Galerija Atelje DA

DO2002–2012

NARODNI MUZEJ CRNE GORE ATELJE DADO

Cetinje, April 2012. Izdavač | Publisher Narodni muzej Crne Gore

Za izdavača | For the publisher Pavle Pejović

Urednik | Editor Mirjana Dabović Pejović

Uvodni tekstovi | Introductory texts Petar Ćuković Mirjana Dabović Pejović

Prevodioci | Interpreters Olivera Kusovac Jelena Stanovnik Srđan Vujica Goran i Myra Poznanović

Fotografija | Photo Lazar Pejović

Dizajn i priprema | Design and Preprees Branka Vujović

Štampa | Print DPC-Podgorica Grafotisak

Tiraž | Circulation 500 Sadržaj | Contents

Petar Ćuković 4-7 Atelje DADO – sjećanje na početke | DADO Atelier – Memories of the Beginnings

Mirjana Dabović Pejović 8-10 Atelje DADO – prvih deset godina | DADO Atelier – The First Ten Years

11-20 2002.

21-28 2003.

29-38 2004.

39-64 2005.

65-80 2006.

81-96 2007.

97-118 2008.

119-148 2009.

149-176 2010.

177-205 2011.

206-216 Biografije | Biographies PETAR ĆUKOVIĆ

Atelje DADO – sjećanje na početke DADO Atelier – Memories of the Beginnings

Skupština opštine Cetinje donijela je 1988. godine In 1988, the Local Assembly of Cetinje made a odluku da se objekat poznat kao Kuća Matanovića uredi decision for the building referred to as the Matanović kao atelje i dodijeli na korišćenje Dadu Đurići. Odluka House to be converted into an atelier and given to Dado je bez sumnje bila potpuno opravdana i svakako je bila Đurić to use it. Driven both by the wish for Dado’s native motivisana kako težnjom da se Dadov rodni grad na town to repay its debt to one of its renown persons, neki način oduži jednom od svojih slavnih sinova, tako i and the wish to motivate Dado to spend more time in željom da se, preko ateljea koji bi mu bio na raspolaganju, Cetinje, the decision was undoubtedly entirely justified. sam Dado možda dodatno motiviše da na Cetinju i češće The debt, we may say, was repaid at least to some extent, boravi. Dug je, reklo bi se, bar donekle, i bio ispunjen, ali but the natural desire to see more of the artist in his razumljiva želja da umjetnik češće boravi u svome gradu, own town was not fulfilled. Whoever really knew Dado nije. Svako ko je bolje poznavao Dada znao je da ga was aware that worldly goods, the comfort of an atelier ovozemaljska dobra, ateljeski komfor i slične stvari nijesu and the like, did not arouse great interest in the artist mnogo zanimale - niti su ga mogle promijeniti, niti pak – nor could they change him or influence the change uticati na promjenu sopstvenih unutrašnjih umjetničkih of his own inner art itinerary, mostly linked to the itinerera, uglavnom povezanih sa odabranim fizičkim self-imposed physical isolation and the tranquillity of samotnjaštvom i mirom Eruvala u Francuskoj. Atelje na Herouval, France. Lacking the suitable infrastructure, Cetinju, bez odgovarajuće infrastrukture, posebno bez especially the heating system, the atelier was rapidly riješenog sistema zagrijavanja brzo je propadao. Umjetnik falling into disrepair. In fact, in it, the artist performed je u njemu zapravo izveo samo jednu, doduše hvale only one action, a praiseworthy one though: within the vrijednu akciju: u sklopu Prvog cetinjskog bijenala, 1991, First Cetinje Biennial, in 1991 he created what he called napravio je, prema sopstvenim riječima „antimuzej“, an “anti-museum”, a kind of ambiental installation, neku vrstu ambijentalne instalacije, posvećene Danilu dedicated to Danilo Kiš. This installation, too, seemed to Kišu. I ta instalacija kao da je dijelila sudbinu samog share the fate of the atelier itself, falling gradually into utter ateljea, vremenom je skoro sasvim propala – tek neki disrepair: it is only some parts of it that later, towards the njeni djelovi su kasnije, krajem 2002, iskorišćeni za end of 2002, were used for a permanent display of Dado’s stalnu postavku Dadovih radova u sklopu Umjetni- works in the Art Museum of the National Museum of čkog muzeja u Narodnom muzeju Crne Gore. Ni Milija Montenegro. Milija Pavićević, who Dado had given the Pavićević, kojemu je Dado dao ključeve od ateljea da permission to use the atelier, did not have much “luck” ga koristi, nije sa njim imao mnogo „sreće“: u vrijeme with it either: while using the atelier, Milija created his kada ga je koristio, radio je svoje „geometrijske“ radove, “geometrical” works, some of which dilapidated due to od kojih su neki, usljed surovih uslova u ateljeu (strašna the harsh conditions in the atelier (extreme moisture and cetinjska vlaga i zima) sasvim propali. cold typical of Cetinje). Atelje je, u svakom slučaju, bio zreo za sanaciju. Kako The Atelier was undoubtedly ripe for reconstru- su oko 2000. godine u Narodnom muzeju bili u toku ction. Since somewhere around 2000 the construction veliki radovi na izgradnji i obnovi njegove infrastrukture, and renovation of the infrastructure in the National pomislio sam da bi obnovljeni Dadov atelje na neki način Museum were under way, it occurred to me that the mogao postati dio sistema Narodnog muzeja. renovated Dado Atelier could become part of the National Museum. It seemed to me that the arguments Činilo mi se da su argumenti za takvu ideju bili for such an idea were in fact “irrefutable”: as a large zapravo „neoborivi“: kao veliki sistem, matična muzejska system, central museum institution in the country, ustanova u zemlji, Narodni muzej je po prirodi stvari the National Museum is by nature a “slow” institution „spora“ institucija, koja se bavi temeljnim muzejskim dealing with fundamental museum historicizing, and istorizacijama, a ova njegova nova radna jedinica mogla this new unit with its activities might, at least to some bi da mu, svojim aktivnostima, bar djelimice donese, extent, enhance the lacking “speed” in the best sense of u najboljem smislu riječi, nedostajuću „brzinu“. Ideja the word. The idea implied shifting the function of the je podrazumijevala i izvjesnu korekciju namjene: atelje atelier: it would no longer be the artist’s atelier but an više ne bi formalno bio Dadov atelje, već atelje koji nosi atelier bearing his name. I held that this was not to be a njegovo ime. Računao sam da to ne bi trebalo da bude problem for anyone, Dado in the first place. In practical sporno ni za koga, a prije svega ne za samog Dada. I u terms, even though in cases like this he did not have to pragmatičnom smislu, iako on u ovakvim slučajevima be the major issue, the idea was more than justified: in ne mora da bude najvažniji, ideja je bila više nego fact, during his visits to Montenegro and Cetinje, Dado opravdana: naime, kad god bi boravio u Crnoj Gori, was to be allowed to use the atelier as if its status had odnosno na Cetinju, Dado bi, normalno, i sam mogao remained the same. On the other hand, designed as a da koristi atelje, kao da se u statusnom smislu ništa combination of a modern studio and a gallery, with a nice nije ni promijenilo. Sa druge strane, rekonstruisani and very comfortable apartment where artists could stay atelje, zamišljen kao kombinacija modernog studija i on the well-known artist in residence principle (including galerije, sa uređenim, veoma uslovnim apartrmanom, other guests of the National Museum as needed), the u kojem bi prevashodno umjetnici mogli da borave, reconstructed atelier would enable dynamic cultural po poznatom sistemu artist in residence, (a po potrebi activities throughout the year. These activities would i svi drugi gosti Narodnog muzeja), omogućio bi primarily be focused on thematization, presentation and dinamične kulturne aktivnosti tokom cijele godine. affirmation of critical art and other cultural practices, Ove bi aktivnosti prije svega bile usmjerene prema which was supposed to target younger art and cultural tematizacijama, sagledavanju i afirmisanju kritičkih community. This was to reinforce the symbolic name of umjetničkih i drugih socio-kulturnih praksa, što bi the institution, too: “Dado Atelier” was to follow the best posebno trebalo da bude upućeno mlađoj umjetničko- tradition of the artist who it was named after – defying kulturnoj zajednici. Na taj bi način i simbolika imena comfort and opportunism, to go for one’s own star, despite nove institucije, bila zaokružena: „Atelje Dado“ zapravo the thorny path! bi trebalo da slijedi najbolju tradiciju onoga od kojega My idea met with immediate approval by the Prime je i pozajmio ime – s onu stranu svake lagodnosti, Minister, Milo Đukanović, as the atelier was to be financed daleko od svakog oportunizma, uprkos trnju, uvijek ići by the Government; also, the approval of the Mayor of za vlastitom zvijezdom! Cetinje, Milovan Janković, ensued soon. Understandably, Za ovu ideju, odmah sam dobio podršku ondašnjeg the main “agreement” was to be made with Dado himself. premijera Mila Đukanovića, budući da je Vlada trebalo I travelled to Herouval to visit him, in order to present my da finansira rekonstrukciju ateljea, potom i saglasnost arguments. No sooner had I started to “lament” over the gradonačelnika Cetinja Milovana Jankovića. decrepit atelier than he, ignorant of my ultimate motive, interrupted me saying: “I’ll do it!” He uttered these Glavni „dogovor“, razumije se, valjalo je postići sa words swiftly, lightly and briskly, slightly resembling a Dadom. Otputovao sam kod njega u Eruval sa namjerom child “making excuses”, but, knowing Dado, much more da mu izložim svoje argumente. Tek što sam počeo da expressing a wish to put the issue of the pragmatic mind „jadikujem“ nad ruiniranim ateljeom, ne znajući za moje in the archives. Anyway, there was absolutely no doubt krajnje motive, prekinuo me je upadicom: „urediću ja that he himself did not, and why would he, believe in to!“. Izgovorio je to s karakterističnom brzinom, lakoćom his own words. I continued, as well as I could, with the i odsječnošću, što je pomalo ličilo na dijete koje se arguments in favour of the new purpose of the atelier. „pravda“, ali, poznajući Dada, mnogo više na želju da se Eventually, he agreed. Or he did not have a choice – a stvar koja se tiče pragmatičnoga uma brzo stavi „ad acta“. few years later, when “Dado Atelier” had already made U svakom slučaju, nije bilo sumnje da zapravo ni sam a name for itself with a series of noteworthy activities, nije vjerovao, a i zašto bi, u sopstvene riječi. Nastavio Pavle Pejović, the current director of the National sam, što sam bolje mogao, sa svojim argumentima u Museum told me how Dado complained that I had prilog nove artikulacije ateljea. Na kraju se složio. Ili somehow “rushed” him with the atelier and that he had nije imao kud – nekoliko godina kasnije, kad je „Atelje intended to make an “anti-museum” here. I understood, Dado“ za sobom već imao izuzetno značajnu aktivnost of course, knowing that this had not been meant as a i s pravom stečenu reputaciju, Pavle Pejović, aktuelni reproach; the meaning of his words was actually the direktor Narodnog muzeja ispričao mi je kako se Dado, same as it had been when he had said that he would “do u nekom tad vođenom razgovoru sa njim, vajkao da it” – beyond pragmatism. sam ga nekako „zbrzio“ u vezi sa ateljeom, te kako je Dado’s oral consent finally opened space for the on imao namjeru da tu napravi „antimuzej“. Naravno, transformation of Dado’s atelier into the “Dado Atelier” razumio sam, i znao sam, da Dado ovo nije izgovorio as an institution within the National Museum of Monte- kao prijekor, smisao ovih njegovih riječi bio je zapravo negro. With Predrag Spasić, the architect who I had isti kao i kada mi je rekao da će da „uredi“ atelje –s onu cooperated extremely well in a large number of other stranu svakog pragmatizma. projects in the National Museum, I easily reached an Dobijanjem Dadove usmene saglasnosti konačno agreement as to “what was to be done”. His renovation je bio otvoren prostor da se realizuje ideja o uređenju design and the concept of the exhibition and working i transformaciji Dadovog ateljea u „Atelje Dado“, kao space were superb. With understandably high symbo- instituciju u sklopu Narodnog muzeja Crne Gore. Sa lism, the Dado Atelier was opened with an exhibition arhitektom Predragom Spasićem, čovjekom sa kojim of Dado’s early works, almost totally unknown not only sam imao izvrsnu saradnju i u vezi sa mnogim drugim to the general public but to the professional audience, projektima u Narodnom muzeju, lako sam i brzo došao too. Above the interior arched passage towards the do saglasja „što nam je činiti“. Njegov projekat sanacije, part of the atelier with a lower ceiling, on a high wall kao i artikulacija izložbeno-radnog prostora bio je representing the border between the apartment and zaista sjajan. Sa razumljivo visokom simbolikom „Atelje“ the exhibition and working space, we placed a banner je otvoren izložbom, u javnosti, ne samo široj, nego i onoj with a reproduction of a beautiful black and white užoj, stručnoj, skoro nepoznatih ranih radova Dada Đuri- photograph: over a group of young men, members of ća. Iznad lučnog unutrašnjeg prolaza prema dijelu ateljea the esteemed School of Art in Herceg Novi, Dado being sa nižim stropom, na visokom zidu, koji predstavlja among them too, flies an almost surreal “body” in the granicu apartmanskog dijela ateljea prema izložbeno- swallow dive, the body of Dado himself, well-known for radnom, postavili smo tada i baner sa reprodukovanom his superb diving skills. We were fortunate enough to predivnom crno-bijelom fotografijom: preko grupe mladića owe the beauty and symbolism of this photo to an error u kupaćim gaćicama, polaznika znamenite Umjetničke ško- – double exposure of the same piece of film! Indeed, le u Herceg Novom, među kojima je i Dado Đurić, nadvija Dado outflew them all, rising above not only his own se, bezmalo nadrealno „tijelo“ u letu, u stilu poznatom kao but many other generations; this “rise”, which was in a „lasta“, tijelo istog Dada Đurića, inače poznatog po izvrsnim way physically experienced in the atelier itself as Dado’s skokovima u vodu. Divotu i simboliku ove fotografije figure literally rose over the heads of the visitors, over dugujemo, kakve li sreće, zapravo grešci – dvostrukom the working space of the atelier, over the “abyss” of the eksponiranju jednog te istog kvadrata fotografskog filma! arched passage, was supposed to symbolically “protect” Dado je doista i „nad-visio“ i „nad-letio“ sve, ne samo svoju and herald the fundamental strategy of the newly , nego i mnoge generacije, i ovaj „nad-let“, koji je na neki opened institution: to “rise over” the daily routine način u prostoru samog ateljea doživio i fizičko ponavljanje, and ordinary sense, “rise over” the poor, down-to-earth jer se let Dadove figure i bukvalno odvijao nad glavama abstractions, “rise over” the provincial isolation and self- posjetilaca, nad prostorom radnog dijela ateljea, nad sufficiency, and “fly” towards restlessness and the abyss „ponorom“ lučnog prolaza, trebalo je da simbolički „zaštiti“ of critical reflection... i da sugeriše temeljnu strategiju tek otvorene institucije: Today, the Dado Atelier is a unique institution in „nad-lijetati“ svakodnevicu, „nad-lijetati“ oubičajeni smisao, our country – both by the potential it offers and by the „nad-lijetati“ siromašne, prizemne apstrakcije, „nad-lijetati“ programmes organized by it so far. A large number of provincijalnu zatvorenost i samodovoljnost, „po-letjeti“ ka national and international artists who have stayed or nemiru i bezdanu kritičke refleksije... exhibited in it, have left a lasting imprint on the cultural I danas, „Atelje Dado“ jeste jedinstvena institucija u life of Cetinje and Montenegro, but also a large number našoj zemlji – po potencijalu koji nudi, a i po programi- of works to the National Museum... And as long as the ma koji su u njemu do sada organizovani. Mnogi shadow of the big name “rises over” the activities of the umjetnici, koji su u njemu boravili, ili imali izložbe, kako Dado Atelier, we can be certain that Dado’s complaint oni iz naše zemlje, tako i oni iz inostranstva, ostavili su about how I had “rushed” him with the conversion of značajan trag u kulturnom životu Cetinja i Crne Gore, his atelier will remain only a nice anecdote about the ali i veliki broj svojih radova Narodnom muzeju... I sve unique human character of a great master. dok sjenka velikog imena bude „nad-lijetala“ radne aktivnosti „Ateljea Dado“ možemo biti sigurni kako ono Dadovo vajkanje o tome kako sam ga „zbrzio“ u vezi sa transformacijom njegovog ateljea ostaje tek jedna lijepa anegdota o neponovljivom ljudskom karakteru velikog Prevod Olivera Kusovac majstora. MIRJANA DABOVIĆ PEJOVIĆ

Atelje DADO – prvih deset godina DADO Atelier – The First Ten Years

Galerija Atelje DADO nazvana po nekadašnjem The DADO Atelier gallery, named after the former ateljeu našeg čuvenog umjetnika Miodraga Dada atelier of our renowned artist Miodrag Dado Đurić, in the Đurića, u osnovnom programskom konceptu preuzela basic concept of its programme, has adopted some traits je nešto od onoga što karakteriše njegova djela–potrebu characterizing the artist’s works – the need to explore, to za istraživanjem, povezivanjem različitih jezika i izraza, connect different languages and expressions, provocation, provokaciju, kritički odnos prema svijetu i umjetnosti... critical attitude towards the world and art... From its Od osnivanja do danas galerija je izgradila prepoznatljiv foundation to the present day, the gallery has developed imidž savremenog, otvorenog prostora sa jasno profilisa- a recognizable image of a modern, open space with a nim programom bliskom konceptu koji se praktikuje u clearly defined programme close to the concept found in internacionalnoj izlagačkoj praksi savremene umjetnosti, the international practice of exhibiting contemporary art, uprkos relativno malim organizacionim i produkconim despite its relatively small organizational and production kapacitetima. Dominantno usmjerenje ka prezentira- capacity. Its predominant orientation towards the nju savremenih umjetničkih izraza – (video) instalacija, presentation of contemporary art expressions – (video) videa, performansa, fotografije etabliralo je Galeriju installations, videos, performances and photographs, kao najistaknutijeg promotera savremene umjetnosti u has established the gallery as the most prominent Crnoj Gori. promoter of contemporary art in Montenegro. Orijentacijom ka internacionalno afirmisanim auto- Orientation towards internationally recognized artists rima, ostvaren je respektabilan nivo u pogledu kvaliteta has ensured a respectable level of quality, earning the programa, što je učinilo regionalno poznatom, tako da je gallery regional renown and making exhibiting in it a izlaganje u njoj postala relevantna referenca. relevant reference. Izložbe predstavljaju glavni vid aktivnosti, dok Exhibitions represent the main form of activities, prateći programi obuhvataju razgovore sa umjetnicima, while supplementary programmes include talks with teoretičarima, projekcije filmova/videa, umjetničke artists and theoreticians, film screenings and video akcije, radionice... Po dinamici aktivnosti Atelje predsta- projections, art actions, workshops etc. Its dynamic vlja najživlji prostor Narodnog muzeja, gdje se izložbe activities make the Atelier the liveliest space in the smjenjuju svakih par nedjelja tokom trajanja izlagačke National Museum, with different exhibitions organized sezone - od marta do decembra. Cjeloviti galerijski prostor every few weeks during the exhibition season (March omogućava prilagođavanje potrebama svakog konkretnog –December). The gallery space makes it possible to projekta. Program galerije formira se kroz godišnji konkurs adjust to the needs of each individual project. The koji se redovno objavljuje na web strani 6 mjeseci unaprijed gallery programme is developed through the annual kao i po pozivu. Program finalno utvrđuje Savjet kojeg čine competition announced regularly on the webpage six afirmisani stručnjaci iz zemlje i regiona. months in advance as well as through invitations. The Vremenom se rad galerije profilisao u nekoliko programme is defined by the Council comprised of pravaca tako da paralelno teku tri osnovna programska recognized national and regional experts. segmenata. Pored glavnog programa - izložbi renomiranih In time, the work of the gallery has branched into se- domaćih i stranih autora koji predstavljaju aktulne trendove veral directions, with three basic programme segments savremenog umjetičkog istraživanja, predstavljaju se i djela running concurrently. mladih, talentovanih crnogorskih umjetnika, što je za mno- In addition to the main programme – exhibitions ge od njih ujedno i prvo samostalno predstavljanje. Poseban of esteemed national and foreign artists who represent programski segment čine tematski koncipirane izložbe the current trends in contemporary artistic exploration, kojima predstavljamo djelove muzejskih fondova koji se ne the gallery also displays works of young and talented nalaze u stalnim postavkama muzeja, čime se nadgrađuje Montenegrin artists, giving many a chance for their debut djelatnost drugih segmenata NMCG, kroz slobodnije solo exhibition. A special segment of the programme koncipirane i često nekonvecinalne prezentacije. Može is reserved for thematic exhibitions displaying parts se reći da aktivnosti galerije značajno doprinose i opštoj of museum collections which are not included in the kulturnoj klimi u prestonici, čime se omogućava živa veza museum’s permanent exhibitions; this contributes to sa savremenim umjetničkim trendovima za studente triju the activity of other segments of the National Museum fakulteta umjetnosti na Cetinju. of Montenegro through freely conceived and frequently U pogledu integrisanja u primarne aktivnosti NMCG, unconventional presentations. It may also be stated posebno Umjetničke galerije, Atelje DADO ima veoma that activities of the gallery significantly add to the značajno mjesto. Izbor radova iz glavnog programa izložbi overall cultural climate in the old royal capital, enabling mogao bi da bude dio postavke nekog muzeja savremene a live connection with contemporary art trends for the umjetnosti, jer se izlagačka politika glavnog programa students of the three art faculties in Cetinje. zasniva na izboru elitnih autorskih projekata, koji ulaskom DADO Atelier occupies a very important place in the u Atelje na neki način dobijaju privremeni muzejski integration into the primary activities of the National status. Kroz veći broj doniranih radova umjetnička galerija Museum of Montenegro, especially the Art Gallery. A NMCG je došla u posjed značajnog fonda djela respekta- selection of works from the main exhibition programme bilnih autora kao što su Tomislav Peternek, Dmitrij Prigov, could be part of a contemporary art museum since Branimir Karanović, Raša Todosijević, David Eckard, Igor the exhibition policy of the main programme is based Sekovski, Boris Šemov... upon the selection of elite projects which, by entering Razvojem aktivnosti galerije i povećanjem broja the Atelier, are in a way granted a temporary museum programa (od početnih 3 2002. do 13 programa u 2010. status. Thanks to a large number of donations, the Art godini) galerija je razvila i saradnju sa brojnim insti- Gallery of the National Museum of Montenegro has tucijama u Crnoj Gori i regionu, tako da je broj partnerski collected numerous works by esteemed artists such as organizovanih programa sve veći. Sve veće ambicije su Tomislav Peternek, Dmitrij Prigov, Branimir Karanović, posredno i finansiranje galerije stavile pred nove izazove. Raša Todosijević, David Eckard, Igor Sekovski, Boris Obzirom da se sredstva za projekte izdvajaju iz budžeta Šemov... NMCG, bez drugih izvora finansiranja, nerijetko je With the diversification of its activities and the incre- naša produkcija ograničena na lokalne okvire ili u ased frequency of programmes (from 3 in 2002 up to 13 in najboljem slučaju na pozive umjetnika iz neposrednog 2010), the gallery has developed collaboration with a large okruženja. Uprkos tome, odnos budžeta i ostvarenog number of national and regional institutions; as a result, obima i kvaliteta programa je izuzetno povoljan što the number of collaborative programmes is rising. zajedno sa ostvarenom reputacijom galerije kao jednog od naistaknutijih promotera savremene umjetnosti, poziva na obezbjeđivanje dodatnih sredstava i/ili izvora The gallery’s increasing ambitions have indirectly finansiranja u predstojećem periodu. posed new challenges for the gallery’s finance. Given that Kroz kompleksan i pažljivo osmišljen koncept pro- the financial means for the projects are allocated from the grama tokom ovih prvih deset godina galerija Atelje Dado budget of the National Museum of Montenegro, without formirala je svoju stalnu publiku i uvećala broj posjetilaca, any other sources, not infrequently our production koji je za pojedine izložbe dostizao i preko 700 posjetilaca is confined to the local environment or, at best, to the tokom trajanja jedne izložbe, što se za ovako malu sredinu invitation of artists from the immediate surroundings. može smatrati velikim uspjehom. Kontinuiranim PR Despite everything, the ratio between the budget and the aktivnostima, najviše usmjerenim na studentsku i uče- scope and quality of the programmes is highly favourable, ničku populaciju, povećano je interesovanje javnosti which, together with the gallery’s reputation as one of the i medija za programe. Time je galerija dala doprinos most prominent promoters of contemporary art, invites popularizaciji savremne umjetosti u Crnoj Gori i formi- to the provision of additional funds and/or sources of ranju nove generacije publike koja će kontinuirano pratiti finance in the forthcoming period. i aktivno učestvovati u aktuelnim zbivanjima. Ovi rezultati Through a complex and meticulously conceived nas obavezuju na dodatni angažman u našoj misiji bar još concept of its programmes in the first ten years, the Dado narednih deset godina... Atelier has developed a steady audience and increased the number of visitors, in some cases reaching the total of over 700 visitors for the duration of an exhibition, which in such a small place can be seen as great success. Continual PR activities, targeting mostly the student and school populations, have increased the interest of the general public and the media in the programmes. Thus, the gallery has made a contribution to the popularization of contemporary art in Montenegro and the formation of a new generation of audience who will continually follow and actively participate in the ongoing events. These achievements oblige us to further engage in our mission for at least another ten years...

2002 MIODRAG ĐURIĆ DADO JELENA TOMAŠEVIĆ NENAD ŠOŠKIĆ ROMAN ĐURANOVIĆ MIODRAG ĐURIĆ DADO April – May April Rani radovi | Early Works

Nema sumnje, cijeli niz postupaka u ranim Dadovim djelima evidentiran je u klasičnom modernističkom vokabularu. Slika je, strateški govoreći, ograničena ravna (i radna) površina na kojoj su boje i forme raspoređene prema internim zakonima slikarskog jezika, kojima je apsolutno podređen i predložak predstavljenog vidljivog svijeta: brdo, more, kuća, drvo, ili nečije lice, jesu samo optička „tjela“ ili „površine“ koje se na radnoj podlozi kloazoniraju i slažu prema principima posebne slikarske kartografije. Jezik Dadovih morskih pejzaža, gradskih prizora Herceg Novog, portreta neskriveno je blizak iskustvu fovista i ekspresionista, ili neoprimitivista sa početka vijeka. To je istovremeno tačka u kojoj se iznova možemo prisjetiti Đurićevog zapisa, koji zapravo reaktualizuje umjetnikovu potrebu za izgovaranjem nevinih riječi, budući da su svi ovi pokreti na koje se naslanja Dadov umjetnički jezik nastajali upravo u potrazi za svježinom prvoizgovorenih riječi

Undoubtedly, a whole array of procedures in Dado’s early works have been recorded in the classic modernist vocabulary. Strategically speaking, painting is a limited, flat (work) surface on which colours and forms are distributed according to the internal laws of the language of painting which totally subordinate the template of the represented visible world: the hill, the sea, a house, a tree or a person’s face are but optical “bodies” or “surfaces” arranged on the work surface according to the principles of a special cartography of painting. The language of Dado’s seascapes, urban scenes from Herceg Novi and portraits is clearly close to the fauvist and expressionist experience, or the experience of neo- primitivism from the beginning of the century. This is at the same time a point at which we can again recall Đurić’s recording, which in fact actualizes again the artist’s need to pronounce innocent words, given that all the movements that Dado’s artistic language relies upon were born in the search for the freshness of the first words uttered.

Petar Ćuković

◀Bez naziva, kombinovana tehnika, privatno vlasništvo Untitled, mixed media, private collection ▶Autoportret, kombinovana tehnika, privatno vlasništvo Self Portrait, mixed media, private collection 12 13

June – July June JELENA TOMAŠEVIĆ

Jedna figura vuče drugu ne izvan rama, izvan slikovnog polja, već znači ekstenziju slike, njenu ekspanziju i na drugu stranu, ona znači kretanje umjetnika, ona nalaže kruženje posmatrača. Poput poznih Vermerovih radova, uspostavljanje ekscentričnosti kompozicija lociranjem samih figura na rubove slikovnog polja, decentriranjem likova tako da ih okvir slike presijeca, već rasteže sliku, razvlači je izvan njenih klasičnih granica, izvan ukroćeno- sti, srezanosti unutar, omeđenosti ramom; ram postaje ne granica razdvajanja, granična linija, diobena zona, već posrednička, prevezujuća komponenta. Nategnuti kanap i ram, kanap nategnut preko rama, funkcionišu zajedno kao instrumenti prenosa događaja, transfera napona, kao pomagalo, proteza za uvezivanje dva dijela slike, njenog ispred i iza, njenog naprijed i nazad koji postaju aletrna- tivne, reverzibilne, rotirajuće vrijednosti.

One figure pulls the other not outside the frame, outside the field of the painting, but into an extension of the painting, into its expansion in the other direction, designating the artist’s gesture, and prompting the onlooker to go around the painting. Just like the late Vermeer’s works, by establishing an eccentric composition by positioning the figures at the edge of the field of painting, decentralising the images in such a way that they are cut by the frame, and streetching the painting, and extending it outside its classical borders, outside the tame zone and the restriction to the inside outlined by the frame, the frame ceases to be the border of separation, a delineating line, a dividing zone, and becomes a mediating interfacing component. The tight string and the frame, and the string tightened across the frame function together like instruments conveying an event, transferring a voltage, as an aid, a tool for bindinf two pieces of the painting together – its face and back, its front and its obverse – that become alternative, reversible, rotating values.

Svetlana Racanović

14 15 Bez naziva, kombinovana tehnika | Untitled, mixed media NENAD ŠOŠKIĆ July – August July

Nenad Šoškić je pošao od raznorodnih književnih i filozofskih dela, prema kojima je u izvornom susretu sa njima imao stav onoga koga autor „Zadovoljstvo teksta“ naziva čitaocem: High fidelity, Gorski vijenac, Primeri čojstva i junaštva, Mrtve duše, Majstor i Margarita i Kritika čistog uma. U ponovljenom susretu sa tim delima on je uzeo da stvori devet palimpsesta, tako što je metodom nanošenja slojeva „ispisivao“ ove književne i filozofske tekstove po platnima jednakog formata. U ovom susretu, međutim on nije zauzimao stav čitaoca, ali nikako nije mogao zauzeti ni stav barthesovskog čitača. Ono što obeležava ovaj događaj PERIFRAFÉ kao slikanja jeste antinomijska ideja postizanja GRAFÉ kao slike, sa koje je, razume se, po okončanu događaja nemoguće razabrati ekfrazis kao književni tekst. U ovu dijadu suprotnosti, uz to, ugrađena je i antinomija vremena, i to utoliko što ono konačno grafé sadrži i linijsko vreme filozofski i književnih tekstova i ciklično vreme slike kao palimpsesta.

Bez naziva, kombinovana tehnika | Untitled, mixed media

Nenad Šoškić started from diverse literary and philosophical works, towards which, in his original encounter with them, he took an attitude of the one referred to by the author of The Pleasure of the Text as the consumer. These works include:High Fidelity, Mountain Wreath, The Examples of Humanity and Bravery, Dead Souls, The Master and Margarita and The Critique of Pure Reason. In a new encounter with these works, the author set out to create nine palimpsests: using the technique of applying layers, he “wrote” these literary and philosophical texts on canvases of the same size. In this encounter, however, he did not take the attitude of the “consumer”, but he could by no way take the attitude of Barthes’ reader either. What marks this event of the PERIFRAFÉ as painting is the antinomic idea of creating the GRAFÉ as a painting, in which, understandably, upon the conclusion of the event, it is impossible to discern ekphrasis as a literary text. This dyad of oppositions also includes an antinomy of time in that the final grafé contains both the linear time of the philosophical and literary texts and cyclic time of the painting as a palimpsest.

Zoran Gavrić

16 17

October ROMAN ĐURANOVIĆ

Junaci Đuranovićevog univerzuma nisu potentne figure, ličnosti, već bezstrasni likovi, tipovi bez individualnosti, entiteti ne i identiteti, humanoidi lišeni personaliteta. To su autizovane figure čije mirovanje nije pauza u akciji, nije poziranje kao vještina režiranja i svjesnog eksponiranja statusa ili stava, nije trendovsko to be cool kao insinuacija bezbrižnosti, kao simulacija „niskog intenziteta“. To je čekanje bez motiva i bez cilja, neka zaustavljenost u anesteziji, opuštenost ne kao relaksacija, kao akumuliranje snaga ili kao refleks/produkt finalizovanog dejstva, već manifestacija atrofiranosti, simptom impotentnosti uma, oznaka tjelesne pasivnosti replikanta današnjice čija se opšta nemoć kamuflira inteligentno i perfidno da bude viđena, ustvari, eksponira ciljanim strategijama prikrivanja identiteta modernim stajlingom, ambalažiranja u globalni (letargic) look.

The heroes of Đuranović’s universe are not potent figures, personalities, but passion-free characters with no individuality, entities but not identities, humanoids deprived of personality. They are autistic figures whose steadiness is not interruption of activity. It is not posing in terms of skilfull direction and conscious exposure of status or attitude. It is not a trendy to-be-cool façade, an insinuation of lightheartedness, a simulation of happiness of “low intensity“. This is rather waiting without motive or aim, a kind of anesthetic hiatus, a casualness unlike relaxation or a period of strenght accumulation, a reflex/product of finalized activity. Instead it is but a manifestation of an atrophied state, a symptom of an impotent mind, a mark of bodily passiveness of replication of the present in which overall powerlesness is intelligently and perfidiously camouflaged in order to be seen. This incapacity is actually exposed by controlled strategies of hiding identity through modern styling, by packaging it in a global (languid) look.

Svetlana Racanović 18 19 Foto | Photo: Vojo Radonjić RAZGOVOR O IV CETINJSKOM BIJENALU DISSCUSION ABOUT CETINJE BIENNIAL IV

Svetlana Racanović jedan od selektora izložbi | one of the exhibition selectors Ljiljana Zeković generalni supervisor izložbi | general supervisor of the exhibition Petar Ćuković, član žirija | member of the jury

Predsjednik Bijenala | President of the Biennial Nikola Petrović Njegoš

Selektori | Selectors: Andrei Erofeev Iara Boubnova Katerina Koskina Svetlana Racanović

Izložbe | Exhibitions: Skulptura za stanovanje | Housing Sculpture Razgovor sa čovjekom na ulici | Speaking to the Man on the Street Ultimum Projektum

PREDAVANJE O IZLOŽBI BIJENALE MLADIH U VRŠCU PRESENTATION OF THE EXHIBITION OF YOUTH ART BIENNIAL VRŠAC Jovan Čekić umjetnički direktor bijenala | art director of the Biennial

Izložba pod nazivom Kodovi vremena - zauvek mladi, je bila koncipi- rana sa idejom da se Bijenale mladih u Vršcu internacionalno pozi- cionira u regionu. “Sama izloža je bila zamišljena kao montaža radova veoma mladih umetnika, ali i onih koji su ostali zauvek mladi”. This exhibition under the title Codes of Time-Forever Young was conceived with the idea that the Biennial of Youth in Vršac be- comes internationally pozitioned in the region. “The exhibition was conceived as assembly of works of very young artists, but also of those who have stayed forever young”.

PREDAVANJE JANKA LJUMOVIĆA “Umjetnost i mediji-teorijski i praktični diskursi” | Lectury of Janko Ljumović “Art and Media Theorical and practical discourses”. RAZGOVOR O IV CETINJSKOM BIJENALU DISSCUSION ABOUT CETINJE BIENNIAL IV

Svetlana Racanović jedan od selektora izložbi | one of the exhibition selectors Ljiljana Zeković generalni supervisor izložbi | general supervisor of the exhibition Petar Ćuković, član žirija | member of the jury 2003 Predsjednik Bijenala | President of the Biennial FONDACIJA MM ART Nikola Petrović Njegoš OLIVER MUSOVIĆ Selektori | Selectors: Andrei Erofeev Iara Boubnova Katerina Koskina Svetlana Racanović

Izložbe | Exhibitions: Skulptura za stanovanje | Housing Sculpture Razgovor sa čovjekom na ulici | Speaking to the Man on the Street Ultimum Projektum June je zbog finansijskih zbog je razloga. aktuelnih dešavanja iz kulture bavio temama iz oblasti turizma i ekologije. Uprkos uspjehu kojipored je postigao ugašen se koji Art MontenegroMobilčasopis i pokrenula je Fondacijakulture. evropske aksioma 10 jezera, skog oblastikulture,iz KulturnakojimaCrnuOtomobilskiGoru, među su:na pohod revitalizacijaanimacijaSkadar i fondacija Art osnovanaMM je tokomi godine 2000. nekoliko postojanjagodina prekorealizovala je projekata50 Jelena Stanovnik, sekretarka fondacije of foundation the |secretary Ana Matić, dizajnerka |graphic designer Svetlana Racanović, istoričarka umjetnosti historian |art Janko Ljumović, producent |producer Milatović,Slobodan direktor fondacije |director of foundation the EXHIBITION OF POSTERS ANDPRESENTATION OF PROJECTS OF MMART FOUNDATION IZLOŽBA PLAKATA IPREZENTACIJA PROJEKATA FONDACIJE MMART - MM Art foundation was established in the year 2000. and through several years of intense activities has realized over 50 projects in the field of culture, among which are: Car March to Montenegro, Cultural Revitalization and animation of Skadar Lake, 10 Axioms of European Culture. Foundation has also initiated magazine Montenegro Mobil Art that was, beside actual cultural, engaged in promotion of tourism and ecology. Despite its success it was shut down due to financial reasons. OLIVER MUSOVIĆ Susjedi | Neighbours August Izložba i prezentacija | Exhibition and presentation

Ono što je impresivno u radu Olivera Musovića jeste uporna, gotovo opsesivna pažnja koju on posvećuje svom neposrednom okruženju, bilo da su to ljudi, fizički objekti i situacije ili mikro-socijalne strukture. Musović kao da je svjestan solidne i nedvojbeno realne supstance svog okruženja kao nečega što mu daje definiciju ali što je u isto vrijeme lišeno radosti i zadovoljstva transparentnosti za pogled spolja. Čini se da on veoma snažno osjeća dio svog identiteta koji definiše spoljnje okruženje, i to prije svega lokalna moć identifikacije. Ali u isto vrijeme snaga okruženja daje umjetniku razloge da vjeruje da bi ono bilo nerazumljivo onima koji ne pripadaju tom lokalitetu. Zato umjetnik mora da ukazuje, dokumentuje, objašnjava, dokazuje i vizuelno materijalizuje svaki detalj iz tog okruženja u nadi da će oni postati transparentniji. Život gdje ga živi Oliver Musović veoma je homogene prirode. Ipak, ta homogenost mora biti fragmentarna, secirana kako bi postala dinamičnija i komunikativnija.

Grupa susjeda je izgradila ovaj sjenik od starih autobuskih sjedišta, drvenih greda i cerade. To su najbolja sjedišta u dvorištu i najčešće su zauzeta od grupe pasioniranih šahista. Uveče se tu susrijeću mladi i ostaju do kasno u noć. Iako nije sigurno ostaviti bilo šta u dvorištu, korpa za otpatke (u prednjem planu) već je dugo vremena tu i, za divno čudo, upotrebljava se!?

A group of neighbours made this makeshift gazebo in our yard from scrapped bus seats, wood and waterproof tarp. Now these are the best seats in the yard, most often occupied by a group of very passionate chess players. At night this is the place where youngsters meet for long chats deep into the night. Although it is not safe to leave anything outside, the small trash bin (in the foreground) has been here for quite some time and even more, it is being used.

Susedi 2: Dvorište, detalj | Neighbours 2: The Yard, detail, 2002 24 25 The impressive thing about the work of Oliver Musovik is the persistent, even obsessive attention he is dedicating to his immediate surroundings, be that as it may people, physical objects and situations or micro social structures. It is as if he is aware of the solid and unquestionably real substance of his surroundings as something that is giving him a definition but at the same time is robbing him of the joys and pleasures of being transparent to an outsider’s gaze. It seems that he feels the part of his identity, which is defined by the outer surroundings, very strongly and it is a rather local strenght of identification. But at the same time its strenght gives the artist reasons to think that it would be incomprehensible to anybody who is not part of the same locality. So the artist needs to pinpoint, document, explain, verify, and objectify in visual images every detail of these surroundings in the hope that they will become more transparent. Life where Oliver Musovik lives is very homogenous affair.

However, its homogeneity needs to be fragmented and desserted so that it becomes more dynamic and communicative. Iara Boubnova Prilozima cijelog susjedstva, na starom igralištu bili su postavljeni novi golovi. Ali, otkad imamo koš za ulični basket, fudbalsko igralište je bukvalno napušteno, i sve se više koristi kao parking za autobuse, a golovi se samo povremeno upotrebljavaju, kad se tresu tepisi. With contributions from all of us from the neighbourhood the old playground was renovated and new goals were erected. But, since we got the new street basketball court, and basketball being much more popular sport in my neighbourhood, the soccer field is literally abandoned, with the goal posts only occasionally being used when beating carpets.

Susedi 2: Dvorište, detalj | Neighbours 2: The Yard, detail, 2002 U GUDURAMA BALKANA | IN THE GORGES OF BALKAN September Prezentacija | Presentation

Predstavljanje izložbe U gudurama Balkana, održane u Fridericianum muzeju u Kasselu, na kojoj su učestvovali crnogorski umjetnici: Igor Rakčević, Natalija Vujošević, Jelena Tomašević, Milija Pavićević i Lazar Pejović.

Presentation of the exhibition In the Gorges of Balkan, held in Fridericianum Museum in Kassel, where Montenegrin artists: Igor Rakčević, Natalija Vujošević, Jelena Tomašević, Milija Pavićević i Lazar Pejović have participated.

Gosti | Guests:

▶ Igor Rakčević Petar Ćuković, komesar crnogorske selekcije | curator of the Montenegrin selection Jelena Tomašević Jelena Tomašević, Igor Rakčević, Natalija Vujošević René Block Petar Ćuković Natalija Vujošević

Lazar Pejović Igor Rakčević Bez naziva | Untitled, 2002 26 27 Izložba “U Gudurama Balkana” održana u muzeju Fridericianum je u Kasselu, kao dio projekta Balkanska trilogija (2003-2004). Komesar René Block sarađivao je sa 88 umjetnika i 12 kustosa (Edi Muka, Dunja Blažević, Iara Boubnova, Katerina Gregos, Shkëlzen Maliqi, Nataša Ilić, Zoran Petrovski, Petar Ćuković, Ruxandra Balaci, Branislav Dimitrijević, Nataša Peteršin, Erden Kosova) iz zemalja Balkana – Bosne i Hercegovine, Bugarske, Grčke, Makedonije, Kosova, Turske, Srbije, Crne Gore, Rumunije i Albanije. Izložba je prvi dio projekta, dok je drugi dio nazvan “U gradovima Balkana” koji podrazumijeva različite aktivnosti, seminare, panel diskusije u nekoliko gradova. Treći dio nazvan “Iza Balkana” zatvara ciklus sa dva izuzetna događaja – jednim istorijskim a drugim savremenim – izložbama Mangelosa i Marjetice Potrč.

Exhibition “In the Gorges of Balkans” was held in Fridericianum Musseum in Kassel, as part of the project Balkan Trilogy (2003-2004). Comissioner René Block has collaborated with 88 artists and 12 curators (Edi Muka, Dunja Blažević, Iara Boubnova, Katerina Gregos, Shkëlzen Maliqi, Nataša Ilić, Zoran Petrovski, Petar Ćuković, Ruxandra Balaci, Branislav Dimitrijević, Nataša Peteršin, Erden Kosova) from Balkan countries - Bosnia Herzegovina, Bulgaria, Greece, Macedonia, Kosovo, Turkey, Serbia, Montenegro, Romania and Albania. The exhibition was first part of the project, while the second was called “In the Cities of Balkan” and has implied different activities, seminars, pannel discussions in various cities. The third part was named “Beyond the Balkans” and has closed the cycle with two extraordinary events – one from the historical and the other from contemporary positions – exhibitions of Mangelos and Marjetica Potrč.

Jelena Tomašević KUNST=KAPITAL 2002. RAZGOVOR O HERCEGNOVSKOM ZIMSKOM SALONU I PREDSTAVLJANJE NAGRAĐENOG RADA NATAŠE ĐUROVIĆ

Presentation DISCUSSION ABOUT HERCEG NOVI WINTER SALON AND PRESENTATION OF AWARDED WORK BY NATAŠA ĐUROVIĆ

Učesnici | Participants

Bogdan Musović, muzejski savjetnik galerije | Museum Advisor of Josip Bepo Benković Gallery Ljiljana Zeković, selektorka izložbe Selector of the Exhibition

Težnja uzvišenom, 2003. instalacija (enkaustika i pozlata) Striving towards Sublime installation (encaustic, gilt) Foto | Photo: Gordan Nikolić

PREZENTACIJA I RAZGOVOR O IZLOŽBI “CORPS À CORPS” PRESENTATION AND DISCUSSION ON EXHIBITION “CORPS À CORPS”

Zlatko Glamočak, selektor izložbe | selector of the exhibition Pavle Pejović, umjetnik | artist Rajko Todorović, umjetnik | artist

Milena Palakarkina & Dado, Marie Christine Remmery, Rajko Todorović, Ernest Pignon Ernest, Joel Peter Witkin, Félix de Recondo, Pierre Molinier, Philippe Cognée, Zoran Mušič, Lydie Arickx, Antonio Saura, Agnès Baillon, Jean Rustin, Pavle Pejović, David Nebreda, Germaine Richier, Stani Nitkowski, Jean Rouland, Antoine Correia, Fabian Cerredo, Gérard Bignolais, Roger Edgar Gillet, Michel Charpentier, Christelle Morvan, Zlatko Glamočak, Gregor Podgorski, Denis Monfleur, Roseline Granet, Vladimir Veličković, José Subira Puig, Guy Ferrer, Dany Leriche, Marc Petit, Dado

28 29 2004 BRANKO FILIPOVIĆ FILO MILAN NIKČEVIĆ VLADO MARTEK SONJA ĐURANOVIĆ BRANKO FILIPOVIĆ FILO January-February Radovi na papiru 1954 –1959 | Works on Paper 1954 –1959.

Filo zaista polazi od Milunovića i kreće ka Lubardi, ali u odnosu na obojicu nastoji da se što pre odvoji, osamostali, osavremeni, o čemu čini se da najbolje svedoče upravo ovi radovi formalno začeti u Milunovićevoj klasi, no pre bitno podstaknuti ne samo Lubardinim, nego i brojnim drugim iskustvima tada aktuelne svetske umetnosti čije je tekovine nastojao da saobrazi ondašnjim sopstvenim interesovanjima i sposobnostima. Nastali u Beogradu, u umetnikovoj izloaciji i u okruženju umerenih modernističkih shvatanja koja će tokom pedesetih u procesima obrata od socijalističkog realizma ka socijalističkom estetizmu, ubrzo na lokalnoj umetničkoj sceni zauzeti dominantno mesto, ovi radovi izlazeći izvan takve atmosfere, kao da indirektno anticipiraju pre nego što direktno predvode klimu beogradskog enformela, čije istorijski utvrđene hronološke početne tačke presudno ne pomeraju, ali svakako da dopunjuju njihovu predistoriju. Ovi radovi znak su pre svega Filove mladenačke radoznalosti, nekonvencionalnosti, eksperimentatorske strasti, najave su mnogih prodora koji će se uskoro dogoditi i kasnije do maksimuma razviti u njegovom tipičnom i zrelom Bez naziva | Untitled, 1955. slikarstvu.

Filo did indeed move from Milunović towards Lubarda, but he also wanted to move away from both as soon as possible, to become independent and contemporary. Witness to this are the very works that were begun in Milunović’s class, and inspired, not only by Lubarda, but by numerous other experiences of the international art world which assimilated through his own interests and abilities. They were created in Belgrade in isloation and under the circumstances of moderate modernism which soon began to dominate the local art scene as Socialist Realism underwent a transition to socialist aesthetics in the mid-fifities. These works stepped out of the prevailing atmosphere as if they indirectly anticipated, rather than led the Belgrade Art Informel movement whose historical beginnings were not changed by them but rather its prehistory supplemented. These works are a testament to Filo’s youthful curiosity, unconventionality and passion for experiment. They are harbingers of the many breakthroughs that were to follow and fully develop in his mature paintings.

Bez naziva | Untitled, 1956. Ješa Denegri

30 31 Bez naziva | Untitled, 1954. MILAN NIKČEVIĆ

April – May April Privatni dekorativni predmeti | Private decorative objects Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum Riječ je, doista, o strategiji makar je i outsiderska. O širo- kom zahvatu u polju razumijevanja svijeta. O baštinjenju i integraciji mnogih znanja, iskustava i tajnih puteva kulture. Tako, bez sumnje, Nikčević prepoznaje, dakako i na osnovu vlastitih uvida u neka temeljna umjetnička iskustva proteklog vijeka, kolažiranje i re-konstrukciju kao ključne principe na kojima valja graditi metafore jednog svijeta razgrađenih i pokidanih veza. Ali kolažiranje i re- konstrukcija nijesu ovdje samo namah vidljive osobine fizičkog lika neobičnih „dekorativnih predmeta“, ovi principi dosljedno su primijenjeni i u „literaturi“ koja pra- ti svaki „predmet“ ponaosob, u materijalima sazdanim od citata iz borhesovskih lavirinata, iz najrazličitijih knjiga, rječnika, uputstava i priručnika na različitim jezicima. Kao da se širinom zahvatanja fragmenata snuje san o davno izgubljenoj harmoniji svijeta.

Who Are the Golden Frames Waiting For, 2001-2002 And it is truly a strategy, even if that of an outsider. It is a (The Last Supper); (Simposion); kombinovana tehnika | mixed media bold move into the subject of uderstanding the world. It is the continuation and integration of the many forms of knowledge end experience, and of the many secret paths, Tulipa Tubravchiana Submontana I, 2003 to be found in culture. Doubtlessly on the basis of his | (The Frames of Life); kombinovana tehnika mixed media own insight into some of the basic artistic experiences of the past century, Nikčević recognizes collage and re- construction as the key principles on which to construct metaphors for a world of disassembled and broken connections. But collage and re-construction are not here merely the immediately apparent characteristics of the physical shape of the unusual “decorative objects“; these principles are also consistently applied in the “literature“ accomapanying each individual object, in the readings built out of quotations from Borgesian labyrinths, from a bewildering array of books, encyclopedias, dictionaries, instruction manuls and guides in various languages. It is as if breadth of the expanse from which these fragments were scooped up dreams the dream of the long-lost harmony of the world.

Petar Ćuković

28|29 The Self Portrait, 2001-2002 (There is No Head Suited to the Frame); (Head and Shirt) kombinovana tehnika mixed media KANCELARIJA V CETINJSKOG BIJENALA | OFFICE OF THE CETINJE BIENNIAL V kustosi | curated by René Block & Nataša Ilić May-August Narodni muzej Crne Gore i Kunsthalle Fridericianum Kassel su bili partneri u realizovanju V Cetinjskog bijenala, a Atelje je bio glavni punkt za okupljanje tima koji je radio na pripremama izložbi i umjetnika. Jedan od učesnika Bijenala, Vlado Martek je za prostor Ateljea namjenski koncipirao izložbu koju je poklonio Narodnom muzeju.

National Museum of Montenegro and Kunsthale Fridericianum Kassel were partners in realization of Cetinje Bien- nial V, and Atelier was the main point for gathering of the team that was working on preparations of the exhibitions and artists. One of the artist who participated the Biennial, Vlado Martek has conceived the exhibition for the Gal- lery of Atelier Dado, that he gave to the Museum.

René Block, u pozadini rad Mone Hatum, Over my Dead Body Vlado Martek, Šekspir | Shakespeare, 2004 in the background work of Mona Hatoum Over my Dead Body Vlado Martek Šekspir | Shakespeare, 2004

Vlado Martek, Installation view December SONJA ĐURANOVIĆ Umjetnica je po završetku izložbe poklonila rad Muzeju | After the exhibition closure the artist donated the work to the Museum

Kaleidoskopske tvorevine Sonje Đuranović počivaju na (gotovo) klasičnim atributima slikarske umjetnosti, čiste do samopotvrđivanja: one su i vatrometna i graciozna pojava – objava principa Ljepote; one su apsolutna radost oka, demonstracija zanatske perfekcije, evidencija stvaranja iz umjetnikove „nenamje-rne posvećenosti“ skladu, uravnoteženosti kompozicije i bojenih odnosa. One zrače dovršenošću, „dobropogođenošću“ koja ne podilazeći ničemu „ugađa“ osjećaju da smo svjedoci jednog prazničnog slavljenja intimnih trenutaka i mirnog postojanja. Ove „rukotvorine“ nisu nastale iz jalove (ženske) dokolice, kao umjetnost ukrasnog tipa, umjetnost – domaća radinost, kao „heklanje“ onog zaludnog vremena što se ima „na pretek“. Ove tvorevine kao da su nastale na kakvom slikarskom razboju kao fini hedonistički vez, kovrdžavo tkanje stvarano iz lakoruke pedantnosti koja se ne fokusira grčevito da gađa detalj, ne usmjerava na pojedinosti kao dovoljnu bitnost niti je stvorena rastresenom pažnjom rasutom da klizi preko cijele oslikane površine tako što rutinski vuče poteze i s ravnodušnošću ostavlja tragove.

The kaleidoscopic creations of Sonja Đuranović are based on the (almost) Bez naziva, ulje na platnu classical attributes of visual art, lucid to the point of self-exposure. As image, Untitled, oil on canvas, 2002. they are both firework-like and graceful disclosures of the principle of Beauty. They bring absolute joy to the eye, a demonstration of the perfection of artistry. They offer evidence of creation from the artist’s unintentional commitment to harmony, well-balanced composition and the relation of colours. They radiate completeness, so well matched to our aesthetic needs that, without patronising, they “gratify“ us with the feeling that we are witnessing a celebration of intimate moments and tranquil existence. These “handworks“ are far from the product of a futile female pastime, art of decorative type, homemade manufacture like “crocheting“ to fill long, idle hours. These pieces seem to have been created on some hybrid painting loom, with the appearance of fine hedonist embroidery. The result is a crisply curled cloth formed with light-handed literalism. This is not work painstakingly focused on “cracking“ the detail, fixed on detail as the only purpose. Nor it is a creation of vague attention scattered across the patterned surface that forms according to routine and leaves indifferent traces.

Svetlana Racanović 36 37

WEB ART, Blažo Kovačević Presentation

Osnivač prvog festivala digitalne um- jetnosti u Crnoj Gori. Prvo izdanje je imalo za temu Kloniranje, dok je naslov drugog festivala bio Simple Present Tense.

Founder of the first digital art festi- val in Montenegro. Theme of the first edition was Cloning, while the sec- ond edotion was entitled the Simple Present Tense.

Predavanje | Lectury Prof. Simonetta Lux, La Sapienza, Rim

TALENT FACTORY, Vladimir Perić, dizajner i umjetnik, jul | designer & artist

2D Globus, instalacija, 2005. Kap, fotografija, 2003. Isečak, instalacija 2D Globe, instalation The drop, photography The Cat out, instalation 38 39 2005 JOVAN MRVALJEVIĆ VOJO RADONJIĆ RATKO ODALOVIĆ DAMIR NIKŠIĆ SLOBODOAN ŠIJAN PETAR LUBARDA MAŠA ŠUBINA RAŠA TODOSIJEVIĆ JEAN BERNARD SOUDERES January – February relevancy of principles the of individualism and identity. This assimilation, interlacing,grafting and capability forhybrid existence create a phenomena and Mrvaljević’s subcultural imagery, today,media own of personal products mass obsesions. reflect TheThey resultsymbols. private isand a codes forms,thick archeotypal cluster, a mishmash ofthe unrecognizable. Thesepainted reliefs by Jovan Mrvaljević offer densedynamism and a high-frequencypulsation of variable objects, upotrebljiv materijal zasklapanje, montiranje umjetničkog rada. Treš filmovi, horor priče, stripovi i novinski članci, bizarne storije, marginalni detalji, svepostaje relevantno, sveje hičkokovskom već psihodeliji današnjice. biblijskom,danteovskom ili ne limbu u vrtešci, na egzistiranje jedno To povezuje.je premješta, usisava, sve koji zaticanje jedno već mnoštvu,masi,u u zahvaćenost maticom savremenog života, stvari,vrtlogom ljudi događajai To jedan identiteta. je i individualnosti Jovan Installation Mrvaljević, view postojanjahibridnog moć pretapanja,i srastanja,kalemljenja subkulturnihfenomena fascinacija.To ličnih i zbijenost,gusta jedna je pomiješanost nerazaznatljivostido gdje su različitosti, arhetipskih formi, kodifikovanih znakova pulsacija visokofrekventna i privatnih i simbola dinamika masprodukta zgusnuta današnjice,jedna jesu medijskih slika, Mrvaljevića Jovana slike“ „reljefne ili reljefi Oslikani Umjetnik završetku po je poklonio radMuzeju izložbe JOVAN MRVALJEVIĆ , strah od praznog prosotra, ne onaj antičke „provenijencije“antičkeonaj ne prosotra, praznog od strah vacuihorror, | Afterthe exhibition closurethe donatedartist the work the to Museum modus vivendi modus koji neutrališe relevantnostprincipaneutrališe koji modus vivendi modus that neutralize the They represent horror vacui, fear of empty space, yet not one of an antique “provenance“. Here it replicates the state of being in multitude, in swarm, caught in the current of modern life, in a whirlpool of objects, persons and events where everything is sucked in, rearranged and intermixed. These works portray existence on a merry-go-round, in limbo, but in the psychedelic context today, not the limbo of the Bible, Dante or Alfred Hitchcock. Trash films, horror stories, comic strips and bizarre marginal details are all relevant; anything can provide apt material for fusion, for editing a work of art.

Svetlana Racanović

El Amor, kombinovana tehnika | mixed media, 2004 Pečenje, kombinovana tehnika | The Roast, mixed media, 2003

Sjećanje na Julija Knifera i Eda Murtića | Hommage to Julije Knifer and Edo Murtić

February Razgovor i performans | Discussion & Performance

Vesko Gagović, Ješa Denegri, Vladimir Vukićević, Milija Pavićević, Petar Ćuković

Povodom smrti istaknutih hrvatskih umjetnika Julija Knifera i Eda Murića održane su večeri posvećene ovim autorima, na kojima su o njihovom radu govorili istoričari umjetnosti Ješa Denegri i Petar Ćuković. Kao omaž Juliju Kniferu izveden je performans Minut meandra za Julija Knifera koji su sačinjavali neki od najznačajnijih predstavnika savremene umjetničke scene: istoričari umjetnosti - Jerko Denegri, Petar Ćuković, Ljiljana Zeković, Aleksandar Čilikov, Mirjana Dabović; umjetnici - Milija Pavićević, Pavle Pejović, Nataša Đurović, Vesko Gagović, Irena Lagator, Brano Vujičić, filozof Vladimir Vukićević, i studenti FLU Cetinje …

On the occasion of death of two outstanding Croatian artists Julije Knifer and Edo Murić two evenings dedicated to these artists were held, and their work has been presented by art historians Ješa Denegri and Petar Ćuković. As hommage to Julije Knifer performance A Minute of Meander for Julije Knifer composed by some of the outsanding participants from the contemporary art scene: art historians - Jerko Denegri, Petar Ćuković, Ljiljana Zeković, Aleksandar Čilikov, Mirjana Dabović; artists - Milija Pavićević, Pavle Pejović, Nataša Đurović, Vesko Gagović, Irena Lagator, Brano Vujičić, philosopher Vladimir Vukićević, students from the Faculty of Fine Arts Cetinje … 44 45 Minut meandra za Julija Knifera | A Minute of Meander for Julije Knifer VOJO RADONJIĆ April – May April Mala plaža | Small beach

Naizgled jednostavan fotografski postupak rezultirao je složenom predstavom jednog specifičnog svijeta – ljudi marginalizovanih svojim društvenim položajem i samoizolovanih svojim zdravstvenim tegobama. Iako snimljene u najboljem maniru life fotografije, ove fotografije nijesu snimci decisive moment („odlučujućeg trenutka“). Iako je svaka scena-situacija snimljena tako da su fotografije dobile vanvremensku dimenziju, jasno je da se isti scenario ponavlja iz dana u dan tokom ljetnjih mjeseci, godinama. Ovo su prizori koje nije trebalo naći nego vidjeti (fotografisati ih nije bio nikakav problem, to može svako ko ljeti dođe u Ulcinj). U tom smislu, ove fotografije, kao „svjesni čin izbora slike“ per excellence, potvrđuju u kojoj mjeri rezultat iza kojeg stoji rafinirani senzibilitet i duboka koncentracija, može da bude kompleksan čak i kada nastane iz neposredne, brze reakcije na uočeni motiv.

46 47 kolor fotografije | color photographs, 2002 Thus a seemingly simple photographic procedure resu- lted in a complex rendering of a specific world of people marginalized and isolated by ill health. Even though they belong to the best tradition of life photography, these images are not decisive moment shots.The scene-situation was rendered in such a way that every photograph gained an out-of-time dimension. Yet it is clear that the same scenario is repeated daily for years during the summer months. These scenes were not as difficult to find as to see. Taking the actual photographs was not a problem; anyone visiting Ulcinj in the summer could have taken them. In those terms, these photogrphs, as a “conscious act of choosing the image“, bear whitness to how the result, backed by a fine sensibility and careful concentration, can be complex even when made from an immediate, speedy reaction to a varied motif.

Mirjana Dabović

48 49 Vojo Radonjić, Installation view RATKO ODALOVIĆ Radovi na papiru | Works on paper May – June May Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum

Solve et coagula! Pročisti i objedini! Kao da je tajanstvena tekućina iz Odalovićeve alhemičarske retorte, spuštene Odisejevom barkom u samu utrobu zemlje, slivajući se sa žarom njenoga srca, uprizorila na platnima zgusnute i misteriozne naracije potrage za zlatnim kovčegom! U ovo plamteće središte, u jedro rastaljene bezvremene istine svijeta, Odalović se zaputio kroz sinhronizme koji prevazilaze vrijeme: mi- tovi, legende, rituali, obredi i forme prikazivanja preuzeti iz različitih drevnih civilizacija, iz ambara „produženoga djetinjstva“ kao da su, zajedno sa idejama, iskustvima, literarnim obrascima i formativnim praksama poznijih i potonjih vremena stopljeni u jedinstvenu orna- mentiku tajnih loža, u zamršene putanje i tabele svijeta. Ali sva učenost svijeta, svo znanje, sva taksonomija bogatog tovara na ovoj barci, sve bi to bile tek hladne sjenke Istorije, da nije rumenila i sjaja umjetnika, da nepodnošljivi hlad učenosti i nabrajanja ne zaliva vatrena ruka tvorca.

Solve et coagula! Purify and unite! As if in uncommon fluid from Odalović’s alchmeist’s retort, lowered in Ulysses’ ceremonial ship into the very innards of the Earth, flowing with the fire of its hearth, had called up onto the canvases condensed and mysterious narratives of the search for the golden ark! Into this fiery core, into the nucleus of the molten timeless truth of the world, straight in Odalović divied through synchronicities which go beyond the time: myths, legends, rituals, ceremonies and forms of representation adopted from various ancient civilisations, from the repository of “extended childhood“, seem to have been merged with the ideas, experiences, literary patterns and formative practices of later and future into an inimitable ornamentation of the secret lodges, into the tangled paths and tables of the world.

But all the learning in this world, all its knowledge, the entire taxonomy of the rich cargo of this ark, all that would be only the cold shadows of History, were it not for the blush and gleam of the arist, were it not the fiery hand of the creator watering the intolerable iciness of learning and enumeration.

Petar Ćuković

Bez naziva, kombinovana tehnika | Untitled, mixed media, 2003 50 51

DAMIR NIKŠIĆ July Da nisam Musliman | If I wasn’t Muslim

(...) Počinje se baviti angažiranom umjetnošću, koja se zasni- va na subverzivnom, analitičkom i kritičkom preispitivanju i prikazivanju društveno-političkih uvjeta i vrijednosti kroz istraživanje i analizu historijskih, političkih, ideoloških, ekonomskih i društvenih uzroka i posljedica. On nastavlja kritički reagirati, ali sa jasno definiranog teorijskog i filozofskog stanovišta. Potaknut poznatom tezom Edwarda Saida o orijentalizmu kao konceptualnoj shemi koja označava dominaciju Zapada nad Istokom, Nikšić istražuje i svoj vlastiti položaj u Sjedinjenim Američkim Državama. Prema teoriji Edwarda Saida, Orijent postoji zbog Zapada, i Zapad ga je konstituirao kao nešto inferiorno, ekscentrično, nazadno, pasivno, kao bizarno i egzotično „Drugo“. Nastaje niz video radova, performansa, instalacija, u kojima Nikšić provocira stereotipne konstrukcije identiteta, koje se vežu za egzotično Drugo, ali u ovom slučaju Drugo vezano za projekciju Balkana i Balkanaca...

He began to employ an engaged approach to art based on subversive, analitical and critical re-examination and presentation of socio-political conditions and values derived from an examination and analysis of historical, political, ideological, economical and social causes and effects. He continues to react with criticism, but from a clearly defined theoretical and philosophical standopint. Stirred by the well known theory od Edward Said about Orientalism as a conceptual structure defining the dominance of the West over the East, Nikšić explored his own position in the United States. According to Said, the Orient exists because of the West and is constructed by the West as something inferior, accentric, backward, passive, as a bizzare and exotic “Other“. Nikšić has made a series of video works, performances and installations in which he challenges the stereotypical identity constructs associated with the exotic Other. But in this case, the Other denotes the projection of the Balkan and the Balkan people...

Asja Mandić 52 53 Video stills SLOBODAN ŠIJAN – August – July Vertigo – filmske sekvence | Vertigo – movie sequences

Rekonstruišući mentalni prostor vlasitite mladosti, ali i čitav niz različitih fragme- nata, priča drugih i sl Slobodan Šijan ocrtava okvir jednog neobičnog istraživanja unutar dva registra – najpre u tekstu u formi kinematografskih pesama, a potom i fotografijama sekvencama lokacija na kojima je snimana Hičkovova „Vrtoglavica“. Ova dela registra se ne poklapaju u smislu u kome bi fotografije ilustrovale tekst ili obratno – oni korespondiraju, ponekad se uzajamno presecajući. Za Šijana, radi se, o dve stvarnosti, „one ispred i one ’iza’ filmskog platna“. K je „mašina želje“ koja pokreće čitavo istraživanje, čitav poduhvat kartografisanja, „imaginarnog“ kroz tekst, i „realnog“ kroz seriju fotografija sekvenci. Ta „mašina želje“ određuje pravac kretanja, po San Francisku, vlastitim beogradskim sećanjima, fragmentima koje je čuo od prijatelja, ili slučajnim upadima, ponekad pravolinijski u nedogled, ponekad praveći petlje i prevoje slične Mebiusovoj traci. Golden Gate Bridge, Fort Point, San Francisko, 1998.

Reconstructing the mental space of his own youth, together with a whole array of various fragments, other people’s stories and the like, Slobodan Šijan outlines the framework of an unusual research within two registers – first in the text in the form of cinematographic songs, and then in the photographs with the sequences of locations where Hitchcock’s Vertigo was shot. These works do not match in the sense that photographs illustrate the text or vice verse – they correspond to each other, intersecting at times. To Šijan, they actually represent two realities: “one in front of and one ’behind’ the screen”. K is a “desire machine” which drives the entire research, the entire mapping process of the “imaginary” through the text and the “real” through the series of photographs with the sequences. This “desire machine” determines the direction of movement around San Francisco, the artist’s memories of Belgrade, fragments that he has heard from friends or accidental intrusions, sometimes in an endless linear manner, sometimes making loops and curves resembling a Mebius strip. Jovan Čekić 54 55 Izložba i razgovor, gost prof. dr Slobodan Mijušković Exhibition and discussion, guest Ph D Slobodan Mijušković U saradnji sa Galerijom Artget iz Beograda | In collaboration with Artget Gallery from Belgrade.

Golden Gate Bridge, Fort Point, San Francisko, 1998.

Fort Point, San Francisko, 1998. PETAR LUBARDA Bilješke iz zarobljeništva | Notes from Captivity August – September August Iz fonda Narodnog muzeja Crne Gore | From the fund of the National Museum of Montenegro

Zarobljenici u njemačkom logoru, crtež | Prisoners in German Concentration Camp, drawing, 1942. Na ovim radovima kao temporalni kaleidoskop smjenjuju se scene koje poput „filmske trake“ prate put po mukama ratnih zarobljenika, predstavljenih grupnim i pojedinačnim portretima. Zapravo, kolektivno nije nastalo svjesnom voljom pojedinca neko nekontrolisanim silama zajedničke sudbine. Mrtvačka, atmosfera psihičke i fizičke pustoši iskazana je usamljenim i izolovanim likovima i logorskim objektima, barakama, „mrtvačkim kovčezima“ okruženim ogradama – koljem između kojih, prema nebu, poput sablasnih glasnika smrti štrče usamljeni stubovi.

56 57 Glava, crtež | Head, drawing, 1941.

Slikao je, crtao olovkom, tušem, gvašem, pastelom, rjeđe akvarelom i uljem. Olovkom kao sredstvom neposrednog notiranja, najčešće je uobličavao portrete i logor, ali i simbolički crtež Bačeni šinjel koji se kao zaspala, izuvijana i zgrčena neman prostire zemljom, dok tušem slika ljude-sjenke koji izranjaju iz tame nedefinisanog prostora.

Just like in a temporal kaleidoscope, in these works there take turns scenes that, like a „film tape“, follow the agonizing path of war prisoners, depicted through group and individual portraits. In fact, the collective was not generated through the conscious will of an individual but through the uncontrollable forces of the common fate. The deathly atmosphere of physical and mental desolation is conveyed through the solitary and isolated characters and objects from the camp, barracks, “coffins“ encircled by a fence – the bound stakes occasionally interspersed with tall and lonely posts protruding towards the sky like ghostly death heralds. He painted in pencil, Indian ink, gouache, pastels and, rarely, in water colour or oil. In pencil as a means of immediate noting he most often shaped portraits and the camp, but also the symbolic Thrown Overcoat lying on the ground like a sleeping, coiled and contorted monster; in Indian ink, however, he depicted people-shadows emerging from the murk of an undefined space.

Ljiljana Zeković MAŠA ŠUBINA На дом September – October September Umjetnica je po završetku izložbe poklonila radove Muzeju | After the exhibition closure the artist donated the works to the Museum

Ciklus „На дом“, koji katkad stilom podsjeća na slike kineske komunističke propagande, ispituje autorkine vlastite granice fascinacije u ličnom istraživačkom projektu koji u središte stavlja njeno autorstvo. Kolekcija slika čini se bezmalo šizofreničnom u rasponu koji naglim skokovima varira između provokacije i osjećajnosti, političkog propitivanja i nostalgije, čulnosti i obscenosti. Asocijacija na likove mladih žena Nobojuši Arakija takođe je očigledna. Pozirajući u obrnutom holu slave, anonimne djevojke istovremeno predstavljaju voljno erotizirane subjekte i nehotice stereotipizirane objekte. Međutim, likovi Šubine daleko su od naivnog – ona okreće inherentno muški pogled i slikarstva i fotografije unutra ka samom sebi, nanovo preispitujući prihvaćene predstave u medijima natopljenom svijetu takozvanog „Zapada“ – koji svakako uključuje i Japan.

„На дом“, sometimes reminiscent in style of Chinese communist propaganda paintings, tests her own boundaries of fascination in a personal research project that places her authorship as a central issue. The collection of paintings appears almost schizophrenic in its range – leaping between provocation and sensitivity, political enquiry and nostaliga, senuality and obscenity. The association with Noboyoshi Araki’s images of young women is also obvious. Posing in a reverse hall of fame, the anonymous girls are both willing eroticized subjects and unwillingly stereotyped objects. But Shubina’s images are far from naïve – she turns the inherently male gaze of both painting and photography in upon itself, throwing a new line not questioning on accepted imagery in the media – saturated world of the so-called “West“ – that for all intents and purposes includes Japan.

Tanya Kim Grassley

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RAŠA TODOSIJEVIĆ Oglasi | Announcements Izložba i razgovor, gost Dejan Sretenović | Exhibition and discussion, guest Dejan Sretenović November Umjetnik je čitavu izložbu poklonio Muzeju | The artist has donated the whole exhibition to the Museum

(...) Umetnik u ovim radovima po prvi put u akrijeri koristi medije masovne komunikacije, pri čemu, slično Hansu Haackeu, oglašavanje razotkriva kao suštinski ideološko kroz postupak subverzivne imitacije njene komunikacijske i formativne logike. Kroz subverzivnu imitaciju, Todosijević dekonstruiše procese kroz koje se konstruiše značenje u sferi masovnih komunikacija, uključujući i načelo „kulturnog specifikovanja“ oličenog u marketinškom diktumu „misli globalno, deluj lokalno“. Promocija fiktivnih proizvoda srpskog porekla na stranim jezicima (Serboragnes, Le fleur du cloaque, Murder), upravo pervertira pomenuti diktum: poštovanje formalnih konvencija oglašavanja ovde ne stoji u funkciji masovnog ubeđivanja, već ironijskog razubeđivanja, odnosno otvorene „izdaje“ mita o superiornosti Nacije koja je devedesetih godina prošlog veka – kada se SR Jugoslavija nalazila u međunarodnoj izolaciji – bila kontaminirana režimskom propagandom o samodovoljnosti i sposobnosti naciona- lne ekonomije da zadovolji sve potrebe populacije.

In these works the artist uses the mass media for the first time in his career, and in so doing, similar to Hans Haacke, he exposes advertising as essencially ideological through the subversive imitation of its communication and formative logic. Through this subversive imitation, Todosijević deconstructs the processes through which the meaning in the sphere of mass communication is constructed, including the principle of “cultural specifying“ emboded in the marketing dictum “Think Globaly, Act Locally“. The promotion of ficitious products of Serbian origin in foreign languages (Serboranges, Le fleur du cloaque, Murder), serves pervert the above mentioned dictum: respecting the formal conventions of advertising is not in the function of mass persuasion but of ironic dissuasion, of an open “betrayal“ of the myth of the superiority of Parfem | The Perfume, 1997. the Nation which in the nineties of the last century – when the Socialist Republic of Yugoslavia was experiencing international isolation – was contaminated by the regime propaganda of the self-sufficiency of the country’s economy and its capacity to satisfy all needs of the population.

Dejan Sretenović 60 61

JEAN–BERNARD SOUDERES Autoportret (skica jednog istraživanja) | Papiri

November-December Selfportrait (Sketch of a Research) | Papers U saradnji sa Francuskim Kulturnim centrom Podgorica | In collaboration with French Cultural Center Podgorica

Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum

Omogućiti da se vidi, u viđenoj stvari, ono što pripada samo sebi, onu intuiciju nekog čula što ne ograničavaju jednostavni obrisi... Pogled Žan Bernara Sudera djeluje na tu nadmašenost izgleda.

Tu gdje se povlači aktuelnost. Tu gdje počinju otisci. Drobljivi tragovi od kojih se hrani pamćenje. Tragovi ljudskog bića sve do podsmjeha koji pruža materiju za jednu izložbu.

Ulog se sastoji u nagomilavanju pokazatelja onog što bi moglo da bude jezik koji se ignoriše, haotična azbuka po zidovima, pejzažima, licima... Kada sve daje znakove, na koji način se zatvoriti u jedan predmet? (...)

Prevod sa francuskog Persa Aligrudić

To enable to see, in the seen object, what belongs to itself, the intuition of a sense not limited by simple outlines... The view of Jean Bernard Souderes acts on the surpassed appearance.

Where actuality withdraws. Where prints begin. Crushable traces that memory feeds on. Traces of a human being all the way to the ridicule providing matter for an exhibition.

The stake is the accumulation of indicators of what might be the language ignored, chaotic alphabet on the walls, landscapes, faces… How to close oneself in one object when everything gives signs? (...)

Marc Hamon

◀ Autoportret | Selfportrait, 2005. ▶ Autoportret | Selfportrait, crno-bijela fotografija | b-w photography, 2005. 58|59

PREDAVANJE | LECTURY OF Ph D SLOBODAN MIJUŠKOVIĆ Alfred Hičkok. Upotreba slikarstva | Alfred Hitchcock. Use of painting

Hičkok veoma često uvodi slike/slikarstvo u svoje filmove tako što ih u izvesnom smislu oživljava premeštajući ih iz pozadinskog, neprimetnog, pasivnog plana „mrtvih stvari“ (u prostornom i konceptualnom smislu) u prednji plan, iz kojeg oni svojim sadržajima i značenjima sudeluju u ostvarivanju njegovog osnovnog zahteva: ispuniti pravougaonik ekrana emocijom...

Hitchcock often uses pictures/painting in his movies which in certain sense revives them by dislocating them from the background, unimperceptible, passive postion of "dead things" (in spatial and conceptual meaning) in the foreground, from which they with their contents and meanings partecipated in accomplishment of its basic demand: to fill the rectangle of the screen with emotion...

Slobodan Mijušković

VEČE DOKUMENTARNIH FILMOVA EVENING OF DOCUMENTARY FILMS OF BOGDAN ŽIŽIĆ Udar na sjećanje | Damnatio Memoriae, Goli otok

Dokumentarni film o uništavanju istorijskih i kulturnih spomenika u Hrvatskoj u nedavnim 90'tim godinama prošlog vijeka. U tim godinama po službenim podacima u Hrvatskoj je uništeno oko 3 000 spomen obilježja. Documentary film about destruction of historical and cultural monuments in Croatia in re- cent 90's of the last century. In these years according to official data more than 3 000 monu- ments have been destroyed in Croatia. Iskaz dvokratnog zatočenika golootočkog logora Alfreda Pala, i prvo filmsko svjedočanstvo o Golom otoku. Testimony of the two-time prisoner from Goli otok, Alfred Pal, and first filmed evidence about Goli otok.

PREDAVANJE DR BORISA BUDENA U CIPELAMA KOMUNIZMA: OSNOVNE KONTURE KOMUNISTIČKOG DISKURSA LECTURY OF Ph D BORIS BUDEN IN SHOES OF COMMUNISM: BASIC FEATURES OF COMMUNIST DISCOURSE Realizovano u saradnji sa Pravnim fakultetom i Nansen dijalog centrom iz Podgorice. In collaboration with Faculty of Law and Nansen dialogue Centre from Podgorica. ”Vjerojatno ne postoji bolje mjesto na kojem se može doživjeti taj postkomunistički odnos prema komunističkoj prošlosti od muzeja komunizma, institucije u kojoj je taj odnos na pro- gramatski način konstruiran i izložen.“ Probably there is no better place where one can experi- ence that Post Communist relation towards the Communist past, from the Museum of Com- munism, institution whre this relation is constructed and exhibited. 2006

TOMO PAVIĆEVIĆ JEAN BAPTIST SAUVAGE LAZAR PEJOVIĆ IGOR RAKČEVIĆ DMITRIJ A. PRIGOV TOMO PAVIĆEVIĆ March – April March Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum

Slike-crteži Toma Pavićevića jesu raskošna, a ne razmetljiva slika svijeta, prefinjeno i delikatno paučinasto tkanje što neobavezno ali pouzda- no upliće i spaja bića, gradove, ambijente dajući im neograničenu slobodu leta i pravo promjene. Ovdje su spojevi laki, slobodni, trenutni poput ovlašnog dodira; partneri su slučajni i izmjenjivi. Odnosi su neobavezujući, uspostavljeni principom kratkog spoja i brze i neosjetne izmjene; lišeni su tereta nužnosti, obaveze postojanosti, prinude vjernosti. Veze su alternativne, bljesnu u trenutku, pre- ma slučaju i zgodi kao dozvoljeno višestruko uparivanje ili, pak, kao uhvaćeni tihi mir samovanja u kom tinja topla, nemotivisana že- lja. Ovdje iskri osjećaj tihog zadovoljstva i ne- kog treperavog ispunjenja, nekog zadovoljenja tek u obećanju, u primisli, blago dotaknutog nagovještajem. Ovdje je ispunjenje oslobođeno čvrstine volje i jasne namjere, htjenja i zadatih obećanja, fatalnih vizija i pretenzija na trajanje, time osuđenosti na konačnost. Ovo je slikarev „Zabriskie Point“.

Tomo Pavićević’s paintings-drawings are an intricate yet unpretentious image of the world, a refined, delicate, cobweb-like weaving of elements that casually yet confidently entangle and connect beings, places and environments, giving each unlimited freedom and licence to change. The connections made are easy, free, fleeting and accidental like a passing touch; partnerships are random and their constituents interchangeable. The relations bear no obligations: they are established by principle of short circuiting and quick and imperceptible change. Bez naziva, kombinovana tehnika | Untitled, mixed media, 2005.

They are free from the burden of necessity, obligation to endure and any constrains of fidelity. These relations are alternative, they spark in a moment, depending on situation and chance, as rightful pairing of varying elements or-rather-as disruption of peaceful solitude in which glows warm, unmotivated desire. Here is quiet contentment, blissful fulfilment and gratification that exists only as a token, a reflector or a mere hint. In these works, fulfilment is driven neither by determined will and clear intentions nor by wishes made and promises given, fatal visions and pretensions to duration, that is, a consignment to finality. This is the painter’s Zabriskie Point.

Svetlana Racanović May JEAN BAPTISTE SAUVAGE Konceptualna umjetnost | fotografija | numerička umjetnost | video Conceptual Art | Photography | Numeric Art | Video Selekcija | Selected by Mihael Milunović

U saradnji sa Francuskim Kulturnim centrom Podgorica In collaboration with French Cultural Center Podgorica

68 69

71 70 May – June zgo, odo- (upravo kadriranja postupka ponavljanjem bio autor. bio,„emanacijaje prošlogstvarnog“ svjedok čijije materijal apstraktne slike“ već „ostaje materijal“komslučajuu ni„materijalAli koji kamenapostajene gusti, enformelistički nanos boje na platnu. igra boja i površina, asocirajući pritom na slojeviti, dinamičnaodvijasredištu se čijem u sive,nijansi bivatransformisana fakturu,u posnisloj različitih Površina kamena, snimljena iz neposredne blizine među- njihovu sobnu različitost. na akcenat tako stavljajući snimku, suprotno:upravo je urađeno slučaju ovom U teme. variranje beskrajno omogućava koje veoma motiv zahvalan za istraživanje fotografsko predstavljaju površini, na šare likovne sobom za ostavljajući isparava, lagano mjeseci u toku ljetnjih koja vodom ispunjena kamenu u Udubljenja Waterholes PEJOVIĆLAZAR lizovan, tehnički izgled u svakom pojedinačnom pojedinačnom svakom u izgled tehnički lizovan, centralna kompozicija) postignut je depersona-

Depressions in stone, filled with water which slowly evaporates over the dry months, leaving behind patterns on the surface, represent a motif which rewards photographic exploration, enabling endless variation of a theme. In the present case, the exact opposite was done: by repeating the framing procedure (straight above, central composition), a depersonalised, technical aspect was ahieved in every individual shot, thus putting the stress on the differencec between them. The surface of the stone photographed at point blank range is transformed into texture, into a lean layer of variations shades of grey with a dynamic interplay of colours and surfaces at its centre, recalling the layered, dense application of paint to canvas of Art Informel. Far from it, however, that the “material of the stone becomes the material of the abstranct painting“, it “remains material“ which was “the emanation of past reality“ witnessed by the author.

Mirjana Dabović – August July IGOR RAKČEVIĆ

Rakčevićevi radovi na ljepenci, materijalu koji služi za pakovanje industrijskih proizvoda, kao i tehnika serigrafije koju primjenjuje upućuju na mrežu mnogobrojnih referenci: od povijesno- umjetničkih i filozofskih rasprava o prirodi i karakteru umjetnosti moderne i njenog slijeda, a tu prije svega mislim na rasprave o “gubitku aure” i dijalektici odnosa original-kopija, započete u dvadesetom vijeku u znamenitoj raspravi Valtera Benjamina “Umjetničko djelo u dobu tehničke reproducirljivosti” iz 1935/6 godine, sve do našeg lokalnog, vrlo konkretnog, aktuelnog socio- kulturnog konteksta. (...) Nema sumnje, namah je razabirljivo: ovo su ljudi sa “periferije”, sa “margine”, ne slučajno fotografisani “u samom srcu socijalne stvarnosti”, na kamionskim i inim pijacama, u socijalnom polju sklonjenom od “blještave svjetlosti i lažnog sjaja prestižnih, etablira- nih društvenih pozornica”...

Rakčević's works on cardbaord, material that is used for packing industrial products, as well as techniques of serigraphy that he applies refer to the vastness of references: from historical-artistic and philosophical disputes on nature and character of modern art and its sequence, and there primarly I have in mind disputes on "loss of aura" and dialectic of original-copy relations, that were conceived in 20th century in famous Walter Benjamin's dissertation "The Work of Art in the Age of Mechanical Reproduction" from 1935/6, until our local, very concrete, actual socio-cultural context. (...) There is no doubt, it is clear: these are people from the "periphery", from the "margines", not accidentally photographed "in the very heart of the social reality", at truck and other markets, in social field far from "shining light and fake glow of prestigious, establishe social stages"...

Petar Ćuković

Bez naziva, sitoštampa na lepenci Untitled, print on cardboard, 2004/2005. 74 75

Igor Rakčević, Installation view

79 78 August – September colors, notably the basic colorsRussianofcolors, basic Russianiconsnotablyand the Avant-Garde 20 the of beginning the from metaphysical three colors:unchangeable basic in colored relationships,but various establishing and dimensions phantoms,of installationspace numerousvariousinhabitantsonand objects surroundingstaking ourfrompass, modular this Through innocence. and purity original its in exists picture) (the paper,it the on But recognition. beyond of point the to almost altered being them, with accordance in modified are place, concrete a of confines All projects of my installations are pictures of a modern space, which, naturally, during their realization within the Umjetnik čitavu je izložbu poklonio Narodnom muzeju Izložba iperformans |Exhibition and performance Fantomi instalacija DMITRIJ ALEKSANDROVIČ PRIGOV Dmitrij Aleksandrovič Prigov vegetative and flowing animal the (with blood through it). the into life of phenomenon unique the of division the of level the at green, is red of synonym The orange. and yellow – of white The synonyms purple. and lilac are of black synonyms The life, Vita. of color the is Red efflux. Black is the color of the hidden, of the metaphysical secret and magic elusiveness. White is the color of energy and – black, white and red. | Fantoms of Installations Preveo ruskog sa P. Ć. Svi projekti mojih instalacija su slike prosotra, modernog koje to- se aaa eisvng eoea ioa a eeain i životinjski i vegetativni (kojim na protiče života krv). fenomena jedinstvenog rasapa crne su lila i ljubičasta. Bijele – žuta i oranž. Crvene – zelena, na nivou život,Vita. boja Sinonimi je izviranja.Crvena i energije boja je Bijela Crnabojajeskrivenosti, metafizičke tajne magične i nedokučivosti. i crvenom. ruskih ikona bojamai ruske avangarde osnovnim sa početka XX vijeka – crnom, tačnije bijelom bojama, metafizičkim nepromjenjivim Trima osnovnim bojama. obojeni ali odnose, razne u stupajući i stanovnici okolnog svijeta, poprimajući našegi različite dimenzije mnogobrojni predmeti prostorfantomaprolaze instalacijski modelarni taj Kroz čednosti. i čistoti prvobitnoj u postoji (slika) ona papiru Ali na neprepoznatjlivosti. do skoro se mijenjajući njima, sa skladu u kom realizacije u granicama konkretnog mjesta, naravno, modifikuju | The has donatedartist wholethe exhibition the to National Museum

th century

MARIJA KAPISODA Zemlja-Svjetlost, Svijetlo-Tamno | Soil-Light, Light-Darkness June Magistarska izložba | Master Exhibition

Installation view

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ILIJA BRANKO BURIĆ ILIJA ŠOŠKIĆ IVAN BLAŽEV MIHAILO PAVIĆEVIĆ ČEŠKI VIDEO PETAR LUBARDA ILIJA BRANKO BURIĆ Crteži | Drawings

May U saradnji sa Centrom Savremene umjetnosti Crne Gore In colaboration with Center for Contemporary Art of Montenegro

Odavno znamo da nigde kao u crtežu tvrdnja da je u umetnosti i za umetnika proces (trajanja rada, vreme prepušteno radu) presudniji od cilja (završenog dela, estetskog predmeta) ne nalazi jače i čvršće potvrde. Ali na svakom je pojedinom umetniku odanom crtežu/ crtanju da ovu staru istinu primeni i proveri u sopstvenoj praksi opsesivnog crtača. Evo jednog umetnika koji nije mogao drukčije nego da se već dugo i bez ikakve odstupnice preda opsesiji te prakse: za Iliju Burića crtanje postaje sudbina, crtež jedini plod kojim rađa ovo krajnje asketsko umetničko i životno opredeljenje. U usamljeništvu mesta koje je za ovog umetnika ujedno prostor svakodnevnog postojanja i prostor neprekidnog rada nastaju mnogobrojni listovi olovkom, pre kao neki dnevnički zapisi, fragmenti neke gotovo beskrajne trake, nego kao pojedinačni rezultati koje bi iz te trake trebalo izdvajati po merilu estetske norme i kriterijuma usavršavanja crtačkog znanja.

We have known for long the claim that in art and to artists the process of creation is more decisive than the product itself (the finished piece, aesthetic object), is best confirmed in drawing. Still, it is on each individual artist committed to drawing to apply this ancient truth and test it in his/her own practice as an obsessive drawer. Here is an artist who could do nothing else but surrender himself for long and unyieldingly to the obsession of this practice: for Ilija Burić, drawing becomes his destiny, and a drawing the only product with which he treads this ascetic art and life path. In the solitude of the place which, to this artist, is at the same tame the space of his everyday existence and his incessant work, many sheets of paper are produced with a pencil, resembling some diary notes, fragments of an almost endless tape, rather than individual results which are to be separated from the tape by applying some aesthetic norms and the criterion of drawing skill. Ješa Denegri 82 83

ILIJA ŠOŠKIĆ May – June May Praslika uzora | Proto-image of an Ideal

Propozicija izložbe jeste konfiguracija crnog kvadrata u vertikalnoj poziciji i „čarobne četvrtine“ u horizontalnoj poziciji. Komozicija je konstituisana od četiri lesonitske table, četiri kvadratna metra crnog platna, tečni katram, konstruisani metalni kvadrat, 25 komada kamena...? Jednom prilikom Majakovski je rekao da su muzeji kuće mrtvih stvari, u funkciji tada ideološke opsesije jedne generacije kojoj je i Maljevič pripadao, ali sa drugačijom vizijom. ... Filozofi kažu da istorijsko opstajanje razabiramo ako ga dovedemo u pitanje. Crni kvadrat nije ništa drugo nego umjetnost dovedena u pitanje (ili propitivanje). To nam potvrđuje i praslika uzora, dakle najviša ideja. O tome se radi. Crni kvadrat Maljeviča; konzervirano govno umjetnika Manzonija; konji u galeriji Kunelisa, i moj pucanj u zid su umjetnička djela za istorijsko opstajanje; bez čega bismo nestali u magli...

The scheme of the exhibition is the configuration of a black square in the vertical position and a “magical quarter“ in the horizontal position. The composition is comprised of four hardboard panels, four square metres of black canvas, liquid tar, a constructed metal square, twenty-five pieces of stone...? Mayakovsky once said that museums were houses of dead things, serving the ideological obsession of a generation which Malevich belonged too, but with a different vision. Philosophers claim that historical survival is descerned if brought into question. The black square is but art brought into question (examined). This is confirmed by proto-image of an ideal, the supreme idea. That is what is all about. Malevich’s Black Square; Manzoni’s Conserved Shit of the Artist; Kounellis’s Horses in the Gallery and my Shot to the Wall are works of art for historical survival, without which we would disappear in the fog...

Ilija Šoškić

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IVAN BLAŽEV Makedonija koja sanja | Macedonia Dreaming – June May Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum

Svaka fotografija, pa čak i ona sa naizgled najprozaičnijim dokumentarnim ambicijama sadrži autobiografski segment, emituje nešto od bića autora. Kretanje od spolja ka unutra, Ivan sprovodi kroz jedan standarni fotografski, dobro poznati princip „odlučujućeg trenutka“ koji je u direktnoj relaciji sa prepoznavanjem dominantne vlastite emocije, mentalnog stanja, i to na izuzetno elegantan i rafiniran način. Spolja on bira trenutak, koji odražava smisao situacije koju bilježi, dok unutra bira emotivno stanje koje se njime opredmećuje, materijalizujući ga kroz složena simbolička značenja. Radnja postaje psihološki iskaz „unutrašnjeg pejzaža“ prepoznate situacije. Ipak, među njima nema apsolutne podvojenosti. Iako za određeni broj fotografija možemo reći da pripadaju grupi tzv „lajf“ snimaka, dok su druge naglašeno meditativne, neke, začuđujuće, sadrže H Metropol Ohrid oba kvaliteta.

Each photograph, even if it appears to have the most prosaic documentary ambition, contains an autobiographic segment and broadcasts something of the author’s being. Ivan accomplishes this transition from the external to the internal through the standard and well-known photographic principle of the “decisive moment“, which is directly related to the recognition of one’s own dominant emotion or mental state, and he does this in an extremely elegant and sophisticated manner. Externally, he choses a moment which reflects the meaning of the situation which he is recording, while internally he chooses the emotional state which is embodied by it, materialising it through complex symbolic meanings. The action becomes a psychological expression of the “internal landscape“of the recognised situation. However, there is no absolute separation between them. Although some of the photographs can be said to belong the group of so-called “life“ images, while others are markedly meditative, a few, remarkably, contain both qualities.

Mirjana Dabović Pejović

86 87 Brod Baunti | The Bounty Ship, Skopje MIHAILO MILI PAVIĆEVIĆ June – July June Seks u Malom Parizu | Sex in Little Paris

Ovi su crteži dijagnoza društva koje živi sindrom „prigradske kafane“ krajputašice, živi iluziju da veliko dobro samo što nije tu, da smo ga prizvali i zaslužili i da već samim širenjem centra i „krajputašica“ brzo upasti sa ruba u središte. I sve se potajno nadamo da niko iz tog centra neće registrovati pokušaje da se sa margine prošvercuju sve drage nam specijalne usluge prigra-dske kafane kao mali, tajni čuvari naših „starih, dobrih navika“ i „malih užitaka“ i pokazalo se, unosnih poslova. Umjetnik tome „odaje priznanje“ radom na aluminijumskoj foliji, radom-plaketom ili radom- spomenikom dobro utanačenom i uz piće zalivenom poslu. U ovom Pavićevićevom terarijumu obitavaju baby face killers, ubice šuma, ubice za volanom i za operacionim stolom, stari pohotnici i sponzoruše, „veliki iluzionisti“, „prodavci magle“ i falsifikatori, kompleksaši i razmetljivci, debelokošci i pervertiti, žderači svega, oni u grupama jaki, kolaboranti i klimoglavci, korupcionaši, posjednici zapuštenh tijela i neutaživih apetita, oni „dobrosnalazeći“, povampirene „sijede glave“ i uživaoci kafiice uz crveni šal koji „legitimiše“, ovisnici od svega i svačega, svakojaki profiteri od stanja opasne proizvoljnosti, stanja svedopuštenosti.

These drawings are the diagnosis of a society living the syndro-me of the “suburban coffee place” located along the road, living the illusion that the great good is almost there, that we have evoked it and deserved it, and that by extending the centre, the “suburban coffee place” will soon move from the margin to the centre itself. And we secretly hope that no one from the centre will notice our attempts to smuggle from the margin all special services, so close to our heart, of the suburban coffee place as a small, hidden guards of our “good, old habits” and “small pleasures” and, as it has turned out, lucrative businesses. The artist “pays tribute” to this with a work on the aluminium foil, plaque or monument, a well agreed job celebrated with a few drinks. Pavićević’s terrarium is inhabited by baby face killers, forest killers, killers at the wheel and the operating table, old sensualists and “sponsor” seeking women, “great illusionists”, “fiction-mongers” and counterfeiters, complex-ridden and unscrupulous persons, perverts, gluttonous eaters of all, those who are strong in groups, collaborators and followers, corruptors, owners of decrepit bodies and insatiable appetites, those who do well no matter what, those “grey-headed vampires“ and eager coffee drinkers wearing a “labelling” red scarf, various kinds of addicts, various profiteers from the state of dangerous arbitrariness, the state in which everything is allowed. Svetlana Racanović

Mihailo Mili Pavićević, Installation view

UOPŠTENO I POJEDINAČNO July Češki video | Czech video

Uopšteno i pojedinačno je reprezentsativni izbor savremenih video radova umjetnika sa praške scene koja je momentalno najznačajniji punkt video produkcije u Češkoj republici. Osim čeških autora predstavljeni su i radovi ru- skih, i po jednog slovačkog i norveškog umjetnika koji žive i stvaraju u Pragu. Video kao medij i kompleksna platforma za dosljedno i kritičko istraživanje pruža umjetni- cima široki dijapazon mogućnosti. Pomoću videa umjetnici analiziraju i dekonstruišu vizuelne klišee i dominantne kodove reprezentacije koristeći se pritom raznim strategijama i formama. Uvedimo između ostalog: video dokument, video performans ili video instalaciju. Izabrani video radovi posredstvom mišljenja i djelovanja njihovih autora, kulturne i društvene refleksivnosti na sasvim nespektakularan način tumače aktuelne teme.

Generally and individually, the selection of contemporary video works is representative of the artists from the Prague scene which is currently the major point of video production in the Czech Republic. Apart from Czech artist, the selection also includes the works of Russian artists, as well as one Slovak and one Norwegian artist living and working in Prague. Video as a medium and a complex platform for consistent and critical research offers artists a wide range of possibilities. Through the video, artists analyze and deconstruct visual clichés and dominant codes of representation, employing various strategies and forms. To mention but a few: video document, video performance or video installation. Through the opinions and action of their authors, through cultural and social reflectivity, the selected works interpret the current issues in an unspectacular way.

Vjera Borozan

Umjetnici | Artists Jesper James Alvaer, Vasil Artamonov, Zbuněk Baladrán, Alexey Klyuykov, Eva Kot'átková, Dominik Lang, Michal Pěchouček, Sláva Sobotovičova, Tomáš Svoboda, Marek Ther 92 93 Kateřina Šedá, Ovdje ničeg nema | There is Nothing Here PETAR LUBARDA

July – November July Printovi slika iz ciklusa Dosta krvi dosta ubijanja Prints from the cycle Enough blood, enough killing Dio retrospektivne izložbe u Plavom dvorcu | Part of the retrospective exhibition in Blu Pallace

Ako je njegov susret sa Istorijom između dva rata obilježen osjećajima duboke presije i tjeskobe, tako vidljivim u bezmalo svim njegovim tadašnjim radovima, nakon Drugog svjetskog rata, u vremenu za koje se poletno mislilo da na zemlji otvara prostor za rajske puteve nebeskih vrtova, Lubarda stoji pred Istorijom najprije kao graditelj, nošen vjerom da ona, Istorija, treba neko novo lice, da Novo Doba zahtijeva i neku „novu“, ali svakako ne „naručenu“ umjetnost. Istovremeno, uprkos svojoj vjeri u vrijednosti novoga društva, negdje u dubini bića, ostalo je kod Lubarde sačuvano, srećom po njegovu umjetnost i našu kulturu, temeljno osjećanje za dramu svijeta i tragizam ljudske sudbine, osnaženo i najdubljom ličnom dramom – gubitkom oca, ubijenog u ideološkim vrtlozima Novog Vremena. Otuda u sred svjetlosne raskoši njegovih poratnih slika usidrena stigma crnog gavrana, kao znak Sudbine koja svojim krilima pokriva i obavija sve.

If his encounter with History between the two wars is marked by the feelings of deep pressure and anxiety, so visible in almost all of his works from this period, in the aftermath of the Second World War, at the time when people enthusiastically believed that the earth opens a space for elysian roads of heavenly gardens, Lubarda stands before History first as a constructor, driven by the belief that History needs a new face, that the New Age requires a “new” but by no means “commissioned” art. At the same time, despite his trust in the values of the new society, somewhere in the depths of his being, to the benefit of his art and our culture, Lubarda preserves the fundamental sense for the drama of the world and the tragic nature of human destiny, reinforced by the most profound personal drama – loss of his father, killed in the ideological whirlpool of the New Age. Hence amidst the luxury of light of his post- war paintings the anchored stigma of the black raven, as a sign of Fate encompassing all with its wings.

Petar Ćuković Portret neprijatelja | A Portrait of the Enemy, 1941.

94 95

RADIONICA MUZEJSKA INVENTARIZACIJA I DOKUMENTACIJA MUSEUM INVENTARISATION AND DOCUMENTATIOM WORKSHOP

Trodevna radionica u oraganizaciji Narodnog muzeja je dio projekta Kulturno nasleđa bez granica iz Stokholma čiji je cilj uspostavljanje saradnje između muzeja Balkana. Cilj radionice je bio upoznavanje sa normativina ICOM-a i primijenom savremenih metoda u oblasti muzejske inventarizacije i dokumentacije, kao i razmijena iskustava među muzealcima iz regiona. Predstavljena je i elektronska baza podataka Narodnog muzeja čiji je autor Aleksandar Berkuljan.

Three-day workshop organized by National Museum is part of the project Cultural Heritage without Borders from Stockholm whose aim is establishing collaboration between museums from Balkan. The aim was to get acquanted with ICOM normatives and the application of contemporary methods in the field of museum inventarization and documentation, as well as exchange of experiences between museum professionals from the region. On this occa- sion electronic data base of the National Museum has been presented created by Aleksandar Berkuljan.

Učesnici iz | Participants

Regionalni muzej Đakovica | Regional Museum Djakova Narodni muzej Beograd | National Museum Belgrade Muzej grada Novog Sada | Museum of the City of Novi Sad Nacionalni muzej Tirana | National Museum Tirana Zemaljski muzej Sarajevo | National Museum of Bosnia and Herzegovina Muzej Makedonije Skoplje | Museum of Macedonia Skopje Muzej Kosova | Kosovo Museum Muzej grada Zenice | Museum of the City of Zenica Muzej Republike Srpske Banja Luka | Museum of Republika Srpska, Banja Luka

Predavači | Lecturers

Hans Rengman, nezavisni konsultant, Švedska | independent consultant, Sweeden Višnja Zgaga, direktor muzejskog Dokumentacionog centra Zagreb | director of Museum Documentation Centre Zagreb

96 97 2008 IRENA LAGATOR PEJOVIĆ IVANKA VANA PRELEVIĆ OLIVIJA IVANOVIĆ SUZANA PAJOVIĆ ŽIVKOVIĆ VLADIMIR TATAREVIĆ MILENA MARTINOVIĆ ALEKSANDRA DADA TOMIĆ MILENA JOVIĆEVIĆ POPOVIĆ IRENA LAGATOR PEJOVIĆ April – May April What We Call Real

Dijalog uspostavljen između posmatrača i djela prenesen je na rad u kojem se u srednjem korpusu uspostavlja „alhemičarski dijalog“ između srebrne (desno) i zlatne (lijevo) simfonije linearnih kadenci koje u konkretnom prosotru dobijaju referenece skulptoralne taktilnosti. Ovdje se formira jedna druga materijalnost, i jedna drugačija ili moguća stvarnost, koje kroz prostorne kontrapunktove i harmonične talasaste niti srebra i zlata projektuju naše iskustvene i prirođene mitologeme. Prirodni elementi srebro – mjesec, voda, ženski princip i zlato – sunce, nebo, muški princip zaokružuju jedan kosmički prostor u čijem se virtuelnom beskraju rađa jedan novi svijet, jedna nova moguća realnost, koju umjetnik realizuje u skladu sa svojim unutrašnjim zakonitostima, pri čemu je umjetnik-stvaralac taj koji je apriorno odgovoran prema sebi, svom djelu i posmatraču.

Seemingly, the dialogue established between the viewer and the piece is reflected in the works, with the middle layer in “alchemic dialogue“ between silver (right) and golden (left) in a symphony of linear cadenzas. In this specific space they gain characteristics of architectural tactility. Here another kind of materiality is formed, a different, or possible, reality that projects our experiential or learned mythologems through spatial counterpoints and harmonious and wave-like threads of silver and gold. Natural elements silver-moon, water, the female – and gold – sun, sky, the male – surround cosmos in whose virtual eternity emerges a new world. This is a new possible reality that the artist arranges according to its internal rules; the artist-creator takes a priori responsability for herself, her work and the viewer.

Ljiljana Zeković

98 99 Instalacija, srebrna i zlatna pamučna vlakna | Installation, silver and gold cotton threads, 2008. May – June digitalni printdigitalni na kesama zausisivač print |digital on vacuum cleaner bags naziva |Un Bez ozbiljnog i žrtve prave bez odricanja? radioovom Prije se da drugom... usput, vrijeme, slobodno malo“, u „na djelovanja ekološkog kontraproduktivnosti ovo je „ekološki“li angažovana umjetnost koja Da „ekološku“ podstiče okolinu. svijest ili, možda konstatacijaza besmislenosti i suštinske brigu rutinsku prividnu, očito kao šminkanja, jednokratnog uljepšavanja, površinskog način, ironično i kritički komentariše premaodnos prirodnom ambijentu, koji najčešćese manifestuje kroz akcije noviVanini se kreću priroda dopadljiv,radovi.ambivalentanKroznaizgled naona čitljivjezik lako jednostavani – čovjek relacije posmatranja) ugla (promjena „paralaktičke“ paradoksalnosti o razmišljanja relaciji na Upravo Paralaktički |Parallactic Landscapes pejzaži IVANKA VANA PRELEVIĆ titled, 2004

Ivanka Vana Prelević, Installation view

It is this line of thinking of the paradoxical nature of the “parallactic“ (changing the viewing angle) man-nature relation that Prelević’s new works are heading for. Through a seemingly pleasing, simple and easily read language, in an ambivalent, ironic and critical manner the artist comments on man’s attitude towards the environment, which is most often manifested in superficial beautification, one-shot make-up, as obviously simulated, routine care for

102 103 the environment. Is this “ecologically“ engaged art promoting “ecological“ awareness or, perhaps, a statement of the absurdity and essential counter-effectiveness of small scale ecological action, pursued just casually, in spare time, with no real sacrifice or serious renunciation? The latter seems more likely...

Mirjana Dabović Pejović OLIVIJA IVANOVIĆ June – July June In memoriam

Svaki list građen je iz nekoliko slojeva, uz upotrebu različitih grafičkih tehnika, štampajući obrnutim ostupkom – od crnih nanosa ka bijelim; prvi sloj – podloga, akvatinta obostrano; drugi sloj – diskrenti listovi masline, poput pliša, u tehnici meke prevlake; dok je portret za koji je najprije napravljen fotografski predložak, realizovan u tehnici mecotinte. Ovako kompleksim, gotovo ritualnim procesom građenja svake kompozicije ostvarena je besprekorna finalizacija, koja se najbolje uočava u gotovo opipljivim slojevima treperavih površina, a naročito u perfektnoj, alabasterskoj, glatkoći lica, sasvim „imunog na vrijeme i iskustvo“ – poput fotografije Roberta Mejpltorpa na kojoj je portret statue Apolona. Svaka od ovih autentičnih cjelina istovremeno je i slika i objekat, sa licem i naličjem – „leđima“ načinjenim od guste, neprozirne crne mase. Pakovanjem u staklene kutije, omogućava nam da sagledamo obje strane, da obiđemo oko nje, dodjeljujući grafičkom listu i treću dimenziju, uspješno ga izmještajući iz klasičnog okvira.

Each sheet has been produced in several layers, with the use of dive- rse graphic techniques and reverse printmaking procedure – from black to white layers; the first layer – the base, aquatint on both sides; the second layer – discreet, plush-like olive leaves, in the soft coating technique; finally, the portrait, for which a photographic template was first made, was created in the mezzotint technique. With this complex, almost ritual creative process of each composition, an immaculate finalization is achieved, which is most visible in almost tangible layers of shimmering surfaces, particularly in the perfect, alabaster smoothness of the face, totally “immune to time and experience” – like Robert Mapplethorpe’s photo featuring the portrait of Apollo’s statue. Each of these authentic wholes is at the same time a picture and an object, with its face and its reverse – the “back” made of thick, opaque black mass. By packing his works in glass boxes, the artist enables us to view both sides, to go around the work, thus assigning the graphic print a third dimension, successfully displacing it from the classical framework.

Mirjana Dabović Pejović

104 105 kombinovana tehnika | mixed media, 2007. Foto | Photo: Anka Gardašević SUZANA PAJOVIĆ ŽIVKOVIĆ August I Need to believe

Ironično postalo je obično ... Disciplin A Kitschme, pjesma: Neko mora to da spreči (Kada kažeš muzika, na šta tačno, reci mi?, 2007.) Postavljam pitanje o nematerijalizovanom. Ostvarenom i nematerijalizovanom. Razlika pruža potencijalnu mogućnost daljeg rasta i preobražaja djela. Da li u memoriji posmatrača ima prostora da se stvori trodimenzionalna slika tog i takvog djela? (Znam da se atribut DJELO, u ovom vremenu lako dodaje i skida.) Analiziram nametnuti jaz između duha i njegove opredmećenosti. Stvaranje je beskonačno i nazaustavljivo angažova- nje, ali može (ili mora) da se ispolji samo u završenim, konačnim oblicima. Djela su ponekad samo pokušaj prevazilaženja tog jaza i onda poput fragmenata, kako ga je Šlegel vidio, „zatvorena sama u sebe i sama sebi dovoljna, a istovremeno i slobodno otvorena na sve strane za dalja dograđivanja i asocijacije.“

106 107 The ironic has become commonplace... Disciplin A Kitschme, song: Someone must stop this (When you say music, tell me what you mean?, 2007) I am asking a question about the non-materialized. Fulfilled and non-materialized. The difference offers a potential possibility of further growth and transformation of the work. Is there enough space in the memory of the viewer to create the three-dimensional image of such work? (I know that in this time the attribute WORK is easily added and removed.) I am analyzing the gap imposed between the spirit and its material form. Creation is an infinite and unstoppable engagement, but it can (or must) be expressed only in the finished, final forms. Works are sometimes just an attempt to bridge this gap and then, like fragments, as Schlegel saw it, they are “closed in themselves and self-sufficient, and at the same time freely open on all sides for further upgrading and association.”

Suzana Pajović Živković

Foto | Photo: Duško Miljanić VLADIMIR TATAREVIĆ Spartanci, iz ciklusa Sila tela | The Spartans, from the cycle The Force of the Body September Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum

Izložba i prezentacija | Exhibition and presentation

Umetnik je nadahnut spartanskim ratnicima koji, svesno odlazeći u smrt, malobrojni i tragično suprotstavljeni zastrašujućoj persijskoj sili, predstavljaju jedinstven primer hrabrosti, odvažnosti i ludila. Autor je, modernim pristupom, moćnog antičkog borca stavio u sadašnje vreme. Zadivljujuća, izvajana tela u pokretu i grču podsećaju nas šta je iskonska priroda, snaga duha i tela muškog pola, večito provociranog žeđu za borbom, za moći. Ove fotografije kao da nose poruku da u ma kom vremenu, sa ma kakvim oružjem, neprijateljem, čovek će ipak najvažniju bitku voditi sa samim sobom.

The artist was insiperd by Spartan warriors who, consciously facing death in their tragic confrontation with the fearless Persian army, represent a unique example of bravery, pride and madness. Through a modern approach, the author presents ancient warriors in present time. Magnificent, sculptured bodies in movement and pain remind us of the inherent power of the soul and body of men, always provoked by thirst for fight and power. These photographs seem to convey the message tha, no matter in what time or with what weapon or enemy, humans fight the biggest battle within themselves.

Vladimir Tatarević

Foto | Photo: Zorica Petanović

MILENA MARTINOVIĆ October Strati - Lunaria

U preispitivanju odnosa prema sebi i spoznaji o procesu stvaralačkog čina ona poseže za sjećanjima iz djetinjstva, prizivajući davno potisnute emocije i najranija stečena iskustva. Tražeći jednostavan način na koji bi se najbolje materijalizovala potreba za jednom transformabilnom, neutralnom, gotovo nevidljivom, a opet višeznačnom strutkturom ona pronalazi konkretan oblik u prirodi – list Lunarie. Ova biljka specifičnog elipsastog oblika, polu prozirnog, skoro nestvarnog sedefastog sjaja postaje uzor za razvijanje kreativnog djelovanja. Prateći promjene u njenom životnom ciklusu – sušenje, ljuštenje, truljenje, ispadanje sjemena, ponovno klijanje... ona posredno sagledava vlastite mjene, prispitujući smisao postojanja doživljen u širem kontekstu, i svoje mjesto na kosmičkoj mapi, viđeno kroz čin stvaranja.

In questioning these relations towards herself and perceiving the process of creative moment, she reaches for memories from her childhood, recalling supressed emotions and earliest experiences. Looking for a simple way in which to materialize something transient, neutral or almost invisible and yet more complex structure, she has found a concrete shape in nature, in the leaf of the plant Lunaria. Spesific elliptical form, translucent, almost nacreous, has become the model for developing this creative act. Following the changes in the plant’s life cycles (withering, seding, decomposing and growing again), Milena indirectly reconsiders her own changes, by questioning the meaning of her own existence in a wider context, and her place on a cosmic map, seen through the act of creation.

Mirjana Dabović Pejović

110 111 Garderober, tuš na japanskom papiru Wardrobe, ink on Japenese paper, 2006. ALEKSANDRA DADA TOMIĆ November Pakovanje intime | Packing of the Intimacy

Najsveobuhvatniji način za sagledavanje iskustava o živo- tu i umjetnosti za Aleksandru Tomić, je forma dnevnika. Bilo da bilježi uobičajene, dnevne rutinske radnje, relacije i doživljaje ili u formi grafičkih listova, umjetnica pakuje svoju intimu – nesigurnosti, strahove, strepnje, skrivene želje, osjećanja... Sasvim neočekivano pred nama se otvara jedan nepo- sredni doživljaj svijeta za koijim čezne-svijeta u kome su žive uspomene iz djetinjstva, u kome je opipljiva lakoća i prozračnost maslačka, gdje se osjećaju mirisi i vide slike iz roditeljskog doma... I taman kad nam se učinilo da se odvažila da nam ponudi svoj brižljivo čuvani, učaureni mikrokosmos, shvatamo da je potrebno još vremena i strpljivog osluškivanja, jer je treperenje ovih predstava diskretno, uzdržano, skoro sasvim utišano.

To Aleksandra Tomić, the most comprehensive way to view experiences of life and art is the diary. Whether nothing down the mundane daily routines, relations and experiences, or in the form of graphic prints, the artist involves her innermost feelings – insecurities, fears, apprehensions, hidden desires, emotions. Quite unexpectedly, a personal and direct experience of a world that she longs for opens before us – a world in which memories from childhood are still alive, in which the lightness and airiness of the dandelion is tangible, and in which smells and pictures from the parents’ house abound. And just when we think that the artist has made bold to offer us her carefully kept, cocooned microcosm, we realize that this takes more time and patient listening, since wavering of these images is discreet, restained, almost totally silent.

Mirjana Dabović Pejović

Nemiri, duboka štampa | Anxiety, intaglio printing, 2007.

112 113 Povedi me, duboka štampa | Take Me with You, intaglio printing, 2007.

MILENA JOVIĆEVIĆ POPOVIĆ November – December November Bez šećera | Sugar Free

Sugar free, (bez šećera) je nezaslađena priča o jednom novom društvenom poretku, kojim dominiraju razne devijacije savremenog društva u kome je sve manje moguć život u skladu sa prirodom i njenim zakonitostima. U opštoj zbrci gdje su mnogi sistemi vrijednosti poljuljani u temelju i lišeni elementarnih emocija, sve što je zavisnost i robovanje prodaje se pod imenom „sloboda“. Upravo iz tog razloga poigravam se sa čovjekom koji umišlja da je Bog. Na svom putu od renesansnih ideala savršenih proporcija tijela (skica po Vitruviju, Leonarda da Vinčija) do „nove estetike“ savremenog doba, moj čovjek se rastapa i gubi identitet. „Svemoćan“ i gord živi svoju zabludu. Vjeruje da posjedovanjem plastičnog prenaglašenog tijela dobija božansku moć kojom se suprotstavlja procesu starenja i odlaže smrt. Razumljivo, tako „moćan“ polaže puno pravo i na sav živi svijet oko sebe, primjenjujući svoje klišee i nove formule života na svoje ljubimce.

Sugar free, is a non-sweetened story about a new social order, dominated by various deviations of the modern society in which life in harmony with nature and its rules is decreasingly possible. In this general disarray, where many systems of values have been fundamentally shaken up and devoid of elementary emotions, every kind of addiction and slavery is sold for “freedom“. It is exactly for this reason that I play with man who thinks he is God. In his journey from the works of Renaissance, with their perfectly proportioned physiques (sketch according to Vitruvius, by Leonardo da Vinci) to the “new aesthetics“ of the modern age, my man dissolves and loses his identity. “Almighty“ and haughty, he lives his illusion. He belives that by possessing a exaggerated, plastic body he obtains a divine power to defy the process of aging and postpone death. Quite understandably, being so “powerful“, he claims the right to the entire living world that surrounds him, applying his clichés and new formulas to his pets.

Milena Jovićević Popović

Milena Jovićević Popović, Installation view

Presentation GRAD U PARKU | THE CITY IN THE PARK Cetinje Njegošev park | Cetinje Njegoš᾽s park, 2007.

Izložba Foto – memorija – Njegošev park – rekonstrukcija sreće (kad sam bio/bila mali/mala, veliki/velika) – fotografije iz ličnih albuma građana Cetinja i video rad “Video priče-arhiviranje Njegoševog parka”. Izložba je dio projekta “Grad u parku” a realizovalo je Udruženje studenata FDU Cetinje i studenti III godine produkcije FDU Cetinje. U okviru projekta održana su predavanja Milene Dragićević Šešić, Prepleteni identiteti i skriveni prostori privatnosti: Park mesto stvaralaštva, reprezentacije i ličnih radosti i Janka Ljumović, Umjetnost i zajednica, novi – stari oblici susjedstva. Exhibition Photo–Memory–Njegoš park – Reconstruction of happiness (when I was little, big) – photographs from personal photo albums of citizens of Cetinje and video “Video stories – archives of Njegoš’s park. Exhibition was part of the project “The City in the Park” realized by Student’s Association from the Faculty of Drama Art and student of 3rd year of Production from the Faculty of Drama Arts Cetinje. Within the project lecturies of Milene Dragićević Šešić, Twisted Identities and Hidden Spaces of Privacy: Park Place of Creation, reprezentation and Personal Joys and Janko Ljumović, Art and Community, New – Old Forms of Neighborhood. 118 119 2009 ALEKSANDAR BERKULJAN I TATJANA JOVIĆ DAVID ECKARD ALEKSANDAR RAFAJLOVIĆ MIRKO RADONJIĆ IVAN KAPIČIĆ MIODRAG ĐURIĆ DADO BRANIMIR KARANOVIĆ ORIJENTACIJE LIKOVNI SALON 13. NOVEMBAR LAZAR VOZAREVIĆ 121 120 April – May Tatjana Jović &Aleksandar Berkuljan 1839 and 1840Dagerotype and Talbot’s were Calotype invented). was the timeless visionary and ecclesiastic Bishop Rade, in the period when photography was still in its infancy (in and the forstruggle the bare necessities of life.The first person to show interest in the opticalrecording technology Montenegro,itslifein start medium to visual too, notwhitstandingconstant, a as was harsh economic conditions costly this givechance a illuminates and Nikolato effortsto I made collection At the Danilo I. the time, same the historical events and figures, as well as state andpolitical activities ofthe two last Montenegrinsovereigns – prince circumstances, cultural itsdynasty, andPetrović dayNjegošruling Montenegro the the of oflife the visual tesimonyto first-class a represents Cetinje, Montenegro, of Museum National the in albums photo of collection The fotografijezačetka (1839.i1840. nastajugodine Dagerotipije i kalotipi).Talboovi govoriosam je kako ili, obraza“,„skidanje samognadvremeni bio je periodu vizionaru duhovniki Rade, Vladika Crnoju i Gori, što opravdalo.Prvivrijeme svakako je koji interesovanje pokazao je tehnologijuza optičkog zapisa konstantni, kao ratu uprkos se da napore teškom ekonomskomevidentnim stanjučini i borbi kolekcijaza goluIstovremeno egzistenciju, I. novom skupomNikole vizuelnom mediju i ipak da šansa da zaživi I Danila knjaza – vizuelno prvorazredno istorijskim predstavlja događajima, ličnostima Cetinju i na državničkim prilikama, kulturnim i njenim Goredoba, političkim toga Gori aktivnostimaCrnoj Njegoš,Petrović Crne porodice vladarskedvojice životu o muzejasvjedočanstvo poslednjih crnogorskih Narodnog suverena fondu u albuma foto Kolekcija From of fund the Princess Xenia, Wood Market, coloured stereoscopic diapositive, 1910 ca Iz fonda Princeze Ksenije, Pazar tonirani stereoskopski drva, dijapozitiv, oko 1910 SPIRIT OF THEMODERN ON ERA THECOURT DUH MODERNOG DOBA NA DVORU Nepoznati autor, bez naziva, dagerotipija, početak druge polovine XIX vijeka Anonimous, withhout title, Dagerotype, begining of the second half of XIX century

Installation view, Foto | Photo: Aleksandar Berkuljan DAVID ECKARD Opsenarija | Prestidigitation Izložba i prezentacija | Exhibition and presentation May – June May Umjetnik je čitavu izložbu poklonio Narodnom muzeju | The artist has donated the whole exhibition to the National Museum

Na stotine amaterskih fotografija sakupljenih sa rasprodatih imanja, iz rasturenih porodica i napuštenih istorija bilo je izmiješano po kutijama na uličnom sajmu u Berlinu. Njihova cijena zavisila je od formata i starosti tako da istorijski sadržaj nije imao veći značaj od privatnog, pri čemu je rođendanska proslava koštala jednako koliko i vojna formacija u pokretu. Pretražio sam ovu anonimnu arhivu i kupio deset slika. Fotogfrafije su ili namješteni prizori ili, pak, zapisi o ljudima koji su bili svjedoci nečem posebnom, neobičnom ili jedinstvenom: žestokoj sniježnoj oluji, postavljanju masivnog crkvenog zvona, dječijoj pozorišnoj predstavi, radnicima koji pregledaju neku okrnjenu konstrukciju, borbu za nadmoć. Svaki od ovih snimaka predstavljaju tajanstvenu zagonetku istovremeno postavljenu na raznim jezicima. Akteri su nepoznati, lokacije neodređene, dok značaj dokumentovanog događaja izmiče. I upravo ovi čudni događaji i zaustavljene dramske predstave nastavljaju da privlače moju pažnju i da me zbunjuju.

Hundreds of amateur photos culled liqudated estates, broken fammilies and abandoned histories were stuffed into boxes at a street fair in berlin. They were priced by size and age and the historic relevance carried no more currency that the personal with a birthday celebration costing the same as an advancing military formation. I picked through this anonymous archive and bought ten images. The photos are either staged, performed acts or the record of people witnessing the particular, uncanny or unique: severe snowfall, coronation of a massive church bell, children’s theatre production, workers inspecting a truncated structure, tug of war. Each of these shots is an enigmatic riddle simultaneously posed in multiple languages. The players are unknown, the locations ambiguous and the imapct of the documented event remains elusive. It’s these peculiar incidents and paused theatrics that continue to engage and confound me.

David Eckard

Tokom rezidencijalnog boravka umjetnik je namjenski koncipirao izložbu za prostor Ateljea Dado, a na prezentaciji je govorio o svom dosadašnjem umjetničkom opusu koji obuhvata, video, performanse, skulpture...

During his residencial stay the artist has made the exhibiti- on for the gallery Atelje Dado, and during his presentation he spoke about his other works that include video, performance, sculpture…

Foto | Photo: Zorica Petanović 124 125 Video still David Eckard, Installation view

ALEKSANDAR RAFAJLOVIĆ Osnovna podela | Basic Division June – July June Izložba i prezentacija | Exhibition and presentation

Izložba je komponovana kao presjek desetogodišnjeg stvaralaštva, i sadrži djela iz nekoliko ciklusa, o kojima je bilo više riječi tokom prezentacije.

Na fotografijama, „fotografijama-slikama“, kreativnu energiju usmjerava ka otkrivanju svijeta oko sebe kroz govor stvari koje posjeduju unutrašnju energiju i optički ritam. Od onih koje pripadaju kultu nedodirljivih tabua i misteriji strahopoštovanja, do jednostavnih, prozaičnih stvari na kojim, umjesto duhovnog, potencira „slikarske“ vrijednosti. Na njegovim fotografijama elementi strukture i kolorističke orkestracije konceptualne reference usmjeravaju ka apstrakciji. O tome govori i sam umjetnik koji svoje djelo predstavlja kao „Omaž velikanima bojenog polja od Kandinskog do De Kuninga“. Po principu total-detalj, tipičnim za masovne vizuelne komunikacije, on kadrira istoznačne predmete ili prostore, i njihovom simbiozom u jedinstvene kompozicijske cjeline formira poliptihe eskrpesivne saržine, sinhronih perceptivnih senzacija i jasno artikulisanih likovno-plastičnih vrijednosti. Njegovo stvaralaštvo je apriorno nadgradnja postojećeg.

The exhibition has been composed as section of last 10 years in his creative work, which have been introduced during the presentation.

In photographs, or “photo-paintings“, the artist directs his creative energy towards discovering the world around him through the voice of objects which possess internal energy and optical rhythm: from those which belong to the cult of untouchable taboos and the mystery of awe, to the simple, prosaic things in which instead of spiritual, he accentuates “painting“ values. In his photographs, the elements of structure and colouristic orchestration of conceptual reference turn us to abstraction. This has been emphasized by the artist himself who presents his own work as “ Homage to the masters of coloured field from Kandinsky to De Kooning“. Applying the total-detail principle, typical of mass visual communications, the author zooms in on monosemic objects or spaces, and in their unique symbiosis, he creates polyptychs with expressive content, synchronic perceptive sensations and clearly articulated formal values. His creative work, a priori, is a superstructure of the existing objects.

Ljiljana Zeković

128 129

Aleksandar Rafajlović, Installation view

MIRKO RADONJIĆ Slika. Medij slike. Prostor. Prostor-slika. Prostor slike. July Painting. Painting Milieu. Space. Space –Painting. Space of the Painting.

Druga slika, detalj Second painting, detail

Slika koja je pred Vama sastoji se od dva komada platna dimenzija ~150 x 400 cm. Platno je nepreparirano i impregnirano lazurima disperzije polivinil- acetata, što je omogućilo boji da prolazi kroz platno, odnosno da prodire na drugu stranu. Na taj način slika dobija svoj inverzni odslik, koji međutim ne funkcioniše po ogledalnom principu, već predstavlja piktoral unutrašnjeg tkanja slike. Ovakva slika postaje objekat (iz 2D u 3D). Uvodeći još jedno platno, španujući ih zajedno, slika ekspandira na četiri sloja. Ono objektno postaje tek u vremenu sagledivo prostorno, čime se uvodi i četvrta dimenzija. Situacija navodi posmatrača da se kreće oko slike, u jednom trenutku čak i faktički se krećući unutar slojeva slike. Uz nemogućnost iz- stupanja van njenog polja, a u aktivan ko-relacijski odnos sa slikom. Slika je o svemu. A sve je slika svijeta. Kako posmatrač u sebi nosi materijal svog (svôg) svijeta, bilo je neophodno zahvatiti u suštinu onoga što znači biti čovjek, odatle tražeći ključeve za otvaranje prolaza u svijet.

The picture that is in front of You consists of two pieces of canvas, their approximate size being 150 x 400 cm. The canvas is unprepared and impregnated with polyvinyl acetate dispersion, which enables the paint to penetrate the canvas, however, does not function on the mirror principle but represents an integral process of the wave of the picture. Such a picture becomes an object (from 2D to 3D). Through the introduction of another canvas, stretched together with the first one, the picture expands across four layers.

Druga slika, detalj Prva slika, detalj Second painting, detail First painting, detail It is only in time that the object dimensions becomes noticeable in spatial terms, whereby a fourth dimension is introduced. The situation forces the viewer to move around the picture, in one moment even moving within the layers. Having no possibilty of establishing an active co-relational relationship with the picture. The picture is about everything. And everything is all of the world. As the viewer carries the material of his/her own (entire) world, it was necessary to delve into the essence of being a man, and from that point look for the key to open the passage into the world.

Mirko Radonjić IVAN KAPIČIĆ August Traženje | The Search

Sjajna, glatka površina, magičnost koju isijavaju ove forme (od svega desetak centimetara visine) sugeriše atmosferu tihe, uzvišene ceremonijalnosti, savršene harmonije, zenovske jednostavnosti. Kamen je shvaćen kao simbol prirode, a umjetnikovo sadejstvo sa njim doživljeno kao metafora za „ljudsku konfrontaciju temporalnom, ukrštanje sa istorijskim, geološkim i astronomskim pojmom vremena“. Osnovni oblik-jezgro, koji predstavlja izvorište za ostale kompleksne formeje sugestivno prosječen po sredini sa bočnim mesnatim površinama, ali sa snažnim „kičmenim stubom“ kojim se potencira elastičnost materijala. Sugestivnost ove forme navodi na pomisao da je ona ta koja doslovno iznjedruje ostale tanane, „paučinaste“, a zapravo čvrste oblike, koji se pod različitim djelovanjem mijenjaju, postaju tanji, laganiji, prozračniji, pokretljiviji i življi. Dodatna snaga i upečatljivost postignute su odabirom formata, što je nametnulo minuciozni, skoror filigranski tretman.

The glossy, smooth surface, the miraculous magic emanating from these forms (a mere 10 or so centimetres in height), suggests the atmosphere of tranguil, noble ceremonial, which is characterized by perfect harmony and Zen-like simplicity. The stone is seen as a symbol of nature, whereas the artist's co-action with it is viewed as a metaphor for “human confrontation with the temporal; crossing with the historical, geological and astronomical notion of time. “ The core as the basic form, which represents the source of other complex forms, has been suggestively cut in the middle with fleshy side surfaces, but with a strong “spinal column“which accentuates the elasticity of the material. Its suggestiveness provokes the thought that it is this form that literally gives birth to other subtle, “cobwebby“, and yet strong forms, which, subject to diverse kindsof action, change, becoming thinner, lighter, airier, more swift and agile.Additional strenght and impressivenesshave been achieved by the choice of the format, which has imposed the minute, almost filigree treatment.

Mirjana Dabović Pejović

134 135

MIODRAG ĐURIĆ DADO August – September August Poklon Iva Đurića | Gift of Ivo Đurić

Na ovim, kao i drugim Dadovim slikama, suočavamo se sa fantazmima jedne sintetizovane simbolike u ko- joj tražimo dublja, skrivena značenja. Međutim, ono što dovodi u dubinsku vezu ove radove predstavlja smijeh pomiješan sa tjeskobom, ono groteskno u njemu što čulno, duševno i duhovno pomjera ka nadčulnom i izvanljudskom. Čak i razigrani, nemirni i naivno-fantastični svijet koji nastanjuje Ivovo djetinjstvo postao je dio zahuktalog točka jedne pomjerene stvarnosti. Đaci, školska zgrada i njen inventar, igračke, predstavljeni kao narušen i haotičan red stvari, povezani su sa nepoznanicama jednog krhkog svijeta koji u dječijoj mašti dobija irealne dimenzije. Djeca i igri, u školi, vragolani i knjiški moljci defini-sani karikiranim izrazima lica reflektuju čitav kaleidoskop osjećanja: veselost, naivnost, nježnost, prgavost, pakost... Njihova tijela sa deformacijama infantilne jednostavnosti, lebde u jednom izdvojenom „limbu“, u jednoj vanvreme- nskoj i vanprostornoj praznini.

In these, as well as Dado’s other paintings, we face the phantasms of synthetised symbolism in which we search for more profound, hidden meanings. However, what creates a profound link between these works is laughter blended with anxiety, the grotesque in it that shifts the sensual, mental and spiritual to the supra-sensual and supra-human.

◀ Ivova škola, diptih na oslikanim vratima Ivo's School, diptych on painted doors, 2004.

▶ Crkvenjak, ulje na drvetu | Sexton, oil on wood, 2003-2007.

Even the palyuful, mischievous and naively fanta- stic world inhabiting Ivo’s childhood has become part of the running wheel of a shifted reality. Schoolchildren, the school and its inventory, toys, presented as a disrupted and chaotic order, have been connected with the unknown of a fragile world which in children’s imagination gains irreal dimensions. Children at play, at school, scamps and bookworms defined by caricatured facial expressions reflect a whole kaleidoscope of feelings: gaiety, naivety, tenderness, temper, malice... Their bodies with deformities of infantile simplicity float in a separated “limbo“, in a timeless and spaceless void.

Ljiljana Zeković

Mirjana Dabović-Pejović, Pavle Pejović direktor Narodnog muzeja Crne Gore ▶ Crkvenjak, ulje na drvetu | Sexton, oil on wood, 2003-2007. Director of the National Museum of Montenegro

Foto | Photo: Zorica Petanović BRANIMIR KARANOVIĆ Fotografije | Photographs Izložba i prezentacija | Exhibition and presentation September Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum

U svom poslu Karanović je obradio tipologiju društvenog mentaliteta. On je izradio estetski, psihološki i ideološki profil ovog naroda, zabeležio modele njegovih etičkih i estetskih kapaciteta, radnih sposobnosti i vrlina, te našoj istoriji i istoriji umetnosti ostavio bogatu ostavštinu za budućnost umesto one koja je u svom padanju sa društvenog pijemota do buvljačkog blata jednostavno nestala. Fokusiran na sam predmet i njegovu promenjenu estetiku, simboliku i značenje, Karanović je dugo godina razvijao uzbudljivi doživljaj specifičnog foto-safarija da bi se u jednom trenutku zamislio i raširio pogled na totalni prizor. Očigledno, nešto se promenilo. Dramatično uzbuđenje pri otkrivanu „rarite- tnih“ predmeta promenjenog ili izvitoperenog značenja, te nužna estetizacija konteksta prolaskom kroz medijski transformator, u jednom trenutku su počeli da prekrivaju oštre i ironične poruke koje su svakako neodvojivi i bitan sastavni deo autorovog dela.

In his work, Karanović has defined the typology of social mentality. He has created the aesthetical, psychological and ideological profile of the peole, recorded the models of their ethical and aesthetical capacities, work capabilities and virtues, and left to our history and art history a rich legacy for the future instead of the one which has simply vanished falling from the social piedmont to the flea market mud. Focused on the object itslef and its altered aesthetics, symbolism and meaning, for many years Karanović developed an exciting experience of a specific photo- safari, only to stop to think at one moment and extend his view to the complete sight. Obviously, something changed. Dramatic excitement at revealing the “rare“ objects of changed or distorted meaning, as well as the unavoidable aesthetization of the context in the passage through the media transformer, at one point began to cover the scating and ironical messages which are certainly an inseparable and integral part of the author’s work.

Slavko Timotijević

Pejzaž od staniola | Landscape of silver foil, Podgorica, 2002 Biste | Busts, Novi Beograd, 2009 Surogat | Surrogate, Beograd, 2009 138 139

Branimir Karanović, Installation view

143 142 October Sophie Zwingelstein VercheLoic Le Teodora Nikčević Se-Lyung Moon Tanja Markuš Guillaume Lemuhot Mišo Joskić Adriana Gvozdenović Delibašić Zdravko Beli Maja Čakalović Anais Rossi YCosta Alain Colardelle Carey Rachel Aleksandra Aleksić Izložba radova studenata FLU iVisoke Cetinje Umjetničke škole izMeca ORIJENTACIJE I|ORIENTATIONS I

Exhibiton of works of students from the Faculty of Fine Arts Cetinje and Ecole Supérieure d' Art, Metz Métropole XXXI CRNOGORSKI LIKOVNI SALON 13. NOVEMBAR November XXXI MONTENEGRIN ART SALON 13. NOVEMBER

U okviru aktuelnih umjetničkih teorija neophodno je imati na umu razlike između statusa figure u predmodernizmu, modernizmu i postmodernizmu. (...) Ideja koncepta ovogodišnje cetinjske izložbe predstavlja pokušaj prezentacije figure i figuralnog u crnogorskoj aktuelnoj art produkciji u okviru sva tri, kratko opisana modaliteta figuralnog izražavanja. Preko, najvećim dijelom, tradiciona- lnih likovnih tehnika na XXXI Salonu personalnu poetiku figure i figuralnog prezentiraju 27 autora različitih vokacija i umjetničkih temperamenata - neki već sa zavidnom afirmacijom, drugi na početku profesionalne karijere. Within actual art theories it is necessary to have in mind diferences between the status of figure in period before Modernism, Modernism and Postmodernism. (...) The idea about the concept of this year's Cetinje exhibition present the attempt to introduce the figure and figuration in Montenegrin actual art production within all three shortly described moduls of figural research. Through, in most part, traditional art techiques in XXXI Salon personal poetics of figure and figurative by 27 authors of different vocations and artistic temperaments have been presented - some of them already affirmed, and some at their professional begginings.

dr Aleksandar Čilikov

Admir Bambur Marko Čakalović Zorica Lakić Maja Čakalović Momčilo Macanović Relja Dedeić Ratko Odalović Zdravko Beli Delibašić Zoran Petrušić Draško Dragaš Ljubomir Popadić Roman Đuranović Milena Jovićević Popović Vladimir Đuranović Ivana Radovanović Anka Gardašević Igor Rakčević Ana Zarubica Biljana Rašković Milena Živković Zeljko Reljić Milijana Istijanović Saša Stanišić Milena Jovović Olivija Ivanović Strugar Ivan Kapičić Maja Šofranac 144 145

LAZAR VOZAREVIĆ Iz fonda Umjetničkog muzeja – Zbirka Vukmanović December From the fund of the Art Museum of Montenegro –Vukmanović Collection

(...) Ovaj izraziti slikar figuracije postaje apstraktan. Ikonopisni hermeti- zam i iracionalnost dobili su odraz u zagasito-mrkim i zlatnim kolorističkim površinama koje razbija mistična svjetlost rembrantovske provenijencije. Patina koju je nataložilo vrijeme prekrila je njegove slike na kojima se zgušnjavanjem i razrijeđivanjem kolorističkih lazura i imapsta stvorila čarobna igra beskraja i neuhvatljivosti, kao na slikama Razbijena forma i Crvena svjetlost. Tražeći nov izraz umjesto iluzije materijalnih tragova prošlosti on unosi prave materijale: žice, kamenje, pijesak... njegov enformel je karakterisalo i apliciranje metalnih elemenata kojima realizuje geometrijske kompozicije, kao Dijagonala koju osmišljava gusto raspoređenim nitnama.Vozarevi- ćevo slikarstvo figurativnog i apstraktnog prosedea kojim je uspio da poveže tokove savremene umjetnosti sa tradicionalnim vrijednostima, vječnost sa prolaznošću, racionalnost sa misticizmom, fantaziju sa stvarnošću, predstavlja izuzetan primjer logičkog i nemirnog stvarala- čkog puta umjetnika koji nas plijeni svojim raznovrsnim i likovno snažnim djelom.

(...) This figurative painter will turn to abstract art. The hermetism and irrationality of icon-painting are reflected in dark brown and golden surfaces broken by the mystic, Rembrandt-like light. The patina developed in time coat his paintings in which a magic play of infinity and elusiveness is created in the thickening and dilution of colouristic layers of paint, like in the paintings The Broken Form and Red Light. Looking for a new expression instead of the illusion of the material traces of the past, Vozarević employs authentic materials: wire, stone, sand... His Art Informel is also characterized by the application of metal elements with which he creates geometrical compositions, such as The Diagonal designed with densley distributed light. Vozarević’s figurative and abstract painting, with which he managed to connect contemporary art trends with traditional values, eternity with transience, rationality with mysticism, fantasy with reality, is an outstanding example of a logical and wandering creative path of an artist who captivates with his diverse and artistically strong work.

Ljiljana Zeković Crveno svetlo, kombinovana tehnika na platnu Red Light, mixed media on canvas From of fund Museum the Art the of Montenegro –Vukmanović Collection Iz fonda Umjetničkog muzeja –Zbirka Vukmanović VOZAREVIĆLAZAR

Dijagonala, kombinovana tehnika Diagonal, mixed media Emile Devereaux Presentation

EMILE DEVEREAUX gost predavač na predmetu Interaktivni dizajn na FLU Cetinje, video umjetnik je u saradnji sa učenicima O.Š.Njegoš održao radio- nicu na Cetinju i Rijeci Crnojevića, a na prezentaciji u Ate ljeu govorio je o svom radu.

Emile Devereaux, guest lecturer teaching Interactive Design at the Faculty of Fine Arts, video artist has realized workshop with pupils from the elementary school Njegoš in Cetinje and Rijeka Crnojevića, and during his presentation in the Atlje Dado has spoken about his works.

SASTANAK ICOM SEE ICOM SEE MEETING

Godišnji sastanak na kome su učestvovali predsta- vnici nacionalnih ICOM komiteta iz Srbije, Hrvatske, Makedonije, Rumunije, Bugarske, Albanije i Crne Gore.

Annual meeting of participants from National ICOM Committees from Serbia, Croatia, Macedonia, Ro- mania, Bulgaria, Albania and Montenegro.

Učesnici | Parcitipants

Maja Franković, Mirjana Brzanović, Branislava Mihajlo- va, Zaharinka Bačeva, Jan Kisgeci, Gorjanka Horjan, Ljil- jana Zeković, Virgil Nitulescu, Mila Popović Živančević, Vlatka Filipčić Maligec, Ilirijan Djipali 148 149 2010 IVANA PEJOVIĆ MILIJA PAVIĆEVIĆ LINDA ADELE GOODINE HOLOGRAFIKA IGOR JOSIFOV BLAŽO KOVAČEVIĆ GORDANA KUČ MIODRAG B. PROTIĆ IRENA PASKALI IVANA PEJOVIĆ April “1=1 [0tJY];1.8”

Stare, neupotrebljive stvari, novčići iz raznih zemalja i vremena, i čipka. Jestivi ukrasi za tortu, sitnih crvenih pupoljaka oko glave sv. Nikole, i čipka. Šljokice, prljava binta, ukrasne nitne, polomljene igračke, i čipka. Zubne proteze, lišće indijske konoplje, značke iz vremena socijalizma, fotografije usnule drage osobe, i čipka. Citat iz Fausta, i čipka. I sve to nalijepljeno, ugrađeno u (na) sliku. Neću da vam se dopadnem, čini mi se da upravo to želi da kaže Ivana Pejović izborom radova i koncipiranjem ove izložbe. I kao da kaže: Hoću da vam ispričam priču o Nastanku, Trajanju i Nestanku. Od „čedne“ bjeline do grobljanskog kiča.

Old, unusable things, coins from various countries and times, and lace. Edible cake decorations, tiny red buds around St. Nicola’s head, and lace. Tinsel, a filty band, decorative pins, broken toys, and lace. Dental braces, Indian hemp leaves, badges from the Socialist era, photos of a sleeping loved one, and lace. A quote from “Faust“, and lace. And all this adhered or build into (or onto) a painting. I don’t want you to like me, Ivana Pejović seems to be saying by the selection of works and the overall concept of the exhibition. As if saying: I wish to tell you the story of the Creation, Existence and Disappearance. From the “chaste“ white to the graveyard kitsch.

Ljubomir Đurković

Proticanje, 8 ikona (sa greškom) vosak i upotrebni predmeti Passing, 8 icons (with eror), vax and objects, 2005-2010.

Nastajanje, 18 asamblaža | Becomming, 18 assamblages, 2006–2010.

Proticanje, 8 ikona (sa greškom) vosak i upotrebni predmeti Passing, 8 icons (with eror), vax and objects, 2005-2010.

MILIJA PAVIĆEVIĆ A.P.M.D. 2003 May – June May Umjetnik je čitavu izložbu poklonio Narodnom muzeju | The artist has donated the whole exhibition to the National Museum

I ova cetinjska izložba „A.P.M.D.“ u Ateljeu Dado, nova Pavićevićeva mandala, njegova nova quadratura circuli, sastavljena od četiri serije fotografija, naslovljena sa četiri početna slova imena četiri ličnosti koje se pojavljuju kao protagonisti jedne od ovih serija. Drugu stranu ove mandale predstavlja fotografija cetinjskog parka sa četiri umetnuta Maneova „Flautista“, treću serija sa rascvjetalnim trešnjama i četvrtu niz prizora istog cetinjskog parka pod snijegom. „Na ovoj mojoj izložbi nema nikakve graje“, reći će mi, nedavno, Milija Pavićević, sad već ne tako ćutljiv i suzdržljiv kad o svom radu treba da govori. No, nedostatak „graje“ nije umenjio „dramu“, nije suspendovao onaj njegov temeljni iskaz da „bez drame nema umjetnosti“, koji sam navodio i ranije, kao i na početku ovog teksta. Drama je na ovoj izložbi samo formalno „smirena“, neurotični subjekt, nelagoda bića u svijetu, ekstaza i „estetika bola“ ovdje su potisnuti i primireni u ime melanholično-lirskog subjekta, čiji smiraj ide u susret samoj fotografiji kao melanholičnom, memento mori predmetu. Iz dramskog kruga smrti, svejedno izlaza nema.

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A.P.M.D. exhibition in Cetinje, in the Dado Atelier, Pavićević’s new mandala, his new quadratura circuli, comprises four series of photos, its title featuring four initial letters of names of four persons appearing as protagonists in one of these series. The other side of this mandala is a photo of a park in Cetinje with four Manet’s “Flutists”; the third is a series with flowering red cherries; finally, the fourth is a series of sights from the same park under the snow. “There’s no noise in this exhibition”, Milija Pavićević has recently told me, no longer so silent and reticent when he is supposed to speak of his work. However, the absence of “noise” did not diminish the “drama”; it did not contradict his fundamental statement that “there is no art without drama”, which I have quoted before, at the beginning of this text, too. In this exhibition, the drama is only formally “eased”; the neurotic subject, the anxiety of the being in the world, ecstasy and the “aesthetic of pain” are suppressed here in the name of the melancholic and lyric subject whose appeasement moves towards the photograph itself as a melancholic, memento mori object. From the dramatic circle of death there is no way out anyway.

Petar Ćuković

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LINDA ADELE GOODINE Gibson Lemon June – July June Izložba i prezentacija | Exhibition and presentation

Kao spektakl, žetva je slavlje koje prepoznaju seoski vašari i bogate pijace. Ona je istovremeno i slavljeni način života koji povezuje savremenu kulturu sa ranijim poljoprivrednim kalendarom godišnjih doba. U fotografiji, medijumu kojim se bavim, otkrila sam da zidna slika o aspektu slavljenja govori rječitije i naglašenije uvećavajući razmjer predstave. Ona takođe ruši tradicionalno niski hijerarhijski rang mrtve prirode tako što uvećava dimenzije do onih karakterističnih za akademsko istorijsko slikarstvo. Predmeti posmatranja, prostrani pejzaž karakterističan za mjesto i srednji plan (kultura) prostor je djelovanja i aktivnosti. Ovo je područje kojem se mijenjaju granice, gdje čovjek manipuliše i pokušava da kontroliše, kolonizuje i kupi plodove. To je taj granični prostor koji sugeriše naraciju i poziva moju publiku da preispituje i promišlja dijalektiku želje za razvojem i istovremeno čežnju da se sačuva bašta.Veza sa mitom o protjerivanju iz raja ostaje vidljiva.

Umjetnica u galeriji | Artist in the gallery

As a spectacle, the harvest is a celebration, recognized by country fairs and bountiful markets. It is also an honored way of life connecting contemporary culture to an earlier agrarian calendar of the seasons. In my medium, the photograph, I have found that the mural image speaks most eloquently and emphatically to this celebratory quality by elevating the scale of presentation. And it also subverts the traditional low hierarchic rank of the still life by spending its dimensions to that of the academic history painting. The objects of observation the sweeping landscape specific to place, and the middle ground (culture) is the space of action and activity. This is a shifting ground where man manipulates and attempts to control, colonize and reap. It is that liminal space that suggests narrative and invites my viewers to question and consider the dialectic of wanting development, yet at the same time yearning to preserve the garden. There remains a palpable connection to the myth of the expulsion from Eden.

Linda Adele Goodine

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Linda Adele Goodine, Installation view

July Holografika | Holographics

Termini hologram, holografija i slično su složeni- ce nastale od grčkih riječi holos-cijeli, gramma- poruka i grafe-pisati, a odnose se uglavnom na statični trodimenzionalni prikaz predmeta i specifične tehnike za njegovo generisanje. Od 1947, kada je mađarski fizičar i nobelovac Denis Gabor napravio prvi snimak te vrste, koristeći fotografsku ploču eksponiranu filtriranim snopovi- ma svjetlosti živinog električnog luka, tehnologija je brzo napredovala, tako da je početkom šezdesetih, sa pojavom lasera kao mnogo stabilnijeg izvora koherentnog svjetla, holografija dovedena do perfekcije, dobivši i prvu komercijalnu primjenu. Danas holografsko snimanje nije ograničeno samo na fotoosjetljive materijale, već se 3D prikazi laserom generišu na različitim podlogama, zavisno od želja i mogućnosti. ... Projekcije za izložbu ili, bolje reći, prezentaciju pod nazivnom Holografika, jesu autorov rad, međutim, nemaju za cilj predstavljanje nekog umjetničkog dostignuća na nivou kompjuterske grafike, čiji su dometi veoma dobro poznati konzumentima informacionih tehnologija.

The terms hologram, holography and the like are compound words derived from the greek words holos-whole, gramma-message and grafe-write; they mostly refer to the static three-dimensional representation of an object and specific techinque for its generation. After 1947, when the Hungarian physicist and Nobel prize winner Dennis Gabor made the first shot of the kind using a photographic plate exposed to the filtered beams of light of the murcury electric arc, the technology advanced rapidly; thus, in the early 1960’s with the appearance of the laser as a much more stable source of coherent light, holography was brought to perfection, developing its first commercial application. Today, holographic shooting is not restricted to photo-sensitive materials: 3D laser representations are generated on various plates, depending on one’s wishes and means. ... Projections for the exhibition or, even better, presentation entitled Hologra- phics, are the author’s work; however, they are not aimed at displaying artistic achievments in computer graphics, whose scope is well-known to IT users.

Aleksandar Berkuljan 160 161 Aleksandar Berkuljan IGOR JOSIFOV August – September August Manumission | Face it

Na izložbi Suoči se (Face it), tijelo koristim kako bih prenio iskustva koja sam u djetinjstvu imao sa makedonskim društvom. Prepravio sam konjske naočnjake prilagodivši ih ljudskoj glavi i prekrio ih sagorjelom ikonografijom hrišćanske i muslimanske vjere. Kad su se ove dvije slike postavile jedna naspram druge, tenzija u prostoru između dvije vjere bila je vidljiva i opipljiva. Tokom performansa Proces pročišćavanja (Purification process), iz tijela i uma izbacujem uticaje iz prošlosti, mišljenja i moralne standarde drugih ljudi kao matafora potrebe da se nađe svoje istinsko biće. U Prekinutoj umjetnosti (Art, interrupted) tijelo postoji u očima posmatrača jer je, usljed nezgode, tijelo umjetnice (Renata G) spriječeno da izvede performans. Energija prostora postala je metafora za njeno tijelo i za to kako uticaj njenog produženog umjetničkog djelovanja dovodi ljude do introspektivnog stanja u sebi.

Indoktrinacija II, nagoreli papir Indoctrination II, burned paper 162 163 In the exhibition, “Face it“, the body is used to communicate my childhood experiences with Macedonian society. I adapted horse blinders for a human head and covered them with burned iconography of Christian and Muslim religions. When these two images were installed facing each other, the tension in the space between two religions was visible and more literal. During the performance, “Purification process“ I’m cleaning past influences, other people’s opinions, and moral standards from the body and the mind as a metaphor for a person’s need to find their true self. In“Art, Interrupted“, the body exists in the eyes of the viewer because the artist’s (Reneta G) body was interrupted from doing a performance by an accident. The energy of the space became a metaphor for her body and how the continued influence of her artworks brings people inside to an introspective state. Igor Josifov BLAŽO KOVAČEVIĆ September Probe

Instalacija naslovljena Probe metaforički govori o savremenoj kulturi straha kojom je prožet neprestani rat protiv terora. Kovačević uvodi ključna moralna pitanja koja se tiču ukidanja ličnih sloboda zarad kolektivne bezbjednosti. Sa ciljem da otvori diskusiju o implikacijama koje nadziranje ljudi nosi sa sobom, umjetnik postavlja scenu u jedinom prostoru u kojem može da ima kontrolu – u galeriji. U njoj, poziva publiku da uzme učešće u njegovoj dirigovanoj aktivnosti. Kako bi posmatrača učinio svjesnim koliko je neprijatno biti pod kontrolom, Kovačević jasno označava granicu kretanja unutar prostora galerije. Učesnici se mogu kretati isključivo onim putanjama koje je umjetnik propisao. Ograničavajući slobodu kretanja unutar galerije, Kovačević se poigrava sa pojmom moći i kontrole. Ova smišljena umjetnička strategija podsjeća me na francuskog filozofa Mišela Fukoa i njegova dalekovida zapažanja o prirodi zapadne moderne civilizacije...

The installation titled Probe metaphorically speaks about the contemporary culture of fear that permeates the perpetual war on terror. Kovačević is implying crucial moral queastions regarding the renunciation of persoal freedoms for the sake of collective safety. In order to open a discussion on the implications of monitoring people, the artist sets the stage within the only space he can assert control-the gallery. In it, he invites the audience to participate in his orchestarted action. In order to make his viewers aware of the discomforts of being controlled Kovačević is clearly delineating movement within the gallery space. One can go only the direction prescribed by the artist. By limiting the freedom of movement within the gallery, Kovačević is playing with the notion of power and control. This deliberate artistic strategy reminds me of French philosopher Michel Foucault’s frightened insights about the nature of Western modern civilization... Jovana Stokić

164 165 Pink friz, digitalna štampa na polikarbonatu | Pink Frieze, digital print on Illusion film, 2010. Blažo Kovačević, Installation view

GORDANA KUČ The Time is Now October Umjetnica je po završetku izložbe poklonila radove Muzeju | After the exhibition closure the artist donated the works to the Museum

Spirala je analogija prirodnih formi kretanja ali i gibanja univerzuma, u različitim civilizacijama i kulturama simbol je života, a Jung je smatrao da ima i religiozne reference. Sva ta polimorfna i izukrštana značenja spirale mogu emanirati one na kvadrima – objektima Gordane Kuč. Međutim, čini se da je generiranje radova s bitno različitih pozicija – vrlo intimno preispitivanje sopstva, lišeno pretencioznosti, bez patosa, velikih priča, retorike, narativnosti. Elementi rada The Time is Now slikani su na platnu, četkom i prstima, različitog intenziteta i tonaliteta složene ljubičaste boje. Spirale, neke od njih, vibriraju naprijed i natrag, prema unutra i prema spolja, implicirajući gustinom i vrtloženjem neizmjerljivost. Druge su fragilne, delikatne, gotovo dematerijalizovane, lazurno ljubičaste, njihovo kretanje je gotovo minimalno, pa je latentna drama i strast prethodnih ustupila mjesto ravnoteži, miru...

akrilik na platnu | acrilic on canvas, 2010. The spiral is an analogy of natural forms of movement but also motion of the universe; it is a symbol of life in various civilisations and cultures, while Jung regarded it as having religious connotations. All these polymorphous and intertwined meanings of the spiral may emanate those on the cuboids – Gordana Kuč’s objects. However, it seems that the works are generated from quite different positions – a very intimate re-examination of the self, devoid of pretentiousness, big stories, rhetoric and narration. The elements of work The Time is Now have been painted on the canvas, with a brush and fingers, in various tones and intensities of purple colour. Some of the spirals vibrate forward and backward, inward and outward, their thickness and whirl implying immensurability. Others are fragile, delicate, almost dematerialized, with thin layer of purple; their movement is almost minimal, so the latent drama and passion of the former gave way to balance and peace...

Nataša Nikčević MIODRAG B. PROTIĆ Iz fonda Umjetničkog muzeja – Zbirka Vukmanović November From the fund of the Art Museum – Vukmanović Collection

Period sa kraja pedesetih i šezdesete godine, vrijeme kada su nastale slike iz zbirke Vukmanović, predstavlja zrelo umjetnikovo doba, čije se referencijalne determinante zasnivaju na plastično- pikturalnim i sadržajnim elementima linija-boja-predmet. Naime, ako međudejstvo boja-linija stvara apstraktne slike, onda uvođenjem predmeta dolazi do novog jezičkog i pojmovnog značenja slike. Predmet se javlja kao „simbol, posrednik između umetnikovih osećanja sveta i realnog sveta“. Preko njega se uspostavlja korelacija između umjetnikovih osjeti- lnih i čulnih senzacija i slike kao vizuelnog prenosnika tih osjećanja. Protićeva djela na kojima je izostavljena narativna, retorička potka, svedena su na čistu znakovnost, bez obzira na to da li je slika definisana apstraktnim ili asocijativnim formama. Njihovoj sažetosti, jasnoći i jednostavnosti možemo naći paralelu samo u savršenstvu haiku poezije.

The perod of the late 1950s and the 1960s, in which the paintings from the Vukmanović Collection were created, represent the mature stage of Protić’s work, whose referencial determinants are based upon the plastic and pictorial and the content elements of line- colour-object. If the interaction between colour and lines creates abstract agglomerations, then the introduction of an object gives a new language and conceptual meaning to the painting. The object emerges as a “symbol, an intermediary between the artist’s emotions and the real world“. Through it, a corelation is established between the artist’s emotions and physical sensations and the picture as a visual transmitter of the feelings. Protić’s works devoid of a narrative or rhetorical basis are reduced to pure signs, regardless of whether the painting is defined by abstract or associative forms. Their conciseness, clarity and simplicity can only be paralleled by the perfection of haiky poetry.

Ljiljana Zeković

Tri cveta, ulje na platnu ▶ Crna katedrala II, ulje na gumiranom platnu Three flowers, oil on canvas, 1959. The Black Cathedral II, oil on rubberised canvas, 1960. 170 171 MIODRAG B. PROTIĆ Iz fonda Umjetničkog muzeja – Zbirka Vukmanović From the fund of the Art Museum – Vukmanović Collection Povodom smrti Miodraga Dada Đurića održana je komemorativna izložba na kojoj su bili izloženi radovi iz različitih perioda njegovog stvaralaštva, iz fonda NMCG. On the occasion of the death of Miodrag Dado Đurić commemorative exhibition was held that exhibited art works from different periods of artist᾽s creation, from the fund of National Museum. IRENA PASKALI December East T(w)o West

Kroz tri etape: Odlazak-Dolazak-Opstanak umjetnica označava ono što su formalno i emotivno ključne odrednice jednog mučnog, svjesno načinjenog izbora. Doživljavajući taj prelaz kao jedno bolno, traumatično iskustvo koje ostavlja trajne ožiljke, nudi mnoštvo pitanja koja treba izreći naglas kako bi se odluka o odlasku lakše prihvatila. Kombinujući opšte kadrove koji podjednako mogu biti preuzeti iz „starog“ ili „novog“ svijeta kojem pripada kreće se bosonogo i razgolićeno – ranjiva i nezaštićena. Šta će se izgubiti odnosno dobiti? „Ništa osim golog života.“ kaže ona, i sugeriše da sama zapravo ne pripada više ni prostoru koji je napustila ali ni novom ambijentu u kome pokušava naći „mjesto pod suncem“ već negdje između, balansirajući između očekivanja u procesu „kontinuiranog pregovaranja“ sa samom sobom, i poput pripitomljene zvjeri koja funkcioniše po nametnutim pravilima.

In three stages: Departure-Arrival-Survival, the artist presents what are formally and emotionally the key determinants of a difficult and concsious choice. Taking the transition as a painful, traumatic experience leaving long-lasting scars, she offers a series of questions to be voiced out loud in order for the decision of the departure to be accepted more easily. Combining general shots which can equally be taken both from the “old“ or “new“ world she belongs to, she moves barefoot and naked – vulnerable and unprotected. What will be lost and what will be gained? “Nothing, except naked life.“, says the artist, suggesting that she herself no longer belongs either to the space she left or to the new ambience in which she is trying to find a “place under the sun“. Instead, she is somewhere in between, balancing between the expectations in the prosess of “continual negotiation“ with herself and functioning by imposed rules like a tame beast.

Mirjana Dabović Pejović

Video stills

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PREZENTACIJA PROJEKATA UNESCO-A REALIZOVANIH U REGIONU

Apil-May PRESENTATION OF UNESCO PROJECTS REALIZED IN THE REGION

VI Ministarska konferencija o kulturnoj baštini Jugoistočne Evrope održana je 23. aprila 2010. godine na Cetinju uz podršku UNESCO kancelarije u Veneciji – Regionalna kancelarija za nauku i kulturu u Evropi, kao nastavak regionalne saradnje u okviru programa “Kulturna baština – Most ka zajedničkoj budućnosti”. U okviru konferencije u Ateljeu Dado je organizovana izložba projektnih aktivnosti koje su realizovane u okviru ove inicijative u zemljama Regiona. VI Ministerial Conference on Cultural Heritage of South East Europe was held on 23. April 2010 in Cetinje with support of the UNESCO office in Venice – Regional office for Sciences and Culture in Europe, as a continuation of regional cooperation in the framework of the “Cultural Heritage – of the Bridge to a Shared Future” program. As part of this conference exhibition in Atelier Dado presented project activities that were realized within this initiative in countries of the Region.

176 177 2011 IRWIN ZDRAVKO JOKSIMOVIĆ TOMISLAV PETERNEK OMAŽ MILICI SARIĆ VUKMANOVIĆ KOLORISTIČKI EKSPRESIONIZAM U JUGOSLOVENSKOM SLIKARSTVU NELA HASANBEGOVIĆ IGOR SEKOVSKI I BORIS ŠEMOV PENGUIN 75

IRWIN East Art Map April Izložba i prezentacija | Exhibition and presentation

Dušan Mandič, član grupe IRWIN na prezentaciji je govorio o projektima i izdavačkoj djelatnosti.

Projekat Mapa istočne umjetnosti predstavlja kulminaciju više od deset godina aktivnosti grupe IRWIN posvećenih pitanju umjetnosti Istočne Evrope i njenog statusa. Sami projekat odvijao se u dvije faze. Prva faza realizovana je u periodu od 1999. do 2002. a druga od 2002. do 2005. godine kada je okončana objavljivanjem knjige. Objavljena knjiga takođe sadrži dva dijela. U prvom dijelu definiše se mapa koja na jasan i transparentan način predstavlja umjetničku produkciju nastalu na teritoriji Istočne Evrope od 1945. do današnjih dana. U drugom dijelu, kroz sedamnaest eseja autori pokušavaju osvijetliti specifične relevantne teme i obraditi niz pitanja koja su se pojavila u toku izučavanja umjetnosti i umjetničkog sistema (ili, pak sistemâ) Istočne Evrope.

Dušan Mandič, member of the group IRWIN at the presentation spoke about projects and publishing activities.

The East art Map project is the culmination of more than a decade of activities by the group IRWIN dedicated to the question of eastern European art and its status. The project itself evolved over two phases, the first existing from 1999 – to 2002, and the second, from 2002 to 2005 and was concluded with a book. This book likewise comprises two sections. In the first, a map is unveiled which presents, in a clear and transparent way, the art production the occured in the territory of Eastern Europe from 1945 to the present. In the second section, seventeen essays attempt to illuminate specific relevant issues and address a number of questions that arose as we explored the art and art system (or rather, art systems) of Eastern Europe.

Saradnici na projektu | created in collaboration with the following contributing editors: Inke Arns, Vladimir Beskid, Iara Boubnova, Calin Dan, Ekaterina Degot, Branko Dimitrijević, Lilia Dragneva, Marina Gržinić, Sirje Helme, Marina Koldobskaya, Suzana Milevska, Viktor Misiano, Edi Muka, Ana Peraica, Piotr Piotrowski, Branka Stipančić, János Sugár, Jiři and Jana Ševčik, Miško Šuvaković, Igor Zabel, Nermina Zildžo.

IRWIN, 2005.

178 179 EAST ART MAP 2000-2005 IRWIN, Installation view

ZDRAVKO JOKSIMOVIĆ Skulpture, kolaži | Sculptures, Collages May – June May U saradnji sa FLU Cetinje | In collaboration with Faculty for Fine Arts Cetinje

Toliko je toga izmišljeno da nam se pomogne u neredu za koji je uvek neko drugi odgovoran. Kao pacijent koji ne sarađuje i ja sam umislio da proizvodeći skulpture pomažem i sebi i svojoj porodici. Barem sam u njima, vođen neutešnom osvetom prema gluvonemoj tajni svakodnevice, uspevao da se za tren osetim zgubidan i neodgovoran. Negde na pauzi kada na mene niko ne motri osećam koliko je važno kada se određeno stanje prepozna kao nešto snažno i intenzivno, nešto što je u svojoj zbrci ostavilo nekakav emotivan trag ponovo oživljen i povezan sa onim što sam oduvek bio. Zdravko Joksimović, iz teksta Telesne skulpture There are so many things that were already invented in order to help the mess that is someone else's fault. Like patient that does not collaborate I have imagined that by producing sculptures I am helping myself and to my family. At least I am in them, guided by broken-hearted revenge towards the deaf-and-dumb secret of everyday life, trying to feel like didder and irresponsable. Somewhere in the pause when nobody watches me I feel how important it is when certain condition is recognized as something important and intense, something that has in its disorder left some emotional again revived trace, connected to what I always was. Zdravko Joksimović, from the text Corporal sculptures TOMISLAV PETERNEK Susretanje | Encounters Izložba i prezentacija monografije | Exhibition and presentation of monograph June Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum

Selekcija radova predstavlja Peternekov subjektivni izbor novih radova koji većinom nisu profesionalni zadaci dugogodišnje karijere reportera već su rezultat intuitivne reakcije i talenta za zapažanje bresonovskog „odlučujućeg trenutka“ sa margine „događaja“ koji često govore mnogo rečitije i ubedljivije o ljudima i njihovoj egzistenciji. Upravo zbog toga razloga na ovoj izložbi nema fotografija ljudske drame, ratova, katastrofa i nesreća koje je Tomislav Peternek pet decenija profesionalno pratio i svojim reportažama stekao afirmaciu u domaćoj i svetskoj žurnalistici. Prezentovanom selekcijom fotografija Peternek nam dokazuje svoju neiscrpnu energiju, kreativni potencijal, radoznalost i pozitivistički stav prema realnom svetu danas ali nas i povremeno podseti i na neka prošla vremena sa setom i optimizmom.

The selection of works on display represents Peternek’s subjective choice of new photos which are generally not professional tasks from his long-lived career as a reporter but a result of intuitive reaction and gift for spotting Bresson’s “decisive moment“ from the margins of “events“ which often speak even more convincingly about people and their existence. This is why this exhibition includes no photographs of human drama, wars, catastrophes and misery that Tomislav Peternek professionally recorded for five decades, earning a reputation in domestic and international journalism alike. In the selection of photogrphs on display Peternek proves his inexhaustible energy, creative potential, inquisitive mind and a positive attitude to real world today, but he also occasionally reminds us of some former times with melancholy and optimism.

Branimir Karanović Foto | Photo: Magda Bezmarević Crnogorke u vrijeme zemljotresa | Montenegrin Women During the Earthquake, 1979. Tomislav Peternek, Installation view

OMAŽ MILICI SARIĆ VUKAMNOVIĆ July – August July HOMMAGE TO MILICA SARIĆ VUKMANOVIĆ

Bogata zbirka Vukmanović koja se nalazi u Narodnom muzeju Crne Gore rezultat je vizionarskog i altruističkog gesta bračnog para Vukmanović, koji su svoju višedecenijsku naklonost prema umjetninama velikodušno ustupili i učinili dostupnim publici. U fondu od preko 220 djela pored slika i skulptura nalazi se i nešto manja zbirka grafika i crteža, nekih od najznačajnijih autora iz bivše Jugoslavije, ali i sa svjetske scene. ... Do sada su u nekoliko navrata u Ateljeu DADO priređivane izložbe iz fonda ove kolekcije. Za ovu priliku su odabrane grafike i crteži, sa željom da se nedavno preminuloj gospođi Sarić Vukmanović još jednom izrazi zahvalnost i podsjeti na plemeniti gest učinjen Cetinju i Narodnom muzeju.

The rich Vukmanović collection in the National Museum of Montenegro is the result of a visionary and altruistic deed of the Vukmanović wedded couple, who generously bestowed on the museum the product of their love for art of several decades, making it acessible to the general public. Apart from paintings and sculptures, the total of over 220 works include a somewhat smaller collection of graphic prints and drawings by some of the most important artists from former Yugoslavia, but also from the world art scene.

Mark Chagall, Revolucija | The Revolution

So far, selection of works from this collection have been exhibited in the DADO Atelier several times. The present selection includes graphic prints and drawings, made with a wish to once again express our gratitude to the recently deceased Mrs Sarić Vukmanović and remind the general public of the noble gift presented to Cetinje and the National Museum.

Mirjana Dabović Pejović

Umjetnici | Artists:

Mark Chagall, Salvador Dali, Diego Rivera, Ordan Petlevski, Janez Bernik, Lazar Vozarević, Miodrag Đurić Dado, Pierre Auguste Renoir, Pablo Picasso, Zoran Antonio Mušič, Đorđe Andrejević Kun, Petar Lubarda Miomir Radović, Ana Viđen 188 189 Đorđe Andrejević Kun, Zora, litografija | Dawn, Litography,1962. Salvador Dali, Pegaz, serigrafija | Pegasus, Serigraph, 1950. Petar Lubarda, Portret Milice Sarić Vukmanović, crtež | Portrait of Milice Sarić Vukmanović, Drawing Omaž Milici Sarić Vukmanović | Hommage to Milica Sarić Vukmanović, Installation view

KOLORISTIČKI EKSPRESIONIZAM U JUGOSLOVENSKOM SLIKARSTVU COLOURIST EXPRESSIONISM IN YUGOSLAV PAINTING – September August Iz fonda Umjetničkog muzeja | Fronm the fund of the National Museum

Očigledno je da je riječ o najsloženijem i najbogatijem umjetničkom pravcu prošlog vijeka, čiji su načini interpretacija brojni i različiti, tako da ga je nemoguće tumačiti jednom definicijom ili stilski ograničiti. U širem kontekstu možemo ga povezati sa dva temeljna iskazna polja, jednom baziranom na Van Gogovom slikarstvu, i drugom, zasnovanom na socijalno- etičkim principima i misticizmu sjeverno-evropske umjetnosti, koja imaju zajednički iskazni činilac– dramatičnost i eksplozivnost gesta skoncentrisanog u zbijenoj formi sažete sadržine. Za umjetnike na jugoslovenskim prostorima koji su se formirali na tekovinama jasno definisanih likovnih pravaca sezanizmu, intimizmu i kubizmu, ekspresioni- zam je predstavljao veliki iskorak ka slobodi izraza koji se temeljio na ličnoj samospoznaji i individualnoj likovnoj interpretaciji. Slikari su svoj likovni prosede bazirali na osnovnim ekspresionističkim izražajnim sredstvima – boji, kao samostalnoj realnosti i gestualnom potezu. Zora Petrović, Žene, ulje na platnu | Women, oil on canvas It is obvious that this is the most complex and richest art movement of the past century, whose manners of interpretation are numerous and diverse, so it is impossible to interpret it in one definition or to stylistically restrict it. In a broader context it can be linked to two fundamental statements, one based on Van Gogh’s painting and the other on the social and ethical principles and mysticism of north – European art, with a common expressive element – the drama and explosiveness of the gesture concentrated in the compact form of a concise content. To former Yugoslav artists formed on the achievements of clearly defined art movements: Cezannism, Intimism and Cubism, expressionism was a big step forward towards the freedom of expression based on personal self- knowledge and individual artistic interpretation. Painters based their visual expression on the main expressionist means of expression – colour as an independent reality, and gestual stroke.

Ljiljana Zeković Umjetnici | Artists: Miloš Vušković, Savo Radulović, Zora Petrović, Nikola Graovac Branko Filipović Filo, Stojan Aralica, Jovan Bjelić, Milan Konjović

192 193 Milan Konjović, Pejzaž sa primorja, ulje na platnu | Landscape from the Coast, oil on canvas NELA HASANBEGOVIĆ Između svjetla i tame | Between the Light and the Darkness September Izložba i prezentacija | Exhibition and presentation

Instalacija Između svjetla i tame je gotovo performativna, efemerna, „teatarska“, jer ona nestaje u trenutku kada se ugase neonske sijalice. Teatarski komad počnije „reflektorima“ neona, koji oživaljavaju monolite postavljene na scenu, proširuju njihovu pojavnost i njihovo polje djelovanja, oni osvajaju prostor galerije i ulaze u prostor posmatrača i pomažu mu da identificira granice galerijskog prostora. Kao i monoliti i publika se postavlja „na binu“, tako da cjelokupan ambijent galerije postaje scena koju publika kao akter modificira. Posjetilac se može kretati oko stubolikih objekata ili ući u njihov prostor, biti unutar instalacije, u konfrontaciji s fizičkim strukturama, u neposrednom iskustvu teksture materijala i svjetlosti, koja dodatno materijalizira i taktilnost i prisustvo i stvara osjećaj decentriranosti, dislociranosti u ambijentu igre svjetlosti i tame u koju se subjekt gotovo utapa.

Installation Between Light and Darkness is almost performative, ephemeral, “theatrical“ as it vanishes at the moment when the neon light is switched off. The theatrical play starts with neon “headlights“ which revive the monoliths on stage, extending their appearance and field of action; they conquer the gallery space and enter the viewer’s space helping him/her to identify the borders of the gallery. Just like monoliths, the audience too is found on “stage“. So the entire interior of the gallery becomes a scene modified by the audience as an actor. The visitior can move around pillar-like objects or enter their space and be within the installation, confront physical structures and directly experince the texture of the material and light, which aditionally materializes tactility and presence and creates the feeling of decentralization, dislocation in the ambience play of light and darkness in which the subject almost drowns.

Asja Mandić Konstrukcija od čeličnih profila, čelična sajla, neonska rasvjeta Constuction from steel profiles, steel cords, neon lights, 2010 IGOR SEKOVSKI Šitana | Shitana November – December November Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum

Za umetnost Igora Sekovskog, priroda osim što predsta- vlja polje estetskog istraživanja i društvene odgovornosti, ona u njegovom najnovijem radu „Šitana“ ima ulogu ’katalizatora’ njegovog emocionalnog sveta. Ovde možete videti jak uticaj japanske tradicije i znamenito- sti, kojima je Igor bio izložen tokom trogodišnjeg boravka na ostrvu. Likovna umetnost, na drugoj strani je vizuelni nadražaj izazvan kompjuterski obrađenom fotografiom punog meseca izrađenom u noćnim satima u leto 2009. godine u selu Leunovo, Makedonija. Centralni položaj punog meseca, čiji kružni oblik je naglašen sa nekarakterističnim prelazom krune stabla ispod meseca, kao i odnos crno- bele boje na fotografiji, kao da sugeriše moguće paralele i veze sa načinom gledanja sove, što je za Igora početna inspiracija za ovaj rad.

In Igor Sekovski’s art, apart from representing the field of aesthetic exploration and social responsibility, in his latest works “Shitana“ Moon nature has the role of a ’catalyst’ to his emotional world. Here, one can see a strong influence of Japanese tradition and sights that Igor was exposed to during his three-year stay on the island. In fine art, on the other side is a visual stimulus caused by computer-proceseed image of the full Moon made at night in summer 2009. in the village of Leunovo, Macedonia. The central position of the full Moon, whose circular shape is emphasized by an uncharacteristic passage of a crown of a tree under the Moon, and the black-white relation in the photo, seem to suggest possible parallels and connections with the looking of an owl, which served as an initial inspiration for this work.

Bojana Janeva Šemova

196 197 Šitana, kompjuterski obrađena fotografija odštampana na papiru Shitana, Computer processed photograph printed on paper, 2011.

Installation view

BORIS ŠEMOV Sharing Extension

November – December November Sharing Extension II / III, kompjuterski obrađena fotografija odštampana na eko satenu Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum Computer processed photograph printed on eco satin, 2009-2011.

S druge strane Boris Šemov u opusu „Sharing extension“ izazvan je zasićenjem vizuelnih isečaka preuzetih iz sveta virtuelne stvarnosti. U njegovim dvodimenzionalno – kompjuterski generiranim slikama prepliću se brojne lične priče, kako njegove tako i njegovih internet sagovornika, fragmenti predmeta koji stvaraju osećaj bezvremenosti i detalji iz svakodnevnog života koji u umetničkom amalgamu dobijaju novi, s vremena na vreme i apstraktni značaj. Pomoću video opreme, koja predstavlja neku vrstu intermedijalnog dopunjavanja, biće emitovan uživo razgovor umetnika sa svojim sagovornicima preko Skajp-a. Na ovaj način autor dodaje značenje vremena čime se ističe dinamika internet komunikacije. Ali, kod Šemova čini se da upravo fluidnost postignuta kroz kolorističke nijanse sugeriše efemernost interaktivnosti i intermedijalnog kao osnovne karakteristike umetnosti inspirisane internetom.

On the other hand, in his work “Sharing Extension“ Boris Šemov is ispired by overabundance of visual excerpts taken from the world of virtual reality. In his two- dimensional computer-generated images, a multitude of personal stories intertwine, both in his own and those of his Internet collocutors, fragments of objects which create the feeling of timelesness and details from everyday life which in the amalgam of art gain a new, occasionally abstract meaning. With use of video equipment, as a kind of intermedia support, alive talk will be broadkast between the artist and his collocutors through Skype. In this way, the artist adds the meaning of time, thus accentuating the dynamic of the Internet communications. But, it seems that in Šemov’s work it is the fluidity achieved through colourist nuances that suggest the ephemeral nature of the interactive and the intermedia as the basic characteristics of art inspired by the Internet.

Bojana Janeva Šemova 200 201 Sharing Extension II / III, kompjuterski obrađena fotografija odštampana na eko satenu Computer processed photograph printed on eco satin, 2009-2011. PENGUIN 75 December U saradnji sa FLU Cetinje i Ambasadom SAD u Crnoj Gori In collaboration with Faculty for Fine Arts Cetinje and Embassy of USA in Montenegro

Povodom 75. godišnjice kompanije Penguin Books njen dugogodišnji direktor Pol Bakli izabrao je 75 najboljih knjižnih korica u proteklih deset godina i istražio proces oblikovanja koji se krije iza svake od njih. Izbor je prošle godine objavljen u knjizi Penguin 75, dizajneri, autori, komentari (dobro, loše...) Knjiga i izložba, koju je u saradnji sa američkom filijalom Penguin Books producirao Emzin nudi nešto više – jednostavne, složene, zabavne i tragične priče koje prate nastajaje vizuelne slike književnog djela. Opisuje proces nastajanja i faktore zbog kojih je izabrano rješenje bolje od dvadesetak drugih predloga. Šta je proradilo, a šta ne? O čemu su razmišljali dizajneri i ilustratori? Šta je mislio pisac?

On the occasion of the celebration of the 75th anniversary of the company Penguin Books life-long director Paul Buckley has chosen the best 75 book covers in the past ten years, and explored the process of their forming that lies behind each of them. Last year's selection was published in book Penguin 75, designers, authors, comments (good, bad ...) The book and the exhibition, which was realized in collaboration with the American office of Penguin Books, produced by Emzin offers something more-simple, complex, funny and tragic stories that follow the inception of the visual image of literary work. It describes the process of formation and the factors for which the chosen solution is better than a dozen of other proposals. What is working, and what is not? What were the designers and illustrators thinking about? What the writer meant?

202 203

Pinguin 75, Installation view

207 206 UMJETNICI | ARTISTS www.davideckard.com e-mail:[email protected] of Institute1988. –School Art the Chicago Eckard David www. dado.fr Pariza, gdje živio dosmrti. je nastanjen 1960.stalno Od Beogradu. uEruvalu, ublizini 1956. diplomirao na Akademiji likovnih umetnosti u 1952. završio Umjetničku školu uHerceg Novom Gora Francuska1933. Cetinje,Crna –2010.Eruval, Dado Đurić Miodrag e-mail: iradiuPodgorici.Živi 1992. diplomirala na FLU Cetinje. prof. Milivoja Unkovića 1988. studirala na ALU uSarajevu, Odsjek slikarstvo, uklasi likovno vaspitanje 1988. završila Pedagošku akademiju uNikšiću, odsjek 1967.uTitogradu,Rođena Gora. Crna Sonja Đuranović e-mail: [email protected] iradiuPodgorici.Živi Studirao na ALU uSarajevu, adiplomirao na FLU Cetinje. 1969.uDoboju,iHercegovina.Rođen Bosna Roman Đuranović [email protected] e-mail:[email protected] Radi kaofreelancer filma. uSkoplju.. Živi Diplomirao na Brooklyn at College CUNY, Njujork uoblasti 1974.uSkoplju,Rođen Republika Makedonija. Ivan Blažev iradiuNikšiću.Živi Pripadao grupiBeogradu. „Generacija 9“. Diplomirao imagistriraona Fakultetu likovnih umetnosti u Završio Višu Pedagošku školu, Odsjek zalikovno vaspitanje. 1951.uNikšiću,Rođen Gora. Crna Ilija Branko Burić he lived until his death. Since living 1960.has inHerouval, been near Paris, where 1956. graduated from Academy the of inBelgrade Fine Arts 1952. graduated frominHerceg School Art the Novi 1933. Cetinje,Montenegro –2010.Herouval, Frence Living and working inPodgorica. 1992. graduated from Faculty of Cetinje Fine Arts classthe of prof. Milivoj Unković 1988. studied at ALU inSarajevo, Painting Department, in Department of education art 1988. graduated from Academy the of Pedagogy in Nikšić, in1967.Titograd,Born Montenegro. Living and working inPodgorica. from Faculty the of Cetinje. Fine Arts Studied at Acadamy of inSarajevo, Fine Arts and graduated Herzegovina. in1969.Doboj, Bosnia Born Lives inSkoplje. Works as freelancer. areain the of film. Graduated from Brooklyn the at College CUNY, New York, in1974.Skoplje,Born Republic of Macedonija. Living and working inNikšić. he completed postgraduate studies. Graduated from Faculty the where of inBelgrade Fine Arts Finished of School Pedagogy, Painting Department. in1951.Nikšić,Born Montenegro. Branko Filipović Filo 1924. Cetinje, Crna Gora – 1997. Beograd, Srbija. 1924. Cetinje, Montenegro – 1997. Belgrade, Serbia 1950 . završio Umjetničku školu Herceg Novom, u klasi 1950. graduated from the Arts School in Herceg Novi, in prof. Mirka Kujačića the class of prof. Mirko Kujačić 1955. diplomirao na Akademiji likovnih umetnosti i završio 1955. completed his studies at the Academy of Fine Arts in specijalni tečaj kod prof. Mila Milunovića Belgrade and a master class course with Milo Milunović U radionici Mila Milunovića kod Jaroslava Kratine izučava Influenced by fresco painting and under the guidance of i eksperimentiše sa materijalima, pod uticajem fresko Jaroslav Kratina he studied and experimented with different slikarstva. materials in Milo Milunović’s studio. Kao slobodni umjetnik radio i živio u Beogradu. He worked and lived in Belgrade as freelance artist.

Linda Adele Goodine 1980. diplomirala umjetnost, Interdisciplinarno: ekonomija, 1980. Bachelor of Art, Interdepartmental: Economics, Fine umjetnost i engleska književnost, Univerzitet Ročester, Art and English Literature, University of Rochester, New Njujuork York 1981. magistrirala Komunikacijske umjetnosti (video i 1981. MA, Communication Arts (Video and Non-Verbal ne-verbalne komunikacione teorije), Itaka koledž, Itaka, Communication Theories), Ithaca College, Ithaca, New York Njujork 1983. MA, Florida State University, Tallahassee, Florida. 1983. magistrirala na Florida State University, Tallahasse, Living and working in Indianapolis, Indiana. Florida. Živi i radi u Indianapolisu, Indiana. e-mail:[email protected] www.lindaadelegoodine.com

Nela Hasanbegović Rođena 1984. u Sarajevu, Bosna i Hercegovina. Born in 1984. in Sarajevo, Bosnia Herzegovina. 2007. diplomirala, a 2010. magistrirala na ALU Sarajevo, 2007. graduated, and in 2010. got MA degree from the Odsjek kiparstvo. Živi i radi u Sarajevu. Academy of Fine Arts Sarajevo, Sculpture Department. e-mail: [email protected] Living and working in Sarajevo. www.nelahasanbegovic.com

IRWIN Osnovana / Founded in 1983. Dušan Mandič, Ljubljana 1954. Miran Mohar, Novo Mesto 1958. Andrej Savski, Ljubljana 1961. Roman Uranjek, Trbovlje 1961. Borut Vogelnik, Kranj 1959. IRWIN je takodje suosnivač NSK 1984. IRWIN is also cofounder of NSK in 1984. www.eastartmap.org Olivija Ivanović Strugar Rođena 1974. u Podgorici, Crna Gora. Born in 1974. in Podgorica, Montenegro. 2000. diplomirala na FLU Cetinje, Odsjek grafika, u klasi 2000. graduated from the Faculty of Fine Arts Cetinje, prof. Anke Burić Graphic art Department, in the class of prof. Anka Burić 2007. magistrirala na FLU Cetinje, Odsjek grafika. 2007. MA Faculty of Fine Arts Cetinje, Graphic art Živi i radi u Podgorici. Department e-mail: [email protected] Living and workin in Podgorica.

Zdravko Joksimović Rođen 1960. u Buču, Crna Gora Born in 1960 in Buče, Montenegro. 1986. diplomirao na Fakultetu Primenjenih umetnosti u 1986-1989 completed the undergraduated and graduated Beogradu, a 1989. magistrirao u klasi prof Nikole Jankovića. studies at the Sculpture Department of the Faculty of Fine Živi i radi u Beogradu. Arts in Belgrade, class of Professor Nikola Janković. e-mail: [email protected] Living and workin in Belgrade.

Igor Josifov Rođen 1986. Kavadarcima, Republika Makedonija. Born in 1986. in Kavadarci, Republic of Macedonija. 2008. studirao na Akademiji Univerziteta umjetnosti u San 2008. studied at the Academy of Art University of San Francisku. Živi na relaciji između San Franciska i Njujorka. Francisko e-mail: [email protected] Lives between San Francisko and New York.

Ivan Kapičić Rođen 1972. na Cetinju, Crna Gora. Born in 1972. in Cetinje, Montenegro. 1996. Diplomirao na Fakultetu Likovnih Umjetnosti Cetinje 1996. graduated, and in 2000. got MA degree from the 2000. Magistrirao na FLU Cetinje Faculty of Fine Arts, Cetinje. Živi i radi na Cetinju. Living and working in Cetinje.

Branimir Karanović Rođen 1950. u Beogradu, Srbija. Born in 1950. in Belgrade, Serbia. 1974. diplomirao na Fakultetu Primenjenih umetnosti u 1974. graduated from the Faculty of Applied Arts in Beogradu, u klasi prof. Božidara Džmerkovića Belgrade, in the class of prof. Božidar Džmerković 1976. magistrirao na Fakultetu Likovnih umetnosti, u klasi 1976. MA from the Faculty of Fine Arts in Belgrade, in the prof. Marka Krsmanovića. Bavi se grafikom i fotografijom. class of prof. Marko Krsmanović Živi i radi u Beogradu. Engaged in graphic arts and photography. e-mail: [email protected] Living and working in Belgrade.

Blažo Kovačević Rođen 1973. u Podgorici, Crna Gora. Born in 1973. in Podgorica, Montenegro. 1997. diplomirao na FLU Cetinje, Odsjek slikarstvo 1997. graduated from the Faculty of Fine Arts Cetinje, 2001. magistrirao na Pensilvanijskoj Akademiji lijepih Painting Deprtment umjetnosti 2001. MFA from the Academy of Fine Arts Pennsylvania Živi i radi u Savani, Džordžija (USA). Living and working in Savannah, Georgia (USA). e-mail:[email protected]

208 209 Gordana Kuč Rođena 1970. u Beranama, Crna Gora. Born in 1970. in Berane, Montenegro. 1993. diplomirala slikarstvo na FLU Cetinje, u klasi prof. 1993. graduated from the Faculty of Fine Arts Cetinje, in Dragana Karadžića, gdje je i magistrirala. the class of prof. Dragan Karadžić, Painting Department, Živi i radi u Podgorici. where she also got MA degree. e-mail: [email protected] Living and working in Podgorica.

Petar Lubarda 1907. Ljubotinj, Cetinje – 1974. Beograd 1925. studied Art School in Belgrade, with professors Beta 1925. upisao Umetničku školu u Beogradu, kod profesorâ Vukanović, Ljuba Ivanović and Ilija Šobajić, which he leaves Bete Vukanović, Ljube Ivanovića i Ilije Šobajića, koju napušta after few months nakon nekoliko mjeseci 1926. enrolles Académie des Beaux Arts in Paris, but he studies 1926. upisuje Académie des Beaux Arts u Parizu, ali više uči more by visiting museums and galleries obilazeći muzeje i galerije 1932–1938. returns to Yugoslavia, and soon after his return 1932–1938. vraća se u Jugoslaviju, i ubrzo po povratku settles in Belgrade nastanjuje se u Beogradu 1938–1940. stays in Paris 1938–1940. boravi u Parizu 1941–1944. in captivity, in concentrations camps in Germany 1941–1944. u zarobljeništvu, u logorima u Njemačkoj i Italiji and Italy 1945. radi kao profesor na Akademiji likovnih umetnosti u 1945. works as professor at the Acadamy of Fine Arts in Beogradu Belgrade 1947. učestvuje u formiranju Umjetničke škole na Cetinju, 1947. participates in forming of the Art School in Cetinje, čiji je prvi direktor becomes its first director 1950. trajno se nastanjuje u Beogradu 1950. settles permenently in Belgrade Bio je član grupa Lada (1937.) i Samostalni (1952.) Belonged to artistic groups Lada (1937.) and Independent (1952.) Studijski je boravio u Francuskoj, Italiji, Njemačkoj, SSSR, He study resided in France, Italy, Germany, SSSR, Brasil, Brazilu, Engleskoj, Belgiji, Indiji, Siriji, Libanu. England, Belgium, India, Siria, Lebanon. 1959. dopisni član SANU, a redovni od 1961. 1959. corresponding member of Serbian Acadamy of Sciences Bio je i član JAZU. and Arts, full member since 1961. 1974. otvorena Memorijalna galerija Petra Lubarde u Beogradu He was also member Yugoslav Academy of Sciences and Arts. 1974. opened Memorial Gallery Petar Lubarda in Belgrade Vlado Martek Rođen 1951. u Zagrebu, Hrvatska. Born in 1951. in Zagreb, Croatia. Diplomirao književnost i filozofiju. Graduated literature and philosophy Djelovao u grupi Šestorica Belonger to the group Six Živi i radi u Zagrebu. Living and working in Zagreb e-mail: [email protected]

Milena Martinović Walsh Rođena 1980. na Cetinju, Crna Gora. Born in 1980. in Cetinje, Montenegro. 2004. diplomirala na Fakultetu Likovnih umjetnosti 2004. graduated from the Faculty of Fine Arts Cetinje, Cetinje, Odsjek vajarstvo Sculpture Department 2008. magistrirala na FLU Cetinje, Odsjek vajarstvo 2008. MA from the Faculty of Fine Arts Cetinje, Sculpture Živi i stvara u Francuskoj. Department e-mail: [email protected] Living and working in France. Jovan Mrvaljević Rođen 1976. na Cetinju, Crna Gora. Born in 1976. in Cetinje, Montenegro. 1999. diplomirao na FLU Cetinje 1999. Graduated from the Faculty of Fine Arts Cetinje 2005. završio postdiplomske studije na istom fakultetu 2005. Completed postgraduate studies from the same Faculty 2007. završio Master 1, Istorija umjetnosti, likovna 2007. Completed MA 1, Art History, Art and Photography umjetnost i fotografija, Univerzitet Paris 8 University Paris 8 2010. završio Master 2, Savremena umjetnost i novi mediji, 2010. Completed MA 2, Contemporary Art and Media, Faculty Fakultet za estetiku, filozofiju i umjetnost, Univerzitet Paris of Aestethics, Philosophy and Art, University Paris 8 8 Vincennes-Saint Denis Vincennes-Saint Denis. PhD candidate from the University Trenutno doktorant na Univerzitetu Paris 8, doktorska Paris 8, EDESTA (L’Ecole Doctorale Esthétique, Sciences et škola EDESTA (L’Ecole Doctorale Esthétique, Sciences et Technologies des Arts) Technologies des Arts). e-mail:[email protected]

Oliver Musovik Rođen 1971. u Skoplju, Republika Makedonija. Born in 1971. in Skopje, Republic of Macedonia. 1997. diplomirao na FLU Skoplje 1997. graduated from the Faculty of Fine Arts in Skoplje. Živi i radi na relaciji Sarajevo Skoplje. Living and working between Sarajevo and Skoplje. e-mail:[email protected] www. olivermusovik.tk

Milan Nikčević Rođen 1954. u Ravnama, Slovenija. Born in 1954. in Ravne, Slovenia. Diplomirao sociologiju na Filozofskom fakultetu u Nikšiću. Graduated Sociology from the Faculty of Philospohy in Živi i radi u Nikšiću. Nikšić. e-mail:[email protected] Living and working in Nikšić.

Damir Nikšić Rođen 1970. u Brezovom Polju, kod Brčkog, BiH. Born in 1970. in Brezovo Polje, near Brčko, B H. Srednju Umjetničku školu je završio u Sarajevu. Completed Secondary Art School in Sarajevo. Akademiju likovnih umjetnosti pohađao u Sarajevu, nastavio Attented Fine Arts Acadamy in Sarajevo, continuing his u Milanu i Bolonji, diplomirao u Sarajevu u klasi prof. Nusreta studies in Milan and Bologna, and comming back to graduate Pašića. in Sarajevo, in the class of prof. Nusret Pašić. Got Master’s Magistrirao umjetnost i istoriju umjetnosti na Univerzitetu u degrees in art and art history at the University of Arisona. He Arizoni. Jedan je od osnivača grupa „Sing Sing“ i „Maxumim“. is one of the founders of groups „Sing Sing“ i „Maxumim“. Živi i radi u Sarajevu. Living and working in Sarajevo. e-mail:[email protected] www.damirniksic.com

Ratko Odalović Rođen 1964. u Grahovu, Crna Gora. Born in 1964. in Grahovo. Montenegro. Diplomirao, a 1993. magistrirao na Fakultetu likovnih Graduated, and in 1993. got MA degree from the Faculty of umetnosti u Beogradu, u klasi prof. Živojina Turinskog. Fine Arts in Belgrade, in the class of prof. Živojin Turinski. Živi i radi u Podgorici Living and working in Podgorica. e-mail:[email protected] 210 211 Irena Paskali Rođena 1969. u Ohridu, Republika Makedonija. Born in 1969. in Ohrid, Republic of Macedonia. 1995. diplomirala na Fakultetu Prirodnih nauka, Skoplje 1995. graduated from the Faculty of Natural Sciences, 2000. diplomirala Fakultetu Likovnih umetnosti, Skoplje Skopje 2007. magistrirala na Akademiji za Medije i umjetnost u 2000. graduated from the Faculty of Fine Arts Skopje Kelnu, Njemačka 2007. MFA, Academy of Media Arts Cologne, Germany. Živi i radi u Kelnu, Njemačka. Living and working in Cologne, Germany. e-mail:[email protected] www.irenapaskali.com

Mihailo Pavićević Rođen 1974. na Cetinju, Crna Gora. Born in 1974. in Cetinje, Montenegro. 2000. diplomirao na FLU Cetinje. 2000. greaduated from the Faculty of Fine Arts Cetinje. Živi i radi u Podgorici. Living and working in Podgorica. e-mail:[email protected] www.mpavicevic.com

Milija Pavićević Rođen 1950. na Cetinju, Crna Gora. Born in 1950. in Cetinje, Montenegro. Živi i stvara na Cetinju. Living and working in Cetinje. e-mail: [email protected]

Tomo Pavićević Rođen 1952. u Titogradu (Podgorica), Crna Gora. Born in 1952. in Titograd (Podgorica), Montenegro. Završio VPŠ u Nikšiću. Graduated from the HPS in Niksic. Živi i radi u Pogorici. Living and working in Podgorica. Tel: +382 (0) 20 264 278

Tomislav Peternek Rođen 1933. u Vinkovcima, Hrvatska. Born in 1933. in Vinkovci, Croatia. Završio Realnu gimnaziju. Graduated from the Real Gymnasium. Fotografijom se bavi od 1954. godine. Engaged in photography since 1954. Majstor fotografije FSJ od 1967; Artist FIAP od 1967; Master of photography FSJ od 1967; Artist FIAP od 1967; Ekselencija FIAP od 1973. Excellency FIAP since 1973. Živi i radi u Beogradu. Living and working in Belgrade. e-mail:[email protected]

Irena Lagator Pejović Rođena 1976. na Cetinju, Crna Gora. Born in 1976. in Cetinje, Montenegro. 1999. diplomirala na Fakultetu Likovnih umjetnosti Cetinje 1999. graduated from the Faculty of Fine Arts Cetinje 1999/2002. ENSBA - Ecole Nationale Superieure des Beaux 1999/2002. ENSBA - Ecole Nationale Superieure des Beaux Art du Mans, Francuska Art du Mans, France Magistrirala na Fakultetu Likovnih umjetnosti Cetinje, MA from the Faculty of Fine Arts Cetinje, Graphic Arts Odsjek grafika i Odsjek grafički dizajn Department, Graphic Design Department Doktorant (interdisciplinarno i media) u Centru za PhD candidate (interdisciplinary and multimedia) at Center interdisciplinarne studije, Univerzitet umetnosti Beograd. for Interdisciplinary Studies / University of Arts, Belgrade. Živi i radi u Podgorici. Living and working in Podgorica. e-mail:[email protected] www. irenalagator.net

Ivana Pejović Rođena 1981. u Titogradu (Podgorica), Crna Gora. Born in 1981. in Titograd (Podgorica), Montenegro. 2006. diplomirala na FLU Cetinje 2006. graduated from the Faculty of Fine Art Cetinje Bavi se interdisciplinarnim art-om. Engaged in multimedia art. Živi i radi u Podgorici. Living and working in Podgorica. e-mail: [email protected]

Lazar Pejović Rođen 1969. na Cetinju, Crna Gora. Born in 1969. in Cetinje, Montenegro. 1996. diplomirao na Fakultetu likovnih umjetnosti na 1996. graduated from the Faculty of Fine Arts Cetinje, Cetinju, Odsjek grafika Graphic Arts Department 1998. magistrirao na Fakultetu primenjenih umetnosti i 1998. MA Faculty of Applied Arts and Design Belgrade, dizajna u Beogradu. Živi i radi na Cetinju. Photography Department e-mail:[email protected] Living and working in Cetinje.

Ivanka Vana Prelević Rođena 1965. u Podgorici, Crna Gora. Born in 1965. in Podgorica, Montenegro. 1990. diplomirala, a 1995. magistrirala na Fakultetu 1990. graduated, and 1995. MA from the Faculty of Applied primenjenih umetnosti i dizajna u Beogradu, odsjek Arts and Design Belgrade, Sculpture Department, in the vajarstvo, u klasi prof. Miodraga Živkovića. class of prof. Miodrag Živković 2006. magistrirala na istom fakultetu, odsjek scenografija, 2006. MA from the same Faculty, Set Design Department,in kod prof. Geroslava Zarića. the class of prof. Geroslav Zarić Živi i radi u Podgorici. Living and working in Podgorica. e-mail:[email protected] www.vanaprelevic.com

Dmitrij Prigov 1940 – 2007. 1940 – 2007 Rođen u Moskvi, Rusija. Born in Moscow, Russia. 1964. diplomirao na Stroganovskom Umjetničkom Institutu 1964. graduated from the Stroganovsky Art Insitute in Moscow, u Moskvi, odsjek skulptura. Do Perestroike bio istaknuti Sculpture Department. Until Perestroika was outstanding protagonista underground umjetničke scene u tadašnjem protagonist of the Underground art scene in SSSR. He was SSSR-u. Jedan je od osnivača moskovske Konceptualne škole. oone of the the founders of the Moscow Conceptual School. Izvodio solo muzičke performanse, a nastupao i sa klasičnim i Showed out solo musical performances, featured with classical džez muzičarima.Bavio se fotografijom i videom. and jazz musicians. Njegovi radovi se nalaze u muzejima i privatnim kolekcijama Engaged in photography and video. Rusije, Evrope, SAD i Japana. His works are in collections of museums and private collections www.prigov.ru in Russia, Europe, USA i Japan.

212 213 Milena Jovićević Popović Rođena 1976. na Cetinju, Crna Gora. Born in 1976. in Cetinje, Montenegro. 1999. diplomirala na FLU, Cetinje 1999. graduted from the Faculty of Fine Arts, Cetinje 1999/2000. specijalizirala na Ecole Nationale Superieure des 1999/2000. Ecole Nationale Superieure des Beaux Art du Beaux Art du Mans, Francuska Mans, France 2004. Ecole Nationale Superieure des Beux Arts Paris, prof 2004. Ecole Nationale Superieure des Beux Arts Paris, prof Dominique Gauthier. Dominique Gauthier. 2004/05. Ecole Nationale Superieure des Beux Arts Paris, 2004/05. Ecole Nationale Superieure des Beux Arts Paris, prof Dominique Gauthier. prof Dominique Gauthier. 2008. Magistrirala na Fakultet Likovnih Umjetnosti Cetinju. 2008. MA in Faculty of Fine Arts, Cetinje e-mail: [email protected] www.milenajovicevic.com

Miodrag B. Protić Rođen 1922. u Vrnjačkoj banji, Srbija. Born in 1922. in Vrnjačka banja. Serbia. Diplomirao na Pravnom fakultetu u Beogradu. Graduted from the Faculty of Law. 1943-1944. učio slikarstvo u školi Mladena Josića, kod 1943-1944. studied painting in School of Mladen Josić, with Jovana Bijelića, Zora Petrović, Franja Radočaja, Svetolika Jovan Bijelić, Zora Petrović, Franjo Radočaj, Svetolik Lukić i V. Lukića i V. Vitezice Vitezica 1953. i 1954. kao stipendista francuske Vlade boravio u 1953. i 1954. as schoolar of French government stayed in Paris Parizu 1959–1980. director of Museum of Contemporary Art in 1959–1980. direktor Muzeja Savremene umetnosti u Belgrade. Belonged to art groups Indepentents, Gruop 69, Beogradu.Bio član grupâ Samostalni, Grupe 69, i jedan od and was one of founders of December group. Engaged in art osnivača Decembarske grupe.Bavi se likovnom kritikom, criticism, essay literature and theory of art. esejistikom i teorijom umjetnosti. Živi i radi u Beogradu. Living and working in Belgrade.

Mirko Radonjić Rođen 1984. u Podgorici, Crna Gora. Born in 1984. in Podgorica., Montenegro. 2008. diplomirao na Fakultetu Likovnih umjetnosti na 2008. graduated from the Faculty of Fine Arts Cetinje, Cetinju, Odsjek slikarstvo, u klasi prof. Dragana Karadžića Painting Department, in the class of prof. Dragan Karadžić Živi i radi u Podgorici. Living and working in Podgorica. e-mail:[email protected]

Vojo Radonjić 1963. Titograd – 2005. Podgorica, Crna Gora. 1963. Titograd – 2005. Podgorica, Montenegro. 1983. završio Grafičku školu 1983. graduated from Graphic school Od 1984. bavio se fotografijom kao freelancer Since 1984. engaged in photography as freelancer 1985 -1992 radio kao reprofotograf 1985 -1992. worked as reprophotographer

Aleksandar Rafajlović Rođen 1957. u Beranama, Crna Gora. Born in 1957. in Berane, Montenegro. 1980. diplomirao slikarstvo na Fakultetu Likovnih 1980. graduted from the Faculty of Fine Arts Belgrade umetnosti u Beogradu 1983. MA Faculty of Fine Arts Belgrade 1983. postdiplomske studije završio na Fakultetu Likovnih Living and working Beogradu. umetnosti u Beogradu. Živi i radi u Beogradu. e-mail: [email protected] Igor Rakčević Rođen 1971. u Titogradu, Crna Gora. Born in 1971. in Titograd, Montenegro. 1995. diplomirao na Fakultetu Likovnih umjetnosti na 1995. graduated from the Faculty of Fine Arts Cetinje Cetinju 1997. MA from Faculty of Fine Arts Belgrade 1997. magistrirao na Fakultetu Likovnih umetnosti u Living and working in Podgorica. Beogradu. Živi i radi u Podgorici. e-mail: [email protected] www.rakcevic.com

Jean Baptist Sauvage Rođen 1977. u Saint-Etienne, Francuska. Born in 1977. in Saint-Etienne, France. Diplomirao na Ecole Nationale Superieure des Beux Arts de Ecole des BeauxArt de Saint-Etienne. Saint-Etienne Live in Saint-Etienne and Marseille. Živi u Saint-Etienne-u i Marseille-u htt//jb-sauvage.com e-mail: jbsauvage@ yahoo.com

Igor Sekovski Rođen 1972. u Skoplju, Republika Makedonija. Born in 1972. in Skoplje, Republic of Macedonija. 1997. diplomirao slikarstvo sa konzervacijom i 1997. graduated painting with conservation and restauracijom i ručnu izradu papira na Fakultetu Likovnih restoration, and handmade paper from the Faculty of Fine umetnosti u Skoplju. Arts in Skopje. 2000/2001. specijalizirao slikarstvo na Musashino Art 2000/2001. specijalized painting at Musashino Art University, Tokyo, Japan University, Tokyo, Japan 2003. magistrirao na Joshibi Univeersity of Art and Design, 2003. MA from the Joshibi Univeersity of Art and Design, Kanagawa, Japan. Živi i radi u Skoplju. Kanagawa, Japan e-mail: [email protected] Living and working in Skoplje.

Jean – Bernard Souderes Živi i radi u Parizu. Living and working in Paris.

Boris Šemov Rođen 1974. u Skoplju, Republika Makedonija. Born in 1974. in Skoplje, Republic of Macedonija. 1991–1992. Grimsly High School-Greensboro, North 1991–1992. Grimsly High School-Greensboro, North Carolina, USA Carolina, USA 1996. diplomirao, a 2003. magistrirao na Fakultetu likovnih 1996. graduated from the Faculty of Fine Arts in Skoplje, umetnosti Skoplje, Odsjek slikarstvo Painting Department Živi i radi u Skoplju. 2003. MA from the Faculty of Fine Arts in Skoplje, Painting e-mail: [email protected] Department www.semovboris.com Living and working in Skoplje.

214 215 Slobodan Šijan Rođen 1946. u Beogradu. Srbija. Born in 1946. in Belgrade, Serbia. Filmski reditelj, likovni umjetnik, scenarista i filmski Film director, artist, scene writer and film critic. kritičar. Živi i radi u Beogradu. Living and working in Belgrade. e-mail:[email protected]

Ilija Šoškić Rođen 1934. u Dečanima, Crna Gora. Born in 1934. in Dečani, Montenegro. Studirao Umjetničku školu u Herceg Novom i na Akadmiji Studied at the Art School in Herceg Novi and Academy of Likovnih umetnosti u Beogradu. Fine Arts in Belgrade. 1969. odlazi iz Jugoslavije, i nastanjuje se u Bolonji gdje 1969. leaves Yugoslavia, and settles in Bologna, where upisuje Accademia delle belle Arti enrolled Accademia delle belle Arti 1973-1987. Živi u Rimu 1973-1987. Lives in Rome Nastanjuje se u Dubrovniku, a od 1991. zbog ratnih zbivanja Comes back to Yugoslavia, to Dubrovnik, and since 1991. na Balkanu u Baru. and war in Balkans lives in Bar 1994. odlazi na Hidru u Grčku, a 1996. se vraća u Rim gdje 1994. leaves for Hidra in Greece, in 1996. comes back to i danas živi i radi. Rome where he is still living and working. e-mail:[email protected]

Nenad Šoškić Rođen 1970. u Baru, Crna Gora. Born in 1970. in Bar, Montenegro. Diplomirao na FLU Cetinje, odsjek vajanje. Gradiented from the FLU Cetinje, Sculpture Department. Postdiplomske studije završio u Beogradu MA Faculty of Fine Arts Belgrade Živi i radi u Podgorici. Living and working in Podgorica. e-mail:[email protected] www.nenadsoskic.com

Masha Shubina Born in 1979. in SSSR. Rođena 1979. u SSSR. 2002. Moscow Architecture & Art Institute, Moscow, Russia 2002. Institut za arhitekturu i umjetnosti, Moskva 2003. graduated from the National Ukraine Academy of 2003. diplomirala na Nacionalnoj Akademiji za umjetnosti i Art & Architecture, Kiev. Living and working in Berlin, arhitekturu, Kijev. Živi i radi u Berlinu, (Njemačka) i Kijevu, (Germany) and Kiev, (Ukraine). (Ukrajina). e-mail: [email protected]

Vladimir Tatarević Rođen u Beogradu, Srbija. Born in Belgrade, Serbia. 1997. diplomirao na Fakultetu Primenjenih umetnosti 1997. graduated from the Faculty of Applied Arts Belgrade u Beogradu. Po završetku magistarstkih studija radio za After finishing postgraduate studies has been working for „Trans Ocean Photos“. Živi i radi u Beogradu. „Trans Ocean Photos“. e-mail: [email protected] Living and working in Belgrade. www.tatarevic.com Dragoljub Raša Todosijević Rođen 1945. u Beogradu, Srbija. Born in 1945. in Belgrade, Serbia. Diplomirao na Akademiji likovnih umetnosti u Beogradu. Graduated from the Faculty of Applied Arts Belgrade Od 1969. živi i radi u Beogradu. 1969. living and working Belgrade e-mail: [email protected]

Jelena Tomašević Rođena 1974 u Podgoricu, Crna Gora. Born in 1974. in Podgorica, Montenegro. 2002. diplomirala na Fakultetu Likovnih umjetnosti Cetinje, u 2002. graduated from the Faculty of Fine Arts Cetinje, in klasi prof. Nikole Gvozdenovića class of prof. Nikola Gvozdenović 2004. Magistrirala na Fakultetu Likovnih umjetnosti na Cetinju. 2004. MA from the Faculty of Fine Arts Cetinje e-mail: [email protected]

Aleksandra Dada Tomić Vicković Rođena 1978. Born in 1978. 2004. diplomirala na FLU Cetinje, Odsjek grafika, u klasi 2004. graduated from the Faculty of Fine Arts Cetinje, prof. Jakova Đuričića Graphic arts Department, in the class of prof. Jakov Đuričić 2008. magistrirala na FLU Cetinje, Odsjek grafika, kod prof. 2008. MA from the Faculty of Fine Arts Cetinje, Graphic Anke Burić. Živi i radi na Cetinju. arts Department, in the class of Anka Burić e-mail: [email protected] Livng and working in Cetinje.

Lazar Vozarević 1925. Sremska Mitrovica – 1968. Beograd, Srbija. 1925. Sremska Mitrovica – 1968. Belgrade, Serbia. 1941. upisao je Školu za Primenjene umetnosti u Beogradu 1941. enrolled School for Applied Arts in Belgrade 1948. diplomirao na Akademiji Likovnih umetnosti 1948. graduated from the Academy of Fine Arts 1950-51. studijski boravio u Parizu 1950-51. stayed in Paris Bio je član Jedanaestorice i Decembarske grupe, i jedan od Member of artistic groups Eleven and December group, and prvih eksponenata enformela u Beogradu 60-ih godina one of the first informel artists in 60’s. of the XX c. XX vijeka. Pored slikarstva, bavio se ilustracijom knjiga i Apart from painting engaged in book ilustration and mozaikom. mosaik.

Suzana Pajović Živković Rođena 1970. u Nikšiću, Crna Gora. Born in 1970. in Nikšić, Montenegro. 1994. dipomirala na Ekonomskom fakultetu u Podgorici, 1994. graduated from the Faculty of Economy, Poslovni Poslovni smjer smjer 2000. diplomirala na FLU Cetinje, Odsjek vajanje 2000. graduted from the Faculty of Fine Arts Cetinje, 2006. diplomirala na FLU Cetinje, Dosjek grafički dizajn Sculpture Department 2008. magistrirala na FLU Cetinje, Odsjek vajanje 2006. graduted from the Faculty of Fine Arts Cetinje, 2009. magistrirala na FLU Cetinje, Odsjek grafički dizajn Graphic Design Department Živi i radi u Podgorici. 2008. MA from the Faculty of Fine Arts Cetinje, Sculpture e-mail: [email protected] Department 2009. MA from the Faculty of Fine Arts Cetinje, Graphic Design Department. Living and working in Podgorica.

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CIP - Katalogizacija u publikaciji Centralna narodna biblioteka Crne Gore, Cetinje

ISBN 978-86-85567-28-5 COBISS.CG-ID 21005072