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AFTERMATH Changing Cultural Landscape

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AFTERMATH Changing Cultural Landscape AFTERMATH changing cultural landscape INDEX 4 AFTERMATH: THE FACETS OF A CHANGING CULTURAL KOSOVA LANDSCAPE 66 Majlinda Hoxha Miha Colner & Dejan Sluga 68 Astrit Ismaili 70 Genc Kadriu 6 PHOTOGRAPHY AS TESTIMONY OF PLACE AND TIME 72 Vigam Nimani Miha Colner 74 Qëndresë Deda 10 THE GEOGRAPHY OF DESPAIR 77 WHY? A CHANGE IS NEEDED... Svetlana Slapšak Zoran Petrovski 16 PREVIOUS DEVELOPMENTS: FROM CONTEMPORARY MACEDONIA YUGOSLAV TO CONTEMPORARY POST-YUGOSLAV 80 Robert Jankuloski PHOTOGRAPHY 82 Oliver Musovik Milan Aleksić 85 METAPHYSICAL AREAS OF THE NOW 20 BETWEEN PHOTOGRAPHIC DOCUMENTARY AND VISUAL Mirjana Dabović Pejović ART Dejan Sluga MONTENEGRO 88 Duško Miljanić 24 BEYOND BEETHOWEN 90 Lazar Pejović Maurizio Bait 92 Vojo Radonjić BOSNIA AND HERZEGOVINA: ASYMMETRY UNTITLED 95 CONTEMPORARY PHOTOGRAPHY IN SERBIA 27 Branka Vujanović Saša Janjić 3 BOSNIA AND HERZEGOVINA SERBIA 30 Andrej Đerković 100 Goran Micevski 32 Amer Kapetanović 102 Paula Muhr 34 Nenad Malešević 104 Ivan Petrović 36 Tarik Samarah 106 Mirjana Stojadinović 38 Dejan Vekić 108 Viktor Šekularac 110 Milena Zarić 41 ...IN A CERTAIN CONSTELLATION 112 Ivan Zupanc Leonida Kovač 115 THE SOWERS OF SOCIALLY ENGAGED IMAGES CROATIA Miha Colner & Dejan Sluga 44 Domagoj Blažević 46 Boris Cvjetanović SLOVENIA 48 Silvetar Kolbas 118 Tomaž Gregorič 50 Srđan Kovačević 120 Borut Krajnc 52 Bojan Mrđenović 122 Marija Mojca Pungerčar 54 Ana Opalić 124 Bojan Salaj 56 Darije Petković 126 Antonio Živkovič 58 Jasenko Rasol 60 Sandra Vitaljić 128 COLOPHONE 62 Borko Vukosav 65 READING AFTERMATH – Albert Heta AFTERMATH: The Aftermath. Changing Cultural Landscape and economic (r)evolution as well as social and project originated from questions about images existential stories of individuals. Within this FACETS OF A of place and time following the disintegration of conceptual framework we paid special attention Yugoslavia as seen through the lens of contem- to works highlighting aesthetic issues that call into CHANGING porary art photography.1 We invited artists who, question the role of photography as a document or CULTURAL in our opinion, created relevant visual documents that consider photography primarily as a medium of of a particular time and place and who by their contemporary art practice. LANDSCAPE subjective approach “captured reality” at a more Selected works and artists demonstrate plural- complex level of perception than is usually deliv- ism - a variety of approaches which in this case Miha Colner & Dejan Sluga ered by the instant photo-medium. Considering can play an integrating role. The same applies that they are principally photo documents, the to the co-curators and organisations who par- 1 Today, the distinction based on selected images should also convince as being ticipated in the project: Photon – The Centre for intention and purpose of photo- relevant works of contemporary visual art, both Contemporary Photography (Ljubljana, Slovenia), graphs has been generally ac- in regard to their subject matter, as well as form. Film & Film (Pula, Croatia), Contemporary cepted, the same as the phrase In the context of the project’s conception as Croatian Photography (Zagreb, Croatia), Remont in the text used for photographic implied by its title, we were looking for series of – Independent Artists’ Association (Belgrade, works produced for the contex works that are multi-layered and address broader Serbia), The National Museum of Montenegro of contemporary art. subjects of social and political change, cultural (Cetinje, Montenegro), Collegium Artisticum 4 TOMAž GREGORIč from the Peripheries series, 2005 BOJAN MRđENOVIć 5 from the Reconstruction series, 2011 (Sarajevo, Bosnia & Herzegovina) in Stacion programme on many forthcoming tours. The – The Centre for Contemporary Art (Prishtina, project was initially realised as the central project Kosovo). The project also crossed the borders of the Photonic Moments 2012 festival, which is of the former state; substantially funded by the a part of the European Month of Photography. As Commune di Pordenone that showed consider- such, it was given a special relation to some guest able interest and actually gave the initiative to exhibitions, in particular the first exhibition of the presenting contemporary photography from former Magnum agency, Magnum’s First, and solo exhibi- Yugoslavia beyond its geographical frames as well tions of the masters from the idealistic 1960s, such as contributing significantly to the creation of this as Edi Šelhaus (Slovenia), Ervin Debeuc (Croatia) publication. Indeed, it combines a selection of and Mario Giacomelli (Italy), which presented the visual material from all the artists shown in the period of another “aftermath” (after WWII). The exhibition together with a series of discourses on images of Aftermath reveal a significantly differ- the subject in the form of essays contributed by ent spirit; if we should draw conclusions about the participating professionals. It is the sheer variety “fitness of humankind” from these comparisons of their views and approaches that is crucial in (at least in this part of the world), we would get a overcoming any one-dimensional artistic narrative critical or at least ambivalent image. Anyhow; we in relation to current social phenomena. hope that the Aftermath project will at least in part The project was also funded by the European contribute to a more complete picture of the world Cultural Foundation through its BIFC (Balkan we live in and provide an answer to the question of Incentive Fund), which to a large degree enabled what contemporary photography can actually tell the operation of a large group of professionals us about the “state of affairs”; and to what extent and artists. Thanks to this indispensable support, it is more or less successful than media seeking the project will further pursue its mission in the to document reality on the one hand, and artistic form of exhibitions and an intense discussion abstraction and conceptualisation on the other. PHOTOGRAPHY In 1991, after some years of precipitated democracy, national independence, Europeisation, national(istic) propaganda, Yugoslavia collapsed and created new symbols: parliaments, emblems, AS TESTIMONY like a house of cards. In parallel with the estab- anthems; they changed names of streets and OF PLACE AND lishment – or better still restoration - of hate markets, and inhabited the same buildings. They speech, which ultimately led to the disintegration dismantled the old system in order to build a new TIME of the federation and towards a civil war, a one from the same elements.”3 This new nation- new social and economic system was gradually alistic discourse originated from the very top of introduced. Indeed, following the lead of other the cultural and intellectual movement and yet, a Miha Colner East-European countries, an attempt to introduce number of influential intellectuals fled abroad, so a particular type of market economy was made the question is who are the protagonists, who are in 1989 through the reforms of the then Yugoslav the sensitive and critical observers that can reflect Prime Minister Ante Marković, but the process the phenomena of this altered cultural landscape was interrupted by the deteriorating situation through their artistic productions? Usually they are in the country and was only re-launched in the marginal voices within an ideologically divided context of the newly-formed states. In addition and materially stratified society, who, with their to the ideological, economic and value transitions original artistic statements have no influence on of the countries of the Socialist Block, Yugoslavia the general state of mind, but nevertheless testify was fatally marked by a brutal interruption of to the existence of a determined social opposition connections (economic, political, cultural and that firmly defies the new mass ennui. almost everything relating to everyday life) be- In 1991, the rock band Ekaterina Velika released tween once closely connected territories.1 Thus the album Dum Dum, that in a visionary and the transition process left profound scars on the critical manner predicted the forthcoming tragic physical as well as mental environment. events; it was their final attempt to prevent what 1991 represents a sharp cut between new and subsequently happened. In 1992, part of this same old; a decisive ideological division and marks group, together with some other Belgrade musi- the beginning of a new era. The birth of new cians, joined a group called Rimtutituki to perform states brought also a re-writing of history and the in public actions against militarisation, nationalism emergence of nationalist ideas and often violent and conscription. Both initiatives in favour of peace 6 modifications to cultural identities. As a result, failed to significantly change the course of events. art practice was confined to working within Equally marginal and limited over the past twenty renovated social contexts. This very division gives years have been the artistic attempts to criti- ground to the idea of the Aftermath. Changing cally illustrate the new economic reality – society’s Cultural Landscape project which provides an stratification and the so-called wild privatisation insight into contemporary photography in the of public property. A socially engaged cultural former Yugoslavia region over two decades after work can represent the universal experience of its disintegration. It is focused on photography individuals trapped between opposing ideologies that both reflects and
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