DOCSLIB.ORG

Damjan Kovačević

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Damjan Kovačević Damjan Kovačević NARODNI MUZEJ CRNE GORE ATELJE DADO REALISTIČKI CRTEŽI DAMJANA KOVAČEVIĆA Pišući o umetničkom bavljenju Damjana Kovačevića najpre je neophodno ustanoviti osnovne crte prepoznavanja i svedočenja irealističkog crteža u opoziciji prema fizionomi- ji realističkog crteža kao verodostojnog podražavanja prirode. Vratimo se stoga za časak u prošlost do Platona koji je dokazivao kako mimeza i mimetičke umetnosti nikada ne mogu biti vredne. Potrebno je, potom, odvojiti i situirati različite domene irealističkog crteža: got- ski irealistički crtež, barokni, arhaični, brutalni, ezoterični crtež. A zatim, ukazati na njegovo bogatstvo, mnogostranost i polifoničnost. To je, naravno, tema za jedno posebno i opsežno esejističko razobličavanje. Tek, irealistički crtež nije naravan, niti lako objašnjiv. Svi kodeksi stvarnosti ostaju ništavni naspram lavirintske prirode irealističkog crteža koji nas uvlači u ono što Moris Blanšo naziva “tajno središte sveta”. Irealistički crtež potpuno je uništio naš poznati svet. Realistički crtež je tek granica od koje započinju neki drugi svetovi. Realistički crtež intencionalno govori poput fotografije, opisuje stvari onakve kakve jesu, asimptotski se približavajući fenomenološkoj realnosti. Realistički crtež tako ostaje slep za vrelo pulsiranje stvarnosti, za uzavrelu lavu života. Vizuelni realizam nije u stanju da zahvati one konfliktne forme podzemnih, nevidljivih strujanja. Nasuprot na- turalizmu i verizmu kao njegovoj krajnosti, irealistički crtač predočava svet koji ne vidi pred sobom, već svet koji vidi u sebi. Irealistički crtež iniciran je u nas sa zlatnom epohom „Mediale“, koja je podrazumevala pobunu protiv jednog unisonog i pozitivističkog sveta, te temeljnu obnovu duha, integralne ličnosti i integralnog organona slike. Irealistički crtež jeste individualno i generičko ime za jednu posebnu vrstu crteža koji prati izvesne entitete fantastičnog, čudnovatog, čudesnog, ezoteričnog. Irealistički crtež je udaljen od realističkog crteža onoliko koliko je san udaljen od spoljašnjeg pojavnog sveta. Dakle, irealistički crtež je kompleksan crtež zaumnosti, nad- čulnog opažanja i fantazmatične infrastrukture. On ima svoju unutrašnju ezoterijsku logiku. Izlazeći iz okvira akademskog oportunizma i ikonografskih kalupa, irealistički crtež zapravo predočava stvarnost kao neizmernost nevidljivog sveta. On vidi nevidljivo iza vidljivog. A u nevidljivom se priprema ono što će se kasnije ispoljiti u vidljivom. Irealistički crtež egzisten- ciju tumači esencijom i tako obavlja misiju estetske transcendencije. Irealistički crtež prezire minimalizam kao puristički, emocionalno i konceptualno bespolni ćorsokak umetnosti bez kreativnog fluida čuda. Elementarna antropološka logika nalaže nam da pojam irealističkog crteža razumemo kao predstavu razuma koja je opovrgnuta duboko ličnom halucinacijom crtača. Pesnik i filozof, mističar islama Ibn al' Arabi smatrao je da stvarnost kao svet čula koji nas okružuje nije ništa drugo do san. Damjan Kovačević je nepredvidiv, eksplozivan crtač čiji crtački univerzum proishodi iz fantastičnih, simboličkih, ezoterijskih, mitoloških i biblijskih okvira. Pred nama je ekspanzi- van, dinamičan crtač sa izuzetno bogatim opsesivnim svetom i crtačkim repertoarom. Velika usredsređenost i crtački polet stoje iza opusa ovog mladog umetnika. Kompleksnim i ikono- grafski razvedenim svetom, te uzvitlanim vibrantnim urezima pera u papir otelovljen je onaj iskonski, primordijalni ljudski krik i do paroksizma ogoljeno demonsko lice stvarnosti. Medi- alnim spojem naturalističke ekspresije Severa i jednog mediteranskog crtačkog algoritma, Damjan Kovačević nas upućuje na čudovišne razmere stvarnog i tragičnog. Irealistički crtež životna iskustva kompenzuje snom, imaginacijom, unutrašnjim iskustvom i oniričkim opsesijama. On prevazilazi bukvalno značenje realnosti, sadržaja i ikonografije i zapućuje se na putovanje u nepoznatom pravcu arhetipske slikovnosti snova, potisnutih želja, erotskih fantazija, ljudskih lica kao simboličkih pejzaža. Kovačevićevi crteži nad kojima lebdi eshatološka neumitnost, predstavljaju košmarne dijaloge sa jednom civilizacijom na umoru. Surova stvarnost presnog životnog realiteta, istorijska šizofrenija koja se dogodila na podru- čju bivše Jugoslavije, konfliktne forme onih podzemnih, nevidljivih strujanja – sve je to prošlo kroz filter Kovačevićeve intuicije i otelovilo se na njegovom crtačkom polju. Stvarnost na Damjanovim crtežima pokazuje svoju demonsku nasmejanost. Spoljašnji impulsi kod ovog crtača pretvaraju se u forme duboko lične crtačke ekspresije. Otuda je Damjanovo crtačko polje preplavljeno apokaliptičnim slikama, dramatičnim prizorima i konvulzijama ljudskih tela, pri čemu je svaki brižljivo izveden detalj likovno proračunat i kompozicijski izbalansiran, kao deo jedne organske, likovno sugestivno organizovane celine. Na Damjanovom crtačkom polju svaki od elemenata zauzima posebno mesto, a opet svaki detalj uzakonjen je i magenetnim delovanjem crtačevog medijskog duha svepovezan u jedinstveni organizam crteža koji je nesaglediv, pa se njegove ekspresivne, barokne aglomeracije moraju otkrivati satima. Velika usredsređenost, konstruktivistički polet i cerebralna sklonost stoje iza crtačkog opusa ovog umetnika. Dijalektička korenspondencija duha i tehnike u Kovačevića, fasci- nantna je. Njegova linija, neprikosnovena, sablasno naoštrena, žustra i tačna, snažne ge- stičke ponesenosti, dramatskog nemira i linearnog zamaha, vođena je jednom sigurnom manuelnom navigacijom, instinktivnom vidovitošću i skoro egzaktnom arhitektonskom intuicijom koja je kadra da neumoljivo precizno organizuje crtačko polje. Zato Damjanova linija razotkriva duboke unutrašnje konflikte i nosi u sebi dimenziju košmara i potisnutog nemira. Oštrina Damjanove linije dolazi od duhovne pročišćenosti ovog umetnika. Damjanov crtež je probuđen, oštar, jasan i egzaltiran, on nikada ne zalazi u nesvesnost, dremež i puku fantazmagoriju radi fantazmagorije. Ovaj crtač belini papira prilazi s punom svetlošću ra- zuma, nemilosrdno trezveno. Crtež Damjana Kovačevića ima formalnu, klasičnu strukturu, ali irealistički sadržaj. Damjan je klasičan crtač koji čvrsto stoji na tlu svog medija. Ali, iz sigurnosti svog medija on se hrabro otiskuje u bestežinski, intermedijalni prostor irealnog. Otuda je formalan, klasični temelj, ili hladni zakon forme za ovog crtača tek odskočna daska za skok u ono nepoznato i zahuđeno koje se pred njim otvara. Te posete onostranom, paradoksalno, Kovačević preduzima sa izuzetnom crtačkom smotrenošću, posvećenošću i manuelnom veštinom, posvećujući podjedanku pažnju detalju koliko i ustrojstvu celine. Pritom, raskomadanost, rasredištenost i nagomilavanje detalja doprinose dinamici celine koja deluje sugestivno, a neretko i šokantno. Već pri prvom suočavanju sa mega-crtežima Damjana Kovačevića, posmatrača osetljivog duhovnog i duševnog sastava zapahne originalnost i enormnost njegove zaista prebogate imaginacije, retka sposobnost upravljanja metamorfozama arhetipskih znakova i prizora, daleko od usiljenosti svakog kombinatoričkog predumišljaja. Damjanov crtež predstavlja energetsko polje u kome sve vrvi od biomorfnih i zoomorfnih asocijacija, od erupcija čulnog, podsvesnog i instinktivnog. Od dijagrama oblika zaustavljenih i zamrznutih u pokretu. Is- preturani anatomski otpaci ljudskog i životnjskog sveta, grčevite i košmarne vizije i kovitlaci, dijabolička erotika koja dolazi iz zamračenih predela svesti, sve se to prepliće i meša na crtačkom polju, a opet, sve to barokno obilje podvrgnuto je redu i strogom kompozicijskom planu. Ljudsko telo, životinjske i biljne forme sreću se na istoj ravni ekspresionistički žestokog crtačkog gesta. Od svih tih elemenata kojima daje simboličku dimanziju, Damjan Kovačević gradi svoj poosobljeni crtački svet. Gramatika izobličenosti i metamorfoza svakako povezuje misterijalnim vezama Damja- na Kovačevića sa svetom Dada Đurića. Kao i Dado i Damjan zalazi u mitologiju tamnih slojeva sveta i radikalizuje čovekovu neutemeljnost u svetu. Međutim Damjanov opsesivni svet koji je potekao iz njegove duboko lične “intimne nemerljivosti”, njegove figurativne i apstraktne crtačke meditacije, posve se razlikuju od Dadovih. Damjan, naime, destruiše smisao kao apriornu vrednost i ponovo smisaono ulazi u istinu bitka, odnosno linijom proizvodi bitak u smislu. No, uprkos neobuzdanim, baroknim anglomeracijama, ništa na Damjanovom crtežu nije prepušteno neizvesnosti slučaja. Sve je tu u sprezi impulsivnosti i odmerenosti, egzaktnog crtačkog znanja i crtačke ekstaze. Damjanovi svetionici – srednjovekovni demonolozi i alhemičari, Hijeronimus Boš, Martin Šongauer, Žak Kalo, Ivan Olbrajt, Dado Đurić, Uroš Tošković… uče da je predmetnost svest o svetu. Jer svet nije bezlik, bezslikovan i bespredmetan. Sve što se događa dešava se između zemlje i neba. Damjan Kovačević ponovo na predmetnom putu pronalazi živ crtački jezik koji proističe iz čistog doživljaja konkretnog ovozemaljskog rekvizitarijuma, a ne iz bespredme- tnog prostora čistih egzaltacija. Ikonografski, Kovačevićev crtež obuhvata širok i visok evoka- tivni i morfološki registar. Za ovog umetnika ljudsko telo je svojevrsni hijeroglif, a svet nera- zmrsivi lavirint kroz koji se obznanjuje moć čuda. Međutim, svet iracionalnosti kod Damja- na Kovačevića je racionalno strukturisan, dosežući upućenost na smisao jednog višeg reda. Nasuprot prizemnom naturalizmu koji ne ide dalje od fenomenološke realnosti, Kovačevićev crtež jeste dubinska rasprava srca i tela, uranskih i htonskih sila, prostor koji je
Load more

Recommended publications
  • The Memory of the Avant- Garde and the New Wave in the Contemporary
    The Memory of the Avant- Garde and the New Wave in the Contemporary Serbian Novel Marko Avramović Institute for Literature and Arts, 2 Kralja Milana St, 11000 Belgrade, Serbia https://orcid.org/0000-0001-5878-5777 [email protected] This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century. Keywords: Serbian literature / contemporary Serbian novel / literary avant-garde / New Wave / Zenitism / rock and roll / Pištalo, Vladimir / Prodanović, Mileta / Tasić, Vladimir In Vladimir Tasić’s Farewell Gift (2001), one of the key contemporary Serbian novels, the narrator at some points expresses a high apprecia- tion of the two epochs. One is personally experienced, while the other has long been placed in historical niches
    [Show full text]
  • ILIJA ŠOŠKIĆ CV * 1935, in Dečani, Montenegrin Province Zeta
    ILIJA ŠOŠKIĆ CV * 1935, in Dečani, Montenegrin Province Zeta, Kingdom of Yugoslavia. Lives and works between Split, Croatia and Roma, Italy. Education: Studied fine arts at the Academy of Fine Arts in Bologna (IT), Academy of Fine Arts in Belgrade (RS) and High School of Art in Herceg Novi (ME). Solo exhibitions (selection): 2019 “We are all in risk”, curated by Janka Vukmir, Institute for Contemporary Art, Zagreb, HR 2018 “Action Forms”, retrospective; curated by Zoran Erić and Nebojša Milenković, MoCAB Belgrade and MSUV Novi Sad, RS 2017 “Fisis / Res publica”, curated by Paolo Codato and collective Ex Lavanderia, Santa Maria della Pietà, Ex hospital for mental health, Rome, IT 2015 “Performa 15”, prints / Skype-performance; commissioner Rose Lee Goldberg, curated by Juan Puntes, New York biennale of performances art, White Box Gallery NY, USA “Token“, performance with artist Stefanija Šoškić; curated by Marat Guelman DEAC Artist Residency Jugooceanija, Kotor, ME “PPP nine hour after. 40 years after“, curated by Petar Mitrić and Szabolsc Tolnai, 22nd European Film Festival, Palić, RS “Token“, curated by Spartak Dulić, Gallery dr Vinko Perčić, Subotica, RS “Il sussurro. La triade riconfigurata“, curated by Viviana Guadagno, Zoo Zone Art Forum, Rome, IT 2013 “Token“, curated by Susana Novčić, National Museum, Kraljevo, RS 2011 “Logos poietikos“, curated by Vlafimir Đurišić, Music Festival Espressivo, Cetinje, ME 2010 ”Tractatus”, curated by Slaven Tolj, ARL Art Workshop Lazareti, Dubrovnik, HR “Entscheidungsproblem“, curated by Eugen Borkovsky,
    [Show full text]
  • Popular Music and Narratives of Identity in Croatia Since 1991
    Popular music and narratives of identity in Croatia since 1991 Catherine Baker UCL I, Catherine Baker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated / the thesis. UMI Number: U592565 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592565 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis employs historical, literary and anthropological methods to show how narratives of identity have been expressed in Croatia since 1991 (when Croatia declared independence from Yugoslavia) through popular music and through talking about popular music. Since the beginning of the war in Croatia (1991-95) when the state media stimulated the production of popular music conveying appropriate narratives of national identity, Croatian popular music has been a site for the articulation of explicit national narratives of identity. The practice has continued into the present day, reflecting political and social change in Croatia (e.g. the growth of the war veterans lobby and protests against the Hague Tribunal).
    [Show full text]
  • Belgradeuniversity of Belgrade To
    BelgradeWelcometo the University Guidewww.bg.ac.rs Guide of Belgrade UniversityGuide Welcome Guide to the University of Belgrade Rector’s Foreword 4 Introduction 6 University of Belgrade History of the University of Belgrade 8 At a Glance 10 University Members 12 International Cooperation 14 Internationalization at the University of Belgrade 15 Mobility Strategy of the University of Belgrade 18 Why study in Belgrade Academic Excellence 25 About Belgrade 26 Culture and Entertainment 28 Become a Student of the University of Belgrade Study at the University of Belgrade 31 • Enrolling in degree studies • Exchange and mobility opportunities for incoming students Academic and Administrative Staff Mobility 35 Academic Information 36 Study Programs in Foreign Languages 38 Living & Studying in Belgrade: Useful Information Entering the Country and Temporary Stay Permit 41 Accommodation 43 Cost of Living 44 Cost of Studying 45 Arriving in Belgrade 46 Erasmus Student Network 47 Serbian Language 48 Other Useful Information 49 SIPUS Tempus Project 50 www.bg.ac.rs 3 Welcome Guide to the University of Belgrade is my sincere pleasure to greet you on behalf of the University Therefore, I invite you to get of Belgrade and express my belief that this publication will acquainted with our faculties and It provide relevant and useful information about our University and research centers, in order to find the possibilities offered to you to study in English, as well as other a place ideal for your studies and alternatives at the time when you choose your higher education professional development and alma mater. at the same time experience a different culture and meet differ- Foreword The University of Belgrade, the biggest and the oldest university ent people.
    [Show full text]
  • Evaluation of Serbian Commercial Corn Hybrid Tolerance to Feeding By
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2008 Evaluation of Serbian commercial corn hybrid tolerance to feeding by larval western corn rootworm (Diabrotica virgifera virgifera LeConte) using the novel difference approach Stephanie Rose Kadličko Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Entomology Commons, and the Plant Pathology Commons Recommended Citation Kadličko, Stephanie Rose, "Evaluation of Serbian commercial corn hybrid tolerance to feeding by larval western corn rootworm (Diabrotica virgifera virgifera LeConte) using the novel difference approach" (2008). Retrospective Theses and Dissertations. 15421. https://lib.dr.iastate.edu/rtd/15421 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Evaluation of Serbian commercial corn hybrid tolerance to feeding by larval western corn rootworm (Diabrotica virgifera virgifera LeConte) using the novel difference approach by Stephanie Rose Kadličko A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Entomology Program of Study Committee: Jon J. Tollefson, Major Professor Linda M. Pollak Kenneth H. Holscher Iowa State University Ames, Iowa 2008 Copyright © Stephanie Rose Kadličko, 2008. All rights reserved. 1457577 Copyright 2008 by Kadlicko, Stephanie Rose All rights reserved 1457577 2008 ii TABLE OF CONTENTS ABSTRACT iii CHAPTER 1. LITERATURE REVIEW 1 CHAPTER 2.
    [Show full text]
  • Cetinje, Podgorica, Belgrade. Graduated at Faculty of Fine Arts, Cetinje, University of Montenegro, 1995-1999
    IRENA LAGATOR www.irenalagator.net Born in Cetinje, Montenegro, 1976. Lives&works: Cetinje, Podgorica, Belgrade. Graduated at Faculty of Fine Arts, Cetinje, University of Montenegro, 1995-1999. ENSBA/École Nationale Supérieure des Beaux-Arts du Mans, France, 1999-2000. MA in graphic design and graphic art at Faculty of Fine Arts, Cetinje, University of Montenegro. PhD candidate (interdisciplinary and multimedia art) at Center for Interdisciplinary Studies/University of Arts in Belgrade. AWARDS Montenegrin Academy of Sciences and Arts, 2010 Transforming Memory. The Politics of Images: International Biennial of Contemporary Art/24th - Nadeda Petrovic Memorial, Cacak, Serbia (together with: Mariana Castillo Deball). Jury: Prof. Dr Beatrice von Bismarck, dr Mileta Prodanovic, Thierry Destriez, 2007 Milunovi, Stijovi, Lubarda, Art Pavilion Award, Podgorica, Montenegro, 2006 22nd International Biennial of Mediterranean Countries, Alexandria, Egypt, 2003 4th International Print Triennial, Cairo, Egypt, 2003 Reconstruction, 4th Cetinje international biennial of contemporary art, Montenegro, UNESCO prize for visual arts. Jury: Bojana Pejic, Henry Meyric Hughes, Petar Cukovic, Edi Muka, Patricia Jerez, 2002 12th Space International Print Biennial, Seoul, Korea, 2002 35th Winter Salon of Contemporary Art, Herceg Novi, Montenegro, 2002 Velibor Bucko Radonji Award, Montenegrin National Theatre, Podgorica, 2001 IX Yougoslavian Student Print Biennial, "Studentski grad", Cultural centre, New Belgrade, 1998 GRANTS AiR: Krems an der Donau, Austria, 2009/2010 AiR/symposium: ORTung, Salzburger Kunstverein/Deutschvilla, Strobl, Austria. Curated by: Hemma Schmutz, Astrid Wege, Maren Richter, 2009 AiR: KulturKontakt, Vienna, Austria, 2009 AiR: Viafarini, Milano, Italy, 2007 AiR: Neue Galerie am Universalmuseum Joanneum, Graz, Austria, 2006 Modelmania: workshop with Olafur Eliasson and Yona Friedman, ArtExperience Domus Academy, Venice, Italy.
    [Show full text]
  • Stakić’S Mens Rea for Persecution
    UNITED NATIONS International Tribunal for the Case No. IT-97-24-T Prosecution of Persons Responsible for Serious Violations of Date: 31 July 2003 International Humanitarian Law Committed in the Territory of Former Yugoslavia since 1991 Original: English IN TRIAL CHAMBER II Before: Judge Wolfgang Schomburg, Presiding Judge Volodymyr Vassylenko Judge Carmen Maria Argibay Registrar: Mr. Hans Holthuis Judgement of: 31 July 2003 PROSECUTOR v. MILOMIR STAKI] JUDGEMENT The Office of the Prosecutor: Ms. Joanna Korner Mr. Nicholas Koumjian Ms. Ann Sutherland Counsel for the Accused: Mr. Branko Luki} Mr. John Ostojic PURL: https://www.legal-tools.org/doc/32ecfb/ TABLE OF CONTENTS The Judgement has been divided into three main sections. The first section deals with the factual findings; the second with the role of Dr. Staki} in the events described in the factual findings; and the third with the individual criminal responsibility of Dr. Staki} for the crimes alleged. A summary of this Judgement may be found at the end of this document, after the divider. I. FACTUAL FINDINGS ..................................................................................................................1 A. THE ACCUSED..............................................................................................................................1 B. GENERAL PRELIMINARY OBSERVATIONS RELATED TO ALL FACTUAL FINDINGS..........................3 C. GENERAL BACKGROUND OF THE EVENTS IN PRIJEDOR IN 1992....................................................5 1. Political situation
    [Show full text]
  • Decision on Second Prosecution Motion for Judicial Notice of Adjudicated Facts
    Ir--qlj- 5" /4fJ-P r }) .2,5'.33 ~]) .25"I.fIB UNITED Oq OG ro8~ R.. LOO" NATIONS International Tribunal for the Case No.: IT -95-51l8-PT Prosecution of Persons Responsible for Serious Violations of International Humanitarian Law Date: 9 October 2009 Committed in the Territory of the former Yugoslavia since 1991 Original: English IN THE TRIAL CHAMBER Before: Judge O-Gon Kwon, Presiding Judge Howard Morrison Judge Melville Baird Judge Flavia Lattanzi, Reserve Judge Registrar: Mr. John Hocking Decision of: 9 October 2009 PROSECUTOR v. RADOVAN KARADZIC PUBLIC DECISION ON SECOND PROSECUTION MOTION FOR JUDICIAL NOTICE OF ADJUDICATED FACTS Office of the Prosecutor Mr. Alan Tieger Ms. Hildegard Vertz-Retzlaff The Accused Mr. Radovan Karadzi6 THIS TRIAL CHAMBER of the International Tribunal for the Prosecution of Persons Responsible for Serious Violations of International Humanitarian Law Committed in the Territory of the former Yugoslavia since 1991 ("Tribunal") is seised of the "Second Prosecution Motion for Judicial Notice of Adjudicated Facts and Corrigendum to First Prosecution Motion for Judicial Notice of Adjudicated Facts", filed on 17 March 2009 ("Motion"), and the "Corrigendum to Second Prosecution Motion for Judicial Notice of Adjudicated Facts", filed on 27 July 2009 ("Corrigendum"), and hereby renders its decision thereon. I. Background and Submissions I. The Motion was preceded by the "First Prosecution Motion for Judicial Notice of Adjudicated Facts", filed on 27 October 2008 ("First Motion"), and followed by the "Third Prosecution Motion for Judicial Notice of Adjudicated Facts", filed on 7 April 2009 ("Third Motion"). On 5 June 2009, the Chamber rendered its "Decision on First Prosecution Motion for Judicial Notice of Adjudicated Facts" ("First Decision on Adjudicated Facts"), granting the First Motion in part, and taking judicial notice of 302 out of 337 facts proposed by the Office of the Prosecutor ("Prosecution") in its First Motion.
    [Show full text]
  • BIOGRAPHY MIODRAG DJURIC, D Born in 1933, Cetinje, Montenegro
    Espace Marais 5 & 7 rue de Saintonge 75003 Paris T. +33 (0)1 42 72 60 42 Espace St Germain 53 rue de Seine 75006 Paris T. +33 (0)1 44 41 69 65 [email protected] www.jeannebucherjaeger.com BIOGRAPHY MIODRAG DJURIC, DADO Born in 1933, Cetinje, Montenegro Died in 2010, Pontoise, France EDUCATION 1991 Creation of the Dado Museum in Cetinje, Montenegro 1958 Meets Daniel Cordier with Kalinowski and Dubuffet 1956 Departure for Paris 1952 Ends his seconary studies at the School of Fine Arts in Herceg-Novi (Montenegro) Participates in the restoration of fresco in the Monastery of Moraća Continuing his course at the Academy of Fine Arts in Belgrade, where he studied Marko Čelebonović 1944 Departure for Slovenia (Ljubljana) at his uncle painter SOLO EXHIBITIONS 2016 Mémoire épidermique, Galerie Jeanne Bucher Jaeger, Espace St Germain, Paris, France 2015 Horama, Centre of Contemporary Art – Auberive Abbey, France 2012 Dado. Danse macabre, Kunsthalle, Düsseldorf, Germany 2011 Salle en hommage à Dado, Centre Georges-Pompidou, National Museum of Modern Art, Paris, France Salle en hommage à Dado, Les Abattoirs, Toulouse, France Hommage à Miodrag Djuric, DADO. Autour de trois grands triptyques, Galerie Jeanne Bucher Jaeger, Espace Saint Germain, Paris, France Hommage à Dado, Regional Museum of Contemporary Art Languedoc-Roussillon, Sérignan, France 2010 Église Saint-Martin, Montjavout, France 2009 Clarté de l’obscur, French Cultural Center, Belgrade, Serbia Les Oiseaux d’Irène, Galerie Beaubourg, Casino Vernier, Alliance française, Venice, Italy
    [Show full text]
  • US Embassy Declares 'Violent' Nightclubs Off-Limits
    Issue No. 212 Friday, September 09 - Thursday, September 22, 2016 ORDER DELIVERY TO Belgrade Pride: Unlikely It’s time YOUR DOOR +381 11 4030 303 Hopes for Serbian designer to get [email protected] - - - - - - - ISSN 1820-8339 1 a third peaceful heads to kids BELGRADE INSIGHT IS PUBLISHED BY 0 1 parade New York active Page 4 Page 9 Page 11 9 7 7 1 8 2 0 8 3 3 0 0 0 Even when the Democrats longas continue to likely is This also are negotiations Drawn-out Surely the situation is urgent Austerity Many of us who have experi We feel in-the-know because bia has shown us that (a.) no single no (a.) that us shown has bia party or coalition will ever gain the governa form to required majority negotiations political (b.) and ment, will never be quickly concluded. achieved their surprising result at last month’s general election, quickly itbecame clear that the re sult was actually more-or-less the result election other every as same in Serbia, i.e. inconclusive. as Serbia’s politicians form new political parties every time disagree with they their current party reg 342 currently are (there leader political parties in Serbia). istered the norm. One Ambassador Belgrade-based recently told me he was also alarmed by the distinct lack of urgency among politicians. Serbian “The country is standstill at and a I don’t understand their logic. If they are so eager to progress towards the EU and en theycome how investors, courage go home at 5pm sharp and don’t work weekends?” overtime.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles a Thorn in The
    UNIVERSITY OF CALIFORNIA Los Angeles A Thorn in the Eye: Bosnian Mixed-Ethnicity Families in a Polarized Land A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Hannah Keziah Conrad 2014 Copyright by Hannah Keziah Conrad 2014 ABSTRACT OF THE DISSERTATION A Thorn in the Eye: Bosnian Mixed-Ethnicity Families in a Polarized Land by Hannah Keziah Conrad Doctor of Philosophy in Anthropology University of California, Los Angeles, 2014 Professor Douglas W. Hollan, Chair This dissertation draws on extensive field experience in Sarajevo between 2002-2012 to provide an intimate account of how individuals from mixed families in Bosnia today manage their sense of self and their kin relationships in the face of pressures to align themselves with a single ethno- national category. Such families, which were associated with the socialist rhetoric of “brotherhood and unity” during the Yugoslav period, came under severe pressure during the war, as the populations of entire towns fled “ethnic cleansing” and sought safety in territories controlled by their own people. Mixed families and persons continue to represent “a thorn in the eye” that troubles nationalism, unsettling national categories and insistently recalling histories of interconnection that bind the peoples of the Balkans despite war and the ravages of communal hatred. ii This work traces the repercussions of mixing, the challenging experiments with ethno- religious affiliation that face not only the marriage partners, but move through extended kin networks and profoundly influence the lives of children born into the family. Using audio and video recordings made over 12 months in 2011-2012 among 11 families in Sarajevo, the dissertation focuses on everyday family interactions—routines and conversations located in households—as a way of gaining insight into the micro-processes through which persons and identities are constituted as kin relations are enacted.
    [Show full text]
  • The International Criminal Tribunal for the Former Yugoslavia and Beyond 1
    UNISCI Discussion Papers, Nº 18 (Octubre / October 2008) ISSN 1696-2206 TRANSITIONAL JUSTICE IN PRACTICE: THE INTERNATIONAL CRIMINAL TRIBUNAL FOR THE FORMER YUGOSLAVIA AND BEYOND 1 Ioannis Armakolas 2 Hellenic Centre for European Studies Eleni Vossou 3 European Commission Abstract: This paper reviews the critical debates of the transitional justice mechanisms employed in the former Yugoslavia. It summarizes the various positions, showing the present divergences and consensus. Given the fact that the ICTY is the dominant transitional justice mechanism in the former Yugoslavia, the paper gives particular emphasis in the literature on the Tribunal and places the ICTY in the much broader field of transitional justice and to some extent relates it to the rest of the instruments present in the region. In that context, the discussion focuses on some of the issues, problems, dilemmas and effects that the implementation of the ICTY presents. Keywords: Transitional justice; ICTY; Yugoslavia. Resumen: Este artículo revisa los debates más importantes sobre los mecanismos de justicia transicional en la antigua Yugoslavia. Resume las diversas posturas, mostrando el consenso existente y reconociendo las divergencias que aún permanecen. Dado el hecho de que el ICTY es el mecanismo dominante para impartir justicia transicional en la antigua Yugoslavia, el artículo pone especial énfasis en la literatura sobre el Tribunal y sitúa el ICTY en un campo mucho más amplio de justicia transicional y en cierta medida lo relaciona con el resto de instrumentos presentes en la región. En tal contexto, la discusión se centra en algunos de los asuntos, problemas, dilemas y efectos que la ejecución del ICTY conlleva.
    [Show full text]