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GOOD LIFE Physical Narratives and Spatial Imaginations / The 53rd October Salon / Septembar 22 — November 4, 2012 / Curators: Branislav Dimitrijević & Mika Hannula 4 PROLOGUE GOOD LIFE PHYSICAL NARRATIVES AND SPATIAL IMAGINATIONS !"#$%&' ($% )(*'"$ — City of Belgrade The 53rd October Salon "+*",&' -(."$ ,"('% — Aleksandar Peković, president The former building of the Geodetic Institute Mia David · Vladimir Perić · Miroslav Perić · Ana Perović Belgrade · Karađorđeva 48 +#'(*"'- September 22 — November 4, 2012 Branislav Dimitrijević · Mika Hannula +#'(*"'-' (--/-*($* Zorana Dojić "'0($/1&' The Cultural Centre of Belgrade %/'&+*"' Mia David +""'%/$(*"' / )'"2&+* 3($(0&' Zorana Djaković )'"%#+&' Jasmina Petković (--/-*($* )'"%#+&' Ana Stojković )' 3($(0&' Ana Djokić 4/-#(. /%&$*/*5 Andrej Dolinka /$-*(..(*/"$ Artinbox (Marco Minniti) · Nikola Cvetković · Bojan Marijanović · Dragan Nikolić · Dejan Pavić *4 +./) Filip Mikić '(%/" +./) Milovan Knežević — Knez )6"*" %"+#3&$*(*/"$ Ana Kostić · Senja Vild (++"#$* 3($(0&' Ninela Gojković )#,./-6&' The Cultural Centre of Belgrade Knez Mihailova 6/I, 11000, Belgrade Serbia www.kcb.org.rs "$ ,&6(.! "! *6& )#,./-6&' Mia David &%/*"'- Branislav Dimitrijević · Mika Hannula · Svebor Midžić 7'/*&'- Vladimir Arsenijević · Branislav Dimitrijević · Mirjana Djudjević Mika Hannula · Annika von Hausswolff · Vlatka Horvat · Jukka Korkeila Svebor Midžić · Aleksandar Zograf · Dubravka Sekulić · Branislava Stefanović Berit Talpsepp · Raša Todosijević · Miloš Tomić · Sreten Ugričić *'($-.(*/"$ Milan Bogdanović · Novica Petrović · Mihailo Tešić )'""!'&(%/$0 Dragana Kitanović · Novica Petrović %&-/0$ ($% .(5"#* Andrej Dolinka )'/$*&% ,5 Publikum, Beograd )'/$* '#$ 400 /-,$ 978–86–7996–095–5 Project Imprint / Book Imprint © Cultural Centre of Belgrade artists, authors and photographers www.oktobarskisalon.org 5 GOOD LIFE 6 PROLOGUE VLADIMIR ARSENIJEVIĆ MLADEN BIZUMIĆ VLADAN CARIČIĆ & SLOBODAN D. PEŠIĆ BRANISLAV DIMITRIJEVIĆ ANDREJ DOLINKA BILJANA ĐURĐEVIĆ MIRJANA ĐURĐEVIĆ EXPODIUM (BART WITTE & NIKOS DOULOS) MIKA HANNULA ANNIKA VON HAUSSWOLFF VLATKA HORVAT ANA HUŠMAN VILLU JAANISOO JAMESDIN (ALEKSANDAR JESTROVIĆ) ANSSI KASITONNI KARSTEN KONRAD JUKKA KORKEILA WOLFGANG KRAUSE & SILVIA LORENZ ANA KRSTIĆ SVEBOR MIDŽIĆ VLADIMIR MILADINOVIĆ NEBOJŠA MILIKIĆ AHMET ö G˘ÜT BRANISLAVA STEFANOVIĆ MLADEN STILINOVIĆ DUBRAVKA SEKULIĆ DUBRAVKA STOJANOVIĆ SAMUIL STOYANOV ANNIKA STRÖM PILVI TAKALA BERIT TALPSEPP RAŠA TODOSIJEVIĆ MILOŠ TOMIĆ SRETEN UGRIČIĆ XYZ (MATEJ GAVULA & MILAN TITTEL) ALEKSANDAR ZOGRAF Participants MARKO ŽIVKOVIĆ 7 GOOD LIFE 8 PROLOGUE 10 PROLOGUE +('-#$,'. /#0#!(#1&.#2 + 0#3' "'--4,' — INTRODUCTION !"#$ %&'(’$ )*!)+&( $',)- is located at the building of the Geodesic Institute, built in 1905-1907 as Belgrade Shareholders Society, one of the most beautiful but also one of the most neglected monumental edifices in Belgrade. This inspiring location will not be treated here simply as a “gallery space”, it will not undergo any refurbishment to accom- modate the exhibition, but rather it will be used as a space of ad hoc transformation where the works will be “implanted” in its present condition and in its existing historical narra- tive and architectural design. Similarly, the publication for the October Salon follows the internal logic of a site- specific project. The publication is not a documentation of the project, and it is not an ex- planation of the exhibition, and no, it promotes no theory of gentrification. It is something else, and also, something more. With this more, what we both try to provide and achieve is a collection of reflections and confrontations with the topic of Good Life — as in addressed through the changes and challenges of the last 20 and more years, and with some time travelling all the way down Introduction back to 1905 when the building was constructed. It is a collection of stories, essays and in- terviews that face dilemmas of our contemporary lives; the mess we are at, and the hopes NULA we try to hold on or to re-generate. N HA And yes, Belgrade is where it is at. This is where it begins, and this is where it returns — while using the specific building the city as a trampoline, as a catapult. Localized and particular, but not empty or closed up but actively connecting the dots between here and MIKA + there, then and now. Connecting as an open-ended example the dots to wide variety of Ć I other particularies and localities. Most importantly, it claims to have no last sell by date, V no last possible usage date of expiration. Like with the book, with the exhibition is taking place with and within the site, con- fronting and caressing the unique condition of its conditions. The site will be an active DIMITRIJE participant, not a static structure in the process. This year’s October Salon is a result of the V collaboration between two curators known for their previous joint projects (such as the exhibition Situated Self—Confused, Compassionate, Conflictual, in Belgrade and Helsinki in 2005). Joining them for the production of the book are Svebor Midžić, editor, and Andrej RANISLA Dolinka, visuals. B 11 12 PROLOGUE Most of the artworks will be executed in situ, yet not aiming at spectacularisation or commodification of the space, but rather at providing a situated and motivated visual and conceptual commentary on its physical, perceptual and narrative properties vis-à-vis the context of the current social, political and economic crisis. It is a crisis that we are confronted in all parts of the world, and through all areas of our everyday experiences. It is not only a crisis in political, economical and social spheres, but it is also a crisis of social imagination. A crisis of confidence, of where and how to address the issues of social hope and good good life. Not as a cynical enterprise but as a way of feeling for, both laughing at and laughing with. The project is primarily concerned with the production of site-specific works (both works of art and reflective writings), their participation in shared physical and cognitive experiences, and in understanding the medium of the exhibition not as “demonstra- tional” but as a mobilized spatial construction for active perception, imagination and knowledge. It will not be a laboratory, not an experimental platform, not a hybrid vehicle of creative economy. It will be a sensual and sensitive narration in and through a space; an exhibition that invites us all to stay with — and to get closer. Every exhibition, both its physical and discoursive realities, is first and foremost a specific form of exchange within a specific framework and specific social conditions. The intention of this show is to seek for modes of translation and transformation of the space (both physical and social), as pre-given and static, into the place as provisional and transi- tional. The openness of this exchange allows circumventing the mere instrumentalization or commodification of the artwork, but also the one-dimensionality of an in advance de- fined and decided social (or political) objective, consensus, or destination of an artistic act. The exhibition and the publication promote a practice-based exploration of the space and its context, a process not determined by theoretical and methodological premedita- tion. It will argue for a position in a narrow and fragile slot where contemporary art is neither drawing upon the myth of artistic autonomy (with the commodification of art as its final outcome), nor upon the art’s instrumentality in expressing and promoting pre- determined political and theoretical discourses. In place of the sanctification of autonomy and the spectacularisation of politics, the exhibition offers space to the simultaneity of the physical and the discursive, as a space of instability and risk, where spatial and social imagination take shape, and only by doing so it may carry its political signification. This refutes the notion which has it that the political in art is a mode in which art takes on the self-righteous task of representing the social structures, social groups, their conflicts or identities. On the contrary, art is political because of the very distance it devel- ops in relation to such functions, because of its subjective and heterological commitment to the given site and situation, because of the way it maps this site and inhabits this situation, and finally because of the way it agitates and articulates them in the process of becoming. The relationship between the spatial and the social imagination, the possibility of trans- forming the space into a place, but also a reflexive narration into an active physical presence is here of central interest. The architectural setting of the Geodetic Institute building, and the narratives making up its history, are the starting points for reflections on social visions, promises and delusions, typical primarily of the local “version” of the attempt at, gradual progress in and eventual standstill on the path of the social modernisation. The age of modernity was characterised by the capability of forging a vision of the future, which nowadays tends to be dismissed from the relativistic position of scepticism and irony. However, the basic promise of modernity, which essentially boils down to “a good life for everyone”, remained an irreducible place of bringing together individual desires and social imagination in the process of continual circulation. This circulation is manifested as a trajectory where the personal imagination (wishes, wants, needs, dreams, fears and obsessions), collective

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