popović is author the of a , 1975, all of, 1975,all is which documented has been active forhas been more than forty (Head/Circle), 1968 (Axioms), 1971- film umet film - 211 DEATH TO ART LONG LIVE ART 213 4th Festival of Meta Meta of Festival 4th at the at award

Branko Vučićević Branko [email protected] , Art bioskop, the Kolarac endowment, Belgrade 2019. endowment, the Kolarac , Art bioskop, tinguished awards amongst which is the award of significant significant of the which award is amongst awards tinguished Sedam sekretara SKOJ in Zagreb in 1973 in Yugoslavia, repute Belgrade drawing, of Salon Octobar the 31st of the award and the1990, film (A Novaikonodulija nformacije 6, nformacije 6, nformation - con of presentations in numerous participated has He opović, I opović, I temporary Yugoslav art abroad (Edinburgh, Vienna, Warsaw, Warsaw, Vienna, (Edinburgh, art abroad Yugoslav temporary Rome, Berlin, Luxemburg, Brussels, Dortmund, Modena, Artists Young of the Biennale as well as others), and Genova soloexhibiton his With 1977. in Paris in - contempo of the Museum in the of salon Iconodule) New which is work rary in his new phase up opened art in 1983 he several- of dis the recipient is He day. the present to ongoing

Zoran P 73’, Art Festivalu Edinburgh na Yu-umetnici Galerija SKC,1973 Zoran P ’73, Art Festival the Edinburgh at Yu-artists Galerija SKC,1973 DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 212 214

SMRT UMETNOSTI ŽIVELA UMETNOST tiva Express Labin postaje 2015.godine, Art te utom XXI 2003. do2007.godine. Umjetničkim direktorom art-kolek- i performansa uGaleriji O.K. MMC-a d.o.o. urazdoblju od Pored umjetničke djelatnosti bavio organiziranjem se izložbi Muzeja Rovinja grada na Rovinjskoj koloniji 2013.godine. ga nagradana VIITrijenalu hrvatskog akvarela, te nagrada đunarodnom- trijenalu 2002.godine, originalnog crteža dru Muzeja i suvremene moderne umjetnosti na u Rijeci XV Me- nagrada i priznanja više je nik za svoj rad: Otkupna nagrada ro, Athens, Wien, London, Venice, Prague, Milano…). Dobit- skupnih izložbi isamostalnih uHrvatskoj iinozemstvu (Cai - likovnih umjetnosti uZagrebu 2000.Izlagao na preko stotinu Rođen uRijeci, 1972.DiplomiraoRođen slikarstvo na Akademiji svjetske umjetnike. razdoblju predstavio godine također tri od mnoge domaće i Rijeci, pokrenuo gdje također je Galeriju APURI,ukojoj u je i Ilustracija istrip na Akademiji primijenjenih umjetnosti u kaoizvanredni profesor2016. Radi na kolegijima Slikarstvo nosti sfokusom na radJosepha održanom uLabinu Beuysa, iumjetničkimje direktorom IBijenala industrijske umjet- Štokelj, Vladimir Gudac, Marko Pogačnik Bio drugi. imnogi Mangelos,Bašičević Trokut, Vladimir Dodig IRWIN, Bojan umjetničkih skupina bivše Jugoslavije, kaošto su: Dimitrije V.I.T.R.I.O.L. predstavlja neke najznačajnijih od umjetnika i svojstvu galeriju vodi DKC Lamparna, ukojoj kroz ciklus [email protected] DAIR STOJNIĆ Photo: Damir Stojnić Damir Photo: installation, dimensions variable The Mangelos P Fotografija:Damir Stojnić prostorna instalacijia varijabilnih dimenzija P lanetarij Mangelos, 2016, lanetarium, 2016, 215 216

SMRT UMETNOSTI ŽIVELA UMETNOST posao. bus, godina. Navečer, iz‘50-ih baš toga na dana, sam se bacio stajao je, kaostvoren zamoje potrebe, starinski- jedan glo zemljopisnih karata i gipsanih reljefa, kutija, ormara iladica, riješiti se starogodlučila inventara. gomilom Imeđu bačenih smeće, osnovna škola koja preko nalazi se puta mog ateljea globus? Tjedan danamojoj po zamisli, pokraj kontejnera za Odlučio sam ga,zapotrebe izložbe, dovršiti gdje Ali ja. naći globusajednog kojeg Mangelos nije stigaonapraviti zaživota. Mangelosa nekoliko „planetarnih sustava”. Listajući monografiju 9ipol ravo na njegove globuse crne kojih ima dovoljno za primoraloje konceptualno se da usredotočim up- „Energeia”. imao sam barem Dakle, nešto, ito me losov globus na kojemu grčkim slovima piše lonio navodno, jedan, mije originalan Mange- potpore. Negdje 2005.godine, V. D. Trokut- pok posljednjem utočištu entuzijasta financijske bez ciframa, morao sam pribjeći kreativnosti, tom losova vrednuju artefakta, sada pošto se popriličnim Uslijed nemogućnosti posuđivanja Mange ma i jednog - i „kontaminirao”je, koja pojavila na devedesetih, sceni se je. Kipkea, a trag njegove misli rezonirao i do moje je generaci- (Martek,umetnika braća Stilinović...), V. D. Trokuta, Željka sti zakonceptualnu umjetnost na Grupu ‘70-ih: šestorice umjetničku praksu. Njegov utjecaj presudne bio od je važno- marenih –umjetnika koji su uHrvatskoj stvarali suvremenu najznačajnijihjednom od –iproporcionalno zane jednako - namjerio napraviti izložbu Mangelosu, mome po mišljenju, sam u svojstvu voditelja DKC galerije Lamparna uLabinu poduhvat cijeleki 2016.godine, kada kristalizirala se polako Ideja zaovaj prilično kompleksan kuratorsko-umjetnič- PLANETARIJ MANGELOS, GENEZA Mogu samo reći jednostavnost je da Mangelosova ru Branke Stipančić, naišao uakvarelu sam na skicu - jetnih ciklusa koji ciklusa jetnih stoje pred nas. od svakim što će nam otkriti u završnom se tko od, zna koliko, sedmol smrti”,„pejzaže su ili to onkraj samo pejzaži fizičkog života... ironijom, ipotresna dominacija na boje kojoj crne ispisivao je međusobno prožimaju mističnost, duhovitost koja graniči s io sam kaoprirodan slijed Mangelosove ukojoj poetike, se galeriju je 1980.do1990.vodio Studentskog(1972–73). Od Akademije), Vlado konceptualni je umjetnik, član Tok grupe ovaje instalacija doživjela svoje izdanje, drugo ito na baš Dan kolega na Akademiji primijenjenih umjetnosti (gdje u Rijeci Nadalje piše: vlasništvo Vladimira Gudca. Osim što bio je moj lom, jednopoteznom malu linijom, patku. iscrtao kaligrafski patke”. To oblutak crveni jedan na kojemu je Mangelos je bije sam stranici naišao na gotovo smiješan objekt: „Jaje muzejske bio tu. Listajući prijespomenutu dalje monografiju, na zadnjoj tora poput mene. Kako bilo, muke, iuzdosta artefakt je drugi kopisa opasan privid, pogotovo zanepripremljenog falsifika ambijentalnoj instalaciji, njihov gotovo organski rast, doživ sinhronicitetaGudac Začudnost ija. koji su „kumovali” ovoj kopije koje potpisujemo: Trokut svoj (po prilici), Vladimir repliku, Mangelosovih od da tako imate originala originalne nakana, prema ismjernošću ali vlastitoj kolekciji –napravio centra uZagrebu. Unjegovoj kancelariji je Mangelos instali mi je Gudacmi je svom –sa benevolentnošću spram mojih rao jednu koju policu, drvenu nazvao „Antimuzej”, je i za izložbu. Taj ilako mu radmalen je gubi se pa trag, na nju stavio gumenu patku, a pored nje taj svoj crve nasuprot mome, iupitao gabi „jaje” limiposudio ni oblutak. Gumenu patku ikoncept „Antimuzej” sam svratio donjegova kabineta, točno Gudcu Vladimiru „Jajeje ostalo muzejske patke”. prisvojio kasnije Trokut, je Vladimir Dodig dok Damir Stojnić, ožujak, 2020.

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(ukoliko su točnaizračunavanja) mangelos №9½...1984–1987 mangelos №9…1977–1984 mangelos №8…1970–1977 mangelos №7…1963–1970 mangelos №6…1956–1963 mangelos №5…1949–1956 mangelos №4…1942–1949 mangelos №3…1935–1942 mangelos №2…1928–1935 mangelos №1…1921–1928 bilo bi mangelosa. devet ipol koje sam pokupio ušidskoj školi pouzdane, ukoliko su informacije ofiziologiji ćelije izmjenjuju se godina. sedam svakih totalnaje promjena ćelija uorganizmu. materijalna pretpostavka diferenciranja u istoj pravnoj osobi. osasmarazličitim subjektimaradi se objašnjenje te pojave jednostavno. je različitih jedinki. od potiču kao da mnogo razlikuju. se dosuprotnosti. stavovi ranih prema kasnim fazama ranihizmeđu fazaautora. ikasnih ukazuje na znatne se time razlike „više” picassa itd. „često” citiraju se „dva” „tri” marxa van gogha „CRNI /ET” PLAN DIMITRIJE BAŠIČEVIĆ MANGELOS grob tabula zamene rasa.” postao školskimcrnim pločicama, i kako sam navodi: „Onda taj je kredom. pačetvorine Crne iz bilježnica poistovjećivao s je kojoj nekoć pisati, se učilo uglavnom ito se bijelom činilo školska crna ica: premrežena pločica crtovljem na crvenim sniji element koji pojavio se u njegovu opusu nakon bilježn- odjeljka Uglobusima ciklusa. prisutan jednog je inešto ka- zaži smrti”, bi da kasnije ih jasno diferencirao udva zasebna umro.je Najprije nazivao je rata”, ih „pejzaži apotom- i„pej pačetvorina je na, simbolički ta označavala ime čovjeka koji kroz sveprisutnost ratnih godina. tih Premda smrti anonim- pira bilježnice površinama crnim ipromjenu vidio vremena samoje poznavao. Utome prekrivanju je bijelog prostora- pa vršinama, njemu bilježio smrti koje inekih ali bliskih osoba, najprije- apotom malim, po sve četvrtastim većim crnim driranja mrtvih”, usvoje je kada bilježnice, tijekom 1941–42, koji sublimiraju fazanjegova više opusa: najranijeg od - „kva istaknutiodlučio upravo te njegove planete-manifeste, crne onihno koje od nije mlađi isam koristio. je Izložbom sam godina prošloga datiradložak stoljeća izpedesetih izasigur dosljedno sam se pa pridržavao tog recepta, aiglobus-pre- jasno stoji svoje je da globuse crne oslikavao uljanim bojama, popisa reprodukcija, na kraju prije spomenute monografije, ni tehnički, neukusno začinjen sponešto dvojbi. etičkih Iz njegovih Nimalo Zemlji. crnih lagan posao. Ni konceptualno, ove oprostoriti odlučio izložbe jedinu dvodimenzionalnu od rena”*** zamalo nemogućim, se sam zapotrebe pokazalo pa ga izgubljenom planetu. Posuđivanje radova subte „apostola - sve htio. je ida prije Osim te teritorija”** „karte nigdje- nitra vjerovatno nije stigao, a na kraju, nije niti mogao napraviti, –globusa koje od jednog –ili 160. prikazana jednog skica je no.10. Unjegovoj monografiji mangelos 1–9½*na stranici godinuviđa vlastite negdje smrti, puta na pola doMangelosa devetgodina(no ranije 1978.godine. art) Dakle, točno pred- puta objavljenprvi ukatalogu njegove Shid izložbe theory Citat uzaglavlju teksta Mangelosov „manifest je šidski”, SMRTI” „PEJZAŽA PLANETOGENEZA 1933 –šid1987,leschamps du goul dernier -

217 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 218

SMRT UMETNOSTI ŽIVELA UMETNOST praznine, postojećeg ne-subjekta. a na čemu iinače inzistira, pojavljuje usvojstvu anomalne rupom, unutar harmoničnog slijeda brojeva. Mangelos tu, se an, numeriran razmakom, jedino praznim mjestom crnom ili urediti, bio onaj je nepostojeći, objavljen nikada niti štamp- gona, kojoj pripadao, je akojega upravo je on dobio zadatak putanje svakog planetoida. Jedini broj časopisa skupine Gor držajnosti, kaošto, horizontalno položena, predstavlja elipsu Njegov broj nijema je „0”, broj sveukupnosti- kaoibezsa sve proizlazi dok, istodobno, unju uvire, život riječju: ismrt. sebi ipozitiv sažima inegativ ukupnosti Postojanja, izkoje dno proto-i post-formativna, nulta točka postojanja, koja u stanjem materije koje „nigredo” su zvali alkemičari kaouje- isrebrne,tne donjegove opsjednutosti (pod)svjesne onim „pentatonike” alkemijskog spektra: bijele, crne, crvene, - zla isključivosti alkemičara: od/do vnih konzekventne uporabe I ADIMENZIONALNOST NULE ALKEMIJSKI SPEKTAR nazivali tu procesiju. vezivali skrugom, kruženjem: cirkumdederum, su tako tada starome su Rimu ukop uz opijevanje terminološki- po mrtvih zapise, slično tibetanskim „molitvenim strojevima”.**** Iu ktonskog planetarija. Mangelosove planete mantraju vlastite nete i postavom sâm želio promatrača smjestiti usred njegova Capone nazivajućiih „pejzažima”. nazvan tako je Paysage Prvi of Al dom „cirkumpolacije” kvadrata, prenosio na globuse, idalje Mangelosov opus je implicite vezan uzikonografiju dre- A te „neispisane je ploče” opredmećene Praznine, meto- idatira iz1952.Planove pretočio crne pla ucrne - je - pojavljuje značajna anomalija: na planetu našem na tom se tome stupnju, se na svakom planeta od Sunčevog sustava, 9,5puta,tira dobijemo broj kut 19,5što tetraedralni je ina izvesti ukolikoje islijedeći izračun: 1Mangelos transmu- Slijedom ezoternih numeroloških takvih, analogija moguće tonu, slikanih urazdoblju 1951–56,nazvao „Pythagora”. od kaošto nekoliko iserijudo runa…), je od tempera na kar rimente pismenima sa islovnim znakovljem glagoljice (od fa”, a upravo „alfa” je ključno slovo za Mangelosove ekspe- zaštitnim simbolom pitagorejaca, koji su ganazivali „Pental- zaboravljena 999.Pored šifra: bremenite simbolike, bio i je bioOn je simbolom čovjeka istoga njegova, je gotovo sada stupnjevima 36,72i540,ukoliko ga„opašemo” pentagonom. trijskom liku pentagrama. Unjemu kuta tri nalazimo pod 1987–1978=9.Tajla: broj se konstantno ponavlja ugeome- predvidio vlastitu igodinu smrt, ona je 1987,kada nastupi - do čudnovate koincidencije vezane uzgodinu je 1978,kada upotpunostijeka promijeni godina, dolazimo sedam svakih i tezi izfiziologijepo kojojse stanična struktura svakog čov- položene osmice. Vratimo njegovu lise „manifestu šidskom” 9 antipodi te su jednog istog broja: beskonačja horizontalno godina progresiraod brojem brojem 66,druge 9.Brojevi 6i djelovanja ustvarnome vremenu njegove sadašnjosti. Neke datumi usko vezani izfaktičkih godina njegova išifrirani projiciratički udaleku budućnost, sebe dok su, ti ipak, svi do no.10, gdje zbrajanjem isloženim matema izračunima - ciji projekata raznih koje započinjao, je Mangelosa od no.1 zanimljivo Mangelosovo je inzistiranje na biografskoj data- nakon brojevi ostali 9svi nastaju kombinacijama iztoga niza, Osim što predstavljaju iposljednji broj, prvi budući da NUMEROLOGIKA BROJEVA „0”I„9” - blioteka Zagreb, Quorum, 1989. Kipke ciklusa u svojoj knjizi novoga tekstova Iluminatori Borghesa. Zagreb,grafije, 2007. delfijskog hodočasnike dočekivala svetišta. gova Planetarija, kaošto ustaroj je Heladi „Gnothi seauton” biti prisutan” izato odabrana je dočekuje da posjetitelje nje- simist iskeptik, jednom sažima rečenicom: „Najljepše ne je ne-bivanja une-stanju nestajanja, Mangelos,- deklarirani pe stencije, aipak nesalomljive snage gravitacije jednog nemoći prostor-vrijeme, svijest ovlastitoj iopćoj nemogućnosti egzi - nekim misterijemje ipak „tu” iusisava manifestirano usebe no- ianti- negacija, ne-pripadanje postojanju koje to nije, ali vlju „Jupiterovo oko” pjega”… „crvena ili Planovi crne, vječita na Jupiteru tu ogroman se nalazi plinova vrtlog kojega nazi- su to je najveći planetarnih svih kratera od Olympus Mons, stupnju zemljopisne trokut, Bermudski nalazi širine na Mar ****Tehnički termin Željka Kipkea. ***Naslov teksta oMangelosu kojega napisao je Željko **Sintagma Jean Baudrillarda koju preuzeo je J. od L. *Branka Stipančić, mangelos 9½,DAF, Biblioteka Mono- , Bi , - - zejskoj patki”. „Jaje muzejske patke”, muzejskim zbirkama. tekstovikritički idjela zastupljena unajvažnijim svjetskim nacionalnoj umjetničkoj što sceni, potvrđuju brojne izložbe, le. Danas Mangelos zauzima respektabilno mjesto na inter Stilinovića, Trokuta, Vladimira Dodiga Željka Kipkea- iosta okupljene oko Podroom: galerije Vladu Marteka, Mladena konceptualne nacao mlađe godina umjetnike sedamdesetih 1977.godine.od Svojim radom je značajno iosobnošću utje - der, Miljenko Horvat iMatko Meštrović. Učestalije tek izlaže Vaništa, Radoslav Putar, Julije Knifer, Ivan Kožarić,- Đuro Se umjetničke Gorgona, grupe unutar koje sudjelovali još Josip nog mjesta ublizini rodnog 1959.godine Šida.članom Od je koristiBašičević pseudonim Mangelos, prema- nazivu jed umjetnosti eksperimentalnog od umjetničkog djelovanja, bi jasno odijelio svoj rad muzealca, kritičara i teoretičara bliskihna nepoznata prijatelja ikrugu čak isuradnika.Kako aktivnosti njegova umjetnička je djelatnost bila dugo vreme- međunarodni Potpuno ugled. postigla odvojena javne od primitivneGalerije umjetnosti, koja njegovom je zaslugom slio iuGradskoj galeriji suvremene umjetnosti. Suosnivač je u Arhivu Instituta likovne umjetnosti JAZU, zapo se - kada kaoasistent1959. radioje u Modernoj galeriji ikaokustos zofskom fakultetu u Zagrebu, do kraja 1949. godine. tada Od u Šidu, Srijem. Diplomirao povijest je umjetnosti- na Filo 1980–82, i Vladimiru Dodigu Trokutu1980–82, i Dodigu Vladimiru na „Antimu- Posebna zahvala Gudcu Vladimiru na ustupljenom radu Dimitrije Bašičević Mangelos 14.travnja rođen je Dimitrije Bašičević 1921. Damir Stojnić, 2016. -

219 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 221 [email protected] na“ gallery in which in the exhibition series „V.I.T.R.I.O.L.“ he he gallery series „V.I.T.R.I.O.L.“ in whichin the exhibition na“ artists of groups important the most of some presented has Bašičević-Mangelos, Dimitrije Yugoslavia: the former from Vladimir Bojan Štokelj, IRWIN, DodigVladimir – Trokut, the artistic was He others. many and Pogačnik Marko Gudac, in Labin in Art held Biennial, Industrial the1st of director Beuysand Joseph of a special2016 with the work focus on „Painting“ of the collegium at professor associate as works Applied of the Academy at Comics“ and „Illustration and the „APURI“ also he initiated Arts where gallery in Rijeka, of the works period year a three presented he in which over artists. local international and many - Born in Rijeka in 1972, he graduated in painting from from in painting Born graduated in 1972, he in Rijeka the Academy of Fine Arts in Zagreb in 2000. He has exhibited exhibited has Arts Fine in Zagreb in 2000. He of the Academy in Croatia solo exhibitions and group hundred one in over Prague, Venice, London, Vienna, Athens, (Cairo, abroad and work: his for several of awards the recipient is He Milan…). Con- and Modern of the Museum of Award the Acquisition of Triennial the 15th International at Art in Rijeka temporary - Cro of the 7th Triennial at prize in 2002, the second Drawing - Muse the City of the award and Painting, Watercolour atian to addition In 2013. in artcolony the Rovinj at Rovinj, – um performances and exhibitions organised he artist, being an From 2007. 2003 to from gallery d.o.o. MMC of in the „O.K“ the art La collective of been- has 2015 he the artistic director „Lampar runs the DkC in this capacity and Art Express bin 2016, lanetarium, Photo: Damir Stojnić Fotografija: Damir Stojnić Damir Fotografija: 2016, Mangelos, lanetarij P installation, dimensions variable dimensions installation, The Mangelos P Mangelos The

prostorna instalacijia varijabilnih dimenzija varijabilnih instalacijia prostorna DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 220 DEATH TO ART LONG LIVE ART 223 ------The quotation in the heading of the Mangelos “the Shid “the Mangelos of the heading in the quotation The In the globes is present an element which also appeared which also appeared element an the globes present is In PLANETOGENESIS OF “PEJZAŽI SMRTI” SMRTI” “PEJZAŽI OF PLANETOGENESIS (LANDSCAPE DEATH) OF manifesto” was first published in the catalogue for his exhibi his for in catalogue the published first was manifesto” somewhat later in his opus after the notes: a school slate crossed crossed slate a school notes: the after opus in his later somewhat this was and taught, once was which writing on lines a red by black paral the identified chalk. He white using largely done tion “Shid theory (no art)” in 1978. Thus, nine years earlier he earlier years nine theory art)” in 1978. Thus, (no “Shid tion the halfwaypoint about at death, own his predicts accurately on 1-9½” “Mangelos monograph his In no.10. Mangelos of the globes pro whichhe of, one or one, of sketch a is 160 page couldn’t he in the end making, and to around got never bably the and “map that from Apart do. to do everything wanted he almost was It planet. the lost trace no of is territory” there ** *** the subterrain” of “apostles the works borrow to impossible into I decided convert to the purposes the exhibition so of for earths. It’s black two-dimensional his of one dimensions three and technically nor conceptually, Neither all easy job. an at not re of the list ethnic From dilemmas. unpalatable with spiced is it monograph, the aforementioned of the end at productions so that paint in oil globe painted black was his that clearly states the globe and model also dates recipe, that retained I faithfully than newer certainly isn’t and century, the last the 50s of from fore to those used I decided which he himself. in the exhibition which sublimate globes-manifestos black his precisely ground the dead” “squaring the earliest from opus: his of phases many those close of the deaths mrtvih), marked when (kvadriranje he and then small first at 1941-42 using from notes him in his to I knew my whom of some squares, black bigger increasingly the note of the paper of space the white of this covering In self. time through of the changing also he saw areas, book black with anonymous, Though those years. war of death the omnipresent someo of the name symbolicallythose marked parallelograms and of war”, called first “landscapes them He who died. had ne differentiate clearly later so to as death” of then “landscapes series. the same particular two of segments them into sta he as and the slate, school with the notes from lelograms DIMITRIJE BAŠIČEVIĆ - MANGELOS BAŠIČEVIĆ DIMITRIJE PLAN / ET” “BLACK GoghVan “the third” Marx “the second” often quoted are etc Picassos many” “the differences the great show to works. artist’s an of phases later and between the early differ between greatly the attitudes the extreme to phases, later and the early individuals. different from if theyas come simple. is these phenomena for the explanation subjects different totally concerns it legal entity. in the same differentiation of assumption the material cells the organism’s of change the total is every seven which change cells years. physiology about if the information correct school is the Shid at I acquired a half Mangeloses be and nine would there №1 … 1921–1928 mangelos №2 … 1928–1935 mangelos №3 … 1935–1942 mangelos №4 … 1942–1949 mangelos №5 … 1949–1956 mangelos №6 … 1956–1963 mangelos №7 … 1963–1970 mangelos №8 … 1970–1977 mangelos №9 … 1977–1984 mangelos №9 ½ ... 1984–1987 mangelos correct) are (if the calculations dernier goulag du 1933 – šid – 1987, les champs - Damir Stojnić, March 2020. March Stojnić, Damir “Egg of the museum duck” remained in Vladimir in Vladimir remained duck” the museum of “Egg office, his to I went day One possession. Gudac’s later adopted by Vladimir Dodig Trokut, whilst the Dodig Vladimir Trokut, by adopted later would him if he asked and mine, exactly opposite loan me the “egg” for the exhibition. It was a small was It the exhibition. for the “egg” me loan rubber duck and concept of the “Anti-museum” was was the “Anti-museum” of concept and rubber duck work and could get easily lost, so Gudac – benevolent – benevolent so easily lost, Gudac get could and work ber duck on this, and beside this his red pebble. The The beside pebble. this red this, his and on ber duck towards my plans, but with a concern for his own collec - own his for a concern with but plans, my towards titled “Anti-museum” (Anti-museum) and placed a rub- and (Anti-museum) titled “Anti-museum” ous object: the egg of the museum duck. This is a round red round is a This duck. the museum object: the egg of ous in white drew calligraphically which Mangelos on pebble property stands: Below it a small duck. stroke a single and been had he my the fact that from Apart Gudac. Vladimir of this (where artsRijeka in applied of the Academy at colleague also that and time, the second for exhibited was installation was artist, a conceptual is Vlado Day), the Academy being on the to 1980 From 1972-73. from Tok the group of member a In in Zagreb. Centre the gallery ran nineties he the Student of installed he wooden a single shelf which Mangelos office his the Mangelos from so that me, for it of a replica – made tion (in all all: us Trokut signed by original copy an original came I experienced the myself. and Gudac Vladimir probability), a like something which were these synchronicities, of miracle their installation, this ambiental to “godfather” metaphorical - Man of continuation a natural as development, organic quite humour mysticism, of poetics a permeation which are gelos’s paint black dominant the jarringly and irony, on bordering or death), of (landscape smrti“ “pejzaž written which is on which will life… physical beyond the landscapes simply are the of many, how knows one no be in the last, us revealed to us. of each one before waiting cycles which stand seven-year Regardless, with a great deal of effort, the second artefact the second effort, deal of a great with Regardless, above-mentioned Leafing further the through produced. was humor a quite across I came page the last on monograph, - THE MANGELOS PLANETARIUM, GENESIS PLANETARIUM, THE MANGELOS un- curatorial-artistic complex pretty this for ideaThe

dertaking crystallised gradually in 2016 when in a whole into in “Lamperna” the gallery of the director DKC of the capacity Mangelos, to dedicated exhibition an make to I setLabin out just and – important the most of one is opinion, whomy in art contemporary equally neglectedas who – artists initiated - con the for decisive was influence His in Croatia. practice the (Martek, Šestorica the group the 70s: for art of ceptual his and Kipke, Željko Trokut, D. V. brothers...), Stilinović the to on which came generation my to up thinking resonated - Due the impossibil it. „contaminated“ scene in the and 90s, artefacts, the Mangelos of one least even at borrowing of ity resort to I had sums, considerable worth now theysince are the en- to available option the last to being creative, to in Somewhere support. financial no with thusiast allegedly, the, of one me gave Trokut 2005, V.D. in written which is globes on original Mangelos’s at least had I Therefore, „Energeia“. letters Greek conceptually to me obliged that and something, which globes there black of his on focus precisely Leaf - several „planetary systems“. for enough are („9 ½ Mangeloses“ „9 the monograph through ing a across I came Stipančić, Branka by i pol Mangelosa“) did not globe which Mangelos one of in watercolour sketch the pur I decided, for lifetime. in his making to around get poses of the exhibition, to realise it but where does one find find does one where but realise it to poses the exhibition, of the to next idea and my with line in later globe.a week A de- studio my the primary school opposite container, rubbish And inventory. old its dispose of and sortcided to through reliefs, plaster and maps world away thrown of in the heap stood specially though as there drawers, and cabinets boxes, the from globe, genuinely antique needsan my for created I work. to down I got day same that of the evening 50s. In is signature the Mangelos of the simplicity that say only can myself. like forger unprepared an particularly for illusion, an DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 222 DEATH TO ART LONG LIVE ART 225 - Damir Stojnić, 2016. Stojnić, Damir , born 14th April 1921 BašičevićDimitrije , born 14th April – Mangelos Special thanks to Vladimir Gudac for the provided work work the provided for Gudac Special Vladimir to thanks in Šid, Srijem. He graduated history of art from the faculty art from history of graduated He Srijem. in Šid, of the end then until in Zagreb in 1949. From philosophy of Gallery in the Modern as and assistant an as worked 1959 he visualarts JAZU, of the Institute of in the Archive a curator - also gallery thein City contem of employed was whenhe the arts Gallery of primitive co-founder is of porary art. He - reputa an international gained efforts his which to thanks activities public his detachedfrom Being tion. completely his of the circle even to unknown long artistic his side stayed demarcate clearly to order In co-workers. close friends and his from theoretician and art critic a museologist, as work his experimental art activities, Bašičević used the pseudonym bir of city close his to place a of name the after Mangelos, the art group of a member was he 1959.godine From th Šid. Putar, Radoslav Vaništa, Josip which also included Gorgona and Horvat Miljenko Seder, Đuro Kožarić, Ivan Knifer, Julije frequently more been has exhibiting He Meštrović. Matko in- important an were personality and work 1977. His since of artiststhe of conceptual generation younger on the fluence Vlada the gallery70s which“Podroom”: collectedaround of Željko Dodig-Trokut, Vladimir Mladen Stilinović, Martek, a highly respectable holds Mangelos Today others. and Kipke by the art scene confirmed which is in the international place represented works and critical essays exhibitions, numerous collections. museum important in the most ”The egg of the museum duck” 1980-82 and Vladimir Dodig and 1980-82 ”Theduck” museum of the egg duck” “TheAnti-museum for – Trokut - Mo Biblioteka 9 ½” DAF, ”Mangelos Stipančić, *Branka J.L. from took which he Baudrillard Jean of **Syntagm - Ki Željko by written Mangelos about the text of ***Title Kipke. Željko by conceived term ****Technical If 1 Mangelos is transmuted 9.5 times, we get the number the number get times, 9.5 we transmuted is 1 Mangelos If on this degree, at and angle a tetrahedronal 19.5 which is be- anomalies everysignificant thein Solarsystem, planet of the line of the angle is that planet our on manifest: come the angle is that Mars on the Bermuda of Triangle, latitude on Mons, Olympus all the planetary of craters the biggest of - called vortex “Ju gas enormous an of the location is it Jupiter and eternal no- plans, Black spot”… the “red or eye” piter’s but which isn’t, existence an to non-belonging anti-negation, - mani itself into sucks and ‘here’ mystery some through is of the impossibility of the consciousness space-time, fested even the unbreakable and in general, existence and own one’s in the non-being one of the powerlessness by gravity of force Mangelos, by up summed are disappearing, of non-condition ”It´s sentence: sceptic, in one and pessimist a self-declared been has as chosen it why is that and be to present.” best not Hellas in the old as Planetarium, his to visitors for a welcome thyself) pilgrims (Know awaited seauton” “Gnoti the words oracle. the Delphi to 2007. Zagreb nografije, Borges. - ciklusa”Biblio novoga “Iluminatori essays book in his of pke Quorum, Zagreb 1989. teka THE NUMEROLOGY OF THE NUMBERS NUMBERS THE OF THE NUMEROLOGY “0” AND “9” – represent numbers last and the first what from Apart given that after 9 all other numbers arise from combinations combinations arise numbers from other 9 all after that given insistence also is Mangelos’ interest this– of sequence from - initia he projects the various of dating the biographical on - the proces through where no.10 to no.1 Mangelos from ted, mathematically he calculations complex and addition ses of whilst all these dates future, the distant into himself projects all encrypted still tied the factual closely from and years are these of Some present. his time the of real into actions his of 9. the number with 66, others the number with progress years and the same one of antipodes the are 9 and 6 numbers The eight. number lying horizontally of the number: the infinity takenthesis and manifesto” “Shid his to returning we Are of structure whichthe cellular to according physiology from every arriving seven changes years, every completely person foresaw 1978 when he the year of coincidence the strange at 1987-1978=9. came: when1987 it the year and death own his of figure geometric in the appears constantly number This respective angles whose it three in find We the pentagram. a pentagram. with it ‘frame’ 540 if we 36, 72 and are: degrees now his, was thus and man of time the symbol one at was It this loaded symbolism, from code: 999. Apart forgotten, quite who called Pythagoras of symbol also was the protective it the criticalis letter actually “alpha” and the “Pentalpha”, it (from alphabets and letters with experiments in Mangelos’s a series several as - well as of tem the Runes…) to Glagolitic called whichhe 1951-56, from painted cardboard, perason numerological esoteric such from Consequently “Pythagora”. calculation: carry the to following possible is it out analogues - - - .” So that he he So that .” THE ALCHEMICAL SPECTRUM SPECTRUM THE ALCHEMICAL ZERO OF AND THE ADIMENSIONALITY the of tied the iconography to implicitly is opus Mangelos’

ancient alchemists: from and to the inclusion and consistent consistent and the inclusion to and from alchemists: ancient the alchemical spectrum: of red, black, the “pentatonic” use of the with obsession (sub)conscious his to sliver, and gold white, both as the called: which alchemists “nigredo” matter of state from existence, of point the zero post-formative, and proto- time sinking back the same which everything whilst at comes the “0”, the mute is number His death. and life in a word: it, into represented is as contentlessness, as well as totality of number trajectory planetoid. each elliptical of lying the horizontally by of which “Gorgona” of the group magazine of the issue only The the task actually given was which he for and a member was he printed nor published never non-existent, that was editing, of empty an a space, as present only was whose number issue, Mange issues. of sequence in the harmonic hole black or place los appears here, he is insistent about this, in the capacity of an an of this, in the capacity about insistent is he here, los appears non-subject. existing an void, anomalous conveys this “blank slate” as a reification of the Void through through Void of the a reification as slate” this “blank conveys the into the squares of the „circumpolarization“ a method of na is first The call to “landscapes”. globes continues which he med “Paysage of Al Capone” and dates from 1952. He turned turned He 1952. from dates and Al Capone” of med “Paysage I the installation with and planets, black into spaces black his pla the observer place to chthonic his in the middle of wanted similar mantras, their own chant planets Mangelos’s netarium. burial Rome in old And machines”.**** “prayer the Tibetan to with the dead associated terminologically to is the singing and was dederum circum the procession as circulation: the circle, then called. tes: “Then this grave became for me a tabula rasafor “Then tes: became this grave DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 224 226

SMRT UMETNOSTI ŽIVELA UMETNOST ZAJEDNICO ZAISTRAŽIVANJE PROSTORA Stevan Stupar. Slobodanka Knežević, participants The are wholethe on (A pillar of clay thrown together and formed inone go. Participants: for research the of spaceand additionally the included individuals Zoran Belić, JelenaZoran Belić, Ruža Mišević, Petrović, Jadranka Bunuševac, SLOBODANKA STUPAR members of zaistraživanje Zajednice the Prostora/Community Akteri su uglavnom članovi zaistraživanje Zajednice Prostora Jadranka Bunuševac, Miodrag Lazarov Pashu, Vesna Milović, Miodrag Lazarov Pashu, Vesna Milović, Miroslav Mandić, i priključeni učesniciJ. V. Mišević, Milović, S.Knežević. Miroslav Mandić, Stevan Stupar. Slobodanka Knežević, Stub ujednom gline dahu stegnut preoblikovan. itako Učesnici: Jelena Zoran Belić, Ruža Mišević, Petrović, U SARADNJISA 9 x2>18,1985,bronza, 170x8cm 9 x2>18,1985,bronze, 170x8cm are J. V. Mišević, Milović, S.Knežević)

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SMRT UMETNOSTI ŽIVELA UMETNOST Sisak umetnosti, Ag. Nikolaos, Grčka Zagrebačkoj izložbi jugoslovenskog crteža Frechen, Nemačka Međunarodnom beogradskom grafičkom bijenalu Baden-WurttembergLandesbezirk, IG Medien und –Druck Papier, Publizistik und Kunst, Aahrenshop, Nemačka Intellectuelle Europeene, Pariz Londonu kao stipendista Vlade Grčke. Beogradu. 1987. Nagrada zaskulpturu Likovne kolonije Željezara, 1987. Nagrada zagrafiku OktobarskogBeograd salona, 1988. Nagrada 1.Mediteranskog bijenala grafičke 1989. Otkup Nacionalne sveučilišne biblioteke na XII 1990. Grand Prix 9,Internacionalni grafičkitrijenal, 1993. IInagrada na Bijenalu Suva Užice igla, 1997. Otkupna nagradaNarodnog muzeja na 1999. Nagrada na Fotowettbewerb AWARD 1999. Nagrade ipriznanja 1996.Stipendija Stiftung Kulturfonds Haus Lukas 1991.Stipendija Fondation pour une Entraide 1985.Stipendija Ministarstva prosvete Grčke 1983.Stipendija Moša Pijade zastudijski boravak u 1980–81.Stipendija umetnici, Mladi Beograd Stipendije i studijski boravci grafikuSpecijalizirala na Školi lepih umetnosti u Atini Magistrirala grafiku na FLUBeogradu. u Diplomirala grafiku iunutrašnju arhitekturu na FPU u uSarajevu,Rođena 1947. Stupar.Slobodanka Zbirka Vozarević, Lazar Sremska Mitrovica. Zbirka NacionalneBeograda; sveučilišne biblioteke, Zagreb; Grafička zbirka Frechen, Nemačka; Zbirka Grafički kolektiv ofCollege Greece, Atina; Savremena Zrenjanin; galerija, Zbirka GSLU, Niš; Nacionalna Pinakoteka, Pirej; American međunarodne savremene grafike, Fredrikstad, Norveška; muzeji uSmederevu, Kraljevu, Vranju, Knjaževcu; Muzej Muzej Muzej Beograda; Zepter,Beograd; grada Beograd; Galerija Kreonidis,Galerija Atina, 1985. KCB,Galerija 1987. Beograd, Franco-Hellenique,Ligue Atina, 1990. Simultanhalle, Keln, 1992. Rathaus Keln, 1995. BBK,Galerija Keln, 1995. BAP Witten, Nemačka, 1996. ZlatnoGalerija oko, Novi Sad, 1996. Kaos Keln, galerija, 1997. 1997. Zepter Beograd, galerija, Christuskirche, Keln, 1998. Solun, Galerija, Artforum 1999. KCB,Galerija 2001. Beograd, Beograd, Diana Atina, galerija, 2002. Solun, galerija, Artforum 2003. Moderna 2006. Lazarevac, galerija, ZlatnoGalerija oko, Novi Sad, 2008. Atina, Red, Galerija 2008. Prodajna 2009. Beograd, galerija, ULUS,Galerija 2011. Beograd, SLU,Galerija Niš, 2012. Umetnička Narodnog galerija muzeja 2016. uKruševcu, Muzej Smederevo, 2017. KNU,Galerija 2019. Beograd, (izbor) izložbe Samostalne MSU, Ludwig muzej, Beograd; Keln; Narodni muzej, ijavnim kolekcijama umuzejima Dela 1990. 1996. Europe, Solun, 1997. Bia Papadopoulos), 2000. Papadopoulos), 2004. Muzej 25.maj, 2004. Beograd, Solun, 2007. Mostovi/Armagedon Tajni život grada, Komunikacije 1986. 86,Beograd, Six Yugoslav Artists, Kulturni centar, Atina, 1987. IX International Graphic Triennial, Frechen (Germ.), ArtistsSeven from Belgrade, Atina, 1992. Futura Ars Coincidence Visible Invisible / Eshylaeia 97.Eleusina,1997. Commentary on the Twentieth Century , Solun (kurator Intimnosti Terra Incognita, Atina (kurator Kokkini), Lena 2002. In The Biginning Was Fire , Atina (kurator Bia Učestvovala na brojnim izložbama, kao što su Umetnost interrelacija Erasing Intro/Out festival, video New Forms Festival, Vankuver, 2006. Chronicle of the Absurde, International Photo Exhibition, Rhythm Devine Skriveno nasleđe Pogled ucentar 2017. , Muzej Beograda, grada Grupne ikuratorske (izbor) izložbe , Sebastian, Galerija 1979. Studio Forum, galerije Zagreb, 1980. Varaždin, Sebastian, Galerija 1982. RichardGalerija Demarco, Edinburg, 1984. KNU,Galerija 1984. Beograd, , internacionalni/ interdisciplinarni projekat, , Sarajevo (kurator G.Dobrić), 2002. , Keln , Kunst Köln , Keln (kurator Gunter 1997. Demnig), , GSLU, Niš, 2019. , Tvrđava Golubac, 2019. , Thessaloniki CulturalCapital of , Beograd (kurator, Beograd 1986. A.Đurić), , Beograd (kurator, Beograd 1986. A.Đurić), Solun, 2006. 4,1994/95;Köln Kunst 5, Makedonija umetnička komunikacija Keln Broska iHans-Joerg Tauchert, Festival Simultanhalle, Keln Kassel i3Sat TV-u kanalu projekta zaKassel Dokumenta 9.direktni prenos na TV-u galeriji Moltkerei Werkstatt Keln Virtuale Piazza auokviru đurđevackoj školi, Đurđevo izvođenje na festivalu Tajni život grada, Beograd izvođenje na fetivalu nova Druga muzika , SKC, Beograd grafike, grafike, Trijenale Bitolj itd. i Ljubljane, izložba jugoslovenskog Zagrebačka i crteža Internacionalni Beograda, krug grafičkiBeograda bijenale Oktobarski salon, Majska izložba, Jesenja izložba, Grafički [email protected] 1999. What if…? , performans, Severna Galičnik, pismo moje na 1996. Odgovori 1996. Ueber den Teillerrand hinaus performans Inge sa 1995. Ogledalo 1992. ’C’est cine pas une pipe live-video performans u dodira 1987. Prostor 1986. Simfonija 1984. Simfonija Interdisciplinarni radovi iostali , performans Lj. sa Jovanović, , tekstualno/zvučna struktura, javno , tekstualno/zvučna struktura, javno , predavanje uOtvorenoj , otvoreni temom radsa Tangenten, Milhajm,

229 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 230

SMRT UMETNOSTI ŽIVELA UMETNOST fotografije: Milan Jozić, Vlada Popović Pauza štapića, 7sekundi, udarac pa drvenih stavljaju tačku. redu sedenja. 4. Dijagonalni presek kroz sve tekstove –svako čita samo rečenicu po tekstovima upravcu kruže kazaljke na satu, improvizuje. cello svakom čitanju, sledećem čujnog jedva šapata od dovikanja, listovi sa 3. Istovremeno čitanje tekstova, svih narastanjem sa dinamike pri 2. Svako jednu čita po rečenicu redom na (cello 7sekundi, si-sol). svira 1. Svako čita svoj tekst. Izvođenje u4stava/kruga čitanja koje u pravcu kruži kazaljke na satu. su autorski sastavljeni reči samo na od S. Tekstualna struktura uformi muzičke kompozicije u4stava. Tekstovi „Papa Nick” i Nataša Petar Bogojević, Marinović, cello. tekstove Miomira Milovanovića iDinke Pignon čitaju Veljko Nikolić Stupar.Milović, iSlobodanka Zoran Belić Uizvođenju na snimku Miodrag Lazarov Pashu, Pignon, Dinka Miroslav Mandić, Vesna istraživanje Prostora, Miša Savić, Miomir Milovanović, Ruža Petrović, život grada video-zapisSnimak je javnog drugog izvođenja 1986.na festivalu Tajni video-zapis 00:22:07,tekstualno/zvučna struktura Simfonija, 1984/1986, with Community the for research the of space StuparSlobodanka incooperation u Beogradu. Uradu uBeogradu. učestvuju: (prošireno) za Zajednica video 00:22:07,textual/audiovideo structure Symphony, 1984/1986, Photo: Milan Jozić, Vlada Popović A break of 7seconds is which by ended of strike stick. the awooden sentence seating inthe order 4. Adiagonal line texts through the –eachparticipant all reads only the improvisescello shout, lists the with texts the circle direction inthe of awatch hand, the before subsequent the reading and as starts which awhisper becomes a 3. The simultaneous thereading withtexts, all acrescendoof dynamic modulo ) participant2. Each reads inturn one sentence at cello (the 7seconds plays participant1. Each reads his own text same direction as awatch hand. Performance in4movements/circles of reading go which round inthe The texts are composed thewith by artists wordswith S. starting Textual structure form inthe of amusical composition in4movements. Nataša Petar Bogojević), Marinović, cello Milovanović and Pignon Dinka are read by Veljko Nikolić “Papa Nick” and Stupar.Slobodanka (In performance the texts from video inthe Miomir Pashu, Pignon, Dinka Miroslav Mandić, Vesna Milović, and Zoran Belić Miša Savić, Miomir Milovanović, Ruža Petrović, Miodrag Lazarov (extended)took work inthe part Zajednica istraživanje za Prostora, festival Tajni život grada/Thesecret life of the The city following, Belgrade. Thevideo recordssecondthe publicperformance the of work in1986 the at

231 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 233 , open work whose subject work , open , textual/audio structure, structure, , textual/audio structure, , textual/audio lecture at the Open Đurdjevo at lecture performance with Lj. Jovanović, Jovanović, Lj. with performance with a live a live 9 with project Dokumenta for Kassel Interdisciplinary and other works other and Interdisciplinary 1984. Simfonija/Symphony 1986. Simfonija/Symphony 1987. Prostor Dodira in performance live-video pipe une pas ci ne 1992. ’C’est 1995. Ogledalo with performance hinaus Teillerrand den 1996. Ueber 1996. Odgovori na moje pismo Galičnik, Northern performance, if…? 1999. What [email protected] , SKC , SKC muzika Druga Nova the festival performed at publicly Belgrade Belgrade grada život Tajni the festival performed at publicly School, Đurdjevo the within Cologne and Werkstadt the gallery Moltkerei of Piazza Virtuale 3sat TV and on TV Kassel transmission Cologne Simultanhalle , Tangenten Festival Tauchert, Hans-Joerg and Broska Inge Cologne Muelheim, artistic communication is Macedonia , , , , , Sarajevo , Sarajevo , Thessaloniki , Thessaloniki ; 1992. Seven 5 Kunst 4, Köln , internacionalni interdisciplinarni projekat, projekat, interdisciplinarni , internacionalni , Thessaloniki (curator Bia Papadopoulos); 1997. Papadopoulos); Bia (curator , Thessaloniki Group and curated exhibitions (selected) exhibitions curated and Group Belgrade; 2019. Museum , City u Centar 2017. Pogled Has participated in numerous exhibitions such as the as such exhibitions in numerous participated Has , Golubac fortress; 2019. Rhythm Devine, 2019. Rhythm fortress; , Golubac Nasledje Skriveno International the Absurde, of 2007. Chronicle Niš; GSLU , Festival Forms 2006. New Thessaloniki; Exhibition, Photo Thessaloniki; video festival, 2006. Intro/Out Vancouver; 2004. Erasing Fire, Was Beginning The Belgrade; 2004. In 25 Maj Muzej , Incognita Terra 2002. Papadopoulos); Bia (curator Athens Intimnosti 2002. Lena Kokkini); (curator Athens Twentieth the on 2000. Commentary G. Dobrić); (curator Century / Invisible 1997. Visible 97. Eleusina ; Eshylaeia 1997. Coincidence Thessaloniki; Europe, of Capital Cultural Demnig); 1996. Ars Gunter FuturaCologne (curator Cologne ; 1994/95 Köln Kunst , Artists Yugoslav 1987. Six Belgrade,Artists Athens ; from Graphic 1990: IX International Athens; Centre Cultural grada, zivot (Germ.); 1986. Tajni Frechen Triennial, 86. Belgrade; 1986. Mostovi/Armagedon Komunikacije Umetnost Interrelacija A. Đurić); Belgrade 1986. Umetnost (curator A. Đurić), Belgrade (curator Grafički exhibitions, Jesenje and October Majske Salon, Bienale Belgrade Grafički Krug in Belgrade, Internacionalni and drawing Yugoslav of Zagreb exhibition Ljubljana, and etc. Bitolj Arts Triennial arts, the Graphic graphic Works in museum and public collections public in museum and Works Cologne, National Museum Belgrade, Ludwig MoCAB (selected)Solo exhibitions Smederevo; of 2019. Galerija KNU Belgrade; Museum Museum Belgrade, City Museum Belgrade, Zepter Museum Belgrade, Museum Zepter Belgrade, Museum City Museum Vranje, Kraljevo, Smederevo, Museum Belgrade, National graphic contemporary international of Museum Knjazevac, Collection the Gallery of of Norway, arts Fredrikstad, Pinacotheca, National Piraeus Art Niš, Contemporary Gallery Contemporary Athens, Greece, College of American Germany, Frechen, arts collection of Graphic Zrenjanin, Belgrade, of Kolektiv Collection Collection the Graficki of Collection Lazar Library of Zagreb, University the National Mitrovica Sremska Vozarević, in Kruševac; 2016. Galerija galerija Muzeja 2017. Umetnička Belgrade; 2011. Prodajna 2012. Galerija ULUS Niš; SLU 2008. Galerija Galerija Belgrade; 2009. Galeria Red, Athens; Galerija, Lazarevac; Sad; 2008. Moderna Novi Oko, Zlatno gallery, 2003. Diana Thessaloniki; 2006. Artforum gallery, 2002. Gallery Centre, the Belgrade of Athens; Cultural 1999.Christuskirche, Thessaloniki; 2001. Artforum gallery, Cologne; galerija, Belgrade; 1998. Zepter 1997. Chaos Sad; 1996. BAP Novi Oko, Galerie, Cologne; 1997. Zlatno 1996. Galeria Cologne; BBK 1995. (Germany); Witten Cologne; 1992. Ligue Cologne; 1995. Simultanhalle, Rathaus 1990. Gallery the Belgrade of Athens; Franco-Hellenique, 1985. Athens; 1987. Galeria Centre; Kreonidis, Cultural gallery, Demarco Belgrade; Richard 1984. Galerija KNU, 1982. Studio 1984. Galerija Sebastian, Varaždin; Edinburgh; Zagreb; 1980. Sebastian galerija, Dubrovnik; galerije Forum, Belgrade Kolektiv 1979. Galerija Grafički , Paris; 1996. Stiftung Kulturfonds Kulturfonds 1996. Stiftung , Paris; Stipends and residencies Stipends and Young for umetnici/Stipend 1980/81. Stipendija Mladi prizes and Awards 1999. AWARD the Fotowettbewerb at 1999. Prize the at museum the National of prize 1997. Acquisition Dry of Igla/Biennial Suva the Bijenal at 1993. II Prize arts graphic 9th Prix International 1990. Grand the Library at University the National by 1989. Purchase graphic of biennial Mediterranean the 1st at 1988. Prize the October Salon arts at graphic for 1987. Prize arts colony the Visual at sculpture for 1987. Prize Slobodanka Stupar Slobodanka Stupar arts and graphic Graduated 1947. Born in Sarajevo

interior architecture at FPU in Belgrade. Postdgraduate in in FPU in Belgrade. Postdgraduate at architecture interior in Belgrade. Specialised in graphic FLU arts from graphic a of a recipient as Arts Fine in Athens the School of arts at government. the Greek from stipendium in study to Pijade Moša Belgrade; 1983. Stipend Artists, of the Ministry Education from of 1985. Stipend London; Entraide une pour the Fondation of 1991. Stipend Greece; Européene Intellectuelle Germany Aahrenshop, Lukas Haus Kunst, und Publizistik Papier, – Druck und Medien IG Landesbezirk, Baden-Wurttemberg arts Biennial. Graphic Belgrade International Užice Point, Germany triennial, Frechen drawing Yugoslav of XII Zagreb exhibition Greece Nikolaos, arts, Ag. Belgrade SisakŽeljezara DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 232 DEATH TO ART LONG LIVE ART 235 Ugriz – 50 dm, 1997, 154 x 90 cm Ugriz Stokelj Bojan Fotografija: - 50dm, 1997, 154 x 90 cm, Bite Photo: Bojan Stokelj Zoran Todorović is an artist born artist in Belgrade an is in 1965. Todorović Zoran [email protected] He lives and works in Belgrade. He holds the position the position holds in Belgrade. He works and lives He Arts, Fine of of the Faculty at professor a Associate of deals often Arts work Belgrade. in of His the University on light shedding surveillance control, of and issues with a is He motivations. concealed truths and uncomfortable radical body art, performance, biopolitical of representative politicised postmediaart and art. performance interhuman situations collective and individual affective with works He conditions”. “human of the borders of representations and media leading in numerous work his exhibited has Todorovic the was He beyond. and Europe in events and artinstitutions Biennale. Venice the 53rd at pavilion the Serbian of co-author cim ZORAN TODOROVI C ZORAN [email protected] kolektivnim situacijama i predstavljanjem granica „ljudskih granica i predstavljanjem situacijama kolektivnim u mnogim vode radove c jesvoje izlagao Todorovi uslova”. - u Ev događajima i na institucijama umetničkim medijskim - 53. Venecijans na paviljona Srpskog je koautor Bio i šire. ropi kom bijenalu. - c je umetnik u Beogradu rođen 1965, gde Todorovi Zoran

mansa, radikalnog bodi-arta, interhuman-arta i politizirane i politizirane radikalnog bodi-arta,mansa, interhuman-arta i individualnim Radi umetnosti. sa afektivnim postmedijske - umet likovnih Fakultetu na je profesor Vanredni i radi. živi se često rad Beogradu. u umetnosti Njegov Univerziteta nosti - is ci neugodne osvetljavaju i kontrole, nadzora pitanjima bavi perfor jebiopolitičkog Predstavnik motive. tineprikrivene i SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 234 236

SMRT UMETNOSTI ŽIVELA UMETNOST DRAGOLJUB TODOSIJEVIĆRAŠA London; Pompidu, Pariz; MSU, MSUV idr. Beograd; privatnim kolekcijama imuzejima, kojima među su: Tejt, gradu Unikredit banke. Njegovi radovi se ubrojnim nalaze 54. Venecijanskom bijenalu izložbom zakoju dobio je na- va”, 1975). umetnosti kroz brojne kolaže itekstove („Edinburška- izja pretežno bavi ispitivanjem autoriteta iautorstva usvetu najizvođenijih godina Todosijević dela. Sedamdesetih se 1976.do1981.godine ipredstavljaod njegovih od jedno umetnost?” je „Šta no propituje određenu žensku osobu koja pored njega: sedi Abramović). Tako uperformansu Was ist Kunst? agresiv- publici, kadrugom, ane ka sebi (što slučaj je kod Marine uperformansima ucelini.i društva Raša agresiju okreće ka radom provociraju postojeći sistem umetničke prakse, kao uumetnost, iperformans,ja video acilj bio imje svojim da du. grupu zanimalo uvođenje umetnika je Ovu novih- medi stasavala Studentskog uokviru kulturnog- centra uBeogra iGeromvićem Urkomom pripada grupi koja umetnika je Erom Milivojevićem, Zoranom Popovićem, Nešom Paripo- instalacijamanošću, islikarstvom. SaMarinom Abramović, koji umetnik tualni je bavi se performansom,- video-umet [email protected] TodosijevićRaša 2011.godine predstavljao je Srbiju na urazličitim radizvođen Ovaj je varijacijama uperiodu Dragoljub Todosijević Raša 1945)koncep (Beograd, - umetnosti u Beogradu umetnosti u Fotografija: Arhiv savremene Muzeja umetnosti u Beogradu Vlasništvo Muzeja savremene 1979, video, trajanje 16min20s W as ist K unst, Marinela K oželj? W Museum of Contemporary Art Belgrade Photo: Courtesy of the archive of the Contemporary Belgrade Art of Museum the Collection of 1979, video, duration 16:20min as ist K unst, Marinela K oželj?

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SMRT UMETNOSTI ŽIVELA UMETNOST nici i ostalo administrativnonici iostalo osoblje. honorare. umetnicima. kurtone, cigarete isportske rekvizite ju: lekove, higijenski pribor, alkohol, daju kulturne potrepštine umetnicima. umetnicima. obuću iodeću životne namirnice umetnicima. ni prostor rupu ili ukojoj živi. umetnik stanarinu za:atelje, radni prostor, život- itd… preprodavci itd… alata boje, ulepšavajuili radove umetnika. itd…posrednici potrebne umetnicima. potrebne umetnicima. Banke injeni višiinižislužbenici. Opštinski službenici, poreski službe- Svi koji ubiraju porez na autorske Svi koji prave, prodaju preproda ili - Svi koji stvaraju, prodaju prepro ili - Svi koji prave, prodaju preprodaju ili Svi koji prave, prodaju preprodaju ili Njihovi radnici, službenici itd… Stambena preduzeća koja ubiraju Njihovi radnici, službenici, prodavci, Proizvođači papira, stakla, olovaka, Stolari koji prave lajsne, ramove itd… Preduzeća privatnici ili koji opremaju Njihovi radnici, službenici,prodavci, Preduzeća koja prodaju materijale Fabrike koje proizvode materijale KO PROFITIRA OD UMETNOSTI AKO POŠTENO ZARAĐUJE? Dragoljub Raša Todosijević, Beograd, 21.04.1975god. I OVAJ TEKST JEAUTOR NAPISAO DA BI NEKAKO PROFITIRAO EDINBURŠKA IZJAVA u umetnosti. rencijaši dobrim zlimili sa namerama savetodavci. novac zato što nije plaćen. lerija injihovi ličnisekretari iprijatelji. linogravura drvoreza, serigrafija, itd… litografija,grafika, bakropisa, akvatinti, mermer ibronzu. skulpture. skulpture. tuđe mozaike. obućari, lekari, grobari itd… Menadžeri, preprodavci, nakup- Beskrajno dobro istrenirani konfe- Otkupne komisije, njihovi članovi i Neplaćeni savet koji galerije ubira Plaćeni savet galerije. voditeljiGaleristi, kustosi galerija, ga- profita. bez Galerije Prodajne injihovi galerije službenici. Galerije. Kamenoresci. Medaljeri. Profesionalni visokotiražnih izvođači Cinkografi. Pečatoresci. Zlatari. Modelari istručnjaci zagips, vosak, Profesionalni koji klesari tuđe klešu Profesionalni livci koji liju tuđe Profesionalni mozaičari koji izvode Sitne zanatlije: limari, ramdžije, OD DOBROG I ZLOG UUMETNOSTIOD IZLOG DOBROG aranžeri. vođenje kulturnog programa. koja nabavlja iodobrava novac za kojaosoba institucijom uvezi sa je aranžirase umetnička izložba. jedna otpisuje potrošni materijal potreban da adresa islanje zaizložbu. pozivnica uzložbe. jedne kulturnog iobrazovnog programa. institucija iorganizatori umetničkog, dela vannih javnih kolekcija. aukcija. umetnosti. sitnici iostali ikrupni profiteriod Profesionalni neprofesionalni ili Svo tehničko osoblje. Svo administrativno osoblje. Sekretar, neka ili sekretarica druga Domar. Računovodstvo. Službenik koji nabavlja izdaje ili ili Službenik koji zadužen je zapisanje Svi administrativni službenici. Osoblje potrebno zaorganizovanje Niži višiinajviši službenici kulturnih Poznati icenjeni darodavci. »Anonimni« darodavci. Lukavi profiteriboljihod ili kapital - Kolekcionari. Organizatori javnih polujavnih ili Kurir. Dizajner kataloga, pozivnice iplakata. tnika ili tekstova ili tnika oumetniku ukatalogu. talogu. umetniku umetnikovog ili teksta uka- koje piše predgovor ukatalogu. neko treće pismeno polupismeno ili lice što dužu vest oizložbi. otvaranju iliti vernisaže. izložbe itdkataloga, razglednica … trajanja izložbe. potrošenu električnu energiju zavreme izložbe. i kataloga. poreza.katalog oslobođen uzimaju porez zaštampanje kataloga. zuju katalog ipozivnicu. iplakat.zivnicu Fotograf koji snima radove zakatalog Daktilograf. Prevodioci predgovora teksta ili o Lektor predgovora tekstova ili ume- Umetnički kritičar, ili književnik Vatrogasac. Novinar ne koji- ili kraću zabeležio je odeljenjeOglasno lista. dnevnog Spoljna informativna služba. kojaOsoba držiuvodni govor na Moleri. Čistačice. Čuvar iprodavac galerije ulaznica, Elektrodistribucija koja naplaćuje Telefonske usluge oko organizovanja Poštanske usluge zaslanje pozivnica Oni koji pišu iizdaju potvrde je da Oni koji propisuju porez ioni koji Administrativno osoblje štamparije. Korektor. kojiRadnici slažu, štampaju ipove- Štamparija koja štampa- katalog, po Urednik kataloga. Izdavač kataloga. . poznavanje neke umetnosti. druge tj. obelodanjuje svoje neznanje bedno ili intervjua sa umetnikom.intervjua sa emisije okulturi. izložbi. televizije na terenu. snimateljevu rasvetu. to ili čininakonbe otvaranja. »umetnici«. mudrolija oumetniku iumetnosti. deljne štampe. izložbu preko iumetnika ine dnevne - nalno opredeljenje napadaju brane ili mesečni list škrabamesečni lirske slike ipro delimavim iproblemima uumetnosti. piše ali oumetnicima, onjihotnošću - potpuniji povodom osvrt izložbe. rubrika. ostalih svih lista. dnevnog kaz udnevnoj štampi. Oni koji pišu, režiraju isnimaju kraće Organizator ivoditelj televizijskog Organizator ivoditelj televizijske Komentator spiker ili koji čita vest o scenografi iostali amateri.Režiseri, Urednik kulturne rubrike na televiziji. Njegovo tehničko ipomoćno osoblje. Niži kulturnog saradnik programa student ili Radnik koji zadužen je za Snimatelj koji snima otvaranje izlož- Televizija, njeni službenici, radnicii Izmišljatori doskočica, epigrama i Karikaturisti. oniI svi koji obzira na bez profesio- Književnik koji nedeljni zadnevni, ili Hroničar koji nema ume veze- sa Kritičar komentator ili koji dao je Tehnički urednik kulturne rubrike i Odgovorni urednik kulturne rubrike kritičarStručni koji manji dao je pri - daje daje autobiografiju. tnika oumetniku ioumetnosti. eseja nih časopisi zakulturu iumetnost. rastura časopise. koje piše začasopis iosoblje ali koje umetnosti. nicim,radnici isavetodavci. radiju. o nekom umetničkom pravcu. okulturi zaili ja iumetnosti. taju recituju. ili umetnicima ioni koji te škrabotine či- nici ispoljni saradnici. mansirane biografije umetnika. umetnicima uturističke svrhe. umetnicima. živim imrtvim dužeili televizijske filmove idrame o ili rakijuili konjak ili itd jelo vino ili ili … zarade: zatajpa cigarete, trud kafu, pivo ju anegdote iz života iviceve umetnika Oni koji pomažu umetniku napiše da Oni koji pišu anegdote izživota ume - Pisci monografija, biografija, sabra- Mesečni, tromesečni polugodišnji ili Nedeljni umetnički časopisi iosoblje Tvorci biltena iurednici biltena o Izdavačka preduzeća, njihovi službe- Svi saradnici isvo osoblje ostalo na Pisci radionekrologa oumetniku ili Organizatori intervjua iemisi raznih - Spikeri ivoditelji radioprograma. Pisci koji pišu zaradioprogram o Rubrika rekla-kazala. Informativna ivesti. rubrika Reklamna rubrika. stanice, njeniRadio službenici, rad- Oni koji snimaju dugometražne ro- Oni koji snimaju kratke filmove o Oni koji usmenim putem prepričava -

239 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 240

SMRT UMETNOSTI ŽIVELA UMETNOST osoblje. kustosi muzeja, pripravnici iostalo žiraju svoje unuke iprababe. atašei koji uinostranstvu zdušno prote - nički personal, radniciitd… izdavači, administrativno osoblje, teh- dnici, pomočnici, savetodavci, lektori, Kulina doDanas. Bana pa međurepubličkih izložbi. manifestacija,nih priredbi itd… umetnika. ovu onu ili godinu epohu. ili umetnost, modernu umetnost itd… poznavanje ranih radova umetnika. duzeća. davci, itajni posrednici preprodavci. i neumetnika. umetnika pise, reprodukcije ioriginalne grafike opredeljenja. Direktori instituta, direktori muzeja, Konzervatori, restauratori, tehnolozi… Ambasade, ambasadori ikulturni savetodavciŽiri, ikafe kuvarice. njihoviI svi komesari, sekretari, sara- Organizatori mamutskih izložbi: Od Organizatori međunarodnih izložbi. Organizatori i međugradskih Organizatori grupnih izložbi, kultur Organizatori izložbi samostalnih Stručnjaci zaovaj onaj ili vek za ili Stručnjaci zapra-oblike, primitivnu Stručnjaci zanjegova poznija dela. Stručnjaci koji prodaju svoje znanje i Komisioni, crkve igrobari. Starinari istarinarnice. Akviziteri. Trgovački putnici itransportna pre- Antikvarnice, antikvari, privatni pro- Knjižare koje prodaju knjige,- časo Umetnički fela, svih godišta kritičari i - jednog ili više stranih jezika. više ili jednog kama. muzejima, imanjim ruševinama zbir neri, kelnerice,hoteli, pansioni itd… duzeć, itd… železnica hovi službenici. tehničko osoblje. ranja umetnosti. od kurseva oumetnosti.skraćenih festivala umetnosti. legata. cija. kojekakvih kolekcija ilegata. vu mizeriju svojih ljigavih predaka. oni svoj itamo širili smradinedotupa- partiji zapošljavaju muzejima po ne bi li protekcija preko ili članstva upolitičkoj izlapela ili preko strina deda veza i Ljubavnice. Supruge. Udate žene. Modeli. Studentkinje. Šiparice. Obožavateljke. Aukcionarske kuće. Profesionalni znanjem sa vodiči Profesionalni galerijama, po vodiči Ugostiteljska preduzeća, kafane, kel - Avionske kompanije, autobuska pre- Turističke organizacije, agencije inji- Njihovo idejno, administrativno i Organizatori organizovanog profiti- Organizatori seminara iubrzanih ili Organizatori simpozijuma, susreta i Tehničko osoblje muzeja, zbirki i Doušnici. čuvari muzeja galerija, Lažni ikolek- Nočni čuvari muzeja, galerija, zbirki i Tatini sinovi itatine kćeri koje tata, - koji potkradaju umetnike. misije« ukulturi iumetnosti. osmehomsa iponosom na svoje »svete krate koji otimaju novac umetnika od osoblje. tivno i nužno tehničko stručno iadministra- cijalizmu. maskirane ipritajene- buržoazije uSo bankara ideci činovnika, uglednih deci pravilu dodeljuju: državnih viših deci studiranje uinostranstvu koje po se epigona.i solidnih diranja: poltrona, ulizica, bogatije dece jednogodišnjeg stogodišnjeg ili stipen- stipendija usvrhu jednomesečnog ili lupežima.ristima iostalim stipendija: bogatim studentima, karije- nog zadodelu nagrada,poklona i zaostavština ikolekcija. protiv umetnosti. dušebrižno lupetaju preko štampe zai Anti-dizajneri. Industrijski dizajneri vrsta. svih Plakateri, grafički urednici idizajneri I sve inajviše niže, ostale više biro- Organizatori udruženja umetničkih Patroni iorganizatori stipendija za Patroni iorganizatori fondova i Patroni umetnikovog fonda ostavlje- Narodni spasitelji umetničkog blaga. Prefrigani voditelji ičuvari legata, Domaćice imajke koje neki put po Advokati. bliži iostali idalji naslednici.Rođaci Stari prijatelji ipoznanici. Pederi. Deca. Udovice. Prijateljice. nost. ćupove, tanjire ito prodaju kaoumet koji otiskuju poznata dela vaze, na kič tničkih dela ina tometničkih zarađuju. ambalažu koriste reprodukcije ume- duvanapa, proizvoda iostalih koji za zavaju umetnike izato su plaćeni. umetnike ina tom poslu zgrću novac. dela. kih dela. kih produkcijama dela ikičeva. umetničkih produkcija dela. umetničkih davci. potrebno umetnicima. a to nisu niusnu to je bilo kada činili printu) Fluksusa, DADA pokreta itd., zaraditi na ponovom štampanju (re- novcu. punitnika«, nade isnova ovelikom potpisa.pare jeftinije bez plakata folija iporto potpisima sa za ili Proizvođači bombona, slatkiša, čara- Fotografi icelokupna foto industrija. Izvođači tepiserija. Fasaderi. Arhitekti. dekorateri.Zidni Keramička preduzeća privatnici ili Kreatori koji dezena sistematski sro- Modni kreatori koji javno karadu Javni ipriznati falsifikatori- umetnič Tajni falsifikatori dela. umetničkih Priznati inepriznati kopisti- umetnič Oni koji štampaju kalendare re sa - Proizvođači čestitki ire razglednica, - Proizvođači suvenira injihovi pro- Oni koji zarađuju nadaju se ili će da Proizvođači iprodavci ume- »ploča Proizvođači iprodavci: multipla, - sa umetnicima radi»Umetnosti«.sa lovaradi lakšeg na profit uumetnosti. priučeni teoretičari utajnom ortakluku nešto-tad zaradili. isvojusebe koncepciju ina tome kad cepciju problem, tezu ili ili bi da istakli neku ili umetnika više ideju kon ili - sti radikoristoljublja iprofita. zarađuju falsifikatima. na tim njih samih. ke bolje itako prolaze izarađuju od savesti trunke podražavajubez - umetni umetnike. ono«.ili znike. tama umetnika. rijskim fotografijama,potpisima salve i - trakama, dokumentarnimvideo iisto - fitirali. zaostavštine ina tome gangsterski pro- njihove umetnike bi da dočepali pele se delima«.kim profitiraliod sitnetrgovine i - »umetnič meno krčme svoj uticaj bi da uzgred pločice. nice, tapete ikuhinjske klozetske ili za marke, nalepnice, barjake, slikov- Dame izfinijih kuća koje svašta rade Diletanti i inabeđeni , umetnici Oni koji ili umetnika jednog ističu Zagovornici uumetno- stila jednog Falsifikatori istorije umetnosti koji Ozbiljni isamouvereni epigoni koji Imitatori koji zarađuju imitirajući Oni kojima drago je što mogu »ovo Oni koji maltretiraju slučajne prola- Ekskluzivni rasturači iprofiteri na Oni koji izdržavaju- iznemogle iizla Direktori izdavačkih kuća koji povre- oniI svi koji koriste umetnička dela života. zarađuju besmislenog posla todg zadva kure, pamet sole pa umetnicima iod roditelja, prijatelja sine- iveza dočepali na »tajnovit«se način, preko svojih stvarnonikad nisu nirazumeli. boljem razumevanju umetnosti. bleferski prodaju kaoveliki doprinos bulozne zaključke oumetnosti ito nam kulturom. izvan kulture inad inad umetnošću bida stekli pozicije izvan umetnosti, i buržoaske umetnsti modele ikulture, prevaziđene, reakcionarne, šovinističke lizmom prikrivaju svoje dekadentne, koji ne nudi nikakav profit. ne doOBRAZOVANJA iKULTURE iuticaja domoći stalo uumetnosti, a teta, muzeja iakademija kojima pre je njaci instituta, sa škola, visokih fakul- profitod umetnosti. bi stekli pozicije uumetnosti iosigurali nici koji bave se dnevnom politikom da lerijama. plakatiraju najelitnijim po iizlažu ga- te uvaljuju, -pa ideje ulice!« prodaju, umetnike. I svi ostali jeftini politikanti jeftini ostali I svi koji su Filozofi koji pišu oumetnosti a koju Psiholozi koji isociolozi ne- izvlače oniI svi koji nam- libera verbalnih Pritajeni ideolozi, demagozi imrač- Kritičari, teoretičari umobol iostali - Oni koji Umetnost su pobornici:« na Dame koje studiraju umetnost i

241 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 243 - (Belgrade, a con 1945) is Raša Todosijević Dragoljub the Serbia at represented Raša2011 In Todosijević [email protected]

ceptual artist engaged in performance art, video- art, instal in performance engaged artist ceptual Abramović, Marina with Together painting. and lations Gera and Paripović Neša Popović, Zoran Era Milivojević, which developed artists of the group to belongs he Urkom, the during Centre Cultural Student the Belgrade’s around new in introducing interested was 1970s. This group early to aiming performance, video is and art, that media into art practice of system the existing work its with provoke performances his society In of in general. that as well as towards the audience, towards Raša aggression his turns being the case (the latter himself against not and the other Was performance in his So that Abramović). Marina with a particular woman interrogates aggressively he Kunst? ist work art? This is What beside him, asking: who sitting is to 1976 from versions beenhas performed in different the 1970s In performedworks. most his of one is and 1981 - the au in questioning interested mostly was Todosijević numerous through thein artworld authorship and thority 1975). Statement”, (“Edinburgh texts and collages which he for the exhibition with Biennale 54th Venice - in nu present is work His Award. the UniCredit received as such in museums as well as collections private merous Belgrade, MoCAV MoCAB Paris, Pompidou London, Tate Sad etc. Novi DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 242 DEATH TO ART LONG LIVE ART 245

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The director, stage designer and remain and designer stage director, The amateurs. ing speakerreads or who commentator The the television. news on for hosts television and organizers The shows. cultural in television of host and organizer The terview the artist. with made either or film Thise write,direct who about TVplays and long films or brief dead artists. or living either of the lives as artists about Thosemake films who ads. tourist Thoseromanticized who film full-length artists. of biographies workers their personnel, Radio stations, associates. other and page. advertisement The spots. information and reports News column. gossip The about who write writers Radio program this reciting or those reading and artists material. host. program radio speakerand The interviews and of various organizers The art. or cultures either dealing with shows radio necrology announce of Writers artistic some or the artist concern ments movement. radio staff other and All associates members. workers their staffs, houses, Publishing consultants. and these bulle of the editors and Bulletins art. on tins thewhich staff and art magazine Weekly those as well as the magazine, for writes distri the for responsible members staff the magazine. of bution maga bimonthly or quarterly Monthly, art. and culture dealing with zines - - - -

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ticular branches of art. of ticular branches their of who regardless allAnd others or de attack either fields professional the through artist and the exhibit fend press. weekly and the daily cartoonists. The and epigrams of trickery, makers The artists, artand to related sophistries its personnel, station, television The “artists”. and workers eitherthe who films camerman The report a film or the exhibit of opening on it. camera the for responsible worker The lighting. tele of the assiciate lower-ranking The who covers programme cultural vision’s the story. assistants. and technicians His cul station’s television of the The editor section.tural Outside information service. information Outside paper. of daily the ad department The short or a long is giving The journalist the exhibit. on report a expertThe exhibit the critic giving paper. review in the daily short of the cultural editor competent The paper. section the daily of and of the cultural technical The editor all sections. other a offering or commentator critic The detailed the exhibit. review of more to do nothing has who publicist The their artists, about writes art but with in the art world problems and works lyric imag his out scribbles author The monthly or weekly daily, art for es on sale for them up putting newspapers, or ignorance his public making thus and par some of knowledge pro extremely

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The proofreader. The of the personnel administrative The firm. printing collectand taxes rates Those fixwho tax publications. catalogue on certificates issue Thoseand signwho be the catalogue Tax-free. that deeming and invitations mailing for fees Postal catalogues. expenses ar with connected Telephone the exhibit. for made rangements charge which electric The companies, the during spent electric energy, for the exhibit. time of galleryThe post catalogue, and guard salesmen. ticket and card women. cleaning The housepainters. The introductory the giving individual The the ex of opening the grand at address hibit. The designer of the catalogue, of invita of catalogue, the designer The posters. and tions messenger. The inspector. fire The other individual or critic, writer The the to the preface writing for responsible catalogue. preface, checks the who copyreader The the those about or texts, the artist’s of in catalogue. included author, ( ) typist. The pictures shot who photographer The the catalogue. from publisher. catalogue The editor. catalogue The print for responsible firm printing The invitations. and the catalogue ing bind the print, who set the workers, The the invitations. and catalogue

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The account office. account The The janitor. related other persons of The secretaries funds which provide institutions, with programs. cultural for technicalThe all personnel. man non-professional and Professional agers. Purchasing commissions, its members members its commissions, Purchasing consultants. and ex conference trained well Extremely both bad good inten perts and having art. concerning tions all dealers other and retailers, Managers, art profiteers big-time small-time or or partially public of organizers The auctions. public collectors. The profit who makers profit shrewd Those of outside works or capital finer from collections. public benefactors. “Anonymous” respected and benefactors. well-known The highest-ranking and higher low, The and institutions cultural of personnel educa and art, cultural of the organizers in members staff The programs. tional exhibit. an. of in the organization volved employers. All administrative ac and issues orders, clerk, who The an the necessary for for materials count exhibit. ------

FROM THE GOOD AND BAD IN ART! GOOD THE BAD AND FROM Sales galleries their staff. and galleries. Non-profit Gallery gallery owners, administration, their personal secgallery and curators friends. and retaries subsidized gallery The council. galleryvoluntary The which council, paid. not is because, collects money All those collecting taxes on artists’ in All those artists’ collecting on taxes comes. administra other and clerks Municipal personnel. tive low and higher The with their banks members. staff er-ranking doctors, tinsmiths, Small craftsmen: grave and shoemakers, frame-makers, diggers. exe who craftsmen mosaic Professional mosaics. else’s someone cute someone who cast casters Professional sculpture. else’s wax, experts and in plaster, Modelers bronze. and marble Goldsmiths. makers. Signet Zincographers. high-circula of executors Professional aqua etching Lithograph, prints: tion silkscreen, woodcutstint, etc… Medallists. Stonecutters. galleries.The EDINBURGH STATEMENT EDINBURGH THE AUTHOR WROTE THIS TEXT IN ORDER TO PROFIT PROFIT TO IN ORDER TEXT THIS WROTE THE AUTHOR - - - Dragoljub Raša Todosijević, Belgrade, 21.04.1975 Belgrade, Todosijević, Raša Dragoljub

WHO MAKES A PROFIT ON ART, AND WHO GAINS FROM IT HONESTLY? GAINS FROM AND WHO ART, ON A PROFIT MAKES WHO

The factories, which produce materi produce factories, which The

All those produce and sell, wholesale and All those produce and drugs, sanitary retail supplies, or and cigarettes contraceptives, alcohol, goods artists. sporting to All those producing and selling either selling either and All those producing cloth and footwear retail wholesale or artists. to ing sell either and All those who create to requisites cultural retail wholesale or artists. The real estate agencies collectwhich agencies real estate The or quarters living lofts, for: studios, rent live. artists where the holes for etc… clerks, employers, Their selling either and All those producing to everyday items retail wholesale or artists. The carpenters who make frames, make frames, who carpenters The wooden etc… structural supports, pencils, of glass, paper, producers The etc… tools, paints, clerks, sales personnel, workers, Their etc… retailers, als, are necessary artists. als, to are are nec materials, firms,sellThe which essary artists. to clerks, sales personnel, workers, Their etc… agents, owners business private or firms The decorate or the equipment who provide artists. of the work DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 244 DEATH TO ART LONG LIVE ART 247 - - -

The critics, theoreticians and other and critics, The theoreticians in everyday so politics engaged quack in the position a attain they might that a themselves ensure thus and art world profit from it. demagogues ideologists, Camouflaged schools in institutions, reactionaries and and higher universities learning, of interest a greater academies who have artworld, in the influence and in power CULTURE, and in EDUCATION than profit. of kind any offer which doesn’t all And those their decadent, who shade bour and chauvinist reactionary, dated, ver with culture art and of models geois they might that bal liberalism, in order the art world, of outside positions attain being both thus culture, of outside culture. art and beyond and above and sociologists who psychologists The art about conclusions extract nebulous as a great sell then start to this bluff and understanding the better to contribution art. of nev art, yet about writing Philosophers understanding, er really who politicians all cheap the other and Through way. in this “mysterious” have, seized connections friends and relatives, and artists brainwashing the sinecure, at times life two for money enough make business. this nonsensical through

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Those favoring a particularstyleart in Those favoring profit. for lust greed and their own to due Those supporting helpless and and senile helpless supporting Those their in of hold get to in order artists a gangster-like making thus heritance, profit from it. on profiteers and distributors Exclusive documentary historical videotapes, and authors’ and signatures photographs, napkins. artists. anonymous Those exploiting by-passers. occasional abusing Those or that”. “this to do glad are Those who imitating by a living make Impostors artists. that epigones self-confident Serious and the least feeling without artists imitate earn and better faring thereby guilty, bit did themselves. the artists than more ing art history who make of Counterfeiters these fakes. on money Those pointing out one artist, or a num or a artist, one out Those pointing a particular them, or ber idea, of theme they that in order problem, or thesis or and themselves to attention draw might something earning their ideas, thus later. sooner or it from indoctrinated, other and Art dilettantes se in joined theoreticians calumniated the simplify to in order partnership, cret art. in profit for hunt artists. art and Ladies studying en good families that ladies The from artists with business in all of kinds gage “Art”. the sake of for Pro “or” Art “Street Thosesupport who thrust, sell, advertise thus Art and test in the these exhibit place ideas on and galleries. elitist most

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Those who print calendars with repro with calendars print Those who art. junk art and of works of ductions of copyist unclaimed and acclaimed The art pieces. art.of works of forges The secret decorators. Wall makers. Façade makers. Tapestry sweets, dealing in candy, Tradesmen all prod other and tobacco stockings, its art on of a work ucts, reproducing an make necessarily thus wrapping, it. on earning stamps, art on of All a work those using books, wallpapers picture flags, labels, tiles. bathroom or kitchen and houses who publishing of directors The their in dispense with occasionally from profit a make to order in fluence art”. of small “works trade on editors and designers who slyly steal who slyly designers and editors the artist. from all kinds. of designers Industrial Anti-designers. post handbills, sellersof: and Producers for or signatures with portfolios and ers them. without cheaper as “record of and sellers producer The loaded down and full hope of art work”, money. of sums large of dreams with to earn hope or from Those who earn the (reprint), publications additional so forth, and Fluxus movement, DADA doing of even dream theythough didn’t truly was this when necessary the it for artist. their sales people and producers Souvenir cards greeting postcards, of Producers art works. of reproductions and - - - -

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trative personnel. trative highest- higher and all lower, And other squeezing money bureaucrats ranking their of proud a smile, with artists of out in culture. in art and mission” “holy wrap its art on of a work reproducing graphic markers, The poster thus ping, Widows. Children. acquaintances. friendsOld and further all closer or other and Relatives heirs. removed Lawyers. who occasion mothers and Housewives the press through nonsense ally preach art. Shrewd against and of in support legacies, the trustees of and overseers collections. and inheritances art toof left be funds overseers The and schol gifts awards, as distributed and careerists rich students, to arships: thieves. assorted other and scholar of funds organizers The one-year, one-month, as given had ships lackeys, to scholarships hundred-year or and children wealthier and bootlickers, solid epigones. to for scholarships granting Organizers granted usually which are abroad study higher government of the children to and masked of children tothe officials, in socialism. hidden bourgeoisie associations of various organizers The adminis technical and the required and Models. women. Married Wives. Mistresses, Girlfriends. - - - - -

All their commissioners, secretaries, All their commissioners, Professional guides working for galler for working guides Professional smaller collec ruins and ies, museums, tions. of knowledge with guides Professional languages. foreign more or one Fans. The Teenyboppers. students. female Young The juries, consultants, experts and café experts café and juries, consultants, The hostesses. technicians, restorers, conservators: The etc… directors, museum directors, Institute staff other and clerks curators, museum members. and their per companies insurance The sonnel. of the museums, of guards night The that this, and of galleriescollections or legacy. or type compilation of meetings of symposium, organizers The art festivals. and or brief and of seminars organizers The in art. courses crash mak profit organized of organizers The art. on ing and ideological, administrative Theirs technical personnel. their and agencies organizations, Tourist personnel. railroads, lines, bus companies, Airline etc… restaurants, waiters, cafes, chains, Hotel etc… houses, boarding readers, publishers, administrative and and administrative publishers, readers, so and workers technical personnel, forth… associates, assistants, consultants proof consultants assistants, associates,

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The organizers of international exhibits. of international organizers The exhibits: mammoth of organizers The the pres to times through ancient from day. ent ticular epoch. one particularartist’s of organizers The man show. one cultur exhibits, of group organizers The etc… presentations, al manifestations, take which of exhibit organizers The republics. between or place cities Those selling their knowledge and fa and Those their knowledge selling works earlier the artist’s with miliarity works. Experts later with familiar art, primitive Experts pre-historic for art, modern art, etc… Experts a particular a par century of for Antique shops, antique dealers, private dealers, private antique shops, Antique retailers. and sellers, agents collectors. The second-hand and stores Second-hand dealers. stores. commission The dy or cognac or vine or food, etc… or vine cognac or or dy trends. and age of all fields critics The sell the mag books, that The bookstores original prints and reproductions azine, the non-artist. by and artist by created ular artist and his works of art. of works his and artist ular from anecdotes recording Those who life. the artist’s au artist his in writing the Thoseassist tobiography. and anecdotes retell verballyThose who this in way life, the artist’s from jokes bran or beer coffee, cigarettes, earning: Monographers, biographers and editors editors and biographers Monographers, a partic dealing with collected essays of DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 246 248

SMRT UMETNOSTI ŽIVELA UMETNOST dine. umetnost. U statusu 2004.go- od samostalnog je umetnika i izložbi uzemlji iinostranstvu. Dobitnik nagrada za više je dovi su festivala prikazivani sedamdeset izloženi od ili na više ka istraživanju na polju razvoja svesti i duhovnosti. Njeni ra- od 2003. godine а videa, proširuje i filma svoja interesovanja godine. Aktivno bavi se slikarstvom iistraživanjima uoblasti vom Sadu, slikarstvo. Odsek Postala članica je ULUS-a 1999. [email protected] Diplomirala 1994.godine na Akademiji umetnosti uNo- razorenog iskustva. prekokoji jedan italože naziru se ipored kaozapis drugog integriše celinu, acelina ostaje tek splet tragova koji nestaju, nepovezanogjevi iskustva u jednu sliku, na kojoj- detalj dez izrata.scene popularnih folk zvezda, ljudske lobanje idokumentarne u svakom zrnu njene pojavljujuogrlice show-a delovi se TV uništi sve što loše… je prolaznosti. bi Da nastalonešto dobro ilepo, mora prvo se da no, raspadanja imoć idestrukcije, razornu vremena moć i simbolizuje nebesku Majku koja štiti i neguje ali, istovreme - om razornom obličju, ogrlicom ljudskih sa od glava. Kali Koncept ovog „arheološki”, je rada njime stapaju se slo- pojavljujeU video-radu se Kali ogrlicom. sa Postepeno, Video inspirisan je hinduističkom boginjom Kali u njen- production: Vesna Tokin, 2003/4,8min produkcija: Vesna Tokin, 2003/4,8min Kali: Mirjana Vuković Kali: Mirjana Vuković Format: DVD Format: DVD KALI, KALI,

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DEATH TO ART LONG LIVE ART dent artist since 2004. recipient of many awards for Sheart. an- has indepen been tivals and exhibitions and country inthe abroad. She is the video. Her works have shown been inmore than seventy fes- ULUS. She is active as apainter and researcher in film and Sad, inpainting, in1994.In 1999 she amember became of [email protected] Vesna Tokin graduated from Academy the of inNovi Art stroyed first. has de- bad to be something and good beautiful, everything ing power of and time and its transience. In order to create is symbol the of decay and and devastat the destruction, also - Mother protects who and nurtures but on other the hand, she human heads. one On the hand, Kali symbolizes heavenly the sented form, in her destructive made with from a necklace This video is inspiredThisvideo the by Hindu goddess Kali, repre- perience. perience. top of and eachanother beside as arecord of destroyed ex- patchwork of fading tracks and trails, coming into on view disintegrate totality, the and totality the remains as just a incoherent into experience one image details the in which human skulls war appear. and scenes documentary each of clips shows her beads of of TV popular folk-stars, Thevideo’s concept is “archeological”, merginglayers of Kali is wearing video. inthis anecklace Gradually, in 251 252

SMRT UMETNOSTI ŽIVELA UMETNOST nica zaodvijanjenica dešavanja. različitih umetničkih Trećeg zamišljeno je, takođe, kaootvorena Beograda pozor ukojimaja održavati će se predavanja iradionice. Dvorište prostorije,tralne kluba, biblioteke irezidencijalnih prostori- Dunava. na levoj grada deo obali je Novije atreći Beograd Beograd, staro je gradsko jezgro, Beograd Beograd logije. Prvi drugi 2014. godine. umrežavanjaprakse savremenosti. Postojao 2009.do od je definicije autonomnog utopijskog prostora,odnosno kao mentalno nadovezuje o događaju na tezu Alana Bađua kao ponašanja Ona se savremenih grupe iz Beograda. umetnika ipraktičnazadruga implementacija određene strategije Treći mentalniprostor ifizički kao umetnosti Beograd Fizički prostor sastoji kaocen- se galerije od 3.BGD‐a Naziv Treći preuzet je izurbanističke Beograd termino- Treći bio je misaoni i fizički Beograd prostor, umetnička - radi! Šta umetnik pojedinac radizadruge? radi! Šta pojedinac umetnik pitanjevilo može, umetnik jedan šta bi šta odnosno morao da političke iekonomske- posta se umetnike 3.BGD‐a moći. Za rom savremenih ekonomskih ikarakterom odnosa raspodele razvoj mišljenja u umetnosti i kulturi uslovljen je karakte- Te umetničke proizvele prakse su veliku konfuziju, atakav industrijelik otpada, reciklirajući ideje, forme ivrednosti. kulture.u okviru To ona znači se da pretvorila ob ujedan - nomiju iznačaj, funkcioniše samo kaooznačiteljska praksa nekoliko decenija, lokalno iglobalno. politički kontekst ukome umetnost uposlednjih se razvijala zajedničke strategije, moramo ukratko analizirati istorijski i Trtovca iSelmana Pavlovića oko udruže se da ) izBeograda Veljka Đankovića, Ranka Marka Markovića, Antonijevića, Marine Vučetić, Anice Marković, Olivere Parlić, Radoša (Sanje umetnika Latinović, stora i odluke grupe 3.BGD‐a Umetnost marginalna, izgubila postala svoju je je auto- bismoDa shvatili razloge zanastanak mentalnog pro- Trećeg vezano zaumetnički mentalni prostor. Beograda pitanje. jalno dolazimo dopitanja moguće utopije koje egzistenci jedno je - gde taj se prostor ikoje nalazi su perspektive tog prostora! Tu na pitanjeodnosi osvaji kako umetnik da novi jedan prostor, kulturi uopšte. Taj razmišljanja deo o umetničkoj strategiji se mentalnog drugačijeg ili prostora uumetnosti, u odnosno stvaranje novih struktura na umetničkoj novog jednog sceni, Takvo razmišljanje predstavljalo je uosnovi ipoziciju dolazimo dorazlogazagrupisanje,Ovde umrežavanje, Photo: Veljko Pavlović J artist visitThe of theA Fotografija: Veljko Pavlović u Muzeju suvermene umjetnosti uZagrebu 2013. P oseta Umetničkeoseta T zadruge osip V anište at theMuseum of Contemporary A rt Cooperative Third Belgrade to the Belgrade exhibition Third Cooperative rt of the reći Beograd izložbi umetnika J izložbi umetnika reći Beograd rt in Zagreb in2013. inZagreb rt osipa V anište 253 DEATH TO ART LONG LIVE ART 255 Art has become marginal, it has lost its autonomy and and autonomy its lost has it marginal, Art become has networking, grouping, for the reasons to come we Here the Third - thinkingBel of basically was the position Such significance, it functions only as a signifying practiceonly within it functions significance, - in waste of form a turned into has it that means This culture. artisticprac- These values. and ideas, forms recycling dustry, a development such and confusion, great produced tices have the character by conditioned is culture in art and thought of the of the character and relations economic contemporary of the artists For power. economic political and of distribution what is, that do, can artist an what was the question 3.BGD, of others? do for artist individual does an do! What should he different the a new art scene, or on new structures creating of part That in general. in culture space in art, or mental how of the question to artistic refers strategy thinking about located space is that where a new space, conquer can artist an to come we space! Here that the perspectives of are what and - ques existential an which is utopia, possible of the question tion. space. art mental to grade related - The third Belgrade was a mental and physical space, an space, physical and The third mental a Belgrade was - terminol urban ThirdBelgradefrom is name taken The of a gallery of 3.BGDspace as a cen- consists physical The the of the emergence for the reasons understand To The third artThe third spaceBelgradeof physical and as a mental a cer of a practical implementation and artisticcooperative artists contemporary of a group of behavior of strategy tain thesis Badiou’s Alan on builds mentally Belgrade. It from utopian autonomous an of a definition as the event about - exist It modernity. networking a practice of as is, that space, 2014. 2009 to ed from the secondBel- city center, first old The Belgrade isthe ogy. Belgrade Belgrade, the third the a part and grade New is is of of the Danube. the left bank on city lec- where premises residential a library and a club, tral room, of Third the will courtyard The be held. workshops and tures artistic various for stage open an Belgrade as also is conceived events. artists of a group of 3.BGDthe decision of space and mental Olivera Latinović,(Sanja Marković, Anica Marina Vučetić, Radoš Marković,Parlić, Ranko Antonijević, Marko Đan- Belgrade) from Selman Trtovac and Pavlović ković, Veljko analyze briefly must we strategies, common around unite to developed in which art has political context and the historical decades, few in the last locally globally. and reći Beograd rt Cooperative Third Belgradetookplace

hoto of the building in which the building the activities the A of of hoto Fotografija zgrade u kojoj su se odvijale aktivnosti Umetničke zadrugeUmetničke T su se zgradeodvijalekojoj u aktivnosti Fotografija Arhitekta: Milorad Mladenović, mesto: Beograd - Krnjača, na obali Dunava u blizini Beograd u blizini obali mesto: na Dunava Mladenović, - Krnjača, Milorad Arhitekta: mosta Pančevačkog Trtovac Selman Fotografija: P the near the Danube thebank of Belgrade place: on Mladenović, Krnjača, - Milorad Architect: bridge Pancevo Photo: Trtovac Selman DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 254 256

SMRT UMETNOSTI ŽIVELA UMETNOST levoj Dunava. obali već naograd), neuporedivo manje razvijenom prostoru na nina socijalističkom Novom- Beograd), Be (Drugi Beogradu vlastitu galeriju ne smesti niuistorijskom (Prvi centru grada nje ustanju učesnika očekvanja nekog događaja. ske strukture opažanja, ili simulirajući samoposmatra time - radnje koje su tematizovale elementarne prostorno-vremen- krivena snegom često su služila kaopozornica zaminimalne najčešće na neko široko, prazno polje. Netaknuta polja pre- organizovale su Odlaske izgrada ururalnu periferiju Moskve, njihovih aktivnosti ne bude Kolektivne u centru grada. akcije odozdo, sami umetnici. izgrade je da odnosno obnovi kulturne infrastrukture, ona kaoizato se da izgradi ku rata uJugoslaviji godina angažovao isnažno 1990-ih se u državnih struktura, iizvan ali tržišne akonomije. organizovanju moskovske alternativne kulturne −izvan scene doblju. su značajnu godina igrale 1970-ih Od usamo ulogu - vezuje želja ih zazajedničkom umetničkom delatnošću. ničke nastale urazličitim istorijskim grupe kontekstima,- po godine u galeriji Trećeg Premda su ove Beograda. dve umet- Treći preuzeo ime je izahritekture, Beograd odlučivši da Vrlo zanimljivo je sedište da to što odlučile su grupe obe Treći osnovan uburnomzavršet je Beograd po - periodu Kolektivne akcije formiraju upoznom se sovjetskom raz- Moskovska Kolektivne grupa akcije gostovala 2011. je Kolektivne akcije uTrećem Beogradu SABINE HAENSGEN Photo: Yuri Albert P Fotografija: Juri Albert P ortrait of H ortret Sabine H aensgen Sabine, enzgen, estetskim ifilozofskim kontekstima. dualna maksima, ito uraziličitim političkim, pshihološkim, pritom promišljaju kaokolektivni program, ikaoindivi ali - no smenjivanje ukome prepoznaje se nit tradicije. Parole se nje vremenskoj posvećuje dimenziji: seriju obeležava ritmič- decenijusve do u prvu 21. veka. Posebnu pažnju ovo ostvare- seriju parolama akacija sa koja godina, pa 1970-ih su tekle od jednujoš instalaciju Kolektivnih akcija. Ona ćeimpredstaviti u moguće perspektive. tragu zaalternativnim oblicima zajedništva steknu ida uvid zaKolektivnebaš akcije. omoguće bila tako da imje - Želja po svetovanih („prazna radnja”), koja inače karakteristična je na svoju dokumentaciju metodu pražnjenja spoljnih znakov- stalacija Kolektivnih primeniliumetnici su akcija. Beogradski san” Treći grupa je vlastitu −izvodeći akciju Beograd „Kolektivni putovanje kroz različite slojeve dokumentacije. Tom prilikom nudila je mogućnost za„sekundarno”terijala, aposetiocima tekstova, sastojala Ona se od grada. fotografija- video-ma i Kolektivne akcije postavile instalaciju ugaleriji Trećeg- Beo Na Bijenalu vide da će moći u Pančevu 2020. posetioci Saradnja ove između dve što time otpočela je su grupe − čitavu provela noć uprostoriji ukojoj in- nalazila se Igor zakulturu Zabel iteoriju za2012.godinu. u Cirihu. Dobitnik radne stipendije je slovenačkog Društva kog Performance tima Art in Eastern Europe pri Univerzitetu elnog arhiva moskovskog konceptualizma. istraživač Član je - stvuje uradu Kolektivnih akcija, kaoiuizgradnji audio-vizu- Berlinu ina Univerzitetu uBremenu. 1984.godine uče- Od a gostujući profesor bilai na Humboltovomje univerzitetu u verzitetima uBohumu, Bilefeldu, Bremenu, Kelnu iBazelu, akademiji VGIK. Kao istraživač ipredavač na uni- je radila sku razmenu DAAD 1984.boravila uMoskvi, je na filmskoj kustos. Zahvaljujući stipendiji Nemačke agencije- zaakadem teoretičarvista, medija, konceptualni prevodilac umetnik, i [email protected] zanimanju po sla- je Sabine Henzgen (1955,Diseldorf)

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SMRT UMETNOSTI ŽIVELA UMETNOST Photo: Veljko Petrović dream II, Collective fotografija Veljko Petrović K olektivni san II, motivacionih konteksta zaaktivnost grupe. između odnosa spoljnihznačenje iunutrašnjih specifičnih na primeru ovih se da akcija jednom još prodiskutuje kojihokviru primenjuju se slogani. zanimljivim Činimise na tradiciju performansa unutar „Kolektivne grupe akcije“ u određenu formu političkog dizajna usovjetskoj kulturi, i ali S.H.: Naziv poslednje akcije „Slogan 2005“ukazuje na Dialog osloganima „Kolektivnih akcija“ (1) Sabine Hensgen, Andrej Monastirski tekst predgovor je četvrtom svesku „Putovanja izvan- gra orijskim kontemplacijama, prostorom sa i vremenom (njen drugačiji diskurs uovu seriju koji povezan je samo apri sa - praznine, jasnog izkrajolika „karaktera slogana“) (bez sasvim akcijaSledeća na„Slogan neki 1986“ vraća način iz potpune izaciji i„nultifikaciji“ svakog mogućeg ideološkog diskursa. javanju izdiskurziviteta udeskripciju tj. opotpunoj formal - udaljavanju teksta izoblasti vizuelne- percepcije već ioudal ju slogana, prvog kod trećeg dok slogana se nije samo radilo o gan predstavljala 1978“već je refleksiju ounutrašnjemsadrža- koje uvek još je korišćen sovjetski slogan. akcija- Druga „Slo praktičnolo je nakon odmah akcije prve „Slogan 1977“ kod ovih sloganskiheru akcija? vidišveze spoljnih između ti iunutrašnjih konteksta na prim- čitavagodina izrodila zaslužuju serija, posebnu pažnju. Kako metropole Moskve. Utom kontekstu akcije, izkojih tokom se og pražnjenja iznakovni materijal koji područja sa potiče – 1980), „Kolektivne akcije“ podvrgavaju procesu ideološk - nosti koje su dokumentovane uprvom svesku KA (2)(1976 vanje grupne vremenskog aktiv- početaka samih Od sleda. udaljavanje, hodanje, stajanje, ležanje, –tišina, ritmizo- zvuk strukture opažanja: pojavljivanje –nestajanje, približavanje – delanja koja tematizuju elementarne prostorno-vremenske smislu prazno polje –postaje pozornica zaminimalistička semiotičkom redukcijom. Ruralni prostor –umetafizičkom Prelaz prostor izgradskog ururalni pri tome povezan je sa „Kolektivne akcije“ organizuju sastoji uprelaženju se granice. A.M.: Udaljavanje spoljnih konteksta od sovjetskih - poče Važan sižejnielement „Putovanja izvan grada“ koja „Protiv svetlosti“). (ona nastavlja na primer iliniju akcija „Sredstva zaseriju“ i nastavlja različite linije KA, a ne samo liniju faktičkih slogana i onaj prethodni. To akcija je koja serije uokviru istovremeno ne „prostor“).(ali na pojmovnim kategorijama kaošto su „skrivenost“ i„mesto“ satom“ sa „Akcijom faktičkim sloganom. isa zasniva Ona se koja usidrena je duboko u opštoj strukturi dve akcije i to sa „Slogana Hajdegerom) 2003“(sa opojedinačnoj radise akciji povezuje sudbinomRiklina sa novoruskog diskursa. Kod tome figura se profesionalnogsovjetskog filozofa Mihaila u pravom smislu reči „izvlači“ izovog htoničnog sveta. Pri etkom godina prošlog 80-ih veka. „Slogan Sledeći 1996“se metro) mojim isa avanturama ličnimpsihodeličnim - poč način povezan spoljnim sa htoničnim svetovima (moskovski svoj izrazna finansijskojtabli slogana). kao estetska kategorija KA irastući monetarizam koji nalazi dirivanje unutrašnjih ispoljnih konteksta („neprimetljivost“ veka bila upunom zamahu. vidimo snažno do- takođe Ovde monetarizma koja nastaje, a u Rusiji godina prošlog 90-ih je „Slogan Ready-MadeSledeći 1989“ je Pop-Art) (ili ideologije karte na kojoj teritorija je SSSR bila obojena crnom bojom. zakopavajuse sova koji ipas su geografske bili izrađeniod nestaje u„dečijoj ideologiji“ uobliku „dečije tajne“ ukojoj da“). Uplastičnoj dimenziji formalizam sovjetske ideologije Poslednji „Slogan 2005“realizovan na istom je mestu kao komplikovan„Slogan 1990“je zadiskurs. na neki Onje

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SMRT UMETNOSTI ŽIVELA UMETNOST kako se ponavlja.kako se sistemom Serijalnim KA, njegovom prin- varanja forme. Ono što ponavlja se manje načina važno od je minimalne promene, primetne zajedva nijanse uprocesu st- ono što očekujemo već stvaraju novi estetski senzibilitet za ponavljanja ivarijacije niukom slučaju ne potvrđuju samo strane druge liko sa posmatramo imuzike tradicije poezije zadovoljstvajem prepoznavanjem što nečeg očekujemo. Uko- vrđivanje zajednice jedne pri čemu to je povezano- osećan sa kulture u kojima postupkom se ponavljanja samopot jača - petitivne strukture ukazuju strane jedne sa na stare ritualne granicama. određenim čvrsto delakao pojedinačnog sa - Re pitanjaznak konvencionalno razumevanje umetničkog dela ga principa uestetici serijalnosti KA. stavlja Serijalnost pod materijalna forma, dizajn sadržaja. bez preostajetekst nijedešifruje mogao više se da samo spoljna trećem sloganu G.Kizevaltera“ „Za koji bio je okačen tako da zen-budističkih koana stremi već se kaukidanju smisla. U konstrukcijaKA jezičkih paradoksalnih uzpomoć utradiciji jno pražnjenje. tekstovima dva Upoetičnim slogana prva na uobličavajuće faktore istovremeno dok se - odvija sadrža Varijacije unutar usmeravaju serije pažnju usve većoj meri samoi svuda, što ovde se idublje jasnije oseća ne razume.“ ovde ništa ne ida znam oovoj mestu, ustvari je ovde jer kao značenju: „Čudno štolagao, je sam sebe nisam bio nikada da „Sloganom slogan drugim 1978“relativizuje se prvi usvom bio ovde iništa ne znam oovom mestu.“ Unastavku serije ni na uprkos i šta sve sviđa, mi se činjenici nisam nikada da „Ja“,no sa aujednom ličnom tekstu kaže:„Ja se ne žalim se intencijama. kritičkim sa U„Sloganu 1977““Mi“ zamenje je - gačiji horizont opažanja. Ovaj čin distanciranja povezan je serijskog ponavljanja istovremeno zagledaoce otvara- dru jnim formama okolnog znakovnog postupkom se ali miljea, Na primeruslogana postaje jasno koliko značajna je - ulo strane sloganiS:H.: Sajedne se KA prilagođavaju izraža- tokom performansa? tokom tekstualne mašine KA ineposrednog opažanja doživljajnosti postupci inova doživljajnost. Kako bi opisao između odnos cipijelno beskrajnom tekstualnošću novi generišu takođe se „neznanim“ tekstom (ova eksplicitna implicitna ili podraža Na doživljajnost serije početku generiše „skrivenim“, se ma konteksta. Poslednji slogani su samodovoljni, za pogodni veomaobeleženi stavom kritičkim prema ideološkim slojevi kontemplaciju spoljnog sveta (konteksti). strane Sadruge su ni iuizvesnom smislu služe samo kaoizgovor zaopažanje i realizovani su u„pozadinskoj“ estetici. Onisu instrumental zam), akasniji slogani primarni slogani Rani (modernizam). cionog stanovišta rani slogani su sekundarni (postmoderni table egzistencijalne ili situacije „Ovde iSada“). Saekspozi jdegera, Dijamantska sutra (umesto „aktuelnosti“ finansijske odvojeni svojim su ostalog između historicitetom: portret Ha sopstveni estetski konstrukt, čvrsti spoljnih od konteksta sti razlikovanja“). „Stazni“ slogani imaju nasuprot tome svoj kontekstima iunjima irastvaraju čak se („Pruge nemogućno „rubovima“ stupaju uintenzivni uzajamni spoljnim sa odnos (šuma).tikalama „Poljski“ slogani estetski sa neodređenim torom horizontima, isa audrugom slučaju mestom sa iver šumskom proplanku. Uprvom slučaju suočavamo pros sa se poljima, poslednja dva na pešačkoj na stazi prilično uzanom gane realizovali smo na mestima koja na otvorenim nalaze se koje imprethode. Na poljaslo neki način dostaze. od Prve Estetska plasiranja novih artikulacija nadovezuju na one se prepoznatljivih,jedva nejasno označenih poljskih puteva). razvoju –stvara „uzani“ se put, početnih, (zarazliku staza od dugogodišnje aktivnosti KA o prilično dalekosežnom radi se proizlazi izteksta). Tokom razvoja daljeg –auslučaju serije vanja oslanjaju na premisu se estetska svaka da doživljajnost A.M.: To važno pitanje. je Tekst generiše doživljajnost. ------P otpisi naugovoru K olektivne akcije

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SMRT UMETNOSTI ŽIVELA UMETNOST doduše označenododuše protivrečnošću koju nije moguće razložiti. usituativnomdruje kontekstu estetsko iskustvo mesta koje je fenomenološko razumevanje prostora. Instalacija stvari izne- protivteža apstraktnom matematičkom prostoru –razvija jmova prostora imesta kod Hajdegera. i političkih konteksta pozabavim želim se da upotrebom- po drobnije progovorimo ovezama filozofsko-estetskih između političkom kontekstu fašističke ideologije. Pre nego što- po na njegovoj tematizuje jakni realizaciju filozofske u prakse bljeni portret Hajdegera hrastovim sa kaoukrasom lišćem ju mesta. Istinska provokacija sastoji utome se što upotre- Subjekat iobjekat mogu pri tome principijelno zamenju da - uzajamnom odnosuiznedruju estetskog strukturu iskustva. kompleksniji subjektaizmeđu odnos i objekta koji u svom sposobnost opažanja i spoznaje, kod Hajdegera nailazimo na u racionalnomse sistemu Kanta u centrusubjektivna nalazi filozofskutradiciju sebi u krije provokativnipotencijal? Dok toda što imatime veze sa uslučaju Hajdegera upućivanje na pitanje zašto nije bio okačen portret Imanuela Kanta? Mož- opažanja ispoznaje. Utom kontekstu bi postavi moglo se da za aktivnost uumetničkom KA se nalazi istraživanju procesa ućuje na opšti sistempojmova. filozofskih Odlučujući značaj fleksije. Direktno doživljavanje iSada“„Ovde taj na način up- ju, već ovu situaciju uzimaju takođe kaopovod re zadalje - ne preusmeravaju samo teksta sa pažnju na situaci gledalaca - radiosamodefinisanjuse KA koje usvojimperformansima treta izražava ambivalentni stav prema ovoj tradiciji? Ovde akcije“ lokalizuju? postupkom čudnim Ilise smanjivanja por ju na određenu filozofskutradiciju u kojoj„Kolektivnese ovde radiodirektnom programatskom iskazu tj. oupućivan- Martina Hajdegera. Kako treba ovaj razumeti gest? lise Da umesto je teksta biodrveća okačen portret nemačkog filozofa neposrednosti istvara na kraju svoje sopstvene svetove. dljiviji“. Tekstualna mašina prema mom mišljenju od odvodi opažanje ikontemplaciju iutom smislu su umetnički „upa Za akcionuZa umetnost bitno je što kod Hajdegera se –kao S.H.: Kod pretposlednje akcije „Slogan 2003“između - - način proizlazi izovih istraživača književ polarnih kaoruska - istraživača Hajdegerom.polarnih sa Hajdeger na izvesni vremenskog itotalitarnog zajedništva u poređenju sovjetskih tekstu suočavamo se razvučeni. Ovde različitim sa stranama istraživača godina prošlog 30-ih veka koji su u Hajdegerovom Sakasetofonaportreta. izveštaji čuli su se polarnih sovjetskih cije satom“ sa kroz šumu razapet je kanap doHajdegerovog satom“ sa „Akcije između iovog slogana. kasetofona- Od „Ak akciji „Slogan 2003“iosmotrim strukturalno zajedništvo zloga ljudski život ovde usuštini ne vredi ništa. „naučno“ istraživanje „opšteg“, nečeg „celine“ itd. Iz tog ra- ement koji visi negde „rubovima“, po instrument za tobožnje iskrenim žaljenjem isramom) samo apstraktni strukturni el - Čovek u Rusiji je (i u estetici KA - što moram priznam da sa sti tokom etapa svih njene istorije –uključujući isadašnjost. zofsko“ obrazloženje zapotpuno nepoštovanje ljudske lično- zapadnjačkim antropocentrizmom) predstavlja uRusiji- „filo što naglasim tako da nastavljam diskurs KA isučeljavam gasa talitet. Manijakalno podređivanje logocentrizmu (a ovo želim logocentrični na ruski odnosi men- se da međutim, takođe lnoj nedostatnosti i siromaštvu dizajna. dijagnoza Ova može, dijagnozom KA: tekstualna nadutost pri istovremenoj- vizue upućuješta plastična anormalnost. suočavamo se Ovde sa romantizmaobeležje kaopatologija već takođe diskursa na izobličavanje ihipertrofija razmera,samo ne kao stilističko no portretom malim Hajdegera. Uobaslučaja zanimljivo je čija poslednjaciklusa je akcija bio neobič „Slogan 2003“sa - knjige(debele) uakciji „625-520“tj. uprvoj akciji šumskog perspektiva, na drugačiji svet inovi koji pogled nas okružuje. u estetskomveć se iskustvu mesta otvara kroz njih dinamična jdegera –uinstalaciji ne opažaju kaotakve (kaokod Kanta), straneSa druge stvari – ukoliko se sledimo razmišljanja Ha- –predstavada koja bila relevantna je izafašističku ideologiju. gera mesto koje služi kaoosnova zaegzistenciju naro jednog - straneSa jedne „zemlja“ i„domovina“ označavaju kodHajde- Želim još jednom da se vratim jednom se još da na portret HajdegeraŽelim u A.M.: Kanta smo upotrebili uformi neobično velike teksta unjegove komentare. mašinaalna ponovo je račvanje nastavila radiiiznedrila da na dizajnu, takođe nalazio na uobličavanju slogana. Tekstu- listovi naučnim sa komentarom opročitanoj sutri. Akcent se lutkom „nevaljaškom“. Između ove dve tačke bili su okačeni dok uporište drugo je bilo narandžastom obeleženo ruskom žutom lepljivom trakom kojom kasetofon bio je pričvršćen instalacije u prirodi. Jedno uporište slogana bilo markirano je prije tome bila usmeravana na materijalne sloganske detalje ces oslobađanja konkretnih bilo kakvih od sadržaja. Pažnja uspostavilo stanje slušanja kaotakvog koje pokrenulo je pro- stavlja pozadinu zaslogan. strane Sadruge tokom se akcije transcendentnom sa asocira misterijom. tradicija pred Ova - mu religioznih starih kultova kodkojih sfera se nevidljivosti o drvo. Postupak slušanja na for nevidljivog podseća glasa slušanjaod Dijamantske sutre kasetofona sa koji bio je okačen – prenesen uauditivnu sferu. Početna etapa akcije sastojala se KA „karakter slogana“ put ovde prvi –ukoliko je ne varam se lednjom akcijom „Slogan 2005“. slogana drugih razliku od Za novog manijakalnog stava. 2005“. važno ne je da izgubimo Ovde ironiju ne da bi došlo do posebno uposlednjoj akciji period, li upostkritički „Slogan rani predkritički spisi. Što smo KA da stupi tiče činimise se - veličine, verovatno toga što zbog su unjoj objavljeni njegovi „knjiga“ (625-520)koja naduvena doduše je doabnormalne koja suprotstavljena je Hajdegeru toga mu –zbog pripala je oved“) (Akcija satom). sa Kant utom je smislu kritičnafigura pripada „portret“ („ikona“) (Slogan („prop 2003)i„govor“ - važi izaHajdegera. Na osnovu njegove religioznosti njemu ni istraživači su na neki način askete iveoma religiozni. To stavljaju zanimljivu državnu formu egzistencijalizma. Polar slični. istraživači polarni Sovjetski su državni ipred isposnici - u vodi totalitarizam. Polarni istraživači i suisposnici veoma kođe prisutan. Preterano oštar stav prema egzistencijalizmu sveukupnoodnosa komplikovanija. No, ovaj aspekt- ta je strukturanost iako je ovih iz Gogoljevog uzajamnih ogrtača : Za kraj bi pozabavimoS.H.: Za jednom se trebalo još - da pos - - budi diskurzivnu nikakvu želju razumem. Ito je dobro. da je na temu ruskog kosmizma ova poslednja akcija kodmene ne tokomje akcije bio prisutan. Nakon prethodne akcije četiri vosti: kojim Pruće zamenjen je kasetofon ifaraonski koji pas jmanju veoma zaKA). ruku se Dogodio trenutak čudan ži- budističkog mentaliteta (što možda ijeste aktuelno –una - muzički komad. ouzajamnom se Radi odnosu taoističkog i na kompozicija, hromatična predstavlja struktura. Ontakođe liko tamo mene ovaj postoje. je Za slogan pre svega apstrakt - aktuelninikakvi konteksti, a oni me i ne zanimaju i uko- čak izazove kontakt okolnim sa kontekstom nove ruske realnosti. na spiralni pokret koji na neočekivani način da može takođe pronalazije uestetskoj samodovoljnosti. Ja zapravo mislim pokret koji dosve vodi udaljenijih konteksta isvoje ispunjen- A.M.: Uslučaju „Slogana 2005“ne padaju mina pamet Smatram ovo da ne može stimuliše da samo jednostrani ziv grupe „Kolektivneziv grupe akcije“. akcije iradina trinaestom dokumentacionom svesku. nem 1998).Grupaumeđuvremenu je realizovala 153 tivnye Dejstvija: Poezdki zagorod. Moskva: Ad Margi- naslovomu knjizi pod „Putovanja izgrada“ (Kollek- cija“, objavio koje kaoprvi je Samizdat, objavljeni su dokumentacionih pet Prvih „Kolektivnih svezaka - ak Juri ipredstavniciili ali Albert, nove ruske umetnosti. er „Inspekcije Medhermeneutike“), Vadim Zaharov Vladimir Sorokin, članovi (kaona prim grupa - drugih bakov, Bulatov, Erik Dmitrij Prigov, Rubinštejn, Lev ipisciumetnici Moskovskog konceptualizma: Ilja Ka- Hensgen. Stalnom pripadaju učesnika krugu poznati Igor Elagina, Elena Makarevič, Sergej Romaško iSabine kolaj Panitkov, a kasnije pridružili ostalog između su se Aleksejev, Georgij Kizevalter, Andrej Monastirski iNi - jstvija) postoji 1976.godine. od Osnovali suNikita je (2) KA stoji utekstudaljem za na kao skraćenica - (1) Grupa „Kolektivne akcije“ (Kollektivnye de- (2005)

263 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT 264

SMRT UMETNOSTI ŽIVELA UMETNOST Upotpunjeno čekanje dodatnog estetskog delovanja. ovakvog Do doživljaja stvarnosti tehnikama kretaćemo se kakve preporučuju Kolektivne akcije poput tehnike Ovaj stav utemeljuje se upoziciji svako da sopstvenim postojanjem estetizuje prostor svet, se ada estetike čiste umetničkoj poziciji moskovske umetničke i refleksije grupe određene na estetskepojmove kao što su Prazna akcija delovanja. Specijalno odabrani prostor ukome traje umetničke postavka Kolektivne izložbe grupe akcije navodi na razvijanje prema odnosa promišlja modalitete sopstvenog kolektivnog umetničkog delovanja kroz sopstveno iskustvo, ikroz ali iskustvo kolektivnih drugih umetničkih članova umetničke i ljudi zadruge (gostiju) koji su pozvani ravnopravno da učestvuju u događaju. Treći ovaj izvodi željom Beograd rad sa da polje Nedeterminisana zona ivelika vodena grada masaDunava,čijoj obod usuprotnom je pozadini pravcu Trećeg postaje umetnika slika Beograda (refleksijapojam na i proširivanje oivičenog iskorišćen polja. zidgalerije Stakleni kao„ekran“ tekstovima sa umetničkopojmova filozofskih - Kolektivne akcije, u reflektivnih prostora,pojasa estetike, sigurnosnog bez očekivanog i naučenog. ličnePrazneći umetničke prostore stvorićese uslovi za refleksiju stoga kaoprostor idealan refleksije. Beograd, koristećiTreći razvijene tehnike moskovskih konceptualista,pojedinačne istražiće dubine ličnih refleksijesopstvenih propozicija. od svake svesnespavanja, željePeriod oslobođen zadelovanjemperiod odnosnoje sna ili estetizacijom, je te Kolektivne akcije stvarali su umetničke događaje uglavnom na prostoru snegom prekrivene livade oivičene šumom, koristeći gakaopolje pozvani učestvuju da uumetničkom radu. projekta žbenom prostoru Galerije Treći Beograd izvede umetnički radKolektivni san . ekspoziciono znakovnog polja“ kroz diskurs „praznih akcija“ uestetskoj praksi KA. Grupa, slušanje slušanja itd. koji ali rada, utiču na tekst kaonjegovi skriveni motivacioni konteksti. Aktualizuju kaočlanovi se korrelativnog para „demonstraciono znakovnog polja – 6 EKSPOZICIONO ZNAKOVNO POLJE – sistem elemenata prostorno-vremenskog kontinuuma, koje autori nisu svesno uključili uustrojstvo teksta konkretnog dejstvovanja uakcijama KA. Grupa, slušanje slušanja itd. 5 NEDETERMINISANA ZONA (zona slučajnih -etape utisaka) pre očekivanja, očekivanja prazne akcije, dobijanja poziva zaakciju iputovanja kamestu predstava čekanja kaopotpuni isamodovoljni estetski (ikontemplativni) akt –cilj praksi KA. 4 UPOTPUNJENO ČEKANJE -činčekanja kaopredmet čekanja (čekanje kaoočekivanje). Najvažniji element u„estetici čekanja“ KA. Uizvesnom smislu 3 TEŽIŠNA ŠEMA -demonstracioni element događaja, sastoji njegovih od se organizatora igledalaca. KA”): hodanje, stajanje, ležanje ujami, „ljudi udaljini”, kretanje na pravcu, „neprimetnost”, svetlo, govor, zvuk, slušanje grupa, slušanje itd. utemeljenog udiskursu KA, zasniva na elementima se događaja, koji član ujednakoj mogu se meri odnositi ina korelativnog ina drugi jedan para („kategorije konkretnog Jedna rada. dve od komponente korelacionog para „demonstraciono znakovnog polja –ekspoziciono znakovnog polja”. Oblikovanje tog odnosa 2 DEMONSTRACIONO ZNAKOVNO POLJE –sistem elemenata prostorno-vremenskog kontinuuma, koji su autori svesno uključili uustrojstvo teksta dramatični centar akcije“). 1 PRAZNA AKCIJA –element teksta izvan demonstarcije (uakcijama KA često je zaposmatrače „vreme izvan demonstracije događaja, ono što predstavlja objekti akcija ne mogu biti prepoznati posmatrača kaodefinitivno od pripadajućiakciji. NERAZLIKOVANJA7 TRAKE –zona demonstracionog znakovnog polja (najčešće na ekspozicionim granici sa znakovnim poljem), ukojoj audio vizuelni ili 2 , Težišna šema Treći Beograd ništa ne sugeriše na učesnicima, svoj svako se način priprema zaspavanje uizložbenom prisutan prostoru biti je dovoljno ( Ovaj ugovor tokom reguliše odnose izvođenja iposle umetničkog Kolektivni rada san, 1. Trećeg Beograda, Srbija 2. Коллективные Россия действия, 3.KunstOst, Austrija 4.Veljka Pavlovića 29.i30.oktobra između unoći Zaključen između: 2011.,uBeogradu, Umetnička Kolektivne grupa akcije Kolektivni san Kolektivni KunstOST, umetničke grupe 3 4

itd. . je umetnički radTrećeg Beograda je 5 iEkspoziciono znakovno polje Na ovu primer: tehniku bi primenili usituacijama iščekivanja gostiju, čekanja zaspi, se da čekanja svane da itd. Umetnici Kolektivne akcije (Коллективные Veljka, umetnika действия) Pavlovića, koji učesnika su kao i drugih bezuslovno dopušta Trećem Beogradu tokom da trajanja njihove „Virtuozi izložbe obmane“ uizlo- 6 , Trake nerazlikovanja i on podrazumeva organizovano, ion podrazumeva grupno spavanje /sanjanje u UGOVOR Član 4. Član 1. Član 2. Član 3. 7 ). umetničke Treći zadruge Beograd ikulturnog

otvara odreknemo se kada svakog 1 , Demonstraciono znakovno Galeriji Treći Beograd ).

Pančevačkog mosta (refleksija na estetskipojam Putovanje izvan grada Faktografski diskurs estetski pojam Faktografski „takvosti“ ipojavljivanju „nedogađajnog“, iučvršćivanju ali grupne kohezije odbacivanjem propozicija formalizovane pojavnosti (refleksija na izradi umetničkog dokumenta. Odbacivanje kontrole nad dokumentovanjem na potrebi se bazira kao preduslovu slobode doživljaja estetike upotpunosti se svake estetske odriče Beograd kontrole nad rezultatom Veljka umetnika rada Pavlovića kao isvake moguće druge sugestije u donese odluku ovremenu inačinu dokumentovanja san umetničke akcije Kolektivni uodgovarajućemBeogradu formatu. Treći prepušta Beograd estetsku kontrolu iodgovornost umetniku Veljku Pavloviću ličnom po da, izboru, dokumentaciju kojom ćeomogućiti nivoe meta umetničkog događaja kaoproduktivan kontekst estetskog delovanja idostaviti Trećem je (jedan) primerak.(jedan) U ime Коллективные Россия действия, ------U ime Trećeg Beograda ------naknadne dozvole strana. drugih Praznina ličnog. neodređenosti kaofilozofski poezis, Grupe, slušanje saslušanja itd. zasnovano je Ovo na uverenju ne proizilazi ustvari da „ništa izsamog dejstvovanja“. Kroz Šunjatu pojavljuje se „nedogađajno“. Stvari su usvojoj „takvosti“. 11 ŠUNJATA -budistički koncept. estetiku KA Za –varijanta „praznine“ kaometod zasmanjenje fantazmi kolektivnog tela. Metod percepcije, distanciranja. osnovnog) događaja utoj prostorno-vremenskoj zoni opšteg događanja akcije, gde„ovde se isada“ van nalazi pažnje iinteresa posmatrača. 10 NEZAPAŽENOST iz„kategorija –jedna KA“. Uznačenju „nezapaženost demonstracije“ –estetski postupak, koji ukazuje na naličije prisustva (često - 9 FAKTOGRAFSKI DISKURS –sistem dokumentovanja, koji omogućava nivoe meta umetničkog događaja kaoproduktivan kontekst estetskog delovanja. mestu dejstvovanja (akcije) ioblicima komunikacije otome. Takođe –opšti tomova sižesvih PIG-a. 8 PUTOVANJA IZVAN GRADA (PIG) -akcioni žanr (iistovremeno –knjige KA), ukome sadržinski akcenat je na estetskom značaju etapa raznih puta ka Vreme dešavanja 29.na veče 30.oktobar inoć je 2011.godine uGaleriji Treći na levoj Dunava obali uneposrednoj Beograd blizini Umetnik Veljko Pavlović obavezuje se će, da utoku priprema iodvijanja umetničkog napraviti rada, foto, neku ili video drugu Ugovorne strane: 29.i30.oktobra između unoći U Beogradu, 2011. Ugovor istovetna sačinjen je u24(dvadesetičetiri) primerka, kojih od svakoj ugovornoj strani isvakom učesniku uakciji pripada 1 po Svu dokumentaciju kaoiovaj ugovor sve ugovorne strane mogu koristiti sopstvenoj po volji udaljoj promociji sopstvenog bez rada , Srbija , 9 , Nezapaženost 10 i Šunjata i 11 ). 8 Član 8. Član 5. Član 6. Član 7. ). U ime Veljka Pavlovića ------U ime KunstOst, Austrija ------čime on dobija „spoljašnjeg“ ulogu posmatrača, aTreći

265 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 267 - - - - - ly reciprocal relation with the external with relation reciprocal ly in these also even dissipate and contexts distinc of the impossibility („Stripes of slogans Contrary this the „Path“ to tion“). solidaesthetic construct, their own have the external context from separated are their historici things other amongst by the Diamond ty: Heidegger, of a portrait (instead text Buddhist ancient an – sutra or thethe „actuality“ of tabla financial of Now“). and „Here of situation existential the view, of point exhibitional an From secondary (Postmod are slogans early prima are slogans the later ernism), and are slogans ry The early (Modernism). aesthetic. in a „background“ executed they serveInstrumentally in a certain the perception excuse for an as sense only the external world of contemplation and they are hand On the other (the context). towards a very by criticalattitude marked The the context. of the ideological layers to suited self-sufficient, are slogans last thisin and contemplation and perception artistically „striking“. more sense they are leads opinion my in machine textual The in the immediacy creates from and away worlds. own its end them. From a field to a path in some way. way. in to a some path a field them. From places in slogans realised the first We on a two last the fields, in open found glade. forest narrow in a pretty footpath with confronted are we case the first In in the second and horizons, space and The verticals (the and forest). place with their aesthetically with slogans „Field“ an intensive enter „edges“ indefinite ------: That’s an important question. question. an important A.M.: That’s ed by a “concealed”, “unknown” text (the text “unknown” a “concealed”, ed by the on relies imitation implicit or explicit aesthetic each experience that premise During the the further text). of arises out the series this a is of – and development the in development far-reaching pretty a – activity KA of years the many caseof op (as a track created, is path „narrow“ recognisable, posed hardly the initial, to fields). across trails out marked unclearly articnewof the placement aesthetic The those which preceded on builds ulations mation of a community is strengthened strengthened is a community of mation this as is and repetition the of action by satisfaction of the feeling with sociated some of the recognition from gained expecting. on If were which we thing the traditions look at we hand the other and poetryof repetitions music, and are we confirm what only not variations a new aes theyexpecting also create but minimal chang towards thetic sensibility which nuances noticeable barely es, for cre the form’s of the process of arise out important less is repeated is What ation. the Through itself. repeats it how than princi in its through KA, serialof system newand methods textuality, infinite ple How alsonew generated. experiences are between describe the you relation would the direct and KA of machine the textual the the experience of during perception performance? At the experience. generates text The the seriesstart of experience generat is ritualistic cultures in whichin the self-affir cultures ritualistic ------In the example of the slogan it be it the slogan of the example In ly less understand.“ The variations in the variations The understand.“ less ly attention one’s direct series progressively at the whilst factors the configuring to In out. emptied is time the content same slogans, thetwo poetic the first of texts construc linguistic paradoxical using Zen of Buddhist the tradition from tions already KA anecdotes), (riddles or Koans slo the third sense. In seek nullify to any Kizevalter“ hung which was Mr. „For gan be de longer no could the text so that up form the external material only ciphered, content. design without remains, the role important how just clear comes seriality in the aes of is the principle of question into Seriality KA. thetics puts of the of understanding the conventional firm with work individual an as artwork repetitive The defined ly boundaries. old to refers hand the one on structure but using serial repetition which at the serial which at using repetition but dif a the viewers for timeopens same act This perception. of horizon ferent certain with associated is distancing of 1977“ the „Slogan In criticalintentions. one in says it and „I“, by replaced is „We“ about complain „I don’t personal text: everything, like I and despite anything and been never here I have the fact that the In this place.“ about nothing I know the series of of the meaning continuation in the second relativised is slogan thefirst liedI to that strange „It’s 1978“: „Slogan I that and here never was I that myself, because it this place, about nothing know everywhere, as that actually here is only deep more and felt clearly more is it here ------

The last action „Slogan 2005“ is re is 2005“ action last The „Slogan : On the one hand the slogans the slogans hand S:H.: On the one „Slogan 1990“ is complicated vis-à- complicated 1990“ is „Slogan of KA are adapted to the visual forms the visual forms to adapted are KA of milieu, the surrounding of the signs of ous lines pursued by KA, not only the line the line only not KA, by pursued lines ous also de it example (for factual slogans of means „The the actions of the line velops light“). „Against or the series“ for tarism which finds its mode of expression expression of modeits tarism which finds slogan). of the the financial board on associat way in some is It vis discourse. (subterra ed the external with chthonic and metro) (the Moscow worlds nean) adventures personal psychodelic my with centu the last the 80s of the start of at 1996“ in the „Slogan following The ry. from „withdraws“ true the word sense of the fate so, doing In world. this chthonic tiedis the discourse to Russian New of philoso Soviet professional of the figure „Slo Riklinthe case Mihail of . In pher in this an is Heidegger) 2003“ (with gan deeply anchored whichis action dividual actions other two of structure in the joint and „Action a watch“ with those are and . „Slogan a factualthe action with slogan categories based conceptual is 2003“ on „concealment“) (or „hiddenness“ as such „space“). not (and „place“ and pre above its as place the same alised at a an action within seriesis This decessor. the vari time develops the same which at ry. Here we also see a powerful point of also of we see a powerful point Here ry. external con and the internal of contact theaesthetic as („unnoticeablity“ texts mone the ascendant and KA of category ------forms of contemplation, to space space to contemplation, of forms : The withdrawal from ex the from withdrawal The A.M.: ternal Soviet context began practical ternal Soviet context „Slogan action first the after straight ly still was 1977“ in which a Soviet slogan action being used. The „Slogan second on a reflection represented 1978“ already slogan, the first of content theinternal not slogan whilst the in the third case of the text of withdrawing a there was only but of visual perception the field from into discursivity from also a withdrawal formali total a was there i.e. description of every possi „nullification“ and sation following ideological The ble discourse. way in some 1986“ returns action „Slogan the land from emptiness, absolute from the of „character the clear scape (without discourse different a completely slogan“) a to this related seriesto only which is priori serves text time(its the foreword as and outside „Travels volume in the fourth the dimension, the plastic the In city“). Soviet ideologyof disappears formalism ideology“ of in the form in a „children’s an secret“ of in which models a „child’s geographical of out dog made a and owl the USSR whichthe territory of on maps next action The buried. are red painted is (or the Ready-Made is 1989“ „Slogan which ideology monetarism of Pop-Art) in full was swing and in the ascendant, is centu the last the 90s of during in Russia lation between the external and internal internal between the externaland lation these slogan of in the example contexts actions? special attention. How do you see the re you do How special attention. ------: The title of the last action of last the S.H.: The title An important and enduring element, element, enduring and important An

„Slogan 2005“ is indicative of a particuof indicative 2005“ is „Slogan jects signage material which originates in whichoriginates jectsmaterial signage empty an to Moscow of the metropolis this In ideological content. its of out ing the which over from the actions, context arisen, deserve series whole have years ical sense – becomes the stage for the icalfor sense the stage becomes – which thematise actions minimalistic struc spatio-temporal the elementary – disap appearance perception: of ture – withdrawing, approaching pearance, – silence, sound lying, walking, standing, ordering temporal a of therhythmicality the very beginning . From a timeline or been activities which have the group’s of KA (2) of volume in the first documented sub akcije“ „Kolektivne 1980), – (1976 namely „Travels outside the which city“ outside „Travels namely in consists organises akcije“ „Kolektivne The transition a border. of the crossing rural as is to urban therein space from Rural a semiotic reduction. with sociated metaphys in field the empty space – an nificance of the specific relations between relations specific of the nificance moti contexts internal the external and being is the group the activities of vating discussed again. once lar form of design in Soviet culture, and and design in Soviet culture, of form lar in performance of the also tradition of in which akcije“ „Kolektivne the group how interesting It’s applied. are slogans these the sig actions of in the example Sabine Hensgen, Andrej Monastirski Monastirski Andrej Hensgen, Sabine of slogans the Dialogue about (1) akcije“ „Kolektivne DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 266 DEATH TO ART LONG LIVE ART 269 - - - (2005) akcije“ „Kolektivne (1) The group - abbrevi is akcije“ (2) „Kolektivne - Collective or Ac dejstvija (Kollektivnye founded was 1976. It since exists tion) Kizevalter, Georgij Aleksejev, Nikita by - Panit Nikolaj and Monastirski Andrej Elena Elagi- by joined later and kov, Romaško Sergej Makarevič, Igor na, others. amongst Hensgen Sabine and of circle the permanent to Belonging and artists the famous are participants Ilja conceptualism: Moscow of writers Prigov, Dmitrij Erik Bulatov, Kabakov, the Sorokin, Vladimir LevRubinštejn, - exam for (as groups other of members Medhermeneutike“), „Inspekcije ple also Albert, but Juri or Zaharov Vadim art. the new Russian of representatives the volumes documenting five first The - pub first akcije“, „Kolektivne of work - in the book enti are Samizdat, by lished (Kollektivnye iz grada“ tled „Putovanja Moscow: za gorod. Poezdki Dejstvija: re- has 1998). The group Marginem Ad the on working is alised and 153 actions thirteenth volume. text. in the following KA to ated curred: the wattle which was replaced by by replaced which was curred: the wattle hound a Pharoah and recorder the tape the per during present dog which was actions previous four the After formance. Cosmism, Russian of the subject about dis any in me stir action didn’t this last that’s And it. understand to desire cursive a good thing. a mutual relation between the Taoist and and between the Taoist relation a mutual (which perhaps mentalities Buddhist KA). for least – at current something is oc vibrancy of moment A very strange ------I believe that this cannot stimulate stimulate this cannot I believe that 2005“ „Slogan the case of A.M.: In furcation in the text. in the text. furcation an to leading movement a unilateral only which and context remote increasingly in aestheticits self-suf fulfillment finds a am in factabout I thinking ficiency. unexpected which in an movement spiral the with contact into also come can way the new Russian of context surrounding reality. and mind, my to come actual contexts no if they even me exist. interest they don’t abstract an all above is me for slogan The It structure. chromatic an composition, about It’s music. of a piece also represents scendental mystery. This tradition is is the This tradition mystery. scendental the On other theslogan. to background the state the performance during hand which also is that transpires listening of emancipat of the process sets in motion content. concrete any from the work ing directed is attention so one’s doing In aspects a slogan the of material towards the fixtures of One in nature. installation yellow with marked was the slogan of used whichfix was tape the to tape sticky whilst an the thetree second to recorder the orange-co by marked was point chor boy“. naughty „the of doll Russian loured scientific which were on paper of Sheets sutra the Diamond about commentaries The between these points. two hung were was slogan of the design, the configuring machine textual The also accentuated. rise a bi to gave and work to went again of invisibility is associated with tran with associated is invisibility of - - - - - : To end I should once again deal again once I should end S.H.: To lished in it. Regarding KA it seems to me me seems to it KA Regarding in it. lished a post-critical peri entered have we that od, especially action „Slogan in the last don’t we that important it’s Here 2005“. a new into get to so not as lose the irony things. viewing of of way maniacal Unlike 2005“. action „Slogan the last with of character „the slogans KA the other – if time the first for is here the slogan“ the into – transferred mistaken not I am of ac the stage first The sphere. phonetic Russian literature from Gogol’s ’The Gogol’s from literature Russian of the structure even though Overcoat’ altogether is relationships these mutual this aspect also is However, complicated. towards attitude severe overly An present. in totalitarianism. results existentialism very ascetics sim are and explorers Polar the ascetics are explorers Sovietpolar ilar. interesting an represent and the state of ex Polar existentialism. state of form very ascetics and way in some are plorers Heidegger. to applies This also religious. and 2003) (Slogan („Icon“) „portrait“ The with (Action sermon“) („the speech“ „the his the of basis him on to belong a watch) a critical is this sense Kant In religiosity. to opposition an placed is in who figure the „book“ which reason – for Heidegger blown is and Kant to (625-520) belongs because probably size, abnormal an to up pub are writings pre-critical early his tion consists in listening to the Diamond the Diamond to listening in consists tion a tree. on hung recorder a tape from sutra an invisible to of listening method The the of the form of reminiscent is voice in which cults the sphere religious old ------I wish to return again to the portrait the portrait to again return to I wish corder in „Action with a watch“ through through in „Action a watch“ with corder One portrait. the Heidegger to the forest the re playing recorder the tape hear can the from explorers Soviet polar ports of inter whichare century the last of 30s a Heideg of thespersed reading through stems in a certain way Heidegger text. ger does as these explorers Soviet polar from rence of textual self-importance with the with self-importance textual of rence visual impoverishment inadequacy and also however, design diagnosis, This . of men logocentric the Russian bears on logo to subordination A maniacal tality. this emphasise to I wish (and centrism KA of the discourse develop to in order anthropo Western with it contrast and the „phil as in Russia stands centrism) absolute the for justification osophical“ through person the human of contempt history – also its includ of all the stages Russia in Man moment. the present ing to aesthetic – which I have in the KA (and is shame) and regret sincere with admit which structural abstract an element only an the „edges“, around somewhere hangs „scientifthe supposedly for instrument „the „general“, something of ic“ research in life human this reason For etc. whole“ here. nothing worth is essence 2003“ in the „Slogan action Heidegger of the structural be unity look at to and this slo and tween „Action a watch“ with re the tape unfurled is A string from gan. trademark of romanticism but also the as but romanticism of trademark a by to referred a discourse pathology of confronted are We abnormality. plastic a concur KA: of a diagnosis with here ------That is important for action-basedfor is important That of in the form used Kant We A.M.: tion „625-520“ i.e. in the first action of action in the first „625-520“ i.e. tion action series whichthe last of theforest unusual an 2003“ with „Slogan was both In Heidegger. of smallly portrait of hypertrophy and cases the distortion the stylistic as only not scale interesting is thetic and political contexts, I wish to to I wish political contexts, thetic and space of deal the concepts the use with of in Heidegger. place and antith an – as art because in Heidegger space – a mathematical abstract to esis space is of conception phenomenological a in of things installation The developed. the aesthet generates context situational is which however place ic experience of which is contradiction a by characterised hand On the one expound. to impossible sig (Heimat) „homeland“ „country“ and which serves a place nify in Heidegger – a a nation of the existence a baseas for also in Fas relevant which was notion follow we – if On the other ideology. cist thinking in the the – things Heidegger’s (as such as perceived not are installation in the aesthetic ex sense), but in Kant’s perspective dynamic a place perienceof new and them, a different through opens us. around theview world of book (thick) in the big ac unusually an bellished with oak leaves thematises the thematises bellished oak with leaves in practice a philosophical of realisation ideology. fascist of thepolitical context the detail about talk we in more Before between the philosophico-aes relations portrait of Heidegger whose jacket is em is whose jacket Heidegger of portrait ------: In the last but one action „Slo one but the last S.H.: In

tion consists in the fact that the use of a the use of in the fact that consists tion losopical tradition hides within itself a itself within hides tradition losopical the subjec Whilst potential? provocative knowledge and perception of facility tive system, rational Kant’s of thecentre at are complex more a find we Heidegger with object between and the subject relation engenders relation reciprocal which in its aesthetic experience. The of the structure in principle thus object can and subject provoca genuine The places. exchange tic research of perception and knowl and perception of tic research could the question this context In edge. Immanuel of be a portrait posed why of has this is Maybe up? hung wasn’t Kant in the the fact do with that to something the phi to a reference Heidegger case of tion of the public from the text to the sit to the text from the public of tion an as this situation also treat but uation, further Directly reflection. for occasion in this way Now“ and experienced „Here philo of system the general to refers in meaning decisive ideas. The sophical in the artis found is KA the of activity lent attitude towards this tradition being this tradition towards attitude lent of action the unusual through expressed KA’s about is This shrinking a portrait? in who their self-definition of process the atten redirect only not performances gan 2003“ instead of a text a portrait of of a portrait a text of instead 2003“ gan Heide Martin theGerman philosopher between How the trees. hung was gger Is this gesture? understand one should i.e. statement programmatic a direct it a particular to philosophical a reference akcije“ in which „Kolektivne tradition localise to wishes itself? ambiva an Or is DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 268 DEATH TO ART LONG LIVE ART 271 ). 8 ). - Emptiness 11 Unnoticeability and Shunjata and - Unnoticeability 10 Article 6. Article Article 5. Article Article 7. Article 8. Article , Nezapaženost discourse - Factographic 9 The artist Veljko Pavlović commits himself, in the course of preparations and the occurrence of the artwork, to making photographic, photographic, making to artwork, of the and the occurrence preparations of in course the himself, commits Pavlović Veljko artist The The time of the event is the evening and night of 29th and 30th October 2011 in the Gallery of Treći Treći ofthe bank on leftBeogradthe 30thand 29thof October in 2011 Gallery the night and of is the evening of the event The time their of in the further their wishes to promotion according this contract and use all the documentation may All parties this contract to receives in action the and participant each party of contracting which each copies, identical up in 24 (twenty-four) is drawn contract The Belgrade, between 30th October 29th in theIn night and 2011. parties:Contracting ------KunstOst,, SerbiaOn behalf of Austria Beograd Treći On behalf of ------Pavlović Veljko On behalf of действия, Россия Коллективные On behalf of 8 PUTOVANJA IZVAN GRADA (PIG OR TRAVELS OUTSIDE THE CITY) – an action-based genre (and at the same time – the book of KA) whose content emphasises emphasises whose time – the KA) content book the same of THE CITY) at (and OUTSIDE action-based – an genre TRAVELS OR (PIG GRADA IZVAN 8 PUTOVANJA summary general this. Also – a about communication of forms to the and (action) of engagement place to the of way the stages of various the the aesthetic significance PIG. of all the volumes of as the artistic event of the meta levels of the appearance whichenables documentation of system a – DISCOURSE) (FACTOGRAPHIC DISKURS FAKTOGRAFSKI 9 the aesthetic action. of context the productive – the aesthetic method which indicates the demonstration“ of unnoticeability „the Meaning „categories“. the KA of (UNNOTICEABILITY) – one 10 NEZAPAŽENOST outside lie now“ and of action, the generalwhere „here of occurrence the zone spatio-temporal in the of the event foundational) – the (often personalpresence themost the observer. of interest and the attention A the body. collective of thephantasm a method reduce as to „emptiness“ of aesthetic a variation – the KA For concept. Buddhist – a (EMPTINESS) SHUNJATA 11 manifested. is “non-eventfulness” Shunjata the action itself“. Through of out actually „nothing comes based is the belief that on It distancing. perception, method of etc. to listening listening Group, of indeterminacythe the personal. philosophical as poetry, Emptiness in their are „suchness“. Things video and other forms of documentation which will enable the manifestation of the meta levels of the artwork such as the productive context of of context the productive as such the artwork of the meta levels of the manifestation which will enable documentation of forms other video and to responsibility and aesthetic control Beograd relinquishes Treći format. Beograd this in a suitable will present Treći the aesthetic and action Collective the action artist documenting dream of means the time and decide about to personal wish, his to according Pavlović, Veljko the artist of the work of the result over aesthetic control renounces Beograd completely Treći and observer, „external“ an of the role given is he whereby over of control renunciation The the artistic document. the of making for every as well suggestion as possible other Pavlović Veljko the artist theappearance of and „suchness“ thethe experience aestheticof of of a precondition as freedom of based the is necessity on thedocumentation occurrence a formalised of propositions of the discarding through the group of the cohesion of also a consolidation but „non-eventfulness“, of on aesthetic ideathe Faktografski (a reflection diskurs Putovanja izvan grada - Travels outside the city the outside - Travels grada izvan of Putovanja on aesthetic ideathe reflection (a bridge the Pančevo of vicinity in the immediate Dunav own work without the additional consent of the other parties. the other of consent the additional without work own copy. 1 (one) of the of (an Undetermined Undetermined (an 5 , Demonstraciono Demonstraciono , action) (Empty

1 Veljko Pavlović Veljko For example: this technique could be applied be could applied this technique example: For . 4

a system of the elements of a spatio-temporal continuum which the artists have which the have artists continuum a spatio-temporal of the elements of a system Article 2. Article 3. Article 4. Article Article 1. Article (Strips of undifferentiation). undifferentiation). of (Strips 7 AGREEMENT AGREEMENT etc essential (The schema) 3 Gallery of Treći Beograd Beograd Treći the in Galleryof sleeping/dreaming the organised involves it and (Virtuosos of decep- of (Virtuosos obmane“ „Virtuozi their exhibition during Beograd Treći allows unconditionally Trake nerazlikovanja , Trake 6 - thein op river, the Dunav of water of mass the great the and periphery whichis the city of of thein , background Treći Beograd Beograd Treći by artwork an is

, Težišna šema šema sign, Težišna field) (Demonstrational 2 Kolektivne akcije Kolektivne , action) Collective действия or (Коллективные akcije Kolektivne , the group artist KunstOST project the cultural and Beograd Treći 4. Austria 3. KunstOst, действия, Россия , Serbia 2. Коллективные Beograd Treći Kolektivne akcije Kolektivne artist group The Kolektivnisan space sleep in the exhibition to way own in his/her him/herself each preparing the participants, to anything suggest will not Beograd Treći This contract regulates the relations during and after the execution of the artwork Kolektivni ofthe artwork execution the after and san during between (Collective the artist Dream), relations the regulates contract This

1. Concluded in the night between 30th October 29th the in night and in Belgrade, 2011, Concluded between:

3 TEŽIŠNA ŠEMA – the demonstrational element of an event, comprising its organisers and observers. and organisers its comprising event, an of element – the demonstrational ŠEMA 3 TEŽIŠNA KA. of of waiting” “aesthetic in the element important most expectation). The as (waiting the waiting the object of as waiting – the act of ČEKANJE 4 UPOTPUNJENO practice. KA’s of goal act –the contemplative) (and aesthetic a full self-sufficient as and a certain sense waiting theIn idea of a call and action of to action, the receiving empty an expectation, the expectation of before – the stage impressions) contingent of (a zone ZONA 5 NEDETERMINISANA etc. listening to listening Group, KA. of in the actions engagement of thethe place journey to in the constitution included not consciously which the have artists continuum a spatio-temporal of the elements of – the system POLJE ZNAKOVNO 6 EKSPOZICIONO pairs correlational ofthe are actualised members as the These text. the influence contexts concealed motivational its which as but the actual work, of the text of etc. listening to listening Group, KA. in the aesthetic of practice actions” “empty via of the discourse polja“ znakovnog – ekspoziciono polja znakovnog “demonstraciono signwith the expositional border onthe often sign (most field the demonstrational of – the zone UNDIFFERENTIATION) OF (STRIPS 7 TRAKE NERAZLIKOVANJA ofpart the aaction. recognisedobserver being by the be as definitively cannot actions of objects visual and audio in field), which the 1 PRAZNA AKCIJA (EMPTY ACTION) – an element of text outside the demonstration (in the actions of KA there is often for the observers “a time outside the outside “a time observers the for often is there KA of (in the actions the demonstration outside text of element – an (EMPTY ACTION) AKCIJA 1 PRAZNA the action“). of centre the dramatic which represents that the event, of demonstration FIELDS) – SIGN (DEMOSTRATIONAL POLJE ZNAKOVNO 2 DEMONSTRACIONO consciously included in the constitution of the text of the actual work. One of two components of the correlational pair “demonstraciono znakovnog polja – ekspoziciono – ekspoziciono polja znakovnog “demonstraciono pair the correlational of components two of One the actual work. of the text of in the constitution included consciously constituting KA, elements on the based of in the discourse relation of thefundamental shaping The sign sign – field). field Expositional (Demonstrational polja” znakovnog “people in a pit, lying walking, standing, KA): of (Categories KA”) („kategorije pair the correlative of both members each and to also relate which in equal measure the event, etc. listening to listening speech, group, sound, light, “unnoticeability”, in a direction, movement in the distance”,

members of the artist association and other persons (guests) who have been invited to participate in this event. Treći Beograd this carries out Treći in this event. participate to been invited who have (guests) persons other and association the artist of members experiencethe also but ownthrough experience, its artistic own collective action through its of modalities on the reflecting of in the desire work artistic the with relationship the develops of exhibition the specially collective artistic The action. installation the for selected another space of akcija as Prazna such on certain aesthetic concepts a reflection and art group the Moscow-based of position znakovno polje polje znakovno to the situations of waiting for a guest, waiting to fall asleep, waiting for sunrise etc. The artists of Kolektivne akcije have created artistic events artistic events created have akcije Kolektivne of artists The sunrise etc. for waiting fall to asleep, waiting a guest, for waiting of the situations to The period propositions. own onreflect their to field a as it woods, using by surrounded meadows snow-covered of made largely area an in Treći reflection. ideal for a space as thus is and aestheticisation, and action for every desire freed from one is conscious dreaming or sleep, of their personal spaces of of depths the individual will explore conceptualists, the Moscow Beograd, of the highly techniques developed using for conditions the produce will content its of artspace the personal Evacuating aesthetics,of expected learnt. or belt the safety without reflection, on art the – texts philosophical for of the space art Theglass walls willof field. the bebounded like used a expansion „screen“ and on a reflection of concepts zonaof Nedeterminisana on concept the (a reflection Beograd Treći of the artists of being the paintings there direction posite . This attitude is founded on the position that each through his/her own experience aestheticises the world, that the that own experience aestheticisesworld, his/her the each through that on the position founded is attitude . This present) be to is enough (it the using reality experience an of such will at arrive We every aesthetic activity. additional renounce aesthetics when opened we is pure space of waiting) (Completed čekanje Upotpunjeno as such akcije Kolektivne by recommended techniques Kolektivni san (Collective dream) . dream) (Collective san Kolektivni carry the to artwork out Beograd Treći the Gallery of of space in the exhibition tion) association association in this artwork. participants invited the other as well as Pavlović, Veljko the artist Ekspoziciono znakovno polje znakovno Ekspoziciono and zone) DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 270 VELJKO PAVLOVIĆ Slobodna umetnička zadruga Treći Beograd je povodom izložbe Josipa Vanište putovala u maju mesecu 2013. godine u Zagreb, što je u prenesenom smislu predstavljalo povlačenje linije između Beograda i Zagreba, odnosno umetnički akt cele grupe. Motiv za to, naročito putovanje, jeste volja grupe umetnika 3BGD-a da “vide” Vaništininu liniju. Taj događaj je na sve umetnike koji su tada bili u Zagrebu ostavio moćan trag. Proces tog putovanja, fizičkog i mentalnog, je video kamerom zabeležio umetnik i član Trećeg Beograda, Veljko Pavlović. Od tog materijala je nastao video rad BG-ZG-BG. 273 Veljko Pavlović (1959-2014). Rođen u Beogradu. Diplomirao kameru na Fakultetu dramskih umetnosti u Beogradu. Na istom fakultetu je radio u zvanju redovnog profeso- 272 ra na predmetu Kinematografska slika. Bio je doktorand na Fakultetu likovnih umetnosti u Beogradu i bio aktivan član umetničke grupe Treći Beograd.

Veljko Pavlović, BG-ZG-BG, 2013, video rad

SMRT UMETNOSTI ŽIVELA UMETNOST UMETNOSTI SMRT Fotografije: skrinšotovi iz videa Veljko Pavlović, BG-ZG-BG, 2013, video Photo: screenshots from the video 274

DEATH TO ART LONG LIVE ART V V Photo: screenshots from the video Fotografije: skrinšotovividea iz eljko P eljko P 2013,video BG-ZG-BG, avlović, rad rad 2013,video BG-ZG-BG, avlović, was created from that material. Belgrade, Third Veljko Pavlović. BG-ZG-BG videoThe work corded camera with a video by artist the and member of the at time. the eventpowerful lefta markwho Zagreb all wereartists on in of agroupwill artists to of “see” 3BGD Vanishtina’s line. This entirethe group. The motive forthat,trip,the especially the is and Zagreb,of Belgrade line of the between act artistic iethe inafigurative2013, which sense representedthewithdrawal greb on occasion the of exhibition the of Josip Vanište inMay The process thatof journey, physical and mental, was re- The Cooperative traveledFree Belgrade Za- Third Art to group Treći Beograd. andof was an in Belgrade arts visual active member of art the matography. He completed studies his doctoral at Faculty the AtBelgrade. same the he faculty was professor the incine - ated incinematography from Faculty the of dramatic in arts V eljko P avlović (1959-2014). avlović Born in Belgrade. Gradu in Belgrade. - Born

275 THE DEATH OF ART LONG LIVE ART LIVE LONG ART OF DEATH THE 276

SMRT UMETNOSTI ŽIVELA UMETNOST DRAGAN VOJVODIĆ vama usvetu savremene umetnosti. acijama, kaoina komunikaciji različitim sa akterima- ipoja umetničku praksu zasniva na vlastitim egzistencijalnim situ- lacije, insitu, video, fotografija, skulptura,sopstvenu a slika), (1995), izražava kroz se različite medije (performans, insta- ji umetnosti započinje uSarajevu, adiplomira uNovom Sadu nepristajanja iotpora. prelazimo na individualnom ikolektivnom nivou, ivid ali u elektronsko manipulativno i digitalno; spoznaju puta koji u prostoru, sugerišući prelazak iztelesnog fizičkog iskustva zvukova koji uisto se, vreme, elektronski obrađuju iemituju proizvodi da tako se te zvuk, određeni nastaje kompilacija kulture (rock, heavy elektronska metal, muzika). koje dovodi uvezu selementima iz savremene alternativne autor upisuje simbole eksplicitnim sa ideološkim diskursom, sveprisutne ikonstantne tranzicije. Urazličitim segmentima čiji ciljuala je prevazilaženje egzistencijalne teskobe udoba Multimedijalni (1965),koji umetnik studije na- Akademi Svaka telesna radnja, pored vizuelne sugestije, realizuje Performans koncipiran je kaokolaž postupaka/ličnih rit- ́ 2015, Plzenj, itd. Češka iradiuNovom Živi Sadu. Video Festival Art na Islandu; Terra, Srbija; Kikinda, DEPO muzejki Južne Ostrobotnije, Erro Nelimarkka, Finska; 700 IS Duplex100m2,Courtine, Sarajevo, BiH; Regionalni- umetnič nova: Muzej savremene umetnosti Vojvodine, Srbija; Pierre performansa uHrvatskoj, Mađarskoj iItaliji. donija). Takođe učestvovao je na međunarodnim festivalima ka, Japan, Mađarska, iHercegovina, Hrvatska, Bosna Make - u zemlji iinostranstvu (Francuska, Island, Austrija, Nemač- Turku,ja, Finska 2008.idr.). ka 2014;USF Verftet,Bergen, 2014; Norveška - Titanik galeri Stavanger, Norveška 2015;Konstepidemin, Geteborg, Šveds- dinaviji, gde isamostalno je izlagao (Rogaland Kunstcenter, [email protected] Njegovi radovi ukolekcijama nalaze se usta- sledećih Samostalno ikolektivno izlagao na je brojnim izložbama Veliki svoje deo umetničke realizovao prakse uSkan je - Fotografije:Sanja Latinović trajanje: 20min(približno) H eavy T eavy rash T rash rance, performans , Photos: Sanja Latinović duration: 20min(approximately) H eavy T eavy rash T rash rance, performance ,

277 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT DEATH TO ART LONG LIVE ART 279 He has realized a great part of his artistic in practice his part of realized a great has He exhibitions group solo and in numerous exhibited has He - the Mu in the collection of be to found are works His Sad. in Novi works and lives He [email protected] - Kun (Rogaland solo exhibitions had he where Scandinavia - Gothen Konstepidemin, 2015; Norway Stavanger, stcenter, Ti- 2014; Norway Bergen, Verftet, 2014; USF Sweden burg, others). 2008 and Finland Turku, tanikgallery, - Hun Japan, Austria, Iceland, (France, abroad in Serbia and Also, Macedonia). Bosnia Herzegovina, Croatia, and gary, in festivals performance international in participated has he Italy. and Hungary Croatia, Serbia; the Collection art Vojvodina, contemporary seum of the Regional BH; Sarajevo, Courtine, Duplex100m2, Pierre in Nelimarkka, Erro Ostrobothnia, Northern of art museum Kikinda, Terra, in Iceland; Art Festival 700 IS Video Finland; 2015, Pilsen etc. Serbia; DEPO The performance is conceived like a collage of actions/ a collage like is conceived The performance being visually suggestive, act, from aside Every physical (born artist 1965) who began his a multimedia is He personal rituals whose aim is the overcoming of existential existential of the whose overcoming is personal rituals aim transition. constant and omnipresent of age an difficulties in artist in- the of the performance segments the different In ideological which discourse explicit scribes an with symbols contemporary from elements with a relation into brings he music). metal, electronic heavy (rock, culture alternative a particular so sound, produce to as a way realized in such is the same arises which, at sounds of mass a complicated that thein space emitted and processed electronically are time, experi- physical and the corporeal from the passage inferring digital; they and find manipulated the electronically to ence collective and the individual onto pass which we by the way resistance. and meet rejection we also where but level, in graduated and Art in Sarajevo, of the Academy at studies of forms various through himself expressing (1995), Sad Novi photography, video, in situ, installation, media (performance, his artistic practice on bases own his and painting), sculpture, a dialogue various with on as well as situation, existential own art world. in the contemporary phenomena and protagonists , performancerance, rash T eavy T H 20 min (approximately) duration: Latinović Sanja Photos: , performansrance, rash T

eavy T H 20 min (približno) trajanje: Latinović Sanja Fotografije: DEATH TO ART LONG LIVE ART LIVE LONG ART TO DEATH 278 280

SMRT UMETNOSTI ŽIVELA UMETNOST BIOGRAFIJE BIOGRAPHIES 282

SMRT UMETNOSTI ŽIVELA UMETNOST , Gallery Peter Freeman1981, Gallery Inc, New York, SAD, 2016.idr. rk, SAD, 2014;Mangelos: ARetrospective of Exhibitions 1971– gelos, Father &Son, Inside St. &Out, Galerie Etienne, Njujo- Noirs rk, SAD, Iliji po 2006;Svet Fenomen ja’s Breath Maribor,, KIBLA, Slovenija, 2017;Ilija–Mangelos- gelos, Julije Knifer SAD, elbaz, Dalas, 2017;Ili frank , Galerie Interdisciplinarne studije. natorirala Univerzitetu je na Grupi umetnosti uBeogradu za MangelosDimitrije Bašičević iMarsel Brodars” (2012),dok- elnim umetnostima –Funkcije reči islike –Studije slučaja: Koorganizator izložbi: Kustos izložbi: Investigating the Limits of Painting: Man- 1976.TemomRođena „Teorija tekstualnih praksi- uvizu , Frank Gallery, Elbaz Pariz, Francuska, 2013; Ilija/Man- , Goethe Institut,, Goethe Srbija, Beograd, 2018. , MSU Istre, Hrvatska, 2012;Miroirs , Gallery St. Etienne,ILIJA!, Gallery Njujo- IVANA BAŠIČEVIĆANTIĆ - Young Visual Award Artist (YVAA). elnog uSrbiji. umetnika Nagrada regionalnog deo je projekta Mangelos”, Bašičević trije nagrade zanajboljeg- vizu mladog i teoretičari umetnosti, Muzej savremene umetnosti uBeogra 2018;DimitrijeBeograd, Bašičević Mangelos, edicija: Kritičari veka: Dimitrije Bašičević Mangelos iMarsel Brodars , OrionArt, kojimameđu su: Trijumf reči u vizuelnoj umetnosti dvadesetog du, Noirs 2018;Miroirs Fond „Vujičić kolekcija” 2013. Beograd, iSlužbeni glasnik, apstrakcija & Mangelos, Novi Sad, 2009;„Gergelj Urkom”, u:Radikalna Sad, 2012;„Svet Iliji”, po Iliji po u:Svet Emerik Feješ, Muzej savremene umetnosti Vojvodine, Novi Ivana 2010. član od je Upravnog Nagrade odbora - „Dimi Autor brojnih je tekstova stručnih inekoliko knjiga, , Miško Šuvaković, Ješa Nikola Denegri, Dedić, , koautor, Paraquay Press, Paris, 2014; , monografija, Fond Ilija - 2016, and others. Peter Freeman1971-1981, Gallery Inc, New York, USA, York, USA,2014,Mangelos: of ARetrospective Exhibitions Fathergelos, St. Inside &Son, &Out,Galerie Etienne, New Noirs Frank, Galerie Paris, Elbaz, France, 2013,Ilija/Man- 2006; exhibitions:the ILIJA!, Institut,Goethe 2018,and Serbia, co-organiser Belgrade, of Maribor,KIBLA, Slovenia, 2017; Ilija-Mangelos Fenomen, USA,2017;Ilija’sKnifer elbaz, Dallas, frank , galerie Breath, are: MangelosBašičević and Marcel Broodthaers” (2012). offunction words and images –Two studies case of Dimitrije of the – visual theory textual The in arts practices “The titled: group inthe inBelgrade arts for Interdisciplinary studies en- She is acurator of many exhibitions amongst which in 1976, she hasBorn a doctorate from University the of Investigating of Painting: theLimits Mangelos, Julije Svet Iliji, MoCA po Istria, Croatia, 2012;Miroirs Gallery St.Etienne,Gallery New York, USA, los, Novi Sad, 2009; Iliji po Svet Iliji, u:Svet po Museum of Contemporary Vojvodina, Art Novi Sad, 2012; irs, coauthor, pub. Paraquay Press, Paris, Feješ 2014;Emerik , Museum of Contemporary 2018;Miroirs Belgrade, No Art - Mangelosvić , edition: Kritičari iteoretičari umetnosti, pub. Brodars Mangelos iMarsel Dimitrije veka: dvadesetog Bašičević oks amongst are: which Trijumf umetnosti uvizuelnoj reči projectnal Young Visual Award Artist (YVAA). youngbest of is which apart artist inSerbia, visual regio the - Mangelos AwardDimitrije Bašičević –an award for the “Vujicic Kolekcija” and 2013. Službeni Belgrade, Glasnik, ja, pub: Miško Šuvaković, Ješa Nikola Denegri, Fond Dedić, She is author the of many- texts andbo specialist several From 2010Ivana has sat on governing the board of the [email protected] , pub. 2018;Dimitrije- Belgrade, Bašiče OrionArt, Gergelj UrkomGergelj , in: , monograph, Fond Ilija &Mange- Radikalna apstrakci -

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SMRT UMETNOSTI ŽIVELA UMETNOST mladih uParizumladih 1971,Jugoslavije na Bijenalu uVeneciji 1984. tura iurbanizam, Filozofskom fakultetu. kustos, višikustos imuzejski savetnik. struktivnog pristupa”, 1989. du, 1964. Član redakcijâ iurednik 1965–1995:Umetnost Upravnik Odeljenja zaistoriju mandat. umetnosti – jedan 2004. Penzionisan kaoredovni profesor. 1990. Vanredni profesor Istorije umetnosti na moderne 1965 –1989.Muzej savremene umetnosti uBeogradu: Doktorat: Filozofski „Umetnost fakultet, Beograd, kon - Studije: Filozofski fakultet –Istorija- umetnosti uBeogra 1936,Split.Rođen Spot iProjek/Art, Moment JERKO JEŠADENEGRI . Selektor Bijenala , Arhitek - und damals und New Tendencuies, Munich 2016.DieGruppe Gorgona heute Network of Technological Media and Mass Communication: ernizam /neoavangarda 2016.Art /postmodernizam, in the garda, liniju, 2012,Prilozi zadrugu 3,2015, Posleratni- mod enski umetnički prostor: MoCAB, 2011.Modernizam /avan- iju, 2007;Teme srpske umetnosti 1945-1970,2009;Jugoslov- udrugojkritika polovini lin- 20.veka, zadrugu 2006;Razlozi menu liniju, 2004;Prilozi krize, zadrugu 2,2005; Umetnička umetnosti, 2004;Opstanak umetnosti uvrein postmoderni - liniju,2003;Prilozi za drugu Sprehodi slovenski po moderni 51 -Nove tendencije, 2000;Studentski kulturni centar, 2003; ti, 1998,2008;Umjetnost konstruktivnog pristupa: EXAT pluralizma, 1997;Jedna moguća istorija umetnos- moderne srpske umetnosti 1-5,1993-2000; Fragmenti postmodernog Fragmenti: uVojvodini, –devedesete šezdesete 1994;Teme EXAT-51,1979; Apstraktna umjetnost uHrvatskoj, 1985; Knjige: 1950-2000, Fondacija kolekcije Trajković, 2019. Beograd, gona, 2018.Teme Zagreb srpske umetnosti /Srpska umetnost , Kunstmuseum, Vaduz, Liechenstein 2017.Gor - Venice Biennale 1984. ofnale Young artists inParis 1971and for Yugoslavia inthe i Urbanizam, Spot iProjek/Art, Moment. for Selector Bien- editorial board and editor 1965-1995:Umetnost, Arhitektura history, Art the department, one mandate. Member of the Modern Art curator, senior curator and museum advisor Approach“,structive 1989 History 1964 of inBelgrade art 2004, retires from professor. of post full-time Head of Philosophy Faculty – Assistant professor History of 1965 –1989Museum of Contemporary Belgrade: Art PhD –Philosophy faculty, „The Belgrade Con the- art of 1936inSplit.Born Studies at Philosophy the – faculty

und damals und New Tendencuies, Munich 2016.DieGruppe Gorgona heute Network of Technological Media and Mass Communication: ernizam /neoavangarda 2016.Art /postmodernizam, in the garda, liniju, 2012,Prilozi zadrugu 3,2015, Posleratni- mod enski umetnički prostor: MoCAB, 2011.Modernizam /avan- iju, 2007; Teme srpske umetnosti 1945-1970,2009;Jugoslov- udrugojkritika polovini lin- 20.veka, zadrugu 2006;Razlozi menu liniju, 2004;Prilozi krize, zadrugu 2,2005;Umetnička umetnosti, 2004;Opstanak umetnosti uvrein postmoderni - liniju,2003;Prilozi za drugu Sprehodi slovenski po moderni 51 -Nove tendencije, 2000;Studentski kulturni centar, 2003; ti, 1998,2008;Umjetnost konstruktivnog pristupa: EXAT pluralizma, 1997;Jedna moguća istorija umetnos- moderne srpske umetnosti 1-5,1993-2000;Fragmenti postmodernog Fragmenti: uVojvodini, –devedesete šezdesete 1994; Teme EXAT-51,1979; Apstraktna umjetnost uHrvatskoj, 1985; Books: [email protected] 1950-2000, Fondacija kolekcije Trajković, 2019. Belgrade, gona, 2018.Teme Zagreb srpske umetnosti /Srpska umetnost , Kunstmuseum, Vaduz, Liechenstein 2017.Gor -

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SMRT UMETNOSTI ŽIVELA UMETNOST drustvenih determinisanosti,drustvenih imperativa, pritisaka. Baveći suočavanjasvakodnevna brojnim sa irazličitim oblicima kompleksne pozicije funkcionisanja individue danas, na naša preokupacije najpre su usmerene na problematizovanje materija – prostor - forma U radovima – ideja. Sanjine tematske istražujući njegove transformativne potencijale u relacijama umetničkog izrazakroz koje preispituje isam medij skulpture performansu, ifoto videu dokumentaciji, birajući kaopolja ih vokaciji vajar Sanja Latinović svoj raduglavnom fokusira na studije, Švajcarska. performans, Odsek na HKB Bern, Iako po vajarstvo. Odsek umetnosti uBeogradu, 2016zavrsila Master Sanja Latinović (1983)izSrbije, završila Fakultet likovnih SANJA LATINOVIĆ umetnost drugih’’ itd. „Toplo mesto’’, na travi’’, „Doručak „Veliki san’’,Beograd’’ kojom sa volimo „Mi realizovala je veći broj zajedničkih akcija: koji karakterišu usložnjenu globalnu društvenu sliku. u svojevrsne metafore osindromima, stanjima, procesima svedenim vizuelnim rešenjima/izvođenjima uobličavajući ih svoja iznosiumetnica iartikuliše viđenja unepretencioznim, emocionalno više psihološkomse dimenzijom odnosa, tih [email protected] član„Treći 2009.i2014.bila između je grupe U periodu Berne, Switzerland.Berne, Although asculptor by vocation, Sanja fo 2016 she finished Master Studies for Performance Art at HKB, Faculty Department of of in Belgrade, Fine Sculpture. Arts In logical dimensionlogical of relations, those artist the proposes and atives, pressures. more Dealing with emotionally the psycho numerous and various forms determinations, of social imper individual intoday’s world, our confrontations everyday with mainly about problematizing complex the functioning of an matter-space-form-idea. Sanja’s thematic preoccupations are ture by exploring its transformative potential relations inthe expression in order to question medium of very the sculp tography, carefully choosing those as fields the of her artistic her workcuses mainly on performance, work video and pho Sanja Latinović (1983) from graduated Serbia, from the - - - - - interest on position is the based of artist society. the inthe (2004),her classmates.of in Belgrade Fine Arts Their field of iswhich ageneration of graduated sculptors from Faculty the The BigDream, We Like the of OthersArt , etc. many joint actions: The Place Warm Belgrade association Thirdthe whichwith participatedshe in acterise the complex the acterise image global of society. the metaphores about syndromes, states and processes that char solutions/performancesvisual forming into them akind of articulates her own through views unpretentious, simplified 2019. Sanja Latinovic initiates formation the of Group 04, https://issuu.com/treci.beograd More about Belgrade here: Third fromIn 2009to 2014she period the was amember of , Breakfast on the Grass, -

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SMRT UMETNOSTI ŽIVELA UMETNOST nesvrstanoj Jugoslaviji). i umetnost tokom rata hladnog (uistočnoj Evropi, zapadu i čovekaodnos iživotinje uumetnosti ifilozofiji 20. veka, kao kom rata. hladnog Njena istraživačka interesovanja uključuju titeti -politika predstavljanja ikontrakulture uJugoslaviji to- gde doktorirala je na istraživačkom projektu Konfliktni iden- Cirihu (2016-2019) i istraživač na ETH Zurich (2013-2016) tualnoj docent Bilaje umetnosti 1970-ih. na Univerzitetu u gradu objavljena njena je knjiga operformansu ikoncep- Trenutno predaje na Univerzitetu uFriburgu (Švajcarska). vana zamodernu isavremenu umetnost Evrope. Centralne 2018.godine uStudentskom kulturnom- centru uBeo istoričarka je Renz Seraina umetnosti ikustos- specijalizo SERAINA RENZ Yugoslavia). WarCold Europe, (inEastern West the and Non-Aligned the and philosophy of centuryas well 20th during the as Art the research interests include human-animal-relation the inart and Counterculture in Yugoslavia during War. Cold the Her Politics Representationof project Conflicting Identities – (2013-2016) where she worked on her PhD research inthe sity of Zurich (2016-2019)and aresearcher at ETH Zurich She was anin Belgrade. Assistant Professor at Univer the ofart was the 1970s published at Student the Cultural Center land). In about 2018her book performance and conceptual currently teaching at University the of Fribourg (Switzer andin modern contemporary of art Europe. Central She is [email protected] is Renz anSeraina historian art and curator specialized - - kolekcijama. iradiuBeogradu. Živi transtvu, aradovi mu privatnim umnogim nalaze sa ijavnim gradu. Izlagao na mnogobrojnim izložbama uzemlji iinos- Odseku zaskulpturu Fakulteta- likovnih umetnosti uBeo (www.perpetuummobile.rs). Doktorirao 2012. godine na je ničke asocijacije Treći Beograd , kasnije iPerpetuummobile likovni program. Idejni tvorac isuosnivač Nezavisne umet- tozar Marković”, 2008.do2012. godine uređivao gde od je Pokretač Umetničkog centra Univerzitetske biblioteke „Sve- ternacionalni umetnički gremijum) 2003.godine. je postao gde 1997.godine proglašen je zamajstora. Član IKG-a (In- Umetničkoj akademiji prešao uDiseldorfu 1993.godine, je U vajarskuumetnosti uBeogradu. na Klausa klasu Rinkea Studirao slikarstvo je (1990–1993)na Fakultetu likovnih SFR Jugoslavija. 1970.uZadru, Rođen SELAN TRTOVAC

and public collections. He lives and works inBelgrade. home and abroad, and his works are included inmany private He inBelgrade. Arts has exhibited at numerous exhibitions at 2012 at Department the of Sculpture at Academy the of Fine perpetuummobile.rs) as well. He received his doctorate in sociation to 2012.Creator and co-founder of Independent the As Art - Centre, where he worked as programart the editor from 2008 Founder of University the “Svetozar Library Markovic”Art Künstler Gremium (International Forum) Artists in2003. in 1997.He amember became of IKG the -Internationales at Academy Art the in Düsseldorf, where he received his MA grade. In 1993,he moved to sculpture the class of Klaus Rinke painting (1990-1993)at Academy the - of inBel Fine Arts www.selmantrtovac.com [email protected] inZadar,Born SFR Yugoslavia, in1970.He studied Third Belgrade Third Perpetuummobile , and later Perpetuummobile (www.

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SMRT UMETNOSTI ŽIVELA UMETNOST Objavio tekstove je iučasopisu Documenta (2007),Mani 12 Zarez umetnosti. Diplomirao na Odeljenju je zafilozofijuFilozof (Beograd), (Beograd), broj izložbi, kojima među autorskih izdva se ikoautorskih najbolji tekst ovizuelnoj umetnosti objavljen uSrbiji 1998. kritičara (AICA). Dobitnik Nagrade je Trifunović” „Lazar za sekcije međunarodnog udruženja novinara (IFJ),te likovnih 4 Journal festa rary časopisa,mnogih kaošto su Projekat umetnosti ukontinuitetu 1992.Bio višegodišnji je od saradnik tekstove osavremenoj likovnoj umetnosti, teoriji ifilozofiji umetnosti u javnom prostoru na umetnosti naje Jan van Eyck Academie uMastrihtu istudije studije na istom odeljenju, kaoipostdiplomske studije teori pohađao doktorskeskog fakulteta Univerziteta uBeogradu i Belgrade Art Inc. (2004),ADogumentary Beč , Secession, (2002), (1996), jaju: (London), Spike Stevan Vuković vokaciji po je kustos, istoričar i teoretičar Od 1996.radikaosamostalni kustos. veći Realizovao je Od Drugo jugoslovenskoDrugo bijenale mladih, Konkordija, Vršac (Zagreb), kao i dnevnog lista kaoi dnevnog (Zagreb), Balkan konzulat: Misija Beograd Rotor , Urban Fog of Belgrade, Monitor On Curating 16 Curating (2005),On (Podgorica), Košava (Beč), Springerin (Beč), UrbanBerlin, (2003), Drift, Bahaus Dessau. Objavljuje Politka (Novi Sad),New Moment (2013). Član je lokalne (2013).Član je (Beč), Umjelec (Beč), (Vršac), Contempo (kulturni dodatak).

Galerija, GracGalerija, (Prag), - - - - - Erićem). kojuu Beogradu, osmislio je irealizovao zajedno Zoranom sa Srbiji 2003.godine (zaizložbu uMuzeju savremene umetnosti istoričara nagrade Društva je umetnosti zanajbolju izložbu u KCB, Kontekst, Opservatorium iJan Palah (Rijeka). Dobitnik ladine, Galeriji O3ONE iuSKC-u. Bio usavetima je galerija (2016). Vodio galerijske je programe u Remontu, Domu om (2011/12), nja mladost uJugoslaviji, Muzej istorije Jugoslavije, Beograd umetnike iarhitekte), uMuzeju savremene umetnosti uBeo dionizijskogOd socijalizma do predatorskog kapitalizma umetnosti) na Akademiji umjetnosti uOsijeku (2007–2009); prostoru javnom (2007);Umjetnost u u Beogradu ovde nosti sada kustoske kolektive), u Rum46, u Arhusu, Danska (2006); Curating (2004); Collective ziteta umetnosti uBeogradu studente umetnosti) na Fakultetu likovnih umetnosti Univer Univerziteta (2003–2004);Televizualizacija uBeogradu (za hitekture), na Katedri zaurbanizam Arhitektonskog fakulteta (2003); gradu (2002) i u Muzeju savremene umetnosti u Beogradu sition umetničke asocijacije Remont Tran in (2001–2002);Curating njima izdvajaju: se autorskica, koautorski ili osmišljenim irealizovanim. Među Izložbotvornica Splitu 2019.radikontinuiranu (2018).Od kustosku radionicu (za studente kustoskog kursa) uorganizaciji Udruge Mavena u verziteta iKolektivne umetničke umetnosti uBeogradu prakse studente intermedija) na Fakultetu likovnih umetnosti Uni u Magacinu MKM (2016);Napuštanje bezbednog režima (za (2012–2014),Slikeu Beogradu izložbi sa (zasrednjoškolce), te fotografije), na Novojakademiju Evropskog univerziteta (2012);Programti orijentacije u polju umetnosti (za studen kulturalne studije umetnosti Ciriškog univerziteta umetnos studente kustoskih studija), na kustoskom kursu Instituta za gradu (2010–2012); vidim film vidim Approach Njegov odvija stalno iuformi radse edukativnih radioni (za mlade kustose), (zamlade na Univerzitetu umetnosti uBeo Umetničko oblikovanje javnih prostora (zastudente ar usvri üce (2004),Kada otvorim oči , Kunstverein München , Moderna Ljubljana, galerija, (2010/11),Posled Pred sudom Pred (zastudente istorije umetnosti). (za mlade umetnike) BELEF uokviru festivala (zamlade Art Session Art Precarious Labour in the Filed of Art (za , Galerija „Nadežda, Galerija Petrović”, Čačak (za mlade umetnike), u okviru (za mlade (zastudente Umet (za (za ------(2007), ment). He has published texts Documenta inthe 12Magazine daily Politka based as well as Belgrade the na), Springerin (Vienna) Umjelec (Prague), Zarez (2002), Urban Fog of Belgrade” , “Balkan Conzulate: Mission Belgrade”, Gallery Rotor YugoslavSecond Yough Biennial”, Konkordija curated and co-curated numerous exhibitions, such as: “The in1998. Serbia Award,Trifunović Association of Internationalis the Journalist section amember of local the Remont, Gallery Gallery ry „TheLast Youth in Yugoslavia“, Museum of Yugoslav Histo- My Eyes Moderna Film,“ I See Galerija, Ljubljana, (2010/11), Approach”,ry Kunstverein (2004),„When München IOpen Inc.” Art “Belgrade Secession ca), jekat a long termcollaborator of numerous mgazines, such as Pro and philosophytheory of continuallyart from 1992. He was Dessau Aakademie ment, as well as graduate studes at of Jan theory art van Eyck He has attended postgraduated studies at same- the depart losophy at Faculty the of Philosophy ofBelgrade the University by vocation. He has graduated from department the of phi- leries leries Gallery , Belgrade (2011/12),„Before Court“, the , Belgrade Nadežda Petrović Since 1996.he works as an independent curator. He has Stevan Vuković is curator, historian art and theoretician Košava (Novi Sad),New Moment Monitor (Beograd), KCB . He publishes texts on contemporary art art, visual , Čačak (2016). He programs has curated at gallery (2016). , Čačak , and inSKC Gallery, and he was boards inthe of- gal Manifesta 4 Journal , inMaastrihtu and inpublic art spaceat Bahaus , as well as of AICA. He got awarded Lazar the (Vršac), Contemporary Kontekst The Youth CulturalCentar Belgrade , for text best the on published art visual in , Opservatorium On Curating 16 Curating (2005),On , Vienna (2004),“A Dogumenta- Urban Drift Urban (London), Spike i Jan Palah (cultural supple- , Berlin, (2003.), , Berlin, , Vršac (1996) (Rijeka). He (2013).He (Podgori- (Zagreb), (Zagreb), O3ONE (Vien- , Graz - . „Izložbotvornica“ (for students). history art 2019 he conducts apermanent curatorial workshop titled course) organized by Udruga Mavena inSplitu (2018).From and „Collective Practices“ Art (for students of curatorial the at Faculty the of Fine Arts Regime“„Leaving (for Security the intermedia students) art tions“ (for school students), high in Belgrade in phy students), at New the Academy the of (2012.); „Orienting Onself Field inthe of (for Art“ photogra- students of curatorial studies) at the (2010. -2012.);„Precarious of (for Filed inthe Art“ Labour ists and architects), Museum of Contemporary Art Belgrade „From to Predatory Dyonisian Socialism Capitalism“ (for- art students) at Academy the of Arts inOsjek (2007.–2009.); (2007.);“Artfestival inBelgrade inPublic Space” (for art Aarhus (2006.);“Art Here and Now’ (for youg artists) BELEF Curating“lective (for curatorial collectives),inRum46, in Fine Arts at University the of Arts in Belgrade (2004.);„Col - 2004.); ‘Televizualization“ (for students) art at Faculty the of the students of architecture), at Urban the Department Design Belgrade (2002.), and in the in Belgrade in Transition“ (for young curators), at the ists), framework inthe of Remont conceptualized Session“ and are: realized „Art (for young- art has conceptualized and with realized Zoran Erić). tion Museum inthe of Contemporary Art Belgrade he, which bia, for exhibition best the in2003.(for inSerbia exhibi the - got awarded Award the of the Union af Art Historians of Ser Faculty of Architecture ofBelgrade the University [email protected] He often works workshop Amongbased. the workshop (2003);“Artistic Approach to Public Spaces” (for , (od 2012.do2014.),„Images, (od From Exhibi the - at University the of Arts in Belgrade , Museum of Contemporary Art (2001.–2002.);“Curating Zurich University of Arts, Magacin MKM (2016.); European University University of Arts (2003– at at -

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SMRT UMETNOSTI ŽIVELA UMETNOST kustoski /Authoring tim team /Set-up postavka Željko Rajačić Studio АRHE dizajn /Design Irina Subotić recenzija /Reviewer Stevan Vuković Sanja Latinović Ivana Antić Bašićević Selman Trtovac kustoski tim /Authoring team: Ivana Markez Filipović editorCatalog and program organizer iorganizator kataloga urednik programa / Nemanja Bogdanov direktor/ Director, Editor inChief 19th Biennial long of dead, Art Arts, is live Art, Pancevo 2020. Pančevo 2020. 19. Bijenale umetnosti umetnosti, ,Smrt živela umetnost , [email protected] tel/fax: ++381(0)13.346.137 Pančevo, Vojvode Živojina Mišića 1 Contemporary savremeneof Galerija umetnosti /The Gallery Art Kulturni centar Pančeva /The CentreCultural of Pancevo Milan Jozić Stanković Marija Komikaze udruga Katarina Jovanović Allfa Jelena Mijić Jasna Tijardović Iuri Alber Hy Yun /Hu Jin Fondacija Marčeta Saša Fondacija Ilija &Mangelos Dragoslav Krnajski Davorin Palijan Damir Žižić Damir Stojnić Branko Balić Stokelj Bojan Arhiva Narodnog muzeja uBeogradu Arhiva Muzeja savremene umetnosti uBeogradu Arhiva Instituta zapovijest umjetnosti uZagrebu „Svetozar Marković”, Beograd Arhiva digitalne biblioteke Univerzitetske biblioteke Ana Petrović fotografije / Photos Ljudmila Pendelj lektura ikorektura /Proofreading Editing and Language Mark Brogan iautor Slavko Bogdanović /Translationprevod Halupa Pavle / obrada GraphicDesign grafička Nemanja Đorđević Lučijan Vinu Nenad Marković Nenad Forgo Branislav Božanić timtehnički /Technical Team Jagoda Milkovski /Technical sekretar tehnički Secretary Zoran Petković koordinatortehnički /Technical Coordinator Monika Husar Tokin /PR Manager javnošću sa odnosi Lidija Kočevski projekt /Project menadžer Manager Zoran Popović Vlada Popović Vesna Tokin Vesna Pavlović Tijana Petrović Stan Softić Srđan Veljović Slavko Bogdanović Sanja Latinović Muzej suvremene umjetnosti uZagrebu Rakić Milica BilanovićMilica Veljko Pavlović ISBN 978-86-87103-85-6 Novembar 2020/November 2020 500 /Circulationtiraž bb,Bakionica 31210Požega Izdavačko preduzeće Epoha, štampa /Printing Zoran Milovanov Vladimir Protić Vesna Petković TanasijevićSlobodan Miroslava Matijević Miroslava Malešević Mirjana Stokić Jovana Tančić KocićDušica DavidovićDušanka Dejan Gaćeša Branislav Radovanović Bojana Vagner Biljana Obradović Ana Nemet Ana Nedeljkov Ana Buzadžija Administrative and Organizational Support / administrativna iorganizaciona podrška

293 SMRT UMETNOSTI ŽIVELA UMETNOST ŽIVELA UMETNOSTI SMRT Manifestaciju podržavaju / Supported by Pokrovitelj / Sponsor

Prijatelji manifestacije / Friends of the Biennial

Republika Srbija Ministarstvo kulture i informisanja / Kulturni centar Pančeva / Grad Pančevo / Republic of Serbia Ministry of Culture and Information Cultural Center of Pancevo The City of Pancevo

Medijski sponzori / Media Partners

„Gete” Institut, Beograd / Fondacija „Ilija & Mangelos” / Austrijski kulturni forum Beograd / RADIO Goethe-Institut, Belgrade Elijah & Mangelos Foundation Austrian Cultural Forum Belgrade TELEVIZIJA VOJVODINE

RADIO TELEVIZIJA VOJVODINE

Muzej suvremene umjetnosti – Zagreb / Institut za povijest umjetnosti – Zagreb / Muzej savremene umetnosti Vojvodine / Museum of Contemporary Art – Zagreb Institute of Art History – Zagreb Museum of Contemporary Art of Vojvodina

Narodni muzej u Beogradu / Muzej savremene umetnosti, Beograd / Narodni muzej Pančevo / National Museum in Belgrade Museum of Contemporary Art Belgrade National Museum Pancevo

„Dunav osiguranje”, Pančevo / Univerzitetska biblioteka „Svetozar Marković”, Beograd / Komikaze, Hrvatska izdavačka platforma / Dunav Insurance Company of Pancevo University of Belgrade University library Komikaze, Croatian publishing platform ''Svetozar Markovic'' Belgrade, Serbia C I P P A N Č E V O 2020.