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KONFLIKTI PROVOKACIJE RELACIJE IZAZOVI Strepnje ENERGIJE ODLUČNOSTI KONFLIKTI PROVOKACIJE RELACIJE IZAZOVI STREPNjE ENERGIJE ODLUČNOSTI... Umetnost u proširenom polju / Pogled na umetničku situaciju / Vojvodina 1997–2014. 1 KONFLIKTI PROVOKACIJE RELACIJE IZAZOVI STREPNjE ENERGIJE ODLUČNOSTI ... Umetnost u proširenom polju / Pogled na umetničku situaciju / Vojvodina 1997–2014. Art in the Expanded Field / Review of the Artistic Situation / Vojvodina 1997‒2014 CONFLICTS PROVOCATIONS RELATIONS CHALLENGES FEARS ENERGIES DETERMINATIONS ... 4 SADRŽAJ CONTENTS Svetlana Mladenov, U proširenom polju umetnosti 5 Ješa Denegri, Vojvođanska umetnička scena 1997‒2005. 12 Gordana Nikolić, Amplituda postjugoslovenskih 15 filmskih/video praksi ‒ region Vojvodine Sanja Kojić Mladenov, Interdisciplinarni rodni 21 aspekti umetničke scene Vojvodine Aleksandra Sekulić, Alternativni strip u Vojvodini 1999‒2014. 31 Vladimir Mitrović, Arhitektura u Vojvodini posle 2000. 39 ili kako pobeći iz vrtlogavice svakodnevice Umetnički radovi / Artworks 49 Svetlana Mladenov, In the Expanded Field of Art 96 Ješa Denegri, The Art Scene of Vojvodina 1997‒2005 103 Gordana Nikolić, The Amplitude of Post-Yugoslav 106 Film/Video Practices - Region of Vojvodina Sanja Kojić Mladenov, Intinterdisciplinary 112 Gender Aspects of The Art Scene in Vojvodina Aleksandra Sekulić, Alternative Comics in Vojvodina, 1999-2014 122 Vladimir Mitrović, Architecture in Vojvodina post 2000 131 or How to Escape the Daily Loss of Equilibrium Biografije / Biographies 141 5 6 Svetlana Mladenov U PROšIRENOM POLJU UMETNOSTI Proteklo je prvih petnaest godina dvadeset prvog veka, a u Srbiji se odnos umetnosti i društva, poredeći ga sa ratnim i razarajućim vremenom u devedesetim godinama 20. veka, nije bitnije promenio. Ignorantski i omalovažavajući stav državne elite prema savremenoj umetnosti se nastavio, čini se, što vreme odmiče, sve snažnije, uz primenu suptilnijih i sofcistiranijih metoda, ponekad nevidljivih na prvi pogled ali sa pogubnim i poražavajućim krajnjim rezultatima i dugoročnijim posledicama. Danas, savremeni umetnički procesi se odvijaju u društvu izmorenom dugotrajnim i bolnim tranzicionim procesima u kojima je sve vidljivije raslojavanje društva, te jaz između manjine bogatih i većine siromašnih postaje sve veći, a odnos prema intelektualcima i umetnicima je sve više ponižavajuć. Oni su potisnuti na marginu društva, razjedinjeni, zaokupljeni iscrpljujućom egzistencijalnom borbom, razočarani, izgubljenih iluzija i vere u mogućnost ostvarenja humanijeg i tolerantnijeg društva. I umetnost kao da dejstvuje iz geta, ontološkom snagom, za inat, nalazeći utočište i potvrdu u komunikaciji sa istomišljenicima (kolegama, teoretičarima, kritičarima, kustosima), a posebno sa internacionalnim kulturnim prostorom. Nove tehnologije su tu komunikaciju produbile i omogućile različite tokove kretanja takvih komunikacionih procesa. Kada u umetnosti razmatramo devedesete godine prošlog veka ne možemo govoriti o umetničkoj sceni Vojvodine jer ona kao takva nije u pravom smislu ni postojala, ako pod scenom podrazumevamo izgrađeni sistem ponude i potražnje, 7 galerijsku mrežu i jasan odnos umetnika i institucija, jasnu kulturnu politiku i podršku umetničkoj produkciji i još mnogo toga. Ako su prve naznake odlikâ organizovane umetničke scene i postojale u osamdesetim, u devedesetim su one u potpunosti izbrisane, te možemo pre govoriti o umetničkoj situaciji, kako devedesetih tako i godina posle, pa sve do danas, jer se još uvek nisu uspostavili svi potrebni parametri za postojanje umetničke scene kao izgrađenog sistema umetničkog delovanja i jasnih odnosa svih učesnika scene. Vreme građanskog rata i krize na svim društvenim i ekonomskim planovima obeležili su period devedesetih godina na Balkanu (bivša teritorija Jugoslavije). U Srbiji to vreme nije naklonjeno umetnosti, jer su izuzetno ojačala nacionalistička stremljenja, te je i favorizovana umetnost sa nacionalističkim obeležjima. Takođe, to je vreme bujanja šunda i kiča. Ignorantski i neprijateljski stav državnog aparata prema savremenoj umetnosti jačao je tokom devedesetih godina. Učvrstio se u uverenju da je ona neprijateljska i izdajnička, produkt zapadne propagande i sl. Što je kritička oštrica aktuelne umetnosti prema društvu bila snažnija, otpor države je jačao, ispoljavajući se kroz njene institucionalne instrumente odlučivanja i njene medije. Velika očekivanja posle revolucije i pobede demokratskih snaga 2000. god. ubrzo su se pretvorila u razočaranje, a zatim u apatiju i depresiju društva. Tranzicioni procesi predugo traju, a u njima se ekonomski potencijal zemlje i većine pojedinaca u potpunosti smanjio, te je siromaštvo društva i njegovih građana, a povećavanje bogatstva malog broja ljudi, uticalo na sve segmente društvenih odnosa, pa i na kulturu i umetnost. Poremećeni sistem vrednosti društva još uvek se nije oporavio, te nisu uspostavljeni pravi vrednosni odnosi, što takođe ima odlučujući uticaj na funkcionisanje društva, a posebno na 8 međuljudske odnose, čije se negativnosti i konfikti prenose preko svih profesija i oblasti društvenog života, pa tako i preko oblasti kulture i umetnosti. U tako lošoj današnjoj društvenoj situaciji, ono što je unelo novi duh i otvorilo nove mogućnosti istraživanja u proširenom polju umetnosti su nove tehnološke inovacije i sve razvijenija i usavršenija tehnološka praksa. Usvajajući svet novih tehnologija kao sredstvo za nove mogućnosti umetničkog izražavanja i multimedijalnih eksperimenata umetnici su postavili sebi nove zadatke i ciljeve u okviru novomedijske, sada već postmedijske umetnosti. Granice više ne postoje, stvar je ličnog izbora ili senzibiliteta ostati u okviru jednog medija (video, digitalna animacija i sl.) ili kroz interdisciplinarna istraživanja uvesti dijalog nauke i umetnosti, tehnološke i biosfere, klasičnih i novih medija i sl. Sve prisutnije ukrštanje umetnosti, nauke i tehnologije proširilo je polje umetničkog istraživanja, omogućilo uvođenje vrlo složenih i uzbuđujućih plastičkih koncepata i pružilo podršku eksperimentu kao legitimnom segmentu umetničkog procesa. Snažniji prodor tog trenda zapaža se u drugoj polovini devedesetih godina prošlog veka kada je kompjuterizacija sve više osvajala, kako ustanove kulture tako i sva mesta prezentacije umetničke prakse, a time i otvorila nove izložbene i prezentacione mogućnosti, te umnogome izmenila kustosku praksu. To je i vreme kada umetnost ulazi u stare, napuštene, najčešće industrijske ali i neke druge objekte, pronalazeći u njima potencijal za nova istraživanja i in situ umetničku praksu. Jedan od ranih skoro usamljenih primera je sa početka osamdesetih godina prošlog veka u staroj napuštenoj ciglani fabrike „Toza Marković“ u Kikindi, koja postaje radni prostor Simpozijuma skulpture Terra, i to ostaje sve do danas. Međutim, značajniji iskorak ka osvajanju alternativnih prostora unutar gradskih celina dogodiće se u devedesetim godinama, snažnije u njihovoj drugoj 9 polovini i na prelazu vekova. Posebno su se isticala dva vojvođanska grada, Pančevo i Vršac, koji su brojnim umetničkim akcijama i hepeninzima otvorili zaboravljene i napuštene gradske prostore: Crveni magacin, Bioskop Apolo, Dvorište, Letnja pozornica, Stara pivara i sl. u Pančevu, a Konkordija, Stari mlin, Apoteka na stepeništu i dr. u Vršcu. U tim, kao i u slobodnim gradskim prostorima, nastali su najbolji primeri kontekstualne umetnosti u Vojvodini, umetnosti koja je vodila dijalog sa istorijom i memorijom mesta, njegovom arhitekturom, patinom, rustičnošću, ali i sadašnjim trenutkom. Najčešće su takvi radovi uspostavljali i prisan dijalog sa publikom, uključujući je, kroz sopstvenu interaktivnost, ne više kao pasivnog posmatrača već kao aktera i saučesnika. Nažalost, većina tih radova je demontirana, uništena ili je nastavila život u nekoj drugačijoj formi bez prvobitnog konteksta. U većini slučajeva ostala je samo vrlo skromna dokumentacija. U tim prostorima realizovani su projekti kao što su Otvorena osećajnost, Regionalno Univerzalno, Bijenale vizuelnih umetnosti, Festival autorskog stripa Grrrr, Jugoslovenski bijenale mladih i drugi. U drugoj polovini prve decenije 21. veka postojali su pokušaji da se u novosadsku „Kinesku četvrt“ sa njenim starim industrijskim i zanatskim objektima useli savremena umetnost, i to preko nekoliko umetničkih projekata koji su realizovani u tom delu grada tokom 2006. i 2007. godine, te plana da se deo tog prostora opredeli za Muzej savremene umetnosti Vojvodine (koji još uvek nema svoju zgradu). Ostvareni idejni projekat zgrade Muzeja nije doživeo svoju realizaciju, a projekti In situ, Prostor za novi dijalog, Muzej zaboravljene umetnosti su ipak na neki način uticali na svest gradskog establišmenta da se, posle njihovih propalih ideja da se taj prostor proda stranim partnerima i pretvori u stambenu ili neku drugu privredno korisnu zonu, on ipak opredeli za kulturu, koja jedina bez velikog fnansijskog ulaganja može da ga aktivira i obogati novim sadržajima. 10 Tako se u jedan od napuštenih prostora uselio Studentski kulturni centar, a neki drugi su pretvoreni u umetničke ateljee. Zašto se ova izložba bavi umetničkom situacijom u Vojvodini od 1997, tj. zašto je baš ta godina, a ne neka druga, uzeta za početak razmatranja savremene umetničke prakse u Vojvodini? Razlog je jednostavan: to je godina kada demokratske snage, predvođene koalicijom Zajedno, na lokalnim izborima u Srbiji dobijaju vlast u većini gradova, pa tako i u vojvođanskim gradovima. To je unelo bitne promene i u kulturi, te se moglo snažnije i slobodnije delovati, što se posebno odrazilo na savremenu umetnost, njene forme izražavanja,
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